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LGBT Participation in the Merrie Monarch Festival
january 2015 Volume 6 Issue 6
8 voices of the merrie monarch
Herb Poliala Ewaliko: All That Mana
President
Jade Le
Advertising & Marketing
12 voices
William Fernandez: (ph) 808-281-4084
Production
Linda Giang
Graphic design
16 voices
HTL Marketing
video & multi-media Lisa Baxter PJ Delanoza
Contributors
Ho’o Apo: Drawing Mana From Both Sides
Splendor At ‘Iolani Palace
20 marriage
Mickey Weems PJ Delanoza
Copy Editor
24 family
Mickey Weems
Legal & Research
Reciprocal Way For Two Women To Have Children
Glenn Honda, Esq.
Public relations
Lisa Baxter PJ Delanoza
27 music
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Kaleikapu Kamaka: Opening the Line
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This issue of eXpression! acknowledges the founders of Merrie Monarch Festival: Helene Hale, George Na‘ope, and Gene Wilhelm as well as Dottie Thompson, who (along with Na‘ope) introduced hula competition to the festival. We also send our aloha to some of the brightest stars of hula who are gone, but not at all forgotten: Paleka Mattos, Moana Dudoit of Molokai, Aloha Dalire, and so many more. Mahalo nui loa for making the world a better, more beautiful place. The Merrie Monarch Festival is the premier event for hula competition in the world. Every spring, some of the finest halau hula (hula schools) are invited to the Edith Kanaka‘ole Stadium in Hilo, Hawai‘i Island to participate in three days of competition. The festival is named after the “merrie monarch” King David Kalakaua, a patron of Hawaiian culture at a time when it was being systematically erased. The Merrie Monarch Festival is a celebration of Native Hawaiian pride for both Native Hawaiian and non-Native participants. The festival is also a safe haven for LGBT participants, and has been since its inception. Hawaiian sensibilities concerning orientation and gender performance override any homophobia imported from the West - it is all about aesthetic excellence. There are, however, topics of interest to the LGBT community, such as the prevalence of openly gay men, the non-visibility of lesbians, an unofficial prohibition on allowing trans women in the wahine line of hula dancers during competition, and the same
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prohibition on trans men. In order to better explore these topics, I reached out to Luana Kawelu, President and Director of the Merrie Monarch Festival. I also consulted with Puakea Nogelmeier and Hinaleimoana Wong-Kalu to tease out the dynamics of orientation, gender, and trans identity in a Native Hawaiian context. Nogelmeier is a kumu hula (hula instructor) and a professor of Hawaiian language at the University of Hawai‘i Manoa who has attended, and participated in the festival. WongKalu is a kumu hula as well as an educator and Native Hawaiian activist working with Hawaiian and LGBT communities. Nogelmeier and Wong-Kalu state first and foremost that they are speaking from their knowledge of Hawaiian culture and their experiences within the LGBT community, not as experts on or spokespeople for the Merrie Monarch.
Understanding LGBT as a Non_Hawaiian Concept Acceptance of LGBT people in the context of the Merrie Monarch means understanding sexuality and gender in Hawaiian, not Western terms. Before contact with Christian missionaries, Hawaiians did not assign separate identities to people with same-sex orientation. Those who had both masculine and feminine characteristics were considered to be mahu, a term that today can refer to anyone within the LGBT spectra. The Merrie Monarch is not concerned with labels beyond what was needed to judge wahine (female) and kane (male) categories for dance - political
Merrie and Gay
cover sto ry
LGBT Participation in the
Merrie Monarch Festival by mickey weems
cover story
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affiliation, religious denomination, and sexual orientation do not matter. “The men are judged by masculine criteria and women are judged by feminine criteria,” said Puakea Nogelmeier. Orientation might be a topic for discussion outside of official discourse, but it is irrelevant as a factor in performance. “There are social spheres where certain signs are judged as gay. Those are all culturally defined. Most are not at play in the sphere of Merrie Monarch.” Nogelmeier cautioned against fixing non-Hawaiian labels and concepts to hula. “In the broad sweep, it [LGBT] simply does not apply in the criteria that are operational in this venue,” he added.
Visibility Of Gay Men, Non_Visibility Of Lesbians The Merrie Monarch may not make a big deal about orientation, but gay men make a big deal about the Merrie Monarch - many of us in the islands watch the competition faithfully every year - and some of the biggest names are gay men. Out of respect for the festival, however, it would be inappropriate for eXpression! to name them just to prove a point. On anything dealing with orientation, Luana Kawelu made it clear: These things do not matter. There is a different dynamic concerning the visibility of lesbians, however. When writing these articles, I could not find even one out lesbian who has participated in the Merrie Monarch that was willing to give us her take on the festival. Keahi Lee, a student in Hawaiian studies, reflected on that non-visibility from the perspective of an avid lesbian fan of the festival. “When I watch the Merrie Monarch, my gaydar does not go off watching the wahine in the line,” she said. “And believe me, I am looking for a wife.” Another young woman who spoke about the phenomenon said that the kind of femininity favored by kumu hula for the hula wahine was not always desirable for lesbian dancers to emulate: “The moves are not as appealing to us because they are too soft.” Herb Ewaliko, who is featured in this issue discussing his own experiences as a gay man in the festival, spoke from his perspective on the non-visibility of lesbians: “As for our lesbian sisters, I can’t visibly see a difference from straight or gay. To me, they all 6 | JA N U A RY 2 0 1 5 - E X P RESSION 808.C OM
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look and dance with elegance and grace. The only reason I would know if a female dancer is a lesbian is simply because I know of her orientation.” Perhaps a reason why there are no publicly visible lesbians is due to the fact that their orientation is a non-issue in the first place. Nogelmeier stressed that categories of “gay male” and “lesbian” are not Hawaiian concepts, and they have no bearing on the gendered qualities expected in a performance of hula. “The persona of the dancer in the line is developed and defined by the dance and the character that is called for, not by some external definition of masculine or feminine. The person’s gayness as well as their overt femininity or masculinity may well be restrained to fit that persona that is demanded.” Nogelmeier viewed the dynamics of visibility and non-visibility as expression of Western biases. “The hula itself has been broadly labeled as gay for the men who practiced,” he said, “but it’s an observer’s stereotype, not a dancer’s. It was assumed by many that the men who practiced were gay, not the women. But that is an American stigma that got attached, applied after the fact. If you are observing the culture from the outside, your stigmas may apply.” He added playfully, “But straight men have a place in the hula as well as gay.” Those lesbians who are competing in the festival are adept at pulling off the gender-specific look expected in the competition, so they are visible as lesbian only if they choose to be. As to why no lesbian participants appear to be willing to talk about their orientation in public is another story, one that eXpression! will cover in a future issue. Stay tuned.
Trans Kapu? Speaking from her position as president and director of the festival, Kawelu told eXpression! there is no proscription against trans women in the wahine line, neither is there one against trans men in the kane line. “There is nothing in the rules at this time to that effect,” she said, adding that there is nothing for or against such participation. In the course of my research, I have yet to meet a trans hula dancer who feels that there is no proscription, be that kapu voiced out loud or left unspoken. Outside of hula dancers in competition, trans women definitely have a place in the festival,
thanks in part to the fierce boldness of kumu hula Paleka Mattos, who was born male and who lived her life as mahuwahine (female-to-male trans identities seen within a traditional Hawaiian context). Mattos was fearless in her self-expression, and her halau was regularly invited to the festival. She would dance on the stage - as the woman she was - with the rest of the kumu hula at the end of the competition. In addition, the house band for Merrie Monarch is Kuini, three out-andproud mahuwahine musicians who are anything but non-visible. Upon reflection, I found that the issue has nothing to do with transphobia. One possibility may be reluctance to do something so different to the stage - kumu hula might be concerned that such a move might be frowned upon by the judges. Another possibility may actually be the kind of performance brought to hula by mahuwahine and mahukane (male-to-female), a vibe that is different from typically-gendered individuals. Hinaleimoana Wong-Kalu explained the perspective concerning difference: “I personally don’t have an issue with biologically female-only or male-only presentation of hula because the energy and spiritual presence of the gender-atypical mahu can sometimes be too dominant over typically gendered individuals. If indeed the competition were to include combined kane and wahine competitive performance, I don’t believe that diversity in physical gender representation would be an issue. Those mahu that remain within their biologically-designated gender have maintained a presence in hula all this time. But those who have migrated to a Western representation - trans men and trans women who undergo gender-reassignment surgeries and regimens - have yet to be given the responsibility of competing in the Merrie Monarch.”
Laka The roots of hula in traditional Hawaiian culture and spirituality are the reason for acceptance of multiple orientations and gendered identities. “Laka is the inspiring deity of the dance in traditional Hawaiian culture,” said Nogelmeier. “Laka is supposed to be the inspiration that allows you to present and embody the meaning of that dance. In some traditions, Laka is female, and others he is male.” With Laka as its spiritual matron/patron, it is perfectly natural for the Merrie Monarch to be a safe haven for LGBT people. EX P RESSION808.COM - J A N U A RY 2015 | 7
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All That Mana By: mickey weems | photos: jtl
Herb Poliala Ewaliko has felt it, merged with it, rejoiced in it. Born in Kahalu‘u, raised in Nanakuli, and now residing in Waikiki, Ewaliko is a 39-year-old gay man and a father of three children. He is also a hula dancer who has witnessed for himself the power generated by chant and dance. The mana in which he immersed himself while dancing on the Merrie Monarch stage is a spiritual force resonating in performer and spectator alike. But mana does not invoke the guilt so often associated with same-sex love in some religious traditions, and Ewaliko is confident that, as an out gay male participant, his openness will not count against him. “Orientation is not an issue for Merrie Monarch because that’s not what the festival is about,” he observed.
Coming Out (As a Hula Dancer) Herb Poliala Ewaliko: Hula has always been in my family. My mother and her sisters danced when they were growing up, but the only one who continued from my mother’s
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sisters was my Auntie Paulette who resides on the Big Island. Both my sisters also danced when they were in their younger years. I remember going to performances and watching them and mimicking them, but in private. I also remember watching my Auntie Paulette and my cousins dance in the Merrie Monarch Festival. I would watch and get super excited whenever I saw their faces on television. I’ve always had an interest, but never asked if I could dance because I thought it was only for girls. Nine years ago, I was asked by a friend if I was interested in learning hula. I was hesitant, but I said “Yes.” We started dancing in a little studio up in Manoa, then moved to Saint Francis and now we are in Kalihi. I’ve been dancing these nine years for Halau Hula Ka Lehua Tuahine, under the direction of my kumu hula, Alison Kailihiwa Vaughan. A few years back, we entered the Kamehameha competition and that got us the chance to go to the Merrie Monarch Festival in 2011. What a change, from just watching and admiring the hula to actually being a participant of the
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We LGBT People play a big part in the merrie monarch festival.
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Merrie Monarch Festival.
LGBT Participation I was very comfortable with being gay and dancing in the festival. There is so much love and aloha in the air at the Merrie Monarch Festival, that you’re not thinking about someone’s orientation. Yes, it is a competition, but this is one time that we as a people - hula dancers, Hawaiian or not - can come together and share what has been passed down from generation to generation. I cannot speak for the other halaus, but I know that our halau, orientation is simply not an issue. That’s one of the reasons why I stayed. There have been great gay kumus who have passed and gay kumus who are still participating in the Merrie Monarch Festival. We LGBT people play a big part in the Merrie Monarch Festival, from spectators, musicians, dancers, lei makers, various vendors to make-up artists, hair stylists, costume designers, the list could go on and on. As a student of hula, I’ve had the privilege to meet a few LGBT kumus, dancers and musicians on Thursday nights at Chiko’s Tavern. I would sit back and admire the singing and dancing.
Greatest Moment My fondest memory was dancing on that stage for the very first time. Stepping on the stage put huge butterflies in my stomach. I remember that day like it was an hour ago. We flew up for a one-day practice. As I stood on that stage barefooted, feeling all that mana from the people that danced before me, including my kumu, was just amazing. Then to fly back up and actually perform in front of which felt like millions of people was unbelievable. Talk about nerve wrecking! We did not place, but it felt as if we did. It was a very emotional moment. I look forward to having
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the privilege and honor to dance again on that very stage. My kumu has said time and time again, “It is a privilege to just stand on this stage and an honor to dance on this stage,” for she has done so herself. I could feel her that day when she danced for the title of Miss Aloha Hula [a coveted title and the first competition of the festival] and took first place. I am so grateful for the privilege and honor of appearing on the Merrie Monarch stage, and I owe it all to my kumu.
Spirituality of the Merrie Monarch This is one of the places I can connect with my ancestors.
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Opening the Line By: mickey weems | photos: jtl
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But she was not born female, so she believes she is not allowed a place in the wahine line. She feels that trans women like herself are welcome in every facet of the festival - except as hula dancers in competition. She wants to open the line for all trans women (mahuwahine) and trans men (mahukane). “Hula is my life,” said Kamaka. “It’s like dancing on air. It’s like stepping into another world, being transcended up into the heavens. Whenever the kupuna [elders] come up and mahalo you for dancing for them, that is the greatest prize, that feeling you get from them.”
The Unspoken Kapu
Kaleikapu Kamaka’s skill as a dancer has gotten her on the Merrie Monarch stage multiple times in kane (men’s) competition. Since that time, she transitioned to female, which creates a quandary for her: She is no longer male, and is thus ineligible to dance in the kane line onstage as she had once done.
Kaleikapu Kamaka: If there is a proscription against trans people, it hasn’t been said. But I don’t think there ever has been a mahuwahine that has danced as a competitor in the line. I think this should change. Hula is ever changing. Just like how things change in time, such as SB1 and marriage equality, hula and the Merrie Monarch can make room for us in the line. Because it’s a competition, you’ll always get people who have that competitiveness in them, that they will call out any discrepancy. If a mahuwahine got in the line without it being known beforehand, that discrepancy would be brought to the judges’ attention and could go against the halau. I think it is up to the kumu hula to stand up for trans participants. Maybe the kumu hula could speak up for their LGBT haumana [students] when it comes to transgender participation as dancers. On this issue, I can only speak for mahuwahine. The mahukane topic hasn’t been touched so far as I know.
Paleka Lena‘ala Mattos: Setting The Stage By Dancing On It
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Hula is ever changing. Just like how things change in time, such as SB1 & marriage equality, hula & the Merrie Monarch can make room for us in the line. 14 | J A N U A RY 2 0 1 5 - E X P RESSION808.C OM
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Paleka Mattos was a transgender kumu hula. She did get her share of controversy when she came out onstage as mahuwahine for the first time decades ago. But in the late ‘80s, she started to win the Merry Monarch [with her dancers as their kumu hula]. Because of her, trans women like Kuini [the Merrie Monarch house band, all mahuwahine] are accepted and loved in the festival. Paleka would dance on the stage with the rest of the kumu hula at the end of the competition. So, yes, trans women can dance onstage - if they are not competing. When I was younger, I always looked up to her as a kumu hula because of her style, the way she chanted, and the way she presented her girls. I also looked up to her as a mahuwahine that had done so much, even before I thought about transitioning. I danced once for Paleka in the 1997 Merrie Monarch when one of her dancers couldn’t perform - it was my first time competing in the festival. But I was still a boy.
Aloha Dalire: Letting Girls Be Girls After that, I went to the halau of Aloha Dalire. People see me dance and they know I’m from her lineage. After I transitioned, she put me in the wahine line for a hula show in Japan. If it weren’t for her, I would not have realized my dream of dancing with the girls. I never thought that would be possible, dancing publicly as a girl. I’ll be forever grateful to her for making that opportunity a reality. It would be a dream come true to be recognized once more as a dancer on the Merrie Monarch stage. It has nothing to do with my identity as mahuwahine, and more so to do with my ability as a dancer. It would be inappropriate for me to appear in the male line looking like a female, even though I have danced in the male line before when I lived within that box. I don’t mean any disrespect. I do not want to bring any bad controversy to the community or the competition itself. But it would be nice to see some light being brought to this subject. EXP RESSION808.COM - J A N U A RY 2015 | 15
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Drawing Mana From Both Sides By: mickey weems | photos: jtl
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Ho‘o Apo, one of three members in the Merrie Monarch house band, Kuini, has played an Perhaps not so weird, due to Kuini’s strategy important role in for winning fans, which is to stand up for Native Hawaiian culture and simply to be a lot more Hawai‘i’s LGBT history. fabulous than their opponents. Humor, talent, and During the Ka Himeni Ana commitment got Kuini a place as the house band competition in 2012, she for the fiercely competitive Merrie Monarch Festival. “They [members of Kuini] have a lot of aloha,” said and her fellow singers Luana Kawelu, President and Director of the Merrie came out as trans women Monarch. “It’s not about the money for them - it’s about the love of music and hula.” when they competed in a music contest dressed Tell us about Kuini. as women rather than as Kuini is comprised of Kapulanakehau Tamure, men. Keli Mahealani Viernes, and myself, Iwalani Their big moment was when they switched from falsetto to deep baritone, then back to falsetto. “The crowd went crazy!” she recalled. They won the contest. Kuini has also managed to win a place in the hearts of even hardcore anti-gay protesters. “During the marriage equality debate,” Apo remembered, “we’d see people we know on the anti-equality side of the Statehouse protests. But later that evening, they’d be sitting in front of us at the club and cheering us. Weird.”
Ho’omanawanuiikanaauao Apo.
How did Kuini start? Well we have played together many times before, but we just didn’t have a name to go by. The name came when we played for a halau fundraiser and Keawe Lopez dubbed us as Na Kuini Ekolu [“The Three Queens”]. As time went on, the name changed. It went from Na Kuini Ekolu to Na Kuini to Ke Kuini. Now we just go by Kuini. It’s a lot easier to remember.
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Was it difficult, the first time Kuini performed as openly trans? Well, for me, already playing in a bar where members of the LGBT community would frequent made the transition easy - it made playing for the general public easier. They looked passed the trans aspect and respected us for our talent.
dancing hula] in my hair for their auana [non-traditional] number because they were using ‘uli‘uli in their performance. So I did... and when I walked down the reaction was priceless. The crowd oohed and ahhed. It was hilarious! And then master of ceremonies Kimo Kahoano said to the crowd, “What’s a matter? It is what it is.” I even had someone yell from the audience, “Shake your head, Ho’o!” to which I kindly obliged.
Kuini is famous for elaborate hair and hair acces- How did you become sories. Describe your mo- house band for Merrie ment of ‘uli‘uli fierceness. Monarch? It was at Merrie Monarch. The kumu hula of Halau Kamuela, Kaui Kamana’o had dared me to put ‘uli‘uli [feathered rattle used while
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Just by affiliation. We had played for so many people in Merrie Monarch these past years, when it came to the house band, we just jumped in to help. We jumped in every year that it
just sort of fell in our laps, and we have been in that capacity for the past four-five years. It’s good fun.
Tell us about how LGBT people fit in the Merrie Monarch Festival. Well, support is one of the biggest things at the Merrie Monarch. Everyone sees the dancers, the costumes, the kumus, they hear the music... but it’s the behind-thescenes people, in my opinion, who are the most vital people to have. And as mahu, we are the beautifiers. The hair, the make-up, the flowers... many are members of the LGBT community. They get the girls ready, anything from applying lashes to tying pa’u skirts.
What does being mahu mean?
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We are dual spirited. We live in both realms. We have a Hina [feminine] side, and a Ku [masculine] side. And when need be, we draw mana from both. Every Hawaiian family has its mahus. We hope that when people come see us and enjoy our music, they will be a little bit nicer to the mahus in their
own families.
Is what you do spiritual? Oh, yes. People may not think that playing music is spiritual, but I totally think it is. There are songs I learned from my grandma, from my grandpa, from family members and dear friends.
And when I sing these songs, I can sometimes see them in my mind. When I hear “Pua Lehua,” I can see my mama. I can smell her perfume and hairspray. Sometimes I can feel her hand on my shoulder. Those feelings remain in my mind, but they are brought to life when I hear that song.
2015 OUTBACK
B I G B R OT H E R S B I G S I S T E R S H AWA I I
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H AWA I I W I L D L I F E F U N D
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A N I M A L W E L FA R E O R G A N I Z AT I O N S 4
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Splendor at ‘Iolani Palace By: mickey weems | photos: jtl
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All the signs were good. Kahu Ka‘iwi, the officiating reverend for the wedding of Tiffany Burgess and Monique Bardo, asked permission from the spirits of ‘Iolani Palace. He knew his request was granted when a white sea bird circled above him three times. Later on, as the wedding party entered the armory where the reception took place, they were escorted by three large moths, one the size of a bat. (According to local custom, large moths represent the ancestors.) Such signs were heartening for Tiffany and Monique, who now share the Burgess name. Theirs was the first LGBT wedding on the grounds of ‘Iolani Palace, which took place under the grand banyan tree on the armory side of the palace proper. The ceremony and reception were not announced to the general public - there are still people who would not be thrilled that such an event could take place. Monique was confident that all would be well. “I was never ever concerned about protesters because I knew it would be amazing - and it was.” Tiffany voiced her concerns to Ka‘iwi: “He told us that we don’t have to worry because our kupuna [elders/ ancestors] would be holding hands on King Street and Richard Street blocking it all out. He told us that he could see my ancestors standing like thugs - nice ones! - making sure nothing would be ruined.” Young and old were present for the occasion, from an infant in a stroller to an elder in a wheelchair. Youngsters - including Monique’s children - were playing, dancing, and consistently well behaved, especially when occupied with their cell phones. “I’m proud of the State of Hawai‘i that this was able to happen,” said Casey Park, a sixteen-year-old beauty whose mom is a friend of Monique’s. Tiffany’s grandmother, Carole Mahie, reflected on how she had changed from disapproval of her granddaughter’s relationship to acceptance: “It was difficult at first, but it’s a blessing now.”
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When asked about the quote from her grandmother, Tiffany wept. “I put my grandmother’s invitation in her mailbox, and I just so happened to be there when she opened it. She called me over and drilled me with questions: How will this change my life? How am I going to take care of Monique and the kids? How will I receive medical insurance? As I listened, I realized the questions were coming from the same concerned, loving place they have been all these years. Without her saying it, I knew that was her way of accepting the whole thing.” The ever-present threat of December rain (‘tis the season here in Hawai‘i!) never became a problem. Dark clouds came and went, but left no water in their wake.
Sophisticated Ladies With an Edge The colors of this wedding were black, white, and red. Little touches from the brides made it distinctively their own, such as tiny bejeweled skulls, spiders in the bridal bouquets of red roses, red peonies, and deep burgundy calla lilies. Little owls stood sentinel on reception tables. Every chair at the reception had a clear vintage bottle with a single red carnation. The centerpieces were red roses perched on chandelier-esque stands. White Chinese lanterns came to life when the sun went down, illuminating the white tent and dance floor set up on the other side of the armory facing the Statehouse. Tiffany dressed in a white formal jacket, an unadorned red blouse peeking out between the jacket’s lapels, white pants, and white shoes. Monique wore a solid red strapless gown with ruffles galore from her hips to the floor - the back of the dress was a deep plunge criss-crossed with red lacing.
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Brides: Monique and Tiffany Burgess
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Monique’s splendid scarlet (the same scarlet in the blouse that covered Tiffany’s heart) was set off beautifully by Tiffany’s white suit. Monique’s two sons gave her away, and her daughter helped her put together the design of the event, including the search for all the spiders, skeletons, and skulls during the Halloween season: “My daughter picked up on my style,” said Monique.
Mele Madness In the midst of this finery was radio personality Mele Apana, the Mistress of Ceremonies. In a performance that was somewhere between Screaming Queen (she was calling everyone “Mary”) and comedian Rap Reiplinger, Apana added glitter to the goth - she was the perfect counterpoint to the edgy steampunk-meets-Twilight vibe of the décor.
Making It Happen “This amazing couple came to me at the beginning of the year and told me they were getting married at Iolani Palace grounds,” said Jill Easley, owner of Easley Designs. “How exciting that we have a place with such wonderful old traditions and history, and they have opened their doors to same-sex couples! Many people don’t know that if your timing is right, you can get married on the grounds depending on what functions they have going.” Easley and her staff were ever-present, accessible, and fun, responding to the petite quirks and contingencies that arise during such a fête.
On Making History Monique and Tiffany have Hawaiian ancestry, so the wedding at the palace had that extra significance for them. “Monique and myself could not be more honored and happy to have been part of making history on the grounds of ‘Iolani Palace,” said Tiffany. “We and all of our guests were elated to be next to where much of our past had taken place.” Guests Shanda Apana and Nicole Mauricio hailed the wedding a sign of LGBT progress. “This amazing wedding for Tiff and Monique is the manifestation of the equality that we were striving for.” “For me,” said Monique, “I wanted to make sure everyone had a good time.”
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family
reciprocal way for two women to have children By: Celia Dominguez, M.D. Pacific In Vitro Fertilization Institute An available option for a female couple is reciprocal in-vitro fertilization. In simple terms, reciprocal IVF represents “sharing” of the two females in the reproductive process. One of the women provides the eggs while her partner carries the pregnancy. The first undergoes ovarian stimulation and surgical removal of her eggs, while the other partner’s uterus is prepared to carry the newly formed embryo made from her partner’s egg and donor sperm. It is usually recommended to acquire donor sperm from a reputable sperm bank that is approved by the American Association of Tissue Banks (AATB). This ascertains that the sperm donor is medically and psychologically cleared and that the risk of an infection, which then could pass to the baby or carrying partner, is minimal. The key to the success of this sharing is for one partner to have enough eggs to form an embryo, and for the other partner to have a functioning uterus to serve as a friendly environment for the newly transferred fertilized egg. In the natural monthly cycle of a human female, only one egg usually develops. One egg, however, may not provide the best odds. More than one egg increases the odds that at least one good embryo will result.
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“One of the women provides the eggs while her partner carries the pregnancy.”
family
One of the partners in this reciprocal exchange needs to undergo stimulation for multiple egg growth in her ovaries. During egg stimulation (also referred to as controlled ovarian hyperstimulation), medications are given daily for 10 to 12 days to override the usual one egg response of the ovary, and to encourage and help induce the growth of multiple egg sacs (follicles) to be counted and measured by a transvaginal ultrasound. Once there are an adequate number of large follicles that have grown in the ovaries, another hormone is administered to mature the eggs. A thin needle is placed transvaginally under ultrasound guidance into the ovarian follicles, and fluid is suctioned out. All the fluid is sent to a specialized reproductive laboratory where the embryology team looks at the fluid to try and find eggs. The retrieval procedure usually takes 15 minutes and is done under intravenous anesthesia. An ovary is as sensitive as a testis, and any man can tell a female that a needle in their testes would be painful. Thus anaesthesia for this part of the process makes it comfortable and safe. The number of eggs retrieved can range from one to more than 30 eggs. The higher numbers are achieved in younger women, while fewer follicles develop in older women and thus less eggs are obtained.
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The eggs and the donor sperm are then placed together to allow fertilization to take place. If there are only a few eggs, or for some reason the sperm is not of good quality (which should be rare when sperm comes from a reputable sperm bank), a single sperm can be injected into an individual egg. About 65% of eggs will fertilize normally. The majority of fertilized eggs will then start to divide and become early embryos. In coordination with the partner undergoing the ovarian stimulation and retrieval of her eggs, the reciprocal partner will be undergoing uterine stimulation to receive one or more embryos into her womb. The uterine stimulation medications are oral, vaginal, or injectable and used to prepare the lining of the uterus. The embryos, depending on how they develop, are then placed through a small catheter into the recipient’s uterus a few days after the egg retrieval of the reciprocal partner. Depending on the quality of the embryos and the chronological age of the partner that underwent the ovarian stimulation, recommendations are made for the number of embryos to place into the uterus and the day to transfer. This is usually a 10-minute, pain-free procedure. Approximately 10-14 days after the embryo transfer is performed, a blood pregnancy test is done. The reciprocal cycle usually takes six to eight weeks to coordinate and synchronize, but is a unique opportunity for same-sex female couples to build their families. EXP RESSION808.COM - J A N U A RY 2015 | 25
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Nicole Scherzinger run This visual reflects the stark and sheer power of Nicole’s voice with an understated yet captivating presentation. The global pop icon delivers a stirring performance, alone in an elegant and ornate mansion. As the piano chords and strings resound, she bares her soul. It is yet another previously unseen vision of this potent pop presence, stripping everything down to a striking minimum. The album Big Fat Lie properly introduces Nicole as a solo artist to North Americans. Of course, you may already know Nicole as the leader, face, and primary voice of the multi-platinum phenomenon, The Pussycat Dolls. NicoleScherzingerOfficial.com
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ricky martin Adiós Ricky Martin plays five characters – a policeman, bartender, bouncer, mobster and singer. Adiós is produced by Jesse Shatkin (responsible for Sia’s popular song, “Chandelier”), Yotuel Romero, Antonio Rayo, and Ricky Martin, and features rhythmic influences from different parts of the world where the multiple Grammy Award-winning artist has traveled throughout the year. “We chose “Adiós” because it represents who I am today. The title is a reference to the opening of another cycle,” Ricky Martin said of the first single off his anticipated new album, which is scheduled for an early 2015 release. RickyMartinMusic.com EXP RESSION808.COM - J A N U A RY 2015 | 27
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Coming off the smash season finale of her hit VH1 show, K. Michelle: My Life, K. Michelle debuts at the #1 spot on the iTunes’ Top R&B/Soul Album chart and the #2 spot on the Billboard R&B/Hip Hop Chart with her sophomore album, Anybody Wanna Buy A Heart? debuted #6 on the Billboard Top 200, making this the top debut of 2014 for a female R&B artist.
K. Michelle ANYBODY WANNA BUY A HEART?
TheKMichelle.com
Jessica Sutta CANDY
Cash Cash Surrender Remixes
Jessica Sutta is back again with the new dance track, “Candy.” The chart-topping dance-pop artist is putting the finishing touches on her new album Feline Resurrection, a blend of irresistible hooks, addictive club beats and thick disco grooves. Sutta’s introduction to the global pop scene was made as a member of The Pussycat Dolls, a worldwide phenomenon and one of the best-selling girl groups of all time.
The internationally acclaimed production trio has had quite a year, bringing their live DJ sets to festival stages and clubs across the globe. Cash Cash debuts a brand new smash, “Surrender.” The pop banger effortlessly mixes vocals with a pulsing dance beat that will grab you from the beginning and stay with you till long after.
JessicaSuttaOnline.com
CashCashMusic.com
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