Na Makua Mahalo Ia. Mormon Influences on Hawaiian Music and Dance
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Mānoa Heritage Center
Mānoa Heritage Center Teacher’s Information and Resources Kūka‘ō‘ō Heiau Table of Contents Introduction………………………………………………………….……..3 Background Information for Teachers…………………………….….4-10 Mana, Kapu and Heiau…………………………………………….…11-12 Oli……………………………………………………………………….…13 Secondary Sources………………………………………………………..14 Mānoa Valley Timeline (Secondary Source)…………………………….14-18 Timeline Activities…………………………………………………….18-20 Primary Sources………………………………………………………20-21 Oral traditions: Kapunahou I (Primary Sources)……………….……...22-23 Suggested Questions for Kapunahou I………………………………….24 Oral traditions: Kapunahou II (Primary sources) ……………………..25-26 Suggested questions for Kapunahou II…………………………………27 Oral History: A Walk Through Old Mānoa (Primary Source)………..28-31 1820 Map and Activities (Primary Source)…………………………………31 DOE Standards……………………………………………………….32-35 About the Mānoa Heritage Center……………………………………...36 Planning Your Visit………………………………………………………37 2 Kōnāhuanui Introduction In the heart of Mānoa valley, the Mānoa Heritage Center invites you to step back in time and explore our living connections to Hawai‘i‘s past. Kūka‘ō‘ō stands as the last intact walled heiau in the greater ahupua‘a of Waikīkī. Believed to have been built by Menehune, the heiau is interpreted today as an agricultural temple. Surrounding the heiau are native Hawaiian gardens that feature an extraordinary collection of rare and endangered species, as well as plants introduced by Polynesian settlers. Our site also tells the story of Mānoa valley, once a rich agricultural area that Hawaiians farmed for centuries. Foreign contact brought many changes to the valley including immigrant resident farmers from various ethnic groups. Today Mānoa is known as one of the most desirable residential areas in Hawai‘i, but its strong sense of place endures. 3 Background Information for Teachers Mānoa Valley As part of the Ko‘olau range, the large amphitheater valley of Mānoa was carved out through wind, rain and erosion. -
09 1Bkrv.Donaghy.Pdf
book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona. -
Visibility Analysis of Oahu Heiau
Visibility Analysis of Oahu Heiau A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN GEOGRAPHY May 2012 By Kepa Lyman Thesis Committee: Matthew McGranaghan, Chair Hong Jiang William Chapman Keywords: heiau, intervisibility, viewshed analysis Table of Contents LIST OF FIGURES .................................................................................................................................... III LIST OF TABLES ...................................................................................................................................... IV INTRODUCTION ........................................................................................................................................ 5 CHAPTER OUTLINE ..................................................................................................................................... 6 CHAPTER I. HAWAIIAN HEIAU ............................................................................................................ 8 HEIAU AS SYMBOL ..................................................................................................................................... 8 HEIAU AS FORTRESS ................................................................................................................................. 12 TYPES ...................................................................................................................................................... -
Pacific Islands Program
/ '", ... it PACIFIC ISLANDS PROGRAM ! University of Hawaii j Miscellaneous Work Papers 1974:1 . BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Second Printing, 1979 Photocopy, Summer 1986 ,i ~ Foreword Each year the Pacific Islands Program plans to duplicate inexpensively a few work papers whose contents appear to justify a wider distribution than that of classroom contact or intra-University circulation. For the most part, they will consist of student papers submitted in academic courses and which, in their respective ways, represent a contribution to existing knowledge of the Pacific. Their subjects will be as varied as is the multi-disciplinary interests of the Program and the wealth of cooperation received from the many Pacific-interested members of the University faculty and the cooperating com munity. Pacific Islands Program Room 5, George Hall Annex 8 University of Hawaii • PRELIMINARY / BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Compiled by Nancy Jane Morris Verna H. F. Young Kehau Kahapea Velda Yamanaka , . • Revised 1974 Second Printing, 1979 PREFACE The Hawaiian Collection of the University of Hawaii Library is perhaps the world's largest, numbering more than 50,000 volumes. As students of the Hawaiian language, we have a particular interest in the Hawaiian language texts in the Collection. Up to now, however, there has been no single master list or file through which to gain access to all the Hawaiian language materials. This is an attempt to provide such list. We culled the bibliographical information from the Hawaiian Collection Catalog and the Library she1flists. We attempted to gather together all available materials in the Hawaiian language, on all subjects, whether imprinted on paper or microfilm, on tape or phonodisc. -
George Kuo Aloha No Na Kupuna - "Love for the Elders"
LINER NOTES George Kuo Aloha No Na Kupuna - "Love for the Elders" George Kuo was born November 17, 1955 but his beautiful slack key guitar style dates back a generation or two earlier. "My feeling is in the older way of playing from the 1940s," he says. "For me, the old tunings with real loose strings and a real prominent bass have a lot of chicken skin (goose bumps)." George's feeling for the older style extends beyond technique to the more subtle area of attitude. "I like to play a nice relaxed, easy style," he says. "Not too much fancy stuff, keep it within the melody. Simplicity is really my style. I try to keep it simple but blend in the right notes. It's more delivering a message than playing runs." George first took up guitar in elementary school and ki ho'alu in high school. He learned by being around friends such as Richard Rathburn and Antone Gabriel, who liked to get together and jam. Antone played in the style of his grand uncle, Albert Kawelo, who had taught slack key legend Raymond Kane in the early 1930s. "When I heard Antone," George says, "I said to myself that's how I want to play...the old style." George's family was very supportive of his music. "My granduncle and aunt liked to hear that style too," he says, "and they really encouraged me." For a young person attracted to old style ki ho'alu, the 1970s were heaven in Hawai'i. A wide– ranging revival of traditional culture was in full bloom. -
Irene Haar, 86, of Honolulu, a Retired Restaurateur, Kamehameha Schools Dining Hall Manager, and Ceramic Artist, Died Wednesday Sep 1, 1999
H Irene Haar, 86, of Honolulu, a retired restaurateur, Kamehameha Schools dining hall manager, and ceramic artist, died Wednesday Sep 1, 1999. She was born in Vac, Hungary. She is survived by sons Tom and Andrew; daughter Vera, three grandchildren and two great-grandchildren. Private services. Mariano Habon Haber, 71, of Waianae, died Feb. 4, 1999 at St. Francis Medical Center West. He was born in the Philippines. He is survived by wife Felipa; sons Ricardo, Rolando, Wilfredo and Fernando; daughters Elizabeth, Milagros and Violeta; sisters Leonarda, Rufina and Perpetua, and 18 grandchildren. Services: 7 p.m. Wednesday at Nuuanu Mortuary. Call: 6 to 9 p.m. Casual attire. No flowers. Burial in the Philippines. KO HADAMA, 86, of Honolulu, died Oct. 29, 1999. Born in Koloa, Kauai. Retired as a painting foreman. Survived by wife, Yuriko; son, Alan. Private service held. Arrangements by Nuuanu Mortuary. Sheri Hadgi,43, of Honolulu died last Thursday Feb 4, 1999 in Honolulu. She was born in Clark Las Vegas, Nev. She is survived by fiance George H. Wong and sisters Kate Mead and Ann Davis. Services: 10:30 a.m. tomorrow at Castle Hospital auditorium. Casual attire. Stanley F. Haedrich Jr.,75, of Detroit Lakes, Minn., formerly of Honolulu, a retired chief estimator for Hawaiian Dredging, died Jan. 10, 1999 in Fargo, N.D. He was born in Minneapolis. He is survived by wife Marilyn and longtime friend Dorothy Brockhausen. Services on the mainland. Emma A.P. Haena, 94, of Hilo, died Saturday Aug 21, 1999 at home. Born in Waimea, she is survived by daughters Jane Kakelaka, Minerva Naehu, Emmeline Santiago Foster, Blossom Kelii and Lydia Haena; son Thomas Nahiwa; grandchildren; great- grandchildren; and great-great-grandchildren. -
39Th Annual North Shore Menehune Surfing Championships
IS BUGG “E Ala Na Moku Kai Liloloa” • D AH S F W R E E In This Issue E N ! E • Waimea Valley Makahiki Festival • Page 3 R S O I Cholo's 20 Year Anniversary • Page 9 N H C S Aloha Aina Recycling • Page 13 E H 1 T Harvest Festival • Page 14 9 R 7 O 0 Menehune Surf Contest Entry Form • Page 16 N Photo: Courtesy of Menehune Surf Contest NORTH SHORE NEWS September 30, 2015 VOLUME 32, NUMBER 20 Photo: Courtesy of Menehune Surf Contest 39th Annual North Shore Menehune Surfing Championships The 39th Annual North highlight of the contest is the Kokua I Love The Menehune.” Entries are Shore Menehune Surfing Cham- Division for keiki 3-6. This division due Oct. 1st by mail or they can pionships will be held on October is non competitive, parents are be hand delivered to Surf N Sea in 17, 18, 24, 25, 2015 at Hale‘iwa allowed to assist in the water and Hale‘iwa. For more information or Ali‘i Beach Park. This contest is for every keiki receives a trophy. Keiki if you would like to contribute to keiki 3-12 years old. Keiki can sign can bring a gently used book and this event contact Contest Director up for Divisions in Longboard and swap it out for another in the 3rd Ivy @ [email protected]. Mahalo Shortboard. Annual Menehune Book Exchange. Nui to all our 2015 Menehune They can also participate in This is our way of promoting lit- sponsors! We are grateful for your an Expression Session in SUP and eracy in our young surfers. -
Statement of JOHN DE FRIES Hawai'i Tourism Authority Before the SENATE COMMITTEE on ENERGY, ECONOMIC DEVELOPMENT, and TOURISM
Statement of JOHN DE FRIES Hawai‘i Tourism Authority before the SENATE COMMITTEE ON ENERGY, ECONOMIC DEVELOPMENT, AND TOURISM Monday, February 8, 2021 3:00 PM State Capitol, Conference Room #224 In consideration of SENATE BILL NO. 916 RELATING TO TAXATION Chair Wakai, Vice Chair Misalucha, and members of the Committee on Energy, Economic Development, and Tourism: the Hawai‘i Tourism Authority (HTA) supports Senate Bill 916, which specifies that the $1,000,000 of Transient Accommodations Tax revenues currently allocated to operate a Hawaiian center and the Museum of Hawaiian Music and Dance may also be used to plan, design, and construct these facilities at an unspecified location. SB 916 is needed as we move forward to create the new Museum of Hawaiian Music and Dance. This measure will allow the funds to be utilized both for operations and development of the center. Currently, the law does not provide clear guidance as to how the funds may be utilized. The term “operations,” as found in the current statute, appears to restrict the use of the funds to the day-to- day activities of a center. Since this will be a new endeavor, we believe that allowing the funds to also be used for the planning, design, and construction will encourage more interest as we move forward in the Request for Proposal (RFP) process. It is for these reasons that HTA supports SB 916. We appreciate this opportunity to provide testimony. Managed by the Festival Companies 2201 Kalākaua Avenue, Suite A500 Honolulu, Hawaiʽi 96815 • (808) 931-3100 • RoyalHawaiianCenter.com TO: Hon. -
Haʻina ʻia Mai Ana Ka Puana: the Vowels of ʻōlelo Hawaiʻi (Pdf)
HAʻINA ʻIA MAI ANA KA PUANA: THE VOWELS OF ʻŌLELO HAWAIʻI A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN LINGUISTICS May 2021 By Thomas T. Kettig Dissertation committee: Rory Turnbull, chairperson Victoria Anderson Katie Drager Larry Kauanoe Kimura K. Laiana Wong Alexander Mawyer Keywords: Hawaiian, phonetics, vowels, pronunciation Acknowledgements My PhD at UHM has been supported financially by awards and Graduate Assistantships from the UH Linguistics Department, Mānoa Opportunity Grants, the Dai Ho Chun Fund for Graduate Fellowships, and the Samuel H. Elbert Graduate Fund in Hawaiian and Polynesian Languages. Thank you particularly to the Bilinski Educational Foundation for providing summer fieldwork grants as well as the dissertation fellowship that supported the completion of this project. I am grateful to my committee members, each of whom I was so lucky to have on board. Mahalo to Rory, an incredible mentor and advisor throughout this dissertation journey. Mahalo to Katie, whose work led me here to Hawaiʻi, and whose collaboration, wisdom, and kindness I am forever grateful for. Mahalo to Victoria, who never wavered in her confidence in me, and who has always been there for advice on life and phonetics. Mahalo to Alex, who went above and beyond his role as university representative, providing key advice on Pacific cultures and (pre)history. Mahalo iā Laiana, he hoa kūkā waiwai. Akamai loa kona naʻauao no ka holomua ‘ana i ka ʻōlelo ma o ka nānā pono ʻana i ke kuanaʻike Hawaiʻi. -
A Brief History of the Hawaiian People
0 A BRIEF HISTORY OP 'Ill& HAWAIIAN PEOPLE ff W. D. ALEXANDER PUBLISHED BY ORDER OF THE BOARD OF EDUCATION OF THE HAWAIIAN KINGDOM NEW YORK,: . CINCINNATI•:• CHICAGO AMERICAN BOOK C.OMPANY Digitized by Google ' .. HARVARD COLLEGELIBRAllY BEQUESTOF RCLANOBUr.ll,' , ,E DIXOII f,'.AY 19, 1936 0oPYBIGRT, 1891, BY AlilBIOAN BooK Co)[PA.NY. W. P. 2 1 Digit zed by Google \ PREFACE AT the request of the Board of Education, I have .fi. endeavored to write a simple and concise history of the Hawaiian people, which, it is hoped, may be useful to the teachers and higher classes in our schools. As there is, however, no book in existence that covers the whole ground, and as the earlier histories are entirely out of print, it has been deemed best to prepare not merely a school-book, but a history for the benefit of the general public. This book has been written in the intervals of a labo rious occupation, from the stand-point of a patriotic Hawaiian, for the young people of this country rather than for foreign readers. This fact will account for its local coloring, and for the prominence given to certain topics of local interest. Especial pains have been taken to supply the want of a correct account of the ancient civil polity and religion of the Hawaiian race. This history is not merely a compilation. It is based upon a careful study of the original authorities, the writer having had the use of the principal existing collections of Hawaiian manuscripts, and having examined the early archives of the government, as well as nearly all the existing materials in print. -
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. -
Mormon Contributions to Hawaiian Music
na makua mahalo iailallalaa mormon contributions to hawaiian music production dr ishmael stagner as he was even prior to the coming of the first missionaries for kacenakawena byuhawaiiBYU ranallhawaii pukui the strength of the hawaiian was spiritual and that nothing that he did was without cosmological or spiritual importance indeed all of life was a there Is a hawaiian saying holhohoii ana oe nana i1 ke fumukumu or go and spiritual exercise in which art ie singing dancing composing weaving look to the source the sources used in this program are recognized authorities carving and painting served two important functions first to remind men on various aspects of hawaiian culture in addition to being musicians poets of their interrelatedness with the universe and the gods who dwelled there composers and performers for many many years they also represent long long and secondly to demonstrate the kind of godlikegod likeilkebehavior men should display years of devoted mormon church service thus singing dancing and performing were all part of not only entertaining in this group of kukunakupunakupu1na are doctor mary kacenakawena pukui lexicographer menen but also of instructing them for ahaaraa wallanyalianhawaiian then ththee implications of author composer of more than three hundred songs and chants and recipient of the zathz9th29th section are extremely significant all things unto me are spiritual two honorary doctorates edith kanakaole composer chanter author translator and not at anytime have I1 given unto you a law which was temporal for