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Ms. Wong explained that there is no derogatory term for transgender people in Hawaiin history. Regardless, it was only her maternal grandmother that first supported her.

Hina was interviewed by Chelis.
She spoke about her identity as hawaiin as priority, with her identity as an American as only an "imposition". [[strikethrough]] This was in regards [[/strikethrough]] 
Hina has recently [[strikethrough]] occupied [[/strikethrough]] run for political office (2 years ago)@ the same level as governorship of the islands.
Regarding the Impact of her transgender status; she received much support despite being a newcomer, but was attacked politically [[strikethrough]] for [[/strikethrough]] as "a man in a dress".

Chelis interviewed Martha g. about the play of gender into her career & experience as a musician. Martha discussed a few examples, notably that black women were  ^[[some]] originators of the genre.
Chelis relayed an idea of "poetic liberty" and asked Martha's thoughts. To Martha, "what matters is if you know who you are & where you stand, you are most open to others' ways of life".
Martha was then prompted about breaking gender barriers. She invited Nobuko to "jump in" to demonstrate how, through their project, they worked "as neighbors".
Nobuko introduced the history of Japanese female musicians in the Western world. Early, Japanese [[♀]] were seen as only maids or prostitutes. Japanese-American female musicians had to "reclaim" their culture, language, tradition. cont.