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TheUniversityofSanFranciscoUSFScholarship:adigitalrepository@GleesonLibrary|GeschkeCenterDoctoralDissertationsTheses,Dissertations,CapstonesandProjects2013ThePoweroftheHula:APerformanceTextforAppropriatingIdentityAmongFirstHawaiianYouthCesilyHongcesily2003@yahoo.
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RecommendedCitationHong,Cesily,"ThePoweroftheHula:APerformanceTextforAppropriatingIdentityAmongFirstHawaiianYouth"(2013).
DoctoralDissertations.
56.
https://repository.
usfca.
edu/diss/56TheUniversityofSanFranciscoTHEPOWEROFTHEHULA:APERFORMANCETEXTFORAPPROPRIATINGIDENTITYAMONGFIRSTHAWAIIANYOUTHADissertationPresentedtoTheFacultyoftheSchoolofEducationLeadershipStudiesDepartmentOrganizationandLeadershipProgramInPartialFulfillmentoftheRequirementsfortheDegreeDoctorofEducationByCesilyHongSanFranciscoMay2012iiTHEUNIVERSITYOFSANFRANCISCODissertationAbstractThePoweroftheHula:APerformanceTextforAppropriatingIdentityAmongFirstHawaiianYouthResearchTopicHawaiiisanexoticlandwitharichhistoryandacultureimbuedwithmeaning,includingtheperformingarts.
Suchfacetsofanylandneedtobeunderstoodandpreservedforfu-turegenerations.
ThemostsignificantaspectofHawaiianartsisthehulakahiko,atextinmotion,whichwhenperformeddisplaysthestoryofHawaii'spast.
Thehulawasforbid-denbyProtestantmissionariesinthe1820'sandwasreducedtonearculturalextinction.
Asaresult,manyFirstHawaiiansdonotclearlyunderstandtherichnessoftheirownhis-tory.
Withoutthisunderstanding,itisdifficultforthemtohaveanideaofwhotheyaretoday.
Moreover,thepastisalsocriticalforappropriatingabetterfuture.
Therefore,thehulakahikomayserveasamediumthroughwhichFirstHawaiianscanlearnabouttheirownidentity.
TheoryandProtocolTheresearchforthisstudyonFirstHawaiianPerformingArtswasconductedusingHer-da's(1999)guidelinesforcriticalhermeneuticparticipatoryresearch.
Followingtheseprinciples,theresearcherandparticipantscreatearelationshipinwhichlanguageandculturecomeintoplay.
Conversationsleadtofurtherreflectionandunderstanding,anditisinthisspacethatwecanopennewworldsfilledwithpossibilities.
ResearchCategoriesThefollowingprimaryconstructsNarrativeIdentity,Mimesis,andForgivenessguidedthisresearch,andservedasthebasisfordatacollection,analysisandfurtherreflection.
iiiNarrativeIdentity,theeventsinourlivesfitintoanarrative,andwhenwetellit,thereistruthandpowerinourstory.
Wehavethepowertofuseelementsofthepastwithabrightandunknownfuture.
Mimesiscanbeusedtounderstandhowasociety'swayoflifecanberememberedorforgottenovertime.
Imaginationisthecornerstoneforaction;wefindthefreedomtoprojectpossibilitiesandenvisionanewworld.
FindingsTheparticipantsofthisstudyrevealedthatourcultureistheonedirectlinkwehavetothepast.
Thehulakahikoisanationaltreasurethatmustbepreservedandpassedontofuturegenerations.
Thefollowingfindingswerediscoveredthroughconversationswithparticipants:(1)TheHulakahikoisforEveryonewhocomeswiththerightattitude,therightheart,andthedesiretolearnmoreaboutanativecultureanditshistory;(2)Hulakahikohonorsthepastandspeakstothefuture;(3)Educationisthekeytosuccess;(4)Forgivenessisessentialtomovingforwardintothefuture.
ivThisdissertation,writtenunderthedirectionofthecandidate'sdissertationcommitteeandapprovedbythemembersofthecommittee,hasbeenpresentedtoandacceptedbytheFacultyoftheSchoolofEducationinpartialfulfillmentoftherequirementsforthedegreeofDoctorofEducation.
Thecontentandresearchmethodologiespresentedinthisworkrepresenttheworkofthecandidatealone.
CesilyHong4-23-12CandidateDateDissertationCommitteeDr.
EllenA.
Herda4-23-12ChairpersonDateDr.
PatriciaMitchell4-23-12DateDr.
BettyTaylor4-23-12DatevTABLEOFCONTENTSCHAPTERONE:STATEMENTOFRESEARCH.
1Introduction.
1StatementoftheResearchIssue1BackgroundoftheResearchIssue.
2SignificanceoftheIssue.
4Summary.
5CHAPTERTWO:THEHAWAIIANISLANDS7Introduction.
7AncientCulture.
8ContactwiththeWest.
10UnificationofHawaii10APrincess'sWill13KalakauatheMerrieMonarch14LossofIndigenousSovereignty16HawaiianRenaissance16HawaiianSovereigntyMovement17Summary.
18CHAPTERTHREE:REVIEWOFLITERATURE.
20Introduction.
20FirstHawaiianPerformingArts.
20FirstHawaiianTraditionandCulturalLoss25SocioeconomicMetricsforFirstHawaiians.
31CulturalDevelopmentforHawaiianYouththroughSchoolPrograms.
35Summary.
38CHAPTERFOUR:RESEARCHPROCESS.
40Introduction.
40TheoreticalFramework.
40ResearchCategoryOne:NarrativeIdentity.
41ResearchCategoryTwo:Mimesis.
43ResearchCategoryThree:Forgiveness44ResearchGuidelines45EntréetotheResearchSites.
45ResearchParticipants.
48ResearchQuestions.
51Conversations.
53Observation.
53Documents54PersonalJournal.
55ResearchTimeframe59DataAnalysis.
59PilotStudy.
60BackgroundoftheResearcher.
63CHAPTERFIVE:DATAPRESENTATIONANDANALYSIS66Introduction.
66viPreservingIdentity.
67ThePowerofLanguage.
74ChangingtheFuture.
76Summary.
83CHAPTERSIX:SUMMARY.
85Introduction.
85Summary.
85Findings,Implications,andRecommendationsforFutureResearch86FindingOne:TheHulaisforEveryone.
87FindingTwo:HulaHonorsthePastandSpeakstotheFuture.
87FindingThree:Educationisthekeytosuccess.
88FindingFour:Forgivenessisessentialtomovingforward.
89SignificanceoftheResearch.
90RecommendationsforFutureResearch.
91Reflections92BIBLIOGRAPHY.
94APPENDICES.
100AppendixA:GlossaryofHawaiianTerminology.
100AppendixB:LetterofInvitationandResearchQuestions.
102AppendixC:IRBApproval104AppendixD:LetterofConfirmationtotheResearchParticipant107AppendixE:PreliminaryResearchParticipantList.
108AppendixF:SampleThankYouLetter.
109AppendixG:BackgroundofPilotStudyResearchParticipant.
110AppendixH:TranscriptofPilotConversation.
112viiFiguresFigure1.
MapofHawaii…7Figure2.
HulaDancers…55Figure3.
HulaDancers…55Figure4.
HulaDancers…56Figure5.
HulaDancers…56Figure6.
KumuHula…57CHAPTERONE:STATEMENTOFRESEARCHIntroductionHawaiiisanexoticlandwitharichhistoryandacultureimbuedwithmeaning,includingtheperformingarts.
Suchfacetsofanylandneedtobeunderstoodandpre-servedforfuturegenerations.
ThemostsignificantaspectofHawaiianartsisthehula,atextinmotion,whichwhenperformeddisplaysthestoryofHawaii'spast.
TheFirstHa-waiianswereanoralcivilizationwhopreservedmuchoftheircultureandhistorythroughthehulaanditsaccompanyingmeles.
ThehulawasforbiddenbyProtestantmissionariesinthe1820's,andwasreducedtonearculturalextinction.
Asaresult,manyFirstHawai-iansdonotclearlyunderstandtherichnessoftheirownhistory.
Withoutthisunderstand-ingitisdifficultforthemtohaveanideaofwhotheyaretoday.
Moreover,thepastisalsocriticalforappropriatingabetterfuture.
Therefore,thehulamayserveasamediumthroughwhichFirstHawaiianscanlearnabouttheirownidentity.
TheimplicationsforthisunderstandingwillbetargetedspecificallytowardsFirstHawaiianyouth.
StatementoftheResearchIssueThisdissertationservesasaninquiryintotheFirstHawaiianperformingtheartofhula.
Specifically,IwanttoexplorethehulaasamediumforunderstandinghistoryandhowthishistorycaninformsocialchangethroughthedevelopmentofFirstHawaiianyouthprograms.
Followingaculturalanthropologicalapproach,Iproposetostudythehulathroughacriticalhermeneuticorientation.
Thefollowingprimaryconstructs,ac-companiedbygeneralquestions,guidethisresearch:1.
NarrativeIdentity:Howcanthestoryofthehulabringforthre-flectionandsocialactiononthepartofFirstHawaiians22.
Mimesis:Howdothepast,thepresentandthefuturecometolifeinafullerunderstandingofthehula3.
Forgiveness:Throughtheactofforgiveness,howcanFirstHa-waiiansappropriatetheirfullidentityTheFirstHawaiianswereacivilizationthatpreservedtheircultureandhisto-rythroughthemediumoftheirdance.
Thisdance,thehula,heldsignificantmeaningthroughmovement,chanting,clothingandadornments.
Forexample,themovementofthearmswouldspeakofthegeographyandhistory.
However,shortlyafterthear-rivaloftheWesterner,thehulawasforbidden,eliminatingamajorvesselofHawaii'shistory.
In1778,BritishexplorerCaptainJamesCookwasthefirstEuropeantodis-covertheHawaiianIslands.
Within100yearsofhisarrival,westerndiseasedecimat-edtheFirstHawaiianpopulation.
Asthelearnedmendied,muchoftheoralhistorywaslost,nevertoberecovered.
Sincethen,aseriesoffactorshaveledtothecontinueddecimationoftheFirstHawaiianculture,history,andidentity.
HansGeorgGadamer(1988)positswebelongtohistory,beforehistorybelongstous.
Inthecaseofnohistory,thequestioncanbeaskedtowhomdoesonebelongBackgroundoftheResearchIssueHawaiiiswhereIgrewup,aharmoniousplaceofbeautybrimmingwithlifeandcooledbytheseasonaltradewinds,theperfectbackdropforthegracefullyricallifestyleofHawaiians.
ItisinterestingtonotethatinHawaii,FirstHawaiiansyouthrarelystudythehulabecausethisartformisnotformallytaughtinschools.
Inordertostudythehu-la,oneoftenhastopayforprivatelessons.
Somechildren,however,willlearnhowtodancethehulaamongrelativesandfriends,whethertheyareFirstHawaiiansornot.
3LearningthedanceinaninformalsettingprovidesnohistoryormeaningofthehulainthecontextofHawaiianhistory.
Consequently,mostchildrendonothavetheopportuni-tytolearnthisdanceanditsaccompanyinghistory.
Iwasoneofthechildrenfortunateenoughtoformallystudythehula.
ThesongsthatIlearnedasachildwerehula'auana(modernhula)andthesongswerewhimsicalandcharming,like"LittleBrownGal,"and"GoingtoaHukilau"(WayofFishing).
WhatmypeersandIlearnedinhulaclass,wesharedatsocialeventsandgatherings.
Ienjoyedthehula,notrealizingthattherewasadifferencebetweenthehula'auanathatIwaslearning,andthehulakahiko,whichheldtherichnarrativesandhistoryofFirstHawaiians.
LaterinlifeIbegantoappreciatethehulakahikoforwhatittrulyrepresents,awaytoexpressone'sselfandthestoriesofanativepeople.
TheearlyFirstHawaiiansreliedonoralstories,asignificantpartofthehuladance,tokeeptheirhistoryandtraditionsalive.
AncientlegendsthatsurvivedinvokeLaka,agoddessfabledtohavegivenbirthtothehula.
Untilthe1800sthehulawas,asstoriesrecount,dancedinreligiousceremoniesandaspartofsacredrituals.
Thetradi-tionalhulastyleaspracticedpriortoWesterncontactwasknownaskahiko(seeAppen-dixAforGlossaryofHawaiianTerminology).
TheearlyHawaiiansappreciatedthepowerofmusicanddance.
Theysharedtheirknowledgewithsucceedinggenerationsorally,throughstory-telling,chanting,andhulakahiko.
Thechantswerethemostim-portantpartofthehula,andtellusaboutasenseofplaceandpeople.
Theoceans,therainbows,thewinds,theflowers,arealwaysapartofthemusicanddanceandarevividlysharedthroughthedancers'gracefulmovements.
ThehulawasforbiddenbyProtestantmissionaries(inthe1820's),andwasreducedtonearculturalextinction.
Thehulaexpe-4riencedaFirstRenaissanceandrebirththroughthesupportofKingKalakaua,inthelate1800s,andthroughtheSecondHawaiianRenaissanceinthe1970s.
Throughthistumul-tuoushistory,thehulaevolvedunderWesterninfluencetoincorporatemusicalinstru-ments(guitarandukulele)andbecameknownashula'auana.
Unfortunately,muchofhulakahiko(ancienthula)livesononlywithinthemindsofelderFirstHawaiiansandis,onceagain,nearextinction.
ThisstudyutilizesRicoeur'stheoryofnarrativeidentity,mimesis,language,andforgiveness,toprovidenewinterpretationsandnewunderstandingsoftheim-portanceofperpetuatingandpreservingtheHawaiianculturethroughtheancientartofhulakahiko.
SignificanceoftheIssueThehulaismuchmorethanameredance.
Itsaccompanyingchantscontainthegenealogy,mythology,andprayersoftheancientHawaiians.
Forcenturies,thehulahasbeenthemeansbywhichtheculturaltraditions,stories,andhistoryoftheFirstHawai-ianswerepasseddown.
Today,FirstHawaiiansfacesoberingsocio-culturalissues.
ForeigninfluencehasirreparablyalteredtheculturaldevelopmentoftheHawaiianpeople.
TheseculturaltraumasresultinagreatdisparityandsocialneedofFirstHawaiians,andtheirchildren.
TheFirstHawaiiancommunityisindireneedofyouthprogramsthatcancreatemeas-urablegainsandspeaktotheculturalpastoftheHawaiianpeople.
ArenewedfocusandappreciationofHawaiianperformingartsthroughthehulakahikoisnecessaryfortheperpetuationoftheHawaiiancultureandhistory.
ThehulakahikoallowsustoappreciatethewondersofoldHawaii,andperpetuateandpreserve5theseculturaltreasuresforfuturegenerations.
Mostimportantly,throughtheprocessofstudyingandlearningtheseperformingarts,onemaygainasenseoftheFirstHawaiianlifestyleandtraditionsthatstressedtheimportanceofohana(family),kokua(coopera-tion),andaloha(love).
SummaryPaulRicoeur(1984)conjecturesitisimportanttorememberthepastinordertoimaginethefutureandtoseeourselvesinrelationtoothers.
TounderstandtheplightoftheFirstHawaiians,onemustunderstandtheirpasthistory,traditions,andculturesothattheycanco-imaginetheirfuture,andseethemselvesinrelationshipwithothers.
TherehasbeenagradualerosionoftheHawaiianwayoflifewitheachpassinggeneration.
TheHawaiianpeoplearelosingtheirreligion,language,andmuchoftheircultureandtraditions.
ThelifeoftheFirstHawaiiansoncefocusedoncultureandreligion,astherewasnootherlifeforthem.
Today,worshippingintheHawaiiantraditiontovariousgodsandgoddessesisrarelypracticed.
Hawaiian,oncetheprimarylanguageoftheFirstHawaiians,hasbeenreplacedbyEnglishathomeandinclassrooms.
Thenumeroussocio-culturaltraumasandconfusedsocialidentityhaveledmanyFirstHawaiianstodepressionandsubstanceabuse.
Andyet,inunder-standingtheculturalpastoftheHawaiianpeople,onecanimagineanewdirectionandabrighterfuture.
ThisstudywillsharethejourneythatHawaiianindigenousartsandcultureex-periencefrominceptiontotheirpresentforms.
Thisjourneyparallelsthestrugglesthattheindigenouspeopleendureastheyidentifywhotheywere,wheretheycamefrom,andwhattheywillbecomeinthefuture.
Ihopethatthisstudywillhelptoprovideabetter6understandingofhowtheuseofFirstHawaiianhulakahikomaybenefittheindividualandsocietythroughyouthdevelopmentprogramsinHawaii.
PartOneintroducesthetopicathandandPartTwooffersaReviewofLiteraturetomorefullycontextualizethisresearch.
7CHAPTERTWO:THEHAWAIIANISLANDSIntroductionThesiteforthiscriticalhermeneuticalstudyonFirstHawaiianHulaKahikoistheHawaiianIslands.
TheIslandsofHawaii(seeFigure1.
MapofHawaii)arelocatedinthePacificOceanjustnorthoftheequator(USGS2009).
TheHawaiianIslandsareoneofthemostisolatedandgeographicallyprotectedland-massesintheworld.
Theis-landsformachain,andthisstudyspecificallyaddressestheeightmainislandswhichare:Ni'ihau,Kaua'i,O'ahu,Moloka'i,Lāna'i,Kaho'olawe,Maui,andHawai'i.
TheHawai-ianIslandshaveahistoryofdangerousoceanvoyages,richculturalandartisticachieve-ments,anddominationbyforeignersfromthewest.
Figure1.
MapofHawaiiSource:LonelyPlanet8AncientCultureInthe5thcentury,PolynesianexplorersdiscoveredtheHawaiianIslands,andbecametheislandsfirsthumaninhabitants.
Theearlyexplorersarebelievedtohaveven-turedoutfromthePolynesianislandsintotheblindunknownofthePacificOcean,untiltheydiscoveredandsettledintheHawaiianIslands(Tabrah1984:32).
TheperilousjourneytotheHawaiianIslandswasbelievedtohavebeentakeninlargevoyagingca-noesguidedonlybythelightofthestars.
TheFirstHawaiians(alsoknownasKānakaMaoli)adoptedachief-ledsocialstructuresimilartothatofotherislandcultures.
Theislandscontainednumerousrivalchiefdomsthatoftenfoughtoneanotherandpracticedhumansacrifice.
Thesocialhier-archywithinthesechiefdomswascomposedoffourmajorclassesofpeople:theali'i,kahuna,makaāinana,andkauā.
Thepeoplewiththehighestrankweretheali'iorchiefs.
"One'srankasanali'iwasdeterminedbythemother'sfamilylineage,thusmak-ingHawaiiamatriarchalsociety"(Tabrah1984:32).
Thekahunaclassincludedtheskilledclasswhospecializedinagriculture,construction,navigation,andsorcery.
Themakaāinanawerethecommonpeople,acategorythatencompassedfisherman,farmersandlaborers.
Thelowestclasswasthekauāorwarcaptives.
TheFirstHawaiianslovedthebeautyoftheirsurroundings,andoftenlivedneartheseashoreorwithinsightofit.
Fromtheseatheyobtainedalargepartoftheirfood,andfishingwasimportantnotonlyforsustenance,butalsoforrecreation.
TheHawai-ianswereexpertfishermen,andalsoskilledinthemakingof"outriggercanoes,fishlines,nets,hooks,andvariouskindsoflures"withwhichtheyusedtocarryonfishingoperations(KuykendallandDay1961:8).
9TheHawaiiansdevelopeddistinctartistic,cultural,oralandtechnologicaltradi-tions.
Forexample,theFirstHawaiiansflourishedforhundredsofyearsusingadvancednavigationskillsandacomplexsystemformanagingtheislands'limitedresources.
TheFirstHawaiiansconstructedtheirownclothingbypoundingspecialtreesandshrubstoformkapa(barkcloth)toformmalos(loincloth)formen,andpāū(wraparound)forwomen.
TheFirstHawaiiansalsoconstructedintricatehelmetsandcloakswithfeather-workandattentiontodetailthatsurpassedallotherslivingwithinthePolynesiansub-region(KuykendallandDay1961:10).
Duringthistimeperiod,theHawaiiansalsode-velopedthekahiko,ortheancienthula.
"Thehulahadathreefoldvalue:itwasareli-giousexercise,asystemofphysicaltraining,andaformofentertainment"(KuykendallandDay1961:10).
TheHawaiiantribeshadnotdevelopedawrittenlanguage.
Instead,theyreliedonoraltraditiontotellstoriesofanativepeople.
Muchofthesestoriesweredependentonpeople'smemories.
KuykendallandDay(1961:10)notedthattheFirstHawaiianshadextensiveliteraturerecordedinmemoryandhandeddownbywordofmouthfromgenerationtogeneration.
Itconsistedofsongs(meles),genealogies,stories,ritualisticandhonorificchants,andtraditionsembodyingfragmentsofhistoryandbiography.
Theypreservedtheircultureandhistorythroughstorytelling,dancingthehula,chanting,andlegends.
Unexpectedly,visitorsfromafarofflandwouldcausethedestructionofthisrichoraltraditionand,consequently,instigateanirrecoverableculturallossforhu-manity.
10ContactwiththeWestIn1778,CaptainJamesCook,aBritishexplorer,becameknownasthefirstEu-ropeantodiscovertheHawaiianIslands.
CaptainCook"sailedintoWaimeaBayontheislandofKauaionhisshiptheResolutionandwaswelcomedastheHawaiiangodLono"(Leas2005:20).
TheFirstHawaiiansapproachedtheship,andtradedanimalsandfoodsuppliesforironthatwaslaterusedtocreateweaponry.
Cook'sshipsbroughtnewdis-eases,whichtheFirstHawaiianslackedantibodiesfor.
Theresultsweredevastating,andwithinonehundredyearsfollowingCaptainCook'sarrival,"theNativeHawaiianpopu-lation,afflictedbyWesterndiseaseandtoamuchlesserextentwarfare,droppedbyatleast90percent"(Kana'iaupunietal2006:293).
Assmallpoxdecimatedthepopulation,andmanyofthelearnedmendied,muchoftheHawaiianoralhistorywaslost,nevertoberecovered.
Westernersalsointroducednewweaponsthatwouldforeveralterthebal-anceofpowerontheislands.
UnificationofHawaiiWithgunsandammunitiontradedandbarteredfromBritishandAmericantrad-ers,andtrainingreceivedfromforeignadvisors,KamehamehaI,soughttoconquerandunifyalloftheHawaiianIslands.
Withsuperiorwarfaretechnology,heeventuallyachievedhisgoalbecomingthefirstali'itogovernaunifiedHawaiiintheyear1810.
KamehamehaIimposednewtaxesthatallowedhimtopromotetradewiththeWest,andtostandardizeHawaii'slegalsystem.
Hawai'ihadnolegalformofcurrencyatthistime,sopaymentswerecollectedintheformofgoodscreatedbythepeople,food,andlocalproduce.
Inaddition,KamehamehaIdidnotpermitlandownershipbynon-Hawaiians,whichensuredHawaiianindependenceformanyyears(KuykendallandDay1961).
11Uponhisdeathin1819,hissonKamehamehaII(Liholiho),whoreignedfromMay20,1819toJuly14,1824,inheritedthethroneandabolishedthepracticeofhumansacrificeandthecaste-basedkapusystem(Tabrah1984:35).
Shortlyafterwards,in1820,ChristianmissionariesarrivedintheHawaiianislands.
SomeoftheeffortsbyChristianmissionarieshelpedtopreserveHawaii'sindigenousculture.
Mostnotably,theChristianmissionaries"createdthe13-characterHawaiianalphabet,andbeganrecordingtheislands'history"(Leas2005:20).
However,theoverallmissionaryinfluenceontheFirstHawaiianidentitywasdevastating.
ThemissionariesforcedFirstHawaiianstochangetheirreligiousbeliefsandconverttoChristianity,whichcrushedthenativereli-gionandchallengedcorebeliefs.
ThemissionariesalsodeemedmanyoftheFirstHa-waiianculturalandindigenouswayoflifeasbarbaricandheathen.
Theydiscouragedthesacredhulaandchants,whichcontainedtherichoraltraditionsoftheHawaiianpeople,anddevastatedretentionoftheHawaiianculture(Tabrah1984).
KamehamehaIIrefusedtoconverttoChristianityduringhisshortreign.
KamehamehaIIIreignedfromJune6,1824toDecember15,1854,andwasthefirstHawaiiankingtoconverttoChristianity.
Theinfluenceofthemissionarieswaspar-ticularlystrongduringthistimeperiod.
Duringhisreign,QueenKa'ahumanu,thefavor-itewifeofKamehamehaIandanactingRegentduringthereignofKamehamehaIIandKamehamehaIIIbecameapracticingChristian,andbannedthehulaandaccompanyingmelefromallpublicvenues(KuykendallandDay1961).
Manychiefsignoredtheedictandsomesecretlyfinancedclandestinehulaschoolswherethehulacontinuedtobetaughtandpracticed(Tabrah1984).
12KamehamehaIIIenactedHawaii'sfirstconstitution,whichalteredthegovern-mentfromanabsolutemonarchytoaconstitutionalmonarchy(KuykendallandDay1961).
KamehamehaIIIlatercreatedthephrasethatultimatelybecameHawaii'smotto,"Uamaukeeaokaainaikapono"or"thelifeandsovereigntyofthelandisperpetuatedinrighteousness"(KuykendallandDay1961).
However,in1848,KamehamehaIIIsignedtheGreatMahele(landdivision)intolaw,whichallowedforeignerstopurchaseandholdlandasprivateproperty(KuykendallandDay1961).
PriortotheGreatMahele,theideaoflandownershipwasinconsistentwithHawaiianreligionandcustoms(Tabrah1984).
Withasystemoflandownershipinplace,thechildrenofthemissionariessoonamassedpoliticalandeconomicpowerthroughthesugarcaneindustryandcomman-deeredtheHawaiians'hallowedlands.
"Morethan80percentofprivatelandwasownedbynon-nativeswithintwogenerations"(Leas2005:20).
AsWhitesandotherimmi-grantsbegantooutnumbertheFirstHawaiians,theHawaiianlanguage,identity,andnar-rativebegantoadoptandincorporatemanyWesterninfluences.
TheFirstHawaiianssuddenlybecameaminorityintheirownland.
KamehamehaIIIwasthelongest-reigningmonarchinknownHawaiianhistoryandservedalmost30yearsonthethrone.
KamehamehaIV,thenephewofKamehamehaIIIreignedfornineyears,fromJanuary11,1885toNovember30,1863.
HedevotedhisreigntoimprovingeducationandhealthcarefortheHawaiianpeopleasforeign,diseasessuchasleprosy,wereram-pantamongFirstHawaiians.
KamehamehaIVwasdeeplyconcernedaboutthelevelofinfluencethattheUnitedStateshadwithintheKingdomofHawaii.
However,Kame-hamehaIVwasunabletocurbdependenceonforeignersandtrade(KuykendallandDay1961).
13KamehamehaV,whoreignedfromNovember30,1863toDecember11,1872,draftedanewconstitutionfortheHawaiianIslands.
Hewasalife-longbachelorwithnochildren,andaskedPrincessBernicePauahiPakitobehisheir.
However,thePrincessrefusedthecrowninthehopeofleadingaprivatelife,andKamehamehaVdiedwithoutnaminganheir;whichfinallyendedthedynasticruleoftheKamehamehafamily.
TheConstitutionrequiredthatthelegislatureelectanewkingfromaroyalHawaiianlineage,andWilliamCharlesLunalilowaselectedin1874.
Lunaliloenacteddemocraticreformsduringhisbriefreign,butdiedafteronlyoneyearinpower(KuykendallandDay1961).
APrincess'sWillAlthoughtheKamehamehafamilyceasedtoholdthethrone,theyretainedthevastlandholdingsandwealththatthefamilyaccumulatedduringtheirlongreign.
BernicePauahiPaki,wasaroyaldescendentoftheKamehamehalineage,andtheulti-matebeneficiaryofthiswealth,andshedeservesspecialmentionduetohergenerousphilanthropytowardstheeducationofFirstHawaiianchildren.
BernicePauahiPaki,thegreat-granddaughterofKamehamehaI,inheritedavastholdingofvaluablelandthrough-outHawaiiKingdomuponthedeathofherroyalcousinPrincessRuthKe'elikolani(Wil-liams1992).
ThePrincesswasdeeplytroubledbythedecliningnumberofFirstHawai-ians,from124,000in1831(theyearofherbirth)to44,000in1883,theyearshedraftedherfinalwill(Williams1992:94).
ThePrincessfeltthatWesterninfluences,diseases,alackofeducation,andtheinabilitytoreadandwriteweredirectlycontributingtotheirdecliningnumbers.
Uponherdeathin1884,PrincessBernicePauahiBishop(Hawai`iStateAr-chives1883)bequeathed14…alloftherest,residueandremainderofmyestaterealandpersonal,whereversituateduntothetrusteesbelownamed,theirheirsandas-signsforever,toholduponthefollowingtrusts,namely:toerectandmaintainintheHawaiianIslandstwoschools,eachforboardinganddayscholars,oneforboysandoneforgirls,tobeknownas,andcalledtheKamehamehaSchools.
Followingherdeath,herhusband,CharlesBishop,fulfilledherdyingwish.
ThePrincesswantedtofoundandmaintainaschoolforboysandgirlsofHawaiianancestrybearingthenameKamehameha,afterthehighwarriorchiefwhowashergreat-grandfather(Wil-liams1992).
Atthetimeofherdeath,itwasestimatedthatPrincessBernicePauahiBishop'sestatecomprisedover375,000acresofland,withanapproximatefairmarketvalueof$474,000(Avlonitis2005).
Today,thisendowmentencompassesmorethan363,367,000acresoflandwithanendowmentvalueof$9.
06billion(KamehamehaSchools2011).
TherevenuesgeneratedfromthelandanditsassetinvestmentsfundtheKamehamehaSchools'educationalprogramsforchildrenofHawaiianancestry.
KalakauatheMerrieMonarchDavidKalakauaascendedthethroneviaelectionin1874.
KingKalakauawasknownasthe"MerrieMonarch"becauseofhishappydemeanor,andhisgreatpassionforparties,festivals,andevents(KuykendallandDay1961).
PriortoKalakaua'sreign,traditionalHawaiianmusicanddancebecamenearlyextinctculturalpractices.
ThehulahadbeenbannedfordecadesasProtestantmissionariesdenounceditaswickedandim-moral,andlabeleditaheathendance.
Themissionariesconvincedthenobleclass,whohadconvertedtoChristianity,todiscouragethehulaonreligiousgrounds.
Publicper-formancesofthisevocativeartformceasedentirelyfordecadesasthehulawasforced15undergroundandreliedonsecretfundingfromchiefswhowerebraveenoughtoignoretheedict(Silva2004).
ThemissionariesalsodiscouragedthetraditionalHawaiianchants,and"anyvestigesoftheancientreligionwereferventlycondemned"(Silva2004:88).
ThechantsheldawealthofinformationabouttheFirstHawaiianpastandtraditionsoffaith.
"Thesacredchantscommunicatedwiththegods,recordedgenealogy,honoredthechiefs,ex-altednatureandcelebratedhumanity"(PBS2009).
Soonafter,theHawaiianlanguagewasbannedfrompublicplacesandschools(Silva2004).
KalakauawasdeeplytroubledbyHawaii'sfadingculturallegacyandthedwin-dlingFirstHawaiianpopulation.
Heresistedanddefiedthemissionariesandtheirchurchedictsbyencouragingthetraditionalartsandelevatingthemtoroyaltreasures(Kuyken-dallandDay1961).
Hewentastepfurtherby"arrangingforpublicperformanceofthehulaandpublishingofthegenealogicalprayer,theKumulipo"(Silva2004:89).
ThiscourageousacteffectivelybroughtthehulaoutofhidingandrenewedtheFirstHawai-ians'prideintheirpast.
Silva(2004:89)statedthatfor"…Kalakauaandthelahui(na-tion),theseperformancesworkedsimultaneouslyasofficialnarrativesofthenationandasundergroundnarrativesthatthehaolecommunitydidnotunderstand.
"BecauseoftheprofoundresurgenceofHawaiianhistory,culture,andart,Kala-kaua'sreignisconsideredtheFirstHawaiianRenaissance(Silva2004).
In1891,Kala-kauadiedafterbecomingillwhilevisitingSanFrancisco.
Hissister,QueenLiliuokalani,assumedthethroneduringatimeofincreasedU.
S.
influenceandeconomicpower(KuykendallandDay1961).
16LossofIndigenousSovereigntyIn1893,asmalloligopolyofAmericanbusinessmenstagedacoupandlockedthelastreigningHawaiianmonarch,QueenLiliuokalani,insidetheImperialPalace(Sil-va2004).
QueenLiliuokalanilookeddownfromwindowandsawthePalacesurroundedbyUnitedStatesmarines.
Undergreatduress,shesurrendered.
HawaiiwasannexedtotheUnitedStatesgovernmentin1898,andofficiallybecameaU.
S.
territory(Kuyken-dallandDay1961).
Thiseventwasakeysocio-culturaltraumafortheFirstHawaiianpeople,whohadtoendurethehumiliationofpoliticaldisplacementandtheunjustover-throwofindigenoussovereignty.
Later,HawaiibecameafocalpointduringWorldWarII,uponthesurprisebombingonDecember7,1941oftheU.
S.
navalbaselocatedatPearlHarbor(Silva2004).
In1959,Hawaiiofficiallybecamethe50thstateintheUnion.
Withstatehoodandtheadventofjetairplanes,cameaboomintourism,bringingbotheconomicdevelopmentandanerosionofthenaturalsourceofrealHawaiianculture(Silva2004).
HawaiianRenaissanceTheeconomicboomandinfluxofpeoplefromtheUnitedStatesduetotourismresultedinaneviscerationoftraditionalHawaiianculturebyU.
S.
culture(Silva2004).
Bythe1960s,therewasapreferenceforrock-and-rolloverHawaiianmusic.
Linguisticcompetencewasatanall-timelow,andtheHawaiianlanguagefacedextinction.
Thehu-laandtheluaubecamecommercializedandwesternizedtothepointthatitnolongerre-sembleditsancientform(Kame'eleihiwa1992).
Inadditional,popcultureandtheEng-lishlanguageweresoinvasivethatmanyaspectsofFirstHawaiiancultureseemeddoomed.
17However,inthe1970s,therewasaSecondHawaiianRenaissancethatreassert-edHawaii'sdistinctculturalidentity(Tabrah1984).
ThishistoricmovementwasledinpartbythefoundingoftheMerrieMonarchFestival.
Thefestivalisanannualweek-longculturaleventwithHawaiiancrafts,music,andacompetitivecontestintheancientartofhulainthepre-1893style.
TopreparefortheMerrieMonarchFestival(2009).
.
.
hulastudiosandinstructorsinHawaiiandontheU.
S.
mainlandholdclasses,workshops,andseminarsthroughouttheyeartoteachtheartofhula,themeaningofHawaiianchantsandsongs,theHa-waiianlanguage,themakingofHawaiianclothingandcrafts,andthehistoryoftheHawaiianpeople.
ByprovidingavenueforactualapplicationofancientHawaiianskillsandknowledge,thefestivalperpetuatesthetraditionalcultureoftheHawaiianpeople.
In1974,asmallgroupofindividualscommittedthemselvestobuildingandsail-ingareplicaofalong-distancevoyagingcanoe,whichbeganthestartoftheSecondHa-waiianRenaissance.
WhenthePolynesianVoyagingSocietycompletedtheHokule'aandsailedittoandfromTahitiin1976,anewinterestintraditionalHawaiianactivitieswasborn.
TherenewedinterestinHawaii'snativeculturealsoledtoincreasedpopulari-tyforHawaiianmusicfrommusicians.
Themovementalsomanifestedaspoliticaladvo-cacyforFirstHawaiianrightsandforHawaiianindependence.
HawaiianSovereigntyMovementThehistoryofHawaiianadvocacyfornativesovereigntystretchedbacktothe"royalists"whosoughttoreturnQueenLiliuokalanitothethroneaftershewasillegallystrippedofherpowerinthe1890's(Silva2004).
Sincethattime,FirstHawaiianshavebeenhauntedbythehistoryofforeignoverthrowandstrugglewiththelegacyofpoliticaldisplacement.
Thesovereigntymovementwasinvigoratedinthe1970swiththefound-18ingofthefirstsovereigntyorganization,ALOHA(AboriginalLandsofHawaiianAnces-try).
Today,therearenumeroussovereigntyorganizationsrepresentingvariousdifferentsolutions,includingcashassets,lands,theuninhabitedislandofKaho'olawe,andana-tionwithinanation(Silva2004).
In2000,U.
S.
SenatorDanielAkaka(Hawaii)introducedtheAkakaBill(Li-braryofCongress2009)toprovidethedisplacedFirstHawaiianswith"….
aprocessforthereorganizationofthesingleFirstHawaiiangoverningentityandthereaffirmationofthespecialpoliticalandlegalrelationshipbetweentheUnitedStatesandthatFirstHawaiiangoverningentityforthepurposesofcontinuingagovernmenttogov-ernmentrelationship.
"TheAkakabillhopestorightthewrongsofthepastandgivetheFirstHawaiianpeoplerecognitionsimilartothatofFirstAmericansandEskimotribes.
Underthecurrentbill,anewHawaiiangovernmentwillbeformedandthenewgovern-mentwillbeallowedtonegotiatewiththeFederalgovernmenttoreceivelands,rights,andresourcestocompensatefortheillegaloverthrowofthemonarchy.
OnOctober24,2007,theHouseofRepresentativespassedtheAkakaBillwithavoteof261-153,leavingthenextvoteinthehandsoftheU.
S.
Senatewhereithasstalled.
SummaryThequestionarises,howdidtheculturalidentityofFirstHawaiiansbecomesothreatenedandfragileThereisnosinglefactor.
Foreigninfluence,disease,politicaloverthrow,economicoppression,tourism,consumerismandpopularcultureallworkedtodisplacetheFirstHawaiianidentityoverarelativelyshortperiodoftime.
Duetothesehistoricalinjustices,FirstHawaiianstodayfacesignificantsocioeconomicchallengesand19fallwellbehindnationalincomeandpovertyaverages.
Thisstudyexaminedthesechal-lengesinthenextsection,theLiteratureReview.
20CHAPTERTHREE:REVIEWOFLITERATUREIntroductionThisReviewofLiteratureaddressesFirstHawaiianidentityandculturallyrelevantyouthdevelopmentprograms.
First,thissectionsummarizesacademicre-searchontheFirstHawaiianperformingarts.
Second,itexaminesstudiesonthehis-toricaltraumasoftheFirstHawaiianidentity.
Third,itreviewsresearchonthesocio-economicchallengesthatFirstHawaiiansfacetoday.
Finally,itdescribesresearchonyouthdevelopmentprogramsthataddresstheacademicandsocialunderperformanceofFirstHawaiianyouth.
FirstHawaiianPerformingArtsTatar(1981)discussestheculturalsignificanceofhulaanditsaccompanyingpoeticchantsknownas"mele.
"Traditionalexpressionsofhulaandmeleare"expres-sionsofreligiousdevotionandpersonalemotion,aswellasformaldocumentationofgenealogyandhistory"(Tatar1981:22).
Hulaschools,knownashalauhula,existedthroughouttheislandsofHawai'iandprovidedstricttrainingontheritesofthehula.
Theancienthulahadanimportantroleincourtlifeandinconferringdistinctiononthechieflyclass.
Dancerswereforbiddentocutthehairandnails,andengageinanytypeofsexualactivity.
Thereareseverallegendsandmythicaloriginsascribedtotheancienthula.
OneofthemostpopularlegendsholdsthatLaka,theHawaiiangoddessoffertility,gavebirthtohuladancingwhileontheislandofMolokai.
Tatartracesthedevelopmentofthehulaintotwoseparateartforms:hulakahiko(ancienthula),andthehula'auana(modernhula).
Thehulakahikoisthedancethatex-istedpriortoEuropeancontact.
Allhulakahikowerecomposedpriorto1893,andused21ancientinstrumentscreatedbytheFirstHawaiians,whichincluded:theipu(singlegourd/drum),'ili'ili(lavarocks),kala'au(rhythmsticks),pahu(sacreddrum),pu'ili(bamboosticks),'uli'uli(brightlycoloredfeatheredgourds).
Eachinstrumentcreatedadistinctsoundthathelpedtodramatizethesacredhulaanditsaccompanyingmeles.
Performancesoftheancienthulahavereligioussignificanceandareexpectedtobeflawless;todootherwiseisconsideredunlucky.
Incontrast,Tartarexplainsthatthehula'auana(modernhula)reinterpretstheancienthulawithWesterninfluences.
Itistypicallysettopopularmusicmadewithmoderninstrumentssuchasbass,guitar,ukule-le,andsteeldrums.
Hula'auanacanbeperformedwithorwithoutshoes,andlessre-vealingcostumessuchasamuu'muuforwomen.
Themodernhulaisgenerallyper-formedasentertainmentatluausandcelebrations,ratherthanforreligiouspurposes.
DorothyBarrere(1980)exploredthediscriminationagainstFirstHawaiiandanceinherbook,"Hula:HistoricalPerspectives.
"ShedetailsthesuppressionoftheancienthulabyChristianmissionarieswhopressuredFirstHawaiianstoabandontheirpolytheisticreligionandcorebeliefsforChristianity.
TheymadestrongeffortstodrivethehulaandmeleoutoftheculturebyenlistingthesupportofconvertedchiefsandHawaiianroyalty.
Barrere(1980:1)statesthatin1830,QueenRegentKa'ahumanu,whohadconvertedtoChristianityinDecemberof1825,"issuedanedictforbiddingpublicperformanceofthehula.
"Thehuladisappearedentirelyfromthepublicsquareanditsurvivedonlythroughclandestinehulaschoolsthatoperatedfarawayfrommissionstations.
ThedecadesofmissionaryattackonFirstHawaiianculturewasahistoricaltraumathatdeprivedtheindigenouspeopleoftheirdistinctiveartisticachievementsandculturalidentity.
22AdriaImada(2004)foundthatafewinfluentialHawaiians,includingDavidandLydiaBray,wereinstrumentalinrevivingtraditionalformsofhula.
TheBraysworkedtirelesslytoreturnthehulatopublicdisplaydespiteobjectionsbymissionariesandChristianHawaiians.
Successultimatelycamethroughhulacontests,whichservedaspopularentertainmenteventsthatfamiliarizedpeoplewithhulaperformances.
Moreover,travelinghulacircuitsfacilitatedwidespreadpopularityofthehulaandevenshapedper-ceptionsofHawai'i.
Imada(2004:114)notedthattheFirstHawaiianwahine(women)performeda"sultryversionofthehulatoacrowdofonlookers,offeringtheiraloha–thepromiseofintimacy,affection,andveneration–totheUnitedStatesthroughlivehulaper-formances.
"Thedreamsspunoutofsteelguitars,ukuleles,andgrassskirtsmadethedis-tantterritoryfamiliartothosewhohavenevervisitedtheislands.
Finally,ImadaexploredhowairtravelandthemovementfromanagriculturaleconomytoatouristcenteredeconomyaffectedFirstHawaiianperformingarts.
Sudden-ly,thehulaandHawaiianmusicwereconvertedfromaspiritualrepresentationtoavalu-ablecommodity.
Bythe1930s,FirstHawaiianperformingarts(includinghulaandmu-sic)evolvedintoself-sustainingtouristentertainment.
FirstHawaiianperformingartswereoftenportrayedinHollywoodfilms,andinloungesthroughouttheUnitedStates.
SharonRowe(2008)foundthatthetraditionalhulawasintendedtobemuchmorethananartform,italsobroughtforththeworldthroughtheeyesoftheFirstHawai-ians,andgaveabetterunderstandingoftheirculture,history,religiousbeliefs,values,literatureandknowledge.
Therefore,itisimportanttounderstandthatthehulaforwhatittrulyrepresents,"….
avital,creativeartformandalivedexperiencethatpreservesa23culture'svalues,continuallyformingandreformingidentityinandthroughmovement"(Rowe2008:31-32).
RowecomparesthehulatoEuropeancourtdances,suchasballet.
Theserefineddancesallserveasalanguageforgestureandpoliticaldiscourseamongthenobleclass.
Rowe(2008:32)statesthat"Gifteddancersandkumu(teachers)hadtheirplaceintheroyalcourtsofHawaii,astheydidinEuropeancourts,andmembersoftheali'i(chiefly)classwerethemselvesknownastalenteddancersandcomposers.
"Rowealsostatesthatthehulacontinuestodriftawayfromitsoriginalform.
Thehulathatweseetodayreflectsapopularandmodernformofdancethatisoftenin-terpretiveratherthantraditionalinnature.
Modernhulacompetitionshaveahomogeniz-inginfluenceonthedance,whichlimitstherangeofhularepertoirethatthepublicisex-posedto.
Moreover,hulacompetitionstendtorewardtechnicalproficiencyoverartistry.
Rowe(2008:36)statesthemorerecentinfluenceofformalcompetitionhasencouragedin-creasinglymoreprecise,unisonmovementandagreaterdegreeofuniformityinthelookofdancersthanwasexpectedbypreviousgen-erations.
Speed,greatercomplexityoffootwork,anddifficulttech-nicalmovementsarethoughttogiveacompetitiveedgewhileoffer-ingamoreentertainingpresentation.
NathanielBrightEmerson(1909)preservedsomeoftheHawaiianmele(poeticchants)inhisbook,"UnwrittenLiteratureofHawaii:TheSacredSongsoftheHula.
"ThemelewereoraltraditionsofoldHawaii,andmanywerelostforeverbecausethechantswereforgottenbeforetheycouldbedocumented.
EmersonwasthesonofamissionarywhofeltpassionatelyaboutchroniclingthisvitalinformationandensuringthatthisHawaiianliteraturewillliveon;hewasabletodocumentseveralchantsforposterity,andpublishedtheminhisbook.
Themeleareusedtoaccompanyhulaperformances.
Mostimportant-24ly,theycontainthestoriesandgenealogiesofHawaii'soraltradition.
Throughhisef-forts,EmersonpreservedsomeofthemostsacredandessentialknowledgeoftheHawai-ianpeople.
MervynMcLean(2000)explorestraditionaldanceandmusicinHawaiiandPolynesia.
Inhisbook,"WeaversofSong:PolynesianMusicandDance,"McLeanstud-iesandcomparestraditionalHawaiianmusicanddancetoneighborsinPolynesia,EasterIsland,andNewZealand.
Inaddition,healsonotesthatHawaiianmusicanddancehavetracesofEuropeaninfluence.
Forexample,immigrantsfromPortugalintroducedstringinstrumentstotheFirstHawaiians,andencouragedthemtoadoptthebraguinha(stringinstrumentfromtheguitarfamily),whichlaterevolvedintotheHawaiianukulele.
Sail-ors,settlers,contractworkersbroughttheguitartoHawaii,whereNativeHawaiiansin-ventedtheplayingtechniqueofslackkeyguitar(McLean2000).
CharlotteHeth(1994)exploresNativeHawaiianmusicitsoriginalcontextandexaminesitssimilaritieswithothernativemusicaltraditions.
Forexample,bothNativeAmericanpeoplesandNativeHawaiians"renewandreaffirmthemselvesonaregularbasisthroughmusic,dance,ceremony,rituals,andfestivals"(Heth1994:32).
However,therearefeaturesthatmakeHawaiianchantsuniqueamongnativemusicaltraditions.
"InHawaii,chants,ormele,areparticularlyimportant.
Unaccompaniedmeleoli(chantwithoutaccompaniment)areusuallysungsolo,whilemelehula(chantaccompaniedbydance)hasaccompanyingdancemovements,withorwithoutmusic.
Vocalstyleisoneofthemostimportantdistinguishingcharacteristicsoftheoldmeleoli,sungforreligiouspurposesandtorecitehistoriesandgenealogies.
Insomeofthenewerstyles,suchashapahaolesongs(mixedCaucasianandHawaiianpopularsongs)andsongsofthepan-25iolo(Hawaiiancowboys),vocaltricks,includingyodelingandfalsettoarecommon"(Heth1994:32).
Unfortunately,thisrichculturaltraditionwasharmedbydecadesofforeigninfluenceandpersecution.
FirstHawaiianTraditionandCulturalLossNumerousresearchershaveexploredthecontextoftheculturaltraumasex-periencedbyFirstHawaiians.
TheirliteratureprovidesahistoricalframeworkthatiscrucialinunderstandingtheFirstHawaiians'lossofculturalidentityandincompre-hendingthepersecutionoftheindigenousHawaiianarts.
Additionally,anthropologyprovidesacontextforthestudyofcultureandtheindividual.
FranzBoas,thefounderofAmericanAnthropology,helpedchangethewaysocietyviewsanthropology,fromthebiologicalconstructofracetothestudyofcul-ture.
Boas(1966:310-311)wasinterestedinthehumancapacitytocreateandtrans-mitcultureandstatesthatanthropologyshouldprovide"apenetratinganalysisofauniqueculturedescribingitsform,thedynamicreactionsoftheindividualtothecul-tureandoftheculturetotheindividual.
"Boas(1966:905)wasalsointerestedinstudyinghowsocietiespasseddowninformationfromonegenerationtothenextandstatesweagreethatcertainlawsexistwhichgovernthegrowthofhu-manculture,anditisourendeavortodiscovertheselaws.
Theobjectofourinvestigationistofindtheprocessesbywhichcer-tainstagesofculturehavedeveloped.
Thecustomsandbeliefsthemselvesarenottheultimateobjectsofresearch.
Wedesiretolearnthereasonswhysuchcustomsandbeliefsexist–inotherwords,wewishtodiscoverthehistoryoftheirdevelopment.
Boasbelievedthatitisimportanttostudydifferentaspectsofcultures,andwases-peciallyinterestedinsocialtraditionswithincommunities.
26AlfredKroeber,astudentofFranzBoas,studiedprimitivesocieties1.
Heisoneofthefoundersofsocialanthropology,andwasdeeplyinterestedinstudyinghowcertainstructuresandrelationshipscanbefoundinsocietiesthroughouttheworld.
KroeberconductedfieldworkamongtheAmericanIndiansinNorthAmerica,whichgavehimthebasisforhisideathatcultureistransmittedthroughhumaninteractions.
MuchofKroeber'slifeandworkweredevotedtothepreservationofculturalknowledgesothatindigenoussocietieswouldnotdisappear.
CliffordGeertz,aprolificanthropologistfromtheUnitedStatesandauthorof"TheInterpretationofCultures,"viewedcultureasatextthatmustbeinterpretedbyanthropologists.
Geertz(1973:5)statesTheconceptofcultureIespouse,andwhoseutility[my]essaysbe-lowattempttodemonstrate,isessentiallyasemioticone.
Believ-ing,withMaxWeber,thatmanisananimalsuspendedinwebsofsignificancehehimselfhasspun,Itakeculturetobethosewebs,andtheanalysisofittobethereforenotanexperimentalscienceinsearchoflawbutaninterpretiveoneinsearchofmeaning.
Geertzbelievedthathumanstransmitculturethroughsignsandsymbols,inmuchthesamewaythattheFirstHawaiianstransmittedtheirlifestoriesandtraditionsthroughthedancingofthehula.
Geertz'sviewsshiftedthewayanthropologistsviewedcul-tures,fromprocesstotransmission.
TheHawaiianhulakahikotransmitsthestoriesandtraditionsoftheFirstHawaiians,andwithoutit,muchoftheculturalhistoryoftheFirstHawaiianswilldisappearforever.
LilikalaKame'eleihiwa(1992)reportsonhowHawaiiansocietywaspoliti-cally,culturally,andsociallystructuredpriortoWesterninfluenceandwasthenradi-1Earlyanthropologistsusedthewordprimitive,thereforeIwillusethesamewordwhenIrefertothewriterwhousedsuchwording.
27callyoverthrownbymissionaries,businessmen,andcolonialists.
Forexample,priortoWesterncontact,Hawaiiannativesheldacollectivistsocio-culturalperspectivethatvaluedcommunityandallocatedtheisland'sscarcenaturalresourcesbasedonneed.
However,foreignerssoonimposeddramaticchangesinHawaiianlifestylethatwentagainstthecorebeliefsandlong-standingtraditionsoftheindigenouspeople.
West-ernersintroducedcapitalismandfiercecompetitionamongstindividualswithinamarketeconomy.
FirstHawaiianssufferedsocio-culturaldissonancewiththissys-tem,whichoftenoperatesattheexpenseoftheenvironmentandthecollective.
Kame'eleihiwa(1992)alsoexplainsthattheFirstHawaiiansdidnotbelieveinowningprivateproperty,asitwentagainsttheirreligiousbeliefsandpractices.
TheHawaiiansbelievedthattheaina(land)wasfilledwithrichesandresources;itgavepeoplelife,andassuchshouldbeshared,revered,andrespected.
Thetradition-albeliefinlandascollectivepropertyleftFirstHawaiiansillequippedtonavigateWesternlegaltacticsandpropertylaws.
AsGeorgeKanahele(1986:208)describes,theFirstHawaiians…belongedtotheland.
Howcouldyoueverownaplace,letalonesellitasacommodity,ifitstruevalueisfoundinthesumofthelives,memories,achievements,andmana(spiritualpower)ofthegenerationswhooncedwelleduponitManyforeignersexploitedtheHawaiianbeliefin"mana"toprivatizethelandandtodisplacethemfromtheirancestralhomes.
However,themostdevastatingincidentinFirstHawaiianhistorywasyettocome.
In1893,AmericanbusinessmenlivingintheHawaiianIslands,withhelpfromtheU.
S.
government,lockedthelastreigningHawaiianmonarch,QueenLiliu-okalani,insidetheImperialPalace.
Thisillegaloverthroweffectivelyendedthereign28oftheHawaiianmonarchy,andviolatedacceptablemethodsforannexationandexist-ingtreaties.
Thelossofindigenoussovereigntyisatraumathatechoesintothecur-rentmovementsforself-determination,asFirstHawaiianslobbyforgreaterself-government.
Someoftheseeffortshavebornefruit.
In1994,FirstHawaiianssuc-cessfullyfoughttohavetheislandofKaho'olawereturnedtothestateofHawaiibytheU.
S.
military.
Stannard(1989)andNordyke(1989)describethepopulationdeclineandcul-turalfragmentationofFirstHawaiians.
Nordyke(1989)estimatesthattherewereap-proximately276,000inhabitantsoftheHawaiianIslandsbeforethearrivalofCaptainCook.
However,theHawaiianracesoonexperiencedrapiddepopulationtolessthan100,000by1850.
Diseasewastheclearlythemostdevastatingfactorthatcausedpopulationdecline.
FirstHawaiianwomen.
.
.
whohadsexualrelationswithmembersofCook'screwcon-tractedsyphilis,whichcausedprenatalinfections,congenitalde-fects,andimpairedhealth;andgonorrhea,whichcausedinflam-mationandscarringofthereproductivetract,resultinginsterility[Nordyke1989:21]VenerealdiseasesloweredfertilityandstuntedthebirthratesoftheFirstHawaiianpeople.
Biologicalmaladiessuchasmeasles,mumps,whoopingcough,tuberculosis,andothers(rarelyfatalforEuropeans)wreakedhavocanddeathontheFirstHawai-ian,astheyhadnonaturalimmunity.
Inparticular,smallpox"cutaswathofdeath,especiallyonO'ahuwhereabout15,000peoplediedbeforevaccinationwascarriedout"(Nordyke1989:23).
Toalesserextent,someofthepopulationdeclinecanbeattributedtotheimportoffirearmsandalcoholicbeveragesfromtheWest.
29Nordyke(1989)foundthatastheFirstHawaiianpopulationdeclined,theimmigrantpopulationontheHawaiianIslandsgrewdramatically.
MostnotableofthenewethnicitieswereCaucasians,whooutnumberedHawaiiansbytheearly1900s.
Asaresultofpopulationgrowthfromforeigners,thepercentageandrepresentationofHawaiiansontheislandshassignificantlydiminishedovertime.
AccordingtotheU.
S.
Census2000(U.
S.
Census2000),NativeHawaiianscurrentlycompriseaboutone-fifthofHawaii'spopulation.
LeeandFernandez(1999)researchshowsHawaiiisuniqueinNorthAmericaasageographiclocation,whichhasahighrateofinterracialmarriage.
Kana'iaupuniandLiebler(2003)explorethewaythatinterracialmarriagehasdilutedtheNativeHawaiianethnicity.
TheperpetuationoftheHawaiiansasadistinctethnicityisde-pendentupontheromanticdecisionsofHawaiianchildren,andFirstHawaiianshaveconsistentlyhadhighratesofmarriagewithotherethnicities.
U.
S.
Census2000datashowthatamongallmarriedNativeHawaiians,only19percentaremarriedtootherHawaiians.
InterracialoffspringareparticularlychallengingtothesustainedidentityforFirstHawaiiansbecausetheyareasmalldistinctgroupintermixedwithalargeethnicallyheterogeneouspopulation.
Kana'iaupuniandMalone(2006)explorehowpopulationdiversityaffectsNativeHawaiianethnicity.
FirstHawaiiansareprimarilymultiracialandtheyreportthehighestratesofmultiracialstatus,nexttoAlaskaNatives.
Abouttwo-thirdsofNativeHawaiiansareofmixed-race(U.
S.
Census2000).
Kana'iaupuniandLiebler(2003)findthatchildreninHawaiiancouplefamiliesalmostalwaysself-identifyasbeing"Hawaiian.
"However,forHawaiiansininterracialmarriages,thechancesthat30theoffspringwillself-identifyasbeing"Hawaiian"decreases.
Thus,interracialmar-riagehasdiminishingreturnstoHawaiianidentificationbecauseanygainsinHawai-ianpopulationgrowthareoffsetbydilutionanddecreasesinself-identification.
U.
S.
Census2000statisticsshowhowNativeHawaiianshavedispersedthroughouttheglobe.
"FewerNativeHawaiianpeoplemovedtoHawai'ibetween1995and2000thanthosewhomovedaway.
About40percentofself-reportedNativeHawaiiansliveinthecontinentalUnitedStates,while60percentcontinuetoresideinHawai'i"(Kana'iaupunietal2006:299).
ThisdispersedpopulationofNativeHawai-iansisknownasthe"HawaiianDiaspora.
"TheDiasporaexperiencesphysicalisola-tionfromotherNativeHawaiianpeopleanddislocationfromtheirancestralland,whichmakesitmorechallengingtoretainandreinforcetheircultureandidentity.
Kana'iaupunietal(2006:299)stated…theeffectsofincreasinggeographicdiversityareimmediatelyapparentintheintermarriageratesofthoselivinginthe48conti-nentalstatescomparedwiththosestillinHawaii.
Whereas34percentofmarriedNativeHawaiiansintheirhomelandaremar-riedtootherHawaiians,thepercentagedropstoonlysevenper-centamongthoseresidingelsewhere.
BecausethevastmajorityinvolvesWhitepartners,thismarriagetrendhasbeendescribedbysomescholarsasa'whiteningoftheHawaiianrace'.
Thus,theperpetuationoftheFirstHawaiianethnicityisaffectedbyinterracialmar-riage,physicaldispersalandthegrowthofnon-HawaiianethnicgroupsontheHawai-ianIslands.
TheFirstHawaiiansarebecominganendangeredspeciesthatmaynothaveanypure-bloodedmembersinthecomingyears.
JosetteKauanui(2000:2)describeshowtheUnitedStatesCongressdefinedFirstHawaiiansin1821,asapersonwhopossesses"atleastone-halfbloodquantumofindividualsinhabitingtheHawaiianIslandspriorto1778.
"Unfortunately,thisex-31clusionarymetrichasbeenusedtodeterminewhoismoreHawaiian,andwhoislessHawaiianforthepurposesofadmissionsatschoolsandtheallotmentofland.
Ac-cordingtoKana'iaupunietal(2006:299),"evendefiningindigenouspeoplesbybloodquantum,asisthecaseforHawaiiansandmanyAmericanIndianpeople,isanexplicitlegalmaneuvertoensurethattheyeventuallydisappearintooblivion.
"Ku'ualohaHo'omanawanui(2004)exploresthedeclineofthenativeHawaiianlanguagethroughpersecutionofChristianmissionariesandthroughthepervasivenessofEnglishlanguagefromwesterninfluences.
Healsodiscussesthesuccessfuleffortstorevitalizethislanguagefromjustafewthousandspeakerstwentyyearsagotomanymoretoday.
Infact,Census2000estimatespossiblyasmanyas25,000Hawai-ianlanguagespeakers,makingHawaiianoneoftheonlyindigenouslanguagestohavegrownbetween1990and2000(Ho'omanawanui2004).
SocioeconomicMetricsforFirstHawaiiansThissectionexaminesthequantitativeresearchonthesocioeconomicstatusoftheFirstHawaiianpopulation.
FirstHawaiiansareamongthemostdisadvantagedethnicgroupsinAmerica,andtodayfacesignificantchallenges,fallingwellbehindnationalpovertyaverages.
ThePolicyAnalysisandSystemEvaluation(PASE2009)atKamehamehaSchoolsshowthatFirstHawaiiansarestrugglingtosurviveonaday-to-daybasis.
ThepovertyrateforFirstHawaiianfamiliesishigherthananyotherethnicgroupinthestateofHawaii,and"oneineverysixNativeHawaiiansfamilies(16percent)ofthenativepopulationhasanincomebelowthepovertyline,comparedwith10.
7percentofthetotalstatepopulation"(PASE2009:7).
32Moreover,PASE(2009:7)foundthatincomemetricsclearlyshowthatFirstHawaiiansstruggletosurvivewithinthemoderncapitalisticeconomy,andthe"percapi-taincomeforFirstHawaiians($14,199)wasthelowestamongthestate'smajorethnicgroups–lessthanhalfthatofnon-HispanicWhites($30,199)andalmost35percentlow-erthanthestatewidefigure($21,525).
"ThistranslatesintolowerfamilyincomesforFirstHawaiianfamilies.
FirstHawaiianshavethelowestmeanfamilyincomeinHawaii,earning$55,865peryear(PASE2009:7).
ThisincomegapcreatesasubstantialburdenonHawaiianparentsbecauseoftheirlargefamilystructures.
PASEfurthernotedthatsingle-parentfamiliesareunabletoshoulderthelargeburdenofsupportingthefamilystructure,and…oneoutofthreenativeHawaiianchildreninsingle-parentfamilies(36.
7percent)fellbelowthepovertythreshold.
Comparedwithchil-dreninmarried-couplefamilies,Hawaiianchildreninsingle-parentfamiliesarealmostfourtimesmorelikelytofallbelowthepovertyline.
Amongsingle-motherfamilieswithchildrenyoungerthaneighteenyearsold,themedianfamilyincomeamongFirstHawaiians($19,530)is$700lowerthanthenationalaverageof$20,284(PASE2009:2-8).
ThehighercostoflivinginHawaiidisproportionatelydiminishesthebuyingpowerofFirstHawaiianfamilies.
PurchasingeventhemostbasicnecessitiesinHawaiiisexpen-sive.
Thus,"agivenincomeallowsonetopurchasefewergoodsandservicesinHawai'ithaninmostotherstates"(PASE2009:5).
Also,costtorentahomeinHawaiiishigherthanthenationalaverage.
Infact,theFirstHawaiianmedianrentwasmorethan"$150higherthanthatofBlackorAfrican-Americanhouseholds($544permonth)andAmeri-canIndianandAlaskaNativehouseholds($548permonth),andnearly$90greaterthanthe$613permonthpaidbynon-HispanicWhitehouseholds"(PASE2009:5).
33PASEconcludesthatthesesignificantsocioeconomichurdleshaveaprofoundeffectonFirstHawaiianchildren.
"Financialhardshipsmayalsohaveanindirectim-pactonchildrenbecauseofthestrainedparentalinteractionsthatoftenaccompanyeco-nomicdistressandthedecreaseinqualityfamilytimenecessitatedbymanylow-incomeparents'longworkhours"(PASE2009:1).
Hishinumaetal(2000:1)examinedalcoholuseamongFirstHawaiians.
Theabuseofalcoholhasincreasinglybeenlinkedtochildabuseandneglect.
Mokuau(2002:85)foundthatFirstHawaiiansaccountforthelargestnumberofcasesofchildabuseandneglectinHawaii.
TheDirectoroftheStateofHawaiiDepartmentofHumanServicesstatesthat"approximately85percentoftheadultsinvolvedwithchildprotectiveserviceshaveserioussubstanceabuseproblems.
"AnincreasingnumberofFirstHawai-ianwomenabusealcohol,andbearchildrenwithprenatalalcoholanddrugexposure.
Inaddition,theabuseofalcoholoftenleadstoothersocialproblems,suchashomelessness,poverty,suicide,andviolence.
TheNationalSurveyonDrugUseandHealthDrug(2009)foundthatFirstHa-waiiansstrugglewithdrugdependence.
IllicitdrugabusewithintheFirstHawaiiancommunityis12.
5%,significantlyhigherthanthenationalaverageof8.
0%(NationalCenterforEducationStatistics2008).
Unfortunately,drugabuseintheFirstHawaiiancommunityincreasesthepropensityofFirstHawaiiansfordepression,unhealthylife-styles,poorpregnancyoutcomes,crimes,andHIV/AIDS.
NoreenMokuau(2002)foundthatparentsandcaregiverswhoabusesubstancesalsoplacetheirchildrenatriskforsubstanceuse.
ThemoreexposuretofamilyandcommunitysubstanceabuseaFirstHawaiianchildhas,themorelikelyitisthatthechild34willstrugglewithsubstanceuse,andaviciouscyclecontinues.
MokuaufoundthatFirstHawaiianyouthhavethehighestrateofsubstanceuse,particularlyintheuseofmetham-phetamines,amongethnicgroupsinHawaii.
Okamotoetal.
(2009)usesanexploratorysurveywithfactoranalysistounderstandthecontributingfactorsforhigherdruguseamongstFirstHawaiianyouthversusnon-Hawaiianyouth.
"TheNativeHawaiiansub-sample(n=194)indicatedthepresenceofthreefactorsaccountingfor63%ofthevari-ance:peerpressure(23%);familyoffersandcontext(21%);andunanticipateddrugof-fers(19%)"(Okamotoetal.
2009:1).
Okamotoetal.
notesthatresearchindicatesaneedtodevelopandassessculturallyspecificdrugpreventionprogramsforyouthasameansofdecreasingexposuretothesefactors.
Hefurthernotestheimportanceofgen-der-andculture-specificresistanceskillssothatyouthcanlearntosaynotodrugoffers,conformity,andpeerpressure.
FirstHawaiianshaveamongthehighestmortalityrateamongallethnicgroupsinHawaii.
"In2000,theaveragelifeexpectancyofFirstHawaiianswas74.
3yearscom-paredto79.
0forCaucasians,80.
9forFilipinos,and82.
8forJapanese"(Parketal2002:1).
Hishinumaetal(2000:331)arguesthatthereisanurgentneedfor"additionalpre-vention,screening,andinterventionprogramsinHawaii,includingsocio-culturallyap-propriateones,aswellasaneedforfurtherresearch.
"Kimetal(2002)andMacDonald(2003)foundthatpeoplewithHawaiianances-trywerealsoathigherriskforsocialmisconductandincarceration.
Havingalargeper-centageofitspeopleincarceratedisdevastatingtoethnicHawaiiancommunitiesandtheirfamilies.
ThisviciouscycleputsyoungFirstHawaiiansat-riskforacademicandsocialunderperformance.
35CulturalDevelopmentforHawaiianYouththroughSchoolProgramsThissectionexaminesresearchontheacademicandsocialunderperformanceofFirstHawaiianyouthandculturallyrelevantprogramsthataddresstheiruniqueneeds.
YoungpeopleofFirstHawaiianethnicityinheritdistinctculturaltraumasandfacediresocioeconomicrealities.
TheresultsofthesepressuresarewelldetectedanddocumentedbyresearchersexaminingFirstHawaiianyouth.
FirstHawaiianshavehigherratesofyouthsuicideandyouthdeaths(Spoehretal.
1998;GoebertandBirnie1998).
SurveydatashowedFirstHawaiianshavehigherratesof"suicidalideation,suicideplans,andsuicideattemptsthanthenationalaverage.
"HighsuicideratescontributetoFirstHawaiianpovertyduethelostearningpowerofgrievingparentsandsurvivorsinadditiontosignificantpsychologicalcosts,spiritualdevastation,andpermanentculturallosstotheFirstHawaiiancommunity.
ResearchersstresstheneedformoreopportunitiestodetermineiftailoredprogramsandinterventionsneedtobedevelopedforFirstHawaiianyouths.
TheNationalCenterforEducationStatistics(2008)foundthatamongnon-institutionalized16-to24-year-olds,FirstHawaiiansandPacificIslandershaveadispro-portionatelynumberofhighschooldropoutsatsevenpercent.
Moreover,FirstHawai-iansexperiencelowerlevelsofeducationalachievement.
StatisticsshowthatFirstHa-waiiansscorebelownationalnormsonstandardizededucationachievementtestsatallgradelevelsincludingvocabularytestscores.
"BothpublicandprivateschoolscontinuetoshowapatternoflowerpercentagesofFirstHawaiianstudentsintheuppermostachievementlevelsandingiftedandtalentedprograms.
FirstHawaiianstudentscontinuetobeoverrepresentedamongstudentsqualifyingforspecialeducationprogramsprovided36tostudentswithlearningdisabilities,mildmentalretardation,emotionalimpairment,andothersuchdisabilities(KamehamehaSchools1993:2).
Thesemetricsinevitablyresultintheunder-representationofFirstHawaiiansincollegesanduniversities.
CathieJordan(1984)conductedalongtermstudyandnotedasignificanthighschooldropoutrateamongFirstHawaiians.
Jordannotesthatmodernschoolsarechal-lengingenvironmentsforFirstHawaiianstudentsbecauseWesterncultureisemphasized,whileone'sculturalheritageisdeemphasized.
Theresearcherdiscoveredthateducation-alcurriculumismoreeffectivewhengreaterdetailispaidtoone'sculturalheritage.
Stu-dentsareapttolearnandretaininformationwhentheyfeelcomfortableintheirenviron-ment,andteachersincorporateethnictraditionsandforeignlanguageinthecurriculum.
FirstHawaiianyouthsoftensufferfromunhealthyeatingandnutritionalhabits.
JamesandMisra(2004:1)foundthatmanyPacificIslandAmericanshaveadoptedanAmericanizeddiet….
offastfoodsandhighlyprocessedfoodstuffssuchaswhiteflour,whitesugar,cannedmeatandfish,butter,margarine,mayonnaise,carbonatedbeverages,candies,cookies,andsweetenedbreakfastce-reals.
Asaresult,FirstHawaiianchildrensufferfromhighlevelsofobesity,heartdisease,car-diovasculardisease,hypertension,highcholesterolanddiabetes.
LaiandSaka(1998)acknowledgethatFirstHawaiiansleadasedentarylifestyleandarepredisposedtothestorageoffat.
However,LaiandSakastresstheimportanceofdiet,exercise,andnutri-tionaleducationsothatFirstHawaiianchildrenwillmoveawayfromadietthatincludesfastandprocessedfoods.
37SasakiandKameoka(2009:2)foundthat"NativeHawaiianadolescentsweremostlikelytoengageinlifetimesexualintercourse,recentsexualintercourse,andsexualinitiationbeforeage13years.
"TheriskybehaviorofyoungHawaiiansiscorrelatedtoincreasingratesof"prematuremorbidityandmortalitybycontributingtoriskofunin-tendedteenpregnancy,HIV/AIDS,andothersexuallytransmitteddiseases(STDs).
"Moreover,LawrenceMiike(1996)foundthatFirstHawaiiansalsohavethehighestrateofbirthsoutsideofmarriage,afactorthatmaycontributetosocialandeconomicdifficul-ties.
Whilethereisanabundanceofresearchonminorityyouthoutreachprograms,therearefewresearcherswhohavedemonstratedworkinFirstHawaiiancommunities.
TuckerandHerman(2004)demonstrateaResearch-BasedModelPartnershipEducationProgramthatspecificallyaddressesculturalissueswithAfricanAmericanchildrenandfoundincreasesinpro-socialbehaviorandimprovedparent-childrelationships.
HishinumaandChang(2009:987)examinetheMalamaOKeKai,anafter-school,youth-riskpreventionprogramthat"emphasizesFirstHawaiianvaluesandactivi-tiestopromotepositiveyouthdevelopmentforfifthandsixthgradersinaruralFirstHa-waiiancommunity.
"TheprogramemphasizesFirstHawaiianculturethroughactivitiesandprotocols.
"Forexample,oli,atraditionalNativeHawaiianchant,isusedtoopenandclosetheactivitiesfortheday"(HishunumaandChang2009:992).
Theresultsoftheprogram"indicatedpositivegainsonyouthself-reportsinFirstHawaiianvalues,self-esteem,anti-druguse,violencepreventionstrategies,andhealthylifestyleinYear1,andinfamilycohesion,schoolsuccess,andviolencepreventionstrategiesinYear2"(HishunumaandChang2009:987).
38LesterYoung(1980)foundthatoneofthechallengesindevelopingyouthcul-turalprogramsisthenegativeviewsthatFirstHawaiianshaveaboutgovernmentandsponsoringorganizations.
ThenumerousculturaltraumasexperiencedhaveledmanyFirstHawaiianstomistrustthegovernmentandotherinstitutionsandthustoresistseek-ingmedicaltreatmentfrom"Westerntrainedpractitioners,whoareoftenseenascultural-lyinsensitive"(Young1980:19).
YoungexplainsthatmistrustisasignificantbarriertoimplementingworkshopsandeventsforFirstHawaiians,particularlyifpoliceofficersandlocalgovernmentagenciesareinvolved.
FauthandBrooks-Gunn(2007)foundthatsportsparticipationcausesgreaterde-linquencyratesandsubstanceabuse.
However,artsprogramsleadtopositivemetrics.
ThisresearchsuggeststhatculturallyrelevantartsprogramsmayhavegreaterpotentialtoaddresssocialunderperformanceinFirstHawaiianyouththandoathleticprograms.
SummaryWhilethisresearchmeasurestheWesternperspectiveofqualityoflife,itre-flectstheseveresocio-culturalissuesintheFirstHawaiian'shistoryandhintsattheirun-certainfuture.
ThehistoricalresearchrecountshowforeigninfluencealteredtheculturaldevelopmentoftheHawaiianpeople.
Forbetterorworse,manyofthesehistoricalchangesarepermanent.
FirstHawaiianscannolongerliveoffofthe(nowprivatized)land.
Theycannothunt.
Fishingisnotwhattheytraditionallytookpartin.
ThedietoftheUnitedStateshascausedseverehealthproblems.
Hawaiian–oncethenativelan-guageofFirstHawaiians,hasbeenreplacedbyEnglishathomeandinpublicclass-rooms.
Westerncultureispervasiveduetothetourismindustryandnationalmediathroughouttheislands.
39Theresearchabovedemonstrateshowculturaltraumascreatedisparityandso-cialneedforFirstHawaiians,andmorespecificallyFirstHawaiianchildren.
Theinclu-sionofperformingarts,inthepresentcase,thehula,inprogramsdesignedforFirstHa-waiianyouth,carriesthepotentialforunderstandingthepast,andimagingthefuture.
Thedissertationexploresthisresearchingreaterdetail.
40CHAPTERFOUR:RESEARCHPROCESSIntroductionTheresearchforthisstudyonFirstHawaiianPerformingArtswasconductedusingHerda's(1999:85-115)guidelinesforcriticalhermeneuticinterpretiveparticipa-toryresearch.
Eachresearchercarriesoutafield-basedresearchprojectbycreatinganddesigninganindividualresearchinquiry.
Thefirstsectionintroducesthetheoreticalframeworkofmyproposedresearch,describingcriticalhermeneuticparticipatoryinquiryasitrelatestomythreeproposedcategories:NarrativeIdentity,Mimesis,andFor-giveness.
Thesecondsectiondescribestheresearchprotocol,andincludes:theEntréetotheResearchSite,IdentifiedParticipants,InvitationtoConversations,ResearchCatego-riesandQuestions,DataCollection,JournalRecording,Timeframe,theDataAnalysis,PilotStudyanditsImplications.
ThefinalsectionprovidesinformationontheResearch-er'sBackground.
TheoreticalFrameworkThepathtoafield-basedresearchprojectisnotadirectone.
Sincethereisnosetofclosedinstructionsonhowoneconductstheparticipatoryresearch,eachresearcherusesherowninterpretivemethodandfollowsaseparatepath.
Theresearchprotocolinhermeneuticresearchservesonlyasaguidelineforhowonemayconducthisstudy.
Language,understanding,andcultureareinaconstantstateofchange.
Eachresearcheristhereforechargedwithlearningaboutlanguage,listeningtothetextandresearchpre-sentedathand,andunderstandinghowtouseone'sdatatoopenupnewworldsfilledwithpossibilities.
41Inthecourseofmyresearch,IheldconversationswithFirstHawaiianswhousednarrativeanddancetoretellstoriesofthepast.
Thisgavemetheopportunitytobet-terunderstandtheplightoftheFirstHawaiiansduringtheillegaloverthrowoftheHa-waiianmonarchy,andthesufferingthattheyenduredandcontinuetoenduretoday.
WhenFirstHawaiianssharedtheirstories,theyhelpedtoshapeanewidentity,andmovetowardsanewlifedifferentthantheonetheyleadtoday.
Byacknowledgingthepast,andforgivingthosewhohavewrongedthem,FirstHawaiianscancontinuetomoveforwardtowardsabrighterfuture.
ResearchCategoryOne:NarrativeIdentityMystudyutilizesnarrativeidentityandunderstandingoftheothertoimaginenewworldsthatconnectthepasttothefuturethroughmemoryandexpectation,sothatonemayfindthecapacitytotakeactioninthepresent.
HistorywillcontinuetorepeatitselffortheFirstHawaiians,unlessthroughreinterpretationofpastexperienc-es,theyareabletocreatenewstoriesthatspeakoftheirpast,present,andfuture.
Asindividuals,weeachhaveourownstoriesthatspeakofourexperiences,ourrelationships,andouractions.
Thisidentitysetsusapartfromothersinsocietyanddistinguishesourcharacterandourcapacitytoact.
Ricoeur(1992)describesthisidentityasournarrativeidentity.
Whenwetellournarrative,wegivelifeandmean-ingtoourstories,andopenupnewworldsofpossibilities.
AccordingtoRicoeur(1992:2-4)ouridentityismadeupofidemandipse,or"ourself"and"otherself.
"Idemholdsourhistoryandcannotbechanged.
Throughipse,our"otherself,"wehavethepowertochangeanddevelopthroughnew42relationshipsandunderstandingoftheother(Ricoeur1984).
Ipseallowsustointe-gratebetweenthepersonandsocietyorcommunity.
ThehulaanditsaccompanyingmelesrevealtheHawaiianculture,history,values,andbeliefsystems.
Thehulakahikocanbethoughtofasalivingtext,ittellsastoryandcontainsnarrativeidentity.
ThereisapartofthepersondancingthatwillretainthesamenessandtraditionoftheHawaiianhulathroughidem.
However,asourculturechanges,societychanges,andourinterpretationofthepastwillchangeaswell.
Therefore,itcanbesaidthatinthehula,partofthepersondancingwillchangeinrelationshiptoothers.
TheFirstHawaiianhulakahikodemonstratesRicoeur'sconceptofbothidemandipse.
Ricoeur(1991:431)states,"Atextisnotanentitycloseduponit;itistheprojectionofanewuniverse,differentfromtheoneinwhichwelive.
"Inotherwords,ourstoriesarenotfixed.
Theywillchangebasedonpromisesthatarefulfilledandunfilled.
Ourtextwillchangewhenweintertwineourstories,andchangeinrela-tiontoothers.
Wecanmovefromtheworld"asitis"totheworld"asitought"tobe.
Textholdsthefreedomtoimagineanewworldfilledwithpossibilitieswherewecanchangeandreconfigureourlives.
Ourtextandthestoryofourlivescancontinuetochangeuntilthedaywedie,becausewehavethepowertomakechangesandreconfigureourliveswhileweareapartofthisearth.
Theeventsinourlivesfitintoanarrative,andwhenwetellit,thereistruthandpowerinourstory.
Wehavethepowertofuseelementsofthepast,withabrightandunknownfuture.
Ournarrativesaremadeupnotonlyofactionsand43events,butalsoofdifferentcharacters.
Everycharacterhasapast,apresent,andafuture.
ResearchCategoryTwo:MimesisRicoeurintroducesthetheoryoftimethroughmimesis,whichcanbeusedtounderstandhowasociety'swayoflifecanberememberedorforgottenovertime.
Ricoeurdividesmimesis(time)intothreeseparatedomains:Mimesis1(pre-figuration)holdsourhistoryandourtraditions.
ForFirstHa-waiians,thispasthistoryincludeshistoricaltraumas,thelossofaonceindependentandthrivingnation,andastruggletoadaptinthemodernworld.
Mimesis2(con-figuration)isthepresentandthenow.
Thepresentandnowiscreatedthroughem-plotmentandconfiguration.
Emplotmentallowsustoplotoutthepointsofourstorysothatotherscanmakesenseofournarrativessothatwecancometoaninterpretiveunderstanding.
Throughmutualunderstanding,wecancreateafusionofhorizonsandenactlastingchange.
Mimesis3(re-figuration)holdsourhopesandimaginationsforthefuture.
Herda(1999:78-79)states…allthreestagesofmimesisarecreativeactsandareinterrelated.
Althoughactionispresentinallthreestages,itismostimportantatmimesis3.
Atthisstage,weimagineourselvesactingandinhab-itingaworldwithindirectreferencetotheworldinmimesis1.
Thereisanewpossibilityforlivingourlivesandcarryingoutourpolicieswhenwecritiqueourtaken-for-grantedworld.
Imaginationisthecornerstoneforaction.
Imaginationmakesitpossibletoexperi-enceanewworldinone'smind.
Weallowourselvestoseesituationsinanewlight,andexplorethepastandthefuture.
Throughthisjourney,weanalyzeourpasthisto-ry,basedonourfutureexpectations.
Wefindthefreedomtoprojectpossibilitiesandenvisionanewworld.
Wetakeactiontobringthatimaginedworldtoanewplace.
44HistorywillcontinuetorepeatitselffortheFirstHawaiiansunlessthroughreinterpretationofpastexperiencestheyareabletocreatenewstoriesthatspeakoftheirpast,present,andfuture.
Ricoeur(1984:70-71)statesthat"mimesis3markstheintersectionoftheworldofthetextandtheworldofthehearerorreader;theintersec-tiontherefore,oftheworldconfiguredbythepoem[text/hula]andtheworldwhereinrealactionoccursandunfoldsitsspecifictemporality.
"Inthisspacebetweenmemoryandexpectationindividualscanfindtheirabilitytoinitiateactionandopenpossibleworlds.
Itisthroughthehulathatare-remembering,arenewalandare-appropriationoflife,cantakeplaceResearchCategoryThree:ForgivenessByunderstandingthepast,andimagininganewfuture,wecantakeactioninthepresenttochangethecourseofourlives.
Ouridentityisdevelopedthroughtime,andwearecapableofreinventingthestoryofourlivesthroughcriticalreflec-tionofthepast.
Inordertomoveforward,theFirstHawaiiansmustreflectontheirpast,refiguretheiridentity,andforgivetheUnitedStatesgovernmentfortheillegaloverthrowoftheHawaiianmonarchysothattheycanbegintheprocessofhealing.
TheFirstHawaiianhistoryisfilledwithpainfulmemoriesofatumultuouspastthatcannotbeforgotten.
AftertheillegaloverthrowoftheHawaiianmonarchy,manyFirstHawaiiansfoundthemselveslostintheirhomeland,anddailylifebecameastrug-gle.
Forgivenessisacriticalstepinimaginingthefuture.
Ricoeur(2004:457)teachesthatforgiveness"constitutesthehorizoncommontomemory,history,andforgetting.
"FirstHawaiiansmustfindthecapacitytoforgiveinordertomoveforwardintheirlives.
45Forgivenessdoesnotmeanforgettingthepast.
Rather,throughsharingoursto-ries,itmayserveastheimpetusinallowingustobefreefromthepastandmovetowardsthefuture.
Whenweshareourstorieswithothers,weallowourselvestheopportunitytorememberthepast,andcreatethepossibilitytoreconfigureevents.
RetellingdarkandpainfulhistoriesmayallowFirstHawaiianstoletgooftheirpainandmoveforwardintothefuture.
ResearchGuidelinesEntréetotheResearchSitesInthesummerof2010,IflewtoHonolulu,Hawaiitogatherdataandresearchformydissertation.
ItwashereonthisIslandthatIwasabletomeetwithresearchcon-versationparticipants,andgainagreaterunderstandingoftheFirstHawaiiansandtheirnativeartform.
SeveralmonthsbeforeIreturnedtoHonolulu,Ihadcontactedmyformerteach-erHattiePhillipsor"AuntieHattie,"assheisknownthroughoutthecommunity.
HattieservedastheDirectorofHawaiianResourcesatPunahouSchool,andalsoateacheranddirectoroftheschool'sannualHolokuProgram.
IhadspokentoHattieaboutmyre-search,andsheexpressedagreatinterestandarealdesiretoparticipateinthestudy.
Hattiestatedthatonceshehadabetterunderstandingofmyresearch,shewouldleadmetomanyotherswhowouldalsobeinterestedinsharingtheirstories.
Wearrangedatimeandplacetomeetinsummer2010.
Asthedategrewnearer,IcontactedHattieandleftseveralvoicemailsandemails,whichwereneverreturned.
IfoundthisstrangeasHattiehadbeenextremelyresponsivethroughoutthespring,andseemedexcitedbythetopicofmyresearch.
Weekslater,IwouldlearnthatHattiehadpassedawayfromanunexpected46illness.
Hattiewasgreatlylovedbysomanyinthecommunity,andthelargegatheringatherlifecelebrationwasatestamenttothemanythatshetouchedwithherkindwordsandthoughtfulways.
Hattiewillbemissedforhergenerousspirit,herzestforlife,andhergreatunderstandingoftheHawaiiancultureandcommunity.
Ididexperiencesomedifficultyinfindingconversationparticipantswhowerewillingandabletoparticipateinmystudy.
ThereweremanyindividualsIspoketowhooriginallyagreedtobeapartofthestudy,however,whentoldthatthestudywasnotanonymousandactualnameswouldbeused,declinedtoparticipate.
Afewotherpoten-tialparticipantsdidnotreturnemailsorvoicemails,orshowupatthedesignatedmeetingtime.
Iamstillnotsurewhythishappened,butperhapsitwasduetothesensitivenatureofthesubject.
Nevertheless,Ispenttherestofthesummerinsearchofadditionalresearchconversationparticipants,andhadthegoodfortunetobeinvitedtotwohulahalaus(hulaschools).
Onehulaschool,HulaHalauKaHaleIOKahala,welcomedmewithopenarms.
ThedancersofHulaHalauKaHaleIoKahalaweresoopenandgraciousandIwasinvitedtoobservetheirhulaclasses.
Onemustalwayshavepermissiontositandobserveclasses,asthisisasignofrespectfortheKumuandtheHalau.
Iwasalsoinvit-edtositandobserverehearsalsforafutureperformance.
Iwasintroducedtoseveraldancerswhoaskedmetoobserveandimmersemyselfintheirdance,andtheystatedthateveryoneiswelcomeinhula.
ItwasherethatIwasabletoholdbothFormalandInfor-malconversationswithseveraldancerswhocontinuedtoinspiremeonmysearchto-wardsabetterunderstandingontheimportanceofperpetuatingandpreservingtheSacredHula.
47BecauseIspentadditionaltimeontheIslandofOahu,IhadtheopportunitytoattendthePrinceLotHulaFestivalatthefamedMoanaluaGardens.
Thefestivalisoneofthelargestnon-competitivehulafestivalsintheIslands,andcelebratesthelifeofPrinceLotKapuaiwa,whowasinstrumentalinrevivingthesacredhulaintheMoanaluadistrict.
Theannualfestivalfeaturedperformancesinbothhulakahikoandhulaauana.
Thefestivalisaceremonythathasspecialsignificanceandprotocolsthatgoalongwithit.
Dancersperformonaspecialpa,orhulamound,consecratedinthetraditionalstylethatallowsalldancerstofeelaconnectiontotheirpast.
DuringmytimeinHawaii,IalsohadtheopportunitytoattendAhihiLehua:FortheLoveofHula,ashowcasefeaturinghulakahikoandhula'auanaatattheHawaiiStateTheatre.
TheemceefortheperformancestatedthattheAhihiLehuaisabrightcrimsonflowerthatbloomsintheuphillvalleysofNu'uanu,andlikethebelovedhula,is"vibrant,attractiveanddeep-rooted.
Notedhalauhulacombinedtheirtalentsandherit-agetoweavealeiofsong,chantandmo'oleloforalltoenjoy–fortheloveofhula,fortheloveofHawai'inei.
"TheprogramincludedextraordinaryperformancesbyKumuHulaRobertUluwehiCazimero,VickyHoltTakamine,MapuanadeSilva,MichaelPiliPang,MaeliaLoebensteinCarterandManuBoydandtheirhalaudancers.
Thepurposeofthehulashowcasewasto"perpetuateandsharegenerationsofhulatraditions,mele,valuesandaloha.
"IattendedaprivatetouroftheIolaniPalace,theofficialresidenceoftheHawai-ianmonarchyaspartofmyfieldresearch.
TheprivatetourofthePalaceallowedmetoseecertainareasandroomsthatareclosedtothegeneralpublic.
ThePalacewasbuiltin1882byKingDavidKalakaua,andservedastheofficialresidenceofthemonarchyuntil48theillegaloverthrowoftheHawaiiangovernmentin1893.
ThePalacebecametheoffi-cialresidenceoftheProvisionalgovernment,andlatertheRepublic,Territory,andStateofHawaiigovernmentoffices.
TheStateofHawaiigovernmentofficeswerevacatedin1969,pavingthewayforafullPalaceRestorationandareturntoitsformerglory.
TodaytheIolaniPalaceservesasahistoricmuseumthatallowsustoglimpseintothelivesofthemonarchy,andimaginehowtheFirstHawaiiansoncelivedtheirlives.
WhileattendingtheseperformancesandtouringtheIolaniPalace,IwasabletointeractwithothersandholdInformalConversationswithparticipants.
ResearchParticipantsResearchparticipantsbetweentheagesof25through55agreedtoparticipateinthisstudy.
TheparticipantswereallresidentsofHonolulu,Hawaii.
EachconversationparticipantsignedtheConsenttoParticipate(AppendixA).
Itranscribedtheconversa-tions,andanalyzedthedatausingcriticalhermeneutictheory.
Thestoriesthatweresharedweremeaningfulinnature,andhelpedtheresearchertogainabetterunderstand-ingoftheFirstHawaiianpastandpresent,andgavelighttoideasforthefuture.
Thefollowingindividualswillinglyparticipatedinresearchconversations,andwerehappytosharetheirknowledgeandunderstandingsofthehula.
49CHARTOFPARTICIPANTSDANCERSAGEOCCUPATIONCULTURALBACKGROUNDJoannaKawamoto30-40AccountantASIANMartyMartinsonLui-Kwan45-55MarketingASIANRobynLee25-35NurseASIANPauletteNakamatsu45-55NurseHAPAMarieParesa40-50DancerHAWAIIANBrendaYim45-55OfficeManagerASIANConversationswithresearchparticipantstookplaceintheirhomes,coffeeshops,andthehulastudioKaHaleIOKahalainKahalaontheislandofOahu.
Thepartici-pantswereveryopenandwillingtoanswerallofmyquestions,evenquestionsthatspoketoadarkertimeinHawaiianhistory.
Ifoundtheconversationstobeopen,honest,andinsightful.
Onethemethatcontinuedthroughoutthecourseofmyconversationswasthatthehulaservesasalivingtextthatpreservesnationalidentitywhencultureisbeinglost.
WithoutcontinuededucationthehistoryandtraditionsoftheFirstHawaiianmaybelostforever.
Imetmyparticipantsthroughavarietyofsources.
ItisinterestingtonotethatonceImetmyfirstparticipant,theywereabletoleadmetootherswhowereinterestedintellingtheirstories.
AlloftheparticipantscurrentlyliveandresideinHawaii,which50madeitveryeasytomeetandconverse.
Aftertheconversationswerecompleted,Itran-scribedthetapedconversations,andsentittotheparticipantsforreviewandcomments.
JoannaKawamoto(30-40)wasbornandraisedinHonolulu,Hawaii.
Shecur-rentlyworksasaSeniorManagerintheAuditandRiskServicesdepartmentatDeloitteandToucheinHonolulu.
JoannaisagraduateofPunahouSchoolaprivateschoolinHonolulu,Hawaii,andtheUniversityofWashington,inSeattle,Washington.
Joannahasbeenstudyinghulasincetheageoffivethroughprivatelessons,mostrecentlyunderthedirectionofLeina'alaKalamaHeine.
MartyMartinsonLuiKwan(45-55)wasbornandraisedinHonolulu,Hawaii.
Martyhasworkedinmanydifferentlinesofservice,includingmarketing,branding,ad-vertising,andhasrecentlycreatedherownretaillineofclothing.
MartyhasdoneafairamountofHawaiianculturalconsulting,andlatelyworkedasacreativeconsultantonculturaldocumentaryfilm.
Martyhasstudiedthehulamostofherlife,underthedirec-tionofLeina'alaAkamine,Leina'alaKalamaHeine,HoakaleiKamauu,MaeKlein,AuntieMaikiAiuLake,andiscurrentlystudyingunderthedirectionofPohaiSouza.
MartynotedthatmostofherkumuhulaisfromthesamehulalineageofAuntieMaiki.
RobinLee(25-35)wasbornandraisedinHonolulu,Hawaii.
ShecurrentlyworksasanurseattheQueen'sHospitalinHonolulu,Hawaii,andisagraduateofMid-PacificSchoolofthePerformingArts,aprivateschoolinHonolulu,andCreightonUni-versityinOmaha,Nebraska.
Robinhasbeendancingformostofherlifeunderthedirec-tionofMichaelLanakilaCasupang.
SherecentlyhadthehonorofparticipatinginthefamedMerryMonarchFestival,aweek-longfestivalthathonorsthelatekingDavidKa-51lakaua,whoinspired"theperpetuationof(Hawaiian)traditions,nativelanguage,andthearts"inHilo,Hawaii.
PauletteNakamatsu(45-55)wasbornandraisedinHonolulu,Hawaii.
Pau-lettefirstlearnedtodancethehulafromhermother;motherswouldteachdaughters,andfatherswouldteachtheirsons,andthehulawaspasseddowninthisneverendingcircle.
Atthetimeofourdiscussion,PaulettewasareigningPrincessintheMayDayCourt.
ShecurrentlydancesunderthedirectionofLeimomiIMaldonado.
MarieParesa(40-50)wasbornandraisedinHawaii.
MarieisofHawaiianan-cestry,andsomeofherearliestmemoriesareoflearningthehulafromherfamily,anddancingatgatheringsandcelebrations.
Hergrandmotherwouldwritesongs,andaskMa-rietoserveasherscribe.
Atthetimeofourdiscussion,MariewasareigningPrincessintheMayDayCourt.
ShecurrentlydancesunderthedirectionofLeimomiIMaldonado,andinherfreetimealsoassists"AuntieLei"inteachingclassesBrendaYim(45-55)wasbornandraisedinHonolulu,Hawaii.
Brendagradu-atedfromPunahouSchool,inHonolulu,Hawaii,andholdsdegreesfromUCIrvineandUCLA,inCalifornia.
Sheisaprofessionalballetdancer,wholearnedthehulaearlyinlifefromhermother,andsheworksasanOfficeManagerinherhusband'smedicalprac-tice.
BrendacurrentlydancesunderthedirectionofLeimomiIMaldonado.
ResearchQuestionsTheprimaryresearchcategories,asdiscussedearlier,forthisresearchstudyarenarrativeidentity,mimesis,andforgiveness.
Idevelopedseveralquestionsforeachcate-gorytoguidemyconversationswithFirstHawaiianparticipants.
Thequestionsposed52werenotdesignedtosolicitspecificanswersfromeachparticipant;rather,theyservedasaguidetopromotediscussionsandideas.
Myresearchquestionswereasfollows:CategoryI:NarrativeIdentityPleasetellmeaboutyourbackgroundandeducationalexperience.
HowdidyoufirstgetinvolvedinFirstHawaiianperformingartsWhattypesofhuladoyoustudyandperformHowdoyouviewyourroleasaFirstHawaiianperformingartistDoyoulearnthemeaningbehindthetextbeforeyoulearnaparticulardanceWhenyouareperformingatraditionalhula,whatdoyouhopetoconveytoyouraudienceHaveyoustudiedHawaiianhistoryorlanguageHowdoesyourunderstand-ingofhistoryandlanguagecontributeordetractfromyourperformanceCategoryII:MimesisAsaFirstHawaiianperformingartist,doyoufeelyouhaveanyresponsibilityinrelationtoyouraudienceShouldtheaudiencedeterminewhatshouldbeperformedandthestyleandmannerinwhichitisperformedAreFirstHawaiianperformingartspresentinthecurrenteducationalsystemWhatareyourviews,thoughts,andreflectionsonthisDoyoufeelFirstHawaiianperformingartsshouldplayanimportantroleinaneducationalcurriculumWillithelptomoldtheHawaiianidentityWhatareyourhopesanddreamsforthefutureofHawaiianperformingartsCategoryIII:ForgivenessDoyourmemoriesandunderstandingofthepastplayaroleinforgivenessHowdoyoufeelabouttheU.
S.
government'sillegaloverthrowoftheHa-waiianmonarchyDoyouthinkFirstHawaiianshaveforgiventheU.
S.
gov-ernmentDoyoufeelitispossibletorightthehistoricalwrongsofthepastWhatroledoyouthinkforgivenesswillplayinmovingforwardintothefuture53ConversationsDatawascollectedfromresearchconversations.
Theconversationwastapedwithadigitalrecorderandwirelessmicrophoneinordertocaptureanauthenticdialoguewiththeparticipant.
Theconversationswerethentranscribedbytheresearcher,andana-lyzedusingtheresearchcategoriesofnarrativeidentity,mimesisandforgivenesstocre-ateatextforinterpretation.
AllconversationswereconductedinEnglish.
Isummarizedmyresearchtopicforallparticipantspriortostartingeachconversation.
Apersonalresearchjournalwasusedtodocumentmyreflectionsandexperi-encesthroughout,andincludedbothformalandinformalconversations.
Informationwasgatheredintheformofanarrative.
Aftertheinitialinterview,Ischeduledfollow-upconversationsasneededtocontinuethedocumentationprocessandgatheradditionalin-formationandinsightsfromeachparticipant.
Oncecompleted,Isenteachparticipantacopyofthetranscript,andaskedthemtoreviewthetranscriptforaccuracy.
Ithenaskedtheparticipanttoreflectonourconversation,andallowedthemtheopportunitytochange,correctormodifytheiroriginalstatements.
Theresearchconversationpartici-pantsapprovedthefinaltranscript,andthisservedasthesourceformyfinaldataanaly-sis.
ObservationTheFirstHawaiianhulaisamovingtextthatprovidesanopportunityforfurtherexaminationandinterpretation.
Duringthisresearchprocess,IobservedFirstHawaiianartistsperformingthehulainbothaformalandinformalperformance.
TheperformancesgavemeaglimpseintothetraditionalpracticesoftheancientHawaiians.
Everygesture,movement,andexpression,spokeofthestoriesofapeopleandaplace.
Eachdancewas54settothechantingofpowerfulvoicesandmovementsthattogetherremindusoftheFirstHawaiians,howtheylived,whattheythoughtabout,theirrelationshiptotheland,theirnaturalresources,andtoeachother.
Theseobservationswererecordedforreviewandfurtherreflection.
DocumentsDocumentsandculturalartifactsrelatedtothestudywerecollectedduringtheresearchprocess.
Documentscreateahistoricalaccountthatallowsustoseeachainofeventsandtheirinterrelation.
Thesedocumentswereusedtocreateatextforadditionalunderstandingandinterpretation.
Itookanumberofphotographsduringthecourseofmyresearch.
Iwantedtocapturethehulaasatextinmotion,andwasabletodosoduringmeetingswithconversa-tionparticipants.
Thephotographsdepictastoryandshowthemotionsofthehula,thecostumes,adornments,andthebeautifuldancersastheysharetheirgiftwithothers.
Pho-tographstellavisualstory,andallowthereadertounderstandtheimportanceoftheHa-waiianhistory.
Inaddition,itoffersgreaterinsightintotheFirstHawaiianidentity–whotheywere,wheretheycamefrom,andwhattheyhopetobecomeinthefuture.
55Figure2.
HulaDancersFigure3.
HulaDancers56Figure4.
HulaDancersFigure5.
HulaDancers57Figure6.
KumuHulaPersonalJournalAsIstartedalongthisjourney,Iwastoldtokeepapersonaljournalinwhichtowritedownmythoughts,feelings,andobservations.
LittledidIknowthatthisjournalwouldbecomeanintegralpartofmyresearch,asIfeltfreetoexpressmyself,andex-plorenewideaswithoutjudgmentfromtheoutsideworld.
Theroadtowritingthisdissertationhasbeenaninterestingandexcitingexperi-encetodocument.
Asacertifiedpublicaccountantbytrade,Ihavespentmylifework-inginastructuredatmospherewhereeverythingislinear,andthereisnoroomfordevia-tion.
Everynumberhasaplace,andeveryplacetellsastory.
Myworldhasalwaysbeenprecise,analyticalandorderly.
Incontrasttothis,myjourneythroughcriticalhermeneu-ticshasnotbeenaneasyone.
Inthebeginning,Iwasoftenstruckbydaysandnightsofuncertainty.
Iwouldsitaloneatmydeskandreadthroughaseriesofbooksandarticlesthatwereforeigntome.
Everypassage,everyparagraphwasfilledwithunknownwords,58andthemesthatdidnotmakesenseinlightofmyearlierstudies.
Thesethoughtscon-tinuedasIstartedonmyjourneythroughtheresearchprocess.
Icreatedaseriesofques-tionsthatspoketomyresearchcategoriesofNarrativeIdentity,Mimesis,andImagina-tion.
Myjournalbeginswithdaysofquestions,"WhatdoesthismeanAmIontherighttrackAmIaskingtherightquestionsHowwillIknowthatI'mdoingtherightthing"However,thismoodandairofconfusionbegantochange,andmixwithdaysofexcite-mentasIstartedtogain,observeandspeaktoconversationparticipants.
AsIwassittingandobservingahulahalau,Ijotteddownsomenotesinmyjournal;"hulaisforeveryone,everyoneiswelcomeinthehula.
"Andthisstatementholdstrue,forhulaisforeveryone,andopentoeveryonewhoisinterestedinlearningthisancientartform.
Myresearchconversationparticipantsstatedthatyoudon'thavetobeHawaiiantolearnandunderstandthehula.
Inordertotrulylearnandunderstandthehula,youhavetobeopenandwillingtoembracethehula,itsrichcultureandhistory,andmeaningthatispresentinallaspectsofthedance,thechants,songs,motions,ges-tures,expressions,costumes,adornmentsandchoiceofflowers.
Inotherwords,thereismeaningbehindallaspectsofthedance.
Overtime,Iwasabletogatheradditionalin-formationandcapturespecialmomentsencompassingthehulakahiko,throughwatchingclasses,rehearsals,performances,andworkshops.
AsIwasobserving,Iwrotedownthetranslationstooneofthedances,andalt-houghitisprobablyaroughtranslation,thewordsanditsmeaningaresobeautiful.
"Myhomeiswheremyheartis.
Ihavereturned.
NomorewillIwander,forIunderstand.
IamproudtobeHawaiian.
"Iwroteinmyjournalthedayofmyfirstconversationthatthiswasjustthebeginning,andonlylaterdidIrealizethatthisjournalwouldprovidethe59opportunityforcriticalreflectionandinterpretationinmylifeandmywork–formyhomeiswheremyheartis,andI,too,havereturned.
ResearchTimeframeResearchconversationswerecompletedinthesummerof2010.
Theconversa-tionswereimmediatelytranscribed,andthedataanalyzedusingcriticalhermeneuticthe-ory.
DataAnalysisIanalyzedthedataaccordingtotheprotocolforcriticalhermeneuticparticipa-toryresearchasdescribedbyHerda(1999:98-100).
Herdastatesthatdataanalysis"isacreativeandimaginativeact.
"Itallowstheresearchertoimaginenewworldsofpossibil-ities,andbringthosepossibilitiestoanewplace.
Ricoeur(1982:53)teachesusthatthetext"mustbeunfolded,nolongertowardsitsauthorbuttowardsitsimminentsenseandtowardstheworldwhichitopensupanddiscloses.
"Whenweunfoldthetextandseetheworldinadifferentlight,weallowourselvestolookatproblemsdifferently,andexploresolutionsthatweneverdreamedpossible.
Wecanseethingsclearly,andourworldsarechanged.
Analysistakesplacethroughasequentialseries.
Morespecifically,thefol-lowingpointsdirectedthedataanalysispoints.
1.
Fixthediscoursebytranscribingtapedconversations2.
Pulloutsignificantstatements,developthemes,andplacethemwithinCate-gories.
3.
Substantiatethethemesorimportantideaswithquotesfromtheconversationtranscriptsorwithobservationaldataaswellasdatafromtheresearcher'slog.
4.
Examinethethemestodeterminewhattheymeaninlightofthetheoreticalframeworkofcriticalhermeneutics.
605.
Provideopportunityforcontinueddiscussionandconversationswithpartici-pantsusingthedevelopingtextwhenappropriate.
6.
Setacontextforthewrittendiscussion.
7.
Indevelopingthetext,discussgroupingsofthemesorsub-themeswithineachcategoryinlightofthetheoryandproblemathand.
8.
Discusstheresearchproblematatheoreticallevel,thusimplementingafur-therpracticaluseforcriticalhermeneutics.
9.
Ferretoutimplicationsfromthewrittendiscussionthatprovideinsightandnewdirectionfortheissueorproblemunderinvestigation.
10.
Bringoutthoseaspectsofthestudythatmeritfurtherstudy.
11.
Giveexamplesoflearningexperiencesandfusionofhorizonsonthepartofparticipantsthattookplaceduringtheresearchprocess.
Relatethestudytoyourselfintermsofwhatyoulearnedandwhatrolethestudyplayedinyourlife.
AfterItranscribedtheconversationsandreflectedonthedata,IcametonewunderstandingsabouttherolehulaplaysinthelivesofFirstHawaiians,andincludedthefindingsinChapter5:DataAnalysis.
PilotStudyApilotstudywasconductedinthefallof2009totestthefeasibilityofthere-searchtopicThePowerofHula:APerformanceTextforAppropriatingIdentityAmongFirstHawaiianYouth.
Thepilotconversation(AppendixH:TranscriptofthePilotCon-versation)allowedmetoengagewitharesearchparticipantfamiliarwiththeissueathandinordertotesttheviabilityofmyproposedstudy,researchcategories,andresearchquestions.
Theinformationgarneredfromthisconversationwasusedtodeterminehowtheresearchwouldcometofruition,aspartofalargerdissertationstudy.
61Mypilotstudyconversationpartner,PaulaYee,isafriendandformerclassmateatSantaClaraUniversity.
PaulaisanativeofSanFrancisco,California,whofellinlovewiththeHawaiianhulawhileattendingcollege.
Sincethen,shehasstudiedthehulathroughdifferenthulahalauinSanFrancisco,LosAngeles,andHonolulu.
Ourconver-sationtookplaceinthefallof2009,andwediscussedtheimportanceofpreservingapeople'sidentitywhencultureisbeinglost,therolethatartplaysincreatingandcarryingontraditions,andtheimportanceofartinprogramsdesignedforFirstHawaiianYouth.
Priortomeetingmyresearchpartner,Idevisedanumberofquestionsformychosencategories,andgavegreatthoughtintohowIwouldguidetheconversation.
Iwasveryapprehensiveinthedaysleadinguptoourmeeting,asIwantedtoaskPaulaalltherightquestions,andensurethatIhadtheproperdataforanalysis.
Theconversationlastedapproximatelyonehour.
IthoughtthatthefirstpartofourconversationseemedstiltedandabitrehearsedonmypartsinceIhadpracticedmyquestionsanumberoftimespriortoourmeeting.
Iwantedtoaskalltherightquestions,andnotleaveanythingout.
Aswestartedtodelvedeeperintothesubject,IdecidedthatIwouldtakemoretimetoasktheparticipantaquestion,andlistencarefullytothean-swer.
Iwouldthengathermythoughts,anddecideonthenextcourseofquestioning.
ThiswouldensurethatIwaslisteningtomyconversationparticipant,andaskingthoughtfulquestionstoguidedataanalysis,ratherthantryingtofillallthevoidsorlullsintheconversation.
InotedthatIdidnothavetoaskPaulaeveryquestionfrommylist,andIdidnothavetoanswereachquestioninanexactorder.
Thisallowedafreeflowingexchangeofideasandthoughtstomaterialize.
62InotedthatthequestionsposedwerethoughtfulandeasyforPaulatounder-standandrespondto.
SincePaulahadbeenstudyingtheartofhulaforseveralyears,shewasabletoprovidenewinsightsandunderstandingsontheimportanceoftheHawaiianhula,andwhyitshouldbepreservedforfuturegenerations.
Thepilotstudyallowedmetoengagewitharesearchpartnerandtesttheviabil-ityofmystudy.
Ifoundthatthetopicwasofgreatinteresttome,andcouldserveasthebasisforalargerdissertationstudy.
Thethreecategoriesthatemergedfromourconversationwerenarrativeidentity,mimesis,andimagination.
Ianalyzedtheconversationusingthesechosenthemes.
How-ever,Ifoundthatthecategoriesofmimesisandimaginationwerecloselyrelated,makingthedataanalysisdifficulttocomplete.
Mimesis3(re-figuration)andimaginationbasi-callyholdourhopesandimaginationsforabetterfuture.
IdecidedthatIwouldchangemychosenresearchcategoriestonarrativeidentity,mimesis,andforgivenessinmyfinaldissertation.
Herda(1999)teachesusthatdataanalysisisanimaginativeact,inwhichweareabletoseetheworlddifferentlythanbeforetheresearch,andimaginecreativewaysofappropriatingchangestorealworldproblems.
Itishereinthisspacethatwecanbecomeagentsforchange.
IfollowedHerda'sguidelines(1999:98-99)andfixedthediscoursebytran-scribingtapedconversations.
Ipulledoutsignificantstatements,developedthemes,andplacedthemwithincategories.
Isubstantiatedthethemeswithquotesfromtheconver-sationtranscripts,andexaminedthethemestodeterminetheirmeaninginlightofthetheoreticalframeworkofcriticalhermeneutics.
Thisprovidedtheopportunityforan63additionalconversationwiththeparticipantusingthedevelopingtext.
Iselectedimpli-cationsfromthewrittendiscussionthatprovidedinsightandnewdirectionfortheissueunderstudy.
Theimplicationsallowedmetobringoutaspectsofmystudythatmeritedfurtherinvestigation.
Thepilotstudyspoketotheimportanceofpreservingapeople'sidentitywhencultureisbeinglost,therolethatartplaysincreatingandcarryingontra-ditions,andtheimportanceofartinprogramsdesignedforFirstHawaiianyouth.
BackgroundoftheResearcherIwasbornandraisedinHonolulu,HawaiitoalargefamilythathadimmigratedtoHonolulufromGuangzhou,Chinafourgenerationsagoinsearchofwork.
ManyofmyrelativeslefttheirhomelandandfamiliestofindworkinthesugarplantationsandpineapplefieldsinHonolulu–jobsthatnooneelsewantedbecauseofthebackbreakingworkandextremeheat.
Althoughthejobswerestrenuous,myrelativeswerehappytofindwork,andsavedeverypennytheycouldtosendbacktotheirfamiliesinChina.
Manyofthemwoulddreamofthedaywhentheycouldreturnhome,butmost,likemygreat-great-grandparentswouldneverreturnhomeagain.
Mymaternalgrandfathergrewupinalargefamilywithsixsisters,andonebrotherwhodiedataveryyoungage.
Althoughhevaluededucation,hewastheonlyboyinthehousehold,andwasforcedtofindworkafterhighschool.
MygrandfatherandgrandmotherworkedtirelesslysevendaysaweekintheSnackBarthattheybuiltuntiltheyfinallyretiredatseventy-fiveyearsold.
Mygrandparentsworkedtheselonghourssothattheycouldprovidetheirchildrenwiththeopportunitytoattendprivateschools,college,graduateschool,and,finally,togiveeachonestartupcapitaltosetuptheirownbusinesses.
64MygrandfatheralwaystoldmethatImustgotocollege.
Foreducationisthekey,itisreallytheonlywaywecanbetterourselves,andchangethecourseofourlives.
Iaskedhimonce"GungGung,whydon'tyougotocollege,"towhichhereplied"ohnopet,it'stoolateformenow…butit'snottoolateforyou.
Yougoforme.
"Mygrandfa-therwasaninstrumentalpartofmylife,andIthinkofhimoften,sometimeswithalittlesadness,becauseIknowthatthiswasonedreamofhisthatwouldnevercometrue.
IbelievethatthisishowIstartedonmyquestforeducation.
IlefthomeshortlyaftergraduatingfromPunahouSchool,andattendedSantaClaraUniversitywhereIgraduatedwithadegreeinAccounting.
AlthoughIlovedHawaii,IdecidedthatIwasn'tquitereadytoreturnhome,soImovedtoSanFranciscotoliveandwork.
Ibegantomakemanyfriendsandnetworkwithothersmyage.
ManyofmynewfriendswouldaskmeaboutHawaii,theluaus,thehuladancers,thegrassskirts,thingsthattheywouldlearnthroughmovies,themedia,andshortvacationstoHawaii.
IbegantothinkthatitwasimportanttotellothersthestoryofHawaii–aboutitshistory,itspeople,anditsrichculturalheritage,sothattheywouldknowandunderstandtheplacewhereIgrewup.
IdecidedtoreturntoschoolandobtainaMasterinOrganizationandLeadershiptocontinuemyeducation,andasIstartedalongthispath,IhadthegoodfortunetomeetDr.
EllenHerda.
Dr.
Herdawasthefirstprofessorwhosaidtome"youdon'tneedan-otherMasters,youshouldpursueaDoctorateinstead.
I'mgoingtohelpyoutotransfertothecorrectprogram.
"Pursuingthisdegreehastaughtmesomuch,andithasgivenmetheopportunityandtheoutlettotellothersthestoryofHawaiithroughthisindigenousartformanditsnativepeople.
Ihavealsolearnedtheimportanceoflookingatthepast,understanding65thepresent,andimaginingabetterfutureforboththepeopleofHawaiiandmyself.
AndIimaginemygrandfatherlookingdownatme,andheissmiling.
66CHAPTERFIVE:DATAPRESENTATIONANDANALYSISIntroductionThedataforthisstudywerecollectedthroughconversationswithresearchcon-versationpartners.
Theindividualswhoparticipatedinthisstudywereofdifferentages,ethnicities,andbackgrounds,butsharedacommonbondintheirstudyandlovefortheHawaiianhula.
AdescriptionofparticipantscanbefoundinChapterFour.
Theworldisconstantlychanging.
Individualsinoursocietyareoftensweptupinthesechanges,withoutaclearideaofthefutureandtheirplacewithinit.
In1893,theHawaiianmonarchywasillegallyoverthrownbyforcesintheoutsideworld,andthecul-tureandwayoflifeoftheFirstHawaiianpeoplechangedforever.
TheFirstHawaiiansbecamestrangersintheirownland.
IllegaloverthrowsofsovereignnationsarenotexclusivetoHawaii,andcanbefoundthroughouttheworld.
Unfortunately,victimsofthesecrimesoftenlackthevoicetobeheard,andstruggletoadaptinachangingsociety.
Inmyconversationswithpartic-ipants,thedatarevealedthattheFirstHawaiianpeopleareastrongandresilientpeople,wholivetheirliveswithdignityandpride.
However,withoutaclearunderstandingoftheirpast,itisdifficultforthemtohaveasenseofwhotheyaretoday.
Ourcultureandwayoflifespeakofwhoweare,wherewecamefrom,andmustbepreservedandpro-tectedforfuturegenerations.
ConversationswithparticipantsrevealedmychosencategoriesofNarrativeIdentity,Mimesis,andForgiveness.
Throughcriticalreflectionandinterpretation,wecandevelopnewunderstandings,changeinrelationtoothers,andtakeactioninthepre-senttocreatechange.
TheHawaiianhulakahikoismorethanjustadance,itisanarra-67tivetextthatlinkstheHawaiianpasttothefuture.
Itisimperativethatwecontinuetoteachthefuturegenerationstheimportanceofthishistoricaltreasure.
ThisstudyaimstoprovideabetterunderstandingoftheFirstHawaiianhulakahiko,andfurthershowtheimportanceofperpetuatingandpreservingthishistoricaltreasurethroughyouthdevel-opmentprogramsinHawaii.
PreservingIdentityTheconversationswithparticipantsspoketotheimportanceofpreservingapeople'sidentitywhencultureisbeinglost,therolethatartplaysincreatingandcarryingontraditions,andtheimportanceofdevelopingprogramsforFirstHawaiianyouth.
Ouridentityismadeupofourlifeexperiences,ourrelationshipswithothers,andouractions.
Weareconstantlychangingthroughlivingoureverydaylives,andourinteractionswithothers.
Ricoeur(1992)teachesusthatourNarrativeidentityistheiden-titythatwepossessthatunfoldsandchangesoverourlifetime.
Eachofuspossessesthemind,body,andspirittomakechangesintheworld,andourcharacterismadeupof"…distinctivemarkswhichpermitthere-identificationofahumanindividualasbeingthesame"(Ricoeur1992:19).
Ouridentityismadeupofidem-identity(sameness)andipse-identity(selfhood).
Idemholdsourhistoryandallthatweholddear,whileipseservesasamediationthatallowsustochangeinrelationshiptoothers.
Wecanmakesenseofourindividualidentitiesinthesamewaywecanidentifycharactersinstories.
Eachpersonhasapast,present,andfuture,andinheritsaparticularcultureandheritage.
Allnarrativescontainethicaldimensions.
Howwetakeactionorfailtotakeactioninresponsetoeventsspeakstoourcharacterandourcapacitytoact.
Ricoeur(1992:262)teachesusthatitisimportanttolivethe"goodlifewithandforothersinjustinstitu-68tions.
"Throughconversationswithparticipants,thethemeofnarrativeidentityemergedinmanydifferentlights.
IspoketoconversationparticipantMarieParesaonthenightbeforeherbenefitgalaforherhalauKaHaleIOKahala.
Mariewaspassingoutbeautifulfreshflowersfortheladiestoputintheirhairforthefollowingnight'sperformance.
Marieinvitedmetositdownandjoinhertodiscussthehulaandtheimportanceofperpetuatingandpreserv-ingitforfuturegenerations.
DuringmyconversationwithMarie,shebroughtuptheconceptofnarrativeidentity.
MarieisofHawaiianancestry,andshestatedthatthehulahasalwaysbeenabigpartofherlife.
Mariegrewupdancing,andsheremembershergrandmotherandmotherteachingherthehulaasayoungchild.
MariestatedthatThehulaissomeaningful,andthereissomuchthatwelearnfromthestoriesthatarepasseddowntoothers.
Mygrandparentsandpar-entsalwayswantedustounderstandthehulaandwhatittrulymeansfortheHawaiianpeople.
BeingofHawaiianancestry,wealmosthaveanobligationtounderstandourcultureandpreservethatforfu-turegenerations.
Thehulawasoriginallydancedatreligiousceremoniesoraspartofsacredrituals,andplayedanessentialroleintheFirstHawaiianexistence.
Ricoeur(1995:38)statesthataculturecomestounderstanditselfbythestoriesthataretoldWecometounderstandourselvesandourcommunitybyunderstand-ingthedefinitivetextswhichconstitutethecommunity.
Itistheworldofthetext,thepossibleworldprojectedbythetext,aworldwhichisredescribedandrefashionedbythetext.
BecausetheFirstHawaiianshadnowrittenlanguage,thehulakahikoanditsaccompany-ingmeleswereusedasameansofpassingdownstoriesabouttheHawaiianculture,tra-ditionandvalues.
69Mariestatedthathergrandmotherandmother"wouldteachus(thehula),alloftheirchildren.
"Dancingthehulahelpedtobringthefamilyclosertogether,itlinkedthepasttogetherwiththepresent.
ThestoriesofouroralcivilizationwerepasseddownthroughtheancientHawaiianhula.
WedancedandsharedthestoriesofoldHawaii,themotions,thesongs,themeaningsbehinditwithoneanother.
Wedancedtogetherasafamily,andweperformedforoneanotherandforpartiesandspecialeventsinourlives.
Icanremembermanypartieswherethefamilywouldbeover,andmygrandmotherandmotherwoulden-couragemeandmysiblingstogetupanddance.
Itwasawayoflifeforallofus,andweembracedit.
Mariestatedthatthehulaplayedanessentialroleinherlifeandfamilyexistence.
ThestoriesthatwerepasseddownfromgenerationtogenerationhelpedtheFirstHawaiianstounderstandwhotheyareandwheretheycamefrom.
Kearney(2002:152)statesWhensomeoneasksyouwhoyouare,youtellyourstory.
Thatisyourecountyourpresentconditioninlightofpastmemoriesandfu-tureexpectations.
Youinterpretwhoyouarenowbasedintermsofwhereyouarecomingfrom,andwhereyouaregoingto.
Andsodo-ing,yougiveasenseofyourselfasanarrativeidentitythatperjuresandcoheresoveralifetime.
TheFirstHawaiianshadastorytotell,andtheyshareditwithothersinthebestwaythattheyknewhow–throughsonganddance.
TheFirstHawaiiansrecountedtheirpasthis-toryandthestoriesoftheircivilization,sothatotherscouldcometoaninterpretiveun-derstanding.
PauletteNakamatsustatedthathulahasalwaysplayedanimportantroleinherlife.
Someofherearliestmemoriesareofdancingthehula,andlearningofitsim-portancefromhermotheranAlohaWeekQueeninHonolulu.
Paulettestatedthat"thehulaisjustapartofourlivesandwhoweare.
Ithasbeenanamazingjourneythrough70ourfamily.
Mymotherwasadancer,Iamadancer,andnowmydaughterisadancer.
Iguessyoucouldsaythatithasreallycomefullcircle.
"ThehulaplaysalargeroleinPaulette'slife,andformsthebasisofheridentityandherhistory.
Paulette'smothertaughtanddancedthehula,andthenarrativesoftheFirstHawaiianpeoplewerepasseddownthroughhertofuturegenerations.
Paulettestatedthatalongtimeago,"Motherswouldteachtheirdaughters,andfatherswouldteachtheirsons,andthatgenerationwouldthenpassthatontotheirchil-dren.
"Inthisway,dances,chantsandmeleswerepasseddowntofuturegenerations.
Paulettefurtherstatedthat"familyandfriendswouldgatherforcelebrationsorreligiousceremoniesandyouwouldgetupanddanceortellyourstory.
NarrativesweretoldinordertogivelifeandmeaningtotheHawaiiancultureandheritage.
However,thisbegantochangewiththearrivalofChristianmissionariesintheearly1800s.
PauletteobservedYouknowthehulawasoutlawedformanyyears.
AndbecausetheHawaiianswereanoralcivilization,alotofthesestorieswerelost,possiblyforever.
Soitisimportanttokeepandpassdownallthatweknow,sothatnootherstoriesanddancesarelost.
Wehaveadutytopreserveit(stories),andthebestwaytodosoistocontinuetolearnandsharethisthroughdancing,competition,andperformance.
TheChristianmissionariessawthehuladanceasasavageact,andtookstepstooutlawthepractice.
TheHawaiianidentitybegantochangedramatically.
Ricoeur(inKearny1984:21)states,"Ibelievewemusthaveasenseofmeaningfulnessofthepastifourpro-jectionsintothefuturearetobemorethanemptyutopias.
"Inotherwordswemusthaveanunderstandingofourpastinordertomoveforwardsintoasuccessfulfuture.
Pauletteshared,"Forpartofmylife,Ididn'tknowwhymymotherwantedthisforme,whysheforcedmewhenIwasyounger.
"AfterplacingintheMayDayCourt,71Paulettefoundthat"nowitallmakessense.
WhenIdanceIfeelalive,andIfeellikeIamsharinganimportantstorywithothers,apartofourhistory.
"Ricoeur(1992)teachesusthatwemustunderstandourhistoryinordertomakesenseofourlivesandourplacewithinit.
Thehulakahikoservesasanarrativethatal-lowsustoexplainthestoryofourlives;itisthedialecticbetweenconcordanddiscord.
Wenarrateourstory,andplotoutthepointsofourhistory,sothatotherscanmakesenseofournarrative.
Welearnthingsthatwedidn'tknowbefore,andourlivesareforeverchanged.
Weimagineanewworlddifferentfromtheworldthatwelivein,andchangethroughimagination.
RobinLeestatedthat"hulawasprohibitedbythemissionaries,whothoughtthehulawasaheathendance.
Sohulawentundergroundandwaspracticedinsecretformanyyears.
"Thedancebecamearebellionagainsttheoppressivepartiesthatsoughttoabolishthenativedances.
Becausethehulawaslostformanygenerations,theFirstHa-waiiansdidnotlearnthestoriesoftheirpeople,andthereforedidnotunderstandtheirpast.
Theywanderedthroughlifewithoutatrueunderstandingofwhotheywere,andwheretheycamefrom.
Inorderforonetotrulyunderstandtheiridentity,theymustun-derstandtheirhistoryandtheirpast.
ThehistoricalpastoftheFirstHawaiiancommunitydoesnothavetodeterminethefuture.
MartyMartinsonLuiKwanstated,"IreallybelievethatyoungnativeHawai-ianstoday…havelostaconnectiontotheirheritage.
Ibelievethatthecurrentcultureistoohomogenizedandcommercialized.
"ManyFirstHawaiianshaveanincompleteun-derstandingoftheircultureandtheirhistory.
Andtoday,schoolsthroughoutHawaiidonotteachtheHawaiianPerformingArts.
Asaresult,agenerationofFirstHawaiianshas72anincompleteunderstandingoftheillegaloverthrowoftheHawaiianmonarchy,andtheeventsthatledtothedestructionofaoncesovereignnation.
Martystatedthatthehulaismuchmorethanjustasimpledance.
Thehulahasshapedmycorevalues,andinmanywaysitasksofustobebetterpeople.
Myrelationshipwithmyhulasisters,kumu,itisall'ohanabased,withrules,valuesandexpectations.
Thehulacentersmeandmakesmemoreawareofthenaturalworldandhowtoberespectfulofit.
Thecurrentglobalconsciousnessof'takingcareoftheworld'isnotanewconcepttoHawaiians,itishowtheylived,malama'aina.
Thehulaisapartofme–itlivesinmesomewhere.
Idon'tquiteknowhowtoverbalizeit…itisapartofmymana,myspirit,mybeing.
Asindividualsweallhaveourownstoriesthatspeakofourexperiences,ourrelation-shipsandouractions.
Thisnarrativeidentityisrevealedtousthroughoutthecourseofourexistence.
DuringmyconversationwithCandaceYoung,sheassertedThehulaisapersonalexpressionforme.
Itreallygivesmeanop-portunitytolearnthelanguage,andthestoriesbehindthesongs,andthroughthestories,youlearnaboutthecultureofHawaiianditspeople.
Weareresponsibleforlearningthetextandthemeaningbehindthedanceandwhyitwascreated.
Thetextandthewordscometolifewhenyouunderstandthewords.
…anditisuptoyoutodecidehowtopresentandconveymeaningtosharewhatyouhavelearned.
Thehulaisnotjustadance.
Itisanoraltraditionthattellsthestoryofaculture.
Inan-cienttimes,itwasnotthedancer'smovementsorexpressionalone,butthechantedwordsthathelpedtocreatesignificantmeaning.
Thehulatellsanentirestory;thereismeaningbehindthetext,themotions,thecostumes,andtheadornments.
InCandace'shalau,dancersareresponsibleforlearningthetextandthemeaningbehindthedanceanditscreation.
Whendancersunderstandthemeaningbehindthetext,theycantakestepsto73conveythattotheiraudience.
Ricoeur(1982:53)teachesusthat"Thetextmustbeun-folded,nolongertowardsitsauthorbuttowardsitsimminentsenseandtowardstheworldwhichitopensupanddiscloses.
"Throughthisweareabletolookattheworlddifferently,andseekcreativewaystocreatechange.
HulaplayedanessentialroleintheFirstHawaiianexistence.
BecausetheFirstHawaiianswereanoralcivilization,hulakahikoanditsaccompanyingmeleswereusedasameansofpassingdownstoriesabouttheHawaiianculture,traditionandvalues.
Jo-annaKawamotonotedthat"hulakeepseducatingpeople.
Itcontinuestoliveonthroughtraditions.
Itisnotjustadancewithasong.
Alotofhistorycomesthroughinchantsandsongs,andthewaythehalausarestructured.
"Ricoeur(1991:436-437)teachesusthevalueofunderstandingone'slifeinstat-ing….
itseemsthatourlife,envelopedinonesingleglance,appearstousinthefieldofaconstructiveactivity,derivingfromthenarrativeintelligencethroughwhichweattempttorecoverthenarrativeidenti-tywhichconstitutesus.
BrendaYimstatedthatthehulaanditsaccompanyingmelestellthestoriesofoldHa-waii,andrevealtheculture,historyandvaluesofapeople.
Brendamaintainsthat"thesesongsaretellingstories–theyarenotjustcreativelymadeup.
Thisisactuallyalmostlikeahands-onHawaiianhistorybook.
"Thehulakahikocontainsnarrativeidentity,andrevealsthestoriesofanancientculture.
Brendafurtherstatesthat"Historybooksdonothavethesamemeanings,"theHawaiianswereanoralcivilization,and"historywasnotpreservedinawrittenform.
Booksdonotrecordwhatthekahikorevealsthroughitssto-ries.
"ThehulaisatextthatwhentoldrevealstheHawaiianhistoryandculture.
Thehulakahikoprovidesadirectlinktotheancientpast,anditisimperativethatthiscultural74artifactbepreserved,perpetuated,andaddedaspartofschoolprogramsdesignedforFirstHawaiianyouth.
Ricoeur(1982:162)statesthat"tointerpretistofollowthepathofthoughtopenedupbythetext,toplaceoneselfenroutetowardstheorientofthetext.
"Throughinterpretationandunderstandingwecaninterpretthemeaningbehindthetext.
ThehulaanditsaccompanyingmelesrevealtheHawaiianculture,history,values,andbeliefsystems.
Thehulakahikocanbethoughtofasalivingtext,andwhensettomotion,tellsastoryandcontainsnarrativeidentity.
ThereisapartofthepersondancingthatwillretainthesamenessandtraditionoftheHawaiianhulathroughidem.
However,partofthepersondancingwillchangeinrelationshiptoothers.
TheFirstHawaiianhulakahikodemonstratesRicoeur'sconceptofbothidemandipse.
ThePowerofLanguageLanguageisatextthatbindsacommunityofindividualstogether,andformsthebasisofone'sidentity.
Heidegger(1971:5)called"language….
.
theHouseofBe-ing…[and]manbyvirtueofhislanguagedwellswithintheclaimandcallofBeing.
"Weresideinlanguageandareabletocommunicateandunderstandoneanotherwhenwesharethiscommonbond.
Candace'shalauteachestheimportanceoflearningandunderstandingtheHa-waiianlanguage.
CandacestatedthatshestudiedHawaiianasastudentandteacher.
ItgavemeagreatrespectfortheHawaiianculture.
Throughteach-ingandlearningabouttheHawaiianculture,thisishowIdevelopedarealloveforHawaiiandanceandmusic.
WhenIunderstandadance,andhaveatrueunderstandingofthemeaning(behindit),Iamabletoreallyconnectandshowthatthroughmyperformances.
AndwhileIamnotfluentinHawaiian,Iamtakingstepstoreallystudyandlearnthelanguage.
75Wemakesenseofourrelationshipswithothersthroughlanguageandunderstanding.
Herda(1999:61)statesHumansdwellinlanguage….
.
Languagebringsworldsintobeingand,inbringingdisclosed.
Ifapersonlearnstolisten,andnotonlyhear,whatisalreadyunderstood,opportunitiescomeintoplaytoopennewworlds.
Thepossibilitythenexistsforustoliveinappropriationwhereapersonandworldworktogethermorefullyrecognizingwhereonebelongs.
MartyelucidatesIhaveactuallytakenquiteafewcoursesin'oleloHawaiitobroadenmyknowledgeandunderstanding.
Ireallyfeelthathavingsomeun-derstandingofthelanguageandhistorydeepensandenrichesone'sunderstandingofhula.
Itreallyhelpsyoutoknowhowtoperformit;whatisthestorybeingconveyedinthehulatoothers,andhowtosharethatwithothers.
ItreallyistheonlydanceIcanthinkofthatrequireswordstoexecuteit,thedancerisinterpretingandtellingthestorywitheachmovement&expression,sounderstandingthelan-guageiskey.
Robinfurtherdiscussedtheimportanceoflanguageandunderstanding.
AlthoughshedoesnotspeakfluentHawaiian,shesaysIknowphrasesandwords,butdonotspeakandtrulyunderstandHawaiian.
IwishthatIdid.
Itisreallyimportantforyoutostudyandunderstandthemeaningbeforeyoudance.
Forexampleourchantinkahiko,theydon'twantustojuststandtherewithnounder-standingofthesong.
Youreallyhavetoknowwhatyou'resayingandchantingabout.
Oneofthethingsistheheavensandthemoun-tains.
Thejudgesarelookingatyouandwhatyouaretryingtocon-veythroughthedance,soifyou'retalkingabouttheheavensandyouarelookingdownattheground,theyknowthatyouhavenoideawhatyouaresaying.
It'snotjustputyourhandhere,yourotherhandhere.
Thisiswhatyouarerepresenting.
Themotionsofthehulaarecloselyattunedtothemeaningandwordsofthesongs.
Thehulakahikorepresentsanoralhistoryandstorytellingthatliveswithinlanguage.
76Throughlanguageandunderstanding"Thepossibilitythenexistsforustoliveinanappropriationwhereapersonandaworldworktogethermorefullyrecognizingwhereonebelongs"Herda(1999:62).
Languageisanessentialcomponentofthean-cientHawaiianhula,andinmanywaysdeterminesthedegreeofinterconnectednessamongtheFirstHawaiiancommunity.
ChangingtheFutureThethreefoldmimeticprocesswasalsoarecurringthemeinmyconversations.
Mimesis1(pre-figuration)isthepast-present,Mimesis2(con-figuration)isthepresent,andMimesis3(re-figuration)isthefuture.
ThehistoricalpastoftheFirstHawaiiancommunitydoesnothavetodeterminethefuture.
Ricoeur(1991:436)statesAugustineseestimeasbeingbornintheunceasingdifferentiationofthethreeaspectsofthepresent:expectation,whichhecallsthepres-enceofthefuture;memory,whichhecallsthepresenceofthepast;awareness,whichisthepresenceofthepresent.
FirstHawaiianshavetheabilitytoimagineanewfuture,andthecapacitytoactinthepresenttomakethatfutureofareality.
Throughmimesis,wecanmakesenseofourlivesandmovefromtheworldasitis,theworldasitoughttobe.
Mimesis1(pre-figuration)holdsourmemoriesandourpast.
Inotherwords,wemustunderstandourpasthistory,beforewecanmoveforwardandplotanewfuture.
CandacestatedthattheFirstHawaiianpastisfilledwithpainandsorrow.
Shereflects,"Istillhavequestionsaboutthat,andIquestionthatdecision.
WasitrightNo.
CanitbeundoneNo.
Itisatimeinhistorylikemanyothersinourpastthatcannotbeundone.
"TheFirstHawaiianshavesufferedasaresultoftheillegaloverthrowoftheirsovereignnation.
Muchoftheircultureandhistorywaslost,nevertoberecovered.
First77Hawaiianslostanessentialpieceoftheirlivesthatlinkedthepasttothepresent:theirabilitytotellstories,communicatewithothers,andpassdowngenealogy,myths,leg-ends,poems,lovesongs,andothervitalpiecesoftheirhistory.
Ricoeur(inKearney1984:21)states,"Ibelievewemusthaveasenseofthemeaningfulnessofthepastifourprojectionsintothefuturearetobemorethanemptyutopias.
"Memoriesaresometimespainful,butforFirstHawaiians,itisimportantthattheybeacknowledged,reflectedon,andunderstood.
MartyassertsthattheFirstHawaiianpastinmimesis1"isreprehensibleandhorriblyunjust.
Aoncevibrantnativepeople,whointheirownlandareultimatelystrippedoftheirlanguage,muchoftheirculture,theirgovernmentandtheirland.
It'stru-lyunconscionable.
"WhatwillthefutureholdforFirstHawaiiansandthechildrenofnativeancestry.
Iftheycanreflectontheirpast,andimagineanewfuture,theycancre-ateaplanofactionthatcanprovidetheirchildrenwithschoolprogramsthatincludeHa-waiianhistoryandculture,throughtheartofhulakahiko.
Thehistoricalpastdoesnothavetodeterminethefuture.
TheFirstHawaiianscanreflectandretaintherichculturaltraditionsthathavespecialvalueandsignificancetotheirculture.
Agenerationofedu-catedchildrenwhounderstandtheirhistoryandthemselveswillsurelyhelpstemthecy-cleofpovertyanddespair.
PaulettebelievesthattheHawaiian.
.
.
historygoeswaywayback.
Asyoudoresearch,youlearnmoreofyourfamilyheritage,anditisactuallyreallyinteresting.
Thereismoreandmorethatyoulearneverysingleday.
AndI'velearnedfromalotofpeoplefromwhenIwassmall,butnowIunderstandthatthereisalegacyandyouneedtopassitdown,sothatthenextgenera-tioncanshareinthis.
Thelegacywillcontinueonthroughthisway.
78TheHawaiiancultureanditshistorygoesbackhundredsofyears,andcanbefoundintheancientHawaiianhula.
Pauletteimaginesafutureinmimesis3wherethehulaispasseddownfromonegenerationtothenext,sothatitslegacycancontinueonandthenextgenerationcanshareinthisancientartform.
InMimesis2(con-figuration)thepre-sent,wehavetheabilitytotakeactionandchangethecourseofourlivesthroughunder-standingthepast,imagininganewfuturefilledwithpossibilities,andtakingactiontocreatechangeinthehereandnow.
Martystated,"IreallybelievethatyoungnativeHawaiianstoday…havelostaconnectiontotheirheritage.
Ibelievethatthecurrentcultureistoohomogenizedandcommercialized.
"Martyimaginesafutureinmimesis3witharevitalizationofHawaiianculturewithaHawaiianRenaissancemovementopeningotherseyestotheimportanceofknowingtheHawaiiancul-tureanditsrelatedtraditions.
SimilartotheHawaiianRenaissanceexperiencedwiththefirstsailingoftheHokule'a.
TheHokule-'atodayisasmuchaniconandbeaconofpride,instillingastrongersenseofselfandreallyhelpstheHawaiianstobeabletoclaimtheirplacewithinthecommunity.
Sothiskindofconnectiontoone'sheritageplaysanimportantroleinthepositiveshapingofyoungnativeHawaiian'sidentity.
JoannapositsthatYouhaveaKumuandtheyaretheretoshareknowledgeandpassalonginsight,andIthinkthatthisisawayof…acknowledgingthepastandteachingitinthepresent.
AlotofHawaiiansnowdon'tknowtheirhistory,andtheyhavenotbeenexposedoreducatedaboutHawaiiancultureandtraditions.
Maybeiftheyweretodancethehu-la,theywouldunderstandmoreoftheirheritage,andbeproudofwhotheyareandwheretheycamefrom.
Joannahopesthathulawillonedaybeapartofschoolprograms,andaddsthat"ThehulaisnotjustforHawaiians.
Thehulaisforeveryonewhocomeswiththerightattitudeandtherightheartforit.
Whenyouareopentotheseexperiencesyoucanreallylearnabout79apeople,aplace,andaculture.
"Herda(1999:10)states,"Understandingofone'spastisnotanenditself.
"Ratheritisthestartofanewbeginning.
Herda(1999:2)teachesusTheworkofparticipatoryresearchisatextcreatedbytheresearcherandtheresearchparticipantsthatopensthepossibilityofmovementfromtexttoaction.
Thetextrefigurestheworldunderconsiderationand,indoingso,engendersnewpossibleworldsinthesharedmean-ingsobtainedamongthemembersthroughtheresearchact.
BrendastatesthattheFirstHawaiianpast"isfilledwithalotofpainbecauseoftheeventsoftheillegaloverthrow.
Anentirewayoflifewasdestroyed.
Itissucharichculturewithsomuchhistory.
"Shesharesthatwehavearesponsibilitytoteachthechil-drenofHawaiitheimportanceofeventsinHawaiianhistory.
"Ibelievethatthereshouldbeschoolprogramsthatteachthehulakahikowhenchildrenareyoung.
Youneedtoun-derstandhula'simportancefromtheverybeginning.
"Herda(1999:131)writes,"Tochangeourlivesandourunderstandingismorearesponsibilitythanourright.
Whenpeopledemandtheirrightstogainabetterlife,theyarerelyingonotherstodoitforthem.
Intheend,itisourresponsibilitytothinkdiffer-ently,tolearn,toactdifferently.
"Everycharacterhasapast,apresentandafuture.
Withoutunderstandingofthepast,canonetrulyunderstandhisidentityMarieidentifieswhenshesays,Weneedtohaveabetterunderstandingofthehula,theknowledgeitispassingdown,andourhistoryinordertotrulyembracebeingHa-waiianandunderstandwhatthatmeans.
ItisimportantforallofusandespeciallythosewhoareofHawaiianancestrytounderstandourhistory,inordertounderstandourselves.
Weneedtoknowwherewecamefrom,thesacrificesourancestorsmade,andthelivesthattheyusedtolive.
Withoutthis,ourhistoryandourstorieswillbelost.
Wewillnevertrulyunderstandourculture,andwhoweareto-day.
80TheFirstHawaiianpastisfilledwithsadnessandpain.
Marienotesthat"Forsomanyyears,thenativeHawaiianswereabletoliveoftheland,andtheyhadtheirowncultureandwayoflife.
Whenthemissionariescame,thattrulychangedthewayourpeoplelivedandprobablynotforthebetter.
"TheFirstHawaiianpeoplearestillangry,andstillhurtbytheeventsofthepast.
Itisasadnessthatcontinuestoliveonthrougheachpassinggenerationbecauseoftheillegaloverthrowofaoncesovereignnation.
Asaresult,theFirstHawaiianpeoplehaveneverbeenabletohealandmoveforward.
Ricoeur(1999:17)states,"Toheartheangerofotherpeopleforcesustocon-frontourwrong-doings,whichisthefirststeptowardforgiveness.
"WhenFirstHawai-iansreflectontheirpast,andareabletoforgive,theycanreinventtheiridentityandmoveforwardtowardsasuccessfulfuture.
Candaceseesforgivenessasawayofmovingforwardtoasharedfuture.
"Weneedtoforgiveinordertomoveforward.
Itwillbedifficulttofacethefutureholdingontothispainandanger.
"Ricoeur(2004:144)statesthat"Pardonisakindofhealingofmemory.
Deliveredfromtheweightofdebt,memoryisfreedforgreatprojects.
Par-dongivesmemoryafuture.
"Robinbroughtupthesubjectofthepast,presentandfuture,ourthreefoldmi-meticprocess.
Sheobserves,Yes,Ifeelthatitisareallyimportantpartofourhistory.
Thefactthatthiswasofferedaspartofourschoolprogrammadethingsreallyinteresting.
WewerebasicallyofferedthechancetolearnmoreaboutHawaiiancultureandtheartsandgetcreditforthatinschool.
Youcouldn'taskforanythingbetterthanthat.
AndourKumuLani-kilaissoknowledgeableandisreallyinterestedinhavingallhisstu-dentslearnmoreandembracetheHawaiianculture.
GrowingupinHawaii,wereallyneedtounderstandthisaspectsofourpast.
Thehulaasyouknowisanoralhistorysettodanceandmotionandreal-lytellsastoryoftheHawaiianpast.
Thiswastheonlyrealwayof81tellingstoriesandpassingdownhistoryastheHawaiiansdidnothaveawrittenlanguage.
RobinfurtherstatesAsyouprobablyknowthehulawasprohibitedbythemissionaries,whothoughtthehulawasaheathendance.
Sohulawentunder-groundandwaspracticedinsecretformanyyears.
Manyofthedanceswereprobablylost.
TherewasarebirthandarevitalizationduringthereignofKingDavidKalakaua.
Ithinkalotofdances,chantsandmeleswerelostduringthisperiod.
SotheMerryMon-archfestivalhonorsKalakauaandthelegacythatheleftbehind.
Martystatedthatthecurrentcultureistoohomogenizedandcommercialized.
ButoneonlyneedstolooktotheHokule'a,andtheparadigmshiftthatoccurredsinceitssuccess-fulopenoceanvoyagesItrulybelieveitplayedasignificantroleintheHawaiianRenaissancemovement–revitalizingtheculture,andopeningotherseyestotheimportanceofknowingtheHawaiiancul-tureanditsrelatedtraditions.
Theimportanceofkeepingtraditionsalive.
TheHokule'atodayisasmuchaniconandbeaconofpride,instillingastrongersenseofselfandreallyhelpstheHawaiianstobeabletoclaimtheirplacewithinthecommunity.
Sothiskindofcon-nectiontoone'sheritageplaysanimportantroleinthepositiveshap-ingofyoungnativeHawaiian'sidentity.
Lifeisacontinuousjourneythatweexperiencethroughrelationshipsandunderstandingsoftheother.
Throughconversationswithresearchparticipantswecanimaginenewpos-sibilitiesforasharedfuture.
Throughcarefulanalysisofthetext,wecancreateapara-digmshiftinhowweviewthesehistoricaltraumas,andcreateafutureinwhichFirstHawaiianscanletgooftheirpainandmoveforwardintoasuccessfulfuture.
Whenyoudreambeyondthelinearboundaries,yourmindtravelstoplaceswheretheremaynotbescientificexplanations.
Imaginationoccurswhentherearenoparameters;itisfreeformandawayofbrainstormingwithoutjudgments.
Weuseourknowledgetopro-ducemetaphorsanddevelopnewideasforsolvingeverydayissuesbasedonourpastknowledge.
RichardKearney(1988:370)states"thepoeticimaginationwouldnour-82ishtheconvictionthatthingscanbechanged.
Thefirstandmosteffectivestepinthisdirectionistobegintoimaginetheworldasitcouldbeotherwise.
"Imaginationprovidesustheimpetustocreatebeyondpresentsituations,tocreatevisionarysolutions.
Weaskourselvesthequestions,andwonderhowthingscouldbeotherwise.
Welearntobuildonthatenergytocreateinnewways.
Imagina-tiontakesusonajourneyofactualtoendlesspossibilities.
Kearney(1998:1)asks,"Arewenotdoingiteveryday,everynight,everytimewedream,pretend,play,fan-tasize,invent,lapseintoreverie,remembertimespastorprojectbettertimestocome"Thingsthatweoncecouldonlydreamaboutcancometofruitionbythestrengthofourownactions.
Imaginationcomesfromwithinanditisthroughthispowerofselfthatwerealizeandrecognizethepowerthatwehavewithinourselvestochallengeandcreatenewpossibilities.
Imaginationgivesusthepowertodiscoverandcreate.
Thepowertoactandrelateourselvestoothers,helpstoenablethecon-tinualcycleofdiscoveryandinvention.
Herda(1999:81)statesIfwetakeseriouslytheactofreinterpretingourworldandourpastactivities,wewillrealizethatwearenotsimplyreviewingandanalyzingpasttheories,policies,orassumingtheroleofanadvocate.
Ratherweareusingourknowledgeandunderstandingstoaidinshapingthefutureandinterpretingthepastwithapre-orientationthatwewillusethisknowledgetocreatenewpossi-bilitiesforthefuture.
Imaginationmakesitpossibletoexperienceanewworldinone'smind.
Weallowourselvestoseesituationsinanewlight,andexplorethepastandthefuture.
Throughthisjourney,weanalyzeourpasthistory,basedonourfutureexpectations.
83Wefindthefreedomtoprojectpossibilitiesandenvisionanewworld.
Wetakeac-tiontobringthatimaginedworldtoanewplace.
Herda(1999:77)teachesusthatWhenwelookatthealreadyfiguredworld,thetake-for-grantedworldinmimesis1weconnectthistothenewworldwewanttolivein,mimesis3,weseeourselvesindifferentcapacities;weseeaself-enlargedbytheappropriationofaproposedworldwhichin-terpretationunfolds.
SummaryTheFirstHawaiianscontinuetostruggle,andidentifythemselvesinanever-changingworld.
Theyfacesoberingsocio-culturalissues,asunwantedinfluencefromtheWesthavechangedthelandscape,andalteredtheculturaldevelopmentoftheHawai-ianpeople.
Thenumeroussocio-culturaltraumasresultinagreatsocialneedfortheFirstHawaiians.
TheFirstHawaiiancommunityisindesperateneedofyouthprogramsthatteachtheancientcustomsandtraditionsofthepast,inparticularthehulakahiko.
With-outthecreationoftheseprograms,theyouthoftodaywillnothaveaclearunderstandingoftheirpast,andwillbeunabletodeveloptheirtrueidentityandsenseofself.
Asare-sult,theywillfacesignificantobstaclesinmovingforwardintoasuccessfulfuture.
Myconversationpartnersallspokeofthesadnessinthecommunitycreatedbytheillegaloverthrowofaoncesovereignnation.
Manyspokeofadesiretocreatechangeinpositivewaysthatimpacttheyouthoftoday,who,inturn,willteachthechildrenoftomorrow.
Educationandknowledgearethekeystosuccess,andthemeansbywhichtheFirstHawaiianyouthcanchangethecourseoftheirlives.
ThisresearchprojecthasgivenmeanewunderstandingandappreciationforanartformthatIgrewuplearning,butknewverylittleabout.
IspentasummerinHawaiimeetingwithconversationpartners,exploringhistoricalsights,andtakingindifferent84aspectsofhulakahikofromclassestoexhibitionsandcompetitions.
Ihadtheopportuni-tytospendadditionaltimewithmyconversationpartners,whowereabletoprovidead-ditionalinsightintotheimportanceofthekahiko,notonlyfortodaybutforfuturegen-erations.
Itbroughtforthgreaterunderstandingandinstilledinmetheimportanceofmyrelationshipswithothers.
ArenewedfocusandappreciationofHawaiianperformingartsthroughthehulakahikoisnecessarytopreservetheHawaiiancultureandhistory.
Creatingyouthdevel-opmentprogramsthatteachthehulakahikoanditsrelatedhistorywillallowtheyouthofHawaiitoappreciatethewondersofoldHawaii,continuethecycleoflearning,andper-petuateanimportantculturalartifact.
85CHAPTERSIX:SUMMARYIntroductionThisChapterprovidesasummaryoffindings,researchimplications,proposedfutureactions,significanceoftheresearch,recommendationsforfurtherareasofstudy,andfinallymypersonalreflections.
SummaryInthisresearchstudy,Iexploredtheancientartformofthesacredhula.
Tradi-tionalhulaanditsaccompanyingchantsoftentookplaceinnaturesothatspectatorscouldexperiencefirsthandthesoundsandrhythmsofthehulainanativesettings.
Itrav-eledtoHawaiiinthesummerof2010tomeetwithconversationpartners,learnabouttheimportanceoftheHawaiianhula,andcarryoutafield-basedresearchprojectintheher-meneutictradition.
IconductedmyresearchusingHerda's(1999)researchprotocol.
Researchconversationswithparticipantsrevealednewinsights,andIwasabletocometonewun-derstandingsabouttheroleofperformingarts,andhowthisancientartformcanbeusedtocreateadialoguethatallowsFirstHawaiians,stilltraumatizedbytheillegalover-throwoftheirnation,theopportunitytomoveforwardintoasuccessfulfuture.
TheFirstHawaiianjourneyintothe21stcenturyhasnotbeeneasy.
TheFirstHawaiianssufferedanunimaginablefateatthehandsofexplorersandChristianmission-arieswhocameinpeace,butinsteadtookthelifeandthelandofanativepeople–nevertobereturned.
Theillegaloverthrowofasovereignnationhashadlongtermconse-quencesforthenativeHawaiianslivinginHawaiiandabroad.
Thedirectimpacthas86beenthelossofanentirewayoflife,robbingapeopleoftheirancientculture,language,andlifethattheyoncehelddear.
Followingaculturalanthropologicalapproach,Iattemptedtostudythehulaus-ingcriticalhermeneutictheory.
Specifically,IwantedtoexplorehowthestoryofthehulacanbringforthactionandthehopeforanewlifeformanyFirstHawaiians.
Ihavefoundthatifweallowourselvestodreamandbeinspiredbyindigenousculture,wecanteachtheworldtheimportanceofperpetuatingtheHawaiianculturethroughtheartofthehula.
Aspartofmyresearch,Ihadconversationswithsixformalconversationpart-nersandfiveinformalconversationpartnersinHawaiitodiscusstheFirstHawaiianpast,present,andfuture.
Iwasinvitedtowatch,listen,andobserveahulahalautrainingforafutureperformance.
Iwasalsofortunatetobeinvitedtoattendtheliveperformance.
Itwasanamazingnightofsonganddancethatshowcaseddancersofallagesandethnici-ties.
Iwasstruckbythedancer'sloveforthehula,thepowerofthedanceandrelatedmeles,andthelegacyeachdancerwashelpingtopreserve.
Theperformanceswerein-spiring,andspoketotheheartofmyresearchwhichexploreshowthehulamayserveasamediumthroughwhichFirstHawaiianyouthcanunderstandthepast,learnabouttheiridentity,andmoveforwardintoasuccessfulfuture.
Findings,Implications,andRecommendationsforFutureResearchMyconversationswithresearchpartnersyieldedseveralfindings,amongthem:Hulaisforeveryone;Hulahonorsthepastandspeakstothefuture;educationisim-portantandschoolprogramsshouldbedesignedtoincludethesacredhulakahiko;and,finally,forgivenessmustplayaroleinmovingforwardintothefuture.
87FindingOne:TheHulaisforEveryoneTheFirstHawaiianswereanoralcivilizationthatusedthehulakahikotosharestoriesofanativepeople.
Conversationparticipantsrevealedthatthehulaandthesto-riesofoldHawaiiarenotjustforthoseofFirstHawaiianancestry.
Ratherthesenarra-tivesformatextthatshouldbesharedwithothers.
Thehulaisforeveryonewhocomeswiththerightattitude,therightheart,andthedesiretolearnmoreaboutaonceinde-pendentnationanditshistory.
Implications"HulaKahikoforEveryone"programsshouldbedevelopedwithinschools.
Theseprogramsshouldbeopenandinclusivetoyouthsofallgenders,ages,andethnici-ties,sothateveryonecanparticipateandappreciatetheimportanceofthisartform.
"Hu-laforEveryone"programscouldofferstudentstheopportunitytoseeandexperiencehu-laperformanceandcompetitionsatreducedratesaspartofschoolprograms.
Teacherscouldintegratethese"HulaforEveryone"performancesintothecurriculumtoteachstu-dentsaboutHawaiiangenealogy,language,historyandculture.
FindingTwo:HulaHonorsthePastandSpeakstotheFutureTheHulakahikohonorsthepast.
Inthebeginning,inthemidstofthisworld,therewashulakahiko.
Hulaisaremembranceandareawakeningofastorytoldandalifelived.
Itbeginsonthebasisofrespect.
Oneofthefirstthingsthataretaughtinhulaistheimportanceofrespectingyourself.
Whenyoulearntorespectyourself,youcanfollowthatpathandlearnrespectforothers,respectfortheenvironment,fornature,andallthatitblessesyouwith.
88Humanbeingstransmitculturethroughsignsandsymbols,inthesamewaythatFirstHawaiianstransmittedtheirculturethroughthehulakahikoanditsaccompanyingmeles.
Theparticipantsnotedthatthehulaismorethanjustadance,itsaccompanyingchantscontainthegenealogy,mythology,prayersandpoetryoftheFirstHawaiians.
Thehulaispowerful,thereistruthandmeaningineverypartofthedance.
Themotions,fa-cialgestures,costumes,adornmentsandmelesarethemeansthroughwhichthestoriesofoldHawaiiwerepasseddownfromonegenerationtothenext.
Thehulawentunder-groundformanyyears,thoughitwastaughtinsecret,andpassedfromgenerationtogeneration.
Kumuhulasurvivedandwasabletobepasseddowntoothers.
KingDavidKalakauabroughtthehulaoutofhidingduringhisreign,andstatedthat"Hulaisthelanguageoftheheart,andthereforetheheartbeatoftheHawaiianpeo-ple.
"Today,hulahalau,performances,competitionsandfestivalshavebroughtfortharevivalofthehulakahiko.
ImplicationsWeshouldhonorthepastbyimagininganewfutureforthehulakahiko.
Acul-turalrenaissancecanhelptosharethehulathroughoutthestateofHawaiiandthemil-lionsofvisitorswhocometovisit.
Thecreationofalearningcenterwithanattachedtheatredevotedtotheperpetuation,preservation,performanceofhulakahikowillhelptoensurethatthecustomsofanativepeoplewillbenotbelost.
FindingThree:EducationisthekeytosuccessEducationisthekeytosocialchange.
Individualsshouldstrivetounderstandthepastinordertobringforthhopeforthefuture.
ManyFirstHawaiiansandindividualslivingthroughoutHawaiidonotreceiveaneducationthatencompassesthehulakahiko89anditsrolewithintheHawaiianculture.
SchoolProgramsshouldbedesignedandin-cludeemphasizetheroleofthehulakahikoinHawaiianhistory.
ImplicationsTheKumuHulaareoftenthoughtofasthekeepersofHawaiiancultureandtra-ditions.
TheKumuHulamightconsiderworkingtogetherwithschoolprogramadminis-tratorsanddirectorsthroughoutthestatetocreateahulakahikoprogramthatprovideseducation,trainingandperformanceopportunitiestotheyouthofHawaii.
Theseschoolprogramscouldbedesignedtoattractchildrenofallagesandgenders,andbringthemintothefoldoftheHawaiiantapestry.
Participantswouldhavetheopportunitytolearnthehulakahikointhetraditionalstyle,createcostumes,makeadornments,andshareandperformthedanceslearned.
EmphasisshouldbeplacedonlearningtheFirstHawaiianculture,languageandtraditions.
AgenerationofFirstHawaiianchildrenwhounderstandtheirpastwilltrulyhelptostemthecycleofpovertyanddespair.
FindingFour:ForgivenessisessentialtomovingforwardForgivenessdoesnotmeanforgettingthepast.
Ratherforgivenessmustplayaroleinmovingforwardintothefuture.
TheFirstHawaiiansneedtoacknowledgetheeventsofthepastandfindawaytoforgivethepeoplewhodestroyedtheircultureandwayoflife.
Itisdifficult,ifnotimpossible,tomoveforwardintothefuturewhenhold-ingontoone'sangerandpain.
WhenFirstHawaiiansreflectontheirpast,andareabletoforgive,theycanbegintheprocessofhealing,reinventtheiridentityandappropriateanewwayoflife.
90ImplicationsTheU.
S.
governmentshouldapologize,acknowledge,andmakereparationsfortheillegaloverthrowofanativepeople.
TheFirstHawaiianshavefacedafatesimilartothatoftheirNativeAmericancounterpartsintheUnitedStates.
However,theFirstHa-waiianshavenotreceivedFederalrecognitionorcompensationforthelifethattheyhadandthelandthatthelost.
FederallegislationshouldbecreatedtoaddresstheseinequitiesandallowtheFirstHawaiianstolivetheirliveswithhopeanddignity.
SignificanceoftheResearchIconductedthisresearchstudybecauseIbelievethatthehulakahikoplaysanimportantroleinthelivesofFirstHawaiiansandthoselivingwithinthestateofHawaii.
Accesstothisancientartformislimited,andmanymustseekprivateinstructioninordertolearn.
Wehaveanobligationtosettherecordstraightandeducatethosearoundusontheimportanceofthisartformandthestoriesthatittellsaboutlifeanddeath,loveandloss,genealogyandmythology,religion,natureandourconnectiontooursurroundings.
Ricoeur(1992)teachesusthatwhenweunderstandourhistorywecanmakesenseofourownidentityandbecomeagentsforchange.
Ihavealwaysstudiedtheperformingarts,andhadagreatinterestintheHawai-ianhula.
PartofthisintereststemmedfromlearningthehulaatayoungageunderthedirectionofAuntieLei,whotaughtmechildhooddancesthatIstillremembertoday.
AsIgrewolder,Ilearnedthatthehulaismorethanjustadance.
IwantedtosharethisknowledgewithotherssothattheycouldunderstandandappreciatetheHawaiiancultureformorethanjustthestreetsofWaikiki,thegivingofleis,andthedepictionsseeninthemedia.
91IbelievethatthefutureholdsbetterdaysforFirstHawaiians.
Inordertomoveforward,theymustbegintheprocessofforgivenessandhealing.
Throughfortitudeandencouragement,FirstHawaiianscanreachoutandregaintheirlives,andlivethemouttotheirfullpotential.
TheFirstHawaiiansareastrongpeopleandcanexhibitpoweranddetermination,andprovethattheycantriumphwhenfacedwithadversity.
RecommendationsforFutureResearchThefollowingarerecommendationsforareasoffutureresearch:1)Aspartofmystudy,IproposedtodoallmyresearchinHonolulu,Hawaii.
Af-termyarrival,severalconversationpartnersstatedthattheycouldintroducemetoothersinterestedinmyareaofresearchinotherpartsoftheworld.
However,sinceIhadspeci-fiedHonolulu,Hawaiiasthesiteofmydissertationresearch,Iwasunabletomeetandconversewiththeseindividuals.
IbelievethatitwouldbeimportanttodiscusstheFirstHawaiianhulakahikooutsideoftheregionselectedandanalyzetheirnarrativesthroughacriticalhermeneuticlens.
2)ThevoicesandstoriesofelderFirstHawaiiansplayanintegralroleinthecul-ture,understanding,development,andhistoryofHawaii.
Becauseofthelimitedtimeframeandspecificnatureofmyresearchonthehulakahiko,Ididnothavethetimeortheapprovaltospeaktothekupuna(elders)abouttheirlivesandexperiencesandhowitrelatesbacktotheHawaiiancultureanditshistory.
Ibelievethatthekupunahavesto-riestotell,anditwouldbeimportanttoheartheirnarratives,anddocumenttheirhistoriesforfuturegenerations.
TheelderkupunaprovidealinktoagenerationthatlivedwithandthroughtheillegaloverthrowoftheHawaiianmonarchy.
923)MyresearchencompassestheFirstHawaiianhulakahikoandtheimportanceofpreservingthisancientartformforfuturegenerationsthroughthedevelopmentofschoolprograms.
Itwouldbeimportanttofollowupanddeterminethetypeofschoolprogramsdevelopedasaresultofthisstudy,changesthathavebeencreated,andtheef-fectthatthishasontheFirstHawaiiancommunityasawhole.
ReflectionsThisstudyisofgreatpersonalimportancetome,andreflectstheideasandthoughtsthatIhavehadsincegrowingupinHawaii,alandofgreatbeauty,butalsoofunendingsadness.
Asaperformingartist,Ihavestudiedtherolethatartcanplayinde-velopinganindividualandteachingoneaboutculture,history,anditsrolewithintheworld.
ManyFirstHawaiiansdonotunderstandtheirhistory.
Withoutthisunderstand-ing,itisdifficultforthemtohaveasenseoftheirtrueidentity.
Ibelievethatonemustunderstandtheirpastiftheyaretohaveanysenseofwhotheyaretoday.
Educationisthekeytosuccess.
Itprovidestheimpetustochangeone'slifeandbreakthecycleofpovertyanddespair.
Thisisessentialforacommunitythathasbeenoverwhelmedbyforcesbeyondtheircontrol.
Ibelievethateducation,inthiscase,schoolprogramsde-signedforyouththatteachthehulakahikoanditsrelatedtraditions,shouldbearightofeachchildbornandraisedinHawaii.
Ichosetoexploreartasamediumforunderstanding.
Iwantedtogainagreaterappreciationfortherolethatartcanplayinunderstandingthepast,andreconfiguringanewfutureforacommunityindistress.
Ifweopenupadialogue,wecanfindnewways93toapproacheverydayissues.
Artmayservearoleincreatingacommunityandrefigur-ingitsidentity.
Throughthisstudy,Iwasabletomeetwith,andholdformalconversationswithsixwomenwhoareleadersintheirfield.
Theirthoughts,voices,andexperiencesbroughtforthideasthatposedthebasisforreflectionandcriticalaction.
TheHawaiianlanguagethroughthehulakahikowasnearlysweptawayinaworldthatwaschangingduetomassivesocial,economic,andpoliticalupheaval.
Ourcultureistheonelinkwehavetothepast;itiswhatwelivewithtoday,andwhatwehopetopassontothefuture.
TheHawaiianhulakahikoisanationaltreasurethatweneedtopreserveandpassontofuturegenerationstocome.
Thisstudyaimstoprovidetheimportanceofdoingso.
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100APPENDICESAppendixA:GlossaryofHawaiianTerminologyAina–land'auana-modernstyleofhulaAlakai'i–helperAli'i–chiefornobleclassAloha–loveBraguinha–stringinstrument,partoftheguitarfamilyHula–sacredHawaiiandanceofHawaiiHalau–school,academyorgroupHaole–Caucasian/WhitepersonHapa–ahalf,apersonofmixeddescentHapaHaole–apersonwhoisofmixeddescentpartCaucasian/WhiteHokule'a–adoublehulledcanoebuildinthetraditionalPolynesianstyleHukilau–awayoffishinginventedbytheFirstHawaiiansIli'ili'–smallflatlavarocks,usedinhuladancingtocreateabeatIpu–percussioninstrumentcreatedfromhollowedgourdsKahiko–ancientstyleofhulaKahuna–skilledclassofindividualsthatareblessedwithspecialskillsorsuper-naturalpowersKala'au–rhythmsticksusedinancienthulakahikoperformancesKane-menKamehamehaSchools–anexclusiveschoolforstudentsofFirstHawaiianances-tryKanakaMaoli–FirstHawaiiansorNativeHawaiiansKapa–HawaiianclothmadefromtreebarkandshrubsKapu–taboo,prohibitedKaua–captivesofwar,thelowestclassofpeopleKawaika–David101Kokua–cooperationKumu-teacherKumuhula–hulamasterKupuna-eldersHalau–hulaschoolLaka–aGoddess,symboloffertility;accordingtolegend,shegavebirthtothehulaontheislandofMolokaiLahui–nation,nationality,people,raceortribeLei–garlandofflowersLono–HawaiiangodoffertilityMakaAinana–commonpeople,peoplewholivedoffthelandMalo-loinclothMana–spiritualpowerMele–chantorsongMelehula–achantthatwasdancedtoMeleoli–achantthatthatwasunaccompaniedMerryMonarchFestival–anannualweeklongfestivalofhulaandFirstHawai-ianculturewhichtakesplaceinHilo,HawaiiMolokai–oneoftheHawaiianIslands,eastofOahuMuu'muu–alooseHawaiiandressNohohula–hulaperformedwhileoneisseatedOhana-familyPaniolo–HawaiiancowboyPahu-drumsPa'u–hulaskirtPele–goddessofthefire,dance,lightning,andvolcanoPu'ili–bamboorattles/sticksUkelele–Hawaiianguitar,broughttotheIslandsbyPortgueseimmigrantsUliuli–percussioninstrumentmadeofbrightlycoloredfeatheredgourdsUwehi–liftingonefoot,thencomingtotheballsofbothfeet(ahulamovement)Wahine–women102AppendixB:LetterofInvitationandResearchQuestionsDateNameandTitleCompanyAddressDearParticipant,IamcurrentlyathirdyeardoctoralstudentintheOrganizationandLeadershipdepart-mentattheUniversityofSanFrancisco.
Iamcurrentlyintheprocessofcompletingmypilotstudy,whichexploresconceptsrelatedtopreservingapeople'sidentitywhentheircultureisbeinglost,therevitalizationofindigenousartstraditions,andsuggestsimpli-cationsforeducationalpolicydevelopment.
IwouldappreciateitifyouwouldhelpmebyagreeingtomeetforaconversationaboutFirstHawaiianPerformingArts.
Thisconversationwilltakeapproximatelyonehourofyourtime.
Afterourconversation,Iwillprovideyouwithacopyofourconversationsothatyoumayreviewit.
Youwillbefreetomakechangesandaddordeletesectionsasyouseefit.
Yourthoughtsandnewinterpretationsofthedatawillhelpmetodetermineareasforcontinuedresearchandstudy.
AfterIreceiveyourfinalapproval,Iwillinte-gratedatafromthetranscribedconversationswiththeoreticalconceptsfromcriticalhermeneuticstocompletemypilotstudy.
BelowaresomequestionsIwillusetoguidetheconversations:1)Pleasetellmeaboutyourbackgroundandeducationalexperience.
Haveyoustudiedartinaneducationalsetting2)HowdidyoufirstgetinvolvedinFirstHawaiianperformingartsWhattypesofhuladoyoustudyandperform3)Howdoyouviewyourroleasaperformingartist4)Doyoulearnthemeaningbehindthetextbeforeyoulearnaparticulardance5)Whenyouareperformingatraditionalormodernhula,whatdoyouhopetoconveytoyouraudience6)HaveyoustudiedHawaiianhistoryorlanguageHowdoesyourunderstandingofhistoryandlanguagecontributeordetractfromyourperformance7)AsaFirstHawaiianperformingartist,doyoufeelyouhaveanyresponsibilityinrelationtoyouraudienceShouldtheaudiencedeterminewhatshouldbeperformedandthestyleandmannerinwhichitisperformed8)WhatareyourhopesanddreamsforthefutureofHawaiianperformingarts103Iamwritingtoconfirmthatwewillbemeetingon_____at_______location.
Pleasenotethatyouarefreetowithdrawfromthisstudyatanytime.
Thankyouforyourtime.
Ilookforwardtomeetingwithyousoon.
Sincerely,CesilyHongResearchDoctoralStudentUniversityofSanFranciscoSchoolofEducationOrganization&LeadershipProgramcesily2003@yahoo.
com104AppendixC:IRBApprovalUniversityofSanFranciscoConsenttobeaResearchParticipantPurposeandBackgroundMs.
CesilyHongisconductingherdoctorateresearchontheuseofFirstHawaiianper-formingartformsasamediumforsocialchangeinthecontextofeducationalcurricu-lum.
ShewouldliketomeetwithyoutodiscussyourworkexperienceswithperformingartpracticesandhowtheymaycontributetoeducationalpolicydevelopmenteffortsinHawaii.
ProceduresIagreetobeaparticipantinthisstudy.
Iamawarevoluntaryconversationsbetweenmyselfandthisresearcherwilloccur.
ItisanticipatedtheconversationswillbeEnglish.
TheseconversationswillreflectmyinsightsandopinionsaboutFirstHawaiianperform-ingartsasamediumforsocialchangeinthecontextofeducationpolicydevelopmenteffortsinHawaii.
IagreethatMs.
CesilyHongmayrecordourconversationsonaudioand/orvideotape,anditwillbetranscribedintoawrittentext.
IalsoagreetohavemyphotographtakenbyMs.
Hong.
Iwillreceiveacopyoftheaudioandvideotranscriptstoreview,edit,andapprovebeforethedataanalysis.
IunderstandthatImaywithdrawfromthestudyatanytime,thatImaydiscontinuetheconversationatanypoint,andre-questanychangesordeletions.
Myparticipationisvoluntary,andanydataIcontributetothisstudywillnotbeconfidential.
Iagreethatalldatacollectedduringtheresearchprocessandmynamemaybeusedinthedissertationandsubsequentpublications.
Risksand/orDiscomfortsIamfreetodeclinetoansweranyquestions,torequesttheaudioorvideotaperecorderbeturnedoffatanypoint,orwithdrawmyparticipationatanytime.
IunderstandthatImayrequesttoremovemyentiretranscriptfromthisresearchstudy.
IalsounderstandthatImaybeidentifiedandquotedinthedissertationandsubsequentpublications.
Whiletheconversationsandtranscriptsinthisresearcharecollaborative,thewritingthatcomesfromthemistheresearcher'sproduct,andmayincludesomeeditingbytheparticipant.
Iamthereforeconsentingtoforgoanonymityundertheseconditions.
IacknowledgethatIhavebeengivencompleteandclearinformationaboutthisresearch,anditismyoptiontomakethedecisionattheonsetaboutwhethertoornottopartici-pate,andcanwithdrawatanytimewithoutanyadverseconsequences.
105BenefitsTherewillbenodirectbenefittomefromparticipatinginthisstudy.
TheanticipatedbenefitofthisstudyisabetterunderstandingofhowtheuseofvariousFirstHawaiianperformingartpracticesmaybenefittheindividualandsocietythrougheducationalpol-icydevelopmentinHawaii.
Costs/FinancialConsiderationsTherewillbenofinancialcoststomeasaresultoftakingpartinthisstudy.
AlternativesIamfreetochoosenottoparticipateinthisstudy.
Payment/ReimbursementsTherewillbenopaymentorreimbursementforparticipation.
QuestionsIfIhavefurtherquestionsaboutthestudy,ImaycontactMs.
CesilyHongbyemailatcesily2003@yahoo.
com,bymailat1255CaliforniaStreet#305,SanFrancisco,CA,94109orbyphoneat415-931-3717.
ImayalsocontactDr.
EllenA.
HerdaattheUni-versityofSanFrancisco,atthefollowingtelephonenumber415-422-2075orbyemailatherdatemp@yahoo.
com.
IfIhaveanyquestionsorcommentsaboutparticipatinginthisstudy,Iwillfirsttalkwiththeresearcher.
IfforsomereasonIdonotwishtodothis,ImaycontacttheIRBPHSwhichisconcernedwithprotectionofvolunteersinresearchprojects.
ImayreachtheIRBPHSofficebycalling001-415-422-6091andleavingavoicemailmessage,byemailingIRBPHS@usfca.
edu,orbywritingtotheIRBPHS,DepartmentofPsychol-ogy,UniversityofSanFrancisco,2130FultonStreet,SanFrancisco,CA94117-1080.
ConsentIhavebeengivenacopyofthisconsentformtokeep.
Iunderstandthatmyparticipa-tioninthisdissertationresearchconductedbyMs.
CesilyHongisvoluntary.
Mysigna-turebelowindicatesthatIagreewiththeaboveproceduresandconditions.
Addendum"Whiletheconversationsandtranscriptsinthisconversationarecollaborative,thewrit-ingthatcomesfromthemistheresearcher'sproduct,andmayincludesomeeditingby106therespondent.
Iamthereforeconsentingtoforegoanonymityundertheseconditions.
IacknowledgethatIhavebeengivencompleteandclearinformationaboutthisresearch,anditismyoptiontomakethedecisionattheoutsetaboutwhethertoparticipateornot,andcanwithdrawatanytimewithoutanyadverseconsequences.
"MysignaturebelowindicatesthatIagreetoparticipateinthisstudy.
Subject'sSignatureDateofSignatureSignatureofPersonObtainingConsent107AppendixD:LetterofConfirmationtotheResearchParticipantDateParticipant'sNameOrganizationAddressDear(Participant'sName)ThankyouforagreeingtospeakwithmeabouttheresearchIamconductingformydoctoraldissertation.
Ilookforwardtohearingyourinsightsaboutthecreativeprocessandtheuseofvariousperformingartformsasamediumforsocialchangeineducation-alpolicydevelopmentinHawaii.
IwouldliketoconfirmourappointmentonatPleasefeelfreetocontactmeifyouwouldliketoarrangeadifferenttimeormeetingplace.
Withyourapproval,Iwillberecordingourconversationthroughaudioandvideodevic-estranscribingitintoawrittentext,andprovidingyouwithacopyofthetranscriptsforyourreview.
Withyourapproval,Iwilltakeyourphotograph.
Afteryouhavehadachancetoreflectonthetranscript,youmayadd,delete,orchangethetranscriptasyoudeemappropriate.
Theconversationsareanimportantelementinmyresearch.
Pleasetakenoticethatallofthedataforthisresearchprojectincludingyournamearenotcon-fidential.
Additionally,Imayuseyournameinmydissertationandsubsequentpublica-tions.
Iappreciateyourcontributiontothisresearchandlookforwardtospeakingwithyou.
Bestregards,CesilyHongResearchDoctoralStudentUniversityofSanFranciscoSchoolofEducationOrganizationandLeadershipProgramcesily2003@yahoo.
com108AppendixE:PreliminaryResearchParticipantListNameOccupationaltitleOrganization/AffiliationHattiePhillipsHawaiianStudiesPunahouSchoolJoannaKawamotoPerformingArtistHulaDancerBrendaYimPerformingArtistHulaDancer109AppendixF:SampleThankYouLetterDateDear(Participant'sname)ThankyouforspeakingwithmeonandexchangingyourthoughtsandinsightsaboutFirstHawaiianPerformingArtsandhowthismayapplytoeducationalpolicydevelopmentinHawaii.
Iamincludingacopyofthetranscriptofourresearchconversationforyourreview.
Thetranscriptisaveryimportantpieceofmyresearch.
Kindlyreviewthetranscriptforaccuracyandmakeanynotationsonthetranscriptincludingchanges,deletions,oraddi-tionsyouwouldliketomake.
Iwillgetintouchwithyouacoupleweekstodiscussyourcommentsandanyalterationstothetranscript.
Oncethereviewandeditingpro-cessofthetranscripthasbeenfinished,anduponyourapproval,Iwillusetherevisedtranscriptformydataanalysis.
Againthankyouforparticipatinginmyresearchstudy.
YouruniqueperspectiveaboutthistopicisavaluablecontributiontotheresearchmaterialIhavecollected.
Sincerely,CesilyHongResearchDoctoralStudentUniversityofSanFranciscoSchoolofEducationOrganizationandLeadershipProgramcesily2003@yahoo.
com110AppendixG:BackgroundofPilotStudyResearchParticipantAspartofthepilotstudy,wemustengageinconversationwithresearchpartici-pantsfamiliarwiththeissueathandtotesttheviabilityofourstudyandourresearchquestions.
Theinformationgarneredfromtheseconversationsareusedtodeterminehowthisstudywillcometofruitionaspartofalargerdissertationstudy,andalsohelptheresearchertodetermineiftheirresearchquestionsandcategoriesneedtobere-workedorreformulated.
Formyresearchconversationpartner,IselectedPaulaYee,afriendandformerclassmatewhoholdsanextensivebackgroundinfineartsandeduca-tion,andhasstudiedthehulaforovertenyears.
Inthefallof2009,Ihadtheoppor-tunitytoholdaconversationwithMs.
YeetodiscussmyideasonFirstHawaiianPer-formingArts.
Ourdialoguetouchedontheimportanceofpreservingapeople'sidenti-tywhencultureisbeinglost,therolethatartplaysincreatingandcarryingontradi-tions,andtheimportanceofartinaneducationalcurriculum.
Ms.
YeeisagraduateofSantaClaraUniversity,whereshereceivedaBache-lor'sdegreeinStudioArt,withaminorinArtHistory.
AftergraduatingfromSantaClaraUniversity,Ms.
YeecontinuedherstudiesattheArtCenterCollegeofDesigninPasadena,CaliforniawhereshereceivedadegreeinIndustrialandProductDesign.
Ms.
YeelaterattendedtheBrooksInstituteofPhotographyinSantaBarbara,CaliforniawhereshestudiedCommercialPhotography,andrecentlyreturnedhometotheBayAr-ea,tostudyGraphicandWebDesignattheLearniTCenter.
Ms.
YeehasservedasaneducatorinLaCanada,Californiawhereshetaughtintheschoolsystemforseveralyears.
Sheisalsoamosaicartist,muralist,andpainterinSanFrancisco,whereherartworkhasnumerouswonawardsandtourednationally.
111SeveralofherpiecesarecurrentlyondisplayatSantaClaraUniversityintheperma-nentartcollection.
Ms.
Yee'spassionforartanddesignhascarriedovertomakeupartistry,andshecurrentlyworksatSephora,Inc.
wheresheisaProductConsultant,andDirectorinCharge.
Ms.
YeehasstudiedHawaiiancultureandperformingartsforoveradecade.
ShefirstbecameinterestedintheHawaiiancultureandperformingartswhensheat-tendedSantaClaraUniversity,whereshewasinfluencedbyalargepopulationofstu-dentsfromtheislandsofHawaii.
ShebeganherstudiesofHawaiianperformingartsatHalauHulaOKawahineAli'iNohoIkeAnuenueelua,underthedirectionofKumuMikilaniYoungTamashiroinPasadena,TempleCity,andBurbank,California.
ShelaterstudiedunderthedirectionofAngelitaElleratSantaBarbaraHula,inSantaBar-bara,California.
Ms.
YeecurrentlystudiesatNaLeiHuluIKaWekiu,underthedi-rectionofKumuPatrickMakuakane,inSanFrancisco,California.
Asastudentofvarioushulahalaus,shehasalsostudiedtheHawaiianlanguage,themeaningbehindchantsandmeles,theimportanceofgesturesandmovements,andthesignificanceofhistoricallyaccuratecostumes.
ShehasperformedandcompetedatseveralvenuesthroughoutLosAngeles,SantaBarbara,theSanFranciscoBayArea,andmostrecent-lyinLasVegas,Nevada.
112AppendixH:TranscriptofPilotConversationAnthropologicalResearchConversationPartner:PaulaYeeTranscribedConversationNovember3,2009C:SotodayI'dliketotalktoyouaboutFirstHawaiianPerformingArts,whichisthesubjectofmypilotstudy.
Iaminterestedinlookingatpreservingapeople'sidentitywhencultureisbeinglost,theimportanceofrevitalizingindigenousartstraditions,andtheimplicationsthatthishasforeducationalpolicydevelopmentinHawaii.
P:Soundsgood.
C:Ok,soIamgoingtogoaheadandrecordthisconversationthatwearehaving.
Andafterourconversation,Iamgoingtogoaheadandtranscribeit,andgiveyouacopyforyourreview.
Likethelettersays,youwillbefreetoaddordeleteorputthingsinthatyoufeelarenecessary.
Andwe'llgofromthere…….
P:Ok,sure.
C:Soifcouldtellmealittlebitaboutyourbackgroundandeducationalexperiencethatmightbeagoodstartingpoint.
P:Artrelatedorjusteducationingeneral.
C:Botharefine.
P:Ok,actuallytheyarebothinterlinked.
SoIgotmybachelor'satSantaClaraUniver-sityinStudioArt.
AfterthatIdidalotofartthingsinPasadena,preparingtogointoProductDesign,butgotalittlesidetracked,butIalwaysdidalotofart,alotofillustra-tionrenderingphotography,makeup,allsortsofart.
AndIalsotaughtforawhile,be-causeanytimeIwasdoinganysortofartthing,Icamefromafamilyofteachersand113wasalwaystoldIwouldmakeagreatteacher.
SoIfeellikeIhadtotryittoseeifitwasafitforme.
C:Sowhenyoustudiedartinaneducationalsetting…canyoutalkalittlebitmoreaboutthat.
P:EarlyonIshowedsomeartistictalent,soItookprivatepaintingclasses,mostlywa-tercolorclasses.
Ittaughtmethatyoucan'tnecessarilycontrolasituation,butyouhavetomanipulateit,becausewatercolorscan'tbeerased.
Ididsomecharcoalandsomeacrylicwork.
C:WhatroledoyoufeelthatartshouldplayineducationP:Ifeelthatartisnotinitiallytaughtwell,itsfuninarts,andyouputanythingonapageandyougetanA.
Peopleshouldhavemorestructuredclasses,sothatyoucandrawnotonlyacirclebutalsointhreedimensions.
It'simportantbecauseapictureisworthathousandwords.
Itisimportanttoconveyamessagevisuallyaswell.
Sometimesit'smoreaccurate.
Andthosethataredestinedformorecreativecareersorlifestyles,itwouldgiveyoutoolsearlieron.
Therearedifferentwaysofdoingthings.
Eventhoughyouseesomethingyoumaynotknowhowtointerpretitonpaper.
Ittakestimetolearn,andisimportanttoeveryone.
C:SoyoufeelthatartshouldtellastoryP:Ifeelthatartisawayofexpressingyourself,likeaforeignlanguage,youneedtoknowthebasicsandthegroundworkbeforeyoucangrow.
C:Ok,howdidyoufirstgetinvolvedindancingthehulaP:GoingtoSantaClaraasyouknow,thereisalargeHawaiiancommunity.
GrowingupChineseinSanFrancisco,IfeltIdidn'tbelong.
Ididn'tfeellikeotherkids,Ididn't114looklikeotherkids.
Havingfriendsandlearninghowtotreatpeoplehasbeenalearningexperience.
WhenIhungoutwiththeHawaiikids,Ifeltthattheirupbringingwasverysimilartomine.
Theylookedoutforeachother.
Ifeltathomerightawaywiththem.
Theyhadanannualluauandwouldalwaysinvitemetodance.
IsaidI'mnotfromHa-waii,andtheysaiddanceitanyway.
Ifinallydidanditwasagreatexperience.
ImovedtoLAafterschool,andIneededsomethingtodo,awaytomeetpeople,andIfoundthehulafulfilledthat.
Irealizeditmadesenseforme,becausegrowingupIhadaninterestinsignlanguageandaninterestincommunication.
Eveninclassgrowingupwesignedalotinclassratherthanwritenotes.
SoIlikedthephysicalinterpretationandmeaninginthings.
Ilikethingsthathavemeaninginthem.
Idon'tlikethingsthataremeaning-less.
C:Uhhuh.
P:IlikethatinHawaiiancultureeverythinghasalotofmeaninginit.
Itisoneofthefewdancesthatnotonlydoesitperpetuateacultureandtradition,butthedanceitselfisastorytelling.
Everyactionistellingastoryandissignificantofsomethingelse.
Soeverythingismeaningful.
Ilikethatthereisadeeperlevelofmeaningtoit.
C:DoyoulearnthemeaningbehindthehulabeforeyoulearntheactualdanceP:Yes,wearegiventhewords,wearetaughttosingthesongs.
We'retaughtwhatthesongsmean,butsometimesthemeaningdoesgetlostintranslation.
Forexampletheymaynameaplace,andnotbeingfromthere,Idon'tknowwhatthatplaceisknownforuntilsomeoneelsetellsme.
Orsometimesthismotionisforlei,andyouthinkmaybebecauseit'sprettyorsmellsgood,butmaybethatsmellwassomeone'sfavoritescentorthesmellremindsthemofsomethingelse,orthatsignificanceisthattheleiischerished115becausetheflowerisfragile.
Sousingthatanalogy,youwouldknowhowlovedandcherishedthatpersonwas,Butyoumightnotgetallthat,becauseyoudon'tknowallthat.
Youmightjustgetthatisaleianditsmellsgood,anditremindsyouofalovedone,butyoumaynotnecessarilygetallofthetranslation.
C:Yes,Iknowwhatyoumean.
Sowhenyouaredancingahula,doyouknowifthetypeofhulasyouaredancingaremostlytraditionalormodernhulasP:IcantellwhenI'mlearningit.
Itisabout,Iwouldn'tsayitisexactly50/50.
Kahikostakelongertolearn,'auanatakeslesstimetolearn,itgoesfaster,soyoucanlearnoneandahalfsongsinthesametimethatyou'relearningthatoneKahiko,thatonechant.
C:KahikoisallchantingrightP:Yes,Kahikoisallchanting.
C:Andthenwhenyou'relearningthechanting,dotheyteachyoumeaningsbehindtheKahikomorethantheyteachyouthemeaningsbehind'auana,justbecausealotoftimesKahikoistellingamythorastoryorsomethingthatwasveryimportantinoldtraditionalHawaiiP:Tobehonesttheydon'tgothatdeepintoit,itismoreonacumulativelearningbasis.
SoyoulearnthisisPele,thegoddessofvolcano,butwedon'ttouchonthedeeperbe-causeitisnotaculturalclass.
Itismoreyoupickitupasyougokindofthing.
C:DoyouperformthroughouttheBayAreaP:Actually,canwegobacktothepreviousquestion.
Kahikoyoumightfeelmoreofthemeaningorthepowerinitbecauseofchanting,becauseoftheimplements,likemoreofthatdrumbeat,moreofthatsoundthatisresonatinganditjusthasthatfeel.
Sowhenwe'realldancing,we'reallchanting,itcanfeelmoreliketranscendingorfeel116moremeaningfulthan'auana.
Because'auanayoucangetfloatedwiththemelody,andthinkohI'mdancingsomethingprettyyoudon'treallyalwaysfeelallofthemean-inglikewithKahiko.
C:Ohthat'sinteresting.
P:Youknowbecauseofthedrumbeat,itislikeagroundingkindofechosound,andthevoices.
SothereismoreofthefeelingwhenyouaredancingtheKahikothatit'smoremeaningfulthanthe'auana,becauseitistheolder.
Ithasceremonialties,sowhenyouaredancingitthereismoremeaningbehindit,notnecessarilywhenyouarelearningthedefinitionorwhatitmeans.
C:Interesting.
DoyouhaveafavoritedanceP:UsuallywhateverIamlearning,becauseitisnewandcool,anditisharderthanwhatyoupreviouslylearned.
Idon'tpersonallyhaveafavorite.
C:DoyouhaveadancethathasastorythatreallysticksoutinyourmindbecauseofitsimportanceP:UmIdidacompetitioninVegas,andwedidaKahikonumberwithKalaaus,withthesticks,andit'snotsomuchthedanceitself,buttheweeksandweeksofworkweputin-toit,sowhenIthinkofthecompetitionIthinkofalltheworkweputintoit.
Whenwedoaperformanceitisveryfamily,ahulafamily,becausewelookoutforeachother,takecareofeachother.
It'snotjustashow,it'smorecollaborativeandnotjustaboutaperformance.
C:HaveyoueverstudiedHawaiianhistoryorlanguageAnddoyoufeelyourunder-standingofhistoryandlanguagecontributetoordetractfromyourperformance117P:Ihaven'tstudiedtoomuchonmyown.
Thedifferentkumus(hulamasters)willtalkabouttheirexperiences.
Thereisahulalineage,thereisyourkumu,hiskumu,hisku-mu…awholelineage.
Becausethereishulapoliticsandhulaculture.
Itisnotlikeadanceclass,whereyousayIwanttotrythiskumu,thisstyle,itisdefinitelyafamilyinthatsensealso.
Onceyoujoin,youareaparthalau,youarelockedin.
Inordertoleave,youhavetohavepermissiontoleaveandjoinanotherhalau.
C:ReallyP:Alongtimeago,itusetobethatmotherstaughtdaughtersandfatherstaughtsons,therewerehulafamilies,andthatgenerationwouldteachthenext,anditwentfromgenerationtogeneration.
Andiftherewaspeoplegettingtogethertohula,itwasdiffer-entfamiliessharingtheirdifferenthulas.
Soitisthatwayinthehalau,youarenotreal-ly…itisnotreallydonethatpeoplehoparoundanddoonehereandonethere.
C:Soonceyoufindateacher,yousticktothatteacherandthatstyleP:Yes,soformewhenIfirstjoined,Ihadnoideaaboutthat,IfoundthatoutwiththefirstgroupIjoined.
WhenImoved,Ihadpermissiontoleave.
AndIdancedwithwho-everwasaround,andshewasnotakumuhula,shewasjustahulainstructor,soshedidn'tadheretothoserulesthatmuch,buttherewasstillthatrespect.
Shewasmoreofachoreographerofhula,anditwasfunandrecreationalgroupthatshehad.
Andcom-ingtoSanFrancisco,Ireallylookedfordifferenthalaustomakeagooddecision,be-causeIknewonceIjoinedoneIwouldbelockedin.
C:SoitdependswhoyouarelearningfromandhowthatispasseddownP:Yes,itislikeincollege,itdependsonwhoyourprofessoris.
118C:Sogoingbacktomypreviousquestion,howdoesyourunderstandingofhistoryandlanguagecontributeordetractfromyourperformanceinanywayP:Itprobablydetracts,Ishouldprobablybemuchbetteratthelanguage,alothasgottenlostinmybreaksinbetween.
Ihadabettervocabularybefore.
ThemajorityofthesongsareinHawaiian,anditwouldprobablybeinmybenefittoknowwhatallthewordsmeanandtoknowwhatallthe….
becausenotonlyisittheislandorbirdmotion,youknow,youwouldhaveabetterunderstandingofthesong,andwhatyouaresayingandtalkingabout.
Ipickthingsupaswegoalong,thingsaredefinitelytaughtthroughthehalau.
Andthisone,hehasrecentlysentoutalinkofonlineclassesforHawaiianlanguagethathestartedtaking,becausehewantedtoseehowitwasbeforeherecom-mendedit.
Sothereisthatencouragementtolearnthelanguage.
C:Andtocontinuetoperpetuate…P:Exactly.
Heevenhasguestspeakersandpeoplewhoarereinterpretingthingsbe-causetheculturewaslostforalittlebit.
Sothereisdefinitelyarevivalsensetoit.
Andhedoestrytoencourageustolearnthisbybringinginguestspeaker,howum,it'sactu-allyreallyinteresting.
Shewastellingusaboutinsteadofreferringtothingsasgodsandgoddessesitwasnotnecessarilythat,butthatisjusttheclosesttranslationwehavetowhattheyweretalkingabout.
Itwasmoreliketheinhabitantsofthings.
Sointermsofhowlanguagehindersorhelps,itwouldbereallyhelpfulthemoreyouunderstand,themorevocabularyyouhaveinHawaiian,themoreitwouldaccentuateyourdancingoryourunderstandingofthedance.
ThemajorityofourchantsanddancesareinHawai-ian.
119C:Yes,that'sinteresting,Iwaswonderingaboutthat.
Ireallylikehowisreallypromot-ingtheimportanceofunderstandinglanguageandculture.
P:Hedoesn'tforceitonus,buthemakesitavailable.
Likeyesthereisaspeakerortheseonlineclasses,oruncleishavinganukuleleclass….
ifyouwanttosinganddanceandlearntoplaytheukulele.
Sohedoesperpetuatetheculture,andnotjustoneaspectofit.
C:AsaHawaiianperformingartist,doyoufeelyouhaveanyresponsibilityinrelationtoyouraudienceShouldtheaudiencedeterminewhatshouldbeperformedandthestyleandmannerthatyouperformitinP:Um,IthinkbecauseIamperpetuatingacultureitisreallyimportanttoportrayevery-thingaccurately.
Whenyou'redancingwithyourfriendsyoucandowhatever,butwhenyou'redancinginashow,orcompetitioneventheoutfityouchooseisimportantfromthefeatheryouchoose;ifyouhaveafeatherlei,oracertainbirdthefeathersandcolorsshouldmatch,ifyouaretalkingaboutshells,theshellsshouldmatchsomepartofthestory,notjustIwantedtowearsomethingaroundmyneckbecauseitwouldbepret-ty.
Eveninthedetailsitisimportant,theprintthatyouhaveonyourfabricisimportantifyouarecompetingespeciallyorperformingtothesongs,andtolikethemessageyouaresendingbecauseeverythingyouarewearingfromheadtotoeisamessage.
Visual-ly.
Ittellsastory.
Evenifyoumaynotknow,thereismeaningbehindit…thewords,themotions,thecostumes,everything.
Itishistoricallyaccurateorattemptstobe.
C:Wow,Ididn'trealizethat.
Anddoyoufindwhenyouareperformingthatpeoplewanttoseemoreofacertaintypeofhulaandthat'showyoudeterminewhattoperformatcertaindates120P:Asadancerwearejusttoldwhattodanceandwheretodanceit,that'sprettymuchit.
Asfarastheaudiencedetermination,Idon'tthinkthatyoushouldreallygobythat.
Becausenotsomuchinitially,butalotoftherevivalofhulaisarebellion.
Likehulawastakenaway.
Soinordertostartbackthedancingeven…likewejustrecentlydidadanceaboutcreation,andithaslikelifewasreallyimportant,givingbirthwasreallyimportant,solikethesexualorgansweregivenspecialnamesandspecialceremoniesandalltheseotherthings.
.
andthischantreferstothat.
Andattheveryendofthechantweaddinthe"aeiou,"whichistheliketheHawaiianvowels,allthevowels.
Andifyouaskthevowelshavenothingtodowiththedance,buttheyjusttaggeditonsothatifthemissionariesaskedwhatthisdanceisabout,theycansayohit'stoteachthealphabet,anditsperpetuatingreadingandlearning.
Butitactuallyhasnothingtodowiththeinitialchantpart.
AndthatIdidn'trealizethatatfirst,IthinkIcamelate.
Whenwewereperformingithe(kumu)mentionedthattotheaudience.
C:Sotheyweretryingtohidetheinitialmeaning,butputtingintheadditionalvowelsP:Yes,becausewiththemissionaries,theybelievedthatsexisbad.
Sotheywerehid-ingthetruemeaningofthesonganddance.
Sotheinitialpartofitthemissionariesdidn'tunderstandwhattheyweresaying,sotheyaddedonthe"aeiou"attheendforittoseemlikeitwasaboutvowelsandlearning.
C:Interesting,Ineverrealizedthat.
P:Thingsbackintheday,sowhentheystartedbringingbackhula,mykumu'skumuisRobertCazimeroC:TheRobertCazimero121P:ItwascrazybecausehegotRoberttoteachusaworkshopclasstoallofhisclasses,eventhebeginners.
Therewasahugerangeofabilityinhula.
Soforhimtoteachaclasslikethatwashuge.
Sowhenheshowedup,hewaspleasantlysurprised.
RobertCazimerowassayingthatwhenhewasinschoollearningitwasallNohohula.
Every-thingwassitdown.
Theyweren'tallowedtostandanddance.
C:Andthiswasat.
.
P:ThiswasatKamehamehaSchool.
Iwasblownawaythatmyhulagrandfather,andI'msurehewouldn'twanttobecalledthat,essentiallywasnotallowedtostandanddance.
Laterontheylearneditinsecretandinhiding.
Momswouldteachbehindcur-tainswherenoonecouldseeandnoonecouldhear.
ItwasamazingthatevenforhimgoingtoKamehameha…C:WhichisaHawaiianschool….
P:Yes,hewasnotallowedtostandanddance.
Andasfarasrebellionandwhatpeoplewant,ifwewentbywhatpeoplewant,wewouldprobablyhaveneverhadthehulaback.
Becausehewasconsideredarebelbecauseofhowhedancedandtherewasalotofcon-troversy,andthenithasbeenreallywellreceivedafter….
soittakestimeforthemassestoconvertIthink.
Soyouhavetobetruetowhatyouwanttodoasaperformerespe-ciallybecauseyou'redoingsomethingthatismeaningfulsoithastobeyourheartonthestage.
AndthenitwasprettycontroversialforRobertCazimerotohaveamen'sha-lauandhowhewasteachinghisdancerswascontroversialbecauseofthestyle.
Be-causehewasnoticingthatthementhatweredancinghulaweredancinganextremelyfeminizedversion.
Sohedancesveryfeminine.
Soevenhe'lltellusdon'tdancelikeme,dancelikehowItellyoutodance.
Hehadamen'shalau,wheremykumuisfrom.
122RobertCazimero'skumu(AuntyMay.
.
.
nottoosure)wouldhaveRobertdance"women"dancesbecausesheknewhewouldonedayneedtoknowthesongseventhoughhehadamen'shalau.
AsIunderstoodit.
Youmaywanttodoublecheckw/Ja-sonEventhoughheonlyhadamen'shalau,andnowhisprotégéemykumuhaswomenandmendancers.
C:Yes.
P:Soyoucan'treallygoonpublicopinionagainbecausemykumugetsalotofflakbe-causehedoeshulastoextremelymodernmusic.
Soatsomepoint,someoneisalwaysbeingtherebel,andit'snotpublicallyaccepted.
LikeI'msurewiththecowboydancestherewascontroversy,andwiththe'auanadancestheywereprobablyinitiallycontro-versy.
Andnowforhimtodohulasto"TimeafterTime,"andmoremodernsongsI'msurethathegetsflakforit.
Butyouarealwaysinterpretingsongsorthemeaningofthem.
Justbecauseitstagnatedforawhile,nowthathe'sdoingthisitisconsideredcon-troversial.
Butbecausehehasabigfanbasenow,itisbecomingmoreaccepted.
Ormaybebecausewearen'tinHawaii,andwe'relikeohcoolhedoeshulato"TimeafterTime"anditgetsacceptedhereanditspreadsback.
C:Whenhedoeshulastomodernmusiclike"TimeafterTime,"isthattranslatedintoaHawaiianversionofthesong,oristhesinginginEnglishP:ThewordsareinEnglish,youknowitis"TimeAfterTime,"butitisdefinitelyhulaitisnotlikethey'redancinginthe80's.
Itisnotdecadespecific.
WhenheuseditwaslikeinhisshowthatwastalkingaboutthelastPrincessofHawaiiwhodied,andshewouldhavebeenthelastqueen.
Itwasforher.
Itwasreferringtoherinhishulaandinhisnarrative.
ThegirlswerestilldressedinVictorianwearindicativeofthetimeperiod,123becauseitwas(Princess)Kapiolaniandherpictureswereup,andtheytalkedaboutherlifeandhowshediedatschoolofheartbreakforherpeople.
AndthehulabecausetheyweretalkingaboutherwasinVictorianwear,butthedancingwasdefinitelyahula.
Soyes,theydowhattheywantandthepubliclearnstoacceptit.
C:WellIguessthatisonewaytogo.
Canyoutellmealittlebitmoreaboutyourkumuhula.
P:Akumuhulaisahulamaster,andthereisaleveloftrainingtogettothatlevel,thoughIamnotsureexactlywhatitis.
However,justbecausesomeoneisteachinghuladoesnotmakethemahulamaster,theymaybejustaninstructor.
Youhavetobecho-senandgraduatedfromsomeone,anditisaprettybigdeal.
Sometimesyourkumuwillgiveyouthenamethatyoucanuse.
Likemyfirstkumuhulawasgivenherhalaunameanditwasaprettybigdeal,becauseshewasgiventhe"honor"ofcarryingonthehalauname.
essentiallycreatinganotherchapterofaHawaiihalauinadifferentlocation.
RightnowIammovingbackandforwardbetweenanintermediateandbeginningclass.
Iamlearningwiththebeginners,andcatchingupwiththeintermediates.
SoIampick-inguptheirdances.
Sometimesthehelpers,thealakai'i,thehelpersdotheteachinganditisatotallydifferentstyle,becauseIthinktechnicallysheisfromadifferenthalau.
Justtheinformation,Idon'tquiteabsorbaswellwhensheteaches.
IlearnitbutIamnotconfident.
Whenkumuteachesit,Iknowwheremyhandsgo,IknowwhereI'msupposedtobelooking,shemighttouchonthosethingsbutIdon'tabsorbit.
Ifwemissaweekandaverse,thatversewillalwaysbeshaky.
It'slikethatforallofus.
C:Sothat'sinteresting,youarefromSanFrancisco,andyoulearnedalittlebitofthehulainSantaClara,thenfollowedthatbacktoLA,thenbacktoSanFrancisco124P:SantaBarbara,thenSanFrancisco.
C:Sodoyoufindthatitinterestingthathula,youcanfinditinsomanydifferentplacesoutsideoftheHawaiianislandsP:YoucanfindhulaintheMidwest,Japan,inKorea,aroundtheworld,likeinFinland.
Placesyouwouldneverexpect.
Soforusalltobestudyinghulaanddancingthehula.
C:Aretheredancesverysimilar.
P:Everyonehasadifferentstyle,differentkumusdifferentstyle,differentfootwork,andnamesareslightlydifferentformovements.
Soitisdefinitelyalearningcurvemovingaround.
Likemyfirstkumuitwasrightleftrighttap.
Therewasalwaysatap.
Inmycurrenthalauitisrightleftrightsway.
Leftrightleftsway.
Thereisapause,butnotap.
C:Sothereismeaningbehindthesteps,themotions,thetext,andthecostumes.
P:Thereismeaningbehindeverything.
Everysinglethinghasmeaning.
C:WhatareyourhopesanddreamsforHawaiianperformingartsandHawaiianhulaP:IthinkIaminaprogressivehalau,andIamhappywhereIcandancesongsthataremodern,ThoughIdoliketheechoofancientculture.
Asfarasmyself,Iwanttheop-portunitytocontinuetodance.
Itismypassion,whereIamhappy.
IfI'mdancingIamhappy.
Iamexcitedtoseewheremykumuwilltakehulaandlikebeyondthatwherehisproté-géesandstudentswilltakeit.
Perpetuatingthecultureandmovingitfromgenerationtogeneration.
Thecultureofit.
Ilikethecultureandtheevolutionofit,becauseitdoesslightlyevolve.
Likethesongsaregettingmoremodernorhemightadoptsomethingthatisbutnotnecessarilywithhulainit.
LikewedooneKahikothatIdon'tactually125know,becauseIamcatchingupwiththisclass,andtheyalreadyknowit.
SoIdon'tknowthewholestoryofit,butwhatIheardfromoneofthestudentsisthatmykumuwasoffstretchingorworkingoutaclassorlikerunningapracticeandtheywerejustdoingthesemotions.
Andsomeoneofftothesidewaswatchingandwroteachanttogowithwhathethoughthewasseeing.
SoIdon'tknowthewordsandIdon'tknowthatdanceyet,butIampickingitup.
It'snotatraditionalmove,butitisslightlyevolved.
It'sjustinterestingjustthefactthatitisstorytelling.
Solikeitisinterestingthenewsto-riesthatmightbeupandcoming.
UmandatoneoftheMerryMonarchFestivalshowsIsawagroupofboysincompetition,andyeahgrowingupinSF,youwerenotexposedtohula;youmightseeoneortwothingsanditsusuallynotaccurate.
C:Nothistoricallyaccurate.
P:Nothistoricallyaccurateorhulaaccuratebecauseyouareessentiallywatchingactorsandactressestakingacoupleweeksworthofhulatolikehaveitinamovieorascene.
Andthenit'slikebamcutandedited.
It'snotrealhula.
SoIrememberoneofthefirstMerryMonarchvideosisofthisgroupofhulaboysthatweredancingthisfroghulaanditwasamazing.
Theyweresquattingontheground,theyweredoingfrogmovesandjumpingovereachother.
Itwasjustincrediblethathulacouldtellthatstory.
Itwasre-allycool.
C:TheMerryMonarchFestivalisveryfamous,haveyoueverbeentothatcompetition,ordoyouhopetoonedaygotoitP:Actually,Iwouldlovetogoonedayjusttoseethebestofthebestdance,andseetheirstorytelling.
Itsdifferentgoingtoaluauandseeingsnippetofhula,thantogotoa126hulacompetition.
ItislikethehulaOlympics,whereyougettoseegroupsfromaroundtheworld,andIthinkthatyouhavetobeinvitedtoitC:Ithinkso,yes.
P:I'msurethemajorityarefromHawaii,butitwouldbesointerestingtoseewhatpeo-plearedoingandhowtheyinterpretsongsanddances,becauseweallprettymuchdancealargeclusterofdancesthatareallthesame,buteachdependingonwhatgroupyouarefromwilldanceitdifferently.
C:SoitcouldlookcompletelydifferentP:Rightformylasthalau,liliuweiwasastandupuwehiheavynumber,inthishalauhetendstousealotofuwehis,butadifferentkind.
Andthenourliliuweiiskneeling.
So,itisnotnecessarilyadirecttranslation.
Everyonewilltalkabouthowbeautifulshelooks,differentbodyparts,butsomewilldoitstanding,somesitting,somewithimple-ments,somewithout.
I'velearnednowtwoKawikasindifferentstyles,andthisteacherhasanotherteacherinan'auanaversion.
Sotherearemanydifferentinterpretationsofthesamestoriesoutthere,andtheytalkaboutthesamethings.
Howtheyshowthatsto-ryisdifferent.
It'slikedifferentdirectorsgettingthesamecopyofamovie,andtheyin-terpretit,andshootit,andthemovie,withthesamescript.
C:DoyouknowthemeaningbehindtheMerryMonarchP:AllIknowisthatitisacompetition.
C:IbelieveitstartedwithKingKalakauarevitalizingtheHawaiianancientarts,anditisacompetition,butitwasstartedtoperpetuateandpreservetheindigenouscultureforfu-turegenerations.
P:Cool,Iwishwegotithere.
127C:Isityourunderstandingthattherearetwotypesofhula,Kahikoand'auanaP:AsfarasIknow,thosearethetwotheyalwaystalkabout.
BothKahikoand'auanayoucanaddortakeawayimplements,butitdoesn'tnecessarilymeanifyouhaveanimplementyouaredancingKahiko.
C:Sodoyoufeelthathulaandindigenousartsshouldbepartofaneducationalcurricu-lumP:Ithinkitshouldbe,especiallyforthechildrenofHawaii,becauseyouarelivinginalandthatusedtobeitsowncountry.
Alotofyouarepartofthatculture.
Itisimportanttoknowwhoyouareandwhereyoucomefrom.
Youwanttoknowhowfaryouhavecomesothatyoucangoforwardfromthatpointinsteadofjustre-learning.
IwaswatchingsomethingtotallyrandomwithJasonScottLee,theguywhoplayedTarzan,helivesinHawaiiandhaszerocarbonfootprint.
Hewentonafishingboattourandhadabowlofpoiwithhimtoeat,andheranintoabunchofHawaiiankidsthatwerejumpingoffthepier.
Andhesaidoheatsome,takeafingerfullorsomething.
Andthesekidsweretakinghandfulsofitbecausetheyhadneverseenit.
Itwassorareforthem.
Andthiswasoncethestapleoftheirancestors.
Itwouldbelikeusseeingricefortheveryfirsttime.
Iwasjustamazedthattheydidn'tknowthatabouttheirownculture.
C:Soyouaresayingthatitisimportantforthemtoknowtheirownhistory,sothattheycanmakesenseoftheirlives.
P:Yes.
Understandingtheirhistoryandtheirculture,that'simportantandshouldbepartoftheireducationalprocess.
OurKumujustinformedusthatheisgoingtobefo-cusingmoreonlanguage.
Duringhisrecent"working"triptoJapanallthehalauswere128speakingHawaiianitsanewtrendfortheHawaiianlanguagetobeintertwinedintheteachingofHawaiianarts(accordingtokumu)hula,paddling,traditionalcrafts.
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C:Thankyouforyourtimeandassistance.
Iwillgoaheadandtranscribethisconversa-tion,hopefullytonight,andwillprovideyouwithacopyforyourreview.
Andlikethelettersaysyoucanaddordeleteasyouseefit.