What is so fascinating today about how Hiʻiaka and Hōpoe were creating themselves in this moolelo is the conviction and assertion it takes to do so. This is something we, as wahine, have failed to do throughout most of our colonized history. [must make the distintion between wahine attempting to do so (hui aloha aina- newspapers) and more recent history of wahine leading activism) emphasis barriers]Initial scholarship in Hawaii, written by haole men, would have you believe that this has always been true, that women in Hawaii have been devalued since the adoption of the ʻaikapu. But this moʻolelo gives us an alternate narrative – a narrative composed and celebrated by kanaka maoli, both kāne and wahine. [say something about translation/transmission here]
Today the returning of particular wahine to these moʻolelo/ figures instills a new mode of creation. Kanaka maoli wahine activist and academics who turn to Hiʻiaka and are revisiting the creation of the stories and are allowing themselves to recreate Kanaka maoli images, both for themselves and for their kāne counterparts.
The recent, [last 20 years?], returning of wahine to these moʻolelo has caused us [who?] to investigate the point in which wahine images were no longer created by wahine and in that process how they were interpreted as being devalued causing themselves to in fact devalue themselves and allow others to do the same.