Ju n e/ J u l y ‘ 0 9
“The Life” A magazine for those who love life on the Big Island
The Life of the People Love of Orchids Forges Perennial Friendships
The Life of the Land Exquisite Kohala Cuisine and World-Class Wine
The Life in Art
Galactic Interpretations in a Galaxy Garden
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KE OLA
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Hinahānaiakamalama by Rocky K. Jensen
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KE OLA
“The Life” A Magazine for those who Love the Kona-Kohala Coast
June/July ‘ 09
The Life in Spirit: 11 Ao ka pō i ke ao ē, Pō ke ao i ka pō ē
(Night Becomes Day; Day Becomes Night)
by Kumu Keala Ching
The Life of the People: 26 Love of Orchids Forges Perennial Friendships— Kona Daifukuji Orchid Club
The Life of the Land: Exquisite Kohala Cuisine and World-Class Wine 18 30 What’s in a Seed? The Life as Art: 12 Carving Pathways to the Future
Dr. Greco is here for you when you need Oral Surgery. For more information about “surgery with the delicate touch,” visit drjoangreco.com.
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Rocky Ka‘iouliokahihikolo‘Ehu Jensen
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The Galactic Interpretations of Jon Lomberg/Galaxy Garden Motifs in Polynesian Design
You Don’t Have to Face Your Sorrow Alone
Departments:
PUBLISHERS’ MANA‘O & LETTERS • 6 then & now • 9 THE LIFE IN BUSINESS • 17 COMMUNITY Calendar • 33
Ka Puana — the Refrain:
The Wall of Death • 38
We’re Your Home Town Funeral Home — Every Service You’ll Need for Less
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UA MAU KE EA O KA ‘AINA I KA PONO.
The life of the land is perpetuated in righteousness. [Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the state motto. PUBLISHERS Barbara Garcia Bowman Karen Valentine EDITOR Karen Valentine MARKETING DIRECTOR Barbara Garcia Bowman ART DIRECTION Karen Valentine ACCOUNT EXECUTIVES Mars Cavers, South Kona mars@keolamagazine.com 808-929-8356 Bob Dean, North Kona bob@keolamagazine.com 808-937-9770 Barbara Garcia Bowman, Kohala barb@keolamagazine.com 808-345-2017 CONTRIBUTING WRITERS Ann C. Peterson Keala Ching Lucia Tarallo Jensen Fern Gavelek Marya Mann Ma`ata Tukuafu Nancy Redfeather PHOTOGRAPHY Craig Elevitch Fern Gavelek PRODUCTION MANAGER Richard Price KE OLA is printed on recycled paper with soy-based inks. Its printer is certified by the Forest Stewardship Council (FSC), for utilizing well-managed forestry and waste management practices. Hawaii Island Publishing, Inc., is a recognized member of the Kuleana Green Business Program of the Kona-Kohala Chamber of Commerce
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Editorial inquiries & calendar submissions: editor@keolamagazine.com Subscriptions: www.keolamagazine.com or mail name, address and payment of $18 for one year to P.O. Box 1494, Kailua-Kona, HI 96745 808-345-2017 Fax: 808-882-1648 © 2009, Hawaii Island Publishing, Inc. All rights reserved P.O. Box 1494, Kailua-Kona, HI 96745 www.keolamagazine.com
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Do You See a Pattern Here?
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From the Publishers
ight and day, Heaven and Earth, male and female, the cycles of life. Do you see a pattern here? All are portrayed in this one issue of Ke Ola. Pretty awesome, yes? Our one island, in the middle of the Pacific Ocean, is home to an astronomical artist (“The Galactic Interpretations of Jon Lomberg,” on page 22), a “Living Treasure,” Rocky Jensen (profiled on page 12), Hawaiian and Polynesian cultural symbols, seeds and flowers that grow only in this unique place on Earth, and world-class cuisine (Manta & Pavilion Wine Bar, revealed on page 18). From here, we can set sail for other islands and places, as you’ll see when you read all the way to the last page, Ka Puana for the true sailing adventure tale, “The Wall of Death.” Ke Ola is a community magazine, about the community and for the community. Given the depth and breadth of our community, it will never run out of fascinating stories to tell. We have enjoyed, over the past several months, showcasing Ke Ola at a number of community events. A UH-Hilo jobs fair, the Chamber of Commerce Business Expo and Kuleana Green Business Conference in KailuaKona, and the Big Island Film Festival in Kohala. At many community events, you will see us actively sharing the magazine with people, and listening to what they have to say, too. We appreciate all the feedback we receive. Keep those letters coming. Recently Ke Ola was recognized by the Kona-Kohala Chamber of Commerce as a member of the Kuleana Green Business Program.That’s a designation given to businesses which pass a list of criteria that demonstrate commitment to the island and community, responsible environmental practices and promotion of sustainability. We’re proud to represent these principles. You may find Ke Ola at various locations around the island, and even easier is having it delivered to your mailbox. Visit our website, keolamagazine.com, to sign up for your subscription. And one for your friend or relative on the Mainland who longs to be in Hawai‘i again.. J une/J uly ‘09
Letters
Minnesota Mahalo
Pat and Bob Olson say “Thanks for keeping us warm with news from Hawai‘i Island,” as they enjoy their coffee and homemade pie at Emma Krumbee’s Restaurant in Belle Plaine, Minnesota.
Missing Kona Aloha,
I just received the latest issue via first class and I was not disappointed with the excellent articles and high-quality photos every issue possesses. This is by far one of the better magazines out there and I enjoy reading everything and then dreaming about my next visit. Mahalo for taking such great care with producing an A1 product. Missing Kona 24/7. – Monica Martines, Foster City, CA
Amused by Typos Dear Editor,
You know the magazine’s mana is strong when even typos turn out funny and interesting. We savor Ke Ola and consume it in small portions, so I just read the Ka’awaloa piece. Paragraph 6: I doubt that any missionary underwent major surgery there or was otherwise disemboweled. CaptainCook was probably enough. Thus, I conclude that the church was invited to open a mission, not a missionary. BUS’ LAFF, you guys!! Mahalo for your courage to put such a haole face in Ke Ola. [Referring to “Ke Ola in the Snow” photo in April/May issue.]
“The Life”
– Harry Smith, Princeton, MA
A magazine for those who love life on the Big Island
The Life of the People Love of Orchids Forges Perennial Friendships
COVER ART: “Hinahanaiakamalama,” (Hina nourished by the moon), a mango wood sculpture with textile and koa base representing a female archetype by Rocky Ka‘iouliokahihikolo‘Ehu Jensen. See story on page 12.
The Life of the Land Exquisite Kohala Cuisine and World-Class Wine
The Life in Art
Galactic Interpretations in a
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by Rocky K. Jensen
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Hinahānaiakamalama
KE OLA
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Galaxy Garden
FINE ART quality prints of this KE OLA cover, and others, are available, ready to frame. Order online at: www.keolamagazine.com
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Then & Now: K a i l u a P i e r By Ann C. Peterson
T
he historic Kailua Pier covers a turtle-shaped rock that may have inspired early Hawaiians to name the small bay just north of the pier, Kamakahonu (lit.: the eye of the turtle). The extended rock outcropping later gained distinction as the “Plymouth Rock of Hawai`i,” acknowledging the site where the first Christian missionaries landed in Kona on April 4, 1820. While Kailua Village had served as the capital of Hawai`i after Kamehameha I united the islands and up until his death in 1819, by the time the small pier was built the village had become a sleepy backwater. That is with the exception of “Steamer Day,” when the pier became the focus of activity as inter-island ships laid anchor in the bay. Schools would close and everyone came into town to meet visitors, pick up their mail and supplies, and catch the latest news. A visitor to Kailua Village in 1898 describes the pier as the place to get “figs or grapes wrapped in their own leaves,” and to “pry out the secrets of the town,” while “cheerfully munching.” Kailua’s first pier was built in the mid to later part of the 19th century. Funds for its repairs and extensions began as early as 1898 when $439.26 was requested from the Ministry of the Interior for some “unusual repairs” that occurred when a ship tried to deliver lumber “directly” to the pier rather than off-load it into rowboats. Due to the shallow depth of the bay and the short length of the pier, the use of rowboats or long boats became the norm for on- and off-loading from ships of everything from people to cattle to supplies. This practice continues to this day with the use of tenders for cruise ship passengers on shore excursions. The pier was set on pilings until it was renovated in 1955 with a new, solid rock base and a new roof. The Kona Outdoor Circle took its beautification as one of its earliest projects and added potted trees. These new “improvements” were not fully appreciated. Old timers remember that most of the trees (along with their pots) ended up in the bay, and the restriction of ocean currents into the bay caused by its new solid base resulted in the loss of the sandy beach along Kaiakeakua Bay just south of the pier. Like most wooden things along Alii Drive, the roof was eventually taken down by termites. The pier has been a focal point for two world-famous events. The Hawaiian International Billfish Tournament (HIBT) first launched at the pier in 1959, is known around the world as the “grandfather of all big-game fishing tournaments.” Each afternoon during the tournament, spectators gather to watch the big-fish weigh-in. This year’s event from July 20 through 24 marks its golden anniversary. The pier also serves as the start, finish, and bike transition area for the1Ironman World Triathlon ChampionKalamaAd2:Layout 4/28/09 9:22 AM Page 1
Aerial view of the Kailua Pier today.
On “Steamer Day,” people waited under the pier’s roof for visitors and supplies arriving on the weekly steamer. Pier, c. 1900. – Kona Historical Society Termites won the battle of covering the pier with a wooden structure.Today, a semi-permanent shade pavilion provides respite for visiting cruise ship passengers.
Pier, c. 1950. – Kona Historical Society
ship, first held in 1981. Each October more than 7,000 resident and visitor volunteers help the more than 1,800 triathletes, and the pier is one of the best places to catch the excitement throughout the day. This year’s event is on Saturday, October 10. Destination Kona Coast (DKC) is a group of dedicated volunteers that not only provide assistance to cruise ship passengers; they have tirelessly pushed for pier improvements that benefit everyone who uses the facility. When the state did not have funds to provide shade for waiting visitors and event participants, DKC raised the money from private sources and purchased a semi-permanent shade pavilion. They also hired local artists to beautify the concrete barriers that Homeland Security required to meet its new safety standards. The quest goes on for the perfect pier. In February of this year the state approved over $1 million for the next phase of restoration; which includes, steel reinforcement of the pier’s foundation, new loading docks, parking improvements, and comfort station improvements. These ongoing structural changes insure that the pier remains a focal point for Kailua-Kona activities and that it remains safe for its myriad uses. n
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Mauna Kea sunset. Photo courtesy Big Island Visitors Bureau.
Ao ka pō i ke ao ē, Pō ke ao i ka pō ē (Night Becomes Day; Day Becomes Night) Na Kumu Keala Ching
Knowledge changes to righteousness The pathway is right, the path of the sun The sun is face to face to the earth Night becomes day for the day Day becomes night for the night Seek the male, close to the woman Steadfast the female, righteous indeed Righteous earth face to face with the sun Night becomes day for the day Day becomes night for the night Seek the female, close to the man Steadfast the male, righteous indeed Right the righteousness, the right path Night becomes day for the day Day becomes night for the night Live the life, a righteous life Relationship to righteous Life is right, live the life Night becomes day for the day Day becomes night for the night
KE OLA
Our life achieves balance once we seek the righteousness found deep within. We live our life through the right path of the Earth, guided by the path of the sun. Coming face to face, we face righteousness always. Seeking our male deep within our female, we seek our female deep within our male, and balance within our life is PONO! As we acknowledge that the day brings the night and the night brings the day, we recognized balance continually as we live our life with righteousness ALWAYS!
The Life in Spirit
Huliau ka ‘ike, ‘ike o ka pono Pono ke ala, Ala o ka lā Aia ka lā, alo ka honua Ao ka pō i ke ao ē Pō ke ao i ka pō ē Huli iho ke kāne, Pili ka wahine He wahine kūpa’a, pa’a i ka pono Pono ka honua, Alo ka lā Ao ka pō i ke ao ē Pō ke ao i ka pō ē Huli mai ka wahine, Pili ke kāne He kāne kūpa’a, pa’a i ka pono Pono ka pono, pono ke ala Ao ka pō i ke ao ē Pō ke ao i ka pō ē Ola ke ola, ola ka pono Pono ka pili i ke ola ē Pono ke ola, ola ke ola Ao ka pō i ke ao ē Pō ke ao i ka pō ē
Kumu Keala Ching is a Kumu Hula, cultural practitioner, writer/composer and teacher of ‘Ōlelo Hawai‘i, oli, and Hula. He is the founder of Nā Wai Iwi Ola, an educational foundation to perpetuate the Hawaiian culture and practices through Hula protocol, the use and study of the Hawaiian language, and Hawaiian culture and traditions.
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The Life in Art
Carving Pathways to the Future Uniquely impressive in that Rocky managed to not only return a component of his ancient culture into present-day consciousness––resuscitating five benign aspects of Kūnuiākea, the primary male principle––but was also mindful in giving deference to the foremost artform from his cultural past––elevating it from the level of commercial, store-sold trinket to that of the Divine.
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Rocky Ka‘iouliokahihikolo‘Ehu Jensen acclaimed sculptor, artist and cultural practitioner, poses among the carved Kū images that grace his imposing monument, “Nā Lehua Helelei,” fronting Fort DeRussy at the Waikiki Army Museum in Honolulu.
The Rocky Jensen Family Bonds in a L ove of Art and Their Hawaiian L egacy
By Lucia Tarallo Jensen
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n the year 1975, a blind prejudice still gripped the art world, believing that native Hawaiians, as well as other native artisans, were only competent to create on a craft level. Up until that time only one or two had broken the color barrier––and even then, as painters, creating nostalgic scenic work that was palatable to Western sensitivity. There was no venue for bonafide fine artists to exhibit. It was that year when Hale Nauā III, Society of
Maoli Arts was formed by my husband, Rocky Ka‘iouliokahihikolo‘Ehu Jensen, and myself–– going bravely where no other Hawaiian dared to go. Having recently returned from the continent, we both saw the urgency to establish a “place,” where indigenous Hawaiian artists could comfortably come together to exhibit their works in a style conducive to its importance in relationship to the blossoming renaissance. The exhibitions would be not as the ongoing tradition of
natives on the mat, but as fine artists whose talents made them qualified to show in museums and galleries and especially in exhibitions, applauding their creativity and unique genius. Sculptor, historical illustrator, educator, lecturer and serious cultural practitioner, Jensen created history by initiating the maoli (native) contemporary fine arts movement––his neck constantly on the chopping block, having always to champion an artistic cause that was oftentimes adversely received. To this day, he continues to not only champion that cause, but to also exhibit in all the premier venues throughout the country, fulfilling his kuleana, a “responsibility,” left behind by his talented grandparents from Lā‘ie, O‘ahu, and Pūko‘o, Moloka‘i. Towards that end, he finally had the opportunity to complete a monument to the Hawaiian war dead, Nā Lehua Helelei. The first of its kind since the Iconoclastic Reformation of 1819, it was installed in 1999 at Fort DeRussey’s Army Museum in Waikiki with pomp and circumstance. Uniquely impressive in that Rocky managed to not only return a component of his ancient culture into present-day consciousness–– resuscitating five benign aspects of Kūnuiākea, the primary male principle––but was also mindful in giving deference to the foremost artform from his cultural past––elevating it from the level of commercial, store-sold trinket to that of the Divine. On these same resurgent lines, he was instrumental in the building of the Hawai‘iloa, the sequal to the Hōkūle‘a voyaging canoe, this one built entirely of wood. And, the last in his traditional endeavors is to build a Hale Kālai Ki‘i (Image Carving House) to his ancestors, one where his work can then be created from a personal and spiritually-controlled environment. The first exhibition of Hale Nauā III, in 1976 at the Honolulu Hale (City Hall), was entitled Artistic Alana, coordinated to not only express an insight into the maoli culture, but also to introduce the first group of burgeoning Hawai‘i maoli artists—talented, creative, imaginative, well-
Daughter Natalie Mahina Jensen-Oomuttuk and mother, Lucia Tarallo Jensen, co-authored the book Daughters of Haumea, which won the Palapala Po’okela Award of Excellence in 2006. Natalie holds one of her kāhili, or soft feather sculptures.
educated and eager to join in the dissemination of their culture’s esoterica. Each exhibition, from that time until now, is presented with a theme that allows for a component of the culture to be delved into in depth, and this in turn shared with the viewer. Not to mention the fact that we have had the opportunity to always bring to the forefront fresh new talent that brings that amazing, cultural component to life––hundreds upon hundreds having passed through our halls in the past 35 years, some going on to create new arenas of cultural consciousness. Since that time, we’ve had 13 major exhibitions at the Bishop Museum, and more than 150 throughout the state and throughout
Continued on page 14.
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Sons of Wakea will be released in 2010––bringing forth the balance to the female principle of the Daughters of Haumea, released in 2005— the fundamental polarity finally united. the country, from California to New York, Canada, New Zealand, Austria, Paris. Most recently Rocky K. Jensen’s sculptures were part of the Bishop Museum exhibition,The Mysterious Hawai‘i: From the Feathered Gods to the Melting Pot, shown at the inaugural opening of the newly-built National Museum of Prehistory in Taiwan. Jensen has been written up in the American Artists of Renown by Anne Avery; Crafts of America by Constance Stapleton; The Caifornia Art Review by Les Krantz; Art and Aesthetics and numerous other works written by the renowned anthropologist
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A collaboration by Rocky and Lucia Jensen, called Hanaumea. It is mask made of kapa and sennit.
Dr. Adrienne L. Kaeppler, her latest being The Pacific Arts of Polynesia and Micronesia, whereby she cites Jensen as the paramount Polynesian example of an artist who creates contemporary expression emanating from a fundamental spiritual and ancestral belief. Now recognized as the father of the indigenous maoli contemporary art movement, he will be further distinguished by having a permanent collection of his work installed in the newly-renovated Hawaiian Hall at the Bishop Museum, where he has also been selected as cultural advisor on pre-contact art. He co-authored with me and illustrated Men of Ancient Hawai‘i, again innovative in bringing forth the fundamental concepts underlying the responsibilities of the male principle. Published in 1974, the re-edited
edition, entitled Sons of Wakea will be released in 2010––it bringing forth the balance to the female principle of the Daughters of Haumea, released in 2005––the fundamental polarity finally united. Over the past 40 years, Rocky has also contributed to many other important indigenous artculture articles and books, joining me in writting a continuous art column for Ka Wai Ola, the newspaper for the Office of Hawaiian Affairs and The ‘Õ Files News Journal, and now most recently, monthly contributors to the Paradise Post. He has been recognized by the State Foundation on Culture and the Arts as Master Sculptor; was the
Ke Kahuna Kalai,The Master Carver
recipient of countless awards from city, state, and country; invested with the title of “Living Treasure” by the Honpa Hongwangi in the year 2000, and, lastly, received the first indigenous MAMo Award in 2006. Aside from his artistic and cultural career, Rocky is father to our three children. Two sons— Angelo, the oldest, who is in music and the middle child, Frank, in the visual arts, collaborating with me in the illustration of many important Hawai‘i maoli texts. Our youngest, our daughter Natalie Mahina, was trained in the Hawaiian tradition of kāhili making––which she has rechristened “soft feather sculpture.” To this amazing expression, she has brought to the art an added spiritual dimension in uncovering the fact that the original artifact was used as a “soul catcher,” the very large ones used primarily in funereal processions or august events––the breeze or light winds signaling
Her companion forté in the arts is her photography, which has been shown nationally, displayed in galleries and museums alongside her feather sculptures, and her graphic paintings, which emblazon on canvas her people’s ancient graphic designs in brilliant colors. Both she and I produced the book Daughters of Haumea, in 2006, it receiving the Palapala Po‘okela Award of Excellence in Hawaiian culture. Her photographs of 20 Hawai‘i maoli women, set in a pre-contact tableau, creating texture and substance to a past that still lives within her. To that already impessive list of accomplishments, she joins me in coordinating and curating for Hale Nauā exhibitions. Like her father, she is an impassioned champion of her cultural privilege, seeking always to right the wrong, adjust that which is askew and share the right path to whomever is listening. She is recognized as one of the founders of the MAA, the Maoli Arts Alliance, and MAMo, Maoli Arts Month, which foster the perpetuation of the indigenous visual arts. As for myself, in these latter years of my life I am dedicating myself to unveiling secrets hidden within the ancient language text. Having curated, coordinated those many exhibitions for Hale Nauā, touring with them throughout the entire West Coast, from San Diego to Vancouver, Canada, I now find it extremely fulfilling to travel with nothing but the word! In 2006 I had the privilege of touring California, Washington and Oregon with lectures on the Daughters of Haumea and other native Hawaiian subjects––culminating in a stage production of Daughters at the Palace of Fine Arts in San Francisco, under the directorship of dance director and master choreographer Patrick Makuakāne and his company, Nā Lei Hulu i Ka Wēkiu. We not only brought the same show to Honolulu’s Hawai‘i Theater, but toured it to the Carpenter Center in Long Beach as well–– lecturing on the balance of polarity alongside the extravaganza of the stage production. This last year, I have again collaborated with Makuakāne on a dance piece commissioned by the Ethnic Dance Festival in San Francisco, for a stage production entitled Māui Dialogues, based upon another of my books. I am at present preparing several projects for publication––and all three of us are also building the foundation for our 35th year anniversary exhibition for Hale Nauā in 2010.
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the presence of the ancestors. Her first art exhibit was with Hale Nauā III, at the age of 11 and by 18 had already been commissioned by corporate, public and private entities, her feather artwork gracing more than a dozen public sites in the islands and abroad. In 2006, she launched a tour and workshop on the continent, not only to teach kāhili making, but to educate the maker as to its spiritual significance.
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Lucia Tarallo Jensen is a venerable lecturer, research historian, published author and curator of fine arts. She is the co-founder of the indigenous Hawaiian contemporary art group, Hale Nauā III, Society of Maoli Arts.
Susan J. Moss
Professional Member ASID
KE OLA
For those of you who want further information on either Hale Nauā III, Rocky K. Jensen or Natalie Mahina Jensen-Oomittuk, please e-mail the request to naua@hawaiiantel.net. Those who are interested in knowing more about the art created by Rocky or Natalie, we encourage you to contact us. Our Daughters of Haumea book can be found at the Lyman Museum and Basically Books in Hilo town and at Nā Mea Hawai‘i, at Ward Warehouse in Honolulu. n
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The Life in Business...
Glimpses into the stories behind a few of our ads
Celebrating the award of SBA Small Business Person of the Year Award for Hawaii County, Dr. John Stover said, “I thank my great team of hard-working and dedicated employees as they have made our success possible.”
Dr. John Stover: Trudy Farley
Trudy’s Island Arts
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rudy Farley entered the business of representing Hawai‘i Island artists while helping a friend who was battling cancer. She and her friend, Katrina Bellak, first began in a kiosk behind the Wyland Gallery. Soon after, they moved to Ali‘i Gardens Marketplace, where Trudy took over managing the business, as Katrina battled her illness. Then another opportunity arose. “As ill as Katrina was she had the foresight to choose Kona International Market before it was even completed,” Trudy says. “As I watched it develop I also felt it would be a good move for us. We moved there in Jan. of 2006. Sadly, she passed away in May of 2006. I decided to continue the business and changed the name from Katrina’s Pono Kona Art..” Kona International Market is on Luhia Street, (between Makala and Kaiwi Streets). Trudy’s Island Arts exclusively represents artists who live in Hawai‘i.. “We represent over 40 artists now with everything from art prints and giclees, photography, jewelry, glass works, tiles, pens, watches and much more,” she says. “We’ve expanded the store twice since moving here!” Although primarily tourists shop at Kona International Market, many local residents are discovering the hidden jewels found there. Trudy says it’s a great place to find unique gifts and local arts for the home. “I am trying to attract local residents as well through our Frequent Buyer’s Club.” She and her husband moved from Southern California six years ago. “I love meeting people! And, of course, living here I get to meet people from all over the world.”
You can check out the selection of art products online at www. trudysislandarts.com or www.artandgiftshawaii.com and even purchase items online. Call the store at 329-7711.
Included in its basic services are oral and maxillofacial surgery, cosmetic surgery, non-surgical cosmetic procedures and complete dermatology care. But, more than that, “We have the most complete laser center in the state,” notes Dr. Stover, whose array of cuttingedge technology “has brought many firsts to the Big Island.” For example, Dr. Stover offers the only tattoo laser removal on the outer islands and recently developed options for comprehensive varicose vein treatment. The three facilities are complemented with a medical spa to provide a one-stop shop for those looking for cosmetic procedures, treatment and consult. As a result of his “outstanding ability to create success,” Dr. Stover, who resides in Waikoloa, was awarded the 2009 Small Business Person of the Year for Hawai‘i County. According to Jane Sawyer of the SBA, the award taps business owners and operators who lead their industry in “job creation, growth in annual revenue, innovation, staying power, response to adversity and contributions to their community.” Dr. Stover’s practice is enhanced with the services of other professionals through creative alliances. They include Dr. Angelo Cuzalina, M.D., a specialist in full-body cosmetic surgery; cardiologist Jone Flanders, M.D. and certified physician’s assistant Marne CarmichaelWalsh. Overseeing the staff of 35 employees is health care administrator Bayardo Aviles, M.H.A. and Ann Botti, office coordinator. He is a strong supporter of arts organizations, including the Kahilu Theatre Foundation, Theatre Arts Conservatory, UH Performing Arts Center, Kona Music Society, Friends of the Palace Theatre, Kamuela Philharmonic, Hawai‘i Performing Arts Festival and Kanilehua Chorale.
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Find Dr. Stover’s services at Hilo Oral and Facial Surgery, (808) 969-1818; North Hawaii Oral and Facial Surgery/North Hawaii Medical Spa, in Waimea, (808) 885-4503 and Kona Oral and Facial Surgery/ Cosmetic Laser Center of Hawaii, in Kealakekua, (808) 323-2600. For more information, visit drjohnstover.com.
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With help from the “best employee in the world, Pam Kajikawa,” Trudy’s Island Arts is open every day except major holidays. The store is in the back of Kona International Market, facing Queen Ka‘ahumanu Highway.
Dr. John D. Stover, D.D.S., M.D., Ph.D., came to the Big Island in 2001, bringing with him the knowledge gained from 20 years of medical schooling. Hailing from Louisiana and North Carolina, where he achieved doctorates in medicine, dentistry and neuroanatomy (the study of the anatomical organization of the brain), he has established an island-wide practice with offices in Hilo, Kona and Waimea.
Exquisite Kohala Cuisine and World-Class Wine Pair up at the New, Manta & Pavilion Wine Bar
The Manta & Pavilion Wine Bar overlooks scenic Kauna‘oa Beach at The Mauna Kea Beach Hotel. By Fern Gavelek
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ince its opening in 1965, The Mauna Kea Beach Hotel has relied on the bounty of local farmers to supply its kitchen. The hotel’s first manager, Les Moore, knew the wisdom of using Big Isle products to stock the remotely-located hotel. Soon after taking the job, he met with Waimea farmers. The Cornell-educated hotelier reportedly wrote a large “$” sign on a blackboard, and then turned to his audience and asked, “Does anyone here read music?” The Uyeda family—brothers “Shige,” and “Lee” and their wives, Haruko and Yoshimi— supplied The Mauna Kea Beach with local produce for the next 20 years. Acting as a produce distributor, the Uyedas collected cabbage, lettuce, broccoli, tomatoes and other fresh bounty from Waimea farmers to fill the Mauna Kea’s orders, often driving food down to the Kohala Coast daily. Their slogan was “Buy the best,” and Haruko recalls working with several farms. “We called T. Ishihara ‘the celery king’ as Tamao had the most wonderful celery,” remembers Haruko, who retired the family’s longtime Kamuela Roadside Vegetables stand
in 1999. “Chef Blum at the Mauna Kea was a big supporter of us.” Four decades later, The Mauna Kea Beach Hotel still depends on local food producers to fill its pantry. Boasting a $150 million repair and renovation following the October 2006 earthquake, the resort has opened its doors showcasing new restaurants that offer sensational dining experiences. One of them is the Manta & Pavilion Wine Bar, which overlooks scenic Kauna‘oa Beach and a shoreline frequented by graceful manta rays. The open-air Manta, which sprawls to an outside lanai, is comfortably cooled by on-shore breezes and open for breakfast, dinner and the Mauna Kea’s lavish Sunday Brunch. In addition to having a spectacular location, the Manta prides itself in offering a fun, state-of-the-art enomatic wine bar and “Kohala Cuisine,” starring locally sourced foods. At the culinary helm of the restaurant is Mauna Kea’s executive chef, George Gomes, Jr. “At the top of our list is to use fresh food produced here on the island,” emphasizes the Big Island native. “We do it day-to-day. We want to keep our farmers in business.” A familiar face at The Mauna Kea, Chef Gomes “cut his teeth” at the Garden restaurant during the
Executive Chef George Gomes Jr. is at the helm of the Manta & Pavilion Wine Bar. He has a long history with The Mauna Kea Beach Hotel as both his parents worked there and fondly remembers how the hotel sent him to Parker School on a scholarship.
it right away. We typically order fish in the morning, then it’s caught and on your plate in the evening.” The menu, which Chef plans to change about three or four times a year, offers both Big Isle grass-fed beef and red veal. Hawaiian red veal is from weaned calves that are allowed to roam and eat grass. He says the meat is tender and has the right amount of fat for good flavor, plus the animals are raised humanely. “We also offer grain-fed beef for guests who prefer it,” admits Chef Gomes. “The Midwest pork and beef are hard to beat. ” The Manta’s culinary team makes the restaurant’s own dried Spanish chorizo sausage and Portuguese sausage, and smokes its own bacon. “We use federally-inspected wild pig for special things; we get it from Kulana Foods,” he adds.
1980s when Hawai‘i Regional Cuisine was coming into its own. His more recent culinary pursuits include teaming up with Chef Jean-Marie Josselin to enhance menus and service at outer-island restaurants. He also served as corporate executive chef of Tri-Star/Jas Restaurant Group to help establish restaurants like Sarento’s in Waikiki and Maui. Referring to the Manta’s “Kohala Cuisine,” Chef Gomes says a large part of the restaurant’s ingredients “comes from within a 15-mile radius” of the property. He adds that the Manta sources 80 to 90 percent of its food from the Big Isle. “Food often comes to us the same day it is out of the ground,” Chef Gomes details. “The idea is to use
Made-from-scratch is the mainstay at the Manta where artisan breads, rolls and lavosh are freshly baked and ice cream is “spun in small batches.” Local strawberries go into the restaurant’s own preserves. “It’s important for us in the kitchen to have the same mentality and be on the same wavelength,” notes Chef Gomes. He said he confers with Sous Chef John Salvador, a Kauai native who came to Manta from Merriman’s, to brainstorm menu items, including a nightly special. “We speak food every day. We want guests to have a variety; we want to keep it different.” Rather than a menu offering dishes with the usual protein, starch and vegetable combination, Chef Gomes “composes” his dishes based on “taste and texture.”
Continued on page 20. Edith Kanaka'ole Multi-Purpose Stadium Daily Admission: $4 donation at the door Keiki 12 & under FREE
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Continued from page 19.
Whether it’s using fresh-picked brussels sprouts from Hirabara Farm, tomatoes from Picasso Farms or figs sourced from Love Farms, the nightly specials are determined in the afternoon and “very spontaneous.”
“Taste and texture determines what is served in a dish,” he states. “Also our style is using a lot of olive oil, fresh herbs, chili, aromats (aromatics) and spices—and less cream and butter.”
“We decided tonight’s special around 3:30 today,” Chef Gomes shares. “The special is dictated by what comes in that day—the fresh fruits and vegetables— not so much the protein.”
An example of how the Manta “keeps it different” is the Ka’u Coffee Grilled Beef Filet. The tender filet is accompanied by crunchy, “classic” french fries, which are cut by hand, initially blanched in oil at 300 degrees to get “semi-soft,” and then chilled.
Chef Gomes adds, ”if nothing comes in, then there’s no special—because a special should be special.” The special that evening is pan-seared Hawai‘i red veal that’s deglazed with brandy and served with grilled, organic eggplant, asparagus and pear tomatoes. It’s topped with a green peppercorn sauce and complimented by Mauna Kea’s own mango chutney. Summing up the Manta’s efforts to use locally produced foods, Chef Gomes says, “Having dinner here is like sitting down at the table with a chef, farmer, rancher or fisherman. That’s what it really comes down to. We bring them together for you.”
New Wine Experience
Wine manager Brian Clancy (left) tells a guest how a growing region has as much to do with the style and flavor of wine as how it’s made.
Once ordered, the partially prepared fries are put in a 400-degree fryer to get really crisp and then tossed in white truffle oil, chopped garlic and Reggiano parmesan cheese. “You get all the fantastic flavors and aromas,” he continues. “We accompany it with grilled asparagus and then finish the dish with a chimichurri, a ketchup from Argentina that’s served with grilled meat. It’s made with fresh oil, herbs and we use Hawaiian chili peppers.” Chef has the peppers, and a few other herbs, growing right outside the Manta in a little garden—perfect for plucking when needed.
In addition to the sublime location and fresh menu items, the Manta is drawing patrons with its new, hands-on Enomatic Wine Experience. The self-serve, wine-dispensing fun offers one-ounce samples of up to 48 different wines that were carefully selected by Mauna Kea Wine Manager Brian Clancy. “The Wine Experience is a great way to taste and learn about wines across the globe,” explains Clancy, who adds that he or a wine attendant are on hand to help thirsty patrons make their choices. A wine bar menu describes each offering and categorizes vintages into dry whites, chardonnay, rosé, riesling, pinot noir, claret varietals, other worldly reds and dessert wines. Clancy suggests tasters create their own winetasting flights, with a suggested “flight pour” of two ounces each of three different wines. Tasters simply purchase a $25 “credit card,” that once inserted, turns on the tap. Ounces are basically $2, $3 and $4 each, with a few higher-priced offerings.
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Clancy suggests tasters create their own winetasting flights, with a suggested “flight pour” of two ounces each of three different wines.
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While there are no Big Isle wines on the menu, there is one selection that has a local connection. The Kaena Grenache Rosé is by Big Island-born winemaker Mikael Sigouin. The wine is described as a “strawberry-driven bottling that will pair beautifully with our local farmers’ fresh produce.” According to Clancy, Sigouin moved to California’s Santa Ynez Valley years ago to work and study the wine industry and is head winemaker at Beckman Vineyards, Fess Parker and his own winery, Kaena. “He’s a great guy, has awesome wines and a cult following,” shares Clancy. “His productions are very small, but highly praised.” In addition to the Wine Experience, diners can choose from over 400 bottled wines, some available by the glass. According to Clancy, “every known growing region” is represented on the wine list—South Africa, Chile, New Zealand, Argentina, France, Spain, Italy, Germany and California “with all its styles.” “Our goal is to be a wine destination with a world-class wine list,” shares Clancy. You don’t have to have dinner to check out the Manta’s Wine Experience, there’s a comfy lounge area to savor sipping and conversation. It’s open during restaurant dinner hours, 6-9 p.m. nightly. Breakfast at the Manta is served 6:30-11:30 a.m. daily and the Mauna Kea’s signature Sunday Brunch—which boasts a long-time, statewide following—can be had 11:30 a.m.-2 p.m. Headlining the brunch is the Manta’s own smoked Big Island prime rib—along with shrimp and veggie tempura, steamed dim sum, Keahole lobster bisque with black truffles, eggs benedict, Belgian waffles, build-your-own sundae…get the picture? For reservations, phone 882-5810. Sample menus, upcoming wine events and holiday buffets are posted at http://www. princeresortshawaii.com/mauna-kea-beach-hotel/big-islandrestaurants.php. n
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Photo by Koakane Green
Jon Lomberg’s painting, “Portrait of the Milky Way,” considered the most accurate painting of the galaxy, was commissioned by the Smithsonian Institution. Its view of the galaxy is the same as the layout for the Galaxy Garden at Paleaku Peace Gardens in Honaunau, shown on the map inset.
The Galactic Interpretations of Jon Lomberg in Flowers and Other Media
By Marya Mann
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Spiraling currents of light join our sun with 100 billion stars in the Milky Way waltz, each star giving birth to new radiance, letting old stars go, who in death become new seeds for life’s evolution. If you listen deeply, you can hear the timeless tango from infinity’s band— bigger than anything we can imagine.
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ot bigger, however, than galactic, multi-media artist Jon Lomberg can imagine. He has made his living conjuring the scope of the heavens for Earth-centric people like me, who realize the enormity of our galaxy—100,000 light-years across—and feel not small, but elevated.
A Far-Reaching Artistic Mission “The galactic perspective gives you the sense of how trivial differences like skin color and religion really are,” Lomberg says. “If we look at humans on the planet in a larger context, we’re all humans, we’re all the same. It brings people out of their entrenched positions and into a completely different context that doesn’t share either of their competing ideologies.” Using his gifts for science and art to imagine beyond what the human eye can see has made Lomberg something of a visual
“Seeing the cycles, how the stars would change seasonally, how the sunset would move back and forth along the horizon during the year, how these ancient cycles are in us, even if we don’t realize it....” prophet of the galaxies. It has also taken him on an unconventional path, even for a visionary artist. He credits living in Hawai‘i as enhancing that vision. Over the last decade, he has partnered with Kona painter Herb Kane on Ocean Planet, which depicts Hawai‘i as the center of a Pacific Rim view of the world. He spent two years crafting a special Kona Beach photograph for a space mission to Titan, one of Saturn’s moons. But his collaboration on the construction of the only accurate, walk-through, full-scale Garden of the Galaxy is perhaps his most vibrant expression yet in a life filled with art about the galaxy. As chief artist for Carl Sagan’s Emmy Award winning TV series, Cosmos, Lomberg had a 24-year collaboration with Dr. Sagan. “The main idea is to use the knowledge we gain from science for a perspective on those deep questions: who are we, why are we here, and where is here anyway? I feel that the greatest luck I had was finding such a good working relationship with Carl Sagan, who was a genius at communication. I learned from him by emulating him. He’s gone, but people have this desire to connect with the universe. They’re still hungry. So what excites me now is helping people to understand.” The healthy, sun-tanned, working artist wears a T-shirt silk-screened with his own “Starseeds” design. A swimmer who says his best meditations are in the ocean water, he doesn’t look his 60 years. Nor does he look like the kind of person you’d expect to have a friendly asteroid near Mars named after him; but he does. (Previously called 6446 1990QL, Asteroid Lomberg was re-named in recognition of his achievements in the field of science communication.) Pretty far out.
Lomberg’s most famous work of art, “Portrait of the Milky Way,” was showcased in the main gallery of the National Air and Space Museum for ten years. Considered the most accurate painting of the galaxy, it was commissioned by the Smithsonian Institution after the artist had moved to Hawai‘i. “I think I was much more alive, much more attuned to the skies, by the time I did that painting from living here,” he says. As a child in Philadelphia and later working in New York, he was captivated with the sweep of the universe, but he couldn’t really see the stars through the light-polluted skies. “Even though I knew a lot about astronomy, I didn’t really know the skies until I moved to Kona because learning the skies without seeing them is like learning about painting without being able to see any paintings. “Seeing the cycles, how the stars would change seasonally, how the sunset would move back and forth along the horizon during the year, how these ancient cycles are in us, even if we don’t realize it,” changed him. “We respond to the lunar cycles, the stellar cycle, the solar cycle. All of these cycles are really the rhythm of life. “You don’t hear that rhythm, you don’t feel that rhythm until you participate in it.”
Voyager and the Galaxy Garden As we sip coffee across the street from the Lavender Moon Gallery in Kainaliu, where his collaborative painting with Kane is on display, I ask Lomberg how he conceives of the work he sends aboard spacecraft as messages to other species. “I try to put myself in the position of an extraterrestrial,” the artist says. Continued on page 25.
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Radio? A painter making radio? “Radio is the most visual of all media,” says the unconventional artist, who worked for the Canadian Broadcasting Corporation in Toronto. “People get visions in their mind and your job in radio is to inspire and elicit those visions.”
Hawai‘i and the Portrait of the Milky Way
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Add to that the work the Honaunau resident (since 1987) has done illustrating a whole galaxy of books and magazine articles. He brought the universe to life in the Warner Brothers film, Contact with Jodie Foster and Matthew McConaughey, and has made science programs in a range of media from acrylics to Photoshop to radio.
“The Ocean Planet” Photo of Jon Lomberg and Herb Kane by Douglas Troxel.
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Continued from page 23.
I think this man may have the most interesting job description in the world: “Artist who can think like an extraterrestrial.” He designed a portrait of our world in pictures for the Voyager Interstellar Golden Record, launched aboard a NASA spacecraft in 1977. “What is it that most represents our humanity? Who are we?” he asked himself. In response he created an unusual, durable, and far-flung collection of artifacts. His Voyager art, containing music, human speech, and a picture story that describes Earth and its inhabitants, is now travelling beyond Pluto and has an estimated lifetime of one billion years.
Starflowers envisions nebulae-- the giant clouds of gas that form stars-- as flowers, spreading the seeds (stars) that will form the next generation of starflowers.This painting expresses the artist’s unique metaphor that later was manifested as the Galaxy Garden. For prints of this and other artwork see www.jonlomberg.com.
Another piece he designed was intended as a space message to describe humanity to intelligent aliens in a photograph. Lomberg’s idea was to create a “Portrait of Humanity,” depicting the range of human relationships. After two years of research and precision design, the photo was captured with photographer Simon Bell in 1997 on Makalawena Beach with Kohala and Kona residents as subjects. The compelling photo includes a mother nursing, a fisherman launching a canoe, and a grandmother at the center of a group of happy people under a perfect Hawaiian sky.
Peace Gardens, decided to pick up shovel and hoe to begin work on this unique planting. Supported by funds from the Change Happens Foundation, help from students at Konawaena High School, and other volunteers, the Galaxy Garden was created at the retreat center on Painted Church Road in Honaunau. “For years there have been scale models of the solar system, the inner and outer planets around our sun, but the Galaxy Garden at Paleaku is the only one of its kind,” he says. In this educational installation, a variety of plantings represent the constellations, demonstrating the scale of Earth within the galaxy as a speck on a leaf.
The Galaxy Garden is a 100 ft. diameter model of Surprisingly, the Milky Way.The scale is 1000 light years per foot, the project was scrapped which is about 83 light years per inch.The Galaxy when NASA officials “The garden shows how Garden is set on 1/4 acre of lawn, whose gentle swell chose instead to send connected we all are,” says suggests the observed warp of the actual galactic disk. a long list of peoples’ DeFranco. “It gives us a names—a publicity visceral feeling of connection “stunt,” according to some. The feel-good “message” to our galaxy, and manifesting a vision like this might be fun for the people named, but it would touches your heart.” be meaningless to ETs. Although the photo wasn’t If you want to sense that connection for yourself, launched, it still represents an objective portrait of visit www.galaxygarden.net. To see more of Mr. humankind and provokes the question of how we Lomberg’s work, you can go to Lavender Moon view ourselves. Gallery in Kainaliu and visit www.jonlomberg.com.
His idea for a walk-through scale model of the galaxy came to life in the late 1990s when Lomberg and his neighbor, Barbara DeFranco, owner of Paleaku
Paleaku is now open on Saturdays again. Every Tuesday through Saturday, 9 am – 4 pm. A small donation is requested, but what the heck, it is the only Galaxy Garden in the world. n
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Growing a Galaxy Garden
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By Fern Gavelek
For 27 years they’ve been coming to monthly meetings and sharing their love for orchids. They are each other’s cheerleaders, encouraging the successful bloom of a new hybrid or the carefully timed pollination of vanilla plantifolia.
Photos by Fern Gavelek
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ention the word “orchids” and smiles light up their faces like girls gazing at a dollhouse. These eight Kona women, who eagerly banter over growing media and ant control, are enthusiastic charter members of the Kona Daifukuji Orchid Club.
Love of Orchids Forges Perennial Friendships
Joining in their enthusiasm for orchidaceae—which is the largest family of flowering plants—are charter members Betty Matsuo, Janet Kawamoto, Emi Ueda, Yoshie Tanaka, Hilda Sugai, Nancy Shibata, Carol Zakahi and Alice Jenkins. The ladies joined the club when it first started in 1981; it began as an offshoot of the Daifukuji Soto Mission’s Fujinkai, or Ladies Club, with membership open to the public. The opportunity to learn about orchids, which botanists claim have the most advanced and intricate flowers in the plant kingdom, is one of the lures of the Kona Daifukuji Orchid Club. The club’s educational programs and hands-on workshops keep members abreast with the latest orchid know-how. The “orchid ladies” claim camaraderie— plus the club’s programs, projects and activities throughout the year—“keep them coming back.” That includes the annual circle-island field trip to wholesale nurseries aboard a chartered motorcoach; it’s known for delicious shared snacks, friendly conversation and a luggage-hold filled to the brim with newly purchased orchids.
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The club’s annual show and sale on Sunday, July 26 has an educational theme, “Growing Orchids in Pots or Gardens-A Unique Hawai‘i Choice.” New this year is a Question & Answer Booth, which features the expert advice of the “orchid ladies” and other club veterans.The club meets monthly at 7:30 p.m. on the second Wednesday at Daifukuji Soto Mission Hall in Honalo. For more information, call 938-2123. There are several other orchid clubs on the island. Hilo Orchid Society meets every second Saturday afternoon at the Kamana Senior Center in Hilo. Call 982-7753 or visit www. hiloorchidsociety.org. The Kona Orchid Club meets at the Kona Outdoor Circle on the first Friday of the month. Call 334-9760. n
“It’s easy to get to know people when orchids are around,” says charter club member Betty Matsuo of Captain Cook. Matsuo, who grows “thousands” of orchids and always has several spectacular blooming plants at the club’s monthly “Show and Tell” table, adds, “You don’t worry about anything else when you’re working on orchids. When they flower—there’s such satisfaction.” “Being involved with orchids has kept me on my toes with new people and new words,” explains Carol Zakahi or Holualoa. “I have stayed with the club because, I think, even if you had 300 years on the planet, it’s not enough time to know all you can learn about orchids!” She especially enjoys caring for unusual orchids, like the specie eria elata, which she received as a gift from club member Betty Matsuo.
Emi Ueda (left) and Hilda Sugai talk about their orchids, including Hilda’s new VUYL Patico “Pacific Nights.”
The Life of the People
“What’s good about orchids is I can always learn something new,” shares Nancy Shibata of Kealakekua. ”When I travel, go to Honolulu, I want to go to an orchid show or visit a nursery. Everything is always orchids.” In the photo above, she checks on her BLC Ann Cleo “Stars and Stripes,” a showy hybrid that’s a cross between brassavola, cattleya and laelia orchids. Reminiscing on favorite activities, Janet Kawamoto recalls winning first prize in the club’s orchid poetry contest and teaming with others to present a winning display at the Hilo Orchid Show. The Kealakekua resident was named the club’s Orchidist of the Year in 1997, an honor bestowed annually by members. She grows orchids both inside and out of a greenhouse at her Kealakekua home.
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Alice Jenkins holds an arpophyllum spicatum, with a photo of its cylindrical blooming habit.
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Yoshie Tanaka of Kealakekua, who rarely misses a meeting even though she is wheelchair-bound, has been growing orchids for “40 or 50 years” and claims Hilo Orchid Show titles for “Best Natural Specie,” “Best Cattleya” and “Best Cymbidum.” She sums up how the wonder of orchids has forged friendships through flowers. “When I used to attend the orchid shows on O‘ahu, I always admired the award-winning specimen plants of Jean Inouye of the Honolulu Orchid Society. Finally, she came to our show and I got to meet her; it was so rewarding! Jean has since passed away, but she contributed so much to orchid culture. People like Jean, they inspire us.”
Living room of a Fijian, with lashings on the poles that tell of the family’s lineage.
Motifs in Polynesian Design By Ma‘ata Tukuafu
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Early nineteenth century tapa cloth from Rarotonga (Cook Islands.)
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A kato, basket, handwoven in the Tongan Islands circa 1850’s.
Contemporary tapa design from Tonga.
rom the earliest European voyagers who traveled the vast Pacific Ocean in the 1500s to the vast numbers of visitors who spend their savings on touring the Pacific islands, the lure of Polynesia has always been present. Those who now make the islands their home seek to bring that special island magic into their décor. What has passed many times as “Hawaiian” decor in upscale homes and businesses is really a combination of Asian art, Indonesian influence, “Tiki-Hawai‘i,” “Plantation-Hawai‘i” and everything in between. There are a couple of reasons for this; one is that true Polynesian furniture or home decoration has not been marketed or is available at custom or commissioned prices only. Another is that art, furniture and home decor from Indonesia and Asia is readily available at much lower prices. True Polynesian art is different, and a little less accessible. There are recognizable traits that distinguish Polynesian motifs from other cultures. Polynesia encompasses many cultures; the triangle stretches from the Hawaiian Islands in the North to Aotearoa (New Zealand) in the South, and to Rapa Nui (Easter Islands) in the East. In
each of those cultures, surviving artifacts we now deem as “primitive art” are really items that were made to do a job, or to have a function in everyday life. Tapa (or kapa) cloth for instance, is a hallmark of Polynesian cultures. Made from the bark of the wauké tree, its uses were endless. Women pounded the bark until it was flat, soft and pliant and decorated the tapa for clothing, bedding, dowries, gifts and for ritual purposes. Designs were printed onto the tapa depending on what the tapa would be used for and on which Polynesian island it was made. Hawaiian kapa is distinctive as opposed to Samoan, Fijiian or Tongan. Utility items like baskets and eating utensils were also decorated, and were pleasing to both the maker and the user. The enormous care and refinement of many of the surviving pre-1800 Polynesian items shows amazing craftsmanship and ingenuity, making them fine works of art. A few years ago, items that had been carried back to Europe from Captain Cook’s three voyages to Polynesia between 1768 and 1780 were exhibited at the Honolulu Academy of Arts. Almost every-
thing in the exhibition was in excellent condition, most likely from being in a colder climate or being stored in ideal conditions. Beautifully woven fishing nets from Hawai‘i still had shells attached to them as their weights, and mats from the different cultures showed a high level of craftsmanship in intricate designs with contrasting colors. These have provided information to modern-day artisans to recreate their beautiful designs for today’s homes. Choosing to add a few pieces of Polynesian decor into the home not only supports local artisans and crafts-people, but also adds meaning and style, depending on the motifs chosen. Living here in Hawai‘i, we have access to many sources of Polynesian arts, crafts and artisans who create beautiful carvings, furniture, paintings and sculpture. With the use of the Internet, there is an even wider source of information and access to the Pacific Islanders and their art. The difference between Polynesian art and motifs and Asian/Indonesian or other motifs can be seen in many wonderful Polynesian art and design books that now fill sections in libraries and bookstores for reference. Most of the Polynesian designs that have come down to us into the present via carvings, mats,
tapa cloth and tattooed body art originate from the Lapita peoples who populated first the western part of the Polynesian triangle, spread to the east, then to the north in the Hawaiian Islands and lastly into Aotearoa. Through ancient Lapita pottery shards found in Tonga, Fiji and Samoa, distinct designs of geometric patterns, stylized humans and motifs of nature such as birds, trees and flowers are found. These designs and motifs have, over the years, been added to or re-designed and each Polynesian culture now has recognizable patterns that may be painted onto walls, canvases or home accessories. Floor rugs, textiles and wall coverings may be printed, or Polynesian motifs may be carved into wood cabinetry, doors or furniture. It is through these beautiful and creative Polynesian art forms, passed from one generation to another, that we can create more beauty and meaning in our homes and our lives. n Ma’ata Tukuafu is part Polynesian (Tongan). She is owner of Polynesian Design, a company specializing in Polynesian interiors. www.polynesiandesign.net.
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Photos by Craig Elevitch
What’s in a Seed? Seed is the living source of life on Earth.
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The Life of the Land
By Nancy Redfeather
H
ow many times have you bought seed in a store, planted it, and were disappointed at its failure to germinate, or worse, thought of yourself as a “black thumb?” The answer to this common complaint is in the seed itself. All seeds are not alike, and all seeds do not grow in all places. Seed vigor and vitality and “locally-adapted” genetics are all important. Many times seed is kept on the store rack too long, and the old adage, “keep seed cool dark and dry,” not followed. Our moist air and warm temperatures causes seed vitality to fall, therefore not germinate well. For 10,000 years, farmers and gardeners all over planet Earth have tamed and improved seed for their specific uses. Through their astute cultivation, observation, selection, improvement, saving and stewardship of seed, an amazing amount of biodiversity has been cultivated and passed on to future generations. Biodiversity is one of the foundations of agriculture and, without it, crops are more vulnerable to the ever-present pests, diseases, and climate change—with its accompanying drought or deluge—forever ready to remove weak systems from the natural world. The more varieties that are available, the better chance we have of successfully attaining a greater degree of food self-reliance. History is filled with stories of civilizations that literally disappeared by narrowing the diversity of their crops, misusing their soils, and generally forgetting to “mimic” Nature or become her working partner.
Today, we think of “ecological” as meaning that which works in harmony with Nature, and “sustainable” as a system that will continue to produce over many generations without degrading the soil or biodiversity. This is the kind of agriculture many people are now envisioning for Hawai‘i. The planters of old Hawai‘i, the mahi‘ai, practiced and understood this kind of agriculture. Verdant gardens stretched mauka to makai, forming the ahupua’a system that produced enough food for large populations on all islands. We don’t think their diet was diverse, but in the book Native Planters, Craighill Handy talks about the 232 varieties of sweet potato (uala), with drawings of their leaf forms, names, notes on the type of soil, climate suitable to each one, and season of harvest. Today, only 69 years later, fewer than 30 varieties still exist. Over eons of time, regular saving and exchanging of seed, roots, cuttings, huli, or keiki within a community made it possible for these diverse varieties to avoid depressive inbreeding (not a wide-enough gene pool), continued to improve quality, and provided the community with food sovereignty that was of direct benefit to both the farmer and the consumer. Today, local agriculture, farms and gardens, can still play a vital role in the conservation and improvement of genetic resources.
The more varieties that are available, the better chance we have of successfully attaining a greater degree of food self-reliance. The available seed varieties in vegetables, fruits, herbs, grains, berries and dry beans is decreasing each year for both the home producer and market farmer. In a United Nations report from the 1990s it was estimated that, by 2005, 95 percent of all varieties of food crops grown in 1900 would either be unavailable or extinct. In 1900 there were 40-plus varieties of asparagus; today there are only a few left. It is like that with everything. If you hold a seed in one hand and a rock of the same size in the other and contemplate their differences, the life forces present in the seed will share a secret with you. Not all seed retains this innate intelligence. Hybrid seed will only produce one crop, and the seed cannot be saved and re-grown. GMO seed, cloned from a single laboratory event, relies heavily on chemical inputs to produce, and the varieties—most of them for feed corn and soy—are patented and cannot be grown without signing a technology agreement for royalties. But open-pollinated seed (OP) carries within that tiny packet a genetic intelligence that flows back unbroken to its ancestors and all their knowledge. This intelligence allows it to genetically alter itself in response to environmental conditions like heat, cold, wet, dry, etc. Sensors in the plant can read the environment, and appropriately make adjustments in expression. The innate wisdom of plant and seed is hard to duplicate in the laboratory. Clearly we and seeds are more than the sum of our genes. Here in Hawai‘i we have two kinds of seed producers, and on the horizon is a new seed initiative that could possibly create a third which will revolutionize our organic seed availability. First, we have the gene giants, Monsanto, Sygenta, Dupont (Pioneer Hi-bred), and Dow Agrosciences (Mycogen). They conduct experimental field trials of new, genetically-engineered seed varieties in Hawai‘i, mainly for feed corn, soy, or ethanol. Although they are now one of our leading agricultural industries, we cannot use their seed for food. Secondly, UH Manoa still produces seed for home producers and farmers, but continues to cut back on its seed-breeding program in favor of agricultural biotechnology, and currently has no seed-breeding faculty. Hawai‘i could be the center for seed breeding and production for the farmers and home producers of the Pacific Rim and warmclimate areas of the US. But currently there are no other Hawai‘i seed growers for the home producer and the market farmer.
Saturday June 13 Amy B.H. Greenwell Ethnobotanical Gardens in Captain Cook 8:30 a.m. to 12:30 p.m. This year’s theme is “The Moon and Agriculture – Relationships and Connections.” Events of the day include, educational presentations, opportunities for networking with island agricultural organizations, “Youth in Agriculture” program, School Garden Network Tent, local gardening books for sale, a tour of the Gardens, and many other special activities. Island Farmers and Gardeners are invited to come and set up by 8:15 a.m. and bring saved seed, roots, cuttings, hulis, or keikis of food crops to share that do well on your farms and in your gardens. A limited quantity of tables and lauhala mats will be available. Freely sharing our food sources with one another will allow our communities to build food security and self-reliance over time. Please come for our Opening Ceremony with Kumu Keala Ching and Ka Pa Hula Na Wai Iwi Ola beginning at 8:30 a.m. Bring a fruit or vegetable from your garden to offer during the ceremony. Please bring small snack ziplock bags and a pen for seed collecting. The Lotus Café will provide organic plate lunch for sale from 10:30-12:30. Camping will be available in the Garden on Friday evening 6/12. For reservations RSVP to lynnbell@hawaii.rr.com For more information nancyredfeather@hawaii.rr.com $5 donation suggested.
All of us were deeply affected by Hurricanes Katrina and Rita and the devastation caused to communities. For a short time following these events there was actually talk about what we would need to do to increase Hawaii’s food security and our three-to-six-day supply of food. We can remind ourselves that, from the moment people first landed in the Hawaiian Islands until the 1930s—approximately 1,500 years—we were food self-sufficient. Our dependence on oil and long-distance shipping could be coming to an end. Climate change, weather events, disruptions in shipping, the price of oil, could leave Hawai‘i hungry. Developing local food systems, including local seed sources, is just plain common sense. Seed is a living, renewable and sustainable treasure of the agricultural commons, and locking it up in deep freezers, collections, or museums will not insure food security. Only by growing it out, having the knowledge to shepherd and steward it, improve and save it, and pass it on to our communities and our children will we begin to address the concerns of future food security. Seed remains our connection to food, culture, family, community, land and life. Seed is the living source of life on Earth. n Nancy Redfeather is the Program Director for The Kohala Center’s Hawai‘i Island School Garden Network. She is the founder and coordinator of the Hawai‘i Island Seed Exchange, now in its seventh year. She is a board member of OSGATA (Organic Seed Growers and Trade Association) and is their Seed Integrity Committee Chair. She farms and gives community classes with her husband Gerry on their organic mini-farm in the mauka area of Kona.
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Recently a group of people in Hawai‘i began to plan the first steps to restoring and revitalizing our local seed industry. “Hua Ka Kua – Restore Our Seed” is in the initial planning stages and will combine efforts of UH faculty members at both Manoa and Hilo, Organic Seed Alliance, Hawai‘i Organic Farmers Association, and The Kohala Center with home gardeners and farmers across the state. This statewide initiative seeks to restore a public seed program and bring knowledge of seed breeding and saving in a very practical way to home producers and market farmers. Farm/garden variety trials of vegetables, island workshops, and collaboration through state and local working groups will work at reestablishing a thriving, local seed industry here.
7th Annual Hawai‘i Island Seed Exchange
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June/July 2009 Happenings June
June 1 New Gallery Opening in Hawi Living Arts Gallery opening in Hawi in historic building two doors from Sushi Rock. Hours 11 to 6 daily, Friday and Saturday to 8 p.m, contact Mary Sky for info. 889-0416. June 5-26 Hawai‘i Photo Exhibit 10th annual exhibit, sponsored by the Hilo Photography Club, features black & white and color photos by local photographers. Wailoa Arts and Culture Center at Wailoa State Park in Hilo. Free. Hours:Mon/ Tues/Thurs/Fri 8:30 – 4:30; Weds noon – 4:30; Sat 9 – 3; (808) 933-0416. June 6 Celebration of Hula “Nā olelo o ka pu‘uwai” Hula, song and chant in a relaxing evening under the stars with several Big Island halau performing kahiko (ancient) and auana (modern) hula. 5–8:30 p.m. Waikoloa Bowl at Queens’ Gardens, Waikoloa Beach Resort. Free. (808) 886-8822 or visit www.waikoloabeachresort.com. June 6 Hawai‘i Island Homegrown Food Self-Reliance Workshop Learn a wide range of techniques for growing abundant quantities of food at home, with less reliance on imports. Two field tours included.
North Kohala King Kamehameha Day Celebration
$50 (early registration $40). Space limited, pre-registration required. 8:30 a.m. to 5 p.m. at Ocean View Community Center. For information, call 324-4427 or email craig@agroforestry.net or visit agroforestry.net/events June 6 The Brothers Cazimero Pioneers in contemporary Hawaiian music and consummate musicians, Robert and Roland Cazimero present a captivating concert. 8 p.m. Kahilu Theatre, Waimea. Tickets $40/45 (808) 885-6868 or visit www.kahilutheatre.org June 10 North Kohala King Kamehameha Day Celebration Honor the legendary Hawaiian king in his North Kohala birthplace. Festivities start with lei-draping of the King’s original statue in Kapa’au at 8 a.m., traditional pa’u parade from the statue to downtown Hawi at 9 a.m., ho’olaulea at the Kohala Cultural Center in Hawi 10:30am - 4pm with exhibits, food, and live music performances. Call (808) 884-5000 or visit www. kamehamehadaycelebration.org. June 11 Kamehameha Festival – Hilo Ho‘olaule‘a with top Hawai‘i recording artists, hula halau, and various cultural presentations. 10 a.m.–5 p.m. at Moku Ola (Coconut Island) in Hilo.
Now in Hilo & Honoka‘a 7 days – 9am to 5pm
Free. A drug, alcohol and smoke-free event. For information contact Pua at (808) 989-4844 or visit www.kamehamehafestival.org June 13 King Kamehameha Day Parade – Kailua-Kona Annual, beautiful floral parade through the heart of Kailua-Kona. Hawaiian-themed entries include pa‘u riders representing all the Hawaiian Islands, bands, hula and community groups. Parade begins at Walua Rd., across from the Royal Kona Resort entrance, heads north on Ali’i drive through town and ends at the intersection of Palani and Kuakini Hwy. Also food booths, crafts and much more. 9 – noon. June 13 Kohala in Concert Kohala’s music is an acoustic blend of island, folk, and jazz guitar. The popular trio has released seven CDs since 1998 and toured extensively. 7:30 p.m. Kilauea Military Camp Theater in Hawai‘i Volcanoes National Park. Call (808) 967-8222 or visit www.volcanoartcenter.org.
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June 13 7th Annual Hawai‘i Island Seed Exchange Annual event is for all farmers, gardeners, and “would be” gardeners who are interested in exchanging and receiving seed, cuttings, and keiki of food crops that have been successfully grown on Hawai‘i Island. Bishop Museum’s Amy Greenwell Ethnobotanical Garden in Captain Cook 8:30 a.m.– 12:30 p.m. (See story on page 30 for more details.) All morning workshops will be connecting the rhythms and influences of the moon to agriculture. For more information contact Nancy Redfeather at 322-2801 or email nancyredfeather@yahoo.com
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June 13-August 2 “Hawai‘i Nei 2009” Natural History Art Exhibit-Show This is a unique show of art representing native species, the first juried art exhibition on Hawai‘i Island to celebrate native flora and fauna. 9 a.m – 5 p.m. daily. Volcano Art Center Gallery in Hawai‘i Volcanoes National Park. Free (Park entrance fees apply). (808) 967-7565 or visit www.volcanoartcenter.org.
Continued from page 33.
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June 14 Kohala Guitar Techniques A workshop with the acoustic guitar trio Kohala. Meet the members of Kohala, learn how they compose and arrange their music, and get an introduction to slack key guitar. Each of the trio shares his particular forte. Handouts include scores and/or chord charts and tablature. Guitarists of all levels welcome, with own instrument. 10 a.m.–noon $35 (financial aid available). Call (808) 967-8222. or visit www.volcanoartcenter.org. June 14 Hulihe‘e Palace Concert and Village Stroll – Kailua-Kona Free Hawaiian Music Concert on the Palace’s South Lawn at 4 p.m., followed by a stroll through Kailua Village, enjoy outdoor cafes and restaurants, local musicians & artists. Special kama’aina pricing at participating restaurants & merchants. June 16 “A Treasury of Hawaiian Literature” The epic saga of volcano goddess Pele and her youngest sister Hiiaka presented by historian Puakea Nogelmeier in a talk about the richness of Hawaiian literature. 7 p.m. Kilauea Visitor Center, Hawai‘i Volcanoes National Park. Free. (808) 985-6014 or visit www.nps.gov/havo. June 18-21 Dolphin Days Summer Fest Three-day extravangaza includes tennis tournament, free dolphin program by Dolphin Quest at the Dolphin Lagoon, a luau with Polynesian entertainment, and the Great Waikoloa Food, Wine & Music Festival, featuring over two dozen of Hawaii’s best chefs in concert with top jazz musicians (includes silent auction), closing with fireworks display. A benefit for Hawai‘i Shriners Hospital for Children and the Pacific Marine Life Foundation. For more info, call Hilton Waikoloa Village at 808/886-1234; or visit www.dolphindays.com June 19-28 Alice In Wonderland One of Disney’s most celebrated animated films comes to life in musical theatre on the Aloha Theatre stage in a production by Aloha Performing Arts Company. Join Alice’s madcap adventures in Wonderland. Youth theater. More information online at www.apachawaii.org.
June 20 2nd Annual Gay Pride Festival – Kailua-Kona 2:00 to 7:30 p.m., on the shores of Kailua Bay, at King Kamehameha’s Kona Beach Hotel. There will also be events all weekend long. Free to the public. For more information, call 808/557-4668, email crystal@hawaiiislandpride.com or visit www.hawaiiislandpride.com June 20 Kahuku’s Kipuka‘akihi Hawai‘i Volcanoes National Park invites the public to join the park’s ongoing Kahuku Stewardship Program in Kipuka’akihi, a precious remnant of native forest. A group of 20 participants will remove invasive weeds from this steep-sided valley where difficult terrain has protected the forest from grazing by cattle and other animals. From 10:30 a.m. to 3 p.m., join park ranger Dean Gallagher to help preserve native plant communities while learning about our remarkable diversity of native plant species, history and their resilient nature. Involves a short but challenging hike. Due to the fragile nature of this area, the group size is limited to 20. For more information and to register, call 808-985-6011. June 20 Na Mea Hawai‘i Hula Kahiko Traditional hula and chant performed outdoors on the hula platform overlooking Kilauea Crater, featuring Halau Na Pua o Uluhaimalama, 10:30 a.m.–11:30 a.m. Hawaiian crafts demonstrations at Volcano Art Center Gallery 9:30 a.m. – 2 p.m. in Hawai‘i Volcanoes National Park. Call (808) 967-8222 or visit www.volcanoartcenter.org June 21 “Run Forest Run” Keiki Fun Runs A Father’s Day event held at the Hale Halawai State Park on Alii Drive. Sponsored by Bubba Gump Shrimp Co. and the Kona Marathon. A day of fun for the whole family. Children ages 1-14 can participate in age specific runs/ walks. All entrants receive t-shirt, finisher ribbon, and goodie bag. Entry fee $5. Register at Bubba Gump’s or print out application at: www.konamarathon.com. June 24 Hawai‘i Parrot Head Club – Kailua-Kona Jimmy Buffett fans, join together at Huggo’s on the Rocks for “Parrot Head” festivities. 1–3 p.m. at
Pu‘uhonua O Honaunau Cultural Festival
Huggo’s on the Rocks, KailuaKona. Free to the public. For more information, call 808-960-0838, email hawaiiparrotheadclub@ gmail.com or visit www.hawaiiparrotheads.com. June 26 Stories of Our Mothers Five local women born from the 1940s through 1970s present an evening of storytelling about their own mothers, childhood, families, communities and growing up in eras of great political turmoil and economic change. Akiko’s Buddhist Bed and Breakfast at 15-mile marker, Hwy. 19 on Hamakua Coast. 7 p.m. Call (808) 963-6422. June 27 Composing: Decisions of a Songwriter Lecture-demonstration workshop with Keith Haugen, who shares songs he has composed, from Hawaiian, hapa-haole, and hula to folk and country. 9:30 a.m. – 12:30 p.m. Open to all levels; ages 16+. Volcano Art Center’s Niaulani Campus in Volcano Village.(808) 967-8222 or visit www.volcanoartcenter.org. June 27-28 Pu‘uhonua O Honaunau Annual Cultural Festival Annual cultural festival in a beautiful historic setting, from 9 am-3 pm. Storytellers, canoe builders, carvers and weavers share their skills both days. Hula followed by a traditional Hawaiian food tasting and hukilau (traditional Hawaiian community fishing event) on Sunday.
June 28 “Our Songs of Hawai‘i” Spend an afternoon with Keith and Carmen Haugen, musical duo that performed in Waikiki for 35 years. Hear about Keith’s original compositions plus enjoy hula by Carmen. A musical treat! 2 p.m. Volcano Art Center’s Niaulani Campus in Volcano Village. Free. (808) 967-8222 or visit www.volcanoartcenter.org.
July
July 3 Annual Parker Ranch Rodeo An Independence Day weekend tradition, includes action-packed rodeo events, keiki activities, delicious food and more. Parker Ranch paniolo are joined by other Big Island paniolo for a corral of traditional rodeo events from 9 a.m. – noon at the Parker Ranch Arena in Waimea. Cost: $6 at gate (ages 10 and under are free). Call (808) 885-5669 or visit www.parkerranch.com. June 29-July 3 Performance and Visual Arts Camp A new program for children as part of he Hawai‘i Performing Arts Festival. For 8-14 year olds at Hualalai Academy in Kailua-Kona. The summer camp includes study and performance of song, dance, and the visual arts, culminating in a staged production of “Stories from The Jungle Book” on July 3 at Hualalai Academy. The cost for the weeklong program is $400. Scholarships may be available. Parents of interested students should pick up an application at Hualalai Academy or email genette. freeman@msn.com.
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July 3-26 Hawai‘i Performing Arts Festival Popular series of 16 mostly free concerts brings together talented students with renowned artists in a variety of venues and settings around Hawai‘i Island. Includes opera, classical, chamber, baroque, vocal, cabaret, theatrical and instrumental performances such as piano, woodwinds and strings. Continued on page 36.
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June 28 UCC Coffee Kona Marathon and Family Fun Runs Marathon, half-marathon, 10K and 5K. Start/finish at the Keauhou Outrigger Beach Resort on Alii Drive. T-shirts for all participants. Late registration and packet pick-up on Saturday, June 27 at the Outrigger from 10 a.m. -5 p.m. First race begins at 5:30 a.m. Some road closures. To register or for additional information: www.konamarathon.com or call Sharron Faff, race director, 967-8240, or email: raceinfo@konamarathon.com
Continued from page 35. For complete information visit www. hawaiiperformingartsfestival.org. July 4 Fourth of July Parade & Celebration – Volcano Village Parade begins at 9 a.m. at the Volcano Post Office and proceed for one-half mile along Old Volcano Road to Cooper Community Center, featuring the Hawai‘i County Band, floats, antique cars, fire engines, bicycles, horses, and animals in costumes! Music, games, food booths, dunking pond, craft fair and prizes to follow. Call Betsy Mitchell for more info at (808) 967-7209. July 4 Kailua-Kona Independence Day An annual Independence Day event which features the traditional parade beginning at 5:30 p.m. along Ali‘i Drive with the Hawai‘i County Band, floats, antique cars, animals and more. Fourth of July fireworks will start at 8:30 p.m. at Old Airport State Park. For more information, call (808) 326-5226, email konakolohe@yahoo.com or visit www.konaparades.com. July 4 Turtle Independence Day Held every year on July 4, this touching event educates people about endangered Hawaiian green sea turtles. Watch as the young honu (turtles), which have grown up in the ponds at the Mauna Lani Resort, are given their freedom as they make their way into the ocean. Call the Mauna Lani Resort at (808) 885-6622 to learn more.
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July 4 Great Waikoloa Rubber Ducky Race & 4th of July Extravaganza All-day fundraiser for United Cerebral Palsy of Hawai‘i, features a wild and wacky rubber ducky race, live entertainment, and lots of exciting activities, culminating in a
spectacular fireworks display over Kings’ Lake. 10 a.m.–9:30 p.m. Call (808) 886-8811 or visit www.waikoloabeachresort.com. July 11 Hawai‘i Volcanoes Cultural Festival Held in Hawai‘i Volcanoes National Park, this popular annual festival features Hawaiian music, hula, crafts sales and demonstrations by local artists and practitioners. 10 a.m – 3 p.m. Free. For more information call (808) 985-6153 or visit www. fhvnp.org. July 11 “Cream of the Crop” Coffee and Dessert Tasting Sixth Annual coffee and dessert tasting competition by the Kona Coffee Council at the Hualalai Four Seasons Resort. From 10 a.m.–2 p.m. Free. Kona coffee growers offer sample cups of their brewed coffee along with education about Kona coffee growing and processing. Live Hawaiian music and desserts made with Kona coffee by local chefs and amateurs. Coffee and desserts will be judged by a panel. For more information, call 808/328-1666, email jimmonk@alum.mit.edu July 11 “Christmas in July” Annual art, gift, collectibles and craft fair. 9 a.m.– 5 p.m. at King Kamehameha’s Kona Beach Hotel, Kailua-Kona. Free to the public. For more information, call 325-5155 or email dagoose@hawaii.rr.com July 11-12 Relay for Life – Kailua-Kona Teams take turns walking, running or strolling around a designated area between 6 p.m., July 11 and 6 a.m., June 12, at Old Airport State Park to benefit the American
July 21-24 Feng Shui Certification Level 1: Design Your Destiny Blending ancient wisdom with modern design elegance. Learn to create empowering spaces that that activate and enhance harmony, prosperity and vitality in every area of your life. Call now for early registration discount: 327-4447 www.crystalclearfengshui.com
Cancer Society. Candle lighting ceremony to honor and remember those who lost their battle with cancer. For more information, call 808/895-3168, email maile.carvalho@cancer.org or visit www.relayforlife.org/konahi July 18 Partner Yoga In “Meridians and Mindful Balance,” you’ll learn techniques that soothe instantly and painlessly produce amazing results. Friends, couples, mothers-daughters, fathers-sons, beginners and advanced yogis will all benefit. Led by Marya Mann, Ph.D. and Koakane Green, D.C. at Yoganics in Kainaliu (across the street from Oshima’s). Time 5-7 p.m. (Every third Saturday of the month). $30. Call Marya at 345-0050 or visit www.maryamann.com July 18 & 19 Big Island Hawaiian Music Festival – Hilo Authentic Hawaiian music, including ukulele, slack key and steel guitar and falsetto singing at this two-day event at Hilo High School Auditorium. Noon – 6 p.m. Sponsored by the East Hawai‘i Cultural Center. Call (808) 935-9085 or visit www.ehcc.org for more information.
July 25 “Not So Grand Opera: Three Twisted Tales” A concert of original opera for children, three original short operas (based on The Emperor’s New Clothes, the Three Little Pigs and Little Riding Hood) are free to the public. Each entertaining vignette offers a moral to its story, such as dealing with peer pressure and the importance of being honest. “Not So Grand Opera” is sponsored by Barbara and Robert Sterne of Waimea. Part of Hawai‘i Performing Arts Festival. 1:30 p.m.,Gates Performing Arts Center on the Hawai‘i Preparatory Academy Campus in Waimea. July 25 Abled Hawai‘i Artists Big Island 2nd Annual Art Festival Free event at Prince Kuhio Plaza 10 a.m. - 3 p.m. Abled Hawai‘i Artists (AHA) is looking for any artists and entertainers who are “special needs.” The primary goal of AHA is to provide community inclusion for artists with disabilities. Email Mar Ortaleza, organizer, marortaleza@ earthlink.net. Phone 895-5353. www.cds.hawaii.edu/aha/ July 26 27th Annual Daifukuji Orchid Club Show Displays of blooming cattleya, cymbidium, dendrobium and other orchid varieties, with many for sale.
Plus refreshments, taiko drum performance, educational displays. Veteran club members will staff a new Q&A booth offeringexpert advice on caring for orchids. (See story on page 26.) 8 a.m – 2 p.m. Daifukuji Mission Hall in Honalo. For information, call (808) 938-2123.
the Palace’s South Lawn at 4 p.m., followed by a stroll through Kailua Village, enjoy outdoor cafes and restaurants, local musicians & artists. Special kama’aina pricing at participating restaurants & merchants.
July 26 Hulihe‘e Palace Concert and Village Stroll – Kailua-Kona Free Hawaiian Music Concert on
August 1 An Evening with APAC and Andrew Lloyd Webber A gala benefit for the Aloha
August
Performing Arts Company. 6 p.m. Aloha Theatre, Kainaliu. Gourmet food, fine wine, live music and entertainment, and silent and live auctions. Nice aloha attire requested. Tickets ($75) available online at www.apachawaii.org or calling 322-9924 August 7-9 57th Annual Hilo Orchid Society Show & Sale An orchid extravaganza at Edith
Kanaka’ole Stadium. Huge array of orchids and plant products for sale, plus free mini-classes by experts and instruction on flower arranging with orchids. 9 a.m.–8 p.m. Friday; 9 a.m.–5 p.m. Saturday; 10 a.m.–3 p.m. Sunday. Admission $4 at the door or $2 in advance. Call 808-934-0552 or email sherylhilo@yahoo.com
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Ka Puana — the Refrain
The author, at right, with first mate,Tony Hiegel.
The Wall of Death
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his story is about one of the two later passages, after that night crossing from Lanai, that Tony and I tried to sail the Ono Jimmy back to Hilo from Kona. This is the time we faced “The Wall of Death.” And this is why the boat came to live in Kona and not in Hilo anymore. We left the boat in Honokohau Harbor, in Kona, after that first failed attempt to sail from Maui to Hilo. The boat was spic and span and ship-shape when I arrived Friday. In the morning the Kona wind was strong out of the southwest. We cleared the Honokohau Harbor about 0930 (9:30 a.m.). Making good time, we were about three miles west of Kawaihae by 1430 (2:30 p.m.)
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Since it was early in the day yet, we decided to sail on around Upolu Point on the northwestern corner of the Big Island and see how the way to Hilo looked. The weather was unsettled and the report called for northeast trades to 25 knots. I naively thought that perhaps we could make the southeast beat to Hilo against the northeast trades. After we rounded Upolu Point, the wind was gusty and unstable. We were motor-sailing under the 110-percent working jib and full mainsail. The wind began to pick up and came around to a port beam reach, and the seas began to stack up and break on the bow. We were going fast. We talked about whether we should shorten sail. We had learned the lesson about reefing; reef as soon as you think about whether you should or not. It was good to talk it out and validate our lessons with one another. How do you do that when you sail solo? We agreed to reef the main and shorten the foresail to the 80-percent storm jib. I was at the helm and we were hauling ass. The motor was screaming and the boat careening up and down at full speed. I was exhilarated, manic, laughing wildly into the wind and spray. I can still see
A tr ue sailing adventure, excerpted from The Hawaiian Voyages of the Ono Jimmy, by Big Island author Steve Dixon
Tony, hanging on, wrapped arms and legs around the bow, clutching the forestay while trying to get the 110-percent working jib down and bend the 80-percent storm jib hanks on to the forestay. He was bucking high in the air as we careened up the waves. Then he disappeared into white foam when the bow plunged down into the breaking seas. He finally yelled back, “HOW FAST ARE WE GOING?” I looked at the speed display on Jeeps (GPS). “Seven nine!” I yelled back. Oh, if looks could kill, I was dead right there. Then he disappeared into another wave. Eventually we got sail shortened and the motor turned off. We sailed about five miles toard Hilo. Then we saw IT! There appeared before us a solid wall of roiling black and froth white at the bottom. It was a black and grey monster boiling up to the top of the sky. It stretched from a place where the horizon, the sea, and the Hamakua coast joined, many miles off our starboard bow, to somewhere in frothing hell off to the northwest behind our port stern, across the dreaded Alenuihaha Channel. Tony’s jaw dropped and his eyes bugged out. “WHAT IS THAT?” he yelled. “IT IS THE WALL OF DEATH,” I said through clenched teeth. “Do you want to sail into that?” “NOOOOOOooooooOOOOOO!” he screamed. So we turned tail back to Kona and back to the lee side of Upolu Point, to find a safe place to spend the night in the rising wind. We had seen the “Wall of Death,” that boatbreaking line of heavy weather that often spans the Alenuihaha Channel between the Big Island and Maui. And we were glad to be safe. Captain Cook saw the “Wall of Death” a couple of hundred years ago. It dismasted his ship and sent him back to Kealakekua Bay with his tail tucked between his legs. He died there. We were glad to have seen it and lived. The Hawaiian Voyages of the Ono Jimmy is available at amazon.com and hawaiisailing.com.
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