In the summer of 2019, a group of kia'i, or protectors made up of kanaka 'oiwi (Native Hawaiians) and their allies came together to demonstrate against the proposed construction of the Thirty-Meter Telescope (TMT) on the inactive volcano Maunakea. In Mele on the Mauna, Joseph Keola Donaghy explores how music, and especially haku mele, or Hawaiian language composers, played a crucial role in this defense. Musicians flocked to the mauna (mountain) to perform for the kia'i and a worldwide audience via social media. Haku mele created new songs at unprecedented levels, releasing many commercially with proceeds benefiting organizations providing support services and supplies to the kia'i. This book features over 30 of the author's interviews with individuals who participated in musical activities connected with this movement as well as recorded interviews conducted with kia'i, their supporters, officials from the state and university, and representatives from the TMT organization. Donaghy explores Indigenous Hawaiian concepts and theories like mana (power), mo'oku'auhau and pilina (genealogy and relationships), kapu aloha (discipline), and aloha 'aina (love of land, patriotism), and western academic concepts like connectedness and community building, poetics, sound(ing) and silenc(e/ing), conflict, and creativity. Mele on the Mauna illuminates how music played a powerful role in building solidarity, inspiration, and activism, reveling in the most contentious confrontations about protecting Maunakea and the outpouring of musical performances and creativity that occurred.

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.

Because This Land Is Who We Are is an exploration of environmental repossession, told through a collaborative case study approach, and engaging with Indigenous communities in Canada (Anishinaabe), Hawai'i (Kanaka Maoli) and Aotearoa (Maori). The co-authors are all Indigenous scholars, community leaders and activists who are actively engaged in the movements underway in these locations, and able to describe the unique and common strategies of repossession practices taking place in each community. This book celebrates Indigenous ways of knowing, relating to and honouring the land, and the authors' contributions emphasize the efforts taking place in their own Indigenous land. Through engagement with these varying cultural imperatives, the wider goal of Because This Land Is Who We Are is to broaden both theoretical and applied concepts of environmental repossession, and to empower any Indigenous community around the world which is struggling to assert its rights to land.

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.

Empire and Environment argues that histories of imperialism, colonialism, militarism, and global capitalism are integral to understanding environmental violence in the transpacific region. The collection draws its rationale from the imbrication of imperialism and global environmental crisis, but its inspiration from the ecological work of activists, artists, and intellectuals across the transpacific region. Taking a postcolonial, ecocritical approach to confronting ecological ruin in an age of ecological crises and environmental catastrophes on a global scale, the collection demonstrates how Asian North American, Asian diasporic, and Indigenous Pacific Island cultural expressions critique a de-historicized sense of place, attachment, and belonging. In addition to its thirteen chapters from scholars who span the Pacific, each part of this volume begins with a poem by Craig Santos Perez. The volume also features a foreword by Macarena Gómez-Barris and an afterword by Priscilla Wald.

In Mapping Abundance for a Planetary Future, Candace Fujikane contends that the practice of mapping abundance is a radical act in the face of settler capital's fear of an abundance that feeds. Cartographies of capital enable the seizure of abundant lands by enclosing "wastelands" claimed to be underdeveloped. By contrast, Kanaka Maoli (Native Hawaiian) cartographies map the continuities of abundant worlds. Vital to restoration movements is the art of kilo, intergenerational observation of elemental forms encoded in storied histories, chants, and songs. As a participant in these movements, Fujikane maps the ecological lessons of these elemental forms: reptilian deities who protect the waterways, sharks who swim into the mountains, the navigator Māui who fishes up the islands, the deities of snow and mists on Mauna Kea. The laws of these elements are now being violated by toxic waste dumping, leaking military jet fuel tanks, and astronomical-industrial complexes. As Kānaka Maoli and their allies stand as land and water protectors, Fujikane calls for a profound attunement to the elemental forms in order to transform climate events into renewed possibilities for planetary abundance.