This is timely for a couple reasons. For starters, February is officially
Mahina ʻŌlelo Hawaiʻi, aka Hawaiian Language Month.
The second reason is that I will be enrolling in my first classes in ʻŌlelo Hawaiʻi later this year. I am not literate, but I want to be. I have loved the language for 30 years. But I am definitely still a beginner.
I will not review Hōkūlani Cleeland's book per se. Instead, I will be talking about his writing. I'll especially focus on his motivation. And, dare say, his art.
Language writing is unique; it is inherently intercultural. What I mean by "language writing" is anything online, print, or in mixed media that teaches the reader another language other than their own. The audience varies. Oh, and language writing can be written in any language, to help learn any other language.
Language writing is utilitarian, so you will see it in educational settings like a class. You can find it everywhere else, in bookstores, online, etc.
In my life, for the most part, I have only used language writing for its utilitarian purpose. It was supposed to help me learn, and it did. I think it is easy to see only its utilitarian aspects
We don't think of language writing as a unique genre. But it is. Language writing varies in approach, theory, and style, depending on the author. As we shall see in this post, it also varies in soul.
The motivation of the author - including his or her spirituality - can often be seen in something as utilitarian as language writing.
How the author feels about the intended audience matters.
Hōkūlani Cleeland makes these aspects explicit from the start, and throughout the book. Because of this, one might see his art form. Perhaps talking about motivation has become more of the norm for language writing. I must admit, it has been awhile since I set about to learn a language in earnest. So perhaps the genre has changed overall.
Hawaiian is An Oral Tradition
The word for teacher in Hawaiian is kumu. Kumu Hōkūlani Cleeland's motivation in this book is all about getting the reader (me, you) to speak Hawaiian. Right from the beginning, he is using the written word to produce oral learning. The Hawaiian language is an oral tradition.
Before contact (see With Respect), the language was passed down orally by ʻohana, community, and kūpuna. Undoubtedly, Kumu is trying to recapture this tradition.
It's not that ‘Ōlelo ‘Ōiwi neglects grammar; quite the opposite. Kumu's point is that understanding Hawaiian grammar can only happen through understanding pronunciation. After just a couple chapters, this point is clear.
Approaches that Focus on Writing
In my past experiences with language writing, it seemed primarily interested in building written comprehension. This was to the neglect of the spoken word. Until I lived in Hawaiʻi, I assumed this was the point of language writing. Kumu Hōkūlani Cleelandʻs book is an example of reversing this approach.
Stretching Me
I am finding Kumu Hōkūlani's book strangely difficult. I'm not used to reading a book that tries to get me to talk. Books are for introverted Dan. I have gotten used to absorbing the written word purely in my head, using only my imagination to pronounce other languages or people's voices.
Kumu immediately gets the reader reciting the language.
It is difficult when the written word asks me to speak! It seems strange to hear my voice pronouncing something new.
Another problem comes from my love of the Hawaiian language. To me, it sounds melodic, whether spoken, chanted, or sung.
It is beautiful to hear in all these forms. Take a listen
here or
here or
here.
The "problem" here is that I set unrealistic expectations for myself. When I try to learn, my "inner critic" judges my voice, because it doesn't match what I hear from native speakers or singers.
I know I am not alone. Language teachers and writers have to deal with this issue all the time when teaching students.
Big Wave
Kumu Hōkūlani's book comes on a Big Wave of Revival of the Hawaiian language. His approach to writing comes out of (a) his lived experience, (b) his teaching experience in schools, and (c) his depth of appreciation for the culture, including the language.
Being part of this Big Wave is reassuring. Lots of people are jumping in and learning these days.
Writing in English to Learn Hawaiian
I feel so blessed. ‘Ōlelo ‘Ōiwi is written in English, to teach the reader Hawaiian. Kumu Hōkūlani writes with a gentle style, focused on helping the reader to be a good speaker. He really wants you to get it right, and feel good about your speaking Hawaiian. For instance,
Be sure to keep in mind that the difference between rudeness and politeness is often in our tone of voice. If we were to emphasize the word e when addressing someone by saying it loudly or harshly, it would sound rude. On the other hand, if it said quietly and not emphasized, it would be considered entirely correct and polite. (`ao`ao 9)
Hawai`i has two official languages: English and Hawaiian. Many ask why Hawaiian is not spoken and used more. It is growing. This is a positive sign.
Audiences
Language writing has different audiences. My textbooks I read in the past were focused on historical understanding or written correspondence. ‘Ōlelo ‘Ōiwi is focused on anyone who is serious about learning Hawaiian in practice.
In Hawai'i, the tourist industry churns out a lot of language writing, and the intended audience varies widely. Some of its writing gives a person the basic elements, providing a good introduction to the Hawaiian language. Some of it simply highlights tropes that reinforce the marketing around Hawai'i. Most of the language writing for the tourism industry is ... focused on tourists.
How is ‘Ōlelo ‘Ōiwi Art?
Let's finish by coming back to the question, can language writing be art? If art is a creative expression that can be appreciated for its beauty or emotion, then the answer is "yes," for at least a couple good reasons.
For one, it would seem kumu holds a profound joy and respect for the Hawaiian language, and sees it as an art form in and of itself.
Secondly, kumu writes with a purpose of instilling this joy and respect in the reader/speaker.
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