Music | Images of Old Hawaiʻi

March 20, 2018 by Peter T Young Leave a Comment

Himeni

Oli and mele were a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

When the American Protestant missionaries first arrived in the Islands, they broke into song. Hiram Bingham notes that on April 1, 1820, off Kawaihae, Kalanimōku came onboard their boat. “Then, ere the excitement of the chiefs’ visit was over, Mr. Thurston and his yoke-fellow (Bingham speaking of himself) ascended the shrouds …”

“… and, standing upon the main-top (the mission family, captain and crew being on deck), as we gently floated along on the smooth silent sea, under the lee of Hawaii’s dark shores, sang a favorite song of Zion (Melton Mowbray), which they had sung at their ordination at Goshen, and with the Park St Church choir, at Boston, on the day of embarkation.”

Once established in the Islands, missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States …”

“… was undoubtedly adapted to be useful at the Sandwich Islands. … some of the people who sat in darkness were beginning to turn their eyes to the light”. (Bingham)

“Before the year 1823 had closed the (Bingham and William Ellis) had prepared a small hymn book of sixty pages, of which 2000 copies were printed in December. Mr. Ballon says: ‘A large proportion of the hymns were original, but among them were translations of Watt’s 50th Psalm, Pope’s ‘The Dying Christian to his Soul,’ several choruses from Handel’s Messiah.’”

“‘This book also contained a translation of more than forty select passages of Scripture.’” It was called Na Himeni Hawaii; he me ori ia Iehova, ke Akua mau’. “Literally-translated the title reads thus, ‘The hymns Hawaiian for the praise of Jehova the God continuing’”. (Westervelt; Thrum)

On October 23, 1823, missionaries wrote: “We are about to put to press within a few days an edition of twenty hymns prepared principally by Mr. Ellis. We purpose also to print a catechism and a tract.” (Ballou & Carter)

“A large proportion of the hymns were original, but among them were translations of Watts’ 50th psalm, of Pope’s ode, The dying Christian to his soul, Owhyhee’s idols are no more (originally Taheite’s), the jubilee hymn, several choruses from Handel’s Messiah, &c.” (Ballou & Carter)

“In August of 1825 the 2,000 copies of this first edition had all been given out gratis and it was felt that hymns were needed more than any other textbook. On March 10, 1826, it was recorded that 10,000 copies of the second edition of hymns, nearly through the press, would exhaust the paper on hand.”

“The next issues of this little book then appeared in what now seems rapid succession: 1827, 1828 and 1830. In the edition of 1826 the number of hymns had grown from 47 to 63; in the third, fourth and fifth editions 100 hymns were printed on 108 pages.”

“Each of these four issues, from 1826 to 1830, was published in an edition of 10,000 copies, except that of 1828, of which 20,000 were printed.”

“The fifth edition, of 1830, was delayed because the old type was so worn down by long usage as to be quite impracticable.” (Wilcox; Damon The Fiend, March 1935)

The missionaries wrote other songs – and sang with the ali‘i. “The king (Kamehameha III) being desirous to use his good voice in singing, we sang together at my house, not war songs, but sacred songs of praise to the God of peace.” (Bingham)

One of the unique verses (sung to an old melody) was Hoʻonani Hole – Hoʻonani I Ka Makua Mau. Bingham translated it to Hawaiian and people sang it to a melody that dates back to the 1600s – today, it is known as the Hawaiian Doxology.

Another popular Hawaiian melody was written by another missionary, Lorenzo Lyons. “Lyons was eminently popular with Hawaiians and with all men. His nature was guileless, cordial, enthusiastic, cheering. He was remarkable for hospitality to Hawaiians always seeing that his visitors passing through Waimea had something to eat.” (Hawaiian Gazette, October 19, 1886)

Lyons was an avid supporter of the Hawaiian language. He wrote a letter to the editor in The Friend newspaper (September 2, 1878) that, in part noted: …

An interminable language … it is one of the oldest living languages of the earth, as some conjecture, and may well be classed among the best…the thought to displace it, or to doom it to oblivion by substituting the English language, ought not for a moment to be indulged. … Long live the grand old, sonorous, poetical Hawaiian language.”

Lyons was lovingly known to Hawaiians as Ka Makua Laiana, Haku Mele o ka ʻĀina Mauna (Father Lyons, Lyric Poet of the Mountain County).

Lyons was fluent in the Hawaiian language and composed many poems and hymns; Lyons’ best known and beloved work is the hymn “Hawaiʻi Aloha,” sung to the tune of “I Left It All With Jesus” (circa 1852.) The song was inducted into the Hawaiian Music Hall of Fame in 1998.

“Widely regarded as Hawaiʻi’s second anthem, this hymn is sung in both churches and public gatherings. It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions.”

“The first appearance of “Hawaiʻi Aloha” in a Protestant hymnal was in 1953, nearly 100-years after it was written. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’” (Hawaiian Music Museum).

Queen Liliʻuokalani, while a student at the Chiefs’ Children’s School, learned and became fluent in English, and studied music and the arts. Her talent for music blossomed and she eventually wrote more than 150 songs, including “Aloha ʻOe.”

“To compose was as natural to me as to breathe; and this gift of nature, never having been suffered to fall into disuse, remains a source of the greatest consolation to this day.”

“… Hours of which it is not yet in place to speak, which I might have found long and lonely, passed quickly and cheerfully by, occupied and soothed by the expression of my thoughts in music.” (Liliʻuokalani)

“In view of the fact that the best modern Hawaiian music, now known the world over, owes much to the musical form of these early hymns, one wishes that history had been less restrained.”

“Yet, even in default of any direct, consecutive record, one may piece out quite a little of the story of Hawaiian hymns from references in early letters and accounts of their printing.”

“And when one has the good fortune to touch with one’s own hands many of the early songbooks printed in Hawaiian, the search toward a complete account of them becomes a fascinating pursuit.” (Wilcox; Damon The Fiend, March 1935)

“When our Protestant missionaries came to hymnody in Hawaiian – as they very soon did – they reared a natural superstructure upon this rich and rhythmical foundation of the Bible. It was a veritable treasure house.”

“But strangely, too, another very deep-seated source of balance and rhythm and figured speech flowed in the cultural consciousness of the Hawaiian people to whom these new Christian messages were being brought. Instinct in the Hawaiian mode of thought was the impulse and the act of prayer, of supplication, of praise.” (Wilcox; Damon The Fiend, March 1935)

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Na Himeni Hawaii

He Mau Himeni

December 26, 2017 by Peter T Young Leave a Comment

The Aliʻi, the Missionaries and Hawaiʻi

On October 23, 1819, the Pioneer Company of American Protestant missionaries from the northeast US, led by Hiram Bingham, set sail on the Thaddeus for the Hawaiian Islands.

Over the course of a little over 40-years (1820-1863 – the “Missionary Period”,) about 180-men and women in twelve Companies served in Hawaiʻi to carry out the mission of the American Board of Commissioners for Foreign Missions (ABCFM) in the Hawaiian Islands.

Collaboration between native Hawaiians and the American Protestant missionaries resulted in, among other things, the introduction of Christianity, the creation of the Hawaiian written language, widespread literacy, the promulgation of the concept of constitutional government, making Western medicine available and the evolution of a new and distinctive musical tradition (with harmony and choral singing).

By the time the Pioneer Company arrived, Kamehameha I had died and the centuries-old kapu system had been abolished; through the actions of King Kamehameha II (Liholiho,) with encouragement by his father’s wives, Queens Kaʻahumanu and Keōpūolani (Liholiho’s mother,) the Hawaiian people had already dismantled their heiau and had rejected their religious beliefs.

The kapu system was the common structure, the rule of order, and religious and political code. This social and political structure gave leaders absolute rule and authority. In addition to the abolition of the old ways, Kaʻahumanu created the office of Kuhina Nui (similar to premier, prime minister or regent) and would rule as an equal with Liholiho – this started the shift from absolute rule to shared rule.

Introduction of Christianity

Within five years of the initial arrival of the missionaries, a dozen chiefs had sought Christian baptism and church membership, including the king’s regent Kaʻahumanu. The Hawaiian people followed their native leaders, accepting the missionaries as their new priestly class. (Schulz)

Kamakau noted of her baptism, “Kaʻahumanu was the first fruit of the Kawaiahaʻo church … for she was the first to accept the word of God, and she was the one who led her chiefly relations as the first disciples of God’s church.”

Creation of the Hawaiian Written Language

When Captain Cook first made contact with the Hawaiian Islands in 1778, Hawaiian was a spoken language but not a written language. Historical accounts were passed down orally, through oli (chants) and mele (songs.)

After Western contact and attempts to write about Hawaiʻi, early writers tried to spell words based on the sound of the words they heard. People heard words differently, so it was not uncommon for words to be spelled differently, depending on the writer.

In addition to preaching the gospel, one of the first things Bingham and his fellow missionaries did was begin to learn the Hawaiian language and create an alphabet for a written format of the language. The 12-letter we use today was established by the missionaries on July 14, 1826.

Widespread Literacy

The missionaries established schools associated with their missions across the Islands. This marked the beginning of Hawaiʻi’s phenomenal rise to literacy. The chiefs became proponents for education and edicts were enacted by the King and the council of Chiefs to stimulate the people to reading and writing.

By 1831, in just eleven years from the first arrival of the missionaries, Hawaiians had built over 1,100-schoolhouses. This covered every district throughout the eight major islands and serviced an estimated 53,000-students. (Laimana)

The proliferation of schoolhouses was augmented by the missionaries printing of 140,000-copies of the pī¬ʻāpā (elementary Hawaiian spelling book) by 1829 and the staffing of the schools with 1,000-plus Hawaiian teachers. (Laimana)

By 1853, nearly three-fourths of the native Hawaiian population over the age of sixteen years were literate in their own language. The short time span within which native Hawaiians achieved literacy is remarkable in light of the overall low literacy rates of the United States at that time. (Lucas)

Constitutional Government

King Kamehameha III asked missionary William Richards (who had previously been asked to serve as Queen Keōpūolani’s religious teacher) to become an advisor to the King as instructor in law, political economy and the administration of affairs generally.

Richards gave classes to King Kamehameha III and his Chiefs on the Western ideas of rule of law and economics. His decision to assist the King ultimately resulted in his resignation from the mission, when the ABCFM board refused to allow him to be in the mission while assisting the King.

Of his own free will, King Kamehameha III granted the Constitution of 1840, as a benefit to his country and people, that established his Government upon a declared plan. (Rex v. Booth – Hanifin)

That constitution introduced the innovation of representatives chosen by the people (rather than as previously solely selected by the Aliʻi.) This gave the common people a share in the government’s actual political power for the first time.

Western Medicine

Judd, a doctor by training, had originally come to the islands to serve as the missionary physician. While in that role, Judd set up part of the basement in the Mission House as a Western medicine pharmacy and doctor’s office, beginning in 1832.

Judd wrote the first medical book in the Hawaiian language and later formed the first medical school in the Islands. Ten students were accepted when it opened in 1870, all native Hawaiians (the school had a Hawaiians-only admissions policy.)

Later (when Richards was sent on a diplomatic mission to the US and Europe to recognize the rights of a sovereign Hawaiʻi,) King Kamehameha III asked missionary Gerrit P Judd to resign from the mission and serve as his advisor and translator.

Distinctive Musical Tradition

Another lasting legacy left by the missionaries in the Islands related to music. Some songs were translations of Western songs into Hawaiian; some were original verse and melody.

Oli and mele were already a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

Missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States, was undoubtedly adapted to be useful at the Sandwich Islands. … some of the people who sat in darkness were beginning to turn their eyes to the light”. (Bingham)

“In view of the fact that the best modern Hawaiian music, now known the world over, owes much to the musical form of these early hymns, one wishes that history had been less restrained. Yet, even in default of any direct, consecutive record, one may piece out quite a little of the story of Hawaiian hymns from references in early letters and accounts of their printing.”

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MISSION-HOUSES-drawing-by-James-P.-Chamberlain-LOC-ca-1860

July 25, 2017 by Peter T Young 6 Comments

It’s Not About Race

“When you talk about minorities in Hawaiʻi, you’re talking about everyone. Unlike in most states, no racial or ethnic group constitutes a majority in the Aloha State.” (Time)

In the dawn hours of January 18, 1778, on his third expedition, British explorer Captain James Cook on the HMS Resolution and Captain Charles Clerke of the HMS Discovery first sighted what Cook named the Sandwich Islands (that were later named the Hawaiian Islands.) Hawaiian lives changed with sudden and lasting impact, when western contact changed the course of history for Hawai‘i.

At the time of Cook’s arrival, the Hawaiian Islands were divided into four kingdoms: (1) the island of Hawaiʻi under the rule of Kalaniʻōpuʻu, who also had possession of the Hāna district of east Maui; (2) Maui (except the Hāna district,) Molokai, Lānaʻi and Kahoʻolawe, ruled by Kahekili; (3) Oʻahu, under the rule of Kahahana; and at (4) Kauai and Niʻihau, Kamakahelei was ruler.

In 1782, Kamehameha started his conquest to rule the Islands. After conquering the Island of Hawaiʻi, he moved on to defeat the armies in Maui Nui and concluded his wars on Oʻahu at the Battle of Nuʻuanu in 1795. After failed attempts at conquering Kauaʻi, he negotiated peace with Kaumualiʻi and the Island chain was under his control (1810.)

Providing the Means, as well as Ways to this End, many foreigners (mostly white men) supported Kamehameha, including John Young, Isaac Davis, Don Francisco de Paula Marin, George Beckley and Alexander Adams (and others.)

In April of 1819, Spaniard Don Francisco de Paula Marin was summoned to the Big Island of Hawai‘i to assist Kamehameha, who had become ill. Although he had no formal medical training, Marin had some basic medical knowledge, but was not able to improve the condition of Kamehameha. On May 8, 1819, King Kamehameha I died.

Following the death of Kamehameha I, leadership was passed to his son, Liholiho, who would rule as Kamehameha II. Kaʻahumanu (Kamehameha I’s favorite wife) recruited Liholiho’s mother, Keōpūolani, to join her in convincing Liholiho to break the kapu system which had been the rigid code of Hawaiians for centuries.

“An extraordinary event marked the period of Liholiho’s rule, in the breaking down of the ancient tabus, the doing away with the power of the kahunas to declare tabus and to offer sacrifices, and the abolition of the tabu which forbade eating with women (ʻAi Noa, or free eating.)” (Kamakau)

Kekuaokalani, Liholiho’s cousin, opposed the abolition of the kapu system and assumed the responsibility of leading those who opposed its abolition. These included priests, some courtiers, and the traditional territorial chiefs of the middle rank. Kekuaokalani demanded that Liholiho withdraw his edict on abolition of the kapu system. (Daws)

Kamehameha II refused. After attempts to settle peacefully, “Friendly means have failed; it is for you to act now,” and Keōpūolani then ordered Kalanimōku to prepare for war on Kekuaokalani. Arms and ammunition were given out that evening to everyone who was trained in warfare, and feather capes and helmets distributed. (Kamakau)

In December 1819, just seven months after the death of Kamehameha I, the two powerful cousins engaged at the final Hawaiian battle of Kuamoʻo, on the jagged lava fields south of Keauhou Bay. Liholiho had more men, more weapons and more wealth to ensure his victory. He sent his prime minister, Kalanimōku, to defeat his stubborn cousin.

Kaʻahumanu would rule as an equal with Liholiho and created the office of Kuhina Nui (similar to premier, prime minister or regent.) Kaʻahumanu was, at one time, arguably, the most powerful figure in the Hawaiian Islands, and helped usher in a new era for the Hawaiian kingdom.

She ruled first with Kamehameha II until his departure for England in 1823 (where he died in 1824) and then as regent for Kauikeaouli (Kamehameha III). Kaʻahumanu assumed control of the business of government, including authority over land matters. Kaʻahumanu was such a powerful person and Kuhina Nui that subsequent female Kuhina Nui adopted her name, (Kaʻahumanu II, III & IV.)

Some have suggested it was the missionaries that ended the kapu that disrupted the social/political system in the Islands; that is not true – the missionaries had not even arrived in the Islands, yet. The kapu was abolished by Hawaiians and it affected only Hawaiians.

On April 4, 1820, the Pioneer Company of American Protestant missionaries arrived from the northeast US at Kailua-Kona (after the death of Kamehameha I and the abolition of the kapu by Liholiho, Kaʻahumanu and Keōpūolani.) There were seven American Caucasian couples sent by the ABCFM to convert the Hawaiians to Christianity.

Soon after the first anniversary of their landing at Honolulu on April 19, 1821, Kaʻahumanu, Kalanimōku and Kalākua visited the mission and gave them supplies. This visit became important because during it Kaʻahumanu made her first request for prayer and showed her first interest in the teachings of the missionaries. From that point on, Kaʻahumanu comes into more constant contact with the mission.

On February 11, 1824, Kaʻahumanu made one of her first public speeches on religious questions, giving “plain, serious, close and faithful advice.”

At a meeting of the chiefs and school teachers, Kaʻahumanu and Kalanimōku declared their determination to “adhere to the instructions of the missionaries, to attend to learning, observe the Sabbath, Worship God, and obey his law, and have all their people instructed.” The Hawaiian people followed their native leaders, accepting the missionaries as their new priestly class. (Schulz)

Ka‘ahumanu had requested baptism for Keōpūolani and Keʻeaumoku when they were dying, but she waited until April, 1824, before requesting the same for herself. “She was admitted to the church in 1825, and was baptized by the name of Elizabeth.” (Lucy Thurston)

“Her influence and authority had long been paramount and undisputed with the natives, and was now discreetly used for the benefit of the nation.”

“She visited the whole length and breadth of the Islands, to recommend to her people, attention to schools, and to the doctrines and duties of the word of God, and exerted all her influence to suppress vice, and restrain the evils which threatened the ruin of her nation.” (Lucy Thurston)

The arrival of the first company of American missionaries in Hawai¬ʻi marked the beginning of Hawaiʻi’s phenomenal rise to literacy. The chiefs became proponents for education and edicts were enacted by the King and the council of chiefs to stimulate the people to reading and writing. Missionaries taught, but also taught the Hawaiians to be teachers.

By 1831, in just eleven years from the first arrival of the missionaries, Hawaiians had built 1,103 schoolhouses. This covered every district throughout the eight major islands and serviced an estimated 52,882 students. (Laimana)

In 1839, King Kamehameha III called for the formation of the Chiefs’ Children’s School (Royal School.) The main goal of this school was to groom the next generation of the highest ranking Chiefs’ children and secure their positions for Hawaiʻi’s Kingdom.

The King asked white missionaries Amos Starr Cooke and Juliette Montague Cooke to teach the 16-royal children and run the school. The Hawai‘i sovereigns who reigned over the Hawaiian people from 1855 were educated in this school.

This included, Alexander Liholiho (King Kamehameha IV;) Emma Naʻea Rooke (Queen Emma;) Lot Kapuāiwa (King Kamehameha V;) William Lunalilo (King Lunalilo;) Bernice Pauahi (Princess Bernice Pauahi Bishop, founder of Kamehameha Schools;) David Kalākaua (King Kalākaua) and Lydia Liliʻu Kamakaʻeha (Queen Liliʻuokalani.)

Interestingly, these same early missionaries taught their lessons in Hawaiian, rather than English. In part, the mission did not want to create a separate caste and portion of the community as English-speaking Hawaiians.

Kamehameha III asked missionary William Richards (who had previously been asked to serve as Queen Keōpūolani’s religious teacher) to become an advisor to the King as instructor in law, political economy and the administration of affairs generally.

Betsey Stockton served with Richards at Lāhainā; she was an African American missionary who was part of the American mission, and the only single woman missionary to the Islands.

“The Hawaiian people believed in William Richards, the foreigner who taught the king to change the government of the Hawaiian people to a constitutional monarchy and end that of a supreme ruler, and his views were adopted.” (Kamakau)

Of his own free will, King Kamehameha III granted the Constitution of 1840, as a benefit to his country and people, that established his Government upon a declared plan. (Rex v. Booth – Hanifin)

That constitution introduced the innovation of representatives chosen by the people (rather than, as previously, solely selected by the Aliʻi.) This gave the common people a share in the government’s actual political power for the first time. Hawaiʻi was not a race-based constitutional monarchy – Hawaiian citizens were from varying ethnicities.

Today, there remain ongoing claims and discussions about restoring the Hawaiian Government that was deposed on January 17, 1893 and replaced by the Provisional Government of Hawaiʻi, later the Republic of Hawaiʻi, then annexation and statehood.

Some suggest that “American white supremacist racists” overthrew the constitutional monarchy and initiated a calculated campaign of social, cultural and spiritual genocide.

On January 16, 1893, the Committee of Safety wrote a letter to John L Stevens, American Minister, that stated: “We, the undersigned citizens and residents of Honolulu, respectfully represent that, in view of recent public events in this Kingdom, culminating in the revolutionary acts of Queen Liliʻuokalani on Saturday last, the public safety is menaced and lives and property are in peril, and we appeal to you and the United States forces at your command for assistance.” (Pacific Commercial Advertiser, January 17, 1893)

The Committee of Safety, formally the Citizen’s Committee of Public Safety, was a 13-member group also known as the Annexation Club; they started in 1887 as the Hawaiian League.

The Committee of Safety was made up of 6-Hawaiian citizens (3-by birth and 3 naturalized (1-former American, 1-former German & 1-former Tasmanian;)) 5-Americans, 1-Scotsman and 1-German.

Most were not American, and, BTW, none were missionaries and only 3 had missionary family ties – the Missionary Period ended in 1863, a generation before the overthrow. I am not sure where the evidence is that they were racist, or what the details were for the ‘calculated campaign.’

Some suggest the make-up of the 1901 Legislature (the first Legislature in the Territory of Hawai‘i) as an example of racial tensions and concern for lack of racial representation of the people.

In 1900, the Kanaka Maoli (aboriginal Hawaiians) had formed their own political party, called the Home Rule Party, through merging two organizations, Hui Aloha ‘Āina and Hui Kālai‘āina, who had worked together to support Queen Lili‘uokalani and oppose annexation. (Silva)

That year, the Home Rulers elected Robert Wilcox as Hawaiʻi’s first delegate to the US Congress. (However, on July 10, 1902, Prince Kūhiō split from the Home Rule Party, joined the Republican Party and won the Congressional seat in the election on November 4, 1902.)

Some suggest the early Legislative elections and party affiliations were based on race (Home Rule for Hawaiians and Republicans for whites.) However, it’s interesting to note that in 1901, 1903 and 1905 there was successive decline in representation by Home Rule candidates in the Legislature, although there continued to be a total of around 30-Hawaiians (out of 45) in the Legislature.

The next election (1907,) there was only 1-Home Rule party member serving in the Senate, and none in the House; however, a total of 32-Hawaiians were in the Legislature; there were more Hawaiians in the Legislature then, than that first 1901 session. With Republicans dominating both chambers, it is clear that most of the Hawaiians were Republicans. (While the Home Rule Party was race-based, the Republican Party was not.)

It is evident that native Hawaiians did not need the ‘Home Rule’ race-based political party to get representation in the local or national legislatures. After a decade of election losses, the Home Rule Party was disbanded after the elections of 1912.

However, Hawaiian representation in the Legislature continued to be just under 30 – out of a total of 45 (15-Senators and 30-Representatives.) (Report of Secretary of the Interior)

Since ‘contact,’ Hawaiians (especially Hawaiian Aliʻi and Chiefs) had partnered and collaborated with the white foreigners. Kamehameha was successful because of his collaboration with the white foreigners.

Over the years, the growing partnership and collaboration between native Hawaiians and the American Protestant missionaries resulted in the introduction of Christianity, a written Hawaiian language, literacy, constitutional government, Western medicine and an evolving music tradition.

Today, “White residents make up just a quarter of the population — the lowest proportion in the country (which is 66% white overall, according to US Census figures.) Nearly 40% of Hawaiians are classified as Asian, with an additional 9% native Hawaiian. … Hawaii (is) a place where ‘racial and ethnic lines are often blurred or deemed irrelevant.’” (Time)

Our forefathers of different races got along fine; I am not sure what the benefit (or goal) is with repeated slurs and racial rants, today. The Hawaiian nation was overthrown … not the Hawaiian race (it was a constitutional monarchy, not race-limited.)

By international practice and laws, as well as the specific laws and practice of the Hawaiian Kingdom, Hawaiian citizenship in the constitutional monarchy included people of other races (not just native Hawaiians.) Their descendants carry the same right to citizenship as the native Hawaiians.

Yet, to date, apparently, the only people permitted to exercise their rights related to discussions on restoration, reparation, sovereignty, independence, etc related to the Hawaiian nation have been those of one race, the native Hawaiians.

All Hawaiian citizens lost their nation in 1893 … Hawaiian citizens with their varying ethnicities, not just those who descend from those who lived in the Islands prior to 1778.

Why aren’t all Hawaiian citizens included in the recognition and sovereignty discussions and decisions today? And, why don’t people stop the racial focus, name-calling and racial rants (and other inappropriate distractions), and start working together?

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May 14, 2017 by Peter T Young 1 Comment

‘Ūkēkē

“While the ‘ūkēkē was used to accompany the mele and the oli, its chief employment was in serenading and serving the young folk in breathing their extemporized songs and uttering their love-talk— hoipoipo.”

“By using a peculiar lingo or secret talk of their own invention, two lovers could hold private conversation in public and pour their loves and longings into each other’s ears without fear of detection”. (Emerson)

“The ūkēkē was used for amusement as well as for love making and by husbands and wives as well as by those who had illicit love affairs. The tones, though faint, were sufficiently strong to be heard either side of a wall of a grass house.” (Roberts)

“This display of ingenuity has been the occasion for outpouring many vials of wrath upon the sinful ‘ūkēkē.”

“The ‘ūkēkē, the one Hawaiian instrument of its class, is a mere strip of wood bent into the shape of a bow that its elastic force may keep tense the strings that are stretched upon it.”

“These strings, three in number, were originally of sinnet, later after the arrival of the white man, of horsehair. At the present time it is the fashion to use the ordinary gut designed for the violin or the taro-patch guitar.”

“Every ‘ūkēkē seen followed closely a conventional pattern, which argues for the instrument a historic age sufficient to have gathered about itself some degree of traditional reverence”. (Emerson)

Kauila wood was almost universally agreed to be the best wood to make the ‘ūkēkē (however, hau, ʻiliahi (sandalwood,) and other woods were used. Some suggest koa was too firm to make the ‘bow.’) (Roberts)

“One end of the stick is notched or provided with holes to hold the strings, while the other end is wrought into a conventional figure resembling the tail of a fish and serves as an attachment about which to wind the free ends of the strings.”

“No ‘ūkēkē seen by the author was furnished with pins, pegs, or any similar device to facilitate tuning. Nevertheless, the musician does tune his ‘ūkēkē, as the writer can testify from his own observation.” (Emerson)

“The strings of this ‘ūkēkē … are tuned to ē, to b and to d̄. These three strings are struck nearly simultaneously, but the sound being very feeble …”

“… it is only the first which, receiving the sharp impact of the blow, gives out enough volume to make a decided impression.” (Elsner; Emerson)

“When asked to give a sample of his playing on the ‘ūkēkē, he first gave heed to his instrument as if testing whether it was in tune. “

“He was evidently dissatisfied and pulled at one string as if to loosen it; then, pressing one end of the bow against his lips, he talked to it in a singing tone, at the same time plucking the strings with a delicate rib of grass. The effect was most pleasing.”

“The open cavity of the mouth, acting as a resonator, reenforced the sounds and gave them a volume and dignity that was a revelation. The lifeless strings allied themselves to a human voice and became animated by a living soul.” (Emerson)

“There was some stopping of the strings with the fingers, but very little … (u)sually the player struck but one string at a time, alternating between (the strings,) thus producing a little tune.”

“(A)lthough only one was struck, the other string would vibrate in sympathy, so that without the closest attention to the movements of the player’s hand it was most difficult to tell whether it, too, was being struck.” (Roberts)

“Experiment with the ūkēkē impresses one with the wonderful change in the tone of the instrument that takes place when its lifeless strings are brought into close relation with the cavity of the mouth.”

“Let anyone having normal organs of speech contract his lips into the shape of an O, make his cheeks tense, and then, with the pulp of his finger as a plectrum, slap the center of his cheek and mark the tone that is produced.”

“Practice will soon enable him to render a full octave with fair accuracy and to perform a simple melody that shall be recognizable at a short distance. The power and range thus acquired will, of course, be limited by the skill of the operator.”

Mahi La Pierre and the Ūkēkē:

“One secret of the performance lies in a proper management of the tongue. This function of the mouth to serve as a resonant cavity for a musical instrument is familiarly illustrated in the Jew’s-harp.” (Emerson)

However, the ūkēkē was not a Hawaiian Jew’s Harp; the Jew’s Harp is structurally different, with a vibrating tongue fastened to on end of the body and free from the other. (Roberts)

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Ukeke maker Mahi La Pierre plays the Hawaiian musical instrument-StarAdv

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Sketch of Ukeke Stems-Roberts

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August 12, 2015 by Peter T Young 1 Comment

Kīkā Kila

There are three conflicting claims attributing the invention of the steel guitar to three different people: James Hoa, Gabriel Davion and Joseph Kekuku. Of this trio, Kekuku has been the most commonly mentioned as inventor of the steel guitar – and the evidence is impressive. (Kanahele)

Likewise, there are three stories as to how Kekuku started the steel guitar phenomenon: (1) walking along a road, a rusty bolt accidentally vibrated one of the strings, (2) rather than a road, he was walking along the railroad tracks, he picked up a bolt and slid it across the strings and (3) he was playing his hair comb wrapped in tissue paper like a harmonica, with his guitar in his lap, he dropped the comb on the strings causing them to vibrate.

The latter was on the Kamehameha Schools website, where he was student at the time … come to your own conclusion – most credit Kekuku as being the originator.

Kekuku was then inspired to substitute the back of his knife for his comb. Later, in the school shop, Kekuku developed the smooth, steel playing bar used today, and raised the guitar frets so that the bar would glide easily across the strings. He also switched from gut to wire strings for more sustained notes, and designed individual finger picks for the opposing hand. (Hawaiian Music Museum)

Joseph Kekukuʻupena-kanaʻiaupunio Kamehameha Āpuakēhau (Keeper of the nets that surround the kingdom of Kamehameha) (Joseph Kekuku) is credited for inventing the Kīkā Kila, the steel guitar.

In 1993, Joseph Kekuku was inducted into the Steel Guitar Hall of Fame with full honors as the inventor of the Hawaiian steel guitar. In 1995, he was inducted into the Hawaiian Music Hall of Fame.

Kekuku was born (in 1874 or 1875) in Lāʻie at Koʻolauloa on the windward side of Oʻahu, one of a large family of Joseph Kekukupena Āpuakēhau and Miliama Kaopua. At 15, he and his cousin, Sam Nainoa, left for boarding school at Kamehameha Schools in Kalihi.

In 1889, while attending the Kamehameha School for Boys, Kekuku accidentally discovered the sound of the steel guitar. He then performed in school concerts.

That sound has been described as, “”The most beautiful and soothing of all music is brought to us from the South Seas islands of the Pacific and to many the instrumental and vocal music of Hawaiians is by far the sweetest.” (Dover Historical Society)

Kamehameha notes Kekuku was in the class of 1894; in 1904, the left for the American continent performing in vaudeville theaters from coast to coast. His group was ‘Kekuku’s Hawaiian Quintet’ and were sponsored by a management group called ‘The Affiliated.’

In 1909, Seattle was the host city of a world’s fair – the Alaska-Yukon-Pacific Exposition (A-Y-P.) The A-Y-P Exposition featured Joseph Kekuku who apparently intrigued enough fair attendees that he was swamped with requests to give lessons and as a result Kekuku reportedly stuck around town for a while to provide locals with steeling lessons.

In time, Kekuku relocated to Los Angeles where he helped the Hawaiian craze expand, performing and taking on students, one of whom – Myrtle Stumpf – went on to produce the first-ever tutorial course, a 68-page classic booklet titled: the Original Hawaiian Method for Steel Guitar. (Blecha)

The Panama-Pacific International Exposition in San Francisco in 1915 provided another showcase and fueled the Hawaiian Music craze across the country. The Hawaiian Pavilion was built; there were Hawaiian shows several times a day.

Joseph Kekuku was a guest artist. The impact of this expo was phenomenal. It was followed by an instant boom in Hawaiian recordings (which outsold all other pop music recordings), Hollywood movies with Hawaiian themes, formation of new Hawaiian musical groups, and demand for instruction on steel guitar. (Bocchino)

“Mr Kekuku has appeared in the one hundred and twenty-five largest cities of America. Over one million people have heard him play. It is not uncommon for Mr Kekuku to play five encore numbers for each regular selection presented. His audiences seem never to tire of the beautiful music.” (Promotional Brochure)

“Kekuku’s Hawaiian Quintet, bringing with them a breath of the Paradise Isles will be the main feature of the closing day (at Chautauqua, Lompoc Opera House.) The honey-sweetness and soft witchery of the languorous music of the Hawaiians curl around the heart of the listener like the invisible tendrils of a dream.”

“The key to this irresistible whispering hum-like effect in stringed music is in the hands of Joseph Kekuku of Kekuku’s Hawaiian Quintet, premier Hawaiian players and singers of the original Toots Paka, Alisky and Bird of Paradise Companies.”

“Mr, Kekuku is the originator of the celebrated steel method of guitar playing, the most bewitching note yet sounded in instrumental music. The members of Kekuku’s Hawaiian Quintet are: Joseph Kekuku, steel method guitar; Henry Aaka, basso, harpguitar; Alfred Weila, baritone, ukulele; Gaby Kalau, tenor, guitar, taropatch.” (Lompoc Journal, May 19, 1916)

Kekuku later joined the Bird of Paradise show that toured Europe from 1919 to 1927 (he was probably the first to play steel guitar on that continent.)

“Like the New York Times columnist who admired the ‘scenic beauty’ of The Bird of Paradise, most critics appreciated the production’s impressive staging. The inclusion of native Hawaiian musicians proved equally critical to the show’s success, and their music became a key selling point.”

“Enthusiastic reviewers of the musicians and the music of The Bird of Paradise commended ‘the native musicians who make the haunting musical interpolations of their own land’ and drew attention to the distinctive ‘threnody of the ukulele and the haunting, yearning cry of steel pressed against the strings of the guitar.” (Garrett)

He returned to the United States at the age of 53 and first settled in Chicago; around 1930, he left Chicago and visited Dover, New Jersey (he later moved to Dover – he was often referred to as “The Hawaiian.”) (Bocchino)

On January 16, 1932 at the age of 58 Joseph Kekuku died in Morristown of a brain hemorrhage; he is buried in the Orchard Street Cemetery, Dover, New Jersey.

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