In Hawaiʻi most kapa was made from the bark of the shrub wauke, the paper mulberry (Broussonetia papyrifera, also called poʻaʻaha), and from the bark of a small native tree, māmaki (Pipturus albidus). The bark was peeled from the stems after they had been cut and brought to the village from the wauke plantations. The stems might have been 6 feet long and 3 inches thick. The bark was soaked until wali (soft) and pipili (sticky). The process was called kīkoni. The outer bark was stripped or scraped off with a shell or bone scraper. The inner cortex was beaten on a kua kuku (wooden anvil), a log about 6 feet long with a wide groove on the underside to allow it to stand firmly. This hollowness gave a reverberating sound (ʻouʻou) to the iʻi kuku (kapa mallet) that formerly could be heard through all the waking hours. The sprinkling of coloring on the kapa and beating it, (kuku kapa paʻipaʻi) was the work of the women. All worked zealously, from the queen down to the country commoner. A house (hale kua) was set apart for this work in every Hawaiian settlement. Besides the wauke and mamaki, bark from a small native shrub, an endemic raspberry (ākala, Rubus Hawaiʻiensis); a low fern, maʻaloa (Neraudia melastomaefolia); and from the breadfruit, ʻulu (Artocarpus altilis) could also be used. A peculiar variety of wauke is grown at Palilua, Hawaiʻi, called kūloli. This bark when soaked is called pulu ʻoloa; when colored prior to pounding, it is called kuhili. The beating process is kūpalu. Other names for it are ʻukē, pūkē, and koʻele. The joining of the slips is called paku or hoai. Lena means to stretch the kapa; mōhala, to spread it out to dry and bleach. The kapa mallet is called hohoa kūaʻu or iʻe kuku; the first word applies to the first part of the pounding (hoa) or to beating kapa on a stone to soften or smooth it. The mallets are made of kauila (Alphitoma excelsa), the buckthorn tree; or from kōpiko (Straussia sp.), a small coffee-like tree. Mallets are about 18 inches long, 2 inches square, with one end rounded for a handle. Each pattern on the mallet constitutes a kind of watermark, each of which had its own name. A collection of squeezes of the patterns can give an idea of their variety (see Peter Buck, Arts and Crafts, pp. 195201). Kapa was marked in many patterns with black or other kinds of dyes, impressed upon the kapa by slips of bamboo about half an inch wide, and 12 inches long. Each slip had its pattern at one end and bore a specific name. Collections of these bamboo markers, such as lapa, ʻohe kākau, ʻohe kāpala, and so on, can be seen in the Bishop Museum, assembled by number and name along with exhibits of mallets. This process of stamping (palapala, palapalani), gave Hawaiians their word for printed books and documents. The Bible is called Palapala Hemolele; the dye container is called pahu palapala. Kapa was also dyed with hili, a general name for coloring matter obtained from the bark of trees, or with kohu, a stain from the saps and juices of plants. Waihoʻoluʻu is the general name for dyes; the process of dipping is called kupenupenu; paniʻonìʻo means to paint with gay colors; mawale refers to the fading colors of a kapa; mahiehie is to dye with color-fast dyes. The various sources of dye include ʻalaʻala wai nui, small succulent herbs (Peperomia spp.); ʻaweʻa or weʻa, a red dye and hill kolea, a black dye; hill kōlea, hili ʻahi, and holei, a trio of plants whose barks yield a yellow dye. Additionally, there is maʻo, a small velvety shrub belonging to the mallow family (Malvaceae), which supplies a green dye; nāʻū, a yellow gardenia (Gardenia remyi), whose fruit pulp was used for tinting kapa yellow; noni, Indian mulberry (Morinda citrifolia), whose roots supply yellow and red dyes; and ʻohiʻaʻai bark, mountain apple (Eugenia malaccensis), used to color kapa brown. Others include paʻihi, a weed (Nasturtium sarmentosum), used for a black dye; ʻōlena, turmeric (Curcuma longa), used to color kapa yellow; and waiʻele, a black dye. Nao is a streak or ridge made in felting. Kapa was sometimes varnished with a variety of gums to make it waterproof and to preserve the colors. ʻAʻahu is a general name for clothing. A malo is a strip of kapa girded about menʻs loins. The ʻgirding” process is called hume. The pāʻū is a waistcloth or skirt for women. Generally five fold, it reaches to the knees and is fastened by tucking in (ʻōmau) one corner. Kapa was folded (ʻopi) by doubling over the colored side, leaving the white exposed. Pieces were stacked in an orderly pile and made into a bundle (pūʻolo) or a roll (kūkaʻa). Forty pieces of kapa were called ʻiako, a word used in evidence of a personʻs wealth. Lau huki was the god worshiped by the women who beat out the kapa; Laʻahana was the patron deity of the women who printed kapa cloth. (MALO 82.) Haʻi haʻina kolo was a forestdwelling goddess of kapa makers.