' in Native Hawaiian and Tahitian cultures are people who embody both male and female spirit. They have traditional spiritual and social roles within the culture, similar to Tongan ' and Samoan '. The terms âÂÂthird genderâ and âÂÂin the middleâ have been used to help explain mÃÂhà « in the English language.
According to present-day kumu hula Kaua'i Iki:
Historically, was a respectful term for people assigned male at birth, but with colonization the word was denigrated and used as an insult to refer to homosexuals. More recently, there has been an effort to recapture the original dignity and respect accorded the term mÃÂhà «.
In the pre-colonial history of Hawai'i, were notable healers, although much of this history was elided through the intervention of Christian missionaries. According to Joan Roughgarden, the lacked access to political power, were unable to aspire to leadership roles, and "Perceived as always available for sexual conquest by men." The first published description of occurs in Captain William Bligh's logbook of the Bounty, which stopped in Tahiti in 1789, where he was introduced to a member of a "class of people very common in Otaheitie called Mahoo... who although I was certain was a man, had great marks of effeminacy about him."
A surviving monument to this history are the Healer Stones of KapaemÃÂhà « on Waikiki Beach, which commemorate four important who first brought the healing arts from Tahiti to Hawaiûi. These are referred to by Hawaiian historian Mary Kawena Pukui as , or literally a row of . The term is misleadingly defined in Pukui and Ebert's Hawaiian dictionary as "n. Homosexual, of either sex; hermaphrodite." The assumption of same-sex behavior reflects the conflation of gender and sexuality that was common at that time. The idea that are biological mosaics appears to be a misunderstanding of the term hermaphrodite (now known as intersex), which in early publications by sexologists and anthropologists was used generally to mean "an individual which has the attributes of both male and female;" this led to homosexual, bisexual, and gender nonconforming individuals being mislabeled as "hermaphrodites" in the medical literature. The history of Kapaemahu was revived through an animated film, picture book, and museum exhibition.
In 1891, when painter Paul Gauguin first came to Tahiti, he was thought to be a by the indigenous people, due to his flamboyant manner of dress during that time. His 1893 painting Papa Moe (Mysterious Water) depicts a drinking from a small waterfall.
Missionaries to Hawai'i introduced biblical laws to the islands in the 1820s; under their influence Hawai'i's first anti-sodomy law was passed in 1850. These laws led to the social stigmatization of the in Hawai'i. Beginning in the mid-1960s the Honolulu City Council required trans women to wear a badge identifying themselves as male.
In American artist George Biddle's Tahitian Journal (1920âÂÂ1922) he writes about several friends in Tahiti, of their role in native Tahitian society, and of the persecution of a friend Naipu, who fled Tahiti due to colonial French laws that sent and homosexuals to hard labor in prison in New Caledonia. Rae rae is a social category of that came into use in Tahiti in the 1960s, although it is criticized by some as an abject reference to sex.
In the 1980s, and fa'afafine of Samoa began organizing, as . In 2021, a group of KÃÂnaka Maoli formed a subgroup of the Hawaiûi LGBT Legacy Foundation called the mÃÂhà «i that developed a ceremony to open Honolulu Pride month at the Kapaemahu monument in Waikëkë, now repeated every October.
In 2003, the term mahuwahine was coined within Hawaii's queer community: (in the middle) + wahine (woman), the structure of the word is similar to Samoan fa'a (the way of) + fafine (woman/wife). The term mahuwahine resembles a transgender identity that coincides with Hawaiian cultural renaissance. The corresponding term is mahukane (mÃÂhà « + kane (man)). However, in contemporary usage, mÃÂhà « is used for all genders.
Notable contemporary ', or mahuwahine, include activist and kumu hula Hinaleimoana Kwai Kong Wong-Kalu, kumu hula Kaumakaiwa Kanaka'ole, and kumu hula Kaua'i Iki; and within the wider LGBTQ+ community, historian Noenoe Silva, activist KuâÂÂu-mealoha Gomes, singer and painter Bobby Holcomb, and singer Kealii Reichel.
In many traditional communities, play an important role in carrying on Polynesian culture, and teaching "the balance of female and male throughout creation". Modern carry on traditions of connection to the land, language preservation, and the preservation and revival of cultural activities including traditional dances, songs, and the methods of playing culturally-specific musical instruments. Symbolic tattooing is also a popular practice. Modern do not alter their bodies through what others would consider gender reassignment surgery, but, just as any person in Hawaiian/Tahitian society, dress differently for work, home, and nights out.
Strong familial relationships are important in culture, as kinship bonds within all of Hawaiian/Tahitian cultures are essential to family survival. When possible, the maintain solid relationships with their families of origin, often by becoming foster parents to nieces and nephews, and have been noted for being especially "compassionate and creative". This ability to bring up children is considered a special skill specific to people. also contribute to their extended families and communities through the gathering and maintaining of knowledge, and the practicing and teaching of hula traditions, which are traditionally handed down through women.
In situations where they have been rejected by their families of origin, due to homophobia and colonization, have formed their own communities, supporting one another, and preserving and teaching cultural traditions to the next generations. In the documentary Kumu Hina, Hinaleimoana Wong-Kalu visits one of these communities of elders up in the mountains, and meets with some of the who were her teachers and chosen family when she was young.