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Kawaikapuokalani Hewett believes in moving forward. "Been there, done that," is his comment on such past successes as becoming a Hoku Award-winning recording artist, having won his first award as "Most Promising Artist" in 1982, and winning another in 1984 for "Makalapua 'Oe," the Traditional Hawaiian Album of the year. Hewett: Rebel
with a causeBy John Berger
Special to the Star-BulletinHewett also is a three-time Hoku winner as the composer of Hawaiian-language hits for the Brothers Cazimero and Teresa Bright, and finds it rewarding to share his songs with other artists.
"If you have a gift or a talent you have an obligation to share it. I believe as long as you perpetuate it by giving, it grows, and it makes me happy (to share)."
Hewett recently contributed a song to Ellsworth Simeona's debut album "Raised on Rice," and also danced at Simeona's album release party. He contributed two songs to Sean Na'auao's new "Neutralize It" album. Several other artists will have new Hewett songs on their upcoming albums as well.
When Hewett presents his annual Ho'ike at Castle High School it is with a similar spirit of sharing the stage with as many of his friends as possible. Originally a fund-raiser for his Halau O Kawaikapuokalani Pa 'Olapa Kahiko, the event has evolved into a cultural celebration.
Eight halau will join Hewett and his dancers this Saturday, and a different cast of special guests will be featured in the two performances. Darlene Ahuna, Leilani Bond, the Lim Family and Olomana will play the 2 p.m. matinee; Akoni, Genoa Keawe, the Lim Family and the Makaha Sons play the late show.
"I just like to get everybody that I know and love to be there," he explains. "Ho'ike hasn't been a fund-raiser for years. We just make enough money to cover our costs and enough to start again next year."
Hewett, a Castle graduate, adds that this may be the last year that Ho'ike can be held there due to rising costs of using the facility.
Hewett's willingness to speak out -- be it about nickel-and-dime fee increases or about Hawaiian cultural issues -- has made him a controversial figure over the years. His innovations in hula and other Hawaiian traditions have earned him critics as well as admirers.
When critics say Hewett isn't following tradition, his response typically is to ask who is defining "traditional," and the source of their research.
"Robert Cazimero, Johnny Lum Ho and I were called 'rebels of the hula' but we all researched the work that we did (and) we all had kupuna (grandparents or ancestors) and kumu (teachers) to guide the work that we did."
"When my women performed with kala'au sticks, I was a 'rebel' because 'women did not dance with spears' but I had done my research. I had read the stories of Hi'iaka and she was a warrior and she fought in battle.
"Another point of contention was the layering of the skirts but I had again done my research. It was my own ancestress, a women mentioned in our own genealogy, that introduced the tradition into the hula of layering skirts."
Hewett credits his ancestors as his inspiration and role models. He grew up in a family where Hawaiian was spoken. He learned it by imitating his kupuna and their contemporaries. With guidance from his elders, Hewett was writing poetry in Hawaiian when he studied the language from an academic perspective at the University of Hawai'i at Hilo.
"There's a lot that I learned back then from spending time with those old people. Watching every move, every facial expression, every hand gesture -- all that is part of their poetry. When they spoke to me or sat down to explain to me or taught me the mele I had to pay very close attention. Everything they did was an integral part of understanding what they were trying to teach me."
Hewett's kumu, Emma DeFries, shared her extensive knowledge of oli (chant), hula, and the traditional Hawaiian healing arts. He also studied with Edith Kanaka'ole while earning a degree in Liberal Studies and Hawaiiana at UH-Hilo.
"I've come to understand that only the composer will ever know the true meaning. Who really knows the (full) translation other than the composer? That's why I encourage people to seek out the composers and talk to them.
"If we don't take the time today to honor and perpetuate those traditions what will be left of them in the future?
Hewett created a new musical direction for the Hawaiian language in 1998 when he teamed up with Freddy Von Paraz to create "Native Grooves," the first full-length album to blend modern Hawaiian-language chant with tribal, urban, techno and house mixes. The album didn't fit "island rhythms" radio but wasn't "traditional" either. Once again, Hewett proved to be ahead of his time.
"I'm not afraid to create a path rather than follow a path," he said. "My ancestors created their own path and that's the legacy they left behind for me. I think that's what courage is all about and I'd like to believe that I can be as courageous as them.
"I'm really not this nor that," he said. "I was taught tradition and I get my strength from tradition; I'm also of today. I think there has to be balance and I would like to think that I represent that."
Hewett is moving forward in drawing on other facets of his cultural legacy. He has resigned as lu'au show director at the Royal Lahaina Resort and the Kaua'i Beach Resort and although he is still on call as the hotels' cultural advisor he is now director of cultural programs at the Waimanalo Health Center. Hewett directs a mentoring program in Waimanalo School and oversees the use of traditional healing procedures using Hawaiian herbs and massage, and conflict resolution through ho'oponopono (counseling).
"As we get older I think we realize that who we are and what we are is here. Not only do we want and yearn for a relationship with our culture, our language, our tradition and our genealogy but we want to impart that onto the next generation.
"The way I am as a composer, as a musician, as an entertainer or in the health center, I do not like to scold people. I try to live my life and teach by example."
On stage
What: 23rd annual Ho'ike
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