Owana salazar biography definition
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The foundation plays a key role in fostering the well-being and advancement of the Hawaiian community while also ensuring that the historical and cultural contributions of the Hawaiian monarchy are remembered and celebrated. Her notable releases include her debut album ‘Owana and Kaʻipo, In Kona’ (1986), which was nominated for the Na Hoku Hanohano Awards, and her self-titled follow-up ‘Owana,’ released in 1987.
“Hula Blues” @SlackKeyShow Owana Salazar at the Slack Key Show on Maui
Owana Salazar’s lineage is deeply intertwined with Hawaii’s royal history, which plays a key role in her life and advocacy.
Before her death in 1988, her mother named Owana Kuhina nui and her son, Noa as Ali`i nui Kalokuokamaile III. She informed Owana's brothers that their sister and her son would succeed her. However, in 1893, a group of American businessmen and sugar plantation owners, backed by the U.S. military, orchestrated a coup d’état that overthrew Queen Liliʻuokalani, the last reigning monarch of Hawaii.
“Kalamaula” celebrates the early homesteading movement of the Hawaiian people. Her royal ancestry is the cornerstone of Owana's life; a mantle she wears proudly and responsibly.
A true Keiki o ka 'Aina—Child of the Land, Owana was raised on the island of O'ahu where she was mentored in music and ancestral history by her mother, High Chiefess Helena Kalokuokamaile Wilcox Salazar.
It was at U.H. that she learned Kihoʻalu (slack key guitar). Through scholarships, grants, and cultural initiatives, the Kamehameha Foundation remains a significant force in the protection of Hawaiian heritage.
By combining her musical talents with her royal heritage, Owana Salazar represents a bridge between Hawaii’s rich cultural traditions and the ongoing struggle for sovereignty.
“Silhouette Hula” is a hapa haole piece, recalling the early jazz years of Hawaiian music. Her advocacy positions made her as an important figure within the broader Hawaiian sovereignty movement, which seeks to address historical injustices and reclaim the islands’ independence.
The Hawaiian monarchy, once a symbol of unity for the islands, was transformed under increasing Western influence during the 19th century.
"Our family discussions were vast... At the start of her public career, Owana performed with Hawaiian headliners such as Don Ho, Ohta-San, Ed Kenney and Charles K.L. Davis. Her extensive royal lineage includes her great-grandfather Honorable Robert Kalanihiapo Wilcox, Hawaiian patriot who led the counter-insurrection against the Bayonet Constitution of 1887, who later became Hawai'i's first delegate to the U.S.
Congress in 1900. Through her efforts, she seeks to keep the spirit of the Hawaiian Kingdom alive.
A leading performer for over twenty years, Matthew Schellhorn regularly appears at major venues and festivals throughout the UK and has recorded numerous critically acclaimed albums. He maintains a private teaching practice from his home in London.www.matthewschellhorn.com
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Owana Salazar
From primal rhythms to Philharmonic orchestration, Hawaii's music becomes a recitation of its history.
At nineteen, she was initiated into the Daughters and Sons of Hawaiian Warriors, Mamakakaua, a society organized around the genealogical descent of Hawaii's ruling chiefs.
As musicians go, she certainly has an unusual profile – a steel guitarist who is not only an eminent instrumentalist with numerous Grammy Award-winning albums but also a claimant to a deposed Oceanic throne.
Owana Salazar
Yet, in her native Hawaii, Owana Salazar is at the forefront of maintaining her country’s traditional culture – and it is a battle that is making steady progress.
Born in 1953, Salazar’s education was an eclectic mix of classical and indigenous folk techniques.
In 2004, she became the first Native Hawaiian invited to perform at the prestigious New Orleans Jazz and Heritage Festival. Described as a pianist of “searching intelligence and magnificent technique”, he has a distinctive profile displaying consistent artistic integrity and a commitment to bringing new music to a wider audience. Her subsequent sojourns into the studios produced, "Wahine Slack n' Steel" (2003) and "Hula Jazz" (2005) earning two Na Hoku Hanohano Awards and a total of nine final ballot nominations to date.
As music's landscape continues to evolve, so does Owana's desire to embrace its diversity, reinventing her self along the way.