A new exhibit in the Bridge Gallery of Hamilton Library at the University of �鶹��ý at ����ԴDz� invites the public to play instruments repurposed from ʻō�貹���� (trash). Bike brake cables, SPAM cans, rice bags, and driftwood are just a few of the materials that make up the exhibit’s instruments.

Available through August 10, the “” exhibit by ethnomusicology lecturer Benjamin Fairfield combines ecomusicology with place-based learning and encourages examination of consumptive habits.

“The idea of accepting a label of trash as worthless primes us to see things as having no further utility and value,” said Fairfield. “This project is getting us to challenge those labels and think, ‘Is it really worthless? Can’t it still have a voice, a utility, be part of our song and part of our creative process?’”

Crafted in the classroom

Many of the pieces were crafted in Fairfield’s class, a sustainability-focused course initially supported by the (CSEAS), where students repurpose found objects into Thai musical instruments. CSEAS has also supported outreach workshops for Kani ka ʻŌ�貹����.

“The class is important as a course that uses an Indigenous approach to sustainable music-making by recycling found objects and promotes craftsmanship grounded in Southeast Asian studies,” said Teri Skillman, CSEAS associate director.

“I was thinking, how can we connect community and music in a participatory way that is also sustainability-oriented? That’s where MUS311(M) brought all of these things together,” said Fairfield. “When students take the class, I wanted to make sure that music isn’t this scary thing that you’re not allowed to do.”

Rooted in tradition and ʻ�徱�Բ� (land)

Fairfield’s project is largely inspired by his research as a graduate student and his time as a Peace Corps volunteer in Chiang Mai, Thailand, where he lived in a village with the Indigenous Karen (Pgaz k’Nyau) people.

“There were these musical traditions that were very interactive, and everyone had a role to play, whether it was dancing and clapping or joining along in some sort of singing capacity. Music wasn’t a presentational sort of thing—it was more participatory,” said Fairfield.

Currently serving as affiliate faculty at the and CSEAS, Fairfield brings a sense of inclusivity and creativity into his teaching.

“We’re going to celebrate sustainability and connection to the āina, and also repurpose these things as is done in the tradition,” said Fairfield, “Working with these materials is a way to connect people on a personal level to these objects that we otherwise don’t give a second thought to.”

‘Everyone’s welcome’

The exhibit highlights community involvement every step of the way, from collaborative works with local elementary schools to musings from local poets and professors.

“We explore musicality in a way that’s fun, engaging, sustainable, and hands-on,” said Fairfield.

Instruments featured also include those from a previous exhibit displayed in Capital Modern: The �鶹��ý State Art Museum as part of Fairfield’s selection for its . Fairfield’s illustrated children’s book, ties into the theme of the exhibit and is on display as well.

To learn more about the exhibit, visit the .

—By Josslyn Rose

At the University of �鶹��ý at ����ԴDz�, music is more than performance. For Joe Williams, it is legacy.

Williams, a doctoral student in and graduate assistant in the , has been named the 2026 Vanguard Award recipient for Classical Innovation and Community Impact. The honor, presented by Javacya Arts Conservatory on February 13 in Florida, recognizes his work as a recording artist, educator and arts leader.

“In the African-American community, receiving public recognition from an elder is a significant milestone,” said Williams. “It is an invitation into legacy and comes with tremendous responsibility. There is no greater honor.”

Music with purpose

Williams was the final mentee of Frances Walker-Slocum, a pioneering pianist and music educator. Drawing from that lineage, Williams’ work spans composition, teaching and advocacy.

“The UH ����ԴDz� Department of Music is very proud to have Joe among our graduate students,” said department chair Donald Womack. “Beyond his excellent work as a composer, we’re happy to see him recognized as the versatile, multi-faceted musician, educator and advocate for social justice that he is.”

Williams has premiered and recorded works by composers of African descent. He has also produced films highlighting cultural leaders including William Chapman Nyaho, Maxine B. Mimms and Maya Angelou.

“UH has deepened my music studies by empowering me to research and perform music from the Asia and Pacific regions,” said Williams. “There is no other music department in the country that affords such opportunities.”

Williams also teaches private piano lessons to students ages 4 through high school, with particular expertise in teaching neurodivergent learners, including students with autism and ADHD.

Free public recital

He will perform in an upcoming recital on March 12 at 7 p.m. in Orvis Auditorium on campus, performing the complete piano works of African American composers Betty Jackson King and Richard Thompson. The event is free and open to the public.

After more than two decades without a university band, the is ready to bring the music back. Leading that effort is new assistant professor of music Ocean Akaka, who arrives with a clear vision: rebuild the band program and help revitalize Hawaiian music through bold new arrangements and performances.

Akaka, who recently returned home to �鶹��ý after teaching on the U.S. continent, arrived in Hilo on a one-way ticket late last year.

“I quickly got settled in, and flew to Oʻahu to spend the holidays with my family, something I haven’t done since 2020,” he said. “That was a great moment for sure.”

Building musical bridges

Akaka, who specializes in conducting wind ensembles and athletic bands, is now part of UH �ᾱ����’s . However he said his larger mission reaches beyond performance. His research revolves around the revitalization of Hawaiian music through arrangements for Western instrumental ensembles, such as orchestra and band.

Born and raised in Wahiawā, Akaka earned his bachelor’s degree in from UH ����ԴDz�. He later completed both his master’s and doctoral degrees in conducting at the University of Nevada, Las Vegas. There, he led marching and pep bands, directed ensembles and taught conducting. His arrangements have been performed across the U.S. and Europe.

Now he brings that experience home.

“I’m writing a few arrangements of music from Charles E. King’s songbook,” he said. “Many of the songs written in this book are for one or more vocalists, and an accompanying ukulele, guitar or steel guitar. I’m working to arrange these songs for a wind ensemble, and have them performed by the students here at UH Hilo.”

For more go to .

—By Susan Enright

As Mahina ʻŌlelo �鶹��ý (Hawaiian Language Month) draws attention to the growing vitality of ʻō������� �鶹��ý (Hawaiian language), a recently released mele �鶹��ý (Hawaiian song) offers a compelling example of how the language is taking root far beyond the islands, this time through a rare partnership between a University of �鶹��ý at Hilo PhD student and a young recording artist from Japan.

Award-winning �鶹��ý musician and UH Hilo graduate student Nicholas Kealiʻi Lum composed Waikīkī, a mele recorded as a duet with Tom Noʻeau, a Japan-born musician and trained ʻōlapa hula (hula dancer). Collaborations like this remain uncommon in Hawaiian music, even as hula has flourished in Japan for decades, with an estimated two million dancers nationwide.

Modern mele �鶹��ý

Lum developed Waikīkī through the , which supports his ongoing creative research following his 2023 debut album Pewa. Praised by listeners for its modern vibe and R&B-influenced sound, Pewa reimagines traditional mele �鶹��ý in a contemporary context while centering cultural resilience and linguistic vitality, values that continue to shape Lum’s work.

Lum said the song the pair recorded in a Kalihi studio was shaped with intention toward visitors, particularly from Japan, �鶹��ý’s largest international tourism market. “What would be so cool is when tourists come here that they don’t just go surfing and go to a lūʻau, but they actually have an educational piece, as well,” he said.

• Related UH News: Mele �鶹��ý Reimagined: UH Hilo Makuakāne scholar bridges past and present, October 28, 2025

Learning deeply

For Noʻeau, the collaboration marked a meaningful step in a journey shaped by years of hula training. He grew up dancing in Japan under the guidance of Kahikina Ah Sing and his brother Kalani, who grew up in Kona and opened Ke Ala O Ke Ao Cultural Arts Studio, their hālau in Japan, more than 20 years ago. Through the hālau, Noʻeau has been learning ʻōlelo �鶹��ý, with a strong focus on accuracy and understanding.

“This song taught me a lot. I’m still learning Hawaiian language, and pronunciation is really hard, but it made me want to learn more,” Noʻeau said.

For Lum, that commitment to language was central to the collaboration. “If you pronounce everything wrong, there’s no meaning there anymore, especially in mele, where the poetry carries the story,” he said.

Ah Sing said watching his student step into Hawaiian music has gone far beyond what he once imagined. “I never thought that the younger generation in Japan would root themselves so deeply in our language and culture,” he said.

Noʻeau has also recorded with award-winning Hawaiian musicians Robert Uluwehi Cazimero and Kuana Torres Kahele, further grounding his work in Hawaiian musical tradition.

A new exhibition honoring the life and legacy of legendary kumu hula and musician Robert Uluwehionāpuaikawēkiuokalani Cazimero opens at Windward Community College’s on January 23, 2026. The exhibition Ke Kilo Lani, reflects on Cazimero’s lifelong commitment to the continuity of Hawaiian cultural practice and knowledge.

A public reception is scheduled for 4–7 p.m. on opening day. The exhibition will be on view through May 15, 2026.

Focusing on mentorship

Ke Kilo Lani highlights the traditional foundations and evolving expressions of ʻike �鶹��ý (traditional Hawaiian knowledge), and is presented in partnership with the Wāhea Foundation.

“Ke Kilo Lani inaugurates a series of exhibitions focused on mentorship as the foundation of cultural continuity,” said Kapulani Landgraf, Gallery ʻIolani director. “I see this exhibition engaging the ongoing practice of Robert Uluwehionāpuaikawēkiuokalani Cazimero—whose innovation as a kumu hula and musician continues to shape generations—and honoring perseverance as a lifelong commitment to holding, evolving and passing forward tradition.”

Tours, talk story, performances

In conjunction with the exhibition, Gallery ʻIolani will host several events, including:

• Guided gallery tours led by Hālau Nā Kamalei o Līlīlehua.
• Community talk story sessions.
• Scheduled performances in both Gallery ʻIolani and Palikū Theatre.

Gallery Information

Gallery ʻIolani is located on the Windward CC campus at 45-720 Keaʻahala Road, ����Ա�ʻ�dz��.

• Hours: Monday–Saturday, 1–5 p.m. (closed Sundays and holidays).
• More information: and the

The University of �鶹��ý at ����ԴDz� Chamber Singers performed a few holiday carols at Campus Center in December.

They used their vocal talents to share a medley of holiday carols, featured in Interim Provost Vassilis Syrmos’ holiday message to the campus.

The group is under the direction of Professor Alec Schumacker. They have performed at a variety of venues around �鶹��ý and beyond the state.

The Art of Music Media Masterclass, recently hosted by the University of �鶹��ý–West Oʻahu, offered local creatives—including working professionals, hobbyists and students—an intensive, free workshop merging film production and music industries. The masterclass, held two days in October, aimed to grow skills through real-world experience.

Nearly two dozen participants joined the workshop, including students from UH West Oʻahu, UH ����ԴDz�, Honolulu Community College, and Kapiʻolani Community College. The goal was to build confidence and community through education.

Students learned technical skills, such as video lighting, shooting, editing and workflow, alongside professional aspects, such as backstage etiquette, ethics and professionalism. For the hands-on capstone, selected students shot content alongside real production teams during the Holo Holo Music Festival.

One student reflected, “Being part of a real working media team—whether in a studio setting or at a live concert—made the learning practical and unforgettable.”

Connected industry skills

Instructor Antonio J. Agosto, Visionize Media co-founder and a former UH West Oʻahu student, designed the program drawing on his 15 years of experience in concert and festival production.

Agosto explained the course focused on educating photographers, videographers and storytellers on how to work in live music environments while also giving musicians and performers the chance to understand how media plays a role in their careers.

“The Art of Music Media Masterclass was created to bring together two industries that are often connected but rarely taught side by side—film production and the music industry,” Agosto said.

Agosto also emphasized that the training was designed to foster local talent.

“It wasn’t just about teaching camera skills; it was about showing how creatives in �鶹��ý can build sustainable careers without having to leave home,” he said. “This masterclass wasn’t just a class—it was a reminder that �鶹��ý can lead in storytelling. We just need the right opportunities and a strong community to make it happen.”

The collaborative effort was launched by Visionize Media, and presented by International Cultural Arts Network (ICAN) in partnership with UH West Oʻahu, KS Kaiāulu, Zippy’s, Good Vibez Presents and Visionize Media.

For more visit .

—By Zenaida Serrano Arvman

University of �鶹��ý at Maui College music student Kellysa-Michiko Nāmakaokalani Pauʻole recently won the 4th Annual Carmen “Hulu” Lindsey Leo Haʻihaʻi (Falsetto) Song Contest, held at the Four Seasons Resort Maui at Wailea on October 24.

“We are so proud of Nāmaka. Her success at the song contest is a testament to both her talent and hard work,” said Keola Donaghy, UH Maui College faculty coordinator for music studies and the Institute of Hawaiian Music. “She has found a wonderful balance between her formal studies and developing her career as a professional musician. She’s truly an inspiration and a model for her peers to follow.”

UH Maui College recently awarded the Emma Veary Scholarship to Pauʻole. Established nearly 10 years ago, the scholarship is given annually to a UH Maui College student who demonstrates a strong interest in Hawaiian music.

For more information about the Emma Veary Scholarship or music studies at UH Maui College, contact Donaghy at (808) 769-8133 or email donaghy@hawaii.edu.

Evan Fujimoto chose to attend the University of �鶹��ý at ����ԴDz� because it allowed him to stay close to his family and friends. So close that he rode his bike to campus every morning. Attending school on a band scholarship, Fujimoto originally wanted to major in music composition, but decided to change course and pursue biology.

“Everyone told me that the biggest, most difficult class to take was organic chemistry. That was the big thing looming over my head,” said Fujimoto. “I worked really hard. I was always going to my professor’s office hours. I was always in the library studying on holidays, winter break and everything.”

Along with juggling his studies with band responsibilities, he credits the process, focus and repetitions for sticking with him through his college years and even now in his professional career.

Bonded to the band

Fujimoto started to arrange music for the marching band in his senior year with his classmate Tyler Ono. The pair have been doing so ever since.

“Band played a huge role in my life, taught me a lot of things, taught me a lot of skills. This way I can still be active in the community,” Fujimoto said. “I hope that even when I’m 80 years old, I’m still writing music for these young students.”

Looking to pave the way

Fujimoto graduated in 2017 with a bachelor of science in biology and applied to medical school twice but was unsuccessful. He took that as a sign that he should pivot and started to focus on creative projects that eventually led him to work as a music producer and videographer.

Along the way he’s collaborated with K-pop artists, including the group Crossing Rain, internationally acclaimed trumpeter Eric Miyashiro and more.

“I think the biggest impact I want to make is to prove to people that good music does exist in �鶹��ý,” said Fujimoto. “I didn’t think it was a possibility that I could write music for marching band until we did it. We hope now that students see us, our names under the top of the music sheets and think, ‘Wow they went to UH. Wow, they did it. I can do it too.’”

At the University of �鶹��ý at Hilo, the spirit of mele �鶹��ý (Hawaiian music) and language revitalization are finding new life through the work of Nicholas Kealiʻi Lum, a PhD candidate at .

Lum has been named the first doctoral recipient of the . Established by the daughters of Daniel and Lydia Makuakāne, the fellowship honors the Makuakānes’ lifelong advocacy of ʻō������� �鶹��ý and Native Hawaiian cultural education.

Lum is weaving tradition and innovation into his in-depth studies of mele (songs) of old and new. His dissertation, “Pewa: I Ola ke Mele �鶹��ý i kona Mele ʻia” (“Pewa: The Life of Hawaiian Music in Its Song”), braids traditional Hawaiian mele to modern soundscapes, creating bridges between younger audiences and ʻō������� �鶹��ý (Hawaiian language) through experimental musical expression.

“In my dissertation, I define mele as being ‘logogenic,’ which means that words in a genre of music are more important than the musical treatment,” Lum explained. “And I believe that represents mele �鶹��ý; it’s always the language within the text that is more important.”

With the fellowship, Lum will also have the opportunity to build on his 2023 debut album “Pewa,” using experimental approaches to mele �鶹��ý that promote both cultural resilience and linguistic vitality.

Uplifting future generations

“Our parents did not have formal educational opportunities beyond the ninth grade in Puna,” said Teresa Makuakāne-Drechsel, a kanaka ʻōiwi (Native Hawaiian) linguist and UH ����ԴDz� alumna. “Therefore, seeing this fellowship support Kealiʻi’s doctoral journey is a powerful reminder that their legacy continues to uplift future generations of ʻō������� �鶹��ý leaders.”

UH �ᾱ����’s College of Hawaiian Language is uniquely positioned as the only institution worldwide offering a PhD in Indigenous Language and Culture Revitalization. In 2023, it was also designated as the first National Native American Language Resource Center, further expanding its role in advancing language revitalization across the U.S.

“The Makuakāne family has been longstanding supporters of our college, ever since their mother (Lydia) played a big role in the movement that started the Hawaiian language revitalization,” said Kaʻiu Kimura, director of Ka Haka ʻUla O ����ʻ�������ō�����Ծ�. “It’s such an honor that the family continues to work with us to forward our purpose.”

Keeping ʻō������� �鶹��ý alive

The Makuakāne Fellowship ensures that students, such as Lum, have the resources to complete their research, while also carrying forward the cultural knowledge and values that make the College of Hawaiian Language a global leader in Indigenous language revitalization.

“Keeping Hawaiian language alive for future generations has always been important to our family,” said Makuakāne-Drechsel. “This endowment is our way of honoring our parents’ values while giving others the opportunity to carry on this important work.”

For more information about the Daniel and Lydia Makuakāne Endowed Scholarship and Fellowship or to support Hawaiian language initiatives at UH Hilo, contact the .

To encourage a deeper connection with the ocean and foster ocean stewardship across generations in �鶹��ý, the (�鶹��ý Sea Grant) and UH Mānoa , in collaboration with the �鶹��ý Symphony Orchestra (HSO), presented Symphony of the �鶹��ý Seas at the Neal S. Blaisdell Concert Hall on October 23. The free concert captivated audiences by weaving together moʻolelo (storytelling), mele (music), hula and animations.

The performance featured HSO performing ocean-themed original compositions by celebrated local composers Michael-Thomas Foumai, Herb Mahelona, Takuma Itoh, Logyn Okuda and Justin Park. The music was paired with vibrant animations by Kari Noe, Janae Taclas, Dillon Valenzuela, Jewel Racasa, Sam St. John, Edward Ayano, Napua Rice, Huy Nguyen and Kieren McKee.

“We have the research at UH, and we have the finest musicians, world class orchestra, and when we combine those together, we have a powerful message to send to the world using music that goes straight to the heart,” said Foumai, the director of artistic engagement for HSO and also a lecturer at UH–West Oʻahu.

The program also included a mele composed by UH Professor Rosie Alegado and UH Indigenous Stewardship Specialist Aimee Sato accompanying a hula under the guidance of Kumu Hula, Kekuhi Kealiʻikanakaʻoleohaililani and �鶹��ý Community College Professor of Hawaiian Studies Taupōuri Tangarō. Cultural narratives guided audiences through time alongside native sea life and ʻaumākua (family or personal gods), exploring the vital role humans play in protecting cherished waters.

School performances

Symphony of the �鶹��ý Seas featured two morning performances for students in grades 4–12. These free school concerts were designed to support STEAM learning, cultural literacy and environmental awareness in classrooms.

“And so it’s exciting to bring all of this talent together to provide an opportunity for our 4th and 12th grade students to be in a symphony, to be in a concert hall, and to get to see all of it in such an immersive experience,” said Beth Lenz, PhD, �鶹��ý Sea Grant assistant director for strategic communications and engagement.

“It was my first time going to one of those kinds of events,” said Brad Park, Papahana O Kaiona Alternative Learning Program sophomore. “It was very peaceful, I had a peaceful feeling listening to the orchestra. And I liked how it kind of matched the vibe of the video, that’s what I liked.”

Continuing the education through music

This performance continued the successes of the Symphony of the Hawaiian Birds and Symphony of �鶹��ý Forests. The Symphony of the �鶹��ý Seas represented a new chapter in creative collaboration, bringing together UH, local experts and organizations, as well as federal, state, and county agencies to weave culture, science, and the arts into an inspiring shared experience.

“They’re not pre-written works written by someone from outside of �鶹��ý,” said Takuma Itoh, DMA, composer and professor of music at UH Mānoa Department of Music. “They’re all created here locally, just like the animation, just like the hula, just like everything in this project.”

The program was a collaborative effort supported by �鶹��ý Sea Grant and the UH Mānoa Strategic Investment Initiative, led by Lenz of �鶹��ý Sea Grant, with co-investigators Itoh, Kalilinoe Detwiler (UH Mānoa English Department), Anne Rosa (�鶹��ý Sea Grant), Melissa Price (Natural Resources and Environmental Management Department) and Kanesa Duncan Seraphin (�鶹��ý Sea Grant).

The lyrics of traditional Okinawan songs were found to record past climate and geological history of the Ryukyu Islands (now called Okinawa Prefecture, Japan), according to a new study by a University of �鶹��ý at Mānoa Earth scientist and fellow Ryukyuan music practitioners. Their study was published in and was selected as an Editor’s Choice article by the journal’s publisher.

“This paper is a proof-of-concept for using classical Ryukyuan music as records of Indigenous knowledge,” said Justin Higa, lead author of the study and postdoctoral fellow in the at the UH Mānoa (SOEST). “This work aims to show how science and culture are not two distinct entities, but can be combined to teach both Indigenous arts and Indigenous science.”

Bridge between science, culture

The study assessed a repertoire of Indigenous Ryukyuan classical music that documented the 18th–century ocean voyages of envoys from the Ryukyu Kingdom and the winds, waves, and volcanoes they observed along the way. With Higa’s geologic background and the musical expertise of master instructors June Uyeunten and Kenton Odo, the authors worked together to combine Indigenous Ryukyuan knowledge in song with Western scientific knowledge in the scientific literature to find where the knowledge matched.

The authors are all classical Ryukyuan music practitioners with the Ryukyu Koten Afuso Ryu Ongaku Kenkyu Choichi Kai USA, �鶹��ý Chapter, a music school with groups on Oʻahu, Maui, and Kauaʻi and in Los Angeles.

Matching ancient observations with modern data

By comparing these observations with 20th– to 21st–century scientific literature, they found wind directions in the songs match seasonal changes following the East Asian Monsoon season and that rough ocean conditions may be related to Pacific Ocean circulation patterns and typhoons in the past and currently. They also interpreted a record of an 18th–century volcanic eruption on an isolated island.

“Indigenous knowledge, tied to the land someone is most familiar with, is one avenue for applying place-based learning to make complex environmental science more accessible to general learners,” said Higa. “Identifying sources of Indigenous knowledge, by the knowledge holders/practitioners themselves, is a unique opportunity to make new connections between art and science, improve how we connect science to the daily lives of Indigenous Peoples, and ensure the correct interpretation and usage of Indigenous knowledge.”

With 2025 marking the 125th anniversary of Okinawan immigration to �鶹��ý, incorporating geoscience and his Okinawan heritage in this publication is especially meaningful to Higa.

“I hope this work can help connect the descendants of Okinawan immigrants in �鶹��ý, who generations later, may not speak the language, with the arts and knowledge recorded in these songs,” said Higa. “More of these descendants may then be inspired to become scientists or Indigenous practitioners, or both.”

In the future, the authors hope to catalog more classical and folk Ryukyuan songs to document additional historical records of environmental science, including water resources, ocean life, and flora and fauna.

The �鶹��ý Music Teacher Association (HMTA) has selected Thomas Yee a professor at the University of �鶹��ý at ����ԴDz� as Teacher of the Year for his outstanding contributions to �Ჹ�ɲ���ʻ��’s music and piano community. The association applauded Yee, a skilled pianist, for his musicianship, leadership and mentorship as an educator on Oʻahu.

“It is a tremendous honor to be named as 2025 Teacher of the Year by the �鶹��ý Music Teachers Association,” said Yee. “To be recognized by my peers, colleagues, students and even their parents for my contribution to the musical community is incredibly humbling, and I am deeply grateful!”

Seasoned musician

Yee is familiar to the island’s classical music audience through his numerous performances with the �鶹��ý Symphony Orchestra and chamber ensembles. A Canadian native, Yee earned degrees from the University of Newfoundland and Eastman School of Music.

HMTA provides local teachers with membership benefits such as grants, exclusive publications and more. Students of HMTA teachers are eligible to perform in local competitions, recitals and workshops.

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 Performing Arts Center (PAC) at Kauaʻi Community College is undergoing a transformation from an empty building to a thriving community hub, thanks to new Manager Gregory von Hausch.

“I want to establish this building as a resource for not only the college, but for the whole island to attract name talent; and to attract all kinds of performances, not just music, not just conferences, but something exciting—an explosion of arts, the whole nine yards,” von Hausch said. “We want to make this a real hub of activity here.”

Recent performances have included a concert by The Green and a showing of the movie At Her Feet, with a special guest appearance by Lilo & Stitch actress Sydney Agudong.

Upcoming highlights include:

• HAWAIIAN STORYTELLERS: Where I Live – Kauaʻi, June 27
• Kauaʻi Calls (“�鶹��ý Calls | Advancing �鶹��ý to the World”), July 20
• RENT, August 7–10
• Celebrating Queen tribute band, September
• Rocky Horror Picture Show (play), October 22–25
• Renowned ʻukulele player Jake Shimabukuro, December 14

There are also film festivals, musicals, movies, a free comedy show and more planned.

.

Partnering with the community

Von Hausch’s more than 50 years’ worth of experience in nonprofit work shows in the way he has transformed the PAC. When he started, the PAC had been vacant for four years after closing in 2020 due to COVID-19 and for renovations. The PAC reopened in April 2024.

Now, the sprung dance floor in the separate Dance Studio behind the stage is being utilized by the Kauaʻi Ballet Academy throughout the year. Also, Kauaʻi CC student clubs and organizations are able to sell concessions and tickets to movie showings and benefit from the proceeds, and these same movie showings are free to Kauaʻi CC staff and employees while only costing $10 for the general public.

Von Hausch is currently working with Kauaʻi CC Dean Kurt Takamine on the conversion of the production office into a music studio for community members and students to be able to record music and teach classes.

He’s got more big ideas including art showings in the lobby, farm-to-table film and food experiences, and has asked some celebrities to visit Kauaʻi to host Q&As alongside showings of their films.

“I think we’re just beginning to tap the potential,” von Hausch said.

If you have a community-focused idea, or if you have a nonprofit or group that could utilize the PAC, visit the , email kccpac@hawaii.edu, or call (808) 245-8352.

A powerful musical tribute to Lahaina and West Maui has earned �鶹��ý’s top recording industry recognition for students and faculty at the University of �鶹��ý Maui College.

The album , created by students in the college’s Institute of Hawaiian Music (IHM), was named Compilation Album of the Year at the 2025 Nā Hōkū Hanohano Awards in June.

Originally intended to celebrate West Maui through song, the project took on deeper meaning after the 2023 wildfires devastated Lahaina. IHM students responded by composing original mele that reflect the town’s rich history and their hopes for its future.

• Related UH News story: Celebrating Lahaina in song, UH Maui students record album, May 28, 2024

“We are very proud of our students, some of whom were directly impacted by the Lahaina fires. Our gatherings, where they learned to write songs for West Maui and record them in our campus’ studio, greatly contributed to their healing and forged bonds that will last our lifetimes,” said UH Maui College Associate Professor Keola Donaghy, who coordinates the IHM and is a multiple Nā Hōkū Hanohano Award winner.

Student artists Bobbi Bridges, Herb Folsom, Grace Gomes, Aaron Grzanich, Mākena Laurion, Hualani Moore, Iraj Namiranian, Al Nip and Mehra Park met nearly every Saturday in fall 2023 to write and rehearse. Recording and mixing finished in April 2024. The album was produced by Donaghy, UH Maui College lecturers Joel Katz and Stephen Fox, and Lance D. Collins.

Donaghy said, “We are especially grateful to the North Beach West Maui Benefit Fund, the HK West Maui Community Fund, and to Lance D. Collins and Jocelyn Romero Demirbag for connecting us all and making the project possible.”

This is IHM’s fourth Nā Hōkū Hanohano Award, including three wins for compilation albums and one for Hawaiian EP of the Year. IHM is recruiting a new cohort of students to begin Fall 2025. Interested students can contact Donaghy at donaghy@hawaii.edu or (808) 984-3570.

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Windward Community College’s is making a powerful impact on music education and cultural preservation across �鶹��ý.

Over the past year, Kaʻohekani has raised approximately $129,000 in scholarships—enough to fully support 41 students dedicated to learning, teaching and perpetuating Hawaiian music. Educators from across the state comprised the majority of students, with 39 public school teachers enrolled. Upon completion of the Kaʻohekani Program, these teachers are eligible for pay raises through the �鶹��ý Department of Education.

“This program has deepened my appreciation and respect for Hawaiian culture, language and history,” said graduate Kari-Makenna Correa, who teaches second grade at ʻEleʻele Elementary School. “I’ve become more mindful of the stories and values behind traditions, and I feel more confident and responsible in sharing them with my students in a respectful and meaningful way.”

Award-winning instructors bring their expertise to the program, including Kawaikapuokalani Hewett (Hawaiian composition and hula), Raiatea Helm (Hawaiian singing), Jeff Peterson (slack key), Alan Akaka (steel guitar), and this year’s featured lecturer, Kapena De Lima of the legendary group Kapena.

Kaʻohekani is celebrating its success with Hanauna Mele, a fundraising concert featuring Kapena, Windward CC music students, and Program Director Kamuela Kimokeo. It will be held on May 15 from 7–9:30 p.m. at Palikū Theatre.

Proceeds benefit the Kanileʻa ʻUkulele Hawaiian Music Scholarship, helping ensure students and educators have the resources to thrive.

Tickets are available at , and donations are welcomed to continue supporting Hawaiian music education for future generations.

For more information, contact Kimokeo at kamuelam@hawaii.edu.

Donald Reid Womack, department chair and professor in the University of �鶹��ý at ����ԴDz� , has been granted Honorary Membership by the Society for American Music at its 51st annual conference held in March 2025, in Tacoma, Washington.

The Honorary Membership is among the society’s highest distinctions, reserved for individuals whose career achievements have made a lasting impact on the field of American music. Womack, an award-winning and distinguished composer, was recognized alongside fellow esteemed composer William Bolcom.

“The Society for American Music Honorary Membership is something of a lifetime achievement award, and I’m greatly honored to be recognized,” Womack said. “I’m especially happy that the intercultural work that has been such a big part of my efforts for several decades, and which is a reflection of our wonderfully diverse multi-faceted culture here in �鶹��ý, has had a positive impact.”

Womack’s recognition highlights UH ����ԴDz�’s role as a global hub for musical innovation and cultural exchange. Womack has been at UH since 1994, and also serves as a faculty member of the and the .

In remarks delivered by Society for American Music President E. Douglas Bomberger, Womack was celebrated for his pioneering work in intercultural composition.

“Embracing the unique geographical position and cultural traditions of �鶹��ý, Womack’s music blends elements of the Asia-Pacific region,” Bomberger said. “A Guggenheim Fellow and two-time Fulbright recipient, he has spent extensive time in East Asia learning instrumental techniques and timbres of Korean, Chinese and Japanese music. He is in the vanguard of intercultural composition, earning a reputation as one of the leading composers of contemporary music for Korean instruments. His works have been performed and broadcast in 25 countries and recorded on more than a dozen releases.”

The Department of Music is housed in UH ����ԴDz�’s .

Two researchers from the University of �鶹��ý at ����ԴDz� are set to begin a pioneering study exploring an innovative blend of mindful meditation practices. Focusing on reflection with sensory integration, they will utilize the Japanese bamboo flute, shakuhachi and haiku poetry writing to shed new light inspiring the well-being of older adults (kūpuna).

Researchers Katsumi Takemoto and Yeonjung Jane Lee have shared insights from their work in the , bringing attention to the potential of these practices to foster healing and resilience within the community.

The study engages participants in sessions with the shakuhachi performed by Takemoto, into nature-inspired poetry. Data will be collected through pre- and post-session surveys and reflections, focusing on participants’ perceived mind-body experiences. The ultimate goal is to use the findings to develop accessible interventions that enhance the lives of kūpuna while potentially reducing healthcare costs.

Personal experience leads to study

Takemoto, a graduate and current master of social work student specializing in gerontology, is leading the study. She has practiced meditation since the age of eight and has more than forty years of expertise with the shakuhachi. Her commitment to fostering reflection and peace led her to play for hospice patients, creating what she describes as a “sacred space for self-reflection.”

“I’ve observed through the spirit of serving, when playing the natural sounds through bamboo, my shakuhachi becomes a living vessel, and has brought peace to those in physical or emotional pain that often go beyond what human language can express” said Takemoto. “This study is important to me because I believe cultural and Indigenous knowledge is healing medicine that must be respected and honored alongside the dominant Western medical model that society has adopted.”

Lee, an associate professor at the , highlighted the importance of integrating culturally responsive practices in health care for �鶹��ý’s diverse kūpuna population.

“From a decolonizing perspective, it is critical to implement culturally responsive approaches, such as shakuhachi and haiku reflection, to promote the health and well-being of diverse older adults in �鶹��ý,” said Lee. “Katsumi’s work is rooted in our community, and she has rich experience and a critical lens for cultural sensitivity and intersectionality. Katsumi’s compassion, expertise, sensitivity and cultural humility, just to name a few, shine in her work.”

“Through this research, we hope to illuminate the lives of our kūpuna with culturally grounded practices,” said Takemoto.