He Wahī Paʻakai: A Package of Salt

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Changing the Narrative: When the stories we tell no longer help us

“The work of a contemporary warrior is to take the responsibility to be a self-actualized individual.”

– Cornel Pewewardy

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With my dad, my self-actualized, indigenous warrior. Waimea, Hawaiʻi. 

There are many things I’m not good at.

My dad often talks about my intelligence. “If I had your brains,” he often says, sighing and shaking his head, “I could’ve done so much more with my life.” On the top of his “much more” list is usually, “I could’ve been the governor.” I usually smile and laugh at his attempt at a joke. Though, deep down, I actually believe he could be a far better governor that the current man in office. But, hey, he’s my dad. So I may be a little biased. (Just a tiny bit.)

When we get into these types of conversations, he has the habit of listing all the ways he believes he is somehow deficient: “I can’t speak Hawaiian. I can’t write. I don’t know how to use the computer.” He holds up his fingers, some long and some stubby, as if to count the shortcomings. (If you know my dad, you’ll get the stubby finger reference.) Time and time again I remind him of his own intelligence, how I could never do so many of the things that he can do, so many of the things that he does. Every. Single. Day. In a crafty way, though (because he is intelligent like that), I think our exchanges are meant to remind me—and not him—about the kind of knowing that really matters!

My dad is a self-actualized individual. He is the kind of indigenous warrior that Cornel Pewewardy describes in the forward to Winona LaDuke’s critical book, The Militarization of Indian Country. To be self-actualized is to recognize (and act upon) your own talents and potentialities. It is to understand what you as a unique human being have to bring to your family, to your community, to your nation, your region, or even the world. A friend of mine recently summarized this concept by saying, profoundly and simply: “You have to know what you know and you have to know what you don’t know.”

There is power in both. I truly believe that when we recognize what we don’t know we are in a better position to truly understand our kuleana, or what our roles and responsibilities may be. We are able to better appreciate what our contribution can be to a particular cause or issue. We are able to tread a bit lighter on lands that we may not be as familiar with. We are able to determine when and where our voice or our presence should be (and when and where they shouldn’t). And further, we are able to discern when our efforts, no matter how well-meaning they may be, could actually be more detrimental that helpful.

I have an example.

But before I get into this story, I’d like to state that while there are many things that I am not good at and while there are many things that I do not know—I would most likely perish if made to sustain myself from the ʻāina, for example, and I would certainly get lost if left in a forest alone, and I would probably get kicked off the waʻa (canoe) if made to steer it—there are certain things that I do know about myself. And this is part of the process of self-actualization:

  1. I believe part of my role in life is to tell stories.
  2. I believe that I have a responsibility to tell critical stories, especially when they impact those I care about.
  3. I believe that I am an educator.
  4. I believe that I can draw upon my talent to present stories as a means of inspiring conversation.

(I’d like to also state that this story is not at all meant to demean the people involved but rather to highlight something that I hope we can learn from.)

Last week I attended a workshop. It was on historical and cultural trauma. I had recently read an article entitled, “Positioning Historical Trauma Theory within Aotearoa New Zealand,” (Kia ora Aunty Leonie) and therefore thought this would be an important workshop to attend. Pulling on previously published scholarship, the article states: “Historical trauma is collective, cumulative wounding both on an emotional and psychological level that impacts across a lifetime and through generations, which derives from cataclysmic, massive collective traumatic events, and the unresolved grief impacts both personally and intergenerationally” (Pihama et al., 2014, p. 251-52). I certainly believe that any effort to better the condition of our indigenous lives and futures must take into account the historical trauma imposed in the processes of colonization. (Thus, again, my interest in the workshop.) I was ready to be a student, to absorb, and to learn more so that I could determine if this was an area of study that I had any real place in. I wanted to begin to consider trauma in the context of Hawaiʻi.

On the morning of the workshop, I arrived to a group of people sitting on mats. The environment was comfortable. The breeze blew through our open hale (house) and we chanted to greet the day. After initial introductions to each other and to the content, we were then led through a visualization exercise. The instructor, a Hawaiian woman, explained that she was going to take us through Hawaiʻi’s history, from the past to the present. We were asked to close our eyes, to settle down, to imagine, and to essentially put ourselves in the place of our ancestors.

Like common narratives written and told before, she started in pre-contact Hawaiʻi and spoke about an unspoiled paradise, an abundant oasis, a place where people lived in complete harmony with nature and with each other. Life was joyful; it was idyllic. As listeners, we were meant to ease into the beauty of such a time, a time before “outsiders,” a time before disruption.

The woman next to me sighed, settling into what must have been the most picturesque scene: harmonious, peaceful, without worry, without fear. With my eyes closed, I could almost sense the satisfied smile on her face, the slight glimmer in her cheeks.

Meanwhile, I could feel my nose scrunch, my eyelids tighten, and the familiar “thinking lines” on my forehead begin to surface. For a second, I considered fixing my facial expressions. But, considering that everyone’s eyes were supposed to be shut, I took my chances and remained in a visual state of bewilderment.

The story continued. From paradise, we jumped (or were pulled rather abruptly) to the arrival of the missionaries. Suddenly, things began to fall. Literally. We started dying. Temples were destroyed. Customs were outlawed. Then newspapers were established to spread the agendas of the missionaries. Our people were led to believe, through speech and print, that they were inferior. They were depressed. They were hurt. They were helpless. Hopeless. They were doomed.

The woman in front of me sniffed. With my eyes still closed, I assumed she had shed a few tears, completely taken by the emotion of such sudden destruction. I imagined that she was then living the trauma of her ancestors.

Meanwhile, I couldn’t get there. I couldn’t get to the same place as that woman. My face continued to show signs of consternation as I continued to analyze the narrative.

The story continued. Jumping from the arrival of missionaries, Hawaiʻi was overthrown and then annexed. Hawaiians were further depressed. Lands were taken, and as a result, Hawaiians lost everything: their health, their connection, their freedom, their dignity. Hawaiians died physical, cultural, and psychological deaths.

The woman in front of me continued to cry. And while I heard those familiar stories, complemented by her now frequent sniffs, I was still troubled.

Finally, the story ended. Hōkūleʻa was built and later sailed around the world. Hawaiians began to dance, chant, and sing again; they began to speak their language again. Hawaiians were proud. Hawaiians could look forward to the future. Hawaiians could return to the ways of their ancestors. They could return to the past.

At this point, I opened my eyes. I wanted to gauge the audience, to see how people were responding to the visualization. I had so much to say: there were so many gaps I wanted to fill, so many clarifications I wanted to make, especially to the students present, the students who were now crying over the so-called perfect pre-European past, the fatal fall after the missionaries, and the modern-day renaissance. As a teacher, I wanted to challenge the narrative. I wanted to complicate it. I wanted to fill in the holes to show them that no era was perfect, and more importantly, that no era was without hope.

But I didn’t.

I didn’t say anything to the audience. Instead, I listened to the instructor and to the comments of those around me. Then I left, carrying something heavy on my shoulders. I did not want to disrespect the instructor or to undermine her. However, more than a week later, I’m still thinking about it. It’s still troubling me.

If I understand anything about kuleana it is that it can present itself as a burden, something heavy to carry on your back, something to shoulder for you, for your family, and even for the next generations. Contrary to what some may think, we don’t always get to choose our responsibilities; sometimes they choose us. Therefore, I thought about my dad’s often-comical yet always quite deep-set acceptance of what he knows and what he doesn’t know, and I realized that it is a responsibility to write about these types of experiences. It is a responsibility to challenge old narratives that no longer serve us. It is a responsibility to provide alternatives. And it is a responsibility to do what I believe I can do to take the conversation forward.

Thus, in order to do so, I will present what troubled me (what brought confusion to my face and stress to my pinched eyelids):

The instructor’s story was outdated. It represented what I have recently come to call the Imposed Narrative of:

  1. Pre-contact Peace,
  2. Post-contact Peril, and
  3. Present-day Promise

What’s problematic about such a story is the assumption that peace only existed before contact, that destruction was the single result of contact, and that promise and hope for the future are contemporary constructions. What’s problematic about such a story is that it does not account for the fact that peace, peril, and promise exist in every era. Every. Single. Era.

In her story of the missionaries, for example, the instructor neglected to mention the intellectuals who used the new technology of print to produce thousands of pages of Hawaiian language newspaper text. She neglected to talk about the pages that recorded our moʻolelo (stories); that were filled with sentiments of aloha ʻāina, or love for the land and love for the nation; that printed articles supporting the Queen before and after the illegal overthrow; and that essentially gave people hope. So consumed by the common (and yes, outdated) narrative of “fatal impact,” she neglected to mention strength and resilience.

Now I’m not saying that all Hawaiians were staunch aloha ʻāina, dedicated to the Hawaiian nation. (That story would also be far too simplistic.) There were Hawaiians who supported the overthrown and the eventual annexation, and who tried to encourage their people to abandon their beliefs, and to leave certain cultural customs behind. There were many, some of my own ancestors included, who believed America was the way forward.

What I am saying is that it is extremely dangerous to tell a single story, a single narrative that presents our history in such simplistic ways: pre-contact peace, post-contact peril, present-day promise. We owe it to our ancestors to complicate the story, to recognize the messiness of our histories, and to not romanticize the past, but to greet it, head first, nose to nose, for what it can teach us.

In one of her Ted Talks, Nigerian author, Chimamanda Ngozi Adichie (2009) talks about “The Danger of a Single Story,” or the reduction of an entire group of people to one narrative. In her powerfully poetic way, the late Teresia Teaiwa (2015) echos these sentiments, stating “you can’t just paint one brush stroke over a nation and say that’s who they are.” To do so is not only irresponsible, it also strips people of their humanity. It ignores diversity. It flattens our stories. And it depletes our ancestors of life.

That’s what upset me.

That’s why I couldn’t sigh in delight at the idea of a pre-European paradise, or cry at the thought of “fatal impact,” or some immediate fall from grace at the coming of the missionaries. I had been taught to challenge these ideas.

In his seminal essay, “Towards a New Oceania,” Albert Wendt (1976) challenges such notions. When I first read his essay as an undergraduate student at the University of Hawaiʻi at Hilo (Mahalo e Seri), I was forced to confront my own romanticization of the past. I did think it was perfect. I did think my ancestors were faultless. I did believe that the coming of the missionaries ruined everything. Thanks to his work, and to the work of so many other inspiring intellectuals, however, I have been able to complicate that narrative and to understand, as he states, that “There is [and was] no state of cultural purity (or perfect state of cultural goodness) from which there is decline… There was no Fall, no sun-tanned Noble Savages existing in the South Seas paradises, no Golden Age” (p. 76). There can be no epic “return” to the past because, as he expands, there was no “pre-papalagi [or pre-European] Golden Age or utopian womb” (p. 76). There was no complete state of “Pre-Contact Peace.”

The instructor’s story, however, fell into this exact trap: the trap of the simplistic narrative. As historian Kerry Howe (1977) articulates, it is the story of “fatal impact,” or the idea that there was immediate demise at the time of first contact. The problem with such a story is that it paints our people as passive, as inactive, as helpless, and as devoid of any real agency. When I stand in front of my own students, I am aware of the responsibility I have to disrupt that narrative, to give them examples of agency, of action, and of choice. As Howe (1977) explains, so many of the stories written about our peoples “are really about Europeans and what they did. They are the subjects. The islanders are the objects, often just in the background, slightly out of focus, having things ‘done’ to them” (p. 146). They are drawn as poor, noble savages. And as justified as we may feel in grieving or lamenting the dying, disappearing, and helpless indigenous victims, a simple fact remains: the assumption that all of our ancestors were passive and inactive is based firmly in the supposed racial superiority amongst Europeans. It’s the “You-couldn’t-do-anything-to-avoid-your-own-demise” mentality. Or the “You-poor-things-didn’t-stand-a-chance” approach.

That’s what I find so offensive about the often-told narrative, the narrative that I believe we should had moved past by now, the narrative that I was asked to sit and visualize just over a week ago. As a teacher, I refuse to give my students one story. I prefer to give them options. I prefer to show them how we may have been depicted and then to give them the tools to paint new pictures, with new, complex brush strokes. I believe that ignoring the agency of our ancestors, or their ability to make choices and to act upon those choices—whether to their own betterment or detriment—is to strip them of their dignity.

Now I must explain that I don’t hide the wounds of the past. I acknowledge that our high incarceration rates, our dismal health, our homelessness and houselessness, our poverty, our poor education, our drug abuse, alcohol abuse, and domestic abuse are indeed related to historical trauma. I believe that working towards health, healing, well-being, and even sovereignty requires a critical examination of the intergenerational pain that exists in our families and communities. Colonialism was cataclysmic in many ways. It still is. At the same time, however, I choose to also talk about the ancestors who, despite all odds, maintained hope, a radical hope for a future that could somehow be better than their present. I choose to give my students examples of both the trauma and the triumph because I believe that any promise for tomorrow was inherited from those past generations who refused to be silenced; who refused to lay down, helpless; who refused to paint their ever-evolving and complex stories with a single brush.

We must complicate the story; we must make it messy. We must present it with more colors, more textures, more highlights and shadows. We must talk about the complexities so that our people, especially our youth, can be moved by the beauty and the pain; so that they can see the destruction alongside the strength; the colonialism with the resistance. Just as we inherit the pain of our ancestors, we also inherit their hope. In fact, I believe that renaissance movements are born from something internal, from a deep-seated knowing within us that we are much, much more than we have been depicted to be.

When I look at my own family, for instance, I see the impacts of historical trauma everywhere. I grew up a witness to alcohol and drug abuse. I grew up as another obese Hawaiian, another statistic. I have family members who suffer poor health, family members who have been incarcerated for a variety of crimes, family members who still struggle, every day, to cope in a society that continues to threaten their livelihood: their land, their homes, their ability to sustain themselves, their relationship to sacred sites, their ability to ground, their faith in their language, in their customs, in themselves. This is our everyday reality as Hawaiians. And although these struggles often move me to tears and continue to find expression in my own personal life, I cannot end the narrative there. I will not end the narrative there. Like every generation before me, I am also surrounded by examples of strength, resilience, and hope and I choose to recognize that as part of our collective healing. I choose to tell those stories too.

My dad is my example. He is my self-actualized warrior. He is my indigenous hero. My dad still carries wounds, deep historical wounds, from the past. He was born with a brown face and an English name; he was stripped of his language, his mother opting not to speak to him ma ka ʻŌlelo Hawaiʻi; he was exposed to alcohol at a terrifyingly young age, a substance that would play a role in the larger part of his life, an addiction that he would eventually conquer; he was told time and time again that he could not go to the forest, could not hunt, could not feed his family from the land he loved, the only land he has ever known; he has witnessed so much change, change that has, and sometimes still does, bring him to tears. He has fallen many, many times. But he has also risen. He has risen. Every. Single. Time.

He knows what he knows and he knows what he doesn’t know. He may not be the next governor of Hawaiʻi. But he will continue to do what he does best: giving to his family, his community, and his nation in all the ways he knows he can. And like him, I will do what I know, drawing on my recognition of what I can (and can’t) do. In this case, I will challenge those stories and those outdated narratives when I know that they may do more harm than good.

I do not consider myself a fully self-actualized indigenous warrior. But, I do know that I’m on my path, a path towards recognizing my roles and responsibilities, and the possible contributions I have make to my people, my nation, my region, and the world. The quest for self-actualization and a true sense of indigenous warriorhood are things that I will add to the story, the story I will tell as we continue to heal as a people.

__________

References:

Adichie, C. (2009). The danger of a single story. Ted Talks  https://www.ted.com/talks/
chimamanda_adichie_the_danger_of_a_single_story/transcript?language=en

Howe, K. (1977). The fate of the “savage” in Pacific historiography. The New Zealand Journal of History11(2), 137-154.

LaDuke, W. (2012). The Militarization of Indian Country. Michigan: University of Michigan Press.

Pihama, L. et al. (2014). Positioning historical trauma theory within Aotearoa New Zealand. Alternative, 10(3). 248-62.

Teaiwa, T. (2015). You can’t paint the Pacific with just one brush stroke. E-Tangatahttps://e-tangata.co.nz/news/you-cant-paint-the-pacific-with-just-one-brush-stroke

Wendt, A. (1976). Towards a New Oceania. Seaweeds and Constructions, 7, 71-85.

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A Gift of Dreams: For the Senior Class of Kanu o ka ʻĀina 2017

The following speech was delivered as a commencement address for the graduating class of Kanu o ka ʻĀina on May 26, 2017.

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The senior class of Kanu o ka ʻĀina New Century Public Charter School 2017

She had come seeking facts, things she could memorize, things she could forget when the test was over. She didn’t want to hear about heart and she certainly didn’t want to listen to her own.

“It takes a lot of effort to care about something you cannot change,” she said, looking at her own hand holding her favorite purple pen, ready to take notes on anything worth writing.

That day her paper remained blank.

I teach a class entitled Introduction to Pacific Islands Studies at the University of Hawaiʻi-West Oʻahu. In our attempt to move beyond “mundane fact,” as Samoan novelist and scholar Albert Wendt encourages, I push my students to not only examine the Pacific, but to explore their place in it [1]. I always hope that students will not only come to see themselves in the land, but to see the land in them, to not only seem themselves in the ocean, but to see the ocean in them, to not only see themselves in the sky, but to know the elements of the sky that exist in them.

Some call me a dreamer for having such high expectations. “It’s just a college class,” they say. But I’ve never viewed my role as “teacher” in the traditional sense. Rather, I believe I am there to inspire a deep engagement, a diving into the depths of our existence as Hawaiians, as Pacific Islanders, as indigenous people, so that we can, as Māori poet Hone Tuwhare once said, “Dream good dreams again.” [2] With dreaming comes the ability to heal: to heal past wounds inflicted upon us, inflicted upon the ancestors we carry, and inflicted upon the ancestors we are becoming.

Last semester, my class examined some of the most pressing issues in the Pacific, everything from climate change, rising sea levels, and dispossession; to military training, and bombing; to genocide in West Papua. Some of my students were introduced to these issues for the first time, completely disturbed at the not-so-“pacific,” or peaceful, nature of our ocean, a region that is sold to the rest of the world as a place of peace, a region that is advertised and exploited as a paradise.

Some of the students knew about these issues, but not the severity of them. Some were moved to act, enraged, sharing information on their social media outlets, making signs and taking pictures to increase awareness. And some, like my fact-seeker with her purple pen, did not want to care. It was horrible, she agreed. All of the injustice in the Pacific was terrible. However, to care so much about something she could not change was a waste of time, a waste of energy.

“What can I really do to change anything,” she asked.

I tried to answer by telling her my own story, about how I choose to do something, anything really, rather than do nothing at all. I choose to fight even if and when I may lose. “Doing nothing,” I said, “is not an option for me.” I quoted George Helm, my hero and a true aloha ʻāina who once said, “Call me radical for I refuse to remain idle.”

I told her that even speaking the names of places and peoples often forgotten, places and peoples often deemed too small or too insignificant for genuine care, was a conscious choice, a radical choice. I raised the names of West Papua, of Tuvalu, of Kiribati, of Bikini, of Mauna Kea and of Pōhakuloa. I spoke them, hoping to make them real for her, for all of us. “We need not see a place, or touch it physically,” I said, “to be impacted, to feel, to have our hearts shaken.”

Near the end of the semester, she wrote a final reflection about how injustice in the Pacific is indeed something to learn about, to talk about, to share. However, she maintained that since she could do nothing about any of these issues, that it was wrong of me to fill students with hope, or with what she saw as the unrealistic dream that they could inspire any real change.

With a heavy heart, I wondered: What happened that she had lost her ability to dream good dreams, to have hope, to be radical, to fight even if and when she may lose just because it’s the right thing to do?

I wanted her to dream with me, and call me radical, for I still hope that she one day will.

A few weeks later, I returned to Waimea and found myself sitting at a lunch table with a group of students, the senior class of Kanu o ka ʻĀina: bold and brave dreamers. We spoke briefly about their lives and goals, their reflections on education, their motivations. We even spoke about Pōhakuloa, the bombs that we could hear and feel that week, the bombs that shook our earth, and shook us with it. I saw pain in their faces, pain linked to caring. They did not need to be instructed on seeing the ʻāina in them or seeing themselves in the ʻāina, in their surroundings, in their universe.

They felt it.
They knew it.
They lived it.

And while it may sound odd to find comfort in witnessing their distress, their anguish, their heartfelt concern for land and nation, I left that lunch hopeful.

Yes, it does indeed take a lot of effort to care about something you may not be able to change: to stop sea levels from rising, to prevent destruction and desecration, to end genocide. But these haumāna were willing to care anyway: to care for the potential, for the possibility, for the chance of hulihia.

When I eventually returned to my job and my students on Oʻahu, I carried these haumāna with me. They are our dreamers for tomorrow, the ones brave enough to consider a better future, even if and when the world tries to kill their hope, the ones who know, unconsciously, that as Hawaiian epistemologist Manu Meyer once said, “conflict is the midwife of consciousness.” Conflict, in other words, provides the space and the time for us to grow, to learn, to rise.

One day my older sister, Keomailani Case, explained this to me using the land as her guide, her teacher. We need only look at our environment to see this in action, she said. “Change and challenge prompt evolution.” Plants and animals adapt to survive. Thus, like our rooted and winged relatives, we too can evolve and thrive when faced with obstacles, with anything that threatens our existence. These students seemed to know this innately, ancestrally, at the naʻau.

Unlike my university student who has been so jaded by the world, so impacted that she would rather be numbed by pain then live through it, these haumāna recognized the beauty in caring. With each fall comes the ability to rise; with each stumble, the ability to reexamine your path; with each step back, the potential to learn from the past, to harness the power of all of the kūpuna before you, and carry them into the present once more. Caring, amidst all of the challenges, makes this possible. It is only when we lose hope that we will begin to perish. The ultimate bomb of colonialism, as one of my favorite scholars Ngugi Wa Thiongʻo once explained, is when a people begin to lose faith in their capacities, their power, their unique customs and ways of articulating the world, and ultimately, in themselves. [3]

These seniors, as well as all of the haumāna at Kanu o ka ʻĀina, are the medicine for that pain, the recovery, the healing, the source of new light. They have not lost faith and hope. When I left them after our lunch, I thought about the fearless ones they resemble, the bold and brave ancestors whose hopes still make our hearts beat, our passions take shape, our minds imagine better futures. They are the descendants of the courageous, those brave enough to care and to act upon that concern even when the world tried to kill them: mind, body, spirit.

Kāula, or prophets, were one such people. They lived with the knowledge that their words, their visions, and their dreams, could result in change, in upheaval, in reversal, and sometimes, even in death. They gave voice to their visions without the fear of consequence, living with a certainty that many of us hide, or worse, that many of us try to get rid of. They lived knowing that “inā make, make nō; inā he ola, ola nō.” [4] If the were to die, they would indeed die; but if life was their fate, they would indeed live. They were divinely guided, telling of the future. Sometimes their words spoke of blessings, of victory, of triumphs. At other times, they spoke of doom, of unavoidable chaos and change. And on some occasions, they spoke of an indefinite time, their words being given endless life and relevance, still penetrating our existence today.

One such prophet was a man named Kapihe. In an era referred to as “Kanīʻaukani”—or the “Sounding of Coconut Ribs,” a time named for when the great chief Kamehameha I returned to the island of his birth after living on Oʻahu, a time when his kāhili moved and sang in the wind—Kapihe uttered what has arguably become one of the most famous wānana, or prophecies, for our people today:

E iho ana ʻo luna
E piʻi ana ʻo lalo
E hui ana nā moku
E kū ana ka paia

What is above shall come down
What is below shall rise up
The islands will unite
The walls will stand

Despite being criticized, and at one time even being called a “kanaka wahaheʻe,”[5] or a man with a slippery and slimy mouth like an octopus, a man of lies and deceit, he stood before Kamehameha I and declared these words, words that we still chant today, words that tell of the ultimate reversal:

What is up shall come down.
What is below shall rise.

In other words, there is always the possibility of change, even when you think you are helpless, even when you think your people are doomed, even when you think that your efforts and energies are wasted on dreams. His words teach us to dream anyway.

When I attended Kanu o ka ʻĀina, we chanted Kapihe’s words to close each and every school day, reminding ourselves that we were, and will never be, powerless. As long as we remember that our kūpuna stand with us, at our sides; as long as we continue to use their words and their wisdom to give expression to our lives; and as long as we forward with hope, and act, always, from a place of aloha, then we will never be hopeless.

When we look at the genealogy of Kapihe’s prophecy, and track its journey through time, we see that his words were not always interpreted positively. Some found his declaration offensive, predicting the eventual fall of Kamehameha. In later generations, some saw it as a prophecy that foretold the fall of our gods, our people, our ways of life. Some saw it as an affirmation of occupation. Some believed that it accurately predicted the coming of foreigners, foreign governments, foreign powers, and of spiritual and psychological colonization. Some even believed that these things were pono.

Generations later, however, we use it as a chant of promise, one that predicts yet another reversal, a restoration of justice, a resurgence of pride, a revitalization of spirit, a return to ea, to true sovereignty—mind, body, and soul. We have the power to make that choice, to use his words for good, to interpret them to speak to our existence, our struggles, our dreams and hopes today. We make the choice to chant in anticipation of better, to work towards better, to ensure that the world our children and grandchildren walk in will be one in which they can continue to be indigenous, one in which they can continue to carry us in their hopes, one in which they can dream good dreams again, for their families, for their people, for their nation, and for the world.

This school was the result of a dream, of a vision, of a refusal to believe in less, a refusal to settle for less, an ultimate refusal to believe that the energy expended advocating for something others didn’t believe in—whether language revitalization, cultural and spiritual awakening, or soul centering—was not worth it. The education of these students was made possible because someone, one of the most influential dreamers and mana wahine I know, was radical enough, was motivated enough, was driven enough to imagine change, to picture it, and then to work tirelessly for it. She was and is proof that the effort is always worth it, that believing in change, even when we are taught that it is impossible, is the first step towards breaking through those structures of power and domination that seek to keep us down. It is the first step towards reversal: towards the rise, towards the restoration of ea.

Today, I chant the words of that famous prophet, Kapihe, the man once called slippery and slimy because he dared to be bold and brave, because he dared to dream something different. I chant his words because they remind me that I can be like the kāula, or the prophets and soothsayers of the past. I may not be able to predict the future. I may not be divinely guided. I am directionally challenged and sometimes lack common sense. But, I maintain, despite every single challenge, despite every single injustice, that change is always, always possible, that caring is always, always necessary, and that dreaming of a better future even if and when history has taught us not to, is my kuleana; it is my responsibility. It is what it means to be indigenous: to exist continually, to survive, to persist and to insist on place, on purpose, on the life of our storied lands, seas, and skies.

I look at these haumāna, these students who have grown up with the words of their ancestors, with the prophecies of their kūpuna, who’ve chanted their hopes, who have recited their dreams, who have closed their days with calls for change, and I am awakened through them. They have known no other time. They have never known a time when it was not okay to be Hawaiian, to dance, sing, chant, write, speak and even shout in defense and in praise of who they were, who they are, and who they will be. And I can think of no better people to be our future dreamers, to envision and work towards a better world.

So, to the papa ʻumikūmālua, this year’s senior class of Kanu o ka ʻĀina, to you I give the gift of dreaming. I dream of a life of purpose for you, one in which you walk with us, hands turned to the earth, hands feeling the land, hands connected to Papa; one in which you sing with us, eyes cast on the sea, eyes scanning the horizon for the space that connects us to our past, to the voyaging ancestors who brought us here from Kahiki, the strong and wise navigators and sailors whose names and legacies we still celebrate; one in which you hope with us, hearts lifted to the sky, never losing your connection to the realm of Wākea, never letting the world convince you that to care is to waste your energy. I hope you never lose your concern, or that knowing of what it means to be a kanu o ka ʻāina, a native of this land: connected, caring, dreaming.

Be like the prophets, the “poʻe makaʻu ʻole,” or the fearless ones. Hope; be radical. Dream; be bold. Chant, sing, and dance to tell the world of your existence. Fill your pages, write your stories across the land, draw and paint your dreams across the sky, send your voices out across the ocean. Use the tools you have to inspire revolution.

Kapihe taught us that change is always possible and that there is always the potential for reversal . Therefore, take up the task to maintain hope. Carry kuleana across your back; shoulder the burden and the privilege with us. Learn, grow, and evolve with time. And never forget the kahua, or the foundation, you stand upon, here, at Kanu o ka ʻĀina.

When that which is above starts to come down, be there to witness and encourage our transformation.

E piʻi nō kākou!! Let us experience the rise together.

 

Footnotes

[1] (Wendt, 1976, p. 71)

[2] (Wendt, 1976, p. 74)

[3] (Thiong’o, 1986, p. 3)

[4] (Lionanohokuahiwi, 1916, p. 2)

[5] (Laʻanui, 1838, p. 83)

References

Laʻanui, G. (1838, 14 March). He manao hoakaka wale no keia no ko’u hanau ana, a me ko’u kamalii ana, a me ko’u hookanaka ana, a me ka ike ana i kekahi mau mea oloko o ke aupuni o Kamehameha, Ke Kumu Hawaii, pp. 81-84.

Lionanohokuahiwi, Z. P. K. (1916, 9 June). Haina o na ninau a ka anela o Mekiko, Ka Nupepa Kuokoa, p. 2.

Thiong’o, N. w. (1986). Decolonising the mind: The politics of language in African literature. Portsmouth: Heinemann.

Wendt, A. (1976). Towards a new Oceania. Seaweeds and Constructions, 7, 71-85.