kino lau

n. Many forms taken by a supernatural body, as Pele, who could at will become a flame of fire, a young girl, or an old hag.

“Native species were not treated as just biological elements, but recognized as kino lau”. (Sam Gon; Kumupaʻa; 199)

According to the theory underlying Hawaiian natural philosophy, all natural phenomena, objects and creatures, were bodily forms assumed by nature gods or nature spirits.

Rain clouds, hogs, gourds, and sweet potatoes were ‘bodies’ of the god Lono. Taro, sugar cane, and bamboo were bodies of the god Kane.

Bananas, squid, and some other forms of marine life were bodies of Kanaloa. The coconut, breadfruit, and various forest trees were bodies of Ku. (Handy & Handy with Pukui)

Kino lau are the multiple manifestations of akua, Hawaiian ancestors. Protocol, conducting oneself in an appropriate manner, was a part of everyday life. Permission was asked of plants (kino lau) and of the associated akua to utilize resources.

“While there is no record of Hawaiians planting native trees for the purpose of forest reforestation or restoration of native vegetation, protocol has been recorded that indicates that native trees such as koa, ʻōhiʻa and lama were not casually handled.”

“Depending on the purpose of handling, protocol specific to major appropriate gods would be practiced (i.e., to Kū for ʻōhiʻa, to Lea for canoe trees, to Laka for lama dedicated to the kuahu (altar of the hula hālau (hula school.)” (Sam Gon; Kumupaʻa)

Pukui and Elbert described kino lau as “the many forms [that might be] taken by a supernatural body.” It is derived from the words kino, meaning “form or embodiment,” and lau, meaning “many.”

Some believe that virtually every plant species known to the Hawaiians was considered kino lau of some spirit or deity. This concept helped to link the Hawaiian people to their gods.

Kinolau, are various forms or embodiments representing different aspects of the gods power and influence, revealing the deep reverence Hawaiians hold for the natural world and its interconnectedness with spirituality and culture.

In their ancestral worldview, the divine permeates everything, and everything embodies the divine.

Kino lau, translates to "many bodies" - the myriad forms of the 400,000 gods comprising the Hawaiian pantheon. Every aspect of nature, from plants and animals to clouds and ocean currents, embodies a god.

"There is a connection between the characteristics of the god and the kino lau," explains Hokulani Holt, a respected kumu hula (hula teacher) and Hawaiian cultural expert. For instance, Kāne, one of the four primary Hawaiian gods, associated with flowing water, has kino lau represented by water-bearing entities or water-dependent plants like taro and bamboo.

However, kino lau are intricate, reflecting the multifaceted nature of the gods. For example, when Kū, the god of war, is invoked, the shark represents one of his forms due to its aggressive nature.

Divine mutability accounts for Hawaiians recognizing 4 gods, but also 40, 400, and 400,000. Kino lau is a term encompassing the intricate relationship between Hawaiians and the natural world.

Holt illustrates how Hawaiians interact with gods through kino lau using hula as an example. Before performing, dancers adorn themselves and the hula altar with kino lau, typically plants associated with Laka, the essence of hula.

When non-Hawaiians came to power, hula was often relegated to mere entertainment, but it's fundamentally a spiritual practice. Before dancers adorn themselves, they must understand the story and poetry they're portraying, as poetry serves as an intellectual connection to the kino lau.

Kino lau extends beyond rituals, embodying a way of life enabling Hawaiians to thrive for centuries. Understanding kino lau fosters respect for the environment, crucial for agrarian societies like ancient Hawai‘i.

For instance, bananas are offered to Kanaloa, the god of the deep ocean. A fisherman wouldn't bring bananas on a canoe, as it's believed Kanaloa would take his offering and cause the canoe to sink.

In traditional Hawaiian society, everyone possessed basic knowledge of various aspects of life, while specialists delved deeper, fostering a cohesive culture.

Akua Kinolau

Kanaloa uhaloa, awa, water birds, banana, squid, some marine life

Kane flowing water, water-bearing entities
water-dependent plants like taro, sugarcane and bamboo,
popolo, awa, awapuhi, ki, ko

Ku shark, coconut, breadfruit, and various forest trees

Lono ipu, kukui, Rain clouds, hogs, gourds, and sweet potatoes

Pele flame, fire,lava, young lady, old hag

Laka