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Environmental Assessment NOS Kihei Facility Project
Environmental Assessment NOS Kīhei Facility Project Final Report October 5, 2004 Department of Commerce National Oceanic and Atmospheric Administration National Ocean Service National Marine Sanctuary Program Prepared By: Under Contract To: Sustainable Resources Group Int’l, Inc. Architects Pacific, Inc. 1916 Young Street, Suite 101 938-C Kapahulu Avenue Honolulu, HI 96826 Honolulu, HI 96816 EXECUTIVE SUMMARY Pursuant to the National Environmental Policy Act (NEPA) (Title 42 U.S. Code [USC] Section 4321 et seq.) and National Oceanic Atmospheric Administration (NOAA) Administrative Order (NAO) 216-6, the Department of Commerce (DOC) NOAA has prepared this Environmental Assessment (EA) for the proposed construction of a multi-purpose building and connected actions at the Hawaiian Islands Humpback Whale National Marine Sanctuary (HIHWNMS) Headquarters office in Kīhei, Maui, Hawai‘i. The HIHWNMS office is located on 0.457 hectares [1.13 acres] and presently contains four buildings on- site. NOAA has determined that in order for the HIHWNMS to continue to meet its present and future programmatic needs, facility improvements including a multi-purpose building that will provide office, teaching, meeting, and storage space are necessary. The Proposed Action involves demolition and removal of two antiquated storage buildings, construction of a new multi-purpose building, installation of a new parking lot, site landscaping including creation of an outdoor courtyard, and the installation of service utilities (see Section 2). The need for the Proposed Action was investigated following recommendations developed during the planning stage referred to as PHASE ONE – PLANNING of the Project Development, Approval, and Management (PDAM) process carried out by NOAA. As part of PHASE TWO – SCOPING of the PDAM process, NOAA is conducting an Environmental Assessment (EA). -
So Much More
so much more ACTIVITIES AND ATTRACTIONS | WINTER 2012 - kaua‘i • o‘ahu • moloka‘i • lana‘i • maui • hawai‘i island Waialua Falls, Maui Welcome to the Hawaiian Islands. HAWAI‘I IS HOME TO A MULTITUDE of historic and cultural sites, attractions, cultural festivals, concerts, craft fairs, athletic events, and farmers’ markets. While some are enjoyed primarily by residents, we think they can also provide excitement for visitors. Others are among the islands’ best kept secrets, unknown not only to travelers but even to many who live here. This guide is a brief introduction to Hawai‘i’s endless variety of special events and off-the-beaten path attractions, offered to our visitor stakeholders for informational purposes only. It should not be interpreted as a recommendation of any specifi c activity or attraction or be seen an endorsement of any organization. There’s so much more to Hawai‘i than one can imagine! INSIDE 06 HAWAI‘I 51 MOLOKA‘I 20 KAUA‘I 54 O‘AHU 32 LANA‘I- 76 STATEWIDE 36 MAUI TABLE OF HAWAI‘I ISLAND 23 Festival of Lights 23 08 ‘Imiloa Astronomy Center of Hawai‘i Hanapēpē - Friday Art Night 24 08 15th Annual Big Island International Marathon Heiva I Kaua‘i Ia Orana Tahiti 2012 24 09 Kahilu Th eatre's 2012 Presenting Season Kaua‘i Historical Society’s Kapa‘a History Tour-Kapa‘a Town 25 09 Aloha Saturdays Kaua‘i Music Festival 25 10 Amy B.H. Greenwell Ethnobotanical Garden Kōloa Heritage Trail 26 10 Anna Ranch Heritage Center Kōloa Plantation Days Festival 26 11 Big Island Abalone Corporation Lāwa'i International Center 27 11 Bike -
HE MAKANA the Gertrude Mary Joan Damon Haig Collection of Hawaiian Art, Paintings and Prints Opens First Friday, Dec. 6, 2013
December 2013 HE MAKANA DECEMBER The Gertrude Mary Joan Damon FREE EVENTS Haig Collection Of Hawaiian Art, AT HISAM The public is invited to these free Paintings and Prints Opens First events for December 2013 to be held at the Hawai‘i State Art Mu- Friday, Dec. 6, 2013 seum in the No.1 Capitol District Building at 250 South Hotel Street he Gertrude Mary Joan Damon ing lands, an interest her children in downtown Honolulu. See feature Haig Collection of Hawaiian inherited. stories and photos of these events TArt, Paintings, and Prints is a Forty-three works of art-small in this enewsletter. Not subscribed distinguished collection of traditional objects, paintings, and prints collected to eNews? Join here for monthly arts of Hawai’i, over thirty years updates. paintings of by a keen-eyed First Friday Hawai’i, and single donor He Makana exhibit opening prints of Hawai’i comprise this Friday, December 6, 2013 presented to the important exhibi- 6-9 p.m. state of Hawaii in tion that opens to Celebrate the unveiling of the honor of the life the public at the Gertrude Mary Joan Damon Haig of Gertrude Mary Hawai’i State Art Collection of Hawaiian Art, Paintings, Joan Damon Museum on First and Prints. Haig. Friday, December First Friday In the Hawai- 6, 2013 from Holiday Harp ian language, He Waimea Canyon, Kauai by D. Howard Hitchcock 6:00 to 9:00 p.m. Friday, December 6, 2013 Makana means 1909, oil on canvas Perceptive and 6-9 p.m. A Gift, referring knowledgeable, HiSAM favorite Ruth Freedman to the generous the donor focused returns to weave holiday magic with gifting of the the core of the classic Christmas tunes and harp collection to the collection on the standards. -
The Fijian Frescoes of Jean Charlot Caroline Klarr
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Painting Paradise for a Post-Colonial Pacific: The Fijian Frescoes of Jean Charlot Caroline Klarr Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PAINTING PARADISE FOR A POST-COLONIAL PACIFIC: THE FIJIAN FRESCOES OF JEAN CHARLOT By CAROLINE KLARR A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester 2005 Copyright 2005 Caroline Klarr All Rights Reserved The members of the Committee approve the dissertation of Caroline Klarr defended on April 22, 2002 Jehanne Teilhet-Fisk Professor Directing Dissertation (deceased) J. Kathryn Josserand Outside Committee Member Tatiana Flores Committee Member Robert Neuman Committee Member ______________________ Daniel Pullen Committee Member Approved: ________________________________________ Paula Gerson, Chair, Department of Art History ________________________________________ Sally E.McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to Dr. Jehanne Teilhet-Fisk Ka waihona o ka na’auao The repository of learning iii PREFACE AND ACKNOWLEDGMENTS Jean Charlot’s fresco murals in the Pacific Islands of Hawai’i and Fiji represent the work of a mature artist, one who brought to the creation of art a multicultural heritage, an international background, and a lifetime of work spanning the first seven decades of the twentieth century. The investigation into any of Charlot’s Pacific artworks requires consideration of his earlier artistic “periods” in France, Mexico, and the United States. -
Approved 06/02/05 CULTURAL RESOURCES COMMISSION
Approved 06/02/05 CULTURAL RESOURCES COMMISSION REGULAR MEETING MARCH 18, 2005 A. CALL TO ORDER The regular meeting of the Cultural Resources Commission (Commission) was called to order by Chair Lori Sablas at 9:05 a.m., Thursday, March 18, 2005, Waiola Church, Waiola Keopuolani Meeting Hall, 537 Wainee Street, Lahaina, Maui, Hawai`i. A quorum of the Commission was present. (See Record of Attendance.) Ms. Lori Sablas: Aloha kakahiaka. Aloha. Good morning everyone. If you could get seated, we’d like to -- well, those -- hey, the mayor of Lahaina is here. So all those who are there wanting to sign, you’re welcome to come up and sign for agenda items today. So let’s get started. Aloha again. It’s wonderful for us, as the Cultural Resources Commission, to be here and having our meeting here and it’s wonderful to see the wonderful turnout that we have. Thank you community members for coming to this meeting. So I would like to call the meeting to order at this time. Okay, first order of business, as most meetings like this, we’d like to open it up to public testimony. Those of you who are familiar with the agenda items that we have, it is now your time, if you have time constraints, to come up and to speak on any item on the agenda. If you don’t have time constraints and willing to wait as it comes up in the agenda, you’re also welcome to do that. But I’d like to open this meeting with public testimony for those members in the community who are on time constraints and would like to address any time on the agenda at this time. -
Table 4. Hawaiian Newspaper Sources
OCS Study BOEM 2017-022 A ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Main Eight Hawaiian Islands U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2017 Cover image: Viewshed among the Hawaiian Islands. (Trisha Kehaulani Watson © 2014 All rights reserved) OCS Study BOEM 2017-022 Nā ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Eight Main Hawaiian Islands Authors T. Watson K. Ho‘omanawanui R. Thurman B. Thao K. Boyne Prepared under BOEM Interagency Agreement M13PG00018 By Honua Consulting 4348 Wai‘alae Avenue #254 Honolulu, Hawai‘i 96816 U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2016 DISCLAIMER This study was funded, in part, by the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program, Washington, DC, through Interagency Agreement Number M13PG00018 with the US Department of Commerce, National Oceanic and Atmospheric Administration, Office of National Marine Sanctuaries. This report has been technically reviewed by the ONMS and the Bureau of Ocean Energy Management (BOEM) and has been approved for publication. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the US Government, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. REPORT AVAILABILITY To download a PDF file of this report, go to the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program Information System website and search on OCS Study BOEM 2017-022. -
Turtlephilia in the Pacific: an Integrated Comparative
TURTLEPHILIA IN THE PACIFIC: AN INTEGRATED COMPARATIVE ANALYSIS FROM THE PERSPECTIVES OF BIOLOGICAL, CULTURAL, AND SPIRITUAL ECOLOGY IN A PARTICULAR CASE OF BIOPHILIA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ANTHROPOLOGY MAY 2013 By Regina Woodrom Luna Dissertation Committee: Leslie Sponsel, Chairperson Charles Birkeland Alice Dewey Sherwood Maynard Heather Young-Leslie Keywords: Sea Turtle, Traditional Laws, Cultural Take, Consumption, Tapu, Tabu, Kapu, Taboo, Oceania, Polynesia, Myth, Legend, Ritual, Creation Story Acknowledgments First and foremost, I would like to thank my wonderful husband, Jason Rudrud, without whose support -- both physically by picking up sea turtles with all their weight, and mentally by picking me up when it seemed as if my health issues would not allow me to finish – this dissertation would never have been completed. He is my hero and this is his accomplishment as much as it is mine. Next, I would be remiss without acknowledging the tremendous and never-ending support of my mother and chief editor, Mary Anne Woodrom; my dad and step-mother, Harold and Marilyn Woodrom; and my sister and assistant editor, Rebecca Reid and my brother-in-law, Lynn. My brother Roy Woodrom, whose generosity with his frequent flier miles sent me to ECOnference 2000, which set me on my path to study sea turtles as an undergraduate at Texas A&M. The rest of my extended family, especially my aunt Dr. Sandra Luna McCune for her editing assistance, also deserve acknowledgement for always being there for me regardless of the paths I choose to take. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE:The Ambum Stone LOCATION: Papua New Guinea DATE: 1500 BCE ARTIST: PERIOD/STYLE: Prehistoric Oceanic Art PATRON: MATERIAL/TECHNIQUE:Greywacke FORM: A composite human/animal figure, perhaps an anteater head and a human body. It has a pleasing shape and smooth surface, and the slightly shiny patina on some of its raised details suggest it has been well handled. It was made from greywacke stone, and its finished shape may suggest the original shape the stone it was carved from. Carved in the form of some kind of animal, its features are rounded and include a freestanding neck, elegantly curved head and long nose, and upper limbs that hug its torso and appear to enclose a cupped space above its belly. FUNCTION: The Ambum Stone is a decorative pestle. Sculpted stones uncovered in Papua New Guinea fall into three different categories: figurines, mortars, and pestles. These objects take the form of both land- and air-dwelling animals, anthropomorphic creatures, and human figures. The Ambum Stone is one of the earliest stone objects, hailing from way back in 3500 B.C.E., and would have been created as a pestle. It's likely that the Ambum Stone was used for fertility or burial rituals. The discovery of the Ambum Stone sheds light on the supernatural and religious beliefs of the ancient New Guinea peoples. The early stone sculptures have supernatural significance. These special mortars and pestles were used in religious rituals. New Guinea peoples believed the supernatural powers of these sculptures and the animals they depicted helped with fertility, hunting, and burial rites. -
Mala Lā'au Lapa'au: Preserving the Hawaiian 'Āina and Mo'omehue
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2015 Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue Sandra Fogg University of Rhode Island, [email protected] Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 License. Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Alternative and Complementary Medicine Commons, Hawaiian Studies Commons, Historic Preservation and Conservation Commons, Horticulture Commons, and the Other Pharmacy and Pharmaceutical Sciences Commons Recommended Citation Fogg, Sandra, "Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue" (2015). Senior Honors Projects. Paper 451. http://digitalcommons.uri.edu/srhonorsprog/451http://digitalcommons.uri.edu/srhonorsprog/451 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Sandra Fogg Honors Project Spring 2015 Project Overview Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue ABSTRACT The study of medicinal plants in the western world tends to focus on the isolation and elucidation of natural products that have bioactive characteristics and potential for pharmaceutical formulation. However, the utilization of medicinal plants in cultures that still practice ancient medicine, such as Hawai’i and other Pacific Island nations, involves the use of whole plant parts in conjunction with spiritual rituals to heal illnesses and ailments. -
The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi
The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 2014 By WILLY DANIEL KAIPO KAUAI Dissertation Committee: Neal Milner, Chairperson David Keanu Sai Deborah Halbert Charles Lawrence III Melody MacKenzie Puakea Nogelmeier Copyright ii iii Acknowledgements The year before I began my doctoral program there were less than fifty PhD holders in the world that were of aboriginal Hawaiian descent. At the time I didn’t realize the ramifications of such a grimacing statistic in part because I really didn’t understand what a PhD was. None of my family members held such a degree, and I didn’t know any PhD’s while I was growing up. The only doctors I knew were the ones that you go to when you were sick. I learned much later that the “Ph” in “PhD” referred to “philosophy,” which in Greek means “Love of Wisdom.” The Hawaiian equivalent of which, could be “aloha naʻauao.” While many of my family members were not PhD’s in the Greek sense, many of them were experts in the Hawaiian sense. I never had the opportunity to grow up next to a loko iʻa, or a lo’i, but I did grow up amidst paniolo, who knew as much about makai as they did mauka. Their deep knowledge and aloha for their wahi pana represented an unparalleled intellectual capacity for understanding the interdependency between land and life. -
A CASE for HAWAIIAN KAPA by SHERI MAJEWSKI a CAPSTONE
1 THE ART OF KAPA IN THE 21ST CENTURY Title CONTEMPORARY MEANING IN ANCIENT ART: A CASE FOR HAWAIIAN KAPA By SHERI MAJEWSKI A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2013 2 THE ART OF KAPA IN THE 21ST CENTURY UF Copyright page © 2013 Sheri Majewski 3 THE ART OF KAPA IN THE 21ST CENTURY Dedication For my daughter Emmalia and for her children’s children. E ola mau ke kapa o na kupuna! E ola mau nā kanaka maoli! Long live the kapa of our ancestors! Long live the Hawaiian people! 4 THE ART OF KAPA IN THE 21ST CENTURY Acknowledgements Mahalo ke Akua, a nā aumakua, a nā kupuna. This is the story of an art form and also of the Hawaiian people. There are many who helped this project come to fruition and I am so grateful because without them I would not have made the progress I did. They listened, coached, advised, and participated. To these family, friends, and teachers, I say Mahalo nui loa…a heartfelt thank you! Your aloha during this project helped me to embrace my Hawaiian heritage and perpetuate it. Very special thanks to my University of Florida professors, especially Dr. Craig Roland and Dr. Elizabeth Delacruz, who graciously gave of their time and expertise to serve on my Capstone Committee. Their sound advice and critical feedback challenged me and helped me grow as a researcher and as an educator. -
Honolulu Academy of Arts Cecilia Doo O Japan, Designed Numerous Projects Throughout Hawai‘I Barney A
8 0 0 2 Y R A U R B E F / Y R A CalendarNews U HONOLULU ACADEMY OF ARTS N A J the dragon’s gift: the sacred arts of bhutan HonoluluAcademyofArts Continuing Exhibitions Board of Trustees Lynne Johnson, Chairman Linda Ahlers Charman J. Akina Burta Atherton Hawaiian Modern: the Architecture of Dawn Aull Frank Boas Vladimir Ossipoff Henry B. Clark, Jr. HENRY R. LUCE GALLERY THROUGH JANUARY 27 Samuel A. Cooke Judy Dawson ver his six-decade career, Vladimir Ossipoff I Diane Dods (1907–1998), who was Russian-born and raised in Honolulu Academy of Arts Cecilia Doo O Japan, designed numerous projects throughout Hawai‘i Barney A. Ebsworth Dear Friends, Peggy Eu including houses, schools, churches, private clubs, and most Mark Fukunaga notably the 1970s modernization of the Honolulu International On February 26, 2008, after five years of planning, The Dragon’s Gift: The Sacred Arts of Helen Gary Airport. Bhutan, will open to the public. This extraordinary exhibition comprises over 100 works of Stephanie Hee sacred Buddhist art from Bhutan, including thangka paintings, gilt bronze sculptures, ritual Ron Higgins Passion for Form: Selections of Southeast objects, and textiles. These works are borrowed from Buddhist temples and monasteries Michael Horikawa throughout the remote Himalayan kingdom, and from the National Museum in Paro. The Claire Johnson Asian Art from the MacLean Collection majority of these treasures have never before been seen outside of Bhutan. Akemi Kurokawa TEXTILE GALLERY THROUGH JANUARY 6 Clarence Lee From its start, The Dragon’s Gift has been a remarkable undertaking, involving an army of Warren K.K.