Tibetan Illusion Destroyer

PBS HAWAI‘I PRESENTS: Tibetan Illusion Destroyer


This film by Maui filmmaker Tom Vendetti documents the Mani Rimdu Festival in Nepal, which originated in Tibet and is still performed in an authentic colorful ceremony in the shadow of Mount Everest. The title refers to the Buddhist concept of destroying man-made illusions that lead to human suffering. Vendetti and renowned Hawaiian musician Keola Beamer were part of a Hawai‘i contingent that journeyed to Nepal to attend the festival. Beamer worked with musicians in Nepal to create the film’s original music.




Chasing the Moon

Celebrating the 50th anniversary of
the moon landing

By Jody Shiroma , PBS Hawaiʻi


Apollo 11 Saturn V launch vehicle lifts off from Kennedy Space Center.July 20, 1969 was a momentous day, a day whose events some would refer to later as the “greatest experience of their lifetime.” Parents around the world invited their children to join them around the television, “Come and watch this,” they said.


Families gathered around their television sets in awe, listening intently as messages came crackling over the airwaves. From Apollo 11, two American astronauts, Neil Armstrong and Edwin “Buzz” Aldrin, accomplished what no other humans had done – they stepped foot on the moon. Armstrong’s words, “That’s one small step for [a] man, one giant leap for mankind,” echoed around the world.


(Image at right) Apollo 11 Saturn V launch vehicle lifts off from Kennedy Space Center.


As Americans and the world shared their experiences, for those living in Hawai‘i the event continued as astronauts Armstrong, Aldrin and Michael Collins made their first landfall on O‘ahu after their capsule splashed down in the Pacific Ocean. Their quarantine unit arrived at Pearl Harbor aboard the recovery vessel, the aircraft carrier USS Hornet, on their way back to Houston.


In recognition of the 50th anniversary of the Apollo 11 moon landing, AMERICAN EXPERIENCE and PBS Hawai‘i are premiering Chasing the Moon, a three-part, six-hour documentary series that brings the awe, excitement and unforgettable experience to life for both those who lived through it and for the generations who have come after.


Apollo 11 astronauts (from left): Neil Armstrong, Michael Collins and Edwin E. Aldrin Jr. share a laughFrom the space race’s earliest beginnings to the monumental achievement of the first lunar landing in 1969 and beyond, this series recasts this period as a fascinating time of scientific innovation, political calculation, media spectacle, visionary impulses and personal drama. Utilizing previously overlooked and lost archival material – much of which has never before been seen by the public – the film features a diverse cast of characters who played key roles in these historic events.


Among those are astronauts Aldrin, Frank Borman and Bill Anders; Sergei Khrushchev, son of the former Soviet premier and a leading Soviet rocket engineer; Poppy Northcutt, a 25-year old “mathematics whiz” who gained worldwide attention as the first woman to serve in the all-male bastion of NASA’s Mission Control; and Ed Dwight, the Air Force pilot selected by the Kennedy administration to train as America’s first black astronaut.


(Left) The Apollo 11 crewmen, still under a 21-day quarantine, are greeted by their wives. (Center) Poppy Northcutt became the first woman in an operational support role to work in NASA’s Mission Control Center in Houston with the flight of Apollo 8. (Right) Ed Dwight, the first African American to be trained as an astronaut


“When we think of that breathtaking moment of the 1969 moon landing, we forget what a turbulent time that was,” said Mark Samels, AMERICAN EXPERIENCE executive producer. “The country was dealing with huge problems – Vietnam, poverty, race riots – and there was a lot of skepticism about the space program. Chasing the Moon explores the unbelievably complex challenges that NASA was able to overcome. It was a century-defining achievement, and our film tells a familiar story in an entirely new way.”




Monday – Wednesday at 9:00 pm
July 8 – 10
on PBS Hawaiʻi

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AMERICAN EXPERIENCE: Chasing the Moon - cover story




POV Shorts
Positive Images


A man creates an archive of black excellence and fights for its permanence in “Give.” A family’s audiovisual legacy, identities, and record are revisited in Into “My Life.” Two short docs explore the history and memory of African-American communities.




Minding the Gap

POV: Minding the Gap


First-time filmmaker Bing Liu’s documentary Minding the Gap is a coming-of-age saga of three skateboarding friends in their Rust Belt hometown. While navigating a complex relationship between his camera and his friends, Bing explores the gap between fathers and sons, between discipline and domestic abuse and ultimately that precarious chasm between childhood and becoming an adult.






Special “Lost Battalion” Film Screening for War Veterans


CEO Message

Special “Lost Battalion” Film Screening for War Veterans
World War II veterans Robert Kishinami, Henry Ishida and Takeo Ikeda

World War II veterans Robert Kishinami, Henry Ishida and Takeo Ikeda


It was a full house, as sons, daughters and other family members and friends came out in force with some of Hawai‘i’s World War II veterans of Japanese ancestry for a special screening of a documentary film, Rescuing the Lost Battalion: The Story Behind the Heroes. The film was made by the international arm of Japan’s public broadcaster, NHK.


It’s a painful war story that many people in Hawai‘i know. Many local boys of Japanese ancestry suffered grievously to save Texas soldiers who were pinned down by German gunfire in steep, dense woods in France. The Japanese Americans had volunteered for their country’s wartime infantry, patriotic to a government that distrusted them.


This epic battle is only now starting to become known throughout Japan. The film director, 30-something Yoichiro Sasagawa, and several NHK World-Japan executives came to Honolulu last month and gave local veterans an opportunity to view this English-language version of the film in person before it airs on PBS Hawai‘i next month.


Left image: Decorated war veteran Yasunori Deguchi told me he’s always mindful of the fallen soldiers. Center image: Film director Yoichiro Sasagawa (right) greets Laura Miho (seated), widow of veteran/lawmaker “Kats” Miho. Right image: Taeko Ishikawa lost her husband George, her brother Kazuo and her cousin Tsugio in WWII.

Left image: Decorated war veteran Yasunori Deguchi told me he’s always mindful of the fallen soldiers. Center image: Film director Yoichiro Sasagawa (right) greets Laura Miho (seated), widow of veteran/lawmaker “Kats” Miho. Right image: Taeko Ishikawa lost her husband George, her brother Kazuo and her cousin Tsugio in WWII.


Nine World War II vets in their 90s, including former Gov. George Ariyoshi, attended, as did four widows of veterans. They were among more than 400 attendees. Widow Taeko Ishikawa still makes every effort to represent her husband George, who passed away in 1970.


One of the attending vets, Takeo “Ike” Ikeda, opened up about his experiences in the battle for the Lost Battalion for the first time in his life, in an emotional interview that’s part of the film.


This hour-long documentary will air on PBS Hawai‘i at 8:00 pm on Saturday, August 4.


Aloha nui,

Leslie signature


Leslie Wilcox
President and CEO
PBS Hawai‘i



How Finding Kukan Was Found


By Liberty Peralta


Finding Kukan makes its Hawai‘i broadcast debut, Thursday, June 28 at 9 pm. The documentary tells the story of Li Ling-Ai, a female film producer from Hawai‘i who was uncredited for her work on an Oscar-winning documentary about World War II in China called Kukan. A full copy of Kukan has long been missing, while Ling-Ai’s story has gone untold for decades. Both mysteries are unraveled over a seven-year journey on Finding Kukan.


The producer and director of Finding Kukan, Robin Lung, spoke with us by phone about the film.


Robin Lung
Robin Lung, producer and director of Finding Kukan


PBS Hawaiʻi: How did you come across Li Ling-Ai’s story?

Robin Lung: I read Li Ling-Ai’s memoir, Life is for a Long Time, about her physician parents in early 20th century Hawai‘i. I was searching for a Chinese American woman to profile, and I was really interested in the ’30s and ’40s, so I was researching women of that era. There was a biography of Li Ling-Ai on the book’s jacket flap that said that she had worked on this film Kukan that had won an Academy Award. I had never heard of Kukan or Li Ling-Ai before I read her memoir, so that really piqued my interest.


How did you come across her memoir?

I had been reading these vintage mystery novels that a friend of mine from New York sent me. They’re written by Juanita Sheridan, and they feature a Chinese American female detective named Lily Wu who solved crime in New York City and Hawai‘i. In an interview, Juanita Sheridan said that she based Lily Wu on some real life friends of hers from Hawai‘i; she had lived in Hawai‘i in the 1930s. That really caught my attention because Lily Wu is not your stereotypical shy, submissive Asian woman. She’s really smart, she’s really independent and audacious. This detective captured my imagination, and I wanted to find out who the real-life woman she was based on might be. I did a lot of research and that’s how I came across Li Ling-Ai’s memoir.


If the Academy of Motion Picture Arts and Sciences [which oversees the Oscars] didn’t have a copy of Kukan, how many other Oscar-winning films did they not have?

Kukan is the only Oscar-winning documentary that the Academy didn’t have a copy of. It was very unusual for them not to have a copy of this documentary because they actively collect their Oscar-winning films. That was another question that I wanted to explore in my film: Why did it get lost? We structured it as a detective story on purpose because we couldn’t find definitive answers for a lot of the questions that I asked. Shirley Thompson, who acted as the editor on the film, worked closely with me for five years. The film that I wanted to make is not the film that we ended up with, and that was because circumstances prevented me from having my ideal world. [laughs]


What did that ideal story look like?

The story of Li Ling-Ai and her filmmaking partner Rey Scott, and how they made Kukan, is like this Cinderella story. Two novices with no experience in filmmaking, on a whim, decide to make this film about what’s happening in China, and it ends up winning an Academy Award and is shown at the White House for President Roosevelt. My ideal story in my head was that I was going to find out every single detail about this story, and I was going to present it as a very conventional historical documentary, much like the Ken Burns documentaries.


Li Ling-Ai and Rey Scott in front of the Clay Theater for the San Francisco premiere of Kukan, 1941


You had to let go of what you wanted this to look like and let it transform into something else. What was the takeaway for you in doing that?
You’re not in control of your material a lot of the time. You have to work with what you have and what you get. That challenge in how to make something with the limited palette of material you have is what sparks new creativity. That’s the fun part of filmmaking.


I also learned so much about how history is told and who gets to tell history. It’s activated me to preserve our own local history because I see that there’s this master narrative that comes from people in power. Our island stories are vulnerable to disappearing over time because the powers-that-be are not working hard to ensure that those stories get carried forward. If we don’t tell our own stories, and we don’t work hard to preserve the material that can tell those stories, then no one else will.


Perhaps there’s someone reading this who might not identify as a storyteller, but may be motivated to help preserve our stories. What can they do?

I came across this story after Li Ling-Ai and Rey Scott had passed away. As I tried to interview people, a lot of times I would connect with them too late; they would have just passed away right before I met them. I think that’s a very common problem that we all face, that we don’t think to ask questions of our elders until it’s too late. There are so many rich stories in everybody’s family.

Also, the questions that are important historically are sometimes things that older people don’t want to talk about. They’re tough times, and those are stories that we need to learn lessons from. Finding Kukan is a bittersweet film because I do find out amazing things, but there are certain things that I’ll never be able to know.

What I would hope that people will do after seeing this film is that they sit down and talk with their elders. Take out an iPhone or a tape recorder and have it rolling when they ask, “What did you do in the war?” or “Why did we move to Hawai‘i?” Those basic questions that they want to know more about and really want to get the answers to.

This interview has been edited for clarity and length.


Our next Indie Lens Pop-Up explores a changing agricultural landscape


Please join us for our free Indie Lens Pop-Up screening of the following documentary, ahead of its broadcast debut on Independent Lens:


Look & See: Wendell Berry’s Kentucky / By Laura Dunn
Tuesday, April 17, 2018, 5:30-8:00 pm
VENUE CHANGE: Impact Hub Honolulu, 1050 Queen Street, Honolulu


Look & See: Wendell Berry’s Kentucky is a portrait of the changing landscapes and shifting values of rural America in the era of industrial agriculture, as seen through the mind’s eye of award-winning writer and farmer Wendell Berry, back home in his native Henry County, Kentucky.


We hope you’ll stay after the screening for an informal audience discussion. How has agriculture shaped our way of life in Hawai‘i – and how is that way of life changing?


Important Note: Because of our studio preparations for the April 19 live broadcast of KĀKOU – Hawai‘i’s Town Hall, this Indie Lens Pop-Up screening will be held at Impact Hub Honolulu, at 1050 Queen Street in Kaka‘ako. See the graphic below for nearby parking options.




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


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



POV examines police militarization on ‘Do Not Resist’

SWAT officers in Ferguson, Missouri.

Do Not Resist explores the militarization of local police departments and their Special Weapons and Tactics (SWAT) teams – in their training, tactics and acquisition of equipment – since 9/11. With unprecedented access to police conventions, equipment expos, and officers themselves, filmmaker Craig Atkinson has crafted an observational, nonpartisan look at the changing face of law enforcement in America. The documentary makes its POV broadcast premiere on Monday, February 12 at 10 pm on PBS Hawaiʻi.


Liberty Peralta, Vice President of Communications at PBS Hawaiʻi, recently spoke with Atkinson (pictured, below) by phone about the film.


PBS Hawaiʻi: Could you talk about your own personal connection to law enforcement, within your family?
Craig Atkinson

Craig Atkinson: My father was a police officer for 29 years, outside of Detroit, and he was a SWAT officer for 13 of those years. Growing up, he used to take me on SWAT training exercises. When I was really young, I’d be a hostage, and when I got a little bit older, I would be an armed assailant, so it would be me vs. the SWAT team in an abandoned factory in Detroit. It was a way for him to create greater obstacles for his team, and it was very fun as a kid to go and participate in something like that. So I was relatively familiar with SWAT and tactical teams, going into this film, but I think that just allowed me to empathize with the police officers, because my dad was a very upstanding officer, and I know his heart and I know he was always trying to do it right, and I know there are a lot of cops out there trying to do it right, as well.


What was your expectation going in to make Do Not Resist, and how did that vision change as you went along?

I felt when we started making the film that we would be able to show the full range of a SWAT officer’s experience. We worked really hard to try to find teams that we thought could demonstrate an appropriate use of SWAT. I point people towards the Pulse nightclub shooting [in Miami], where they took an armored vehicle, punctured a hole in the side of the nightclub and were able to save those hostages. Showing an appropriate use of SWAT only strengthens the film in general: Here’s an appropriate use of SWAT, thus we can see an inappropriate use of SWAT.


Unfortunately, despite our efforts and despite filming in 22 states and spending three years on it and going on dozens of ride-alongs, we never came across an opportunity that demonstrated the use of SWAT that we were being told by the officers that it was actually going to be used for, which was for counter-terrorism or for really violent situations. Every single search warrant that we went out for was a proactive search warrant, and in our case, 90% of those were for drugs, and oftentimes, low-level drug offenses, which was so shocking.


Do Not Resist was completed in 2016, after three years of production. What’s changed since then?

One of the main things that I point people towards is the scene that people find to be the most shocking in the film, which is the asset forfeiture scene: Police in South Carolina retrieve a small amount of marijuana and end up not only arresting the 22-year-old college student, but they also take $800 of his money, claiming that it was drug money, although he claims that it was for a landscape business. This process of seizing someone’s assets became completely abused amongst law enforcement for decades.


There were states that were changing laws and requiring a criminal conviction before seizing assets. This was doing a lot to dissuade law enforcement from going out and just randomly seizing funds that would then go back to their departments. With the appointment of Attorney General Jeff Sessions, he reversed the Obama-era changes to asset forfeiture. Mind you, these changes weren’t doing a lot in order to really stop the abuse of asset forfeiture. They found a way to exercise federal law to circumvent the state law, and I’m not the first to point out how that, in the long term, can be completely detrimental to the fabric of our society.


What was your awareness of this asset forfeiture abuse before you set out to make the film?

My father came up in the first wave, or almost-second wave, of SWAT in the mid-’80s, responding to the crack epidemic. In my father’s era, [there were] maybe 29 search warrants total. He was a police officer for almost 30 years, but he was only a SWAT member for 13 of those years. He only did 29 search warrants total. Contrast that with these teams that we went out with while making the film, they’re doing 200 raids a year, three to four times a day.


What I observed to be a major shift is the fact that we incentivize police departments to directly benefit from the money that they take. Classically speaking, asset forfeiture – anything that you took from a member of your community – the money would have to go into a general fund for the city, so the city could then use those funds to improve the community. That’s all well and good on paper, but the federal government came in and said, “If you include one federal agent on your task force, you get to keep 80% of the funds, and we’ll only keep 20%. Not just for a general fund for the city, but for your department itself.” You started to see police departments raising their operating revenue from ticketing their citizens and from seizing their assets.


That’s what was going on in Ferguson, Missouri. You had municipalities raising up to 50% of their operating revenue from ticketing their citizens. Imagine living in that community – you pay your taxes, and your police department can’t fund itself unless it raises up to 50% of the money that it needs to operate from additional ticketing. And when you give police departments the tools of war, you give them no indication of how to use those tools, and then you financially incentivize them if you use those tools in this way to seize assets, you actually financially benefit from it. That was a major shift that I saw in SWAT from my dad’s era to the SWAT that we are seeing unfold while making the film.



How have police departments reacted to Do Not Resist?

The thing that I’m most encouraged by is the fact that police departments have used the film as a teaching tool. I was really hoping that was going to happen – that we don’t necessarily condemn the individuals or departments in the film, but more of the style of policing that’s portrayed in the film.


We actually did a police academy screening tour with the film, where we took the film and showed it in academies and police departments. There was one police department that allowed their officers to have access to the film on their squad car computers. We’ve had a really interesting response from law enforcement agencies as big as the NYPD, who showed it at the John Jay Criminal Justice College with 300 active NYPD officers. It was an amazing response. A lot of officers got up and said things like, “This film does reflect reality. It shows many of the things that we ourselves are concerned with, and are trying to work with in our department. We’re actually happy that we have this example because it allows us to go to our command staff, who often aren’t sensitive to these issues, and we have an example to show them.”


Aside from asset forfeiture, another thing that was most often pointed out is the [retired Army Lieutenant Colonel and law enforcement trainer] Dave Grossman aspect of training, which is like preparing for the next Al Qaeda attack, although you’re actually going out to write traffic tickets. A former commander of the NYPD SWAT team got up and denounced Dave Grossman in front of the class. He said, “Yes, he has been influential in various law enforcement circles for a very long time, but I assure you that we are moving away from his teaching style, and it is not indicative of what we want the NYPD or the NYPD SWAT to be going in.” I thought that was a very powerful statement to make publicly, and it was very encouraging.


The thing that I’m most encouraged by is the fact that police departments have used the film as a teaching tool.

-Craig Atkinson, Do Not Resist filmmaker


In the film, the Department of Homeland Security admits that there is no reporting procedure in place for them to track how military-grade equipment given to police departments is used.

Since we started filming [in 2013], Homeland Security gave [police departments] $34 billion of equipment, and the Department of Defense is giving people $5 billion. You’re talking about nearly $40 billion worth of equipment. There was only one state that required reporting, and that was in Maryland, because the mayor of Berwyn Heights, Maryland, had a SWAT team come to his home because they were raiding the wrong house. They shot and killed his dog, and had him on the ground handcuffed. Because it happened to someone who was in a position of power, people started to pay attention, and sure enough, he passed laws in Maryland that required reporting statistics for SWAT teams. And sure enough, SWAT teams were being used 90% of the time for drug search warrants, and oftentimes those are low-level offenses. That initiative came up on the ballot, and it was dropped, so now even Maryland doesn’t even require reporting statistics for law enforcement.


While riding along with SWAT teams, a lot of the teams who were made up from really respected, upstanding individuals wanted to know nationally what the statistics were for SWAT because they figure the ones that were doing it right would only help them do their jobs better. They said, “Reporting isn’t necessarily a bad thing. We could really hone in on what we’re doing if we had those figures, but they’re just not required to keep them,” which obviously opened the door for tremendous abuse for teams who aren’t so upstanding.


What did the ratio of “upstanding” versus “non-upstanding” officers look like?

The majority of police officers that I came in contact with were people who truly wanted to protect and serve. We did find an alarming number of people who maybe had the best intentions, but didn’t even realize themselves their implicit bias, just seeing which cars they pay attention to, and who they decide to pull over. It was almost as if even the well-intended officers weren’t fully aware of their innate bias and racism.


As a whole, I would say that the majority of officers are there to do the right thing. However, oftentimes they’re given the top-down objectives that puts them at odds with their community. And a lot of it was coming from the federal government. I think that if you left communities to their own devices, you would reach an equilibrium, where the police department realizes that it’s putting them at odds with their community when you’re requiring them to raise their operating revenue from ticketing and seizing the assets of their citizens.


Does this mean that this is a systemic issue, that individuals aren’t necessarily responsible for this current situation?

I think you can’t let individuals off the hook, because that’s where the actual change happens. And I’m really reluctant to do that because there were so many officers who were just kind of hiding behind the badge and their power, and they truly needed to be held accountable themselves. By no means am I trying to make it seem like it’s just a bunch of Boy Scouts out there and if the policies change, the fabric of policing will change. I kind of straddle both sides of the fence because I understand the law enforcement perspective, just seeing what my dad went through, but also seeing all the problems in his own department and how, when you multiply that as a whole, it really does become individuals caught in it. The individuals need to hold strong and really think about the way they’re interacting with the community.


One thing that I think we can all do is not treat everyone as a collective mass. The police department is not a collective mass. Protesters are not a collective mass. They’re made up of individuals. There’s a protest scene in Do Not Resist, and there’s an officer yelling at a protestor. He’s like, “I’ve known you since you were little. And you’re out here now and burning things down and why is this?” That officer actually got in trouble from management for engaging in conversation with the individual. We caught up with that officer after the fact, and he was just mentioning to us how obviously the police and community relations are so strained, but he uses small moments to access the community. He’s an officer that gets out of his car. He’s not bombarded by the technology in the squad car, the computer, all the scanning devices. He rolls down his window. He’ll stop at a neighborhood barbecue, he’ll talk to people.


That officer actually came to our screening in St. Louis, and he did the Q&A with me. And when he got up, a woman from the community said, “What happened to the police department? When I was growing up, all the police officers had baseball cards. We used to run up to a squad car because all the police officers would give us baseball cards.” To me, it just totally created a snapshot in my mind of a forgotten history of our police-community relationship. But wouldn’t you know, this officer, who was off-duty and in plain clothes, reaches into his leather jacket and pulls out baseball cards. He still does it. He’s the type of officer that will go out and engage the community and try to build that relationship.

A Mine-Resistant Ambush Protected (MRAP) vehicle driving through a neighborhood in Juneau County, Wisconsin, pop. 24,000.


What would you say to someone who sees the trailer for your film and thinks, “Oh, this isn’t happening in my community. I don’t need to worry about this”?

We had some screenings where people would come up afterwards, and it was usually older white women who would be so baffled. They were asking where the raid actually took place, the one in South Carolina, as if we were actually in South Africa or something. They couldn’t really comprehend that this was going on. And we’re like, “Oh no, that was one of four raids that day in that community.” I think that there’s such a difference between the geographical location of where someone lives, and what they’re exposed to on a day-to-day basis. This is something that’s happening three or four times in a county, usually in one specific region of a county. And you just think about the long term effect of a SWAT team coming through your neighborhood three or four times a day. We can’t wake up a decade from now and wonder why people have resentment towards police departments, when they were basically doing home invasion, Fallujah-style home invasions in their house while growing up the entire time. When we see the physical application of force and the SWAT home entries, it’s very shocking. And that may only be contained to certain areas of a city where some people can completely avoid that their entire lives.


However, when it comes to surveillance technology, this is something that is universally applied. It doesn’t matter if people are in Hawaiʻi, or no matter where they are, so long as they’re an internet user, no one is able to get away from the ubiquitous surveillance of their social media posts, of their e-mails, of all the information that we’re contributing online. That’s all now being collected and being analyzed. This is not something that people are going to be able to shy away from in the coming decades. It’s not just going to happen in the lower income communities where we can push it aside and never think about it again. Everyone is implicated in that, so long as they’re an internet user.


It seems like we’re at a crossroads between human, face-to-face interaction, and technology. How are you feeling about where law enforcement is headed?

I think it’s reflecting on the bigger picture as a whole. I think that we would benefit more in our society in general with far more interaction than what’s happening. Everything is going behind social media posts, and the amount of time people are interacting is going down, and that’s indicative of the law enforcement community relationship itself.


One thing that it comes down to is financing. We had a police chief in Dayton, Ohio, say, “I can’t hire ten more officers. I can’t afford all of that. But what I can do is hire one police officer and all of this additional surveillance technology and for the same cost, I can have one officer use this technology as a ‘force multiplier.’” And I think that this type of reliance on technology is not just restricted to law enforcement.


Am I hopeful? Yes, because I still believe in people. I am not without hope because I believe humans have the ability to adapt and to be creative, and I think that’s what we need to bring to any situation, whether it be reforming law enforcement or otherwise.


Do Not Resist premieres on POV Monday, February 12 at 10 pm on PBS Hawaiʻi.

This interview has been edited for clarity and length.



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