polynesian american

Okay so I think I’m gonna go ahead with this poc themed appreciation week (I think I already lost a follower for the mere idea, bye felicia). I’m still really nervous about doing this, for so many reasons, but I just want to do what I can. Anyway below the cut are some general ideas and I need honest answers and opinions. Thanks!

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National Aboriginal Day is on June 21st. If it doesn’t coincide with another event (I remember a few years back that it did with BlackOut, but was worked around), I think we should celebrate. If you’re Aboriginal / Indigenous, upload your selfies, post art, talk about Aboriginal characters that you know and love, talk about books and films made by and for Indigenous people. We are still here but we are individually unique and have our own experiences and stories to tell. 

Use #HappyAboriginalDay and spread the word.

EDIT: The date for BlackOut is June 6th. We’re in the clear!


This post has gained a lot of attention over the last couple of days! Thank you to everybody who has shared and reblogged it. I want to take a moment to address a question that keeps popping up: if you are indigenous/aboriginal, you can participate if you choose to! This is not limited just to Native American / First Nations people. If you are Ainu, Maori, Saami, native Hawaiian, etc, feel free to participate! It’s great opportunity for us to represent ourselves, our cultures, our lives, our heroes, and celebrate both our differences and similarities. 

I can’t wait to see you all on June 21st! Keep boosting this post and don’t forget to use the #HappyAboriginalDay tag!

National Aboriginal Day is coming up soon (June 21) and I can’t wait to see all of you on here! Here are some suggestions for what you can post on this day:

1. Selfies / Photographs of yourself, whether it’s casual or in regalia or something else (sports uniform, cosplay, graduation cap and gown, etc)

2. Photographs of family events, ceremonies, powwows, celebrations, etc.

3. Video of powwows, celebrations, etc.

4. Photosets/gifsets about your favorite Indigenous / Aboriginal actors, writers, poets, artists, etc.

5. Poems, essays, songs, stories, or personal accounts about being Indigenous / Aboriginal

6. Art, drawings, paintings, mood boards, photomanipulation, any kind of visual media that inspires you. 

And more! This is a means of celebrating who we are and where we come from.

And of course, this means ALL Indigenous and Aboriginal people. We are all in this together. Let’s show them what we’re made of!

The hongi, better associated with our Maori and Hawaiian cousins, is an embrace where the exchanging of the ‘Ha’ (Breath of Life) occurs. It can also be interpreted as the sharing of both souls. Whether it be between siblings, cousin, or a man and a women the ‘Ha’ is truly a spiritual mana embrace between beings. This represents a girl taking on the honor of becoming a taupou. A hongi, sharing of 'ha’ between present and future self. #UrbanNesian

Radfems are “intersectional feminists” by default. You CAN’T be a feminist if you don’t support black women, Asian women, Hispanic women, Native American women, Polynesian women, disabled women, lesbian women, bisexual women, gnc women, de transitioned ftm, women who have survived rape, women who have survived domestic abuse, fat women, poor women, female sex workers, immigrant women, Jewish women, Muslim women, Wiccan women, Sikh women, Hindu women, women who’ve had abortions, women who don’t want to get married, women who refuse to wear makeup and high heels, angry women, women who make others feel uncomfortable with the things they say and do, women who make people feel uncomfortable by just existing, women who call people out on their misogyny and women who are too afraid to speak up

Mixed Polynesian/Cherokee

@laurelmyqueen asked:

I’m working on a story where the main character is half-Polynesian, half-Cherokee. I want to show respect for her culture and was wondering if there are any sites you can recommend for me to look up to do research that aren’t biased?

So here’s a few facts about being mixed for you. This isn’t to discourage you from writing a mixed Native— we exist, in fairly large numbers— but to explain just what you are taking on when you write one.

This is from the perspective of somebody who is, blood-wise, extraordinarily mixed thanks to generations old assimilation. I am not status and have no hope of being status because of just how mixed I am.

Tribe Reception

First off, some tribes aren’t terribly fond of mixed individuals. It happens. As a result, you’ll have to take it band by band, reserve by reserve— see whether or not they’ll accept somebody mixed whole-heartedly, conditionally, or not at all.

You’re dealing with, potentially, two tribes— depending on who the Polynesian person is from. There are, after all, multiple Polynesian tribes, each with a different culture. So narrowing down in this regard is also important.

Legal implications

Native Americans have a registry. This registry determines who is “allowed” to be Native and not. Thankfully the laws have slacked up a lot since their initial implementation, but fact remains: if a person is “too mixed” (like I am!) then they can’t be put on the registry.

Historically, as well, sometimes people would lose their status on the registry if they married outside of the tribe (Canada made any woman who married outside of the tribe “non Native”, but any woman who married in gained status. This robbed children of their language, because, as an elder put it, “mother tongue” means the language of the mother).

I’m 95% sure this isn’t the case anymore. But! Who knows. I am very unfamiliar with Polynesian peoples, so I have nothing to say on that.

Cultural Implications

You’ll be dealing with two very strong cultures, here, with their own really strong identities. That isn’t to say they can’t exist in harmony— The Rock is a prime example, being Black and Samoan— but you’re going to have to really characterize the individual as being mixed. You’ll have to see what parts of culture they take, and it could genuinely be “all of both”… unless some parts directly contradict each other, then you’ll have to figure out where the compromises are.

I’d look up “third culture kids” as some base literature on the topic. These are kids who grew up in multiple cultures and as a result have made their own, that’s basically unique to them. It’s likely not going to be identical to what you’re dealing with, but it’s something to start thinking of.

History of Assimilation

Aka, “people could get touchy”.

I’m really trying to not paint any Indigenous group as closed off or hostile towards outsiders. What I am saying is some people hold the scars of assimilation and can be very wary of their culture dying off. So there’s a certain responsibility for kids to carry on the culture, and that might be a weight. It might not be a weight at all, and both families are super accepting and they take an “all” approach to culture.

But it’s something to keep in mind, depending on the reception of whatever peoples you choose.


This is going to be tricky! I’m not sure of any one place I can point you other than The Rock’s relationship with his identities and how he talks about his daughters, because he’s the only mixed Polynesian person I know in mainstream. If followers have any comments, we’d be happy to hear them!

~Mod Lesya

Future Events!

Hello everyone!

I want to thank everybody again for participating in National Aboriginal Day. It was a great, positive experience and it was wonderful to see everybody. Since it was such a success, I looked ahead to see if there was anything else we could celebrate in the near future. 

Of course along the way, I saw that there were some less than stellar events that most Natives don’t look forward to. Maybe another day of selfies, stories, pictures, art, and support would help get us all through those harder days.

World Indigenous Peoples Day
Wednesday, 9 August

Indigenous Peoples Day (California)
Friday, 22 September

Indigenous Peoples’ Day (USA)‎: ‎
Monday October 9, 2017 (FOR THIS YEAR): This day was previously celebrated in several states as Columbus Day. I am more than okay with taking it back.

Thanksgiving / National Day of Mourning (USA)
Thursday, 23 November 2017 (FOR THIS YEAR): Like with Columbus Day, this is usually a day associated with whitewashing our history and erasing the crimes and trauma committed against us. I’m also okay with taking it back as well.

If there are other important days specific to Native / Indigenous / Aboriginal people both in the United States and worldwide, please let us know in the comments or private message and we will add to the list.

Let me know if any of you are interested in participating! 

celestialscorpio  asked:

If the signs had to learn a new language which would they choose and why (assuming their first is English)?

Aries-  Arabic, for the challenge and from their connection with politics and adventure. 

Taurus- Gaelic, it would be an interesting language to learn yet safe since in Ireland and Scotland most, if not all people would still speak English. With Celtic roots you could say it is an earthy and beautiful language too. 

Gemini- Japanese, this communicative and intellectual sign could take on one of the hardest languages to learn. 

Cancer- Spanish, they would seek it out due to their practical trait. 

Leo-  Portuguese, it would be a fun and daring language to learn.  

Virgo- Latin, the roots to everything, perfect for their intellectual mind. 

Libra- French, the language of love would of course appeal to them. 

Scorpio- Russian or German, this intense and strong sign would be interested in intense and strong places and languages. 

Sagittarius- Hindi or Bengali, these languages would entice Sagittarius’s curiosity. 

Capricorn- Chinese, due to their practicality and entrepreneurial spirit. 

Aquarius- Rarer languages like Native American or Polynesian languages, this sign is all about being “different” after all. 

Pisces- Korean, the media and culture of South Korea and its influence might interest Pisces. 

I want to preface this post by saying I’m not bashing folks. I’m just giving my OWN opinion. You can agree or disagree. But this is my see on it….

I don’t like Wicca. I studied with Wiccans for 2 years and it didn’t work out. Wicca is really white. I’m almost a neo Panther. It was doomed from the start.

In addition to not caring so much for Wicca, I see a flaw. Wicca unapologetically touches any pantheon it wants to. There are rules and regulations to most religions. Wiccans be like…. “I like them, therefore I can do what I want.” And that’s not true.

You can’t just work with African religions without a formal introduction. Egypt is in Africa. What do you think is written on all those temple walls? Asian, Hindu, Polynesian, South American, etc. religions all have methods for appropriate worship. You just can’t do what you want. Ex: If you feel drawn to Hindu gods, join a temple. Catholic saints? Catholicism awaits you. You see where I’m going with this?

Just don’t choose or collect gods and decide you wanna work with them. You wanna worship, be appropriate and do it right. Don’t be lazy and colonial.


Talking Tiki - The Sublimity of Trader Sam’s

I never thought I would write about the thematic qualities of a bar, but here we are. I am honestly not that much of a drinker, but I do enjoy a good strong tropical concoction, usually served in a pineapple or a tiki mug. Even so, the drinks themselves aren’t the topic of this look at Trader Sam's… Trader Sam’s was one of those things in Disneyland that captivated me in a way I didn’t expect and for reasons I was genuinely surprised by. For something so simple, Trader Sam’s boasts a bevy of tricks and illusions that elevates it out of being a simple amenity and close to a complete thematic statement. Trader Sam’s is an excursive themed show that also happens to be a bar at the Disneyland Hotel. In doing so, Trader Sam’s draws upon a cultural wellspring of history to resonate so deeply with its patrons.

When it comes to the amenities that Walt Disney Imagineering designs, I usually place them on a different level than the attractions that are produced, considering the thematic integrity that is afforded to attractions. With amenities, functionality usually prevails over the overall coherency of place-making; spaces are enlarged, light levels are heightened, details are usually contained to one central exhibit area, such as a lobby, and the theme of the place in question progressively decreases as you get farther away from that central space. For a pretty unilateral example of this, look at Disney’s model in constructing hotels. The Grand Floridian is a behemoth, far surpassing the scale of a Victorian retreat in in the wilds of Florida’s scrub in the 1910s and 20s. Animal Kingdom Lodge and the Polynesian, even, boast wonderful central areas, that contain the thematic “thesis” of the resort, but stepping away from the lobby in both, quickly removes you from these environments and places you squarely back into a hotel environment. This can’t be avoided, sadly. However, Trader Sam’s is able to cheat this paradigm by nature of being a freestanding structure, tucked away at the Disneyland Hotel. Although largely disconnected from the overall retro and nostalgic theme of the Disneyland Hotel, Sam’s uses this disjunction to make its thematic illusion and environment all the more potent and historically apropos.

Exploring Escapism

Much in the same way that the tiki bars of the 1950s and 60s were little bastions of escapism, Trader Sam’s layers of detail and whimsical grit allow it to stand out from the rest of the Disneyland Hotel. This technique could be considered a subtle nod to the long history of tiki bars and tiki culture that Trader Sam’s owes its heritage to. In 1934, Don the Beachcomber, the founding father of Polynesian inspired bars and entertainment venues, opened his original restaurant in Hollywood, California as a lush tropical paradise that was designed as a respite from the encroaching hectic urbanism that marked 20th century America. Only 5 years later, the Golden Gate International Exhibition opened in San Francisco and heavily featured Polynesian culture with predominantly South Pacific national pavilions. Although this world’s fair focused on the commerce and industry (readers of this blog should find this familiar!) of the southern seas, the architectural and artistic offerings were the early inspiration for the designs of the mid-century modern aesthetic that most tiki establishments employed. The early vestiges of adapting the actual Polynesian deities into American art were encapsulated in the statue of Pacifica, Goddess of the Pacific, which stood at the center of the fair.


World War II only exacerbated the Polynesian trend. Veterans returning home from the Pacific theater were taken with the landscapes and cultures they had encountered and sought to recreate the more lighthearted side of their ventures.  Don the Beachcomber, in particular, popularized rum-based drinks and Cantonese faire as standards of the tiki dining establishment. Among the myriad of offerings that came to define these venues were the pu-pu platter and the mai-tai. Both are served at Sam’s. The mai-tai in particular was an icon of the tiki-craze that swept the United States in the post-war era and its invention was hotly contested by Don and Trader Vic, who also opened a line of tiki bars around the nation, after Don’s original bar flourished. Don and Vic also popularized cocktails such as the Scorpion and the Zombie, another of Sam’s signature beverages.

Widespread acceptance of Polynesian pop culture was also linked to the after-effects of World War II. A post-war economic boom allowed greater ease of travel to California and Hawaii, as the middle class was bolstered by the influx of post-war manufacturing and the maturation of war-bonds that had peaked since the cessation of hostilities. Hawaii’s admission to the United States in 1959 also raised interest in the culture of the new  island state that was added to the Union.  The newly strengthened middle class took advantage of their new affluence with recreation that centered on travel, escapism, and this new exotic local.  On a smaller scale, the tiki bar contained all of this and appealed to the economics of the era. Despite the fact that more and more people were able to travel, the luxuries of a quick getaway to the tropics by way of a drink or two in the recesses of a dim and lushly decorated bar appealed to the throngs of people joining the hectic workforce in the late 50s and 60s. Even Walt Disney’s gleaming city of the future, EPCOT, boasted an A-frame tiki bar on the outskirts of the residential green belt. The demands of growing American industry required equal growth for downtime and relaxation. The tiki bar answered these calls and it is here that Trader Sam’s takes its cue and flourishes as a living example of tiki culture while holding its own as a themed statement and show.   

Evidence of Adventure 

Like most things at Disneyland, the transition into the hideaway that is Trader Sam’s is sudden. The Disneyland Hotel, in its newest incarnation, is dedicated to the rich history of Disneyland itself, with most of that history dwelling in the resort’s formative years of the 1950s and 60s. With this in mind, the nostalgic mid-century style of the architecture provides for an almost appropriate backdrop to Sam’s and the disjunction that it requires. For the purposes of crafting an overall thematic illusion, Sam’s would be ideally situated on a beach amongst the sand and palms of a tropical climate. (More on this later.) But, here, in the middle of Anaheim, Sam’s exists as most tiki bars did when they were just blossoming onto the scene as the 20th century reached its middle point. Perhaps coincidental, or planned out to take advantage of this set-up, the urbanized and retro-nostalgic backdrop makes the impact of Trader Sam’s escapism all the more sweet and, while not thematically convincing, historically fitting.

Above: False windows and dioramas and escapism are integral to the believability of a tiki bar’s illusion. 

Once inside, the theories that govern the thematic mechanics of Trader Sam’s are apparent by the simple and classic precepts that they operate under. Trader Sam’s, though an amenity, is essentially given the incredible scrutiny and care that a totally engineered and designed showpiece would have. The greatest instance of this is the size of the establishment. Trader Sam’s is a small room with several tables and bar, in terms of functionality. Nothing more. It is this raw simplicity that allows it to be a believable example of what most classic tiki bars strive to be: a small tropical outpost on the edges of civilization, filled with character and kitsch. Sam’s small space is intimate and homely, made appealing by the human scale it has: this IS some little forgotten nook on some wayward island, home to a cast of characters with stories to tell. Isolation from the outside world is crafted in the same way that theme park attractions do so: there are no traditional windows, and the environment is tightly controlled. The diorama windows, similar to those found in Walt Disney World’s Enchanted Tiki Room, serve as an extension of Sam’s ‘location’ in the southern seas. This technique also harkens back to the rich legacy of tiki bars from the 1950s and 60s. The famous Mai Kai, in Fort Lauderdale, Florida boats a small vignette window off of the Molokai Lounge, and other tiki bars employ similar false window vistas in an attempt to layer the illusion of environment and escapism. Further evidence of Sam’s background and story is found in the decor of the place.

Above: The Molokai Lounge at the Mai Kai in Fort Lauderdale boasts a picture window, while the Tonga Room (below) has its own interior grotto!

Trader Sam’s is stuffed to the gills with artifacts, relics, keepsake, and mementos that undergird its connection to the heritage of tiki and Polynesian pop culture that not only defined these venues in the 50s and 60s but also to Disney’s brand of “Adventureland” stories and attractions. By dint of this, Sam’s utilizes a sort of  meta-synergy that places it at an intersection in theme park lore that utilizes Disney’s cannon of attractions, characters, and stories lashed against the already prolific culture of tiki bars and Polynesian pop. This doesn’t mean that Trader Sam’s uses generic “exotic” décor in an attempt to overload the senses. Each individual tiki, mask, picture, tchotchke, mug, or set piece in Sam’s implies a narrative about its patrons, its owner, and the overall environment. Although decadent in the sheer number of pieces that Sam’s uses, the way that Sam’s uses set decoration is not overwrought or lazy. Each piece sends a message that layers and stratifies the environment. There’s a tribal mask on the wall that portrays a caricature of Imagineer Joe Rhode. The Tiki Room’s deity columns make an appearance. The map from Indiana Jones’ Temple of the Forbidden Eye is on a frame on the wall. Even the Orange Bird from the Sunshine Tree Terrace lurks on a shelf above the bar.  Compare this specific methodology to how the new Market House lazily carries out its theme on Disneyland’s Main Street. Instead of dwelling in the deeper cultural background that Middle America could support at the turn of the last century, piecemeal “country” décor is cluttered on shelves, meant to occupy space, but not to define it. Trader Sam’s décor occupies space but also adds to the narrative and thematic intent of the bar. Each piece is distinct and crafts the niche that Sam’s aims to fulfill.


With this in mind, Sam’s décor references The Enchanted Tiki Room, Pirates of the Caribbean, the Jungle Cruise, and the Adventurers Club (amongst other attractions and shows) in a way that places Sam’s directly in line with these attractions, despite being removed from them by not only space, but by time as well. If transplanted to any Adventureland in any of Disney’s magic kingdoms, Sam’s could exist peaceably and forge a connection of familiarity between its guests and its new location. Further, the myriad of special effects triggered when ordering certain drinks makes Sam’s atmosphere charged and alive- very much similar to the environment one finds oneself in in a ride or show. Anything can happen, but this time, your actions and interactivity dictate the “theme show” of the enchanted tiki bar. That said, Trader Sam’s acts as an extension of Adventureland and plays into the entertainment tropes that Disney cultivates in that part of the park. Colonialism, exploration, and whimsical wit define the terrain of Sam’s as much as Adventureland flourishes under these familiar stylistic and thematic choices.

The familiarity that Sam’s creates is vital. Not only does it welcome visitors, but it also is a method that breeds and fosters a feeling of acceptance in this new environment. Sam’s placemaking puts guests into the role of the everyman adventurer and relates your experiences to a shared commonality of narrative that first, is supported by the nature of this supposed long, lost outpost, and second, by the shared knowledge of what Disney’s Adventurelands are. While this might imply that Sam’s works best with visitors that are familiar with Disney lore, I think that Sam’s is an organic enough piece of themed design to captivate those unfamiliar with Disney. Sam’s reliance on the historical functionality of mid-century bars insures that.   


Art of the Artifact 

Perhaps the most personal way that Trader Sam’s connects with its patrons and deepens the impact of its “show” is also the simplest- Tiki mugs! Like any good tiki bar, Trader Sam’s has a unique collection of mugs and vessels for the drinks they serve. And, of course, for a fee, you can take them home. While an inherently basic component of the experience, deeper scrutiny to the process reveals what makes taking home a tiki mug overtly satisfying. Simply, it’s the concept of ownership and personal involvement. You, as placed into the role of the adventuring everyman, get to take an artifact home from the experience. Considering that the artifact in question is aesthetically tied to Trader Sam’s, it’s not hard to feel like you’re taking home a piece of the place. The mugs that Sam’s uses are especially aesthetically pleasing in that they tie into most of Disney’s attractions. The mug for the Krakatoa Punch is something straight out of the Enchanted Tiki Room, Shipwreck on the Rocks is served in a Jungle Cruise-esque barrel, and oddly enough, the Shrunken Zombie head mimics the design of the Hat Box Ghost from Haunted Mansion lore. Getting to keep this little bit of Trader Sam’s speaks to the exploratory ethos of Adventureland that defines the Trader Sam’s experience. You, the brave explorer, ventured into the unknown, and came home with fairly “real” souvenir from your travels. This isn’t a postcard or a pin- it’s a part of the place.

Observatory of the Future

When I began writing this essay a few weeks ago, Florida’s Trader Sam’s was not yet announced, although it was heavily rumored and hoped for. As of this writing, the Polynesian Village (as it will soon be renamed!) will include Trader Sam’s Grog Grotto, a new iteration of California’s bar. There are several directions Grog Grotto can take, and in my view, most of them are favorable. If the imagineers working on Grog Grotto apply the same level of scrutiny and care that the original Sam’s received to their new venture, there is no reason why Grog Grotto can’t be as original, organic, and detailed as the original. Never the less, there will obviously be some changes from the formula I have attempted to outline in this essay. With this in mind, indulge me in some predictions and observations in how Grog Grotto can make a unique impact in Walt Disney World while staying true to the Disneyland original:

Location, location, location. 

Grog Grotto won’t have the disjunction that Trader Sam’s has in California. The traditional mid-century island respite will be placed squarely in the Polynesian Village, and all the more power to it for having this extended environment to exist in. That said, though, Grog Grotto just can’t go anywhere. So far, there seems to be two possibilities: Inside the Grand Ceremonial House or in a totally new (old?) location.  The latter would be ideal, I think. ‘Grog Grotto’ implies that water should play a leading role in setting up the environment for the bar, and with both the pool and the Seven Seas Lagoon within sight, why not pick out a location that plays up this angle? Of course, there’s always the oft-overlooked Tangaroa Terrace restaurant, which has sat empty for nearly two decades now. Utilizing that old space (and the lovely Oceanic Arts pieces inside of it!) would revitalize a long lost part of the Polynesian and provide for a proper venue for Grog Grotto, despite being quite large and clashing with Sam’s need for intimacy in a small venue. However, that, too, can be reconciled:


Grog Grotto will need to replicate Sam’s small, relatable, human scale. Given that Grog Grotto is being built in Walt Disney World, where the Floridian blessing of size dictates grandness and a much larger scale, this proves an issue. Of course, there are ways around these things: Multiple rooms! One central bar area (similar to the original Sam’s) and several small, intimate rooms separated from one another that each boast a different theme and effects would quickly solve the problem. Different lighting and effects in each room would go a long way in preserving the feelings of isolation and escapism that Sam’s excels with. And of course, those different themes and effects tie into:


 With Grog Grotto making its home in Florida and just a mile from the Magic Kingdom, different emphasis can be placed on Adventureland attractions that sit closer to home. Fortunately, it seems that the Imagineers have this in mind, already. Just based on the concept art that has been released, it seems that Uh-Oa, the Polynesian goddess that dominated the maligned ‘Under New Management’ version of the Walt Disney World Tropical Serenade will have a place of prominence in the bar, and not just on the menu.

While Uh-Oa might not have been right for a classic WED attraction, her physical placement in a tiki bar seems appropriate and fitting. It seems almost certain that, just like in Disneyland, when one orders an Uh-Oa off of the menu, SOMETHING is going to happen. The figure in the art might even be the audio animatronic. Time will tell. Also discernable from the art is a large Nautilus cup, along with a massive squid arm that is draped over the rafters of the bar. These less than subtle references to Florida’s long lost 20,000 Leagues Under The Sea attraction reinforce the connection that Grog Grotto will have with Adventureland lore and bolster the Floridian version of the bar as something separate but similar to the original California Sam’s.

And now, we have a vunderbah magic-trick for YOU! Face da door! 

 In all honesty, I never though I would write this MUCH about a bar. But, sometimes, it’s less about the bar and more about the art and the history found behind it, which I hope that this essay illustrates. Yes, Trader Sam’s might be just another place to get booze after a long, hot day at Disneyland, but for all intents and purposes, Trader Sam’s could be IN Disneyland. It is just as much of an experience in a themed environment as is the Tiki Room or the Jungle Cruise. The only true differences are the methods that take you to that oft-imagined “place” that themed environments transport you to. Some experiences make you get in a boat or listen to audio animatronic birds. Others give you a drink, sit you down, and let your imagination wander like wind and rain across the southern seas.

The Signs As Learning New Language, Which And Why They Choose It.

Aries-  Arabic, for the challenge and from their connection with politics and adventure.

Taurus- Gaelic, it would be an interesting language to learn yet safe since in Ireland and Scotland most, if not all people would still speak English. With Celtic roots you could say it is an earthy and beautiful language too.

Keep reading


Introducing “Liberate Hawai'i”

American author Jon D. Olsen talks a little about his new book Liberate Hawai'i! Renouncing and Defying the Continuing Fraudulent U.S. Claim to the Sovereignty of Hawai'i published by Goose River Press. In his book he rebuts the United States’ claim to Hawaiʻi with newly discovered documentation that is not known or taught to the broader public. 

“All I ask is that people keep an open mind as I make my assertion - that the United States, to this very day, has no valid claim to the nation of Hawai'i. Due to false education, people have bought into this ‘whopper’ from the U.S. government, and to many, the notion that there might be contemporary Hawaiian resistance to the empire seems ridiculous. I urge readers to take a second look and challenge their own assumptions.”
- Jon D. Olsen

Hey!! My name is Älänä. I am a Chinese/Polynesian American even though I don’t look the part. I was born in Hawaii but now Live in Arizona. I’m 14 years old (Turning 15 in August) I am a thespian at my Highschool, in really big into theatre and music. I can play piano and I’m learning guitar, also I am Pansexual. I really love rock, Broadway music, HUGE HARRY POTTER FAN and I love more music. If would take me forever to say it all R.I.P. Chris Cornell. My perfect “pen pal” or internet friend is someone 14-18. Gender doesn’t matter, nor does religion sexual orientation none of that, just be respectful of my beliefs and I will be respectful to yours. I would love someone with some common interests but none is fine I love meeting people who are polar opposite of me!
My contacts:
You’ll reach my best on twitter and Tumblr
Peace and Love!

Unpopular (actually very popular, just not liked) Opinion: Moana looks like Rapunzel.

I’m sure this is a very unpopular opinion but I don’t like Moana’s design at all. I loved all the conceptual art, but when I saw her final design my immediate thought was: so…they made a brown Rapunzel? And no she’s not an exact clone obviously, but making her darker and slightly adjusting certain features doesn’t change the fact that there are striking similarities.

And I understand, people really wanted and anticipated this Polynesian princess so to hear, “oh she looks like a knock off,” is a sure fire way to rub people the wrong way. And there are people who argue that she just has a “Disney” look, but that’s not my problem. If I look at this princess and she’s supposed to be a representation of a woman (well girl) of color and my first thought is, “She looks an awful lot like Rapunzel” then that’s a problem.

When I look at her I don’t feel as though the people put any thought AT ALL into her design. Take our other WOC.



Pocahontas (though arguably she is not a representation of a Native American woman, just the white fantasy of one)



and more importantly: Nani and Lilo.

Who are themselves Pacific Islanders. I had never seen characters like them before. Nani wasn’t stick thin, they didn’t (technically) have straight hair. They were original and unique.

And all of these women look different. They look original, they look thought out.

Do any of these Disney princesses of color look the same to you? 

I loved the idea of Moana

(though I would’ve liked her a tad bit thicker)

and I’m not knocking it yet - I’ve waited this long, damn right I’m gonna see it. But the point is, if Disney is going to start putting out movies with people of color, then they actually need to look like people of color. Not like this: