text:
Talk:Honolulu County, Hawaii

History information

 * At 16:58, 15 July 2004 User:Gerald Farinas started page City and County of Honolulu by copy-&-pasting (not cut-&-pasting) from Honolulu County, Hawaii, so starting 2 parallel versions. Anthony Appleyard (talk) 20:18, 17 June 2008 (UTC)

Which name?
This article is redundant. There is no "Honolulu County" in Hawaii - Marshman 04:40, 27 July 2005 (UTC)

The official rendering, as prescribed by the City Charter of Honolulu is the City & County of Honolulu, not the City and County of Honolulu. Please do not edit this article and other articles that use the official term.
 * I have always felt (as a citizen of the City & County of Honolulu) that the official way was using the ampersand (&). But the city's own official website mostly uses "City and County". I agree, leave it as City & County, but take away this lesson: there are damn few official correct sources of information  - Marshman 02:24, 15 Jul 2004 (UTC)

I have a map which shows that Honolulu County only covers the city limits of Honolulu, and that the rest of the island is Oahu County. I've tried to find info online to prove or disprove that it is one way or the other, but I can't find anything conclusive. (Maybe it was historically this way?) I have also heard that Honolulu County also covers the uninhabited minor outlying islands at the northwest end of the state. Can anyone confirm or deny these bits of knowledge? -radiojon 04:36, 2003 Aug 27 (UTC)

 * There is no such entity as Oahu County since the the charter revisions that created the office of Mayor of Honolulu and the Honolulu City Council in the early 1900s. The legal boundaries of the entity called the City & County of Honolulu is comprised of the entire island of Oahu and the various Northwestern Hawaiian Islands.  The city and county are coextensive, meaning they share the same exact boundaries.  I'd have to say your map might be worth something if it says that Honolulu County only covers the city limits of Honolulu and the rest makes up the County of Oahu.  It is not and never was that way.  Previous to the creation of the county however, Oahu was known as a royal administrative region, administered by its own governor appointed by the monarch.  Even then, Honolulu was coextensive with the island.  --Gerald Farinas 01:42, 15 Jul 2004 (UTC)
 * I too (like Gerald) am a citizen of the City & County of Honolulu and can tell you Gerald is exactly right in everything he says—although I'd say there is only one government entity (City & County of Honolulu) so there is not a city and county to be "co-extensive" or share anything. I suppoase the "city limits" alluded to could be the state district of Honolulu, which appears on USGS topographic maps; these maps would also show the entire island as Oahu and I do not believe have any indication of City & County jurisdiction shown. I'm also amazed you could not find anything online you regarded as "conclusive". The City & County of Honolulu has a very well-developed website that seems quite conclusive. Also, Wikipedia has a lot info on this subject which is not only well written, authoratative, but regularly checked and rechecked by plenty of Hawaii residents. - Marshman 02:18, 15 Jul 2004 (UTC)

I graduated from a high school in Hawaii. One of the graduation requirements was to name all the counties in the state. Well, that was easy as they were the same names as the islands. I never heard of any Honolulu County. Oahu County, yes Trentc (talk) 07:52, 23 May 2014 (UTC)

Guiness World Record?
I removed the claim that the Guinness World Record says it's the longest city as it's not supported by the reference. A google reveals several people who do claim it's a guinness world record but it looks like they took the claim from here. It would be good if someone with the book could verify the detail. Nil Einne 07:46, 6 July 2007 (UTC)

"The" Honolulu?
Can someone explain why the city seal displayed on this page says "City and County of The Honolulu"? - Montréalais 18:51, 21 August 2007 (UTC)
 * That's a very good question. If you go here, you'll see a small size version of the seal, and I'm pretty sure that there are only five words, not six, on the top half of the seal.  Nyttend 19:00, 21 August 2007 (UTC)

Infobox Settlement or County infobox
Which infobox should we use? Should we add parameters to one or the other? WhisperToMe (talk) 19:27, 14 October 2008 (UTC)
 * The standard in this case is to use the county box, as this is indisputably a county, while the status of Honolulu is odd (due to the CDP not encompassing the entire county); and in other cases where we have a unified city-county but separate articles (for example, Lexington and Fayette County, Kentucky), we have the county infobox on the county but the city infobox on the city. Nyttend (talk) 00:00, 15 October 2008 (UTC)
 * So, what I would like to do is add the motto of Honolulu and the mayor to the county infobox. I'll see if some free labels do the trick. WhisperToMe (talk) 00:31, 15 October 2008 (UTC)

Proposed move to City and County of Honolulu, Hawaii
Looking at an above discussion from seven years ago, I'm wondering why this page is still "Honolulu County, Hawaii" when there's overwhelming evidence justifying that the article be titled "City and County of Honolulu, Hawaii". Musashi1600 (talk) 21:54, 21 June 2011 (UTC)

 * "City and County of Honolulu, Hawaii" is the official name. Sorry I didn't notice this proposal until now. --Travis Thurston+ 04:54, 9 September 2011 (UTC)

Move?

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

No consensus to move. Vegaswikian (talk) 05:31, 28 July 2011 (UTC)

Honolulu County, Hawaii → City and County of Honolulu, Hawaii –
 * An old discussion on the talk page made a case for changing the page title, but it was apparently never done, and a recent request for comments didn't get any responses. Musashi1600 (talk) 09:20, 21 July 2011 (UTC)
 * That discussion is 6–8 years old; too much has changed since then about how we title articles to consider that uncontroversial. In particular, we have an explicit preference for stable titles, and a title that has been unchanged in eight years is very stable indeed.  Powers T 12:46, 21 July 2011 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

CDP
What does CDP mean, and why are we using it?

-oo0(GoldTrader)0oo- (talk) 20:55, 6 May 2012 (UTC)

City and County of Honolulu Liquor Commission - Merge Proposal
Merge - If the Liquor Commission article was longer, I'd say no. But since the article is basically one sentence long, it makes sense to bring this over. Does the template have to come with it? --Travis Thurston+ 05:02, 9 September 2011 (UTC)
 * Support Bit of a no-brainer. --BDD (talk) 17:21, 10 April 2012 (UTC)

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Zip code range is incorrect.
I live in Wahiawa, which is a CDP within the City & County of Honolulu. My ZIP code is 96786. The ZIP code range on the page however, only covers 96801–96898 codes. Please correct this error with the ZIP code ranges for the entire county. — Preceding unsigned comment added by 98.151.249.222 (talk) 05:16, 05 May 2022 (UTC)

 * Oh, not so easy to fix, as 96701—96799 contains a mix of zip codes on Oahu & other islands, plus some invalid zip codes. Peaceray (talk) 05:49, 5 May 2022 (UTC)

 * The actual zip codes for Oahu appear to be 96701, 96706, 96707, 96712, 96717, 96730, 96731, 96734, 96744, 96759, 96762, 96763, 96782, 96786, 96789, 96791, 96792, 96795, 96856, 96801-96828, 96830–96863. The question is how to best represent a multitude of non-contiguous zip codes. Peaceray (talk) 06:12, 5 May 2022 (UTC)
 * ✅ Many county articles simply omit the zip codes. I will do that here, at least for now, since the current representation is certainly incorrect.
 * Does anyone have alternatives to a complete omission? Peaceray (talk) 06:17, 5 May 2022 (UTC)

title: Talk:Honolulu County, Hawaii


text:
Talk:Hawaii County, Hawaii

Untitled
Wondering how to edit this U.S. County Entry?
 * The WikiProject U.S. Counties standards might help.

NPOV
Moved from Village pump

"Savage", POV?

Is the following, from "Hawaii County, Hawaii" a violation of NPOV, since it contains stereotypes?

 * Captain James Cook...was killed on Hawai`i....No one who visits it in the present day need be afraid of sharing the fate of poor Captain Cook; for the descendants of the savages who, in his time, inhabited the island, have now, through the labours of Christian missionaries, become a very decent sort of quiet, well-behaved Christian people.

--Menchi 04:40 Apr 7, 2003 (UTC)
 * Yep, I have removed it. Mucho graciasTuf-Kat

Many thanks to Menchi for bringing this to attention. I removed:
 * No one who visits it in the present day need be afraid of sharing the fate of poor Captain Cook; for the descendants of the savages who, in his time, inhabited the island, have now, through the labours of Christian missionaries, become a very decent sort of quiet, well-behaved Christian people.

Because, according to my POV, the fact that Hawaiians are quiet, well-behaved and Christian (apparently, absolutely all of them) is a bad thing. I think they should be louder, rowdier and adopt whichever religion (though preferably none) gives them peace of mind. My friend Racist Joe is still terrified of Hawaiians because he thinks they're cannibals. Tuf-Kat

I presume that quote was being ironic. It certainly gave me a laugh. Maybe we should create a special POV page for nutty but comic comments like this one. STÓD/ÉÍRE 05:11 Apr 7, 2003 (UTC)

Sugar Town Foodscapes

 * JHU: Raising cane, scientifically

Original Broadcast Date: 1952 September 1

1 digital betacam videocassette (30 min.) : sd., b&w ; 1/2 in.

1 VHS videocassette (30 min.) : sd., b&w ; 1/2 in.

Abstract
Mr. Miller, assistant vice president of the Hawaiian Suger Planters Association, describes Hawaii's largest industry, sugar production. He shows photos of the process, from planting, cultivation, harvesting, and finally processing at the C & H Refinery in Crockett, California.

A film details the work of the genetic laboratory in Hawaii that cross-breeds canes from countries around the world in order to create new hybrids that will be more resistant to disease and insect pests and produce a higher yield of sugar.

Subjects Sugarcane -- Hawaii

Sugarcane -- Breeding

Sugarcane industry -- Hawaii

Credits Host : Lynn Poole

Guest : Slator M. Miller

Narrator : Joel Chaseman

Producer : Lynn Poole

Asst. Producer : Robert Fenwick

Director : Paul Kane

Asst. Director : Ed Sarrow

Art Director : Barry Mansfield RJBurkhart 04:07, 22 January 2006 (UTC)

More Eco-History Trails & Tales
Softcover ISBN 0-9705787-1-7 The Big Island's Hamakua Coast was the classic plantation community
 * Lyon Arboretum
 * Watermark Publishing:

SUGAR TOWN
Life on the Plantation - in an Era When Cane Was King
 * Hawai´i Plantation Days Remembered
 * by Yasushi Scotch Kurisu
 * 7" x 10", 112 pp.
 * Softcover, perfect bound
 * ISBN 0-9705787-1-7
 * $14.95

The Big Island's Hilo Coast was the classic plantation community with brawny mills, tidy camps and broad fields of billowing green. A boy could ride the flumes, watch the Sunday cockfights or spend his pennies at the general store. And a man could make an honest living in the green rows of cane or the brawny, bustling sugar mills. Scotch Kurisu was born into this world and never left, working his way from field hand to a position on the board of directors. Sugar Town is his own story -- a broad overview peppered with fascinating anecdotes and more than 70 archival photos. Its a story that helps preserve the spirit of a bygone era. RJBurkhart 13:51, 22 January 2006 (UTC)

Removing okinas
The conventional name of this county appears to be "Hawaii County" not "Hawaii County". The official website, the US Census Bureau , and the major media listed in the article (the Hawaii Tribune-Herald and West Hawaii Today ) all do not use the okina. When one googles "Hawai'i County" (57,300 hits ), google asks if you actually meant "Hawaii County" (322,000 hits ). As a result of this evidence, I've removed the okina from the intro paragraph etc.Erudy 16:36, 1 October 2007 (UTC)
 * Odd as it seems to me, many Hawaii articles use okinas. I've reverted your changes, simply because it seems to be more in line for similar articles; you'd do better to bring this up at the Hawaii Wikiproject.  Nyttend 17:12, 1 October 2007 (UTC)

 * Yes, we've been discussing this on the WikiProject page. (including keeping the okina out of titles of articles) However, not a ton of people have commented so far. --Ali'i 15:15, 2 October 2007 (UTC)

I have changed over to the english spelling of Hawaii. Hawaiian government pages (including the county page) only occasionally use the Hawaiian Language spelling. The Hawaiian spelling is rarely used on the mainland, and virtualy unknown in other english speaking countries Mistermistertee (talk) 16:24, 31 December 2007 (UTC)

 * It would appear that WikiProject Hawaii/Manual of Style indicates otherwise. --Kralizec! (talk) 05:20, 3 January 2008 (UTC)

The new Mayor has revised the official County web site and the Mayor Office site to use the okinas. At least I would hope we can use them for community names and the districts. "Hawaii" is unambiguous, we always know what that means. (although for that matter the island should probably be Hawaii since it does appear on local maps.) Sometimes the marks can change meaning (and pronuciation!). If someone says Kau it means the district, while "Kau" would refer to the four-legged female dairy animal. W Nowicki (talk) 21:34, 22 April 2009 (UTC)

Im not going to take a possision on this, but it should be decided, and used throught the article. There is currently several uses with and several without the okina. It is confusing. — Preceding unsigned comment added by 209.29.4.43 (talk) 14:55, 19 October 2015 (UTC)

County administrative districts
What is the nature of Hawaii County's administrative districts? Looking up Kona District I find that "Kona is the name of a moku or district on the island of Hawai‘i" and that "the moku of Kona is divided into North Kona District (Kona ‘Akau) and South Kona District (Kona Hema)." Then I come to the Hawaii County page and find identification of the districts but no explanation of what they are. I view the Maui County and State of Hawaii pages and find, respectively, no counterpart nor statewide convention on dividing counties. So is the moku an area represented by a county commissioner or councilor or similar figure? Or does it have a more (or less) substantial purpose? Michael Patrick (talk) 01:01, 12 December 2008 (UTC)
 * You could try looking it up in the state legal code, although I found it rather more difficult to get through than other states'; hopefully if you try that way you'll be able to get what you need faster than I could. Nyttend (talk) 02:49, 12 December 2008 (UTC)

I would like to work on this. The Moku (perhaps rates an article?) were the historical divisions. Current districts are for electing county council representatives. Generally I would like this page and related category only to talk about government issues, and the Hawaii (island) page (and category?) for all other info. Also what is this "Sugar Town" stuff doing here? W Nowicki (talk) 20:52, 17 March 2009 (UTC)

Charts?
Some charts were attempted to be added recently. These might provide some interesting information, but need to be added without disrupting the layout of the article, using full citations, etc. This is about the county, not the island (although they are "coterminous" or whatever) so might be the place for this info. Need to make sure they are copyright free, census data should be, I think? Ah, one of the links was to "mapzones" which is evidently not. The census data would need to be put into copyright-free charts. http://factfinder.census.gov/servlet/SAFFFacts?_event=Search&_county=Hawaii+County&_cityTown=Hawaii+County&_state=05000US15001 W Nowicki (talk) 17:56, 29 November 2009 (UTC)
 * See here; I don't like their removal, but enough other people seem to oppose their inclusion that it's too late to keep these useful images. Nyttend (talk) 03:34, 1 December 2009 (UTC)

Merge
A merge more than plausible, once the article relates directly to the Hawaii County. Krenakarore (talk) 17:27, 30 September 2010 (UTC)

Merger proposal
I propose that Hawaii County, Hawaii be merged with Hawaii (island). As the county article says "[the county] is coterminous with the Island of Hawaiʻi", so the scopes would be almost identical. For precedent New York County, New York was merged into Manhattan back in 2003. No opinion on what the title of the merged article should be. Emmette Hernandez Coleman (talk) 20:50, 21 May 2013 (UTC)

On second thought the Island would probably have much more historical significances, so I'll merge the county article to the island article. Emmette Hernandez Coleman (talk) 18:41, 30 May 2013 (UTC)

Map missing
The map of Hawaii county is unreadable and appears as text. 2601:640:4080:5960:C8E0:2EBE:FDE2:5349 (talk) 03:27, 11 January 2017 (UTC)

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 * Added archive https://web.archive.org/web/20101123054034/http://hawaii-county.com/directory/dir_liquor.htm to http://www.hawaii-county.com/directory/dir_liquor.htm
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County government update tag
Regarding the update tag I placed, there is a map of the current districts here: https://www.hawaiicounty.gov/home/showpublisheddocument/1651/636986190654170000

And an article about the upcoming redistricting here: https://www.hawaiitribune-herald.com/2021/02/28/hawaii-news/no-data-for-maps-redistricting-commission-meets-monday/

TBP25 (talk) 04:23, 13 September 2021 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Hawaii County, Hawaii


text:
Hikuleʻo

In the mythology of Tonga, Havea Hikuleo is the goddess of the world, Pulotu. The islands of Kao, Tofua, Hunga Haapai, Hunga Tonga, Late and Fonualei came from stones thrown down from the skies by Hikuleo. They are all volcanic islands. The other, (coral) islands were fished up by her brother or cousin Maui.

Mythology
Hikuleʻo's ancestors were, according to one source, the god Pil'e (Limu according to others) and the goddess Kele, who came from Pulotu and created the mythical land of Tongamamaʻo for their children to dwell in. They had a son Toiukamea "Hidden Iron" and a daughter Māʻimoaʻalōngona "Royal Game of Hearing" who married each other and had children. This pair seems to be a modern invention, since ukamea "iron" is a word that postdates European contact; other informants leave out this generation.

Among their children were many sons, the boy Taufulifonua and the girl Havea Lolofonua. One day they lay on the beach, naked, as they were still innocent, with their legs in the sea. The tide rose and the water covered them more and more. Then an oʻo ("penetrate") fish swam along and started to suck from the girl's labia, which caused her a lot of joy. Once the fish had been chased away the boy tried to gently stroke her inflicted parts but that did not give her relief. Then instead of his hand, he tried it with his penis, and suddenly the girl was consoled. So copulation was invented, and Havea Hikuleʻo was the first of many children.

Meanwhile, Taufulifonua and Havea Lolofonua's younger brother and sister, also twins, also married each other. They were named Fonuʻuta "Land Turtle" and Fonutahi "Sea Turtle" and their child was Maui (Maui Motuʻa, that is; if he was not the child of Taufulifonua and Havea Lolofonua themselves). And the next younger brother and sister, also twins who married each other, were Velesiʻi "Small Enticer" and Velelahi "Big Enticer", who brought forth Tangaloa (Tangaloa ʻEiki, that is).

When Taufulifonua had become old and close to death, he divided the universe: Tangaloa got the sky to rule, Maui the earth, and Havea Hikuleʻo became the lord of Pulotu.

Tangaloa's descendants would become later the (divine) Tuʻi Tonga starting with ʻAhoʻeitu. Maui's line became the Tuʻi Talau, while Hikuleʻo's offspring was Loʻau, and the ancestry of the Tuʻi Haʻatakalaua.

The historical interpretation of this triumvirate (Hikuleʻo, Maui, Tangaloa) may be a struggle to liberate Tonga from the dominance of the Tuʻi Pulotu empire in Fiji, after which the victors could divide the spoils. Or theoretically they could have been Samoans, which made would have made Tonga and Fiji part of the so-called Tuʻi Manuʻa empire. But without credible evidence or claim, it is still a mystery whether Tu'i Manu'a even existed or had power over the isles of Tonga, Fiji or any other.

In popular culture
Tongan American professional wrestler Taula Fifita performs under the ring name "HIKULEO".

title: Hikuleʻo


text:
Hine-i-Tapeka

In Māori mythology, Hine-i-Tapeka or Tapeka is a goddess of underground fire. She is the sister of Hine-nui-te-pō and Mahuika, and her parents are given as Tāne or Makara and Rotua. According to Ngāti Awa legend, she pursued Māui after he had destroyed the Fire Children. According to Tākitimu, she hid her fire under the earth, where it became the origin of volcanic fire.

title: Hine-i-Tapeka


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Hine-kau-ataata

In the Māori mythology of the Ngāti Hau tribe, Hine-kau-ataata, translated as "maid swimming in the shadow," is the daughter of Tiki (Man) and Mārikoriko (Twilight). When she is born, the first clouds appear in the sky.

title: Hine-kau-ataata


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Mārikoriko

In a Māori legend attributed by ethnographer John White to the Ngāti Hau tribe, Mārikoriko (Twilight) is the first woman, created by Ārohirohi (Shimmering heat) from the heat of the sun and the echoing cliff. She married Tiki, the first man, and gave birth to Hine-kau-ataata (Woman floating in shadows).

title: Mārikoriko


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Paoro

Paoro is a mythical entity that appears in early Māori creation myths.

The name Paoro (meaning echo) appears in John White's English translation of a Māori story attributed by him to the Ngāti Hau tribe, as a personal name meaning 'Echo'. However, in the Māori language original which White also supplies, the name Paoro does not appear – instead the word used is 'pari-kārangaranga', "echoing cliff".

In the Māori story, Mārikoriko (Twilight) is the first woman, created by Ārohirohi (Shimmering heat) from the heat of the sun (Kau-ata-ata) and the echoing cliff (Paoro). She married Tiki, the first man, and gave birth to Hine-kau-ataata (Woman floating in shadows).

title: Paoro


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Tiki culture

Tiki culture is an American-originated art, music, and entertainment movement inspired by Polynesian, Melanesian, and Micronesian cultures, and by Oceanian art. Influential cultures to Tiki culture include Australasia, Melanesia, Micronesia, Polynesia, the Caribbean Islands, and Hawaii. The name comes from Tiki, the Māori name for the first human, often represented in the form of hei-tiki, a pendant and important taonga. The hei-tiki was often appropriated by Europeans as a commercialised good luck charm, hence the name of Tiki culture. Despite spanning over 10,000 miles and including many different unrelated cultures, religions, and languages, Tiki aesthetic is considered by some to be amalgamated into one "fantasia of trans-Pacific cultures" and "colonial nostalgia". Because of this, and the simplistic view of the Pacific taken by the aesthetic, Tiki culture has often proved controversial.

Tiki culture initially extended to decorate themed bars and restaurants, catering to Americans' views of the South Pacific. Featuring Tiki carvings and complex, alluringly named alcoholic drinks, it eventually influenced residential recreation. It became one of the primary ways, although indirectly, that New Zealand culture influenced that of the United States. Beginning in California in the 1930s and then spreading around the world, Tiki culture was inspired by the sentimental appeal of an idealized South Pacific, particularly Polynesia, as viewed through the experiences of tourists and Hollywood movies, incorporating beautiful scenery, forbidden love, and the potential for danger. Over time, it selectively incorporated more cultural elements (and imagined aspects) of other regions such as Southeast Asia. While the decor and ambiance at these establishments largely draws from Polynesian influences, the cocktails are inspired by the tropical drinks and ingredients of the Caribbean.

Tiki culture changed over time, influenced by World War II and the firsthand exposure hundreds of thousands of American servicemen gained during that conflict. In time its appeal wore off, and both the culture and the hospitality industry theme saw a decline. The early decades of the 21st century have seen a renaissance of interest in Tiki culture, including a limited commercial revival. In addition, it has attracted people interested in cocktails, history, urban archeology, and retroism. However, the appropriation of indigenous Pacific cultures has become increasingly challenged as culturally insensitive or racist.

Name
Tiki is the first human in Māori mythology, and also a wooden image of him.

The word "tiki" was used to describe the style of the tropical islands of the South Pacific starting in the late 1930s, a usage that is "unknown to the languages of the Pacific". It was applied early on to "tiki punch", "tiki rooms", "tiki torches", and so on. By the 1950s, restaurants often used the word to describe Polynesian-themed bars "tiki bars" and "tiki rooms".

The term "tiki culture" only appears in the 1990s, to describe the revival of the style.

Origin
Tiki culture began at the end of Prohibition in 1933 with the opening of Don's Beachcomber, a Polynesian-themed bar and restaurant in Hollywood, California. The proprietor was Ernest Raymond Beaumont-Gantt, a young man from Texas and New Orleans who had done some rum-running with his father and claimed to have sailed throughout much of the Pacific Ocean. The restaurant's name was later changed to Don the Beachcomber, and Beaumont-Gantt legally changed his name to Donn Beach. His restaurant featured Cantonese cuisine and exotic rum cocktails and punch drinks, with a décor of flaming torches, rattan furniture, flower leis, and brightly colored fabrics that looked like imagery out of the popular movies that were helping to fuel the desires of the average American to travel the Pacific.

In 1936, a restaurant owner from Oakland, California, Victor Bergeron, ate at the Don the Beachcomber restaurant. Bergeron said: "We went to a place called the South Seas...and even visited Don the Beachcomber in Hollywood. In fact, I even bought some stuff from Don the Beachcomber. When I got back to Oakland I told my wife what I had seen, we agreed to change the name of our restaurant and our décor." The renamed restaurant, as well as his new nickname, became Trader Vic's. Bergeron adopted the new persona in a manner to imitate Beach's theatrics and further perpetuate the illusions of Hollywood, telling people that the leg he had lost to tuberculosis had been the result of being attacked by a shark.

Other restaurants such as Clifton's Cafeteria also had begun introducing grand decorations based on non-traditional and "kitschy" themes. Clifton's was heavily remodeled in 1939 to become Clifton's South Seas. The exterior and interior were decorated with 12 waterfalls, volcanic rock, and tropical foliage. It supposedly even featured a "sherbet-gushing volcano".

The décor of both the inside and the outside of the restaurants was often painstakingly created with decorations from around the world. Joseph Stephen Crane, the owner of the later The Luau restaurant, began his menu with a list of the places of origin of his building materials. It included not just Hawaii but virtually all areas of Oceania, as well as furniture from Hong Kong and "man eating clam shells" from the Indian Ocean.

Early tiki restaurants, although not called that at the time, attempted to walk a fine line between the reality and myth of what they were creating, acknowledging that much of it was Hollywood hocus-pocus but also trying to create an atmosphere of authenticity. Crane's later restaurant menus stated: "You have just passed the gangplank into another world – into a segment of Paradise – or such is the illusion we of THE LUAU hope to create. And truly it is more than an illusion for there is authenticity in the adventure you are about to experience... Both food and drink are prepared under the matchless guidance of the one and only Dr. Foo Fong... Our drink specialties, Island Symphonies of rare and distinguished rums, irresistibly claim your fullest respect which is best shown by drinking slowly and reverently".

South Seas genre movies leading up to this period included White Shadows in the South Seas (1928), The Love Trader (1928), and Bird of Paradise (1932). Beach frequently interacted with movie stars, inviting them to his home for luau-like dinners and becoming friends with actors such as Clark Gable.

Hei Tiki was released in 1935, with a New York Times review describing the plot as being about "a chieftain's daughter who is declared tabu and destined to be the bride of the war god". It attributed the title to mean "love charm", in reference to Hei-tiki pendants sometimes associated with fertility. Waikiki Wedding, starring Bing Crosby and Martha Raye, was released in 1937 with the popular song "Blue Hawaii", as was Her Jungle Love in 1938, starring Dorothy Lamour.

During a time when overseas civilian China Clipper air travel was still uncommon, the Hawaiian Steamship Company's Matson Line also continued its aggressive advertising campaigns promoting a leisurely but still exotic island lifestyle, led by famous photographers such as Edward Steichen and Anton Bruehl and featuring actresses such as Jinx Falkenburg (later in Sweetheart of the Fleet and Tahiti Nights). Matson commissioned artists to design memorable keepsake menus for the voyages.

Between the Matson Line's advertising, new restaurants and continual cinematic exposure, the theme began to take on a life of its own. California's World's Fair in 1939 – the Golden Gate International Exposition – celebrated for the first time Polynesian culture in the United States. The feature of the fair was "Pageant of the Pacific", primarily showcasing the goods of nations bordering the Pacific Ocean. At its opening ceremonies President Franklin Roosevelt spoke of friendship and the co-mingled destinies between the United States and Pacific countries, a sentiment physically symbolized in part with the incorporation of a giant, 80-foot statue of Pacifica, goddess of the Pacific Ocean. World War II would greatly test those ambitions.

Post-World War II

When American servicemen returned home after the end of World War II in 1945, they brought with them stories and souvenirs from their time in the South Pacific that helped to reinforce the popularity of what Hollywood had set the stage for Donn Beach to create. Beach was himself a WWII veteran, and he had invented the Three Dots & A Dash cocktail, which is Morse code for "V" (for victory). Women wore "victory roll" hairstyles and people were in the mood to celebrate.

The excitement surrounding Thor Heyerdahl's 1947 Kon-Tiki expedition, followed by the book in 1948 and a movie in 1950, helped promote tropical exploration. Importantly within the context of tiki culture, it successfully injected the word "tiki" into the popular American lexicon on a large scale (Hawaiians had not used the word "tiki", but rather "ki‘i" ). Heyerdahl's work also expanded the theme's mythology to include the west coast of South America in what became an ever increasing mix of cultural motifs, both real and imagined. Easter Island statues (moai) also became iconic with the publication of his book Aku-Aku.

Steven Crane of The Luau restaurant took advantage of the public's fascination with Heyerdahl and further followed in the footsteps of Beach and Bergeron by building a chain of tiki restaurants in partnership with Sheraton Hotels called Kon-Tiki Ports. Crane is generally credited with also bringing tiki to the forefront of decorations at such restaurants and bars, prominently placing their image on his menu covers, matchbooks, entry ways, and other signage. Southern Pacific themes continued to stray more into the even further imagined realm of the mysterious "tiki".

James Michener won the 1948 Pulitzer Prize for his collection of short stories, Tales of the South Pacific, which in turn was the basis for South Pacific, the 1949 musical by Rodgers and Hammerstein that included the song "Bali Ha'i" about a mystical tropical island. The Bali Hai restaurant opened a few years later on San Diego's Shelter Island, introducing its faux-tiki mascot and signature cocktail, the Mr. Bali Hai.

In addition to the returning World War II veterans, several other factors contributed to the mid-century American explosion in tiki culture. Post-war America saw the rise of the middle class as an economic force. This coupled with ever-increasing affordability of travel, particularly newly established civilian air travel to Hawaii (which had been halted during the war), helped to propel the nation's disposable income into all things tropical. Just as the Matson Line had done with their boats, the airlines aggressively marketed flights to consumers.

Donn Beach moved to Hawaii, where he later lived on a houseboat and was a driving force behind the 1956 creation of the International Market Place in Waikiki. He opened a Don the Beachcomber there, along with the Dagger Bar and created a treehouse office in the top of a giant banyan tree that oversaw a complex of multiple thatch-roofed buildings and huts that sold a variety of goods from around the tropical world. Other tiki bars opened in Hawaii as well, staffed at first by native bartenders who didn't know what the alleged Hawaiian drinks were that the American tourists were asking for. Hawaiian bartender Harry Yee created the iconic Blue Hawaii cocktail in 1957. Ultimately, Beach and his ex-wife had at least 25 restaurants in the Beachcomber chain. Bergeron and his Trader Vic's had even more, beginning with his first franchise in Seattle (the Outrigger) in 1949 and going on to have locations all over the world. Steven Crane's franchise also expanded, and "mom and pop" tiki bars flourished in the 1950s well into the 1960s across the country in various forms of shapes and sizes.

Over the 1950s, Polynesian design began to infuse many aspects of the country's visual aesthetic, from home accessories to architecture. The Trader Vic's in Palo Alto eventually even spawned architectural choices, such as the concept behind the odd-looking Tiki Inn Motel, which still exists as the Stanford Terrace Inn. Single family homes, apartment complexes, bowling alleys and other business were heavily influenced by assumed Polynesian aesthetics, in some cases incorporating the motif into entire residential areas and shopping districts. Much of it was accomplished by purchasing material from the company Oceanic Arts, which opened in 1956 by both importing materials and doing original wood carvings in California.

Following Hawai'i statehood in 1959, the 1960s saw a popular trend among surfers, especially in California, of wearing tiki god necklaces, adopting tiki 'mascots' to protect their surfing spots, and wearing Hawaiian shirts. Like surfing itself, the imagery was adopted by the youth culture of the time. The surfers in Gidget Goes Hawaiian (1961) wore tiki carvings as pendants, and followed a leader known as the Big Kahuna.

In 1963, Disneyland opened the Walt Disney's Enchanted Tiki Room attraction, feature Polynesian-style decor, fashion, and music. In 1971, a similar attraction was opened in Walt Disney World as well as a hotel resort of the same theme.

Elaborate cocktails
If Tiki culture began as a restaurant theme made to look like a Hollywood set, alcoholic drinks dressed up in elaborate barware are its cornerstones and main actors. Just as the Don the Beachcomber restaurant is largely credited as being the first "tiki bar" from which all other such establishments "liberally borrowed", Beach himself is also credited as having almost single-handedly created the entire "tiki drink" genre. He was the first restaurateur to focus an entire drink menu on the mixing of flavored syrups and fresh fruit juices with rum, which he called "Rhum Rhapsodies" and were served in fancy glasses, hollowed out pineapples, and drilled coconuts. A social extrovert good at gaining attention, Beach's early success was noted by tiki historian Jeff Berry, who said that "Donn was good with names, good with drinks, and good with drink names".

These "exotic" drinks, such as his first, the Sumatra Kula, quickly made Beach's restaurant the hot spot for the elite and movie stars from the 1940s well into the 1960s. Howard Hughes was a regular at the Hollywood Don the Beachcomber, as were Charlie Chaplin and Frank Sinatra. Over time many restaurateurs had begun to copy, and in some cases steal, Beach's cocktail recipes and template for immersive island decorations coupled with "newly discovered" Southeast Asian/Polynesian food (rumaki, crab rangoon, etc.). Many eventually created their own signature drink and food dishes, but Beach remains regarded as the originator and is credited for having invented many of the most memorable drinks such as the Cobra's Fang, Pearl Diver, Pi Yi, Shark's Tooth, Test Pilot, and Zombie. Many drink names were meant to sound as having a foreign origin or being tongue in cheek dangerous.

Bergeron was viewed as a Beach contemporary with his founding of Trader Vic's, and although Bergeron had started by copying the "tiki template" that Beach had created he eventually provided significant additions to the tiki canon. He also ultimately had longer staying power than Beach and over time created nearly as many additional cocktails. He is especially known for creating the Fog Cutter cocktail and Scorpion bowl, as well as the quintessential Mai Tai. Many were strong drinks and noted on menus as having a "limit of two" per person.

A protracted feud between Beach and Bergeron erupted when both claimed to have invented the Mai Tai, which Beach said was a knock-off of his Q.B. Cooler. Bergeron eventually won the exclusive rights to distribute a commercial Mai Tai mix for people to use at home.

Some drinks served at tiki bars include co-opting previous cocktails with exotic sounding names or foreign backstories, such as the Bloody Nelson, Blow My Skull, Boomerang, Corpse Reviver, Diki-Diki, Doctor Funk, Planter's Punch, and Singapore Sling. New inventions by Beach, Bergeron, and others included the Coffee Grog, Navy Grog, Lapu Lapu, Outrigger, Pago Pago, Rum Barrel, Shrunken Head, and Tropical Itch. While many were created expressly as "tiki drinks" (although such a term was not used at the time), others were simply new World War II era cocktails made overseas that could quickly be assimilated into the formula, such as the case with the Suffering Bastard.

Beach was very secretive with his drink recipe ingredients, with only a select few of his bartenders knowing them. Some drinks Beach would only make himself, and he frequently placed alcohol into generic bottles labeled with only letters or numbers, or premixed "secret" ingredients in a similar fashion so that employees only needed to "mix X, Y, & Z with lime juice" to make a certain drink.

Bergeron was less secretive with his ingredients over time, releasing two drink guides that carried his recipes, one in 1947 and the other in 1972. Despite this, many original cocktail recipes were lost to time, either because the recipes themselves were altered to reflect changing tastes (or restaurant budgets), or simply because memories faded and people died. The disagreement between Beach and Bergeron over who created the Mai Tai was not an isolated incident, and who "invented" what drink and when was frequently obscured by establishments that served cocktails with the same name but in sometimes remarkably different manners.

Mugs and other vessels
Tiki drinks, as they are generically called, are typically heavily garnished, with ample fruit, swizzle sticks, cocktail umbrellas, or flowers. Establishments that were part of or influenced by tiki culture also eventually served at least some of their cocktails in decorative ceramic mugs, which came to be known in the 1950s as tiki mugs because the barware started to bear the shape of a tiki or "faux tiki" approximation. Styles and sizes vary widely, and are generically referred to as tiki mugs even if they are in the shape of a skull, hula girl, or other motif. The cocktails may also be served in hollowed out pineapples, or in large communal drink bowls with long straws that are meant to be shared. Some are set on fire with overproof rum for additional theatrics and flair.

Many restaurants offer a signature drink in a tiki mug that the customer is able to take home or purchase. Both Beach and Bergeron offered in-restaurant "stores" where people could buy not only mugs but drink mixes and other kitsch items. Some mugs were simply stolen and brought home by diners. This led to a large number of 20th-century tiki mugs surviving as souvenirs. Vintage tiki mugs are highly prized finds and are considered to be as much of a symbol of the tiki culture as a tiki itself.

Fashion

The so-called burgeoning "tiki culture" influenced the clothing choices of mainstream Americans. This held true for both general wear and over time included how to get "dressed up" for going out to get a few drinks and fitting in with the exotic ambience of tiki restaurants.

Sarong inspired dresses became more popular with women, and were also associated with actresses and pin-up models used in tourism advertising such as Dorothy Lamour (known as both the "Sarong Girl" and the "Sarong Queen" from her role in the 1937 film The Hurricane). Other movies such as Abbott and Costello's Pardon My Sarong, as well as Song of the Sarong and Sarong Girl were later released over the course of the 1940s, and served to self reinforce the popularity of Beach's and Bergeron's tropical escape restaurant motifs during this time.

An increasing emphasis on idealized "wahine" (island women) saw their depiction grow from menu cover placement to their use on tiki barware. The Fog Cutter mug and the Kava Bowl were two of the earliest ceramic tiki drinking vessels bearing the images of such women to be used in Trader Vic's restaurants. The Pago Pago Lounge also created a Sarong cocktail.

For men, the "Hawaiian Shirt" would become an enduring symbol of leisure and were increasingly worn in public. US President Harry Truman was famously pictured wearing a Hawaiian shirt on the front cover of Life Magazine's 10 December 1951 issue.

Called "aloha shirts" on the island, the book Aloha Attire: Hawaiian Dress in the Twentieth Century describes how the shirt's history is more than Hawaiian and can be traced to a confluence of cultural influences. As explained by author Linda Bradley, the shirt was actually made with a Western-style silhouette originally inspired by Western sailor shirts, was cut from Japanese kabe crepe fabric (originally used for kimono), was sewn by Japanese and Chinese tailors who immigrated to Hawaii as plantation field workers, and was ultimately worn like a Filipino barong tagalog (always untucked and outside of the pants).

Gardenia, hibiscus, and florals became a more popular fabric pattern in America, as did palm fronds and similar types of tropical plants or animals such as fish and birds. Beyond Polynesia, other more frequently worn patterns included Batik and fabrics from differing Oceanic regions. Leis became worn more frequently outside of Hawaii, not just at Tiki restaurants but also at backyard barbeques and "luau" pool parties.

Hawaiian statehood
Official Hawaiian statehood in 1959 became another factor in the popularity of the tropical lifestyle, but also changed how tiki culture was perceived. Hawaii was no longer just a foreign country to the American people, in reality or as imagined, but now a formalized part of their country. Tourism continued ever bigger growth, with the years after statehood becoming a "jet rush" for vacationers snapping up $100 tickets for a now only five-hour flight from Los Angeles or San Francisco without the former restrictions of the former Territory of Hawaii. With statehood making travel easier than ever, for many average Americans for the first time the myth of what Hawaii was and what it was supposed to be came face to face as a booming economy and urbanization began to change the lifestyle of its countryside.

During America's honeymoon with the romanticized version of its newly incorporated state came the 1959 Warner Bros. Television series Hawaiian Eye and the 1961 musical smash-hit Blue Hawaii, featuring pop crooner Elvis Presley playing an Army veteran returning to Hawaii to surf, sing, and marry his girlfriend. It contained many plot elements similar to 1937's Waikiki Wedding, and helped to bring a "Polynesian pop" aspect of tiki to a new generation. This addition came as tiki culture music had begun to split into separate subgenres with the additions of lounge and exotica in the 1950s, which at that point had amended the typical Bing Crosby style of American-Hawaiian music. The popularity of Elvis nevertheless helped to keep broad tiki culture alive, even as adults began to take it into new directions and their children began to meld it into evolving subcultures such as surf.

Music
The impact of tiki culture on music (and vice versa) had beginnings in the creation of "hapa-haole" music, with "haole" meaning "foreigner" in the context, derived from America's expectation of native Hawaiian (and other Oceanic regions) folk music. As is the case with much of tiki culture, its genres can fall into varying themes. Hapa-Haole was more prominent in Beach's and Bergeron's early days during the 1930s and 1940s, and was more traditional and "poppish". Later genres, such as exotica and lounge are more associated with mood music meant to play-off the "mysteriousness" and faux-danger of tiki. It could include high energy drumming or slower and enchanting melodic rhythms. It was frequently instrumental, serving as the "soundtrack" for tropical excursions. Exotica and lounge were more prominent in the 1950s and later, although new variations of hapa-haole would also continue.

Hapa-haole
Traditional Hawaiian melodies, sometimes called "Hula Music" at the time by mainstream Americans, initially became prominent in piano sheet music and also created a dancing fad and obsession with Hula girls swaying to the music of strummed ukuleles.

Hapa-haole is the more proper name for what most 20th century Americans would think of as sung Hawaiian music, where the tune, styling, and subject matter have very distinct Hawaiian elements, but the lyrics are mostly in English. It became sung by both Hawaiians and contemporary performers, such as the Bing Crosby vehicles Sweet Leilani and Blue Hawaii in 1937. Alfred Apaka was arguably the foremost interpreter of hapa haole music, melding Hawaiian music with traditional American pop arrangements and English lyrics. Apaka began touring in the late 1930s, and settled more into routine shows at performance rooms created just for him in Hawaii in the 1950s. He would also sing at large luaus being put on by Donn Beach.

Other important singers include Hal Aloma, who had changed his name in response to the 1926 film Aloma of the South Seas, and the legendary Don Ho would follow in the 1960s and 1970s. Music changed with the times with easy listening light instrumentation, with Ho releasing his famous song "Tiny Bubbles", which charted on both the pop (#57 Billboard) and easy listening charts in 1967. Ho also helped bring attention to Marlene Sai, who has been described as a living legend of Hawaiian music.

Exotica and lounge
Yma Sumac first appeared on radio in 1942. Born in Peru, she was not Polynesian but she quickly became famous because of her diverse vocal range and in 1946 her home government formally supported her claim to be a descendant of Atahualpa, the last Incan emperor. With enough "exotic" credibility to be packaged as part of tiki culture, especially after Heyerdahl linked tiki to the Andes in 1947, she released albums with names such as Voice of the Xtabay and Legend of the Sun Virgin. These featured tiki-like South American stone carvings and exploding volcanoes on their covers. She also went on to play in minor film roles, such as Secret of the Incas. Voice of the Xtabay was produced and composed by Les Baxter, who had started to experiment with theremin mood music on Music Out of the Moon a few years earlier.

Baxter began to "tikify" this type of mood music. Most lounge and exotica was chiefly instrumental, and largely the integration of exotic escapism into American Jazz. Other early pioneers included Arthur Lyman and Martin Denny, who played live at Don the Beachcomber and other venues. The new theme was blended through jazz stylings augmented with Polynesian, Southeast Asian, and Latin instruments. The music also incorporated elements of Afro-Cuban rhythms, unusual instrumentations, environmental sounds, and the lush romantic themes of Hollywood.

Sandra Warner was showcased on the album cover for Exotica, helping it to reach no.1 on the Billboard charts and eventually giving the entire genre its name. She appeared on the first 12 Martin Denny album covers, 16 overall, and became a lasting iconic association with both the genre and tiki culture. Other important albums in the genre included Jewels of the Sea, Ritual of the Savage, and Forbidden Island, matched with similarly evocative covers.

There are two primary strains of this kind of exotica: jungle exotica and tiki exotica. Jungle exotica was a Hollywood creation, with its roots in Tarzan movies (and further back to William Henry Hudson's novel Green Mansions). Les Baxter was the king of jungle exotica. Tiki exotica on the other hand was introduced in Martin Denny's Waikiki nightclub jungle noises arrangement in Baxter's song "Quiet Village".

Robert Drasnin and Korla Pandit were other important artists in the genre. Just as Bergeron and others in tiki culture had done before him, Pandit invented a new persona (he was born John Roland Redd) by claiming to be a French-Indian musician from New Delhi when he was in fact born in the United States and would be considered by some to be African-American.

First Wave (1933–1980)
The TV detective show Hawaiian Eye (1959–1963) prominently featured a tiki during its credits, and although shot mostly in California it helped to promote the island while spinning off tiki motific comic books and games. Harry Yee is generally attributed with inventing a Hawaiian Eye cocktail named after the show. A Hawaiian Eye tiki mug was made as well.

Hawaiian politician turned actor Tiki Santos (born Abraham De Los Santos) was a recurring minor role character on Hawaiian Eye and went on to make appearances in other shows such as the sitcom McHale's Navy (1962–1966). He played the role of Chief Watara in episodes such as "The Dart Gun Wedding", sitting in a large wicker "throne" behind a large tiki mask.

As the first tiki wave started to crest towards the end of the 1960s, the original air of mystery and exoticism associated with the tiki motif by Americans began to be replaced by more humorous "curse of the tiki" plot devices as sitcoms gained prominence on television. The visual iconography of TV series Gilligan's Island (1964–1967) borrowed significantly from an assumed tiki culture with huts and furniture resembling a fantasy-Polynesian castaway village. An episode had the cast disturbing the resting place of a vengeful tiki god, and attempting to break the curse by invoking "The Great Watubi". A well-known 1972 episode of The Brady Bunch entitled "The Tiki Caves" involves a magical, taboo idol which the characters believe to be cursed.

Shows like I Dream of Jeannie, Green Acres, Sanford and Son, and The Jeffersons often featured special Hawaiian episodes. Tiki carvings sometimes appeared on the shows, including on Fantasy Island but in increasingly less prominent ways.

The long running Hawaii Five-O series hailed back to Hawaiian Eye, and was one of a few exception to the sitcoms during this time. The crashing of its iconic wave during opening credits ended with its cancellation in 1980, coinciding with the general end of tiki culture's first wave as well.

Second Wave (1990s) to Present
The SpongeBob SquarePants franchise, created in 1999 by marine biologist Stephen Hillenburg, heavily relies on Tiki art, patterns, and music. Tiki-themed elements of the show include intertitle paintings; retro Hawaiian and hula production music from APM; borrowing patterns from aloha prints and Polynesian patterns for backgrounds and skies; and character and background designs which reflect Māori religious influences, such as Squidward's dwelling which resembles a religious Tiki head. Showrunner Stephen Hillenburg referred to Squidward's house as an "Easter Island head" despite the design differences.

Decline
Towards the latter part of the 1970s, "tiki restaurants" were well past the apex of their popularity and many started to close. This was true for both many independent tiki bars as well as what had grown into the major chains associated with hotels such as Vic's Outrigger and the Sheraton's Kon-Tiki. The majority of independent tiki bars like the Pago Pago Lounge were demolished or shuttered, with only a few such as the Tonga Room, Tiki Ti, and Mai Kai managing to stay afloat. Trader Vic's was the only of the former major chains that was still in large scale operation.

By 1980, most of the tiki aesthetic in architecture and elsewhere had been completely wiped away in the name of progress. Some examples of homes, apartments and restaurant buildings remained, almost exclusively on the west coast. Of those, only a small handful still featured carved tikis.

The allure of escapism and tropical drinks for the average American still remained, but was eclipsed by Jimmy Buffett and Parrotheads seeking the closer to home "Margaritaville" instead of tikis further away Bali-Hai islands as their preferred Shangri-La for relaxing and drinking.

Tiki restaurants and bars had been vital through much of the 1930s into the 1970s, what Jeff Berry called an unprecedented lifespan for a [themed] drink fad. The Chin Tiki, which had been permanently closed in 1980 and falling into disrepair, was finally torn down in Detroit near the turn of the century, just as tiki was beginning to stir once again on America's west coast.

Partial revival
The later 1990s saw the start of a renewed larger scale interest in tiki from a variety of sources, the main being simply based on the curiosity of a new generation whose Woodstock parents had rejected tiki as old and "square", but for their children was something new to be appropriated and repurposed. This began with people like Bosko Hrnjak, who had been raised in California's San Gabriel valley among its tiki inspired architecture and who in the mid-1990s began to carve large palm logs into tikis for his home bar. He became an influential artist known for his burnt wood carving style and making of homemade tiki mugs, an early catalyst for getting tiki's revival off the ground. Another early artist of the revival period was Tiki King from the Santa Cruz mountains. He was inspired by his artistic parents and a large tiki given to his family by his surfer uncle. He became known for carving tiki necklaces and starting a mail order tiki business in the early 1990s.

Also towards the end of the century saw a renewed interest in trying to "authentically" recreate older drinks. Jeff "Beachbum" Berry released several drink books starting in 1998 (the Grog Log, Intoxica, and others) that contained researched recipes for many of the signature drinks from the sometimes shuttered bars of previous decades. This was also the beginnings of the "urban archeology" aspects of 21st century tiki culture, based on historical interest and fueled by the "puzzle solving" of trying to discover secrets from the past from a cultural theme that was based in part on the "exploration" of tropical regions. Berry's work is considered to be one of the most important contributions to tiki's renaissance.

Soon after also came the influential The Book of Tiki by Sven Kirsten in 2000. Before that, Otto Von Stroheim had been self publishing a 'zine called Tiki News that helped provide critical mass for books like Kirsten's to be made. Berry created two cocktails named after both Kirsten and Stroheim for their early contributions to tiki's resurgence in his historical drink guides.

In 1995 tiki websites began to grow on the internet; in 1995 Exoticon, a convention of tiki art and exotic music, drew over 1500 people in Los Angeles including local celebrities such as Mark Mothersbaugh and Matt Groening.

Restaurant and bar resurgence

Many new tiki bars and retro-Polynesian themed restaurants began to open their doors after the turn of the century. Non-themed bars also started placing tiki drinks on their menus, signaling a broader acceptance of the genre while also engendering discussion over what qualified to be called an "authentic" tiki bar.

Interest in tiki had also proliferated overseas, with The Book of Tiki's Sven Kirsten hailing from Germany where a tiki subculture is strong. In 2017 noted tiki historians Sven Kirsten, Jeff Berry, Martin Cate, Brian Miller, and Chris Osburn listed their top 15 operating tiki bars in the world, which included four from London, one from Munich, one from Tokyo, and one from Barcelona.

Lowbrow movement
In California and elsewhere, the re-exploration of rat rod and Hot rod culture melded with tiki, tattoo history, and rockabilly music to create new cultural hybrids such as "lowbrow" that manifested itself in music, art, and a new breed of tiki bars. Rockabilly artist Brian Setzer released his album The Dirty Boogie in 1998, featuring retro tiki bar images on its cover. Taboo: The Art of Tiki was released in 1999, with artists such as Mark Ryden and Shag also employing tiki imagery in retro eclectic paintings.

WFMU's on-line channel "Sheena's Jungle Room" plays exotica music as part of its mix of "all things Lowbrow".

Psycho Suzi's Motor Lounge opened featuring motifs of tattooed hula girls sporting suicide rolls and a parking lot accommodated for motorcycles. It describes itself by saying: "We take lovingly-remembered tiki bar history, a healthy helping of tattoo culture, several measures of kitsch, a dash of voodoo and a passion for good times, stick them all in a blender and hit Liquify". The bar had originally opened in 2003 at a shuttered A&W Drive-In.

The popularity of modern Western tattooing already had its roots in the South Pacific, but a resurgence in tattooing saw popularity with tiki-related tattoos. Sailor Jerry Rum, named after legendary tattoo artist Norman Collins, was introduced and marketed in part to be used in tiki drinks.

Tiki Art Now!: A Volcanic Eruption of Art was published in 2004 with an introduction by Otto Von Stroheim. Art galleries held Tiki Art shows, highlighting the works of artists such as Sunny Buick, Heather Watts, Derek Yaniger, Flounder, and Tiki Tony.

Lowbrow also spawned Tiki Noir, a literary subgenre of hard-boiled crime fiction in a tiki setting, in which the main character is often a world-weary and deeply flawed detective. Ritual of the Savage by Jay Strongman and the comic Hawaiian Dick are two examples.

21st-century cultural events
The rise in popularity for traditional tiki drinks also took hold in the craft cocktail movement, as well as within certain "retro culture" circles that were associated with it such as with Hipsters. Switching tiki drinks back to their original fresh juice origins, which had turned towards more artificial syrups during tiki's decline, helped to give the drinks a new reputation. The craft cocktail movement also saw drink experimentation that moved beyond rum and gin, highlighting tiki cocktails that were made with American whiskey and other different base liquor ingredients.

Duke Carter's catalogue of historical tiki mugs, Tiki Quest, was published in 2003. Goodwill stores and thrift shops saw dusty tiki mugs suddenly whisked off their shelves, becoming stock for new home tiki bars and period-authentic sets for Blast from the Past and Mad Men. These bars range from the simple to full-builds which rival their commercial forebears. Modern tiki mug manufacturing in the 21st century also became common and they are frequently purchased on the internet from companies such as Tiki Farm and Munktiki, among others.

The pioneering video podcast Tiki Bar TV started in 2005, highlighting drink recipes such as the Suffering Bastard and the Boomerang while filling tongue in cheek "prescriptions" for modern day maladies with tiki cocktails. It garnered attention from the Apple Corporation.

Tiki Magazine was launched, and large tiki-themed conventions began being held. Annual events include Tiki Oasis in San Diego started in 2001 by Otto and Baby Doe von Stroheim; the Hukilau occurs in Fort Lauderdale, Florida, and was started in 2002 by Tim "Swanky" Glazner and Christie White in association with the Mai-Kai restaurant. In 2005, Robert Drasnin was invited to perform at The Hukilau, his show consisting of selections from his 1959 album Voodoo, as well as new material that would form the basis for the release of Voodoo II almost a half century later in 2007.; Tiki-Kon started as the NW Tiki Crawl in 2003, and takes place in Portland, Oregon. Tiki Caliente in Palm Springs. The Ohana: Luau at the Lake takes place in Lake George, NY at the Tiki Resort hotel. It is put on in conjunction with The Fraternal Order of Moai, a tiki-themed social club formed in Ohio in 2005. Inhuele is hosted in Atlanta, GA every January. The same organizers also produce an Atlanta tiki home-bar crawl.

A remake of Thor Heyerdahl's 1950 documentary was filmed using two languages and turned into a major motion picture in 2012 with the release of Kon-Tiki. The documentary Bosko and the Rebirth of Tiki was released in 2018.

Critical reception
With the 21st century revival has come criticism. Some criticize tiki bars as a seductive form of cultural appropriation which can obscure and subsume native traditions and divert attention from the history of violent colonialism in the region. In 2016, National Public Radio posed the question: Let's talk tiki bars, harmless fun or exploitation?

title: Tiki culture


text:
Dakuwaqa

In Fijian mythology, Dakuwaqa (Dakuwanga) is a shark deity and often appears as a fierce sea monster, guarding the islands. He was greatly respected by fishermen because he protected them from any danger at sea and its denizens.

Background
In one creation myth, the god was planning inland to conquer Kadavu Island through the river when a goddess challenged him in the form of an octopus. After a great battle, the octopus won by pulling out his teeth with her eight arms which enabled her to hold off the massive attack of Dakuwaqa, forcing Dakuwaqa to promise to never attack Kadavu again. That is how Dakuwaqa became the god and protector of Kadavu.

Dakuwaqa can also change shape into anything, but his real form is that of a muscular Fijian man with the upper torso of a shark. In the book Pacific Irishman, the Anglican priest Charles William Whonsbon-Aston records in Chapter 1, Creation:

When I came to Fiji the famed fish-god, the Dakuwaqa, was very much a reality. The Government ship, the Lady Escott, reached Levuka with signs of an encounter with the great fish, while the late Captain Robbie, a well known, tall, and very erect Scot, even to his nineties, told of the sleepy afternoon as his cutter was sailing from his tea estate at Wainunu, under a very light wind, with most of the crew dozing. A great fish, which he described as near 60 feet in length, brown-spotted and mottled on its back, with the head of a shark and the tail of a whale, came up under his ship, almost capsizing it.

The crew, instantly awake and concerned, followed the ancient pattern, pouring a strong libation of kava into the sea, which, it would seem, was just the right idea for placating fish-gods; the monster slowly submerged, the breeze gradually gathered the cutter away, its keel dragging along the monster's back, making the skin pale.

To the Fijian crew this was the "Dakuwaqa"--in the twentieth century; what must have been the effect in the tenth?

Media

 * Jeff VanderMeer wrote the story The Third Bear about Dakuwaqa.
 * Dakuwaqa is the father of the supervillain King Shark in the DC Universe.
 * One episode of the History Channel series Beast Legends is about Dakuwaqa.
 * Dakuwanga is an Atlantean Bio-weapon in the Earth Prime setting of the Mutants & Masterminds roleplaying game.
 * Dakuwanga is the official pet in the "Quidditch World Cup Argentina 2014" in the Harry Potter universe.
 * Dakuwaqa's vest is a fictional artifact mentioned in the 2017 film Sharknado 5: Global Swarming as the item used to prevent sharknados in the past.
 * The merged tribe in Survivor 45 was named after Dakuwaqa.

title: Dakuwaqa


text:
Hine-Tu-Whenua

In Polynesian mythology, Hine-Tu-Whenua is a kind and beneficent wind goddess. She was very helpful toward sailors and helped them reach their destinations safely. Hineitapapauta is considered her mother.

title: Hine-Tu-Whenua


text:
Hiro

Hiro may refer to:

People

 * Hiro (given name), includes lists of people with the given name
 * Hiro (photographer) (1930–2021), Japanese-born American photographer
 * Kazu Hiro (born 1969), American prosthetic makeup artist
 * Hiroshi "Hiro" Kawaguchi (composer) (born 1965), Japanese composer
 * Hiro-x (born 1980), a Japanese singer and modern J-pop artist.
 * Dilip Hiro, Indian author, journalist

Fictional characters

 * Hiro, the main character of Darling in the Franxx
 * Hiro Amanokawa, the main character of Digimon Ghost Game

Film and television

 * Hiros (TV episode) 2008 season 1 episode 5 of the NBC fantasy-sci-fi TV series Heroes
 * Hiro (film), a Canadian short film
 * Hiro (TV channel), an Italian channel

Music

 * "Hiro's Song", by Ben Folds
 * "Yuko and Hiro", a Blur song
 * "Letter from Hiro", a song by The Vapors, off New Clear Days

Places

 * Hiro Hachiman Shrine, a Shinto shrine located in Hirogawa, Wakayama Prefecture, Japan
 * Hiroshima, a city in Japan
 * Hiro Naval Arsenal at Kure, Hiroshima
 * Mont Hiro (Mount Hiro), a 438 m high mountain on Raivavae island

Science and technology

 * HiROS (High Resolution Optical System) German spy satellite

 * Hiro H2H, a Japanese patrol flying boat of the 1930s
 * Hiro Type 94, a W-18 liquid-cooled aircraft engine

Other uses

 * Hiro (unit) a Japanese unit of length, 1.8 m (a fathom)

title: Hiro


text:
Iao

Iao may refer to:
 * IAO (album), an album by avant jazz musician John Zorn
 * Yao (Gnosticism), an archon corresponding to Jupiter
 * ʻĪao Theater, a theater in Wailuku, Hawaii
 * Iao Valley, a tourist attraction in Maui, Hawaii
 * ιαω, an early Greek form of the tetragrammaton, or name of the biblical god

IAO may stand for:

 * Incorporated Association of Organists: see Organist
 * Indian Astronomical Observatory, home of the highest telescope in the world
 * Information Awareness Office, a branch of the U.S. Defense Advanced Research Projects Agency (DARPA)
 * Interests, Activities, and Opinions - psychographics
 * Axact, formerly known as International Accreditation Organization (Houston, TX)
 * International Academy of Osteopathy, an international school offering academic training in osteopathy
 * International Astronomy Olympiad, an astronomy competition for high-school students by the Eurasian Astronomical Society
 * Interparliamentary Assembly on Orthodoxy, an organization of parliamentarians of the Eastern Orthodox Church
 * Institut d'Asie Orientale (Lyons Institute of East Asian Studies), a centre for research in human and social sciences at Université Lumière-Lyon 2 and Institut d'études politiques de Lyon
 * Institute for Art and Olfaction, a non-profit organization
 * Istituto agronomico per l'oltremare (Overseas Agronomic Institute), a technical and scientific body of the Italian Ministry of Foreign Affairs
 * Sayak Airport (IATA code: IAO), also known as Siargao Airport, in Surigao del Norte, Philippines

title: Iao


text:
Mangaroa

Mangaroa is a rural settlement just outside of Upper Hutt, situated in the lower North Island of New Zealand. It includes lifestyle blocks and farms surrounded by hills, which are usually covered by a dusting of snow during the winter.

The former Mangaroa Railway Station is located at Mangaroa.

Mangaroa has its own indie rock radio station, andHow.FM.

The New Zealand Ministry for Culture and Heritage gives a translation of "long stream" for Mangaroa.

Demographics
Mangaroa statistical area covers 154.57 km2. It had an estimated population of as of  with a population density of  people per km2.

Mangaroa had a population of 2,034 at the 2018 New Zealand census, an increase of 156 people (8.3%) since the 2013 census, and an increase of 423 people (26.3%) since the 2006 census. There were 681 households, comprising 1,035 males and 999 females, giving a sex ratio of 1.04 males per female. The median age was 43.7 years (compared with 37.4 years nationally), with 384 people (18.9%) aged under 15 years, 342 (16.8%) aged 15 to 29, 1,104 (54.3%) aged 30 to 64, and 204 (10.0%) aged 65 or older.

Ethnicities were 94.7% European/Pākehā, 6.8% Māori, 0.9% Pasifika, 1.9% Asian, and 2.5% other ethnicities. People may identify with more than one ethnicity.

The percentage of people born overseas was 21.2, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 52.5% had no religion, 34.8% were Christian, 0.3% had Māori religious beliefs, 0.1% were Hindu, 0.4% were Buddhist and 2.4% had other religions.

Of those at least 15 years old, 408 (24.7%) people had a bachelor's or higher degree, and 183 (11.1%) people had no formal qualifications. The median income was $47,100, compared with $31,800 nationally. 519 people (31.5%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 993 (60.2%) people were employed full-time, 267 (16.2%) were part-time, and 48 (2.9%) were unemployed.

Education
Mangaroa School is a co-educational state primary school for Year 1 to 6 students, with a roll of  as of.

title: Mangaroa


text:
Ikatere

In Māori and Polynesian mythology, Ikatere, also spelled Ika-tere, ('fast fish') is a fish god, the father of all sea creatures, including mermaids.

He is a son of Punga, and a grandson of Tangaroa, and his brother is Tū-te-wehiwehi (Grey 1971:1–5).

Disagreements between brothers
When Tāwhirimātea (god of storms) made war against his brothers for the separation of Rangi and Papa (sky and earth), Ikatere and Tū-te-wehiwehi were among those who had to flee from his wrath for their survival. The two argued over whether they should stay in the sea or go to the land. Ikatere chose to keep his children, the fish, to the sea, while Tū-te-wehiwehi chose to take his children, reptiles, to the land. A saying that refers to the choices they made for their descendants goes as such:

 * Māori
 * Translation

 * Tāua ki uta, tāua ki te wai.
 * Tāua ki uta, tāua ki te wai.

 * We of the land, we of the sea.
 * }

title: Ikatere


text:
Ila

ILA or Ila may refer to:

Places

 * Ila, Georgia, a community in United States
 * Ila, Osun, a local government area in Nigeria
 * Ila, Trondheim, a neighborhood of Trondheim, Norway
 * Ila (station), a Trondheim Tramway station
 * Ila, China, a former name of Huiyuan in Xinjiang
 * Islay (Scots: Ila), an island of Scotland

People

 * Ila Arun (born 1954), popular Indian actress, TV personality and Rajasthani folk/folk-pop singer
 * Ila Borders (born 1975), professional baseball player, United States
 * Ila Ghose (1930-2019), Indian mechanical engineer, West Bengal's first woman engineer.
 * Ila Ray Hadley (1942–1961), American figure skater
 * Ila Loetscher (1904–2000), aviational pioneer and turtle explorer
 * Ila Lóth (1900–1975), Hungarian film actress
 * Ila Mae McAfee (1900–1996), American painter, muralist, illustrator and author
 * Ila Arab Mehta (born 1938), Gujarati novelist and story writer
 * Ila Mitra (1925–2002), born Ila Sen, social reformer of Indian subcontinent
 * Ila Pant (born 1938), Indian politician and a former Member of Parliament
 * Ila Patnaik, Indian economist and Principal Economic Advisor to the Indian Govt

Fictional or mythical entities

 * Ila, a minor character in the television series Battlestar Galactica
 * Ila (Hinduism), daughter of saint Manu
 * Ila (Samoan mythology), the first woman on Tutuila (American Samoa), in Polynesian mythology

Government

 * Ila Detention and Security Prison, a prison in Bærum, Norway
 * Israel Land Administration
 * Israel Land Authority, the successor agency to the Israel Land Administration

Organizations

 * Idaho Library Association
 * Illinois Library Association
 * Indian Laser Association
 * Indian Library Association
 * Institute of Landscape Architects, in UK
 * Institute for Legislative Action (NRA-ILA), political lobbying arm of the National Rifle Association of America
 * International Law Association
 * International Linguistic Association
 * International Longevity Alliance, an international nonprofit organization promoting life extension
 * International Longshoremen's Association, North American labor union
 * Iowa Library Association

Technology

 * In-line light amplifier, optical amplifier

Other uses

 * Caol Ila, whisky made in Islay, Scotland
 * Ila birthmark, the birthmark ila
 * Ila people, an ethnic group in Zambia
 * Ila language (ISO 639 language code: ilb), spoken by the Ila people
 * Ile Ape language (ISO 639 language code: ila)
 * Individual Learning Account, tax incentives for adult education in the UK
 * Internationale Luft- und Raumfahrtausstellung or ILA Berlin Air Show, annual German aerospace exhibition
 * MV Ila, ship in service 1947–52

title: Ila


text:
Kaha'i

Kaha'i (specifically: Hawaii; elsewhere Tafaki, Tafa'i, Tahaki, Tava'i, Tāwhaki) is a handsome Polynesian demigod whose exploits were popular in many Polynesian mythologies.

Hawaii
In Hawaiian mythology, according to the Kumulipo he is known as Kaha'inuiahema and according to Tregear, the legends about Kaha’i are 'extremely fragmentary and vague', but they indicate that Hema traveled to 'Kahiki' (perhaps Tahiti, but more probably to kahiki 'the distance', as kahiki can be understood to include all of the islands in the Pacific Ocean) to receive a tribute called palala for the birth of his son Kaha’i. There he was captured by the Aiaia (a bird, messenger of the god Kane), died, and was buried in Ulu-paupau. Kaha’i decided to go and avenge his father. A rainbow was the path over which he and his brother ‘Alihi ascended into the skies, where they asked Kane and Kanaloa where Hema's remains were to be found. Kaha’i appears in the genealogy of Hawaiian kings.

Tuamotus
In the Tuamotuan version of the myth, Tahaki and Karihi are twins, but only Tahaki has magical powers. Tahaki's father, Hema, trespassed on lands belonging to the goblins of Matuauru in order to go crabbing. They captured him and took him prisoner, and Tahaki and Karihi begin a quest to rescue him. En route, Karihi accidentally gets snared on the fishing line of their blind grandmother, Kuhi. Tahaki throws coconuts at the old woman and when they hit her, her sight is miraculously restored. Tahaki again sets out to save his father, whom he finds in a pit on Matuaru and rescues. He then proceeds to Hiva-nui, the land of the goblins, with a strong net called Tukutuhuraho-nui (great spider). Ensnaring the goblins, he beats them to death. While returning home via the land of the fish, he gives his dark skin to the Hami-kere fish. After his death, Tahaki goes to the sacred sky of Kane, where it is set apart to rule over Havaiki-nui.

 * Sources:
 * R.D. Craig, Dictionary of Polynesian Mythology (Greenwood Press: New York, 1989), 88-89.
 * J.F. Stimson, Tuamotuan Legends: Island of Anaa (Bernice P. Bishop Museum Press, 1937), 60-96.

Mangareva
In a legend from Mangareva, Tahaki is famous for his reddish skin. During a diving competition off the inner reef, his enemies make Tahaki dive last. As each person dives down, he changes temporarily into a fish and waits below. When at last Tahaki dives, all the fish swarm in, each removing a piece of his beautiful skin. When Tahaki reappears, he is naked. But luckily for him his grandmother is nearby. No sooner does a fish bite off a piece of skin, than the grandmother takes it out of the fish's mouth and puts it in her basket. Then she goes back to the underworld, taking with her all of Tahaki's skin. Later, the nude Tahaki and his cousin Karihi go down to the underworld, where his grandmother returns each piece of skin to its rightful place. However, some stick insects have helped themselves to pieces of the skin, using it to beautify their armpits. They will not give it back, but the grandmother tells Tahaki not to worry about it, because they only have the skin from the soles of his feet, and no one will notice. So it is that Mangarevan stick insects have red under their arms.

 * Sources:
 * T. R. Hiroa (Sir Peter Buck), Vikings of the Sunrise, New Zealand Edition, Reprinted 1975. (Whitcombe and Tombs: Christchurch) 1954, 211.

Samoa
In the Samoan version of the legend, Tafa'i, his brother 'Alise, and his sister Ifiifi are the children of Pua and Sigano. Their servant Lauamatoto ascends to heaven in order to find a bride suitable for Tafa'i. He convinces the goddess Sina-tae-o-i-lagi, daughter of Tagaloa-lagi, to give an audience to the Tafa'i and his brother, who disguise themselves as ugly old men in order to reach her court safely. Because of their appearance, the goddess rejects them. The next day when they are about to leave, she sees their true appearance and is distraught and chases after them. Tafa'i threw Sina into a pit, from which she is rescued by his parents, who bring her to live with them. Eventually, Tafa'i falls in love with her, but she escapes to her home in heaven. Her family convince her to return to earth and marry Tafa'i, to whom she bears La, the sun, who goes to live with her mother in the sky.

 * Sources:
 * R.D. Craig, Dictionary of Polynesian Mythology (Greenwood Press: New York, 1989), 89.
 * A. Kramer, The Samoa Islands (reprint U. of Hawaii Press: Honolulu, 1994), 497.

title: Kaha'i


text:
Irawaru

In Māori mythology, Irawaru is the origin of the dog. He is the husband of Hinauri, the sister of Māui. Māui becomes annoyed with Irawaru and stretches out his limbs, turning him into a dog. When Hinauri asks Māui if he has seen her husband, Māui tells her to call "Moi! Moi!" whereupon the poor dog runs up to Hinauri. Learning the truth, she throws herself to Tangaroa (the ocean) never to be seen again.

Versions differ as to the cause of Māui's annoyance with his brother-in-law. In some, he is jealous of Irawaru's success at fishing; in others, he is angry at Irawaru's refusal to give him a cloak, or disgusted at Irawaru's greedy nature.

In other Ngā Puhi Nui Tonu mythology, three dogs were brought to Aotearoa by Kupe. These spirits were known as kehua or guardians brought over from Hawaiki. During the arrival to Aotearoa they were sent to Cape Reinga with a few men to guard the escape of their souls. The iwi later was named Ngāti Kurī. Their job was to guard the spirits through to the afterlife.

In traditional Māori society, dogs (kurī) were given the best cuts of meat and were highly regarded as sacred. Their fur was highly regarded for cloaks reserved for rangatira.

The story accounts for the characteristics of dogs: they warn of danger or night raids, they respond to commands, and are loyal companions that ward off evil spirits.

title: Irawaru


text:
Kai-n-Tiku-Aba

In Kiribati, mythology, a sacred tree was known as the "Tree of Many Branches." It grew from the spine of Na Atibu (the father of the gods), after he passed away. The spine was buried in Samoa, and the Tree Kai-n-tiku-aba grew. This Tree was significant to the people as they believed they descended from it.

Unfortunately, a man named Koura-Abi intentionally chopped down the Tree, causing significant disruption and violence among the people. They scattered and were left sorrowful. The Tree was also believed to have marked the northern and southern solstices, with its right side being the north solstice (the au-meang) and its left side being the southern solstice (the au-maiaki).

Origins
This myth is from Kiribati, and explains why the I-Kiribati migrated to Kiribati from Samoa.

title: Kai-n-Tiku-Aba


text:
Iva

Iva or IVA may refer to:

People

 * Iva (given name), including a list of people with the name
 * Kaia Iva (born 1964), Estonian politician
 * Sulev Iva (born 1969), Estonian Võro identity advocate
 * IVA (singer) (born 1978), operatic singer-songwriter

Places

 * Iva, Indiana, an unincorporated community in the United States
 * Iva, South Carolina, a town in the United States
 * Iva, Iran (disambiguation), places in Iran
 * Iva, Samoa, a village
 * Iva Valley, a valley in Nigeria

Science, medicine and technology

 * Integrated Visual and Auditory (IVA-2), continuous performance task, a type of neuropsychological test
 * Interactive visual analysis, a methodology for visual exploration and data mining of complex data sets
 * Intravenous anesthesia, a type of anesthesia
 * IVA, a designation of a number of Intelsat IV satellites — see List of Intelsat satellites
 * Intelligent virtual agent in artificial intelligence
 * Intelligent virtual assistant, a software agent that can perform tasks based on commands or questions
 * IVA, the old IUPAC name for what is now IUPAC Group 4
 * IVA, the CAS name for IUPAC Group 14
 * Hurricane Iva (disambiguation)
 * Iva (plant), a plant genus in the family Asteraceae
 * Iva (copepod), a former crustacean genus in the family Pontellidae
 * Isovaleric acidemia, an autosomal recessive metabolic disorder

Organizations

 * Independent Voters Association, a North Dakota U.S. political organization
 * Informationsvidenskabelige Akademi, a Danish university
 * Royal Swedish Academy of Engineering Sciences, (Swedish: Kungliga Ingenjörsvetenskapsakademien)
 * International Volleyball Association, a former co-ed professional volleyball league in the United States

Other

 * Individual Voluntary Arrangement, in the United Kingdom, an alternative to bankruptcy
 * Individual Vehicle Approval, a kind of motor vehicle type approval
 * Iva (film), a 1993 film by Izu Ojukwu
 * Ivanhoe railway station, Melbourne
 * 497 Iva, asteroid

title: Iva


text:
Kalamainuʻu

In Hawaiian mythology, Kalamainu'u (alternate spelling Kalanimainu'u) was a lizard goddess.

Myths
She is said to have lured her lover Puna-ai-koa'e to her cave where she kept him prisoner. When he longed to go surfing again, Kalamainu'u gave him her surfboard, but warned him not to speak with anyone. He, however, spoke with two men: Hinale and Aikilolo (or Hinalea and ‘Akilolo) who revealed to him his lover's true nature. He returned to her cave, saw her in her true form, but showed no fear. Kalamainu'u then attempted to slay his informants, but they turned into wrasse and escaped into cracks in the seafloor. To capture them, she learned to set a hina'i hinalea fishing basket (Craig 1989:95, 218, Beckwith 1940:193, 200).

title: Kalamainuʻu