Beyond Aloha ‘Oe: Hawaiian music in Hawai’i’s music classrooms

Hawaiian music is used in classrooms throughout Hawai‘i but there is limited information about teacher education and how this music is used in classrooms. Creating culturally authentic and reflective presentations are key to making cultural music meaningful. Through my research, I investigated the perceptions of music educators in Hawai‘i concerning their education in Hawaiian music. Two questions guided the research: (1) What is meant by “Hawaiian music” for teachers in this study? and (2) How has this meaning developed through the interactions between professors, students, community members, and cultural bearers? This study was viewed through the framework of Herbert Blumer’s theory of symbolic interactionism. The principle of symbolic interaction is that 1) People act towards things through the meanings they ascribe to it; 2) Meaning is created through the interactions between people; and 3) Meaning is modified and handled through an interpretive process. Through the use of Blumer’s theory of symbolic interaction, data can be viewed and understood as the construction of meaning towards the topic of Hawaiian music. Understanding what meanings music educators give Hawaiian music is important as they can revere, commodify, or denigrate the music through their teaching. The case study method was utilized in this research and guided the process. Study participants were recruited through five of Hawaiʻi’s music education associations, the Hawai‘i Music Educators Association, the O‘ahu Band Directors Association, the American String Teachers Association – Hawaiʻi Chapter, and the American Choral Directors Association – Hawaiʻi Chapter. Data collected through survey respondents, interviewees, and the UH Music Department revealed a history of limited opportunities for Hawaiian music education and interactions with Hawaiian music professors or cultural bearers. Interviews were also conducted with individuals selected from the survey responses. Fifteen interviews were conducted to gather detailed information on the experiences of the participants. Interview participants shared their frustration about the lack of Hawaiian music resources available as well as their difficulties with cultural authenticity. Interviewees also shared that collaborating with Native Hawaiian professors and other cultural bearers helped them feel comfortable teaching this genre of music. This study will help to better understand the perceptions of Hawaiʻi’s music teachers on their education in Hawaiian music and determining authenticity in educational materials and techniques