The essay, authored by Kanalu Young and co‑developed with Jon Kamakawiwo'ole Osorio and Pua Mendonca, critiques the Western use of the English word “art” to describe Indigenous Hawaiian skillfully created works (mea no'eau). It argues that Western fine‑art definitions exclude functional objects, whereas Hawaiian concepts of hana no'eau embrace both functional and aesthetic qualities in a single object. The text contrasts Western art’s non‑functional premise with Hawaiian works such as the feathered ahuʻula and carved kii, showing how these objects are simultaneously utilitarian and beautiful. It further contends that the Hawaiian language itself—through the terms mea no'eau and hana no'eau—better conveys cultural meaning than the English “art” or “craftwork.” The essay outlines the unit’s educational strategy (videos, articles, lectures) and cites Lahilahi Webb’s description of featherwork to illustrate the dual qualities of Hawaiian creations. Ultimately, it calls for Indigenous peoples to define aesthetic value on their own terms, positioning mea no'eau as a culturally appropriate category for understanding Native Hawaiian skillful works.
Topics
Critique of Western Art Definitions for Indigenous Works
Examines how Western fine‑art criteria—non‑functionality and aesthetic‑only value—marginalize Hawaiian objects like ahuʻula and kii, labeling them as folk art or craft.
Hana No'eau: The Hawaiian Dual‑Function Aesthetic Concept
Introduces hana no eau as a term that acknowledges both functional purpose and aesthetic value in a single Hawaiian work, contrasting it with the English “art.”
Mea No'eau as a Culturally Appropriate Terminology
Argues that the Hawaiian phrase mea no eau better conveys the cultural meaning of skillfully created works than “art” or “craftwork,” emphasizing language as a carrier of culture.
Pedagogical Strategy for Teaching Mea No'eau
Outlines the unit’s instructional methods—videos, article excerpts, lectures—to help students grasp the functional‑aesthetic nature of Hawaiian works.
Collaborative Development of Course Mana'o
Describes how three kumu (Osorio, Young, Mendonca) and Dr. Lilikala Kameʻeleihiwa shaped the unit’s title and conceptual framework, highlighting academic flexibility.
Reframing 'Art' in Hawaiian Context: From Western Fine Art to Mea No'eau
Explains why the English term “art” inadequately captures Indigenous Hawaiian skillful works and introduces mea no'eau as a culturally resonant alternative.