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HIKI NŌ
#1008 – The Top Stories of the Fall Semester, 2018-2019

HIKI NŌ Episode 1008 – The Top Stories of the Fall Semester, 2018-2019

 

This compilation show features some of the top stories from the fall semester of the 2018-2019 school year. Each of the stories presents a variation on a theme that has become a hallmark of HIKI NŌ storytelling: empathy.

 

Program

 

–Students at Waiākea High School in the Hilo district of Hawai‘i Island tell the story of a married couple for whom empathy has become a profession and a way of life: husband and wife both work in the foster care industry and foster children themselves.

 

–Students at H.P. Baldwin High School on Maui tell the story of a fitness coach who channels his own physical and psychological challenges into developing empathy for his clients.

 

–Students at Maui High School in Kahului tell the story of a young woman who is grappling depression and has, on occasion, harmed herself. The student storytellers who created this feature deal with this sensitive topic with a great deal of empathy.

 

–Students at Konawaena High School and Konawaena Middle School on Hawai‘i Island collaborated on a story which shows that empathy is not limited to people’s feelings for other people. Human interactions with goats at the Dancing Goat Sanctuary prove that animals often elicit and deserve our empathy.

 

–Students at Kamehameha Schools Maui High School show how one teenager’s empathy for girls who suffer from low self-esteem inspired her to launch a positive self-image workshop for young women.

 

–Students at ‘Ewa Makai Middle School on O‘ahu tell an empathy-driven story about the highly personal connection between a young dancer and her art form.

 

–Students at Waimea High School on Kaua‘i tell the story of a girl’s battle with Hodgkin’s lymphoma in a way that leads viewers from feeling sympathy for to sharing empathy with the young patient.

 

This special episode is hosted by Yasha Ronquillo, a 2018 HIKI NŌ graduate from Maui High School who is currently a part-time HIKI NŌ teacher at her alma mater.

 

 

 

HIKI NŌ
Episode #1003 – Dancing Goat Sanctuary on Hawai‘i Island and other stories

HIKI NŌ: Episode #1003 - Dancing Goat Sanctuary on Hawai‘i Island and other stories

 

TOP STORY

 

Students from Konawaena Middle School and Konawaena High School in Kealakekua join forces to tell the story of the Dancing Goat Sanctuary on Hawai‘i Island. The sanctuary is situated on an organic farm and is dedicated to providing abused, orphaned and abandoned goats with a safe environment in which to thrive. Youth and animal advocate Shawna Gunnarson utilizes the goats for an afterschool program at the sanctuary that teaches students how to treat animals compassionately, setting a path for both animals and youth to build lasting connections.

 
Program

 

ALSO FEATURED

 

–Students from Kapa‘a High School on Kaua‘i show how to take simple steps towards developing your own personal style.

 

–Students from H.P. Baldwin High School on Maui show how to get started learning American Sign Language.

 

–Also from Baldwin, the story of a fitness coach who overcame his own personal struggles to become a motivating force in peoples’ lives.

 

–Students from Wai‘anae Intermediate School on O‘ahu introduce us to a teacher who has turned a sustainable garden into a special place of learning.

 

–Students from Pomaika‘i Elementary School on Maui tell us the history of the musubi in Hawai‘i and show us the right way to make one.

 

–Students from Maui High School tell the story of Maui-based painter Philip Sabado and how he re-connected with his Hawaiian culture.

 

 

PACIFIC HEARTBEAT
Next Goal Wins

PACIFIC HEARTBEAT: Next Goal Wins

 

In 2001, American Samoa suffered a world record 31-0 defeat at the hands of Australia, garnering headlines across the world as the worst football (soccer) team on the planet. This film is an inspirational story about the power of hope in the face of seemingly insurmountable odds, and an object lesson in what it really means to be a winner in life.

 

Preview

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Neva Rego

 

Original air date: Tues., Apr. 1, 2008

 

Hawai‘i’s Voice Coach to the Stars

 

Neva Rego is known by many as Hawai‘i’s Voice Coach to the Stars, the wind beneath their wings, with a list of vocal students that includes Robert Cazimero, Tony Conjugacion, Jimmy Borges, Jasmine Trias and Jordan Segundo, and a waiting list with more than a hundred names.

 

Leslie Wilcox sits down with Neva to discuss how she followed her musical dreams, and how she shares her training and experience with her vocal students.

 

Neva Rego Audio

 

Download the Transcript

 

Transcript

 

Aloha no and welcome to Long Story Short. I’m Leslie Wilcox with PBS Hawai‘i. We’re about to sit down with Neva Rego. Never heard of her? Neva is known by many as a Voice Coach to the Stars, the wind beneath their wings, with  a list of vocal students that includes Robert Cazimero, Tony Conjugacion, Jimmy Borges, Jasmine Trias and Jordan Segundo, and a waiting list with more than a hundred names. Neva Rego—next.

 

Long Story Short with Leslie Wilcox – produced with Sony technology – is Hawai‘i’s first weekly television program produced and broadcast in HD. High definition… it’s in Sony’s DNA.

 

Neva Rego is an extraordinary woman because she did an extraordinary thing. She followed her dream. Her wish was to be trained in a classical, Italian style of singing, the kind she’d been listening to on records since she was a child. So, at the tender age of 18, not long after World War II, she hopped on a freighter and shipped off to Italy to seek her destiny. She didn’t speak Italian and she didn’t even know the name of the technique she was seeking. It turned out to be bel canto.

 

It’s very hard to explain. It’s easy to listen to. What I think about it is, it’s so legato, meaning tied together; it’s all beautiful singing without pushing, without smashing those poor little notes. You know, it’s just gorgeous, beautiful singing; very legato. And free. I mean, if you’re singing bel canto, you’re not killing yourself when you hit a high note. It just—Pavarotti is an example of bel canto.

 

You know, my dad was a radio DJ and when I wanted to work in television I said, Dad, how do I use my voice? And he said, Do it the bel canto way. And of course, I had no idea what that meant. And he said, Take a candle and light it and put it in front of your mouth and speak, but make sure that you don’t blow that candle out.

 

Right.

 

No clue what he meant. And of course, when he spoke in front of it, he knew how to use his voice. But how does the candle relate to bel canto?

 

It doesn’t blow out. I’ve tried it so many times. It’s because your air is utilized with your voice, and no [BLOWS] comes out. No spurts of air or anything. It’s amazing.

 

And so that should help you as a performer to have a career over time, that you don’t destroy your vocal cords.

 

Oh, yeah. You don’t hurt yourself. And then it’s easier. Singing wise, you’re using your diaphragm and not your throat muscles to hold it up, you know, like some singers do.

 

So tell me a little about what life was like for you growing up. You were in Ka‘imuki.

 

Right; on 18th Avenue. And I’m still there. And I must say, we had a beautiful childhood, my brothers and myself. And at that time, there weren’t that many houses around us. You know, we had a lot of empty lots and little foresty-looking places that we built our clubhouse and all the kids would gather after school there. And I must say, it was a lovely time.

 

And you went to what school?

 

I went to Sacred Hearts Academy. And loved it. The nuns were wonderful, and I think they were a bit instrumental in my learning languages. Because all the nuns at that time were French, and I remember studying Latin and the teacher taught to us in French. How do you like that? And we had a lovely sister from Germany, Sister Polaneya, and she was a fabulous musician.

 

Now the girls at Sacred Hearts Academy are primed to go to college, and have professional careers. What was the goal in those days?

 

In those days, I do believe that a lot of the girls strived to be nurses or teachers. There weren’t that many kooky ones, like I was. [chuckle]

 

And how were you kooky?

 

Well, I wanted to something in music. I wanted singing; I loved it. And you know, here’s this little kid from Kaimuki, wanting singing. And you know, I don’t know why, but I felt it. As I recall, when I was seven years old, I heard this beautiful aria on the radio with this Italian singer. And I remember telling my mother that was the most beautiful thing I ever heard in my whole life. All of seven years, yes? And Mother said, You really loved it? I said, Oh, I love it, I just love it. Well, that did it. Mother went down to House of Music, at that time in Waikiki, and she kept buying all these records of Italian singers. And well, that whetted my appetite for opera.

 

What were the other kids on the block listening to? What kind of music were they listening to?

 

They were mostly in Hawaiian. And I loved Hawaiian; but there was something about opera that was for me, I felt. You know. And if nobody else liked it, that’s okay; but I did.

 

What appealed to you about it?

 

Oh, I loved the language, first of all. The Italian language is so beautiful to sing. You never have a bad sounding word in it.   You know, everything is so fluid and beautiful. And the drama, the music; I mean, it’s just glorious. Opera is complete, I feel. You have acting, singing, dancing, tragedies, happiness; everything all rolled up in one. You know? And that appealed to me.

 

So Italian opera was speaking to you from the time you were seven years old.

 

Seven.

 

And you’re singing at Sacred Hearts Academy.

 

M-hm.

 

And looking at graduation.

 

Yes. And then I said, I think I want to go and study more music. I was looking all over for it; I had seven teachers here, and they were wonderful; all seven of them. But it was not what I was looking for. I kept hearing this other thing in my head, and even though all my relatives told my mother that they were sorry for her, because they felt that she had only one daughter, and what a shame she was crazy.

 

[chuckle]

 

So I thought, never mind, they can’t hear what I’m hearing. So I convinced my mother and father that I had to go to Italy. So my mother said, Oh, my god. You don’t know Italian; what are you gonna do? But you know, when you’re 18 you think you have the world in your hand; you can do anything. So I said, I’ll learn it; no problems. So [chuckle] off I go on a on a freighter to Italy.

 

You know, some people follow their dreams to find fortune or fame or truth. Neva Rego heard a beautiful sound and followed it all the way to Milan, Italy simply to seek its beauty. Today, with air travel and cell phones and the internet, traveling halfway around the world, alone at that age, may not seem so remarkable. But to do it, at that time, seems so foreign.

 

Who did you go see? I mean, who did you know in Italy?

 

Well, before I left Honolulu, I was singing at the Hawaiian Village. And Rossano Brazzi, this Italian actor, he heard me singing, and he said, You know, senorina, you should be singing opera. And I said, Oh, I’m going to. And he said, Yes? I said, I’m going to Italy. And he said, Oh, wonderful. He said, I write to La Scala for you. And I thought, Well, that’s very kind, you know. But when I got to La Scala, I realized that [chuckle] it was so silly, because it was like shooting mosquitoes with a cannon; it was that ridiculous. I wasn’t ready for anything, except maybe to clean it.

 

[chuckle]

 

You know. And but the maestro was very nice, Vittorio di Sabato. He was very nice, and he understood my plight. And he told me, Oh, senorina, I will get you a teacher and this and that. So I got set up with this teacher.

 

How did you pay for this? Were your parents funding this uh, adventure?

 

Not really. I mean, they gave me a little in the beginning, ‘cause I didn’t come from a wealthy family. We were medium, you know. And so I had saved money when I was at the Hawaiian Village. And then just before I left, I was fortunate to get an Atherton scholarship, Atherton Foundation scholarship.

 

M-hm. They’re still giving –

 

–thanks to Bob Midkiff.

 

Still in business today, helping folks.

 

Still in business. So that really helped me. And I thought, Maybe I’ll stay a year and see how I do, you know. I think I’ll understand well after a year. Oh; after a year, I didn’t know beans yet. So I knew I had to stay on. And there was no more scholarships; my mother and father helped me a bit, without a doubt. But then I started to get jobs; little jobs. I’m not ashamed to say that I cleaned a few houses in the beginning, because I didn’t know the language. And then I started to teach English, which I think was horrible, because I didn’t really understand the grammar. [chuckle] And poor Italians would study with me, but they were mostly interested in speaking.

 

Conversation.

 

You know, conversation. And then later on, I got a job with the designer Pucci. And that started me working in haute couture. And I went on from him to Valentino and I was with him for seven years. And all the while, studying.

 

Now, were you dreaming of becoming a huge Italian opera star?

 

You know, I have to say no, I was not. Because I was so interested in this bel canto technique, that that’s what I kept looking for. I was trying to find it. And after two and a half years with this maestro from La Scala, I wasn’t finding it. And I was so embarrassed to tell my family that I didn’t find it yet, in Italy, two and a half years. So I didn’t tell them.

 

Did you think maybe you were chasing a phantom, that it really didn’t exist, it was something you heard, but you really couldn’t learn?

 

I knew it existed; I just couldn’t find it. You know, and I didn’t know where to go. And so I quit La Scala, the maestro from La Scala, and and then I must say, I passed about three months of sheer depression. [chuckle] I just said one fine day to the dear Lord, If you really want me to sing, you better show me the way, because I’ve exhausted everything. And so now, I leave it in your lap. If you want me to find this elusive little thing, you will let me find it. And so I stopped worrying. But that night, I had to get out of my little apartment, because I was getting stir crazy, you know. And so I went to La Scala to hear a concert. And I heard this girl singing. She was studying with me before at Scala, but she had left—she was gone about a year. And she was singing divinely; just what I was looking for. So I thought, How could that be; she must have found someone. So I was sitting in the opera house in the very top, which we call the chicken coops, yes?

 

M-hm.

 

And I rushed down, but somehow I was too late; and I missed her. So I was so upset and depressed, because I didn’t know how to get a hold of her. And I remember walking home; I couldn’t even take the tram, because I was crying. And so the next morning, I got up, still depressed. I said, I’ve gotta get out of here. So I went—in Milano, they have this big galleria in the middle of town, glassed in, and you have a coffee, you know. And it’s a nice diversion; people are walking to and from. And I was sitting down and all of a sudden, here comes this girl that sang the night before, walking down. Wow; I ran after her, and I said, Ciao; I said, I heard you sing last night; it was just beautiful. And she said, Oh, Neva; did I find a teacher. I said, I can hear it, I can hear it. And she said—I told her that I left that maestro, and she said, I wondered when you were gonna get smart. You know. I said, Yeah, but I didn’t know enough to know I didn’t know. You know? And so she said, What are you doing now? I said, Absolutely nothing. She said, Well, I’m going to a lesson; come with me. So I followed her to the lesson one-hour lesson, and I sat in a little corner, and I listened to lesson, and I cried for one hour. [chuckle] Cried. Because it was like there was so much emotion, because it was like something I was looking for, for so long and I found it. And so afterwards, the senora came over to me and she said, Senorina Neva, she says, are all Hawaiians so emotional? And I said, No, Senora, I said, you know, it’s just because I was looking for you since—I was trying to find you since I was seven years old. And she looked at me, and she started to cry. And we hugged, and it was love from then on; for 22 years, I was with her. Yeah.

 

What’s her name?

 

Her name is—was Magda Piccarolo. She was a lyrica leggiero soprano, and she sang all over. She sang at Scala and in America at the Met.

 

So you continued to have lessons with her for twenty-two years?

 

Yeah; twenty-two.

 

And you became a singer in Italian opera houses.

 

Italian opera. I first started off in concerts, because that’s what everybody does to get going; get your feet wet sort of thing. You know, and then you get a little role here and a little role there, and it just starts getting better and better.

 

What was your favorite role?

 

There’s so many. Gosh. Lucia is beautiful; Rigoletto is beautiful. I love La Sonnambula, but we never do it, because it’s very classical, it’s very bel canto, and maybe boring. But the singing is beautiful. And those are ones I love.

 

To sing in opera houses in Italy. To live and achieve a dream. Can you imagine? Neva Rego did what she loved and loved what she did. And that’s what I love about this story!

 

You know, I love the language. And I love the people; they’re so wonderful. You know. When I first went to Italy, it was not too long after the war, so people were still quite poor. And we didn’t have a refrigerator in the house. And there was no washing machine either. [chuckle] You’re looking at it. And you know, it’s difficult to wash sheets in the bathtub.

 

You did that for years?

 

I did all of that.

 

Ah.

 

Yeah, I really learned well. You know. And then I realized, silly Americans, when they complain; how beautiful our life is in America. And I think anybody who speaks against America should go abroad a while. Then you will how wonderful our country really is. You know. I know we are having problems now, but I mean, you know, the life is beautiful in America.

 

You stayed how many years; 26 years in all?

 

Twenty-six years. Really. It’s a lifetime, isn’t it?

 

Had you intended to come back? I mean, were you going to come back?

 

I think I might not have. The the thing that pushed me back was, in the late 70s, the man responsible for opera in Italy—he’s the one that subsidizes—that part of the government subsidizes opera. It was a Communist who got in. And when he got in, he decided no foreigners were gonna sing.

 

How high had you risen in the hierarchy of opera singers? Were you a big deal?

 

Well, I don’t think so. It was hard to get to be a big deal, because it was so political.

 

M-m.

 

You had to do so many things; you had to make sure an empresario liked you. [chuckle] And I didn’t wish to go further than that. So I just struggled along and sang and it worked well. But say that I got to the jet stream top; no.

 

And was that okay with you?

 

That was okay. Because I didn’t start off to be a big opera star. I started off looking for this technique. [chuckle]

 

And you found it—

 

I found it.

 

–and then you practiced it, and –

 

And now, I’m teaching it.

 

Neva Rego is a professional voice coach, teaching her beloved bel canto in her longtime family home in Ka‘imuki.

 

I never intended to teach. Never. But when I arrived home, after Italy, I thought, What am I gonna do? So I decided I was gonna go to Seattle. Because Seattle had good opera. And I was still young enough. So, then my father got ill.

 

M-m.

 

And had a stroke. And so that determined what I should do; I should stay home and take care of him. Because my brother was taking care of him all those other years, ‘cause Mother died so young. And so I stayed home, and this man came over and did an article on me in the paper. And the phone started ringing. And that’s the wonderful part of the story; it hasn’t stopped.

 

You have a waiting list this long. How many people are on your waiting list to take lessons?

 

Well, it used to be 200; right now, I think it’s down to about 100, 120. Which is nice; it’s security.

 

So the world started beating a path to your door; people wanted voice lessons from you.

 

Right. And one of the ones that came was Robert Cazimero.

 

How old was he then? Was he a young singer, just starting out?

 

This was in the 80s, early 80s.

 

In the 80s.

 

They were just from Manoa—

 

Sunday Manoa.

 

Sunday Manoa; and Robert came to me and said, You know, I’m having to lower my keys, and I don’t like that. He said, So I thought maybe if I studied a while, you’d help me. So 15 years later [chuckle]–

 

Now, why fifteen years?

 

Well, because he didn’t want to leave. He kept saying, No, I need it. I said, Robert, you don’t need lessons anymore; you know it so well. But we got on so well; he’s wonderful.

 

And this is not something that’s a quick fix, right?

 

No.

 

A student has to commit himself or herself.

 

Oh, yeah. With poppy music, I would say two years, two years and a half. Classical, forget it; six and seven. And you can’t learn it overnight; it’s not like you learn to play piano overnight. You know, you just need time. And anybody can learn to sing, if they wish it.

 

You are such a popular voice teacher. What kind of criteria do you have in accepting a student?

 

Just that they really want to learn, and that there’s a voice there.

 

So tell me some of the people you’ve trained over the years.

 

Well, as I said, Robert Cazimero. And I had Shari Lynn at that time too. She’s been great. And Jimmy Borges, and Tony Conjugacion. At one time, on Broadway, I had 17 people. Really. That was great for me, but it was kind of sad, because I wanted one at the Met.

 

[chuckle] Don’t ask for much.

 

And everybody was on Broadway. I said, Oh, my lord; what am I doing? You know. We even helped Richard Chamberlain study, Betty and I, and gosh; there’s so many.

 

Well, and just recently, American Idol came along and—

 

Oh.

 

Didn’t I hear your name with Jordan Segundo and—

 

Yes.

 

–Jasmine Trias? After the competition, though; not before.

 

After. And Anita Hall, Les Ceballos is one of mine too; a dear one. Jasmine, Danny Couch, and John Koko from Makaha Sons. You know. So there’s a long list, and they all are like children, like my kids that I never had.

 

How interesting that a lot of these people distinguish themselves in singing before they had lessons from you, but they were motivated to learn—

 

More. And you take Jordan, for example. He’s singing so well now. I’m so proud of him. And that he’s such a nice boy. And I really want him to get ahead. And he’s learned very well. He never misses lessons, he’s so enthusiastic. See, that’s—

 

Now, he didn’t win American Idol, obviously. Do you think he would have gotten farther if he’d had the lessons earlier?

 

Without a doubt.

 

How would his voice have changed?

 

Well, he would have—now, he has a complete range. He sings down the bottom, he goes all the way to a B-flat, and a high C. He never had those notes before.

 

How about Robert, because he had wonderful training at Kamehameha, I would think.

 

Yes. Robert can go to a B-flat like that too. You see, what you do with the technique is, you tie the voice together. Especially people like Jordan and Robert; you might sing with your chest voice here; but then the minute you get near what we call the break, the passagio, you have to have a different placement for those high notes. So you have to blend in the bottom to the top, and you learn to go over that transition very smoothly with study. And they do it; beautiful. Listen; listen to Robert. After all these years, he still sounds glorious.

 

And after all this time, it’s still bel canto for you.

 

Yeah, it’s still—

 

You’ve never heard another type of vocal technique that works as well for you?

 

No; I’m in love with bel canto.

 

And so your mother didn’t raise a crazy daughter after all?

 

No, I don’t think so. I hope not. I don’t know if others feel that way, but I’m in love with what I’m doing. I love it.

 

Mahalo to Neva Rego for sharing her stories with us today. And thank you for joining me for them. That’s all the time we have for this Long Story Short. I’m Leslie Wilcox. Ciao bella and aloha hui hou kakou!

 

Long Story Short with Leslie Wilcox is produced in HD by PBS Hawai‘i with Sony technology. High definition. It’s in Sony’s DNA.

 

My name is not really Neva; it’s Aggreneva. And everybody gets all twisted ‘cause they don’t know who she is. But my mother named me after a Russian opera singer, and her name was Agraneva Schlovanskaya. I’m kinda happy Mother stopped after Aggreneva. Mother never told me that I had this name. I knew it was a kooky name; at school, they called me Aggrevacious. You know how school kids are. Anyway, all of a sudden, I said to Mother that I was in love with music and I wanted to do music. So Mother said, Well, you know, I think I’ll tell you about your name. And she told me about Aggreneva Schlovanska, who had come here years ago with some Russian group. And they sang at Hawai‘i Theatre. Isn’t that interesting?

 

And your mother obviously had a love for opera.

 

Yeah. But I was the one that was gonna make it my life.

 

HIKI NŌ
Episode # 909: Top Story – The pros and cons of using Uber and other ride-sharing services

 

TOP STORY
Students from Sacred Hearts Academy in Kaimuki on O‘ahu explore the pros and cons of using Uber and other ride-sharing services. The main issues raised by students, parents and drivers revolve around convenience versus safety for young riders. The story also explains Uber’s policy that restricts minors from riding alone, a fact of which many teenagers and parents are unaware. The student reporters learn that Uber is testing a service for teens in several cities, though not yet here in Hawai‘i.

 

ALSO FEATURED
–Students from Maui Waena Intermediate School explain how their robotics coach found his passion while teaching students to stretch their tech expertise.

 

–Students from Farrington High School in Kalihi on O‘ahu introduce us to an alum who has devoted decades to preserving the school’s history and spreading a positive message about the school and its students.

 

–Students from the Montessori School of Maui Middle School explore the pervasive problem of bullying and offer tips for students dealing with bullies at school.

 

–A student from Kapa‘a High School on Kaua‘i shows and tells us how Tahitian dance has helped her relieve stress, enjoy life and preserve her cultural traditions.

 

–Students from Waiākea High School in Hilo on the Big Island profile a student athlete who proves that determination can overcome her physical disadvantage and beat the competition.

 

 

THE DAVID RUBENSTEIN SHOW: PEER TO PEER CONVERSATIONS
Mike Krzyzewski (Coach K)

THE DAVID RUBENSTEIN SHOW: PEER TO PEER CONVERSATIONS - Mike Krzyzewski

 

This new series explores successful leadership through the personal and professional choices of some of the most influential people in business. Financier and philanthropist David Rubenstein travels the country talking to leaders to uncover their stories and their paths to success.

 

Mike Krzyzewski (Coach K)
Rubenstein interviews Mike Krzyzewski, Duke University’s “Coach K,” who discusses lessons learned from his first-generation parents, keys to building a great team, what professional players taught him and the greatest honor of his coaching career.

 

LONG STORY SHORT WITH LESLIE WILCOX
Laura Beeman

 

Head coach of the University of Hawai‘i’s Rainbow Wahine basketball team, Laura Beeman knows what it takes to win. She has revitalized the team drastically since her arrival in 2012, by pushing and inspiring her young women to reach their full potential, on and off the court.

 

This program will be rebroadcast on Wednesday, Oct. 11, at 11:00 pm and Sunday, Oct. 15, at 4:00 pm.

 

Laura Beeman Audio

 

Download the Transcript

 

Transcript

 

Heartbreak a year ago. Elation this season.

 

It was a thrill of a lifetime. You know, and I still talk about it, I can get a big lump in my throat. And remembering in the locker room just this lump of winning the tournament. The range of emotion of seeing their hard work pay off, and being so incredibly proud of them for being that first team, to the community support and feeling the aloha twenty-five hundred miles away, and then feeling the stress that I had been under of … We’re supposed to win this tournament and go the NCAA, and what if I don’t, what a failure is that? And being able to sit in a corner by myself and go, Oh, my gosh, we did this. And just tears; just tears. Tears of happiness, of joy. It was, right now, a little emotional. It was an amazing experience. I want to get back there, I want to have this feeling again.

 

University of Hawaii Women’s Basketball Coach Laura Beeman likes winning. Yet, her drive to make her players the best they can be isn’t limited to the basketball court. She’s teaching them life lessons that will continue to guide them long after they graduate. Laura Beeman, next, on Long Story Short.

 

Long Story Short with Leslie Wilcox is Hawaii’s first weekly television program produced and broadcast in high definition.

 

Aloha mai kakou. Laura Lynne Beeman moved to Hawaii in 2012 to become the head coach of the University of Hawaii Rainbow Wahine Basketball Team. At that time, the team was losing more games than it was winning. It didn’t take Laura Beeman long to turn the team around. In 2016, only four years after she took over, the Rainbow Wahine won the Big West Conference Championship, securing a spot at the pinnacle event in college post-season basketball, March Madness. It was the program’s sixth appearance overall, but only the first in eighteen years. Laura Beeman has always been competitive; that’s the way she was raised.

 

Both my parents are very, very competitive. They’re self-made. And you know, my dad opened up a pharmacy with his brother right out of college, and it was an independent pharmacy. And basically, my mom supported him. You know, his parents told him, If you guys get married, you’re on your own. And they decided to get married, and my mom said, Well, I’ll put you through USC pharmacology. She did.

 

How did she do it?

 

She sacrificed her education, and she worked. So, I think that drive comes from them. You know, as a kid, I watched my father work seventeen, eighteen-hour days to support his family, so that his wife could raise children, and my mom doing everything she could to support her husband. So, I saw that hard work from a very, very young age, and was always told by my parents, If you’re gonna do it, you’re gonna do it right. You know, you’re gonna have a great attitude, you’re gonna give it all the effort you have, or don’t do it. And so, I think it was instilled at a very young age, even though I didn’t know that was going on. Youngest of four, and was immediately just thrust into sports. I have an older brother. And so, you know, growing up, we went to school with one another, we went to a Christian school, all the way up until middle school. And sports just became a huge foundation of mine and my brother’s life. You know, Sunday church, and then come home after church, go to a little grinder shop down the street, come back, open up the grinders, eat, and watch football. And so, that was kind of my life growing up.

 

When you went to college at California State University at San Bernardino, you earned a bachelor’s in business marketing.

 

Yeah.

 

And? [CHUCKLE]

 

I had no idea what I wanted to do with my life. And someone said, you know, business is probably one of the areas that is most marketable. You can do anything from being a sports agent, to get into law, to go into sales. And so, I thought, I have no idea, you know, what I want to do. I had been told by a woman who worked for my father, You can sell, you know, ice cubes Eskimos. And so, we always laughed about that. And so, I thought, let me go into business. So, while I was playing sports, I got my business degree with a concentration in marketing, thinking I could do sales or maybe sports agent. And then, graduated and was like, What am I gonna do with my life?

 

Then, what happened?

 

Well, I got a phone call from an assistant coach at the University of Redlands. And they said, We heard you’re in town, we have a graduate assistant position open, would you like to get your master’s paid for and get into coaching? And I thought, I have no idea what I want to do with my life, so let me market myself, make myself a little bit more well-rounded. So, I went and received a master’s in educational counseling. And I loved the counseling aspect; had no idea I would, and had no idea how useful that would come in coaching. So, when I started coaching at the University of Redlands, the basketball coaching bug; it bit. You know, I loved playing, but I had no idea I would want to coach.

 

What would you have done if you hadn’t gotten that call? And then, you get a free master’s. I mean, that’s quite amazing.

 

It is. Again, right place, right time. I have no idea. You know, I was working for my dad at his pharmacy. I probably would have continued to work for him. Had no desire to become a pharmacist. I don’t know what I would have done, but I would have worked for him until I landed on my feet someplace.

 

Do you remember how and when that coaching bug bit you?

 

I think pretty immediately. You know, when I went to the University of Redlands, it was sitting back and watching with the coaches did, and what I liked and what I didn’t like, and how kids responded and how kids didn’t respond. And then, really figuring out, Okay, these kids respond to me with a little bit of a different approach. And all of a sudden, it was like, Okay, this is kinda cool. You know, I can kind of figure this out as I go. I was there for two years, and that’s when Mount SAC, Mount San Antonio Community College in Southern California, the job opened up. I was not hired as the head coach; I was hired as the assistant women’s basketball coach. And again, watched how coaches did things, and how players responded. Fortunate for me, and unfortunate for that coach, it didn’t work out for her, and they hired me the next year as the head coach.

 

You were twenty-five years old.

 

I was young; yeah. I had players that were older than me, so I had to establish some pretty strong boundaries. And again, that goes back to my parents; it goes back to watching them have very, very good boundaries in their life and their relationship, going back to coaches I’d played for and coaches that had really good boundaries, and coaches that maybe didn’t.

 

What kind of boundaries do you need when you’re younger than your players?

 

Well, you can’t go party with them. You know, you can’t go drink with them. If you’re a male coach, female coach, you can’t date players. So, there’s a lot of things you can’t do. And you see that all the time; you hear of both female and male coaches that get involved with players, and that’s just a boundary that’s not appropriate. Going to clubs with them. So, it’s just setting these boundaries of … I’m in a different category; in a position of power, I guess, a little bit. And I think that a lot of people abuse that. And that was something that I was always very cognizant of, is respecting the young ladies. You know, I would never walk into a locker room and just walk in unannounced. Hey, I’m coming in, put your clothes on, you know, get yourself appropriate, whether it’s a male assistant coach walking in with me or not. There was just a very strong, strict boundary that I was always … always made sure that I held, and I wanted my players to see that. Because that’s something that as they grew in their life, there has to be boundaries in their life as well with relationships and other things.

 

From the beginning, were you pretty good at reading players? I mean, you’ve been in sports all your life, so you knew a lot about dynamics. What about reading individuals?

 

You know, some people think I’m crazy for saying this on the show. I went through a lot of counseling, you know, later on in my life. And that is probably what helped me read people, and understand human behavior. And it also allowed me to develop a philosophy that if I wanted players to be their best, then I had to help them get to their best; if I wanted my players to be their best, I had to be at my best. And so, reading players and reading people, human behavior, I feel like that’s something that I’m pretty decent at.

 

Sometimes, the things that help you get to where you are aren’t the best thing for where you need to go.

 

No; sometimes they’re painful, sometimes they’re hard. You know, I’m not a believer that everything happens for a reason, although I guess it does. But I’m not a believer in that. I think things just are cruddy sometimes, and they happen. But it’s how you deal with that, and it’s the after effect that can take you to a really good, solid place in your life where you can continue to live in that yuck. And I just decided there was a point in my life where I didn’t want to live in that yuck.

 

You were already an authority figure when you went for counseling; right?

 

Yes.

 

Was that hard, to ask for help?

 

Yes. [CHUCKLE] Absolutely. It’s hard to go in and kinda put your heart on the table, and get very vulnerable with someone, particularly someone you don’t know, and let them kinda not pick you apart, but say, Okay, let’s go here, and you’re like, I don’t want to go there. Very, very difficult, particularly as a coach, ‘cause you’re always in control.

 

How do you deal with stress? I mean, there are so many things you can’t control in your life as a coach.

 

Yeah. I think one of them is—you just hit it on the head, is admitting and knowing what I can’t control. There are just certain things that I cannot control, because I don’t know what’s gonna happen with it. I have two huge dogs that walk me, and I love that. So, I get them out, go on hikes, try to just enjoy the beauty of Hawaii. The quality of life here is very different than the mainland. And so, for as busy and as stressed as I am, I have learned to enjoy that. And it’s a forced … take a deep breath. Again, going back to what I said earlier, being my best me. I know when I’m tired, I know when I’m overworked, I know when I’m cranky and people don’t want to be around me.   And it’s that moment I need to say, Okay, pause, and admit it.

 

For fifteen years, Laura Beeman was head coach of the women’s college basketball team at Mount San Antonio in a suburb of Los Angeles. She became a legend, leading the team to a record number of wins and state championships. Three years after she left, she accepted the position of head coach for Hawaii’s Rainbow Wahine Basketball Team. The program was in serious need of revitalization, but before Beeman could turn things around, she would first have to change the team culture.

 

The first year of recruiting, you did bring us out of a big stall. [CHUCKLE]

 

Well, you know, the cupboard wasn’t bare. You know, the coach prior did a great job of putting, you know, things there, pieces there for me. And so, we were able to take that group of young ladies and kind of regenerate and rejuvenate them and say, Let’s go. And they really bought into the philosophy of it’s not okay to be okay, we want to be better than okay, we want to be great, we want people to recognize us as great. And they bought into that.

 

So, was that kind of a culture of, we’re good enough, it’s good enough?

 

Very much so. When I met my team the first time, that was the running theme. I said, Okay, what’s gone on? And I remember Shawna Kuehu; love her, came into my office last week. She said, Coach, I’m tired of just being okay, and it’s okay to be okay here. And I said, I’ve never been okay. I’ve never been average, I’ve never been okay, and now I know what the problem is. So, give me your laundry list of things we need to change, I’ll let you know the things that I can try to change and the things I know I can change. And the one thing I can change is that culture. We’re not gonna be average here. But you’re gonna have to work.

 

Yeah; you can’t change the culture by saying, That’s not okay. How do you change a culture? I mean, this is not just one thing, this is a system of beliefs.

 

Yeah. One, I think you have to walk the walk as the coach. You know, you can’t walk in and be on your cell phone, and again, the things I spoke of earlier, you know, using foul language. You have to present yourself as a winner. You have to present yourself as a champion. Whether or not you feel you are, you have to present yourself as that. And I truly believed that if I could get this group of young ladies to buy into, I don’t lose, you guys, and I’m not trying to be arrogant. Not at all. I’ve been fortunate to have wonderful assistant coaches and resources, and have been able to get kids to come together and say, Hey, look at my record, this is what we’re gonna do here if you buy in. And here’s another thing; if you don’t want to buy in … what you’re doing isn’t working, so try something different. And they did. And so, it was a daily challenge to say, No, tuck your uniform in, tie your shoes this way, get in here, get to class, do what you’re supposed to do. Get on the end line, work hard, or please leave the gym, because you’re the one that said you didn’t want to be okay, not me. I have my degree, I’ve won. Let’s go. And so, when you talk that way to kids and you paint that picture of, I really think I can do this, and we have a leader that knows how to do it …

 

And you challenge them.

 

Big time; big time. I’m not gonna let a kid sit back and say they want something, and then not work for it. You have two choices; tell me what you want and we’re gonna go, or tell me what you want and not do it, and then I’m gonna ask you to go ahead and sit over there in the corner by yourself, and do your thing. Because you can do that without me. But if you want to win, and you want to be good, then let’s get together and let’s do this the right way. Don’t tell me what you want do; do what you’re gonna do. And that was a challenge, and that’s where we took that first group of young ladies is, let’s go, that’s enough of this, we have talent. And they bought into it.

 

So, you started with these young women.

 

M-hm.

 

And you made inroads. When you find somebody you really want to bring over, how do you get them here when they’re really looking askance at Hawaii?

 

We sell Hawaii on connection. We sell Hawaii on relationships. We sell Hawaii on the community. You know, we have been fortunate that four of our five years, we’ve done very well. And so, we can approach the, Okay, we’ve won.

 

How did your system of recruiting change as you went along, where you got to be the Big West Conference winner and coach of the year?

 

Yeah. That was fun. You know, as young ladies evolved as players, we all of a sudden said, Okay, this is the system we want to run, this is what we need to do to be successful in the Big West. And so, you go out and you kind of recruit pieces that fit your puzzle, and fit your system. And so, we were able to, after that first year—we were late in the recruiting process. You know, you recruit two and three years in advance.

 

And you came, I think, before the 2012-13 season.

 

April; yeah.

 

April.

 

And so, recruiting, though, for you know, 2012, 13, 14, coaches are already in the mix. They’ve already offered kids that were ‘14s, you know, graduating in ’14. So, we were behind the gun. We went after some key pieces. We found a couple JUCO kids.

 

What does JUCO mean?

 

JC.

 

Okay.

 

Community college, two-year. Found a couple, you know, JC kids, went and found a fifth year transfer; immediate fixes, immediate pieces. Good character kids, but they were gonna have to work. And they were able to get the group together. And then, we were able to play catch up a little bit in the recruiting process, and then bring in people that we wanted; high character, great work ethic. Pieces as far as whether it’s post player or guard, bring in those right pieces. And then, by the year that we finished second in conference and went to the NCAAs, we had put our puzzle together, and that was a really fun year.

 

When you were looking for those pieces, you were looking for specific athletic strengths; right?

 

Yes; absolutely.

 

And you said, high character.

 

M-hm; m-hm. That’s important. You know, if I look at a kid that’s high character and I can get the effort piece, then I know I’m not gonna have problems off the court. When I’m bringing in a young lady where I’m constantly, Go to class, don’t go to the club, what are you doing, it’s taking energy away from where we want to put our energy. So, you know, I say as a coach, the two things you should never have to coach as a coach are attitude and effort. I’ll coach your ability, I’ll motivate you, but I’m not gonna coach your effort, and I’m not gonna coach your attitude.

 

But you don’t know how a young person is gonna act when they get to this new exotic place away from their parental eyes and family.

 

You hope that you’ve developed enough of a relationship in the evaluation process of going out and watching them play, over the phone, through some text messages, talking to parents, that at least you’re not gonna completely get it wrong. Now, have I it got it wrong? Absolutely. And I’ll get wrong again. But you really try to develop a relationship. Recruiting is a relationship, it’s a fit. It’s not just a, I like the way you play, come play for me. There has to be more to it, so that you can keep kids here.

 

And I’m sure there’s always the temptation to say, This person has great raw talent.

 

M-hm.

 

I’m gonna take a big chance on somebody who doesn’t have a lot of the other elements.

 

M-hm.

 

Have you done that in your coaching career?

 

I have. I did that at Mount SAC a lot, because I’d already developed a culture, and I knew when I had a kid, say, that would come in with a bad attitude, I had fourteen young ladies in that locker room that were gonna help me manage them. And a couple really good captains that were gonna keep them in check. I couldn’t do that my first two years here, because we hadn’t developed the culture. When you get a good culture, you can take some risks, you can take some chances, because you have that base of great locker room talk. Where they come in and they’re like, Hey, let’s do this; and your captains go, No, that’s not what champions do, let’s not do that. So, when you get a little bit of a better culture and a foundation, you can take more risks.

 

How have local recruitments gone?

 

Tough; it’s tough. Th—the theme right now and the trend right now, they want to go to the mainland. They want a mainland experience. And some of them do well and stay, a lot of them come back home. Um, I would love to keep our local talent here, but it’s—it’s tough to fight the—the allure of the mainland. So, right now, we’re going after ‘em; we’re offering kids. I just have to keep them home.

 

And you don’t have a lot of people who are really tall awaiting—

 

[CHUCKLE]

 

–your call either in Hawaii.

 

Yeah, you know. But I have some tremendous athletes, and I have young ladies that understand the culture, and understand what it feels like to represent the State of Hawaii, and uh, play in front of their family and their aunties and their uncles, and that’s—that’s huge. So, um, I can find the guard or the forward, possibly, that wants to stay; yeah. Would I love there to be a six-four, six-five local kid that wants to stay home that can play basketball? Absolutely. Um, whether or not that happens, those are things I can’t control, I don’t worry about it. Right now, my challenge is to keep ‘em here.

 

 

Recruiting players and training them to perform during practice and games are only part of Coach Laura Beeman’s job. Teaching young people to become top athletes often requires coaching them off the court as well to learn the life skills they’ll need to achieve their athletic goals.

 

John Wooden, a great basketball coach, coined for this phrase of, Kids don’t care how much you know until they know how much you care. And so, when you get people, business, team, whatever it is; when people really know you care about them, then you get a common goal, and people want to work hard for you. And that’s not just. Let me fake caring about these kids, and then they’re gonna work hard. My players know I genuinely care about them.

 

How do they know? Do they test you?

 

Of course they do. [CHUCKLE] What children don’t test; right?

 

How do they test you?

 

They’re gonna see how far they can take the discipline. You know, if they miss a class, is Coach really going to, you know, suspend me?

 

And that’s constant management for you.

 

Oh, yeah.

 

Isn’t it?

 

Yeah. And it’s constant discipline for me to stay consistent. Kids say they don’t want discipline. Kids love discipline, and they want consistency. So, it’s a test for me to say, We just talked about this last week, here we go again. That’s where I have to be very disciplined in what I do.

 

And the punishment is, they sit out?

 

Yeah. And you know, I don’t like a lot of rules. I want my players to manage themselves and discipline themselves, and know the right way to go. There is an area, though, that I don’t have any wiggle room; and that’s academics. A lot of coaches, when kids don’t go to class, they put ‘em on the track and they run ‘em. Well, my kids are already in shape, so running ‘em is very easy. I sit ‘em. And for my mainland kids, I sit ‘em when they go home. I let ‘em warm up, and don’t tell ‘em, and they go through all the warmups so people know they’re not hurt, and then they don’t play. And then, the parents come and say, Why did my kid not play? Go talk to your kid about her academics. Doesn’t happen again. And I tell my players that up front. I will put you in the position where you’re going to now get in trouble by your parents, not just me. So, we have a 3.1, 3.2 GPA. And that’s a pretty good GPA when we do as much traveling as we do. And I have a committed group of young ladies that understand that rule very, very clearly.

 

Through the time you’ve been coaching, have the issues that your players bring to you, personal issues, have they changed?

 

No. When I was at Mount SAC, I dealt with a population that—most of the population, single parent, first generation college, a lot of learning disabilities, and a lot of abuse. Whether it was substance, domestic, sexual; a lot of abuse. And so, basketball became the carrot that they wanted dangled in front of them, because that was their way out. That was their way into a better life. So, I would say that I didn’t deal with it as much. Not that it wasn’t there, but the kids didn’t have the need to come and talk to me as a coach. It was USC, different socioeconomic status. Coming back to Hawaii, the problems are the same, and it’s just do kids know that they’re there, do kids want to talk about ‘em. And my door is always open in case they do.

 

What about a difference in—you know, we’re seeing a change in generations and use of media. I mean, all kinds of changes in society. Is that reflected in the players you coach?

 

It is. You know, they’re very connected all the time to their devices. And I remember the first time I ever thought, Wow, there’s a separation with connection. A player texted me and said, Coach, you know, my grandmother died. And I’m like, Don’t text me that; come and see me. We need to give a hug here, we need to have a conversation, I need to check in with you. And all of a sudden, you get those types of conversation in text; there’s a disconnect. There’s an appropriate way of text messaging; Hey, meet me for coffee. Great. But don’t tell me a life issue through a text message, because I can’t see how you are and you can’t relay how you are, and it just allows kids to build this huge wall where they don’t get vulnerable, they don’t share emotion. And it doesn’t have to be with me. But I don’t think anyone can hide behind a wall their entire life and have healthy relationships. So, there’s a huge disconnect, more today than when I started at Mount SAC. And I’m dealing with the same age group; right? I get older, they stay the same.

 

And so, you’ve gotten a chance to see what happens to your eighteen, nineteen, twenty, twenty-one-year-old players. What have you seen as far as after their sports involvement? What happens?

 

Lot of them have gone on to coaching. Couple of them are in administration. You see them get married, have children, or great relationships, you know, get jobs where they’re successful. And a lot of them come back and say, Coach, you know, this is what I’m doing. Going to weddings, and you know, it’s been great to see them grow as young women, and see them apply some of the things that they fought you on [CHUCKLE] so many years ago.

 

And now, they enforce.

 

And now, they enforce. You know, I watch them coach, and I’m like, Okay, now they get it, they get how hard this is. And watching them have those boundaries and those rules, and it’s really fun; it’s really fun.

 

Did you have to go through a learning curve to be accepted here? Did you have to change anything about yourself?

 

That’s the weird thing for me, is I feel like I’m more myself here than I’ve ever been, because of how accepting people are. I got some great advice when I was hired. You know, don’t get political, stay out of it. You know, understand the culture, and some key things about the culture. And I listened to that. And also, saw that the people that were mentoring me, and on my interview committee, and women that came up and said, We want to be on your hui, we want to help you, were authentic. And they were just transparent in everything they did with me. And I saw that. And I thought, Okay, you need to be Laura Beeman, you can’t be anybody else, you have to be Laura Beeman. And if you’re honest and do things the way that you feel is right, even if you make a mistake, people are gonna be okay with that. I don’t know why I was embraced here so quickly. But I’m thankful for it.

 

You have a statewide constituency as coach, especially in the islands, because we don’t have professional sports. And so, you know, statewide audiences are watching, and proud, or willing to complain.

 

And when they see you embrace the culture, and they see you embrace—I’m just gonna say it, the aloha spirit, they love that. And so, when you have an off year—I’ve probably had more people come to me this off season and say, Coach, great job. And this is the worst year we’ve had. Because they see it in my face that this was a tough year, we struggled. This is not what I wanted. You know, this is not meeting my expectations. And so, pounding my head against the wall, what I did wrong, I’ve had more people come up to me and say, Keep doing what you’re doing. That doesn’t happen in a lot of other places. You walk through the airport, and instead of someone looking at you and giving you stink eye, they come up and they … Thank you, Coach. And you know, Can we take pictures with you and your team and, can you sign this and, my little girl wants to meet you. And that comes at wonderful, wonderful times when it’s tough. I feel that the community here sees these kids in the community, they see these kids going to class and graduating, they see the work that we’re putting in, and embracing what we have here. And I think that that’s something that when you live here, you understand it. If you don’t live here, you don’t.

 

You’ve been through a lot of victories in your life, though.

 

Uh, yeah.

 

Does it get old hat?

 

No, no, no, no, no. [CHUCKLE] Winning is fun.

 

When Laura Beeman first arrived at UH, the buzz was quite positive. Her hire was considered a good get for the University of Hawaii. And since then, there have been rumors about certain Pac-12 schools being very interested in hiring her away. At the time of our conversation in 2017, five years in, Coach Beeman said Hawaii has been good to her. She did mention that coaching at this level is tough on the body and the daily schedule, and there will be a time when she’d like to explore athletics administration. Mahalo to Laura Beeman of Honolulu, and thank you for watching Long Story Short on PBS Hawaii. I’m Leslie Wilcox. Aloha, a hui hou.

 

For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit PBSHawaii.org. To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes store, or visit PBSHawaii.org.

 

You have to make a lot of real time, fast decisions when you’re in the middle of a game. How do you do that? And do you have trouble doing that at all?

 

At times, for sure. At times, you can get caught up in the emotion, you can get caught up in a certain play and miss what’s going on over here. That’s why I have incredible assistant coaches. They don’t miss a thing.

 

It’s teamwork. This is not the Laura Beeman Show; trust me.

 

[END]

 


HIKI NŌ
Focus on Compassion: Parents and Children

 

The second of four in a special HIKI NŌ Focus on Compassion series emphasizes the unique and sometimes misunderstood relationship between parent and child. This four-episode series is hosted by Crystal Cebedo, a 2016 HIKI NŌ and Wai‘anae High School graduate in her second year at Menlo College in Atherton, California.

 

The outstanding HIKI NŌ stories in this Focus on Compassion show include:

 

–“Father Coach” from Hongwanji Mission School on O‘ahu: the story of a father and son whose bond and mutual respect developed and deepened through their additional roles as coach and player.

 

–“Parental Guidance Required” from Wai‘anae High School on O‘ahu: a look at how the tough love of a parent has sharpened one student wrestler’s competitive spirit and prepared her with the skills and mindset for life outside the ring.

 

–“Racing Sakamotos” from Chiefess Kamakahelei Middle School on Kaua‘i: the story of how a father’s passion for drag racing passed down to his children and united the entire family around the discipline and detail of this exhilarating sport.

 

–“Lucy’s Lab Creamery” from Saint Francis School on O‘ahu: the story of a young entrepreneur who uses his ice cream parlor to simultaneously honor the memory of his late mother and raise money for charity.

 

–“The Comedy of Life” from Maui High School on Maui: a look at the mental and emotional adjustments made as a daughter becomes the caretaker of her mother with Alzheimer’s.

 

–“Silent Passion” from Nanakuli High and Intermediate School on O‘ahu: the story of a mother, who despite her inability to hear, enthusiastically supports her son’s passion for singing, dancing and theater.

 

–“Anti-Meth Teen” from H.P. Baldwin High School on Maui: the story of a teen whose father’s past addiction inspired her volunteerism and gave her a platform for helping her peers rise above difficult circumstances.

 

This program encores Saturday, Sept. 16, at 12:00 pm and Sunday, Sept. 17, at 3:00 pm. You can also view HIKI NŌ episodes on our website, www.pbshawaii.org/hikino.

 

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