Jess Penner: Hawaii-born singer-songwriter has hit children's record
Her EP 'Imagination' is doing well on the iTunes chart read
From Haiku to Hollywood: Filmmaker keeps it in the ohana
Destin Daniel Cretton makes his 2nd feature with Oscar winner Brie Larson read
How Ottmar Liebert found harmony in music and spirituality
The eclectic guitarist and German-born Zen monk has pulled a wide range of influences together to create a focused musical center read
Remi Kanazi: How art defies oppression
Summit speaks with Palestinian American poet Remi Kanazi read
The spirit of the islands captured in fashionable, modern aloha wear
Updated, classic aloha wear with vintage aesthetics and a fitted look read
Hawaii Opera Theatre announces 2017-18 season

Since 1961, Hawaii Opera Theatre (HOT), formerly a division of the Honolulu Symphony Society and incorporated in 1980, has served to enhance the quality of life in Hawaii by presenting opera performances of the highest standards, while maintaining fiscal responsibility. Through four productions annually in the Neal S. Blaisdell Concert Hall, HOT offers opera to almost 18,000 residents and visitors each season thereby increasing the public’s awareness and exposure to opera as a multi-media art form.

In addition to the staged opera performances listed below, HOT will hold "Mele Under the Stars," its first outdoor gala concert at the Waikiki Shell, on September 1, 2017. Tickets to this event are on sale at the HOT Box Office and online now at Tickets.HawaiiOpera.Org. Subscribe today to save by contacting the HOT Box Office at (808) 596-7858.

Ancestral tools of survival recreated for modern hands


Gordon ‘Umialiloalahanauokalakaua Kai is a Lua practitioner and fashioner of Mea Kaua—ancient Hawaiian weapons and tools

Gordon ‘Umialiloalahanauokalakaua (‘Umi) Kai crafted his first Hawaiian weapon some 45 years ago. Made from the wood of a mango tree and ringed with shark teeth, his first leiomano or “lei of the shark,” is still with him. So too are all his other first attempts. “They remind me of my mistakes, so I won’t make them again,” he says.

Janice Leinaala Noweo Kai, his wife of 42 years, is a skilled weaver in her own right. ‘Umi and Janice are part of a small group of Hawaiian artists perpetuating the craft of making tools that were once essential to survival. Whether it’s a pāhoa (dagger), ihe (spear), hīna‘i hīnālea (fish trap) or poi pounder, the process of making implements is time-consuming. Sometimes it takes more than 30 hours to transform raw materials into a functional, high quality work of art.

In ancient times, Hawaiians only had fire, stone adzes and files made of coral and sea urchin spine to work with. Yet they crafted such beautiful, functional implements. “Even with power tools, I sometimes have difficulty matching their skill,” says ‘Umi. Each of the pieces he crafts bears his trademark cluster of four isosceles triangles, a symbol that’s also tattooed on his chest.

Summit + Hawaiian Legacy Reforestation Initiative
Made in the shade
"I am a ‘woodholic – I love wood." read
Film director Jonathan Demme: 'I've always followed my enthusiasm'
An American original dies at age 73 read
Maoli Arts Movement 2017 Events
2017 programming for the Maoli Arts Movement read
No ka leo oli: modes of delivery in Hawaiian chanting


For the observant listener, the style in which an oli, or a Hawaiian chant, is delivered can really impact the mana‘o (meaning) of the oli itself. The delivery style can depend on the type of oli it is. For example, here we explored different types of oli and below we explore what styles of delivery may convey the message of the oli most effectively.

An olioli style of delivery employs a pitch and melody that usually repeats throughout the mele. The melodic switch between various tones may be considered decorative, adding to the mele what Amy Stillman calls “sonic interest.” In an olioli style of delivery, listen for ‘i‘i (vibrato), when the chanter’s leo (voice) seems to tremble or trill in certain places. This style may be employed to deliver a mele inoa, or a name chant.

Another style of delivery is kepakepa. Kepakepa style is marked by concise, conversational vocalization of the ‘ōlelo. This style may be identified when the chanter appears to simply be reciting speech. Possibly because of its clarity, this style may be ideal for deliviering mele koihonua, or genealogical chants, in a way that may prioritize the names and other content within the words of the mele.

Ho‘ouēuē (or ho‘ouwēuwē) literally means to wail or to mourn. This style of delivery is probably most easily identified by the intensity of the emotion and grief of the deliverer. This style of chanting may be employed after the death of ali‘i or during funeral processions. This delivery style is appropriate for kanikau, or death chants and dirges, for its powerful and mournful impact.



Check our FB during the 2017 #MerrieMonarch performances for opportunities to test your #hula knowledge. (Hint: reading our posts will help!)

Tribute band brings back the spirit of Miles Davis
A formidable lineup of jazzmen honor the memory of the late legend read
The Merrie Monarch journey: Matthew Solomon

Summit invited hula haumana (student) Matthew Miki‘ala "Sol" Solomon to share a little about his journey in preparing for the 2017 Merrie Monarch festival.

Summit (S): What is your favorite thing about preparing for Merrie Monarch?

Matthew Solomon (MS): Many things encompass the joy that comes with Merrie Monarch prep. From giving old oli/mele new life and reliving experiences at these ancient and beloved places in which many of the names only exist in the poetry. Rediscovering these place names is always intriguing to me. Recalling these place names and the events that were happening at the time the composition was written allows you to create an idea of how we lived back then. It’s remarkably exciting.

S: In the time leading up to Merrie Monarch, how does your lifestyle change to prepare for the competition?

MS: I wouldn’t say my lifestyle changes so much as my agenda and diet do. Of course, it takes many hours of commitment and training leading up to competition. Also, I try to have a more balanced diet for the sake of health and fitness and the ability to physically dance my best.

S: How do you personally connect to the mele, hula, oli, or anything else about the performance?

MS: Studying and researching what I can, utilizing several different resources to gain insight to what it is we’re speaking of and personally creating a connection as to why this is significant to you. Hula, as Hawaiians, is our duty. Therefore, any oli/mele I feel inclined to connect with.

S: How does Merrie Monarch inspire you to be a better hula dancer?

MS: There are many hula competitions today, not just in Hawai‘i. But the Merrie Monarch upholds the highest of standards.

S: What does Merrie Monarch mean to you?

MS: It's a completely necessary platform to not only showcase, but preserve our many lines of hula. Hula is something so very significant to the people of Hawai‘i, and something that we were once in danger of being forced to forget.

The Merrie Monarch journey: Hulali ‘Opiopio

Summit invited hula haumana (student) Hulali ‘Ōpiopio to share a little about her journey in preparing for the 2017 Merrie Monarch festival.

Summit (S): What is your favorite thing about preparing for Merrie Monarch?

Hulali ‘Ōpiopio (HO): My favorite thing about preparing for Merrie Monarch would be getting the chance to build stronger relationships with my hula sisters/brothers and learning how to be a vessel to embody the vision that my kumu has chosen to present.

S: In the time leading up to Merrie Monarch, how does your lifestyle change to prepare for the competition?

HO: In the time leading up to Merrie Monarch, many things in our everyday life need to change to help us focus and prepare so we can offer the cleanest hookupu we are able to. In order to do this, our kumu places certain kapu upon us in succession to prepare us.

S: What kinds of personal sacrifices do you make to prepare for Merrie Monarch?

HO: In preparing for Merrie Monarch there are lots of sacrifices made by everyone involved. I think for me, the ultimate sacrifice is time spent with my family but I am lucky to have the most amazing support system at home.

S: How do you personally connect to the mele, hula, oli or anything else about the performance?

HO: In our hālau, we are lucky to visit and experience the places we dance about. This year we are fortunate enough to know all of our haku mele personally, which also allows us to connect to the mele and hula on a deeper level.

S: How does Merrie Monarch inspire you to be a better hula dancer?

HO: Merrie Monarch is a way for us as dancers to elevate our hula in preparation for things such as ceremony.

Envisioning human life below the waves
CONTACT: Hawaiʻi 3017 may have ended, but the ideas presented within the artwork will continue to generate discussion as humanity struggles to find its footing in the 21st century read
Summit + Honolulu Biennial
Pearl Harbor finds new life in Jane Mi's art
History neither begins nor ends, but loops like footage on a screen read
Summit + Honolulu Biennial
Challenging colonial narratives through Pacific tales of life and death
The eternity that lies ahead and behind, and the art that spans the gap read
Finding futures for Hawaii
Opening up pathways to the future through visionary extrapolations on the present read
Summit + Hawaii Opera Theatre
The living libretto
Opera continues to evolve as youth infuse passion into the art form read
Summit + Kumu Kahua Theatre
Upspoken
Setting the stage for the voices and stories that can change the world read
Summit + Hawai‘i Symphony Orchestra
Coral chorus
Composing an ode to organisms: the collective life on Earth that our ancestors cherished and loved read
Movement making
Troy Powell, the Ailey II troupe, and the role of dance in American social progress read
The best music of 2016
Gary Chun curates a list of his favorite albums and singles from this turbulent, transformative year read
Re-making history
Kubota's The Legend of Koʻolau provides a much-needed Hawaiian historical perspective read
Summit + Kumu Kahua Theatre
The play’s the thing
Hawai‘i’s award-winning, internationally-recognized theater brings the diverse island experience to life read
Summit + Hawai‘i Symphony Orchestra
Meet the band
Summit introduces you to two of the Hawai‘i Symphony’s many fine musicians read
Summit + Hawaii Opera Theatre
Summit + Bills Sydney
Re-mixed plate
Taking tasty global read
Guitar strings of gold
Acoustic Alchemy’s Greg Carmichael speaks with Summit amid a week of performances at Blue Note Hawaii read
Butoh Baroque
IONA fuses Eastern philosophy with Western aesthetics read
Summit + Hawai‘i Symphony Orchestra
Q+A: Tiny Houses with Erik Blair
Tiny houses could be the vanguard of a new kind of urban community read
Summit speaks with Kawehi
Domo arigato Ms. Roboto: Kawehi keeps Summit in the loop about her craft, building a global audience and her new collection of songs read
Lens on life
Rafael Bergstrom combines his passion for photography with a love of conservation read
Summit + Hawai‘i Symphony Orchestra
Q+A: Iggy Jang
The symphony's concertmaster discusses his musical education and his ideal day read
Modern mythcraft
Moses Goods brings Hawaiian legends to new audiences read
Sound travels
Seeking to engineer success, Mana Mele goes mobile read
Taimane's 'Elements' will give you the feels
The ʻukulele virtuoso and composer debuted an inspiring new suite of music during her first ever performance at Hawaii Theatre read
Lundy’s ‘Rhythm of Life’ goes live
Aloha Got Soul celebrates two years of Soul Time in Hawaii with the first live performance of Mike Lundy’s “The Rhythm of Life” in 27 years read
Taimane debuts 'Elements' at Hawaii Theatre
Q+A with Taimane Gardner about her latest composition, an elemental suite with nods to mythology, and her first time performing her music at the historic downtown Honolulu venue read
The color of music
Pianist and synesthete Joyce Yang brings a vibrancy of stimuli to the stage this weekend as she performs with the Hawaiʻi Symphony Orchestra read
Raising the bars
Jamal Lahiani shares culinary insights and recipes read
Summit + OluKai
Wave energy
A collaboration between Wooden Wave and OluKai produces a new line of footwear featuring art inspired by the natural beauty of Hawaiʻi read
We are the lion
In Honolulu's Chinatown, Gee Yung perpetuates the values of kung-fu read
The king's Hawaiian
Bringing language to life on stage read
The best music of 2015
Gary Chun turns up the volume on Kamasi Washington, Kendrick Lamar and others read
Summit + Hawai‘i Life
Summit + Whole Foods Market Summit + Puka's
Waste not, wood not
Tyler Gregorka repurposes materials for beauty, utility read
Gifts from home
We take a cut out of Jared Yamanuha's work read
The rise of the Wahine
Documenting the full-court press for gender equality in education read
War and paint
For Reem Bassous, both art and teaching are informed by an intimate memory of the conflict she lived through in Lebanon read
MAMo wearable art show gallery
Photos of the 2015 selection of designs featured at the MAMo Wearable Art Show on May 20 read
Saying Yes to Jon Anderson
An interview with former frontman for prog-rock band Yes, Jon Anderson, who will perform a solo show on Maui this Friday. read
Exploring storytelling through murals
Explore the art of storytelling through place with Murals In Hawaiʻi a June Kaboom event at Kakaʻako Agora. read
A Traffic Jam you want to be in
We talk with rock 'n' roll legend Dave Mason, who will play four shows in Hawaii on Maui, Kauai, Hawaii Island and Oahu this weekend read
Taimane Gardner's atmospheric rise from street performer to pop star
The singer/songwriter and ʻukulele virtuoso has begun to demonstrate her talent for composition and production as well read
2015 Native Hawaiian Artist Fellowships announced
NACF announces 12 awardees for its inaugural Native Hawaiian Artist Fellowships read
MAMo celebrates Native Hawaiian art


Tickets are now on sale for the 9th Annual Maoli Arts Month (MAMo) Wearable Art Show at Hawaiʻi Theatre on Wednesday, May 20. Hosted by celebrity emcees Vicky Holt Takamine and Robert Cazimero, this is not your typical fashion show. It's an melding of art and fashion, featuring native Hawaiian and Māori artists and cultural practitioners as they showcase both traditional and contemporary garments and jewelry.

The 2015 Wearable Art Show designers are: Keone Nunes (receiving First Peoples Fund's Community Spirit Award), Lauwaʻe, Lufi Luteru, Manaola, Maile Andrade, Marques Marzan, Tangz de Nikau from Aotearoa, Shona Tawhiao, Matiu Bartlett and Jeanine Clark from Aotearoa and Wahine Toa featuring accessories by Keala Designs.

Doors open at 5:30 p.m. and the Wearable Art Show starts at 7:00 p.m. There will also be a trunk show immediately after at Fresh Café's downtown location (Nuʻuanu and Hotel Streets). Tickets are $20, $35 and $60 and available by contacting the Hawaiʻi Theatre Box Office at (808) 528-0506 or www.hawaiitheatre.com.

Now in its 10th year, MAMo is a broad community-based effort to celebrate the depth, breadth and diversity of the Native Hawaiian arts community and to create economic opportunities for Native Hawaiian artists and cultural practitioners.

"By increasing their presence in museums and galleries, MAMo hopes to spread awareness about Native Hawaiian cultural principles and values, as applied to Native Hawaiian art, within the community and beyond the shores of Hawaiʻi," said PAʻI executive director and kumu hula Vicky Holt Takamine.

Founded by Takamine, PAʻI Foundation is a non-profit organization dedicated to the preservation and perpetuation of Hawaiian cultural traditions for future generations. Through the establishment of a cultural center on Oʻahu to better serve the Hawaiian community, PAʻI hopes to address and serve the needs of native Hawaiians and those who make Hawaiʻi home.

The MAMo celebration includes gallery exhibitions, arts markets, fashion shows and cultural demonstrations on Hawaiʻi Island in April, Oʻahu in May and Maui in June. Oʻahu events include the 10th Annual ARTS at Marks Garage (1159 Nuuanu Ave.) MAMo Exhibit entitled KĀHEA (runs May 1–30, 2015, Tues.– Fri., noon–5pm). Admission is free, and the show is curated by 2008 MAMo awardee Al Lagunero. KĀHEA, "the calling," features art from the 2015 MAMo awardee recipients, Kauanoe Chang and Sol Apio, and other established and emerging native Hawaiian artists, including Kawika Lum (2015 MAMo poster artist), Aʻiaʻi Bello, Auliʻi Mitchell, Charlie Dickson, Harinani Orme, Imaikalani Kalahele, Meleanna Meyer, Kapeka Forges, Keith Maile, Kendra Medeiros, Kazu Kauinana, Lufi Luteru, Meala Bishop, Mele Chun, Olalehua Ah Chong, and Tamsen Fox.

Also included in the MAMo festivities is a special addition of the Kakaʻako-based Honolulu Night Market on Saturday, May 16 from 6:00 to 11:00 p.m. The streets of Our Kakaʻako come to life with the block party-style event that includes food trucks, entertainment and 25 MAMo designers and artists who will be featured in a special edition of the traditional Night Market fashion show and retail warehouse.

Last but not least, Royal Hawaiian Center presents MAMo at Helumoa, Waikīkī (2201 Kalākaua Ave.), on May 30, from 4:00 to 10:00 p.m. Enjoy a Native Hawaiian Arts Market, fashion show and cultural demonstrations featuring 18 MAMo artisans and designers at this free event.

This year's sponsors include the City & County Office of Economic Development, Hawaiian Airlines Foundation, the Ford Foundation, the Hawaiʻi Tourism Authority – Living Hawaiian Culture Program and the Administration for Native Americans.

Maui celebrates Hawaiian music
The Aloha Maui Music Festival showcases a new generation of Hawaiian musicians, as well as the masters who taught them. read
Second Contact

Juried by Noelle Kahanu and Ngahiraka Mason, CONTACT 2015 is the second-annual exhibition of contemporary art exploring the notion of "contact" as it relates to the Hawaiian Islands, its people, and their experiences.

The organizers asked artists to respond to the contact period in Hawai'i from the 1890s to 1930s. The writings of John Dominis Holt, a Native Hawaiian ali'i, writer, publisher, philanthropist and philosopher, are used as a source of insight and inspiration. In particular, the seminal monograph On Being Hawaiian is helping to dissect some of the intensity of contact from this period.

PUBLIC PROGRAMMING

All events are free and at Honolulu Museum of Art School unless otherwise specified.

Kūpa'a: Holding ground, standing firm
April 4, 6-8pm, Community Room
Poetry, stories, conversation inspired by writer John Dominis Holt and CONTACT.

(Re)placing Memories
April 7, 6:30-8pm, Community Room
Manulani Aluli Meyer will provide insights on two photographic books produced when Hawaii'i was a territory of the U.S. from July 7, 1898 to August 21, 1959. Books were purchased from a second-hand store in rural New Zealand, and are typical of the period yet their reception today is far from their original purpose.

Kūkākūkā: Dialogue with Noelle and Ngahiraka
April 8, 6-8pm, main gallery
Listen in on ruminations, future visions and observations from CONTACT 2015 jurors.

PechaKucha 23: CONTACT
April 10, 7-9pm, Sketch Garden
Eight creative community members will share 20 slides for 20 seconds each, generated from a CONTACT experience. Come early and enjoy Hawaiian music, ono food and drink. Exhibition will be open.

PAST CONTACT: Happy Birthday, Tūtū Ruth (27 min) and Homealani (60 min)
April 11, 7:30-10pm, Honolulu Museum of Art, Doris Duke Theatre
Director Ann Marie Nalani Kirk's films bring into focus some of the complexities of the CONTACT time period. A moderated dialogue with the director and panel. Tickets: $10 general admission, $8 museum members

Music of Hawaii Concert Series: He Mele Aloha Sing-along
April 15, 6:30-8:30pm, Honolulu Museum of Art, Doris Duke Theatre
Bring your 'ukulele and join old time musicians, Aunty Noe Mahoe, Vicky Hollinger and Kimo Hussey, with historian Puakea Nogelmeier and publisher of He Mele Aloha, Carol Wilcox, as favorite old-time Hawaiian songs from the time period are discussed and sung with the audience.

About the Jurors

Noelle M.K.Y. Kahanu is a writer, artist and curator born, raised and educated in Honolulu. She worked at Bishop Museum from 1998 to 2014, where she served as cultural inventory specialist, project manager, and director of community affairs. Noelle oversaw the annual Native Hawaiian Arts Market and has developed more than 20 exhibitions incorporating the works of more than 100 native artists. She was on the project team that guided the historic renovation of Hawaiian Hall (2009) and Pacific Hall (2013) and was instrumental in the 2010 landmark exhibition E Kū Ana Ka Paia, which brought together the last three Kū temple images in the world. Kahanu is currently an assistant specialist in Public Humanities and Native Hawaiian programs in the American Studies department at the University of Hawai'i at Mānoa.

Ngahiraka Mason is a curator of 20 years experience gained at Auckland Art Gallery Toi o Tāmaki, the largest public art museum in Aotearoa New Zealand. Ngahiraka's interests span historic to contemporary approaches to art praxis. Her commitment to contemporary practice includes mentoring, collaborating and commissioning artists and acquiring artworks for her institution. Ngahiraka is consulted on indigenous art practice and invited to comment on the state of contemporary art today. Her recent exhibitions include: Pulima Art Award: Maori Video Art, Museum of Contemporary Art, Taipei, Taiwan (Nov 2014-Jan 2015) and Five Maori Painters, Auckland Art Gallery (2014). Recent publications include, "Shared Legacies" in Gottfried Lindauer: His Maori Portraits, Berlin, Germany (2014), Five Maori Painters and "The State of Maori Art in an International Context" in Sakahan: International Indigenous Art, Canada (2013).

Art at the Capitol: legislators get artsy
The theme for the 7th annual exhibit will focus on the Hawaii State Capitol Building itself. read
UH Manoa to host theatre masterclass


Joe Goode, of the Joe Goode Performance Group (JGPG) in San Francisco, will teach a master class, Movement For Humans, at the University of Hawaii at Manoa's new upper-campus Dance Studio on Friday, February 27, 12:30-1:50 p.m.

The class is open to the public. Donations to JGPG are encouraged, but not required. The class is appropriate for adults of all ages and movement abilities. No dance experience is necessary. Goode will guide participants to move with gravity, find ease of motion, and tune into the deep structure of the body. For more information about Goode's teaching go to joegoode.org/movement for humans.

Goode is known for his ability to merge movement, song, and visual imagery. Look for a presentation of Joe's work with UH actors and dancers at Kennedy Theatre in April.

For more information about the class call 956-3264.

Hawaiian mo‘olelo bursts onto the Kennedy Mainstage
The world premiere of “Lā‘ieikawai” is also the debut production of the new Hawaiian Theatre program at the University of Hawai‘i at Mānoa. read
Summit + Nohea Gallery
The turning wood
Summit talks with Andy Cole, whose work is on display at Nohea Gallery at Ward Center. read
Sustainable machine
Urbanization, agriculture, and conservation in 3D read
About

Summit is Hawaii's global magazine of ideas, style and smart living. We're named for Queen Kapiolani's motto, "kulia i ka nuu," strive for the summit. Summit is available on fine newsstands throughout North America and the Asia-Pacific region.

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Mae Ariola
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Will Caron
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Michelle Garcia
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