Difference between revisions of "Template:Nhsc-v1-180"
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− | comes from a prayer to Laka, the | + | comes from a prayer to <u>Laka</u>, the |
− | goddess of the hula, a deity | + | goddess of the hula, a deity still |
− | invoked by many | + | invoked by many practitioners of |
− | Hawaiian dance. 14/ | + | Hawaiian dance. <u>14</u>/ |
− | + | ||
− | ( | + | : 'O Laka 'oe, |
− | ' | + | |
− | + | : (You are Laka, ) | |
− | [as in the deep sea or forest]) | + | |
− | I ka uluwehi palai nei la e. | + | |
− | (In the lushness of the palai fern | + | : 'O ka wahine noho i ka lipo, |
− | here.) | + | |
− | + | : (Woman resting in the dark color, | |
− | (Return. Let there be growth/ | + | |
− | + | : [as in the deep sea or forest]) | |
− | The | + | |
− | prayer has words. From a | + | |
+ | : I ka uluwehi palai nei la e. | ||
+ | |||
+ | : (In the lushness of the <u>palai</u> fern here.) | ||
+ | |||
+ | |||
+ | : E ho'i. Ho'oulu 'ia. | ||
+ | |||
+ | : (Return. Let there be growth/inspiration.) | ||
+ | |||
+ | |||
+ | The first thing to note is that the | ||
+ | prayer has words. From a traditional | ||
Hawaiian viewpoint, the Western | Hawaiian viewpoint, the Western | ||
− | concept of | + | concept of silent prayer denies the |
god-given human privilege of using | god-given human privilege of using | ||
words. The prayer is also chanted, | words. The prayer is also chanted, | ||
which makes the words purposefully | which makes the words purposefully | ||
− | more subtle, | + | more subtle, thus very personal, a |
feature enhanced by the inclusion of | feature enhanced by the inclusion of | ||
− | extra sounds such as | + | extra sounds such as <u>la</u> and <u>e</u>. The |
language in this short excerpt is not | language in this short excerpt is not | ||
much different from ordinary speech, | much different from ordinary speech, | ||
except for the use of a passive in the | except for the use of a passive in the | ||
− | + | last line, a feature that does not | |
− | appear in the English | + | appear in the English translation, but |
which makes the language more formal | which makes the language more formal | ||
from a Hawaiian perspective. | from a Hawaiian perspective. | ||
+ | |||
There is considerable use of word | There is considerable use of word | ||
− | power in these | + | power in these lines, although the |
only obvious one in the above | only obvious one in the above | ||
− | + | translation is the term <u>ho'oulu</u> | |
− | + | meaning "to cause growth" and also | |
− | + | poetically, "to inspire." Word power | |
− | is also evident in the word uluwehi | + | is also evident in the word <u>uluwehi</u> |
(lushness), which contains the sound | (lushness), which contains the sound | ||
− | ulu connected to ho'oulu. There is | + | <u>ulu</u> connected to <u>ho'oulu</u>. There is |
− | also the word noho (rest upon, | + | also the word <u>noho</u> (rest upon, sit), |
which is used in Hawaiian culture to | which is used in Hawaiian culture to | ||
− | refer to the | + | refer to the inspiration of gods |
− | accomplished | + | accomplished traditionally by their |
− | coning to noho upon | + | coning to <u>noho</u> upon one's shoulders |
− | around the head | + | around the head where one's essential |
− | humanity is located. The whole | + | humanity is located. The whole prayer |
− | is further complicated by | + | is further complicated by the actual |
− | wearing of | + | wearing of <u>lei</u> (or <u>wehi</u>, "ornament," |
− | as in uluwehi | + | as in <u>uluwehi</u>) <u>palai</u> fern upon the |
− | shoulders (the place of | + | shoulders (the place of inspiration), |
on the head (the place of basic | on the head (the place of basic | ||
− | humanity), on the | + | humanity), on the feet (the source of |
− | the movement of the | + | the movement of the dance), and on the |
hands (which will interact with the | hands (which will interact with the | ||
words of the dance, although not | words of the dance, although not | ||
always in a direct and blatant | always in a direct and blatant | ||
− | one-to-one | + | one-to-one relationship). The <u>palai</u> |
− | is | + | is traditionally thought of as a form |
− | that Laka can assume and it grows in | + | that <u>Laka</u> can assume and it grows in |
the dark lushness of the forest (that | the dark lushness of the forest (that | ||
− | + | is, <u>lipo</u>). The lei actually brings | |
the goddess into physical union with | the goddess into physical union with | ||
the dancer, not as a form of worship | the dancer, not as a form of worship | ||
− | but as a joint | + | but as a joint effort of the dancer |
− | and a | + | and a spirit member of the Hawaiian |
− | people | + | people (<u>Laka</u>), to honor those for whom |
the dance is being presented. All | the dance is being presented. All | ||
− | + | this symbolism in Hawaiian thinking | |
should help and strengthen the dancer, | should help and strengthen the dancer, | ||
and will be greatest in a subtle | and will be greatest in a subtle | ||
− | chant, enabling the dancer to | + | chant, enabling the dancer to keep |
everything just under the surface for | everything just under the surface for | ||
the dancer as well as the audience. | the dancer as well as the audience. | ||
− | The three examples | + | |
+ | The three examples given above are | ||
very simple ones because Hawaiian | very simple ones because Hawaiian | ||
− | chants are | + | chants are very long and can contain |
− | hundreds of lines. There | + | hundreds of lines. There are also |
sagas with chanted dialogues, short | sagas with chanted dialogues, short | ||
− | + | stories, and books written in a | |
− | European | + | European genre (much like Americans attempting Japanese <u>haiku</u> poetry in |
− | attempting Japanese haiku poetry | + | English), and of course many songs. |
− | English), and of course | ||
Hawaiian love songs are especially | Hawaiian love songs are especially | ||
− | + | interesting as there is strong | |
emphasis on subtle description and | emphasis on subtle description and | ||
− | personal | + | personal response referring to places |
− | + | visited, occurrence of minor or major events, humorous occasions, and | |
− | events, humorous occasions, | ||
infinitum. The song can be so | infinitum. The song can be so | ||
personalized that only the composer | personalized that only the composer | ||
and honored recipient can fully | and honored recipient can fully | ||
− | understand the camouflaged | + | understand the camouflaged meaning (<u>kaona</u>) of the song, although there is |
− | (kaona) of the song, although there is | + | also a surface meaning that is poetic and enjoyable in itself. |
− | |||
− | and enjoyable in | ||
{{p|180}} | {{p|180}} |
Latest revision as of 10:05, 9 April 2006
comes from a prayer to Laka, the goddess of the hula, a deity still invoked by many practitioners of Hawaiian dance. 14/
- 'O Laka 'oe,
- (You are Laka, )
- 'O ka wahine noho i ka lipo,
- (Woman resting in the dark color,
- [as in the deep sea or forest])
- I ka uluwehi palai nei la e.
- (In the lushness of the palai fern here.)
- E ho'i. Ho'oulu 'ia.
- (Return. Let there be growth/inspiration.)
The first thing to note is that the
prayer has words. From a traditional
Hawaiian viewpoint, the Western
concept of silent prayer denies the
god-given human privilege of using
words. The prayer is also chanted,
which makes the words purposefully
more subtle, thus very personal, a
feature enhanced by the inclusion of
extra sounds such as la and e. The
language in this short excerpt is not
much different from ordinary speech,
except for the use of a passive in the
last line, a feature that does not
appear in the English translation, but
which makes the language more formal
from a Hawaiian perspective.
There is considerable use of word power in these lines, although the only obvious one in the above translation is the term ho'oulu meaning "to cause growth" and also poetically, "to inspire." Word power is also evident in the word uluwehi (lushness), which contains the sound ulu connected to ho'oulu. There is also the word noho (rest upon, sit), which is used in Hawaiian culture to refer to the inspiration of gods accomplished traditionally by their coning to noho upon one's shoulders around the head where one's essential humanity is located. The whole prayer is further complicated by the actual wearing of lei (or wehi, "ornament," as in uluwehi) palai fern upon the shoulders (the place of inspiration), on the head (the place of basic humanity), on the feet (the source of the movement of the dance), and on the hands (which will interact with the words of the dance, although not always in a direct and blatant one-to-one relationship). The palai is traditionally thought of as a form that Laka can assume and it grows in the dark lushness of the forest (that is, lipo). The lei actually brings the goddess into physical union with the dancer, not as a form of worship but as a joint effort of the dancer and a spirit member of the Hawaiian people (Laka), to honor those for whom the dance is being presented. All this symbolism in Hawaiian thinking should help and strengthen the dancer, and will be greatest in a subtle chant, enabling the dancer to keep everything just under the surface for the dancer as well as the audience.
The three examples given above are very simple ones because Hawaiian chants are very long and can contain hundreds of lines. There are also sagas with chanted dialogues, short stories, and books written in a European genre (much like Americans attempting Japanese haiku poetry in English), and of course many songs. Hawaiian love songs are especially interesting as there is strong emphasis on subtle description and personal response referring to places visited, occurrence of minor or major events, humorous occasions, and infinitum. The song can be so personalized that only the composer and honored recipient can fully understand the camouflaged meaning (kaona) of the song, although there is also a surface meaning that is poetic and enjoyable in itself.
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