hey white people why did you turn us hawai’ian’s third gender “mahu” into an insult thrown at people in the lgbt community? why did you colonize us and make everyone think mahu meant gay? its a hawai’ian gender identity. aikane means gay. mahu is a native-hawai’ian third gender.
These photos depict people exchanging hongi. Hongi is a traditional Maori greeting in which the two individuals press both their noses and foreheads together at an encounter; it is similar to a formal handshake, and is often used in conjunction with one. Through the hongi, our ha is exchanged and merged. Ha can be translated as breath of life; it could be compared to an intermingling of souls. Exchanging of hongi can also bear the added significance of being no longer considered manuhiri, or a visitor to the islands, but as tangata whenua, a person belonging to the land (Aotearoa).
A comparablegesture can be found in Hawai’ian culture; the two greetings share a similar cultural significance (in regards to the sharing of ha).
i have lots of stimming things/comfort items on there and even some necessities that we need around the house, since my mom has lost her job, and we’re waiting on her getting unemployment & food stamps
we aren’t even sure if my mom can get unemployment, she really wants to go back to college for a year to get back into the medical field and become an assistant nurse, so she can get a stable and well-paying job, so times are really going to be tough for us.
please help us if you can, me and my mom would really appreciate some things to help us out, but don’t feel bad if you can’t buy us anything. and reblog if you want, it’d be appreciated
thank you all so much, and i hope you all have a good day
hey if ur native hawaiian can you tell me why it’s spelt hawaiian and not hawai’ian when the rules of the hawaiian alphabet state that two vowels can’t be placed side by side w/o an ‘okina between them
How do you define “sacred?” One simple answer: it’s something you keep your butt off. Jennifer Lawrence got that memo, but decided to disregard it. In a recent interview she recalls her “butt-scratchin’” on sacred rocks while shooting Hunger Games in Hawai’i. They were, to her mind, a useful tool to relieve her of itchiness.
In the comments, which she made on a recent episode of the BBC’s Graham Norton Show this week, she says: “There were … sacred … rocks — I dunno, they were ancestors, who knows — they were sacred.” She goes on to say: “You’re not supposed to sit on them, because you’re not supposed to expose your genitalia to them”. But she did. “I, however, was in a wetsuit for this whole shoot – oh my god, they were so good for butt itching!”
She knew this was a gross cultural breach – that much is clear – but Lawrence decided to go ahead and desecrate the rocks anyway.
A pōhaku can be sacred for a number of reasons. In some cases it is because it may be the physical manifestation of an ancestor. In other cases, it may have to do with the purpose of the rock – such as birthing stones imbued with mana of the chiefs. None of these things mattered to Lawrence.
Lawrence’s story shores up a long line of Hollywood productions that have mocked traditional Hawai’ian spiritual beliefs. As scholar Lisa Kahaleole Hall notes in an essay titled: “‘Hawai’ian at Heart’ and other fictions,” Hawai’i 5-0 and Magnum PI in the 1970s and 80s and Survivor today, set the stage for this attitude. Meanwhile, cable programming on Nick at Nite “has introduced a whole new generation to the ‘secret kahuna curse’ raised when the Brady Bunch went to Hawai’i.”
This has to do with the kitsch-factor that continues to plague Kānaka Maoli – Indigenous Hawai’ians – and Hawai’i. As Hall puts it: “This has significant political implications, because by making Hawai’ianness seem ridiculous, kitsch functions to undermine sovereignty struggles in a very fundamental way. A culture without dignity cannot be conceived of as having sovereign rights, and the repeated marketing of kitsch Hawai’ian-ness leads to non-Hawai’ians’ misunderstanding and degradation of Hawai’ian culture and history.”
Also, the retelling of this story for entertainment value makes Hawai’ians and our ancestors “the butt” of her joke. Consider her response when the pōkahu – which she describes as a giant boulder – was dislodged and supposedly almost killed the sound technician on the set when it rolled down the mountain. As she tells it: “All the Hawai’ians were like, ‘Oh my God, it’s the curse’. And I’m in the corner going, ‘I’m your curse.’ I wedged it loose with my ass.”
It is high time that people realize that despite the unbridled colonial violence of modernity, for many Indigenous individual and peoples, the sacred persists in our 21st century world.
(”Water is life” in
Lakȟóta) is the banner for many of the Indigenous individuals, Nations and other collectives working to protect sacred water, the source threatened by DAPL. They have brought their understandings of the sacred into the mainstream – though there is still much work to do.
Settler colonialism has historically deemed non-Christian concepts of the sacred as a form of savage superstition. This thinking persists today. That’s why we who are Indigenous must assert and claim our sovereign and spiritual connections to our respective ancestral realms – regardless of others’ laughter and dismissal. In the mean time, Lawrence should learn to scratch herself some other way.
Each child is born with a perfect bowl of light. This bowl represents her true identity, a vessel of shining Light. If she is taught to love and respect her light, then she will grow in strength and health and she can do anything – swim with the shark, fly with the birds, know and understand all things. If, however, she judges her experience of life as bad and becomes fearful, ashamed, or resentful, she drops a stone into her bowl of light and it blocks some of the light. The stone and the light cannot hold the same space. If she continues to put stones in the bowl it will eventually be full of stones, the light will go out, and she will become a stone. A stone does not grow, nor does it move. If at any time she tires of being a stone, all she needs to do is turn the bowl upside down and the stones will fall out, and the light will grow bright once more.
In this Hawaiian story, the bowl of light represents our true essence: pure light, pure love. When we are conscious and respectful of this light, we are living in our highest state of freedom, our sovereignty.
The stones in the bowl represent the pain and suffering that we cause ourselves by resisting life instead of trusting it, and by not accepting others or ourselves as we are.
If we fill our bowl of light with stones, we lose connection with our essence and feel separate from the source of love and light.
It would be nice if we could just dump our stones out and start over again. The reality is that all of our experiences, both painful and pleasurable, will always be part of who we are. It’s not possible to deny or eliminate them. What we can do is return the light to our bowl so that the memories of our wounds no longer affect us negatively. We can turn our stones into crystals. We polish them with our loving presence. This is the alchemy that transforms our experiences of pain and suffering into a treasure chest of pristine, multifaceted jewels. Our bowl of light is now full of shimmering, sparkling crystals, representing a richly lived life.
I know we're south east asian but how close or different are our and a (insert any) polynesian cultures?
Here’s the thing. As Pilipinxs our culture is very diversed based on our indigenous Austronesian roots and of the various influences that has woven into it from thousands of years of trading with now present day Indonesia, Malaysia, Brunei, Vietnam, Cambodia, as well as China, Japan, and India to hundreds of years of colonization from Spain to the U.S.
Geographically speaking we are South East Asian and we have many similarities with other SEA countries because of our historic ties with one another. Ideas and religion were exchanged and like many parts of SEA we were once heavily influenced by Hinduism and Buddhism which you can see in the many recovered artifacts of figures and deities in both and in our languages that have many Sanskrit loan words.
However the core culturally and linguistically, minus those influences is Austronesian. Austronesia covers more than half of the world via the sea which is no surprise considering we as Austronesians primarily live on islands (minus a few ethnic groups that landed and settled in parts of Vietnam and Cambodia on mainland SEA) and are sea faring people. The Austronesian regions stretches from Madagascar with the Malagasy ethnic group who first settled there, to maritime SEA, to Vietnam and Cambodia with the Cham ethnic group and other ethnic groups such as the Rade of Vietnam, and the Pattani region of Thailand, to Taiwan with the indigenous groups such as the Tao, Amis, Bunun, Paiwan, Atayal, etc. (not the Han-Chinese who colonized and are the face of Taiwan), and to Polynesia, Micronesia, and Melanesia.
The Austronesians speak the same language family and you can see this in our words for numbers which are the same or cognates and to the word for eye which is mata in almost every language or similar such as maka or the word manuk for bird which its cognates are manok or manu and the word for the number 5 and the hand which is lima which is pretty much the same everywhere.
Besides our common languages stemming from an unknown mother language in our very distant past, there are a few other things in terms of cultural practices and beliefs that we share in common. One of those practices is the art and spiritual act of tattooing which is known as batok, batuk, fatuk, batik, ta mako, tatak, kakau, ta tau, tau, etc. In pretty much every Austronesian group tattooing is found with the traditional hand tap or hand poked method. Motifs found in the Philippines are also found in Polynesia, Micronesia, and Melanesia and often have the same meanings or similar based on locality.
Another thing we share in common is seafaring and of the outrigger canoe which is known as bangka, jukung, waka ama, vaka, wa’a, va’a, etc. This is the backbone of our history on our islands, how our ancestors arrived, and of our creation myths.
So are Pilipinxs similiar to Polynesians? Linguistically and culturally, minus our influences into our cultures from parts of Asia and of our colonizers, yes we are. However we are not Polynesian or Pacific Islander, I repeat we are not Polynesian or Pacific Islander, unless of course you are say half Pilipinx half Samoan or Hawai’ian, etc. then by all means you are obviously but in general no we aren’t. We may share some similiarities but that is only in due part to our Austronesian heritage.
There is an active Austronesian community group on Facebook ( which I love reading the topics and discussions on there as I have learned a lot ) comprised of those who are Pilipinx, Indonesian, Malaysian, Samoan, Maori, Hawai’ian, and more on there who discuss ones own languages, cultures, practices, events, beliefs, etc. and compare them with other Austronesian groups where we often find new things that we have in common that we wouldn’t know otherwise without these discussions.
The worst trash talkers. Keith is only savage when he’s not really trying, when he gets pulled into an actual competition he falls flat. He and Hunk once tried to come up with an insulting nickname for a foe and ended up with “Big Ears Guy.” Lance despairs.
The point and the flanker. Keith presses while Hunk covers for him.
But also Keith keeps using Hunk to parkour around. Hunk doesn’t mind Keith scrambling on top of his shoulder and doing a backflip off of him, as long as he gets some warning first. It’s like gymnastics time. Keith also uses Hunk as a ladder to get things Lance sticks on high shelves.
Most likely to accidentally get married and not ever bother to get divorced. They’re confident in their bro-liness and also just lazy.
Weirdly similar senses of humour. Hunk is the person most likely to make Keith laugh and vice versa. They’re both suckers for knock-knock jokes and physical comedy, not to mention those so-dumb-they’re-funny jokes.
“Why did the monkey fall out of the tree?” “Because he was dead!”
Hunk gets cold easily and Keith is a tiny furnace of rage so when they’re on cold planets Hunk tucks Keith inside his coat to take advantage of his body heat.
While Lance is being passive aggressive, Hunk has already decided Keith is his adopted family and has promised to introduce him to his family when (if) they see earth again.
Hunk quoted Lilo and Stitch to Keith once as a little “ha ha, I’m Hawai’ian” joke but Keith just…. didn’t get it. Now Hunk drops subtle lines whenever he can because seeing Keith nod and accept his quotes as actual Hunk Wisdom makes him happy.
“Don’t worry about Lance, he likes your butt and your fancy hair. I read it in his diary.”
Weren't the pintados Visayan? So I'd think tattooing would be common among Visayans. And supposedly Bohol was one of the tribes that had pintados. Maybe for lack of reference they can look at records of pintados styles and try to work their way back from there on a Bohol-specific historical thread.
The Pintados, or “The Painted Ones”, were the Bisayans yes and was the term the Spaniards first called the people they met and saw around the Bisayas because they were all tattooed (unlike say the Tagalogs they eventually encountered who had none). For those in Bikol peninsula, the Spaniards mentioned how they looked just like the Bisayans as they shared similar tattoos and they shared a cultural affinity with the Bisayans (from tattooing, warrior culture, etc.) and they shared both cultural influences from Tagalogs and other southern Luzon groups and the Bisayans.
Like I said, motifs, terms, and the way of tattooing through handtapped or poking were pretty much shared throughout different groups (though with local interpretations and variations). Motifs found in the Bisayas are found among the Cordillera groups like the Kalinga, Ifugao, and Bontoc as well as among the Austronesian groups in Oceania and Polynesia such as Hawai’ians (the leading traditional Hawai’ian tattoo practitioner, Keone Nunes, has talked about the similarities and shared motifs and even visited Apo Whang Od and discussed the shared tattooing culture stretching across the Pacific where Austronesians brilliantly navigated, that is an Austronesian practice), Samoans, and also the indigenous groups of Taiwan (not the Han Chinese who arrived and colonized there and are mainly seen and representative of Taiwanese) who are also part of the Austronesian family. It is possibly found in other Austronesian groups in Indonesia and Malaysia and probably could be found in the remaining ethnic groups that still practice tattooing though I don’t know too much about the tattooing traditions in those regions of maritime Southeast Asia besides the ones in Borneo (where according to Bisayan folklore and mythology their ancestors come from).
As I mentioned before, either on this blog or my personal blog if you follow me there, motifs were mainly geometric shapes and designs based on nature. The scales of pythons, crocodiles, lizards, which are all spiritual and divine animals and are associated with the ancestors and spirits. Birds which are seen as messengers of the ancestors and deities, omens, and represented in many of the creation myths in the Philippines. Ferns which represent the agricultural lifestyle, fertility, and of harvest. The rivers which represent life and death and the very foundation of society as many groups are based around a river or other water source and are often named after it (Tagalog - people of the river, Akean - people of Akean River, Kapampangan - people of the river bank, Ilokano - people of the bay, Tausug - people of the sea currents, etc.). Rivers were also believed to be the pathway to the ancestors and the afterlife and are part of mythology and cosmology of the upstream, which represents birth and life, and the downstream, which represents death and the afterlife and of returning to the sea which is what brought us to the islands.
If you want to look at motifs that may have been tattooed, look at traditional woven motifs. Motifs found in weaving were often the same as what was tattooed as tattooing was pretty much our form of permanent clothing on our skin. Ilokanos for example can look at their weaving motifs as these are possibly what was used in their tattooing prior to colonization as they are recorded by the Spaniards to have practiced it and saw them tattooed.
Today in history: January 17, 1893 - The sovereign government of Hawaii is overthrown and replaced by Sanford Dole (part of the family that owned Hawaiian Pineapple Company which later became Dole Food Company) & pro-annexation sugar interests.
U.S. marines land in Hawaii in support of the coup leaders to “protect U.S. interests.” Until the 1890s, Hawaii was an independent sovereign nation, recognized by the US, UK, France, Japan, Germany and other countries. After overthrowing Hawaii’s leader Lilluokalani, Sanford Dole declares himself Hawaii’s president & the new illegitimate government lobbies for US annexation of Hawaii. Voting rights are conditioned on new income and wealth requirements, stripping power from native Hawaiians, while Asians who had become naturalized Hawaiians were also stripped of the vote and U.S. citizens who weren’t naturalized Hawaiians were granted voting rights.
The US Senate Foreign-Relations Committee recommends annexation, declaring it, “a duty that has its origin in the noblest sentiments that inspire the love of a father for his children." In 1898, President William McKinley signs a joint resolution of Congress authorizing the annexation, consolidating the U.S. colonization of the Hawaiian nation. The struggle for Hawaiian sovereignty continues.
"The United States has conquered the indigenous peoples of North America, Hawai’i and Alaska. U.S. imperialism has taken their lands, suppressed their culture and carried out genocidal policies. Native American, Native Hawai’ian and Alaskan Natives struggles for sovereignty and national development (including control of land, natural resources and political autonomy) must receive the full assistance and support of those fighting for equality and socialism.” -from FRSO’s statement on national oppression
(image: U.S. troops in Honolulu to back up the overthrow of the Hawaiian government)
Via Freedom Road Socialist Organization (Fight Back!)
Why I love being mixed: Half Japanese, quarter Portuguese, Austrian, Native Hawai’ian.
I enjoy being a deviation in a mono-ethnic area and connecting with others about cultural intricacies since I look ethnically ambiguous. Sometimes it helps with opening conversation with others.
My frustrations with being mixed: There’s difficulty when it comes to the tendency to view my sister and I as specimens to study. Our Japanese side will scrutinize our features and marvel at how my sister (white passing and very tall) looks so different from me. My coworkers and strangers have engaged with me because they are in interracial relationships and want their kids to have “big eyes and light skin” and that “mixed kids are gorgeous and exotic.” Even some members of the lgbtqia community do this- individuals who I have dated have made fetishizing, hurtful comments about how I present and my heritage. But looking back, I think my love for my culture and who I have become because of it has helped overcome those negative feelings of other-ness. You are mixed, you are beautiful, and you are powerful!
*Pilipinx lady looks at me* - Ikaw?! Really? You don’t look like one. Are you half? - No.
Everybody Else: You don’t look like a typical Pilipinx. - Well what in the hell does a ‘typical’ Pilipinx look like in the first place?
Born and raised in the loud, crazy, bright lights, metropolis that is NYC. Soul back in the sweet, sweet, island of Panay up on the mountains and beaches of Aklan.
What’s up guys, its your host and blogger at pinoy-culture, Ate Ligaya, here to represent my proud Akean & Mindoreño Tagalog roots.
Growing up I didn’t care for being Pilipinx. To me it was just like, sure whatever. At times I hated my features. I wanted blue or green eyes, I wanted blonde hair, I hated my flat pig nose. The list goes on. It wasn’t until I first went to the Philippines for my tita’s wedding did I really start to wake up and realize my identity and get interested in the Philippines and who we are as Pilipinxs. It was during this time I started to actually listen to the words being spoken by my family in Tagalog to try and understand what they were saying. It wouldn’t be until a couple years just right around senior year that I actually got really interested in our history, cultures, mythology, folklore, and inang bayan. It was actually during this time when I started to decolonize myself and actually brought up the eventual creation of the pinoy-culture blog after the first blog I made, kapwakaluluwa. Since then I have been on an ongoing journey of self-discovery and decolonization. There is a whole lot more to my story of internalized racism and getting out of it but I’ll keep it simple for now.
PFAD is wonderful and I’m glad it exists because not only does it show our beautiful diversity but it’s where we can share our stories and know that we all have our own personal struggles growing up as a Pilipinx but are not alone.
My message to all of you is be proud of who you are and where your roots come from and love our kapwa and inang bayan and the ancestors. Don’t be ashamed of your heritage, your features, the way you speak, your identity.
And to all those people who have put you down, said racist shit to you, fetishized and harassed you, told you that “you are not Pilipinx enough”, I just got this to say to them.
I go by Tae, and I’m Black and multiethnic. My ethnic breakdown is Black, Portuguese, French, English, Irish, with some Jewish lineage (this is all, to the best of my knowledge). To summarize, I’m mostly Black and colonizer.
My appearance is a combination of light skin privilege and non-white ethnic ambiguity. I’ve gotten guesses of Tongan, Samoan, Hawai'ian, Filipino, Brazilian, Peruvian, Mexican, and more. This can be frustrating, but I’m semi-satisfied that I am solidly recognized as a woc in any situation.
Okay, so I’ve said before that I’m writing a book and I was thinking about how diverse my characters are and how much representation there is for so many people.
The main character is a genderfluid, dfab, demisexual, Native American/Black girl.
Her best friend is a feminine gay guy, but he can’t shop to save his life and he’s so supportive and loving it hurts
The main character works at a diner started by a Trans woman that is a safe-space for everyone of the lgbtq+ and has entirely lgbtq+ employees
There’s a pair of twins that are both asexual. They leave home because their gay mothers don’t understand being transgender and one of them is agendered
There’s an intersex, androgynosexual, Japanese guy who makes terrible puns and can’t flirt
There’s a gay, f2m, Hawai’ian/Japanese guy who is also a werewolf
There are 2 non-gendered fairies, because fairies don’t follow human gender norms or sexual views
There’s a girl from Bangladesh that was bitten and became a vampire that does private therapy for human and mythical clients
There’s a Yeti from the Himalayan mountains that moved to a Native American Reservation as a child and decided to form a study group for young Mythical creatures who aren’t used to human interaction, and for people of mythical orientations who are often looked down upon even in lgbt spaces
There’s a plus sized merrow/mermaid that has a ditsy disposition, but is extremely knowledgable when it comes to mythical creatures
The main character’s mom is a Native American woman who is mentally unstable and abused. It’s cause and her process of recovery are explored
There’s commentary on rape culture and abandonment