Common Threads: Kirstin Pauka – Living & Teaching Asian Theatre

by Erica McMillan

We kick off this series of monthly interviews with all-around, interesting woman about town, Kirstin Pauka Ph.D., a Professor of Theatre at UH Manoa and the Director of the UHM Asian Theatre Program. I first got to know her through, the local West African Dance Band, Jamarek of which we’re both members.  In addition, she’s also a performing member of the Taiko Center of the Pacific. The more I got to know about her the more intrigued I became – here is a woman who has created successful careers around following her passions, I had to know more…

EM: You grew up in Germany, what was that like for you? 

KP:   We only had public schools in Germany, so I had a pretty good free education. I had good teachers that encouraged me to go on to a science, arts & athletics focused high school where I got selected onto the gymnastics team. I did a lot of sports in general. That’s also where I got drafted into the theatre. One day, a teacher I didn’t even know, who heard I was a dancer, stopped me in the hallway of my high school. He told me that they needed a replacement for someone in their production and asked if I’d be interested. So I said sure, what’s the play? I had never done theatre before and was completely oblivious to how much it would entail, however, once I got into that theatre group, I stuck with it. Then I went on to make theatre, dance & choreography my choice when I went to university (also free in Germany). So I guess I have that teacher to thank for introducing me to theatre arts.

Kirsten Pauka, Professor of Theatre at the University of Hawaii at Mānoa, and the Director of the UHM Asian Theatre Program in Honolulu, HI. (Ronen Zilberman photo HonoluluVibes.com)

EM: You’ve studied ballet, guitar, martial arts, percussion. It seems like you’ve always been involved in performing arts of one form or another. What is it about movement that attracts you?  

KP:  My entire life, I’ve always been doing something physical, so I guess I was active, and it was a way to channel that energy. There’s always something that keeps me going and ideally it’s activities with other people. I’ve consistently found things where you move with other people. Looking back at what I’ve chosen, the social connection involved has always been a component. Theatre is the ultimate group activity. You can have 50+ people involved in one big project. Having a whole group working together is a kind of magic, hard work, but it’s always rewarding, always worth it.

Basically, I’ll do almost anything that you can find a good teacher for. It’s more important to work with a good teacher than the specific thing you study. Be it ballet, Tae Kwon Do, Aikido, or whatever; it’s almost immaterial what you choose to study. If the teacher is good, you’ll get a lot out of whatever they’re teaching. I tell that to my students too; if they’re looking for graduate school, job training, or whatever- find a good teacher, that’s the main thing.

EM: So what is the criteria for a good teacher in your opinion?

KP:  You’re not looking for a friend. You’re looking for someone who has excellent teaching skills, who likes educating and has a lot of experience. A lot of people may be good at what they’re doing, they’re great artists, but maybe the teaching is just something they have to do to make a living. You have to find the ones that live for the teaching part; they’re educators at their core. 

EM: How did you end up in Hawaii? Is that when you discovered Asian performing arts?  

KP:  It was another accidental coincidence in a hallway that got me to Hawaii. A poster appeared one day in the hallway of my university advertising the Asian Theatre program at UH. I thought, what? There’s a university in Hawaii? There’s such a thing as Asian theatre? Weeks later, I got a massive application package for the program at UH, which of course, cost thousands of dollars. I thought there was no way I could attend being a working-class girl, and a public university is free in Germany. I stuck the package in a drawer and tried to forgot about it, but it wouldn’t let me sleep, so I took it back out and started looking for scholarships. I got a study-abroad scholarship from the German government for a one-semester program, and that was it. After returning to Germany to finish my degree, it was suggested that I return to Hawaii to pursue a doctorate. Back then, I thought, oh no, not me, that’s way out of my league. But then I was encouraged seriously by professors in Hawaii, so I applied and got another scholarship, one thing led to another, and the rest is history.

EM: How did your family feel about all this theatre business?

KP:  Well, they had allowed me to start with the ballet lessons in the first place, so they definitely supported my choices. My dad really wasn’t into the arts much, but his line was that “If you can support yourself doing what you want to do, then that’s fine.” and my mom just said, “Whatever you choose just be good at it.” Other than those two pieces of advice, they just got out of my way and were pretty hands-off.

Kirstin getting ready for a flying lesson at Honolulu International Airport.

 EM: So, what was the most adventurous thing you’ve ever done?

KP:  I did fly a Cessna airplane once, but I’d have to say it was when I lived in West Sumatra for a year with the Minangkabau people as part of my doctorate dissertation. That was the furthest out of my comfort zone I’ve been for a prolonged period of time.

EM: What were the biggest things you took away from that experience?

KP:  Anytime you live in a culture that you’re not familiar with, language is going to be an issue. Living as a single woman in an area where everybody lives in big family groups and being the only white person in a 10mi radius put me in the spotlight. The heat, climate, transportation, the unreliability of the internet – we barely had electricity for a few hours a day. I ate the spiciest food I had in my life, three times a day! There were lots of challenges I had to adjust to and learn to navigate. Those first few months, I was busy just figuring out how to live, interact, and get everything organized to be able to function.

I also came to understand how to look at situations from the other person’s perspective. Basically, I was living in a glasshouse. Everyone was talking about me, and whatever I did or said was broadcast throughout the community. They perceived my being alone as a sad state, so neighbors would literally walk into my home to sit with me, so I wasn’t lonely. It was kind of cute. Even if I said, I had to do work or study; then they would say, “That’s ok. I’ll just sit here.” I finally figured out that if I said I had to take a nap, then that was a culturally appropriate way to ask people to leave your home.

Their generosity was another thing that stood out. They didn’t get anything out of me being there. They were curious about why I was going through all this trouble to come to study their dance and theatre arts. They were so accepting and kind to me in terms of letting me know when things were happening. I was constantly invited to family and community events as a guest. I give so much credit to the people for inviting me along and allowing me to be there with them at these intimate gatherings, especially with cameras and all my stuff.

EM: What makes Asian theatre unique in comparison to western theatre?  

KP:  I was captivated by how they incorporated all the elements that in standard Western drama or performance are separate. Traditional western performance either has opera, ballet, or spoken drama. In Asian theatre, you have music and dance as integral parts. For me, that was the big eye-opener, that it’s possible and can be made beautiful and be really captivating. That’s what made me pay attention and want to find out more.

Kirstin with her student performers at a Balinese Dance and Music concert at the UHM Music Department.

EM: You chose the path of educator/director/producer instead of a solo career in the limelight, what drew you to this path?

KP:  I never set out to be a theatre teacher, and we weren’t trained on how to be educators in school. I found out by doing, and it was kind of an organic development. As I became more and more of a teacher and better at what I was doing, I just enjoyed it more.

EM: You work in an environment with endless challenges and chaos: egos, planning, logistics, deadlines, lots of moving parts.   How do you deal with that? 

KP:    Well, You get hired to be a teacher, and a director, and curriculum developer, but then what your real job is, is how to be a problem solver. You’re always multitasking and juggling way too many balls and then … you get good at it. In the beginning, when the first problem pops up, you go into crisis mode and then after problem 500,684 you just think ok, what can we do about it.

EM: What’s the most valuable trait you possess that helps you as a director/educator? 

KP:  I think being organized is a trait that has helped me with almost anything. Being dependable and being a good planner helps too. I think there’s no way I could direct and put on these big shows if I didn’t have these skills. I don’t just stop with plans A, B, & C – I go all the way to K… because my motto is you want to minimize all the things you’re not prepared for. There’s always something new that you’re still not prepared for, so you want to eliminate the 20 you can think of, so when 21 happens, you still have energy left to deal with it.

EM: What’s your biggest goal when teaching and how has teaching transformed you?

KP:  To see the light go on inside them when they get it. When my students learn to transcend the techniques and go beyond the material, they’re supposed to study, and they want to learn more and get curious. Then my job’s done. What I’ve learned from them as a teacher is that you really have to slow down and avoid being a fire hydrant of information that spews it all out, and instead focus on helping them learn. Listen to them and see what works for them. My students help remind me to extend the same patience I have with them to myself, but I still struggle with that.

EM: Have any or your students returned to seek you out years later?

KP:  It happens rarely, but when it does, it really makes your day. It’s wonderful when they come back with stories years later and tell you that something you did or said had an impact on them. If you can thank your teacher for something they did in your training that impacted you, then I think that makes the day of the teacher.

EM: What’s something you’ve had students thank you for later in their careers?

KP: One thing I always tell my students is when they have their first job offer, don’t just take it. Negotiate your salary from the beginning. They can always say no, but typically there’s a little wiggle room, and if they want you bad enough to hire you, there’s a good chance you’ll get it. Some (students) have come back and said later, “It actually worked!”. So I try to instill that in my students. Especially for women, it’s so hard to ask for something you’re entitled to. They’re already at a disadvantage in terms of what their lifetime earnings will be.

Kirstin playing a Yodanuchi solo during a Concert of the Kenny Endo Taiko Ensemble at the East-West Center.

EM: Most satisfying accomplishment?

KP:  Pulling off a big show that receives good feedback and leaves my students and guest artists satisfied and happy. Being able to continue doing Taiko is satisfying for me too.

EM: Let’s talk about your Taiko career for a moment, you’re also an accomplished percussionist with the Taiko Center of the Pacific, how did this come to be and what need does Taiko fulfill in your life? 

KP:  Taiko is the steadying and joyful other thing that I’ve been doing. Discovering Taiko was another lucky coincidence in my life. While I was working on my doctorate at UH, I went to see a Taiko performance on campus by Kaisan Neptune, and the guest artist was Kenny Endo. That was the first time I had seen Taiko, and I was blown away. It combined everything I love – music, dance, percussion, martial arts – I was impressed. So I gathered all my courage and went up to introduce myself and asked if there was a way I can take a class. Kenny had recently moved to the island and was just about to start teaching, so I was part of the first class he ever taught on the island.

Taiko was really hard at first. I felt like I was in over my head, but I don’t give up easily, and I stuck with it. Taiko is an awesome art form, and I really enjoy having that energy in my life. I never thought I would perform with Taiko; it was just my curiosity that got me started. But if you stick with something long enough, even if you have no talent, but you have the grit, you can become good at it. Perseverance has brought me a long way in my life.

EM: What do you do to help overcome that human tendency to remain on the sofa instead of getting up to practice the things that make us feel good?

KP:  You have to remove all the friction. For example, if you have to set up something, that’s too much friction; it has to be set up already. Like if your taiko sticks are in the bag, that’s too much friction, the sticks have to be out. It’s the same for any type of practice – if it’s in your face and you have to step over it, then you’re more likely to do it.

EM: In your opinion what makes a dynamic performance?

KP:  Transcending the technique till you can get to the point where you can get to the essence of what it is you’re performing. There’s no shortcut to that; you have to put in the time

EM: What do you love most about your life?

KP: Everything! I have a fantastic job that I love; I get to live in Hawaii. I have great friends. I’m healthy, and my family is healthy, No complaints, I have more than enough blessings.

EM: Mahalo Kirstin

KP:  Thank you.

Kirsten Pauka, Professor of Theatre at the University of Hawaii at Mānoa, and the Director of the UHM Asian Theatre Program in Honolulu, HI. (Ronen Zilberman photo HonoluluVibes.com)

Read more interviews with women you should know from our monthly series, Common Threads:

Common Threads: Part I with Kahnma Karnga on Coming to America

by Erica McMillan