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TheHawaiian Renaissance (also called theHawaiian Cultural Renaissance) was theHawaiian resurgence of a distinct cultural identity that draws upon traditionalKānaka Maoli culture, with a significant divergence from thetourism-basedculture which Hawaiʻi was previously known for worldwide (along with the rest ofPolynesia). The Hawaiian Renaissance has been pointed to as a global model forbiocultural restoration andsustainability.[2][3]
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The First Hawaiian Renaissance had its foundation in thenationalist sentiments of KingKamehameha V. At the time Hawaii was an independent kingdom. The intention was to form a contemporary national identity rather than modeling Hawaii afterGreat Britain and the culture of theUnited 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 favorKalākaua as he brought back Hawaiian culture to urban areas.
Kalākaua took steps to perpetuate nationalism, replacing the considerably Christian national anthemHe Mele Lahui Hawaii withHawaiʻi Ponoʻī in 1876, inspired byKamehameha I. He had the agedʻIolani Palace rebuilt, starting in 1879 and finishing in 1882.
Despite early efforts to earn favor with thehaole 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 regentKaʻahumanu as part of the effort to uproot Hawaiian traditional religion and impose Christianity on Hawaii[4]), chants, sports, and royal rituals. He also had Hawaiian myths, legends, and chants recorded in media such as theKumulipo 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. This Hawaiian Renaissance which began in the 1970s fostered a revival of cultural and political activism among the Kanaka Maoli.[5] It is mostly known for its music, such asGabby Pahinui and his work with theSons of Hawaii orKeola, andKapono Beamer's traditionalistslack-key music and signature twin-hole guitar designs constructed at theGuitar and Lute Workshop. Other noted Hawaiian musicians who played an integral role in the renaissance wereDennis Pavao, Ledward Kaʻapana, and Nedward Kaʻapana. The Kaʻapana brothers, along with their cousin Pavao, formed the falsetto trioHui ʻOhana. The musical group Olomana[6] 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 theHawaiian 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 writerJohn Dominis Holt, IV, who brought pride back to being Hawaiian after decades of negative stereotypes.[7][8]
TheMerrie Monarch Festival, established in 1964 byHelene Hale, caused a resurgence in the study and practice of ancient hula dancing, which had been developed and danced before 1893.[9]
Polynesian voyaging is also a large aspect of the Hawaiian Renaissance.[10] In 1975, thePolynesian Voyaging Society built a replica of an ancient Polynesianvoyaging canoe.[11] The vessel was namedHōkūleʻa and is an example of re-adoption of non-instrumentwayfindingnavigation. Hokule'a's creator and first navigator, Ben Finney, is an icon of the Hawaiian Renaissance and contributed to resurging interest in Polynesian culture.
The movement also had political aspects, such as issues dealing withNative Hawaiians and the restoration ofHawaiian independence. Amongst the outcomes were theConstitution of 1978, which produced theOffice of Hawaiian Affairs, and reclaiming federal land to the state likeKahoolawe. The era also included intense land struggles such as that ofKalama Valley,Kahoʻolawe andWaiāhole-Waikāne, and a resurgence of traditional practices such as loʻi kalo (taro patch) farming, folk arts, and mālama ʻāina (traditional forestry / land healing and restoration).[12][13]
The height of the Hawaiian Renaissance is considered to have been the 1970s, and had mostly waned by 1980, although some refer to it as a still-contemporary movement.
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