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Some Native Hawaiians Disapprove of ‘Aloha’ Movie Title

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In this Saturday, May 16, 2015, file photo, U.S actors Emma Stone, left, and Bradley Cooper pose for photographers at a photo call for the film, "Aloha," in London. The Sony Pictures romantic comedy, which releases in U.S. theaters on May 29, 2015, is drawing criticism in Hawaii, where it was filmed. Some Native Hawaiians, including the state’s film commissioner, are taking issue with using a Hawaiian word to title a mainstream Hollywood movie. (Photo by Jonathan Short/Invision/AP, File)

In this Saturday, May 16, 2015, file photo, U.S actors Emma Stone, left, and Bradley Cooper pose for photographers at a photo call for the film, “Aloha,” in London. The Sony Pictures romantic comedy, which releases in U.S. theaters on May 29, 2015, is drawing criticism in Hawaii, where it was filmed. Some Native Hawaiians, including the state’s film commissioner, are taking issue with using a Hawaiian word to title a mainstream Hollywood movie. (Photo by Jonathan Short/Invision/AP, File)

JENNIFER SINCO KELLEHER, Associated Press

HONOLULU (AP) — Some Native Hawaiians disapprove of the name of a movie filmed and set in Hawaii, saying that titling it “Aloha” is a disrespectful misappropriation of culture and simplifies a word that’s rich with meaning.

The Cameron Crowe film starring Bradley Cooper, Rachel McAdams and Emma Stone, opens Friday, with a screening in Honolulu three days before. The concerns are based largely on a trailer that depicts a military-themed love-story that appears devoid of a genuine connection to Hawaiian culture.

Sony Pictures did not comment on the concerns, pointing The Associated Press to an online behind-the-scenes piece that shows Stone’s character saying, “this place has a lot of mana,” using a Hawaiian word that can mean power. There are shots of hula and interviews with Dennis “Bumpy” Kanahele, a Native Hawaiian sovereignty activist who appears in the movie.

“If you have a romantic comedy about the military in Hawaii … but a title that says ‘Aloha,’ I can only guess that they’ll bastardize the word,” said Walter Ritte, a Native Hawaiian activist on the island of Molokai. “They’re taking our sacred word … and they’re going to make a lot of money off of it.”

In the Hawaiian language, aloha is not just a greeting or a word to convey love. It has other meanings including, compassion, mercy, grace.

“Aloha actually comes from two Hawaiian words: alo — which means the front of a person, the part of our bodies that we share and take in people. And ha, which is our breath,” Janet Mock, a Native Hawaiian, said on her MSNBC Shift show “So Popular!” where she panned the title. “When we are in each other’s presence with the front of our bodies, we are exchanging the breath of life.”

The trailer is an example of “typical Hollywood,” where “Hawaii is the verdant background for white fantasies,” said Ty Kawika Tengan, chair of the ethnic studies department at the University of Hawaii’s Manoa campus.

“It’s been so appropriated in so many different ways — made into a commodity, made into a slogan,” he said of the word aloha. “It gets so divorced from important indigenous Hawaiian context. … It’s romanticized, literally, into a romantic comedy.”

During filming in 2013, the movie was untitled. State Film Commissioner Donne Dawson said if she had known the title, she would have advised against it.

“I certainly would have seen it as an opportunity to counsel them … and then allow them to figure it out for themselves,” she said.

The Hawaii Film Office is a state agency that promotes the industry and administers permits and tax credits. The office must also balance those duties with protecting resources and communities, said Dawson, who is Native Hawaiian.

“We’ve had a century of misrepresentation, of misunderstanding, of miscommunication of who we are,” she said of Hawaii’s role in the movies that dates to 1913. “We have fallen prey to the stereotypical ideas … that people have about Hawaii. It’s not based in truth and it’s not authentic.”

In 1931, another “Aloha” movie told of “a half-caste island girl” who “refuses to follow tradition and marry a fellow islander, instead falling in love with a white man and heir to an American fortune,” according to IMDb.com. There also was “Aloha Summer” in 1988 and “Aloha, Bobby and Rose” in 1975.

The title alone would not have been a basis for denying permits. “It’s not my job to basically tell people what they can do with regard to the creative,” Dawson said. “I can tell them what to do and not do when it comes to filming on public land.”

The producers wanted to film in Waianae, home to a high concentration of Native Hawaiians, for scenes set in Afghanistan. Dawson counseled producers that Waianae residents might have negative feelings about filming on homestead lands.

They chose another location.

Native Hawaiians make up about 21 percent of the state’s population, according to the Office of Hawaiian Affairs.

Hawaii residents, including Native Hawaiians, worked behind and in front of the camera on the movie, said Brenda Ching, executive director of the Hawaii local of the Screen Actors Guild-American Federation of Television and Radio Artists.

The title doesn’t bother all Native Hawaiians.

“If you look at what aloha means, how can it be bad no matter how it’s used?” said TV and radio personality Kimo Kahoano. “I think Hawaii is the best place in the world. And the reason is aloha.”

___

Follow Jennifer Sinco Kelleher at http://www.twitter.com/JenHapa.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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21st Annual Taste of Soul: California’s Largest Black Street Festival Comes Alive With Culture, Music and Connections

The 21st annual Taste of Soul Family Festival drew over 300,000 attendees to South Los Angeles for a massive celebration of Black culture, food, and music. Spanning the Crenshaw Boulevard corridor, the free event featured roughly 350 vendors, offering everything from Southern cuisine to professional health services and job recruitment opportunities. While headlining musical acts performed across three stages, the festival also served as a vital platform for small business entrepreneurs to reach a vast audience. Organizers are now addressing reports regarding several incidents that occurred during the festivities. Read more.

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INSIDE Danny Bakewell Sr. (left) and Pamela Bakewell (right), longtime community leaders and organizers of the Taste of Soul Family Festival in Los Angeles.

The 21st annual Taste of Soul Family Festival brought hundreds of thousands to Crenshaw Boulevard in South Los Angeles on Oct. 17 for food, music and a celebration of Black culture. Visitors could shop with small businesses, enjoy live music performances, speak with health professionals and learn about job opportunities. 

Presented by Bakewell Media and the Los Angeles Sentinel, the free festival stretched along the corridor from Stocker Street to Obama Boulevard. The Sentinel estimated attendance at more than 300,000. The day also marked founder Danny J. Bakewell Sr.’s 80th birthday. 

“We call it a party with a purpose,” Pam Bakewell, the founder’s sister and a longtime festival organizer, told California Black Media (CBM). 

The enticing aromas of barbecue, fried chicken and catfish filled the air as food vendors served up a tempting array of Southern favorites, including cobbler and other desserts. Vendors also offered clothing, jewelry, books and beauty products. About 350 vendors and sponsors participated, including approximately 80 food vendors, Bakewell said. Businesses came from across Southern California and as far away as Chicago and Atlanta.

“In one day, an entrepreneur has the opportunity to showcase their business to hundreds of thousands of people,” Danny J. Bakewell Jr., president of the Sentinel. 

Chase offered vendors training in marketing and financial management, followed by a reception.

Experienced vendors also helped newcomers. Pam Bakewell cited Cobbler King, a longtime participant who shares lessons from his early festivals about preparing for crowds and building a business. 

“We want everybody to be successful,” she said. “We can’t guarantee that, but we give you the crowd.” 

Kaiser Permanente served as the festival’s main medical provider. St. John’s Community Health sponsored Children’s World, where children played games while families received preventive care and information about follow-up services. 

St. John’s provided flu shots, fluoride treatments for children and clinic sign-ups for physical examinations. It also reported distributing more than 10,400 bags of diapers.

CBM hosted a booth as part of its California Black Health Journalism Project, a yearlong, solutions-oriented reporting initiative to advance health equity for Black Californians. 

Dr. Deidra Beckles, who practices family and internal medicine, and Adriana Westby-Trent, Ph.D., a licensed clinical psychologist, held “Ask the Doc” conversations. Both are with Divinely Restored Health & Wellness. The booth drew steady traffic as they answered attendees’ health questions. Visitors received a “Your Wellness Matters” T-shirt. 

The Sentinel promoted a developing jobs platform, inviting attendees to post resumes and connect with employers. Bakewell said about 350 people signed up along the boulevard. 

Three stages offered music for different generations. The Bakewell Media Sounds of the Soul Stage featured Thelma Houston, Switch and headliner Midnight Star. Tony Cornelius, son of “Soul Train” creator Don Cornelius, introduced Midnight Star and appeared with eight veteran dancers from the television show. 

 The Radio Free KJLH Music Stage featured Lucky Daye, Alex Isley, Allen Stone and Terisa Griffin. On the Brenda Marsh-Mitchell Gospel Stage, MAJOR. served as host and performer. The lineup included Deitrick Haddon, local choirs and a youth performing arts ensemble. 

During the festivities, ABC7 reported two stabbings and an hours long Los Angeles Police Department citywide tactical alert.  

Pam Bakewell said police told organizers the incidents occurred outside the festival boundaries. She said organizers are reviewing safety measures with security personnel and police. 

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Oakland Post: Week of October 28 – November 3, 2026

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