MELE KALIKIMAKA a me HAUOLI MAKAHIKI HOU!

Christmas-2022

As 2022 ends, I look back with alo­ha and grat­i­tude to the many peo­ple who have made such a dif­fer­ence in my writ­ing life.

Christmas-2022

Maha­lo nunui to the won­der­ful writ­ers and artists who shared their man­aʻo here on my blog this past year — their hopes and accom­plish­ments con­tin­ue to inspire us.

To the many won­der­ful writ­ing friends I’ve made, espe­cial­ly at Writ­ing Barn’s CtC com­mu­ni­ty, my alo­ha always. You are a source of encour­age­ment and wis­dom I know I can count on.

Thank you, Bran­di Uye­mu­ra, for let­ting me bounce ideas off of you and for shar­ing your won­der­ful writ­ing with me. 

Maha­lo to my agent, James Mac­Gowan, for believ­ing in me. Team James all the way!

I look for­ward to shar­ing good news in the com­ing year about my debut pic­ture book as well as a new web­site focus­ing on Native Hawai­ian and Poly­ne­sian cre­ators! Alo­ha from my ʻohana to yours! See you in 2023!

Interview with Author/Illustrator Caren Loebel-Fried

Caren-Loebel-Fried

Our ongo­ing series of inter­views with Native Hawai­ian and local Hawaiʻi writ­ers con­tin­ues this Caren-Loebel-Friedweek with Caren Loebel-Fried, the tal­ent­ed award-win­ning author/illustrator. 

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

Alo­ha, Kamalani. I’m an artist and author from Vol­cano, on Hawai’i’s Big Island. My favorite things are explor­ing wild places, watch­ing and learn­ing about birds, mak­ing art and telling sto­ries about these things.

Where did you grow up? 

I grew up on the New Jer­sey shore, going to the beach in the summer.

Who is your biggest supporter?

My hus­band encour­ages and cheers me on, and some­times joins me on my research adven­tures. Many biol­o­gists, cul­tur­al prac­ti­tion­ers, teach­ers, and librar­i­ans also sup­port my work, and help me get the sto­ry right.

Why did you become a writer/illustrator?

My mom is an artist and still is my great­est inspi­ra­tion. I was always drawn to mak­ing art. And my art has always told sto­ries. When I had the oppor­tu­ni­ty to cre­ate books, I worked to be a bet­ter writer. Now I tell sto­ries with words AND pictures.

What inspired you to write for children?

Pic­ture books were a nat­ur­al fit for me. But I have to admit, I cre­ate my books for Legend-of-tall ages — kei­ki and the adults who read to them, and any­one who enjoys a com­pelling sto­ry. I’ve always loved read­ing books writ­ten for all ages, and I col­lect art-filled books that inspire me, no mat­ter what age they are intend­ed for. 

What do you enjoy most about cre­at­ing for kids?

I love shar­ing with a curi­ous audi­ence, and most kei­ki are open and curious.

What are some of your great­est challenges?

My aim is to be a voice for wildlife. My great­est chal­lenge is per­suad­ing peo­ple to care about and want to help native species. I try to do this in a fun way, by cre­at­ing engag­ing sto­ries and art that cap­ture the spir­it and per­son­al­i­ty of the indi­vid­ual ani­mal (includ­ing human!), plant, the nat­ur­al ele­ments and envi­ron­men­tal Polufea­tures that are my sub­jects… I aim to make art that is col­or­ful, engag­ing, alive. I am also inter­est­ed in cul­ture and how we humans live in our world, inter­act with our envi­ron­ment, and our con­nec­tion to place. Many of us have lost a feel­ing of con­nec­tion to the nat­ur­al world. I try to awak­en or reawak­en that connection.

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

This year, I’ll be work­ing on my next book with Uni­ver­si­ty of Hawai’i Press. This sto­ry is about Makani, a young Hawai­ian girl named after the wind that seabirds depend on. Makani adores ʻuaʻu, the Hawai­ian petrels that her biol­o­gist mom works with. Seabirds are so cool! But their lives are com­plete­ly hid­den from us. They live over the ocean and only come to land to breed, fly­ing in the dark of night, and nest­ing in bur­rows under­ground. I’ll be telling their amaz­ing sto­ry Lonothrough the expe­ri­ence of Makani. I hope this book inspires read­ers, espe­cial­ly girls, to explore sci­ence, art, and sto­ry­telling. There are many ways to help wildlife! We can all find our own way to help pre­serve wildlife and wild places.

Do you have a website? 

I do: https://www.carenloebelfried.com/. And I have a YouTube Chan­nel: https://www.youtube.com/channel/UCNgbp1m6lsf6d4w89oV6ung

What advice would you give an aspir­ing writer/illustrator?

Keep cre­at­ing! Dis­cov­er the things that are impor­tant to you and tell about them in your work!

Which char­ac­ters do you relate with eas­i­ly? Why?

My last book, Manu, The Boy Who Loved Birds, is about a young boy named after Manu-the-Boy-Who-Loved-Birdsan extinct Hawai­ian for­est bird. I relate to Manu des­per­ate­ly want­i­ng to know the mean­ing of his name, and leav­ing no stone unturned in his jour­ney of dis­cov­ery… and also his dif­fi­cul­ty in believ­ing that extinc­tion is for­ev­er. I also relate to Manu’s par­ents, who won’t just give Manu answers, but instead give him the oppor­tu­ni­ties to make dis­cov­er­ies him­self. I tried to do this with my own son when he was grow­ing up, and now I do it with my read­ers and my books!

Thatʻs a beau­ti­ful book. What beliefs are your books challenging?

It’s hard to hear, learn, believe that things we do may be unin­ten­tion­al­ly hurt­ing wildlife. I try to present the facts, for peo­ple to know for them­selves. But I also present ways that peo­ple can help. I try to write hope­ful, inspir­ing sto­ries and give peo­ple the tools to be an active part of the solution.

Where do you get your ideas and inspirations?

I see some­thing cool out in nature almost every­where and think, Wow- THAT would make a great storybook!

Maha­lo, Caren, for allow­ing me to inter­view you and for shar­ing your man­aʻo! To learn more about Caren, and to see a gallery of art pieces and to con­tact Caren Loebel-Fried, please vis­it Carenʻs web­site.

Ka Poʻe Kiaʻi, The Guardians of Mauna Kea, Photographs by Kai Markell

Carrying the future

Protests about the build­ing of huge astro­nom­i­cal tele­scopes at the sum­mit Mau­na Kea have been going on for decades. They’ve only recent­ly been brought into focus because of the planned Thir­ty Meter Tele­scope. As descen­dants of the ear­li­est Poly­ne­sian voy­agers, the kana­ka ʻoi­wi have always under­stood the impor­tance of astron­o­my. But for a peo­ple who have long suf­fered the loss of their coun­try and auton­o­my, des­e­cra­tion of their sacred moun­tain and the nat­ur­al envi­ron­ment must end. 

As seen through the lens of Kai Markell, Native Hawai­ian activist, pho­tog­ra­ph­er, and attor­ney at the Office of Hawai­ian Affairs, this col­lec­tion of pho­tographs, Ka Poʻe Kiaʻi (the guardians and pro­tec­tors of Mau­na Kea), doc­u­ments one of the largest protests held at var­i­ous loca­tions in Hon­olu­lu. Whether  attend­ing a ral­ly at ʻIolani Palace with their fam­i­lies, meet­ing with offi­cials from the Office of Hawai­ian Affairs, or hold­ing a sign all alone at a street cor­ner, these poʻe kiaʻi feel deeply that their mes­sage must be heard.

Itʻs 2022 — sev­en years after this col­lec­tion was first pub­lished a Pūpū A ʻO Ewa — we are still fighting.

  • Carrying the future
    Car­ry­ing the future

March On, a Short Film by Courtney Takabayashi

March On

Come along with Joe and Mara as they hunt for the night marchers in March On, the hilar­i­ous­ly spooky video by my friend, the writer and sto­ry­teller Court­ney Tak­abayashi. Be sure to watch through the cred­its for the lov­able eccen­tric, Uncle Kimo. Court­neyʻs video is a past win­ner of the Hal­loween Video Con­test spon­sored by the Hon­olu­lu Star-Adver­tis­er and Hawaii News Now.

The work­ing mom of a tod­dler and a cou­ple of fun-lov­ing cats, Court­ney admits that her web­site is a bit out of date, so to con­tact her, fol­low her on Insta­gram

Post­ed with per­mis­sion by Court­ney Takabayashi. 

Interview with Native Hawaiian Writer Adam Keawe Manalo-Camp

Adam Keawe

Our ongo­ing series on Native Hawai­ian and local Hawaiʻi writ­ers con­tin­ues this Adam Keaweweek with Adam Keawe Man­a­lo-Camp, the tal­ent­ed Native Hawai­ian writer and blog­ger. If you’re a reg­u­lar read­er of Ka Wai Ola O OHA, then you’ve no doubt read Adam’s won­der­ful­ly inter­est­ing, well-researched arti­cles about the his­to­ry and cul­ture of our people.

I’m a huge fan of your writ­ing, Adam. But for those who haven’t met you, could you please tell us a lit­tle about yourself?

The home­lands of my ances­tors are Hawai’i and the Philip­pines. My grand­moth­er grew up in Hon­okaʻa while my moth­er and I grew up in Kewa­lo with­in Papakōlea Hawai­ian Home­stead. My ʻiewe and piko are lit­er­al­ly buried at Papakōlea. I also spent a chunk of my life in the Philip­pines. As far as my research back­ground is most­ly in his­to­ry and anthropology.

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

I grew up with­in Papakōlea and am a prod­uct of Hawaiʻi’s pub­lic school sys­tem. I grad­u­at­ed from Roo­sevelt High School.

Who is your biggest supporter?

My hus­band. He’s been with me from the very begin­ning when I was get­ting my master’s in coun­sel­ing psy­chol­o­gy and veered off course to be a free­lance writer. The lat­ter and mar­ry­ing him were the best deci­sions I made (besides hav­ing kids)!

That’s awe­some. Why did you become a writer? What inspired you to write for children?

In gen­er­al, my ances­tors. But my moth­er always encour­aged me to write.

Why did you become a writer? What inspires you to write y0our posts and articles? 

I have always liked to write. The first time that a piece of mine was pub­lished was in the ʻŌʻi­wi Lit­er­ary Jour­nal, and I was grad­u­at­ing high school. The late Māhealani Dudoit had dis­cov­ered me through a long email chain where I was talk­ing about the impor­tance of King Kalākaua’s world tour of 1881. I was very self-con­scious because ofbe­ing māhū, neu­ro­di­verse, and hav­ing Eng­lish as my sec­ond language—Hawaiian was my first. Māhealani said she loved how unique my voice was and encour­aged me to keep writ­ing.  It took me a long time to real­ize that what I told in school were my weak­ness­es are actu­al­ly my strengths.

Then some eight years ago, I began writ­ing posts on social media and recent­ly my oth­er pieces and some of my research have appeared in Civ­il Beat, Ka Wai Ola o OHA, Nat­Geo, etc.

What do you enjoy most about writ­ing? What are some of your great­est chal­lenges in writ­ing your arti­cles and posts?

When I write posts, I think of them as love let­ters to my ances­tors and to my cul­ture. I do not have a social media cal­en­dar or plan things out. I write because some­thing inspires me to and I found a par­tic­u­lar top­ic inter­est­ing. I also write in hon­or of my grand­moth­er and moth­er who used to con­stant­ly fill my thoughts with sto­ries of their times and the times of the ances­tors. I know many Kāna­ka Maoli who read my posts may not have their kūpuna around or have been scat­tered through­out Tur­tle Island, and so I would hope some of my posts may be a small light to remind them of where they came from.

Social media can bring so much pos­i­tive atten­tion to indige­nous peo­ples but social media can also be chal­leng­ing. Some folx are on social media plat­forms sim­ply for clout or to attack peo­ple behind a wall of anonymi­ty. I try not to focus on those peo­ple but to focus on the folx out there who are search­ing for man­aʻo and want to engage in aloha.

I always learn some­thing new from your posts. 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 have a cou­ple of arti­cles com­ing out this year includ­ing pieces on Kao­mi. The pan­dem­ic sort of made me rethink my career and what I want to write about. I would want to write more local Fil­ipino and queer his­to­ries as well as more on Hawai­ian strug­gles from a his­tor­i­cal point of view. I would like to also write more fic­tion­al short stories.

I always ask the fol­low­ing of the writ­ers I inter­view: There are not a lot of sto­ries for local kids by local writ­ers. Why do you think that is? What do you think we can do to change that?

I think in gen­er­al there aren’t a lot of works for chil­dren by BIPOC writ­ers in gen­er­al. A lot I believe is the lack of access to pub­lish­ers as well as eco­nom­ic fac­tors. There are a lot of cre­ative Kāna­ka Maoli out there that I know of but due to the cost of liv­ing and oth­er expens­es, some see being cre­ative as a side has­sle as they feel that being cre­ative can­not sus­tain them finan­cial­ly. I myself would not know how to get start­ed in that field.

Do you have a web­site? Are you on social media? Do social media play a role for you as an author? Do your read­ers con­tact you? What do they say?

My link­tree is linktr.ee/adamkeawe That fea­tures links to some of my work and my blog. I got on Face­book about eight years ago, and on there I am admin for the Hawai­ian His­to­ry and Cul­ture group, which has 34,000+ mem­bers. Insta­gram I got on right before the pan­dem­ic and that is where I am more active. I also have Twit­ter but am not too active on there. All of my han­dles for my social media accounts are: adamkeawe.

In gen­er­al read­ers are sup­port­ive and engage in discussions.

What advice do you have for aspir­ing writers?

If your naʻau keeps push­ing you to tell a sto­ry, youʻre a writer. Nev­er be dis­cour­aged nor base your self-worth and your writ­ing on how many likes of fol­low­ers you have. In the end, you will con­nect with who you need to con­nect with.

Can you share a bit of your cur­rent work?

I have two pieces com­ing out soon. One is about Kao­mi and anoth­er is about my moth­erʻs best friend who was a transwoman in the 1970s.

What beliefs are your sto­ries challenging?

Patri­archy, set­tler colo­nial­ism, homo­pho­bia, racism, and anti-Semitism.

Where do you get your inspirations?

I draw a lot of my inspi­ra­tion from my ances­tors and talk­ing to oth­er Kāna­ka Maoli. But I also read oth­er writ­ers from var­i­ous gen­res includ­ing Joy Har­jo, Ninotsche Rosca, Noam Chom­sky, Langston Hugh­es, Audre Lorde, Stephen King, and so many oth­ers. Sci­ence fic­tion such as The Expanse, Star Trek: Deep Space Nine, and Baby­lon 5 inspires me as well.

Your arti­cles and posts demon­strate a lot of research. Whatʻs your research process like? How long is your research for a typ­i­cal article?

Nor­mal­ly I have at least three sources per arti­cle. In social media posts, min­i­mum two.  Before I begin a major writ­ing assign­ment, I chant “E hōmai…” and ask to be guid­ed. I do the same pri­vate­ly before enter­ing a library or archives. I am mind­ful that research is cer­e­mo­ny and method­ol­o­gy is rit­u­al, and I try to bring that into what­ev­er I am work­ing on.

Have you ever con­sid­ered writ­ing a longer work, like a book or screenplay?

Yes. I would rather col­lab­o­rate though because of the time that it takes.

Can you share a bit about what you are work­ing on next?

I am col­lab­o­rat­ing with Kumu Lua Michelle Manu on a book about women warriors.

Women war­riors? I look for­ward to that. Adam, maha­lo nui for shar­ing your man­aʻo! To learn more about Adam Keawe, vis­it his Link­Tree

Moke Action, by Award-Winning Native Hawaiian Filmmaker ʻĀina Paikai

pupu-a-o-ewa-logoHawaiʻi Cre­ole Eng­lish — called “pid­gin” by its native speak­ers — dates back 100 years to the sug­ar plan­ta­tion days. Immi­grant work­ers, first from Chi­na, then Japan and oth­er coun­tries, need­ed a way to com­mu­ni­cate with their fel­low work­ers and with the peo­ple who lived among them, the Native Hawai­ians. Pid­gin is still spo­ken in Hawaiʻi, and being flu­ent is a source of great pride by its speak­ers. Pid­gin is what makes us local.

One of the most pop­u­lar videos we pub­lished at Pūpū was this lit­tle gem, Moke Action, an ear­ly film direct­ed by the tal­ent­ed Native Hawai­ian film­mak­er ʻĀi­na Paikai. Not sur­pris­ing­ly, ʻĀi­na would go on to make many award-win­ning short films, includ­ing the won­der­ful Hawai­ian Soul in 2020. Moke Action, star­ring Bru­tus LaBenz, Brah­ma Fur­ta­do, and Liona Arru­da, is the tale of two young men who near­ly get into an unfor­tu­nate scuf­fle. Hap­pi­ly, they are pre­vent­ed from com­mit­ting vio­lence, thanks to their respect for their elder. Or, in pidgin:

Two guys like scrap til aun­ty wen scold dem.

Exact­ly.

Post­ed with per­mis­sion by ʻĀi­na Paikai. 

Fishing for Grandma by David Manu Bird

Fishing for Grandma

pupu-a-o-ewa-logo

Some of my favorite pop­u­lar posts when I pub­lished Pūpū A ‘O ‘Ewa Native Hawai­ian Writ­ing and Arts at Lee­ward Com­mu­ni­ty Col­lege were per­son­al essays by stu­dents and faculty.

Fish­ing for Grand­ma, by my col­league and long­time friend, Dave Ka’a­puwai “Manu” Bird, was first pub­lished in 2014.  About this essay, one of our read­ers wrote, “I espe­cial­ly loved read­ing Manu’s narrative…brought back some mem­o­ries with my own ʻohana!” I know that in shar­ing his sto­ry, Manu was glad that some­one else con­nect­ed to their own kupuna. 

Manu joined his ances­tors ear­li­er this year after a brief ill­ness. He leaves behind his lov­ing fam­i­ly — wife Mary, son Keoni, daugh­ters Mālia and Tinan, and moʻop­una — as well as his many stu­dents, col­leagues, and friends. E Manu-Tok, nui ke alo­ha ia ʻoe.

Watch our video inter­view with Manu Bird.

Fish­ing for Grand­ma by Dave Manu Bird

“God­dam dis bug­gah!” I exclaimed as the kūkū of the pua hilahi­la dug into my hand. Like the entire old ceme­tery beside the Waikāne Con­gre­ga­tion­al Church, the grave I was clean­ing was infest­ed with the thorny plants.

“Please remem­ber where you are,” Mary scold­ed, tak­ing umbrage with my pro­fane language.

“How can for­get?” I shot back.

“Well, if you can­not respect God, you could at least respect the dead.”

“So?” I mut­tered to myself. “Stay make da kine make guys any­way.” With that, I knew that I was get­ting stink eye from my wife.

My sar­casm was the result of stress, not how I felt. As I sur­veyed the graves around me, I still couldn’t believe that Grand­ma was gone. Her death still didn’t seem real. What was real, how­ev­er, was the pain of the kūkū pok­ing my knees through my jeans. Once again I bent over, care­ful­ly pushed my fin­gers under the branch­es of anoth­er pua hilahi­la plant, pinched its stem tight­ly, and yanked the whole thing out of the ground by its long tap root. I threw the plant on a near­by ‘ōpala pile and reached for another.

It was hot, and I was sweat­ing, but as I worked I could not help but remem­ber Grandma’s voice even though it had been phys­i­cal­ly stilled for­ev­er. I couldn’t help but think how much Mary and Grand­ma often sound­ed alike. They both usu­al­ly spoke that crisp Eng­lish locals always speak when they don’t want to sound local. They e‑nun-ci-ate care-ful-ly.

“When are we going?” 13 year-old Keoni whined, pulling me out of my rem­i­nisc­ing. He was bored and want­ed to get on with our pic­nic and fish­ing expe­di­tion to Kahana Bay, our des­ti­na­tion after the graveyard.

“‘E Keoni, kulikuli, ‘eh,” I responded.

I didn’t need a punk kid’s has­sles adding to my mis­ery. I was wilt­ing because of the heat, the kūkū, and the com­plaints. I was also get­ting tired of the gen­er­al uneasi­ness I felt because only Mary, Keoni, Mālia, Tinan, and I were there at the grave­yard. It did not seem right to me that only our nuclear fam­i­ly was tak­ing part in Grandma’s post-funer­al funer­al with­out rep­re­sen­ta­tives from the extend­ed fam­i­ly, even though no-one else was able to join us.

Grandma’s for­mal funer­al had been held the month before. Fam­i­ly mem­bers hadFishing for Grandma gath­ered togeth­er from Kaʻimukī, Kailua, Kāne’ohe, Nānākuli, and the Main­land. That day, we scat­tered most of Grandma’s ash­es along with thou­sands of flow­ers and prayers off of Kaha­la Beach Park. We gave Grand­ma back to her beloved moana and ‘āina at that place because it had been one of her favorite fish­ing spots, at least in the days when Kaha­la con­sist­ed of groves of kiawe trees, a dairy farm, and a hodge­podge of week-end beach cot­tages. Before the main funer­al start­ed, Mary and I put a kapu on a lit­tle bit of Grand­ma. We want­ed to bring a part of her to the wind­ward side, anoth­er of her favorite fish­ing areas. That day in Waikāne, we had two film can­is­ters filled with Grandma’s ash­es, all that was left of her in this world.

Final­ly we could read the inscrip­tion on the grave head­stone that I was cleaning:

Martha Koolau
Died Dec 10, 1931
Age 50 Years

Martha Ko’olau was Grandma’s moth­er; Grand­ma had lived to be 92.

My clean­ing work fin­ished, I stood and stretched. One of the kids retrieved a dis­card­ed pua hilahi­la and used it to brush the dirt off of the gravestone.

I sud­den­ly felt strange­ly light-head­ed and absent mind­ed. “Pau dis,” I said. “Mu fek ea nunuw nga. . . I mean time for da lei and stuffs.”

With­out think­ing, I had momen­tar­i­ly switched into our hānai daughter’s native lan­guage. Then as I looked down at the grave, it struck me how kapakahi we all were – and are. We are like cul­tur­al schiz­o­phren­ics who switch per­son­ae seem­ing­ly with­out rea­son. We were exact­ly like what Grand­ma had been. For years I tried to under­stand Grand­ma, the last fam­i­ly mem­ber born in the 19th Cen­tu­ry and the only one we knew who had seen, talked to, and had even sung for Queen Lili’uokalani. But Grand­ma had been like a mo’o that changes its col­ors. She was hard to see because she blend­ed in with her imme­di­ate sur­round­ings. She nev­er told us very much about her­self. She was exces­sive­ly ret­i­cent about her child­hood and ear­ly adult life. She nev­er talked about her moth­er. So what about us?

My sud­den ques­tion was a rev­e­la­tion. If Grand­ma was an enig­ma, then so are we. Who was Grand­ma? By exten­sion, who are we?

Mary and the girls began lay­ing lei, flow­ers, and lā’ī around the head­stone. As they did, I looked out at the vehi­cles roar­ing past on Kame­hame­ha High­way a few yards from us. The sight of the cars pulled my thoughts back to long ago when we were trav­el­ing down the same road …

… Has it real­ly been 20 years since we passed here in Mom Z’s old Chevy II sta­tion wag­on? We were head­ed for Uncle AP and Aun­tie Sam’s beach house in Ka’a’awa for a week’s worth of fish­ing and swim­ming, a mid-sum­mer break and the ‘oama sea­son we always looked for­ward to. Grandma’s voice and Grandma’s words that day are still as clear to me now as a Kāne’ohe Bay reef when there’s no run-off pol­lu­tion to silt the water. She was scold­ing me.

Aun­tie is stu­pid. You are stu­pid for let­ting her make you take these bananas. I would nev­er have got­ten in the car if I had seen them. You nev­er take bananas and manure to the beach. When you “ go to the moun­tains,” you must do things properly.

I no like take kūkae no place, espe­cial­ly holoholo.

Boy, no tok lai’ dat! Speak pro-per Eng-lish .…

That was vin­tage Grand­ma. Rarely, though, did she raise her voice like this to me or her oth­er mo’opuna. She didn’t have to. She nev­er touched us, but she could whack us aside the head with a with­er­ing look if we did some­thing that dis­pleased her or vio­lat­ed her sense of pro­pri­ety. To this day, she is alive. I know so. I can no longer give her a hug or kiss her on her vel­vety cheek, but there is lit­tle I do unless before­hand I ask myself If I do this, would Grandma’s maka smile at me or give me stink eye?

But who was this woman? And by exten­sion, who are we?

Occa­sion­al­ly Grand­ma would pass on to us snip­pets of Hawai­ian lore and pro­to­col, espe­cial­ly about fish­ing – her life-long pas­sion. But what about the rest of the mana’o she had gath­ered dur­ing the course of her long life? What about grow­ing up in rur­al Puna, attend­ing Saint Andrew’s Pri­o­ry as a board­ing stu­dent, and singing on the Hawaii Calls radio pro­gram in the 1930s and 1940s? What adven­tures did she have? Whom did she know? Why could she under­stand spo­ken Hawai­ian but not put two words of the lan­guage togeth­er to speak it?

As I stood by the grave watch­ing Mary and the kids arrange the lei, I could only spec­u­late. She was not atyp­i­cal for her gen­er­a­tion or the next in her ret­i­cence. Could the effects of 1893 have silenced them all? Hawai’i was once one of the most lit­er­ate nations on earth with an active Hawai­ian lan­guage pub­lish­ing indus­try and cit­i­zens who were avid read­ers and writ­ers. In 1896, the haole lead­ers of the Repub­lic of Hawai’i passed a law ban­ning Hawai­ian as a lan­guage of instruc­tion in schools, a law that was not repealed until 1983. Teach­ers phys­i­cal­ly beat chil­dren if they spoke Hawai­ian, and teach­ers vis­it­ed their stu­dents’ homes and scold­ed their par­ents for speak­ing Hawai­ian in front of their chil­dren. The Hawai­ian lan­guage almost went the way of Latin. Were these the rea­sons for gen­er­a­tions of kūpuna silence?

Who was Grand­ma, a per­son who was born in Old Hawai’i but who died in Mod­ern Amer­i­ca? Who was this per­son who worked as a faith­ful cashier at the orig­i­nal Wil­lows restau­rant in Mo’ili’ili for decades until she was in her 70s? She had a strong Amer­i­can work eth­ic, but still she would occa­sion­al­ly drink Scotch before work or call in sick to go fish­ing. What caused her to be kolohe?

And who are we? As we stood by the gravesite, I could not help but won­der what per­spec­tives we no longer under­stood and prob­a­bly nev­er would because of Grandma’s silence. I felt like we were already at Kahana Bay, try­ing to catch fish in deplet­ed and degrad­ed waters.

Mary brought me back into real­i­ty, for the ho’okupu was in place. We stood around the grave hold­ing hands over a prayer, and then we took turns sprin­kling Grandma’s remain­ing ash­es over her mother’s grave. We knew that even­tu­al­ly the life-giv­ing ua would soak her remains into the sacred ‘āina, min­gling her with her mother’s iwi and bind­ing us once again to the long line of kūpuna and ‘aumakua that stretch­es back into antiquity.

After we fin­ished scat­ter­ing Grandma’s ash­es, we once again joined hands for pule. “E ko māk­ou makua i loko o ka lani,” Mary began to intone. But just then a long line of tourist bus­es head­ing for the Poly­ne­sian Cul­tur­al Cen­ter roared past 15 feet from us, drown­ing out Mary’s words. The bus­es’ diesel engines blast­ed us with storms of blue-black exhaust and silenced our prayer to Grand­ma and to God.

Pho­to cred­it: Mary Bird. Inter­view video: Rok­ki Midro.

E Heluhelu Kākou: No ke Anilā

E-heluhelu-kakou

The Hawai­ian lan­guage — ʻŌle­lo Hawaiʻi — is a beau­ti­ful, rich lan­guage. Thanks to the inter­net, ʻōle­lo can now be heard across the globe. E-heluhelu-kakou

Read-aloud ver­sions of chil­drenʻs books in Eng­lish are read­i­ly avail­able online. And now thanks to Kame­hame­ha Pub­lish­ing, books in ōle­lo are, too.

I am pleased to fea­ture No ke Ahilā — Our Hawaiʻi Weath­er, a delight­ful bilin­gual board­book for kei­ki, writ­ten by Kaulana Domeg and Mahealani Kobashigawa and read by flu­ent ʻōle­lo speak­er, and won­der­ful pre­sen­ter, Mak­iʻilei Ishihara.

Cred­its: Used with per­mis­sion from Kame­hame­ha Schools (Maha­lo!)

A Nation of Our Own, Spoken Poetry by Chris Oliveira

pupu-a-o-ewa-logoNative Hawai­ians have a rich oral tra­di­tion that spans over a thou­sand years. Our sto­ries are told in many forms: songs, chants, hula, leg­ends, ʻōle­lo noʻeau, and word play. Mod­ern Hawai­ians con­tin­ue our ancient tra­di­tion by weav­ing their sto­ries into beau­ti­ful spo­ken poetry.

Chris Oliveira is a flu­ent Hawai­ian lan­guage speak­er and a ded­i­cat­ed Hawai­ian activist. Hail­ing from the Waiʻanae Coast, he is the Vice Pres­i­dent and Exec­u­tive Direc­tor of Koa ʻIke, a com­mu­ni­ty non-prof­it orga­ni­za­tion that focus­es on place-based, ser­vice learn­ing edu­ca­tion­al ini­tia­tives and stu­dent exchanges.

First pub­lished in 2014 by Pūpū A ʻO ʻEwa, A Nation of Our Own is a pow­er­ful, provoca­tive lamen­ta­tion on the loss of our sov­er­eign­ty dat­ing to the 1893 U.S.-backed coup dʻe­tat that over­threw our indige­nous gov­ern­ment. Maha­lo nui, Chris.

Watch our inter­view with Chris

A Nation of Our Own, by Christophor Oliveira

When will there be an end to this occu­pa­tion, a nation of our own choosing

Imbed­ded in the pop­u­la­tion were wait­ing for retribution

Sus­pend­ed in ani­ma­tion by paper­work so confusing

Their faulty doc­u­men­ta­tions for fak­ing a revolution

Pre­tend­ed the annex­a­tion with a blem­ished joint-resolutions

The same old oper­a­tion they’ve been using since since back with Newlands

A gen­er­al paci­fi­ca­tion intend­ed as restitution

But we want repa­tri­a­tion and the rein­state­ment of our constitution

Now we con­tend with the aggra­va­tion, the sen­tence is destitution

With the falsest of alle­ga­tions imple­ment­ing our execution

We suf­fer from mass enslave­ment they prof­it off institutions

Were put in for mis­be­hav­ing, but their guiltʻs already been proven

Much more than edi­fi­ca­tion were offend­ed and disillusioned

So we focus on edu­ca­tion and noth­ing less for our future

Look to our past in admi­ra­tion in rev­er­ence for our kupuna.

Cred­its: Post­ed with per­mis­sion by Chris Oliveira. Per­for­mance record­ed by Lee­ward Com­mu­ni­ty Col­lege Edu­ca­tion­al Media Cen­ter; inter­view video by Rok­ki Midro.

Ka Maile, a Mele Aloha by Kahaulahilahi Vegas

Lahi Vegas

pupu-a-o-ewa-logoNative Hawai­ians look to our kūpuna — our elders — to help us find our path­ways through life. They guide us by their spir­i­tu­al wis­dom through per­son­al, famil­ial or com­mu­ni­ty dif­fi­cul­ties. Kūpuna are the source of expe­ri­ence, knowl­edge, guid­ance, strength and inspi­ra­tion to the next gen­er­a­tions, a rich resource to con­tribute to the bet­ter­ment of the Hawai­ian people.

Kahaulahi­lahi Vegas is a flu­ent Hawai­ian lan­guage speak­er whose fam­i­ly is from both Molokaʻi and Oʻahu. After grad­u­at­ing from Lee­ward Com­mu­ni­ty Col­lege and the Uni­ver­si­ty of Hawaiʻi-West Oʻahu, Lahi is pur­su­ing her PhD degree in Pub­lic Health at the Uni­ver­si­ty of Hawaiʻi-Mānoa. Her goal is to help the Native Hawai­ian community. 

Lahi Vegas also loves to com­pose. To hon­or her beloved kūpuna, she com­posed her mele alo­ha, Ka Maile, which we pub­lished at Pūpū A ʻO ʻEwa in 2015. She cred­its her grand­par­ents for pro­vid­ing the foun­da­tion of her lifeʻs path. Lahi says she will always be inspired by her kūpuna: He alo­ha pau ʻole — a love with­out end.

Watch our inter­view with Lahi in both ʻōle­lo Hawaiʻi and ʻōle­lo haole. Maha­lo nui, Lahi.

Cred­its: Used with per­mis­sion by Kahaulahi­lahi Vegas. Per­for­mance record­ed by Lee­ward Com­mu­ni­ty Col­lege Edu­ca­tion­al Media Cen­ter; bio video by Rok­ki Midro and Mau­na Burgess.