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1 10 20 https://transcultural.oberlincollegelibrary.org/files/original/912000965c870714d38c6301102ef361.jpg 3aa94bf6831c4715e1c0deb3b8657752 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ulugali’i Samoa: Samoan Couple Description An account of the resource In Shigeyuki Kihara’s “Ulugali’i Samoa: Samoan Couple” photograph, Kihara masterfully interrogates Western conceptions of gender, Polynesia, race, and colonialism in one fell swoop. Much of the work the photograph relies on juxtaposition and irony, mobilizing Western tropes and turning them on their heads to reveal its inherent flaws and subliminal agendas to oppress and erase. Kihara, who is of Soaoan and Japanese descent, was born and raised into Samoan culture. She is fa’afafine, a third “gender” or non-binary role in the Samoa– those who are assigned male at birth, and explicitly take on roles and traits typically ascribed to masculinity and femininity. In the photograph, Kihara portrays both the “man” and “woman” of Western expectations. The photo is stylized in imitation of 19th-century postcards of Samoan people that were photographed and portrayed through the Western photographers gaze, attempting to impose Western ideals of man and wife onto a culture where it simply is not applicable. Kihara pays careful attention to key physical denotators of the gender binary– facial hair, length of hair, differing jewelry. But most specifically, Kihara keeps the garments on both her figures low, drawing the viewer to arguably the most classically paid attention sex AND gender detonator– breasts. These marked differences are certainly up to the viewers’ interpretation, yet one can inquire that this picture aims to trick or fool the Western eye, and completely deconstructs the Western contraction of gender– how easily these gender binaries are recreated and therefore ultimately torn apart. Kihara’s photo then works to undo and interrogate Western conceptions of the Samoa as well. At first glance, it appears that this picture is taken in what could be assumed to be the “wild Samoan jungle,” or how the naive from the West would assume the islands exists as. But, upon a closer look, it is clear that this photo must have been taken inside a building, as indicated by the banister in the background. The foliage is fake, or deliberately staged, to make it appear this way. Perhaps Kihara is speaking to the unassuming ways the Samoan people can turn stereotypes against their oppressors, appearing to be unassuming, primitive, and exotic yet, beyond the oppressors ability to recognize, are much smarter than they are assumed to be. Perhaps Kihara uses this banister to display the devastating effects of colonialism against the natural environment of the colonized, infiltrating and destroying, sucking up natural resource around them. The power of the photograph lies in the fact that its many layers can be analyzed again and again, and come up with many different productive conclusions about the evils and ultimate stupidity of Western views. Kihara, who is of Soaoan and Japanese descent, was born and raised into Samoan culture. She is fa’afafine, a third “gender” or non-binary role in the Samoa– those who are assigned male at birth, and explicitly take on roles and traits typically ascribed to masculinity and femininity. In the photograph, Kihara portrays both the “man” and “woman” of Western expectations. The photo is stylized in imitation of 19th-century postcards of Samoan people that were photographed and portrayed through the Western photographers gaze, attempting to impose Western ideals of man and wife onto a culture where it simply is not applicable. Kihara pays careful attention to key physical denotators of the gender binary– facial hair, length of hair, differing jewelry. But most specifically, Kihara keeps the garments on both her figures low, drawing the viewer to arguably the most classically paid attention sex AND gender detonator– breasts. These marked differences are certainly up to the viewers’ interpretation, yet one can inquire that this picture aims to trick or fool the Western eye, and completely deconstructs the Western contraction of gender– how easily these gender binaries are recreated and therefore ultimately torn apart. Kihara’s photo then works to undo and interrogate Western conceptions of the Samoa as well. At first glance, it appears that this picture is taken in what could be assumed to be the “wild Samoan jungle,” or how the naive from the West would assume the islands exists as. But, upon a closer look, it is clear that this photo must have been taken inside a building, as indicated by the banister in the background. The foliage is fake, or deliberately staged, to make it appear this way. Perhaps Kihara is speaking to the unassuming ways the Samoan people can turn stereotypes against their oppressors, appearing to be unassuming, primitive, and exotic yet, beyond the oppressors ability to recognize, are much smarter than they are assumed to be. Perhaps Kihara uses this banister to display the devastating effects of colonialism against the natural environment of the colonized, infiltrating and destroying, sucking up natural resource around them. The power of the photograph lies in the fact that its many layers can be analyzed again and again, and come up with many different productive conclusions about the evils and ultimate stupidity of Western views. Creator An entity primarily responsible for making the resource Shigeyuki Kihara Source A related resource from which the described resource is derived Allen Memorial Art Museum Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource David Seo Format The file format, physical medium, or dimensions of the resource Image, C-type print mounted on aluminum, 800 x 600 mm Type The nature or genre of the resource Photo https://transcultural.oberlincollegelibrary.org/files/original/07a390e82d320da60e75f4c442ed8ae4.jpg cb1f5a03f2b12d7e7fec98d85ba552f8 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Redefining Realness: My Path To Womanhood, Identity, Love & So Much More Description An account of the resource Redefining Realness is a memoir written by Janet Mock about her life and her shaping of her own identity as a multiracial trans woman. Mock shares with the reader intimate details from her own upbringing, exploring what it means to be a woman through her complex family relationships and romantic and sexual experiences. Following an article written about Mock by a journalist for Essence(check) magazine Mock realized she needed to correct the narrative, even if just to craft it herself. In writing this book, Mock joins a canon of autobiographical work by trans women that marks a turning point in contemporary gender relations. This book is completely vulnerable, telling stories of Mock’s own experiences with sex work, transmisogyny, and familial displacement, traumas that she shares with humility and grace with the overwhelming message of accepting one’s self for all the pain and hurt and ugly in our lives. Creator An entity primarily responsible for making the resource Mock, Janet Publisher An entity responsible for making the resource available Atria Books Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Josie Owens Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book african american Black American multiracial poc poc creator transfeminine https://transcultural.oberlincollegelibrary.org/files/original/7c3dad739666e8460d36f6b919c528a5.jpg 259fffe90b1578bfb6c164e838832ac3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tangerine Description An account of the resource Tangerine is an indie film directed by Sean Baker. The film, shot on several iPhone 5Ss, centers around two black trans women sex workers, Sin-Dee and Alexandra, played by trans actors Kitana Kiki Rodriguez and Mya Taylor respectively. While Tangerine’s release is a huge step forward for trans representation in media, the fact that the director, writer, and most of the production crew were white, cis men cannot be ignored when analyzing this film as an object of trans culture. Critical reception of the film has been overwhelmingly positive, with many marking it as a “comedy” despite the serious subject matter that it covers. The story follows Sin-Dee who, after hearing from her close friend Alexandra that her boyfriend and pimp, Chester, has cheated on her with a white cis woman, goes on a journey across LA to find answers. At the same time, it follows Razmik (Karren Karagulian), an Armenian taxi driver who is a regular of trans sex workers in the same area, and how his actions impact his life and marriage. These two narrative threads ultimately collide in the film’s climax, when Razmik and his family meet Sin-Dee, Alexandra, and Chester in a small donut shop. While the film is a huge step forward for trans representation in media, considering the people that made up the production crew, it is difficult to separate their positionality (white, cis men) from some of the film’s more poignant moments. Having a film that is so strongly rooted in race and interracial relations be spearheaded by a mostly white crew is tricky to navigate and makes the film feel less genuine in parts, the steps that Tangerine takes for transwomen cannot be discounted. Creator An entity primarily responsible for making the resource Baker, Sean (director, writer) Bergoch, Chris (writer) Publisher An entity responsible for making the resource available Duplass Brothers Through FIlms Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Mia Park Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English Type The nature or genre of the resource Video Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boy with Flowers Creator An entity primarily responsible for making the resource Shipley, Ely (author) Publisher An entity responsible for making the resource available Barrow Street Press Description An account of the resource Ely Shipley is a trans author and activist. He worked at CUNY in NYC and taught as an assistant professor of English at Baruch College, where he taught courses on gay and lesbian literature, poetry, and identity writing. He is currently a professor at Western Washington University. Shipley has won the Western Humanities Review Award in Poetry and the Virginia Faulkner Award. Boy With Flowers is Shipley's first book. Boy with Flowers won the 2007 Barrow Street Press book prize and the Thom Gunn Award, and was a finalist for a Lambda Literary Award. Boy With Flowers consists of thirty-six poems. The poems are spread across three sections. Poems in section one, such as Roll of Dimes, Balloons, Army Tattoos, fever & halo, Magnolia, and the title poem Boy with Flowers focus on memories from his childhood. We meet his mother and aunt in passing, learn about his childhood friend Marissa, and catch glimpses of romantic moments between him and his former partners. Section two moves from childhood to young adulthood, focusing on missed opportunities and things left unsaid. Poems like Fountain recreate the beauty of things in his memories. Part three contains more poems explicitly about transness. He recalls working with trans teens in DC. The last poem of the book, Etymology, is a letter to his testosterone shots. Though some of the poems deal explicitly with his identity as a trans man (for example, wanting to wear a suit instead of a dress and stand with the men at his aunt's wedding), the book as a whole is not about transness. It is about a whole person, and being trans is just one part of the character's identity. Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Gina Cavagnero Format The file format, physical medium, or dimensions of the resource text Language A language of the resource English Type The nature or genre of the resource book Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "My Pronouns Are Black" Description An account of the resource Zenaida Peterson is a spoken word poet and community organizer based out of Boston. She has represented Simmons College at the College Union Poetry Slam Invitational (CUPSI) both in 2015 as a performer and in 2017 as the team’s coach. She is the founder of the Feminine Empowerment Movement Slam Tournament (FEMS), which is a poetry competition and grassroots organization designed to actively work against the lack of femme-oriented spaces in Boston’s slam poetry scene. Peterson identifies as “queer, multiracial-womanist and an antiracist” – concepts that are all considered in “My Pronouns Are Black,” which on the surface reads as a poem about being nonbinary, but speaks to gender identity in a very specific context. “My Pronouns Are Black” is a powerful spoken word poem that examines the intersection of the poet’s racial identity and gender identity, and how the two are inextricable. The poem explores what it means to grow up socialized as both black and female, when our world posits white femininity as the normative mode of womanhood and constantly attacks black femininity. To unpack this notion, Peterson speaks to the history of slavery in the United States, and ultimately asserts that gender is a principle of white hegemony, so it functions differently on people of color: "My pronouns avoid the police/The black of me wants to survive long enough to have an identity politic/How do you go from a slave to a gendered thing, from a mule to a person, and expect gender to function the same across race?" It is with this historicization in mind that this poem pushes back on the idea that gender exists in a void. “My Pronouns Are Black” seems to claim that for black people, this can never be the case, since black gender norms are so much more vital to livelihood and survival than they are to white people. This poem not only engages race head on, but also complicates a common understanding of nonbinary gender identities and makes clear that for black people, gender identity can never be disentangled from racial identity. Creator An entity primarily responsible for making the resource Peterson, Zenaida (Author/Performer) Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/c0Mv8CYvQAA?rel=0" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen="allowfullscreen"></iframe> Publisher An entity responsible for making the resource available SlamFind Date A point or period of time associated with an event in the lifecycle of the resource 2017 Contributor An entity responsible for making contributions to the resource Hannah Tobin-Bloch Language A language of the resource English Type The nature or genre of the resource Video Format The file format, physical medium, or dimensions of the resource Moving image Black American poc Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Crying Game Description An account of the resource The Crying Game is a thriller, directed and written by Neil Jordan, that came out in 1992. It was nominated for more than 50 film awards, winning Best British Film in the BAFTA awards, Best Screenplay in the Boston Society of Film Critics Awards, and many other prestigious honors. The film begins with Jody, a black British soldier who has been kidnapped by the Irish Republican Army (IRA), and Fergus, a volunteer with the IRA who has been assigned to be Jody’s keeper. The two men bond in spite of their captive / captor relationship. Jody speaks of his girlfriend and asks Fergus to find her once Jody has been killed. Eventually Fergus is told that he must kill Jody and a chase through the woods ensues, wherein it is unclear whether Fergus will actually shoot his hostage. The question is moot, however, because Jody runs into a nearby road and is hit by a tank just as the IRA headquarters are bombed. The film skips forward a few months to Fergus, who operates under the alias Jimmy, tracking down Jody’s girlfriend, Dil. Fergus/Jimmy seduces Dil, never telling her that he knows Jody, let alone that he is responsible for Jody’s death. They fall in lust and it is here that the “big surprise” of the film takes place: the camera pans down Dil’s body, revealing her penis. Fergus/Jimmy responds in violence to the sight of Dil’s genitals, hitting her, then running to the bathroom and vomiting. The events that follow, as well as the lens through which the preceding scenes are remembered, promote the common and harmful trope of transwomen as deceitful and manipulative vixens, bent on tricking “straight” men into sleeping with them. Amidst a flurry of violent subplot, Fergus/Jimmy forces Dil to cut her hair, dress up in Jody’s old clothes, and the two of them hide in her apartment together. One of Fergus’ old IRA associates, Jude, shows up and, in a whirlwind of confusion, shouting, and borderline psychosis, Dil shoots Jude multiple times. Fergus takes the blame, and in the final scene, we see Dil coming to visit him in prison. When The Crying Game first came out, moviegoers and reviewers alike were asked by the producers not to share what the “big surprise” with folks who had not yet seen the movie, using the hype around the moment as a marketing technique. This use of trans bodies as a punchline speaks to a broader issue in understanding and representation of trans people in media. Because this film made its debut more than two decades ago, it speaks both to the narratives around transness that have been let go, as well as to the themes and tropes that remain unchanged. Creator An entity primarily responsible for making the resource Jordan, Neil Publisher An entity responsible for making the resource available Woolley, Stephan Date A point or period of time associated with an event in the lifecycle of the resource 1992 Contributor An entity responsible for making contributions to the resource Izzy Lederman Format The file format, physical medium, or dimensions of the resource video Language A language of the resource English Type The nature or genre of the resource film Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/0Z-o1RVdnHE" frameborder="0" allowfullscreen="allowfullscreen"></iframe> race transfeminine transmisogyny war https://transcultural.oberlincollegelibrary.org/files/original/f5844041ecb47ab017b81fb1ee5fedae.jpg afdce7871b4ff9d041c7386f7b388cd9 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Freakboy Subject The topic of the resource A YA novel written in verse telling the story of three young people who explore gender identity and sexuality in different ways. Creator An entity primarily responsible for making the resource Clark, Kristen Publisher An entity responsible for making the resource available Farrar Straus Giroux Books for Young Readers Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Burger, Nia Rights Information about rights held in and over the resource Copyright 2013 by Kristen Elizabeth Clark. All rights reserved. Format The file format, physical medium, or dimensions of the resource Book Language A language of the resource English Description An account of the resource Freakboy is a novel written in verse meant to engage with young adult readers. The format works to highlight the differences between the three characters as well as to convey tone and inner thought processes. For example, at times when Brendan’s thoughts are very active and he is anxious about his gender identity, the word “transsexual” is printed haphazardly throughout several pages of the book in large, bold font. This use of formatting helps the reader to “get inside” the character's head. Each character in the book has their own font and they trade off narrating the story of Freakboy. At times, these passages read almost as journal entries from each character, detailing their days. The author of Freakboy is a white cisgender woman who has a genderqueer child. Clark talks about her positionality in a FAQ style piece published on tumlr.com where she asks “who am I to be telling this story?” I think Clark’s reflexivity is crucial to the placement of this book in a transgender cultural archive. She goes on to explain that she asked questions along the way and wrote it with her child looking over her shoulder. Doing your research, so to speak, is is crucial to writing about people who are different than you, especially when those differences are marginalized. Equally important is the author’s note that acknowledges the diversity and number of “trans stories” making it clear that she is not trying to tell the trans story or to have this book speak for all trans identities. Clark doesn’t do such a good job at “doing the research” when it comes to race and racial descriptions of the characters. One character Angel, is coded as Latinx/Black with the language used in her sections of the book. One example is the use of the word “Girl” during Angel’s section when it feels like Clark is trying to index Blackness through casual language rather than examining how racial identity affects Angel’s life and experiences. Some of this could be read as Clark trying to code Angel as “mature” or older than Brendan and Vanessa, but Clark’s intentions still remain questionable. Further, the racial coding of Brendan and Vanessa seems non existent (read: white) leading me to believe that Angel was intentionally coded as non-white. Clark would have benefitted from researching the language surrounding characters of color and paying closer attention to the ways she is consciously and/or subconsciously coding her characters. cisgender author young adult https://transcultural.oberlincollegelibrary.org/files/original/abdf56300a1dd076666c864346adbeb2.jpg ddded32582daaf1efa99cde0f8fb0e72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nevada Description An account of the resource Imogen Binnie’s 2013 novel, Nevada, is a dark comedy that follows Maria Griffiths, a 29 year old transwoman living in New York who begrudgingly navigates the impending doom of her relationship, unemployment, identity politics and queerness. Binnie utilizes an inner monologue form, where the text is mostly comprised of Maria’s internal thought processes and reflections, dotted with the perspectives of those Maria interacts with, such as an ex lover and new acquaintance. While Binnie’s protagonist, or antagonist as some readers have noted, is trans, the novel does not follow the tropes so often seen in books, movies, and other forms of pop culture centered around trans characters. It doesn’t focus solely on transition or a singular transition, but rather paints Maria as a three dimensional human whose transness extends far beyond that timeline. Through this fictional approach, Binnie demonstrates the complexity of Maria’s identity, and shows that transness is not truncated and dictated solely by medical transition. She shows that transness is more complicated and dynamic than that, and that characters can be trans but also full fledged human beings. Binnie captures the intricacies of pain and how engaging with one’s issues intellectually is often a coping mechanism used by those who need to distance themselves from internal agony. Maria is a self-sabotaging trainwreck who screws everything up, but simultaneously manages to draw empathy from readers. She is equal parts exasperating and endearing, where so many of her actions and comments are relatable. Creator An entity primarily responsible for making the resource Binnie, Imogen Publisher An entity responsible for making the resource available Topside Press Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Anya Katz Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book addiction transfeminine https://transcultural.oberlincollegelibrary.org/files/original/64037316c6adbe0cd20506fec15aa8d3.jpg efc26c2c45ea60b8bce29907924325bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Troubling the Line: Trans and Genderqueer Poetry and Poetics Creator An entity primarily responsible for making the resource Tolbert, TC (co-editor) Peterson, Trace (co-editor) Publisher An entity responsible for making the resource available Nightboat Books Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Eliza Edwards Format The file format, physical medium, or dimensions of the resource Anthology Language A language of the resource English Type The nature or genre of the resource Book Description An account of the resource A finalist for the 2014 Lambda Award in LGBT Anthology, Troubling the Line is widely recognized as the first-ever collection of poetry by trans and genderqueer writers. The anthology includes 55 poets from diverse backgrounds. Each poet is afforded several pages of space for their writing, as well as the option to write a manifesto drawing connections between poetry and trans identity. In the anthology’s introduction, editor TC Tolbert emphasizes, “This book… is simply a search for other voices. A need to find, feel, and experience community. A desire for intimacy. An exploration of space.” Submission parameters were minimal; the only requirement was that the author self-identify as trans, genderqueer, and/or gender non-conforming. Co-editor Trace Peterson also speaks to the title of the anthology in the book’s introduction: “We call this collection Troubling the Line because this is what we see trans and genderqueer poets doing— challenging the idea of a single trans narrative, interrogating binaries of all sorts, and playing with, delighting in, explorations (explosions) of form.” The result of the hard work of these two editors is a complex and diverse compilation of trans artists and voices, one that will hopefully provide essential visibility for the creators within its pages. Poets in Troubling the Line: Ahimsa Timoteo Bodhrán, Aimee Herman, Amir Rabiyah, Ari Banias, Ariel Goldberg, Bo Luengsuraswat, CAConrad, Ching-In Chen, Cole Krawitz, D’Lo, David Wolach, Dawn Lundy Martin, Drew Krewer, Duriel E. Harris, EC Crandall, Eileen Myles, Eli Clare, Ely Shipley, Emerson Whitney, Eric Karin, Fabian Romero, Gr Keer, HR Hegnauer, J. Rice, j/j hastain, Jaime Shearn Coan, Jake Pam Dick, Jen (Jay) Besemer, Jenny Johnson, John Wieners, Joy Ladin, Julian Talamantez Brolaski, kari edwards, Kit Yan, Laura Neuman, Lilith Latini, Lizz Bronson, Lori Selke, Max Wolf Valerio, Meg Day, Micha Cárdenas, Monica / Nico Peck, Natro, Oliver Bendorf, Reba Overkill, Samuel Ace, Stacey Waite, Stephen Burt, TC Tolbert, Trace Peterson, Trish Salah, TT Jax, Y. Madrone, Yosmay del Mazo & Zoe Tuck poc https://transcultural.oberlincollegelibrary.org/files/original/7aff31efece47f0838c3143122b39681.jpg 572b5681093dfb3712cb7b1bbe49c3b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kumu Hina Description An account of the resource “Kumu Hina” is a documentary film that tells the story of Hina Wong-Kalu, a native Hawaiian mahu, or third gender person. This documentary came out in 2014 and was co-directed by Dean Hamer and Joe Wilson, two cis white Americans. While the directors shared no identity with the topic of the film, they brought on both Connie M Florez as a co-producer and Leonelle Akana as an advisor to the film, two women of color with cultural connections to Hawaii. Throughout the documentary, Hina is shown as an honored kumu, or teacher, cultural practitioner, and community leader. She is especially depicted as a mentor to Hoʻonani Kamai, a young mahu, who becomes the leader of an all male hula troupe, despite being assigned female at birth. Both Hina and Ho’onani talk extensively about their life “in the middle,” and Hina teaches her students about the cultural significance of mahu identity, almost wiped out with colonization. Throughout the documentary, Hina also longs for a loving, committed relationship, despite her status as mahu. This documentary explores themes of colonialization, love and relationships, and transgender/mahu/”in the middle” gender identities. Creator An entity primarily responsible for making the resource Hamer, Dean Wilson, Joe Publisher An entity responsible for making the resource available Qwaves and Independent Television Service in association with Pacific Islanders in Communications Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Olivia Millar Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English, Hawaiian, Tongan Type The nature or genre of the resource Video colonization mahu nonbinary poc third gender