The Return of Kapaemahu: A Year of Cultural Restoration and Public Engagement on the Shores of Waikīkī

by Sarah Burke

At the opening night of The Return of Kapaemahu hula show in January 2025, Kumu Hula Patrick Makuakāne seemed to have emerged from the ocean itself, opalescent azure fabric softly spilling over his muscular frame and a cape akin to a tangled fish net regally enwrapping his shoulders. Adorned with kukui and lauhala lei, the ensemble was at once familiar and fantastic.

As the sun waded into the horizon off Waikīkī, reflecting rainbow shimmers in the folds of Makuakāne’s tunic, the esteemed choreographer and MacArthur Fellow led his eight-person troupe onto the Kūhiō Beach Hula Mound. Eschewing the usual matching sets, each performer embodied a character in their own exquisitely draped costume. Across from the dancers, a dense crowd had gathered on the beach: members of the local LGBTQ+ and māhū communities, supporters from myriad Hawaiian cultural organizations, city officials, family members, and unwitting tourists who simply walked off Kalākaua Avenue to investigate the hubbub.

(Photo Lei Pua ʻAla Collection)

To begin, Makuakāne and dancer Moani Wright-Van Alst blanketed the audience in an oli narrating the origins of the Hawaiian Islands. Then the troupe launched into the moʻolelo of Kapaemahu, which tells of four Tahitian healers who, long ago, arrived on the shores of Waikīkī. They were neither male nor female, but māhū—of dual feminine and masculine mind, heart, and spirit. Through Makuakāne’s signature fusion of traditional hula choreography and theatrical storytelling techniques, the dancers relayed how the māhū shared their healing gifts with the Hawaiian people, then ultimately infused their powers into four boulders and disappeared. Propelled by percussive ‘Ōlelo Hawai‘i chants interspersed with English narration, the journey had the audience enthralled.

Many who had come to watch that night may have unknowingly walked past the very stones the story describes—which today sit mere yards from the hula mound—as do hundreds of beachgoers daily. The Return of Kapaemahu, which ran weekly in the same spot for the following year, intended to change that. It was designed as a multifaceted homecoming—a purposeful reclamation of the stones’ long-censored history; of reverence for māhū identity sullied by colonial forces over time; and of Waikīkī as a once-thriving site of Kānaka ʻŌiwi (Native Hawaiian) culture. For producers Joe Wilson and Dean Hamer, directors of Lei Pua ʻAla Queer Histories of Hawaiʻi, a project aimed at illuminating and honoring gender and sexual diversity in the islands, it was also the culmination of more than a decade spent working to uncover, verify, and amplify the true origin of the stones.

Dean Hamer and Joe Wilson at The Return of Kapaemahu premiere. (Photo by Mahina Choy-Ellis)

They couldn’t have anticipated how the world would change in that time. Just one week after the show’s premiere, Donald Trump began his second term as U.S. President. Among his first actions: executive orders proclaiming that the United States government would only recognize two sexes—male and female—and that all government-funded diversity, equity, and inclusion programs would be dismantled.

For the Kapaemahu crew, this only fueled their motivation to uplift māhū and LGBTQ+ people and educate any detractors. “We just wanted to spread the message that, if you're from Texas or from Florida or wherever, you don't have to believe this,” says Hamer, “but you have to respect that you’re in Hawaiʻi now, and this is the way things are here.” 

Helen Richardson as she often looked, dressed in men's clothes. Baker wrote that he took this photo "when she was in a happy mood", which she frequently was not. (Bishop Museum)

At times Miss Richardson put on men’s clothes, and acted like a plantation luna [boss].

When she became liquored up she acted silly and made drunken love to men, though ordinarily when sober she had nothing to do with men.

The women’s personalities were reflected in their work during World War II, a period of social upheaval and major changes in everyone’s daily lives in Hawaii.

Baker wrote that starting in 1942 Alice had worked making camouflage netting material a short distance from their Waikīkī homes. This project had partly been created at the start of the war to provide jobs for lei women, who had lost their primary source of income selling lei at the Honolulu Harbor docks on days when passenger ships left. This was because tourist travel had been immediately prohibited, and all ship arrivals and departures had been made secret.

Helen’s war work was far different. Somewhere near Fort Shafter she and a number of other women of different races refilled used metal ammunition shells – from small individual bullets for machine guns to large artillery shells – which had been salvaged from battlefields. At the ordnance department where she was employed, these empties were straightened and dents removed. They then would be filled with live gunpowder to again be ready for firing. The metal shells sometimes arrived “covered with the gore of battle, with foul smelling and decomposing blood and flesh smeared all over them;” Helen “shuddered as she told of the stench they had to deal with sometimes.” She also criticized the other female workers who could be

…careless in connection with critical and exacting operations and how they endangered themselves and others sometimes with their lack of interest or inattention to details.

Helen told her story with dramatic emphasis and when she had finished warned me not to tell what she had told.

Conflict

The women’s relationship was not uniformly smooth. Baker wrote:

There was a bitter fight between Alice and Helen…Alice came and told me that Helen was drunk and that she could not live with her anymore. Told her she better come and stay in my house until she could make other arrangements. She brought clothes, personal effects and many bundles…Was much depressed. In the meantime Helen was full of booze, and ugly… (August 17, 1945)

Alice remained much of the day. Toward evening she decided to go and cook dinner for Helen. By this time Helen had become sober and after she had dinner which Alice had cooked, became agreeable again. Alice came back and said she had acted too hasty and that she was going back again. (August 18, 1945)

Helen’s alcohol intake was major problem.   

A bottle of beer sat in front of her plate and it was hers, without explanations or invitations to the others, exclusively.

Helen got to drinking a lot. Alice…tried to keep her sober.

In the late fifties she became a heavy drinker and was drunk much of the time. She became such a pest that all the liquor establishments forbade her to drink in their places…Alice would go out to buy liquor for her.

More Conflict

From 1948 to at least 1956, Baker and other neighbors were embroiled in a dispute with Helen over her claimed ownership of Dudoit Lane, an unpaved alley next to her house that allowed the others access to the backs of their residences, including their garages.

At times she took a hammer and smashed headlights of unauthorized cars that paused on her side of the lane.

Dudoit Lane was an unpaved driveway that accessed the rental homes on Helen's property on the right, and the backs of various other owners' land and garages on the left. Here's how it looked after heavy rain on January 5, 1943. (Bishop Museum)

After Helen began aggressively asserting that she owned Dudoit Lane in 1948, the legal disputes and physical altercations continued for years into the 1950s. This view from June 2, 1952 shows the signs claiming private ownership and the mailboxes of Helen's rental houses on the wire fence bordering her home's front yard. Ena Road is on the right (Bishop Museum)

After Helen chained Dudoit Lane shut, this led to a legal case, and the arguments over the situation sometimes got physical:

…]Helen] used her usual bullying, arrogant tactics. (1948)

…[Helen] shoved me and attempted to slap me. Did everything possible to provoke me into striking her, which I did not. (1951)

This made Helen furious, and she took after me with a stick and tried to beat me…Helen loves to fight, and Alice appears to love to have something to worry about. (1952)

About this time Helen appeared and began to rant around. Kept threatening me with personal violence…She then chased me into the street…[a separate fight with a neighbor] resulted in the police arresting Helen herself. (1952)

We do not speak, and the case of the alley is still in court. (1956)

Reconciliation

This intense but localized battle would soon be ended by the greatly increasing pace of Waikīkī’s development and urbanization of the 1960s. This was when Waikīkī transitioned to a district of multiple highrise apartment and hotel towers. Helen and Alice moved out of the historic Dudoit family home in 1961, which was demolished four years later, and Baker himself relocated to suburban Kaimuki. Remarkably, leaving the scene of conflict mellowed everyone, and Baker and the two women became friendly again.

The Rosalei at 445 Kaiolu Street is notable as Waikīkī's first highrise apartment building, opened in 1955. Here it's seen with the Ala Wai Canal in the foreground. This is where Alice and Helen moved after they left the latter's family home on Ena Road in 1961 as Waikīkī's development boom began. (DeSoto Brown Collection)

Helen and Alice had moved to the Rosalei, Waikīkī’s first multi-story apartment building that had opened in 1955. In March 1962, the women invited Baker to dinner. He wrote:

In the Rosalei building, the tenants own their own apartments…When night came on the view was very nice. There was a balcony from which they could look off toward Kaimuki. Alice cooked a nice dinner…After dinner Alice told me of her eye operation…Told how lonely they were without friendly neighbors. Missed her cat since they are not allowed in the building. They both kissed me when I left…Wanted me to come again soon.

In January 1963 came another sociable meal:

…called on my former neighbors…They now live at 400 Olohana [a different building]. Neither have been well…[Helen] told me she is now 62. Still likes her beer, and had a bottle while having lunch which Alice prepared for the three of us…Both seemed greatly pleased that I called to see them.

On this warm note we end this story. Helen, Alice and Ray Jerome Baker are now all long deceased. We’re fortunate that circumstances led to the documentation of their lives, for our insight today.

These pictures of Alice Perry in the 1930s show why a viewer today might wonder if she was transgender, assigned male at birth. Not enough information exists now to make this determination so many years later. (Bishop Museum)

One Last Question

A look at Alice in these photos brings up a question: based on her appearance, she appears unmistakably masculine. Her facial features, her shoulders and neck, her arms and even her feet could make an observer assume her to be biologically male. Could Alice have been transgender?

Probably not. To begin with, Baker knew and interacted with Alice for decades and never mentioned anything about this in his diaries. Second, multiple newspaper obituaries from 1940 onwards mention Alice Perry as the surviving daughter of Frank Perry DeMello and Mary Perry DeMello, both born in Portugal, as well as the sibling of Manuel, Joseph, Mary, Rose, Frances, Irene, and Anna. Finally, an obituary from 1983 states that Shandry Alice Perry died July 9 at the age of 89; two of the aforementioned sisters survived her. If this is, in fact, the same person, it would mean that her family had accepted her female persona and name from much earlier in her life. While not impossible, this would seem unlikely for that time period – but of course this would only be true if these newspaper articles were actually about this Alice Perry, which cannot be confirmed. If they are not, and she legally still carried a male birth name, her history might be impossible to trace today.

But it’s important to remember that treatments that enable physical transitions were not available during most of Alice’s life. Hormones and surgery, commonly used today for individuals to become the gender they truly are, were nonexistent in most places till the 1960s. Lacking these, Alice would have faced a constant battle with facial hair, for just one example, and even with daily shaving this growth would have been noticeable and even unsettling by the standards of her time to anyone who met her. This makes it unlikely that Alice was biologically male during a less accepting and aware period in history.

Still, we can wonder, even if we can never be able to know with certainty.

Citations:

Polk's Honolulu and Island of Oahu Directory, 1916 - 1961-'62

Bishop Museum Archives

Ray Jerome Baker photographs, Photo Collection

MS Group 16, Ray Jerome Baker Papers, Manuscript Collection 

Newspaper Articles

"Waikiki landmark to be torn down" - Honolulu Star-Bulletin; June 24, 1965

Newspaper Obituaries

Thomas Richardson Clark - Honolulu Advertiser; Dec. 22, 1962

Wilford K. Richardson - Honolulu Star-Bulletin; Feb. 1, 1968

Frank Perry DeMello - Honolulu Advertiser; March 12, 1940

Mrs. Mary Perry DeMello - Honolulu Star-Bulletin; Sept. 11, 1950

Mrs. Mary Perry Vierra - Honolulu Star-Bulletin; July 18, 1955

Irene Perry - Honolulu Star-Bulletin; July 12, 1956

Mrs. Frances Perry DeSilva - Honolulu Star-Bulletin; Sept. 26, 1970

Joseph Perry - Honolulu Star-Bulletin; Dec. 7, 1982

Shandry Alice Perry - Honolulu Advertiser; July 13, 1983