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Huihui: Navigating Art and Literature in the Pacific

Jeffrey Carroll
Brandy Nālani McDougall
Georganne Nordstrom
Copyright Date: 2015
Pages: 292
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  • Book Info
    Book Description:

    This groundbreaking anthology is the first to navigate the interconnections between the rhetorics and aesthetics of the Pacific. Like the bright and multifaceted constellation for which it is named, Huihui: Rhetorics and Aesthetics in the Pacific showcases a variety of genres and cross-genre forms—critical essays, poetry, short fiction, speeches, photography, and personal reflections—that explore a wide range of subjects, from Disney’s Aulani Resort to the Bishop Museum, from tiki souvenirs to the Dusky Maiden stereotype, from military recruitment to colonial silencing, from healing lands to healing words and music, from decolonization to sovereignty. These works go beyond conceiving of Pacific rhetorics and aesthetics as being always and only in response to a colonizing West and/or East. Instead, the authors emphasize the importance of situating their work within indigenous intellectual, political, and cultural traditions and innovations of the Pacific. Taken together, this anthology threads ancestral and contemporary discursive strategies, questions colonial and oppressive representations, and seeks to articulate an empowering decolonized future for all of Oceania. Representing several island and continental nations, the contributing authors include Albert Wendt, Haunani-Kay Trask, Mililani Trask, Chantal Spitz, Jonathan Kay Kamakawiwoʻole Osorio, Flora Devatine, Kalena Silva, Steven Winduo, Alice Te Punga Somerville, Selina Tusitala Marsh, kuʻualoha hoʻomanawanui, Craig Santos Perez, Gregory Clark, Chelle Pahinui, Dan Taulapapa McMullin, Michael Puleloa, Lisa King, and Steven Gin. Collectively, their words guide us over ocean routes like the great waʻa, vaʻa, waka, proa, and sakman once navigated by the ancestors of Oceania, now navigated again by their descendants.

    eISBN: 978-0-8248-4772-2
    Subjects: Language & Literature, Political Science, History

Table of Contents

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  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-x)
  3. Introduction: Ho‘ohuihui: Navigating the Pacific through Words
    (pp. 1-14)
    Jeffrey Carroll, Brandy Nālani McDougall and Georganne Nordstrom

    The metaphorical in language is now a starting place for any of us who wish to write. When one wishes to write about the Pacific, the challenge may be to acknowledge some of the old metaphors—and then to add a new one, or more, for the sake of understanding and further work. When we think of the Pacific we can think in diagrammatic terms, for example, of circles, circles within circles, webs of open space; we can think of more pictorial metaphors, like far-reaching ropes, nets of enormous size, waves or nested ripples of ocean water; we can think...

  4. Part 1. Makali‘i:: Identity

    • Chapter One …And I who am still a woman woven…!
      (pp. 17-23)
      Flora Devatine
    • Chapter Two A Contemporary Response to Increasing Mele Performance Contexts
      (pp. 24-45)
      Kalena Silva

      Linguists estimate that there are more than six thousand languages spoken in the world today and, alarmingly, that 60 percent are at risk of extinction with the passing of their last speakers (Hinton 2001; Nettle and Romaine 2000). Of the estimated 300 North American indigenous languages spoken when the explorer Christopher Columbus arrived in 1492, some 210 survive; of the 210, about 175 are in the United States (Krauss 1996). Young, fluent speakers of a language are key to its continuing vitality among future generations. Of the 175 surviving indigenous languages in the United States, only about 20 have speakers...

    • Chapter Three Un/Civilized Girls, Unruly Poems: Jully Makini (Solomon Islands)
      (pp. 46-62)
      Selina Tusitala Marsh

      “Civilized Girl,” the title poem of Jully Makini’s first collection of poetry, published in 1981 (Sipolo 1981)—the first by a Solomon Islands woman—is about a young urban-based Solomon Island girl questioning her identity. “Roviana Girl,” published five years later in Makini’s second collection,Praying Parents(Sipolo 1986), is about a village-based girl critiquing her changing society. In indigenous literature, the urban-based civilized girl often serves as a trope for the ills of Westernization and colonization. She is implicitly contrasted with the traditional girl, who is based in the village and whose adherence to static traditional roles remains unquestioned...

    • Chapter Four The Fisherman
      (pp. 63-68)
      Michael Puleloa

      There’s a community meeting at the Kulana ‘Ōiwi hālau in Kalama‘ula. It’s a big one. There’s going to be a presentation on the vacant property makai of Kaunakakai Town, on a development project, and many people from across the island show up because they don’t like the word. Development. There’s a popular bumper sticker on the island, in fact, that reads, “Don’t change Moloka‘i. Let Moloka‘i change you.” And local people take this to heart.

      When Auntie Girlie, a longtime community leader and the facilitator of this meeting, begins her PowerPoint slideshow, she says the plans are to extend the...

    • Chapter Five Pasin/Ways
      (pp. 69-70)
      Steven Winduo
    • Chapter Six Nau mai, hoki mai: Approaching the Ancestral House
      (pp. 71-88)
      Alice Te Punga Somerville

      Perhaps one of the most well-known poems by a Māori writer is Apirana Taylor’s “Sad Joke on a Marae” (1979, 15). In the poem, a man named Tu stands and addresses his ancestors, who are “carved on the meeting house wall.” Since its publication in Taylor’s 1979 collectionEyes of the Ruru, “Sad Joke” has circulated variously as an articulation of cultural loss, cultural continuity, cultural resilience, and cultural change. While Tu is most often read as a Māori man who has spent too long in non-Māori space, he is also a Māori man going through the normal relational process...

    • Chapter Seven Tiki Manifesto
      (pp. 89-92)
      Dan Taulapapa McMullin
  5. Part 2. Peleiake:: Institutions

    • Chapter Eight let’s pull in our nets
      (pp. 95-98)
      Chantal Spitz

      It’s like fishing with nets. Those endless nets that fishermen billow out from their canoes in a semi-circle to catch ature that don’t realize what’s coming until they’re choking. We are writers jotters scribblers

      fishermen who set out the billowing nets we are also the encircled ature. The net is in position it will close around us if we don’t watch out if we sink our minds into dominant western ideas if we cut off our originalities in a dominant universal monoculture.

      We are the ones who clear the way for futures for memories the path is thickly-grown sometimes dark...

    • Chapter Nine Speeches from the Centennial of the Overthrow, ‘Iolani Palace, January 17, 1993
      (pp. 99-114)
      Haunani-Kay Trask and Mililani Trask

      Haunani-kay trask: Aloha kākou.

      Crowd: Aloha.

      Haunani-kay trask: Aloha, Ka Lāhui Hawai‘i.

      Crowd: Aloha.

      Haunani-kay trask: Aloha, the indigenous people of these islands, aloha to you, my love to you because you are still here. The intention was to kill every one of us. And we are still here, one hundred years to the day that the racist American country took our sovereignty.

      I am not an American. I am not an American. I am not an American. I am not an American. I am not an American. I am not an American. Do you think they can hear us...

    • Chapter Ten Something in the Wind
      (pp. 115-124)
      Michael Puleloa

      Lydia Kamelemele is a beautiful French-Hawaiian woman and has lived all her life on Moloka‘i. She has long dark hair she pulls back and wraps tightly in a bun held together with a hair pick that looks like a miniature kāhili. She has little star tattoos on her hands. And a mo‘o tattoo at the back of her neck.

      She’s on the stage in Mitchell Pauole Hall in Kaunakakai Town, sitting among a panel of four others: her younger sister, Lynette Kamelemele; two employees of a national renewable energy company, Likolani Johnson and Syd Kamahana; and one representative of the...

    • Chapter Eleven Sovereignty out from under Glass? Native Hawaiian Rhetorics at the Bishop Museum
      (pp. 125-143)
      Lisa King

      The long relationship between Euro-American museums and Indigenous peoples bears a legacy of problems and abuses, as museums have interpreted Indigenous peoples’ histories and cultures through an exclusively Euro-American worldview. The Bernice Pauahi Bishop Museum of Honolulu is no exception. It is this chapter’s purpose to explore the ways in which the Bishop Museum has recognized this colonial rhetorical framework through which it has maintained and displayed its collections. In particular, the chapter analyzes how the 2006–2009 renovation of the Hawaiian Hall facilities at the Bishop Museum was an active, if ultimately ambiguous, attempt to decolonize the rhetorical habits...

    • Chapter Twelve The Many Different Faces of the Dusky Maiden: A Context for Understanding Maiden Aotearoa
      (pp. 144-159)
      Jo Smith

      In May 2011, the Wellington City Gallery (based in New Zealand’s capital city) hosted an exhibit of photographic works by four Māori women artists—the first photographic exhibit of its kind in Aotearoa/New Zealand.¹ The exhibit was titledMaiden Aotearoa(May 21- June 26, 2011) and featured the work of Vicky Thomas (Ngāti Kahu, Pākehā, Irish/ Welsh), Suzanne Tamaki (Ngāti Maniapoto, Tūhoe, Te Arawa), Aimee Ratana (Ngai Tūhoe), and Sarah Hudson (Ngāti Awa, Tūhoe).² The collection demonstrated a range of approaches to representing Indigenous worlds and women. Some of the artists focused on the ways colonial photographers depicted women from...

    • Chapter Thirteen Stealing the Piko: (Re)placing Kānaka Maoli at Disney’s Aulani Resort
      (pp. 160-178)
      Brandy Nālani McDougall and Georganne Nordstrom

      As these ‘ōlelo no‘eau suggest, the Hawaiian proverbs featuring the ‘iole depict the rodent as, at best, a rude, disrespectful, and unwelcome guest and, at worst, a thief. Even though the mouse is a more “recent introduction” to Hawai‘i, probably from California (Bryan 1915, 293), it is likely that these ‘ōlelo no‘eau refer inclusively to the rat and mouse, as in ‘ōlelo Hawai‘i, ‘iole may be translated as either. While the rat and the mouse are both common pets, in Hawai‘i both are also invasive species that potentially transmit diseases, contaminate food, and destroy property. Thus, the caution conveyed by...

  6. Part 3. Kūpuku:: Community

    • Chapter Fourteen “I Lina‘la‘ Tataotao Ta‘lo”: The Rhetoric and Aesthetics of Militarism, Religiosity, and Commemoration
      (pp. 181-199)
      Craig Santos Perez

      My family migrated from Guåhan (Guam) to California in 1995, when I was a sophomore in high school. One of the reasons my parents decided to move was so that I could be better prepared to succeed in a “mainland” university. While I was excited about continuing my education, I had no idea how my family could afford college. After expressing this concern to my new high school counselor, he suggested I attend the Army recruiter’s presentation during the time when college recruiters visited our campus.

      The recruiter wore his uniform with pride, and he reminded me of my relatives...

    • Chapter Fifteen The Words to Speak Our Woes
      (pp. 200-209)
      Chantal Spitz
    • Chapter Sixteen All Things Depending: Renewing Interdependence in Oceania
      (pp. 210-216)
      Jonathan Kay Kamakawiwo‘ole Osorio

      Author’s Note: In February 2011, I was honored to give the Distinguished Lecture for the Association for Social Anthropology in Oceania’s annual meeting, held in Honolulu. I opened with a mele inoa, a song that I had composed the week before for the infant daughter of a close friend who is himself a musician and descendant of some of the most respected and important Hawaiian composers of the last century. I had several reasons for singing that song for the lecture. In par tic u lar, I wanted to stress the importance of relying on our own language for commemorating...

    • Chapter Seventeen Pasin Pasifik/Pasifik Way
      (pp. 217-218)
      Steven Winduo
    • Chapter Eighteen He Huaka‘i ma Hā‘ena: Treasured Places and the Rhetorical Art of Identity
      (pp. 219-236)
      Gregory Clark and Chelle Pahinui

      Rhetoric works to resolve conflict by forging agreement. Aesthetic works to provide diverse people with a common experience. Both, whether directly or by considerable indirection, help people who find they must share a space move from contention to community. They do that by communicating identity—a sense of self and affiliation for those who are addressed to adopt for themselves. So we might phrase it this way: rhetoric forges the kind of agreement we understand in conceptual terms, while aesthetic offers an opportunity to experience that agreement by inhabiting with others at least for a moment a common identity. When...

    • Chapter Nineteen Words & Music
      (pp. 237-240)
      Jeffrey Carroll

      Author’s Note: Quoted speech in what follows is pure Gabby, as reported in two extended interviews with him: Brian Thornton’s “Gabby Pahinui: My Life and Hard Times,” which appeared in theHawaii Observer, April 7, 1977, and Robert Kamohalu Kasher and Burl Burlingame’s “Gabby Pahinui,” which appeared in theirDa Kine Sound: Conversations with the People Who Create Hawaiian Music, published in 1978 by Press Pacifica.

      Gabby was born in Honolulu Denies being born in Kailua- Kona or Lahaina Gabby was born Charles Kapono Kahahawai Jr His family name was Kahahawai He was hanaied by Charles Philip and Emily Pahinui...

  7. Part 4. Ke Aweawe a Makali‘i:: Word

    • Chapter Twenty I write (J’écris)
      (pp. 243-246)
      Chantal Spitz

      “…the fear that it might very quickly overfl ow and get away from us, dragging us onto the terrain of protests, of po liti cal issues…”

      thank you Flora for always giving me that little trigger that forces my laziness to think to try to sort out our issues

      in our country as in every colonized country is not the act of writing in and of itself the supreme act of protest re sis tance subversion dissidence does it not carry within itself all the ferment the protests that will sprout forth blossom open out multiply

      when our memories began...

    • Chapter Twenty-one Ka Li‘u o ka Pa‘akai (Well Seasoned with Salt): Recognizing Literary Devices, Rhetorical Strategies, and Aesthetics in Kanaka Maoli Literature
      (pp. 247-265)

      Kanaka ‘Ōiwi (Native Hawaiian¹) oral tradition, traditional literature, and literary production have long been studied and regarded as highly poetic.² Less often examined, however, are the literary devices and rhetorical strategies within Kanaka Maoli verbal and written expression. Meiwi mo‘okalaleo, or Kanaka Maoli oral, literary, and rhetorical devices, form the foundation of Kanaka Maoli aesthetics, or what is considered beautiful, pleasing, and desirable in the performance or reading of mo‘olelo (story, history). The skillful use of meiwi both creates and enhances the ‘ono (flavor) of Hawaiian verbal and literary arts. Thus, the reference to pa‘akai (sea salt), a mainstay cultural...

    • Chapter Twenty-two First Class
      (pp. 266-282)
      Albert Wendt

      If it wasn’t raining heavily, he walked to and from work. Because of his high cholesterol and blood pressure his doctor had recommended that he exercise regularly—a brisk thirty-minute walk or jog each day would be ideal. He also enjoyed the route down Woodlawn Avenue, then across the sports field of Noelani Elementary School, and round the back streets and through St. Francis High School for girls and the Newman’s Centre and into the campus. The route was lushly rich in fruit and flowering trees and plants, such as mangoes, avocadoes, bananas, vi, papaya, ginger, and frangipani and the...

    • Chapter Twenty-three Adventures in Chronicling: The Relational Web of Albert Wendt’s The Adventures of Vela
      (pp. 283-297)
      Steven Gin

      To call Albert Wendt’s 2009The Adventures of Velaa novel is somewhat inaccurate; it is written entirely in verse and takes on many of the features of an epic. It follows three chronicler-narrators in their intertwined quests to construct and narrate a chronicle of their own and each other’s lives: Alapati, who is strikingly similar to the biographical Wendt in many ways; Vela, a queer, immortal chronicler for the Samoan Goddess of War, Nafanua; and Nafanua herself. Even though the adventures begin linearly—with Vela’s childhood, his romance with Mulialofa, and then his being seized as a spoil of...

    • Chapter Twenty-four When will I be content with my words? When will I sound out my poem words?
      (pp. 298-300)
      Flora Devatine
  8. Contributors
    (pp. 301-309)
  9. Back Matter
    (pp. 310-311)