How the community of Kapa‘au came together to restore the statue of Hawaii’s legendary monarch, blending art, activism, and tradition.
Introduction:
In the small town of Kapa‘au, North Kohala, Hawaii, the statue of King Kamehameha I stands as a symbol of unity and pride. Over time, however, weather and the passage of years began to take their toll on this iconic figure. In the early 2000s, an ambitious restoration project was undertaken to preserve the statue. This restoration story is beautifully captured in “The Painted King: Art, Activism, and Authenticity in Hawaii” by Glenn Wharton, a conservator who played a pivotal role in the project.
Background & History:
The statue of King Kamehameha I was initially cast in Paris in the 1880s, intended to celebrate Hawaii’s first monarch, who united the Hawaiian Islands under one rule. After a dramatic journey, including being lost at sea and later recovered, the statue was placed in Kapa‘au, the birthplace of King Kamehameha, where it became a central part of the town’s identity.
Over the years, the statue weathered the harsh tropical environment, causing its paint to peel and the gold leaf covering to fade. By the 1990s, the statue had fallen into such disrepair that the community felt the need for a restoration effort.
Restoration:
In “The Painted King,” Glenn Wharton provides an in-depth look into the restoration process and the challenges involved. The project wasn’t just about restoring the physical statue; it was about understanding the cultural significance of King Kamehameha and the community’s connection to him.
When Wharton was called to assess the statue, he recognized that the restoration wouldn’t be straightforward. What made this project unique was the decision to include the local community in the process. Instead of simply restoring the statue according to standard conservation practices, Wharton engaged with the people of Kapa‘au to understand their perspectives on how the statue should look. The question of authenticity arose: Should the statue be restored to its original gold-leafed appearance, or should the community’s preferred painted version be maintained?
Through interviews, meetings, and open dialogue, Wharton found that many residents preferred the painted version of the statue they had grown up with. Some argued that the statue’s painted surface, adorned with vibrant colors and local symbolism, represented how they saw their king — strong, colorful, and deeply connected to Hawaiian traditions. Others felt that restoring the statue to its original gold-leaf finish would honor the original artistic intent and historical accuracy.
Wharton ultimately decided to let the community’s voice guide the restoration. The project became a form of activism where the people of Kapa‘au took ownership of their history and culture. The restoration was completed with a balance between honoring the original artistry and maintaining the vibrant colors that had become a hallmark of the statue over the decades.
“The Painted King is not just a story about art conservation,” Wharton writes. “It’s a story about how a community asserts its identity and takes control of its own history.”
Controversies:
The restoration process wasn’t without controversy. Some conservators argued that the original gold-leaf design should have been preserved at all costs. They believed the statue, as a historical artifact, needed to be maintained in its original form, regardless of the community’s preferences. Others felt that the community’s desire to retain the painted version of the statue reflected a disconnect between professional conservation practices and the lived experiences of those who interact with the statue daily.
This debate highlighted more significant issues around art conservation and authenticity: Should historical artifacts be restored according to their original appearance, or should they reflect the evolving meanings that communities ascribe to them?
Wharton’s decision to involve the community in the restoration was groundbreaking in the field of art conservation. Still, it also sparked important discussions about the role of art in cultural identity and activism.
Conclusion:
Restoring the King Kamehameha I statue in Kapa‘au is more than a story of fixing a worn-out monument. It is a testament to the power of community involvement and the importance of respecting local perspectives in historic preservation. The statue now stands proudly in Kapa‘au, painted in vibrant colors, a reflection of both its original intent and the evolving identity of the people it represents.
Glenn Wharton’s work, as captured in “The Painted King,” reminds us that history and art are living entities shaped not only by their creators but by the communities that hold them dear.
Citations & Sources:
- Glenn Wharton, The Painted King: Art, Activism, and Authenticity in Hawaii, University of Hawaii Press, 2011.
