Western-Constructed Narratives of Hawai'i
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Echoes of Pacific War
ECHOES of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Echoes of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Papers from the 7th Tongan History Conference held in Canberra in January 1997 TARGET OCEANIA CANBERRA 1998 © Deryck Scarr, Niel Gunson, Jennifer Terrell 1998 This work is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Book and cover design by Jennifer Terrell Printed by ANU Printing and Publishing Service ISBN 0-646-36000-0 Published by TARGET OCEANIA c/ o Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra, ACT 0200, Australia Contents Maps and Figures v Fo reword ix Introduction xiii 1 Behind the battle lines: Tonga in World War II EUZABETHWOOD-EILEM 1 2 Changing values and changed psychology of Tongans during and since World War II 'I. F. HELU 26 3 Airplanes and saxaphones: post-war images in the visual and peiforming arts ADRIENNE L. KAEPPIER 38 4 Tonga and Australia since Wo rld War II GARETH GRAINGER 64 5 New behaviours and migration since Wo rld War II SIOSIUA F. POUVALU LAFITANI 76 6 The churches in Tonga since World War II JOHN GARRE'IT 87 7 Introduction and development of fa mily planning in Tonga 1958-1990 HENRY IVARATURE 99 8 Analysing the emergent mi ddle class - the 1990s KERRY JAMES 110 9 Changing interpretations of the kava ritual MEREDITH FILIHIA 127 10 How To ngan is a Tongan? Cultural authenticity revisited HELEN MORTON 149 Bibliograp hy 167 Index 173 Contributors 182 Maps Map 1: TheTonga Islands vii Map 2: Tongatapu 5 Map 3: Nuku'alofa 10 Figures Figure 1. -
Rotuman Educational Resource
Fäeag Rotuam Rotuman Language Educational Resource THE LORD'S PRAYER Ro’ạit Ne ‘Os Gagaja, Jisu Karisto ‘Otomis Ö’fāat täe ‘e lạgi, ‘Ou asa la ȧf‘ȧk la ma’ma’, ‘Ou Pure'aga la leum, ‘Ou rere la sok, fak ma ‘e lạgi, la tape’ ma ‘e rȧn te’. ‘Äe la nāam se ‘ạmisa, ‘e terạnit 'e ‘i, ta ‘etemis tē la ‘ā la tạu mar ma ‘Äe la fạu‘ạkia te’ ne ‘otomis sara, la fak ma ne ‘ạmis tape’ ma rē vạhia se iris ne sar ‘e ‘ạmisag. ma ‘Äe se hoa’ ‘ạmis se faksara; ‘Äe la sại‘ạkia ‘ạmis ‘e raksa’a, ko pure'aga, ma ne’ne’i, ma kolori, mou ma ke se ‘äeag, se av se ‘es gata’ag ne tore ‘Emen Rotuman Language 2 Educational Resource TABLE OF CONTENTS ROGROG NE ĀV TĀ HISTORY 4 ROGROG NE ROTUMA 'E 'ON TẠŪSA – Our history 4 'ON FUẠG NE AS TA ROTUMA – Meaning behind Rotuma 5 HẠITOHIẠG NE FUẠG FAK PUER NE HANUA – Chiefly system 6 HATAG NE FĀMORI – Population 7 ROTU – Religion 8 AGA MA GARUE'E ROTUMA – Lifestyle on the island 8 MAK A’PUMUẠ’ẠKI(T) – A treasured song 9 FŪ’ÅK NE HANUA GEOGRAPHY 10 ROTUMA 'E JAJ(A) NE FITI – Rotuma on the map of Fiji 10 JAJ(A) NE ITU ’ HIFU – Map of the seven districts 11 FÄEAG ROTUẠM TA LANGUAGE 12 'OU ‘EA’EA NE FÄEGA – Pronunciation Guide 12-13 'ON JĪPEAR NE FÄEGA – Notes on Spelling 14 MAF NE PUKU – The Rotuman Alphabet 14 MAF NE FIKA – Numbers 15 FÄEAG ‘ES’ AO - Useful words 16-18 'OU FÄEAG’ÅK NE 'ÄE – Introductions 19 UT NE FAMORI A'MOU LA' SIN – Commonly Frequented Places 20 HUẠL NE FḀU TA – Months of the year 21 AG FAK ROTUMA CULTURE 22 KATO’ AGA - Traditional ceremonies 22-23 MAMASA - Welcome Visitors and returnees 24 GARUE NE SI'U - Artefacts 25 TĒFUI – Traditional garland 26-28 MAKA - Dance 29 TĒLA'Ā - Food 30 HANUJU - Storytelling 31-32 3 ROGROG NE ĀV TĀ HISTORY Legend has it that Rotuma’s first inhabitants Consequently, the two religious groups originated from Samoa led by Raho, a chief, competed against each other in the efforts to followed by the arrival of Tongan settlers. -
Naupaka 032018
MARCH | APRIL 2018 RELAX, SHOP & PLAY AT WAIKOLOA BEACH RESORT E V E N T mar N W E apr S C A R L E N D A WaikoloaBeachResort.com Connected to the Past Keeping Hawaiian Traditions Alive Through Hula “To see through the fragments of time to the full power of the original being … that is a function of art.” —Mythologist Joseph Campbell n Hawai`i, art has often been a powerful vehicle connecting the Hawaiian people to their past Iand inspiring us all through its truth-telling and beauty. This is seen in the work of the state’s painters, wood carvers, sculptors, weavers, and more. And it is particularly apparent in the songs (mele), chants (oli), and hula dances that reach deep into the soul of the Manaola halau perfoming a hula kahiko at Merrie Monarch Festival in 2016. Photo courtesy of Merrie Monarch Festival. Hawaiian culture, both keeping its ancient traditions alive and telling its sacred stories. On a broader scale, hula is celebrated throughout the islands, At Waikoloa Beach Resort, guests and locals alike enjoy hula and in particular at the annual Merrie Monarch Festival held in Hilo performances several times a week on stages at both Queens’ (April 5 - 7, 2018). MarketPlace and Kings’ Shops, as well as at weekly lū`au at Hilton Waikoloa Village and Waikoloa Beach Marriott Resort & Spa. HULA TO THE WORLD “Respect for the Hawaiian culture was hard-baked from the Nani Lim-Yap is one of Hawai`i’s foremost practitioners of very beginning into everything we do,” says Scott Head, vice traditional dance, both as a dancer and as a kumu hula (master president resort operations. -
Hoʻoulu Laka Hula & Chant Protocol Training Packet
Ho‘oulu Laka Hula and Protocol Training Packet Lālākea Foundation Ka ‘Aha Hula ‘O Hālauaola June 14-23, 2018 Hilo, Hawaiʻi O Ku, O Ka O Wahineomao (Chapter 6) E Nihi Ka Hele I Ka Uka O Puna Emerson, 2005 1. E nihi ka hele i ka uka o Puna 2. Mai ako i ka pua 3. O lilo i ke ala o ka hewahewa 4. Ua huna ia ke kino i ka pohaku 5. O ka pua nae ke ahu nei i ke alanui 6. Alanui hele o ka unu kupukupu e 7. Ka ulia 8. A kaunu no anei oe o ke aloha la 9. Hele ae a komo i ka hale o Pele 10. Ua huahuai Kahiki lapa uila 11. Pele e, huaina hoi A Loko Au O Panaewa Alala ka pua, oli o Hiiaka Kapihenui, 16 January 1862 Bush & Paaluhi, 17 February 1893. *Emerson. *Halawai me ka pua 1. A loko au o Panaewa 2. Halawai me ka puaa a ka wahine 3. Me kuu maka lehua i uka 4. Me ka malu koi i ka nahele 5. E ue ana i ka laau 6. Alala ka puaa a ka wahine 7. He puaa kanaenae 8. He kanaenae mohai ola 9. E ola ia Pele 10. I ka wahine o ka lua e 2 The answer to this appeal for admission was in these words: Mele Komo E hea i ke kanaka e komo maloko, E hanai ai a hewa waha; Eia no ka uku la, o ka leo, A he leo wale no, e! (Translation) Welcoming-Song Call to the man to come in, And eat till the mouth is estopt; And this the reward, the voice, Simply the voice. -
Hula Dance Lessons!!!
LOOK WHAT SANDOWN RECREATION IS UP TO NOW! HULA DANCE LESSONS!!! If there’s one thing we’ve learned over the past 15 months or so it’s that WE’VE MISSED HAVING SOME FUN!!!! That’s why Sandown Recreation is venturing into uncharted waters, mixing things up, and bringing you a new summer adventure. Come join the fun! Hawaiian Hula is one of the last indigenous narrative or story-telling dances left on the planet. Every move has a special meaning. This is your chance to learn to tell the stories of Hawaiian flowers; places; gods; goddesses and royalty in song and dance! We’ve teamed up with instructor Nancy Griffin who has studied Polynesian culture and dances with the best Kumu Hula (Master Hula teachers) on the Mainland and in Hawaii for more than 30 years. She teaches and performs Hawaiian Hula, Tahitian, Maori, and Samoan dance. Nancy will be teaching a class on Monday evenings for 6-weeks beginning June 7 – July 1 (no class on July 5th) from 6:30 – 7:30 PM at the Ed Garvey Recreation Facility on Pheasant Run Drive. The class is suitable for anyone age 16 and up with all levels of dancers welcome whether you’ve had prior dance experience or not. Come alone or bring a friend…this journey will be fun! For class, students should wear non-restrictive (but not baggy) clothing and plan to dance barefoot (soft soled shoes are permitted if you need the support). You’ll want to bring a notebook for jotting down important info and translations from the Hawaiian language. -
M Narch Festival April 10 - 17, 1977 Hilo, Hawaii
~ERRI E M NARCH FESTIVAL APRIL 10 - 17, 1977 HILO, HAWAII . ,~.- Official Program & Guide It is my pleasure indeed to bid you welcome and send you the greetings of the people of the County 0 Hawaii on the occasi on of this 14th Annual Monarch Festiva l at Hi lo. We are especially happy to see that your field of p articipation includes groups from around the State of Hawaii as well as from other parts of o u r Nation. You are to be congratulated for the long hours and for the dedicated effort you-as dancers, m usi c ians, teachers, fam illes, and sponsors toget h er- have put in to o rganizing t h e p reparing yours Ives fo r th is special B ig Is land festiva l to share w ith residents and vis itors al ike. We are p leased also that o ur County of Hawaii fa cilitie s, as w ell as the beau tiful settings of o ur hotel s, will provide the backdrop for you I' contests and celebrat ions, and w e send YOLI our congratula tions and very best w is h es for a successful, safe and happy festival of th e pageantry, songs, dancing and MAYOR'S cultural activities so beautifully and so strongly rem iniscent of the spirit of old Hawaii. PROCLAMATION Kalakaua was a t raveler. In 1879, he becan1e t he first k ing to visi the Un ited States. In 1881, he was the fi rst k ing 0 f a wes ern, Christ ian nation to visit Japar . -
Uhm Ma 3030 R.Pdf
.r--.. 'J/... c·"- ·.rl... .. .. "VERSITY OF HAWNI LIBRARY E NA HALAU HULA, NANA KAKOU IA LAKA (LOOK TO THE SOURCE): FINDING BALANCE BETWEEN THE PRACTICE OF HULA FOREST GATHERING AND THE ECOLOGICAL REALITIES OF HAWAH'S NATIVE FORESTS A THESIS 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 GEOGRAPHY DECEMBER 2002 By Shirley Naomi Kanani Garcia Thesis committee: Brian Murton, Chairperson Deborah Woodcock Les Sponsel ABSTRACf This thesis contends that the impact halau hula are having on Hawaii's native forests is born from many different social, cultural, and ecological factors. This thesis goes on to argue that it is hula's intimate link to the forests ofHawai'i, through Laka - the ancestor, that makes the problem ofdamaging gathering practices so antithetical and, also, so readily resolved. The thesis concludes by offering that the answer to regaining balance between cultural practice and modern ecological realities lies in the ancestor Laka. In the attributes and values ofLaka is where halau hula can look for inspiration and proper behavior while in her realm, the beautiful and mysterious forests of Hawai'i. TABLE OF CONTENTS Acknowledgements i List of Figures ii Photographs iii Chapter 1: Introduction 1 Forest Gathering by Halau Hula 1 Objectives 3 Methodology 5 Hula, Environmental Beliefs, and Values 7 Organization 17 Chapter 2: Significance of Plant Life to the Hawaiian Culture 18 Birth of the Hawaiian People 18 Birth of the Hula 22 Hula -
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 . -
Notable Hawaiians of the 20Th Century
Notable Hawaiians of the 20th Century Notable Hawaiians • Notable Hawaiians Hawaiians • Notable Hawaiians • Notable Hawaiians When the second issue of ‘Öiwi: A Native newspaper and magazine articles, television Hawaiian Journal was being conceptualized news reports, and an occasional book profile in 1999, it was difficult to ignore the highlighted a few Hawaiians now and then, number of “best of” lists which were being no one had taken account at any length of announced on almost a daily basis. It seemed Hawaiians who were admired by and who as if we couldn’t get enough—What were inspired other Hawaiians. the most important books of the millennium? The one hundred most significant events? We began discussing this idea amongst The best and worst dressed movie stars? ourselves: Whom did we consider noteworthy While sometimes humorous, thought- and important? Whom were we inspired by provoking, and/or controversial, the in our personal, spiritual, and professional categories were also nearly endless. Yet all lives? These conversations were enthusiastic the hoopla was difficult to ignore. After all, and spirited. Yet something was missing. there was one question not being addressed What was it? Oh yes—the voice of the in the general media at both the local and people. We decided that instead of imposing national levels: Who were the most notable our own ideas of who was inspirational and Hawaiians of the 20th century? After all the noteworthy, we would ask the Hawaiian attention given over the years to issues of community: “Who do you, the -
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; -
Hula: Kalākaua Breaks Cultural Barriers
Reviving the Hula: Kalākaua Breaks Cultural Barriers Breaking Barriers to Return to Barrier to Cultural Tradition Legacy of Tradition Tradition Kalākaua Promotes Hula at His Thesis Tourism Thrives on Hula Shows In 1830, Queen Kaʻahumanu was convinced by western missionaries to forbid public performances of hula Coronation Hula became one of the staples of Hawaiian tourism. In the islands, tourists were drawn to Waikiki for the which led to barriers that limited the traditional practice. Although hula significantly declined, King Kalākaua David Kalākaua became king in 1874 and at his coronation on February 12, 1883 he invited several hālau (hula performances, including the famed Kodak Hula Show in 1937. broke cultural barriers by promoting public performances again. As a result of Kalākaua’s promotion of hula, schools) to perform. Kalākaua’s endorsement of hula broke the barrier by revitalizing traditional practices. its significance remains deeply embedded within modern Hawaiian society. “The orientation of the territorial economy was shifting from agribusiness to new crops of tourists...Hawaiian culture- particularly Hawaiian music and hula-became valued commodities… highly politicized, for whoever brokered the presentation of Hawaiian culture would determine the development of tourism in Hawaii.” “His Coronation in 1883 and jubilee “The coronation ceremony took place at the newly Imada, Adria. American Quarterly, vol. 56, no. 1, Mar. 2004 celebration in 1886 both featured hula rebuilt Iolani Palace on February 12, 1883. The festivities then continued for two weeks thereafter, concluding performances.” “In 1937, Fritz Herman founded the Kodak Hula Show, a performance venue feasts hosted by the king for the people and nightly "History of Hula." Ka `Imi Na'auao O Hawaii Nei Institute. -
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