When a Hawaiian family faces a devastating loss in , the Kumulipo, a Hawaiian creation chant, connects the living with those who came before them. The new play makes its world premiere November 18鈥�22 at 鈥檚 Earle Ernst Lab Theatre at the University of Hawaiʻi at 惭腻苍辞补.

For playwright Sheila Miles, the story grew out of a search that began in her own family. Her late mother had been tracing their genealogy and died before she could finish. A conversation with her playwriting adviser, Kumu 贬补颈濒颈ʻ艒辫耻补 Baker, prompted Miles to take a closer look at the Kumulipo and what it could teach her about her Hawaiian identity. Miles is pursuing a master of fine arts in playwriting at 糖心视频 惭腻苍辞补.

“I have always and will always be interested in indigenous creation stories and how they inform our present day lives,” said Miles. “This is my endeavor to understand this creation story and make connections with present day reality,” Miles said.

The production is directed by Ed Refuerzo, an MFA candidate studying directing, and is part of 2026–2027 Primetime Series.

Told in ʻōlelo Hawaiʻi (Hawaiian language), Hawaiʻi Creole English (Pidgin) and English, the story begins when Haumea receives a hōʻailona—an omen—that she desperately tries to prevent. As generations of one family navigate grief, love and change, the Kumulipo, a Hawaiian origin chant, becomes a thread connecting ancestors and descendants.

“The Storyteller asks us to remember that stories are not simply told鈥攖hey are lived. They carry our histories, shape our futures, and help us understand who we are in relation to one another and to the world around us,” said Refuerzo.

Stories across generations

The play presents moʻolelo, or stories, as an active part of life. It explores how stories can guide us through loss, celebrate resilience and shape our understanding of who we are through relationships, place and memory.

Those connections also reflect the theatre鈥檚 season theme, Finding Home in the Extraordinary. In The Storyteller, home takes shape through language, ancestry, family and the stories passed between generations.

The production is presented by 糖心视频 惭腻苍辞补鈥檚 .

Ticket information

Tickets are $9 for 糖心视频 惭腻苍辞补 students and $18 for general admission.

The Yellow Brick Road begins with a little imagination and things others have thrown away.

At the University of Hawaiʻi at 惭腻苍辞补鈥檚 , discarded materials become the world of . The musical runs October 23–31, opening the Department of Theatre & Dance鈥檚 season, Finding Home in the Extraordinary.

Directed by graduate student Jack Romans, the production draws on the resourcefulness of childhood play. Everyday objects take on new life as the Yellow Brick Road, the Emerald City and the familiar characters Dorothy and Toto meet along their journey.

“Everyone deserves quality art, and everything has the potential to become part of it. Our Land(fill) of Oz transforms discarded materials into Dorothy鈥檚 adventure, inviting audiences of all ages to wonder, reimagine and see new possibilities in the world around them,” Romans said.

Familiar songs, inventive designs and playful storytelling invite children and adults to rediscover Oz. The production celebrates creativity and giving discarded objects a new purpose. At its heart is Dorothy鈥檚 timeless search for home, alongside companions discovering their own courage, compassion and wisdom.

The closing matinee performance on October 31 brings Halloween into Oz. Audiences are encouraged to wear costumes, especially creations made with recycled or reused materials. Festivities include a costume parade and contest before the show and photos with the cast afterward.

Ticket information

Performances run for two weekends: October 23 and 24 at 7:30 p.m., October 25 at 2 p.m., October 30 at 7:30 p.m. and October 31 at 2 p.m. A pre-show chat on Saturday, October 24, begins at 6:45 p.m. The musical is recommended for ages 5 and older.

Regular tickets range from $9 for 糖心视频 惭腻苍辞补 students to $25 for adults. Special October 24 pricing includes $6 糖心视频 惭腻苍辞补 student tickets and $15 adult tickets.

For tickets and details, .

A University of Hawaiʻi at 惭腻苍辞补 nursing simulation designed by the to prepare future nurses to care for Hawaiʻi’s aging population is showing promising results.

The Aging With Grace program significantly increased nursing students’ self-reported confidence using telehealth and received high participant ratings, according to findings published in the . The simulation is now a required competency activity for undergraduate nursing and graduate nurse practitioner students.

Nearly one in five Hawaiʻi residents is 65 or older, yet only a small percentage of the state’s registered nurses and nurse practitioners hold certifications in geriatrics.

“Our novel geriatric simulation curriculum can build the knowledge, confidence and collaborative skills needed to care for older adults with increasingly complex health needs,” said Courtnee Nunokawa, assistant professor and director of the Doctor of Nursing Practice program. “The evidence-based Aging With Grace curriculum was designed by our faculty to address a critical workforce need.”

Following a patient’s journey

Unlike traditional simulations focused on a single medical encounter, Aging With Grace follows the same patient through three stages of care: independent living, post-stroke rehabilitation and long-term care.

Undergraduate nursing and graduate nurse practitioner students collaborate to address the patient’s changing physical, emotional and medical needs.

Trained actors from , a partnership between 糖心视频 惭腻苍辞补 nursing and the , portray patients to create realistic clinical experiences. Faculty also used artificial intelligence to generate a photograph of the simulated patient’s deceased spouse, adding emotional depth.

The curriculum emphasizes five components of age-friendly care: What Matters, Medication, Mentation (mental health, memory, and cognitive function), Mobility and Multimorbidity (co-occurrence of multiple chronic conditions).

The simulation involved 125 students across six sessions in March and April 2024. Of the 112 students who completed evaluations, participants rated the experience highly and reported statistically significant improvements in telehealth confidence across all measured areas.

Faculty are exploring partnerships with other health disciplines, health care organizations and community groups to expand the program.

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The University of Hawaiʻi at 惭腻苍辞补鈥檚 announced its 63rd production season at . This season celebrates creativity, culture and community by featuring world premieres, classics reimagined through local perspectives, international collaborations and original choreography.

Mainstage Series

• The Wizard of Oz (October 23–31)
  A colorful reimagining of the beloved classic in a world built from creativity, transformation and upcycled imagination.
• Little Shop of Horrors (March 4–14, 2027)
  The cult-classic musical takes root in early 1960s Honolulu in this fresh local reimagining.

Primetime Series (in the Earle Ernst Lab Theatre)

• Epic (September 30–October 4)
  An international collaboration explores inclusivity, embodiment and dance as a universal language.
• The Storyteller (November 18–22)
  A moving new work by Sheila Miles (Master of Fine Arts or MFA Candidate) exploring family, grief, resilience and the enduring power of 尘辞ʻ艒濒别濒辞 (stories).
• MFA | BFA Dance Concert (February 3–77, 2027)
  Original choreography by the next generation of dance artists from 糖心视频 惭腻苍辞补
• Hey, Black Child! (April 14–18, 2027)
  A joyful story of friendship, belonging, self-discovery and finding one’s voice on Oʻahu.

Late Night Theatre Company (in the Earle Ernst Lab Theatre)

• el momento en que me despert茅 (December 3, 5 & 6, 2026)
  A devised Butoh Dance drama piece facilitated and choreographed by Santiago Rivera Rodas.
• Late Night Raqs (April 23–25, 2027)
  A belly dance showcase facilitated by Samantha Giridhar.

To learn more about the upcoming season, visit .

When Lele Wale premiered at the University of Hawaiʻi at 惭腻苍辞补’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 糖心视频 惭腻苍辞补 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 糖心视频 惭腻苍辞补 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 糖心视频 News story: Lahaina鈥檚 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 ʻ艒濒别濒辞 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 ʻ艒濒别濒辞 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 贬补颈濒颈ʻ艒辫耻补 Baker, director and founder of the 糖心视频 惭腻苍辞补 Hawaiian Theatre program. “The 尘辞ʻ艒濒别濒辞 (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 Haleakal膩 Ballroom at The Westin Maui Resort & Spa. .

For generations, audiences have applauded the performers in the University of Hawaiʻi at 惭腻苍辞补’s renowned Kabuki in English productions. Behind the scenes, one woman helped preserve the tradition that made those performances possible.

Former students, colleagues and friends gathered on July 21 to honor 95-year-old Japanese classical dance master Onoe Kikunobu, whose artistry and teaching helped shape both 糖心视频 惭腻苍辞补’s Kabuki in English and Japanese dance traditions for decades.

The luncheon also recognized two of her longtime prot茅g茅s, Onoe Kikunobukazu (Howard Asao) and Onoe Kikunobuaki (Shirley Miyamoto), whose decades of teaching, performing and mentorship have helped ensure her legacy endures. The celebration also included a proclamation from Gov. Josh Green recognizing Kikunobu and her prot茅g茅s for their lasting contributions to preserving Japanese classical dance in Hawaiʻi.

Master artist

Gertrude Yukie Tsutsumi, professionally known as Onoe Kikunobu, is considered one of Hawaiʻi‘s most accomplished nihon buy艒, or Japanese classical dance, artists. She began her training in Honolulu鈥檚 Band艒 School before continuing her studies in Japan with the Onoe School, where she earned a shihan, or master of dance diploma and received the professional name Onoe Kikunobu. Her lifelong dedication to preserving Japanese classical dance earned her recognition as a Living Treasure of Hawaiʻi and a National Heritage Fellow, the nation鈥檚 highest honor in the folk and traditional arts, presented by the National Endowment for the Arts in 2015.

Her 糖心视频 legacy began in 1951, when she worked with legendary theatre professor Earle Ernst on The House of Sugawara, the university’s first postwar Kabuki in English production. Kikunobu helped with choreography and music, served as an interpreter and went on to contribute to nearly every 糖心视频 Kabuki in English production through 2010.

“What she brought was a real, embodied understanding of Japanese dance and kabuki,” said Julie Iezzi, 糖心视频 惭腻苍辞补 professor of theatre and dance and one of Kikunobu’s former students.

“There’s no substitute for that. It’s not something you get out of a book. You see it, you feel it, and you learn it by working alongside someone like Sensei.”

Sensei鈥檚 legacy

Beginning in 1980, Kikunobu served as a lecturer at 糖心视频 惭腻苍辞补, teaching Japanese dance and preparing students for Kabuki in English productions. Though she has since retired from teaching, her influence carries on through the students she inspired.

“She cared so much about passing on the art correctly,” said former student and 糖心视频 惭腻苍辞补 theatre alumnus David Furumoto, who later taught theatre and directed Kabuki productions at the University of Wisconsin鈥揗adison. “There was meaning behind everything she taught.”

Kikunobu’s influence extends far beyond Hawaiʻi. Former students like Furumoto have carried her teachings to classrooms and stages around the world. In 2024, Iezzi led 糖心视频 惭腻苍辞补’s popular Kabuki in English production of The Maiden Benten and the Bandits of the White Waves on a tour to Japan, demonstrating that the tradition Kikunobu helped build more than seven decades ago continues to thrive.

Six students from the University of Hawaiʻi at 惭腻苍辞补 dance program in the returned from an international dance tour across London, Paris and Poitiers, France this spring, performing and collaborating with artists from around the world.

The group, joined by two dance instructors, traveled in March and April for a tour that culminated at the innovative Festival 脿 corps at the Universit茅 de Poitiers in France. The festival explores and questions the body and its aesthetic, physical and contemporary representations.

“Participating in an international tour showed me that movement transcends borders,” said Karissa Thuy Deen-Bugaj, a theatre and dance master of fine arts (MFA) candidate. “To feel an audience connected with the work across borders is one of the reasons I love my craft.”

Hina inspired

At the center of the tour was the original and dynamic production of Tides of the Moon, a 20-minute dance theater performance created by university educators and artists Sami L.A. Akuna and Kara Jhalak Miller.

Inspired by the Pacific Moon goddess Hina, the choreography explores the connection between water and sky, body and tide while reflecting on climate, change and transformation. The process based work was performed in Poitiers as part of an international festival. Tides of the Moon sold out and ended with a standing ovation.

“When the audience rose to their feet, cheering and applauding, I felt something happen that I’ve only read about in theory: the dancing body really can speak across cultures,” said Kun Zhou, a theatre and dance, and performance studies graduate student. “As a dance PhD student researching cross-cultural embodiment, that standing ovation turned theory into something I could feel in my own body.“

According to Akuna, Tides of the Moon drew from moʻolelo of Hina, the Hawaiian moon calendar and themes of climate change. While on tour, the dancers took part in performances, workshops and creative exchanges at the Intercultural Roots conference, dedicated to the cultivation of supportive environments in which artistic practices grow, contributing to positive transformation locally and globally.

“Our students interacted with performers from Portugal, Berlin, Korea and France through various workshops and performances and left with new friendships and a lasting experience they will never forget,” Akuna said.

Student artists

Students on the tour were Zhou, Thuy Deen-Bugaj, Ellie Fischenich, Santiago Isaac Rivera Rodas, Bayardo Rodriguez Jr. and Zhenhao Wen, who performed, taught and presented original choreography and dance films throughout the trip.

The University of Hawaiʻi at 惭腻苍辞补鈥檚 Department of and will debut from April 17–26, a large-scale Balinese shadow puppetry performance that blends tradition with innovation. The show features towering shadow figures, live actors and dancers, and a full gamelan orchestra, an Indonesian ensemble known for its layered, rhythmic sound.

At the center is a love story that has traveled across centuries. The Panji tales, rooted in 13th-century Java and later embraced in Bali, follow a prince and princess separated again and again by misfortune and disguise. Their journey unfolds through “electric shadows,” a modern Balinese style that uses giant screens, dramatic lighting and performers moving both in front of and behind the stage.

“Everything you see on the screen is created live, in the moment,” said co-director Kirstin Pauka, a professor in theatre and dance. “This type of theatre is as complex as shooting a movie, and we do it all in one take.”

The production is co-directed by Balinese master artist I Mad茅 Moja, who returns to Kennedy Theatre after staging two earlier works. The team leans fully into handmade design. No digital projections. No computer effects. Instead, simple materials are transformed into moving shadows, music and motion.

“The level of teamwork required goes far beyond most theatre productions,” Pauka said.

That collaboration stretches across campus and community. The cast includes 糖心视频 惭腻苍辞补 students, local performers, and keiki learning the art form. The live music is led by master musician I Mad茅 Widana.

Ticket information

. Performances are scheduled for Friday and Saturday evenings, with a Sunday matinee on April 26. Pre-show talks will be held before select performances.

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Graduate and advanced undergraduate students from across the University of Hawaiʻi System and around the world gathered February 12–15, for the (IGSC) at the East-West Center, marking a milestone year for the long-running, student-led event.

Organized entirely by a graduate student team and supported by the , the 2026 conference centered on the theme, “Legacies Through Time: Rethinking the Past, Confronting the Present, Shaping the Future.” Over three days, approximately 140 participants representing more than 25 countries and regions across North America, the Asia-Pacific and Europe, representing more than 65 institutions, transformed the Hawaiʻi Imin International Conference Center into a hub of interdisciplinary exchange.

“Planning this conference reminded us that scholarship is not just about individual achievement—it鈥檚 about building relationships and creating spaces where emerging scholars feel seen, challenged and supported,” said Xiaoyun Neo, a master鈥檚 student in at 糖心视频 Mānoa and one of the conference鈥檚 organizers. “Watching students step into that space with confidence and generosity was the most rewarding part of this milestone year.”

Neo added, “I also echo the sentiment expressed by IGSC co-chairs Tiến Nguyễn Minh (MA, ) and Oliver Lilford (MA, ) that as scholars, artists and practitioners, we do not simply inherit legacies—we negotiate, challenge and reshape them in the present, using them to reinterpret the past or set the course for different, more hopeful futures.”

Nearly 30 themed panels—including paper presentations, poster sessions, a roundtable discussion and an evening session featuring creative projects and films—highlighted the depth and diversity of student scholarship. Topics ranged from intergenerational memory and language preservation to environmental change and artistic expression, reflecting how legacies shape identities, institutions and futures.

For many presenters, the conference offered a first opportunity to share research in a supportive, peer-centered environment. Graduate student moderators guided discussions, facilitated questions and fostered dialogue across disciplines, creating space for feedback and collaborations.

“Besides the intensive three-day conference, this year鈥檚 IGSC also curated pre- and post-conference activities supported by our incredible partners and sponsors,” said Minh. “Our participants enjoyed a field trip to the Mānoa Heritage Center; a tour at the East-West Center Art Gallery; a keynote address in honor of the 25th IGSC by renowned scholar, also an alumna of 糖心视频 Mānoa, Dr. Katerina Teaiwa, sponsored by the Asian American-Pacific Islander, Environmental Humanities and Environmental Justice Initiative; and a play about Joseph Kekuku and his steel guitar invention at the Honolulu Theatre for Youth. These activities not only fostered connections between our participants with local institutions, they also provided opportunities for us to introduce Hawaiʻi鈥檚 own legacies through diverse and interactive approaches.”

Launched in 2002, the International Graduate Student Conference continues to serve as a meeting place for emerging scholars to test ideas, build networks and experience academic exchange beyond the classroom.

The University of Hawaiʻi at 惭腻苍辞补 has recognized 20 degree programs for exemplary commitment to improving curriculum and student learning through a new faculty-led honor launched this academic year.

The Excellence in Assessment for Improvement: H艒poe Assessment Award celebrates programs that demonstrate outstanding, collaborative assessment practices. “H艒poe” describes the 驶艒hi驶a lehua in its fullest, most vibrant bloom—a symbol of programs that have matured and flourished. The award was established in 2025 by the 惭腻苍辞补 Faculty Senate’s Committee on Educational Effectiveness (CEE).

“This award represents the maturity and beauty of programs that have truly blossomed through meaningful assessment,” said Justin Walguarnery, CEE committee chair. “It is a ‘for faculty, by faculty’ initiative that celebrates the hard work of using assessment to make an appreciable difference in the academic experience.”

The inaugural recipients include programs in:

• Anthropology (MA and PhD)
• Asian International Affairs (MA)
• Cinematic Arts (BA)
• Early Childhood Education (MEd)
• Education (PhD)
• Education: Teaching (MEdT)
• Educational Admin (MEd)
• Educational Psychology (MEd and PhD)
• Elementary Education (BEd)
• Library & Information Sciences (MLISC)
• Professional Educational Practice (EdD)
• Secondary Education (BEd)
• Social Work (BSW)
• Sociology (MA)
• Special Education (BEd and MEd)
• Theatre and Dance (BA and BFA)

Faculty-driven review process

Recipients were selected through a rigorous peer-review process led by the Assessment Report Review Committee (ARRC), a group of about 40 faculty members trained jointly by CEE and the 糖心视频 Assessment and Curriculum Support Center (ACSC). Organizers describe the award as a fully faculty-owned effort that highlights collaboration and shared accountability.

This award represents the maturity and beauty of programs that have truly blossomed through meaningful assessment.
—Justin Walguarney

All 糖心视频 惭腻苍辞补 degree programs submit biennial assessment reports outlining student learning outcomes, curriculum development and benchmarks for achievement. These reports are required for accreditation and are publicly available on the ACSC website. From more than 200 undergraduate and graduate programs, 20 were recognized in the award’s inaugural year.

Beginning in fall 2026, every degree program will have the opportunity to self-evaluate using the award criteria, including student learning outcomes, curriculum mapping, evidence of learning, fair and reliable evaluation, use of results and culturally responsive assessment practices. Programs indicating “full bloom” will be automatically nominated for review.

By expanding both self- and peer-nomination pathways, organizers hope to spotlight the collaborative, reflective work strengthening education across campus.

CEE committee members that developed the award are Justin Walguarnery, Nicole Schlaack, Jamie Simpson Steele, Joseph Foukona, Alice Tse, Joanna Philippoff, Emile Loza de Siles, Dan Port, Maya Saffery, Jessica Gasiorek, Aimee Chung, Arby Barone, Ann Sakaguchi, Alohilani Okamura, Monica Esquivel and Yao Hill.

Voices, movement and moments of reflection filled at the University of Hawaiʻi at 惭腻苍辞补 in early February as , a biennial conference brought together scholars, artists and community members for two days of exchange. Hosted by the (ANNO), the conference explored how Indigenous performance sustains knowledge, language and relationships across generations.

The second biennial conference featured panels, workshops and special events that emphasized learning through practice.

Participants took part in everything from hula workshops led by 糖心视频 惭腻苍辞补 instructor and Kumu Hula Tracie Kaʻōnohilani Farias Lopes to kapa making, puppet making, carving and a movement-based session by Sami L.A. Akuna that invited reflection on storytelling and the body.

“We hope that the conference delegates engaged in the many offerings of the two-day event and see the importance of Indigenous performance as a site of knowledge production, cultural preservation, and collective imagination,” said Tammy Hailiʻōpua Baker, who co-founded ANNO and is a director of 糖心视频 惭腻苍辞补鈥檚 award-winning .

One panel, Aloha ʻĀina Embodied: The Praxis of ʻAha, was conducted entirely in ʻōlelo Hawaiʻi. The session featured several kumu, including Kaliko Baker, an associate professor at ; Kaipu Keala, an assistant professor at , Kaulu Luuwai, an attorney with at William S. Richardson School of Law, and Snowbird Bento, kumu hula of Ka P膩 Hula O Ka Lei Lehua.

Panelists discussed how is expressed through performance and community practice, reflecting on the ways language and movement inform artistic and community-based work.

Celebration and story

The conference concluded with a hoʻolauleʻa, a celebration that combined conversation and creative sharing. Events included a film screening of , directed by Lisette Flanary, professor at 糖心视频 惭腻苍辞补 and a preview of a new hana keaka (theatre work) by 糖心视频 惭腻苍辞补 Hawaiian theatre graduate student Ikaika Mendez. The production, Lele Wale, reflects on community rebuilding after the Lahaina wildfires, honoring those who were lost, those who survived, and those continuing the work of rebuilding on Maui. Performances run March 4–8 at the Earle Ernst Lab Theatre at Kennedy Theatre.

• Related 糖心视频 News story: Lahaina鈥檚 story lives in new hana keaka production, February 5, 2026

Established in 2022 through the 糖心视频 惭腻苍辞补 Provost鈥檚 Strategic Investment Initiative, ANNO advances Hawaiian and Indigenous performance through scholarship, curriculum and outreach, supporting ongoing research and creative practice at 糖心视频 惭腻苍辞补.

The University of Hawaiʻi at 惭腻苍辞补 will debut , a new hana keaka (Hawaiian theatre work) that takes audiences on a journey of community rebuilding in the wake of the Lahaina wildfires. The production honors those who were lost, those who survived, and those who still carry the weight of rebuilding on Maui. Performances run March 4–8 in the Earle Ernst Lab Theatre at Kennedy Theatre.

Created by 糖心视频 惭腻苍辞补 master of fine arts (MFA) candidate Ikaika Mendez, Lele Wale does not seek to recreate the tragic wildfires. Instead, the work moves through memory, music and movement to create space to remember, grieve and reflect on what comes next for both people and place. For Mendez, a Maui native, Lahaina holds deep personal meaning.

“Although I am from Kanaio, Lahaina became the place where I learned what it meant to be a performer in service to people and place鈥orking at the Feast at Lele Lūʻau at just 15 years old,鈥� said Mendez. “I learned discipline, responsibility and the power of storytelling through music and movement. That experience deeply influenced my path, leading me to pursue education in music, ʻōlelo Hawaiʻi (Hawaiian language), and ultimately my MFA in hana keaka.鈥�

Voices of place

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

“There are experiences, emotions and understandings that cannot be fully expressed in English, so we speak them, sing them and chant them in ʻōlelo Hawaiʻi,鈥� said Mendez. “At the same time, Pidgin and English reflect the lived reality of Lahaina today: the sounds of home, work, family and community.鈥�

Ticket information

Performances are Wednesday through Saturday at 7:30 p.m., with a Sunday matinee at 2 p.m.

A free post-show Q&A with the director and cast will follow the Friday, March 6th performance for ticket holders.

Content advisories: Covers themes connected to wildfire, loss of life, strong language, haze effects and flashing lights. Questions about tickets or accessibility can be directed to ktbox@hawaii.edu or (808) 956-7655.

A new production is shining a light on the lives and journeys of Filipinos in Hawaiʻi. “,” directed by J. Lorenzo Perillo, blends movement, music and history into a fast-moving tribute to identity and community. Performances run through November 23, on the Mainstage at the University of Hawaiʻi at 惭腻苍辞补.

Perillo serves as co-director of the (CPS) and is also an associate professor in the Department of . He created the show in honor of CPS鈥檚 50th anniversary.

“‘Dancing in the Diaspora’ delves into the interconnected lives of Filipinos maneuvering the waters of belonging and exclusion in Hawaiʻi and beyond,” said Perillo.

Stories through dance

The performance moves between hip-hop, street dance, contemporary, Filipino Indigenous styles and ʻori Tahiti (Tahitian dance). Live kulintang (traditional Filipino gong instrument) and Tahitian music set the tone. The dances explore home, identity and the journey of carrying culture across oceans.

for the in-person production at Kennedy Theatre. The production features international and local collaborators such as Mary Chris (Mycs) Villoso, Von Ace Asilo, Angela Sebastian, Ron and Lydia Querian (House of Gongs), Manarii and Nalini Gauthier (Tahiti Mana), Irisgil Viacrusis, Michelle Bisbee, Tyler Kanemori and Evan McCarty.

One of the most meaningful collaborative elements grew out of Villoso鈥檚 artist residency at 糖心视频 惭腻苍辞补 earlier this year, which included workshops with local high schools such as Maryknoll, Farrington and Waipahu. Building on that work, the production features Farrington High School students who have been rehearsing since September with their teacher Michelle Levine Aquino, a recent 糖心视频 惭腻苍辞补 graduate, to perform a piece rooted in Philippine games and street dance. Aquino also contributes an Ilokano chant that helps open the show.

“If you dig beneath the deep layers of colonization, you find the ways the people of the Pacific are connected through language, food, stories and beliefs,” said Nalini Gauthier. “Dance has been a steady vessel carrying me through this journey of rediscovery and empowerment.”

The production also features a heartfelt dance film showcasing 糖心视频鈥檚 custodial staff.

Perillo expressed that the staging is deeply connected to Hawaiʻi鈥檚 social and cultural landscape.

“Filipinos make up one-fourth of Hawaiʻi鈥檚 population, yet there is a clear lack of Filipino representation in education. Representation matters. It鈥檚 critical in strengthening students鈥� self-worth, identities and success.”

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A student film created at the University of Hawaiʻi at Mānoa has earned international recognition at the . “Praying Mantis,” written and directed by 糖心视频 Mānoa student Hulita Drake, was named among the winners of the 2025 festival in the zero budget category.

The film tells the story of a young woman who attends a college costume party dressed as a praying mantis, only to find herself out of place until a chance encounter changes the course of her night. What begins as a seemingly romantic connection unravels into disappointment, sparking a journey of obsession, prayer and unexpected action.

Drake collaborated with fellow 糖心视频 students Lauren Piehler, who served as cinematographer, and AJ Taylor, who handled sound recording. The production also received support from other classmates, and community members Olivia Vela and Jase Andrews starred in leading roles.

Drake and members of the student team traveled to Auckland, New Zealand, for the festival鈥檚 October 7 celebration event. The trip marked an opportunity to showcase their work on an international stage while connecting with filmmakers from across the Pacific.

“Receiving this recognition at the South Pacific International Film Festival is an incredible honor,” said Drake, who earned a BA in and is working on a second bachelor鈥檚 degree in digital cinema from the 糖心视频 Mānoa . “It鈥檚 a testament to the creativity, dedication and collaboration of our entire 糖心视频 Mānoa student team. Being able to share ‘Praying Mantis’ on an international stage and connect with filmmakers from across the Pacific has been an inspiring experience that I will always cherish.”

“Praying Mantis” is currently screening on the film festival circuit and isn鈥檛 yet available to the public, but Drake hopes to release it on YouTube in the future.

The South Pacific International Film Festival highlights emerging and independent filmmakers from across the region. This year鈥檚 slate featured winners from the U.S., New Zealand, Indonesia and Fiji. “Praying Mantis” was one of three films from the U.S. selected for recognition.

This September, the University of Hawaiʻi at 惭腻苍辞补鈥檚 and invite audiences into a world where imagination becomes survival. , a Theatre for Young Audiences production directed by MFA candidate Emmanuel Mante, shares the true story of Benjamin, a boy born with hemophilia whose boundless creativity helps him navigate illness, loss, and ultimately, an HIV diagnosis.

“This isn鈥檛 just a children鈥檚 show—it鈥檚 a heartfelt experience for all ages,” said Mante. “It celebrates how the human spirit turns pain into art and illness into beauty. It鈥檚 imaginative uplifting, and transformative.”

The production runs September 24–28, at the Earle Ernst Lab Theatre.

While Benjamin鈥檚 life is shaped by hospital visits, isolation, and loss, his imagination offers him freedom. He turns to drawing, coloring, and storytelling to express what words cannot. In one poignant scene, he colors with his doctor as the only way to explain his pain.

Imaginative staging

The production鈥檚 artistic team help transform the story for the stage. Set designer and theatre major Juliana Damrow uses reconfigurable pieces and everyday objects to reflect how children reshape their world through play. Lighting designer Kelli Finnegan adds expressive colors and projections that mirror Benjamin鈥檚 sketches, including the symbolic yellow boat he draws.

The production also weaves in cultural elements. Costumes by Amber Baker feature handwoven Filipino textiles. Choreographers Nani Marcos and Gwen Arbaugh layer movement into the story, while music director Paul Gabriel Cosme provides live accompaniment.

“Each costume is a celebration of Filipino artistry and heritage,” Mante said. “Hawaiʻi鈥檚 multicultural environment makes this kind of storytelling feel especially resonant.”

Although filled with joy and imagination, The Yellow Boat also faces difficult truths of illness, isolation and loss. Benjamin鈥檚 story ends with his passing, portrayed by the cast with care and sensitivity. Families are encouraged to reflect on these themes and join the post-show discussion on Friday, September 26, with the director and cast.

Ticket information

Performances are Wednesday through Saturday at 7:30 p.m., with a Sunday matinee at 2 p.m.

Content Advisories: Covers health issues and suffering, such as hemophilia and HIV.

A wooden model of a Kabuki theatre scene, gifted to the University of Hawaiʻi in 1939 by Japan鈥檚 Shochiku Company, is now on permanent display at 糖心视频 惭腻苍辞补鈥檚 . The intricate model, depicting a scene from Kanadehon Chushingura, was celebrated at a reception on August 18, following its restoration.

The gift was originally secured by Gregg Sinclair, founding director of 糖心视频鈥檚 Oriental Institute, to promote cultural awareness. Built by Kabuki-za Theatre master carpenter Genjiro Hasegawa under the direction of Shochiku founder Takejiro Otani, the model represents a long-standing bond between 糖心视频 and Japan.

“This beautiful model was made and gifted to us, along with a Kabuki actor doll, with the promise of perpetual display on campus in summer 1939,” said Mitsutaka Nakamura, Japan studies librarian at Hamilton Library. “This combination of the Kabuki theater model, case and stand symbolizes our enduring bond between Shochiku and 糖心视频, and Japan and Hawaiʻi as well.”

The model has been displayed and stored in various places over the years, but time took its toll. With support from 糖心视频鈥檚 Department of Theatre and Dance, artist Meg Hanna-Tominaga restored the piece, which now sits on a handcrafted monkey pod stand and is protected by an acrylic case.

Related 糖心视频 News story: Rare kabuki master class hits Hawaiʻi

Shochiku honorary chair Nobuyoshi Otani praised 糖心视频 for keeping its promise of preservation: “We hope that you will continue to protect the display as a testament to the cultural exchange fostered by our predecessors.”

Kabuki master Ichikawa Monnosuke VIII also joined the celebration, praising 糖心视频 students鈥� dedication during a Kabuki workshop and showcase.

“For the next 100, 200, 300 years, I hope that Kabuki here at the University of Hawaiʻi will continue,” he said. “Let鈥檚 keep doing this!”

When Mary Jo Freshley arrived in Hawaiʻi in the early 1960s, she intended to build her career in physical education. Instead, she found herself drawn into the world of Korean dance where she would spend the rest of her life preserving, teaching and sharing.

Freshley, who was born and raised in Ohio and turns 91 in September, moved to Hawaiʻi to teach at Kamehameha Schools Kap膩lama, where she worked for more than 30 years.

Her first steps with dance began in 1962, at the University of Hawaiʻi at 惭腻苍辞补, when she enrolled in a summer class, taught by pioneering Korean dancer Halla Pai Huhm.

“Learning from Halla Huhm was sometimes stressful, sometimes not,” Freshley said. “But overall, the one thing I admired the most about her was that she always wanted to learn more.”

After joining the studio and years of extensive training, Freshley was formally recognized as an instructor in 1975, and given the Korean name Pai Myung-sa.

When Halla Huhm passed away in 1994, Freshley became the director of the studio, guiding her students through new eras of ever-modernizing and changing dance styles.

She and her students will celebrate the 75th anniversary of the studio with a concert in September.

Bringing Korean dance to the 鈥楤ows

In 1998, Freshley took her talents and passion for teaching outside of the dance studio and into the classroom.

She started off as an instructor with the 糖心视频 惭腻苍辞补 and then to the , where she continues to teach introductory and upper-level Korean dance classes.

Freshley said while teaching at 糖心视频 惭腻苍辞补 is much different than teaching at her studio, it鈥檚 just as fulfilling.

“Some students just take my class because they need the one credit,” Freshley said. “But, then they suddenly discover there’s more than one way to move your body and learn so much, and that鈥檚 the part I enjoy.”

A lifetime of teaching

Teaching wasn鈥檛 always her calling—she just wanted to be able to move around and stay active, so when she discovered the career of a P.E. teacher, she knew it was the job for her.

“In college, I realized I could major in physical education and still run around and have fun and do all those activities, and even get paid to do it. So I decided then and there that would be it,” Freshley said.

Regardless of her motivations to pursue teaching, her passion and wealth of knowledge resonated and continues to resonate with all her students.

“I always feel safe with Mary Jo and I know her studio will always be a safe place where I can be comfortable while I鈥檓 learning from the best of the best,” said Cynthia Lee, a student of Freshley for over 20 years.

Leaving her mark

Freshley now looks to the future as she and her students soon celebrate the 75th anniversary of the studio she鈥檚 been with for over 60 years.

“I鈥檓 not the most logical person to be teaching Korean dance—I鈥檓 from Ohio,” Freshley said. “But I want my students and everyone to know that I love what I do and I鈥檓 passionate about it, so that鈥檚 the legacy I hope to leave.”

The Halla Pai Huhm Korean Dance Studio鈥檚 75th anniversary concert is on September 6, 2025 at 4 p.m. at the Kaimuki High School Performing Arts Center. Learn more and purchase tickets at the website: .

—By Grant Nakasone

After completing an intensive kabuki workshop at the University of Hawaiʻi at 惭腻苍辞补 this summer, students stepped into the spotlight on Monday, August 18 at the Earle Ernst Laboratory Theatre. Their performance brought to life the movement, music and artistry passed down to them by a world-renowned, eighth-generation kabuki master.

This August, Ichikawa Monnosuke VIII led a kabuki masterclass at 糖心视频 惭腻苍辞补, offering rare, hands-on training in this vibrant classical Japanese art form.

“This opportunity to train in kabuki with a professional is truly unique,” said 糖心视频 惭腻苍辞补 theatre professor Julie Iezzi. “Nowhere else in the world, not even in Japan, can those outside of the tradition train under a kabuki actor.”

Spirit of kabuki

The two-week workshop, offered Mondays through Fridays through 糖心视频 惭腻苍辞补鈥檚 and , was filled with students, alumni and community members, and focuses on kabuki movement and vocal training.

“In thinking about the future, I feel that this is a really good opportunity to help spread knowledge about kabuki to more and more people around the world,” Monnosuke said through a translator.

Among the students who studied under Monnosuke is Karese Kaw-uh, who earned an MFA in at 糖心视频 惭腻苍辞补 and starred in the university鈥檚 kabuki production in 2024.

“What I love about kabuki is that you have to hear the rhythm and the sound. And so the pieces that we鈥檙e working on really deal with music and movement. So we have to listen to cues and say the words in a rhythmic pattern,” Kaw-糖心视频 said.

For 19-year-old Zumi Guillermo-Togawa, a student at Kapiʻolani Community College, the best part was exploring the different ways kabuki characters can move and express themselves.

“My most favorite part is learning about the different characteristics and personality for just the walks, not even just the voices, the walks, the mie and how it differs depending on the character and character type,” said Guillermo-Togawa.

Eighth-generation master

Monnosuke, whose family鈥檚 kabuki lineage dates back to 1713, is no stranger to 糖心视频. In spring 2024, he and his apprentices trained student actors for 糖心视频 惭腻苍辞补鈥檚 English-language kabuki production, The Maiden Benten and the Bandits of the White Waves. That production not only sold out performances but also received a first-ever invitation to perform in Japan, where it was enthusiastically received.

Kabuki has deep roots in Hawaiʻi. In fact, the university staged the first known English-language kabuki production in the islands 100 years ago. Today, 糖心视频 惭腻苍辞补 is helping keep that legacy alive.

Kabuki legacy

With guidance from Iezzi, 糖心视频 惭腻苍辞补鈥檚 Department of Theatre and Dance is breathing new life into English-language kabuki, an art form that flourished on the Kennedy Theatre stage under the leadership of late 糖心视频 惭腻苍辞补 Professor James R. Brandon and master kabuki actor Nakamura Matagor艒 II, with vital support from community artists Onoe Kikunobu (dance), Yamada Chie (music) and Joji Wago (wigs and makeup).

Monnosuke and his wife, Yukika, first met Iezzi in 2016, already aware of the university鈥檚 rich kabuki traditions and eager to support its continuation.

“They were wondering about future plans for kabuki, and actually came at the perfect time, since I, too, was searching for artists interested in helping to rebuild the complex infrastructure of knowledge necessary to continue doing kabuki productions,” Iezzi said.

Hamilton: Honoring kabuki

This fall, will open a new exhibit in the Asia Reading Room honoring kabuki. Crafted by Japan鈥檚 Sh艒chiku Company and gifted to 糖心视频 in 1939, the intricate kabuki theatre model has been in storage for nearly 90 years in different places. In partnership with the theatre and dance department, a new exhibit case will allow the model to be permanently displayed, alongside other performing and exploring kabuki at 糖心视频 惭腻苍辞补 exhibits.

A world-renowned kabuki actor is bringing a once-in-a-lifetime opportunity to Hawaiʻi this summer. Ichikawa Monnosuke VIII, an eighth-generation kabuki master, will lead an intensive workshop at the University of Hawaiʻi at 惭腻苍辞补 August 1–18, offering rare, hands-on training in this vibrant classical Japanese art form.

“This opportunity to train in kabuki with a professional is truly unique,” said 糖心视频 惭腻苍辞补 theatre professor Julie Iezzi. “Nowhere else in the world, not even in Japan, can those outside of the tradition train under a kabuki actor.”

Spirit of kabuki

The two-week workshop, offered Mondays through Fridays through 糖心视频 惭腻苍辞补鈥檚 and Department of , is open to students, alumni, and community members, and will focus on Kabuki movement and vocal training. Two course tracks, credit and non-credit, are available for and for $1,350 (non-credit) and $1,500 (credit). The program ends with a recital showcasing students’ work on August 18th at 4 p.m. in the Earle Ernst Laboratory Theatre.

“Different from the realism of Western theatre, I hope students will learn the unique performance techniques of kabuki, which express the spirit of a character while also valuing the beauty of form,” Monnosuke said.

Eighth-generation master

Monnosuke, whose family鈥檚 kabuki lineage dates back to 1713, is no stranger to 糖心视频. In 2024, he and his apprentices trained student actors for 糖心视频 惭腻苍辞补鈥檚 English-language kabuki production, The Maiden Benten and the Bandits of the White Waves. That production not only sold out performances but also received a first-ever invitation to perform in Japan, where it was enthusiastically received.

Kabuki has deep roots in Hawaiʻi. In fact, the university staged the first known English-language kabuki production in the islands 100 years ago. Today, 糖心视频 惭腻苍辞补 is helping keep that legacy alive.

• Related 糖心视频 News story: 100 years of Hawaiʻi Kabuki in English: Masters from Japan train 糖心视频 actors, December 10, 2023

Kabuki legacy

With guidance from Iezzi, 糖心视频 惭腻苍辞补鈥檚 theatre and dance department is breathing new life into English-language kabuki, an art form that flourished on the Kennedy Theatre stage under the leadership of late 糖心视频 惭腻苍辞补 Professor James R. Brandon and master kabuki actor Nakamura Matagor艒 II, with vital support from community artists Onoe Kikunobu (dance) Yamada Chie (music) and Joji Wago (wigs and makeup).

Monnosuke and his wife, Yukika, first met Iezzi in 2016, already aware of the university鈥檚 rich kabuki traditions and eager to support its continuation.

“They were wondering about future plans for kabuki, and actually
came at the perfect time, since I, too, was searching for artists interested in helping to rebuild the complex infrastructure of knowledge necessary to continue doing kabuki productions,” Iezzi said.

, or contact iezzi@hawaii.edu, (808) 956-4377.

The University of Hawaiʻi at 惭腻苍辞补鈥檚 is taking its celebrated production of RENT to Kauaʻi. Following a sold-out run at Kennedy Theatre earlier this year, the Pulitzer Prize-winning rock musical will be performed at , August 8–10.

Directed by Joshua “Baba” Tavares, an assistant professor of acting at 糖心视频 惭腻苍辞补 and former cast member in the 20th Anniversary National Tour of RENT, the production was praised for its raw emotional power, dynamic staging and local resonance.

“We are so excited to take our show to Kauaʻi and connect with our Kauaʻi ʻohana in this way,” said Tavares.

The touring team includes more than 40 cast and crew members, including 糖心视频 惭腻苍辞补 students, faculty, staff, musicians and technicians, representing a wide range of 糖心视频 惭腻苍辞补 programs, including theatre and dance, psychology, music, law, cinematic arts, Hawaiian language and more.

As part of the visit, the team will offer a free acting workshop to share and engage Kauaʻi鈥檚 community of storytellers and artists. The workshop will take place on Saturday, August 9—more information to come.

Related 糖心视频 News story: No day but today: 糖心视频 惭腻苍辞补 theatre and dance brings award-winning RENT to life, February 11, 2025

The 糖心视频 惭腻苍辞补 production earned critical acclaim in March, with BroadwayWorld calling it “a soaring and heartfelt production” blending “aloha, heartbreak, queer joy鈥nd unbridled energy of young people united for justice and love.”

Tavares emphasized the show鈥檚 continued relevance. “Even though the show is set in a specific time, its challenges feel just as relevant today, especially here in Hawaiʻi. Homelessness, gentrification, mental health struggles and finding a way forward after a devastating disease—are we talking about the 鈥�80s and 鈥�90s, or are we talking about today?”

He added, “RENT isn鈥檛 just about struggle—it鈥檚 about hope, tolerance, human rights and above all, aloha. It鈥檚 about love.”

The Kauaʻi performances mark the production鈥檚 first appearance outside of O驶ahu, offering new audiences a chance to experience one of the most impactful works in modern musical theatre, through a uniquely ʻohana lens.

Performances will take place at the newly reopened Kauaʻi CC Performing Arts Center, which reopened in April 2024 after closing due to the pandemic and has major upgrades to its lighting, sound and backstage systems. The venue is once again a key cultural hub under new manager Gregory von Hausch.

Loosely inspired by Puccini鈥檚 La Boh猫me, RENT follows a group of struggling young artists in 1990s New York City navigating love, loss, identity, and survival during the height of the HIV/AIDS crisis. Since its 1996 Broadway debut, Jonathan Larson鈥檚 groundbreaking musical has become a global cultural phenomenon.

Performance and ticket information

Performance dates: August 8鈥�10, 2025
Time: 7–9 p.m., Friday and Saturday; 1:30–3:30 p.m. Sunday
Location: Kauaʻi CC Performing Arts Center
Tickets: Prices range from $15–$60. .

For general inquiries, email .edu or call (808) 245-8352.

Support and sponsorship opportunities

This partnership between 糖心视频 惭腻苍辞补 and Kauaʻi CC aims to build a lasting bridge through the performing arts. Financial support is welcome to offset travel and production costs. To support the tour or inquire about sponsorships, contact Joshua Tavares at tavares8@hawaii.edu.