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Kika KilaHow the Hawaiian Steel Guitar Changed the Sound of Modern Music$
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John W. Troutman

Print publication date: 2016

Print ISBN-13: 9781469627922

Published to North Carolina Scholarship Online: January 2017

DOI: 10.5149/northcarolina/9781469627922.001.0001

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PRINTED FROM UNIVERSITY OF NORTH CAROLINA PRESS SCHOLARSHIP ONLINE (www.northcarolina.universitypressscholarship.com). (c) Copyright University of North Carolina Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NCSO for personal use.date: 17 October 2019

Epilogue Remembrance and Kuleana

Epilogue Remembrance and Kuleana

Chapter:
(p.227) Epilogue Remembrance and Kuleana
Source:
Kika Kila
Author(s):

John W. Troutman

Publisher:
University of North Carolina Press
DOI:10.5149/northcarolina/9781469627922.003.0009

This epilogue details recent efforts by a number of Hawaiians to both celebrate the Hawaiian history of the steel guitar, as well as to rejuvenate interest in playing the instrument in Hawai‘i. It details Alan Akaka’s continued efforts to teach the steel guitar through his Hawaiian music school in Kailua, Ke Kula Mele Hawai‘i, as well as his involvement in a legislative battle over naming the state’s official musical instrument. It examines the recent installation of a statue of Joseph Kekuku in Lā’ie’s Polynesian Cultural Center and the efforts of Ka‘iwa Meyer, a descendant of Kekuku’s sister, to teach steel guitar to children in the community. It also features steel guitarist Ron Johnson, a resident of Kahana, who treats the steel guitar as a kuleana, or cultural responsibility, much like tending to his taro.

Keywords:   Alan Akaka, Ron Johnson, Ka‘iwa Meyer, Kuleana, Lā‘ie, Polynesian Cultural Center

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