tag:blogger.com,1999:blog-79639172630821914772024-02-19T08:15:54.082-08:00Literature of HawaiiLTEL 155B ROB WILSON
Section 1A with Trey HightonAnonymoushttp://www.blogger.com/profile/03066490564628569680noreply@blogger.comBlogger177125tag:blogger.com,1999:blog-7963917263082191477.post-78853464212788229432012-12-06T11:15:00.001-08:002012-12-06T11:15:01.227-08:00Lecture Notes Weeks 8-10Lecture notes through Gajelonia & Hemmings are <a href="https://docs.google.com/open?id=1FlwffXufbRd3aVJigdA4ChIBilpjffkrwSmOSstx14T2bMTamEP1WF5z8_I9">here</a>.<br />
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<br />Anonymoushttp://www.blogger.com/profile/03066490564628569680noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-51667346813710118272012-12-06T00:00:00.001-08:002012-12-08T23:21:19.761-08:00Point Break. Sweded!As authentic an end to a Literature of Hawaii class as <i>The Descendants</i> or the new <i>Hawaii 5-0</i>. Thanks for all the hard work, it's been a pleasure teaching this material and working with all of you. Stay stoked, and in the words of Juliana Spahr - "fuck you, aloha, i love you" . . .<br />
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<br />Anonymoushttp://www.blogger.com/profile/03066490564628569680noreply@blogger.com1tag:blogger.com,1999:blog-7963917263082191477.post-35822685037613528662012-12-05T22:34:00.001-08:002012-12-05T22:34:07.053-08:00Grrl Fo' Realz<b id="internal-source-marker_0.40981973917223513" style="font-weight: normal;"><span style="color: #cccccc; font-family: inherit;"><span style="vertical-align: baseline; white-space: pre-wrap;">My favorite poem in </span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Thirteen Ways of Looking at TheBus</span><span style="vertical-align: baseline; white-space: pre-wrap;"> is “DearGod: A Prayer in Six Parts.” The language used is a combination of pidgin and textspeak, resulting in a playful and comical tone--and when the content gets heavy, the language results in something honest. I absolutely love this idea of a Hawaiian girl texting God; a girl’s innermost wishes being sent to God in a way that’s intimate to her. It’s as if the speaker could be texting her best friend and telling her the news about Carissa--”I faking hate / her! God, I thought she wuz my fren. I saw / her yesterday making out wit John Boy”--and it’s very exciting (to me) to think of her relationship with God as such (13). Is she texting God as she rides on TheBus? To me, most definitely. I don’t see this poem being a critique on the young, technology driven generation, but rather an honest portrait of a teenaged girl. A simple reading could criticize the speaker as being shallow and vapid, pointing to her trivial concerns--and I would attribute that to the cultural attempts of the dominant patriarchal western culture to trivialize anything that a teenage girl likes/wants/desires. Whether or not Gizelle Gajelonia agrees with me, I feel like this poem is (or could be used as) a celebration of The Teenage Girl, and not a condemnation of it. </span><br /><span style="vertical-align: baseline; white-space: pre-wrap;"></span><br /><span style="vertical-align: baseline; white-space: pre-wrap;">This poem is very much reminiscent of </span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Saturday Night at the Palhala Theater</span><span style="vertical-align: baseline; white-space: pre-wrap;">, especially in the scenes of daily life it portrays; young Hawaiians of different races fighting, abusive men, and peers bullying their friends. And the fact that it is one of the few poems that does not reference a canonical poem further distances it from the dominant tropes and aligns itself with the Hawaiian, woman author of </span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Saturday Night</span><span style="vertical-align: baseline; white-space: pre-wrap;">. In parts IV and V, we learn the speaker’s father is an abusive drug addict who beat her mother, and that her mother is dead. It’s honest, and tragic, and it gives me all the more reason to root for her in part I when she prays, “Oh yeah, / plz bless Ikaika he steh numba 52, God. / Ho he soooo sexy fo’ realz. But he get / girlfriend u know soooo uglee her! . . . I hope dey break up and den / I hope Ikaika numba 52 gon ask me out / fo’ go eat Jack in the Crack one day” (12). </span></span></b>Anonymoushttp://www.blogger.com/profile/14061533717745857653noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-77626170090365815542012-12-05T22:33:00.002-08:002012-12-05T22:36:43.944-08:00"Thirteen Ways of Looking At The Bus" and it's representation of RaceA Bus Oh MyGod<br />
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It was interesting to me how easily this poem was able to convey the image of class and racism. "Filipinos/ are really/ hardworking./ Like the cleaner/ of/ hotel,/ nurse,/ nursing assistant/ cleaner of urine./" (17) She begins by mention Filipinos specifically, singling them out, then saying that they are hardworking, and good at cleaning. She throw's in a few higher class jobs, then end again on a low class position, "cleaner of urine," which ultimately summarizes her stereotype thought process. Not only does she point out other people on the bus, but also reverts the attention back to her, and what she is not because of the things she doesn't have. Throughout the poem, the idea of who she is seems to be void of an answer. She is a Hawaiian, is she not?<br />
Again, to touch on my previous blog about the new generation of Hawaiian, this is another example. Culture's have fused, and it is becoming difficult to tell which attributes belong to which culture. While race, however, still remains a very prevalent dispute and one that is easy to identify. To me this poem captured the important of race in a culture, and how it has always been an issue of nativism, but now it has become as issue of racism. Then again, is it the race that she is pointing out on the bus? Or is she pointing out the hardworking culture of that particular race.<br />
-Kaeliann Hulett<br />
<br />Anonymoushttp://www.blogger.com/profile/14359866343625684207noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-27776280784363055042012-12-05T22:07:00.001-08:002012-12-05T22:07:45.810-08:00The New Generation of Hawaiians?<i> The Descendants</i> offered me quite a different view of Hawaii than all of the other books we have read in class. The common theme of self-realization kept itself alive throughout the novel, however it was a different source of realization than the rest of the "Hawaiian Literature" we have read so far. Comparing it to <i>Well Then There Now</i>, it becomes easier to grasp the difference between the two types of realization that present themselves to us. While <i>Well Then There Now </i>faces the issues of the Continents influences, and the new world that Western Civilizations have brought upon the Hawaiian culture. <i>The Descendants</i>, however, seemed to focus more on influences in general, and not focusing on the Western Civilization's influence, but rather the materialistic influence of the world. It is easy enough to connect materialistic influences with that of the Western Civilization, however, one cannot easily say that it is the Western Civilization that is responsible for such influences. The idea of Hawaii as an innocent land, unaware of materialistic possession, is an ignorant thought. Like all other culture's, Hawaii has been created through a mixing of cultures, and it is through that mixing of cultures, which are different than ours, that we perceive the notion of Hawaii as innocent, because they did not base their culture on success and power of money and possessions. They based it on the land.<br />
The land has lost almost all value in the novel. It has been represented as a dull, dry, and an aesthetically appalling landscare. The speaker Matt, who is supposed a descendant of Hawaii, tells us what he sees and it is from a very disconnected point of view. It is as though there is no love for his land, he doesn't even seem to feel bad about the condition of the island; an opposite concern of ancient Hawaiians As Matt points out all of the old family houses and farms, he mentions that they drive by like many times before, and they are now museums and landmarks. I found it very interested that he didn't take his family into these places, or stop at them more often. Neither did he tell the entire history of the places, and most importantly, they were maintained only as tourist attractions. I thought that, had Matt been a <i>true Hawaiian</i>, he would have still been utilizing those pieces of land for his family, rather than them being made into revenue sources. Not only that, but I thought that he would have at least had more of a story or connection to let the reader know about these places. Not too much longer into the story, Matt tell's about graffiti on the rocks telling people to go home. Another great example of how the respect for the land has faded in the new generation of <i>Hawaiian's. </i> Something else I connected to the changing generation was how some people were changing their names to simple Americanized names rather than their birth-given Hawaiian names, which would be difficult to pronounce and spell, making them stand-out.<br />
All of this was making me wonder, is the Hawaiian culture changing? Or are other culture's snuffing out, diminishing and taking over, the Hawaiian culture Culture's change, they do not stay the same forever. This is how culture's are made, by a hybridity of people's beliefs, logic, and way of living.<br />
Take Joannie for example. She is still loyal to the Hawaiian people, yet she has been a victim of materialism, and has fallen to the new generation of Hawaiian culture. It is becoming difficult to distinguish between those that have been influenced and affected by both cultures, and those who have assumed the "new generation culture", or if there is even a new generation culture?!<br />
-Kaeliann Hulett<br />
<br />Anonymoushttp://www.blogger.com/profile/14359866343625684207noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-44847193659892344902012-12-05T21:40:00.001-08:002012-12-05T22:14:06.565-08:00Local Hawaiian Business's: Waialua Soda Works I found it very interesting to read some of the local Hawaiian takes on a local Hawaiian product that is being made with it's own resources at hand. I also found it interesting that a small business is trying to make claims that they are not for the money, while that seems to be all that the company is working towards. I originally found this bottle of Waialua Soda Works soda in my boyfriends grandparent's house. He was told that this soda can no longer be bought, the original soda that is. The story he was told was that Waialua Soda Works was bought out by Pepsi. This seems to be a common misconception, because Pepsi did not buy Waialua Soda Works, they helped fund it and wanted a piece of the action, that is sure! So, I was wondering why my boyfriend, and all other Hawaiians he knows, believe that Pepsi owns Waialua Soda Works. It seems as though the concept was created over the dispute of selling the land's products over seas as a mass product, which essentially represents Hawaii as a market place and is exploiting itself.<br />
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<b><span style="font-size: large;">“Waialua Soda Works is like <span style="background-color: #ffe599;">a vacation in a bottle</span>,<span style="background-color: #cfe2f3;"> people want to go to Hawaii,</span>” said Greg Stroh. “What sets Waialua Soda Works apart from every one else is the Hawaiian ingredients and the spot on packaging. I’m looking forward to helping Waialua Soda Works overcome some of battles I’ve experienced through the years, and I want to help this brand grow.”<span style="color: black;"><span style="font-family: Times;"><i><span style="background-position: initial initial; background-repeat: initial initial;"> -<a href="http://www.hawaiimagazine.com/blogs/hawaii_today/2008/4/22/things_we_love_about_Hawaii_Waialua_Soda_Works">Hawaii
Magazine</a></span></i></span></span></span></b></div>
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<br /><br /><b><span style="font-size: large;">About Waialua Soda Works</span></b><br />Founded in 2003 by Waialua residents Karen and Jason Campbell, Waialua Soda Works’ recipes are inspired by the elements familiar to the Hawaiian Islands. Reviving a local soda bottling tradition that goes back more than 100 years, the company uses only clear glass bottles, pure cane sugar, and natural flavors to make its sodas. The products feature local ingredients such as Maui Brand natural white cane sugar, Big Island vanilla, and honey from Kauai. Waialua Soda Works is owned and operated from a warehouse in the historic town of Waialua, located on the famous North Shore of Oahu.<br /><br />Waialua Soda Works is available in a 12 oz glass bottle and in 6 unique flavors: Lilikoi, Mango, Pineapple, Root Beer, Vanilla Cream, and Kona Red. Waialua Soda Works is currently available at over 1000 retail locations on the mainland in CA, AZ, NV, OR, & TX: Whole Foods Market Southern Pacific Region, Bristol Farms, BevMo, HEB, Central Market, Cost Plus World Market – Nationwide, and is available at every major grocery chain in Hawaii including Costco & Target.<br /><div style="background-position: initial initial; background-repeat: initial initial; margin-bottom: 0in;">
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<a href="http://1.bp.blogspot.com/-uXu_jaozsG0/UMAEVw7iEKI/AAAAAAAAA7U/hHRQ-rGS5FA/s1600/2012-12-02+01.59.36.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img align="BOTTOM" border="0" height="320" name="graphics1" src="http://1.bp.blogspot.com/-uXu_jaozsG0/UMAEVw7iEKI/AAAAAAAAA7U/hHRQ-rGS5FA/s320/2012-12-02+01.59.36.jpg" width="240" /></a><br /><br />"We've received funding from an equity capital firm out of Honolulu, which is good because it stays in the islands," said Jason Campbell, who, with his wife, Karen, established Waialua Soda Works in 2003. Campbell did not disclose the dollar figure.<br /><br /><br />The local investors are led by Tradewind Capital Group Inc., whose officers include some minority investors in the Honolulu Star-Advertiser -- but it's not as if they tipped us off to this story. They didn't.<br /><br /><br />"They (the local investors) did not purchase us," Campbell said, but a new company, North Shore Beverage Co. Ltd., was formed to reflect the investment.<br /><br /><br />The Waialua Soda that is sold in Hawaii is made by the Campbells in Waialua using natural, local ingredients. They ship those ingredients to a mainland bottler for mainland sales.</div>
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<img align="RIGHT" border="0" name="graphics5" src="http://media.staradvertiser.com/images/20100901_bizMUGbottle.jpg" /><br /><br />Kona Red, the newest flavor, is made from antioxidant-rich coffee cherries, using the fruit -- not the bean, from whence coffee is produced.<br /><br /><br />Waialua Soda Works' new financial heft will enable it to increase production and expand sales and distribution channels, Campbell said. The goal is to "saturate Hawaii and then do a heavy focus on the West Coast, in particular from Seattle down to San Diego," with a concentration on "Los Angeles beach cities."<br /><br /><br />It was important to find investors locally, but not just people with deep pockets, Campbell said. "They're successful business people and know quite a bit much more than we do." For the mom-and-pop soda-pop makers, the investment represents "not only money, but smart money."</div>
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<a href="http://1.bp.blogspot.com/-ajiu23F-_3M/UMAEWSDWmKI/AAAAAAAAA7c/d1UHbdeoz8o/s1600/2012-12-02+01.59.58.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img align="BOTTOM" border="0" height="320" name="graphics3" src="http://1.bp.blogspot.com/-ajiu23F-_3M/UMAEWSDWmKI/AAAAAAAAA7c/d1UHbdeoz8o/s320/2012-12-02+01.59.58.jpg" width="240" /></a><a href="http://1.bp.blogspot.com/-ajiu23F-_3M/UMAEWSDWmKI/AAAAAAAAA7c/d1UHbdeoz8o/s1600/2012-12-02+01.59.58.jpg"></a>Bottles must be imported, just as they were a century ago in that heyday of Hawaii bottling. Glass remains the company's biggest expense.<br /><br />The soda wholesales for $1 a bottle; 35 cents of that is the cost of the bottle. A pallet of 4,300 bottles costs just under $900, but shipping from the Oregon factory is another $600, plus $100 an hour for a forklift driver to make the delivery.<br /><br /><br />"It's probably the most expensive soda to make in the United States," Jason says.<br /><br />It would be more economical to do the bottling on the mainland, Karen acknowledges. "That's the first question people ask: Do you really make it here, or do you make it in California and ship it here?"<br />But the company's identity is tied up in the soda being Hawaii-made. "That's why we kind of bite the bullet on the cost."<br /><br />These sodas-in-glass are boutique products similar to microbrews among beers. A number of mainland bottlers, particularly in the Pacific Northwest, have proven their appeal to a higher-end niche market willing to pay $2 or more per bottle retail for something classier than Coke. Think Henry Weinhard's Rootbeer.<br /><br />"As long as people are willing to pay that price," Jason says, "I can make it here."<br />The Campbells based their business in Waialua "because we love the feel of this town," Karen says. Plus, the old sugar mill, the town's principal landmark, is good karma -- sugar being the main ingredient in sodas.<br /></div>
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<a href="http://3.bp.blogspot.com/-2p82HuaKSyY/UMAEX2_4ZyI/AAAAAAAAA7s/N5ynvRxj5Mc/s1600/2012-12-02+02.01.53.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img align="BOTTOM" border="0" height="320" name="graphics2" src="http://3.bp.blogspot.com/-2p82HuaKSyY/UMAEX2_4ZyI/AAAAAAAAA7s/N5ynvRxj5Mc/s320/2012-12-02+02.01.53.jpg" width="240" /></a><i>"Run by local people, for the Hawaiian market. If you have to drink soda, buy from Waialua Soda, not the local Pepsi or Coke bottlers." -Anonymous Blogger<br /><br />"Well, transplanted mainlanders. And hopefully their reach will extend beyond the islands." -Anonymous Blogger<br /></i><i>"I am soured on pepsi:</i><i><br />When they had that big corporate convention, and paid the strolling bones their exhorbitant fee to perform, (when they also had their aloha stadium concert, which i was happy to attend, 5 rows from da stage, even...) on Hawaii island, pepsi painted their corporate colors and logo on lava rock that stretched along the road or path to the site. -Booo. auwe. and hope they are kahuna'ed." -Anonymous Blogger<br /><br /><br />"Then I say everybody who lives in Hawai'i who comes to read HT should go out and support this company. THIS is the kind of company Hawai'i needs...located in Hawai'i, run by local people, for the Hawaiian market. If you have to drink soda, buy from Waialua Soda, not the local Pepsi or Coke bottlers. And keep buying their product until (or if) they get bought out by one of the majors. That, unfortunately, is the fate of most small successful companies." -Anonymous Blogger<br /><br /><br />-</i>Kaeliann Hulett</div>
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<span style="color: black;"><span style="font-family: Times;"><span style="font-size: medium;"><span style="background-position: initial initial; background-repeat: initial initial;"><a href="http://www.staradvertiser.com/business/20100901_Waialua_Soda_Works_attracts_local_investors.html">Sources</a> <a href="http://www.hawaiithreads.com/showthread.php?t=5646">MORE!</a> <a href="http://www.waialuasodaworks.com/starbulletin.php">and
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Anonymoushttp://www.blogger.com/profile/14359866343625684207noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-83165034456996211272012-12-05T19:23:00.000-08:002012-12-05T19:23:23.618-08:00Blue CrushHey guys--<br />
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After completing this course, I'm wondering what you guys think of the movie "Blue Crush"? Do you feel like it accurately depicts Hawaii and Hawaiian culture? I do (for the most part). Although Anne-Marie has grown up in Hawaii...she isn't always accepted by true Hawaiian locals. However, at times...she's accepted like a full-blood Hawaiian (such as being given full access to "secret surf spots"). Her pro football player boyfriend represents the typical tourists...taking surf lessons, staying in a nice hotel, attending lavish luaus, etc. What are your thoughts? I feel like it pretty fairly depicts a lot of Hawaiian culture. <a href="http://www.youtube.com/watch?v=oAyG60RPv-k">http://www.youtube.com/watch?v=oAyG60RPv-k</a>Chttp://www.blogger.com/profile/05747235526810453852noreply@blogger.com2tag:blogger.com,1999:blog-7963917263082191477.post-35370339513266788162012-12-05T18:29:00.004-08:002012-12-05T18:29:52.532-08:00YEAR OF THE RAM.<b id="internal-source-marker_0.5798155451193452" style="font-weight: normal;"><span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;">This whole piece is hauntingly real. The tourist fantasy is tackled by images by football players and dissected by museum directors. There are also images of bombs going off and comparisons to Vietnam and America. I also find it interesting that there was a question of whether to refer to the year as the year of the ram or as a sheep. The two animals are in the same species but what’s the significance of Cliffords use of the Chinese Astrology? The poem speaks of globalization within Hawaii and dwells on the tourist industry of Hawaii seemingly dismissive attitude towards negative issues that stem from colonization and continue to plague humanity. <br class="kix-line-break" /><br class="kix-line-break" />Upon doing some further research the year of Ram is characteristic of followers, creative, charming, auspiciousness, and appealing while some of negative aspects are indulgent, irresponsible, disorganized and careless. While the people of born in 1991 do not have much to do with this reading of Cliffords Year of the Ram it does delocalize the idea of Hawaii and show how the state of Hawaii is contained within the context of the world but Clifford warns in his comparisons that Hawaii tourism industry might lead to an implosion of the island. </span></span></b>meganbakerhttp://www.blogger.com/profile/11182130374590949475noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-36062203368380637362012-12-05T18:28:00.002-08:002012-12-05T18:28:06.546-08:00THE DESCENDANTS<b id="internal-source-marker_0.5798155451193452" style="background-color: #444444; font-weight: normal;"><span style="color: #eeeeee;"><span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">Dealing with the Descendants, there’s a lot to be said. The main issue I have with some other critiques of Hemming’s story is that people expect too much out of it. They expect a story that revolves around one idea of Hawaii, a more “Native” idea of Hawaii, one that’s unkempt and cursed with over reaching Haoles that sucked their land dry but the picture Hemmings paints is the other side of the story. Hemmings modern day story shows how the lives of missionary descendants are not ideal either and paradise for them is just as much of a struggle for them as it is for other lower class Hawaiians. Not matter what side of the Aloha rainbow you’re on there’s no escaping misfortune. One of my favorite lines of the novel exemplifies how Matt’s character has to deal with living with reality in paradise, “I bet in big cities you can walk down the street scowling and no one will ask you what’s wrong or encourage you to smile, but everyone here has the attitude that we’re lucky to live in Hawaii; paradise reigns supreme. I think paradise can go fuck itself.” (Hemmings 5) I actually really like the novel. I think the family dynamics are quite particular to Hawaii, although I can’t speak with too much authority I find that while some of these issues, such as infidelity, manipulation, and parenting are universal, while the subplots make the context of Hawaii seem more real. </span><br /><span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"></span><br /><span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">The issue of the land and parenting seem out of Matt’s grasp mentally. Leaving him at a loss for what to say and do. This idea of loss is quite prevalent throughout the book and even stems as far back to his native ancestors who had to deal with the loss of their cultural identity, their land and their race but it's only after we've lost everything that we're free to do anything. Although Hemmings moves past the past and creates an universal image of the Hawaiian family she does manage to create a new paradigm for looking at paradise, one thats more based in reality than fantasy. </span><span style="font-family: Georgia; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;"> </span></span></b>meganbakerhttp://www.blogger.com/profile/11182130374590949475noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-74805832846473176112012-12-05T18:27:00.002-08:002012-12-05T18:27:14.468-08:00J. LONDON<b id="internal-source-marker_0.5798155451193452" style="font-weight: normal;"><span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;">Upon reading Jack London’s account of surf-riding, I find it surprising in the introduction to his literature, that “In Hawai‘i, London’s fame gave a boost to Ford as he helped found the first organization to preserve surfriding, the Outrigger Canoe Club (1908)” I wonder why there wasn’t such an establishment that was created by the Hawaiian peoples? For individuals tied so closely to their culture and heritage they don’t seem to stand up for their beliefs and values. Maybe because its in their culture to be open and accommodating they are taken advantage of and exploited. Theres an obvious spot light on the idea of Waikiki as a paradise and surfriding as a past time of the gods. This romantized view of hawaii, isn’t so bad. Hawaii is indeed a paradise I suppose the trouble is that when these stories reached the masses, it opened up a painfully real account of exotism and escape, leaving out any mention of Hawaiian custom, the people, their value system, or any kind of close up on the native habits besides surfing. This kind of negligence adds to the dispossession of the lands and properties from the native Hawaiians. <br class="kix-line-break" /><br class="kix-line-break" />London’s record of his first attempts at surfing at wildly controlling, “Get in and wrestle with the sea; wing your heels with the skill and power that reside in you; bit the sea’s breakers, master them, and ride upon their backs as a king should.” This man vs nature interpretation I see through the text puts man in a dominant position over nature, which is an idea that can be extrapolated through London’s view of surf-riding. Contrary to this twisted and confused philosophy originally surf riding was seen by the Hawaiians as a means of spiritually connecting to the land and the water and not as a sport to be “tackled”. Sadly the tourist boom in Hawaii says otherwise and these accounts promote London’s view of surfing as a sport of kings, instead of as an application of respect and appreciation towards the land and ocean. </span></span></b>meganbakerhttp://www.blogger.com/profile/11182130374590949475noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-33281207768170913592012-12-05T18:26:00.000-08:002012-12-05T18:26:08.984-08:00GARY PAK VALLEY OF THE DEAD AIR <b id="internal-source-marker_0.5798155451193452" style="font-weight: normal;"></b><br />
<div dir="ltr" style="margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<b id="internal-source-marker_0.5798155451193452" style="font-weight: normal;"><span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;">The story attempts to acknowledge with subtle impressions the tests and will of the various protagonists of Hawaii through a challenging stench left after the passing of a native man. The disenfranchised descendants of native Hawaiians have a repressed history— along with the plantation workers and various ethnic victims of racial violence but in this story we read about locals coming into their own as Hawaiian individuals through coming to terms with the death of Hookano and the stench that lingers in his wake. <br class="kix-line-break" /><br class="kix-line-break" />Pak uses interesting imagery like phallic symbolism in the land through the misshapen potatoes growing on a nearby farm. This symbolism can be interpreted in a variety of ways. As we can also see in the disturbed nature of the sex and fertility of the island how the stench, ie the death of a native, is effecting the land. Residents aren’t making love and the farms aren’t growing adequately sized produce. It seems that the haoles forceful taking of the land is a emasculating. Deprived of their native roles the people of Hawaii are effectively weaker. The land and water breath of the life or lack thereof of its inhabitants. <br class="kix-line-break" /><br class="kix-line-break" />The locals speak in Pidgin, which helps the reader understand their non native mentalities while the narrator relays the story in American english. In order to re-establish the sense of harmony the locals propagate hawaiian traditions and the enactment leads to resolution through appreciation of the land and the former owner of the land, Hookano. </span></span></b></div>
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meganbakerhttp://www.blogger.com/profile/11182130374590949475noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-57474332389721320622012-12-05T18:25:00.002-08:002012-12-05T18:25:23.794-08:00da wäwae outta ke kalipa<span id="internal-source-marker_0.5798155451193452"></span><br />
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<span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;">In Lois-Ann Yamanaka’s raw modern vocality of Hawaiian pidgin she pronounces a dimension of post-colonization engendered with poetic details of street smarts, tough lessons and female heart. In an interview with Caroline Wright from IS magazine, she highlights several nuances that have affected her work as a writer. One in particular is her relation with her grandmother. She does not mention much besides her current caretaking routine of the elderly woman but in a follow up question she does divulge that since her grandmother’s conversion from Kanya to Christianity, she got raised as a “foot washing baptist”. In relation to a close reading from SNATPT, I choose to focus on the poem, “The Foot”, a component of the Blame in Parts series. As the reader moves through the poem they feel subjected to accusations of slipper tampering and leaving their toe jam in the inappropriately borrowed slippers, “And if I catch/the asshole/who using my/rubber slippers/and making me/catch their toe jams/I going broke their ass. (Yamanaka, SNATPT, pg. 69)</span></span></div>
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<span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;">Accordingly so, Robert Frost said “Poetry is what get’s lost in translation” So what is Yamanaka’s “foot” saying? I intend to look at this poetic translation through the lens of colonialism.</span></span></div>
<span style="background-color: #444444; color: #eeeeee;"><span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">What I find particularly interesting is that prior to Hawaii’s colonization footwear was not as popular. During the adoption of these customs, their sense of modesty was awakened, while the art of living barefoot, that came with the surf riding culture, diminished. Coming to incorporate footwear into their daily regimen, Hawaiian peoples have unofficially adopted the slipper as their state footwear, as it is the most seen and worn shoe on the island, pushing the Hawaiian cultural aspect of comfortability through the perpetuation of this symbol in jewelry, tattoos, still lifes and sculptures. While rubber slippers are still in accord with the Hawaiian’s lifestyle choice of a balanced minimalist nature they can be considered a new paradigm of existence with which to view cross cultural colonization. Although the Hawaiian rubber slipper is a descendant of the Japanese Zori sandal, the iconic rubber slipper is a physical mediator of Hawaiian values, like practicality, thriftiness, humility and personal freedom inspite of the oppressively binding closed toe shoes of mainland western morally based ideals.</span></span><div dir="ltr" style="margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: #444444; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #eeeeee;"> The significance of toe jam in the poem seems to signal a fragmented sense of selfishness, intrusion and criticism that is also conveyed in the two other poems under the heading “Blame in Parts”. Toe jam being the dead skin cells, sock fluff, surface dirt, sweat, skin oils and bacteria accumulated throughout the day which poor hygienic practices or certain feet-related medical conditions such as athlete's foot can make the appearance and odor of toe jam even more noticeable. The misappropriate instances of self-centeredness with explicit connections to manners, hygiene, and greed from the reading seem to culminate to a blame in whole with relation to social etiquette passed down by the early pioneering missionaries in Hawaii. The toe jam is like a micro version of the dispossession of Hawaiian cultures and the infringement of privacy leading to difficulties produced by imperialism's consumerist nature.</span></span></div>
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meganbakerhttp://www.blogger.com/profile/11182130374590949475noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-72184809463209455792012-12-05T16:41:00.000-08:002012-12-05T16:45:20.511-08:00Spahr: Colonial Guilt and Feeling Better About It<div dir="ltr" id="internal-source-marker_0.8277763562366007" style="margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: #f3f3f3;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Juliana
Spahr’s poetry highlights the concepts and the issues of belonging and
of owning in “Some of We and the Land that was Never Ours.” The speaker
identifies and categorizes the subjects, “some of we,” into multiple
categories in which those who worked the land, described by the speaker
as “[s]ome of we wore the land,” “[s]ome of we carried the ground“ are
distinct from those who were foreigners, “[s]ome of we were to settle.
Some of we were to arrange.” For those who settle, the speaker asserts
“the land was never ours . . . [n]ever to be owned” (12). These
assertions are reminiscent of ancient Hawaiian culture, in which the
Hawaiians did not have the same concept of ownership as modern
Westerners. In this way, Spahr gives cultural authority to the Natives
and aligns herself with them as an ally; her alignment with native
Hawaiians is present in other poems in the book as well, such as the
detail of the role of invasive species, which she portrays negatively in
“Sonnets,” and an exploration of her colonial/white guilt in “Dole
Street.” The poem “Some of We . . . “ acts as an introduction to her
exploration in this sense--the foreigners claimed ownership of land that
could not be owned, and that they definitely did not own, nor have any
rights thereof until it was taken (a verb she uses in “Things of Each
Possible Relation . . .”) by force. </span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: #f3f3f3;"><br /></span><span style="color: #f3f3f3;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Spahr
explores white/colonial guilt in “Dole Street,” a poem named after the
street on which she lived that was named after a white annexationist.
The poem begins with the story of the twin rain spirits who give the
Hawaiians fresh water, which “eventually attracts foreigners who do not
respect the water, who plant water lilies from afar in it, who build a
church overlooking it,” reiterating the narrative of arrangement and
change (45-6). A native Hawaiian story is used to illustrate the Native
belief, deliberately setting it against the “taking” done by the
foreigners, who end up destroying with their lack of respect. The
speaker then announces, “I am a part of Dole Street’s swirl of
connection whether I like it or not” and that “[a]s the stereotypical
continental schoolteacher, I need to think about how to respect the
water that is there, how to not suck it all up with my root system” (47,
49). She is guilty because she benefits from the colonialism that forced
Western education onto the island, but she navigates through guilt by
respecting natives and by asserting that she must be responsible and use
her Western privilege to acknowledge the destructive and oppressive
effects that colonialism had on Hawaii. </span></span></span></span>
Anonymoushttp://www.blogger.com/profile/14061533717745857653noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-10080774100199459122012-12-05T16:28:00.001-08:002012-12-05T16:28:45.851-08:00Adoption in the Queen's storyOne thing I found interesting in Liliuokalani's story was the adoption of the children amongst the nobility. In Western society, most adoptions occur because the parents are unable to take care of the children for whatever reason. But, in the time of Liliuokalani, the noble families adopted each other's children, almost as if they were trading, in order to form a bond amongst the different groups. The adoptions were a lot like today's open adoptions, where the birth parents were able to contact their children. However, Liliuokalani stated that her adoptive parents were the parents that she acknowledged as her own. I thought that it was an interesting change of perspective, considering that most adopted children in today's society and the media are so interested in finding their birth parents. I like the idea of a more porous sense of family, and although it is very unconventional by today's standards, I think that the native Hawaiians were on to something because their society did seem to be a lot more peaceful than those that we're seeing today, but perhaps that was only because they were so isolated for so long from the bigger, more powerful societies.dwilmorehttp://www.blogger.com/profile/00432366832528081195noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-53666485519048015382012-12-05T12:53:00.003-08:002012-12-05T12:53:15.954-08:00Hawaii in The Descendants<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> For my last blog post I
have decided to discuss one of the questions for discussion in the back of The
Descendants. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">“What was unique about
the Hawaiian setting of the book and how did it enhance or take away from the
story?”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> My answer to this question is twofold. On
the one hand Hawaii is very central and important to the inheritance plot of
the novel. This part of the novel could not take place if the novel was set in
a different locale. Issues of land, inheritance and ownership in the novel are
very “Hawaiian”. This quote from the novel exemplifies this notion, “But now I
find myself not working to give it up- the land, the lush relic of our tribe,
the dead. The last Hawaiian – owned land will be lost and I will have something
to do with it” (229-30). On the other hand, the second plot of the story could
happen anywhere. Matt’s struggle to understand his daughters and try to bring
his family together. The struggles of families are universal. <o:p></o:p></span></div>
Mary Rowanhttp://www.blogger.com/profile/02654719506032825504noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-49685280754290137982012-12-05T12:51:00.000-08:002012-12-05T12:51:58.155-08:00Sid Before I read the book, I saw the film and one of my recurring thoughts was my annoyance with Sid's character. He shows up out of nowhere, says the most obnoxious and often random things, and aside from helping Alex's character, he seemed to have no purpose whatsoever. When I began reading the book, I felt the same way about Sid until page 244, nearly the end of the book. This is where we get Sid's whole backstory. By this point we've already learned that Sid's father has died and his mother kicked him out. Initially when Sid mentions his father dying, I was surprised because I thought it wasn't in the film, and that would have meant leaving a critical point out. It makes more sense for Alex to have Sid around after learning that, because Sid knows what it's like to lose a parent. However, I believe the film actually does briefly touch on Sid's father's death, but obviously not enough to leave a lasting impression on the viewer. The film does, however, leave out the fact that Sid was kicked out and the reason behind that, which really irritates me.<br />
Sid really wasn't a lovable character in my eyes at first. He adds comic relief to the book and film, which seemed to be his purpose, which I thought was unnecessary in the film. The book adds a whole dimension to his character, giving him depth that I really wish had been in the film. It would shed light on his relationship with Alex and his purpose in the story. His relationship with others is also better in the book. Scottie is infatuated with him, always wanting to be around him, hear what he has to say, and take pictures of him for her scrapbook. Since we're seeing it from Matt's point of view, we also see everything he thinks about Sid. Matt's reactions to Sid were my reactions, being annoyed with him at first but at times appreciating some of the things he had to say, and then coming to like him and understand him better after learning his story. Sid was angry at his father just like Alex was angry at her mother, and Sid knows what it feels like to lose a parent while still being angry with them, whereas Alex has time to forgive her mother, and that's what Sid adds to the story. The fact that he knows it's better for Alex to use that time to forgive her mother and say goodbye because it will help her in the end.<br />
Surely there was room in the film to add at least a little of his story, or at least there would have been if they had cut down on all the unnecessary shots of the picturesque land and beaches in between scenes.Emily Warrenhttp://www.blogger.com/profile/13648331010142050500noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-6492860802331093092012-12-05T03:53:00.000-08:002012-12-05T03:53:25.475-08:00Year of the RamJames Clifford's poem, "Year of the Ram: Honolulu, February 2, 1991" puts an emphasis on race. Each character who is introduced also has their race stated, and the second sentence in the poem goes through a list of the different types of ethnic food available in the Chinatown atrium, a list that goes on even further than what is present in the text. The text goes on to mention that the jazz ensemble of the University of Hawaii has an "all-Asian saxophone section," and the "black football players" and "white art-museum directors," and more. I feel that the reason for mentioning the ethnicities and colors of these groups is to display the variety of peoples that can be found in Honolulu. This poem makes Honolulu out to be a melting pot of cultures. But, at the same time, the poem is saying that Honolulu is not that kind of place. One of the later sentences begins, "Tonight, as the year 4688 gets underway..." which is the year on the lunar calendar in which this poem takes place. However, the mention of the year transports the reader to a future time when taken out of the context of the lunar new year. A large amount of people suspect that in the future, we will live in a post-race society, but this poem states otherwise. While these groups of people do live together, they continue to pay attention to the differences among them. The poem says:<br />
<div style="text-align: center;">
This will not be Vietnam.</div>
<div style="text-align: center;">
This will not be America.</div>
<div style="text-align: left;">
These two lines set this Hawaiian society apart from all others. These two lines are statements by the author that neither ideals nor race relations will be a just enough cause to separate the different peoples nor cause conflict amongst them, as they continue to live their normal lives.<br />
<br />
-David</div>
dwilmorehttp://www.blogger.com/profile/00432366832528081195noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-70071842589714064812012-12-05T00:40:00.001-08:002012-12-05T00:40:52.518-08:00
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One concept I really noticed in <i>13 Ways of Looking at TheBus</i> is that Gajelonia really portrays
tourists negatively. In one poem, <i>AllBusiness</i>,
she discusses the consumerism that comes with tourism. The replacing of local
shops with Nordstrom, Macy’s, Neiman Marcus – the assumption that comes with
those stores; the assumption that locals can afford to shop there. She comments
that “we no can afford da kine stores they get. Dass why only haoles and
Japanee shop there, ‘caue they get money. But us, we lucky if we have enough to
buy 5 bags of rice at Costco – ” (Gajelonia 10). Because of the tourism in Hawaii,
those department stores try to profit from it. They don’t care if they’re
displacing local stores and putting locals out of business – in fact, I bet
that they would claim that they actually provide the locals with a lot of jobs.
I bet that those stores claim that they help bolster Hawaii’s economy. The
problem is addressed by Gajelonia. She describes the hiring of locals and the
firing of them. She says that “Cannot just throw people lidat, know what I mean?”
(Gajelonia 10). It gives the idea that those department stores hire locals to
make themselves look good, to provide a sort of idealized image for the
tourists who come and pay to buy goods in the department store. Because nothing
is more convincing than a local person working behind the counter, really
making the tourist feel like they’re in Hawaii…even if they are in a fancy
department store that you can find in any mainland city. Gajelonia doesn’t
understand the greed that comes from the department stores. She doesn’t
understand why they’re in Hawaii because they aren’t needed; Gajelonia channels
the inability to understand the purpose of the department stores into this
poem. It is just one comment in a sea of comments regarding tourists.<o:p></o:p></div>
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<br /></div>
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-- Tanya Tsoi</div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-24941008514263511222012-12-04T23:50:00.002-08:002012-12-04T23:51:38.937-08:00<span style="background-color: #444444;"><br /></span>
<div class="MsoNormal" style="text-align: center;">
</div>
<div align="center" class="MsoNormal">
<b><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"><span style="background-color: #444444; color: white;">Channel Surfing<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<i><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"><span style="background-color: #444444; color: white;">The preponderance of episodic frames in television news
coverage provides a distorted portrayal of "recurring issues as unrelated
events," according to Iyengar. This "prevents the public from
cumulating the evidence toward any logical, ultimate consequence."
Moreover, the practice simplifies "complex issues to the level of
anecdotal evidence" and "encourages reasoning by resemblance — people
settle upon causes and treatments that 'fit' the observed problems."<o:p></o:p></span></span></i></div>
<div class="MsoNormal">
<span style="background-color: #444444;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;"><span style="background-color: #444444; color: white;"> When
I read James Clifford’s “Year of the Ram” I couldn’t help but feel like I
watching the news, or flipping through Hawaiian cable television. Though at
first, I didn’t realize how these quotes came together, a quick reread made me
think somehow its episodic structure possibly encompasses the whole sphere of
the constant reshaping Hawaii by outside forces. I quickly went to Google to
see if mass media had shared my opinion on it at all. And alas, it did! I found <a href="http://www.scottlondon.com/reports/frames.html">this article by Scott London</a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;"><span style="background-color: #444444; color: white;"> The
poem is made up of bits and pieces of seemingly unrelated pieces of poetry,
everyday observation, and quotes. And yet somehow, the whole premise of the
poem describes Hawaii’s present cultural situation from inside and out. The
poem begins describing a simple scene describing “The new Chinatown atrium.” In
which one can find the fascinating cuisines of “Japanese, Thai, Korean,
Hawaiian, Chinese, Italian, Mexican, Filipino, Singapore, Lulu international,
U.S….” which gives a sense of what kind of people the islands population are
made up of. Which is true, as Hawaii being part of the U.S. is now a land of
immigration in this sense. Then in contrast, the poem later alludes to the
infamous Operation Desert Storm in the repeating lines:<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0in 1in 10pt; text-align: left; text-indent: -0.5in;">
<span style="background-color: #444444; color: white;"><i><span style="background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;">In a desert the tank is hit, explodes inside, sears the men’s
faces, tears sharp pieces of metal into their bodies, and sends up plume of
black smoke…</span></i><span style="background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;"><span style="background-color: #444444; color: white;">The line projects imagery that is
starkly different from the Hawaii most people visualize. In fact it’s not even
within the country.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: 'Times New Roman', serif; font-size: 10.5pt; line-height: 115%;"><span style="background-color: #444444; color: white;"> So
how does the poem weave together these seemingly unrelated images? The episodic
structure of the new is framed, according to Shanto Iyengar, so the public cannot
“cumulate evidence to an ultimate consequence,” and thus issues are simplified.
It is this exact framing that makes poem project the greater issues of America’s
history with aggressive infiltration of foreign countries without having to in
depth about what exactly is happening within each line of the poem. So whether it is the observance of a simple
strip mall with various international cuisines or quotes taken from the late
President Bush himself, the episodic structure simplifies a history of
colonization and its consequences. <o:p></o:p></span></span></div>
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<span style="background-color: #444444;"><br /></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-70862490796738855832012-12-04T23:43:00.001-08:002012-12-04T23:43:56.381-08:00<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">An
Exciting Soap Opera<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> I feel really terrible for saying this but at best, my initial
reaction to <i>The Descendants </i>by Kaui
Hart Hemmings, is my reaction to most soap operas, which more or less can be
summarized like this: “how is that even possible in reality?” You’ve got your privileged
characters, a man that rejects his fortune but has a prolific career as some
doctor (or in this case lawyer), daughters that epitomize “beauty”, a foreigner
housekeeper, a jaded wife, elitist institutions and of course…comas. You can’t
have a soap opera without comas. Don’t get me wrong, I really tried hard to
apply literature theories to this book but I just couldn’t stand it. And out of
respect of people in my section who really do enjoy the genre of soap operas, I
for one never understood them. But maybe this is just my reaction for sympathizing
with the Hawaiian native cause through the course of our class.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> I didn’t get the vibe this was a pro-Hawaiian book. I got
the vibe that there were internal family issues, but I really could not connect
the themes in which we have been working with to this vague work. However, I
did see a vague connection with Alexandra on the postcards with some issues of exoticisms.
Joanie, (not the best of mothers I might add) says she lets Alexandra frolic in
“dental floss bikinis” because “It’s what [she] [does]. And she wants [Alexandra]
to respect what she [does]. ”(pg.15).
Maybe Joanie is a desensitized to this sort of exploitation, because it
seems to be common in the world that they come from, but letting her young
daughter pose for such postcard is an invitation for someone to vacation in some
fantasized foreign exotic land where a apparently skinny tan beach babes run
around half-naked all the time. This is especially concerning considering that
they are in fact supposed to be “descendants” of native Hawaiians that lived
off the land. With Alexandra’s photograph, I saw a succumbing of somebody’s own
heritage to feed an external consumerism and colonialism. Though they are of
mixed blood by now, their cultural history doesn’t seem to have clung well to
them. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">But
because of my impression of this book, I didn’t really take that any further. I
saw it as the only moment in the book where I felt like there could be some
connection with everything else I was learning in this course. The rest of the
book, like I said, read to me like a really bad soap opera with internal family
issues rather than large metaphorical issues that related back to the Hawaiian
culture. <o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-54485883009766266092012-12-04T23:28:00.001-08:002012-12-04T23:28:20.702-08:00www.gohawaii.comHey guys --<br />
<br />
Looking for some inspiration for another blog post, I decided to type in "Hawaii" in the Google search bar. The first selection in the search menu was www.gohawaii.com...Hawaii's tourism website. This website, like many U.S. state have, encourages travel and tourism to that particular state. Many of you have probably seen California's travel commercial that features celebrities (like Arnold Schwarzenegger) encouraging a visit to California. I don't know about you guys, but those commercials always seem unrealistic and romanticized. So when I began perusing www.gohawaii.com, I instantly rolled my eyes. While the changing images on the main page of the website offer beautiful images (like whales watching, canoeing, scouting out lava by boat, etc.) it all seems romanticized and unrealistic. While it's possible to do all these things in Hawaii, these sights and activities all cater to tourists and tourism. I doubt getting to know the "real Hawaii" includes taking surf lessons or canoeing with "locals" dressed up in authentic Hawaiian attire. If someone really wanted to get to know Hawaii, they would need more than a 7 day vacation filled with fancy hotels and a packed itinerary. Getting to know Hawaii would probably include many things on listed on the website. On a side note the website is beautiful and put together really well. It draws the potential vacationer in to a place filled with promise, fruity drinks, snorkeling, romance and crystal clear waters. I wouldn't have see anything strange about this website if I hadn't taken this class. It's worth a look, see what you guys think!<br />
<br />
<br />
<a href="http://www.gohawaii.com/">http://www.gohawaii.com</a>Chttp://www.blogger.com/profile/05747235526810453852noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-53833790836993173182012-12-04T23:17:00.001-08:002012-12-04T23:17:28.048-08:00Gidget<br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>We have been talking a lot about movies and how they portray surf culture and beach boys. Professor Wilson has mentioned the movie “Gidget” but we never saw any clips. I decided to watch this movie (and a lot of others) to get a better idea of this. Gidget depicts beach boy culture as carefree, romantic and simultaneously lazy and socially unacceptable. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Moondoggy, a young rich disillusioned boy has spent the summer surfing with Kahuna. He has decided to follow Kahuna on an “endless summer” working on a boat so they can get a ride to Peru in order to surf. However, Gidget is constantly reminding Kahuna and Moondoggy about the unrealistic expectations they have. She asks them how they are going to make money and where they are going to live and how they will ever settle down. Kahuna is in his 30’s and Gidget’s attitude toward his desire to live a life of surfing makes an impact on him. Made in 1959, this movie established the California beach bum surfer image. Gidget becomes a surfer but never gets caught up in the lifestyle. The movie ends with Moondoggy staying in California and going to school and giving his class pin to Gidget, solidifying their relationship and validating his decision to stay in California. Kahuna also gives up his dream of the “endless summer” and takes a job as a commercial pilot- becoming the adult society expects him to be.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Towards the end of “Gidget” all the teenagers have a luau on the beach. There are kids drinking and dancing. There are sexual encounters in huts, even one which made me suspicious that there was an orgy going on. Boys are chasing girls and girls are trying to get the boys to chase them. Keep in mind this film was made in 1959, this was very “unacceptable” and it was happening on a public beach. So, while on one hand surfing is shown as an exciting new sport. On the other, it is dangerous and distracts one from their responsibilities. “Gidget” established what could be called the surf movie formula and stereotypes of the beach boy as a lazy womanizer who only cares about surfing when in fact surfing is a sport which takes skill. For Native Hawaiians, surfing was a religious experience and established power for leaders. To depict surfing as a past time for lazy teenagers degrades the true spirit of surfing. This image reflects the missionary attitude toward surfing that we read about in Pacific Passages. I would also like to add that just the fact that they name one of the main characters "Kahuna" is insulting to Hawaiians. A kahuna was a religious leader as that is an aspect of surfing for Hawaiians. However, this Kahuna is "old" and ends up giving up surfing to be a pilot- flying though the air- about as far from the ocean as one can be. There does not seem to be a balance for these men, they are either surfer beach bums or productive members of society who do not surf. </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-89168603538174851722012-12-04T23:06:00.001-08:002012-12-04T23:06:50.654-08:00Nana on the Curb
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<span class="s1">In this Poem Gizelle Gajelonia takes Eric Chock’s Poem “Tutu on the Curb” which represents the disappearing Hawaiian culture. Gajelonia rewrites the poem to speak to the Filipino instead of the Hawaiian. This serves to show the displacement of the native Hawaiian in their home. Other racial groups have been introduced to Hawaii for labor purposes. This is important to Gajelonia’s poem because as she specifically speaks of the Filipino in Hawaii we know that the Diaspora of the Filipino almost overwhelm the Hawaiians now. The Hawaiian presence is dying out and the idea of he local and Hawaiian culture is changing. There are many layers to Gajelonia’s poem however I think that the displacement of the Hawaiian is the underlying point. She replaces the Hawaiian with the Filipino and describes the working condition of this grandmother that she says, “Pretty soon, she will be napukaw, meaning lost or disappeared. The same way that the hardworking grandmother will be napukaw so are the Hawaiians as other cultures come to the land and work the land. The disappearing land and grandmother connects Gajelonia’s version of this poem with Chock’s version. It brings the grandmother back and brings the presence back. Almost as a reminder of how this changed for the Hawaiians in a similar way that they will change for this grandmother. </span></div>
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<span class="s1">-Loren </span></div>
Lorenhttp://www.blogger.com/profile/10448445829197239936noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-71188813969691749412012-12-04T22:45:00.000-08:002012-12-04T22:45:16.789-08:00American Presence in Hawaii
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<span class="s1">In the “Dole Street” section of Juliana Spahr’s <i>Well then there now</i>, American presence is everywhere. Dole street was named after “Sanford B. Dole president of the Provisional Government (1893-1894) and the Republic of Hawaii (1895-1898) and governor of the Territory of Hawaii (1998-1903).” As an annexationist Dole did not believe that Native Hawaiians should be allowed to vote. He said, “I believe it is exceedingly necessary to keep out of politics this class of people, irresponsible people I mean.” His words on the very first page of this section set the tone of the American presence in this part of the book. There are many other places in this section in which American presence is evident. The commodification of surfing by Americans is especially evident in part two of this section when it is described that, “companies like Local Motion and Roxy that sell surf products especially like to use this trinity of girls.” The trinity being surfing, girls and Hawaii. From this very obvious presence of America and the legacy of commodifying just about everything we learn that the exploitation of Hawaiian culture is the money maker and tourist attraction that make money for the Americans. The commodification of this culture is the foundation of big surf companies. Spahr says, “These companies sell Hawaii as they sell surfing gear and accessories.” This passage especially shows us how everything in Hawaii even it’s natural beauty and resources are used to sell a brand and bring in tourism. Non-native plants brought by Americans have damaged some of the landscape and it seems that every move made by the Americans leaves evidence of their presence and continue to find something else in Hawaii to exploit. </span></div>
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-Loren</div>
Lorenhttp://www.blogger.com/profile/10448445829197239936noreply@blogger.com0tag:blogger.com,1999:blog-7963917263082191477.post-25077929936726655792012-12-04T22:12:00.001-08:002012-12-04T22:12:25.496-08:00We<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> Juliana Spahr’s poem “Some of We and the Land That Was Never Ours” was almost meaningless to me the first time I read it. After reading it I was left with a vague general impression and a lot of questions. After reading the “Sonnets” I wish she had swapped their position in the book. </span><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>In the poem “Some of We and the Land That Was Never Ours” “we” is broadly defined. Spahr writes, “We of all the small ones are.” However this is followed by “We are all. We are in this world”(11). This is vague and the defining of “we” gets broader with each line. For me “the small ones” indicates a minority, but what minority is not clear. She could be speaking about locals, natives or just Hawaiians in general as Hawaii itself is an incredibly small part of the world in comparison to other parts of the world or even just to other states of the Union. The next two lines (quoted above) broaden the “we.” Or at least lends itself to be interpreted in several ways which can alter, complicate and deepen the meaning of the poem. Later Spahr writes, “Some of we and the land that was never ours while we were the land’s.” Again this narrows down “we” and adds the complexity of colonialism and land issues that we have talked about in class. Still, this could be settlers in Hawaii, tourists, natives or more. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>When I look at the “Sonnets” the “we” is more clearly illuminated and helps lend an understanding to the other poem. The first line of “Sonnets” is “We arrived” later the speaker says, “ We arrived over the islands and we saw the green of them/ out the window” (19). The speaker tells us they are coming to Hawaii from another place. The amount of people is unspecified but at least now the reader is aware that the “we” consists of people coming into Hawaii from another land. This narrows the “we” down to tourists, settlers or foreigners in general. With that in mind you can go back to the previous poem and understand it according to that. In doing so a theme of Americanization and colonialism is revealed. Tracing what the “we” represents in different poems illuminates themes throughout all her poems which (for me) were more difficult to see when reading the “Some of We and the Land That Was Never Ours” on its own without the “Sonnets.”</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: small;">~Matina Tryforos</span></span></div>
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