Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs Leonard J

Total Page:16

File Type:pdf, Size:1020Kb

Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs Leonard J Rapa Nui Journal: Journal of the Easter Island Foundation Volume 13 Article 4 Issue 2 June 1999 'Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs Leonard J. Barrow Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation Barrow, Leonard J. (1999) "'Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 13 : Iss. 2 , Article 4. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol13/iss2/4 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Barrow: 'Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs 'Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs LeonardJames BaITOW INTRODUCTION traditional Hawaiian beliefs and rituals have survived the im­ This paper concerns traditional as well as modern beliefs pact of western culture and Christianity. If we compare re­ about Hawaiian 'aumakua, personal or family gods that origi­ corded traditional beliefs with contemporary Hawaiian religious nated as deified ancestors. They may take on physical forms views, perhaps it will bring us a clearer understanding. My re­ such as spirit vehicles. An 'aumakua (plural, 'aumakua) may be search indicates that 'aumakua beliefs, but not 'aumakua ritual, manifested in a shark, owl, bird, octopus, selected plants, or have persisted into modern times. 'Aumakua traditions are re­ even rocks. lated to the idea of family. Extended family and traditional The fust Europeans to reach Hawai'i arrived with Captain 'aumakua beliefs have survived the abandonment of the kapu system as well as western culture and its belief system. The Ha­ waiian family remains rooted in the past because of the reten­ tion of traditional beliefs and ideas of 'aumakua. The interac­ tion and veneration of deceased family members who have been transformed to 'aumakua is a core tradition that has endured into modern times. The widespread Polynesian idea of guardian ancestors or 'aumakua have no clear de- pictions in Hawaiian art. We may assume a relationship, however, for all religion and art in Polynesia are intercon­ nected. For this reason, I have provided a few illustra­ tions suggesting connections between art and 'aumakua. To answer these ques­ tions, a preliminary review of recorded traditional be­ liefs and rituals concerning 'aumakua is necessary. Mary Kawena Pukui's work Nana I ke Kumu (Look to the Source) is a key source for this subject. Her work is the backbone of this paper. Pu­ kui was a native Hawaiian, raised in a family that held traditional beliefs of 'aumakua and the spirit world. Her work provides a Figure I. These five Hawaiian petroglyphs are reproduced systematic and clear descrip­ from Spirir ofPlace: The Pelroglyphs ofHawaiJ~ Georgia Lee and tion of 'aumakua beliefs and Edward Stasack. They are closely related to magic and in tum to ritual, and lends itself to ancestor spirits and'aumtikua manifestations such as the dog, tur­ methodological ethnographic tle, and human forms. It is not unreasonable to regard them as comparison and inquiry. Her Figure 2: All Polyneliians being predominantly ancestral guardian depictions. ideas on 'aumakua are con­ had beliefs in ancestral guardian sistent with the writings of spirits. These l?eliefs are often expressed in art symbolism. James Cook in 1778. Missionaries came in 1820 to bring the early Hawaiian scholars such This Tongan war club is an ex­ gospel of Christianity, and a general conversion to the new faith as David Malo and Samuel ample ofthis idea. In it we can occurred by 1830. As a result, many traditional Hawaiian relig­ Kamakau. see 'aumakua-like images in­ ious beliefs and rituals were quickly abandoned. The second part of this cluding dogs, men, a turtle, and Our understanding of contemporary Hawaiian religion is study is an analysis of my an octopus (Courtesy Bernice P. far from complete, and often it is ambiguous and poorly de­ ethnographic field interviews Bishop Museum) fined. This paper will attempt to answer the question of which conducted during the years Rapa Nui Journal 49 Vol. 13 (2) June 1999 Published by Kahualike, 1999 1 ",. Rapa Nui Journal: Journal of the Easter Island Foundation, Vol. 13 [1999], Iss. 2, Art. 4 1996 through 1999. My analysis relied upon Pukui's work as a well as gods, in addition to being part of the family framework to compare and contrast traditional beliefs and rit­ "backbone". ual with contemporary Hawaiian beliefs. Hawaiian informants The 'aumiikua originated as family members, relatives, or are a fruitful source if one can locate and gain their confidence. even parents. Ancestor spirits are transformed to gods over a I am very fortunate in that my father, Terence Barrow, has the period of time (au) or emerge from eternity (Po). Pukui (ibid.) trust of many individuals in the Hawaiian community. I was expressed this concept in the following statement: able to interview fourteen Hawaiians and one medical doctor, There is a sea of time so vast that man cannot know its and I appreciate their friendship and help. Two of the fourteen boundaries, so fathomless that man cannot plumb its are recognized Hawaiian kahuna. Most informants ranged from depths. Into the dark sea plunge the spirits of men, re­ fIfty to seventy years of age, with one man being over eighty leased from their earthly bodies. The sea becomes one years old. Most asked to remain anonymous due to the sensi­ with the sky and the land and the fiery surging that rise from the deep in the restless earth. For this is the measure­ tive and sacred nature of the subject matter. less expanse of all space. This is the timelessness of all time. This is eternity. This is Po. TRADmONAL 'AUMAKUA BELIEFS In the Po there dwell our ancestors, transfigured into We commence by examining the origin of the word. Pu­ gods. They are forever god-spirits possessing the strange kui (1972:35) stated that 'aumakua was formed from "Ad' and awesome powers of the gods. Yet they are forever our meaning a period of time, current of time, era or eon, and relatives, having for us that loving "makua' meaning parent, generation, or ancestor. Professor concern a mother has for infant, or a grandfather has for his rust-born Johnson added that, if we break down 'parent' we get "akua" grandson. which in turn means "god". If we break down the word, akua, we fmd the word kua, or "back". The root of kua can be seen in Thus 'aumiikua became family kuamo '0 or spine. Interestingly kuamo '0 '61elo is defined as ancestor gods. Even though they the spine and tongue or genealogy and tradition. In this manner dwelt in a spirit world, they were the a-kua or "back" is the ancestor or ancestral god. still relatives of the living and par­ ticipated in the lives of their chil­ llAW...HA..... 15 dren and grandchildren. Every family had many ances­ tors who corresponded with 'aumiikua, and these took many physical forms (kinolau). Pukui (1972:36) could recall the names of fifty 'aumiikua in her own family. These assumed tangible forms as kinolau. 'Aumiikua could be sharks, owls, mud hens, lizards, eels, rats, caterpillars, rocks and plants. They could change from animal to min­ eral forms. In fact, creatures of simi­ lar physical form and characteristics were used interchangeably by 'aumiikua. Pukui (ibid.) also noted that the 'aumakua inhabiting the caterpillar (pe 'elua) could become the sea cucumber or loli in the Figure 4. This particular figure was ocean, and the 'aumakua of the collected in 1825 at mackerel or 'opelu was also associ­ Honaunau Bay, Hawai'i ated with a variety of the lobelia (Courtesy, Field Mu­ plant that has leaves shaped and col­ seum ofNatural His­ ored like the fish. tory, Chicago). According to Pukui (ibid.:3?) 'aumiikua brought a warning of coming misfortune, or pro­ Figure 3. Two views ofa goddess from Kawaihae, Ha­ vided deliverance from immediate dangers. As family mem­ wai'i. It was discovered in 1906 in a burial cave along with a bers, the 'aumakua had a loving concern for their descendants, number ofother sculptural treasures (Courtesy, Bernice P. and acted as guardians. They would often assume their Bishop Museum, Honolulu). 'aumiikua body to communicate a warning of impending catas­ trophe. Pukui (ibid.) relates such an experience: With the word 'aumakua there is rich meaning but the In our 'ohana we were taught to observe the owl. composition of the word shows that 'aumiikua are parents as Owls were among the family 'aumakua. If an owl cried in Rapa Nui Journal 50 Vol. 13 (2) June 1999 https://kahualike.manoa.hawaii.edu/rnj/vol13/iss2/4 2 Barrow: 'Aumakua (Guardian Ancestors) in the Context of Contemporary Hawaiian Religious Beliefs a strange way, 'cu 'cu, that means 'get out of here today'. greater psychic power. This would cause the first party illness When I was in Puna, and owl came and sat in a breadfruit and suffering. tree and cried'cu 'cu. I told the aunt that I was visitiI' ~ that Names were of primary importance in ancient Hawai'i. It I was going home right away, and I'm glad that I did, be­ was important to receive permission of an 'aumakua when nam­ I I hanal cause when got home found that my (foster child) ing a child.
Recommended publications
  • The Dread Taboo, Human Sacrifice, and Pearl Harbor
    The Dread Taboo, Human Sacrifice, and Pearl Harbor RDKHennan The word taboo, or tabu, is well known to everyone, but it is especially interesting that it is one of but two or possibly three words from the Polynesian language to have been adopted by the English-speaking world. While the original meaning of the taboo was "Sacred" or "Set apart," usage has given it a decidedly secular meaning, and it has become a part of everyday speech all over the world. In the Hawaiian lan­ guage the word is "kapu," and in Honolulu we often see a sign on a newly planted lawn or in a park that reads, not, "Keep off the Grass," but, "Kapu." And to understand the history and character of the Hawaiian people, and be able to interpret many things in our modern life in these islands, one must have some knowledge of the story of the taboo in Hawaii. ANTOINETTE WITHINGTON, "The Dread Taboo," in Hawaiian Tapestry Captain Cook's arrival in the Hawaiian Islands signaled more than just the arrival of western geographical and scientific order; it was the arrival of British social and political order, of British law and order as well. From Cook onward, westerners coming to the islands used their own social­ civil codes as a basis to judge, interpret, describe, and almost uniformly condemn Hawaiian social and civil codes. With this condemnation, west­ erners justified the imposition of their own order on the Hawaiians, lead­ ing to a justification of colonialism and the loss of land and power for the indigenous peoples.
    [Show full text]
  • Uhm Phd 4294 R.Pdf
    UNIVERSITY OF HAWAI'I LIBRARY AN ETHNOGRAPHIC STUDY OF THE CONSTRUCTION OF HAWAIIAN CHRISTIANITY IN THE PAST AND THE PRESENT A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ANTHROPOLOGY May 2003 By Akihiro Inoue Dissertation Committee: Alice G. Dewey, Chairperson C. Fred Blake Christine R. Yano David L. Hanlon Jonathan K. K. Osorio © Copyright 2003 by Akihiro Inoue iii ToSakae, Akinari, Eiji and Ayumi IV ACKNOWLEDGEMENTS My deepest thanks and respect are owed to those who willingly complied with my request for an interview and gave me various inspiring talks. Some ofthem are affectionately called kahu among their congregations, others work hard as church members to contribute to their churches. Whether they are Hawaiian or not, I understand that they are leading a Christian life, which I can learn much from. All of those who shared their perspectives with me in my interviews stimulated me to probe into the problem offaith, which I must deal with personally as well as academically. I refrain from identifying them in order to maintain their anonymity, and only give most of them the general term of "Christian Hawaiians," which certainly obscures the significant diversity oftheir personality. If they are not convinced by the way their narratives were interpreted, I will have to engage in further dialogue in order to answer to them. I extend my hearty thanks to members ofmy dissertation committee. Due to personal circumstances that I had to return to Japan before completing my research, and because of my slow pace of writing, I was not able to hold the original committee.
    [Show full text]
  • So Much More
    so much more ACTIVITIES AND ATTRACTIONS | WINTER 2012 - kaua‘i • o‘ahu • moloka‘i • lana‘i • maui • hawai‘i island Waialua Falls, Maui Welcome to the Hawaiian Islands. HAWAI‘I IS HOME TO A MULTITUDE of historic and cultural sites, attractions, cultural festivals, concerts, craft fairs, athletic events, and farmers’ markets. While some are enjoyed primarily by residents, we think they can also provide excitement for visitors. Others are among the islands’ best kept secrets, unknown not only to travelers but even to many who live here. This guide is a brief introduction to Hawai‘i’s endless variety of special events and off-the-beaten path attractions, offered to our visitor stakeholders for informational purposes only. It should not be interpreted as a recommendation of any specifi c activity or attraction or be seen an endorsement of any organization. There’s so much more to Hawai‘i than one can imagine! INSIDE 06 HAWAI‘I 51 MOLOKA‘I 20 KAUA‘I 54 O‘AHU 32 LANA‘I- 76 STATEWIDE 36 MAUI TABLE OF HAWAI‘I ISLAND 23 Festival of Lights 23 08 ‘Imiloa Astronomy Center of Hawai‘i Hanapēpē - Friday Art Night 24 08 15th Annual Big Island International Marathon Heiva I Kaua‘i Ia Orana Tahiti 2012 24 09 Kahilu Th eatre's 2012 Presenting Season Kaua‘i Historical Society’s Kapa‘a History Tour-Kapa‘a Town 25 09 Aloha Saturdays Kaua‘i Music Festival 25 10 Amy B.H. Greenwell Ethnobotanical Garden Kōloa Heritage Trail 26 10 Anna Ranch Heritage Center Kōloa Plantation Days Festival 26 11 Big Island Abalone Corporation Lāwa'i International Center 27 11 Bike
    [Show full text]
  • HE MAKANA the Gertrude Mary Joan Damon Haig Collection of Hawaiian Art, Paintings and Prints Opens First Friday, Dec. 6, 2013
    December 2013 HE MAKANA DECEMBER The Gertrude Mary Joan Damon FREE EVENTS Haig Collection Of Hawaiian Art, AT HISAM The public is invited to these free Paintings and Prints Opens First events for December 2013 to be held at the Hawai‘i State Art Mu- Friday, Dec. 6, 2013 seum in the No.1 Capitol District Building at 250 South Hotel Street he Gertrude Mary Joan Damon ing lands, an interest her children in downtown Honolulu. See feature Haig Collection of Hawaiian inherited. stories and photos of these events TArt, Paintings, and Prints is a Forty-three works of art-small in this enewsletter. Not subscribed distinguished collection of traditional objects, paintings, and prints collected to eNews? Join here for monthly arts of Hawai’i, over thirty years updates. paintings of by a keen-eyed First Friday Hawai’i, and single donor He Makana exhibit opening prints of Hawai’i comprise this Friday, December 6, 2013 presented to the important exhibi- 6-9 p.m. state of Hawaii in tion that opens to Celebrate the unveiling of the honor of the life the public at the Gertrude Mary Joan Damon Haig of Gertrude Mary Hawai’i State Art Collection of Hawaiian Art, Paintings, Joan Damon Museum on First and Prints. Haig. Friday, December First Friday In the Hawai- 6, 2013 from Holiday Harp ian language, He Waimea Canyon, Kauai by D. Howard Hitchcock 6:00 to 9:00 p.m. Friday, December 6, 2013 Makana means 1909, oil on canvas Perceptive and 6-9 p.m. A Gift, referring knowledgeable, HiSAM favorite Ruth Freedman to the generous the donor focused returns to weave holiday magic with gifting of the the core of the classic Christmas tunes and harp collection to the collection on the standards.
    [Show full text]
  • The Fijian Frescoes of Jean Charlot Caroline Klarr
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Painting Paradise for a Post-Colonial Pacific: The Fijian Frescoes of Jean Charlot Caroline Klarr Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PAINTING PARADISE FOR A POST-COLONIAL PACIFIC: THE FIJIAN FRESCOES OF JEAN CHARLOT By CAROLINE KLARR A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester 2005 Copyright 2005 Caroline Klarr All Rights Reserved The members of the Committee approve the dissertation of Caroline Klarr defended on April 22, 2002 Jehanne Teilhet-Fisk Professor Directing Dissertation (deceased) J. Kathryn Josserand Outside Committee Member Tatiana Flores Committee Member Robert Neuman Committee Member ______________________ Daniel Pullen Committee Member Approved: ________________________________________ Paula Gerson, Chair, Department of Art History ________________________________________ Sally E.McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to Dr. Jehanne Teilhet-Fisk Ka waihona o ka na’auao The repository of learning iii PREFACE AND ACKNOWLEDGMENTS Jean Charlot’s fresco murals in the Pacific Islands of Hawai’i and Fiji represent the work of a mature artist, one who brought to the creation of art a multicultural heritage, an international background, and a lifetime of work spanning the first seven decades of the twentieth century. The investigation into any of Charlot’s Pacific artworks requires consideration of his earlier artistic “periods” in France, Mexico, and the United States.
    [Show full text]
  • 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
    [Show full text]
  • Turtlephilia in the Pacific: an Integrated Comparative
    TURTLEPHILIA IN THE PACIFIC: AN INTEGRATED COMPARATIVE ANALYSIS FROM THE PERSPECTIVES OF BIOLOGICAL, CULTURAL, AND SPIRITUAL ECOLOGY IN A PARTICULAR CASE OF BIOPHILIA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ANTHROPOLOGY MAY 2013 By Regina Woodrom Luna Dissertation Committee: Leslie Sponsel, Chairperson Charles Birkeland Alice Dewey Sherwood Maynard Heather Young-Leslie Keywords: Sea Turtle, Traditional Laws, Cultural Take, Consumption, Tapu, Tabu, Kapu, Taboo, Oceania, Polynesia, Myth, Legend, Ritual, Creation Story Acknowledgments First and foremost, I would like to thank my wonderful husband, Jason Rudrud, without whose support -- both physically by picking up sea turtles with all their weight, and mentally by picking me up when it seemed as if my health issues would not allow me to finish – this dissertation would never have been completed. He is my hero and this is his accomplishment as much as it is mine. Next, I would be remiss without acknowledging the tremendous and never-ending support of my mother and chief editor, Mary Anne Woodrom; my dad and step-mother, Harold and Marilyn Woodrom; and my sister and assistant editor, Rebecca Reid and my brother-in-law, Lynn. My brother Roy Woodrom, whose generosity with his frequent flier miles sent me to ECOnference 2000, which set me on my path to study sea turtles as an undergraduate at Texas A&M. The rest of my extended family, especially my aunt Dr. Sandra Luna McCune for her editing assistance, also deserve acknowledgement for always being there for me regardless of the paths I choose to take.
    [Show full text]
  • Hawaiian History: the Dispossession of Native Hawaiians' Identity, and Their Struggle for Sovereignty
    California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 6-2017 Hawaiian History: The Dispossession of Native Hawaiians' Identity, and Their Struggle for Sovereignty Megan Medeiros CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Law Commons, Other Social and Behavioral Sciences Commons, Political Science Commons, and the Sociology Commons Recommended Citation Medeiros, Megan, "Hawaiian History: The Dispossession of Native Hawaiians' Identity, and Their Struggle for Sovereignty" (2017). Electronic Theses, Projects, and Dissertations. 557. https://scholarworks.lib.csusb.edu/etd/557 This Thesis is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. HAWAIIAN HISTORY: THE DISPOSSESSION OF NATIVE HAWAIIANS’ IDENTITY, AND THEIR STRUGGLE FOR SOVEREIGNTY ______________________ A Thesis Presented to the Faculty of California State University, San Bernardino _______________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Social Sciences and Globalization ______________________ by Megan Theresa Ualaniha’aha’a Medeiros June 2017 HAWAIIAN HISTORY: THE DISPOSSESSION OF NATIVE HAWAIIANS’ IDENTITY, AND THEIR STRUGGLE FOR SOVEREIGNTY ______________________
    [Show full text]
  • HAUMEA: Transforming the Health of Native Hawaiian Women and Empowering Wāhine Well-Being
    HAUMEA Transforming the Health of Native Hawaiian Women and Empowering Wāhine Well-Being Haumea —Transforming the Health of Native Hawaiian Women and Empowering Wāhine Well-Being. Copyright © 2018. Office of Hawaiian Affairs. All Rights Reserved. No part of the this report may be reproduced or transmitted in whole or in part in any form without the express written permission of the Office of Hawaiian Affairs. Suggested Citation: Office of Hawaiian Affairs (2018). Haumea—Transforming the Health of Native Hawaiian Women and Empowering Wāhine Well-Being. Honolulu, HI: Office of Hawaiian Affairs. For the electronic book and additional resources please visit: www.oha.org/wahinehealth Office of Hawaiian Affairs 560 North Nimitz Highway, Suite 200 Honolulu, HI 96817 Design by Stacey Leong Design Printed in the United States HAUMEA: Transforming the Health of Native Hawaiian Women and Empowering Wāhine Well-Being Table of Contents PART 1 List of Figures. 1 Introduction and Methodology . 4 Chapter 1: Mental and Emotional Wellness. .11 Chapter 2: Physical Health . 28 Chapter 3: Motherhood. 47 PART 2 Chapter 4: Incarceration and Intimate Partner Violence . 68 Chapter 5: Economic Well-Being . 87 Chapter 6: Leadership and Civic Engagement . .108 Summary . 118 References. .120 Acknowledgments. .128 LIST OF FIGURES Introduction and Methodology i.1 ‘Ōlelo Hawai‘i (Hawaiian Language) Terms related to Wāhine . 6 i.2 Native Hawaiian Population Totals . 8 Chapter 1: Mental and Emotional Wellness 1.1 Phases and Risk Behaviors in ‘Ōpio. 16 1.2 Middle School Eating Disorder Behavior (30 Days) By Gender (2003, 2005) . .17 1.3 High School Eating Disorder Behavior (30 Days) By Gender (2009–2013) .
    [Show full text]
  • Artist: Period/Style: Patron: Material/Technique: Form
    TITLE:The Ambum Stone LOCATION: Papua New Guinea DATE: 1500 BCE ARTIST: PERIOD/STYLE: Prehistoric Oceanic Art PATRON: MATERIAL/TECHNIQUE:Greywacke FORM: A composite human/animal figure, perhaps an anteater head and a human body. It has a pleasing shape and smooth surface, and the slightly shiny patina on some of its raised details suggest it has been well handled. It was made from greywacke stone, and its finished shape may suggest the original shape the stone it was carved from. Carved in the form of some kind of animal, its features are rounded and include a freestanding neck, elegantly curved head and long nose, and upper limbs that hug its torso and appear to enclose a cupped space above its belly. FUNCTION: The Ambum Stone is a decorative pestle. Sculpted stones uncovered in Papua New Guinea fall into three different categories: figurines, mortars, and pestles. These objects take the form of both land- and air-dwelling animals, anthropomorphic creatures, and human figures. The Ambum Stone is one of the earliest stone objects, hailing from way back in 3500 B.C.E., and would have been created as a pestle. It's likely that the Ambum Stone was used for fertility or burial rituals. The discovery of the Ambum Stone sheds light on the supernatural and religious beliefs of the ancient New Guinea peoples. The early stone sculptures have supernatural significance. These special mortars and pestles were used in religious rituals. New Guinea peoples believed the supernatural powers of these sculptures and the animals they depicted helped with fertility, hunting, and burial rites.
    [Show full text]
  • Mala Lā'au Lapa'au: Preserving the Hawaiian 'Āina and Mo'omehue
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2015 Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue Sandra Fogg University of Rhode Island, [email protected] Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 License. Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Alternative and Complementary Medicine Commons, Hawaiian Studies Commons, Historic Preservation and Conservation Commons, Horticulture Commons, and the Other Pharmacy and Pharmaceutical Sciences Commons Recommended Citation Fogg, Sandra, "Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue" (2015). Senior Honors Projects. Paper 451. http://digitalcommons.uri.edu/srhonorsprog/451http://digitalcommons.uri.edu/srhonorsprog/451 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Sandra Fogg Honors Project Spring 2015 Project Overview Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue ABSTRACT The study of medicinal plants in the western world tends to focus on the isolation and elucidation of natural products that have bioactive characteristics and potential for pharmaceutical formulation. However, the utilization of medicinal plants in cultures that still practice ancient medicine, such as Hawai’i and other Pacific Island nations, involves the use of whole plant parts in conjunction with spiritual rituals to heal illnesses and ailments.
    [Show full text]
  • The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi
    The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 2014 By WILLY DANIEL KAIPO KAUAI Dissertation Committee: Neal Milner, Chairperson David Keanu Sai Deborah Halbert Charles Lawrence III Melody MacKenzie Puakea Nogelmeier Copyright ii iii Acknowledgements The year before I began my doctoral program there were less than fifty PhD holders in the world that were of aboriginal Hawaiian descent. At the time I didn’t realize the ramifications of such a grimacing statistic in part because I really didn’t understand what a PhD was. None of my family members held such a degree, and I didn’t know any PhD’s while I was growing up. The only doctors I knew were the ones that you go to when you were sick. I learned much later that the “Ph” in “PhD” referred to “philosophy,” which in Greek means “Love of Wisdom.” The Hawaiian equivalent of which, could be “aloha naʻauao.” While many of my family members were not PhD’s in the Greek sense, many of them were experts in the Hawaiian sense. I never had the opportunity to grow up next to a loko iʻa, or a lo’i, but I did grow up amidst paniolo, who knew as much about makai as they did mauka. Their deep knowledge and aloha for their wahi pana represented an unparalleled intellectual capacity for understanding the interdependency between land and life.
    [Show full text]