Description
Book SynopsisKevin Fellezs traces the ways in which slack key guitar—a traditional Hawaiian musical style played on an acoustic steel-string guitar—is a site for the articulation of the complex histories, affiliations, and connotations of Hawaiian belonging.
Trade Review“In addition to telling Hawaiian slack key guitar's remarkable history, Kevin Fellezs provides an excellent introduction to the political, social, and economic challenges endured by Hawaiians who live in a homeland dominated by people who have even appropriated the word ‘aloha’ to expedite material and cultural plunder. This book is a wonderful achievement and a significant intellectual feat.” -- John W. Troutman, author of * Kika Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music *
“
Listen but Don't Ask Question theorizes a ‘polycultural transPacific’ to highlight Kanaka Maoli (Native Hawaiians) as central participants in the cultural production of slack key guitar music while attending to the multiple lineages tradition. Kevin Fellezs illuminates the complications of cultural and material stewardship as they are bound up in the performance and perpetuation of the musical form, Hawaiian principles of reciprocity, cultural revival and the music industry, community and belonging, and aesthetics. This is bold, rich, and important work that is well researched, robustly conceptualized, and finely written.” -- J. Kehaulani Kauanui, author of * Paradoxes of Hawaiian Sovereignty *
“With
Listen but Don’t Ask Question, Fellezs adroitly weaves together the many cultural, political, and social crosscurrents that have shaped a beautiful and enduring musical tradition. While slack key has been carried to lands far and wide, Fellezs convincingly demonstrates that in the right hands and with the right heart, this polycultural transPacific tradition is never far from the shore of its original āina.” -- Chad S. Hamill * Native American and Indigenous Studies *
“During a time when questions of cultural appropriation, authenticity, ownership, and the ongoing repercussions of settler colonialism are at the forefront of discussions within music scholarship—and academia in general—Fellezs provides a thoughtful and personal reflection on the sometime elegant, sometimes messy ways Kanaka Maoli have negotiated these issues.” -- James Revell Carr * Notes *
Table of ContentsAcknowledgments ix
A Note on the Use of Hawaiian and Japanese Terms xv
Introduction: Mapping the Polycultural TransPacific 1
1. Getting the "Right Hawaiian Feeling" 37
2. Taking Kuleana 70
3. The Aloha Affect 108
4. Sounding Out the Second Hawaiian Renaissance 145
5. 'Ohana and the Longing to Belong 183
6. Pono, A Balancing Act 219
Notes 253
Glossary 269
References 273
Index 311
