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Servant Tongue: The Alienation of Native Speakers through Colonialism “Agaa!” my mother yelled in pain as she stubbed her toe on the side of the kotatsu, an unique Japanese table covered with a futon blanket that is designed to keep legs warm during the winter. Full of curiosity like any other 8 year old, I stopped and pondered the word she cried in agony. “Okasan, what did you say?” I asked. Still in pain, my mother ignored my question as she examined her swollen toe. I repeated my question a little louder. With a hint of shame in her eyes she responded, “I said agaa, it’s Hogen.” Lisa Kanae’s Sista Tongue is a piece that explores the deep relationship between Hawaiian Creole English (HCE) and the colonization of Hawaii. Kanae takes …show more content…
her time to explain the history of the development of this Creole and the social implications it meant for its speakers through time. By switching between her observations of her own cousin Harold and those of “academic professionals” such as Madorah E. Smith, Kanae vividly illustrates the reality of the alienation brought down upon Creole speakers by those who spoke proper English. Kanae’s combination of different viewpoints paralleled with historical narration lends itself to the reader to infer that the entire piece is not only about language, but the force of colonialism in which alienation of the native population’s language is inevitable. Alienation is the state or experience of being isolated from a group or an activity to which one should belong, or in which one should be involved. While the concept of alienation is deeply rooted in Marxist theory, in which the use of alienation is used by the elite to ensure the conformity of the working class, it can also be applied to show the relationship between colonialism and language (Seeman 782). For example, Kanae illustrates through her historical overview how the rapid American colonization of Hawaii’s indigenous populace created a language inequality that reflected the “master-servant” environment propagated by the sugar plantations. While the use of HCE allowed locals to “maintain a sense of ethnic identity” it promoted the alienation of HCE speaking youth through derogatory labels such as “handicapped” and “retarded.” (Kanae 11) On another island in the Pacific Ocean, a similar force of language-alienation through colonialism can also be observed throughout its history. The island of Okinawa sits among the Ryuku archipelago chain and is just less than one thousand miles south of mainland Japan. It is currently home to Japan’s largest ethnic minority of 1.3 million Okinawans (Noguchi 69). Okinawans are not Japanese. As early as 300BC, Okinawans started to develop their own traditions and unique language. For example, ancient Okinawans interred their dead in urns while Japanese used the process of cremation and while pork was a main part of the Okinawan diet, Japanese ate little to no meat (Noguchi 70). Okinawa enjoyed lucrative trade with surrounding Asian countries and thus became colonized by the mainland Japanese Shimazu clan in 1609 (Noguchi 72). Under the feudal clan system, Okinawa was able maintain its native language of Hogen for the next 270 years (Noguchi 71). In 1880, the takeover of the Edo Shogunate marked the beginning of Okinawa’s history as a permanent prefecture of Japan. The Edo Shogunate implemented strict policies of “linguistic standardization for the entire country under the slogan of futsugo (common language)” (Noguchi 71).
Initially the Okinawans embraced the idea of modernization and had a positive outlook towards their relationship with mainland Japan. This attitude quickly changed as native Okinawans were alienated by their colonizers. Much like how Kanae highlights the American education system’s alienation of those who spoke HCE in Hawaiian public schools, the Okinawans were forced to learn Japanese as it became the official language of instruction. Okinawan students caught speaking Hogen were forced to wear a tag, a scarlet letter of sorts, called a hogen-fuda. Throughout the day the tag was passed from one student to another as they were caught speaking the subservient Hogen language. The children had to resort to ways of passing the tag of shame on to others. “They found that a good way was to hit another pupil; the struck child would invariably cry out ‘Agaa’ and be forced to don the tag himself” (Noguchi 72). Throughout the early 1900’s Hogen was considered a barbaric language and those who spoke it received cruel forms of discrimination. For example, during the Battle of Okinawa in 1945, native Okinawan speakers were regarded as spies and 30% of the Okinawan population ceased to exist (Mie). Much like how HCE denotes negative stereotypes and is shunned in formal American settings, the use of Hogen still marks the inferior status of Okinawans among elitist mainland Japanese. As a result of this, in 2009 the United Nations Educational, Scientific, and Cultural Organization labeled Hogen as an endangered language
(Mie). The hint of shame in my mother’s eyes as she explained the meaning of the word ‘agaa’ was deeply rooted in the discrimination and segregation her ancestors faced through the process of Japanese colonialism. Although there are notable differences in the histories of Okinawa and Hawaii, the inevitable byproduct of language-alienation enforced by their colonizers is the remarkably similar. In conclusion, Kanae’s Sista Tongue is not a just a story of Pidgin in Hawaii, but more importantly it illustrates the framework in which colonialism alienates its subjects and rapes their native language leaving a stain on it forever.
Ii, John Papa., Mary Kawena Pukui, and Dorothy B. Barrère. Fragments of Hawaiian History. Honolulu: Bishop Museum, 1983. Print.
Languages are formed through a structure of sounds in a way the college structure is formed. By piecing together a sentence, it can form a picture a lot like the collage pieces together to form an idea. From a page of Sista Tongue “Garrans da haole tourist at da haole tourist at da same counta going pay mo money fo rent one car. Despite its widespread use as a marker of local identity, HCE also carries negative connotation.” (Kanae) is on one page next to each other. A person may have trouble forming the words of their mother-tongue and their identity feel weak. The lines that cut through Lisa Kanae’s words can represent that broken identity. This can be shown from a quote “Reinecke points out that the formation of a Creole language met the need for a ‘medium of commu-nication between numbers of non-English speaking groups” (qtd in Kanae), the line cuts between ‘formation of a’ and ‘Creole language’ and the word ‘communication’ is cut in between to fit into another line. This shows the meaning of Lisa Kanae’s message in a visual form that Creole language is made up of different languages: English, Cantonese, and Hawaiian, to make one language. This collage form also emphases certain words and sentences. It is very similar to how bilingual people code-shifts from one language to another. I often switch between English and Cantonese with my parents to convey my message in a way the collage form Lisa
In the chronological, descriptive ethnography Nest in the Wind, Martha Ward described her experience on the rainy, Micronesian island of Pohnpei using both the concepts of anthropological research and personal, underlying realities of participant observation to convey a genuine depiction of the people of Pohnpei. Ward’s objective in writing Nest in the Wind was to document the concrete, specific events of Pohnpeian everyday life and traditions through decades of change. While informing the reader of the rich beliefs, practices, and legends circulated among the people of Pohnpei, the ethnography also documents the effects of the change itself: the island’s adaptation to the age of globalization and the survival of pre-colonial culture.
As Inada points out with his analogy to a constellation, the United States government had constructed many camps and scattered them all over the country. In other words, the internment of Japanese-Americans was not merely a blip in American history; it was instead a catastrophic and appalling forced remov...
The Hawaiian culture is known throughout the western world for their extravagant luaus, beautiful islands, and a language that comes nowhere near being pronounceable to anyone but a Hawaiian. Whenever someone wants to “get away” their first thought is to sit on the beach in Hawai’i with a Mai tai in their hand and watch the sun go down. Haunani-Kay Trask is a native Hawaiian educated on the mainland because it was believed to provide a better education. She questioned the stories of her heritage she heard as a child when she began learning of her ancestors in books at school. Confused by which story was correct, she returned to Hawai’i and discovered that the books of the mainland schools had been all wrong and her heritage was correctly told through the language and teachings of her own people. With her use of pathos and connotative language, Trask does a fine job of defending her argument that the western world destroyed her vibrant Hawaiian culture.
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Sonia P. Juvik, James O. Juvik. Atlas of Hawaii. 3rd Edition. Hilo: University of Hawai'i Press, 1998.
...e" (Trask xix). This incident beautifully illustrates and signifies tourism's impact in American society. Like most Americans, this woman uses a discourse that has been shaped by tourist advertisements and souvenirs. The woman's statement implies that Trask resembles what the tourist industry projects, as if this image created Hawaiian culture. As Trask asserts, Hawaiian culture existed long before tourism and has been exploited by tourism in the form of advertisements and items such as postcards. Along with the violence, endangered environment, and poverty, this exploitation is what the tourist industry does not want to show. However, this is the Hawai'i Haunani-Kay Trask lives in everyday. "This is Hawai'i, once the most fragile and precious of sacred places, now transformed by the American behemoth into a dying land. Only a whispering spirit remains" (Trask 19).
Tan, Amy. “Mother Tongue." 50 Essays: A Portable Anthology. 4th Edition. Ed. Samuel Cohen. Boston/New York: Bedford/St. Martins, 2011. 417-23. Print.
Kualapai, Lydia. "The Queen Writes Back: Lili'uokalani's Hawaii's Story by Hawaii's Queen." Studies in American Indian Literatures. 17.2 (2005): 32-62.
The scene is always the same: the three of us sitting in a room together, talking. I see her from the corner of my eye, glancing for only a second or two, but always long enough to notice the look on her face, the expression I’ve become so painfully familiar with over the years. I am forced to turn away; the conversation resumes. She is a few feet from us. She hears everything, and understands nothing except what she can gather from the expressions on our faces, the tone of our voices. She pretends not to be bothered, smiling at us and interjecting random questions or comments in Chinese—a language I was raised to speak, a language I’ve slowly forgotten over the years, a language that is now mine only by blood. It is an earnest but usually futile attempt to break through the invisible barrier that separates her from us, and in spite of all her efforts to hide it, that sad, contem...
...Hawai`i’s economy is very dependent on tourism, however many locals are possessive of their land, and as they stereotype tourists, many do not accept others as they have a unity for their own. Numerous individuals feel the desideratum to fit the local stereotype because they prefer not to be labeled as a “haole”. It becomes tough and rather intense for an individual, because becoming haole betokens that you forgot and disregarded the local or Hawaiian quality values and ways of routes, as well as the flowing stream of life in the islands. We need to remind ourselves that regardless of where we emanate from, our skin tone, race, physical characteristics, and so forth, everybody ought to acknowledge just for who we/they are and treat one another like 'ohana and show "aloha", and subsequently, we can determinately verbally express "This is it. This is Paradise" (33).
Despite growing up amidst a language deemed as “broken” and “fractured”, Amy Tan’s love for language allowed her to embrace the variations of English that surrounded her. In her short essay “Mother Tongue”, Tan discusses the internal conflict she had with the English learned from her mother to that of the English in her education. Sharing her experiences as an adolescent posing to be her mother for respect, Tan develops a frustration at the difficulty of not being taken seriously due to one’s inability to speak the way society expects. Disallowing others to prove their misconceptions of her, Tan exerted herself in excelling at English throughout school. She felt a need to rebel against the proverbial view that writing is not a strong suit of someone who grew up learning English in an immigrant family. Attempting to prove her mastery of the English language, Tan discovered her writing did not show who she truly was. She was an Asian-American, not just Asian, not just American, but that she belonged in both demographics. Disregarding the idea that her mother’s English could be something of a social deficit, a learning limitation, Tan expanded and cultivated her writing style to incorporate both the language she learned in school, as well as the variation of it spoken by her mother. Tan learned that in order to satisfy herself, she needed to acknowledge both of her “Englishes” (Tan 128).
Tan, Amy. "Mother Tongue." Across Cultures. Eds. Sheena Gillespie and Robert Singleton. Boston: Allyn and Bacon, 1999. 26-31.