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Oral Histories
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California State University San Marcos University Library
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<p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p>
Oral History
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Ryan Willis
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Ilima Kam Martinez
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5.4 Martinez, Ilima Kam. Interview April 7, 2023 SC027-027 00:53:41 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM This oral history was made possible with the generous funding of the Ellie Johns Scholarship Fund at Rancho Santa Fe Foundation and the Library Guild of Rancho Santa Fe. California State University San Marcos COVID-19 (Disease) and the arts COVID-19 Pandemic, 2020- Hawaii -- Culture Hawaii -- Social life and customs Hula (Dance) San Diego County (Calif.) Ilima Kam Martinez Ryan Willis m4a MartinezIlimaKam_WillisRyan_2023-04-07 1:|29(6)|40(14)|68(17)|104(25)|104(118)|137(6)|149(1)|190(31)|190(159)|190(294)|207(6)|223(2)|229(35)|238(41)|246(1)|263(55)|280(4)|310(42)|313(55)|319(32)|327(97)|346(16)|366(8)|368(24)|377(4)|409(5)|416(10)|419(98)|419(213)|419(310)|430(7)|450(57)|461(20)|474(17)|480(77)|521(19)|526(2)|534(71)|534(185)|545(47)|557(11)|570(23)|585(3)|593(24)|595(82)|651(8)|663(22)|672(4)|688(103)|688(215)|715(19)|732(4)|743(1) 0 https://archivesoralhistories.csusm.edu/files/original/5fd0201c55bc12a13a23cf3cc706c049.m4a Other audio 30 Chapter 1: Where were you born? Ilima explains that she was born in San Diego, California and was raised locally in both Oceanside and Carlsbad. California ; carlsbad ; oceanside ; San Diego 44 Chapter 2: Childhood and Family Ilima speaks about growing up in predominantly Caucasian communities and schools. She then talks about her family including her father, who was a retired civil engineer from Pearl Harbor, Hawaii by the time Ilima was born. Since her father was retired, Ilima spent most of her childhood being raised by her father. Childhood ; father ; pearl harbor 147 Chapter 3: Did you spend a lot of time in Hawaii growing up? Any interest living there permanently? Ilima explains that she spent many summers with her two half-sisters and dad in Hawaii. She then admits that she always thought she would eventually live in Hawaii full time, and still hopes for this in the future. family ; Hawaii ; summer 211 Chapter 4: Any influential family members or friends growing up that you really looked up to? Ilima's dad was very influential in her life, as she explains that he was always present growing up and acknowledges that he was working at Pear Harbor at the time it was attacked by Japan on December 7, 1941. bombing ; Pearl Harbor ; WWII 305 Chapter 5: Did your father ever share his experience at Pearl Harbor? Ilima explains she did not even know her father was a civil engineer at Pearl Harbor at the time the island of Oahu was bombed until his 80th birthday party. Her father would sometimes begin talking about it, but never elaborated on the experience, always staying modest and humble. Civil Engineer ; Pearl Harbor ; Tennis Instructor 449 Chapter 6: When did you first take an interest in Hawaiian culture? Since she was the youngest of her siblings and the only one not born in Hawaii, Ilima always yearned to be connected to the island and the culture. She did not fully recognize the uniqueness of her heritage until she was in middle school when she saw a hula performance,which propelled her on her journey of learning hula, serving as an anchor in her life. Hawaiian culture ; hula ; ukulele 619 Chapter 7: Teaching hula and opening her own hālau Ilima shares that she opened up her own hālau, a traditional school in Vista, CA. She then explains that hālau is viewed as a place for family in Hawaiian culture, and how hula operates like a family. hālau ; hula ; vista 719 Chapter 8: Passion for elders (kūpuna) and volunteer work Before the COVID-19 pandemic, Ilima volunteered at the Oceanside Senior Center teaching elders (kūpuna) how to dance hula. She explains why Hawaiians hold their kūpuna in very high regard. hula ; kūpuna ; Oceanside 794 Chapter 9: Can you elaborate more on the importance of hula? Ilima expands on why hula is so important in Hawaiian culture as it encompasses mental, physical, and spiritual components.She then admits that hula makes a positive impact on elders (kūpuna). body ; hula ; kūpuna ; mind ; spirit 901 Chapter 10: The challenges of Covid-19 Ilima dives into her own personal struggles with the COVID-19 pandemic and the importance of being together in Hawaiian culture. Covid-19 ; hālau ; hānai ; Hawaiian community 1043 Chapter 11: Influential hula instructors Ilima talks about one of her mentors, Kawaikapuokalani Hewett, an enormous figure in Hawaiian culture hula ; Kawaikapuokalani Hewett ; kumu ; mentor 1337 Chapter 12: Misconceptions about Hawaiians Ilima addresses misconceptions of Hawaiians, and that Hawaiians identify themselves by their lineage and ancestors and not by blood quantum. misconceptions ; stereotypes 1504 Chapter 13: When did you begin spreading and preserving traditions of Hawaiian culture? Ilima knew as a young adult that she was going to make it her mission to practice Hawaiian culture despite not being born and raised on ancestral land, and wanted to provide other Hawaiians that also did not live in Hawaii a platform to partake in Hawaiian traditions. This leads Ilima to discuss further her motivation in opening her hālau, creating an accessible and affordable place for all to learn. Ilima introduces her nonprofit organization, UMEKE, which provides access to Hawaiian culture such as hula in an authentic way for all, regardless of ethnicity or race. accessible ; hālau ; hawaiians ; hula ; UMEKE 1826 Chapter 14: When did you first establish UMEKE? Ilima founded her nonprofit in October 2021. 2021 ; nonprofit ; UMEKE 1870 Chapter 15: Was there anyone that helped you get UMEKE up and running? Ilima has a huge support system, especially elders and female role models within the Hawaiian community that have all played a significant role in the success of UMEKE. Native Hawaiian Community ; role models ; UMEKE 1922 Chapter 16: What are you most proud of to this point with UMEKE? Ilima states that she is most proud of a grant that her organization created to introduce hula (and ukulele) to a local elementary school that has a large Native Hawaiian Pacific Islander population. Accessibility ; Kids ; Native Hawaiian ; Pacific Islander 2021 Chapter 17: Filing a need in the community There has been an abundance of opportunities presented to Ilima and the UMEKE team since 2021, which Ilima believes demonstrates the need for her organization within the San Diego community, and hopes for projects to continue to float her way. goals ; UMEKE 2127 Chapter 18: Pursuing an education at CSUSM Ilima explains why her children played a vital role in her decision to attend California State University San Marcos, and why she decided to pursue a bachelor's degree in indigenous anthropology. She recounts her time and experience in school as a " ; non-traditional student" ; and the challenges she faced, along with gaining a new perspective. CSUSM ; indigenous anthropology ; Kumeyaay ; Luiseño ; Non-traditional student 2512 Chapter 19: Southern California, Asian, and Pacific Islander Festival Ilima talks about the upcoming Southern California, Asian, and Pacific Islander festival where she is the co-creator. Ilima elaborates on her multi-ethnic background and wanting the community to know that this event is for everyone and to learn about API (Asian & ; Pacific Islander) culture. Asian ; Festival ; Pacific Islander ; Southern California 2871 Chapter 20: How many cultures represented? How did you go about contacting these different groups? Ilima estimates over twenty different cultures represented at the API festival. Thanks to her close relations within the Pacific Islander and dance community, it was easy for Ilima to get other groups to attend and participate. African American Community ; arts ; Pacific Islander Community ; San Diego 3038 Chapter 21: Getting involved and growing the community Ilima stresses that anyone from any background or ethnicity would be a welcome ally in promoting Hawaiian and indigenous culture within the community. ally ; allyship ; community 3098 Chapter 22: What are you most proud of and what has brought you the most joy in life? Ilima's children are what she is most proud of in her life, as she has been able to instill and teach her children about Hawaiian culture and they will be able to pass those traditions on to future generations. Children ; future generations ; Hawaiian traditions ; knowledge sound Ilima Kam Martinez is a California State University San Marcos alum and the founder and President of UMEKE, an organization that promotes and preserves Hawaiian culture through hula dancing. In this interview, Ilima discusses her upbringing, the influence and relationship with her father, the importance of hula in Hawaiian cultures, the challenges she faced during the Covid-19 pandemic, her passion for elders, her mentors, going back to school to earn her degree, and her goals for UMEKE moving forward. Ryan Willis: Alright. Hello, this is Ryan Willis, and today I am interviewing Ilima Kam Martinez for the California State University San Marcos Library Special Collections oral history project. Today is April 7, 2023, and the time is 1:47 PM, and this interview is taking place at the University Library. Ilima, thank you so much for interviewing with me today. Ilima Kam Martinez: Thank you for the invitation. Willis: Of course. So, let' ; s go ahead and start off, um, from the beginning. Where were you born? Martinez: I was born here in San Diego, California, and raised here in both Oceanside and Carlsbad area. Willis: Perfect. And if you don' ; t mind, can you tell me a little bit about your childhood? Uh, what was it like growing up for you? Martinez: It' ; s just-it' ; s always an interesting question because I think I will answer that much differently than I would' ; ve say, you know, uh, 25 years ago. Um, I-- attended schools in Carlsbad, which is a predominantly, you know, affluent Caucasian community. And coming from a really diverse background, um, I, uh-- let me think. Willis: Yeah, yeah. Take your time < ; Martinez laughs> ; . Not a problem. Martinez: Um, that really set me on the path that I find myself on today. I grew up with both parents in my life. Two sisters, two older sisters. I' ; m the youngest. Um, my father was a retired civil engineer from Pearl Harbor. So he had me, you know, by the time I was born, he was already at an age where he was retired. So, I spent most of my time with him and being raised by him. Willis: Okay. Martinez: Mm-hmm. Willis: That' ; s really interesting. So, you said your father worked in-at Pearl Harbor? Martinez: Mm-hmm. Willis: So did you spend a lot of time in Hawaii growing up? Martinez: I did. So, I also have two half-sisters, that remained in Hawaii, from my father' ; s first marriage. And, when I say half-sisters, that' ; s just, more literal than anything there. So I spent a lot of time, with my dad and my sisters during the summer times growing up. So we often would visit-- Willis: Gotcha. Martinez: Hawaii. Willis: Did you ever have any interest in living there full-time? Or was it just more of like, oh, we' ; ll just, you know, visit here and there? Martinez: I always thought I would. I always thought that I would, eventually wind up there. Um, and I' ; m not totally disregarding the possibility of that happening in the future. But yes, I do hope to find myself back there one day. Willis: That' ; s awesome. Yeah. I' ; ve always wanted to visit, but never have to this point. Um, were there any influential family members or friends growing up that you really looked up to? Martinez: I would have to say my dad. Willis: Your dad. Martinez: Yeah. My dad was, he was so, he came from a, a generation right, where it was very, um, old school. You know, he was working at Pearl Harbor at the time that it was bombed. And so he, he, although he wasn' ; t-- he came from a generation, that was not especially affectionate or maybe verbalized, you know, their, their love for their families and friends, but always showed it, you know, in by example. Always being present with me, always, you know, taking me to, you know, activities. And, so although he might not have been, you know, that ty-not typical, but extremely affectionate or, you know, verbalizing love that he was very instrumental in what I would consider to be a really happy childhood. Willis: Right. Yeah. That' ; s awesome. Martinez: Mm-hmm. Willis: So you said that he was actually at Pearl Harbor, though when the bombing took place? Martinez: He was mm-hmm. Willis: Wow. So what kind of stories did he have < ; Martinez laughs> ; regarding that? Or was that something that he kind of just didn' ; t like to talk about? Martinez: He, it' ; s funny because I actually didn' ; t even know he was a civil engineer at Pearl Harbor until his 80th birthday party. Which took place in Hawaii. In his retirement he was actually a tennis instructor for the Carlsbad Parks and Recreation for twenty years. That' ; s what I always thought that he was. < ; laughs> ; To me, that' ; s what my dad did for a living. Willis: Right. Martinez: Oh, he' ; s a tennis instructor! < ; laughs> ; . And when somebody, you know, was giving a speech at his birthday party instead he was a civil engineer, you know, I' ; m already a young adult at that point, right? At Pearl Harbor. I was, I had no idea. But that was typical of my dad. He was very, very humble. Um, very modest. And so, it probably shouldn' ; t have surprised me, but yeah. He didn' ; t talk about much about his experience, at Pearl Harbor at the time. Later on, you know, when he, so he had suffered a major stroke in his eighties and, had moved in, with my family and I, and so I was his sole caregiver during about a span, about, of about 10 years. And things would, he would start to talk about it but never really elaborate. And, and I just always, you know, knew better than to, to pry that he would tell me what I was meant to know. Willis: Right. Martinez: What he felt that I should know. Willis: Yeah. If you didn' ; t find out about it until you were, you know, a young adult. So that kind of-- < ; laughs> ; Martinez: Right. Willis: Explains it right there. Like yeah, you probably didn' ; t want to go there. Martinez: Exactly. And, and my dad was such a, he was such, a planner, right? Like, he was always very organized, always had things in place. So he actually had written his own obituary several years before he even had his stroke. And so it was actually through his obituary that he wrote that I learned a lot about him. Willis: I see. Martinez: Mm-hmm. Willis: That' ; s fascinating. Martinez: Mm-hmm. < ; laughs> ; Willis: Thank you. Thank you for sharing that. Martinez: Mm-hmm. Willis: So kind of along the lines of Hawaiian culture, when did you first take an interest in it? And was there a point in your life where you kind of knew that that was something that you really wanted to focus on in your life, or even with a career? Martinez: I, I think that so being the youngest of my siblings, I was the only one who was born here in San Diego. All my siblings, all my sisters were born in Hawaii, raised in Hawaii. And so I feel like there was always that yearning, you know, to be connected to Hawaii. And, um, it' ; s really interesting because what I didn' ; t know at the time in my upbringing, you know, with my dad, what I didn' ; t realize was very special and unique to Hawaiian culture? I didn' ; t even realize that' ; s what it was until, until later on. Right? Just, you know, maybe the foods we ate, the music my, my dad would play, he was a " ; slap < ; unclear> ; guitarist." ; He played ukulele. Um, but, it, to me, it was just my home. Right? So I think that it was pretty, I think I wanna say sometime around maybe middle school that I had seen a hula performance. And I remember it having such an impact on me at that moment that I was like, ahh! I don' ; t know, there was just this instant connection, although I had seen, you know, hula before, but it was just this one particular moment. And so, that was when I had asked my dad, I would like to take hula classes, but again, I mean, I' ; m in Carlsbad, right? And like where, where do you even find something like that? And, and, um. But we, we did. And so he, enrolled me in classes at that time. And it' ; s been a lifelong journey of learning ever since. And just something that I' ; ve always felt, so it, it' ; s been the constant in my life right? Where I could go, always rely on hula to, to, um-- it was just a, an anchor, you know? Right. No matter what else is going on in my life, hula was always and still is that anchor for me, that makes me feel safe. Willis: Right. Martinez: Yeah. Willis: That' ; s so cool. Yeah. I was gonna ask you, because I know that we, had talked in our pre-interview specifically about hula and how important that is to Hawaiian culture. I understand that you actually teach it as well. Martinez: I do < ; laughs> ; , I do. I have a hālau in, which is a traditional hula school in Vista. I just opened up the hālau oh gosh. We just celebrated our fourth anniversary. Um, and it' ; s been, it' ; s been wonderful. Um, I think for those that have not had experience in hālau it' ; s, it can be challenging to understand, but hālau equates for a lot of people family, right? Like in its essence, yes, it' ; s a school of hula, but really it' ; s in, its, in its foundational form it' ; s about family and it works and operates very much like a family. So sometimes I wonder if it was really that I wanted to open the hālau for < ; laughs> ; , you know, teaching hula or if it was for the purpose of being able to provide a home and a family for, for students. Willis: Right. Martinez: Mm-hmm. Willis: That' ; s awesome. You also mentioned that you have a passion for elders, and I know that you were teaching them as well pre-Covid. Is that correct? Martinez: Pre-Covid I was volunteering at the Oceanside Senior Center. And I think it also again goes back to my dad. I think a lot of things < ; laughs> ; will go back to my dad. He was, I mean he was fifty-eight years old when I was born, and I think about that and it just kind of blows my mind. And as being his caregiver, kūpuna or elders in Hawaiian culture are so, I think that' ; s one of the many unique things about Hawaiian culture is that we, help, hold our kūpuna in such high regard because we know that their experience, we know that their, the lives that they have lived and their experience far surpasses ours. So we always know to go to them and respect, you know, the knowledge that they, that they bear. So yeah-- Willis: And I think you also mentioned that part of the reason why you' ; ve really enjoyed teaching the hula to seniors or elders is because it exercises their mind not just their body, right? Like you' ; re just kind of focusing on the whole package there. Can you maybe elaborate a little bit more on that? Martinez: Yeah. I mean, hula at its core is encompassing of, mental, physical, and spiritual, which you know, I' ; ve learned that not everybody realizes or may know that. And so, when you' ; re, when I' ; m teaching with kūpuna, having those three facets ; that physical, mental and emotional part I have seen has been such, has had such a huge impact on them. You know, just the simple act of coming together, of sharing meals together, which we do a lot, < ; laughs> ; The cognition that goes into learning choreography, I have seen such an a really impressive trajectory, upward trajectory in how much now that my kūpuna class can retain as opposed to when they may have first started dancing. Right. I think that, watching that, like being a witness to this, this, how it can, how hula can positively impact them, is just, such a huge motivator to just keep going, to just to keep doing that and okay now what else can we do? Willis: Yeah. Seems like that would be very rewarding. Martinez: Mm-hmm. It' ; s Extremely rewarding. Willis: So you were teaching, classes for free to seniors right before Covid- Martinez: Before Covid. Willis: And then once Covid hit. So what was that whole experience like for you once Covid hit and you weren' ; t able to teach people in person. I bet that was really difficult for you. Martinez: < ; laughs> ; . It was, it was. It provided its challenges. I think a lot of us shared the same challenges. Trying to communicate and, keep a community online was just really challenging. However, I feel like during the time of the pandemic folks were looking to have that sense of community that when you would' ; ve thought that we would have flailed, as a hālau, it actually just thrived, because of that need that, just that human need to want to come together and have a community. So when it was time, when we reached that time where we could come together outdoors, I mean, we, we did it immediately. As soon as we were told that we could conduct classes outdoors it was immediately and students came out and didn' ; t hesitate. I would say probably the most challenging thing was what is inherently cult- culturally inherent to us is the act of like, exchanging hānai or, you know kiss, kisses or hugs. And culturally, that' ; s what we do when we greet each other, when we say farewell to each other, is to always hānai each other. And that was probably one of the largest challenges because we couldn' ; t even, like, < ; Willis laughs> ; we couldn' ; t touch- Willis: Right. Martinez: We couldn' ; t- Willis: Six feet. Martinez: Yeah. That six feet. And it went against everything that we, that was so ingrained in us that that, that was pretty tough. Willis: That was such an awkward moment in time. Like, nobody really knew how to interact with each other. I want to give you a hug, but I guess let' ; s give you an air hug for now. Martinez: Yeah, yeah. Willis: But I can see how that could be very difficult, especially with your culture, just wanting to be right there with the person and be able to, you know, exchange those pleasantries. So-- Martinez: Yeah. Willis: Yeah. Going back to when you first started learning hula, do you specifically remember an instructor or somebody that taught you or that really had an influence on that? Martinez: I couldn' ; t single one out to be honest, because with each kumu or teacher that I have had has had such a huge influence on the kumu that I am today. I, I couldn' ; t credit just, just one. They all affected me in different ways, but equally impactful ways. I' ; ll note that, so I was, < ; unclear> ; is the formal graduation ceremony that a kuma hula goes through in order to, it' ; s like it' ; s a method of training, right? To become a kuma hula. And so the kuma that I was very honored and so blessed to be able to graduate under, he' ; s, his name is Kawaikapuokalani Hewett. And he is so prolific and knowledgeable in, in all aspects of Hawaiian culture that, and just to have that source, to be able to always go back to for the rest of, you know, my life like, that' ; s just, it' ; s just really, I feel so, so blessed that I have him, in my life. And, and the Hawaiian community is blessed to have him because he' ; s so gracious and generous with his, with his ' ; ike or his knowledge, where I think that as an indigenous culture, we often can gatekeep you know, rightfully so. But we can often gatekeep some knowledge because of how it has been, exploited right? In the past. Willis: Mm-hmm. Martinez: And the fact that, that Kumu Kawaikapuokalani is, is, has such a kind heart and willing to be able to, share knowledge is, is really, really priceless because it has benefited so many of his students. Willis: Right, right. Do you remember when you met him exactly? Was it when you were first learning hula or? Martinez: Oh my goodness. Well he is a, he, I can' ; t remember exactly because he' ; s very well known in Hawaii. He is a famous composer or songwriter and poet. And so my father being a musician, I remember seeing Kawaikapuo CDs in my home, you know at the time. So I, it' ; s actually kind of interesting cause I feel like it was almost a, uh, predetermined that this relationship was going to circle around. Right. And ironically, he, and I can' ; t obviously say the name, but he resides on the same street in Hawaii that my sister resided in at the time. So when I would visit my sister < ; laughs> ; in Hawaii, it was the same street that my now kumu still lives on. So, it, it' ; s just-- Willis: Oh wow. How convenient is that? Martinez: It' ; s just, yeah, < ; laughs> ; . I' ; m going to say coincident, there' ; s no such thing as coincidences. Willis: Right. No, I agree. < ; Martinez laughs> ; . Aside from hula, are there any other specific Hawaiian traditions that you really feel passionate about? Martinez: Oh my goodness. Um, I feel that hula does encompass all of those traditions. Right? And I think that' ; s why it is so predominant in Hawaiian culture because it encompasses every aspect of Hawaiian culture. Protocols are implemented in hula that are implemented in-- that really dictate, the belief systems of Hawaiian people. So, I wouldn' ; t, I, yeah. I don' ; t think, yeah. < ; laughs> ; Willis: No, that' ; s perfect. Do you think there' ; s any like, big misconceptions about Hawaiians or Hawaiian culture in general? I mean, like stereotypes < ; Martinez laughs> ; from your experiences? Martinez: Yeah. < ; more laughter> ; . Yeah. There' ; s, I wouldn' ; t even know where to begin < ; laughs> ; . Willis: < ; laughs> ; I know it' ; s kind of a loaded question. Martinez: Yeah. Yeah. Oh gosh. But if I had to Like if I had to choose, you know, one or two of the most common stereotypes or misconceptions, gosh, I would, I-- Hmm, Hmm. Well, I' ; ll address one thing only because it' ; s fresh in my mind. And I was posed this question recently was I often get asked, " ; Oh, how much Hawaiian are you? And it' ; s interesting when folks ask this question because it' ; s almost like they' ; re putting a measure to it. Yeah? And I think what folks don' ; t understand is that as a Hawaiian people, we identify our Hawaiian-ness is by our lineage and our ancestors. Right? It' ; s not about a blood quantum. And I, I think I' ; ll just leave it at that < ; laughs> ; . Willis: That' ; s perfect. I appreciate that. Didn' ; t mean to put you on the spot. Martinez: No, no, it' ; s a great question. It was just hard to decide what it would be the, what is most often misunderstood. Because there' ; s plenty. There' ; s plenty. Willis: Yeah. Understood. Martinez: Mm-hmm. Willis: So this next question' ; s gonna kind of lead into your organization that I want to talk to you about- Martinez: Mm-hmm. Willis: But around when and how did you begin your journey in assisting with spreading and preserving traditions of Hawaii? Martinez: I' ; m sorry, can you ask--? Willis: Yeah, of course. So I was just wondering around when was it, when you were maybe a teenager, young adult, when you decided, okay, I' ; m gonna really start to assist with spreading and preserving the traditions of Hawaiian culture? Martinez: Hmm. Oh gosh. I think I can' ; t recall when I know I was younger, but I can' ; t recall the exact time. But as an adult, I always knew. Like as a young adult, I knew that that would be my mission, for a couple reasons. One, it was the accessibility of, learning Hawaiian culture being a Hawaiian who lives in diaspora, right? Who doesn' ; t, who isn' ; t living in their ancestral land. So, just, you know, personally from my own personal experience not having that access and really having to actively search for it, I knew that I wanted to be able to provide that for other native Hawaiians that are not, no longer residing in Hawaii. Another reason is that just like anything else, any sort of extracurricular activity, sometimes classes are not affordable to, Native Hawaiian population. Right? They can be, that can be a barrier, a financial barrier. And that' ; s always kind of been, to me an interesting, dilemma as a kumu hula, and as someone who has a hālau, I always wanna make sure our classes are accessible to everyone who wants to learn. However, at the end of the day, I still have a lease to pay. Right? An electric bill. And, and so how can I do that in such a way that it can benefit students. How can I teach, culture in a way that can benefit students, that can still benefit financially for my family, right? Because I dedicate a lot of my time to this. And then the third component is, how can it benefit the community as a whole? And I think that' ; s where UMEKE, our organization comes in, right? Establishing that nonprofit organization where we can be able to provide access to culture for everyone. Because I believe anyone and everyone who would like to learn Native Hawaiian or not, should be able to. Should be able to do that and do it in a, an a appropriate and an authentic way you know, because we don' ; t live-- Because of our locale, there are often folks who may be teaching a version of hula or, but perhaps they don' ; t have the education to be teaching Hawaiian culture in, you know in an authentic way. And that' ; s not to say that it' ; s, you know I' ; m sure the intention, the intentions are good and, and whatnot, but they' ; re-- In San Diego in particular, the native Hawaiian community is very passionate about being, taking on that kuleana or that responsibility of educating about Hawaiian culture in a way that it' ; s, that it' ; s coming from the native Hawaiian community. Yeah. I know that, personally, and this is just me personally, is that because Hawaiian culture has been commercialized for so long, I actively work towards deconstructing those, those, those stereotypes that surround Hawaiian culture that mostly came about once Hawaii became a, a very popular travel destination. Right? Um, so-- Willis: Gotcha. So speaking a little bit more on, UMEKE when did you first, establish your organization? Martinez: We filed in 2021, October of 2021. And we were stagnant for a little bit as we were kind of building our capacity, and I' ; ve just recently become more active and had some really great opportunities to be able to-- Willis: And you are the founder, you are the president. It' ; s really, you know, your idea. Right? You were the one that was like, let' ; s do this, let' ; s push forward. Martinez: Yeah. Mm-hmm. Willis: Was there anyone else that hopped on board with you that kind of helped you get it going? Or was it pretty much your project and your project only? Martinez: Oh my gosh. I had a huge support system, even from people that don' ; t even realize they were part of it. They were part of it. < ; laughs> ; And again, it goes back to, my, the elders within the Hawaiian community, specifically in San Diego. Those aunties, you know, I have some really amazing female role models in the Native Hawaiian community, in the kūpuna. And when I see the work that they have done and dedicated their lives to, I realize that this next generation, that I now have that responsibility to keep on that pathway that they' ; ve, that they' ; ve blazed already. Right? Mm-hmm. Willis: Right. So obviously it' ; s still a relatively new organization, but what are you most proud of, so far, and what are you kind of hoping to accomplish moving forward? Martinez: Oh, gosh. I' ; m at this moment most proud of a grant we were recently working on within collaboration with a local school district to be able to bring hula to -- and ukulele -- to an elementary school that has a significant Native Hawaiian Pacific Islander [NHPI] population. And providing that accessibility component, where, you know students might not otherwise be able to afford it financially or may not just even have the transportation for that, right? Because it happens during school. It, the accessibility just makes, made it so easy. So I would say that because I reflect on what I would' ; ve really loved at that age and been exposed to, and being able to take ownership of that [NHPI] identity in a place other than my home, among my friends, I think that would' ; ve been really impactful for me as a young person. And so-- Willis: Definitely. Yeah. And kids remember assemblies like that as well. Martinez: Mm-hmm. Willis: I can still tell you some of the ones that I attended in elementary school and like the impact they had on me so that' ; s a really cool thing. And then, as far as like, looking forward to future, do you have any goals in mind or is it really just continue to do what you' ; re doing and hope more people hop on? Martinez: < ; laughs> ; Yeah, I mean, as far as goals it' ; s so interesting because when this group of us set out to start UMEKE, there were really folks that just wholeheartedly believed in me and my vision. And when we set out to do this, I think just like anything when you start something you' ; re like, " ; Ohh!," ; you know. < ; laughs> ; We weren' ; t sure how successful we would be, but it' ; s so interesting because opportunities have really been presenting themselves without us seeking them out, which to me, speaks to the mission of UMEKE that it was something that was really needed in our community because projects are really kind of floating our way, and it aligns with what we would love to do. So although we didn' ; t know exactly maybe specifically what a project was going to look like, folks are coming to us with their projects. And so it' ; s, that' ; s really exciting because it' ; s like, oh, there was a need! We, okay, great. You know- < ; laughs> ; Willis: < ; laughs> ; It' ; s all for a reason. Martinez: It, yes. Yeah. Willis: That' ; s really cool. Shifting gears a little bit, I understand you are a Cal State San Marco alum? Martinez: I am. Willis: So you earned your bachelor' ; s degree in Indigenous Anthropology, is that correct? Martinez: Mm-hmm. Willis: In 2019? Martinez: Mm-hmm. Willis: So what was that, what made you decide to ultimately go for a bachelor' ; s degree? What kind of pushed you in that direction? Martinez: That' ; s a funny story. So I have four children, and my eldest was in high school at the time and, you know neither of my parents went to college. And between my siblings and I, we didn' ; t have a four-year degree. Right. So I was very, very, very < ; laughs> ; , persistent that my children go to a four-year college, and I realized that I couldn' ; t preach < ; laughs> ; higher education to them. Unless I went ahead and did it myself and so I did < ; laughter> ; . Yeah. Willis: That' ; s very admirable. It' ; s, it' ; s not easy, especially when you' ; re a parent. I can attest to that. It is not easy to continue on with school. I mean, you just have so many other things going on. Just to be able to put aside some time for that is a challenge within itself. Was it a difficult decision? I mean, I guess that' ; s the obvious to, to go back to school or, but once you got in, was it, was it easy for you? Did it come naturally, or what was that kind of whole process like when you first started attending classes? Martinez: It was interesting going back as an, as a non-traditional student and, you know, at my age with children, I knew I was going to go into it slow and steady. I wasn' ; t in a rush. And so I had just started with maybe two classes per semester. And, and I actually thought of it as a blessing because I got to study exactly what I wanted to. I knew that cultural anthropology was going to be something that would maintain my interest and my goals. And so, when I had learned that Cal State [San Marcos] specifically had an indigenous anthropology degree, it, it, it just all made sense. So it wasn' ; t, it was challenging maybe logistically, having, juggling, family, but learning and the like-minded folks that I got to meet, especially this younger generation! They' ; re amazing, you know, < ; laughter> ; and getting invigorated by this young energy. For me it was a, it was a great experience, and you know, when you tell somebody that you' ; re going to school for indigenous anthropology, you always get that question, what are you gonna do with that? Well, guess what? I use it every single day! < ; laughs> ; , Willis: Right. Not everybody can say that, so that' ; s impressive. Yeah. Uh, so did you come away with a new perspective after graduating? Martinez: Um, hmm. I think the perspective that I got was, probably one of the most important perspectives is that outside perspective, right? Because we' ; re sometimes always just living in our bubble and really only see what' ; s happening in our immediate surroundings. And so, I would say it changed my perspective in that, in the sense that, one, learning about other cultures, and when we learn about other cultures, it really helps us to understand more of our own, and being with such a diverse, because Cal State [San Marcos] does have a really diverse student body, right? So different ages and ethnicities. And so I think that, those, all of those things combined are, are what changed my perspective, not the actual piece of paper < ; laughs> ; . Willis: Yeah, no. I totally understand. Um, as far as the other cultures that you learned about, was there one in particular other than Hawaiian that really caught your attention? Martinez: Oh my goodness. I wouldn' ; t say specifically one. I think that just studying other indigenous cultures, particularly, you know, the ones within our area, like the Kumeyaay and the Luiseño, I just loved learning about how more similar Hawaiian culture is, with the [San Diego-are] native communities than not, and so I would say it that was just, and, and that was with everything. That' ; s with belief systems, that' ; s with, our, our medical systems, how we view health. Willis: Mm-hmm. Martinez: How we view, our, structures of our families, our structure of our communities. So, now I' ; m not sure that I < ; laughs> ; answered your question. Willis: Yeah, that' ; s perfect. Um, so I did want to touch base on an event that, um, you obviously had a huge hand in, earlier this year in February, you were able to establish the first ever southern California, Asian, and Pacific Islander Festival. Martinez: Mm-hmm. Willis: Which, um, took place actually here in Oceanside. Uh, first off, what was kind of the vision of this, event and how long did it take for this idea to become a reality? Martinez: Um, I can say I can' ; t take credit for coming up with the idea. As, but as now, like currently being a co-creator of, of the event for me personally, I come from a multiculturally- multicultural background, so, um, as a lot of us are right? So yes, I' ; m Native Hawaiian. Um, in addition to that, I' ; m also Japanese and Chinese and Mexican. And, coming from such a, a multi-ethnic background growing up in North [San Diego] County, I think that, my drive behind this event is one, bringing that diversity to North County that it hasn' ; t seen a lot of in the past that, and maybe on this, on this level, right? Willis: Mm-hmm. Martinez: The API [Asian & ; Pacific Islander] community being highlighted to this extent in this area, we' ; re quite underrepresented. And I knew that going into this festival that our number one focus was always going to be on the educational aspect of it, and getting, you know, circling back to that, like when we understand other cultures, that we really begin to understand ourselves more, and we wanted to focus on this educational part because sometimes festivals can get quite, um, what' ; s the word? Insular. Yeah. And we want to make it, we want folks to know that this festival' ; s for everyone. You know, no matter what the background, no matter what the age, no matter what the locale that is for everybody to be able to come together and learn about API culture. Willis: Right. Gotcha. Martinez: So-- Willis: Uh, so can you share your experience of how the event actually unfolded? Was it what you were hoping for? Was it a nice turnout? Martinez: Well, it' ; s actually in three weeks. Willis: Oh, my mistake. < ; laughs> ; Martinez: < ; laughs> ; . So we' ; re in the thick of it. Willis: Gotcha. Okay. I must have, misread that. My apologies. < ; laughs> ; My understanding is that it already happened earlier this year. Martinez: No worries. Willis: Okay. So it' ; s happening in three weeks from now! Martinez: Mm-hmm. Willis: Okay. That' ; s awesome. So I guess, um, what are you expecting? Are you expecting it to be a pretty big turnout? Martinez: Well, that' ; s what we' ; re hoping for! < ; laughs> ; Willis: Of course. Martinez: Um, but as far as how it' ; s unfolded, you know, it did just like anything, it' ; s evolved. The, the, the vision has evolved a little bit. In, in, the, the, yeah, the vision and the mission have all evolved quite a bit, but as far as like what people can expect, because we wanted it to be, you know, educational, there you will find the typical things that you would find in a festival, yeah, is performances and vendors and food and things like that. But I think probably my most favorite part that has sort of evolved since the initial planning is this contemporary aspect of what API culture looks like. So, I mean, you can use K-Pop [Korean pop music] as a great example, right? Willis: Mm-hmm. Martinez: Like, and the phenomenon around K-pop and, where that came from. So initially we were focusing mostly on traditional practices and performances, but then we realized how many amazing API artists are out there and are deserving of recognition, but may not necessarily be practicing what would be considered a traditional art. So that' ; s, I think I' ; m really excited to see what some of these performers are bringing, these API artists and performers are bringing to the festival. I think that' ; s gonna be a really fun aspect of it. That was, for me, it was, it was an unexpected but pleasant surprise addition to the festival. Willis: Right. Absolutely. Uh, do you know about how many different ethnicities, cultures are gonna be represented at this event? Martinez: We have about, um, over 20. Willis: Wow. Martinez: Yeah. We have about over 20. Willis: That' ; s impressive. And a lot of them have just, have they been coming to you about it, or do you reach out to them? How does that usually work? Martinez: You know I, I' ; m really fortunate to have been embedded in the Pacific Islander community in San Diego since I, you know, the dance community is very close-knit. So I' ; m really fortunate to be able to reach out to other directors of performance groups that I am, I have relationships with. And they were the first ones to jump on and say, yes, we would love to support you. Um, so that was really how the momentum, started. Right? Because, you know, you start with one performance group and then another performance group. Oh! And then so-and-so' ; s performing, and then another one. And so I wasn' ; t as, connected within, the AA [African American] community though, and that has been an amazing experience is meeting other directors in their respective arts, like, < ; unclear> ; and, Lion Dance, and, because it' ; s just, we are all, we' ; re all the same at the end of the day. And um, so I, this initial year we did a huge, we did a lot of outreach. We have a great leadership team, and so between us and our outreach and our circles, we, we got a lot of support from folks. And it didn' ; t take much of an ask. Folks really wanted to be a part of this. They really wanted this. Willis: I can imagine. That' ; s fascinating. Martinez: Mm-hmm. Willis: So is there anything else that you uh, or how else do you continue to help, I guess Native Hawaiian culture and how can, for example, someone like myself get involved if they wanted to, kind of help and promote in that area? Martinez: Oh gosh. Um, oh, I' ; m sorry. Can you repeat that again? < ; laughs> ; Willis: So I guess what I' ; m really getting at, like how can someone else, if they really want to, you know, help and be a part of the cause, how would they go about doing that? Would they just reach out to you? Martinez: Oh, yeah. I mean the, I mean, what, that' ; s the irony in it, right? Is the majority of, of my supporters and our team are not Native Hawaiian. And, but it' ; s that allyship and because they you know, believe in, in, in the mission they' ; re absolutely willing to just jump in < ; laughs> ; and do whatever needs to be done. Um, so yeah, I mean anybody who ever want, who wants to be an ally, we are, we are here and happy and-- Willis: Come on down! Martinez: Yes. Ready to, to you know, just grow our community. Willis: Right. That' ; s so cool. So you kind of may have already answered this earlier but overall, as you reflect on everything you have done and accomplished to this point in your life, what are you most proud of and what has brought you the most joy? Has it been, maybe the hula aspect, um, teaching elders, children, or is there something else? Martinez: < ; laughs> ; Uh I think, it' ; s my own children, right? That will always be my most proud accomplishment. < ; laughs> ; Them as individuals, but also taking that perspective again of what I really could have needed or wanted in my upbringing, I feel like I provided that for my children and have instilled that into my children. And, knowing that I know that they' ; re gonna move forward and pass that on to their children, that' ; s, that will always be my proudest accomplishment, knowing that the generations far after I' ; m gone, will still be carrying on those, on those traditions. Willis: Yeah. That' ; s fantastic. And then, before we close our interview, is there anything else you would like to mention? Maybe something I didn' ; t ask you about that you really were hoping I would or? < ; laughs> ; Martinez: Oh gosh. Um, not that I can think of. Um, yeah, no nothing < ; laughs> ; Willis: Okay. Yeah, no that' ; s perfect. I think we definitely covered a lot of great stuff in this interview. So, really appreciate your time, Ilima. This was very informative. I think a lot of people can get a lot out of this whole interview and, really appreciate everything that you do for not only Hawaiian culture, but just the community in general. So thank you so much for your time. Martinez: Yeah, thank you. Willis: Alright. < ; Martinez laughs> ; Now I' ; m gonna go ahead and stop the recording. https://rightsstatements.org/page/InC/1.0/?language=en audio Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. 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Martinez, Ilima Kam. Interview April 7, 2023
Description
An account of the resource
Ilima Kam Martinez is a California State University San Marcos alum and the founder and President of UMEKE, an organization that promotes and preserves Hawaiian culture through hula dancing. In this interview, Ilima discusses her upbringing, the influence and relationship with her father, the importance of hula in Hawaiian cultures, the challenges she faced during the Covid-19 pandemic, her passion for elders, her mentors, going back to school to earn her degree, and her goals for UMEKE moving forward.
Identifier
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SC027-027
Subject
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California State University San Marcos
COVID-19 (Disease) and the arts
COVID-19 Pandemic, 2020-
Hawaii -- Culture
Hawaii -- Social life and customs
Hula (Dance)
Date
A point or period of time associated with an event in the lifecycle of the resource
2023-04-07
Format
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audio
Coverage
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San Diego County (Calif.)
Publisher
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California State University San Marcos University Library
Language
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English
Hawaiian
Rights Holder
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Ilima Kam Martinez
Creator
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Ilima Kam Martinez
Contributor
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Ryan Willis
Type
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Sound
Rights
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<a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a>
Asian Pacific Islander Desi American experience
Community history
History Department internship
Women's experience
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https://archivesoralhistories.csusm.edu/files/original/8b7ea359fd88c198e863d417f2251a4e.pdf
f94190d28b4466324946ce6be2435b49
PDF Text
Text
ILIMA KAM MARTINEZ
Transcript, Interview
2023-04-07
Ryan Willis:
Alright. Hello, this is Ryan Willis, and today I am interviewing Ilima Kam Martinez for the California State
University San Marcos Library Special Collections oral history project. Today is April 7, 2023, and the
time is 1:47 PM, and this interview is taking place at the University Library. Ilima, thank you so much for
interviewing with me today.
Ilima Kam Martinez:
Thank you for the invitation.
Willis:
Of course. So, let's go ahead and start off, um, from the beginning. Where were you born?
Martinez:
I was born here in San Diego, California, and raised here in both Oceanside and Carlsbad area.
Willis:
Perfect. And if you don't mind, can you tell me a little bit about your childhood? Uh, what was it like
growing up for you?
Martinez:
It's just-it's always an interesting question because I think I will answer that much differently than I
would've say, you know, uh, 25 years ago. Um, I… attended schools in Carlsbad, which is a
predominantly, you know, affluent Caucasian community. And coming from a really diverse background,
um, I, uh… let me think.
Willis:
Yeah, yeah. Take your time <Martinez laughs>. Not a problem.
Martinez:
Um, that really set me on the path that I find myself on today. I grew up with both parents in my life.
Two sisters, two older sisters. I'm the youngest. Um, my father was a retired civil engineer from Pearl
Harbor. So he had me, you know, by the time I was born, he was already at an age where he was retired.
So, I spent most of my time with him and being raised by him.
Willis:
Okay.
Martinez:
Mm-hmm.
Willis:
That's really interesting. So, you said your father worked in-at Pearl Harbor?
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�ILIMA KAM MARTINEZ
Transcript, Interview
2023-04-07
Martinez:
Mm-hmm.
Willis:
So did you spend a lot of time in Hawaii growing up?
Martinez:
I did. So, I also have two half-sisters, that remained in Hawaii, from my father's first marriage. And,
when I say half-sisters, that's just, more literal than anything there. So I spent a lot of time, with my dad
and my sisters during the summer times growing up. So we often would visit-Willis:
Gotcha.
Martinez:
Hawaii.
Willis:
Did you ever have any interest in living there full-time? Or was it just more of like, oh, we'll just, you
know, visit here and there?
Martinez:
I always thought I would. I always thought that I would, eventually wind up there. Um, and I'm not
totally disregarding the possibility of that happening in the future. But yes, I do hope to find myself back
there one day.
Willis:
That's awesome. Yeah. I've always wanted to visit, but never have to this point. Um, were there any
influential family members or friends growing up that you really looked up to?
Martinez:
I would have to say my dad.
Willis:
Your dad.
Martinez:
Yeah. My dad was, he was so, he came from a, a generation right, where it was very, um, old school. You
know, he was working at Pearl Harbor at the time that it was bombed. And so he, he, although he
wasn't… he came from a generation, that was not especially affectionate or maybe verbalized, you
know, their, their love for their families and friends, but always showed it, you know, in by example.
Transcribed by Ryan Willis
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�ILIMA KAM MARTINEZ
Transcript, Interview
2023-04-07
Always being present with me, always, you know, taking me to, you know, activities. And, so although
he might not have been, you know, that ty-not typical, but extremely affectionate or, you know,
verbalizing love that he was very instrumental in what I would consider to be a really happy childhood.
Willis:
Right. Yeah. That's awesome.
Martinez: Mm-hmm.
Willis:
So you said that he was actually at Pearl Harbor, though when the bombing took place?
Martinez:
He was mm-hmm.
Willis:
Wow. So what kind of stories did he have <Martinez laughs> regarding that? Or was that something that
he kind of just didn't like to talk about?
Martinez:
He, it's funny because I actually didn't even know he was a civil engineer at Pearl Harbor until his 80th
birthday party. Which took place in Hawaii. In his retirement he was actually a tennis instructor for the
Carlsbad Parks and Recreation for twenty years. That's what I always thought that he was. <laughs> To
me, that's what my dad did for a living.
Willis:
Right.
Martinez:
Oh, he's a tennis instructor! <laughs>. And when somebody, you know, was giving a speech at his
birthday party instead he was a civil engineer, you know, I'm already a young adult at that point, right?
At Pearl Harbor. I was, I had no idea. But that was typical of my dad. He was very, very humble. Um,
very modest. And so, it probably shouldn't have surprised me, but yeah. He didn't talk about much
about his experience, at Pearl Harbor at the time. Later on, you know, when he, so he had suffered a
major stroke in his eighties and, had moved in, with my family and I, and so I was his sole caregiver
during about a span, about, of about 10 years. And things would, he would start to talk about it but
never really elaborate. And, and I just always, you know, knew better than to, to pry that he would tell
me what I was meant to know.
Willis:
Right.
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Transcript, Interview
2023-04-07
Martinez:
What he felt that I should know.
Willis:
Yeah. If you didn’t find out about it until you were, you know, a young adult. So that kind of-- <laughs>
Martinez:
Right.
Willis:
Explains it right there. Like yeah, you probably didn’t want to go there.
Martinez:
Exactly. And, and my dad was such a, he was such, a planner, right? Like, he was always very organized,
always had things in place. So he actually had written his own obituary several years before he even had
his stroke. And so it was actually through his obituary that he wrote that I learned a lot about him.
Willis:
I see.
Martinez:
Mm-hmm.
Willis:
That's fascinating.
Martinez:
Mm-hmm. <laughs>
Willis:
Thank you. Thank you for sharing that.
Martinez:
Mm-hmm.
Willis:
So kind of along the lines of Hawaiian culture, when did you first take an interest in it? And was there a
point in your life where you kind of knew that that was something that you really wanted to focus on in
your life, or even with a career?
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Transcript, Interview
2023-04-07
Martinez:
I, I think that so being the youngest of my siblings, I was the only one who was born here in San Diego.
All my siblings, all my sisters were born in Hawaii, raised in Hawaii. And so I feel like there was always
that yearning, you know, to be connected to Hawaii. And, um, it's really interesting because what I
didn't know at the time in my upbringing, you know, with my dad, what I didn't realize was very special
and unique to Hawaiian culture? I didn't even realize that's what it was until, until later on. Right? Just,
you know, maybe the foods we ate, the music my, my dad would play, he was a “slap <unclear>
guitarist.” He played ukulele. Um, but, it, to me, it was just my home. Right? So I think that it was pretty,
I think I wanna say sometime around maybe middle school that I had seen a hula performance. And I
remember it having such an impact on me at that moment that I was like, ahh! I don't know, there was
just this instant connection, although I had seen, you know, hula before, but it was just this one
particular moment. And so, that was when I had asked my dad, I would like to take hula classes, but
again, I mean, I'm in Carlsbad, right? And like where, where do you even find something like that? And,
and, um. But we, we did. And so he, enrolled me in classes at that time. And it's been a lifelong journey
of learning ever since. And just something that I've always felt, so it, it's been the constant in my life
right? Where I could go, always rely on hula to, to, um… it was just a, an anchor, you know? Right. No
matter what else is going on in my life, hula was always and still is that anchor for me, that makes me
feel safe.
Willis:
Right.
Martinez: Yeah.
Willis:
That's so cool. Yeah. I was gonna ask you, because I know that we, had talked in our pre-interview
specifically about hula and how important that is to Hawaiian culture. I understand that you actually
teach it as well.
Martinez:
I do <laughs>, I do. I have a hālau in, which is a traditional hula school in Vista. I just opened up the hālau
oh gosh. We just celebrated our fourth anniversary. Um, and it's been, it's been wonderful. Um, I think
for those that have not had experience in hālau it's, it can be challenging to understand, but hālau
equates for a lot of people family, right? Like in its essence, yes, it's a school of hula, but really it's in, its,
in its foundational form it's about family and it works and operates very much like a family. So
sometimes I wonder if it was really that I wanted to open the hālau for <laughs>, you know, teaching
hula or if it was for the purpose of being able to provide a home and a family for, for students.
Willis:
Right.
Martinez:
Mm-hmm.
Transcribed by Ryan Willis
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�ILIMA KAM MARTINEZ
Transcript, Interview
2023-04-07
Willis:
That's awesome. You also mentioned that you have a passion for elders, and I know that you were
teaching them as well pre-Covid. Is that correct?
Martinez:
Pre-Covid I was volunteering at the Oceanside Senior Center. And I think it also again goes back to my
dad. I think a lot of things <laughs> will go back to my dad. He was, I mean he was fifty-eight years old
when I was born, and I think about that and it just kind of blows my mind. And as being his caregiver,
kūpuna or elders in Hawaiian culture are so, I think that's one of the many unique things about Hawaiian
culture is that we, help, hold our kūpuna in such high regard because we know that their experience, we
know that their, the lives that they have lived and their experience far surpasses ours. So we always
know to go to them and respect, you know, the knowledge that they, that they bear. So yeah-Willis:
And I think you also mentioned that part of the reason why you've really enjoyed teaching the hula to
seniors or elders is because it exercises their mind not just their body, right? Like you're just kind of
focusing on the whole package there. Can you maybe elaborate a little bit more on that?
Martinez:
Yeah. I mean, hula at its core is encompassing of, mental, physical, and spiritual, which you know, I've
learned that not everybody realizes or may know that. And so, when you're, when I'm teaching with
kūpuna, having those three facets; that physical, mental and emotional part I have seen has been such,
has had such a huge impact on them. You know, just the simple act of coming together, of sharing meals
together, which we do a lot, <laughs> The cognition that goes into learning choreography, I have seen
such an a really impressive trajectory, upward trajectory in how much now that my kūpuna class can
retain as opposed to when they may have first started dancing. Right. I think that, watching that, like
being a witness to this, this, how it can, how hula can positively impact them, is just, such a huge
motivator to just keep going, to just to keep doing that and okay now what else can we do?
Willis:
Yeah. Seems like that would be very rewarding.
Martinez:
Mm-hmm. It's Extremely rewarding.
Willis:
So you were teaching, classes for free to seniors right before CovidMartinez:
Before Covid.
Willis:
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And then once Covid hit. So what was that whole experience like for you once Covid hit and you weren't
able to teach people in person. I bet that was really difficult for you.
Martinez:
<laughs>. It was, it was. It provided its challenges. I think a lot of us shared the same challenges. Trying
to communicate and, keep a community online was just really challenging. However, I feel like during
the time of the pandemic folks were looking to have that sense of community that when you would've
thought that we would have flailed, as a hālau, it actually just thrived, because of that need that, just
that human need to want to come together and have a community. So when it was time, when we
reached that time where we could come together outdoors, I mean, we, we did it immediately. As soon
as we were told that we could conduct classes outdoors it was immediately and students came out and
didn't hesitate. I would say probably the most challenging thing was what is inherently cult- culturally
inherent to us is the act of like, exchanging hānai or, you know kiss, kisses or hugs. And culturally, that's
what we do when we greet each other, when we say farewell to each other, is to always hānai each
other. And that was probably one of the largest challenges because we couldn’t even, like, <Willis
laughs> we couldn't touchWillis:
Right.
Martinez:
We couldn'tWillis:
Six feet.
Martinez:
Yeah. That six feet. And it went against everything that we, that was so ingrained in us that that, that
was pretty tough.
Willis:
That was such an awkward moment in time. Like, nobody really knew how to interact with each other. I
want to give you a hug, but I guess let's give you an air hug for now.
Martinez:
Yeah, yeah.
Willis:
But I can see how that could be very difficult, especially with your culture, just wanting to be right there
with the person and be able to, you know, exchange those pleasantries. So-Martinez:
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Yeah.
Willis:
Yeah. Going back to when you first started learning hula, do you specifically remember an instructor or
somebody that taught you or that really had an influence on that?
Martinez:
I couldn't single one out to be honest, because with each kumu or teacher that I have had has had such
a huge influence on the kumu that I am today. I, I couldn't credit just, just one. They all affected me in
different ways, but equally impactful ways. I'll note that, so I was, <unclear> is the formal graduation
ceremony that a kuma hula goes through in order to, it's like it's a method of training, right? To become
a kuma hula. And so the kuma that I was very honored and so blessed to be able to graduate under,
he's, his name is Kawaikapuokalani Hewett. And he is so prolific and knowledgeable in, in all aspects of
Hawaiian culture that, and just to have that source, to be able to always go back to for the rest of, you
know, my life like, that's just, it's just really, I feel so, so blessed that I have him, in my life. And, and the
Hawaiian community is blessed to have him because he's so gracious and generous with his, with his ‘ike
or his knowledge, where I think that as an indigenous culture, we often can gatekeep you know,
rightfully so. But we can often gatekeep some knowledge because of how it has been, exploited right?
In the past.
Willis: Mm-hmm.
Martinez: And the fact that, that kumu Kawaikapuokalani is, is, has such a kind heart and willing to be
able to, share knowledge is, is really, really priceless because it has benefited so many of his students.
Willis:
Right, right. Do you remember when you met him exactly? Was it when you were first learning hula or?
Martinez:
Oh my goodness. Well he is a, he, I can't remember exactly because he's very well known in Hawaii. He
is a famous composer or songwriter and poet. And so my father being a musician, I remember seeing
Kawaikapuo CDs in my home, you know at the time. So I, it's actually kind of interesting cause I feel like
it was almost a, uh, predetermined that this relationship was going to circle around. Right. And
ironically, he, and I can't obviously say the name, but he resides on the same street in Hawaii that my
sister resided in at the time. So when I would visit my sister <laughs> in Hawaii, it was the same street
that my now kumu still lives on. So, it, it's just-Willis:
Oh wow. How convenient is that?
Martinez:
It's just, yeah, <laughs>. I’m going to say coincident, there’s no such thing as coincidences.
Willis:
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Right. No, I agree. <Martinez laughs>. Aside from hula, are there any other specific Hawaiian traditions
that you really feel passionate about?
Martinez:
Oh my goodness. Um, I feel that hula does encompass all of those traditions. Right? And I think that's
why it is so predominant in Hawaiian culture because it encompasses every aspect of Hawaiian culture.
Protocols are implemented in hula that are implemented in… that really dictate, the belief systems of
Hawaiian people. So, I wouldn't, I, yeah. I don't think, yeah. <laughs>
Willis:
No, that's perfect. Do you think there's any like, big misconceptions about Hawaiians or Hawaiian
culture in general? I mean, like stereotypes <Martinez laughs> from your experiences?
Martinez:
Yeah. <more laughter>. Yeah. There's, I wouldn't even know where to begin <laughs>.
Willis:
<laughs> I know it's kind of a loaded question.
Martinez:
Yeah. Yeah. Oh gosh. But if I had to Like if I had to choose, you know, one or two of the most common
stereotypes or misconceptions, gosh, I would, I… Hmm, Hmm.
Well, I'll address one thing only because it's fresh in my mind. And I was posed this question recently
was I often get asked, “Oh, how much Hawaiian are you? And it's interesting when folks ask this
question because it's almost like they're putting a measure to it. Yeah? And I think what folks don't
understand is that as a Hawaiian people, we identify our Hawaiian-ness is by our lineage and our
ancestors. Right? It's not about a blood quantum. And I, I think I'll just leave it at that <laughs>.
Willis:
That's perfect. I appreciate that. Didn't mean to put you on the spot.
Martinez:
No, no, it's a great question. It was just hard to decide what it would be the, what is most often
misunderstood. Because there's plenty. There’s plenty.
Willis:
Yeah. Understood.
Martinez: Mm-hmm.
Willis:
So this next question's gonna kind of lead into your organization that I want to talk to you about-
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Martinez:
Mm-hmm.
Willis:
But around when and how did you begin your journey in assisting with spreading and preserving
traditions of Hawaii?
Martinez:
I'm sorry, can you ask--?
Willis:
Yeah, of course. So I was just wondering around when was it, when you were maybe a teenager, young
adult, when you decided, okay, I'm gonna really start to assist with spreading and preserving the
traditions of Hawaiian culture?
Martinez:
Hmm. Oh gosh. I think I can't recall when I know I was younger, but I can't recall the exact time. But as
an adult, I always knew. Like as a young adult, I knew that that would be my mission, for a couple
reasons. One, it was the accessibility of, learning Hawaiian culture being a Hawaiian who lives in
diaspora, right? Who doesn't, who isn't living in their ancestral land. So, just, you know, personally from
my own personal experience not having that access and really having to actively search for it, I knew
that I wanted to be able to provide that for other native Hawaiians that are not, no longer residing in
Hawaii. Another reason is that just like anything else, any sort of extracurricular activity, sometimes
classes are not affordable to, native Hawaiian population. Right? They can be, that can be a barrier, a
financial barrier. And that's always kind of been, to me an interesting, dilemma as a kumu hula, and as
someone who has a hālau, I always wanna make sure our classes are accessible to everyone who wants
to learn. However, at the end of the day, I still have a lease to pay. Right? An electric bill. And, and so
how can I do that in such a way that it can benefit students. How can I teach, culture in a way that can
benefit students, that can still benefit financially for my family, right? Because I dedicate a lot of my time
to this. And then the third component is, how can it benefit the community as a whole? And I think
that's where UMEKE, our organization comes in, right? Establishing that nonprofit organization where
we can be able to provide access to culture for everyone. Because I believe anyone and everyone who
would like to learn Native Hawaiian or not, should be able to. Should be able to do that and do it in a, an
a appropriate and an authentic way you know, because we don't live… Because of our locale, there are
often folks who may be teaching a version of hula or, but perhaps they don't have the education to be
teaching Hawaiian culture in, you know in an authentic way. And that's not to say that it's, you know I'm
sure the intention, the intentions are good and, and whatnot, but they're-- In San Diego in particular, the
native Hawaiian community is very passionate about being, taking on that kuleana or that responsibility
of educating about Hawaiian culture in a way that it's, that it's coming from the native Hawaiian
community. Yeah. I know that, personally, and this is just me personally, is that because Hawaiian
culture has been commercialized for so long, I actively work towards deconstructing those, those, those
stereotypes that surround Hawaiian culture that mostly came about once Hawaii became a, a very
popular travel destination. Right? Um, so--
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Willis:
Gotcha. So speaking a little bit more on, UMEKE when did you first, establish your organization?
Martinez:
We filed in 2021, October of 2021. And we were stagnant for a little bit as we were kind of building our
capacity, and I've just recently become more active and had some really great opportunities to be able
to-Willis:
And you are the founder, you are the president. It's really, you know, your idea. Right? You were the one
that was like, let's do this, let's push forward.
Martinez:
Yeah. Mm-hmm.
Willis:
Was there anyone else that hopped on board with you that kind of helped you get it going? Or was it
pretty much your project and your project only?
Martinez:
Oh my gosh. I had a huge support system, even from people that don't even realize they were part of it.
They were part of it. <laughs> And again, it goes back to, my, the elders within the Hawaiian
community, specifically in San Diego. Those aunties, you know, I have some really amazing female role
models in the Native Hawaiian community, in the kūpuna. And when I see the work that they have done
and dedicated their lives to, I realize that this next generation, that I now have that responsibility to
keep on that pathway that they've, that they've blazed already. Right? Mm-hmm.
Willis:
Right. So obviously it's still a relatively new organization, but what are you most proud of, so far, and
what are you kind of hoping to accomplish moving forward?
Martinez:
Oh, gosh. I'm at this moment most proud of a grant we were recently working on within collaboration
with a local school district to be able to bring hula to -- and ukulele -- to an elementary school that has a
significant Native Hawaiian Pacific Islander [NHPI] population. And providing that accessibility
component, where, you know students might not otherwise be able to afford it financially or may not
just even have the transportation for that, right? Because it happens during school. It, the accessibility
just makes, made it so easy. So I would say that because I reflect on what I would've really loved at that
age and been exposed to, and being able to take ownership of that [NHPI] identity in a place other than
my home, among my friends, I think that would've been really impactful for me as a young person. And
so-Willis:
Definitely. Yeah. And kids remember assemblies like that as well.
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Martinez:
Mm-hmm.
Willis:
I can still tell you some of the ones that I attended in elementary school and like the impact they had on
me so that's a really cool thing. And then, as far as like, looking forward to future, do you have any goals
in mind or is it really just continue to do what you're doing and hope more people hop on?
Martinez:
<laughs> Yeah, I mean, as far as goals it's so interesting because when this group of us set out to start
UMEKE, there were really folks that just wholeheartedly believed in me and my vision. And when we set
out to do this, I think just like anything when you start something you're like, “Ohh!,” you know.
<laughs> We weren't sure how successful we would be, but it's so interesting because opportunities
have really been presenting themselves without us seeking them out, which to me, speaks to the
mission of UMEKE that it was something that was really needed in our community because projects are
really kind of floating our way, and it aligns with what we would love to do. So although we didn't know
exactly maybe specifically what a project was going to look like, folks are coming to us with their
projects. And so it's, that's really exciting because it's like, oh, there was a need! We, okay, great. You
know- <laughs>
Willis:
<laughs> It’s all for a reason.
Martinez:
It, yes. Yeah.
Willis:
That's really cool. Shifting gears a little bit, I understand you are a Cal State San Marco alum?
Martinez:
I am.
Willis:
So you earned your bachelor's degree in Indigenous Anthropology, is that correct?
Martinez:
Mm-hmm.
Willis:
in 2019?
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Martinez:
Mm-hmm.
Willis:
So what was that, what made you decide to ultimately go for a bachelor's degree? What kind of pushed
you in that direction?
Martinez:
That's a funny story. So I have four children, and my eldest was in high school at the time and, you know
neither of my parents went to college. And between my siblings and I, we didn't have a four-year
degree. Right. So I was very, very, very <laughs>, persistent that my children go to a four-year college,
and I realized that I couldn't preach <laughs> higher education to them. Unless I went ahead and did it
myself and so I did <laughter>. Yeah.
Willis:
That's very admirable. It's, it's not easy, especially when you're a parent. I can attest to that. It is not
easy to continue on with school. I mean, you just have so many other things going on. Just to be able to
put aside some time for that is a challenge within itself. Was it a difficult decision? I mean, I guess that's
the obvious to, to go back to school or, but once you got in, was it, was it easy for you? Did it come
naturally, or what was that kind of whole process like when you first started attending classes?
Martinez:
It was interesting going back as an, as a non-traditional student and, you know, at my age with children,
I knew I was going to go into it slow and steady. I wasn't in a rush. And so I had just started with maybe
two classes per semester. And, and I actually thought of it as a blessing because I got to study exactly
what I wanted to. I knew that cultural anthropology was going to be something that would maintain my
interest and my goals. And so, when I had learned that Cal State [San Marcos] specifically had an
indigenous anthropology degree, it, it, it just all made sense. So it wasn't, it was challenging maybe
logistically, having, juggling, family, but learning and the like-minded folks that I got to meet, especially
this younger generation! They're amazing, you know, <laughter> and getting invigorated by this young
energy. For me it was a, it was a great experience, and you know, when you tell somebody that you're
going to school for indigenous anthropology, you always get that question, what are you gonna do with
that? Well, guess what? I use it every single day! <laughs>,
Willis:
Right. Not everybody can say that, so that's impressive. Yeah. Uh, so did you come away with a new
perspective after graduating?
Martinez:
Um, hmm. I think the perspective that I got was, probably one of the most important perspectives is
that outside perspective, right? Because we're sometimes always just living in our bubble and really only
see what's happening in our immediate surroundings. And so, I would say it changed my perspective in
that, in the sense that, one, learning about other cultures, and when we learn about other cultures, it
really helps us to understand more of our own, and being with such a diverse, because Cal State [San
Marcos] does have a really diverse student body, right? So different ages and ethnicities. And so I think
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that, those, all of those things combined are, are what changed my perspective, not the actual piece of
paper <laughs>.
Willis:
Yeah, no. I totally understand. Um, as far as the other cultures that you learned about, was there one in
particular other than Hawaiian that really caught your attention?
Martinez:
Oh my goodness. I wouldn't say specifically one. I think that just studying other indigenous cultures,
particularly, you know, the ones within our area, like the Kumeyaay and the Luiseño, I just loved learning
about how more similar Hawaiian culture is, with the [San Diego-are] native communities than not, and
so I would say it that was just, and, and that was with everything. That's with belief systems, that's with,
our, our medical systems, how we view health.
Willis:
Mm-hmm.
Martinez:
How we view, our, structures of our families, our structure of our communities. So, now I'm not sure
that I <laughs> answered your question.
Willis:
Yeah, that's perfect. Um, so I did want to touch base on an event that, um, you obviously had a huge
hand in, earlier this year in February, you were able to establish the first ever southern California, Asian,
and Pacific Islander Festival.
Martinez:
Mm-hmm.
Willis:
Which, um, took place actually here in Oceanside. Uh, first off, what was kind of the vision of this, event
and how long did it take for this idea to become a reality?
Martinez:
Um, I can say I can't take credit for coming up with the idea. As, but as now, like currently being a cocreator of, of the event for me personally, I come from a multiculturally- multicultural background, so,
um, as a lot of us are right? So yes, I'm Native Hawaiian. Um, in addition to that, I'm also Japanese and
Chinese and Mexican. And, coming from such a, a multi-ethnic background growing up in North [San
Diego] County, I think that, my drive behind this event is one, bringing that diversity to North County
that it hasn't seen a lot of in the past that, and maybe on this, on this level, right?
Willis:
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Mm-hmm.
Martinez:
The API [Asian & Pacific Islander] community being highlighted to this extent in this area, we're quite
underrepresented. And I knew that going into this festival that our number one focus was always going
to be on the educational aspect of it, and getting, you know, circling back to that, like when we
understand other cultures, that we really begin to understand ourselves more, and we wanted to focus
on this educational part because sometimes festivals can get quite, um, what's the word? Insular. Yeah.
And we want to make it, we want folks to know that this festival's for everyone. You know, no matter
what the background, no matter what the age, no matter what the locale that is for everybody to be
able to come together and learn about API culture.
Willis:
Right. Gotcha.
Martinez:
So-Willis:
Uh, so can you share your experience of how the event actually unfolded? Was it what you were hoping
for? Was it a nice turnout?
Martinez:
Well, it's actually in three weeks.
Willis:
Oh, my mistake. <laughs>
Martinez:
<laughs>. So we're in the thick of it.
Willis:
Gotcha. Okay. I must have, misread that. My apologies. <laughs> My understanding is that it already
happened earlier this year.
Martinez:
No worries.
Willis:
Okay. So it's happening in three weeks from now!
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Martinez:
Mm-hmm.
Willis:
Okay. That's awesome. So I guess, um, what are you expecting? Are you expecting it to be a pretty big
turnout?
Martinez:
Well, that's what we're hoping for! <laughs>
Willis:
Of course.
Martinez:
Um, but as far as how it's unfolded, you know, it did just like anything, it's evolved. The, the, the vision
has evolved a little bit. In, in, the, the, yeah, the vision and the mission have all evolved quite a bit, but
as far as like what people can expect, because we wanted it to be, you know, educational, there you will
find the typical things that you would find in a festival, yeah, is performances and vendors and food and
things like that. But I think probably my most favorite part that has sort of evolved since the initial
planning is this contemporary aspect of what API culture looks like. So, I mean, you can use K-Pop
[Korean pop music] as a great example, right?
Willis:
Mm-hmm.
Martinez:
Like, and the phenomenon around K-pop and, where that came from. So initially we were focusing
mostly on traditional practices and performances, but then we realized how many amazing API artists
are out there and are deserving of recognition, but may not necessarily be practicing what would be
considered a traditional art. So that's, I think I'm really excited to see what some of these performers are
bringing, these API artists and performers are bringing to the festival. I think that's gonna be a really fun
aspect of it. That was, for me, it was, it was an unexpected but pleasant surprise addition to the festival.
Willis:
Right. Absolutely. Uh, do you know about how many different ethnicities, cultures are gonna be
represented at this event?
Martinez:
We have about, um, over 20.
Willis:
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Wow.
Martinez:
Yeah. We have about over 20.
Willis:
That's impressive. And a lot of them have just, have they been coming to you about it, or do you reach
out to them? How does that usually work?
Martinez:
You know I, I'm really fortunate to have been embedded in the Pacific Islander community in San Diego
since I, you know, the dance community is very close-knit. So I'm really fortunate to be able to reach out
to other directors of performance groups that I am, I have relationships with. And they were the first
ones to jump on and say, yes, we would love to support you. Um, so that was really how the
momentum, started. Right? Because, you know, you start with one performance group and then
another performance group. Oh! And then so-and-so's performing, and then another one. And so I
wasn't as, connected within, the AA [African American] community though, and that has been an
amazing experience is meeting other directors in their respective arts, like, <unclear> and, Lion Dance,
and, because it's just, we are all, we're all the same at the end of the day. And um, so I, this initial year
we did a huge, we did a lot of outreach. We have a great leadership team, and so between us and our
outreach and our circles, we, we got a lot of support from folks. And it didn't take much of an ask. Folks
really wanted to be a part of this. They really wanted this.
Willis:
I can imagine. That's fascinating.
Martinez:
Mm-hmm.
Willis:
So is there anything else that you uh, or how else do you continue to help, I guess Native Hawaiian
culture and how can, for example, someone like myself get involved if they wanted to, kind of help and
promote in that area?
Martinez:
Oh gosh. Um, oh, I'm sorry. Can you repeat that again? <laughs>
Willis:
So I guess what I'm really getting at, like how can someone else, if they really want to, you know, help
and be a part of the cause, how would they go about doing that? Would they just reach out to you?
Martinez:
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Oh, yeah. I mean the, I mean, what, that's the irony in it, right? Is the majority of, of my supporters and
our team are not Native Hawaiian. And, but it's that allyship and because they you know, believe in, in,
in the mission they're absolutely willing to just jump in <laughs> and do whatever needs to be done.
Um, so yeah, I mean anybody who ever want, who wants to be an ally, we are, we are here and happy
and-Willis:
Come on down!
Martinez:
Yes. Ready to, to you know, just grow our community.
Willis:
Right. That's so cool. So you kind of may have already answered this earlier but overall, as you reflect on
everything you have done and accomplished to this point in your life, what are you most proud of and
what has brought you the most joy? Has it been, maybe the hula aspect, um, teaching elders, children,
or is there something else?
Martinez:
<laughs> Uh I think, it's my own children, right? That will always be my most proud accomplishment.
<laughs> Them as individuals, but also taking that perspective again of what I really could have needed
or wanted in my upbringing, I feel like I provided that for my children and have instilled that into my
children. And, knowing that I know that they're gonna move forward and pass that on to their children,
that's, that will always be my proudest accomplishment, knowing that the generations far after I'm
gone, will still be carrying on those, on those traditions.
Willis:
Yeah. That's fantastic. And then, before we close our interview, is there anything else you would like to
mention? Maybe something I didn't ask you about that you really were hoping I would or? <laughs>
Martinez:
Oh gosh. Um, not that I can think of. Um, yeah, no nothing <laughs>
Willis:
Okay. Yeah, no that's perfect. I think we definitely covered a lot of great stuff in this interview. So, really
appreciate your time, Ilima. This was very informative. I think a lot of people can get a lot out of this
whole interview and, really appreciate everything that you do for not only Hawaiian culture, but just the
community in general. So thank you so much for your time.
Martinez:
Yeah, thank you.
Willis:
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Alright. <Martinez laughs> Now I'm gonna go ahead and stop the recording.
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�
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Martinez, Ilima Kam. Interview transcript, April 7, 2023
Description
An account of the resource
Ilima Kam Martinez is a California State University San Marcos alum and the founder and President of UMEKE, an organization that promotes and preserves Hawaiian culture through hula dancing. In this interview, Ilima discusses her upbringing, the influence and relationship with her father, the importance of hula in Hawaiian cultures, the challenges she faced during the Covid-19 pandemic, her passion for elders, her mentors, going back to school to earn her degree, and her goals for UMEKE moving forward.
Date
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2023-04-07
Subject
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California State University San Marcos
COVID-19 (Disease) and the arts
COVID-19 Pandemic, 2020-
Hawaii -- Culture
Hawaii -- Social life and customs
Hula (Dance)
Coverage
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Hawaii
San Diego County (Calif.)
Publisher
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California State University San Marcos University Library
Language
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English
Hawaiian
Rights
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<a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a>
Rights Holder
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Ilima Kam Martinez
License
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<a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a>
Type
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text
Identifier
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SC027-27
Creator
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Ilima Kam Martinez
Contributor
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Ryan Willis
Asian Pacific Islander Desi American experience
Community history
History Department internship
Women's experience