The 94Th Annual Kamehameha Schools Song Contest
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78Th Song Contest Program
Celebrating the Music of HH elenelen DD eshaesha BB eamereamer The 78th Anniversary of the Kamehameha of Song Contest Schools The 78th Anniversary March 24, 2000 7:30 p.m. Neal S. Blaisdell Center Honolulu, Hawai‘i Center Honolulu, Neal S. Blaisdell March 24, 2000 7:30 p.m. Helen Desha Beamer How do you pass the time when you’re on a long Helen’s stunning musical talent was evident early “Early on, grandma taught us to run movies When she would play the piano and sing, the ride to visit a friend? If you are Helen Desha in her life. When she was a young student at [in our heads] as we sing the songs or dance the canaries in the birdcage would also chirp and Beamer, you may decide to compose a song, com- Kamehameha School for Girls, her music teacher, hulas. And then you're in that moment and giv- sing. Whenever family, friends or anyone else plete with music and lyrics. A friend, Annabelle Cordelia Clymer, noted in a music program annu- ing everything of yourself. You know what the came over to the house to visit, there would be words mean and you see everything as you’re lots of singing and dancing. We were taught the Ruddle, described such a trip in a letter. al report that “In piano music, there has been singing it. In this way you express it as beauti- love of our family and friends, our Hawaiian splendid advancement on the part of. .Helen fully as you can.” heritage, respect for ourselves and our elders as “Helen was in my station wagon when she Desha, a future composer and player. -
09 1Bkrv.Donaghy.Pdf
book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona. -
1984 “Na Makua Mahalo Ia (The Most Honored)” Award Concert
(Na Makua Mahalo Ia Award Concert—1984—broken into 2 videos on Vimeo.com) 1984 “NA MAKUA MAHALO IA (THE MOST HONORED)” AWARD CONCERT Enclosed are notes that correspond to the following three videos in the Na Makua Mahalo Ia Collection on HPSʻs Vimeo Channel. (http://vimeo.com/hulapreservationsociety) Ø 1984 Pt 1 of 2 Ø 1984 Pt 2 of 2 BACKGROUND: In the 1980s, a series of 5 concerts were held to honor elders of that time who persevered in the 20th century & planted seeds for the Hawaiian Renaissance that began in the 1970s. Over five concerts, 67 kūpuna were recognized, & their names are the ones we recall hearing stories about, for their contributions have deeply enriched the sentience of Hawaiians & the people of Hawaiʻi. “Na Makua” was created & led by Dr. Ishmael Stagner, who was a professor at Brigham Young University-Hawaiʻi at the time. To download a scan of BYUʻs actual program from this year, visit https://www.papakilodatabase.com & search the Hula Preservation Society Collection. You will also find short audio clips & comprehensive descriptions of select honorees there. 1984 Pt 1 of 2 Na Makua AwarD Concert MC, Host & Event Coordinator: Ishmael Stagner (1939-2014) (2:40) Opening prayer: Wylie W. Swapp (1919-2007) Tribute performances by: Ka Pa Hula Hawaii, Kumu Hula Kahai Topolinski Ka Pa Hula Hawaii under the direction of Kumu Hula Kahai Topolinski present the following performances as hoʻokupu to all of the recipients being honored at the 1984 Na Makua Mahalo Ia Awards: (3:31) - (Hula kahiko) “Pua Ai Lehua Ka Makani,” honoring -
Table 4. Hawaiian Newspaper Sources
OCS Study BOEM 2017-022 A ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Main Eight Hawaiian Islands U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2017 Cover image: Viewshed among the Hawaiian Islands. (Trisha Kehaulani Watson © 2014 All rights reserved) OCS Study BOEM 2017-022 Nā ‘Ikena I Kai (Seaward Viewsheds): Inventory of Terrestrial Properties for Assessment of Marine Viewsheds on the Eight Main Hawaiian Islands Authors T. Watson K. Ho‘omanawanui R. Thurman B. Thao K. Boyne Prepared under BOEM Interagency Agreement M13PG00018 By Honua Consulting 4348 Wai‘alae Avenue #254 Honolulu, Hawai‘i 96816 U.S. Department of the Interior Bureau of Ocean Energy Management Pacific OCS Region August 18, 2016 DISCLAIMER This study was funded, in part, by the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program, Washington, DC, through Interagency Agreement Number M13PG00018 with the US Department of Commerce, National Oceanic and Atmospheric Administration, Office of National Marine Sanctuaries. This report has been technically reviewed by the ONMS and the Bureau of Ocean Energy Management (BOEM) and has been approved for publication. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the US Government, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. REPORT AVAILABILITY To download a PDF file of this report, go to the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program Information System website and search on OCS Study BOEM 2017-022. -
Approaches to the Academic Study of Hawaiian Literature and Culture
Approaches to the Academic Study of Hawaiian Literature and Culture John Charlot THE PacIFIC INstITUTE BRIGhaM YOUNG UNIVERSIty–HAWAI‘I LĀ‘ie, Hawai‘i Copyright © 2005 John Charlot All rights reserved Manufactured in the United States of America RESTRICTIONS ON USE OF MATERIALS This publication and all material contained in it are copyrighted property and may not be copied, reproduced, republished, uploaded, repurposed, posted, transmitted, or distributed in any form or any means, except for your personal, noncommercial use only, provided that (1) you keep intact all copyright and other proprietary notices, and (2) you make no modifications to the materials. ISBN-13: 978-0-939154-71-5 CD-ROM ISBN-10: 0-939154-71-4 CD-ROM Published by: The Pacific Institute BYUH #1979 55–220 Kulanui Street Lā‘ie HI 96762-1294 (808) 293-3665 Distributed by the University of Hawai‘i Press: Order Department 2840 Kolowalu Street Honolulu, HI 96822 www.uhpress.hawaii.edu [email protected] (808) 956-8255 (888) 847-7377 Fax: (808) 988-6052 (800) 650-7811 Approaches to the Academic Study of Hawaiian Literature and Culture awaiian culture is an example of an indigenous traditional culture lived within a society dominated by an intro- duced one. Other examples are New Zealand Māori and HNative American Indian cultures. A variety of pressures can be applied to the members of these cultures, who can in turn display a spectrum of reaction from outright rejection of the introduced culture to total assimilation into it. Since the arrival of Westerners, Hawaiians have felt many pressures and reacted along the whole spectrum. -
1989 “Na Makua Mahalo Ia (The Most Honored)” Award Concert
(Na Makua Mahalo Ia Award Concert—1989—broken into 5 videos on Vimeo.com) 1989 “NA MAKUA MAHALO IA (THE MOST HONORED)” AWARD CONCERT Enclosed are notes that correspond to the following three videos in the Na Makua Mahalo Ia Collection on HPSʻs Vimeo Channel. (http://vimeo.com/hulapreservationsociety) Ø 1989 Pt 1 of 5 Ø 1989 Pt 2 of 5 Ø 1989 Pt 3 of 5 Ø 1989 Pt 4 of 5 Ø 1989 Pt 5 of 5 BACKGROUND: In the 1980s, a series of 5 concerts were held to honor elders of that time who persevered in the 20th century & planted seeds for the Hawaiian Renaissance that began in the 1970s. Over five concerts, 67 kūpuna were recognized, & their names are the ones we recall hearing stories about, for their contributions have deeply enriched the sentience of Hawaiians & the people of Hawaiʻi. “Na Makua” was created & led by Dr. Ishmael Stagner, who was a professor at Brigham Young University-Hawaiʻi at the time. To download a scan of BYUʻs actual program from this year, visit https://www.papakilodatabase.com & search the Hula Preservation Society Collection. You will also find short audio clips & comprehensive descriptions of select honorees there. 1989 Pt 1 of 5 Na Makua Award Concert MC, Host & Event Coordinator: Ishmael Stagner (1939-2014) (2:46) Opening prayer: Mr. James Christensen (5:13) Opening speech: Pres. Alton L. Wade, BYU-Hawaiʻi (7:40) Introduction of VIPs & Dignitaries: Councilwoman Reen Mansho, Rep. Reb Bellinger, Sen. Eloise Tungpalan, Bill Paty, Dir. of Land & Natural Resources (8:50) Recognition of prior Honorees in audience: 1) Emma Kapiolani Farden Sharpe 2) Winona Beamer 3) Tau Moe family 4) Silver Piliwale 5) Wylie W. -
Doris Kahikilani Mossman Keppeler the Watumull
DORIS KAHIKILANI MOSSMAN KEPPELER THE WATUMULL FOUNDATION ORAL HISTORY PROJECT Doris Kahikilani Mossman Keppeler (1899 - 1972) The late Mrs. Keppeler, a noted Hawaiiana au thority, was born in Hana, Maui to William Lloyd and Louise Summer Miner Mossman. Her great-grand father Thomas James Mossman, a shipowner and cap tain, brought his wife and family to Hawaii to settle in 1849. Her grandfather William Frederic' Mossman moved to Maui as a young man and married Clara Mokomanic Rohrer, an American Indian who came to Maui at the age of fifteen with a group of Anglican missionaries to establish a mission which is now the Church of The Good Shepherd in Wailuku. Mrs. Keppeler was educated at Saint Andrew's Priory for Girls and graduated from the University of Hawaii in 1924. She began her teaching career at Hilo Intermediate School in 1924-25, then went to McKinley High School where she taught and served as counselor until her retirement in 196J. On July 28, 1925 she married Herbert Kealoha Keppeler who was then the chief engineer and sur veyor for the Bernice Pauahi Bishop Estate. Their children are John Paul II, Herbert Karl Bruss and Barbara Leinani Keppeler (Mrs. Larry L.) Bortles. Mrs. Keppeler was very active in the produc tion of Hawaiian pageants and parades for Kameha meha Day, Lei Day and Aloha Week, and received sev eral awards for her work in Hawaiiana. She relates her own and her family's history, as well as that of her husband, and discusses her many projects and knowledge of Hawaiiana. -
Section Viii
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VIII: ACKNOWLEDGMENTS AND ADDENDUM 1. For information about the tuning of a song that is not listed, or any other questions, you can e-mail Dancing Cat at [email protected], or write to Dancing Cat Productions, P.O. Box 4287, Santa Cruz, California, USA, 95063, attn: Dept. SKQ, and we will try to help. 2. Dancing Cat Records plans to produce more solo guitar based Slack Key recordings of the late Sonny Chillingworth, Ray Kane, the late Leonard Kwan, Keola Beamer, Led Kaapana, Cyril Pahinui, George Kuo, Ozzie Kotani, Bla Pahinui, Martin Pahinui, George Kahumoku, Jr., Moses Kahumoku, Cindy Combs, Malaki Kanahele, and Patrick Cockett, and others. Also planned are more recordings of pure duets of Slack Key guitar with acoustic steel guitar, including the late Barney Isaacs playing acoustic steel guitar duets with Slack Key guitarists George Kuo, Led Kaapana, and Cyril Pahinui; and Bob Brozman on acoustic steel with Led Kaapana and with Cyril Pahinui. 3. Mahalo nui loa (special thanks) to the following people who contributed in many various ways to make this information booklet possible: Leimomi Akana, Carlos Andrade, Haunani Apoliona, Kapono Beamer, Keola & Moanalani Beamer, Nona Beamer, Kapono Beamer, Reggie Berdon, Milan Bertosa, the late Lawrence Brown, Bob Brozman, Kiki Carmillos, Walter Carvalho, the late Sonny Chillingworth, Mahina Chillingworth, Patrick Cockett, Cindy Combs, Michael Cord, Jack DeMello, Jon DeMello, Cathy Econom, Ken Emerson, Heather Gray, the late Dave Guard, Gretchen Guard, Gary Haleamau, Uluwehi Guerrero, Keith Haugen, Tony & Robyn Hugar, the late Leland “Atta” Isaacs, Jr., the late Barney Isaacs & Cookie Isaacs, Barney Boy Isaacs, the late Winola Isaacs, Wayne Jacintho, Howard Johnston, J. -
<DISC 1> 01.A Kona Hema O Kalani Traditional Vocal
HULA Le’a Presents HAWAIIAN MELE CD-BOX ȊȪǟǝȮǸȮǫƶਙƮƔƛƛƳÁÁ ߅ైದ౽ƝǔƥƶࢩࡑƟƧఝຓƔཌભưƲǒ੫Տ౽ưƲƫƧ¹ ਙࢥ”ºإ ࣞ“ȊȪǟǝȮ½Ȝȧ 1001 ƝǔƧȊȪǟǝȮǸȮǫޯڀƗƶƒບƶƜාƳƒ҃ƐƟ¹ં ƶئףǚƳଵƐǓإ ǚҧౖƲۙǒŗŘ30 Ƴࢌ¹600ےƶҞ ŗŘôŖţŬÁÁ GNCP-1030 Ć31,500á୩ҤâÖĆ30,000áৎಫâ <DISC 1> 01.A Kona Hema O Kalani Traditional Vocal : Kalani Po’omaihealani 02.A Million Moons Over Hawaii Words by Billy Abrams Music by Andy Iona Long Vocal : enry Kaleialoha Allen 03.‘A ‘Oia Words & Music by John Kameaaloha Almeida Vocal : उпdžơLJ 04.A Song of Old Hawaii Words & Music by Johnny Noble & Gordon Beecher Vocal : އÐ้Гᇰ 05.Adios Ke Aloha Words & Music by Prince Leleiohoko Vocal : उпdžơLJ 06.Adventures in Paradise Words & Music by Dorcas Cochran Vocal : Kalani Po’omaihealani 07.Ahi Wela Words & Music by Lizzie Doirin & Lizzie Beckley Vocal : Takako 08.‘Ahulili Words & Music by Scott Ha'i Vocal : dzȢÓdzउҟ 09.Aia I Ka Mau’i Traditional Vocal : Takako 10.Aia I Nu’uanu Ko Lei Nani Traditional Vocal : Aloha Dalire Band 11.Aia La ‘O Pele Traditional, Mae L. Loebenstein Vocal : उпdžơLJ 12.‘Aina O Lanai Words & Music by Val Kepilino Vocal : उпdžơLJ 13.‘Aina O Molokai Words & Music by Kai Davis Vocal : ଇưƕࠃ 14.‘Akaka Falls Words & Music by Helen Perker Vocal : IWAO 15.‘Akaka Falls Words & Music by Helen Lindsey Perker Vocal : Lauloa 16.‘Ala Pikake Words & Music by Manu Boyd Vocal : उпdžơLJ 17.Alekoki Words by Kalalaua, Lunalilo Music by Lizzie Alohikea Vocal : उпdžơLJ 18.‘Alika Words & Music by Charles ka'apa Vocal : Kalani Po’omaihealani 19.Aloha E Kohala Words & Music by Robert Uluwehi Cazimero Vocal : ଇưƕࠃ 20.Aloha E Pele Traditional -
Ritidloutl..C
2013~ ~"rit IDloUtl..c~ FESTIVAL Aloha mai kakou , The Merrie Monarch Festival is dedicated to the memory of King David Kalakaua, who was also known as . the Merrie Monarch. He restored many of the nearly extinct cultural traditions of the Hawaiian people, especially the hula which had not been practiced publicly for many years. Ancient Hawaiians had no written language. Chants and hula recorded Hawaiian genealogy, mythology, and prayers of the heart and mind. The hula was the means by which the culture, history, stories, and almost every aspect of Hawaiian life were expressed and passed down through generations. I would also like to dedicate this Merrie Monarch Festival to the hula masters, kumu hula, researchers, professors of Hawaiian studies and language, and students of all ages who are committed to the perpetuation and advancement of Hawaiian history and the traditional culture of hula. I pay tribute to past and present kumu hula who have guarded and preserved this precious Hawaiian tradition. They dedicate their lives to perpetuate the art of hula, teaching not only the dance but all aspects of the hula, including the meaning of Hawaiian chants and songs and the art of making lei and hula attire. Mahalo to the students of hula who through their year-round learning and performances ensure that our Hawaiian history and culture are perpetuated. In this 50th Merrie Monarch Festival, I especially want to recognize my mom, Aunty Dottie Thompson, and Uncle George Naope, and I want to thank the thousands of people in Hawai 'i and throughout the world who support this festival. -
Ka Wai Ola O OHA – the Living Water of OHA Mei (May) 2005
Vol. 22, No. 5 Ka Wai Ola o OHA – The Living Water of OHA Mei (May) 2005 A conceptual draft of what an OHA headquarters and Hawaiian cultural center might look like at the Kaka‘ako waterfront site. While the boardroom, an outdoor performance actual design is likely to change, the complex is intended to include outdoor areas for cultural practice. Illustration: Courtesy of Architects Hawai‘i area, a food service court and an adjacent 180-stall parking lot. The complex would also include 60,000 OHA proposes new Hawaiian center square feet of office space for OHA and other organizations. $32-million waterfront complex would include offices and cultural center Wesley Kaiwi Nui Yoon, an architect OHA contracted to develop the By Sterling Kini Wong now begin more studies on the fea- “Many other groups have their own project’s preliminary plan, said that sibility of the site and will eventu- community centers, and it’s about time he used Hawaiian culture to guide his n April, OHA presented a ally provide a development plan to Hawaiians got their own, too. But this conceptual design of the complex. preliminary proposal to build a $32- its Board of Trustees for approval. isn’t just for Hawaiians, it’s for all “Hawaiian culture is very deep, and Imillion complex on the Kaka‘ako The agency would then present a for- of Hawai‘i.” the cultural nuances should be reflected waterfront that would include the first mal proposal to HCDA, which would The complex would serve as a multi- in the design of the project,” Yoon said, Hawaiian cultural center in the state and be followed by either lease or land functional location for a variety of adding that the project’s design was office space for the agency and other acquisition negotiations. -
The Musical Legacy of Vickie Ii Rodrigues
The Musical Legacy of Vickie Ii Rodrigues THE 99 TH ANNUAL KAMEHAMEHA SCHOOLS SONG CONTEST March 15, 2019, 7:30pm Neal S. Blaisdell Arena Honolulu, Hawai‘i 15743 KS19001 Song Contest Program r5.indd 1 3/5/19 1:07 PM TONIGHT’S PROGRAM 7:30 PM - 10:00 PM Oli Ho‘okipa *Pule *Ho‘onani I Ka Makua Mau *Hawai‘i Pono‘ī ‘Ōlelo Ho‘okipa HO‘OKŪKŪ O NĀ KĀNE Boys’ Competition HO‘OKŪKŪ O NĀ WĀHINE Girls’ Competition HO‘OKŪKŪ O NĀ PAPA Combined Class Competition INTERMISSION – 15 MINUTES NĀ PAPA I HUI PŪ ‘IA Combined Classes HŌ‘IKE HĀ‘AWI MAKANA Presentation of Awards *KA HĪMENI KULA Alma Mater KA WAIHO‘OLU‘U O NĀ PAPA Papa 12: ‘āhinahina; Papa 11: ‘ōma‘oma‘o; Papa 10: poni; Papa 9: ‘ula‘ula *AUDIENCE PLEASE STAND Video and Flash Photography Prohibited 15743 KS19001 Song Contest Program r5.indd 2 3/5/19 1:07 PM NĀ MELE ‘OHANA: THE MUSICAL LEGACY OF Vickie Ii Rodrigues “And when Vickie Ii Rodrigues sings, you instantly know what Hawaiian music really is… There is no mistaking Vickie’s hand on a guitar, her voice in a song, her style in a hula, her speech in conversation, her very presence in a gathering. When this electrifying lady turns on, so does everyone else. You can almost hear the wicked twinkle in her eye.” — Jean Kini Sullivan, 1968 [liner notes] Aunty Vickie Sings Nā Mele Punahele, Hula Records FROM THE TIME SHE WAS BORN, Many of the songs taught to Aunty Vickie were Victoria Keali‘ika‘apunihonua Ii Rodrigues was carefully Hawaiian classics, well known and widely performed.