I Ulu I Ke Kumu

Cover

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Title Page, Copyright

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Contents

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pp. v-

From the Dean

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pp. vii-viii

Welcome to the inaugural volume of the Hawai‘inuiākea Monograph Series. The genesis of this publication was a group of conversations about the relevance of our inquiry and research. For example, is the work of Native Hawaiian scholars relevant to the lives of our children and youth? Does our research...

Editor’s Note

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pp. ix-x

The title of this inaugural issue of Hawai‘inuiākea’s new monograph series, I Ulu I Ke Kumu (Flourishing from the Source), is distilled from several ‘ōlelo no‘eau, or traditional wise sayings. These include “I ulu ka lālā i ke kumu” (the branch grows from its trunk/the student develops because...

The Poetry of Kamehameha I: Jewels in the Dust

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pp. 1-17

A chant composed by Kamehameha I as part of a trilogy of compositions honoring Kauikeaouli was published in the Hawaiian-language newspaper Ka Hoku o ka Pakipika in 1861, almost five decades after it was composed, highlighting the...

Acts of Beauty: Here and Abroad

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pp. 18-26

Reintroducing modern indigenous audiences to their own historical and traditional knowledge is challenging, for the content and the form can be long removed from familiarity. To introduce such materials to audiences far distant from the cultural center increases the demands, especially when many present...

Kahu i ke Ahi: Tending the Fires

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pp. 27-38

Cultural renaissance has been a dynamic force in Hawai‘i for over four decades now, and the changes in worldview, practice, lifestyle, and custom are tangible and sometimes well documented. Change works in tandem with and against continuity, and it is individual experience and recognition of these differences...

Simple Truths, Profound Gratitude: “I won’t ever embarrass my kumu!”

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pp. 39-44

My name is Robert Uluwehionēpuaikaw kiuokalani Cazimero, and I am a Kumu Hula, a teacher of Hawaiian dance, a medium that expresses everything we hear, see, smell, taste, touch, and feel. I graduated in a traditional ‘ūniki ceremony in 1973 with a class of over twenty-five students. Our kumu was Maiki...

No ka ‘Olelo Hawai‘i: He mau kuana‘ike mai na nupepa ‘olelo Hawai‘i mai

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pp. 45-57

“I ka ‘ōlelo ka make, i ka ‘ōlelo ke ola.” He ‘ōlelo no‘eau k ia i lohe pinepine ‘ia e nā haumāna ‘ōlelo Hawai‘i o k ia au, a ma kekahi ‘ano, hō‘ike ‘ia ka pilina i ke ‘ano o ka mea i ‘ōlelo ‘ia: mea ‘ole ka ‘ōlelo, inā he leo haole a he leo Hawai‘i, pono e no‘ono‘o ma mua o ka ‘ōlelo ‘ana aku. Akā, he pilina ko‘iko‘i ko ia ‘ōlelo...

Mai Ke Kumu Aku: A Teacher’s Vision

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pp. 58-66

Art is the broadest of disciplines, and artists may be the most diverse assembly of people to inhabit any given field. Hawaiian art, whether perpetuation of heritage practices or inspiration to reach new realms, is almost as broad as the field of art itself, and the range of artists is certainly as diverse, if not as numerous...

Current Viewpoint: I Ulu I Ke Kumu: A Conversation with Naomi Noelanioko‘olau Clarke Losch

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pp. 67-79

In the fall of 2010, I sat with Kumu Naomi Noelanioko‘olau Losch to record some of her stories. There were three main reasons for this. First, we wanted to honor all the years of her service to the Hawaiian language movement. Second, the fall of 2010 marked the term that Kumu Losch would retire. Third, because...

Reflection: Isabella Kauakea Yau Yung Aiona Abbott

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pp. 80-83

Izzie–as she was known–was born in Hāna, Maui, on June 20, 1919, to Annie Chung and Loo Yuen Aiona. When she was a little girl, her family moved to their home in the McCully district of Honolulu, returning often to Maui to spend time in Wailuku and Lahaina, where her mother was raised...

Contributors

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pp. 85-86

Back Cover

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