In celebration of 100 years of Summer Sessions at the University of �鶹��ý at ����ԴDz�, the , an initiative of UH ����ԴDz� Community Programs, presents (“To Be As One Lei Adorned”), a special restaging of this year’s Merrie Monarch Hōʻike by the EO LEI ʻILIAHI Foundation. The performance will take place on Friday, May 22 at 7:30 p.m. at John F. Kennedy Theatre.

“He Lei Hoʻokahi” serves as a stirring tribute to the late Kumu Hula Darrell Lupenui and celebrates a significant milestone—50 years of kāne hula at Merrie Monarch. The evening invites the community to experience the strength and artistry of kāne hula and the richness of moʻolelo (stories) that define Hawaiian cultural practice.

A legacy of culture and education

This concert represents more than a performance. It honors the enduring legacy carried forward by kumu, dancers and hālau, while celebrating a century of educational excellence at UH ����ԴDz�. UH ����ԴDz� embraces its kuleana—its responsibility and duty—to honor the host culture by serving as a vital space where Hawaiian cultural knowledge and practices are showcased, uplifted and perpetuated.

Through Outreach College’s Community Programs, UH ����ԴDz� welcomes the broader community onto campus and extends its educational mission beyond traditional academic settings. Within this distinctive role, programs such as the Asia Pacific Dance Festival create spaces where cultural knowledge, artistic practice and community engagement come together in meaningful ways.

The event marks a significant convergence of institutional and cultural milestones, recognizing UH ����ԴDz�’s commitment as a place of Hawaiian learning and its unique role in preserving and celebrating Hawaiian cultural heritage through extended education, community partnerships and outreach initiatives.

For more information and to view performance details, visit: .

Six students from the University of �鶹��ý at ����ԴDz� dance program in the returned from an international dance tour across London, Paris and Poitiers, France this spring, performing and collaborating with artists from around the world.

The group, joined by two dance instructors, traveled in March and April for a tour that culminated at the innovative Festival à corps at the Université de Poitiers in France. The festival explores and questions the body and its aesthetic, physical and contemporary representations.

“Participating in an international tour showed me that movement transcends borders,” said Karissa Thuy Deen-Bugaj, a theatre and dance master of fine arts (MFA) candidate. “To feel an audience connected with the work across borders is one of the reasons I love my craft.”

Hina inspired

At the center of the tour was the original and dynamic production of Tides of the Moon, a 20-minute dance theater performance created by university educators and artists Sami L.A. Akuna and Kara Jhalak Miller.

Inspired by the Pacific Moon goddess Hina, the choreography explores the connection between water and sky, body and tide while reflecting on climate, change and transformation. The process based work was performed in Poitiers as part of an international festival. Tides of the Moon sold out and ended with a standing ovation.

“When the audience rose to their feet, cheering and applauding, I felt something happen that I’ve only read about in theory: the dancing body really can speak across cultures,” said Kun Zhou, a theatre and dance, and performance studies graduate student. “As a dance PhD student researching cross-cultural embodiment, that standing ovation turned theory into something I could feel in my own body.“

According to Akuna, Tides of the Moon drew from moʻolelo of Hina, the Hawaiian moon calendar and themes of climate change. While on tour, the dancers took part in performances, workshops and creative exchanges at the Intercultural Roots conference, dedicated to the cultivation of supportive environments in which artistic practices grow, contributing to positive transformation locally and globally.

“Our students interacted with performers from Portugal, Berlin, Korea and France through various workshops and performances and left with new friendships and a lasting experience they will never forget,” Akuna said.

Student artists

Students on the tour were Zhou, Thuy Deen-Bugaj, Ellie Fischenich, Santiago Isaac Rivera Rodas, Bayardo Rodriguez Jr. and Zhenhao Wen, who performed, taught and presented original choreography and dance films throughout the trip.

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.”

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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.”

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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.

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Ligaya Stice and Tammy Spain bonded in the mid-1980s as part of the , entertaining thousands of people at UH football games. More than three decades later, the bond remains, but now as medical professionals working to improve the overall health of the communities they serve.

Stice is a pediatric anesthesiologist with Pacific Anesthesia, Inc., and Spain, who resides in central Florida, is the associate director for project management for The FlexPro Group, a consulting firm in the pharmaceutical and life sciences industry. While their specific fields are different, their paths recently crossed when Spain needed Stice’s advice on a project she was working on.

“I felt lucky. It’s not a normal thing to know somebody that has that kind of background,” Spain said.

Stice added, “For me, I felt as though this is a person that I trust. This is a person that I’ve known for a long time.”

That trust was born from their time with the Rainbow Dancers and as members of other student groups on the UH ����ԴDz� campus. Stice majored in chemistry, and Spain majored in biology, and they looked forward to dance practices and events, and just being with the other students on the team.

“At the end of the day, to be able to run down the stairs to the Quarry [for practice] and just have an outlet, that was really valuable,” said Stice, who was also crowned Miss �鶹��ý 1989 and is a former New England Patriots cheerleader.

Spain added, “I remember being around a lot of really talented, beautiful, intelligent women. We just had such a good time together. We all got along great.”

Career path started at UH ����ԴDz�

Aside from dancing, the pair recalled spending quality time and supporting each other through their majors, while also preparing for graduate school. Stice and Spain earned scholarships, funding and opportunities through the National Institutes of Health Minority Access for Research Careers—a program that aimed to increase diversity in biomedical research.

After leaving UH, Stice earned an MD and PhD from Boston University and completed her residency training in anesthesiology at Weill Cornell Medical Center, while Spain earned a PhD in molecular biophysics and biochemistry from Yale University.

“When I got ready to go to grad school, I wasn’t sure if what I had done was going to be good enough. But it turned out, it was,” Spain said. “What I took out from that was, wherever you go to school, you can make it great. And UH was really great.”

Stice, who sees patients come through the hospital every day for surgeries, is that comforting voice to both the patient and sometimes their parents to ease their anxiety and let them know that everything will be okay. She said her experiences as a Rainbow dancer, Miss �鶹��ý and background in musical theater, have helped foster her confidence and communication skills.

“It’s something that you have to be very conscientious about, and it’s something that I still try to be very deliberate about,” Stice said. “How you talk to people, how you choose your words, how you explain things so that they feel comfortable. You’re not talking over their head but you’re not dumbing it down. It’s reading the room and being sensitive to the human being on the other side. I think any team sport, whether that sport is theater or Rainbow Dancers, requires that skill.”

She concluded, “I really feel that it’s about utilizing all of your gifts to get to where you want to be, don’t exclude or deny a certain part of yourself. Keep an open mind and be creative.”

‘Models of success’

The Rainbow Dancers are an integral part of the , regularly performing during marching shows and pep band events. According to Stice, a year before they became part of the team, she recalled a special focus on recruiting local women to become members. That’s when she said the squad grew from about 10 to 30. Stice and Spain also credited then-Rainbow Dancer Advisor Marcelo Pacleb with bringing in local talent to be part of the program.

Current UH Marching Band Assistant Director Gwen Nakamura started teaching at UH around the time Stice and Spain were part of the team.

“Former Rainbow Dancers Ligaya Stice and Tammy Spain, the two of them have paved the way for so many past and current Rainbow Dancers,” Nakamura said. “They have been at the forefront to show that you can be strong models of success in life.”

—By Marc Arakaki

This week’s UH News Image of the Week is from University of �鶹��ý at ����ԴDz�’s Christine Lamborn, operations coordinator and publicity associate for and the .

Lamborn shared “this dance concert, showcases the culmination of years of dance study and creative exploration through diverse movement practices. It highlights exemplary dance student choreography as well as MFA thesis work showcasing choreography by graduate students and BFA dance majors on the eve of graduation. Featured choreographers include: Jean Carlo Carrio Mendez, Anna Asano, Sofía Isabel Sanna, Hannah Morrow, Hannah Archer, Nani Marcos and Alaina Cota.”

Spring Footholds: Merge runs April 5–8. .

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International Night
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Pond
Chick
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This week’s UH News Image of the Week is from University of �鶹��ý at ����ԴDz�’s Christine Lamborn, operations coordinator and publicity associate for and the .

Lamborn shared “Student dancers on the Kennedy Theatre Mainstage. Performing an excerpt from the upcoming production of ‘’ that opens November 11.”

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More about Form within a Form: Echoes and Reverberations

• Renowned Korean choreographers train UH ����ԴDz� dancers for mainstage, September 6, 2022
• UH ����ԴDz� dance concert to feature Indigenous Korean contemporary works, November 7, 2022

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The University of �鶹��ý at ����ԴDz� and Kennedy Theatre are preparing to premiere , a transformative dance concert with a cast of 60 performers, featuring dynamic, interactive and powerfully innovative collaborations between original dance, music, mixed media, scenic art and costume design. Directed by Kara Jhalak Miller, the season’s largest dance production will highlight internationally renowned choreographers from the Korea National University of the Arts in addition to original contributions by local �鶹��ý artists, UH ����ԴDz� dance and music faculty.

“This production focuses on deeply investigative creative processes with themes of nurturing, nourishing, sustaining, transmission and transformation that also explore immersive perception and physical listening through the senses and body,” said Miller, associate professor and associate chair of dance at UH ����ԴDz�.

The National Endowment of the Arts awarded the UH ����ԴDz� $10,000 for the production, which helped bring renowned Korean dance artists 정재혁 Jae Hyuk Jung and 김삼진 Samjin Kim to the ����ԴDz� campus to train students for two special numbers, “출정/Chuljeong: The Battle Against Invisible Fear” and “Hangout,” focusing on Indigenous contemporary dance with Korean traditional contexts to be featured in the concert. Both artists are serving as resident dance artists this fall.

Related:Renowned Korean choreographers train UH ����ԴDz� dancers for mainstage, September 2022

for the in-person production at Kennedy Theatre on November 11, 12, 18, 19 and 20. The concert will also feature choreography from local artists and UH ����ԴDz� dance and music faculty: Miller, Sai Bhatawadekar, Kaʻohinani Yojo Daniels, Betsy Fisher, Amy Lynn Schiffner and Jonathan Clarke Sypert. Original music compositions by Rafael Borges Amaral, Keith Cross, Takuma Itoh and John Signor, with movement-based media art by Larry Asakawa.

The mainstage production, originally slated for fall 2020, was postponed due to the pandemic. Audiences will be transported through a wide spectrum of dance genres and traditions such as Bhatawadekar’s हीच इनंती यावं जी – Invocation, a Marathi song choreographed to embody form inspired by the god of stage; Cross, Daniels, Schiffner and Sypert’s, Meta, exploring ways in which lyricism is connected to cognitive function, language, and cultural and environmental sustainability. The full cast dance piece in the concert, Elements, is co-directed and devised by Miller and Signor, an associate professor of music at Leeward CC featuring a contemplative sound score with live musicians, crystal bowls, midi keyboard, computer and vocalizations.

Lighting designs for the production created by MFA candidate Rebecca Mahar, costume designs by Maile Speetjens, Hannah Schauer Galli and MFA candidate Devin Walters, with video projections by Michelle Bisbee, 이성호 Sung Ho Lee and Rick Greaver.

A popular exploratory dance course combining artistry forms such as drag, runway, vogue and pageantry is gaining momentum at the University of �鶹��ý at ����ԴDz�. The recently launched a queer dance class, a three-credit elective course that offers students an opportunity to explore the communicative, physical and artistic aspects of dance as a medium of human expression and interaction.

Queer theory and queer studies are emerging in university curriculums across the nation. UH ����ԴDz� is one of the first higher education institutions in the country to offer a full-semester, three-credit performing arts practice based course in queer dance.

“There is a great need to create a space of visibility for queer performing artists,” said Kara Jhalak Miller, an associate professor and associate chair of dance at UH ����ԴDz�. “The dance faculty advocate for and support BIPOC (Black, Indigenous, People of Color) and LGBTQ+ dance, theater and performance scholars, artists, and artistic practices.”

More on queer dance

The dance genre, which can be traced back to the 1980s, was born out of gay and lesbian dance clubs and ballroom culture and has been widely popularized on stage by pop artists such as Lady Gaga and Madonna. Queer dance also features performing art forms such as impersonation, lip-synching and pantomime. The UH ����ԴDz� course incorporates techniques and choreography created by Asian and Pacific Islander māhū (identity with male and female characteristics) here in �鶹��ý.

“Self-confidence is key in this. Exploring yourself, who you are, not being afraid to be a little bit sexy, a little bit sassy, discovering new sides of yourself. I think that’s very much queer dance,” said Hannah Archer, a UH ����ԴDz� dance major enrolled in the class this fall.

This classically trained dancer is grateful that UH ����ԴDz� created the course last spring and believes that learning diverse dance genres and their history is key to becoming a well-rounded performer.

Nānā i ke kumu (Look to the source)

At the helm of the cutting-edge dance course is renowned �鶹��ý performer Sami L.A. Akuna, a celebrated drag queen icon who is also known by his stage name, Cocoa Chandelier. Akuna, who earned his BFA in dance, BA in theatre and MFA in Asian theatre directing in the theatre and dance department at UH ����ԴDz�, brings decades of experience in the performing arts, having entertained on stages across the continent and here in the islands.

The Native Hawaiian instructor presents students with choreography and dance techniques that have graced �鶹��ý’s entertainment scene through the decades, dating back to revered onstage revues in the 1960s at The Glades, a popular downtown Honolulu bar that featured female impersonation.

“There is a lot of stored history in those production numbers that I’ve learned by watching or participating in these shows in Waikīkī or in fully mounted drag shows outside of those,” Akuna said. “Most of that choreography has been shared and remembered across generations. I’m bringing the knowledge and physical history of those movements to the class as well as creating new ones.”

Akuna’s course fulfills degree electives of both dance and queer studies. The UH ����ԴDz� Department of Theatre and Dance and are currently working on cross-listing the course in both disciplines.

“LGBTQ+, māhū and ally students tell me that Sami L.A. Akuna’s queer dance is both empowering and life affirming,” said Camaron Miyamoto, director of the . “This is truly powerful and transformative education—exactly what higher education can do when it is at its very best.”

Taking their show on the road

Audiences will have an opportunity to catch Akuna’s students perform. Students are currently preparing to appear at the Honolulu Pride Festival on October 15 and �鶹��ý State Art Museum on December 2.

Their onstage debut was showcased at the 37th annual Universal Show Queen Pageant at �鶹��ý Convention Center in early October.

This fall, Kennedy Theatre’s 59th production season will focus on a single mainstage production. The University of �鶹��ý at ����ԴDz� is working on , a transformative dance concert with a cast of 60 performers, featuring dynamic, interactive and powerfully innovative collaborations between original dance, music, mixed media, scenic art and costume design. Audiences will be transported through a wide spectrum of dance genres and traditions, among them works created by international guest choreographers from the Korea National University of Arts.

The National Endowment of the Arts gave the UH ����ԴDz� a $10,000 award for the production, which helped bring renowned artists Jae Hyuk Jung and Samjin Kim to the ����ԴDz� campus to train students for a few special numbers to be featured in the concert. Both are serving as resident dance artists this fall.

Jung’s focus is teaching students to use repetitive movements as a method of skillfully combining two opposing elements of Korean tradition and contemporaneity. Kim’s choreography challenges dancers to blend movement utilizing breath techniques and improvisation.

“It’s very honoring and awe struck, as well because we’re learning culture from people who are directly immersed in it. So it’s a direct transfer of knowledge and it’s very enlightening,” said Nani Marcos, a dance BFA major at UH ����ԴDz�.

Korean dancers bring deep expertise

Marcos is a classically trained dancer from Waipahu, and thrilled to have the opportunity to immerse herself in Indigenous contemporary dance practices, which is helping broaden her connection to the art form.

“In Korean dance everything comes from your breath. From the music phrases you wanna catch the beat of the music with that first breath that you take and it leads you into all of your movements,” said Marcos.

Jung and Kim have also hosted a series of free dance workshops for the public. Their residency at UH ����ԴDz� has captured positive headlines in South Korea, and citizens are pleased that traditions from their homeland are being shared.

“Back in Korea many people are interested in this project because it is an opportunity to raise awareness of Korean dance through the exchange,” said Kim. “I am very honored and thankful.”

for the in-person production at Kennedy Theatre on November 11, 12, 18, 19 and 20. The concert will also feature choreography from local artists and UH ����ԴDz� dance and music faculty: Sai Bhatawadekar, Kaʻohinani Yojo Daniels, Betsy Fisher, Kara Jhalak Miller, Amy Schiffner and Jonathan Clarke Sypert. Original music compositions by Keith Cross, Takuma Itoh and John Signor, with movement-based media art by Larry Asakawa.

For more information, .

Sai Bhatawadekar, an associate professor from the University of �鶹��ý at ����ԴDz� , who teaches Bollywood dance, film, and Hindu-Urdu languages, garnered national recognition and rave reviews for her choreography. Her work — RRegh — represented UH ����ԴDz� at the American College Dance Association (ACDA) and was selected by the ACDA judges from among submissions from universities and colleges across the country. It was shown at its nationwide Virtual Gala Concert on May 1, 2022.

Her choreography, RRegh, which tells a story of trauma and loss, grief and its overcoming, begins with Indian folk movements and transitions beyond cultural or stylistic boundaries. The piece, inspired by three original poems written by Sai herself and set to a cello composition written by Nawahineokalaʻi Lanzilotti (East-West Center Arts Program), struck such a profound chord with ACDA judges who called it striking, epic, and expressed feeling ties to their own Indigenous roots.

“It’s been wonderful to see all the varied interpretations…It also means a lot to me to hear that the reviewers were moved… that it reminded them of ancestral impulses,” Bhatawadekar explained. “I am genuinely very grateful to the students, composer, production designers, crew, and faculty for their talent, commitment, and support in the process of creating this piece.”

Students Anna Asano, Thomas Gillard II, Kira Magnuson, Ryoko Natt, Kawika O’Connor, Ritu Krishna Raju, Annaliese Wirsching and Allan Zablocki performed the submitted chorgeograhy. Brainstorming ideas, songs, and movements began in September 2021 and the piece evolved as the dancers rehearsed.

“In the beginning some of the students were online as they were getting vaccinated,” said Bhatawadekar. “They zoomed in. The students are so talented; they made it look easy to learn over Zoom. But of course, it was much better when we were all together in the dance studio physically.”

And the beat goes on for Bhatawadekar who is in the middle of choreographing various pilgrimage folk traditions from her native region of Maharashtra in India. This, all while teaching Hindi, Urdu, as well as a Bollywood Dance, Music, and Film course every semester at UH ����ԴDz�. She plans to debut a new dance piece in November 2022 on ’s mainstage for an upcoming concert, Form Within a Form.

This work is an example of �鶹��ý����ԴDz�’s goal of (PDF), one of four goals identified in the (PDF), updated in December 2020.

Related UH News stories:

• Bollywood choreographies brought to life by UH ����ԴDz� ʻohana, January 7, 2020
• Bollywood meets Shakespeare at Kennedy Theatre, January 29, 2019