Clause-Linking Strategies in Austronesian-Oceanic Languages Isabelle Bril
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Programme 14 – 21 April 2017
5th Niue Arts and Cultural Festival 2017 PROGRAMME 14 – 21 APRIL 2017 ‘Ki Mua mo e Vagahau Niue’ ‘Move Forward with Vagahau Niue’ www.niuefestival.com Committed to the preservation of our arts and culture through the promotion of Vagahau Niue, every second year the Niue Arts and Cultural Festival transforms Niue into a vibrant culture zone with one week of the finest music, theatre, dance, visual art and writers. Tickets for various events can be purchased as described, with many events free and available for both locals and visitors to experience. PRE - FESTival acTIVITIES WEDNESDAY 5TH APRIL NIUE HIGH SCHOOL’s CuLTURAL NIUEAN PERFORMANCES 9am - 12pm, Niue High School PRP Hall. Free entry and open to the public. This is performed by the four house teams of Niue High School. Held at the High School multi-purpose hall, this event is open to the public. FRIDAY 7TH APRIL CHARLES JESSOP MEMORIAL SCULPTURE AwarD ENTRIES CLOSE 4pm, Tahiono Art Gallery, Alofi. $10 registration fee, open to all. Submissions of art piece displays for Sales Fale. Blank wooden planks are available from Tahiono Art Gallery in Alofi. $10 registration fee payable at Tahiono Art Gallery. Winners announced on Saturday 15th April. Proudly brought to you by Tahiono Art and supported by Niue Tourism. WEDNESDAy 12th - THURSDAY 13TH APRIL VagaHAU NIUE CONFERENCE 9am - 4pm, Salim Hall, Mutalau. Registrations with UNESCO Natcom c/- Education Department and open to the public. Sustaining Vagahau Niue is of the essence for everyone Niuean. We must continue to shine the light on our capacities as Niue peoples to use the Vagahau Niue as a vehicle towards a better life, for living together within as well as maintaining ties with our Niue nationals living abroad. -
Fijian Kava Ceremony
Fijian Kava Ceremony Na Yaqona Vakaturaga (Chiefly Kava Ceremony) INFORMATION FOR DELEGATES United Nations General Assembly Hall Monday 5 June, 2017 09:10Hrs- 09:55Hr Picture Source: https://www.robertharding.com/preview/1161-7488/fijian-chiefs-kava-ceremony-tribal-gathering-cultural-event/ Fijian Traditional Welcome Kava Ceremony PROGRAMME UNGA Hall, Monday 5 June, 2017 09:10Hrs- 09:55Hr Time Event 09:00hrs Arrival of Delegates 09:05hrs First Call of the Conch Shell1 - Signal to delegates that the ceremony is about to commence - Traditional Party enter the UNGA Hall and take up position 09:10hrs Second Call of the Conch Shell - VIP Parties escorted in and take Seat - Garlanding 09:15hrs Third Call of the Conch Shell - Traditional Ceremony Commences - The “Sau” is rolled out - Greeting Chants/Closed Clapping of hands - Traditional Party – Kava presentation Speech - Secretary-General’s Herald-man traditional acceptance - Chants/Closed Clapping of Hands 09:25hrs Kava Ceremony - Mixing of pounded Kava - Chants & Traditional Ceremonial Dance 09:30hrs Drinking of Kava - Secretary – General (On behalf of the UN & Members States) o UN-SG’s Herald man - President of the UN General Assembly o UN-PGA Herald man - Deputy Prime Minister of Sweden (Co-President) o Sweden’s DPM’s Herald man - Prime Minister of Fiji (Co-President) o Fiji PM’s Herald man 09:35hrs UN Secretary-General (Vosa Vakaturaga, Chiefly Speech.) - Acceptance of UN-SG’s Speech (Traditional Party) 09:40hrs Fijian Meke – Cultural Dance 09:55hrs Conclusion of Ceremony - VIP escorted out - Traditional Party Depart - Podium Cleared 1 Fijian Ceremonies are carried out in complete silence, Delegates are requested to observe silence throughout the ceremony 2 Yaqona Vakaturaga - the Chiefly “Kava” Ceremony The Yaqona2 or Kava Ceremony is an important and a hallowed component of the seven ceremonies that forms the traditional Fijian welcome rituals. -
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 . -
Indigenous Itaukei Worldview Prepared by Dr
Indigenous iTaukei Worldview Prepared by Dr. Tarisi Vunidilo Illustration by Cecelia Faumuina Author Dr Tarisi Vunidilo Tarisi is an Assistant Professor of Anthropology at the University of Hawaiʻi at Hilo, where she teaches courses on Indigenous museology and heritage management. Her current area of research is museology, repatriation and Indigenous knowledge and language revitalization. Tarisi Vunidilo is originally from Fiji. Her father, Navitalai Sorovi and mother, Mereseini Sorovi are both from the island of Kadavu, Southern Fiji. Tarisi was born and educated in Suva. Front image caption & credit Name: Drua Description: This is a model of a Fijian drua, a double hulled sailing canoe. The Fijian drua was the largest and finest ocean-going vessel which could range up to 100 feet in length. They were made by highly skilled hereditary canoe builders and other specialist’s makers for the woven sail, coconut fibre sennit rope and paddles. Credit: Commissioned and made by Alex Kennedy 2002, collection of Museum of New Zealand Te Papa Tongarewa, FE011790. Link: https://collections.tepapa.govt.nz/object/648912 Page | 2 Table of Contents INTRODUCTION ....................................................................................................................................... 4 SECTION 2: PREHISTORY OF FIJI .............................................................................................................. 5 SECTION 3: ITAUKEI SOCIAL STRUCTURE ............................................................................................... -
Born to Sing: Fiji's "Singing Culture" and Implications for Music Education in Canada
BORN TO SING: FIJI'S "SINGING CULTURE" AND IMPLICATIONS FOR MUSIC EDUCATION IN CANADA JOAN RUSSELL McGiI/ University ABSTRACT. The first part of trus paper describes the singing practices of selected Fijiancommunities, and identifies sorne of the social conditions that support widespread and skillful singing. Next, in order to interpret Fijian musical practices, it proposes a cultural grammar - a set of guidelines or rules that define what individuals within a society, community, or group have to know, produce, predict, interpret or evaluate within a given setting or social group in order to participate appropriately (Heath, 1982; Heath, 1983). In the second part of the paper the proposed cultural grammar is used to generate suggestions for developing a singing culture in a Canadian school. Nt POUR CHANTER: LA "CULTURE DU CHANT" À flDJI ET LES IMPLICATIONS POUR L'ENSEIGNEMENT DE LA MUSIQUE AU CANADA RÉSUMÉ. La première partie de ce rapport décrit la pratique du chant de certaines communautés fidjiennes tout en mettant en évidence quelques unes des conditions sociales contribuant à répandre l'art du chant. Pour interpréter les pratiques musicales fidjiennes, l'auteur propose une grammaire culturelle, à savoir un ensemble de directives ou de règles définissant ce que les sujets d'une société, d'une collectivité ou d'un groupe doivent connaître, produire, prévoir, interpréter ou évaluer dans un milieu ou un groupe social donné pour y participer pleinement. (Heath, 1982; Heath, 1983). Dans la deuxième partie de ce rapport, la grammaire culturelle proposée sert à émettre des conseils en vue de l'élaboration d'une culture du chant dans une école canadienne. -
ASIA PACIFIC DANCE FESTIVAL Stories
2015 ASIA PACIFIC DANCE FESTIVAL Stories LIVING THE ART OF HULA THURSDAY, JULY 16, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa LOCAL MOTION! SUNDAY, JULY 19, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa CHURASA – OKINAWAN DRUM & DANCE THURSDAY, JULY 23, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa WELCOMING CEREMONY FRIDAY, JULY 24, 2015 • 6:00PM East-West Center Friendship Circle STORIES I SATURDAY, JULY 25, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa STORIES II SUNDAY, JULY 26, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa HUMANITIES FORUM SUNDAY, JULY 26, 2015 • 4:45PM East-West Center Imin Center, Jefferson Hall A co-production of the University of Hawai‘i at Ma¯ noa Outreach College and East-West Center Arts Program with the support of the University of Hawai‘i at Ma¯ noa Department of Theatre and Dance. 2015 ASIA PACIFIC DANCE FESTIVAL ASIA PACIFIC DANCE FESTIVAL Director Tim Slaughter Associate Director Eric Chang Organizing Committee William Feltz Kara Miller Michael Pili Pang Amy Lynn Schiffner Yukie Shiroma Judy Van Zile Staff Margret Arakaki, Assistant to Director; Kay Linen, Grant Writer Production Staff M Richard, Production Coordinator; Camille Monson and Anna Reynolds, Festival Assistants; Justin Fragiao, Site Manager; Vince Liem, Lighting Designer; Todd Bodden, Sound Engineer; Samuel Bukoski and Maggie Songer, Production Crew; Stephanie Jones, Costume Crew; Margret Arakaki, Box Office Supervisor; -
The Metabolic Demands of Culturally-Specific
THE METABOLIC DEMANDS OF CULTURALLY-SPECIFIC POLYNESIAN DANCES by Wei Zhu A thesis submitted in partial FulFillment oF the requirements For the degree of Master oF Science in Health and Human Development MONTANA STATE UNIVERSITY Bozeman, Montana November 2016 ©COPYRIGHT by Wei Zhu 2016 All Rights Reserved ii TABLE OF CONTENTS 1. INTRODUCTION ......................................................................................................... 1 Historical Background ............................................................................................... 1 Statement oF Purpose ............................................................................................... 3 SigniFicance oF Study ................................................................................................. 3 Hypotheses ............................................................................................................... 4 Limitations ................................................................................................................ 5 Delimitations ............................................................................................................. 5 2. REVIEW OF THE LITERATURE ..................................................................................... 6 Introduction .............................................................................................................. 6 Health Status in NHOPI ............................................................................................. 6 PA – A Strategy -
The Social Meanings of Hula
The social meanings of hula Hawaiian traditions and politicized identities in Hilo Eilin Holtan Torgersen Thesis submitted in partial fulfilment of the M.A. degree Department of Social Anthropology, University of Bergen June 2010 Front cover photograph: “Hula - Na 'Olelo O Ka Pu'uwai, Hula - The Language Of The Heart: Champion dancer Haunani Paredes moves to the chant Kui Wailua , from the legend of Pele, the Fire Goddess, and Pele's sister, Hi'iaka” (Braun 2008), used with the permission of the photographer. © Randy Jay Braun, http://www.randyjaybraun.com/woh.html. 2 Hula is the language of the heart, therefore the heartbeat of the Hawaiian people - King David Kal ākaua 3 Contents Acknowledgements ....................................................................................................................6 Chapter One: Introduction Introduction.................................................................................................................................8 Central themes and problems......................................................................................................9 Resistance, identity and the continuity of cultural forms..............................................10 Knowledge, blood and Hawaiian identity.....................................................................13 Existing research on hula dance................................................................................................14 Methodology.............................................................................................................................16 -
Kabu Ni Vanua: Dance and Music from Fiji
The East-West Center Arts Program presents Kabu ni Vanua: Dance and Music from Fiji Hawai ' i Performance Tour March 30 - April 9, 2010 Brigham Young University-Hawai'i Kahala Nui Kennedy Theatre. University of Hawai'i at Manoa Kahilu Theatre. Waimea Merrie Monarch Festival. Hilo Kabu ni Vanua Laisiasa Veikoso. Artistic Director Jone Sagere Batiratu Miriama Lewaniqamo Botanavudi Akanisi Tuilovoni Bulai Mareta Monomono Dikoula Alitia Diso lnise Kaisuni Eremasi Dan John Fox Silika Maramaditamoce Apisalome Macanalagi Masara Paula Rokotuiveikau Nabuta Judy Jan Salayau Naqina Tomu Ruru Sera Sauvana Joji Lago Caudre Viti PeniVodo Mesake Vuniwai "Kabu ni Vanua" is comprised of some of Fiji's most accomplished college-age performers. and represented Fiji at the 2008 Festival of Pacific Arts. the most prestigious of Pacific cultural events. The ensemble went on to win the top awards at Fiji's 2009 Hibiscus Festival. Ensemble members are all students of the Conservatorium of Music, Suva. "Kabu" means "morning mist." and "ni Vanua" is "of the Land." The implication is the dawn or new beginning of a new day. and the group strives to keep alive Fijian culture and heritage in the face of urbanization. modernization. and Westernization. * * * The Hawai'i residency of Kabu ni Vanua is supported by the UHM Center for Pacific Islands Studies and the EWC Pacific Islands Development Program. Additional generous support for the EWC Arts Program is provided by the Hawai'i Pacific Rim Society, Friends of Hawai'i Charities, the Cooke Foundation, Atherton Family Foundation, Kahala Nui, Casablanca Bridal and Formals, and contributors to the East-West Cent er Foundation, including members of the EWC Arts 'Ohana. -
Languages of the World--Indo-Pacific
REPORT RESUMES ED 010 365 48 LANGUAGES OF THE WORLD- -INDO-PACIFIC FASCICLE FIVE. BY- VOEGELIN, FLORENCE M. INDIANA UNIV., BLOOMINGTON REPORT NUMBER NDEA- VI -63-18 PUB DATE DEC 65 CONTRACT OECSAE9468 FORS PRICE MFS0.16 HC -$4.96 124P. ANTHROPOLOGICAL LINGUISTICS, 7(9)/11141 DEC.1965 DESCRIPTORS- *INDO PACIFICLANGUAGES, *LANGUAGES,ARCHIVES OF LANGUAGES OF THE 'WORLD,BLOOMINGTON, INDIANA THE NON-AUSTRONESIANLANGUAGES CENTERIN1 IN NEWGUINEA ARE LISTED AND DESCRIBEDIN THIS REPORT. IN ADDITION, SENTENCE SAMPLERS OF THEUSARUFA AND WANTOATLANGUAGES ARE PROVIDED. (THE REPORT ISPART OF A SERIES, ED 010350 IC ED 010 367.) (JK) trt 63-/f3 U. S. DEPARTMENTOF HEALTH, 1`11 EDUCATION ANDWELFARE Office of Education c'4 This document 5/C- C: has been reproducedexactly ea received person or orgargzation from the °deluging it Pointsct view or opinions stated do net mensal*represent official CZ) pos:then or policy. Ottica at Edu Mon AnthropologicalLinguistics ti Volume 7 Number 9 December 1965 I LANGUAGES OF THE WORLD:-.. INDOPACIFIC FASCICLE FIVE A Publication of the ARCHIVES OF LANGUAGESOF THE WORLD Anthropology Department Indiana University ANTHROPOLOGICAL LINGUISTICS is designedprimarily, but not exclusively, for the immediate publication of data-oriented papers for which attestationis available in the form oftape recordings on deposit in the Archives of Languages of the World.This does not imply that contributorswill be re- stricted to scholars working in tle Archivesat Indiana University; infact, one motivation far the of ANTHROPOLOGICAL LINGUISTICS -
Cruising the Fiji Islands
The Fiji Islands Cruising in Fiji waters offers many of those once-in-a-lifetime moments. You may experience remote and uninhabited islands, stretching reefs, exhilarating diving, plentiful fishing, a range of cultural experiences and you will still leave wishing to cruise further and explore more…just to the next island…and the island after that….. There are so many reasons to cruise the idyllic waters of Fiji. It is one of the warmest, friendliest nations on earth and caters to cruisers looking for adventure, time out, experiences with locals, and isolated cruising. Fiji is a nation comprising 322 islands in 18,376 square kilometers of the Pacific Ocean. The islands range from being large and volcanic with high peaks and lush terrain, to atolls so small they peak out of the warm aqua water only when the tide recedes. The islands range from being large and volcanic with high peaks and lush terrain to atolls so small they peak out of the warm aqua water when the tide recedes. 2 Yacht Partners Fiji – Super Yacht Support Specialists www.yachtpartnersfiji.com Yasawa & Mamanuca Islands White sand beaches and protected cruising The Yasawa and Mamanuca Islands are the closest cruising ground to the international airport. A departure from Port Denarau (which is only 20 minutes from Nadi international airport) will see you at Malolo Island, the southern-most in the Yasawa/Mamanuca chain of islands, in a couple of hours. This chain of islands and reefs is strung out over 80 nautical miles from Malolo to Yasawa-I-Ra-ra. Most of the traveling is inside of the reefs with short passages between many good anchorages and fine beaches. -
Sa Meke Tiko Na Vanua
Sa Meke Tiko Na Vanua. (The Vanua (Land) is Now Dancing) A Doxological Approach A Paper presented by Rev. Dr. I. S. Tuwere at the”Talanoa-Oceanic Conference” held at the United Theological College/Charles Sturt University, Sydney Australia, October, 2008. Abstract This paper seeks to explore the nature and function of the Fijian Meke or dance. It must be noted that this Meke or dance has nothing in common with the dance of the White races. It is a language in itself that speaks about different subjects that are related to the Vanua. There are Meke on war, the woods, storms, calms, rains, heavens, god, devils travels by land or sea, men and women and more. The approach used will be doxological that seeks to describe Fijian Meke as songs of God’s creation, here understood as Vanua. It is an exploratory paper that hopefully will have implications for Christian worship in general. Meke or dance essentially is movement in different ways and rhythm. Through this language of Meke, this paper will move on to explore the idea that God the Creator is ‘Movement’ par excellence. Introduction I am deeply grateful and honored to be part of this get together this week. This I believe is not just another occasion, but an event – a special event that takes place at the right time. A time when so many things have happened and are happening in this part of the world. Happenings that touch practically every sphere of our common life together at the political, cultural, socio- economic and religious levels.