It is a malignant view that undermines thepossibility of peace
Violence only leads to more violence. I'm not sure how or where the Huli learned to solve their problems through violence. They could make things a lot easier if they'd just sat down and light up a joint and talk shit out. Knock back a couple of beers while listening to some Bob Marley. Just saying....
The phenomenon of mass shootings in the US has its owncomplex cultural and historical context, yet to dismiss the phenomenon as beingsimply the nature of US society would be rightly viewed as profoundly offensive, andas being particularly unhelpful to anyone trying tofind solutions to the problem.
In my opinion, mass shootings are an expression of a person's feelings and emotions that they want the whole world to know, "Look at me! I'm in pain! I'm suffering! Someone please feel bad for me! I want your attention!" I don't mean to sound like a d**khead, but there are more effective and nonviolent ways to deal with your feeling....like talking.
A person suffering from grief may be said to have painted bones, and the feeling of havingpainted bones and the need to rid your bones of paint is a constant internal reminder ofthe need to avenge your loss. This is a very effective description of the physicality oftrauma and its material experience in the body. Decoration of the body with paint hasvast semiotic resonance for Huli,
I still can't imagine why they came up with this saying as a metaphor for grief or trauma. I mean, how would anyone know what paint on their bones would feel like? It makes more sense to use the term "sorcery" instead.
and, most im-portantly, to treat the people I was going to study with respect.
A simple, yet Golden Rule to live by. Imagine if everyone practiced this rule....
The work of archaeologists did not pro-tect cultural sites,
And this is why archeologist face opposition with Kanaka Maoli. Directly disrespect our culture and itʻs lands. HUGE NO NO!!!
Sorcery offers explanations for worrisome illness, madness, and other misfortune, and disease and economic uncertainties are ordinary and widespread in town.
Sounds familiar?
Samaria’s families have built town houses in several of the settlements that sprouted around Port Vila. Some, like Tio and Natis, live in Ohlen. Others found space in Blacksands, Freswin, Beverly Hills, Freswota, Bladiniere, or Prima.
This quote clearly shows how islanders moved away from Tanna to make their lives. I feel like even people in Hawai'i does the same thing. The need to expand our horizons and explore what else is out there in this huge world can only benefit us in the future. At the same time, we will never forget who we are and where we're from.
baked tuber pudding
Sounds like poi
That day, men in Tio’s adopted family stopped shaving. They would let their beards grow for at least a year and celebrate shaving these off with another small feast of kava libation and family memories.
Interesting concept. I don't understand why this is significant though. I guess it could be a reminder of Tio everyday they look in the mirror? I'm not sure.
Was it ancestral displeasure at a recent ght between two brothers-in-law that led one family to abandon Samaria for the valley oor? Tio’s adopted kin sent down a kava and a fowl, asking that the departed brother-in-law spit kava for Tio’s health. Or were ancestral spirits angry at young Natis’ obvious reluctance to marry an elder spouse? Or upset that two men who managed the power stones that ensure a good harvest of Tahitian chestnuts had failed to organize a proper First Fruits ceremony for these?
This shows that the people were spiritual and believed that if they were to break tradition that bad things would happen. The practice of sacrificing a chicken and having kava ceremonies were believed to reconcile the wrong doings, but to no avail.
The concrete layers of Kwajalein Atoll form a text on top of the coral that is both politically legible and politically written.
I interpret this quote as the "concrete layers" represent the past histories of many outsiders forming a "text" or cover of what used to be of the original Kwajalein.
176Chapter
How would you caption this picture? A picture is worth a thousand words, but it only take a few to tell a story.
In the Marshallese sense, as land is measured not only in dry areas but also underwater, in wāto parcels that stretch perpendicu-larly across the atoll from lagoonside shallow depths to oceanside reef drop-offs, many landowners were upset about the losses to their ancestral reef zones as well, such as a major coralhead called Wōde-l̗attiliej
People's wãto were destroyed and areas of landownership were lost. Knowing how much the Marshallese people cherished their land, I feel sorrow for them.
While these experiments may have inspired new respect for coral polyps, they certainly did nothing to respect human beings.
The military didn't care about human lives, but they did have respect for the coral that helped them build their buildings. Crazy
used dynamite to blast out enormous sections of the reef around Kwajalein islet and to fuse the islets of Roi and Namur together with a causeway. This coral and limestone rubble was then used as aggregate to pave the airstrips, build sea walls, and, in some cases, mixed with cement in the con-struction of military fortifications
Like Shea said, this refers to the title of the book where coral and concrete were blasted with dynamite and used to make the concrete to build their fortifications
Kwajalein was little more than a steppingstone, for the Marshall Islanders who had strong ties to that land
A lot of indigenous cultures had strong ties to the land. People of all cultures understood the value of land for many reasons such as growing food and having a place to call home. For the military, it was about strategic positioning.
Ukita Nobuie, the president of the newly formed bereavement society,11 sent a letter to the US Army commander of Kwajalein politely requesting access to the island so that family members—especially parents—could at least touch the soil where their loved ones had died.
This was so important for the people who's loved one's died there. Having a sense of peace and closure just by touching the sand where they once stood. The only representation that they have to remember them by. Touching
the expression hadaka no tsukiai (naked relations) as a figure of speech that means “heart-to-heart” communication but also has a literal mean-ing when referring to the shared nakedness of bathing. In the context of Japanese military culture this could have had the additional meaning of being unarmed and therefore both unthreatening and vulnerable.
The ofuro in the Japanese culture was a place for Japanese men to bond and create close relationships. The ofuro symbolized something meaningful and significant in a time when war was upon them. A place of peace and comfort which was scarce in Kwajalein in that time period.
mythologies
Using the captions and still photos to depict what they want Americans to think about what happened in Kwajalein. Myths not truths.
But many Marshallese leaders describe the sacrifice of their land in terms of the global security it provides.
The Marshallese people felt like it was necessary to sacrifice their land for the betterment of the world by using it to test weapons of mass destruction. I disagree with their thinking, but it's their choice. As a native Hawaiian, it is engrained in us the our land means everything to us. Without it, we are nothing.
we should keep in mind not to attribute too much power to that gaze itself
He points out that this is not his stance, but rather it's what he is describing.
There was also the influence of an American Hollywood version of the Pacific
This shows the popularity of the "Daku-Daku Odori and the different influences it had throughout the Pacific.
But a strange hush falls over the enthusiastic crowd when the next group of students steps forth.
This says a lot about what the people knew about this performance. The respect of the crowd tells the a story in itself.
I remember many puzzling moments in Japan when, upon the mention of my childhood in the Marshall Islands, elderly Japanese men and women would begin danc-ing, arms in the air, swaying from side to side and singing, “Shū-chōno musume.”
This tells me that the significance of this song dates back a long time in this "small histories". What a reaction.
“Seeking self-praise impoverishes kin” also reminds Tongans to fulfill their fatongia to kin before others. It promotes the idea of finding balance or symme-try in the art of sociospatial relations
This reiterates how important social responsibilities are and that it is much more important that self-praise and personal gain.
Today, the proverb points to Tongans who give much of their money or resources for the sake of praise while they neglect the needs of their own families.
This shows the change of cultural values from what it once was. The lust for money over social responsibilities.
Most of the tauhi vā takes place in the fai fatongia (performance of social duties) at cultural events such as birthdays, weddings, graduation ceremo-nies, kava-drinking gatherings, fundraising events, and funerals. On Maui, the art of sustaining sociospatial relations creates beauty through harmonious pat-terns such as mutual support (fetokoni‘aki), compassion (feongo‘i‘aki), and unity (fāitaha).
Consistent with the Hawaiian culture.
During the ‘inasi ceremony, offerings of the first fruits were presented to Hikule‘o in the hope of persuading her to bless the crops of Tonga with a good yield
This reminds me of the "Makahiki" in the Hawaiian culture.
Havea Hikule‘o was the paramount chiefess of Pulotu (Moala 1994, 10). She was deified as the goddess of fertility, harvest, and agriculture
In Hawaiian Mythology, Lono was the god of fertility, harvest and agriculture
For example, Tongan sayings such as “weaving of a beautiful mat” and “rolling out a mat for kin members to dialogue” illustrate the symmet-rical or communal marking of tā in vā to create harmony and beauty.
This metaphor attempts to explain the meaning of tā in vā to readers who do not understand the concept (like myself). It give the example of 'weaving" which means the to make a mat, you must combine materials to form the map. Just like tā and vā, they are combined to form the beauty and harmony.
that is, the more beautiful the more useful, and by the same token, the more useful the more beautiful)
This is an interesting perspective that both ideas support one another.
Testing 1,2,3