<
Program Three - Segment Four: Plantation Life

Plantation workers lived in camps next to the sugar and pineapple fields.  The plantations segregated them – there was Chinese camp, Filipino camp, Puerto Rican camp and so on.  The Camps had a hierarchy—wealthy owners at the top, followed by the Lunas or Managers who were usually European.  Then at the bottom, the workers—mostly from Asia.  Conditions were often squalid until families took steps to improve their own lives.    

Acknowledgements:

Gaylord Kubota, Domingo Los Banos, Espy Garcia, Ah Quon McElrath, Barbara Kawakami, Alma Ogata, Fuzzy Alboro, George Fujiwara, May Fujiwara, Jon Arisumi. Moses Pataki, and Richard Nagame.  Scholars Ronald Takaki, Franklin Odo, Bill Puette, William Boylan, Lee Tonouchi, Kent Sakoda and Jeffrey Siegel. Actors Dann Seki, Chisao Hata, Denise Aoki Chinen, and Keith Kashiwada. Hole Hole Bushi songs were sung by Shigeko Miyashiro.

Produced by Robynn Takayama and Dmae Roberts

Music:

Ledward Kaapana, Master Slack Key Guitarist records on the "Rhythm & Roots" Record Label. To purchase his CDs email kahokuproductions@yahoo.com. For more information on the Annual Hawaiian Slack Key Guitar Festivals (Maui, Molokai, Oahu, Hawaii, Kauai), please visit hawaiianslackkeyguitarfestivals.com or email kahokuproductions@yahoo.com or phone (808) 226-2697. ledkaapana.com

Further Internet Resources:

Bibliography:

Fuchs, Lawrence H.  Hawaii Pono: A Social History – The 50th State, its People and Politics, from Annexation to Statehood. New York: Harcourt, Brace & World, Inc., 1961.

Hing, Bill Ong. "Hawaii and API History," Asian Week, March, 2001.

Okihiro, Gary Y. Cane Fires: The Anti-Japanese Movement in Hawaii, 1865-1945. Philadelphia: Temple University Press, 1991.

Takaki, Ronald Pau Hana: Plantation Life and Labor in Hawaii. University of Hawaii Press, 1983.

  © 2006 MediaRites - Contact Web Designer Sara Kolbet

Hosted By


George Takei

Margaret Cho


Major funding
provided by


The Corporation for Public Broadcasting

With additional
support from


National Endowment for the Arts


Oregon Council
for the Humanities

And underwriting support from