(Waves   crashing) Narrator  Qingming is the time when Chinese in  Hawaiʻi gather at family grave sites   to honor the traditional concepts of  filial piety and ancestor worship.

George C.K.

Young The Chinese has always wanted to be buried with   mountains around them, facing the ocean.

Narrator  The ocean is the Pacific.

The city is Honolulu.

The cemetery is deep in the Mānoa Valley and also   in the history of Hawaiʻi's Chinese community.

It is curiously alive with celebrations and   schoolchildren.

George C.K.

Young  In 1841, Lum Ching spotted this knoll and  decided it was an ideal spot to bury our   Chinese ancestors.

He was a geometrician, that's  relating the stars, the mountains to the land.

He felt that those that are buried here will  bring prosperity to the generations to come.

James Lum As a child, I remember coming to   these Qingming activities with my dad, and he's  since passed away, and so now you might say I'm   carrying on the torch for the next generation.

My sisters and I all went to Episcopal schools.

They went to the Priory, and I went to 'Iolani.

So we're staunch Christians.

So even though we're   staunch Christians, we also fully believe in the  concepts of filial piety and ancestral worship.

Alice Luke I don't know whether you   call it Tao, or what kind of religion is that,  but I believe it's only one way that, that's   what we are doing.

We do come to the cemetery  and pray, bring out food and money.

They will   accept all the money.

And sometimes we think, gee,  they're richer than us.

We bring a lot of money   by bags and plastic bags full.

And of course,  some other poor ones, they don't have anybody,   don't they don't have anything.

It's just like  life human beings.

So that's my belief in that.

George C.K.

Young During the past 10 or 20 years ago,   we had difficulty maintaining this cemetery.

We  have about 28 acres, and only half has been used,   but it's located in such a way, in a position  that is very difficult to maintain because of   the raining and terrain and so forth.

And finally,  we came across Benny Sacro and he was almost God   sent.

He was able to maintain this cemetery just  the way it is now, where we are receiving nothing   but compliments.

Alice Luke  Sam started somewhere around 1970 when his  father had asked him to carry on with his   work in Manoa Cemetery.

So after that, he decided  he would carry on the job.

He tried so hard to   make money out of selling plots, but it wasn't  enough.

So one day, he met the school teacher   somewhere in Manoa, looking for a place  for a school or a kindergarten.

It was the   Montessori School.

Gay Baird  One day, my car was stolen, and I found it out  here in the children's playground, all stripped.

And I walked up and I looked at this building, and  I said, wow, there's a building here.

And I looked   inside, and it was completely empty.

So I started  looking for who owned the building, and I found a   plaque over on the side of the building that has  my birthday, June 7, and I called up Mr. Sam Luke,   who was the president of the Lin Yee Chung  Association.

They owned the cemetery.

And he said,   sure.

He said, "You know, nobody's ever asked  us if they could rent that building before.

How   come you'd like to have a school there?"

And I  said, W'ell, it'd be really quiet."

And he said,   "Great.

I'll meet you over there this afternoon."

And so I met him, and he asked me how much we   could afford.

And I said, Well, we have about $400  and he said, "Fantastic.

Here's the keys."

And   within two weeks, we had opened up the school.

The  children's part of the cemetery is right directly   across the street from from our preschool class  was just in the cottage behind this building,   and there's a big picture window there, and the  kids can stand and look out at the graveyard.

And we've talked about it, you know, many times.

You know how these are the are the graves of the   little children, the babies that have died,  you know, when they were very young.

And you   would think that kids you know, would get scared  or something about it, but they're absolutely   fascinated.

Many times they take walks up into  the cemetery, they'll get on a rope, and they'll   walk up the hill and come back down, and they seem  to have absolutely no, nothing about the cemetery   except just that it's a part of life.

(Children chattering)   (Woman: Ready, one, two, three) (Singing: On the line, on the   line, on the side of the line) Gay Baird  We've been looking forward to this year for  a long time, because we've known that the   cemetery was going to be 100 years old this  year, in June.

I really feel like the school   has been a part of that history now.

We've been  here 10 years, and slowly, we have worked with   the Lin Yee Chung Association in fixing up the  buildings, getting the grounds ready for this   event.

So we're looking for a lot at a long  term relationship where the school and the   cemetery will be working together to make it one  of - really a landmark on the Hawaiian Islands,   which I've always believed it should be.

George C.K.

Young  The relationship of our centennial to the  centennial of the arrival of the Chinese   in 1889 was coincidental.

And this year, of  course, the arrival of Chinese is celebrating   a 200th anniversary, and we are celebrating  our centennial.

We have a special program put   together to commemorate our forefathers.

That's  the bicentennial of the arrival of the Chinese.

After all, they are lying here, and they are  deserving to have the living ones honor them.

(Chanting in Chinese) (Drumming)  (Helicopter whirring) Alice   Luke  I kind of remember the old people that talks about  these things in the old age, and they said they   don't want ladies to be working in the cemetery  and to be involved in all this kind of praying   and so forth.

They only goes to pray when there's  a time and place for everything, like Memorial   Day or Qingming day, they come up and celebrate  together.

But today, I think it's modern.

You   find this group of people that we hired, his wife  come out to work together.

So it doesn't matter,   because the time has changed.

George C.K.

Young  In regards to carrying on the  spiritual culture of spiritual piety,   my two Japanese daughter in law will continue  on just as my sons would.

And rest assured,   they would teach my granddaughter, Alisa  here to come up and pay homage to us one   day.

(Chanting in Chinese) (Waves crashing) Auntie Eleanor  At Kaʻūpūlehu, right by the sea, we found the  village sleeping quietly.

A corner of heaven   that God put there.

No other place is quite as  fair.

When Johnno Jackson came to Kona Village,   Kaʻūpūlehu, there was nothing here.

It was  only lava, and he recreated the area again.

Narrator What Johnno   Jackson recreated was a paradise where peace  and tranquility can flow unhampered by the   sounds of the city.

(Bird noises)   Narrator A secluded spot of beauty were wildlife...   (Bird noises) Narrator  And people mix together in the spirit of ʻohana,  the ancient family tradition of Hawaiʻi.

(Ambient noises) Narrator  And stroll the paths where Hawaiian kings once  walked.

Nestled along the west coast of the Big   Island, Kona Village is rich in history  and legend.

Entering Kona Village is like   going back into a Hawaiʻi that used to be.

(Woman: Aloha and welcome to Kona Village)   Narrator The Queen's bath, only   those of royal blood were allowed to bathe.

The  aliʻi and their children commune here with nature,   a place to live as the Hawaiians once lived,  learning their ancient craft of basket weaving.

Auntie Eleanor If you want to finish your basket real fast,   pick up two leaves and drop one right.

Women: Drop, drop.

Take the next two.

Narrator  These petroglyphs tell a story of people who  lived in total harmony with the environment   and nature itself.

Warriors, games, symbols of the  aliʻi, and carrying their dead and ancient people,   recording their history by carving pictures on  15 acres of stone.

The ancient ritual of the   Hawaiian imu, is recreated every week as part of  lūʻau festivities at the village.

Ti leaves are   placed around the pig, along with seaweed and  spices.

Hot rocks are placed inside the pig,   then wrapped in chicken wire and lowered into an  underground oven.

Once in the oven, the pig is   covered with banana leaves, ti leaves, burlap bags  and tarpaulin, and finally, huge mounds of dirt.

(Shoveling) Narrator  After more than three and a half hours  underground, the pig is ready to be dug up,   uncovered and brought forth for the lūʻau.

Narrator  These young men are handling very hot rocks  with their bare hands.

As the pig comes out   of the ovenm it's placed on a platter, ready to  be served, cooked to perfection.

It now finds   its way to the lūʻau.

(Waves crashing)   Narrator As the evening sunset casts a golden shadow   upon the powerful waves, Kona Village prepares  for the night.

While the sun disappears beyond   the horizon, a young couple watched the evening  transform this lovely village into a twilight   zone.

As the moon makes its appearance against a  clear sky, swaying palm trees and a gentle wind.

It is here where the true Hawaiian spirit can  be found and shared by all who walk its shores.

(Instrumental music) Narrator  No longer limited to a few channels and a  place in the family room, television seems   to be everywhere.

Portable TVs, cable television  and VCRs allow us to watch whenever and wherever   we want.

Recent studies show children spending  more time watching television than they do in the   classroom.

By the time a child reaches college,  you will have seen 20 movies for every book read.

Believing that media education is essential in  today's society, the Communication Arts Learning   Center at Kalāheo High School teaches students  film and video production.

Open to any public   school student, the center offers high school  credit courses and after school programs for   elementary and intermediate School students.

The  Communication Arts Center is one of 21 learning   centers on Oʻahu, each specializing in a different  educational theme.

For the past 17 years,   John Connelly has taught media production.

He has  been program coordinator of the Learning Center   since it opened in 1987 and has helped the center  become nationally recognized for the award-winning   work produced by its students.

John Connelly  Ladies and gentlement.

Thanks, Dennis.

As  we have promised the last couple of days,   examples of professional slides of major shots of  people shots Mr. Lucci has gotten out of some good   books.

It is important to teach media production  at this level.

We have found three primary values   in this effort.

The first is the study of mass  media itself, and we find that studying production   is a valuable step towards studying mass media and  its effects on our society and on the kids right   now.

Tremendous power over their lives that they  help understand.

A second is that it is simply a   alternate avenue for creation and communication.

It gives them something that they haven't had   before, that allows them another way to express  themselves.

And we find that many students finally   have a success where they might not have before,  in simply writing and usual student kinds of work.

And finally, we find many spin off, educational  values, study of esthetics, social values,   organizational skills, interpersonal skills.

Holly Bennett  And also, we have a problem with the time.

It says  here that we need it in the morning or, yeah, we   were talking because the sun  is gonna be setting, right?

Student 2 We were talking about that and Amy and   Maile and some other people have, like, soccer, so  they couldn't be there at night.

So we're gonna do   it in the morning, early in the morning.

We  have to get there, like, at seven o'clock.

Holly Bennett Okay, so we - okay.

Got it.

Narrator A year long, double period class,   the cinematography course is the heart of the  Communication Arts Center.

For many students,   the class is an outlet for creative expression.

Jean Noguchi  You never center it, though you do not  have your horizon line dead center.

Well,   I don't think that the cognitive is the only thing  to make a well rounded student.

They need the   creative end.

So in terms of visual motion media  which they're getting in our program, you know,   they do, they do the static plus the movement kind  of thing and the creating, and it's an incredible   outlet for their imagination.

What the students  find the most exciting, I believe, or what they   get the most in terms of the course, is just doing  a film.

It's not the preparation, necessarily,   the storyboarding, the scripting.

It's actually  getting out there with their camera in the field   and making a film.

When they see that first set of  rushes coming back from processing, it's exciting,   and you can feel that energy.

It's incredible.

(Character 1) It's not a bad day.

(Character 2) It   sucked.

(Bar man) What do you have?

(Character  2) Give me a beer now.

Hey, bud, what are you   looking at?

Huh punk?

(Character 3) Yo homeboy,   you got a problem with the MC or what?

(Character 2) If you don't shut up right now,   I'm gonna take that hat and shove  it down your stinkin' throat.

(Character 3) I'll break  dance all over your face.

Colin Redican The most important thing,   I think, is patience, because it takes a very long  time to do this.

This film that I worked on now,   it's taken me about a week and a half filming,  but that's, I mean, I stayed up till past   three o'clock in the morning filming, you know,  on a school night.

So it's a lot of work.

This   film is 18 frames per second, and that means 18  single shots makes one second for every movement   I make.

I make two shots of that movement, and  then I move it again, I take two shots, and I   have a storyboard that I drew out, and I have to  go by that so I don't get lost all of a sudden,   I'm thinking, oh, did I do that shot yet or not?

(Gremlin) That got rid of him.

(Character 3) Sack,   my man, you did it.

Colin Redican  I'm gonna go to college, and I'm going to take a  few courses in different arts and experiment in   what I want to do before I major in something.

But  I really want to look into filming, because I like   doing this.

It's a lot of fun for me.

Karen Kanda  As a result, we see the  ultimate rise of Napoleon.

Narrator For these ninth   graders enrolled in the freshman Gifted and  Talented program, a history lesson may become   a video documentary.

The program combines world  history, language arts and video communications.

Holly Bennett The reason Napoleon became   a video was that we had to do first semester  projects, and there were research papers on an   important person from the past.

Everyone in the  class wrote a research paper, and then from that   research paper we wrote a script.

Mr. Connelly and  Mrs. Kanda both sat together, and they picked out   the five that they thought were the best.

So from  this five, the class read, you know, all these   five scripts, and we chose the one we thought was  best, and a point turned out to be the best one.

So that was what we're gonna do our video on.

(Boy 1) On your feet, lets settle this like men.

(Charles) I'm warning you, you have no right to  threaten them, and you shouldn't.

Sit down and   shut your mouth or I'll do it for you.

(Boy  1) Who's threatening whom, Charles?

I can   handle you.

No problem.

Let's go.

(Napoleon)  Charles, sit down.

I appreciate your loyalty,   but I feel better about myself if I fought  him myself.

(Girls scream) (Dramatic music)   Karen Kanda Nowadays, of course, in the in the world of mass,   almost instantaneous communication, I think it's  important for them to have an opportunity to   extend their education into video communications  and into a world of mass communications.

Now,   one of the essential competencies for high school  is, you know, oral communication.

And secondly,   another one is to distinguish fact from fiction.

And I think that it is important for them to   understand that media can be manipulated, you  know, and the fact that they have to learn to   be able to discern fact from fiction when they  see things on television or in the movies.

Eli Snyder You don't watch television the same   after you've done something like this, because you  know what goes on behind it.

And you think there's   something that takes an hour on TV, and you know  how much time and effort went into editing it,   putting it together.

(Classroom chatter) Narrator  By teaching students how to create their own TV  programs, the Keiki Media Workshop helps students   to become informed media consumers.

Steve Katz  The Keiki Media Program Workshop is a program  to involve all the.

Kids from the elementary   schools come here after school.

The project  that I've been involved in is we're making a   documentary a la Sesame Street Style, where  they're learning how to use video equipment   to produce their own video, right from the  first concept to the final completed video.

Narrator To complete their   documentary on ice cream, the workshop students  win on location to Foremost Dairies.

Responsible   for all aspects of the production, the students  do everything from adjusting the lights and   monitoring the audio to writing the script.

(Girl 1) I mean, he already answered it?

(Girl 2) Yeah.

(Girl 1) But yeah,   he should answer it on tv though.

(Kids) Quiet on the set.

Stand by.

Roll tape.

(Man) Tape's rolling.

(Interviewer)  What flavor sells the most?

(Man 2) Vanilla,   vanilla ice cream, I guess because you  can do various things at home with it.

(Interviewer) How long does it -  How long has this factory been up?

(Man 2) It's been here since 1954 and  currently, now we're going through vast   improvements.

Approximately 4000 gallons of raw  mix, which would give you at least 8000 gallons   of finished mix.

(Girl) Cut!

John Connelly  My hope is that learning centers stay afloat.

The  Department of Education, the Board of Education,   the legislature, all have been very supportive.

But as all things that have to be funded,   learning centers need to continue to prove their  worth, their cost effectiveness and so forth.

As   I talk to learning center coordinators around the  state, I find that these things are happening,   exciting things are happening at learning  centers, and if they can keep going, we can   continue to offer these kinds of programs for our  students.

We have for our center, we've got a lot   of dreams.

We would like to see a Communication  Arts building that would house a flagship program,   a communication arts program of that offered these  kinds of opportunities to students throughout our   state, and I would like to see us work towards  the day when Hawaiʻi has a visual and performing   arts center that rivals those they're in New York  and in Houston and other places.

And I would like   to be a part of that.

(Instrumental music)