INTRODUCTION:
The Kumulipo is a genealogical creation chant composed in Hawai'i for chief, Ka-ʻĪ-i-mamao, around the 18th century. Consisting of 16 wā (era or period) this chant has over 2,000 lines that were passed down orally generation after generation until 1889 when it was first printed in Honolulu from a manuscript copy owned by King David Kalākaua. Queen Liliuokalani's translations were later printed in 1897 and Martha Beckwith's version in 1951. The Kumulipo is not just any creation chant, it is our genealogy; it is our piko, our connection to the past that will never cease to bind generation to generation.
MODULE 2: AT A GLANCE
View Aunty Rubellite Kawena Johnson's lecture on Hawaiian Perspective of the Environment and Kumulipo Part 1 & 2 by clicking on the link in the Title. Aunty Rubellite is a Professor of Hawaiian Language and Literature. She researched the history of the Kumulipo and therefore, gives an in-depth explanation of the creation chant revealing dualism, symbolism, and metaphor (kaona) within. She begins with pō (night, darkness) and ao (light, day), kāne (male) and wahine (female) and continues, summarizing the wā (era, period of time) revealing dualism in the birth of things ma uka (upland) and its counterpart ma kai (seaward), as well as in the names of plants, animals, birds, insects, gods, and kānaka (human beings). She uses today's issues to show the relationship of that of the past through the Kumulipo, to that of the present and future.
Read the INTRO of Queen Liliʻuokalani's version of the Kumulipo. Then, read Martha Beckwith's version in depth. As you read, identify the Hawaiian literary nuance(s)/device(s) of dualism, symbolism, and metaphor. Pay special attention to what is being born & in which wā (period).
In Lili'uokalani's version, she reveals dualism while keeping the Hawaiian terms for the creatures that are born in each era in tact without translation.
Martha Beckwith's extensive translations display her own thoughts and interpretations of the Kumulipo as well as interpretations of other well-known and highly respected Hawaiian story-tellers such as Joseph Mokuohai Poepoe, David Malo Kupihea of Molokaʻi, Daniel Hoʻolapa of Kona, and Mrs. Pokini Robinson of Maui. As we know or have learned, kaona (hidden meanings) has so many layers; each individual having different explanations and yet, perhaps none of them what the author intended. This is very acceptable. The author's aim is NOT to unveil the mystery that only he knows, but allow readers to infer on their own thoughts.
Aside from kaona and duality (alolua, ʻekoʻa) that is comprised within the Kumulipo, Martha Beckwith explains the arrangement and style of this mele koʻihonua as such:
"[It] uses poetical devices of sound, such as repetition, assonance, and linked lines...Endless listing, arranged seemingly for sound...constant parallelism, a balance in pairs, often of opposites such as male and female, above and below, plant and animal…"
Read the INTRO of Queen Liliʻuokalani's version of the Kumulipo. Then, read Martha Beckwith's version in depth. As you read, identify the Hawaiian literary nuance(s)/device(s) of dualism, symbolism, and metaphor. Pay special attention to what is being born & in which wā (period).
In Lili'uokalani's version, she reveals dualism while keeping the Hawaiian terms for the creatures that are born in each era in tact without translation.
Martha Beckwith's extensive translations display her own thoughts and interpretations of the Kumulipo as well as interpretations of other well-known and highly respected Hawaiian story-tellers such as Joseph Mokuohai Poepoe, David Malo Kupihea of Molokaʻi, Daniel Hoʻolapa of Kona, and Mrs. Pokini Robinson of Maui. As we know or have learned, kaona (hidden meanings) has so many layers; each individual having different explanations and yet, perhaps none of them what the author intended. This is very acceptable. The author's aim is NOT to unveil the mystery that only he knows, but allow readers to infer on their own thoughts.
Aside from kaona and duality (alolua, ʻekoʻa) that is comprised within the Kumulipo, Martha Beckwith explains the arrangement and style of this mele koʻihonua as such:
"[It] uses poetical devices of sound, such as repetition, assonance, and linked lines...Endless listing, arranged seemingly for sound...constant parallelism, a balance in pairs, often of opposites such as male and female, above and below, plant and animal…"
MEIWI: ALO LUA
In many Hawaiian moʻolelo and mele, symbolism, metaphor, and dualism are found. In this module the meiwi ʻEkoʻa/Alo Lua (opposites) is evident within the Kumulipo. Creation begins in pō (night), man is born in ao (day); male of the narrow stream, woman of the broad stream; creatures and plants born of uka and kai. We refer to Kū as masculine and Hina as feminine. The use of ʻekoʻa or alo lua gives a sense of harmony and balance. For a person to be in touch with both his/her Kū and Hina side is for that person to be in perfect balance.
MODULE ASSIGNMENTS CHECKLIST
1) Watch Kawena Rubellite Johnson's Lecture on the Kumulipo, Part 1 & Part 2
2) Read the intro of Queen Liliʻuokalani's version of the Kumulipo then read Martha Beckwith's version of the Kumulipo in depth.
3) Post your Discussion on Laulima
4) Practice your Meiwi Assignment
5) Take Content Quiz on Laulima
2) Read the intro of Queen Liliʻuokalani's version of the Kumulipo then read Martha Beckwith's version of the Kumulipo in depth.
3) Post your Discussion on Laulima
4) Practice your Meiwi Assignment
5) Take Content Quiz on Laulima