Introduction
The Hawaiian Renaissance refers to the rise in popularity of Hawaiian music. When we talk about Hawaiian music, the music of prominent artists such as “The Cazimero Brothers” and the “Sons of Hawaii” come to mind. In the succeeding discussion, our main goal is to frame and understand Hawaiian music based on the work of a single artist. To narrow down the scope of research, the discussion will focus on “Olomana”, originally the musical duo of Robert Beaumont and Jerry Santos, which later on became a four-man band (Seida, n.d.). The discussion explores Olomana’s style, the message in their songs, and the reason behind their popularity during the Hawaiian Renaissance. A reflection of Olomana’s music will also be included to share personal views and thoughts about the band’s work.
Olomana’s Music
Beaumont and Santos began collaborating as music duo Olomana in 1973. Both artists named their band after the Olomana Mountain, which translates as “old man”. After three years of writing songs and arranging music, Beaumont and Santos released their debut album, “Like a Seabird in the Wind”. Olomana released more albums during the 1970s and 1980s (Seida, n.d.). Throughout the band’s career, Olomana received from their audience as well as critics. Some of the songs from Olomana’s album even received awards not only for popularity but also because of the meaning and arrangement (Seida, n.d.). Olomana’s song such as the “Mele O Kahoolaw” and “O Malia” were some of their most popular works. In terms of style, Olomana aims to combine traditional Hawaiian music as well as contemporary styles.
According to Kanahele (1979), Hawaiian music’s rise in popularity was primarily due to Hawaiian people’s – young and old – interest in this genre of music. Kanahele (1979) said that understanding the Hawaiian Renaissance must be rooted to the idea that the local community rejuvenated the music industry. Despite the popularity of other foreign bands during Hawaiian Renaissance in the 1970s, Hawaiian people patronized local music because the meaning or message behind these songs spoke to their culture and identity.
Considering the interest of the local community’s interest in Hawaiian music, it is no surprise that they were able to renew the interest in local music. For this reason, it is clear that Hawaiian artists’ music such as that of Olomana became popular because their songs reflected the Hawaiian culture. Olomana’s second album, “And So We Are”, which was released in 1978 solely focused on reigniting “aloha ‘aina” among the younger generations. “Aloha ‘aina” is a term that means “love for the land”. Hence, Olomana’s songs in “And So We Are” promoted culture, cultural pride or nationalism, and love and appreciation for one’s culture.
One of Santos’ original songs was “Kuu Home o Kahaluu”. The song was about family and heritage. Prior to forming Olomana with Beaumont, Santos left his family and Hawaii to look for opportunities in the music industry. Realizing the value of family and his ties to his ‘homeland’, however, Santos decided to return to Hawaii. Santos included the song in Olomana’s first and successful album “Like a Seabird in the Wind”. According to Santos, “People gravitate to [“Kuu Home o Kahaluu”] because, if you take out the place, everyone has the same story. We all have our childhood memories, we all have to make those choices in life about what to do next” (Bolante & Keany, n.d.).
As formerly noted, Olomana became popular because of their meaningful songs. People, particularly people in Hawaii, can easily relate to Olomana’s music because it reflects reality and the social situations or problems within which people find themselves. “Olomana’s music reflects the social, political and cultural aspects of Hawai’i and her people” (Olomana Music, 2014). Hence, the authenticity of Olomana’s music made the band appealing to locals.
I think that Olomana’s music, particularly the message embedded in their work, possesses meaning and relevance that are absent from modern music that young people listen to nowadays. Olomana’s music tells a story that everyone can relate to but most importantly, the band’s music reflects what it means to be “Hawaiian”. Hence, Olomana’s music spoke to the local community’s desire to belong, as well as to their sense of pride towards their culture or nationality.
Conclusion
Olomana has significantly contributed not only to Hawaiian Renaissance but also the music industry in Hawai’i. As formerly noted, the popularization of Hawaiian music during its renaissance extended beyond the renewed interest in this genre or style of music. Many young and old Hawaiians expressed interest in Hawaiian music, such as Olomana’s music, because it represents an aspect of the cultural, economic, and social landscape in Hawaii. Olomana’s music is an example of this. Olomana’s meaningful and inspiring songs not only reflected Hawaiian culture but also resonated with people because of its stirring, relevant, and relatable message. Overall, the local community embraced Hawaiian music including Olomana’s because it spoke to their culture and identity, as well as reflected the human condition felt and experienced by ordinary people.
References
Bolante, R. & Keany, M. (n.d.). 50 greatest songs of Hawaii. Retrieved from http://www.honolulumagazine.com/core/pagetools.php?pageid=4788&url=/Honolulu-Magazine/June-2007/50-Greatest-Songs-of-Hawai-8217i/&mode=print
Kanahele, G. S. (1979 May. The Hawaiian renaissance. Primary Source Documents, 1978-1984. Retrieved from http://kapalama.ksbe.edu/archives/pvsa/primary%202/79%20kanahele/kanahele%204.htm
Olomana Music. (2014 Jul 13). About Olomana. Retrieved from http://www.olomanamusic.com/
Seida, L. (n.d.). Artist Biography. Retrieved from http://www.allmusic.com/artist/olomana-mn0000471803/biography
