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◆ ◆ xvii Nā Mahalo / Acknowledgments Many kumu (teachers), mentors, and friends throughout my life have shaped me as an indigenous practitioner and intellectual. Some are living treasures who have committed themselves to upholding our language and cultural traditions; others have passed into Pō (the realm of the ancestors ). My work could not have been accomplished without their aloha (love), support, and insistence that I travel this path. The librarians and archivists who assisted me in my research were invaluable , especially Stu Dawrs, Joan Hori, Jodie Mattos, and Dore Minatodani of the Hawai‘i-Pacific Collection, Hamilton Library, University of Hawai‘i at Mānoa, DeSoto Brown and the staff of the Bishop Museum Archives, and the staff of the Mission House Museum Library. Professors and colleagues at the University of Hawai‘i at Mānoa who have generously shared their time, knowledge, and insights with me include Hōkūlani Aikau, Carlos Andrade, Noelani Arista, Cristina Bacchilega, Leilani Basham, John Charlot, Candace Fujikane, Noelani Goodyear-Ka‘ōpua, Pualani Hopkins, Paul Lyons, Brandy Nālani McDougall, Puakea Nogelmeier, Georganne Nordstrom, Kapā Oliveira, Noenoe Silva, Alice Te Punga Somerville, Ty Kāwika Tengan, and Haunani-Kay Trask. Others who have generously shared information and ideas, and encouraged me in my work include Marie Alohalani Brown, Vicky Creed, E. Kalani Flores, Kekuhi Kanaka‘ole Frias, T. Ilihia Gionson, Ioane Ho‘omanawanui, Daniel Heath Justice, Ka‘imipono Kahumoku, Walter KahumokuIII,JohnKa‘imikaua,KalaniKalima,LopakaKapanui,Kalei Nu‘uhiwa, Yan Peirsegaele, Hiapo Perreira, Manuwai Peters, Michael Puleloa, Malia “Alohilani” Kuala Rogers, Leslie Keli‘ilauahi Stewart, and Steve Winduo. I am particularly grateful to Makana Garma, who allowed me to include his oli (chant) as a pule pane (prayer response) that invites readers into this mo‘olelo, and Noenoe Silva and Ty Kāwika Tengan, who provided invaluable assistance with Hawaiian language, including thorough and careful reading and critique of the manuscript, which was indispensible. Together, everyone’s support and suggestions were invaluable throughout the process of deconstructing and reweaving this “lei palapala” (literary lei) into something much more beautiful. xviii ◆ Acknowledgments I am particularly grateful to the Mellon-Hawai‘i Doctoral and Postdoctoral Fellowship Program for awarding me a postdoctoral fellowship for 2009–2010 to complete this work, and the Andrew W. Mellon Foundation , Kamehameha Schools, the Kahiau Foundation, and the Kohala Center, who support this program. Mahalo a nui loa (much thanks) to Matt Hamabata and the Kohala Center staff for their support, and to co-fellows and friends Kauanoe Kamanā and Karin Ingersoll for the many conversations that helped to clarify my thinking on parts of this project. MahalonuitoJason Weidemann,Danielle Kasprzak,andeveryoneon the University of Minnesota Press team for their support and enthusiasm for this project, and for their patience and professionalism as well. The Hawaiian editors and writers who had the foresight to record our precious mo‘olelo on paper left us a priceless cultural treasure, an intellectual and cultural legacy of unfathomable depth and beauty to which we are greatly appreciative and indebted. I have much mahalo to the collectors , editors, and publishers of the Pele and Hi‘iaka mo‘olelo for their commitment to our language and culture in a time of great adversity; as we embark on a journey of rediscovery, may we learn from and enjoy these mo‘olelo as they intended. The best of what everyone has offered me is contained within these pages and reflected within this work, but all errors and omissions are my own. I have spent over a decade of my life researching, reading, writing, analyzing, thinking, reflecting, and talking about these mo‘olelo. I have dreamed them. I have visited the ‘āina from Pele’s home at Kīlauea, Hawai ‘i, Lohi‘au’s hula pā (dance platform) at Kē‘ē, Kaua‘i, and our ancestral homeland, Tahiti. Much time, thought, and aloha has gone into these pages. In the words of esteemed scholar Mary Kawena Pukui: Pa‘i ana nā pahu a ka hula le‘a; ‘O ka‘u hula nō kēia. Let more famous chanters beat their own drums This hula is indeed mine.1 ...

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