NA MELE
Natalie Ai Kamauu and Family

 

Natalie Ai Kamauu’s voice fills the PBS Hawaii studio.  Natalie performs with a passion that comes from the origins of the songs she sings, and the love she has for her family. She is joined by her husband, Iolani Kamauu, on guitar and vocals, and their daughter, Sha-Lei Kamauu, who accompanies the music with hula.

 

Among the songs featured are “Pili Aloha,” which connects Natalie to her mother, kumu hula Olana Ai, and “Shower Tree,” which was written for Natalie and Iolaniʻs son, Chaz. Sha-Lei joins Natalie and Iolani with hula, including the playful “Hula Tease,” and a graceful accompaniment to Natalie and Iolaniʻs performance on “Uhiwai.”

 

INSIGHTS ON PBS HAWAI‘I
The To-Do List for the 2018 Legislative Session

INSIGHTS ON PBS HAWAI‘I: The To-Do List for the 2018 Legislative Session

 

What should be at the top of the to-do list for Hawai‘i’s legislators this session? From our high cost of living, to affordable housing, to climate change, the breadth of issues could make this one of the most pivotal years for lawmakers – or it could be politics as usual.

 

Join us during our live discussion by phoning in, or leaving us a comment on Facebook or Twitter. INSIGHTS is also live streamed on pbshawaii.org and Facebook Live.

 

Phone Lines:
462-5000 on Oahu or 800-238-4847 on the Neighbor Islands.

 

Email:
insights@pbshawaii.org

 

Facebook:
Visit the PBS Hawai‘i Facebook page.

 

Twitter:
Join our live discussion using #pbsinsights

 

PBS HAWAI‘I PRESENTS
Hawaiian Masterpieces: Ka Hana Kapa

PBS HAWAII PRESENTS Hawaiian Masterpieces: Ka Hana Kapa

 

This film follows present-day kapa makers through the kapa-making process. Marie McDonald and her daughter, Roen Hufford, create kapa using the same types of tools and methods that ancient Hawaiians used. The program culminates with the dressing of a hula halau in Hawaiian kapa for the Merrie Monarch Festival.

 

 

2017 HIKI NŌ AWARDS RESULTS

HIKI NŌ Awards Nominees March 23, 2017

 

The 2017 HIKI NŌ Awards

PBS Hawai‘i recognizes exceptional storytelling skills of middle and high school students throughout our Islands who participate in HIKI NŌ, our statewide digital learning initiative and student news program.

 

The nominees were chosen from HIKI NŌ shows that aired during the 2015-2016 school year and the Fall Semester of this current school year. You can view each nominated piece by clicking on its name in the list below. (You can also watch the nominated projects, by category, Thursdays at 7:30 pm, Saturdays at noon, and Sundays at 3:00 pm on PBS Hawai’i.)

 

This year’s Gold, Silver and Bronze winners are indicated below. Winning stories, as well as highlights from this year’s awards celebrations, will be featured on our two-part 2017 HIKI NŌ Awards Show, Thursday, March 23 and Thursday, March 30 at 7:30 pm on PBS Hawai‘i. Congratulations to all nominees and winners – and mahalo to all the students, teachers and mentors who help make HIKI NŌ a success in our public, private and charter schools throughout Hawai‘i.

 


 

BEST PERSONAL PROFILE — MIDDLE SCHOOL DIVISION

Aliamanu Middle School (O‘ahu) – “Homeschooled Student” SILVER

Chiefess Kamakahelei Middle School (Kaua‘i) – “Moses Hamilton” GOLD

Hongwanji Mission School (O‘ahu) – “Laurie Rubin” BRONZE

Kapaʻa Middle School (Kaua‘i) – “Joe Young”

Seabury Hall Middle School (Maui) – “John Plunkett”

 

BEST PERSONAL PROFILE — HIGH SCHOOL DIVISION

H.P. Baldwin High School (Maui) – “Bipolar Artist”

James Campbell High School (O‘ahu) – “Miracle Baby” GOLD

Maui High School (Maui) – “Marc Unites”

Mid-Pacific (O‘ahu) – “Ukulele Hale” BRONZE

Wai‘anae High School (O‘ahu) – “Living With Pain” SILVER

 

BEST WRITING — MIDDLE SCHOOL DIVISION

Aliamanu Middle School (O‘ahu) – “Front Office”

Chiefess Kamakahelei Middle School (Kaua‘i) – “K-9 Search & Rescue” GOLD

Kamehameha Schools Maui Middle (Maui) – “Feed My Sheep”

Kapaʻa Middle School (Kaua‘i) – “Love Laundry” BRONZE

Lahaina Intermediate School (Maui) – “Airconditioning”

Mililani Middle School (O‘ahu) – “Mokauea Island” SILVER

 

BEST WRITING — HIGH SCHOOL DIVISION

Kapolei High School (O‘ahu) – “Best Buddies Basketball”

Kaua‘i High School (Kaua‘i) – “Biomass” GOLD

Kua O Ka La Miloli‘i Hipu‘u Virtual Academy PCS (Hawai‘i Island) – “Opelu Fishing” BRONZE

Sacred Hearts Academy (O‘ahu) – “Text Neck” SILVER

Saint Francis School (O‘ahu) – “Lucy’s Lab Creamery”

Waiakea High School (Hawai‘i Island) – “Cosplay”

 

BEST OVERALL STORY — MIDDLE SCHOOL DIVISION

Chiefess Kamakahelei Middle School (Kaua‘i) – “Dog Wheelchair”

Kapaʻa Middle School (Kaua‘i) – “Firefighter”

Ka Waihona o Ka Naʻauao PCS (O‘ahu) – “Steel Guitar” BRONZE

Seabury Hall Middle School (Maui) – “Haleakala Mules” SILVER

Wai‘anae Intermediate School (O‘ahu)– “A Home For Larenzo” GOLD

 

BEST OVERALL STORY — HIGH SCHOOL DIVISION

H.P. Baldwin High School (Maui) – “Life After Sugar”

Kapa‘a High School (Kaua‘i) – “Iloreta Brothers” GOLD

Konawaena High School (Hawai‘i Island) – “A Love Story”

Maui High School (Maui) – “Deaf Cheerleader” BRONZE

Waiʻanae High School (O‘ahu) – “Without Home” SILVER

 

BEST FRANCHISE PIECE

Hana K-12 (Maui) – “Ti Leaf Print”

Kalani High School (O‘ahu) – “Thaumatrope”

Kapa‘a Middle School (Kaua‘i) – “10 Things To Do When You’re NOT On Your Smartphone” GOLD

Kaua‘i High School (Kaua‘i) – “Hurricane Protection” BRONZE

Moloka‘i High School (Moloka‘i) “Text-A-Tip

Pacific Buddhist Academy (O‘ahu) – “Offering Incense” SILVER

 

BEST ACHIEVEMENT IN CINEMATOGRAPHY & EDITING

Kapa‘a Middle School (Kaua‘i) – “Junior Lifeguard”

Maui High School (Maui) – “Tourette” GOLD

Moanalua High School (O‘ahu) – “Equestrian” SILVER

Sacred Hearts Academy (O‘ahu) – “IUCN”

Wai‘anae High School (O‘ahu) – “Parental Guidance Required” BRONZE

 

BEST FACTOID

Hana K-12  (Maui) – “School History”

Hawaiʻi Preparatory Academy (Hawai‘i Island) – “Solar Trees” GOLD

Konawaena High School (Hawai‘i Island) – “Wildcats”

Mililani High School (O‘ahu) – “Red Dirt” BRONZE

President William McKinley High School (O‘ahu) – “School Spirit” SILVER

 

Aloha Oe,
Leahey & Leahey

Leahey & Leahey: Father: Jim, Son: Kanoa
After nine years on PBS Hawaii, the father-and-son sports talk show Leahey & Leahey has come to an end.

 

At their in-studio kitchen table, Jim and Kanoa Leahey welcomed sports heroes, insiders and policy makers from Hawaii and around the world.

 

“It’s been a wonderful run at PBS Hawaii, but it is time to move on,” Kanoa Leahey said. “I couldn’t ever fully express my appreciation for the support we received from PBS Hawaii management, as well as the viewers the last nine years. I will thoroughly miss working with the crew and staff.”

 

“PBS Hawaii gave us the shot to do something unique,” Jim Leahey said. “It served as a perfect platform of expression and thought. We thank Leslie Wilcox and the rest of the PBS Hawaii staff for affording us the opportunity to engage in what we referred to as a generationally challenged discussion of sports and other living things. But as with all living things, change and transition are inevitable. Mahalo to all who made the last nine years so special for us.”

 

“Nine years is remarkable staying power in weekly television, and we congratulate Jim and Kanoa on the show’s originality, authenticity and success,” said PBS Hawaii President and CEO Leslie Wilcox. “We understand and support Kanoa’s need for more flexibility in his career horizons with ESPN. Much aloha to both Leaheys in their future endeavors.”

 

Leahey & Leahey premiered on PBS Hawaii in July 2006. Past episodes can be viewed for a limited time, here on our site.

 

INDEPENDENT LENS
Tell Them We Are Rising: The Story of Black Colleges & Universities

Free Community Screening: Tuesday, February 6, 5:30 pm

PBS Hawaiʻi @ Harry and Jeanette Weinberg Multimedia Studio

315 Sand Island Access Road, Honolulu, HI 96819

Broadcast Premiere: Monday, February 19, 9:00 pm on PBS Hawaiʻi

 

Tell Them We Are Rising: The Story of Black Colleges and Universities explores the pivotal role historically black colleges and universities (HBCUs) have played over the course of 150 years in American history, culture, and identity. The film reveals the rich history of HBCUs and the power of higher education to transform lives and advance civil rights and equality in the face of injustice.

 

The latest film from director Stanley Nelson (Black Panthers, Freedom Riders) and co-director/co-producer Marco Williams, America’s foremost film chronicler of the African-American experience, Tell Them We Are Rising brings to life the powerful story of the rise, influence, and evolution of HBCUs.

 

Morgan State University graduates
Graduates of Morgan State University in Maryland. Photo: Morgan State University

 

A haven for Black intellectuals, artists, and revolutionaries — and a path of promise toward the American dream — HBCUs have educated the architects of freedom movements and cultivated leaders in every field while remaining unapologetically Black for more than 150 years. These institutions have nurtured some of the most influential Americans of our time, from Booker T. Washington to Martin Luther King, Jr., W.E.B. Du Bois to Ralph Ellison, Toni Morrison to Oprah Winfrey, Alice Walker to Spike Lee to Common.

 

In addition to the broadcast, Tell Them We Are Rising: The Story of Black Colleges and Universities is the centerpiece of a yearlong multi-platform effort called HBCU Rising. Featuring national partnerships (including The Black College Fund, Color of Change, Akila Worksongs, Association for the Study of African American Life and History (ASALH), Thurgood Marshall College Fund, Schomburg Center for Research in Black Culture, National Pan-Hellenic Council (NPHC), Alpha Kappa Alpha Sorority, Inc., United Negro College Fund, NAACP Legal Defense Fund, Blackout for Human Rights and The Campaign for Black Male Achievement), exclusive events, StoryCorps audio stories, video shorts, an HBCU campus tour and a crowdsourced HBCU Digital Yearbook, HBCU Rising will examine and celebrate the legacy of HBCUs. For more information, visit HBCURising.com.

 

 

‘I Am Not Your Negro’ continues James Baldwin’s legacy

By Katie Moritz

 

Martin Luther King Jr., Malcom X and Medgar Evers hold hallowed places in the United States’ civil rights history. But one man, whose name likely didn’t appear in your history book, provides a thread that binds their three stories together.

 

INDEPENDENT LENS: I Am Not Your Negro
Author and activist James Baldwin, center, whose unfinished manuscript spawned “I Am Not Your Negro.”

 

James Baldwin was a black, gay writer whose novels and essays documented and explained the civil rights movement and the realities of black life in a deeply segregated and racist society. Though his writing and speeches gripped audiences at the time, he’s far from a household name today.

 

A team of filmmakers wanted to change that. Decades after Baldwin’s death, a book he never finished about the murders of his friends King, X and Evers would be turned into a documentary that would grip the country, and the world.

 

The film, I Am Not Your Negro, directed by Raoul Peck and co-produced by Peck, his brother Hébert Peck and Rémi Grellety, was nominated for an Academy Award in 2017. Its script, narrated by Samuel L. Jackson, is adapted from Baldwin’s own writing, Remember This House.

 

“Baldwin had been really, truly effected emotionally by the death of these three friends of his,” Hébert Peck said. “He felt that, in writing this book, it will help him not only tell the story and how they all mattered and were part of the same story, but also would get him out of what he was experiencing.

 

“He was there during their lives as a person who was a witness to what was going on.”

 

Baldwin was fiercely committed to telling this story, but he died before he could finish the manuscript. The filmmakers picked up where he left off.

 

“In these 30 pages he was very clear about how he was going to write the book, why the book was so important and vital, telling the history of America, looking at it from a different perspective,” Hébert Peck said.

 

“We traditionally see American history as history from different points of view. For (Baldwin), no, this is all of the same story, and we need to tell this story, because that’s what makes us Americans.”

I Am Not Your Negro will air on PBS’s Independent Lens on Dr. Martin Luther King Jr. Day – Monday, January 15 at 8 pm on PBS Hawaiʻi. Hébert Peck said he’s excited for it to reach new audiences in their own homes. Peck recently spoke about the decade-long making of the documentary and Baldwin’s legacy.

 

Why was James Baldwin chosen as the entry point to telling the story of race in the U.S.?

Hébert Peck: James Baldwin had been an important person initially in Raoul’s life. When Raoul was a young adult, reading James Baldwin provided him context for his experience as a young black man in a very powerful way. He read everything he could get his hands on about Baldwin and always had a Baldwin book with him. Eventually he did become a filmmaker, and it wasn’t until maybe decades later when he was an established filmmaker that he felt he wanted to tackle James Baldwin as a topic, as an important person who was one of our top writers of the 20th century in America.

 

Hébert Peck, co-producer of “I Am Not Your Negro.” Photo courtesy of Hébert Peck.

 

He was interested in really creating a film that would hopefully do for an audience what Baldwin had done for him. And also he felt that Baldwin had disappeared from our society and that it was important to bring him back. The task was tougher than what I explain here—it took us 10 years to make the film.

 

The most important thing was to get the rights from the Baldwin estate. When we did secure the rights, we had access to everything—all of his published works, all of his unpublished materials, photographs, personal letters—which, in the industry, is kind of unprecedented. When we got the rights, number one, it was great, number two, it was a lot of pressure. You better do something good, because it was unprecedented to have that (access).

 

Yet at the same time Raoul was still looking for an entry to the story. He knew he didn’t want to create a typical documentary (with) experts talking about Baldwin and explaining to us what’s happening. He really wanted this to be a Baldwin experience—the story would be told from Baldwin’s perspective. He also felt strongly that the documentary or the film should use only Baldwin’s words. When you have those guidelines it puts you in a pretty tight situation.

 

It wasn’t until four years into the project that (Baldwin’s younger sister) Gloria Karefa­-Smart handed Raoul these 30 pages of an unpublished manuscript that Baldwin had written to his literary agent about the next book he wanted to write, or the next book he felt he needed to write. Reading this material, for Raoul, it became, this is it. The task really started at that point.

 

There’s a treasure trove of archival footage and photographs featured in the film. Where did all of that come from and how did you decide what to use?

HP: We had to not only look at Baldwin’s archives, but also look throughout the world at where Baldwin spoke, where he wrote, because he was really this international person, and that meant we had to look everywhere.

 

An anti-integration rally in Little Rock. Photo courtesy of Magnolia Pictures.

A lot of the footage, the civil rights footage, (people in the U.S.) are very familiar with it. Because we see it every Martin Luther King day or every Black History Month, a lot of that material is back on television or back on our screens, or back on the web. People get used to it and they don’t really pay attention to it. It becomes a symbol more than actually looking at it.

 

We thought, some of the stuff that we are going to use that has been used a lot—how are we going to make that fresh again? How are we going to make it possible for the viewer to pay attention to the details? The final idea was to colorize some of the footage. And in just making that switch with some of the footage, it really makes you pay attention to what you’re watching.

 

Although Baldwin was talking about things that happened 50 years ago, some of it resonated in the present in our current lives. How do you create that vision that the future and the past are kind of the same? So, some of the contemporary footage, some of the protest footage, some of it (is) in black and white. It’s a seamless thing that happens in the viewer’s mind and in our minds.

 

There have been lots of documentaries about race. Why do you think this one became a phenomenon?

I think it’s a combination of many things. Number one, I think it’s Baldwin—his ability to make us see the world with more critical eyes but in a way that it resonates with us and it makes us realize, that thing that I was thinking, it actually does make sense. Number two, I must say the way Raoul tells stories, the way he respects his subjects, the team that he had with him—from the editing team, to the researchers, to the voiceover that he had.

 

And also the mood in the country. You had a situation where there were things people in the black community were aware of, were sharing over the years, even over the centuries, but that up until now weren’t seen on the 10 o’ clock news or on people’s mobile devices. There was some outrage. People were having a difficult time with what they were seeing.

 

And I think there are so many things going on in the country at the same time. We were becoming more and more divided as a society along political lines, along racial lines, and so I think one of the things that Baldwin was able to bring to us, and I think the film, was context for what we were seeing and experiencing. There was almost this thirst for some sort of contextualizing of what we were experiencing as Americans during the past few years.

 

Fifty years ago, Baldwin was skeptical that the U.S. would have a black president any time soon. We did that, and yet many problems Baldwin wrote and spoke about remain. What do you think he would say about the state of the country today?

HP: I don’t think he would be surprised at where we are now. Baldwin always talked from a point of view of love—Baldwin truly loved his country and I think he was frustrated that we continued to operate in silence as if what we call the American dream was the American dream for everyone.

James Baldwin, left, and civil rights activist Medgar Evers. Courtesy of the Mississippi Department of Archives and History.

He wanted to make sure we understood our history as Americans. Yeah, it’s not a pretty story, but we need to make it part of our history so we can move forward, so that we can understand who we are and we can imagine the possibilities and actually create, as he said in the film, something that has never been done before anywhere.

 

And so I think he would not have been surprised because he would have said we haven’t done the work we need to do; this is a logical movement toward where we are going to end up if we don’t do the work we need to do. It’s hard work but we have to do the work. Otherwise, it just gets worse each decade.

 

He would say yes, we have progress, the fact that we can even make a film like that, that’s a lot of progress, but we still have a long way to go. He would say it’s the responsibility of each of us to find the solution to go forward. It’s not going to come from anyone else but us.

 

For people wanting to explore Baldwin’s writing, what’s your favorite book of his?

HP: “The Fire Next Time.” I think because it was my first Baldwin book, when I read it I was a young adult, it really resonated with me. After reading that I started getting my hands on everything I could get by Baldwin.

 

“I Am Not Your Negro” premieres on “Independent Lens” on Jan. 15. You can also watch the film online at PBS.org or the free PBS app starting Jan. 16.

 

Katie Moritz is the web editor for Rewire, an online content provider for PBS stations based out of Twin Cities PBS. Moritz is a Pisces who enjoys thrift stores, rock concerts and pho. She covered politics for a newspaper in Juneau, Alaska, before driving down to balmy Minnesota to help produce long-standing public affairs show “Almanac” at Twin Cities PBS. Now she works on this here website. Reach her via email at kmoritz@tpt.org. Follow her on Twitter @katecmoritz and on Instagram @yepilikeit.

Download Our Program Guide

PBS HAWAI‘I: Home is Here

The January 2018 Program Guide

ROADTRIP NATION: Setting Course in Hawai‘i
The PBS HAWAI‘I January Program GuideDownload the January 2018 Program Guide (PDF).

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The December 2017 Program Guide

Stories from Pearl Harbor and World War II
Download the DECEMBER 2017 PROGRAM GUIDEDownload the December 2017 Program Guide (PDF).

Download the December Schedule (PDF).


 

VICTORIA ON MASTERPIECE
Young England

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

Young England
On the verge of delivering her first child, Victoria spurns advice and ventures among her subjects, attracting the devoted and demented alike. Miss Skerrett and Francatelli reach their decisive moment.

 

VICTORIA SEASON 2 ON MASTERPIECE
A Soldier’s Daughter / The Green-Eyed Monster

 

In Season 2, Jenna Coleman (Doctor Who) returns for a new season as the young queen who wants it all—romance, power, an heir, and personal freedom. Joining the cast in the new season is legendary actress Dame Diana Rigg (Game of Thrones), who plays the Duchess of Buccleuch, the court’s new Mistress of the Robes. Tom Hughes reprises his role as the queen’s dashing consort, Prince Albert, and Rufus Sewell returns as the smoldering Lord Melbourne.

 

“A Soldier’s Daughter” & “The Green-Eyed Monster”
New mother Victoria is impatient to return to the business of ruling a nation, while Albert attempts to protect her from the increasingly desperate news regarding British soldiers in Afghanistan. Victoria is thrown into turmoil by the realization that she is pregnant again, and her equilibrium is further threatened by Albert’s burgeoning friendship with the lady mathematician, Ada Lovelace.

 

FAKE OR FORTUNE?
Renoir

FAKE OFR FORTUNE?: Renoir

 

Beyond the genteel galleries and upmarket auction houses of the art world lies a darker dimension: a world of incalculable wealth, social ambition and occasional subterfuge. Detective Philip Mould, journalist Fiona Bruce and a team of scientists investigate a new batch of potential fine art forgeries.

 

Renoir
Art detective Philip Mould and journalist Fiona Bruce try to prove a painting hanging in a Welsh Castle is by celebrated French Impressionist, Pierre Auguste Renoir. For 50 years the painting has been dogged by doubt and two powerful art world authorities can’t agree whether it’s genuine or fake. Philip travels to Berlin to see if cutting-edge technology can determine whether the pigments in the painting match up to those listed by Renoir himself.