DOCSLIB.ORG

Bandmaster Henry Berger and the Royal Hawaiian Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bandmaster Henry Berger and the Royal Hawaiian Band DAVID W. BANDY Bandmaster Henry Berger and the Royal Hawaiian Band INTRODUCTION THE HISTORY OF the Royal Hawaiian Band parallels the history of Hawai'i itself during both the 19th and 20th centuries—from an independent Monarchy, to a Republic, to an American Territory, and finally to the fiftieth state of the United States. The role of the organization within the social, political, and educational life of the community has been evident from its ear- liest years. It is by forming a better understanding of past events that we are able to help to mold the events of the future. The his- tory of the Band and its bandmasters and the outgrowth of their combined activities have formed the cornerstone upon which band music in Hawai'i has been built. The Royal Hawaiian Band, as it is known today, did not always carry that particular title. In 1836, it was called the King's Band. Newspapers named it the King's Musicians in 1855 and the King's Band again in 1870. The musical program for Kamehameha Day on June 11, 1872 called the group His Majesty's Band, while on September 24th of that same year it was listed as the Hawaiian Military Band. In the following year of 1873 came the title of Royal Hawaiian Military Band. As major changes in government occurred during the political history of Hawai'i, so also did David W. Bandy, author and musician, is Assistant Director of Bands for the University of Hawai 'i and conducts both the Symphonic Band and the University Marching Band. The Hawaiian Journal of History, vol. 24(1990) 69 70 THE HAWAIIAN JOURNAL OF HISTORY changes of the Band's name. After the overthrow of Queen Lili'uokalani in 1893, the Band was called the Provisional Govern- ment Band and, in 1894, the Hawaiian Band. A second band was formed by many of Henry Berger's original members in 1893 and called itself the Hawaiian National Band. This particular group toured the United States in 1895 hoping to gain support for the cause of its Queen and Hawaiian independence. It was in 1898 that the Band was renamed the Territorial Band, and on July 1, 1905, when the new system of County governments was installed, it became the Royal Hawaiian Band. Today, most people use the general title of Royal Hawaiian Band when speaking of the organ- ization, no matter which period of time they are referring to. Henry Berger, perhaps the best known Bandmaster of the Royal Hawaiian Band, was not, however, the first. To better understand the influence of this dynamic personality, a sample of pre-Berger history is warranted. THE EARLY YEARS: 1836-1871 The King's Band, as it was known at the time, was formed in 1836 during the reign of King Kamehameha III. Under the leadership of an African-American known as "Oliver,"1 it performed at many state occasions, including the funeral of Princess Nahi'e- na'ena in 1837. The Sandwich Island Gazette described the event as follows: "We saw the Band ambling through the streets of this metropolis the other day, decked in gorgeous caparisons, blowing, beating, and piping a solemn air."2 The paper also noted that the Band had visited California in 1836. George Washington Hyatt became the Band's second Band- master in 1845. Born in 1815 in Petersburg, Virginia, Hyatt was a former slave who had escaped and made his way to Hawai'i.3 He had been a member of the original Band under Oliver, playing both the flute and clarinet. A "contract" dated May 26, 1845 states: Know all men by these presents, that we the undersigned do agree to appoint and we do hereby appoint George Hyatt to be leader of the Band, and Charles Johnson to be Captain. HENRY BERGER AND THE ROYAL HAWAIIAN BAND 71 For our services we are each to be paid not to exceed $3 for a whole day $2 for half a day and $1 for anytime less than half a day.4 Hyatt remained in Honolulu following his three-year tenure as Bandmaster and lived in Hawai'i for the final 40 years of his life until his death at Queen's Hospital on March 13, 1870 at the age of 65. He was known to many within local society: Everybody knew him as 'Black George' twenty years ago, and he was a general favorite, not only because he played on the flute and clarinet at social gatherings, but because of his amiability.5 Hyatt was followed by William Merseberg. Born in Weimar, Germany, he resided in Hawai'i his last 30 years, also serving as Sheriff of Kohala, Hawai'i.6 As director of the Band, he was sala- ried at $30 a month. He promised that he would abstain "from all intoxicating drinks."7 At this time the Band consisted of flute, clarinet, bassoon, French horn, drums, and "other brass instru- ments," but only numbered ten members total. Members of the Band were both Hawaiians and foreigners. Twelve years later the same band consisted entirely of Hawaiian players.8 Merseberg left the Band in 1870 but remained in Hawai'i until his death on April 18, 1879, at the age of 65.9 He had established a family that would give Hawai'i a future Bandmaster, Robert H. Baker, and historian/Kumu Hula John Kaha'i Topolinski. Late in the year 1869, an Austrian frigate, the Donau (Danube) arrived in the Hawaiian Islands while on a world-wide voyage. The ship remained in Honolulu for several months for repairs. It was during this time that the band of the Donau gave many con- certs in and around Honolulu. When the repairs were complete and the ship continued on its voyage in 1870, the Hawaiian people realized how much they missed the concerts that had been given by the band. It was the people of the community, upon the depar- ture of the Austrian ship, who actually petitioned Kamehameha V to "revitalize" his own Band. William Northcott, a native of New Zealand, was appointed director of the "new and revitalized" King's Band in November of 1870. Even though the Band had remained together, its lack of 72 THE HAWAIIAN JOURNAL OF HISTORY exposure to the community made it apparent that a new direction was needed for its future. When Kamehameha V made the royal appointment, he also gave Northcott some 26 Hawaiian boys from the Reform School to train as new band members: It is understood and agreed that Mr. William Northcott will serve as Band Master and Instructor in music at Honolulu, for the space of six months, it being understood that from and after the expira- tion of six months, this agreement may be renewed, if mutually agreeable.10 Northcott was successful with the young Hawaiians, who were surprisingly apt in learning the music: After numerous difficulties, consequent upon the wayward dispo- sition of native youths, the members of the band are now engaged under contract on monthly wages, until they become of age. The band was out for a short time on Thursday evening practicing, and surprised those that heard them by their accurate playing. Mr. Northcott deserves great credit for the pains he has taken to mold a band of musicians out of such raw materials.11 Northcott was commended for a fine job in organizing the King's Band of young Hawaiians. His effort was short-lived, however, as he could not be paid a salary on which to support himself: We are sorry to hear that Mr. Northcott, an accomplished musi- cian, who has with surprising toil and success brought the King's Band to its present state of efficiency, is soon to leave, as a living salary cannot be paid him. The rare opportunities that have been afforded by those controlling the movements of the band for the public to hear it have proved that it was a desirable institution, but deprived of its master, we predict for it an abbreviated existence.12 Northcott had spent only six months building the Band before he left Hawai'i. The "abbreviated existence" of the Band itself, noted by the Pacific Commercial Advertiser, fortunately never came to be. HENRY BERGER AND THE ROYAL HAWAIIAN BAND 73 Following Northcutt came another period of brief leadership, in 1871-1872, by Frank Medina. Born in Portugal, as a young man he travelled extensively, earning a living as a singer. He arrived in Hawai'i with a singing group called "Brook's Minstrels." After some thought, he decided to stay in the Islands in order to direct the Band. The Band seemed to be fairly active during Medina's tenure, in spite of the unstable leadership it had experienced dur- ing its earlier years. The Band played during Queen Kapi'olani's evening sails around the harbor and at the sailing of a German steamer about to depart for its home port: The Hawaiian Band marched down, and played "The Watch on the Rhine," for the benefit of some of our German friends who go to revisit Faderland.13 Medina left after a year of service. Due to heavy debts, he cleverly disguised himself as a Negro and departed Honolulu for the Mainland on the Nebraska. Longevity of leadership was soon to arrive with the appearance of a man who would not only change the Band, but Hawaiian music in general. That man was Henry Berger. THE BERGER ERA: 1872-1929 Heinrich (known later as Henry) Wilhelm Berger was born in the town of Potsdam, Prussia (now located in East Germany) on August 4, 1844.
Load more

Recommended publications
  • 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.
    [Show full text]
  • No. 24 Mormon Pacific Historical Society
    Mormon Pacific Historical Society Proceedings 24th Annual Conference October 17-18th 2003 (Held at ‘Auwaiolimu Chapel in Honolulu) ‘Auwaiolimu Chapel (circa 1890’s) Built by Elder Matthew Noall Dedicated April 29, 1888 (attended by King Kalakaua and Queen Kapi’olani) 1 Mormon Pacific Historical Society 2003 Conference Proceedings October 17-18, 2003 Auwaiolimu (Honolulu) Chapel Significant LDS Historical Sites on Windward Oahu……………………………….1 Lukewarm in Paradise: A Mormon Poi Dog Political Journalist’s Journey ……..11 into Hawaii Politics Alf Pratte Musings of an Old “Pol” ………………………………………………………………32 Cecil Heftel World War Two in Hawaii: A watershed ……………………………………………36 Mark James It all Started with Basketball ………………………………………………………….60 Adney Komatsu Mormon Influences on the Waikiki entertainment Scene …………………………..62 Ishmael Stagner My Life in Music ……………………………………………………………………….72 James “Jimmy” Mo’ikeha King’s Falls (afternoon fieldtrip) ……………………………………………………….75 LDS Historical Sites (Windward Oahu) 2 Pounders Beach, Laie (narration by Wylie Swapp) Pier Pilings at Pounders Beach (Courtesy Mark James) Aloha …… there are so many notable historians in this group, but let me tell you a bit about this area that I know about, things that I’ve heard and read about. The pilings that are out there, that you have seen every time you have come here to this beach, are left over from the original pier that was built when the plantation was organized. They were out here in this remote area and they needed to get the sugar to market, and so that was built in order to get the sugar, and whatever else they were growing, to Honolulu to the markets. These (pilings) have been here ever since.
    [Show full text]
  • 'Āinahau: the Genealogy of Ka'iulani's Banyan
    ralph thomas kam The Legacy of ‘Āinahau: The Genealogy of Ka‘iulani’s Banyan “And I, in her dear banyan shade, Look vainly for my little maid.” —Robert Louis Stevenson ‘Āinahau, the home of Archibald Scott Cleghorn, his wife, Princess Miriam Kapili Likelike and their daughter, Princess Victoria Ka‘iu- lani, no longer stands, the victim of the transformation of Waikīkī from the playground of royalty to a place of package tours, but one storied piece of its history continues to literally spread its roots through time in the form of the ‘Āinahau banyan. The ‘Āinahau ban- yan has inspired poets, generated controversy and influenced leg- islation. Hundreds of individuals have rallied to help preserve the ‘Āinahau banyan and its numerous descendants. It is fitting that Archibald Cleghorn (15 November 1835–1 Novem- ber 1910), brought the banyan to Hawai‘i, for the businessman con- tinued the legacy of the traders from whom the banyan derives it etymology. The word banyan comes from the Sanskrit “vaniyo” and originally applied to a particular tree of this species near which the traders had built a booth. The botanical name for the East Indian fig tree, ficus benghalensis, refers to the northeast Indian province of Ralph Kam holds an M.A. and a Ph.D. in American Sudies from the University of Hawai‘i at Mānoa and an M.A. in Public Relations from the University of Southern California. The Hawaiian Journal of History, vol. 45 (2011) 49 50 the hawaiian journal of history Bengal, now split between India and Bangladesh. That the tree was introduced in Hawai‘i after Western contact is reflected in its Hawai- ian name: “paniana,” a transliteration of the English word.
    [Show full text]
  • Waikīkī Wiki Wiki Wire
    Volume IX, No. 41 Waikīkī Improvement Association October 9—15, 2008 Waikīkī Wiki Wiki Wire Sheraton Princess Ka‘iulani To Host The 14th Annual Hana Ho‘ohiwahiwa ‘O Ka‘iulani Weeklong Series of Events to be Held in Honor of Princess Ka‘iulani In a true fashion befitting royalty, the Sheraton Princess Ka`iulani will host a week of various Hawaiian cultural events called Hana Ho`ohiwahiwa `O Ka`iulani (to celebrate and honor Ka`iulani), honoring the legacy and birthday of its namesake, Princess Victoria Ka`iulani October 12 – 18. This year, Sheraton Princess Ka`iulani will be offering visitors and residents an opportunity to participate in the following fun and educational activities: Sunday, October 12 Hula Lessons with Kealoha Pau`ole at the Dolphin Lanai at 1:00 p.m. Monday, October 13 Feather Flower Lei Making with Nathan White at the Dolphin Lanai at 2 p.m. Tuesday, October 14 Hawaiian Quilting Lessons with Aunty Daisy and Kupuna at the Dolphin Lanai at 2 p.m. Wednesday, October 15 Fresh Flower Lei Making with Nathan White at the Dolphin Lanai at 2 p.m. Thursday, October 16 – Princess Ka`iulani’s Birthday Presentation of the Princess Ka`iulani Collection by Hawaiian Island Stamp & Coin at the Main Lobby from 8 a.m. to 5:30 p.m. Princess Ka`iulani Elementary School Performance at the Lava Rock Stage at 4:30 p.m. Royal Court Procession by Tihati Productions from the Ainahau Lobby to the Princess Wing at 5:00 p.m. Birthday Cake Cutting at the Dolphin Lanai at 5:30 p.m.
    [Show full text]
  • Mormon Influences on the Waikiki Entertainment Scene
    Mormon Influences on the Waikīkī Entertainment Scene by Ishmael W. Stagner, II Before we can discuss the influence of Mormon Hawaiians on the Waikīkī music scene, we need to understand a few things about the development of Hawaiian music and its relationship to things developing in Waikīkī. It is normally thought that the apex of Hawaiian entertaining is being able to entertain on a steady basis in a Waikīkī showroom, or venue. However, this has not always been the case, especially as this relates to the Waikīkī experience. In fact, we need to go back only to the post World War II period to see that entertaining in Waikīkī, especially on a steady basis, was both rare and limited to a very few selected entertainers, most of whom, surprisingly, were not Hawaiian. There were a number of reasons for this, but the main reason for the scarcity of Hawaiian, or Polynesian entertainers in Waikīkī in any great number, goes back to the history of Waikīkī itself. At the turn of the 20th century, Waikīkī was still mostly a swamp, filled with taro patches, rice paddies and fish ponds. We have only to look at the pictures of Ray Jerome Baker, the great photographer of early 20th century Honolulu, to see that Waikīkī was, first and foremost, a bread basket area whose lowlands were the delta areas for the run-off waters of Mānoa, Pauoa, and Pālolo streams. As such, Waikīkī fed much of what we call East Oahu, and rivaled the food production and water-storage capacities of better-known farming areas such as Kāne‘ohe, Kahalu‘u and Waiāhole.
    [Show full text]
  • BIOGRAPHICAL SUMMARY: Roland Dacoscos
    BIOGRAPHICAL SUMMARY: Roland Dacoscos Roland Dacoscos was born January 24, 1921 in Waipahu. The son of Filipino immigrants, he spent his early childhood in Iwilei, Kaka'ako, and Kalihi. He attended Opportunity School, Pohukaina School, Lanakila School, Washington Intermediate School, and McKinley High School, where he quit after his sophomore year. During the sixth grade, he spent a year on Maui, where his father and three older brothers traveled to various plantation camps and taught music. He began his professional music career playing in nightclubs and taxi dance halls after he quit high school. When the war started, he volunteered for the Hawai'i Territorial Guard and was trained as a medical aide. Then in 1943, he joined the 298th Regiment and played in the band. In 1944, his unit was stationed in Guadalcanal. He was discharged from the army in 1945, and resumed his work as a musician playing in nightclubs and military bases. After marrying in 1947, he took courses through the GI Bill. He spent a short time as a piano tuner at Metronome Music Store, followed by a job as a electrician helper at Pearl Harbor. In 1956 he became a member of the Royal Hawaiian Band as a saxophone player. He retired in 1986. He continued to be active in retirement, and volunteered at Lanakila Multi-Purpose Senior Center. He died in 1993. 379 380 Tape Nos. 22-34-1-92 and 22-35-1-92 ORAL HISTORY INTERVIEW with Roland Dacoscos (RD) May 1, 1992 Kalihi, O'ahu BY: Joe Rossi (JR) JR: This is an interview with Roland Dacoscos on May 1, 1992, in his Kalihi home.
    [Show full text]
  • STORY by NATE CHINEN > PHOTOS by MEGAN SPELMAN
    STORY BY NATE CHINEN • PHOTOS BY MEGAN SPELMAN 47 String Band Revival t a glance it isn’t the like- guitar and Helm on second ‘ukulele, liest setting for a royal suggests a courtly strain of classical parlor Aassembly: a plastic folding music—but it also sounds proudly and table on a concrete-floor länai, cheap unmistakably Hawaiian. At the finish there Christmas lights strung along the eaves. are peals of laughter, punctuated by a But the musicians gathered around the playful “Yee-haw!” table one February evening in the Hawaiian Mahi, Helm and the others have recon- homestead neighborhood of Papakölea are vened here, at the Asing family home, conjuring old sounds of princely pedigree a few weeks after “A Night of Sovereign with the rare, transporting enchantment Strings: Celebrating the Musical Legacy of of a seance. Mekia Albert Kealakai,” an ambitious The song sparking this reverie is “Moani musical program at the Honolulu Museum ke ‘Ala,” composed by Prince William Pitt of Art’s Doris Duke Theatre. The concert, Leleiohoku in the 1870s—possibly during which was rapturously received during the early reign of his brother, King David two sold-out performances in January, Kaläkaua. A flute and two violins introduce sought to re-create the sound and spirit of the jaunty theme, over the oompah strut late-nineteenth-century Hawaiian music, of upright bass and cello. Strumming which drew from European classical a percussive upbeat on ‘ukulele is Aaron models without losing its root connections Mahi, the esteemed former maestro of the to hula, mele (songs) and ‘ölelo Hawai‘i Honolulu Symphony and the Royal Hawai- (Hawaiian language).
    [Show full text]
  • Broken Trust
    Introduction to the Open Access Edition of Broken Trust Judge Samuel P. King and I wrote Broken Trust to help protect the legacy of Princess Bernice Pauahi Bishop. We assigned all royal- ties to local charities, donated thousands of copies to libraries and high schools, and posted source documents to BrokenTrustBook.com. Below, the Kamehameha Schools trustees explain their decision to support the open access edition, which makes it readily available to the public. That they chose to do so would have delighted Judge King immensely, as it does me. Mahalo nui loa to them and to University of Hawai‘i Press for its cooperation and assistance. Randall W. Roth, September 2017 “This year, Kamehameha Schools celebrates 130 years of educating our students as we strive to achieve the thriving lāhui envisioned by our founder, Ke Ali‘i Bernice Pauahi Bishop. We decided to participate in bringing Broken Trust to an open access platform both to recognize and honor the dedication and courage of the people involved in our lāhui during that period of time and to acknowledge this significant period in our history. We also felt it was important to make this resource openly available to students, today and in the future, so that the lessons learned might continue to make us healthier as an organization and as a com- munity. Indeed, Kamehameha Schools is stronger today in governance and structure fully knowing that our organization is accountable to the people we serve.” —The Trustees of Kamehameha Schools, September 2017 “In Hawai‘i, we tend not to speak up, even when we know that some- thing is wrong.
    [Show full text]
  • Happy Hour 1-2-20 1
    Happy Hour 1-2-20 1. Jambalaya (Hank Williams) ... 3 2. Act Naturally (Buck Owens) ... 4 3. Blue Hawaii (Elvis Presley) ... 5 4. Does Your Chewing Gum Lose it's Flavor (On The Bedpost Over Night) ... 6 5. Five Foot Two, Eyes of Blue ... 8 6. Hapa-Haole Hula Girl ... 9 7. Hey Good Lookin' ... 10 8. Hula Blues (Lyrics & Music: Sonny Cunha & Johnny Noble, 1920) ... 11 9. I’ve Got A Tiger By The Tail ... 12 10. Leaning On A Lamp Post (George Formby/Herman's Hermits) ... 13 11. My Toot Toot (Rockin' Sydney) ... 15 12. On The Beach At Waikiki ... 16 13. On The Road Again (Willie Nelson) ... 17 14. Tiny Bubbles (Don Ho) ... 18 1. Jambalaya Hank Williams C G7 Goodbye, Joe, me gotta go, me oh my oh. C Me gotta go, pole the pirogue down the bayou. G7 My Yvonne, the sweetest one, me oh my oh. C Son of a gun, we'll have big fun on the bayou. Chorus : G7 Well jambalaya and a crawfish pie and fillet gumbo C Cause tonight I'm gonna see my ma cher amio. G7 Pick guitar, fill fruit jar and be gay-o, C Son of a gun, we'll have big fun on the bayou. C G7 Thibodaux, Fontaineaux, the place is buzzin', C Kinfolk come to see Yvonne by the dozen. G7 We dress in style and go hog wild, me oh my oh. C Son of a gun, we'll have big fun on the bayou. Chorus G7 Settle down far from town, get me a piroque C And I’ll catch all the fish in the bayou G7 Swap my mon to buy Yvonne what she need-o C Son of a gun, we'll have big fun on the bayou.
    [Show full text]
  • Nsn 12-12-12
    IS BUGG “E Ala Na Moku Kai Liloloa” • D AH S F W R E E N E! Haleiwa Flower Shop E • R Retires S O I N H C see page 17 S E H 1 T 9 R 7 O 0 N NORTH SHORE NEWS December 12, 2012 VOLUME 29, NUMBER 24 Turtle Bay Resort Shares Draft SEIS After hundreds of meetings ment approvals for up to 3,500 pact findings and solutions, as with North Shore stakeholders units, including five hotel sites. well as the resort’s commitment and residents, Turtle Bay Resort Today’s owners have voluntarily to continued responsible steward- published its Draft Supplemental reduced this to only 1,375 units, ship. Environmental Impact Statement with only two new hotels, scal- A 45-day public comment on Nov. 23. ing back more than 60 percent period follows publication of the The 1,635-page document de- of density and preserving over Draft SEIS. However, because Tur- tails the resort’s commitment to 75 percent of their total land for tle Bay Resort wants to receive as a balanced approach to develop- open space. many comments as possible, the ment and the reports of respected Within this issue of the North comment period was voluntarily third party experts. In 1986, the Shore News, an insert details extended to Jan. 18. See the insert previous owners received govern- many of the document’s key im- for more detailed information. PROUDLY PUBLISHED IN Permit No. 1479 No. Permit Hale‘iwa, Hawai‘i Honolulu, Hawaii Honolulu, U.S. POSTAGE PAID POSTAGE U.S.
    [Show full text]
  • Hawai'i Edible Book Contest
    The Newsletter for UH Manoa Library Issue 21 • SPRING 2014 KE KUKINI the messenger The Newsletter for UH Mānoa Library Issue 21 • SPRING 2014 Photos from the HAWAI‘I EDIBLE 5TH Annual BOOK CONTEST EMBEDDED LIBRARIAN – PACIFIC ISLANDS STUDIES 401, CAPSTONE CLASS By Kealiʻi MacKenzie This semester I have the privilege of volunteering my time as the embedded librarian for Professor Lola Bautista’s PACS 401 class where students have a capstone project which combines research with service learning. The class consists of ten students from various backgrounds and connec- tions to the Pacific region. Late in the fall 2013 semester, Professor Lola contacted me about aiding her students with the research component of their projects. In spring 2013 I was one of Professor Lola’s students in the graduate level course PACS 603, Researching Oceania. She also knew that I not only have my MLISc from the University of Hawaiʻi, but also work as a part time reference librarian in the Hawaiian and Pacific collections. Professor Lola and I worked out what my role would be for the class, and on the advice of Stu Dawrs and Eleanor Kleiber, arrived at the designation of embedded librarian. As my current position in the library is solely for reference in the Hawaiian and Pacific collections, my work as an embedded librarian is volunteer service. Luckily, it has many benefits: first, and most importantly, I am able to assist and build relationships with students as they conduct research, I am strengthening my instruction skills, and I have expanded my own knowledge of different topics related to Pacific studies.
    [Show full text]
  • News from Molokai
    News from Molokai News from Molokai Letters between Peter Kaeo & Queen Emma 1873-1876 Edited with Introduction and Notes by Alfons L. Korn The University Press of Hawaii • Honolulu The photographs of Peter Kaeo and Queen Emma, and Emma’s letter to Peter of May io, 1876, are reproduced herein by permission of the Bernice P. Bishop Museum. Peter’s letter to Emma of July 7, 1874, is reproduced herein by courtesy of the Archives of the State of Hawaii. The pen-and-ink drawing, Honolulu Harbor, 1871, by Alfred Clint is reproduced on the endsheets by courtesy of The Hawaiian Historical Society. Copyright © 1976 by The University Press of Hawaii All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the publisher. Manufactured in the United States of America Composition by Asco Trade Typesetting Limited, Hong Kong Book and jacket design by Steve Reoutt Library of Congress Cataloging in Publication Data Kaeo, Peter, 1836-1880. News from Molokai, letters between Peter Kaeo and Queen Emma, 1873-1876. Includes bibliographical references and index. 1. Kaeo, Peter, 1836-1880. 2. Emma, consort of Kamehameha IV, King of the Hawaiian Islands, 1836- 1885. I. Emma, consort of Kamehameha IV, King of the Hawaiian Islands, 1836-1885, joint author. II. Korn, AlfonsL. III. Title. DU627.17.K28A44 996.9'02'0922 76-16823 ISBN 0-8248-0399-X To Laura Contents Preface ix Introduction xi THE CORRESPONDENCE Part One.
    [Show full text]