Hawaiian cultural production
Oli, mele, hula and protocol, produced with care and mixed so the room feels it.
A pahu in a hotel ballroom behaves nothing like a kick drum. An oli is not a sound check. The kumu’s direction comes before the run of show, not after it.
I’m Kanaka, I grew up with this, and I’ve spent years as technical director for Nā Lei Aloha Lūʻau at the Hyatt Regency Waikīkī. Cultural programs get the same planning I’d give a general session, plus the respect they’ve earned.
What that looks like
- I talk with the kumu or cultural practitioner first. Their direction shapes the plan.
- Mic choices that keep ipu, pahu and ʻukulele sounding natural instead of harsh.
- Quiet gear on stage. Fewer stands, hidden mics where they work, nothing in the way of the dancers.
- Real time in the run of show for protocol, pule and oli, with nobody in a headset rushing it.
- Every name and place the MC reads, checked for pronunciation and ʻokina.
Who this is for
Hotels and lūʻau, Hawaiian organizations and civic clubs, hālau hōʻike and fundraisers, conferences that want to open with something real, and visiting groups who want their welcome done right.
Planning a cultural program?
Date, room, rough headcount, and whatever is keeping you up at night. I answer every request myself, usually the same day.