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78Th Song Contest Program
Celebrating the Music of HH elenelen DD eshaesha BB eamereamer The 78th Anniversary of the Kamehameha of Song Contest Schools The 78th Anniversary March 24, 2000 7:30 p.m. Neal S. Blaisdell Center Honolulu, Hawai‘i Center Honolulu, Neal S. Blaisdell March 24, 2000 7:30 p.m. Helen Desha Beamer How do you pass the time when you’re on a long Helen’s stunning musical talent was evident early “Early on, grandma taught us to run movies When she would play the piano and sing, the ride to visit a friend? If you are Helen Desha in her life. When she was a young student at [in our heads] as we sing the songs or dance the canaries in the birdcage would also chirp and Beamer, you may decide to compose a song, com- Kamehameha School for Girls, her music teacher, hulas. And then you're in that moment and giv- sing. Whenever family, friends or anyone else plete with music and lyrics. A friend, Annabelle Cordelia Clymer, noted in a music program annu- ing everything of yourself. You know what the came over to the house to visit, there would be words mean and you see everything as you’re lots of singing and dancing. We were taught the Ruddle, described such a trip in a letter. al report that “In piano music, there has been singing it. In this way you express it as beauti- love of our family and friends, our Hawaiian splendid advancement on the part of. .Helen fully as you can.” heritage, respect for ourselves and our elders as “Helen was in my station wagon when she Desha, a future composer and player. -
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. -
Na Makua Mahalo Ia. Mormon Influences on Hawaiian Music and Dance
2 john kamealoha almeida called the dean of hawaiian composers for of hawaiian compositions although he Is pure portuguese na makua mahalo laia hormonmormon influences on hawaiian music and dance his thousands many of his songs are now classics probably the mostroostmoost popular being 6 sk 11 bt T lesu heme ke kanakakekanakaKe waiwai has been blind since the age of ten but was very helpful in raising money for the church through luaus and hula when the na makua mahalo laia awards were first envisioned it was intended shows throughout the 1930s and 1940s he is presently eightsixeight six years that their scope would remain limited to basically LDSLOS people who had disting- 190s old uished themselves in the performing arts for various reasons it has not been possible to retain this earlier restricted focus of the awards As a alice namakelua aunty is 90 years young and is remarkably spry and result even though recipients tend to be mainly drawn from LDSLOS ranks church active in her days she was a singer dancer translator composer membership is not the prime criterion for selection rather recipients are lecturer genealogist and slackstacksiacksiecksleckslackkeystackkeykey guitar artist she had a best- judged on the depth and quality of the contributions they have made to the selling album when she was eightytwoeighty two years old and still attends hawaiian cultural community an examination of the two sets of recipients church functions as best as she can she studledstudiedstudded hawaiian music for might better illustrate the criteria -
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. -
1984 “Na Makua Mahalo Ia (The Most Honored)” Award Concert
(Na Makua Mahalo Ia Award Concert—1984—broken into 2 videos on Vimeo.com) 1984 “NA MAKUA MAHALO IA (THE MOST HONORED)” AWARD CONCERT Enclosed are notes that correspond to the following three videos in the Na Makua Mahalo Ia Collection on HPSʻs Vimeo Channel. (http://vimeo.com/hulapreservationsociety) Ø 1984 Pt 1 of 2 Ø 1984 Pt 2 of 2 BACKGROUND: In the 1980s, a series of 5 concerts were held to honor elders of that time who persevered in the 20th century & planted seeds for the Hawaiian Renaissance that began in the 1970s. Over five concerts, 67 kūpuna were recognized, & their names are the ones we recall hearing stories about, for their contributions have deeply enriched the sentience of Hawaiians & the people of Hawaiʻi. “Na Makua” was created & led by Dr. Ishmael Stagner, who was a professor at Brigham Young University-Hawaiʻi at the time. To download a scan of BYUʻs actual program from this year, visit https://www.papakilodatabase.com & search the Hula Preservation Society Collection. You will also find short audio clips & comprehensive descriptions of select honorees there. 1984 Pt 1 of 2 Na Makua AwarD Concert MC, Host & Event Coordinator: Ishmael Stagner (1939-2014) (2:40) Opening prayer: Wylie W. Swapp (1919-2007) Tribute performances by: Ka Pa Hula Hawaii, Kumu Hula Kahai Topolinski Ka Pa Hula Hawaii under the direction of Kumu Hula Kahai Topolinski present the following performances as hoʻokupu to all of the recipients being honored at the 1984 Na Makua Mahalo Ia Awards: (3:31) - (Hula kahiko) “Pua Ai Lehua Ka Makani,” honoring -
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 -
Namakua.Flier-Pressrelease.Pdf
CONTACT: FOR IMMEDIATE RELEASE Ms. Kahikina Whittle (808) 247!9440 [email protected] www.hulapreservation.org HPS PRESERVES AND SHARES RARE FOOTAGE NOT SEEN IN 30+ YEARS Käne‘ohe, Hawai‘i – June 13, 2013 HPS is pleased to share news of our landmark efforts to preserve footage from the 1980’s containing performances of Hawai‘i’s great Kumu Hula, Musicians, and Composers, all of whom have all since passed on. Excerpts of this newly preserved footage will be shown for the 1st time! Come join us for a community presentation in the Polynesian Cultural Center’s Hukilau Theatre (IMAX theatre) on Saturday, July 20th, 2013, 9:00 – 11:00am. Admission is free, but RSVP is required as seating is limited. RSVP to Hula Preservation Society at [email protected] or call (808) 247!9440. Background: ! A series of 5 concerts was held at Brigham Young University!Hawaii between 1980!1989. They were produced by Dr. Ishmael Stagner (son of Kumu Hula Pansy Kaula Akona Stagner) to honor the leading talents of the day in the areas of Hawaiian music, hula, composition, and scholarship. (Dr. Stagner said he modeled the format after the Kennedy Center Honors.) ! Elders honored in this series included: Auntie Alice Namakelua, Bill Ali‘iloa Lincoln, Sally Wood Naluai, Alvin Isaacs, Genoa Keawe, John K. Almeida, Kent Ghirard, Alex Anderson, Sol Bright, Kawai Cockett & mother Rachel Mahuiki, Blossom Clark & daughter Olana Ai, the Farden Ohana, the Kanaka'ole Ohana, the Beamer Family, the Long Family of Maui, and the legendary master ‘Iolani Luahine in perhaps what was her last performance before she passed away ! The footage was shot on 3/4" tape (standard in that era). -
Table 4. Hawaiian Newspaper Sources
OCS Study BOEM 2017-022 A ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Main Eight Hawaiian Islands U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2017 Cover image: Viewshed among the Hawaiian Islands. (Trisha Kehaulani Watson © 2014 All rights reserved) OCS Study BOEM 2017-022 Nā ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Eight Main Hawaiian Islands Authors T. Watson K. Ho‘omanawanui R. Thurman B. Thao K. Boyne Prepared under BOEM Interagency Agreement M13PG00018 By Honua Consulting 4348 Wai‘alae Avenue #254 Honolulu, Hawai‘i 96816 U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2016 DISCLAIMER This study was funded, in part, by the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program, Washington, DC, through Interagency Agreement Number M13PG00018 with the US Department of Commerce, National Oceanic and Atmospheric Administration, Office of National Marine Sanctuaries. This report has been technically reviewed by the ONMS and the Bureau of Ocean Energy Management (BOEM) and has been approved for publication. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the US Government, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. REPORT AVAILABILITY To download a PDF file of this report, go to the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program Information System website and search on OCS Study BOEM 2017-022. -
Sophomore Seminar Kï Höÿalu: the New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 Units Course Syllabus
Sophomore Seminar Kï höÿalu: The New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 units Course Syllabus Originally, a style of guitar playing developed in the Hawaiian Islands during the 1830's, kï höÿalu, or Hawaiian slack key guitar, is an art form that is currently experiencing newfound exposure and popularity in Hawai‘i and worldwide. The rise in popularity of this art form coincides with the increased awareness, dissemination, and growth of political activism directly relating to Hawaiian culture. In this course, we will explore the musical, cultural, historical, and political perspectives of Hawaiian music in general, and kï höÿalu in particular, through hands-on experience, readings, class discussion, and a workshop with a visiting master kï höÿalu artist. With kï höÿalu, as the focal point, we will learn about Hawaiian music and history, and explore the relationship between performance, cultural expression, community, and identity. COURSE REQUIREMENTS Musical Autobiography (5%) Analysis Paper (10%) Master Class with Ozzie Kotani (10%) Midterm (written and practicum) (20%) Final (practicum) (15%) Practicum Progress (15%) Participation (25%) •Musical Autobiography (2 page minimum). Give a brief account of your musical experiences (including Hawaiian ones) as an infant, pre-teen, high school, and Stanford student. Indicate your specific interests for taking this course and how your prior musical experience influences these interests. Due Week 2: Monday, 3 October. •Reaction Paper: Listening Analysis (3-4 pages). Compare/contrast the performances of two different kï höÿalu artists by listening to recordings drawn from the listening list. Address issues of repertoire, instrumentation, vocal/instrumental application, style. Due Week 10: Monday, 28 November. -
Approaches to the Academic Study of Hawaiian Literature and Culture
Approaches to the Academic Study of Hawaiian Literature and Culture John Charlot THE PacIFIC INstITUTE BRIGhaM YOUNG UNIVERSIty–HAWAI‘I LĀ‘ie, Hawai‘i Copyright © 2005 John Charlot All rights reserved Manufactured in the United States of America RESTRICTIONS ON USE OF MATERIALS This publication and all material contained in it are copyrighted property and may not be copied, reproduced, republished, uploaded, repurposed, posted, transmitted, or distributed in any form or any means, except for your personal, noncommercial use only, provided that (1) you keep intact all copyright and other proprietary notices, and (2) you make no modifications to the materials. ISBN-13: 978-0-939154-71-5 CD-ROM ISBN-10: 0-939154-71-4 CD-ROM Published by: The Pacific Institute BYUH #1979 55–220 Kulanui Street Lā‘ie HI 96762-1294 (808) 293-3665 Distributed by the University of Hawai‘i Press: Order Department 2840 Kolowalu Street Honolulu, HI 96822 www.uhpress.hawaii.edu [email protected] (808) 956-8255 (888) 847-7377 Fax: (808) 988-6052 (800) 650-7811 Approaches to the Academic Study of Hawaiian Literature and Culture awaiian culture is an example of an indigenous traditional culture lived within a society dominated by an intro- duced one. Other examples are New Zealand Māori and HNative American Indian cultures. A variety of pressures can be applied to the members of these cultures, who can in turn display a spectrum of reaction from outright rejection of the introduced culture to total assimilation into it. Since the arrival of Westerners, Hawaiians have felt many pressures and reacted along the whole spectrum. -
1989 “Na Makua Mahalo Ia (The Most Honored)” Award Concert
(Na Makua Mahalo Ia Award Concert—1989—broken into 5 videos on Vimeo.com) 1989 “NA MAKUA MAHALO IA (THE MOST HONORED)” AWARD CONCERT Enclosed are notes that correspond to the following three videos in the Na Makua Mahalo Ia Collection on HPSʻs Vimeo Channel. (http://vimeo.com/hulapreservationsociety) Ø 1989 Pt 1 of 5 Ø 1989 Pt 2 of 5 Ø 1989 Pt 3 of 5 Ø 1989 Pt 4 of 5 Ø 1989 Pt 5 of 5 BACKGROUND: In the 1980s, a series of 5 concerts were held to honor elders of that time who persevered in the 20th century & planted seeds for the Hawaiian Renaissance that began in the 1970s. Over five concerts, 67 kūpuna were recognized, & their names are the ones we recall hearing stories about, for their contributions have deeply enriched the sentience of Hawaiians & the people of Hawaiʻi. “Na Makua” was created & led by Dr. Ishmael Stagner, who was a professor at Brigham Young University-Hawaiʻi at the time. To download a scan of BYUʻs actual program from this year, visit https://www.papakilodatabase.com & search the Hula Preservation Society Collection. You will also find short audio clips & comprehensive descriptions of select honorees there. 1989 Pt 1 of 5 Na Makua Award Concert MC, Host & Event Coordinator: Ishmael Stagner (1939-2014) (2:46) Opening prayer: Mr. James Christensen (5:13) Opening speech: Pres. Alton L. Wade, BYU-Hawaiʻi (7:40) Introduction of VIPs & Dignitaries: Councilwoman Reen Mansho, Rep. Reb Bellinger, Sen. Eloise Tungpalan, Bill Paty, Dir. of Land & Natural Resources (8:50) Recognition of prior Honorees in audience: 1) Emma Kapiolani Farden Sharpe 2) Winona Beamer 3) Tau Moe family 4) Silver Piliwale 5) Wylie W.