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Excerpt from Trade Wind Lyrics of Aloha Land, and Other Verses As it did in her eyes of blue, When she sat in the Devon gloam F or every match 'neath a nipa thatch There's always a girl at home. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
As in many other traditional cultures, Hawaiian art, dance, music and poetry were highly integrated into every aspect of life, to a degree far beyond that of industrial society. The poetry at the core of the Hula is extremely sophisticated. Typically a Hula song has several dimensions: mythological aspects, cultural implications, an ecological setting, and in many cases, (although Emerson is reluctant to acknowledge this) frank erotic imagery. The extensive footnotes and background information allow us an unprecedented look into these deeper layers. While Emerson's translations are not great poetry, they do serve as a literal English guide to the amazing Hawaiian lyrics.
Here, after years of preparation, is the most ambitious book ever written about Hawaiian music - its roots, popularity and influences in the world, leading personalities and groups, organizations, songs, and publications. The complete story is here, from ancient chants to the flowering of the musical renaissance in Hawaii nei. Nearly 200 illustrations add to the book's appeal for Hawaiian music fans and serious students. Many rare photographs of historical interest are among the illustrations featuring singers, chanters, dancers, and instrumentalists. Musical instruments are also featured in drawings and photographs. Melody lines, chants, and rhythm patterns are illustrated by music notation. The book is organized like an encyclopedia, with about 200 entries in alphabetical order. They include biographies of musicians from every period of Hawaiian musical history - from Henry Berger, David Kalakaua, Queen Lili'uokalani, and others of her time, to the great names of the first half of the twentieth century, and on to the performers and composers of today's Hawaiian renaissance. There are major articles on chant, slack key, steel guitar, 'ukulele, himeni, Hawaiian orchestras, falsetto, humor in Hawaiian music, radio, television, and the recording industry to name a few. Definitive essays tell the story of all ancient and modern musical instruments and the most loved and important songs of the last 150 years. Much of the material is new or original and fresh insights are brought to the more familiar topics. Some myths are dispelled, long-standing controversies discussed, if not settled. For instance, the book comes closer to answering the question "what is Hawaiian music?" than anything written so far. The work also contains and extensive annotated bibliography of works on Hawaiian music, and two discographies.
Princess Bernice Pauahi Bishop was the largest landowner and richest woman in the Hawaiian kingdom. Upon her death in 1884, she entrusted her property--"known as Bishop Estate--"to five trustees in order to create and maintain an institution that would benefit the children of Hawai'i: Kamehameha Schools. A century later, Bishop Estate controlled nearly one out of every nine acres in the state, a concentration of private land ownership rarely seen anywhere in the world. Then in August 1997 the unthinkable happened: Four revered kupuna (native Hawaiian elders) and a professor of trust-law publicly charged Bishop Estate trustees with gross incompetence and massive trust abuse. Entitled "Broken Trust," the statement provided devastating details of rigged appointments, violated trusts, cynical manipulation of the trust's beneficiaries, and the shameful involvement of many of Hawai'i's powerful. No one is better qualified to examine the events and personalities surrounding the scandal than two of the original "Broken Trust" authors.Their comprehensive account together with historical background, brings to light information that has never before been made public, including accounts of secret meetings and communications involving Supreme Court justices.
"Clever. . . magical. . . beautifully crafted. Kingsolver spins you around the philosophic world a dozen times." — Milwaukee Sentinel "There is no one quite like Barbara Kingsolver in contemporary literature," raves the Washington Post Book World, and it is right. Kingsolver's critically acclaimed writings always entertain and touch her legions of loyal fans. In High Tide in Tucson, she returns to her familiar themes of family, community, the common good, and the natural world. The title essay considers Buster, a hermit crab that accidentally stows away on Kingsolver's return trip from the Bahamas to her desert home, and turns out to have manic-depressive tendencies. Buster is running around for all he's worth—one can only presume it's high tide in Tucson. Kingsolver brings a moral vision and refreshing sense of humor to subjects ranging from modern motherhood to the history of private property to the suspended citizenship of human beings in the Animal Kingdom. Beautifully packaged, with original illustrations by illustrator Paul Mirocha, these wise lessons on the urgent business of being alive make it a perfect gift for Kingsolver's many fans.
After decades of civil war and instability, the African country of Angola is experiencing a spectacular economic boom thanks to its most valuable natural resource: oil. Focusing on the everyday realities of people living in the extraction zones, Reed explores the exclusion, degradation, and violence that are the fruits of petrocapitalism in Angola.
Deaf people are usually regarded by the hearing world as having a lack, as missing a sense. Yet a definition of deaf people based on hearing loss obscures a wealth of ways in which societies have benefited from the significant contributions of deaf people. In this bold intervention into ongoing debates about disability and what it means to be human, experts from a variety of disciplines—neuroscience, linguistics, bioethics, history, cultural studies, education, public policy, art, and architecture—advance the concept of Deaf Gain and challenge assumptions about what is normal. Through their in-depth articulation of Deaf Gain, the editors and authors of this pathbreaking volume approach deafness as a distinct way of being in the world, one which opens up perceptions, perspectives, and insights that are less common to the majority of hearing persons. For example, deaf individuals tend to have unique capabilities in spatial and facial recognition, peripheral processing, and the detection of images. And users of sign language, which neuroscientists have shown to be biologically equivalent to speech, contribute toward a robust range of creative expression and understanding. By framing deafness in terms of its intellectual, creative, and cultural benefits, Deaf Gain recognizes physical and cognitive difference as a vital aspect of human diversity. Contributors: David Armstrong; Benjamin Bahan, Gallaudet U; Hansel Bauman, Gallaudet U; John D. Bonvillian, U of Virginia; Alison Bryan; Teresa Blankmeyer Burke, Gallaudet U; Cindee Calton; Debra Cole; Matthew Dye, U of Illinois at Urbana–Champaign; Steve Emery; Ofelia García, CUNY; Peter C. Hauser, Rochester Institute of Technology; Geo Kartheiser; Caroline Kobek Pezzarossi; Christopher Krentz, U of Virginia; Annelies Kusters; Irene W. Leigh, Gallaudet U; Elizabeth M. Lockwood, U of Arizona; Summer Loeffler; Mara Lúcia Massuti, Instituto Federal de Santa Catarina, Brazil; Donna A. Morere, Gallaudet U; Kati Morton; Ronice Müller de Quadros, U Federal de Santa Catarina, Brazil; Donna Jo Napoli, Swarthmore College; Jennifer Nelson, Gallaudet U; Laura-Ann Petitto, Gallaudet U; Suvi Pylvänen, Kymenlaakso U of Applied Sciences; Antti Raike, Aalto U; Päivi Rainò, U of Applied Sciences Humak; Katherine D. Rogers; Clara Sherley-Appel; Kristin Snoddon, U of Alberta; Karin Strobel, U Federal de Santa Catarina, Brazil; Hilary Sutherland; Rachel Sutton-Spence, U of Bristol, England; James Tabery, U of Utah; Jennifer Grinder Witteborg; Mark Zaurov.
