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On June 11, 2025, Maui Public Art Corps' Hōkū Pavao led a community engagement session in support of Solomon Enos’ mural project inspired by the moʻolelo of Uncle “Gaby” Gouveia and Pualani Enos. Rooted in kuleana—our shared responsibility to care for one another, our stories, and our ʻāina, an intimate gathering at Kahului's Maui Family YMCA brought together community members, hula dancers, and Uncle Gaby himself to reflect, move, and connect.
Uncle Gaby shared deeply personal reflections on life, legacy, and love through the story of the manjiro, a moʻolelo passed down from his father and Uncle Earl. His words opened hearts, prompting spontaneous sharing among participants—stories of healing, memory, and the quiet power of affection. Live mele and hula deepened the moment. The group danced to “Puamana” and “Koali,” performed by Uncle Gaby, and offered a surprise hula to “Mele ʻOhana” as a gift back to him—an emotional exchange that brought the room together as one ʻohana. Uncle Gaby’s grandson, Waepua, was also present, and the shared aloha lifted what had started as a difficult day into something joyful and unforgettable. As participant Luana Paahana reflected, “That experience may change our papa and individual’s lives. The lessons on life and ʻohana and the hug touched me deeply and many others, for sure.” This gathering served as a powerful reminder that kuleana is not just duty—it is listening, dancing, remembering, and loving. It is healing through story. Learn more about this project: mauipublicart.org/gaby
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Community Engagement Matters in Public Art: Join Us in June to Connect, Learn, and Co-Create6/13/2025  Public art is often seen as the final product—a mural on a wall, a sculpture in a courtyard, a performance unfolding in a public square. But Maui Public Art Corps understands that the most meaningful public art begins long before the artwork takes form. It begins with community, with conversation, and with a deep and intentional connection to place.
That connection is at the heart of Hui Mo‘olelo, a storytelling-based public art initiative developed in collaboration with the County of Maui that centers the voices, experiences, and cultural knowledge of our local community. This June, we invite you to become a part of that process through two free, carefully designed community engagement events that continue to grow from the stories and relationships built in past Hui Mo‘olelo programs. On Monday, June 16, we’ll gather at Waiheʻe Coastal Dunes & Wetlands Refuge from 1:30 to 3:30 p.m. for Talk-Story on the Land, a guided walk led by Scott Fisher, Director of ʻĀina Stewardship at Hawaiʻi Land Trust. This refuge, located within the moku of Wailuku, is more than a beautiful landscape—it is layered with the histories of ancient Hawaiian villages, restored fishponds, sacred sites, and native species brought back through years of dedicated stewardship. Scott Fisher, a past Hui Mo‘olelo participant and long-time advocate for ʻāina-based learning, brings these stories to life in a way that honors the intricate relationships between people and land. By walking this path together—listening, observing, and asking questions—we cultivate a deeper understanding of what it means to belong to a place, and how that understanding can shape art that truly reflects the soul of our community. This gathering also supports the development of Pua Liʻiliʻi (small flowers), a new site-responsive performance by acclaimed Native Hawaiian choreographer Christopher Kaui Morgan. Christopher’s work, part of our Hui Mo‘olelo: Lei Pua ʻAla program, is deeply tied to the land, culture, and identities that have shaped Hawaiʻi, including those of our queer communities. His work offers an interpretation of the stories of Hōkū Pavao, Francis Taua, Sean-Joseph Takeo Kahāokalani Choo and William Haʻo. This connection between place and performance reminds us that boundaries are not always as defined as we imagine; Waiheʻe is not separate from Wailuku, but a vital part of it. Then, on Thursday, June 19 from 9 to 11 a.m., we invite you to Maui Nui Botanical Gardens for a Lāʻau Lapaʻau Garden Tour & Philippine Plant Medicine Workshop led by Hui Mo‘olelo storytellers Namea Hoshino and Nicolita “Nicki” Garces. Set among more than 60 thriving varieties of Hawaiian kalo, this hands-on, story-rich workshop offers a rare opportunity to learn about both Hawaiian and Philippine healing traditions through the lens of two cultural practitioners deeply rooted in their communities. Namea, raised in Lahaina and trained in Hawaiian Studies, has led years of cultural workshops on kalo and its role in Hawaiian identity and resilience. Nicki, a queer Filipinx healer and activist from Kalihi, shares traditional Hilot practices and plant wisdom passed down through generations. Together, they embody a multi-layered sense of place—one that honors lineage, survival, and transformation. This gathering informs the creation of a new Hui Mo‘olelo mural at the University of Hawaiʻi Maui College by international artist Jay Gilleard, also known as Cbloxx. The mural will reflect the story of master stone carver Uncle Hōaka Delos Reyes, as recorded by Anuhea Yagi, and contemporary queer histories shared by Nicolita and fellow storyteller Ashley Ancheta Galacgac. It’s a piece that holds both tradition and identity in balance—and it begins with community. By joining us for either or both of these events, you’re not just learning about the stories behind a work of art—you’re participating in the process of honoring them. You’re helping us remember that art is not just for us, but of us. Not just on the land, but of the land. And that our public spaces can carry meaning when they are shaped by the people who know them best. We hope you’ll RSVP, show up, and add your voice to this growing tapestry of place-based storytelling and shared creation. These moments of connection are what make public art truly public—and deeply personal. View our entire June 2025 lineup at https://mailchi.mp/mauipublicart/june2025  Maui Public Art Corps, in partnership with Hale Hōʻikeʻike at the Bailey House/Maui Historical Society, the County of Maui, and the Lei Pua ʻAla Queer Histories of Hawaiʻi project of the Hawaiʻi Council for the Humanities, is proud to announce the upcoming premiere of a powerful new pop-up performance by acclaimed Native Hawaiian choreographer Christopher Kaui Morgan.
Set to premiere in Wailuku on June 14 and 19, 2025, Christopher’s work is inspired by moʻolelo of Hōkū Pavao, Francis Taua, Sean-Joseph Takeo Kahāokalani Choo, and William Haʻo; each shared through the Hui Mo‘olelo: Lei Pua ʻAla initiative. Blending hula, contemporary dance, and original music by TJ Keanu Tario, the performance is an intimate, site-responsive reflection on resilience, presence, and the nuances of being seen. A custom garment by renowned fiber artist Marques Hanalei Marzan features as a living metaphor of concealment and revelation. “This work is about making space—for ourselves, for our stories, and for each other. These performances are love letters to the moʻolelo and the people who trusted me with them,” shares Christopher Kaui Morgan. “It invites us to see each other more clearly—and to honor the courage it takes to be visible." The Hui Mo‘olelo: Lei Pua ʻAla cohort included 11 storytellers who completed immersive training in storytelling under the guidance of Sissy Lake-Farm, Executive Director of Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society and Kumu Hula, Hālau Makana Aloha O Ka Lauaʻe. Their recordings – each with a partner of their own choosing – are now publicly accessible at mauipublicart.org/hui-moolelo, archived at the Maui Historical Society, and housed at the Library of Congress American Folklife Center. These moʻolelo formed the foundation for a call for artist proposals, with Christopher selected by a community panel for his powerful concept and demonstrated commitment to community engagement. “Many voices create a more honest and complex history,” shares Aiko Yamashiro, Executive Director of Hawaiʻi Council for the Humanities. “The Hui Moʻolelo Lei Pua ʻAla project helps us honor important community stories that have not been shared, and invites our community to actively create a safer and more vibrant future for all of us.” Following his selection, Christopher met with storytellers, consulted with partners and cultural experts, and worked closely with Maui Public Art Corps to conduct extensive site research. This process led to two organically chosen performance sites:
“Not being able to see oneself reflected in one’s own family or community or one’s cultural history means you can never see yourself as a person of any value. Therefore, your chances at life become very problematic. That is what we have seen over the years; people of differing gender and sexuality live on the margins and don’t have a chance of success in an educational or work environment, and in forming healthy relationships, etc. So I think this project is aimed at looking historically at what some of those challenges have been, but more importantly at what resilience has looked like. How do we lift up and make ourselves and these experiences across the various cultures of Hawaii more visible?” – Joe Wilson, co-director of the Lei Pua ʻAla Queer Histories of Hawai‘i Project Join us in the process. Talk story. Walk the land. Witness the performance. Let’s celebrate the vibrant stories that make our community whole. Free Community Events:
About Hui Mo‘olelo A partnership amongst Maui Public Art Corps, the County of Maui and the Maui Historical Society, the Hui Mo‘olelo program cultivates community stories that highlight Maui County history, culture, and sense of place. Stories are shared through public artworks, workshops, online archives, and institutions including the Maui Historical Society and the Library of Congress. Each story captures intergenerational connections and authentic moments of insight, helping ensure cultural heritage is preserved and passed down. Maui Public Art Corps, in partnership with Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society, County of Maui Department of Parks and Recreation and the Lāhainā Restoration Foundation, invites the community to a special blessing and unveiling of two new public artworks on Tuesday, April 29, 2025, from 12:00 – 1:00 PM at Keōpūolani Regional Park. Please meet at the first parking lot inside the Kanaloa Avenue entrance, next to the YMCA.
The blessing will be led by Uncle Bill Garcia, a member of the Royal Order of Kamehameha, and Kākalaleo (Kumu in the art of chant) for Nā Hanona Kūlike O Piʻilani. Uncle Bill serves as the resident kahu for Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society. "Uncle Bill helps to bless and do the opening pule for all our important events and annual meetings," shares Sissy Lake-Farm, Executive Director of Hale Hōʻikeʻike. "We are so honored and lucky to have him as a valued resource." The two new artworks are the first in a pilot project to transform Maui County Parks utility boxes into vibrant, place-based works of art—each grounded in authentic local storytelling. Designed to uplift early-career Maui County creatives and enrich our shared environment, the project is presented in partnership with the County of Maui Department of Parks and Recreation. Artists applied for the project through a spring Request For Proposals (RFP) and were selected to participate based on community panel review. They each received a $1,000 artist honorarium through a grant awarded to Maui Public Art Corps by the Fred Baldwin Memorial Foundation. Both pieces are inspired by recordings from Hui Mo‘olelo, a program that cultivates community stories celebrating Maui’s history, culture, and sense of place. Christopher Carraway of Kīhei created a work rooted in the story of Reverend Gensho Hara, the Lāhainā Jodo Mission, and his daughter Yayoi Hara. Grounded in ‘Ōlelo No‘eau #2066 — Mai ka piko o ke poʻo a ka poli o ka wāwae, a laʻa ma nā kihi ʻehā o ke kino (From the crown of the head to the soles of the feet, and the four corners of the body) — Carraway's artwork recognizes the many community members displaced from Lāhainā and honors their enduring connections to Maui. "I have a lot of feelings and passion about this project and know that I am but a spoke in the wheel," says Christopher. "This truly is a project by and for the community. My hope is that with Maui’s blessing, I am able to bring such a beautiful story to light for everyone to enjoy and be proud of." Sarah DeYoung of Haʻikū created a work rooted directly in the stories of Kahului. Inspired by the deep ties between Sissy Lake-Farm, Lopaka White, and Hawaiian Canoe Club, her design honors Kealoha—the canoe and its namesake, Kealoha Lake—whose legacy of community, culture, and aloha continues through generations. Her piece draws from ‘Ōlelo No‘eau #2268 — Nānā ka maka; hoʻolohe ka pepeiao; paʻa ka waha (Observe with the eyes; listen with the ears; shut the mouth. Thus one learns). "What an amazing weekend," shares Sarah. "It was SO much fun being part of the community and installing art. So many fun conversations and lots of cute dogs—you literally put me in my dream location! I'm exhausted, but in the best way possible. This feels like the start of something beautifully new, and I’m so grateful Maui Public Art Corps gave me this opportunity. No words to describe my gratitude." Reflecting on the canoe Kealoha's significance, Sissy Lake-Farm adds: "When you acknowledge a canoe like Kealoha, you recognize that you are part of a larger body. It’s not just you; it’s the whole community moving forward together. That’s the way our stories move, too—together, generation after generation." Lopaka White, Reserve Operations Manager of the Kahoʻolawe Island Reserve Commission and President of the Board of Directors of Maui Historical Society, further shares: "Paddling and protecting our resources go hand in hand. Being part of Kealoha’s story means understanding that the strength of the canoe comes from everyone’s collective effort, whether it's in the ocean or on the land." Kelly White, Chair of Maui Public Art Corps and Manager of the County of Maui's Public Art Program, emphasizes the importance of connecting people, place, and story: "These artworks demonstrate our mission to connect people, place and story through the development of exceptional public art projects. We're especially grateful to the County of Maui Department of Parks and Recreation for allowing us to launch this pilot initiative at Keōpūolani Regional Park. Through authentic storytelling and creative expression, we’re enriching our shared spaces and supporting the next generation of Maui artists." Attendees are encouraged to bring their own chairs, sun protection, and water. The event is free and open to the public. For more information, visit mauipublicart.org/box Maui Public Art Corps is thrilled to introduce the Hui Mo‘olelo: Lei Pua ʻAla cohort and story partners — an inspiring group of storytellers whose voices bring to life the rich, interwoven narratives of Hawai‘i’s queer history and culture. This initiative, in partnership with the County of Maui, Hale Hōʻikeʻike at the Bailey House/Maui Historical Society, and the Lei Pua ʻAla Queer Histories of Hawaiʻi project, is dedicated to preserving and amplifying local stories that celebrate identity, connection, and belonging. This year’s Lei Pua ʻAla cohort—our fifth annual Hui Mo‘olelo program—features storytellers from both O‘ahu and Maui, each of whom has completed immersive, intergenerational storytelling training under the guidance of Sissy Lake-Farm, Executive Director of Hale Hōʻikeʻike and Kumu Hula of Hālau Makana Aloha O Ka Laua‘e. Their work has resulted in 11 powerful audio recordings, now accessible to the public through mauipublicart.org, the Maui Historical Society archives, and the American Folklife Center at the Library of Congress. These deeply personal and historically significant stories now serve as the foundation for Maui Public Art Corps’ latest call for artist proposals. Artists from all disciplines—visual, performance, and experiential—are invited to choose a story and transform it into a public art piece in collaboration with the community. The deadline to apply is March 31, 2025. Below, meet the Hui Mo‘olelo: Lei Pua ʻAla cohort members and their story recording partners. Click on each link to listen to their stories and explore the lived experiences that continue to shape and inspire Hawaiʻi’s cultural landscape:
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Val Tavai, Senior Community Services Manager at Honolulu Community Action Program, grew up in Makakilo in a Samoan-Filipino family, with ties to Maui and Lanaʻi. While attending college on the continent, they became involved in LGBTQ activism. When they returned home, they were active in the early organizing for same-sex marriage in Hawaiʻi. They are the current senior community services manager at the Honolulu Community Action Program in Waiʻanae.
ʻO Stephanie Nohelani Teves, I am a Kanaka Maoli feminist from Puʻuloa, Oʻahu where I live with my ʻohana. I trace my genealogies to the Makakoa line of Lahaina, Maui and the Akawa line of Pukoʻo, Molokaʻi. I am an associate professor and chair of the department of women, gender, and sexuality studies at the University of Hawaiʻi at Mānoa. I am the author of Defiant Indigeneity: The Politics of Hawaiian Performance (2018) and co-editor of Native Studies Keywords (2015). I have co-edited special issues of American Quarterly (2024) and Amerasia Journal (2023), as well as published articles on Hawaiian hip-hop, film, and sexuality in the Pacific. My research specializes in theorizing and analyzing the range of Kānaka Maoli life and expression. My most recent publication The Mahele of Our Bodies: Nā Moʻolelo Māhū/LGBTQ (2025) is an edited collection of oral histories with ten Hawaiian elders. One of few studies of Native/Indigenous queer oral histories, it provides an exploration of community and nation building, culture and tradition, and how all are navigated in the struggle for Indigenous self-determination and rights.
ʻO Stephanie Nohelani Teves, I am a Kanaka Maoli feminist from Puʻuloa, Oʻahu where I live with my ʻohana. I trace my genealogies to the Makakoa line of Lahaina, Maui and the Akawa line of Pukoʻo, Molokaʻi. I am an associate professor and chair of the department of women, gender, and sexuality studies at the University of Hawaiʻi at Mānoa. I am the author of Defiant Indigeneity: The Politics of Hawaiian Performance (2018) and co-editor of Native Studies Keywords (2015). I have co-edited special issues of American Quarterly (2024) and Amerasia Journal (2023), as well as published articles on Hawaiian hip-hop, film, and sexuality in the Pacific. My research specializes in theorizing and analyzing the range of Kānaka Maoli life and expression. My most recent publication The Mahele of Our Bodies: Nā Moʻolelo Māhū/LGBTQ (2025) is an edited collection of oral histories with ten Hawaiian elders. One of few studies of Native/Indigenous queer oral histories, it provides an exploration of community and nation building, culture and tradition, and how all are navigated in the struggle for Indigenous self-determination and rights.
Nicolita "Nicki" Garces is a queer Filipinx from Kalihi whose parents hail from the Ilocos region of the Philippines. Her mother, a hotel housekeeper and Local 5 union member, influenced her to be involved in social justice. Her close group of friends - her chosen family, many of which are activists and organizers - helped Nicki bloom into and live her authentic self. Nicki is an information management professional for a philanthropic foundation and runs her side business, Nanang Michaela Wisdom Blends, where she sells Filipinx plant medicine products and teaches workshops in the community. She is also a Reiki master, Hilot (traditional Filipinx healing) practitioner and caregiver to her mother.
Ashley Ancheta Galacgac is a queer transnational feminist inspired by Ilokanx women who raised her and places of Hawai‘i where she grew up. In her work at HANO, she supports community-based organizations & nonprofits to improve the quality of life here in Hawai‘i. Ashley’s Ethnic Studies background ignites her passion to uplift movement histories rooted in love and resistance, particularly amplifying voices of women and gender expansive relatives. Her political home is AF3IRM, a women of color-led anti-imperialist organization calling for Indigenous and body sovereignty across Hawai‘i, Philippines, Palestine, and beyond. Ashley believes the restoration of relationships to land, our own bodies, and one another is possible through intergenerational knowledge and collective care, making way for justice, healing, and liberation.
Ashley Ancheta Galacgac is a queer transnational feminist inspired by Ilokanx women who raised her and places of Hawai‘i where she grew up. In her work at HANO, she supports community-based organizations & nonprofits to improve the quality of life here in Hawai‘i. Ashley’s Ethnic Studies background ignites her passion to uplift movement histories rooted in love and resistance, particularly amplifying voices of women and gender expansive relatives. Her political home is AF3IRM, a women of color-led anti-imperialist organization calling for Indigenous and body sovereignty across Hawai‘i, Philippines, Palestine, and beyond. Ashley believes the restoration of relationships to land, our own bodies, and one another is possible through intergenerational knowledge and collective care, making way for justice, healing, and liberation.
Dolly M.I. Tatofi, MSW, LCSW, is divinely guided by essence and the unseen in each moment and is driven by kuleana. Born and raised on the island of Oʻahu, she has come to know what pilina is and has been blessed to work with keiki to kūpuna in various capacities throughout her life as a Social Worker. Her acquired ʻike consists of a B.A. in Ethnic Studies and a Master’s in Social Work from the University of Hawaiʻi at Mānoa, and she continues her learning at Chaminade University. Dolly is a founding member and the Interim Executive Director of Pouhana O Nā Wāhine. She serves as the IVAT Sub-Committee Cultural Chair, enjoys sharing her love of oli with others, and creates space for people to remember the sacred beings that they are. Through her years of experience, she has found the importance of Aloha as the underlying factor in her hana. Although understanding who you are is a life journey, she knows that her kuleana is to connect and support people with creating, building, and restoring pilina through Aloha. She believes that through purposeful and intentional daily living grounded in Aloha this will create, maintain, and enhance the relationships we have in any space and at any time not only with others but also with self; if we know who we are deep inside, then we will see this reflected outside of us and come to know what lōkahi truly means and feels like in completeness. Be, Do, and Know Aloha.
Camille Rockett is the child of Pearl and Louis Rockett and was born and raised in Waiehu,Maui. A proud graduate of Baldwin High School, Camille received their BA in urban studies from Stanford University in 2006 and their master's in social work from UH Manoa in 2010. They currently serve as the Director of Community Health and Equity at HMSA where they develop infrastructure to support health justice. Camille will be graduating from the Mitchell Hamline School of Law in June 2025 with a strengthened kuleana for pursuing social justice with ALOHA. Camille resides in Kapolei with their spouse, two keiki, two cats, and foster dog.
Camille Rockett is the child of Pearl and Louis Rockett and was born and raised in Waiehu,Maui. A proud graduate of Baldwin High School, Camille received their BA in urban studies from Stanford University in 2006 and their master's in social work from UH Manoa in 2010. They currently serve as the Director of Community Health and Equity at HMSA where they develop infrastructure to support health justice. Camille will be graduating from the Mitchell Hamline School of Law in June 2025 with a strengthened kuleana for pursuing social justice with ALOHA. Camille resides in Kapolei with their spouse, two keiki, two cats, and foster dog.
Daniel Southmayd is a medical case manager working with Maui AIDS Foundation. He is currently Secretary for the Board of Directors at ProArts on Maui and, with his partner of 35 years, is a fierce advocate for the LGBT+ and local community.
Kenji Cataldo, Co-Host & Producer of Hawai’i Rising, a podcast produced by Hawai’i People’s Fund & Frank Lee
Born and raised in Hawaiʻi, Lyz Soto is a performance poet of Visayan, Ilocano, Hakka, German, English, and French descent. She lives in Koʻolaupoko on the island of Oʻahu. She’s taught spoken word across the Pacific. She’s the co-editor of the speculative anthology, Snaring New Suns, Bamboo Ridge Press (2022) Her latest work appears in An Ocean of Wonder: The Fantastic in the Pacific, University of Hawaiʻi Press (2024). Through her art, she tries to explore the ways art can remake our perspectives and imaginations. She is the director of conversation and literary programs with the Hawaiʻi Council for the Humanities.
Allen Kam hails from Waiʻalae. He is the Kumu Hula of Ka Pa Hula o Kaʻohukuileahua. He lives in the ahupuaʻa of Maunalua with his partner, son, and dog overlord.
Allen Kam hails from Waiʻalae. He is the Kumu Hula of Ka Pa Hula o Kaʻohukuileahua. He lives in the ahupuaʻa of Maunalua with his partner, son, and dog overlord.
Pualani Enos, UH Mānoa Matsunaga Institute for Peace & Troy Siruno, Hawaii Leadership Forum
Sean-Joseph Takeo Kahāokalani Choo is a queer, multi-ethnic, multi-hyphenate artist: actor, composer, playwright, and new work developer. He’s the Lead Steward + Head Jester + Primary Arts Advocate of Kamamo House, a Honolulu-based queer theatre, and new work & artist cultivation/advocacy organization and podcast named after Sean’s fierce, hapa grandmother, Eloise Tsuru Kamamo Matsuno Choo. Sean’s work has been recognized on a local and regional level, by the Bay Area Playwrights Festival Finalist, the Pork Filled Productions 2025 Unleashed Festival, the Neukom Institute Literary Arts Awards, and the National Playwrights Conference at the Eugene O’Neill Theater Center. Sean’s play the isle is full of noises was developed in The Playwrights Realm’s inaugural Native American Artist Lab, where he was mentored by the amazing Rhiana Yazzie and Victoria Nalani Kneubuhl.
William Haʻo is a theater veteran for over 40 years. His professional theater journey began in New York City. He has performed in almost every state in the Union, Canada and Greece. Since returning to Hawaii he has participated in various theatrical endeavors receiving 9 Pookela Awards for Directing and Performance.
William Haʻo is a theater veteran for over 40 years. His professional theater journey began in New York City. He has performed in almost every state in the Union, Canada and Greece. Since returning to Hawaii he has participated in various theatrical endeavors receiving 9 Pookela Awards for Directing and Performance.
Angelica Daoang grew up in Central Maui and graduated as a valedictorian from Maui High School. She holds a Bachelor’s degree in Environmental Science and has a background in environmental advocacy and research. She has contributed to sustainability and climate policy through her work with organizations such as Maui Tomorrow Foundation and the Thurston Climate Action Team. Angelica currently works at Mālama Law Group, where she supports Lahaina fire survivors. Her ultimate goal is to combine her experience in environmental science with law and policy to drive meaningful lasting change in society.
Lance D. Collins is a Maui-based transdisciplinary scholar, multimedia creative, and attorney. He edits the long-running West Maui book series and has contributed to several volumes, including Tourism Impacts West Maui (2016), Social Change in West Maui (2019) and Historical Investigations in West Maui (2024). His published research explores the comparative legal histories of Hawai‘i and the Philippines during their American colonial periods. A Nā Hōkū Hanohano Award-winning music producer, Lance has also produced award-winning films, including My Partner, Hawai‘i’s first Boys’ Love genre film (also credited as writer), and the short film My Parents (also credited as co-director). He recently produced Noa Helela’s Aloha Kaua at Palikū Theatre and ʻĪao Theater, a story of Kauikeaouli in the time of Kaomi. His latest project is producing a Ilokano language BL webseries with a Hawai‘i sakada subplot. He is proudly the recipient of the Onipa'a Lifetime Achievement award from the Sierra Club of Hawai‘i, the Maui Filipino Chamber of Commerce's Gintong Pamana Award and Hawai‘i Thousand Friends' Unsung Hero Award.
Lance D. Collins is a Maui-based transdisciplinary scholar, multimedia creative, and attorney. He edits the long-running West Maui book series and has contributed to several volumes, including Tourism Impacts West Maui (2016), Social Change in West Maui (2019) and Historical Investigations in West Maui (2024). His published research explores the comparative legal histories of Hawai‘i and the Philippines during their American colonial periods. A Nā Hōkū Hanohano Award-winning music producer, Lance has also produced award-winning films, including My Partner, Hawai‘i’s first Boys’ Love genre film (also credited as writer), and the short film My Parents (also credited as co-director). He recently produced Noa Helela’s Aloha Kaua at Palikū Theatre and ʻĪao Theater, a story of Kauikeaouli in the time of Kaomi. His latest project is producing a Ilokano language BL webseries with a Hawai‘i sakada subplot. He is proudly the recipient of the Onipa'a Lifetime Achievement award from the Sierra Club of Hawai‘i, the Maui Filipino Chamber of Commerce's Gintong Pamana Award and Hawai‘i Thousand Friends' Unsung Hero Award.
Preserving Our Stories at the Library of Congress: Through our collaboration with StoryCorps, all interviews are published to the StoryCorps Archive and preserved at the American Folklife Center (AFC) of the Library of Congress, ensuring its availability to future generations of researchers and historians. These recordings are processed and securely stored by StoryCorps before being transferred to the Library of Congress for long-term preservation. While the StoryCorps collection at the Library is currently a closed collection and not accessible to the public on-site, you can access these interviews through archive.storycorps.org/user/mauipublicart. By participating, we are contributing to a growing national archive that reflects the diverse voices and experiences of people across the United States.
On Saturday, February 22 and Sunday, February 23, 2025, Maui Public Art Corps in collaboration with the County of Maui, Hale Hōʻikeʻike at the Bailey House / Maui Historical Society and Lahaina Restoration Foundation will host its fourth Hui Mo‘olelo Film Festival from 3 PM to 5 PM, FREE at ProArts Playhouse in Kīhei. The public is invited to this premiere of a new collection of animated film shorts that celebrate Lahaina history, culture and sense of place.
The result of the collective’s summer 2024 call to artists, the films stem from the developing Hui Mo'olelo program. Through previous cohort participants Kalapana Kollars of the Lahaina Restoration Foundation and Anuhea Yagi, Student of Hawaiian Life Ways, a cohort of storytellers were prepared, then paired with intergenerational partners to audio-record memories rooted in Lahaina. The recordings formed the basis of a call for artist proposals to translate a story as a work of public art. More than 100 public artworks have been created to date, including murals, mele, dance, sculpture, animation, lightwork, and more.
Upon selection by a community panel, artists Sasha Hercik of Kihei, Richard O’Connor of Brooklyn, NY and a team of University of Hawai'i at Mānoa, School of Cinematic Arts students -- Jenna Lee, Syril Pecson, Zach Quemado, and Abby Worthley, entered a period of project development to meet the storytellers, learn more about the context of their stories, and infuse the evolving design with a sense of place distinct to each recording. Working closely with Hui Mo‘olelo partners since September 2024, the artists’ animated film shorts will be presented in alignment with recorded talk-story excerpts about Lahaina. Story participants include 1) Jennifer Freeland & her father Haines Burt Freeland, 2), Louis Garcia III & Kaliko Storer, 3) Teva Medeiros & his grandfather Timothy Medeiros Sr., 4) Coach Earle Kukahiko & Kaliko Storer, 5) Abraham "Snake" Ah Hee & Myrna Ah Hee, 6) Reverend Gensho Hara, Lāhainā Jodo Mission & his daughter, Yayoi Hara, 7) Sally Ann Delos Reyes & Lopaka White, and 8) Theo Morrison, Executive Director, Lahaina Restoration Foundation.
“The Hui Mo‘olelo program has been so nourishing," shares Anuhea Yagi, "I think one of the great gifts from was the opportunity to just have a space to connect with others and be free in sharing. Seeing each person's unique qualities and how they were able to express themself as themselves and then relate to others in a way that created new connections – it was really astounding to see and liberating."
"Thank you for selecting our interview," shares Yayoi Hara, whose talk-story with her father Reverend Gensho Hara of the Lāhainā Jodo Mission will be animated in 3 individual artist iterations, "It is so nice to be a part of a project like this, we are uplifted by your enthusiasm and your interest."
The 2025 Hui Mo'olelo Film Festival will be emceed by Sissy Lake-Farm of Hale Hōʻikeʻike, beginning promptly at 3 PM and ending at 5. Free to the public, audience members will experience the premiere of five animated films created from Lahaina talk-story excerpts, each between 3 to 15 minutes in length, as well as a surprise performance from a previous Hui Mo'olelo project and a Q&A with the storytellers. Arrive early to ensure a seat at the theater, which is limited to the first 120 attendees.
To view the artwork research, listen to the story recordings, and more, visit mauipublicart.org/filmfest which links to all individual project pages.
The result of the collective’s summer 2024 call to artists, the films stem from the developing Hui Mo'olelo program. Through previous cohort participants Kalapana Kollars of the Lahaina Restoration Foundation and Anuhea Yagi, Student of Hawaiian Life Ways, a cohort of storytellers were prepared, then paired with intergenerational partners to audio-record memories rooted in Lahaina. The recordings formed the basis of a call for artist proposals to translate a story as a work of public art. More than 100 public artworks have been created to date, including murals, mele, dance, sculpture, animation, lightwork, and more.
Upon selection by a community panel, artists Sasha Hercik of Kihei, Richard O’Connor of Brooklyn, NY and a team of University of Hawai'i at Mānoa, School of Cinematic Arts students -- Jenna Lee, Syril Pecson, Zach Quemado, and Abby Worthley, entered a period of project development to meet the storytellers, learn more about the context of their stories, and infuse the evolving design with a sense of place distinct to each recording. Working closely with Hui Mo‘olelo partners since September 2024, the artists’ animated film shorts will be presented in alignment with recorded talk-story excerpts about Lahaina. Story participants include 1) Jennifer Freeland & her father Haines Burt Freeland, 2), Louis Garcia III & Kaliko Storer, 3) Teva Medeiros & his grandfather Timothy Medeiros Sr., 4) Coach Earle Kukahiko & Kaliko Storer, 5) Abraham "Snake" Ah Hee & Myrna Ah Hee, 6) Reverend Gensho Hara, Lāhainā Jodo Mission & his daughter, Yayoi Hara, 7) Sally Ann Delos Reyes & Lopaka White, and 8) Theo Morrison, Executive Director, Lahaina Restoration Foundation.
“The Hui Mo‘olelo program has been so nourishing," shares Anuhea Yagi, "I think one of the great gifts from was the opportunity to just have a space to connect with others and be free in sharing. Seeing each person's unique qualities and how they were able to express themself as themselves and then relate to others in a way that created new connections – it was really astounding to see and liberating."
"Thank you for selecting our interview," shares Yayoi Hara, whose talk-story with her father Reverend Gensho Hara of the Lāhainā Jodo Mission will be animated in 3 individual artist iterations, "It is so nice to be a part of a project like this, we are uplifted by your enthusiasm and your interest."
The 2025 Hui Mo'olelo Film Festival will be emceed by Sissy Lake-Farm of Hale Hōʻikeʻike, beginning promptly at 3 PM and ending at 5. Free to the public, audience members will experience the premiere of five animated films created from Lahaina talk-story excerpts, each between 3 to 15 minutes in length, as well as a surprise performance from a previous Hui Mo'olelo project and a Q&A with the storytellers. Arrive early to ensure a seat at the theater, which is limited to the first 120 attendees.
To view the artwork research, listen to the story recordings, and more, visit mauipublicart.org/filmfest which links to all individual project pages.
On Wednesday, November 6, 2024, Maui Public Art Corps will begin a 6-week process of installing a large-scale mural across the temporary campus of King Kamehameha III Elementary School, which is located at 100 Akahele Street in Lahaina.
Selected by a community panel from a pool of 33 applicants, the design will be led by artists Roxy and Matt Ortiz, a husband-and-wife creative duo, who paint under the name Wooden Wave (@wooden_wave).
As an alumni of King Kamehameha III Elementary, Roxy shares, "I have a deep connection to the school and want to contribute as much as I can. I attended the school from Kindergarten all the way to 5th grade, so many of my core memories were made there."
Working in partnership with Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society, the County of Maui and Lahaina Restoration Foundation, the mural is being commissioned through the collaborative Hui Mo‘olelo: Lahaina program, which cultivates stories celebrating Lahaina history, culture and sense of place and engages community members to co-design art that is directly rooted in these stories.
"We were first approached by the school and by FEMA in March of this year to determine whether or not our Hui Mo‘olelo program could engage a new Lahaina cohort that would inspire potential works of public art at the site," shares Kelly White, manager of the County of Maui's public art program and chair of Maui Public Art Corps, "by June, we had a new collaboration with Lahaina Restoration Foundation that brought Hui Mo‘olelo: Lāhainā to life. In August, we released the call for artist proposals, and here we are in October, deep into project development with an entire new team of partners and stakeholders. It feels very clear that this was the right approach for this public art project."
For their proposal, Roxy and Matt selected stories shared by Uncle Snake & Aunty Myrna Ah Hee, Theo Morrison and Mr. Tom Fujita, all of which can be listened to on their project page (mauipublicart.org/kamehameha). The artists are identifying symbols from each of these stories to create the foundation of their mural design. Students, families, and staff of King Kamehameha III Elementary are currently participating in a survey to share mana‘o about these symbols and to provide other ideas for the artists to consider as they create their mural blueprint. Lahaina community members and alumni of the school are also encouraged to contribute at https://forms.gle/ZzXZeccaH5fRYHct9.
"We are incredibly excited to bring this mural project to our temporary campus,” shares Kamehameha III Elementary School Principal Ian Haskins, “It’s a powerful way to infuse our school with the spirit and resilience of Lahaina, even as we look forward to the day when our permanent school is ready."
The Maui Historical Society also expressed strong support for this effort. “The Hui Mo'olelo: Lahaina project fosters a countywide understanding of what Lahaina has endured and celebrated,” shares Sissy Lake-Farm, Executive Director of Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society. “It is a meaningful step toward healing and appreciating the rich history that continues to shape our community.”
The mural will be on view for 3-5 years while the school's permanent site is being developed. Sponsors include the County of Maui, the Hawaii State Foundation on Culture & the Arts, the National Endowment for the Arts, HCF Maui Strong, Hawai'i Rotary District 5000 Foundation Maui Fires Relief Fund, and private donors of Maui Public Art Corps.
Stay tuned for additional details, invitations to connect with the project and more.
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About Maui Public Art Corps
Maui Public Art Corps connects people, place and story through the development of exceptional public art. It was founded in 2020 to expand the work of SMALL TOWN * BIG ART countywide in partnership with the Maui Historical Society and the County of Maui. @mauipublicart | www.mauipublicart.org
Selected by a community panel from a pool of 33 applicants, the design will be led by artists Roxy and Matt Ortiz, a husband-and-wife creative duo, who paint under the name Wooden Wave (@wooden_wave).
As an alumni of King Kamehameha III Elementary, Roxy shares, "I have a deep connection to the school and want to contribute as much as I can. I attended the school from Kindergarten all the way to 5th grade, so many of my core memories were made there."
Working in partnership with Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society, the County of Maui and Lahaina Restoration Foundation, the mural is being commissioned through the collaborative Hui Mo‘olelo: Lahaina program, which cultivates stories celebrating Lahaina history, culture and sense of place and engages community members to co-design art that is directly rooted in these stories.
"We were first approached by the school and by FEMA in March of this year to determine whether or not our Hui Mo‘olelo program could engage a new Lahaina cohort that would inspire potential works of public art at the site," shares Kelly White, manager of the County of Maui's public art program and chair of Maui Public Art Corps, "by June, we had a new collaboration with Lahaina Restoration Foundation that brought Hui Mo‘olelo: Lāhainā to life. In August, we released the call for artist proposals, and here we are in October, deep into project development with an entire new team of partners and stakeholders. It feels very clear that this was the right approach for this public art project."
For their proposal, Roxy and Matt selected stories shared by Uncle Snake & Aunty Myrna Ah Hee, Theo Morrison and Mr. Tom Fujita, all of which can be listened to on their project page (mauipublicart.org/kamehameha). The artists are identifying symbols from each of these stories to create the foundation of their mural design. Students, families, and staff of King Kamehameha III Elementary are currently participating in a survey to share mana‘o about these symbols and to provide other ideas for the artists to consider as they create their mural blueprint. Lahaina community members and alumni of the school are also encouraged to contribute at https://forms.gle/ZzXZeccaH5fRYHct9.
"We are incredibly excited to bring this mural project to our temporary campus,” shares Kamehameha III Elementary School Principal Ian Haskins, “It’s a powerful way to infuse our school with the spirit and resilience of Lahaina, even as we look forward to the day when our permanent school is ready."
The Maui Historical Society also expressed strong support for this effort. “The Hui Mo'olelo: Lahaina project fosters a countywide understanding of what Lahaina has endured and celebrated,” shares Sissy Lake-Farm, Executive Director of Hale Hōʻikeʻike at the Bailey House/ Maui Historical Society. “It is a meaningful step toward healing and appreciating the rich history that continues to shape our community.”
The mural will be on view for 3-5 years while the school's permanent site is being developed. Sponsors include the County of Maui, the Hawaii State Foundation on Culture & the Arts, the National Endowment for the Arts, HCF Maui Strong, Hawai'i Rotary District 5000 Foundation Maui Fires Relief Fund, and private donors of Maui Public Art Corps.
Stay tuned for additional details, invitations to connect with the project and more.
###
About Maui Public Art Corps
Maui Public Art Corps connects people, place and story through the development of exceptional public art. It was founded in 2020 to expand the work of SMALL TOWN * BIG ART countywide in partnership with the Maui Historical Society and the County of Maui. @mauipublicart | www.mauipublicart.org
Public art is often seen as a reflection of a community’s identity, values, and spirit. But what happens when the artwork’s intended time in a space comes to an end? Deaccessioning—removing art from a public collection—can provide a unique opportunity for a community to not only reflect on temporality but also to engage with sustainability and creativity in exciting new ways.
This spring we embarked on a temporary sculpture project in the town of Makawao, inspired by the story of Kim Thayer of Mauna Kahālāwai Watershed Partnership and Scott Fisher, Director of ʻĀina Stewardship at Hawai'i Land Trust – two figures whose intersectional journey connected us to the vibrant and attentive Makawao community for the first time. Community engagement was immediate and deeply felt, as we hosted a talk story with sculptor Matthias Neumann and his storytelling muses at Hui No‘eau Visual Arts Center, developed “Little Free Art Galleries” with the students of Seabury Hall, collected artwork to exchange from students of UHMC’s visual arts department, and led a panel discussion at the Makawao Public Library.
One of the most rewarding aspects of this project was the collaboration that emerged with the Hawaii State Public Library System, which graciously allowed us to install the sculpture on their property from April to August 2024. The library became an anchor for creative activities, coordinating free art days and workshops, inviting the community to explore the sculpture and express their responses through drawing and writing. It was moving to witness how many people, of all ages, engaged with the artwork, sharing stories and feelings about what it meant to them.
In a creative and community-driven turn, Seabury Hall has played a huge role in amplifying the project. Students helped drum up interest by inviting local artists to showcase their work at Little Free Art Galleries, fostering a spirit of involvement. But perhaps the most exciting development is currently underway as Bill Levien’s engineering students are taking the lead in repurposing the sculpture materials. These materials, once an inspiring centerpiece in the heart of Makawao, are currently being transformed into sitting benches that will be installed at parks and community spaces throughout Maui.
These benches won’t just be functional. They will carry with them the spirit of the original artwork.
Repurposing deaccessioned public art is a powerful statement of resilience, creativity, and sustainability. It not only prevents waste but also extends the life of an artwork, giving it a new form and purpose. In Makawao, what began as a single sculpture has sparked a deeper connection between art, education, and community spaces.
So much of the beauty of public art lies in its ability to bring people together, start conversations, and inspire new ideas. And sometimes, that conversation continues long after the initial installation is gone—morphing into something just as meaningful and impactful as the original piece.
This spring we embarked on a temporary sculpture project in the town of Makawao, inspired by the story of Kim Thayer of Mauna Kahālāwai Watershed Partnership and Scott Fisher, Director of ʻĀina Stewardship at Hawai'i Land Trust – two figures whose intersectional journey connected us to the vibrant and attentive Makawao community for the first time. Community engagement was immediate and deeply felt, as we hosted a talk story with sculptor Matthias Neumann and his storytelling muses at Hui No‘eau Visual Arts Center, developed “Little Free Art Galleries” with the students of Seabury Hall, collected artwork to exchange from students of UHMC’s visual arts department, and led a panel discussion at the Makawao Public Library.
One of the most rewarding aspects of this project was the collaboration that emerged with the Hawaii State Public Library System, which graciously allowed us to install the sculpture on their property from April to August 2024. The library became an anchor for creative activities, coordinating free art days and workshops, inviting the community to explore the sculpture and express their responses through drawing and writing. It was moving to witness how many people, of all ages, engaged with the artwork, sharing stories and feelings about what it meant to them.
In a creative and community-driven turn, Seabury Hall has played a huge role in amplifying the project. Students helped drum up interest by inviting local artists to showcase their work at Little Free Art Galleries, fostering a spirit of involvement. But perhaps the most exciting development is currently underway as Bill Levien’s engineering students are taking the lead in repurposing the sculpture materials. These materials, once an inspiring centerpiece in the heart of Makawao, are currently being transformed into sitting benches that will be installed at parks and community spaces throughout Maui.
These benches won’t just be functional. They will carry with them the spirit of the original artwork.
Repurposing deaccessioned public art is a powerful statement of resilience, creativity, and sustainability. It not only prevents waste but also extends the life of an artwork, giving it a new form and purpose. In Makawao, what began as a single sculpture has sparked a deeper connection between art, education, and community spaces.
So much of the beauty of public art lies in its ability to bring people together, start conversations, and inspire new ideas. And sometimes, that conversation continues long after the initial installation is gone—morphing into something just as meaningful and impactful as the original piece.
 | On Saturday, April 27, 2024, we will host our third Hui Mo‘olelo Film Festival from 3-5 PM at ProArts Playhouse in Kihei. The public is invited to this premiere of a new collection of animated film shorts that celebrate Maui history, culture and sense of place. The result of our most recent call to artists, the works stem from our Hui Mo'olelo program partnership with the County of Maui and Hale Hōʻikeʻike at the Bailey House / Maui Historical Society. Artists: Richard O'Connor and team + Sasha Hercik Stories: Maui stories by 14 participants will be interpreted. Scroll down for each project page. Join: April 27 at 3 PM @ ProArts Playhouse, 1280 South Kihei Road (FREE) - first come, first seated (Max: 150 guests) Please RSVP |
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Selected by a community panel, artists Richard O'Connor and Sasha Hercik have worked with our team for months to bring a collection of stories to life by 1) Anuhea Yagi & Hōaka Delos Reyes; 2) Nanifay Paglinawan & Pualani Enos; 3) Kevin & Kukui Gavagan; 4) Hōkūlani Holt & Cody Pueo Pata; 5) Annadele Yahiro & Mick Bursack; 6) Andrew Chin & Michael Takemoto; 7) Kevin Brown & Anthony Pfluke.
The event will be emceed by Sissy Lake-Farm of Hale Hōʻikeʻike, beginning promptly at 3 PM. Free to the public, audience members will experience the premiere of 7 individual animated talk-story excerpts, each between 3 to 5 minutes in length, as well as an offering by Maui Public Art Youth Task Force Lead Kekaulaiwi Farm. Audience members and story participants will be invited to share their reflections for a Q&A to conclude the event.
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The event will be emceed by Sissy Lake-Farm of Hale Hōʻikeʻike, beginning promptly at 3 PM. Free to the public, audience members will experience the premiere of 7 individual animated talk-story excerpts, each between 3 to 5 minutes in length, as well as an offering by Maui Public Art Youth Task Force Lead Kekaulaiwi Farm. Audience members and story participants will be invited to share their reflections for a Q&A to conclude the event.
MORE
On Saturday, April 27, 2024, we will host our third Hui Mo‘olelo Film Festival from 3-5 PM at ProArts Playhouse in Kihei. Resulting from of our most recent call to artists, a new collection of animated film shorts drawn from intergenerational talk-story audio recordings will be unveiled that celebrate Maui history, culture and sense of place.
The recordings stem from our Hui Mo'olelo program partnership with the County of Maui and Hale Hōʻikeʻike at the Bailey House / Maui Historical Society. Led by kumu Leilehua Yuen, a cohort of 21 storytellers were trained and paired with intergenerational partners to audio-record memories rooted in special places throughout Maui County. Each year, we release a new collection of recordings as part of our RFP (request for proposals) process wherein professional artists from across the globe submit proposals to interpret a story as a work of public art.
Selected by a community panel this winter, Sasha Hercik (Kihei, HI) has worked with our team for months to bring the story of Anuhea Yagi and Hōaka Delos Reyes to life. Enjoy Sasha's Q&A below to get to know the artist, learn more about her process, and get excited for the April 27 event!
The recordings stem from our Hui Mo'olelo program partnership with the County of Maui and Hale Hōʻikeʻike at the Bailey House / Maui Historical Society. Led by kumu Leilehua Yuen, a cohort of 21 storytellers were trained and paired with intergenerational partners to audio-record memories rooted in special places throughout Maui County. Each year, we release a new collection of recordings as part of our RFP (request for proposals) process wherein professional artists from across the globe submit proposals to interpret a story as a work of public art.
Selected by a community panel this winter, Sasha Hercik (Kihei, HI) has worked with our team for months to bring the story of Anuhea Yagi and Hōaka Delos Reyes to life. Enjoy Sasha's Q&A below to get to know the artist, learn more about her process, and get excited for the April 27 event!
What was it about the talk-story between Anuhea and Uncle Hōaka that sparked the inspiration to interpret it as a work of public art?
Listening to all the excerpts, initially I had a few different criteria that I was trying to fulfill to create a strong art piece that was also appealing to watch as a video: visual representation, solid storytelling, and emotional/personal impact. While all the talk-stories were unique and interesting on their own, I didn't quite feel the "emotional/personal impact" until I heard the excerpt from Anu & Uncle Hoaka. I remember listening to it and within the first 15 seconds I had my "oh, wow" moment that just sort of made it impossible NOT to choose it.
What lessons did you take away from your consultation with Anuhea?
I remember going into the meeting with Anuhea unsure of what to expect, and by the time the call ended there were just feelings of warmth, emotion and connection. Anuhea is a lovely, knowledgeable, passionate, deeply rooted person who gave me tons of visual inspiration for my art piece just by talking about her own experiences with Hawai'i, the Hawaiian culture, spirituality and physical places. Certain imagery she shared ended up totally changing the trajectory of my initial storyboards and I'm so grateful I had the chance to pick her brain.
What lessons did you take away from your consultation with Uncle Hōaka and his nephew Nalu?
This consultation I remember feeling intimidated going into because Uncle Hoaka is such a renowned professional in his field, yet his sense of humor and sly wit quickly made everyone comfortable and he filled the time we had with the most incredible, outlandish stories of growing up in Hawai'i. There were these instances where he would defer to his nephew Nalu for the right Hawaiian word/phrase/pronunciation because Nalu is a fluent practitioner of Olelo Hawaii and it was this really cool moment where we got to see the future of Hawaiian culture being taught back to the older generation, which feels almost synonymous to what this project is as well. Needless to say, Uncle Hoaka was a deep well of knowledge and I learned so much just by listening.
How has your approach to art evolved as a result of this project?
This project has been a unique experience to make an animation by listening to a story and creating a short film based really from feel alone. Typically when making a film, you tend to have a type of structure or linear story to follow, with characters or a setting, etc. but this approach relies on a sense of intuition and visual representation; anyone listening to this talk-story might have their own version of what they picture in their heads, whether that's colors, landscapes, the people themselves talking, and so to use my own interpretation to bring this story to life in a way that would make anyone watching understand it's power and emotional impact feels very special and unique. It makes me excited for future projects and has really expanded my way of thinking about film/animation in general.
What has the experience of working with MPAC been like for you?
I've mentioned this a few times during our calls, but I remember the last Small Town Big Art project I saw and thought to myself, "The next open call they have, I don't care what it is, I'm applying," because even though I've lived here almost my whole life, I had only just caught a glimpse of our growing local art scene recently and knew that I wanted to be a part of it. My experiences with Kelly, Sissy and Ann-Marie have been warm and professional, they're an incredible team striving to keep the arts prevalent on Maui and to translate our island's stories into public art pieces for everyone to love and enjoy. I've been so grateful to work with MPAC on this project as a way to finally get integrated into the Maui art scene and also to help promote our beautiful culture through animation.
What do you hope audience members will feel or understand after viewing your artwork?
There are a few things I hope are conveyed through this project:
1) Animation is a versatile, incredible medium that can showcase, express and promote the Hawaiian culture just as powerfully as any traditional medium
2) I hope this piece makes everyone watching it feel that same "oh, wow" goosebump, heavy powerful moment I felt when I first listened to this excerpt
3) I want Anuhea and Uncle Hoaka to feel their voices represented, and for this short film to help bridge the gap between their story and those who might not have understood their message without the visual element.
What advice do you have for others interested in working with MPAC?
JUST APPLY!!! Haha, I know the application process might be intimidating and you might not get approved on your first try, but just keep applying! MPAC is so helpful with their guidance, their empathy, and ability to work with you no matter where you're at on your creative journey, so do the big scary thing and just go for it! Follow their socials (and affiliate socials!) so you can stay on top of when the open calls are and jump in with both feet :)
Any closing thoughts?
Thank you again to MPAC for giving me this opportunity to finally connect with the Maui art scene, to get to make a piece of public art for the Maui community, and for such an amazing experience thus far. Being able to talk to people like Anu and Uncle Hoaka and Nalu and Aunty Sissy has been a privilege, and to have the ability to use my art to give back to my community that has cared for and guided me for nearly my entire life is something I will always be grateful for.
Listening to all the excerpts, initially I had a few different criteria that I was trying to fulfill to create a strong art piece that was also appealing to watch as a video: visual representation, solid storytelling, and emotional/personal impact. While all the talk-stories were unique and interesting on their own, I didn't quite feel the "emotional/personal impact" until I heard the excerpt from Anu & Uncle Hoaka. I remember listening to it and within the first 15 seconds I had my "oh, wow" moment that just sort of made it impossible NOT to choose it.
What lessons did you take away from your consultation with Anuhea?
I remember going into the meeting with Anuhea unsure of what to expect, and by the time the call ended there were just feelings of warmth, emotion and connection. Anuhea is a lovely, knowledgeable, passionate, deeply rooted person who gave me tons of visual inspiration for my art piece just by talking about her own experiences with Hawai'i, the Hawaiian culture, spirituality and physical places. Certain imagery she shared ended up totally changing the trajectory of my initial storyboards and I'm so grateful I had the chance to pick her brain.
What lessons did you take away from your consultation with Uncle Hōaka and his nephew Nalu?
This consultation I remember feeling intimidated going into because Uncle Hoaka is such a renowned professional in his field, yet his sense of humor and sly wit quickly made everyone comfortable and he filled the time we had with the most incredible, outlandish stories of growing up in Hawai'i. There were these instances where he would defer to his nephew Nalu for the right Hawaiian word/phrase/pronunciation because Nalu is a fluent practitioner of Olelo Hawaii and it was this really cool moment where we got to see the future of Hawaiian culture being taught back to the older generation, which feels almost synonymous to what this project is as well. Needless to say, Uncle Hoaka was a deep well of knowledge and I learned so much just by listening.
How has your approach to art evolved as a result of this project?
This project has been a unique experience to make an animation by listening to a story and creating a short film based really from feel alone. Typically when making a film, you tend to have a type of structure or linear story to follow, with characters or a setting, etc. but this approach relies on a sense of intuition and visual representation; anyone listening to this talk-story might have their own version of what they picture in their heads, whether that's colors, landscapes, the people themselves talking, and so to use my own interpretation to bring this story to life in a way that would make anyone watching understand it's power and emotional impact feels very special and unique. It makes me excited for future projects and has really expanded my way of thinking about film/animation in general.
What has the experience of working with MPAC been like for you?
I've mentioned this a few times during our calls, but I remember the last Small Town Big Art project I saw and thought to myself, "The next open call they have, I don't care what it is, I'm applying," because even though I've lived here almost my whole life, I had only just caught a glimpse of our growing local art scene recently and knew that I wanted to be a part of it. My experiences with Kelly, Sissy and Ann-Marie have been warm and professional, they're an incredible team striving to keep the arts prevalent on Maui and to translate our island's stories into public art pieces for everyone to love and enjoy. I've been so grateful to work with MPAC on this project as a way to finally get integrated into the Maui art scene and also to help promote our beautiful culture through animation.
What do you hope audience members will feel or understand after viewing your artwork?
There are a few things I hope are conveyed through this project:
1) Animation is a versatile, incredible medium that can showcase, express and promote the Hawaiian culture just as powerfully as any traditional medium
2) I hope this piece makes everyone watching it feel that same "oh, wow" goosebump, heavy powerful moment I felt when I first listened to this excerpt
3) I want Anuhea and Uncle Hoaka to feel their voices represented, and for this short film to help bridge the gap between their story and those who might not have understood their message without the visual element.
What advice do you have for others interested in working with MPAC?
JUST APPLY!!! Haha, I know the application process might be intimidating and you might not get approved on your first try, but just keep applying! MPAC is so helpful with their guidance, their empathy, and ability to work with you no matter where you're at on your creative journey, so do the big scary thing and just go for it! Follow their socials (and affiliate socials!) so you can stay on top of when the open calls are and jump in with both feet :)
Any closing thoughts?
Thank you again to MPAC for giving me this opportunity to finally connect with the Maui art scene, to get to make a piece of public art for the Maui community, and for such an amazing experience thus far. Being able to talk to people like Anu and Uncle Hoaka and Nalu and Aunty Sissy has been a privilege, and to have the ability to use my art to give back to my community that has cared for and guided me for nearly my entire life is something I will always be grateful for.
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