DOCSLIB.ORG

An Overview of Guam's Inshore Fisheries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Overview of Guam's Inshore Fisheries An Overview of Guam's Inshore Fisheries REBECCA A. HENSLEY and TIMOTHY S. SHERWOOD Introduction families or shared with the community Mariana Island Archipelago with over and were harvested from three main 130,000 people on about 550 km2. Background areas of the sea: The coral or nearshore Much of the change in Guam's fisher- shallow adjacent areas, nearshore ies, from traditional subsistence fish- Since long before the first contact of slopes to about 100 fathoms and the eries to the more modem subsistence, Westerners with native Guamanians (or surface ocean waters. Much of the ua- commercial, and recreational fisheries Chamorus') in 1521, fish has been the ditional use of fish for social obliga- has occurred since World War 11. primary source of protein for the is- tions in the form of fiestas (large Johannes (1978) maintained that the landers. Little is known about tradi- gatherings for funerals, weddings, decline.of the Pacific island fisheries tional management of Guam's christenings) is still practiced. was due mostly to change in the eco- fisheries, but fishing was and has re- Guam is a U.S. temtory located in nomic system of the Pacific Islands to mained an important part of life and the western Pacific (Fig. 1). It is the a more western one which has eroded culture. In the past, subsistence fishing southernmost and largest island in the the ancient marine tenure laws and tra- provided Guam's residents with an ample supply of fish. Most of the fish caught were consumed by fishermen's 'ChamON, previously Chamorro. is the cur- rently accepted spelling of the indigenous people of Guam. The authors are with the Division of Aquatic and Wildlife Resources. Government of Guam, P.O. Box 2950, Agana, Guam 96910. Corre- spondence to them may be addressed as fol- lows: R. A. Hensley. Texas Parks and Wildlife Department, 1231 Agnes St., Corpus Christi, TX 78401; and T. S. Shewood, 3245 Austin Dr.. Colorado Springs, CO 80909. Views of opinions expressed or implied are those of the authors and do not necessarily represent the position of the National Marine Fisheries Ser- vice, NOAA. 145' ABSTRACT-Guam 's nearshore reef fishery is a muiti-gear, multispecies fish- ery that has undergone major changes through the years. Methods have evolved and become more modem. This. along with the changing economic status of Gum, has severely stressed the fishery. Top tar- geted species are being overexploited and "growth overharvesting " is occurring: the more serious form of "recruitment over- harvesting," is happening to some of the key species. Major management concerns are discussed with respect to overfishing and habitat destruction. Management rec- ommendationsfor this fishery include gear restrictions, size restrictions, and the es- Figure l.--Guam (13'30"; 144'50E) is the southernmost of tht tablishment of man'ne conservation areas. Mariana Archipelago. 55(2),1993 129 ditional island conservation ethics. Guam’s Inshore Fisheries portions going to the owner of the net, This, along with the introduction of the village where the fish were caught, more modem, manufactured fishing Historic Fishing Methods and those who helped harvest the catch. materials (monofilament nets, steel books, poles, reels, spearguns, scuba Detailed fishing techniques from Contemporary Fishing Methods gear, etc.), has changed the complex- prehistoric times have been described ion of Guam’s inshore fishery and aided by Amesbury et al. (1986) and will be Many of the currently used methods in the decline of the nearshore reef only briefly described here. Early fish- are very efficient because the technol- fishery. Ikehara et al. (1970) stated that ing techniques (prior to the 1930-40 ogy and materials used are readily Guam’sshallow inner reefs appeared period) employed gear composed of available at a minimal cost. Contem- ta be fully exploited and showed signs natural materials. Today, inshore (or porary methods include hook and line, of overfishing. Katnik (1982) found reef and lagoon) methods have incor- net fishing (cast, gill, drag, and sur- that two heavily fished areas on Guam porated modem equipment and have round net), spear fishing (snorkel and were overfished and stated that other been modified in some manner from scuba), hook and gaff, and “other” accessible areas on Guam could be the traditional form of fishing. Some methods (a miscellaneous category that equally overexploited. What was once form of hook and line fishing, usually includes mostly gleaning for inverte- a well stocked, complex fishery with handline, has been done since the ar- brates). These methods, modified diverse fishing methods has changed rival of the Chamorus on Guam around through time, are described below and to a fishery under serious fishing 1500 BC (Amesbury et al., 1986). Net account for the harvest of over 100 pressure. fishing has included forms of dip net- species of finfish and 40 nonfinfish species (3 lobster, 9 crab, 24 mollusk, Scope ting, bag seining, throw netting, sur- round netting, drag netting, and gill and 4 echinoderm)’ (Amesbury et al., Because of the increased efficiency netting (a more recent form of net fish- 1986, 1991). of fishing techniques due to introduc- ing). Fishing with traps and spears has Currently, the most popular fishing tion of modem materials and because occurred throughout the history of method on Guam is hook and line. This of the increase in fishermen and the Guam. Women historically harvested technique ranges from the use of island population, the Guam Division the seagrass parrotfish (Scaridae) and handlines to rod and reel with lures or of Aquatic and Wildlife Resources some wrasses (Labridae) by hand. All baited hooks. Recently, we have ob- (DAWR) recognized the need to pro- social classes of Chamorus harvested served fly fishing in Guam’s waters. tect the fishery from overharvesting. eels with iron spears and crabs with The majority of the fish harvested Lnitial monitoring of the resources be- multipronged spears. Gleaning for in- are taken by net fishing. All types of gan In the 1960’s, and it had evolved vertebrates has always occurred, espe- net fishing done today, except gill net- by 1982 into the current creel survey cially for mollusks and algae for use as ting, have long histories on Guam. Net methodology adapted from Malvestuto either bait or food. The Spaniards mesh sizes range from 1/4-inch stretch et al. (1978). Because of the different gleaned for sea cucumbers. (for seasonal juveniles) to greater than usage and the different areas of the sea Several types of fishing no longer 3-inch stretch. The cast net or throw utilized for the multispecies, multigear occur. Two of these are the opelu or net (talaya) is one of the few nets that fisheries, Guam’s fisheries monitoring hachuman fishing (for Decupterus sp.) are still hand woven (using mono- was divided into two projects. These and the decoy method of fishing filament) by the uaditionai talaya fish- were the “inshore” (or nearshore reef ) (Amesbury et al., 1986). Turtles were ermen3. These nets vary in mesh size fisheries and the “offshore” (small harvested until 1976 when it was pro- and number of pockets depending on boat) fisheries (Myers, 1993). The in- hibited. Other currently prohibited the fish targeted. shore fisheries discussed here will en- methods include fish weirs, fish poi- Other than the modem equipment, compass the coral or nearshore shallow soning from root extract (Burringroniu drag netting has changed very little adjacent waters which consists mostly usiuticu tree), chlorine bleaching, and through time. It still is the simplest o€fringe reefs. dynamiting. These are still practiced form of net fishing where the net is This paper describes inshore fisher- illegally on a small scale. ies, concentrating on data from 1982 Traditional fishing practices are still *This identifies all information, unless other- through 1991. We discuss fishing tech- observed routinely on Guam. One prac- wise cited, obtained by the authors from Guam niques and data collection and cornpi- Fisheries Investigations-ProjectFW-2R-26 Job tice is the fishing for seasonal juve- Progress Reports (Jobs: F-FI-2 Inshore Fisher- Lation for landing and effort estimates niles recruiting to the reef flats ies Survey; F-F1-3 Fisheries Data Processing; of Guam’s fishery. The harvest com- (discussed below), while the other prac- F-FI-8 Studies of Recreationally Imponant Reef Fish). Information can be obtained from ponents (finfish, nonfinfish, and sea- tice involves sharing the catch. The the Division of Aquatic & Wildlife Resources sonal juveniles or traditional fishery) catch from the surround net or chen- (DAWR), Dept. of Agriculture, P.O. Box 2950. and current management practices are chulu (when used for catching seasonal Agana, Guam 969 IO. described with suggestions for conser- ’D. Narcissi, Talaya fisherman, Guam Envi- mackerel or Selur crumenopthalmus) ronmental Protection Agency, Harmon, Guam vation of the fishery. is still divided up into thirds with the 96912. Personal commun. J 30 Marine Fisheries Review pulled through the water as the fish are or little-used techniques like dip net- records all active fishing participation driven into the net. Today, this method is ting and mantis shrimp traps fall into (time of day, location, number of most often, but not always, used at night. this miscellaneous category. people, number of gear units, fishing The use of the surround net or chen- methods, reef zone fished, weather con- Inshore Creel Survey chulu has occurred for many years. ditions, and surf conditions). Counts Today, two types of surround netting The primary objective of the inshore are made of fishermen and gear and occurs. In the first type, two people fisheries survey was to obtain the most are used to estimate effort in terms of transport the net through the water on accurate estimate of the total annual person-hours (p-hr) and gear-hours (g- two large inner tubes.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]