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The Hawai'i Tourism Authority
)~ ‘-1 I Hawai'i Convention Center David v. lge ,=';'7" ‘ " I “M 1801 Kalékaua Avenue, Honolulu, Hawaii 96815 Governor ‘N ' ‘ kelepona tel 808 973 2255 7' A U T H O R I T Y kalepa'i fax 808 973 2253 Chris Tatum kahua pa'a web hawaiitourismauthurityorg President and Chief Executive Officer Statement of CHRIS TATUM Hawai‘i Tourism Authority before the SENATE COMMITTEE ON WAYS AND MEANS Wednesday, April 3, 2019 10:20AM State Capitol, Conference Room #211 In consideration of HOUSE BILL NO 420 HD1 SD1 RELATING TO HAWAIIAN CULTURE. Chair Dela Cruz, Vice Chair Keith-Agaran, and members of the Senate Committee on Ways and Means: The Hawai‘i Tourism Authority (HTA) strongly supports House Bill 420 HD1 SD1, which removes the provision designating the Hawai‘i Convention Center (HCC) as the location for the operation of a Hawaiian center and museum of Hawaiian music and dance. The concept of developing a Hawaiian Center and Museum of Hawaiian Music and Dance is one that we fully support; however, the challenge has been the requirement of locating the center at the Hawai‘i Convention Center. By removing this requirement, we will then be allowed to work with the community to identify the best location for this very important facility. We humbly request your support of this measure. Thank you for the opportunity to offer testimony in support of House Bill 420 HD1 SD1. HB-420-SD-1 Submitted on: 3/29/2019 8:08:03 PM Testimony for WAM on 4/3/2019 10:20:00 AM Testifier Present at Submitted By Organization Position Hearing Kirstin Kahaloa Individual Support No Comments: April 2, 2019 Senator Donovan Dela Cruz, Chair Senator Gilbert Keith-Agaran, Vice Chair Committee on Ways and Means Conference Room 211 Hawai‘i State Capitol Honolulu, HI 96813 RE: Testimony on HB420 HD1 SD1, Relating to Hawaiian Culture Chair Dela Cruz, Vice Chair Keith-Agaran, and Committee Members: My name is Melanie Ide and I am the President and CEO of the Bishop Museum, Hawai‘i’s State Museum of Natural and Cultural History. -
Puana 'Ia Me Ka 'Oko'a: a Comparative Analysis of Hawaiian
Vol. 5 (2011), pp. 107-133 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4494 Puana ‘Ia me ka ‘Oko‘a: A Comparative Analysis of Hawaiian Language Pronunciation as Spoken and Sung Joseph Keola Donaghy University of Hawai‘i at Hilo and University of Otago, New Zealand In this paper I argue that the differences between spoken Hawaiian and vocal perfor- mance of western-influenced “traditional” Hawaiian music are representative of the linguistic diversity found within the Hawaiian language. It contains a comparative analysis of Hawaiian Language Pronunciation as Spoken and Sung, using transcriptions of recorded examples by John Kameaaloha Almeida, a native speaker of the Hawaiian language and a prominent composer, singer, and instrumentalist. It will provide a pho- nemic analysis of notable and predictable variations heard in Hawaiian language vocal performances that are not heard in spoken Hawaiian. Further, it will show that rhythmic arrangement of morae over strong beats in the musical measure is largely analogous to accent in spoken Hawaiian, with some predictable exceptions. The paper also documents how, during his vocal performance, Almeida added three non-lexical vocables not heard in spoken Hawaiian. I argue that these characteristics and variation are indicative of the linguistic diversity found within the Hawaiian language and, as such, are worthy of the same attention and scholarly scrutiny as spoken Hawaiian. The second goal of this applied research is to present the results in a manner that is accessible to practitioners of Hawaiian language performance. 1. INTRODUCTION.1 One day during my time as an undergraduate student in the Hawaiian Studies program at the University of Hawai‘i at Hilo, I was listening to a record- ing of Rev. -
1984 “Na Makua Mahalo Ia (The Most Honored)” Award Concert
(Na Makua Mahalo Ia Award Concert—1984—broken into 2 videos on Vimeo.com) 1984 “NA MAKUA MAHALO IA (THE MOST HONORED)” AWARD CONCERT Enclosed are notes that correspond to the following three videos in the Na Makua Mahalo Ia Collection on HPSʻs Vimeo Channel. (http://vimeo.com/hulapreservationsociety) Ø 1984 Pt 1 of 2 Ø 1984 Pt 2 of 2 BACKGROUND: In the 1980s, a series of 5 concerts were held to honor elders of that time who persevered in the 20th century & planted seeds for the Hawaiian Renaissance that began in the 1970s. Over five concerts, 67 kūpuna were recognized, & their names are the ones we recall hearing stories about, for their contributions have deeply enriched the sentience of Hawaiians & the people of Hawaiʻi. “Na Makua” was created & led by Dr. Ishmael Stagner, who was a professor at Brigham Young University-Hawaiʻi at the time. To download a scan of BYUʻs actual program from this year, visit https://www.papakilodatabase.com & search the Hula Preservation Society Collection. You will also find short audio clips & comprehensive descriptions of select honorees there. 1984 Pt 1 of 2 Na Makua AwarD Concert MC, Host & Event Coordinator: Ishmael Stagner (1939-2014) (2:40) Opening prayer: Wylie W. Swapp (1919-2007) Tribute performances by: Ka Pa Hula Hawaii, Kumu Hula Kahai Topolinski Ka Pa Hula Hawaii under the direction of Kumu Hula Kahai Topolinski present the following performances as hoʻokupu to all of the recipients being honored at the 1984 Na Makua Mahalo Ia Awards: (3:31) - (Hula kahiko) “Pua Ai Lehua Ka Makani,” honoring -
The Pleasures and Rewards of Hawaiian Music for an 'Outsider'
12 Living in Hawai‘i: The Pleasures and Rewards of Hawaiian Music for an ‘Outsider’ Ethnomusicologist Ricardo D . Trimillos Foreword I first met Stephen Wild at the 1976 Society for Ethnomusicology meeting in Philadelphia. Since that time we have enjoyed four decades as session- hopping colleagues and pub-crawling mates. In regard to the former, most memorable was the 1987 International Council for Traditional Music meeting in Berlin, where, appropriate to our honoree, one of the conference themes was ‘Ethnomusicology at Home’. It is this aspect of Stephen’s service that I celebrate in my modest effort for this festschrift. In 2006, the journal Ethnomusicology produced its ‘50th Anniversary Commemorative Issue’, which contained the essay ‘Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?’ (Wild 2006). It was an informative and at times prescriptive account of the trajectory for ethnomusicology in Australia. I found the essay a most engaging exercise in personal positioning by an author within a historical narrative, one in which personality and persona were very much in evidence. Inspired by the spirit of that essay and emboldened by its novel approach, I share 335 A DISTINCTIVE VOICE IN ThE ANTIPODES observations about ‘doing ethnomusicology’ where I live—in Honolulu, Hawai‘i. This brief and personal account deliberately draws parallels with our honoree’s experiences and activities during a long career in his ‘homeplace’ (Cuba and Hummon 1993). The pleasures of Hawaiian music in California My first encounters with Hawaiian music were not in Hawai‘i but in San Jose,1 California, locale for the first two decades of my life. -
Read Liner Notes Here
LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them. -
Stardigio Program List
STAR digio 100 チャンネル：４７３ ＨＡＷＡＩＩ 放送日：２００４／４／１２～４／１８ 「番組案内(4時間サイクル）」 開始時刻：4:00～8:00～12:00～16:00～20:00～24:00～ 楽曲タイトル 演奏者名 ハワイの王室ソング集 Ku'u Ipo I Ka He'e Pu'e One 山内雄喜 w/Maki Kokohi PALANI VAUGHAN Adios Ke Aloha PALANI VAUGHAN Ku'u Pua I Paoakalani 山内雄喜 w/Maki Maika'i Waipi'o PALANI VAUGHAN & THE SUNDAY MANOA Ipo Lei Manu PALANI VAUGHAN E Nihi Ka Hele PALANI VAUGHAN To Ma'i Ho'eu'eu / Liliko'i PALANI VAUGHAN Ke Ali'i Milimili PALANI VAUGHAN He Mele Lahui Hawai'i 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sanoe 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sweet Lei Lehua PALANI VAUGHAN & THE SUNDAY MANOA Hawai'i Pono'i JACK DE MELLO Song of the Sea JACK DE MELLO Hawaiian War Chant JACK DE MELLO Dancing Breeze JACK DE MELLO Nani Wale Lihu'e JACK DE MELLO Aloha No Au I Ko Maka JACK DE MELLO ハワイのフォスター、チャールズ・E・キング作品集 Na Lei o Hawaii HAWAII CALLS Pa'au'au Waltz THE SUNDAY MANOA Beautiful Kahana THE SUNDAY MANOA Eleu Mikimiki THE SUNDAY MANOA Kamehameha Waltz PETER MOON Mi Nei KAHAUANU LAKE TRIO Imi Au Ia 'Oe HAWAII CALLS Ke Kali Nei Au HAWAII CALLS Palolo GABBY PAHINUI Kaimana Hila HAWAII CALLS Lei Aloha Lei Makamae HAWAII CALLS He Nohea 'Oe I Ku'u Maka GABBY PAHINUI AND THE SONS OF HAWAII Lei Lokelani KAHAUANU LAKE TRIO 'Uhe'uhene LEONARD KWAN Kamehameha Waltz 山内雄喜 w/Maki Ne'e Ne'e Mai NA HOKUPA Pua Carnation The Charles "Kaipo" Miller Serenaders from the Royal Hawaiian Hotel. -
Ka Wai Ola O
Kamehameha Schools SP[CIAlmmo is now accepting applications Voter registration forms for th e 1999-2000 school year inside, Together, our voices VOLUME 15, NUMBER B o/£'c are stronger, VOTE! for kindergarten and grades 4, 7 and 9. KAMEHAMEHA SCHOOLS BERNICE PAUAHI BISHOP EsTATE KSBE's policy to give preference to individuals of Hawaiian descent as permitted by law has been ruled non -di scri minatory by the IRS. Ka Wai Ola 0 OHA, Office of Hawaiian Affairs 711 Kapi'olani Blvd., Suite 500 Honolulu, Hawai/i 96813-5249 - VOLUME 15, NUMBER 8, 'AUKAKE (AUGUST) 1998 .. ... OHA vs. State of Hawai'j egotiations begin; Court sets Dec. 1 deadli ne taken a tremendous leap forward without sacrificing By Ryan Mielke the entitlement owed our beneficiaries," said A. Frenchy DeSoto, chairperson, aHA Board of OHA's negotiations ESS THAN three months after their oral argu- Trustees. "Today marks another milestone in com- ments in the state's appeal in the case of the munication and negotiation with the state. This is a Office of Hawaiian Affairs vs. State of Hawai 'i, turning point for our people in their right to finally with the State of Hawaii both sides have asked the Hawai'i Supreme receive what they are owed. Court to hold its decision-making while aHA "I am also pleased that Governor Cayetano shares anld the tate discuss a settlement. my desire to do what is right for all of the people of What's being negotiated? On July 28, the Hawai'i Supreme Court granted Hawai'i, thus keeping true to Hawaiians and our con- the tay of its decision-making - with the require- stitution," she said. -
He Lei Poina 'Ole Ke Keiki
1 PROGRAM 7:30 pm – 10:00 pm Oli Ho‘okipa *Pule *Ho‘onani I Ka Makua Mau *Hawai‘i Pono‘ī He Lei No Pauahi ‘Ōlelo Ho‘okipa HO‘OKūKū O Nā KāNE Boys’ Competition HO‘OKūKū O Nā WāHINE Girls’ Competition HO‘OKūKū O Nā PAPA Combined Class Competition INTERMISSION • 15-minutes Nā PAPa I HUi Pū ‘ IA Combined Classes Hō‘ IKE Hā‘AWI MAKANA Presentation of Awards *Ka HīMENi KULA Alma Mater KA waiho‘olU‘u O Nā papa Seniors: ‘ula‘ula, red; Juniors: melemele, yellow; Sophomores: ‘ōma‘oma‘o, green; Freshmen: poni, purple *AUDIEnce plEASe sTanD Video and Flash Photography Prohibited INTRODUCTION HE LEI POINa ‘OlE KE KEIKI A Beloved Child is a Lei Never Forgotten Aloha pumehana e nā pua a Pauahi! “Warm welcome, children of Pauahi!” is a familiar greeting to Kamehameha haumāna. It affirms who they are as young, bright and industrious Hawaiians, who share a rich and proud tradition made possible through the love and generosity of Ke Ali‘i Pauahi. This year’s Song Contest theme focuses on our pua, our lei – our Hawaiian youth. The words lei (garland) and pua (flower) can poetically refer to children. There are many ‘ōlelo no‘eau, poetical wise sayings, that reflect traditional Hawaiian perspectives of keiki. He keiki mea kupuna refers to a child who is coddled and the center of attention of his or her grandparents. He keiki aloha nā mea kanu draws a parallel between children and plants both of which need care, nourishment and a healthy environment in which to thrive. -
Kulaiwi’ by Faith Ako
Island Mele: ‘Kulaiwi’ by Faith Ako SEP. 29, 2013 | 0 COMMENTS REVIEW BY JOHN BERGER / [email protected] ‘Kulaiwi, My Beloved Homeland’ - Faith Ako (Faith Ako) Expatriate islander Faith Ako, formerly of Kahuku and currently a resident of the Bay Area, excels at doing Hawaiian standards in traditional nahenahe (soft, melodious) style. She does so here with beautiful arrangements of “Pauoa Liko Ka Lehua,” “Puamana” and “Poliahu,” and introduces three newly written songs as well. Two of the new songs are intended for folks who are fluent in ‘olelo Hawai‘i. “Na Pua O Ka La‘akea” is her “thank you” to the halau that encouraged her to record her first album. “Kawahine O Ka Po” is one of her favorite songs by avant garde kumu hula Mark Ho‘omalu. The third, “My Hawai‘i,” written by her nephew, Keenan Kanahele, is hapa-haole. It expresses the sentiments of everyone who has lived here, now lives elsewhere and misses the islands. Ako sings it with heartfelt conviction. The other English-language song on the album is a timely 50th anniversary remake of Roy Orbison’s 1963-vintage “B-side” classic, “Blue Bayou,” that shows Ako’s potential as a mainstream pop singer. Ako’s “Blue Bayou” could easily be the preview cut of an entire album of pop chart remakes. Adding Hawaiian lyrics to it, as Ako and her translator do, isn’t necessary but makes their version more than a straight remake of Orbison’s timeless song. Songs with ties to specific locations are an important and popular tradition in Hawaiian music. -
'The Role of Hawaiian Guitar in the Present Context of Hindustani
KARNATAK UNIVERSITY DHARWAD ‘The Role of Hawaiian Guitar in the Present Context of Hindustani Classical Music – A Practical Analysis’ A thesis submitted to the Karnatak University, Dharwad for the award of the degree of ‘Doctor of Philosophy’ in performing arts Research Student PRAKASH SONTAKKE Research Guide Dr. Smt. MEERA SHIVSHANKAR GUNDI Associate Professor (Retd.) MA Sangeetha & Phd P G Department of Music and Fine Arts Karnatak University, Dharwad January 2015 Sculpture depicting Lord Ganesha playing the ancient Indian slide veena CONTENTS Acknowledgments ................................................................................................................................ vi Certificate ............................................................................................................................................ ix Declaration ........................................................................................................................................... x Introduction .......................................................................................................................................... 1 1. The Hawaiian Guitar .................................................................................................................. 11 1.1. The History of the Hawaiian Guitar .................................................................................. 11 1.2. The Development of the Hawaiian Guitar as a Main Instrument ..................................... 15 1.2.1. Arrival of the Electric -
Harry's Song List
!"#$%&'!(%)"*%&'+,%-,*)"*./#0,!! Harry!s repertoire consists of literally hundreds of vocal and instrumental selections ranging from traditional Hawaiian, to Classical, to Pop Standards and Contemporary tunes covering the 1950!s to the present. Below are just a few examples of his diversity and range. 50 Years of Rock n Roll All My Loving, Blackbird, Good Day Sunshine, I Feel Fine, Lucy in the Sky, Paperback Writer, Something, The Long and Winding Road, Hooked on a Feeling, Lay Lady Lay, Like a Rolling Stone, Who'll Stop the Rain, Teach Your Children, I Can See Clearly Now, Mr. Bojangles, Crazy, A Whiter Shade of Pale, The Sound of Silence, Mustang Sally, In My Room, Mr. Tamborine Man, Horse With No Name, Here Comes the Sun, Norwegian Wood, Can't Find My Way Home, No Woman No Cry, Redemption Song, Waiting in Vain, Moonshadow, Wild World, Our House, Ziggy Stardust, Desperado, Lyin' Eyes, Take It Easy, Tequila Sunrise, Wonderful Tonight, Landslide, Some Kind of Wonderful, Doctor My Eyes, Fire & Rain, Up on the Roof, Time in a Bottle, Angel, Little Wing, The Wind Cries Mary, Imagine, Dust in the Wind, Stairway to Heaven, Nights in White Satin, Heart of Gold, Old Man, Sitting on the Dock of the Bay, Bluebird, Baby I Love Your Way, Wish You Were Here, Sailing, Paint it Black, Wild Horses, Brown Eyed Girl, Hard Luck Woman, My Love, Street of Dreams, Now & Forever, Life by the Drop, Roxanne, I Won't Back Down, Into the Great Wide Open, Kryptonite, Change the World, Tears in Heaven, Out of My Head, Time of Your Life, Runaway Train, Fields of -
Vol 26 No 10
‘Okakopa (October) 2009 | Vol. 26, No. 10 THE LIVING WATER OF OHA www.oha.org/kwo Father Damien: Patron Saint of Native Hawaiians page 11 Call for ‘Mahalo Notes’ page page In the spirit of the holidays, the November issue of Ka Wai Ola 03 18 will feature stories of mahalo during the season of thanks. We’re asking readers who would like to thank Hawaiian organizations that have helped them to send us short and sweet “notes of thanks” of OHA unveils Waikı¯kı¯ 200 words or less addressing what their particular benefactor did for them and how that made a difference in their lives. Send your Mahalo new strategic lei stand Notes with your name and phone number by Oct. 15 to: kwo@oha. org or by snail mail to: Office of Hawaiian Affairs, ATTN: Ka Wai plan blooms again Ola, 711 Kapi‘olani Boulevard, Suite 500, Honolulu, HI 96813. Please feel free to send a photo to accompany your note. Photos that Honolulu, Hawai‘i 96813-5249 711 Kapi‘olani Blvd., Ste. 500 OFFICE of HAWAIIAN AFFAIRS OFFICE of HAWAIIAN are mailed will not be returned. Questions? Call 594-1981. Hawaii Air Ambulance/Hawaii Life Flight Membership Program What if You or a Loved One Needed an Air Ambulance? What if you or a loved one needed an “Hawaii Air Ambulance saved our daughter’s life. Mahalo!” air ambulance? Hawaii Air Ambulance/Hawaii Life Flight is pleased to offer the people of Hawaii an exclusive air medical transport Membership Program Timothy and Mary Catiel membership service that waives the member’s insurance deductible and co-payment when we provide emergency Senior Rates air transportation between the Islands.