Hula

Directed & Produced by: Andy Lampard

Stage:
- Post Production
Location:
- Hawaii, United States
Updated: May 5, 2026
Project Type:
- Feature,
- Series
Project Style:
- Observational
Theme Subject:

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Logline

Filmed over a decade in Hawaiʻi — through the pandemic and the Lāhainā wildfire — the “Michael Jordan of Hula” teaches his ancestral dance style to a group of young men from the state’s most underserved town. Together, they chase a decade-long dream of triumph on the world’s biggest stage, even as they confront personal heartbreak and learn to transform loss into redemption.

Clips

In Hawai‘i, cultural practice and connection to place are vital sources of community well-being and healing. When the pandemic reached the islands, the hula community fell silent for an entire year—no one danced. For the dancers in our film, that sudden stillness echoed earlier moments in Hawai‘i’s post-colonial era when hula was forced into dormancy, leaving behind a profound sense of cultural loss.
This scene, filmed more than a year into the pandemic, captures the men of Ke Kai O Kahiki as they return to their sacred practice space for the first time after that long, disorienting pause. (A teaser trailer follows.)

Synopsis

...

“KUMU HULA” (working title) is a vérité documentary that follows the journey of Laʻakea Perry, a Kumu Hula (hula teacher), as he and his hula school from Waiʻanae, Oʻahu, fight to keep their singular style of hula alive and reclaim their place on the artform’s most sacred stage: the Merrie Monarch Festival.

For nearly 50 years, Ke Kai O Kahiki has been a cultural sanctuary for Native Hawaiian young men from Waiʻanae, Oʻahu’s poorest town, offering identity, discipline, and refuge from poverty and addiction. At its center stands Laʻakea, once a rising star and protégé of legendary kumu hula O’Brian Eselu. After years of competitive setbacks and personal loss, he must protect the legacy he inherited while defining his own path as kumu hula.

Filmed over eight years with embedded access and a Direct Cinema approach, “KUMU HULA” follows the hālau through three pivotal Merrie Monarch seasons. The story first opens in 2017, when filmmakers Farhod Family and Andy Lampard document a new generation of dancers. Their short film about the hālau’ goes viral and lays the groundwork for a long-term collaboration.

Four years later, the filmmakers reunite with the hālau as it returns from a year-long pause during the pandemic. We meet dancers at turning points in their lives: veterans seeking one last victory and newcomers fighting to earn a place on the elite line. Laʻakea’s daughter Makaʻala joins the journey as she pursues Miss Aloha Hula, the form’s highest solo honor, despite being new to hula. The contrast between how Laʻakea teaches his daughter and how he teaches his men reveals the emotional and cultural complexity of coaxing truth and vulnerability from his students.

Training at Lanikūhonua, a sacred coastal refuge, the hālau confronts interpersonal tension, physical injuries, and the weight of cultural responsibility in the 75 days they have before the competition. Makaʻala places third and the men place fourth, but the 2021 results fall short of expectations. The aftermath exposes deeper wounds when several dancers admit they turned to alcohol to cope with grief and depression. When Laʻakea loses dancers and becomes gravely ill, a question emerges: will their style of hula survive? The Lāhainā wildfire deepen the islands’ collective grief and sharpen the dancers’ resolve.

Interwoven throughout are scenes from Laʻakea’s past, including his rise as the most decorated male dancer of his generation and his two-decade journey toward becoming the hālau’s second kumu hula. As these stories converge, the Merrie Monarch Festival, now a nationally televised event, becomes both a symbol of Hawaiian pride and a mirror reflecting the struggle for cultural authenticity in a commercial world.

By its final act, “KUMU HULA" moves beyond the frame of competition. Veteran dancers, including those suspended after 2021, reunite for one last performance dedicated to Maui, which becomes a defining expression of their style. After these dancers retire, Laʻakea returns home to recruit the young men who will form the hālau’s fifth generation. He has six months to train them in a discipline that usually requires years, while also preparing his daughter for her final year as a soloist. His mother’s battle with cancer makes this season the most emotionally difficult of his life.

As Laʻakea often says, the Hawaiian story is one of enduring loss after loss. This becomes the story of Ke Kai O Kahiki. In the final seven-minute, mostly single-shot scene backstage, eight years of grief collide after the hālau fails to place. Dancers break down, and the room falls silent as they learn that a family member passed away during their performance. In this moment, Laʻakea becomes the kumu he has been striving to be, bringing his hālau back into balance.

In the end, hula is not about winning. It is about life. Likewise, “KUMU HULA” is a meditation on mentorship, masculinity, land, and legacy, and a portrait of men healing through discipline, community, and dance.

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Background

...

This story arrives at a pivotal cultural crossroads. Native Hawaiians remain among the most marginalized and misrepresented communities in the United States, often reduced to tourism imagery, erased from their own historical narratives, and routinely exploited for commercial gain. From fashion labels and tech companies to luxury resorts, Hawai‘i’s language, dance, and identity are continuously commodified by non-Hawaiians while Native voices remain sidelined. As many advocates have said, “Aloha is not for sale.”

The consequences of this erasure are not symbolic; they are existential. In 2023, Native Hawaiian and Pacific Islanders had the highest rate of unsheltered homelessness in the country. Many continue to face disproportionate poverty, displacement, and cultural loss in their own homeland. At the same time, major Hollywood productions persist in depicting Hawai‘i as an uncomplicated paradise, flattening its realities while Native Hawaiians rarely see themselves reflected on screen. Of the 1,600 top-grossing films from 2007 to 2022, fewer than 1 percent of speaking characters were Native Hawaiian or Pacific Islander.

Yet global demand for authentic Polynesian stories has never been stronger. The success of Disney’s Moana and Lilo & Stitch demonstrates audiences’ appetite for narratives rooted in Polynesian culture. Hula in particular draws intense worldwide fascination. The Merrie Monarch Festival attracts millions of international viewers each year, and Japan alone is home to an estimated three million hula dancers. Despite this, no film with the realism, depth, and longitudinal arc of “KUMU HULA” has ever reached this vast audience.

“KUMU HULA” is an act of reclamation. It centers real people who are not only preserving hula, but living it as resistance to colonization, erasure, and cultural commodification. This is a comeback story grounded in discipline, artistry, and the fierce love of one community for its culture. Stories like this are rarely told with such intimate access, trust, or care. We have been invited into a sacred space, and now is the moment to extend that invitation to the world.

The film also offers a rare and resonant depiction of non-toxic masculinity. It shows how vulnerability, mentorship, and expression through dance can soften insecurities and create strength without domination. La‘akea is not only navigating the pressures of cultural erosion and displacement; he is shaping young men who find confidence, purpose, and emotional literacy outside the machismo that is so prevalent in contemporary culture.

Finally, the film’s deeper power lies in its epic act of witnessing, something increasingly uncommon in an era of fast-turnaround, algorithm-driven documentaries. The filmmakers’ eight-year relationship with the hālau gives the story its emotional honesty and raw cinematic force, granting viewers an unfiltered portal into a world that has seldom been depicted with accuracy or representation. When filming began, the directors had no idea where the journey would lead. Eight years later, it has transformed their lives and their understanding of documentary practice. Like the dancers themselves, they learned to embrace uncertainty and live fully in the moment, capturing a story that is distinctly Hawaiian and profoundly human.

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Participants

La'akea Perry

Kumu Hula, Ke Kai O Kahiki / Story Protagonist

Participant

La'akea Perry

Kumu Hula, Ke Kai O Kahiki / Story Protagonist

As the story’s protagonist, La’akea aims to keep his hula lineage alive while empowering his students through the relentless gauntlet of the Merrie Monarch journey. This odyssey echoes La’akea’s own story. He was discovered by Ke Kai O Khaki’s founding kumu, O’Brian Eselu, while he was dancing for Don Ho’s Waikiki show in the early 1990’s. Although La’akea had only just started dancing, O’Brian could see that he possessed prodigious talent. In fact, he had never encountered a student who so quickly grasped Ke Kai O Kahiki’s notoriously difficult style.

After making La’akea his alakai (lead student), O’Brian mentored him for 20 years, passing his knowledge to him and ultimately choosing him as his successor to lead Ke Kai O Kahiki when he died in 2011. Since then, with the help of his wife, Brandy, and their three children, La’akea has been trying to elevate his dancers to the heights he reached with O’Brian while keeping his hula free. But, having won every hula competition there is, he knows that taking home a Merrie Monarch trophy feels meaningless compared to the journey it requires. He dangles Merrie Monarch glory as a carrot, enticing them into a year-long crucible that develops discipline, perseverance, and humility. Those are the trophies he is after.

Part of La’akea’s mystique is that he is the descendant of Samuel Pua Ha’aheo, an historic figure in Hawai’i who was instrumental in saving hula when it was forced underground following the United States’ overthrow of the Hawaiian Kingdom in 1893. La’akea is unique in that he is the purveyor of two styles of hula — Ke Kai O Kahiki’s style, as well as Ha’aheo’s style — meaning he is responsible for their practice and continuation. Part of his journey is about searching for a worthy student to pass his knowledge onto, as O’Brian did in choosing him, or they will disappear forever.

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Tusi Taufa

Lead Dancer

Participant

Tusi Taufa

Lead Dancer

Tusi, the hālau’s loveable lead dancer, and also its lead rascal. A natural-born entertainer of Tongan ethnicity, he has a special way with audiences, but his jovial stage presence belies his intense competitiveness. Growing up as a Tongan minority in the state, he often felt unaccepted by Hawaiian hula dancers. He joined Ke Kai O Kahiki to prove that a Tongan could dance hula as well if not better than an Hawaiian could. His ultimate goal is to win a trophy for La’akea, his hero, before he ages out of competitive dancing.

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Maka'ala Perry

Dancer / La'akea's daughter

Participant

Maka'ala Perry

Dancer / La'akea's daughter

Maka’ala is La’akea’s daughter and, at the start of the fillm, Ke Kai O Kahiki’s sole female dancer. Despite growing up watching her father dance for Ke Kai O Kahiki, Maka’ala only embraced hula a few years ago. She used to associate all of hula with Ke Kai O Kahiki’s intensely masculine style, which never resonated with her. Her opinion changes during the pandemic when she falls in love with hula after learning Pua Ha’aheo’s style from Merrie Monarch judge, Noenoe Zuttermeister, who is her hula professor at the University of Hawai’i. Finally, hula is speaking to her through her ancestral lineage. With her father as her kumu, she decides to enter the Miss Aloha Hula competition, a bold movie considering most dancers spend years honing their craft before entering Merrie Monarch. But can she learn her ancestor’s style in time to properly honor his legacy?

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Julian Maeva

Dancer

Participant

Julian Maeva

Dancer

If Tusi is the hālau’s class clown, Julian is its stoic warrior who dutifully follows La’ake’as direction while quietly leading by example. Outside of hālau, Julian is married and the devoted father of four boys, two of whom are born during the film’s timeframe. Half-Samoan, he works as a professional fire knife dancer at Paradise Cove, a tourist luau that O’Brian started and La’akea currently directs. By having one foot planted in traditional hula and the other in tourist hula, Julian embodies the neocolonial divide that so many dancers must straddle while making a living from hula.

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Aukai Sullivan

Dancer

Participant

Aukai Sullivan

Dancer

When we first meet Aukai, he’s a timid and shy 19 year-old who barely utters a word in practice. But over the course of the film, he transforms into La’akea’s lead male dancer and becomes, along with Maka’ala, its future. Originally from the remote island of Molokai, Aukai made his first Merrie Monarch line when he was still in high school, but he dropped out of hula the following year after suffering from depression during his freshman year in college. When the hālau reassembles in 2021, La’akea asks Aukai to return. Aukai initially struggles with his self-confidence, choosing to hide in the shadows of his bigger, louder hālau brothers. After the fallout of the 2021 competition, Aukai must conquer his doubt about his hula abilities to help train La’akea’s new guard. Is he ready to lead the hālau into a new era?

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Kaena Keiki

Dancer

Participant

Kaena Keiki

Dancer

Kaena is La’akea’s most experienced dancer, whom he relies upon the most to help train promising new students, like Aukai. Born and raised on Hawaiian homestead land in Waianae, Kaena is the last of his family to still be living in the state. Like so many Hawaiian families fractured by Hawaii’s exorbitant cost of living, they were forced to move to the mainland. When the hālau reassembles in the pandemic, Kaena is grief-stricken over his father’s recent death from Covid and is struggling with loneliness and despair. He tries to make hula his outlet, but his world seems drained of joy and color. He no longer knows why or for whom he’s dancing. Eventually, Kaena is forced to examine whether his hula journey as a dancer is over, and if it is not, whether he will be able to summon what it takes for one last dance.

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Brandy Perry

Hālau mom / La'akea's wife

Participant

Brandy Perry

Hālau mom / La'akea's wife

Brandy fell in love with La’akea when they were teenagers working for Don Ho’s Waikiki luau show in the early 1990’s — long before he became known as the “Michael Jordan of Hula.” Married for 30 years, they have three grown children, including Maka’ala, but all of the dancers treat her like a mother. Brandy has worked as a flight attendant for Hawaiian Airlines since her 20’s while also juggling operations for the hālau and running businesses on the side to cover Ke Kai O Kahiki’s expenses. When the hālau is unable to fundraise during the pandemic, Brandy starts up a sherbet company out of the hālau’s studio so that the hālau can stay afloat. When the business becomes successful, the hālau is able to recruit and develop a new, young crop of dancers and to start a wahine (women’s) line led by Maka’ala. Over the course of the film, Brandy steps out from behind-the-scenes to help La'akea heal and unify the hālau once and for all.

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Style & Tone

...

Our elevator pitch for “KUMU HULA" is that it’s “HOOP DREAMS meets DEAD POETS SOCIETY in Hawai‘i,” with hula serving as the emotional and creative conduit rather than basketball or poetry. We’re adopting the multi-year, longitudinal approach of the former so that audiences can witness the depth of each character’s transformation, while shaping the narrative around the raw, high-stakes breakthroughs that unfold in the crucible of hula practice—echoing the charged classroom moments of the latter. The film is designed to move viewers to tears again and again, ultimately lifting them into a full-throated cheer as the hālau engineers a hard-won, euphoric comeback after nearly fracturing at the story’s midpoint.

Over the years, filmmakers have documented hālau on their way to Merrie Monarch, but no film has traced a hālau across multiple years—capturing the full arc of a dancer’s evolution or the winding, often vulnerable journey of a kumu hula striving for self-actualization within an art form that demands decades of study and devotion. After a brief prologue set in 2017, the central narrative spans 2021–2025, following Laʻakea and his students through a chronological progression of vérité scenes. In the spirit of Direct Cinema, our two-person directing team embraced every production role and held fast to one guiding principle: never direct our subjects in what to say or do. By serving as our own cinematographers and sound recordists, we were able to preserve the raw immediacy of their lives without the intrusion of a large crew. Our minimalist approach also included filming with two simultaneous cameras—one wide angle, one long—to maintain the integrity of each moment as it unfolded in real time. The film moves with intention and momentum: it doesn’t lecture on what hula is or how it transforms its practitioners; it reveals that truth gradually, through the passage of months and years.

For competitions and high-stakes rehearsals, we expanded the team to include a third camera operator and a dedicated sound recordist, ensuring comprehensive coverage without influencing the scenes themselves. Rather than chasing action, we anchored ourselves in fixed positions and recorded long, patient takes. These present-day sequences are intentionally stripped of artifice and are seldom scored, allowing audiences to experience the characters’ emotional truth and the unique sonic atmospheres of the spaces they inhabit.

Visually, we drew inspiration from Claire Denis’ “BEAU TRAVAIL” (1999) and Terrence Malick’s “THE THIN RED LINE” (1999), pairing introspective close-ups of our characters as they dance and train with quiet, wide-angle observations of Hawai‘i’s beguiling and enigmatic mountains, forests, and seas. For generations, Hawaiians have found meaning in the serendipities of the natural world—meaning reflected throughout hula’s storytelling and physical expression. Nature and its landmarks are often subjects, themes, and motifs. Yet these same landscapes carry a fraught visual history in Hawai‘i’s neocolonial era, having been appropriated to market the islands after the overthrow of the Hawaiian Kingdom. By combining our subjects’ inner lives with their beloved exterior world, we aim to reveal how these dancers reclaim sacred spaces through their art.

In shaping the film’s dance cinematography, we looked closely at Jennie Livingston’s “PARIS IS BURNING” (1990) and Wim Wenders’ “PINA” (2011). We drew from the former’s raw, immediate visual language for rehearsals, reserving the latter’s elegant, wide-angle tracking shots for Ke Kai O Kahiki’s formal performances. The interplay of these modes reveals how hula develops from an inchoate idea into a seemingly effortless execution, puncturing the spectacle of the Merrie Monarch stage with the deeper, layered meanings of the dances themselves. When Ke Kai O Kahiki performs “Maui No Ka ʻOi” (“Maui is the greatest”)—the film’s climactic piece—the dance is meant to land as catharsis, an earned emotional release years in the making. To deepen that experience, we weave in imagery evoked by the choreography so audiences can see beyond the polished surface of spectacle and into the kaleidoscopic history of both Ke Kai O Kahiki and Hawaiʻi: past, present, and future held together in a single dance. The message is simple and resolute: Hawaiians are still here, the Hula is still here, and Ke Kai O Kahiki are still here.

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Team

Andy Lampard

Director & Producer

Team

Andy Lampard

Director & Producer

Andrew (Andy) Lampard specializes in cinematic non-fiction, creating independent documentaries and journalism, as well as commercials and videos for brands. A dual US/Canadian citizen, his recent clients include Amazon, Atlas Obscura, PBS Nature, Gartner, Washington Post Creative Group, and Subaru, among others. He's also directing a feature-length film that follows a school of hula dancers on the West coast of O'ahu over the course of several years. Prior to forming Studio Koa, Andrew worked as a producer for Great Big Story, which he joined in 2015. Before that, he worked as a staff producer for ABC News and Reuters. Andrew is based in Victoria, British Columbia, but often works in New York City, where he lived for 13 years.

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Farhod Family

Director / Producer / Cinematographer

Team

Farhod Family

Director / Producer / Cinematographer

Farhod got his start in media in Iran, covering the country's 2009 presidential elections. Since then he's filmed, produced and directed documentaries and commercials across the world for various media outlets and brands. Prior to forming Studio Koa, he was a staff producer and cinematographer for CNN's Great Big Story. His work has also appeared in the New York Times, Washington Post, PBS Frontline, CNN, and Fusion, among other outlets. Fluent in French and Farsi, he is a dual citizen of Iran and the United States. He holds a bachelor’s degree in history and French from the University of Hawai'i and a master’s degree from Columbia University’s School of Journalism.

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Leland James

Editor

Team

Leland James

Editor

Leland James was born in Honolulu, Hawaii. Currently based in Brooklyn, he has been editing feature documentaries for nearly 20 years. Some of the films he has worked on include The Fix, a documentary he shot and edited about recovering heroin addicts enrolled in a storytelling program with the Moth, which premiered at AFI fest and won best documentary at the Soho International Film Festival. On The Way Home, a documentary he edited about Georgian refugees, premiered at Slamdance and won best documentary, best cinematography and best editing at LA Doc fest. Black Girls, a film that he edited about several black female activists, debuted on Peacock and played at Tribeca X. In Hell With Ivo, a film he edited about celebrated Bulgarian conceptual artist and pop star Ivo Dimchev, premiered at the Munich Doc Fest this year, and just won the special jury award at the Sarajevo Film Festival.

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Joann Park

Producer

Team

Joann Park

Producer

Joann Park is an award-winning content leader, audience strategist, and community builder based in Los Angeles. Over the last decade, Joann has built and led world-class audience development teams at renowned brands like CNNs Great Big Story, MTV, Paramount, Headspace, and more. Joann has a passion for helping brands understand their audiences and help them meet them where they are. Due to her unique background in analytics and communication, her expertise is generating an actionable strategy using data by painting a clear picture of what numbers reveal. Joann uses interdisciplinary research methods to tell a story in a clear digestible way that empowers her stakeholders to take action. She has done this for renowned brands across functions, from editorial to product, social media marketing to subscription-based products. From audience activation, conversion, and retention strategies, she ensures a holistic approach that optimizes each stage of the audience funnel.

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Jonathan O'Beirne

Producer / Camera Operator

Team

Jonathan O'Beirne

Producer / Camera Operator

Jonathan O'Beirne is an Emmy award-winning producer and shooter. Jonathan has shot a variety of commercial and documentary projects domestically and abroad. He has worked as a Director of Photography and Camera Operator on docs and series for Amazon, Netflix, and CNN, as well as, producing awarding-winning shorts for Great Big Story. He currently resides in Maryland and shoots fulltime as a CNN Photojournalist.

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Duy Linh Tu

Executive Producer

Team

Duy Linh Tu

Executive Producer

Duy Linh Tu is a journalist and documentary filmmaker focusing on education, science and social justice. His work has appeared in print and online, on television and in theaters. He is also author of Feature and Narrative Storytelling for Multimedia Journalists (Focal Press). He teaches reporting and video storytelling courses at the Columbia University Graduate School of Journalism. Duy is the proud Vice-Chair of the Video Consortium's Board of Directors.

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Lauran Bromley

Executive Producer

Team

Lauran Bromley

Executive Producer

Lauran was born in Hawaii and studied at the University of Southern California, majoring in film and minoring in business. Lauran was an Executive Producer for Mariska Hargitay's documentary MY MOM JAYNE, as well as her Emmy winning documentary I AM EVIDENCE which revealed the justice system's failure to process hundreds of thousands of rape kits from sexual assault victims. This documentary also won numerous other awards. Lauran also was an Executive Producer for A Tree of Life, Pay it or Die, Emanuel, Hot To Trot, and Drift (starring Cynthia Erivo).

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Michael Fequiere

Camera Operator

Team

Michael Fequiere

Camera Operator

Michael Fequiere is an award-winning filmmaker, photographer and producer. His short films have screened in numerous festivals worldwide (TIFF, AFI Docs, CPH-DOX, PBS, IDFA, Blackstar). In 2017 he won the FOX Inclusion Emerging Artist Award in Documentary for his short film KOJO. His photos have appeared in the hip-hop magazine XXL and on music websites including Popcrush and Loudwire. Michael has worked as a producer, director and photographer at Townsquare Media, a digital media agency where he made branded content videos featuring Janelle Monae, Jidenna, Joey Badass, Nipsey Hussle and more. He currently works as a Producer at CNN's Great Big Story, a video network dedicated to cinematic storytelling on short-form documentaries from around the world.

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Tobi Nova

Sound Recordist

Team

Tobi Nova

Sound Recordist

Tobi Nova is a motion picture sound editor, audio engineer, composer, and sound designer. He has a background in classical music composition, audio production, film directing, and audio forensics. Tobi is known for collecting sounds and using them in his music compositions. He combines traditional instrumentation, electronic instruments, found sounds, and world music.

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Budget

This section includes information about this project.

Festival narrative award editing creative journey film independent impact festival project. Story project screenplay project editing festival independent visual story visual project camera film film.

Grants & Awards

2023 Pacific Islanders in Communication

Stills

Our Ask

We are seeking completion funds to support post-production and remaining production elements, with a goal of finishing the film by Summer 2026.

To date, we have raised $359,437, including $159,437 from our successful Kickstarter campaign and personal contributions. The campaign exceeded its goal by $12,000 and was featured on the Kickstarter homepage as a spotlight project, an early sign of the broad enthusiasm for this story.

Our financing strategy prioritizes philanthropic and foundation support, supplemented by strategic partnerships and equity investments aligned with Native Hawaiian and Pacific Islander storytelling. We are intentionally avoiding early licensing deals that would restrict our long-term distribution potential, particularly those that limit reach or awards eligibility. We are open to partnering with larger production companies in return for funding.

We have already secured:

$100,000 from the James and Abigail Campbell Family Foundation, which supports initiatives advancing the well-being of Native Hawaiians.

$100,000 from the Bromley Foundation, a global champion of arts and equity-based projects.

A $65,000 grant from Pacific Islanders in Communications (PIC), with the possibility of an additional $65,000 for post-production. We postponed acceptance due to a four-year exclusive PBS license requirement, which would narrow distribution and streaming opportunities. PIC has confirmed that the grant remains available upon completion of the film.

Over the coming months, we will continue seeking partners who champion Indigenous sovereignty, cultural preservation, and the amplification of underrepresented voices. We are also exploring collaborations with brands and media organizations whose values align with representation, equity, and social impact.

This strategy enables us to retain creative control, broaden the film’s eventual reach, and ensure that financial benefits flow back to the community at its center. The hālau holds a one-third ownership stake in the film; this is an uncommon but intentional structure that honors their agency, their artistry, and their enduring contribution to this story.

What we need now is the support that will carry this project across the finish line so that the world can witness a hālau’s multiyear journey, the resilience of Hawaiian cultural practice, and the transformative power of hula at a moment when these stories matter more than ever.

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Hula

Logline

Clips

Participants

La'akea Perry

La'akea Perry

Tusi Taufa

Tusi Taufa

Maka'ala Perry

Maka'ala Perry

Julian Maeva

Julian Maeva

Aukai Sullivan

Aukai Sullivan

Kaena Keiki

Kaena Keiki

Brandy Perry

Brandy Perry

Team

Andy Lampard

Andy Lampard

Farhod Family

Farhod Family

Leland James

Leland James

Joann Park

Joann Park

Jonathan O'Beirne

Jonathan O'Beirne

Duy Linh Tu

Duy Linh Tu

Lauran Bromley

Lauran Bromley

Michael Fequiere

Michael Fequiere

Tobi Nova

Tobi Nova

Budget

Grants & Awards

Stills

Our Ask