Legends of Maui
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Supplemental Cultural Impact Assessment, May 2007
Supplemental Cultural Impact Assessment for the Proposed Advanced Technology Solar Telescope (ATST) at Haleakalā High Altitude Observatories Papa‘anui Ahupua‘a, Makawao District, Island of Maui TMK: (2) 2-2-07:008 Prepared for KC Environmental and The National Science Foundation (NSF) Prepared by Colleen Dagan, B.S. Robert Hill B.A. Tanya L. Lee-Greig, M.A. and Hallett H. Hammatt, Ph.D. Cultural Surveys Hawai‘i, Inc. Wailuku, Hawai‘i (Job Code: HALEA 2) May 2007 O‘ahu Office Maui Office Kailua, Hawai‘i 96734 16 S. Market Street, Suite 2N Ph.: (808) 262-9972 www.culturalsurveys.com Wailuku, Hawai‘i 96793 Fax: (808) 262-4950 Ph: (808) 242-9882 Fax: (808) 244-1994 Cultural Surveys Hawai‘i Job Code: HALEA 2 Management Summary Management Summary Report Reference Supplemental Cultural Impact Assessment for the Proposed Advanced Technology Solar Telescope (ATST) at Haleakalā High Altitude Observatories Papa‘anui Ahupua‘a, Makawao District, Island of Maui TMK: (2) 2-2-07:008 (Dagan et al. 2007) Date May 2007 Project Number CSH Job Code: HALEA 2 Project Location Overall Location: Pu‘u Kolekole, Haleakalā High Altitude Observatories (TMK [2] 2-2-07:008), as depicted on the USGS 7.5 minute Topographic Survey Map, Portions of Kilohana Quadrangle and Lualailua Hills Quadrangle. Preferred ATST Site Location: Mees Solar Observatory Facility Alternate ATST Site Location: Reber Circle Land Jurisdiction State of Hawai‘i Agencies National Science Foundation (NSF) – Proposing Agency Association of Universities for Research in Astronomy (AURA) – Proposing Agency University of Hawai‘i Institute for Astronomy (UH IfA) – Managing Agency U.S. -
History of Hula the Origins of Hula Are Contained in Many Legends. One Story Describes the Adventures of Hi'iaka, Who Danced To
History of Hula The origins of hula are contained in many legends. One story describes the adventures of Hi'iaka, who danced to appease her fiery sister, the volcano goddess Pele and there she created Hula. This Hi'iaka story provides the basic foundation for many present-day dances. As late as the early twentieth century, ritual and prayer surrounded all aspects of hula training and practice. Teachers and students were dedicated to Laka, goddess of the hula, and appropriate offerings were made regularly. In ancient Hawaii, a time when a written language did not exist, hula and its chants played an important role in keeping history, genealogy, mythology and culture alive. With each movement – a hand gesture, step of foot, swaying of hips – a story would unfold. Through the hula, the Native Hawaiians were connected with their land and their gods. The hula was danced for protocol and social enjoyment. The songs and chants of the hula preserved Hawaii’s history and culture. When the missionaries arrived and brought Christianity, Queen Ka’ahumanu converted and deemed Hula a pagan ritual, banning it in 1830 and for many years with both Ōlelo Hawaiʻi, Hawaiian language, and Hula being suppressed or banned, the knowledge, tradition and culture of Hawai’i suffered greatly. It wasn’t until King David Kalakaua came to the throne in 1874 that Hawaiian cultural traditions were restored. Public performances of hula flourished and by the early 1900s, the hula had evolved and adapted to fit the desires of tourists and global expectations. With tourism, cabaret acts, Hollywood and the King himself, Elvis, Hula experienced a great transition to the Hula that many people imagine today. -
And Taewa Māori (Solanum Tuberosum) to Aotearoa/New Zealand
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Traditional Knowledge Systems and Crops: Case Studies on the Introduction of Kūmara (Ipomoea batatas) and Taewa Māori (Solanum tuberosum) to Aotearoa/New Zealand A thesis presented in partial fulfilment of the requirement for the degree of Master of AgriScience in Horticultural Science at Massey University, Manawatū, New Zealand Rodrigo Estrada de la Cerda 2015 Kūmara and Taewa Māori, Ōhakea, New Zealand i Abstract Kūmara (Ipomoea batatas) and taewa Māori, or Māori potato (Solanum tuberosum), are arguably the most important Māori traditional crops. Over many centuries, Māori have developed a very intimate relationship to kūmara, and later with taewa, in order to ensure the survival of their people. There are extensive examples of traditional knowledge aligned to kūmara and taewa that strengthen the relationship to the people and acknowledge that relationship as central to the human and crop dispersal from different locations, eventually to Aotearoa / New Zealand. This project looked at the diverse knowledge systems that exist relative to the relationship of Māori to these two food crops; kūmara and taewa. A mixed methodology was applied and information gained from diverse sources including scientific publications, literature in Spanish and English, and Andean, Pacific and Māori traditional knowledge. The evidence on the introduction of kūmara to Aotearoa/New Zealand by Māori is indisputable. Mātauranga Māori confirms the association of kūmara as important cargo for the tribes involved, even detailing the purpose for some of the voyages. -
A Brief Ethnohistory of Rapa Island, French Polynesia, AD 1791–1840
2 ‘Dwelling carelessly, quiet and secure’ A brief ethnohistory of Rapa Island, French Polynesia, AD 1791–1840 Atholl Anderson Department of Archaeology and Natural History, Research School of Pacific and Asian Studies, The Australian National University, Canberra, Australia, [email protected] Introduction In 1826, the first European missionary to Rapa, the Rev. John Davies, quoted Judges 18:7 in seeing the Rapans as ‘dwelling carelessly, quiet and secure, and having no business with any man’ (in Stokes n.d.:28; an idiomatic rendering of the passage). It was to some extent, possibly to a great extent, quite illusory. Rapa was certainly isolated by comparison with most of East Polynesia, and it was small, mountainous and relatively cold, but even the first European visitors found that Rapans exhibited evidence of contact with the outside world, and within Rapan traditions, historical observations and ethnographic data which together form the stuff of ethnohistory, the theme of contact and change is illustrated continually. Rapan society was East Polynesian in ancestry and culture. Rapans spoke an East Polynesian language, but its closest affinities were puzzling for a long time. The earliest historical contacts with Rapans showed that they found both Hawaiian and Tahitian largely unintelligible and later characterisation of Rapan by European scholars was confused because of the early introduction of Tahitian by missionaries and, after 1863, of other Polynesian languages by Tongans, Tokelauans and Cook Islanders, whose descendants came eventually to represent nearly half of the population (Stokes 1955). Samuel Stutchbury had observed, presciently, in 1826 (in Richards 2004:5) that the Rapan language was ‘something resembling the Marquesan’, but Horatio Hale (1968:141), about 1840, ‘obtained at Tahiti, from a native of Rapa, a brief vocabulary of the language spoken there, which turns out to be, with a few verbal exceptions, pure Rarotongan, and this in its minute peculiarities’, while the missionaries William Ellis (1838) and M. -
Legacy – the All Blacks
LEGACY WHAT THE ALL BLACKS CAN TEACH US ABOUT THE BUSINESS OF LIFE LEGACY 15 LESSONS IN LEADERSHIP JAMES KERR Constable • London Constable & Robinson Ltd 55-56 Russell Square London WC1B 4HP www.constablerobinson.com First published in the UK by Constable, an imprint of Constable & Robinson Ltd., 2013 Copyright © James Kerr, 2013 Every effort has been made to obtain the necessary permissions with reference to copyright material, both illustrative and quoted. We apologise for any omissions in this respect and will be pleased to make the appropriate acknowledgements in any future edition. The right of James Kerr to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. A copy of the British Library Cataloguing in Publication data is available from the British Library ISBN 978-1-47210-353-6 (paperback) ISBN 978-1-47210-490-8 (ebook) Printed and bound in the UK 1 3 5 7 9 10 8 6 4 2 Cover design: www.aesopagency.com The Challenge When the opposition line up against the New Zealand national rugby team – the All Blacks – they face the haka, the highly ritualized challenge thrown down by one group of warriors to another. -
HAWAII National Park HAWAIIAN ISLANDS
HAWAII National Park HAWAIIAN ISLANDS UNITED STATES RAILROAD ADMINISTRATION N AT IONAL PAR.K. SERIES n A 5 o The world-famed volcano of Kilauea, eight miles in circumference An Appreciation of the Hawaii National Park By E. M. NEWMAN, Traveler and Lecturer Written Especially for the United States Railroad Administration §HE FIRES of a visible inferno burning in the midst of an earthly paradise is a striking con trast, afforded only in the Hawaii National Park. It is a combination of all that is terrify ing and all that is beautiful, a blending of the awful with the magnificent. Lava-flows of centuries are piled high about a living volcano, which is set like a ruby in an emer ald bower of tropical grandeur. Picture a perfect May day, when glorious sunshine and smiling nature combine to make the heart glad; then multiply that day by three hundred and sixty-five and the result is the climate of Hawaii. Add to this the sweet odors, the luscious fruits, the luxuriant verdure, the flowers and colorful beauty of the tropics, and the Hawaii National Park becomes a dreamland that lingers in one's memory as long as memory survives. Pa ae three To the American People: Uncle Sam asks you to be his guest. He has prepared for you the choice places of this continent—places of grandeur, beauty and of wonder. He has built roads through the deep-cut canyons and beside happy streams, which will carry you into these places in comfort, and has provided lodgings and food in the most distant and inaccessible places that you might enjoy yourself and realize as little as possible the rigors of the pioneer traveler's life. -
Agriculture, Power, and Community in Kaupō, Maui
On the Cloak of Kings: Agriculture, Power, and Community in Kaupō, Maui By Alexander Underhill Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Anthropology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Patrick V. Kirch Professor Kent G. Lightfoot Professor Anthony R. Byrne Spring 2015 On the Cloak of Kings: Agriculture, Power, and Community in Kaupō, Maui Copyright © 2015 By Alexander Underhill Baer Table of Contents List of Figures iv List of Tables viii Acknowledgements x CHAPTER I: OPENING THE WATERS OF KAUPŌ Introduction 1 Kaupō’s Natural and Historical Settings 3 Geography and Environment 4 Regional Ethnohistory 5 Plan of the Dissertation 7 CHAPTER 2: UNDERSTANDING KAUPŌ: THEORETICAL APPROACHES TO THE STUDY OF POWER AND PRODUCTION Introduction 9 Last of the Primary States 10 Of Chiefdoms and States 12 Us Versus Them: Evolutionism Prior to 1960 14 The Evolution Revolution: Evolutionism and the New Archaeology 18 Evolution Evolves: Divergent Approaches from the 1990s Through Today 28 Agriculture and Production in the Development of Social Complexity 32 Lay of the Landscape 36 CHAPTER 3: MAPPING HISTORY: KAUPŌ IN MAPS AND THE MAHELE Introduction 39 Social and Spatial Organization in Polynesia 40 Breaking with the Past: New Forms of Social Organization and Land Distribution 42 The Great Mahele 47 Historic Maps of Hawaiʻi and Kaupō 51 Kalama Map, 1838 55 Hawaiian Government Surveys and Maps 61 Post-Mapping: Kaupō Land -
Notes on Hawaiian Residency in the Lahaina District Transitions in Residency and Land Tenure
Notes on Hawaiian Residency in the Lahaina District The system of traditional Hawaiian land use and subsistence practices were extensively researched in the 1920s-1930s, by E.S. Handy, E.G. Handy, and M. Kawena Pukui (1940 and 1972). The authors compiled extensive historical records and conducted field interviews with elder kama‘äina—firsthand participants in the old lifeways—to document traditional customs and practices associated with land use and residency throughout the Hawaiian Islands. Among the places visited were the lands of the Lahaina District (Handy, 1940; and Handy, et al., 1972). In describing Lahaina as a chiefly center, and the nature of land use and residency in the area, Handy, Handy and Pukui (1972) offered the following comments: …West Maui had two main centers of population concentrated in areas where the abundant streams from the deeply eroded central dome brought water to large lo‘i systems. Of these two we take that on the southern coast as our Type Area, because there are better descriptions from early times. Lahaina District was a favorable place for the high chiefs of Maui and their entourage for a number of reasons: the abundance of food from both land and sea; its equable climate and its attractiveness as a place of residence; it had probably the largest concentration of population, with its adjoining areas of habitation; easy communication with the other heavily populated area of eastern and northeastern West Maui, "The Four Streams," and with the people living on the western, southwestern and southern slope of Haleakala; and its propinquity to Lanai and Molokai. -
La Lei Hulu Study Guide.Indd
1906 Centennial Season 2006 05/06 Study Guide Na Lei Hulu I Ka Wekiu Friday, March 17, 2006, at 11:00 a.m. Zellerbach Hall SchoolTime Welcome March 3, 2006 Dear Educator and Students, Welcome to SchoolTime! On Friday, March 17, 2006, at 11:00 a.m., you will attend the SchoolTime performance by the dance company Na Lei Hulu I Ka Wekiu at Zellerbach Hall on the UC Berkeley campus. This San Francisco-based dance company thrills audiences with its blend of traditional and contemporary Hawaiian dance, honoring tradition while bringing hula into the modern realm. Na Lei Hulu I Ka Wekiu features a wonderful variety of hula dances from traditional to contemporary. This study guide will prepare your students for their fi eld trip to Zellerbach Hall. Your students can actively participate at the performance by: • OBSERVING how the dancers use their bodies • LISTENING to the songs and instruments that accompany the dances • THINKING ABOUT how culture is expressed through dance • REFLECTING on their experience in the theater We look forward to seeing you at Zellerbach Hall! Sincerely, Laura Abrams Rachel Davidman Director Education Programs Administrator Education & Community Programs About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. In 2005/06 Cal Performances celebrates 100 years on the UC Berkeley Campus. -
E. Mervyn Taylor's Prints on Maori Subjects
THE ENGAGING LINE: E. MERVYN TAYLOR’S PRINTS ON MAORI SUBJECTS A thesis submitted in partial fulfilment of the requirements for The Degree of Master of Arts in Art History in the University of Canterbury by Douglas Horrell 2006 Contents Contents..................................................................................................................... i Abstract ....................................................................................................................1 Introduction..............................................................................................................2 Chapter One: The making of an artist: history of the development of Taylor’s early career through his close association with Clark, MacLennan, and Woods..................6 Chapter Two: Meeting of worlds: the generation of Taylor’s interest in Maori culture......................................................................................................................19 Chapter Three: Nationalist and local influence: art as identity...............................37 Chapter Four: Grey’s Polynesian Mythology: the opportunity of a career..............46 Chapter Five: A thematic survey of E. Mervyn Taylor’s prints on Maori subjects..56 Conclusion ..............................................................................................................72 Acknowledgements.................................................................................................76 Bibliography...........................................................................................................77 -
2Nd Grade Pre Visit Packet
Alexander & Baldwin Sugar Museum Education Program 2nd Grade Teacher Resource Packet P.O. Box 125, Puunene, Hawaii 96784 Phone: 808-871-8058 Fax: 808-871-4321 [email protected] http://www.sugarmuseum.com/outreach/#education https://www.facebook.com/AlexanderBaldwinSugarMuseum/ The Alexander & Baldwin Sugar Museum is an 501(c)(3) independent non-profit organization whose mission is to preserve and present the history and heritage of the sugar industry, and the multiethnic plantation life it engendered. All rights reserved. In accordance with the US Copyright Act, the scanning, uploading and electronic sharing of any part of these materials constitutes unlawful piracy and theft of the Museum’s intellectual property. For more information about the legal use of these materials, contact the Alexander & Baldwin Sugar Museum at PO Box 125, Puunene, Hawaii 96784. Alexander & Baldwin Sugar Museum Education Program 2nd Grade Teacher Resource Packet Table of Contents Education Program Statement Overview: • Reservations • Tour Size & Length • Admission Fee • Chaperone Requirements • Check In • Lunch • Rain • Rules Nametags Gallery Map Outdoor Map of Activity Stations* Education Standards Vocabulary Words The Process of Sugar Explained One Armed Baldwin Story Greetings in Different Languages *For a complete description of outdoor activities, see “Second Grade Activities Descriptions” or “Chaperone Activities Descriptions” at our website, http://www.sugarmuseum.com/outreach/#education Alexander & Baldwin Sugar Museum Education Program Statement What we do As the primary source of information on the history of sugar on Maui, the Alexander & Baldwin Sugar Museum responds to the educational needs of the community by developing programs that interpret the history of the sugar industry and the cultural heritage of multiethnic plantation life; providing online learning materials in an historic setting; providing learning materials online, and supporting educators’ teaching goals. -
Legends of Maui
Legends of Maui W.D. Westervelt Legends of Maui Table of Contents Legends of Maui..................................................................................................................................................1 W.D. Westervelt.......................................................................................................................................1 HELPS TO PRONOUNCIATION..........................................................................................................1 PREFACE................................................................................................................................................1 I. MAUI'S HOME....................................................................................................................................3 II. MAUI THE FISHERMAN................................................................................................................7 III. MAUI LIFTING THE SKY.............................................................................................................14 IV. MAUI SNARING THE SUN..........................................................................................................16 V. MAUI FINDING FIRE.....................................................................................................................22 VI. MAUI THE SKILLFUL..................................................................................................................30 VII. MAUI AND TUNA........................................................................................................................34