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((Short description|Hawaiian resurgence of their distinct cultural identity))
((Refimprove|date=July 2007))
((Use mdy dates|date=November 2023))
((Hawaiian sovereignty movement))
The '''Hawaiian Renaissance''' (also called the '''Hawaiian Cultural Renaissance''') was the [[Hawaii]]an resurgence of a distinct cultural identity that draws upon traditional [[Native Hawaiians|kānaka maoli]] culture, with a significant divergence from the [[Tourism in Hawaii|tourism]]-based [[tiki culture|culture]] which Hawaiʻi was previously known for worldwide (along with the rest of [[Polynesia]]). The Hawaiian Renaissance has been pointed to as a global model for [[Biocultural_diversity|biocultural restoration]] and [[sustainability]].<ref>((cite journal |last1=Chang |first1=Kevin |last2=Winter |first2=Kawika B. |last3=Lincoln |first3=Noa K. |title=Hawai'i in Focus: Navigating Pathways in Global Biocultural Leadership |journal=Sustainability |date=2019 |volume=11 |issue=1 |page=283 |doi=10.3390/su11010283 |doi-access=free ))</ref><ref>((cite journal |last1=Gon |first1=S. |last2=Winter |first2=K.B. |title=A Hawaiian Renaissance That Could Save the World |journal=American Scientist |date=2019 |volume=107 |issue=4 |pages=232–239|doi=10.1511/2019.107.4.232 |s2cid=197524460 ))</ref>

== First Hawaiian Renaissance ==
[[File:Honolulu dancers at Kalakaua's 49th Birthday Hula (PP-32-9b-005).jpg|thumb|200px|left|Kalakaua's 49th Birthday Hula]]
[[File:Kapiolani and Kalakaua on the Iolani Palace grounds.jpg|thumb|200px|left|ʻIolani Palace, 1882 (foreground left to right) Kalakaua, Charles Hastings Judd, Kapiolani, and Antoinette Manini Swan.]]

The First Hawaiian Renaissance had its foundation in the [[nationalism|nationalist]] sentiments of King [[Kamehameha V]]. At the time Hawaii was an independent kingdom. The intention was to form a contemporary national identity rather than modeling Hawaii after [[Britishness|Great Britain]] and the culture of the [[United States]]. King Kalākaua had a controversial rise to power due to the internal conflicts between family lineage. One half of the island wanted Kalākaua, whereas the other half cheered for his competitor((Who|date=December 2022)). The result spread tension between the people themselves, but most came to favor [[Kalākaua]] as he brought back the Hawaiian culture to urban areas.

Kalākaua took steps to perpetuate nationalism. Kalākaua replaced the considerably Christian national anthem [[He Mele Lahui Hawaii]] with [[Hawaiʻi Ponoʻī]] in 1876 inspired by [[Kamehameha I]]. He had the aged [[ʻIolani Palace]] rebuilt starting in 1879 and finishing in 1882.

Despite early efforts to earn favor with the [[haole]] people, growing views he was putting his people over the others continued. The Hawaiian people loved him; however, the missionaries' descendants did not enjoy the dealings with Kalākaua. The missionaries' descendants had gained power in Hawai'i by buying land. They were influential enough on the island that they held advisory positions to Kalākaua, though the king didn't always agree with their opinions. He always put his people first, and that sometimes meant denying the missionaries' ideas.((Citation needed|reason=Unsupported claim|date=June 2020))

Kalākaua spent three years planning his second coronation in 1883 to try and ease the racial tensions between the Hawaiians and the haoles, and 8,000 people attended. Kalākaua sponsored several traditional Hawaiian practices such as hula (which had been banned in 1830 by queen regent [[Kaʻahumanu]] as part of the effort to uproot Hawaiian traditional religion and impose Christanity on Hawaii<ref>((Cite web|title=Missionaries and the Decline of Hula – Hawaii History – Hula|url=http://www.hawaiihistory.org/index.cfm?fuseaction=ig.page&CategoryID=253|access-date=2021-09-14|website=www.hawaiihistory.org|archive-date=April 18, 2016|archive-url=https://web.archive.org/web/20160418204720/http://www.hawaiihistory.org/index.cfm?fuseaction=ig.page&CategoryID=253|url-status=dead))</ref>), chants, sports, and royal rituals. He also had Hawaiian myths, legends, and chants recorded in media such as the [[Kumulipo]] and had his genealogy traced.

== Second Hawaiian Renaissance ==
[[File:Hula0080200.jpg|thumb|150px|right|Merrie Monarch Festival, 2003]]

The Second Hawaiian Renaissance is generally considered to have started in 1970, and drew from similar cultural movements from the late 1960s and early 1970s.  It is mostly known from music, such as [[Gabby Pahinui]] and his work with the [[Sons of Hawaii]], or [[Keola Beamer|Keola]] and [[Kapono Beamer]]'s traditionalist [[slack-key]] music, and their signature twin-hole guitar designs constructed at the [[Guitar and Lute Workshop]].  Other noted Hawaiian musicians who played an integral role in the renaissance were [[Dennis Pavao]], Ledward Kaʻapana, and Nedward Kaʻapana.  The Kaʻapana brothers, along with cousin Pavao formed the falsetto trio, ''Hui ʻOhana''. The musical group "Olomana"<ref>[http://www.olomanamusic.com/ Olomana Music] website</ref> contributed greatly to the music of this period with songs like 'O Malia' and 'Mele O Kahoolawe'.

This period in Hawaiian history is also associated with a renewed interest in [[Hawaiian language]], [[Hawaiian Pidgin|Pidgin]], [[Hula]], [[Hawaiian art|Traditional Hawaiian Crafts]], [[Hawaiian Studies]], and other cultural items.

This period of increase in Hawaiian self-identity was inspired by the 1964 essay "On Being Hawaiian" by writer [[John Dominis Holt, IV]], who brought pride back to being Hawaiian after decades of negative stereotype.<ref name="OnBeingHawaiian">((cite news|title=From On Being Hawaiian|work=The Nation|date=April 28, 2008|url=https://www.thenation.com/article/being-hawaiian/|access-date=November 15, 2016))</ref><ref name="kapalamaHolt">((cite web|title=John Dominis Holt, 1919–1993|work=The Kamehameha Schools Archives|url=http://kapalama.ksbe.edu/archives/collections/cluney/holtbio.php|access-date=November 15, 2016))</ref>

The [[Merrie Monarch Festival]], established in 1964 by [[Helene Hale]], caused a resurgence in the study and practice of ancient hula that had been developed and danced before 1893.<ref>[http://www.kanehulafestival.com/Uncle%20George%20Pictures.htm Hula Festival Information] ((webarchive|url=https://web.archive.org/web/20080905143456/http://www.kanehulafestival.com/Uncle%20George%20Pictures.htm |date=2008-09-05 ))</ref>

[[File:Hokulea at Kailua.jpg|thumb|left|Hokulea and outrigger canoes at Kailua, 2005]]
The era also included intense land struggles such as that of [[Kalama Valley protests|Kalama Valley]], [[Kahoolawe|Kahoʻolawe]] and [[Waiāhole-Waikāne struggle|Waiāhole-Waikāne]], and a resurgence of traditional practices such as loʻi kalo (taro patch) farming, folk arts, and mālama ʻāina (traditional forestry/ land healing and restoration).<ref>((Cite news|date=2019-08-30|title=Mauna Kea Is The Latest In Long History Of Native Hawaiian Protests|url=https://www.civilbeat.org/2019/08/mauna-kea-is-the-latest-in-a-long-history-of-native-hawaiian-protests/|access-date=2020-09-16|work=Honolulu Civil Beat|language=en))</ref><ref name=":1">((Cite journal|last=Trask|first=Haunani-Kay|date=1987|title=Birth of the Modern Hawaiian Movement: Kalama Valley, O'ahu|url=http://evols.library.manoa.hawaii.edu/handle/10524/144|journal=Hawaiian Journal of History|language=en-US|volume=21|pages=126-153))</ref>

Polynesian voyaging is also a large aspect of the Hawaiian Renaissance.<ref>((cite web|url=http://kapalama.ksbe.edu/archives/collections/PVS%20Archives/PVSguide.pdf#page=5|title=Polynesian Voyaging Society: Introduction|last1=Goodell|first1=Lela|year=1989|work=A Guide to the Archives of the Polynesian Voyaging Society and Voyages of the Hōkūle'a|publisher=The [[Kamehameha Schools]]|page=5|language=en, haw|access-date=2008-08-28))</ref> In 1975, the [[Polynesian Voyaging Society]] built a replica of an ancient Polynesian [[Canoe sailing|voyaging canoe]].<ref>((Cite web |last=Hyson |first=Katie |date=2023-11-29 |title=Docked in San Diego, the Hōkūle’a is bringing back ancient Polynesian voyaging |url=https://www.kpbs.org/news/arts-culture/2023/11/28/docked-in-san-diego-the-hokulea-is-bringing-back-ancient-polynesian-voyaging |access-date=2023-11-30 |website=KPBS Public Media |language=en))</ref> The vessel, ''[[Hōkūleʻa]]'', and the re-adoption of non-instrument [[wayfinding]] [[navigation]], Hokule'a and creator and first navigator of Hokulea in 1976, Ben Finney are icons of the Hawaiian Renaissance and contributors to the resurgence of interest in Polynesian culture.

The movement sometimes touches upon politics, including issues dealing with [[Native Hawaiians]] and restoration of [[Hawaiian sovereignty movement|Hawaiian independence]]. Amongst the outcomes was the [[1978 Hawaii State Constitutional Convention|Constitution of 1978]], which produced the [[Office of Hawaiian Affairs]] and reclaiming federal land to the State like [[Kahoolawe]].

The height of the Hawaiian Renaissance is usually located during the 1970s, and had mostly waned by 1980, although some refer to it as a still-contemporary movement.

== See also ==
*[[Romantic nationalism|National revival]]
*[[Merrie Monarch Festival]]
*[[Eddie Kamae]]
*[[Kalākaua|King David Kalākaua I]]
*[[Polynesian Voyaging Society]]
*[[Surfing]]
*[[Luau]]

== References ==
((reflist))

== External links ==
* [http://kapalama.ksbe.edu/archives/PVSA/primary%202/79%20kanahele/kanahele.htm The Hawaiian Renaissance] by [[George Kanahele]]

((Hawaii))

[[Category:History of Hawaii]]
[[Category:Native Hawaiian culture]]
[[Category:Native Hawaiian history]]
[[Category:Politics of Hawaii]]

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