Hawaiʻi Aloha
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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 -
1Oth Annual International Festival
1Oth Annual International Festival KAPI'OLANI COMMUNITY COLLEGE March 16, 1998 VOL 31 ISSUE 21 http ://nai o.kcc.hawaii. edulbosp/kapio News and mail Join the Parade of Cultures page 15 You are invited to join Maggie Reed representing Japan, Niko Vaha, Tonga; Katheriner Walters, China; and Babita Upadhya)~ Nepal Tuesday, 9:30-10:15 a.m. in 'Ohi'a Cafeteria. Wear your ethnic dress and join thefim. For details, see page 12. McGregor: What will we pass on to our children? Keynote Address Tuesday, March 17, 10:30- 11:30 a.m. ~ .Dhi' a Cafeteria Guest Speaker: Dr. Davianna McGregor cousins, and sisters became teachers, waiians from our ancestral and na ing in the taro patch on campus." (gut) tells you is the right thing to do. Do things that are ANDREA K. TOKI and they all influenced McGregor in tional lands." As for her achievements, meaningful." She Staff Writer many ways to pursue a teaching de Looking off to her office shelf McGregor said, "It is important to gave the best advice any student should know: ''Always do your Hidden behind the Korean Stud gree. adorned with shell leis and filled with take yourself seriously. Keep fo ies building at UH-Manoa, and sur Chosen to present the keynote books about Hawaiian history and cused and follow what your na'au homework," she said with a smile. rounded by rows of portables is a address in the International Festival, statistics, McGregor contemplated comfy, little office occupied by Eth McGregor will focus on awareness for a wbile. She then talked about nic Studies professor Davianna regarding the 1998 centennial Ameri the challenges college students face McGregor. -
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. -
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. -
Sophomore Seminar Kï Höÿalu: the New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 Units Course Syllabus
Sophomore Seminar Kï höÿalu: The New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 units Course Syllabus Originally, a style of guitar playing developed in the Hawaiian Islands during the 1830's, kï höÿalu, or Hawaiian slack key guitar, is an art form that is currently experiencing newfound exposure and popularity in Hawai‘i and worldwide. The rise in popularity of this art form coincides with the increased awareness, dissemination, and growth of political activism directly relating to Hawaiian culture. In this course, we will explore the musical, cultural, historical, and political perspectives of Hawaiian music in general, and kï höÿalu in particular, through hands-on experience, readings, class discussion, and a workshop with a visiting master kï höÿalu artist. With kï höÿalu, as the focal point, we will learn about Hawaiian music and history, and explore the relationship between performance, cultural expression, community, and identity. COURSE REQUIREMENTS Musical Autobiography (5%) Analysis Paper (10%) Master Class with Ozzie Kotani (10%) Midterm (written and practicum) (20%) Final (practicum) (15%) Practicum Progress (15%) Participation (25%) •Musical Autobiography (2 page minimum). Give a brief account of your musical experiences (including Hawaiian ones) as an infant, pre-teen, high school, and Stanford student. Indicate your specific interests for taking this course and how your prior musical experience influences these interests. Due Week 2: Monday, 3 October. •Reaction Paper: Listening Analysis (3-4 pages). Compare/contrast the performances of two different kï höÿalu artists by listening to recordings drawn from the listening list. Address issues of repertoire, instrumentation, vocal/instrumental application, style. Due Week 10: Monday, 28 November. -
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. -
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 -
Section Viii
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VIII: ACKNOWLEDGMENTS AND ADDENDUM 1. For information about the tuning of a song that is not listed, or any other questions, you can e-mail Dancing Cat at [email protected], or write to Dancing Cat Productions, P.O. Box 4287, Santa Cruz, California, USA, 95063, attn: Dept. SKQ, and we will try to help. 2. Dancing Cat Records plans to produce more solo guitar based Slack Key recordings of the late Sonny Chillingworth, Ray Kane, the late Leonard Kwan, Keola Beamer, Led Kaapana, Cyril Pahinui, George Kuo, Ozzie Kotani, Bla Pahinui, Martin Pahinui, George Kahumoku, Jr., Moses Kahumoku, Cindy Combs, Malaki Kanahele, and Patrick Cockett, and others. Also planned are more recordings of pure duets of Slack Key guitar with acoustic steel guitar, including the late Barney Isaacs playing acoustic steel guitar duets with Slack Key guitarists George Kuo, Led Kaapana, and Cyril Pahinui; and Bob Brozman on acoustic steel with Led Kaapana and with Cyril Pahinui. 3. Mahalo nui loa (special thanks) to the following people who contributed in many various ways to make this information booklet possible: Leimomi Akana, Carlos Andrade, Haunani Apoliona, Kapono Beamer, Keola & Moanalani Beamer, Nona Beamer, Kapono Beamer, Reggie Berdon, Milan Bertosa, the late Lawrence Brown, Bob Brozman, Kiki Carmillos, Walter Carvalho, the late Sonny Chillingworth, Mahina Chillingworth, Patrick Cockett, Cindy Combs, Michael Cord, Jack DeMello, Jon DeMello, Cathy Econom, Ken Emerson, Heather Gray, the late Dave Guard, Gretchen Guard, Gary Haleamau, Uluwehi Guerrero, Keith Haugen, Tony & Robyn Hugar, the late Leland “Atta” Isaacs, Jr., the late Barney Isaacs & Cookie Isaacs, Barney Boy Isaacs, the late Winola Isaacs, Wayne Jacintho, Howard Johnston, J. -
<DISC 1> 01.A Kona Hema O Kalani Traditional Vocal
HULA Le’a Presents HAWAIIAN MELE CD-BOX ȊȪǟǝȮǸȮǫƶਙƮƔƛƛƳÁÁ ߅ైದ౽ƝǔƥƶࢩࡑƟƧఝຓƔཌભưƲǒ੫Տ౽ưƲƫƧ¹ ਙࢥ”ºإ ࣞ“ȊȪǟǝȮ½Ȝȧ 1001 ƝǔƧȊȪǟǝȮǸȮǫޯڀƗƶƒບƶƜාƳƒ҃ƐƟ¹ં ƶئףǚƳଵƐǓإ ǚҧౖƲۙǒŗŘ30 Ƴࢌ¹600ےƶҞ ŗŘôŖţŬÁÁ GNCP-1030 Ć31,500á୩ҤâÖĆ30,000áৎಫâ <DISC 1> 01.A Kona Hema O Kalani Traditional Vocal : Kalani Po’omaihealani 02.A Million Moons Over Hawaii Words by Billy Abrams Music by Andy Iona Long Vocal : enry Kaleialoha Allen 03.‘A ‘Oia Words & Music by John Kameaaloha Almeida Vocal : उпdžơLJ 04.A Song of Old Hawaii Words & Music by Johnny Noble & Gordon Beecher Vocal : އÐ้Гᇰ 05.Adios Ke Aloha Words & Music by Prince Leleiohoko Vocal : उпdžơLJ 06.Adventures in Paradise Words & Music by Dorcas Cochran Vocal : Kalani Po’omaihealani 07.Ahi Wela Words & Music by Lizzie Doirin & Lizzie Beckley Vocal : Takako 08.‘Ahulili Words & Music by Scott Ha'i Vocal : dzȢÓdzउҟ 09.Aia I Ka Mau’i Traditional Vocal : Takako 10.Aia I Nu’uanu Ko Lei Nani Traditional Vocal : Aloha Dalire Band 11.Aia La ‘O Pele Traditional, Mae L. Loebenstein Vocal : उпdžơLJ 12.‘Aina O Lanai Words & Music by Val Kepilino Vocal : उпdžơLJ 13.‘Aina O Molokai Words & Music by Kai Davis Vocal : ଇưƕࠃ 14.‘Akaka Falls Words & Music by Helen Perker Vocal : IWAO 15.‘Akaka Falls Words & Music by Helen Lindsey Perker Vocal : Lauloa 16.‘Ala Pikake Words & Music by Manu Boyd Vocal : उпdžơLJ 17.Alekoki Words by Kalalaua, Lunalilo Music by Lizzie Alohikea Vocal : उпdžơLJ 18.‘Alika Words & Music by Charles ka'apa Vocal : Kalani Po’omaihealani 19.Aloha E Kohala Words & Music by Robert Uluwehi Cazimero Vocal : ଇưƕࠃ 20.Aloha E Pele Traditional -
KA WAI OLA the LIVING WATER of OHA
KA WAI OLA THE LIVING WATER of OHA OFFICE of HAWAIIAN AFFAIRS • 711 Kapi‘olani Blvd., Ste. 500 • Honolulu, Hawai‘i 96813-5249 Nowemapa (November) 2008 Vol. 25, No. 11 E AHA ‘ia ANA ‘o MAUNAKEA? Kahana Valley WHAT WILL BECOME OF evictions page 04 Military seeks A proposed telescope reignites discussion of the page 16 mana‘o on future of astronomy on the piko of Hawai‘i Island consulation page 06 Hawaiians making waves in film page 07 Nihoa, an island frozen in time page 12 Ku¯paoa: Young duo shines in debut CD page 20 Hula Photo: fests! Courtesy page 18 of Marnie Weeks www.oha.org An ‘ahu at the summit of Maunakea reflects Native Hawaiian reverence. - Photo: Blaine Fergerstrom THE OHA MA¯ LAMA LOAN % 5.0 0 APR ~ LOW FIXED RATE ~ FIXED TERM for 5 YEARS ~ LOAN up to $75,000 PLUS, EARN UP TO The OHA Ma¯lama Loan Program through First Hawaiian Bank is 5,000 CASHPOINTSSM exclusively for Native Hawaiians and Native Hawaiian organizations. It can be used for tuition, home improvement, and any of your ••• When you apply and are business needs. For more information, please call 643-LOAN. To approved for the Priority RewardsSM apply, please visit fhb.com or any First Hawaiian Bank branch. Debit and Credit Cards*. Applicants must be of Native Hawaiian ancestry (birth certifi cate, OHA registry card, or Kamehameha Schools verifi cation letter will be accepted as proof) or a Native Hawaiian organization. If the applicant is a group of people organized for economic development purposes, applicant ownership must be 100% Native Hawaiian. -
[ADD in the Ording Info---HARRY's MUSIC INFO HERE and INFO
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION II: RECOMMENDED RECORDINGS AND OTHER INFORMATION (this is not meant to be a definitive recommendation site – rather, it is here as a place to begin researching the Hawaiian Slack Key guitar tradition. Other than the recordings, it may not be up to date – you can check the internet sites [section 9] for more up to date information) Table of Contents: 1. Some recommended recordings 2. Videos, DVDs & documentaries 3. Instruction videos & DVDs 4. Instruction books 5. Books & articles 6. Slack Key Guitar lessons 7. Seeing Slack Key Guitarists live 8. Hawaiian music on the radio 9. Internet sites & newsletters 10. Dancing Cat Records Slack Key Guitar mailing list ________________________________________________________________ For ordering recordings, books, and videos, you can contact: 1. Hawaiian Music Island - www.mele.com - This site sells Hawaiian music and videos and other items, and has information on upcoming Slack Key and Hawaiian music events worldwide 2. Harry’s Music Store – 3457 Wai’alae Avenue, Honolulu, Hawai’i, 96816; 808-735- 2866; fax 808-734-2951 SOME RECOMMENDED RECORDINGS (* - not available on CD) 1. Gabby Pahinui 1a. Gabby Pahinui albums: PURE GABBY (Hula Records 567) - Instrumentals and vocals accompanied by Slack Key guitar and ensemble - recorded in 1961 and issued in 1978 H:/data/skbook/Book2.doc 11/04/12 HAWAIIAN SLACK KEY, VOLUME 1-WITH GABBY PAHINUI (Waikiki Records 319) – Instrumentals and vocals accompanied by Slack Key guitar and ensemble - 1960 -
Hawaiian Recordings in the Slack Key Tunings
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION V: HAWAIIAN RECORDINGS IN THE SLACK KEY TUNINGS This section includes a list of the most important (usually) available recordings by Hawaiian Slack Key guitarists in each of the 50 tunings in the CHART OF RECORDED TUNINGS- SECTION IVa, that have had songs recorded in them (the other 12 tunings in the chart that are closely related to another tuning in the chart, bur have not had any songs recorded in them are also listed here, for continuity). The following information is listed for each tuning (the number of the tuning coincides to its number in the tuning chart on page 34). Here are some particulars about this section: 1. Artists which have recorded a particular tuning are listed alphabetically under that tuning. 2. The titles of the recordings are in all capital letters; the record label and number, indication of whether the title is out-of-print (no longer commercially available) and information on whether the Slack Key artist listed is backing up somebody else are also indicated. If the song has another title, we will indicate this within parentheses. 3. Song titles are in italics and are separated by a semi-colon. Medleys have slashes between their component songs. 4. There may be discrepancies in the spellings of some of the song titles. For reference purposes, the titles in this booklet are spelled as printed on the recordings unless there had been an obvious typographic error on the album notes. 5. If a song is played in a key other than the key of the tuning or if the guitar is tuned noticeably higher or lower than the normal pitch the tuning is in, or if the guitar is capoed to a higher pitch, this will be indicated after the song or songs.