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ROTARY CLUB OF WEST HONOLULU CLUB 31 DISTRICT 5000 CHARTERED DECEMBER 26, 1950 P O BOX 171 , Honolulu, Hawaii 96810 63rd DAVID MALO AWARD BANQUET DAVID MALO RECIPIENTS In Honor of our 2019 Recipient 1957 Mary Kawena Pukui 1958 Henry Kekahuna 1959 Reverend Abraham Akaka 1960 Flora K. Hayes Hokulani Holt-Padilla 1961 Jennie K. Wilson 1962 Judge William C. Heen Friday, October 25, 2019 1963 Duke Kahanamoku 1964 Dr. George Mills HALE KOA HOTEL, Waikiki Ballroom 1965 Ka'upena Wong 2055 Kalia Road, Honolulu, HI 96815 1966 Reverend Samuel Keala 1967 Clorinda Lucas 1968 Martha Hohu PROGRAM 1969 Doris Kahikilani M Keppeler 1970 Dorothy Kahananui 5:30 PM to 6:00 PM No Host Cocktail Reception 1971 Iolani Luahine 6:00 PM to 7:30 PM Dinner 1972 Mons Charles K. Kekumano 1973 Clara H. Nelson 7:30 PM to 9:00 PM Award Program 1974 Mitchell Pauole 1975 Richard Lyman 1976 Herbert K. Kane Reservation Request 1977 Senator Daniel Akaka 1978 Alice Namakelua # of Sponsor Table for ten at $1,000.00 each* 1979 Emma Sharpe # of Individual Seating at $85.00 each* 1980 Danny Kaleikini 1981 Annie Kanahele # of Children Seating at $40.00 each* 1982 Gladys Brandt 1983 Judge Samuel King Name: 1984 Henry Peters 1985 Abigail K. Kawananakoa Address: 1986 John Bellinger Telephone/Fax No: 1987 Winona K. Beamer 1988 Irmagard Farden Aluli Email Address: 1989 Dr Abraham Pi'ianai'a 1990 Kaui Zuttermeister Name under which Sponsorship Table will be:_ 1991 Thomas Kaulukukui, Sr. 1992 Genoa Keawe 1993 Edwin Mahiai Copp Beamer Method of Payment 1994 Elia A. Long $ Check ( Payable to West Honolulu Rotary ) 1995 Malia K. Craver 1996 Kenneth F. Brown $ Credit Card ( Visa MC ) 1997 Judge William S Richardson Card Number: Exp. Date: 1998 Kahauanu Lake 1999 Winona K Ellis Rubin Print Name of Cardholder: 2000 Edith K. McKinzie 2001 Professor Isabella Abbott 2002 Wright Elemakule Bowman, Sr. 2003 Dr. Michael J. Chun 2004 Ret. Gen Irwin K. Cockett, Jr. 2005 Rev. William H Kaina CCV: Billing Zip Code: 2006 S. Haunani Apoliona Signature: 2007 Oswald K Stender 2008 Samuel Kamaka, Jr & Frederick Kamaka, Sr * Please call if a vegetarian meal is being requested. 2009 Dr. Benjamin Young 2010 Dr. Richard Kekuni Blaisdell 2011 Eddie Kamae Payment is required with this reservation form. You will 2012 Robert Cazimero & Immediate Past President Mr. Gayle Lau Roland Cazimero not be registered as a guest if payment is not enclosed. 2013 Richard“Buffalo“ Keaulana & Joseph K.“Nappy“ Napoleon, Jr. 2014 Dennis Kamakahi 2014 Florence Lolena Nicholas Send form and payment to: 2015 Charles Nainoa Thompson Derek J. Tenn, 1225 17th Avenue, Honolulu, Hawaii 96816 2016 Pualani Kanaka’ole Kanahele 2017 Claire Ku’uleilani Hughes Ph #: (808) 224-4992, Email: [email protected] 2018 Cyril Pahinui Reservations Deadline: Friday, October 4, 2019 .

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Music and Identity Ofthe Cultural Renaissance of Hawai·I A
-022.\ CONNECT BACK TO DIS PIACE: Music and Identity ofthe Cultural Renaissance ofHawai·i A '!HESIS SUBMITTED TO '!HE GRADUATE DIVISION OF '!HE UNIVERSI1Y OF HAWAI·I IN PARTIAL FULFILLMENT OF '!HE REQUIREMENTS FOR '!HE DEGREE OF MASTER OF ARTS IN PACIFIC ISLAND STUDIES MAY 2005 By Andrea A Suzuki Thesis Conunittee: Kater1na Teaiwa. Chairperson George Teny Kanalu Young Jonathan K. 050110 Acknowledgements First and foremost I have to thank my parents. especIally Daddy MIke for the opJX>rtun1ties that they have gtven me and their sUpJX>rt gtven to my endeavors. I have to also thank Daddy Mitch for hIs sUPJX>rt and h1s stortes about "h1s days". I want to especIally thank my mom, an AM.A 1n her own rtght, for all ofher devoted time and sUPJX>rt. Secondly, I would l1ke to gIve my deepest thanks to Mel1nda Caroll wIthout whom th1s jOurney would have been a lot more d1ff1cult. Thankyou for your suggestions, your help, and your encouragement. I would also l1ke to thank my comm11tee, Katertna Tea1Wa, Kanalu Young, and John Osorto for their sUpJX>rt and theIr efforts 1n the completion ofth1s project. I'd l1ke to thank all ofthose that gave their time to me, tell1ng me their stortes. and allowtng me to share those stortes: Jeny Santos, Owana Salazar, Aunty CookIe, Uncle Cyr11. Hemy KapollO, John Demello. Gaylord Holomal1a, Keaum1k1 Akut. Peter Moon, and Joe Atpa. I'd l1ke to gIve my appreciation to the Pac1ftc Island StudIes Program that guIded me every' step ofthe way. F1nallly. I'd 11ke to thank all my frIends for their encouragement and tolerance ofmy 1nsan1ty, espec1ally Kamuela Andrade, for gJ.1nn1ng and beartng It and Kau1 for beIng my personal cheering section.
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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.
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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
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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.
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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.
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Ka Wai Ola O
I College Scholarships for Native Hawaiians VOLUME 14, NUMBER ii, U/ater NOWEMAPA(NOVEMBER) 1997 Scholarship money is available for native Hawaiians to attend college within the state of Hawai'i. Qualifying institutions include the University of Hawai'i system (Manoa, Hilo, West O'ahu and community colleges), H awai'i Pacific University, Chaminade University and Brigham Young University-Hawai'i. General eligibility requirements * .:. Hawaiian descent .:. Hawai'i resident (required for some scholarships) .:. Satisfactory academic performance .:. Classified full-time enrollment in an eligible post-high institution *Various other eligibility requirements may apply to individual scholarships. Apply for 1998-99 Deadline for receipt of applications is March 1, 1998. Applications available beginning January 1998 from the KSBE Financial Aid Office, 1887 Makuakane Street, Honolulu, Hawai'i 96817. For more information, please call 842-8216. (f) KAMEHAMEHA S CHOOLS BERNICE PAUAHI BISHOP ESTATE KSBE's policy to give preference to Hawaiians as permitted by law has been ruled non-discriminatory by the IRS. Ka Wai Ola 0 OHA, Office of Hawaiian Affairs 711 Kapi'olani Blvd., Suite 500 Honolulu, Hawai'i 96813-5249 "Beloved 'elders Hawai'i" OHA honors kupuna, the foundation of our lahuL VOLUME 14, NUMBER 11, NOWEMAPA (NOVEMBER) 1997 ... REORGA OHA board changes leadership, makes call for inclusiveness approachable, to be fair and careful about how we "Let there be no mistake," said DeSoto, as her eyes B y Ryan M. M i elke approach our responsibilities - so that our people will scanned the board room, "the Office of Hawaiian Affairs A new leadership was ushered in at the Office of not be at the table begging while we spend extraordinari- will be ready for the challenges and the opportunities that Hawaiian Affairs Oct.
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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.
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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
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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).
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DOCUMENT RESUME ED 262 131 UD 024 468 TITLE Hawaiian
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STAR digio 100 チャンネル：４７３ＨＡＷＡＩＩ放送日：２００４／４／１２～４／１８「番組案内(4時間サイクル）」開始時刻：4:00～8:00～12:00～16:00～20:00～24:00～楽曲タイトル演奏者名ハワイの王室ソング集 Ku'u Ipo I Ka He'e Pu'e One 山内雄喜 w/Maki Kokohi PALANI VAUGHAN Adios Ke Aloha PALANI VAUGHAN Ku'u Pua I Paoakalani 山内雄喜 w/Maki Maika'i Waipi'o PALANI VAUGHAN & THE SUNDAY MANOA Ipo Lei Manu PALANI VAUGHAN E Nihi Ka Hele PALANI VAUGHAN To Ma'i Ho'eu'eu / Liliko'i PALANI VAUGHAN Ke Ali'i Milimili PALANI VAUGHAN He Mele Lahui Hawai'i 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sanoe 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sweet Lei Lehua PALANI VAUGHAN & THE SUNDAY MANOA Hawai'i Pono'i JACK DE MELLO Song of the Sea JACK DE MELLO Hawaiian War Chant JACK DE MELLO Dancing Breeze JACK DE MELLO Nani Wale Lihu'e JACK DE MELLO Aloha No Au I Ko Maka JACK DE MELLO ハワイのフォスター、チャールズ・E・キング作品集 Na Lei o Hawaii HAWAII CALLS Pa'au'au Waltz THE SUNDAY MANOA Beautiful Kahana THE SUNDAY MANOA Eleu Mikimiki THE SUNDAY MANOA Kamehameha Waltz PETER MOON Mi Nei KAHAUANU LAKE TRIO Imi Au Ia 'Oe HAWAII CALLS Ke Kali Nei Au HAWAII CALLS Palolo GABBY PAHINUI Kaimana Hila HAWAII CALLS Lei Aloha Lei Makamae HAWAII CALLS He Nohea 'Oe I Ku'u Maka GABBY PAHINUI AND THE SONS OF HAWAII Lei Lokelani KAHAUANU LAKE TRIO 'Uhe'uhene LEONARD KWAN Kamehameha Waltz 山内雄喜 w/Maki Ne'e Ne'e Mai NA HOKUPA Pua Carnation The Charles "Kaipo" Miller Serenaders from the Royal Hawaiian Hotel.
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Hawaii Stories of Change Kokua Hawaii Oral History Project
Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga ..............................................
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