Download Free Ka Poe Kahiko The People Of Old Book in PDF and EPUB Free Download. You can read online Ka Poe Kahiko The People Of Old and write the review.

A study of colonialism and indigenous health in Hawaiʻi, highlighting cultural change over time.
How many place names are there in the Hawaiian Islands? Even a rough estimate is impossible. Hawaiians named taro patches, rocks, trees, canoe landings, resting places in the forests, and the tiniest spots where miraculous events are believed to have taken place. And place names are far from static--names are constantly being given to new houses and buildings, streets and towns, and old names are replaced by new ones. It is essential, then, to record the names and the lore associated with them now, while Hawaiians are here to lend us their knowledge. And, whatever the fate of the Hawaiian language, the place names will endure. The first edition of Place Names of Hawaii contained only 1,125 entries. The coverage is expanded in the present edition to include about 4,000 entries, including names in English. Also, approximately 800 more names are included in this volume than appear in the second edition of the Atlas of Hawaii.
The word kua‘âina translates literally as "back land" or "back country." Davianna Pômaika‘i McGregor grew up hearing it as a reference to an awkward or unsophisticated person from the country. However, in the context of the Native Hawaiian cultural renaissance of the late twentieth century, kua‘âina came to refer to those who actively lived Hawaiian culture and kept the spirit of the land alive. The mo‘olelo (oral traditions) recounted in this book reveal how kua‘âina have enabled Native Hawaiians to endure as a unique and dignified people after more than a century of American subjugation and control. The stories are set in rural communities or cultural kîpuka—oases from which traditional Native Hawaiian culture can be regenerated and revitalized. By focusing in turn on an island (Moloka‘i), moku (the districts of Hana, Maui, and Puna, Hawai‘i), and an ahupua‘a (Waipi‘io, Hawai‘i), McGregor examines kua‘âina life ways within distinct traditional land use regimes. The ‘òlelo no‘eau (descriptive proverbs and poetical sayings) for which each area is famous are interpreted, offering valuable insights into the place and its overall role in the cultural practices of Native Hawaiians. Discussion of the landscape and its settlement, the deities who dwelt there, and its rulers is followed by a review of the effects of westernization on kua‘âina in the nineteenth century. McGregor then provides an overview of social and economic changes through the end of the twentieth century and of the elements of continuity still evident in the lives of kua‘âina. The final chapter on Kaho‘olawe demonstrates how kua‘âina from the cultural kîpuka under study have been instrumental in restoring the natural and cultural resources of the island.
As in many other traditional cultures, Hawaiian art, dance, music and poetry were highly integrated into every aspect of life, to a degree far beyond that of industrial society. The poetry at the core of the Hula is extremely sophisticated. Typically a Hula song has several dimensions: mythological aspects, cultural implications, an ecological setting, and in many cases, (although Emerson is reluctant to acknowledge this) frank erotic imagery. The extensive footnotes and background information allow us an unprecedented look into these deeper layers. While Emerson's translations are not great poetry, they do serve as a literal English guide to the amazing Hawaiian lyrics.