March-Aprl 2019 by Ke Ola Magazine

March–April

2019

Hawai‘i Island’s Community Magazine The Life |

March – April Malaki – ‘Apelila

Malaki–‘Apelila 2019

KeOlaMagazine.com

ARTS CULTURE SUSTAINABILITY

Hōkū Pa‘a Kūha‘o Zane Refuse – Reduce – Reuse – Recycle

2019

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Front cover photo: Dancing on Lava Rock, a photograph by Kirk Shorte. Dancer: Chanedy Dois, â&#x20AC;&#x2DC;Ă&#x2013;ahi Entertainment Table of contents photo: HULA!, painted on silk with transparent dyes by Kristi Kranz. Read more about the artists on page 85.

The Life

Hawaiÿi Island’s Community Magazine March – April | Malaki – ÿApelila 2019

Arts

Charlene Asato is All About Paper

The Waimea Arts Council

Try Look Inside

Hōkū Pa‘a

By Lynne Farr

Art at the Heart of Waimea By Jan Wizinowich

Yvonne and Keoki Carters’ Artistic Life By Ma‘ata Tukuafu The North Star of Melodic Harmonies By Gayle Kaleilehua Greco

Community

The Right Thing to Do, In Real Time

Hawai‘i Island's Most Prolific Church Builder

By Judy Edwards

Rev. John D. Paris By Denise Laitinen

Culture

Kūha‘o Zane

“Hula is the vehicle for my identity to be passed on to me.” By Marcia Timboy

Chuck Leslie: The ‘Ōpelu Man 36 By Karen Anderson

The Past is Present

Kumu Kele Kanahele

Kalo Farming on Hawai‘i Island By Brittany P. Anderson

A Unique Son of Ni‘ihau By Paula Thomas

Sustainability

Future Forest Nursery

A Plastic-y Solution in Compost

Refuse–Reduce–Reuse–Recycle

Say YES to Planting Trees By Fern Gavelek

By Julia Meurice

Doing Our Part By Stefan Verbano

The Life

Hawaiÿi Island’s Community Magazine March – April | Malaki – ÿApelila 2019

Ka Wehena: The Opening Pō ke Ao

By Kumu Keala Ching

Business

Managing with Aloha

Nānā i ke kumu Truth By Rosa Say

Island Treasures

Puna Gallery and Gift Emporium

Talk Story With An Advertiser

93 94 95

dlb & Associates, LLC Jungle Love Reiki Healing Arts

Local Food The Gift of Kalo

By Brittany P. Anderson

Kela Me Keia: This & That

86 88 90 92 96

Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts KeOlaMagazine.com | March - April 2019

1870: Ku‘ia ka hele a ka na‘au ha‘aha‘a.

Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

Look for Hawaiÿi Island Weddings, Honeymoons, and Special Occasions Islandwide! The official magazine of

Brought

to you by

From Our Publisher As I read through the stories in each issue, I look for a common theme before writing my letter and choosing the proverb for the Ka Puana–Closing Thoughts page. The theme for this issue is malama, to care for. Whether it’s caring for our earth or its people, caring for the Hawaiian culture, caring for the perpetuation of all art forms…all types of caring are needed. It is up to us as individuals to choose what our passions are, and to get fully involved in caring for them. We have a multitude of volunteer opportunities listed on pages 90–91; perhaps you'll see something that inspires you. I chose a proverb for the last page about being humble hearted and walking carefully because I thought it was a good reminder for us all to tread lightly so we don’t leave any footprints on this land—this planet. Yes, it’s Earth Day on April 22, and really, every day is the day to malama ‘āina, take care of the land. I’m inspired by Kūha‘o Zane, a young professional you’ll read about on page 10. The younger adults I’ve been meeting lately are giving me hope for our future, including the ones who are writing for us. We have fantastic stories in this issue, and are happy to welcome some new writers whose names you may recognize from other publications. One of them is Stefan Verbano who wrote in this issue about the Great Pacific Garbage Patch and the four Rs: refuse, reuse, reduce, and recycle. He includes a reference guide on how to better manage our disposables so not as much opala (rubbish) goes into our landfills. Brittany Anderson shares her experiences growing taro on her farm and how easy it is to grow our own food. If we all make a conscious effort to grow and eat our own food, and compost our food scraps, we will reduce our carbon footprint and minimize our contributions to the landfills. If you weren’t able to make it to our 10th anniversary concert on January 19, 2019, we’re sharing some photos and quotes from the day on pages 74–76. It was a dream come true to have such a high caliber concert with four of the best bands on the island. The weather was perfect at the Waikoloa Bowl, the sound was superb, the bands were amazing, and everyone had a great time. I can’t thank our event manager enough. Charles Ruff produced his first event in Hawai‘i after many years of successful events in Oregon, and was absolutely amazing. Many thanks also to all the volunteers who helped out and to all those who attended!

We have owned a small studio apartment on the Big Island since 1996, and manage on average one visit per year (though the frequency is increasing as we age!). In all those years, I’ve seen many publications related to the Big Island in one way or another, and Ke Ola is hands down the best magazine from/ about/for Big Island visitors and residents alike. It is always interesting, superbly edited, full of interesting and well written articles, and always drop-dead gorgeous. Congratulations on achieving 10 years of publication, and may there be many more decades of Ke Ola to come. Mahalo!!! Tammy Goesch Aloha, We picked up a copy of Jan/Feb 2019 Ke Ola on our winter vacation and were captivated by the photo page of past covers. Do you sell copies of those individual covers, or only as back issues? We would like to make a gift of some to our friends who are building a house on the Big Island. Mahalo. Mel Profit Aloha Mel, mahalo for your compliment! We donʻt sell copies of our covers; however, we encourage you to contact the artists who created your favorites and inquire about purchasing prints directly from them. Back issues of Ke Ola are available at keolamagazine.com. —Editor

MAHALO TO OUR STORY SPONSORS Ahualoa Farms – Local Agriculture

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From Our Readers

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Ka Wehena

Po ke Ao Na Kumu Keala Ching

‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao Nā Kini Lani, Nā Kini Honua Nā Kini Uka, Nā Kini Kai ‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao Nā Kini Hikina, Nā Kini Komohana Nā Kini ‘Ākau, Nā Kini Hema

Honoring night and day Night becomes day, day becomes night Multitude of heavens and earth Multitude of upland and sea ward Honoring night and day Night becomes day, day becomes night Multitude of the Eastern and Western Sphere Multitude of the Northern and Southern Sphere

‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao Nā Kini Kupa, Nā Kini Kua Nā Kini Pio, nā Kini Kama

Honoring night and day Night becomes day, day becomes night Multitude of ancestors and generations Multitude of all beginnings

‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao Nā Kini Lele, Nā Kini Holo Nā Kini Au, Nā Kini Iwi

Honoring night and day Night becomes day, day becomes night Multitude of animals (flying and running) Multitude of fishes and creatures

‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao Nā Kini Mua, Nā Kini Hope Nā Kini Luna, Nā Kini Lalo

Honoring night and day Night becomes day, day becomes night Multitude before and after Multitude above and below

‘O ka Pō, ‘o ke Ao Ao ka Pō, Pō ke Ao

Recognize the night and day Night becomes day, day becomes night

I ka lā ‘Ewalu o ‘Ianuali i kēia makahiki, ua māka‘ika‘i mākou, nā kūpuna o Kona, i Kalaoa, Kona ma ke Kula Nui ‘o Pālamanui. Ua wala‘au ‘o Kauka Richard Stevens me mākou e pili ana ka pilina ā mākou me nā mea kanu o ka wā kahiko ā nā mea kanu o kēia ao. Ua wai wai ho‘i kau ke lohe ‘ia. A laila, eia ho‘i kēia mele e ho‘ohanohano i kēia mau mana‘o i ka‘ana ‘ia.

On January 8, 2019, our kūpuna group of Kona journeyed through the district of Kalaoa, Kona on the campus of University of Hawai‘i, Pālamanui. Dr. Richard Stevens shared his thoughts of our connective relationships with our plants, Native Plants most specific. This mele honors our journey.

Find and know your connection to the LAND you call home. Honor its history to enjoy its beauty now and forever. Mahalo e Dr. Richard Stevens!

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org

Küha‘o Zane

“Hula is the vehicle for my identity to be passed on to me.”

KeOlaMagazine.com | March - April 2019

By Marcia Timboy

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ūha‘o Zane is a successful Hilo-based design professional. He’s also a cultural practitioner deeply rooted in ancestral traditions, with an esteemed hula lineage inherently connected to Hawai‘i Island. Kūha‘o has danced in 20 consecutive ho‘ike (exhibition) programs at the Merrie Monarch Festival. Growing up in Hālau Kūha‘oimaikalani (Rain from Clear Sky) Zane was born in Hilo on December 29, 1983. His mother, Nalani Kanaka‘ole, is one of the two highly regarded kumu hula sisters of Hālau o Kekuhi, and his father, internationally-renowned clothing designer Sig Zane, danced with Hālau o Kekuhi in the 1970s. Kūha‘o’s grandmother, Edith Kanaka‘ole (1913–1979), was one of the most revered figures of Hawaiian knowledge and hula, and was designated a “Living Treasure of Hawai‘i” in 1979. His maternal great-grandmother, Tūtū Fuji, chosen to be trained in a rural part of Pūna at a young age, learned the ancient form of hula called ‘ai ha‘a, and passed this knowledge to her ‘ohana. Thus, the lineage of hula followed the family’s bloodline.

Kūha‘o started learning hula when he was nine years old, relatively late as most haumana (students) begin at three or four years of age. He attributes his hesitancy in joining hālau to the social norms he held as a young boy, during a time when “masculinity...was a big thing.” He told his kumu hula mother, “I don’t want to dance because it’s for māhūs [in-themiddle, or third gender].” It wasn’t until his mom tricked him one day by saying he could hang out with his favorite cousins more if he practiced hula, that he acquiesced. According to Kūha‘o, children in Hālau o Kekuhi are treated as “sacred cows.” His mother, Kumu Nalani, believes in latent learning: that children running around and playing while hālau is in session, will naturally absorb the oli (chants) and structural aesthetics of hula. Traditional Hawaiian education is based on learning as much as you can without asking—don’t ask, wait to receive. His dad, Sig, practices Papio psychology—using a tool to lure, an action to attract what you want. Reciprocity. In this way one earns knowledge.

KeOlaMagazine.com | March - April 2019

Opposite page: Kühaÿo with his parents, Sig Zane and Nalani Kanakaÿole. photo courtesy of Kühaÿo Zane

This Page: Kühaÿo in his office at SZ Designs. photo by Marcia Timboy

At the onset, Kūha‘o did not enjoy hula. He didn’t like the discipline it took to learn difficult movements. His aunt, Kumu Hula Pualani Kanaka‘ole Kanahele, once stated that Kūha‘o’s dancing for his first 10 years was “dutiful.” While he initially thought of this as a compliment, he eventually realized that it was her observance of mere compliance in his dancing. Around the ninth grade, a shift occurred within Kūha‘o to adapt to learning versus fighting hula. Like most teenagers, he felt a need to develop more self-confidence; traveling abroad and performing on stage helped him achieve this. Seeing his cousins travel to other places with hālau to perform Kamehameha Pai‘ea, a “masculine expression of hula,” had a great impact on him as well. Personal and Cultural Identity The first time Kūha‘o took hula seriously and with more commitment was when he was in the 11th grade and touring Japan, recently reflecting, “I experienced a different culture, which shaped an appreciation of my own culture.” At this time, he likened hula to body boarding, learning how to maneuver moves to reach a goal. For Kūha‘o, hula became learning by interaction, and as a constant learner he felt the need to always improve. “You make a mistake, and fix it. It’s how quickly can you learn.” Another push for learning quickly was that “girls outnumber boys in hula, therefore boys move faster up the ranks, because boys are needed in performances.” In 2002, Kūha‘o returned from college, graduating with a degree from the Institute of Fashion Design and Merchandising in Los Angeles. He began to enjoy and appreciate dancing, and regarded hula as an art form like ballet. He also realized that the hula aesthetic of his mother’s crisp and linear choreography—with strong, straight lines conveying energy out—influenced his own sense of graphic design. In 2003, Hālau o Kekuhi was invited to represent Hawaiian culture at the Cultural Olympiad, a prelude to the 2004

KeOlaMagazine.com | March - April 2019

Kühaÿo and the haumana of Papa Pa Iÿeiÿe–named after the highest-ranking plant of all the kinolau (h

Olympic Games. This event was a major turning point for Kūha‘o. The experience expanded his world view, as members of the hālau visited ancient Olympic “power sites” and participated in cultural exchange with other nations. Whenever the hālau performed, they were asked where they were from. Kūha‘o felt a stronger sense of identity when defining himself and Hawaiian culture. He realized that “the energy that hula exudes speaks a global language, and is a way of connecting that is universal, as in other archaic cultural art, which has evolved over the years.” The Elevation. “The ‘Uniki.” In May 2016, Nalani Kanaka‘ole Zane had a serious health episode at a hula event. “Does our schooling end now?” her haumana queried as their kumu’s (source) finiteness was realized. In December 2016, Kumu Nalani announced to the hālau, “I’m going to put you through classes, regular meetings, and have a ceremony.” Kūha‘o’s personal opinion was that “Mom felt the urgency to acknowledge us, the haumana, and our studies, commitment, and time.” Her curriculum covered cultural origins and theory of hula, when the reenactment of the natural world and the deities took form in hula, hula terminology, the transference of mana, the origins of Hālau o Kekuhi, the exploration and full comprehension of kaona (hidden meaning), comprehensive knowledge of and skills required for each of the hula implements, and making one’s own hula implements. During a two-year period, research projects were assigned leading up to two ceremonies: the practicum on August 26, 2018, and the ‘uniki or elevation on November 12, 2018. The intensive procedure and ceremonies that Kūha‘o completed had all the components and protocol of ‘uniki, yet was considered an “elevation,” a transcendence or rising up to the next level. In hula tradition, ‘uniki is more than a graduation; it

hula plants). photo courtesy of Kühaÿo Zane

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is the separation from the original hālau once the ‘olapa (advanced hula dancer) has achieved mastery of a large body of traditional hula numbers that are a part of their hālau traditions, and has assimilated knowledge of cultural origins and theory of hula, hula terminology, and hula implements and fabrication. The ‘uniki separates the ‘olapa from the original hālau, and then the ‘olapa is given a kuahu (hula altar) to start their own hālau. Once ‘uniki, the ‘olapa will not perform with their former hālau; this is the traditional way. The most recent Merrie Monarch competition rules state that dancers who ‘uniki cannot perform with their previous hālau. Although Kūha‘o and others in his group, Papa Pa I‘ei‘e— named after the highest-ranking plant of all the kinolau (hula plants) on the hula kuahu—completed the intensive two-year training process, they did not technically ‘uniki, so they can continue to perform with Hālau o Kekuhi. When asked when one is ready to ‘uniki, Kuha‘o adamantly replied, “You don’t go into hālau to get ‘uniki to become a kumu. You can’t just say you want to become a kumu hula.” One has to earn it. “You don’t just learn the moves when you learn hula,” adds

Kūha‘o, “you learn the history. You learn the background. You learn what flowers to pick when you’re making certain lei. You learn about the mele—some of these mele date back 300 years.” With 20-plus years of building a foundation, Kūha‘o took a month off work to prepare for the practicum. He felt he lacked experience as ho‘opa‘a (one who has learned oli and mele and is capable to lead, call, and impart knowledge to other dancers). He had never taught any of the younger haumana and found it difficult to ho‘opa‘a to a dancer. Once again, he felt he was trying to catch up. The practicum was very challenging for Kūha‘o, and the time between the two ceremonies was spent reassessing himself. Kūha‘o was pleased with the ‘a‘ahu (performance costume) that he had to make with all-natural materials. He used amau (fern) and māmaki plant dyes, and the ash from Mt. Aso, Japan as an activator to set the dyes. He was also required to make his own lei and kupe‘e (adornments) to complete the ensemble. He was most appreciative in learning the core elements of oli, including the thought processes and layering of the kaona,

Some haumana of Papa Pa Iÿeiÿe, in front of a photo of Kumu Hula, Aunty Edith Kanakaÿole, founder of Hälau o Kekuhi, and Kühaÿo's grandmother.

photo courtesy of Kühaÿo Zane

KeOlaMagazine.com | March - April 2019

and how the final product would be perceived. These elements needed to be fully understood in order to haku (create, compose, weave together) an oli. Kūha‘o feels his biggest achievement of the whole ‘uniki process was to haku oli (write his own chant), and to translate, then perform it. “I never imagined myself as a conductor.” “The coolest thing [of the elevation ‘uniki process] was watching everyone else go through their own challenges and achievements.” Ho‘omau… “To continue, keep on, persist, renew, perpetuate, and persevere, last, to mate in order to conceive.” Kūha‘o believes the greatest contribution of the elevation (‘uniki) process is EA (life, sovereignty) giving the majority of youth a transference of knowledge. The ho‘okupu (offerings of respect) given to his mother as a result of the ‘uniki is “the progression and perpetuation of hula and mele on all levels.” The knowledge and legacy of a hula lineage endures. ■ For more information: edithkanakaolefoundation.org/halauokekuhi.php

KeOlaMagazine.com | March - April 2019

Kühaÿo and his hälau sister in their ÿaÿahu (ceremonial performance outfit) that they made with all-natural materials. photo courtesy of Kühaÿo Zane

Charlene Asato

IS ALL ABOUT PAPER By Lynne Farr

Paper is only paper until it’s in the hands of

Charlene Asato—then it’s art—or it will be. Charlene is going to cut, fold, emboss, dye, draw, twist, collage, letter, shred, sew, paint, pierce, pleat, print, paste, and make a book out of it...a very special book, one-of-a-kind. It’s called an artist’s book. There are many types of artists’ books. Tyger, for example, is a “tunnel” book that illustrates William Blake’s poem, “Tyger! Tyger! burning bright, in the forests of the night...” Interestingly, William Blake is known as the father of artists’ books since he was the first to hand paint the covers of his written work, hand-bind, and selfdistribute his unique editions in the early 1800s. However, that is not why Charlene Asato created Tyger. As she searched to find a good subject for calligraphy and watercolor painting, Tyger emerged. It’s a good bet that William Blake, if he could see Tyger, would wish he’d been the one to make it. It wasn’t until the 1950s

and 60s that anyone created a tunnel book, which is a unique meshing of storytelling with three-dimensional art. Artist Dieter Roth is credited as the first to make holes in the pages so you can see directly into the book. Charlene’s Lava Tube is a fitting example of the form. While Tyger has six pages, Lava Tube has 25 pages that telescope out like bellows. The book illustrates the conduit formed by burning lava underneath the hardened surface of a lava flow. When the eruption slows, the rock cools and leaves a long tunnel. This tunnel book is made from two kinds of paper, paint, metallic beeswax paste, waxed linen thread, and binder board, and is an ideal way to portray the awesome volcanic action on Hawai‘i Island. Charlene Asato grew up in Mountain View in East Hawai‘i. She earned her bachelor’s degree in art from the University of Hawai‘i at Hilo, then moved to California in 1967 where she and her husband raised a family. In 2003, they moved back to Mountain View, where Charlene built her studio as an extension of their home. In her light-filled space with its drawers

Charlene Asato

Tyger and shelves of materials and equipment, inspiring books, examples of her earlier work, experiments with new ideas, and a huge table to work on, she is in her comfort zone, the right place to take chances, be surprised and expand her art. In the 1980s, Charlene had taken calligraphy classes during which her teacher showed her a Japanese bound book, which

Wrapping Summer Squash vegetables, paper pockets in which to tuck them, a painted leaf as a carrier, and a translucent wrap made of see-through paper. Each page is sewn to the next using the Japanese binding method. Charlene calls this a modified Japanese binding because she has bound each page to another instead of binding them all together as a more traditional book. In the 1980s, the art of the book was blossoming worldwide. A calligraphy conference Charlene attended in California introduced new forms of artists’ books, leading her to increase her intimacy with paper. Though she had always enjoyed working with the vast array of papers available internationally, to create in three dimensions provided a new excitement. Her “piano hinge” book entitled Jagged Edge takes her into the realm of sculpture. Created of paper and bamboo skewers, it is a beautiful flight of fancy, an imaginative departure from what we think of as a traditional book.

KeOlaMagazine.com | March - April 2019

Lava Tube

featured an ancient method of hand binding. Her artist’s book Wrapping Summer Squash is a modified example of this system in which pages are sewn together using something like a blanket stitch. A book called How to Wrap Five Eggs by Hideyuki Oka, illustrating Japanese folk-methods of packaging food, inspired Wrapping Summer Squash. Charlene took the concept to the limit and chose summer squash as her topic “because I wanted to do collage work with watercolors and papers I’d decorated. My subject had to be a fruit or vegetable with a variety of types, shapes, and colors. I finally chose summer squash and proceeded to show how to wrap them,” explains Charlene. The squash-themed book includes a paper basket to fill with paper squash, paper string as a way to tie up the paper

Jagged Edge

Charlene describes her experience in making Tea Path, “A piano hinge book can go on and on, creating straight paths, curved paths, or twisted paths. Bound with toothpicks, the Japanese paper, dyed with black tea, gives this book an earthy tone. It starts as a coil of paper and changes its shape as it unravels into whatever direction the viewer dictates.” Her “star” book Abecedarian Gothic gave Charlene the opportunity to feature calligraphy on a three-dimensional

canvas. According to various dictionaries, the word ‘abecedarian’ originated in the Middle Ages and means “a person teaching the alphabet,” “a person learning the alphabet,” or, as an adjective, “of the alphabet.” Charlene’s book offers all three meanings: she teaches as we learn our ABCs in a brand new way, via Gothic lettering which appeared in the Middle Ages in illuminated manuscripts. “With the 26 letters of the English language to write,” says Charlene, “I chose the star book structure with a tunnel book effect. The outer layer would have the majuscule [upper case] letters and the second layer, the miniscule [lower case]. The closed book looks like a typical codex bound book but it opens up to a 13-point starburst.” Charlene gives credit as an innovative influence to Hedi Kyle, a mainstay in the book arts community. In 1979, Kyle pioneered the “flag” book, which Charlene takes to new heights. One example is her black and white Serendipitous Journey.

Abecedarian Gothic

Tea Path

In Serendipitous Journey, a single drawing was cut and the pieces positioned on an accordion fold base so that the whole image is revealed when the covers are extended to the fullest, pulled almost flat. As the covers are moved back and forth, and the flags change position, more patterns are revealed. Serendipitous Journey is a small book. When closed you can hold the book in the palm of your hand. Such a book can be made in a day. Her major flag book fantasies, however, are feats of engineering requiring the planning of a general, mathematical genius, eagle-eyed accuracy, and a skill earned from plenty of practice. Each book takes at least three weeks to make. For these books, Charlene needs to plan how much paper she will need in advance, because all the paper involved, not just for the cover art, but for the flags themselves, are hand painted KeOlaMagazine.com | March - April 2019

Serendipitous Journey

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by Charlene, using a technique called “paste paper,” similar to finger painting. These are books like Verdant Knoll and Tickled Pink as shown by Charlene on page 17. They are books that need two hands to pick up and a stretch to open, all while marveling wide-eyed at the results. Her “double flag” book Cadence is also in this category. In Cadence, the flags are going in both directions. They must rise and make their intricate patterns without bumping into each other and they all must flatten accurately when the book is closed. When asked what is the hardest, maybe scariest, part of making these books one would think Charlene would discuss the measuring or the precision cutting and folding required; however, she says, “This is going to sound kind of crazy, but it’s the gluing. The covers have to be glued perfectly smoothly so there are no bubbles. Anytime I’m using glue it’s stressful. If you do it wrong, well…”

ColettesCustomFraming.com

KeOlaMagazine.com | March - April 2019

Cadence

Charlene’s award-winning artist’s books have been exhibited in East Hawai‘i at Volcano Art Center, Wailoa Art Center, and East Hawai‘i Cultural Center where she had a solo exhibition in 2012, as well as in Missouri, Texas, Oregon, Georgia, Colorado, New York, and Sheffield, England. Her books have been collected by the Baylor University Library Collection in Texas; Denver, Colorado’s Public Library Douglas Fine Print Collection; the University of Alberta Library Collection in Canada; and by many private collectors. Charlene has also taught bookbinding and paper arts at Volcano Art Center’s Niulani Campus, at East Hawai‘i Cultural Center, at her own studio, and she will teach it again. Meanwhile, she’ll be finding new ways to dazzle us with outrageous “how on earth did she do that?” beauty made with paper. ■ For more information: chaleidesigns.com Photos courtesy of Charlene Asato

Future Forest Nursery:

Say YES to Planting Trees “

Trees are poems that the earth writes upon the sky.”—Khalil Gibran

Trees make us look up. Their canopy provides shade and collects rain to replenish the watershed. Their roots sequester carbon, mitigating global warming, and store rain to prevent runoff. Trees provide a home to birds and creatures of the forest. Their parts are used to provide lumber, paper, fruit, nuts, and assorted products desired by humans. Their outstretched limbs are a favorite of children for climbing and hanging swings. Horticulturist Jill Wagner of Kailua-Kona agrees with all of Looking up into an ÿohe makai tree.

the above, adding she “believes in the trees.” She also says trees don’t get enough credit for their role of sustaining life on Earth. “Many scientists and environmentalists say the best thing an individual can do to support the planet is to plant a tree,” she explains. “I believe planting a tree is an act that says ‘yes’ to life and to keeping our planet in equilibrium. With the reality of climate change upon us, it is an important action that individuals can take, if not at home, then with a community project that is doing a large-scale planting.” Through her business, Future Forests Nursery (FFN), Jill not only helps people plant trees, she also maps out a

KeOlaMagazine.com | March - April 2019

By Fern Gavelek

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friendly habitat for them to prosper while propagating, from seed, the chosen species to stock it. This wholistic approach of addressing the entire landscape is at the heart of Jill’s business mission, and is what makes her tick. “I believe it is important to take care of nature because nature takes care of us, and we have to reciprocate,” she details. “I learn so much from nature; it is abundant and generous, and it is resilient and preserving. To me, nature and forests are the key to our future, hence the name of my company.” A Life-Long Love of Nature Jill has been growing plants in Hawai‘i for nearly three decades; however, she grew up in Southern California where her family had a special relationship with the local parks and gardens. She reveled in the beauty of nature at family gatherings and “grew up going to the best gardens” including the Los Angeles Arboretum, the Huntington Botanical Gardens, Descanso Gardens, and the Rancho Santa Ana Botanic Garden. “My grandmother and mother are plant lovers and I became one as well,” she adds. “My mother, who was born in Ecuador, helped cultivate my interest in healing plants.” Jill moved to Hawai‘i in the early 1990s to grow plants with her boyfriend, Terence McKenna, an ethnobotanist who had worked with healing plants from the Amazon and other regions. The couple was interested in raising healing plants and during this time Jill studied and read about ethnobotany. “I was totally immersed in Hawai‘i’s natural environments,” she recalls. Jill Wagner propagates plants at her nursery. ÿOhe makai is a very special dry forest tree.

Future Forests Nursery After many years of propagating plants, Jill decided it made sense to help people plan the restoration of their properties.

KeOlaMagazine.com | March - April 2019

Starting in 1994, Jill worked at the Amy B.H. Greenwell Ethnobotanical Garden, where she practiced propagation and conservation of many native and canoe plants for five years. Canoe plants were brought to Hawai‘i by migrating Polynesians. “I am fascinated with the origins of plants and this garden provided a rich learning environment,” Jill notes. “I like to understand where plants originated from, what role they served in the ecosystem, and how they were used by humans. I always pay attention to plant families when I visit gardens and I always visit gardens wherever I go in the world.” While working with Hawaiian plants, Jill learned how they came to the islands over long periods of time, many overcoming hurdles for survival such as the journey via wind and sea. She found out how these plants adapted to live in their new habitat and acquired pollinators. “When I see a Hawaiian ecosystem, I feel I am seeing harmony,” she details. “I see this because the plants are gentle and it seems like every one has its place. The plants here did not have to develop strong survival mechanisms such as thorns and poisonous chemicals because there were no large animals here in pre-human times. Therefore, the ecosystems are very gentle looking to me, with lots of very interesting growth habits.”

Future Forests Nursery is a contract-grown nursery specializing in trees for Hawaiÿi reforestation and tropical timber species. She founded FFN in 1995 and continued her interest in native plants, earning a bachelor’s degree in ethnobotany from University of Hawai‘i at Hilo. “I mostly encourage native planting when people have large enough properties to support habitats for the ecosystem they need,” she explains. “I’m not into clients collecting plants that are inappropriate for the site, and collecting for collecting’s sake.” If Jill evaluates that an ecosystem restoration isn’t feasible, she encourages agroforestry, which incorporates many “layers,” such as timber trees, understory, fruit and nut orchards, ponds, and animals. “For example, there are ways to graze sheep and cattle in silviculture [hardwood] plantings,” Jill explains. At FFN, her focus is to tell a client what is important for the health of the area’s ecosystem. This helps them to better understand the big picture of what is being proposed to create a healthy environment. Jill says when she begins a project, she spends on-site time observing what is going on and “getting a feel for the land.” Next, she imagines the “plant palette” she is going to use and visualizes how the plants will look when they are mature. She also considers what the ecosystem would have been like in pre-human times, to better understand the land.

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Planting with Regard to Place “One of the things that has really impacted my thinking about working with plants is hearing Edward O. Wilson, one of the great evolutionary biologists of our time, talk about how we can save the planet—and ourselves,” Jill muses. “If we have regard for place, then we will learn about nature where we live and preserve the plants from that region. By doing this all over the world, the plants of every place will not be lost, thus we are preserving unique habitats and species, which equals diversity. Diversity is the key to health and survival.” Jill emphasizes that bringing in plants from other places without regard to the native ecosystem is a disservice to the environment as the introduced plants, with better survival strategies, often push out the native plants. She explains, “We replace what has taken thousands and thousands of years to settle and survive in a place [here] and replace it with what we like. Then we get monotypic strands of those aggressive plants. That is the reason I pay attention to the origins of plants, and although I do grow plants and trees from other places, I try to understand a lot of things about their seed production and requirements for survival. I’m not just a collector of pretty things. I have learned when I make mistakes to take things out.” FFN has been busy doing native plant restoration in Kona for several years. Current projects include koa forestry, plus dry forest restoration at La‘i ‘Ōpua for the Department of Hawaiian Homelands and the endangered plant habitat at the Pālamanui Preserve. Jill says the dry forest is “an extremely endangered, very rare ecosystem” with many species. Located on the isle’s leeward side, it is also where people want to live. The koa project is at the top of the Kaloko area, where Jill is restoring the forest and planting understory species that have been diminished due to past land use, such as logging and cattle grazing. “We are rehabilitating the forest and supporting the many native birds there,” she details. Saving Seeds is Important Claiming trees and reforestation are her life’s passions, Jill simply states she “loves to help people, and to plant.” With Ripe ÿöhiÿa seeds

KeOlaMagazine.com | March - April 2019

this in mind, she is dedicated to collecting seeds and saving them for the future. She serves as director of the Hawai‘i Island Seed Bank, part of the statewide Hawai‘i Seed Bank Partnership overseen by Laukahi Conservation Network. In this capacity, she meets with other island seed banks to discuss priorities for conserving Hawai‘i species and share best practices for seed banking. She also collaborates with the nation’s largest seed bank in Colorado and the Millennium Seed Bank at England's Royal Botanic Gardens, Kew—the largest native seed bank in the world. Ka ‘Ahahui ‘O Ka Nahelehele, an organization dedicated to dry forest preservation, administers the Hawai‘i Island Seed Bank. People bring their seeds to Nahelehele to clean, dry and store for restoration and conservation projects, and also for viability testing. The seed bank is currently doing a project in conjunction with the Lyon Arboretum Seed Lab to collect ‘ōhi‘a seeds in the wake of the Rapid ‘Ōhi‘a Death outbreak. Named ‘Ōhi‘a Love, the project offers workshops on how to collect seeds and asks residents for property access to collect seeds. “People can adopt a tree so seed can be saved on their behalf,” shares Jill. She says the more seed collected the better, as larger volume means better seed diversity for future ‘ōhi‘a propagation, replanting, and research. Jill also supports the Kohala Center’s Hawai‘i Public Seed Initiative; it involves farmers statewide growing food crops successfully adapted to Hawai‘i’s climate and making their seeds available to the public. She considers this a “bank of sustainability” and an important initiative addressing the need for Hawai‘i to grow more food. And while Jill thinks supporting seed banks is important, her lifeʻs work lies in designing gardens and working with nature to

“heal the land” and create beauty. “My long-time vision and goal are to create a public arboretum,” she shares. “I have created gardens for private landowners, but I am not able to share the gardens with others. I want to create a garden that people can come to and learn about nature—and experience peace.” ■ Photos courtesy of Jill Wagner For more information: forestnursery.com laukahi.org drylandforest.org hawaiiseedgrowersnetwork.com

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The Gift of Kalo

Local Foods

With Recipe for Taro Greens and Feta Phyllo Triangles

By Brittany P. Anderson Something stirs inside of me with each writing assignment, yet diving deep into kalo (taro) farming on Hawai‘i Island for this issue felt a little more profound. Waipi‘o Valley in its truest untamed form is a place of spiritual connection where you can commune with nature as wild horses saunter by and clouds crawl down the valley walls. I was given my first taro by a man we met from Craigslist, Wilson, who was selling purple sweet potatoes by the 50-pound sack. “Do you have taro at your place?” he asked as we stood in his driveway. He had tried to sell us a small goat just before the question. I had no sooner finished my reply, “No, we don’t,” when he handed me the tops of four upland taro plants. “Just put them in mulch, and you’ll have plenty,” he said while we tossed the taro into the back of our truck. Farming upland taro still requires water which is luckily quite consistent in Hilo. I planted the taro in my garden, with plenty of mulch, and fertilized with compost whenever I remembered. When we purchased our farm in Honomū almost two years ago, we found two different old kalo patches on the property. On a hill under the mango trees, upland taro grows at breakneck speed while along the stream a wetland variety flourishes. Several months after we purchased our farm, a man was driving past as I locked the gate. “I think I know you,” he said with a squint of his eyes, “I think you bought potatoes from me.” Indeed we had—it was Wilson. “My family used to farm this spot,” he said pointing behind me. On a later visit to Waipio, as I stood in the middle of the valley, with walls of green surrounding us and blue sky reflecting off the flooded taro patch, my past and present collided. Taro can be propagated by cutting the green tops off just below the young roots. The result, the huli, are then stuck back in the ground to form the edible corm again. I went home to compare my two upland taro patches—the one I planted in my garden and the one that was there when we bought our farm. Could it be? It turns out they are both the same, having a hint of red splashed under the leaf and a thin red line along the edge. We were always connected to the land; we just hadn’t realized it yet. All parts of taro must be cooked thoroughly due to the presence of oxalic acid when raw. Cooking taro dissolves the oxalic acid. If any part of the taro is undercooked, it may cause itching, needlelike sensation, and extreme discomfort. When cooked, the leaves can be substituted for spinach, collard greens, and even Swiss chard. Friends invited us over for dinner; however, I was running

late and forgot to pick something up for pupu (appetizers). So, I went into the garden, plucked taro leaves, and whipped up a batch of a new spin on the Greek spanakopita called Taro Greens and Feta Phyllo Triangles. Taro Greens and Feta Phyllo Triangles 1 stick (1/2 cup) unsalted butter 6 cups roughly chopped taro leaves 8 oz local feta ½ tsp local nutmeg 1 package phyllo dough Pinch of salt and pepper Put taro leaves in a medium-sized pot on medium heat with just enough water to cover the base. Stir until wilted and tender, about 10 minutes. Do not let leaves brown or burn, you want a soft paste. Remove from heat and cool. Preheat oven to 375°F. Working in batches, squeeze handfuls of taro leaves to remove as much liquid as possible. Transfer to a bowl and stir in feta, nutmeg, salt, and pepper. Melt butter. Take 1 phyllo sheet, place on dry work surface lengthwise and brush evenly with butter. Place another phyllo sheet on top, brush with butter. Cut horizontally into 3 strips. Place a tablespoon of filling near the upper corner of each piece, then fold over to make a triangle. Continue folding, like a flag/paper football, to maintain the triangle. Place triangle closure side down on baking sheet and brush the top with melted butter. Continue until you run out of taro mixture. Bake on the middle rack of your oven until golden— approximately 20 minutes. Let cool slightly before diving in. Enjoy! Photos by Brittany P. Anderson

The Right Thing to Do, In Real Time

KeOlaMagazine.com | March - April 2019

By Judy Edwards

en Boyer is a big guy with a big heart and a kind voice, who carries a camera as one of his passions. He grew up in Volcano and lives there still with his wife, Deb, and young daughters. On disability from a work accident, he spends much of his time supporting others where he sees a need. Deb was laid off from her job in December 2017. Still, when Kīlauea erupted in early May 2018, their values would not allow them to stay home and be despondent about themselves. As their upper Puna neighborhood, the summit, rocked with daily earthquakes, they enlisted their girls and got to work. “My value system was instilled from the family,” Ken tells me, 30 when I ask why he got involved with the eruption relief effort

in Puna. “I think a lot of my need to help really came from working with troubled teens when I was younger. They have nothing, wearing rags, are not with their own families. I saw how this lava affected people—so many families living in tents in terrible conditions, especially the kids. I had to help.” The distance from Volcano to Pāhoa is about 35 miles, one way. Ken calculates he drove over 7,000 miles and spent roughly $1,500 in gas in the summer of 2018, redistributing over $35,000 in donations. First he and Deb donated their own family money, then a trickle of cash donations from multiple sympathetic sources swelled into a river. He turned

Ken began posting live Facebook updates from the Kīlauea summit, his backyard, and then from anywhere he felt might benefit anyone. He wanted to help his community understand the unfolding events in real time. As the eruption intensified, local businesses stepped up to help the Boyers. “Target was great with bottled water and price matching,” he says. “Longs Drugs helped us out on water, gave us price breaks, and even helped facilitate bringing in water, because everyone was running out. Pu‘uhonua o Puna [Place of Refuge in Puna, also known as The Hub] in Pāhoa was set up by the community to comfort those displaced by the eruption and was not allowed to distribute water unless it was in bottles”.

Background: May 27, 2018. A house on Nohea St. is taken by pahoehoe just after the perched pond of Fissure 8 broke. Bottom: Ken and Deborah Boyer just before an overflight of Leilani Estates.

Fundraising and Local Heroes Ken and Deb brainstormed on ways to further help the community and landed on the idea of organizing a car show/ donation drive. Ken says, “The Hilo Home Depot let us use the whole parking lot. We reached out to radio stations The Wave, and The Beat FM. Justin Duty, the manager and DJ, invested a lot of time working with us on ads for as many markets as possible. All of the station DJs came to the fundraiser, donated their time, and he ran the studio while they spent the day with us. Without them I don’t think we would have gotten nearly the exposure.” Car Stereo Specialists called their car club and car shop connections. “Car Stereo Specialists donated a ton of time to that show, spent a lot of their own money, and provided food for the event. I can’t tell you how amazing that was,” Ken says. The Boyers were hoping 40 cars would show up for the show. They ended up with 120 cars, and donations upon donations. “We loaded three trucks and a van to the very top. My truck was full of water, stacked. I never expected that.” When the heaping caravan arrived in Pāhoa, they filled a 10 foot by 20 foot standing tarp “to the top, with a little overflow.” 31 Ken also worked with Bodacious Women of Pāhoa, “Sort

KeOlaMagazine.com | March - April 2019

that cash into food, water, and household goods, and brought necessities to the needy. “We did what we could, but the bulk of the cash donations came from other families, companies and organizations. Disaster Assistance Church of Christ, in particular, was amazing,” he says. Coordination was a challenge that Deb took on as the couple worked to balance incoming funds with the best use for the people of Puna, where the crisis grew daily as residents fled. “Deb called around to stores to see what they had in stock, and we tried to get the best deals. We went to Walmart every day for at least two months.”

Taking to the Air Ken was also supported by a private donor to fly with a commercial helicopter company to photograph lava-inundated Leilani Estates, in order to help homeowners with their insurance claims or ease their agony over whether their houses were standing. “Residents of Pāhoa whose homes were in the lava zone called in [to Paradise Helicopters] to vouch for me. The pilots tried to get us over the places we needed to photograph while obeying the flight restrictions.” Curious about the donor, I ask a few questions; however, Ken demurs. “She wants to remain anonymous. She knew about the eruption because she happened upon one of my live Facebook videos and wanted to help. I told her we needed to get documentation of the state of houses in the eruption zone. Most homeowners couldn’t afford to take helicopter flights. I documented 23 properties inundated or on fire this way.” Ken, with his cameras, flew a few times in mid-to-late May. “I think May 25th is the sad day we saw the most houses burning.” I ask what was going through his mind as he hovered over Leilani, photographing as much as he could. “Complete disbelief over what I was seeing,” he says with the awe still in his voice. “There were a lot of houses overrun by lava and catching on fire at once, people fleeing, and I had the realization that this is humanity down there, not a barren area like flows of the last decades.”

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of like a food bank,” Ken explains, and April Buxton, who distributed donations from her own tents. However, the majority of the time he coordinated with Pu‘uhonua o Puna. Ken says, “Our blessing in disguise was that we had the time to invest in this. Our youngest daughter just turned 4, and was our everyday helper. She really enjoyed being involved and loved everyone at The Hub.” Between shopping and donation runs, Ken offered himself and the big red truck for evacuations, driving when his back allowed, and coordinating evacuation assistance. On May 26, Ken and Ikaika Marzo entered Leilani Estates to help Ikaika emotionally support a friend as the lava inexorably approached his home. “The lava was just creeping and it was agonizing to watch,” Ken tells me. “The slow death of a property is so different, so hard. That day we witnessed five houses slowly pushed over, burning. It was heartbreaking seeing residents trying to put out fires starting where the lava began touching houses.” On May 27, a lava lake broke around Fissure 8 and wiped out 27 houses in an hour. Between May 26 and May 29, Ken compiled the bulk of his photos for homeowner documentation. Regulated evacuations started after May 29, when Civil Defense allowed residents back into Leilani briefly. “People were asking for help with evacuations,” Ken explains. “One of my friends had a house by Fissure 8. We got his stuff and started helping others. I personally helped with 16 evacuations. People tried to give us money and we just said, ‘No, go help somebody else.’”

Aboard the vessel Ohana with Captain Ikaika Marzo, observing the ocean entry and live-streaming to social media.

KeOlaMagazine.com | March - April 2019

The frenzy grew in Leilani. One house needing a quick evacuation was very close to Fissure 8. “When we arrived, Fissure 8 had already taken the house right behind hers. Lava shot up in the air hundreds of feet, tephra and Pele’s hair rained down. A raging lava river was coming out of the fissure a couple hundred feet away. Her roof and yard were two feet deep in tephra. Walking, you would fall through. We drove on the tephra to crush it to be able to walk around and got stuck a bunch of times. Volcanic glass was floating everywhere. This poor lady had been away from home and came back to a huge fissure in her backyard.” Whenever he could, Ken took photos of the crisis unfolding around him, as property owners requested his help to

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document the state of their houses and land. “They wrote letters I submitted to Civil Defense, who then escorted me. While I was there for evacuations, we’d ask Civil Defense if we could document, and often they would let us. Later that policy changed to no photographs, which was too bad.” Prior to the policy change, Ken and Ikaika documented as many houses as possible, “in case it would help a homeowner later. If there was a house close to going, I would document that, because those people’s financial livelihoods may depend on it.”

A daily drop off at Puÿuhonua o Puna. When I ask Ken what remains with him, now that life has settled into the new normal for East Hawai‘i, he thinks for a bit and says, “Nothing, no matter how permanent it feels, is certain. That’s what resonated with me. And I’d help again in a heartbeat because the risk versus reward is worth every bit of it—being able to help and see that people were maybe going to have an easier time because we did help. When you’re in the moment, you’re just doing what is right.” ■ Photos courtesy of Ken Boyer Makamae St. just minutes before Fissure 8’s perched pond collapsed on May 27, 2018. This area was taken by lava that night.

For more information: kenboyerphotography.com

KeOlaMagazine.com | March - April 2019

35 The lava river raging through Leilani on June 15, 2018 was the fasted recorded on Hawaiÿi Island, with a speed between 17.5 and 23 mph.

Chuck Leslie The ‘Ōpelu Man

KeOlaMagazine.com | March - April 2019

36 Chuck Leslie hoists about 100 pounds of ÿöpelu separated from the remaining 200 pounds in the net.

photo courtesy of Deron Verbeck

By Karen Anderson

Mahalo Jack’s Diving Locker – Ocean Story Sponsor

ne day in the late 1990s, third-generation Napo‘opo‘o fisherman Chuck Leslie headed north toward Keauhou in his 56-foot longlining vessel, Hana Like, when suddenly and inexplicably he passed out at the wheel, just outside of Pu‘u ‘Ohau (Red Hill) beyond Kealakekua Bay. As he slumped in the captain’s chair completely blacked out, the unmanned boat swung dangerously close to shore. Several harrowing minutes transpired before he was rousted from his unconscious state by the voice of his late father, Henry “Paidy” Leslie, who seemed to be shouting at him from the same spot on the boat where he always sat. “I didn’t feel nothing when I passed out, it was like turning off a light switch,” recalled Chuck. “The boat was headed toward the cliff. I woke up because I heard my dad’s voice in my head warning me. Another three minutes I would have hit the rocks.” Raised in the traditional Hawaiian fishing methods, Chuck, age 77, still feels guided by the wisdom and knowledge passed down to him by his father, his grandfather and his Hawaiian ancestors on his mother’s side a thousand years before him.

KeOlaMagazine.com | March - April 2019

Traditional Fisherman Since age seven, Chuck has fished ‘ōpelu—a type of scad mackerel—in the waters along South Kona from Keauhou to Kauna. He utilizes an enormous handcrafted hoop net that he drops 60 to 70 feet beneath the water’s surface. As he peers through a glass-bottom box to observe schools of ‘ōpelu gathered on the koa (fishing ground), Chuck feeds the fish with ground bait such as pumpkin, packaged in a weighted handkerchief. The hoop net is attached to the stern of the boat by eight bridles. The goal is to get the school of ‘ōpelu to enter the net and form a narrow, vertical path toward the bottom of the net. Fishing for ‘ōpelu in this manner is a dying tradition, as is the making of the net by hand, according to Chuck. Indeed, Chuck is one of the few remaining Hawaiian lawai‘a (fishermen) who still makes and maintains his own ‘ōpelu nets. He is also the last traditionally raised fisherman in his Napo‘opo‘o ‘ohana, and is one of the last fisherman in the Hawaiian Islands whose life, since the age of five, has been devoted full time to the traditional Hawaiian style practiced for centuries. “Traditionally, you would start learning to make net as a small child before you ever get on a boat. I make all other kinds of net, too, but ‘ōpelu is the hardest net to make because the mesh is so tiny.” The long, cone-shaped net measures 24 feet in diameter and 35 feet deep, and is held open with a flexible, round fiberglass rim known as the kuku. In old Hawai‘i, the kuku was made of ‘ūlei, a native hardwood. To make a net from scratch, Chuck stitches the net panels together by hand, a time-consuming process that can take months. During his grandfather’s day, fishermen had to make the entire net, eye for eye, from cotton or linen. When Chuck completed his first net at age 14, it was considered his “graduation” ceremony as a true commercial fisherman. Chuck’s father taught him to build larger-diameter nets by sewing together panels made of 100 percent nylon or monofilament. The two nets he currently fishes with are 37 approaching 40 years old.

KeOlaMagazine.com | March - April 2019

Napoÿopoÿo fisherman Chuck Leslie demonstrates the net-making process at the 2018 cultural festival at Puÿuhonua o Hönaunau National Historical Park. photo by Karen Anderson

‘Ōpelu Fishing ‘Ōpelu season takes place in Hawai‘i from August to March. Chuck fishes solo. He gets up at 1am every morning and leaves the house by 2am, trailering his 1967 Glaspro to Hōnaunau Bay four miles down the Old Government Road by truck. Fishing by himself comes second nature to Chuck. It is where he feels most at home. Out on the open ocean in the middle of the night, Chuck has witnessed a few supernatural experiences over the years, including unexplained phenomena that disturbed his and other boats’ instruments simultaneously. “I see lots of meteorites flying all over the place,” he said. “Satellites too. You can see a million stars in the sky at that time of night. I come back from fishing between 8am and 11am. I don’t ever need to use an alarm to wake up in the morning. It’s all in my head.” ‘Ōpelu is considered sacred to the Hawaiian people. The fish helped feed the Polynesian voyagers as they migrated to the Hawaiian Islands between 400 and 600CE. Chuck pays homage to other creatures of the sea related to the ‘ōpelu tradition, such as the kākū (barracuda) that sometimes bring schools of ‘ōpelu to the lawai‘a. “I always share 10 to 15 pieces of ‘ōpelu with the kākū as a thank-you for not eating my net,” said Chuck. “Part of being traditional is knowing the rituals passed down from centuries. I still always toss the first two fish I catch back into the water. It’s a blessing of the net to ensure your catch.” Fish, Fish and More Fish Chuck knows how to fish in every style except shrimping. When he is not fishing ‘ōpelu, he catches ono, mahimahi, ‘ahi,

aku, and akule. A popular local fish, ‘ōpelu measures between 8 to 12 inches in length. A best-kept secret, ‘ōpelu is tender, sweet and oily. It can be dried, fried, baked, sautéed, boiled, grilled, steamed, served as sashimi, or made into poke. Observing subtle changes on the surface of the ocean in the distance, Chuck has an eagle eye for locating the koa of ‘ōpelu. The amount he catches depends on his orders for the day, generally around 150–200 pounds. On an average day, he can catch up to 500 pounds of ‘ōpelu, and has caught more than 1,500 pounds of ‘ōpelu in a single day. With sheer strength, he can singlehandedly hoist 250 pounds of fish up from the water and into the boat. According to Chuck, the ‘ōpelu population is alive and well because it has been fished sustainably; however, recent government regulations now prevent the commercial sale of sun-dried ‘ōpelu, which has been a staple in the Hawaiian Islands for generations. “Hawaiians know that when you brine fish in dry salt, it kills the bacteria. Now it has to be dried in a commercial kitchen in a dehydrator, which changes the texture and flavor and doesn’t allow for a proper brine time,” says Chuck. Ocean Environment Changes In recent times, Chuck has observed changes in the ocean environment with which he is so familiar. In addition to seeing quite a bit of coral bleaching, he also sees an increase in floating plastics and rubbish. Ocean currents are getting more radical each year, he notes. “Every hour the currents change, it seems. It’s really different from what we were used to, ever since the earthquake in 2006.”

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Includes shipping & tax • 1 year subscription required An underwater view of Chuck's ÿöpelu net submerged below his 1967 Glaspro. photo courtesy of Deron Verbeck

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Chuck’s great-grandfather’s fishing grounds were located right offshore of Red Hill at Hokuli‘a, where the family once lived. His grandfather, Henry Leslie, Sr., and great-uncle, Robert Leslie, built the Napo‘opo‘o Wharf with the Army Corps of Engineers in 1912. Chuck recalls the time in the late 1950s when, at age 17, he was helping his grandfather on the wharf after a day of fishing akule. To everyone’s shock, the waters in Kealakekua Bay started to recede completely from the wharf all the way across the bay to Manini. “My grandpa knew exactly what was going on and started running. It was a tsunami from an earthquake—we had no warning. The water rushed over the pier and we started running too. We could barely catch up with him, even though he was 70.” A lifelong resident of Napo‘opo‘o Village, Chuck also vividly recalls the tsunami of 1960: “I was on the boat when it happened. The earthquake came from Chile and we had moved the boat off the mooring that night. All of a sudden, the whole island got dark from the electrical outage. We heard the pier buildings fall down at the wharf. We saw an entire house float on the water and sink in the same place as the house did after the 2011 tsunami. In 2011, I knew it was going to be big. It wasn’t a surprise, and it did the same exact thing it did in the 1960 tsunami.”

KeOlaMagazine.com | March - April 2019

Cultural Practitioner Recently, Chuck has become active in cultural practitioners’ networks, sharing his knowledge about traditional Hawaiian

fishing methods and observations. He has also participated in cultural festivals across the island, demonstrating the netmaking process and showing the dexterity it takes to work the needle. Attending conservation conferences and gatherings with marine scientists, Chuck contributes mo‘olelo (history) about the significance of traditional practices. “Ancient Hawaiians knew the importance of kapu [conservation] and how to preserve their food sources,” he says. Chuck also serves on the West Hawai‘i Fishery Council. On most days, however, his primary focus continues to be full-time fishing as he has done his entire life. “Fishing is hard work,” he said. “I do it because I like it. It’s what I know. To live this life, you have to have a little saltwater in your blood.” ■

For more information: thelastopeluman.com As the sun rises above Kauna, below Ocean View, Chuck tosses his kaÿaÿai (bait rag) into the water before deploying his net. photo courtesy of Deron Verbeck

The Waimea Arts Council:

Art at the Heart of Waimea By Jan Wizinowich

A t the intersection of Mamalahoa Highway and Kawaihae Road is a cluster of small buildings at the heart of old Waimea and the home of the Waimea Arts Council (WAC). With its double doors flung wide open, inviting passersby into a world of beauty and whimsy, the Firehouse Gallery, housed in the old Waimea firehouse, has long been a beacon of the creative spirit of our North Hawai‘i community. The oldest organization of its kind on Hawai‘i Island and second oldest statewide, WAC has endeavored to enrich the lives of North Hawai‘i residents through the arts.

Beginnings As WAC’s mission states, it’s “a nonprofit organization dedicated to promoting the arts, the encouragement of artists, and providing a forum for art-related community events” that began in 1974 with a group of local residents whose awareness of the importance of art inspired them to create a venue for art and artists and a way to connect people through enrichment offerings. For the first few years, WAC sponsored exhibits and sales in Kahilu Hall (also known as Barbara Hall and the main Parker School building), festive affairs where around 35 artists from Hāmākua to Kawaihae shared their talents. Along with visual

artists, jewelers, and weavers, there was a bonsai workshop demonstration by Yutaka Kimura, hula provided by Kumu Stephanie Lindsey’s hālau, and music by guitarist David Gomes. The 1978 art sale saw a visit from the State Foundation on Culture and the Arts (SFCA), which purchased the creations of three artists: Pat Hall, Floria Shepard, and Margaret Waldron, for the Hawai‘i State Art Museum. Along with the annual artists’ market in 1979, WAC also sponsored a needle arts clinic and a David Gomes concert at Thelma Parker Library. During that year it became the vision of Helen Cassidy (then-president of WAC) and Mariechan Jackson to create a center that would provide lessons, lectures, workshops, exhibitions, and activities related to arts and crafts. Serendipity came into play when the fate of the original Waimea firehouse and bunkhouse, vacated with the construction of the new Waimea Civic Center at its current location, came into question. Through much discussion and wrangling on the part of WAC members, a county lease was obtained for the Firehouse Gallery and the adjacent bunkhouse, now the WAC office. Firehouse Gallery opened in 1980 with a six-week summer session that included artist faculty G.G. Garida, Jean Boone,

WAC members Irina Place and Anna Sullivan work with young artists making collage at the 2017 annual Healthy Keiki Fest. photo courtesy of Julie McCue, WAC

KeOlaMagazine.com | March - April 2019

Helen Cassidy, Margaret Waldron, Amanda Raleigh, and Marcia Ray. Jo Diatalevi taught theater arts and Dolly Loo provided hapa haole (part Hawaiian and Caucasian) hula classes. Winter classes included weaving, visual arts, batik, feather lei, quilting, ‘ukulele, folk and jazz dancing, and stained glass making. While focused on the arts, WAC has endeavored to reflect and draw from the diverse community it serves. In an effort to “provide something of value for everyone,” in 1980 WAC also sponsored a historic tour by Mollie Sperry and Momi Urbic (Naughton) and a slide lecture on China by Linus Chao. In 1983, along with a lecture and a lei demonstration by Marie McDonald and a slide presentation on Bonsai by Yutaka Kimura, there was a presentation on coins, “From Croesus to Kamuela,” by Bernard von NotHaus. In 1984, WAC sponsored a Karin Hazelhoff presentation on her studies of the effect of color and light on the human environment, a lecture by Rene Racine, then-director of the Canada-France-Hawai‘i Telescope, entitled “Explorations of Inter-galactic Phenomena,” and a lecture by local architect Clem Lam. There was also a classical guitar concert by Franz Solmssen, an exhibit of basketry of the Pacific and Turkoman rugs, and a presentation by photographer Warren Noll. That year, May was declared “Art Month” by then-mayor Matayoshi and WAC responded with continuous art displays that included children’s art shows. Fostering Art and Artists According to current WAC Board Vice President Amaury Saint-Gilles, “We’re really an incubator for art and artists. We provide a safe place for artists to hang their work and, we

First place 2017 Nä ÿÖpio entry, Colors All Around Me by Parker School 9th grader, Gracelyn Jardine. photo courtesy of Julie McCue, WAC

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hope, a start for a career in art.” To that end, young artists are showcased with the annual WAC Nā ‘Ōpio art show in March, where North Hawai‘i students, grades 6-12, get the opportunity to display their artwork and experience a juried show. Long-time WAC member and retired Parker School art teacher Wendi Roehrig has seen many artists launched through the Nā ‘Ōpio show. “It’s a really great place to begin an art career. I have a list of kids that are practicing artists today; they got their start through this. If you want to sell your things at a gallery, you have to show that you’ve shown someplace and this is a good start.” An all-volunteer organization, the 30-plus membership of dedicated artists create and exhibit their exceptional artwork while also acting as docents for the Firehouse Gallery, and provide other services as needed. Through this exchange, WAC provides a rich lifelong learning environment for artists. “I wanted to learn about hanging shows. I didn’t know anything about framing, mats. I wanted to learn what it takes,” shares Jay West, a longtime member and current WAC board president. Always looking to grow their membership, the WAC year begins with a show to welcome new artists in January, which includes beginning artists or those who are returning to the arts. Membership costs just $50 annually plus four volunteer docent hours per month, and entitles artists to participate in ongoing Firehouse Gallery art shows and small solo shows in the back gallery. The two WAC buildings are adorned with donated murals by long-time member Terry Bensch and WAC-sponsored murals created by students. The latest mural, completed in November

2017 by Scot Plunkett and his Kanu o ka ‘Āina students, is a tribute to the canoe culture of our island community, and also a venue for his students to see the broader world of art as well. “When Amaury came to me to ask me about the mural, what was interesting to me as an artist was to have the opportunity to communicate a message of the younger generation connecting with the elders, but I also wanted students to expand their minds and to have an appreciation for the great things out there, so we included the Gauguin women,” explains Scot. Community Connections Recognizing the integral nature of art, over the years WAC has developed programs that have become annual traditions, and mounted shows that reflect the spirit and endeavors of the island community. The WAC calendar provides a dizzying array of constantly rotating shows in both the front main gallery, as well as mini shows in the smaller back gallery. The first weekend in February is always Cherry Blossom Festival time and since its inception in 1994, WAC artists have been providing brochure cover art along with themed art shows in the Firehouse Gallery. April shows in the Firehouse Gallery encompass environmental awareness in connection with Earth Day. The 2015 show, “Our ‘Āina,” featured recycled art and Hawaiian landscapes, plants and animals. The 2018 exhibit was focused on an ocean conservation theme. Also in April are exhibits focused on Hawaiian culture, highlighting the Merrie Monarch Festival. The April 2016 show

KeOlaMagazine.com | March - April 2019

FASTER

STRONGER

Concussion 101

LONGER

DR. ERIC S. MIZUBA D.C., DACBSP

Although the topic of concussion has received much attention as of late, there also has been much misinformation that has continued to surround this area of concussions. One may ask, “What constitutes best of class concussion care?” The answer is early detection and acknowledging of a possible concussion, an accurate and precise concussion diagnosis, and receiving the most advanced concussion management and care. Having the right people in the right places, helping connect the dots and making sound decisions, make a safer and more complete recovery possible. Dr. Mizuba has years of experience in professional sports, D emergency care, and private practice managing concussions and traumatic brain injuries (TBIs). He utilizes the only FDA-cleared computerized concussion assessment, ImPACT, that is nationally accepted in the field of concussion evaluation. He also provides a unique opportunity to providing state-of-the-art concussion care to the non-athlete. While most would believe that the majority of concussions occur in the athletic arena, this is actually a false idea. According to the Centers for Disease Control and Prevention, falls are the most common cause of concussion. Many concussions occur around the home, from motor vehicle accidents, and work-related incidents. These are some frequently asked questions about concussions. Q: What is a concussion?  A: According to the Centers for Disease Control and Prevention, a concussion is a type of traumatic brain injury (TBI) caused by a bump, blow, or jolt to the head, or a blow to the body creating chemical and functional changes in the brain.

KeOlaMagazine.com | March - April 2019

Q: What are symptoms of concussion?  A: Symptoms of concussion can vary drastically from person to person. Some show up days or weeks after an injury. Some symptoms can include problems with memory, dizziness, sensitivity to noise or light, change in sleep pattern, double or fuzzy vision, feeling foggy, headache, nausea. These are symptoms of a larger list possible.

Dr. Mizuba at Major League Baseball's annual meeting of healthcare providers, January 2019

Q: Does a person always lose consciousness when getting a concussion?  A: No. Less than 10% of concussions result in loss of consciousness.

Q: How would a person be evaluated for a concussion?  A: By healthcare professionals that receive up-to-date training, as well as possessing computerized neurocognitive testing protocol such as ImPACT. This protocol is from the University of Pittsburgh department of neurology, and is the only FDA-cleared concussion assessment tool. Precise and accurate objective assessment allows for improved treatment outcomes.  Q: How long do concussions last?  A: Concussion symptoms can last anywhere from a few days to weeks, or even months. This usually depends on whether the concussion is detected and cared for early enough.

Q: Isn’t going into a dark room for two weeks the best treatment for a concussion?  A: No. Several years back there were healthcare practitioners who ordered patients to stay in a dark room for two weeks, as well as elimination of all stimuli. We now know that there are several treatment options that are much more effective, resulting in possible improved outcomes.

If you have experienced trauma and suspect a possible concussion, contact a healthcare professional who is qualified to diagnose and treat concussions. Siding with caution and seeking attention for evaluation and treatment of possible concussions may help to avoid long-term consequences.  Dr. Mizuba is a diplomate of the American Chiropractic D Board of Sports Physicians. He employs the practical use of chiropractic sports medicine in his practice for individuals seeking to maintain an active lifestyle. He has served as sideline doctor in professional baseball, professional hockey, and oversees chiropractic and hyperbaric oxygen therapy at the U.S. Open each year. He also served as team chiropractor for the Detroit Tigers and the Erie Otters of the Ontario Hockey League. He participates in writing peer review in the area of concussions and traumatic brain injury.  From the athletic arena to the flower garden, let Dr. Mizuba keep you in your game!

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The Firehouse Gallery provides an array of creativity and is staffed by artists and docents. photo by Jan Wizinowich

Keeping the Arts Alive With the closure of many art galleries, WAC and its Firehouse Gallery provide much-needed opportunities for artists to display and sell their art. The WAC board also seeks to provide avenues of inspiration with conceptually-themed shows such as “Egg” and “Squared Away.” Starting in March, as this issue of Ke Ola Magazine is published, will be the annual “Nā ‘Ōpio Art Show” and in

April the “All Hawai‘i Art Competition” whose theme will be “Portal,” inviting artists to explore its multiple meanings through art. This is a juried show that will include a visit from representatives from the State Foundation on Culture and the Arts, who will be previewing the entries with an eye to select art for display in the Hawai‘i Art Museum, as well as other public buildings. Although a tough economic climate sometimes places constraints on art purchases, WAC will continue to foster island creativity through their ongoing programs and collaborations with other programs to create a fertile nest for art and artists on Hawai‘i Island. ■ For more information: waimeaartscouncil.org Amaury Saint-Gilles shares the latest exhibit of art at the Firehouse Gallery. photo by Jan Wizinowich

KeOlaMagazine.com | March - April 2019

entitled “Legends of Madame Pele: Earth, Wind and Fire” was followed in 2017 with art inspired by Hawaiian royalty, hula, and significant island places. One day in 2015, then-WAC Board President Amaury met Aunty Betty Webster at the KTA bakery counter and was intrigued by her ever-changing flamboyant sunglasses and her intention to get her 1500-plus collection entered into the Guinness Book of World Records. What followed was a WACsponsored week-long photo shoot where community members were invited to get their photos taken wearing some of Aunty Betty’s sunglasses that led to a Guinness record for Waimea. Other shows inspired by the island community have included an exhibit in celebration of tea and coffee, and a 2016 Humane Society fundraiser where the owners of rescued pets were invited to have their pet’s character sketch done by WAC artist Janice Gail. In October, artists have the opportunity to participate in the annual “Helen Cassidy Memorial Show,” now “The Founder’s Show,” which is juried and began in 1985 with the passing of Helen Cassidy, a driving force of WAC.

KeOlaMagazine.com | March - April 2019

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Hawai i Island ’s Most Prolific Church Builder: Rev. John D. Paris By Denise Laitinen

otting the landscape along main highways and backcountry roads, historic churches in West Hawai‘i range from small wooden chapels to impressive stone structures. It may surprise people to learn the same man, the Reverend John D. Paris, built many of these churches. A Christian missionary originally from Virginia, Rev. Paris was a prolific church builder, personally building or overseeing the construction of at least 10 churches across a large portion of the western and southern districts of Hawai‘i Island during the mid-1800s. More than 150 years later, many of his churches still stand today with active congregations holding weekly services. In some instances, Paris-built churches have stood the test of time because the minister developed innovative techniques to withstand local weather conditions. He also used different building materials depending on the location of a given church. Interesting to note, Rev. Paris almost

did not come to Hawai‘i Island at all. Born in 1809, John Davis Paris attended college in Indiana, then received a graduate degree from Bangor Theological Seminary in Maine in 1839. The following year, in October 1840, he married Mary Grant and a month later the newlyweds set sail for Honolulu on the Gloucester as part of the ninth company sent by the American Board of Commissioners for Foreign Missions with several other young missionaries. Arriving on O‘ahu in 1841, the minister and his wife were supposed to continue their journey with another couple from the Gloucester to their assigned mission in Oregon. However, those plans fell through and the newlyweds were instead sent to the Ka‘ū district on Hawai‘i Island. Christianity, Churches, and Districts Christian missionaries first arrived on island in 1820, inspired by Ka‘ū

Reverend John Davis Paris. photo courtesy of https://en.wikipedia.org/wiki/John_Davis_Paris

KeOlaMagazine.com | March - April 2019

Rev. John D. Paris used mortar made of crushed coral to build Hale Halawai o Holualoa (now called Living Stones Church). photo by Denise Laitinen

KeOlaMagazine.com | March - April 2019

resident Henry ‘Ōpūkaha‘ia, who had converted to Christianity while attending Yale and died before he could fulfill his plans of returning to Hawai‘i Island as a minister. It was fitting that Rev. Paris would wind up living in the same district as the person who inspired missionaries to come to Hawai‘i. Indeed, Rev. Paris would, in time, build a small chapel at Punalu‘u in honor of ‘Ōpūkaha‘ia’s birthplace. As soon as the couple was settled in their new home, Rev. Paris set about building a sizable stone church in Wai‘ōhinu called Kauahā‘ao Congregational Church, named after a nearby spring. The church was later destroyed by a 7.9 magnitude earthquake in 1868, the largest quake in the island’s history. It was replaced with a wooden church that was subsequently demolished 118 years later in 1998 due to termite damage and rot. While Rev. Paris was building churches, the couple’s family grew, with Mary Grant Paris giving birth to two daughters, Anna and Mary. The Paris’ time in Hawai‘i was unfortunately cut short by the death of Mary Grant Paris in 1847. With two young children to care for, Paris and his daughters returned to the mainland where he married his second wife, also named Mary. He and Mary Carpenter were married in New York in September 1851. The call of the islands was strong, and Rev. Paris and his new wife and his daughters decided to return to Hawai‘i shortly after tying the knot. This time, the minister was assigned to a mission in the Kona district. It was during this second period of Lanikila Church in Lehuÿula, just north of Kainaliu, was the last church built by Rev. Paris and both he and his second wife Mary Carpenter Paris are buried here. photo by Denise Laitinen

Remnants of original Helani Church built by Rev. John D. Paris in 1861. photo by Denise Laitinen

KeOlaMagazine.com | March - April 2019

living on the island—a stint that would last decades—that Paris was truly industrious, building churches throughout the district. Soon after returning in 1852, Paris set about rebuilding Kahikolu Congregational Church in Napo‘opo‘o. The original large church overlooking Kealakekua Bay was built in 1839/1840 on land donated by Chiefess Kapiolani. It had fallen into disrepair after years without a minister. Paris spent three years building a smaller church, using the width of the old church as the length of the new chapel. You can still see the remnants of the old church adjacent to Kahikolu. Kahikolu Church was significant for many reasons. When construction was completed in 1855, it was the largest church on the island. To this day, it remains one of the oldest stone church buildings in the state. In an interesting twist of fate, Rev. Paris and Henry ‘Ōpūkaha‘ia share a history with this church, as well. Through more than a century and a half of use, the church had been damaged in numerous earthquakes over the years. It underwent a long restoration and renovation during the 1980s–1990s. In 1993, at the request of Henry ‘Ōpūkaha‘ia’s descendants, Henry’s remains were moved from Connecticut, where he had died, and reinterred at Kahikolu. A marker on the church grounds explains Henry’s role in bringing Christianity to Hawai‘i. As was the case when he was building Kauahā‘ao Congregational Church, Rev. Paris was now busy growing his second family while he built more churches. He also built a home where he and Mary Carpenter Paris welcomed a daughter Ellen (called Ella) and a son, John Davis Jr., before Kahikolu was completed. Rev. Paris was a pioneer in building churches and in the materials used to construct them. He built a kiln at his house to heat coral that was then made into a lime mortar. Using koa timbers and stone with the mortar proved to be a far stronger composite than anything used previously, and he used this technique for churches built closer to the ocean. When building 49

Pukaÿana Church was built of stone and coral near the shoreline in South Kona by Rev. John. D. Paris. The Rev. used different materials depending on a church's location, and as with Helani Church, when the congregation moved upland, the mauka church was built of wood. photo by Denise Laitinen

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churches further upslope, he used wood instead. A year after completing Kahikolu, Paris built Hale Halawai o Holualoa along the shoreline of Holualoa Bay. Now known as the Living Stones Church, the stone church and small cemetery can be seen while driving along Ali‘i Drive. It is said that church members in the early years of Hale Halawai o Holualoa attended services by paddling in canoes, landing at the sandy beach nearby, and pulling their canoes ashore. Further down Ali‘i Drive, across the street from Kahalu‘u Marker noting the remains of Henry ÿÖpükahaÿia. photo by Denise Laitinen

Beach Park, you can see the ruins of Helani Congregational Church, which Paris built in 1861 on top of the ruins of ‘Ohi‘amukumuku Heiau. The seaside church fell into disrepair after most of the congregation moved upland, and a wooden church was built along Mamalahoa Highway in HolualoaKeauhou Mauka. Helani Church still has an active ministry to this day. Other shoreline churches built by Rev. Paris include the original Puka‘ana Congregational Church, built of stone and coral near the coastline in Keālia. The congregation later built a larger church out of wood upland fronting Mamalahoa Highway. Rev. Paris went on to build several other churches, including Central Kona Union Church in Kealakekua, Mauna Ziona Congregational in Kalaoa (originally built in Kohanaiki where it was called Kekaha Church), Hau‘oli Kamana at Miloli‘i, Ho‘ike‘ana at Ka‘ohe, and the last church he built, Lanakila Church in Lehu‘ula, just north of Kainaliu, was completed in 1867. A few years after completing Lanakila Church, Rev. Paris and Mary left Kona for Honolulu where he established the theology department of the North Pacific Institute. Yet again, Hawai‘i Island called Rev. Paris home, and he retired to Kona just four years later, in 1874. Rev. Paris died in 1892 and Mary Carpenter Paris, in 1896. The couple is buried in the cemetery next to Lanakila Church. To this day, many of Paris’ descendants still live on the island. Rev. John D. Paris’ great-grandson, William Johnson Paris, Jr., known as “Uncle Billy,” became a minister at Lanakila Church. Uncle Billy Paris died in 2015 at the age of 92. Many of the churches that Rev. Paris built, including Kona Union Church, Helani, Lanakila, Kauaha‘ao, Kahikolu, Hale Halawai o Holualoa, and Mauna Ziona are still active congregations. Indeed, some of the congregations, such as Puka‘ana Church, have had the same families attending for five, six, or even seven generations. It is a testament to Rev. Paris and the generations of parishioners of the churches he built, that these historic churches in West Hawai‘i continue to survive and thrive. ■

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Rev. Paris spent three years rebuilding Kahikolu Church on the grounds of what had been a much larger church. When completed in 1855, the smaller Kahikolu Church was still the largest church on island. It remains one of the oldest stone churches still standing in the state. photo by Denise Laitinen

Mälama Mokupuni: Caring for Our Island Environment

A Plastic-y

Solution in Compost

natural ally and eager to get his students involved with local environmental issues. In partnership with Marcus, Karen and Julia applied for and received a 2018–2019 County of Hawai‘i grant through the North Kohala Community Resource Center. The grant funding allowed them to create a program for AP students called Wastestream: Bioplastics Composting. “The goal of applying for the County grant was to bring soil science and the challenges of solving real-world problems to our youth,” says Karen. She points out that rural Hawi faces the same waste management problems as many small towns in Hawai‘i. “We’re tasked with coming up with an alternative.”

By Julia Meurice

Ever heard of bioplastics? Though derived from corn or sugar and labeled “commercially compostable,” they are not accepted at composting facilities on Hawai‘i Island. Sadly, many of these products end up in landfills. Over the past year and a half, solutions have been brewing—in the form of teeming microbes and curious young minds. Early Ideas Ferment Karen Rosen, co-owner of the Kohala Coffee Mill in Hawi, is an advocate of recycling, zero-waste, and eco-friendly initiatives at the community and business scale. In the summer of 2017, when Karen met Julia Meurice, the two started working together to address bioplastic wastes the mill was generating. Julia, an environmental scientist working for the Pacific Island Division of environmental company Lynker, had been studying microplastic buildup on Hawai‘i’s shorelines. The two saw the potential to bring the plastic dilemma into the classroom. Science teacher Marcus Douglas, who leads advanced placement (AP) classes at Kohala High School, was a

KeOlaMagazine.com | March - April 2019

Loading bioplastics into a mesh bag. photo courtesy of Marcus Douglas

A sign created by William Touchet protects the compost pile from being disturbed. photo courtesy of Marcus Douglas

Tackling the Tough Questions Now, the 18 juniors and seniors in Marcus’s spring 2018 AP environmental science class were asked: how can we use compost to turn a plant-based product back into soil for our community? Guided by Julia, they learned about the difference between bioplastics and regular plastic, how to identify microorganisms, and how to use and operate microscopes. A longtime advocate of hands-on learning, Marcus could see the unique opportunity. “Students engaged in real-world science like bioplastics and composting are empowered to solve local and global environmental problems,” he says.

A student in the AP Biology class getting hands-on with bokashi. photo courtesy of Marcus Douglas

microorganisms (EM) to the pile’s center. For two weeks, they observed decomposition and collected data such as pH and temperature. “I’ve learned that compost piles can rise to temperatures over 100°F. It surprised me with the amount of heat it can create,” says student Sierra Shaw. Leaders of Tomorrow This spring, the students are conducting their own research in preparation for Kohala High School’s 2019 Science Fair on Saturday March 2. “Science fair is an amazing showcase of innovation and problem solving that calls on the student to teach the community how and why to live mālama pono [taking good care of],” says Marcus (aka Mr. Douglas), who coordinates the fair.

Before and after images of bioplastic products from the spring 2018 compost pile. courtesy of Marcus Douglas products from the Spring 2018 compost pile. Before photo and after images of bioplastic

Heating It Up In the 2018–2019 school year, eight dedicated AP biology students have continued the Bioplastics Composting investigation. A generous grant by the THINK Fund of the Hawai‘i Community Foundation equipped them with bacteria identification guides and microscopy supplies to culture microorganisms. During the fall semester, the class engaged in 12 hands-on laboratories using professional field standard microbiology techniques. They built a compost pile from scratch, adding mesh bags of bioplastics pre-treated with effective

photo courtesy of Julia Meurice

“It’s encouraging to have high school students trying to sort their way through the problem and test ideas,” says Karen, a past science fair judge. “And it’s humbling to bring this question to the people who are going to inherit this problem.” Solutions may very well rest with students like William Touchet, who based his capstone senior project on his involvement with the research. “I’ve been grateful to have the opportunity. It’s something I believe will be helpful for the future.” Will plans to attend college on the mainland in fall 2019. E Ala E Nā Paniolo! (from Kohala High School—Rise to the Challenge, Cowboys!).

KeOlaMagazine.com | March - April 2019

“These experiences act as catalysts driving their discovery and problem-solving processes.” As a result, three AP students went on to win in the Best Agricultural Project Category that spring at the 2018 Kohala Science Fair.

The AP biology class at the high school farm in December 2018 after building a Berkeley 18 Day Hot Compost Pile.

Julia Meurice, Lynker Technologies, Inc./NOAA Affiliate, Hawai‘i 53 Island Pacific Islands Region

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KeOlaMagazine.com | March - April 2019

By Rosa Say

When we first talked about Nānā i ke kumu in this column, we concentrated on the first part of its translation, “look to your source,” recognizing an inner wellspring inside each and every one of us which nourishes our Aloha Spirit. We talked about nature’s contribution to our well-being, delving into sense of place and our “locational experiences.” Our Series 1 essay ended with this: “Not only does Nānā i ke kumu encompass source and explain local culture, it describes your full capacity moving forward.” I suggested you have that conversation with your workplace team. Let’s continue that conversation, concentrating on the second part of Nānā i ke kumu’s translation, and urging that you “Find your truth.” The value of Nānā i ke kumu has a lot of “love your history” connotations to it as “look to your source.” We collect our stories and dispel myths in fruitful attempts to ask ourselves why we conventionally and habitually will do what we do. We examine past practices which have served us well, which we are wise to perpetuate. We assess what people count on us for, and we recommit to delivering on our promises. Nānā i ke kumu also coaches us to look ahead into what drives us forward. Are we using our “full capacity” within our Managing with Aloha ethos to be true to our values? In other words, are we truthful about who we have become (through the combination of our past learning and experiences)? Are we being true to who we intend to be as we move on (as we testify in our mission and vision, working future-forward)? In this day and age of abundant possibility and complexity, truth is indeed a robust and noteworthy objective to have. Every business must articulate their truth with the same intensity they apply to specifying their mission and vision. Your truth is your honesty and authenticity; it is your genuineness—how you’re “the real deal.” Beyond those basics, your truth is your veracity—your accuracy, correctness and precision with making your truth happen realistically and consistently, so you are always viewed as being truthful and trustworthy. Truth is tangible. Ask anyone who expects it from you. Without truth, there is no integrity. In our of-Hawai‘i way of thinking and being, without Nānā i ke kumu there can be no Pono, rightness and balance.

“Look to your source. Find your truth.” Eighteenth in Series Two on Managing with Aloha

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The value coaching of Nānā i ke kumu suggests you look at the fullness of your truth going forward in two regards, today and tomorrow: Today—in the presence (Alo) of mind (mana‘o), body (kino), spirit (‘uhane, your ancestral soul), and intuition (na‘au). You trust in your ever-present Aloha Spirit to be your truthful guide in the here and now. Tomorrow—in your 4-fold capacity for further growth. This capacity is also intellectual, physical, emotional, and spiritual—it’s just as human, just as accessible—yet it’s more forward-looking. It anticipates the future evolution of your soul. Your lens with each can be both personal and professional. To value Nānā i ke kumu is to practice Mahalo for your sense of self: Do you really know how extraordinary and naturally wise you are? Find out. Become more self-aware. It’s the best discovery you’ll ever make, and it opens a tap to increasing personal wealth (beyond mere finances, wealth is determined by your values as well). Extend this same coaching to your business, via the truth of your mission and vision. Practice Mahalo for sense of cause—why are you in business to begin with? Do you really understand how extraordinary being in business can be as an innovative model and viable plan? If not, find out and apply it to your cause wisely. Become more business-aware by exploring the 4-fold capacity of every business asset you possess, most notably the capital present in your people, and the service potential you can offer to your customers and to your community. Explore your strengths and build on them. As my own years in management have gone by, Nānā i ke kumu has come to mean what’s true for me, my statement of professional truths combined into a personal manifesto of sorts. My fervent wish for all who read this column, is that Nānā i ke kumu will come to “Be Aloha” in that way for you as well. Look to your source, and find your truth.

KeOlaMagazine.com | March - April 2019

Photo cour tesy of Laura Ruï¬&#x20AC;

Items previously seen in the world-famous Jaggar Museum are on display in downtown Pāhoa, with hands-on exhibits and interactive videos to help guide visitors through a history of the island’s geology. The history and cultural aspects of the area are explained along with a step-by-step guide of the May 2018 eruptions. Images are being shown on video along with daily updates on current volcanic activities. The museum, opened by the Mainstreet Pāhoa Association, in cooperation with Hawaii Volcanoes National Park and Kaleo's Restaurant, is also a

gathering place for the local community to document stories of the residents who lost their homes and the people who helped them in their time of need. Live discussions by rangers, volcanologists and kūpuna (elders) are scheduled, as well. The plan is that this will be a “living museum” with contributions from locals, students, and visitors, revitalizing Pāhoa Town, the new Gateway to the Volcano! According to a national park spokesperson, Jaggar Museum is closed indefinitely due to the instability of the building's foundation.

KeOlaMagazine.com | March - April 2019

Doing Our Part By Stefan Verbano

KeOlaMagazine.com | March - April 2019

The Great Pacific Garbage Patch Soiled plastic foam takeout containers fly out of a dumpster and whip through the streets on gusts from the tail end of a tropical storm. Some get caught in trees, on fences, in pools, on boats. Others land in the harbor and are washed back to shore riding on waves churned up by the tempest. However, one select piece of this non-biodegradable flotsam is blown beyond the harbor by wind and waves out into the open ocean, where it will never make it back to land again. This stained, crumpled hunk of foam has started its long, lonely journey into the circulating ocean currents of the North Pacific Gyre and, at journey’s end, the Great Pacific Garbage Patch.

Also known as the Pacific Trash Vortex, the whirling slurry of floating plastic and other marine debris lies halfway between Hawai‘i Island and California. This mass of debris covers roughly 600,000 square miles (1.6 million square kilometers)— the size of Mongolia, twice the size of Texas, three times that of France, or 150 Hawai‘i Islands. Although general public conception of the patch tends to be of a massive floating garbage island reminiscent of a Hollywood movie set, that is far from its true form. More iceberg than island, the bulk of the patch lies below the surface, inhabiting that region of the Pacific Ocean's entire upper water column. The rubbish is so dispersed and of such a

low density that detection by satellite imagery is difficult, and casual boaters can sail right through sections without even noticing. Hawai‘i Island’s Search for Solutions Hawai‘i Island lies in the middle of the North Pacific Gyre, and its southernmost coast is regularly littered with marine debris bound for the Garbage Patch. The island is in a unique situation in terms of waste management. It is separated from the nearest continental landmass by more than 2,000 miles in every direction; population density is low so residential curbside rubbish collection is virtually nonexistent outside cities; and the island itself lacks the industrial capacity to process most recyclable materials, so for the majority of what

it does recycle it must pay to ship to either the West Coast or Asia. Faced with all of these challenges, out of both principle and necessity, Hawai‘i Island has wholeheartedly embraced the classic environmentalist doctrine of the “Three R’s”: Reduce, Reuse, Recycle. Since the turn of the 21st century, the conventional triad has been amended in some circles with a fourth “R”: Refuse. Generally, this has come to mean rejecting mostly singleuse products considered to be particularly environmentally harmful—like plastic straws or foam take-out containers—and customers’ insistence that similar products be made from reusable, recyclable or compostable materials.

KeOlaMagazine.com | March - April 2019

A bulldozer covers another flat-topped mound of residential solid waste with gravel atop County of Hawaiÿi Solid Waste Division‘s South Hilo Sanitary Landfill near Hilo International Airport. photo by Stefan Verbano 59

Plastic marine debris caught in North Pacific Gyre ocean currents regularly washes up on Hawaiÿi Island’s rocky southern beaches. photo by Stefan Verbano

KeOlaMagazine.com | March - April 2019

Refuse Hawai‘i County has not been slow to adopt this new fourth tenet. In 2014, it was one of the first counties in the US to implement a single-use plastic bag ban. According to the Earth Policy Institute, US consumers use approximately 100 billion plastic bags every year—almost one bag per person per day—and globally 10 times as many are used. The only other US statewide plastic bag ban is in California, where legislation passed at the state level first. In Hawai‘i, likely a sign of grassroots organizing power in local politics, the bans were passed county by county until there was a de facto statewide ban. Bill Kucharski is the director of Hawai‘i County Department of Environmental Management, and he has seen how effective local county-level initiatives can be in changing the behavior behind polluting. “I think it’s the grassroots organizations that weigh strong encouragement for us to modify what we are doing,” Bill says. “They tend to be listened to.” Starting July 1, 2019, Hawai‘i Island will be the second county in the state to ban plastic foam to-go serving containers, after Maui County’s own foam ban took effect on New Year’s Eve 2018. The State’s Senate Bill 2498 aimed to ban foam containers statewide beginning in January 2019; however, it was defeated in a full senate vote the previous April. The bill’s passage would have instigated the first statewide foam container ban in the country, going into effect the first day of the new year along with, coincidentally, New York City’s similar citywide foam ban. Hawai‘i lawmakers pledged to keep pushing the bill forward in years to come.

Reduce There are two landfills on Hawai‘i Island—the South Hilo Sanitary Landfill adjacent to Hilo Airport, and the West Hawai‘i Sanitary Landfill, Pu‘uanahulu (Waikoloa). The South Hilo facility is expected to reach capacity in spring/summer 2019, when it will be closed, covered, and all of East Hawai‘i Island’s waste will be trucked over the Daniel K. Inouye Highway (Saddle Road) to the West Hawai‘i landfill. To stem the landfills’ growth, the County has provided green waste diversion services to residents island wide for more than a decade. In what Bill Kucharski calls the Department’s “biggest success story,” 40 to 50 thousand tons of green waste–roughly a quarter of the island’s solid waste stream–are kept out of the two landfills every year and made into mulch and compost. Marsha Hee, a project manager formerly with the local nonprofit Recycle Hawai‘i, feels part of Hawai‘i Island’s commitment to reducing waste involves its residents being

more mindful about where all their imported materials eventually end up when they don’t get recycled. “Once we have these materials here on our island which we are importing, it’s going to stay here,” Marsha says. “Or at least the majority is going to stay here. The amount that we’re recycling—that we’re shipping back out—is smaller. The rest is going into a landfill.” Reuse While working in 2017 at Recycle Hawai‘i, an all-volunteer organization educating island communities about the importance of recycling, Marsha organized an online showcase called “The Art and Craft of Upcycling.” It was an exhibit of functional everyday items made with upcycled materials. Upcycling, also known as creative reuse, is the process of transforming low-quality, low-value unwanted byproducts and waste materials into new, higher-quality and more valuable products. Submissions ranged from bike inner-tube purses to colorful bottle-cap murals, to rugs made out of braided rags. “In that scenario, people are looking at that bottle cap or piece of plastic,” Marsha says, “and they’re looking at it not just as something that they drank or ate out of, thinking: ‘Oh, now I’m just going to be tossing this away.’ Now they think: ‘But I can use this. It still has value.’” Mattie Larson is the owner, artist, and designer behind the company UpCycle Hawaii, and her work was featured in Marsha’s showcase. UpCycle Hawaii makes everything from fused plastic zipper pouches to melted marine debris nightlights to reclaimed rubber inner-tube wallets to crocheted aluminum pop-tab purses, all out of garbage. “I think doing this has really opened my eyes to the amount of waste that we create without knowing it as consumers... the backdoor, behind-the-scenes waste,” Mattie says. “All these businesses are literally unwrapping these mattresses, fenders, whatever, and these plastics that they’re wrapped in get thrown away. So I tap directly into the businesses and do my monthly sweeps into the back warehouses and pull out what I think is of value.”

KeOlaMagazine.com | March - April 2019

Recycle The vast majority of Hawai‘i Islanders—as many as 85 percent—haul their own residential waste and recyclables to one of 23 no-cost, county-run Solid Waste Transfer Stations. Though diligent recycling is a boon to the environmentalism movement everywhere, the actual numbers are a little disheartening. According to the United Nations Environment Programme, “Only nine percent of the nine billion tons of plastic that have ever been produced has been recycled.” In an isolated place like Hawai‘i Island, with little recycling infrastructure and high transport costs, Bill Kucharski says that free recycling service alone is not an economically sustainable solution to its waste problem. “Here recycling doesn’t make money, it costs money,” Bill says, adding that recycling is twice as expensive as disposal. “But the county has made the decision that this is a worthwhile endeavor, and it’s willing to carry that expense.” The demand for recycling services has also grown beyond the County’s ability to meet it. “There’s more people wanting to recycle than we have the capacity of handling,” Bill says. “Sometimes we suffer from our success.” Marsha Hee envisions a very human solution to this very human problem. “It is a large cycle...a large loop,” she says.

“And we are not doing enough on our part to make sure the loop keeps going. In our climate change environment, it’s important we do all that we can. We need to encourage each other, we need to talk to each other about it, and we need to have it be more visible; we need to share it more.” ■

South Hilo Sanitary Landfill. photo by Stefan Verbano

For more information: hawaiizerowaste.org wmsolutions.com recyclehawaii.org upcyclehi.com hawaiicounty.gov/dem-solidwaste-division

What Can Hawai’i Islanders Do To Help Reduce Solid Waste? Refuse -Support Hawai‘i County’s plastic bag and plastic foam ban. -As customers, insist on buying products made with reusable, recyclable, or compostable materials/packaging.

KeOlaMagazine.com | March - April 2019

-Consider which other singleuse plastic products could be easily rejected.

Reduce -Buy food and other goods in bulk. -Opt for products with minimal packaging. -Avoid individually-wrapped products when possible. -Reduce the amount of green waste in Hawai‘i’s two landfills by always separating compostable materials from trash.

Reuse -Support companies like UpCycle Hawaii, which use reused/salvaged materials to make their products. -Try out UpCycling methods on your own: think about what everyday waste items could be remade into artistic or useful items. -Support thrift and other secondhand stores to keep useable clothes out of landfills.

Recycle -Educate yourself: County solid waste transfer stations' guidelines have recently changed. Stay current by following Recycle Hawai‘iʻs website and social media. -Clean and remove lids from recyclable plastic containers before they go in the bin. -Participate in the HI-5 program: redeem appropriate bottles and cans for money.

Mahalo Ahualoa Farm – Local Agriculture Story Sponsor

The Past is Present

Kalo Farming on Hawai‘i Island By Brittany P. Anderson

here is a story behind every plant on Hawai‘i Island. Sometimes it is a legend of betrayal, sometimes a voyage across the Pacific Ocean, or an accidental introduction to our island home. The tale of kalo is one that is unending— its history, cultural significance, and cultivation are a journey into the past with forethought on the future. Kalo is the Hawaiian word given to the taro plant, Colocasia esculenta. It is widely documented that the number of edible kalo cultivars has decreased from an estimated 200–300 to just 90–100 different

ÿEleÿele variety has dark purple stems.

KeOlaMagazine.com | March - April 2019

varieties grown today. There are two main groups: wetland taro, the source of poi, which is a fermented mash from the main corm; and upland taro that is used much like potatoes for cooking. Taro’s heart-shaped leaves, slender stem, and bulbous corm are all edible; however, they need to be cooked thoroughly before eating. Kalo was an essential food throughout the Hawaiian Islands. Considered a canoe plant, it was brought to the islands some 1,700 years ago by voyaging Polynesians. Significant aspects of Hawaiian culture formed around kalo cultivation and its consumption.

Harvesting taro in Waipiÿo Valley. The Foundation of a Culture Kalo’s significance to Hawaiian culture is best understood through the Hawaiian legend of Hāloa. Wākea, Sky Father, had a son with demigoddess Ho‘ohōkūkalani; however, the baby was stillborn. The child was wrapped in kapa cloth and placed in a lauhala basket then buried on the east side of their house where he could be warmed by the sunrise each day. In her sadness Ho‘ohōkūkalani wept and chanted over the grave until a small stem grew from the gravesite. The slender stem reached towards the sky, and a broad heart-shaped leaf unfurled, waving in the breeze as if to reassure Ho‘ohōkūkalani, “I am here sweet, mother.” Each morning a drop of water gathered in the center of the leaf like the tears Ho‘ohōkūkalani had cried for her son. This plant was named Hāloanakalaukapalili, meaning the long stem of the trembling leaf, and became the first kalo. Preparing taro for replanting.

KeOlaMagazine.com | March - April 2019

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Ho‘ohōkūkalani gave birth to a second son, the first human, whom she named Hāloa in honor of his older brother. Hāloa, meaning eternal or long breath, was strong and healthy. He managed the land, tending to the plants that grew from his brother’s grave. The kalo plant grew and multiplied from the center corm—called ‘oha. The word ‘ohana, meaning family, is derived from the word ‘oha to describe our families as growing like kalo plants. When an ‘oha is removed from the corm, it is replanted to become the center of its own ‘ohana. As descendants of Hāloa, there is a deeply rooted responsibility to care for the land as our history is intrinsically intertwined. Traditionally it is said poi or kalo should be present at meals as a way of honoring Hāloanakalaukapalili and keeping the spirit of the ancestors alive. Also, customarily no fighting or unkind words can be spoken with poi at the table as it would be poor manners to act such a way in front of kūpuna (elders). That Which Feeds Kalo is an essential connection between nature and our kuleana (duty, responsibility) to the land. Today, much of Hawai‘i Island’s kalo is grown in Waipi‘o Valley, a sacred space where mana (spiritual energy of power and strength) is palpable.

First, the corm is cut off just below the root starts. Then the leaves are cut to ready the huli for planting.

KeOlaMagazine.com | March - April 2019

Historically, Waipi‘o supported large numbers of Native Hawaiians with at least 800 acres of kalo cultivated in the lower valley alone. After Western contact, kalo acreage decreased sharply. Today, a small group of farmers in Hawai‘i Island’s Waipi‘o Valley carry on the kalo farming tradition. “The land that we are farming on, that goes way back to my grandfather’s place. Growing up we used to go to the farm. I was a little boy and didn’t understand the process,” Darren Gamayo says of his 1.7-acre property in the valley. Here, Darren and his wife Darde tend to four different varieties of wetland kalo—‘āpi‘i, ‘ele‘ele, uaua, and moi, all excellent for making poi. It hasn’t always been a life of kalo farming for Darren and Darde. In the 1980s, Darren visited the property, finding most of the lo‘i (kalo patch) fallen into disrepair, overgrown and filling with sediment. Ten years passed before Darren and his brother walked the property again and by that point it was unrecognizable from his childhood memories. “Maybe we should open the land and see if we can grow taro down in the valley again?” Darren thought out loud. After a family meeting discussing the plans and getting blessings from them all, Darren set out to grow kalo, and grow it he did. Painstakingly, Darren and his family rebuilt the infrastructure to renew the neglected kalo fields. Ancient Hawaiians developed a sophisticated gravity-fed irrigation system based on the fundamental principle of working with nature and its natural forces, instead of against it. Wetland kalo fields are positioned next to streams or springs so just enough water is diverted into the area. Through a loose rock wall jutting into the stream, water moves into the lo‘i through an ‘auwai (canal), and back out into the stream at the bottom of the fields. Wetland kalo grows best in the slowly flowing water of the lo‘i. Here it receives cool freshwater, so the corms do not rot, and nutrients are naturally replenished. Waipi‘o Valley is getting more popular as a tourist attraction with hundreds of travelers and locals coming down into the valley each day. “If people are hiking in the back of the valley, there are no restrooms, and so people pollute the streams,” Darde points out. “Even locals are four-wheeling over the rocks that are built to divert water into the taro fields,” Darren says. “Driving in the stream disrupts the biota—it’s like they are driving through our refrigerator,” Darde states passionately. Those living in the valley, like the Gamayos, live off the land catching prawns in the streams and growing much of what they eat. Respecting the valley and the ‘āina (land) is vitally important to the fragile ecosystem.

Washing harvested kalo in the stream.

Wetland taro field in Waipiÿo Valley. In Working One Learns After planting their kalo patches, Darde and Darren honor their kuleana (respectful responsibility) to educate others on the traditional Hawaiian practice of growing kalo. Working in the kalo field is essential when learning about this powerful plant. “For elementary school children to our kūpuna, kalo patches offer educational opportunities. Many of our island kūpuna have never been down into Waipi‘o Valley, and offering keiki [children] the chance to understand the history, culture, and native agriculture in Waipi‘o can help to preserve the land for generations.” Darde says. Opportunities to learn and work with both upland and wetland kalo continue to increase across Hawai‘i Island and abroad. Darde’s son, Buku, plucked several kalo from their flooded field demonstrating the family’s propagation methods.

“You cut just below the root starts,” Buku swiftly chopped, severing the green top from the palm-sized corm. The Gamayo family hosts University of Wisconsin students from The Living History of the Big Island course each year. The students come and learn kalo farming, work the lo‘i, and experience kalo farming from start to finish. After harvesting several kalo, Buku prepared the tops, known as huli, for replanting. He trimmed the green leaves, lau or lū‘au, from the stalks, hā, under Darde’s watchful eye. Then, he scooped the bundle and walked back into the middle of the field. With a firm grasp of the huli base, he stuck his hand into the water, depositing the plant back in line with the other kalo. “By replanting this way, some of our taro could easily be a hundred years old,” she says as we survey the landscape with renewed respect. Every year, Darde visits Chiefess Kapiolani’s 5th-grade class in Hilo to display the process of kalo farming and how to eat it in an everyday setting. “It isn’t just taro chips and poi,” she says with a chuckle. Through the kalo plant, knowledge can resonate within us and inspire us to honor the Hawaiian ancestors by carrying on their values and customs. Students of Hawai‘i Island are beginning to see kalo farming as a viable future, which is what it is going to take to perpetuate these ancient traditions. There is also resurgence in utilizing canoe plants, like kalo, outside of traditional preparations. The more opportunities there are in getting our feet wet in the lo‘i, the more people will want to step into the future by connecting with the past. ■ Photos by Brittany P. Anderson

KeOlaMagazine.com | March - April 2019

Try Look A

KeOlaMagazine.com | March - April 2019

life with deeper connection is what husband and wife team Yvonne Yarber Carter and Keoki Apokolani Carter strive for. With their creation of original music, their professions in land-based cultural education to steward native plants, trees, and ‘āina (land) in Hawai‘i, and their beautiful photo images, the Carters maintain a lifestyle that is both diversified and balanced. Yvonne and Keoki grew up on O‘ahu, and both attended Waianae High School, although they only knew of each other from a distance in what was a small rural community in the 1960s. Yvonne attended the University of Hawai‘i at Mānoa during a culturally explosive time, and became a planner intern in the Waianae Model Cities Program, part of a nationwide federal anti-poverty and community leadership building experiment. “My career hasn’t been a straight trajectory,” says Yvonne. “With Model Cities, I learned about community building, activism, training in land issues, and about where our water came from. It was mind opening and provided a good foundation, but art and education spoke to me more than becoming a city planner.” Yvonne loved writing. While tutoring in Kalihi at Dole Intermediate, she saw students respond to new curriculum that was being pilot

tested. The school added a new unit that included art, writing, and local culture. Yvonne says, “That spark fueled my imagination and desire to be part of something that could make a difference. I volunteered to help write or edit new materials which was just one of several projects at the UH Mānoa Curriculum Research and Development Group [CRDG]. Soon they offered me a contract to develop some small booklets for one of their units.”

Inside

trylookinside.com

By Ma‘ata Tukuafu

Yvonne’s work at CRDG led to a full-time job to help create the Hawaii Multicultural Curriculum Project. “The opportunity to be part of a groundbreaking intiative to create culturally diverse and locally relevant school materials was such a big deal to someone like myself who grew up with school materials reflecting only a faraway monoculture that looked nothing like the world I knew,” shares Yvonne. Family oral histories with photo documentation were another component of the curriculum. They provided a rich reflection of local lifestyles, where there had long been a void. For Yvonne, this brought together a childhood love of photography and the urgency of capturing stories of kūpuna (elders). A drive to learn more of the world, experience wilderness, and to live an artist’s life was brewing for Yvonne. After meeting two film makers, she left the comfort of the university system and headed to rural Alaska, never thinking that for the next 18 years sheʻd be living a subsistent life in a small riverside village, working on oral histories of the village elders for the Yukon Koyukuk School District. As Yvonne was weaving her artist’s journey, Keoki says college was never a thought for him as he graduated from high 69 school. Instead, Keoki joined the US Air Force where he was

KeOlaMagazine.com | March - April 2019

A collaborative graphic of ferns by Yvonne and Keoki. photo courtesy of

Yvonne and Keoki Carter’s Artistic Life

trained to be a search and rescue helicopter mechanic. The experience of going to North America and Asia opened his eyes to the world. It also made him realize how different Hawai‘i is from other places. He says, “I joke that you have to go away to know what you really love about home and for all the different kinds of locals to really become one ‘ohana and really appreciate each other.” After the military, and still in his 20s, Keoki worked many different jobs in the construction industry, ultimately as a cabinet maker. One day, working on a tall building in Spokane, Keoki found himself watching young kids on the street. “They should have been in school, but were just hanging out and working their way into trouble. Thatʻs when I wondered how I could help make a difference. So I started going to community college part time while still working construction. Thatʻs the long road to getting a teaching degree,” says Keoki. Eventually he earned his degree and taught wood shop and industrial technology at the high school and community college levels. While building cabinets and doing woodwork on the side, Keoki explains, “I started wondering more about this thing we call wood. The thought wouldnʻt go away. What is this tree all about? Thatʻs when there was really something I wanted to understand and learn. I started looking into programs and scholarships.” He settled on graduate school at Oregon State to study wood anatomy.

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Education and ‘Āina Yvonne and Keoki reconnected in 1994, came to Hawai‘i Island, and married. The Carters became involved with the startup of Kanu o ka ‘Āina as an academy, two years before it became a Hawaiian Charter school. Keoki created a unique program that included woodworking, math, and English. His curriculum and projects included fundraising for a yearly trip to Honolulu to compete in a carpentry competition known as VICA; building computer stations for the shop; learning design, carving and printmaking; and basic construction principals. “Keoki’s curriculum would bring in many elements. I would help with the art and media aspects,” says Yvonne. Their teaching collaboration and deep appreciation of the ‘āina moved them

Keoki speaks of mea laÿau, substituting common non-natives and discusses tools he made as part of mea laÿau. photo courtesy of trylookinside.com

Yvonne shooting video and photos at Keanuiomano, Ouli of Waimea, November 27, 2017. photo courtesy of Keoki Carter create educational resources that makes one think about what we do. What is the role of that ancient ‘uhiuhi tree? Could we have a forest like that again?” Creativity Weaves in Artistic Patterns Yvonne’s interest is in graphics, and creating artistic expression to tell stories by becoming sparser with words and using compelling imagery and photos. One example Yvonne gives is meeting with the dryland forest team to create eye-catching, readable information on important topics.

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to work with the dryland forests on the island. In 2002, they began an outreach program known today as Ho‘ola Ka Makana‘ā with the Hawai‘i Forest Institute and also an ‘Āina Ulu land-based bio-cultural education project on Kamehameha Schools lands. This site is one of the healthier remnants of a highly endangered ecosystem know as tropical dryland forest. The couple’s focus has been to educate others of the plight of the tropical dryland forest, gather like-minded people to assist with caring for and replanting the endangered trees, and encourage respect between people and place. “Our teacher, Apokolani performing their original music at The Hub in Hawi. Papa Henry photo courtesy of Richard Russell, Anna Pacheco Auwae, was 96 years old when he passed,” Yvonne says. “He would tell his students to ʻknow the purpose of your actions’ and that we are one small part of this whole weave. What moves me is to

Keoki says as years have passed, they are less hands-on in the physical forest as the project has grown and younger ones move into the leadership roles. Instead, the couple works on planting the seeds of wellness for body, mind, and spirit. One of Keoki’s teachings is to ask students what they need to feed their spiritual side, so they may continue to be healthy and thrive. “I bring music into the forest. I nourish my spirituality that way and share whatever comes,” Keoki explains. “Sometimes I get the groups humming or singing, to do something sweet in the forest.” About 10 years ago, Keoki and Yvonne had an “aha moment” when, after helping students discover their potential, they thought, “Well, what about our own potential?” Remembering Papa Auwae’s teachings, they decided to live by example and created a website that offers their multi-media design, fine arts, photography, and interpretive signage. Music Becomes Them Both Yvonne and Keoki grew up in musical households, yet it is only in the last few years they have returned to writing, singing, and recording their music. For Keoki, his music came back during a period of grief. Not realizing how broken he was after the deaths of many loved ones within a short period of time, he began playing and singing out of his heart, as a new song came for each person who had passed away. Out of that grief came healing. “The songs just came through all at once, one after another. How it happened, I don’t know…but I call them gifts,” says Keoki. In 2012 Yvonne and Keoki, as Apokolani, released their first CD, Red Wine and Blue Skies and became finalists in the 2013

KeOlaMagazine.com | March - April 2019

Raising awareness of native plants is a passion and vocation for Yvonne and Keoki. This large canvas combines both their photographs. photo courtesy of trylookinside.com

Next to Yvonne, Sonja, a student from Cornell; Ethan Souza back left, KUPU intern, next to site tech Kekaulike Tomich. Front right, Wilds Pihanui Brawner, restoration site manager. A volunteer work day at Kaüpülehu, October 22, 2018. photo courtesy of KAC Nā Hōkū Hanohano Awards jazz category. They are currently working on three more CDs, all very different from each other. The thread that consistently weaves through the creative work Yvonne and Keoki produce is balance, cohesiveness, and artistic expression. Their dedication to wellness and harmony, both for people and place, is captured perfectly with their try-look-inside interpretation. Yvonne explains, “It describes a relationship between what we see, how we live, and how to look deeper than the surface to realize our connection and exchange with the things around us.” ■ For more information: trylookinside.com drylandforest.org

KeOlaMagazine.com | March - April 2019

Keoki playing and singing “ÿÖhiÿa Lehua” in the forest with a group, a song for this beloved tree being hit hard. photo courtesy of Yvonne Carter

Ke Ola Kumu Keala Ching chanted a blessing at Ke Ola Magazine’s launch party in December 2008. He has been creating chants for publication in every issue of the magazine. Kumu Keala also uses the published chants as teaching tools for his haumana (students). Kumu Keala was at Ke Ola’s 10th Anniversary Concert to perform the pule (blessing), where he explained the oli (chant) he wrote for our anniversary issue, He Aloha E Ku‘u Kāhili Nani Lua‘ole: “So much love when I first got involved with Ke Ola. The love that was shared and the love that they wanted to portray in this magazine, to be shared with everyone. As this hō‘ike, this presentation of ten years, of Ke Ola Magazine is such a beautiful piece, everyone partakes, and the knowledge that they have shared with all the different elders that was placed with their stories, it shows we are able to ho‘ike [exhibit] our mo‘oleo [stories]. It’s the knowledge beyond what has been shared in Ke Ola Magazine, for it is precious, all this ‘ike, this knowledge, that is placed in the magazine—it is very, very precious, that we hold very dear. As the kahili stands very tall, it has a hana kapa ‘ole, a blanket of knowledge, that the magazine has been sharing for the past ten years.” –Kumu Keala Ching

“I love that Ke Ola Magazine keeps people informed of what’s happening on the Big Island and within the Hawaiian island chain and throughout the Pacific realms in arts, business, music, people and all the happenings.” –Sam Keliihoomalu, Kalapana Awa Band photo: Barrie Byron

photo: Cindy Bellelli

photo: Barrie Byron

10th

Anniversary Concert

photo: David Williams

“What's so amazing is that this beautiful, beautiful outlet called Ke Ola Magazine, they support it all, they support it all. So us as kanaka [Native Hawaiians], as you who have come to be a part of the fabric of our islands, support this wonderful magazine for years to come.” –Alii Keanaaina photo: David Williams

photo: Julie Ziemelis

“Mahalo Ke Ola Magazine for the many, many years. Thank you for sponsoring this today! To all of you, we are lucky to be home on these islands in the middle of the sea.” –Lena Naipo, Kahulanui photo: Barrie Byron

“Mahalo for being in our community and for bringing us all together tonight. Mahalo, mahalo, mahalo iā ‘olua. [Thanks, you two.]. We love you both, on behalf of all of us here tonight, one more round of applause… Barbara Garcia, Karen Valentine.” –Ku‘ehu Mauga

Dan Brunet photo: Helena Brandfors

Genevieve “Keola” Brunet

photo: Lorraine Kohn

“Ke Ola has been such a blessing to our community. Thank goodness there is a way for those on the island to learn about our people and our culture in a way that is pono.” –Tani Waipā, Hōkū Pa‘a photo: Barrie Byron

photo: Gayle Greco

MAHALO!

Kumu Kele Kanahele A Unique Son of Ni‘ihau By Paula Thomas

Tucked away in “the boonies,” as he calls

it, is the tidy, unsuspecting home of one of Ni‘ihau’s sons, Kumu Kele Kanahele. Kumu Kele is famous for making prized necklaces, chokers, and earrings from the shells that wash ashore on the island of Ni‘ihau, also known as the Forbidden Island; shells he learned to collect as a young boy.

Kumu Kele is the oldest of nine children, only six of whom are still living, which makes him the first son of Donald and Annie Kanahele. Growing up on Ni‘ihau, his family home started small. As his father did carpentry, a room was added with each new child. Raised by his parents and grandparents, Kumu Kele often moved between their households for much of his youth. Several times a week, his grandfather, Joseph Keoualani Kelley (hence “Kele”), would come on horseback to pick him up and take him to be with his grandmother, Ilealoha. As Kumu Kele tells it, it was his grandmother who taught him about shell collecting while his grandfather taught him how to make the pukas (holes) and string the shells: “The kane kumu [male teacher] and wahine tutu [grandmother].” They were masters, and of all the children, only Kele expressed interest in learning from them when he was young, which is why he is Kumu Kele today. Kumu Kele’s grandmother loved to ride horses, work with cattle, and fish. She loved the outdoors and had Kele outside all the time during the days he spent with her. They would get up as early as four in the morning, saddle up, and ride to the beach on horseback to watch the sun rise. Kumu Kele spent his time at the beach collecting the precious Ni‘ihau shells, combing through the sand with his hand as the waves washed up, working in rhythm with the water, while his grandmother would throw lines out and fish.

Kumu Kele wearing one of his original Niÿihau shell lei. photo by Paula Thomas

Background image of Niÿihau. photo courtesy of Kumu Kele

The Precious Ni‘ihau Shells Two categories of shells comprise the materials for the valuable Ni‘ihau jewelry: the tiny, nub-like kahelelani shells that come in a rainbow of colors, and the momi shells that are white, brown, or patterned. Polished cowry shells, more common and more varied, are sometimes used around the clasp. While kahelelani, momi, and cowry shells wash up on other shores around the islands (on Maui, Moloka‘i, and Kona beaches on Hawai‘i Island) they are not Ni‘ihau shells. “My friend told me some Ni‘ihau shells washed up on Moloka‘i,” explains Kumu Kele. “But I told him, ‘Then they are not Ni‘ihau shells. They are Moloka‘i shells.’” That is why you’ll often see the source of the shells listed on a tag with the necklace. Only the shells from Ni‘ihau carry a high value and are worth much more than the shells found on other islands. Former Governor Linda Lingle signed a bill in 2004 to protect Ni‘ihau shells and lei makers from counterfeiters to protect their value and thus the livelihood of Ni‘ihau families. About Ni‘ihau Ni‘ihau is hot and dry, and much of the island is treeless. About 17 miles southwest of Kaua‘i, it is approximately 70 square miles of mostly flat island. Collecting shells can be brutal on the skin and body. Kumu Kele shares, “I always wore a big hat, long sleeves, and sunglasses. It gets hot!” Ni‘ihau is “forbidden” because it is a private island now owned by Keith and Bruce Robinson, descendants of the Robinsons and the Sinclairs who came from New Zealand in the late 1800s. Elizabeth Sinclair bought the island from King

KeOlaMagazine.com | March - April 2019

73-5590 KAUHOLA STREET, NEAR COSTCO - KONA 808.326.7760 STATEMENTSHAWAII.COM MONDAY - SATURDAY 10-4:30

A phenomenal shell lei strung by Kumu Kele that took years to complete. photo by Paula Thomas

Momi shell lei by Kumu Kele on display at Hana Hou in downtown Hilo. Kamehameha V for $10,000 in 1884 to raise cattle and sheep. Aubrey Robinson, her grandson, closed the island to visitors in 1915 (according to Wikipedia). Today, about 80% of the income on the island comes from the US Navy installation. Islanders earn the remaining 20% from shell and jewelry sales. At the 2010 census, the population of Ni‘ihau numbered 170. More recent estimates are lower, although Kumu Kele thinks more people live there than are recorded. Population is controlled because access to the island is restricted to outsiders unless they are invited by the Robinson family or by one of the 70 full-time Native Hawaiian residents. Women cannot bring men back to the island, according to Kumu Kele. Ni‘ihau men, however, can bring non-Ni‘ihauborn women back to the island to live. Policies and practices on Ni‘ihau, as prescribed by the Robinsons, are aimed at preserving the Hawaiian culture and practices, the local dialect, and the way of life. The Art of Collecting Ni‘ihau shells wash ashore on particular beaches on island. Collectors know which beaches to go to for which particular shells, and what season of the year to harvest. Collecting is done by hand and can be, at times, a race or a dance with the waves. “Sometimes the [momi] shells would be in long lines, one after the other, and you would have to work fast to scoop them up, otherwise the waves would take them back,” Kumu Kele says as he gestures gracefully with his hand. “Other times, the shells would be buried deeper in the sand and you have to scoop down with your hand to get them.” In the moments when a handful of rare shells would come up in his palm, Kele remembers getting emotional. “The first thing I would do is look up and thank God,” he says. “It was a good day.” Collecting shells is hit or miss. There are days of nothing and there are days of great colors. Finding the rarer shells, the dark

blue (uliuli) or honey-gold striped (kahakaha) momi or hot pink (‘ākala pua waipapipi) kahelelani shell is like finding treasure. It can take five or more years to accumulate enough shells to make a necklace. Some of the rare shells are found on only one or two beaches and wash up only in the winter months. When you see these shells in a necklace, it is a sign of an expensive piece—in the thousands or tens of thousands of dollars. The price of shell necklaces relates to how long the shells take to collect and how much time it takes the lei maker to create the piece. The rarer the shell, the longer it takes to collect enough to string, and the longer it takes to complete the necklace. The quality of a kahelelani shell lei is in the design, construction, and the finish versus how many shells are used. This is why Kumu doesn’t know how many shells are in his necklaces. He concentrates on the design and follows a unique pattern from string to string. If he doesn’t have enough shells to finish a necklace, it will sit until the shells eventually are collected. He also takes time making the holes in the shells in just the right place so that shells align along a particular angle and therefore lie flat. “This is one of my signature elements,” he explains. “And when I make a necklace, I break a lot of shells. A lot of them,” he reflects, a little balefully. “Nothing I can do about it.” Styles for stringing include moana loa (single strand), double strand, or woven patterns. The patterned designs include poe poe (cylindrical), momi pikake (cascade-style), heleconia (two momi and a kahelelani in between), and kipona (a mix of momi in a cascade and strands of kahelelani). For Kumu Kele, a point of pride is when other shell lei makers compliment his design. He is not one to make the same necklace twice.

KeOlaMagazine.com | March - April 2019

Precious momi shells from Niÿihau and the tool that Kumu Kele uses to make the pukas (holes). photo by Paula Thomas

photo by Paula Thomas

Making a Living Kumu Kele makes his living buying and selling shells, making jewelry, and also offering lei-making workshops. For his workshops, where participants are going to make necklaces and earrings, he counts out the exact number of shells for each necklace and each pair of earrings, usually 250 for a necklace and 24 for two earrings. Workshops are offered wherever he is invited, locally and worldwide. There was a time when Kumu Kele was the only one in his family who worked at jewelry making. Both surfing and jewelry 79 making kept him busy before and after school. These days,

He travels to Kaua‘i regularly to shop for his ‘ohana and makes sure that his purchases get on the barge from Kaua‘i to Ni‘ihau once a month. If he misses a barge run, it could mean his daughter is out of water or other needed supplies. Kumu Kele’s work can be purchased in two galleries on Hawai‘i Island: Hana Hou in downtown Hilo and the Gallery of Great Things in Waimea. Beyond that, he makes his jewelry by request and through word of mouth. His creations, after all, depend on the shells he has available, so certain things are in the hands of Mother Nature. Kumu Kele says he wouldn’t have it any other way. ■ For more information: Kumu Kele 808.987.1859 Shell lei by Kumu Kele at Hana Hou in downtown Hilo. These lei may be worn by both the bride and groom at weddings. photo by Paula Thomas

Kumu Kele’s grandparents, Joseph and Ilealoha Kelley, on Niÿihau. photo courtesy of Kumu Kele

his mother, who now lives on on Kaua‘i, his siblings, and his daughter are all in the business. One of the reasons he moved to Hawai‘i Island in 1999 was to create a market for his necklaces that wouldn’t compete with relatives and friends on Kaua‘i. In the true spirit of ‘ohana, much of the proceeds of his sales go to taking care of his daughter and family on Ni‘ihau.

Ask The Naturopath...

KeOlaMagazine.com | March - April 2019

How has Dr. Ardolf helped you?

Patient: Treating Mom’s shingles conventionally with anti-virals wasn’t working. They remained very painful after months of those pills. My mom wanted to try a different approach, a more holistic approach. Mom’s last shingle episode was by far the most severe. With Dr. Ardolf’s approach the recovery time lasted only one week! Dr. Ardolf’s caring demeanor was evident in Mom’s desire to be treated by Dr. Ardolf and no other. – Joe C.

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Dr. Ardolf, ND is a naturopathic doctor in Kapaau, on the Big Island of Hawaii. She is accepting new patients.

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The North Star of Melodic Harmonies By Gayle Kaleilehua Greco

Hökü Paÿa, starring Darlene Ahuna, Duane Yamada and Tani Waipä. photo courtesy of Tani Waipä

KeOlaMagazine.com | March - April 2019

itting in the ancient petroglyph fields at Waikoloa, Tani Waipā looked to the heavens for guidance on what was to be her next step in life. In moments of deep reflection and trust, Tani scanned the night sky as the stars gave way to what appeared to be the only star, the North Star– Hōkū Pa‘a. From the tradition of Hawai‘i’s master navigators who relied on their knowledge of the stars to give them a sense of where they are and what direction to head, this was the nod Tani was given from above. Hōkū Pa‘a, meaning literally “immovable star,” would become an ever-shining icon and name for Tani’s entrepreneurship in the music business. Growing up in Hilo, Tani, her sister Jennifer, and cousin Lorna were raised by their paternal grandparents, Tani’s father, and extended family. Tani shares, “We all had to be in the house pau [finished] at 6pm and washed up because family worship service started after dinner.” The Waipā ‘ohana shared the rich traditions of himeni (native song), Bible verses and ho‘oponopono (forgiveness) each evening. “If anyone had anything troubling them, here was the time to come out and be done with it,” says Tani. Music and church summed up most of Tani’s life. Her father, Clarence Waipā, was the choir and music teacher at St. Joseph’s Catholic High School in Hilo for 35 years and directed several other Hilo community and church choirs as well. Her grandfather, Abraham Waipā, a Puna native born in Kapa‘ahu near the long since lava covered Waha‘ula Heiau, started the Seventh Day Adventist church in Opihikao where himeni were the standard of the day. It was in church and at home where

the girls learned to sing harmony with each other, something they still love doing together today. Attending St. Joseph’s High School, and under the direction of her father as choir director, Tani joined the Cardinal Singers in her freshman year. “That was the group to be in if you wanted to sing,” Tani shares.

pop, and jazz tunes. “When I listened to [the song] ‘A String of Pearls,’ it was the first time I ever heard that kind of music and was totally entranced by it.” For Tani that was the epiphany, and years later she followed her heart to sing with big band, jazz, and swing groups. As she auditioned for various music shows in Los Angeles, Tani befriended Al McKibbon, a well-known jazz bassist, who helped her with a critique of her singing style, as he also helped others who auditioned. For the first time outside of her father, Tani was groomed by leading jazz musicians and groups. She had to learn spontaneity. “With choral and himene, I was used to blending. I had a big learning curve in front of me to be able to front a band,” says Tani. During a successful run at singing solo with big bands and working full time at the Los Angeles County Assessor’s office, Tani was touched by her roots of Hawaiian music when singing “I’ll Remember You” with long-time Kapalua pianist Al Bellerose. After being away from home for 15 years, Tani was drawn to move back to Hawai‘i Island in 2009 and focus full time on her music and the art of entertainment.

Jazz and Big Bands In 1994, Tani left Hilo for Los Angeles and was drawn to jazz, big band, and swing music. “I used to take the plastic demo records that were sent to my father and play them on my cousin’s portable record player,” Tani says, recalling her childhood days in a house filled with Hawaiian music, choir,

Important are the Connections Good fortune would surround Tani when she met Duane Yamada, a bass and guitar player from Honoka‘a. Prior to their meeting, Duane was asked to be a judge at the Clyde “Kindy” Sproat Falsetto & Storytelling Winners’ Competition. Sitting on the judges’ dais was multiple Nā Hōkū Hanohano award winner, Darlene Ahuna. Timing being everything, Duane asked Darlene to join him at the (then) Hapuna Beach Prince Hotel show, an arrangement

Darlene, Duane, and Tani before a performance at Hilton Grand Vacations Bay Club. photo courtesy of Tani Waipä

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Laupāhoehoe legend Bruddah Smitty, nephew of Gabby Pahinui, at The Broiler in Waimea. As luck would have it, Smitty’s bass player was not on stage and Duane was asked to fill in for a few songs. That impromptu night started an eight-year music engagement between the two that lasted until Bruddah Smitty fell ill. Duane shares, “Hooking up with Bruddah Smitty was such a blessing. He was so talented and very kind to me. He took me under his wing and taught me a lot.”

Darlene Ahuna, Duane Yamada, and Tani Waipä perform at the 2018 Ironman Triathlon World Championships Awards dinner and ceremony. photo courtesy of Tani Waipä

that would last four years. On nights when Darlene had jobs in Hilo, Duane invited Tani to substitute in the music duo. “Duane is the most supportive person, a good example for me. He’s the most constant and positive person in his belief that I can sing,” shares Tani. Duane was born and raised in Honoka‘a on the Hāmākua Coast, in a rural Japanese community. “I remember playing with cousins that lived in the same neighborhood, picking sugarcane from the cane field behind our house and munching on them as a candy substitute, and swimming in gulch ponds close to our house,” says Duane. He first played music at Honoka‘a Elementary School, starting with the ‘ukulele followed by guitar. In high school, Duane expanded his musical repertoire to include drums and bass. Moving to O‘ahu in 1973, Duane studied business management at the University of Hawai‘i at Mānoa. After graduating from college, Duane moved to Hilo and then returned to his beloved Honoka‘a in 1986 with his wife and children. On a night off from work, Duane was listening to

Enter Hawaiian Falsetto Born in Kāne‘ohe, O‘ahu, Darlene and her family moved to Hilo when she was 14 years old and she quickly immersed herself in Hawaiian music, the community, and high school sports. Self-taught in voice, ‘ukulele, and guitar, Darlene has emerged as one of the most prominent traditional Hawaiian musicians and falsetto vocalists. Early in her music career, Darlene toured with Genoa Keawe, Ku‘uipo Kumukahi, Dennis Pavao, and the Mākaha Sons, playing a range of venues from clubs to festivals and even Carnegie Hall. Darlene reflects on those days of the concert tours, “I really get to do this? Really? That’s just awesome.” As her years of playing music translated to her awardwinning CDs and songs, Darlene talks story about some of her favorite moments with the audience, “It’s really humbling, after the show, when they are brought to tears, ‘You sang a song, that was my mom’s favorite song and you took me back to my childhood days and family parties,’” Darlene confides, “Oh, and that’s why I love doing this.” Coming Full Circle In 2015 Hōkū Pa‘a was formed when Tani Waipā and Duane Yamada turned their duet into a trio with Randy Ka‘aihue playing guitar. The group played regularly at resorts and clubs in Waikoloa and Hilo and produced their first CD, Hōkū Pa‘a LIVE! in 2017.

KeOlaMagazine.com | March - April 2019

83 Hökü Paÿa playing at the Kings‘ Shops, Waikoloa, December 2018. photo by Gayle Greco

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

Hōkū Pa‘a was charted to find its new third member when Randy moved to Hilo to continue his music career on the east side of the island. That’s when Darlene Ahuna joined Hōkū Pa‘a. The rich and smooth harmonies of Tani’s sweet melodic voice and ‘ukulele strumming, Darlene’s traditional falsetto and 12-string guitar playing, counterbalanced with Duane’s groove of the upright bass give audiences a commanding show of traditional and contemporary Hawaiian music. Darlene recalls one of the early times they played together as the trio was at the Waipā Music Festival at Hanalei Bay, Kaua‘i. “For the first time, I felt relaxed and comfortable… whoever you play with, you are learning. And now it’s a mature learning.” Tani and Duane add into the conversation how the three of them share the responsibility together and can lean on one another for support. The camaraderie and friendship between the three musicians is evident when watching them interact with each other and the audience. Tani explains, “A two-hour set is good for us. We have time to build rapport with the audience to show the personality of the group and do a variety of songs.”

KeOlaMagazine.com | March - April 2019

The favorite Hawaiian music trio, Hökü Paÿa, playing at Napua Restaurant at Mauna Lani Beach Club. photo courtesy of Tani Waipä

“That is a real nice music environment,” Darlene comments, “We get creative; we take old songs and put our spin on it and want to make those songs relevant again.” With this new take on a trio of two female artists and one male, Hōkū Pa‘a is venturing into the studio in early 2019 with multiple award-winning producer Dave Tucciarone. Too early to speculate on the CD release, the group says it hopes to have the CD finished in the latter part of the year. Still connected to her jazz roots, Tani will join Honolulu jazz legends Benny Chong and Byron Yasui on a 2019 CD release as well. From the evening’s prayer among the petroglyphs, the query was answered as Hōkū Pa‘a shines ever so brightly providing authentic Hawaiian cultural entertainment, education, music, and event production services while keeping fans coming back for more of their unique sound and personalities. ■ You can see Hōkū Pa’a at: • The Kings’ Shops, Waikoloa on Mondays 6–7pm • The Hilton Grand Vacations Bay Club, Waikoloa on Fridays 4–6pm • Hilo Ukulele and Guitar, May 4th, for a reunion concert with jazz singer Tani Waipā, Mila, Zanuck Lindsey and Kapala, Blue Money, and Darrell Aquino. For more information: hokupaa.com Facebook@hokupaamusic

March–A pril 2019

Hawai‘i Island’s

ine The Life |

Community Magaz

March – April lila Malaki – ‘Ape

2019

Malaki–‘A pelila 2019 KeOlaMa gazine.c om

Hōkū Pa‘a ARTS Kūha‘o Zane e–Recycle CULTURE –Reduce–Reus ITY Refuse SUSTAINABIL

Featured Cover Artist: 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, at age 10, he found a discarded but stillworking Brownie camera in his grandfather’s attic. He was hooked. A life’s fascination with photography was born. Having multiple interests, Kirk’s aspirations as a draftsman, guitar player, and photographer were interrupted when he joined the US Navy on St. Patrick’s Day, March 17, 1969. Post-Navy, Kirk returned to work as a draftsman at Bell Labs in Holmdel, New Jersey, and then in Sunnyvale, California in 1979. Throughout his business career, Kirk held increasingly responsible management positions with Hewlett Packard, Apple Computer and Sun Microsystems. “I was enmeshed in extraordinary visual technology. That experience fueled my development as an artist-on-film,” says Kirk. When Kirk moved to Hawai‘i, he had no real intention to become a professional photographer. He thought of himself as a snap-shooter with good gear. “I had a nice Minolta 7xi SLR film camera… [and] I always took photos using the program settings, I never ventured into the manual settings. So my photos were always as good as the camera could produce with the given light sources,” explains Kirk. While Kirk was working at Jack’s Diving Locker as marketing director, he volunteered to help manage the annual Kona Classic Underwater Photo contest. There he met several professional photographers who were the judges of the contest, and photographer Marty Snyderman. Kirk comments, “I learned a lot from Marty. In addition to Marty, I befriended two of Jack’s best employee photographers who gave me many tips on how to shoot better photos and how to venture into the land of manual shooting.” Kirk grew serious about creating quality photography as art. He participated in dozens of workshops, had some excellent mentoring by accomplished masters, and formed his photography business in 2010. Kirk reflects on his passion for the art of photography, “There is something mesmerizing about sunlight dancing off an object or discovering the almost magical scenes that surround us in Hawai‘i—to feel the rush that comes just before I’m able

to capture that perfect shot. I get excited when what I’ve visualized can be captured and shared with the world that way the public can participate in discovering the gems I see and transform into my art.” Through the years, as Kirk was able to spend more time on photography, he built his business out of what was once a hobby. “Now I have repeat clients and have focused my business to a mix of events, portraits, and real estate photography,” says Kirk. As part of his commitment to the community, Kirk is the current president of the Kona Camera Club, a position he has held for the past four years. “My biggest thrill comes when I’ve captured that perfect shot and I discover that it has touched and enriched the lives of other people. This vein spans my life; it has helped me to grow and to reinvent myself. It is especially evident in my fine art photography,” shares Kirk.

For more information: kirkshorte.com Instagram: ksrealestatephotography

Table Of Contents Photographer:

Kristi Kranz

Kristi Kranz, silk painter and water-colorist, captures light and movement on luminous silk with transparent dyes. Living in Hawi, in North Kohala, Kristi’s artwork can be found at Harbor Gallery in Kawaihae, Ackerman Gallery in Kapa‘au, As Hawi Turns in Hawi, and Colette’s Custom Framing in Kona. She welcomes custom orders. Kristi was the featured cover artist in Ke Ola Magazine’s second issue, February-March 2009, available at issuu.com/ keolamagazine.docs/h2009-1 For more information: kranzsilk@gmail.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 | March - April 2019

Your feedback is always welcome. HIeditor@keolamagazine.com

Across

Down

1 Owner of Kohala Coffee Mill and an advocate of recycling, Karen ___ 4 Horticulturist who runs Future Forests Nursery, Jill ____ 7 Historic period 8 Herb used in many recipes 9 Rocks of volcanic origin 12 Hawaiian word for measure 14 Hawaiian word for strike 15 Nānā i ke kumu, "find your ___" 16 Food for a horse 18 Exercise class abbr. 19 Groceries holder 21 Soul or life force 26 Lava ___, abundant in Kailua-Kona 27 First day of the week, abbr. 28 Hawaiian "paper artist" Charlene ____ 30 Hawaiian word for taro 31 Chocolate haupia ___ 32 Blown away, 2 words 34 Hawaiian Rose or Yellow Hibiscus 35 Hawaiian black insect 36 Hawaiian word for meeting 37 ____ Kele native of Ni‘ihau and famous for necklaces and chokers 38 Hawaiian word for exhibition

1 Type of palm stem used in furniture 2 "Trees are poems that the earth writes upon the ___" Khalil Gibran 3 Require 4 Singer with Hōkū Pa‘a, Tani ____ 5 Top military leader, abbr. 6 Hawaiian word for delay 10 Corn part 11 Educational institution, for short 13 Waterhead in Hawaiian 15 Wood used in boat building 17 Agricultural sector, for short 20 Big-hearted man from Volcano who led relief efforts for people affected by the volcanic lava flows, Ken _____ 22 Personal statement intro, 2 words 23 Sea snail, e.g. 24 Awe in Hawaiian 25 Hawaii island's most prolific Church builder, Rev. John ____ 29 Scad mackerel often caught by Chuck Leslie from Napo‘opo‘o 30 Design professional and experienced hula dancer, ____ Zane 33 Hawaiian word for cold 34 Quiet!

Puna Gallery and Gift Emporium Puna Gallery and Gift Emporium is a family-run art gallery and gift shop located in the heart of Old Pāhoa Town. They feature fine art, including paintings, prints, wooden bowls, sculpture, and furniture handcrafted by local Puna artists. A large part of their inventory consists of photography and lava art. They also offer a variety of locally made gifts including clothing, jewelry, soaps, lotions, as well as delicious Puna coffee and macadamia nuts. The gallery features the work of more than 100 local artists, and hosts art groups, fashion shows, student expositions, and classes. Every product is created, designed, and/ or manufactured in Puna so you know you’re getting a local product directly from the source. Co-owner Amedeo Markoff had been a parttime resident on Hawai‘i Island since he was two, and has lived full-time in Puna since 1991. His wife and co-owner, Althea, was born and raised in Honomū. Amedeo is a board member of the Mainstreet Pāhoa Association and the chairman of the promotions committee.

Althea is also an MPA member and has worked in and around Pāhoa for many years. Amedeo and Althea run the gallery with the help of their two children: Jacob, 14, and Sarah, 11. Amedeo explains, “We opened this shop with the intention of supporting the talented local artists, because we have so many here in Puna that go unseen. We wanted to provide an outlet for them. Many of the artists are family, and the rest have become part of our extended ‘ohana. I also own a sawmill business and wanted a place to market our own unique locally made Hawaiian hardwood products.” Though times have been tough due to the 2018 lava flow, they continue to persevere and be actively involved in the community. Amedeo continues, “With the recent loss of many of our special places and so many homes, plus the massive decrease in visitors to this area, just like other businesses in Pāhoa, our artists and our store have suffered. We encourage people to come back and check out the gem that is Pāhoa. We are passionate about art and our community and are thankful for the opportunity to live and work in this amazing, eclectic, and strong community. The best way to support Pāhoa and the surrounding communities is to come shop at the stores and eat at the restaurants. You will fall in love with Pāhoa, so come on down. E Komo Mai! [Welcome!]” Puna Gallery and Gift Emporium is located next to the Island Naturals driveway entrance, and is open every day from 10am to 7pm.

Puna Gallery and Gift Emporium 15-2901 Pahoa Village Rd., Pahoa 808.965.5480 Punagallery.com Facebook and Instagram: Puna Gallery

KeOlaMagazine.com | March - April 2019

Hawai‘i Island 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

Shelly Batha Art

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 KonaCommons.com 808.334.0005

KeOlaMagazine.com | March - April 2019

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

Happenings West Hawaii Dance Theatre and Academy

Konaweb

Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

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

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

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

North Kohala Community Resource Center NorthKohala.org info@northkohala.org 808.889.5523

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

Whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

HiloPalace.com info@hilopalace.com 808.934.7010 Skea.org 808.328.9392

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

CROSSWORD SOLUTIONS

UH Hilo Performing Arts Center ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

KeOlaMagazine.com | March - April 2019

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

Alzheimerʻs Association Aloha Chapter

Kailua-Kona and Hilo Ongoing Variety of volunteer opportunities available. Patrick Toal patoal@alz.org 808.591.2771 x 8234 alz.org/hawaii

Anna Ranch Heritage Center

65-1480 Kawaihae Rd., Waimea Tuesday–Friday, 10am–2:30pm Looking for docent volunteers to provide guided tours. Contact Dayna Wong programs@annaranch.org 808.885.4426 annaranch.org

Boys & Girls Club of the Big Island

KeOlaMagazine.com | March - April 2019

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

Volunteer Opportunities 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

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm Community suffering from cancer, medical hair loss, domestic abuse. Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

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

Friends of Lili‘uokalani 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.

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

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

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

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

Community Kökua

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

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

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/

Volunteer Opportunities Hospice Care

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

Hui Kaloko-Honokohau

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

‘Imiloa Astronomy Center of Hawai‘i 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 Bay Education Center 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

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

Kohala Animal Relocation & Education Service (KARES)

Parrots in Paradise Sanctuary

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

Send the gift of Aloha with East Hawai’i delivery and Shipments to all 50 States. Call to order today!

Mission: to be Hawai’i Island’s premier job trainer/employer of individuals with developmental disabilities, expanding employment opportunities through agriculture/horticulture, and other activities to provide meaningful, compassionate, and successful employment.

Rainbow Friends Animal Sanctuary

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

Ku‘ikahi Mediation Center

Snorkel Day for People with Disabilities

Lions Clubs International

Sundayʻs Child Foundation

Make-A-Wish Hawaii

The Pregnancy Center

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

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

On Hawai‘i Island, call: 808.982.8322 Toll-free from the mainland, call: 866.982.8322 Or order online: owersfromhawaii.biz

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

Kona Choral Society

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

Trrical Fllls and AAangements

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

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 Ongoing

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

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org 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. Hakalau Veteranʻs Park, 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 * Keauhou Farmers Market, Keauhou Shopping Center, Keauhou.

KeOlaMagazine.com | March - April 2019

Saturday 7am–1pm Waikoloa Village Farmers g 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 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 * Hāwi Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans. Saturday 7:30am–1pm * Kamuela Farmers’ Market g 67-139 Pukalani Rd, Waimea. Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, Waimea. Saturday 8am–1pm Waimea Town Market g at Parker School, 65-1224 Lindsey Rd., Waimea. Saturday 7am–noon Waimea Homestead Farmers Market, 67-1229 Māmalahoa Hwy, Waimea. Tuesday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. Wednesday 9am–3pm Waimea Mid-Week Farmer’s g Market at Pukalani Stables, 67-139 Pukalani Rd in Waimea.

* EBT accepted • g Dog Friendly •

Saturday 7:30am–2pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg.

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.

Sunday 9am–2pm * Hāmākua Harvest Farmers g Market, Honoka‘a Hwy 19 and Mamane St.

Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe.

Sunday 9am–1pm Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy 19.

Saturday 8am–noon * Outer SPACE Ho‘olaule‘a at Uncle Roberts ‘Awa Club, Kalapana.

Sunday, Monday, Tuesday and Thursday 7am–4pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors.

Monday–Saturday 10am–6pm * Dimple Cheek Farm Hwy 11, Mountain View.

Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors. Friday Friday 11am–5pm Saturday 7am–1pm Pana‘ewa Farmers Market 363 Railroad Ave, Hilo (across from Home Depot.)

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 * Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo.

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

Sunday 7am–2pm Nānāwale Community Market, Nānāwale Community Longhouse.

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

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

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

Celebrating a Long Time Advertiser Business Networking International. It paid off and Danʻs business grew fast. He now has a crew of five people working for him. Dan appreciates his reliable employees, who, he laughs, “love the combination of hard sweaty work and tinkering with expensive and fascinating measuring tools and software. Our staff always tries to be communicative with clients and anticipate their needs. (Mahalos to Shayne, Rich, Logan, Jeff, Patrick, Daniel, Erin.)” One issue that affects all the surveying community worldwide are the new location technologies. Dan says, “I’ve been told, ‘No one needs a land surveyor as long as they have a smartphone.ʻ If the property owner finds a boundary monument (pin) is it valid? Or was it there to tie the dog? Does it fit his deed? Does it fit his neighbor’s deed? A surveyor not only surveys the property they are hired for, they also are determining boundaries for the entire neighborhood to a certain extent. It takes a neutral third party to come to a boundary conclusion.” Licensed surveyors must pass a state exam, and are licensed by the Board of Architects, Engineers and Land Surveyors. A license means one has the minimum qualifications to practice. Dan concludes by saying, “Yes, houses have been built on the wrong lot.” Don’t cut corners, call Dan! dlb and Associates, LLC 808.966.4206 dlbandassoc.com

KeOlaMagazine.com | March - April 2019

Everyone knows the saying “necessity is the mother of invention.” Dan Berg had been laid off on a Friday, and by the following Monday, he had created his own land surveying business. That was in August, 2010. Since then, Dan has surveyed nearly 2000 properties in Hawai‘i. Some of those properties are now under lava; however, the need for Dan’s surveying services is still in great demand. Dan says, “No one chooses to hire a land surveyor. Usually a survey is required for a development process and permit, due diligence for a property purchase, a construction layout, or a survey is required by a bank or title company. For those who need a survey, we will do the best to meet the needs for your particular project. My first question when we make contact is, ʻWhy do you need a survey?’” From old to young, malihini to kama‘āina, dlb and Associates does many due diligence surveys for new buyers and compliance mapping, such as subdivision maps and certified shorelines. They are doing less construction staking than the old days, thanks to new location technologies. He was awarded his Hawai‘i State surveyor’s license in 2004 and prior to that was awarded the California Land Surveyor’s license in 1990. Dan reminisces, “Some of my first party chiefs were oldschool, slide-rule types. They impressed upon me that knowing which buttons to press was insufficient, because boundary surveying is much more than numbers. Also, Hawai‘i has its own unique challenges, with its land conveyance history, such as the Māhele, whereby the concept of private ownership was foisted on Hawaiians. Retracing Māhele-era deeds is a challenging but welcome task. The history is fascinating.” In regards to starting dlb and Associates, LLC, Dan reflects, “When I started my own survey business, we were at the bottom of the Great Recession. Not the best time, but I was compelled and felt confident.” Dan knew there was opportunity for his level of service, so he went out and networked with people in the real estate businesses via groups such as

MARKET PLACE

ACCREDITED BUYERS REPRESENTATIVE

Jungle Love

Talk Story with an Advertiser

BOOKKEEPING

KeOlaMagazine.com | March - April 2019

CONSTRUCTION

LAND SURVEYING

Becky Peterson opened Jungle Love in Pāhoa in 2004 in Pāhoa Marketplace. Being an artist, and also very involved in the local art community, Becky felt it was time to have her own business. She came up with the name Jungle Love because she wanted people to remember the name, and there was a popular song entitled “Jungle Love.” Everyone liked the name, so it stuck. Becky says, “I wanted to create a place where people would be surrounded by art and a place where artists can showcase their art without expensive gallery commissions. I also import many of our other items. I am all about responsible and fair trade products. I import clothing that is made out of natural fibers. We also carry many other unique and responsibly sourced products.” In her fifteen years in business, Becky’s vision has been to have an eclectic mix of items to share with residents and visitors. Even the décor and displays are unique. In 2014, Becky expanded with a second store in KailuaKona. Managing two stores so far from one another proved difficult, so when the Kona store’s lease ended, she found the perfect spot in downtown Hilo for her new second location. Regarding the Hilo location, Becky mentions, “We have lots of space in the back where we’ll be doing art and wine events, and maybe even art classes for kids on Saturdays.” Becky searches worldwide to find affordable clothing and jewelry; things you won’t see anywhere else. She says, “I want people to come in and have a fun experience. We have apparel from India, Indonesia, Thailand, and Nepal. I work directly with the villages so there is no middleman.” Other popular items are toys, local art, prayer flags, dream catchers, tarot cards, essential oils, soaps, locally-made incense, and Indonesian carvings. There is also natural kitchen ware (alternatives to plastic), local herbs, percussion instruments, kids’ clothing, hair accessories, hand-stamped bedspreads from India, hammocks, scarves, sarongs, jewelry, and bags. They even silk-screen their own t-shirts! They also have smoking accessories, crystals, rocks, and tie-dyed clothing and apparel made from recycled silk saris. Jungle Love is a magical, affordable, fun place for adults and kids that you can count on to find something for everyone, including you! Jungle Love Hawaii Pāhoa: 15–2660 Keaau–Pāhoa Rd. 808.965.7775 Hilo: 302 Kamehameha Ave. 808.934.7775 facebook.com JungleLoveHawaii

Reiki Healing Arts

MARKET PLACE MARKETING HELP

Talk Story with an Advertiser

Reiki Healing Arts 808.345.2017 facebook.com/barbgarciareiki

REALTOR ®

VETERINARY SERVICES

WHOLISTIC HEALTH

KeOlaMagazine.com | March - April 2019

Reiki (pronounced ray-key) is a natural healing technique that works to bring about harmony and balance in a physical, emotional, mental, and spiritual way. Reiki comes from two Japanese words: rei, meaning universal, and ki, meaning life force energy. Universal Life Force Energy flows through every living being. We receive this energy from many sources, including sunshine, breathing, food, water, and spiritual practices. When our energy flow is blocked or depleted, illness or dis-ease can result. Some doctors believe that up to 98% of illness is caused primarily through the mental and emotional state of a person. Reiki complements other medical treatments and is currently offered in more than 800 hospitals in the US. Barbara Garcia became a Reiki master practitioner in 2002. Barbara explains, “I had been going to a Reiki practitioner for about 12 years in California. I found it offered a deeper healing than any other therapy I had ever experienced. My Reiki teacher encouraged me to offer it to others, and during a period of major life change, I decided to heed her advice.” Being certified by her teacher wasn’t enough for Barbara. She wanted a college certificate, too, so she enrolled at Cerritos College in Southern California, where they offered a holistic health program. “I’ve been offering sessions ‘on the sideʻ all these years and in early 2017 decided it was time to give it more focus, because the world needs more balancing of all kinds,” says Barbara. Her primary client is anyone who isn’t feeling like their true self, whether it is physical ailments such as pain and fatigue, or mental and emotional ailments, such as depression and anxiety. Although most of her clients live on Hawai‘i Island, she also treats many visitors who come here to heal. Reikiʻs history is closely tied to Hilo. Mrs. Hawayo Takata was given permission to take Reiki out of Japan in the early 1930s. Mrs. Takata was from Kaua‘i; however, on a fluke she ended up coming to Hilo where she was convinced to open a clinic. Mrs. Takata offered Reiki in the building that is now a natural health clinic on Kilauea and Puainako from 1939–1950, and from this place, all current Reiki masters have their lineage. Barbara professes, “It is quite an honor to be the on-call Reiki practitioner in the original clinic were Mrs. Takata first brought Reiki to the world.” For convenience, Barbara also offers it at her home in Hawaiian Paradise Park. Most recently she has begun offering it in combination with a massage therapist, for healing on the deepest levels.

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