Vol 25 No 10
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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. -
The Hawai'i Tourism Authority
)~ ‘-1 I Hawai'i Convention Center David v. lge ,=';'7" ‘ " I “M 1801 Kalékaua Avenue, Honolulu, Hawaii 96815 Governor ‘N ' ‘ kelepona tel 808 973 2255 7' A U T H O R I T Y kalepa'i fax 808 973 2253 Chris Tatum kahua pa'a web hawaiitourismauthurityorg President and Chief Executive Officer Statement of CHRIS TATUM Hawai‘i Tourism Authority before the SENATE COMMITTEE ON WAYS AND MEANS Wednesday, April 3, 2019 10:20AM State Capitol, Conference Room #211 In consideration of HOUSE BILL NO 420 HD1 SD1 RELATING TO HAWAIIAN CULTURE. Chair Dela Cruz, Vice Chair Keith-Agaran, and members of the Senate Committee on Ways and Means: The Hawai‘i Tourism Authority (HTA) strongly supports House Bill 420 HD1 SD1, which removes the provision designating the Hawai‘i Convention Center (HCC) as the location for the operation of a Hawaiian center and museum of Hawaiian music and dance. The concept of developing a Hawaiian Center and Museum of Hawaiian Music and Dance is one that we fully support; however, the challenge has been the requirement of locating the center at the Hawai‘i Convention Center. By removing this requirement, we will then be allowed to work with the community to identify the best location for this very important facility. We humbly request your support of this measure. Thank you for the opportunity to offer testimony in support of House Bill 420 HD1 SD1. HB-420-SD-1 Submitted on: 3/29/2019 8:08:03 PM Testimony for WAM on 4/3/2019 10:20:00 AM Testifier Present at Submitted By Organization Position Hearing Kirstin Kahaloa Individual Support No Comments: April 2, 2019 Senator Donovan Dela Cruz, Chair Senator Gilbert Keith-Agaran, Vice Chair Committee on Ways and Means Conference Room 211 Hawai‘i State Capitol Honolulu, HI 96813 RE: Testimony on HB420 HD1 SD1, Relating to Hawaiian Culture Chair Dela Cruz, Vice Chair Keith-Agaran, and Committee Members: My name is Melanie Ide and I am the President and CEO of the Bishop Museum, Hawai‘i’s State Museum of Natural and Cultural History. -
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. -
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. -
The Pleasures and Rewards of Hawaiian Music for an 'Outsider'
12 Living in Hawai‘i: The Pleasures and Rewards of Hawaiian Music for an ‘Outsider’ Ethnomusicologist Ricardo D . Trimillos Foreword I first met Stephen Wild at the 1976 Society for Ethnomusicology meeting in Philadelphia. Since that time we have enjoyed four decades as session- hopping colleagues and pub-crawling mates. In regard to the former, most memorable was the 1987 International Council for Traditional Music meeting in Berlin, where, appropriate to our honoree, one of the conference themes was ‘Ethnomusicology at Home’. It is this aspect of Stephen’s service that I celebrate in my modest effort for this festschrift. In 2006, the journal Ethnomusicology produced its ‘50th Anniversary Commemorative Issue’, which contained the essay ‘Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?’ (Wild 2006). It was an informative and at times prescriptive account of the trajectory for ethnomusicology in Australia. I found the essay a most engaging exercise in personal positioning by an author within a historical narrative, one in which personality and persona were very much in evidence. Inspired by the spirit of that essay and emboldened by its novel approach, I share 335 A DISTINCTIVE VOICE IN ThE ANTIPODES observations about ‘doing ethnomusicology’ where I live—in Honolulu, Hawai‘i. This brief and personal account deliberately draws parallels with our honoree’s experiences and activities during a long career in his ‘homeplace’ (Cuba and Hummon 1993). The pleasures of Hawaiian music in California My first encounters with Hawaiian music were not in Hawai‘i but in San Jose,1 California, locale for the first two decades of my life. -
HOS Transcript 12/16/02
Heart of the Sea -Transcript RELL: A lot of grand-parents come up with the name before you're even in your mom. They have a dream and they tell your mother, well you’re going to have another girl and her name’s going to be: Kapolioka’ehukai, that means Heart of the Sea. COMMENTATOR (WOMAN): Next up is a native of Hawaii: Rell Sunn COMMENTATOR (MAN): She grew up at Makaha and really knows these waves well. Look at her maneuver here. Look right there, Andrea, that’s a nose ride, you don’t see many of them anymore, it’s an extremely different maneuver to perform on these small boards. Looking at in slow motion, you’ll notice she pulls herself up high in the wave, drops her weight back, stalls her board into the critical section and simply walks to the front of the board...plants herself on the nose and rides the wave; extremely difficult, it’s going to score. RELL: Before I could read, I could read the ocean. I knew the tides , I could read the wind on the ocean, I thought I knew everything I ever needed to know just from being on that beach every day, everything. I started surfing when I was four. It’s like you’re four and you’re having a revelation; you can’t quite articulate it but you know the feeling. And my dad was like a beach boy. And he used to surf all the time and so of course that was going to be a part of our lives. -
Statement of JOHN DE FRIES Hawai'i Tourism Authority Before the SENATE COMMITTEE on ENERGY, ECONOMIC DEVELOPMENT, and TOURISM
Statement of JOHN DE FRIES Hawai‘i Tourism Authority before the SENATE COMMITTEE ON ENERGY, ECONOMIC DEVELOPMENT, AND TOURISM Monday, February 8, 2021 3:00 PM State Capitol, Conference Room #224 In consideration of SENATE BILL NO. 916 RELATING TO TAXATION Chair Wakai, Vice Chair Misalucha, and members of the Committee on Energy, Economic Development, and Tourism: the Hawai‘i Tourism Authority (HTA) supports Senate Bill 916, which specifies that the $1,000,000 of Transient Accommodations Tax revenues currently allocated to operate a Hawaiian center and the Museum of Hawaiian Music and Dance may also be used to plan, design, and construct these facilities at an unspecified location. SB 916 is needed as we move forward to create the new Museum of Hawaiian Music and Dance. This measure will allow the funds to be utilized both for operations and development of the center. Currently, the law does not provide clear guidance as to how the funds may be utilized. The term “operations,” as found in the current statute, appears to restrict the use of the funds to the day-to- day activities of a center. Since this will be a new endeavor, we believe that allowing the funds to also be used for the planning, design, and construction will encourage more interest as we move forward in the Request for Proposal (RFP) process. It is for these reasons that HTA supports SB 916. We appreciate this opportunity to provide testimony. Managed by the Festival Companies 2201 Kalākaua Avenue, Suite A500 Honolulu, Hawaiʽi 96815 • (808) 931-3100 • RoyalHawaiianCenter.com TO: Hon. -
An Here's What Transpired After Our Visit
Underwritten by U.S. Bureau of Ameri- Hawai'i. B. San Francisco, Sept. 1, 1918. can Ethnology, it provided first "defini- Educ. Stanford University (1940). Visited tive" examination of the ritual and types Hawai'i 1932 with parents, impressed by of dances performed in ancient Hawai'i. Bray troupe, revisited 1937, enrolled 'Hawaii, Some of his translations and point of summer classes University of view eventually were challenged, but 1938. Studied hula under Marguerite there is no other work that offers so much Duane, San Francisco, 1940s, dancing as or is so highly respected by modern kumu amateur in South Seas Club. Moved to bula.Firstpublished, 1909 in limited edi- Hawai'i 1947, continuing study with Bill tion, became rare and generally unavaila- Lincoln studio (several teachers), Alice ble, until 1955 when reprinted in inex- Keawekane, Koochie Kuhns (dancing in pensive paperback, Charles E. Tuttle her group a short while). Worked Rec- Co-pa.ry. Last great work, Pele and ords of Hawaii (\flaikrki record shop), Hf iaka : A Mytb from Hawai'1, published teaching first classes in the store to 1915, Honolulu Star-Bulletin Ltd., told school-aged girls; also Betty Lei Hula Hawai'i's most popular, and best, legend, Studio. Opened own Hula Nani Studio, offering Hawaiian texts and translations 1949, same year took group into NATHANIEL B. EMERSON of more than 300 songs, chants, prayers, Kapi'olani Park hula festival, then into Unfortunatel5 this too entered the Niumalu Hotel. Known for discipline 6c Historian, writer, translator, greatest etc. rare book category, until 1978 when it perfection of "Hawaiian" image-long collector of hula legend and chants. -
Honolulu Advertiser & Star-Bulletin Obituaries
Honolulu Advertiser & Star-Bulletin Obituaries January 1 - December 31, 2001 E Therese K. "Rusty" Easley, 75, of Kahului died Saturday Mar 10, 2001 in Maui Memorial Medical Center. She was born in Fort Lauderdale, Fla. She is survived by husband Henry O., daughter Terry, sister Helen Kolego, and a grandson. Memorial services: 10 a.m. Saturday at Christ the King Catholic Church. Aloha attire. FOREVER LOVE EASLY-MEMEA, 1-day-old daughter of David Memea and Raina Harmony Easly, of Ka'a'awa, died Jan. 3, 2001. Also survived by brother, Lee Memea; sister, Kim Memea. Private service. Arrangements by Williams Funeral Services. [Adv 7/6/2001] DAVID SCOTT EASTON, 51, of Los Gatos, Calif., died Aug. 17, 2001. A woodworking artist, music lover and gourmet cook. Survived by wife, Shelly; sons, Scott and Tony; mother, Beatrice Wilkinson; father, William; brother, Steven; sisters, Tina Bondalid, Judy and Margaret Leroux. Service 2:30 p.m. Thursday at Los Gatos Memorial Park, 2255 Los Gatos Almaden Road. Burial at the park. No flowers. Memorial donations to the David Easton Memorial Fund to benefit Scott and Tony Easton, Bank of the West, account # 01726741, 2395 Winchester Blvd., Campbell, CA 95008. Arrangements by Borthwick Mortuary. Adv 25/8/2001] SALLY "AUNTY SALLY" "SALLY LYONS" KALALA ALOHIKEA TOKO EBANEL, 64, of Hawaiian Ocean View Estates, Hawai'i, died Sept. 12, 2001. Born in Kawaihau, Kapa'a, Kaua'i. An entertainer and dancer with Hulihe'e Palace Dancers. Survived by husband, Earl; son, Edward Phipps; daughters, Nohea Kutzen, Jacklinn Kalani, Kathleen Ahlo, Jeanine Akiona, Ruth Choi, Yuki Alapai and Lily Wong; hanai mother, Hilda Keanaaina; hanai sons, Harold Akiona, Daniel Kailiwai, John Kailiwai, Gary Lewi, Ike Kaleiki and David Kutler; hanai daughters, Michelle Amaral and Lisa Vicar; 15 grandchildren; four great-grandchildren. -
Read Liner Notes Here
LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them. -
Ka Wai Ola O
Preschoolers learn by playing. That's why Kamehameha Schools Bishop Estate's Traveling Preschools take a wide variety of developmentally balanced activities to more than 30 parks and other gathering places in neighborhoods statewide. Kids have fun while they develop some important skills. At each site, for two hours a day twice weekly, grass mats become learning stations where two- and three-year-olds can do fun things like paint, stack blocks, sort colors and shapes. Play. And learn. ' Learn how much fun learning can be. Call 842-8462 for more information on Kamehameha Traveling Preschools and the other services offered as part of the Kamehameha Schools Bernice Pauahi Bishop E tate Pre-kindergarten Educational Program. KAMEHAMEHA SCHOOLS B ERNICE PAUAHI B1 SHOP ESTATE Ka Wai Ola 0 OHA BULK RATE OFFICE OF HAWAIIAN AFFAIRS U.S. POSTAGE PAID 711 Kapi'olani Blvd., Suite 500 Honolulu, Hawai'i Honolulu, Hawai'i 96813-5249 Permit No. 298 Ke'anae loan fund Na Koa live recipient an early Hawaiian tradi- Roots" video · participant in suc- tions and strive for teaches about tra- ; cessful loan fund lokabi. ditional rural val- program. ues. pages 1()'1l page 12 page 20 OFFICE OF HAWAIIAN AFFAIRS Volume lune Eleven, (June) Number 1994 Six a al• la 66TH E LIVING WATER OF OHA " It's a wrap Legislature finishes on mixed note for Hawaiians by Patrick Johnston The 1994 Legislature wrapped up it bu ine s May 2, passing some important bill for Hawaiian . rejecting many other, and, in the confu- sion of the final da , nearly forgetting to sign legislation critical for the cleanup of Kaho'olawe. -
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.