28 results for your search
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Citizen Hong Kong
directed by Ruby Yang, fl. 1982-2016; produced by K. Bik Films (San Francisco, CA: Center for Asian American Media, 1999), 1 hour 27 mins
This multi-layered portrait examines San Francisco filmmaker Ruby Yang’s childhood home in its first year of postcolonial existence. In 1997, as the long-anticipated handover of the city from British rule to Chinese authority was about to occur, Yang returned to see the transition for herself. Instead of mirrori...
Sample
directed by Ruby Yang, fl. 1982-2016; produced by K. Bik Films (San Francisco, CA: Center for Asian American Media, 1999), 1 hour 27 mins
Description
This multi-layered portrait examines San Francisco filmmaker Ruby Yang’s childhood home in its first year of postcolonial existence. In 1997, as the long-anticipated handover of the city from British rule to Chinese authority was about to occur, Yang returned to see the transition for herself. Instead of mirroring mainstream news reporting, Yang intimately explores the everyday lives of the people of Hong Kong, showing how the city’s ever cha...
This multi-layered portrait examines San Francisco filmmaker Ruby Yang’s childhood home in its first year of postcolonial existence. In 1997, as the long-anticipated handover of the city from British rule to Chinese authority was about to occur, Yang returned to see the transition for herself. Instead of mirroring mainstream news reporting, Yang intimately explores the everyday lives of the people of Hong Kong, showing how the city’s ever changing dynamics and energy shaped them. CITIZEN HONG KONG does this by intimately following five individuals who represent a diverse cross section of Hong Kong youth.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Ruby Yang, fl. 1982-2016, K. Bik Films
Author / Creator
Ruby Yang, fl. 1982-2016
Date Published / Released
1999
Publisher
Center for Asian American Media
Topic / Theme
Cultural identity, Immigrant populations, Cultural change and history, Urban life, Chinese
Copyright Message
Copyright © 1999 by Center for Asian American Media
Subject
Cultural identity, Immigrant populations, Cultural change and history, Urban life
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Highlands Trilogy, 1, First Contact
directed by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; produced by Bob Connolly, 1945- and Robin Anderson, 1948-2002, in Highlands Trilogy, 1 (New York, NY: Documentary Educational Resources (DER), 1983), 1 hour 30 mins
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New...
Sample
directed by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; produced by Bob Connolly, 1945- and Robin Anderson, 1948-2002, in Highlands Trilogy, 1 (New York, NY: Documentary Educational Resources (DER), 1983), 1 hour 30 mins
Description
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Ston...
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact.Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons.Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold.First Contact is one of those rare films that holds an audience spellbound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there. Adult College
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Field of Study
Asian Studies
Content Type
Documentary
Contributor
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Author / Creator
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Date Published / Released
1983
Publisher
Documentary Educational Resources (DER)
Series
Highlands Trilogy
Person Discussed
Michael Leahy, 1901-1979, James Leahy, Daniel Leahy, 1912-1991
Topic / Theme
Cultural adaptation, Anthropology, Cultural change and history, Gold mines and mining, Intercultural communication, Cultural identity, Imperialism, Tribal and national groups, Papua New Guineans
Copyright Message
© Documentary Educational Resources
Subject
Cultural adaptation, Anthropology, Cultural change and history, Gold mines and mining, Intercultural communication, Cultural identity, Imperialism, Tribal and national groups
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Highlands Trilogy, 3, Black Harvest
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 1 hour 30 mins
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land...
Sample
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 1 hour 30 mins
Description
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to d...
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to defeat the venture. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future. College Adult Black Harvest, the final film in the Highlands Trilogy, charts the progress of Joe Leahy in convincing the Ganiga tribespeople to join him in a coffee growing venture. He provides the money and the expertise; they supply the land and labor. But on the eve of success, the world coffee price collapses and tribal warfare erupts in the valley. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, Joseph Madang, Popina Mai, Joe Leahy
Author / Creator
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Date Published / Released
1992
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Ganiga, Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Cultural identity, Anthropology, Ethnography, Ethnic Studies
Copyright Message
Copyright © 1992. Used by permission of Filmakers Library. All rights reserved.
Subject
Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Cultural identity, Anthropology
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Highlands Trilogy, 3, Black Harvest: Film Discussion
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 28 mins
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land...
Sample
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 28 mins
Description
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to d...
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to defeat the venture. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future. College Adult Black Harvest, the final film in the Highlands Trilogy, charts the progress of Joe Leahy in convincing the Ganiga tribespeople to join him in a coffee growing venture. He provides the money and the expertise; they supply the land and labor. But on the eve of success, the world coffee price collapses and tribal warfare erupts in the valley. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Author / Creator
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Date Published / Released
1992
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Ganiga, Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Filmmaking industry, Ethnography, Ethnic Studies
Copyright Message
Copyright © 1992. Used by permission of Filmakers Library. All rights reserved.
Subject
Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Filmmaking industry
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The Land Beneath the Fog
directed by Shalahuddin Siregar, fl. 2009-2011; produced by Shalahuddin Siregar, fl. 2009-2011 (Indonesia: Privately Published, 2011), 1 hour 45 mins
This documentary, directed by Shalahuddin Siregar, is about a Central Javanese community confronted with climate change.
Sample
directed by Shalahuddin Siregar, fl. 2009-2011; produced by Shalahuddin Siregar, fl. 2009-2011 (Indonesia: Privately Published, 2011), 1 hour 45 mins
Description
This documentary, directed by Shalahuddin Siregar, is about a Central Javanese community confronted with climate change.
Date Written / Recorded
2011
Field of Study
Asian Studies
Content Type
Documentary
Contributor
Shalahuddin Siregar, fl. 2009-2011
Author / Creator
Shalahuddin Siregar, fl. 2009-2011
Date Published / Released
2011
Publisher
Privately Published
Topic / Theme
Social customs, Cultural change and history, Farmers, Climate
Copyright Message
Copyright © 2011. Used by permission of Shalahuddin Siregar.
Subject
Social customs, Cultural change and history, Farmers, Climate
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A Stranger in My Native Land
directed by Tenzing Sonam, 1959-; produced by White Crane Films (Berkeley, CA: Berkeley Media, 1998), 34 mins
This profound, poetic, and ultimately immensely sad documentary may be the first of its kind about Tibet -- a vivid personal account of loss and disappointment as an exile discovers his country for the first time. Late in 1996 Tenzing Sonam, an award-winning Tibetan filmmaker born and brought up in exile, made his...
Sample
directed by Tenzing Sonam, 1959-; produced by White Crane Films (Berkeley, CA: Berkeley Media, 1998), 34 mins
Description
This profound, poetic, and ultimately immensely sad documentary may be the first of its kind about Tibet -- a vivid personal account of loss and disappointment as an exile discovers his country for the first time. Late in 1996 Tenzing Sonam, an award-winning Tibetan filmmaker born and brought up in exile, made his first visit to his homeland. He was accompanied by his wife, Ritu Sarin, an Indian filmmaker. The result may be the most poignant refl...
This profound, poetic, and ultimately immensely sad documentary may be the first of its kind about Tibet -- a vivid personal account of loss and disappointment as an exile discovers his country for the first time. Late in 1996 Tenzing Sonam, an award-winning Tibetan filmmaker born and brought up in exile, made his first visit to his homeland. He was accompanied by his wife, Ritu Sarin, an Indian filmmaker. The result may be the most poignant reflection ever put on film on the demise of Tibetan autonomy and culture. The film begins in Kumbum, one of Tibet's great monasteries, in the far northeastern corner of the country in what is now Qinghai Province. Tenzing's father came from a village near Kumbum and numerous close relatives still live in the ancestral home. Tenzing meets them all in a warm and emotional homecoming during which he discovers how little he has in common with them and how much the Tibetans of Kumbum have become assimilated into the dominant Chinese culture, which has reduced them to a tiny minority. Not far away is the village of Taktser, the present Dalai Lama's birthplace. The Chinese have built a temple there to commemorate the spot, although the neglected and empty shrine is languishing in a rural backwater at the furthest edge of Tibet. The filmmakers next visit the monastery of Labrang Tashi Kyil, a day's journey away. In contrast to the sinification that has taken place around Kumbum, a vibrant Tibetan culture still thrives here and imparts a sense of what this corner of Tibet might once have been like. The filmmakers travel by bus for two days and nights across the bleak and desolate northern plateau to Lhasa. Their excitement mounts as they approach the legendary city but what they find is a provincial Chinese town visibly populated by a Chinese majority. Near Lhasa is Sangta, the village where Tenzing's mother was born. He goes to meet his aunt and uncle who still live there. Their tearful meeting is captured on camera. Here, after the terrible years of the first decades of Chinese rule, life seems to have returned to a semblance of what it used to be. But the situation feels unstable and temporary; how long will it last? In Lhasa, they visit the Jokhang Temple and the Potala Palace. On the rooftop of the Potala, they come across a local dance troupe performing "traditional" dances for Lhasa Television. The film ends with this unlikely scene -- the painted, smiling faces of the gaily-clad dancers and the melancholic strains of their folk song drifting over the golden roofs of the once-sacred Potala -- a scene that captures everything that is sad and tragic and ludicrous about the fate of Tibet under Chinese rule.
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Field of Study
Asian Studies
Content Type
Documentary
Contributor
White Crane Films
Author / Creator
Tenzing Sonam, 1959-
Date Published / Released
1998
Publisher
Berkeley Media
Topic / Theme
China and its Borders, Cultural change and history, Cultural assimilation, Sociology, Anthropology, Chinese, Tibetan, 20th Century in World History (1914--2000)
Copyright Message
Copyright © 1998 Berkeley Media
Subject
Cultural change and history, Cultural assimilation
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Tibetan Arts in Exile
directed by Ng Mian Har, fl. 1991; produced by Andy Francis, fl. 1991, Wangmo Productions (England: Arts Council England, 1991), 19 mins
Since the Chinese occupation of Tibet in 1959, Tibetan religion and culture have been systematically destroyed. This programme explores how in exile the rich, ancient and unique Tibetan culture is being preserved.
Sample
directed by Ng Mian Har, fl. 1991; produced by Andy Francis, fl. 1991, Wangmo Productions (England: Arts Council England, 1991), 19 mins
Description
Since the Chinese occupation of Tibet in 1959, Tibetan religion and culture have been systematically destroyed. This programme explores how in exile the rich, ancient and unique Tibetan culture is being preserved.
Field of Study
Asian Studies
Content Type
Documentary
Contributor
Andy Francis, fl. 1991, Wangmo Productions
Author / Creator
Ng Mian Har, fl. 1991
Date Published / Released
1991
Publisher
Arts Council England
Topic / Theme
Art preservation and conservation, Cultural change and history, Tibetan
Subject
Art preservation and conservation, Cultural change and history
×
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Ainikien Jidjid Ilo Boñ: The Sound of Crickets at Night
directed by Jack Niedenthal, fl. 2008 and Suzanne Chutaro, fl. 2010; produced by Jack Niedenthal, fl. 2008 and Suzanne Chutaro, fl. 2010 (Microwave Films, 2012), 1 hour 20 mins
Ainikien Jidjid ilo Boñ (The Sound of Crickets at Night) is the story of a family displaced as a result of nuclear testing on Bikini Atoll and now living in exile on Ejit Island on Majuro Atoll in the Marshall Islands.
Kali, a darling-though-curious 10-year-old Bikinian girl, watches in dismay as her mother and f...
Sample
directed by Jack Niedenthal, fl. 2008 and Suzanne Chutaro, fl. 2010; produced by Jack Niedenthal, fl. 2008 and Suzanne Chutaro, fl. 2010 (Microwave Films, 2012), 1 hour 20 mins
Description
Ainikien Jidjid ilo Boñ (The Sound of Crickets at Night) is the story of a family displaced as a result of nuclear testing on Bikini Atoll and now living in exile on Ejit Island on Majuro Atoll in the Marshall Islands.
Kali, a darling-though-curious 10-year-old Bikinian girl, watches in dismay as her mother and father argue bitterly, then finally separate and leave the island.
Left alone to care for her elderly grandfather, Jebuki, who has been...
Ainikien Jidjid ilo Boñ (The Sound of Crickets at Night) is the story of a family displaced as a result of nuclear testing on Bikini Atoll and now living in exile on Ejit Island on Majuro Atoll in the Marshall Islands.
Kali, a darling-though-curious 10-year-old Bikinian girl, watches in dismay as her mother and father argue bitterly, then finally separate and leave the island.
Left alone to care for her elderly grandfather, Jebuki, who has been hiding a life-threatening illness, Kali deteriorates, refusing to eat, work or play. Fearing for his granddaughter’s wellbeing, Jebuki makes a desperate decision to summon Worejabato, an ancient deity from Bikini Atoll. Appearing in the form of an unshaven American stranger, Worejabato washes up on the beach on Ejit Island, and is discovered by Kali. The deity immediately begins to weave his way into Kali's life, but wishes from Worejabato do not come for free. What will Jebuki promise to Worejabato to ensure Kali’s happiness?
Actors in this film are mostly from the Bikinian community that resides in exile on Ejit Island of Majuro Atoll.
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Field of Study
Asian Studies
Content Type
Performance
Contributor
Jack Niedenthal, fl. 2008, Suzanne Chutaro, fl. 2010
Author / Creator
Jack Niedenthal, fl. 2008, Suzanne Chutaro, fl. 2010
Date Published / Released
2012
Publisher
Microwave Films
Topic / Theme
Marshallese, Cultural change and history, Religious beliefs, Folklore, Island life
Copyright Message
Copyright © 2012 by Jack Neidenthal
Subject
Cultural change and history, Religious beliefs, Folklore, Island life
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Hawaiian Voices: Bridging Past To Present
directed by Eddie Kamae, 1927-; produced by Rodney A. Ohtani, fl. 1998 and Myrna Kamae, fl. 1970 (Honolulu, HI: Hawaiian Legacy Foundation, 1998), 59 mins
This award-winning 1 hr documentary honors the role of kupuna (elders) in preserving Hawaiian culture. It focuses on the legacies of 3 respected Hawaiian elders whose lives bridged the transition from older times into the late 20th century. They are Ruth Makaila Kaholoa‘a; Lilia Wahinemaika‘i Hale; & Reverend...
Sample
directed by Eddie Kamae, 1927-; produced by Rodney A. Ohtani, fl. 1998 and Myrna Kamae, fl. 1970 (Honolulu, HI: Hawaiian Legacy Foundation, 1998), 59 mins
Description
This award-winning 1 hr documentary honors the role of kupuna (elders) in preserving Hawaiian culture. It focuses on the legacies of 3 respected Hawaiian elders whose lives bridged the transition from older times into the late 20th century. They are Ruth Makaila Kaholoa‘a; Lilia Wahinemaika‘i Hale; & Reverend David “Kawika” Ka‘alakea. Each is a living archive whose memories & perspectives need to be shared as a way of bringing the heali...
This award-winning 1 hr documentary honors the role of kupuna (elders) in preserving Hawaiian culture. It focuses on the legacies of 3 respected Hawaiian elders whose lives bridged the transition from older times into the late 20th century. They are Ruth Makaila Kaholoa‘a; Lilia Wahinemaika‘i Hale; & Reverend David “Kawika” Ka‘alakea. Each is a living archive whose memories & perspectives need to be shared as a way of bringing the healing wisdom of the past into the often fragmented world of the present.
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Date Written / Recorded
1998
Field of Study
Asian Studies
Content Type
Documentary
Contributor
Myrna Kamae, fl. 1970, Eddie Kamae, 1927-, Rodney A. Ohtani, fl. 1998
Author / Creator
Eddie Kamae, 1927-, Myrna Kamae, fl. 1970
Date Published / Released
1998
Publisher
Hawaiian Legacy Foundation
Topic / Theme
Hawaiian, Hawaiian people, Cultural ethos, Cultural norms, Cultural identity, Cultural change and history, Haitians
Copyright Message
Copyright 1998 Hawaiian Legacy Foundation
Subject
Hawaiian people, Cultural ethos, Cultural norms, Cultural identity, Cultural change and history
×
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Lahaina: Waves of Change
directed by Eddie Kamae, 1927-; produced by Lisa Altieri Sosa, fl. 2007, Myrna Kamae, fl. 1970 and Dennis Mahaffay, fl. 1988 (Honolulu, HI: Hawaiian Legacy Foundation, 2007), 57 mins
In 1999 Hawaiian music legend and documentary filmmaker Eddie Kamae visited the West Maui town of Lahaina, only to find that Pioneer Mill, the center of Lahaina’s sugar industry, was closing down. Eddie knew that this signaled the end of Lahaina’s plantation era, a simpler, more innocent time that he remembere...
Sample
directed by Eddie Kamae, 1927-; produced by Lisa Altieri Sosa, fl. 2007, Myrna Kamae, fl. 1970 and Dennis Mahaffay, fl. 1988 (Honolulu, HI: Hawaiian Legacy Foundation, 2007), 57 mins
Description
In 1999 Hawaiian music legend and documentary filmmaker Eddie Kamae visited the West Maui town of Lahaina, only to find that Pioneer Mill, the center of Lahaina’s sugar industry, was closing down. Eddie knew that this signaled the end of Lahaina’s plantation era, a simpler, more innocent time that he remembered fondly from the childhood summers he spent in the area visiting his grandmother. He knew that a change as momentous as this need to b...
In 1999 Hawaiian music legend and documentary filmmaker Eddie Kamae visited the West Maui town of Lahaina, only to find that Pioneer Mill, the center of Lahaina’s sugar industry, was closing down. Eddie knew that this signaled the end of Lahaina’s plantation era, a simpler, more innocent time that he remembered fondly from the childhood summers he spent in the area visiting his grandmother. He knew that a change as momentous as this need to be documented so he filmed the last harvest, the last cane burning, and the final days of operation at Pioneer Mill. This time Eddie spent in this old Maui towm also revealed many treasures from the past, both historical and personal.
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Field of Study
Asian Studies
Content Type
Documentary
Contributor
Myrna Kamae, fl. 1970, Eddie Kamae, 1927-, Lisa Altieri Sosa, fl. 2007, Dennis Mahaffay, fl. 1988, Ka'upena Wong
Author / Creator
Eddie Kamae, 1927-, Myrna Kamae, fl. 1970
Date Published / Released
2007
Publisher
Hawaiian Legacy Foundation
Speaker / Narrator
Ka'upena Wong
Topic / Theme
Hawaiian, Cultural change and history, Oral history, Cultural identity, Hawaiian people, Cubans
Copyright Message
Copyright 2007 The Hawaiian Legacy Foundation
Subject
Cultural change and history, Oral history, Cultural identity, Hawaiian people
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