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Tradition and religion in Hawaii
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On the big island of Hawaii lays many secrets of traditional Hawaii that have long been forgotten by the republic that took over Hawaii after the Kona period. But many people still live up to these traditions in their homes and not wanting to overlook where their original family had come from. These traditions are based on stories and prayers that respect the primary four gods that make up the world. These gods help the people of Hawaii in succeeding the best out of life and honor them in returning them appraisal. One of these four gods is Ku, the God of war. He is the most fearful and brutal God that conspired war and violence. Many strong leaders worshipped him in hopes of bringing them glory and succeeding in war. One leader built a temple dedicated to Ku in hopes of uniting all of the Hawaiian Islands. On this temple stood a sculpture that would hold the spirit of the god called Kuka-ili-moku the war god figure. This 9 foot tall wooden sculpture is from Hawai’i and was probably created around AD 1790-1810. It is currently held in the British Museum in London. It is one out of many ti’i figures coming from the Polynesian islands. These ti’i figures are fairly common among Hawai’i islands and are believed that ancestor and godly spirits consume in them. Kuka-ili-moku the war god figure helps influence the people of Hawaii based on its structural body, it’s legend and story.
Kukailimoku is one of many different types of ti’i and they all have many different symbols that represent that specific god. There are many different types of these Ti’i figures in Hawaii and all of Polynesia. In Hawaiian culture, the gods, the aina; land, and the kanaka; people, all share a “symbiotic existence.” If the Kanaka took care of the land in a p...
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...Honolulu: University Press of Hawaii, 1974.
"Figure of the war god Ku-ka'ili-moku." British Museum. http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/f/figure_of_the_war_god_ku-kaili.aspx.
"Gods and Myths of Hawaii." Hawai`i Resource Library. http://www.donch.com/lulh/gm.htm.
Kaeppler, Adrienne Lois, Christian Kaufmann, and Douglas Newton. Oceanic art. English language ed. New York: Harry N. Abrams, 1997.
Thomas, Nicholas. Oceanic art. New York, N.Y.: Thames and Hudson, 1995.
National Parks Service. "A Cultural History of Three Traditional Hawaiian Sites on the West Coast of Hawai'i Island." National Parks Service. http://www.nps.gov/history/history/online_books/kona/history7a.htm.
Fullard-Leo, Betty . "In the Beginning - Hawaiian Gods and Their Roles in Society." Paul Waters. http://www.paulwaters.com/gods.htm (accessed November 23, 2013).
Often times, the history that is being told is one of Hawaiian weakness, and defeat. The Bayonet Constitution of 1887, the Overthrow of 1893, and the Annexation of 1898, are all often used as examples of moments of powerlessness in the Hawaiian Kingdom. What about all history prior to, in between, and after, these major dates? Surely, it did not just disappear. In the last few decades, Hawaiian history has changed dramatically due to the works of many Hawaiian historians. The history that was lost has been found, and new discoveries are still being made. Hawaiʻi’s history is a story of resistance, pride, and unity. Included within this history is a man named Robert William Kalanihiapo Wilcox. Wilcox was a revolutionist, and a leader, but he enjoyed being a politician the most. Wilcox was the beacon of hope that helped guide the people of Hawaiʻi through darkness. Wilcox was and still is today a symbolic figure in Hawaiʻi’s political history.
"YN CHC :: Yakama History." Yakamamuseum.com. Yakama Nation Museum and Cultural Center, n.d. Web. 16 Dec. 2013.
The role of a kahuna in the Hawaiian culture takes on the responsibility of keeping a balance between the people and the nation. In doing so, they apply their field of expertise towards assisting the aliʻi and the makaʻāinana. In ancient Hawai’i, there were many different types of kāhuna that had a skill set that contributed or benefited the community. In this paper I will discuss the different ways a kahuna achieves this type of balance within the lāhui. These kuleana include advising the aliʻi to make pono decisions, guiding the makaʻāinana in their daily lives and practices, and taking care of the spiritual side of the Hawaiian culture and traditional practices of the people.
Haida Gwaii (the Queen Charlotte Islands) Affected by the Creation of a Haida Heritage Site & National Park Reserve in Gwaii Haanas (South Moresby). Skidegate, B.C.: Queen Charlotte Islands Museum, 1995.
Bial Pg. 78. The Powhatan believed in many gods. Okeus there principle god brought evil into their world. To please this god the priests convinces the people of the tribe to make sacrifes. The powhatan also told about creator gods. A major god known as ahone was recognized. Ahone created the gods, who helped him make and care for the earth. He made the sun, moon and the stars. On the earth he made water and the
By analyzing the Kawaiisu, a Great Basin Native tribe, I want to explore cultural wonders and observe their society as I compare an aspect of interest with that of another culture in the world, the Chuuk. Comparing different societies of the world will allow me to successfully learn about the Kawaiisu people in a more detailed and open minded manner. Populations all around the world throughout time have had different views and traditions of beliefs. Through this project, I hope to unravel and gain an understanding of different perspectives and ways of life.
Manifest Destiny was the idea that the United States not only could, but was destined to stretch from coast to coast. The United States obtained many territories and pieces of land during the 19th century that led to the achievement of Manifest Destiny. After this accomplishment, the nation looked to expand beyond their current borders, so they settled on a collection of islands situated in a desirable location in the middle of the Pacific. These islands, known as Hawaii, would provide our country with an excellent advantage to aid our military, and they would also serve to strengthen our economy.
The Art Institute of Chicago houses a sculpture that epitomizes Shingon Buddhism in Japan. Born from an influence of Chinese esoteric Buddhism and the Indian God Shiva, the deity Fudo Myo-o, or “The Immovable One”, is one of the most important figures in Japanese Buddhism. The deity first appears in the Heian Period during the ninth century and is made to help followers of Buddhism with any adversity faced. During the Kamakura Period from the 12th-14th centuries the figure of this guardian king developed into a more realistic sculptural form. Fudo Myo-o is unique to the Shingon Buddhism of Japan with qualities that distinguish him from most any other deity, qualities that embody his vicious compassion, wisdom, and wrath.
...e" (Trask xix). This incident beautifully illustrates and signifies tourism's impact in American society. Like most Americans, this woman uses a discourse that has been shaped by tourist advertisements and souvenirs. The woman's statement implies that Trask resembles what the tourist industry projects, as if this image created Hawaiian culture. As Trask asserts, Hawaiian culture existed long before tourism and has been exploited by tourism in the form of advertisements and items such as postcards. Along with the violence, endangered environment, and poverty, this exploitation is what the tourist industry does not want to show. However, this is the Hawai'i Haunani-Kay Trask lives in everyday. "This is Hawai'i, once the most fragile and precious of sacred places, now transformed by the American behemoth into a dying land. Only a whispering spirit remains" (Trask 19).
The Maori myth is a Polynesian story about the creation of the universe which according to Rosenberg was different from other creation myths because it begins with nothing and then progresses through a process of “nonbeing to thought to the creation of the universe and human beings” (351). Even though it may be different because it goes from “nonbeing to thought” instead of nothingness to a spoken word or action, it has many similarities to other creation myths in how it explains the origins of the Gods and how each one represents a natural event or aspect of nature and humanity. The myth begins with an “idea” that “was remembered” and then “became conscious” and then “a wish to create”, all of which created a “power to live and to grow, even in emptiness” (352). At this point there was still no being, only thought and desire which gives the idea that what is being addressed are the human attributes of feeling, sensing, desire and thought, this is where this story is different from other creation myths.
Brown, DeSoto. "Beautiful, Romantic Hawaii: How the Fantasy Image Came to Be." The Journal of Decorative and Propaganda Arts. 20 (1994): 252-271.
The Volcano House is the closest hotel to the park. It is close to the Halemaumau Crater. It has been in business since it was a grass shack in 1846. The desire to study the earth forms the park's main theme, coming close behind is biology. Thousands of unique organisms have gradually isolated Hawaiian islands. These are reminders of Polynesian pioneers who directed their great hulled canoes to Hawaii about 1,500 years ago.
The gods and their fighting are responsible for much of the weather. Tawhiri, who is the god of wind, creates the winds and hurricanes. Tane is a god specifically for forests, typical of a tropical island. Tangaroa is the god of the sea, given that the Polynesians are an island culture. He accounts for the waves and whirlpools. Rangi and Papa’s tears due to separation are responsible for rain and dew in the mornings. (“Creation Myth – Maori”) The Polynesian diet consists of many organic roots and crops. Rongo is the god of sweet potato and other cultivated foods, illustrating the importance of sweet potato itself, being that it has its own god. Rongo also means “peace,” further strengthening the importance of their agricultural lifestyle. (“Maori Gods and Goddesses”) There is also a god for fern root and wild edible plants, named Haumia. Earthquakes are explained in the creation myth as well. The Polynesian are located in the Ring of Fire, an area in the Pacific of active volcanoes and earthquakes, which explains it scientifically. However, in their creation myth, Hine Timata’s son, Ruaumoko, causes earthquakes when he walks around in the Underworld. The creation of New Zealand segments provides a detailed explanation of the mountainous formation of the island, due to Maui’s mischievousness and the inability of his brother’s to follow orders. The Polynesians have carefully supplied explanations and corresponding gods and goddesses for each part of their culture and environment. Much of the Maori creation myths intertwine emotion and divinity together to form realistic situations on a larger scale in order to explain the formation of the world the Maoris know
Tourist from many different countries,towns, and cities came to hawaii to explore; unfortunately hawaii just suffered from a major flood. Two greek gods came to tour the little state of hawaii. Hephaestus and Zeus. Hephaestus is the greek god of blacksmiths, craftsmen, and sculptors.