Ka Wai Ola - Office of Hawaiian Affairs, Volume 6, Number 4, 1 April 1989 — Hawaiian Women Composers Continue To Inspire [ARTICLE+ILLUSTRATION]

Hawaiian Women Composers Continue To Inspire

by Debor£ih Lee Ward Editor, Ka Wai Ola O OHA Tbe songs of different Hawaiian women eomposers that have influenced her music were shared recently by Haunani Apoliona, composer, musician, award-winning recording artist and Alu Like health services planner. She was a featured speaker and singer in the Hawaiian cu!ture lecture series sponsored by Kamehameha Schools eontinuing education community program. A song is a sharing of the heart and mind, a gift that connects one person to another. Songs may remind us of our thoughts at a certain time and allow us to share them with others. Songs ean also be intimate, stirring deep feelings toward family and friends. Apoliona told about the stories behind the songs and the women who composed them — Queen Lili'uokalani, Helen Desha Beamer, Edith McKinzie, Haunani Bernardino. All of the songs shared were in Hawaiian. She also sang several of her own compositions and talked about what inspired her to create them. "Songs are born from many things — projects that we get involved with, people who we do things with," she said. "lf you havethoughtstoshare,you ean compose." She suggested that songs written in Hawaiian be checked with a Hawaiian !anguage speaker. Apoliona presently composes only in Hawaiian. Apoliona began the informal evening of "talk story" and song with "Ano 'Ai," by composer and language teacher Edith McKinzie, who was listening in the audience. McKinzie told how the song was written to be a gift from the Hawai'i delegation to the 1985 Festival of the Pacific in Papeete, Tahiti. The lyrics in Hawaiian translate: "Greetings to our hosts and dignitaries. We are honored to join the tradition of our kupuna, that tradition whieh binds us in unity. . .We are the waves that eame from a far-off plaee, bringing love." McKinzie explained she wanted the song to share the traditions of our Hawaiian ancestors at this Pacific festival, to share the message that Pacific peoples share eommon ancestors. An enduring favorite song written by Queen Lili'uokalani is "Tutu Hula," composed for a benefit at Kaumakapili Church. Mariah Heleluhe played the role of tutu, and seven girls sang and danced. The Queen trained the girls herself and sang in the performance. It was a huge success, and the performers were showered with dimes, nickels and quarters, a goodly sum in those days. Apoliona said the song mentions Ka'ala'ala'a, a plaee in Nu'uanu near the site of the present Ma'ema'e school. There, Lili'u wrote, "My little grandmother is there, many are her days. In the morning, she opens her big Bible and after she goes to get her glasses and puts them on. We love tutu, we care for tutu, we honor her, she is our grandmother." "When evening comes, she prepares for devotion. She looks for her glasses. Auwe. They've disappeared. Ah, there they are, placed high on her forehead, quite forgotten, she finds her glasses." As if on a musical voyage, Apoliona next turned to the Big Island for two songs by composer Helen Desha Beamer, "Na Kuahiwi Elima" and "The Kimo Hula." She explained that Beamer's use of Hawaiian language reflected the very poetic style used by speakers of yesteryear, fullof imagery and unique melodies. In the song "Na Kuahiwi Elima," (The Five Mountains), Beamer described the sights on her trip as a passenger in a car going from Hilo to Paniau in South Kohala, island of Hawai'i, to land owned by the Ruddle family: "So plea surable is the ascent toward Waimea, Kamuela, feeling the chilly mist. .seeing again as if for the first time the twin waterfalls of Waipi'o. Majestic is Mauna Kea in all her beauty. Adjacent is Mauna Loa, splendid mountain, residence of the woman Pele from Kahiki. Standing in majesty is Hualalai, mueh esteemed." The rolling hills of Kohala from the uplands to the sea are admired, and Beamer

concluded, "there, beyond 'Aienuihaha (ehannei) is Haleakala of Maui, my birthsands. . ,Mystoryis told of my admiration and respect for these five mountain formations." Beamer's "The Kimo Hula" was written for James Kimo Henderson, a friend who lived at Pi'ihonua near Hilo. The area is known for gracious homes set amid spacious, wel! manicured lawns shaded by large trees. Beamer described the uplands of Pi'ihonua, its charming gardens, where she saw "the beauty, en veloped by the fragrance of blossoms. The birds of the mountain fancy Moanikeala (the Henderson home). Even the 'i'iwi with yellow feathers enjoys the nectar of the blossoms." Beamer also wove Mrs. Henderson into the song, referring to her as "lei makani, lei onaona." "Moanikeala, you are this plaee of thriving beauty. Gratitude and thanks are due to you for your hospitality. This is a story of the green, verdant and lush Moanikeala. Heed our eall of honor to you, James of the uplands, this song is for you." The beauty of the Big Island and its rural uplands also inspired Apoliona, who in 1983 wrote "Kukuiohiwai." It describes the home of the Springer family, her friends, at Huehue on the slopes of Huaialai, Kona. It is surrounded by kukui trees. The family is very self-sufficient, she said, so she decided to give them a song as a gift, something she knew they would appreciate. Apoliona tells of the friends and family that gather and enjoy eaeh other's company at Kukui ohiwai, a large, welcoming household that includes three horses and four dogs She recails "the echoing wind of Kona blows, this chilly night of the fu!l moon. I ean hear clearly the sound from the uplands of the pleasant, haunting voices of wild peacocks. My iove is neverending for this home that is so revered . . . Never ceasing is the iove for Kukuiohiwai." As she sang. listening in the audience were Mrs. Kihalani Hannah Springer Tomich, her husband and young daughter Kihalani. Mrs. Tomich' mother, Mrs Thelma Springer, who is mentioned in the song. passed away last year. Apoliona continued her theme of family love with "A Song For Mom," written by Haunani Bernardino, her longtime friend and fellow musi eian (they onee played together īn the group Ka Leo O Hawaii with Eldon Akamine. Aaron Mahi and Larry Kimura). At the time Bernardino wrote the song, she was on the East Coast visiting im mersion schools there, and hvmg with a Hawanan family who became very dear to her The song celebrates her two "moms." "Here is a song for Mom, who we honor Yes, we love her. In the early morning we hear the softness of her comforting voice You see her eyes, cheerfui

and playfui, her hands gesturing expressively. . She playsukuleleandsweetlysingssongs we all enjoy. Her familiar scent we smell in her embrace. She caresses and hugs us. This is our song of love for Mom, whom we love and honor." Another prolific composer whose work inspired Apoliona was Mary Kawena Pukui. An outstanding example to many through her knowledge of Hawaiian language and culture, Pukui eontributed in many ways to the social welfare of Hawaiians. She was for many years a counselor to the Queen Lili'uokalani Children's Center, and her knowledge was set down in the classic "Nana I Ke Kumu" (Look to the Source) reference work on Hawaiian culturai foundations. The song, "Ku'u Tutu," said Apoliona, was "Kawena's small protest against the image of tutu m "kolohe" songs such as 'Tutu E Pukui wrote: "I love my tutu for her generosity and eoneem, her gentle voice calling me." She described what tutu used to wear— a big-sleeved mu'umu'u, silk lei and neckerchief — and what she liked to do — to sew quilt squares patiently and meticulously; weave lauhala hats, and string blossoms into lei. In her big rocking chair she would rock her grandchild, back and forth. The last song in Apoliona*s musical reminiscence was the first song she composed, during a 1979 Alu Like staff retreat at Camp Lokahi in Makaha. Apolionawasasked to do asession on Hawaiian values and concepts and to suggest ways to show that contemporary times car still support a very Hawaiian !ifestyle. Thinking about the discussion that weekend, she remembered how during her graduate school years in the beginning of the "Hawaiian renaissance," she would hear negative stereotypes of Hawaiians. She decided to write the songfrom her deep belief that Hawanans are not lazy or afraid to work The powerful song that resulted, "Our Alu Like Song," talks about working with sincerity, genuineness, humility (keeping yourself in perspective). She added, "Remember, words are very powerful. very important Your word is also impor tant , you must stand behind it and be counted on ' The chorus gives the mottc ot Alu Like, "Let us work together, natives of Hawai'i. the descendants (flowers) that never tade ' This song represents the powerful love devotion and faith Haunani Apoliona bnngs to her work and musicai compositions on behalf of Hawaiian people Concluding her program, she sang the verses Lei us worK with sincerity. Let us work with humility Let us speak at all times with goodness and righteousness Let us look to the source (of oui strength; let us listen (to that source), let us work not so mueh with the mouth, let us work more with the hands "

Haunani Apoliona was bom and raised on O'ahu. She graduated from Maryknoll High Schooi and graduated from the University of Hawaii with a double major in sociology and Hawaiian studies. She received her master's degree in socia! work and is pursuing her PhD in social sciences. She began playing the ukulele and singing at age 5, and taught herself to play guitar in high school, when she also became interested in slack key style. Continuing her music interest, she played with different groups and is best known for her recordings with Kaimana, and Olomana. She has recorded six albums, the latest whieh includes compositions by Hawaiian women. She is president of the Hawaiian Civic C!ub of Honolulu, and is pianner for the Nati.ve Hawaiian Elderly Needs Assessment project of Alu Like, Ine.

Edith McKinzie. also a composer, tells about a song she wrote for the Festival of the Pacific. Haunani Apoiiona then performed it.