IN POLYNESIAN MYTHOLOGIES. MYTHICAL BUILDERS – Part II.
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Mānoa Heritage Center
Mānoa Heritage Center Teacher’s Information and Resources Kūka‘ō‘ō Heiau Table of Contents Introduction………………………………………………………….……..3 Background Information for Teachers…………………………….….4-10 Mana, Kapu and Heiau…………………………………………….…11-12 Oli……………………………………………………………………….…13 Secondary Sources………………………………………………………..14 Mānoa Valley Timeline (Secondary Source)…………………………….14-18 Timeline Activities…………………………………………………….18-20 Primary Sources………………………………………………………20-21 Oral traditions: Kapunahou I (Primary Sources)……………….……...22-23 Suggested Questions for Kapunahou I………………………………….24 Oral traditions: Kapunahou II (Primary sources) ……………………..25-26 Suggested questions for Kapunahou II…………………………………27 Oral History: A Walk Through Old Mānoa (Primary Source)………..28-31 1820 Map and Activities (Primary Source)…………………………………31 DOE Standards……………………………………………………….32-35 About the Mānoa Heritage Center……………………………………...36 Planning Your Visit………………………………………………………37 2 Kōnāhuanui Introduction In the heart of Mānoa valley, the Mānoa Heritage Center invites you to step back in time and explore our living connections to Hawai‘i‘s past. Kūka‘ō‘ō stands as the last intact walled heiau in the greater ahupua‘a of Waikīkī. Believed to have been built by Menehune, the heiau is interpreted today as an agricultural temple. Surrounding the heiau are native Hawaiian gardens that feature an extraordinary collection of rare and endangered species, as well as plants introduced by Polynesian settlers. Our site also tells the story of Mānoa valley, once a rich agricultural area that Hawaiians farmed for centuries. Foreign contact brought many changes to the valley including immigrant resident farmers from various ethnic groups. Today Mānoa is known as one of the most desirable residential areas in Hawai‘i, but its strong sense of place endures. 3 Background Information for Teachers Mānoa Valley As part of the Ko‘olau range, the large amphitheater valley of Mānoa was carved out through wind, rain and erosion. -
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. -
Visibility Analysis of Oahu Heiau
Visibility Analysis of Oahu Heiau A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN GEOGRAPHY May 2012 By Kepa Lyman Thesis Committee: Matthew McGranaghan, Chair Hong Jiang William Chapman Keywords: heiau, intervisibility, viewshed analysis Table of Contents LIST OF FIGURES .................................................................................................................................... III LIST OF TABLES ...................................................................................................................................... IV INTRODUCTION ........................................................................................................................................ 5 CHAPTER OUTLINE ..................................................................................................................................... 6 CHAPTER I. HAWAIIAN HEIAU ............................................................................................................ 8 HEIAU AS SYMBOL ..................................................................................................................................... 8 HEIAU AS FORTRESS ................................................................................................................................. 12 TYPES ...................................................................................................................................................... -
Na Makua Mahalo Ia. Mormon Influences on Hawaiian Music and Dance
2 john kamealoha almeida called the dean of hawaiian composers for of hawaiian compositions although he Is pure portuguese na makua mahalo laia hormonmormon influences on hawaiian music and dance his thousands many of his songs are now classics probably the mostroostmoost popular being 6 sk 11 bt T lesu heme ke kanakakekanakaKe waiwai has been blind since the age of ten but was very helpful in raising money for the church through luaus and hula when the na makua mahalo laia awards were first envisioned it was intended shows throughout the 1930s and 1940s he is presently eightsixeight six years that their scope would remain limited to basically LDSLOS people who had disting- 190s old uished themselves in the performing arts for various reasons it has not been possible to retain this earlier restricted focus of the awards As a alice namakelua aunty is 90 years young and is remarkably spry and result even though recipients tend to be mainly drawn from LDSLOS ranks church active in her days she was a singer dancer translator composer membership is not the prime criterion for selection rather recipients are lecturer genealogist and slackstacksiacksiecksleckslackkeystackkeykey guitar artist she had a best- judged on the depth and quality of the contributions they have made to the selling album when she was eightytwoeighty two years old and still attends hawaiian cultural community an examination of the two sets of recipients church functions as best as she can she studledstudiedstudded hawaiian music for might better illustrate the criteria -
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. -
39Th Annual North Shore Menehune Surfing Championships
IS BUGG “E Ala Na Moku Kai Liloloa” • D AH S F W R E E In This Issue E N ! E • Waimea Valley Makahiki Festival • Page 3 R S O I Cholo's 20 Year Anniversary • Page 9 N H C S Aloha Aina Recycling • Page 13 E H 1 T Harvest Festival • Page 14 9 R 7 O 0 Menehune Surf Contest Entry Form • Page 16 N Photo: Courtesy of Menehune Surf Contest NORTH SHORE NEWS September 30, 2015 VOLUME 32, NUMBER 20 Photo: Courtesy of Menehune Surf Contest 39th Annual North Shore Menehune Surfing Championships The 39th Annual North highlight of the contest is the Kokua I Love The Menehune.” Entries are Shore Menehune Surfing Cham- Division for keiki 3-6. This division due Oct. 1st by mail or they can pionships will be held on October is non competitive, parents are be hand delivered to Surf N Sea in 17, 18, 24, 25, 2015 at Hale‘iwa allowed to assist in the water and Hale‘iwa. For more information or Ali‘i Beach Park. This contest is for every keiki receives a trophy. Keiki if you would like to contribute to keiki 3-12 years old. Keiki can sign can bring a gently used book and this event contact Contest Director up for Divisions in Longboard and swap it out for another in the 3rd Ivy @ [email protected]. Mahalo Shortboard. Annual Menehune Book Exchange. Nui to all our 2015 Menehune They can also participate in This is our way of promoting lit- sponsors! We are grateful for your an Expression Session in SUP and eracy in our young surfers. -
Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures: Living Climate Change in Oceania
Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures: Living Climate Change in Oceania Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures Living Climate Change in Oceania Managing Editor: Izabella Penier Associate Editor: Adam Zmarzlinski ISBN 978-3-11-059140-8 e-ISBN 978-3-11-059141-5 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. © 2018 Tony Crook & Peter Rudiak-Gould Published by De Gruyter Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Managing Editor: Izabella Penier Associate Editor: Adam Zmarzlinski www.degruyter.com Cover illustration: mgrafx / GettyImages Contents His Highness Tui Atua Tupua Tamasese Ta’isi Efi Prelude: Climate Change and the Perspective of the Fish IX Tony Crook, Peter Rudiak-Gould 1 Introduction: Pacific Climate Cultures 1 1.1 Living Climate Change in Oceania 1 1.2 Discourses of Climate Change in the Pacific 9 1.3 Pacific Climate Cultures 16 Elfriede Hermann, Wolfgang Kempf 2 “Prophecy from the Past”: Climate Change Discourse, Song Culture and Emotions in Kiribati 21 2.1 Introduction 21 2.2 Song Culture in Kiribati 24 2.3 Emotions in the Face of Climate Change Discourse in Kiribati 25 2.4 The Song “Koburake!” 26 2.5 Anticipation and Emotions 29 2.6 Conclusion -
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 -
A Brief History of the Hawaiian People
0 A BRIEF HISTORY OP 'Ill& HAWAIIAN PEOPLE ff W. D. ALEXANDER PUBLISHED BY ORDER OF THE BOARD OF EDUCATION OF THE HAWAIIAN KINGDOM NEW YORK,: . CINCINNATI•:• CHICAGO AMERICAN BOOK C.OMPANY Digitized by Google ' .. HARVARD COLLEGELIBRAllY BEQUESTOF RCLANOBUr.ll,' , ,E DIXOII f,'.AY 19, 1936 0oPYBIGRT, 1891, BY AlilBIOAN BooK Co)[PA.NY. W. P. 2 1 Digit zed by Google \ PREFACE AT the request of the Board of Education, I have .fi. endeavored to write a simple and concise history of the Hawaiian people, which, it is hoped, may be useful to the teachers and higher classes in our schools. As there is, however, no book in existence that covers the whole ground, and as the earlier histories are entirely out of print, it has been deemed best to prepare not merely a school-book, but a history for the benefit of the general public. This book has been written in the intervals of a labo rious occupation, from the stand-point of a patriotic Hawaiian, for the young people of this country rather than for foreign readers. This fact will account for its local coloring, and for the prominence given to certain topics of local interest. Especial pains have been taken to supply the want of a correct account of the ancient civil polity and religion of the Hawaiian race. This history is not merely a compilation. It is based upon a careful study of the original authorities, the writer having had the use of the principal existing collections of Hawaiian manuscripts, and having examined the early archives of the government, as well as nearly all the existing materials in print. -
PDF Download
ANTHROPOS 109.2014: 161 – 176 The God Tinirau in the Polynesian Art Sergei V. Rjabchikov Abstract. – In this article, data concerning the all-Polynesian fish lau, and Sinilau) is an important problem for an un- god Tinirau are collected. Tinirau was a chief or at least son of a derstanding of the nature of the Polynesian (Austro- chief. The study of the Proto-Polynesian rock picture of Fiji al- nesian) religion.1 Here I discuss in this connection lows to realise main symbols and ideas of the Proto-Polynesians. On this basis, some rock pictures of different Polynesian islands results of my study of rock drawings on Vatulele of are decoded. The cult of Tinirau was widespread in these places, Fiji, Hiva Oa of the Marquesas Islands, Mo‘orea of and this fact is beyond question. This god was strongly associ- the Society Islands, and Easter Island (Rapa Nui). ated with the moon goddess Hina. On the other hand, this brave Moreover, we present the interpretation of the carv- hero was related and at one time was even equal to the lord of the ocean known as Tangaroa. The trinity structure of the sea de- ings on Rapanui royal staffs ua. The destination of ity is discovered. Besides, the semantics of two types of Rapanui Easter Island wooden figurines moai tangata is also wooden artifacts is understood. The Austronesian influence is re- realised. vealed in the Ainu and Japanese cultures. At last, a selection of some rongorongo inscriptions (Easter Island) is read and inter- preted. Such records serve as a reliable key to many Polynesian petroglyphs. -
Analysing the Origin of Māui the Semi-Divine Trickster in Polynesian Mythology*
Analysing the Origin of Māui the Semi-Divine Trickster in Polynesian Mythology* Martina Bucková Analýza pôvodu polobožského kultúrneho hrdinu Māuiho v polynézskej mytológii Resumé Kultúrny hrdina Māui je fenomén, ktorý sa objavuje takmer vo všetkých mytologických systémoch Polynézie. Pozoruhodný je jeho pôvod, ktorý je zvyčajne sčasti božský a sčasti ľudský. Príspevok analyzuje rôzne varianty polynézskych mýtov a zameriava sa najmä na informácie týkajúce sa jeho pôvodu, okolností narodenia, varianty mien rodičov a súrodencov. Abstract The cultural hero Māui is a phenomenon that occurs in nearly all the mytholo- gical systems of Polynesia. His origin is remarkable and is mostly partly divine and partly human. This paper analyses different variants of the Polynesian myths about Māui, espe- cially focusing on his origin, the circumstances of his birth and variants of his parents’ names and siblings. Keywords Polynesia, Mythology · Māui, Analysis of Variants in the Tradition A trickster or culture hero is a mythical being found in the mythologies of many archaic societies. In some mythologies, the culture hero is given a divine origin; in others he is a demigod or only a spirit that acts on the command of a higher deity. Prometheus, for example, was of a purely divine origin. According to Hesiod’s Theogony, he was the son of Iapetus and the Oceanid Clymene. Māui of Polynesia is an example of a culture hero who was present in most versions of myths of semi-divine origin: in Maori mythology he came from the 156 SOS 13 · 2 (2014) lineage of Tu-mata-uenga, and in Hawaiian mythology his mother was the goddess Hina-a-he-ahi (‘Hina of the fire’).