It is Saturday, and we leave for our Vermont trip tomorrow. We are visiting Dave's family - my in-laws. There is a lovely celebration planned for Uncle Joe, and his life (he was a servant of God, a Catholic priest). Dave's parents are also marking their 50th wedding anniversary. They are a very sweet couple, and have always been so supportive of Dave, and of me as well.
I am so excited…but I wish I had more time to finish my studies now that I’m on a roll, I don’t want to stop. I have been writing around the clock. The moment I wake up, all day, evening, and late evening. The journey is a lot of fun right now, because I'm in the thick of things, and I have reduced the turn-around time between the time I feel stuck and the time my fingers hit the keys. All I have to do is take a time out, take deep breaths, meditate and clear my head, my heart, release the tension in my body, and then ask ‘aumakua for help. It works every time. I am learning faith. I am actually starting to believe I can do this thing with my higher spirit guiding me, by reading courage to change book, by going to Al-Anon meetings, and by being authentic and real. Now I usually start every writing session with prayer. The most amazing thing I that the words start flowing. If I get stuck I go back for help, and then I read or watch something inspiring and my tank is full again.
Dave wants to learn Hawaiian, so I am going to teach him one phrase a day. Yesterday was "Pehea ‘oe"? Which means "How are you?" Today is “Maika’i no au, Mahalo.” or "I am well, thanks." By the time we go back, we’ll have a few phrases down and be able to share language with our nieces and nephews, brothers and sisters.
I had a dream last night. In my dream, Dave and I were conversing in Hawaiian. Then we agreed to try an experiment. We went into the dream world and began speaking to one another there, getting comfortable speaking the language there, telepathically… and then the possibility opened up to speak to our ‘aumakua and to the spirits there! It was really cool!!! Then I woke up. It was such a cool dream. I can see it really happening. It is definitely a possibility. The Hawaiians did it since the beginning of time, and those who are in deep connection with their a'aumakua - well this is a naturally occurring phenomenon. And little children whose hearts are pure and who have not lose the connection to God and to their guardian angels - they do it naturally with out thinking.
The veil is lifting for me, and I am beginning to see clearly, beginning to claim my cultural heritage and all the beautiful, wonderful, and delightful gifts that come with it. I will be able to connect with my husband, with my Mom, with Gram, with Grandpa, and with Tutu in the spirit world, in the dream world. What a gift this dream was! I am honored to share it.
Saturday, July 31, 2010
The Story of Hāloa
The story of Hāloa is part of the Kumulipo, and has been told over and over throughout the centuries. I discovered several different versions of the Hāloa story (Wilson, 1988; Lee, 2005; Kame’eleihiwa, 1992). While minor details vary, the mo’olelo itself and the lessons it imparts remain the same. Essentially, this is a re-cap of the Hāloa story:
Papa (Mother Earth) and Wākea (Father Sky) unite, and Papa gives birth to the islands in this order: Hawai’i, Maui, and Kaua’i. The afterbirth is thrust aside to form Molokini. Papa then gives birth to a daughter, Ho’ohōkūkalani. Once Ho’ohōkūkalani grows up to become a beautiful young woman, Wākea falls in love with his daughter, and consults his kahuna (priest, sorcerer) to devise a sneaky plan to spend time away from Papa. Wākea returns to Papa and tells her of the new set of kapu (taboo; laws) his kahuna commanded him to instill. The new ‘ai kapu (rules around eating) were as follows:
1. Men and women will eat in separate hale (house, building).
2. Men will prepare the food for the community; women are relieved from the food preparation due to cleanliness regarding a woman’s cycle of the month.
3. Women may no longer eat certain foods which are considered to be representation of male gods.
Additionally, four nights a week will be dedicated to worship Kū (ancient Hawaiian god of war).
Wākea uses the new kapu to steal time away from Papa and seduces his daughter Ho’ohōkūkalani, who eventually becomes hāpai (pregnant). She tells her mother what happened, and Papa becomes very angry with Wākea and leaves. Later in the story, Wākea takes other lovers and fathers Lāna’i and Moloka’i. Papa finds another husband and gives birth to ‘Oahu. In the end, Papa and Wākea reunite, and the islands of Kaua’i and Ni’ihau are born.
Back in the story of Hāloa, Ho’ohōkūkalani give birth to a son, who is stillborn, deformed, and gnarled like a root. Grieving, the parents receive a message to bury him in the ground on the east side of their hale (house), on the side where the sun rises in the morning. After the baby was buried, a plant grew from his body. This was the first kalo, or taro plant. They name their taro baby Hāloanakalaukapali’i (or Hālo for short, which kind of sounds like kalo). His name means “the long stalk of the quivering leaf” because it has a long stalk with had a large fluttering leaf on top.
Ho’ohōkūkalani later gives birth to a second son who lives. Wākea and Ho’ohōkūkalani call him Hāloa after his older brother; he is the first Hawaiian, the Kupuna (ancestor) of the Hawaiian race.
In the Hawaiian tradition, the elder siblings take responsibility for the younger ones, while it is the duty of younger siblings and keiki (children) to honor, love, and respectfully service their elders. This tradition is modeled through the story of Hāloa. The older brother Hāloanakalaukapali’i, the root of the kalo plant, provides Hāloa with kalo or taro which is the staple food of the Hawaiian people. Hāloa respects to his older brother by taking care of the lo’i, (taro patch), creating irrigation systems, harvesting the plant and replanting to continue the cycle…and by teaching his keiki (children) and mo’opuna (grandchildren) to mālama ‘āina as well. This behavior of interdependence between brothers – between man and kalo – is what the Hawaiians mean when they malama (to care for, respect) ‘āina (land), and live with hearts filled with aloha (love, compassion, kindness), and this I have come to believe, is truly the basis of Hawaiian epistemology.
Papa (Mother Earth) and Wākea (Father Sky) unite, and Papa gives birth to the islands in this order: Hawai’i, Maui, and Kaua’i. The afterbirth is thrust aside to form Molokini. Papa then gives birth to a daughter, Ho’ohōkūkalani. Once Ho’ohōkūkalani grows up to become a beautiful young woman, Wākea falls in love with his daughter, and consults his kahuna (priest, sorcerer) to devise a sneaky plan to spend time away from Papa. Wākea returns to Papa and tells her of the new set of kapu (taboo; laws) his kahuna commanded him to instill. The new ‘ai kapu (rules around eating) were as follows:
1. Men and women will eat in separate hale (house, building).
2. Men will prepare the food for the community; women are relieved from the food preparation due to cleanliness regarding a woman’s cycle of the month.
3. Women may no longer eat certain foods which are considered to be representation of male gods.
Additionally, four nights a week will be dedicated to worship Kū (ancient Hawaiian god of war).
Wākea uses the new kapu to steal time away from Papa and seduces his daughter Ho’ohōkūkalani, who eventually becomes hāpai (pregnant). She tells her mother what happened, and Papa becomes very angry with Wākea and leaves. Later in the story, Wākea takes other lovers and fathers Lāna’i and Moloka’i. Papa finds another husband and gives birth to ‘Oahu. In the end, Papa and Wākea reunite, and the islands of Kaua’i and Ni’ihau are born.
Back in the story of Hāloa, Ho’ohōkūkalani give birth to a son, who is stillborn, deformed, and gnarled like a root. Grieving, the parents receive a message to bury him in the ground on the east side of their hale (house), on the side where the sun rises in the morning. After the baby was buried, a plant grew from his body. This was the first kalo, or taro plant. They name their taro baby Hāloanakalaukapali’i (or Hālo for short, which kind of sounds like kalo). His name means “the long stalk of the quivering leaf” because it has a long stalk with had a large fluttering leaf on top.
Ho’ohōkūkalani later gives birth to a second son who lives. Wākea and Ho’ohōkūkalani call him Hāloa after his older brother; he is the first Hawaiian, the Kupuna (ancestor) of the Hawaiian race.
In the Hawaiian tradition, the elder siblings take responsibility for the younger ones, while it is the duty of younger siblings and keiki (children) to honor, love, and respectfully service their elders. This tradition is modeled through the story of Hāloa. The older brother Hāloanakalaukapali’i, the root of the kalo plant, provides Hāloa with kalo or taro which is the staple food of the Hawaiian people. Hāloa respects to his older brother by taking care of the lo’i, (taro patch), creating irrigation systems, harvesting the plant and replanting to continue the cycle…and by teaching his keiki (children) and mo’opuna (grandchildren) to mālama ‘āina as well. This behavior of interdependence between brothers – between man and kalo – is what the Hawaiians mean when they malama (to care for, respect) ‘āina (land), and live with hearts filled with aloha (love, compassion, kindness), and this I have come to believe, is truly the basis of Hawaiian epistemology.
Friday, July 30, 2010
Performing with HAPA for a crowd of 3,000 people at Chase Palm Park 7/22/10
As part of the summer concert series, Cami and Hula Anyone? performed with Hapa, an internationally known Hawaiian band at Chase Palm Park in Santa Barbara for an audience of approximately 3,000 attendees. You can view the video here (copy and paste to browser): http://www.youtube.com/watch?v=pCZRdrX6Tps
Thursday, July 29, 2010
The Kumulipo - Hawaiian story of creation
Consisting of over 2000 lines, the Kumulipo – which translates into “the dark source” – is a mele ko’ihonua, an oli (chant that was not danced to) of genealogy that was originally composed by Keaulumoku, an ancestor of Queen Lili’uokalani in the 1700s (Hare, 2005). Memorized and passed down in oral tradition from generation to generation, the Kumulipo was chanted by the kahuna (priests) at special events, such as the birth of great ali’i (chiefs), and at the festival of the god Lono, the makahiki (Cua, 2005). It is believed that the Kumulipo was chanted at the arrival of Captain Cook in 1776, as he was thought to be the god Lono.
Genealogical chants were performed on rare occasion, and ali’i court chanters were specifically trained to perform these ‘oli perfectly, so that the integrity of the chant remained intact. According to Kelly Cua, Distance Learning Instructor, a select few individuals today have learned to chant the entire Kumulipo from memory. I actually witnessed Samuel Kaleikoa Ka’eo, Hawaiian Philosopher and Professor at Maui Community College, perform the creation chant at a lecture. It was quite impressive.
The chant was eventually penned by King Kalākaua (ruled1874 – 1891), who used the opportunity to trace his lineage back to the gods through the Kumulipo, to prove his chiefly right to the throne. Later, during her house arrest at ‘Iolani Palace, Kalākaua’s sister Queen Lili’uokalani (ruled 1891 – 1893) translated the Kumulipo, which was then published in 1897. “The most massive part of the chant is a genealogy which enumerates thousands of ancestors of the Hawaiian royal family”. (Hare, 2005). The complete Hawaiian text, as well as the Queen’s translation can be found online at http://www.sacred-texts.com .
The Kumulipo is divided into 16 phases covering two time periods. The first is the Time of Pō, the time of night/darkness. During these eight phases, different life forms begin out of primordial slime:
• Phase 1 – stars, reef and reef dwellers, limu (seaweed)
• Phase 2 – fish and forest
• Phase 3 – birds and insects
• Phase 4 – creepers
• Phase 5 – pigs
• Phase 6 – nibblers
• Phase 7 – dogs and bats
• Phase 8 – the first gods are born
The second time period is called the Time of Au, the time of light. During this period the following were born in this order:
• Phase 9 – the first humans
• Phase 10 – more gods born
• Phase 11 – lineage of mo’o (lizard) 800 generations
• Phase 12 – lineage of Wākea (Father Sky)
• Phase 13 – Palikū
• Phase 14 – stars and desire
• Phase 15 – mythical lands and children of Hāloa (son of Wākea)
• Phase 16 – descendents of Māui (demigod who snared the sun)
Kumu hula (master hula teacher) Pualani Kanaka‘ole Kanahele, Professor at the University of Hawai’i, National Living Treasure, and daughter of Aunty Edith Kanaka’ole (one of the “keepers of the flame”), wrote a beautiful poem naming the Kumulipo as “the organic inception of all family systems”, articulating the inter-relationship with sky, earth, ocean, land, animals, man and gods.
She describes how the moon cycle “was the principle motivator of the earth”, how the sun and rain nourish the earth, while the wind, oceans and rivers “provided mobility for things and objects incapable of movement”, and how the Hawaiian were most appreciative and respectful, as they understood themselves to be “beneficiaries of this primal cadence and flow with the rhythm of the universe…”
"The KUMULIPO is the reality of our dim past, the foundation for our present and the pathway into the future. It is a cognizant reminder of our ancestors, their intelligence, failure, defeat and conquest. This chant is a gift which encourages the warrior within us to awake to the contests and challenges, which continue to confront us today, by using ancestral intelligence and experiences with our own intelligence. It is the genealogy which connects the Native Hawaiian to land, sky and ocean".
Pualani Kanaka‘ole Kanahele
Genealogical chants were performed on rare occasion, and ali’i court chanters were specifically trained to perform these ‘oli perfectly, so that the integrity of the chant remained intact. According to Kelly Cua, Distance Learning Instructor, a select few individuals today have learned to chant the entire Kumulipo from memory. I actually witnessed Samuel Kaleikoa Ka’eo, Hawaiian Philosopher and Professor at Maui Community College, perform the creation chant at a lecture. It was quite impressive.
The chant was eventually penned by King Kalākaua (ruled1874 – 1891), who used the opportunity to trace his lineage back to the gods through the Kumulipo, to prove his chiefly right to the throne. Later, during her house arrest at ‘Iolani Palace, Kalākaua’s sister Queen Lili’uokalani (ruled 1891 – 1893) translated the Kumulipo, which was then published in 1897. “The most massive part of the chant is a genealogy which enumerates thousands of ancestors of the Hawaiian royal family”. (Hare, 2005). The complete Hawaiian text, as well as the Queen’s translation can be found online at http://www.sacred-texts.com .
The Kumulipo is divided into 16 phases covering two time periods. The first is the Time of Pō, the time of night/darkness. During these eight phases, different life forms begin out of primordial slime:
• Phase 1 – stars, reef and reef dwellers, limu (seaweed)
• Phase 2 – fish and forest
• Phase 3 – birds and insects
• Phase 4 – creepers
• Phase 5 – pigs
• Phase 6 – nibblers
• Phase 7 – dogs and bats
• Phase 8 – the first gods are born
The second time period is called the Time of Au, the time of light. During this period the following were born in this order:
• Phase 9 – the first humans
• Phase 10 – more gods born
• Phase 11 – lineage of mo’o (lizard) 800 generations
• Phase 12 – lineage of Wākea (Father Sky)
• Phase 13 – Palikū
• Phase 14 – stars and desire
• Phase 15 – mythical lands and children of Hāloa (son of Wākea)
• Phase 16 – descendents of Māui (demigod who snared the sun)
Kumu hula (master hula teacher) Pualani Kanaka‘ole Kanahele, Professor at the University of Hawai’i, National Living Treasure, and daughter of Aunty Edith Kanaka’ole (one of the “keepers of the flame”), wrote a beautiful poem naming the Kumulipo as “the organic inception of all family systems”, articulating the inter-relationship with sky, earth, ocean, land, animals, man and gods.
She describes how the moon cycle “was the principle motivator of the earth”, how the sun and rain nourish the earth, while the wind, oceans and rivers “provided mobility for things and objects incapable of movement”, and how the Hawaiian were most appreciative and respectful, as they understood themselves to be “beneficiaries of this primal cadence and flow with the rhythm of the universe…”
"The KUMULIPO is the reality of our dim past, the foundation for our present and the pathway into the future. It is a cognizant reminder of our ancestors, their intelligence, failure, defeat and conquest. This chant is a gift which encourages the warrior within us to awake to the contests and challenges, which continue to confront us today, by using ancestral intelligence and experiences with our own intelligence. It is the genealogy which connects the Native Hawaiian to land, sky and ocean".
Pualani Kanaka‘ole Kanahele
Wednesday, July 28, 2010
Hawaiian Epistemology
In these next set of posts I discuss Hawaiian epistemology, the Kumulipo, and mo‘okū‘auhau (genealogy). Through the oral tradition of ‘ōlelo (language, poems, songs) and mo’olelo (stories, myths, folklore), Hawaiians were able to pass information from generation to generation for centuries, about who their ancestors were and where their ‘ohana came from. It is said that the ali’i (chiefs) were able to trace their roots back to the gods. Through mo‘okū‘auhau, we can discover our own roots and the contributions our kupuna (ancestors) made as members of their respective communities. I also address the essential concept of reconnecting to the three piko (navel): piko ma’i, (genitals), piko ‘ōpū (belly, stomach, abdomen) and piko po’o (head).
epistemology n. – The branch of philosophy concerned with the nature and origin of knowledge. Epistemology asks the question “How do we know what we know?”
Hawaiian epistemology is based upon the Kumulipo, the story of creation that speaks about the creation of the islands and the inhabitants, the birth of the gods, how humans came to be, and the relationship of man to the ‘āina.
epistemology n. – The branch of philosophy concerned with the nature and origin of knowledge. Epistemology asks the question “How do we know what we know?”
Hawaiian epistemology is based upon the Kumulipo, the story of creation that speaks about the creation of the islands and the inhabitants, the birth of the gods, how humans came to be, and the relationship of man to the ‘āina.
Monday, July 26, 2010
The Bones Live...
Mo‘okū‘auhau: Ola Nā Iwi – The bones live – said of a respected oldster who is well cared for by his family. (Pūku'i, 2488)
In Ola Nā Iwi, the knowledge imparted is fundamental to understanding Hawaiian truths and origin of knowledge. The bulk of the class was divided into three sections, each portion cleverly embodied by the image of a tree:
1. Kamole (the roots) offered deep-rooted ancient knowledge including the Hawaiian genesis known as the Kumulipo, a complex and many layered story beginning with the relationship between Papa (Mother Earth) and Wākea (Father Sky). We are then introduced to the story of brothers Hāloanakalaukapali’i and Hāloa which describes the relationship of man and the ‘āina (land), and the significance of kalo (taro).
2. In Ke Kumu (the trunk of the tree), resources were made for students to reconnect with their roots and ‘ohana (family).
3. Kahua (the fruit of the tree) presented students with a variety of opportunities to take what they had learned and share it with their ‘ohana.
In Ola Nā Iwi, the knowledge imparted is fundamental to understanding Hawaiian truths and origin of knowledge. The bulk of the class was divided into three sections, each portion cleverly embodied by the image of a tree:
1. Kamole (the roots) offered deep-rooted ancient knowledge including the Hawaiian genesis known as the Kumulipo, a complex and many layered story beginning with the relationship between Papa (Mother Earth) and Wākea (Father Sky). We are then introduced to the story of brothers Hāloanakalaukapali’i and Hāloa which describes the relationship of man and the ‘āina (land), and the significance of kalo (taro).
2. In Ke Kumu (the trunk of the tree), resources were made for students to reconnect with their roots and ‘ohana (family).
3. Kahua (the fruit of the tree) presented students with a variety of opportunities to take what they had learned and share it with their ‘ohana.
Sunday, July 25, 2010
Hawaiiana classes online!
A'o Makua classes are offered through Kamehameha Distance Learning Program. Here are the classes I took:
1. Mo‘okū‘auhau (genealogical story) “Ola Nā Iwi” The bones live - said of a respected oldster who is well cared for by his family. (Pūku'i, 2488)
Let us honor and care for our kūpuna (ancestors) by learning about their mo‘olelo (story) and perpetuating their values and beliefs. This course introduces the mo‘olelo of creation by focusing on the Kumulipo (Hawaiian creation belief) and the Story of Hāloa. You and your ‘ohana will be able to make personal connections to these mo‘olelo by researching and documenting your own mo‘okū‘auhau (genealogy).
2. ‘Ōlelo Hawai‘i: “E Ola ka ‘Ohana” – The family lives.
At the core of Hawaiian being is the family. In the first Papa ‘Ōlelo Hawai‘i or Hawaiian Language course vocabulary and sentence patterns will focus around the concept of ‘Ohana (family). Course activities will include practice exercises, a short ha‘i ‘ōlelo or speech in which each participant gives basic information about themselves, and a recitation of mo‘okū‘auhau (genealogy).
3. A‘o Makua: “Mālama ‘Āina” – To care for the land.
He ali‘i ka ‘āina, he kauwā ke kanaka. The land is a chief; the man is its servant. This course will focus on sustainability of our resources. The course explores traditional ways Hawaiians lived to allow for preservation. You will learn the deeper purpose for why the Hawaiians hold the land so important. The knowledge acquired from these concepts will hopefully encourage you and your ‘ohana to apply them in everyday life.
I thought it might be wise to take several A’o Makua (Instruction, teaching, doctrine, learning from our parents) classes offered by Kamehameha Distance Learning Program – Mālama ‘āina (To take care of, tend, attend, care for, preserve + protect the land, earth) the Mo‘okū‘auhau (genealogical story) Ola Nā Iwi Hawaiian Cultures, and ‘Ōlelo Hawai‘i: E Ola ka ‘Ohana (Introduction to Hawaiian Language) classes – at the same time to compound my knowledge. It would be extra work to take all three classes in a six-week time frame, however the sweet payoff of being immersed in “Hawaiian-ness” would be exactly that – immersion – deep learning in a short amount of time, about different facets of my heritage. An analogy would be like participating in a study abroad program where a student not only studies the language, she learns about the food, history and customs of a fascinating culture. I was hoping to build a strong foundation for the long dissertation work ahead.
As luck would have it, all three courses were offered just as I was ready to start my ILA! It wasn’t actually luck; the experienced kumu (teachers, educators) knew exactly what they were doing when they planned the curriculum! Little did I know how profound the synergy would be for my learning. Valuable resources were revealed, like Ulukau (www.ulukau.org), which is the Hawaiian Electronic Dictionary, Baibala Hemolele (www.baibala.org), also known as the Hawaiian Bible, and Huapala (www.huapala.org), a site that houses Hawaiian Music and Archives. I made delightful yet fundamental discoveries about Hawaiian epistemology, like how the concepts of ‘āina (land), ōlelo (language), and culture are derived from the Kumulipo and wili (entwine) together seamlessly. For the Kanaka Maoli (n. Full-blooded Hawaiian person; wehewehe.org), there was no separation between spirituality and their gods, lāhui kanaka (mankind), and the ‘āina (Nā Waiwai Hawai’i part 1, 1987) which belonged to the gods (Dunford, The Hawaiians of Old, p. 40). I found that learning about traditional Hawaiian values was a natural and organic, fluid process; indigenous values are foundational to the Hawaiian way of thinking, and these values will be discussed throughout this essay.
1. Mo‘okū‘auhau (genealogical story) “Ola Nā Iwi” The bones live - said of a respected oldster who is well cared for by his family. (Pūku'i, 2488)
Let us honor and care for our kūpuna (ancestors) by learning about their mo‘olelo (story) and perpetuating their values and beliefs. This course introduces the mo‘olelo of creation by focusing on the Kumulipo (Hawaiian creation belief) and the Story of Hāloa. You and your ‘ohana will be able to make personal connections to these mo‘olelo by researching and documenting your own mo‘okū‘auhau (genealogy).
2. ‘Ōlelo Hawai‘i: “E Ola ka ‘Ohana” – The family lives.
At the core of Hawaiian being is the family. In the first Papa ‘Ōlelo Hawai‘i or Hawaiian Language course vocabulary and sentence patterns will focus around the concept of ‘Ohana (family). Course activities will include practice exercises, a short ha‘i ‘ōlelo or speech in which each participant gives basic information about themselves, and a recitation of mo‘okū‘auhau (genealogy).
3. A‘o Makua: “Mālama ‘Āina” – To care for the land.
He ali‘i ka ‘āina, he kauwā ke kanaka. The land is a chief; the man is its servant. This course will focus on sustainability of our resources. The course explores traditional ways Hawaiians lived to allow for preservation. You will learn the deeper purpose for why the Hawaiians hold the land so important. The knowledge acquired from these concepts will hopefully encourage you and your ‘ohana to apply them in everyday life.
I thought it might be wise to take several A’o Makua (Instruction, teaching, doctrine, learning from our parents) classes offered by Kamehameha Distance Learning Program – Mālama ‘āina (To take care of, tend, attend, care for, preserve + protect the land, earth) the Mo‘okū‘auhau (genealogical story) Ola Nā Iwi Hawaiian Cultures, and ‘Ōlelo Hawai‘i: E Ola ka ‘Ohana (Introduction to Hawaiian Language) classes – at the same time to compound my knowledge. It would be extra work to take all three classes in a six-week time frame, however the sweet payoff of being immersed in “Hawaiian-ness” would be exactly that – immersion – deep learning in a short amount of time, about different facets of my heritage. An analogy would be like participating in a study abroad program where a student not only studies the language, she learns about the food, history and customs of a fascinating culture. I was hoping to build a strong foundation for the long dissertation work ahead.
As luck would have it, all three courses were offered just as I was ready to start my ILA! It wasn’t actually luck; the experienced kumu (teachers, educators) knew exactly what they were doing when they planned the curriculum! Little did I know how profound the synergy would be for my learning. Valuable resources were revealed, like Ulukau (www.ulukau.org), which is the Hawaiian Electronic Dictionary, Baibala Hemolele (www.baibala.org), also known as the Hawaiian Bible, and Huapala (www.huapala.org), a site that houses Hawaiian Music and Archives. I made delightful yet fundamental discoveries about Hawaiian epistemology, like how the concepts of ‘āina (land), ōlelo (language), and culture are derived from the Kumulipo and wili (entwine) together seamlessly. For the Kanaka Maoli (n. Full-blooded Hawaiian person; wehewehe.org), there was no separation between spirituality and their gods, lāhui kanaka (mankind), and the ‘āina (Nā Waiwai Hawai’i part 1, 1987) which belonged to the gods (Dunford, The Hawaiians of Old, p. 40). I found that learning about traditional Hawaiian values was a natural and organic, fluid process; indigenous values are foundational to the Hawaiian way of thinking, and these values will be discussed throughout this essay.
Saturday, July 24, 2010
Introduction of ILA-A Essay #1
This is the first of the three ILA-A essays. In this paper, I write about key discoveries I made while attending three Hawaiian cultures and language classes online in April and May of 2010. My learning was enhanced by reading indigenous and Hawaiian literature in the form of journal articles and books, and viewing documentary films on Hawaiian history and culture. Additionally, I became familiar with and continue to explore the critical and theoretical contributions of my Tutu (great-grandmother and profound Native Hawaiian scholar Mary Kawena Puku’i), as well as the works of other well-known native researchers and scholars.
This paper is framed by first identifying the purpose of this Individual Learning Achievement and offering my intention to learn about Hawaiiana. My position as a native Hawaiian scholar is identified, followed by an overview of each of the classes I took.
I use proper Hawaiian language, spelling, and word definition throughout (which will be indicated in bold). All Hawaiian words were confirmed for spelling by the Hawaiian Dictionary (Puku’i & Elbert,1986) and Ulukau, the Hawaiian Electronic Library. Most of the discussion is based upon what I learned in the A’o Makua classes, and is organized into four main points. When utilized, supporting reference material is sited in APA style. It must be established that it difficult, if not impossible to talk about one main concept separately without introducing the other three; although each is critical to Hawaiian culture and values, the concepts align synergistically with the other three to form the worldview from a Hawaiian perspective. The main points that will be discussed are as follows:
1. The Kumulipo, which is the Hawaiian story of creation. I will explain the importance of mo‘okū‘auhau (genealogy), and how through the oral tradition of ‘ōlelo (language, poems, songs) and mo’olelo (stories, myths, folklore) we can learn about where our ‘ohana (family) originates; this is vital to understanding who we are as individuals and discovering what contributions our kupuna (elders) made as members of their respective communities. The essential concept of reconnecting to the three piko (navel): piko ma’i, (genitals), piko ‘ōpū (belly, stomach, abdomen) and piko po’o (head) will be addressed.
2. The concept of Mālama ‘Āina (caring for the land). This spiritual worldview (common to indigenous people) examines how the Hawaiians view themselves as one with their gods, with nature, and with their land. I will explain why it is important to know the phases of the moon, the significance of taro, and the practice of aloha ‘āina (love of the land).
3. I offer a brief timeline of events that took place in Hawaiian History, particularly within the last 200 years – because that is when most of the trauma occurred – and discuss the repercussions that these events have had on Hawai’i and her people, followed by…
4. A biography of Tutu Mary Kawena Puku’i with an observation of the magnitude of her leadership and contributions to the Hawaiian cultural legacy. I will touch on the works of other well-known native researchers.
I will conclude this essay by mentioning the works of other well-known native researchers, contemporary scholars and practitioners who are making significant contributions in keeping our culture alive; their leadership is positively changing the way Hawaiians view themselves and their place in the world. I will offer final personal reflections and my intention for future studies.
This paper is framed by first identifying the purpose of this Individual Learning Achievement and offering my intention to learn about Hawaiiana. My position as a native Hawaiian scholar is identified, followed by an overview of each of the classes I took.
I use proper Hawaiian language, spelling, and word definition throughout (which will be indicated in bold). All Hawaiian words were confirmed for spelling by the Hawaiian Dictionary (Puku’i & Elbert,1986) and Ulukau, the Hawaiian Electronic Library. Most of the discussion is based upon what I learned in the A’o Makua classes, and is organized into four main points. When utilized, supporting reference material is sited in APA style. It must be established that it difficult, if not impossible to talk about one main concept separately without introducing the other three; although each is critical to Hawaiian culture and values, the concepts align synergistically with the other three to form the worldview from a Hawaiian perspective. The main points that will be discussed are as follows:
1. The Kumulipo, which is the Hawaiian story of creation. I will explain the importance of mo‘okū‘auhau (genealogy), and how through the oral tradition of ‘ōlelo (language, poems, songs) and mo’olelo (stories, myths, folklore) we can learn about where our ‘ohana (family) originates; this is vital to understanding who we are as individuals and discovering what contributions our kupuna (elders) made as members of their respective communities. The essential concept of reconnecting to the three piko (navel): piko ma’i, (genitals), piko ‘ōpū (belly, stomach, abdomen) and piko po’o (head) will be addressed.
2. The concept of Mālama ‘Āina (caring for the land). This spiritual worldview (common to indigenous people) examines how the Hawaiians view themselves as one with their gods, with nature, and with their land. I will explain why it is important to know the phases of the moon, the significance of taro, and the practice of aloha ‘āina (love of the land).
3. I offer a brief timeline of events that took place in Hawaiian History, particularly within the last 200 years – because that is when most of the trauma occurred – and discuss the repercussions that these events have had on Hawai’i and her people, followed by…
4. A biography of Tutu Mary Kawena Puku’i with an observation of the magnitude of her leadership and contributions to the Hawaiian cultural legacy. I will touch on the works of other well-known native researchers.
I will conclude this essay by mentioning the works of other well-known native researchers, contemporary scholars and practitioners who are making significant contributions in keeping our culture alive; their leadership is positively changing the way Hawaiians view themselves and their place in the world. I will offer final personal reflections and my intention for future studies.
Friday, July 23, 2010
What is Inoa Pō ?
inoa pō
n. Dream name, as a name for an infant believed received in a dream; it was thought that if such a name were not given, the child would be sickly or die. (wehewehe.org)
On a balmy Mānoa (valley in Honolulu) evening in June 1965, Tutu Kawena awoke from her nap, distinctly remembering a specific name she was to gift to her next mo’opuna (grandchild; great-niece or nephew; relatives two generations later, whether blood or adopted). At the very same time in another part of town, my mother was laboring to bring me into this world. In the wee hours of that Sunday morning, I was born to Charlotte and Harry Wengler and received my Hawaiian name: Ka’iuhono’onalani, which means “one who is held in high esteem with the chiefs”.
Makuwahine (Mother) and Tūtū wahine (Grandma – I called her Gram) told me the mo‘ōlelo of my birth, and it is significant to me for several reasons. First of all, in our culture, it is a rare and special phenomenon to be the recipient of an inoa pō at birth; this beautiful and life-lasting treasure is one that our precious Tūtū passed to me from our ‘aumākua. Secondly, I have re-discovered my Hawaiian heritage through this personal journey, and simultaneously, I have re-established my relationship and communication with my higher power or ‘aumakua. This spiritual connection has assisted me tremendously in my recent studies. I deeply believe that my ‘aumakua guides and comforts me through life on a daily basis, as I have been able to hear with keen ears and an open heart, the messages, especially during the past six months. Lastly, Tutu herself was the recipient of inoa pō, (as I will later recount in the section on her biography). I truly enjoy learning about my Kupuna through mo‘olelo and constructing history from interviews, stories, oral history and research…just as she did.
As a fifth year student in the Leadership and Change program, a native Hawaiian doctoral student, and the great grand-daughter of one of the most prolific scholars Hawai’i has ever known (Kamae, 2005), I feel an undeniable sense of privilege and duty: first, to serve our own and to provide support and higher educational opportunities for returning adults either in our home state or on the mainland; second, to find out who I am and discover what it means to be Hawaiian, and finally to learn to speak our language, to embrace our cultural heritage, to research Hawaiian history and to understand the magnitude of the contributions that Tutu Puku’i made.
Precisely, I needed to know for my own sake, who was Mary Kawena Puku’i as a person besides being my kupuna? What exactly did she do to help preserve the Hawaiian legacy, and how did that impact future generations? I feel tremendous gratitude that my questions are being answered through this work. As I conduct the research, I am ever thankful to receive hands-on guidance from my advisor, and dissertation chair Dr. Carolyn Kenny as well as from my native Hawaiian mentor Dr. Peter Hanohano.
n. Dream name, as a name for an infant believed received in a dream; it was thought that if such a name were not given, the child would be sickly or die. (wehewehe.org)
On a balmy Mānoa (valley in Honolulu) evening in June 1965, Tutu Kawena awoke from her nap, distinctly remembering a specific name she was to gift to her next mo’opuna (grandchild; great-niece or nephew; relatives two generations later, whether blood or adopted). At the very same time in another part of town, my mother was laboring to bring me into this world. In the wee hours of that Sunday morning, I was born to Charlotte and Harry Wengler and received my Hawaiian name: Ka’iuhono’onalani, which means “one who is held in high esteem with the chiefs”.
Makuwahine (Mother) and Tūtū wahine (Grandma – I called her Gram) told me the mo‘ōlelo of my birth, and it is significant to me for several reasons. First of all, in our culture, it is a rare and special phenomenon to be the recipient of an inoa pō at birth; this beautiful and life-lasting treasure is one that our precious Tūtū passed to me from our ‘aumākua. Secondly, I have re-discovered my Hawaiian heritage through this personal journey, and simultaneously, I have re-established my relationship and communication with my higher power or ‘aumakua. This spiritual connection has assisted me tremendously in my recent studies. I deeply believe that my ‘aumakua guides and comforts me through life on a daily basis, as I have been able to hear with keen ears and an open heart, the messages, especially during the past six months. Lastly, Tutu herself was the recipient of inoa pō, (as I will later recount in the section on her biography). I truly enjoy learning about my Kupuna through mo‘olelo and constructing history from interviews, stories, oral history and research…just as she did.
As a fifth year student in the Leadership and Change program, a native Hawaiian doctoral student, and the great grand-daughter of one of the most prolific scholars Hawai’i has ever known (Kamae, 2005), I feel an undeniable sense of privilege and duty: first, to serve our own and to provide support and higher educational opportunities for returning adults either in our home state or on the mainland; second, to find out who I am and discover what it means to be Hawaiian, and finally to learn to speak our language, to embrace our cultural heritage, to research Hawaiian history and to understand the magnitude of the contributions that Tutu Puku’i made.
Precisely, I needed to know for my own sake, who was Mary Kawena Puku’i as a person besides being my kupuna? What exactly did she do to help preserve the Hawaiian legacy, and how did that impact future generations? I feel tremendous gratitude that my questions are being answered through this work. As I conduct the research, I am ever thankful to receive hands-on guidance from my advisor, and dissertation chair Dr. Carolyn Kenny as well as from my native Hawaiian mentor Dr. Peter Hanohano.
Wednesday, July 21, 2010
Purpose Statement: ILA - A Essay #1
The intended purpose of this Individualized Learning Achievement is to discover new dimensions of my ancestral roots, and to reconnect with my culture of origin by increasing my knowledge and appreciation of the Hawaiian language, our native values, culture, and traditions. During this segment of the journey, I have taken the beginning steps in reclaiming ownership of my native heritage.
I thought it might be wise to take three A’o Makua classes offered by Kamehameha Distance Learning Program – Malama ‘Aina, the Hawaiian Cultures, and the Introduction to Hawaiian Language classes – at the same time to compound my knowledge. Clearly, it would be extra work to take all three classes in a six-week time frame, however the sweet payoff of being immersed in “Hawaiian-ness” would be exactly that – immersion – deep learning in a short amount of time, about different facets of my heritage. In taking the opportunities available, perhaps a strong foundation could be built for the long dissertation work ahead.
As luck would have it, all three courses were offered just as I was ready to start my ILA! It wasn’t actually luck; the experienced kumu (educators) knew exactly what they were doing when they planned the curriculum! Little did I know how profound the synergy would be for my learning. Valuable resources like Ulukau (www.ulukau.org) which is the Hawaiian Electronic Dictionary, Baibala Hemolele (www.baibala.org) – also known as the Hawaiian Bible, and Huapala (www.huapala.org) – a site that houses Hawaiian Music and Archives were unearthed. I made delightful yet fundamental discoveries about Hawaiian epistemology, like how the concepts of ‘aina (land), language, and culture wili (entwine) together seamlessly. For the Kanaka Maoli (n. Full-blooded Hawaiian person; wehewehe.org), there was no separation between spirituality and their gods, mankind, and the ‘aina (Nā Waiwai Hawai’i part 1, 1987) which belonged to the gods (Dunford, The Hawaiians of Old, p. 40). I learned about traditional Hawaiian values which include the essential concept of reconnecting to the three piko: piko ma’i, piko ‘ōpū and piko po’o which I will explain later in a future post.
I thought it might be wise to take three A’o Makua classes offered by Kamehameha Distance Learning Program – Malama ‘Aina, the Hawaiian Cultures, and the Introduction to Hawaiian Language classes – at the same time to compound my knowledge. Clearly, it would be extra work to take all three classes in a six-week time frame, however the sweet payoff of being immersed in “Hawaiian-ness” would be exactly that – immersion – deep learning in a short amount of time, about different facets of my heritage. In taking the opportunities available, perhaps a strong foundation could be built for the long dissertation work ahead.
As luck would have it, all three courses were offered just as I was ready to start my ILA! It wasn’t actually luck; the experienced kumu (educators) knew exactly what they were doing when they planned the curriculum! Little did I know how profound the synergy would be for my learning. Valuable resources like Ulukau (www.ulukau.org) which is the Hawaiian Electronic Dictionary, Baibala Hemolele (www.baibala.org) – also known as the Hawaiian Bible, and Huapala (www.huapala.org) – a site that houses Hawaiian Music and Archives were unearthed. I made delightful yet fundamental discoveries about Hawaiian epistemology, like how the concepts of ‘aina (land), language, and culture wili (entwine) together seamlessly. For the Kanaka Maoli (n. Full-blooded Hawaiian person; wehewehe.org), there was no separation between spirituality and their gods, mankind, and the ‘aina (Nā Waiwai Hawai’i part 1, 1987) which belonged to the gods (Dunford, The Hawaiians of Old, p. 40). I learned about traditional Hawaiian values which include the essential concept of reconnecting to the three piko: piko ma’i, piko ‘ōpū and piko po’o which I will explain later in a future post.
Tuesday, July 20, 2010
Did you know "Hawaiian" isn’t even a Hawaiian word!
Kanaka Maoli and why Hawaiian isn’t even a Hawaiian word…
I learned form my A'o Makua Hawaiian online class that Hawaiian is not even a word! How can that be? Because there are 13 letters in the Hawaiian Alphabet – 5 vowels: A, E, I, O, U; 8 consonants: H, K, L, M, N, P, W and ‘(‘okina). There are a few rules, like if there is a kahako or a line over a vowel, then that vowel is pronounced long. Another thing I learned is that if you misspell a word like a careless ‘okina or kahako forgotten, it could mean something completely different than what one intended. Another thing, two vowels together when sounded out slide together, but when separated by an ‘okina, the sounds are separated. Finally, there can be no consonants at the end of a Hawaiian word – and that’s why Hawaiian isn’t even a Hawaiian word! It is a word given to the Native peoples of Hawai’i by foreigners.
That is why it makes sense that native people of Hawai’i wish to be called Kanaka Maoli – which according to Ulukau (Hawaiian electronic dictionary)
kanaka maoli - def. n. Full blooded Hawaiian person.
Does this only apply to full blooded people? The way Wikipedia refers to the term as “people referring to themselves as Native Hawaiian, alone or in combination…”
I learned form my A'o Makua Hawaiian online class that Hawaiian is not even a word! How can that be? Because there are 13 letters in the Hawaiian Alphabet – 5 vowels: A, E, I, O, U; 8 consonants: H, K, L, M, N, P, W and ‘(‘okina). There are a few rules, like if there is a kahako or a line over a vowel, then that vowel is pronounced long. Another thing I learned is that if you misspell a word like a careless ‘okina or kahako forgotten, it could mean something completely different than what one intended. Another thing, two vowels together when sounded out slide together, but when separated by an ‘okina, the sounds are separated. Finally, there can be no consonants at the end of a Hawaiian word – and that’s why Hawaiian isn’t even a Hawaiian word! It is a word given to the Native peoples of Hawai’i by foreigners.
That is why it makes sense that native people of Hawai’i wish to be called Kanaka Maoli – which according to Ulukau (Hawaiian electronic dictionary)
kanaka maoli - def. n. Full blooded Hawaiian person.
Does this only apply to full blooded people? The way Wikipedia refers to the term as “people referring to themselves as Native Hawaiian, alone or in combination…”
Saturday, July 17, 2010
Today I discovered Baibala - The Bible written in Hawaiian
Today I went online for my Hawaiiana lessons, and discovered www.baibala.org – this is the Hawaiian Bible! What a treasure! They have images in pdf files dated from 1839, 1868, and 1994. I checked out page four from the 1868 edition and discovered that this book was from the Bernice Pauahi Bishop Museum Library. Ka Baibala Hemolele – translates as The Bible Holy or the Holy Bible. My Hawaiian language classes are helping me to figure out a lot of things, especially people’s names, places they are from, what the intention of a certain mele (song) is and how our Kumu (teacher) wants to dance the kaona or meaning(s) that the artists write about through their songs. I find all of this fascinating.
Na Buke o ke Kauoha Kahiko – literal translation – Book of the testament of old (Old Testament)
Na Buke o ke Kauoha Hou – literal translation – Book of the testament now (New Testament)
The copyright from pg 12 of the 1868 version reads as follows – Nu Yoka: Ua paila (pile of work) no ko Amerika poe ho’olaha (billboard) baibala (bible); I ho’okumula I ka makahiki (year) 1868.
This is a very, very cool discovery. I love it.
Na Buke o ke Kauoha Kahiko – literal translation – Book of the testament of old (Old Testament)
Na Buke o ke Kauoha Hou – literal translation – Book of the testament now (New Testament)
The copyright from pg 12 of the 1868 version reads as follows – Nu Yoka: Ua paila (pile of work) no ko Amerika poe ho’olaha (billboard) baibala (bible); I ho’okumula I ka makahiki (year) 1868.
This is a very, very cool discovery. I love it.
Monday, July 5, 2010
Look what I found in Wikipedia - about my Great Grandmother!
Mary Abigail Kawena ʻulaokalaniahiʻiakaikapoliopelekawahineʻaihonua Wiggin Pukui (1895–1986), known as Kawena,[1] was a Hawaiian scholar, dancer, composer, and educator. She was born in Kaʻū, Big Island, to Mary Paʻahana Kanakaʻole (a native Hawaiian woman) and Henry Wiggin (originally from Massachusetts). In the traditional custom of hānai she was initially reared by her mother’s parents. Her grandmother, a traditional dancer in the court of Queen Emma, taught her chants and stories, while her grandfather was a healer and kahuna pale keiki (obstetrician) who used lomilomi massage, laʻau lapaʻau (herbal medicine), hoʻoponopono (forgiveness), and pule (prayer). Her great-great-grandmother was a kahuna pule (priestess) in the Pele line.
She was educated in the Hawaiian Mission Academy, and taught Hawaiiana at Punahou School. Pukui was fluent in the Hawaiian language, and from the age of 15 collected and translated folk tales, proverbs and sayings. She worked at the Bernice P. Bishop Museum from 1938–1961 as an ethnological assistant and translator. She also taught Hawaiian to several scholars and served as informant for numerous anthropologists. She published more than 50 scholarly works. She is the co-author of the definitive Hawaiian-English Dictionary (1957, revised 1986), Place Names of Hawaii (1974), and The Echo of Our Song (1974), a translation of old chants and songs. Her book, ʻŌlelo Noʻeau, contains nearly 3,000 examples of Hawaiian proverbs and poetical sayings, translated and annotated. The two-volume set Nānā i ke Kumu, Look to the Source, is an invaluable resource on Hawaiian customs and traditions. She was a chanter and hula expert, and wrote lyrics and music to more than 150 Hawaiian songs.
In addition to her published works, Pukui's knowledge was also preserved in her notes, oral histories, hundreds of audiotape recordings from the 1950s and 1960s, and a few film clips, all collected in the Bishop Museum. She is often credited with making the Hawaiian Renaissance of the 1970s possible.[2]
She was named a "Living Treasure of Hawai'i" by the Honpa Hongwanji Mission of Hawaiʻi in 1977. In 1995 she was inducted into the Hawaiian Music Hall of Fame.[3]
She was educated in the Hawaiian Mission Academy, and taught Hawaiiana at Punahou School. Pukui was fluent in the Hawaiian language, and from the age of 15 collected and translated folk tales, proverbs and sayings. She worked at the Bernice P. Bishop Museum from 1938–1961 as an ethnological assistant and translator. She also taught Hawaiian to several scholars and served as informant for numerous anthropologists. She published more than 50 scholarly works. She is the co-author of the definitive Hawaiian-English Dictionary (1957, revised 1986), Place Names of Hawaii (1974), and The Echo of Our Song (1974), a translation of old chants and songs. Her book, ʻŌlelo Noʻeau, contains nearly 3,000 examples of Hawaiian proverbs and poetical sayings, translated and annotated. The two-volume set Nānā i ke Kumu, Look to the Source, is an invaluable resource on Hawaiian customs and traditions. She was a chanter and hula expert, and wrote lyrics and music to more than 150 Hawaiian songs.
In addition to her published works, Pukui's knowledge was also preserved in her notes, oral histories, hundreds of audiotape recordings from the 1950s and 1960s, and a few film clips, all collected in the Bishop Museum. She is often credited with making the Hawaiian Renaissance of the 1970s possible.[2]
She was named a "Living Treasure of Hawai'i" by the Honpa Hongwanji Mission of Hawaiʻi in 1977. In 1995 she was inducted into the Hawaiian Music Hall of Fame.[3]
Friday, July 2, 2010
What is HEN?
Hawaiian Ethnographic notes, or HEN, are ethnographic notes that Native Hawaiian scholars (mainly Tutu Puku’i) composed and transcribed. The materials include newspaper articles that were written in Hawaiian between 1860 and 1840. Although one can browse the data base and search by heading, source, author, or key word, the materials “live” at the Bishop Museum in Honolulu and can only be accessed by physically visiting the Library and Archives during public hours (Wednesday through Friday noon to 4 PM and Saturday, 9 AM to noon).
In the Bishop Museum Archives, I did a quick search by author – I input the name Puku’i, and was astounded to discover no less than 2021 entries made by our Tutu. Isn’t that something? What a truly amazing woman she was.
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