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The Soul Awakening: Social Identity in Hawaiian Music
| Article
# : |
18130 |
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Section : |
CULTURE
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| Issue
Date : |
11 / 1990 |
4,075 Words |
| Author
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George H. Lewis
George H. Lewis is professor of sociology at the University of
the Pacific. He has a longstanding interest in popular culture
and has written extensively on the topic. |
A light rain has just washed the afternoon air, and tiny droplets still shimmer in the breeze. The hint of a half-rainbow paints the sky behind the open-air stage, where the band is tuning up. The hula dancers, all young men, are chatting, readying themselves for the performance, while the audience sits on the grass in quiet expectation. It is the height of Aloha Week (September 28-October 6) in Hawaii, and an afternoon of music and dance is about to begin.
Hawaiians believe that music and dance are gifts from the gods, so they, in turn, share them freely - at this and other festivals such as Kuhio Day (March 26), the Merrie Monarch Festival (April 9), Lei Day (May 1), and King Kamehameha Celebration (June 11). And, on any other day of the year, one can hear old-timey music, called cha-lang a lang, wafting from backyards, beach cookouts, and even from funky old Hawaiian cars in the occasional fast-food parking lot.
But not from the hotels.
The last two decades have witnessed the cultural and political rebirth of native Hawaiians. No longer content to dance in the hotels of the tourist industry or to act like mainland-created caricatures of themselves, Hawaiians have rekindled pride in their heritage. They have sought out their own cultural traditions, from a revival of their ancient forms of dance - hula kahiko - to the renewed popularity of slack-key guitar in Hawaiian songs.
These songs, part contemporary and part traditional, celebrate Hawaii, even as they are critical of nonnatives whom Hawaiians see as having nearly destroyed their
... (1999 of 23993 Characters)
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