Instructor: Jonathan Kamakawiwoʻole Osorio
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 11 of 11( 2015)Brief excerpt from interview: I don't think this course could be [taught] from somebody from outside [of Hawaiʻi]. I don't see how that could possibly happen. I also don't see why people couldn't teach courses like this from many different communities... in any place where you have a tradition of music that's generations old, that's regional...[these types of courses] should be there and they should embody those places and those communities.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 10 of 11( 2015)Brief excerpt from interview: It was very poetic. Pidgin has that quality... because of its directness and abruptness. The statements are almost always short and sentences can be more like phrases and they have a rhythm to it. [When a student submitted a paper in pidgin], I gave feedback in pidgin because you have to. You have to honor that, and you have to make sure [the student] understands that you are reading this in their language.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 9 of 11( 2015)Brief excerpt from interview: A kind of dispossession was taking place well before the loss of the government…This dispossession isn't land, there is a dispossession in terms of social footing... Some people think that the overthrow is a major kind of watershed. I don't. I think you do lose control over our own education and that leads to loss of language and language speakers. That is probably the biggest effect. In terms of how the people were related and had access to power, I tend to think of the overthrow... as one more thing in a pattern that was established already.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 8 of 11( 2015)Brief excerpt from interview: Without Hawaiʻi, without this ʻāina, we sort of exist as a people in a very pale form... We know somehow that we are a people, but I don't think that has any kind of reality without this place. I think [Hawaiʻi] gives us something to restore us and renew us, but it is something that also calls for sacrifice and protection. [Hawaiʻi] brings out these very... powerful, important kinds of human attributes. I don't think that Hawaiʻi exists without our people... You don't get to... appreciate this music without some kind of sense of what it means to be Hawaiian. It just can't be done.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 7 of 11( 2015)Brief excerpt from interview: Because Writing Intensive courses, as far as I am concerned, require a reflection on writing and an ability for students to see each other's writings... I try to get students... to understand the value of taking their thoughts and organizing them in a particular way, in order to create something that speaks back. When we compose... we are speaking back to our teachers, we are speaking back to our loved ones, we are speaking back to our ancestors... I want [my students] to forsake any kind of fear about writing.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 6 of 11( 2015)Brief excerpt from interview: Hawaiian studies doesn't exist without [place].
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 5 of 11( 2015)Brief excerpt from interview: The biggest part of this course design... is the small group presentations. [Sometimes students] know more about a particular body of music and its meaning than I do... In these particular sections of the course, I go in trying to remind myself... that this is an exchange and that I am there to learn. The small group presentations have never failed to be better than I anticipated. Performance for... Hawaiians... is usually collaborative.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 4 of 11( 2015)Brief excerpt from interview: Hawaiian music... has a way of becoming a personal attachment for young people. The stakes of arguments and discussions in [music] class[es] become much much greater. One of the things that I've always had to be careful about is managing that kind of conversation so that people don't become hostile or angry with each other over that music... It's important to intercede at some point and let people know that we all have different attachments to this music... and they're all valid, because the imprinting that a song has on an individual is undeniable.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 3 of 11( 2015)Brief excerpt from interview: One of the things that comes out of [one of the first assignments]... almost everyone comes to the conclusion that the things that is common to every piece of music is that it's about Hawaiʻi... most of the time it's about something specific... [All the essays that I read about Hawaiian music]...had to do with a particular place.
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ItemInstructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 2 of 11( 2015)Brief excerpt from interview: The 478 course... was always a course that was going to be looking at the kanaka maoli (Native Hawaiian) experience, post contact, as it was expressed through music... All of the research and instruction that course promotes and frames is about places and about people in places. The music doesn't really exist except as songs about places and about people and places.