Is Hawaiian music a dying art? Part:2

So far in my blog I have shown different examples and analysis to show if Hawaiian music is really a dying art.  From researching to observing, I have noticed that there is a substantial movement, almost like a  renaissance of a younger generation becoming heavily involved with Hawaiian music.  In my findings I am aware that the Hawaiian genre may still not be as popular to the youth of Hawaii as other genres are.  Educational programs and other musical events/competitions like "Ka Himeni Ana" or the Aloha festivals falsetto contest have helped tremendously to keep this art alive.  However, in my opinion, I feel as if there is still a lot to be done to ensure that Hawaiian music will not die.  Also, keep in mind that there are sub-genres of Hawaiian that are dead, but can be resurrected. 


Besides performing Hawaiian music and bringing awareness of Hawaiian music to my peers, my other contribution to Hawaiian music will be in the form of a musical album.  With the help of mentors like Kimo Keaulana-Alama, I have selected certain mele to record and revitalize.  Not only will I resurrect estranged mele, but hopefully try to capture an older style that is not heard enough today.  This album is in progress and may be completed by 2011.  Stay tuned....

My Interview with Kapena Delima

I had the opportunity to chat with a friend, Kapena Delima. For those who aren't aware, Kapena is not only the son of the well known Kelly-Boy Delima, but Kapena is an amazingly talented musical artist. He's been performing along side his father as a young child and now on his way to becoming an in demand solo artist being only 22 years old. Aside from "gigging", Kapena engineers "Bu-Print" studios where he records fresh talent. Kapena loves traditional Hawaiian music, but occasionally performs it. He admits that he is more inclined to play reggae music or top 40. Nothing but heart and soul goes into his music, but he like many other young artists feel that they can't make a living depending solely on Hawaiian Music, therefore they flock to other genres. Currently, he is searching for new talented Hawaiian music artists to record music. Due to the fact that he doesn't perform traditional Hawaiian music as much as he wants to, recording traditional Hawaiian music is his contribution to the preservation of Hawaiian music. All this in hopes so that traditional Hawaiian music will not be a dead art. (i apologize for the video being sideways) Listen to his story and see if you understand....

Showcasing Mele/Compositions and Hawaiian Music Preservation

A wise man once told me that the words and chords written for a mele was not there on accident. It was written for a purpose, to display a certain mood, feeling or experience that was unique to the composer. However one could argue composers of old would have done much more sophisticated things with their mele if they had the knowledge and capability to do so. It's always right to be true to the composer, but i think we help benefit the legacy of the composer when we do add our own "spin" (with different instruments, modulations, light arrangements) without really taking away from how it should be sung etc. In some ways it keeps the composition still fresh. In other words, it helps sustain the life of the composer and composition even after the composer is long gone. Their songs have potential to die off when people get bored of it and thats just the nature of things. But if you absolutely try to change the whole mele and add a whole new melody and chords than that's a whole different ball game that shouldn't be reckoned with. But the real question is how do we know where the line is between creativity and hewa?....and who draws that line? Does this hinder preservation?

Here is something interesting that was told to me...When I asked renown musical artist and educator, Les Ceballos, what are some ways we can help perpetuate Hawaiian music? He replied with "learn the true melody of a song and the story then the words will make sense." This statement makes me stop and think before i attempt to sing any mele. For some, the lost of interest for Hawaiian music might be due to the limitations. The instillment of fear can make one do anything. And it's the fear of scrutiny that hold many young artists from fully perpetuating the arts. From my experience of performing music, there are times where criticism is given from notable old time musicians sitting in the audience. They come up to you and tell you after that "oh you sang that part wrong," "that chord is suppose to be an Bb not a GM." It can be discouraging at times. I humbly say "okay, thank you" and move on. There are certain new groups that are defying Hawaiian music from a traditional standpoint and going out of the box. Again, are they hewa or just creative? Some go back and forth traditional music to not so traditional. In some way shape or form, let's face it, they are helping to preserve Hawaiian music. Traditionalists like myself could have the stubborn attitude towards others "sing it right, or don't sing it at all." Don't sing it at all and Hawaiian music might become extinct. In the video below, here is an example of a group that has taken Hawaiian music to a different level. They sing and perform the intended mele a bit differently with jazz influence. They face a fair crowd of supporters and criticizers. At the same time, it isn't anything new. Remember Buddy Fo and the invitations, well here is "Kekauoha: The Jazz Project." The song they perform in this video is "ke aloha" written by Lei Collins. "Ke Aloha" is a mele mainly used for hula ku'i. This is a clear example of what some musicians that are young (maybe under the age of 30) might have the need to do to keep themselves interested in traditional Hawaiian music. They take a traditional song and make it not so traditional sounding. The intended meter and chords of this mele are much different, but the actual mele I feel would still be recognizable to most. The vocalist hasn't really changed the melody line. Take a listen....

Puakenikeni-Keauhou

You'd be surprise what you can find on youtube! lol. Alumni from The Kamehameha schools c/o 2009 performing old man Almeida's "Pua Kenikeni" at a graduation party. This is a rare rendition of this song, let alone the style they perform this mele with. The soulful, and rich four part harmonies they revisit is something that was left in the 60's/70's era of Hawaiian Music. There truly isn't enough of this nowadays.

Po La'ila'i - Paul Robins

Here's a Kamehameha student "Paul Robins" singing a Mary Kawena Puku'i and Maddy Lam composition entitled "Po la'ila'i." Some evidence that Hawaiian music is still breathing.....

Is Hawaiian music a dying art?

(L-RJeff Auhoy, Jeff Teves, and myself Brandon Souza.)
  This was the first annual Hawaiian steel guitar festivals that was founded by Alan Akaka.  This is one of the many contributions he has given to Hawaiian music.  Hawaiian steel guitarists are rare and his "Ke kula mele Hawai'i" is mentoring the young and the old not only in Hawaiian music, but specifically the steel guitar.  We were the support musicians for Jeff Auhoy for he was being featured.  Casey Olsen and Greg Sardinha were just some of the other talented steel guitarists being featured on this day.

Here's a kid named "Kaulike Pescaia" of Maui featured in this video singing "waiomina." Kaulike is 10 years old. It's the really young ones like him that give a glimmer of hope to the preservation of Traditional Hawaiian music. But really, is Hawaiian music a dying art? Let's take a look at my findings and then you can take a definite stance. Hawaiian music may be a dying art due to the overpowering western influences of music and westernization in general. 


 The youth and young adults of Hawaii including all cultures would rather not listen nor be involved with Hawaiian music. This is also tied to the fact that there are barely any of the younger generation (ages 5-29) performing or learning Traditional Hawaiian music. Traditions in general are being broken because it sort of is going out of style with this new age. Keiki, teens to young adults, have lost touch with the authenticity of good music. The older generation of islanders have been greatly touched and influenced by Hawaiian music, but it's not the same for this generation. Some, if not most actually consider Hawaiian music to be nothing more than just OLD music. 


 Is it actually the western influences or does the Hawaiian music of this era just not spark the interest bulb. I'm seeing a small movement of up and coming young Traditional Hawaiian music artists, like myself, but I can think of no more than 20 individuals below the age of 30 years old that are actual entertainers in "the scene." When I asked another fellow musician, Zachary Lum to list all the musicians under 30 years old that he knew, he compiled a list of five individuals. So collectively here are some musicians we know of: Aina Asing, Kapono Na'ili'ili, Zachary Lum, Keoni Souza, Halehaku Seabury-Akaka, Ikaika Blackburn, Brandon Souza, The Abrigo Ohana, Alika Young, Elijah Isaacs, Kaikea Lee and Danny Carvalho (to be continued). 


Too many lives are getting sucked in to that silly hip-hop/computerized/techno songs they call music. There's just a tiny society of young Hawaiian musical performers partly because there is just not enough awareness and not enough educational programs to teach not only about Hawaiian music (traditional Hawaiian music), but how to actually play it, and perform it. If you approach CERTAIN Hawaiian musicians they'll be willing to teach Hawaiian musical instruction, lyrics, words and instrumentation, but with the exception of Kahauanu Lake and John Lake there has never been any formal haven where individuals that have the simple desire can learn Hawaiian music. Kahauanu Lake formally trained many artists that have become his proteges today. Some of his students include Jeff Teves, Chris Kamaka, Kimo Kimokeo, Tote Conching, Henry Barrett, and his ukulele virtuoso, Walter Kawai'ai'a. Besides the Kamehameha schools Hawaiian ensemble, I am not aware nor have discovered any other formal teachings of Hawaiian music performance. Actually there is one man who is currently beating the odds. Alan Akaka is the founder of Ke Kula Mele Hawai'i. His formal Hawaiian musical institution is just about a year old. Akaka strives to teach the youth and all ages alike the style, form, and rhythm of traditional Hawaiian music. He teaches Hawaiian style upright bass, steel guitar, Hawaiian rhythm guitar, ukulele, piano, and vocal stylings.


 What other opportunities do young people have to learn Hawaiian music in schools. I mentioned the Kamehameha schools. Kamehameha has done a lot to bring awareness to high school students about Hawaiian music via the annual song contest. It's effective in teaching about choral singing, composers and some mele, but it happens only once a year for the high schoolers which doesn't seem like enough. The Ensemble program Kamehameha has to offer is an excellent program where the combo musicians are able to perform hula ku'i songs for the dancers to dance, but the musicians they select for the combo are already semi seasoned musicians and selected from an informal tryout. Musical programs in other schools across the state don't advocate Hawaiian music, but more so advocate "polynesian music." Is Hawaiian music a dying art?

Introduction/About Me

Aloha Folks!  My name is Brandon Souza and i am happy to say that this is the first time i'm ever attempting to do any sort of sophisticated internet "blog."  Currently, I am enrolled in a MUS 478 (Hawaiian Music) class at UH Manoa instructed by the incomparable  Dr. Amy Ku'uleialoha Stillman or humbly known as "Auntie Amy."  Yes that's right the class focus is about Hawaiian Music.  Notice how i said "about" Hawaiian music meaning that the class does not teach us how to play, perform or entertain Hawaiian music.  MUS 478 is a rare opportunity to become educated of the history, sources, and defining Hawaiian music by a significant icon in the Hawaiian community.  So when asked to do a term project with our own idea of a topic a few things came to mind.  First off, aside from the traditional term paper we were offered the chance to be a little more creative with our delivery, therefore i decided to do a blog.  Note that my blog, like Traditional Hawaiian will still continue to strive and be active even after the term project is due.   This blog is dedicated to the preservation of Hawaiian Music.  The big question you will come to ask yourselves while reading and interacting with this will be "is Hawaiian music a dying art?"  


Before i go on, I want to make sure that i tell you (oukou!)  about myself and basically who I am.  For those of you who don't know me,  I was born and raised here on Oahu and living in Kapolei for almost all my life.  Growing up i attended Maryknoll Grade School and then entering Kamehameha Middle School as a 7th grader.  It was there at Kapalama heights where my interest in Hawaiian music escalated greatly.  After  Graduating from the Kamehameha Schools in 2007,  I went on to  Kapi'olani Community College and now at the University of Hawaii at Manoa.  I am engaged to my fiance Ke'ala, and I am a new father to our son,  Kia'i.  My passion for Hawaiian music comes from years of instillment, observation, interpretation and appreciation which eventually drove me to just become a musician.  I started playing music since i was 10.  Professionally i started performing music at 12 years old.  Its safe to say that in the present I am one of the youngest traditional Hawaiian music performers that perform regularly throughout the week for various venues and events.  I pride myself of the fact that I am a pretty young guy that plays Hawaiian upright bass.  Throughout my earlier life playing upright bass was unheard of.  None of my peers did this, nor did it seem cool that i did it, but considering that it was a bit of a strange talent at the time i'm so glad i stuck with the bass for it has opened countless opportunities of playing music.  I strive to be busy with music and feel blessed for the opportunity to have performed and continue to perform with many older legendary names and "fresh" headliners as well.  Some mentors which continue to help mold me are prolific musicians like my brother Keoni Souza,  Kawai Cockett (deceased), Ainsley Halemanu,  Kimo Alama Keaulana, Ihilani Miller, The Tevis Ohana,  and Ha'alilio Hyer.  I have a rise from learning how to play with all sorts of musicians and loves the fact that i am able to learn their selected styles of traditional Hawaiian music.  




Remember, there is nothing fancy about this blog.  My goal is for this blog to be an advocate not only for the younger generation of Hawaiian musicians, but all Hawaiian musicians and Hawaiian music lovers as well.  Stay tune for my next entry....