Eia Ka Wai, Ka Wai A Ke Ola
ACTIVATING ANCESTRAL MEMORY IN MODERN LIVING

By
Marques Hanalei Marzan
A THESIS SUPPORT PAPER IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR
THE DEGREE OF MASTER OF FINE ARTS
EMILY CARR UNIVERSITY OF ART + DESIGN

© Marques Hanalei Marzan, 2024

Abstract
Art-making in Indigenous contexts preserves cultural values, understandings, and
frameworks and is uplifted through storytelling. Creating art and perpetuating cultural
practices connect me to my ancestral memories, often drawing upon personal moments
of joy, trauma, and self-determination. Questioning what is important and relevant is
something that we each must choose for ourself and how we preserve the stories we make
today for ancestors of tomorrow to recount. Sharing inspirations, creative processes, and
journeys of exploration, allow me to express my story and commitment to my family and
homelands. Experiencing, embracing, embodying, and empowering Indigenous
knowledge, voices, and methodologies are systems I employ in activating customary
mindsets in daily life. Acknowledging change through culturally grounded innovation
allows long-held stories to persist and maintain connections to new adaptations and
forms. Through these practices, I play my part in creating opportunities for the next
generation to engage with the diversity and intricacies of my storied histories, places, and
people. Perpetuating the values and cultural frameworks that allowed my forebearers to
survive and flourish need to be lived every day, in turn providing opportunities for the
next generation to be inspired. This is how I honor my past, celebrate the present, and
safeguard the future.

ii

ʻIke maka ke kumu kukui i luna nei o ke ao honua
Mai ke kumupaʻa kaula piko a ka wēlau lālani
Kiʻekiʻe lāʻau, kua makani
He umauma i pā ʻia e ke Aʻe Loa
Laulaha ka manamana ulu nui
Ohaoha ka papa kaupoku e pale aku nā muʻo kū honua
He kahu lau pāola ke kumu mauli ola
He kahu ʻāina hoʻōla
He kahu leo Kānewaiola
He kahu pālulu wela haulalapa o ka lani
Ke kū nei he lau o Makawiliwili
Noho mālie i ka malu o Keahiakahoe ka mauna kū pololei kiaʻi o Loʻe
Hoʻoulu ʻia i ka wai limu kele ka punawai kamaliʻi
Kukawowo ka ʻeleao lālani
Ke kūnou lau kapalili
E pale mai

Marques Hanalei Marzan
https://youtu.be/OhoJn9FicUw

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Table of Contents
Abstract .......................................................................................................................................... ii
Table of Contents ......................................................................................................................... iv
List of Figures ................................................................................................................................ v
Acknowledgements ................................................................................................................... viii
Ke Welina Mai Nei: Living One’s Cultural Paradigms............................................................... 1
Aloha Aku, Aloha Mai, Aloha E: Acknowledging Traditions ............................................... 2
E Ulu: Borne On The Backs Of Ancestors .............................................................................. 6
A Kupu Mai La Kupu: Ensuring Potential Is Nurtured ............................................................ 12
‘Imi ‘Ike: Knowledge Is Responsibility ................................................................................... 14
A Muʻo Mai La Muʻo: Building Enduring Relationships ......................................................... 21
Nānā I Ke Kumu: Interconnected Trust ............................................................................... 22
A Liko Mai La Liko: Unlocking Our Capacity...........................................................................25
He Mau Nīnau Kaʻu: Re-Search ............................................................................................. 26
A Lau Mai La Lau: Focused Intention........................................................................................27
Kūkākūkā: Keys To Success.....................................................................................................27
A Lālā Mai La Lālā: Representation And Inspiration .............................................................. 29
Ola Ka Noʻeau: Artistic Influences ........................................................................................ 30
A Kumu Mai La Kumu: Spotlighting Needs ............................................................................. 42
He Alo Ā He Alo: Reflections ................................................................................................. 42
A Kumu Paʻa Hina ʻOle E: Being A Role Model ...................................................................... 44
Works Cited ............................................................................................................................. 65

iv

List of Figures
Figure 1. Marques Hanalei Marzan, Nāʻau (Seat of Emotion), 2008. Mixed media.
Dimensions variable. Courtesy: Koji Hirano. Garment I made with pig intestine and
natural fibers. ................................................................................................................................ 2
Figure 2. Marques Hanalei Marzan, ʻAʻahu Aloha, 2022. Coconut rope. 16” x 30” x 1”.
Courtesy: Marques Hanalei Marzan. Detail of a contemporary cape I made combining
both plaiting and knotting techniques. ...................................................................................... 6
Figure 3. Marques Hanalei Marzan, Piko, 2022. Mixed fibers. 144” x 144” x 4”. Courtesy:
Marques Hanalei Marzan. Detail of my work illustrating multiple fibers used in
customary Hawaiian house construction in a contemporary form. ....................................... 8
Figure 4. Marques Hanalei Marzan, Selfie, 2024. Courtesy: Marques Hanalei Marzan.
Photograph of me with students and fellow artists in Tahiti, after a week-long community
intervention. ................................................................................................................................. 10
Figure 5. Maile Andrade, Ancestor Cape, 1994. Paper mulberry and wood. 48” x 48” x 3”.
Courtesy: Marques Hanalei Marzan. ......................................................................................... 12
Figure 6. Marques Hanalei Marzan, Nāʻū Nā Kala, 2013. Pandanus leaves. 12” x 7” x 3”.
Courtesy: Marques Hanalei Marzan. ......................................................................................... 15
Figure 7. Marques Hanalei Marzan, Kōkō puʻupuʻu (chiefly net carrier), 2015. Cotton and
wood. 20” x 11” x 11”. Courtesy: Marques Hanalei Marzan. ...................................................... 17
Figure 8. Marques Hanalei Marzan, Kōkō series, 2018. Cotton, silk, indigo, and aluminum.
Dimensions variable. Courtesy: Koji Hirano. ........................................................................... 19
Figure 9. Marques Hanalei Marzan, ʻAʻahu, 2023. Mixed fiber. 20” x 36” x 4”. Courtesy:
Marques Hanalei Marzan. My work emphasizing the character of materials and various
binding techniques. ..................................................................................................................... 21
Figure 10. Marques Hanalei Marzan, Kōkō series, 2023. Cotton. Dimensions variable.
Courtesy: PAʻI Foundation. A cotton cord garment constructed utilizing techniques
found in kōkō puʻupuʻu, Hawaiian fancy knot-making, but applied in a new
configuration. .............................................................................................................................. 22
Figure 11. Marques Hanalei Marzan, Pāʻū ʻAha, 2017. Coconut rope. 35” x 60” x 3”.
Courtesy: Marques Hanalei Marzan. .........................................................................................25
Figure 12. Ruth Asawa, Untitled (S.272), c.1954. Copper and iron wire. 111” x 14” x 14”.
Figure removed due to copyright restrictions.
https://ruthasawa.com/art/sculpture/#bwg6/42 .................................................................... 30
Figure 13. Marques Hanalei Marzan, Huewai, 2023. Gourd and coconut rope. 16” x 11” x 11”.
Courtesy: Marques Hanalei Marzan. Hawaiian water gourd container. ............................... 31
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Figure 14. Marques Hanalei Marzan, Pilina, 2023. Paper. 50” x 48” x 2”. Courtesy: Marques
Hanalei Marzan. Illustrating how cast shadows are equally important to the physical work
in this presentation......................................................................................................................32
Figure 15. Marques Hanalei Marzan, ʻAʻahu series, 2024. Kibiso silk and coton.
Dimensions variable. Courtesy: Marques Hanalei Marzan. .................................................... 33
Figure 16. Pat Hickman, Net of the Pleiades, 1994. Image of Pat Hickman with her work.
Figure removed due to copyright restrictions.
https://www.pathickman.com/images/Pat_at_gate576.jpg .................................................. 34
Figure 17. Marques Hanalei Marzan, ʻAʻahu series, 2023. Copper. Dimensions variable.
Courtesy: Marques Hanalei Marzan. Detail of netted garment highlighting material
possibilities. ................................................................................................................................. 36
Figure 18. Mata Aho Collective, AKA, 2019. Marine rope. Figure removed due to copyright
restrictions. https://www.mataahocollective.com/art-works/aka .........................................37
Figure 19. Marques Hanalei Marzan, ʻAʻahu series, 2023. Coconut rope. Dimensions
variable. Courtesy: Marques Hanalei Marzan. Detail of knotted garment made with ʻaha,
coconut fibers. ............................................................................................................................. 39
Figure 20. NUNO, Patched Paper fabric by Reiko Sudo, 1997. Figure removed due to
copyright restrictions. https://www.nuno.com/en/textile/patched-paper/ ........................ 40
Figure 21. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Mixed
media. 156” x 300” x 150”. Courtesy: Marques Hanalei Marzan. ............................................ 45
Figure 22. Marques Hanaelei Marzan. Creation: From A Hawaiian Viewpoint. 2024. Mixed
media. Courtesy: Marques Hanalei Marzan. ........................................................................... 46
Figure 23. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Mixed
media. Courtesy: Marques Hanalei Marzan. ........................................................................... 47
Figure 24. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Split
reed, coconut rope, barkcloth, cedar wood, and velvet. Courtesy: Marques Hanalei
Marzan. ........................................................................................................................................ 48
Figure 25. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Split
reed, coconut rope, and barkcloth. Courtesy: Marques Hanalei Marzan. ........................... 49
Figure 26. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Stainless steel, cotton, cedar wood, velvet, and teeth. Courtesy: Marques Hanalei Marzan.
....................................................................................................................................................... 50
Figure 27. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Stainless steel and cotton. Courtesy: Marques Hanalei Marzan. ........................................... 51

vi

Figure 28. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Copper, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. .................................52
Figure 29. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Copper. Courtesy: Marques Hanalei Marzan. ..........................................................................53
Figure 30. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton,
cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. .............................................. 54
Figure 31. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton.
Courtesy: Marques Hanalei Marzan. .........................................................................................55
Figure 32. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Silk,
cotton, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. ................................. 56
Figure 33. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Silk,
cotton, and velvet. Courtesy: Marques Hanalei Marzan. ........................................................57
Figure 34. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Copper, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. ................................ 58
Figure 35. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Copper. Courtesy: Marques Hanalei Marzan. ......................................................................... 59
Figure 36. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton,
cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. .............................................. 60
Figure 37. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton.
Courtesy: Marques Hanalei Marzan. ......................................................................................... 61
Figure 38. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Coconut rope, barkcloth, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan. .. 62
Figure 39. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024.
Courtesy: Andrew Ina. Video documentation of installation activation through Hawaiian
dance and chant. https://youtu.be/KWZBYu4J5z8 ................................................................ 63

vii

Acknowledgements
I would not be who I am today if it were not for these pillars in my life. Mahalo palena
ʻole no kā ʻoukou kākoʻo ʻana mai iaʻu. E ola, e ola, e ola nō e.
•

Kay Leiko and Ricky Esprecion Marzan

•

Anne Koisa Lokomaikaʻi Lipscomb

•

Pamela Ruriko and John Randall Lipscomb

•

Mary Kilikina Hoʻokiʻekiʻe Kaʻanāʻanā Kalohi

•

John Keolamakaʻāinanakalāhuiokalaninokamehamehaʻekolu Lake

•

Julia Minerva (Minewa) Kaʻawa

•

Esther Kakalia Westomoreland

•

Ivy Hāliʻimaile (Maile) Andrade

•

Patricia Hickman

viii

Ke Welina Mai Nei: Living One’s Cultural Paradigms
I began this thesis paper with a chant of my own composition and below I offer a
literal translation of those words. Even though the layered meanings expressed in the
ʻōlelo Hawaiʻi, Hawaiian text, isn’t fully conveyed here, it is the entry point into my
exploration of activating ancestral memory and mana, inherent spiritual power.

Seen is the kukui tree above the realm of existence
From the firm foundation along the ancestral line to the ordered tips above
Oh majestic tree, wind-blown back
Breast blown upon by the Aʻe Loa wind
Your lush branches spread far and grow profusely
Dense is your canopy that protects the young shoots of the understory
A guardian for herbal medicine, a source of healing
A guardian for the fertile grounds
A guardian for the life-giving waters of Kāne
A guardian from the relentless heat of the heavens
Here I stand, a leaf of Makawiliwili
Residing in the shadow of Keahiakahoe, the mountain sentinel of Loʻe
Nurtured in Kalimukele, the waters of my youth
The daylight prayers reach fruition
This quivering leaf bows
Please shield me

1

In 2022, I embarked on a journey of introspection, art-making possibilities, and
opportunities. Through process - the creation of this body of work - and supplementary
engagements with my community and surroundings, I was afforded the ability to situate
key Hawaiian concepts and frameworks, that are important to me, in a scholarly context.
Framing these enduring understandings from time in memorial in this way is my attempt
at elevating and validating Indigenous wisdom in academia and more importantly within
my community.
ALOHA AKU, ALOHA MAI, ALOHA E: ACKNOWLEDGING TRADITIONS

Figure 1. Marques Hanalei Marzan, Nāʻau (Seat of Emotion), 2008. Mixed media. Dimensions
variable. Courtesy: Koji Hirano. Garment I made with pig intestine and natural fibers.
2

In Hawaiʻi, asking for permission and acknowledgement from the hosts and spirits
of a place prior to entering and engaging with the land and its community is a rooted
generational process. This practice typifies the importance of respect and recognition of
responsibility in Hawaiian culture. This mindset forms the basis of my approach to
observing, learning, embodying, and empowering Indigenous knowledge, voices, and
methodologies. A work that speaks directly to this concept is a garment that I created
using pig intestine and natural fibers (Figure 1). In Hawaiian understanding, the nāʻau,
intestine, is where an individual’s emotions and spiritual self reside. Sharing this intimate
part of oneself is typically done only with close relations and trusted friends, because at
that point the individual is unguarded and vulnerable. My decision to use nāʻau in this
way, as an external garment, was my declaration to the world that I walk without armor,
defenses, and fear and freely present my full and true self. Dr. Kamanaʻopono Crabbe
writes, “Mana helps us have the determination to thrive in the face of fear....we connect
with our ancestral wisdom and knowledge, which then gives us greater confidence and
courage to act and face challenges” (256).
In Mary Kawena Pukui’s publication, ‘Ōlelo No‘eau, Hawaiian Proverbs and Poetical
Sayings, she records a customary saying, “I ka ‘ōlelo no ke ola, i ka ‘ōlelo no ka make”
which translates to, “Life is in speech; death is in speech” 1 (128). What we say and more
importantly how we say it affects the direction and outcome of an interaction. Beginning

1

This is only one of thousands of proverbs recorded by Pukui, each with layers of meaning
and interpretation depending on the listeners knowledge base.

3

a task with intentionality and mindfulness is a model that acknowledges the spirit of both
the initiator and the engaged. To me, this is an act of decolonization. In approaching an
art practice this way, we challenge colonial frameworks in our world, return to our
cultural values, and reassess and re-Indigenize our mindsets. In Emalani Case’s book,
Everything Ancient Was Once New, she recalls a moment with elders, "I watched some of
them weep and heard the urgency in their voices: their stories needed to be recorded,
told, heard, and, perhaps most importantly, used to help us understand ourselves, how far
we’ve come as people, and where we want to go” (67). Embracing and championing
ancestral legacies that are intergenerationally entwined are challenges that some people
find difficult to accept, as they often become life-long commitments. These complex
frameworks and understandings are upheld by members in the community, as a
conscious choice to safeguard, perpetuate, and stimulate cultural awareness and
stewardship. This is my chosen path, my passion, and drive to ensure that these insights
and understandings remain available to the next seven generations in forms that are lived
and culturally accessible. Internalizing these concepts and ingraining them in daily living
are steps in reshaping a just future.

4

Look beyond the horizon
Where in the unseen lands rise
Inspiration and brilliance
Bind cultural resilience

Marques Hanalei Marzan

5

E ULU: BORNE ON THE BACKS OF ANCESTORS

Figure 2. Marques Hanalei Marzan, ʻAʻahu Aloha, 2022. Coconut rope. 16” x 30” x 1”. Courtesy:
Marques Hanalei Marzan. Detail of a contemporary cape I made combining both plaiting and
knotting techniques.

Many forms and techniques in Hawaiian art practices like plaiting, netting, and
twining have few, if any, living practitioners. My great-grandmother was the last

6

Hawaiian materials knowledge bearer in my family and she passed away long before I was
born. When I developed an interest in learning these skills during my youth, I sought out
opportunities to learn these fiber arts processes from the remaining cultural experts
within my community, most of whom were elderly at that time. One of my teachers,
Gladys Grace, once said, "Weaving lau hala [pandanus leaves] is like weaving a
relationship….It is weaving together the older with the younger generation….We are all
connected through weaving”2 (Keawe 12). Today as many of my teachers have crossed the
veil, I have made it my personal mission to uphold their unique methods, styles, and
values by sharing their insights and wisdom in meaningful, relevant and appropriate
ways. The role of caring for this knowledge can at times be a challenge, especially when
elements come from different ancestral legacies, genealogies, and traditions. When
combining teachings from different sources into new forms (Figure 2), it provides
opportunities to honor the customary techniques as well as expand creative designs in
lived practices. When sharing these gifts with others, conveying the understanding,
weight, and responsibility connected to these practices reinforces the need for care and
perpetuation that are intended to build a stronger cultural and spiritual foundation for
the benefit of future generations. Today, these insights are generally learned through
direct transmission from person to person or indirect “re-search" processes, the idea of
reawakening knowledge within a generation through action, providing a solid foundation
of research. Through acknowledgement and perpetuation, the sources of knowledge

2

Gladys Grace is one of 7 teachers that taught me how to weave Hawaiian lau hala. The weaving
organization she started, Ulana Me Ka Lokomaikaʻi, continues to perpetuate her teachings within the
community.
7

conveyed through these means are uplifted and maintained. However, this also includes
the challenging work of acknowledging societal difficulties and trauma through open
dialogue and offering support that strengthens cultural resilience. Through the act of
stewardship, my goal is to create a positive outlook for our collective future.

Figure 3. Marques Hanalei Marzan, Piko, 2022. Mixed fibers. 144” x 144” x 4”. Courtesy: Marques
Hanalei Marzan. Detail of my work illustrating multiple fibers used in customary Hawaiian house
construction in a contemporary form.

My approach to art-making draws heavily upon Hawaiian traditions and customs.
Many things have influenced me and my art practice, from rain falling through the
canopy of a mountain rainforest, intimate conversations with friends over tea regarding

8

the importance of art, to the sensations of how materials feel in my hands as I gather,
prepare, and work them. I refuse to describe Hawaiian art as “traditional” or
“contemporary,” as distinctions between these terms are often used to separate the past
from the present, or to segregate work into pre-defined categories. For example, if a
Hawaiian barkcloth maker made a piece of barkcloth using customary fibers and
techniques and decorated the work with designs consistent with examples from the 18 th
century, but then fashioned it into a sewn wallet, how would one describe it? If a practice
is living, it is ever changing and because of this, I intentionally use the term customary to
blur the boundaries typically set be time. This term also preserves the cultural
frameworks and values of culture that transcend time. My work (Figure 3) often uses
longstanding Hawaiian customary fibers and techniques, but in modern configurations.
Through these juxtapositions of materials and processes, I am able to convey stories that
address contemporary issues which helps expand Indigeneity of practice and not relegate
the work to a specific period in time. Nālani Wilson-Hokowhitu writes in her book, The
Past Before Us, “All involved in the research process must purposefully choose to walk
the narrow trail of honor and responsibility to ensure that all aspects of the research
journey are ethical, or pono, and congruent with Hawaiian cultural values and beliefs”
(10). My approach focuses on creativity being the unifier across generations. Time passes,
but techniques, processes, and the practice of innovation that builds upon and reinforces
the experiences of previous generations remain consistent. Through these approaches,
ideas, stories, and values important to a particular moment, people, and place are

9

maintained. I draw upon visual motifs, materials, and techniques passed down through
generations, to acknowledge and reaffirm ancestral wisdom, stories, and values.

Figure 4. Marques Hanalei Marzan, Selfie, 2024. Courtesy: Marques Hanalei Marzan. Photograph
of me with students and fellow artists in Tahiti, after a week-long community intervention.

I engage with my community in ways that nurture empowerment of cultural
practice, education, and interaction. Teaching others to redefine for themselves what is
important within their stories, while preserving ancestral knowledge, is my way of
perpetuating self-determination within my community. I conduct workshops and
demonstrations of my practice (Figure 4), teaching material preparation methods and

10

fabrication techniques to expand the awareness of these seldom seen cultural processes. I
also offer presentations and mentoring sessions to encourage my community to
reconnect with ancestral mindsets, materials, and cultural values. These training
moments inspire me to find new ways to ensure the customs, cultural perspectives, and
disciplines I steward have relevance today. Community learning, re-search and cultural
exchanges, like Indigenous art gatherings hosted by Te Atinga, a Maori visual arts
organization in Aotearoa New Zealand are also foundational to my professional and
creative artistic development. These engagements reaffirm ancestral relationships,
provide opportunities for collaboration, and create channels for cross-cultural
networking. For me the act of research is a “re-search”. That is, I focus on the belief that
everything exists, and in re-searching, we are merely reconnecting, or rather, relearning,
how all life is connected. To approach re-search in this way, one needs to actively search –
the processes of “doing”, “making”, and “creating” are integral to seeing anew.
Understanding re-search in this way has parallels with my own artistic approach. I allow
the processes of making to be my guide. The journey is the measure of success, not the
outcome. The process of making, enacting the techniques of my ancestors, is how I share
the wisdom of my teachers and forebearers. My creative approach in turn speaks back to
my community. This is how I preserve their memory and I take this responsibility
seriously. My hope is to elevate this fiber legacy to a new level of cultural significance in
my community and for it to be acknowledged and better understood within the wider art
world.

11

A Kupu Mai La Kupu: Ensuring Potential Is Nurtured

Figure 5. Maile Andrade, Ancestor Cape, 1994. Paper mulberry and wood. 48” x 48” x 3”. Courtesy:
Marques Hanalei Marzan.

Cultural awareness is a foundational element in my artistic practice and decisionmaking process. It guides my process of maintaining relevance and connection to

12

contemporary matters and allows for artistic freedom and exploration to take place. The
history of a people is found in their stories, practices, and worldview. Being raised in
Hawai‘i, the ancestral homeland of my maternal grandfather, I feel blessed to have grown
up in the landscape that nurtured my family for generations. Having learned about my
culture from family experiences, community knowledge bearers, and the environment, I
understand the importance of interconnectivity and balance. One of the insights that was
regularly shared with me by my professor Maile Andrade was, “Follow your nāʻau.”
Andrade always encouraged me to experiment and build off of my personal life
experiences when creating work, as she did in her piece that incorporates paper cast faces
of her family netted together (Figure 5).

13

‘IMI ‘IKE: KNOWLEDGE IS RESPONSIBILITY

Kūkulu ka ‘ike i ka ‘ōpua
Insights are built in the clouds
Kāhiko o ke kua e lū lehua
Adornment of the gods, the scattered lehua
Kahe ka wai
The water flows
Iho ke awāwa
Down the valley
Kolokolo ka lo‘i
The taro terraces move gently
He‘ehe‘e ka loko
The fishponds flow
E koli‘i
Evaporate
E koli‘i
Evaporate
Noe
Mist

Marques Hanalei Marzan
https://youtu.be/N5TAJSvr0a8

14

Figure 6. Marques Hanalei Marzan, Nāʻū Nā Kala, 2013. Pandanus leaves. 12” x 7” x 3”. Courtesy:
Marques Hanalei Marzan.

In Martha Beckwith’s publication, The Kumulipo: A Hawaiian Creation Chant, she
responds to a 2,000-line cosmological chant that was composed and passed down orally
from one generation to the next. Beckwith states, “The work of weaving genealogies into a
hymnlike chant commemorating the family antecedents was the work of a Haku-mele or
ʻMaster-of-song,’ attached to the court of a chief, one who occupied also the special post
15

of a Kuʻauhau or genealogist” (35). The knowledge preserved in this manner offers a
glimpse into a Hawaiian worldview from an earlier time, an invaluable resource to
understanding the adaptation of Hawaiian culture. The introduction of writing by the
first missionaries to Hawai‘i, Protestants from New England in 1820, allowed for many
Hawaiian compositions to be preserved in a written form. Their arrival to the islands were
welcomed and supported by the ruling chiefs of the time. Learning to read and write were
skills that most Hawaiians eagerly desired to learn regardless of the colonial implications
of religious conversion. My work, Nāʻū Nā Kala (Figure 6) was inspired by a unique
Hawaiian mat that was completed in 1874 and is commonly known as the “Protest Mat.”
In his article, Patterns of Protest, anthroplogist Dr. Roger Rose states that the maker,
Kalaʻiokamalino, plaited an entire petition for tax relief onto the mat’s upper surface
intended for the King of Hawaiʻi (91) . Kalaʻiokamalino’s work closes with the line, “NAU
NA KALA,” a typical form of closing that ends with the writer’s name, but in this instance,
the name is incomplete. Or was it? In Hawaiian, the word kala means to ask for
forgiveness. To identify oneself through the concept of forgiveness is significant,
especially when addressing a monarch. It speaks to her cultural integrity, affording
respect and honor to the king even through a form of criticism and grievance. Thinking
about kaona, layered meanings, expressed in the use of this single word representing the
maker, made me realize that the stories and depth that can be embued into work can be
profound. Writing became crucial in preserving Hawaiian history as Western diseases
decimated the Hawaiian community from an estimated population size of 400,000 to
1,000,000 people in 1778 to roughly 40,000 one hundred years later (ref) . This drastic loss
16

of Hawaiian life also severed the widespread generational transmissions of knowledge,
experience, history, and relationships, sending these cherished insights into hibernation,
which are only now showing optimistic signs of reawakening in younger generations.

Figure 7. Marques Hanalei Marzan, Kōkō puʻupuʻu (chiefly net carrier), 2015. Cotton and wood.
20” x 11” x 11”. Courtesy: Marques Hanalei Marzan.

17

In my Hawaiian cultural journey, I am fortunate to have found mentors that not
only taught me the processes, values, and protocols on how to practice various customary
art forms appropriately, but also how to create new works that preserve the essence and
understanding of Hawaiian visual and oral language and convey stories and issues
relevant to daily life of Hawaiians today. This is at the heart of my method for making art.
For example, I learned to make kōkō puʻupuʻu (Figure 7), chiefly nets, from an elder in
my community, Sally Ladao. Kōkō puʻupuʻu is a practice that produces utilitarian net
carriers historically used within the chiefly class of Hawai‘i to transport and protect their
personal possessions and food resources when traveling. An ancestral story that speaks of
carrying nets is the story of the greedy chief Makaliʻi and the great food net suspended in
the heavens connected to the Pleiades constellation. Long ago Makaliʻi ordered all the
food in the land to be given to him and he travelled to the heavens where he hung his net
filled with all the food. With no food left for the people, they began to starve and die. A
little mouse agreed to free the food and climbed up to the strong net, gnawed through the
rope, and released the food back to the people. Through this story, the time of feasting,
harvest celebrations, and abundance is commemorated each year during the season of
Lono known as Makahiki. The knots used in this artform incorporate analogous wrapping
sequences that produce knots of diverse shapes and forms. The techniques that create
these elaborate knotted nets provide each piece with a functional durability over time, a
layer of protection for each container, as well as a unique aesthetic. With practice and
years of study in Museum collections around the world, I revived techniques that hadn’t
been taught for generations. To spark interest in my community, I began to introduce
18

these knotting techniques in non-conventional forms to encourage others to engage these
skills and practices through alternative viewpoints. I invited them to consider what it
means to use these techniques in wearable art (Figure 8) and how they could make this
practice meaningful and important in their personal lives and lifestyle. Being trained from
the start to know these basic steps and learn how to innovate and create new forms are
gifts that few creatives are afforded in their educational training. I look at this re-search of
knowing as something not necessarily just for me, my community, and our present
society, but for the future, and all those who will inherit the effects of our actions.

Figure 8. Marques Hanalei Marzan, Kōkō series, 2018. Cotton, silk, indigo, and aluminum.
Dimensions variable. Courtesy: Koji Hirano.
19

“Process,” to me, is the most important part in the creation of my work. I believe
that ancestral memory resides in our very being and reawakens when needed or
appropriately requested. This then allows the materials and the environment to shape the
outcome of a piece. In some ways, my unconscious connection to the spirit world is
brought forth, and insights that were previously unknown, manifest in the act of artmaking. In my artwork, titled Kōkō series (Figure 8), I had no idea of its outcome. I
cleared my mind and allowed my hands and the materials to interact. This process may
seem like experimentation or “play”, but when I put myself in a clear mental state, I feel
my ancestors move through me and manifest a piece with the materials around me. My
search for re-discovery is based on an inward gaze of outward perceptions of community
identity and my ability to facilitate meaningful transmissions of knowing. This approach
is my way of honoring those that have come before us and how I can maintain a
connection with them. We need to re-train ourselves to understand how to tap into this
knowledge-well that slumbers in every generation.

20

A Muʻo Mai La Muʻo: Building Enduring Relationships

Figure 9. Marques Hanalei Marzan, ʻAʻahu, 2023. Mixed fiber. 20” x 36” x 4”. Courtesy: Marques
Hanalei Marzan. My work emphasizing the character of materials and various binding techniques.

The methods I use in making art are truly conversations between my multicultural
upbringing and my surroundings. It’s motivated by my belief in honoring family history,
ancestral memory, and dreams paired with my interest in Nature, materials, and
collaborations. My work (Figure 9) speaks to universal issues of interconnectivity,
perseverance and our collective responsibility to care for our communities and the
environment. Using natural fibers reminds me of my responsibility to maintain
sustainable gathering practices and continue conservation management of our natural
21

resources. I believe that finding ways to reconnect with our environment and return to
sustainable practices are essential to our survival. Integrating materials responsibly
gathered into my work imbues them with inherent stories and connections, sometimes
not obviously conveyed to a viewer. But, strengthening physical, mental, and social
relationships within the environment and community is a personal commitment I strive
to embed into my work. Uplifting this interconnectivity with Nature and my community
is vital to my process.
NĀNĀ I KE KUMU: INTERCONNECTED TRUST

Figure 10. Marques Hanalei Marzan, Kōkō series, 2023. Cotton. Dimensions variable. Courtesy: PAʻI
Foundation. A cotton cord garment constructed utilizing techniques found in kōkō puʻupuʻu,
Hawaiian fancy knot-making, but applied in a new configuration.
22

This garment (Figure 10) made in 2022 has an asymmetrical zigzag opening
running down the front, off to one side. It also has an undulating hemline that skims the
floor in the front and becomes a dragging train in the back. I see this piece as an example
of how my creative re-search is manifested as an interconnected observation. For
example, the interconnected form is achieved by drawing on Hawaiian netting techniques
used to begin a kōkō puʻupuʻu, but manipulated in a manner that allowed the line
proportions and connecting points to be determined by the material and not me. It is
constructed using white multi-plied cotton cordage and presented on a model with a
black fabric boat neck dress. The cordage is wrapped onto itself and attached to
neighboring sections following a seemingly random path, creating organically shaped
negative spaces. The density of the work is consistent over the surface of the garment
even though the spaces created by the overlapping rope sections are of different sizes.
The sinuous line employed in its composition overlaps itself at numerous spots
throughout the work, providing the connecting points where they are bound to one
another, creating a stable structural framework. The movement and fluidity captured in
the knotted structure keeps the eye moving over the entire surface.
The work evokes the qualities of durability and structure through the visual and
physical weight of the cord used and its positive space density. The Hawaiian
understanding of duality acknowledges differences, but also recognizes that those
opposing differences reside in everything and everyone, helping to define one’s character.
Through this, the Hawaiian belief of duality existing in all things is visualized, having
both the structure and flow of the cord evident. The heaviness of the piece is visually
23

assumed based on the amount of cordage utilized as well as the cord’s thickness. This
assumption adds to the interpretation of the garment’s durability and permanence. The
layered cords overlapping one another also produces a dimensional surface reminiscent
of a 3-D topographic map. This effect pulls the viewer’s gaze to particular areas to invite
deeper engagement and analysis while also providing a sense of movement and energy.
The depth that is created through the interplay of large and small shapes over the surface
and the physically raised areas that are formed from the layers of overlapping cords helps
communicate a sense of arresting strength and complexity. Both dynamism and calm are
found in the work, while the visual flow of its construction helps to convey a sense of
power, energy and potentiality. Through the depth and breadth of design, execution, and
presentation, viewers are offered entry points into the work that build on their own
unique life experiences and perspectives, allowing the work to connect to people in
personal ways.
The figurative qualities embodied in these forms serve as the meaningful
intentions overlaid onto this garment, helping to imbue these distinguishing
characteristics into the work in a manner that recognizes the human form as a cherished
vessel of unique experiences and knowledge. The specific technique used to make this
garment is an element of the knotting process that provides an additional buffer and
protection to the vessels customarily held within each kōkō puʻupuʻu. The use of this
specific technique highlights the concept that sits at the heart of its creative inception to
its completion.

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A Liko Mai La Liko: Unlocking Our Capacity

Figure 11. Marques Hanalei Marzan, Pāʻū ʻAha, 2017. Coconut rope. 35” x 60” x 3”. Courtesy:
Marques Hanalei Marzan.

Often, Indigenous cultures make choices for the long-term betterment of
community and not necessarily for individuals. Colonialism has shifted that paradigm,
making community members believe that individuals are at the center, going against the
understanding that we are part of a larger and greater whole. Efforts to re-Indigenize our
community mindsets are supported by scholars like Stephanie Nohelani Teves who
writes, “The power of Indigenous performativity is its ability to create, modify, alter, and
25

revive practices or to make completely new ones out of a reverence for your culture while
also critiquing the need to perform a pure indigeneity” (10).
Creative expression is only limited to one’s imagination. Culture by definition is
built on this creativity and is the cumulative understanding of a people that resides in
each community member. Therefore, communities are groups of similar-minded people
that celebrate the preservation and adaptation of beliefs while being anchored in
ancestral values and practices. The sharing of these perspectives is what guides me in my
creation of cord regalia (Figure 11). Living ancestral values in daily life helps preserve longheld generational awareness and knowing while allowing for new stories and
interpretations to manifest and have relevance in present day practice and design
conversations. Making these engagements part of everyday living helps reawaken my
intimate ancestral connections to place and reminds me of my role in caring for this
creative expression.
HE MAU NĪNAU KAʻU: RE-SEARCH
1. What steps can I take to impart to my community, the meaningful and intentional
relevance of customary mindsets and methodologies through my art practice?
2. Why is place important in the creation of new expressions and forms that support
contemporary storytelling practices?
3. What is the cultural context in which my art resides and does it support growth?

26

4. What separates my creative process from the cultural foundation and communal
intelligence that I am based in?
Dr. Jonathan Osorio states in Kanaka ʻŌiwi Methodologies,
“There is a right way to get at any question that you deserve to ask. Part of the
issue for Kānaka is that there are some questions that are not for us to ask. That is
another thing, something that westerners do not believe. In fact, they find this
kind of statement really frightening. There are things that people feel are a family
possession. And that sharing it even within the family, if it means that if that story
gets out to everyone in the public, they are not going to share it. As Kānaka we
need to be mindful and completely respectful of that” (Oliveira 154).

A Lau Mai La Lau: Focused Intention
E kuhikuhi pono i na au iki a me na au nui o ka ‘ike
Instruct well in the little and the large currents of knowledge.
In teaching, do it well; the small details are as important as the large ones.3
Mary Kawena Pukui

KŪKĀKŪKĀ: KEYS TO SUCCESS
The concepts of inspiration and change are firmly grounded in the understanding
that we are each the living embodiment of all the choices and actions of our ancestors.

3

Pukui, Mary Kawena. ‘Ōlelo Noʻeau: Hawaiian Proverbs & Poetical Sayings.
Bishop Museum Press, 1983, p. 40.
27

Privileges. Atrocities. Indifference. I am not in control of what was and the heritage that I
descend from, however I am in control of the decisions I make for myself and the things
important to me. These actions and beliefs I choose to support are reflections of my
commitment to safeguarding the knowledge, insights, and experiences shared with me
and uplifting our collective understanding we hold in trust for the future. When we strive
to be our best selves and implement best practices, we affect the possibilities for a
brighter tomorrow and afford future generations a stronger basis to develop and prosper.
Dr. Taupōuri Tangarō wrote so beautifully in his book, Malaehaʻakoʻa: The Dancing Priest,
“I share this personal scope of the sacred as a means to build dialogue on the subject of
the sacred. I share this perspective because someone of the previous generation refused to
take this process to the cave, deciding to leave it in the light for further inquiry into the
divine” (vii-viii). We cannot expect to be treated with dignity and respect if we ourselves
cannot reciprocate accordingly. The following points below are insights that ground my
practice and are central to how I interact with my heritage, community, and the world.
-

Inspiring communal engagement and interaction

-

Activating and reflecting of individual experience

-

Mindful observation and acknowledgement of surroundings

-

Tradition is innovation

-

Creativity is a means of continuity

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A Lālā Mai La Lālā: Representation And Inspiration
Historically, within Hawaiian society, the act of recognizing and celebrating
individual skilled makers within a discipline was uncommon. Rather, the excellency of an
art form or particular style from a region was celebrated as a collective community skill
and practice. This perspective uplifted and valued the entire industry, giving every maker
the chance to produce works considered valuable. This also meant that everyone was
responsible for the success or downfall of a practice. This mindset of collective
recognition versus individual recognition encourages a greater commitment to
sustainable practices as everyone needs to work together to succeed. Much like others
artists that support creative networks within their community, I see myself as one tree in
an interconnected forest. Forests and ecosystems thrive when the environment in which
they are living is healthy and life sustaining.

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OLA KA NOʻEAU: ARTISTIC INFLUENCES

Figure 12. Ruth Asawa, Untitled (S.272), c.1954. Copper and iron wire. 111” x 14” x 14”. Figure removed
due to copyright restrictions. https://ruthasawa.com/art/sculpture/#bwg6/42

Ruth Asawa (1926-2013) is a noted American sculptor and multi-disciplinary artist
of Japanese descent. Asawa’s work, Untitled (S.272) (Figure 12), made in 1955 with copper
and iron wire, is representative of a series of looped wire-work that she created
throughout her lifetime. Her elongated organic forms define space with exceptional
beauty, movement, and complexity. The openness of the work, due to her material
choice, provides a sense of lightness and allows light to cast striking shadows that
expands the dimension and visual presentation of the work. The fluid movement
conveyed in her work gives her work an energy and life typically found in Nature.
30

Figure 13. Marques Hanalei Marzan, Huewai, 2023. Gourd and coconut rope. 16” x 11” x 11”. Courtesy:
Marques Hanalei Marzan. Hawaiian water gourd container.

Asawa’s silhouettes remind me of a Hawaiian cultural form, a huewai, Hawaiian
water gourd container (Figure 13). Huewai were essential implements of daily life and
provided a means to store and transport water for future use. In Peter Buck’s publication,
Arts and Crafts of Hawaii, he said that Hawaiʻi had a richer variety of form than elsewhere
in the Pacific. To me, gourds evoke feelings of abundance, life, and endless possibility as
one of the many physical manifestations of Lono, Hawaiian god of peace, harvest, and

31

abundance. Physical manifestations, kino lau in Hawaiian, are a means for the divine to
engage with humanity and reinforce personal relationships and interactions.
Incorporating cultural associations and knowing, in this way, are important aspects of my
artistic practice that connect me to my ancestors and community. Even though Asawa’s
designs stem from a different context from my own work, her integration of personal
experiences and the use of both the physical form alongside the cast shadows are
fundamental to my process (Figure 14).

Figure 14. Marques Hanalei Marzan, Pilina, 2023. Paper. 50” x 48” x 2”. Courtesy: Marques Hanalei
Marzan. Illustrating how cast shadows are equally important to the physical work in this
presentation.
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Figure 15. Marques Hanalei Marzan, ʻAʻahu series, 2024. Kibiso silk and coton. Dimensions variable.
Courtesy: Marques Hanalei Marzan.

These forms also resonate with me through my Japanese heritage (Figure 15).
Growing up, my maternal grandmother would share with me stories of our family being
silk weavers. Her aesthetic became my foundation for my appreciation of Japanese form
and design. To me, the interlocking shapes suspended in one another honors the values

33

central to Zen ideals. The emphasis of simple form and the work’s ability to provoke
being present, aware, and in the moment are key to this way of being and understanding.
I appreciate the simplicity of Asawa’s work as well as the complexity that is hidden in
plain sight, through the labor-intensive looping technique used in its execution.

Figure 16. Pat Hickman, Net of the Pleiades, 1994. Image of Pat Hickman with her work. Figure
removed due to copyright restrictions. https://www.pathickman.com/images/Pat_at_gate576.jpg

Pat Hickman4 and her artwork, Nets of Makali‘i – Nets of the Pleiades (Figure 16), is
an artist and artwork that continues to influence my practice. This work in Kahului, Maui

4

Pat Hickman was my professor when I pursued my undergraduate degree at the
University of Hawai‘i at Mānoa. I was intrigued and inspired from the moment I was
exposed to her work.
34

fills five gateways at the front entrance of the Maui Arts and Culture Center. Hickman
created large netted forms in the design of the work, paying tribute to the historical
fishing village context of the venue’s site. Two sections of the work are fixed panels and
three are paired gates that open in the center. They are all made of aluminum, weighing
nearly 5,000 pounds in total, and were sand casted in Tasmania in 1994.
This work is a great example of how she pays close attention to cultural context, as
the Hawaiian term for the negative spaces in the net are called maka. Maka also can mean
eyes, eye of a needle, face, countenance, presence, sight, view, beloved ones, a point, bud,
protuberance, uncooked, unripe, a seaweed, and a variety of sweet potato as recorded in
the Hawaiian Dictionary by Mary Kawena Pukui. The balance between the airy quality /
lightness and the weight of visual form is fundamental in her work and speaks to my own
desires of responding to positive and negative space relationalities. The use of this one
form through her work draws upon all of these definitions that deepens the engagement
with the work when one is knowledgeable of these interpretations. The reference of the
term Makali‘i in the work’s title also alludes to the story of Makaliʻi and his net and the
season of abundance. I regularly utilize knots and netting in my work (Figure 17) that
draw upon this richly layered and nuanced technique to embed these concepts and
stories into the literal framework of my art, which I then expand on, with additional
layers of meaning and story. This example uses copper mesh as the primary material
which is manipulated in different ways to spotlight the strengths and character of the
material.

35

Figure 17. Marques Hanalei Marzan, ʻAʻahu series, 2023. Copper. Dimensions variable. Courtesy:
Marques Hanalei Marzan. Detail of netted garment highlighting material possibilities.

Depending on form, color, and material usage, complex relationships can be built
with simple elements. The kaona, layered meanings, of a work and the depth of its
interpretation will never be conveyed fully to everyone, reinforcing the understanding
that we will only comprehend what we know and that we each bring our own experiences
to viewing art. In this way, cultural knowledge is often veiled in plain sight. The meaning
of a simple flower lei is generally understood as a gesture of aloha, but if you knew where
36

the flowers were collected from, when they were gathered, who made the lei, and knew
the significance of each of those elements, the story one would know would be far more
complex and nuanced. Even if you were well-versed and knew all those things, the secret
meanings and intentions, that only the maker intended, would be unknown to you. These
layered meanings are inherent to any work and continue to expose their subleties when
the viewer gains more knowledge.

Figure 18. Mata Aho Collective, AKA, 2019. Marine rope. Figure removed due to copyright
restrictions. https://www.mataahocollective.com/art-works/aka

37

Mata Aho Collective is a group of four female Maori visual artists, Erena Baker,
Sarah Hudson, Bridget Reweti, and Terri Te Tau based in Aotearoa, New Zealand. Their
work utilizes fiber-based weaving techniques as a framework to convey the intricacies of
Maori culture and its interrelationships with other communities. The large-scale formats
of their installations help to push their work outside the realm of mere utility and deeper
into a contemplative space that provokes internal reflection (Figure 18). Scale has been an
element I have also engaged with in my own work when I wished to impress the
importance of a concept or message, like cultural stewardship or protecting the
environment. Instinctually, large-scale works project an air of significance and grandeur
and when used strategically it can be a powerful tool. The Collective’s use of industrial
grade materials to produce many of their work is also an impactful process. The
techniques typically used in Maori weaving are executed with delicate and fine materials,
producing soft, but durable and flexible textiles. When imposed onto industrial grade
ropes and materials, the techniques take on a different affect, diminishing the delicate
quality they normally exhibit and projecting a monumental rigidity and presence.
The aesthetic balance that the Collective achieves between grandeur, flexibility,
and intricacy speaks to the continuum that I strive for in my work. Material selection and
techniques strengthen the associations between the opposing concepts juxtaposed, but it
also takes the right balance of elements to produce successful work. The Collective is
methodical and meticulous in their planning and execution, which is in stark contrast to
my own process. Contrary to this, I find it difficult to impose a design and plan on a work
from its inception, as I feel that the materials guide me to the balance of techniques and
38

methods that they want to be involved in during the process (Figure 19). When I create
work for myself, I clear my mind and allow the work to manifest itself through the
materials. I generally don’t see myself as the maker, rather the facilitator assisting the
materials gather together.

Figure 19. Marques Hanalei Marzan, ʻAʻahu series, 2023. Coconut rope. Dimensions variable.
Courtesy: Marques Hanalei Marzan. Detail of knotted garment made with ʻaha, coconut fibers.

39

Figure 20. NUNO, Patched Paper fabric by Reiko Sudo, 1997. Figure removed due to copyright
restrictions. https://www.nuno.com/en/textile/patched-paper/

Reiko Sudo, co-founder and CEO of NUNO Corporation, is an acclaimed Japanese
textile designer. Her work blurs the lines between past, present, and future and are
central to the conversations that Sudo evokes through each of her designs. Her work ethic
and process celebrate the use of natural fibers and customary practices in conjunction
with modern technology. Customary practices that Sudo employs in her work draw upon
Japan’s rich textile heritage including papermaking, silk weaving, natural dyes, and labor40

intensive surface design methods. These materials and processes are then often paired
with cutting edge technologies that give the final product a modern look and feel, while
retaining a time-honored aesthetic. In an example of her work that speaks to this
approach, Sudo cuts Japanese washi paper into thin strips and irregularly inserts them
into a sheer textile as it is being woven, leaving the ends hanging loosely, creating a
shaggy quality to the finished fabric (Figure 20). This aesthetic is innovative in
comparison to classic Japanese textiles, but through the use of thin strips of washi paper,
it references a Japanese technique of weaving durable cloth from paper known as Shifu.
Connecting with the past through fresh approaches of execution is what I also attempt to
achieve in my work. The realization that many hands and many generations have touched
natural fibers and transformed them into functional products for use sometimes gets
forgotten when demand and production are the primary drivers of a practice. At times,
the speed at which pieces need to be made often makes the process a transactional one
rather than a transformational act. Demand will always exist when there is desire, but we
need to remember that creativity and innovation don’t flourish in confinement.
Sudo is also a fierce proponent for small scale family-run producers of textiles,
fibers, and dyes throughout Japan. The new designs she develops often require multiple
producers from across Japan to work together, a network of relationships she has
nurtured over her career to bring her ideas to life. Much like Sudo, I too look for ways to
support, promote, and patronize local fiber producers in my area. The public's increased
awareness and education of these culturally significant processes help encourage demand
for these products and afford makers a means of income that gives them a reason to
41

continue to produce these richly storied products. It also gives them time to learn from
the materials they work with and naturally create stronger bonds with the work. When I
am able to incorporate locally or regionally sourced materials into my work, it helps
deepen the narrative of my work, overlaying cultural genealogies and stories that build on
my own layered stories and ideas. Through this process of acknowledgement and
recognition of materials, places, and people, I can uplift everyone’s story, not just my
own.

A Kumu Mai La Kumu: Spotlighting Needs
Traditions, to me, are the innovations of the past and likewise, innovations today
will be the traditions of the future. The term innovation has a lot of colonial modernist
implications, but in a Hawaiian cultural context, innovation is used to build on the
practices of the past and not to separate oneself from it. It is the execution and adaptation
of customary techniques and aesthetics that take into account modern contexts. Through
this continuity of history, intention and creativity across time, today’s stories and
practices preserve the wisdom of the past. Nothing we create is ever truly new, as
everything already exists, and only reveals itself to us at the right time. Stories come alive
because of our lived experiences and conveying that energy to someone is the definition
of culture and creativity.
HE ALO Ā HE ALO: REFLECTIONS
As a final summation, the things that matter to me most in my art creation and
practice are that stories get remembered, shared, and created through a process that
42

ensures the physical and spiritual relationships that bind cultures together are never
forgotten. How this is accomplished is just as important as its execution, with respect and
recognition of responsibility. Ancestral memory lives in every person and acknowledging
that wisdom is a cornerstone in Hawaiian culture.
Decolonizing colonial practices and mindsets are difficult processes for
communities, especially those that have endured generations of social trauma and
mental, physical, and spiritual abuse. Structures of support are essential elements in
rebuilding a viable community and culture. For example, a series of contemporary art
exhibitions curated from 2014 to 2019 in Hawai‘i focused on the different perspectives of
the word, “contact.” These exhibitions helped bring to light the issues of Hawaiian
representation, cultural misappropriation, self-determination, as well as the disconnect
between Hawaiians and their land because of today’s astronomical land valuations and
cost of living that force families to leave their ancestral homes. However, processes like
rematriation, i.e., the restoration of one’s spiritual connection to the land and reverence
for Nature, provide paths to reaffirm the strength of Indigenous Hawaiian voice and
empower communities to reclaim their self-worth and dignity. Re-search wisdom plays a
vital role in facilitating vital interactions between cultures.
All I can do is strive to be a good ancestor for the future. Sharing the knowledge
passed to me, teaching others the values of respectfully caring for the environment, and
imparting the importance of ethical and sustainable gathering practices are steps I am
passionate in conveying to the next generation. I had the privilege of learning from
amazing individuals, creative works, and spaces that I want to pass on to others. I also
43

acknowledge I am not perfect and have shortcomings. I know my place and what I need
to do, which is to uplift my own community and culture in any and all means that also
respects our collective society. If we can each play our part in this story of life, we offer
hope to our future. Small actions are equally important to large actions, as they are all
necessary in uplifting and celebrating the vibrancy and diversity we tell. We all must
decide how to do this for ourselves.

A Kumu Paʻa Hina ʻOle E: Being A Role Model
I acknowledge that I am a living manifestation of all my ancestors that have come
before me and a unique knowledge bearer of insights that have been shared with me
through Nature herself, family members, cultural leaders and practitioners, artists,
colleagues, and ancestral handmade creations. These moments and stories have
interwoven to become the foundation from which I draw my strength and inspiration.
The conversations and explorations that support this diversity of experiences continue to
evolve with each new artwork. Through all of this, what remains constant is my process of
engaging materials in alternative ways that build off methods used in previous
generations, inspiring future creatives, and continuing these interconnections within the
present. To me, this is the definition of perpetuating a cultural practice, the ability to
thrive in the face of change and to meet the needs of the present, all the while
maintaining the core values of the practice.
Through the course of my visual thesis development, I learned a great deal during
the creation of the work, Creation: From A Hawaiian Viewpoint (Figure 21) and from
44

being mindful of the materials and their nature. I also found the process of gallery design,
installation, and the activation of the space through Hawaiian protocols of chant and
dance to be deeply reflective and meaning-filled activities, much like meditation sessions
and communings with ancestors. The layering of stories I attempted to imbue into the
final work drew from multiple sources, one in particular being the Kumulipo, a Hawaiian
creation chant that celebrates the relationships and delicate balance that makes up the
basis of the Hawaiian world. Recognizing that stories like this carry the mana, inherent
spiritual power, and worldview of Hawaiʻi, it was my hope that the work was able to
convey these sentiments or feelings, if only in part, to those viewing the work. The work
doesn’t depict specific stories in its presentation, more the concepts, sentiments, and
intentions that the stories illuminate.

Figure 21. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Mixed media. 156”
x 300” x 150”. Courtesy: Marques Hanalei Marzan.
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Figure 22. Marques Hanaelei Marzan. Creation: From A Hawaiian Viewpoint. 2024. Mixed media.
Courtesy: Marques Hanalei Marzan.

Mana is something that exists in everything and everyone. Mana can be imparted
or diminished through purposeful actions, associations, and time. The materials used in
my installation (Figures 21 – 38) utilize the mana inherent to the natural elements as a
basis for the interconnectivity being addressed. Techniques essential to kōkō puʻupuʻu,
chiefly net carriers, and ʻupena, netting, were employed to reinforce the correlations of
binding and coming together in the work’s narrative intent. The juxtaposition of concepts
like density and openness, darkness and light, and durability and ephemerality visually
present in the installation’s execution emphasizes the complex nature and balance of our
world. Each garment in the installation speaks to different facets of this greater
46

understanding. Creating an environmental context in the installation through the vertical
elements and cedar wood slivers at the base of each garment bolsters the collectiveness of
the work and present a visual cohesion to the work.
I also believe that works designed for the body only fully come to life when they
are worn. Prior to their installation in the 2024 Emily Carr State of Practice exhibition, A
Piece of the Sky, each garment came to life in Honolulu in a presentation during the 2024
MAMo Wearable Art Show. I designed each garment to be worn by a specific person
which also added to the mana of the work. The individuals I envisioned in each piece
brought life, experience, and personality to each garment that inextricably changed the
work to be embodied vessels through their mana.

Figure 23. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Mixed media.
Courtesy: Marques Hanalei Marzan.
47

Figure 24. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Split reed,
coconut rope, barkcloth, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan.
48

Figure 25. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Split reed,
coconut rope, and barkcloth. Courtesy: Marques Hanalei Marzan.
49

Figure 26. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Stainless steel,
cotton, cedar wood, velvet, and teeth. Courtesy: Marques Hanalei Marzan.
50

Figure 27. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Stainless steel
and cotton. Courtesy: Marques Hanalei Marzan.
51

Figure 28. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Copper, cedar
wood, and velvet. Courtesy: Marques Hanalei Marzan.
52

Figure 29. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Copper.
Courtesy: Marques Hanalei Marzan.
53

Figure 30. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton, cedar
wood, and velvet. Courtesy: Marques Hanalei Marzan.
54

Figure 31. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton. Courtesy:
Marques Hanalei Marzan.
55

Figure 32. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Silk, cotton,
cedar wood, and velvet. Courtesy: Marques Hanalei Marzan.
56

Figure 33. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Silk, cotton, and
velvet. Courtesy: Marques Hanalei Marzan.
57

Figure 34. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Copper, cedar
wood, and velvet. Courtesy: Marques Hanalei Marzan.
58

Figure 35. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Copper.
Courtesy: Marques Hanalei Marzan.
59

Figure 36. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton, cedar
wood, and velvet. Courtesy: Marques Hanalei Marzan.
60

Figure 37. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Cotton. Courtesy:
Marques Hanalei Marzan.
61

Figure 38. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Coconut rope,
barkcloth, cedar wood, and velvet. Courtesy: Marques Hanalei Marzan.
62

Figure 39. Marques Hanalei Marzan, Creation: From A Hawaiian Viewpoint, 2024. Courtesy:
Andrew Ina. Video documentation of installation activation through Hawaiian dance and chant.
https://youtu.be/KWZBYu4J5z8

The final element to the work was the physical activation of the space through
protocol of instrumentation, chant, and dance. Having imbued the work with my mana
through the creation process, I wanted to acknowledge the importance of place and
people that continues to make this work special. It is not just a culmination of time,
materials, and energy, but a recognition of cherished relationships that I will carry with
me for the rest of my life. Relationships are active fulfillments of responsibility that we
live, breathe, and practice everyday. This journey is just one story of activating ancestral
memory in modern living.

63

I Kūlanihāko‘i ka ‘olu, e kau mai
At Kūlanihāko‘i resides the kindness
E kau mai ka ‘auamo ke kuleana hā‘awe
Where the burden stick is placed, a relationship
Welehia ka ‘umeke heke ‘ie‘ie i ka uakoko
Suspended is the calabash in the clouds
Lehua ka pu‘u i loko nei a kīkepa amo
The net laden with honors, a one-sided burden
Hi‘ikua hia ka ipu pāwehe aia i luna
Cherished is the decorated gourd presented
Piha nō ke ‘ōpū hālau ka huewai
A water gourd filled to capacity
E kaulei i ka ‘auamo e hāpai kau pono
Placed on the burden stick to create balance
He alo a he alo i ke aloha
Face to face in appreciation

Marques Hanalei Marzan
https://youtu.be/dVsVQ3g_Yak

PĪPĪ HOLO KAʻAO
[THE END]

64

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