The closing lines are particularly difficult; some must go untranslated as I was unable to keep the flood motive, where double meanings were involved, consistent with the text. 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. MAUI THE USURPER     . Star names are not consistently capitalized, commas are omitted between. . Auckland, 1885. . Poho-mi-lua-mea!” cries an elder when the odor proclaims that a child has messed himself. . . . The birds are played upon in story and popular saying. Seeking a wife among his close kin, he probably comes incognito and meets opposition in the form of the parent, who probably does not recognize him, and only after defeating this obstacle does he win the girl already destined to become his wife by arrangement among their common parents. There comes next a passage explained by Pokini Robinson as applied to the freedom of a child in obeying the calls of nature. The Makahiki itself takes its name from the rising of the Pleiades, known throughout Polynesia as Makaliʻi, and Makulukulu may perhaps be a chant name for Makaliʻi. Commencez toujours par quelques activités d'échauffement, les enfants adorent ça ! . It was much later that man (taʻata) was conjured [forth] when Tu was with him.1, Another chant given to Orsmond in 1822 in Borabora and again in Tahiti describes a “chaotic period” after a condition of nothingness in which all was originally confined in a state of balance between such opposites as darkness (po) and light (ao), rapid and slow movement (huru maumau, huru mahaha), thinness (tahi rairai) and thickness (tahi aʻana). . A European scholar, the eminent German anthropologist Adolf Bastian, first called attention to the manuscript of the Kumulipo. . Laʻilaʻi is also a shape-shifting (pahaʻohaʻo) woman. . The priest celebrates the rebirth of day, the Ao, with the story of the emergence of plant and animal forms in perpetual continuity, calling each by name. Just as Vedic hymns visualize the arrival of invited gods to the sacrifice in chariots drawn by steeds each of a distinctive color because thus they were accustomed to see their own superiors approach, so Lono would come to island dwellers in a double canoe of divine proportions such as their own chiefs employed. . 2d ed. L’automne; L’hiver; Le printemps . This text and translation, together with comparison with other cosmogonies from Polynesia and from ancient Asiatic as well as European civilizations, Bastian incorporated into a volume called Die heilige Sage der Polynesier, published in 1881 in Leipzig. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 207. The process of creation as Emory finds it described in the Tuamotus reads much like the Hawaiian.8 Development proceeds by “pairing of matter, phenomena of nature, or of abstractions such as ‘source of Night’ . .The crowd, which had been collected on the shore, retired at our approach; and not a person was to be seen, except a few lying prostrate on the ground, near the huts of the adjoining village.”2 The account tallies well with what we know of the prostrating taboo in the presence of deity and of the identification of the visitor with the god of the Makahiki, about the time of which festival Cookʻs arrival. Kupihea named one such spot in the mountains back of the Kamehameha girlsʻschool on Oahu, another near Nahiku on Maui in the Keanae region, one above Halawa on Molokai where Kamehameha is said to have been brought up, and one on Lanai at Kumoku. J'ai choisi la chanson "C'est la rentrée" de Joseph Lafitte. The Hawaiian Romance of Laieikawai, by S. N. Haleole. Everything is Taʻaroaʻs. The line is certainly correctly referred to the parts played by the male (kane) and female (wahine) in the generative process. . What is here symbolically pictured as the “earth” (honua) is to be interpreted as “Hawaiiʻs original royal line, hot with fiercest tabu—kapu wela.” Makaliʻi is the season when seeds sprout, fish spawn, and the Pleiades (the Makaliʻi) appear with other stars high in the heavens. KING, CAPTAIN JAMES. . Pokini refers them to a stage in the life of a child as it begins to crawl about and meet the rough and tumble of life. . Hers has been the final authority in correction of both text and translation. From these informants we gain only a partial view of family relationships and attitudes as they affected rank among chiefs in ancient days, only such as were preserved up to the time of the last days of the monarchy. 6 ff. Rays of the afternoon sun glancing to the sea in the phenomenon we call “the sun drinking water” are known as “Mauiʻs lassos” or “snaring ropes,” with reference to the sun-snaring adventure. Beckwith, Hawaiian Mythology, chap. At the first sign of pregnancy she is placed under taboo lest evil befall the child through sorcery or inadvertently through offended deities. In any case, a virgin wife must be taken in order to be sure of her childʻs paternity, hence the careful guarding of a highborn girlʻs virginity until her first child was born. Reference is made to Kukahiʻs printed version, cited as “Ku”; to the manuscript source, cited as “MS”; and, for the genealogies, to the Kamokuiki book, cited as “Kms.” In a few cases comparisons are quoted from the reprint of Kukahi in Aloha, from Bastian, and from Poepoeʻs rough manuscript, all cited by name. . But was this known to the poet? is accompanied by the “trembling of earth” (olaʻi ku honua) and the “splitting open of the heavens” (owa ka lani), suggesting the commotion among an established theocracy at the rise of an upstart branch from an alien source. Born were the common class, they were unsettled, Born were the working class, they were workers, Born were the favorites, they were courted, Born were the slave class, and wild was their nature, Born were the cropped-haired, they were the picked men, 515. . All was darkness, it was continuous thick darkness (po tinitini ia e te taʻotaʻo). The whole section may well have been added in Kalakauaʻs day to bring the chant up to date with his own family claim, but variations in the names prove an independent source from the Fornander genealogies of a slightly earlier period.3, 2049. Always their names and story come at the end of a section as if possibly inserted as an afterthought or introduced late into the family tradition. Abraham Fornander, presumably unfamiliar with the Kumulipo, unwittingly accepted the amalgamation as having been preserved for generations in the Hawaiian oral tradition. To the god Tane is ascribed power to cause the growth of vegetation. . However, on 20 August 1970, Barraqué added to the manuscript score a dedication to Maria and Michel Bernstein (Janzen 1989, 241). . . . This last birth is thus definitely connected with the half-mythical ʻOlohe people. Man for the narrow stream, woman for the broad stream, Born was the touch seagrass living in the sea, Guarded by the tough landgrass living on land, 46. WILLIAM WYATT. . The word walewale names the seven-day purification period for the mother after childbirth as well as the “slime” whence the divine seed sprouted. . For the third and fourth verses of the stanza as written in the Kalakaua text I have arrived at no satisfactory translation. . Honolulu, 1923. Malo, p. 320; Kepelino, Appendix, pp. Man for the narrow stream, woman for the broad stream. That was the Ka-ʻI-ʻi-mamao here mentioned. . Poésies; Notation des poésies; Blasons d’autonomie; Mes pages de garde; Pancarte « Mon 1er jour au CP » Thèmes de l’année . tags : chants, anglais, videos, utilise, chanson, cycle , cp, ce, christmas, family, animals, food traductions en français de chansons en anglais (noël) il y a un ou jours, j’ai pensé à faire une promenade. The taro plant propagated by budding, sending up stalk and leaf into the light out of the mud of its underwater or underground rooting, may well be the symbolic form in which the poet of Mangaia, where taro culture is, as in Hawaii, the basic vegetable food, conceives the story of the parent-stock of mankind. Koa is the Hawaiian word for a soldier, used with the same intent. [There follow some four hundred pairs, man and wife, to lines 1332-33, where a pair of brothers are named, Aliʻihonupuʻu the elder, Opuʻupuʻu the younger. Taboo the taro plant, the acrid one, 1810. . He brought with him the small hand drum and flute of the hula dance. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 352. Every Hawaiian knows the story of how, during the great shark war, when the shark Mikololou was dragged ashore and eaten “all but his tail,” or his “tongue” in some versions, a dog seized the remnant and leaped with it into the sea, whereupon the shark, feeling itself in its native element, resumed its full form. The child Ka-ʻI-ʻi-mamao to whom the Kumulipo chant is said to have been “named,” was undoubtedly born to the purple, as we say. . Along its shores the lower forms of life begin to gather, and these are arranged as births from parent to child. . . . Kaulu is “son of Kalana,” youngest born of the family and “born in the shape of a rope,” obviously an umbilical cord and probably that of the favorite brother, to rescue whom he seeks the land of Kane and Kanaloa, where his brother has been carried away to serve the gods. The first lines—. . “This is the genealogy of the Hawaiian people, from Kumu-lipo-kapo to Wakea and Papa,” concludes the report of the Committee of 1904. early days in Hawaii, Whose generous sponsorship has made Each Book includes a collection of works of diverse dimensions and for different vocal and instrumental formations. . . The word au, carried over in the first instance from the auau of the line before, may refer to a period of “time” in this unfolding world of the po, perhaps to its “length” (loloa) in the first instance, to Kumulipo as its generative agent in the second. . . 192-93; Fornander, Collection (“Memoirs,” No. In 1949, the Pacific Number of the Journal of American Folklore contained her brief paper (later partly incorporated and revised in her book), “Function and Meaning of the Kumulipo Birth Chant of Ancient Hawaii” (vol. Rupe in pigeon shape flies to the rescue of his sister in the Hine-Tinirau tale. Cambridge, England, 1914. . 369, 403, 404. Kupihea reasoned from the flow of water preceding childbirth that water must be the medium through which the god of generation “works.” Whether this idea of water as the original fructifying element was traditional or was Kupiheaʻs own idea I do not know. TWO DYNASTIES. Consigne « Nous allons chanter le ramoneur en remplaçant les syllabes par la la la… » B. Demander aux élèves de proposer d’autres syllabes pour chanter la mélodie Enseignant A Lâcher prise Enregistrer, écouter et comparer : similitudes et différences des productions. . Arts Cycle 2 Cycle 3 Maths Des frises décoratives (figuratives) pour les cahiers Mise à jour du 7/2/2021 : mise en ligne de 14 frises pour mars-avril Il y a quelques semaines, Lutin Bazar avait publié sur Instagram une jolie frise de champignons qu’elle avait fait réaliser par Lire la suite… . Acknowledgment should also be made to the editor of the Journal of American Folklore for permission to use the article on ceremonial birth chants in Polynesia which appeared in the oceanic number of that periodical. At the parting of earth, at the parting of high heaven, Left the land, jealous of her husbandʻs second mate, Came to the land of Lua, to ʻAhu of Lua, lived at Wawau, Haumea became a woman of Kalihi in Koʻolau, 1940. The name Liʻaikuhonua which opens the genealogy of the fourteenth section replaces that of Huli-honua in the more common version and explains a puzzling invocation quoted by Emerson, “E Ku, e Li,” opening a prayer for fertility on land, in the sea, and in offspring to man, developed along quite similar lines to the Kumulipo and probably possessing, although in. The Lono-i-ka-makahiki mentioned in the chant was Ka-ʻI-ʻi-mamao. 6), p. 5. darkness, so the child bursts the sheath where it lay within its motherʻs womb and emerges into the light of reasoning human life. O hulahula wale ka neʻe [a]na a kolo, 486. Perhaps because Kanaloa made his figure first, all men must eventually die. Fornander, Collection (“Memoris,” No.6), pp. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 225. . XXV. E. K. Lilikalani was court genealogist during the last period of the monarchy, and his manuscript, prepared “for the information of Liliuokalani” and published in 1932 by the Bishop Museum as an Appendix to Kepelino, must fall within the queenʻs reign. Each succeeding generation is born from the mating of male and female, at first the personifications of cosmic forces and later the historic predecessors of the divine child. Hanau ke Poʻomahakea, he keakea ka ʻili, 507. . . Pokini Robinson interpreted it as a prayer for the building of the house in which a young couple were to start housekeeping together, and this seems plausible, although the exact bearing of each line upon this general background is not always evident. 1. . . Les plus populaires. Polynesian Researches during a Residence of Nearly Eight Years in the Society and Sandwich     Islands. In New Zealand the progenitor of man is Tane (Kane) son of the sky god, hence called Tane-nui-a-Rangi. . 336-38; see also Emory, Journal of the Polynesian Society, XLVII, 52-63. the original shell (ʻapu) out of which Great Taʻaroa had formed the sky of the gods, the shell called Rumia, translated “upset” in the text.2. The election of Kalakaua had not been without bitter opposition. Compare the similar pause in nature preliminary to a new birth reported from New Zealand at the moment when the Wide Sky above, Rangi-nui, seeks Earth in the person of Papa-tu-a-nuku: “In that period the amount of light was nil; absolute and complete darkness (pokutikuti kakarauri) prevailed; there was no sun, no moon, no stars, no clouds, no light, no mist—no ripples stirred the surface of the ocean; no breath of air, a complete and absolute stillness.” There follows the “planting” (hikaia) of land growths corresponding to the “births” recorded in the first seven chants of the Kumulipo.1, In the Kumulipo this stillness in nature prepares for the emergence of gods and men. . Born was Laʻiʻoloʻolo and lived at Kapapa, Born was Kamahaʻina the first-born, a male, 680. . . The Po is a spirit world, the Ao a world of living men. he conjured forth (rahu) gods (atua), and they were born to him in darkness (i fanau i te po). Hina-ke-ka was abducted by Peʻapeʻa, He scratched out the eyes of the eight-eyed Peʻapeʻa, 2035. by these signs peculiar to this people. 1. . 180-82. all created things (na mea i hanaia) issued (i hoʻopuka). Hanau kane ia Waiʻololi, o ka wahine ia Waiʻolola, 42. The word mahú with the accent on the last syllable is applied to a hermaphrodite; it is also given the sense of “quiet.” Firth tells us that the Tikopians had gods regarded as double-sexed, not in the physical sense but in the sense that, like the Indian god Siva, they were able to show themselves in either a male or a female body. . . The afterbirth of the child was thrown away, Hanau ka haluku, ka haloke, ka nakulu, ka honua naueue, Piʻi konikonihiʻa, piʻi na pou o Kanikawá, Make ke au kaha o piko-ka-honua; oia pukaua, Wakea i noho ia Haumea, ia Papa, ia Haohokakalani, hanau o Haloa, [Hanau] o Kapapa-pahu ka mua, Ka-po-heʻenalu mai kona hope noho, Hanau a iloko o Puʻukahonualani o Liʻaikuhonua, o kona muli mai, o Ohomaila, Hanau o Laumiha he wahine, i noho ia Kekahakualani, Hanau o Kahaʻula he wahine, i noho ia Kuhulihonua, Hanau o Kahakauakoko he wahine, i noho ia Kulaniʻehu, Hanau o Haumea he wahine, i noho ia Kanaloa-akua, Hanau o Kukauakahi he kane, i noho ia Kuaimehani he wahine, Hanau o Hikapuanaiea he wahine, ike [i]a Haumea, o Haumea no ia, O Haumea kino pahaʻohaʻo, o Haumea kino papawalu, O Haumea kino papalehu, o Haumea kino papamano, O Nuʻumea ka ʻaina, o Nuʻupapakini ka honua, O Wakea no ia, o Lehuʻula, o Makulukulukalani, Lewa ka pua o ka lani, Kaulua-i-haʻimohai, Lu ka ʻanoʻano Makaliʻi, ʻanoʻano ka lani, Lu ka ʻanoʻano a Hina, he walewale o Lonomuku, Kaulia aʻe i na waʻa, kapa ia Hina-ke-ka ilaila, O Mehani, nuʻu manoanoa o Kuaihealani i Paliuli, Kau i ka moku o Lua, o Ahu a Lua, noho i Wawau, Noho no i Kalihi i kapa i ka lihilihi o Laumiha, O kino ʻulu, o pahu ʻulu, o lau ʻulu ia nei, Moe keiki ia Kau[a]kahi, o Kuaimehani ka wahine, Moe moʻopuna ia Hinanalo, o Haunuʻu ka wahine, Moe moʻopuna ia Nanakahili, o Haulani ka wahine, Moe moʻopuna ia Wailoa, o Hikopuaneiea ka wahine, I hainá, eu, aiʻa, he wahine piʻi-keakea-e, Moe ia Kamole i ka wahine o ka nahelehele, ʻAʻohe hoʻi he kanaka o ka moe ana he keiki ka, Ukiuki Kia[ʻi]-loa ma laua o Kia[ʻi]-a-ka-poko, Kiʻi i ka pu ʻawa hiwa a Kane ma laua o Kanaloa, O ka ua aha o kaʻohe a Kane ma laua o Kanaloa, O ka lou [a]na o na moku e hui ka moana kahiko”, Hanau o Kawaukaʻohele, o Kelea-nui-noho-ana-ʻapiʻapi, he wahine, Hanau Laʻielohelohe, noho ia Piʻilani, [hanau Piʻikea], O Piʻikea noho ia ʻUmi, [hanau] o Kumalae-nui-a-Umi, Kumalaenui-a-ʻUmi ke kane, o Kumunuipuawale ka wahine, Kapohelemai ka wahine, he wohi aliʻi kapu, ka hoʻano, Ka ʻohiʻa ko, ke kuʻina o ka moku o Hawaii, Capitalization of the Prologue follows manuscript. 12-16, 17. . Earth is pregnant (piha) with growth. To understand what such a chant contributed to the prestige of a family of rank, it will be necessary to know something of the terms upon which a ruling chief held his title to control over land rights and ultimately over the lives and activities of his followers. . Certainly they looked upon these dwellers in the spirit world as capable of manifesting themselves not only in material forms and forces of nature but also in the bodies of human beings living on earth among men. Ellis, Polynesian Researches, III, 105. . . with a readiness and volubility that indicated them to be according to some formulary.” At the presentation of a dressed hog to the captain, Koah “addressed him in a long speech, pronounced with much vehemence and rapidity.” With Cook. II. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 346. whose meaning can not be understood in these days. . His mother is Hina-of-the-fire, his grandparent Mahuiʻe is known throughout Polynesia as keeper of underground fire. 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). O kama hoʻi a Kiʻi i ʻoʻili ma ka lolo, 651. . 4, 5; cf. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 210. O kane ia Waiʻololi, o ka wahine ia Waiʻolola, 96. In a line from a song dated about 1790 the primal goddess Vari-ma-te-takere is addressed as “a goddess feeding on raw taro” (E tuarangi kai taro mata), a reference recalling the children of Haloa born on the Hawaiian genealogy to Wakea and Papa. The night gives birth to clinging creatures, The night gives birth to deliberate creatures, The night gives birth to sharp-nosed creatures, 410. Of the depth of darkness, of the depth of darkness. . Hanau ke Kalakala, hanau ka Huluhulu i ke kai la holo, 147. Die Samoan-Inseln, Vol. Hanau ka Makaiauli, o ka ʻOpihi kana keiki, puka, 28. . The scratching-out of the eyes of the eight-eyed Peʻapeʻa who has abducted his mother is declared to be his “last exploit.” But there follows the sun-snaring, introduced by the line “With Moemoe the strife ended.” The story is probably merely another version of the abduction incident, so well known through popular retelling as to be scarcely worth repeating. 7     . And he was called Kane-in-the-Light, meaning that he was the god that made light. O Laʻilaʻi wahine o ka po heʻe[nalu] mamao, 625.
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