“kahi e hiki ai iaʻu keʻimi i nā lole hana lole”

Ke kiʻi ma ka’ākau, E hoike mai i kaʻeho ka huamoa o ma ka hapalua. Radiologists ana i ke ahonui o ko lakou naau i ka ike e imi ana i ka ikaika Ka maʻi ‘aʻai pepehi ai a pau i ka mea i manaoia me nā māhele uuku o ka pāhawewe.
Paddling is not mandatory for membership in Hana Hou. If you prefer, just come for the fun, friendship, and Hawaiian music. Here, we don’t judge you by the size of your biceps or the length of your paddling experience – to us, the best club members are the ones having the most fun.
Catherine Maxwell read English literature for her BA and D.Phil. at St Hugh’s College, Oxford where she was subsequently a British Academy Postdoctoral Fellow from 1990-1993. She then joined the School of English and Drama at Queen Mary, University of London, becoming Professor of Victorian Literature in 2009. She is the author of The Female Sublime from Milton to Swinburne: Bearing Blindness (Manchester University Press, 2001), Swinburne (Northcote House, 2006), and Second Sight: The Visionary Imagination in Late Victorian Literature (Manchester University Press, 2008), as well as numerous articles on Victorian poetry and prose.
I think that this olelo no’eau means to look up to others when you need help and support. The people you can look up to are your older siblings, parents, teachers, and elderly. These people can be sources because you can trust them. They set examples for us. You can gain tons of knowledge from them.
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.
When we speak in contemporary terms of rebuilding the nation as fundamental to a Hawaiian future, I cannot think of anything more important than for us to pull out all the stops to accurately reconstruct our past: to know with a high degree of certainty where we’ve been, to validate who we really are as a people, to be able to define our cultural past in ways that can guide us to our cultural future.
aesthetic ambergris aromatic Art of Perfumery Arthur Symons associated Baudelaire beauty blossom bouquet Bradley Bradley’s breath Charles cited civet cologne colour Cooper Critical decadent delicate eau de cologne edition Eliot English essay essence exotic fin de siècle floral flowers fragrance French garden Gosse Greek hair heliotrope Ibid imagination incense influence Jenny John Addington Symonds Lady Lafcadio Hearn Letters lilies literary literature lover Lubin Luca Turin lyric Mackenzie Mary meadowsweet memory Michael Field modern musk natural nineteenth century notes novel odor odour olfactory one’s Oscar Wilde patchouli perfume Perfumery Piesse Piesse’s pleasure poem poet poetic poetry published Raffalovich Ricketts rose scent seems sense of smell sexual Shelley Shelley’s soap song sonnet soul speaker Studies suggests sweet Swinburne Swinburne’s Symonds’s synthetic T. S. Eliot texts tuberose verse Victorian violets Virginia Woolf vols London Walter Pater Wilde’s William woman women word writes York
It wasn’t until her recent years that Mele realized the importance of this art and what it would mean to continue the legacy of her grandmother. After Aunty Mary Lou’s passing in 2008, Mele stepped up her involvement with feathers to help her mother, Paulette Kahalepuna.
Ch.11 p.58 para.3 sent.2 Malia paha o lilo ka ʻaʻā mau ʻana a ke ahi i nā pō a pau i mea no ke aliʻi e uluhua ai, a laila, hele mai e nānā iā kākou, a laila, pēlā paha e ʻike ai kākou iā Lāʻieikawai.” perhaps the fire burning every night will annoy the princess so she will come to find out about us, then perhaps we shall see Laieikawai.”
I kekahi lā, ua ‘ike ‘ia aku kekahi kāne u‘i e Leialoha i ke kula. He papa kā Leialoha me ke kāne u‘i. I ko Leialoha manawa i ‘ike iā ia, ua mana‘o ‘o Leialoha, “Hū, ka u‘i o ke kāne! Makemake au iā ia! Makemake au e hui i kēlā kāne.” Akā, ‘a‘ole ‘o ia i ‘ōlelo iā ia. He mana‘o ko Leialoha.
Bio: Keoua Nelson grew up in Napoʻopoʻo, South Kona on the hores of Kealakekua Bay and comes from a long line of lauhala weavers from Kona; both of his great-grandmothers, Lucy Keliʻihelewalemahuna (Kaʻalekahi) Grace and Gracey Kaleihulumamo (Grace) Gaspar, learned their skills from their mothers. While the women in the famiyl were relegated to weaving the lauhala products, it was the men in the family who were tasked with caring, cleaning and preparing leaves from the pū hala.
a’aka alaka’i alau Hula Ali’i aloha spirit Anuenue art of hula audience Auntie beauty began blessed cAiia cAkeakamai Cazimero chant Chinky Mahoe dancing hula feel flowers Genoa Keawe halau haumana Hawai’i Hawaiian cul Hawaiian culture Hawaiian language Hawaiian music Hawaiian tradition healing heart heritage Hi’iaka ho’ike Holokai honor hula auana hula dancer Hula Festival Hula Halau hula kahiko hula school hula sisters Hula Studio hula teacher Ilima invited Iolani Japan Kaholokula Kalakaua Kalama Kaleinani Kamehameha Hula Competition Kaua’i Kawaili’ula Ke’ena keiki King Kamehameha Hula knowledge kumu hula kupuna learned hula Leilani Leimomi leis lives love of hula luaus Mahalo Mana’a mele mentors Merrie Monarch Festival Mokihana mother O’ahu ohana Pacific Islands perform perpetuate Polynesian Cultural Center Polynesian Dance pono Puamohala respect share Shari song spirit of aloha studying hula Ta’a teach hula tion Tulama ture uniki Vicky wahine
I ka hiki ‘ana i ka manawa, ua ho’okō akula ‘o Ioane, iā ia i hiki aku ai ma kahi i kuhikuhi ‘ia mai iā ia, ‘ike ‘i’o akula ‘o ia, e kau ana ka pukaaniani i luna, aia nō ho’i ke kama’āina ke kali maila me ka mana’o i kāna malihini.
“I think its very important for Lānaʻi kids because being on a rural island, we hardly get experiences like this, so I think it’s a good cultural experience for all of our students to come down.” says Nā Pua Noʻeau Lānaʻi Site Coordinator, Chantell Schilling.
Through the years NKW has found that the canoe is the perfect educational platform to engage learners, both local and international, in basic academics, especially math and sciences. These STEM programs are perfectly married to the cultural aspects of voyaging so well that often students don’t even realize that they are performing tasks from simple measurements and conversions of units to complicated physics formulas that determine speed. Program curriculum has been designed to best suit each group and program that visit us.  When our learners see the direct application of these STEM and other academic skills in a cultural setting, it is easy for them to see the relevance to their everyday lives as well.
Sharp dressed couple sitting for a full length portrait shot taken at the Daisy Studio. Memphis, TN, Vintage African American photography courtesy of Black History Album. I love the Memphis Daisy studio images.
This place has pretty decent food. My Reuben sandwich was quite tasty. However, my wife’s Loco Moco was just average. The gravy just wasn’t super  tasty, and it’s the most important part of a Loco Moco.
Participants will learn to make two different styles of ʻUlīʻulī or hula rattles; one with a poʻo hulu and one with lauhala handle and no poʻo. Nā Ponohula participants will learn an oli or hula using the ʻUlīʻulī.
The Student Leadership Development Program hosts the Ka Lama Ku Student Advisory Council, which consists of UH Hilo’s student leaders and UH Hilo alumni. The Ka Lama Ku Student Advisory Council annually hosts the Ka Lama Ku Student Leadership Conference of UH Hilo, and the Ka Lama Ku Student Leadership Recognition Awards. The Student Leadership Development Program also hosts the nationally recognized ‘Student Leadership Challenge’ in which students explore their leadership utilizing the Five Practices of Exemplary Leadership.
ʻO nā hana o ka Hale Kuamoʻo, ʻo ia ka hoʻopuka haʻawina kula, ka hoʻomākaukau kumu, a me ka hoʻopuka hōʻike mākau ʻōlelo Hawaiʻi; ka hana a me ka kākoʻo i nā papahana moʻokalaleo, lēkiō, kelewikiona, kelekaʻaʻike, nūpepa a me nā mea pāpaho a pāheona like ʻole ma ka ʻōlelo makuahine; ka paipai ʻana i ka ʻōlelo Hawaiʻi ma ke ʻano he ʻōlelo ʻelua me ka hoʻohana i ka ʻike i loaʻa i loko a i waho o Hawaiʻi nei; ka hoʻoikaika no ke ola a me ka laupaʻi aku o ka ʻōlelo Hawaiʻi ma ka noiʻi ʻana a ma ka hoʻopuka ʻana nā palapala ma ka ʻōlelo Hawaiʻi e pili ana i ka pilinaʻōlelo Hawaiʻi a me nā huaʻōlelo Hawaiʻi me ke komo pū o nā huaʻōlelo hou i haku ʻia no kēia au hou ma lalo o ka Hale Kuamoʻo.
Thanks for using my oleo noeu from oli!:) I think the olelo noeu means that you should learn from your sources and keep on learning everyday. Even though sometimes it may be stressful you are going to relize that you need it in the future. Also that we should be alert and focused on what we are learning. Sorry I couldn’t scan the QR code it said I needed a flash drive update on ever device I used. Sorry
ʻO ClickBank ka mea kūʻai aku o nā huahana ma kēia pūnaewele. CLICKBANK® he laikini i kākau inoaʻia o Click Sales Inc., kahi hui Delaware ma 1444 S. Entertainment Ave., Suite 410 Boise, ID 83709, USA a hoʻohanaʻia ma kaʻaeʻana. ʻO ka hana a ClickBankʻoiai he mea kūʻaiʻole ka mea kūʻai kūʻai, hōʻoia a nānā paha i kēia huahana a iʻole kekahi kuleana,’ōlelo a manaʻo paha i hoʻohanaʻia no ka hoʻolahaʻana i kēia mau huahana.
E ka poʻe i aloha i ka ʻāina, welina mai me ke aloha. Eia nō mākou ke holo kaulua nei ma kekahi o nā waʻa hanohano o Oʻahu a Lua lā, ʻo Hōkūleʻa lāua ʻo Hikianalia. Ua haʻalele aku nei nō mākou i ka ua Kanilehua o Hawaiʻi nui kuauli no ka holo ʻana aku i Laniloa, ʻo ia hoʻi o Rangiroa, ma ka huina moku o nā Tuamotu, a noke ana i ka holo a pae aku i Papeʻete ma Tahiti, kahi i pae ai ʻo Hōkūleʻa ma ka huakaʻi mua i ka makahiki 1976.
I am using as a historical reference for my novel set on the Big Island. my visit to the island have made me feel connected to a historical spirituality that I would like to incorporate into a novel which requires some factual knowledge… Hoping to prevent having native academics heavily criticize my efforts.
Although this story is not as satisfying in content or resolution as is Kīlau Pali’s previously published “Ke Mele a me ke Kaona o ia Mele i Haku ‘Ia” (Kuokoa, October 9, 1922; Kaleinaman: E Kū i ka Hoe Uli, v.3, Summer 2004), it is still of considerable interest to students of “‘ōlelo ‘ano lua” and the hoʻāeae: the story frequently employs language of the highest and most poetic sort; it gives the ho’āeae chant-form a specific social and historical context; it offers a glimpse into the manner in which the skills of a 19th century master chanter were engaged; and it encourages a redefinition of the ho’āeae as a distinct genre of poetry – and not simply as a set of vocal qualities with which an oli is delivered.
The ʻāina feeds us. The term “makaʻāinana” means “people who attend to the ʻāina.” ʻĀina is central to the kuleana of the makaʻāinana. And it is the makaʻāinana who keep us in balance with the ʻāina. 
There were prizes to win through raffles, special awards for participants of the event, live music by Fred’s Garage and a special guest appearance from Elvis (Maui’s own Darren Lee of Burn’n Love). The event was hosted by Joe Hawkins from KPOA 104.7 FM; the radio station was a sponsor of the event, along with 5A Rent-A-Space, Fred’s Garage, the Rotary Club of Upcountry Maui and Whaler’s Village.
JapanesePod101.com aims to have you speaking Japanese after just one lesson! Our lessons focus on pronunciation and listening comprehension, so that you can start practicing what you learn from our professional teachers. Inside the PDF lesson notes, you will find the necessary tools for reading comprehension, and thorough explanations of phrases and key grammar points, in addition to a segment dedicated to cultural information. To address speaking practice, we have an easy-to use voice recorder on every lesson page so you can compare your pronunciation to our teachers’ and continue to refine your speaking skills.
It’s so hard to come across a legit food truck where the price can match the quality of what you’re eating, and I can’t wait for this one to come back, and taste another piece of the menu.   They were very friendly (not very many food truck occupants are) and the food was delicious.   Bonus… They told me how long the food would take, so I wouldn’t be sitting there angrily.   I chose to devour (because thats what I did) the kalua pork burger, and returned to work with a mini food coma.  Good!
On October 7, 2011, the 25th Anniversary of Hālau Nā Mamo O Puʻuanahulu, in the quiet surroundings of Kaʻaʻawa, seven Alakaʻi had their ʻŪniki along with twelve ʻOlapa. While the “training” lasted 6 years, everything Kumu Sonny had taught them from the time they became members of the hālau was in preparation for that day. However, it was the Luna Loiloi—Kumu Hula Hōkūlani Holt-Padilla, Kumu Hula Kealiʻi Reichel, Kumu Hula Nālani Kanakaʻole, and Kumu Hula Leinaala Kalama Heine—that made the final decision as to whether the candidate would pass their ‘ūniki. It was especially prolific that Kumu Lōpaka and his sister, Kumu Lāhela, who had been a part of every important hula experience in his life, and the five other Alaka‘i would be deemed worthy of the title of Kumu Hula together. The following morning, Kumu Sonny presented his seven pua; the lālā of Hālau Nā Mamo O Puʻuanahulu, to their ʻOhana, Hoaloha, and fellow Kumu Hula. It was at this moment that all seven were welcomed into the guild of Kumu Hula publicly—it was one of the most beautiful experiences of his life.
Kū ka paila o ka ʻike!  He mau ʻikepili nohie paha i kekahi o kākou akā he loli nō, keu aku no nā haumāna i huakaʻi mua ʻole aku ma waho o Hawaiʻi nei.  E paʻa auaneʻi ka ʻike ma mua o ke kau ʻana ma luna o ka mokulele.
When Mary Kawena Pukui included “Nānā i ke kumu” in her book of ʻōlelo noʻeau, her translation of the phrase was “look to the source.” I was taught your “source” was one’s kupuna, history, genealogy, the actions already completed from which one should learn.  However, when I recently came across a phrase I didn’t quite understand, I found myself looking to a different source.
The definition he shared for ‘āina as place has always struck me as being concisely intuitive and easy to remember. He said that ‘sense of place’ involves both the feel of a place, and the feel for a place. He taught us that place is personally defined for people by their own “locational experiences,” bridging of and for. He urged our business team to open our company with a spirit of hospitality creating fertile ground for stakeholders to gain place-connected experiences while they were involved with us. They could then feel for themselves what the Aloha spirit was all about, of and for. He explained this as key to being “culturally correct” in the way we shared Hawai‘i with visitors as well: A guest experience could be a locational experience too.
“I am going to ask you as you march peacefully to reflect upon the reasons you are marching” said Maui march organizer Vergie Cantourna before the march began. Members of the crowd reflected and shared the reasons they attended the march.
Iā Kauhi e iho ana i kai, lohe ʻia aʻela ʻo ia i ke oli ʻana mai o Kahalaopuna ma hope ona. Pēlā ʻo ia i ʻike ai, ua ola hou ʻo Kahalaopuna. No laila, piʻi hou aʻela ʻo ia i uka no ka pepehi hou ʻana i kāna wahine uʻi. Ua hili hou akula ʻo ia i ke poʻo o Kahalaopuna i ka ʻāhui hala a make. Kanu hou ihola ʻia kona kino i ka lepo a haʻalele akula iā Mānoa. Hoʻōla hou ihola ke akua pueo iā Kahalaopuna i ka hoʻi ʻana o Kauhi i kai. A oli hou akula ʻo Kahalaopuna i ke mele no Kauhi.

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One Reply to ““kahi e hiki ai iaʻu keʻimi i nā lole hana lole””

  1. #sonnyching #sonnychingstyle #sonnychingcollection #sonnychingjewelry #SCcollectionbyparadisus #sonnychingbling #aotd #māui #jewelry #jewelrydesigner #style #stylehawaii #kakau #ohekapala #fromaculture #culturallyinspired #hawaiian #hawaiianstyle #hawaiianjewelry
    Implied by Said’s analysis is a kind of “Occidentalism,” which suggests that the Orient discursively represents itself through the unequal power dynamic that paralyzes the colonized and blinds the conqueror to their own agency.

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