A new exhibit in the Bridge Gallery of Hamilton Library at the University of Hawaiʻi 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 Hawaiʻi 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 Hawaiʻi 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 ����Ӱҵ ����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.

“����Ӱҵ 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 Hawaiʻi 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 ����Ӱҵ �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 ����Ӱҵ ����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 ����Ӱҵ Hilo.”

For more go to .

—By Susan Enright

As Mahina ʻŌlelo Hawaiʻi (Hawaiian Language Month) draws attention to the growing vitality of ʻōlelo Hawaiʻi (Hawaiian language), a recently released mele Hawaiʻi (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 Hawaiʻi at Hilo PhD student and a young recording artist from Japan.

Award-winning Hawaiʻi musician and ����Ӱҵ 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 Hawaiʻi

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 Hawaiʻi 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, Hawaiʻi’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 ����Ӱҵ News: Mele Hawaiʻi Reimagined: ����Ӱҵ 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 Hawaiʻi, 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 Hawaiʻi (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 Hawaiʻi 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 Hawaiʻi and beyond the state.

The Art of Music Media Masterclass, recently hosted by the University of Hawaiʻi–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 ����Ӱҵ West Oʻahu, ����Ӱҵ ����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 ����Ӱҵ 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 Hawaiʻi can build sustainable careers without having to leave home,” he said. “This masterclass wasn’t just a class—it was a reminder that Hawaiʻi 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 ����Ӱҵ West Oʻahu, KS Kaiāulu, Zippy’s, Good Vibez Presents and Visionize Media.

For more visit .

—By Zenaida Serrano Arvman

University of Hawaiʻi 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, ����Ӱҵ 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.”

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

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

Evan Fujimoto chose to attend the University of Hawaiʻi 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. ����Ӱҵing 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 Hawaiʻi,” 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 ����Ӱҵ. Wow, they did it. I can do it too.’”