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Island Goddess
Glade
Relunion 2007 Hawaii
The Glade Show Club
Night at the Glade
Reunion 2004 Las
Vegas
Those Were The Days,Then
Those Were The Days,
Now
Island
Goddess Directory
In Remembrance
Whatever Happened To
Legends I
Legends II
Internet Marketplace
Local Shopping
Hawaiiana
Cullture
Hele mai ka me 'ai
Local Style Cuisine
Olakino
Maika'i
HIV / CD / Lifestyle
Ke Ala Koho
Kaua
LGBTQI Resources
Anita@islandgoddess.org
AuntyAnita's Bay Area Page
Links
Utopia Hawaii
Events Page
Kulia Na Mamo Diva News
Gallery
starting
a business
www.aleksamanila.com
www.myspace/jerrinejeffries
www.myspace/FusionWaikiki
www.hawaiiscene.com/venus
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News and Events
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If you need more
info please go to: www.universalshowqueendvd.com
Universal Show Queen,
June 26th 2010 at the Hawaii Convention Center
Order your DVD copy of one of the country's
premier Pageants
Email inquiries.
info@universalshowqueendvd.com
Universal ShowQueen
Winners
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2007: Maddie Ashton
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1999: Maya Douglas
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1991: Coco Vaughn
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2006: Raquel Lord
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1998: Jacqueline
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1990: Dina Jacobs
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2005: Cassandra
Colby
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1997: Keisha
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1989: Brandy Olsen
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2004: Erica Andrews
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1996: Cezanne
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1988: Whitney Carlysle
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2003: Zia De’Zaniero
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1995: Sharee L’amour
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1987: Yoshiko Oshiro
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2010: Perla Welch
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2002: Raven
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1994: Aiko
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1986: Michelle Tomas
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2009: Yuni Carey
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2001: Kaina Jacobs
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1993: Angela Carrera
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1985: Cher Marisa
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2008: Coco Chandelier
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2000: Tasha Lee
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1992: Kelly Ray
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1984: Linda DeCrimsen
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Kulia Na Mamo offers resources and community.
by Margot Seeto
Ashliana Hawelu
Ashliana Hawelu, co-founder of a
transgender sex worker outreach organization, serves a
mostly Polynesian clientele, speaking to the acceptance of mahu
in old Polynesia. A cultural shift led to much greater intolerance
of mahu since Western contact, and Kulia Na Mamo along with
Ku Aloha Ola Mau and the Life Foundation serves a disadvantaged
and at-risk community. Kulia Na Mamo uses celebrity mahu to
do outreach at clubs and shows, including holding the Diva
Polynesia pageant (be on the lookout for the Diva at this month's
pride parade.) Hawelu sat down with our Margot Seeto to discuss
issues facing the transgender community, as well as her hopes
for the future of the organization.
Can you give a history
of the organization?
We started from Ke Ola Mamo, the
Native Hawaiian health care system designed to serve disenfranchised
Native Hawaiians. There was a high flux of transgenders. I
thought, “Maybe we should just do services for transgenders.�
I spoke to the project director and we filed for our 501(c)(3)
non-profit to service disenfranchised sex workers. That's where
the Mamo comes in our name. We opened in 2003 to empower transgender
people to live more healthier and productive lifestyles.
So you have a background in public
health?
My background was human services.
Through that, I've been trained by the CDC, Department
of Health, Native American organizations, abroad and here.
I've developed guidelines and curriculums on the national level
for transgenders and HIV. I'm going on my tenth year. I'm tired,
but it's just seeing the girls find hope [that keeps me going].
The definition of
mahuwahine is only for male-to-female?
The word mahu encompasses those
who are effeminate. [But] the word was stigmatized and
used in a derogatory way. [So] to make us proud of who we
are, we coined the word mahuwahine. It [gave] individuals a
sense of place again. [In the old days], it was your kuleana,
in helping us move forward as a people, not just who you slept
with, how you dressed.
Is there a Hawaiian
name for female-to-male individuals?
Not really. I know that there was
another word that was aikane, which was a person that
shared same-sex relationships.
Do you define transgender
as going through the full surgery?
There are girls who go up to hormone
therapy and then stop. Then there are girls who go through
the whole surgery. We can fly out to Mexico or Thailand and
get these surgeries done for cheap. But am I just going to be someone
who has had an SRS sex reassignment surgery, with the same issues
I had before? It's not a one-stop fix deal. It has to be something
that gradually moves forward. We bring the reality to them and lead
them to the resources. Bring your own blood. The HIV rate in Thailand
is high. You don't if know their blood is free of diseases. And
about 10 years ago, girls were discharging feces from their vagina.
Why are girls so adamant about doing this? If they could be accepted,
maybe they don't have to go through underground silicone black markets,
getting silicone pumped directly into their breast, hips or faces,
where it can disfigure or kill you. We here at Kulia Na Mamo have a
little bit more support, although we don't do the full gambit because
of the lack of staff.
Why is there a higher
number of mahuwahine in sex work?
This is not an attack on religion,
but [homophobia] began as the Western religion began to
unfold. [Having a hard time looking] for a job, coming from
a broken family, not being fully accepted, is something that a lot
of our transgendered people endure. Going into prostitution is
a way to find superficial love. Out on the streets this man is willing
to pick me up. It makes you feel good. And I may have a place to
live, whether it's with this man or making enough money to live
from hotel to hotel. And wishing someday a man would rescue them. And
it may be a commodity for girls to be in prison. Men see [her] walking
in the door she has breasts like a woman. The whole appearance of
that lifestyle that can fabricate the reality or it can be a tool for
survival in harsh conditions. Transitioning out of prison is the problem.
They want to stay because they got food, housing, shelter and a boyfriend
[whose] probably doing life.
Is there any tension
between the mahuwahine and other groups in the LGBTQQ
community?
If a mahuwahine gets into an altercation
with another, then it’s done and squashed. We’re
going to see each other again. The community is too small.
We’ve come to understand that everybody is sisters.
There’s a spectrum of being gay, transgender, transsexual,
transvestite and everything in between. Everybody doesn't get along
with each other a lot of us don't want to be considered gay. I consider
myself a woman. [Some] enjoy being "in between", .having
breast implants, taking hormone therapy, that do not want to proceed
through reassignment surgery because they're comfortable.
What are the programs
that Kulia Na Mamo offers?
We have our HIV/substance abuse/Hep
C–our Happy Divas project, to help our clients
recognize the risks of HIV transmission. [We have] case management,
HIV/Hep C testings and harm reduction education. We do treatment
referrals for girls who are addicted. We try not to [choose a
program with] a strong religious base–they come out more
distorted. Then we have employment preparation training for low-income
individuals, and some cultural grounding–where mahu comes.
We are looking to [re]establish [our] transitional home for those
exiting sex work. The funding was cut, then they sold the house. And
we found out the Legislature wasn’t giving any Grant-in-Aids
this term. We're always looking for donations and other funding.
We would love to do [more] work training, tapping into different
businesses that will do shadowing and provide jobs for our clients.
Or finding funds for girls who want to obtain higher education. A
lot of them can't apply for financial aid, you know, ex-inmates.
Does your organization
ever get harassed?
There were obscene calls. We don't
put out a lot of advertisements because we want to protect
our people. There's clients that are not transgender, but we're
not gonna push them away. I think [they come to us] because of
the openness and how we share culturally.
The Independence Struggle Of
Hawai’i
By Amy Marsh
Countercurrents.org
Families forced from their homes...live military
ordnance left to explode near schools and homes, maiming or killing the
occasional civilian...huge Stryker vehicles rolling relentlessly over
a fragile landscape as the United States imposes an alien, imperialist
government that brings oppression, genocide and ecological destruction
to the local population and environment...
Iraq? A’ole! No! These are current
conditions in the so-called “state” of Hawai’i. Visitors
to Hawai’i, and those who settle there from the mainland,
often remain blissfully unaware of the true history of this
place. Or if they begin to hear a bit about it, consider the
American occupation as a “done deal” and go about their business.
The worst public health statistics
in the region...the lowest education level...the highest
incarceration rate...the most poverty...the most children
in foster care...the most people without homes...families
and communities torn apart by drugs imported by organized crime...
Typical inhabitants of any American
inner city? Nope! They are the original inhabitants
of “America’s Vacation Paradise:” they are the “kanaka
maoli,” the Native Hawaiians.
A small country with a vibrant
spiritual culture forcibly overthrown by a superpower
bent on conquest for military and economic reasons...the
people forced to assimilate foreign ways contrary to their
basic values, denied access to their culture, history and even
their language...a Diaspora of exiles...a struggle for de-occupation
and the re-establishment of their government and sovereign status...
Tibet in 1959? Guess again. It’s
the Kingdom of Hawai’i, which was a modern constitutional
monarchy and declared neutral nation engaged in treaty
relationships with over fifty other countries — violently
seized in 1893; illegally annexed by the United States through
a domestic resolution; forced into “statehood” in 1959 in violation
of United Nations rules... Given an “apology” for all this by the
Clinton administration in 1993...
A bit of history: on January 17,
1893, Queen Lili`uokalani was forced from her throne
by American businessmen and business-minded missionary
sons, with the help of John L. Stevens, the American Minister
to the Hawaiian Kingdom, and the American navy. The overthrow
was violent, unjustified, insulting, and in complete violation
of international law. U.S. President Benjamin Harrison apparently
gave unofficial encouragement to the conspirators in 1892 and
after the overthrow he presented their annexation petition to
the U.S. Senate. But incoming President Grover Cleveland was appalled.
He withdrew the petition before the Senate could act, called for
an investigation, and issued a powerful statement to reinstate
the queen and the rightful government. But the treasonous provisional
government refused to comply. President Cleveland was also opposed
by powerful interests within the United States who were loathe
to part with their juicy prize.
In 1897, approximately 21,000
Hawaiians — more than half the adult Hawaiian population
— signed and presented a petition protesting annexation to
the United States. Congress ignored them. Despite the petition
evidence to the contrary, it was far more lucrative for Congress
to accept the assurances of missionary lobbyists who claimed the
Hawaiians were eager for annexation.
This “Ku’e Petition” of resistance
to annexation — 556 pages long, and possibly one of
the most significant documents of protest in American,
as well as Hawaiian, history — was buried deeply in the U.S.
National Archives until it was found by Noenoe Silva in 1998,
over a hundred years later. The discovery of the petition, and
the exhibition of this document by the Bishop Museum in Honolulu,
had an enormous impact on the kanaka maoli, who searched
the pages eagerly for the names of their grandparents and great-grandparents.
As Silva puts it, “The petition, inscribed with the names of
everyone’s kupuna, gave people permission from their ancestors
to participate in the quest for national sovereignty. More important,
it affirmed for them that their kupuna had not stood by idly,
apathetically, while their nation was taken from them.”
Now, not every Native Hawaiian
or part-Hawaiian is a sovereignty activist working
toward restoration of the kingdom. Many have adjusted
to colonization and consider themselves Americans. At most,
they may be supporters of the dangerous Akaka bill, thinking to preserve
Hawaiian “entitlements” through a federal recognition
process that will turn them into the equivalent of American
Indians.
But there are many others who recognize the
bill for what it is — a way to finalize the land grab
of the Kingdom and take title of contested kanaka maoli lands
once and for all — and who are vigorously opposed to the bill.
They do not consider themselves “American” and continue to
insist upon being recognized as subjects of the Kingdom. As one
man put it to me, when I asked him about his livelihood, “I work
for the Queen.” In other words, he has devoted the rest of his life
to the restoration of his country. He is not alone.
It is easy for people from the mainland to ignore
or dismiss the history of Hawai'i, yet the illegal occupation of Hawai'i
continues to have a huge detrimental effect on the
people, the environment and the culture. The struggle
for Hawaiian independence is a long standing, bitterly
fought cause which deserves wider recognition and support from
the rest of the world. Free Hawai'i, now.
Ke Kulana He Mahu
Remembering a Sense of Place
A documentary about colonization, homophobia, and the affects on
Hawaiian culture and Hawaiian people.
Directed by Kathryn Xian and Brent Anbe; produced by Kathryn Xian,
Jaymee Carvajal, Brent Anbe, and Connie M Florez; distributed by Zang
Pictures, Inc., Honolulu.
This documentary relates a tale
of how colonialism profoundly transformed Kanaka Maoli (indigenous Hawaiian)
society and the forms of love that are acceptable in "the land of aloha."
By contrasting the diversity of gender and sexual practices in precolonial
times with the stigmatization and marginalization of transgendered and
gay people in Hawai'i today, the film asks us to ponder a question posed
by Kanaka Maoli activist Ku'umealoha Gomes at the beginning of the film:
"Where did the change come from?" The question is a rhetorical one, and
the film does not provide any explicit answers; rather, it forces us to
draw our own conclusions by making sense of the montage of testimonies,
interviews, dance performances, old photographs, artistic renderings, and
scenes of ocean and landscapes presented to us.
The film can be divided roughly into three sections. The first part
examines kulana (place, station, status, rank) in Kanaka Maoli society
and culture of the mahu, a term that was originally used for both "hermaphrodites"
and for transgendered males and females. Kanaka Maoli and non-Kanaka
Maoli scholars, activists, archivists, and kumu hula (Hawaiian dance
instructors) all affirm the acceptance of mahu in traditional society.
Mahu are interviewed and featured as important cultural educators and
practitioners, and they perform oli (chants) and hula kahiko (traditional
dance). Interviewees then relate a familiar story of colonial decay as they
describe the ways that the adoption of western law, Christianity, and a
cash-based economy, along with the widespread loss of life and land (caused
by disease and foreign intrusion), threatened to wipe out Kanaka Maoli
communities and ways of life. Although Kanaka Maoli did survive, many today
struggle with their identities—none more than the mahu.
The second section, entitled "modern times," looks at the drag queen
community in Honolulu. Between [End Page 231] scenes of drag queen performances
in nightclubs, about half a dozen queens share their experiences and struggles
with family, friends, and society. A series of intimate and moving interviews
with two queens and their mothers reveals the spiritual and emotional
trials that entire families must go through, especially when struggling
with AIDS and Christianity. Academic and community leaders discuss famous
mahu in Hawaiian history as well as the occurrence of aikane, a practice
in which high-ranking ali'i (chiefs) took lovers of the same sex. The
film then addresses the same-sex marriage debate/debacle of 1998 in which
a proposed state constitutional amendment to grant the legislature the power
to limit marriages to heterosexual couples only galvanized both conservative
and liberal forces in Hawai'i and across the United States; above all else,
the film shows how the event divided the local community and misrecognized
gay, lesbian, bisexual, and transgendered (GLBT) lives.
The final part of the film, "a story of aloha amidst Western exclusion,"
documents a tradition of love and caring in times when Kanaka Maoli communities
were being torn apart by epidemics. Even when the Hawaiian government
was forcibly quarantining individuals afflicted with leprosy (Hansen's
disease), the bonds of 'ohana (family) outweighed the law. Caroline Sinavaiana-Gabbard,
a Samoan writer and professor at the University of Hawai'i, warns that
this tradition of acceptance is being threatened by the "tyranny of the
binary frame" (the division of the world into stratified "either-or" categories)
that is currently in place as a result of colonization. In the final
fifteen minutes or so, the film brings together the multiple discussions
that have been occurring throughout, with the addition of a story of a
gay man who died a suspicious and tragic death. It then ends where it began,
with Ku'umealoha Gomes asking, "Where did the change come from?"
This is an ambitious and pioneering film, which creates space for
public dialogues that have heretofore revolved primarily around the moral
or legal ethics and implications of recognizing GLBT lives. Focusing on
the historical transformation of the status of mahu highlights a number
of things: the imbrication of structures of racism, classism, sexism, and
homophobia; the importance of recognizing a Kanaka Maoli genealogy for
transgendered and same-sex sexual practices in Hawai'i; and the deep spiritual
interconnectedness of the people, land, ancestors, and gods/God. Hawai'i-born
writer/director/producer Kathryn Xian states that the film is a critique
of colonialism and globalization and is meant to foster a sense of pride
in Kanaka Maoli and other mahu and queens (personal communication, 28 May
2002). It also aims to instill confidence in the families and friends
of transgendered people and to show larger heterosexual audiences that
these people are just like anyone else. Zang Pictures, a grassroots company
Xian cofounded in 1999, approaches film production (primarily about Asian/Pacific
experiences) "as social and community activism, as well as an integral forum
for artistic expression" (www.zangpictures.net). As both an activist intervention,
and [End Page 232] as a venue for mahu performance, the film is effective.
At the same time, some people may feel that the film tries to do
too much and is not very successful at conveying a single coherent message.
Some parts either did not seem to fit or were insufficiently explained
to allow viewers to make associations. The film also does not do a good
job of really explaining the term mahu and to whom it applies. At various
times and by various people it is glossed as "transgendered," "transsexual,"
"two-spirited," "both kane and wahine, both male and female," "cross-overs,"
"physical hermaphrodites," "practicing homosexuality," "gay," and "transvestites
and cross-dressers." There is no discussion of how the usage of the term
has transformed historically, or even to whom it primarily applies today
(for more discussion of this, see 'O Au No Këia [2001] by Andrew
Matzner, a collection of oral history interviews with fifteen mahu and
transgendered males on O'ahu, some of whom are featured in the film).
Likewise, there is no discussion of the diversity of gay experiences (not
to mention those of the larger GLBT community) or the contradictions of
labeling all gay men (who may be quite gender normative) as being mahu
(which I take to be a separate gender with its own cultural meanings).
Despite its shortcomings, Ke Kulana He Mahu treats the lives and
experiences of mahu and transgendered people with love, intelligence,
and dignity. When I attended a free screening and panel discussion at
Leeward Community College on O'ahu, I was impressed by the responses elicited
from members of the audience. A number of people who were admittedly unfamiliar
with transgendered communities were able to ask the panelists questions
that may have come off as a bit awkward but at least signaled a willingness
to engage in a new dialogue. Some GLBT individuals present identified with
the struggles portrayed and thanked the filmmakers for doing something so
important. Other people shared warm and funny anecdotes about mahu in their
own families. As a heterosexual Kanaka Maoli man, I realized how ignorant
I really was and am, despite my claims of being open and having gay and
lesbian friends. I have come to more fully appreciate the fact that true
decolonization in Hawai'i will entail a fundamental rethinking of personhood,
human relations, spirituality, and aloha, and this film will move us in
that direction.
Ty Tengan
University of Hawai'i, Manoa
Watch a 4 minute introduction posted in 2009
OHA HAWAIIAN REGISTRY
Nā Mamo 'Ōiwi Hawai'i
The OHA Hawaiian Registry Ancestry Verification Program provides Hawaiians,
worldwide, an OHA Hawaiian Registry ancestry verification color photo
card, after verifying your indigenous Hawaiian ancestry through your biological
parentage.
The OHA Hawaiian Registry ancestry verification card enables you
to apply to programs of the Office of Hawaiian Affairs, and it may be
used when registering for Kau Inoa .
Get Registered
Princess Ka'iulani
Princess Ka'iulani (Victoria Kawekiu Ka'iulani Lunalilo Kalaninuiahilapalapa)
would qualify as Hawai'i's fairytale princess — beautiful, beguiling and
beloved, she owned the hearts of all who followed her royal progress.
She was the only child of Archibald Scott Cleghorn, a successful Honolulu
merchant born in Edinburgh, Scotland, who doted on his illustrious daughter,
and Princess Miriam Likelike, sister of King David Kalakaua. As heir-apparent
to Queen Lili'uokalani, who was her aunt, Ka'iulani represented the monarchy's
last hope.
Ka'iulani dazzled the kingdom with her talent and abilities. She was a horsewoman
and swimmer as well as an artist, musician and linguist. She so charmed author
Robert Louis Stevenson that he wrote her a poem.
From her godmother, Princess Ruth Ke'elikolani, Ka'iulani inherited 10 acres
of Waikiki splendor known as 'Ainahau, where the princess spent most of her
life. The stately property featured cypress trees, ponds and exotic birds,
from which the princess became known as "The Princess of the Peacocks."
As with other aspects of Hawai'i's royal history, the princess' storybook
life ended tragically after the fall of the monarchy. After a two-month illness,
Ka'iulani died at 'Ainahau on March 6, 1899, at age 23.
Homeless in Hawaii
At first glance it's easy to disparage these
people as bums, deadbeats, drug addicts and the like, but this is a disservice
to a large number of these folks. While many of these homeless are indeed
jobless and current or former addicts, a closer look shows that many
are also respectable people and often entire families whose only "crime"
is that they cannot afford a place to live.
Just a few miles and several minutes north
of the beautiful Ko Olina Resort on Oahu's Leeward Coast you will find the
other side of paradise. There, on sixteen miles of beaches and beach parks
stretching beneath the Waianae Mountains, you'll find the tents, wooden containers,
vans and simple overhangs that are the residences of many of Oahu's homeless
population which, by some estimates, numbers over 4,000.
Many homeless congregate down town. Number
of homeless living between Salt Lake and Piikoi Street, based on a count
of the homeless on a single day, Jan. 23, 2009: Sheltered homeless
:896 Unsheltered homeless: 312
A majority of citizens believe the state and county need to do a
better job of handling the homeless.
As more homeless people seek refuge on the beaches and in public
parks, the city has sought to reclaim those areas by enforcing nighttime
closures for cleaning and maintenance of facilities and, in the process,
clearing out all park users during designated hours.
"It's our job as a city to make sure our parks and other sites are
available for everyone," says Kirk Caldwell, the city's managing director.
"So where we see abuse or negative impact because of some activity, I
think it's incumbent on us — and you're seeing us — take that action."
Critics say the result has simply been a shifting of homeless from
park to park.
The American Civil Liberties Union of Hawaii has been among the city's
most vocal critics, consistently pushing back at city proposals that
it says target the less fortunate and make it a crime to be homeless.
Excerpts from the Honolulu Star-Bulletin
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Greetings
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Hi everyone. I hope you are all surviving the economic
woes. Auwe! It's a struggle at home and on the mainland.
It's been a while since we've gotten updates from folks.
Please send a short message to post, click on the link below.
islandgoddess.org
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Hawaiian / Local Food
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Say Aloha To Authentic Hawaiian Food.
Find Hawaiian Food Ideas!
Hawaiian Food: The Integration Of
Many Cultures
Authentic Hawaiian Foods
By Elizabeth Harrell
Hawaiian food combines the cuisine
of many different cultures including Filipino, Chinese,
Japanese, Polynesian, Portuguese, Korean and American. As
various ethnic groups began inhabiting these tropical islands,
they intermingled their cultural recipes with the other immigrants
creating tasty, uniquely authentic Hawaiian food. The Chinese
brought Cantonese fare with its stir fry and sweet and sour dishes.
From the Koreans, outdoor cooking pits featuring boneless meats
and garlic sauces became permanently integrated. Sweetbreads, chili
peppers and tomatoes were contributed by the Portuguese. Thai and Vietnamese
influences still exist in Hawaiian food today. The Japanese rounded
out the cuisine with noodles and tempura-style cooking. Although
not presented in quite the same ways, a version of American macaroni
salad and Spam are staples in Hawaii. With such a combination of
dishes and ingredients, it’s not surprising that the Hawaiian culture
is so varied.
Hawaiian Food Today
While the history of Hawaiian
food may take down a long and interesting path, traditional
foods of today’s Hawaii reveal a love for the unusual. The common
plate lunch includes a main dish of meat or seafood along with
macaroni salad and two scoops of white rice. For a snack, a Hawaiian
might have spam wrapped in seaweed or spam musubi. Check out these
other authentic Hawaiian foods and spices.
1. Salt — Hawaiians have their
own type of salt for seasoning their dishes. Alaea sea
salt has traditionally used by the locals for flavor. It has
an interesting pink color that is the result of added alaea (baked
volcanic red clay) which adds iron oxide to the seasoning.
2. Poke — This raw fish salad
is most often made with tuna, the most popular fish in
Hawaii. Ahi (yellowfin) tuna is usually chosen for poke. It
is seasoned with sesame oil, soy sauce, seaweed and kukui nut.
3. Poi — Crushed taro root makes
up this most venerable of Hawaiian staples. Visitors rarely
enjoy poi because it has the texture of and tastes like paste.
Hawaiians claim that it is an acquired taste and the more you
eat, the better you’ll like it. In the past, poi was a sacred dish.
It was believed that, when poi was served at dinner, the spirit of
Haloa (a Hawaiian ancestor) joined the meal. This belief is based on
the historical Hawaiian idea that the taro plant was an original
ancestor of their people.
4. Manapua — Chinese food peddlers
brought this tasty treat to Hawaii and now it never left
the islands. Basically, it is a pork stuffed bun; today,
they are sold out of trucks near beaches and parks.
5. Lomi-lomi salmon — Lomi means
“to massage” in Hawaiian and this dish includes salted cubed
salmon, crushed ice, tomatoes and green onions. The ingredients
are all massaged together by hand. Poi is often served along
side of lomi-lomi salmon.
6. Lau lau — Steamed fish and
pork with vegetables are wrapped in taro leaves and steamed
like a tamale.
7. Saimin — These thin Chinese
noodles are often served with green onions, fish cake,
roast pork, shrimp or spam. In Hawaii, you can get saimin
at the local McDonald’s.
8. Spam — Yes, it’s the same Spam
that you see on the canned meat shelf in the grocery store
and Hawaiians love it. They consume more Spam per capita
than anyone else in the world. Spam is eaten as a main dish,
side dish and even added to soups.
10. Haupia — Sugar, salt and corn
starch are combined with coconut milk and cooked until
thick and smooth. The result is a gelatin-like desert served
in squares.
11. Malasada — From the Portuguese,
it is a deep fried donut coated in powdered sugar.
12. Kalua pig — This pork is cooked
in an underground oven called an imu for 6 or 7 hours.
The result is a tasty and tender pulled pork.
Hawaiian Luaus
Hawaiians throw luaus for graduations,
birthdays, weddings and other special occasions. While
they’re not typically as elaborate as commercial luaus for
tourists, the private ones usually include many traditional Hawaiian
foods (definitely the kalua pig) as well as tropical fruits. Luaus
originated from celebrations in honor of foreign dignitaries
visiting the islands. The largest known luau was thrown by King Kamehameha
III in 1847 which included 1500 people and 271 hogs, according to the
Office of Hawaiian Affairs. Luaus often begin by serving pupu (“appetizers”
in Hawaiian) platters. Other possible luau foods include the following:
* Corn chowder and Portuguese
bean are commonly served soups.
* A variety of cakes and
breads infused with banana, coconut and guava flavors.
There’s even a bread made from poi.
* Meat dishes, other than kalua
pig, might include char siu (Chinese barbeque spareribs)
and Teriyaki beef.
* A selection of chicken
dishes such as: chicken adobo stew that is made with pork,
vinegar, soy sauce and garlic; chicken katsu, a Japanese fried
chicken cutlet; huli huli chicken, which is basically Hawaiian
barbecue; and chicken luau which is chicken cooked with taro
leaves and coconut milk.
* Side dishes at luaus are
made up of macaroni salad, an influence from the mainland,
Chinese and Japanese rice recipes and sweet potatoes.
* Sweet refreshing desserts
range from fresh cut fruit (especially pineapple) to
haupia.
Hawaiian Seafood
Tropical islands are usually known
for fabulous seafood, and Hawaii’s no exception. Three
types of tuna: skipjack (aku), yellowfin (ahi) and albacore
(tombo) are featured in the cuisine. While any of the tuna may
be grilled, the ahi is also used for poke and served as sashimi.
Pacific blue marlin is sturdy
enough to barbecue, and many Hawaiian fish such as swordfish,
mahi mahi and wahoo are served grilled. Grouper and red snapper
are most often served steamed or baked; moonfish generally
gets smoked or served as sashimi. Shrimp and other shellfish round
out this bounty from the sea. The abundance of seafood offers a
wide variety of options for main dishes and multiple recipes such
fish salad and sushi.
Hawaiian Fruits
With a multitude
of fresh tropical fruit to choose from, it’s not surprising
that Hawaiian breads and cakes are loaded with them. Coconuts,
bananas, raspberries, strawberries and sugar cake sweetened
the daily lives of early Hawaiians. What about pineapple, you
ask? Actually, pineapple wasn’t even cultivated in Hawaii until
the early 1800s when a botanist and advisor to King Kamehameha III
introduced them to royalty. Whether consumed fresh, as juices or
in baked goods, you can’t beat the natural vibrant fruit offered
on the islands.
Throw a luau and make some of
your own Hawaiian food. For authentic Hawaiian recipes,
visit Hawaiian-recipes.com and alohafriendsluau.com. You
can also get some great tips for hosting your own luau. If you
take a trip to Hawaii, be sure to taste all of the wonderful
dishes you’ve discovered. When you experience the tastes and
textures of the islands’ food, you experience all the cultures
who came together to create them.
Tropical/Luau Invitations
From Aunty Anita's Kitchen
Pork Dinuguan (also called dinardaraan in Ilocano, or pork
blood stew in English) is a Filipino savory stew of blood and meat simmered
in a rich, spicy gravy of pig blood, garlic, chili and vinegar.The term
dinuguan comes from the word dugo meaning “blood”. It is recognizably
thick and dark, hence the Westernized euphemism “chocolate meat.” Due to
the offal it is frequently considered an unusual or alarming dish to those
in Western culture, though it is rather similar to European-style blood
sausage, or British black pudding in a saucy stew form. Dinuguan is often
served with white rice or a Filipino rice cake called puto.
Estimated cooking time: 1 hour and 30 minutes
Pork Dinuguan Ingredients:
1 k. of pork belly, cut into small cubes
350 g. of pork liver
4 c. of pig’s blood
3 chili peppers (siling haba)
1 head of garlic, crushed and minced
1 thumb-sized piece of ginger, minced
3 onions, halved and sliced thinly
1 pouch of sinigang mix good for 1 liter of broth
1 bay leaf
salt
pepper (optional)
1 tbsp. of cooking oil
Pork Dinuguan Cooking Instructions:
Refrigerate the pig’s blood until needed.
Heat a heavy casserole. Pour in the cooking oil. When the oil starts
to smoke, add the garlic and ginger.
Saute until fragrant. Add the pork pieces and cook over high heat
until the edges of the pork start to brown.
Add the onions, chili peppers, bay leaf and sinigang mix and continue
cooking until the onions are transparent.
Season with salt and pepper.Pour in just enough water to cover.
Bring to a boil, lower the heat, cover and simmer for 30-45 minutes or
until the pork is very tender.Add more water, a little at a time, if the
liquid dries up before the pork is cooked.
Meanwhile, minced the liver. Season with a little salt.
When the pork is tender and most of the liquid has evaporated, take
the pig’s blood out of the refrigerator.
Transfer to a clean bowl. With you hands, mash solid masses to a
pulp. Pour the mashed blood and the liquid into the casserole. Bring to
a boil.
Cook over medium heat, stirring, for about 5 minutes. Add the minced
liver and cook for another minute or two.
Add more salt if necessary. Serve the dinuguan hot with puto (sweet
rice cakes) or steamed rice
Easy Guava Cake
1 pkg Yellow Cake Mix or Strawberry Cake Mix
1 1/3 C Guava juice
3 Eggs
1/3 C Vegetable oil
1 8-ounce Package cream cheese, softened
1/3 C Sugar 1 tsp Vanilla
1 small pkg Cool Whip, thawed
2 C Guava juice
1/2 C Sugar
1/4 C Cornstarch
Cooking Instructions:
Bake cake according to package directions, substituting guava
juice for water. In a medium mixing bowl, beat cream cheese with hand
mixer until fluffy. Add sugar and vanilla and beat in. Slowly fold in
the Cool Whip and refrigerate until ready to use. In a medium sauce pan,
bring the 2 cups guava juice and sugar to a boil. Make a paste out of the
cornstarch and a small amount of water. Remove guava juice from heat and
stir in the cornstarch mixture. Return to heat and bring back to a boil
and boil for one minute. Cool in refrigerator.
To assemble cooled cake:
Thickly ice the cake with all of the cream cheese mixture.
Glaze the top of the cake with guava gel.
Refrigerate until ready to serve
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Honua Aloha
The Aloha Project |
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Aloha: To love
Malama:
To care for
Imi
'Ike: To seek knowledge
Lokomaika'i:
To share with each other
Na'au
Pono: To nurture a deep sense of
justice
Olakino
Maika'i: To live healthily
Lokahi:
To gather together
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Glade Project
Glade
Relunion 2007 Hawaii
The Glade Show Club
Night at the Glade
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Hula
Girl Productions
.......The main themes of The Glades Project center around the basic
civil rights of an oppressed and
under represented Asian / Pacific Islander-Hawaiian
group of people. Oppression on any level creates
unnecessary suffering for everyone, not just those in
the target group. This documentary will show how scores
of people in the Hawai`i community struggled during the 1960s,
70s and 80s and how they managed to emerge and survive. This
film will also act as a vehicle for healing by allowing the
men and women of the past to express their personal hidden truths,
many for the very first time.
The Glades Project began with prompting from
elders within the community
to look into an era of Honolulu’s
diverse history where no comprehensive
research
work has ever been done before. The Glade Show Club, located
at 152 N.Hotel
Street and operating from the 1960s -70s-80's, served as a gathering place
for Mahus/transgendered
community. The Glades Project is an ongoing research of The Glade
Show Club
and the people who frequented it, performer
and patron
alike, and will result in a documentary
film, including the creation
of many historical archival research resources. Living
histories are
being recorded through extensive interviews. Hula Girl Productions has finished a cross
country trip
this summer taking them through
New York, Chicago,
Southern California and Las Vegas speaking with people connected
to The Glades, entertainers and patrons,
all people familiar with Old Chinatown during the 60s
and 70s.
and 80's.
There is
a need for photographs, commemorative items, printed materials such as original newspaper articles, wardrobe from
the shows, and film
of The Glade Show Club and performances, along with Old Chinatown.
Your kokua
is greatly appreciated in this unparalleled endeavor.
The
Glades Project team can be contacted
by email
at info@TheGladesProject.com, or by
phone
at 808-782-5610, or via mail at THE GLADES PROJECT, P.O. Box 11884,
Honolulu,
HI 96828.
Access The Glades Project online at www.TheGladesProject.com.
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Hali'a Aloha
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George Lanakilakekiahialii Naope, one of hula’s
most revered kumu hula and co-founder of the Merrie Monarch Festival,
passed away today at his residence in Hilo after a long battle with
cancer. He was 81.
Naope, who is credited with reviving the art of male hula,
co-founded the Merrie Monarch Festival in 1963 with Dorothy “Auntie
Dottie” Thompson. Merrie Monarch is hula’s premier event; an annual,
by-invitation-only competition attracting hula halau (hula groups)
from Hawaii, the Mainland U.S. and worldwide. The festival’s home for
much of its nearly half-century existence has been the Edith Kanakaole
Tennis Stadium in Naope’s hometown of Hilo.
Naope was easy to spot in the festival crowd or anywhere
else. He often dressed in bright colors and sported his signature
straw hat, which was usually adorned with flower lei. Though larger
than life to many kumu hula (hula teachers) and their students, Naope
was always approachable.
He would enjoy much of Merrie Monarch from the comforts
of a peacock-fan wicker chair, but often couldn’t resist taking
the stage to dance hula during the festival’s finale. Naope was spotted
in a wheelchair at this year’s Merrie Monarch Festival in April, but
even that couldn’t interfere with his enjoyment of the competition.
Naope lived and breathed hula. He opened his own hula
school after graduating from high school and often traveled around
the world to promote the art of hula. Naope didn’t start enjoying
hula until he was about 15 years old, an age when he said he was “a
little older and little wiser.” As an adult, he was an inspiration
and role model to countless hula students in Hawaii, Japan, Europe
and Australia. In addition to being a kumu hula, Naope was a master
Hawaiian chanter and the founder of the Humu Mo‘olelo, a quarterly
journal of the hula arts.
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Hauoli na Hanau
add or edit the list
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January
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February
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March
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April
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| 11
Brenda T. |
11 Dayna |
1 Leslie
Traya |
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| 25
Melenie |
13 Kelly
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22 Jackie |
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25 Anne |
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26 Shalei |
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27 Frieda
(Maui-Las Vegas) |
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31 Usala Rosa |
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May
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June
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July
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August
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| 1 Jerrine |
10 Raquel
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18 Richard |
15 Lanaye
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28 Reyna (Tina-Bully)
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12 Lindsey |
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28 Carla
Sommers
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| 28 Valerie D.J Micheals |
17 Brandy |
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14 Tatiana
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24
Tatiana |
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19 Orlando
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30 Eka |
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21 Aunty
Anita
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21 Tina Loren
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21 Venus
Starr
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23 Becca
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September
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October
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November
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December
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7 Tavena |
19 Anne & Dave |
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| 16 Shaun |
31 Nikki
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| 21
Cherrine |
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| 21
Shelley |
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| 24 Roxanne |
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