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It was not so long ago that kanikapila was part of our daily lives in Hawai'i. Over the last generation, music has moved from the garage party to the concert stage. It has become something to listen to rather than participate in. There is a sense today that singing is reserved for those who are really \"good\" at it. Still, many people yearn to kanikapila.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMelody and phrasing are not provided, which means you must know the song to sing it. 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In the process of landing in new homes, music interacts with older established cultural environments, sometimes in unexpected ways and with surprising results. They see these traveling musics in Hawai‘i, Asia, and the Pacific as “making waves”—that is, not only riding flows of globalism, but instigating ripples of change. What is the nature of those ripples? What constitutes some of the infrastructure for the wave itself? What are some of the effects of music landing on, transported to, or appropriated from distant shores? How does the Hawai‘i-Asia-Pacific context itself shape and get shaped by these musical waves? The two poetic and evocative metaphors allow the individual contributors great leeway in charting their own course while simultaneously referring back to the influence of their mentor and colleague Ricardo D. 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