A new Deaf History Museum at the University of Hawaiʻi at ����ԴDz� is bringing a century of Hawaiʻi’s Deaf history, culture and community into the heart of

The exhibit, “I ʻike ʻia, I lohe ʻia: Nā Moʻolelo o ke Kaiāulu Kuli o Hawaiʻi (To Be Seen, To Be Heard: The Stories of Hawaiʻi‘s Deaf Community),” features artifacts, stories and contributions from Hawaiʻi’s Deaf and hard-of-hearing community. It opened on September 14 in recognition of Hawaiian History Month and Deaf Awareness Month.

“Deaf history is Hawaiʻi history. This museum keeps our stories alive so future generations can see where we came from, know who we are, and proudly say this is my history,” said Ed Chevy, a Deaf historian and curator of the museum.

Deaf history is Hawaiʻi history

The Deaf community came together for a grand opening ceremony at , filled with sign language musical performances and a keynote by Yvette I. Ibarra-Keohuloa, a Deaf descendant of Hawaiian high-ranking chiefs Kameʻeiamoku and Kamanawa, trusted advisors to King Kamehameha I.

Ibarra-Keohuloa shared her moʻokūʻauhau (genealogy), moʻolelo (stories) and manaʻo (perspectives).

“Deaf people have always been a part of Hawaiʻi—our families, our communities, our culture and our stories,” Ibarra-Keohuloa said. “Our experiences may not always have been recognized, but that does not mean we are not here.”

The celebration also marked the first Deaf show presented on Kennedy Theatre’s main stage.

Deaf community members and advocates express Deaf history and culture have often been overlooked, leaving many people in Hawaiʻi with limited exposure to the community’s language, experiences and traditions. The museum aims to help close that gap by making those stories more visible and accessible to a broader audience.

Growing student interest

Interest in American Sign Language (ASL) and Deaf culture has been growing at ������Ƶ ����ԴDz�.

This fall marked the launch of a new path for students, a standalone .

Interest in ASL courses at ������Ƶ ����ԴDz� has surged in recent years. Enrollment has grown by 1,400% in six years, from 19 students in spring 2019 to 265 in fall 2025. Demand continues to exceed capacity, with long waitlists for courses.

A 2024 survey also found that 94% of ASL students are interested in pursuing a bachelor’s degree in ASL-English interpreting.

������Ƶ ����ԴDz� ASL instructor Gisella Tomita came up with the idea to bring the museum to Hamilton Library, placing it in the heart of the university in order to create space for greater awareness, connection and inclusion – inspiring students to carry those values into their future professions.

“Once, our languages were silenced. Today, we celebrate them openly. Both of my parents are Deaf, and they told me how sign language was discouraged in their school. Hawaiʻi also has a history of suppressing ‘ō������� Hawaiʻi (Hawaiian language) in schools and public life,” said Tomita who is one of three Deaf instructors of ASL at ������Ƶ ����ԴDz�. “There’s something special about connecting with other Deaf and hearing Hawaiians and locals. We share culture, history, and experiences that connect us to Hawaiʻi. Deafness may be invisible, but when we sign, we find each other. When hearing people are willing to learn and connect, we unite our two worlds.”

From walking in the footsteps of Queen Liliʻuokalani to stepping inside dramatic moments surrounding the overthrow of the Hawaiian Kingdom, communities across Hawaiʻi and beyond are invited to experience history in new ways during .

The month-long celebration features mele (songs), moʻolelo (stories), living-history performances, cultural experiences and community gatherings throughout September. The University of Hawaiʻi at ����ԴDz� and Hawaiʻi �ʴDzԴ�ʻī Coalition are among the sponsors of the annual commemoration, which is centered around the September 2 birthday of Queen Liliʻuokalani, Hawaiʻi’s last reigning monarch.

“Hawaiian History Month creates opportunities for our community to experience our history as something living—not simply something we read about in a book,” said Malia Nobrega-Olivera, director of strategic partnerships at �Ჹ�ɲ���ʻ���Գܾ����� who is helping organize events. “By returning to the places where these events happened and learning through mele, moʻolelo and the voices of our community, we can better understand how our history continues to shape who we are today and recognize that we are all part of the moʻolelo that continues.”

Hawaiian History Month opened August 30 with the Eō E Liliʻu Concert at Kawaiahaʻo Church, featuring mele honoring the Queen’s musical legacy, including performances by the ������Ƶ ����ԴDz� Hawaiian Chorus.

List of events

Activities are planned throughout September including:

• September 2—Hauʻoli Lā Hānau e Liliʻuokalani: Free �첹����ʻ�徱�Բ� (resident) tours of ʻIolani Palace, along with a teach-in and sing-along featuring Native Hawaiian leaders and students.
• September 5–6—Mai Poina: The Overthrow: A living-history walking tour around ʻIolani Palace recreating key events surrounding the 1893 overthrow of the Hawaiian Kingdom.
• September 12—Hawaiʻi History Day Student Documentary Video Showcase: Student filmmakers will screen six short documentaries exploring topics in Hawaiʻi history at ������ʻ��ō�����Ծ� Hale.
• September 19–20 and 26–27—The Beginning of a Garden: An immersive performance at Foster Botanical Garden exploring the people, plants and history that shaped one of Hawaiʻi’s oldest botanical gardens.
• September 21–22—Precious Garlands: Living-history performances at �ᾱ����’s Lyman Museum share the stories of Queen Emma and Queen Liliʻuokalani.
• September 22—The Historic Roles of Kanaloa Kahoʻolawe: A panel at Mission Memorial Auditorium explores the many roles Kahoʻolawe has played throughout Hawaiian history.

Events continue throughout September on Oʻahu, Hawaiʻi Island, Washington, D.C. and online, offering opportunities to experience Hawaiian history through living history, mele, moʻolelo, cultural experiences, community conversations and more.

For the full schedule visit

“ʻAʻohe puʻu kiʻekiʻe ke hoʻāʻo ʻia e piʻi”—“No cliff is so tall that it cannot be scaled.”

That message of perseverance now greets students inside the student lounge, where third-year student Tatiyana “Tati” Nero transformed a blank wall into a colorful celebration of Native Hawaiian culture, campus pride and determination.

Symbol of resilience

The ʻō������� noʻeau, or Hawaiian saying/proverb, is at the heart of Nero’s mural in the section of the Campus Center student lounge known as the Box Office. The design features the koaʻe kea, Kauaʻi‘s CC’s mascot, along with tribal-inspired designs and naupaka kahakai, a native coastal plant.

Nero chose the ʻō������� noʻeau specifically with the koaʻe kea in mind. The native seabird is known for soaring and nesting along steep sea cliffs, making it a fitting symbol for overcoming challenges.

“I wanted this to be a reminder of perseverance to students at Kauaʻi CC,” Nero said.

Stepping beyond comfort

The mural represents a major artistic leap for Nero. Although she has long been known as an artist, her previous work focused almost exclusively on black-and-white hyper-realism.

“At first I was hesitant because I don’t paint or work with color,” Nero said. “This was definitely a learning experience for me.”

Nero was first approached about creating the mural in summer 2025 as part of an effort to make the student lounge a more lively and welcoming space. She spent nearly a month developing the final design, and the project took about seven months to complete. With help from her art instructor, siblings and student government colleagues, the mural was unveiled February 4, 2026.

“I was given the space, and I kind of just wanted to bring life to the campus,” Nero said.

Born and raised in Anahola, Nero is pursuing a degree in Hawaiian Studies and plans to enter the nursing program. She also serves as an at-large senator in student government, where she works to empower Native Hawaiian students, veterans, students with disabilities and international students.

She said, “I’m committed to voicing the concerns of our students and ensuring that their college experience at Kauaʻi CC is gratifying.”

—Peace, quiet, security, tranquility, serenity.

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—Moanikeʻala Nabarro, Office of Communications, Ke Kulanui o Hawaiʻi ma Mānoa (University of Hawaiʻi at Mānoa)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

How is cultural knowledge received, carried and ultimately passed on?

A new exhibition at at explores that question through the lifework and lived experiences of master cultural practitioners ʻŌ���dz�� G. ʻUmi Kai and Suluʻape Keone Nunes.

Through photographs, storytelling, selected works and cultural materials, the exhibition explores how ʻike (knowledge) is carried, embodied, practiced and shared across generations.

“ʻAI MAMA: The Transmission of Knowledge Through the Lifework of ʻŌ���dz�� G. ʻUmi Kai and Suluʻape Keone Nunes” runs August 25–December 11, 2026. An opening reception will be held Friday, September 11, from 4–7 p.m. Admission is free.

The title ʻAI MAMA refers to the process of chewing food and sharing it with, or giving it to, another. Within the exhibition, the act becomes a metaphor for the transmission of knowledge–what is received is worked through, understood, embodied and passed on.

Kai and Nunes come from distinct cultural lineages, but their respective practices share a commitment to the continuation of ʻike. Their work reflects years of learning, observation, discipline and relationships, as well as responsibility to those who came before them and those who will follow.

Sharing knowledge

“Knowledge is not something we simply possess,” said Kapulani Landgraf, curator and director of Gallery ʻIolani. “It comes to us through others, and with that comes a responsibility to carry it forward. ʻAI MAMA is about that process of receiving, learning, practicing and ultimately sharing what has been entrusted to us.”

Co-curated by Landgraf and Noelle M.K.Y. Kahanu, ʻAI MAMA is the second in a four-part Gallery ʻIolani exhibition series centered on Hawaiian mentorship and the transmission of ʻike. The series explores the role of mentorship, relationship and kuleana (responsibility) in sustaining Hawaiian knowledge and cultural practice.

Public programs, artist conversations, workshops and community gatherings will accompany the exhibition from September through December.

Gallery ʻIolani is open Tuesday–Saturday, 12:30–4:30 p.m. Admission is free. Learn more at .

Kamaka Frasco’s lab is a row of tanks at the University of Hawaiʻi at Hilo Coral Nursery, where she spends part of her week tending coral for restoration. She spends the other part in a classroom at Ka ʻUmeke ����ʻ���, a preK–12 Hawaiian language immersion school, teaching students how that restoration works—entirely in ʻō������� Hawaiʻi (Hawaiian language). Some of the corals she cares for don’t yet have documented . Helping identify them is part of the job.

“I want to show them that ʻō������� Hawaiʻi exists everywhere,” said Frasco, a ������Ƶ Hilo English graduate and a member of the ʻō������� Hawaiʻi cohort of the university’s (PIPES).

A single marine science course sparked her love for ocean conservation. Her PIPES internship gave her somewhere to put it and a way to merge it with storytelling. Financial support from PIPES and ������Ƶ �ᾱ����’s allowed her to work at the nursery while collaborating with , ������Ƶ �ᾱ����’s Hawaiian language center, on a children’s book about coral restoration, written in Hawaiian.

From intern to mentor

This summer, Frasco stepped into a peer mentor role, guiding new interns through research and huakaʻi (excursions). Her focus: getting them to “speak their manaʻo (ideas)” and recognize their own capacity to shape resource management.

“I’m super grateful,” Frasco said. “I never thought I’d end up where I am today, but PIPES made all the difference.”

When Lele Wale premiered at the University of Hawaiʻi at ����ԴDz�’s in March, audiences embraced the original hana keaka (Hawaiian theatre work) inspired by the lived experiences of Lahaina after the 2023 Maui wildfires. This August, the production reaches the destination it was always meant for, home.

A company of 25 students, alumni, faculty and theatre professionals from ������Ƶ ����ԴDz� will travel to Lahaina for four performances from August 7–8. Six members of the cast and crew are from Maui, including three cast members from Lahaina whose personal experiences helped shape the production.

For Maui native Ikaika Mendez, a ������Ƶ ����ԴDz� master of fine arts candidate in and the writer and director of Lele Wale, bringing the production home is both meaningful and humbling.

“I’m hoping that, even though we’re three years later, it still sparks hope, it still sparks joy, and it still reveals to the community that the people are what make the place, and the place is what makes the people. I’m hoping this is a timeless experience where people can reminisce, but also have hope for a better future.”

Related ������Ƶ News story: Lahaina’s story lives in new hana keaka production, February 5, 2026.

For Lahaina

Rather than recreating the tragedy of the fires, Lele Wale creates space for reflection, healing and connection through Hawaiian theatre, hula, music and storytelling.

Lele is the traditional place name for Lahaina. In ʻō������� Hawaiʻi (Hawaiian language), lele wale evokes prayer and speaks to motion, as well as the act of releasing. The hana keaka is performed in a combination of ʻō������� Hawaiʻi, Hawaiʻi Creole English (Pidgin) and English intertwined with live music, hula and imagery.

The Lahaina performances are presented in partnership with Festivals of Aloha, with support from Hawaiian Airlines and the Wave of Harmony Foundation. Their sponsorship is helping transport the cast, crew and production from Oʻahu to Maui so the story can be shared with the community that inspired it.

“The significance of this hana keaka traveling to Lahaina is in the intention and creation of the work,” said Tammy �Ჹ������ʻō��ܲ� Baker, director and founder of the ������Ƶ ����ԴDz� Hawaiian Theatre program. “The moʻō������� (story) encapsulated in Lele Wale was developed by a kama (child) of Maui for their community.”

As Lahaina marks three years since the wildfires, Lele Wale returns not as a finished work, but as an offering. It honors those who were lost, celebrates the strength of those who remain, and reminds audiences that the heart of Lahaina has always been and continues to be its people.

Ticket information

Performances are scheduled for Friday, August 7, at 2 p.m. and 7 p.m., and Saturday, August 8, at 2 p.m. and 7 p.m. in the Haleakalā Ballroom at The Westin Maui Resort & Spa. .

—Name, term, title.

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Check back for more ʻō������� Hawaiʻi.

—Moanikeʻala Nabarro, Office of Communications, Ke Kulanui o Hawaiʻi ma Mānoa (University of Hawaiʻi at Mānoa)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

Andrew “Keahi” Castro, a Windward Community College student, has created ������ō�Բ��Ա�, a free online platform dedicated to the Hawaiian strategy game kōnane, which was traditionally played with black and white stones. Inspired by his desire to reconnect with his heritage, Castro aims to bring the game into the digital age.

“I wanted to make sure a Hawaiian game had just as much intentionality and respect as chess,” Castro said. “I wanted everyone in the world to be able to play it.”

Using his background in mathematics and statistics, Castro spent years building . The platform features live multiplayer games, tournaments, puzzles and an artificial intelligence opponent named Lopako. Unlike many gaming sites, it is completely free and ad-free.

Connecting to culture

Castro developed the platform as a student in Windward CC’s fully online program in Hawaiian studies called .

His grandparents moved from Oʻahu to California in the 1950s. Raised in California and now living in Washington, Castro found the Hawaiʻiloa program an essential bridge to his roots.
“I’ve always wanted to learn more about Hawaiʻi and my culture,” Castro said. “Hawaiʻiloa seemed like a great opportunity for it.”

Despite the distance, the Hawaiʻiloa program fostered a strong sense of community, and Castro is on track to earn an associate degree in Hawaiian studies in the fall.

“The online classes have been great,” he said. “The classmates I’ve worked with have been great, and I’ve made some great connections. Even being far away, it’s helped me feel connected.”

For future generations

Castro is integrating ʻŌlelo Hawaiʻi (Hawaiian language) throughout the site, including support for specialized characters in chat and usernames. He hopes to eventually offer an Hawaiian-language version.

Ultimately, he hopes the platform will preserve the game for future generations.

“Everyone was playing it,” Castro said. “It can be played all the time again.”

—By Nakoa Camvel

—Paddle (As a canoe).

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“E kaupē aku nō i ka hoe a kō mai (Put forward the paddle and draw it back).”

—Lanakila Grosse, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

—Wild ginger.

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“Nui nā ʻawapuhi i koʻu māla (There is plenty of ginger in my garden).”

—Haʻaheo, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

—Out of sight, hidden.

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“Aʻole au i ʻike ka puka komo i ke ala hekehi, ua nalo (I did not see the entrance to the hiking path, it disappeared).”

—Kiki, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

—Handsome, pretty, lovely of fine appeareance; a handsome or fine looking person.

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“He nohea ʻoe i kuʻu maka (You are lovely in my eyes).”

—Kealiʻi DeMello, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

—Mongoose.

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“Ua holo ka Manakuke ma luna o ke alanui (The Manakuke ran across the road).”

—Noel Mendoza, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

at the University of Hawaiʻi–W����� Oʻahu was selected to be a featured contributor to “,” an exhibit curated by the Society of American Archivists (SAA) to commemorate the 250th anniversary of the founding of the United States.

The national online repository tells the story of our country in documents, according to the SAA website. Sourced from institutions across the U.S. and internationally, the collection aims to highlight the full range of America’s documentary heritage and the role archives have played in preserving and understanding our history.

ʻUluʻulu staff nominated , a film from its collection. Produced in 1987, the film features Kānaka Maoli (Native Hawaiians) discussing the contemporary meanings of mana (spiritual power) and kuleana (responsibility), and remains a valuable resource, offering profound insights into the Hawaiian Renaissance, its unresolved issues, and its enduring legacy.

“When the call for submissions came for this exhibit, I knew that it was important for ʻUluʻulu to participate so that we could share a perspective of U.S history from the viewpoint of Hawaiʻi and our communities,” said Janel Quirante, head archivist at ʻUluʻulu.

The challenge was choosing just one film to represent their collection.

Native Hawaiian voices live on

“ʻUluʻulu staff voted and we enthusiastically selected Hawaiian Soul from the Victoria Keith Productions Collection to represent us and to highlight the exhibit theme of Unfinished Revolutions,” Quirante said. “Hawaiian Soul was produced in 1987, but its message of what it means to be Native Hawaiian in contemporary America still resonates today.”

Filmmaker Victoria Keith produced, directed and edited Hawaiian Soul, which was co-produced by Naomi Sodetani.“I consider the selection of Hawaiian Soul for this special ‘250 for the 250th’ exhibit to be the honor of a lifetime!” Keith said. “To think this documentary, produced nearly 40 years ago, is going to be made visible again for new generations is an amazing experience.”

Keith added, “Mahalo to the ʻUluʻulu staff for such wonderful support, and of course to the amazing people who shared their manaʻo (ideas) in the video. May their voices live on and be shared through this significant historic exhibit! I am thrilled and excited to be a part of it!”

For more visit .

—By Zenaida Serrano Arvman

—Humpback whale, forcing up the water like waves hitting a reef, reef flats.

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“E ola i ke kai ma ka leo o nā koholā (The sea is alive with the voices of the humpback whales).”

—Hunter Landt, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

—To embrace with arms, as in a hug, or holding an infant.

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“��ū�����쾱 wau i kaʻu mau keiki i kēlā me kēia lā. (I embrace my children every day.)”

—LaurieAnn Takeno, he haumāna ʻōlelo Hawaiʻi (Hawaiian language student), Ke Kulanui Kaiāulu o Honolulu (Honolulu Community College)

For more information on other elements of the definition and usage, go to the ������Ƶ Hilo .

It’s never too late to grow in new directions. For Scott “Uncle Scotty” Garlough, earning an associate of Arts in Liberal Arts from Honolulu Community College is more than a degree—it’s planting seeds for the future.

Planting the first seed

Before enrolling at Honolulu CC, Garlough had built a life rooted in service. As operations manager at Hoʻoula ʻĀ���Բ�, a 100-acre nature preserve in Kalihi Valley, he has spent years helping restore native forests and supporting community health.

“In healing the land, we understand we are healing the community,” he said.

Although education was not a part of his original plan, a turning point came through the Ola Niuhelewai Program and encouragement from Kahale Saito and Kalei at Honolulu CC.

What began as a few Hawaiian language classes eventually grew into a full academic path. Over time, Garlough transitioned into the Liberal Arts program while continuing to take Hawaiian studies courses that aligned with his cultural work.

“Coming to school is my way of planting seeds,” he said. “The seeds will sprout when the conditions are just right.”

Blooming beyond the classroom

At Honolulu CC, Garlough found more than a classroom—he found community.

“I’m surrounded by people that I love who love me,” Garlough shared. As a peer mentor at the Hawaiian Center, he supports fellow students while continuing to learn from them. He also maintained a 4.0 GPA, balancing academics with community leadership.

Despite initial hesitancy about returning to school, Garlough pushed forward.

“All the things—‘I’m too old,’ ‘I don’t know how to use a computer,’ but once you start, it’s not as scary as you think,” he said.

Back to the roots

Garlough’s path to college was shaped by hardship. His mother was incarcerated during his childhood and passed away when he was 13. He spent years navigating homelessness, addiction and trauma.

Meet more amazing ������Ƶ graduates

Reflecting back, he realizes he had people guiding him—his kupuna leading him toward the community college that has played such an important role in his family.

“It wasn’t until I felt love that I was able to transform myself,” Garlough said. “I listen to what my kupunas are telling me. I listen to the plants. They understand energy and come with good energy.”

The power of community

For Garlough, everything comes back to community.

“Healing a community takes a community,” he said. “We rely on communities in times of trouble, but we also should in prosperity.”

Through his work with organizations such as E Alu Pū and Mālama Loko Iʻa, he advocates for a Hawaiian cultural point of view. Everything he studied in the classroom has allowed him to give back to his community, from making hala sails to repairing the hale. Garlough also practices Uhau Humu Pōhaku, Hawaiian rock masonry, as well as fishing, lashing, and caring for fishponds.

Looking ahead

While earning his degree is a meaningful accomplishment, Garlough sees it as just the beginning.

“This is step one,” he said. “There are a lot of people out there with knowledge, but no pathway to share it. This gives me that opportunity.”

His ultimate goal is to continue planting the seed for others. He is passionate about helping people connect with themselves, their culture, and their community.

“Plant the seed,” Garlough advised. “Wait for it to grow.”

An innovative mass-timber public space designed for the Kakaʻako Ma kai shoreline was presented by University of Hawaiʻi at Mānoa students at the 2026 International Mass Timber Conference in Portland, Oregon. “The Hale” integrates Indigenous architectural principles with modern sustainable materials to propose a new model for public gathering spaces in Honolulu.

The project was originally developed in a first-semester graduate design studio by architecture students Edwin Sun, Jayden Uowolo and Dylan Martos. Reimagining the traditional Hawaiian “place of shelter” as a contemporary civic space, the design adapted cross-laminated timber and glue-laminated timber systems for long-term performance in tropical marine environments.

“I’m incredibly grateful for the opportunity to present my team’s work at the International Mass Timber Conference and represent the School of Architecture,” said Uowolo. “This experience pushed me to think more deeply about how traditional Pacific Island ideas can shape contemporary design, while also connecting me with a global community of designers, builders and thinkers. I left with a stronger understanding of how culture, material systems and industry all connect in the making of architecture.”

Addressing coastal challenges

The project addressed coastal challenges by elevating the structure to mitigate projected sea-level rise, storm surges and salt exposure. It also incorporated climate-specific durability strategies such as marine-grade coatings, protected steel connections and rainscreen façades integrated with cross ventilation.

Supported by School of Architecture Dean Mo Zell and guided by professors Ben Parker and Ho Kyung Lee, the students’ research also explored using locally harvested softwoods to strengthen regional supply chains and reduce transportation-related carbon emissions.

“Opportunities like this are so valuable to students,” said Parker. “They give them early exposure to the critical topics professional architects are discussing, and provide chances to network and connect with firms as they plan their own future careers. These events also enrich the school and the profession, as the exchange helps everyone to integrate education and research with real-world concerns.”