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Native Hawaiian leader traces her roots in southern China
- Posted on 3rd Feb
- Category: news
By Stephanie LumPublished: Feb. 3, 2024
HONOLULU - Kumu Hinaleimoana Wong-Kalu is widely known in Hawaii as a Native Hawaiian cultural leader. She is also deeply proud to be half-Chinese.
“I used to be ashamed of it, but the more I understood Chinese culture in my family, the more I understand how lucky to be of that heritage,” said Wong-Kalu.
The sister of famed chef Alan Wong was raised by her late Popo Edith Gum Gew Look.
“It gets emotional for me to talk about it because she was, she was key in my growing up,” recalled Wong-Kalu as tears welled up in her eyes. “She would wake me up, and she would say, wake up, go make breakfast, hurry up, go!”
“My father, his name is Henry Dai Yo Wong, and he’s going to be 92.”
Family is what drew her to Southern China. In 2014, Wong-Kalu went to find her distant relatives in Zhongshan.
“When I traveled to the ancestral homeland of my great grandparents, I saw such a beautiful country. I took with me a photo, and it showed my great grandparents and all of their children and grandchildren.”
Wong-Kalu showed the photo to a man on the street who began to recognize certain members of her family. He motioned for her to follow him down an alleyway to a home.
When she went inside, she couldn’t believe her eyes. She realized the same photo in her hands was also hanging on the mantel of her ancestral home.
She found her long-lost relatives at last.
“That photo was in my ancestral home in Zhongshan, in the village of Gumsat. My family’s village, the last village standing,” said Wong-Kalu. “I fell to the ground, and I put my head down, and I cried because it was my family’s picture.”
“Researching your roots can be a daunting task. It’s not easy, but when there’s a will, there’s a way, and if you have affection and love for your ancestors, those who have gone before us, they might be able to help you find the way,” said Wong-Kalu. “And I believe when I went in 2014, my Popo was there with me, ushering me along.”
“I am proud to be Chinese,” said Wong-Kalu. “I’m proud to be of my father’s heritage even though to another Chinese, I might not be Chinese enough. Remember where you come from; remember who you are.”
Our series picks back up on Monday. Join Stephanie Lum as she goes in search of her great-grandfather’s village in Zhongshan.
Copyright 2024 Hawaii News Now. All rights reserved.
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'Aikane' Short Animation by Dan Sousa, Dean Hamer, Joe Wilson, & Hinaleimoana Wong-Kalu: Queer Indigenous Feeling
- Posted on 17th Oct
- Category: news
by Vassilis Kroustallis - Zippy Frames - 15 October 2023:
The creative quartet of Dean Hamer, Joe Wilson, Dan Sousa, and Hinaleimoana Wong-Kalu create films that consistently tell an indigenous experience in precise animated terms. In their previous effort, 'Kapaemahu', the Hawaiian indigenous past was revealed in the commercialized present (more about the film). In the new short animation, the queer-themed 'Aikāne' (the term meaning intimate friend of the same sex) a queer romance is developed between two men in the very distant past, full of colonial implications.
A valiant island warrior, wounded in battle against foreign invaders, falls into a mysterious underwater world. When the octopus who rescued him transforms into a handsome young man, they become aikāne, intimate friends bound by love and trust, and an epic adventure begins - Film Synopsis
The film has now become Oscar-qualified, after it won the Animated Shorts Jury Award, at the 2023 New Hampshire Film Festival. Other notable festival selections: Frameline, Chicago International Children's Film Festival, Hawai'i International Film Festival, Adelaide Film Festival, Thessaloniki Film Festival, Outfest LA, DC Asian Pacific American Film Festival - Best Narrative winner).
We talked to the 'Aikāne' team: Dean Hamer (director and writer), Joe Wilson (director), Daniel Sousa (director and animator), and Hinaleimoana Wong-Kalu (producer). They all had to say some interesting things.
ZF: Why the need to go back in time to tell this story? Is it the need to say something that might otherwise be forgotten or the need to move a little away from our current post-pandemic world and take some stock from another era?
DH: The present is not a good time to set a queer love story. As students and teachers across the country are being told to not say gay, books are banned from libraries, parents are being criminalized for providing their kids with gender-affirming health care, and people like me and my husband and co-director Joe Wilson are being labeled groomers and pedophiles, it seems like we are in a period of moving backward rather than forwards.
Fortunately, this has not always been the case, and the past offers a rich panoply of societies and cultures where same-sex love was not only spoken but praised. The homoerotic writings of ancient Greece, the cut-sleeve stories of imperial China, the Indian temple paintings of womanly embraces, and the love poems of medieval Ireland are but a few examples. Because we live in Hawaii and have been working on films about Pacific Islander lives and voices for many years, that’s where we first turned for inspiration – but it wasn’t the only place. We drew from our histories and experiences too.
ZF: 'Aikāne' means intimate friend of the same sex, not just a same-sex partner. What is the differentiation here and why is this title in the film?
JW: Translations of words and cultural concepts from one language to another are never ideal. And while same-gender-loving folks have existed across place and time, it seems like only a few societies have named us in a way that denotes dignity and respect, one of them being Hawaiʻi, where we’ve become immersed in community efforts to help restore these kinds of hidden histories. In Hawaiian culture, Aikāne were not just same-sex lovers, they were friends, trusted confidants, equal partners, and sometimes even co-rulers of the land.
We considered many other possible titles, but the closer we got to the release date, all of us involved in the project, especially Hina, knew that Aikāne made the most sense because it reflected the deep relationship between the protagonists. There was just no need to conjure up an English equivalent because there really is none.
ZF: The two characters are designed differently; the first has more 'manly' characteristics, and the second with more 'feminine' ones. Was this intentional?
JW: In a way, this speaks to traditional gender stereotypes and viewers’ preconceived ideas as much as it does to our intentions. Like most cisgender men, we were raised to live by rigid rules of what it means to be a man, to be stereotypically masculine. But, as guys who are attracted to and fall in love with other guys, those rules don’t necessarily apply to us, which is liberating. It allows us the freedom to be whatever we want or have the courage, to be, and to defy societal expectations. We wanted to play with that in the film.
That’s also why shapeshifting is an element – the idea of a character being, or becoming, something or someone else to survive in an environment where you feel like you don’t belong. Most queer folks know exactly what this is like, subconsciously, to constantly have to shapeshift to be safe or accepted at home, at school, in the workplace, or out in their community. The twist in the film is that these shape-shifting, same-gender-loving characters get a happy ending, something that is still too rare for queer people, both on and off-screen. We hope Aikāne can be a small part of changing that narrative.
ZF: What were the challenges of the animation process (2D/3D)? Here we have a lot of underwater scenes and a lot of battle scenes at the same time
DS: The challenges were also the most enjoyable parts of the process I always try to push areas of filmmaking that I may not be familiar with, or aesthetics that are counter to what I have explored in the past. And this film definitely fits the bill! Designing colorful, light-drenched environments, swatch-buckling action set-pieces, and underwater luminous spaces were all new areas of exploration that I had never tried.
Placing the 2D characters within 3D environments was fairly straightforward and not terribly challenging. But making sure the marriage was convincing and didn't distract from the storytelling required a lot of nuance.
ZF: How did you envisage the visual world of 'Aikāne'? It is very varied and full of light. I suppose you have Hawaii references, but how did you mix those in the film?
DS: We wanted the characters and environments to feel genuine, but not specific to a particular group of people or historical events. The story needed to live on its own, outside of time and space. So we pulled mostly from Hawaiian references, but also Celtic, and invented the rest. Additionally, the film required a lot of research on underwater photography (and swimming), period costumes, ships, landscapes, and color palettes. Juggling all the influences and finding the perfect combination that felt natural and uncompromising was certainly challenging, but I think we found a good balance.
ZF: How was the script drafted? Did you have a single story serving as reference, a collection of fables or did you come up with something completely original?
DH: Joe and I are fortunate to live close to the ocean and swim or surf nearly every day of the year. I especially love to take long dives under the surface; it is like entering a new world, silent and slow-moving, far from the noise and chaos above.
The inspiration for 'Aikāne' came in a flash during one of those underwater sessions. I wanted to share the sense of connection and dependence that happens when two people enter that silent underwater universe, and I wanted to do it through a romance. It was only later that I began to think about how elements from the many different legends and myths of same-sex love that I had read might be incorporated into the narrative arc.
ZF: Aikāne is an epic adventure in 14 minutes. Did you have to change a lot during the process to make all elements of your story fit? Any particular scene that was added at the last moment?
DH: This was my first try at fiction. Having spent my entire life writing non-fiction papers, essays, books, and documentaries, I thought it would be easy. I was so wrong! The first draft was about 20 pages long and included dozens of characters including a healer, a king, a jealous woman, and angry villagers. As we talked with our animator Daniel Sousa and story consultant Will Csaklos about what each character contributed to the dramatic arc, this was slowly stripped down to just the two protagonists, and the number of scenes was reduced by half.
What we ended with was a classic love story with a beginning, middle, and end. I know thatʻs considered a bit old-fashioned and corny, but in the world of queer fi,lms itly a novelty.
ZF: ʻAikāneʻ and 'Kapaemahu' are two different films, but they both tell of the need to have empathy and learn. Can you pinpoint the differences between the two films?
HWK: In the Western view, the difference between these films is that Kapaemahu focuses on gender fluidity whereas Aikāne deals with sexual orientation. But in our Hawaiian culture, people are judged not by the pronoun they use or the people they love but by their kuleana, or responsibility. The kuleana of māhū, people like me of dual male and female spirit is to act as caretakers, healers, and teachers of ancient traditions. For aikāne, it is to support, nurture, and aloha one another. Seen through this Polynesian lens, Kapaemahu and Aikāne represent two facets of a culture where all people are valued and respected.
ZF: What is the festival experience from showing 'Aikāne', and most importantly, the audience reaction? The film has been shown internationally, as well as in Hawaii, so you can have a measure of the different audience reactions.
JW: The festival experience has been varied, which has made it interesting and surprising. Some festivals have put it in programs for mature audiences only, while others have screened in children’s programs. It has been popular in queer, native, ethnographic, and even horror and fantasy festivals, but not so much in traditional animation festivals, which may say more about the industry’s lingering discomfort with LGBTQ storylines than it does about the film. We’re glad that Zippy Frames is helping to break that reluctance with its Queer Animation section.
As for audience reactions, it has been exactly what we hoped for, with younger and older viewers alike sharing emotional responses to watching a film whose characters are powerful and heroic not despite who they love but because of it. Our favorite comment, overheard in a theater hallway, was “Did you see the Disney film about the merman?”
ZF: Aikāne' and 'Kapaemahu' both describe the indigenous Hawaiʻi experience. Do you plan to continue in that vein in the future?
DH: Given how much we love Hawaiʻi, and what fun it is to collaborate with Daniel, it would be difficult not to, and I am delighted to announce that Iʻll be playing a role in an exciting new film about the Kingdom of Hawaiʻi called The Queens Flowers, directed by Ciara Lacy and produced by Concepcion Saucedo.
Ultimately, though, we are as interested in impact as we are in the art of filmmaking, which in the case of Kapaemahu led to a public television documentary, a children's book, a major museum exhibition, and a contextualizing signage addition to the physical monument in Waikiki. Aikāne will find its permanent place as part of a new, foundation-funded public memory project on The Queer Histories of Hawaiʻi that we hope will open even more opportunities to combine creative storytelling with action for change.
Film Review (Vassilis Kroustallis):
In a world in which stories of coming out have become more abundant on the big and small screen, ' Aikāne' does something different. It starts from the established point of a queer love (which dares speaks its name) and moves beyond the erotic aspect to encompass a partnership ready to stand the test of danger -and extraneous social interference. Even if fictional, 'Aikāne' is deeply entrenched in its indigenous Hawaiian culture; its visual palette is strong and tender at the same time, just like its two main characters. By adopting the epic hero's journey (here in partnership), the film succeeds in showing that queer love and partnership can be a reality, not a pipe dream -despite all dangers and inhuman odds. Both characters are complimentarily defined, and the scene transition follows closely (and interestingly) the mishaps from the small to the most dangerous. The film is empathetic and mysterious at the same time, as if advising that a two-way intimate partnership needs to keep its secrets. An engaging film ready to be explored, which makes us ponder how the obvious queer love still needs to be stated as such.CREDITS:
Aikane (2023)
Directed by Daniel Sousa, Dean Hamer, Joe Wilson | Producer Hinaleimoana Wong-Kalu | Design and Animation Daniel Sousa. Sound and Music Dan Golden | Executive Producers Judith Light, Daniel Karslake -
THE 21ST ANNUAL NEW HAMPSHIRE FILM FESTIVAL ANNOUNCES AWARD RECIPIENTS
- Posted on 17th Oct
- Category: news
Portsmouth, New Hampshire (October 15, 2023) – That’s a wrap! New Hampshire’s largest film festival has announced the recipients of the New Hampshire Film Festival’s (NHFF) prestigious awards after four packed days of screenings, panels, and parties. The city of Portsmouth was abuzz as the 21st annual New Hampshire Film Festival attracted an estimated ten thousand film enthusiasts, filmmakers, writers, and students, who gathered to celebrate and discuss cinema and view more than 100 independent films that were selected from thousands of submissions.
This is the second year the NHFF is an Academy Awards qualifying festival for short films, making live action and animated shorts jury award recipients eligible to submit for Oscar consideration. NHFF Executive Director Nicole Gregg says, “We are so energized that once again, the New Hampshire Film Festival distinguished itself as an important opportunity for filmmakers who come from near and far, and for audiences, who not only get to see the films, but are encouraged to interact with directors, writers, producers, actors, and cinematographers.”
The awards, affectionately called “Granny Awards” for the solid granite trophy – a nod to the Granite State, can help filmmakers build visibility and potentially secure a distribution deal.
The bulk of the awards honoring excellence in filmmaking and screenwriting were presented on Sunday night, including the Live Action Shorts Jury Award and Animation Shorts Jury Award:
- Shorts Jury Award, Animation (Academy-Qualifying): Aikāne (directed by Daniel Sousa, Dean Hamer & Joe Wilson, produced by Hinaleimoana Wong-Kalu)
- Best Screenplay: Imogene’s Tornado (written by Andrew Braunbhar)
- Best Student Film: Homing (directed by Ricardo Varona)
- Best Short Comedy: Catherine & Michael (directed by Kathy Fusco)
- Best Short Drama: Mandarins (directed by Chelsie Pennello)
- Audience Choice, Documentary: In the Whale (directed by David Abel)
- Audience Choice, Narrative: Hangdog (directed by Matt Cascella)
- Grand Jury Award, Documentary: Hummingbirds (directed by Silvia Del Carmen Castaños & Estefanía “Beba” Contreras)
- Grand Jury Award, Narrative: Mountains (directed by Monica Sorelle)
- Shorts Jury Award, Documentary: Denial (directed by Paul Moakley and Daniel Lombroso)
- Shorts Jury Award, Live Action (Academy-Qualifying): The Fuse (directed by Kevin Haefelin)
- Best Documentary Feature: Maestra (directed by Maggie Contreras)
- Best Narrative Feature: Our Son (directed by Bill Oliver)
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AAPI Heritage Month: Māhū & Kumu Hina - Your Angry Neighborhood Feminist Podcast
- Posted on 3rd Aug
- Category: news
In this episode, host Madigan Haggerty leads listeners on a fascinating exploration of the stories in the documentary via her realtime reactions to the characters and scenes as the film unfolds. Listen HERE.
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"We Are Here: 30 Inspiring Asian Americans and Pacific Islanders Who Have Shaped the United States" - Smithsonian Asian Pacific American Center
- Posted on 4th May
- Category: news
We are Here is a stunning anthology licensed in partnership with the Smithsonian Asian Pacific American Center that celebrates 30 of the most inspiring Asian Americans and Pacific Islanders in U.S. history. Based on the book, APAC has created 30 Learning Lab collections that introduce visitors to Asian American and Pacific Islander artists, activists, scientists, writers, and more. Each Lab includes access to objects, works of art, videos, archival materials, and websites that expand each person's biography in We Are Here.
Meet Hinaleimoana Kwai Kong Wong-Kalu
This Learning Lab collection about Hinaleimoana Kwai Kong Wong-Kalu is in a series of 30 collections based on the book, We Are Here: 30 Inspiring Asian Americans and Pacific Islanders who Have Shaped the United States. Each collection includes images of objects in the Smithsonian collections and links to community-created resources, including videos, archives, and more. Each collection takes a deeper dive into important histories and stories related to each individual featured in the book to provide additional context about the cultures and societies they are connected with. To help summarize and reflect on what you learn about each individual in these collections, we have provided Harvard Project Zero thinking routines and reflection questions that can be used in the classroom, in library activities, and at home.
We Are Here is an anthology of stories about artists, activists, athletes, scientists, journalists, and more. These stories are bought to you by the Smithsonian Asian Pacific American Center (APAC), one of 21 units (museums, archives, libraries, etc.) at the Smithsonian Institution in Washington, D.C. We invite you to use this topical Learning Lab collection to learn more about individuals who have shaped the United States in critical ways through art-making, writing, or activism and who have been shaped by their global connections.
To learn more about We Are Here, which was developed by Smithsonian Books, Running Press Books, and APAC, please visit the Hachette Book Group website.
Please visit the Smithsonian Asian Pacific American Center’s website to learn more about our work and other offerings for educators and students.
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Gender Fluidity Is a Part of Hawaiian Culture. How a Children's Book is Reclaiming That - Today on NBC
- Posted on 1st Jul
- Category: news
"Ho'onani: Hula Warrior," a children's book based on a 2014 documentary, can help make conversations about gender identity easier to navigate.
by Randi Richardson for Today on NBC - June 30, 2022:
Hawaii is known for its hula dancing, luaus, leis and other widely commercialized aspects of the culture. But a lesser-known tradition is giving a voice to people who may feel like they don’t belong.
Pacific Island culture has long normalized gender fluidity with a variety of terms used across the region for sexual expression and a third gender, according to the University of Hawaii at Manoa. In Hawaiian culture, there are wahine (female), kāne (male) and māhū, for people who do not subscribe to any gender.
It’s a complex subject that author Heather Gale embraced in her children’s book, “Ho’onani: Hula Warrior,” which tells the story of real people and is based on the 2014 documentary “A Place in the Middle.”
While the book serves up a rousing tale of a child overcoming obstacles — in this case, Ho’onani challenges traditional gender roles to perform as a hula warrior — it also deftly weaves in elements of culture and gender in simple language that kids can understand. Gale said people have thanked her for providing such an accessible story about a complicated topic.
“Quite a few have reached out to say they wish they’d had this book before, when they were this age, to be able to understand it better,” she told TODAY in a phone interview from Toronto. “I’ve also had a parent reach out and say that it has been such a help to be able to start the subject and the process of talking about it, because you can read the book together, and then it gives the child and you — it’s quiet time — a chance to broach a possible subject that’s sensitive.”
Gender fluidity in Native Hawaiian culture
Hinaleimoana Wong-Kalu, who identifies as māhū and is featured in “A Place in the Middle” (she also served as the documentary’s writer), said that Hawaiian culture has never strayed from viewing gender fluidity as an integral part of its history. The only difference now is that Hawaii is no longer an independent nation; Europeans colonized it in the 1700s and the United States annexed it in 1898.
“In Hawaii, Tahiti, and across the Pacific, māhū and other gender fluid identities have traditionally been respected and valued, integral to every family,” she told TODAY by email. “This was a shock to the first foreigners to arrive here, but for us it was a normal part of life.”
Wong-Kalu said that colonization nearly erased māhū from Hawaii’s history even though their presence on the islands dates back to the 1100s, when community members admired them for their balance, freedom and wisdom, and they were seen as revered keepers of traditional practices such as hula dancing and chanting.
“In this time of great sickness and strife around the world, I want people to know that māhū are especially well known for their skill in caretaking and healing,” Wong-Kalu said. According to legend, she said, it was four māhū who first brought the healing arts from Tahiti to Hawaii. “They were so loved and admired for their gentle ways and miraculous cures that the people built a monument to honor them.”
That monument is named Kapaemahu, or “the row of māhū” in English, and is located in the middle of Waikiki Beach in Honolulu.
Wong-Kalu said that while Hawaiian culture is far ahead of the rest of the country when it comes to accepting LGBTQ people, it still has a long way to go.
“Beginning with the Hawaiian Renaissance of the 1970s, there has been a tremendous effort, and much success, in reclaiming many aspects of our culture and traditions — our language, hula, songs and chants, navigation and voyaging and much more,” she said, adding that LGBTQ people involved often go uncredited for their work.
For example, she said, the accompanying plaque to the Kapaemahu monument “does not even mention the word māhū or acknowledge that these traits of gender duality were intrinsic to the healers’ talents and skills.”
Wong-Kalu said she hopes Hawaii’s history and contemporary commitment to reclaiming it offer hope during turbulent times for the LGBTQ community. As of March, state lawmakers across the country have proposed a record 238 bills in 2022 that would limit LGBTQ rights, and there have been almost 670 of these bills filed since 2018, according to an NBC News analysis of data from the American Civil Liberties Union and LGBTQ advocacy group Freedom for All Americans.
Turning the documentary into a children’s book
When Gale stumbled upon the documentary in 2016, she knew she had to turn it into a children’s book.
“Ho’onani just caught me off my balance because of her inner strength that I really saw come through, and she’s just such a strong, young person, and she was so unusual for that,” Gale said. “Her parents were so supportive of her, as well as her teacher and her peers, and it was just incredible. ... With family support, she could be who she wanted to be.”
Gale said that while she was unfamiliar with Hawaiian history and the māhū community in particular, she leaned on her Maori heritage since the two cultures share Polynesian roots.
“Ho’onani is who she is because of her family, friends and teachers, while Hawaii’s culture and history are also a large part of her,” she said. “This is true for everyone and helps us all recognize parts of ourselves in a complex story.”
Gale said that she researched as much as she could to respectfully establish the right tone. “I preferred that the gender aspect was subtle yet strong, much how I imagined Mahu once were in their communities,” she said.
Another big challenge was “distilling the story’s first 40 words until they showed Ho’onani as a person and her biggest obstacle,” Gale said.
Wong-Kalu and Gale said the main point of our existence is to experience life and joy while learning along the way with others.
“I saw it in Ho’onani: What brings her happiness is playing a ukulele,” Gale said. “And even though it’s considered a genderized activity — males only play the ukulele — it brings her joy. So she does it.”
Gale said the message of her book can be that simple: Do whatever creates joy.
“Take a step back and (see) some joy in being together,” she said.
Read the story on Today.com
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7 Polynesian Films To Watch for AAPI Month (And Where To Watch Them) - Collider
- Posted on 21st May
- Category: news
There's more to Polynesia than Lilo and Moana.
by Elizabeth Reese - Collider - May 20, 2022:
The root of Polynesian culture is storytelling. Before language was recorded in written form, histories and cultural traditions were oral records, passed on through word of mouth or cultural dance and performance, like hula. So it's no surprise that Polynesian filmmakers have the same eye for storytelling through the medium of filmmaking.
While the average film-goers first exposure to Polynesian culture may be through films like Lilo & Stitch and Moana, Native Hawaiian and Pacific Islander filmmakers have been telling their own stories for centuries. With Asian American and Native Hawaiian/Pacific Islander Month in full swing, Polynesian filmmakers are here to remind us that the original storytellers haven't gone anywhere.
Boy (2010)
Taika Waititi's second feature film, Boy, is a coming-of-age story about an eleven-year-old growing up in Tairawhiti region of North Island of Aotearoa New Zealand. Obsessed with Michael Jackson, Boy follows the life of the title character as he maneuvers through life and comes to terms with the reality his father Alamein brings when he steps back into his life.
More than just a film about a boy in a small town, Boy is unique in its showcase of Polynesian, specifically Māori, culture. Written and directed by Waititi, who is of Māori descent (Te Whānau-ā-Apanui iwi) and is no stranger to using his own history as inspiration for his films, Boy was partially shot in his hometown. The character of Alamein, who is also played by Waititi, was loosely based on his own father. The driving message of whānau (family), what defines it, and how we value it within ourselves, is constantly being examined throughout the film. And of course, the famous Thriller Haka performed during the end credits is a celebration of a blend of Māori and pop culture. You can stream Boy for free on Vudu.
Kumu Hina (2014)
The idea of a third or non-binary gender is something that is sacred and revered in many Polynesian cultures. In Hawai'i, māhū is the third gender, meaning “the in-between.” Kumu Hina, by producers/directors Dean Hamer & Joe Wilson, is a documentary centered around Hinaleimoana Wong-Kalu, known as Kumu Hina (Kumu being the 'Ōlelo Hawai'i word for teacher), a Kanaka Maoli māhū who is devoted to the preservation and teaching of Hawaiian culture through hula.
Kumu Hina is a celebration, not only of Kumu Hina's life but of the impact she has on others. The documentary follows another student in her hālau who finds themselves in the middle of the gender spectrum. Kumu Hina mentors her student, Ho'onani, and serves as a guide for them as they begin this journey. As we continue to have conversations about non-binary representation in media today, it is helpful to remember that māhū like Kumu Hina have always been here. Kumu Hina is available to stream for free on Tubi.
Once Were Warriors (1994)
Temuera Morrison is known to most of the world today as Boba Fett, but before he donned the bounty hunter's armor, he was known as Jake Heke. Once Were Warriors follows the story of the Heke family, a Māori family living in South Auckland, and their struggles. Directed by Lee Tamahori, Once Were Warriors is critically acclaimed for its brilliant performances but is not an easy watch. The themes of domestic abuse, alcoholism, and sexual assault may be incredibly triggering for some viewers.
Once Were Warriors was an innovative film, being one of the first films to showcase not only Māori talent, but Māori stories at the forefront. The themes of racism, colonialism, and pride of culture run strong throughout the film and Rena Owen's performance as Beth Heke is a standout. You are able to rent Once Were Warriors (and the sequel What Becomes of the Broken Hearted?) on Amazon, Google Play, YouTube, or AppleTV.
Vai (2019)
One of the more unique films in recent history, Vai is a portmanteau film; with nine different female Pacific Islander directors piecing together the story. Filmed in seven different Pacific countries (Fiji, Tonga, Solomon Islands, Kuki Airani, Samoa, Niue, and Aotearoa New Zealand), Vai tells the story of the title character as she grows and changes throughout her life.
The central theme of Vai is the very meaning of the word, water. Water itself is incredibly important to Polynesian and Pacific Nations, as they were the first wayfinders and travelers of the oceans. For many Polynesian cultures, water is seen as a life force and the very source of life itself. A film centered around not only this sacred element but also womanhood makes for a moving piece of film. Vai is able to stream for free on Tubi and Vudu.
O Le Tulafale (2011)
Also known as The Orator, O Le Tulafale is the first Samoan feature film entirely in Samoa with a Samoan cast and Samoan-driven story. With a population of just under 200,000 people, the country and culture of Samoa is easily overlooked. The film follows Saili, a dwarf farmer, who is a societal outcast determined to reclaim his family's status.
O Le Tulafale was a breakthrough in Samoan cinema, being selected as Aotearoa New Zealand's entry for Best Foreign Language Film at the 84th Academy Awards, the first time the country submitted a film in the category. Although the film did not make the shortlist, it still opened the door for more Samoan filmmakers and stories to follow. You can stream O Le Tulafale for free on Amazon Prime and Tubi.
Patu! (1983)
In 1981, the South African Springbok rugby team arrived in Aotearoa New Zealand for a match against the famous national team, the All Blacks. The ensuing mass demonstrations that greeted them would become the subject of the documentary Patu! Named after te reo Māori word meaning "to strike," Patu! was directed and produced by Merata Mita, the first Indigenous woman to solely direct and write a full feature in Aotearoa New Zealand.
Mita's vision tackles racism in Aotearoa New Zealand head-on as she explored how the Māori protesters were targeted over Pakeha, or non-Māori New Zealanders. Patu! is an exhilarating example of female Indigenous filmmaking and has been added to the UNESCO memory of the world register. Patu! is available to stream through NZonScreen.
Ala Moana Boys (2021)
Currently making the rounds on the film festival circuit, Ala Moana Boys tells the heartbreaking true story about Joseph Kahahawai, a Native Hawaiian man who was falsely accused of a crime he did not commit. In 1932, Thalia Massie claimed Kahahawai attacked and sexually assaulted her one night near Waikiki on O'ahu. Although he was freed on account of a hung jury, Massie's husband, aided by his mother, took matters into their own hands and kidnapped Joseph before murdering him. Joseph's funeral was the most attended on the islands for any Native Hawaiian that was not royalty.
Although the film is short, just over twenty minutes long, Ala Moana Boys, packs an emotional punch. Audiences are left to ponder inequities in a judicial system that has not changed much in the ninety years since Joseph's death. Although it is not yet available to stream, keep an eye on the film's social media for more information.
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15 LGBTQ+ Documentaries That Everybody Needs to Watch - Cosmopolitan Magazine
- Posted on 8th Oct
- Category: news
Consider these watch-list essentials. by Jasmine Ting - OCT 6, 2021
Now more than ever, queer culture is being embraced by the mainstream. Shows like Pose and Euphoria help shed light on the LGBTQ+ community and tell queer stories. But while diverse narratives like these are important for representation, to get a better grasp of the conversations going on about gender and sexuality you'll have to dig a little deeper.
If you want to really want to take a deeper dive into the stories of the LGBTQ+ community, you need to learn about real stories of real people. And one of the best ways to educate yourself is through documentaries. We've compiled a list of the best LGBTQ+ documentaries that are essential additions to everyone's watch-lists.
Kumu Hina
Hina Wong-Kalu is a Native Hawaiian teacher and cultural icon. She lives "in the middle" as someone who is part of Hawaii's traditional third gender māhū and also a trans woman. This documentary follows Hina as she mentors a student who is also māhū and wants to join the all-male hula group in her school. It also shows Hina's romantic relationship with a young man from Tonga.
This iconic documentary is referenced in much of popular drag culture today. Paris Is Burning focuses on drag queens in 1980s New York City, their legendary houses, and the dazzling fashion balls they take part in. It also tackles tougher themes such as poverty, racism, and the social shunning these performers face.
This doc goes all the way back to where drag balls were born: 1950s New Orleans. It looks at the evolution of the Mardi Gras krewe scene, and how it eventually helped push the gay liberation movement forward.
Activist Victoria Cruz re-examines the 1992 death of LGBTQ+ icon—and Victoria's friend—Marsha P. Johnson, whose body was found floating in the Hudson River. Though back then authorities ruled the tragedy a suicide, many people in the community believe that Martha was murdered.
This film is a comprehensive and captivating look into the life of Harris Glenn Milstead from his early life as a young boy in Baltimore to his rise as the legendary drag superstar Divine, which changed pop culture forever.
The Celluloid Closet explores the space that LGBTQ+ entertainers have occupied in Hollywood and the entertainment industry historically, and how it has shaped people's views of the community.
Matthew Shepard was the victim of one of the most notorious hate crimes in American history. The 21-year-old died after a targeted homophobic attack in Laramie, Wyoming in 1998. In this documentary, his friends and family remember Matt and honor his memory with love.
A couple tells the story of how they've come to own Circus of Books, a porn bookstore that over the decades has become an important space for the queer community in Los Angeles.
This film looks into the depiction of transgender people in Hollywood, and how it has affected the trans community and American culture. It features actresses Laverne Cox, Mj Rodriguez, and Angelica Ross.
Jennifer Laude, a Filipino trans woman and sex worker, was found brutally murdered in a motel across from the nightclub where she found her clients. The primary suspect was a U.S. Marine on leave who was charged with homicide instead of murder. This documentary is an investigative look into the case, featuring three women who want justice for Laude.
Pro baseball player Terry Donahue and Pat Henschel fell in love in 1947, but they kept their relationship a secret from family and friends because of the severe consequences of revealing their sexuality in America in the '40s. Sixty-five years later, they are still together and are able to share their love story—and all its ups and downs—with the world.
How to Survive a Plague tells the story of the efforts and the people who turned the tide during the AIDS crisis in the late 1980s. Though they weren't scientists, these men and women were able to bring attention to the disease and helped minimize tragic deaths caused by the AIDS epidemic.
Filmmaker Hao Wu, who is gay, decided to start a family by having children via surrogacy. In this short film, he documents how his loving but traditional Chinese family comes to accept the path he is taking.
This documentary is an intimate look into the life of RuPaul's Drag Race star Trixie Mattel and the man behind all the makeup, Brian Firkus. It shows the reality behind all the wigs and glitter, the challenges he faced and continues to face professionally in the industry, and the toll it has taken on him and his personal relationships.
God Loves Uganda explores how the American evangelical movement is influencing people in Uganda to take up conservative Christian values, with religious leaders trying to fight "sexual immorality," convincing their followers to follow biblical law, and fueling the demand in some for a proposed death penalty for homosexuality.
See the streaming options for all the films on the list here.
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7 Essential Pacific Films to Add to Your Queue, from "Once Were Warriors" to "Kumu Hina" - Sundance Institute
- Posted on 22nd May
- Category: news
By Kristian Fanene Schmidt - Sundance Institute - May 21, 2021:
In celebration of Asian American Pacific Islander Heritage Month, it brings me great pleasure to highlight some of my favourite offerings when it comes to films from and/or about the Pacific. Before I do that, though, I think it’s important to give context around what constitutes a “Pacific Islander.”
Technically, the Pacific Islands consist of three regions: Micronesia (“small islands”), Melanesia (“islands of Black people”), and Polynesia (“many islands”). This was what I was taught growing up in Aotearoa, although the definition really depends on who you speak to and where they come from! Whatever definition you come across, we know that at the end of the day, race is a social construct. I created this video to describe how problematic these terms are in nature, which is often the case when they’re imposed by white men who “discovered” our lands and waters that were already inhabited for centuries.
Pacific Islanders are not a monolith. The same way the all-encompassing pan-Asian “Asian” identity lumps over 40 distinct cultures together, the “PI” part fails to capture the nuance of over 20 diverse nations. In using these labels, you often have voices from particular countries dominate discourse, while others get erased based on factors like population size, political power, and anti-Blackness.
In composing this list, I wanted to be very intentional in moving away from the usual Hollywood tropes, stereotypes, and one-dimensional narratives that sell in favor of amplifying lesser-known voices and issues to American audiences. OK! So now that we’ve covered that off, let’s get into it!
KUMU HINA (2014)
Kumu Hina follows the life of Hinaleimoana Wong-Kalu, a Native Hawaiian activist and teacher. As a queer Samoan, I would be remiss not to include a narrative that speaks to the diversity in gender expression and sexuality in the Pacific that has long been demonized and outlawed because of the church and colonization. Hina is māhū, and while some māhū may identify as trans or nonbinary, I’m going to resist labelling her as such because not all do. (The trouble with using Western terms to describe Indigenous peoples is that they do not necessarily relate to them nor are they neat translations.) Navigating a world she seldom finds acceptance in, Hina is steeped firmly in her role as a cultural and spiritual leader, fighting for her people while holding true to who she is. We’re now starting to see a rise of queer Pacific content, as evidenced by another documentary made by the same creators, Leitis in Waiting, which is just as insightful. Hopefully there’ll be more to come.
NAMING NUMBER 2 (2008)
It’s rare for a Pacific playwright to have their works adapted into a feature film, let alone one that was written and directed by them! Naming Number 2 (known as No. 2 back home) by Fijian New Zealander Toa Fraser is a loving celebration of life centering a Fijian family living in the Auckland suburb of Mount Roskill. The story alone is beautifully told and boasts some wonderful talent, such as the late Ruby Dee — who Fraser sought out being a big fan of Do The Right Thing and her work in it — but I find the journey of the play to the big screen equally as impressive.
After selling off the rights to his theatrical debut, Bare, Fraser learned an important lesson, so when it came down to making 1999’s No. 2 into a movie, he made sure he was in a position to call the shots. Despite getting pushback for never having directed any projects, Fraser stuck to his guns, largely out of a responsibility to the Pacific community, and thankfully he did. Naming Number 2 went on to win the Audience Award: World Dramatic at the 2006 Sundance Film Festival, and Fraser’s been crazy busy in the U.S. ever since. I also recommend pre-colonial Māori action/adventure The Dead Lands, which feels like such a 180 in comparison but speaks to Fraser’s versatility.
ISLAND SOLDIER (2017)
While Island Soldier wasn’t directed by a Pacific Islander, it is an important documentary that gives viewers a reliable insight into the exploitative and destructive nature of U.S. militarism in the Pacific, specifically Kosrae in Micronesia. It’s becoming more and more common for this type of content to be what tips the scales in changing policy, so I encourage people to take the time and educate themselves by watching stories like this one and Anote’s Ark on climate change in Kiribati, as well as Ciara Lacy’s Out of State on addiction and incarceration in Hawai‘i, all of which share colonization and capitalism as the root of our problems. These are just some of our realities that don’t get the attention — and certainly not the reparation — they deserve.
VAI (2019)
Released in 2019, Vai is a beautiful collection of eight shorts spanning the Pacific, tied together by a common thread of mana wahine. What I love most about this film is that in addition to being directed by nine Pacific women, we get to see dark-skinned grandmas, mothers, daughters and sisters in such fullness and beauty, thanks to Solomon Islands filmmaker Matasila Freshwater and Fijian filmmakers the Whippy Sisters, respectively. Due to colorism that permeates every nation, Melanesians often get erased and excluded from Pacific discourse, so I’m looking forward to seeing more content like this and the Vanuatu love story Tanna! Vai is actually a follow-up to another great movie showcasing eight Māori women directors, Waru. Be sure to watch them together, and keep an eye out for a third installment with a focus on our Aboriginal whānau coming soon.
ONCE WERE WARRIORS (1994)
Arguably Aotearoa’s most well-known film, Once Were Warriors is based on Alan Duff’s novel of the same name, Lee Tamahori’s 1994 feature centers on the Heke family, a Māori whanau struggling with poverty, alcoholism, and domestic violence. Upon its release, it blew up in the media, who praised brilliant performances from Temuera Morrison, Rena Owen, and Cliff Curtis; critics at the time also noted its hauntingly realistic, visceral portrayals of both physical and sexual abuse. While it is definitely hard to watch in several moments, at the core of this tale is a need to return to Indigenous knowledge and practices for solutions and healing. Note that this is based on a confronting truth in Māori communities, but it’s only one truth: There are several others. To help avoid falling into the trap of ignorant preconceptions and prejudice, you can round things out by treating yourself to other gems like The Dark Horse, Whale Rider, Patu!, and Poi E.
WAIKIKI (2020)
You can spot Hawai‘i in countless television shows and movies, but Waikiki is the first feature film written and directed by a Native Hawaiian, Sundance Institute Native Lab alum Christopher Kahunahana. It’s something I definitely felt as I stayed captivated by its raw energy, stripped of all the routine glamour and tourist-trap illusions the world has come to associate with Hawai‘i. That’s Hollywood, but it’s not what the Indigenous are living! Danielle Zalopany is perfectly cast in her role as dancer Kea. As she fights for her survival and sanity, we get a real sense of the plight of kanaka māoli, but also where the true beauty and power of Hawai‘i lies — in the people, in the land, and in their connection to one another.
O LE TULAFALE (2011)
Tusi Tamasese’s 2011 feature O Le Tulafale (or The Orator) is Samoa’s first feature film that was written and directed by a Samoan, shot entirely in Samoa, in the Samoan language, with an all-Samoan cast. Whew! Saili (Fa'afiaula Sanote) is a taro farmer who faces constant ridicule and rejection in his village for being a little person. When his family and land comes under threat, Saili is the only one left to defend them. While the setting is very Samoan, the themes of adversity, love, and courage are universal. From the story to the cinematography to the performances, there’s a wholeness to it that makes me proud of it. I can confidently say it does justice to our people and our culture in representing fa‘a Samoa (the Samoan way) authentically and thoughtfully, warts and all.
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Kapaemahu Wins at India’s Bengaluru International Short Film Fest - AnimationXpress
- Posted on 19th Aug
- Category: news
by Sharmindrila Paul - AnimationXpress - August 19, 2020:
The BISFF (Bengaluru International Short Film Festival) winners have been announced!
The Oscar accredited film festival is a reputed one and has lately announced the winners for its animated short films category. Based on legend from Hawaii, animated short Kapaemahu about transgender spirits, is the winner in the category followed by Avarya and Radha: The Eternal Melody as first and second runners up respectively.
Co-created by director-producers Hinaleimoana Wong-Kalu, Dean Hamer and Joe Wilson, Kapaemahu reveals the healing power of four mysterious stones on Waikiki Beach – and the legendary transgender spirits within them.
Overwhelmed by the win, Wong-Kalu on behalf of the entire team, told AnimationXpress, “We were initially surprised by the win for Kapaemahu because India seems so far from Hawai’i. But upon deeper reflection, we realised that Polynesian and Indian culture share much in common, including a more holistic understanding of gender diversity, and a colonial history that brought unwelcome political and societal changes. We also share the need for healing in this time of pandemic, and Kapaemahu teaches us how all healers should be respected for the good they do. In this context, the award from BISFF is incredibly meaningful for our team and makes us feel hopeful about the things that unite us across the distances. Here’s to the power of film, art and storytelling shining their light and bringing people together around the world.”
Full article HERE.
