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Hawaiian Renaissance
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Hawaiian Renaissance
The Hawaiian Renaissance (also called the Hawaiian Cultural Renaissance) was the Hawaiian resurgence of a distinct cultural identity that draws upon traditional Kānaka Maoli culture, with a significant divergence from the tourism-based culture which Hawaiʻi was previously known for worldwide (along with the rest of Polynesia). The Hawaiian Renaissance has been pointed to as a global model for biocultural restoration and sustainability.
The First Hawaiian Renaissance had its foundation in the nationalist sentiments of King Kamehameha V. At the time Hawaii was an independent kingdom. The intention was to form a contemporary national identity rather than modeling Hawaii after Great Britain and the culture of the United States. King Kalākaua had a controversial rise to power due to the internal conflicts between family lineage. One half of the island wanted Kalākaua, whereas the other half cheered for his competitor[who?]. The result spread tension between the people themselves, but most came to favor Kalākaua as he brought back Hawaiian culture to urban areas.
Kalākaua took steps to perpetuate nationalism, replacing the considerably Christian national anthem He Mele Lahui Hawaii with Hawaiʻi Ponoʻī in 1876, inspired by Kamehameha I. He had the aged ʻIolani Palace rebuilt, starting in 1879 and finishing in 1882.
Despite early efforts to earn favor with the haole people, growing views he was putting his people over the others continued. The Hawaiian people loved him; however, missionaries' descendants did not enjoy dealings with Kalākaua. The missionaries' descendants had gained power in Hawai'i by buying land. They were influential enough on the island that they held advisory positions to Kalākaua, though the king didn't always agree with their opinions. He always put his people first, and that sometimes meant denying missionaries' ideas.[citation needed]
Kalākaua spent three years planning his second coronation in 1883 to try and ease racial tensions between the Hawaiians and the haoles, and 8,000 people attended. Kalākaua sponsored several traditional Hawaiian practices such as hula (which had been banned in 1830 by queen regent Kaʻahumanu as part of the effort to uproot Hawaiian traditional religion and impose Christianity on Hawaii), chants, sports, and royal rituals. He also had Hawaiian myths, legends, and chants recorded in media such as the Kumulipo and had his genealogy traced.
The Second Hawaiian Renaissance is considered to have started in 1970 and drew from similar cultural movements from the late 1960s and early 1970s. It is mostly known for its music, such as Gabby Pahinui and his work with the Sons of Hawaii or Keola, and Kapono Beamer's traditionalist slack-key music and signature twin-hole guitar designs constructed at the Guitar and Lute Workshop. Other noted Hawaiian musicians who played an integral role in the renaissance were Dennis Pavao, Ledward Kaʻapana, and Nedward Kaʻapana. The Kaʻapana brothers, along with their cousin Pavao, formed the falsetto trio Hui ʻOhana. The musical group Olomana also contributed to the music of this period with songs like 'O Malia' and 'Mele O Kahoolawe'.
This period in Hawaiian history is also associated with a renewed interest in the Hawaiian language, Pidgin, hula, traditional Hawaiian crafts, Hawaiian studies, and other cultural items.
This increase in Hawaiian self-identity was inspired by the 1964 essay "On Being Hawaiian" by writer John Dominis Holt, IV, who brought pride back to being Hawaiian after decades of negative stereotypes.
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Hawaiian Renaissance
The Hawaiian Renaissance (also called the Hawaiian Cultural Renaissance) was the Hawaiian resurgence of a distinct cultural identity that draws upon traditional Kānaka Maoli culture, with a significant divergence from the tourism-based culture which Hawaiʻi was previously known for worldwide (along with the rest of Polynesia). The Hawaiian Renaissance has been pointed to as a global model for biocultural restoration and sustainability.
The First Hawaiian Renaissance had its foundation in the nationalist sentiments of King Kamehameha V. At the time Hawaii was an independent kingdom. The intention was to form a contemporary national identity rather than modeling Hawaii after Great Britain and the culture of the United States. King Kalākaua had a controversial rise to power due to the internal conflicts between family lineage. One half of the island wanted Kalākaua, whereas the other half cheered for his competitor[who?]. The result spread tension between the people themselves, but most came to favor Kalākaua as he brought back Hawaiian culture to urban areas.
Kalākaua took steps to perpetuate nationalism, replacing the considerably Christian national anthem He Mele Lahui Hawaii with Hawaiʻi Ponoʻī in 1876, inspired by Kamehameha I. He had the aged ʻIolani Palace rebuilt, starting in 1879 and finishing in 1882.
Despite early efforts to earn favor with the haole people, growing views he was putting his people over the others continued. The Hawaiian people loved him; however, missionaries' descendants did not enjoy dealings with Kalākaua. The missionaries' descendants had gained power in Hawai'i by buying land. They were influential enough on the island that they held advisory positions to Kalākaua, though the king didn't always agree with their opinions. He always put his people first, and that sometimes meant denying missionaries' ideas.[citation needed]
Kalākaua spent three years planning his second coronation in 1883 to try and ease racial tensions between the Hawaiians and the haoles, and 8,000 people attended. Kalākaua sponsored several traditional Hawaiian practices such as hula (which had been banned in 1830 by queen regent Kaʻahumanu as part of the effort to uproot Hawaiian traditional religion and impose Christianity on Hawaii), chants, sports, and royal rituals. He also had Hawaiian myths, legends, and chants recorded in media such as the Kumulipo and had his genealogy traced.
The Second Hawaiian Renaissance is considered to have started in 1970 and drew from similar cultural movements from the late 1960s and early 1970s. It is mostly known for its music, such as Gabby Pahinui and his work with the Sons of Hawaii or Keola, and Kapono Beamer's traditionalist slack-key music and signature twin-hole guitar designs constructed at the Guitar and Lute Workshop. Other noted Hawaiian musicians who played an integral role in the renaissance were Dennis Pavao, Ledward Kaʻapana, and Nedward Kaʻapana. The Kaʻapana brothers, along with their cousin Pavao, formed the falsetto trio Hui ʻOhana. The musical group Olomana also contributed to the music of this period with songs like 'O Malia' and 'Mele O Kahoolawe'.
This period in Hawaiian history is also associated with a renewed interest in the Hawaiian language, Pidgin, hula, traditional Hawaiian crafts, Hawaiian studies, and other cultural items.
This increase in Hawaiian self-identity was inspired by the 1964 essay "On Being Hawaiian" by writer John Dominis Holt, IV, who brought pride back to being Hawaiian after decades of negative stereotypes.
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