Tahitian Experiences Fact Sheet
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Hard Custom, Hard Dance : Social Organisation, (Un)
PETRA M. AUTIO HARD CUSTOM, HARD DANCE SOCIAL ORGANISATION, (UN)DIFFERENTIATION AND NOTIONS OF POWER IN A TABITEUEAN COMMUNITY, SOUTHERN KIRIBATI Academic Dissertation to be publicly discussed, by due permission of the Faculty of Social Sciences at the University of Helsinki, in Auditorium XII of the Main Building, April 17th, 2010, at 10 a.m. PETRA M. AUTIO HARD CUSTOM, HARD DANCE SOCIAL ORGANISATION, (UN)DIFFERENTIATION AND NOTIONS OF POWER IN A TABITEUEAN COMMUNITY, SOUTHERN KIRIBATI Research Series in Anthropology University of Helsinki Academic Dissertation Research Series in Anthropology University of Helsinki, Finland Distributed by Helsinki University Press P.O. Box 4 (Vuorikatu 3 A) 00014 University of Helsinki Finland fax +358-9-7010 2374 http://www.yliopistopaino.fi ISSN 1458-3186 ISBN 978-952-10-6150-9 (paperback) ISBN 978-952-10-6151-6 (PDF) Helsinki University Print Helsinki 2010 To my daughter Oili Raakel Maria CONTENTS List of illustrations vii Notes on names, citations and typographical conventions viii Acknowledgements ix 1. INTRODUCTION 1 Social Differentiation, Undifferentiation and Power in Southern Kiribati 3 Kiribati Introduced 11 The Kiribati Custom 15 Tabiteuea and Its Northern District 17 Tabiteuean Custom and Its Hardness 19 Kiribati Studied 21 Fieldwork and Research Questions 27 The Approach and Course of Chapters 29 2. THE ANCESTOR WITHOUT DESCENDANTS: DIFFERENTIATION AND NOTIONS OF POWER IN TABITEUEA 33 Chiefs Are Forbidden? Myth, history, concept 33 Story of the Story 36 The Story of Kourabi (Karakin Kourabi) 42 Lines of power: The Karongoa clan 46 The apical ancestor: Tematawarebwe the first-born 50 Children of many fathers 52 The twofold ancestor: Akau the younger brother 53 Karongoa clan and power 56 Dualities and Transformation of Power 58 Power in the (Un)making 62 Making men, making chiefs 64 Making women 68 Binding but Not Unbinding: Remaining tabu 76 Power in his things 77 Power in the bones 80 Summary: Differentiation and its cut-off point 83 3. -
THE ISLANDS of TAHITI the Big Influencers in the South Pacific Ocean: French Polynesia
Special Report This supplement is printed and This report was produced distributed by the Los Angeles Times in partnership with Media Group. It does not involve the editorial staff of Los Angeles Times. One World Media. 2019 TAHITI COME DISCOVER THE TREASURES: Tahiti is one of the most coveted leisure destinations in the world! Find the Mana: in search of the Polynesian Soul also for business THE ISLANDS OF TAHITI The big influencers in the South Pacific Ocean: French Polynesia ocated in the center of the “Another very real asset is our people”, Southern Pacific Ocean, Tahiti adds President Fritch, “The liveliness of our is the largest island of the people and our deep cultural roots make Windward group of French this country one of a kind, with men and Polynesia. Featuring world women eager to be producers, or partners, renowned black sand beaches or workers”. and clear blue seas, it has long been the One of the most difficult challenges Lcultural, economic and political center of the the country faces today has to do with country, as well as a hotspot for international modernization. In a global economy where tourism. technology plays an important role, many Having previously been a French colony, developing countries are struggling to keep today French Polynesia is considered France’s up with the pace. “Digital networks have only Country Abroad, entitling the territory become as important to countries as are to have more independence, with their own roads, ports and airports”, says President President and complete control over their Fritch, “This is why we are improving our economy and currency, the CPF Franc. -
Tuamotuan Phonology
SERIES B - No. 17 TUAMOTUAN PHONOLOGY by Hiroshi Kuki PACIFIC LINGUISTICS The Australian National University Kuki, H. Tuamotuan phonology. B-17, x + 130 pages. Pacific Linguistics, The Australian National University, 1970. DOI:10.15144/PL-B17.cover ©1970 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. PAC IFIC LINGUISTICS is published by the L�ngu�4t�c C��cte 06 Canbe��a and consists of four series : SERIES A - OCCASI ONAL PA PERS SERIES B - MONOGRAPHS SERIES C - BOOKS SERIES V - SPECIAL PUBLICATIONS . EDITOR: S.A. Wurm . ASSOCIATE EDITORS: D.C. Laycock, C.L. Voorhoeve . EDITORIAL CORRESPONDENCE: The Editor, PAC IFIC LINGUISTICS, Department of Linguistics, School of Pacific Studies, The Au stralian National University, Box 4, P.O., Canberra , A.C.T. 2600 . Australia . SUBSCRIPTIONS AND SALES: ABOVE ADDRESS Copyright (§) Hiroshi Kuki . First published 1970. The editors are indebted to the Australian National University for help in the product ion of this series . This publicat ion was made possible by an initial grant from the Hunter Douglas Fund . PR EFACE This study is based upon a corpus of recorded tapes and a subsequent analysis of them during linguistic fieldwork in Papeete, Tahiti, French Polynesia in June-August 1967 with the supervision of Dr. Bruce Biggs under the Polynesian Pre-History Program of the Bernice P. Bishop Muse um, Honolulu, Hawaii, and also on further study in Laie and Honolulu, Oahu, H�waii, in 1967-68. It was my original intention to use ten to twenty pages for phonology and devote the rest of the work to discussions of Tuamotuan morphology syntax. -
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 . -
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 -
Moorea,Day 2
一言言作 叉 aノ1・ta IA ORAINA(YO-RAH-NAH)=HELLO MOOREA,DAY 2 FRIDAY, SOCIETY ISLANDS, FRENCH POLYNESIA jANUARY 29, 2016 ALLABOARD 4:30PM M/S PAUL GAUGUIN ARRIVAL PAPEETE フ:30PM Sensualanddynamic・lncrediblyrapidhipmovements,amoreorbarkskirtnashingaround a dancer's legsin a blur of speed, the sound ofdrums dominating dancers and audience alike.Then slower, wilh a ukulele bringing a melody and voices singing while ripplingj supple hands tella story. Fragrant flowers,adoming the long black hairof the vahine, geometric and stylizedtattoos tra(:ingthe muscles of the warrior-liketane. These are the sights andsounds that have made ・Ori Tahiti or Tahitian dance famous throughout the world. 仙edan(e forms of the difFerent Polynesian lslands may well be as old as the Polynesians themselves, Polynesians whom many archeologists pla(e among the French Polynesian island archipelagoes around the time of Christ,and on the island of Tahiti itselfsome l,200 years ago, Be(ause the Polynesian cultures have always been oral ones, with primarily ephemeral art forms, and because thispassing of knowledge was badly shattered by the arrivalof Europeans and the European diseases that laid waste to the population, wedo not know for sure. We do know that these dances shocked, delighted,and awed the first Europeans to arrivein the mid,1700s.They certainlyappalled the missionaries who arrived in l797,and as these missionaries gained power and innuence, the dan(es were outlawed, and went underground for well over a century・ Although much was(ertainly lost during this period, dance was saved from oblivion by those who dan(ed in secret,and by those from islands farther from the center of European innuence.lnthe1950s,a renaissance of Tahitian dance began, led by Madeleine Moua, who restored to 'OriTahitiitsdignityandprideofplaceatthecenterofTahitianculture. -
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 -
[.35 **Natural Language Processing Class Here Computational Linguistics See Manual at 006.35 Vs
006 006 006 DeweyiDecimaliClassification006 006 [.35 **Natural language processing Class here computational linguistics See Manual at 006.35 vs. 410.285 *Use notation 019 from Table 1 as modified at 004.019 400 DeweyiDecimaliClassification 400 400 DeweyiDecimali400Classification Language 400 [400 [400 *‡Language Class here interdisciplinary works on language and literature For literature, see 800; for rhetoric, see 808. For the language of a specific discipline or subject, see the discipline or subject, plus notation 014 from Table 1, e.g., language of science 501.4 (Option A: To give local emphasis or a shorter number to a specific language, class in 410, where full instructions appear (Option B: To give local emphasis or a shorter number to a specific language, place before 420 through use of a letter or other symbol. Full instructions appear under 420–490) 400 DeweyiDecimali400Classification Language 400 SUMMARY [401–409 Standard subdivisions and bilingualism [410 Linguistics [420 English and Old English (Anglo-Saxon) [430 German and related languages [440 French and related Romance languages [450 Italian, Dalmatian, Romanian, Rhaetian, Sardinian, Corsican [460 Spanish, Portuguese, Galician [470 Latin and related Italic languages [480 Classical Greek and related Hellenic languages [490 Other languages 401 DeweyiDecimali401Classification Language 401 [401 *‡Philosophy and theory See Manual at 401 vs. 121.68, 149.94, 410.1 401 DeweyiDecimali401Classification Language 401 [.3 *‡International languages Class here universal languages; general -
Hawai'i: Cosmopolitan Culture at the Crossroads of the Pacific Richards
Hawai'i: Cosmopolitan Culture at the Crossroads of the Pacific RichardS. Kennedy W"ith Lynn Martin The Hawaiian Islands are at the same time rupted these direct relationships but this one of the most isolated spots on the globe understanding has been kept alive in some and one of the most cosmopolitan. Travel of the cultural traditions of the Hawaiian guides and most authoritative studies of people. In music and dance, the presenta Hawai'i often gloss over these critical con tion of the lei and the reverence felt for the tours of the state's landscape. While isola gift of a quilt, we can still discover a respect tion is becoming a less useful term to distin for the land and aloha for one's neighbor. guish cultural characteristics in this global Both values remain as vital expressions of village of satellite relays and facsimile com the uniqueness of the state of Hawai'i. munications, the geographic position of Hawai'i in the Pacific basin has shaped the history of the islands from their discovery Proverbial sayings, 'olelo no 'eau, learned and first settlement over 1, 500 years ago up orally and passed down from generation to to the present day. In the past hundred and generation, are important in traditional Ha fifty years, however, the strategic location of waiian culture. By far the largest number of the islands has made Hawai'i a crossroads these sayings describe aloha 'Ziina, love or through which the people of the world have respect for the land. A similar concern for passed. -
Les Mares À Kopara
l€SMRMS Pièges à phosphates R desKOPnRR atolls par Francis ROUGERIE Qui n'apas été étonné de trouver IWm SUT certains atolls des lacs entourés d'un terreau riche et rougeatre où poussent des joncs? Voici l'explication de ce miracle de la riche terre organique dans un univers de calcai- re et d'eau salée. OPARA est un mot Paumotu qui ICignifie bien miìì-, mou, facile à manger )). De fait, en période de di- sette, le kopara était di- rectement consommé, comme il l'est par les poissons qui réussissent à pénétrer dans ces mares peu salées. Com- me l'a montré le Profes- seur J. Trichet (Universi- té d'Orléans), le kopara est un aliment très éner- gétique, riche en glu- - cides, lipides et acides et profonde. Elles sont dégradées aminés. kopara est constitué par les bactéries méthanogènes et dune association de plusieurs sulfatoréductrices. qui donnent types de micro organismes : l'odeur caractéristique dœuf pour- En surface, les cinq premiers ri (présence dH2S). millimètres sont occupés par Aucune algue supérieure ne peut différentes cyanophycées, orga- pousser dans ces mares où les cya- nismes à mi chemin entre les nophycées sont bien mieux adap- algues et les bactéries qui utili- tées aux baisses du niveau d'eau, sent la lumière comme source aux variations de salinité, de tem- dénergie. Dans le kopara, cer- pérature.. .. taines sont oranges, d'autres En fait, les cyanophycées sont brunes, d'autres vertes, elles partout, dès que des débris coral- noircissent lorsqu'elles se trou- liens sont arrachés et échoués, vent asséchées. leur surface est colonisée et de- Juste au dessous, une couche vient noire. -
Vol. 10 No. 1 Pacific Studies
PACIFIC STUDIES a journal devoted to the study of the Pacific— its islands and adjacent countries NOVEMBER 1986 Anthropology Archaeology Art History Ethnomusicology Folklore Geography History Sociolinguistics Political Science Sociology Published by THE INSTITUTE FOR POLYNESIAN STUDIES (Brigham Young University—Hawaii Campus) EDITORIAL BOARD Fergus Clunie Fiji Museum Paul Alan Cox Brigham Young University Roger Green University of Auckland Renée Heyum University of Hawaii Francis X. Hezel, S. J. Micronesian Seminar Rubellite Johnson University of Hawaii Adrienne Kaeppler Smithsonian Institution Robert Kiste University of Hawaii Robert Langdon Australian National University Ioane LeMamea Pacific Islanders’ Educational Research Center, N. Z. Stephen Levine Victoria University Katharine Luomala University of Hawaii Barrie Macdonald Massey University Cluny Macpherson University of Auckland Leonard Mason University of Hawaii Malama Meleisea University of the South Pacific Norman Meller University of Hawaii Richard M. Moyle University of Auckland Cohn Newbury Oxford University Douglas Oliver University of Hawaii Margaret Orbell Canterbury University Nancy Pollock Victoria University Karl Rensch Australian National University Bradd Shore Emory University Yosihiko Sinoto Bishop Museum William Tagupa Office of Hawaiian Affairs Francisco Orrego Vicuña Universidad de Chile Tuaopepe Felix Wendt University of the South Pacific Edward Wolfers Macquarie University PACIFIC STUDIES Editor DALE B. ROBERTSON Associate Editor Associate Editor GLORIA L. CRONIN R. LANIER BRITSCH Book Review Editor MAX E. STANTON Editorial Policy Pacific Studies is published three times each year by The Institute for Polynesian Studies, Brigham Young University—Hawaii Campus, Laie, Hawaii, 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is U.S. $20.00. -
EXCURSIONS TAHITI, SOCIETY ISLANDS on Board M/S PANORAMA II from Papeete Port to Papeete Port, Tahiti
PRIVATE SHIP PREBOOKED SHORE EXCURSIONS TAHITI, SOCIETY ISLANDS On board M/S PANORAMA II From Papeete Port to Papeete Port, Tahiti Day 1 | Papeete port, Tahiti, Society Islands Day 2 | Bora Bora, Society Islands OVERNIGHT Day 3 | Bora Bora – Huahine, Society Islands OVERNIGHT Day 4 | Huahine, Society Islands, OVERIGHT Day 5 | Taha, Society Islands, OVERNIGHT Day 6 | Raiatea, Tuamotu Islands, Society Day 7 | Moorea, - Papeete port, Tahiti, Society Islands, OVERNIGHT Day 8 | Papeete port, Tahiti, Society Islands Variety Cruises Variety Cruises House – 214 Syngrou Avenue - 17672 Athens Greece - Tel: +30 210 6919191 Fax: +30 210 6998484 Email: [email protected] www.Varietycruises.com Day 2 and d3|Bora Bora, Society Islands BORA BORA Mountain 4WD Safari HALF DAY MORNING TOUR– Duration: 3H30 Price per person 105 Euros Get in a 4WD vehicle to discover the wild interior of BoraBora, its WW2 remaining cannons and bunkers not forgetting the spectacular panoramic views over the lagoon’s blue shadings. Discover the rich historic past and archaeological treasures of Bora Bora, unknown sites reachable via private roads only, such as the private marae Hau Puni surrounded by an arboretum and medicinal plants. A unique tour to learn more about Bora Bora unknown cultural sites and history aboard a very comfortable 4WD. Marae Hau Puni: made of several platforms, this huge property is surrounded by an arboretum and medicinal plants. Ancient objects were found on site during the restoration. Cannons and bunkers dating from World War II located on the top of a hill, guns are facing Bora Bora's unique pass. This is also a great viewpoint on Vaitape pier and Bora Bora's lagoon.