Writers

November 16th, 2011

Chicken Fight

The macabre, bloody fun of country gambling
*Name has been changed to protect identity.

Of all the creatures we have domesticated, we disport with chickens the most cruelly.

Last year an odd resolution in the State House of Representatives that would have honored cockfights as a “cultural activity,” brought out the most entertaining testimony of the session from seasoned country uncles. Much of what they said was correct. Noting the historical record, it is true that staging dumb foul to fight for entertainment is indeed a cultural event, with clearly defined ritual and social norms: that Honest Abe Lincoln got his nickname from his fairness in the cockpit; that the intestines of Captain Cook were used to line a cockfight ring before the rest of the body was buried at sea; that after a dehydrated day hacking at overhead razor sharp sugar stalks, immigrants to Hawai‘i have gotten a macabre kick out of fighting chickens by blowing their plantation scrips on homegrown livestock. It is also true that the vices associated with fighting chickens are real problems – if one needs to launder a few thousand dollars during the weekend, a chicken fight is where to be.

The practice continues despite several state laws banning organizing and betting and federal law passed in 2007 that made it a crime to transfer cockfighting implements across state or national borders. Chickens and humans can still travel freely, and there is no shortage of provincial crafters who specialize in the creation of gaffs and knives of various sorts. During long rides through the country, I was informed that “there are gaff fights, knife fights, and Mexican gaff fights. Out here we mainly see knife fights. These things are razor sharp on both sides, about 2 and a half inches long,” as my guide motioned his pinky finger in the eerie curve of a velociraptor claw. When I asked what they were made out of, he replied, “matters who’s making it – usually from suspension springs.” One quickly realizes that this is an activity almost impervious to legislation as all one needs to fight a cock is another cock and some modified auto body parts. As for a “Mexican gaff,” apparently the chicken version of Norteños vs. Soreños, it involves an inch-long mini ice pick and protracted stabbing.




My contact into the glamorous world of fighting chickens was Benson*, an unpretentious, stocky fellow who despite cultural shifts toward altered racial nomenclature, is still quite comfortable self-defining as “Oriental.” Fight scheduling can be a sporadic endeavor as attendees and organizers have very real concerns about avoiding detection and prosecution. For Benson and I, our first trip to an event was a three-hour mission from town to the back roads of Wai‘anae Valley, near to where “that Samoan pig farmer got convicted of slavery,” a friend later pointed out. Although unsuccessful and dispersed due to fears of a police raid, Benson delivered a three hour master’s course in fighting chickens, from the two year preparation (every day) and the cost of feed (it can add up), to the careful, almost loving attention placed on a dying bird by a trained handler during a fight. It was then that I learned the local nuances of a practice as old as chicken-and-rice-for-dinner. We rescheduled for the next weekend.

Six days later, there was little chance of catching any sleep as I was up free-associating and googling the various ways people are injured or killed in gambling here on the islands: One guy burned in his car for deserting a debt; one guy shot on the side of the road after a big win; an old man whose calf was “butterflied open” by a wayward fighting chicken with a customized razor affixed to its leg. The threat of being maimed or killed took all the joy out of participant observation methodology. I attempted some self-motivation by remembering one of life’s inconvenient truths: that if you follow all the rules, you probably won’t have any fun. ** Summer heat rose up from the road as we took off for the fight. Honolulu’s fringes progressively crumbled in the rear-view mirror, from high rises to mid-century suburbs to sodden fields of dense vegetation. These in turn gave way to a flanking of undeveloped private property and the onshore sea. The land became spare enough to where one could actually imagine a dark, mysterious spot on the satellite map, some far away place on this densely populated island where our phones’ service indicators would be out of bars. Then the windmills began to rhythmically slash at the horizon – New Age shining Pololu protecting the northernmost point of the island – and we took a hard turn down a dirt road.

Even after the previous trip and all I had read, I still had in mind that a cockfight would be an after-dark, furtive affair: squatting men betting and drinking and sweating out the brutal suspense under the cover of night. Benson cut the wheel sharply, taking us off the road and down a dirt one-lane in the broad daylight, navigating by an instinct that removed us from the state highway. “I bet it’s there,” I said like an idiot as we passed a thicket and a herd of pickup trucks parked at odd angles came into view, like nervous horses ready to bolt.

Once one knows what to look for, a derby fight in the country is one of the worst kept secrets on the rock. We walked with half a dozen other local guys through the property, passing poi dogs loosely leashed to hand-built sheds and feral cocks who kicked up the alkali dust in their wake. Dozens of triangle-shaped pens were in neat rows, with chickens leashed by the leg to their bases, just long enough so they could jump to the top and crow their gizzards’ content. Men in surf trunks and work boots carried coop boxes holding three chickens each, the size of a disco-era subwoofer. There were several tailgates open for party mode in the field, and the unmistakable tang of pork adobo lingered in the air. Seemingly innocuous as a country picnic.

Beneath the surface of the country gathering, I sensed a deep well of transgressive danger. Maybe it was the ruddy local boys exiting a lifted truck that looked like something driven by a Libyan rebel? The flash of 3-inch blades being attached to strutting chickens? The row of men resembling an outdoor police booking station waiting for action? In retrospect, the veil of lawful safety was lifted when I caught sight of a thin, elderly Asian woman who sat in a plastic chair in the center of the ring, lazily smoking a Marlboro and eyeing the entrants as the sun slanted over the pit. I avoided eye contact with her as I did most everyone else, half expecting her to point a long bony forefinger in my direction like something out of a Stephen King novel, outing me as a writer and causing my fact to melt.




At the weighing tables, I caught sight of the fighters. These “chickens” are not the banal type embroidered on aprons or playfully painted on a pack of thighs at Sac-N-Save. More than anything they are war birds, bred with decades-old stud books for strength and streamlined for combat. To the uninitiated, the cocks all look the same until they start dying differently. But to the handlers there were differentiations in breed, height, weight and ability that determined the matches for the day, thousands of dollars riding on each bird.

As things got going, there was a definite code of accepted conduct to the rowdiness, and one would have to be diagnosed with something out of the DSM-IV-TR (ie: crazy) to pick a fight. Though loud, the betting was far from crazy. It seemed that everyone there was picking up on the nuances of chicken, handler and referee that intuited how to direct funds, not unlike a low-end stock exchange. The yells of “jes! jes!” interlaced with harsh Ilocano accents raised the level of claustrophobia significantly.

More than racial signifiers, there was a certain hardness to the crowd: working class, middle-aged local men, with the occasional facially tattooed drug dealer mixed in for third world effect. After feigning an interest in sharing a smoke with someone a few chairs down, Benson later told me that the fellow I was chatting with was the owner, and that “he knows your face now, so you’re good to sit there.” Oh great. Off to the left, an excited better told me, “My P.O. told me this is healthier than drugs. I didn’t go to a fight for three years and I didn’t know what to do with myself. Brah, stay so excited!” As he spoke, I could not help but notice that he was thumbing more hundred-dollar bills in his hand than he had teeth in his mouth. 

For those of us with a modern life unaccustomed to the casual nearness of death and violence, the pit appears to be a brutal environment. For some handlers though, working chicken looked as easy as operating a remote control. An elegant, white-haired Filipino man in black wranglers, a spotless sweater, and blood-spattered tan cowboy boots looked like everything a chicken cutman would be. As he entered the pit with the underdog cock, he looked much more composed than the young braddah in slippers nervously cradling his big red. As the elegant man’s fighter began spitting up blood, he held it upside down just long enough to suck blood out of its beak and encourage it to bite its opponent. He spat the purple clot onto the dirt, searing an image onto my mental retina that I’m sure to recall anytime I fear dinner is not cooked through enough. Although doomed, his cock won the fight with his veteran skills.

After a few quick rounds, the elegant Filipino man re-entered the pit, and I almost got into the spirit of losing money. That was until Benson informed me of the quick hand signaling required to enter the fray. He explained: “A finger up means ‘jes,’ which today is $100. A finger down means $1,000. Two fingers down: $2,000 … so umm, maybe best if you just don’t use your fingers.” With that in mind, I kept my digits neatly folded on my lap while the dust flew and the toothless ex-con to the left of me made it rain Benjamins after winning an upset against a 300-pound heavy across the pit. “We all going eat good tonight!” he exclaimed, with me nodding in silent approval, careful not to give a thumbs up for fear of owing someone the rent under enforcement of the syndicate.

By the fourth fight, I had grown tired of the bloodshed. So too had the blonde cock being handled to attack his already critically wounded opponent. Despite some clever flicks to attempt a reaction, he stopped biting back and began to peck the ground, looking like he wanted nothing more than to go back to being a humble, big-boned chicken from Waimānalo. The Waimānalo blonde, like all the other chickens, had no idea this was a fight to the death. Although cocks have a natural bony spur at the back of their feet, there is no Darwinian advantage in killing an opponent of the same species in a matter of minutes. Chickens are existential creatures, somehow forgetting an experience right after it happened. Although they fight, cocks without knives attached to their legs quickly determine a pecking order and continue on their dumb way, forgetting the whole affair and going back to scratching for scraps.

There are such things as stupid questions, and the stupidest one a cockfighter hears usually has to do with what happens to dead birds. Benson told me on the way home, “Everything that goes down in human fights goes down in chicken fights. So you’ve got some guys who try to cheat, there could be poison on the blade or in the bird – definitely something you don’t wanna eat.” As we parted ways, Benson mentioned another fight next weekend and asked if I wanted to go. “No thanks,” I replied, digging my fingers into my pockets to signify no bet.

November 16th, 2011

David Sedaris



David Sedaris has become one of America’s preeminent humor writers. Known for cutting through cultural euphemisms and political correctness, the master of satire has become one of the most observant writers addressing the human condition today. He’s written a number of bestselling memoirs, including Me Talk Pretty One Day and Naked. His newest book, a collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary immediately hit the New York Times’ bestseller fiction list. We spoke with the humorist about bicycles, postcards and his upcoming appearance in Hawai‘i.

It looks like you’re going to be here in Hawai‘i around Thanksgiving. Anything in particular you want to do when you’re here?
I’m usually in Europe for Thanksgiving, and there it’s just Thursday, so I’m really out of the habit of celebrating Thanksgiving. But goodness, I’ll be touring 41 cities in 41 days and Honolulu will be my last stop. So really, I just want to ride a bike. I mean, I don’t have an outfit or anything, or any special sort of pants. I just want to ride a girl’s bike, with a basket on it and no helmet. A week after that, I’ll be starting my book tour.

Do you prefer paper books or e-readers?
I just read my first couple of books on the iPad and I guess, because I travel so much, it is good for that. But there was always something about signing a book that I liked. All that’s changing so fast. I was just throwing tons of stuff away in my apartment because it all just seems like stuff from a former life. Audio books on cassette or CD that I’ve been holding on to. I don’t even know who to give that stuff to anymore. There aren’t even blind people that want books on tape anymore. Used to be, I’d bring stuff like that into the United States and give it away. I lug around a lot of stuff. I never go anywhere without 70 pounds on my back.

That’s a lot of weight!
I have 9,000 postcards to give away to people on this tour. I had a designer make these postcards for me. One of them has a bunch of owls on it, and it says, “Lets explore diabetes with owls.” Like, what in god’s name? What do owls know about diabetes? I’m a big collector of postcards. We have another card printed up. It says, “abortion 3 dollars.” I mean, that’s such a good price for an abortion. You try for years to get pregnant and you finally got pregnant. And you saw a sign that said abortion for three dollars, wouldn’t you just have an abortion because its such a good price?

It is. You can’t even get a number one at Mcdonalds for that price anymore.
I’m really into postcards. And mushroom models.

Mushroom models?
I just saw a mushroom and I wanted it. I have oh, about 30 plus mushrooms. I’ll see a model of a mushroom and it’ll cost like $1,300, but it’s a really beautiful sculpture so I don’t know why it would not cost a lot of money. I put that one on my Christmas list.

Have you gotten any postcards or letters regarding your openness about being gay from readers?
I get letters from kids, maybe a small percentage of them are gay kids. Maybe 20 years ago, I probably would’ve, but there’s so much out there now. And I think probably they’re writing to that guy on Glee.

David Sedaris appears at the Blaisdell Concert Hall November 22. Purchase tickets HERE.

August 24th, 2011

Maoli Art in Real Time


Native Hawaiian contemporary art is in bloom. For just two days, from August 23 to August 25 at the Hawai‘i Convention Center, the public can take a good look at the work of several modern cultural practitioners. Viewers can also catch a sneak peek at the developmental work created for ‘Aulani, Disney’s massive Ko Olina development.

Maoli Art in Real Time is in its second year, and this year the event has something special to celebrate. A few years ago, when ‘Aulani was green lit on the westside of O‘ahu, the skepticals among us had the sinking feeling that Disney executives would stamp the resort with their Googled, kitschy, outdated ideas of Hawaiian art. Based on the company’s past, the eye-rollers foresaw an extension of several decades’ worth of bland mischaracterization of culture, or what sociologists came to call “Disney-ification.” If you went to Disneyland in Anaheim any time from 1963 to the present, you could foresee that the Ko Olina multi-million dollar, bloated tourist trap would end up as a large Enchanted Tiki Room, with a theme song as horrid as it is catchy.

Somehow though, the media conglomerate has gotten with the 21st-century program. Disney has commissioned over a dozen Hawaiian artists to represent the culture appropriately, apparently even paying them what they are worth. ‘Aulani will house the largest collection of contemporary Hawaiian art in the world, and the resort will be the better for it. If the mock-ups on display are any indication, the skeptics among us may still find fault, but it will not be in the art.

This showing deserves a broader discussion regarding the blooming of native Hawaiian artists, indigenous contemporary creativity, and the ability to make a living as a non-commercial creator in the Pacific (i.e. more discussion than this manini blog can accomodate). But one needs not delve into such issues to enjoy the work. Solomon Enos’ various contributions are truly inspiring. His work has been elevated by the grandness of the challenge. Doug Po’oloa Tolentino’s new paintings conjure all the magic (yes, magic) of the Cinderella or Pinocchio that played repeatedly from bulky plastic VHS boxes when we were kids. These, and several other artists, have found a way to be both commercial and true, and the work done on behalf of Disney is not out of place in the room next to handmade ipus, pu‘ili sticks and pahus. Although a tad bit slicker, the commissioned ‘Aulani artwork feels justifiably Hawaiian.







Maoli Art in Real Time (MAiRT) also features:

• The starting point for HAWAI’I LOA KU LIKE KAKOU, a Hawaiian-inspired community mural project on indigenous economics

• Na Pualei o Likolehua under the direction of Kumu Hula Leina`ala Ka- lama Heine proudly presents – Hula: A Living Practice

• Contemporary Native Hawaiian art and sculpture

• Traditional practitioners demonstrating during the reception

• Art reproductions, cards and books for purchase

(Sponsored by Dole!)

For more information, or to arrange a personal tour of the art, contact Maile Meyer at (808) 783-2786 or maile@nativebookshawaii.com. Visit nativebookshawaii.com for more information.
June 2nd, 2011

Not Our Party

APEC Comes to Honolulu

Mural outside of Nextdoor in Chinatown, Honolulu by artist Vince Ricafort

In order to simplify the following blog for Twitter users, here it is in less than 144 characters:

HNL C&C selling us out. APEC not for us. If u free markets, pls. free people- economic conversation not in vacuum. #YOURSHIRTISSTUPID

In November, Honolulu will host the 22nd annual Asian Pacific Economic Conference (APEC). Over the years, the member economies have sought three goals: trade and investment liberalization, business facilitation, and economic and technical cooperation. Recently, though, critics of the conference have come from all sides, arguing that the proliferation of bilateral trade agreements between impatient member countries makes the whole thing irrelevant, that maybe freeing markets before you free people is jumping the gun (ahem China), and the obvious one: Trade liberalization tends to lead to gross economic inequality. Adding to the irrelevance argument is that India, after not being let in on APEC talks after years of being held at the door,  joined the East Asia Summit, on its sixth year this October in Bali.

APEC goes down in a different city every year, and not all cities are cool with paying for a party they aren’t invited to. The 1997 meeting was held in Vancouver, Canada, and got controversial when mounted police tagged the crowd with pepper spray. The 2007 conference in Sydney, Australia included a $150 million investment and a “great wall of Sydney” that was crashed by a local prank TV show with a rented limousine and a cast member dressed as recently deceased Osama Bin Laden. American media covered last year’s event in Yokohama, Japan with about as much enthusiasm as they covered the Commonwealth Games.

Organizers have a tradition of dressing the leaders in local garb, leading to what is now over 20 years of goofy photos of middle-aged men in indigenous outfits draped over pricy suits, creating an awkward slideshow that precedes any TV coverage. For Honolulu’s event, a call went out several months ago to local designers, so we can expect some more begrudging awkwardness. Personally, I’m looking forward to a photo of Hu Jintao dressed like a Mililani uncle on his way to tee time.

The Hawaii Tourism Authority has already allocated a minimum of $28 million to pay for security and programming. That is certainly not the final tally. Regarding a return on investment, the numbers do not look good. O’ahu is already host to billions of dollars in American military infrastructure as well as the site of America’s Pacific Command, making it unlikely that further investment in “security” will yield anything back to the local economy. Earlier this year, commanders were moments away from scrambling fighter jets after a local man led police on a slow chase up the street of the President’s vacation home after failing to stop for having expired tags and an old warrant. So unless international leaders are going to be sleeping on the West side of O’ahu and taking the rail to town, Honolulu residents should not expect much back from HTA’s investment.

This year’s APEC has a specific back story for local artists and critics of power. On April 3, internationally famous artist and critic of the Chinese government Ai Wei Wei was detained in a Hong Kong airport for undisclosed reasons. Ai has been doing this for years. Instead of hiding from China’s version of COINTELPRO, he simply put all of his daily activities and views on his blog. After initially designing the “bird’s nest” for Beijing’s Olympic hosting, he abandoned the project, saying to other artists, “It’s disgusting. I don’t like anyone who shamelessly abuses their profession, who makes no moral judgment.” Ai Wei Wei’s profile in the international arts scene couldn’t be any bigger, as he was arrested on the heels of his acclaimed Sunflower Seeds exhibit at the Tate Modern in London, with current exhibition Zodiac Heads going up in New York’s Central Park.

An international groundswell of artists has sprung up in Ai’s defense. His stenciled image has appeared on the sides of Chinese governmental buildings in Hong Kong and mainland China. In April, over 2,000 people marched in Hong Kong; by May, numerous arts communities around the world had signed up and sent letters. Here in Honolulu, Vince Ricafort’s addition to the chorus of discontent went up on Hotel Street. For Vince’s piece, he altered an image of the artist from 1995, when Ai dropped a 2,000-year-old Han Dynasty urn, in part to discuss the Chinese government’s destruction of its people’s history. For the mural, the urn was turned into a Coca Cola bottle, adding a little globalized economic analysis on top of the original piece.

APEC continues to attempt conversations about open markets in a vacuum, disregarding discussions of human rights and its own growing irrelevance. This time, Honolulu will pay for the party.

For more reading on APEC:

Does APEC Matter? eastasiaforum.org

May 2nd, 2011

Men on Fire

Borrowing intelligently from indigenous and western practices, thinkers in Hawai‘i are re-imaging the concept of manhood.

Text by Sonny Ganaden
Artwork by Solomon Enos



Let me just say this first, knowing just enough feminist theory to begin with a disclaimer; I realize that writing about gender from a straight male perspective could really get me in trouble. Considering we have it a lot easier in this culture, there are things men shouldn’t say about women and power. Dudes aren’t (usually) the gender known to internalize a world that places so much worth on feminine youth and beauty. Seeing the world from this Y-chromosome-tinted perspective means to some extent we are incapable of true understanding. As bell hooks, the American author, feminist and social activist, notes, “Any coming to critical consciousness simply heightens the reality of contradictions … To focus on them is to expose our complicity, to expose the reality that even the most politically aware among us are often compelled by circumstances we do not control to submit, to collude.”

Evolving concepts of gender and the reality of contradictions bring up uncomfortable questions. How do you go “there” without being introspective about the variety and novelty of ways men tend to disappoint the women in their lives? Or the easy ways it is to be complicit in patriarchy and objectification? Yabba Dabba Doo she looks good in that dress; am I colluding? Supposing that most guys lack the critical thinking, things can get a little confusing even for those of us raised by progressive women and after-school Oprah to cringe at the B-word. There’s nothing worse than knowing just enough of MacKinnon’s post-marxist feminist theory to ruin a perfectly boring relationship or a pleasant night of drinking. It means the politically aware among us are living that heightened reality of contradiction as we decide what to wear tonight, where to be and who to show up with.

For men, being complicit in misogyny means never really getting it. It also means a lifetime of that thousand-yard stare from powerful women, the one where she’s just waiting for you to say something stupid. Old models of masculinity that include patriarchy and sexism do not prepare boys for a world where women will increasingly hold the same power cards as men in personal and professional arenas, where leaders are more cognizant of the role emotions play in making decisions. For some thinkers, a major hurdle of true equality is and has been the way men see themselves: as competitors, warriors, providers – or losers for not being competitors, warriors, or providers. We’ll have to go there, as the problems of sexual equality on a global power level remain the same. It is an unfortunate truth that the major religions of the world still consider women as an inferior form, and the vast majority of decisions being made in politics and the economy are made by men. Troubled parts of the world continue to use rape as a tool of war and violence against women as a means of social engineering that can only be described as fucked up. Not thinking about it contributes to the problem. 

As we venture into the 21st century, thankfully American culture is changing towards something almost resembling gender equity. Even Jay-Z, known a decade ago for the “Big Pimpin’” masochistic energy of the golden era of hip-hop, has eased his conceptions of power and women. He can be heard discussing his autobiography on NPR, explaining away the objectification in his earlier work as having more to do with his immaturity at the time than it did with sexism. That growing up poor in America’s particular style of capitalism means many emerging artists are young and have never had real relationships. So it’s no surprise that what comes out of the hip-hop generation is boasting, something insincere to provide the illusion of power in a culture that for many won’t give you any unless you take it. It might have taken a few albums, but the bikini and cheap champagne yacht party of “Big Pimpin” is slowly being replaced by the much sexier “Venus” and “Mars.”

In Hawai‘i we have a culture that borrows much of its normative values outside of American pop culture. Here where women paddle and swim from island to island and run corporations, kids take their cues as much from chubby Jawaiian crooners as they do from rappers. Hawai‘i has been ahead of the curve in gender politics and cultural equality for some time now. Locals and tourists know this place produces strong women; we learn quick that it was a queen that last ran the Hawaiian Kingdom, and that Roosevelt grad Yvonne Elliman was the real disco queen. In 1965, while the continent was tripping over the notion of civil rights as fundamental rights, Hawai‘i elected native daughter Patsy Mink to Congress. It was Patsy Mink who famously pushed through legislation that prohibited gender discrimination by federally funded institutions, giving generations of American women the opportunity to pursue achievements in higher education. It was women who ran for office, represented clients, led labor movements, and made Hawai‘i a more equitable place. We have much to learn, but just as much to teach the world regarding how to raise boys in a community that aims to be fair.





In his 2008 book Native Men Remade, Tengan describes the practices of the Hale Mua, an organization of Hawaiian men striving to develop a cultural foundation for men to become strong leaders and community members. He writes from his personal experience as a participant-observer and academic. As Tengan describes, “Many indigenous Hawaiian men have felt profoundly disempowered by the legacies of colonization and by the tourist industry, which, in addition to occupying a great deal of land, promotes a feminized image of Native Hawaiians (evident in the ubiquitous figure of the dancing hula girl).”

The Hale Mua focuses on the fighting arts and philosophies of warrior hood, struggling over Hawaiian identity with their bodies. In the first few pages, Tengan describes standing atop Pu‘u Keka‘a, a cliff on the southwest shore of Maui now the site of a Sheraton Hotel parking lot. There the group performed a ceremony; and in an act about both spiritual dedication and gender performance, jumped into the crashing sea several stories below.

Later in the book, Tengan vividly describes the sham battles the group engages in at Pu‘ukohola, the site of a heiau (temple) historically consecrated in the death of warriors on the island of Hawai‘i. The group trains physically for months in preparation for battle. Wearing traditional malo and armed with spears and clubs (that are padded), men from opposing groups battle each other with the very real possibility of physical injury. Tengan describes that “having suffered American political occupation and subsequent racial, political-economic, and cultural transformations that characterize the colonized, displays of bravery and courage in the sham battle brought respect, honor and mana to the lands, communities and culture Nā Koa represented.”

‘Aikapu, a religious and political set of laws that enforced gender segregation, were inherent to the Hawaiian way of life prior to the consolidation of power under Kamehameha in 1810. In the years following the creation of the Kingdom, as the once thriving indigenous population was tragically ravaged by western disease, new models of gender were brought from foreign shores. The missionaries may have helped bring about the end of punishing girls and women for eating with men or eating the wrong food, but with their introduction of a mercantile capitalist economy and Christianity they instituted a different type of gender acculturation. In the American context of men owning and controlling property, we have forgotten how large a category “Property” once was, including land, water, slaves, children and women. Interestingly, it was men’s work to dig the imu and cook the food.

It is with these competing histories of inequality that the men described in Native Men Remade rework the conception of masculinity. What is striking in describing the book is that it comes off as a simple, if admirably decent academic critique of an indigenous practice. The book however is no straight genre exercise for ivory tower academics or an undergrad taking a Women’s Studies course to fulfill his major requirement. It is a loving critique, the craftsmanship a wonder. That writing about a bunch of guys sitting around talking and figuring out their place in history, reminds us that it is possible to find freedom when one jumps off that tourist-filled cliff and dives deeper.


As Tengan describes the Hawaiian experience of re-imaging masculinity, he shows non-Hawaiians what it means to decolonize the mind. As in the case of the Hale Mua, much of that work for men must be done through our bodies, as sometimes words don’t have the same impact as, well, an actual impact. This physical connection to masculinity isn’t meant just for the Raging Bulls, and may in part explain why mixed martial arts is booming on the islands. If one were to rank the most famous Hawaiian men in the American conception, it would likely include Kamehameha, The Duke, Don Ho, Iz, and BJ Penn rounding out the top five. Guys that wouldn’t dare step foot in a ring have no qualms wearing a T-shirt proclaiming fandom for a fighter from Hawai‘i island who marches out to Hawai‘i ’78 and (usually) proceeds to beat another guy senselessly. There’s something visceral about physical power, and if appreciated and utilized, is a way to be brave and courageous without declaring ownership over another.

For other thinkers in Hawai‘i, the question of masculinity continues to be a complex and personal one. It’s not widely known that superstar feminist writer Rebecca Walker lives on Maui. I should preface that with a whirlwind curriculum vitae to explain why it’s a big deal. Rebecca Walker is in much demand as a speaker, making waves as she tells young ambitious women something of a shocker coming from a feminist: that if a family and babies is what you want, you should plan your life accordingly. She has edited several collections of essays, and is often introduced by way of her mother, Alice Walker, the Pulitzer Prize winning author and activist, most famous for her novel The Color Purple. Despite the New York Times articles that described their only somewhat imperfect family, both Ms. Walkers represent a legacy of intellectual struggle against the historical oppression of racism and patriarchy in America. For the last several years, Rebecca and her family have lived upcountry, on the slope of Mauna Kea on the island of Maui, a lush and spare landscape worlds away from the contentious American cities she describes growing up in her 2000 memoir Black, White, and Jewish. She also happens to be beautiful in that hapa way that Hawai‘i both breeds and beckons for.

Rebecca Walker graciously made herself available for an interview for this little publication. As the editor for a collection of essays in 2004 titled What Makes a Man, she wrote “It occurred to me that my son was being primed for war, was being prepared to pick up a gun. The first steps were clear: Tell him that who he is authentically is not enough; tell him that he will not be loved unless he abandons his own desires and picks up a tool of competition; tell him that to really be of value he must stand ready to compete, dominate, and, if necessary, kill, if not actually then virtually, financially, athletically. If one’s life purpose is obscured by the pressure to conform to a generic type and other traces of self are ostracized into shadow, then just how difficult is it to pick up a gun, metaphoric or literal, as a means of self-definition, as a way of securing what feels like personal power?”

The recent tragedy in Arizona echo the sentiment in her question. But Rebecca Walker’s in a different place now. When asked what, if any, the differences are in raising a boy on the slope of Mauna Kea versus in the progressive yet potentially violent northern California neighborhood she lived in when she wrote those words, she explained, “It’s hard to tell the difference personally. I was co-parenting in the States a few years back when I wrote the essay in What Makes a Man. Here, there’s a lot more fluidity. I don’t get the sense that the culture is oppressing boys in the same ways. There’s less judgment.” Further, “I lived in Berkley when I wrote that essay, and he went to school at the Berkley-Oakland border, so it was progressive on one hand. But for him I think it was hard figuring out what it meant to be a boy. He was raised by two women, and there surely could’ve been more male energy in the house, with all that goes along with that. There were some things that I think don’t get addressed in that environment like female bullying. It’s complex and there should be more discussion about it. A lot of it has to do with class, and I think it should be raised in schools.”

Just like everywhere else in the world, humankind’s relationship to these islands has been largely defined by men killing and oppressing others. It was men that politically united the islands by pushing fellow warriors off a precipitous drop on the Pali. It was aggressive businessmen that used the labor and land of others to farm and harvest sugar, at once instituting an economic base and a western capitalist system. It was men that brought the strongest military the world has ever known to these shores, historically aiding in the ouster of a Kingdom and continuing to train for foreign wars. It was men that created law, and put women and land in the same category.

Certainly not all hope is lost for the men of these islands. Despite the brutal history, if we look closely at things, we realize that masculinity has already changed significantly in the last few generations. Even the strongest military in the world now accepts the truthful sexuality of its enlisted members. We tend to take for granted these events when they slowly unfold before our eyes as the step-by-step nature of these sorts of cultural changes tend to minimize the shock when taken incrementally over the years. The modern warriors of the Hale Mua, and the countless men who have quietly worked toward peace on these islands have proved to us over and over again that it’s possible to be a lover and a fighter, and that the male conception of conquest can be an inward experience.