“he aha nāʻano laulā kālepa no ka makahiki 2015”

Makaʻāinana organized in many ways. They signed petitions, organized large public meetings, solicited assistance from Hawaiian and American politicians, composed songs, and published newspaper editorials. In 1897, makaʻāinana helped collect more than 21,000 signatures on a petition protesting annexation. On November 20, 1898, four delegates hand carried the petitions to Washington, D.C. They met with senators and congressmen and voiced the concerns of the Hawaiian people. This historic document, called the 1897 Kūʻē Petitions, is housed at the National Archives in Washington, D.C. There is also a copy at the Kamakakūokalani Center for Hawaiian Studies at the University of Hawaiʻi.
‘O ka inoa o kēia kaikamahine ‘o Helena Kalanilehua, a mamuli o ka u’i o kēia kaikamahine, ua ho’opi’i ‘ia ke kuko i loko o (‘Aiwohikupua), makua kāne kōlea no ke kaikamahine a kāna wahine me ke kāne mua, a lāua nō ho’i i hānai ihola a nui.
If you do wish to paddle, the paddling fee is only $10 for four sessions – an absolute bargain. The $10 per month paddling fee includes one paddling session each week (four paddling sessions per month) in clean, safe outrigger canoes – plus paddling tips and instruction. We strive to make it fun and safe for everyone. The paddling fee also includes use of a paddle and on-board canoe safety equipment.
Old Navy Men’s Blue PullOn Fleece Lined Hooded Ski Windbreaker Jacket, Size S. Heavy, blue hooded windbreaker jacket with black sleeves. The windbreaker has black fleece lining in the body of the jacket, the pockets and the hood.
In 2008, Keoua took his first weaving class from Gwen Kamisugi and Lorna Pacheco, both students of Aunty Gladys Grace. As he began to weave more, Keoua began to realize that he had a natural propensity for weaving and at times felt that his kūpuna were channeling and transferring their skills. Later that year, he learned to weave his first pāpale lauhala from Aunty Gladys Grace.
In 1990, at the age of 19, he met Kumu Hula Sonny Ching who was teaching at Pāki Park in Honolulu and joined Hālau Nā Mamo O Puʻuanahulu. His sisters, Kumu Lāhela and Kauʻi, would soon follow to become members. Coincidentally and unbeknownst to him, there was already a pilina between the two families that began with his mother and Kumu Sonny’s grand aunt Beatrice Nāhulu Lopes that maintained for 70 years until their passing. Additionally, his mother and aunts had danced for Kumu Sonny’s grandmother, Kumu Hula Lena Puaʻainahau Eleakala Nāhulu Guerrero in the 30s, 40s, and 50s. In September of 1993 he, along with three others, became Alakaʻi of HNMOP. It was at that time that he unknowingly embarked on his path toward becoming a Kumu Hula. He began developing his teaching skills with the keiki, the kāne, and later, the wāhine of the hālau. From 2000 to 2001, he groomed his vocal gift by studying oli with Kumu Hula Kealiʻi Reichel. It was in 2005 that he began to consciously purse his destiny as a Kumu Hula through an intense 6-year training for a Papa ʻŪniki. To aid his training, Kumu Sonny
The `ie`ie is a very important plant in hula and Hawaiian culture.  When found growing in the native forests of Hawai`i, its presence is an indication that the forest is established and in good health.  It also has a place of honor on the kuahu or hula altar.  Student participants will have a rare opportunity to engage in this comprehensive learning journey which will also include instruction on proper gather practices and preparations.  Haumana will learn how to weave a hina`i (basket) with a cover. Nā Ponohula participants will also learn an oli using their creation
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He moʻokūʻauhau ko ʻoukou, ʻeā? Pehea ka ʻāina? He moʻokūʻauhau ko ka ʻāina kekahi? He aha kekahi moʻokūʻauhau o ka ʻāina i maopopo iā ʻoe? Pehea ʻo Hāloa. He ʻohana ke kalo a me ka ʻāina no kākou. Aia ka ‘āina, ke kalo, a me ko Hawai‘i lāhui i ka mo‘okū‘auhau like. ‘O ka ‘āina a me ke kalo nā kaikua‘ana a ‘o ke kanaka ke kaikaina. Mālama ka ‘āina i ke kanaka a mālama pū ke kanaka i ka ‘āina i pono nā mamo a Hāloa. Hiki ke ʻike ʻia, paʻa ke kanaka a me ka ʻāina i ka moʻokūʻauhau like a he kuleana ko kākou e mālama i ko kākou kaikuaʻana, ʻo ia hoʻi ke kalo a me ka ʻāina.
I ka hopena pule, ua hele aku ‘o Leialoha i ka hale o kona tūtū. Ua ‘ike ‘ia aku ‘o Kalei e ia. Ua ‘ōlelo aku ‘o Leialoha, “E Kalei, hiki iā ‘oe ke kākau i ka mo‘olelo no ka‘u papa?” Akamai loa ‘o Kalei; he haumāna maika‘i ‘o ia. Ua ‘ōlelo mai ‘o Kalei, “‘A‘ole hiki. Hewa kēlā.” Huhū ‘o Leialoha. ‘Ōlelo aku ‘o ia, “Mai wahapa‘a mai ‘oe ia‘u! E kākau ‘oe i ka‘u mo‘olelo! E hele aku ‘oe i kahi ‘ē!” Ua mana‘o ‘o Kalei, “Auē nō ho‘i ē! Moloā loa a mākonā loa kēia wahine! Inā pēlā, e a‘o aku au iā ia he ha‘awina.” No laila, ua ‘ōlelo aku ‘o Kalei, “Hiki nō. E lawe aku au i ka mo‘olelo i ke kula i ka lā ‘āpōpō.”
Several students, over the past four years, have gone beyond the classroom when it comes to perpetuating the language of our kūpuna. These individuals have not let their native language hamper them, but rather have used it as a stepping-stone in learning other languages. These classmates have simultaneously taken two language classes, Hawaiian and either Japanese, Spanish, or French. In the same sense, there are many students who have excelled academically through the years while continuing to study the Hawaiian Language. One-third of the students in my Hawaiian 5 class will be graduating tonight with Honors diplomas. Our culture does not have to be a roadblock to accomplishing great things, as some people may think. Kamehameha is headed in a positive direction. The “best” of both worlds — excellent scholarship and understanding of nā mea Hawai‘i — can be achieved, but only if we dedicate the time, effort, and belief in making it happen.
The lapaʻiki or small drum is a perfect accompaniment to the hula pahu. Learn the steps of making a lapaʻiki and finish your own instrument under the tutelage of Kumu Keone Turalde. Participants will learn a hula and mele pahu.
Ma hope iho, kāhea ‘o Pāpā i nā keiki kāne. ‘O kēia ka manawa no ka ‘aina awakea. He mau musubi a he mau mea ‘ono pua‘a kā lākou. ‘Eiwa a lākou musubi. ‘Ehā a lākou mea ‘ono pua‘a. Pōloli loa nō lākou. ‘Ai lākou i ka mea ‘ai a pau. Hō‘olu’olu lākou i ka manawa lō‘ihi. Noho lākou a nānā i nā kānaka he‘enalu. Hiki i ke keiki kāne lō‘ihi loa ke he‘enalu me ka maika‘i. “Hū! ‘Oi aku ka he‘enalu o ke keiki kāne ma mua o‘u,” i ‘ōlelo ai ‘o Pāpā. “He kā‘e‘a‘e‘a pulu ‘ole no ka he’enalu,” i ‘ōlelo ai ‘o ia.
For our story on the monument in the current issue, “The Far Atolls,” Pulitzer Prize-winning journalist Kenneth Weiss spent twenty-five days exploring the monument aboard a NOAA research vessel, sailing from Honolulu to Kure Atoll and back. Though the current issue is available digitally only through download, we’ve posted the story in honor of the WCC and the President’s visit. Read, comment, share and as always mahalo for reading.
Today, you can visit Aunty’s daughter, Mele, at the shop.  Mele has so much of her mother in her, and she is dedicated to carrying on the family tradition of Hawaiian featherwork.  If you don’t want to make a feather lei, you can also purchase some of their amazing work at the shop.  Or if you want to just get a taste for Hawaiian featherwork and see some incredible pieces, stop in just say hi. 🙂
The store is a nice and cozy little store. The store offers very reasonable and very unique feathers to make leis. Feathers from the goose, to the rooster, to the peacock, to peasant, etc are all in the store ready for your selection. Prices are very reasonable, and Mele is always willing to give you a quick tip or hint if you ask. There are several ready-made lei hulu for sale in a display case – made by the aunties and their haumana (students). My favorite thing in the store is the royalty cape made purely of yellow and red feathers. It’s one of Aunty Mary Lou’s most famous masterpieces!

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One Reply to ““he aha nāʻano laulā kālepa no ka makahiki 2015””

  1. Nā Kālai Waʻa (NKW) has been offering educational experiences to our community since the birth of Makaliʻi in 1995. Programs range from a wide variety of sails to dry dock experiences and service to communities from Hawaiʻi Island and the larger Pacific.
    E huakaʻi ana nō ka papahana ʻo Nāaoloa Iāpana o ke Kulanui o Hawaiʻi ma Hilo i Tokyo a me Hokkaido.  ʻAkahi nō a lohe kūhelu mākou mai ka ʻAha ʻAmelika-Iāpana (U.S.-Japan Council) no ke kipa ʻia ʻana nō o ia mau kūlanakauhale ʻelua e nā haumāna. Eia mākou ma Hilo, Hawaiʻi me ke anilā mehana a ʻoluʻolu, he 86 kekelē Palanaheika.  A ma Sapporo (Hokkaido), Iāpana, huʻihuʻi nō ke anilā me ka heleleʻi liʻiliʻi ʻana o ka hau, he 30 kekelē Palanaheika.  He ʻūlu ana kā mākou hana i nā lole mehana a he aʻo i ke ʻano o ke komo ʻana i ka lole kekahi ma luna o kekahi, ʻo ia nā hana o kekahi hālāwai ʻana o mākou.
    In Hawaiian culture, featherwork was a sign of mana (spiritual prestige) and status. Feather cloaks, helmets, and lei were worn only by chiefs and thousands of feathers were gathered from native birds to create these symbols of Hawaiian royalty and power. They were passed down from generation to generation, warriors would seize cloaks and helmets from defeated rivals, and feather items were given as gifts to convey favor . . .
    A wela nā pōhaku, kīpapa ʻia nā pōhaku ma lalo o ka imu a ma hope o kēlā, ua wikiwiki loa ka hana.  I ia manawa, laulima mākou no ka nui o ka hana a no ka wikiwiki.  Hoʻokomo ʻia nā pā kini ʻiʻo, ka pūmaiʻa i kīhaehae ʻia, ka lau maiʻa, ka lāʻī, nā ʻekemauʻu, a laila ke kapolina i ʻole e pakele aku ka māhu.  A hoʻomaha ihola mākou.
    Makaʻāinana often were referred to as “kupa o ka ʻāina,” those familiar with the land. Kupa describes the close relationship that makaʻāinana had with their specific ʻāina. This relationship is a product of decades of living on, cultivating, and being nourished by that land. This close relationship allowed makaʻāinana to perform their tasks efficiently.

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