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, (y u'\'iA!ILlBK"""j UNIVERSIITY -- - ,. I'LL REMEMBER YOU: NOSTALGIA AND HAPA HAOLE MUSIC IN EARLY TWENTY-FIRST CENTURY HAWAI'I A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HA WAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2007 by Masaya Shishikura Thesis Committee: Ricardo D. Trimillos, Chairperson Frederick Lau Christine R. Yano , ii, We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Music THESIS COMMITTEE ~~~'~ Chairperson + HAWN CB5 .H3 no. 3~2~ , III Copyright by Masaya Shishikura 2007 All Rights Reserved IV DEDICATION This is dedicated to my parents Makoto and Hiroko Shishikura v ACKNOWLEDGMENTS After passing this thesis defense and coming back to Japan, within a month, Hawai'i and its people became nostalgic to me. I miss the large plate lunch, the gentle rain showers and the people, who collaborated and supported this thesis. I would like to acknowledge them briefly below. First, I thank my thesis committee members: Drs. Ricardo D. Trimillos, Frederick Lau and Christine R. Yano. They patiently kept on encouraging and advising me in the course of writing. Also, my gratitude extends to Dr. Ty P. Kawika Tengan, who acted as a proxy of Dr. Yano in the defense. All of them gave me insightful comments and suggestions, which are included in this thesis. All the classes at the University of Hawai'i at Manoa helped me to establish scholarship as an ethnomusicologist. I was fortunate to be a student at the Music Department, where I received comprehensive and intimate training of music and , ethnomusicology. The seminars in Pacific Islands Studies and the Department of Anthropology, supervised by Drs. Katerina M. Teaiwa and Geoffrey White respectively, were useful to construct theoretical concepts in this thesis. The classes of Hawaiian language and Hawaiian Studies allowed me to experience Hawaiian culture and activities. My thanks go to all teachers of these classes. This thesis owes large debts to many informants. Kumu Hula Noenoelani Zuttermeister Lewis kindly helped me and supported this thesis. Aunty Nola A. Nahulu VI advised me musical issues, while serving as an informant. Aunty Nina Keali'iwahamana and Uncle Harry 8. Soria, Jr. welcomed me to "talk story," and provided additional knowledgeable comments through email communications. Paul Shimomoto Esq. is another important informant in this thesis. I very much appreciated his generous cooperation. My heartfelt thanks go to Charlene Ku'ulei Hazlewood. Her education and friendship were indispensable in completing this work. Other anonymous informants were also valuable, as well as dancers and musicians involved in the case studies of this thesis. I would like to express my sincere gratitude to all of them. I also acknowledge my friends and classmates. Dr. Made Mantle Hood and Teri L. Skillman-Kashyap worked extremely hard to edit my English and to raise the level of sophistication for this thesis. Chadwick Pang helped me to interpret Hawaiian music practices and to transcribe English. Sunhee Koo and Sarah McClimon worked with me to revise this thesis in the course of a writing group. Other students in ethnomusicology classes collaborated in this study directly or indirectly. I thank very much those friends and classmates. Finally, my special mahalo goes to Ric sensei, teacher Ric as I call Dr. Trimillos, and to my kumu hula, Aunty Vicky Holt Takamine. I remember the day Ric sensei first invited me to Aunty Genoa's performance at the present Waikiki Beach Marriott Resort & Spa in December 2000. Following that, he often took me there, and provided me with papa (appetizers) and gin tonics. This experience fostered my vii understandings of Hawaiian music, and became the foundation of this thesis. I also remember the day Aunty Vicky asked me to join the advanced hula class in Fall 200l. Although I felt I was not qualified to take that class, she told me in Japanese, "daijyaubu (no problem)." I really enjoyed the class, though I danced awkwardly among experienced students. Since then, I kept on dancing in her class. She told us repeatedly, "Students must remember everything what they learn." In this sense, I was not a good student. But all the things I had learned from her reflected in this thesis. I remember all of these people as I embrace nostalgia for Hawai' i. Mahala nui loa. Vlll ABSTRACf This thesis is about shifting emotion and performance of hapa haole music. Based on case studies of two events, UtUier a Tropic Moon and Hapa Haole Hula & Music Festival, it discusses how nostalgia transforms as sentiment for a "past Hawai'i." interestingly, hula practitioners are responsible for both events. They acknowledge the Hawaiianness inscribed in this genre through music and dancing bodies, and consider it part of Hawaiian cultural tradition. Hawaiian music practices continue to shift By preserving some practices from the past, contemporary practitioners perform hapa haole music drawing upon their own understanding and interpretation. in the early twenty­ first century, Hawaiian music practitioners experience hapa haole music as in-between the past and present, and include this genre in Hawai'i's cultural heritage to be preserved and perpetuated for the future. ---------------- IX TABLE OF CONTENTS ACKNOWLEDGMENTS ...................................................................................... v ABSTRACT ........................................................................................................ viii INTRODUCTION .................................................................................................. 1 I'll Remember you .................................................................................. 1 The Thesis Contents ................................................................................ 2 On Writing This Thesis ........................................................................... 5 CHAPTER I. A REFLECTIVE HISTORY OF HAPA HAOLE MUSIC ............. 8 A Precursor of Hapa Haole Music: Queen Lili'uokalani and "Aloha 'Oe" .................................................................................................. 10 Local Composers of Hapa Haole Songs: Sonny Cunha, Johnny Noble and R. Alex Anderson ........................................................................ 14 I Fell in Love with Honolulu: Harry Owens, Don McDiarmid, Sr. and Jack Pitman ....................................................................................... 19 Webley Edwards and Hawaii Calls ........................................................ 23 Summary ............................................................................................... 29 CHAPTER 2. DEFINITIONS OF AND AMBIG U1TY IN HAPA HAOLE MUSiC ............................................................................................................. 31 Definitions of Hapa Haole Music ........................................................... 31 Ambiguity in Hapa Haole Music: "I'll Remember You" and "Ke Kali Nei Au [Hawaiian Wedding Song]" ................................................... 40 Summary ............................................................................................... 49 CHAPTER 3. EMOTIONS AND THOUGHTS ABOUT HAPA HAOLE MUSIC SINCE THE 1970S .............................................................................. 50 The Hawaiian Renaissance: Interest in Hawai'i's Past and Its Tradition ........................................................................................... 50 Remembering Hawaii Calls: Nostalgia for Past Cultural Activities ........ 55 Summary............................................................................................... 62 x CHAPTER 4. CASE STUDY ONE: UNDER A TROPIC MOON: 100 YEARS OF HAPA HAOLE HULA ................................................................................. 64 Under a Tropic Moon: /00 Years of Hapa Haole Hula .......................... 68 Scene I - Boat Days ....................................................................... 68 Scene ll- Hawaii in the Movies ..................................................... 71 Scene lll- Night Club .................................................................... 75 Scene IV - Wacky Songs ................................................................ 80 Scene V-Favorite Hapa Haole Songs and Finale .......................... 84 Analysis ................................................................................................ 86 CHAPTER 5. CASE STUDY TWO: HAPA HAOLE HULA & MUSIC FESTIVAL ........................................................................................................ 94 Hapa Haole Hula & Music Festival ....................................................... 96 [The 1st] Hapa Haole Hula. Music & Film Festival ....................... 96 [The] 2nd Annual Hapa Haole Hula, Music and Film Festiva!.. ... 100 The 3rd Annual Hapa Haole Hula & Music Festival .................... 103 [The] 4th Annual Hapa Haole Hula & Music Festival .................. 108 Analysis .............................................................................................. 112 Collective Efforts in Presenting Hapa Haole Music ...................... 112 Nostalgia Expressed through Hapa Haole Music .......................... 115 CHAPTER 6. SHIFfING NOSTALGIA IN HAPA HAOLE MUSIC .............. 119 Nostalgia in Academic Discourse: Its Diversity and Unity ..................

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