Listen but Don't Ask Question
Hawaiian Slack Key Guitar across the TransPacific
Seiten
2019
Duke University Press (Verlag)
978-1-4780-0671-8 (ISBN)
Duke University Press (Verlag)
978-1-4780-0671-8 (ISBN)
Kevin Fellezs traces the ways in which slack key guitar—a traditional Hawaiian musical style played on an acoustic steel-string guitar—is a site for the articulation of the complex histories, affiliations, and connotations of Hawaiian belonging.
Performed on an acoustic steel-string guitar with open tunings and a finger-picking technique, Hawaiian slack key guitar music emerged in the mid-nineteenth century. Though performed on a non-Hawaiian instrument, it is widely considered to be an authentic Hawaiian tradition grounded in Hawaiian aesthetics and cultural values. In Listen But Don’t Ask Question Kevin Fellezs listens to Kanaka Maoli (Native Hawaiian) and non-Hawaiian slack key guitarists in Hawai‘i, California, and Japan, attentive to the ways in which notions of Kanaka Maoli belonging and authenticity are negotiated and articulated in all three locations. In Hawai‘i, slack key guitar functions as a sign of Kanaka Maoli cultural renewal, resilience, and resistance in the face of appropriation and occupation, while in Japan it nurtures a merged Japanese-Hawaiian artistic and cultural sensibility. For diasporic Hawaiians in California, it provides a way to claim Hawaiian identity. By demonstrating how slack key guitar is a site for the articulation of Hawaiian values, Fellezs illuminates how slack key guitarists are reconfiguring notions of Hawaiian belonging, aesthetics, and politics throughout the transPacific.
Performed on an acoustic steel-string guitar with open tunings and a finger-picking technique, Hawaiian slack key guitar music emerged in the mid-nineteenth century. Though performed on a non-Hawaiian instrument, it is widely considered to be an authentic Hawaiian tradition grounded in Hawaiian aesthetics and cultural values. In Listen But Don’t Ask Question Kevin Fellezs listens to Kanaka Maoli (Native Hawaiian) and non-Hawaiian slack key guitarists in Hawai‘i, California, and Japan, attentive to the ways in which notions of Kanaka Maoli belonging and authenticity are negotiated and articulated in all three locations. In Hawai‘i, slack key guitar functions as a sign of Kanaka Maoli cultural renewal, resilience, and resistance in the face of appropriation and occupation, while in Japan it nurtures a merged Japanese-Hawaiian artistic and cultural sensibility. For diasporic Hawaiians in California, it provides a way to claim Hawaiian identity. By demonstrating how slack key guitar is a site for the articulation of Hawaiian values, Fellezs illuminates how slack key guitarists are reconfiguring notions of Hawaiian belonging, aesthetics, and politics throughout the transPacific.
Kevin Fellezs is Associate Professor in the Music and African American and African Diaspora Studies departments at Columbia University and author of Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion, also published by Duke University Press.
Acknowledgments ix
A Note on the Use of Hawaiian and Japanese Terms xv
Introduction: Mapping the Polycultural TransPacific 1
1. Getting the "Right Hawaiian Feeling" 37
2. Taking Kuleana 70
3. The Aloha Affect 108
4. Sounding Out the Second Hawaiian Renaissance 145
5. 'Ohana and the Longing to Belong 183
6. Pono, A Balancing Act 219
Notes 253
Glossary 269
References 273
Index 311
Erscheinungsdatum | 05.12.2019 |
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Zusatzinfo | 7 illustrations |
Verlagsort | North Carolina |
Sprache | englisch |
Maße | 152 x 229 mm |
Gewicht | 476 g |
Themenwelt | Kunst / Musik / Theater ► Musik ► Instrumentenkunde |
Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre | |
Geisteswissenschaften ► Geschichte ► Regional- / Ländergeschichte | |
Geschichte ► Teilgebiete der Geschichte ► Kulturgeschichte | |
ISBN-10 | 1-4780-0671-4 / 1478006714 |
ISBN-13 | 978-1-4780-0671-8 / 9781478006718 |
Zustand | Neuware |
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