A new production is shining a light on the lives and journeys of Filipinos in �鶹��ý. “,” directed by J. Lorenzo Perillo, blends movement, music and history into a fast-moving tribute to identity and community. Performances run through November 23, on the Mainstage at the University of �鶹��ý at ����ԴDz�.

Perillo serves as co-director of the (CPS) and is also an associate professor in the Department of . He created the show in honor of CPS’s 50th anniversary.

“‘Dancing in the Diaspora’ delves into the interconnected lives of Filipinos maneuvering the waters of belonging and exclusion in �鶹��ý and beyond,” said Perillo.

Stories through dance

The performance moves between hip-hop, street dance, contemporary, Filipino Indigenous styles and ʻori Tahiti (Tahitian dance). Live kulintang (traditional Filipino gong instrument) and Tahitian music set the tone. The dances explore home, identity and the journey of carrying culture across oceans.

for the in-person production at Kennedy Theatre. The production features international and local collaborators such as Mary Chris (Mycs) Villoso, Von Ace Asilo, Angela Sebastian, Ron and Lydia Querian (House of Gongs), Manarii and Nalini Gauthier (Tahiti Mana), Irisgil Viacrusis, Michelle Bisbee, Tyler Kanemori and Evan McCarty.

One of the most meaningful collaborative elements grew out of Villoso’s artist residency at UH ����ԴDz� earlier this year, which included workshops with local high schools such as Maryknoll, Farrington and Waipahu. Building on that work, the production features Farrington High School students who have been rehearsing since September with their teacher Michelle Levine Aquino, a recent UH ����ԴDz� graduate, to perform a piece rooted in Philippine games and street dance. Aquino also contributes an Ilokano chant that helps open the show.

“If you dig beneath the deep layers of colonization, you find the ways the people of the Pacific are connected through language, food, stories and beliefs,” said Nalini Gauthier. “Dance has been a steady vessel carrying me through this journey of rediscovery and empowerment.”

The production also features a heartfelt dance film showcasing UH’s custodial staff.

Perillo expressed that the staging is deeply connected to �鶹��ý’s social and cultural landscape.

“Filipinos make up one-fourth of �鶹��ý’s population, yet there is a clear lack of Filipino representation in education. Representation matters. It’s critical in strengthening students’ self-worth, identities and success.”

.

When Mary Jo Freshley arrived in �鶹��ý in the early 1960s, she intended to build her career in physical education. Instead, she found herself drawn into the world of Korean dance where she would spend the rest of her life preserving, teaching and sharing.

Freshley, who was born and raised in Ohio and turns 91 in September, moved to �鶹��ý to teach at Kamehameha Schools Kapālama, where she worked for more than 30 years.

Her first steps with dance began in 1962, at the University of �鶹��ý at ����ԴDz�, when she enrolled in a summer class, taught by pioneering Korean dancer Halla Pai Huhm.

“Learning from Halla Huhm was sometimes stressful, sometimes not,” Freshley said. “But overall, the one thing I admired the most about her was that she always wanted to learn more.”

After joining the studio and years of extensive training, Freshley was formally recognized as an instructor in 1975, and given the Korean name Pai Myung-sa.

When Halla Huhm passed away in 1994, Freshley became the director of the studio, guiding her students through new eras of ever-modernizing and changing dance styles.

She and her students will celebrate the 75th anniversary of the studio with a concert in September.

Bringing Korean dance to the ‘Bows

In 1998, Freshley took her talents and passion for teaching outside of the dance studio and into the classroom.

She started off as an instructor with the UH ����ԴDz� and then to the , where she continues to teach introductory and upper-level Korean dance classes.

Freshley said while teaching at UH ����ԴDz� is much different than teaching at her studio, it’s just as fulfilling.

“Some students just take my class because they need the one credit,” Freshley said. “But, then they suddenly discover there’s more than one way to move your body and learn so much, and that’s the part I enjoy.”

A lifetime of teaching

Teaching wasn’t always her calling—she just wanted to be able to move around and stay active, so when she discovered the career of a P.E. teacher, she knew it was the job for her.

“In college, I realized I could major in physical education and still run around and have fun and do all those activities, and even get paid to do it. So I decided then and there that would be it,” Freshley said.

Regardless of her motivations to pursue teaching, her passion and wealth of knowledge resonated and continues to resonate with all her students.

“I always feel safe with Mary Jo and I know her studio will always be a safe place where I can be comfortable while I’m learning from the best of the best,” said Cynthia Lee, a student of Freshley for over 20 years.

Leaving her mark

Freshley now looks to the future as she and her students soon celebrate the 75th anniversary of the studio she’s been with for over 60 years.

“I’m not the most logical person to be teaching Korean dance—I’m from Ohio,” Freshley said. “But I want my students and everyone to know that I love what I do and I’m passionate about it, so that’s the legacy I hope to leave.”

The Halla Pai Huhm Korean Dance Studio’s 75th anniversary concert is on September 6, 2025 at 4 p.m. at the Kaimuki High School Performing Arts Center. Learn more and purchase tickets at the website: .

—By Grant Nakasone

The (APDF) is moving ahead—despite a last-minute loss of major funding. Just two weeks before its May 19 return to the University of �鶹��ý at ����ԴDz�, the National Endowment for the Arts withdrew its $25,000 grant to support the festival’s programming.

“While this loss poses a significant challenge, the APDF team remains committed to delivering an inspiring celebration of dance, culture and connection, and this only strengthens our resolve,” said SheenRu Yong, associate director of APDF. “We’re not canceling—we’re coming together. The show will go on. If anything, this challenge is a call to gather for what matters, so come through.”

Hosted by UH ����ԴDz�’s , the festival runs through June 1, and brings together artists and dance traditions from across Asia, the Pacific and �鶹��ý. Participants can take part in immersive workshops, attend performances and explore the cultural roots behind each movement.

The festival happens every two years and offers a deep, hands-on dive into storytelling through dance.

or by phone (808) 956-8246.

Festival highlights

Residents Artists

, under the direction of Kumu Hula Vicky Holt Takamine

from India/Canada, directed by Deepti Gupta

from Rotuma, Fiji, led by Letila Mitchell

Living the Art of Hula
Hālau Kilipohe Nā Lei Lehua
Thursday, May 22 at 7:30 p.m.

Local Motion!: A Tribute to H. Wayne Mendoza
A celebration of traditional Filipino dance by Mendoza’s former apprentices
Sunday, May 25 at 2 p.m.

ʻIke Hana I & II
Two dynamic performances showcasing different works by this year’s resident artists
Saturday, May 31 at 7:30 p.m.
Sunday, June 1 at 2 p.m.

“The public is warmly encouraged to attend this year’s performances, share the festival with others,” said Yong. “Every ticket, every social share, and every gesture of support helps sustain this work.”

.

The Ballroom Dance Club at the University of �鶹��ý at ����ԴDz� defended its national championship at the (NCDC), in Pittsburgh, Pennsylvania, March 28–30.

Competing against more than 40 colleges, UH ����ԴDz� won first place once again for “highest point average,” as well as second place for both the overall team championship and the formation team competition, asserting its place as the ballroom dance college team to beat in the U.S. Winning top honors in the highest point average requires all members of the team to perform exceptionally well in all events.

The dancers are trained and coached by Ravi Narayan and Synthia Sumukti (choreographer and instructor). Narayan and Sumukti also represented �鶹��ý in the amateur USA Dance National DanceSport Championships in the senior age division.

“It was an incredibly proud moment to defend our highest point average victory—it speaks volumes about our team’s dedication and passion,” said Narayan, co-instructor of the UH ����ԴDz� Ballroom Dance Club and an adjunct faculty member in the UH ����ԴDz� . “To finish second overall against such fierce competition is a testament to the discipline and the hundreds of hours of hard work that our students put into their training.”

Two years of success

This was just the second year the UH ����ԴDz� team competed at the national competition since the formation of the club in September 2022. Last year, the students took first place for “highest team average” and finished in fourth place overall.

“Nationals was one of the most challenging yet rewarding tasks I’ve ever accomplished,” UH ����ԴDz� computer science student Shaelyn Loo said. “Being able to dance and compete with such supportive coaches and teammates helped ease the nerves of competition so I could focus on having fun and performing.”

Andrew Lin, a UH ����ԴDz� computer science student, added, “Nationals was an unforgettable experience that evoked a whirlwind of emotions—excitement, frustration, acceptance, pride and gratitude. Despite the challenges, the friendships we forged, lessons we learned and our love for ballroom dancing made it all worthwhile.”

Endurance competition

The NCDC is a grueling competition with events starting at 7 a.m. every morning. It consisted of multiple events based on proficiency (bronze, silver, gold, etc.) and age level (youth, collegiate, adult, senior, etc.). Each student danced in approximately 15 to 32 different events in both the collegiate and adult age categories at the bronze and silver skill levels. They competed in all four styles of ballroom dance including International Standard (waltz, foxtrot, tango and quickstep), American Smooth (waltz, tango, foxtrot and viennese waltz), American Rhythm (chacha, rumba, swing and bolero) and International Latin (samba, chacha, rumba and jive). Several students took individual first place awards in their respective divisions defeating up to 70 other competitors in some competitions. The NCDC trip was designed to give the team exposure to a collegiate competition, as �鶹��ý has no statewide collegiate ballroom competitions.

An audience member and parent of a high school junior said, “Thanks to your team, my daughter (who has never done ballroom dance before) wants to join your team and is now seriously considering the University of �鶹��ý as an option for her undergraduate studies.”

More about the Ballroom Dance Club

The Ballroom Dance Club offers beginner classes to all UH ����ԴDz� students, faculty and staff in studio 2 in the athletics department from 6–7:30 p.m. on Tuesdays. No dance experience is required. For more information, or visit their Instagram page @bdcuhm.

The team would like to thank the Department of Information and Computer Sciences, UH ����ԴDz� athletics department, Student Activity and Program Fee Board, Associated Students of the University of �鶹��ý and USA Dance, Inc. for facility and financial support.

UH ����ԴDz� 2025 nationals team roster:

• Ravi Narayan, faculty (computer science) and coach
• Synthia Sumukti, coach
• Florence Liu, faculty (math)
• D’Elle Martin, architecture
• Julietta Lopez, architecture
• Epsilon Austin, biotechnology
• Luis Hernandez, computer engineering
• Yong-Sung Masuda, computer science
• Courtney Hisamoto, computer science
• Elijah Saloma, computer science
• Shaelyn Loo, computer science
• Andrew Lin, computer science
• Michaella Villanueva, computer science
• Alexander Picken, Earth science
• Kyoko Suzuki, environmental science
• Mayumi Watanabe, hospitality
• Christopher Ramirez, linguistics
• Gregory Snyder, mechanical engineering
• Matthew Rummel, political science
• Andrea Siochi, psychology
• Sydney Kim, alumni, computer science
• Jason Aguda, alumni, computer engineering
• Wilson Tran, alumni, computer science
• Emily Pham, alumni, computer engineering

Formation team

Swing

Viennese Waltz

Waltz

For the first time, University of �鶹��ý at Hilo will take the national stage at the 2025 American College Dance Association Festival in Washington, D.C.

Sixteen dance students and two faculty members were selected to perform Haliʻa Aloha No Kaimū, a powerful tribute to Hawaiian ancestry and place. Their piece was one of only three chosen from 40 performances at the High-Desert Regional Conference in Wyoming this March. It marked UH Hilo’s first appearance at a regional—and now, a national—festival.

Choreographed by dance instructor Kea Kapahua, the work honors her family’s roots in Kaimū and Kalapana. Both were towns in the Puna district of �鶹��ý Island buried by Kīlauea lava flows in 1990.

“My intent was to capture the feeling of a moment in time of a people group, in a special place,” said Kapahua. “The piece speaks of our ancestors, and that we are not alone.”

Uplifting Kaimū

The piece weaves chant, hula, oli and visuals. It includes audio of Kapahua’s 91-year-old aunty describing life in the now-lost village of Kaimū, along with ocean footage from the area. Dancers used ʻili ʻili stones and performed traditional songs like Aloha Kaimū and Hōlei.

Unexpected lessons

For the UH Hilo students, it’s been a transformative journey.

“Being chosen to perform at Nationals, is such an honor not only for my school, my community, and my home, but for my ʻohana who lived in Kalapana, the Kalehuloa/Sweezey family,” said dancer Loreal Gonzales.

Student Milia Dela Cruz added, “This past year opened my eyes to a new world of movement and expression. Not only did I get to share my passion for hula in a meaningful way, but I also formed unexpected friendships and pushed beyond my comfort zone.”

Kapahua says the moment is bigger than the award.

“Only three dance works from each region were chosen to move on to the National Festival. It is an incredible honor for UH Hilo to be represented like this.”

The 2025 (APDF) is set to return to the University of �鶹��ý at Mānoa from May 19 to June 1, offering a rare opportunity to experience the rich dance traditions of Asia and the Pacific.

The immersive two-week experience offers workshop participants and performance attendees a deep dive into movement, music, history, language and cultural traditions.

Festival highlights

• Residents Artists:
1. Hālau Pua Aliʻi ʻIlima, under the direction of Kumu Hula Vicky Holt Takamine
2. Arzoo Dance Theatre from India/Canada, directed by Deepti Gupta
3. Rako Pasefika from Rotuma, Fiji, led by Letila Mitchell
• Special Tribute: A Filipino dance performance honoring the legacy of the late H. Wayne Mendoza
• Hālau Kilipohe Nā Lei Lehua, featured in a full-length evening concert

The National Endowment for the Arts (NEA) recently awarded APDF a $25,000 grant, recognizing its role in preserving and sharing these dynamic traditions.

“We are honored to receive support from the NEA for the Asia Pacific Dance Festival,” said Tim Slaughter, interim dean of UH Mānoa . “This grant acknowledges the festival’s significant impact on the dance culture of Asia and the Pacific, as well as its role in fostering cultural exchange.”

The NEA grant will directly support the artists performing at the festival.

For more go to the .

The University of �鶹��ý at Mānoa is bringing a powerful exploration of Black heritage and identity to the stage with Beige: An Afro Ballet, an interdisciplinary collaboration by graduate students Jonathan Clarke Sypert and Marcus Moore. The performance, which features an all-black cast of 14 dancers, will debut during Black History Month at the , held in the Earle Ernst Lab Theatre from January 29 through February 2.

The performance, which represents a milestone as one of the first known productions of its kind at UH Mānoa, marks the culmination of Sypert’s master of fine arts (MFA) in and Moore’s master of in composition. Beige blends modern dance with Moore’s orchestral score, which draws inspiration from Black diasporic music.

“I grew up in a BIPOC (Black, Indigenous and People of Color) family in �鶹��ý and my mother taught me how to be a storyteller through music, poetry and dance,” Sypert said. &ldquoI resisted that education at first but after learning to accept and share what I’ve been gifted over time, I found that my positionality comes with a deep kuleana (responsibility) to celebrate knowledge transfer between generations. My choreography is my embodied gratitude for my ancestors and my call to the audience to celebrate their own stories, so those stories will live on.&rdquo

Anansi the Trickster

Sypert’s piece begins with a disruption in the transfer of cultural traditions between generations. A child and an elder embark on a journey to bridge this gap, guided by Anansi the Trickster, a figure from Black folklore. Anansi challenges iconic characters from Black folktales to help the child reconnect with their heritage through a blend of storytelling, competition and vibrant movement.

“During my formative years, my family and friends would use music for dancing, telling stories, connecting, working and healing,” Moore explained. “For Beige: An Afro Ballet, I wanted to explore the sounds I grew up listening to and create a space where Afro-dance could be expressed in a traditional ballet format. This ballet is a reflection of the love I have for the vastness and beauty of Afro-cultures that I grew up experiencing.”

Audiences will have another chance to experience Beige at a public film presentation on March 13 at 7:30 p.m. at .

Vibrant showcase

In addition to Beige, the concert will showcase a vibrant array of performances, including Tongan, contemporary, hip-hop and jazz styles. These works represent original choreography by graduating MFA and Bachelor of Fine Arts or BFA students.

Ticket information

Tickets are available for $8–$18. Performances will run Wednesday through Saturday at 7:30 p.m. and Sunday at 2 p.m., with a post-show Q&A on January 31. More on tickets at the or contact the box office at ktbox@hawaii.edu or (808) 956-7655.

A vibrant array of dance styles—including Tongan, Afro-Cuban, contemporary, and hip-hop—will take center stage as graduating Master of Fine Arts (MFA) and Bachelor of Fine Arts (BFA) students showcase their original choreography.

The University of �鶹��ý at ����ԴDz�’s and present , running from January 29 to February 2, at the Earle Ernst Lab Theatre.

Directed by UH ����ԴDz� dance instructor Sami L.A. Akuna, this dynamic showcase highlights the creative journeys of its choreographers, reflecting their diverse perspectives and cultural influences.

Showcase spotlight

Hannah Archer’s “Painted People,” infused with tap and jazz elements examines self-identity and the passage of time. Archer invites audiences to find reflections of themselves in her work.

“I want the audience to see a bit of themselves in my piece and feel entertained and inspired by the entire show,” Archer said.

Nani Marcos’ “-apo” delves into ancestral respect and cultural identity, drawing on her Filipino-American heritage. Through storytelling, movement and sound, Marcos explores the significance of batok (traditional Filipino tattoos) as a medium for passing down traditions.

“This piece is about reconnecting with my culture and respecting our ancestors,” Marcos explains.

Stephen Isileli Kolokihakaufisi’s “Ritual” celebrates traditional Tongan dance with hip-hop and West African influences as a means of preserving cultural knowledge and community connection.

The concert also features Isabella Andrade’s “Mi Viejos,” Camille Dias’ “Limelight,” “Beige: An Afro Ballet” by Jonathan Clarke Sypert, “The Rite of the Heel” by Anneliese Wirsching, and Anu Shaw’s “Take One Take.”

Ticket information

Tickets are available for $8–$18. Performances will run Wednesday through Saturday at 7:30 p.m. and Sunday at 2:00 p.m., with a post-show Q&A on January 31. More on tickets at the or contact the box office at ktbox@hawaii.edu or (808) 956-7655.

This November, the University of �鶹��ý at ����ԴDz�’s Kennedy Theatre will come alive with , a dynamic dance concert featuring a blend of hula, ballet, martial arts, yoga and contemporary movement. Presented by the UH ����ԴDz� the showcase explores themes of resilience, transformation, and the power of expression through dance, November 20–24.

Co-directed by UH ����ԴDz� associate professors Pei-Ling Kao and Kara Jhalak Miller, the concert presents new works and some reimagined pieces originally debuted in the department’s virtual Sphere concert in 2021.

“Each beautifully crafted choreography, paired with stunning visual design, contributes to an overarching narrative that reflects the complexities of human experience and the power of movement as a means of expression,” said Miller.

More on performances

Kai Wawā Ka Moku
Choreographed by UH ����ԴDz� alumna and Kumu Hula Vicky Holt Takamine, the piece combines live hula and video projections inspired by an ancient chant that celebrates the birth of new islands.

Hale Aliʻi o Waimaka
Artistic director of Tau Dance Theatre Peter Rockford Espiritu presents a poignant ballet set against the backdrop of ʻIolani Palace, reflecting on trauma and Hawaiian resilience.

�ʰ����̣��
Presented by Miller explores the connection between yoga philosophy and contemporary dance.

境 Jing
Kao invites audiences to experience the balance between motion and stillness through Tai Chi and martial arts.

Other works in the show include Chop, which blends martial arts and urban dance and Pasok, a tribute to frontline workers that integrates hip-hop to celebrate community strength.

Performances will run at the Earle Ernst Lab Theatre November 2024. Tickets are available for $8–$18.

.