The History of the Lei
In Polynesian cultures, a lei is something that is created by someone and given to another with the intent to decorate that person for an emotional reason—usually as a sign of affection. Common reasons include greeting, farewell, affection or love, friendship, appreciation, congratulation, recognition, or to otherwise draw attention to the recipient.
In Samoa, similar garlands fashioned of entire flowers, buds, seeds, nuts, plant fibers, leaves, ferns, seashells, or flower petals are called “asoa” or “ula”, while single flowers or clusters worn in the hair or on the ear are called sei.
In Tahiti such garlands are referred to as ‘hei’ and in the Cook Islands they are called an ‘ei.’
Tongans are known for creating unique ‘kahoa’ leis made of chains of flat, crescent or triangular arrangements made of flower petals and leaves sewn onto a leaf or cloth backing.Many modern Polynesian celebrations include the giving and receiving of leis in various forms, including recent adaptations of the flower/plant lei in which candy, folded currency bills, rolls of coinage,
Customs
There are many customs and protocols associated with the giving, receiving, wearing, storing, and disposing of lei.
In modern times, a lei is usually given with a kiss - a custom which began in World War II. Traditionalists, however, give a lei by bowing slightly and raising it above the heart, allowing the recipient to take it, as raising the hands above another’s head, or touching the face or head, is considered disrespectful.
By tradition, only open lei are given to a pregnant or nursing woman.
Lei should never be thrown away casually, or tossed into the trash. Traditionally they should be returned to the place they were gathered, or if that is not possible, they should be returned to the earth by hanging in a tree, burying, or burning. A lei represents love, and to throw one away represents throwing away the love of the giver. Many types of lei can be left in a window to dry, allowing the natural fragrance to fill the room. This technique is often used in cars as well.
(Source: awkward-hapkas)
you’re so adorable, just why lol
Lincoln Horseplay doin’ the most. 🏇 (at San Francisco State University)
(Source: partizany)
untitled by kate chausse on Flickr.
(Source: illtumblr4ya)
I go into practice with so much excitement and leave with so much self-doubt. I don’t need everyone kicking me while I’m on the ground, I do that enough myself. I swear, I wear my frustration on my sleeve. Even my mom knew I was pissed off. Afterwards, there we indirect apologies, “Sorry I was too mean, or pushing you too far,” etc, etc. But I don’t fucking care for it. A few asked, “What song are you struggling with the most?” But wasn’t it obvious? Oh, you know, the song everyone had trouble with, the couples piece. I’m sure everyone fucked up at some point, whether it be my paranoia, I swear, everytime our group was told to correct ourselves, I would be stared at during this “team cleanup”. I got the most critique and it was really critical and each time I just gained frustration. All I could is just take the direction as best as possible but I just snapped after some time. I was angry, everything they told me fix instantly pissed me off because I’m trying but no ones noticing. Once I fixed it, there was always another thing I fucked up on. Then after 30 minutes or so, everytime I was corrected I just wanted to like punch a wall. My wrists were itching, it’s something that happens when I get frustrated. The only thing that kept me from breaking the mirror and breaking down was slapping my little bracelet bead things across my wrists to feel these stings that kept my head clear. Afterwards, I was out of it. I didn’t even wanna hear my voice. Everyone was talking about how much the upcoming show importance was and all I can think of is, “What if I look like a fucking joke on stage? What if they cut the piece because I’m fucking up?” Amy even said if she was our director, she’d take it out. That hurt me pretty bad, especially knowing I did nothing but practice this all week. Speaking of practicing all week, I taught myself the choreo to Buy My Love from our collaboration set, and I asked if I could do it for our show because I love that set so much. So much, instead of going out, I stayed home all week, watched the video and learned and cleaned it. Then when I was given the chance to speak of it, I asked and suggested if I could be in it. But no, they only wanted 3 people to do it. I never got a chance to challenge or speak up about it or anything. I feel like I could do a better job but its not like I have a choice since the directors aren’t in charge. It’s kinda a group thing but we obviously have leaders amongst the funksters. Speaking of leaders. The two, in my opinion, strongest female and male dancer in funksters are teaching us a choreo and I can’t help but feel this pressure of “I have to impress them”, or “I can’t fuck up” adding to the tons of anxiety I already have. They definitely sometimes come off as bossy, I know it’s for a good reason, but when I’m frustrated, it’s annoying as fuck. One had the choice of placing who would be in what set and I’m really disappointed that I never got even a chance to challenge. This basically sums up my love/hate relationship with the team. I just wanna sleep. For a few weeks unt summers here. But I know I have fucking summer school. Someone kill me.
Uno Mas was so fun, seeing Michelle Martinez and stuff.
I just wish I could’ve saw Ashley Moh perform with Andrew Garcia.
🌾🍃#OOTD🍃🌾 (at Abraham Lincoln High School)
