• He graduated from St. Louis High School in 1968
• 
  
• As an activist in the Aloha Aina movement, he worked with Hui Alaloa to develop and maintain Native Hawaiian access rights, as well as Protect Kahoʻolawe Ohana to stop the bombing of Kahoʻolawe
• He was a Native Hawaiian activist, falsetto vocalist, and musician. He was a wonderful singer, and brought focus to the anti-war sentiment in Hawaiʻi.
• He was the president of Protect Kahoʻolawe Ohana, an organization whose mission is to protect, restore, and revitalize the island of Kahoʻolawe.
• George Helm spoke with the Hawaii State Legislature and Congress to end the target bombing of Kahoʻolawe and return Kahoʻolawe back to the Hawaiian people.
• He disappeared with his cousin Kimo Mitchell on March 7, 1977

Mālama Mele

Paula

aka Helekunihi

One of the people I wanted to introduce you to is Mau Piailug. Mau is from Micronesia and has honed the art and knowledge of traditional wayfinding. He moved to Hawaii to share his sailing expertise with other Pacific Islanders (even if he was belittled for it in his hometown) - which is why wayfinding has been preserved in the face of globalization and environmental change. Mau's story is inspiring because it highlights the importance of indigenous knowledge systems (in Oceania) in understanding and interacting with the natural world. He explains that indigenous people in Oceania are all connected by voyaging and the ocean. The question I would ask Mau would be, "Do you think the school systems are helping with the preservation of Oceania cultures and traditions? If not, do you believe there should be more hands-on activities/days outside instead of a classroom?"

Best,

Christian P

Best,

Christian P

I am drawn to the Lani Singers' work because of their ability to use their music to raise awareness about the troubles of West Papuans and advocate for their rights on the international stage. I probably would not have known about the crisis in West Papua and Indonesia without their music. While performing, I can sense their emotions through their voices, lyrics, and facial expressions. A question I would ask the group is, "Has music always been your outlet? If not music, what other ways would you do to get your point across?"

Best,

Christian P

I am in awe of her and would ask her how she was inspired to become an artist?

Check him out here: https://kbeamer.com/

Song- Honolulu City Lights: https://www.youtube.com/watch?v=3vSVAVHoOwo

I love how he shares about culture and relates it to everyone. Hoping to see more people push the limits a little more and more.

"When I come up with ideas for each collection, I think of things that are important to us. Let's celebrate this design with intention, celebrating our culture and family. Those are important to me," she says. "What do we need to see more respect for? What do we need to bring light to?

From a small craft fair operation, Danene Manuheali'i Lunn, her husband Pono, and her family have grown Manuheali'i to be one of Hawaii's leading small businesses. Mrs. Lunn has received numerous awards and accolades, and Manuheali'i has been a people's choice favorite with Hawaii's Best and Best of the Best. She says she has learned to be confident but has repeatedly encountered ethnic and gender stereotyping.

In an interview with Bank of Hawaii, Lunn said, "People made assumptions because of the way I look as Hawaiian-Chinese, especially back then," she says. "During our home purchase, they listed me on the application as 'housewife with a cottage industry,'" she says. "That was a hard pill to swallow! I had built up my self-esteem in my business, and to see someone pass me off as a housewife rather than a business owner ... well, it was a good lesson."

Her background has also been a source of personal inspiration, as she comes from a long line of creative Chinese women. Danene says, "You make something from nothing, or you make something new from something else. That's just how I grew up."

One of Danene's motivations was the lack of Hawaiian-inspired clothing that the younger generation, including herself at 20, would wear. She wanted to wear something that would speak to her culture and lifestyle, but a mu'umu'u was not it.

Through various interviews, she shares that it has been a lot of hard work, but she made do with her limited time. She was doing what needed to be done to feed her children, often lacking sleep, especially while in college. Danene says she stands proud as the owner and boss, always knowing women can do anything a man can, if not better. She has learned to express herself firmly and gracefully and encourages Wemon "to show others that your hope is stronger than other people's ability to put you down."

Check him out here: https://youtu.be/Ge64MRNW-DI?si=KDhWqBNaRHRtgx8E

Here is a link of a brief overview of some of Wendt's accomplishments and most popular works over his career: https://youtu.be/VMZGUOF9-SU?si=3aNWIXWFOwoaUha9

She is also the founder of Jo-Jikum (your home). A non-profit organization that focuses on educating the people of the Marshall Islands about climate change.

An important figure in Pacific literature and thought. His essay, "Our Sea of Islands" should be required reading in all Pacific Island universities. He changed the way I thought about learning by challenging perspectives.

Here is one of the opening acts from his "Warrior Tour": https://youtu.be/_VN4FwU5UHo?si=4PxcwnPXOxb4sM8Q

O’ahu. Brook's family roots run deep in the islands being a direct

descendant of John Palmer Parker of Newton, Mass., and founder of the Parker

Ranch on the Big Island of Hawaii. John Parker's wife, Rachael

Keli'ikipikanekaolohaka Ohiaku was a great-granddaughter of Kamehameha the

Great and his wife Kanekapolei. The majority of Brook's art portrays the deep love and admiration he has for his

island ancestors. Brook was greatly influenced in the arts by his

father David, a gifted, self taught artist and painter, Hawaiian historian,

genealogist and writer. As Brook grew older his father's interest became his

interest and with no formal art school training, his father's large library of art

books, Hawaiian history books & books of other interest became his other

teachers. Brook is a well known local artist that contributed to the art work that hangs in Kamehameha Schools of Kapalama.

So popular is Kealii's music that he won numerous awards at the local, national and international levels. Additionally, Kealii was honored for the preservation and perpetuation of Hawaiian mele and story, paving the way for younger Hawaiians to root themselves in Hawaiian knowledge during a time Hawaiians face an existential crisis.

Perhaps on some level, I've always admired Kealii's music because of how peaceful and relaxing they are. They're often played at the Honolulu airport, in hotel lobbies, and even on Hawaiian Airlines during flight. But, as I got older, I realized the significance of his music. Singing entirely in Hawaiian, Kealii puts the Hawaiian language, and thus the Hawaiian people, onto the international arena. The world knows of Hawaiians, if by anyone, because of Kealii Reichel.

Leaving Hawaii for Los Angeles, Justin writes of his longing to return back to the islands, and one can feel the deep sense of connection the islands leave on people, no matter where they are in the world. Through Justin, one begins to understand the often emotional and spiritual impact that Oceania has on its inhabitants, something that isn't as strongly evident in other genres around the world. Much of Justin's songs center on a sense of belonging to the islands, and never leaving the islands regardless where you are in the world. This is perhaps best caught in a lyrics where he says "you can take the boy out of the islands, but cannot take the island out of the boy" in his song, Never Forget Where I'm From.

The reason I like Justin so much is, I think, because as someone who left Hawaii, I too desire a sense of community and connection that resembles the sort I had in Oceania. It is interesting how identity is so deeply rooted in where one is raised, and how much people will try to preserve or recover much of that lost identity throughout their lives. That probably explains why I shop at the Hawaiian General Store in Seattle so often! Like Justin, many of us leave Oceania, and in doing so, go through a crisis of identity loss. Through Justin's music, we are reminded that one can leave, but it doesn't mean leaving in your heart. Justin's music beckons us to bring Oceania with us, no matter where in the world we may be.

Nonetheless, it is difficult to ignore Jake Shimabukuro. Before Jake, it would be difficult to imagine the wide versatility and variety of music capable of being played with the ukulele. The world would have written off local Hawaii music as belonging to the genre of slack key, in the case of guitar, or slow strumming as Do Ho sang away the night to "Tiny Bubbles".

In a time when kanaka face an increasing existential crisis and loss of their culture, mostly due to dwindling numbers, gentrification, globalization, and increasing immigration to Hawaii, song remains one of the few ways Hawaiians can still spread their story. A Hawaiian song without an ukulele is akin to Kawaii entirely removed from Japanese modern K Pop culture.

Jake reimagines what the ukulele can do, and brings it to the forefront of a modern musical enterprise where slower slack key no longer competes. And, in so doing, Jake helps to keep Hawaiian at the forefront of musical creativity.

Uncle Palani's music served as entertainment, education and resistance. He retold stories of Hawaiian sovereignty, honoring Kalākaua’s efforts to restore hula, chant, and Hawaiian pride at a time when Western influence threatened to erase Native traditions. His work reflects how colonialism and militarism reshaped Hawaiʻi’s political and cultural landscape, while his performances model how artists use cultural production as a form of political expression and identity reclamation. 

His music reminds listeners that Hawaiian patriotism is not only about politics, but about love for land, language, and people. When I listen to Uncle Palani's albums I am always reminded that music and art is one of the strongest forms of resistance. 

Born in 1939, my grandfather lived through the transition between traditional Hawaiʻi and the modern era. I believe art became his way of expressing the deep losses and changes he experienced early in life, losing his mother at 13, leaving his small fishing village in Kawaihae on Hawaiʻi Island at 14 to attend Kamehameha Schools on Oʻahu, and gradually losing the ability to speak his mother tongue.

He designed the patch for the Honolulu Fire Department, along with work for First Hawaiian Bank, Aloha Week Festivals, and many other projects I’m sure I’m forgetting in this moment.

My family is still in the thick of our grief journey, so the next time you pass a fire truck and see the HFD patch, please think of my Papa.

His tattoo education was not traditional. He did not apprentice under a master at first; instead, he learned through trial and error. As a young artist in Halawa, Hawai‘i, his neighborhood friends encouraged him to build his first tattoo machine so he could tattoo taulimas and lettering on them. For years, tattooing was something he did on and off until he committed to it more seriously about a decade ago, when he received his first professional machine and equipment from his cousin, Jon Apisa.

Later, mentors like Akiu Sale (House of Ink, Hawai‘i) and Steve Looney (Pacific Soul Tattoo, Hawai‘i) guided him in the technical and professional aspects of tattooing—machine maintenance, sterility, proper equipment, and industry standards. His path reflects self-teaching, mentorship, and community-based knowledge sharing rather than a formal apprenticeship model.

Today, he specializes in Samoan-Polynesian tattoos and lettering, often incorporating genealogy, symbolism, and family narratives depending on the client’s wishes. He works mostly free-hand, blending technical precision with cultural meaning. He has participated in Tisa’s Tattoo Fest for many years and has won awards including Best Taulima, Best Tauvae, Best Shoulder/Sleeve, and Best Female categories. His work extends beyond tattooing into painting and commissioned artwork displayed in local restaurants and public buildings. As a licensed tattoo artist and studio owner, and as a member of the Motu O Salaia Artists Association, his career reflects both cultural continuity and modern professionalism.

What draws me to his work is how it represents cultural production as something lived and evolving. He uses modern tattoo machines, maintains an online presence through social media, and engages with off-island clients, yet his work remains grounded in Samoan visual language. His art makes me ask: How does indigenous art shift when practiced with modern tools? How does an artist balance authenticity with global influence? How does genealogy become visual identity on skin? Through his work, I see that Pacific art is not frozen in the past—it adapts, travels, and survives through artists who are willing to learn, experiment, and remain rooted at the same time.

What makes Fiji especially compelling to me is how his life story reflects migration, transformation, and resilience — themes that are very familiar in the Pacific. Like many islanders, he left his homeland in search of opportunity, eventually finding a larger platform in Hawai‘i. But instead of assimilating in a way that erased his identity, he strengthened it. His lyrics often center on love, family, faith, hardship, and island pride — themes that resonate deeply across Oceania. Listening to his music feels like hearing the voice of the Pacific diaspora: people who may live far from their original island homes but still carry their culture in their language, values, and creativity. His songs create emotional bridges between Fiji, Hawai‘i, Samoa, Tonga, and other Pacific communities.

The biography link represents more than professional achievement; it represents cultural navigation. Fiji’s journey shows how Oceanic artists move through global music industries that were not originally designed for them, while still protecting their authenticity. In a world shaped by colonial histories and Western-dominated entertainment markets, maintaining a strong Pacific identity is itself an act of resistance. I am interested in how Fiji’s blending of reggae — a genre rooted in resistance and liberation — with Pacific themes creates a shared cultural language across Oceania. Does his music help shape a pan-Pacific identity that connects different island nations through rhythm and storytelling?

Studying Fiji would allow me to ask deeper questions about cultural production in the Pacific. How has his success influenced younger island artists who now believe international recognition is possible? In what ways does his music challenge stereotypes about Pacific people by presenting complexity, faith, vulnerability, and pride? And how does sound itself — rhythm, harmony, and lyrical style — carry cultural memory? Fiji’s work makes me think about music not just as entertainment, but as a living archive of migration, identity, and unity in the Pacific.

What draws me personally to Moemoana’s journey is not only her achievements, but the way she lives her values. As a former Pasefika titleholder in American Samoa, I’ve had the privilege of meeting her a few times through the pageantry world. Those moments weren’t just casual greetings — they were exchanges rooted in mutual respect for culture, service, and the role of young Pacific women in shaping their communities. Moemoana embodies a leadership grounded in humility, resilience, and deep cultural awareness. She consistently stresses that her goals are rooted in service to her people and in uplifting voices that are often unheard.

Moemoana’s work goes beyond stage appearances. She has run creative and performing arts initiatives — such as Ta Fesilafa’i classes — focused on empowering young people through cultural expression and leadership. She has also been involved in environmental advocacy and represented Pacific communities at major international events, including the COP28 Climate Change Conference and other regional cultural festivals. Balancing her roles as an artist, advocate, and student, she models how cultural production can be a tool for both community engagement and social change.

The link to her interview represents more than just a biography — it captures her heartfelt commitment to giving back to her community and honoring the love and support she has received. It makes me think about questions like: How do cultural platforms like pageants become mechanisms for advocacy and social impact? In what ways does her leadership influence Pacific youth, especially young women? And how does her work challenge stereotypes about Pacific women in leadership roles? Moemoana’s story inspires me because it shows that beauty, culture, and advocacy are not separate — they can work together to build stronger, more empowered Pacific communities.

https://www.youtube.com/watch?v=26si0QdDoKw&list=RD26si0QdDoKw&start_radio=1

Leilani Wolfgramm: Leilani's voice and presence command attention. She blends soulful R&B/gospel textures with Pacific Island styles to explore faith, family, and resilience. I'm drawn to how she uses her immense vocal power and lyrical warmth to reclaim and celebrate Pacific womanhood across displaced spaces. Her catalog invites questions about performance, spirituality, and the politics of representation in Oceanic music.

https://www.youtube.com/watch?v=lkq5pvHabsM&list=RDlkq5pvHabsM&start_radio=1

I truly admire how she uses art to tell untold stories, revealing histories and cultural narratives that are often overlooked, especially those of Micronesian people. I was fortunate to meet her here in Hawaiʻi, and I feel incredibly grateful that she created a mural at the school where I work. The mural means so much to me, as well as to our students and families from Micronesia. It fosters a strong sense of belonging and connection, while giving students hope, pride, and a feeling of ownership within the school community.

You can explore more of her work here:
https://www.lissetteyamaseart.com

I admire Nicole Yamase because she represents strength, intelligence, and cultural pride. As a Pacific Islander, she has broken barriers in science and shown that people from small island nations can achieve extraordinary accomplishments. Her dedication to marine conservation and her commitment to representing Micronesia on a global stage inspire me to pursue my goals with confidence and perseverance.

Video link:
Below is a link to a video of her descent to the Challenger Deep:
https://www.tiktok.com/@user81203962435125/video/7598396611810790686

The island reggae legend Fiji. His music and career were influenced by his family, upbringing, and culture—a singer, songwriter, and producer who had a great impact throughout the Pacific. Not only did his music bring people together, but he was also a mentor to the youth and other singers. He encourages Pacific Islanders to be proud of their identity and to embrace their heritage. He was an inspiration, and his legacy remains. 

https://www.lissetteyamaseart.com/

Lisette Yamase, a self-taught artist from Chuuk and Pohnpei, uses her artwork to tell stories from the islands and to preserve cultures and values. As a self-taught artist, I find this very inspiring. I also appreciate that she emphasizes cultural awareness, preservation, and significance to empower our Micronesian communities. It’s a powerful way to dismantle stereotypes and gain a better understanding of who we are.

I admire Relinda because she has an angelic voice, and I have loved her music since my childhood. I have always wished to see her sing in person. Her songs reflect faith, culture, and positivity, and she inspires me to stay proud of my roots.

Below is a link to her christian song:

https://www.youtube.com/watch?v=riKm96s_Fw0

Ruha Fifita inspires me through the way she reimagines traditional Tongan ngatu (tapa cloth) using contemporary techniques and large scale installations. Her art shows that tradition is not static but something that can evolve while still holding cultural meaning. I connect with this because ocean communities constantly adapt to environmental change, and her work reflects resilience, community knowledge, and intergenerational storytelling.
https://en.wikipedia.org/wiki/Ruha_Fifita

Aline Amaru inspires me because her textile work highlights Tahitian identity and the importance of cultural preservation through art. Her use of tifaifai patterns feels like storytelling through fabric, which reminds me of how ocean cultures pass knowledge through visual and embodied practices rather than written forms. This connects to my interest in marine conservation since protecting the ocean also means protecting the cultures and identities that are tied to it.
https://en.wikipedia.org/wiki/Aline_Amaru

I’d like to introduce you to Lyz Soto, whose government name is Elizabeth Soto, who has only published once in her book Eulogies, April 23, 2010. She is a wonderful Hawaiian poet who truly captures the essence of her culture through her work. Her poetry beautifully explores themes of identity, community, and the strong connection to both the land and sea that defines Hawaiian life. Soto’s pieces resonate with the breathtaking beauty of Hawaii while also exploring important topics such as environmentalism and social justice.

What I find so captivating about Elizabeth Soto’s poetry is her incredible ability to express deep emotions with vivid language and imagery. Her words not only celebrate the richness of Hawaiian and Pacific culture but also invite readers to reflect on their own identities and the spaces they occupy. There’s something about her work that feels both relatable and thought-provoking.

If I had the chance to chat with Elizabeth Soto, I’d love to ask her a few questions, like:

1. How has growing up in Hawaii shaped your voice as a poet and the themes you explore?

3. How do you find the right balance between celebrating culture and addressing social issues in your work?

4. Are there any poets or literary movements that inspire you, and how do they influence your writing?

5. What conversations or messages do you hope to spark through your poetry, and how do you see your role as a poet in your community?

I think these questions could open up a really interesting discussion about her journey as an artist and the significant impact of her work today. Through her poetry, Elizabeth invites us all to reflect on our stories and identities, making her voice an important one in the literary world.

Sloane Leong is an artist whose work captivates and provokes thought through its exploration of identity, culture, and the complexities of contemporary life. Leong utilizes a blend of graphic storytelling, illustrations, and vibrant colors to examine personal and collective experiences, often drawing from their own background and influences.

What makes Leong's work so engaging is the way they weave intricate narratives that challenge conventional perspectives. Each piece invites viewers to reflect on their own identities and experiences, prompting a deeper understanding of the cultural landscapes that shape us. The vibrant visuals are paired with profound themes, making the art not just visually appealing but also intellectually stimulating.

If I had the opportunity to engage with Sloane Leong, I might ask questions such as:

1. What personal experiences have most influenced your artistic journey?

2. How do you approach the intersection of culture and identity in your work?

3. What role do you believe art plays in social change and awareness?

4. Are there specific artists or movements that inspire you, and how do they manifest in your practice?

5. How do you hope your audience responds to your art, and what conversations do you wish to provoke?

These questions could lead to a fascinating discussion about the intentions behind their work and the broader implications of their work in today's world.

Solomon Enos is a contemporary Hawaiian artist known for his vibrant, intricate murals and paintings that draw on both his Hawaiian heritage and a range of global influences. His work often incorporates elements of mythology, nature, and community, creating a bridge between traditional Hawaiian culture and modern artistic expression. Enos is also an advocate for cultural awareness and environmental stewardship, which is reflected in his art.

When considering his life and work, several questions come to mind:

1. How has growing up in Hawaii shaped your artistic vision and the themes you explore in your work?

3. How do you incorporate environmental themes into your art, and what message do you hope to convey?

4. How do Hawaiian mythology and stories influence your artwork, and how do you see these elements resonating with a broader audience?

5. What role does community play in your artistic practice? Do you collaborate with local artists or involve community members in your projects?

What draws me to Solomon Enos and his work is the deep connection he has with both his cultural roots and contemporary issues. His ability to weave storytelling, environment, and identity into visually striking pieces creates a profound experience for viewers, inviting them to explore the narratives behind the colors and forms. The blend of tradition and innovation in his art resonates with many who seek to understand the complexities of cultural heritage in a modern context.

Brett Graham is an Maori artist from New Zealand that bases a lot of his art in the from of sculptures and large scale work. Much of the work that he does explores indigenous history, politics and philosophies, which I find intriguing since it helps to keep the native culture alive. Here is a link to his website that shows off much of the art he has made http://www.brettgraham.co.nz/

Fiona Pardington is a Maori descent photographer from New Zealand that uses her work to capture the natural themes of the people and of the body but also of Maori relics and showing the world the old history of what was. Her photography captures things in such a way that they feel is if they are seperated from the rest of the world, like a it was captured in time, mostly due to the style of dark backgrounds that make the image feel bigger. Here is a link to her instagram https://www.instagram.com/fionapardington/?hl=en

The first artist I chose to introduce is Israel Kamakawiwoʻole. He is commonly known as Bruddah IZ, and he was a Native Hawaiian ukulele player, musician, and singer. He was a musical artist, with his songs evoking deep feelings in each and every one of his listeners. His music draws me in specifically because his arguably most famous song, “Somewhere Over the Rainbow,” was my parents wedding song. Whenever I listen to any of Bruddah IZ”s music, I always think about family, love, and loss, which makes the love just that much more important. 

Posted at 11:55pm. Because this is the only hour of the day where I have free time.

Waters rise 

Mud fills our homes built with our backs

We are the ocean 

We are the Sea 

Our love keeps us here 

The plumeria fragrance welcomes us home

We are Oceania 

We work many jobs 

The water rises 

We are displaced 

We return home 

We start again 

We are Oceania 

We jump from big rocks 

We first lay Ti leaves on the ponds 

We are prawns 

We are Oceania 

We work on the ships

We work in your hotels 

We are the culture 

We take care of the people 

We honor the land 

We are Oceania 

You are my brother 

You are my baby in the sea foam

I am a green turtle 

We are Oceania 

You adorn yourself in our pearls 

You ask us about musubi 

You ask so many questions 

Is it far? Is it good? Is it worth it?

The waterfall is always worth it

We are Oceania 

We are here still

We are the rocks 

We are the workers 

We are the people 

We are Oceania.

Presented and written by 

Chandler Tarbuck