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Identifies Hawaii's seeds, their flowers and plants, including leaves and vines, where each seed comes from, which ones are toxic, and includes photos of the seed leis.
Lei are the very expression of traditional Hawaiian culture and were once an essential part of community and family life. Following in the footsteps of Samuel Kamakau, Abraham Fornander, and others, the authors have collected here a wealth of written and oral information to reveal the significance of making and wearing lei and their role in Hawaiian ritual and dance. This volume covers eighty-five flowers and plants (and another dozen color variations) used in traditional lei construction. They are arranged according to their Hawaiian names and accompanied by botanical information and descriptions gleaned from legends and chants that illustrate the cultural uses and special meanings of lei prior to Western contact. Many are introduced by poems written especially for this work by master kumu hula, linguist, and ethnologist Pualani Kanakaole Kanahele. The authors present the lei art form in not only words, but also pictures. Lavish color photographs by Jean Coté showcase each plant and lei (shown by itself or worn), as well as places throughout the Islands associated with specific flowers and plants. An appendix includes a complete list of lei plants, basic instructions for their propagation, and other sources for material.
Lei expert Marie McDonald's history of the lei in Hawai'i is an entertaining and informative mix of personal narrative, history, and song.
Discusses the history of the traditional Hawaiian necklaces made of seashells and explains how the necklaces are made.
"The explicit how-to instructions will be appreciated by any who would learn details on lei making: photos are clear, steps are thoroughly explained, and lei making is revealed from its simplest designs through the more complex blossom choices and lei skills." --Midwest Book Review
The art of featherworking has a long, cultural history in Hawaii. Rooted in the tradition of their Polynesian ancestors, the early Hawaiian perfected and transformed the art as they created feathered cloaks, capes, helmets, images, and standards for the alii. Many of the items made were considered sacredfrom both the process of their creation to their uses. Despite the influx of Western ideas, and the introduction of Christianity which, for a time, halted the practice of many traditional customs, this artform has survived and flourishes todaythanks in part to those in the community who continue their ancestors' legacy. This new edition of Feather Lei as an Art is meant to perpetuate the art of featherworking and bring it to a wide audience. It provides step-by-step instructions o how to make both traditional (round) and contemporary (flat) feather lei. Vibrant, color photographs complement instructions and provide a visual testament to the beauty of featherworking. Designed and written with the beginner in mind, the aspiring featherworker is guided not only through the steps of how to make the lei, but through the soul-satisfying journey which leads to its completion. Included is an overall look at the history of this ancient art; an explanation of the difference between traditional and contemporary lei; interpretations of the traditional colors used and color combinations; a detailed supply list; how to identify, prepare and work with feathers; how to store feather lei; and examples of what types of featherwork is being explore today.
In 1999, Noelani Goodyear-Ka‘ōpua was among a group of young educators and parents who founded Hālau Kū Māna, a secondary school that remains one of the only Hawaiian culture-based charter schools in urban Honolulu. The Seeds We Planted tells the story of Hālau Kū Māna against the backdrop of the Hawaiian struggle for self-determination and the U.S. charter school movement, revealing a critical tension: the successes of a school celebrating indigenous culture are measured by the standards of settler colonialism. How, Goodyear-Ka‘ōpua asks, does an indigenous people use schooling to maintain and transform a common sense of purpose and interconnection of nationhood in the face of forces of imperialism and colonialism? What roles do race, gender, and place play in these processes? Her book, with its richly descriptive portrait of indigenous education in one community, offers practical answers steeped in the remarkable—and largely suppressed—history of Hawaiian popular learning and literacy. This uniquely Hawaiian experience addresses broader concerns about what it means to enact indigenous cultural–political resurgence while working within and against settler colonial structures. Ultimately, The Seeds We Planted shows that indigenous education can foster collective renewal and continuity.