Mary Kawena Pukui Award 2006 Esther Takakura Mo’Okini 2007 Dr Yoshiko H

Total Page:16

File Type:pdf, Size:1020Kb

Mary Kawena Pukui Award 2006 Esther Takakura Mo’Okini 2007 Dr Yoshiko H MARY KAWENA PUKUI RECIPIENTS 2002 Patience “Namaka” Wiggin Bacon ROTARY CLUB OF WEST HONOLULU 2003 Ralph Honda 2004 Richard M. Towill 2005 Marvin Puakea Nogelmeier Mary Kawena Pukui Award 2006 Esther Takakura Mo’okini 2007 Dr Yoshiko H. Sinoto 2009 Roy Sakuma DAVID MALO RECIPIENTS 1957 Mary Kawena Pukui 1958 Henry Kekahuna February 05, 2019 1959 Reverend Abraham Akaka 1960 Flora K. Hayes 1961 Jennie K. Wilson Name 1962 Judge William C. Heen Address 1963 Duke Kahanamoku City, State, Zip 1964 Dr. George Mills 1965 Ka'upena Wong 1966 Reverend Samuel Keala Dear ________________________________, 1967 Clorinda Lucas 1968 Martha Hohu 1969 Doris Kahikilani M Keppeler In 1957, the Rotary Club of West Honolulu initiated the David Malo Award, to 1970 Dorothy Kahananui recognize a leader of Hawaiian ancestry who made a difference in Hawaii. The left 1971 Iolani Luahine 1972 Mons Charles K. Kekumano column of this letter lists these significant individuals. 1973 Clara H. Nelson 1974 Mitchell Pauole In 2002, the Rotary Club of West Honolulu created a new award in honor of the first 1975 Richard Lyman 1976 Herbert K. Kane David Malo recipient, Mary Kawena Pukui. This award retains the original spirit of 1977 Senator Daniel Akaka the Malo Award, but is a separate, distinct honor to individuals who, regardless of 1978 Alice Namakelua ethnicity, have made a significant contribution to the Hawaiian community. 1979 Emma Sharpe 1980 Danny Kaleikini 1981 Annie Kanahele On March 15, 2019, the Rotary Club of West Honolulu will present our 2019 Mary 1982 Gladys Brandt 1983 Judge Samuel King Kawena Pukui Award to Hardy Spoehr, who has worked as an administrator in 1984 Henry Peters agencies such as ALU LIKE, Department of Hawaiian Homelands, the 1985 Abigail K. Kawananakoa congressional Kaho’olawe Island Conveyance Commission and as executive director 1986 John Bellinger 1987 Winona K. Beamer of Papa Ola Lokahi, the Native Hawaiian Health Board founded in 1988 and 1988 Irmagard Farden Aluli authorized by the Native Hawaiian Health Care Improvement Act (co-written by 1989 Dr Abraham Pi'ianai'a 2010 David Malo recipient Dr. Kekuni Blaisdell.) 1990 Kaui Zuttermeister 1991 Thomas Kaulukukui, Sr. 1992 Genoa Keawe Spoehr has been awarded the Meritorious Service Award from the Department of 1993 Edwin Mahiai Copp Beamer 1994 Elia A. Long Hawaiian Homelands and the Kako’o o Kalaniana’ole Award from the Association 1995 Malia K. Craver of Hawaiian Civic Clubs. Hardy Spoehr is also on the board of the Mary Kawena 1996 Kenneth F. Brown Pukui Cultural Preservation Society. 1997 Judge William S Richardson 1998 Kahauanu Lake 1999 Winona K Ellis Rubin It is our pleasure to extend to you the opportunity to join us in honoring this year’s 2000 Edith K. McKinzie Mary Kawena Pukui Award Recipient. The luncheon will begin at 11:30 and end at 2001 Professor Isabella Abbott 2002 Wright Elemakule Bowman, Sr. 1 pm. The cost per individual is $40. Sponsor tables for eight people are offered at 2003 Dr. Michael J. Chun a cost of $320.00 each. 2004 Ret. Gen Irwin K. Cockett, Jr. 2005 Rev. William H Kaina 2006 S. Haunani Apoliona If you would like to participate in this special event, please complete the form 2007 Oswald K Stender attached and return it to the address noted by the deadline stated. You may also bring 2008 Samuel Kamaka, Jr & Frederick Kamaka, Sr a guest or guests at a cost of $40 per person. We look forward to hearing from you 2009 Dr. Benjamin Young and hope that you can join us. 2010 Dr. Kekuni Blaisdell 2011 Eddie L. Kamae 2012 Robert & Roland Cazimero Aloha, 2013 Joseph “Nappy” K. Napoleon, Jr. 2013 Richard “Buffalo” Keaulana 2014 Rev. Dennis Kamakahi 2014 Florence Lolena Nicholas Derek Tenn Kristi Hirota Glen Suzuki 2015 Charles Nainoa Thompson Co-chairs, Mary Kawena Pukui Award Committee, Rotary Club of West Honolulu 2016 Dr. Pualani Kanaka'ole Kanahele 2017 Dr. Claire Kuuleilani Hughes 2018 Cyril Pahinui .
Recommended publications
  • 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.
    [Show full text]
  • Na Makua Mahalo Ia. Mormon Influences on Hawaiian Music and Dance
    2 john kamealoha almeida called the dean of hawaiian composers for of hawaiian compositions although he Is pure portuguese na makua mahalo laia hormonmormon influences on hawaiian music and dance his thousands many of his songs are now classics probably the mostroostmoost popular being 6 sk 11 bt T lesu heme ke kanakakekanakaKe waiwai has been blind since the age of ten but was very helpful in raising money for the church through luaus and hula when the na makua mahalo laia awards were first envisioned it was intended shows throughout the 1930s and 1940s he is presently eightsixeight six years that their scope would remain limited to basically LDSLOS people who had disting- 190s old uished themselves in the performing arts for various reasons it has not been possible to retain this earlier restricted focus of the awards As a alice namakelua aunty is 90 years young and is remarkably spry and result even though recipients tend to be mainly drawn from LDSLOS ranks church active in her days she was a singer dancer translator composer membership is not the prime criterion for selection rather recipients are lecturer genealogist and slackstacksiacksiecksleckslackkeystackkeykey guitar artist she had a best- judged on the depth and quality of the contributions they have made to the selling album when she was eightytwoeighty two years old and still attends hawaiian cultural community an examination of the two sets of recipients church functions as best as she can she studledstudiedstudded hawaiian music for might better illustrate the criteria
    [Show full text]
  • 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]
  • 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.
    [Show full text]
  • Terms Relating to Slack Key Guitar and Hawaiian Music in General
    Page 1 Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VII: GLOSSARY - TERMS RELATING TO SLACK KEY GUITAR AND HAWAIIAN MUSIC IN GENERAL A Four Forty (A 440): Means 440 cycles are the “A” pitch in music physics. The “A” note on piano is tuned to 440 cycles; thus “A 440.” Sometimes just called “Four Forty” (440). (Also see piano tuning). A Tuning: Tunings pitched in the key of A. They can be tuned up to the keys of B or Bb, or down to the keys of Ab, G, F#, or F. Also, it is a term occasionally used for when the G Major “Taro Patch” Tuning is tuned up to the key of A, which is accomplished by tuning the second (B), third (G), and fourth (D) strings up two half steps to C#, A, and E, respectively, from Standard Tuning, and leaving the first (E), fifth (A), and sixth (E) strings as is. Thus Standard Tuning E-A-D-G-B-E, from the lowest pitched string to the highest (also see SECTIONS III, IV, IVa, V, and VI in this book for more about tunings - it is labeled as Tuning #C-33), yields E-A-E-A-C#-E, a higher pitched open A Major chord, if that is the desired sound by the guitarist. This is the opposite way that the G Major Tuning is usually derived from the Standard Tuning, where the first (E), fifth (A), and sixth (E) strings are tuned down two half steps to D, G, and D, respectively, yielding D-G-D-G-B-D, from the lowest pitched string to the highest.
    [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]
  • Namakua.Flier-Pressrelease.Pdf
    CONTACT: FOR IMMEDIATE RELEASE Ms. Kahikina Whittle (808) 247!9440 [email protected] www.hulapreservation.org HPS PRESERVES AND SHARES RARE FOOTAGE NOT SEEN IN 30+ YEARS Käne‘ohe, Hawai‘i – June 13, 2013 HPS is pleased to share news of our landmark efforts to preserve footage from the 1980’s containing performances of Hawai‘i’s great Kumu Hula, Musicians, and Composers, all of whom have all since passed on. Excerpts of this newly preserved footage will be shown for the 1st time! Come join us for a community presentation in the Polynesian Cultural Center’s Hukilau Theatre (IMAX theatre) on Saturday, July 20th, 2013, 9:00 – 11:00am. Admission is free, but RSVP is required as seating is limited. RSVP to Hula Preservation Society at [email protected] or call (808) 247!9440. Background: ! A series of 5 concerts was held at Brigham Young University!Hawaii between 1980!1989. They were produced by Dr. Ishmael Stagner (son of Kumu Hula Pansy Kaula Akona Stagner) to honor the leading talents of the day in the areas of Hawaiian music, hula, composition, and scholarship. (Dr. Stagner said he modeled the format after the Kennedy Center Honors.) ! Elders honored in this series included: Auntie Alice Namakelua, Bill Ali‘iloa Lincoln, Sally Wood Naluai, Alvin Isaacs, Genoa Keawe, John K. Almeida, Kent Ghirard, Alex Anderson, Sol Bright, Kawai Cockett & mother Rachel Mahuiki, Blossom Clark & daughter Olana Ai, the Farden Ohana, the Kanaka'ole Ohana, the Beamer Family, the Long Family of Maui, and the legendary master ‘Iolani Luahine in perhaps what was her last performance before she passed away ! The footage was shot on 3/4" tape (standard in that era).
    [Show full text]
  • DOCUMENT RESUME ED 262 131 UD 024 468 TITLE Hawaiian
    DOCUMENT RESUME ED 262 131 UD 024 468 TITLE Hawaiian Studies Curriculum Guide. Grade 3. INSTITUTION Hawaii State Dept. of Education, Honolulu. Office of Instructional Services. PUB DATE Jan 85 NOTE 517p.; For the Curriculum Guides for Grades K-1, 2, and 4, see UD 024 466-467, and ED 255 597. PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF02/PC21 Plus Postage. DESCRIPTORS *Cultural Awareness; *Cultural Education; Elementary Education; *Environmental Education; Geography; *Grade 3; *Hawaiian; Hawaiians; Instructional Materials; *Learning Activities; Pacific Americans IDENTIFIERS *Hawaii ABSTRACT This curriculum guide suggests activities and educational experiences within a Hawaiian cultural context for Grade 3 students in Hawaiian schools. First, an introduction discussesthe contents of the guide; the relationship of classroom teacher and the kupuna (Hawaiian-speaking elder); the identification and scheduling of Kupunas; and how to use the guide. The remainder of thetext is divided into two major units. Each is preceded byan overview which outlines the subject areas into which Hawaiian Studies instructionis integrated; the emphases or major lesson topics takenup within each subject area; the learning objectives addressed by the instructional activities; and a key to the unit's appendices, which provide cultural information to supplement the activities. Unit I focuseson the location of Hawaii as one of the many groups of islands in the Pacific Ocean. The learning activities suggestedare intended to teach children about place names, flora and fauna,songs, and historical facts about their community, so that they learnto formulate generalizations about location, adaptation, utilization, and conservation of their Hawaiian environment. Unit II presents activities which immerse children in the study of diverse urban and rural communities in Hawaii.
    [Show full text]
  • Stardigio Program List
    STAR digio 100 チャンネル:473 HAWAII 放送日:2004/4/12~4/18 「番組案内(4時間サイクル)」 開始時刻:4:00~8:00~12:00~16:00~20:00~24:00~ 楽曲タイトル 演奏者名 ハワイの王室ソング集 Ku'u Ipo I Ka He'e Pu'e One 山内雄喜 w/Maki Kokohi PALANI VAUGHAN Adios Ke Aloha PALANI VAUGHAN Ku'u Pua I Paoakalani 山内雄喜 w/Maki Maika'i Waipi'o PALANI VAUGHAN & THE SUNDAY MANOA Ipo Lei Manu PALANI VAUGHAN E Nihi Ka Hele PALANI VAUGHAN To Ma'i Ho'eu'eu / Liliko'i PALANI VAUGHAN Ke Ali'i Milimili PALANI VAUGHAN He Mele Lahui Hawai'i 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sanoe 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sweet Lei Lehua PALANI VAUGHAN & THE SUNDAY MANOA Hawai'i Pono'i JACK DE MELLO Song of the Sea JACK DE MELLO Hawaiian War Chant JACK DE MELLO Dancing Breeze JACK DE MELLO Nani Wale Lihu'e JACK DE MELLO Aloha No Au I Ko Maka JACK DE MELLO ハワイのフォスター、チャールズ・E・キング作品集 Na Lei o Hawaii HAWAII CALLS Pa'au'au Waltz THE SUNDAY MANOA Beautiful Kahana THE SUNDAY MANOA Eleu Mikimiki THE SUNDAY MANOA Kamehameha Waltz PETER MOON Mi Nei KAHAUANU LAKE TRIO Imi Au Ia 'Oe HAWAII CALLS Ke Kali Nei Au HAWAII CALLS Palolo GABBY PAHINUI Kaimana Hila HAWAII CALLS Lei Aloha Lei Makamae HAWAII CALLS He Nohea 'Oe I Ku'u Maka GABBY PAHINUI AND THE SONS OF HAWAII Lei Lokelani KAHAUANU LAKE TRIO 'Uhe'uhene LEONARD KWAN Kamehameha Waltz 山内雄喜 w/Maki Ne'e Ne'e Mai NA HOKUPA Pua Carnation The Charles "Kaipo" Miller Serenaders from the Royal Hawaiian Hotel.
    [Show full text]
  • Hawaii Stories of Change Kokua Hawaii Oral History Project
    Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga ..............................................
    [Show full text]
  • 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.
    [Show full text]
  • Stardigio Program
    STAR digio 100 チャンネル:473 HAWAII 放送日:2009/4/27~5/3 「番組案内(6時間サイクル)」 開始時間:4:00~10:00~16:00~22:00~ 楽曲タイトル 演奏者名 HAWAIIAN MELLOW QUEEN'S JUBILEE Bill Kaiwa Redwood Slack Key STEPHEN INGLIS KEAWA'IKI HULA Keao PUA 'AHIHI FAITH AKO I Love you 'Cause You're You Bobby Ingano The Hukilau Song THE NEW HAWAIIAN BAND ALOHA IA O WAI'ANAE Hui Ohana GREEN LANTERN HULA Keao Poli Anuanu Robert Uluwehi Cazimero KHBC ATA DAMASCO Now Is the Hour [今し別れのとき] THE NEW HAWAIIAN BAND VENUS Auntie Agnes Malabey Weisbarth & The Makaha Serenaders MANUELA BOY '07 KEN EMERSON & FRIENDS Kalihi Waltz (Sunset) Bobby Ingano Manu Kapalulu Ku`uipo Kumukahi and The Hawaiian Music Hall of Fame Serenaders FIREMEN'S HULA FAITH AKO THE SLOPES OF MAUNA KEA Auntie Agnes Malabey Weisbarth & The Makaha Serenaders Kipu Kai ATA DAMASCO HAWAIIAN MELLOW Hoki Hoki Aloha Pumehana Serenaders feat. Darrell Lupenui Mele 'Ai Pohaku (Kaulana Na Pua) Auntie Ida Keli'i Chun LOA'A KO PUNI KAUeOHA Bill Kaiwa No Place Like Hawai'i Dennis Das Jr. BLUE HAWAIIAN MOONLIGHT THE GABBY PAHINUI HAWAIIAN BAND Ka'ahumanu / Kona Kai 'Opua Ho'omalie Pua O Ka Nahele KAUMAKAIWA KANAKA'OLE Pu'uanahulu Keoki Kahumoku Pupukea OWANA KA'OHELELANI SALAZAR Kaulana o Hilo Hanakahi OWANA SALAZAR HALEAKALA HULA LILA KOU MAKA UI GENOA KEAWE AND SONS: GARY AND SAM AIKO Mele Hi'i Pepe KAUMAKAIWA KANAKA'OLE HOLO HOLO KAA GENOA KEAWE AND SONS: GARY AND SAM AIKO Memories Of Old Hawai'i Auntie Ida Keli'i Chun Silver Strings LEDWARD KAAPANA HAWAIIAN MELLOW KOULA "WAIOPUNA" JESSE KALIMA with SONNY WAIAU Radio Hula Bryan Tolentino Freedom
    [Show full text]