Monthly Archives: May 2021

We look behind the troubling origin of the century-old photos in the exhibit (Re)Generations: Challenging Scientific Racism at Bishop Museum.

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Mathais and Lucy Hamauku Akona with their four youngest children (counterclockwise from top): Elfreida, 5 (held by her father); Lawrence (Awa), 12; Dorothy, 6; and Louise, 14; in 1921 in Kloa, Kauai. Photographed by Louis R. Sullivan, Bishop Museum Archives.

Mathais and Lucy Hamauku Akona with their four youngest children (counterclockwise from top): Elfreida, 5 (held by her father); Lawrence (Awa), 12; Dorothy, 6; and Louise, 14; in 1921 in Kloa, Kauai. Photographed by Louis R. Sullivan, Bishop Museum Archives.

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Lucy Hamauku Akona, the great-great grandmother of Sharnelle and Marleah Renti Cruz. Photographed by Louis R. Sullivan, Bishop Museum Archives.

Lucy Hamauku Akona, the great-great grandmother of Sharnelle and Marleah Renti Cruz. Photographed by Louis R. Sullivan, Bishop Museum Archives.

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Annemarie Paikais great-great-great grandfather, David Hoolapa. Photographed by Louis R. Sullivan, Bishop Museum Archives.

Annemarie Paikais great-great-great grandfather, David Hoolapa. Photographed by Louis R. Sullivan, Bishop Museum Archives.

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David Hoolapa's son, Lameka Hoolapa. Photographed by Louis R. Sullivan, Bishop Museum Archives.

David Hoolapa's son, Lameka Hoolapa. Photographed by Louis R. Sullivan, Bishop Museum Archives.

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Lamekas second wife, Martha Kuwale Kaneao (Kele), wearing what appears to be a brooch with a likeness of Princess Kaiulani. Photographed by Louis R. Sullivan, Bishop Museum Archives.

Lamekas second wife, Martha Kuwale Kaneao (Kele), wearing what appears to be a brooch with a likeness of Princess Kaiulani. Photographed by Louis R. Sullivan, Bishop Museum Archives.

When Annemarie Aweau Paikai looks into the eyes of her kpuna in their photographs, she feels a deep connection. But its complicated by the troubling reason that these treasured century-old portraits even exist.

Just to see their faces so huge, to be able to look at them, its really powerful, Paikai says, as she stares at the 3-foot-tall prints of her ancestors hanging on the wall at Bishop Museums J.M. Long Gallery. Photos are just so meaningful.

Thats her great-great-grandfather, Lameka Hoolapa, with a clear, compelling gaze and a wiry mustache; and his father, David Hoolapa, his white beard grazing the collar of his buttoned shirtboth farmersphotographed on a single day in Kona. They peer out from the black-and-white images taken by anthropologist Louis Sullivan for Bishop Museum and the American Museum of Natural History. Now both are part of a striking new exhibit titled (Re)Generations: Challenging Scientific Racism in Hawaii at Bishop Museum that explores a 100-year-old collection of photos and plaster busts.

Sullivan traveled the Islands between 1920 and 1925, enlisting the help of community and school leaders to introduce him to primarily Native Hawaiian families so he could take their photographs. Bishop Museum tasked him with probing the origins of the Hawaiian race as part of the Bayard Dominick Expedition, even while knowing Sullivan was a proponent of eugenics, which advocates selective breeding of humans to improve the genetic composition. Eugenics gained its most infamous backers in Nazi Germanys systemic persecution and killing of 6 million Jews during the Holocaust.

SEE ALSO:Will These 4 Hawaiian Traditions Disappear Forever? Meet the Teachers Who Are Fighting to Keep Them Alive

Annemarie Aweau Paikai, descendant and academic librarian. Photo: Aaron K. Yoshino

Paikai, 33, works as an academic librarian at Leeward Community College. She knows a lot about historic suppression of indigenous people here and across the globe. But this time she feels the impact personally as she looks at the photos of her ancestors on the gallery wall. As far as she knows, theyre the only two photographs that exist of the pair. Its incredibly sobering to know that my familys photos were involved in a study in any way associated with the gross misconceptions of eugenics.

The exhibit focuses on the larger-than-life portraits of five ohana from Oahu and the Big Island. Here, the serious historical imagesSullivan discouraged smilingare joined by modern family photos, full of joy, with descriptions of their lives and the promise of chapters yet to be written by generations to follow. Still, the exhibit presents an unflinching account of its roots in scientific racism.

Jillian Swift joined the museum as curator of archaeology in March 2019 when the discussion was already underway to base an exhibit on the 952 images in the Sullivan collection. The museum had shared the photos publicly for decadeseven touring the Neighbor Islands in the 1980s to spread the word to people tracing their family historieswithout discussing their origins.

SEE ALSO:The History of Hawaii From Our Files: One Warriors Journey to Save the Hawaiian Language

But it didnt take too much digging to recognize that there is this really problematic context around the photographs and the research that led to the photographs being created and this now-discredited, very racist idea, Swift says. [Sullivan] was interested in hybridization, so he was not necessarily a proponent of racial purity per se, but eugenics from the angle of how do we mix and match to create the super person.

Sullivan noted the racial/ethnic backgrounds of those he met, their ages, locations, measurements and other physical characteristics, and their names, sometimes misspelled. The museum researched and added a timeline to this dehumanizing effort to classify people by such characteristics.

The museum also recognized that the Sullivan collection had evolved into a resource for people looking into Hawaiis pasta trove of photographs of hundreds of people caught on a day in their lives, created at a time when photos were pretty rare. The exhibit was able to come together now, Swift says, because of the help of the descendants who have been able to visit it and have been able to add their own stories and memories and histories and experiences with the collection that we now can share those things.

Sharnelle and Marleah Renti Cruz first saw their great-grandparents photos reprinted on a banner at a family reunion but at the time they were focused on connecting with their extended ohana and didnt think about how the photos came to be.

From left, Sharnelle and Marleah Renti Cruz get their first look at the exhibit. Photo: Aaron K. Yoshino

The twin sisters, 29, trace their family roots to Kloa, Kauai. They grew up in Kekaha but eventually moved to Oahu for school and both earned degrees in library science from UH Mnoa last year. They found the photos had come from Bishop Museum, so they used a university assignment as an opportunity to learn more. When they saw the black-and-white portraits of great-grandparents Mathais and Lucy Hamauku Akona, something bothered them. You know, these photographs sort of look like mug shots, Sharnelle recalls saying to her sister.

Finding out about the eugenics study raised more questions. Did they know what was happening? Marleah wonders. What language did they ask them in, because our great-great-grandparents spoke Hawaiian. What happened to all the information that they got from this study? Did they receive compensation?

Swift says that the exhibits timing felt more poignant, prepared during the pandemic as the nation reeled over the murder of George Floyd and the widespread protests of systemic violence against Black Americans that followed. All of the research that weve done, all the stories that weve collected, everything that we have from this is now going to be entered into the archives connected to these photographs, Swift says.

SEE ALSO:The History of Hawaii From Our Files: A Young Familys Attitudes About Growing Up Half-Japanese After World War II

The twin sisters welcome the chance to contribute. They know that Mathais Akona worked for the county as well as for McBryde Plantation, that Lucy Akona was with the Red Cross. We really want to convey that there is more about our kpuna that are not conveyed in these photographs, how they were well-connected in their community, Sharnelle says. We found out that they were a part of different Hawaiian benevolent societies; our great-grandmother was a part of the Queen Kaahumanu society, our great-grandfather was a member of the RoyalOrder of Kamehameha. The family connection inspired the twins to look into joining the Kaahumanu society as well. Sharnelle now works as an archive specialist for the Hula Preservation Society. Both hope the exhibit encourages people to learn more about their ancestors. And, says Marleah, it also empowers us to call out these kinds of situations.

In the Sullivan photos, the sisters see an uncanny family resemblance across the generations. We looked at our great-great-grandfather and then we look at our uncle and its really striking, the resemblance that they have, Marleah says.

Swift co-curated the exhibit with museum archive collections manager Leah Caldeira and Keolu Fox, a genome scientist and assistant professor at the University of California, San Diego. Fox, who is Native Hawaiian, marveled that the exhibit delves into topics that hed never imagined would be explored during his many childhood visits to the museum. Were repatriating peoples identities, he says. And Swift says Fox illuminated how a modern trendthe use of DNA kits that use our genetic makeup to categorize uscould lead to future exploitation. We talk about genetic research and DNA analysis as sort of the new frontier of how we study human variation today, its advantages and disadvantages, Swift says. In the exhibit, the point is made with humor: Part of the display includes a fictional DNA company with dubious motives called Bio Colonialism Trust, complete with inviting graphics, a mottoTrust Us to Tell You Who You Areand a fake collection kit labeled as a satirical exhibit prop.

Bishop Museum archaeologist Jillian Swift, who co-curated the exhibit. Photo: Aaron K. Yoshino

This is actually just the start of a conversation and of being more open of thinking harder about how we serve our Native Hawaiian communities. Jillian Swift

Swift says the curators highlighted families who knew about the photos and wanted to participate. There are three busts in the exhibit, all identified but whose descendants could not be reached. They are plaster casts of students from Kamehameha Schools, which at the time shared a campus with the museum. Swift hopes even more families will come forward: This is actually just the start of a conversation and of being more open of thinking harder about how we serve our Native Hawaiian communities, how we repair those relationships.

Paikai credits the museum with being honest. Museums have caused a lot of harm for a lot of communities that arent white, often leaving indigenous people out of the narrative or representing them in problematic ways, she says.

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Paikai talked with me in a courtyard just steps away from where the museum team worked to complete the display. At the museum gates, her and her great-great-grandfathers faces appear on the banner that welcomes visitors to the campus. Although she says seeing her oversized image feels surreal, Paikai views the powerful exhibit as an opportunity to reclaim some of what was lost by Hawaiians forced to suppress hula, cultural practices and even the Hawaiian language.

While shes closely connected to her Native Hawaiian ancestry, Paikai was born and raised in California after better economic opportunities there prompted her father to leave the Islands long ago. She moved to Hilo at 18 to major in Hawaiian studies and plans to remain here in the Islands to raise her own family. She and her husband provided a family portrait to include in the exhibit and shes excited to think that one day generations yet to come may return to the museum to find out more about them.

I dont know how to explain it other than its just this sense within yourself that this is where I belong, Paikai says. This has been a quest for me to find my family, to find out more about who we are.

Visit the exhibit through Oct. 24 in a new timed admission procedure that began March 1.

Bishop Museum, 1525 Bernice St., (808) 847-3511, 9 a.m.5 p.m. daily, bishopmuseum.org

The team at Bishop Museum puts the finishing touches on the new exhibit shortly before it opened Feb. 20. Photo: Aaron K. Yoshino

Bishop Museum offers online help for those looking for information in the Sullivan collection of photos as well as many other resources. bishopmuseum.org/library-and-archives

If you already know what you want, have specific collections questions, need access or want to order reproductions, email archives@bishopmuseum.org

The Sullivan collection can also be accessed online as part of the extensive collections and records available through the state Office of Hawaiian Affairs Papakilo Database. papakilodatabase.com

Continued here:

Native Hawaiian Families Connect with their Ancestors as Bishop Museum Confronts a Controversial Part of its - HONOLULU Magazine

Imagine a society of only women. This is the premise of playwright Paco Jos Madden's Herlandia, a loose adaptation of Charlotte Perkins Gilman's 1915 novel about the adventures of a group of male explorers who stumble upon an isolated society composed entirely of women. The play produced by B3 Theater, which concentrates on new and underperformed works, opens Friday, May 21st.

"One of the key differences between Herland and Herlandia is that I make one of the explorers a woman disguised as a man," says Madden. "Vanessa, the character in question, becomes a stand-in for Gilman, who in life felt constrained by society's expectations for women." Gilman was a noted author, lecturer, and advocate for women's rights in the early twentieth century. She also wrote The Yellow Wallpaper, a classic of feminist literature.

When the explorers arrive at this "woman's world," they encounter a place based on principles of cooperation and caring for one another. Gilman strongly believed in living for others and wrote that life should be "collective, common, or it isn't life at all," which makes the play particularly relevant today, especially regarding the response to the COVID-19 pandemic, which requires collective action.

"It's great to work on a play that combines the historical with the contemporary," says director Ilana Lydia. "The play examines what the world should be, rather than what it is."

Gilman led a tumultuous life. She was placed under the care of physician Silas Wier Mitchel after suffering from what we today call postpartum depression. Mitchel's "rest cure" for women involved weeks of isolation, bed rest, and electrotherapy. "This comes though in the play when Vanessa has a mental breakdown and struggles with what it means to be a woman," says Madden.

The author or Herland also held strong ethnic and racial prejudices, a belief in Anglo-Saxon supremacy, and embraced eugenics as the solution to the "Negro problem." "Though I admire what Gilman did for women and society, I also recognize her bigoted convictions," continues Madden. "The Herlandian society I imagined is filled with people of different races, sexualities, and abilities and has no hierarchical order."

The crisis in the play is brought about by one of the male explorers who Vanessa characterizes as "a brute." Terry has traditional notions on the role of men and women and is offended that women would dare challenge male authority. He decides to launch a rebellion.

"In our present age, we are uniquely positioned to evaluate the legitimacy of long established convictions concerning race and gender as our world becomes increasingly divided and increasingly diverse. Whose voices are heard and whose stories are told are fraught questions," says Juliet Rachel Wilkins who plays the gender switching Vanessa. "Herlandia, and particularly our modern retelling, seeks answers to how we can move forward together as a society, even when we seem more fractured than ever."

Herlandia has been adapted to a Zoom environment and will include a "guide" and live chat. "The play is part theater, part exhibit, and part guided tour," says Cherylandria Banks who plays The Guide.

The cast includes Jesse Abrahams as Vandyck, Cherylandria Banks as The Guide, Will Blankenmeier as Terry, Valerie German as Alima, Erin Natseway as Ellador, Angelica Saario as Cellis, Lorraine Taylor as Great Mother, and Juliet Rachel Wilkins as Vanessa/Jeff. The stage manager is Kayla Caviedes.

Costumes are by Eliana Burns, hair and makeup by Sabrina Rose Bivens, lights and props by Ric Alpers, set/virtual background by JPaoul C Clemente, and sound by Chris Piraino.

Performances of Herlandia are May 21st through May 30 (Fridays and Saturdays @ 8:00 p.m. and Sundays @ 4 p.m.) via Zoom. For more information and tickets, go to https://www.onthestage.com/show/b3-theater/herlandia-by-paco-jose-madden-41803

Read more:

MADDEN'S HERLANDIA to be Presented by B3 Theater - Broadway World

The 11th Annual Zcalo Book Prize Lecture

Moderated by Toms Jimnez, Professor of Sociology at Stanford University and author of The Other Side of Assimilation: How Immigrants are Changing American Life

The year 1924 was a watershed in American immigration. A victory for the eugenics movement, the Johnson-Reed Act established race-based quotas that succeeded in limiting the entry of Jews and Catholics from Southern and Eastern Europe, as well as strengthening restrictions already in place barring the entry of Asians and Africans. It would take an extraordinary political window following the assassination of President John F. Kennedy to overhaul the quota system through the Immigration and Naturalization Act of 1965. By giving preference to family reunification and skilled workers, the legislation changed the demographics of the country, making it less European and less white. At the same time, it imposed the first numerical cap on Western Hemisphere immigration, making the U.S. less accessible for people coming from Mexico and other Latin American countries.

What lessons can we draw from these two historic shifts in American immigration? Has the United States ever been the nation of immigrants that it purports to be? And in our polarized times, can we fashion a new national identity that embraces immigrants and their families?

New York Times national editor Jia Lynn Yang, winner of the 11th annual Zcalo Public Square Book Prize for her debut book, One Mighty and Irresistible Tide: The Epic Struggle Over American Immigration, 1924-1965, visits Zcalo to discuss how immigration laws have changed the American population, our communities, and the countrys sense of itself.

Angelica Esquivel, winner of the 10th Annual Zcalo Poetry Prize, will deliver a reading of her poem, La Mujer, prior to lecture. Read more about Esquivel and her winning poem here.

The 2021 Zcalo Book and Poetry Prizes are generously sponsored by Tim Disney.

Go here to read the rest:

Does America Really Want to Be a Nation of Immigrants? - The Eastsider LA

To the editor:

What kills the most Blacks in America? Besides what we hear in the news from the Black Lives Matter protest movement, examine what some other Blacks are saying before big tech silences them for having differing views.

Robert Woodson Sr., Black civil right activist and founder of the Woodson Center, stated the number one killer of Black people is not the police its abortion. Others agree with him, stating its not gang-violence, gun violence, heart attack, stroke, HIV, high blood pressure, or diabetes. Its abortion and Black women are targeted 3-5 times more than white women. Why?

One-third of all abortions occur in the Black community. According to CDC, 13.4% of the entire U.S. population is Black, yet 36.9% of all abortions are Black. The protectingblacklifeorg census states that 79% of surgical abortion clinics are located within walking distance of African American or Hispanic/Latino neighborhoods. Why?

The Planned Parenthood Federation of America is one of 149 national affiliates of the gigantic International Planned Parenthood Federation (IPPF) which works in 19 nations on every continent. It joins the United Nations Population Fund and the Population Council founded and supported by eugenicists.

Planned Parenthood is the largest U.S. abortion provider. Their 2019 annual report stated 345,672 abortions were done. Consider other facts 96.1% of pregnant PP clients get abortions, 1.2% (4,279) get adoption referrals, and 2.7% get prenatal care. In 2019, then PP President Leana Wen, explained that abortion was PP core mission.

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It is no longer hidden that Margaret Sanger, the founder of the birth control movement in America, that later became Planned Parenthood, adhered to the deeply inhuman and exploitative theory of eugenics and its deep ties to racism. Critics today say the organization continues to perpetuate her legacy by supporting the programs she inaugurated. PP has terminated by abortion at least 62 million males and females, 22 million of which were Black. An entire generation of Americans of all ethnicities gone. in an 2019 radio interview by Dr. George Grant with Dr. Alveda King, niece of Dr. Martin Luther King jJ. and Priests for Life, Dr King stated, Thats a baby in the womb who should have human rights, and I believe if my uncle were here today, he would have to agree that abortion is a crime against humanity.

Question: In the fight for social justice why is there silence about the violence of abortion done to all babies and their mothers?

Lastly, CDC reports 143 infants have been left to die after being born alive from botched abortions. The Born Alive Survivors Protection Act, which simply requires life saving medical care be given to infants who survive abortions, failed to pass in the Feb. 2021 Democratic run Senate. Unconscionable.

Valerie Byrnes

Providence

See more here:

Abortion the No. 1 killer of Blacks in America - The Herald Journal