Mai Ka Mole Mai: from the source towards an analysis of Hawaiian language literature (original) (raw)

He Lei Ho'oheno no na Kau a Kau: Language, Performance and Form in Hawaiian Poetry

The Contemporary Pacific, 2005

Hawaiian poetry is the poetry produced by Känaka Maoli (Native Hawaiians), the indigenous inhabitants genealogically connected to the archipelago known to the world as Hawai'i. 1 It is not regional in nature, that is, it is not simply the product of anyone who claims Hawai'i as home. Nor is it thematic; it is not just any poem about Hawai'i. Since European contact in 1778, differing cultural values have informed Hawaiian poetry. Surprisingly little attention has been given to the ways in which Hawaiian poetry has been categorized and studied from either haole (western) or maoli (indigenous) perspectives. This article is an examination of contemporary Hawaiian poetry, with special attention to issues of language, performance, and form. I focus on contemporary Hawaiian poetry written, recorded, and published over the past twenty years by Kanaka Maoli poets, whether composed in English, Hawaiian, Hawai'i Creole English (hce), or combinations of these languages. 2 The purpose of this analysis is to demonstrate the different strands of cultural and linguistic influence that have helped to shape the development of this dynamic genre of contemporary Hawaiian artistic expression. Because of the diversity of influences on contemporary Hawaiian poetry, I suggest that a lei is an appropriate metaphor for it. The development of Hawaiian verbal arts, orature, and literatureincluding Hawaiian poetry-can be defined in many ways. For example, in the 1970s, Hawaiian language scholar Rubellite Kawena Johnson established different periods and categories for Hawaiian verbal and written arts (see Johnson 2001). In 1980, English professor Leialoha Apo Perkins contextualized the development of Hawaiian literature as a Pacific-linked

Early Hawaiian Newspapers and Kanaka Maoli Intellectual History, 1834–1855

2008

Ua hänau ‘ia ‘o Iokepa Badis ma Mäkaha, i O‘ahu nei. He moho ‘o ia i ke këkelë laeo‘o ‘ölelo Hawai‘i ma ke Kulanui o Hawai‘i ma Mänoa. ‘O ke ola o ka mea këkau ‘o Kahikina Kelekona (‘o John Sheldon kekahi inoa ona) ke kumuhana o käna pepa muli puka laeo‘o. He puni ‘o ia i ka hana noi‘i i loko o ka nupepa kahiko. [Iokepa Badis was born in Mäkaha, O‘ahu. He is currently a candidate for a Master’s degree in Hawaiian at the University of Hawai‘i at Mänoa. His thesis is a biography of Kahikina Kelekona ( John Sheldon). His research interest is Hawaiian language newspapers.]

Palapala: a journal for Hawaiian language and literature

Palapala, he puke pai no ka 'ōlelo me ka mo'olelo Hawai'i Palapala, a journal for Hawaiian language and literature Welina / Greetings 'Auhea 'oukou e nā makamaka heluhelu o Palapala mai 'ō a 'ō o ka hulipoepoe nei, nā haumāna, nā kumu, nā mea noi'i, nā polopeka, nā mea hoihoi wale a pau i ka lu'u 'ana iho a loa'a mai ka i'a hohonu o ka 'ike o nā kai 'ewalu, nā kupa o ka 'āina, nā hoa aloha i malele a'e mai ka lā hiki a ka lā kau, aloha 'oukou! Greetings to our Palapala readers-wherever you may be-students, teachers, researchers, and all who seek deeper knowledge of the language and literature of Hawai'i. We salute you, the citizens of Hawai'i, and all our friends from the rising to the setting of the sun. Here is our aloha to you.

Pu'a i ka 'Olelo, Ola ka 'Ohana: Three Generations of Hawaiian Language Revitalization

Online Submission, 2007

In the early 1980s, the Hawaiian language had reached its low point with fewer than 50 native speakers of Hawaiian under the age of 18. Outside of the Niÿihau community, a small group of families in Honolulu and Hilo were raising their children through Hawaiian. This article shares the perspectives of three pioneering families of the Hawaiian language revitalization movement over one generation of growth, change, and transformation. Our living case study stands as a testament for other Hawaiian language families who have endured the challenges of revitalizing the Hawaiian language as the living language of the home, school, and community. The article also celebrates the legacy of the Hawaiian language movement upon the 20th-year anniversary of Hawaiian-medium education within the public sector.

Tūtū's Hawaiian and the Emergence of a Neo Hawaiian Language

unpublished version, with revisions, of the article of the same name published in ‘Ōiwi: A Native Hawaiian Journal, 2005

Since the release of Keao NeSmith’s Masters paper (University of Hawaii at Manoa, 2002) of the same title, a seminal work discussing the rise of classroom 2nd-language speakers of Hawaiian and the decline of intergenerational native speakers, similar papers on neo language as a result of language revitalization in various parts of the world have emerged, from Masashi Sakihara’s Emergence of a Neo Okinawan and Extinction of Ancestral Languages (2015) to Oliver Mayeux’s Rethinking Decreolization: Language Contact and Change in Louisiana Creole (2019), to Steve Hewett’s The Problem of Neo Speakers in Language Revitalization: The Example of Breton (2020). More specifically, NeSmith’s proposition of neo Hawaiian and examples from Tūtū’s Hawaiian are referenced in Albert Schütz's book, Hawaiian Language Past, Present, Future (2020) and Ghil’ad Zuckermann’s book, Revivalistics (2020). NeSmith’s subsequent PhD thesis, The Teaching and Learning of Hawaiian in Mainstream Contexts: Time for Change? (University of Waikato, New Zealand, 2012), explored how neo language in the Hawaiian context emerges in classroom settings, and his paper, Take My Word: Mahalo no i To’u Matua Tane (2019) discusses the juxtaposition of 2nd-language speaker dominant domains and the Niihau community of Hawaiian speakers. Tūtū’s Hawaiian raises questions and issues that merit further research from all angles of scholarship regarding how today’s generation can come to terms with the loss of native speaker role models and acceptance of reifications of severely endangered languages like Hawaiian, with authors such as Laiana Wong and his paper, Authenticity and the Revitalization of Hawaiian (1999), leading such inquiries. Tūtū’s Hawaiian is offered as a memorial to the mother tongue of native speakers of Hawaiian in the traditional sense and applause to the forward movement of the modern, reified Hawaiian deriving from classrooms among 2nd-language speakers. Together we are writing the future history of the Hawaiian people.

ALOHA 'ĀINA The Native Hawaiian Issue

Hawaiʻi Review, 1989

Hawaiʻi Review - Issue 27, Vol. 13, No. 3 - Fall 1989 Leialoha Apo Perkins The ʻUlupalakua Men P. Delos Santos Pohaku’s Dream Adam Campbell Thirty Calibre Kathleen Ngit Jun Young Digging For Lotus Roots Brenda Pualani Santos Legends Poetry Mahealani Ing Keauhou (Song of Renewal) Dana Naone Hall The House of Light Chris K. Taniguchi One Long Blast Joseph P. Balaz Three Concrete Poems Hoʻoipo DeCambra Two Poems Kū Kahakalau ʻO Kahoʻolawe I Ka Malie Chauncey Carter Two Poems Wayne Westlake Two Concrete Poems Phyllis Coochie Cayan Hakioawa Bay Les Awana The Brand New Day Kalina Aloha Ka Wai o Kulanihakoʻi Tamara Wong-Morrison Two Poems John Dominis Holt Kaʻili Pau ʻImaikalani Kalāhele Two Poems and Art Michael McPherson Two Poems Chant Jonah Hauʻoli Akaka Oli Mānoa Song David M. Kupele and Puanani Kini The Larry Ching Swing Nonfiction Larry L. Kimura The Revitalization of The Hawaiian Language Kekuni Blaisdell “Hawaiian” vs. “Kanaka Maoli” as Metaphors Keith Keeaumoku Mews Ka Liona Hae O, Ka Pakipika (The Roaring Lion of the Pacific) Notes on Contributors