Hawaiian Renaissance

The Hawaiian Renaissance is a movement of cultural resurgence for the Kānaka Maoli people. It focuses on reclaiming a distinct cultural identity through traditional practices. This movement differs from the tourism-based culture often seen in Hawaiʻi. Instead, it emphasizes biocultural restoration and sustainability. Scholars view it as a global model for these environmental and cultural efforts.

The first phase of this renaissance had its roots in nationalist sentiments. King Kamehameha V provided the foundation for this early era. At that time, Hawaiʻi was an independent kingdom. The goal was to create a contemporary national identity. Leaders did not want to simply model Hawaiʻi after Great Britain or the United States. King Kalākaua later became a central figure in this cultural push.

King Kalākaua faced many challenges during his rise to power. Internal conflicts regarding family lineage caused tension among the people. One half of the islands supported him, while the other half supported a competitor. Despite this, Kalākaua successfully brought Hawaiian culture back into urban areas. He replaced the Christian national anthem with Hawaiʻi Ponoʻī in 1876. This new anthem was inspired by Kamehameha I. He also rebuilt the ʻIolani Palace between 1879 and 1882.

Kalākaua worked to protect traditional practices that had been suppressed. For example, hula had been banned in 1830 by Queen Regent Kaʻahumanu. This ban was part of an effort to impose Christianity and remove traditional religion. Kalākaua sponsored hula, chants, sports, and royal rituals to reverse this. He also recorded Hawaiian myths, legends, and chants. This included works like the Kumulipo, which is a traditional chant. He even had his own genealogy traced to strengthen national ties.

A second Hawaiian Renaissance began around 1970. This era drew inspiration from cultural movements of the late 1960s. It fostered a revival of political and cultural activism among the Kānaka Maoli. This period saw a renewed interest in the Hawaiian language and Pidgin. People also studied traditional crafts and Hawaiian studies. A major influence was the 1964 essay "On Being Hawaiian" by John Dominis Holt, IV. This writing helped restore pride by challenging negative stereotypes.

Music played an integral role during this second resurgence. Musicians like Gabby Pahinui worked with the Sons of Hawaii to share traditional sounds. Kapono Beamer practiced traditionalist slack-key music. He even designed unique twin-hole guitars at his workshop. Other important musicians included Dennis Pavao and the Kaʻapana brothers. The falsetto trio Hui ʻOhana featured Pavao and the Kaʻapana brothers. The Merrie Monarch Festival, started by Helene Hale in 1964, also helped. It encouraged the study of ancient hula dancing.

Polynesian voyaging became a major symbol of this movement. In 1975, the Polynesian Voyaging Society built a replica voyaging canoe. They named the vessel Hōkūleʻa. This ship allowed people to practice non-instrument wayfinding navigation. Ben Finney, the creator and first navigator, became an icon of the renaissance. This period also included significant political and land struggles. People fought for issues like the restoration of Hawaiian independence. They reclaimed federal land, such as Kahoʻolawe, for the state.

The movement led to many practical cultural restorations. People returned to loʻi kalo, which is traditional taro patch farming. They also practiced mālama ʻāina, meaning traditional land healing and restoration. Political changes included the Constitution of 1978. This document helped produce the Office of Hawaiian Affairs. While the height of the renaissance was the 1970s, many consider it a contemporary movement. It continues to connect traditional ways with modern life.