Hula

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
Melveen Leed

NA MELE: Melveen Leed

 

Singer Melveen Leed is joined by her hula dancer daughter Kaaikaula Naluai at the PBS Hawai‘i studios. Best known for contemporary Hawaiian, jazz and country, Moloka‘i girl Melveen also has deep roots in traditional Hawaiian song.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Aunty Nona Beamer

 

Original air date: Tues., Oct. 23, 2007

 

Passionate, Intelligent, Talented and Truly “Hawaiian”

 

Passionate, intelligent, talented and truly “Hawaiian” are just a few words that describe Aunty Nona Beamer.

 

Join Leslie Wilcox as she “talks story” with the woman who coined the term “Hawaiiana” – educator, storyteller, hula choreographer, composer – the irrepressible Nona Beamer.

 

Aunty Nona Beamer Audio

 

Download the Transcript

 

Transcript

 

Aloha! And mahalo for joining me for another wonderful conversation on Long Story Short. I’m Leslie Wilcox. We’re about to sit down with Aunty Nona Beamer whose life as an educator and composer began simply enough – teaching hula to young, local girls in Kaka‘ako and to America’s first movie star, Mary Pickford. But, as a student herself, young Nona would be expelled from school – for chanting in her beloved language. And it was her love for that school – Kamehameha – that would lead her to write a letter as an adult demanding reform of… well, let’s let Aunty Nona tell her stories herself. We got together with her at her friend’s house at Diamond Head.

 

(Nona chants)

 

You wanted to do this interview near Kamapua‘a. What’s the significance?

 

Well you know, we are not here very often. And so much of our family background is mythology and legends and history and the Pele family and the love affair between Kamapua‘a and Pele you know, and all that exciting passion going on. Here’s a chance to see a replica of that symbol of the legends of the story; so I don’t like to pass up the opportunity to come and say, ‘Thank you!” We are so happy to have the myths and legends to pass on to our children and have my daughter with me, and you know.

 

You mentioned passions. Look at you. You still have such a passion for life. Have you slowed down at all? I mean, I know you were sidelined in the hospital for four months. But there you are back at it again.

 

You know, I’m having so much fun and I am so grateful and I think, look where we are in all of this beauty and no matter where we look around us it is glorious. How lucky can we be? How lucky?

 

You’re in your mid 80’s now.

 

Sweetheart, I was 84 last week. Is that mid?

 

And a couple of years ago you where in the hospital for 4 months. You had a bypass surgery, you had a stroke and lots of people were very worried about you.

 

Bye bye Nona (laughs). I guess God had another plan for me and I thought, well I better get off my arse and do something. So I am trying to do something. Yeah, life is so beautiful. And it’s so beautiful because of each other, you know? Our kindness with each other, our voices, our smiles, the way we touch each other’s hands. It seems so corny but it works.

 

And you saw some of that when you were ill in the hospital.

 

Yes, and people that I did not know, reams of cards, school children. And I’m reading them and I had no idea who these people were, but the healing vibes were just so powerful and all the prayers. They’d come to the door and say a prayer standing in the doorway, and I’d look and couldn’t make out who they were. And sometimes I couldn’t hold my head up and somebody would be chanting at my door. I thought, isn’t that wonderful that people would give up themselves and their healing energy is healing me, you know? This business of kindness and love, it’s so, so real. And it works Leslie, in every aspect of your life. And we say to live pono. That’s not very easy, pono spiritually, pono emotionally, pono physically in every aspect of your life. Moderato, you know? So you don’t overeat, you don’t get overemotional, so your blood pressure doesn’t go, you do things moderately and that’s a pretty good recipe for us, you know?

 

And that’s exactly what you’re doing with management of your diabetes. You are, you are, talk about structure, you are using structure to keep healthy.

 

My dear hanai sister has taught me how to do that. Yeah. And I have felt so much better since I’ve known the alternative, I keep to this rigid regimen because I know it’s keeping me healthy. So there’s no, no possible way to cheat. And I feel badly with so many Hawaiians, wonderful talent, beautiful people, stuffing their mouths, drinking the sodas. Oh the big uh, I forgot what you call them, with the rice, egg, hamburger, gravy. Loco moco, oh loco moco and I think so unhealthy, oh dear, if we could just get the Hawaiians to eat sensibly, they won’t all die of diabetes before they’re 20.

 

You are really watching yourself, you’re measuring your water intake even.

 

Yes, because the kidneys are not happy if you don’t give them enough water. Then I swell up if I give them too much water. So you just have to learn what that balance is, you know.

 

On the other hand, you were telling me that yours is now a life without laulau.

 

Yes, but I can have a half a cup of poi twice a week. So I’m happy about that. But no laulau. We make it with won bok. It’s the luau leaves – that has too much potassium for the kidneys.

 

So you are motivated just to keep going. Your body may be slipping up a bit but you’re all there in every other way.

 

I’m having a good time. But I’m looking for some mischief to get into. Do you have a grandfather for me? (laughs)

 

Having a good time and waiting for some mischief at age 84. You gotta love Aunty Nona. And there’s much more to her story. Did you know that it was none other than Nona Beamer who coined the term “Hawaiiana” back in 1949? We’ll find out how – and why – next.

 

You know, you’ve done so many things in your life. I mean it’s, you’re one of those “hyphen” people: educator, storyteller, hula choreographer, composer. How did all that happen?

 

Well of course we’re a big family. So that we had to take care of the children, telling them stories so they would go to sleep. And then my mother was ill one summer. I was 12 and getting ready to come to Kamehameha. And my father said that your mother can’t go to the studio, Nona. You have to go and your sister will go and help you, you know. I think my sister was 10 or 9, somewhere around there, so she was going to answer the phones. And I looked on the appointment book and the first student was Mary Pickford. And I said to my father, “Oh I can’t teach this lady. She’s a very important movie star. My father said, “Get in there.” And she came with Buddy Rogers. I think they were on their honeymoon and he was so nice. She was tiny – she was smaller than I was. And her little hands, little feet, she was completely charming. Got me over the fear of teaching because we were talking and singing and doing lovely hula hands, graceful as the birds. And I got over my fear. Well I get to Kamehameha in September and there’s a notice on the board. “Any girls interested in teaching at the Kaka‘ako Mission, sign up.” I thought, I taught, I know how to teach, so I signed up. And here were little preschool children at Kaka‘ako. It was a very deprived area, you know? And they didn’t know about soap and water. So the children had sores all over their legs. And they smelled bad. And ah, so the first thing we did was get big washtubs and bathe the children with tar soap, smelly brown tar soap. And I’m crying and trying to sing and then the children would say, “Oh, come to the singing lady. Come to the…” So my line gets long as the children were waiting for their baths and nobody at the other tubs. I thought, “Hmm, singing is the way to interest children,” you know? So the first class I faced I started telling them stories and then began chanting about the kahuli and the kolea birds (sings a bit). “Spooky, spooky, spooky!.” And they were frightened. So then I put one note in the song (sings a bit more). And they smiled and weren’t frightened anymore. I thought, “That’s how I’m going to teach. I’m going to teach them little songs, tell them the history and they’ll be smiling and learning their history all in one fell swoop.”

 

You composed music that stands forever. Every school kid, virtually, in Hawaiʻi knows Pupu Hinuhinu. You wrote it. How does that feel? I mean, virtually every child grows up knowing your song.

 

Well it’s a sweet little simple thing, you know. But I think that it’s appealing to all levels, children and grandparents, just the sweetness of it, you know? I think we are very lucky, if we can sing sweet little songs it kind of calms us down and maybe we’re not raising our voices, maybe there is more calmness in the family, you know? So I think it has a lot of uses.

 

So storytelling is really the basis of so much of what you’ve done and what your family has done as well.

 

It is, yes. Well we didn’t have books, we didn’t have you know, lot of authors writing about Hawaiian culture. In fact, I didn’t even know about the overthrow until I was on the Native Hawaiian Study Commission. I didn’t even know about the politics of those times, you know?

 

Where do you get your knowledge of Hawaiianess? From your family experience?

 

Yes, well it was from grandparents, grandmother.

 

But you don’t speak fluent Hawaiian?

 

No, no. We were not allowed to. And then the suppression at Kamehameha. I think psychologically it caused a lot of damage among a lot of Hawaiians in my age group, you know? Because we were forbidden, we were punished. Yeah, it was a psychological block.

 

And yet, as a teacher you had to have structure?

 

Well you know we didn’t have textbooks. We didn’t have curriculum, you know? We didn’t have a term Hawai‘iana until ‘49 when I coined it. And it was at a workshop with the department of education teachers. Well it was called Department of Public Instruction then – D.P.I. So I wrote on the board “Hawai – glottal i – dash – ana.” So I turned around, I looked at the teachers.. I said, “I’d like for us to study this word ‘Hawaiiana… Hawaiiana.’” Now the “ana” is the root word “to measure, to evaluate, to determine what is the best.” So we’re going to concern ourselves with that and teach only the best of Hawaiian culture in the classroom. And that was my reason for that word “Hawaiiana.”

 

You made it up.

 

Yes. And I didn’t mean “-ana” like Americana, Mexicana like a conglomerate of things, you know. But I meant to measure everything that we’re going to teach, and offer the children the very best in the culture.

 

That’s one of the many one-of-a-kind things you’ve done, firsts you’ve done. What about when you were a student at Kamehameha Schools and got briefly expelled?

 

(Nona holds up two fingers)

 

Twice you got expelled?

 

Well it was strange. The first time, the President of the Trustees, Frank Midkiff, was having a tea in the pink garden, in the bougainvillea garden – so pretty. And so he asked me, I had started the Hawaiian Club and it was simply because my friends had said, “Can we learn a song? Can we learn a chant? Tell us a story.” So we’d gather Monday after school and we would learn a chant. Unbeknownst to anybody else, but Mr. Midkiff was a champion of mine, a personal friend and hero. So for him I would do anything. So we came into the garden chanting (sings the chant). And we finished our chant and we bowed to everybody and we walked out. And then my principal said, “Winona you may pack your bag and leave this campus.” It was a sacrilege that I committed – to chant and do motions as we were walking.

 

Because?

 

Because it wasn’t allowed. No language, no chanting, no dancing, no nothing.

 

But you could do western dancing?

 

Oh yeah, we could do anything else, yeah.

 

But that’s how it was in those days at Kamehameha Schools.

 

Absolutely.

 

Because everyone was on this western path.

 

Well, it was just the mindset of the time, I think, you know? They were there to school good and industrious men and women, you know? And there was no further look about advancing us, as students or Hawaiians! I wanted to go to college. “Winona, there’s no reason to go to college.” I mean, my principal! I though, what kind of principal would tell you not to think about going to college? So it kind of hurt me that they wanted to keep us so subservient.

 

Have you had kind of a love-hate relationship with the school since you were a kid?

 

You know, I’ve loved them all my life, all my life. In 1927 my grandmother took me to the old chapel where Farrington School is now and I heard the voices of the Kamehameha men. Oh, the stone walls were just vibrating with these wonderful voices and I fell in love with Kamehameha. Didn’t know anything about it except just a name, you know? And I knew later on about the campus where my father had lived as a child. And then later on when I was hired we were given living quarters there where my father was when he was 6 years old. He was in his dormitory, you know? So there was a lot of joy in my heart for Kamehameha just from that initial love of the sound of their voices, the men singing. Of course, my grandmother was a graduate and my parents had attended. Of course all of us in our family had attended. And now it was time for the grandchild, and you know, they have been as close to me as my own blood family.

 

The school which expelled you twice was the school where you dedicated 40 years of your teaching life.

 

And $87,864 scholarship money I have raised in 35 years for scholarships for Kamehameha. Yes, I love them like my family. Well now they’re coming into the sunlight.

 

And you were part of that. You were part of bringing back the Hawaiianess into the school.

 

I like to think I was, but there’s a whole faction of us. Class members, students, they were asking. Why can’t we have Hawaiian? Why can’t we be what we are? Why do we have to be who we are not?

 

And the school was acting in what it thought was your best interest?

 

Yes, and yet they said Princess Pauahi, in her will, stated that we were not to speak, we were not to chant, we were not to dance. So when they hired me, the first thing I did, “Could I see the will? Please may I see the will?” Nothing in it about Princess Pauahi saying there would be no language, there would be no dancing, there would be no – they lied to me, they lied to me all those years. So my estimation of administration went (motion of hands going down).

 

Well and then what happens many years later, your idea of the administration had again fallen. You wrote a letter to the State Supreme Court in the late 1990s, in which you said, “Mrs. Lindsey, Mrs. Lokelani Lindsey, a trustee’s micromanagement methodology is an utterly diabolical plan of a self-serving egoist.”

 

Oh, I didn’t know her at all. But it was just an abomination that had happened.

 

In your letter, you were expressing what had been an inner angst, many people upset with what was happening at the trustee level at the old Bishop Estate. But so many people didn’t want to lose what they had and you were the one who brought it out.

 

Well, you know they were afraid of their jobs. The students were afraid of their scholarships. I didn’t have anything to lose. I had no children in school. I had retired. And I thought this was just not right. So when my hanai son Kaliko Beamer Trapp came home and told me that Lokelani had sent a directive to the University Language Department that the vocabulary they were developing could not be taught at the Kamehameha Schools, you know? So I just felt that because if it was spoken during Pauahi’s time we could have spoken it. But I thought ah, we’re back to the middle ages. We can’t speak it ‘cause Pauahi didn’t speak it 50 years ago. Something’s wrong, you know? So that really sort of capsulated it from there. We had to do something about it. That was the straw.

 

And there was a firestorm after you wrote the letter.

 

True. Well, I think it gave other people the courage to speak up too.

 

And that triggered an overhaul, a reform of the old Bishop Estate.

 

It was about time, about time. Well, I wish it were as lasting and as meaningful now. But they aren’t there yet, they aren’t there yet. I think they have to do more on campus with the old guard. I love them dearly. We’re all good friends. But they have to be more mindful of Hawaiianess, you know? Not to be thinking of all the business and the dollars and the cash register. Think about the students. That’s why we’re there – for the students. Not to amass fortunes in the bank.

 

The woman who coined the term “Hawaiiana” – lives it. Aunty Nona Beamer stands up for what she thinks is right – what she feels is pono. We don’t have much time left, so we’ll make the rest of this long story, short. Stay with us as we continue “talking story” with the irrepressible Nona Beamer.

 

Are we going to see you in future years standing up again, doing the kind of things that got you expelled, that triggered reform in the old Bishop Estate?

 

(Laughs) You know I am getting a little more outspoken and Keola says, ”Ma, you’re swearing more these days.” I used to say dammit, but now I say dammit to hell. (Laughs) Well I think that’s one of the perks of the elderly – that we can speak up, that we’ve been there and we have the courage ‘cause we know what it feels like to be denied your language, denied being a Hawaiian. So there’s no, I don’t think there’s any guilt. It’s just positive affirmations.

 

You’ve done it before and perhaps you’ll do it again.

 

Do it again? (laughs) Thank you honey.

 

You know, you have so much love, so much aloha and yet you believe in principles and standing up even if it ruffles feathers and makes people lose their jobs.

 

Yes. Well it seems, if it’s right, if it’s reasonable, it’s good you know, you should try to keep as much goodness as you can. And sometimes we just need a little help from one other. Just hang on to one another and make it better.

 

But I think what you’re telling us is it’s not just about being nicey nice. It’s about following principles, and values.

 

True, true, yeah.

 

Let me ask you one question – this may be dicey so let me know. One of the things that we do is we ask viewers what would you like to ask Aunty Nona? One of the questions that people always ask about and you may not want to talk about it, I understand. A viewer in Hilo would like to know if you see any mending between your sons Keola and Kapono Beamer?

 

Well you know there doesn’t need to be mending. They have diverse careers.

 

So your sons had a personal and professional parting of the ways. Does it hurt or is it something a family deals with?

 

Well I miss them together, I miss the sound of their singing. At my father’s funeral I was just weeping because I heard them singing together when I hadn’t heard them for a while. I miss the mellowness of their sound. But I see it coming in my grandson now. And I think of all the good things we’ve done. So if their direction is different, so be it. We can’t just stagnate in our same place. We got to grow or we die. So I don’t see that there’s a lot of mending because the love is still there. I don’t know that they’ll sing Honolulu City Lights together again. I don’t know.

 

But they both came to see you when you were in the hospital?

 

Yes they did.

 

Must have been nice to see both of them at once?

 

The same room – we were all talking together. Yes, yes. And I’m glad that it happened before I “make die dead”! (Laughs) Well I do think that they have a lot to contribute. I don’t know what direction. But I think we’re going to see something through Kamana. And his generation will probably mend the fences that their parents have knocked down.

 

They’re the next Beamers.

 

I think so. I think we are going to see some interesting things from him.

 

So what do you, what do you look ahead to? What’s ahead for you?

 

Well you know, I want to keep the Hawaiianess in things as much as possible. And it doesn’t seem as though it’s that important. In fact, it’s kind of corny when you say, “What is the Hawaiianess?” you know? It’s this aloha feeling – the kindness between people. You know, speaking nicely, looking at each other smiling, you know. Oh, it seems like so little. But it’s a gargantuan concept to keep this aloha in the world. And that’s what we all have to do in our own hearts – to keep this aloha. Not easy.

 

You know when people who’ve known you a long time and know you well describe you, the personal qualities they tend to talk about are: courage, stubbornness – and they say you’re full of aloha. Are they right?

 

Well, you know I’m very grateful and that’s a big stabilizer in my life – that I’m so grateful for all the things, the goodness of family and everything you’ve had behind you, you know. But you’re not here by yourself. Oh, my great-grandmother’s here, my grandmother’s here, everybody’s here behind me. And I think oh this is part of our aumakua, our belief in our guardians that are around us. But we have to listen. We have to be in tune because they’re all here to help us. But sometimes we get so busy we just run rough shot over everything. And life has so much beauty underneath it. If you just be quiet enough to listen to it.

 

Passionate, intelligent, talented and truly “Hawaiian”… just a few words that describe Nona Beamer. It was a pleasure sharing stories from Aunty Nona – and sharing them with you. I wish we had more time. But we have to make this Long Story Short. Mahalo for joining me. I’m Leslie Wilcox. A hui hou kākou!

 

 

 

 

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
Hūʻewa

NA MELE: Hū‘ewa

 

When you hear their name, you can’t help but smile. The young trio Hū‘ewa is comprised of Kupu Dalire-Na‘auao, Kekoa Kane and Kahi Lum-Young.

 

“‘Hū’ is to hum or to make sound, to make music. And ‘ewa’ is to go off course or to find your own path,” explained Hū‘ewa member Kane. “…that’s what we do with our music…we make music on our own path, on a different style.”

 

Preview

 

The trio performs songs including “Kaulana Ni‘ihau,” where they’re accompanied by the dancers of Hālau Ka Liko Pua O Kalaniakea; and a medley consisting of favorite songs of each member: “Kaulana Moloka‘i,” “Pauoa Liko Ka Lehua” and “Meleana Ē.” Dalire-Na‘auao explains, “The Hawaiian music that we chose, the type of songs that we chose…we just like to pull things from back in the day.”

 

 

 

INDEPENDENT LENS
Kumu Hina

INDEPENDENT LENS Kumu Hina

 

Over the course of a momentous year, Kumu Hina, a native Hawaiian mahu (transgender) teacher, inspires a tomboyish young girl to claim her place as leader of an all-male hula troupe, as Kumu Hina herself searches for love and a fulfilling romantic relationship with an unpredictable young Tongan man.

 

Preview

 

 

 

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
The Lim Family

NĀ MELE: The Lim Family

 

Our newest offering of NĀ MELE: TRADITIONS IN HAWAIIAN SONG features the hugely talented, musical Lim Family of Kohala, Hawai‘i Island. Family members perform regularly at the Mauna Kea Beach Hotel, as well as the nearby Mauna Lani Bay Hotel, and they also travel often to Japan to entertain audiences and to teach hula. This program, recorded in PBS Hawai‘i’s Harry and Jeanette Weinberg Multimedia Studio, is a new setting for the Lims. But they seem at home almost anywhere, surrounded by music and family. On the program, you’ll see siblings Sonny Lim, Nani Lim Yap and Lorna Lim perform as a trio. Among the featured hula dancers are family members Namakana Davis-Lim, Brianna “Wehi” Lim Ryder and Asialynn Yap. Songs performed include “Lei Ana O Kohala,” “Ka Wahine O Ka Lua” and the instrumental “Pau Hana Rag.”

 

Program

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Nani Lim Yap

LONG STORY SHORT WITH LESLIE WILCOX: Nani Lim Yap

 

Musician, singer and dancer Nani Lim Yap tells how her Lim family’s music grew from an entertaining pastime to a career that takes them around the world to perform. She also reminisces about her upbringing in Kohala, Hawai‘i Island, and the way she keeps the traditions and stories of her ancestors alive as a kumu hula.

 

This program will be rebroadcast on Sunday, Jan. 27, at 4:00 pm and 11:30 pm.

 

Program

 

 

Nani Lim Yap Audio

 

Download the Transcript

 

Transcript

 

I can remember when we were trying to do chants and mele.  We would choose other places, and something would tell us: Why are you choosing to do an O‘ahu mele, when there’s so much right here?  Not somebody came to us and told us; it was this feeling that you got, like, there’s stories here that need to be told, so tell these stories first. And that’s how we began going in that direction, telling those Kohala stories, singing those Kohala mele.

 

Nani Lim Yap, descended from the ali‘i of Kohala, keeps the traditions and stories of her ancestors alive through mele, chant, and hula.  A member of the remarkable Lim musical family, Nani Lim Yap says she’ll always call Kohala home, no matter how far her travels take her. Nani Lim Yap, next, on Long Story Short.

 

One-on-one engaging conversations with some of Hawai‘i’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Aloha mai kākou.  I’m Leslie Wilcox.  Nanette Lim Yap, better known as Nani, was one of six children growing up in Pu‘u Hue in Kohala, on the Big Island of Hawai‘i, where her father was a cowboy at Parker Ranch.  In their isolated mountain community, playing Hawaiian music was the family’s primary source of entertainment.  The musically gifted family was discovered by the rest of the world when Nani’s mother, the late Maryann Lim, was asked to play at the Mauna Kea Beach Hotel when it opened in 1965.  Performances soon became a family affair, and the music group known as The Lim Family became a well-known, much-respected, and popular Hawaiian music group. Learning the songs at a young age came easily to Nani, she says, because it was not only through her parents that she learned Hawaiian language.

 

My father worked for the Parker Ranch.  And they had these little stations, and little housing for the workers.  And some workers would have their families, whole families.  So, we were one of them, another family.  Just two other families, other than us.  And so, we were raised out there.

 

So, very remote.

 

Very remote.  So remote that when we did move into town, streetlights bothered us.

 

Well, when you say town, do you mean Kohala town?

 

I mean Kohala town.

 

Because it was so far.

 

And the streetlights bothered you?

 

Yes; all of us.  And we’d be up at night, like …

 

‘Cause starlight was all we knew, you know.  But we grew up at Pu‘u Hue.  And very close; all of us were very close, me and my brothers and sisters.

 

Your parents would take you on long rides, and you had a Rambler station wagon. They don’t even make Ramblers anymore.

 

No.

 

Not for many years. 

 

No.  So that story is all of us in that car.  Like when it was time to go holoholo, oh, my gosh, we’re gonna go someplace.  And it was my father; he just loved to drive. My father, my mother, one child in the front, and all the rest of us just filling up the back seat.  And we would go.  We would have one ‘ukulele.  We fought over the ‘ukulele like: Who’s going to play the next song?  So, if you make a mistake, you gotta pass that ‘ukulele on.

 

This was as you’re driving along.

 

As you’re driving; yeah.  So, goes like this, goes like this.  But if you were the longest, then you were the winner.

 

So, very competitive kids.

 

From when we were young.  And you know who won the ‘ukulele; right?

 

Who?

 

Me.

 

Always?

 

Yeah.  That’s why I’m the ‘ukulele player.

 

It’s so interesting, ‘cause none of you has had formal training in any of this.

 

Nope.  Nope. Not in music.

 

You picked it up, and figured it out, and listened, and learned.

 

Yeah; my father taught us how to play all the basic keys.  So, if you try to give me a sharp or a what, it’s like: show me it.

 

You show me it, and you tell me it, and I’ll get it.

 

And do you read music?

 

No; no.  Even my brother, when we were growing up, I would take him to his piano lessons.  So, he’d be playing along and playing along.  And then he’d finish, and she’d say: All right, Elmer, now read the notes. ‘Cause he’d be playing by ear, by what he heard.

 

Really?

 

Yeah.

 

And Elmer is Sonny?

 

Yeah.

 

Was music always a part of your life?

 

See, my father and his friends played, and my father and my mother sang to us.  That’s what they did.  Yeah. So, my mom sang, and my father played, and that’s how we knew that they had that.  And my mom had a hula background, and she was our first teacher.

 

Were they singing in Hawaiian?

 

In Hawaiian.

 

And did you understand Hawaiian?

 

This is how we understood Hawaiian, is my grandparents. My grandfather and my grandmother spoke fluently.  And they were our babysitters.  So, when we were little, it was so easy to understand what they were talking to us about.

 

That’s manaleo style, isn’t it?

 

Exactly.

 

It’s the real thing.

 

So, understanding them, even being around them and hearing them talk, we knew exactly what they were talking, ‘cause from babies, we knew that.  But however, my parents, my mom them didn’t follow through.  ‘Cause it was at that time when it wasn’t good to speak the language.

 

You were supposed to go Western.

 

Yeah.

 

And succeed in that world.

 

It’s so sad.  Just one generation away, you know.  And we’ve lost so much.  But however, if a song played, you knew exactly what the song was talking about. Because it was just automatic; you just knew Hawaiian already.

 

So, you didn’t just listen to the music; you could know what the songs were about.

 

Easily; easily.  Even my mother was surprised.  Like, we had this old radio, just this old radio, and you only could play it as certain times, ‘cause you didn’t want to break the radio, ‘cause that was like your communication to the world.  So, it was like, okay.  And then, the songs would play, and we’d be like, we know it.  And so, I’d tell my mom: I know exactly what this song is saying. She said: You do?  I said: Yeah.  And I’d tell her what it is.  She said: That’s amazing that you would know that. I said …

 

That’s what it says.

 

Yeah.  And then, I’d um, gesture things to her.  I said: Because I think this is what they’re saying.  She said: Oh … oh, so … you have that hula sense already.  Yeah?  So, just by knowing what that was, making interpretive movements, and then her being our first teacher, that gave me the—you know, it’s not that gave me the know-how, but it’s just automatic that everything came into play.

 

So, for you, it wasn’t choreography and the movements of hula that came first; it was the story behind the music.

 

Definitely, definitely; story behind the music.

 

You’ve had your fascination with non-Hawaiian.  You did Beatles, and Elvis, and Supremes; right?

 

Everything.  I love Supremes.  I love all that kinda music.  I loved it, and I would sing it, too.  We’d all sing it.  And then, we just realized that Hawaiian was where it’s at.  Because it was always around us, always around us, Hawaiian music.

 

But one day, there will be dancers who are saying: I’m from the Nani Lim Yap, that’s who gave birth to me.  Even though you’re saying: I didn’t really do anything except pass it through.

 

I’m hoping.  And they know; they know what my intention is for them, is that they continue. Any of the mele that I’ve taught them in their lifetime that they’ve been in hālau with me will remain the same.

 

Nani Lim Yap of Kohala, Hawai‘i Island, was twelve years old when she started performing with her family at the Mauna Kea Beach Hotel.  Dancing hula or singing with her family, whether it was on a formal stage or at a baby luau, became a regular part of her life.  Yet, she didn’t necessarily see herself growing up and becoming a professional musician, or a kumu hula.

 

After high school, you moved to O‘ahu.

 

Yeah.

 

To beauty school.

 

Yeah; I came to beauty school.  That’s what I wanted to be; I wanted to be a beautician, they said back then.

 

So, you didn’t see being a musician or performer as a career, then?

 

No.  No.

 

Even though you’d actually made money for it already in your teens.

 

Yes.  I don’t know; I wanted to do hair, I wanted to do hair from when I was younger.  If somebody was available during the afternoon on a Saturday or Sunday, they were sitting down in this chair, I was gonna give them some kinda up-do or something.  That was what I thought I knew, that’s what I wanted to do.  But then, when I came home and I had my first job at Mauna Kea, in the evening time my parents would say: Come over here and sing with us.  And the first time, my father said: What’s wrong with you?  I could not look at the crowd.  I would sing backwards like this, or sideways.  My father said: Is something wrong with you?  I said: I can’t look at them.  He said: Stop it; stop it, stop it.  Like, I would just try not to, I was afraid of the crowd.  Isn’t that crazy?

 

But you’d performed before.

 

No; I performed before as a dancer, but not as a singer.

 

I see; I see.

 

So, it’s like, okay.  Then I had to break that habit, break that habit.  And then, the next time, my father would say: You guys gotta smile; you have to smile, you have to smile.  And I was like: Okay, smile.  This was when I’m singing, and I’m trying to.  Because I don’t know; I didn’t think I was like, that great.  So, I’d be like, I don’t know if they like it, I’m not sure if they’re gonna like it.  And then after, you get your confidence up.  And then, the more I played, the more money I made standing up and playing than standing up all day to do hair, and my feet would be sore. So, it was like, okay, that’s just the easiest route to go, just play music.

 

I know you were a co-kumu hula with your elder sister Lei for many years. And now, all three of you; Lorna, Leialoha, and you have your own hālau.

 

Separate; yeah.  Which is fine.  I think we still all have the same mindset.  We were raised in that kind of environment, you know.

 

Same mindset, but different visions?

 

Yes.  I guess our missions have changed, I think.  You know, what is it that you really want to accomplish; yeah?  For us, lineage is important; yeah?  What are we passing on, what is the style that our kumu from Kohala taught us.  ‘Cause that’s it.  Somebody said: Is that your Kohala style?  And I would say: I think so.

 

What is Kohala style?

 

See?  Everybody would ask me that, and I said:  I’m not sure. But some others, if you were on the outside looking, they would say that’s distinctly different from Ka‘ū.  And I thought: Really?  I never saw dances from Ka‘ū.

 

So, you still can’t quantify it, but people from all over see it as being different.

 

That’s different, that’s a Kohala style.  And I was like, okay.

 

But you can’t point to any one thing about it?

 

Nope; nope.  Because it translates to us as being something that we’ve always done. And so, if you’re wanting to perpetuate, I think future wise now, I think that’s where hula is now, at the lineage state, at a place of lineage.  Like, what are you passing on; yeah?  So, my thought is: Do you mix both styles together, or do you carry this lineage through and make sure that your students now understand that you learned from this?  And this would be part of your koi or your—

 

Are you allowed to combine your own mana with that, with someone else’s?

 

See?  I think you have to honor them.

 

Ah …

 

If you took hula from them, I think you have to honor them and keep that as a separate entity that moves forward.  When I look at hula, yeah, I look at just being a vessel. That hula moves through me. Yeah.  Lineage comes from kūpuna. And then, the lineages that come from Kohala before that; it’s all of this that goes through this.  Yeah.  I cannot claim I own that.  I cannot claim that it’s actually from me.  It comes from a place, and it moves through me.  It has to.

 

And do you change it, by virtue of its having moved through you?

 

Oh; so a lot of the mele that we’ve learned from them, those mele still remain.  Mele that, like, from research and all those movements, all those things that we’ve shared with you, and what we’ve choreographed now; same style.  The style remains the same.  That’s how you continue that.

 

Nani Lim Yap of Kohala, Hawai‘i Island, has made a successful career as a member of The Lim Family, playing Hawaiian music with her brother Sonny and her sister Lorna at the Mauna Kea Beach Hotel and Mauna Lani Bay Hotel.  She also has been successful as a kumu hula, entering hālau into the Merrie Monarch Festival that have been perennial winners.  But even with all the success, surviving as a musician often means traveling outside the State.

 

The way to make money and to support your family the best, I take it, is if you fly away.

 

Yeah.  Now; now, yeah.  Because they want that music, they want to dance that hula.  Yeah.

 

What does that say that it’s not valued that much in Hawai‘i, in our commerce centers? Waikiki, which used to adore the entertainment.

 

Yeah.  Gotta bring that back.  I’m not sure how.

 

But Japan and who else?  Japan loves hula.

 

China, now.

 

China.

 

Yeah.  Sweden, Taiwan.

 

And you’ve been to all these places?

 

I’ve been to Taiwan to teach, I’ve been to Japan to teach.  People want me to come to China.  And I’m like: China?  Are you sure they’re ready for us?  I’d have to start, like, teaching them from the very beginning.  No; that’s what they want, they want it.  And yes, that is the place to make the money.

 

You know, I’m surprised you don’t have a fulltime family travel agent.  Because I know we’ve talked to your husband a lot in arranging appointments with you and your family, and he’s always booking flights, isn’t he?

 

He’s really good at it, that’s why.  There was a time when we … I’m not sure.  I think it was earlier in our hālau career, where we were booked by Hayden Holidays to go to the mainland, just like for about six years, we would do it. And he’d be the one; they’d book all the flights and everything for us, but he’d be the one.  Like, all right everyone, this is the last day, get everything together.  He gets everybody up, he gets everybody on the plane, he makes sure everybody is … so everybody knows him as Ed, the tour director.

 

Because he did that so well.

 

How does it work as a family?  I mean, I know there’s a family business, but there are several family members involved. And you all play in different combinations, in different cities, at different times.  I mean, so hard to keep track of you.

 

It is.

 

How does that work as a business?

 

Well … there was a time, I think, when we stopped doing the job at Mauna Lani, that we all decided to do other things.  So, my brother is a soloist.  He’s still there as a soloist, which was good for him. Yeah; it’s good for him, ‘cause then he can be expressive to his own type of thing.  And then, we’d have the Atrium job, which would be a combination of people.  So, Lorna would do that, and then my husband Ed would do that, and then my daughter Asia would help them do that.  And Asia learned how to play bass from her father, so that’s her instrument right now. So, all the different combinations. If she can’t go, then I would go down there and sing in that.

 

So, you can always find a family member who’s very versatile to jump in.

 

Best to do that.  Yeah; best to do that, is to keep your family together.  Keep your family together.  Then of course, my brother had his own Hawaiian group, too, with some of our local friends from Waimea and Kohala.  They were so good.  They played all the Eddie Kamae songs, ‘cause that was what their group loved to do that.  Yeah. And then, now he plays with a lot of other people.  Which is fine, as long as we’re not playing.  You know, The Lim Family together.

 

But it all seems to work out, no matter what.  You know, you’re hired to do all kinds of gigs, and it seems like you can kind of manage so many things at once, I guess because you have so many people who can jump in last minute.

 

Yes.  For our regular jobs, yes, people could take over for us.  Well, well, Mauna Lani just closed, yeah, so that job, we don’t have anymore.  For me, I’m kinda happy, because it was from the beginning of time, when they first opened.

 

And they’re doing renovations; right?

 

Yeah, renovations; yeah.  It’s gonna for a year and a half, I think, or almost two years. Something like that.  Yeah; so you know, we just have just the Mauna Kea show, and that’s all taken cared of.

 

Which means you can all travel more.

 

We can all travel more.  So, if Lorna goes away, then we have another emcee that we bring in from O‘ahu to do that.  And then, yeah.  And I’ve not gone back to that show for a while.  Yeah.  That is our show, though, but I’ve not gone there, ‘cause they’e good.

 

And what do you do instead?

 

I just hang out at home until somebody calls me to go to Japan.  No.

 

I just figure out when to go.  Like, at least every other month, I’m going to Japan. But if you met my students, they’re like Hawaiians.  They have so much aloha.  You know. And a lot of aloha for the culture. Yeah.

 

You’ve been with them a long time?

 

Long time.  Long time, they’ve been my students.

 

Why do you think Japan has embraced hula so closely?

 

Ooh; I think at first, it was, what they saw is what they liked.  Yeah? And then … gosh, I’m not sure.  I just think they just love everything about our hula.  The costumes, the flowers, the leis, the movements, you know, and some really want to graduate knowing, you know, hula as part of their lineage, you know.  So, I think they’re just moved by it.

 

And you know, Japan is very proud of its own lineage.  They’re very much into the past, as well.  So, to be so interested in another culture’s past, and to practice it.

 

Yeah.  And then, when we go over there, they want us to go to their temples.  Go to our temple, and could you do a blessing? What are you saying?  What is a blessing?  Maybe oli?  I said: Ooh, okay.  And then maybe do a dance.  Now, when you come to that kind of thought like in their temples, yeah, they’re wanting us to do their kind of culture, I had to stop and sit back, and think about. What is my purpose?  What am I going to leave or change in that space, that is going to make a difference?  Why are you wanting me to do this; yeah?  So, everything would have purpose and intention.

 

Have you ever thought of staying there for an extended period?

 

I thought about it.  I thought about living there.  And then, I thought: No, I wouldn’t like it.  And here’s the thing, is that if you live there, people will get your place, they’ll rent it, they’ll make sure it’s there, they’ll get you places to go and make a studio.  It’s amazing how much kōkua you can get from Japanese who want to …

 

They’ll take care of you because of what you do.

 

Who want to be able to learn hula.  Like, it’s almost amazing.  Then I said: No, I don’t think so.

 

They have so much hunger for it.

 

Yeah; it’s amazing.

 

I see in your career, you know, you’ve done very natural things.  I mean, you know, you’ve learned to research.  I mean, everything seems like, okay, that’s a good opportunity, I’ll take it, I’ll move into that.  But going to Japan doesn’t seem like a natural … you know. But it is, in terms of how the world has become.  Because Hawaii doesn’t put that kind of premium on the hula.

 

That’s true.  I was thirty-five years old, I think, was my first time to Japan.  And oh, my god, we loved it.  My mother went, too.  Was the first time in snow; fell on the ground.  My mother ran outside and she said: Oh, my god, it’s snow.  And we were like, so cold.  My mother was still out there, taking pictures of her in the snow. Well, we’re just not used to, to those kinds of things; yeah?  But that was our first time we ever went, was way up in Fukushima.  And we went for three weeks, four weeks.  That was hard.  Was hard, ‘cause we wanted to go back home so bad.

 

And yet you love the place, too.

 

And—yeah.

 

Yeah.

 

But that’s how long we’ve been going.  A long time.

 

That’s right.  So much travel.

 

Yeah; a long time.  And from that one event, our very first event, we had several people who wanted to be sensei who came to see us.  And now, they’re great sensei of hula in Japan.

 

Wow.

 

Yeah.  They have some of the biggest hālau.

 

What are your predictions for the future for hālau, and for The Lim Family?

 

Lim Family, we have another generation of musicians and dancers.

 

Who are they?  Who are your dancers and musicians?

 

Well, of course, Asia.

 

Your daughter.

 

Yeah.

 

Your son.

 

And Manaola, of course.

 

Nani Lim Yap’s son, Manaola Yap, is a widely known fashion designer.  He learned costuming from his mother, researching and designing fabrics to tell the stories of the dances and chants.

 

You know, he sings as well, he writes as well too. And of course, Asia plays the bass, she can sing as well, she sings with all of us.  Anuhea, my brother’s daughter, she plays slack key.  So, that’s another.  And then, of course, Lorna’s children are the two.  This past weekend was Keiki Merrie Monarch, and her youngest daughter won third place, and her hālau won third place.  And so, lots of hula.  The future is really wide open.

 

Mahalo to Nani Lim Yap of Hawai‘i Island, for sharing her Kohala style. And mahalo to you, for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox.  Aloha nui.

 

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.

 

No Kohala Ka Makani ʻĀpaʻapaʻa

 

by Sarah Pule

No Kohala ka makani ʻĀpaʻapaʻa

Ua kaulana ʻoe a haʻaheo

Ka nuku aʻo nākānaka

Ua piha hoʻi me ke aloha

 

No Kohala ka makani ʻĀpaʻapaʻa

Ua kaulana ʻoe a haʻaheo

Ka nuku aʻo nākānaka

Ua piha hoʻi me ke aloha

 

Ke aloha ʻāina ua ʻike ʻia

Ke aloha poina ʻole a kākou

Hoʻomanaʻo aʻe e lāe nākūpuna

ʻO ke aloha ʻo ia mau lā

 

Huli aku nānāi ka ulu hala

E kau mai ana lāi luna

Me Kona nani uluwehiwehi …

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Manaola Yap

 

Kohala native Manaola Yap grew up processing dyes from native roots and plants, while helping his mother, kumu hula Nani Lim Yap, create elaborate hula costumes for performances. These early experiences now inform his brand of Hawaiian luxury clothing, Manaola Hawai‘i, which made its New York Fashion Week debut in September 2017.

 

This program will be rebroadcast on Sunday, Jan. 20, at 4:00 pm and 11:30 pm.

 

Manaola Yap Audio

 

Download the Transcript

 

Transcript

 

At a MAMo show, I wanted to make underwear, and I actually started with men’s underwear. And that’s a touchy subject. I mean, even at that time when we had first started moving into that space, I did get a lot of backlash. [CHUCKLE]

 

Why is that a touchy subject? I don’t get it.

 

Because it’s kind of promiscuous, and it’s sexy, and a lot of—

 

It’s too personal.

 

It’s too personal. And not only that; they’re like: Oh, you know, it’s exposed, and this and that. And I was like: Okay, well, let’s look at our kupuna. I mean, they were topless. You know, the body was celebrated, all these things. A lot of the mindset that comes from ignorance, and the ignorance of being schooled in the traditional concepts of the missionary mindset.

 

He’s a fast-rising star in the international fashion scene, while he remains firmly rooted in Native Hawaiian culture. The phenomenon known as Manaola Yap, next, on Long Story Short.

 

One-on-one engaging conversations with some of Hawaii’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Top New York fashion houses learned a new name in 2017: Manaola Yap. The name belongs to a young Hawaiian from Kohala, who dazzled with his first runway collection at the prestigious New York Fashion Week. He wowed the audience with bold and modern designs inspired by his knowledge of Native Hawaiian culture. Manaola Yap was born on Hawaii Island to Edward Yap and Nani Lim Yap, who are both Hawaiian music teachers and entertainers deeply immersed in their cultural heritage. In addition, mother Nani, from the renowned Lim musical ohana in Kohala, is a much respected kumu hula. These parents gave their son a powerful and eclectic name, Manaola, which mean life force. It’s just part of his name.

 

First of all, there’s your name.

 

Yes.

 

And I’m not talking about Manaola. [CHUCKLE]

 

Okay. So—

 

How did you get your name? And what is your name?

 

My full name. Okay; so my full name is Carrington—

 

Carrington?

 

Yes; Carrington first.

 

Where did that come from?

 

So, Carrington actually came from Dynasty.

 

[CHUCKLE]

 

The soap opera. So, my mother and her friend loved Dynasty, and they loved Blake Carrington. And at that time, I think all women did at that time. [CHUCKLE] So, when they were in the hospital, they were watching … or during just that whole time through their pregnancy, they were watching Dynasty, the show. And they and they had a bet that whoever would give birth first would be Blake, and the second would be Carrington. So, her son is Blake, and I’m Carrington.

 

And has anyone ever called you Carrington, really?

 

Yeah. It’s kind of funny, because I feel like my name changed throughout my lifetime thus far. So, I have people that still call me Carrington from, you know, certain events and circles of my mom’s social circles that she has. And then, some call me Manaola, some call me Mana, some call me Bubba. A lot of people call me Bubba.

 

Why Bubba?

 

My sister used to call me Bubba when she was small. And a lot of people in our hula halau, and that’s close to the family. In my family too, they call me Bubba. So, it’s definitely changed. So, Carrington is my first, Edward is my middle name. Well, one of my middle names; that’s from my dad, got that from my dad. So, Carrington Edward, and then Manaolahoowaiwaiikaleikaumakalani. [CHUCKLE] It’s a long one.

 

Now, if Manaola means life force, what does the rest mean?

 

The whole idea, because the name can be read in many different ways. Manaolahoowaiwaiikaleikaumakalani is heaven’s power of life enriching the beloved child. And my aunt, who named me, she’s a late kumu hula, her name was Joan Lindsey, she’s ohana on my mom’s dad’s side. And when she named me, she named me with the intention that everyone that will look upon Manaola in his lifetime will be looked upon with love, with eyes of kindness and love only.

 

Do you think names shape you?

 

Definitely; I’m totally a firm believer in the belief of a name and the energy that a name has once it’s borne into the air. Totally.

 

I know your mom is part of the Lim family, which is legendary. Would you tell us about her family, and then your dad’s family?

 

Yeah.

 

The Yap family.

 

My mom’s family is the Lim ohana. They used to live up on Puu Hoi Ranch. My grandfather was the foreman for Parker Ranch; he’s one of the original cowboys. They grew up in a very, very country style traditional home. My grandpa on my mom’s side was also very Chinese, as well.

 

And there are members of the family all over the Kohala side, generally performing, generally music.

 

Yeah; lots of music and dance, too. My cousin Namakana, she’s actually a Miss Aloha Hula. She’s a really, really beautiful dancer, as well. And aside from our main family, my mom’s also graduated a bunch of kumu that have passed on her legacy of dance. And not even just dancing alone; my mom has also shaped them into beautiful women.

 

And is your father on the creative side, as well?

 

My dad’s super-creative. So, Edward Yap; he’s from Honolulu. My dad and his whole family; very, very loving as well.

 

Your father is Chinese, or Chinese Hawaiian?

 

Chinese Hawaiian; yeah. So, my dad’s Chinese Hawaiian side, he grew up doing a lot of kung fu, martial arts, and all of that, and then, passed that on to me, as well.

 

From a young age, Manaola Yap gravitated toward performing arts and design. By age thirteen, he already started one of several businesses that would help him express his passion for the arts, and put money in his pocket.

 

I always also had a fascination in Asian art and artifacts. Actually, all kinds of ancient artifacts from all over the world. I was also known in my community in Waikoloa. Still yet, they still kinda know me, the old-timers; they know me as the boy that did the garage sale. So, I used to have this big garage sale in our garage, and in our whole lot, actually, full of muumuu, old costumes, fabric, kitchenware, old furniture. All kinds of stuff.

 

And did people negotiate with you?

 

Oh, all the time.

 

And did you like that part?

 

I loved it.

 

[CHUCKLE]

 

But in the midst of all of this, ‘cause I know how collectors work, I would put one artifact. Like, I’d put a bunch of, you know, junky things, tchotchkes and all that, and then in the middle of that, I’d put like a Ming Dynasty sculpture in the middle, and just see. Because you can tell if a collector has an eye. And they’ll kinda like pick it right out of the bunch, and they’ll just walk by and be like: Oh, my god, like, they probably don’t even know what it is. [CHUCKLE] And the first piece I sold was a wooden Kwan Yin statue. And I think I sold it for like, six hundred bucks. Should have been sixteen hundred, at least. Sold it for six hundred bucks. And my dad’s like: What are you doing? He’s like, You’re not gonna sell that here. You know, he was like: I don’t think people are gonna buy that kinda stuff. And this guy came out; he was like: How much is that? I’m like: Six hundred bucks. And he pulled out cash, and my dad was like, whoa.

 

And how old were you at this point?

 

At that point, I was like thirteen; twelve or thirteen. Yeah. And a lot of people would come in. And at that time, you know, purchases with designers that were coming in were already spending around seven to eight thousand dollars at a time, in my house.

 

On the Kohala Coast of Hawaii Island, Manaola Yap’s mother, Nani Lim Yap, creates hula shows based on Hawaiian mythology. As a keiki, Manaola would assist in the creative costuming, which would set him on the path to fashion desing.

 

Being in the entertainment business in the Kohala Coast, it was important for us to figure out a way to engage the audience, because they didn’t understand much of what we were doing, or dancing about. So, what Mom started to do, a lot of different people started to do is, create little hula dramas, even in her productions. So, hula dramas where we would explain, you know, the storyline. We’d read a story, tell you what the story is about, and then dance the dance, so that you could make the reference of: Oh, she’s pulling something or, Oh, a volcanic explosion happened. Those kinds of things, so that they could see us becoming the dance, and really make that connection and help them be engaged in the story. So, when that happened, that lent for creative costume. It gave us the creative freedom to be able to step outside of the box, and really start to be expressive in our costume. ‘Cause we were able to look at mythology and say: Oh, she wore a skirt of flames, or Oh, she wore a skirt made of lightning bolts.

 

As the person who’s gonna come up with this costume, how do you do that? What comes to mind?

 

That was the most exciting part of my childhood, the fact that every day, like, my mom was putting together a show, she’d be like: Okay, we have to make a headpiece for Namakaokahai. Okay, she’s the sister of Pele, she’s the sea goddess. Okay, so we’d go to the ocean and we’d find things and be creative.

 

How fun.

 

Yeah.

 

And deep.

 

And deep; definitely. Or we’d go to the forest and be like, okay, Hiiaka, she had pau palai, which is a skirt made of palai ferns.

 

M-hm.

 

So, we’d go and, you know, gather those kinds of things, or look at, Okay, how can we imitate this fern through this fabric, how can we texture this, how can we, you know, add a train that looks like a lava flow. That whole thing really was a start of me getting into costuming and fashion. And what would happen is, after the show was done, even with our myth show, we had girls that were like: Oh, my god, could I borrow this top to go out after? Like, I’m just gonna put jeans with it. And you know, they would go out, and they’d use it. Or they’d be like: Oh, you know, I have a red carpet event, or I’m going to this fancy dinner, can I wear this outfit? And that whole thing started a conversation with other artists or other friends, dancers that would be like: Oh, you know, I’m going to the Hokus, can you make me this outfit; this should be at the Hokus, you know, not just in a show. So, I was like, okay. So, I would create different looks for them, but everything was always done by hand; you know, the concept. I’d draw the concept, we’d cut the patterns, me and Mom would cut the patterns. And Iwa; Iwalani too, she was a really, really important part of my journey, Iwalani. She has her own line, Iwa Wai. But she also was a very close friend that helped me with my construction in summer.

 

You had crossed that divide. You had decided, I’m now gonna charge for costuming, for clothes.

 

Not even yet.

 

You’re doing this for free?

 

I was still doing that for free, even for the Hokus. I didn’t know how. You know. I think the first person I charged … even that was really hard for me.

 

Well, they were your friends, too.

 

They were my friend, too; right? And the way that we create is, I want to know them first. I want to know what is something that they’re missing, or are they a very aggressive person, what can I do in this design to soften that, or help to balance them. That’s what our job is.

 

Well, that sounds a little spiritual, right there.

 

Yeah; totally. So, that’s actually what the brand is based off of, that concept of balance for lifestyle.

 

And somehow, you worked through your feeling like: I can’t charge for this, this is spiritual, this is mana.

 

Definitely. Because what I was able to do is, I was able to see that this piece created … one thing for sure, it’s definitely a different time. Yeah? So, one thing is the times have changed, and there’s that adaptation to time. And also, that the piece itself has been able to change someone, and create more money to create more products, to change more people, and to move our mission forward to help to sustain indigenous culture.

 

Manaola Yap began creating fashion pieces for the Maoli Arts Movement, or MAMo, a festival that celebrates Native Hawaiian art. In 2014, he decided to make a bold statement at MAMo with his very first clothing line.

 

When we did the underwear, that was the scary one for me. Because I was like: Mom, I’m gonna make an underwear. My theme was Kumulipo, we did all the first wa, which is all the animals and the sea creatures. And there was this boy, and he really was an aspiring underwear model, so I was like: Okay, you’re perfect, we’ll do him. He had a great body and all this. And my mom sewed the underwear. So, we cut the underwear, we printed it, we sewed it. And I just remember, you know, we’re in the back, and … it was a big move for us, you know, to even put him out there. We were just like: Oh, my gosh. First of all, even the whole collection itself was artistically very beautiful. Some things were a little sexy. And you know, we had gone to the rehearsal, we had seen the regular muumuu, the traditional beautiful arts, tattoo, and all these different things. And … I literally went in the back, and I was like, freaking out. I was like: Mom, they’re gonna think we’re crazy. I was like: I can’t do this, we gotta pull out of this, we can’t even present. And she’s like: Oh, absolutely not. [CHUCKLE] She’s like: We just came all the way over here.

 

She’s a rock, isn’t she?

 

Yeah, yeah. She’s like: No, no. She’s like: What is your intention? You know, I had listed my intention, this is what I want to do. And then, even with the underwear, I was like: Should we take it out, should we not do it? She’s like: What’s your intention? I was like: Okay; well, I’m trying to think like a smart Hawaiian here. Okay; a smart Hawaiian businessman, we’re looking at underwear. Okay; first of all, Hawaiian underwear is sexy. Right? And that’s what drives this marketplace, whether you like it or not. And any marketing advertising is gonna tell you that is the main attraction, human attraction to sales. It’s a sexy thing. Two, I’ve always wanted to see a Hawaiian man underwear model ad, big. We’re still working on it.

 

[CHUCKLE]

 

I also looked at the underwear being something we need every day. You know, that’s something we use every day, and it makes you feel good. I love a good pair of underwear; they’re always under my basketball shorts and my tank top. But, that is something that we always want to use. So, she’s like: Well, if that’s your intention … there’s your intention. And we’re like, freaking out in the back. Of course, now things have changed, ever since we’ve opened that gap. But if you look at it before, we’re just like: Oh, my god, like … you know, should we like, do a reveal, or should we like, have him just be like, boom, he’s in his underwear. You know, like, what do we do?

 

What happens is, you feel naked.

 

Yeah, yeah; exactly.

 

And you’re exposed.

 

Exactly; we’re exposed. So, we’re like: No, you know what, do all your traditional protocol, do your oli like you normally do, and then on the end, we’ll put him out. So, he had a tie on, he had like a wrap on. And you know, he’s just walking out, and everybody’s just like, watching. And all of a sudden, he just drops his wrap. And all the forks and everything, you could just hear go, clank.

 

Clatter. [CHUCKLE]

 

And just dead silence, and everybody was just like … looking at him. And then, I was like: Oh, my god, they’re gonna kill us. And it was so funny, because I had a lot of traditionalists that were in the audience, too. We had, you know, a lot of kupuna, too. But the funny part was, when I was outside, you know, like taking pictures with my gang, so many people too, that were … I won’t mention their names, but very, very influential people in the Hawaiian community, they came up to me and they were like … Oh, my god, brother, don’t tell anybody, but that was awesome. I can’t believe you did that; that was the most amazing thing that ever happened.

 

So, private approval.

 

Yeah; private approval, you know. And then, later on, you know, I even had some artists too that later on did buy my underwear. And they’re like: [GASP] I have your underwear on right now, they’re so cool. But don’t tell anybody. You know, that kinda thing.

 

But I mean, you want to create something that will be useful.

 

Exactly; useful, for sure, and comfortable and fun. And that’s why with that underwear, I feel like you could feel as that whole wrap dropped, that the whole history of Hawaii changed that day.

 

Manaola Yap learned traditional Hawaiian clothing techniques through his kupuna, and he picked up modern design through experimentation with his mother’s creative hula costuming. He knew early on that college and fashion school were not for him.

 

My background in design, and everything that I do, comes from hula, from dance. You know, I do not name myself to be a designer that went to school and did all of that. I never really pursued going to fashion school. And it wasn’t really necessarily because I know it all, and I knew it all, and all that. It was more so because I also didn’t want to tamper with the organic nature of my mind and my creative mind, and how it was nurtured in that space, especially being on the Big Island. I didn’t want anything to interfere with it, so that I could keep it as authentic as possible. Because that is something in the industry that … corporations at large have the hardest time to develop, especially when selling to a consumer or to even make that exchange, you know, in business. So, that was my choice; from a long time, I was already thinking ahead.

 

Pewa, for me, was created … it’s a very traditional design, and this sample can actually be found, the original sample can actually be found in the Bishop Museum, where a lot of the native artifacts are kept. I chose pewa because for me, it spoke to me on a different level. Pewa are the fishtail repairs that are used in woodwork, in traditional woodwork. And I bent the patterns back and forth because in today’s time, we’re open to a lot more new ideas.

 

Just three years after launching his Native Hawaiian inspired clothing label, Manaola Yap was able to establish a retail store called Hula Lehua at Ala Moana Shopping Center. Then came the national spotlight; he received a coveted invitation to showcase his collection at the prestigious New York Fashion Week 2017.

 

They actually came upon us by reviewing Honolulu Fashion Week, which is a production that’s done by Lynne O’Neill and Honolulu Magazine. But they went online, and they watched that whole, you know, Honolulu Fashion Week, and watched all the designs. And then, they had sent us the invitation. So, out of the eight thousand, there’s about twenty-four designers that show throughout four countries, which is London, Paris, Milan, and New York. And out of those twenty-four designers, only ten designers get exclusive shows. We were very honored to have been able to show a full collection, which is super-crazy, especially for our first time in New York.

 

How much time did you have to get ready for this?

 

We had about three weeks.

 

Three weeks?

 

M-hm.

 

What did you have to do, to get ready?

 

Everything from … we textiled everything from scratch, we had to print all the fabrics from scratch, cut and sew. We had to fit, we had to silhouette all the pieces. And I’m a crazy, so we actually had more than the amount of pieces that we put in. We finished at about forty pieces; we did forty looks in that collection. It was actually the largest collection Oxford had ever shown in all four countries. Period. Which was kind of crazy. [CHUCKLE] But that’s always how I’ve been. I just love creating things, so yeah; it was definitely a crazy journey. We also broke some of the rules, because we really, really wanted to share some of the local talent, especially with the models. ‘Cause we had been working with these models that have supported us all these few years.

 

Normally, you would use the models up there.

 

It’s usually only industry models.

 

Oh; so how did you get the local girls in?

 

So, when they looked at us, they loved the fact that we’re based in indigenous culture, and that we’re a cultural label, which is something that they had only really seen a lot in African designers at the time, Indian designers, Chinese, Japanese, those kind of things. But nothing in the context of looking on the Polynesian side, for couture especially. So, when they seen that, they thought that that was super-interesting. But I was like: Okay, if that’s the thing, then you have to have some Hawaiians then, because that’s the uniqueness of the brand, and that’s what makes us who we are; it’s the people. We also had some that were native-speaking, which was very, you know, important to us, as well.

 

And I understand you had a Go Fund Me campaign.

 

We had a Go Fund Me campaign.

 

You didn’t have a bunch of money lying around to go to New York with all these people.

 

Oh, no; not at all. Yeah; we did not have the the means to go. ‘Cause even when we first did it, I was like: There’s no way we’re gonna go to New York. You know. ‘Cause our company is based on organic growth, completely.

 

Were you behind stage, or next to the runway? Where were you?

 

Oh; I stood on the side of the runway so that I could watch. It was an intense moment. Even the people in the audience, I think, a lot of them were pretty blown away, because especially how we started the show. We started with protocol. That’s usually how we always start. I always start with a hula. And for me, that’s creating the ceremony for us as a label for this time as a brand is, I always set hula first. Because like I said, hula is where I come from. That is my world, that is what I know. You know. And that’s where my source of inspiration, and everything is borne from that place. So, I use that ceremony and that dance to start um, our runway shows.

 

Does an individual garment tell a story?

 

So, it depends. Some pieces have different inspiration. So, some things are basic silhouettes that are, you know, flattering, comfortable, especially to what the market is bearing at the time. I have one top that is very special to me; it’s called the Hihimanu top. The Hihimanu top is inspired by the Hihimanu, its namesake, which is the big stingray, manta rays. You know how they have those big wings, and their tail. Then, some of them, I get really, really intense with. And then, that was the last piece that was on the runway, one of our finale dresses. That piece was dedicated to Liliu, Liliuokalani, our last reigning monarch. So, creating the mourning garment to mourn the loss of the lahui, of the Kingdom, in remembrance of Liliu, and in remembrance of the Kingdom, but also to show the forward movement in that garment. So, the garment is actually all black, and it’s the only piece that was all black in the whole collection.

 

Did you get a good crowd for your appearance?

 

Yes. Our show was actually over sold out. But yeah, I think it was great. And it was really good for us to go up there, especially for Hawaii.

 

[DRAMATIC MUSIC]

 

Anything that we do outside, our heart’s always here first. And you know, whether it be New York or London, Paris, wherever we may go next, it’s always making sure that we have that sense of pride at home, because that’s our home base.

 

Because of his selection for New York Fashion Week, Manaola Yap gained the opportunity to showcase his work at the other fashion weeks in London, Paris, and Milan. In 2016, Hawaii Business Magazine celebrated Yap as one of its 20 for the Next 20, and Honolulu Magazine named him Islander of the Year in Fashion. It’s quick and high ascent for Manaola. At the time of our conversation in Fall of 2017, he was just thirty years old. Mahalo to Kohala native Manaola Yap, now living in Honolulu, for sharing your story with us. And thank you, for joining us. For PBS Hawaii and Long Story Short, I’m Leslie Wilcox. Aloha nui.

 

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.

 

I used hula as a … example. I looked at hula, and I looked at … ‘cause I always go back to the dance. Any time I’m stuck, any time I need an answer, I always go back to the dance. And sometimes, I even just dance, myself, because it gives me that clearance and that space for me to think.

 

[END]

 

 

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
More! Ledward Kaapana and Family

 

Ledward Kaapana remembers his Uncle Fred Punahoa playing the song “Radio Hula” in Kalapana: “In the morning, like one, two o’clock in the morning. In Kalapana, it’s so quiet, so… you know, and it’s dark, and so, he used to just sit outside on the porch, and play his guitar. I don’t know if you ever experienced sleeping…and hear one guitar just playing sweet music that just wake you up and like, ‘Oh, so sweet,’” Kaapana remembers. “Radio Hula” is one of the songs that Ledward Kaapana, along with his sisters Lehua Nash, Rhoda Kekona, and Lei Aken play in his Kaneohe garage on a rainy evening. They also share an energetic slack key performance of “Kuu Ipo Onaona,” and Ledward honors the late Dennis Kamakahi with “Kokee.”

 

 

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
Peter Medeiros

NA MELE Peter Medeiros

 

Slack key artist Peter Medeiros, accompanied by guitarist Josh Silva and bass player Nate Stillman, presents a fun evening of traditional slack key. Joining the trio are the dancers of Pua Ali‘i ‘Ilima, led by kumu hula Vicky and Jeff Kānekaiwilani Takamine. Songs performed include “Ulili E,” “He‘eia,” “Ke Ala O Ka Rose” and “Kananaka.”

 

 

 

Hula as a Bedrock of 21st-Century Success

 

CEO Message

 

Hula as a Bedrock of 21st-Century Success

 

This month, the renowned musical Lim Family of Kohala on the Big Island takes the stage on Nā Mele: Traditions in Hawaiian Song (Mon., Jan. 28, 7:30 pm). We at PBS Hawai‘i have wanted to feature this remarkable ‘ohana for years.

 

However, it’s not easy to catch the family members in one place for long! They’re often in different parts of the Islands, and in farflung countries, in versatile groups, performing and teaching. Ed Yap, a family musician and husband of fellow performer and kumu hula Nani Lim Yap, is known for his flying fingers, booking and re-booking airline tickets online as plans evolve.

 

As I interviewed Nani for an upcoming episode of Long Story Short (Tues., Jan. 22, 7:30 pm), I saw once again, with another Island family, that the tradition of hula can serve as a bedrock for modern business success. Nani has long been in demand as a hula teacher in Japan and now, China, for her deep knowledge of this ancient art.

 

“(Hula) is about the collective, and it is about recognizing that together, we produce something that is amazing.” – Ulalia Woodside, Executive Director, Nature Conservancy of Hawai‘i

 

Nani and Ed’s son Manaola Yap, appearing in a Long Story Short encore (Tues., Jan. 15, 7:30 pm) is a young fashion designer and business owner with national and international credentials. “My background in design, and everything I do, comes from hula,” he says.

 

A dancer performing HulaAs a child, he helped his mother stage hula dramas for hotel visitors, creating costumes that helped tell the stories. For a dance honoring Pele, the fire goddess, he says Nani burned all of the edges of the dancers’ fabric “to a crisp.”

 

Successful father-and-son designers and hula practitioners Sig and Kuha‘o Zane of Hilo, Hawai‘i Island, also credit hula with inspiring and sustaining their aloha shirt business. For Sig, it started decades ago with wanting to make a special gift to court his future wife, seventh-generation kumu hula Nālani Kanaka‘ole. Sig learned silk screening and created plant designs, because in hula, many plant forms are important. Like Manaola, he had no formal design or business training.

 

Ulalia Woodside, Executive Director of the Nature Conservancy of Hawai‘i, oversees 40,000 acres of preservation lands. She grew up in Waimānalo, Windward O‘ahu, learning the discipline and interconnectedness of the hula tradition. She says it forged her view of how to live life and how to carry out her work.

 

“(Hula) is about the collective,” she says, “it is about recognizing that together, we produce something that is amazing.”

 

Season’s Aloha

Leslie signature


 

 

 

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