The document contains repeated Hawaiian words and syllables using the letters A, E, I, O and U. Each line contains words or syllables starting with a different letter from H to U.
The poet comes as a beggar to God's door, bringing poverty, helplessness and humility. He describes the beggar as one who has nothing, not even a bag or cup, having been destroyed by desires and passions. He surrenders all distractions, weaknesses and sins to seek comfort in God's court. Exhausted, without strength or courage, he asks God for the power to truly express the condition of his heart. In the end, he repeats that he has come as a poor, helpless beggar seeking refuge at God's door.
The document contains a list of words in an unknown language. The words are made up of combinations of vowels and consonants and do not seem to form real words in any known human language.
The poem discusses the dangers of a beautiful woman's enchanting glances and seductive curls. It warns that getting entangled in a woman's locks can lead one to lose their life or senses. It pleads with the beautiful woman not to trap men with her curly black tresses so that they may live, as they have already suffered much hurt in their hearts from her cruelty and coquetry.
The document is a poem asking for the rain of the Holy Spirit. It asks God to send his healing through the rain of love from above. It references Jesus Christ as the healer, and asks the reader to receive healing and cleansing from sin through faith in Jesus and his blood. It repeats the refrain asking for the rain of the Holy Spirit to fall.
This poem discusses the pain of lost love and separation. It refers to avoiding friends who know private secrets and past companions who provided deception and support. It expresses the difficulty of separating this lost love from the heart and a lifelong search and longing for the person who stole the speaker's inner peace.
Kya aapne pyar ko pane me kathinaio ka samna kar rhe hai ya aapka premi aapse prem nhi krta krata? Agr aap is prakar ki samsya se gujar rhe ho to Apne Pyar Ko Pane Ka Wazifa, Dua and Totke Tarike in Hindi ki madad le skte hai. Hmare Molvi ji Molvi Abdul Rihab apko Totke btayenge jiski madad se aap apne pyar ko paa skte hai.
The document praises God and encourages singing praises to God with all your heart. It describes God's works as wonderful and beyond nature, with all power and glory belonging to God alone. It states that God is kind and merciful, providing sustenance daily and remembering all that has been done.
This document appears to be in an unknown language and contains a series of random letters and symbols with no discernible meaning or message. It does not provide any essential information that can be summarized due to being entirely unintelligible.
The poet comes as a beggar to God's door, bringing poverty, helplessness and humility. He describes the beggar as one who has nothing, not even a bag or cup, having been destroyed by desires and passions. He surrenders all distractions, weaknesses and sins to seek comfort in God's court. Exhausted, without strength or courage, he asks God for the power to truly express the condition of his heart. In the end, he repeats that he has come as a poor, helpless beggar seeking refuge at God's door.
The document contains a list of words in an unknown language. The words are made up of combinations of vowels and consonants and do not seem to form real words in any known human language.
The poem discusses the dangers of a beautiful woman's enchanting glances and seductive curls. It warns that getting entangled in a woman's locks can lead one to lose their life or senses. It pleads with the beautiful woman not to trap men with her curly black tresses so that they may live, as they have already suffered much hurt in their hearts from her cruelty and coquetry.
The document is a poem asking for the rain of the Holy Spirit. It asks God to send his healing through the rain of love from above. It references Jesus Christ as the healer, and asks the reader to receive healing and cleansing from sin through faith in Jesus and his blood. It repeats the refrain asking for the rain of the Holy Spirit to fall.
This poem discusses the pain of lost love and separation. It refers to avoiding friends who know private secrets and past companions who provided deception and support. It expresses the difficulty of separating this lost love from the heart and a lifelong search and longing for the person who stole the speaker's inner peace.
Kya aapne pyar ko pane me kathinaio ka samna kar rhe hai ya aapka premi aapse prem nhi krta krata? Agr aap is prakar ki samsya se gujar rhe ho to Apne Pyar Ko Pane Ka Wazifa, Dua and Totke Tarike in Hindi ki madad le skte hai. Hmare Molvi ji Molvi Abdul Rihab apko Totke btayenge jiski madad se aap apne pyar ko paa skte hai.
The document praises God and encourages singing praises to God with all your heart. It describes God's works as wonderful and beyond nature, with all power and glory belonging to God alone. It states that God is kind and merciful, providing sustenance daily and remembering all that has been done.
This document appears to be in an unknown language and contains a series of random letters and symbols with no discernible meaning or message. It does not provide any essential information that can be summarized due to being entirely unintelligible.
This document provides an overview of the use of ka'i words in Hawaiian grammar. Ka'i words like ka and ke introduce nouns and indicate definiteness, similar to the use of "the" in English. The document defines common ka'i words like he, ka, ke, kēia, kēlā, kēnā and explains the distinction between kēlā and kēnā which translate to "that (far)" and "that (near)". It also discusses using mau to make nouns plural and provides examples of its use.
This document discusses Hawaiian pronouns and the differences between exclusive and inclusive pronouns. It provides the Hawaiian pronouns for I, you, he/she/it, you (plural), they (plural), we (inclusive and exclusive), and they (plural). Examples are given to demonstrate when to use exclusive versus inclusive pronouns based on whether the other person is included or excluded. It also notes how the word "with" or "me" is contracted or used with different pronouns in Hawaiian.
Loa'a is a stative verb that means to find, get, obtain, or acquire something. It follows the subject-object word order of subject + i/ia + object. For example, "That money was earned by my son" would be "Ua loa'a kā lākou i ka u keiki kāne." Loa'a is also commonly used to express the idea of "There is..." such as "Loa'a ka poi?" meaning "Is there any poi?". When discussing illness, loa'a is used to say that one is "gotten by" an illness rather than having it, since illness is not usually sought.
This document provides examples and explanations of the Hawaiian sentence structure "Pepeke Henua" which is used to indicate location or where something is. Some key points covered include:
1) Examples of basic sentences using Pepeke Henua structure with subjects like "the teacher", "my house", and locations like "at the store" or "at the library".
2) Explanations of the use of the `ami piko `o which is used with proper nouns like names of people or places.
3) Additional examples of Pepeke Henua sentences and clarification that it specifically indicates location or where something is.
4) Notes on asking "where
The document discusses the Hawaiian grammar pattern "Hiki" which expresses ability or possibility. It provides examples of using "Hiki" with different types of verbs - hamani/hehele verbs which describe actions/emotions/sounds, and a'ano stative verbs which describe traits/states of being. It demonstrates constructing sentences with "Hiki" using different subject pronouns and particles like ka'i and i oa. Special contractions for i+au and i+oia are also covered, along with forming questions and negative sentences.
This document contains summaries of place names from across Hawaii. It provides the meanings and locations of places such as Līhuʻe on Kauai, meaning "cold chill", Waiʻanae, a land division on Oahu meaning "mullet water", and Kaunakakai, the principal town on Molokai meaning "beach landing". Over 50 place names from the Hawaiian islands are defined in the document.
This document provides guidance on how to effectively use a Hawaiian dictionary to look up and understand Hawaiian words. It emphasizes the importance of reading the preface and abbreviations section to understand how the dictionary is organized. It also stresses reading all definitions fully and checking multiple sources to identify the appropriate word meaning and context, as Hawaiian words do not always directly translate to English.
This document provides information for students taking an online course about Hawaii Island. It discusses that the course will cover significant geological features and cultural sites of Hawaii Island. It emphasizes that effective communication is important for online students to succeed. Basic computer skills are required like creating documents, downloading files, and participating in online discussions. It provides information about resources available for students like tutoring services and computer labs on campus. Students are advised that the grade and knowledge gained will reflect the effort put into the course.
This document lists various articles of clothing in Hawaiian. It includes shirts, t-shirts, jackets, pants, shorts, skirts, dresses, hats, shoes, boots, slippers, socks, underwear, and bras. It also includes the Hawaiian word for "belt". The document provides Hawaiian terms for common items of clothing.
This document contains basic Hawaiian vocabulary including the days of the week written in Hawaiian from Monday to Sunday as well as the months of the year written in Hawaiian from January to December. It also lists the websites where the clipart images used in the document were taken from.
This document provides an overview of Hawaiian language and oral traditions. It discusses the importance of oral traditions in preserving Hawaiian culture through mele, hula, and mo'olelo storytelling. It also highlights how hālau and 'ohana helped maintain traditions across generations. Additionally, it outlines the basic phonetic rules and symbols of the Hawaiian language including the 5 vowels, 8 consonants, 'okina glottal stop, and kahakō macron. Proper use of these symbols is important as their omission or inclusion can change a word's meaning.
This document lists common Hawaiian words for parts of a house and furniture, including ka hale for house, ka puka for door, ka papahele for floor, and ka puka aniani for window. It also includes terms for living room items like ka lumi hoʻokipa for living room, ke kīwī for television, and ka mīkini wikiō for VCR, as well as bedroom furniture such as ka lumo moe for bedroom, ka pela moe for bed, and ka uluna for pillow.
This document provides examples of negation in Hawaiian using the word "a'ole". It demonstrates how to negate sentences by placing "a'ole" before the subject and changing verbs from affirmative to negative. Several examples are given with different subjects, including cats, grandmothers, fathers, houses, mothers and teachers to illustrate the negation structure. Pronouns are also discussed and examples show they come directly after "a'ole" in negated sentences.
This document provides an overview of Hawaiian verb tenses and sentence structures. It discusses habitual present, past, present, future, and future intent verb forms. It also covers adding objects, locations, and adjectives to sentences. Key points include:
- Habitual present is implied and uses no tense markers. Past uses "ua". Present uses "ke" and "nei". Future uses "e" and "ana". Future intent uses "e" alone.
- Objects are added after the verb with "i". Locations use "ma" or "i". Adjectives can be added before the subject.
- Examples are provided to illustrate the different tenses and how to add
Ke and ka are used before nouns in Hawaiian to indicate "the". Ke is used before nouns starting with K, E, A or O, while ka is used before all other nouns. There are some exceptions to this rule where ka or ke is used instead. Nā is the plural form of ka and ke, so nā is used before plural nouns like "the flowers" or "the teachers".
The document summarizes the Hawaiian creation myth of Hāloa as told in the Kumulipo epic chant. It describes how Papahānaumoku (Earth Mother) and Wākea (Sky Father) gave birth to the Hawaiian islands and people. Their daughter Hoʻohōkūkalani later gave birth to twins - the first was Hāloanakalaukapalili, who was buried and from whom grew the first kalo plant, and the second was a healthy child named Hāloa, considered the first Hawaiian man. Hāloa and the kalo are seen as the elder and younger siblings of Hawaiians, with humans having the responsibility to care for the land
This document provides an overview of various aspects of traditional Hawaiian culture, including sports (paheʻe), symbols of royalty (lei niho palaoa and kāhili feather standards), uses of ʻawa root in ceremonies and medicine, lunar phases and heiau places of worship. It also describes games like pāpuhene and kilu as well as burial practices focused on protecting the iwi or bones of royalty which were believed to contain mana or spiritual power.
This document discusses mo'olelo and ka'ao in Hawaiian culture. Mo'olelo are legends and historical accounts that were passed down orally, so there may be multiple versions today. Ka'ao are fanciful stories or tales that may embellish mo'olelo. The document outlines the common structure of ka'ao, known as the "4 H's": Hua is the catalyst for the journey, Ha'alele is the separation from society to embark on the journey, Huaka'i is the journey itself involving tests and challenges, and Ho'ina is the return to society with new awareness or tools to benefit the community. Symbols and names within ka'ao also provide insight into the characters and
This document provides examples of Hawaiian sentences using descriptive predicates (pepeke painu) and locational predicates (pepeke henua). It demonstrates how to construct sentences using quality/trait descriptors with nouns, proper nouns and pronouns. It also shows how to negate descriptive sentences and provides reminders on grammar points like the optional use of 'awe and question formation.
This document provides examples of negative and positive commands in Hawaiian. For negative commands, use "Mai" followed by the verb and subject particle like "'oe" for "you." For positive commands, use "E" followed by the verb and subject particle. Mai and E can also be used to make suggestions, where "kāua" means "let's (not)" and "kākou" means "let's."
The document discusses Hawaiian beliefs and traditions surrounding dreams. It states that dreams are believed to be the experiences of the soul or 'uhane after the body falls asleep. Some dreams are meaningless, some are riddles to interpret, and others clearly foretell the future, good or bad. Understanding dreams is important as they can predict sickness, reveal sacred names, or teach songs or hulas. Dream interpretations have both widespread and family-specific meanings across Hawaiian islands. The document also briefly defines a kilu as a carved gourd or coconut shell used for storage, feeding children, or as a throwing game piece in rituals between men and women.
1) Mele are poetic songs or chants in Hawaiian that were used to convey stories, histories, and other meanings through symbolic language and imagery.
2) There are two main types of mele: mele oli which are chanted without music, and mele hula which are accompanied by dance and instruments.
3) Traditional Hawaiians chose words, phrases, and metaphors carefully in mele as some had double meanings or symbolism relating to people, places, and concepts. The hidden or "veiled" meaning was called kaona.
This document provides an overview of the use of ka'i words in Hawaiian grammar. Ka'i words like ka and ke introduce nouns and indicate definiteness, similar to the use of "the" in English. The document defines common ka'i words like he, ka, ke, kēia, kēlā, kēnā and explains the distinction between kēlā and kēnā which translate to "that (far)" and "that (near)". It also discusses using mau to make nouns plural and provides examples of its use.
This document discusses Hawaiian pronouns and the differences between exclusive and inclusive pronouns. It provides the Hawaiian pronouns for I, you, he/she/it, you (plural), they (plural), we (inclusive and exclusive), and they (plural). Examples are given to demonstrate when to use exclusive versus inclusive pronouns based on whether the other person is included or excluded. It also notes how the word "with" or "me" is contracted or used with different pronouns in Hawaiian.
Loa'a is a stative verb that means to find, get, obtain, or acquire something. It follows the subject-object word order of subject + i/ia + object. For example, "That money was earned by my son" would be "Ua loa'a kā lākou i ka u keiki kāne." Loa'a is also commonly used to express the idea of "There is..." such as "Loa'a ka poi?" meaning "Is there any poi?". When discussing illness, loa'a is used to say that one is "gotten by" an illness rather than having it, since illness is not usually sought.
This document provides examples and explanations of the Hawaiian sentence structure "Pepeke Henua" which is used to indicate location or where something is. Some key points covered include:
1) Examples of basic sentences using Pepeke Henua structure with subjects like "the teacher", "my house", and locations like "at the store" or "at the library".
2) Explanations of the use of the `ami piko `o which is used with proper nouns like names of people or places.
3) Additional examples of Pepeke Henua sentences and clarification that it specifically indicates location or where something is.
4) Notes on asking "where
The document discusses the Hawaiian grammar pattern "Hiki" which expresses ability or possibility. It provides examples of using "Hiki" with different types of verbs - hamani/hehele verbs which describe actions/emotions/sounds, and a'ano stative verbs which describe traits/states of being. It demonstrates constructing sentences with "Hiki" using different subject pronouns and particles like ka'i and i oa. Special contractions for i+au and i+oia are also covered, along with forming questions and negative sentences.
This document contains summaries of place names from across Hawaii. It provides the meanings and locations of places such as Līhuʻe on Kauai, meaning "cold chill", Waiʻanae, a land division on Oahu meaning "mullet water", and Kaunakakai, the principal town on Molokai meaning "beach landing". Over 50 place names from the Hawaiian islands are defined in the document.
This document provides guidance on how to effectively use a Hawaiian dictionary to look up and understand Hawaiian words. It emphasizes the importance of reading the preface and abbreviations section to understand how the dictionary is organized. It also stresses reading all definitions fully and checking multiple sources to identify the appropriate word meaning and context, as Hawaiian words do not always directly translate to English.
This document provides information for students taking an online course about Hawaii Island. It discusses that the course will cover significant geological features and cultural sites of Hawaii Island. It emphasizes that effective communication is important for online students to succeed. Basic computer skills are required like creating documents, downloading files, and participating in online discussions. It provides information about resources available for students like tutoring services and computer labs on campus. Students are advised that the grade and knowledge gained will reflect the effort put into the course.
This document lists various articles of clothing in Hawaiian. It includes shirts, t-shirts, jackets, pants, shorts, skirts, dresses, hats, shoes, boots, slippers, socks, underwear, and bras. It also includes the Hawaiian word for "belt". The document provides Hawaiian terms for common items of clothing.
This document contains basic Hawaiian vocabulary including the days of the week written in Hawaiian from Monday to Sunday as well as the months of the year written in Hawaiian from January to December. It also lists the websites where the clipart images used in the document were taken from.
This document provides an overview of Hawaiian language and oral traditions. It discusses the importance of oral traditions in preserving Hawaiian culture through mele, hula, and mo'olelo storytelling. It also highlights how hālau and 'ohana helped maintain traditions across generations. Additionally, it outlines the basic phonetic rules and symbols of the Hawaiian language including the 5 vowels, 8 consonants, 'okina glottal stop, and kahakō macron. Proper use of these symbols is important as their omission or inclusion can change a word's meaning.
This document lists common Hawaiian words for parts of a house and furniture, including ka hale for house, ka puka for door, ka papahele for floor, and ka puka aniani for window. It also includes terms for living room items like ka lumi hoʻokipa for living room, ke kīwī for television, and ka mīkini wikiō for VCR, as well as bedroom furniture such as ka lumo moe for bedroom, ka pela moe for bed, and ka uluna for pillow.
This document provides examples of negation in Hawaiian using the word "a'ole". It demonstrates how to negate sentences by placing "a'ole" before the subject and changing verbs from affirmative to negative. Several examples are given with different subjects, including cats, grandmothers, fathers, houses, mothers and teachers to illustrate the negation structure. Pronouns are also discussed and examples show they come directly after "a'ole" in negated sentences.
This document provides an overview of Hawaiian verb tenses and sentence structures. It discusses habitual present, past, present, future, and future intent verb forms. It also covers adding objects, locations, and adjectives to sentences. Key points include:
- Habitual present is implied and uses no tense markers. Past uses "ua". Present uses "ke" and "nei". Future uses "e" and "ana". Future intent uses "e" alone.
- Objects are added after the verb with "i". Locations use "ma" or "i". Adjectives can be added before the subject.
- Examples are provided to illustrate the different tenses and how to add
Ke and ka are used before nouns in Hawaiian to indicate "the". Ke is used before nouns starting with K, E, A or O, while ka is used before all other nouns. There are some exceptions to this rule where ka or ke is used instead. Nā is the plural form of ka and ke, so nā is used before plural nouns like "the flowers" or "the teachers".
The document summarizes the Hawaiian creation myth of Hāloa as told in the Kumulipo epic chant. It describes how Papahānaumoku (Earth Mother) and Wākea (Sky Father) gave birth to the Hawaiian islands and people. Their daughter Hoʻohōkūkalani later gave birth to twins - the first was Hāloanakalaukapalili, who was buried and from whom grew the first kalo plant, and the second was a healthy child named Hāloa, considered the first Hawaiian man. Hāloa and the kalo are seen as the elder and younger siblings of Hawaiians, with humans having the responsibility to care for the land
This document provides an overview of various aspects of traditional Hawaiian culture, including sports (paheʻe), symbols of royalty (lei niho palaoa and kāhili feather standards), uses of ʻawa root in ceremonies and medicine, lunar phases and heiau places of worship. It also describes games like pāpuhene and kilu as well as burial practices focused on protecting the iwi or bones of royalty which were believed to contain mana or spiritual power.
This document discusses mo'olelo and ka'ao in Hawaiian culture. Mo'olelo are legends and historical accounts that were passed down orally, so there may be multiple versions today. Ka'ao are fanciful stories or tales that may embellish mo'olelo. The document outlines the common structure of ka'ao, known as the "4 H's": Hua is the catalyst for the journey, Ha'alele is the separation from society to embark on the journey, Huaka'i is the journey itself involving tests and challenges, and Ho'ina is the return to society with new awareness or tools to benefit the community. Symbols and names within ka'ao also provide insight into the characters and
This document provides examples of Hawaiian sentences using descriptive predicates (pepeke painu) and locational predicates (pepeke henua). It demonstrates how to construct sentences using quality/trait descriptors with nouns, proper nouns and pronouns. It also shows how to negate descriptive sentences and provides reminders on grammar points like the optional use of 'awe and question formation.
This document provides examples of negative and positive commands in Hawaiian. For negative commands, use "Mai" followed by the verb and subject particle like "'oe" for "you." For positive commands, use "E" followed by the verb and subject particle. Mai and E can also be used to make suggestions, where "kāua" means "let's (not)" and "kākou" means "let's."
The document discusses Hawaiian beliefs and traditions surrounding dreams. It states that dreams are believed to be the experiences of the soul or 'uhane after the body falls asleep. Some dreams are meaningless, some are riddles to interpret, and others clearly foretell the future, good or bad. Understanding dreams is important as they can predict sickness, reveal sacred names, or teach songs or hulas. Dream interpretations have both widespread and family-specific meanings across Hawaiian islands. The document also briefly defines a kilu as a carved gourd or coconut shell used for storage, feeding children, or as a throwing game piece in rituals between men and women.
1) Mele are poetic songs or chants in Hawaiian that were used to convey stories, histories, and other meanings through symbolic language and imagery.
2) There are two main types of mele: mele oli which are chanted without music, and mele hula which are accompanied by dance and instruments.
3) Traditional Hawaiians chose words, phrases, and metaphors carefully in mele as some had double meanings or symbolism relating to people, places, and concepts. The hidden or "veiled" meaning was called kaona.
This document contains summaries of place names from across Hawaii. It provides the meanings and locations of places such as Līhuʻe on Kauai, meaning "cold chill", Waiʻanae, a land division on Oahu meaning "mullet water", and Kaunakakai, the principal town on Molokai meaning "beach landing". Over 50 place names from the Hawaiian islands are defined in the document.
This document discusses traditional Polynesian art forms including tatau (tattooing), tapa making, and weaving. It notes that tattooing traditions were similar across Polynesian cultures with regard to the status of masters and common motifs. Tapa making, the craft of bark-cloth, has different names in various Polynesian languages and cultures. Weaving was traditionally done by women from materials like pandanus leaves in Samoa, where fine mats were highly valuable family possessions. In Tonga, fine mats fringed with red feathers were important exchange items on ceremonies, and mats gained greater value with age as family heirlooms.
This document provides definitions and translations for over 30 place names from across the Hawaiian islands, primarily from the islands of Hawaii, Maui, and Kauai. Many of the place names refer to geographic features like valleys, streams, villages, and coastal areas. The definitions provide the literal translation of the names and sometimes brief contextual information about the places. The place names and their definitions are drawn from the reference book Place Names of Hawaii by Pukui, Elbert, and Moʻokini.
The document discusses Hawaiian beliefs and traditions surrounding dreams. It states that dreams are believed to be the experiences of the soul or 'uhane after the body falls asleep. Some dreams are meaningless, some contain messages or lessons that must be interpreted, and others clearly convey fortunes, names, or skills. Understanding the meaning of dreams was considered important, though interpretations varied between families and regions. The document also briefly defines a kilu as a gourd or shell used for storage, feeding children, or as a throwing toy in a flirting game where hitting a target earned a kiss.
This document provides an overview of traditional Hawaiian kapa (bark cloth) making and art. It discusses various terms related to kapa like "hana no'eau" which refers to clever work or artistry. It then describes the materials and tools used, including beating the paper mulberry bark with hardwood beaters to make the kapa. The document notes that kapa was often dyed and printed, then provides examples of kapa being used for clothing, hats, and quilts in Hawaiian culture.
This document summarizes key events in Hawaiian history from the loss of the lunar calendar through Christianity and Western contact to the land disputes of the 1840s-50s. It describes how the introduction of Western concepts like private land ownership through the Great Mahele and Kuleana Act resulted in many native Hawaiians losing title to thousands of acres, which fell into the hands of non-Hawaiians through debt and trade agreements. The document also notes the banning and licensing of hula performances during this period of cultural change.
This document summarizes place names from the Hawaiian islands and their meanings or significance. Many of the place names are associated with the demigod Kamapua'a and stories about him. The places mentioned span the main Hawaiian islands and include valleys, streams, hills, coastlines, and volcanic areas. The summaries provide brief translations and origins for the place names.
This document discusses the Hawaiian concept of kinolau, which refers to the multiple forms that gods and supernatural beings could take on earth, such as human, plant, animal, and other physical forms. It provides examples of kinolau attributed to Kamapua'a, the demi-god pig, including various plant forms like the candlenut tree, ʻuhaloa weed, olomea tree, and ʻamaʻu ferns. The document also briefly mentions the noni plant and names of winds and rains that are associated with different places in Hawaii.
This document provides an overview of Hawaiian environmental and land division concepts. It defines environmental kinship as the relationship between people and the environment they live in. It then discusses important Hawaiian environmental elements like land ('āina), sea (kai), and water (wai). It also describes local wind and rain conditions. The document explains the traditional Hawaiian land division system from the largest (mokupuni/island) to the smallest ('ili/small land area within an ahupua'a). It provides details on the components of an ahupua'a, the basic land division that extends from the mountains to the sea. It concludes with a definition of wahi pana, places of natural, cultural or historical significance
This document provides information about genealogy and tips for researching one's own genealogy. It discusses why genealogy is important, especially for Hawaiian people, as it was used to determine royal rank. Tips are given for interviewing family members and collecting information like birth/death dates and places. The document instructs on properly documenting genealogy using given names rather than nicknames and distinguishing between maiden and married names for women. It introduces genograms as a way to visually represent family trees and provides a sample Chong family genogram using Hawaiian terms.
The document discusses Hawaiian names, their meanings, and traditions. It explains that Hawaiian names have deep significance and were carefully chosen, often based on events at birth or prophetic dreams. Names preserved family lineages and honored ancestors. They could also reflect personality traits or natural phenomena. While modern names sometimes translate English names, traditional Hawaiian names provided insight into a person and held important associations through their meanings.
This document provides an overview of native spirituality and religious practices across Polynesia. It discusses:
1) The concepts of dualism, `uhane (spirit), and mana (spiritual power) that are central to many Polynesian religions.
2) Important gods and creation myths in various Polynesian cultures, including Rangi and Papa in Māori tradition, Ta'aroa and 'Oro in Tahitian tradition, and Tagaloa in Samoan tradition.
3) Important religious sites and structures like marae (sacred spaces) in Tahiti, Tonga, Rapa Nui, and Hawai'i, as well as the mo
Traditional Hawaiian beliefs included strict kapu or taboo systems governing what foods could be eaten and by whom, known as 'ai kapu. In 1819 after the death of Kamehameha I, his son Liholiho and Ka'ahumanu lifted the kapu and declared 'ai noa, allowing free eating without restrictions. This change ended the 'ai kapu system and led to the destruction of Hawaiian temples and idols.
This document contains notes from a Hawaiian studies class on chapters 4-10 of the text Mokuna IV - X. It includes summaries and analysis of passages, explanations of cultural concepts like heiau (ancient Hawaiian places of worship) and oli (chants), and definitions and stories related to various Hawaiian place names. The document synthesizes information from the class readings and discussions on traditional Hawaiian literature, culture, and history.
This document summarizes parts of a legend about Kawelo from Hawaiian history and culture. It includes Kawelo's chant to Kamalama urging him to retreat from battle and warning him to beware. It also lists several place names from Kauai mentioned in the legend, including mountains, peaks, streams, and valleys, along with their meanings or historical significance.
This document discusses concepts of mana, ho'omana, akua, and other aspects of Native Hawaiian spirituality. It defines mana as supernatural or divine power and ho'omana as empowering or authorizing. It describes akua as gods or goddesses and lists some major akua like Kāne, Kū, Lono and Kanaloa. It also discusses 'aumākua as family gods that could take animal forms, kinolau as the forms gods took on earth, and different realms for spirits like ao kuewa, ao 'aumākua and ao o Milu.
This document provides an overview of characters, places, and terms from the Legend of Kawelo. It includes descriptions of various gods, warriors, and chiefs involved in the story. Places mentioned include the Koʻolau mountain range where the character Kalonaikahailaau lived and the Nuʻuanu valley and cliffs on Oʻahu. Several chants from the story are also summarized, providing metaphors used to describe the characters and their roles in the conflict between Kawelo and Kalonaikahailaau. Traditional Hawaiian terms are defined, such as those relating to marriage customs, dwelling structures, and clubs or spears used in battle.
Kaweloleimakua is a legendary Hawaiian hero from Kauai. The story describes Kawelo's upbringing and training in martial arts. It introduces many characters including Kawelo's family and rivals from other islands. Place names mentioned provide geographic context and reference important locations on Kauai and Oahu that play roles in Kawelo's adventures. Chants and traditions and weapons are also outlined to immerse the reader in Hawaiian culture.