Volume one gives an indepth discussion of major Hawaiian culture concepts, providing insights into both their ancient and modern significances and volume two traces the ancient Hawaiian social customs practices and beliefs from birth to old age.

Surfing has been a significant sport and cultural practice in Hawai‘i for more than 1,500 years. In the last century, facing increased marginalization on land, many Native Hawaiians have found refuge, autonomy, and identity in the waves. In Waves of Resistance Isaiah Walker argues that throughout the twentieth century Hawaiian surfers have successfully resisted colonial encroachment in the po‘ina nalu (surf zone). The struggle against foreign domination of the waves goes back to the early 1900s, shortly after the overthrow of the Hawaiian kingdom, when proponents of this political seizure helped establish the Outrigger Canoe Club—a haoles (whites)-only surfing organization in Waikiki. A group of Hawaiian surfers, led by Duke Kahanamoku, united under Hui Nalu to compete openly against their Outrigger rivals and established their authority in the surf. Drawing from Hawaiian language newspapers and oral history interviews, Walker’s history of the struggle for the po‘ina nalu revises previous surf history accounts and unveils the relationship between surfing and colonialism in Hawai‘i. This work begins with a brief look at surfing in ancient Hawai‘i before moving on to chapters detailing Hui Nalu and other Waikiki surfers of the early twentieth century (including Prince Jonah Kuhio), the 1960s radical antidevelopment group Save Our Surf, professional Hawaiian surfers like Eddie Aikau, whose success helped inspire a newfound pride in Hawaiian cultural identity, and finally the North Shore’s Hui O He‘e Nalu, formed in 1976 in response to the burgeoning professional surfing industry that threatened to exclude local surfers from their own beaches. Walker also examines how Hawaiian surfers have been empowered by their defiance of haole ideas of how Hawaiian males should behave. For example, Hui Nalu surfers successfully combated annexationists, married white women, ran lucrative businesses, and dictated what non-Hawaiians could and could not do in their surf—even as the popular, tourist-driven media portrayed Hawaiian men as harmless and effeminate. Decades later, the media were labeling Hawaiian surfers as violent extremists who terrorized haole surfers on the North Shore. Yet Hawaiians contested, rewrote, or creatively negotiated with these stereotypes in the waves. The po‘ina nalu became a place where resistance proved historically meaningful and where colonial hierarchies and categories could be transposed. 25 illus.

Occasional Papers Of Bernice P. Bishop, Museum Of Polynesian Ethnology And Natural History, V16, No. 17, March 20, 1942.

The first practical guide to applying the ancient healing art of Hawaiian shamanism to our modern lives. Uniquely suited for use in today's world, Hawaiian shamanism follows the way of the adventurer, which produces change through love and cooperation—in contrast to the widely known way of the warrior, which emphasizes solitary quests and conquest by power. Now, even if you can't get out into the wilderness or undertake a long apprenticeship with a shaman, you can learn to practice the art of shamanism. You'll learn how to: —Interpret and change your dreams —Heal yourself, your relationships, and the environment —Cast the shaman stones to foretell the future —Design and perform powerful rituals —Shapechange —Make vision quests to other realities And more.

The Kumulipo is the sacred creation chant of a family of Hawaiian alii, or ruling chiefs. Composed and transmitted entirely in the oral tradition, its 2000 lines provide an extended genealogy proving the family's divine origin and tracing the family history from the beginning of the world.

Hawai‘i’s legendary jazz musician Gabe Baltazar Jr. has thrilled audiences since the late 1940s with his powerful and passionate playing. In this, the first book on his life and career, Gabe takes readers through the highs, lows, and in-betweens on the long road to becoming one of the very few Asian Americans who has achieved worldwide acclaim as a jazz artist. At a young age Gabe was encouraged by his father, an accomplished musician, to take up the clarinet and saxophone. As a teenager during World War II, Gabe performed with the Royal Hawaiian Band but spent his weekends playing in swing bands. After establishing himself in the West Coast jazz scene, in 1960 he rose to prominence as lead alto saxophonist of the Stan Kenton Orchestra. Following a four-year stint with Kenton, Gabe worked as a valued studio musician, recording with Dizzy Gillespie, Oliver Nelson, and James Moody, among others. In 1969 he returned to Honolulu and went on to become Hawai‘i’s premier jazz artist, a role he admirably fulfilled for over forty years. Even into his eighties, Gabe remained active in jazz education and performed regularly. Gabe’s memorable encounters with some of the greatest names in jazz and popular entertainment will delight music fans, while readers of Hawai‘i and Asian-American life-writing will find in this work a fond record of days past told with humor and heart.

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.

This Hawaiian language text, intended for self-learning as well as classroom use, presents the principal conversational and grammatical patterns of the language in 67 lessons, each containing English-Hawaiian dialogues. Emphasis is given to idiomatic speech, and a vocabulary of approximately 800 words, selected on the basis of frequency of usage and cultural importance, is introduced. The frequent humor of the lessons makes Elbert's Spoken Hawaiian an enjoyable learning experience. Also noteworthy is the author's inclusion of old Hawaiian in the text - legends, songs, stories - to enable the student to read the rich Hawaiian traditional literature in the vernacular language. The illustrations by noted artist Jean Charlot are a charming and amusing complement to the text. Spoken Hawaiian will help the student not only to read and speak the language, but at the same time to appreciate the rich heritage of the Hawaiian past and its literature. of the sixty-seven lessons is a sample dialog in Hawaiian with English translation.

Winner of the Modern Language Association’s Prize for Studies in Native American Literatures, Cultures, and Languages Winner of the American Historical Association’s Albert J. Beveridge Award Winner of NAISA's Best Subsequent Book Award Winner of the Western History Association's John C. Ewers Award Finalist for the John Hope Franklin Prize What if we saw indigenous people as the active agents of global exploration rather than as the passive objects of that exploration? What if, instead of conceiving of global exploration as an enterprise just of European men such as Columbus or Cook or Magellan, we thought of it as an enterprise of the people they “discovered”? What could such a new perspective reveal about geographical understanding and its place in struggles over power in the context of colonialism? The World and All the Things upon It addresses these questions by tracing how Kanaka Maoli (Native Hawaiian people) explored the outside world and generated their own understandings of it in the century after James Cook’s arrival in 1778. Writing with verve, David A. Chang draws on the compelling words of long-ignored Hawaiian-language sources—stories, songs, chants, and political prose—to demonstrate how Native Hawaiian people worked to influence their metaphorical “place in the world.” We meet, for example, Ka?iana, a Hawaiian chief who took an English captain as his lover and, while sailing throughout the Pacific, considered how Chinese, Filipinos, Pacific Islanders, and Native Americans might shape relations with Westerners to their own advantage. Chang’s book is unique in examining travel, sexuality, spirituality, print culture, gender, labor, education, and race to shed light on how constructions of global geography became a site through which Hawaiians, as well as their would-be colonizers, perceived and contested imperialism, colonialism, and nationalism. Rarely have historians asked how non-Western people imagined and even forged their own geographies of their colonizers and the broader world. This book takes up that task. It emphasizes, moreover, that there is no better way to understand the process and meaning of global exploration than by looking out from the shores of a place, such as Hawai?i, that was allegedly the object, and not the agent, of exploration.