FIFTEEN. Cocoa Chandelier’s Confessional: Kanaka Maoli Performance and Aloha in Drag

2020 ◽  
pp. 281-300
Keyword(s):  
Kanaka Maoli

Papakū Makawalu and grounded theory: a combined and collective analysis for Hawai’i land stewardship—Honuaiākea

2021 ◽  
pp. 117718012110583
Author(s):  
Huihui Kanahele-Mossman ◽  
Marina Karides
Keyword(s):  
Land Use ◽  
Grounded Theory ◽  
Native Hawaiian ◽  
Land Ownership ◽  
Sacred Site ◽  
Kanaka Maoli ◽  
Land Stewardship

Kia’i (protectors) opposed to the building of a Thirty Meter Telescope on the summit of Mauna Kea, a profoundly sacred site and ecologically vital one, impeded its construction to date. The sanctity of Mauna Kea and its implications for Hawai’i’s sovereignty and land ownership are central to the struggle, yet what are the Indigenous ecological laws of Kanaka Maoli (Native Hawaiian) that ground opposition to the Thirty Meter Telescope? To construct a land stewardship policy, the Edith Kanaka’ole Foundation leadership bridged Papakū Makawalu, a Kanaka Maoli methodology, with grounded theory. Edith Kanaka’ole Foundation leaders organized a series of events where experts collectively and individually merged the two methods to analyse chants. Our article presents a discussion of (a) the struggles over land use on Mauna Kea, (b) the processes for merging methodological traditions, and (c) reflections on Kīho’iho Kānāwai (restoring Kānāwai for Island Stewardship), the final document of Honuaiākea (Earth in Expanse).

The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar

Itinerario ◽  
2017 ◽  
Vol 41 (2) ◽  
pp. 253-274
Author(s):  
John W. Troutman
Keyword(s):  
New Orleans ◽  
International Markets ◽  
Native Hawaiians ◽  
Late Nineteenth Century ◽  
Commercial Music ◽  
Kanaka Maoli ◽  
Music Making ◽  
The World ◽  
Late Nineteenth ◽  
A New Technique

In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.

scholarly journals Militarization, slow violence, and the emerging threat of condemnation in Hawai‘i

2021 ◽  
Vol 2 (1) ◽  
pp. 3.1-3.12
Author(s):  
N. Mahina Tuteur
Keyword(s):  
Active Role ◽  
Kanaka Maoli ◽  
Public Purpose ◽  
Us Military ◽  
Military Presence ◽  
Starting Point ◽  
The Us ◽  
The Cost ◽  
The Military ◽  
Fair Market Value

This article examines the environmental impacts of the US military presence in Hawaii, looking specifically at the federal government’s power to condemn land for a ‘public purpose’ under the US Constitution. In 2018, the Hawaii Supreme Court ruled that the State of Hawaii failed its duty to properly manage 23,000 acres of lands leased to the military at Pōhakuloa and must take an active role in preserving trust property. With the expiration of this lease (and several others) approaching in 2029, controversy is stirring as to whether the military will simply condemn these lands if the cost of clean-up is greater than the land’s fair-market value at the expiration of the lease. In other words, as long as it remains cheaper for the military to pollute and condemn than it is for it to restore, what options do we have for legal and political recourse? Considering grassroots movements’ strategic use of media and legal action through an environmental justice lens, this article provides a starting point to consider avenues for ensuring proper clean-up of these lands, and ultimately, negotiating for their return to Kānaka Maoli.

scholarly journals Surrounded by Spirits: Hauntings of Identity in Waimea Summer by John Dominis Holt

2020 ◽  
Vol 2 (1) ◽  
pp. 78-91
Author(s):  
Alexander Casey
Keyword(s):  
Native Hawaiian ◽  
Coming Of Age ◽  
The Novel ◽  
Queer Identity ◽  
Kanaka Maoli ◽  
Sodomy Laws

In 1976, John Dominis Holt published what would be considered the first novel by a Kanaka Maoli [Native Hawaiian] author in English, Waimea Summer. This coming-of-age narrative set in 1930’s Hawai‘i follows fourteen-year-old Mark Hull, a half White, half Kanaka Maoli boy who experiences a series of hauntings on his uncle’s farm, all the while grappling with a burgeoning queer identity and conflicted cultural loyalties. In the post American-occupied Hawai‘i, the teachings of Christian missionaries and anti-sodomy laws have all but eradicated the aikāne [homosexual] relationships practiced by the ali‘i [royals] of Marks’ genealogy, and yet the boy’s queer desires refuse to die. In this paper, the novel is interpreted through Laura Westengard’s theory of the queer Gothic, in which concepts of the American nuclear heterosexual family are challenged by the burgeoning past, thus returning the narrative and agency to the queer Indigenous subject.

Productive narratologies of convergent sf

2020 ◽  
Vol 13 (3) ◽  
pp. 405-426
Author(s):  
Ida Yoshinaga
Keyword(s):  
Mass Media ◽  
Native Hawaiian ◽  
Pop Culture ◽  
Movement Analysis ◽  
Feature Film ◽  
Kanaka Maoli ◽  
Film And Television ◽  
Indigenous Media ◽  
Independence Movement ◽  
Media Interventions

This article examines how a Native Hawaiian activist’s inventive self-representational tactics, deployed within corporate mass media, have enriched North American pop-culture discourses on the Kanaka Maoli independence movement. Analysis focuses on the convergent (that is, transmedial or purposefully cross-medial) self-representational efforts of Dennis ‘Bumpy’ Pu‘uhonua Kanahele, who rose to fame as one of several notable organisers in the Hawaiian sovereignty movement during the 1990s. Several film and television texts became targets of Kanahele’s indigenous media interventions into commercial cinematic genre storytelling across different narrative platforms beginning in the 2010s. Applying a utopian reading that brings out Kanahele’s Indigenous Futurist interventions, this article offers readings of the theatrical feature film Aloha (2015) and a 2017 episode of Hawaii Five-o. Both texts visually focalise Pu‘uhonua o Waimānalo, the land base of Kanahele’s sovereignty movement known as the Nation of Hawai‘i, which gets positioned within these narratives as a Kanaka Maoli utopia providing refuge for indigenous Hawaiians away from the predation of both rampant capitalism and Western empire.

The Afterlife of Princess Ka‘iulani

2018 ◽  
pp. 113-144
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Close Reading ◽  
Kanaka Maoli ◽  
Nationalist Movement ◽  
Untimely Death

“The Afterlife of Princess Kaʻiulani” examines the performance of the memory of one of Hawaiʻi’s most beloved figures, providing a close-reading of a play, a film, and a ghost tour. These sites offer us different understandings of not only the ongoing “aloha” that people experience through the performance of Princess Kaʻiulani’s memory, but ultimately the kaumaha (sadness) that Hawaiians experience because of the potentiality that was not fully realized as a result of Kaʻiulani’s untimely death. The constant performance of Kaʻiulani’s story functions as a form of aloha that reminds Kānaka Maoli of our ongoing connection to our aliʻi (royalty) that is buttressed by a modern thriving cultural nationalist movement.

Aloha in Drag

2018 ◽  
pp. 81-112
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Sense Of Place ◽  
Kanaka Maoli ◽  
Drag Queen ◽  
And Performance ◽  
Cultural Belonging ◽  
A Performance ◽  
Performance Strategies

“Aloha in Drag” investigates how Hawaiianness and aloha can be performed and felt in spaces where Hawaiianness is not obviously being performed or “confessed.” Looking at the performance strategies of Cocoa Chandelier, a well-known Hawaiian drag queen and performance artist working in Honolulu. Chandelier’s performances speak to a frequently marginalized Kānaka Maoli LGBT and local/settler LGBT population in Hawaiʻi, cultivating a shared sense of place and cultural belonging. These spaces allow the performance of aloha in drag, a performance of Hawaiianness that is unidentifiable to non-Hawaiian audiences, but can be deployed as a strategy to resist the ongoing subjection and hyper-commodification of Hawaiian indigeneity.

Na Kānaka Maoli

2003 ◽  
pp. 93-110
Author(s):  
Cynthia Kanoelani Kenui
Keyword(s):  
Kanaka Maoli
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