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Hawaii Aloha
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"Hawaiʻi Aloha," also called "Kuʻu One Hanau," is a revered anthem of the native Hawaiian people and Hawaiʻi residents alike. Written by the Reverend Lorenzo Lyons, (1807–1886), also known as Makua Laiana, a Christian minister who died in 1886, to an old hymn, "I Left It All With Jesus," composed by James McGranahan (1840–1907), "Hawai‘i Aloha" was considered by the Hawaiʻi State Legislature in 1967 and by the Hawaiʻi State Constitutional Convention in 1978 to become the official state song, but "Hawaiʻi Pono‘ī," written by King David Kalākaua and composed by Royal Hawaiian Band Master Henri Berger, was chosen instead.
"Hawaiʻi Aloha" is typically sung in both small and large, formal and informal gatherings, both in Hawaiʻi and abroad, while participants stand in a circle with joined hands. It is a feature of the inauguration of the Governor of Hawaiʻi (called Ke Kiaʻaina), and the opening sessions of the Hawai‘i State House of Representatives and Hawaiʻi State Senate. Traditionally, the last chorus is sung with hands raised above heads; the act of raising hands is especially important to advocates of the Hawaiian sovereignty movement.
E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaīwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ēO Hawaiʻi, O sands of my birth
My native home
I rejoice in the blessings of heaven
O Hawaiʻi, aloha.Hui:
E hauʻoli e nā ʻōpio o Hawaiʻi nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai nei
Mau ke aloha, no HawaiʻiChorus:
Happy youth of Hawaiʻi
Rejoice! Rejoice!
Gentle breezes blow
Love always for Hawaiʻi.E haʻi mai kou mau kini lani e
Kou mau kupa aloha, e Hawaiʻi
Nā mea ʻōlino kamahaʻo no luna mai
E Hawaiʻi aloha ē
(hui)May your divine throngs speak
Your loving people, O Hawaiʻi
The holy light from above
O Hawaiʻi, aloha.
(chorus)Nā ke Akua e mālama mai iā ʻoe
Kou mau kualono aloha nei
Kou mau kahawai ʻōlinolino mau
Kou mau māla pua nani ē
(hui)God protects you
Your beloved ridges
Your ever glistening streams
Your beautiful flower gardens.
(chorus)
Notable performances
[edit]"Hawaiʻi Aloha" was sung by the Kamehameha Boys' Concert Glee Club at the 1968 funeral services for Duke Kahanamoku.[1] The arrangement included nose flute, chanting, and organ accompaniment.[1]
References
[edit]- ^ a b Wharton, Nadine (January 27, 1968). "Island gods bid farewell to the Duke". Honolulu Star-Bulletin. Retrieved March 23, 2025 – via Newspapers.com.
External links
[edit]Listen to an excerpt: (The Rose Ensemble) https://www.youtube.com/watch?v=jS3DcFwPsac
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Hawaii Aloha
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Origins and Composition
Historical Context
The arrival of American Protestant missionaries in the Hawaiian Islands beginning in 1820 marked a pivotal shift in the 19th-century cultural landscape, as they developed a written orthography for the Hawaiian language, enabling widespread literacy among Native Hawaiians by the mid-century.[7] This effort, led by organizations like the American Board of Commissioners for Foreign Missions, facilitated the translation of religious texts and hymns into Hawaiian, adapting Christian worship to local contexts while promoting education.[8] Rev. Lorenzo Lyons, a missionary from New York born in 1807, exemplified this integration upon his arrival on May 17, 1832, aboard the Averick as part of the fifth missionary company; he settled in Waimea, South Kohala, on the island of Hawai'i by July 16, replacing Rev. Dwight Baldwin and serving there for 54 years until his death in 1886.[9][10] Lyons rapidly achieved fluency in Hawaiian and became a staunch advocate for its preservation, diverging from some contemporaries who favored suppressing the language in favor of English to accelerate assimilation.[10] He contributed to linguistic scholarship by revising early dictionaries and translating portions of the Bible, while composing over 900 hymns—many original—to embed Christian doctrine within Hawaiian poetic traditions, thereby bolstering literacy and cultural continuity.[9] In 1872, he published Ka Buke Himeni Hawai'i, a hymnal containing more than 600 entries, two-thirds of which were his own compositions, reflecting the era's emphasis on vernacular religious expression amid missionary-driven revivals.[10] By 1878, Lyons publicly defended Hawaiian as a "grand old, sonorous, poetical" tongue in correspondence, countering pressures for its displacement during a time when English-medium schools proliferated.[9] The creation of "Hawai'i Aloha" emerged around 1852 within this milieu, as Lyons adapted hymn structures to evoke affection for the islands, aligning with broader efforts to sustain Hawaiian identity following the 1840 Constitution's establishment of a constitutional monarchy under Kamehameha III.[9] This framework introduced Western legal and economic reforms, yet intensified cultural tensions as foreign influences grew, prompting native leaders and sympathetic missionaries like Lyons to foster expressions blending Christianity with indigenous sentiment.[10] During Kamehameha IV's reign (1855–1863), which emphasized native welfare and resisted unchecked Westernization, such compositions served local needs by reinforcing communal bonds through familiar hymnody, even as the kingdom navigated transitions toward modernization.[11]Lyrics Development
Reverend Lorenzo Lyons, a missionary stationed at Waimea on the island of Hawaiʻi since 1832, composed the lyrics of "Hawaiʻi Aloha" in the Hawaiian language sometime between 1879 and 1886, tailoring them to fit the melody of the gospel hymn "I Left It All With Jesus."[12] As a prolific hymn writer who authored or translated hundreds of mele himeni, including over 400 in his 1872 collection Buke Himeni Hawaiʻi, Lyons drew from biblical motifs of farewell, divine guardianship, and communal devotion, adapting them to evoke steadfast love for the Hawaiian archipelago.[2] This localization transformed abstract Christian sentiments into praises of the land's physical features—such as verdant hills, flowing streams, and sparkling seas—and prayers for the people's enduring prosperity and unity under God's protection.[12] Central to the lyrics is the refrain "Hawaiʻi anō e," a resolute invocation for the islands to "stand firm" or "rise again," reflecting Lyons' intent to instill resilience amid existential pressures on Native Hawaiians, including foreign economic and political encroachments following the 1875 Reciprocity Treaty and recurrent epidemics that halved the population from approximately 84,000 in 1832 to around 40,000 by the 1890s.[12] Diseases like the 1853 smallpox outbreak, which killed up to 10,000 Native Hawaiians, and ongoing leprosy cases prompting the Kalaupapa quarantine from 1866 onward, underscored the vulnerability Lyons addressed through themes of aloha as protective affection for both 'āina (land) and lāhui (people).[13] His writings emphasized this aloha not as mere sentiment but as a covenant-like bond invoking heavenly favor to sustain cultural and demographic continuity.[2] The crafting process involved iterative adjustments for phonetic flow and congregational usability, as evidenced by textual variants in early printings: the lyrics first paired with the tune appeared in the December 11, 1886, issue of Ka Nupepa Puka La Kuokoa, shortly after Lyons' death, with subsequent versions in hymnals like Na Mele o Ziona (1924) showing refined phrasing for syllable alignment and melodic emphasis in church and community gatherings. These modifications prioritized singability among Hawaiian speakers, ensuring the verses' rhythmic cadence supported oral transmission while embedding calls for moral and spiritual fortitude against external disruptions.Musical Adaptation
The melody for "Hawai'i Aloha" derives from the American gospel hymn tune "I Left It All with Jesus," composed by James McGranahan (1840–1907) in the late 1870s, originally paired with English lyrics by Ellen H. Willis expressing Christian surrender.[12][5] McGranahan, a prominent evangelistic singer and composer associated with Dwight L. Moody's campaigns, published the tune in collections like Gospel Hymns No. 4 around 1879, reflecting the era's widespread reuse of hymn melodies across denominations without formal copyright enforcement.[12] Missionary Lorenzo Lyons (1807–1886), stationed in Waimea on Hawai'i Island since 1832, repurposed this Western tune for his Hawaiian-language composition, a common adaptation strategy in 19th-century Protestant mission work to indigenize Christian worship amid Hawai'i's oral culture.[12][2] Initial versions omitted attribution to McGranahan, aligning with hymnody norms where tunes circulated freely; credit appeared only later, such as in the 1972 hymnal Nā Himeni Haipule Hawaiʻi.[12] The adaptation occurred post-1879 but before Lyons's death on October 6, 1886, enabling its dissemination in church settings during the Hawaiian Kingdom era (pre-1893 overthrow), where missionaries fostered choral singing to convey scripture.[12] This non-native melody integrated seamlessly into Hawaiian tradition through group vocal practices emphasizing harmony and breath-aligned phrasing, distinct from the original's brisker evangelical style, as evidenced by its persistence in mission-influenced congregations and eventual hymnal inclusion—lyrics first in Ka Nupepa Kūʻokoʻa (December 11, 1886), words-only in Nā Mele o Ziona (1924, hymn 222), and full notation in Simple Songs for Little Singers (1931).[12][15] Despite its Protestant roots, the tune's adaptability supported oral transmission in Native Hawaiian communities, evolving into a cultural staple beyond ecclesiastical use.[12]Lyrics and Translation
Original Hawaiian Lyrics
The original Hawaiian lyrics of "Hawaiʻi Aloha," authored by Reverend Lorenzo Lyons circa 1860 as a poem later adapted to music, consist of three verses and a repeating chorus, evoking themes of birthplace, heavenly blessings, divine protection, and joyful winds over the land.[16] These lyrics have been preserved through early Hawaiian hymnals and missionary publications, maintaining fidelity to the 19th-century orthography Lyons employed.[1] Verse 1E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaīwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ē[1] Chorus
E hauʻoli e nā ʻōpio o Hawaiʻi nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai
E Hawaiʻi, aloha ē[1] Verse 2
E haʻi mai kou mau kini lani ē
Kou mau hana i nā lani
E mālama ia nei kuʻu ʻāina
E Hawaiʻi, aloha ē[1] (Chorus repeats) Verse 3
Hāʻawi mai nō ke Akua mālama
I kou aloha i nā lani
E mālama ia nei kuʻu ʻāina
E Hawaiʻi, aloha ē[1] (Chorus repeats) Standard modern Hawaiian orthography, as used above, incorporates the ʻokina (ʻ) to denote the glottal stop—a brief pause akin to the sound in the English "uh-oh"—and the kahakō (¯) over vowels to indicate length and stress, rendering the text highly phonetic for readers familiar with the language's consistent vowel sounds (similar to those in Romance languages: a as in "father," e as in "bet," i as in "machine," o as in "or," u as in "boot").[17] Lyons' composition reflects the Hawaiian dialect prevalent in the 1870s among native speakers and missionaries, with vocabulary and phrasing that support ongoing language preservation by exemplifying period-specific usage in printed form.[10]
English Translation and Interpretation
A literal word-for-word English rendering of the first verse translates as: "Hawaiʻi my birth sands / My beloved native home / Joyful indeed am I in your heavenly righteousnesses / Beloved Hawaiʻi."[18] The chorus follows: "Happy the youth of beloved Hawaiʻi / Rejoice! Rejoice! / Come the gentle wind that blow here / Forever the Aloha for Hawaiʻi."[18] Subsequent verses extend this pattern, petitioning divine safeguarding over the land's features—"God protects you / Beloved ridges / Glittering streams / Fair the gardens"—while emphasizing perpetual love amid natural and spiritual elements.[3] These lyrics, composed by missionary Lorenzo Lyons, originally channeled evangelistic aims through Christian motifs of heavenly blessings and protection, adapting the tune from the gospel hymn "I Left It All with Jesus" to promote faith among Hawaiians.[12] The "heavenly righteousnesses" and calls for divine multitudes reflect doctrinal pleas for providence, rooted in Lyons' role translating over 900 hymns to advance Protestant conversion efforts in Waimea from 1832 onward.[1] Hawaiians, however, adapted the song's expressions of birthplace attachment and enduring aloha into markers of secular cohesion, decoupling overt religiosity to foster unity against external pressures. This repurposing aligned with native responses to causal shifts like the 1875 Reciprocity Treaty, which granted duty-free U.S. sugar access and spiked exports from nearly 18 million pounds in 1875 to 21 million by 1876, fueling plantation expansion but entrenching economic dependence on American interests and eroding monarchical sovereignty.[19] The resilience invoked in pleas for land protection thus mirrored empirical vulnerabilities—booming trade yielding foreign land control—without implying divine favoritism, as native usage emphasized cultural endurance over Lyons' theological frame.[2]Cultural and Social Role
Adoption in Hawaiian Gatherings
Following its composition around 1858 by Rev. Lorenzo Lyons, a missionary on the Island of Hawai'i, "Hawai'i Aloha" initially circulated in church hymnals and services, gradually extending to informal community settings through oral transmission and printed collections.[12] By the late 19th century, mentions in Hawaiian-language newspapers like Ka Nupepa Kuokoa documented its performance alongside other mele, reflecting integration into native repertoires without institutional mandate.[20] After the 1893 overthrow of the Hawaiian monarchy, the song appeared in lū'au and hui (club) meetings as a voluntary expression of attachment to the land, distinct from state-imposed symbols like "Hawai'i Pono'i." Historical analyses of native resistance and cultural persistence highlight its role in these grassroots contexts, where participants sang it to evoke shared identity amid annexation pressures.[10] This organic diffusion contrasted with top-down anthems, as its hymn-derived melody and lyrics resonated through personal and communal choice rather than decree. In the territorial era (1900–1959), "Hawai'i Aloha" reinforced social bonds at Big Island gatherings, including family feasts and community assemblies, where accounts describe collective singing to conclude events and affirm aloha 'āina.[21] Unlike formalized patriotic exercises, its near-universal inclusion in such settings—evident in oral traditions and event descriptions—stemmed from voluntary participation, yielding sustained adoption across Hawaiian social life without recorded coercion.[22]Significance in State and Community Events
In 1967, the Hawaii State Legislature evaluated "Hawaiʻi Aloha" as a candidate for the official state song following Hawaii's admission to the Union in 1959, but selected "Hawaiʻi Ponoʻi"—the former royal anthem composed by King David Kalākaua—instead, designating it under Hawaii Revised Statutes §5-10.[4][23] Absent codified status, "Hawaiʻi Aloha" emerged as an unofficial "people's hymn," embodying collective sentiment in semi-official capacities without supplanting the legal anthem.[4] The song holds a staple role in University of Hawaiʻi at Mānoa events, including athletic contests and commencements, where audiences customarily link hands during performances to signify solidarity.[4] In political rallies and state-sponsored commemorations, it concludes proceedings as a gesture of unity, distinct from "Hawaiʻi Ponoʻi" yet complementary in evoking attachment to the land among Hawaii's multiethnic populace.[4][24] Its recurrence in these contexts underscores a cultural preference for the hymn's accessible, emotive qualities over the more formal "Hawaiʻi Ponoʻi," with legislative records from 1967 reflecting debates on balancing historical precedence with grassroots appeal.[4]Performances and Recordings
Early and Traditional Performances
Rev. Lorenzo Lyons, a Congregational missionary stationed at Imiola Church in Waimea, Hawaiʻi, from 1832 until his death, composed the lyrics to "Hawaiʻi Aloha" as a hymn intended for local church use during the 1870s and 1880s.[9] Initial renditions occurred within these church services, reflecting Lyons' efforts to integrate Hawaiian language and themes into missionary worship, as supported by accounts of his prolific hymn-writing for the congregation.[10] The song's lyrics first appeared in print in Hawaiian newspapers shortly after Lyons' death on October 6, 1886, confirming an established oral tradition of performance in Waimea prior to publication, as noted in contemporary missionary and periodical records. During the Hawaiian monarchy period (up to 1893), choral groups incorporated the hymn into public gatherings, including Kamehameha Day observances, where historical news clippings document its role in community singing events emphasizing aloha ʻāina sentiments.[25] In the territorial era (1898–1959), "Hawaiʻi Aloha" adapted to morale-boosting contexts, particularly following the December 7, 1941, attack on Pearl Harbor, with U.S. military and civilian archives recording its use in interfaith and community assemblies to foster unity amid wartime uncertainty.[26] These pre-1950 performances maintained the song's choral, a cappella style, often led by church groups or school ensembles, underscoring its continuity as a vernacular expression of Hawaiian resilience without formal sheet music until later hymnal inclusions.[27]Modern and Notable Interpretations
In the 1970s, during the Hawaiian Renaissance, slack-key guitar recordings revitalized traditional Hawaiian music, including instrumental adaptations of "Hawaiʻi Aloha" that emphasized melodic fingerpicking in open tunings. Artists like Gabby Pahinui, whose 1972 album Gabby captured the essence of this revival through live and studio sessions, helped popularize such versions, blending acoustic guitar with subtle vocal harmonies to evoke the song's contemplative spirit.[28][29] A landmark modern collaboration, the 2016 "Song Across Hawaiʻi" by Playing For Change, united dozens of Hawaiʻi artists across genres with over 1,000 youth from 10 charter schools, recorded in a multi-location effort that produced a unified choral rendition streamed widely online.[30] This project highlighted the song's communal appeal, garnering millions of YouTube views and demonstrating its adaptability to large-scale, youth-involved performances.[30] Notable live events include annual performances at the Merrie Monarch Festival, held since 1963 in Hilo, where hula ensembles often close competitions with "Hawaiʻi Aloha" in group settings.[31] In 2025, a farewell concert for the closing of Aloha Stadium on October 25 drew thousands, featuring Henry Kapono with guests like Brother Noland, Mānoa DNA, and Kimié Miner in a multi-act tribute that underscored the venue's 47-year history of hosting Hawaiian music events.[32][33] Variations range from a cappella choral arrangements, such as those by ensembles emphasizing vocal purity and harmony without accompaniment, to instrumental slack-key renditions that prioritize guitar improvisation.[3] Streaming data reflects enduring reception, with popular versions like Israel Kamakawiwoʻole's live "Hawaiʻi Aloha" accumulating over 166,000 YouTube views, while broader playlists and covers exceed millions collectively, indicating sustained digital engagement.[34]Legacy and Impact
Influence on Hawaiian Identity
"Hawaiʻi Aloha, composed in the Hawaiian language by missionary Lorenzo Lyons in the mid-19th century, contributed to the preservation of Native Hawaiian linguistic and cultural elements amid missionary influences. As a hymn integrated into printed religious materials, it exemplified Native Hawaiian agency in adapting Western tools for endogenous expression, aligning with broader efforts that elevated literacy rates from near zero in 1820 to over 90% by the 1830s through the dissemination of Hawaiian-script texts like Bibles and hymnals.[35][36] This rapid literacy surge, driven by Native Hawaiian participation in education and printing, enabled the song's lyrics—expressing aloha ʻāina (love of the land)—to reinforce language retention and oral traditions despite colonial pressures.[37] Post-1893 overthrow of the Hawaiian monarchy and following 1959 statehood, Hawaiʻi Aloha emerged as a unifying symbol fostering pan-ethnic Hawaiian identity, transcending divisions by evoking shared birthplace affection without supplanting indigenous practices.[38] Native Hawaiians incorporated it into community rituals and sovereignty advocacy, adapting the hymn's chorus gestures—such as raising hands—to signify collective resilience and land stewardship, thereby demonstrating cultural continuity rather than erasure.[5] This embrace in movements seeking self-determination underscores Native agency in repurposing the song to assert identity amid political transitions, as evidenced by its persistent role in gatherings that blend pre-contact values with modern expressions.[39] The song's dissemination through tourism from the mid-20th century onward amplified Hawaiian identity's global projection, serving as an emotional conduit in performances that reinforced cultural authenticity for both locals and visitors. By the 1980s, as tourism comprised over 20% of Hawaii's GDP, Hawaiʻi Aloha's inclusion in visitor experiences helped sustain Native Hawaiian narratives of place-based belonging, countering assimilation by embedding aloha ʻāina in exported imagery.[40] This economic-cultural linkage, while tied to mass visitation growth from under 700,000 arrivals in 1965 to nearly 5 million by 1985, highlighted the song's function in bolstering identity resilience through widespread resonance.[41]Criticisms and Debates
Some Hawaiian sovereignty advocates have expressed reservations about "Hawaiʻi Aloha" owing to its composition by Rev. Lorenzo Lyons, a Protestant missionary who arrived in Hawaiʻi in 1832 and whose work reflects the broader influence of 19th-century missionary efforts on Hawaiian society.[9] These critiques sometimes link missionary cultural impositions, including hymn-writing, to the erosion of indigenous practices and the eventual 1893 overthrow of the monarchy by forces including missionary descendants, though direct causal evidence tying Lyons or the song to political subversion remains absent, with associations largely correlational.[42][43] Debates over the song's authenticity occasionally arise among cultural purists, who contrast its Western hymnal structure—set to the tune of a Scottish melody—with pre-contact Hawaiian chants (mele oli), arguing it represents a hybridized form imposed during the missionary era rather than purely indigenous expression.[44] Such claims, however, are infrequent and outweighed by the song's empirical integration into Native Hawaiian practices, where it functions as a unifying anthem evoking love for the land (aloha ʻāina) and is routinely performed at community gatherings, legislative sessions, and even sovereignty-related events.[45][11] There is no evidence of widespread rejection or organized boycotts of "Hawaiʻi Aloha" within Hawaiian communities, with criticisms appearing confined to niche activist discourses rather than broader cultural discourse; its continued invocation in the 2020s, including at events affirming Hawaiian resilience, underscores sustained majority acceptance despite historical origins.[38][46]References
- https://evols.[library](/page/Library).manoa.hawaii.edu/bitstreams/48914ef6-955a-47cb-8713-1cc8a84c58f6/download