Magic, Myths, and Me

Mahina Lepo began as a question rather than a story.

For my capstone, I wanted to explore what would happen if a well-known fairy tale—Cinderella—was retold through a Hawaiian cultural lens. Not just in setting, but in worldview, language, and meaning. I wasn’t interested in simply changing names or scenery. I wanted the story to feel like it belonged here.

The process started with research. I looked at traditional Hawaiian storytelling through the works of David Malo and Abraham Fornander, paying attention to how moʻolelo carried knowledge, values, and identity. At the same time, I studied fairy tale theory, particularly the work of Cristina Bacchilega, who emphasizes that these stories are constantly evolving—shaped by the cultures that retell them.

From there, I began building Mahina Lepo by holding onto the familiar structure of Cinderella while allowing everything else to transform.

Mahina is not waiting to be chosen—she is striving to be seen.
The ball becomes an ʻolapa nui hula competition.
Magic becomes mana.
And the resolution is not marriage, but recognition.

One of the most intentional choices I made was incorporating Hawaiian language directly into the story. Words like ʻāina, wahine, kāne, and ahupuaʻa are not translated outright. Instead, they are learned through context, allowing readers to engage with the language in a more natural and immersive way—just as stories were once shared and understood.

The writing itself became a process of balance. I had to remain grounded in cultural respect while also allowing myself creative freedom. As I wrote, the story grew into something more than I had originally planned—especially in Mahina’s transformation, where identity, gender, and belonging became much more central.

In the end, Mahina Lepo became more than an adaptation.
It became a reflection of how stories can shift, grow, and make space for voices that have not always been centered.