Spring 2019 Interns Zachary Carlos and Lauren Kato

In this Spring of 2019, we here at ‘Ulu‘ulu are graced with the presence of not only one, but two interns from the Academy for Creative Media Program.  With a few months under each of their belts, they have gotten into the swing of things and have become familiar faces in the archive. During their time at ‘Ulu‘ulu, some of their duties include digital migration of tapes from various collections, setting up the archive exhibits, and verifying collection inventory and item counts. While we can go on and on about the work our interns are doing, we wanted to hear directly from Zach and Lauren about themselves and their experiences.

Could you introduce yourself and tell us what it’s like being a student in the Academy for Creative Media Program?


Zach in front of the digital video rack

Zach: Hi everyone, my name is Zachary Carlos, and I’m a senior at West Oahu’s Academy for Creative Media Program.

Being a student in the CM program is a great experience to be part of. With the classes offered in the program, I am able to further develop more towards my creative side with commercial designing and video gaming designing.


Lauren at the entrance to the archive area

Lauren: Hi, my name is Lauren Kato, I am in my final semester of the Academy for Creative Media Program at UH Manoa. The Creative Media Program is a fun and enjoyable program for people interested in creative media.


Zach scanning news log sheets from the KITV Collection

What brought you to your internship at ‘Ulu‘ulu?

Zach: I wanted to obtain some experience in an archival workplace and to understand the process of how things/materials are recorded and stored for safe keeping and future use. I would use some of the knowledge learned during my internship to be put on my resume, which would help companies I would like to apply for know that I have some knowledge in archiving important documents and such.

Lauren: As this is my last semester from the  Academy for Creative Media Program, I was thinking it would be a good idea to do an internship and my family agreed with me. My family and I were looking at different options, but my father was the one to suggest ‘Ulu‘ulu as a possible internship. With his help, we inquired with ‘Ulu‘ulu and in the end, it worked out and I was able to get an internship at ‘Ulu‘ulu.

Before you began interning at ‘Ulu‘ulu, what kind of image did the word ‘archive’ convey to you?

Zach: The image I envisioned for the word “archive” was like a vast building/collection of old materials: film, pictures, audio records, etc.  


Lauren sitting at the digitizing station

Lauren: Like most people would think, the word archive makes me think of old books, old paper documents, and even old maps.

Has that image changed by starting this internship?

Zach: The image somewhat changed, but not entirely.

Lauren: Yes, it has, the word archive does have many interpretations depending on what it is being preserved for future generations.

Please tell us about a project that you’re currently working on.


Zach digitizing footage from tapes

Zach: The project I’m currently working on is the KGMB Transcodes process. The process is basically re-coding ripped video files to a different source file by using a re-coding program. For the re-coding process, I have a batch of 10 videos to be re-coded, which takes about 20 minutes. After the 10 videos are done, I go to a spreadsheet to check how “damaged” the videos are by conducting quality control checks and damage ratings on the files.

Lauren: At ‘Ulu‘ulu, one of the projects I am helping out with is scanning old catalog index cards from the KITV News station. As for a Creative Media Project, I’m currently doing an interview assignment where I interviewed Janel Quirante about the ‘Ulu‘ulu archive.

Thank you to Lauren and Zach for sharing those thoughts with us. We sincerely appreciate your contribution to the archive and how much it helps the work that we do.  Be proud that you were a part of preserving Hawai‘i’s moving image history!

Paid 2019 Summer Roselani Media Preservation Internship

Applications are now being accepted for the 2019 Roselani Media Preservation Internship at ‘Ulu‘ulu Moving Image Archive!

The student selected as the 2019 Roselani Intern must be committed to the preservation of our media history and enrolled in a moving image or archival academic program. Working side-by-side with experienced archivists, the intern will gain practical experience in a moving image archive.

The intern will receive a $4,000 stipend.

Application Form and Instructions may be downloaded here.

Key dates:
March 1 – April 15: Applications accepted
April 30: Selection made
May – September: Internship takes place over 6-8 consecutive weeks (200 hours)

Interested in what a Roselani Media Preservation Internship is like? Meet some of our former interns:
2018 Roselani Intern
2017 Roselani Intern
2016 Roselani Intern
2015 Roselani Intern

Introducing our 2018 Roselani Intern

This summer we were very happy to welcome Miyuki Meyer as our awesome Roselani Media Preservation Intern! Miyuki is currently halfway through the MLIS program at the University of Illinois at Urbana-Champaign, where she works as the Media Preservation Graduate Assistant at the Preservation Services of the University Library. She has a background in photography and video, and received her MFA in Visual Arts from SUNY at Purchase College. Miyuki grew up between Tokyo/Kagoshima, and Sharjah, U.A.E, and has been living in the U.S. for almost 10 years. We asked Miyuki a few questions to learn a bit more about her.

What brought you here to ‘Ulu‘ulu? What are some of the things you’re hoping to learn during your internship with us?
As Hawai‘i’s state regional moving image archive, ‘Ulu‘ulu’s growing audiovisual collection retains collective voices and memories of local communities’ past. I am most inspired by the archives’ mission to safeguard this history, and provide long-term preservation and access of the analog and digital collection through collaborative efforts. Amongst the many things I would like to learn, some of them include collection management, digital asset management, cataloguing native Hawaiian content, and maintaining and operating a video digitization lab.

What projects are you working on at ‘Ulu‘ulu?
I am working on two projects: processing Juniroa Productions materials, and digitizing raw footage of “Holo Mai Pele,” a traditional hula performance that tells the legendary tale of the two Hawaiian goddesses, Pele and Hi‘iaka. The raw footage was recorded on over 90 analog videotapes, and produced by Pacific Islanders in Communications. In my processing work, I’ve rehoused and reshelved a wide range of audiovisual formats in ‘Ulu‘ulu’s cold storage vault, and updated cataloguing records of the rehoused items using MAVIS. I have digitized almost 40 videotapes so far, and I’ve been learning about the overall video digitization and quality control workflow for best digital preservation practices. Outside of these projects, I also assist with environmental monitoring, and exhibit set up.

Is there anything about the videos you are working with that is surprising or unexpected?
As a new student of Hawaiian culture and history, I’ve enjoyed learning about hula ‘aiha‘a, which is a form of traditional hula dance that stems from the Pele clan, and pays tribute to the island and to Pele and Hiʻiaka (see Holo Mai Pele Educator’s Guide). It is humbling to see the performers rehearse and repeat countless segments of the same performance over and over again, and the powerful, beautiful poetic songs that accompany the dance movements that echo the forces of nature on the island has been an incredible experience. I was awed by the performers’ resilience, and the connection the dance has to their ʻāina. As I’ve navigated throughout O‘ahu on my days off, especially trekking the grounds of the hiking trails, my appreciation for Holo Mai Pele, as well as learning about the Hawaiian culture, has grown with each videotape. As an immigrant who has spent much of my life abroad, the connection people have to their home is personally significant. I was not expecting how much I would be drawn to the content of the videotapes, and how much this project would have a positive effect on me.

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Now that you have worked as a Moving Image Archivist and with Hawaiian cultural materials, what is your favorite aspect of the job and why?
With my interests in ideas of home and culture, I appreciate how working with Hawaiian cultural materials as a Moving Image Archivist means that I get to be part of the initiative to preserve local culture. My favorite aspect of the job is the real time capture process to video digitization, and researching the content of the production. This has allowed me to engage with the collection as a viewer to acquire an understanding of what is involved in the production tapes, as well as be an active participant. A lot of the videotapes I’ve worked on have been insightful, including the Ah Quon McElrath oral history tapes I’ve had a pleasure of watching.

So you’ve been here for a few weeks now, what are you enjoying most about Hawai‘i?
I’ve been spending on average 3-4 hours on TheBus everyday, which definitely sounds dreadful, but I’ve enjoyed exploring different neighborhoods on the island by foot. This has exposed me to how multicultural and diverse Hawai‘i is, and as someone who has been raised in a multicultural family, I felt at ease and at home. One of my favorite destinations is the Hawai‘i State Art Museum, where it exhibits a fantastic collection of artwork that reflects and forms observations on the history of the island. I got to see the Disney movie, Moana, in the native Hawaiian language on the outdoor fields of the Bishop Museum, and the Dead of Night, a powerful play by Edward Sakamoto at Kumu Kahua Theatre. Both were amazing experiences where I got to celebrate local culture with my coworkers at ‘Ulu‘ulu. The coffee at Morning Glass Coffee has been exceptional, where you are surrounded by a gorgeous mountain view of the Mānoa neighborhood. There is a short hike up north, where the trail leads up through the Lyon Arboretum and the Mānoa falls, where one is immersed in the lush greens of the mountain.

We hear that you are a foodie, what local delicacies have you discovered?
I took an hour bus ride to visit the Liliha Bakery to try their coco puff and poi donut, which was totally worth it. One morning Robbie, the Digital Media Specialist at ‘Ulu‘ulu, brought in a vintage pink box with blue lettering that read “Leonard’s Bakery,” which contained hot malasadas, a local Portuguese delicacy. Plain, haupia, chocolate filled malasadas. I am definitely going to miss these!

Do you have any advice for future Roselani Media Preservation Interns?
Beyond the duties of your internship, the overall experience depends upon what you make of it. My personal experience of working with Hawaiian cultural materials has been increasingly enriching as I’ve taken the time to explore the island, and learn about local culture and history. Visiting local museums, public libraries, historical sites, and trekking the grounds of the island are important parts of this internship. These explorations have heightened my awareness of working with cultural materials. In a way, it makes you realize how preserving native voices, its history and culture, are valuable initiatives to be part of.

Thanks to the generous support of the Henry Ku‘ualoha & Muriel Roselani Giugni Fund of the Hawai‘i Community Foundation, the Roselani Media Preservation Internship is offered each year at ‘Ulu‘ulu to give a student of merit who is committed to the preservation of our media history the opportunity to acquire practical experience in a moving image archive. 

Contact Zone and ‘Ulu’ulu Present Remember When Screening at Contact Zone located at the Surf Jack Hotel & Swim Club April 6-21



Paid 2018 Summer Roselani Media Preservation Internship

Applications are now being accepted for the 2018 Roselani Media Preservation Internship at ‘Ulu‘ulu Moving Image Archive!

The student selected as the 2018 Roselani Intern must be committed to the preservation of our media history and enrolled in a moving image or archival academic program. Working side-by-side with experienced archivists, the intern will gain practical experience in a moving image archive.

The intern will receive a $3,000 stipend.

Application Form and Instructions may be downloaded here.

Key dates:
February 1 – April 1: Applications accepted
April 15: Selection made
May – September: Internship takes place over 6-8 consecutive weeks (200 hours)

Interested in what a Roselani Media Preservation Internship is like? Meet some of our former interns:
2017 Roselani Intern – https://hkgarchives.org/2017/09/06/introducing-our-2017-roselani-intern/
2016 Roselani Intern – https://hkgarchives.org/2016/08/15/introducing-our-2016-roselani-intern/
2015 Roselani Intern – https://hkgarchives.org/2015/09/08/roselani-intern/

‘Ulu’ulu 2017 Annual Newsletter


‘Ulu‘ulu is a Hawaiian word for “gathering or collection,” a fitting name for Hawai‘i’s film and video archive where our collective moving image memories are preserved for future generations.

Entering our 9th year, we now boast a collection of nearly 45,000 media items that have come to us from across the State and even parts of the Continent. This year we have been fortunate to welcome 10 new collection donors whose works will enhance our media literacy efforts. But what does that mean? How can these films and videos become part of media literacy? How will they provide a learning experience?

Moving images are a valuable visual documentation of community – of places, people, events – and ‘Ulu‘ulu strives everyday to preserve, catalogue, protect and share our rich film and video heritage of Hawai‘i while making it accessible to the public.  Thanks to a recent partnership with the Hawaiian Legacy Foundation (HLF), we anticipate teachers diving into ‘Ulu‘ulu and using these resources as part of media literacy integration across all subject areas. This is exciting as our 20th century history resides on the shelves at Hawai‘i’s official moving image archive.  We cannot thank our donors enough for their moving images which have become important examples of our historiography.


We’d like to take a moment to share some of our accomplishments from 2017 with you. Click here to view the ʻUluʻulu 2017 Highlights report on our new collections, digital preservation projects, television and film premieres and more!

Mahalo nui loa for your support!

HIFF 2017 – Documenting Activism: The Early Days of the Native Hawaiian Movement

On Sunday, November 5th, the ‘Ulu’ulu Archive presented Documenting Activism: The Early Days of the Native Hawaiian Movement at the 2017 Hawaii International Film Festival. A crowd ranging from kupuna to keiki gathered to see memories of the past unfold from the views of filmmaker’s camera. In her introduction to the film, the Cultural Collections Specialist and producer Heather Giugni warned the audience that because the film incorporated raw, unedited footage, the beginning may be a shaky.  The first few moments of Documenting Activism opened with an old documentary about Hawai`i being shown on an old tube television and comments being made in the background. If YouTube existed at the time, this segment could have been titled “Hawaiian Activists React to CBS Documentary about Hawai`i.” The sensationalized version of ancient Hawai`i was met with amused snorts from both the audience in the documentary and the audience in the theater. Everyone seemed to be thinking, “is this for real?”  When the narrator continued to explain that Hawai`i was a land of violence cloaked in the disguise of paradise, both audiences erupted in laughter when the narrator proclaimed that the western world finally brought peace to Hawai`i.
c32_29880 - FramegrabDespite the humor the activists found in the CBS documentary, they understood that as the first mainstream introduction of Hawai`i to American audiences, this documentary failed to represent the Hawaiian people, the land, and the culture that connected them both. To remedy this, activists and filmmakers came together and eventually produced the 1984 KITV program Mo`olelo o ka `Āina, which was one of the first commercial broadcasts to address Native Hawaiian issues from a Hawaiian perspective. Using Mo’olelo o ka `Āina as the foundation, Documenting Activism builds onto it by incorporating footage following the Protect Kaho`olawe `Ohana in their efforts to stop the military bombing of the island and re-establishing it as a sacred place. Together, activists and filmmakers alike preserved those first steps for the rights of Native Hawaiians.
c1_569_int_1- Framegrab

Following the showing of the film, the audience was treated to a panel discussion with filmmakers and the head archivist at ‘Ulu’ulu. They reminded the audience of a time before smartphones allowed anyone to record to their heart’s content, a time when video equipment was so expensive that only broadcasting channels could purchase it. That all changed when the first portable video recording technology was made available at affordable costs.  This new technology called out and resonated with the visionaries of artists and activists. As artists and activists, it was incredible for the filmmakers to be able to go out and film that first landing on Kaho`olawe, record George Helm singing in a backroom, or witness the passionate and feisty speeches at rallies.


The panelists who shared their mana`o on the production include:

Stephen Kane-a-‘i Morse
Born and raised on O’ahu, Morse attended Maryknoll and Kamehameha Schools before heading to Beloit College in Wisconsin. Returning home for his Masters in Social Work at the University of Hawai`i, he went on to lead a forty-five year career serving the non-profit and human services sector.Through his work at the Queen Lili`uokalani Children’s Center, OHA, and Alu Like, Morse has advocated for the social and economic rights of Native Hawaiians and strengthened Hawai`i’s children, families, and communities. As the founding director of the Hawaiian Coalition of Native Claims (currently the Native Hawaiian Legal Corporation), he became involved with the first occupation of Kaho`olawe, where he filmed the groundbreaking experience. Though Morse considers the landing on Kaho`olawe to be his once-in-a-lifetime opportunity on his film-making biography, he was able to share more of his thoughts on the event in a manuscript. Titled “First Landing: the Story of the Kaho`olawe Nine,” the manuscript has been adapted into a screenplay and will hopefully reach production in the future.

He has called Waimanalo his home for the past thirty years, and has remained active in the community by serving on many of the local boards. Morse is also the current Executive Director of Blueprint for Change, which is a non-profit that works to prevent child abuse and neglect.

Kevin Coates
After appearing in Warner Bros. and 20th Century Fox films in the 1960s, Coates took part in developing a documentary about atomic bomb testing by France near Tahiti.  Through distribution by Greenpeace founder Bob Hunter, the documentary was able to reach audiences worldwide and pushed by public opinion, France stopped its testing. Coates went on to develop the format for what is currently known as C-Span. Despite receiving no credit for his part with C-Span, he is glad that he was able to play a part in keeping the public more aware of the happenings in Congress.

In 1976, Coates met with George Helm, where he was asked to help document the efforts of Hawaiian activists in stopping the bombing of Kaho`olawe. His persona account conveys it best:

I replied, “Stop the bombing… I’m in.”  George said, “We don’t have any money to pay you.”  I told him and the ‘Ohana, “I don’t care about the money but I need to keep the camera and gear dry, and I’ll need to eat once in awhile- to which George laughed and said, “Braddah, we Hawaiian, you know you’re gonna eat!”

By documenting the Aloha ‘Āina movement, Coates feels truly blessed to have been able to meet such amazing, true Hawaiians, as well as his wife. He also feels especially blessed to have met his wife of forty-two years while on a march with Hui Alaloa. They now have three keiki and six mo`opuna.
Joan Lander

An independent filmmaker, has been part of the documentary team Nā Maka o ka ʻĀina, which has produced more than 90 programs focusing on the land and people of Hawai‘i and the Pacific. The documentaries examine traditional Hawaiian culture, history, language, art, music, environment, independence and sovereignty, and have been seen on PBS, Hawai‘i public and commercial television stations, and cable networks in Canada, Aotearoa (New Zealand), Japan, Mexico and Europe. Currently, Lander is working to preserve, digitize and make accessible thousands of hours of footage in the Nā Maka o ka ʻĀina library.

Matt Yamashita
A filmmaker from Molokaʻi whose work focuses on culture, activism, and sustainability. Yamashita’s award-winning documentaries, including Sons of Halawa and The Roots of ‘Ulu have seen national PBS broadcast. Currently, he is working on a new documentary, Aloha ‘Aina: The Awakening of Walter Ritte. Ritte was one of the Kaho‘olawe Nine that landed on the island in 1976.
Documenting Activism UHWO Screening - Digital Signage_01
As an encore to the premier on Sunday, `Ulu`ulu hosted another showing and panel discussion in the James & Abigail Campbell Library at UH West O`ahu. The event on Monday was open to the public, and members of the community joined students, faculty, and staff on campus for this encore presentation. Viewing the film proved to be particularly intriguing for students enrolled in Land, Culture and Social Justice class taught by Christy Mello. The audience’s interest in the film could be felt through their questions and active engagement with the filmmakers.

Although some of the footage may be in black and white, with pictures blurred by time and sound crackling with age, the issues presented in Documenting Activism are still sharp, still cut deep, and still resonate with current audiences. The efforts of the featured activists and filmmakers inspire the younger generation to follow in their footsteps and continue to create content and stories that give a Native Hawaiian perspective.

For those that were unable to attend the showings of Documenting Activism: The Early Days of the Native Hawaiian Movement, you can watch the film on the ‘Ulu’ulu site or browse our photos here.

Blog by Hoku Kaahaaina

Filipino American History Month

c37_25857_framegrab_ Filipino American History Month Theme

October is Filipino American History Month. In honor of the event, we compiled footage from various collections in the ‘Ulu’ulu Moving Image Archive to illustrate the Filipino experience in the Hawai’i islands.


Hanapbuhay Filipina : Looking for Work in Hawaii. Victoria Keith Collection.

Description: A look at Filipino immigrant women and their problems with finding suitable employment in Hawaiʻi.


Interview with Marie C. Blanco. Daniel K. Inouye Oral History Project. Daniel K. Inouye Congressional Collection.

Description: Interview with Marie C. Blanco, Senator Inouye’s former chief of staff. This interview was recorded in Falls Church, Virginia on July 7, 2015 for the Daniel K. Inouye Oral History Project. Topics include how Blanco’s desire to work on the continental United States led to becoming a staff member, state issues and communication between Hawaiʻi and D.C. offices, becoming more familiar with Senator Inouye’s different sides over the years, aid for the Philippines and naturalization for Filipino veterans, and being on the commission for the FDR Memorial. Includes photos of Senator Inouye’s trips to the Philippines in 2006 and 2011.


Interview with worker. Ka’u Sugar: A Town Remembers production materials. Cliff Watson

Description: Retired mill operator talks about emigrating to Hawaiʻi and his thoughts on the future of Kāʻū now that the plantation is closing.


Kahului Filipino Community Association INC. Fifth Annual Miss Sampaguita Contest 1979. Michael Dooley Collection.

Description: Kahului Filipino Community Association INC. Fifth Annual Miss Sampaguita Contest. Includes dancing from the Kahului Maui Junior Catholic Club dance, speeches, and swearing in of new members.


DIALOG: Lt. Governor’s Race (1986). PBS Hawai’i. KHET.

Description: Episode of DIALOG featuring a roundtable discussion with the 1986 candidates for Lieutenant Governor. Candidates are Democrat Ben Cayetano and Republican John Henry Felix.


Interview with Norman Asuncion 5/6/98. The Great Hawai’i Dock Strike production materials. Rice & Roses production materials. CLEAR.

Description: Interview with Norman Asuncion conducted by Chris Conybeare on May 6th, 1998 about the 1949 Dock Strike. Topics include his parents immigrating to Kauaʻi to work on a plantation, being stranded on Oʻahu after the war and becoming a stevedore, the ethnic makeup of workers on the dock, benefits of the union, working and living conditions, strike assignment, the Broom Brigade, and what became of the Filipino stevedores.

Please view the Filipino American History Theme here.

Be sure to contact us to view the full footage!

Hawai’i History Day – 2017


This year’s theme for Hawai’i History Day is “Conflict and Compromise”. The resources selected from the ‘Ulu’ulu Archive show how community development leads to many issues that must be resolved and compromise has to be instituted to allow for a wide range of voices to be heard. Showcased are debates, news footage, rallies, and documentaries that explore how conflict arises and the avenues that allow for compromise.


Community Planning Program. Victoria Keith Prodcutions.

Description: Thomas Square. City planning. Oʻahu County. Development. Government decision making without public input. Interviews with people at a protest. Interviews with developers. City Councilmembers. Board of Water Supply. Waiʻanae. Kalihi.


Rapid Transit Roundtable. Hawai’i Public Broadcast.

Description: Program starts with people from Hawaiʻi living in the San Francisco Bay Area discussing Bay Area Rapid Transit system (BART). Continues with highlights from three roundtable discussions with comments by Governor John Waiheʻe, Honolulu Mayor Frank Fasi, Mililani State Rep. Samuel Lee, Councilmember Gary Gill Downtown/Nuʻuanu, Bob Fishman Honolulu Taxpayers for Transit Solutions, Vicki Von Stroheim-Seay V.P. Snelling-Temps, Dr. James Mak Economics Chair UH-Mānoa, Gary Rodrigues State Federation of Labor, Craig Kawahara Pearl City High School Junior, Paul Brewbaker Economist Bank of Hawaii, Darrlyn T. Bunda Leeward Oʻahu Transportation Mgt. Assn., Guy Nakamoto Stop H3, and James E. Cowen President Oʻahu Transit Services Inc.


DIALOG : The Sandy Beach Initiative: Yes or No (1988). PBS Hawai’i.

Description: Roundtable discussion about the controversy over Sandy Beach and Kaiser Development Company’s plan to build a housing subdivision. Voters in the upcoming election will be asked to vote on a plan to rezone land across from the beach from residential to preservation. Guests include two members from People Who Vote Know on Sandy Beach and two members from the Save Sandy Beach Coalition. Includes a short background video by reporter Penny Nakamura.


ENG File #4. KGMB.

Description: This ENG File contains 42 clips of news footage on a variety of topics from July 10, 1978 through September 19, 1978.


Protect Kahoʻolawe visits office of Lieutenant Governor Doi’s office with Lt. Gov. Doi circa 1977. Protect Kaho’olawe Ohana.

Description: Protect Kahoʻolawe visits office of Lieutenant Governor Doi’s office with Lt. Gov. Doi circa 1977. The group also talks to daughter of MacPhee Kahoʻolawe leasee. Crowd includes Aunty Clara Ku, Uncle Harry Mitchell, Aunty Lani Lopez Kapuni, Walter Ritte, and Loretta Ritte.

Please be sure to checkout the rest of the resources selected for the theme “Conflict and Compromise” and contact us to view the full footage!!

Introducing our 2017 Roselani Intern


From August 7th to September 8th, we were very lucky to have Kathryn Antonelli as our 2017 Roselani Summer Intern! She is originally from Rhode Island and has since been adopted by Philadelphia. Kat earned a BA in Media Studies and Production from Temple University, and she is currently completing an MLIS (Masterʻs in Library and Information Science) from the University of South Carolina.

What brought you here to ‘Ulu‘ulu? What are some of the things you were hoping to learn during your internship with us?

Two main things brought me to ʻUluʻulu: its specialization in moving images, and its mission to preserve Native Hawaiian cultural history. Before I discovered my interest in the LIS field, my undergraduate program and my jobs during and after college all involved working with audiovisual materials, so I knew I wanted to continue using those skills as I “migrated” to a new field. It’s very unique to find an archive that focuses on these materials. Also, I love learning about other languages and cultures, so when I saw the post advertising the internship I had to see what ‘Ulu’ulu was all about. As I’ve gotten more experience working in archives, I’ve become aware of their potential to help marginalized groups tell their stories, and I was really drawn to the way ‘Ulu’ulu attempts to do that as inclusively and respectfully as possible.

Could you please share a little about the work you did at Princeton?

This summer has been interesting for me because I took a trip back in time as I worked. Before I came to Hawaiʻi, I was interning with Princeton Universityʻs Manuscripts Division team. There, my focus was on post-1980 born digital audiovisual materials like optical media and files on computer hard drives. That was a great experience and I unlocked some inner computer geekiness I never knew I had–believe it or not, using the command line can be pretty fascinating. Now that Iʻm here, though, Iʻm working with formats like videotape and film that mostly date between the 1950s and 1980s (although ʻUluʻulu does have film thatʻs even older, and plenty of digitized files you can check out on the website).

What projects are you working on at ‘Ulu‘ulu ?

Iʻve gotten the opportunity to do a few different things here! I finished accessioning all of the Pau Hana Years programs in our PBS Hawai’i collection, and am now working to clean up the metadata for our Juniroa collection. Iʻve also helped organize the Don Ho collection and get it on the shelves, inspected film from an incoming home movie collection, done transcoding and quality control for the KGMB collection, and worked at outreach events to let the universityʻs students know about ʻUluʻulu. Itʻs been a lot of fun getting to try my hand at different responsibilities, and learning the ins and outs of how the archive operates.


Was there anything about the videos you worked with that was surprising or unexpected?

Having taken classes in audiovisual materials, I was aware that an incredible number of formats have been produced over the years. However, getting to actually handle them and discover the differences has been entertaining and enlightening.

So you’ve been here for about a month now, what are you enjoying most about Hawai‘i?

Aside from the beauty of the land and sea, which absolutely cannot be overstated, I love how ʻŌlelo Hawaiʻi is integrated into local signage and phrases. From the bus announcement requesting riders move to the rear with “please kōkua” to the signs on the beach asking visitors to “mālama ‘āina”, itʻs a constant reminder of the rich culture of this area. Although there is still progress to be made, it makes me happy to see Hawaiian ways of knowing being promoted. In fact, I created a theme for the ‘Ulu’ulu website that brings together some of our resources on the language.

c48_33207 - Framegrab - Hawaiian Language Theme

Now that you have worked as a Moving Image Archivist and with Hawaiian cultural materials, what is your favorite aspect of the job and why?

I think my favorite part is the storytelling ability of the materials themselves, and knowing that my work helps to keep them available. I’ve always believed in the power of a good book, but reading about an event is completely different than seeing it happen. I find moving images and sound recordings to be incredibly powerful ways of reliving and understanding our history, and equally interesting is how they can be edited to tell the same story in different ways. I’m excited to keep working in this field and grateful that I had my first real taste of it with the staff at ‘Ulu’ulu.