United States · Bark Cloth / Textile

Kapa Making — Native Hawaiian Barkcloth

Kapa

Kapa is the traditional Native Hawaiian barkcloth, made almost entirely from the inner bark of the wauke (paper mulberry) tree through a labor-intensive process of stripping, soaking, fermenting, and repeated beating that transforms bast fiber into a non-woven fabric. This record, together with CRAFT-2023 ('Ahu'ula Hawaiian Featherwork), closes a striking and complete absence in the CRAFT archive: despite Hawaii being a US state with one of the most technically celebrated indigenous craft traditions in the Pacific, no Hawaiian craft of any kind was documented among the archive's existing 75 United States records prior to this pair. A University of Glasgow-led scholarly project on Pacific barkcloth traditions, Situating Tapa, concluded that 'the kapa of Hawai'i was — and still is — unquestionably the most technically sophisticated and aesthetically diverse tradition of Pacific tapa, and indeed, probably the world's most complex barkcloth art,' distinguishing it from related bark-cloth traditions found across Polynesia, Melanesia, and Micronesia that share the same Austronesian ancestral origin. The wauke plant itself is documented as having been deliberately carried by canoe from the original Austronesian homeland through the Pacific migrations that populated Polynesia, making its cultivation and use in Hawaii a direct material link to that founding voyaging history.

Risk level: Extinct — Revival Exists · Not listed as UNESCO ICH; documented within major academic and museum sources (University of Glasgow's Situating Tapa project, Bishop Museum, Honolulu Museum of Art) as a nationally and internationally significant Native Hawaiian cultural practice

Alternate Names
Tapa (broader Pacific term)
Geographic Center
Practiced across the Hawaiian Islands, with documented contemporary practitioner concentration on Maui and the Big Island (Hawai'i Island)
Community / Ethnic Group
Native Hawaiian (Kanaka Maoli)
Estimated Origin
Traced to the original Austronesian migrations that populated the Pacific, with the wauke (paper mulberry) plant carried by canoe as part of that founding voyaging culture; kapa-making in Hawaii developed into its most technically refined regional form over the subsequent centuries of Hawaiian settlement and cultural development
Cultural Function
Kapa served comprehensive traditional functions — clothing, bedding, ceremonial use, and, distinctively, the customary wrapping of deceased loved ones' bones in funereal rites, a practice documented as continuing today when contemporary makers are asked to produce kapa for this specific purpose; kapa is also integral to hula performance, with hula hālau (schools) specifically commissioning kapa garments for use during events including the prestigious Merrie Monarch Festival; for contemporary Native Hawaiian communities, kapa-making functions explicitly as an act of cultural reclamation and nationalist identity assertion, deliberately rebuilding a tradition that was nearly erased by colonization rather than simply continuing an unbroken practice
Primary Materials
Wauke (paper mulberry, Broussonetia papyrifera) inner bark — the primary and most historically significant kapa material, though other native plants including māmaki and 'ākala are documented as alternative or supplementary bark sources
Primary Tools
I'e kuku (four-sided wooden anvil-and-beater tool, hand-carved from native wood, with each face bearing different groove patterns for different beating stages); 'ohe kāpala (carved bamboo printing tools for imprinting patterned designs onto finished cloth)
Process Overview
Wauke trees cultivated and tended; bark harvested in a single continuous strip; bark soaked and fermented to soften fiber structure; soaked bark beaten with the i'e kuku across its four graduated faces to spread and bond fibers into cloth; multiple beaten sheets joined together where a larger cloth is required; finished cloth patterned using carved 'ohe kāpala printing tools; natural dyes and pigments applied for color and pattern; completed kapa prepared for its intended clothing, ceremonial, or funereal application
Traditional Applications
Clothing and bedding; ceremonial and religious use; customary wrapping of deceased loved ones' bones in funereal rites; hula performance costume, particularly for prestigious events including the Merrie Monarch Festival
Contemporary Applications
Contemporary fine-art kapa production displayed in galleries, hotels, and private collections; continued ceremonial and funereal application; educational workshops teaching the revived technique to new practitioners; consultation work for hula institutions requiring authentic kapa garments
Notable Practitioners
Dalani Tanahy (contemporary kapa maker, consults for hula hālau performing at the Merrie Monarch Festival, created kapa for display at Queen Kapi'olani's bedframe memorial and for funereal bone-wrapping rites, teaches workshops at the Honolulu Museum of Art School); Lehuauakea (Kanaka Maoli interdisciplinary artist and kapa maker from Pāpa'ikou, Hawai'i Island, part of the next generation of kapa revival practitioners); Sandy Schattenburg-Raymond (Maui-based kapa maker and instructor, works exhibited in multiple statewide craft exhibitions)
Key References
University of Glasgow, Situating Tapa project (cited in Art of the Ancestors, 'Barkcloth and Feathered Capes'); Halekulani Living Archives, 'Creation of Kapa'; HAWAI'I Magazine, 'Rediscovering the Art Form of Hawaiian Kapa'; LEHUAUAKEA, 'About Native Hawaiian Kapa'; Handmade in the Pacific (documentary series), 'Kapa' episode
Verification Status
Verified

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