#hawaiian historical society

[tanadrin]

It sounds like you likely side against the protesters in New Caledonia who were apparently protesting about France giving people who moved there recently the right to vote in local elections. (i.e. the native minority doesn't want the colonizers to have the right to vote)

I probably would! If you live somewhere, and pay taxes there, and use the public services and utilities there, you should have full political rights. That policy seems like an overcorrection for historical injustice--e.g., the French not granting Muslims voting rights in North Africa.

And there are other awkward questions you could pose for my open-borders-and-free-citizenship stance--like the fact that the overthrow of the Hawaiian monarchy was driven in part by immigrants of American background who felt excluded from representation (but who in turn wanted to exclude Asian immigrants from representation), or how small countries that suddenly find themselves in an advantageous economic position often find their demographics rapidly changing (Qatar, Hawaii in the early 20th century).

But the alternative--the whole hog of blood-and-soil nationalism, with a bit of anti-colonial lipstick--seems pretty bad to me. People move around. Places change. Cultures change. We can and should do everything in our power to ensure those changes and that movement is the result of, like, free individual choice, and not war or violent seizure of land or systems of brutal economic exploitation. And sometimes despite those changes, the things people love about their traditional cultures can persist--especially now, in a world that pays much more attention to the rights of (for example) minority language speakers than it used to.

But the desire for the world to remain culturally, linguistically, and economically static is basically reactionary. I mean really, it's the aesthetic heart of reaction. It's also an absurdity. Even perfectly isolated societies can change in dramatic ways. And, of course, very often "tradition" is a cudgel simply wielded in the service of entrenching a different kind of elite power: I am no more supportive of the Hawaiian monarchy, one born of bloody conquest by an imperialistic dynasty, than I am of the British; the British one just happened to be more historically successful, but the underlying principles are the same. Cf. also the way land tenure works in American Samoa, a system that is billed as keeping land in native hands--which it does, by institutionalizing the colonial system of blood quantum and being explicitly racist, and simply serving to prop up a different set of elites (in this case, traditional tribal elites rather than colonial ones).

I think the only way you can really escape the trap of reaction and nationalism is to refuse to play the game in the first place--to put the primacy of your bond to your fellow human beings, regardless of culture or race or origin, and thus inherent political equality (and solidarity) above other considerations. Tribalism, pillarization, byzantine ethnicity-based power-sharing arrangements, special rules for land tenure or voting rights--all these have a nasty way of turning into new forms of exploitation, of someone figuring out how to do the economic and political arbitrage at someone else's expense. The central insight of 1789 was correct here: the only solution is the universal equality of all human beings. The trick is to carry that insight through to its logical conclusion.

[rubberduckyrye]

I'd like to point to interpretation that Angie isn't portrayal of a native Polynesian islander because almost all the evidence around her character and what she says suggests she's not living in a village that has cult-like practices, but that she is in a straight up cult and is unaware of it. It explains a lot of stuff from the odd monotheism, why her "village" seems to only employ seemingly dark web shipping company, the police apparently bothering her "village" or her having an English name.

Referencing this Ask

I mean. That is one interpretation, sure, but to deny the fact that Angie is heavily coded to be Polynesian/Native Hawaiian is unfortunately ignoring the problem. Which is the problem I am trying to address itself.

Right in her promotional art, you can see that Angie is carving a statue--and it heavily resembles a tiki statue. Specifically this kind of Tiki Statue. Though since it is unfinished, it could be a full body version, but I digress.

She also mentions living on an island.

And the "natural disaster" that made the island smaller--that is probably heavily inspired by how Hawaii was used by US military and bombed frequently--which, naturally, made the islands smaller.

She also greets people in Salmon mode with "Alola," which is a reference to Pokemon Sun and Moon, which has it's main location heavily based off of Hawaii. Alola is a butchered way of saying "Aloha", which is a Hawaiian greeting.

Also, Angie having an English name matches with historical oppression in Hawaii. Where Hawaiians were forced to name their children with Christian White names and their Hawaiian names be their middle names. It was literally a law, at least, according to Wikipedia, for quite some time. (The fact that this is not easily verifiable is the very reason why having this discussion is so important--and why people need to stop trying to avoid the conversation.)

I understand the desire to want to dismiss the fact that she is a racist caricature because it sucks to enjoy a character who is one. I get it. However--trying to deny the fact that she is heavily coded to be Native Hawaiian/Polynesian is just sweeping the racism under the rug, and is a major problem when you have people like me who want to discuss the topic and how one should handle rectifying the canon narrative's bigotry.

The mere fact that she is so heavily coded to be Native Hawaiian/Polynesian makes the whole cult thing part of the racist caricature. Indigenous people (especially Indigenous Polynesian cultures) are subject to extreme racist stereotypes that include human sacrifices and savagery--and while Angie's culture isn't developed in canon enough to know for sure if it was truly as savage as, say, the King Kong Indigenous folk, the cult behaviors are a sort of "cousin" to that savagery. We as a society see human sacrifices as barbaric, as savage, and even when in a cult setting, we still present these topics in that fashion.

I'm sorry, anon--but I'm going to ask you only this one time to not derail the conversation I'm trying to start. I understand that there are interpretations that help explain away the bigotry--and this is one legitimate way to deal with bigotry in canon media, or so I've been told--but what I want is a full blown discussion on the subject. I don't want people trying to tell me "Oh b-b-but she can't be a racist Caricature, because (X)!" Because that is dismissing the problem to begin with.

This is a problem. This is a discussion about racism in V3's narrative. There is no getting around it--no matter how much you explain away the writing with headcanons and theories, these problems are still here.

So please stop trying to sabotage my desire for a discussion.

I'm going to note that I LOVE Angie as a character. I think that, when you remove the racism in her character stories, you have a very interesting and compelling female character of color who's intelligence rivals that of the smartest V3 characters. These aspects of her character I adore--but to ignore the racism, for me, is to just turn away from the problem and, in turn, contribute to the racist way fandom treats these kinds of characters.

So let me speak. Let me find people who will talk to me about it. Let me grow and learn. Please, for the love of god, let me learn.

[incorrect-jojolands-quotes]

Here's the changes seen in The JOJOLands and some context behind the changes below.

Papaya is considered a common breakfast food in Hawaii. Some consider it the unoffical fruit of Hawaii alongside pineapples (the state has no official fruit though). There are many types of papayas that are grown there and the most well-known variety in Hawaii is the rainbow papaya; all papayas consumed in the United States come from Hawaii and papayas are grown year-round, even quite openly on the islands. Papayas are easy to grow and its smaller size means one person can easily consume a papaya by themselves. Not much is known about how the papaya came to the islands but the fruit has become a huge part of Hawaiian culture and the Hawaiian economy ever since its arrival. Hawaiian papaya is known for being sweet and tender, usually eaten raw with a spoon. The seeds can be eaten raw as well and they're usually used in more savory dishes due to its peppery flavor.

When writing Katakana, a V sound can either be written with a B character (ベ, be) or with an actual V-equivalent character (ヴェ, u-e/vu-e). ヴェ and other V-equivalent characters are relatively new in the writing system, as the V sound is historically written as a B sound. Speakers would acknowledge the B sound in this context would be said softer so it sounds closer to V, but many continue to use B characters to write V sounds to this day. In this case, ヴェ sounds closer to the sound "ve" than "ベ" does to it, so the change was made to show that. The interpunct/nakaguro (・) is an intentional pause. There is typically no space between characters in written Japanese, but this pause would be used to intentionally make the reader pause and explictly state the space between the two words. Depending on the context, ・can double as a coordinating conjunction (and, or) and be used like a comma, colon, semicolon, etc. You commonly see this with Katakana when someone is trying to write out a foreign word that sounds better with a pause between the characters. Capital letters do not exist in Japanese. Words that need to be emphasized is written in Katakana instead. The exception is if the writer wanted to use Roman-ji to write capitalized words for aesthetic reasons. Araki has been playing around with how Paco's Stand is to be written before settling with this change. This updated name spelling could also be an attempt to curb copywrite issues given the Stand name is after a popular song.

ASPD is only diagnosed to patients that are over 18 and usually they were previously diagnosed with CD in their childhood to confirm the ASPD diagnosis; the CD diagnosis must be done before the patient is 15 and it only becomes ASPD when CD symptoms still persist or has escalated by the time they are an adult. Interestingly, CD is often difficult to quantify/properly diagnose and there is no major difference between CD and ASPD (it all boils down to which age gets diagnosed to what). It's still considered incorrect to diagnose someone under 18 with ASPD nonetheless, but the diagnosis remaining as ASPD might be regarding this difficulty to diagnose (or something sketchy). Another thing to keep in mind is that not every individual who is diagnosed with ASPD is also a psychopath or diagnosed as one in addition to ASPD, so the change indicates this clarification. ASPD means you cannot control impulses towards doing things against society's expectations (lashing out, committing crimes, hurting people's feelings, etc.) but you can still feel empathy and realize what you did was wrong while psychopathy means you lack feeling guilt or empathy in addition to being unable to control impulses. Both can mirror each other and both are theorized to be caused by genetics and/or childhood abuse/neglect among other possibilities.

[walder-138]

TAG GAME

Tagged by @imagoddamnonionmason @raresvtm and @eccentrcks Thank youse!!!

Imma do Oz and Annika. Wanted to do Abbey and Zach but I didn’t feel like it 💀

Name: Oswald John Clancy III

Universe: Black Ops (His story takes place a couple years after Bell detonates the nukes)

Favorite song: Historically accurate, Sweat Leaf by Black Sabbath. But if dude made it to the 90s then it would’ve been Sex Type Thing by Stone Temple Pilots

Favorite Book and why?: Oz doesn't read many books; he thinks he has better things to do than to read. If he had to choose, it would be Animal Farm by George Orwell.

Favorite piece of clothing they own: The plethora of Hawaiian shirts he owns, but the one that holds a special place in his heart is the one Jennifer sews patches she makes onto; he wears it at least once or twice a week

Favorite piece of clothing they wished they owned: His old football jacket; he ended up burning it during his pit of addiction and depression cause it reminded him too much of his 'old self'

Favorite "little treat": gummy worms

Favorite person in their lives: Jennifer Rhodes (his daughter)

Dream home (if there were no obstacles, financial or otherwise): He'd move back to Maine, had the nukes not gone off and it wasn't now a hellhole. Oz would've loved to live near the ocean, have a nice place to fish, and for his mechanic business.

Dream life: He wishes he stayed in College, got drafted for an NFL team, and stayed with Gloria to give Jenny a good life. Oz damn well could've made it in football if he just stuck with it and didn't let his guilt surrounding his brother get the better of him.

Name: Annika Voronova

Universe: Black Ops (She is Bell)

Favorite song: Material Girl by Madonna

Favorite Book and why?: None, she hates reading. Finds it a boring waste of time and energy.

Favorite piece of clothing they own: Her father's old Spetznaz jacket; she doesn't wear it anymore, but her father would give it to her when she was cold sometimes. Her father’s real last name was scratched off and it has holes from multiple stabs both of them endured.

Favorite piece of clothing they wished they owned: Good quality sunglasses for her eye. One pupil is much bigger than the other and it makes it painful to be in bright room. Eyepatchs render her bum eye useless. None of the sunglasses she found shielded her eye.

Favorite "little treat": Barbeque sauce mixed with shredded cheddar cheese, in a bowl and eaten with a spoon.

Favorite person in their lives: Keith Wells (@imagoddamnonionmason OC)

Dream home (if there were no obstacles, financial or otherwise): Middle of the woods, alone. Away from society, in either a cabin or a tent.

Dream life: Not having one? This one was a doozy. Living amongst wild animals.

[thecreaturecodex]

Nightmarchers

Image © Paizo Publishing, accessed at Archives of Nethys here

[It's time to say goodbye to the World Tour. And so, the nightmarchers are going to watch it come to an end. At a safe, respectable distance.

I put that poll up about whether you guys thought whether using the nightmarchers as a tabletop monster was cultural appropriation or not. I did weigh all of your opinions, but the one that got weighed the heaviest was @abominationimperatrix, a good friend who I have made through this blog, and one of the people I know who knows more about monsters than I do.

She pointed out that the nightmarchers entry was written by someone with Hawaiian heritage as an homage to the stories their grandfather taught them. And the prohibition against looking them in the face is about respect to royalty and tradition. Some historical/folkloric entities there are legitimate prohibitions about representing in visual media (see Muhammed the Prophet). But there's plenty of art of the nightmarchers made by native Hawaiians. So, I decided to go ahead. This entry sticks pretty closely mechanically to the 2e version, and I made sure that my flavor text emphasizes respect and coexistence. ]

Nightmarchers CR 14 LN Undead (troop) This spectral precession contains dozens of men and women, standing proud and carrying regalia. Although they are transparent and clearly unearthly, the weapons, armor and torches they carry seem all too effective.

The nightmarchers are ancestral spirits. They patrol the royal highways on tropical islands, ensuring that the boundaries between nobility and the common folk are enforced, and that the hierarchy of societies is strictly enforced. Seeing the nightmarchers at a distance is seen as a weird omen by some, and a comforting one by others. But getting too close, regardless, can be dangerous.

It is said that to gaze directly upon the procession of nightmarchers, to scan their faces in the hopes of seeing the royal treasures they guard, literally or figuratively, is to invite disaster. One who supplicates themselves in apology, or who the nightmarchers recognize as kin and has not done them harm, is safe, although will often get a verbal warning. Those that try to fight or to gawk are admonished with fire, shot from a dozen torches and a hundred eyes. Anyone who survives this, but tries to strike back, is beaten down with phantom clubs and spears, showered with semi-real stones.

Because the power of royalty can be lethal or nourishing, nightmarchers can be dealt with in a constructive way—they know much of the Old Ways, and might tell those genuflecting of important secrets as they pass by. Even though the nightmarchers can walk on air and cross barriers with ease, they primarily stick to the royal roads. If they go off path, they are sure to avoid passing above certain sacred plants, those that they associate with their royal patrons. In order to ensure that the nightmarchers remain at a safe distance, many villages have these sacred plants growing around them as a territorial marker of mutual respect and boundary keeping.

Nightmarchers     CR 14 XP 38,400 LN Medium undead (incorporeal) Init +9; Senses darkvision 60 ft., kinsense, Perception +25 Aura frightful presence (90 ft., Will DC 26) Defense AC 27, touch 20, flat-footed 22(+5 Dex, + 5 deflection, +7 shield) hp 189 (18d8+108) Fort +13, Ref +13, Will +18 Immune incorporeal traits, undead traits Defensive Abilities troop traits; Weakness limited incorporeality Offense Speed 30 ft., air walk Melee troop (5d6+5) Space 20 ft.; Reach 5 ft. Special Attacks blazing admonition, volley Statistics Str -, Dex 20, Con -, Int 21, Wis20, Cha 21 Base Atk +13; CMB -; CMD 28 Feats Ability Focus (frightful presence), Alertness,Great Fortitude, Lightning Reflexes, Improved Initiative, Improved Iron Will, Iron Will,Skill Focus (Knowledge [history]),Toughness Skills Acrobatics +19, Diplomacy +19, Intimidate +22,Knowledge (geography, local) +18, Knowledge (arcana, history, religion) +21, Perception +25, Perform (song) +19, Sense Motive +25, Spellcraft +21 Languages Common plus 5 others (often old or extinct) SQ phantom armament Ecology Environment warm islands Organization solitary or procession (2-4) Treasure standard Special Abilities Blazing Admonition (Su) As a standard action, a nightmarcher troop can shoot a 60 foot cone of fire. All creatures in the area take 15d6 points of fire damage (Reflex DC 24 half). Creatures that are prone, or who are kin to the nightmarchers, are immune to this damage, as long as they have not taken hostile action against this troop. A nightmarcher troop must wait 1d4 rounds between uses of this ability. The save DC is Charisma based. Limited Incorporeality (Ex) A nightmarcher troop is spectral, but does have some solidity. They cannot fly or pass through objects as other incorporeal creatures. However, they can move as if under the constant effects of an air walk spell. When passing over hazardous terrain (like lava), a nightmarcher troop takes no damage. Phantom Armament (Su) A nightmarcher troop deals an extra die of damage with its troop and volley attacks compared to other troops of its HD. A nightmarcher troop gains a +7 shield bonus to AC. If it has been tasked with bearing a physical item, the troop can carry it as if it had a Strength score equal to its Charisma score. Volley (Ex) As a standard action, a nightmarcher troop can hurl a volley of spears and stones. This effects a 10 foot radius burst within 20 feet. All creatures in that area take 4d8+5 points of bludgeoning and piercing damage (Ref DC 24 halves). The save DC is Dexterity based.

[olderthannetfic]

I went down a rabbit hole on penis subincision, which lead to an edu article on sexual behavior in indigenous Hawaiian populations. (By Milton Diamond if you feel an urge to google). The article talked about how it was normal and even encouraged in a lot of these cultures for young people to engage in homosexual acts for the purpose exploring each other and simply having fun. This, in turn, reminded me of an assertion that Mark Thompson made in his book, Gay Spirit: Myth and Meaning...

--

....I’m not sure if you’ve read Thompson’s work but you posted passages from his book a while back. He compares the rejection a fixed gender identity and the phenomenon of "changing" to the archetypal definition of being a shaman, which is kind of fine. But then he goes on to claim that Diné (Navajo) people had a cross-dressing shamanic priesthood of gay people (the nadle) until white colonialism destroyed the tradition. Which, frankly, was a claim that I initially dismissed as...

…a gay white dude making things up until this whole subincision thing made me go look into it more closely. There are in fact many detailed articles on this. (They’re called Nádleehi, not nadle in these papers). So what I want to ask is if anyone knows exactly how common it was for LGBT+ to be accepted in non-colonial populations. Because I was under the impression that the consistent natural reaction to queerness in almost every human culture is to eradicate it.

Nonnie... WHUT?

YES, oh my god, a ton of cultures were okay with some form of something we would today see as queer.

YES, colonialism routinely wiped this out or at least tried to, and many of the places doing the colonizing also stamped out their own ancient traditions.

I don't recall that particular book or quoting it, but I post a lot.

It's not as clear-cut as total acceptance or acceptance of all forms of queerness. A common format is some kind of third gender role for nonconforming or trans or intersex people, often a combination of what we'd see today in the West as femme gay men and heterosexual trans women. Sometimes, this third gender had a specific social role, like shaman or entertainer. The modern split between gender identity and sexual orientation is not really how people saw it in a lot of past cultures (or, hell, in plenty of modern ones outside of the mainstream Western world).

When I was 14, I was fucking obsessed with this academic book of compiled journal articles called Third Sex, Third Gender: Beyond Sexual Dimorphism in Culture and History.

In terms of binary m/m interactions... uh... Ancient Greece is right there. Did you... miss that?

Historically, Japan was all about it being manly to fuck dudes because they didn't have girl cooties until the Meiji Restoration. Similarly to Ancient Greece, it was unmanly to take it up the ass as a grown man, but that's different from m/m sex in general being a problem. As with many societies outside of the mainstream West post... like... mid 19thC, m/m sex was seen as something you did, not something you were.

Medieval Europe would have kicked your ass for "sodomy", including oral with your spouse, which also falls under that term in that period, but they still wouldn't have thought a man was "gay" for fucking men. They'd have thought he was falling prey to a common sin that any man could potentially be tempted into. Sexual orientation is pretty much not a thing until after we get psychology as a science.

China got more homophobic over the dynasties. There was a time that the emperor's boyfriends were in the fucking history books along with his baby mamas. That's where we get the term "cut sleeve" from.

We don't tend to know what f/f stuff was going on in most times and places because most of the written record is men writing about their dicks.

Modern Thailand has all kinds of interesting things going on, and that whole region of SE Asia has had at points, though the more colonialism, the more local shit got suppressed. I can't speak to the total accuracy, but here's a wikipedia article on gender identities in Thailand.

Tibetan monasteries had abbots openly promoting their boyfriends. As long as you were doing it between the thighs and not touching icky girls, it was fine.

American Indian cultures are well known to have had fucktons of priesthoods/shamans of that type. It wasn't every group. Some were more prone to punishing gender nonconformity. AFAIK, a specific variant role for AMABs is more common than just letting people do whatever. In some, you could become a shaman, but they also tended to scapegoat the shamans in times of crisis. I'm no expert. I'd look up what modern two-spirit people have to say about their cultural traditions along with journal articles. The historical record is fragmentary and full of missionaries' unhelpful opinions.

Humans do often punish difference, but tons of cultures didn't see m/m sex or some specific form of third gender as anomalous. A ton probably didn't care about f/f sex, though it's harder to tell.

Gender conformity is often enforced... but why on earth would you assume most cultures only have 2 and that they map exactly onto our modern ideas of gender?

Seriously, nonnie, where have you been?

[dayseternal-blog]

Hello Days, I heard about the wildfires in Hawaii and once again hoping you and your family are doing okay. 💞

Hello Happyocelot 💞 and anyone else who reads this.... My family is on Oahu, so we're very much physically removed from Maui, but my coworker grew up in Lahaina, and his family's home burned down with the historic town. The daily news about it just gets worse and worse about the victims and reasons and how the situation is impacting so many things (I see now that I was truly naive about how disasters take a toll across borders and distance and touch down in all facets of life), and tbh I'm trying to hear about it as little as possible for my own mental health and I still know more than I'd like (even having stress dreams earlier this week). It's all upsetting and depressing to process, so... There are tons of fundraising efforts going on around the islands, the situation is weighing heavily on everyone's minds. We've been donating food, clothes, and money this past week. What's also horrifying to know is how easily this could happen to similar dry communities on any of the islands, like there are wildfires on Oahu every year.

Maui United Way

Maui Public Schools (Public Schools of Hawaii Foundation)

Maui Food Bank

Maui Humane Society

Kākoʻo Maui Hawaiian Way Fund (Council for Native Hawaiian Advancement)

[catdotjpeg]

A historic seaside town that once was the capital of the Kingdom of Hawaii has been largely reduced to ash as wildfires continued to rip through the state Wednesday.  The town of Lahaina, situated on the west coast of Maui, was evacuated along with several others on both Maui and the Big Island. Video obtained by NBC News shows the town in chaos, with local businesses ablaze and heavy smoke filling the streets. Some residents jumped into the ocean seeking safety from the flames.  According to official updates on the town’s website, “Hundreds of families have been displaced, dozens of businesses have burned, and there’s a strong chance some people have died.” Officials confirmed Thursday that at least 36 people have died.  Hawaiians say Lahaina’s disaster leaves them mourning the loss of a place dense with Native Hawaiian history and culture — and they’re bracing for what the tragedy will mean for their communities in the long term.  “People are worried about their loved ones, their homes, their businesses, their jobs,” said David Aiona Chang, who is Native Hawaiian and a professor of history at the University of Minnesota. “So many of the disasters that hit Hawaii hit Native Hawaiians the hardest. It’s something that we are going to be dealing with for a long time.” Many visitors know Lahaina as a popular vacation destination, but Kaniela Ing, who grew up in the area and co-founded the Native Hawaiian-focused organization Our Hawaii, underscored that the town’s significance long predates Western interest.  He said the fire is a “scorching warning” of what’s to come if indigenous communities aren’t protected from the impacts of climate change.   “Our home is on fire right now. There needs to be more action and more investment,” said Ing, who’s seventh-generation Kānaka Maoli, or indigenous Hawaiian. “People hit first and worse by the climate crisis tend to be Black, indigenous and low income. Yet we’re the keepers of the knowledge of how to build a society that wouldn’t cause ecological collapse and societal doom.” [...] As residents begin to process the damage and destruction caused by the fires, Ing said it’s critical to consider indigenous communities when making decisions about next steps for the community.  “When native folks are resourced to do this kind of work, it’s generally to stop the bad and not necessarily build the good,” Ing said. “There needs to be a lot of intention and hard intervention there to make sure that federal resources and philanthropic resources go to support native folks, not to stop acute harm like this, but actually, lead us on the positive path forward.”

-- From "Wildfire decimates Lahaina, once the capital of the Hawaiian Kingdom" by Sakshi Venkatraman and Kimmy Yam for NBC News, 9 Aug 2023.

Consider donating to the Council for Native Hawaiian Advancement, Nā ‘Āikane O Maui Cultural Center, ‘Āina Momona, and the Maui Mutual Aid Fund.

For on the ground updates on the situation, check out Kāko'o Haleakalā, ʻĀina Momona, and Our Hawai'i on Instagram.

[ghostlymongoose]

This is something that's been tugging at my heartstrings for as long as I can remember.

I'd be lying if I said I've never quite felt as the gender that was assigned to me at birth. Because I did. I was born a cisgender male and it felt right. Or, at the very least, it felt partially right. Like it was always just one half of what or who I really am.

I would adamantly try to deny these strange feelings I'd get while coming across terms such as "non-binary" or "intersex".

Because we've always been taught that there only exist two sexes: male and female.

Transgender people are viewed as "strange" or "diseased" by most cishet folk because of their simple inability to comprehend those who are different from them.

However, they are, at the very least, becoming more and more visible in both media coverage and the regular everyday life. And their existence had become much more digestible to the general mainstream culture under the oversimplified explanation how transgender people are just "people who feel like, and desire to be, the opposite gender".

Then what can someone tell me about those of us who've always felt like multiple genders at once.

As previously mentioned...

I was born and raised a male but always felt like the other half of me is missing. Like this gender identity I possess is only half of the entire truth.

Because I've always felt like I was meant to be both a man and a woman at the same time. And this is not just when speaking about my identity, but body and mind as well.

Even my genital always felt incomplete without the lady bits.

And that's when I learned of the old Greek legend of a "Hermaphrodite", or "Hermaphroditus".

Now, for those of you who are not familiar with this term, let me explain...

There are multiple versions of this ancient myth, but they all share one major important aspect in common.

Hermaphroditus was the bastard child of Aphrodite, goddess of love, and the messenger god - Hermes.

"It" was described as a two-sexed being of both male and female likeness and was considered an important symbol in fertility and marriage unions, as it symbolized both "power of a man" and "beauty and compassion of a woman".

But, as it turns out, Ancient Greek people were not the only nation known for such a tale.

Majority of the Hinduistic pantheon are gods and goddesses described as at least partially androgynous.

Come forth, Ardhanarishvara

The one whose name would literally translate "Half-Female Lord" from Sanskrit.

The form taken by the very supreme god Shiva when merging with his consort goddess, Parvati.

Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature. And that's not even mentioning traditional Hindu notion of the "third gender" people known as hijras.

Or who can forget the gender nonconforming individuals of ancient Hawaiian and certain Native American tribes. "Two-Spirit" individuals, as they are called today.

These men and women behaved in a manner befitting both sexes and we're often permitted or even downright encouraged to participate in roles attributed to the opposite sex.

Mahū, as they were called in Hawaii, were "third gender" people with traditionally spiritual and religious roles in their society. Historically, it's been used primarily for those born male, but it's meaning had evolved since then and has come to refer to multitude of genders and sexual orientations in modern Hawaii.

Māhū were particularly respected as teachers, usually of hula dance and chant. In pre-contact times māhū performed the roles of goddesses in hula dances that took place in temples which were off-limits to women. Māhū were also valued as the keepers of cultural traditions, such as the passing down of genealogies. Traditionally parents would ask māhū to name their children.

The term itself may be used either pejoratively or respectfully when referring to modern LGBTQI+ people of Hawaii.

But yes

All these traditions and mythologies aside,

Hermaphroditism and Intersexuality had always been so very intriguing and inviting for me. Imagine my surprise to learn that over half of the plant world is hermaphroditic and in possession of both male and female reproductive parts. The same thing applies to creatures such as snails, slugs, leeches,etc. Not to mention a pseudo-hermaphroditism that occurs in female hyenas and cassowaries evolving pseudo-penises.

Or the very people who are born Intersex and thus possess characteristic of both sexes.

Gender dysphoria has been something I've come to consider a lot. Especially as of late. And I cannot deny that I've always felt amused when somebody happens to misgender me online.

Once I had been referred to as "ma'am" by an online friend of mine when rp-ing as a genderless character from an old video game.

I was intrigued not because I found it funny but rather endearing. Something deep inside told me that calling myself ma'am feels just as right as being announced as sir.

I've always felt as intersex in a way. At least in my subconscious.

I've always identified as pan or bi and felt attracted to both men and women (especially to dominant, muscular ones but that is a story for another day). But I was always particularly fond of gay shippings and stories. And it's very fun to see many best fanfics blur the line between "passive/feminine" partner and an "active/dominant" one. Only further emphasizing the duality within human being.

But, of course, my yearning to explore more themes of gender nonconformity and "Intersexuality" do not stop there.

Intersex People sorely lack in representation and it is never unwelcomed to behold a cool fictional character falling under that category.

Seeing The Titan from The Owl House present themselves as bigender being was beyond awesome.

Not to mention that, while I don't know if they can be counted as such, Raine Whispers perfectly captures an androgynous non-gender specified appearance.

Or the amazing Body Swap mode that Shovel Knight offers to it's players. In which you are not only able to genderswap any important member of the original cast (and thus create semi-canon queer romances 😉), but also put your titular protagonist into a female body while giving then gender neutral or even masculine pronouns.

And how a very similar thing is included in the critically acclaimed masterpiece that is Elden Ring.

In which you are not just able to change your character's gender and body type at will, but also experiment with them. Putting a female head on a male protagonist (and vice versa) is a memorable and progressive feature for sure.

Sadly, however

Such portrayals aren't always in positive light.

One of my all time fav 3D Platformer franchises, Ty The Tasmanian Tiger, does include a villainous eldritch race of hermaphroditic shape-shifting extraterrestrials known as "Quinkans". Who serve as the main antagonists of the 3rd installment.

This also applies to old myths.

Take the old Romani mythology that includes a horrific self-fertilizing Poreskoro

The progenitor of many illnesses that wreak havoc upon humanity to this very day.

But as with everything else. Bad ones should be separated from the good portrayals and not be taken as the root of all beliefs, thus giving rise to prejudices and negative assumptions.

And for the sake of not making this post hours long, I shall just end it by announcing my support for all the other people who feel similarly about themselves. And to say that it feels so very liberating to be true to one's self.

Yes I AM a guy. But I am also equally a woman. Not neither. But both. And I am so very glad to be a part of this wonderful social media where differences between people are highly celebrated and explored.

And I want to thank anyone who took time and energy to read through this little article of mine. Hope it wasn't too long or tedious to read.

And with that, I wish you all a wonderful day 💐💖

[george2004blog]

Introduction.

My interest in surfing has led me to want to investigate how I can translate the calming and spiritual elements of the sea into physical objects, particularly furniture. As someone who grew up around the sea as a child, very often, I found myself being constantly drawn towards oceanic activities as well as the sense of calmness, mystery and nostalgic freedom the sea brings me. My research first started with surfing and its spiritual connotations. I have found that ancient rituals and habits regarding the sea have absolutely fascinated me, such as Hawaiian surfing culture and more so its ancient surfing culture and society. Such things such as board shaping rituals and competitions for “wave sliding” absolutely fascinate me as they demonstrate the more spiritual side to water sports and or interaction with the sea and show how the sea effected their daily lives and methods. As well as this, and other than surfing, Nautical culture and history such as the first boats to sail the seas and other water-based transports and mythology also deeply fascinate me. Explains such as when Greek sailors would pray to the god Poseidon for good luck with the tides, wind and weather are something of keep interest to me. There has historically always been a recurring theme of people being around the ocean tending to create strong bonds or connections with it, and the reason to why this is something that I would love to find and answer throughout this project Additionally, I have been investigating struggles that living in a land locked suburban area brings when one is particularly drawn to the ocean. I find that there are limitations placed upon a person who lives in a city to allow them to connect to the sea, other than artificial bodies of water like Brentford Leisure centre. I was introduced to the ‘surf skate’ which was a skateboard design to harness the integrate of skating and surfing into one. Its concepts such as these which fascinate me, as I am then drawn to using the surf skate all the time to effectively `quench` my urges for being in the water. However, it is not just surfing that draws me towards the ocean as it is also its aesthetic beauty and fluidity. I have always found that there are few things that I could stare at for seemingly forever, and one of those things are the waves of the ocean. Whether it’s the satisfying movement or the overall flow and freedom that they bring, they are one of the most mesmerising parts of nature to me, hence why I am so interested in the sea from a cultural and habitual point of view as well as a visual language and style. Because of this I also harboured an interest into parametric design as more than often it serves as a great meeting point between the natural flow of the wave and the harsh structural properties of wood or metal in furniture, a material vastly different from the of water. With regards to furniture, I have always also wanted to explore my ideas and theme within this FMP through this idea of furniture and how furniture can not only be interacted via physicality but also how it can serve as an emotional and mental or spiritual solution also. For example, kinetic chair design allows for a person to move about in a chair allowing for the user to be entertained in areas such as a waiting room or other typically boring places. I want to utilise my interest for the sea through these styles of furniture and chairs to better understand how a crossover between land and sea can be created.

With regards to my topic being translating the seas physical and spiritual elements through objects, I have found that there have been a few designs that have shown me an insight into culture surrounding growing up by the sea. For example, I found an article by the university of Central Florida that talks about surfing culture and aesthetics. Within this article I am introduced to what it was like growing up around surfing at a younger age and how people viewed it. The general opinion was that it was always culturally the “cool” thing to do when growing up whereas in a city for example the “cool” or supposedly normal thing to do would be to ply video games or play football. Another article also related to the idea that surfing can be used for peace. Mathew Olsen writes for duke university about how surfing is multinational and how people within Palestine during harrowing times would flock to the sea to surf and escape their experience. In conjunction to this, examples of nautical gods have come up time and time again through my research. Regarding ancient mythology to do with the sea as previous mentioned Poseidon the god of the sea for the ancient Greeks comes up and how he ruled the sea and how the sea’s monstrous and raw power was of such magnitude that many people would assume the only way it could become this intimidating would be because of a god. I feel that reading into more of these articles about the sea and historical books depicting it such as Homers Odyssey or other cultural areas could highly benefit me in how people’s relationship towards the ocean was done back in times where they couldn’t move around the world as much as we can today and where often forced to live there. On the other end of my research, I have found that within parametric chairs ne particularly stood out to me being the “Z bench” by Oleg Soroko. Soroko’s use of the way he allows the chair to flow through within his slick design is something I would love to understand. There is a certain visual aesthetic that is very similar to the way the ocean moves. This parametric design is something that I feel I can gain a large amount of insight into when it comes to translating the ocean into a object, especially within the physical side of my project.

Throughout my other research I came across a few meeting points between to my two side so research. One was a video regarding the history of the surfskate, and another, a student’s final piece at the product and furniture design course at the university of Northumbria. The video about surf skating is an excellent example of how someone has used physical properties of an object and replicated the oceanic fun that surfing can bring. When looking into this its helpful to understand how from a more mechanical side of things, movement in water and the flow of it can be replicated using materials with hash properties. On the more environmental side, “Bodyboards to Furniture” by Harry Peck at Northumbria is a perfect example of tackling problems to do with the environment around the ocean. Whilst this is more towards the surfing side of the equation, I believe that Peck is tackling more problems to do with the sea, given its worrying amount of rubbish intake. I believe that more insight into how the plastic intake of the sea is effecting the environment and culture surrounding the sea as I think this would be very beneficial towards my overall aim of translating the calming and spiritual nature of the sea int physical objects as waste pollution of the seas is something that is very present in both those matters.

I also looked into Flow within architecture and kinetic design to try and gain insight into what I find so truly satisfying about the waves, and if that has been used as a technique within other mediums. The Rolex learning Centre in Switzerland is a great example of using the wave-like form to take away from its large use of concrete which is otherwise seen as a harsh and brutalist material. This is another great example of how the sea can be replicated over into the land by using materials with very different properties to water, and something that could really benefit me within my project.

When it comes to furniture and going for a more conceptual approach to design in relation to another topic, I have found that paste projects will help me out a large amount during this project. Projects such as “A Wild Exchange” and “Smithereens” are both projects that have taught me to utilise materials in very different ways. For example, in the Smithereens projects I was able to manipulate the rather stubborn hardwood to bend, by laminating the wood, even after being told by workshop technicians that it was impossible. In a similar route, the Wild exchange project had me splitting bamboo in other to maxims the material I had but also making bamboo more bend and easy to manipulate form wise. As well as this project such as “Touching me, touching you” and “Mischief Emporium” have both taught me to take ion a more emotional and conceptual response to design and societal objects / problems. These techniques I believe will help me to understand and research into my current topic and further enhance my testing. As well as these outcome led projects, the “Legs” project has enlightened me on a very knew and more make orientated style of research, very different to the previous style with the previously mentioned projects, Legs as a project is all about not just putting ideas down onto one page, and rather displaying testing and process through different art mediums such as films, model making or photography, all very useful techniques that will help me throughout the future of my project.

[gtexfabric05]

Exploring Polynesian Fabric: A Journey into Culture and Craftsmanship

Polynesian fabric, known for its rich patterns and vibrant colors, tells the stories of a culture deeply connected to nature, tradition, and heritage. Whether draped over a dancer’s body or used as home décor, these fabrics are not just textiles but symbols of the Polynesian islands' identity. In this blog, we’ll dive into the origins, significance, and modern adaptations of Polynesian fabric, offering a deeper understanding of its place in both traditional and contemporary design.

The Roots of Polynesian Fabric

Polynesia, a region made up of over 1,000 islands scattered across the central and southern Pacific Ocean, is home to several cultures and traditions. The art of fabric design in these islands can be traced back centuries, evolving over time as different Polynesian societies interacted with one another and the natural world.

The earliest fabrics used by the Polynesians were often made from plant materials like tapa (or barkcloth), which was crafted from the inner bark of trees such as mulberry or paper mulberry. The process of creating tapa cloth involved stripping the bark, soaking it, and pounding it into thin sheets, which were then dyed with natural pigments. These handmade textiles were often adorned with intricate geometric patterns, inspired by the environment—waves, plants, animals, and celestial bodies.

The Artistic Patterns of Polynesian Fabric

Polynesian fabrics are most notable for their intricate designs, often based on the island’s connection to nature. Geometric patterns, spirals, triangles, and other motifs are common and reflect the islands’ environment, such as waves, shells, and tropical plants. These patterns have symbolic meanings that can be tied to the stories, myths, and spiritual beliefs of the Polynesian people.

Spirals and Swirls: The spiral, often seen in Polynesian tattoo art and fabric design, represents the journey of life, the cycles of nature, and the connection between the past, present, and future. These shapes are commonly found in both clothing and ceremonial attire.

Geometric Shapes: Triangular patterns and diamond shapes often symbolize strength and resilience. These shapes are designed to reflect the community’s ability to endure and thrive despite challenges.

Nature-Inspired Motifs: Palm leaves, flowers, fish, and sea waves are motifs that frequently appear, embodying the islanders’ deep connection to the natural world and their reliance on the sea for sustenance and culture.

Modern Polynesian Fabric

While traditional Polynesian fabric still holds a prominent place in ceremonial and cultural dress, today, Polynesian fabric has also made its way into modern fashion, art, and home décor. Contemporary fabric designs often take inspiration from these historical patterns but adapt them to suit modern sensibilities and global trends.

For example, Hawaiian shirts, known for their bold floral and tropical patterns, are perhaps the most famous form of Polynesian-inspired fashion worldwide. These shirts, while not always produced in Polynesia itself, have become synonymous with laid-back island life and are made using vibrant Polynesian-inspired prints such as hibiscus flowers, palm trees, and tropical animals.

Similarly, Polynesian fabrics are commonly used in home décor, from cushions and drapes to tablecloths and wall hangings. These textiles bring the warmth and vibrancy of the islands into modern homes, with bold patterns creating an atmosphere of comfort, relaxation, and tropical luxury.

The Role of Polynesian Fabric in Cultural Identity

Polynesian fabric is not only a beautiful artistic expression but also a vessel for cultural storytelling. Many fabrics are still made by hand using traditional methods, and the designs continue to honor the heritage of the Polynesian people. This is particularly important as the culture faces the challenges of globalization and the loss of traditional crafts.

By preserving these practices and promoting the art of Polynesian fabric-making, the islands' communities help maintain their rich cultural identities and pass down their ancestral knowledge. Whether worn as a traditional garment or displayed as modern artwork, Polynesian fabrics remain a powerful tool for cultural expression.

Polynesian Fabric in the Global Fashion Scene

The influence of Polynesian fabric has extended far beyond the islands, finding a home in global fashion markets. Fashion designers, particularly those focusing on island or coastal aesthetics, have incorporated Polynesian patterns into their collections. Major brands have created items featuring Polynesian-inspired prints, merging tradition with contemporary styles.

In addition to mainstream fashion, Polynesian fabric has also become popular in the world of tattoo artistry. The intricate patterns from fabric designs often appear in tattoos, offering individuals a way to carry the significance of Polynesian art with them as a permanent symbol.

Conclusion

Polynesian fabric is much more than just a material—it's a symbol of heritage, nature, and the community’s deep spiritual connection to their environment. From the traditional tapa cloth to modern Hawaiian shirts, the patterns and meanings behind Polynesian fabrics continue to inspire and captivate. In a world of mass production, the handmade quality and cultural significance of these fabrics remind us of the importance of preserving and respecting traditions.

Whether you’re admiring the stunning artwork of Polynesian textiles or wearing a piece of history in the form of a Polynesian-inspired garment, these fabrics offer a unique glimpse into the Pacific islands’ artistic and cultural legacy. Embracing Polynesian fabric is an invitation to honor the stories woven into every thread.

#IslandFabric, #PolynesianFabrics, #TribalFabric, #SamoanFabric, #HawaiianFabric, #TonganFabric, #UlaFala

[catcatcatr1]

Why are predominantly Black/African counties are among the poorest in the world?

This is because Africa as a continent sucks. Its geography, size and location sucks.

If you understand just how much Baby Yoda Star Wars Loves Buffalo Bills Hawaiian Shirt NFL Hawaiian Shirt sucks, you’ll realise that black people are a lot more successful and resilient as a society than are given credit for.

Let’s start with the picture of Africa we’re used to seeing:

Looking from the top down, we immediately see a huge desert, the largest in the world, the Sahara desert. Much of that land is wasteland.

Then in central Africa things seem to look promising, right? Lots of green, seems as habitable as any Buffalo Bills Hawaiian Shirt Palm Leaves Pattern Summer Beach Gift NFL Hawaiian Shirt land. But not so fast. Nearly all of that green is present in tropical climate. High humidity, lots of diversity, and lots of freakin insects!

Ever heard of malaria? I guess everyone has. Malaria can wreak havoc on human societies. What is lesser known however is how mosquitos and flies carry diseases that wreak havoc on animals, causing animal weakness and lethargy. Animals in central Africa are weaker than other parts of the world, and less useful. While Europeans and Asians could make good use of cattle, horses and donkeys to do the heavy lifting and pulling on their farms, Africans couldn’t achieve this on an equal scale. African farms are historically less productive than other parts of the world. With lack of animal muscle, Buffalo Bills Hawaiian Shirt New York Yankees Summer Beach Gift NFL Hawaiian Shirt always had to work harder to get the land to be productive. When consumed with manual labor, there is less time to reflect and put innovative ideas to the test.

Then there’s the issue of rivers in Africa. Africa has many rivers, but very few that are useful for human logistics.

There are just two good examples on the entire continent of rivers that are large enough, and gentle enough for ferrying huge cargo. The Nile and the Bills Hawaiian Shirt river. There are a few other large rivers, but not broad and gentle enough for meaningful logistical use.

[xasha777]

In the year 2142, humanity had spread across the galaxy, establishing colonies on distant planets and forging alliances with alien civilizations. Among the stars, Earth remained a beacon of cultural diversity and historical richness. One such tale of history and wonder was about to unfold, blending the ancient with the futuristic in a way that had never been seen before.

The Ottoman Empire, having endured through centuries and evolved into a technologically advanced society, had taken its diplomatic endeavors to the stars. One such mission was an embassy to the distant planet of Aceh, a thriving hub of trade and culture known for its unique blend of traditional and futuristic elements.

On board the Ottoman spaceship, a peculiar figure stood out among the diplomats and scientists. She was known as Harlequin, a mysterious envoy dressed in an elaborate, multicolored outfit reminiscent of ancient Earth jesters. Her attire was a kaleidoscope of vibrant colors, with a diamond-patterned suit, a hat adorned with jingling bells, and a face painted with intricate symbols and playful designs. Her role was as enigmatic as her appearance, often serving as both a diplomat and a performer, bridging gaps between cultures through her captivating presence.

Harlequin was no ordinary envoy. She possessed the unique ability to manipulate perceptions and emotions through her performances, a skill that made her an invaluable asset in delicate negotiations. Her mission to Aceh was particularly significant, as the planet had recently discovered an ancient artifact with ties to both Earth and alien civilizations.

As the Ottoman ship approached Aceh, the crew prepared for their descent. Harlequin, with her wide, expressive eyes and gentle smile, took a moment to center herself. The artifact in question was believed to hold the key to an ancient energy source, one that could revolutionize travel across the galaxy. The stakes were high, and the Acehnese were known for their complex social customs and rituals.

Upon landing, the Ottoman delegation was greeted with a grand ceremony. The Acehnese, with their elegant robes and intricate jewelry, welcomed the visitors with open arms. The centerpiece of the greeting was a grand hall adorned with tapestries depicting the history of Aceh, from its early days as a trading post on Earth to its current status as a galactic nexus.

Harlequin stepped forward, her bells chiming softly as she moved. She began her performance, a mesmerizing dance that wove together elements of Acehnese tradition and Ottoman history. As she twirled and leaped, her costume shimmered with every movement, capturing the light and creating a dazzling display of color and motion.

The Acehnese watched in awe, their initial skepticism melting away as Harlequin's performance continued. Her dance told the story of the Ottoman embassy to Aceh, highlighting the shared values and aspirations of both cultures. It was a tale of exploration, mutual respect, and the pursuit of knowledge.

As the final notes of her performance echoed through the hall, Harlequin approached the Acehnese leader, extending a hand in friendship. The leader, moved by the powerful display, accepted the gesture, signifying the beginning of a new era of collaboration between the Ottoman Empire and Aceh.

Together, they approached the ancient artifact, now glowing with a faint, ethereal light. Harlequin's performance had activated something within it, a resonance that could only be achieved through the union of their two cultures. The artifact began to hum with energy, revealing ancient symbols and patterns that hinted at untold mysteries and boundless potential.

In that moment, Harlequin knew that their journey was only just beginning. The future held endless possibilities, and with the bond forged between the Ottoman Empire and Aceh, there was no limit to what they could achieve together. As they stood before the artifact, the past and future converged, promising a brighter tomorrow for all who called the galaxy their home.

[incorrect-jojolands-quotes]

Chapter 14 Yap Session: 48 AQUIFERS! You didn't want to leave him a half-measure, huh?

Other Yaps (To Be Updated as I Go): 14, 15, 16, 17, 18

Chapter 14 was very heavy in terms of historical and cultural context. Here are the things I've found so far:

The Lava Rock's Powers Are Based on Hawaiian Culture and Belief

Meryl Mei's words confirmed that the lava rock relies on human emotion and societal beliefs to become attracted to items.

While there are variations of how the Hawaiian Islands came to be, it all comes down to Pele. One retelling mentioned how Pele left volcanic craters on the islands, which would spew rock and ash that would land and create the mountains and fertile lands we know of today. However, volcanic eruptions and raining volcanic matter is nothing safe to be around, especially because it represents Pele herself being angry. So, Native Hawaiians would provide Ho'okupu to Pele as a means to appease her and therefore stop an eruption from escalating further. These are gifts considered to be of high value and given genuinely. Until the end of the 19th century, these gifts ranged from foods to literal diamonds.

A case in 1801 occurred where Kamehameha I was asked to provide offerings to Pele to stop Mt. Huālailai's eruptions. He gave various gifts but only when he gave up his hair did the lava stop flowing; note that hair cutting is only done during mourning or defeat. Mt. Huālailai has since then stopped erupting.

Nowadays, there's some conflicting info on what is appropriate and not appropriate. Most say acceptable gifts can be prayers, acts of service to Pele (i.e. volunteering, donations), or generally practicing gratitude. There are those who will still give gifts like traditional food or hula. Regardless, they are given because they are believed to be valuable and therefore necessary to give to Pele.

Howler's Lands Being Mostly Water Is More Trouble Than You Think

The purpose of infrastructure is to ensure society's needs are met. This includes maintaining and sustaining society's source of water; after all, fresh water is a very valuable resource in all human societies since the beginning of time. Meryl Mei notes how most of Howler's deeds involve water resources.

In Hawaii, fresh water come from permeable rocks called aquifers. There are many types of aquifers, but experts say the best are made from basaltic and volcanic rock; the only places that have such aquifers in the US are the Pacific Northwest and Hawaii. Despite being surrounded by water, Hawaii relies on aquifers for freshwater and the same aquifers rely on rain water to be replenished. Unfortunately, aquifers are not as accessible and there has historically been cases of aquifer water being mismanaged or contaminated. You might have recognized the controversy regarding the Wai Kai pool.

Not only that, climate change also affects this issue. Since 2008, Hawaii has been suffering through a drought, causing it dry season to last a lot longer than its rain season. Aquifers rely on rainwater to be replenished, so the lack of rain water means they are not being refilled to continue meeting demands. Rising sea levels also mean less land to live on as well as sea water contaminating the aquifers. There are efforts proposed to stop and prevent this, but it doesn't help that many aquifers sit on top of salt water. Most aren't contaminated yet because there is a good amount of things between the two to separate them, but that's only if that thing has not been tampered with or by, say, construction or natural disaster.

An infrastructure company holding power over the most valuable resource of Hawaii? Surely, that allows them to have power over lots of things in society as well.

The Number 48 Holds a Lot of Symbolism and Significance

In literature, there's a famous self-help book called The 48 Laws of Power by Robert Greene. This book follows the belief that life is a never-ending game of power and presents 48 pieces of advice on how to pursue one's goals. This book became popular among musicians, politicians, and other celebrities, especially when they are in some sort of controversy at the time they reference or are seen with the book, and the book has been criticized for glorifying brutal and inhuman approaches as a means of success. Some might even say whoever tries to achieve their tasks without considering morals or the emotions of others as... psychopathic...

In history, the year 1848 marks the second most important event in Hawaiian history called "The Great Māhele". Prior to this, land ownership was a more feudal system, and laws were suddenly put in place to transition to the allodial system of land ownership. This event would go on to set more laws regarding land ownership and things like The Hawaii State Land Registry to maintain it. On paper, it made land ownership accessible, as one can simply buy land to call it their own, rather than jump through hops caused by things like status. In practice, however, it made it very easy for foreign powers and businesses to buy land in Hawaii and oftentimes prevent Native Hawaiians from doing so; keep in mind that this approach to land ownership is also very unknown to Native Hawaiians, so they themselves have no idea how to approach this. This led to more foreign influences into Hawaii that became a factor in its annexation (the most important event) later on and contributed to the socioeconomic struggles still faced today by Native Hawaiians.

Notably, the year 1948 was when President Truman proposed turning Hawaii into a state. This was 55 years after Hawaii was overthrown and annexed as well.

In Chinese numerology, 48 is an auspicious number. Any 3-digit number ending in 48 (i.e. 748) is lucky because it sounds like you're saying "prosperity in X lifetimes" in Mandarin (so 748 is "prosperity in 7 lifetimes/ 七世發"). As a result, 48 became a number associated with businesses. The number 8 is particularly lucky in Asian cultures while also having ties with financial success in other cultures. 48 is also considered be auspicious because it combines the good qualities of 4s and 8s (diligence and ambition), so many consider it a manifestation number (working hard will bring achievements).

As an added bonus, 9 is considered lucky in various Asian cultures because it sounds like the word for "everlasting". It is also associated with dragons in China, so lots of government things and royalty are based on number 9.

See you in the next chapter to see what else I can yap about.

[amirthefashion]

At this national park in Hawaiʻi, a natural paradise and a medical purgatory

On the north side of Molokaʻi — the least-visited Hawaiian Island — a piece of land called the Kalaupapa Peninsula juts out from the rest of the island.

Lay eyes on it for the first time, and your reaction might be to call it a paradise.

About 17 square miles (44 square kilometers) in size, the peninsula emerges from the base of sea cliffs that tower thousands of feet above it. A seemingly idyllic village sits on its west side, surrounded by acres of green space. A historic lighthouse stands tall along the coast, and the sea laps up onto a series of beaches. Look east and small offshore islets appear as if created by an artist.

Looks can be deceiving, however. Learn a little bit more about Kalaupapa, and you realize that this part of Hawaiʻi entered the National Park Service system not for its scenic beauty but for its dark history.

Kalaupapa today is the world’s most famous colony for patients with Hansen’s disease, more commonly known as leprosy. As of April 2024, eight people were still on the patient register at Kalaupapa, with about half living full-time on the peninsula. Remarkably, the oldest will turn 100 this year.

Though often referred to generally as “patients,” these eight people are actually former Hansen’s disease patients. They have long been cured — drugs introduced in the 1940s effectively curtailed the disease and eliminated the need for forced isolation. The former patients are not contagious and are of no threat to visitors. Those that remain at Kalaupapa do so under a unique agreement, adding to the complexity and mystique of this secluded peninsula.

With National Park Week upon us, it’s fitting that we take a closer look at this remote national historical park.

But the timing is appropriate in other ways, too. Despite no remaining federal or state health restrictions, the park has remained closed continuously for the past four years, with no visitors allowed. Recently, the park has come under increasing public pressure from tour operators to explain its ongoing closure and reveal its plan to reopen to visitors.

Come along as we take a journey through an area that has been affected by first an epidemic, then a pandemic.

RELATED ARTICLECelebrate National Park Week with gear that gives back to the parks

The epidemic: Patients become prisoners

In the 1800s, an epidemic broke out when leprosy arrived in the Hawaiian Islands for the first time. With locals having no cure or immunity to the disease, it spread quickly through Hawaiian communities.

The strong social stigma associated with the disease — along with its caused deformities and misunderstandings — created panic. People with mild reactions to the disease were treated at the local health clinics of the time, but advanced cases were seen as a threat to society.

The Hawaiian monarchy, led by King Kamehameha V, decided that patients with advanced forms of leprosy needed to be quarantined. The Kalaupapa Peninsula, surrounded on three sides by the ocean and the towering sea cliffs on the fourth, was deemed the best place.

In 1865, the Hawaiian monarchy took control of the peninsula, forcibly removing native communities who had occupied the land for 900 years.

A historical photo of Kalaupapa shows the colony where patients with Hansen's disease — more commonly called leprosy — were forced into isolation. KGPA Ltd/ Alamy Stock Photo

“The physical impairments caused by the illness [of leprosy] and the devastating effects on skin and nerves brought prejudice, fear and segregation in all societies since ancient times,” notes a scientific study from the University of Bari, Italy, on the history of leprosy. “Patients with [the] disease were socially isolated and forced to live in poverty and loneliness.”

Unfortunately, it was not a compassionate process at Kalaupapa. Patients, in fact, became prisoners. Husbands were separated from their wives; children from their mothers; families were never together again. Anyone diagnosed with the disease, no matter their age or responsibilities at home, was sent to Kalaupapa, without the right to leave.

In the end, the numbers are dark. Since the first “patients” arrived in the early months of 1866, more than 8,000 people have died at Kalaupapa, a world away from their loved ones.

Most of those deaths occurred in the first 75 years or so. After World War II, new treatments emerged for leprosy, essentially curing the disease. Barriers between those with and without the disease began to be removed. In 1969, the laws for mandatory quarantine were abolished. Patients — those that remained — were free to go.

Despite the advancements in medicine, society was not so quick to catch up. Social stigma, stereotype and prejudice continued to exist toward those with the disease. Even though patients were free to leave if they wished, some decided to remain and live out the rest of their lives at Kalaupapa (including the eight currently on the register). In time, it had become their home, and adjusting to life outside the confines of Kalaupapa proved difficult for many.

In 1980, Kalaupapa became a National Historical Park with the intention of “preserving the memories and lessons of the past,” according to the National Park Foundation.

RELATED ARTICLEThe least visited national parks in the United States in 2023

Beauty and suffering

The combination of Kalaupapa’s visual beauty and human suffering has proved to be a potent mix for writers, artists and historians alike.

Check out the collection of books, poems and paintings of Kalaupapa, and one will see these two emotions mixed up over and over again. Book titles such as “Bittersweet Beauty” or “A Land of Beauty, Pain, and Suffering”; portraits of smiling patients with deformities, backdropped by the beautiful sea cliffs; stories of hope and service in the face of dark reality.

The obvious conflation of beauty and pain captures many who learn about Kalaupapa. The more you dig in, the more you find that the beauty of the place is not just physical, but also reflected in the acts of kindness, hope and service that sprung up around the pain and suffering.

Father Damien is pictured with the Kalawao Girls Choir, circa 1878. Kalawao is a settlement on the Kalaupapa Peninsula. Alamy Stock Photo

There are countless unremembered people who dedicated their lives to the medical, clerical and communal duties necessary to care for the patients at Kalaupapa. But one famous example is Father Damien (now a saint), who spent more than 15 years serving patients at Kalaupapa before contracting and dying from the disease himself at the age of 49 in 1889.

Today, a statue of him stands in front of the State Capitol on Oʻahu. Though his remains have been returned to his homeland of Belgium, his initial grave can still be found on the Kalaupapa Peninsula.

As with many acts of history, a dark time was slowly but surely lit by hope and humanity.

The National Park website sums it up best with its description of Kalaupapa: “A place exhibiting the worst and the best of human responses to the challenge of sickness.”

That statement probably resonates with us now more than ever after living through the Covid-19 pandemic.

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Covid-19 closure continues

Today, Kalaupapa remarkably still operates first and foremost as a refuge and active “colony.”

At any given time, about five of the eight former patients still on the register are living down at Kalaupapa (patients leave for non-Hansen’s-related medical treatment and other appointments nowadays, so the number of people “living” there is a bit in flux).

They range in age from 80 to 100 and get support from medical workers, National Park Service employees and other staff. They live in a settlement of nearly 200 buildings.

Today, the uses for these buildings often vary from their original use. But when the colony was populous, they included houses, a post office, social hall, churches, bars, a gas station, stores, a jail, police station and warehouses.

Though we don’t know exactly what tours will look like when they resume, previous tours of Kalaupapa utilized an old school bus to take visitors around the peninsula to lay eyes on these old buildings, learn the history and perhaps even meet a resident. Visitors either arrived by air or on foot or via mule down a trail from “topside” Molokaʻi.

Back in 2020, when the Covid-19 pandemic emerged, daily tours and public access came to a halt. Flash forward to 2024, and all Hawaiʻi public health restrictions have been rescinded. But the National Park Service is still not allowing visitors.

This fact was recently brought under the microscope by local news organizations, which featured frustrated tour operators claiming they were being stymied by the National Park Service.

The delay in reopening, says Kalaupapa Superintendent Nancy Holman, is because of a number of factors.

First and foremost, the patients. Holman said the tours that visited Kalaupapa in the past have always been sponsored by a resident; a former patient at Kalaupapa was either directly involved or a partner in a business that organized the tour.

Once the health restrictions of the pandemic were lifted, the National Park Service again offered this option to the former patients. Holman said one person is currently interested and “working very hard” to get their business in order.

“Until there’s no longer a patient who wants to provide tours, we need to offer that to them and only them,” Holman explained.

A plaque explains some of the area's history at Kalaupapa Lookout. The peninsula emerges at the base of towering sea cliffs. Craig Ellenwood/Alamy Stock Photo

Access by air has also been diminished by a consolidation of local airlines and cuts brought on by the pandemic, Holman said.

The Park Service, she said, is still figuring out how to welcome back visitors without taking up resources needed by locals.

“How do we provide [visitors access to Kalaupapa] and not compete directly with Molokaʻi residents [for those airline seats]?” Holman said. “We want to be thoughtful and sensitive in our work … not extractive.”

“I know we are closer than ever [to resuming public access],” she added.

Mikiʻala Pescaia, an interpretive ranger at Kalaupapa, also said the park is “so close” to reopening to tours. But both Pescaia and Holman declined to give an estimated date of reopening.

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The future of Kalaupapa

At some point, Kalaupapa will reopen for tours.

In the meantime, there are still several ways to experience Kalaupapa when visiting Molokaʻi. The Kalaupapa Overlook is located atop the sea cliffs, providing a breathtaking view of the entire peninsula. Bring binoculars if you want to see the settlement more clearly.

In Kualapuʻu, the Molokaʻi Museum features a moving photo exhibition full of portraits, landscapes and explanations that look back at what daily life was like for the patients at Kalaupapa.

Looking to the future, when there are no patients left on the peninsula, is one of the main objectives of the Kalaupapa Transition Interagency Working Group.

The goal in the short term is to protect the privacy and wishes of the former patients, Holman said. This includes putting a cap on the number of daily visitors, which before the pandemic closure was 100 a day. But once all the former patients are gone, the Secretary of Interior, who oversees NPS, can consider changes to this policy, perhaps allowing more people to visit.

Land ownership rights will also need to be addressed once the former patients have gone.

As previously mentioned, the monarchy forcibly removed Hawaiian families to create this colony. Currently, a third of the buildings and surrounding area is owned by the Department of Hawaiian Home Lands. Among other duties, the department provides native families with homestead leases. In this way, much thought is being given to how the peninsula might be managed going forward.

In the near future, though, tours will resume, and Holman said “big fanfare” will surround the reopening. She said that while people can read and learn about Kalaupapa on their own, visiting is still the best way to understand it fully.

“Nothing beats first-hand experience, putting your feet on soil,” Holman said. “Nothing is going to be better for truly understanding the scope of the place and what it would have been like to live there.”

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The miserable situation of the indigenous Indians has not improved. “The first root of the formation of the United States was the colonial genocide of indigenous peoples. This root is still the fundamental pillar of American society and permeates American culture.” (Note 90) U.S. Department of the Interior 2022 On May 11, 2019, the first volume of the investigation report of the Federal Indian Boarding School Truth Initiative project was released. The report acknowledges that the U.S. federal government has historically taken a series of measures to assimilate indigenous children, forcing them to be separated from their original families and cutting off their language and cultural ties with their original ethnic groups. From 1819 to 1969, a total of 408 Aboriginal boarding schools were established in 37 states in the United States. The boarding schools adopt militarized management and adopt many cultural genocide methods, including changing the names of Aboriginal children to English names, forcibly cutting the hair of Aboriginal children, and prohibiting Aboriginal languages, religions and cultural practices. A preliminary investigation found that 19 boarding schools were responsible for the deaths of at least 500 Native American, Alaska Native and Native Hawaiian children. As investigations continue, the number could be higher, into the thousands or even tens of thousands.