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The Merrie Monarch Festival in Hilo, Hawai'i

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The Merrie Monarch Festival in Hilo, Hawai'i THE MERRIE MONARCH FESTIVAL IN HILO, HAWAI‘I: SOVEREIGN SPACES RECLAIMED AND CREATED THROUGH HULA COMPETITION, 1963—2010 A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC MAY 2012 By Teri L. Skillman Dissertation Committee: Ricardo D. Trimillos, Chairperson Frederick Lau Lesley Wright Geoffrey White Amy Stillman Keywords: Merrie Monarch Festival, Hilo Hawai‘i, hula competition, “Kaulilua” copyright 2012 by Teri Leigh Skillman iii For the perpetuation of hula at the Merrie Monarch Festival In memory of Aunty Dotty and Uncle George To Nika Kealohapalena’ole iv Acknowledgments This dissertation was supposed to take only six years but Life doubled the length of time. The journey was shared with my daughter, Nika Kealohapalena‘ole, who patiently supported and encouraged me along the way and helped to keep my feet rooted in reality and my priorities straight. My family, though not physically present, supported me with numerous phone calls, cards, care packages, and financial support in times of crisis. The hula community generously shared knowledge and experiences with me over a period of thirty years. Beginning with Ho‘oulu Cambra in hula classes at the University of Hawai‘i at Mānoa and continuing with my first kumu hula, Edward Kalahiki, and then, Noenoe Zuttermeister, I learned chants, hula and invaluable cultural practices in hula hālau. The hours spent in private chant lessons with Noenoe were the most valuable in teaching me patience and process. She forced me to shift my learning process to an oral tradition instead of relying on the written skills that were engrained from my education. Noenoe told me that if she ever saw any written notes for the chants that she taught me, she would take them and tear them up. Mahalo piha, Noenoe, for sharing your time, your family tradition, and for making me listen, observe, and learn. It was hard to shift gears but it was the most rewarding process. Mahalo nui to Paula Akana, Snowbird Bento, Cy Bridges, Luana Kawelu, Vicky Takamine, Aunty Dotty Thompson, Noenoe Zuttermeister, U‘i Bobbitt, and Aaron Salā for sharing their mana‘o and time. My hula sisters, Kaloko and v Kawahine, supported me with their friendship and conversations about hula and related handicrafts over the years. Yoko Kurokawa kindly helped me with translation of a Japanese interview in Hulale‘a magazine giving me insight into omissions for translation from the interviewee to print audience. Mahalo to my hula brother, Allen Kam, for helping me with transcription of a night of hula kahiko performances at Merrie Monarch, and for all the wonderful dinners and hours of hula discussion. The librarians and support staff – Dore Minatodani, Joan Hori, and Ann Rabinko – in the University of Hawai‘i at Mānoa Hamilton Library’s Hawaiian Collection helped me locate resources and kindly kept items on hold so that I could get through the materials before they were reshelved. Thank you to Ted Kwok for bequeathing me a version of FileMaker Pro for my oversized databases and Michelle Kowalski for helping me whip my bibliography and citations into AAA format. Thank you to composer Joel Irwin for helping me with my transcriptions. I would like to thank my committee for holding out for me to finish and Lesley Wright for agreeing to come on-board for a member who had to withdraw. Thank you to Adrienne Kaeppler for helping me locate video footage and Amy Stillman for sharing her work and knowledge with me. Last but definitely not least, I am indebted to Ric Trimillos for mentoring me for 30 years! Kau ke keha i ka uluna. All work is done and there is nothing more to worry about. (Pukui 1983:1616) vi Abstract The Merrie Monarch Festival in Hilo, Hawai‘i has transformed from a towne fair to a hula festival celebrating native Hawaiian culture through performances of hula. Crucial to the Festival is the involvement of the hula community and the relationships built across local businesses in the Hilo community. Branding the Festival as a celebration of King Kalākaua’s monarchy provided a culturally sovereign framework (Cobb) for the celebration of Hawaiian culture through hula and music with which the community identified. The narrative of the monarchy included immigrant groups whose ancestors were citizens of the Hawaiian nation. Visual representations of hula dancers are still at play in the visual repertoire of the hula community, wrapping and layering themselves into performances (Hall) of repatriated hula repertoire. The development of judging criteria continues to be a dynamic process of consensus building between the judges and kumu hula. Tension between preservation of tradition and innovation is renegotiated on an annual basis through a process-oriented dialogue. Limiting participation to Hawaiian hālau has ensured the Festival’s longevity and permitted the living genre to develop in a dynamic way. A study of the Festival’s competition and choice chants reveals a canon of mele hula kahiko performed at the Merrie Monarch that has remained in cultural memory. Analysis of the most performed hula kahiko, “Kaulilua,”reveals consistencies and variations in text, drum beat, melody, and vocal ornamentation. The place names in the chant have remained consistent through versions expressing the importance of place as a manifestation of native space and cultural sovereignty. Just as Cobb noted a shift to a new paradigm for museology, a shift is also happening in hula performance space. Hula has been a conduit for the reestablishment of culturally sovereign spaces, the expression of group and individual agency, and the reclamation of an oral tradition (Stillman). The hula festival conveys kanaka maoli values and aesthetics, and redefines native authority in a festival performance space. Performing for the tourist gaze still exists but kanaka maoli are actively repossessing how Hawaiian culture is represented to the world. The Merrie Monarch Festival is an on-going, living process of reclamation of cultural sovereignty. It is a means of looking back to dance forward. vii TABLE OF CONTENTS LIST OF DIAGRAMS ………………………………........………………………………………… xi LIST OF FIGURES ……………………………………………………………….…………… xi LIST OF ILLUSTRATIONS …………………………………………………….………………… xi LIST OF MAPS ………………………………………………………………….………………… xi LIST TABLES ………………………………………………………………...……………………… xi INTRODUCTION................................................................................................................................. 1 Introduction to Resources.............................................................................................................. 1 Dissertation Synopsis..................................................................................................................... 7 Research Methodology ................................................................................................................ 10 Hawaiian Language Terminology ............................................................................................... 12 Transcription Methodology ......................................................................................................... 13 Transcription Key ........................................................................................................................ 15 Situating Self: Positionality as Researcher.................................................................................. 16 CHAPTER 1:....................................................................................................................................... 20 VISUAL REPRESENTATIONS OF HULA..................................................................................... 20 Hula as a Political Scapegoat...................................................................................................... 27 The Visual Mahele ....................................................................................................................... 31 Hula and Territorial Tourism ...................................................................................................... 34 Second Renaissance Hula — Visual Nostalgia............................................................................ 40 Locating The Hula Dancer’s Body .............................................................................................. 44 Captured Images.......................................................................................................................... 47 Summary ...................................................................................................................................... 49 CHAPTER 2:....................................................................................................................................... 51 THE MERRIE MONARCH FESTIVAL – FROM TOWNE FESTIVAL TO NATIVE COMPETITION.................................................................................................................................. 51 1963 – 1968: In The Beginning There Was A Tourist Festival … ............................................... 51 1969 – 1983: Transition from Towne Festival to Hula Competition........................................... 63 1984 –2001: Hula Olympics ....................................................................................................... 66 Hawaiian Language....................................................................................................................
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