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2013-10-02 Melodies of Hawaiʻi: The Relationship Between Hawaiʻi Creole English and ʻŌlelo Hawaiʻi Prosody

Murphy, Kelly

Murphy, K. (2013). Melodies of Hawaiʻi: The Relationship Between Hawaiʻi Creole English and ʻŌlelo Hawaiʻi Prosody (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26873 http://hdl.handle.net/11023/1079 doctoral thesis

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Melodies of Hawaiʻi: The Relationship Between Hawaiʻi Creole English and

ʻŌlelo Hawaiʻi Prosody

by

Kelly Erin Murphy

A THESIS

SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE

DEGREE OF DOCTOR OF PHILOSOPHY

DEPARTMENT OF

CALGARY, ALBERTA

SEPTEMBER, 2013

© Kelly Erin Murphy 2013 Abstract

This dissertation offers a comparative study of speech melodies of Hawaiian and Hawaiʻi

Creole English (HCE), two languages spoken in the Hawaiian Islands. HCE, which is an English lexified creole, developed from many languages such as Chinese, Portuguese, and Hawaiian.

This research proposes that Hawaiian patterns remained even after relexification from a Hawaiian based to an English lexified creole. This comparative study of speech melodies of Hawaiian and HCE provides documentation of falling yes/no question intonation found in both languages, as well as for other utterance types, i.e. statements, wh-questions, and listing/continuation. Patterns emerged from the major utterance types revealing insights into creole genesis from substrate influence, and language universals and variation.

Of the utterance types examined, the most striking example is that of falling yes/no question intonation, present in both languages. This type of falling intonation is quite rare amongst the world’s languages, which strengthens the hypothesis I claim, that HCE received intonation patterns from Hawaiian. These findings also have implications for creole genesis as well as for language typology research for question intonation as well as universals and sociolinguistics. With regard to creole genesis, the evidence provided supporting Hawaiian as a contributing language strengthens substrate arguments and weakens a universalist view, specifically that of the Language Bioprogram Hypothesis (LBH). Also, the results show a typology of question intonation that makes use of a more latitudinal categorical distinction rather than the commonly used right-edge question intonation, which changes the perspective on language universals and variation, as well as biological codes. This dissertation also addresses language identity and how these two languages interact in the same linguistic landscape in

Hawaiʻi . While providing a much-needed inventory of intonation for all utterance types in

ii Hawaiian and HCE, this research project also addresses broader questions and linguistic topics such as creole genesis, language typology, universals, and sociolinguistics.

iii Preface

From the years of researching Pidgin, to the hours listening to different Pidgin speakers, to the necessary trips to Hawaiʻi and all the knowledge I have gained about the complexities of the story of Hawaiʻi and how it came to be, I have grown closer and closer to gaining more understanding of these beautiful islands and the people who live there. I have become more acquainted with the culture- Malama Pono, Merrie Monarch, Kamehameha Schools song contest, slack key guitar, Hawaiian mele, the local foods at the markets, lumpia, lau lau, poke- the flavors and sounds of the Hawaiian islands stay with me. I have made friends and kept in touch through

Facebook which in turn exposes me to postings entirely written in Hawaiian. This then lead me to learning more Hawaiian. What I want to stress is that I have not merely sat in front of a computer, analyzing data in a sterile cold environment- but I have jumped into the whole scene, where the language is alive, used by the people who speak it, surrounded by the sights, sounds, smells and tastes of the environment. Language is alive- it’s organic, it is motivated by social exchanges and in order to study the language, it isn’t enough to take one part out of the whole- the whole needs to be embraced, observed, appreciated, and respected. It is my intent to present my research in a respectful manner, embracing what I have learned and love about the and culture, the Pidgin language, and their beautiful melodies.

iv Acknowledgements

Great respect and Aloha for all those who helped me make this study possible. Mahaloz to all who helped make this a rewarding experience. To my supervisor Darin Flynn who was always encouraging and positive, thank you for your guidance. To my family, loving husband and beautiful children, thank you for your love and support and always making me laugh and who kept encouraging me and kept me sane. To Kent Sakoda and Lee Tonouchi who encouraged me to study Pidgin and whose dedication to the language has been inspiring. To Sam and Danrio who were always willing to help me out with Pidgin perspectives.

v Dedication

I dedicate this dissertation to my Mom and Dad.

vi Table of Contents

Abstract...... ii Preface...... iv Acknowledgements...... v Dedication...... vi Table of Contents...... vii List of Tables ...... xi List of Figures and Illustrations ...... xii List of Abbreviations ...... xvii Epigraph...... xviii

CHAPTER 1: LANGUAGE BACKGROUND FOR HAWAIIAN AND HAWAIʻI CREOLE ENGLISH...... 1 1.1. Introduction...... 1 1.2. Languages of Hawaiʻi: Hawaiian and HCE...... 3 1.3. Native Hawaiian Language...... 4 1.3.1 Syntax ...... 5 1.3.2 Phonological inventory ...... 5 1.3.3 Syllable Structure...... 6 1.3.4 Word Stress...... 6 1.3.5 Intonation ...... 6 1.4. Historical Sketch of Hawaʻi...... 7 1.4.1. Captain Cook Arrives...... 8 1.4.2. Hawaiʻi: Trading Eras ...... 8 1.4.3. Sugar Plantation Era...... 9 1.5. Immigrant Groups in Hawaiʻi...... 11 1.6. The Language Act of 1896 ...... 18 1.7. Hawaiian Revitalization 1960s ...... 19 1.8. Hawaiian Creole Description...... 19 1.8.1. Syntax...... 20 1.8.2. Vocatives ...... 22 1.8.3. Phonological inventory...... 22 1.8.4. Word Stress ...... 24 1.8.5. Lexicon...... 24 1.8.6. New Word Compounds and Expressions...... 26 1.9. Is Pidgin that Different from Mainland English? ...... 26 1.9.1. Hawaiian Words in HCE...... 27 1.9.2. Lee Tonouchi “Da Pidgin Guerilla”...... 28 1.9.3. HCE on Facebook...... 29 1.10. Code Switching and Code Mixing...... 30 1.11. Language Attitudes in Hawaiʻi...... 32 1.11.1. Pidgin Stigmatized...... 34 1.11.2. Pidgin Support...... 35 1.12. Conclusion ...... 38

CHAPTER 2: INTONATION TRANSCRIPTIONS AND CHARACTERISTICS ...... 40 vii 2.1. Introduction...... 40 2.2. Prosody ...... 40 2.3. Biological Codes...... 42 2.3.1 Frequency Code ...... 42 2.3.2 Effort Code...... 43 2.3.3 Production Code...... 43 2.4. Melodies Perceived...... 44 2.4.1 Joshua Steele 1775...... 44 2.4.2 Elbert and Pukui (2001)...... 46 2.4.3 Vanderslice and Pierson (1967)...... 48 2.4.4 Carr (1972)...... 51 2.4.5 Autosegmental Metrical Theory ...... 53 2.5. Intonation Universals in Questions...... 56 2.6. How do languages use intonation to convey questions?...... 57 2.7. A Closer Look...... 58 2.8. Falling Question Intonation ...... 60 2.8.1 Hungarian...... 60 2.8.2 Hawaiian ...... 61 2.8.3 Chickasaw...... 62 2.9. Question Universals...... 64 2.9.1 Delay Peak ...... 67 2.10. Conclusions: Right or Left Edge?...... 71

CHAPTER 3: CREOLE GENESIS AND THE LANGUAGE BIOPROGRAM HYPOTHESIS ...... 73 3.1. Introduction...... 73 3.2. Creole Genesis and the Language Bioprogram Hypothesis (LBH)...... 73 3.3. Creole Genesis through Simplification...... 75 3.4. Intonation Overlooked ...... 78 3.5. Arguments Against the LBH ...... 80 3.6. LBH Definition of Classic Creoles Compared to Elements in Hawaiian...... 83 3.6.1. ...... 84 3.6.2. Lack of Question Inversion ...... 85 3.6.3. as ...... 85 3.6.4. Sentential Complementation ...... 85 3.7. Substratist Theories...... 87 3.8. Substrate Language Major Contributors...... 88 3.8.1. Portuguese Intonation...... 88 3.8.2. Chinese Intonation...... 91 3.9. Conclusion ...... 92

CHAPTER 4: METHODOLOGY ...... 94 4.1. Introduction...... 94 4.2. Spontaneous vs. Read Aloud ...... 94 4.3. Speech Registers ...... 96 4.4. Sources...... 97 4.5. HCE Sources...... 98

viii 4.5.1. Full On Pidgin ...... 98 4.5.2. Da Jesus Story ...... 99 4.5.3. AnyKine Kine Podcast ...... 99 4.5.4. Lee Tonouchi, HPU students, and Kent Sakoda ...... 101 4.5.5. Guess Who? Game ...... 101 4.5.6. Katie Drager Interviews and SOLIS Database...... 102 4.5.7. Ryan Higa YouTube Videos ...... 103 4.5.8. Bickerton Recordings ...... 103 4.6. Hawaiian Sources...... 104 4.6.1. Kulaiwi (Kamahameha Schools Distance Learning KSDL)...... 104 4.6.2. Clinton Kanahele Collection, Brigham Young University...... 104 4.6.3. Ahonui Mims, Living the Aloha Spirit (Youtube Hawaiian Lessons)...... 104 4.6.4. University of Hilo Podcasts...... 105 4.6.5. ʻAha Pūnana Leo Hawaiian Lessons on ‘Ōiwi TV ...... 105 4.7. Technology ...... 106 4.7.1. Hardware ...... 106 4.7.2. Software...... 106 4.8. Characteristics: Pidgin or Local English Accent?...... 106 4.8.1. What is the difference between Pidgin and Hawaii English?...... 107

CHAPTER 5: HAWAIIAN INTONATION ...... 108 5.1. Introduction...... 108 5.2. Description of Hawaiian Intonation...... 108 5.3. Clinton Kanahele Collection...... 109 5.3.1. Paul and Carrie Eli Interview ...... 109 5.3.2. Levi Kapahulehua...... 111 5.3.3. Gus Kaleohano ...... 120 5.3.4. Solomon Kupihea ...... 125 5.4. Conclusion ...... 127

CHAPTER 6: HCE INTONATION ...... 129 6.1. Introduction...... 129 6.2. HCE Intonation from Katie Drager Interviews and SOLIS...... 129 6.2.1. Jamin...... 129 6.3. Short Questions...... 143 6.4. Tag Questions ...... 145 6.4.1. O Wat Question Tag...... 147 6.4.2. Jeremy...... 147 6.5. Anykine Kine Podcast...... 152 6.5.1. Sam...... 153 6.5.2. Danrio...... 158 6.6. Final Fall and Brah and Or What?...... 159 6.6.1. Brah ...... 159 6.6.2. O Wat...... 163 6.7. Conclusion ...... 164

CHAPTER 7: RESULTS...... 166

ix 7.1. Introduction...... 166 7.2. Measurements ...... 167 7.3. Sam from AnyKine Kine Podcast...... 170 7.4. Jamin...... 173 7.5. Comparison of Jamin and Sam ...... 176 7.6. Clinton Kanahele ...... 178 7.7. Clinton Kanahele and Jamin: A Comparison...... 182 7.8. Ahonui Mims ...... 188 7.9. Ekela Kaniaupio-Crozier, KSDL Kulaiwi...... 192 7.10. Shorter Questions (Condensed Intonation)...... 195 7.11. Speech Registers...... 202 7.12. Functional Hypothesis ...... 202

CHAPTER 8: THEORETICAL DISCUSSION ...... 204 8.1. Introduction...... 204 8.2. Pre-Planning Response and Functional Hypothesis ...... 204 8.3. Peak delay ...... 206 8.4. Raised Register ...... 206 8.5. Hawaiian Island Prosody: Falling Intonation ...... 211 8.5.1. Creolist Views ...... 212 8.5.2. Founder’s Principle ...... 213 8.5.3. Second Language Acquisition...... 215 8.5.4. Flege (1987)...... 215 8.5.5.