Ka Lei Haʻaheo: Beginning Hawaiian is a culturally oriented Hawaiian language textbook.Its grammar lessons include the relationship between the language and the Hawaiian world view. The book's dialogs are drawn from contemporary Hawaiian family life. Extensive classroom testing was used in developing Ka Lei Haʻaheo. Although it was designed for college use, it is also a handy resource for high schools and individuals, particularly because its companion volume, Ka Lei Haʻaheo: Teacher Guide and Answer Key provides English translations and answers to the exercises. The text's lively appeal is further enhanced with line drawings.

Here for the first time is a large collection of Hawaiian songs in an authoritative text with translation (music not included). The texts have never before been written consistently with the glottal stops (indicating syllabic breaks between vowels) and macrons (indicating long vowels and stresses) that make the words pronounceable by those unfamiliar with the Hawaiian language. Many of the songs have not been translated before or have only been freely adapted rather than translated. These 101 songs are all postmissionary and owe their musical origin to missionary hymns, although only a few are religious. None are technically chants, though some are chants that have been edited and set to music. They date from the mid-1850s (most are from the time of the monarchy) to 1968 (the date of Mary Kawena Pukui's translation of Christmas songs). Nearly all of these songs are sung today and are well known to Hawaiian singers. Included are love songs, and Christmas songs. There is an exhaustive introduction, which includes classification and arrangement of the songs; a note on the composers; and analysis of the structure, symbolism, and meanings of the songs; and a note on the translations and on the poetic vocabulary of the Hawaiian words.

I Ulu I Ke Kumu is the first volume of a series to be published annually by the Hawai‘inuiākea School of Hawaiian Knowledge and is intended to be a venue for scholars as well as practitioners and leaders in the Hawaiian community to come together over issues, queries, and strategies. Each volume will feature articles on a thematic topic—from diverse fields such as economics, education, family resources, government, health, history, land and natural resource management, psychology, religion, sociology, and so forth—selected by an editorial team. It will also include a “current viewpoint” by a postgraduate student and a reflection piece contributed by a kupuna. The series will include articles written in Hawaiian and/or English, images, poetry and songs, and new voices and perspectives from emerging Native Hawaiian scholars. Readers who wish to comment on articles, artwork, and other pieces will be able to do so through the monograph discussion link found at the Hawai‘inuiākea School of Hawaiian Knowledge website (http://manoa.hawaii.edu/hshk/).

This book applies the theory of cognitive linguistics to the analysis of a variety of grammatical phenomena in non-Indo-European languages. In previous studies of languages from non-Indo-European families, cognitive linguistics has been remarkably useful in explaining non-prototypical structures as well as more common ones. The book expands that effort into a new set of families and languages.

A great resource for students of traditional Hawaiian dance, this beautiful handbook filled with archival photographs covers the origins, language, etiquette, ceremonies, and the spiritual culture of hula. Hula, the indigenous dance of Hawai'i, preserves significant aspects of Native Hawaiian culture with strong ties to health and spirituality. Kumu Hula, persons who are culturally recognized hula experts and educators, maintain and share this cultural tradition, conveying Hawaiian history and spiritual beliefs in this unique form of cultural and creative expression, comprising specific controlled rhythmic movements that enhance the meaning and poetry of the accompanying songs. Emphasizing the importance of cultural literacy, the Handbook begins with an overview of the origins of hula, its history in Hawai'i, and the primacy of the spiritual focus of the dance. The book goes on to introduce halau etiquette and practices, and explains the format of a traditional hula presentation, together with the genres of hula and the regalia worn by the dancers. Practical components include sections on Hawaiian language and chant and a glossary of hula commands and footwork. Author Mahealani Uchiyama trained in Hawaii in the hula lineage of Joseph Kamoha'i Kaha'ulelio and is currently the Kumu Hula at the Halau Ku Ua Tuahine in Berkeley, California. As the founder and artistic director of the Center for International Dance and board member of Dance Arts West, the producers of San Francisco's annual Ethnic Dance Festival, Uchiyama's approach to hula is deeply holistic and reflects her background in indigenous wisdom traditions and cultural exchange and interaction.

The weaving of lau hala represents a living tradition borne on the great arc of Pacific voyaging history. This thriving tradition is made immediate by masters of the art who transmit their knowledge to those who are similarly devoted to, and delighted by, the smoothness, softness, and that particular warm fragrance of a woven lau hala treasure. The third volume in the Hawai‘inuiākea series, ‘Ike Ulana Lau Hala is an intriguing collection of articles and images about the Hawaiian tradition of ulana lau hala: the weaving, by hand, of dried Pandanus tectorius leaves. ‘Ike Ulana Lau Hala considers the humble hala leaf through several, very different lenses: an analysis of lau hala items that occur in historic photographs from the Bishop Museum collections; the ecological history on hala in Hawai‘i and the Pacific including serious challenges to its survival and strategies to prevent its extinction; perspectives–in Hawaiian–of a native speaker from Ni‘ihau on master weavers and the relationship between teacher and learner; a review–also in Hawaiian– of references to lau hala in poetical sayings and idioms; a survey of lau hala in Hawaiian cultural heritage and the documentation project underway to share the art with a broader audience; and a conversation with a master artisan known for his distinct and intricate construction of the lei hala. Rich with imagery, this extraordinary volume will guide the reader to a better understanding of the cultural scope and importance of lau hala, fostering an appreciation of the level of excellence to which the art of ulana lau hala has risen under the guidance of masters who continue to steer the Hawaiian form of the tradition into the future.

Presents sixty-eight hula hālau from Hawaii, the Mainland United States, Canada, France, Germany, Japan, Mexico, and the Netherlands.

This Hawaiian language text, intended for self-learning as well as classroom use, presents the principal conversational and grammatical patterns of the language in 67 lessons, each containing English-Hawaiian dialogues. Emphasis is given to idiomatic speech, and a vocabulary of approximately 800 words, selected on the basis of frequency of usage and cultural importance, is introduced. The frequent humor of the lessons makes Elbert's Spoken Hawaiian an enjoyable learning experience. Also noteworthy is the author's inclusion of old Hawaiian in the text - legends, songs, stories - to enable the student to read the rich Hawaiian traditional literature in the vernacular language. The illustrations by noted artist Jean Charlot are a charming and amusing complement to the text. Spoken Hawaiian will help the student not only to read and speak the language, but at the same time to appreciate the rich heritage of the Hawaiian past and its literature. of the sixty-seven lessons is a sample dialog in Hawaiian with English translation.

The Austronesian language family is the largest language family in the world, yet its members are relatively little studied, particularly from a formal perspective. Interestingly, because these languages exhibit typologically unusual properties, they pose important challenges to linguistic theory. Any theory that postulates a grammar that is common to all languages must take into account the particular characteristics of this language family. The contributions to this volume comprise five chapters on phonology and twelve chapters on syntax, all addressing aspects of these Austronesian challenges. The volume presents new data, new analyses of old data, and comparisons of closely related languages, as well as comparisons to languages outside of the language family. Taken together they form a unique picture of Austronesian linguistics. This volume will be of interest to researchers and students in phonetics, phonology, morphology, syntax, and language typology, as well as scholars of Austronesian languages.

According to UNESCO, it is believed that at least half of the nearly 7,000 languages spoken around the world will cease to be used within the next 100 years. If this issue is neglected, people will lose not only their cultural heritage but also invaluable understandings about the history of all humankind. Endangered Languages of the Caucasus and Beyond includes the manuscripts of 19 papers that were presented at the 1st International CUA Conference on Endangered Languages, organized by the Caucasus University Association (CUA), at Ardahan, Turkey, on 13 to 16 October 2014. The articles address issues such as the state of the field of documentation, conservation and revitalization of endangered languages with special reference to the endangered languages in the Caucasus region and beyond.