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For many years, Hawaiian Dictionary has been the definitive and authoritative work on the Hawaiian language. Now this indispensable reference volume has been enlarged and completely revised. More than 3,000 new entries have been added to the Hawaiian-English section, bringing the total number of entries to almost 30,000 and making it the largest and most complete of any Polynesian dictionary. Other additions and changes in this section include: a method of showing stress groups to facilitate pronunciation of Hawaiian words with more than three syllables; indications of parts of speech; current scientific names of plants; use of metric measurements; additional reconstructions; classical origins of loan words; and many added cross-references to enhance understanding of the numerous nuances of Hawaiian words.
The English Hawaiian section, a complement and supplement to the Hawaiian English section, contains more than 12,500 entries and can serve as an index to hidden riches in the Hawaiian language. This new edition is more than a dictionary. Containing folklore, poetry, and ethnology, it will benefit Hawaiian studies for years to come.
How many place names are there in the Hawaiian Islands? Even a rough estimate is impossible. Hawaiians named taro patches, rocks, trees, canoe landings, resting places in the forests, and the tiniest spots where miraculous events are believed to have taken place. And place names are far from static--names are constantly being given to new houses and buildings, streets and towns, and old names are replaced by new ones.
It is essential, then, to record the names and the lore associated with them now, while Hawaiians are here to lend us their knowledge. And, whatever the fate of the Hawaiian language, the place names will endure. The first edition of Place Names of Hawaii contained only 1,125 entries. The coverage is expanded in the present edition to include about 4,000 entries, including names in English. Also, approximately 800 more names are included in this volume than appear in the second edition of the Atlas of Hawaii.
Nana I Ke Kumu (Look to the Source) is dedicated to the families and children of Hawaii. It is a source book of Hawaiian cultural practices, concepts and beliefs which illustrate the wisdom and dignity contained in the cultural roots of every Hawaiian child.
The Hawaiian lived for many years isolated from the rest of the world, with a viable culture that met the needs of a thriving, industrious and religious people. Then came the foreigner with his technology and Judeao-Christian culture. He saw the native beliefs as pagan and inferior, and superimposed his culture. In order to gain acceptance, avoid ridicule and disapproval, the Hawaiian gradually adapted to Western ways. However, he secretly hung on to some of the beliefs and ways of his own culture. The confusion in his sense of identity which resulted exists today. For many Hawaiian families today, only the negatives, often in garbled fashion, have persisted. This is complicated further by mergers or conflicts of Hawaiian convictions with other ethnic or religious precepts. Forgotten are the positives in the culture, such as: the importance of the family ('ohana); the respect for seniors (kupuna); insuring harmonious interdependence within the 'ohana through regular family therapy (ho'oponopono); dealing with each successive layer of trouble (mahiki); forgiving fully and completely (mihi); and freeing each other completely (kala). It is this knowledge that the Hawaiian needs to recapture. The objectives of this work are to provide factual information as accurately as possible in a subject that reaches back to unwritten history and legend, to clarify Hawaiian concepts, and to examine their applicability to modern life. Volume I culminates seven years of weekly meetings of study and research by the Culture Committee of the Queen Liliuokalani Childrens Center, a child welfare agency created by the Deed of Trust of Her Majesty Queen Liliuokalani, to provide services to children of Hawaiian and part-Hawaiian ancestry. This committee was started when, in our work with children and families, many Hawaiian concepts, beliefs and practices emerged. Our staff, confronted by these deeply felt beliefs, felt uncomfortable, and as a result avoided discussion and exploration, even though this hampered successful work in resolving family conflicts. This pointed to our need to learn and understand the authentic Hawaiian culture in order to increase our effectiveness in helping those we serve. We are fortunate that Mrs. Mary Kawena Pukui, associate of the Bishop Museum, translator and author, agreed to be our kumu (this also means teacher). Her belief in our sincere wish to help our people and her recognition that cultural information was of great value, were the motivating factors behind her sharing her knowledge with us. She did express her concern that the concepts in this book not be misused or misunderstood to cause her people embarrassment. (For example, she was once severely criticized for writing an article on ho'oponopono.) She believes the Hawaiian needs to understand and appreciate the soundness and beauty of his culture. We are deeply indebted to the contributions of Mrs. Pukui. Without her, this work could not have been done.
Haina ia mai ana ka puana. This familiar refrain, sometimes translated Let the echo of our song be heard, appears among the closing lines in many nineteenth-century chants and poems. From earliest times, the chanting of poetry served the Hawaiians as a form of ritual celebration of the things they cherished--the beauty of their islands, the abundance of wild creatures that inhabited their sea and air, the majesty of their rulers, and the prowess of their gods. Commoners as well as highborn chiefs and poet-priests shared in the creation of the chants. These haku mele, or composers, the commoners especially, wove living threads from their own histoic circumstances and everyday experiences into the ongoing oral tradition, as handed down from expert to pupil, or from elder to descendant, generation after generation.
This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
Nana I Ke Kumu (Look to the Source) is dedicated to the families and children of Hawaii. It is a source book of Hawaiian cultural practices, concepts and beliefs which illustrate the wisdom and dignity contained in the cultural roots of every Hawaiian child.The Hawaiian lived for many years isolated from the rest of the world, with a viable culture that met the needs of a thriving, industrious and religious people. Then came the foreigner with his technology and Judeao-Christian culture. He saw the native beliefs as pagan and inferior, and superimposed his culture. In order to gain acceptance, avoid ridicule and disapproval, the Hawaiian gradually adapted to Western ways. However, he secretly hung on to some of the beliefs and ways of his own culture. The confusion in his sense of identity which resulted exists today. For many Hawaiian families today, only the negatives, often in garbled fashion, have persisted. This is complicated further by mergers or conflicts of Hawaiian convictions with other ethnic or religious precepts. Forgotten are the positives in the culture, such as: the importance of the family (ohana); the respect for seniors (kupuna); insuring harmonious interdependence within the ohana through regular family therapy (hooponopono); dealing with each successive layer of trouble (mahiki); forgiving fully and completely (mihi);) and freeing each other completely (kala). It is this knowledge that the Hawaiian needs to recapture. The objectives of this work are to provide factual information as accurately as possible in a subject that reaches back to unwritten history and legend, to clarify Hawaiian concepts, and to examine their applicability to modern life. Volume I culminates seven years of weekly meetings of study and research by the Culture Committee of the Queen Liliuokalani Childrens Center, a child welfare agency created by the Deed of Trust of Her Majesty Queen Liliuokalani, to provide services to children of Hawaiian and part-Hawaiian ancestry. This committee was started when, in our work with children and families, many Hawaiian concepts, beliefs and practices emerged. Our staff, confronted by these deeply felt beliefs, felt uncomfortable, and as a result avoided discussion and exploration, even though this hampered successful work in resolving family conflicts. This pointed to our need to learn and understand the authentic Hawaiian culture in order to increase our effectiveness in helping those we serve. We are fortunate that Mrs. Mary Kawena Pukui, associate of the Bishop Museum, translator and author, agreed to be our kumu (this also means teacher). Her belief in our sincere wish to help our people and her recognition that cultural information was of great value, were the motivating factors behind her sharing her knowledge with us. She did express her concern that the concepts in this book not be misused or misunderstood to cause her people embarrassment. (For example, she was once severely criticized for writing an article on hooponopono.) She believes the Hawaiian needs to understand and appreciate the soundness and beauty of his culture. We are deeply indebted to the contributions of Mrs. Pukui. Without her, this work could not have been done.
Haina ia mai ana ka puana. This familiar refrain, sometimes translated Let the echo of our song be heard, appears among the closing lines in many nineteenth-century chants and poems. From earliest times, the chanting of poetry served the Hawaiians as a form of ritual celebration of the things they cherished--the beauty of their islands, the abundance of wild creatures that inhabited their sea and air, the majesty of their rulers, and the prowess of their gods. Commoners as well as highborn chiefs and poet-priests shared in the creation of the chants. These haku mele, or composers, the commoners especially, wove living threads from their own histoic circumstances and everyday experiences into the ongoing oral tradition, as handed down from expert to pupil, or from elder to descendant, generation after generation.
This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
