INTRODUCTION:
Keaomelemele is a story of tradition and romance. Kū and Hina bare children in which Moʻoinanea declares onto others to hānai (raise). Hōʻailona (signs) of the heavens reveal the birth of a child of high stature. Their first child, a son, is raised by the gods Kāne and Kanaloa and their sister Keānuenue. They gave this child several names, Kahānaiakeakua (the one who is raised by gods), Kahihikuaokalani (The spreading over the back of heaven), and Kamakaokauila (the eyes of lightning). The second child to Kū and Hina, a daughter, Paliuli, was given to Waka to raise. Waka called upon two trees, Makalei, that provided fish, and Kalalaikawai, a tree that cooked food, to help care for Paliuli. Paliuli was destined to be Kahānaiakeakua's wife. The third child of Kū and Hina was but a bloody spot that came out of the head of Hina, which took the form of a girl and was raised in Kealohilani by Moʻoinanea herself.
Eventually, Kū stayed with another, Hiʻilei, and Hina with ʻOlopana and both couples bare a child. Their children end up being raised by the other couple. With Paliuli being barren, Kahānaiakealiʻi finds interest in Poliahu. Love triangles are forming throughout this moʻolelo - nothing far from this generation. Who belongs to who? Who ends up with who? Find out what happens in this soap opera of a moʻolelo - one of my favorites!
Eventually, Kū stayed with another, Hiʻilei, and Hina with ʻOlopana and both couples bare a child. Their children end up being raised by the other couple. With Paliuli being barren, Kahānaiakealiʻi finds interest in Poliahu. Love triangles are forming throughout this moʻolelo - nothing far from this generation. Who belongs to who? Who ends up with who? Find out what happens in this soap opera of a moʻolelo - one of my favorites!
MODULE 7: AT-A-GLANCE
Read the moʻolelo Keaomelemele. It has been scanned in two parts for printing; click here for Part I and here for Part II. Or, go to your nearest library and borrow the book. Or, in my opinion, it's worth the buy. :)
From the get-go, you should be able to identify some of the meiwi that we have already reviewed and practiced, such as mele (song as dialogue). The meiwi that we will be reviewing in this module is called kīkahō, which is an intentional break in the story. The storyteller interrupts the story to address the reader/listener. The author uses this type of meiwi throughout this moʻolelo, weaving the reader in and out, anticipating the reader's thoughts, and pausing the story to give more clarity to the reader. One example is on page 104, in the 3rd paragraph, the author/storyteller says:
"(O readers of this legend, perhaps you are all anxious to come to the tale of the girl, Keaomelemele, the beauty of the heavenly region. Hold down your anxiety over her a little while, while I explain concerning her brother, lest our tale become confused...)"
The storyteller is referring to the main character of this moʻolelo as the pages before do not reference her. It is his intuition that by now, the readers are getting anxious to know about the main character, so he reassures his readers through this break in the story, that she, the main character, will be explained soon.
This type of meiwi makes a written story more realistic as if it was being told orally. Have you ever told a story and your listener asks you, "And then what happens?" And, you assure them that it's coming. Or, your listener asks you to tell them more about a certain word you just mentioned in your story: "What does [fill in with a word] mean? Can you tell me more about that?"
Pay attention to the way this storyteller uses this style. You will practice this meiwi this week within your moʻolelo. When you do so, put yourself in your reader's shoes. Anticipate the areas of your story where your reader might have a clarifying question or where you think your reader would ask to explain more.
As you read, also take notice of the traditional practices; some are subtle and almost hidden by the multitudes of words if you are not keen. As a mother, I took interest in the lāʻau (plant-base medicine) used to produce breast milk. If I had not been a breast-feeding mother, my eyes may have bypassed this valuable information (page 104).
The practice of arranged marriages and hānai were also common. Though not as common today, some Hawaiian ʻohana still hānai the eldest child to the kūpuna (grandparent). One thing that has changed in this practice/tradition of hānai is that in the days of old, your spoken word was law; there was no need for documents. I ka ʻōlelo nō ke ola, i ka ʻōlelo nō ka make. In words there is life, in words there is death.
In your Discussion, tell a story of a time that relates to this ʻōlelo noʻeau. Read others' posts and reply to 2 peers.
From the get-go, you should be able to identify some of the meiwi that we have already reviewed and practiced, such as mele (song as dialogue). The meiwi that we will be reviewing in this module is called kīkahō, which is an intentional break in the story. The storyteller interrupts the story to address the reader/listener. The author uses this type of meiwi throughout this moʻolelo, weaving the reader in and out, anticipating the reader's thoughts, and pausing the story to give more clarity to the reader. One example is on page 104, in the 3rd paragraph, the author/storyteller says:
"(O readers of this legend, perhaps you are all anxious to come to the tale of the girl, Keaomelemele, the beauty of the heavenly region. Hold down your anxiety over her a little while, while I explain concerning her brother, lest our tale become confused...)"
The storyteller is referring to the main character of this moʻolelo as the pages before do not reference her. It is his intuition that by now, the readers are getting anxious to know about the main character, so he reassures his readers through this break in the story, that she, the main character, will be explained soon.
This type of meiwi makes a written story more realistic as if it was being told orally. Have you ever told a story and your listener asks you, "And then what happens?" And, you assure them that it's coming. Or, your listener asks you to tell them more about a certain word you just mentioned in your story: "What does [fill in with a word] mean? Can you tell me more about that?"
Pay attention to the way this storyteller uses this style. You will practice this meiwi this week within your moʻolelo. When you do so, put yourself in your reader's shoes. Anticipate the areas of your story where your reader might have a clarifying question or where you think your reader would ask to explain more.
As you read, also take notice of the traditional practices; some are subtle and almost hidden by the multitudes of words if you are not keen. As a mother, I took interest in the lāʻau (plant-base medicine) used to produce breast milk. If I had not been a breast-feeding mother, my eyes may have bypassed this valuable information (page 104).
The practice of arranged marriages and hānai were also common. Though not as common today, some Hawaiian ʻohana still hānai the eldest child to the kūpuna (grandparent). One thing that has changed in this practice/tradition of hānai is that in the days of old, your spoken word was law; there was no need for documents. I ka ʻōlelo nō ke ola, i ka ʻōlelo nō ka make. In words there is life, in words there is death.
In your Discussion, tell a story of a time that relates to this ʻōlelo noʻeau. Read others' posts and reply to 2 peers.
MODULE ASSIGNMENTS CHECKLIST DUE SUNDAY, NOVEMBER 8, 2015
READING GUIDE:
Know who's who! Who was born to whom. Who was raised by who. Who ended up in a relationship with who?
Pay attention to traditions - hula, lāʻau, etc.
Pay attention to traditions - hula, lāʻau, etc.