See How Hawaii's Native Dance, Hula, Has Become a Source of Identity and Pride

Total Page:16

File Type:pdf, Size:1020Kb

See How Hawaii's Native Dance, Hula, Has Become a Source of Identity and Pride R E S O U R C E L I B R A R Y V I D E O Hula See how Hawaii's native dance, hula, has become a source of identity and pride. G R A D E S K, 1 - 12+ S U B J E C T S Arts and Music, Social Studies, U.S. History For the complete videos with media resources, visit: http://www.nationalgeographic.org/media/hula/ Hula is a native Hawaiian dance. In this video from the National Geographic Channel, dancers and historians explain the origins and development of hula. Outline Birth of the Hula (start-045) Hula is Banned (046-110) Rebirth of Hula (111-145) Making Hula Relevant to a Modern Audience (146-208) Merrie Monarch Festival (209-250) Hula? Halau? Haumana? Huh? Use our “Vocabulary” tab to help sort out your mele from your macadamia nuts! Teaching Strategies The following tabs offer suggestions for using this video as a learning tool. Use “Fast Facts” to understand the history of hula. Use “Questions” to help students develop a greater appreciation of this important part of Hawaiian culture. Use “Vocabulary” to identify language associated with hula. Questions Hawaii’s earliest hula dancers were inspired by waves on the beach, according to hula instructor Emily Kau’i Zuttermeister (030). What are some ways students think hula dancers imitate waves and other movements of the ocean? Answers will vary! Hula dancers move their arms, legs, and torsos in regularly swaying rhythms, like waves on the ocean. Many hulas require dancers to take only tiny steps, keeping them in the same general area and not allowing them to move across the stage. These dancers are like “standing waves” in the ocean, whose movement is steady and predictable. Even these standing waves can change with the slightest alterations in wind, temperature, or pressure. Hula dancers may express these variations with subtle movements of their wrists, elbows, shoulders, neck, hips, knees, or ankles. The ocean is a wildly varied environment, and hula is a wildly complex dance style! Hula dancers many interpret the placid ocean with gentle movements and slight changes in posture. More dramatic movements of the dancer’s arms and legs, or choreographed turns and spins, may be used to interpret the unpredictable, stormy aspects of the ocean. When they landed on Hawaiian shores in 1820, European explorers were “shocked” by hula dancing (045). Can students name some differences between hula and the formal dancing popular in Europe at the time, called regency dancing? Watch this video to familiarize yourself with regency dancing. Think about how the dancers move, the music, and the costuming. Answers will vary! Dancing Hula dancers perform as groups of men and women. In regency dance, the dancers are integrated and usually paired off as couples. Hula dancers rarely touch each other, while regency dance often requires interaction such as hand-holding. The faces of hula dancers are usually much more expressive than the faces of regency dancers. Hula often involves much larger movements, such as deep knee bends or arm reaches. Regency dance usually involves smaller movements. Hula dancers move around the stage or dance floor much less frequently than regency dancers. Music Hula is often accompanied by chanting, while regency dance rarely includes vocal music. Music that accompanies hula is based in drums and other percussion (such as the shells wrapped around dancers’ ankles). Regency dancers dance to European classical music played on strings, harpsichords or pianos, and wind instruments. Costume Hula is usually performed barefoot, while regency dancers wear shoes and stockings. Hula costumes (especially those worn by men) are less confining than regency dress—the video calls hula dancers “scantily clad”! Regency dance usually requires multiple layers of clothes. Hula accessories include large flower and shell ornaments, while regency dancers wear much more subdued necklaces and earrings. Hula costumes are more uniform, while regency costumes have more stylistic variation. Despite many differences, hula and regency dance share many characteristics. Can students name some similarities shared by hula and regency dance? Answers will vary! Dance Both dances involve groups of dancers, as opposed to individual soloists. Dancers perform in a line or series of lines. (Regency dance can also feature circles.) Dancers perform uniform, matched movements. Neither dance style involves extensive jumps or leaps. Music Musicians perform off-stage and do not directly participate in either hula or regency dance. Costume Female dancers wear loose-fitting skirts or dresses, allowing for ease of motion. Hula and regency dance do not require specialized clothes or equipment, such as toe shoes or clogs. Fast Facts Hula master Kumano Palani Kuala encourages his students to make a connection between hula and indigenous spirituality. (148) Ancient Hawaiians also held hula sacred. The traditional goddess of the hula is Laka, and many ancient hulas were performed in her honor. The video spotlights the Merrie Monarch Festival, which honors a legendary king who returned hula to “its rightful place at the center of Hawaiian culture.” (220) This was King David Kalakaua, who encouraged a revival of many Hawaiian cultural traditions, including surfing and the martial art of lua, during his reign from 1874-1891. King David Kalakaua’s nickname was “the merry (or merrie) monarch.” Hula instructor Emily Kau’i Zuttermeister tells a story about the birth of hula. (030) The woman Zuttermeister mentions, who went down to the beach and imitated the motion of the waves, was Hi’iaka. Hi’iaka was no ordinary woman—she was the sister of Hawaii’s legendary fire goddess, Pele. Hi’iaka is the goddess of the stormy clouds produced by her sister’s volcanoes. Vocabulary Part of Term Definition Speech adjective, modern style of hula, which developed with the influence of European ‘auana noun culture in Hawaii during the 19th and 20th centuries. halau noun hula school, or a long house traditionally used for hula instruction. haumana noun hula student. Part of Term Definition Speech adjective, hula native Hawaiian dance, often accompanied by drumming or chanting. noun smooth stones that are clicked together in traditional Hawaiian 'ili 'ili plural noun dancing. ipu noun hollowed-out gourd used for traditional Hawaiian dancing. two hollowed-out gourds, one secured on top of the other, used for ipu heke noun traditional Hawaiian chanting. adjective, ancient style of hula, which developed in the Hawaiian Islands before kahiko noun European contact in the 19th century. kala'au plural noun wooden sticks used for traditional Hawaiian dancing. adjective, cloth made by pounding the bark of a paper mulberry or similar tree kapa noun until it is flat and flexible. kumu noun hula teacher. lei noun native Hawaiian necklace of flowers, shells, feathers, or leaves. lu'au noun Hawaiian feast. macadamia edible, round, hard-shelled seed of the tropical macadamia tree, noun nut native to Australia. traditional loincloth, or fabric draped around the hips, worn by malo noun Hawaiian men. mele noun traditional Hawaiian song. 'olapa plural noun expert hula dancers. oli noun traditional Hawaiian chant. pau noun traditional Hawaiian wrapped skirt. island group in the Pacific Ocean between New Zealand, Hawaii, and Polynesia noun Easter Island. bamboo sticks used in hula and traditional Hawaiian chant pu'ili plural noun performances. adjective, gourds filled with seeds and topped with feathers. Used for traditional 'uli 'uli plural noun Hawaiian dances. © 1996–2021 National Geographic Society. All rights reserved..
Recommended publications
  • Echoes of Pacific War
    ECHOES of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Echoes of Pacific War Edited by Deryck Scarr, Niel Gunson, Jennifer Terrell Papers from the 7th Tongan History Conference held in Canberra in January 1997 TARGET OCEANIA CANBERRA 1998 © Deryck Scarr, Niel Gunson, Jennifer Terrell 1998 This work is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Book and cover design by Jennifer Terrell Printed by ANU Printing and Publishing Service ISBN 0-646-36000-0 Published by TARGET OCEANIA c/ o Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra, ACT 0200, Australia Contents Maps and Figures v Fo reword ix Introduction xiii 1 Behind the battle lines: Tonga in World War II EUZABETHWOOD-EILEM 1 2 Changing values and changed psychology of Tongans during and since World War II 'I. F. HELU 26 3 Airplanes and saxaphones: post-war images in the visual and peiforming arts ADRIENNE L. KAEPPIER 38 4 Tonga and Australia since Wo rld War II GARETH GRAINGER 64 5 New behaviours and migration since Wo rld War II SIOSIUA F. POUVALU LAFITANI 76 6 The churches in Tonga since World War II JOHN GARRE'IT 87 7 Introduction and development of fa mily planning in Tonga 1958-1990 HENRY IVARATURE 99 8 Analysing the emergent mi ddle class - the 1990s KERRY JAMES 110 9 Changing interpretations of the kava ritual MEREDITH FILIHIA 127 10 How To ngan is a Tongan? Cultural authenticity revisited HELEN MORTON 149 Bibliograp hy 167 Index 173 Contributors 182 Maps Map 1: TheTonga Islands vii Map 2: Tongatapu 5 Map 3: Nuku'alofa 10 Figures Figure 1.
    [Show full text]
  • Rotuman Educational Resource
    Fäeag Rotuam Rotuman Language Educational Resource THE LORD'S PRAYER Ro’ạit Ne ‘Os Gagaja, Jisu Karisto ‘Otomis Ö’fāat täe ‘e lạgi, ‘Ou asa la ȧf‘ȧk la ma’ma’, ‘Ou Pure'aga la leum, ‘Ou rere la sok, fak ma ‘e lạgi, la tape’ ma ‘e rȧn te’. ‘Äe la nāam se ‘ạmisa, ‘e terạnit 'e ‘i, ta ‘etemis tē la ‘ā la tạu mar ma ‘Äe la fạu‘ạkia te’ ne ‘otomis sara, la fak ma ne ‘ạmis tape’ ma rē vạhia se iris ne sar ‘e ‘ạmisag. ma ‘Äe se hoa’ ‘ạmis se faksara; ‘Äe la sại‘ạkia ‘ạmis ‘e raksa’a, ko pure'aga, ma ne’ne’i, ma kolori, mou ma ke se ‘äeag, se av se ‘es gata’ag ne tore ‘Emen Rotuman Language 2 Educational Resource TABLE OF CONTENTS ROGROG NE ĀV TĀ HISTORY 4 ROGROG NE ROTUMA 'E 'ON TẠŪSA – Our history 4 'ON FUẠG NE AS TA ROTUMA – Meaning behind Rotuma 5 HẠITOHIẠG NE FUẠG FAK PUER NE HANUA – Chiefly system 6 HATAG NE FĀMORI – Population 7 ROTU – Religion 8 AGA MA GARUE'E ROTUMA – Lifestyle on the island 8 MAK A’PUMUẠ’ẠKI(T) – A treasured song 9 FŪ’ÅK NE HANUA GEOGRAPHY 10 ROTUMA 'E JAJ(A) NE FITI – Rotuma on the map of Fiji 10 JAJ(A) NE ITU ’ HIFU – Map of the seven districts 11 FÄEAG ROTUẠM TA LANGUAGE 12 'OU ‘EA’EA NE FÄEGA – Pronunciation Guide 12-13 'ON JĪPEAR NE FÄEGA – Notes on Spelling 14 MAF NE PUKU – The Rotuman Alphabet 14 MAF NE FIKA – Numbers 15 FÄEAG ‘ES’ AO - Useful words 16-18 'OU FÄEAG’ÅK NE 'ÄE – Introductions 19 UT NE FAMORI A'MOU LA' SIN – Commonly Frequented Places 20 HUẠL NE FḀU TA – Months of the year 21 AG FAK ROTUMA CULTURE 22 KATO’ AGA - Traditional ceremonies 22-23 MAMASA - Welcome Visitors and returnees 24 GARUE NE SI'U - Artefacts 25 TĒFUI – Traditional garland 26-28 MAKA - Dance 29 TĒLA'Ā - Food 30 HANUJU - Storytelling 31-32 3 ROGROG NE ĀV TĀ HISTORY Legend has it that Rotuma’s first inhabitants Consequently, the two religious groups originated from Samoa led by Raho, a chief, competed against each other in the efforts to followed by the arrival of Tongan settlers.
    [Show full text]
  • 2.10 Material Culture of the Hawaiian Islands
    2.10 Introduction to Pacific Review of Pacific Collections Collections: Material Culture in Scottish Museums of the Hawaiian Islands Produced as part of Pacific Collections in Scottish Museums: Unlocking their knowledge and potential project 2013-2014. For full information and resources visit www.nms.ac.uk/pacific The following material culture styles have particularly distinctive elements but broad collections are not commonly found in Scottish museums. Hawaiian Islands The Hawaiian Islands are an archipelago of volcanic origin located in north east Polynesia. There are eight main islands as well as smaller islands, atolls and islets. The largest island is Hawai’i. The other main inhabited islands are: O’ahu, Maui, Kaua’i, Moloka’i, Lana’i, Ni’hau, and Kaho’olawe. The islands were first settled in 1,300 from the south, most likely the Society Islands. The distance from other parts of Polynesia meant that Hawaiians developed distinctive forms of chieftainship, religious practices and material culture. The first European recorded to have visited the Hawaiian Islands was Captain James Cook in early 1778 on his third voyage, who named the archipelago the Sandwich Islands after his patron the Earl of Sandwich. Cook met his death there in February 1779. Kamehameha, who was a late 18th century Chief on the island of Hawai’i, attempted to gain control over the whole island group. By 1810 he had established a monarchy which ruled for most of the 19th century. At this time the Hawaiian Islands were recognised by foreign powers as a sovereign nation. Kamehameha’s son Liholiho (Kamehameha II) and Queen Kamamalu visited London on a state visit to George IV where they tragically died in 1824 after contracting measles.
    [Show full text]
  • Naupaka 032018
    MARCH | APRIL 2018 RELAX, SHOP & PLAY AT WAIKOLOA BEACH RESORT E V E N T mar N W E apr S C A R L E N D A WaikoloaBeachResort.com Connected to the Past Keeping Hawaiian Traditions Alive Through Hula “To see through the fragments of time to the full power of the original being … that is a function of art.” —Mythologist Joseph Campbell n Hawai`i, art has often been a powerful vehicle connecting the Hawaiian people to their past Iand inspiring us all through its truth-telling and beauty. This is seen in the work of the state’s painters, wood carvers, sculptors, weavers, and more. And it is particularly apparent in the songs (mele), chants (oli), and hula dances that reach deep into the soul of the Manaola halau perfoming a hula kahiko at Merrie Monarch Festival in 2016. Photo courtesy of Merrie Monarch Festival. Hawaiian culture, both keeping its ancient traditions alive and telling its sacred stories. On a broader scale, hula is celebrated throughout the islands, At Waikoloa Beach Resort, guests and locals alike enjoy hula and in particular at the annual Merrie Monarch Festival held in Hilo performances several times a week on stages at both Queens’ (April 5 - 7, 2018). MarketPlace and Kings’ Shops, as well as at weekly lū`au at Hilton Waikoloa Village and Waikoloa Beach Marriott Resort & Spa. HULA TO THE WORLD “Respect for the Hawaiian culture was hard-baked from the Nani Lim-Yap is one of Hawai`i’s foremost practitioners of very beginning into everything we do,” says Scott Head, vice traditional dance, both as a dancer and as a kumu hula (master president resort operations.
    [Show full text]
  • Hoʻoulu Laka Hula & Chant Protocol Training Packet
    Ho‘oulu Laka Hula and Protocol Training Packet Lālākea Foundation Ka ‘Aha Hula ‘O Hālauaola June 14-23, 2018 Hilo, Hawaiʻi O Ku, O Ka O Wahineomao (Chapter 6) E Nihi Ka Hele I Ka Uka O Puna Emerson, 2005 1. E nihi ka hele i ka uka o Puna 2. Mai ako i ka pua 3. O lilo i ke ala o ka hewahewa 4. Ua huna ia ke kino i ka pohaku 5. O ka pua nae ke ahu nei i ke alanui 6. Alanui hele o ka unu kupukupu e 7. Ka ulia 8. A kaunu no anei oe o ke aloha la 9. Hele ae a komo i ka hale o Pele 10. Ua huahuai Kahiki lapa uila 11. Pele e, huaina hoi A Loko Au O Panaewa Alala ka pua, oli o Hiiaka Kapihenui, 16 January 1862 Bush & Paaluhi, 17 February 1893. *Emerson. *Halawai me ka pua 1. A loko au o Panaewa 2. Halawai me ka puaa a ka wahine 3. Me kuu maka lehua i uka 4. Me ka malu koi i ka nahele 5. E ue ana i ka laau 6. Alala ka puaa a ka wahine 7. He puaa kanaenae 8. He kanaenae mohai ola 9. E ola ia Pele 10. I ka wahine o ka lua e 2 The answer to this appeal for admission was in these words: Mele Komo E hea i ke kanaka e komo maloko, E hanai ai a hewa waha; Eia no ka uku la, o ka leo, A he leo wale no, e! (Translation) Welcoming-Song Call to the man to come in, And eat till the mouth is estopt; And this the reward, the voice, Simply the voice.
    [Show full text]
  • Hula Dance Lessons!!!
    LOOK WHAT SANDOWN RECREATION IS UP TO NOW! HULA DANCE LESSONS!!! If there’s one thing we’ve learned over the past 15 months or so it’s that WE’VE MISSED HAVING SOME FUN!!!! That’s why Sandown Recreation is venturing into uncharted waters, mixing things up, and bringing you a new summer adventure. Come join the fun! Hawaiian Hula is one of the last indigenous narrative or story-telling dances left on the planet. Every move has a special meaning. This is your chance to learn to tell the stories of Hawaiian flowers; places; gods; goddesses and royalty in song and dance! We’ve teamed up with instructor Nancy Griffin who has studied Polynesian culture and dances with the best Kumu Hula (Master Hula teachers) on the Mainland and in Hawaii for more than 30 years. She teaches and performs Hawaiian Hula, Tahitian, Maori, and Samoan dance. Nancy will be teaching a class on Monday evenings for 6-weeks beginning June 7 – July 1 (no class on July 5th) from 6:30 – 7:30 PM at the Ed Garvey Recreation Facility on Pheasant Run Drive. The class is suitable for anyone age 16 and up with all levels of dancers welcome whether you’ve had prior dance experience or not. Come alone or bring a friend…this journey will be fun! For class, students should wear non-restrictive (but not baggy) clothing and plan to dance barefoot (soft soled shoes are permitted if you need the support). You’ll want to bring a notebook for jotting down important info and translations from the Hawaiian language.
    [Show full text]
  • Western-Constructed Narratives of Hawai'i
    History in the Making Volume 11 Article 14 January 2018 Western-Constructed Narratives of Hawai’i Megan Medeiros CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/history-in-the-making Part of the American Popular Culture Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, History of the Pacific Islands Commons, and the Public History Commons Recommended Citation Medeiros, Megan (2018) "Western-Constructed Narratives of Hawai’i," History in the Making: Vol. 11 , Article 14. Available at: https://scholarworks.lib.csusb.edu/history-in-the-making/vol11/iss1/14 This Public History is brought to you for free and open access by the History at CSUSB ScholarWorks. It has been accepted for inclusion in History in the Making by an authorized editor of CSUSB ScholarWorks. For more information, please contact [email protected]. Western-Constructed Narratives of Hawai’i By Megan Medeiros What comes to mind when you hear someone talking about Hawai’i? Perhaps, you envision an idyllic tropical locale filled with beautiful landscapes and sundrenched beaches just waiting to welcome you to a summer-time escape from reality? Or maybe you think of a secluded island, where play comes before work and people exude a carefree “aloha spirit”? In reality, Hawai’i is simultaneously neither and so much more. The widely held public conception of Hawai’i as a mystical tropical paradise is a misleading construction concocted by Westerners who possessed, at best, ephemeral and, at worst, completely fabricated conceptions of daily life within the Hawaiian Archipelago. How did this happen? How did such manifestly inaccurate representations of Hawai’i come to dominate popular perceptions of the islands and its people? The best way to understand this process is to apply the principles of “othering” put forth by renowned scholar Edward Said in his most famous work, Orientalism.
    [Show full text]
  • M Narch Festival April 10 - 17, 1977 Hilo, Hawaii
    ~ERRI E M NARCH FESTIVAL APRIL 10 - 17, 1977 HILO, HAWAII . ,~.- Official Program & Guide It is my pleasure indeed to bid you welcome and send you the greetings of the people of the County 0 Hawaii on the occasi on of this 14th Annual Monarch Festiva l at Hi lo. We are especially happy to see that your field of p articipation includes groups from around the State of Hawaii as well as from other parts of o u r Nation. You are to be congratulated for the long hours and for the dedicated effort you-as dancers, m usi c ians, teachers, fam illes, and sponsors toget h er- have put in to o rganizing t h e p reparing yours Ives fo r th is special B ig Is land festiva l to share w ith residents and vis itors al ike. We are p leased also that o ur County of Hawaii fa cilitie s, as w ell as the beau tiful settings of o ur hotel s, will provide the backdrop for you I' contests and celebrat ions, and w e send YOLI our congratula tions and very best w is h es for a successful, safe and happy festival of th e pageantry, songs, dancing and MAYOR'S cultural activities so beautifully and so strongly rem iniscent of the spirit of old Hawaii. PROCLAMATION Kalakaua was a t raveler. In 1879, he becan1e t he first k ing to visi the Un ited States. In 1881, he was the fi rst k ing 0 f a wes ern, Christ ian nation to visit Japar .
    [Show full text]
  • Uhm Ma 3030 R.Pdf
    .r--.. 'J/... c·"- ·.rl... .. .. "VERSITY OF HAWNI LIBRARY E NA HALAU HULA, NANA KAKOU IA LAKA (LOOK TO THE SOURCE): FINDING BALANCE BETWEEN THE PRACTICE OF HULA FOREST GATHERING AND THE ECOLOGICAL REALITIES OF HAWAH'S NATIVE FORESTS A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN GEOGRAPHY DECEMBER 2002 By Shirley Naomi Kanani Garcia Thesis committee: Brian Murton, Chairperson Deborah Woodcock Les Sponsel ABSTRACf This thesis contends that the impact halau hula are having on Hawaii's native forests is born from many different social, cultural, and ecological factors. This thesis goes on to argue that it is hula's intimate link to the forests ofHawai'i, through Laka - the ancestor, that makes the problem ofdamaging gathering practices so antithetical and, also, so readily resolved. The thesis concludes by offering that the answer to regaining balance between cultural practice and modern ecological realities lies in the ancestor­ Laka. In the attributes and values ofLaka is where halau hula can look for inspiration and proper behavior while in her realm, the beautiful and mysterious forests of Hawai'i. TABLE OF CONTENTS Acknowledgements i List of Figures ii Photographs iii Chapter 1: Introduction 1 Forest Gathering by Halau Hula 1 Objectives 3 Methodology 5 Hula, Environmental Beliefs, and Values 7 Organization 17 Chapter 2: Significance of Plant Life to the Hawaiian Culture 18 Birth of the Hawaiian People 18 Birth of the Hula 22 Hula
    [Show full text]
  • 11 MB HSFCA Annual Report for FY 2014-2015
    HAWAI`I STATE FOUNDATION ON CULTURE AND THE ARTS ANNUAL REPORT FY 2014-2015 02 Celebrating Years SFCA ANNUAL REPORT FY 2014-2015 2 Executive Director’s Message 3 Art in Public Places Program 7 Hawai`i State Art Museum 9 Biennium Grants Program 13 Designated Programs 22 ARTS FIRST Partners Strategic Plan 27 Financial Summary Commissioners and Staff COVER: Untitled (Yellow Stripes) by Marie McDonald, kapa—wauke with natural dyes. Photo: Paul Kodama BACK COVER: The Spirit of Mānoa: In the Light of Day by Rick Mills at the Mānoa Public Library, cast glass and steel. Photo: Brad Goda LEFT: Detail of Formidable Hakalau by Paul Kodama, photograph. EXECUTIVE DIRECTOR’S MESSAGE Following the audit, we developed a sequence of steps to Aloha, measure performance of our strategic plan. This process was facilitated by the Western States Arts Federation (WESTAF), This report reviews the the regional arts organization serving 13 western states, 2014-2015 fiscal year, including Hawai`i. the 49th year of the Hawai`i State Founda- Fiscal year 2014-2015 incorporated a modest increase in tion on Culture and Federal support and a 10 percent budget restriction of the the Arts (SFCA). As we general fund appropriation. This reduction brought the prepare for our 50th grants budget to its lowest point in our 49 year history at anniversary in the com- $500,000. While this created challenges for both arts orga- ing year, we analyze nizations and the SFCA, we were able to continue to invest the past for inspiration, in our core programs. These areas include the Art in Public direction and guidance Places program providing access to the arts statewide; Artists to envision the future.
    [Show full text]
  • Polynesian Dance in the Hawaiian Tourist Industry In
    POLYNESIAN DANCE IN THE HAWAIIAN TOURIST INDUSTRY IN WAIKIKI, 1981 A Plan B Paper Submitted to the Graduate Division of the University of Hawai'i in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Pacific Islands Studies May 1986 by Ricalda Renee Uchiyama Project Committee: Barbara B. Smith, Chairman Judy Van Zile Deborah Waite HEMO TO: Dr. Kiste FROM: Barbara Smith 17/W Attached is FORH VI for Ricalda Renee Uchiyama. The signatures indicate approval of her PLAN B paper. (If, in fact, she still has another requirement(s) for the degree, the date on the title page of this paper could be changed if she doesn't 'make it' for May degree award. I have a few sheets of the bond paper on which the deposit copy is xeroxed.) Table of Contents Chapter I: Introduction ••.••.•. .. 1 1.1 Purposes and Methods .. .. ... 2 1.2 Guide to Presentation •• 4 Note to Chapter I 6 Chapter II: The Organization of a polynesian Show ••• .... · .. 7 2.1 Shows Included in This Study. • • 7 2.1.1 "A" Kalo's South Sea Review •••• 7 2.1.2 "B" Kamoiwa • 7 2.1.3 "e" Kodak Hula Show · · · · · · 8 2.1.4 "D" Palani's Polynesian Extravaganza . · · ·· · · 9 2.1.5 "E" The Royal Hawaiian Lu'au. · 9 2.1.6 lip II Tavana's Polynesian Spectacular . · · · ·· · 9 2.1.7 "G" Tihati's South Sea Spectacular •• •• •. 10 2.1.8 "H" The Young People's Hula Show. ........... 10 2.2 High-Budget, Low-Budget, and Mixed Mixed-Budget Shows •••••••• • 11 2.2.1 High-Budget Shows •• 11 2.2.2 Low-Budget Shows •• • 12 2.2.3 Mixed-Budget Shows • • 13 2.3 Selection and Training of Dancers .
    [Show full text]
  • Notable Hawaiians of the 20Th Century
    Notable Hawaiians of the 20th Century Notable Hawaiians • Notable Hawaiians Hawaiians • Notable Hawaiians • Notable Hawaiians When the second issue of ‘Öiwi: A Native newspaper and magazine articles, television Hawaiian Journal was being conceptualized news reports, and an occasional book profile in 1999, it was difficult to ignore the highlighted a few Hawaiians now and then, number of “best of” lists which were being no one had taken account at any length of announced on almost a daily basis. It seemed Hawaiians who were admired by and who as if we couldn’t get enough—What were inspired other Hawaiians. the most important books of the millennium? The one hundred most significant events? We began discussing this idea amongst The best and worst dressed movie stars? ourselves: Whom did we consider noteworthy While sometimes humorous, thought- and important? Whom were we inspired by provoking, and/or controversial, the in our personal, spiritual, and professional categories were also nearly endless. Yet all lives? These conversations were enthusiastic the hoopla was difficult to ignore. After all, and spirited. Yet something was missing. there was one question not being addressed What was it? Oh yes—the voice of the in the general media at both the local and people. We decided that instead of imposing national levels: Who were the most notable our own ideas of who was inspirational and Hawaiians of the 20th century? After all the noteworthy, we would ask the Hawaiian attention given over the years to issues of community: “Who do you, the
    [Show full text]