Graduate and advanced undergraduate students from across the University of �鶹��ý System and around the world gathered February 12–15, for the (IGSC) at the East-West Center, marking a milestone year for the long-running, student-led event.

Organized entirely by a graduate student team and supported by the , the 2026 conference centered on the theme, “Legacies Through Time: Rethinking the Past, Confronting the Present, Shaping the Future.” Over three days, approximately 140 participants representing more than 25 countries and regions across North America, the Asia-Pacific and Europe, representing more than 65 institutions, transformed the �鶹��ý Imin International Conference Center into a hub of interdisciplinary exchange.

“Planning this conference reminded us that scholarship is not just about individual achievement—it’s about building relationships and creating spaces where emerging scholars feel seen, challenged and supported,” said Xiaoyun Neo, a master’s student in at UH Mānoa and one of the conference’s organizers. “Watching students step into that space with confidence and generosity was the most rewarding part of this milestone year.”

Neo added, “I also echo the sentiment expressed by IGSC co-chairs Tiến Nguyễn Minh (MA, ) and Oliver Lilford (MA, ) that as scholars, artists and practitioners, we do not simply inherit legacies—we negotiate, challenge and reshape them in the present, using them to reinterpret the past or set the course for different, more hopeful futures.”

Nearly 30 themed panels—including paper presentations, poster sessions, a roundtable discussion and an evening session featuring creative projects and films—highlighted the depth and diversity of student scholarship. Topics ranged from intergenerational memory and language preservation to environmental change and artistic expression, reflecting how legacies shape identities, institutions and futures.

For many presenters, the conference offered a first opportunity to share research in a supportive, peer-centered environment. Graduate student moderators guided discussions, facilitated questions and fostered dialogue across disciplines, creating space for feedback and collaborations.

“Besides the intensive three-day conference, this year’s IGSC also curated pre- and post-conference activities supported by our incredible partners and sponsors,” said Minh. “Our participants enjoyed a field trip to the Mānoa Heritage Center; a tour at the East-West Center Art Gallery; a keynote address in honor of the 25th IGSC by renowned scholar, also an alumna of UH Mānoa, Dr. Katerina Teaiwa, sponsored by the Asian American-Pacific Islander, Environmental Humanities and Environmental Justice Initiative; and a play about Joseph Kekuku and his steel guitar invention at the Honolulu Theatre for Youth. These activities not only fostered connections between our participants with local institutions, they also provided opportunities for us to introduce �鶹��ý’s own legacies through diverse and interactive approaches.”

Launched in 2002, the International Graduate Student Conference continues to serve as a meeting place for emerging scholars to test ideas, build networks and experience academic exchange beyond the classroom.

Voices, movement and moments of reflection filled at the University of �鶹��ý at ����ԴDz� in early February as , a biennial conference brought together scholars, artists and community members for two days of exchange. Hosted by the (ANNO), the conference explored how Indigenous performance sustains knowledge, language and relationships across generations.

The second biennial conference featured panels, workshops and special events that emphasized learning through practice.

Participants took part in everything from hula workshops led by UH ����ԴDz� instructor and Kumu Hula Tracie Kaʻōnohilani Farias Lopes to kapa making, puppet making, carving and a movement-based session by Sami L.A. Akuna that invited reflection on storytelling and the body.

“We hope that the conference delegates engaged in the many offerings of the two-day event and see the importance of Indigenous performance as a site of knowledge production, cultural preservation, and collective imagination,” said Tammy Hailiʻōpua Baker, who co-founded ANNO and is a director of UH ����ԴDz�’s award-winning .

One panel, Aloha ʻĀina Embodied: The Praxis of ʻAha, was conducted entirely in ʻōlelo �鶹��ý. The session featured several kumu, including Kaliko Baker, an associate professor at ; Kaipu Keala, an assistant professor at , Kaulu Luuwai, an attorney with at William S. Richardson School of Law, and Snowbird Bento, kumu hula of Ka Pā Hula O Ka Lei Lehua.

Panelists discussed how is expressed through performance and community practice, reflecting on the ways language and movement inform artistic and community-based work.

Celebration and story

The conference concluded with a hoʻolauleʻa, a celebration that combined conversation and creative sharing. Events included a film screening of , directed by Lisette Flanary, professor at UH ����ԴDz� and a preview of a new hana keaka (theatre work) by UH ����ԴDz� Hawaiian theatre graduate student Ikaika Mendez. The production, Lele Wale, reflects on community rebuilding after the Lahaina wildfires, honoring those who were lost, those who survived, and those continuing the work of rebuilding on Maui. Performances run March 4–8 at the Earle Ernst Lab Theatre at Kennedy Theatre.

• Related UH News story: Lahaina’s story lives in new hana keaka production, February 5, 2026

Established in 2022 through the UH ����ԴDz� Provost’s Strategic Investment Initiative, ANNO advances Hawaiian and Indigenous performance through scholarship, curriculum and outreach, supporting ongoing research and creative practice at UH ����ԴDz�.

University of �鶹��ý at ����ԴDz� students played a central role in a landmark Southeast Asian film project now completed after years of collaboration. Through a partnership led by the (CSEAS) and the Vietnam Film Institute in Hanoi, more than 70 classic Vietnamese feature films have been digitized and subtitled in English.

The work began in the classroom. In 2007, CSEAS launched a film translation and subtitling course that trained UH ����ԴDz� students with advanced Southeast Asian language skills. Students translated dialogue, timed subtitles and helped prepare films for international viewing. Their work laid the foundation for a long-term effort focused on Vietnamese cinema. Former CSEAS associate director Paul Rausch created the course which was taught by John McGlynn.

Over time, the project grew into one of the program’s most active collaborations. The resulting catalog spans films released between 1959 and 2010.

The films are formatted for streaming on laptops, desktop computers and handheld devices. They are intended for libraries and classrooms, not large theaters or festivals. To support viewers who are hearing impaired, captioning was added alongside English subtitles.

Foundational support for this project was provided through CSEAS‘s designation as a U.S. Department of Education Title VI National Resource Center.

For more on the catalog email vietnamcinemalibrary@gmail.com. Go to the for the full story.

—By Motoki Saito Yamamori

The University of �鶹��ý at ����ԴDz�’s (CPS) is marking its 50th anniversary with a series of special events for fall 2025. From art and history to performance and storytelling, the programs invite the public to celebrate the richness of Filipino culture while exploring the future of Philippine Studies.

The anniversary theme, “Rooted in the Past, Growing Together,” honors the history of �Ჹ�ɲ���ʻ��’s Filipino community while inspiring collective action to guide and uplift future generations.

“We’re proud to present a dynamic range of programs in the coming year that reflect our commitment to education, culture and community engagement,” said Patricia Halagao, co-director of CPS.

Founded in 1975 with the support of the �鶹��ý State Legislature, CPS has been a home for scholarship and community.

Events open to the public

exhibit
October 12–March 15, 2026, East-West Center Gallery

• Filipino fashion, music, art and artifacts curated by artist and fashion designer Iris Gil Viacrusis. Free admission.

Collaboration with UH Athletics
October 10, 7 p.m., Bankoh Arena at Stan Sheriff Center

• .
  Filipino-inspired Warrior “H” logo designed by artist Ara Laylo for exclusive UH apparel. Buy at the and at the game. .

Philippine Rare Collection Workshop—Cartographies of Skin and Soil
October 15, 5:30 p.m. and October 16, 3 p.m., Hamilton Library 4th Floor, Asia Reading Room

• Discover how rare 16th-Century Philippine maps and traditional Filipino tattoos tell powerful stories of identity, resistance and survival. Guided by Philippine librarian Elena Clariza, the workshop will unpack how both the body and the land were marked. Space is limited. Free admission.

November 14, 15, 21, 22 (7:30 p.m.) and November 23 (2 p.m.), Kennedy Theatre

• Mainstage dance production exploring the experiences of Filipinos navigating belonging and exclusion in �鶹��ý and beyond. Featuring Filipino Indigenous storytelling, music, hip hop and street dance.

Additional events

iJeepney Launch: Empowering the Next Generation
October 4, 2–4 p.m., Filipino Cultural Summit at Leeward Community College

• Originally developed by the Smithsonian in 2006, “iJeepney” is reborn as a dynamic, youth-driven online platform for Filipino history and culture.

spring 2026, UH ����ԴDz�

• The center’s first anthology will feature reflections from past and present directors, faculty, and community partners, documenting CPS’s 50-year history and vision for the future of Philippine Studies worldwide.

September 20, 11 a.m., Biomedical Sciences Building B103

• Tribute to the Center’s Founding Director, Belinda Aquino.

October 10,11, 12, 13, Various locations. Free admission.

• University of the Philippines Rondalla Tour presents a musical and cultural experience. Free admission.

This September, the University of �鶹��ý at ����ԴDz�’s and invite audiences into a world where imagination becomes survival. , a Theatre for Young Audiences production directed by MFA candidate Emmanuel Mante, shares the true story of Benjamin, a boy born with hemophilia whose boundless creativity helps him navigate illness, loss, and ultimately, an HIV diagnosis.

“This isn’t just a children’s show—it’s a heartfelt experience for all ages,” said Mante. “It celebrates how the human spirit turns pain into art and illness into beauty. It’s imaginative uplifting, and transformative.”

The production runs September 24–28, at the Earle Ernst Lab Theatre.

While Benjamin’s life is shaped by hospital visits, isolation, and loss, his imagination offers him freedom. He turns to drawing, coloring, and storytelling to express what words cannot. In one poignant scene, he colors with his doctor as the only way to explain his pain.

Imaginative staging

The production’s artistic team help transform the story for the stage. Set designer and theatre major Juliana Damrow uses reconfigurable pieces and everyday objects to reflect how children reshape their world through play. Lighting designer Kelli Finnegan adds expressive colors and projections that mirror Benjamin’s sketches, including the symbolic yellow boat he draws.

The production also weaves in cultural elements. Costumes by Amber Baker feature handwoven Filipino textiles. Choreographers Nani Marcos and Gwen Arbaugh layer movement into the story, while music director Paul Gabriel Cosme provides live accompaniment.

“Each costume is a celebration of Filipino artistry and heritage,” Mante said. “�鶹��ý’s multicultural environment makes this kind of storytelling feel especially resonant.”

Although filled with joy and imagination, The Yellow Boat also faces difficult truths of illness, isolation and loss. Benjamin’s story ends with his passing, portrayed by the cast with care and sensitivity. Families are encouraged to reflect on these themes and join the post-show discussion on Friday, September 26, with the director and cast.

Ticket information

Performances are Wednesday through Saturday at 7:30 p.m., with a Sunday matinee at 2 p.m.

Content Advisories: Covers health issues and suffering, such as hemophilia and HIV.

The University of �鶹��ý at Mānoa’s has acquired a remarkable piece of history, one of the .

The map comes from a rare Rome edition of Cosmographia by Claudius Ptolemy, a geographer from ancient Alexandria whose ideas shaped how the world was visualized for centuries. This version is special for an additional reason. It was printed by Konrad Sweynheim, a 15th century German printer and engraver who pioneered copperplate printing in Italy.

The map was purchased by the UH Mānoa and gifted to the library.

“The Center for Southeast Asian Studies is proud to support the Maps and Southeast Asia Collection in Hamilton Library through funding from the National Resource Center grant from the International Foreign Language and Area Studies Program in the U.S. Department of Education,” said Teri Skillman, associate director of CSEAS.

Hamilton Library helped bring the map to life through high-resolution imaging that will allow students and researchers to study it in detail without touching the fragile original.

“This is the oldest map in Hamilton Library and it enhances the already world-class Southeast Asia collection,” said Ted Kwok a geospatial librarian at Hamilton Library.

Rome’s finest maps

Sweynheim began work on the maps in 1474 and trained mathematicians to engrave copper plates, a process that would dominate Italian mapmaking for more than 100 years. Although he died before the atlas was published, his legacy lives on. The plates were completed by his colleague Arnold Buckinck, also known as Pannartz.

Many historians consider the Rome edition to be the finest set of Ptolemaic maps produced before the rise of Gerard Mercator’s world atlas in 1578.

The map will be part of the library’s or MAGIS collection, expanding UH Mānoa’s holdings in global historical geography.

When Chinoko Shirakura walks into her classroom at the University of �鶹��ý at Mānoa, she carries more than just lesson plans and textbooks—she brings with her a passion rooted in identity, heritage and connection. Shirakura is UH Mānoa’s newest lecturer and is focused on helping students rediscover their roots and build cultural bridges.

Born and raised in Thailand to a Thai mother and Japanese father, Shirakura grew up in a multicultural household where language was more than a means of communication.

“I realized early on that language wasn’t just words. It’s a way of understanding daily life, of connecting to people,” she said. “Even casual conversations carry culture.”

Discovering her passion

That understanding deepened after moving to �鶹��ý in August 2024. Shirakura is currently pursuing a master’s in at UH Mānoa, a two-year program that she said allows her to immediately apply what she learns to her own teaching.

Upon moving to �鶹��ý, friends and colleagues encouraged her to share casual Thai phrases.

“I’d see how excited they got when they understood something, even just simple phrases,” she said. “That’s when I knew I wanted to pursue this seriously.”

Currently, Shirakura teaches Thai 101 and Thai 202 to students who tested into the higher level, with plans to expand to Thai 102 next semester.

“For many students, learning Thai is a way to reconnect with their heritage. I’ve seen students light up when they realize they can now communicate with their grandparents,” Shirakura said. “That’s when I knew I wasn’t just teaching vocabulary—I was helping them find part of themselves.”

This fall, Shirakura’s students are also launching a Thai language club, a student-led initiative that reflects the growing interest and enthusiasm for the program.

The Thai language program is housed in the UH Mānoa .

Set in Hokkaido, Tokyo and �鶹��ý, the world premiere play adaptation of Dance Dance Dance leads audiences on one man’s journey to open doors to “other” places. The University of �鶹��ý at ����ԴDz� and production is based on the novel published by Japanese author Haruki Murakami. Adapted and directed by UH ����ԴDz� MFA candidate Maggie Ivanova, the play blurs the lines between various realities framed by magical realism and incorporates scenes set in Sapporo and an old multi-storied building in downtown Honolulu.

“The creative team and I approach Sapporo and Honolulu as places where ancestors can visit and co-exist with the characters,” Ivanova explained. “The legacy of the land and all that came before is there. But we need to slow down, listen to, and recognize the connections that are still there. The mana (power) of place and objects is potent and present, lending to the magical realism characterizing this piece.”

In 2012, Murakami received an honorary doctorate at UH ����ԴDz� while he was a visiting professor at the Department of East Asian Languages and Literatures.

The idea of adapting one of Murakami’s novels for the stage was on Ivanova’s radar for several years prior to her admission to UH ����ԴDz�.

“Of all the novels he has written, Dance Dance Dance provides a closure at the end that many of Murakami’s other works don’t,” she said.

Ticket prices range from $8–$18 for the in-person production at the Earle Ernst Lab Theatre on January 25–28 at 7:30 p.m. and January 29 at 2 p.m.

The play includes strong language, sexual content, simulated smoking and references to murder.

For more information visit the .

Students from the University of �鶹��ý at ����ԴDz� (ACM) in the are asking the public to weigh in on their individual film projects. On Friday, October 7, ACM Share the Screen will feature multiple student films in front of a live audience, which will provide firsthand feedback.

“Ideally, the student filmmakers will benefit by being able to view their film within a theatrical setting, gauge audience feedback, and to be able to have a healthy Q&A, feedback discussion with the audience on their work-in-progress edits of their student film projects. Films are meant to be shared,” said Associate Professor Anne Misawa who teaches the ACM 386 Techniques: Film Festivals course.

In addition to screening their films, Misawa’s students are also organizing the event. Her inaugural UH ����ԴDz� ACM course introduces students to different perspectives of a film festival; as participants, filmmakers and event coordinators.

Light refreshments will be provided at the free showcase at the UH ����ԴDz� Art 132 Auditorium from 5 to 9 p.m. Ten student flicks will cover a wide range of genres including drama, animation and horror. Audiences will also be treated to a creative short event promo created by ACM 386 students to kickoff the ACM Share the Screen event.

“It has been terrific to see how enthusiastic the students are in this class to learn the ins and outs of active participation in the film festival arena,” Misawa said.

Student films

• As Cliche As It Sounds, Emmy Okinaka
• Charlie’s Guide, Beck Hong
• Cringe Kid Kyle: The Musical, Ian Severino
• Embers, Justin Pascua
• Love in Silence, Leslie Dam
• Nocturnal, Justin Pascua
• Parental Consent, Justin Ocampo
• Quests Are for the Broke, Jewel Racasa
• The Rose, Katrina Spencer
• Venus Rises, Mina Hostrop

This November, students will have the opportunity to shadow �鶹��ý International Film Festival organizers to get an insider’s view of what it takes to put on the world-renowned event each year.

The recently released the largest and most comprehensive collection of Cambodian literature available in English to date. Published in September 2022, Out of the Shadows of Angkor: Cambodian Poetry, Prose, and Performance through the Ages, is featured in the biannual publication .

Assembled over 30 years, the book features:

• 14 centuries of literature, from ancient transcriptions to a graphic novel excerpt (full color).
• Rescued literature nearly lost during Cambodia’s civil war, the Khmer Rouge regime, and its aftermath.
• Literature never before available in English, including translations of Khmer, Sanskrit and French works, alongside pieces penned in English by writers of the Cambodian diaspora.

“[T]his book seeks to bring Cambodian literature out of the shadows of the great temples of Angkor and out of the ashes of a war that killed most of the country’s authors and destroyed countless irreplaceable books, whether by fire, neglect, or being turned into cigarette wrappers or toilet paper,” wrote Sharon May, one of the anthology’s five guest editors.

The book includes passages from Reamker, an adaptation of the Hindu Ramayana, and works from the Cambodian Golden Age, including Khun Srun on political repression. Emerging writers, poets, musicians and performers are also featured pushing boundaries with diverse reflections on contemporary Cambodia and the diaspora.

Members of the UH community can view the works for free via .

is the companion volume to (spring 2004). Both appear as part of the ����ԴDz� series.

More on the ����ԴDz� editors

Out of the Shadows of Angkor was produced by the distinguished and long-standing editorial team Frank Stewart and Pat Matsueda, from the UH ����ԴDz� . This is their penultimate issue, produced prior to their retirement in fall 2022. Their final issue will feature the literature of Burma, to be published in winter 2022.

Stewart is a writer, translator and founding editor of ����ԴDz�: A Pacific Journal of International Writing. He is a professor emeritus of English at UH ����ԴDz�.

Matsueda has been managing editor of ����ԴDz� since 1992.

The ����ԴDz� journal will continue to be published by UH Press and sponsored by the UH ����ԴDz� Department of English.