LAHAINA PUBLIC LIBRARY. Come

LAHAINA PUBLIC LIBRARY LAHAINA PUBLIC LIBRARY 680 Wharf Street, Lahaina 96761 (808) 662-3950 Mon - Wed: 9 - 5, Thu: 12 - 8, Fri: 12:30 - 4:30 Saturday - Sunday: Closed YOUNG ADULTS - THING WHAT'S NEW: "Review Patron Record" ATTENTION ALL TEACHERS HELP TELEPHONE RENEWALS YOUNG ADULTS - THING We want to encourage all you Young Adults out there to visit a cool spot in town...the LAHAINA PUBLIC LIBRARY. Come in to check out popular books and magazines, surf the Internet, or to study in a quiet place. Just catch Bus 106 and drop off at the Pioneer Mill. Walk down to and make a left on Front St. We are next to the Pioneer Inn and Lahaina Harbor. WHAT'S NEW A new feature has been added to the online catalog! The "Review Patron Record" feature is a free service which allows library patrons to look up their own library card account online at the PAC terminals. Patrons may view information using the following options: 1. Items Out 2. Library Card Alerts 3. Holds 4. Patron Information 5. Yearly Holds List ATTENTION ALL TEACHERS Resources are available to your students for their research assignments. If you are working on a unit and will be sending students to the public library, we will be happy to put materials on a reserve shelf for a limited time. We want each student to have an equal opportunity to use the resources available in a specific content area. Call us at 661-3950 or write to 680 Wharf St., Lahaina, 96761. HELP We are looking for a dynamic, energetic, and imaginative volunteer who loves children and has time to provide infants and toddlers with stories, fingerplays, and songs for a weekly daytime program. If you are interested, please contact the Lahaina Library at 662-3950. TELEPHONE RENEWALS Renew your books and other materials from home (unless there are reserves on them). Please have your library card and library materials on hand when you call the Lahaina Public Library at 667-3950. You may also use this feature from your home or office with a personal computer and a modem via the library system's free "Dial-in" to 1-800-982-4436. HAWAII STATE PUBLIC LIBRARY SYSTEM, Maui

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Hawaiian Quilt," by Laurie

Honolulu Star-Bulletin Features Advertisement - Click to support our sponsors. Thursday, February 17, 2000 Margaret Wood Margaret Wood found inspiration for this quilt in the jewelry of Hopi artist Charles Loloma. The quilt hangs against a black backdrop. Indians first made quilts with European patterns, but have since incorporated traditional tribal designs. Quilt show honors Native American tradition By Cynthia Oi Star-Bulletin WHY did primitive humans peck at rocks to form bowls, then take the time to decorate them with patterns and lines on the outside? Some, like Margaret Wood, believe such labor stems from the desire to create. So it is with Wood and other artists who have transformed utilitarian bedspreads into beauteous quilts that will be displayed at Bishop Museum. "To Honor and Comfort: Native Quilting Traditions" is a traveling exhibit of the Smithsonian Institution. It showcases 45 quilts by Indian and Hawaiian textile artists and quilting groups from across the United States. "Native quilting happened as the westward movement of Anglos happened," said Wood, a Navajo-Seminole who came to the islands to present a lecture and to help with the exhibit. "The lifestyle changed for Native Americans as they were conquered and subdued," Wood said, and as the animals whose hides traditionally served as blankets and clothing were killed off. At the same time, manufactured fabrics became available and Indian women began to learn to use them instead. By Ken Sakamoto, Star-Bulletin Margaret Wood poses with a mixed media quilt she calls "Hand." The dots are mother-of-pearl disks, which also decorate her dress. "The wives of military men and missionaries started giving the women sewing lessons at the forts and missions, and provided them with manufactured cotton and wool," she said. At first, Indians made quilts with European patterns, but over time, they began incorporating tribal designs that they had been using in beadwork or other media, Wood said. "For instance, the Odawa quilt, one of the oldest in the show, has the lone-star design, but the corners and the triangular areas are filled with a floral design that's common to the Odawa people. So the missionary design is combined with traditional tribal design." While there are fine examples of antique quilts made by European Americans, few native quilts have survived. Anglo women could afford to make quilts that were purely decorative, Wood said. "They tended to make a very special quilt out of satin and expensive fabrics and they would save them for an heirloom and they would only bring them out on Sunday when the preacher came to dinner. "But the native people lived much closer to the Earth. I believe there were many heirloom quality quilts made, but the native people didn't have the economics. If there was a bad winter and you weren't able to get the buffalo hides or deer hides for bed coverings, you couldn't hold on to that heirloom quilt. Your babies were cold." As quilts became part of the Indian household, different tribal groups gave the quilt different significance, she said. Not only were they items of comfort, they became gifts of honor. At an Indian school in South Dakota, for example, each member of the graduating class is presented with a quilt. Margaret Wood "Charlie Wood's Stoma Quilt" honors Margaret Wood's father, who had radiation therapy for throat cancer. The line border represents cigarettes, the hands, people who had helped him. "The mothers take it upon themselves to make sure that every graduate has a quilt draped on their chair when they come in for the ceremony," Wood said. If the child doesn't have a mother or a person who sews in the family, other mothers will make one for the graduate. "It's honoring them. It is a significant gift," she said. Hopi culture requires a naming ceremony for a new infant. As part of that, each female member of the baby's family presents the child with a naming quilt. "If the baby has a large family, the baby may be given 20 naming quilts. So you'll see pictures of this big pile of quilts around this tiny baby. But that's part of their culture now, part of their ceremony," Wood said. She became a member of the planning committee for the exhibit in the mid-1990s, but the idea for the show began more than a decade ago. Getting grant money, deciding the focus and parameters of the exhibit and putting together a well-researched companion book took much of the time. An Arizona native, Wood, 50, mother of two boys, has degrees in teaching and library science. She had a successful business selling contemporary clothing adapted from Indian designs when she took up quilting as a sideline. "I found that the quilts were a much more creative thing. There was less marketing and more creativity." In 1990, she switched the emphasis of her business, "and I'm really glad that I did. I'm having a lot of fun with quilts." Her pieces aren't for spreading across the mattress; she designs them to be hung on walls and each has a reason for being. One is called "Charlie Wood's Stoma Quilt," and honors her father. At the center of the quilt is a plastic mask that was used in her father's radiation therapy after he was diagnosed with throat cancer. "The doctor offered it to my father, but he didn't want it, so I took it," she said. Red and white borders representing the lighted cigarettes that caused the cancer surround imprints of hands. "They are helping hands, actual tracings from some of the people who helped him get back on his feet," she said. "Quilts all have stories." On Exhibit What: "To Honor and Comfort: Native Quilting Traditions" When : 9 a.m. to 5 p.m. Saturday through May 7 Where: Bishop Museum Admission: $7.95, $6.95 for children, seniors, military; includes all museum exhibits Information: 847-3511 Also: Museum staff quilt show, through May 7, Castle Memorial Building Also Lectures and workshops complement the exhibit. Lectures begin at 7:30 p.m. at Atherton Halau; cost is $5 each or $36 for the series. Information: 848-4144 or 848-4110. Here is the schedule: March 7 : "Hannah Baker and Her Legacy," by quilter and historian Elizabeth Akana March 11: Quilt pattern tracing workshop, Elizabeth Akana* March 14: "Meet Harriet Soong," who will discuss her work March 21: "Redwork Embroidery: The 'Other' Hawaiian Quilt," by Laurie Woodard March 25 : Redwork embroidery workshop, Elaine Zinn and Woodard* March 28: "History of Hawaiian Quilts," by Woodard April 4: "Inspirations for Hawaiian Quilts," by Lee Wild April 11: "Bishop Museum Quilt Treasures," by Betty Lou Kam April 18: "Native Plant & Animal Quilts," by entomologist Dean Jamieson April 25: "Quilt Care and Identification," by Woodard, Wild and Barbara Harger *Workshops run from 9 a.m. to noon at the museum's Paki Conference Room. Cost: $10 per workshop; reservations required. Click for online calendars and events. E-mail to Features Editor Text Site Directory: [News] [Business] [Features] [Sports] [Editorial] [Do It Electric!] [Classified Ads] [Search] [Subscribe] [Info] [Letter to Editor] [Stylebook] [Feedback] © 2000 Honolulu Star-Bulletin http://starbulletin.com

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Re: RECLAIMING HALEAKALA, SPIRITUALLY AND CULTURALLY Re: RECLAIMING HALEAKALA, SPIRITUALLY AND CULTURALLY [ Follow Ups ] [ Post Followup ] [ Talk Story with Uncle Charlie ] [ FAQ ] Posted by Mia Kaina on January 04, 1998 at 01:19:48: In Reply to: RECLAIMING HALEAKALA, SPIRITUALLY AND CULTURALLY posted by Uncle Charle on December 03, 1997 at 03:17:02: : What a ceremony we had up at Haleakala this morning. The Honolulu Star Bulletin : (http://www.starbulletin.com/) had an article on the Ceremony. There was suppose to be over two : hundred people, but from early last evening it was pouring rain and windy. : When we gathered at the Upcountry Community Center at 1:30am. the wind was howling and it : was raining steady. At 2:00am. everyone gathered for pule and promptly at 2:30am. we left for : Haleakala. It kept raining and after entering the Haleakala National Park and passing through the : checkpoints, we arrived at the top, The visitor's center. For the first time in history, the parking lot : was closed and only Kanaka Maoli were permitted and others whoes children were in Hawaiian : programs. We all waited in the Buses and cars, until the right chants were performed and the : Ho'okupu (offerings) were given. This was at 3:40am. the temperature was 40 degrees and chill : factor was almost freezing. In fact the rain was crystallizing on the clothes. Again after the proper : chants were done, we entered the observatory. It was heated and everyone gathered. It was really : something to see. We had about 150 people dressed in "cold weather gear". For Hawaiians who : are not accustomed to the cold, had on thick socks for mittens, bed spreads, blankets and anything : they could find to keep themselves warm. I had announced on the radio it would be close to : freezing. : We started to perform dances outside right on the rim of Haleakala, chants to honor the Makahiki : Festival, the different gods and goddesses that reside there. It kept raining the wind was blowing but : everyone was engrossed in the ceremony. : We then had a kukakuka (talk story) session that was for me the high light of the ceremony. There : were more youths, from 20 years old to 3 year olds then there were adults. This was wonderful : because they represented the future. Everyone spoke the Kupuna (elders) and the opio (youth) and : the all reaffirmed their committment in taking back Haleakala for spiritual and cultural purposes. : They agreed that we have so many cultural resources but if we dont take care of it, we will loose it. : At 6:15am. the sun was chanted in E Ala E, and a new day appeared and a new committed by : Hawaiians in reaffirmation of the cultural roots on the rim of this very wet, very cold and very nani : (beautiful) mountain called Haleakala. Aloha Uncle Charlie. Uncle Charlie, I was up at Haleakala that morning with you. I find myself chanting E Ala E to the sun here in Lanikai, Kailua, Oahu. I enjoyed myself. I was happy to see Hawaiians taking back their land for practices they had practiced before. I am interested. What was the significance of 4am? Kainoa 'Opio Follow Ups: Post a Followup Name: E-Mail: Subject: Comments: : : What a ceremony we had up at Haleakala this morning. The Honolulu Star Bulletin: : (http://www.starbulletin.com/) had an article on the Ceremony. There was suppose to be over two: : hundred people, but from early last evening it was pouring rain and windy. : : When we gathered at the Upcountry Community Center at 1:30am. the wind was howling and it: : was raining steady. At 2:00am. everyone gathered for pule and promptly at 2:30am. we left for: : Haleakala. It kept raining and after entering the Haleakala National Park and passing through the: : checkpoints, we arrived at the top, The visitor's center. For the first time in history, the parking lot: : was closed and only Kanaka Maoli were permitted and others whoes children were in Hawaiian: : programs. We all waited in the Buses and cars, until the right chants were performed and the: : Ho'okupu (offerings) were given. This was at 3:40am. the temperature was 40 degrees and chill: : factor was almost freezing. In fact the rain was crystallizing on the clothes. Again after the proper: : chants were done, we entered the observatory. It was heated and everyone gathered. It was really: : something to see. We had about 150 people dressed in "cold weather gear". For Hawaiians who: : are not accustomed to the cold, had on thick socks for mittens, bed spreads, blankets and anything: : they could find to keep themselves warm. I had announced on the radio it would be close to: : freezing. : : We started to perform dances outside right on the rim of Haleakala, chants to honor the Makahiki: : Festival, the different gods and goddesses that reside there. It kept raining the wind was blowing but: : everyone was engrossed in the ceremony. : : We then had a kukakuka (talk story) session that was for me the high light of the ceremony. There: : were more youths, from 20 years old to 3 year olds then there were adults. This was wonderful: : because they represented the future. Everyone spoke the Kupuna (elders) and the opio (youth) and: : the all reaffirmed their committment in taking back Haleakala for spiritual and cultural purposes.: : They agreed that we have so many cultural resources but if we dont take care of it, we will loose it.: : At 6:15am. the sun was chanted in E Ala E, and a new day appeared and a new committed by: : Hawaiians in reaffirmation of the cultural roots on the rim of this very wet, very cold and very nani: : (beautiful) mountain called Haleakala. Aloha Uncle Charlie.: Uncle Charlie,: I was up at Haleakala that morning with you. : I find myself chanting E Ala E to the sun here : in Lanikai, Kailua, Oahu. I enjoyed myself. : I was happy to see Hawaiians taking back their : land for practices they had practiced before. I: am interested. What was the significance of 4am?: Kainoa 'Opio Optional Link URL: Link Title: Optional Image URL: [ Follow Ups ] [ Post Followup ] [ Talk Story with Uncle Charlie ] [ FAQ ]