. 4. 409-13. offspring of the primal gods. . . If an object connected with his person such as clothing or bath. . An informed young modern to whom I put the question replied, “Probably all are right”; and it is on this advice that I have acted, not holding rigidly to a single concept but allowing, as I think is justified by the obviously composite nature of the whole composition, a wider range of analogy. Fornander, Polynesian Race, I, 191, 193. Kumulae-nui-a-ʻUmi was the man, Kumu-nui-puawale the wife, Makua was the man, standing first of wohi rank on the island, Kapo-hele-mai was the wife, a taboo wohi chiefess, the sacred one, ʻI, toʻI is the chiefship, the right to offer human sacrifice, The ruler over the land section of Pakini, 2100. Of their general contents he writes: “In the usual cryptic manner of these compositions, they go back to the beginning of all things, and then trace the origin of the new born to the gods and thence through ancestors to the migration.”, In form and spirit as well as in content the chants resemble those of the Kumulipo. A fairy wife who sends her favorite son to seek a wife among her own kin in a land of deities is a popular theme in Hawaiian as well as South Sea family story cycles. . . . . However, she had begun research on the chant before 1938. As they watched closely they saw a bright star over the land to the east and believed and knew that a great person from Po had come to dwell with man. Nom / Pseudo : E-mail (facultatif) : Site Web (facultatif) : Commentaire : Me prévenir par mail en cas de réponse. Voir plus d'idées sur le thème cycle 2, poesie, chant. . . . These spots seem to be recognized as former homes of the gods by the abundance of wild growth, perhaps of wild fruits such as banana and breadfruit. 19. POEPOE, J. M. He mele kuauhau Kumulipo (“A Genealogical Chant of Kumulipo”). It is divided into spaces or lands to each of which one of Variʻs children is assigned. “A prayer of dedication of a chief, A Kumulipo for Ka-ʻI-amamao and (passed on by him) to Alapaʻi-wahine (woman),” reads the title-page of the Kalakaua text. Green and Pukui, Legend of Kawelo, p. 180. although the harmonizing of the four is so extremely uncertain as to be best left to the intuition of the reader in the light of whatever information or suggestion can be gleaned further from native sources to clarify particular obscurities. It is their conventional acceptance that gives them social and political importance for the historian. In the migration legend of the great fisherman Hawaii-loa, who discovers and renames the islands of the group, Makaliʻi is said to be navigator of the fleet and to become ancestor of commoners as Hawaii-loa is ancestor of a chief stock.8 In fiction Makaliʻi is a popular character and always represented in connection with food supply. 9     . IN THE preceding chapters evidence has been brought to show that the Kumulipo chant was accepted as a genuine tradition of beginning for the Hawaiian people and that corresponding traditions from southern groups prove its composers to have drawn from common Polynesian sources. The dance is based on the story of the … 6. . But whether the newcomers or the old were the “gods” is not. There is a like emphasis upon opposites, upon mythological allusions, upon refrain. . “Polynesian Story Composition,” Journal of the Polynesian Society, LIII (Wellington, 1944), 177-203. Born is the Paka eel, born is the Papa [crab] in the sea there swimming, Born is the Kalakala, born the Huluhulu [sea slug] in the sea there swimming, Born is the Halahala, born the Palapala in the sea there swimming, Born is the Peʻa [octopus], born is the Lupe [sting ray] in the sea there swimming, Born is the Ao, born is theʻAwa [milkfish] in the sea there swimming, 150. Not this chief or that was the unique god of the Makahiki. In parts various gods are summoned to assist in the rite. How decide among these diverse opinions? . ]9, At Kahuluʻu was the afterbirth [deposited], at Waikane the navel cord. . All evidence points to the general acceptance among Hawaiian scholars of Poepoeʻs cautious conclusion. Each of the chapters in the second part “The Chant” discusses one or two of the sixteen sections into which the 2, 102 lines of the Kumulipo naturally fall and concludes with the translation of the sections discussed. The shining of the “sun” (la) she refers to the dim opening of the childʻs eyes to the light. . . After winning the water nymphʻs favor he disappears, and the girl is obliged to follow him to his home and pick out from a number of identical images (kiʻi) the particular one in which he is hidden.12, Is Wakea an equivalent, then, not of Kanaloa but of Kauakahi, who introduces war through an alien alliance, or of Kaua-huli-honua, who overthrows an old divine hierarchy and sets up a new? THE POLYNESIAN CHANT . In two cases these informants were introduced to me by Theodore Kelsey of the Hawaiian Village, to whom I am indebted for paving the way to the establishment of friendly relations. The reference in this first line of the refrain is thus to the generation of life along shore as the waters meet the line of rising land. . A famous legendary hero slays the man-eating bird Halulu and its mate Kiwaʻa in a story of tests for a shape-shifting bride, a tale not unconnected with the ancient heiau of Halulu at Kaunolu on the island of Lanai. Further trace of the old stock who count descent from the “first chief dwelling in cold uplands” is lost, “vanished into the passing night.”. . His descendants will hence belong to the younger line. mes chants et vidéos en sur noël pin it. The organization of the book has been thoughtfully planned. Helps in Studying the Kumulipo Chant. A Fornander, genealogy gives Mauiʻs mother the name of Kawea. Myths and Songs from the South Pacific. Fornander, Polynesian Race, I, 113-14, II, 28-30; Kepelino, pp. Certainly the gossips are set in motion. Born is the Kupou, born the Kupoupou in the sea there swimming, Born is the Weke [mackerel? Translators generally refer the lines to the coming of Laʻa, presumably the Laʻa-from-Kahiki of traditional fame. . The early movements of an active youngster are, furthermore, exactly conveyed in the words “wrestler” and “pusher” also suggested by Kawena for the enigmatic line that follows. . . There he upsets the order of the gods, sharing their kava cup by a ruse, wrecking their vegetable garden, turning the land upside down, even carrying away “the rays of the sun” in his search for his brother, and finally tearing apart the jaws of the great shark in whose body the brother has been hidden. A typical stanza reads: 40. The story seems to point to a union with some family of high rank, either after the migration to Hawaii or somewhere along the way, whereby an interloping branch gained the position of ruling stock on the family line. Les illustrations sont magnifiques et les chants faciles et sympas à exploiter en classe. They had great power over the lives of people in ancient days and to them were given signs and mysterious omens not forgotten by the people of this race. THE KUMULIPO. . Kiaʻi ia e ka Manienie-ʻakiʻaki noho i uka, 46. His life was one of constant strife, first against Alapaʻiʻs son, then in continual sorties against the island of Maui, where he seems to have claimed lands not only in his own right through direct descent from the great Piʻilani family of East Maui but also through marriage with Kalola, own sister of the ruling chief of that island and a lady of very high taboo rank. It may have been a last honor paid to her dying relative by the chiefess to whom it already belonged, or the younger Alapaʻi-wahine may have been the final inheritor, to whom the family chant was at this time dedicated, or “named,” as the Hawaiians say. . THE WORLD OF INFANCY  . . . The man with the water gourd, he is a god, Water that causes the withered vine to flourish, 120. Hanau ka Peʻa, hanau ka Lupe i ke kai la holo, 149. Due to strains on HME and pharmacy providers, the healthcare sector is at difficult crossroads. [They go about scratching at the wet lands, It sprouts, the first blades appear, the food is ready] [? . Beckwith, Hawaiian Mythology, pp. the father of Ka-lai-opuʻu and the grandparent fifth removed of the King Kalakaua now on the throne and grandparent fifth and fourth removed of Ka-piʻo-lani the present Queen Consort. 2.). . He is called a “fire” (wela) because of his taboo rank, “heavenly one” (lani) as a customary mark of honor. Basically, the chant represents a series of name chants linked into a unity by over a thousand lines consisting of genealogical pairs of names. Besides these written sources I have gone over the text with living Hawaiians familiar with native chant style. Out came its child a Dragonfly, and flew, Out came its child the Grasshopper, and flew, 300. It is the third part of a projected but unfinished cycle of works based on Hermann Broch’s novel The Death of Virgil, and uses texts written by the composer as well as extracts from the second book of Broch’s novel, in the French translation by Albert Kohn. . Born was Ku-kaua-kahi a male, lived with Kuaimehani, Born was Hina-mano-uluaʻe [“Woman-of-abundance-of-food-plants”] a woman, Born was Hikapuanaiea [“Sickly”] a woman; Haumea was recognized, this was Haumea, Haumea of mysterious forms, Haumea of eightfold forms, Haumea of four-hundred-thousand-fold forms, Haumea of four-thousand-fold forms, 1775. Von weitesten Fernen her, von weitesten Fernen. Not that we should even attempt to identify historically the long lists of names that make up the genealogical portions of the Kumulipo. The next stanzaic-like verses are recited in turn by representatives from the assembled company, as explained by the translator: “. Plotters in high places were doubtless present in Keaweʻs time and certainly later under Kamehameha. Henry, pp. ily at the volcano, each member born from a different part of her body, Pele alone from between her thighs. HENRY. . Manage your revenue cycle well and watch your business bloom. . The trouble lies in the interplay of rhetorical devices such as linked rhymes, so that sound obscures sense. (Bernice Pauahi Bishop Museum Bull. 2. Thus, although the whole is strung together within a unified framework, it may in fact consist of a collection of independent family genealogies pieced together with name songs and hymns memorializing the gods venerated by different branches of the ancestral stock. Kamahaʻina, “First-born” on earth, will take precedence over Hakea born in the heavens. . Things born from and sprung up in the day are of the light. . A chief of divine rank therefore went abroad at night, and the most sacred chiefs were always carried about in a litter (manele) lest their very footsteps make the ground forbidden. Kupulupulu is Laka, worshiped as god of the hula in the form of the flowering lehua tree and welcomed also as god of wild plant growth upon which the earliest settlers had subsisted and still continued to subsist to some extent during the cold winter months before staple crops were ready to gather. . 369, 403, 404. . . The prose note as translated under the direction of Mrs. Mary Pukui and checked with the queenʻs rendering of certain passages reads as follows: Hewahewa and Ahukai were the persons who recited this chant to Alapaʻi-wahine at Koko on Oahu. . He writes: “In the Hawaiian account, darkness (ka po) was the first thing and light (malamalama) followed. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 255. . But even if the allusion has contemporary significance, this would not prove it a fresh interpolation. By a naha union he understands the child of parents of the same family but of different generations and instances the union of father and daughter or of a girl with her motherʻs brother. O Laʻilaʻi wahine [o] ka po kinikini, 649. A Fornander note equates Lihauʻula, “a priest of greater renown than any other,” with Kanaloa. No Hawaiian today can be an infallible guide for the exact voicing of a chant no longer to be heard in oral recitation. CHANTS 1er TRIMESTRE CYCLE 2. Legend is full of such romantic situations enjoyed by both chiefs and chiefesses when the restrictions of court life became irksome. His version must have come from a common source with the manuscript copy, if it is not a direct variant from it. Beckwith, Hawaiian Mythology, pp. THE DAWN OF DAY    . Thirty pairs, husband and wife, precede the birth of These lines as well as others unquestioned specifically may be differently understood when new light is thrown on the matter. . Since there is general agreement that there was intercommunication with Tahiti during the migration period, we may look first to Tahitian chants for such likenesses. “The third sea that made the chiefs fall,” Ke kolu o ke kai o Kahinaliʻi. Pokini Robinson was sure, for her part, that the first seven sections composing the period of the Po symbolize stages in the development of the divine taboo chief from infancy to adolescence, when there begins in the second division the symbolic rehearsal of his taking a wife, house building, and the rearing of a family. The Lono-i-ka-makahiki whose prayer this was, that Lono-i-ka-makahiki was the son of Keawe-i-kekahi-aliʻi-o-ka-moku by Lono-ma-ʻI-kanaka. . fam-. The latter are conveniently divided into a general list of references and a Kumulipo bibliography which is subdivided into sections listing separately the printed sources, the manuscript sources (all now in Bishop Museum), and works discussing them. . The fishhook Manai-a-ka-lani is equally a sex symbol. 1. . A pun upon the name as Kiaʻi-waʻa, “Canoe-guide,” gives the name Ki-waʻa to the pilot bird that leads a flock of its kind. Abandoning the old faith, he studied for the ministry in the Lahainaluna mission school and occupied a parish on West Maui until his death in 1853.3, As Malo is our most reliable native source for ancient practice, so Fornander is the leading foreign authority. Kukahi goes on to explain the Po as a time of nonhumans when there were no “souls” (ʻuhane) of men living in the flesh but only strange fairy-like beings called ʻeʻepa and many-bodied beings called laumanamana. It is also because of the sacred nature of such a revelation and the fact that knowledge has been intrusted to him as a kind of charm to be guarded for his own prestige in commanding the favor of the gods. A new race spreads over the land as a result of Laʻilaʻiʻs affair in the land of the pit-dwellers. There comes next a passage explained by Pokini Robinson as applied to the freedom of a child in obeying the calls of nature. This was only a few years after Cookʻs visit. FIRTH, RAYMOND. Born was Kanaloa the hot-striking octopus, The first chief of the dim past dwelling in cold uplands, their younger, 620. In reconstructing the history of the modern adulterations, Barrère has contrasted them with the Kumulipo, which she has called “the keystone of truly Hawaiian concepts of origins” (The Kumuhonua Legends [Honolulu: Bishop Museum Press, 1969], p. 2). XXI. Plant the ʻahiʻa and cause it to propagate [? . . As instance, a Hawaiian in a remote seaside village, wishing to describe to me the character for niggardliness earned by the inhabitants of a neighboring village, picked up a bit of close-grained stone to illustrate his thesis. He dictated its contents to me in substantially the same form in 1914. RANK IN HAWAII     . . . Kecak (pronounced ("kechak"), alternate spellings: kechak and ketjak), known in Indonesian as tari kecak, is a form of Balinese Hindu dance and music drama that was developed in the 1930s in Bali, Indonesia.Since its creation, it has been performed primarily by men, with the first women's kecak group having started in 2006. Discussion of textual and social problems with Sir Peter Buck, Dr. Kenneth Emory, Dr. Samuel H. Elbert, and other members of the staff has been a constant source of stimulus. TITCOMB, MARGARET. The Po is a spirit world, the Ao a world of living men. Beckwith, Hawaiian Mythology, pp. The whole material world is thus the product of deity made manifest. 3. The juxtaposition of the two words has passed into classic use. In the second line of the couplet the word nuku is the difficulty. Mangaian Society (Bernice Pauahi Bishop Museum Bull. The father-daughter marriage is in some groups said to usher in manʻs mortality. It seems to have belonged in Keaweʻs time to the Lono priesthood, perhaps brought from Oahu, where Lono worship was particularly active, to Maui, the genealogy of whose ruling chiefs down to Piʻilani occupies the last section; thence brought into the island of Hawaii through the marriage of Piʻilaniʻs daughter Piʻikea with ʻUmi, usurping chief over that island after Liloa, with which marriage and its offspring the reckoning ends. . Evenness of voice was obligatory. In common use are the sayings Pohá mai ka la, “the sun breaks forth,” said of the first ray of the sun at dawn; pohakea for the place where it shows itself; pohaha ka la, said of its habitual rising; poháhá ka lani, said symbolically of the perpetuation of the intelligent class, perhaps originally of the chief class. . Here, “jealous of her husbandʻs second mate,” Haumea “becomes a woman,” takes a husband among men, and lives up Kalihi valley in the northern range of mountains on the island of Oahu, finally using her power as a goddess to disappear into a breadfruit tree: “A breadfruit body, trunk and leaves she had,” says the chant. The two differ basically in theme, she pointed out, with the Kumulipo more reminiscent of Greek than of Hebrew origins. The ode concludes with a paean of praise for the blossoming period of the virgin land under the hand of the ancient planter of taro-patch (lo'i) fame, Lo'iloa. XV. Le diplôme d'études supérieures spécialisées de 2 e cycle en enseignement au secondaire s’adresse aux personnes détenant une formation ou une expérience pertinente au domaine de l’éducation. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 177. 2d ed. 1. Came the child Poʻele-a [First-light], Wehi-wela-wehi-loa [Opening-to-the heat, opening wide], There was whispering, lip-smacking and clucking, Hidden was the man by whom she had children [? which they showed him rows of wooden images of these kings coresponding in number to that claimed for them. There is, moreover, a hesitation inherent in the character of the content in the case of a sacred chant like the Kumulipo that hinders frank explanation even when the meaning is clear to the one questioned. In Mangarevan myths of beginning Tagaroa holds the leading place among “primary gods without a known origin” belonging to “the long period of darkness.” Some call him creator, “a god who made all the things in the world,” but Dr. Buck, whose report on Mangarevan ethnology I am following, thinks this a late rationalization influenced from Tahiti.11. . One would read “nest,” others a “splash” or a “quarrel,” still others take nuku for a diminutive and, ignoring the comma, translate “A little water [wai] is food [ʻai] for the tree [laʻau].” Emory proposes “earth” as the Polynesian opposite for “sky,” correctly written in Hawaiian as nuʻu and lani. In 1951, when her translation rescued the treasure from obscurity, the Hawaiian Islands were still a territory, not a state, of the United States. 5. The story written into the medicine book may have been a modern attempt to whitewash the character of the goddess of birth in the light of Christian mores. “Ta! 10. . Such lists, paired as man and wife, cover approximately eleven hundred of the fourteen hundred lines that make up the second period of the chant. . CHANT CYCLE 2 2020 - 2021 Fiche pédagogique pratique individuelle Participant par session : Objectifs Contribuer au développement artistique et musical personnel en favorisant notamment : . Corrections from the Kalakaua text have, on the whole, been inconsiderable, and variations in this text from the manuscript seldom occur. . This obscurity of language is why the Hawaiian taunts the foreigner who tries to interpret his lore. CEREMONIAL BIRTH CHANTS IN POLYNESIA   . Kiʻi. Pokini's vivid and insistent identification of the scene is by no means contradictory to Kupihea's more generalized explanation. At this time a festival was celebrated in honor of the fertility god Lono, god of cultivated food plants not alone in Hawaii but throughout marginal Polynesian islands, and prayed to in Hawaiian households to send rain and sunshine upon the growing crops, spawn to fill the fishing stations, offspring to mankind.