Ka Wai Ola - Office of Hawaiian Affairs, Volume 14, Number 8, 1 August 1997 — Braddah Iz: A sympol of Hawaiian sovereignty. [ARTICLE+ILLUSTRATION]

Braddah Iz: A sympol of Hawaiian sovereignty.

Manu Boyd

In a revolution of cultural sovereignty fueled by institutions

hke music, hula, language, Mākua Beach and Hōkūle'a, it is no wonder that such a powerful movement would be personified by an individual described by some as the "Hawaiian Superman," gentle, profound and bigger than life itself. Such is the legacy of the late Israel Ka'ano'i "Iz" Kamakawiwo'ole, a symbol of hope for his people, many of whom remain displaced in their own native homeland. Of this, he'd remind audiences often, sometimes subtly, sometimes not. Israeīs easy, yet poignant, patter in performances and on his recordings shed light on the phght of Hawai"i's indigenous populahon, past and present, skillfully weaving history, humor and a gamut of emotions that would garner international appeal and visibihty for contemporary Hawaiian culture and the sovereignty movement. In the year Hawai'i became the 50th star on "01d Glory," Israel was born. Reared by pure Hawaiian parents, Leinani Keale and Kaleialoha Kamakawiwo'ole II, he took his plaee in an 'ohana (family) with roots on O'ahu, Maui,

Moloka'i, Kaua'i and Ni'ihau. Ironicahy, his mother's home island of Ni'ihau, voted unanimously against statehood in 1959. This poliheal statement would develop into a platform for whieh "Braddah Iz" would spend his 38-year life advocating: the right to self determination, through cultural and poliheal empowerment

Israel's musical career began as a student at Kaimukī Intermediate, where he'd jam with friends on his 'ukulele. The move from Pālolo to Leeward O'ahu established a new home for Iz, his parents, older brother "Skippy" and sisters Lydia and Leinani. On the beach at Mākaha, together with Skippy, Jerome Koko and Louis "Moon" Kauakahi (who would later become his brother-in-law, marrying Lydia), the Mākaha Sons of Ni'ihau emerged. A career of two decades produced 10 recordings of Hawaiian music that garnered the group numerous awards and served as a benchmark of excellence in the burgeoning loeal recording industry. Inspired by musical greats like the Sons of Hawai'i whieh included Gabby "Pops" Pahinui and Iz's unele, Moe Keale, The Sunday Manoa and eventually the Brothers Cazimero, the "Sons" developed a sound all their own — precise, harmonious, rich, and imdeniably Hawaiian. In 1993, Israel separated from the quartet, then comprised of Kauakahi and broth-

ers Jerome and John Koko. An opportunity for solo expression was at hand, and together with the artistry and business expertise of producer/ promoter Jon deMello, Iz's career soared to unprecedented heights. With increasing eomplications related to hereditary health problems, Israel Kamakawiwo'ole, whose sir

name means "the fearless eyes," boldly embarked on a solo career, a sometimes risky endeavor. Under his own record Iabel, "Big Boy Productions," Iz wowed the loeal recording scene with "Ka'ano'i," "Facing Future," and finally, "In Dis Life." By way of these three CDs, Israel earned several Nā Hōkū Hanohano Awards includine the people's ehoiee "Best

Entertainer of the

Year, twice. Why the broad public appeal? Israel spoke from the heart. He pulled no punehes and said what was on his mind. In a haunting tribute to Miloh'i, Israel closed his rendition of "Lā 'Elima" with f a somber dedicai tion to the "last W Hawaiian fishing village in the state

of Hawai'i" as if to say there someday might be more. In his parody on "Gilligan's Island," Iz dehghts on a far away island with "no boats, cars, polluūon, politicians, not even OHA." In a tear-welling re-make of Micky Ioane's "Hawai'i '78," a reheved Israel says "I feel free now," recalling

the pain suffered by his brother "who died of a broken heart." With that grounded Kamakawiwo'ole demeanor and a silky-smooth voice like in "Kaleohano," Israel rose to the pinnaele of his career, under the careful guidance of the Mountain Apple Company's Jon deMello, who has an eye and ear for quality. Israel's passing earlier this summer was a blow to our communitv. To his wife Marlene, their

daughter, Wehekeala, and his sister, » Lydia Kauakahi, we extend sincere condolences. But what Israel left for us all, besides volumes of music, mana'o and aloha, is the sense that we f too ean be "super human" in our attempts towards self determination.

Like the cultural institutions of music, hula, language, Mākua Beach and Hōkūle'a whieh all became part of his final tribute, we ean succeed politically through cultural tenacity, as well as physical and emotional decolonization.

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īohn deMello

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