September-October 2018 by Ke Ola Magazine

September – October Hawai‘i Island’s Community Magazine The Life | Kepakemapa – ÿOkakopa 2018

ARTS Woodworking—A Love Story CULTURE Ray Bumatay—A Canoe Calling SUSTAINABILITY Amy B. H. Greenwell Ethnobotanical Garden

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Cover artwork: Nectar, a woodcut print by Andrea Pro. Table of contents photo: Bird of Paradise, photo by Kirk Shorte. Read more about the artists on page 85.

The Life

Hawaiÿi Island’s Community Magazine September – October | Kepakemapa – ÿOkakopa 2018

Arts

Beauty All Around

Young Kohala Artist Elijah Rabang By Jan Wizinowich

Woodworking 30 A Love Story By Catherine Tarleton

Flying Through the Air with the Greatest of Ease 70 Aerial Arts on Hawai‘i Island By Ma‘ata Tukuafu

Mark Saito

Shares Aloha Through Song By Karen Rose

Community

George Applegate

Statewide Boat Mooring Program Boasts Kona Roots

Then and Now: Pāhoa Town

A Bygone Era

Hawai‘i Islandʻs Hospice Services

A Kupuna Looking Out for Hawai‘i Island By Paula Thomas

By Fern Gavelek

By Tiffany Edwards Hunt

Hiloʻs Old Courthouse and Police Station By Marcia Timboy Providing More Than You May Think By Paula Thomas

Culture

La‘au Lapa‘au

Ray Bumatay

Medicinal Plants and their Healing Properties By Marcia Timboy A Canoe Calling By Brittany P. Anderson

Sustainability

Amy B. H. Greenwell Ethnobotanical Garden

A Walk Through A Home Food Forest

One Woman's Vision to Preserve Hawaiian Heritage By Lara Hughes

By Rachel Laderman

The Life Hawaiÿi Island’s Community Magazine September – October | Kepakemapa – ÿOkakopa 2018

Ka Wehena: The Opening Ala ka Lehua/Ke ‘ike Aku

By Kumu Keala Ching

Business

Managing with Aloha

Alaka‘i: To Lead Well, Guide Well By Rosa Say

Island Treasures Barger Gallery

Talk Story With An Advertiser

93 94 95

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Local Food

Hawai‘i Island Hō‘i‘o (Fiddlehead Fern) By Brittany P. Anderson

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Kela Me Keia: This & That

68 85 86 88 90 92 96

2018 Halema‘uma‘u Tribute About Our Cover & Table of Contents Artists Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts

684: He keiki aloha na mea kanu. 98 Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

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From Our Publisher within a few days to a few weeks, which is how the disease came to be called ‘Rapid ‘Ōhi‘a Death.ʻ This disease has killed trees in all districts of Hawai‘i Island and has the potential to kill ‘ōhi‘a trees statewide.” I encourage everyone to heed the following five points, from the same website. Please take responsibility, and help stop the spread of this disease. WHAT CAN WE DO to help prevent spreading Rapid ‘Ōhi‘a Death? Practice these five things: 1. Avoid injuring ‘ōhi‘a. 2. Don’t move ‘ōhi‘a wood or ‘ōhi‘a parts. 3. Don’t transport ‘ōhi‘a interisland. 4. Clean gear and tools, including shoes and clothes, before and after entering forests. 5. Wash the tires and undercarriage of your vehicle to remove all soil or mud [before and after entering the forest]. We have an eclectic mix of stories in this issue—in addition to stories on La‘au Lapa‘au (Hawaiian herbal plant medicine), the Amy B. H. Greenwell Ethnobotanical Garden and a home food forest, we are featuring a story on Hawai‘i Islandʻs iconic spokesperson, George Applegate; the statewide day-use mooring (DUM) project founded in part by the Grateful Deadʻs Jerry Garcia; a historical recount of Old Town Pāhoa; canoe builder Ray Bumatay and many more. We hope you can take some time to relax and enjoy the entire issue during this fall season. Aloha nui, Barbara Garcia and the Ke Ola Magazine ‘ohana

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What an amazing few months it’s been! As we prepare to send this issue to press, the Fissure 8 lava flow that began the first week of May has vastly decreased after taking more than 700 structures. Halema‘uma‘u and Pu‘u ‘Ō‘ō craters appear to be quiet, and Hurricane Hector passed us by without much drama. It was so clear on August 8th, the night of the hurricane watch, the skies gave way to a spectacular sunset that could be seen all the way to the east side of the island. Soon after, these amazing photos of the newest beach and tide pools in the world at Kapoho were posted by Ikaika Marzo, who received them from an anonymous photographer. We also saw photos of Pohoiki, still standing, with a new black sand beach around its bay. I personally had no idea how fast nature could create new beauty like this. I didn’t think we would see new beaches in our lifetimes, so this is an amazing surprise to me. We planned the indigenous plant theme for this issue about a year ago, and when we announced our call for cover submissions on social media, we were flooded with 79 entries. We chose Andrea Pro’s Nectar, a ‘ōhi‘a lehua-inspired woodcut print for this cover as our indigenous plant because we want to bring more awareness to the mother tree of the native Hawaiian forest. In mid-August a film called Saving ‘Ōhi‘a, Hawai‘i’s Sacred Tree, aired at Hilo’s Palace Theater. Hopefully by the time Ke Ola publishes this issue, many people will have also seen the film at Kahilu and Aloha Theaters. It’s important that we are all educated about what’s threatening our most precious native trees so we can do our best to stop it before it spreads any further. From the RapidOhiaDeath.org website, “‘Ōhi‘a (Metrosideros polymorpha), the most abundant native tree in the state of Hawai‘i, are dying from a new fungal disease. On Hawai‘i Island, hundreds of thousands of ‘ōhi‘a have already died from this fungus, called Ceratocystis. Healthy trees appear to die

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Ala ka Lehua

Ka Wehena

Na Kumu Keala Ching

Ā ala ka Lehua ē Ē ‘e‘e ka ‘āina Pele ī Ī ‘ili‘ili ka Leo malu ō Ō ola ka Luapele ū Ū ‘uhola ke Aloha ē

Awakened is the lehua (referencing the sun) Upon the land of Pele (referencing the lava flow) Collected peaceful voices (referencing the Koa‘e bird) The fire of Pele lives (referencing courage within) Unfolded compassion (referencing the compassion within)

Eia kahi oli ho‘oma‘ama‘a leo me ka pono o ka hanu ‘ana kekahi. E ho‘oma‘ama‘a ā ma‘a i hiki ke pa‘a i ke oli kekahi. Ke aloha nō! Here is a practice chant to improve your breathing and voice quality. Practice to improve so that youʻre able to secure a chant. Love!

Ke ‘ike Aku Na Kumu Keala Ching

‘Ae, Ke ‘Ike Aku Aia ka lā ke ‘ike aku Ke ola o ka lani, puni ka Honua I luna la ke ‘ike aku Kīkaha ka manu i ka lewalani I lalo la ke ‘ike aku Ola ka Honua e Pele ē I uka la ke ‘ike aku He mauna kū kilakila malu i ke kapu

Eia la ke ‘ike aku He pua kaulana, Kau i ka poli Ke ‘ike Aku

An observed sun Heavenly life upon the earth An observed heaven Soaring bird upon the highest An observed earth Living earth is Pele An observed upland Majestic sacred mountain An observed sea Life forces within the ocean An observed life Famous are the people When observed

Mana‘olana, ‘oi aku ka maika‘i o ko kākou ‘ike aku ma mua o ko kākou lohe mai. I laila ka pono o ko kākou ‘ike wale a imi i ke kumu o ko kākou ‘ike aku. He mo‘olelo ko laila. ‘O ia! A thought, one obtains knowledge best by self observation verses knowledge told. Once observed, research is encouraged to gain a greater understanding. An important story is achieved. It is!

KeOlaMagazine.com | September-October 2018

I kai la ke ‘ike aku ‘Au aku ka i‘a i kai ala

Yes, when observed

Amy B. H. Greenwell Ethnobotanical Garden:

One Woman’ s Vision to Preserve By Lara Hughes

KeOlaMagazine.com | September-October 2018

The Vision Amy Beatrice Holdsworth Greenwell was a woman with ideas beyond her time. As it goes, when one has a vision, itʻs essential to have help from others to carry it forward into the future. Amy succumbed to cancer in 1974 when she met an untimely death at the young age of 53; however she left a lasting wish: that her home in South Kona be turned into an

including archeologist Rose Schilt, visionary Brien Meilleur, and the latest manager and horticultural specialist Peter Van Dyke, all had a hand in making Amy’s dream a reality. Amy’s garden hired its first on-site employee, John Rozett, in 1979. It opened to the public in 1988. “She had this vision that these parcels could be developed into a botanical garden in the

Beatrice Holdsworth Greenwell and her daughter Amy, circa 1945. photo courtesy of Maile Melrose

ethnobotanical garden for the community to enjoy. Bishop Museum anthropologists Douglas Yen, Yoshihiko Sinoto, and Kenneth Emory honored the friendship they had forged with Amy over the years by taking a lead in the development of the allotted land she willed to the museum. Amy’s brother Sherwood Greenwell, plus a passionate 10 succession of garden managers contracted by Bishop Museum,

pre-Cookian style,” says Peter. “Now the garden has extensive collections, and at Amy Greenwell Garden some of the rarest native plants in the country are curated.” Around 1990, the garden accepted an invitation to join the Center for Plant Conservation, a national network of botanical gardens responsible for overseeing a prodigious collection of rare and endangered plants in the United States. Many of the

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a poster girl for Hawaii Electric Light Company: an example of the courageous women being thanked for their service during the war.

The Woman Many people know of Amy’s name through the ethnobotanical garden in Kealakekua; however, many still may not know of the amazing archeology and flora behind the garden-legacy of rare native Hawaiian plants sustained through her foresight. Amy’s cousin, Maile Melrose, wanders the garden on a regular basis. She fondly recounts memories of her relative and garden founder, “She was scientific. She was an amateur archeologist; she was an amateur botanist as well.” At a time in history when American society idolized domesticity and a woman’s primary role was that of a homemaker, Amy chose not to marry. Instead, she enrolled in university. “She attended Stanford and was a nurse’s aide during World War II,” says Maile, “She went into Queens Hospital on the night of Pearl Harbor. She was there. She was perfect … she was just wonderful.” According to Maile, it was also thanks to Amy’s striking good looks that she also became

The Preservation Growing among the plants at the garden is an unmatched passion to keep Amy’s legacy alive, its roots being fed by a local group of plant nerds, garden aficionados, anthropology enthusiasts, and archeology buffs, each sporting their own version of a green thumb. The garden was closed to the public in 2016 and remains closed today. In response, a group of green volunteers founded an organization called the Friends of Amy B. H. Greenwell Ethnobotanical Garden. The mission of the Friends is to ensure that the garden is cared for and re-opened to the public, as they believe Amy would have wanted. They are currently trying to buy the garden from Bishop Museum, and have secured substantial grants already. Maile serves as the president of the organization while Shirley Kauhaihao, a Kona lauhala weaver and celebrity chef of traditional Hawaiian food, along with Dr. Noa Kekuewa

Abutilon eremitopetalum, a rare and curious flower from Länaÿi and one of Maile's favorites. photo by Lara Hughes

KeOlaMagazine.com | September-October 2018

critically imperiled Hawaiian flora present at the garden were, and continue to be, the perfect addition to such an important compendium.

KeOlaMagazine.com | September-October 2018

Lincoln, a Stanford PhD of terrestrial biochemistry and social ecology, serve as the two vice presidents. Noa also published a guidebook on the various native plants at the garden. His vision for the garden remains one of preservation for future generations, “The garden presents an opportunity to preserve and represent an alternative value system in regards to agriculture and perpetuating agricultural traditions that existed in Hawai‘i for hundreds of years and, in many cases, represents the ancestors of those who use the garden.” Members and volunteers visit the garden each Saturday to help Peter with weeding, mulching, fertilizing, trimming, digging, and any other jobs that come with the territory. Agricultural techniques developed by ancient Hawaiians in their cultivation practices are often used in the propagation of the garden, including utilizing the leaves of the ‘ulu (breadfruit) tree for mulch on other plants such as ‘awa (kavakava or Piper methysticum), piling ‘uala (sweet potato) vines back on top of themselves for growth control, and dry-land kalo (taro or Colocasia esuculenta) farming. In fact, the kalo patch being promulgated on the garden grounds features more than 60 different heritage-cultivar varietals of kalo alone. Visiting archeologist Dr. Jack Rossen makes his way to the garden to volunteer whenever he is in Hawai‘i. As a member 12 of the Friends of Amy B. H. Greenwell Ethnobotanical Garden,

Above: Peter and Friends of Amy B. H.Greenwell Ethnobotanical Garden getting ready to work in the kalo patch. Below: Noni fruits growing at the garden. photos by Lara Hughes

he also enjoys sharing news of his local finds in archeo-botany with Peter. Thanks to collaborative projects between Peter and Jack, hundreds of students have been able to visit the garden over the past 15 years. Jack says he continues to return regularly, “This place is special because, as an archeologist, it’s a remnant of the Kona agricultural field system. There is very important archeological material here.” He points out that while the garden is 12 acres in size, it represents only a fraction of the 125 square mile Kona agricultural field system that was once cultivated by ancient Hawaiians as far back as 800 years ago. “Some of the walls that they built,” he says, “the kuaiwi, are still here.” These kuaiwi (long, straight stone wall) played a major role in ancient Hawaiian agriculture. Not only did they separate the different fields and varying crops, but they also acted as a place where excavated rocks could be consolidated. The kuaiwi were used for mulching and ancient Hawaiians would plant crops such as mai‘a (bananas) and kī (ti) along the walls as the stones would protect the roots while holding in moisture, which helped with cultivation in the drier areas of the island.

The Garden One of more than 60 varietals of kalo growing at the garden. photo by Lara Hughes

KeOlaMagazine.com | September-October 2018

Introducing

bargergallery.com Maÿo hau hele (Hibiscus brackenridgei) is the Hawaiÿi state flower and can be found at the garden. photo by Lara Hughes

KeOlaMagazine.com | September-October 2018

Overall, the garden boasts a rich history and community support, perhaps none being more important than the interest in the hundreds of types of native plants currently grown on the property. Walking through the garden, Maile meanders through the trees and shrubs, pointing out different species, talking about their importance, “This one doesn’t exist in the wild [on Hawai‘i Island] anymore,” she says as she shows a group of volunteers an endemic endangered specimen of her favorite flower, Hiddenpetal Indian Mallow (Abutilon eremitopetalum), a plant in the hibiscus family. This plant originated on Lāna‘i, and boasts tiny flowers, which an

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Peter measuring fertilizers for volunteers to distribute on the dry-land kalo. photo by Lara Hughes

untrained observer might easily overlook unless it was being shown to them. “Hawai‘i is the only place that has this varietal of petal-less abutilon,” adds Maile. As the group continues through the garden, there are frequent signs stating “extinct in the wild,” “only 10 plants in existence today,” and “have disappeared altogether from the island of Hawai‘i.” It becomes clear that this garden is a labor of love, a rare treasure, and anyone who comes here is experiencing something truly unique. The garden today has four different sections of Hawaiian plants, including kahakai (costal zone), wao lama (dry forest), māla (Polynesian introduced crops), and wao lipo (wet forest zone). As a kanaka ‘ōiwi (native Hawaiian son) Noa says, “What makes Hawai‘i special is the highest rate of endemism in the world, and now in contrast, the highest rate of extinction in the world. [Also] what makes Hawai‘i special is the highly specific place-based adaptation of our ancestors.” He believes that the garden provides a unique opportunity to educate youth on the native Hawaiian environment and ecosystems. The Hope As the property remains closed to the public, and grants to purchase it are not easy to acquire, the future seems uncertain. However, there is optimism among those passionate about preserving Amy B. H. Greenwell Ethnobotanical Garden. Peter reflects, “On one side it’s about developing a resource for the community and seeing how important it is to hold on to the plants that are part of the cultural traditions that have the capacity to bring people together.” For Peter personally, he says, “It’s really just about having this wonderful opportunity to work with all of these great plants. I think my

Endangered hala pepe tree in full bloom. Only a few hundred are left in West Hawaiÿi and Kaÿü. photo courtesy of James Todd, board member of the Friends of Amy Greenwell Ethnobotanical Garden

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Above: Kö (Hawaiian sugarcane) and pöhuehue (Hawaiian morning glories) at the garden. Pöhuehue are known for their healing properties in Hawaiian medicine. Below: The koÿoloaÿula can be found at the garden and has disappeared from the wild on the island of Hawaiÿi. Photos by Lara Hughes

Ron, with Sue Aronson, accepting the Kona-Kohala Chamber’s 2017 Lifetime Service award from Governor Ige

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first love is horticulture and this is a dream job for somebody who loves horticulture. The plants are beautiful so you get this ornamental aspect that you get to play with and they have all of this cultural significance. They have all of these tremendously interesting stories behind them. Knowing that it’s not just some isolated private garden is important to me. I want to know that it has meaning in the community.” Maile adds, “The future of Amy’s Garden is bright. We are dedicated to success because we know how much this garden means to the people, not only of Kona and Hawai‘i, but truly, to people from all around the world. It is a wonderful garden and it must be present in our lives in perpetuity.” ■ For more information: amygreenwellgarden.com

George Applegate By Paula Thomas

George repeated this at school, he got nothing but taunts from his friends and concern from a teacher who thought the idea was preposterous. George learned early to stick to his guns and go his own way. Conforming never caught on with him. As George graduated from high school and turned 18, he also became a father to son, Paul.

Berry World, one of George's tour groups. In the old days, Mr. Kanemoto would climb his ladder and take pictures beside the airplane. photo courtesy of George Applegate College was not in the picture for him. He learned to use his mind to observe and found learning by experience much more accessible and instructive, as with a short-term sales job he had with Mauna Kea Memorial Park. There he learned his second big life lesson: work for something you believe in. Love what you do, be authentic, and people will buy from you. “So,” he says, “I would sit down and talk story with people. It was easy because I believed in the product I was selling. You must believe in what you’re doing. Otherwise you cannot be authentic. To sell, I had to listen to people and apply different tactics. I found what worked and went with it,” he explains. Big Island Visitors Bureau Long before George was asked to head up the new office of tourism for Hawai‘i Island, his résumé read like a patchwork of odd jobs. In 1966, he became a bellboy at the first iteration of the Naniloa Hotel in Hilo. From there, he became a tour guide, boarding flights full of mainlanders coming to Hilo from Honolulu and taking them around, entertaining them with his ‘ukulele and sometimes singing to the crowd in the Crown Room. From tour guide George George Applegate

photo courtesy of Aaron Miyasato

KeOlaMagazine.com | September-October 2018

e talks in arcs of thought as he shares stories about his upbringing, his youth, education, and coming of age. George Applegate, born in Honolulu in 1947 and raised in Hilo, has created a career out of his wits, his values, and his deep love of Hawai‘i Island. His father, Frank, was a 6’2” Texan from Ft. Worth, of the Applegate family that came to America from England in 1647. Frank was stationed at Pearl Harbor when he met George’s mother who was a Japanese journalist. George was born at Tripler Army Medical Center and when he was still a baby the family moved to Hawai‘i Island. Frank didn’t care for the Hawai‘i Island lifestyle and left his wife and children for the mainland in 1954 when George was seven years old. George grew up fairly poor. As a young boy, he and his sister, Laverne, attended local schools and would visit their Japanese grandfather’s farm in Honoka‘a. He never liked school and was not a great student. “I never excelled at the ABCs and saw no connection between school and real life at home,” he admits. “I was teased and bullied, and I got into trouble a lot.” By the time George was eight years old, his mother was a prominent journalist—“She was like Patsy Mink.” She owned the Sunrise Press, had remarried, but then suffered a debilitating stroke. From then on, he and Laverne took care of their mom and worked on their flower and sugarcane farm. George’s stepfather, a Japanese Isei (first generation Japanese immigrant to North America) and authoritarian personality, died when George was 16. “I was a skinny guy in high school because of our economic situation. There wasn’t a lot to eat,” he reflects. “I was shy and insecure … After my stepfather died I took care of the family. The KTA family was good to me and hired me as a bag boy full time. I learned most of my work ethic from that job. I also took on weekend jobs—at the gas station, working cane fields, feeding pigs.” Psychology was, and still is, one of George’s favorite subjects, and his high school teacher Stuart Postal taught him his first big lesson: what it means to have a personal perspective and to understand that one person’s truth may not hold for another. “That was a huge life lesson for me.” George gives credit to his incredible, loving mom who shared dreams and visions such as that one day a man would walk on the moon. When

A Kupuna Looking Out for Hawai‘i Island

KeOlaMagazine.com | September-October 2018

became social director and joined the group in Hilo that was building up tourism. Ken Johnston headed up the first chapter of the then-called Hawai‘i Visitor’s Bureau, Hawai‘i Island office, and George volunteered. In 1989 he became its director of sales and marketing. When Ken moved on in 2000, it was natural for George to step into his shoes and Ken recommended to the board of directors that George succeed him. For the next 14 years, George led the Big Island Visitors Bureau as executive director. He knows just about all the history of tourism on Hawai‘i Island because he was there when it was all developing: the first flights in, every hotel, Hawai‘i Volcanoes National Park (HVNP), Banyan Drive,

bringing the room count from 300 to 2,300 hotel rooms in the mid 1960s, and the first direct charter flights from New York, Chicago, and Los Angeles into Hilo. Coming full circle, George now works as the global welcome ambassador for the Grand Naniloa, a Doubletree by Hilton property. The hotel is doing well—from domestic and international visitors to island residents who are looking for an easy staycation. Anything George is helping to establish will directly reflect Hawaiian culture, Hawaiian history, Hawaiian perspective, and a benefit to the people of Hilo. “It’s got to be Hawaiian as well as reflect the values of the many people that came to work our sugarcane fields.” he says. “Hilo is such a special place. Just sit

BIVB team at annual BIVB meeting in 2007. From left: George Applegate, Margo Bunnell Mau, Lori Yoneda, Gale Kihoi, Kristin McGrath, Missy Kaleohano, Eric Dutro, and Karen Sakoda. photo courtesy of George Applegate

George with his three year old, Paul, in 1968 just after he returned from conducting a tour. photo courtesy of George Applegate

here and look out … the fresh air, the calm ocean, and a quiet community. I want to keep it this way and make sure people have jobs.” George traveled to Japan, Korea, and Europe to encourage people to visit Hawai‘i. He even met the Emperor of Japan, one of the preeminent moments in his long career of great moments. At an International Travel Bureau show in Berlin, he remembers thinking, “How are we going to get recognized?” With his marketing mind at work, George had all the trade booths serve Hawaiian coffee and macadamia nuts, and provided music and lei, to showcase Hawai‘i to the world.

KeOlaMagazine.com | September-October 2018

Creating a Legacy It’s in these kinds of interventions that you will find George’s genius. His associative thinking skills, his connections, and his love of Hawai‘i Island drive his efforts and make it easy for him to get up every day. George knows the visitor industry inside and out, and has the knowledge when it comes to building and shaping up Banyan Drive from permitting, aesthetic, tourism, socioeconomic, and cultural perspectives. Big shoulders are required along with an abundance of stamina and patience. He brings

all of this to his work, holding a vision for what Hilo can become and working through the day-to-day issues, setbacks, and triumphs to see the vision through. He is one of the reasons the Grand Naniloa has a hula theme: Kim Taylor Reese images throughout the lobby, Hula Hulas Restaurant, and hula lessons for the guests. Recent additions to their cultural repertoire include a true Hawaiian experience on an authentic double-hulled canoe, including lessons in mālama honua (taking care of the earth) and Hawaiian star navigation by a member of Polynesian Voyage Society. George’s dream is to put Hilo on the map as a global destination without fundamentally changing its character as it is today. To do that, he is working with Hawai‘i County, the Department of Land and Natural Resources, the State of Hawai‘i, and Doubletree by Hilton to advance the development and transformation of Banyan Drive and support more tourismrelated businesses. With so much changing on Hawai‘i Island, George is honing in on where the opportunities lie. Talk to George, and in a long conversation about his life and what he does, he will invariably reiterate that he never went to college. Yet he holds to what a pastor once shared with him: “When it comes to talents, God doesn’t call the qualified to do a job, he qualifies the called to do the job.” George gives credit to the team of qualified, intelligent, and motivated people he associates with who make it happen for others. He also credits his wife, Angie, his children, grandchildren, and four great-grandchildren for keeping him straight and being a steady source of joy. “I believe that life’s basics are taught in the home.” As he reflects on his life, he has come to believe “if you put your mind to something, it’s amazing what can happen. You know the two most important days in your life?” he asks. “The day you were born and the day you know why.” As a kupuna, he has been a player for so long that people are now asking him to enter politics. When pressed about it, his response is muted: “We have a lot of good elected officials and department heads that do their best for the people of Hawai‘i. Instead of being an elected official, plugging in and assisting them and sharing direction is the right thing to do. I will always do what I can to support Hilo and Hawai‘i Island.” Regarding the recent volcanic eruption, George says, “We will find a way to capitalize and create job opportunities for our community. As we continue to expand reasonably, HVNP will play prominently in the success of future growth for Hawai‘i Island. People want to see what has happened here. Tourism is

the future for Hilo and Hawai‘i Island. It’s a great industry and can be a blessing for Hilo.” “Every community has to have economic viability,” he says. “And real economic prosperity means our Hilo-based workforce can work in Hilo instead of commuting long distances—so everyone can spend more time with family. We all have freedom of choice to do or be anything we want,” he reminds. “It’s a wonderful gift we have in this country, so think and choose wisely.” And that stance is pure George Applegate. ■ For more information: george.applegate@hiltonhotels.com

Above: George singing to a Crown Room crowd before the main event—the Kim Brothers from Las Vegas. Left: George with Dave Hardouin, president of Fiesta World Travel, one of the travel companies that flew direct from Vancouver to Kona before 1996. photos courtesy of George

KeOlaMagazine.com | September-October 2018

Applegate

Beauty All Around By Jan Wizinowich

Young Kohala Artist Elijah Rabang

ntering Hāwi, on the North Kohala coast, just past Kohala Coffee Mill, you are stopped in your tracks by a wall mural with a stunning scene of frolicking humpback whales. You’ve just stepped into the realm of young artist Elijah Rabang, who beholds the natural world and cherishes it with his art. For the past few years, along with greeting cards and pet portraits, Elijah has shared his visions of nature in community murals located at the Kamehameha Park pool, Figʻs restaurant (now closed), the Hāwi Post Office and most recently the wall across the street from the Kohala Trade Center in Hāwi, commissioned by Richard Elliott, owner of Paradise Postal and Kar Tow. About six years ago Elijah approached Richard. “He came into the store to see if I wanted to sell his cards; he had heard I was only having local artists in my store. I loved his work immediately and it was a ‘no brainier’,” said Richard.

KeOlaMagazine.com | September-October 2018

At Kohala High School, Elijah was a student of art teacher Margaret Hoy for four years. “He took Painting 1 and 2 and Ceramics. He was already really talented. You could name any kind of animal and heʻd say, ‘Okay, I can do that,’ and heʻd go to work. He has a great memory for details.” While Elijah’s first favored media was colored pencils, his time at Kohala High School gave him the freedom to explore and broaden his art. Margaret remembers, “He was always willing to try something new or work independently. We never reached the boundary of what he was able to do in my class. Iʻd say, ‘Here, letʻs try this out,ʻ and he was always open to it. We try to make sure school is positive and reinforcing and something that they want to do.” Mural artist Patrick Ching worked with Elijah in middle school on the Art Miles Murals project. “I first got involved with him because of a mural peace project. He painted some murals to contribute to that project that traveled Nourishing Roots and all over the world and was Mentors showcased in Egypt,” shared When Elijah was diagnosed Patrick. with autism at the age of six, A few years later, Patrick art became a way for him to worked with Elijah as part of understand his world through a the Hāwi Post Office mural meticulous focus on the details project and saw his developing of the environment around sense of design and how he him. Elijah grew up nested in a had matured as an artist. “He loving family and a supportive came to contribute to the community, where his early mural on the Hāwi Post Office artistic talent was noticed, wall,” said Patrick. “Elijah supported and appreciated. painted the train. He was Elijah showing one of the many greeting cards he sells at Paradise Postal in Häwi. Elijahʻs mother, Robby really focused and I just let photo by Jan Wizinowich Victorino reflects, “He was so him go and he got it done. He young [when he started]. In elementary school he used to really knows what he’s doing with his art and his style.” draw animals and what really caught my eye was the details. He would draw these pirate ships and he wouldn’t lift the Natural Connections pencil off the paper. It was like one continuous line and he had For the past seven years, Elijah has participated in ʽĪlio so much detail with the shape of the cannons and everything Lapaʽau, the therapeutic horsemanship program directed by on the ship.” Fern White. There, Elijah has experienced the natural world in Elijah’s artistic ability continued to grow and in middle school a very tangible sense that has fed his artwork. his art teacher, Trish Bryan, recognized his abilities. She asked “He was one of my first official ʽĪlio Lapa‘au participants. It’s him to create a design for the May Day program and by the helped him find his way, find his confidence, find who he is. time he reached high school he was well on his way with an He started by learning how to just be around horses, massage 21 art career. them and whatever else he could do for the horse, and then he

KeOlaMagazine.com | September-October 2018

Elijah and Fern with Cutie and Patootie. photo by Jan Wizinowich

started noticing details. His first horse was Cool Ed, a beautiful palomino and he actually made some drawings of Cool Ed,” said Fern. Reflecting the aloha Elijah has received from the community, he thrives on caring for others. The horse program has provided him with an opportunity to expand his caring nature. Along with connecting to younger participants and caring for the horses, he looks after the goats and two rescued Kona Nightingales, Cutie and Patootie. “They kind of rescue each other,” said Fern. One of Elijah’s favorite subjects is the white Siberian tiger, Namaste, whom he visited many times at the Pana‘ewa Zoo in Hilo. Namaste, who passed away in 2014, is featured in one of Elijah’s first murals located at Kamehameha Park Pool. Although Namaste lived in captivity, Elijahʻs mural depicts him free in his natural environment. “He was always coming in and talking to me about the zoo. We spent a good part of a semester just doing homage to the white tiger, Namaste. That was something that really made an impression on him,” said Kohala High School art teacher, Margaret. Periodically, Elijah and his assistant Sarina Seidel visit the zoo. They were on hand in March, 2016 when two new tiger cubs arrived, which inspired Elijah to make the cubs the Elijah's lobster painting. photo courtesy of Richard Elliott

Elijah's whale tale painting. photo courtesy of Richard Elliott subject of one of his water color designs for greeting cards. Artistic Process After Elijah graduated in 2009, his artwork became part of the Kohala community scenery. The large canvas of mural walls gave him a chance to explore a larger creative vision. Working from photographs, Elijah does a sketch of his design and then uses that sketch to enlarge and transfer the images onto the mural wall. One of his first murals was at the Kamehameha Park swimming pool, a project organized by community artists Elijah painting the train on the Häwi Post Office mural with Patrick Ching. photo courtesy of Sarina Seidel

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Elijah's jellyfish painting. photo courtesy of Richard Elliott Cathy Morgan and Sarah Kobayashi. The entire project resulted in one small mural featuring Namaste and a larger one that includes some of ElijahĘťs favorite sea animals (dolphins, tiger shark, sea lion, sperm whale, and monk seal) along with a depiction of the first Polynesians arriving on the island. The canoe is laden with plants and animals and is placed in such a

KeOlaMagazine.com | September-October 2018

Elijah finding inspiration on a whale watch cruise, winter 2018. photo courtesy of Sarina Seidel

One panel of the whale mural by Elijah on Akoni Pule Highway in Häwi. photo by Gayle Greco way that the viewer feels they are watching an historic event from their own canoe. In 2011, Tracy and Fred Figueroa (owners of Figʻs Restaurant) asked Elijah to create a mural on the walls fronting their building. The result is a Kohala pastoral scene with “Mr. Fred on the horse over there,” pointed out Elijah. And even

though the restaurant is now closed, Elijahʻs mural can still be enjoyed by all who pass by. His latest effort, which is not yet complete, came about through the desire to beautify main street Hāwi. “Kar Tow put up a new fence. I had the idea, in talking with Elijah, about doing murals on the fence, as it was looking very industrial

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Above: The latest panel of Elijah's Häwi mural. photo courtesy of Richard Elliott Below: Elijah's wrasse painting. photo courtesy of Richard Elliott

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Elijah showing off his horsemanship skills. photo courtesy of Fern White here in town,” said owner Richard. The subject of the mural was inspired by a whale watch cruise that Elijah and Sarina took in the winter of 2018. The mural depicts humpback whales swimming and breaching. You can imagine seeing the whales from the perspective of being onboard a boat and approaching a pod of whales. “That whale painting—that’s a really deliberate graphic sense Elijah has. Design is one of his geniuses,” said Patrick. Elijah has created a number of watercolor paintings that are reproduced as cards, which are sold at the Saturday farmers’ market in Hāwi and at Paradise Postal. Elijahʻs use of color in his paintings is vibrant and invites you in, making the subjects seem three dimensional; this is an innate talent that emerged from his experience with artist mentor, Angel Teodora, whom he worked with doing watercolor painting for five months.

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Grown with Aloha Rather than presenting a difficulty, Elijah’s autism enables him to see and recreate the world around him in his own unique way. He lives in the moment with a keen sense of all beings around him. Elijah’s story could have been very different; however, his natural talent has been nurtured by the aloha of the Kohala community and the enveloping natural environment that has allowed him the opportunity to evolve as an artist. His latest Hāwi mural will be finished soon and he hopes to continue doing more mural art. ■

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Hawai‘i Island Ho‘i‘o (Fiddlehead Fern)

Local Foods

By Brittany P. Anderson

their appetite was hō‘i‘o. While in Hā‘ena, Kaua‘i chief Lohi‘au drew out a long feast and just before daybreak brought out a dish of hō‘i‘o and ‘ōpae (shrimp) sprinkled with salt. Eating their favorite meal, Lohi‘au exposed the Piliwale to sunlight, and their reign of terror ended as they turned to stone. With my bucket full of hō‘i‘o, I slosh my way back through the pasture. A break in the clouds allows a few rays of sunshine to warm my face and I can’t help but think of the Piliwale turning to stone as they demand to gobble up this hō‘i‘o harvest. Hō‘i‘o Recipe 1 bunch of hō‘i‘o, washed (see note below) 1 Tbs coconut oil Sea salt to taste ½ cup limu (seaweed), optional Method Cut hō‘i‘o into roughly 1-inch pieces. Blanch ferns for 10–30 seconds by drenching in pot of water that has reached a rolling boil. Remove shoots immediately with a slotted spoon and place on serving plate. Drizzle with coconut oil and sprinkle with sea salt. You can add limu on top as well. Serve immediately. Note Prepare hō‘i‘o by cutting two inches off the bottom of stalk. Wash thoroughly to remove hairs or any debris. Take care when washing the curled tips to not break or bruise the area. Hō‘i‘o degrade quickly and should be used immediately.

KeOlaMagazine.com | September-October 2018

It’s one of those rainy days, when the sky is filled with endless layers of clouds painted with broad strokes of lilac and gray. Looking out at the ocean, I see dark indigo patches of rain squalls marching towards land. I trudge through the pasture with my trusty bucket to the back corner of my farm. The grassy edge of the field turns into a canopy of bamboo near our stream. Here, my hands search for tender green bracken fern tendrils poking out from under lacy green leaves. Harvesting the fresh wild hō‘i‘o is meditative, a state of feeling like I am the only one on this big, big island. Commonly known as fiddlehead fern, on O‘ahu and Hawai‘i Island it is known as hō‘i‘o, in the Philippines it is pako, warabi in Japan, and on Maui it is called pohole. We are lucky the tender shoots of this bracken fern variety are available yearround on Hawai‘i Island. For centuries, the curled fern shoots have been eaten as a vegetable in traditional diets across Europe, Asia, and by Native Hawaiians. It is also one of the oldest ferns, with fossil records over 55 million years old. Bracken ferns need clean fresh water, a wet climate, and do well in dappled shade as well as full sun. My ferns grow higher than four feet tall, enjoying the tropical rainforest setting and cool, clear water running down from Maunakea. Hō‘i‘o are young leaf shoots, plucked carefully within 14 days of the first signs of unfurling. Running your fingers down the stem, snap just above where the flesh becomes woody: it should break easily with mild pressure. The best hō‘i‘o are shiny with dark emerald green stems and tightly curled heads. There is a light auburn fuzz on the coiled head and stem that will need to be gently washed off before cooking. Most hō‘i‘o at farmers’ markets and restaurants are foraged, though there are a few commercial operations. When collecting hō‘i‘o, take only half the fiddleheads you find, to ensure a sustainable harvest. Every fern plant makes several shoots that turn into fronds. Repeated over-picking can kill the plant. The flavor of hō‘i‘o can be described as a mix between okra, fresh asparagus, and button mushroom. In the Hawaiian legend of Nā Piliwale, the fern’s flavor is so alluring, it was used as a trap to stop the dreadful Piliwale sisters. As the legend goes, the Piliwale sisters were terrible creatures with sharp teeth, stick arms and legs, and huge swollen bellies due to their insatiable appetite. The Piliwale wreaked havoc by night and slept in caves by day because if a ray of sun touched their skin, they would turn to stone. They traveled the islands expecting each village to feed them and if the villagers did not give the sisters enough, the Piliwale caused landslides and floods. The only thing that could satisfy

Woodworking a love story By Catherine Tarleton

KeOlaMagazine.com | September-October 2018

ward-winning wood artist Timothy Shafto is part artist, part engineer, and part impresario. A stonemason by trade and self-taught woodworker, Tim presently paints— pours, actually—large epoxy, sand, and wood wall art, using special techniques he has developed over the years. His work can be seen at Tiffanyʻs Art Agency in Hāwi, owned and managed by Tim and his wife Tiffany DeEtte Shafto. The two make a creative team of owner-operators. “I’m head-down in the studio. I just want to create,” says award-winning wood artist Timothy Shafto. “I’m very lucky to have Tiffany.” Tiffany, a woodworker herself, feels just as fortunate to have Tim, his art, and his help with the heavy lifting. She doesn’t have much time for the wood shop these days, as she manages the art collective. Tim and Tiffany work closely with more than 20 artists to help them tell their many and varied stories. The Shaftos’ story starts Tim and Tiffany DeEtte Shafto at Tiffany's Art Agency in North Kohala. in the San Francisco Bay area, where Tim was one of the partners in a stone fabrication company where Tiffany worked. With a BA in interior design, Tiffany eventually moved into construction management where she helped transform her clients’ houses into artful homes. When the company was sold, Tim, who had long wanted to get into woodworking, bought tools and set up shop. He and Tiffany married, honeymooned on Kaua‘i, and fell in love again—with Hawai‘i. They returned to live on Kauai in 2004, and made a living by remodeling and flipping homes. By that time, Tiffany had been drawn into the art studio, 30 thanks to Tim and a junior high school wood shop class. They

teamed up on collaborative woodworks that got better and better with each beautiful platter or fine wood jewelry box. “We knew we were on the right track with the boxes because they won awards in the first two shows that we entered,” says Tim. In 2006, they received the Award of Excellence in Hawai‘i Craftsmen’s Annual Statewide Juried Exhibition. The next year, they visited Hawai‘i Island and fell in love again. They scheduled a pre-dawn meeting with the sawyer who provided their koa wood, and embarked on a fourwheel-drive trek up mauka (mountain side). Beyond the forest, they entered a clearing—a century-old cattle pasture— where they had permission to reclaim dead or fallen trees. Logs were cut and milled on site, and afterward, the crew scarified the soil to help facilitate new koa growth. Tim and Tiffany were captivated; they felt a deep connection to the wood at its source, and not long afterward moved to North Kohala. “Here, we were embraced by the incredible woodworking community in a way we never dreamed,” Tiffany said. That community included master woodworker and calabash-maker Dan DeLuz in Waimea, who gave Tim his first lesson in woodturning. Tim also apprenticed with master wood turner Elmer Adams. Both of these mentors, Tim says, changed his life. Tim’s work continued to evolve to the next level. “I started with platters made of wood and epoxy turned on a lathe,” says Tim. He also learned to make wooden vessels, sculptures, and giant koa calabashes. “I began doing it with tables, then

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moved on to the wall art.” Learning new techniques and developing his own along the way, Tim’s wall art became his new passion. “I wanted to play with painting,” he says. “But the workability—you have to work so quick. I started playing around with epoxy and colorflow painting [pouring color

instead of applying with a brush]. Then I started incorporating wood and sand and creating landscapes.” His work begins at the source. “I start with logs. I cut them myself with a chainsaw so I can have a chance to handle the wood. Then I mill it with a band saw.” He gestures to a series of rolling hills on his work, Sunrise. Tim says, “I work with the

Tim uses the wood grains to create land forms, enhances with sand, then pours expoxy resin for water imagery.

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Tim and Tiffany working together in the woodshop, once upon a time.

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Sunrise by Timothy Allan Shafto.

grains, like these hills. This part comes from the crotch of the tree. You never know till you open it up. Sometimes, whoa.” After the wood—usually koa or mango—is planed, and he sees its character, Tim will make a drawing and scale it up to the large size he loves to create. Very thin wood slices are laid in jigsaw-puzzle-style for landforms, and fine sand (which he purchases, never takes from the beach) is applied to shoreline areas. Before he can pour in the expoy resin ocean, he has to build a special “canvas” for the finished work. “I engineered my own panels,” says Tim. “Plywood warps. Plywood forms tension as it dries, and I need to keep this as flat as possible. My panels are actually torsion boxes with a grid system inside. They’re made of wood product and ‘secret ingredients.’” He then—with a magician’s hand—pours liquid epoxy and color pigments where he wants them to go, pouring the ocean up to the shore. “Pigments don’t mix; they are suspended in the epoxy, which gives them a chance to migrate,” Tim says. “Temperature is a factor, too. The hotter it is, the faster it’s going to dry.” After that, the work is hand-sanded to a gleaming finish. Success is never guaranteed, no matter how painstaking the process. “It’s about 90% you and 10% chance,” Tim says. “I can generally get the colors where I want them; but they migrate, and there’s a chance they’re going to do what they’re going to do.” How long did it take him to learn his techniques? “It’s taken all my life!” Tim says. “Everything I learned before, all these individual things that you do lead in to what you’re doing now

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Sokols Sunset by Timothy Allan Shafto.

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... I love this because it’s a journey in forming your own style, creating my own path, really.” Tim says his ideal project would be a big one. “A very large piece, one that starts at floor and goes up,” he says, gesturing toward the ceiling. “Something you could walk right up to and feel like you’re stepping into it ... I’d hope people feel like they’ve actually been there before, or it’s a place they’d love to visit.” “With my stuff, it’s something they’ve never seen before,” says Tim. His sense is that collectors want art that speaks to them personally. “Being able to transform a thought, an idea, into physical form through my hands gives me such joy. But that’s only half the cycle,” Tim says. “When you experience a piece of my work that brings you joy, and you buy it, you are buying a moment in my life and allowing me to continue creating.” “The reason artists are called to create is because their works are meant to make someone happy, and that’s the best part of our human experience,” Tiffany says. ■ All photos courtesy of Tiffanyʻs Art Agency For more information: timothyallanshafto.com

KeOlaMagazine.com | September-October 2018

Statewide Boat Mooring Program Boasts Kona Roots By Fern Gavelek

KeOlaMagazine.com | September-October 2018

rom time to time, something is done purely because it is the pono (right) thing to do. How the statewide day-use mooring (DUM) system came to be is one of them. The strategically placed moorings protect marine coral from being lethally struck by boat anchors. It’s an inspiring story about the collaboration of local dive companies, state agencies, the University of Hawai‘i, and the legendary rock band, The Grateful Dead. After nearly a decade of effort developing mooring technology, raising funds, overcoming bureaucratic hurdles, and actually doing the installation, the day-use mooring system was created in the 1980s in Kona.

Mission to Preserve Kona’s Coral Reefs The driving force initiating the effort was a young couple that moved to Kona from O‘ahu in 1982 and today are the owners of Jack’s Diving Locker. The two certified divers, Jeff and Teri Leicher, immediately noticed how healthy the coral was in Kona compared to the heavily used reefs on O‘ahu. “The Kona area was vast and virtually untouched,” remembers Teri. The couple was dismayed, however, about the practices they observed when out on Kona dive charters. Boat operators were dropping anchors on the ocean floor and it was damaging coral. Some boaters had mooring blocks, but these devices would move during a storm. This movement prevented coral from growing, resulting in barren areas around the blocks. Recognizing the need to protect Kona’s coral, Teri approached her father, an oceanographer, for ideas on effective mooring technology. George A. Wilkins was a marine scientist with the University of Hawai‘i (UH) Department of Geophysics and also on the board with UH’s Sea Grant; the latter supports ongoing coastal and marine research and projects. After some research, George learned John Halas had pioneered a mooring pin method in 1981 being used at the Key Largo National

Mahalo Jack’s Diving Locker – Ocean Story Sponsor Marine Sanctuary in Florida. The technology involved drilling into the seafloor and cementing permanent anchors. Teaming up with Ray Tabata at Sea Grant, George and the Leichers modified the Florida technology to work in Hawai‘i’s substrate of lava and bluestone in 1986. They developed the Hawaiian Eye, an 18-inch steel bolt with a loop-shaped “eye” at the top. Installation involved using a hydraulic drill to make an 18-inch hole into the ocean floor and cementing the bolt using a syringe filled with marine-grade cement. Each mooring had two pins, spaced three-to-four feet apart. Stainless steel cable or chain from each eyebolt connected to a mooring ring that floated in the center above and between the two bolts. A line extended from the top of the mooring ring to a subsurface buoy, making the mooring accessible. Next, the team solicited funding for the mooring effort while contacting a variety of state agencies for oversight. There were endless meetings and discussions involving jurisdictional responsibility and the need for an umbrella agency. The late Jerry Garcia of the Grateful Dead, who was a frequent customer at Jack’s Diving Locker, lent his support of the effort by favorably testifying for its approval at a state hearing. Undeterred by red tape, the team demonstrated the

hydraulic drilling system that would be used for installing the Hawaiian Eye bolts. The drilling—which is like an underwater jackhammer operated by a diver—was used to install swim buoy anchors in Kailua Bay and replaced existing permitted and antiquated mooring anchors. The Department of Transportation Harbors Division gave its full support for the installation. With the help of the now-disbanded Kona TORCH (The Ocean Recreation Council of Hawai‘i), permission was secured

Day-Use Mooring Program Expands In 1998, the state legislature passed Act 306, requiring that a system of day-use moorings be established along the 150-mile West Hawai‘i coast and appropriated funds to pay for initial mooring hardware and buoys. Today, there are almost 100 DUMs along the Kona-Kohala coast, stretching from Kealakekua Bay to Black Point, which is north of Pu‘ukoholā Heiau in North Kohala. There are no moorings yet on the island’s east side, though there have been discussions of installing DUMs outside Hilo Harbor. Statewide, there are 220 day-use moorings according to malama-kai.org. Malama Kai Foundation is a nonprofit organization dedicated to ocean stewardship, providing public education and opportunities for community service.

KeOlaMagazine.com | September-October 2018

Newly installed Hawaiian Eye mooring pin before rigging.

to install the Hawaiian Eye day-use moorings at 46 sites off the Kona coast in 1989. The Grateful Dead’s Rex Foundation donated $10,000 to pay for the system’s buoys. “The only reason we started this whole process was to protect the coral,” notes Teri. “So once we got permission to install the moorings, we made it known they were for the public to use, both private and commercial boats.”

Malama Kai Maintains Effectiveness of DUMs Overseeing the never-ending challenges of operating the DUM program is the Malama Kai Foundation Day-Use Mooring Working Group. Current DUMWG members are ocean sports representatives from each of the islands. The working group coordinates each island’s volunteers and equipment, regular inspection and maintenance of moorings, and installation of new moorings. It also collaborates with the Hawai‘i Department 37 of Land and Natural Resources (DLNR) and other state and

local agencies regarding mooring issues. A member of the working group, Teri serves as a liaison with DLNR. She is involved with advocating the legislature for Dropped boat anchors damage coral, which can take years to funding, as regrow and become established. each mooring installation costs around $1,500 just for the hardware. Teri travels statewide for public hearings and pushes paperwork through a variety of state and federal agencies: the Office of Hawaiian Affairs, Army Corp of Engineers, NOAA, and DLNR’s Division of Boating and Ocean Recreation (DOBOR). “With the many steps involved, it takes a village to do a mooring,” notes Teri. She says a challenge in adding moorings can be overcoming the incorrect perception that adding a mooring brings more boats to a location. “We add moorings where boats are already going and coral is being damaged by dropping anchor. The moorings are simply protecting the coral,” she emphasizes. Boater Cooperation Is Important According to the DOBOR website, day-use moorings are available on a first-come, first-served basis for recreational and commercial vessels. It reads, “If the day-use mooring you are looking for is occupied, anchor in sand, drift while fishing or snorkeling/diving, or use a boat brake.” While DUMs are geared to accommodate boats in moderate weather conditions, there are rules governing their use that are administered by DLNR. Mainly, a day-use mooring is limited to 2.5 hours when another vessel is waiting to use that mooring

KeOlaMagazine.com | September-October 2018

A diver drills a new mooring pin site.

A DUM in use off of West Hawaiÿi amid healthy coral growth. buoy. Some of the more popular dive sites have more than one DUM, which are placed far enough away from each other to provide for better dive site management, including keeping boat traffic away from divers. Permits are not required to use a DUM. “I hope and believe the state government will begin to establish carrying capacities for our underwater resources, limit use by granting (or withholding) permits, and provide sufficient moorings and maintenance to accommodate users so there is no need to drop anchors,” states Jeff Leicher. “Coral has enough threats to worry about—climate change, sunscreen, etc.—without having to survive a carelessly thrown anchor.” Statewide, DUMs are maintained by Malama Kai. DUM’s working group collaborated with DLNR to develop a 10-year plan that includes a DUM installation and maintenance manual. This effort includes training divers to properly do installations. To help the working group keep on top of things out in the ocean, DUM users are encouraged to inspect a mooring upon use for any deterioration and report issues. “I encourage boaters to take a look at the condition of any mooring their boat ties off to,” details Jeff. “If they see a worn shackle, chain, or line, point it out. We all need to help keep the moorings and the boats that use them safe.” Instructions for inspecting moorings, proper techniques for securing vessels, and usage rules are detailed in Day-Use Mooring guidebooks available at malamakaifoundation.org. The books also detail what each dive site offers. These guidebooks are especially helpful to new island boaters. According to Ed Underwood, DOBOR boating administrator, new Hawai‘i boaters, including boaters coming from a different state, are not specifically notified about Hawai‘i’s DUM program. To find out, he says via email, “They need to review the rules.” The DLNR posts rules and info at dlnr.hawaii.gov/dobor/day-use-moorings/. Also, information on DUMs appears in the Hawaii Boating Law Basic (HBLB) manual. The manual is provided to all online and statewide boating safety course providers. The HBLB manual is required reading for boaters requesting a DOBOR Boater Safety Education Card—completion of a boating safety course is required to operate a motorized vessel in state waters. In addition, mariners can find out about Hawai‘i’s DUM through DOBOR’s ‘Ike Kai, a training curriculum developed in

Jeff and Teri Leicher of Jack's Diving Locker. 2016 for commercial and tourism boaters at dlnr.hawaii.gov/makaiwatch/files/2015/12/Ike-kai-DOBOR.pdf. Support DUM Effort and Help Our Reefs Anchor damage is a key threat to coral reefs worldwide, according to the International Coral Reef Initiative and the US Coral Reef Task Force. Hawai‘i’s day-use mooring system is part of the solution to help our local coral reefs, which are under siege by ocean warming, ocean acidification, and land-based pollution runoff. Backing up the need to protect Hawai‘i coral is state law. Divers work as a team to install a DUM, using lift bags to prevent coral damage.

Volunteers prepare equipment for a DUM installation training off Kauaÿi.

KeOlaMagazine.com | September-October 2018

According to the State of Hawai‘i Division of Aquatic Resources website, “It is unlawful to take, break or damage, with any implement,” any reef corals. That includes any intentional or negligent activity. Jeff encourages anyone who sees a boater damaging coral in Hawai‘i with an anchor to report it to DLNR’s Division of Conservation and Resources Enforcement (DOCARE) hotline:

808.643.3567 (DLNR). Infractions can also be reported via a new Tip411 app downloadable on iTunes or Google Play: find details at dlnr.hawaii.gov/docare/. “Malama Kai received funding that was part of a fine levied by the state after an uncaring boater’s anchor chain destroyed a large swath of coral on Maui,” recalls Jeff. “The money was used for 60 new moorings statewide. If you see something, say something.” Most DUM funding comes from donations by generous divers and snorkelers who visit and appreciate Hawai‘i’s reefs. “The process of installing and maintaining the DUM system is ongoing,” emphasizes Teri. “It’s been in the works for over three decades. We continue to work with the state and DLNR to overcome hurdles in protecting the reef and our marine resources.” ■ Photos courtesy of Jack’s Diving Locker For more information: malamakaifoundation.org

Pahoa Town By Tiffany Edwards Hunt

Then and Now

āhoa’s old-timers will tell you that living on the East Rift Zone, they have dealt with flowing lava before. The volcanic soil attracted the Puna Sugar Company to the area, making Pāhoa rich in the history of immigrants— predominantly of Japanese descent, who came to work in the nearby plantation fields. Aiko Sato, whose father Hiroo Sato wrote the book Pahoa Yesterday, notes the key difference between then and now is that there aren’t any more Issei (first generation) mom and pop stores. A handwritten map of the “business section of Pahoa” published in the early 1920s lists a hotel, barber, tinsmith, tombstone shop, drug store, candy, tailor, shoe repair, and tabi (shoe) shops, all with Japanese surnames. “I don’t know what business it is now, the building at the end of the main strip before Paul’s Service Station,” says Aiko, referring to the turquoise Cunningham Building that now houses the Mystic Closet clothing store and Habitat Tattoo. “It was the Kawamura’s residence, and before that it was a restaurant and bar,” she says. All Issei women had anthurium patches in

their yards, Aiko notes. “The women were homemakers. To supplement their spouses’ income, the women started growing anthuriums, because they needed ‘picha’ money. Picture—to go to the movies!” “Going to the movies” meant going to the Akebono Theater. Aiko remembers Mrs. Kawai with her “huge reels” and “huge posters,” and the staple gun she used to put up the posters. “She would just sit on the porch over there,” Aiko says, pointing in the direction of what is now a vacant lot. The historic Akebono Theater and its neighboring Luquin’s Mexican Restaurant burned down in January of 2017. Owned by Hanjiro Kawai, the Akebono Theater was built in 1917 and up until World War II, there was a sign in English and

KeOlaMagazine.com | September-October 2018

41 Historic photo hanging on the wall of Jan’s Barber Shop. photo courtesy of Jan Ikeda

KeOlaMagazine.com | September-October 2018

Aiko Sato of Pähoa stands in her ¼ acre anthurium garden tucked away on an unmarked lane in Pähoa Village. photo by Tiffany Edwards Hunt

another one with Japanese characters that read “Akebono Za Gekijo” (theater). Aiko recalls that there were Japanese films twice a week at the Akebono Theater, with Thursday offering more contemporary films and another night offering samurai films. One night a week there would be a Filipino movie, to cater to the Filipino plantation workers who called Pāhoa home. “I can never forget that theater,” Aiko says, expressing sadness that such an iconic building burned. She was too young to remember; however, Aiko was told about the Fukumoto’s tofu factory burning down, and her grandmother being so afraid that the fire would spread into the nearby plantation camp that she fled with a chest of drawers on her back. Aiko’s grandmother couldn’t even lift the chest of drawers the next day, a testament to the adrenaline she had with the fire threat. Hiroo wrote in Pahoa Yesterday, “The tofu shop was located across from the Pāhoa YBA Hall. The fire that started from a fireplace destroyed the structure on November 8, 1953.” Aiko lists the businesses she used to walk by on her way to Pāhoa School: Pāhoa Cash and Carry, Momita Store, Subota’s Puna Tavern, Miura Tavern, Sami’s Bar. They are all gone. The only remnant of the commerce of Pāhoa’s past still standing is Jan’s Barber Shop, situated just after the boardwalk and before the uphill descent toward Sacred Heart Catholic Church and the complex of Pāhoa schools. Over at Jan’s Barber Shop, Jan Ikeda will tell you all about that fateful day in 1953 when the cane truck lost its brakes and went barreling into her family’s business. She has the photograph to show in one of her many collages of memories on the wall of her barbershop. The ‘Ōla‘a Sugar Company brought in a crane to hoist the truck and trailer onto the road, and carpenters from the plantation restored the building to its original condition, according to Hiroo’s report. “I still remember when they used to go out and work in the cane fields and cut cane piece by piece,” Jan recalls. “Then later on the mechanical harvester came and did the harvesting with the machine.” She noted that before there were cane trucks, there were cane trains that would bring the cane from Kapoho to the ‘Ōla‘a Sugar Mill via Pāhoa. In fact, the train tracks were right beside the barbershop. This year Jan’s Barber Shop celebrates 69 years in business.

Jan Ikeda of Jan’s Barber Shop. photo by Tiffany Edwards Hunt

KeOlaMagazine.com | September-October 2018

“Anybody else who has that record?” asks Jan. “We will stay in business,” the 83-year-old says, adding that she has to “keep [herself] strong.” Like Aiko, Jan refers to the “mom and pop stores” of the past. “We had two bakeries. We had a fish market. We had stores like Yamaguchi Store, Soichi Store, Miura Store.” Some of these stores sold candies, ice cream, and other goodies; others sold supplies like toilet paper and Kleenex. “Small stores. But they’re all gone.” Elson Kalawe stands outside Boogie Woogie Pizza, recalling the old Shiigi Store that used to be there. “When you walked in, to the right was a Coca-Cola cooler with ice, no electricity, and they had the sodas in there.” He recalls the store also had tilted glass jars filled with candy. “We used to have credit. We could walk in the store, ‘Oh, my tutu is paying for this later,’ grab what you need and walk out,” Elson says. Elson points to the open field across the street, where Luquin’s Mexican Restaurant used to be located. “Toma’s Bakery was right over there,” he says. According to Hiroo, Haruko Toma started his bakery in 1939 and he was known for his sweetbread in particular. There were benches in front of all the stores, Elson recalls. “Japanese here, Filipinos here. Hawaiians there,” he says, pointing to different storefronts along the boardwalk. “They would walk up and talk to each other. They all got along.” “Pāhoa was a very quiet town,” Jan says. “Everybody knew each other. Today you don’t know anybody. My customers, all the old Japanese men are gone, and their children are already in their 90s. Many of them left here because, when the lava came, they moved out to Hilo, and, as they got older, they said, ‘Oh, we can’t live in Pāhoa because it’s too far from the hospital.’ So, we only have a few Japanese people and a lot of newcomers.” Over the years, Jan has seen the population in Puna swell as a result of all the subdivisions created in the 1960s. To her, that’s the most distinct difference about Pāhoa, then and now: the newcomers. “You can’t fight progress, and I like to see new people come,” she says, noting she meets people from all over who recently moved here or who want to get their hair cut before returning home from vacation.

The Business Section of Pähoa in 1920, published in Hiroo Sato’s book Pahoa Yesterday. photo courtesy of Tiffany Edwards Hunt

Pāhoa Now At the time this issue was being sent to press, the Leilani lava flow had been in action for more than three months and had just about stopped. Merchants say that Pāhoa feels normal again. Of course there are constant reminders that Pele is still in charge. With most of Hawaiʻi Volcanoes National Park being closed, and with great efforts by the local organizations and among the dedicated merchants, Pāhoa has the potential of becoming the new gateway to Pele’s home on the slope of Kīlauea. What it took to bring people back to Pāhoa with a volcanic eruption a few miles away for three months was a huge effort led by the members of the Mainstreet Pāhoa Association and its Board of Directors. As a 501(c)6 organization which supports local businesses, and works with the community, other nonprofits and government agencies, the association had enough cache and connections to get doors to open. The mayor and governor reassured the public that only a tiny part of Hawai'i Island had been affected by the lava flow, and that the town of Pahoa was safe. During the Fissure 8 lava flow, the pleas for kokua (help) to save Pāhoa Town helped break down the initial fears that had kept people away. Old Town Pähoa Village with lava glow backdrop, July 2018.

KeOlaMagazine.com | September-October 2018

photo courtesy of Kornelius Shorle

Kimberly A.K. Parks RB-19981

Historic photo hanging on the wall of Jan’s Barber Shop. photo courtesy of Jan Ikeda The dedication of a few movers and shakers within the town rallied to quickly create a benefit concert on July 21 which included closing Pāhoa Village Road to vehicles and installing two different stages for live music. In addition to many talented resident musicians, Marty Dread and Tavana came to Pāhoa to perform and delight the crowd. Grass-roots organizations like Pu‘uhonua o Pūna and the Bodacious Ladies of Nanawale had donation booths on site and the underconstruction Puna Kai Shopping Center down the road provided parking. Kapoho Kine Tours provided shuttle-buses all day and night. It was inspiring to see the island community come together in support. Kealoha Kelley, owner of Pahoa Used Books and Movies quipped, “We like to think that this event helped put us back on the map!” Pāhoa craftsman and owner of Puna Gallery and Gift Emporium Amedeo Markoff says, “Our business dropped off for about a month when the new flow began; however since then business has slowly been improving and weʻre seeing people coming from all parts of the island and world who want to support our community and view the amazing volcanic spectacle. Even if the lava stops, we have some of the best restaurants, galleries and shops anywhere on the island, if you haven’t visited lately, come soon!” ■ For more information: pahoatown.org

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A Bygone Era — Hilo’s

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By Marcia Timboy

f walls could talk, an 86-year-old building in downtown Hilo would have a myriad of stories to tell of a wahi pana (special legendary place). In an area where ruling chiefs governed during the pre-contact era, and that later served as a Hawaiian monarchy summer residence, the current building was constructed prior to statehood to conduct territorial law enforcement and civic proceedings. Known as the “old Hilo police station,” the structure now houses the East Hawai‘i Cultural Center (EHCC), an arts and cultural center, which has provided art exhibits, workshops, 46 classes, and performances to the Hilo community since 1982. Located at 141 Kalākaua Street, in a historically significant

area, the town square had governance structures in use since 1817. Across the street, Kalākaua Park, created by King David Kalākaua in 1877, is still utilized for community cultural events, like the annual Hilo Lei Day Festival in May. History The two-story structure was built in 1932 from reinforced concrete, is adobe-finished with wooden interiors, and has a hipped roof in asbestos shingle. The building’s outstanding features include leaded-glass-topped double front doors and double hung windows, decorated ventilation openings, and four-columned central front porticos on both the first and

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The structure lay vacant for almost seven years until the East Hawai‘i Cultural Council, established as an umbrella group of community arts organizations, secured a 20-year lease from the County of Hawai‘i in 1980. It took about two years of planning, fundraising, renovation, and construction to turn the former courthouse and police station into a culture and arts center. Well-regarded educator, arts and culture advocate, and longtime Hilo resident, Mrs. Frances Chang Sherrard, spearheaded the movement to acquire the building. Mrs. Sherrard realized the importance of designating the structure as a historic building, thereby preserving some of the cultural

Hilo Police Station and County Courthouse, circa 1960. photo courtesy of Hilo Police Department, County of Hawaiÿi

KeOlaMagazine.com | September-October 2018

second floors. The interior consists of about 16 major rooms of wood construction (per the National Registor of Historic Places). The second floor housed the district court, including a clerk’s office, judge’s chambers, courtroom, library, and miscellaneous rooms. The first floor housed offices for the sheriff, deputy sheriff, clerks, captain of detectives, filing bureau, the detective bureau, captain’s quarters, and the police station. A central corridor on the first floor served as the connecting channel among all offices. Two indoor stairways lead to the second floor. In February 1969, the court was moved to a new state office building, and in 1975 the police department moved to a larger facility.

Hilo police officers in formation, behind the courthouse/police station building and in front of the annex, circa 1970. photo courtesy of Hilo Police Department, County of Hawaiÿi

KeOlaMagazine.com | September-October 2018

landscape of Hilo. Her statement of significance to the National Register of Historic Places follows: “The district courthouse and police station were built in 1932 to accommodate Hawaii County agencies. It lies in an area that has been the center of government and civic activities for Hilo since 1817. It is bounded on the northeast by the Hawaiian Telephone building, designed by prominent Hawaii architect, Charles W. Dickey, in 1930. The nationally registered historic U. S. Post Office/County Building is to the southwest. Directly across the street is Kalakaua Park established in 1877 by then ruling monarch, King David Kalakaua.” Plans for the district courthouse and police station were drawn by Frank Futoshi Arakawa (1891–1977), deputy county engineer with the County of Hawai‘i, and one of the first Nisei (second generation Japanese in Hawai‘i) to graduate

Hilo police officers and detectives, circa 1940.

photo courtesy of Hilo Police Department, County of Hawaiÿi

from Stanford University with a degree in civil engineering. It was the first government building in the county to include accommodations for the automobile in its initial plans. Completed at the cost of $54,017.49, it was described in the Hawaii Tribune-Herald as being “well-planned and attractively decorated,” and that a “modernistic Hawaiian note prevails, with cream [and] brown colors both interior and exterior.” Shigeru K. Oda, a well-known and long-time contractor in Hilo, was the general contractor; C. M. Yamashita did the

Hilo police officers on front länai of building, circa 1970. photo courtesy of Hilo Police Department, County of Hawaiÿi

Hilo police officers on the side of building, circa 1960. photo courtesy of Hilo Police Department, County of Hawaiÿi

painting; and H. Matsuo, one of the first Japanese plumbers and tinsmiths in Hilo, did the plumbing. Stephen L. Desha Jr., district magistrate for South Hilo, and Henry K. Martin, sheriff, were the first to enjoy the new building. The building was listed as site 79000752 on the National

Design Architect Frank Futoshi Arakawa may have been influenced by the work and efforts of Charles W. Dickey, a prominent architect in Hawai‘i between 1900–1940. Dickey felt a need to adapt his buildings to the local environment, in achieving a Hawaiian style of architecture. In 1926 he stated, “Hawaiian

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Hilo police force in Kaläkaua Park, across from the Hilo Police Station, circa 1940. photo courtesy of Hilo Police Department, County of Hawaiÿi

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architecture is a type distinctive to itself and Mediterranean styles must be adapted to fit local conditions before they are at all suited to the islands.” He favored larger open spaces and fewer walls, to allow the trade winds to circulate, and roofs with projecting eaves in order to keep rain out without having to close the windows. The shape of the roof and the projecting eaves became such a recognizable Dickey trademark that it became known locally as the “Dickey roof”: a hip roof with a double-pitch, that is, a shallower pitch at the eaves. So many other architects have adopted this roof style over the years that it has now become a stereotypical feature of a “Hawaiian sense of place.” This feature is apparent in viewing the building’s facade, with its spacious lānai (porch/balcony), tall columns, strategic placement of large doors and windows, and wide projected eaves. The building design utilizes Hawai‘i’s temperate environment; trade winds to cool the building, and natural light illuminates the interior; a sense of ease is felt as one navigates through its open floor plan spaces.

Today As with most old structures, this historically registered building is in dire need of repair; termite damage and the extremely damp conditions from Hilo rains have taken a toll on the structure. Of recent and urgent concern is that a large section of the copper gutter has dislodged from the eaves due to rotting in the roof infrastructure. Upkeep of such a large and historic building is extremely costly, and the East Hawai‘i Cultural Centerʻs Council is currently working with the County Hilo police force outside of building, circa 1950.

photo courtesy of Hilo Police Department, County of Hawaiÿi

Today the first floor of the building houses the main galleries of the East Hawaiÿi Cultural Center. photo courtesy of Andrzej Kramarz, East Hawaiÿi Cultural Center of Hawai‘i to address this issue. This historic building has transformed into an arts and cultural center over the last four decades. The East Hawai‘i Cultural Center strives to be “a vibrant and thriving gathering place centered on art and culture; an inclusive platform for the expression of the rich and complex cultural diversity that defines our communities through exhibitions, performances, workshops, and creative inquiry.” Voted “Best Gallery” in the Hawaii Tribune-Herald poll in 2016, the current directors and volunteers are working hard to move the Center forward for future generations to come. ■ For more information: ehcc.org or 808.961.5711

Recent art opening reception on the first floor galleries. photo courtesy of Andrzej Kramarz,

East Hawaiÿi Cultural Center

KeOlaMagazine.com | September-October 2018

Resources: The Architecture of Charles W. Dickey: Hawaii and California. Robert Jay. September 1992 Hawai‘i Historical Foundation, https://historichawaii. org/2014/01/27/district-courthouse-and-police-station/ Aloha ‘Aina, Volume II: More Big Island Memories. East Hawai‘i Cultural Center/HMOCA publication. 2015. Hilo Tribune-Herald, 1932 Statement of Significance, National Register of Historic Places, United States Department of the Interior, NPS. Submitted by Frances Sherrard, July 6, 1979

Mälama Mokupuni:

Caring for Our Island Environment A WALK THROUGH A HOME FOOD FOREST By Rachel Laderman

By Julia Meurice

Dave Sansone with a 24.6 pound kalo (taro) grown in the food forest described in article. The forest contains plants like jackfruit, bananas, cacao, loquat, mulberry, tea, and more. photo courtesy of agroforestrydesign.net

Below. Chickens and other animals add value to food forests by keeping down pests, adding

phosphorous-rich poop, and providing eggs and meat. Here the author is in her chicken/ food forest that includes kalo, pigeon pea, Malabar chestnut, papaya, and mamaki.

photo courtesy of Analeah Lovere

tepping onto the narrow path of a food forest, the first thing you notice is the cool, quiet peacefulness. In the dappled shade, you see a variety of leaf forms, textures, and colors—dancing oval katuk (sweet leaf shrub) leaflets; crinkly, dark green leaves of edible hibiscus; splashes of red from the new growth of cassava. Looking up, a large jackfruit hangs a bit perilously over the path. Birds are singing and quickly flit through the forest, seeking bugs, berries, and ripening bananas. I am walking through a food forest with its designer, Dave Sansone, of Agroforestry Design, who also serves as an agriculture production specialist with The Kohala Center. Dave is strongly influenced by traditional indigenous agriculture systems, the basis for permaculture. “I became disillusioned with organic production agriculture because it is rarely sustainable, since it often depends on outside inputs and high amounts of labor,” Dave explains of his route to agroforestry. Agroforestry, or planting multiple food crops in a forest-like setting, is “a new word for ancient practices,” says Dave. South Pacific Islanders have farmed such polycultures for thousands of years. “Agroforestry was part of traditional Hawaiian food systems and is being revitalized through groups like Pōhāhā I Ka Lani and Hawaiian researchers. The Hawaiian agriculture and aquaculture system, which includes agroforestry, is one of the best food systems in the world, highly productive while protecting the fragile environment.” Dave’s approach to agroforestry differs from the westernstyle practice of typically focusing on windbreaks for cash crops and integrating tree crops with animals. Instead, he builds forests based on diversity and succession. “Successional agroforestry is the practice of planting the way nature gardens—an intentional mix of short, mid, and long term plants including annuals, perennials, groundcovers, green manures, crops, shrubs, and trees grow like a natural forest to beat the weeds and fertilize naturally.” As we walk, Dave points out how the food forest provides not just food security but many of the key ecological services of native forests: fertility, wind and water quality protection, carbon sequestration, and erosion control. The forest protects water quality by slowing rainwater down as it moves through leaves and soil before finally reaching streams. Eight years ago this Hāmākua forest was a waiwi (strawberry guava) patch overgrown on old sugarcane land. Machinery that removed the trees compacted the soil. Dave started off by using “bio-tilling,” a natural way to loosen soil

The beginnings of a food forest, planted for succession—starting with kalo, which will be shaded by koÿokoÿolau and cranberry hibiscus shrubs, and finally a long-term moringa tree (aka kalamungai). photo courtesy of agroforestrydesign.net Even with plentiful fruit, seeds, and bugs, chickens in a food forest still appreciate nutritious treats such as coconuts. For a steady supply of eggs you may need to add a high-protein feed to their foraging diet. photo courtesy of agroforestrydesign.net

by planting crops such as daikon radish and pigeon pea whose roots break up the compacted ground and allow the soil to breathe. “As Masanobu Fukuoka says, ‘mimic nature,’” Dave adds with a grin, citing a pioneer in Japanese natural farming. After a disturbance, such as bio-tilling, nature acts to fill in exposed soil with fast-growing, tough, pioneer species: plants that do well in fluctuating conditions and create habitat for other plants. They quickly form a ground cover and leafy biomass that snuffs out invasive plants while producing mulch, shade, and rich soil while the long-term trees grow up through them. Pioneer plants such as cow peas, Gliricidia (a mediumsize legume tree), pigeon pea, and koa also often fix nitrogen. As we weave through the lush forest, these pioneer plants have been mostly cut back. Enough sun reaches the forest floor to encourage fruiting pineapples among creeping Okinawan and sissoo spinaches. We push aside stems of Warabi ferns, mulberries, and cassava competing for space in the middle-forest layer. Cacao, māmaki, and tea thrive in the shade. The trunks of banana, ulu, jackfruit, Malabar chestnut, and avocado are entwined with bean, chayote, and yam vines. With proper design, a mature food forest is a time-honored, low-maintenance way to provide highly nutritious food and medicine, while also nurturing the environment. If you have a swath of lawn to mow, think about working with natural succession to create a food forest instead. There are many local resources to help you take the proper steps. The birds above, soil below, and water downstream will thank you. Reference: Rachel Laderman, Lynker Technologies Marine Science Division/NOAA Affiliate, Hawai‘i Island For more information: AgroforestryDesign.net (Dave Sansone) Agroforestry.org (nonprofit providing free publications) Kauaifoodforest.org/

Farm helper Analeah uses chop-and-dropped branches and cut grass to mulch a "hugelkulture" mound planted with Cuban red banana, cassava, kalo, coconut, katuk, ti, and sugarcane. Tree trunk branches formed the base of the mound, hosting a vast network of fungal mycelia that help keep nutrients from washing away during heavy rains. photo courtesy of Rachel Laderman

KeOlaMagazine.com | September-October 2018

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Alaka‘i: To Lead Well, Guide Well By Rosa Say

When we talk about leadership, we commonly speak of charismatic and future-forward attributes, and of people who inspire us because of the way their personal purpose in life radiates and infects us. The actions of noteworthy leaders are contagious. It’s good to uphold that brand of leadership, particularly for the instructional way it can sharpen one’s purpose and bring it to fruition within a worthy cause—everyone can aspire to visionary leadership. There is another side to leadership however, a very practical and follower-inclusive side, which Alaka‘i, the Hawaiian value of leadership, will remind us of when we recall and invoke it: To lead well, the Alaka‘i manager must guide well. Similar to great management, great leadership is about getting a vision accomplished with others and through others, and not solely for yourself. As researched for Managing with Aloha’s study of the Hawaiian values, Alaka‘i leadership is “going before” and “showing the way.” It’s to “lead with initiative” and “with your good example” in order to “be the guide for others.” Indeed, legendary Hawaiian leadership was marked by koa, the attribute of strength and courage. What we find in much larger measure however, is mālama ka po‘e, as the determination to care for one’s people, and ho‘omālamalama, to “cause light, brighten, illuminate, enlighten, inform, [and] civilize,” (Pukui Elbert’s Hawaiian Dictionary) so ‘one’s people’ could elevate themselves along with the ali‘i as their leaders. One of the best ways to study effective leadership, is to make a habit of spotting the informal leaders you encounter in life—people who naturally and instinctively will take charge in everyday situations because they happen to be good guides in talent and strength. Emulate them. They pull us along, and they guide us forward, navigating whatever the situation may be. They push forward rather courageously, but what really sets them apart, is that they constantly look back as well— they look back to make sure we’re still with them. They check to be sure we’re still okay, enough to keep going. In other words, they care about us, as much as they care about achieving their quest. When you are an Alaka‘i Manager, caring leadership is what you’re known for as well. Caring for others does not diminish your striving, and it doesn’t interfere with your efforts to achieve. On the contrary, caring for others, and assuring they are brought with you strengthens your purpose, fortifying that purpose with additional meaning and worthiness.

Alaka‘i is the value ofdignity leadership. “Ho‘ohanohano: Honor the of others. You shall be the for others when Conduct yourself withguide distinction,and cultivate you have gained their trust and respect.” respectfulness.” Fourteenth in Series Two on Managing with Aloha Fifteenth in Series Two on Managing with Aloha

Managing with aloha

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Next issue: We revisit Mālama, the value of compassion and stewardship. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

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In Managing with Aloha, we learned about how the Alaka‘i Nalu of Hualalai were the ‘leaders of the waves’ in water sport activities explored by their guests. Since then, I’ve studied the training given to other occupations where people are expected to be tour guides and experiential leaders of some sort. It may seem less lofty at first take, but don’t sell guidance training short; every leader could benefit from this training as their reminder of what effective leadership truly requires. Here, for example, are some of the Alaka‘i qualities emphasized by great guides who get stellar results: —Have strong communication skills. Projecting a guide’s voice is about projecting what you know lies ahead, and believe can be done to get there. —Be personable and outgoing; be the kind of person others want to be with, and want to follow. Transfer those communication skills into conversational skill; when you draw everyone in a group into the conversation, you draw everyone into the experience. —Improvise. Have an ability to go with the flow, change things up, and play off the energy of the group. Be able to slow down with good humor, and without impatience when it’s called for. —Be sure people feel safe. Help people try new things, and don’t test them by daring them to do so. —Keep things moving. Tour guides talk about this one as punctuality, and having the ability to meet time schedules without lessening an experience despite the level of improvisation the group requires. —Be knowledgeable, and be passionate about the knowledge you have in regard to sense of place, and your own experience of it. Be “the local one.” What would you add, as a leader within your business and workplace? Above all, be true to your values. Values are the ultimate mālamalama guides, and an Alaka‘i Manager is a value’s conductor and enabler.

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Hawai‘i Island’s Hospice Services Providing More Than You May Think

By Paula Thomas

Hawai‘i Island has three hospices, each serving different regions, all in existence since the early-to-mid 1980s. Hospice care comes where the patient lives, whether that is a private home, a nursing home, or a long-term care facility. Medicare, Medicaid, and most private insurances cover hospice. Hawai‘i Island’s hospices include Hawai‘i Care Choices in East Hawai‘i, North Hawai‘i Hospice in Waimea, and Hospice of Kona in Kailua-Kona. Together they provide bereavement and nearend-of-life care for all Hawai‘i Island families. Hawai‘i Care Choices, Hilo Hawai‘i Care Choices is the organization formerly known as Hospice of Hilo. The name change earlier this year reflects the expansion of regular services offered to meet the growing needs of families in East Hawai‘i who are grappling with issues that come with serious illness, the process of dying, and the grief that swirls as an integral part of these life experiences. “Our new name seeks to provide a continuum of care for the progressing, seriously ill. This concept of palliative, hospice, and bereavement care allows patients to come to a single, integrated resource that offers guidance and support long before life’s final months,” notes Lani Weigert, clinical relations manager. “Meeting changing community needs means adding services that go beyond hospice care. With the addition of our Kupu Care Program, the only community-based palliative care program on Hawai‘i Island that bridges the needs of seriously ill patients not yet qualifying for the hospice benefit, our new name, Hawai‘i Care Choices, more correctly reflects who we are.” Serving over 1000 patients and those who love them

KeOlaMagazine.com | September-October 2018

ontrary to what people may think when they hear the word ‘hospice’, hospice is not a place. It is a philosophy of care that is patient-focused, holistic, comprehensive, and designed to support and improve patientsʻ quality of life once they are diagnosed with a terminal illness—which can, in some cases, even prolong the patient’s life. Yet hospice services are often engaged just days before someone passes away, leaving people little time to benefit from the variety of care that hospice organizations provide to patients and their families. A survey response often heard from surviving family members is, “I wish we had come to you sooner.” Hospice is a benefit to every American, and when accepted takes care of all medical needs related to the patient’s terminal diagnosis, bringing much-needed comfort to both patient and family. The goal is to reduce suffering with the support of social workers, physicians, nurses, spiritual counselors, CNAs, and volunteers. This advanced, high-touch approach has been shown across multiple studies to improve patients’ symptoms, allow patients to avoid hospitalization and to remain safely and adequately cared for at home. This leads to better patient and family satisfaction, and significantly reduced prolonged grief and posttraumatic stress disorders among bereaved family members. Most hospice care is delivered at home with the patient in charge of medical decisions. This usually leads to a comfortable, higher quality of life experience in a home setting where the patient’s preferences are honored, and that is what most people prefer. In addition, hospice supports caregiving family members during hospice care and afterward.

58 Hawaiÿi Care Choice’s Pöhai Mälama facility on Kapiÿolani Street. This 12-bed inpatient facility opened in 2012. photo courtesy of Hawaiÿi Care Choices

annually, the impact made on patients’ lives is best reflected in the stories of care that occur daily. One such story took place to the organization’s director of operations, Shirley Dellinger and her family. In two months, Shirley’s father, William Sr. had three emergency room visits, two hospital admissions and a nineday stay in rehab after a fall. He was admitted to hospice homecare for symptom management and pain relief caused by his many ailments. Shirley’s mother, Grace, was so relieved to have help. “The care team aided our family in understanding Dad’s disease process, reduced his medications, so they were better for Dad and more manageable for Mom, and provided regular personal care like getting Dad into the shower—sparing Mom’s back and calming her stress,” said Shirley. “The counselors taught us how to just be present versus trying to offer what we thought he needed. I truly believe my dad’s life was extended an extra year due to his hospice admission.” When William Sr. died, his grandchildren were at his bedside. Afterwards, they were counseled by the children’s bereavement counselor of Hawai‘i Care Choices for several months, and later attended family camp. “It was very healing to share the experience with other families who had the same struggles and were working through their grief,” said Shirley. “It helped us to connect to something bigger than ourselves.” Shortly after the death of her father, Shirley’s brother entered Hawai‘i Care Choices’ 12-bed hospice inpatient facility, Pōhai Mālama, as his disease process was more complicated and required a higher level of care than could be given at home. Shirleyʻs family was grateful for the continued bereavement support. In addition to the 13 months of bereavement care for family members of patients given through the hospice benefit, Hawai‘i Care Choices extends its individual and group counseling to the broader community in need, always at no charge. Most health plans do not currently cover the cost of providing palliative or bereavement care. In the case of hospice care, costs often exceed the reimbursements received from insurance

Hawaiÿi Care Choices’ Celebration of Life Lanterns event on the Wailoa River.

photo courtesy of Hawaiÿi Care Choices

companies. Donations and annual fundraising events like the organization’s Celebration of Life Lantern festival and Holiday Dinner and Auction, now in its 15th year, make a profound impact on the continued ability to meet patient needs. The organization’s continuum of care approach means programs are available to accompany patients as soon as they are diagnosed with a serious illness. CEO Brenda S. Ho, who has led Hawai‘i Care Choices since 1990, explains, “We want people to know they do not have to make this journey alone.” Brenda continued, “We want people to have more conversations about their end-of-life wishes with their family members and doctors. We want them to know they have choices and options—their quality of life matters.”

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North Hawai‘i Hospice, Waimea Executive Director Katherine Werner has been at the helm of North Hawai‘i Hospice (NHH) since June 2008. She came to NHH after years working as a nurse in California and in health policy advocacy in Washington, DC. “When you elect hospice,” notes Katherine, “you’re in a different philosophy of care: it’s comfort versus cure. It’s patient-centered, with the patients making decisions about what they want and don’t want.” Once a patient Hawaiÿi Care Choices staff most often visit patients in their home. photo courtesy of Hawaiÿi Care Choices receives a diagnosis of terminal illness, an option exists: stay with traditional medical care or elect hospice by signing a medical form with a physician. “The minute you tell a patient that they are in charge, they are surprised,” she says. NHH, like all the hospices, works to change social norms in Hawai‘i regarding conversations and decisions around serious illness and endof-life care. Rather than focus on the end of life, the focus is on quality of life. “The biggest thing [to overcome] is the word ‘hospice’. It’s like the scariest thing to people. They think it means giving up, and hospice is therefore very depressing and sad,” Katherine explains. “But anyone can come into hospice if they have the diagnosis and support to get here. It’s not depressing. It’s usually gratifying. We find that people are feeling better, they are enjoying life; they are getting out with family and caregivers. They imagined that they were going to take to their bed and everyone would be standing around grieving.” Hospice patients are assigned a social worker

Historic Kainaliu, Kona’s original shopping village. Located 5 miles south of Kailua-Kona.

to get an advanced medical directive, the care plan for end of life, in place to cover critical decision making and daily patient management. Then, patients receive immediate, in-home attention for physical needs like pain and symptom management, medications, getting durable medical equipment, and personal care. “Hospice care can actually make you live longer if you’re being cared for because you are well supported and your symptoms are managed,” notes Katherine. All patients receive a kit containing numbers to call in cases of emergency. It is not unusual that an ER nurse will be on the

KeOlaMagazine.com | September-October 2018

North Hawaii Hospice volunteer providing personal care. photo courtesy of North Hawaiÿi Hospice

other end of a call, as many work for hospice on-call. When a patient does need medical attention, NHH uses long-term care facilities Hale Ho‘ola Hamakua or a facility in Kapa‘au. Along with direct family assistance, NHH provides education, respite care, and grief counseling for families. NHH also assists with things that come under “unfinished business”—spiritual, emotional, financial, or social issues that need to be addressed. As a community-centric organization, NHH runs free educational programs concerning end-of-life issues to employers, schools, community groups, faith-based organizations, senior centers, and at Tutu’s House. Free group and one-on-one programs in grief and bereavement counseling occur regularly onsite for people of all ages. Bereavement counseling is also delivered at community schools, hospitals, and faith communities. The lending library is filled with books and videos about end-of-life issues as well as free resources for people touched by cancer and other life-limiting illnesses. Staff members occasionally respond to calls for grief and bereavement counseling from visitors who experience a loss or death while on island. Twice a year, NHH offers a 15–18 hour training program led by the medical director for prospective volunteers. It covers hospice philosophy, death and dying, terminal illnesses, the grieving process, family dynamics, communication, spirituality, and cultural differences. NHH serves a smaller, rural population and covers about 30 people per day. The team-based care (nurses, physicians, social workers, CNAs, etc.) is amplified by volunteers who do chores, mow lawns, do handyman jobs, art activities, and even massage. As a nonprofit organization, NHH supports operating expenses with its signature High Country Tea event held at the Waiki‘i Ranch Clubhouse. Tommy Bahama sponsors an annual golf tournament, and the Fairmont Orchid partners on

an annual Celebration of Life event held the last Sunday in August.

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A patient room at Pöhai Mälama Care Center. photo courtesy of Hawaiÿi Care Choices

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Hospice of Kona Covering West Hawai‘i from Keahole to Ka‘ū, Hospice of Kona services approximately 45 people per day with a compassionate, professional staff of physicians, nurses, social workers and dedicated volunteers. It has been serving the community for more than 30 years with hospice and bereavement care. While most care is delivered in the patient’s home, Hospice of Kona also has a 5-bed hospice residential home, Nakamaru Hale. It is for hospice patients who require a little more personal care, attention, and comfort than they may be able to get otherwise. Families are welcome to visit and share meals. Above Nakamaru Hale is the new Maluihi Grief Center where various support groups, grief yoga, arts, and counseling occur. Services are free of charge to the community. Memory Lane is the Hospice’s thrift boutique established in 2010. The store is on Kuakini Highway by the Hualālai Road intersection. Gently used clothing, housewares, and furnishings donated by the families of hospice patients are creatively merchandised there. The center is for giving, sharing stories, reliving memories, and volunteering for families and hospice volunteers, and since 2012 the proceeds from sales of Memory Lane go to support Nakamaru Hale. Hospice of Kona also utilizes Memory Lane to loan out their medical equipment. Hospital beds and wheelchairs can be borrowed by anyone in the community. “It gives us a way of helping more than just our direct clients,” notes Laura Varney, CEO since 2006. “We are a resource for the entire community.” Unique to Hospice of Kona is Camp Erin Hawai‘i, a free, immersive weekend offering bereavement services for youth ages 6–17 who have experienced the loss of a family member or friend, now in its 11th year. Hospice of Kona funds the camp in partnership with The Moyer Foundation of Seattle, WA. This year, 53 campers from all over the island participated, assisted by 70 volunteers. Grief workshops, learning to process grief, movement exercises, creative writing, crafts, and memorial ceremonies with candle lighting are wrapped up with camp activities like archery, obstacle courses, campfires, and singing. Youth from all over the state are welcome. Like all nonprofits, fundraising matters, and Hospice of Kona hosts its 10th “Royal Tea” at the Four Seasons Hualālai this year. The Tea is a way to share with donors what is new and coming up. “There’s always something new, but this is really a social,” notes Laura. “Patients and family come together,

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Island Wide Hospice Care All three of our island’s hospices offer similar services, and yet they each have their own unique attributes. We are fortunate to have Hawai‘i Island covered by these amazing organizations. ■ For more information: Hilo: Hawai‘i Care Choices, hawaiicarechoices.org Waimea: North Hawai‘i Hospice, northhawaiihospice.org Kona: Hospice of Kona, hospiceofkona.org

Hospice of Kona's care home, Nakamaru Hale. photo courtesy of Hospice of Kona

Aerial view of North Hawaiÿi Hospice and staff in their Kamuela office on Kawaihai Road. photo courtesy of North Hawaiÿi Hospice

KeOlaMagazine.com | September-October 2018

families buy a table and bring friends. It’s a social way of honoring the work that has been done and letting everyone feel good about what hospice does, so staff and volunteers attend as well. It’s ridiculous hats and great food … there’s lots of toasting and very little formal program. It’s very healing and fun to stand back and watch the magic happen.” “Hospice is not for the last few days of life, it’s for up to six months. We can stabilize the chaos that happens when a member becomes terminally ill,” says Laura.

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La‘au Lapa‘au: Medicinal Plants and their Healing Properties By Marcia Timboy

Hawai‘i is viewed throughout the world

as a place of rest and rejuvenation, a concept that is deeply rooted in and supported by the healing environment of our islands. Ancestral wellness wisdom is the basis of the natural health movement here, which has gained mainstream status as more people adopt principles and practices of indigenous healing arts. Traditional Hawaiian healing arts such as ‘ai pono (healthy eating), ho‘oponopono (emotional/spiritual balance), lomilomi (massage therapy), and la‘au lapa‘au (medicinal plant treatment) are recognized as a viable alternative to conventional medical measures. La‘au Lapa‘au: Traditional Preparation and Application Traditional la‘au lapa‘au requires a holistic approach of body, mind, and spirit for optimal healing results. According to renowned traditional healer “Papa” Henry Auwae, “La‘au lapa‘au is solving the problems of body, mind and spirit. In Hawaiian healing the mental is not separate from the spiritual and physical. Rely on spiritual insight and most of all, guidance from akua [God].” The plants listed below, along with their traditional preparation and application, have been utilized in la‘au lapa‘au for generations:

Hala (Pandanus tectorius) The pandanus tree grows in coastal areas. Hua (keys) or fruit are used for lei, and when dried, as brushes to apply dyes. The lauhala (leaves) are woven into mats, sails, containers, hats, and are also used as thatching material. Uleule hala is woven into cordage. Hala hinano (flower) is used to scent kapa cloth and placed between mats for sleeping. Lei hala are given to signify new beginnings as well as moments of completion such as funerals, birthdays, and graduations. Hala blossoms can be a mild laxative. The fruit is part of a treatment for thrush and latent childhood diseases. The root is a good source of vitamins B and C. Medications for skin disorders use the aerial root in combination with other plant materials including niu (coconut); kukui (Aleurites moluccana) flowers; noni (Morinda citrifolia); ko (sugarcane); and hala leaf buds. The hala leaf buds and aerial roots are combined with other plant materials and ‘alae (red dirt) clay for aid in childbirth. A concoction of the aerial root is drunk for chest pains. Kī (Cordyline fruticosa) Kī or ti, has a variety of purposes. The leaves are used for thatching, clothing, lei making, and in food preparation. Kī plays an important part of religious ÿAwapuhi kuahiwi is a beautiful and medicinally useful plant.

KeOlaMagazine.com | September-October 2018

‘Awa (Piper methysticum) The low-lying ‘awa is found in or just below the borders of the lower forest zone in moist and shady areas on all the main Hawaiian islands. ‘Awa extract, also known as kava, is often mixed with various other substances for healing purposes. Prepared ‘awa is used to treat insomnia, kidney disorders, chills, latent childhood disease, headaches, and tiredness. The ashes from burned ‘awa leaves are rubbed on lesions caused by thrush for children. The beverage made from the root extract is used to relieve congestion in the respiratory tract, cure difficulty in urinating, and regulate menstrual cycles.

‘Awapuhi Kuahiwi—Ginger (Zingiber zerumbet) The ginger plant is commonly found in mesic (humid), shaded forests on the main Hawaiian Islands. Said to have anti-inflammatory properties, ‘awapuhi kuahiwi– also known as shampoo ginger—is used as a compress for sores, cuts and bruises; it is also used to treat toothache, achy joints, sprains, stomachache, headaches, ringworm, and other skin diseases. The rhizomes are pounded together with pa‘akai (Hawaiian sea salt), placed on a young frond, squeezed, and the liquid ingested. The pulverized residue can be applied as a compress to treat headaches.

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ceremonies, and is considered a sacred plant. In psychological and spiritual healing, kī has a significant role as the leaves are believed to have potent protective metaphysical properties. The kī flowers and leaf buds are mixed with other la‘au to treat shortness of breath and asthma.

Noni—Indian Mulberry, Great Morinda, Cheese Fruit (Morinda citrifolia) This small tree is cultivated and naturalized in dry to mesic sites, disturbed hala forests, alien grasslands, and sandy beaches. Mashed, ripe fruit with the seeds removed is used as a poultice to apply to boils, or added to various formulations to treat constipation. The wilted leaves can be applied to cysts or growths on the skin. Made into a salve, the mashed fruit is useful in getting rid of uku (head lice). Noni is also used in treating kidney stones, high blood pressure, diabetes, and bowel problems. The stem bark is used for cuts. Root sap can be applied to boils and other skin infections. Concussions are treated with the mashed green fruit, and when mixed with salt it can be used as a topical medication. The fresh or dried leaves are brewed into a tea and used as a tonic for a variety of illnesses.

The leaves of the mamaki, made into an invigorating tea, is a very trendy health beverage. photo courtesy of Dane Silva

‘Ōlena—Tumeric, Indian Saffron (Curcuma longa) This low-lying plant is found on all the main Hawaiian islands except Kaho‘olawe. When pulverized, ‘ōlena is used as a dye, and to color and flavor food. ‘Ōlena is a mild astringent, anti-inflammatory, and the juice can be introduced into the ear briefly as a cure for earache or into the nasal passage for abnormal nose conditions.

Kō—Sugarcane (Saccharum officinarum) The juice of certain varieties of kō is used as a love potion, while other varieties act to block that love spell. The leaf blades are utilized for house thatching. The sweet stalk was chewed to strengthen and clean teeth and gums. Kō juice was mixed with medicine to make it more palatable. Young leaf buds mixed with kowali pehu (Ipomoea alba), the tropical white morning glory, and salt are used for treating deep cuts, wounds and compound fractures.

‘Uhaloa (Waltheria indica) This small, shrubby plant can be found in dry, disturbed or well-drained, moist habitats between 0–1,300 feet in elevation on the main Hawaiian islands. ‘Uhaloa is used to treat sore throat. The bark is removed and chewed several times a day. The bark from the taproot is mixed with several other ingredients, heated, cooled, and drunk daily for five days for asthma. The flowers are considered good medicine for infants at least 10 days old.

Kukui—Candlenut, Indian Walnut, or Varnish Tree (Aleurites molucana) Found naturally on the main Hawaiian islands in mesic forests from sea level to elevations of 2000 feet, kukui nuts are used for a variety of purposes. They can be strung on a palm rib and burned as a candle. The nuts, leaves, and flowers are used in lei making. The nut oil is utilized as a varnish. ‘Inamona is a relish made from the roasted nuts. The resin and sap can be used as adhesive. Kukui flowers, nuts, bark and leaves are used as a laxative or in higher doses, as a cathartic or purge. The fresh leaves are useful as poultices. Pounded roasted nuts are the base for a curative salve to treat sores and external ulcers. For recovery after illness, nutmeats are ground with cooked kalo (taro, Latin name Cococasia esculenta) and kikawaioa (fern, Latin name Christella cyathenoides), and eaten with fish and ‘uala (sweet potato).

Rooted in Tradition, Integrated in the Present In a recent talk story session, Kumu Dane Kaohelani Silva, a la‘au lapa‘au practitioner and kumu lomi, graciously shared his knowledge of Hawaiian medicinal plants and their healing properties. He also discussed integrated healthcare, and his integrative approach to the management of chronic inflammatory symptoms.

Māmaki (Pipterus albidus) Found on all the Hawaiian islands except Kaho‘olawe and Ni‘ihau, in coastal mesic, mixed mesic, and wet forests. Māmaki bark is useful in making a coarse type of kapa (cloth). The long bark fibers are used for rope and cordage. Māmaki fruit is used to treat thrush and latent childhood disease. The fresh leaves are used to make an herbal tea to 64 treat general debility.

ÿÖlena (tumeric) is a well-known anti-inflammatory herb amongst many indigenous cultures. photo by Marcia Timboy

Ripe noni fruit has a multitude of medicinal uses, and is either injested or applied topically. photo by Marcia Timboy

Kumu Dane stated that his role as a healer and medical professional is “to create herbal solutions to chronic inflammatory conditions, based on scientific understanding of traditional wisdom by addressing the inflammatory component.” He continues, “We are developing new protocols for preventing chronic diseases using traditional plants and utilizing modern technology in order to extract what we’re looking for from each plant. Modern science complements the lessons we’ve learned from traditional healers. For example, when you ask a traditional healer, ‘What is this plant [good] for?’, they will tell you, ‘This [noni] is good for the heart, it will help you control your blood pressure.’” Today, science confirms what Hawaiian healers have known for generations. As an example, there is a proven connection to taking noni for treating high blood pressure, because it often blocks NF-kB, which is a protein complex that controls DNA, Black ÿawa is the more potent type of ÿawa. photo by Marcia Timboy

KeOlaMagazine.com | September-October 2018

cytokine production and cell survival. Incorrect regulation of NF-kB has been linked to cancer, inflammatory and autoimmune diseases, septic shock, viral infection, and improper immune development. Kumu Dane utilizes four main plants from lava lapa‘au which specifically block NF-kB: noni, ‘awa, ‘uhaloa, and ‘ōlena, Kumu Dane Kaohelani Silva which specifically photo courtesy of Hale Ola block the pathway to inflammation. These plants address pehu (acute inflammation) and pehupehu (chronic inflammation.) When pehupehu is not addressed the condition can result in chronic and autoimmune diseases. Wellness Wisdom, Healthcare Evolution Healthcare has certainly developed beyond the conventional western concept of treating isolated symptoms with synthetic medications. The science of health continues to evolve with mainstream acceptance of alternative modalities, based on ancestral wellness wisdom. La‘au lapa‘au and other traditional practices have provided

successful results throughout the generations. Recent scientific research supports the why and how of what makes traditional herbal medicine practices work. ■ For more information: Kumu Dane Kaohelani Silva: haleola.com Resources: Guide to Selected Plants of the Mala La‘au Lapa‘au. University of Hawai‘i at Mānoa John A. Burns School of Medicine, Department of Native Hawaiian Health, and the Native Hawaiian Center of Excellence. 2014-2015 Native Hawaiian Medicines. Malcolm N. Chun. First People’s Productions, Honolulu, HI 1994. Plants in Hawaiian Medicine. Beatrice H. Krauss and Martha Noyes. Bess Press, Honolulu, HI 2001 Plants in Hawaiian Culture. Beatrice H. Krauss. University of Hawai‘i Press, Honolulu, HI 1993 Introduction to NF-kappaB: players, pathways, perspectives. TD Gilmore, Oncogene, 2006

Ke Ola Magazine is not endorsing or making medical claims. The material contained in this article is for informational purposes only and does not constitute medical advice; the content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of a physician or other qualified health provider/ practitioner with any questions you may have regarding a medical condition.

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April 24, 2018: Taking advantage of no crowds at sunrise!

August 2, 2018: Kïlauea's summit remains quiet following the collapse event. This quiet is a significant departure from the pattern of episodic seismicity and continuous deformation over the past several months, with very low rates of seismicity continuing today. Deformation at the summit as measured by tiltmeter and GPS instruments slowed and virtually stopped between August 4 and 5. This view of Halemaÿumaÿu is toward the southeast.

April 23, 2018: The lava has receded into the vent but remains very high. Hot lava is still seen to the right of the vent. What a way to commemorate National Park Week 2018!

Tribute Background photo: August 7, 2018: Civil Air Patrol captured this image of Kïlauea's summit, providing a stunning view of Halemaÿumaÿu and the collapsed area within the caldera. Prevailing trade winds have blown much of the ash emitted during earlier explosions to the southwest (left), where thin layers of light-colored volcanic ash now blanket the landscape. Plumes of smoke rising from the flank of Maunaloa were from a brush fire. Maunakea is visible on the upper right horizon.

May 1, 2018: The summit lava lake is unchanged and has risen overnight to just below the rim of the Overlook crater vent, as seen in this photo.

April 13, 2018: Halemaÿumaÿu, as we once knew it, and the active lava lake within the crater is visible. At right is a comparable view captured on July 28, 2018, following recent collapses of the crater. The Hawaiÿi Volcanoes National Park Jaggar Museum and USGS-HVO can be seen perched on the caldera rim (middle right) with the slopes of Maunaloa in the background.

KeOlaMagazine.com | September-October 2018

May 7, 2018 Visitors at Jaggar Museum overlook on Sunday evening enjoy the glow emanating from the lava lake deep within Halemaÿumaÿu Crater.

69 Photos courtesy of U.S. Geological Survey

Flying through the Air Aerial Arts

Hawai’i Island

By Ma’ata Tukuafu

KeOlaMagazine.com | September-October 2018

f you’ve ever been to a circus, the trapeze performersʻ seemingly effortless performances might have intrigued and inspired you. In the past five years, several people on Hawai‘i Island have begun teaching different forms of aerial arts to all ages. Zoe Eisenberg entered into aerial arts five years ago, at the age of 25. She moved to Hawai‘i Island from the East Coast to be with family and then discovered the performing arts community in Kalapana. Within walking distance of her home were two aerial programs, one at Kalani and one at Seaview Performing Arts Center for Education (SPACE.) An author, screenwriter, and film producer, Zoe says she had been creative mostly in the mental realm until she discovered this form of physical creativity, which was life changing for her. “Aerial arts is the first physical type of creativity I’ve been able to explore. It’s both acrobatics and dance, and I can see improvement in what I do. You can see yourself become more fluid and stronger if you put the work in. That’s how I got hooked,” Zoe explains. Aerial arts encompass an array of apparatuses: aerial silks, trapeze, lyra (steel hoop), straps, slings, and rope. A relatively new trend, aerial arts has gained in popularity all over the world including Hawai‘i Island. There are several aerial studios and dance companies on island, and just a few years ago, local aerialists didn’t even know about each other. “This is the reason Bella [O’Toole] and I started our company Aerial Arts Hawaii—because we were [all] spread out over the island and missing out 70 on the opportunities to collaborate. People didn’t

know we were here. Event producers looking for aerialists would fly talent in from off island. So we gathered up. We are not a true agency in that we don’t take a cut. We launched the company really just to help people find us,” says Zoe. In 2013, Zoe and Bella started producing shows to give Hawai‘i Island aerialists a place to showcase their talent. In the shows, they perform a duo aerial hoop act, under the stage name Bella + Zoe. The community has responded so positively, they continue to create shows twice a year. Their last show on February 9, 2018 was Love in the Air held at the Hilo Palace Theatre, which sold out. Their next 15-act show at the Hilo Palace Theatre will be a Halloween-themed variety show called Creepshow, and will be held October 26 and 28. Bella O’Toole began aerial arts about five years ago, falling in love with the art after her first class. She knew this was what she wanted to do. After about a year and half, she became an assistant teacher, and a year after that, a teacher. Within three and half years of her first class, she opened her own company, Mirabilia Aerial Co. “I teach mixed ages, from eight years old to 50. You don’t have to be flexible or have strength,” says Bella. “It’s so mesmerizing when you see it. Then you try it and it’s so different. You are using your body to do things in the air and it’s amazing because you can do anything, you’re defying gravity.” Bella used to teach at SPACE, and has moved her classes to Pacific Gymnastics in Hilo. Her passion as a teacher is seeing students progress from where they start, seeing them build strength as they have fun flying in the air. Two aerial instructors who also started aerial arts later in

Bella O’Toole (top) and Zoe Eisenberg perform as a duo act on the lyra. photo courtesy of Phil Payson

with the Greatest of Ease

their lives are Shanon Sidell and Ronja Giesser. After taking their first class, Shanon and Ronja knew they wanted to learn more. “Sports are not my thing. But aerial movements are different from daily life and something fired off in my brain,” Ronja says. “At that first class I said to myself, I don’t care what anyone thinks, I’m just going to do this.” In early 2013, both completed their aerial teachers training through NECCA (New England Center for Circus Arts), as they wanted to make aerial arts available to everyone. Starting their company, Hawaii Aerial and Performing Arts (HIAAPA) in the same year, Ronja and Shanon hold classes in both Waimea and Waikoloa. Shanon has a background in theater, holistic medicine, dance and yoga, and had already turned 50 when she decided to attend the teacher training course. “Anyone can do this if you break it down to their level and

KeOlaMagazine.com | September-October 2018

Ronja Guesser (left), Stefanie Cooke with her daughter Addison (middle) and Tanya Dean (right) showcase their talent at Waimea’s Crossfit gym. photo by Maÿata Tukuafu

ability,” says Shanon. “The focus is fun, fitness and creativity for the average person, young to old, flexy-bendy to rehabbing an injury. Many of our students began in ‘mid-life’ and have grown steadily from there. Our senior class is ages 60 and over.” The first thing students are taught is safety, which is paramount when dropping from silks or spinning on a hoop. Warm ups, strength training, conditioning tips, and stretching are a must. Beginners learn proper body positions, muscle usage, and basic positions and balances. Respect is taught toward the apparatus, whether silk or trapeze, and all students may learn at their own skill levels and pace. As Shanon explains, these classes give adults a space to try something they may not have done before. The sense of accomplishment students feel when they are able to try something new is what the teachers strive for. They hold 71

Bella O’Toole teaches a young student at Pacific Gymnastics. photo by Maÿata Tukuafu

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classes for special groups: seniors, people with disabilities, and students who need physical therapy after major surgeries. Ronja adds that though aerialists are athletes, they are not competitive with each other. Students are encouraged to help each other and to work at accomplishing their own goals. After a six-week class has ended, HIAAPA holds a showcase to allow students to present their skills to family and friends. In Kona, Sarah Parnell teaches aerial arts to students at the Hawaii Action Academy. With an athletic background of rafting, snowboarding, and rock climbing, her first exposure to aerial arts was at Burning Man in 2013. Sarah says she was awestruck by a woman performing on aerial silks who created something magical in the moment, and knew she wanted to try it. Intimidated, it took her a few months to work up the courage to go into a gym teaching aerial silks, however she finally did. “I was at a point in life where I was craving a new hobby and needed diversity. With this extracurricular aerial activity, I found my people,” says Sarah. “I ended up in Hawai‘i with a turn of events and began taking lessons at a yoga studio here. I got a yoga certificate but wanted to deepen my knowledge of aerial arts. I then went to Italy to complete my beginner certificate and six months later, passed my intermediate level with the same program.” Sarah began performing for benefits at the Ladies Artisan Market in Kona and a friend connected her with Bella and Zoe. Sarah has performed at their shows in Hilo, and will be the opening act in Octoberʻs Creepshow. Her classes include silks and aerial hoops and she teaches all ages. Sarah says as long people are inspired and open to learning, they will be

successful. She creates and hosts retreats around the world which feature yoga and aerial arts, and holds six-week-long aerial camps for kids in the summers. At Hawai‘i Community College (HCC) and UH-Hilo, Annie Bunker teaches aerial dance, which can take place on any apparatus that allows one to move in a variety of modalities. She uses the single point trapeze, invented apparatuses, lyra and sling, and works with students from age four to adults. A bit different than aerial arts, Annie explains that aerial dance is about transitioning, and the moments between the arrivals, (where the “dance” happens.) The dance, Annie explains, is in those transitional moments between what is referred to as “events,” or what aerial artists call “poses.” “The concept is that those who are true to aerial dance employ slow time. Slow time is what gives meaning to the transitional moments, those moments between hangs and events with a partner,” Annie says. “Aerial movement which comes from the traditional circus doesn’t make that connection as deeply as the dance, and it is a balanced partnership.” Annie has always been a dancer and along with her husband Chuck, created a flying modern dance company, O-T-O Dance in 1985. Her first exposure to aerials was a defining moment for her when she watched her mentor Robert Davidson, considered the grandfather of aerial dance, perform on a low-flying trapeze. After Annie received a grant, Robert taught her company for two and a half weeks, a total immersion into the art of aerial dance on the high and low bar trapeze. Their company out of Tucson presented the first aerial dance in the southwest US. Sarah Parnell creates aerial retreats all over the world. photo courtesy of Sarah Parnell

KeOlaMagazine.com | September-October 2018

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KeOlaMagazine.com | September-October 2018

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Patient: I have been reading and seeing more information about Hyperbaric Oxygen Treatment. Can it really help non-scuba divers too? Dr. Ardolf: Yes it can. Hyperbaric oxygen treatment is gaining popularity in the medical world because it minimizes inflammation and improves blood flow, creating an environment where pathogens cannot survive. My patients using the hyperbaric oxygen chamber in my office notice a dramatic increase in energy, higher quality of sleep, and less pain. Hyperbaric oxygen treatment has historically been used to treat open wounds resulting from surgery, injuries, infections, or diabetes. In addition, studies show effectiveness in treating insulin sensitivity, cancers (especially breast and prostate), bone healing, and vascular dementia. Mounting evidence has surfaced on the effectiveness of treating other neurological conditions such as multiple sclerosis, Alzheimer’s, Parkinson’s disease, traumatic brain injury, and it even helps people who have suffered a stroke. It is a safe treatment for children, having been used for many years to treat autism spectrum disorders. As with all medical treatments, it is not for everyone. There are a few conditions in which it would be contraindicated and there are risks involved if careful administration and thorough monitoring are not conducted. It is advised to seek out a trained physician to learn if this treatment is right for you. Dr. Ardolf, ND is a naturopathic doctor in Kapaau, on the Big Island of Hawaii. She is accepting new patients.

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Lilia Cangemi on the lyra at SPACE. photo courtesy of Phil Payson

A couple of years ago Robert passed away, and Annie says she is committed to continuing his work of aerial dance, mixed with the modern dance she has blended with it. Authentic movement is so important to our psyches, she says, and her students tell her that after participating in her classes, they find their minds change. Lilia Cangemi also studied under Robert Davidson. A dancer all her life, Lilia has performed many types of dance and has been with many dance companies. Professionally trained in medicine and journalism, she has a successful practice as a licensed massage therapist and aquatic bodyworker, but has taught dance and performed wherever she was living. Until the lava flow started in May, Lilia was teaching aerial dance and coordinating the aerial department at SPACE. When the SPACE pavilion was completed, the classes teaching circus arts were mainly targeted to children, and Lilia was collaborating with their instructors assisting in teaching partner acrobatics, modern dance and choreography. When adult classes in aerial arts were offered, the activity became very popular. Eventually Lilia started teaching the adult and children aerial classes at SPACE, while Bella was teaching at

For more information: Aerial Arts Hawaii, Hilo: aerialartshawaii.com Hawaii Aerial and Performing Arts (HIAAPA), Waikoloa & Waimea: hiaapa.com Hawaii Action Academy, Kona: saraheparnell.com Annie Bunker, HCC and UH-Hilo: otodance.organne@otoance.org Lilia Cangemi, Aerial arts teacher at SPACE, Kalapana/Seaview: aquaticdance.com

KeOlaMagazine.com | September-October 2018

Kalani. Soon they joined forces. The women have collaborated on aerial shows, and Lilia has been performing in them since their inception. Currently three of SPACE’s former students are professional dancers, one of whom performs for Cirque du Soleil. “Aerial dancing develops both strength and flexibility in the upper as well as the lower body. It is exhilarating when you do your first drop, and you can proceed at your own pace, learning in degrees. It is really fun and easier to do than you might think. You surpass yourself very fast, if you are willing to face your fears,” says Lilia. ■

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A Canoe Calling By Brittany P. Anderson

Ray working on a canoe.

The Reluctant Expert Ray was 34 years old when he built his first canoe. Fresh out of the US Army after a tour in Korea, married, and starting a career in construction, he set course on a destined path. “When I first started out, I heard stories that you can see

KeOlaMagazine.com | September-October 2018

he outrigger canoe is one of the most essential and iconic elements of Hawaiian culture. For centuries, kāhuna kālai wa‘a (master canoe carvers) have been guided by their ‘aumākua (ancestral spirits) who live in the ocean and forests. The ‘aumākua advise the kāhuna during dreams and meditation, showing which tree should be chosen to become a canoe. Acting on those messages takes incredible skill and practice. Hawai‘i Island canoe carver, Ray Bumatay, honed his skills over a lifetime to become one of the most respected Hawai‘i canoe builders of our time. Revered for his knowledge and expertise, Ray travels around the world teaching, engaging, and inspiring future generations of canoe builders. With the heart of the ancient kāhuna guiding his hands, he uses modern tools, such as a chainsaw, to artfully hollow out the hull. A Way of Life In the Hawaiian culture, the wa‘a (outrigger canoe) represents a link between the spiritual and worldly domains in addition to being incredibly useful. Traditionally, the wa‘a were constructed in different sizes and shapes, depending on use. Smaller canoes served as transportation, taking people quickly around the island; they also provided the ability to fish further from shore. Longer and larger wa‘a were built for endurance, moving animals and plants as well as people to other islands. Special canoes were crafted for war, while others were built for sport. There are wa‘a kaukahi (single hull) and wa‘a kaulua (double hull), in addition to sailing canoes like Hōkūle‘a. Making a canoe is a tremendous undertaking. Rituals are performed throughout the process from tree selection to hewing, hauling, finishing, and launching on the first voyage. Each step has a specific and meaningful ceremony that guides the stage.

KeOlaMagazine.com | September-October 2018

the canoe in the tree,” he says looking down at his hands. He didn’t fully believe. “I stared at that log for two weeks.” A grin escapes his face as he continues, “I sat down with my six-pack and stared at that log.” Then one day, opening a second beer, he finally saw “a red line straight across. I put my beer down and cut.” Ray’s grandfather was a canoe builder, the grandson in a long line of kāhuna kālai wa‘a. The carving knowledge was passed down from generations—a résumé that includes working on the unification fleet for Kamehameha I. Ray’s mother was one of five daughters, making him the son his grandfather never had. “He planted the seed, my mother nurtured it.” Ray’s mother absorbed the teachings of her father and the other kāhuna kālai wa‘a who came to talk story, as elders do. “Whenever I got stuck with the canoe, she would draw in the sand what I needed to do,” he says. “She was listening to the other kālai wa‘a and passed it down to me.” On his first trip to Japan in September of 2016, Ray drew a crowd as he and his assistants wielded chainsaws to cut a rough hull in a felled tree within the forest. A ship building company was just 100 yards away from where Ray was working, and they heard the great Hawaiian canoe builder was in town. The company shut down for the day so the Japanese workers could see the expert at work. “I’m no expert, I’m just accustomed to the canoe,” he remarks as he shifts his weight almost bashful of the praise. As reluctant as he may be, people across the world including the Smithsonian Institute seek out Ray’s expertise to assist with canoe projects. He holds more weight in being able to share

seating, ama (outrigger), and ‘iako (boom) are attached. Today trees are harvested with chainsaws or found washed ashore. The Call of the Canoe These days, Ray travels mostly with his son, Doug, and occasionally with son, Alika, to events on the mainland and abroad. Ray and Alika recently arrived home from a trip to the Smithsonian Institute in Washington, DC where Ray was consulting on a conundrum the museum had been wrestling with about a canoe building project. The Smithsonian was gifted a wa‘a by Queen Kapi‘olani in 1887. The Smithsonian Institute and Museum of Natural History now reports they believe it is the oldest existing Hawaiian canoe of its kind in the world. The museum had several pieces they believed belonged to the canoe but they were unable to fully piece it together. Ray and Alika bestowed a maile lei on the wa‘a, reminding her of the land whence she came. As Ray placed the lei on her he felt something unsettling: the canoe was crying out in pain. She was missing something to make her whole. Ray and Alika were led by the curator to the pieces the museum had been unable to make sense of since their arrival. Amongst the resident experts, curator, and historians, it was two men from Hilo who solved the age-old mystery. “Alika told

Double hull canoe built by Ray. his experience with the world than the titles that come with it.

KeOlaMagazine.com | September-October 2018

A Tree Falls Usually, koa (Acacia koa) trees were used for the hull of the canoe. The mauka (mountain side) forests above Hilo and Kona on Hawai‘i Island and the forests of Hāna, Maui were favored locations for their sturdy tall koa and the ease of bringing the canoes down from the forest to the water’s edge. Through dreams and signs from the ‘aumākua, kāhuna kālai wa‘a understood which tree was suitable for a canoe. Before felling the tree, offerings were made during a prayer ceremony. A pig was roasted in an imu (underground oven) nearby; some of the pig would be eaten by the kahuna while the rest was given as an offering. Seconds before the giant koa fell, a great silence would come over the kahuna and his assistants. Once toppled, the kahuna performed a ceremony to sever the treetop—a moment of reflection, a time to give thanks and honor the spirit of the tree that was harvested. Throughout the following days, a rough shaping known as hewing took place to create the bow and stern, letting the tree and the ‘aumākua direct his hands. Once complete, the wa‘a was brought down ceremoniously from the forest to the sea. The tool used to cut was once a stone adze, ground sharp and tied to a wood handle. It could take up to one week to cut one tree down with the adze. After the tree was felled and ceremonies were performed, bark and branches were stripped for a rough shaping. The basic shape was cut, and the center hollowed to make the heavy koa trunk lighter to transport down the mountain. Ropes were woven and knotted in a specific order, taking great care to not damage the hull. The trunk needed to cure, removing as much moisture from the wood as possible, so the hull could be finished before the

79 Reflecting on progress.

them, they [the pieces] were used to stabilize the canoe during transport [to the Smithsonian], the extra pieces didn’t belong to the canoe at all,” Ray beams retelling the story fresh on his mind. However, there was still something missing that the “oldest existing wa‘a” was yearning for. Ray looked around the canoe’s display. “She was missing a paddle,” Ray’s voice went quiet as he spoke. Alika called Doug who was back at home on Hawai‘i Island. The perfect paddle, one of several Ray had made, was sitting in his makeshift storage room attached to their home in Pana‘ewa. Doug packaged the paddle and shipped it to Ray in Washington DC where it was given to the wa‘a. “And then when I touched her,” Ray says closing his eyes, “she felt right.” It wasn’t the first time a canoe spoke to Ray, and it won’t be the last. In high demand, Ray teaches canoe building to anyone willing to put in the work, as long as he has a canoe in progress. His method is simple: watch to learn the technique then go do it. Working side-by-side on their own canoes, Ray’s oversized workshop houses wa‘a in various stages of progress. At 15 years old, Ray paddled in a canoe club and vowed to himself that one day, when he got the chance, he would build himself a koa canoe. Never would he have imagined what would come next after building that first wa‘a. “I wanted to come back to Hawai‘i Island. I wanted kids, and teach them my Hawai‘i, my forest, my ocean.” The next stop for Ray is Japan, where he defies the odds– building a fleet of canoes over the years from salvaged logs for those Japanese citizens aching to paddle. Then he moves on to New Zealand to carve a canoe for a celebration, and from there wherever he hears a canoe calling out for him. ■ All photos by Brittany P. Anderson

KeOlaMagazine.com | September-October 2018

Nearly finished canoe.

Beautiful Mele

Mark Saito

Shares Aloha Through Song By Karen Rose

Mark’s CD cover Live What You Love.

photo courtesy of Josh Fletcher, Fletch Photography

KeOlaMagazine.com | September-October 2018

here are many ways to aloha with others. Feeling the spirit of aloha is a shared experience, and one of the most meaningful ways to feel this spirit is through song. Local Hawai‘i Island musician Mark Saito is a true ambassador of the island who shares the spirit of aloha through his original, inspirational music. A Hawai‘i Island native, Mark makes his home in Waimea, where his musical journey began at the tender age of five. His parents, Mark and Renee Saito, recognized Mark’s talent and understood it was more than a temporary interest. Consequently, they encouraged him to perform and indulge his love of music. “I took vocal lessons from the age of six years old,” said Mark. “My parents got me involved with a lot of different functions such as Christmas plays, as well as a lot of church events. They were active in church, so I remember one of my very first public outings was to sing a solo at church [St. Joseph Mission Catholic Church in Pa’auilo] for Mother’s Day.” Mark feels fortunate to have grown up in an environment that shaped and influenced his passion for music at such a young age. He recalls how his father was his musical role model, as well as other local musicians of the time. “I thank my parents for my passion in music,” said Mark. “I think my biggest influence has always been my dad. My dad was a musician when I was young. He played guitar and sang, and my mom was the hula dancer. They raised me around music, and took me to various shows and concerts as a kid.” Mark’s parents took him to see such artists as Cecilio & Kapono, Bruddah Waltah, and the Ka‘au Crater Boys. These are the musicians he came to admire. Their music inspired him to work toward playing

Mark with his guitar, watching the sunset from North Kohala. photo courtesy of Mark Saito

KeOlaMagazine.com | September-October 2018

for audiences as a professional musician and songwriter. “Kalapana and that entire genre of island music also influenced me,” he said. “Just growing up around music, my parents really pushed me to excel in what I loved. Today I am truly blessed that my dream of being a professional musician has come true, and that I’ve been able to share the stage with many of my musical idols including Bruddah Waltah who was also featured on my debut album.”

Mark graduated from Honoka‘a High School where he was a part of the Honoka‘a Ensembles Music Program. Under the direction of Gary Washburn, this acclaimed program continues to encourage students like Mark to pursue their musical talents and passions. After high school, Mark continued his education at Pacific University in Forest Grove, Oregon where he excelled in his studies and performed at many events and concerts around Portland.

Mark Saito and Bulla Kanekoa with Makaha Sons. photo courtesy of Mark Saito

Above: Mark with his family at the 2018 Nä Hökö Hanohano Awards. Below: Mark Saito, Damon Williams, and Grayden Haÿi Kelly. photos courtesy of Mark Saito

KeOlaMagazine.com | September-October 2018

Today, Mark describes his original music as eclectic-acoustic soul sounds. His songs are a melodic blend of his vocal range and pure-sounding tones. He performs a mix of various musical genres that include acoustic, soft rock, reggae, Hawaiian, and easy listening. “I love all different genres, so I try to incorporate a little bit of everything in my music, not just solely one genre,” he said. “I love simple acoustic music the most.” All of Mark’s hard work and education paid off, leading him to share the stage with many famous Hawai‘i recording artists, in addition to well-known global artists. Some of the recording artists he has performed with include Chris Isaak, Alice Cooper, Richie Sambora, Keith Urban, John Legend, and Christopher Cross, to name a few. Mark shares the story of how he got his big break into the music industry while performing at Nāpua Restaurant at the Mauna Lani Beach Club. “About six years ago, I was playing at the restaurant and this guy was eating dinner there who just so happened to be the CEO of the Onstage Talent Group,” said Mark. “His job was to secure talent for big corporations, and produce big concerts throughout the world. He was here on the Kohala Coast doing a big show for the Cisco group. We exchanged contacts, and then the next day I got a call from him. “When he called he asked if I would open up a concert at the Fairmont Orchid,” Mark continued. “I agreed and when we showed up he said, ‘You’re going to open up for Train tonight and there’s going to be 1500 people in the audience.’ It was a huge show, and we got to meet Train. This experience opened up a huge opportunity for us, which we were so ecstatic about. That was truly a blessing that opened up so many more opportunities for us. We are so thankful that he happened to be there while we were playing at that small restaurant.” More recently, Mark and his musical partner Bulla Kanekoa, have performed with John Legend, Richie Sambora, Orianthi, and Keith Urban. “We’ve been blessed with the opportunity to open up for all these national artists,” said Mark, “Not only that, but to mingle with them and talk music business—it’s opened up so many opportunities for us. It’s just amazing.” Mark is appreciative of his opportunities and accomplishments, as well as the journey that brought him where he is today. He has learned not to take his success for granted, but to enjoy all the milestones along the way. This year his album Live What You Love, was nominated for a Nā Hōkū Hanohano Award for Reggae Album of the Year.

“The journey is really what is so fulfilling,” he said. “Knowing that you put in the hard work, going through the ups and downs, and still having success, is ultimately so fulfilling. It’s not only a dream come true for me to be acknowledged that way, but for my family who is involved in the journey as well. I brought my whole family to the Nā Hōkū Hanohano Awards this year. It was awesome. I’ve watched the Hōkū Awards since I was very young. Growing up watching and seeing all the musicians I’ve idolized so much—being up here among them—some of the best musicians in the state, was really gratifying and humbling. It was a true blessing.” Mark is currently working on a dual album with Bulla Kanekoa and Jaz Yglesias. Mark enjoys the old-style island music of the 1970s and 80s and wants to incorporate those sounds into his future projects.

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KeOlaMagazine.com | September-October 2018

Mark with his musical partner Bulla Kanekoa. photo courtesy of Mark Saito

“Jaz is a DJ and the program director on KAPA FM, but he also produces music,” said Mark. “We are working with him right now on an acoustic project, incorporating that dual sound of acoustic island music. I really love all the old-style Hawaiian island music and I am trying to revive it and bring it into my music today. I want to capture the sound of the bygone era that I love so much. It’s the kind of old-style island music my dad plays. I want my new project to capture that kind of sound; more of the acoustic flavor sound.” Mark has performed regularly in many venues on the Kohala Coast. His current calendar is filled with weddings, corporate events, and other functions throughout West Hawai‘i. His recent popularity keeps him busy, as does his family. “Everything right now is based around my family,” said Mark. “I’ve always been really family-oriented. We have a big close family, so the biggest influence for me right now is my three small kids. They are one, three and five. By being involved and performing at parties, concerts, and events, I really hope to pass my passion for music along to my children.” Mark is well on his way to creating a lasting contribution to the archives of island music. His childhood passion became his art, and his dedication to making music became a way to share aloha and the joyful spirit of life with others. “Recordings are forever….and there’s nothing more gratifying than to touch people through music,” says Mark. ■ For more information: marksaitomusic.com

Septemb er–Octob

October September –

e | kemapa – ÿOkakopa gazine The Lif Kepa

2018

Community Ma Hawai‘i Island’s

2018 Kepakem kako apa –`O pa 2018

KeOlaMa gazine.c om

ry —A Love Sto Woodworking n ARTS A Canoe Calling ell Ethnobotanical Garde CULTURE H. Greenw B. y Am ITY SUSTAINABIL

Featured Cover Artist: Andrea Pro Andrea Pro, creator of the woodcut print, Nectar, featured on our front cover, shares her inspiration of creating this art piece, “After a hike in Kīlauea Iki crater at Volcano I emerged into the rainforest and watched the beautiful native birds flitting in the upper canopy of the ‘ōhi‘a trees. They chattered and soared together, and invited their buddies to suck nectar from the best blossoms. I came away with an image of this ‘apapane and couldn’t resist adding one of my favorites, the honeybee.” As a young child, Andrea had a recurring dream of a stout tree growing up through the center of her hobbit house. To this day, she still swoons over trees. Andrea says, “Trees are my celebrities. They show up in my art as portraits, in landscapes, interacting with the sky and clouds, as key features of ecosystems, and as generous hosts to the birds and insects of Hawai‘i.” In 1997, Andrea took a woodcut printmaking workshop, and knew instantly that she had found her medium and lifelong passion. Andrea reminisces, “I soon found a teacher, master printmaker Hiroki Morinoue, and over the next few years I learned the fine art of woodcut printmaking through Holualoa Foundation for Arts and Culture.” Her focus on Hawaiian native species started with a fascination of the form and textures of plants. Once Andrea understood that Hawai‘i is unofficially known as the endangered species capitol of the world, she grasped the scale of extinction occurring and the predictions for the future. A strong desire to mālama (take care of) Hawai‘i’s native species took root in her soul. Andrea learned about various plants from biologists, ornithologists and entomologists as she planted trees and collected seeds. A few years ago, she began collaborating to organize native species art exhibitions to support conservation organizations. “My art is really about conveying the essence of Hawai‘i that often goes unnoticed,” shares Andrea. Amid the bright plumeria, ginger, and plethora of imported plants, the more modest ‘ōhi‘a, wiliwili, koa and ‘ilima donʻt always command admiration. “It’s my passion and job description to notice, learn and share about these important species,” says Andrea. The artist’s primary medium is woodcut printmaking. This involves a process of carving the image onto one-quarter inch thick blocks of wood, rolling a thin layer of ink onto the surface, laying a sheet of paper onto the surface and running

it through a press, which applies pressure to imprint the image onto the paper. Andrea’s images require a different block for each color. It can take up to eight carved blocks to create a print. Each sheet of paper is registered and printed sequentially using each block. Typically 20 original images are printed and each one numbered to create a limited edition. That image will never be printed again. Andrea says of her art, “I convey the story of nature in Hawai‘i by including the atmosphere, inter-species relationships and the progression of plants from bud to seed, along with their cultural significance. Plants provided nutrition, medicine, tools, hula accoutrements, and building materials that were essential to the everyday life of the Hawaiian people.” Andrea’s studio is located on her coffee and macadamia nut farm in Keauhou mauka (mountain side) and is open to art lovers throughout the year. Her art is also in several galleries and she is a member of South Kona Artists Collective. Their 2019 SOKO Artists Tour will be the weekend of February 24 and 25. For more information: andreapro.com

Table Of Contents Photographer:

Kirk Shorte

Kirk Shorte is an avid professional photographer who captures the unique beauty and life of Hawai‘i Island in his images. A resident of Kailua-Kona since 2004, Kirk grew up in Belmar, New Jersey where he found a still-working discarded Brownie camera in his grandfather’s attic. He was hooked. A life’s fascination with photography was born. “I feel joy when I can capture an experience as creative output, especially when that means I can enrich the lives of other people. This vein spans my life; it has enhanced triumphs and soothed tragedies. And it is especially evident in my fine art photography,” shares Kirk. Kirk is the current President of the Kona Camera Club and has been for the past four years. For more information: kirkshorte.com

Crossword Puzzle | By Myles Mellor

Enjoy this crossword that tests your knowledge about what you read in this edition of Ke Ola Magazine, including the ads, while learning about Hawaiian culture and our island home! Some answers are in English, some are in Hawaiian. Feel free to use the Hawaiian reference library at wehewehe.org. Answers can be found on page 89.

KeOlaMagazine.com | September-October 2018

Your feedback is always welcome. HIeditor@keolamagazine.com

Across

Down

1 Hawaiian for healthy eating, 2 words 4 Hawaiian fruit used to treat thrush and latent childhood diseases 8 Delighted exclamation 11 Highly respected Hawaiian canoe builder, Ray 13 To quiver, in Hawaiian 14 Flying modern dance company created by Annie Bunker 15 Hawaiian word for bananas 16 Hawaiian name for a fiddlehead fern 20 Hawaiâ&#x20AC;&#x2DC;i district, the name means leeward in Hawaiian 22 Terrible sisters in a Hawaiian legend 24 Hawaiian word for rain 25 Fruity drink 26 Plant said to have anti-inflammatory properties 29 Morning time, abbr. 31 Hawaiian for medicinal plant treatment, 2 words 34 High exam scores 36 Young mural painter, Elijah 37 They are led by guides

1 ___ extract, known as kava 2 Hawaiian word for puzzling 3 Hawaiian word for the gill of a fish 5 Goals 6 Painting, sculpture, etc. 7 Creeping plant 9 Hawaiian species of this insect include copperbellied, ghost, and Argentine 10 Hawaiian word for child 11 Type of pancake 12 Hawaiian word for fire 14 Mighty tree 17 Hawaiian word for spreading, as vines 18 Hawaiian word for fang 19 Hissing, as in certain sounds 21 Negative word 22 Hawaiian word for fence 23 Are stretched out 24 Hawaiian plant whose bark is used to cure a sore throat 25 Lava flow 27 Depart 28 Romantic flowers 30 Hawaiian word for faded or wilted 32 Hawaiian word for path or road 33 Place to hang your hat 35 Hawaiian word for silent

Barger Gallery Fine artist Jeff Barger essentially hadn’t picked up a paintbrush while he operated his 25-year-old interpretation and translation company in Vancouver, Washington. Jeff began his art career in high school; however, after being rejected from the Parsons School of Design, he chose a business career instead. Now Jeff resides in West Hawai‘i and is again creating profound works of art under the recurring tutelage of Edwin Kayton, a nationally-recognized master. Jeff boasts, “Honu With Friends is likely to be my favorite work for quite some

art products but also money. In this respect, Jeff’s approach is the unique exception.” You can also find Jeff painting live at various locations. His painting Pololu Point is on display at the Na‘ālehu Credit Union and Honu At Rest, which just sold as an original oil, was inspired by the resting honu (green sea turtle) at Punalu‘u Black Sand Beach. The Kapoho Bay tide pools, sadly now lost, inspired the abstract oil painting called Birth of Coral. Jeff is an avid diver and often explores the surrounding coastlines on Hawai‘i Island to inspire his next painting. “I have so many paintings to do, I’m not sure how to find the time to complete everything. The wealth of material is just so huge here in Hawai‘i.” One of the advantages of Jeff’s studio is his recent purchase of a large-scale giclée printer, allowing him the ability to control and master the print output for gallery displays. Jeff reflects, “It’s not everyone that can afford original works of art, so the option to be able to offer giclée prints to my customers is a huge plus, for myself as well as the artists that are a part of my gallery. In addition to managing and controlling the output, I offer complete framing in koa.” Jeff ships pieces all over the world. Soon he expects that fulfilling all the requests from the website will become a fulltime job. Jeff concludes by sharing, “The most fundamental quote that drives all of my decisions in life, love, and pursuit of meaning is from Leonardo Da Vinci: ‘What makes a thing noble is its eternity.’” For more information: bargergallery.com

KeOlaMagazine.com | September-October 2018

time. The visual dance of layered abalone shell coupled with the beauty of Hawai‘i’s oceans is a niche that I can explore. Lord knows I’ve waited a long time to fully realize my passion, but now living in Hawai‘i, well, for me, something truly magical happens. I literally wake up some mornings and have to pinch myself. The wealth of opportunities to be inspired by keeps me giddy on a daily basis. Once I find myself in studio, it’s hard to even pause for lunch breaks.” Beyond his own art, what makes Jeff’s story special is his desire to help other artists succeed. Jeff created an art gallery website that is truly inspiring. You will find a resource rich with diverse artists. Jeff says, “I don’t charge the artists to join our growing family at bargergallery.com, so their risk is absolutely zero and the commission of only 3% of the sale is a mere token to the six-figure cost of running the site. I’m not sure how long I can keep doing this, but when we have more than 250 artists, I’ll know if the business model is sound or not.” In regards to Jeff’s gallery concept, Ed Kayton, one of Ke Ola Magazine's previous cover artists says, “We’ve been contacted frequently over the years by art representatives large and small from all over the world. Most involve investing not only your

Hawai‘i Island Happenings Wondering what’s happening around Hawai‘i Island? Visit these businesses and organizations websites for the most up-to-date event calendars.

365 Kona

365kona.com Julie@Ziemelis.com

Akamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

Aloha Theatre–Kainaliu Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Food Hub Kohala

FoodHubKohala.org karla@andreadean.com Karla Heath, 808.224.1404

Friends of NELHA

FriendsOfNelha.org 808.329.8073

Hawaiian Cultural Center of Hāmākua hccoh.org info.HCCOH@gmail.com 808.494.0626

Hawai‘i Homegrown Food Network HawaiiHomeGrown.net editor@hawaiihomegrown.net

Hawaii Museum of Contemporary Art/ EHCC EHCC.org arts@ehcc.org 808.961.5711

Holualoa Village Association HolualoaHawaii.com

Honoka‘a People’s Theatre HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

Hulihe‘e Palace Wilhelmina’s Tea DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

‘Imiloa Astronomy Center of Hawai‘i ImiloaHawaii.org vrecinto@imiloahawaii.org 808.969.9703

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Island of Hawai‘i Visitors Bureau

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

Kailua Village Business Improvement District HistoricKailuaVillage.com kailuavillage@gmail.com 808.326.7820

Kona Historical Society KonaHistorical.org khs@konahistorical.org 808.323.3222

Kona Choral Society

KonaChoralSociety.org 808.334.9880

Kona Stories Bookstore KonaStories.com ks@konastories.com 808.324.0350

gohawaii.com/hawaii-island hawaii-island@hvcb.org 800.648.2441

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona Commons Shopping Center KeOlaMagazine.com | September-October 2018

KonaCommons.com 808.334.0005

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events 808.885.9501

Melissa Fletcher & Associates •808 968 1483• www.yurtsofhawaii.com

Hawai‘i Island Happenings Wondering what’s happening around Hawai‘i Island? Visit these businesses and organizations websites for the most up-to-date event calendars.

Konaweb

Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

KonaWeb.com shirley@konaweb.com Shirley Stoffer, 808.345.2627

HiloPalace.com info@hilopalace.com 808.934.7010

LymanMuseum.org membership@lymanmuseum.org Liz Ambrose, 808.935.5021

Skea.org 808.328.9392

Volcano Art Center–Gallery volcanoartcenter.org Director@volcanoartcenter.org 808.967.8222

Nā Wai Iwi Ola (NWIO) Foundation NaWaiIwiOla.org kumukealaching@nawaiiwiola.org Kumu Keala Ching

West Hawaii Dance Theatre and Academy Whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

CROSSWORD SOLUTIONS

UH Hilo Performing Arts Center

North Kohala Community Resource Center

ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

NorthKohala.org info@northkohala.org 808.889.5523

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

One Island Sustainable Living Center One-Island.org hawaii@one-island.org 808.328.2452

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

MANA CARDS

The Power Of Hawaiian Wisdom

Colette’s Custom Framing & CRATING SERVICE

808.329.1991

Available at island bookstores and shops, or at

www.manacards.com

ColettesCustomFraming.com

KeOlaMagazine.com | September-October 2018

10 – LA‘AMAOMAO meaning: The day indeed passes.

In Kona’s Old Industrial area 74-5590 Eho Street Kailua Kona

To submit volunteer information for your nonprofit go to: kokua@keolamagazine.com

Community Kökua

AdvoCATS

Kona Vistas Recreational Center 75-6350 Pualani St, Kailua-Kona 3rd Saturday, 1pm Trap, neuter, spay, community education, colony feeding, management. Contact Stephanie or Nancy advocatshawaii@aol.org 808.327.3724 advocatshawaii.org

Boys & Girls Club of the Big Island

Hilo, Kea‘au, Pāhoa, Pāhala Oceanview, Hāmākua Monday–Friday, 2:30–5pm Volunteers needed for after-school youth programs 808.961.5536 Bgcbi.com

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd Thursday of the month 1–2:30pm Men and women who support the mission of Daughters of Hawai‘i. Contact Geri Eckert hulihee@daughtersofhawaii.org 808.329.9555 DaughtersofHawaii.org

CommUNITY cares

KeOlaMagazine.com | September-October 2018

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm

Volunteer Opportunities Community suffering from cancer, medical hair loss, domestic abuse. Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Contact Peter 808.323.3318 or 808.936.6457 kaluulu@hawaii.rr.com Facebook.com/Friends-of-Amy-Greenwell- Ethnobotanical-Garden-761479683986161

Donkey Mill Art Center

Friends of Lili‘uokalani Gardens

Hōlualoa Hōlualoa Foundation for Arts and Culture Tuesday–Saturday, 10am–4pm Volunteers help in arts education program. Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

East Hawai‘i Cultural Center/HMOCA

Gallery Hours: Tuesday–Saturday, 10am–4PM Office Hours: Tuesday–Friday, 10am–4pm Volunteer in the art galleries, performing arts, classes, workshops, festivals. admin@ehcc.org 808.961.5711 Ehcc.org

Friends of Amy B.H. Greenwell Ethnobotanical Garden

Captain Cook Saturday, 9am–noon Volunteers needed to help with weeding, trimming and maintenance of the gardens.

Hilo Ongoing Volunteers needed to help with the maintenance of Lili‘uokalani Gardens. kteger@hawaii.rr.com facebook.com/friendsofliliuokalanigardens/

Friends of NELHA

Natural Energy Laboratory of Hawai‘i Keāhole Kona Monday–Friday, 9am–noon Share Ocean Science/Technology using deep ocean water. 808.329.8073 EnergyFutureHawaii.org

Hāmākua Youth Foundation, Inc.

Hāmākua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30pm Wed. 1–5:30pm, Thu. 2–8pm Serving Hamakua’s school-age kids. Contact T. Mahealani Maiku‘i HamakuaYouthCenter@gmail.com 808.775.0976 HamakuaYouthCenter.wordpress.com

Use provided contacts for information (Listings provided on a space available basis)

Hawai‘i Care Choices (Formerly Hospice of Hilo)

Serving East Hawai‘i since 1983 Seeking volunteers to provide staff support and care to patients and families. Contact Jeanette Mochida jmochida@hawaiicarechoices.org 808.969.1733 HawaiiCareChoices.org

Hawaii Literacy/Kona Literacy Center Bougainvilla Plaza, Kailua-Kona Ongoing at various times Kona Literacy provides free, one-to-one tutoring for English speaking adults. Contact Lisa Jacob lisa.jacob@hawaiiliteracy.org HawaiiLiteracy.org

Hawai‘i Island Humane Society

Kona Shelter, Kailua-Kona Monday–Saturday, 9am–5pm Need volunteers 16 or older, parent/child team 6 or older. Contact Bebe Ackerman volunteer@hihs.org 808.217.0154 Hihs.org

Hawai‘i Plantation Museum

Pāpa‘ikou Tuesday–Saturday, 10am–3pm Greet Visitors, assist with tours.

To submit volunteer information for your nonprofit go to: kokua@keolamagazine.com

Community Kökua Volunteer Opportunities Hui Kaloko-Honokohau

Contact Wayne Subica plantationmuseum@gmail.com 808.964.5151 hawaiiplantationmuseum.org

Kaloko Fishpond, Kailua-Kona Last Sunday of every month, 8am–noon Rehabilitating Kaloko Fishpond. Learn about Hawaiian culture and ecosystem. Volunteer with invasive species removal. Contact Ruth Aloua ruthaloua@gmail.com 808.785.0211

Hawai‘i Wildlife Fund

Wai‘ōhinu Coastline, Ka‘ū SE Hawai‘i Island beach cleanups. Ongoing 7:45am Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

‘Imiloa Astronomy Center of Hawai‘i

Hope Services Hawaii, Inc.

The Friendly Place Resource Center, Kailua-Kona Ongoing Volunteers help our community members who are experiencing homelessness. Contact Joycelyn Cabal volunteer@hopeserviceshawaii.org 808.217.2830 hopeserviceshawaii.org/getinvolved/ North Hawai‘i Hospice, Waimea Monday–Friday, 8am–4:30pm Care for families facing serious illness. Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

Kona Choral Society

Kahalu‘u Bay Education Center

Kona Toastmasters

RARELY AVAILABLE 5 ACRES OF LAND ALONG THE PRISTINE HAMAKUA COAST IN PAAUILO

MLS 619907

Build your dream home with ocean and pastoral views and live in a picturesque one of a kind neighborhood! Welcome to upcountry Paauilo along the Hamakua Coast: experience true country living with crisp, clean air and a laid-back lifestyle. Unspoiled “Paauilo Mauka” neighborhood of farms and ranches is just 35 minutes from Waimea’s outstanding restaurants and shopping, 15 minutes to world-class resorts and white sandy beaches. Return to a time of peace and serenity where your imagination is your only limitation!

D. Kimiko White, RB-17456 O: (808) 885-1229 C: (808) 938-5727 www.RainbowProperties.com

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events. Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

Kahalu‘u Beach, Kailua-Kona Daily 9:30am–4:30pm ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

Hospice Care

Kohala Animal Relocation & Education Service (KARES)

A percentage of every commission is donated to Habitat for Humanity.

Kailua-Kona Seeking volunteers for help with box office and ushering at our concerts. Contact John Week info@KonaChoralSociety.org 808.334.9880 KonaChoralSociety.org

Use provided contacts for information (Listings provided on a space available basis)

Ongoing Seeking volunteers to create the Carousel of Aloha Pavilion. Contact Katherine Patton carouselofaloha@gmail.com 808.315.1093 CarouselOfAloha.org

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

Rainbow Friends Animal Sanctuary

Kailua-Kona 1st and 3rd Tuesdays, 6pm Lynn Bell contact@konatoastmasters.com 808.989.7494 KonaToastMasters.com

Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork. Contact Mary Rose mail@rainbowfriends.org 808.982.5110 RainbowFriends.org

Ku’ikahi Mediation Center

Snorkel Day for People with Disabilities

Hilo Ongoing Become a volunteer mediator via Basic Mediation Training and apprenticeship. info@hawaiimediation.org 808.935.7844 HawaiiMediation.org

Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Hannah Merrill snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Lions Clubs International

Sundayʻs Child Foundation

Various Locations, Kailua-Kona 2nd Tuesday, 5:30pm “We Serve” is the motto of Lions Clubs International. Contact Lani 808.325.1973 lanika@hawaii.rr.com

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

Make-A-Wish Hawaii

The Pregnancy Center

Ongoing Granting wishes for children with life-threatening medical conditions. info@hawaii.wish.org 808.537.3118 Hawaii.Wish.org

Malama O Puna

15-2881 Pahoa Village Rd, Pahoa Weekdays: 10am–1pm or by appt. Volunteers needed for outdoor work for our environmental nonprofit doing hands-on projects. Contact Rene malamaopuna@yahoo.com 808.965-2000 malamaopuna.org

North Kohala Community Resource Center

Kohala Welcome Center, Hāwī Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha. Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha Hilo Coffee Mill, Mountain View

Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support. Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

Therapeutic Horsemanship of Hawaii Kailua-Kona Volunteers are the heart and soul of this program. All levels of expertise needed. Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

Visitor Aloha Society of Hawai’i Island (VASH) Islandwide Ongoing Volunteers need to provide assistance to visitors who experience misfortune while visiting Hawai’i Island. Training provided. Contact Phoebe Barela west@vashbigisland.org 808.756.0785 Kona 808.756.1472 Hilo VashBigIsland.org

Hawai‘i Island Farmers Markets East

Tuesday 3–5:30pm * Hakalau Farmers Market and FoodShare. Botanical World Adventures, 31-240 Old Mamalahoa Hwy

West

1st and 3rd Friday of the month 4–8pm Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd. Hōnaunau Saturday 8am–noon * c Keauhou Farmers Market, Keauhou Shopping Center, Keauhou.

KeOlaMagazine.com | September-October 2018

Saturday 7:30–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. Saturday 9am–noon Hōlualoa Gardens Farmers g Market 76-5901 Māmalahoa Hwy, Hōlualoa. Sunday 9am–2pm * Pure Kona Green Market g Kealakekua, Amy Greenwell Ethnobotanical Garden. Wednesday 8:30am–2:30pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast. Wednesday 9am–2pm Ho‘oulu Community Farmers g Market, Sheraton Kona Resort at Keauhou Bay.

Wednesday 2–6pm c Kona Sunset Farmers Marketg 92 74-5511 Luhia St (HPM parking lot).

Wednesday–Sunday 7am–4pm Kona Village Farmers Market, corner of Ali‘i Drive and Hualālai Rd.

North Saturday 8am–3pm *c Hāwi Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans.

Saturday 7:30am–2pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg. Sunday 9am–2pm * c Hāmākua Harvest Farmers g Market, Honoka‘a Hwy 19 and Mamane St. Sunday 9am–1pm c Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy 19.

Saturday 7:30am–1pm * c Kamuela Farmers’ Market g 67-139 Pukalani Rd, Waimea. Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, Waimea.

Sunday, Monday, Tuesday and Thursday 7am–4pm c Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors. Wednesday and Saturday 6am–4pm * c Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors.

Saturday 8am–1pm c Waimea Town Market g at Parker School, 65-1224 Lindsey Rd., Waimea.

Friday 11am–6pm Pana‘ewa Farmers Market g 363 Railroad Ave, Hilo (across from Home Depot.)

Every 2nd Saturday 10am–2pm Orchidland Community Association Farmers Market Community Lot Orchidland Dr. Daily 7am–5pm Kea‘au Village Market, Behind Spoonful Cafe and gas station, Kea‘au. Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Saturday 8am–noon * Outer SPACE Ho‘olaule‘a at Uncle Roberts ‘Awa Club, Kalapana. Monday–Saturday 10am–6pm * c Dimple Cheek Farm Hwy 11, Mountain View. Saturday 10am–3pm Hawaiian Acres Farmers Market 16-1325 Moho Rd., Kurtistown Saturday 9am–2pm * Hilo Coffee Mill, g 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

South

Saturday 7am–noon c Waimea Homestead Farmers Market, 67-1229 Māmalahoa Hwy, Waimea.

Saturday 7am–noon * c Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo.

Sunday 6:30am–10am * c Volcano Farmers Market, Cooper Center, 1000 Wright Rd., Volcano Village.

Tuesday 2–5pm c Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic.

Sunday 7am–2pm c Pāhoa Village Farmers Market, Nānāwale Community Longhouse.

Saturday and Wednesday 8am–2pm Nā‘ālehu Farmers Market, Ace Hardware lawn.

Wednesday 9am–3pm c Waimea Mid-Week Farmer’s g Market at Pukalani Stables, 67-139 Pukalani Rd in Waimea.

Sunday 6am–2pm * c Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road.

* EBT accepted • c SFMNP Coupons accepted • g Dog Friendly •

Please send info on new markets or changes to sharon@keolamagazine.com

Celebrating a Long Time Advertiser Team Precision Auto takes pride in doing quality auto repair, no matter how big or small the job, because they understand how much customers value their vehicles. Customer service is an important aspect and every customer is treated with respect and concern for their vehicle. Laurie Soares is Precision Auto Repair’s service writer and customer service specialist. Laurie assists the technicians with ordering parts and creates estimates for their customers. Keeping Precision Auto at the top in the automotive industry and also on the top of customer’s minds is Shelly Ciriako. Since opening, Shelly has made important advertising decisions, helping to make Precision Auto Repair your automotive choice. She also takes care of all the bookkeeping needs and operates their shuttle service. Precision Auto has been honored to receive numerous awards including Pacific Business News Fastest Growing Business two years in a row. They have also been recognized as Hawai‘i County’s Small Business People of the Year, and have won several Best of West Hawaii awards. Raymond was featured in the popular technician magazine called Ratchet + Wrench, and was honored to be named 2011 NAPA Technician of the year. The business belongs to the Kona-Kohala Chamber of Commerce and is accredited by the Better Business Bureau. It is the only shop in Kona to be Repair Pal Certified and a Jasper Transmission and Engine installer. Raymond and Shelly believe they would not be where they are today without great employees and supportive customers. Shelley says, “We work together as a team and that’s important.” If you’re not already a customer who’s taking advantage of Ricky Dollars and Ricky’s Loyal Oil Club, you should be! Precision Auto Repair 74-5622 Alapa Street, Bay #3 Kailua Kona HI 96740 precisionautokona.com 808.329.7223

KeOlaMagazine.com | September-October 2018

What started as a dream turned into a reality when Raymond and Shelly Ciriako opened Precision Auto Repair in January 2010. After working for other companies for many years, Raymond wanted to start his own auto repair shop. With values he believed in, he strived to deliver honest and professional automotive repair and maintenance service for domestic and Asian import vehicles. Almost nine years later, Precision Auto Repair’s services include full-service oil changes, scheduled maintenance, diagnosis, AC, brakes, steering and suspension, engine and transmission replacement. Raymond and Shelly chose Precision Auto Repair to be located in the heart of Kailua-Kona near a NAPA Auto Parts store because they are a NAPA Auto Care Center, which means all labor and parts are warrantied for one year or 12,000 miles. In addition to repairing cars, Precision Auto Repair is all about community. They are active supporters of a wide range of nonprofit and community based organizations, donating cash and certificates to local charity fundraisers, silent auctions and purchasing ads in publications where the proceeds go to local schools. Always featured in their ads in Ke Ola Magazine is their grandson Ricky. Raymond and Shelly give back to their loyal customers by offering a program called Ricky’s Loyal Oil Club— after four oil changes you get the fifth one free. Also, any purchase of $50.00 or more receives “Ricky Dollars” of $10.00 off. What a great deal! Heading up the Precision Auto Repair team is ASE/State certified technician Raymond, who is one of the most trusted men in the automotive industry in Kona for more than 30 years. Raymond and his other ASE technicians, BJ Lawrence and Russell Ciriako, further their automotive excellence with continuing education, trainings, and staying updated on current technology to gain knowledge of the latest repair techniques.

MARKET PLACE

ACCREDITED BUYERS REPRESENTATIVE

Clark Realty Corporation

Talk Story with an Advertiser

BOOKKEEPING

KeOlaMagazine.com | September-October 2018

CONSTRUCTION

LAND SURVEYING

Consistently ranked as one of the top 10 brokerages in the State of Hawai‘i, Clark Realty Corporation represented buyers and sellers in more than 1,000 transactions valued over $380,000,000 in 2017. That’s no small feat for a Hawai‘i Island-based company and Clark’s agents and staff don’t take the responsibility lightly. “We’re always striving to win the trust of our buyers and sellers,” says President Frank Goodale. “Service with integrity, aloha, and excellence beyond expectation has been the mission of Clark Realty Corporation from the beginning.” Originally founded in 1995 by Putty Clark (1947–2016), an alumnus of Hawai‘i Preparatory Academy and longtime Waimea resident, Clark Realty quickly became the real estate market-share leader and now offers complete coverage of Hawai‘i Island from residential sales to commercial real estate and long-term property management. “We’re locally owned, not a national franchise,” says Frank. “We’re able to respond quickly to changes in our local market and stay focused on our community. That’s important to us and helps us better serve our clients.” Giving back to the community is also an important part of the company’s core mission. Each year, the Clark Realty Corporation Community Fund (CRCCF), makes grants to local nonprofit organizations that improve the quality of life for Hawai‘i Island residents. This year’s grantees are the Kona Hospital Foundation, Paniolo Preservation Society and nonprofits working to assist Puna residents displaced by the Kīlauea eruption. For agents, Clark offers unparalleled professional support— the managing brokers have over a century of combined experience—and access to a technology platform that provides a competitive edge in today’s market. “We offer our agents the freedom to create business plans that showcase their individual talents. That is important in a market as geographically diverse as ours,” says Beth Richardson, the company’s senior vice president. In 2000, Clark Realty became a member of the Leading Real Estate Companies of the World® network, a group of likeminded independent brokerages, and has developed strong relationships with some of the best real estate brokers around the globe. “This partnership gives us access to resources that enable us to help our clients make relocation or long-distance transactions as seamless as possible,” says Frank. “Our continued success demonstrates that the high standards we maintain have struck a chord with our clients. We look forward to bringing that same level of service to you.” Clark Realty Corporation Hilo: 101 Hualalai Street Kona: 75-5722 Kuakini Hwy #103 Keauhou: Keauhou Shopping Center #170 Waimea: Parker Ranch Center #E128 clarkhawaii.com|clarkhawaii.com/crccf

Hawaii Community FCU

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Hawaii Community Federal Credit Union Kaloko: 73-5611 Olowalu St. Kailua-Kona: 75-159 Hualalai Rd. Kealakekua: 81-6631 Mamalahoa Hwy. Kohala: 54-396 Union Mill Rd. Honoka‘a: 45-690 Pakalana St., Suite A Hilo: 111 Aupuni St. 808.930.7700 hicommfcu.com

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KeOlaMagazine.com | September-October 2018

In 1936, in the midst of the Great Depression, 10 struggling coffee farmers who were continually denied loans and services by traditional financial institutions, decided to join together to support their communities by creating a credit union. They wished to strengthen the ‘āina (land) that fed their families, while also planting seeds that would grow stronger, generation after generation. Hawaii Community Federal Credit Union (HCFCU) strives every day to live up to the legacy of their founding fathers. Tricia Buskirk, HCFCU CEO and president says, “We’re humbled to imagine what they would think if they were here today. From one branch, we’re now five, with a sixth branch opening in Hilo this winter.” “Some of the services we offer are student credit unions at Kealakehe, Kohala, and Konawaena high schools. Also, drive-up tellers, local telephone assistance, and online transactions are available. By staying relevant with the times, we’re able to continue providing local farmers, the agricultural community, small businesses, and families with the financial resources that will help them grow stronger year after year.” HCFCU strongly believes in supporting local nonprofits. This year, their staff selected Hope Services Hawaii, Inc. (HOPE) as their 2018–2020 Triennial Social Responsibility. This three-year partnership allows them to dedicate their time and resources so they can make as much of an impact as possible. One key fundraiser is their Market Days held at all branches in midOctober. During that time, local businesses, staff and members come together to raise funds in unique and creative ways. Tricia proudly shares, “We also enjoy having an active role in perpetuating Hawai‘i Island’s unique culture. From November 1–28, our Kaloko branch will be hosting Hawai‘i Nikkei Legacy Exhibit: a free photographic exhibit covering the history and culture of Japanese Americans in Hawai‘i. From November 9–18, the Kona Coffee Cultural Festival will celebrate Kona’s world famous bean. Tastings, competitions, the Miss Kona Coffee Scholarship Pageant, and a ho‘olaulea are just a few of the highlights. We’re proud to be a festival partner and also sponsor an event that celebrates our roots.” Tricia and the HCFCU ‘ohana would like to say mahalo to their members, staff and the community who continue to share their dreams with them every day. She says, “Please know that every day, and in every way, we appreciate you.”

Mahalo to our advertisers! By recognizing the value of Ke Ola Magazine for their marketing, they enable us to perpetuate and immortalize these important stories that deserve to be shared. Please visit them (in person, online, or by phone) and thank them for providing you this copy. Without them, Ke Ola Magazine would not exist.

Advertiser Index Accomodations Island Paradise Inn Kamuela Inn Kïlauea Lodge

Activities, Culture & Event

Aloha Theatre Big Island Skydiving East Hawaii Jazz & Blues Festival FairWind Big Island Ocean Guides Hawaiÿi Artist Collaboration Art Auction Hula Kai Snorkeling Adventures ÿImiloa Astronomy Center Jack's Diving Locker Ke Ola Magazine's 10th Anniversay Concert Kona Coffee Cultural Festival Liliÿuokalani Gardens Celebrations Palace Theater A Wicked Good Time Costume Party

Art, Crafts & Jewelry

Akamai Art Supply Barbara Hanson Polymer Clay Artwork Barger Gallery Colette's Custom Framing Dovetail Gallery & Design Glyph Art Gallery Holualoa Gallery Holualoa Ukulele Gallery Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Kona Frame Shop Mountain Gold Jewelers Nalu Island Jewelry & Gifts One Gallery Pat Pearlman Designs Puna Gallery & Gift Emporium Simple Elegance Gems Volcano Art Center

KeOlaMagazine.com | September-October 2018

Automotive

BMW of Hawaii Precision Auto Repair

Beauty, Health & Nutrition

Colloidal Silver Dr. Ardolf & Associates, Naturopath I Love Kigelia® Skin Care Serum Keary Adamson, LMT Jaiya Spa Joan Greco, DDS, Oral & Maxillofacial Surgery

56 23 90 27 28 38 43 78 42 50 40 36 25 6 8 73 22 66 14 89 66 66 66 66 62 66 27 32 26 8 66 57 84 22

North Hawaiÿi Community Hospital Om Fitness and Training Quantum Health Hawaii–Carbon 60 Fullerene Quantum Health Hawaii–Zero Gravity Chair Pahoa Chiropractic Reiki Healing Arts The Exclusive Hawaii

Building, Construction & Home Services

Colette's Custom Framing 89 dlb & Associates 94 Fireplace & Home Center 34 Hamakua Canvas Co, (Upholstery) 14 Hawaii Water Service Co. 65 Hawaii Electric Light Co. 84 HomeWorld 48 Indich Collection Hawaiian Rugs 13 Kona Frame Shop 27 Parasdise Plants 19 Plantation Interiors, Teak Garden & Lanai 49 Polynesian Development, Inc. 94 Statements 33 Tai Lake Custom Furniture 82 TR's Property Shop 54 Uncle Tilo's Water Catchment Services 56 Water Works 90 Yurts of Hawaiÿi 88

Business & Professional Services Action Business Services Allstate Insurance, Kris Speegle Aloha Kona Kids A.S.K. About Travel Employment Experts CU Hawaii Hawaii Community Federal Credit Union

Education

Mälamalama Waldorf School Om Fitness and Training

35 15

Pets

95 74 15 72 45 65

Real Estate

Ke Ola Magazine recognizes the use of the ‘okina [‘] or glottal stop, as one of the eight consonants of (modern) Hawaiian language; and the kahakō [ā] or macron (e.g., in place names of Hawai‘i such as Pāhoa). Ke Ola Magazine respects the individual use of these markings for names of organizations and businesses.

6 23 32 34 57 61 54

Maikaÿi Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC Beverly Y. Crudele, RS, Clark Realty Clark Realty Coldwell Banker-Daylum Properties Derinda Thatcher's Team Sold Kelly Shaw, RS, Elite Pacific Properties

94 89 25 72 55 44 20 18 23 95 99 95 51 49 26 100

Kimi White, RB, Rainbow Properties Kona Coast Realty Corp. Lava Rock Realty Paradise Found Realty Parks Realty LLC Savio Realty–Pahoa Team Nakanishi

91 16 3 94 45 57 44

Restaurants & Food

Ahualoa Farms 26 Black Rock Café 56 Boogie Woogie Pizza 56 Daylight Mind Coffee House, Café & Bakery 24 Hawaiÿi Food Basket 88 International Grindz 56 Island Naturals Market & Deli 67 Island Naturals Market & Deli–Pahoa 56 Kailua Candy Company 82 Kaleo's 57 Kohala Grown Market 28 Lava Shack 56 Lucy's Taqueria 8 Nicoco 57 Paolo's Bistro 56 Päpaÿaloa Country Store & Cafe 74 Peaberry & Galette 72 SJ's Personal Chef & Catering 32 Standard Bakery 60 Sugai Kona Coffee 66 Sushi Rock & Trio 28 WikiFresh 34

Retail & Gifts

Ahualoa Farms All Kine Aloha Aloha Grown Hawaii's Gift Baskets Hawaii Cigar & Ukulele Island Clutter Consignment Shoppe Jungle Love Kadota Liquor Keauhou Shopping Center Kiernan Music Kings' Shops Kona Commons Shopping Center Mana Cards Pahoa Used Books & Movies Päpaÿaloa Country Store & Cafe Paradise Found Boutique Parker Ranch Store Petroglyph Press Puna Kamaliÿi Flowers Queens' MarketPlace

26 56 97 62 28 90 56 32 76 60 80 75 89 57 74 60 97 36 61 2

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"The L

ife"

Celebrating the arts, culture, and sustainability of the Hawai'i Island

UA MAU KE EA O KA ‘ÄINA I KA PONO. The life of the land is perpetuated in righteousness. [Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the Hawai‘i state motto.

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KeOlaMagazine.com | September-October 2018

Ka Puana - Closing Thoughts

Proverb 684. Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press.

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KeOlaMagazine.com | September-October 2018

Celebrating 15 Years as a Realtor!

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