An Overview of Guam's Inshore Fisheries
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Traditional Leadership in the Constitution of the Marshall Islands
TRADITIONAL LEADERSHIP IN THE CONSTITUTION OF THE MARSHALL ISLANDS by C. J. LYNCH Working Papers Series Pacific Islands Studies Center for Asian and Pacific Studies in collaboration with the Social Science Research Institute University of Hawaii at Manoa Honolulu, Hawaii Joe Lynch is a consultant on legislation and constitutional drafting whose long experience in the Pacific encompasses island areas in Micronesia, Melanesia, and Polynesia. Robert C. Kiste, Director Pacific Islands Studies Program Center for Asian and Pacific Studies University of Hawaii at Manoa Honolulu, Hawaii 96822 TRADITIONAL LEADERSHIP IN THE CONSTITUTION OF THE MARSHALL ISLANDS (With Comparative Notes) C. J. Lynch 1984 TABLE OF CONTENTS Preface v Introductory 1 Part I. THE COUNCIL OF IROIJ l. The precursors 3 2. Functions of the Council 4 (a) General 4 (b) Relations with the Nitijela 6 ( c) The Council in action 9 3. Composition of the Council 10 4. Procedures of the Council 13 5. Miscellaneous matters 14 6. Comparisons 16 (a) Palau 16 (b) The Federated States of Micronesia 17 (c) Yap 18 (d) Vanuatu 21 (e) Western Samoa 22 (f) The Cook Islands 22 (g) Comment 24 Part II. THE TRADITIONAL RIGHTS COURT 7. The Traditional Rights Court and the judicial system 27 ADDENDUM: Two problems of interpretation 8. Comparisons and comment 34 Part III. CONCLUSION 9. General comments 35 10. Is a traditional input desirable? 37 APPENDIX 42 NOTES 43 iii PREFACE It hardly needs to be said that this paper is written by a lawyer and from a lawyer's point of view. This fact, however , necessarily means that it is selective, firstly in the aspects of its subject that are considered and secondly in the detail (especially on non-legal aspects) into which it goes. -
Patterns in Leaves and Cloth E Ducation K It Te Papa Whakahiku
Auckland Museum PACIFIC PATHWAYS Patterns in Leaves and Cloth e ducation k it Te Papa Whakahiku Auckland Museum Te Papa Whakahiku YEARS 1 TO 13 © Auckland Museum 2001 Auckland Museum Te Papa Whakahiku Pacific Pathways contents page About this Resource 1 Booking Information 1 Introduction 2 Teacher Background 3 Curriculum Links 17 Pre and Post- Visit Activities 20 Classroom Activity Sheets 22 Gallery Activity Sheets 30 ABOUT THIS RESOURCE: BOOKING INFORMATION: This resource has been designed to meet the All school visits to the museum must be booked. needs of Social Studies and Art classes, Years 1-13 and Technology classes, Years 1 - 10. Numbers: 40 maximum (including adults) Adult child ratio: Y 1-4 1:6 Y 5-6 1:7 Y 7-8 1:10 Y 9-13 1:30 Exhibition cost: $3 students of members schools. $4 students of non-member schools. Booking: Contact the Museum School Bookings Officer at: Adult/child interaction is important to maximise your Private Bag 92018 Auckland museum experience. Group leaders need to have Phone: (09) 306 7040 some background knowledge of what the students Fax: (09) 306 7075 are expected to cover and they are advised to par- ticipate in the introduction on arrival. Introductions and Hands-on Sessions (facilitated by Education Staff) are available. Please ask the Auckland Museum Education kits may be downloaded free School Bookings Officer for more information. at www.akmuseum.org.nz 1 Contents Auckland Museum Te Papa Whakahiku introduction Pacific Pathways Greetings Cook Islands Ni Sa Bula Vinaka Kia Ora Fiji Maori English Kia Orana Namaste Malo e Lelei Fakaalofa Lahi Atu Hindi Tonga Niue Ia Orana Aloha Fakatalofa Atu Tahiti Hawaii Tuvalu Taloha Ni Mauri Mauri Mauri Tokelau Kiribati Taloha Ni Talofa Lava Halo Oloketa Tokelau Samoa Pidgin his Education Kit relates to the temporary exhibition Pacific Pathways - Patterns in Leaves and Cloth which runs from April 11 2001 - July T15 2001. -
Polynesian Dance in the Hawaiian Tourist Industry In
POLYNESIAN DANCE IN THE HAWAIIAN TOURIST INDUSTRY IN WAIKIKI, 1981 A Plan B Paper Submitted to the Graduate Division of the University of Hawai'i in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Pacific Islands Studies May 1986 by Ricalda Renee Uchiyama Project Committee: Barbara B. Smith, Chairman Judy Van Zile Deborah Waite HEMO TO: Dr. Kiste FROM: Barbara Smith 17/W Attached is FORH VI for Ricalda Renee Uchiyama. The signatures indicate approval of her PLAN B paper. (If, in fact, she still has another requirement(s) for the degree, the date on the title page of this paper could be changed if she doesn't 'make it' for May degree award. I have a few sheets of the bond paper on which the deposit copy is xeroxed.) Table of Contents Chapter I: Introduction ••.••.•. .. 1 1.1 Purposes and Methods .. .. ... 2 1.2 Guide to Presentation •• 4 Note to Chapter I 6 Chapter II: The Organization of a polynesian Show ••• .... · .. 7 2.1 Shows Included in This Study. • • 7 2.1.1 "A" Kalo's South Sea Review •••• 7 2.1.2 "B" Kamoiwa • 7 2.1.3 "e" Kodak Hula Show · · · · · · 8 2.1.4 "D" Palani's Polynesian Extravaganza . · · ·· · · 9 2.1.5 "E" The Royal Hawaiian Lu'au. · 9 2.1.6 lip II Tavana's Polynesian Spectacular . · · · ·· · 9 2.1.7 "G" Tihati's South Sea Spectacular •• •• •. 10 2.1.8 "H" The Young People's Hula Show. ........... 10 2.2 High-Budget, Low-Budget, and Mixed Mixed-Budget Shows •••••••• • 11 2.2.1 High-Budget Shows •• 11 2.2.2 Low-Budget Shows •• • 12 2.2.3 Mixed-Budget Shows • • 13 2.3 Selection and Training of Dancers . -
Fire Producer E-28 Fire Performer E-29
FIRE DEPARTMENT ● CITY OF NEW YORK STUDY MATERIAL FOR THE EXAMINATION FOR CERTIFICATE OF FITNESS FOR Fire Producer E-28 Fire Performer E-29 © 12/2015 New York City Fire Department - All rights reserved 1 Table of Contents NOTICE OF EXAMINATION ............................................................................. 4 ABOUT THE STUDY MATERIAL ...................................................................... 9 Introduction .................................................................................................. 11 a. Worst Case Scenario .......................................................................... 12 b. Definitions ......................................................................................... 13 Class of Flammable and Combustible Liquids Reference Chart ................ 17 Part I. General Information............................................................................ 17 1. Permits .............................................................................................. 17 2. General requirements for Fire Effects ................................................. 18 3. Fire Performances .............................................................................. 19 Part II. Safety, Handling and Use................................................................... 20 1. Clothing, Costumes, Makeup ............................................................. 21 a. Fiber content ..................................................................................... 21 b. Characteristics -
Terms Relating to Slack Key Guitar and Hawaiian Music in General
Page 1 Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VII: GLOSSARY - TERMS RELATING TO SLACK KEY GUITAR AND HAWAIIAN MUSIC IN GENERAL A Four Forty (A 440): Means 440 cycles are the “A” pitch in music physics. The “A” note on piano is tuned to 440 cycles; thus “A 440.” Sometimes just called “Four Forty” (440). (Also see piano tuning). A Tuning: Tunings pitched in the key of A. They can be tuned up to the keys of B or Bb, or down to the keys of Ab, G, F#, or F. Also, it is a term occasionally used for when the G Major “Taro Patch” Tuning is tuned up to the key of A, which is accomplished by tuning the second (B), third (G), and fourth (D) strings up two half steps to C#, A, and E, respectively, from Standard Tuning, and leaving the first (E), fifth (A), and sixth (E) strings as is. Thus Standard Tuning E-A-D-G-B-E, from the lowest pitched string to the highest (also see SECTIONS III, IV, IVa, V, and VI in this book for more about tunings - it is labeled as Tuning #C-33), yields E-A-E-A-C#-E, a higher pitched open A Major chord, if that is the desired sound by the guitarist. This is the opposite way that the G Major Tuning is usually derived from the Standard Tuning, where the first (E), fifth (A), and sixth (E) strings are tuned down two half steps to D, G, and D, respectively, yielding D-G-D-G-B-D, from the lowest pitched string to the highest. -
UNIVERSITY of CALIFORNIA Santa Barbara Localness and Indigeneity
UNIVERSITY OF CALIFORNIA Santa Barbara Localness and Indigeneity in Hawaiian Reggae A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Sunaina Keonaona Kale Committee in charge: Professor David Novak, Chair Professor Ann-Elise Lewallen Professor James Revell Carr, University of Kentucky Professor George Lipsitz September 2017 The thesis of Sunaina Keonaona Kale is approved. _____________________________________________ Ann-Elise Lewallen _____________________________________________ James Revell Carr _____________________________________________ George Lipsitz _____________________________________________ David Novak, Committee Chair September 2017 Localness and Indigeneity in Hawaiian Reggae Copyright © 2017 by Sunaina Keonaona Kale iii Acknowledgements Thank You to… MY FAMILY my parents Patricia and Jivendra Kale, my sister Nalini “Shwoby” Kale, my auntie Kathy Ballesteros, and the rest of my ohana MY FRIENDS Liza Munk, Gen Conte, Danielle Dougherty, and the rest of my wonderful cohort in ethnomusicology and beyond at UCSB MY COMMITTEE my adviser Dave Novak, ann-elise lewallen, Rev Carr, and George Lipsitz …and… THE SCHOLARS WHO HAVE HELPED ME ALONG THE WAY Scott Marcus, Paul Spickard, Stefanie Tcharos, and Bhishnu Ghosh, for inspiration Maile Arvin and Lani Teves, and for inspiration and her bibliography Amy Ku‘uleialoha Stillman iv Abstract Localness and Indigeneity in Hawaiian Reggae by Sunaina Keonaona Kale The musical genre of Hawaiian reggae is typically considered a combination of reggae and Hawaiian music, and has been popular in Hawai‘i since the 1980s. Also known as Jawaiian or island music, this genre involves the ever-shifting identity and cultural categories of localness and Hawaiianness. Localness in Hawaiian reggae involves rootedness in and affective connection to place, multicultural inclusion and equalization, and opposition to an “outside” or the global. -
Exploring 'The Rock': Material Culture from Niue Island in Te Papa's Pacific Cultures Collection; from Tuhinga 22, 2011
Tuhinga 22: 101–124 Copyright © Museum of New Zealand Te Papa Tongarewa (2011) Exploring ‘the Rock’: Material culture from Niue Island in Te Papa’s Pacific Cultures collection Safua Akeli* and Shane Pasene** * Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ** Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: The Pacific Cultures collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa) holds around 300 objects from the island of Niue, including textiles, costumes and accessories, weapons, canoes and items of fishing equipment. The history of the collection is described, including the increasing involvement of the Niue community since the 1980s, key items are highlighted, and collecting possibilities for the future are considered. KEYWORDS: Niue, material culture, collection history, collection development, community involvement, Te Papa. Introduction (2010). Here, we take the opportunity to document and publish some of the rich and untold stories resulting from the The Pacific Cultures collection of the Museum of New Niue collection survey, offering a new resource for researchers Zealand Te Papa Tongarewa (Te Papa) comprises objects and the wider Pacific community. from island groups extending from Hawai‘i in the north to The Niue collection comprises 291 objects. The survey Aotearoa/New Zealand in the south, and from Rapanui in has revealed an interesting history of collecting and provided the east to Papua New Guinea in the west. The geographic insight into the range of objects that make up Niue’s material coverage is immense and, since the opening of the Colonial culture. -
Teachers Guide.Pages
I HINANAO-TA NU I MANAOTAO TÅNO’-I CHAMORU SIHA The Journey of the CHamoru People The Guam Museum’s Permanent Exhibition Teacher’s Guide Produced by Guampedia I HINANAO-TA NU I MANAOTAO TÅNO’-I CHAMORU SIHA The Journey of the CHamoru People The Guam Museum’s Permanent Exhibition Teacher’s Guide Note to readers: Underlined words in this document are links to entries in guampedia.com and other online resources. Guam Museum Permanent Exhibition Overview History of the Guam Museum The Guam Museum, officially called the Senator Antonio M. Palomo Guam and CHamoru Educational Facility, is the first structure built for the sole purpose of housing and displaying Guam’s precious historic treasures. The Guam Museum reflects the diversity, creativity, and resilience of the people of Guam and the Mariana Islands. The permanent exhibition is the story of the CHamoru people, told from a CHamoru perspective. It is hoped to encourage people to engage in dialogue, to share perspectives and experiences and debate issues that concern us all today. I Hale’ta: Mona yan Tatte: 90 Years in the Making The earliest printed record of people making plans for a new museum dates back to 1926. The Guam Teachers Association, led by Ramon M. Sablan, a teacher best known as the author of the “Guam Hymn,” asked residents and friends of Guam to start collecting their antiques and other artifacts for a museum that would protect their history and CHamoru culture. The editor of the Guam Recorder, one of the earliest publications printed and circulated on Guam, also called for the opening of a museum. -
The Disappearance of Guam's Wildlife Gordon H. Rodda; Thomas H
The Disappearance of Guam's Wildlife Gordon H. Rodda; Thomas H. Fritts; David Chiszar BioScience, Vol. 47, No. 9. (Oct., 1997), pp. 565-574. Stable URL: http://links.jstor.org/sici?sici=0006-3568%28199710%2947%3A9%3C565%3ATDOGW%3E2.0.CO%3B2-V BioScience is currently published by American Institute of Biological Sciences. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/aibs.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Thu Feb 21 10:55:57 2008 The Disappearance of Guam's Wildlife New insights for herpetology, evolutionary ecology, and conservation Gordon H. -
Island Music Songlist
island music songlist We proudly offer a full menu of song choices that rise to any occasion! In addition to the titles listed below, we maintain an expansive, diverse and ever-expanding library to supplement any songs, artists or styles not represented on this list. Our music designers will make every attempt to incorporate the musical requests specified on these sheets as well as any requests made on the day of the function. INSTRUCTIONS: 1) Print your name / party date below; 2) check off your favorite songs and artists in each category; and 3) include your "must play" songs on the "Top 15" worksheet provided (these selections need NOT be from this song list.) Please return your song list to the office via email ([email protected]), fax (808.982.8340) or post (P.O. Box 2267, Kailua-Kona, HI 96745) at least THREE WEEKS prior to your event date! NAME: EVENT DATE: / / q PELE KANE • MAUNALUA TRADITIONAL HAWAIIAN q PILI MAI NO I KA IHU • AMY HANAIALII GILLIOM q AKAKA FALLS • KEALI'I REICHEL q PILI ME KA'U MANU • ISRAEL "IZ" KAMAKAWIWO'OLE q 'ALIKA • GENOA KEAWE q POHAI KEALOHA • HUI 'OHANA q ALOHA 'OE • KEALOHA KONO q PUPU A' O 'EWA • KEALI'I REICHEL q E ALA E • ISRAEL "IZ" KAMAKAWIWO'OLE q ULILI E • MAKUA ROTHMAN q E APO MAI • NATHAN AWEAU q ULUPALAKUA • HUI 'OHANA q E KU'U MORNING DEW • EDDIE KAMAE & SONS OF HAWAII q WAHINE 'ILIKEA • EDDIE KAMAE & SONS OF HAWAII q E KU'U TUTU • RAIATEA q E O MAI • KEALI'I REICHEL SLACK KEY q E PILI MAI • KEALI'I REICHEL q BACKYARD SLACK • SEAN NA'AUAO q EHUEHU MAI NEI 'O MANOA • AARON J. -
Haka and Hula Representations in Tourism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington Haka and hula representations in tourism A thesis submitted to Victoria University of Wellington for the degree of Master of Arts in the School of Māori Studies (Te Kawa a Māui) Victoria University of Wellington November 2009 By Acushla Deanne O’Carroll I Abstract Haka and hula performances tell stories that represent histories, traditions, protocols and customs of the Māori and Hawai’ian people and give insight into their lives and the way that they see the world. The way that haka and hula performances are represented is being tested, as the dynamics of the tourism industry impact upon and influence the art forms. If allowed, these impacts and influences can affect the performances and thus manipulate or change the way that haka and hula are represented. Through an understanding of the impacts and influences of tourism on haka and hula performances, as well as an exploration of the cultures’ values, cultural representations effective existence within the tourism industry can be investigated. This thesis will incorporate the perspectives of haka and hula practitioners and discuss the impacts and influences on haka and hula performances in tourism. The research will also explore and discuss the ways in which cultural values and representations can effectively co-exist within tourism. II Mihimihi I te riu o te whenua Te Rua o te Moko I raro i te maru o Taranaki I ruia i ngā kākano o te ora Kia ora ai te hapū, ko Puawhato te Rangatira! Ko Taranaki te maunga Ko Aotea te waka Ko Waingōngōrō te awa Ko Ngāruahine Rangi, Ngāti Ruanui me Te Ātiawa ngā iwi Ko Otaraua me Kanihi-Umutahi ngā hapū Ko Otaraua me Kanihi-Māwhitiwhiti ngā marae Ko Acushla Deanne O’Carroll tōku ingoa Tēnā tātou katoa III Dedication This thesis is dedicated to all of the participants involved in this research. -
Evidences of Culture Contacts Between Polynesia and the Americas in Precolumbian Times
Brigham Young University BYU ScholarsArchive Theses and Dissertations 1952 Evidences of Culture Contacts Between Polynesia and the Americas in Precolumbian Times John L. Sorenson Sr. Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Anthropology Commons, and the Mormon Studies Commons BYU ScholarsArchive Citation Sorenson, John L. Sr., "Evidences of Culture Contacts Between Polynesia and the Americas in Precolumbian Times" (1952). Theses and Dissertations. 5131. https://scholarsarchive.byu.edu/etd/5131 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. e13 ci j rc171 EVIDENCES OPOFCULTURE CONTACTS BETWEEN POLIIESIAPOLYNESIA AND tiletlleTIIETHE AMERICAS IN preccluivibianPREC olto4bian TIMES A thesthesisis presented tobo the department of archaeology brbrighamighambigham Yyoungoung universityunivervens 1 ty provo utah in partial fulfillment of the requirements for the degree master of arts n v rb hajbaj&aj by john leon sorenson july 1921952 ACmtodledgiventsackiiowledgments thanks are proffered to dr M wells jakenjakemjakemanan and dr sidney B sperry for helpful corencoxencommentsts and suggestions which aided research for this thesis to the authors wife kathryn richards sorenson goes gratitude for patient forbearance constant encouragement