“kahi e hiki ai iaʻu ke kauoha aku i nāʻaʻahu lole”

This story appears in the November 9, 1922, edition of the Hawaiian language newspaper Kuokoa and explains the circumstances behind the composition of “Aloha ka uka i ke onaona / I ke kāhuli ‘alohi a ka lau o ke kukui,” the mele ho‘āeae with which the mo‘olelo opens.
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I’m not saying this because I taught then everything they know, but damn my sister’s can cook!!! I had the fried shrimp and spicy kalua fried rice and it was da’licious!!! Definitely going so by again when I’m in the SD area.
This sale is for a 100% rayon Hawaiian shirt from QuikSilver in size XL. There is one large pocket, 2” side vents, & coconut buttons. Armpit to armpit is 26 1/2” & the length is 31”. This shirt was made in U.S.A. & is in excellent condition.
1  ¶  E mililani aku iā Iēhova, e kāhea aku hoʻi i kona inoa;     E hōʻike aku hoʻi i kāna mau hana i waena o nā kānaka. 2 E ʻoli aku iā ia, e hoʻoleʻa aku iā ia;     E hoʻokaulana aku i kāna mau hana a pau. 3 E kaena ʻoukou ma kona inoa hoʻāno,     E leʻaleʻa hoʻi ka naʻau o ka poʻe ʻimi iā Iēhova. 4 E huli ʻoukou iā Iēhova, a me kona ikaika;     E ʻimi mau loa aku hoʻi i kona maka. 5 E hoʻomanaʻo i nā hana mana āna i hana ai,     A me kāna mau mea kupanaha,     A me ka hoʻoponopono ʻana o kona waha: 6 E nā pua a ʻAberahama, a kāna kauwā,     E nā mamo a Iakoba, kona mea i wae ai. 7 ʻO ia nō ʻo Iēhova, ko kākou Akua:     Aia ma ka honua a pau kāna hoʻoponopono ʻana. 8  ¶  Ua hoʻomanaʻo mau mai ʻo ia i kona berita,     I ka ʻōlelo hoʻi āna i kauoha mai ai i nā hanauna, he tausani;
To summarize this story: a Honolulu couple marries and has a daughter – Helena Kalanilehua – who grows into an intelligent, beautiful young woman. Helena’s father dies, and her mother finds a new partner – Hōlanikū – who secretly forces himself on Helena. Helena, in the meantime, is being courted by Ioane Kaahai, a young man whose impressive wit and appearance complement Helena’s own highly desirable ‘ano. Hōlanikū notices their flirtatious behavior, becomes jealous, and disguises his lili as fatherly concern for his step-daughter’s virtue. When he is called away to Hawai’i Island to tend to the affairs of his ailing older brother, Hōlanikū admonishes his wife and mother to keep careful watch over their young beauty. Helena and Ioane, however, immediately conspire to consummate their relationship. He climbs into her window, they spend the night together, and their apparent success at clandestine love results in their “heepuewai i na manawa a pau a hiki i ka hoi ana mai o ka makua kane pauaka” (repeated trysting until the return of the deviant father).
In his criticism of Richard Price’s work among the Saramaka of Suriname, Said suggests that this failure of Anthropology to transcend cultural relativism is more than a methodological one, but is also ethically and morally vacuous.  To illustrate the point, Said describes Price’s decision to reveal the secret information entrusted to him by the tribe in his scholarly writing.  Said’s contention is that such disclosure violates the Saramaka’s ability to manage their own cultural self-determination in precisely the same way that colonial overlords historically interfered with their political and social institutions.  Said goes on to emphasize that there is value in Price’s work, but in so doing highlights a perceived naiveté among some Anthropologists for the marginalizing effects their work may have.
ʻŌiwi TV produces top-quality documentaries, news and multimedia content from a uniquely Hawaiian perspective. The wisdom, beauty and power of Hawai‘i are the backdrop to the most important and interesting narratives of our generation. Founded by Nāʻālehu Anthony, Keoni Lee, and Amy Kalili, this next generation of Native Hawaiian storytellers aim to tell the stories of our land and our people.
According to Kaʻilihou, “They grew in the process from initially being a bit nervous to debate their professors on the issues at hand and being able to articulate themselves using proper and correct Hawaiian. But they were well-prepared and once they relaxed, they really started to apply their knowledge naturally. To me, that’s a huge win all around!”
I truly enjoyed my 1st March with my daughter on January 21st (just so happened it was also my birthday that day. What a way to spend that day! Will there be any more marches or fundraisers to combate this regime that is now in the White House?
Some ten years later, in an article entitled Representing the Colonized: Anthropology’s Interlocutors, Said elaborates on these concepts and takes a much harder line.  Here, the author emphasizes a crisis of representation in Anthropology and argues that the discipline has largely failed to effectively confront its own history as a cog in the colonial machine.  From my perspective, his critique is a fair one where he describes the Anthropological tendency to seek out “un-developed” non-Western societies for research characterized by classification and observation of the powerless by the powerful.  The resulting representations of the people observed is necessarily a translation of “Otherness” into the discursive language of the Anthropologist and their particular culture.
Lashio became important during the Sino-Japanese War resp. World War II as the Burmese terminus of the Burma Road 1938-45. In World War II, Lashio was taken by the Japanese April 29, 1942 and liberated by the Allies March 7, 1945.[4]
There is a repository of historical Hawaiian language materials that is an invaluable cache of knowledge that documents Hawaiʻi from ancient times through much of the 20th century. Long lying dormant, technology has made the material far more accessible and there is a growing need to make use of this historical knowledge today. The Hawaiian newspapers alone contain over a million letter-sized pages of published material that illuminate many facets of Hawaiʻi’s past, yet only a tiny fraction has ever been tapped. There remains a historical treasury of local and international events, regional reporting, editorial and political essays, historical accounts, native and foreign literature, cultural descriptions and narratives, as well as advertisements and announcements that clarify business and government practice spanning the 19th and early 20th centuries. The published materials illuminate and frame other archival resources, such as government records, archival manuscripts, and audio recordings.  Less than 3% of this vast archival warehouse of historical accounts has been translated.
I ka uhi ‘ana mai o ka noe a waka (pō’ele’ele), a nalowale kai o Kea’au, huli maila ‘o Kaahai e ho’i no Kahehuna, ka pahuhopu, ‘oiai ho’i ‘o Helena e hī’ō ana i loko, i waho me ke ake nui e hui koke me Ioane.
Participants will make a small pahu or hula drum. This is an intensive workshop on how to finish the drum, lash the skin of the drumhead to the lapaiki. Nā Ponohula participants will learn to perform an oli using the lapaiki.
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 to say hi. 🙂
Robert’s hula career began when he met his kumu, Maiki Aiu Lake, while a student at Kamehameha Schools. Robert was part of Aiu’s largest, and possibly most famous, 1973 ʻUniki Lehua class. It is during this time that Robert his kumu and her mantra, “Hula Is Life.”
Ua ‘ike ‘o Leialoha. No laila, hana ‘ino ‘o ia iā Kalei. Ua ‘ōlelo aku ka wahine moloā, “E Kalei, hiki iā ‘oe ke ho‘oponopono i ka hale ka‘a?” Ua ‘ōlelo mai ‘o Kalei, “Hiki nō.” A ua ho‘oponopono ‘o ia i ka hale ka‘a o ko Leialoha tūtū. Ua ‘ōlelo aku ‘o Leialoha, “E Kalei, hiki iā ‘oe ke kuke i ka ‘aina ahiahi na‘u?” Ua ‘ōlelo mai ‘o Kalei, “Hiki nō.” A ua kuke ‘o ia i ka mea ‘ai ‘ono nāna. Hū, ka moloā o Leialoha!
Ua piʻi aʻela ʻo Kauhi i uka i ka hale o Kahalaopuna. Hahai akula ʻo Kahalaopuna i kāna kāne a ka pōhaku nui i ʻAihualama, kekahi ʻili ʻāina i uka lilo o Mānoa. Ma laila ʻo ia i hili ai iā ia i ka ʻāhui hala a pā kona poʻo a hāʻule ihola ʻo ia. Me ka ʻāwīwī ʻo ia i kanu iho ai i ke kino make o Kahalaopuna ma kahi o ka pōhaku nui, a iho akula i ke awāwa no Waikīkī. ʻAʻole ʻo ia i mamao aku, ua hōʻea maila he pueo nui, ko Kahalaopuna ʻaumakua, a hoʻomaka koke ihola ua pueo nei e hoʻōla iā Kahalaopuna a ola hou.
A laila, ua hoʻomaka kēlā me kēia pūʻulu o nā pūʻulu ʻehā i kekahi haʻiʻōlelo/hōʻikeʻike no nā mea a mākou i manaʻo ai he kōkua no ka maʻa ʻana i ka moʻomeheu Kepanī iā mākou ma laila.  Ua like nā kumuhana o nā pūʻulu me ke Kumu Honua Mauli Ola:  pili ʻuhane, lawena, ʻōlelo, a me ka ʻike kuʻuna.
POSITIVE   Local hang, very good food.. This is a place that I don’t think needs to hang a big sign out on the belt road nor does it need to advertise. It has excellent food…perhaps some of the best on the island. And even more surprising if you hit it on a Friday or Saturday night, you will find that it perhaps has some of the best local music in town.
No, I am not a lei maker nor a hula dancer but was in the market for a very “special” feather lei to be given to a Kahunanui. I had no idea where to get a “special” feather lei, let alone “a feather lei a gift’??? There is protocal when it comes to gifts to Kahunanui’s and I didn’t know where to begin. So, I contact my fellow yelper Marko M. who, without missing a beat, fires off an email to me explaining 1) where I should go, 2) what I should get, 3) who I should speak to, etc.  Taking his advice….
Me ke kāhāhā nui, ‘ike akula ‘o ia i ka mo’opuna āna, e waiho mai ana ke kula o Kaiolohia i ka La’i-luahine, a ‘ike akula ‘o ia i kēia keiki hapa Kaleponi e moe ana ma ka ‘ao’ao o kāna mo’opuna, e huli ana ke alo i luna, ‘a’ohe wahi koupu o lāua a ‘elua, a ‘ike pū akula nō ho’i ‘o ia i ke kumu ma’oma’o e kū ana i ke kula o Nininiwai, ua pehia iho e ka makani lawelawe mālie o ‘Īloli a waiho wale ka i’a ho’omalu a ke Konohiki, i ho’ohiki au i ku’u mea nani a ‘ike ‘oe.
Nā Pono Lawaiʻa—Hoʻomanaʻo ʻoukou i nā pono lawaiʻa i nānā ʻia ma ka Hale Hōʻikeʻike Iʻa o Waikīkī? He aha nā mea e pono ai ka hana ʻana i nā pono lawaiʻa? Pono nā lāʻau o ka ʻāina a me nā iʻa o ke kai (ke kīholo, ka ʻupena, a pēlā aku). No laila, pili ka ʻāina a me ka kai, ʻeā? Ma hea e ulu ai nā lāʻau e laʻa ka ʻōhiʻa lehua a me ke kauila? I uka nei. E ʻikemaka ʻoukou i kēia mau lāʻau ma ʻaneʻi i kēia lā.
When a child is troubled and hesitates to say just what the problem is, Hawaiian elders will often say “Nānā i ke kumu.” They are saying, “Find a place where you can sit quietly, and look within yourself for the source of what troubles you, for there you will also find strength within your inner spirit with which to deal with the trouble.”

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