Reid Ginoza at 18:25, 9 April 2006

2006-04-09T18:25:12Z

Jennifer Wada at 10:39, 8 March 2006

2006-03-08T10:39:57Z

New page

The basic premise that a strong
Hawaiian culture cannot continue
without a strong Hawaiian language
should be easily understood without
analysis of complicated literature
such as the Hawaiian chant of creation
(the Kumulipo). It could be
overwhelming to dwell on various
nuances of Hawaiian literature, which
might underestimate the human
potential to learn the use of the
Hawaiian language in its traditional
context.
Hawaiian children should find it
sinple to learn the intricacies of
Hawaiian poetic thought and
expression, due to the essential
continuation of a basic Hawaiian
cultural personality among the
majority of Hawaiian people who do not
control the language. Furthermore,
Hawaiians have traditionally believed
that deceased friends and ancestors
could assist poetic composition
through dreams or visions.
Culture can be seen at two levels,
base culture and aesthetic culture.
The base culture includes the daily
lifestyle, values, and personality of
a people. The aesthetic culture
includes ceremonies, philosophy, and
literature, building upon the base
culture foundation and legitimizing it
to the people. Language generally
unites the two. The features of
Hawaiian aesthetic culture derive,
then, from the same features that
unite most of today's young
English-speakinq Hawaiians with older
and previous generations. For
example, in the area of language use,
the attention to specific detail found
in Hawaiian poetry and quotations from
sayings is also evident in the normal
conversation of Hawaiians. Local
people often report a conversation by
quoting exactly what someone said,
when haole (foreign) people would give
an approximation. (The conflict
between these two strategies is often
irritating; to the Hawaiian because of
lack of detail and accuracy, and to
the haole because of anxiousness to
get to the central point. ) On the
other hand, also as in Hawaiian
poetry, local people value getting
their own thoughts across with the
least number of words, thus making an
understanding of their personality a
matter of subtlety and personal
sensitivity on the part of the
listener. Haole people, on the other
hand, tend to say as much as they can
with the hopes that their true
personality or interests will be
immediately perceived by the listener,
in order to avoid any mistakes. The
fact that most modern Hawaiians retain
a strong Hawaiian base culture makes
involvement in the traditional
aesthetic culture a natural for then,
once the full mechanics of the
language are mastered.
The beneficial role of the
aesthetic culture in supporting the
base culture is also important to
emphasize in the context of lanquaqe.
The aesthetic culture contains
stories, sayinqs, and traditional
customs—all of which reinforce values
inherent in the base culture. Thus,
base culture and aesthetic culture
work together toward a cultural ideal.
When a language that holds the key to
the aesthetic culture of a people is
replaced with a language foreiqn to
their base culture, the result is
damaging conflict between the
traditional base culture and the new
aesthetic culture. The base culture
becomes redefined as an aberrant
subculture within the culture of the
replacement language, and the original
people are faced with a choice of
abandoning the base culture that
represents their family and friends,
or rejection of the ideals of the new
aesthetic culture, which sets the
means for acceptance and success in
their daily society. Unfortunately,
{{p|181}}

@@ Line 5: / Line 5: @@
 analysis of complicated literature
 such as the Hawaiian chant of creation
-(the Kumulipo). It could be
+(the <u>Kumulipo</u>). It could be
 overwhelming to dwell on various
 nuances of Hawaiian literature, which
@@ Line 12: / Line 12: @@
 Hawaiian language in its traditional
 context.
 Hawaiian children should find it
 sinple to learn the intricacies of
@@ Line 24: / Line 25: @@
 could assist poetic composition
 through dreams or visions.
 Culture can be seen at two levels,
-base culture and aesthetic culture.
+Culture can be seen at two levels, base culture and aesthetic culture.
 The base culture includes the daily
 lifestyle, values, and personality of
@@ Line 46: / Line 47: @@
 people often report a conversation by
 quoting exactly what someone said,
-when haole (foreign) people would give
+when <u>haole</u> (foreign) people would give
 an approximation. (The conflict
 between these two strategies is often
 irritating; to the Hawaiian because of
 lack of detail and accuracy, and to
-the haole because of anxiousness to
+the <u>haole</u> because of anxiousness to
-get to the central point. ) On the
+get to the central point.) On the
 other hand, also as in Hawaiian
 poetry, local people value getting
@@ Line 60: / Line 61: @@
 matter of subtlety and personal
 sensitivity on the part of the
-listener. Haole people, on the other
+listener. <u>Haole</u> people, on the other
 hand, tend to say as much as they can
 with the hopes that their true
@@ Line 69: / Line 70: @@
 a strong Hawaiian base culture makes
 involvement in the traditional
-aesthetic culture a natural for then,
+aesthetic culture a natural for them,
 once the full mechanics of the
 language are mastered.
 The beneficial role of the
 aesthetic culture in supporting the
 base culture is also important to
-emphasize in the context of lanquaqe.
+emphasize in the context of language.
 The aesthetic culture contains
-stories, sayinqs, and traditional
+stories, sayings, and traditional
 customs—all of which reinforce values
 inherent in the base culture. Thus,
@@ Line 84: / Line 86: @@
 When a language that holds the key to
 the aesthetic culture of a people is
-replaced with a language foreiqn to
+replaced with a language foreign to
 their base culture, the result is
 damaging conflict between the

Template:Nhsc-v1-181 - Revision history

Reid Ginoza at 18:25, 9 April 2006

Jennifer Wada at 10:39, 8 March 2006