Native Hawaiians Archives - Page 4 of 6

The New Banner: The Three Birds

October 6, 2023 by Kamalani Hurley

If youʻre a regular at my blog, you will notice something fun — a brand new banner! Itʻs not just pretty art (by talented local artist Dru Santiago.) Itʻs got some cool Hawaiʻi (and Hawaiian) features, too.

To begin, weʻll look at just one: the three birds.

Spot them in the banner above? Cute, right? But theyʻre not just any birds.

First there are three, for a reason. Three is my favorite number. Lots of things come in threes — three wishes, the triple crown, three parts of an atom, three-part story structure, three musketeers, junkenpo — but most important to me are my three daughters.

The birds in the banner are kōlea, Pacific golden plover, and one of my favorite birds. Every year these little migratory birds spend the summer in Alaska raising their babies and then fly thousands of miles home to Hawaiʻi in the winter.

Itʻs always a joy when they return in July or August. They come back skinny — itʻs hard work flying so many miles nonstop — and enjoy our mild winters, getting all fat and fluffy.

Kōlea tend to return to the same Hawaiʻi neighborhoods each year, and Iʻm always happy when I see them on our Central Oʻahu street. I can tell theyʻre around when I hear their distinctive keek-KEEK!

When kōlea are home, they can be found everywhere — in parks, on roof tops, in parking lots, at the shore.

They leave for Alaska in April and May. We can always tell when theyʻre ready to leave because they grow a winter coat of black feathers on their bellies, like the little guy to the left up there in the banner.

The Hawaiʻi Audubon Society keeps track of the comings and goings of kōlea and encourage the public to get involved. Kōlea have long, slender legs, and because they can be found everywhere, they may have unfortunate encounters with cats or ʻio (Hawaiian hawks) or cars. The Audubon website provides guidance on helping any injured little friends you might come across.

And now a cultural note. In Hawaiʻi, being a human kolea is an insult. Think about it this way: kolea come, enjoy the weather, eat, have a good ole time, eat some more, take what they want … and then clear out, leaving their mess behind. In Hawaiian, this is mahaʻoi, and for people, not a good look. So be a better visitor (or college student or university researcher or snow bird), and get to know us while youʻre here. You might become our non-native ally, and our community definitely needs more of those.

Next time: whatʻs with that red and white blanket design in the banner? Hint: itʻs palaka!

To learn more about the kolea, visit the Kolea Count website at koleacount.org. Images from the Kolea Count website.

Interview with Native Hawaiian Interactive Media Designer Kēhau Noe

September 19, 2023 by Kamalani Hurley

Native Hawaiian visionary Kēhau Noe is an artist and storyteller. Her media is computers, and her mission is to design programs that help people to interact with and learn from the environment.

The challenge of building software or games that take advantage of what technology affords us, but still be accessible and useful to the general person is fun to me. Software can be capable of performing complex and seemingly impossible tasks, but if the average person does not like to look at it, or can’t understand how to interface it, then not many people will use it.

Her innovative storytelling immerses viewers in the Native Hawaiian world view. We are pleased to feature this trailblazer on our blog today.

For those who havenʻt met you yet, could you please tell us a little about yourself?

I’m Kari Kēhaulani Noe, I usually go by Kari or Kēhau. I was born and raised on Kauaʻi and moved to Oʻahu to go to the University of Hawaiʻi at Mānoa for my undergraduate degree to major in both Animation and Computer Science. I am now pursuing a PhD in Computer Science at UHM. I work as a research assistant at the Laboratory for Advanced Visualization and Applications (LAVA) where I also co-lead Create(x), a sister-lab managed by both LAVA and the Academy of Creative Media (ACM) at the University of West Oʻahu. I also work as an Indigenous Tech Specialist at the Office of Indigenous Knowledge and Innovation. I also have my own studio, Studio Ahilele, where I work on creative projects and collaborations on the side.

In my personal life I love nerdy things. I often will be drawing comics, trying out some kind of art form (I’m learning carving at the moment), and playing video games in my free time. I also love hula and have been studying ʻōlelo Hawai’i.

Where did you grow up? What high school did you grad from?

I grew up in Kalāheo, where most of my time was spent hanging out somewhere in the west or south side of the island as that is where most of my family lives. And of course Līhuʻe as that is the main town and where my high school is. I graduated from Kauaʻi High School.

Go Red Raiders! What are your goals for the Create(X) lab you co-lead and for your research?

My goal for Create(x) is for it to be a space where students can develop emerging technology systems and software that augment spaces in ways that change how we interact with computers both for research and entertainment purposes. The core goal is to teach students skills in immersive design, communication, and programming so that they may create innovations that enhance their practice, whether they are a storyteller, scientist, or artist. We welcome and engage in interdisciplinary research with partners to understand how tech developed at the lab can be used to support projects and practices outside the walls of our lab.

What kinds of skills are required for your role? How did you acquire them?

The major skills I have are in design and programming. I developed skills in visual design from my time as an undergraduate at the Academy of Creative Media at UH Mānoa. Growing up, I always loved to draw, but through my time as an undergraduate I gained a foundation in useful skills such as digital art techniques, 3D modeling, and different techniques in animation that to this day is a large part of the work that I do. I learned programming from my education in Computer Science at UH Mānoa, where I have done my Bachelors, Masters, and now PhD in. Without all of these skills, I could not develop the projects that I do. I wanted to become a video game developer when I started university, which is why I tried learning skills from all parts of the process because I did not know exactly what I wanted to do. In the end being a jack-of-all trades has helped me immensely.

The other important skill is organization. I think I got that skill from watching my mom who is a very organized person and runs her own business. Without having good organization and efficient processes it would be very hard to implement the projects we work on, even if we somehow had the world’s best artists and programmers on the project.

What was the journey to becoming an interactive media designer? Why did you choose such a unique career? How did you know that this is what you wanted to do?

I was actually going to go to university enrolled in Travel Industry Management. I was put in the AOHT (Academy of Hospitality of Tourism) track in high school. It wasn’t my first choice, but I did enjoy my teachers and classmates on the track. My experience with that, and from advice from counselors, I was convinced that if I wanted a good job and to stay in Hawaiʻi I should aim to be something like a hotel manager. However, I was also taking Japanese when I was a senior, and we had a project where we could design any form of media for our project as long as everything was in Japanese. This became an excuse to try to learn how to develop a video game. I made a little RPG on Construct2. That is when I wanted to become a game developer, and I think in like a month or two before I started university I managed to change my major to both ACM and Computer Science.

While I was in university I took Dr. Jason Leigh’s video game design class. It was at this time LAVA was first being developed because Dr. Leigh was newly hired. As time went on, I hung around LAVA and eventually got hired there as an undergraduate research assistant. It was through my experience at LAVA that made me see there are more pathways than just becoming a video game developer. So now I am here where I am today.

We are very glad you didn’t study TIM! What do you enjoy most about your career? What are some of your greatest challenges?

What I enjoy most is designing things. The general process of brainstorming, planning, and creating is one of my greatest joys in life. It could be as simple as designing my desk space to designing the complex projects we implement at the lab. The joy of my career is that I am able to design things that can enrich and support our lāhui. For instance, working at the Office of Indigenous Knowledge and Innovation means that the projects I work on include community co-design and impact. We have intentions of developing and utilizing emerging technology to aid in the development of processes and actions to improve environmental stewardship and heal land in ways that align with ancestral practice and values.

I believe the greatest challenge is time and capacity. I wish I had more time in the day to work on projects, and had more capacity to work on the myriad of pono projects that are in various stages of development in Hawaiʻi. That is why I am focused on holding space for teaching and not just research. I believe if there were more people from Hawaiʻi who had similar skills that I have learned and a passion for cultivating abundance for both land and people, we could develop great things. In Hawaiʻi there is no shortage of people who aloha ‘āina. However, there is only a small community of us that also have skills in immersive and interactive design and the capacity to hold those types of careers since the cost of living continues to rise here. I try to take my own action as well as support initiatives that will make these skills more accessible to students and develop an industry for this sort of work.

Where do you get your inspirations?

The typical places: my family, friends, teachers, and Hawaiʻi itself. When times are hard I have always turned to spending time in a good story whether through a book, video game, or movie; talking story with beloved people; or spending time in familiar places such as my favorite beaches or places in the mountains. Doing these things is refreshing and brings me the inspiration to continue working and brings new ideas and perspective to my work.

Of your many successes, which project or accomplishment are you most proud of?

It’s hard to say I’m proud of any of my accomplishments. As an artist, I do fall in the common feeling of “things could have been done better.” Often my feelings are more like I’m thankful that it happened. The work I do is complex in that it can’t be built by a single person. I may be the one who can take credit for developing a piece of software, but held within most of our projects are data, knowledge, and stories collected by others such as community experts, scientists, or cultural practitioners. Without the willingness to share that knowledge, these projects wouldn’t exist. So I’m thankful for the opportunity to work with others and I suppose I am proud that they trust me. I aim to continue to develop and perpetuate practices to earn and honor that trust.

Can you share a bit of a current project?

A current project that I am working on is called the Makawalu Editor (for now, it’s a working title). I can’t talk too much about the details as it is still in development, but it essentially is an interface to visualize environmental data using a tangible interface. It grew from a project that was developed at LAVA in collaboration with HECO called the ProjectTable 2.0. A prototype of this system was recently used as a part of an internship run by the Office Indigenous Knowledge and Innovation and Malama Puʻuloa. The interns learned the basics of ArcGIS and story maps to tell their own stories connected to the land they helped care for during the time of their internship. The Editor was used to help visualize their maps.

Your projects have included designing apps and “serious games.” What are some of these? What does success of these projects look like to you?

For me, the success of any project is if it develops some sort of knowledge or capacity in the player. For instance, for Kilo Hōkū VR, where we developed a VR application to teach the basics of modern Hawaiian wayfinding practices, the success for me was providing an alternative to studying in cases where students may not have access to clear skies or a planetarium.

Wao Kiʻi, a project I developed for my master’s thesis, aimed to be a tool to learn basic Hawaiian environmental vocabulary without using English. This is done through a character’s features and attributes that change based on where tiles with Hawaiian words or phrases are placed. So for example, if you place an ʻiʻiwi tile onto the board, the character will turn into an ʻiʻiwi. If you place a lele tile onto the board, the character will start to fly. This creates the connection between the word and its meaning. A further connection is made as in Wao Kiʻi, the scene you are in determines the vocabulary that is presented to the user. So for instance, if the scene is meant to resemble Wainiha Valley on Kaua’i, the vocabulary will be related to a specific place rather than general Hawaiian words. In this way, this development of understanding of the relationship between words, meaning, and place is what I consider a success.

The ultimate measure of success is accessibility. This is a metric I’m still trying to work on improving. Lots of what I work on is inaccessible due to the tech it’s created on, but slowly things are changing.

How do you avoid letting the pressures of innovation and creativity overwhelm you?

Trying to be innovative and creative to me is a joy, and I think I have had enough failures in my life that I’m not afraid of it. I also don’t feel the pressure that any project has to be my magnum opus, because there is no way of knowing what that will be until it happens. Sometimes what I think would be a stellar idea is actually my worst one in practice. I enjoy the ride, and if it doesn’t work out, that only means I know how to do better next time.

What are your hopes and dreams for the year and beyond in terms of your career and what you would like to send out into the world in the future?

For this next year(-ish) my hopes and dreams revolve around finishing my dissertation. There is a lot I put on pause to finally get that last fancy paper. Once I get that degree my hope is to continue to be working in a place where I can be in a position to continue designing technologies and systems that support community abundance, knowledge, and healing. I also want to be able to pass on the skills that I’ve learned so that in the future there will be many local students who can do what I do and do it better. Together they can take advantage of whatever emerging technology develops in the future and use it to also create abundance and capacity in a pono way.

Do you have any experiences as a woman of color in your field that you might share with our readers? What would you like to see change in the industry regarding the acceptance of BIPOC creators?

In my industry there should be more women & BIPOC. That’s still where we are at. In Hawaiʻi I think we have a lot more POC compared to other places, but in my perception there is still a lack of women and Indigenous computer scientists considering the population of Hawaiʻi and the DEI initiatives that exist. In my experience, I do try to make an extra effort to help women, Indigenous, & LGBTQ+ students where I can (recommending them to positions, advising on funding possibilities, getting them access to lab space). But often what limits these students are two things:

life circumstances that commonly affect a person based on their background
the inevitable stress and turmoil from being a minority.

I’ve had younger students who, for instance, don’t have as strong financial support from parents due to multiple reasons, which means that the student has to take on extra work to be able to make a living wage, which limits the time they can dedicate to their studies and ability to do extra curricular work that would help them develop as professional. So they get left behind or have to drop out totally.

Personally in my experience I have dealt with things such as:

giving a presentation about a project that involved Hawaiian cultural ideas and practice, and the first response from the audience was someone making an inappropriate joke about Hawaiians.
people when I bring up projects like Wao Ki’i that teach ‘ōlelo Hawai’i, their response is “Is Hawaiian a real language? Like can you have full conversations in it?”
being asked multiple times by the same person “You developed this?”
classmates not letting you do any of the work on class projects because “it’s ok, they can just do it” and so on.

I think that these sorts of challenges and headaches are not unique to Computer Science but many other fields. All I can say is that the most important thing is to find your community. Having friends and colleagues that share your hopes, values, and struggles is the best way to be able to weather any circumstance and situation that may come your way. When the weather gets rough, you can keep each other afloat.

What beliefs is your work challenging?

I think that by working in the spaces that I do, I’m proving that tech is not out of reach for any group or community. When I give demos to people, they often ask where I went to high school. They then take a guess like, “Punahou? Kamehameha?” I then laugh because I went to public school on an outer island for my entire life. They have an assumption that I must be a private school grad to do the level and kind of work I do.

I also think that my work also challenges the notion that Indigenous knowledge and technology do not mix. In my opinion, Kānaka Maoli have always been tech enthusiasts. From taking advantage of the printing press to installing electrical infrastructure; I think our kupuna were good at seeing new technology, quickly making it their own, and using it to their advantage. This is not to say we need to adopt every new technology; we still have to gauge what is pono. But generally I get the feeling that, especially people not from Hawaiʻi, think Kānaka Maoli are anti-tech and anti-science. They couldn’t be more wrong, and I think (and truly hope) projects we develop help them see that. And if not, we will keep building great things regardless.

What advice would you give a student interested in joining your field?

Generally: Find what interests you and stick with it, even when things feel difficult. Learning skills in both art and programming is like riding a bike through an area with a lot of hills. At first it’s hard while you try to learn foundational skills. It will feel like cycling up a hill. But then your understanding will click into place and you will feel like you’re coasting down. Then you begin to learn a new more advanced topic, and yet again there is another hill to climb. Learn how to enjoy the ride and challenge. Make sure you find some buddies that will ride with you. Learn when to get off your bike and walk to go easy on yourself. Push your buddies up the hill when they need it, and let them help you when you need it.

Specifically: Go download a game engine like Unity3D, Unreal, or Godot. Go download Blender. Think of an easy game idea, like pong, pinball, space invaders, etc. Look up tutorials and try to build your idea. You will start to understand what it takes to make a game when you attempt to make one. See which parts that you like, what parts that you can’t stand, and what parts you feel excited to improve on. From there you will discover if you will like this field, and what part of the process you may want to focus on. This will determine if maybe you are more of an engineer, artist, or production manager sort of person. Go find others that are doing this. I can’t emphasize this enough, having community is important.

What’s your online presence like? Are you on social media?

I’m a computer scientist who is awful at social media. But I do lurk there. Because I’m not very active I don’t get many messages. I’m trying to change this. For those who know me, they know how often I say, “Oh I probably should have taken a picture/video of this.”

And niele questions, if youʻd like to answer:

Who is your biggest supporter?

My partner and my family. I try to be on top of my game when I am at work and in public. So when I get home I am often acting goofy and tired. I am thankful for their patience.

What’s your favorite memory of growing up on Kauaʻi?

Rain. It feels like it rarely rains on O’ahu (at least where I live). I miss waking up the sound of the wind blowing the rain against my window. I often miss the smell. I also am fond of the memories of my brother, friends, and I just wandering around as kids. We would go walk through fields and collect bugs and things. We would feed flowers to someone’s cows. We’d steal eggs from chickens. We would dig a giant hole in the sand for no reason other than to marvel that we dug a big hole.

What’s your favorite app? Which app do you wish you could’ve had a hand in creating?

I wouldn’t want to create any of the apps I enjoy, because if I had a hand in creating it I’d be much more critical of it and may not enjoy it. I really like an app called Notion. It helps both in work and just keeping track of things that I like.

This was so cool, Kēhau! Mahalo nui loa for sharing your manaʻo with us!

To learn more about Kēhau Noe and her work at the Create(X) lab at the University of Hawaiʻi at West Oʻahu, visit her website at KehauNoe.com.

Images courtesy of Kēhau Noe.

Book Review: Punky Aloha, by Shar Tuiʻasoa

September 5, 2023September 5, 2023 by Kamalani Hurley

It’s a fact of the marketplace that many picture books with the unfortunate timing of being released during the COVID pandemic were often not given the attention they deserved.

And that’s really too bad, because they merit space on our bookshelves.

Punky Aloha, the debut picture book by talented author/illustrator Shar Tuiʻasoa, is one of these hidden gems. Released in mid-2020 during the height of the pandemic, Punky is just the kind of delightful story kids — and their grown-ups — will love.

We meet little Punky Aloha with her best friend, her grandmother. They love to go on all kinds of fun escapades together. Punky tell us that she wasn’t always the brave adventurer she is now.

It all began, Punky says, with a freshly baked loaft of grandma’s banana bread. Needing butter to slather on the top of the loaf, Grandma sends her to the nearby market to pick some up for her.

Feeling a bit fearful of going by herself (“If I go to the market, I’m sure to bump into someone new. And whenever I bump into someone, I start to feel shy,” Punky confesses), little Punky hesitates, until her grandmother gives her a pair of bright yellow “magical” sunglasses that will help her meet the task at hand.

Before Punky leaves, Grandma reminds Punky to show her aloha by being helpful, giving, and brave to all she meets.

And so Punky’s big adventure begins. Using her wits — and her aloha — Punky overcomes her shyness to help those she meets on the way to the market. At the end of the book, Punky and her grandma are rightly proud of herself, and she is rewarded with a big dose of confidence … and a thick slice of banana bread with melting butter.

I love this book. The intergenerational story is charming. The interaction between Punky and her grandma is warm and sweet.

Ultimately, Punky Aloha resonates with kids. They don’t have to be Polynesian girls to see themselves in her, a kind, caring, adventurous character.

And did I mention that the book is gorgeous? Featuring Shar’s trademark tropical colors, the illustrations are vibrant greens, reds, oranges, yellows, and blues. Punky herself is adorable with her messy chignon (a wonderful “tita bun”), slippers, and skateboard. Each spread is so beautiful that I bought a second copy of the book just so I tear the pages out and frame them to decorate the bedroom of my own little Punky Aloha, my five year old granddaughter.

I wish Shar’s publisher had encouraged her to provides enrichment activities around Punky Aloha. The book easily suggests opportunities for those seeking storytelling from diverse and underrepresented voices, including classroom activities around the meaning of aloha. Teachers, librarians, and families can incorporate the book’s theme of social and emotional learning as Punky demonstrates skills that all kids need to meet challenges.

For so many reasons, Punky Aloha is a must read.

Punky Aloha
Written and illustrated by Shar Tuiʻasoa
HarperCollins, 2020
ISBN 978–006379236
Suggested for ages 4 — 8

Meet author/illustrator Shar Tuiʻasoa in our talk-story interview. Punky Aloha and all of Sharʻs gorgeous collectible illustrations and prints are available at Punky Aloha Studio.

Images from Brown Baby Books. Please read our disclaimer to learn our book review policy. Mahalo!

Interview with Illustrator Jing Jing Tsong

August 22, 2023 by Kamalani Hurley

Talented picture book illustrator Jing Jing Tsong is a master at her craft. Influenced by the principles of monoprint and traditional stone lithography, Jing Jing layers colors and textures to create images that are engaging and compelling. Their visual and emotional appeal communicate a visual experience for young readers and their grown-ups. “In everything I practice,” she says, “I explore the interconnectedness of being.”

We are very pleased to talk story with illustrator Jing Jing Tsong.

Welcome, Jing Jing! For those who haven’t met you, could you please tell us a little about yourself?

I am an amateur musician (cello and stand-up bass), a permanent grom (beginner surfer), and a writer and illustrator. To me, these interests are inextricable—they influence how I approach my life—finding flow, connection and being ready to improvise.

Where did you grow up? Who do you consider to be your biggest supporter?

I grew up in a small college town in central Pennsylvania. Because of my dad’s work (physics researcher) our family had the opportunity to live in West Berlin for a year and then Albuquerque, NM, for a summer.

There have been many “biggest” supporters in different phases of my life. But overall, it is definitely my husband, Michael Austin (who is also a writer/illustrator). We met each other in the Graphic Design program at Penn State. For many years we were rock climbing partners—we had to trust each other in belaying and being ready to take up the slack in the rope if one of us fell. Creatively, when I feel I am falling or feel that I am failing, I trust Mike to catch me or pick me up and encourage me.

Your relationship sounds amazing. Why did you become an illustrator? Did you always knew you could create art?

Honestly, one of the reasons I started to focus on illustration was because I was burned out on being the Art Director of the design studio that Michael and I were partners in. Michael left the business first and committed to illustration full-time. Eventually, when we sold our business, we took a year long sabbatical where I reconnected with family and my creative self. I worked on developing an illustration portfolio and at the end of the year, declared myself an Illustrator. Looking back, it seems rather audacious to make such a life pivot. Luckily, there was no one to tell us we couldn’t, so it worked out well. But full disclosure—I did juggle freelance design work, teaching and playing my cello at dozens of weddings, before I actually practiced illustration full-time.

I never thought I COULDN’T be an artist. My mom used to bring us to the library every weekend for story time and then to replenish our stack of books for the week. I loved picture books and read them well past the time I was an “advanced” reader. After dinner, we often sat around the table as a family and drew and copied things from books. Because my parents loved ballet, I drew a lot of dancers! My dad had an easel set up in the tiny space by the washer and dryer. He experimented with abstract painting. My childhood seems to be a collage of visual experiences and creating art seemed as natural as eating or breathing.

What do you enjoy most about creating art? What are some of your greatest challenges?

The thing I love most is that anything is possible—I am the only to tell myself I can’t.

The greatest challenge is not letting all the amazing work I see on social media distract me from my own journey.

Your art is so expressive and colorful. If you had to choose a favorite project, which would it be and why?

My favorite project is usually the most current one.

The one on my drawing table now, is a middle-grade graphic novel I’ve been working on for the past 7 years. I actually have sketches for initial explorations that date back 12 years! It started out as a picture-book, but my editor suggested it would be stronger as a graphic novel. She and my agent took great care in guiding me through this challenging and, at times, intimidating path. The story went from 32 to 90 to almost 200 pages.

When it comes out (hopefully Spring 2024), it will be my debut as a writer. Ironically, even though I am known for my colorful work, my true love is black and white work. I had a chance to indulge myself in black and white drawings which reflect an important concept in the story. I use color sparingly. What started out as a story on an experience of being bullied, evolved into a loving exploration of a young girl finding her place in her family and how that allows her embrace her different identities into a true expression of self.

We’re looking forward to your graphic novel! What are your hopes and dreams for the year and beyond in terms of your artistic career and what you would like to see published in the future?

I see illustration and writing as a life practice. I hope I continue to learn and create stronger work. I’ve illustrated over 20 picture books. In the future, I’d like to illustrate more of my own manuscripts. I hope that whatever I put out in the world will help someone understand their connection to their world in a joyful way.

Do you have any experiences as a woman of color illustrator that you might share with our readers? What would you like to see change in the industry regarding the acceptance of BIPOC illustrators and writers?

Once I received a manuscript where a description in the vein of “Oriental grace” was used to describe something. It definitely raised my hackles, and I reviewed it with my sisters to see if they felt the same. They reinforced my feelings, and I was able to address it with the editor who then addressed it with the writer.

Overall, I’m excited to be in publishing during a time of positive change. There is still a lot of work to do, but I feel there are many people in the picture-book community actively seeking under-represented people to share their stories.

Because my parents grew up in a time where their mother tongue, Taiwanese, was banned by 2 different occupations, I am always thrilled to see work that supports and celebrates indigenous languages. Without these languages, we’re in danger of losing stories that are essential to our understanding of traditions and histories. I’m honored to be part of one such project, the Hawaiian Legends for Little Ones by Gabrielle Ahuli’i, published by Beachhouse Publishing, comes out in an ‘Ōlelo Hawai’i edition this spring.

What beliefs is your work challenging?

Instead of “challenging” I think of my work as “encouraging.” I hope my work encourages people to think of themselves as parts of communities that extend beyond geographic and political borders. I hope that what I put into the world encourages people to take the time to listen and watch and seek experiences that broaden perspectives.

Where do you get your inspirations?

My local library is one of my favorite places to procrastinate. I love the randomness of scanning shelves and finding unexpected treasures. I also like listening to different kinds of music and have my sisters and son and daughter for introducing me to aural treats I may not have found on my own.

In addition to books, what other kinds of art do you do?

I like to experiment with different materials. Last year, I carved my own pens out of bamboo and created ink from blackberries. This year, I’ve been experimenting with intaglio printing using lids from plastic containers and scratching images with a sewing needle. I really want to get into pottery!

Can you share a bit about what you’re working on next?

I’m working on illustrations for a counting book about delicious things. All I can say is that every time I start sketching, I get hungry!

What advice would you give an aspiring illustrator?

Join your local chapter of Society of Children’s Book Writers and Illustrators, join a critique group. The chapter I belong to (Western Washington) is so supportive, and I am constantly inspired by the generosity and phenomenal support of this community.

What’s your online presence? What do your followers say?

You can find my illustration here: www.jingjingtsong.com . I’m inconsistent on IG (occasionally sharing my creative process, or a good wave): @jingjingtsong. Working from a home studio can feel incredibly isolating, so I’m on Twitter every now and then, joining in on the weekly conversations in different picture book groups.

The books that have elicited the most response are the Hawaiian Legends for Little Ones series. People are grateful to have these authentic stories about Hawaii.

Mahalo, Jing Jing, for talking story with us! We loved learning about you and your creative process. Best wishes always!

To learn more about Jing Jing, including her gorgeous print gallery, visit her website, JingJingTsong.com. While you’re there, visit her online bookstore, Jing and Mike Co. Photo courtesy of author.

Book Review: Too Many Mangoes, by Tammy Paikai

August 15, 2023 by Kamalani Hurley

Some picture books are classics. They tell timeless tales that teach us about the world and our place in it.

One such classic also happens to be one of the first Native Hawaiian-themed books written in an authentic voice. Too Many Mangoes by Tammy Paikai is a story based on the author’s childhood experience.

This gentle story is about two Hawaiian kids, Kama and Nani, who love to climb the mango tree at their grandpaʻs house. One day grandpa asks them to pick some mangoes, but when he realizes that the kids have picked way too many for their family to eat, he instructs them to give the mangoes away to their neighbors.

Thus the adventure begins. We are introduced to a delightful community of generous and kind neighbors. The kids go to each house to share the mangoes and, in return, are given wonderful treats — baked goods, fruit, jam, even an orchid plant — that the book calls “mahalo gifts.” The last spread is at the table where grandpa and the grandkids are happily feasting on their unexpected bounty.

What I love most about this book is the Native Hawaiian lessons of sharing without expectation of anything in return and in being happy with what nature gives you. Kids can be picky eaters, and this story shows then that delicious produce doesn’t have to be blemish-free: mangoes donʻt have to be perfect to be, well, perfect. As the neighbors explain, overripe mango can be sprinkled with sweet-and-salty li hing powder or made into pickles or bread. I was delighted to find that my favorite way to eat slightly underripe mango — with a thin marinade of shoyu, vinegar and chili pepper water — was featured in the book.

Too Many Mangoes offers many enrichment opportunities and has been adapted by teachers, librarians and parents in curriculum for first graders, including math, food and backyard agriculture, and culture and diversity. The book has been adapted into classroom plays and reader theaters and community read-aloud events.

The illustrations, by popular local Hawaiʻi illustrator Don Robinson, are gorgeous, with muted tropical vibes youʻd expect from a children’s book about Hawaiʻi.

Some book reviewers have made an issue about so-called grammar errors. I found just one spread toward the end of the book where the tense shifts from the present to the past then back to the present. More a stylistic hiccup than a grammar mistake, the shift in tense is minor and does not detract from the story.

Perhaps the best vindication is that Too Many Mangoes was a featured title by the Harvard University Graduate School of Education. Dr. Sarah Dryden-Peterson described the Books of Belonging program “where we find big, hard questions about the world packaged with love between the covers of a book.”

And that describes Too Many Mangoes perfectly.

Too Many Mangoes, A Story about Sharing
Written by Tammy Paikai. Illustrated by Don Robinson
Island Heritage Publishing, 2009
ISBN 1–59700-758–7
Suggested for ages 2–6

Meet author Tammy Paikai in our talk-story interview and discover her other Hawaii-themed picture books. Too Many Mangoes is available at Native Books Hawaiʻi and at your favorite online booksellers.

Images from Welcome to the Islands. Please read our disclaimer to learn our book review policy. Mahalo!

Interview with Native Hawaiian Filmmaker Ciara Leinaʻala Lacy

July 2, 2025August 1, 2023 by Kamalani Hurley

Ciara Leinaʻala Lacy is a talented writer-producer-director whose passion is telling stories influenced by her Native Hawaiian heritage.

Her documentary-style content has shown at Sundance and Berlinale and on streaming platforms including Netflix, PBS, ABC, and Al Jazeera. The inaugural Sundance Institute Merata Mita Fellow, Ciaraʻs work has been supported by Tribeca, The Princess Grace Foundation, the MacArthur Foundation, and Pacific Islanders in Communication.

Her award-winning filmography includes Is That Black Enough for You? (2022), This is the Way We Rise (2021), Out of State (2018), We Are Still Here (2018), and 11/8/16 (2017), and as well as other commercial projects.

And as if all of that wasn’t impressive enough, Ciara is humble and gracious. She recently carved out some time out of her busy schedule to talk story with us.

Click the stills below to see trailers of the films.

Aloha e Ciara! For those who haven’t met you, could you please tell us a little about yourself?

I’m Hawaiian, Chinese, Caucasian born and raised in Central Oahu. I love to make things and collaborate with teams, and have spent the majority of my career crafting non-fiction work, whether for TV or Film, about the Kanaka Maoli experience.

Where did you grow up? What high school did you grad from?

I grew up in Mililani, and attended Kamehameha High School, Kapālama.

Me, too! Go, Warriors! Who is your biggest supporter?

This was a tough one! I’ve been really fortunate to have a TON of support. My parents have always been huge supporters of anything I wanted to do, no matter how crazy, and my husband has been as well. I have to give thanks to all my friends who endure watching cuts of my work or reading drafts because Iʻm a huge believer in the power of feedback to help make work better.

Why did you become a filmmaker? Did you always know you could create art?

I became a filmmaker, because I am crazy? I didn’t always know I could make art, but I have always loved the idea of making things. I absolutely love project based work, and I do love a little adventure in life…so filmmaking has given me both! Itʻs taken me a long time to feel comfortable calling myself an artist because Iʻm untrained and kind of learn by doing, but I think Iʻm getting there!

What do you enjoy most about filmmaking? What are some of your greatest challenges?

I love the process, even if it can keep me up at night or make me want to tear my hair out at times! And I love to create collaborative spaces, working with others who are like minded and dedicated to crafting the strongest possible of work.

I tend to be more of an emotional, less linear thinker, so I worry that my work is making sense. I often poke hard at it for this reason, which sounds very minor but is a really big deal for me. How can people emotionally connect with or learn from your work, if they donʻt understand the basics of whatʻs going on?

And you never know what people take away from a film. Sometimes you think an idea will mean one thing, and people take away another. So Iʻm constantly digging into feedback to refine the messaging and clarity of what I am making.

What are your hopes and dreams for the year and beyond in terms of your artistic career and what you would like to see published in the future?

My hopes for the next year are very transitional and, hopefully, very transformative! Iʻm hoping to expand what I do beyond documentary work to include screenwriting and directing narrative content. So Iʻm working a screenplay, my first animated short for kids, and two narrative shorts. Iʻm hoping to do even more, not to sound too greedy, but we shall see what I can accomplish!

That sounds exciting! Do you have any experiences as a woman of color filmmaker that you might share with our readers? What would you like to see change in the industry regarding the acceptance of BIPOC creators?

I am constantly surprised by misconceptions and preconceived notions people have about Kanaka Maoli, our stories, and our worldview. This impacts how the work is received, whether people are in a space to embrace the storytelling or not.

What advice would you give an aspiring filmmaker?

Play! Give yourself time to learn, grow, and really find what you like. Developing a sense of personal taste is really important. You donʻt have to create work for everyone. Just know what you like and focus on that. Your audience will come!

I love that advice. Where do you get your inspirations?

Everywhere! Friends and family, the news, art, radio, going for walks. Inspiration can find you any place you’re ready to see it.

Can you share a bit about what you’re working on next?

I’m working on a few things, but perhaps most fun is my first narrative piece, a short animated story for kids. It’s been a really big challenge – I’m learning a ton – and am excited to see what shakes out from it all!

And now a few niele (noisy) questions, if you’d like to answer. Who is your hero?

My hero is Twinkle Borge of Wai‘anae. She is a kanaka driven to support community needs, especially for keiki and has been able to make tangible change for her people. This is a woman that can move mountains, and she inspires me.

Oh, yes, she’s amazing. What is your proudest accomplishment?

Meeting my husband.

What advice would you give your younger self?

Never be afraid to try. You can be creative!

If you could choose to do anything for a day, what would that be?

Float in space! How cool would that be?

Very cool. This was so fun, Ciara! Mahalo nui loa for sharing your mana’o with us. We can’t wait to see more from you!

To learn more about Ciara Lacy and her films, visit her at CiaraLacy.com,and on Instagram@ciaraleilacy. Stills and photo courtesy of Ciara Lacy.

Book Review: Hiʻiaka and Panaʻewa, a Graphic Novel by Gabrielle Ahuliʻi

July 27, 2023July 26, 2023 by Kamalani Hurley

When I was a kid, I had a set of books called Great Illustrated Classics. They were fat volumes full of stories embellished with black and white drawings. The scariest tales were from Greek and Roman mythology where the hero battled bad guys and won (most of the time.)

Even in school, the myths we read were limited to Greek and Roman gods with names like Zeus, Athena, Poseidon and Mars.

But where were the colorful picture books about Pele, Maui, Kaʻahupahau, Kamapuaʻa, the menehune? There weren’t any, not in the kidlit section of the library or in any of the illustrated classics that lined my childhood bookshelf.

The message native kids like me got loud and clear was that those Greeks and Romans were the classic heroes, the only heroes worth learning about.

Thankfully, times are changing. More Native Hawaiian authors and artists are revisiting and retelling our traditional stories for today’s young audiences.

The latest is a graphic novel, Hiʻiaka and Panaʻewa, by Native Hawaiian author Gabrielle Ahuliʻi. Intended for the picture book crowd, ages 4 – 8, and their grown-ups, this book is the perfect introduction to Hawaiian myths for the youngest readers.

The story, as described in the summary, is:

Hiʻiaka wants to make the forests of Hawaiʻi safe for people. But sheʻll have to battle an evil lizard named Panaʻewa and his army to do it. With a little help from her sister, her friend, and some special powers, sheʻs ready for a great battle.”

This is a story of friendship and sisterhood. Faced with the task of keeping the forest safe for the people, Hiʻiaka, accompanied by her friend Wahineʻōmaʻo, must decide how to challenge the fearsome guardian mo’o, Panaʻewa.

In one of my favorite scenes, Hiʻiaka seeks strength by looking up at the stars and remembering the courage it took for her ancestors to brave the vast Pacific Ocean to settle in Hawaiʻi. This simple panel conveys such emotion in a deeply Hawaiian way.

The small cast of characters are totally likeable. They experience some fears and doubts, but ultimately they find strength from within and from each other. The battle with Panaʻewa is scary, but the scene is not too intense for young readers.

As expected in a children’s story, the heroes prevail, and the end is hopeful. The last panel neatly ties up the story by reflecting the very first panel of the island below and the manuokū flying above.

I appreciate that the story is presented as a short (32 page) graphic novel. The format with its thoughtful word choice and poetic devices is perfect for its intended audience of beginning readers but also as a read aloud.

The illustrations are intentionally sparse. Kids can easily get overwhelmed in traditional comic book style, but in this book, frantic, overdrawn panels are avoided. Instead, the colorful, picture book-like illustrations convey both story and emotion appropriate for the intended age group.

More than anything, I love the author’s authentic voice. Everything, from imagery – especially Pele’s skirt and lei, the voyaging canoe, the manuokū seabird, the moʻo – to the selected words in ʻōlelo Hawaiʻi feels pono. For traditionalists in my community, this story of Pele and Hiʻiaka is respectful.

The bookʻs back matter consists of helpful resources, including writing prompts, discussion questions, and a short glossary.

In her author’s note, Ahuliʻi writes, “I hope our ancestors look on my telling with pride.”

I am sure they are.

Hiʻiaka and Panaewa, A Hawaiian Graphic Legend
Written by Gabrielle Ahuliʻi. Illustrated by Sarah Demonteverde
Published by Picture Window Books, 2023
ISBN: 9781484672907
Suggested for ages 4 – 8

Learn about the author in our talk story interview with Gabrielle Ahuliʻi. To look up the definitions of the Hawaiian terms used in this post, please visit Nā Puke Wehewehe.

Disclaimer.

Interview with Native Hawaiian Author Gabrielle Ahuliʻi

July 18, 2023 by Kamalani Hurley

Like most Native Hawaiians, author Gabrielle Ahuliʻi grew up hearing the beloved legends passed down from generation to generation.

Best known for her popular series, Hawaiian Legends for Little Ones, and now for her first graphic novel, Hi’iaka and Panaewa, Gabrielle beautifully retells these classic stories for today’s young readers and their grown-ups.

Why is it so important for children to know the myths and legends of their ancestors? Gabrielle explains in an interview at Brightly:

Exposure to stories and legends of cultural significance in early childhood can give children a deep sense of respect for the place they live and an opportunity to engage with the culture around them. Access to and engagement with Native Hawaiian stories empowers children of Native Hawaiian descent by arming them with knowledge to help navigate their world as Indigenous people…If a child understands the world around them from a cultural perspective, they are not only able to engage more deeply with their culture, but to create more meaningful connection across cultures as well.

We totally agree.

Aloha e Gabrielle. For those who haven’t met you, could you please tell us a little about yourself?

My name is Gabrielle Ahuliʻi Ferreira Holt, and I was born and raised on Oʻahu. I live in the ahupuaʻa of Makiki, which is also the ahupuaʻa of the school I work at. I am the school librarian at Hanahauʻoli School, a 105 year old progressive elementary school.

Where did you grow up? What high school did you grad from?

I grew up in Honolulu, and I was fortunate to attend both Hanahauʻoli School and Punahou School. Hanahauʻoli gave me the gift of critical thinking, a love of learning, and creative problem solving, while Punahou school widened my horizons and gave me the gift of learning ʻōlelo Hawaiʻi for four years.

Go Buff n’ Blue! Who is your biggest supporter?

I live an incredibly privileged life in that I have no lack of supporters. I have countless people in my life who step up, both physically and mentally, and are constantly and consistently on my team. I want to recognize my family, my partner, my mentor, my editor at Beachhouse, my friends and colleagues at Hanahauʻoli, and the lāhui for always giving me everything I need.

Why did you become a writer? What inspired you to write for children?

I didn’t ever see myself as a writer; as a kid, I was an incredibly lazy writer. I didn’t connect to writing in the way that I deeply connected to reading. I became friends with someone who publishes books for children in Hawaiʻi while I was in the Library Sciences program at UH. At the time, I was focused on Hawaiian / Pacific Librarianship, and when she heard about my passion, she approached me with a writing project. She and I worked so well together that we published six adaptations of moʻolelo together. She allowed me to see myself as a writer.

What do you enjoy most about writing for kids? What are some of your greatest challenges in writing for children?

Since I am a school librarian, I get to workshop ideas and rough drafts with my students. Their feedback is invaluable. I hear their voices in my head when I am crafting a story. I love that I get to essentially collaborate with my students. Some of them are such powerful, descriptive writers that truly inspire me.

After their Hawaiʻi Island trip, one child wrote about the “braided lava.” Another child wrote the phrase “Pele runs her hand along creation,” and I was just blown away. Just being around their sincere, creative energy makes me a better person and a better writer.

My biggest challenge is keeping stories simple. Too often, people feel that children need bells and whistles in a story to keep them engaged. Nothing is further from the truth! The most enduring, meaningful narratives for children are often the most simple but profound. If you have something to say, say it truthfully, meaningfully, and in the language of the world you have built.

Congratulations on your new graphic novel, Hiʻiaka and Panaewa! Can you share a bit about the book? Without giving too much away, what is it about?

This book is a re-telling of Hiʻiaka and her first major encounter with one of the moʻo of Hawaiʻi – Panaʻewa. My re-telling simplifies her journey a lot. Itʻs for younger readers and for those who may not have a lot of context for who Hiʻiaka is, so she sets of on this adventure with a slightly different goal than what is discussed in the original ʻoli.

What inspired you to choose that topic for your first graphic novel?

When I was approached to write this, I suggested three Hawaiian moʻolelo (hoping that this one was the one the publishers would connect to). I wanted to write a moʻolelo with a female protagonist, and I wanted to bring more of Hiʻiakaʻs story to younger readers.

What was your favorite part of writing your graphic novel? What was most challenging?

I love reading and doing research, so I really like that part of the process. I want to make sure that my adaptations are faithful, while also being able to give them my own voice and perspective. I wasnʻt used to creating books in a graphic novel format, so the biggest challenge was thinking about what I wanted each panel to look like – not that I necessarily told the illustrator exactly what to draw, but I needed to think about what my words needed to say and where the images could help support the rest of the story.

What was the journey to getting that book published like?

Capstone approached me to write an entry in their ongoing Discover Graphics series in December of 2021 and I spent 2022 working on the manuscript. It was published in December of 2022. They found me because of my first series of Hawaiian Legend adaptations, which has indeed opened many doors for me.

What characteristics do you love best about the protagonist(s)?

I love Hiʻiaka as a character because although she is powerful, she is also fallible and realistic. I love how courageous she is, but also how cocky she can be. I didnʻt get to include this in my re-telling, but there is a point in her story when she is participating in a surf contest, and she says, “Aia a ʻane e uhi ke kai i ke kua o ke kuahiwi o kea, a laila, kū koʻu nalu – When the sea rises and covers Mauna Kea, then that is my wave.” So brave, and so bold! I just love her so much and want more of her epic available for children to enjoy.

You are also the author of a successful series of board books. What inspired you to write about folk tales for your first books?

I think there is a true need for moʻolelo to be accessible for young readers – we have a few very, very good adaptations, but I want children to have as many anthologies and books about Hawaiian gods and goddesses as there are about the Greek ones. I want more Native Hawaiian voices represented as the tellers of these moʻolelo, and I want a wide variety of moʻolelo told.

What are your hopes and dreams for the year and beyond in terms of your writing career and what you would like to see published in the future?

I would love to continue to perpetuate the culture of literacy that Kanaka have built. It is a privilege to get to be someone who can write these moʻolelo down for posterity, so I hope and dream that I continue to do it and do it in a way where I make my community and lāhui proud to read them.

My next goal or wish is to create an anthology of Hawaiian moʻolelo for middle grades — 3rd to 6th. There is a real need there. The anthologies that do exist are good resources for adults. I want older elementary age children to be excited about the Hawaiian pantheon of Gods and Goddesses in the same way many are obsessed with Greek or Norse mythology.

There are not a lot of stories for kids by Native Hawaiian, Pacific Islander or BIPOC writers. Why do you think that is? What do you think we can do the change that?

I do feel we are seeing a paradigm shift in publishing culture. Many are being more critical of the books that take up space in the canon of childrenʻs literature and giving it a second glance. I feel that it is more diverse than when I was developing my reading skills, certainly.

However, it really does boil down to: You canʻt be what you canʻt see. The only books that I read as a child with a Hawaiian character in it were either so wildly misrepresented as to verge on offensive, or written by a non-Hawaiian person. I think that in order to fix this, we have to empower ourselves to take charge, shed our imposter syndromes and say, “I can do this, I can tell this story.” In that way, we can invest in a future where children have seen themselves represented in their literature and are encouraged to not only seek out more, but add on to what has been created.

Which of your books did you have the most fun writing? Which were the most challenging?

All were such interesting challenges that it’s hard to rank them. I loved doing the research piece for all the board books — even though the adaptations are quite short, I wanted to do the tradition of moʻolelo service and tried to find and read as many versions as I could. I loved writing all of them!

What beliefs are your books challenging?

I want to challenge the belief that Hawaiʻi is just this static place that visitors simply “experience”. I want people to understand that every piece of Hawaiʻi is a moʻolelo in itself; that every person (visitor, settler or ʻōiwi) here has a responsibility to take care of Hawaiʻi and acknowledge those moʻolelo.

Can you share a bit about your next book?

I’ve just finished an ʻŌlelo Hawaiʻi translations of my first six board books with Beachhouse. David Del Rocco helped me immensely with the translation process (I needed some language support — some of my grammar was a little rusty!) I am beyond excited for those re-publications to come out. I would love to read them aloud ma ka ʻōlelo Hawaiʻi someday soon to a group of children!

What advice would you give an aspiring writer?

Write what you know and in your own voice, writing is not a solo process, the project is never truly finished, treat your characters with empathy and as if they are sitting in the room with you.

What kinds of books do you enjoy reading? Any favorites?

I love reading and my superpower is that I am an extremely fast reader, so I am able to read a lot in a short amount of time. I love authors like Ali Smith who play with the conventions of what a novel is and have such a specific voice. I love all genres – although I donʻt necessarily gravitate towards romance or thrillers (except a book called Razorblade Tears that I thought was stupendous).

Hereʻs a list of authors and/or books that I love:

Ali Smith (Seasonal Quartet, The Accidental, How to be Both)
Rachel Cusk (Outline trilogy)
Hernan Diaz (Trust)
Elif Batuman (The Idiot)
Otessa Moshfegh (My Year of Rest & Relaxation, Lapvona)
Bernadine Evaristo (Girl, Woman, Other)
Emma Cline (The Girls, Daddy, The Guest)
Jesmyn Ward (Salvage the Bones, Sing, Unburied, Sing)
Madeline Miller (Song of Achilles, Circe)
Robert Jones Jr. (The Prophets)
Miriam Toews (A Complicated Kindness, Women Talking)
Tommy Orange (There, There)
Yoko Ogawa (The Memory Police)

More authors: Mohsin Hamed, Helen Oyemi, Andrea Levy, Bryan Washington, Michael Ondaatje, Lisa taddeo, Juhea Kim, Chanelle Benz, Lauren Groff, Zadie Smith, Luis Alberto Urrea, Brandon Hobson)

I have so many!

Can you share a bit of your current work?

I just went to Hawaiʻi Island with some students and was isnpired by Waiānuenue / Rainbow Falls and the moʻolelo of Kuna the moʻo. I started drafting a story to tell my students the second night we were there, so this is a work in progress:

The moʻo took silent steps toward her. The moʻo was covered in a sickly translucent set of scales, as if the rays of the sun could not reach him. His eyes were a deep mottled grey. Hina thought of the lava fields south of Hilo, the smooth lava that in some light looked like bodies strewn across a plain. His eyes gave her that same unsettled but awe-struck feeling.

The moʻoʻs tongue slicked out to wet one of those grey eyes. “Hina of Hilo — you meet my eyes as if we are equals. But you do have manners, so I will not strike you down here. I have long tired of you and your kind coming to this island, assuming that you can shape the earth around you with no consequence.”

Hina opened her mouth to argue but remained silent. Sometimes silence was better.

The moʻo continued. “Your son, the famous Māui, has a hook. He will bring me this hook that he has used to reshape the heavens itself, or you will die here, in this pool. This pool is cold and the current is strong, and the sea of this coast is violent and unforgiving.”

Hina thought. Why should Māui bring this monster his hook?

The moʻo smiled slyly. “Why should your son bring me this hook, you may be thinking. Simply: he does not deserve this extraordinary tool. This hook belongs to the old Gods, those that were born from the deep roiling depths and grew alongside the ferns and fish and birds.”

“The gods themselves gave that hook to my son, and he has only used it to serve others. As I have taught him.” Hina stood up straighter.

“Who does he serve when he cracks the sea floor to pull islands to the surface? Who does he serve when he bends even the sun to his selfish will?” The moʻo spoke calmly, but Hina could sense the fury pulsing through the monsterʻs veins. His tail tapped slowly on the wet cave floor.

“He serves his family and his people. As is correct,” Hina responded simply. “The responsibility of gods and their family is to help and protect the humans who live with us.”

The kids must’ve loved this! Do you have a website? Are you on social media? Do your readers contact you? What do they say?

My website is gabrielleahulii.com. I donʻt really have social media in a professional “writer” capacity. Most people contact me through my website. I get messages about how they discovered my books or I get images of children reading them. I love that a lot. I also get to meet people when I do readings, which is always so fantastic!

It was wonderful meeting you, Gabrielle. Mahalo nui for sharing your manaʻo, and best wishes always for your continued success!

To read more about Gabrielle, including her work on literacy in Hawaiʻi, visit her website, GabriellaAhulii.com. Photo courtesy of author.

How I Learned to Write Using Mentor Texts: Unspeakable, by Carole Boston Weatherford

July 11, 2023 by Kamalani Hurley

Welcome to a new occasional series about learning from mentor text picture books!

I love picture books, those wildly colorful, wonderfully imaginative works of children’s literature. Some picture books are so good that every time I read one, I always come away with something new — a fact I didn’t know, an exciting idea I hadn’t thought of, a point of view I hadn’t considered — in a small, easy-to-read, beautifully illustrated package. As a writer, I use mentor texts to improve my storytelling skills.

What are mentor texts?

These are well-written books we can use as models to become better readers and writers. Mentor texts allow us to experiment, to take risks, and to test new ideas and points of view.

There is an army of us authors (and teachers, parents and grandparents, librarians, and students) devoted to and inspired by picture books. Just listen to the popular podcast Picture Books are for Grown-ups, Too led by my friend, the wonderful Patrice Gopo. Her guests are writers who discuss mentor texts, fiction and non-fiction, of all kinds.

Like these writers, I also study mentor texts to learn the tricks and tips to improve my own writing. I focus on HOW a story is told, including plot devices, page turns, and lyrical language.

But what if I can’t find mentor texts about the topics I want to write about?

That’s the challenge I face. I write about my Native Hawaiian community’s difficult history, and mentor texts on our generational trauma written by ‘ō’iwi authors are pretty much non-existent.

If, like me, finding mentor texts for your difficult topics is a struggle, it may help to realize that our communities are not the only ones that face historical challenges. Picture books by successful kidlit authors such as Carole Boston Weatherford, Traci Sorrell, Rob Sanders, Sun Yung Shin, and others can inspire and instruct us.

That’s what this series is about — the search for mentor texts that demonstrate ways in which difficult / sensitive topics can be handled with care yet honestly for young readers, and thus inspire us to write our own stories.

Which mentor text inspired me to write my own picture book stories?

For me, the influential picture book that helped me to write my first two non-fiction manuscripts is UNSPEAKABLE, THE TULSA RACE MASSACRE by Carole Boston Weatherford (Lerner, 2021.) In fact, I love this book so much that I chose it to speak about when I was a guest on Patrice’s podcast.

The book makes this difficult history story accessible to kids. Ms. Weatherford does this in deliberate, ingenious ways:

employing the familiar refrain, “Once upon a time,” to gently orient readers to the city and the residents’ accomplishments,
making use of measured yet musical language, such as internal rhyme and alliteration,
incorporating the everyday activities of residents with the names of actual businesses, such as the soda fountain at Williams Confectionery, making the story more relatable to today’s young readers,
presenting the inciting incident with the words, “All it took,” a devastating moment in the book,
choosing words that demonstrate the violence of the mob, resulting in a clear-eyed telling that never condescends or insults the reader’s intelligence,
ending with a call to action and a scene of hope.

Because I’m such a fan-girl, I contacted Ms. Weatherford through her website to thank her for her incredible book. Her response was a gracious email encouraging me to stick with it:

Thanks so much for reaching out. I love Hawaii but hate what was done to the indigenous people. Please document that history.

Absolutely!

What are your mentor texts? Are you working on difficult, challenging topics? Which picture books inspire you? Email me kamalani3@gmail.com and let’s talk books!

Interview with Native Hawaiian Artist Solomon Enos

June 27, 2023 by Kamalani Hurley

Native Hawaiian artist Solomon Enos is a modern-day Renaissance man: a sought-after artist, book illustrator, muralist, sculptor, and game designer. His beautiful pieces have been exhibited at multiple public venues, including the Honolulu Museum of Art, the Hawai’i State Art Museum, and the prestigious Smithsonian Museum Asian Pacific American Center. Google, Pixar, and Disney’s Aulani Resort are among his famous clients.

His website describes the artist this way:

A self-described “Possibilist” Solomon’s art expresses an informed aspirational vision of the world at its best via contemporary and traditional art that leans towards Sci-Fi and Fantasy. His work touches on themes like collective-consciousness, ancestry and identity, our relationship with our planet, and all through the lens of his experience as a person indigenous to Hawaiʻi.

Yet for all his many accomplishments and contributions to the community, he is a humble man of few words. We are honored to feature the artist, Solomon Enos.

Aloha e Solomon. For those who haven’t met you yet, can you please tell us a little about yourself?

I am a native Hawaiian artist with an interest in visually translating aspects of Hawaiian culture into new media and genres.

Where did you grow up? What high school did you grad from?

I grew up in Mākaha [island of Oʻahu] and went to Waiʻanae High School.

Go Seariders! Who are your biggest supporters?

My family and associates who share a sense of kuleana to our cultural values.

Why did you come an illustrator/artist? Did you always know you could create art?

From a very young age, as my family gave me all the encouragement I needed.

What do you enjoy most about creating art? What are some of your greatest challenges?

The very mystery of creation, and finding enough time to work in balance with my other responsibilities.

Where do you get your inspirations?

From a multitude of varied sources and quite a bit of internal explorations.

Illustrators and artists, like writers, do a lot of research when theyʻre creating. Whatʻs your research process like?

This is probably the most challenging question, as I am constantly working and creating, so I do not separate my process from my daily life. To sum it up, I have an unstoppable belief that I can achieve any vision I set out to create, providing I manage my time, as I have multiple visions in progress.

What beliefs are your work challenging?

The nature of war as inevitable, and the worship of wealth without responsibility.

There are not a lot of Native Hawaiian, Pacific Islander or people of color illustrators. Why do you think that is? What do you think we can do to change that?

I am very much committed to inspiring other natives, by example of my work ethic, and my aspiration to gain consensus as I move to excellence.

What are your hopes and dreams for the year and beyond in terms of your artistic career?

I am blessed to be working on a range of major commissions simultaneously, and I hope to get back to my own projects with all this gained experience.

Can we see a bit of your current work?

Sure, @solomonenos on Instagram is the most current and easiest way to access my work.

What advice would you give an aspiring artist?

Make sacred work spaces, where you have all your tools and good lighting. Know that whatever you are currently working on, it is the most important thing you can be doing with the time you have to give. Be fearless and take risks with paper and canvas, and no time used creating is ever wasted.

What’s your online presence like? Do your followers contact you? What do they say?

Solomonenos.com, and I am most actively on Instagram @solomonenos. I absolutely encourage engagement and conversations, and I have been blessed with many people expressing their appreciation and who have found inspiration in my work. Those are truly the priceless ways that I thrive and can give back.

Mahalo, Solomon, for sharing your mana’o with us today, and best wishes always for your continued success!

To learn more about Solomon Enos, including his online portfolio of murals and exhibitions, visit his website, SolomonEnos.com. Photo and images courtesy of Solomon Enos