And HMS "Blonde" the Use of History in the Study of Ethnography

"L'Aigle" and HMS "Blonde" The Use of History in the Study of Ethnography Adrienne L. Kaeppler1, Bernice Pauahi Bishop Museum My intent in this essay is to stress the importance of historical accuracy for interpretation of ethnographic materials and to point out how "facts" can be bent by interpretations and wishful thinking and how easily historical detail can be lost by the withholding of information. These points will be presented in the context of objects transported on the two ships L'Aigle and HMS Blonde and associated with Kamehameha II, Kamamalu, and their retinue, as well as the officers and men of these two ships. I have been interested in these two ships and this period of history since 1969 when I brought the Kintore cloak back from Scotland and took part in arranging the exhibition of material from Bishop Museum's collections from HMS Blonde at Hulihee Palace in 1973. Although my research is only partially complete, it seems appropriate to present same preliminary thoughts because of the recent interest in the so-called "lost" painting of Boki and Liliha which has now come to Hawaii. In this context there are three themes of particular interest. The first and most important strand is the attempt to locate ethnographic objects associated with these two ships because they give us definite dates of collection which can, in turn, tell us about Hawaiian objects of 19th Century use—"use" here being interpreted in a broad sense which includes to "give away." This is important in the study of evolution and change in Hawaiian material culture and the eventual definition of the style that I have termed "evolved traditional." The second strand is my insistence on the necessity of historical accuracy rather than guesswork in ethnographic research of all kinds and the necessity of going to original Adrienne L. Kaeppler, Anthropologist at the Bernice Pauahi Bishop Museum, has carried out research in Tonga, Tahiti, Hawaii, and Europe on social structure, material culture, music and dance. 28 sources—because much published work simply repeats the mistakes made in the past yet again, and dignifies guesswork and wishful thinking into historical fact. The third strand is the Hawaiian people's perceptions of themselves and their culture in the 19th Century, Europeans' percep- tion of Hawaiians in the 19th Century, and how these perceptions have influenced each other to evolve the various perceptions of Hawaiians today. Obviously one cannot explicate any of these strands exhaustively here, but I think it is necessary to point out why my research has taken the form that it has. L'Aigle was the English whaling ship, under the command of Captain Starbuck, on which Kamehameha II (Liholiho), Kamamalu, and their retinue traveled to England to gain firsthand experience in European ways. The retinue included Governor Boki and High Chiefess Liliha. Liholiho and Boki took with them visual symbols of their Hawaiian chiefliness, which included several feather cloaks and capes. Kamamalu and Liliha took with them fine kapa clothing suitable for their rank, and someone took a lei niho palaoa neck ornament. Presumably these were objects that Hawaiian dignitaries perceived as distinctive of their Hawaiianness and objects that might be suitable as gifts. Note that Liholiho did not take the golden cloak of Kamehameha I nor the cloak of Kiwala'6 (which Kamehameha I had taken as a battle prize), both of which must surely have been inherited by Liholiho. What he took were expendable feather pieces—perhaps new and/or without historic mana that needed to be retained. We will look first at what happened to the feather pieces and for what purposes they were used. First of all, a beautiful feather cape was given by Liholiho to the Captain of the L'Aigle, Valentine Starbuck, and subsequently his descendant, Miss Evangeline Priscilla Starbuck, gave it to Bishop Museum (C 208). A remarkable piece of featherwork, it must surely be post-European and what I have termed the evolved traditional or 19th Century style—-which I will come back to later.2 A second feather cape, also of the 19th Century style, was presented "by the King of the Sandwich Islands ... to an officer of the ship which brought him"3 to England, and is now in the British Museum (+5769). Just as in Cook's time, the use of feather pieces as gifts to captains and officers of ships was continued on L'Aigle and, as we will see below, on HMS Blonde. The first major landfall of L'Aigle was Rio de Janeiro where the royal party was presented to the Emperor of Brazil. In the National Museum of Brazil there is today a beautiful Hawaiian feather cloak, with the information that it was the mantle of Queen Kamamalu and presented by Kamehameha II to the Emperor of Brazil, Don Pedro I, in 1824. 29 Although one could easily accept the attribution on this basis alone, the gift was also recorded in the London Times of May 25, 1824. On their way to this country, they touched at Rio de Janeiro, and during their stay their Majesties were presented to the Emperor of Brazil . when the Emperor was pleased to present the King with a most elegant sword; and in return the King presented the Emperor with a most curious cloak or mantle, made of the richest materials of his islands, the outside of which is of feathers of rare birds, of the most beautiful colors. Unlike the Starbuck and British Museum capes which were possibly recently made, the Brazil cloak appears to have been an old one—perhaps undesired by Liholiho because of its style. Liholiho, having grown up with European clothes, must have found that its straight neckline was both uncomfortable and awkward. If any of his cloaks were expendable surely it was this. Indeed, it is probable that Liholiho didn't like wearing cloaks at all for at an entertainment for "Their Sandwich Majesties" on May 31st the Queen was dressed in a combination of European and native attire. His Majesty was dressed after the European fashion, while "the Treasurer alone was dressed in the full costume of his country, with a large staff, etc."4 It would be instructive to know what the Treasurer (who was named as Joanoa and refers evidently to Kekuanaoa) wore, besides evidently, carrying a kahili. On another occasion, however there is more detail—there was "the King accompanied by three of his subjects, all dressed like him in European costume; and a fourth whose office I did not know, but he wore over his ordinary coat a scarlet and yellow feather cloak and a helmet covered with the same material, on his head."5 At least two cloaks now in museums in Britain can be traced to the visit of Liholiho to England. One was given to the Honorable Frederich Byng of the Foreign Office who was assigned to the Hawaiian royal party. Byng gave the cloak to his brother-in-law, the Reverend Colin Campbell, who, in turn, gave it to the Saffron Walden Museum in 1838. The Saffron Walden Museum sold it to the Royal Scottish Museum in Edinburgh in 1948, where it now remains. The Saffron Walden Museum records that it was worn by Liholiho's "favorite medicine man." The other now in the British Museum (1174) was "presented to the late Sir. H. Chamburlayne by the King of the Sandwich Islands."6 This cloak is with little doubt the one depicted by John Hayter in his portrait of Boki and Liliha. There seems to have been some confusion as to just who was whom, for when this painting was first offered for sale to Bishop Museum in January, 1974 it was thought that the persons Fig. 1. Boki and Liliha, Oil painting by John Hayter (photo courtesy The Kamehameha Schools). 3° depicted were the King and Queen, and the cloak may have been a gift from Boki rather than Liholiho. Unfortunately, the helmet in the Hayter painting cannot be so easily traced, but there are several pieces of kapa that are said to be part of the "native robe of the King who came to England in 1824"7 now in the British Museum. Another piece, said to be "part of the dresses either of Kamehameha II, King of the Sandwich Islands, or his Queen Kameha- mealu, who died in London, July 1824,"8 was presented by a private collector to the Cuming Museum in London and subsequently it was given to the Saffron Walden Museum, but cannot now be located. It was described, however, as "cloth of turmeric yellow color." Liliha apparently wore some of the kapa for her portrait along with a lei niho palaoa now also unidentified. The portrait displays in romantic terms the European conception of the noble savage, but in regard to physical likeness, the art historian Alfred Frankenstein feels that they are "polite fictions."9 Boki evidently commissioned the painting after the death of the royal couple and then had difficulty paying for it at the time of his return to Hawaii. Although it has been said that the British Government pur- chased it and intended to send it to Boki as a present on HMS Blossom in 1826, it may well be that the cloak he wore was used as payment. Why the portrait was not sent and how it got into the collection of Sir Alexander Keith, Knight Marischal of Scotland, is still a mystery. But there it remained until it went into the collection of John Moncrieff Macmillan who sold it to San Francisco book dealer Warren Howell, who in turn sold it to Mr.

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