Third Anniversary Edition
Januar y-Februar y 2012
The Life of the Land
Taro, ‘Ohana and Jerry Konanui Mushroom in a Bottle: A Gourmet Fungus
The Life of the People A Beloved Daughter Retires: Aunty Fanny Au Hoy Professing Change: Dr. Catherine Becker The Parrots of Pana‘ewa
Gille Legacy: Man who Paints with his Nose
The Life in Music Konabob: Musician, Inventor and Hawaiian Music Advocate "Koi Fishes of Wealth & Abundance" by Shirley Pu Wills
Complimentary H AWA I ‘ I Copy Visit Us and Our Advertisers at
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The Life as Art
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The Life in Spirit:
11 Ke Ao
The Door of Heaven by Kumu Keala Ching
The Life of the People:
17 A Beloved Daughter Retires
Aunty Fanny Au Hoy Cherishes Palace Memories
21 Professing Change
Dr. Catherine Becker Seeks to Inspire the Next Generations
33 Pages from Cowboy Romance and Reality
Paniolo Preservation Society Saddles Up
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69 The Parrots of Pana‘ewa
Rescued Pets Make Friends
The Life of the Land:
51 Taro, ‘Ohana and Jerry Konanui
An Eighth-Generation Taro Farmer Shares His Love
59 Mushroom in a Bottle
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A Gourmet Fungus—From Hamākua to the White House
Hau'oli Makahiki Hou! (Happy New Year!)
The Life as Art:
25 Gille Legacy
The Man who Paints with his Nose
29 A Master Chinese Brush Painter
Shirley Pu Wills Practices the Art of Imagination and Chi
41 Ka Hana No‘eau I Ka Hulu
The Art of the Feather
45 Hawaiian Quilting
Creating Enduring Treasures
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Helping you create those magical memories
The Life in Music:
77 Konabob and the Unique, Kona Walkingbass
Musician, Inventor and Hawaiian Music Advocate
Ka Puana --- The Refrain:
90 A Ranching Legacy Honored
Richard Smart of the Legendary Parker Ranch
Departments: Then & Now: Hawai‘i and Leviathan.......................................... 13 Hawai‘i Island Farmers Markets...................................................66 Island Treasures................................................................................. 74 Community Calendar......................................................................80 The Life in Business..........................................................................86
Manuel Roberto, CRPC® Assistant Vice President Financial Advisor
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Keauhou Veterinary Hospital was the first AAHA accredited veterinary hospital on the Big Island, leading the way for comprehensive and progessive veterinary medicine island wide. Located in Kailua-Kona, Hawaii. Keauhou veterinary Hospital is pleased to announce a new treatment option for dogs with arthritis. Dr. Jacob Head and Dr. Kaila Helmer are credentialed by Vet-Stem to provide Stem Cell Therapy which has been demonstrated to reduce pain and improve the quality of life in over 80% of dogs treated for arthritis. For more information call 808-322-2988 and schedule a consultation with one of our doctors. More information can be found at www.keauhouvet.com
AD SIZE/BLEED SIZE (8.625” X 11.125”) PAGE TRIM SIZE (8.375” X 10.875”)
What Can Be Treated with Vet-Stem Cells?
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LIVE AREA (7.875” X 10.375”) Arthritis. Any joint that has arthritis can be treated. OUTER LIMITS FOR NON-BLEED ELEMENTS • Greater than 80% of dogs have Improved Quality of Life • Greater than 60% of dogs eliminated or reduced pain medications • Greater than 80% of OLD dogs had improved Quality of Life • Greater than 80% of YOUNG dogs had improved Quality of Life Tendon and Ligament • With surgery (full tears) • Without surgery (partial tears) Dr. Jacob Head is the only certified surgeon on Hawaii Island to perform the TTA knee surgery. Dr. Head performs back surgery, specific heart surgeries, orthopedic and soft tissues surgeries. He takes referrals from around the island for these and many other procedures. Dr. Head was voted Best Veterinarian in West Hawaii in 2009, 2010, 2011 Dr. Helmer provides comprehensive internal medicine, avian and exotic medicine as well as progressive general care to multiple species of small animals. Her kind approach and gentle way with animals is making the difference in the lives of the animals she treats everyday.
If you want more information about Stem cell Therapy please contact Dr. Head and Dr. Helmer at 808-322-2988 or visit the website at
Keauhou Veterinary Hospital, the Next Generation of Veterinary Medicine
Voted Best in West Hawaii 2009, 2010 & 2011
Heart of Kealakekua
Celebrating the ar ts, culture and sustainability of Hawai‘i Island
UA MAU KE EA O KA ‘ĀINA 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.
Barbara Garcia Bowman • Karen Valentine
Editor & Art Director: Karen Valentine, 808.329.1711 x2 Marketing & Operations:
Barbara Garcia Bowman Barb@KeOlaMagazine.com • 808.329.1711 x1
Advertising Sales & Business Development East: Adrienne Poremba, 808.935.7210 • KeOlaAds@yahoo.com West: Ed Gibson, 808.987.8032 • ed@KeOlaAds.com North: Terri Amaro, 808.343.3046 • firstname.lastname@example.org South: Mars Cavers, 808.938.9760 • email@example.com South: Sheryl Hyatt, 808.557.6213 • firstname.lastname@example.org
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Sharon Bowling • Marya Mann • Adrienne Poremba
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STOVES AND FIREPLACES
Keala Ching • Fern Gavelek • Pete Hendricks Jessica Kirkwood • Margaret Kearns • Denise Laitinen Marya Mann • Alan D. McNarie • Noel Morata • Shirley Stoffer Cynthia Sweeney • Catherine Tarleton KE OLA is printed on recycled paper with soy-based inks. KE OLA is a member of Hawai‘i Alliance for a Local Economy (HALE), supporting the “Think Local, Buy Local” initiative. Editorial inquiries & calendar submissions: Submit online at www.KeOlaMagazine.com (go to Contact page) Worldwide Delivery: Call 808.329.1711 x3, order online at www.KeOlaMagazine.com or mail name, address and payment of $24 US/ $48 International for one year to: P.O. Box 1494, Kailua-Kona, HI 96745. © 2012, Hawaii Island Publishing, Inc. All rights reserved
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Eric Bowman • Keala Ching • Ursula D’Angelo WavenDean Fernandes • Mariana Garcia • Fern Gavelek Dan Lappala • Deborah Ozaki • Greg Shirley
Publishers Talk Story...
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s we enter our fourth year of publishing, we’re counting the number of inspiring and enlightening Hawai‘i Island stories we’ve been able to share with our readers. We’re counting how we’ve moved from one season to another, from one year to the next and reflecting what has changed and what hasn’t since we started publishing at the end of 2008. In our first publishers’ letter, we noted the reception we had received while telling folks about the concept of Ke Ola magazine— how, nearly unanimously, they said the time was right for this type of magazine. We took a leap of faith in the most uncertain time in most of our lifetimes, got an incredible team of freelancers together and, three years later, are going stronger than ever. We counted on Hawai‘i Island’s business community to capitalize Ke Ola magazine and, gratefully, it’s turned out to be a triple-winning formula! Our readers win because you get to enjoy these wonderful stories about our beloved island and its people, the advertisers win because they have an affordable way to showcase their businesses in a long-lasting and beautiful format and we win because, after a lot of hard work and patience, Ke Ola magazine is starting to be a sustainable business for its owners. This year, in 2012, we’re counting on you to help us keep this positive trend! You have choices when you shop and use local services, and so, we ask that you realize how important it is to support Ke Ola advertisers. Many of them have noticed a huge return on their investments, others not so much. We are printing more and more special offers and coupons in ads, and we understand that, in this “new normal” economy, it is often what it takes to entice a reader to do something different or try something new that they wouldn’t necessarily have done otherwise. We encourage you to patronize those with coupons and also those without—at least tell them you saw their ad in Ke Ola. We’re counting on you! If you want to ensure the perpetuation of Ke Ola magazine and that its distribution continues to be free on Hawai‘i Island, support its advertisers! We’ve added a brand new feature to our website. It’s an online coupon page. You can find savings there without having to clip coupons out of the magazine. You can either print them out or show them to the merchants from your Smartphone and save the paper! By the way, as much as we appreciate our subscribers, we would like to clear up any misunderstanding. Your subscriptions support Ke Ola, but not financially. It’s really just a break-even. We provide that service as a convenience to readers everywhere, whether it be on the Big Island or anywhere worldwide. You can also read Ke Ola online at our website; there is a flip-book that is virtually like reading the paper version without the paper or associated costs, and it stays in the archive, too. While flipping through our pages online, you can also click right through to advertisers‘ websites. The biggest way you can support Ke Ola is to buy something from our advertisers and be sure to tell them you saw their ad! As we are getting this issue ready to go to press, we were just notified that we have been chosen as one of three finalists in Hawai‘i Business magazine’s SmallBiz Success awards. We are honored to have made it this far regardless of which business is named #1 and are looking forward to seeing our story in Hawai’i Business magazine’s February 2012 issue. We wish you, too, success and happiness this year!
Karen Valentine and Barbara Garcia
From Readers... ✿ Dear Editor,
With great pleasure and appreciation I read your “Larger Than Life” panorama of Herb Kāne’s artistic legacy [“Herb Kāne: Larger Than Life,” Ke Ola, Sept./Oct. 2011]. . .beautiful descriptions of what he was gifted to see and show. He honored me and my wife with his friendship. We have been privileged to watch the course of the voyaging renaissance among Pacific Islanders. Offspring of the Hokule’a multiply. A few months ago the vaka moana of many islands sailed to San Francisco and down our California coast. Who, other than Herb, might have foreseen how artistic vision might re-ignite ancient visions in the imaginations of young Maoris, Samoans, Tongans. My wife and I looked over the young navigators when they visited Dana Point and San Diego. What they were doing seemed to grace them with an aura of youthful completion. What a gift! Herb played a major role in the giving. – Galal Kernahan, Laguna Woods, Califonia ✿ Dear Ke Ola, I love receiving my Ke Ola’s in the mail. It feels like a little piece of you all and it is always so inspiring. Whether it’s an article or picture, there’s always something that moves me. I have every one I’ve ever received. I don’t collect much, but I will save these forever. – Elisa Atwood, Anaheim Hills, CA ✿ Dear Editor,
What is the meaning of the overall shape of the moon gate that is in the November/December issue? [in the story, “Fallen Trees Turn to Art with Tai Lake and Family”] From the Editor: We posed this question to artist and wood turner Tai Lake, and he responds: “...The overall design borrows from many cultures to reflect the diversity of life in Hawai‘i without strictly interpreting any of them. Volumes have been written about the importance of portals, and transition zones from the outside world to personal spaces. This is often overlooked in modern architecture and this addition made the entry complete.”
On the Cover:
Koi Fishes of Wealth and Abundance, Chinese brush painting by Shirley Pu Wills—an auspicious message for the new year 2012. More of Shirley’s paintings at shirleypuwills.com
Correction and Apology:
In the July/Aug., 2011, issue of Ke Ola Magazine, on page 75, an illustration with the phrase, “Paradise in Your Cup,” was used to illustrate a calendar event. At the time of publication, Ke Ola was unaware that the phrase is a registered trademark belonging to Hilo Coffee Mill, which had no association with the event. We regret the error and any confusion it may have caused.
Bonded, & insured
(808) 885-6515 • Info@homesgrouphawaii.com Susan Moss, Services Coordinator, email@example.com
Astronomical Error PHOTO: James Cohn
Marya Mann Response: E kala mai. The natural world we enjoy today with its flowering plants and pollinating insects began during the age of dinosaurs 100 million years ago, give or take a few years. Radiometric dating, which many scientists assume to be accurate, has calibrated the evolving Earth itself to be 4.54 billion years old. I appreciate the opportunity to bring greater clarity to the story of our universe. Send us your comments, letters and photos! We take email, snail mail, submissions through our website or posts on Facebook, LinkedIn or Twitter!
Visit the new coupon page at www.keolamagazine.com for additional advertiser savings!
Susan J. Moss
Professional Member ASID, LEED Accredited Professional
Kamuela, HI PH: 808-885-5587 www.trans-paciﬁcdesign.com
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With humble apologies to our readers and thanks to Mr. George Bilyeu for pointing out to us an astronomical error in the Nov./Dec. 2011 issue of Ke Ola. “Take note of the first paragraph in Marya Mann’s Navigating the Universe from Mauna Kea:” Earth is 4.45 billion +/- 20 years old: not 100 million, as she states twice. What is known as the Cambrian Explosion (sundry life forms) took place 500+ million years ago, whereas the first life forms, Archea, are from 2.5-4 billion years back.”
Kori Gaila, Holistic Skin and Body Care
Christopher Lawinski, MD, Integrative and Holistic Medicine
Elesha Fawn Bettinger, LMT Holistic Bodyworker MAT #12524
Anjani Sun, RN Jin Shin Jyutsu Practitioner, Self Help Instructor
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KALOKO FURNITURE Showroom Hours Art & Accessories Monday-Saturday Bedroom Furniture - 5:30pm Dining Room Furniture 9:30am Closed Sundays Livingroom Furniture Mattresses FREE Outdoor Furniture ISLAND-WIDE Rattan Furniture DELIVERY Teak Furniture
David Bruce Leonard, L.AC. Acupuncture, Bodywork, Chinese & Hawaiian Plant Medicine
Reed Richard Rejuvenation Specialist Reiki Master, Minister, Sound & Color Therapist
The Life IN SPIRIT
Sunrise on Mauna Loa – Photo by Randall Moen
aka i luna, kuli i lalo” – ‘O ia ho’i ka pule ‘ana me ka mana’o o nā kupuna i ka wā i hala aku nei. Aia kēia ‘ike ma ka puke ‘o ‘Olelo No’eau, na Mary Kawena Pukui i hana ai! Ma kēia mana’o – Ke Ao, he pule i pono ai iā kākou āpau. I ke kakahiaka, he wā ālaula, e ‘ike ana i ka nani o ke ao! Iā ‘oe e noho maluhia ‘ana i mua o ke Akua, e ‘ike ana ka hāmama ‘ana o ka ‘īpuka o ke ao me ka mana’o he mana’olana kēia i ‘ike ai. A he ‘i’ini nui kou i kūkulu ‘ia i ka pū’olo aloha, he nani iho nō. No laila, e pū’olo ana nā pilikia me ke aloha a e waiho wale ana kēia pū’olo o ke ola. Pā wale mai ka makani ola i lawe aku ai ka ‘i’ini kaumaha me ke aloha – o kēia pū’olo i halihali aku wale nō. Aia ke aloha me ka mana’o, e hā’awi wale ke aloha, e ho’i mai ke aloha iā ‘oe! Iā ‘oe e hana nō kēia e kū nani wale nō! Nau i mālama ka nani o kēia ‘ike o kēia ao. Me kēia e mau ana ke ola i ka pono o kou ola iho nō! E Ola!
The door of heaven is opened As seen, the clouds of the morning light Love of this life is placed and carried This desire is carried away by the life of the wind A strong desire to care for the beauty within Beauty indeed that is found through living Allow life to live on, allow life to live on Let it live!
During the morning, during a peroid of peace (dawn), you are able to see or acknowledge the beauty of the clouds. When you sit peacefully in the face of the Higher Spirit, the doors of the cloud appear to open its beauty – hope is on the horizon as seen! One’s desire is large to build a basket full of love, indeed so beautiful. Therefore, this basket holds personal problems with compassion that is in place until the winds of life take away this heaviness! Give love, love returns! When it is done gracefully, your beauty is full of life. It is you that cares for the beauty seen within the clouds of hope. With this, life continues to live with the righteousness of one’s life! Let it live! Our life is filled with challenges, for if in this moment you are able to place your troubles and fears upon the waters of life, and they are carried away by the oceans so gracefully moving about, only to realize that beauty in its greatest form is hidden by all of those fears, doubts, troubles, problems, faults and inabilities to succeed. Seek your inner beauty and allow your life to live on – shine bright and open the doors of the highest place of peace and spirit. Let it live! Inspired and written after conducting a healing ceremony in Enoshima Island in Japan on Saturday, October 1, 2011. Contact Kumu Keala Ching at firstname.lastname@example.org
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Ua hāmama ka ‘īpuka o ke ao Ke ao (i) ‘ike ‘ia o ke ālaula Lālau ho’i ke aloha o nēia ola E ola ka makani (i) lawe aku ai ka ‘i’ini He ‘i’ini i mālama maila ka nani Nani wale nō i ‘ike ia ke ola E mau ana ke ola, e mau ana ke ola E ola
“to give generously from the heart”
SATURDAY, MARCH 10, 2012 Please join us for a magical night at the stunning Fairmont Orchid Hawaii as we come together to raise money for financial aid at Parker School. Enjoy an exquisite dinner with wine and live music while bidding on exceptional items in our silent and live auctions.
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Mahalo to our sponsors: Bob Acree Muffet & John Callender First Hawaiian Bank Folio Fine Wine Partners Kukio Resort Association Partners Dr. John Stover Woodson & Alison Woods Ali Woods, Simply for Fun Visit parkerschool. ejoinme.org/kahiau to find out more or to donate an item to Kahiau. Limited seating available. Call 808-885-8309 to purchase your tickets today. Contact Parker School Advancement Director Jennifer Schack for table sponsorship or other information at email@example.com or 808-885-8309.
Auction Item Preview Once in a lifetime experience at Bora-Bora Four Seasons Resort
Visit the set of the hit television show
Sunshine helicopter ride and dinner at the home of Kahua Ranch owner, Monty Richards, for up to six people Private Parker Ranch Tour with local historian Dr. Billy Bergin and an autographed book “Richard Smart Of The Legendary Parker Ranch”
Five-day summer stay in Telluride, Colorado
Artwork by beloved Hawaii artists including Martha Greenwell, Harry Wishard, and Deborah Thompson Fairmont Orchid Packages in San Francisco and Sonoma, California Dinner with
best-selling author, John Saul
Preview these and other fabulous auction items at parkerschool.ejoinme.org/kahiau
Whale ship in Kealakekua Bay – Photo courtesy of New Bedford Whaling Museum
“Hanau ka palaoa noho I kai”— “Born is the whale living in the ocean”
– as stated in the Second Era of the Kumulipo It is clear that whales occupied a special place in Hawaiian culture. Hawaiians were not known to hunt and kill whales, but did use items from dead whales washed ashore. The lei niho palaoa, a necklace of a sperm whale tooth suspended from woven human hair, was a symbol of the first born in chiefly families. It is unclear just when the largest numbers of whales, the humpbacks, began to winter in Hawai‘i to mate, calve and nurse their young. Today, people flock to Hawaiian waters to view in amazement the humpback whales, but this wasn’t always the case. Although Hawaiians didn’t hunt the whale, whale hunting for meat, bone and oil has been practiced by coastal peoples around the world for centuries, and inevitably, the Pacific seafarers made their way to the island shores, including Hawai‘i Island. The Basques of Spain, the Algonquin of North America, Eskimos, Asians and Pacific Islanders all hunted whales near shore. Yankee whalemen started around 1650 from Long Island Sound, hunting whales close to land in small boats. The seagoing hunt later spread to all oceans of the world. The first commercial whaler to enter the Pacific was the British ship Emilia in 1789; American whalers from New England soon followed. The American whale
ships Balena and Equator visited Hawai‘i in September, 1819, shortly after the death of Kamehameha I, and just before the arrival of the first missionaries. The first commercial take of a whale in Hawai‘i preceded the flood of British and American whalers. The Balena and Equator visit resulted in a sperm whale killed off the island of Hawai‘i near Kealakekua Bay. The invasion of later whaling ships was not due to the abundance of whales in Hawaii, but to the central Pacific location of the Islands for whaling grounds near the Equator, northwestern Pacific and Arctic oceans. News of sperm whales by the thousands in the Sea of Japan helped motivate the flood of whalers. Hawai‘i was to become the provisioning, trans-shipment site, as well as the “R&R” (rest and recreation) stop for Pacific whaling. As early as 1822, Reverend Daniel Tyerman, arriving from Huahine, Tahiti, reported at Kealakekua Bay, “here being no less than eleven American whalers, 300 to 350 tons burthen (burden) each.” A year later, in 1823, Reverend William Ellis reported in A Narrative of an 1823 Tour Through Hawai‘i, “In the months of March and April, and of September and October, many vessels, principally whalers, resort to the Sandwich Islands for fresh provisions, etc.— we have seen upwards of thirty lying at anchor off Oahu at one time.” The whale ship visits to Hawai‘i would precede and follow the best seasons and abundance for whales: equatorial Pacific and “Japan grounds” in winter, and Arctic oceans in summer, The first whaling ship to visit Hilo was the Partridge of London in 1824. Incessant demands for whale ship provisions and crew recreation were to dominate Hawaiian commerce for decades. By 1856, the Pacific Commercial Advertiser reported 150 whale ships in Honolulu, 121 at Lahaina, 34 at Hilo, 43 at Kawaihae, one at Kealakekua, and one at Koloa (Kaua’i).
❁Continued on page 14
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hey had been swimming the Pacific Ocean for millennia. As humans extended their reach eastward, southward, and northward across the great ocean, leviathan and Polynesian often crossed paths. Thus, the first Polynesians to populate Hawai‘i incorporated the world’s largest creature into their creation chant, the Kumulipo.
❁Continued from page 13
Historic image picturing Haili Church and Mission House in
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Trans-shipment of whale oil and bone became signifiHilo in1849 – Photo courtesy of Lyman Museum cant as whale ships off-loaded their cargoes, primarily at Honolulu and Lahaina. The blubber of whales was rendered into oil by a dirty, smoky process aboard ship, and the original whaling ships would store and carry oil and bone for up to several years. Supply ships at major Hawaiian ports soon began to carry whale products back to the American East Coast market, a several-months journey. Meanwhile, the whaling ships would replenish and head right back out from Hawaiian ports for the new season. American whalemen with their ships became dominant in the Pacific, with British vessels a close second. There was a reason that Honolulu and Lahaina were Hilo in 1832 and served until he died in 1884. Coan and Lyman folmore popular than Hilo as whaler-friendly towns. Indeed, for a lowed several other missionaries who had begun in Hilo as early while it seemed that there was “No God west of the Horn” (Cape as 1824, but the two men and their families stayed and made their Horn). Whalemen ashore in search of girls and grog soon came up mark. Coan became known as the great evangelist; and Lyman against the growing missionary influence in Hawai‘i. The conflict as founder and administrator of Hilo schools, particularly between the stern new Calvinist messengers of God and those Hilo Boarding School. who wanted a good time affected the choice of R&R ports for Rev. Coan became a significant spiritual power in Ka’u, Puna whale ship captains. and Hilo. During the “Great Revival” of 1837, Rev. Coan baptized The first church in Hilo had been built in 1825, in what is now more than 1,000 people in one day. In his own words, written Kalākaua Park, and seated about 900. The next church was built in many years later, Coan remembered: “…scores and hundreds who 1829, situated on what is now Kino‘ole Street, and seated between had heard the Gospel in Ka‘u, Puna and Hilo came into the town 3,000 and 4,000. to hear more. During the years of 1837-38, Hilo was crowded with One of the most successful missionaries was Titus Coan, a charstrangers; whole families and whole villages in the country were ismatic preacher who arrived in Hilo in 1835, and was active there left…. Those who remained some time, fished, and planted potauntil his death in 1882. The other longest-serving missionary, toes and taro for food….Our great native house of worship…was somewhat better known, was David Belden Lyman, who arrived in
– Photo courtesy of NOAA under Fisheries research permit, HIHWNMS/ NMFS ESA Permit #789-1719
Justin Viezbicke, Hawai‘i Island Coordinator for the Hawaiian Islands Humpback Whale National Marine Sanctuary, says the public needs to understand how to interact with humpback whales. “It’s very important for people to know that during whale season (Nov.-April) boaters and ocean users can promote enjoyable and responsible whale watching, enhance humpback whale protection and steer clear of danger with the following tips: plan ahead for delays; keep a sharp lookout; keep a safe distance; watch your speed; stay at the helm of your vessel and ready for response to avoid collisions and prevent disturbance. Humpback whales can pose safety risks to boaters and ocean users as they may surface, breach or slap their massive tails or flippers without warning. Don’t assume whales see you or will get out of the way.” lulu, was sent to Kona from 1881-1883 to represent his Honolulu merchant father. The father had gone into the whaling business to help out the uncle of his Hawaiian wife. Chun Kun Ai recalled; “I went once to look over father’s whaling outfit in Ki‘ilae. There, out among the rocks on the beach, he had built a storehouse. Within the storehouse I saw two double-barrelled harpoon guns, and near them harpoons tied to coils of rope. There was also an iron kettle used for boiling whale oil. I could not find any whale-boat.” Only one whale was harpooned, which sank while being towed in, resurfaced decomposed after some time, but was too rotten to render. The whale species was not identified by the author. So ended the whaling enterprise at Ki’ilae. Around the world’s oceans, whaling continued into the 20th century. Additional lethal technology, including factory ships and explosive harpoons, replaced sail, oar, harpoon and lance—darted by whalemen in small boats, up close to their huge prey. Stocks of some whale species were dangerously low or neared extinction. Humpback whales were targeted all over the world; 200,000 were killed in the Southern hemisphere between 1904 and 1983; only 10 percent of their numbers survived worldwide. In the U.S., a few individuals, even in the whaling business, sounded the alarm. The facts were there, the whales were disappearing. The U.S. public finally responded, and politicians took notice. The results were laws for conservation of whales and marine mammals. In particular, humpback whales are listed under the Marine Mammal Protection Act of 1972, the Endangered Species Act of 1973, The National Marine Sanctuary Act of 1972 and Hawai‘i State wildlife laws. In Hawai‘i, the only U.S. National Marine Sanctuary focused on a species—the humpback whale—covers portions of all the inhabited Hawaiian islands except Ni‘ihau. On Hawai‘i Island, the Hawaiian Islands Humpback Whale National Marine Sanctuary covers a zone approximately from Keahole Point to Upolu Point, out to 100 fathoms (600 feet) depth. The Hawaiian humpback whale population seems to be recovering well from previous exploitation. Current estimates indicate up to 12,000 humpback whales are migrating to Hawaiian waters every year. Now, the huge, graceful creatures are seen as environmental and educational assets. Whale tourism is an important facet of marine tourism in Hawai‘i, where perhaps a quarter of all tourists are involved in some ocean activity. Though no one knows when humpback whales began coming to Hawai‘i, today they safely play, mate and calve in the waters surrounding our shores. ❖ For further information: hawaiihumpbackwhale.noaa.gov Contact writer Pete Hendricks at firstname.lastname@example.org.
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crowded almost to suffocation, while hundreds remained outside unable to enter.” The earthquake and tsunami of November, 1837 strengthened Coan’s ministry as he made it plain that the event was a sign from God. Coan’s spiritual leadership also translated to temporal power. Coan’s tenure in Hilo coincided with the boom years of whaling in Hawai‘i, which recorded several years exceeding 500 whaling ships visiting Hawai‘i, and close to 600 in the record year of 1846. Hilo in particular was friendly to Christian captains and their ships, whose masters had an easier time getting their crews back aboard after R&R in a town strongly influenced by non-drinking and conservative church leaders. When the Hawai‘i economy became almost totally dependent on whaling after the collapse of the sandalwood industry in the 1830s, this dependence mitigated the opposition of the missionaries to the pleasures sought—indeed demanded—by the whalers and some of the many new immigrants to the Kingdom. When it came to the economy, by the mid 1800s, Hawai’i belonged to the whaling trade. Businessman Robert Wyllie stated in 1844 that without the whaling fleet, the Islands would be faced with a return to “primitive insignificance.” What was good for business was good for Hawai‘i. Thus whaling, an early form of globalism, had attained a dominant role in Hawaiian commerce. The Hawaiian people, whose numbers and culture had been decimated by western impact, did have some benefit from whaling. The seafaring tradition of Hawaiians made them excellent recruits for whale ships calling in the Islands. Visiting whalers often lost crew for various reasons, including desertion, and Hawaiians soon signed on in great numbers. Whaling ships soon had Hawaiians serving aboard in skilled positions such as boatsteerer (harpooner), and sharing equally in pay with their shipmates. By the mid-1800s, more than a third of the crews on Pacific whalers were Hawaiian, some never to return. Few were concerned during the whaling era with the biological or environmental impacts of the business. Whale ships were forced to sail farther and longer, chasing the diminishing stocks of whales in the Pacific. Steam power, the discovery of commercial petroleum and the U.S. Civil War hastened the demise of traditional whaling under sail. In 1853 the third U. S. Consulate in Hawai‘i was set up in Hilo, partly to support visiting American whale ships. By 1862, however, the decline in whaling was evident with the scarcity of whalers in Hilo, support businesses closing, low value for cattle and staple products, and agriculture in an uncertain transition. By the late 1800s few whaling ships called at island ports. There was a one small, unsuccessful whaling station at Ki’ilae in Kona. Teenage Chung Kun Ai, later to found City Mill in Hono-
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Queen Victoria’s Golden Jubilee. Upstairs she told of Princess Ruth, who outlived three husbands and preferred to sleep outside in a thatched hale. Thirty-five years later, the rooms still resonate with stories as Aunty Fanny relays tales of interesting visitors and unexpected donations. She relishes memories of merry celebrations and recalls a host of challenges presented by a slew of natural disasters: two hurricanes, a devastating earthquake and a tsunami. “It’s easy to fall in love with Hulihe‘e Palace,” Fanny says, her eyes glistening. “It really is the jewel of Kailua-Kona. I have always embraced it and wanted to make it more beautiful.” With that in mind, Fanny followed in her mother’s footsteps, succeeding Aunty Lei as palace curator, administrator and docent
❁Continued on page 18
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he walks through the treasure-filled rooms—fingering the china, straightening a photo frame, smoothing a quilted bedspread and then opening wide an upstairs window. As the fresh air fills the stately bedroom, Aunty Fanny turns around and grins. If only rooms could talk. Fanny Au Hoy has been telling the stories of these rooms since 1977, when she began volunteering as a docent at Hulihe‘e Palace. Recruited by her mother, the late Aunty Lei Collins, who was then palace curator, Fanny learned about every artifact in each room. She became a walking encyclopedia of the palace history and the lives of those who lived there, so that Hawai‘i’s kings and queens could come alive for visitors. Downstairs, she would point out the spectacular trunk used by Queen Kapi‘olani to carry her belongings to England in 1887 for
OF THE PEOPLE
Fanny Au Hoy by palace window in 2011. Photo by Fern Gavelek
❁Continued from page 17
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coordinator starting in 1988. Working with the Daughters of Hawai‘i, who operate and maintain both Hulihe’e and Queen Emma Summer Palace in Honolulu at no cost to the state, Fanny held the post until last fall, when she decided to retire. “Of course you never really leave,” says Aunty Fanny, 78, a lifelong Daughters of Hawai‘i member. “I want to say mahalo to our palace kūpuna, past and present, for their guidance and belief in me all these wonderful years.” As a Daughter, Aunty belongs to an exclusive group of women who are directly descended from a person who lived in Hawai‘i prior to 1880. The organization strives to perpetuate the memory, facts and spirit of Old Hawai‘i, and “to preserve the nomenclature and correct pronunciation of the Hawaiian language.” Fanny says her goal was always to “leave the palace better,” so it could be enjoyed for generations to come. “And that’s what I set out to do.” In the 1970-80s, when Kailua-Kona was “hardly a tourist hub,” Fanny and Aunty Lei made a great team. Using knowledge gained from their sales and ambassador jobs with Aloha and Mid-Pacific Airlines, the women came up with a plan to raise needed operational funds for the palace. “Mom and I knew our small admission fees and tiny gift shop couldn’t support the palace, so we decided to connect with travel desks and the Hawai‘i Visitors Bureau to attract business,” recalls Fanny. “We soon found we could get additional income with incentive tours.”
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Hulihe‘e Palace says goodbye to Aunty Fanny Au Hoy, retiring as palace curator after 35 years of caring for its famous rooms and telling their stories. Photo by Fern Gavelek
Aunty Fanny Au Hoy and her mother Aunty Lei Collins with then palace caretaker Kahea Beckley at the 2000 Aloha Week Parade in Waimea. Fanny succeeded her mother as palace curator in 1988. Photo courtesy Fanny Au Hoy Sharing stories of how the community pitches in, Fanny says a Kailua-Kona resident and woodworker, Charlie Emmett, volunteers to repair broken palace furniture. “He was recruited by our Calabash Cousin Shirley Finan,” says Fanny. (The Cousins serve as a support group for the Daughters.) Ken Smith, a repeat visitor from California, is attempting to fix Princess Kaiulani’s music box–a gift the late princess received from Robert Lewis Stevenson while studying in England. The box is displayed in the Second Floor Sitting Room. People from afar have lent a hand, too. “Some time ago, a Boston resident wrote to us offering to donate Lokelani china. He saw a story about us in a magazine with a picture of the same china in the Kuhio Room,” Fanny said. “It’s always gratifying to know our efforts are appreciated and to get a donation to add to our collection.” Recent donated acquisitions include a yellow mamao feather lei and a pocket watch belonging to Prince David Kawānanakoa. Of course, dollar donations are appreciated too and, while sizeable contributions are few, Fanny recalls getting a gift from a visitor who never entered the palace. “He was walking his service dog on the grounds. When we asked him if he would kindly remove his dog, he asked us some questions about the palace. A couple days later, he called us and offered a sizeable donation to be used for a specific purpose, something he saw we needed to have done. It was a nice surprise and much appreciated.” Even though Fanny has retired as a palace employee, she is still volunteering and willing to lend a hand to her successor, Casey Ballao. During a recent palace visit, she checked to see if the furniture had been polished while Calabash Cousins, who were staffing the palace during a busy “boat day,” flocked to her for hugs and catching up on news. “The palace is in good hands,” notes Fanny, looking all around the downstairs entry hall. “Now all we have to do is embrace what we have, feel the spiritual mana of where our ali‘i walked and share all that is Hawai‘i Nei.” ❖ Contact writer Fern Gavelek at email@example.com. More info at http://daughtersofhawaii.org
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Relationships made with concierge and tourism professionals blossomed and soon the palace was called to serve as a location for corporate parties. “Before we knew it we had become an event venue—and really the most affordable one on this side of the island,” states Fanny. “Caterers and event planners were very attracted to our historic quality and seaside location.” To accommodate on-site functions, the caretaker’s cottage was converted to the present-day Kuakini Building, with a kitchen and improved restrooms. Fanny considers the idea of opening up the palace for rentals as an important legacy left by the mother-daughter team. In addition to weddings and local fundraisers, today the palace serves as a reception venue for world-class events like the Ford Ironman World Championship and the Hawai‘i International Billfish Tournament. “Our rental business enabled us to increase our revenue to continue the Daughters’ mission and do daily maintenance on our buildings and grounds,” she adds. Upkeep on the 1838 Hulihe‘e Palace, which was placed on the National Register of Historic Sites in 1973, is no small endeavor. Any repairs or restoration must be done consistent with how the palace looked in the mid-1880s. That date, which covers the time when King David Kalākaua lived there, enables the palace to preserve its two oceanside lanai, stucco exterior and Victorian-era grandeur. It’s also why Aunty Fanny oversaw the building of the palace’s “cookhouse,” Hale Kuke, in 2006. While used as badlyneeded office space, the addition is a reconstruction of the Merrie Monarch’s cookhouse, circa 1885, which served as the palace’s kitchen. Ten years apart, Hurricanes ‘Iwa (1982) and ‘Iniki (1992) brought flooding to the oceanside palace grounds and Fanny remembers how the people of Kona turned out to help with sandbags and cleanup. “Henry Cho from the County and Jeff Lee of The Club showed up with helpers and their efforts prevented severe flooding in the basement,” she said. The palace wasn’t so lucky during the March 2011 tsunami, when the basement filled with five feet of water. Before the tsunami sirens sounded, Fanny recalls coming to the palace with her husband Sam at 10 p.m. “We were soon joined by palace office manager Anita Okimoto and others,” said Fanny. “We filled a truck and two sedans with precious artifacts, computers and office equipment.” The group returned the next day to find the basement filled with ocean water and swimming fish. “Our volunteers came down and helped with the cleanup. Even people passing by stopped and lent a hand. We were blessed that no water entered the ground floor. There were dead fish everywhere and so we didn’t have to fertilize the grounds for awhile,” chuckles Fanny, with her trademark sense of humor. The tsunami came not that long after repairs and restorations were completed from the October 2006 earthquake. While Fanny was devastated when she saw the damaged Hulihe’e after the earthquake, she thinks of it as a blessing in disguise. “We got some much-needed, modern repairs and re-enforcement done by restoration experts,” she says of the 2.5-year project. Technology and education makes restoration of historic things easier today, according to the long-time palace administrator. “When we had the gold leaf picture molding restored in 1979, we had to send it all the way to Europe,” she remembers. “After the earthquake, our architect located a gal born-and-raised on Maui who was schooled in this particular technique and could take care of it for us—so much more convenient.”
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The Life OF THE PEOPLE
University of Hawai‘i Professor Dr. Catherine Becker, with daughter Malia, seeks to inspire the next generations.
❁Continued on page 22
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s an eccentric, honest and holistic intellectual, Catherine Becker has devoted her life to studying the field of communications. With unique vision, some might say “mana,” she has fashioned some contemporary, imperative and transformative upper-division online classes, namely ‘Sustainability, Communication and Culture’. “I’ve prepared for this class for several years, and so in some ways this course is my opus. It takes into consideration all the things I am passionate about: Hawai’i, social justice, the environment, better ways of communicating and forming relationships, making decisions and solving conflicts. I’ve taught classes about all these different things, and it’s all come together into such a rich bag of materials,” she says. At the core of Catherine’s vision is her deep belief that efficient human communication offers a path to greater peace and tolerance in the world, and to a better understanding of how to live sustainably. Our current technologies have given us more enriched potential understanding between peoples and cultures, and she realizes that effective, mindful education is the key. Catherine’s first insights into the importance of global and sustainable thinking came from growing up in the industrial wasteland of Buffalo, New York in the 1960s. “I played in the shadows of abandoned factories and swam in polluted waters,” she writes to students on her course blog.
❁Continued from page 21 Have Craftsmen Create Cabinets and Doors for you...
22 | www.KeOlaMagazine.com | JANUARY/FEBRUARY 2012
Years down the road she would eventually send her own daughter to several alternative schools in the jungles of Hawai‘i, fearing that, otherwise, she could grow up experiencing this same sort of nature-deficit-disorder (and yes, that’s a real disorder) that she had as a child. The summer Catherine turned 19, her craving for more pristine environments led her to hop on the back of a motorcycle and embark on a solo journey across 22 states, covering over 9,000 miles. Her forthcoming book— Moving Between the Lines— is about this particular unfolding. Catherine received her Doctorate in Communication at the University of Buffalo and completed her Master’s in American Studies. Her dissertation focused on Brazilian Immigrants in Japan, “I was always interested in Japan and saw Hawai’i as a sort of gateway,” she says. She eventually pursued her graduate studies at Manoa, where she resided for five years. “I loved O‘ahu, but I was shocked to discover such disrespect for the land, like the blasphemies of the Ko’olau Mountains,” she says, “I sought refuge by backpacking in some of the island’s more remote locations and became deeply connected to the natural and spiritual world of the islands.” Eventually, she leaped head-first into the arms of a charming young Dutchman, and wound up on a plane to Holland, “I went to marry a Dutch doctor and ended up a Spanish soldier in the Portuguese army,” she laughs. And in a way that’s exactly what happened. “I didn’t end up with the guy but ended up in a role as a Spanish and Arab soldier in a Portuguese play. I even wrote an article about it.” Upon her return to Buffalo, a deep nostalgia for Hawai‘i and her refuge there set in. Thankfully, while writing her online dissertation, a student credit card ad popped up, advertising a trip to Hawai’i. She applied and ended up at a Sufi camp on Maui. However, it was on a brief hop over to the Big Island that a very vivid vision came to her. She imagined creating a set of cards that would act as a sacred tool for divination, allowing people to discover hidden knowledge about inner and outer worlds, all the while honoring the culture and spirit of aloha. “I was standing outside at the base of this Tibetan church, and asked Pele for her permission to create the cards,” she goes on, “and then suddenly a giant rainbow appeared in the sky.” This rainbow would begin appearing throughout her life, almost becoming a visual mantra. And on this particular occasion, she took it as a clear sign of Pele’s approval. Catherine claims that asking permission of the spirits of the land puts her more deeply in touch with understanding her own intentions, while also trusting in her instincts. A few months later, while attending a communications conference, she found herself at the Double Rainbow Café in Albuquerque. Sitting with a friend, she was explaining to him her continued, almost all-consuming ideas about the creation of Mana Cards, and that her biggest road block was finding an artist. With a break in conversation, her friend got up and made his way to the magazine shelf. Sitting alone, she glanced over to the hibiscus flowers dancing across the shirt of an elderly woman at the next table. Striking up a light conversation, she discovered that the woman, visiting from Maui, was in town teaching a shamanism workshop to a group of social workers. Her friend eventually came back and handed her a magazine. Held within its pages was a brilliantly striking painting of Pele, holding a rainbow in her hands. As fate would have it, the woman at the next table just so happened to be a close friend of the artist.
Dr. Becker created Mana Cards as a communications aid for both individual and group understandings.
Contact writer Jessica Kirkwood at firstname.lastname@example.org. For more information: www.manacards.com
JANUARY/FEBRUARY 2012 | www.KeOlaMagazine.com | 23
“She told me that she would put me in contact with the artist, Doya Nardin. I still can’t believe how it all fell together,” she smiles. The entire creations of Mana Cards took six years to complete. During this time, Catherine would travel back and forth from New York to Bishop Museum in O‘ahu reading ancient transcripts and gathering information to incorporate into the cards. Then she would wait, often meditate on an archetype, and send her ideas to Doya, who would eventually pass her designs and paintings along to Patrick Ka‘ano‘i, an ethnobotanist and author of The Need for Hawai’i. Patrick would examine each card in detail and offer spirited, knowledgeable advice. The trio believes the spirit world to be a familiar miracle that is manifest in everything around us. They also believe that many of us have disconnected from this truth, but with practice, can regain. Their hope is that these cards can facilitate this re-connection. “The cards can be used by individuals, couples, and groups to improve communication and foster healthy ways of being, relating and creating culture,” she says. Since their printing, Mana Cards have become a success in more ways than one. A school in Japan, The Mana Cards Academy, bases itself around the teachings of the cards, while others continue to write her letters explaining how the cards have influenced their lives. To those steeped in rationalism, especially in the academic community, such talk of spirit may touch on ludicrous thought. But Catherine sees spirit and science as one and the same, that to understand one we must understand the other. During the final printing stages of the cards, Catherine was teaching at the University of Redford in Virginia, where she finally felt she had found her niche. However, a few days before putting a down payment on a house, on a whim she applied for a position as associate professor of Communication at the University of Hawai‘i Hilo, where she would eventually work for nearly a decade. Like many, Catherine has felt embraced by Pele’s warmth, and she also knows when she is treading on sacred ground. And so, when she was diagnosed with pneumonia in 2007, due to suspected mold allergies and the increased sulfur dioxide emissions from a vent opening at Halemaumau crater, she saw it as a clear sign: that change was of the essence. Embarking upon a year’s leave, her new focus and support system became Ecovillage at Ithaca, in the beautiful Finger Lakes region of upstate New York. The non-profit educational organization and intentional community is an alternative model for suburban living that greatly minimizes ecological impacts. After nearly a year of living at Ecovillage at Ithaca, during which time many forms of healing took place, she began to envision a rainbow reaching from New York all the way to Hawai‘i. Her pot of gold became the birthing of a new course.
“I really think that Pele kicked me out so that I could learn from others what Hawai‘i needs to sustain its culture, and preserve the land,” she says. And she returned with that wisdom. Inspired by her time at Ithaca, her online course material incorporates links, videos, articles, podcasts, peer reviews and partnership interactions. Students are invited to calculate their carbon footprint, watch videos on the unsettling effects of military presence and tourism on Hawai‘i, and read excerpts from best-selling environmental authors such as Michael Pollan and Paul Hawkins. She introduces students to the Green Collar Economy movement and alternative energy sources by navigating a myriad of online websites. For a final project, she asks that students go out into their local communities and become the change the world so vitally needs. “Some students have volunteered at the Kaiao Gardens Boys and Girls Club. Others have aided in the beach clean-up down in Ka’u,” she says. “One of my favorite final projects was a student who started a garden at home. She documented her progress using pictures and journal entries. She wrote that the process even helped her strengthen her bonds with her family members.” Today, after three years of successfully teaching the course, she admits that online learning has both its benefits and downfalls. “It’s hard because we don’t get to gauge the non-verbal reactions. There is a spontaneity that emerges from face-to-face discussion,” she admits. “On the other hand, it’s not just me and the students writing and reflecting—we have instantaneous access to the greatest minds on these topics in the world.” Catherine sees that most of us have been educated in a way that has led us to believe that we are fundamentally selfish, to mistrust the inherent goodness of human beings and to disregard the expansive and uniting quality of sharing emotions. Her course offers space for personal reflection as she encourages students to read their peer’s writings from a place of empathy and compassion. She believes that communities practicing loving kindness and mindful living may be the most important thing humans can do for the survival of our species and the planet. And to Catherine, it’s not about making the world one type of culture; this would mean doing away with the many cultures and many ways of maintaining relationships with each other and with nature. Rather, it’s about drawing together all the traditions of the planet and creating societies that respect diversity. Her course takes students on a journey with the first step being to confront the daunting reality of our current global crisis. The journey continues and offers powerful insights into how we came to be where we are today and what changes we need to make for our survival. She conveys just how much our inactions play a part in shaping our world as our actions do. By the end, her students are filled with hope in seeing that global peace is a very achievable possibility. Teaching students who are located on-island and as far off as East Timor, San Francisco and Tonga, what she’s learned is that every single person is onboard. “Each student is committed to Hawai‘i and wants to make it available to future generations just as much as I do,” she says. “Their generation is the one that needs to emerge the efforts in this movement and come to us, the people who have been around longer, for guidance and advice.” Catherine’s philosophies encourage us to keep an open mind and an open heart, set the intention to heal, draw upon ancient knowledge, lead by example, and perhaps most of all, experience the true meaning of aloha ‘aina – which assures us that the earth cares for us as much as we care for her. ❖
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Gille Legacy at his outdoor studio on Ali‘i Drive in Kailua-Kona
“Whispered Flight” painting by Gille Legacy
ille Legacy does not have the distractions that the rest of us do. Unable to use his body since birth, he is not confined to it and lives largely—both figuratively and literally—in his imagination. And the peace of that place comes through him and onto the canvas as a tangible connection between that world and this. Gille Legacy is the man who paints with his nose.
with an iPhone and a sign that says “Google me”. Gille is comfortable with his body, he says, because he can go anywhere in his mind. He doesn’t know anything different. He’s never been swimming or taken a walk. And although he has bouts of depression, it’s not because of his childhood or the wheelchair. “I got my days, just like everyone else,” he says, and really seems to be the most contented guy you’ve ever met.
How it Began
Gille, (pronounced Jheel) is the sixth of eleven children born to his French-Canadian mother and father at a small hospital in the eastern Canadian province of New Brunswick in 1952. It was a difficult birth. During labor, his mother knew something was wrong. The doctors reasoned that she was Catholic, and could go on to have more children, so the baby could be sacrificed. To get him out of the birth canal, they broke Gille’s collarbone, and his skull was crushed by the forceps. A priest was present to issue last rites. Gille had other plans. Foreshadowing an innate determination to make his mark, he survived. At home, his mother fed him with an eyedropper. He was kept inside the house. He never went to school or saw a doctor. He was hidden from the outside world and sheltered from his unforgiving father, who continually compared him to an animal. Back then, he says, things were different. “Back then it happened all over. That was the intelligence of people. It wasn’t as developed as it is now,” explains Gille about his sheltered existence, adding, “If I were born in this day and age, I would be walking.”
Although born twisted, Gille was flexible and agile. When he was eight years old, his sister left her paint-by-number set on the floor. Curious, he scooted over to the paints and something magic happened. “I dipped my nose in the paint…and a bright light went on inside my head when the image of a bird appeared on the paper. I took that light and shined it throughout the years to create thousands of paintings,” he wrote in “Pigments of Thought,” his latest book. His mother saw joy in his painting and encouraged it. By his late teens, Gille’s self-created painting style—he paints in oils and has never had the desire to use a brush—was well-developed. When he had the reach and flexibility, he painted large canvases with images of mountains and bodies of water. The mountains expressed his strength, and the water his “ever flowing rush of dreams.” Together, they expressed freedom and a lack of confinement. “I don’t want to brag, but if you saw some of those paintings, you would be impressed,” he asserts. Gille’s mother died in 2002. About a year later he started painting images of angels, which now predominate his work. Is he spiritual?
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Although he had lost all control of movement in his body, there was no loss of intelligence. He could see and understand everything, except why he was trapped in the house and expected to do nothing at all. When Gille was 17, he had appendicitis. After several days his mother finally took him to the hospital for treatment, after she had been afraid to leave him in their care. This was the first time he saw people other than his family, and he loved it. Gille’s mother fed, clothed and maintained the large family on $100 a week. Still, she managed to save enough to buy Gille his first wheelchair when he was 22 years old. Ten years later, realizing she was getting older and would not be able to take care of him forever, Gille persisted in asking his mother to send him to a new rehabilitation center in town. Finally, she relented. Unlike other forms of cerebral palsy (an umbrella term for having no motor control from birth), Gille did not suffer a loss of oxygen, so there was no brain damage, and his condition is not degenerative. Although his speech is difficult to understand, he speaks fluent French and English and his thoughts move as fast as anyone’s. Although his skin is tan and healthy, he has no use of his twisted limbs, which he likens to the gnarled branches of an oak tree. He sports a “Dali-like” goatee, and his motorized wheelchair is decked out
❁Continued from page 25 Yes and no. Raised Catholic, he rejects church dogma. But when your nose is that close to the canvas you see your soul pouring out, he says. “Sometimes I don’t know what I’m doing, I just let it out. I live between the lines, the quiet space between the thoughts. Part of the message is for people to just be in that space.” Some people have called his work ‘healing.’ “You can feel the spiritual energy; it draws you to the painting,” says Tess Rumley, co-owner with her husband Ron, of Rumley Art & Frame Gallery in the King Kamehameha’s Kona Beach Hotel, where his paintings are shown. “I don’t look at him like he’s in a wheelchair. I don’t see the physical body,” she says. “He is the definition of perfect creativity. Stripped of physical capabilities, he paints from his soul. He is aware and conscious of this. People can connect right away. They can feel the energy.”
Beyond the Art
Gille was already well established in the art and poetry world when he met his wife, Sandi, in 1998. “I just looked at him and was fascinated,” she says. “It wasn’t really in the beginning, but now, life with him seems very normal. I’m taken aback by his strength of spirit. It has just been the most incredible adventure and awakening.” Sandi became his hands and his voice. They have had their issues, like most couples. But they laugh, smile, hold hands, and are inseparable.
“Moon Sail” “He is in the now, in the moment. There is no 20 minutes ago, no future. He has mastered going inward and has been meditating all his life. He is at peace and doesn’t need any help in that department,” Sandi says, checking with Gille for confirmation, then adding, “He did his work and found peace and now he’s sharing it.” “My hopes have dissipated,” Gille adds. “I don’t need to prove anything. Inspiration is still there; now I’m just sharing.” Gille has written five books: pocket-sized volumes of ruminations, poetry and philosophy, with Sandi’s help. In “Pigments of Thought,” his latest, he gives us a glimpse into his imagination:
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In one second he had the appearance of an octopus with eight legs and angelic smile and then she who is he turned into me and said to my ego something of this nature:’ Wisdom cannot and should not be seen as a trace in individuality.’ He continued by whispering, ‘It’s a sad thing to have one’s innate wisdom measured by one’s appearance.’ After moving from Canada to California, Gille and his art found an audience at the Promenade in Santa Monica, which led to a documentary of his life being filmed in 2006. They also opened the Nose Boutique, one of many projects Gille continues to surprise Sandi with. “I’m just his hands, helping him to do something big,” Sandi humbly says. In 2010, Gille and Sandi moved from California to Kona. One day he wandered into the Rumley Gallery, where he met Tess, who said meeting him and seeing his art was like an ‘awakening’ for her. “When we create from our spirit, our soul, we don’t have to trust it, just let it flow. That’s what Gille does,” she says. “We are all creative, whatever form we choose to express. It’s within us all; we just have to pay attention to it.” Gille’s paintings have been shown throughout Canada, the United States and France. In 2004 -2005, he was invited to show his work at the prestigious World Conference ‘Chemin du Monde.’ In 2006, he was honored with several private exhibits in Palm Springs and Rancho Mirage. Gille would paint and be who he is regardless of whether his artwork sold or not. What matters, he says, is inspiring others. In
2005, Gille was honored as a Paul Harris Fellow by Rotary Clubs in the United States and Canada, for five years of giving inspiring, motivational speeches to school kids, telling them not to give up. “There are no obstacles, only those you put in your own way,” he says. ❖ See more of Gille’s work at manwhopaints.com. Contact writer Cynthia Sweeney at email@example.com.
Drive up scenic Hualalai Road from Queen Ka‘ahumanu Hwy (190). Turn Left at Mamalahoa Hwy (180), where art studios and local shops now occupy historic buildings from Hawai‘i’s past. Take a leisurely stroll through our quaint village . . .You’ll be glad you did.
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and “mi” come from the Chinese words “sui” for water and “mo” for ink. While sumi-e captures the essence of an object in the fewest possible strokes, Shirley says her Chinese brush painting is more than that, involving precise—and often many—brush strokes in a combination of styles. While the path to Shirley’s chosen art form has involved living in several cultures and time zones, the South
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Shirley Pu Wills, wearing a Chinese choi san jacket with a traditional Mandarin collar and frog button clasps. –Photo by Fern Gavelek
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t’s both what you see and what you don’t see that create the magic in Chinese brush painting. “The thing about Chinese brush painting is you imagine what’s not there,” says Shirley Pu Wills of Captain Cook. “A painting of koi fish has no depiction of water…yet, you know the water is there because the fish are so fluid-like.” The accomplished and award-winning Chinese brush painter relies on her Asian roots for her artistic foundation and the dynamic beauty of living things for her inspiration. Born of Chinese heritage in Post-World War II Japan, Shirley’s initial exposure to art was the precision, order and aesthetics in Japanese food and gift presentation, textile design and flower arrangement. Showing an aptitude for drawing as a toddler, the young Shirley held her first brush at the age of 4 under the tutelage of a Japanese sumi-e instructor. A style of minimalist brush painting, sumi-e uses a combination of water and ink. The style originated from the Chinese Sung Dynasty, 960-1279 AD, and, according to Shirley, the words “su”
“Ipu” is an example of spontaneous style that captures the essence and spirit of the subject, which in this case is an ipu gourd used in hula. Black expressive lines symbolize the ipu’s motion as it’s played by the kumu hula for the dance.
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❁Continued from page 29 Kona resident takes pride in using age-old and contemporary Chinese techniques and tools for her art. Having been educated in the ways of Eastern cultures, the soft-spoken and reserved Shirley experienced culture shock when her family relocated to New York City in 1958. The move to the other side of the globe meant the 7-year-old needed to quickly learn English and the American way of life. Often feeling isolated, Shirley found familiarity in art and immersed herself in doing all kinds of painting. “I found a way to connect to the world through art,” she smiles. For more than 10 years, Shirley studied brush painting in New York City with Chinese masters who were non-English speaking immigrants. “Listening and again speaking” her native tongue of Shanghainese while she learned the ancient art form, Shirley experienced a Chinese cultural revitalization. She was able to paint from her inner truth and honor who she had become. At the same time, she also developed skills that would lead to a career in commercial art. As a teen, Shirley won a scholarship to Manhattan’s Fashion Institute of Technology, where she studied portraiture and illustration. After earning a BFA degree in contemporary painting and art education at the Pratt Institute, the young woman answered a New York Times classified ad looking for a fashion illustrator. “This was the most exciting time in my life,” recalls Shirley. The 27-year-old was interviewed in Washington, D.C., and then flown to Polynesia to work for Liberty House in Honolulu. She stayed in Hawai‘i for three years, relishing the beauty of the tropics and visiting all the islands. At Liberty House, she created “fashionable drawings of dressed female figures” for advertising campaigns. However, Shirley missed her parents and moved back to the East Coast in the early 1980s, settling in New Jersey. There, she married David Wills, now her ex-husband. The marriage afforded Shirley time to develop a painting career and return to her roots. She explains, ”While in Honolulu, I had rediscovered my Chinese heritage and culture through the late Master Lam Oi Char (artist) at the University of Hawai‘i. I looked further and approached Chinese brush painting as a way to reconnect with my roots as art is my life; it’s what I’m all about.”
Describing her creative muse, Shirley says, “Images come from deep within my consciousness, where dreams flourish, and through my heart, my limbs and fingers. Yielding my brush, I impart my songs from my soul and lay them upon paper.” Shirley’s efforts at refining her skills paid off. She acquired a well-known reputation as “New Jersey’s Floral Chinese Brush Painting Artist.” She was soon winning awards and represented by the Phoenix and Ceries Gallery through the Asian American Women’s Artists Alliance—a group she co-founded. Relying on her background in art education, the popular brush painter also became a sought-after instructor, teaching at the prestigious China Institute in Manhattan, New Jersey’s Drew University and SUNY, the State University of New York. Shirley says she incorporates two styles into her brush paintings. In the elaborate or linear style, fine lines and soft gradations of dual colors convey meticulous details. The spontaneous style involves more expressive line quality and less detail, emoting impressionistic statements to capture the essence and spirit of the subject matter. “I sometimes work back and forth between the styles and combine them into one piece of work,” she adds. The technique of applying the brush stroke to paper is key to Chinese brush painting, as is the type of brush and paint or ink used. Shirley describes it as “a very precision-orientated and controlled painting style.” She explains: “The Chinese Brush has a big belly that holds a lot of water and paint. The side of the brush is used to do strokes of thick stalks while the point of the brush, with varying pressure, will paint leaves of the bamboo. Speed of stroke, the exact amount of water and color, and dancing with the brush with minimal amount of strokes are all the ingredients of a well-mastered piece of artwork.” The artist emphasizes the brush must be held vertically. This allows easy movement of the wrist and swirling of the entire arm so the “chi” (energy or spirit) flows throughout the entire body. The traditional tools for Chinese brush painting are called the Four Treasures of the Scholar. They include rice paper, brush, ink stone (originally soot, charcoal or pine resin) and ink slab, where water is combined with black to get various shades of gray. Shirley employs some of the ancient tools and contemporary versions of the originals.
Vibrant, passionate colors and symbols reside in “Lotus – Calm within the Storm.”
“Nine Fantail Koi Fish Swimming Upstream,” illustrates the Eastern myth of achieving success. According to legend, the koi swam up a stream and climbed a waterfall, turning them into a dragon, a strong and powerful creature in Chinese mythology (2012 is the Chinese Year of the Dragon).
up through the water and the heavily scented flower lies pristinely above the water, basking in the sunlight,” explains Shirley. “In Buddhism, this pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of illusion and into the air of self-realization and enlightenment.” One of her paintings, “Nine Fantail Koi Fish Swimming Upstream,” illustrates the Eastern myth of achieving success. According to legend, the koi swam up a stream and climbed a waterfall, turning them into a dragon, a strong and powerful creature in Chinese mythology (2012 is the Chinese Year of the Dragon). The myth is a metaphor for the idea that man can achieve his success if he meets his challenge. The painting depicts colorful koi swimming upstream and gaining momentum, like a man attempting to overcome all obstacles to reach his goals. While there is no waterfall in the painting, it is imagined, along with the vision of the fish flying to climb the cascade, twisting and turning to converge and become a mighty dragon. Shirley describes the painting’s symbolism, “Fish denote wealth and the pronunciation for ‘nine’ in Chinese is the same word for ‘everlasting.’ So the subject represents the idea that man can achieve everlasting wealth in many aspects: health, wisdom, prosperity and the riches of having many friends.” Feeling “art is close to one’s personal, spiritual manifestation,” Shirley recently gifted Sam Choy with two floral paintings. See them near the entrance of his new Keauhou restaurant, Kai Lanai. “The Chinese literati’s paintings were not commercially oriented, they were given out of respect for others and as an indication of honor,” she says. “After I got to know Sam, I gave him this gift in the same scholarly tradition.” ❖ Chinese brush paintings by Shirley Pu Wills are available as prints, giclees and originals priced from $35 to $12,000. Private instruction can be arranged by phoning 808.936.6291. For more info, visit www.shirleypuwills.com.
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She has 100 different-sized brushes that vary in softness and stiffness, and she uses Chinese painting colors. Shirley explains, “The thick pigment comes straight from the tube and in its dry-brush form has a pastel-like effect. When water is added, the result is an oil painting quality and most times, with more water, it becomes transparent watercolor.” “I use lots of magenta colors in my paintings,” she continues. Instead of traditional black resources like charcoal, the brush painter uses bottled black ink. In addition to porous rice paper, Shirley also paints on champagne and gold-colored silk mounted on archival foam board because she finds the medium “holds up better in the humid tropical climate of Hawai‘i.” Shirley returned to live in Hawai‘i in 2003. At that time, she relocated to Kona and was surprised people on Hawai‘i Island hadn’t heard of her art. Resigned to “start over from scratch,” the artist shared her Chinese brush paintings on rice paper at the Waimea Cherry Blossom Heritage Festival and did a solo show at the East Hawai‘i Cultural Center. Her popularity grew as she appeared in juried art shows and taught large classes at Holualoa’s Donkey Mill Art Center. Today, Shirley’s art can be found at Third Dimension Gallery at the Shops at Mauna Lani, the Gallery of Great Things in Waimea and Rumley Art and Frame Gallery in Kailua-Kona. Returning to the islands has provided inspiration for Shirley, who likes to paint the living things she sees in gardens, like flowers, birds—most recently peacocks— and multicolored koi fish. “I have a real feel for flowers because they’re alive, like human flesh—breathing and containing moisture,” Shirley states. “As a Chinese brush painter, I try to breathe life into my paintings by capturing the subject’s liveliness and its temperament.” She says it’s like imparting “the spirit or essence” of the subject into the painting. The artist enjoys incorporating Chinese cultural themes into her artwork. The large peony blossom is a favorite subject as it symbolizes prosperity. The lotus appears in many of her paintings too. “In nature, the roots of a lotus are in the mud, the stem grows
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The Life OF THE PEOPLE Pukalani Stables at Parker Ranch, renovated by volunteers to house the collections of Paniolo Preservation Society and serve as its headquarters and venue for events – Photo by Catherine Tarleton
So Who are Today’s Paniolo?
Well, if you spend time talking with the Paniolo Preservation Society (PPS), they might be us: educators and writers, retirees, artists, telecommunications systems engineers, shop owners, event planners, foodies, musicians, doctors, veterinarians, lawyers and executives. Of course there are highly-respected ranchers and cowboys, too, but the paniolo culture has outgrown the saddle. And, thanks to organizations like PPS, the paniolo has something relevant to teach all of us, right now and in the future, about community, work ethic, respect and love of life and the land. PPS, established as a 501(c)3 nonprofit in 1998, is a group of driven individuals, more than 60 volun-
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hen I was a little girl, I caught horse fever early and as fervently as a suburban D.C. kid could. I read every horse book in two libraries, drew pictures, wrote stories and fought my brother for control of the knob on our little black-and-white TV to watch the cowboys ride Trigger, Flicka and Silver. Decades and decades later, having finally landed in Hawai‘i, what a great surprise and honor to meet real cowboys, in real life! How cool to be invited to a branding and watch them in action, to hang on the fence rail with a hundred other people pointing cameras at the calves. To see the lei-draped pa‘u riders smile and flutter by on parade. To listen, listen to the stories and songs of paniolo, meet relatives of the famous ones and feel the real connection with human and horse, horse and land, land and spirit. I’ve written about paniolo a few times. I know they wear baseball caps instead of Stetsons and ride more ATVs than horses. Fences are electric. Calves are shipped to mainland feedlots to be fattened up and finished, and Big Island grass-fed beef is a big deal. A lot of pastureland is populated by people now.
teers, guided by founding members Dr. and Mrs. Billy Bergin, William White, Sonny Keakealani, Alex Penovaroff, Freddy Rice, Patti Cook and current President Robby Hind. Other members come from every walk of life. One board member, Judge James E. Duffy, sits on the Hawai‘i State Supreme Court. Two others, Donny DeSilva and Alvin Kawamoto, are master Hawaiian tree-saddle makers. And at least two, Dexter Keawe‘ehu Vredenberg and Dr. Bergin, are authors. Their recently released book, Richard Smart of the Legendary Parker Ranch, although not a project of PPS, supports its job of Branding at Pu‘u Iki, c. 1772 preserving paniolo history and culture, – Photo courtesy of Paniolo Preservation Society through the life story (and behind-the-scenes story) of one of its most interesting characters. [See Ka Puana on page 89.] “The authors seamlessly meshed Hawaiian-style genealogical storytelling with solid research, recordation, and rationale of contemporary scholarship,” wrote Leilani Hino of Ahualoa, who grew up embraced by the paniolo culture thanks to her uncle. “The authors re-told and interpreted a wealth of local stories in one volume, a broad, deep, exquisite portrait of Richard Smart… It is a rich, textured, honest rendering of a complex human being,” she said. A 2011 inductee into the Paniolo Hall of Fame, Richard Smart, fifth-generation descendant of Parker Ranch founder John Palmer Parker, was more entertainer
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❁Continued from page 33 than rancher. He appeared on Broadway stages, hosted grand parties, and built the Kahilu Theatre to bring music and arts to Waimea society, and yet his contributions to paniolo culture were significant and essential, particularly during the transitional years of the 20th century. Smart, along with nine other cowboys (seven altogether from the Big Island), were inducted into the Paniolo Hall of Fame at the Hawai‘i Cattlemen’s Council ceremony at Hapuna Beach Prince Hotel on November 19, 2011, sponsored in part by PPS. Living honorees and their families turned out in polished boots and shiny buckles, creased jeans, spotless hats, big smiles and piles of maile lei. Humble people, raised on the concepts of pa‘ahana (hard, industrious work), family loyalty and stewardship of the land, they are unaccustomed to the spotlight, but their pride shone through. Author Vredenberg was never a rancher himself. “It is my history,” he stated. “My great-grandfather Campbell started with Parker Ranch as a butcher, and then was a teacher at Thelma Parker School.” “I think that cowboys have this mystery attached to them, these legendary aspects of their lives, and people like to look at that,” said Vredenberg. “Yes, there is a romantic aspect to the stories they tell, but day by day it was the same old thing.” Pa‘ahana filled their days, and in all weather—often dangerous—there was a sense of brotherhood. One of 10 new, 2011 Hall of Fame And after work, the Inductees, Clarence Medeiros Sr., at the love of family, of great Hawai‘i Cattlemen’s Council Paniolo Hall food and good music of Fame induction ceremony at Hapuna filled the paniolo heart. Beach Prince Hotel. A lot of that – Photo by Catherine Tarleton pa‘ahana took place at Pukalani Stables in Waimea, though it’s been a long time since Pukalani housed a horse. Once central to the Parker Ranch horse-breeding operation, this 100-year-old facility sits quietly overlooking what used to be pastures, remembering, perhaps, the sounds of boots and hooves, Hawaiian language between men and animals, nicker and whinny, maybe later some pau hana music. Recently renovated by PPS volunteers, Pukalani is now the Paniolo Heritage Center, headquarters for PPS and home to the Paniolo Hall of Fame. And the sounds around the stables today are more likely to be educational and social conversations, music and laughter, as people gather for presentations, parties and fundraising events. In October, German “oompah” music filled the courtyard for North Hawai‘i Rotary’s Oktoberfest, and a couple of weeks later, a big crowd came out to hear “chicken skin” paniolo ghost stories for
Contact writer Catherine Tarleton at email@example.com.
❁Continued on page 37
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Halloween to launch PPS’ new Paniolo Talk Story series. On Friday, January 6, 4-7 p.m., PPS will premier a new “First Fridays Paniolo Historic photo showing cowboys shipping market Kanikapila cattle out of Kawaihae. Jam,” with – Photo courtesy of Paniolo Preservation Society live music and food (admission free with a musical instrument). Then, on Saturday, January 14, 5-8 p.m., Ku‘ulei Keakealani, daughter of Hall of Fame Cowboy Sonny Keakealani, will present the second in PPS’ series of “Paniolo Talk Story” gatherings, this one focused on favorite paniolo food traditions. (See below for a schedule of upcoming community events.) PPS has been a huge contributor to the community since day one. One of its early projects was to commission sculptor Fred Fellows to create a larger-than-life bronze statue of Hawai’i’s most famous paniolo, Ikua Purdy, now prominently displayed in front of Parker Ranch Center. In 2008, they celebrated the 100th anniversary of Purdy’s, Jack Low’s and Archie Kaaua’s famous victory at the 1908 Cheyenne Frontier Days with “The Great Waiomina Centennial Celebration.” This highly successful series of statewide events inspired a sister-city relationship between Cheyenne and Hawai‘i Island, and helped create a paniolo exhibit at the Cheyenne Frontier Days Old West Museum. PPS also assisted with the production and screenings of Edgy Lee’s extraordinary documentary “Paniolo O Hawai‘i” (since acquired by National Geographic for international distribution) and, with representatives from Waimea Middle Public Conversion Charter School, Kanu o ka ‘Āina Public Charter School, Hawai‘i Preparatory Academy and Parker School, founded the Waimea Education Hui to develop curricula on ranching and paniolo culture. They have partnered with Kahilu Theatre and Parker Ranch to create unique educational programs, such as the 2009 “Paniolo Artisans Showcase” spotlighting 20 renowned saddle-makers, and, more recently, a Professional Bull Riders (PBR) clinic in partnership with Parker Ranch Round-Up Scholarship Club and Hawai‘i Tourism Authority. PPS has also assisted or collaborated with numerous other organizations and partnered with the Office of Hawaiian Affairs (OHA), the County of Hawai‘i and the Richard Smart Fund. As if that weren’t enough, PPS has been all along collecting historical documents, maps and artifacts, treasured pieces of paniolo reality. To provide a home for the collection to continue being archived, preserved and displayed, PPS leased Pukalani Stables from Parker Ranch in April of this year. Some of the photos; PPS’ bit, spur and saddle collection, and other memorabilia are on display alongside the Cowboy Hall of Fame at Pukalani Stables. So who are today’s paniolo? Come to Pukalani Stables and take a look around. You might be surprised. You could be one of them. ❖
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❁Continued from page 35 For more information on any of these events, to reserve Pukalani Stables for educational or social gatherings, or to learn how you can join PPS, contact the Paniolo Heritage Center: Phone 808.541/8541, email firstname.lastname@example.org, or visit www.paniolopreservation.org. UPCOMING PPS EVENTS: Friday, January 6, 4-7 p.m. PPS introduces its new “First Fridays Paniolo Kanikapila Jam!” at Pukalani Stables, celebrating the pleasures of life in the country when work is pau – with informal music, food and everybody’s favorite: bingo. Suggested donation: $5/Adults; $3/Seniors; Free with an Instrument! Kaukau and nonalcoholic beverages available. Dress warmly. Saturday, January 14, 5-8 p.m. 2nd “Paniolo Talk Story” at Pukalani Stables with Ku’ulei Keakealani and guests sharing memories about favorite Paniolo Grinds. Non-alcoholic beverages, cocoa and crackers and warm foods available. Dress warmly. $5 donation suggested and membership welcome.
Wednesday, February 29 (leap day), 5-10 p.m. at Waikoloa Beach Marriott Resort and Spa. PPS Inaugural “Sadie Hawkins Day Shotgun Wedding Ball” -- a fundraiser and silent auction for the Paniolo Heritage Center. Ticket information available soon. Saturday, March 2, 4-7 p.m. “First Fridays Paniolo Kanikapila Jam!” at Pukalani Stables. Saturday, March 17, 5-8 p.m. “Paniolo Talk Story” at Pukalani Stables with Ku’ulei Keakealani and guests celebrating Hawai‘i’s most famous paniolo, Ikua Purdy, of Hawaiian-Irish descent, on St. Patrick’s Day! For more information on any of these events, contact Paniolo Heritage Center at Pukalani Stables: Phone 808.541.8541, E-mail: email@example.com, Website: www.paniolopreservation.org
Saturday, January 21, 5:30 p.m. Inaugural “Silver Spur Lifetime Achievement Awards” at Pukalani Stables, recognizing eight extraordinary paniolo who have dedicated themselves to mentoring the next generation. Will include a delicious paniolo pa‘ina (feast). Advance reservations required. Ticket information available soon. Dress warmly.
Saturday, February 19. An Escorted Trail Ride, exploring the historically significant Waimea field system. An all-day group ride revealing extraordinary pre-contact sites and features as documented by historian Abraham Fornander in the mid 1800s, renowned Hawaiian historian Marion Kelly in the early 1970s, and more recently, by Ross Cordy in his respected book, Exhalted Sits the Chief. Escorts to include Dr. Peter Mills, Dr. Billy Bergin and Freddy Rice. Concludes with a BBQ at Pukalani Stables. For serious riders only. Bring your own mount or arrange a rental. Ticket information available soon. Part of PPS’ bit, spur and saddle collection – Photo by Catherine Tarleton
2011 Hawai‘i Cattlemen’s Council Paniolo Hall of Fame Inductees A. Hartwell Carter 1896-1985, Parker Ranch, Hawai‘i Naluahine Kaopua 1857-1961, Thomas White Ranch, Wall Ranch, Hawai‘i Richard K.P. Smart 1913-1992, Parker Ranch, Hawai‘i Donald G. DeSilva Parker Ranch, Hawai‘i Clarence Medeiros Sr. Magoon Ranch, CM Ranch, Hawai‘i Gary J. Rapozo Parker Ranch, Hawai‘i Harry “Pono” von Holt Ponoholo Ranch, Hawai‘i Louis von Tempsky 1859-1922, Ulupalakua Ranch and Haleakala Ranch, Maui Dee B. Gibson 1919-1991, Koko Head Dairy-Oahu, Wailua Ranch, Kauai, Saddle City,-O‘ahu Peter Kama Sr. 1919-1985, Kahua Ranch, O‘ahu Link: www.HICattle.org
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Saturday, February 4, 8 a.m.-2 p.m. PPS celebrates our Paniolo Kepani, Japanese cowboys, for the 16th Annual Waimea Cherry Blossom Heritage Festival. Come to Pukalani Stables for a cowboy breakfast from 8-11 a.m. and talk story with Dr. Billy Bergin, Leilani Hino and friends, plus enjoy a fascinating exhibit of Waimea’s Japanese cowboys, including a story about how the Emperor of Japan bought a horse from Parker Ranch’s Pukalani Stables. Pukalani will be on the free shuttle bus route around town that day. Free admission to the stables though donations are welcome; fee for cowboy breakfast.
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Hawi North Kohala Come for the Day or Stay and Play for the Weekend! Looking for a way to experience a taste of Old Hawaii? Come visit beautiful, green, historic North Kohala. Hawi and Kapa’au, once sugar plantation towns, offer a delightful array of small shops, eateries, and wonderful art galleries!
take home memories that you’ll treasure from your time here at the “end of the trail.” It’s just a short drive and a great day trip from any of the resorts on the Kohala Coast. Let this be your island getaway!
Stroll down our historic mainstreet and browse the shops, listen to live music, and see the famous statue of King Kamehameha. Relax your pace, let go of your worries, and
We look forward to your visit and welcome you to our community.
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JANUARY/FEBRUARY 2012 | www.KeOlaMagazine.com | 39
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A traditional lei and ‘ūli‘ūli, a feather-decorated rattle used by hula dancers, made by Laura Marable. Photo by Noel Morata
and pheasant feathers are also utilized for natural colored and patterned feathers. One of the most respected experts of feather work on Hawai‘i island is Aunty Doreen Henderson, who founded the Lei Hulu Halau of Hilo (lei school). This halau has a genealogy that includes Aunty Mary Lou Kekuewa and Paulette Kahalepuna, better known as the “Feather Ladies of Kapahulu,” the main proponents of perpetuating this art in Hawai‘i. “I have taught at the community center for over five years and in other places for over 30 A re-enacted battle scene at Pu‘ukoholā years, and I Heiau, including a helmet and kāhili in want to share feather work – Photo by Noel Morata this knowledge with everyone that is interested in learning,” says Aunty Doreen. She currently offers free classes to seniors over 55 at the Kea’au Community Center every Wednesday morning, and they are filled with many new students and graduates of her credentialed
❁Continued on page 42
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arly Hawaiians believed that birds had symbolic spiritual power and their feathers carried magical properties, including keen eyesight, endurance and speed. These qualities would add to the value of garments utilizing feathers, which were created specifically for chiefly rank and status. When the early Polynesian settlers came to Hawai‘i, they brought with them the knowledge and craft of feather work. Widely recognized throughout the Pacific as masters of the craft, Hawaiians produced the most advanced feather work. Exquisite feather capes, helmets, feather lei and other garments were used primarily by the ali’i (the chiefs and nobility) of ancient times. The ahu’ula—Hawaiian feather capes—became a sacred symbol of power to the ali’i. Large feathers were also used for royal standards or kāhili, a tall, feather-topped staff used by the ali’i to symbolize status, royalty and lineage. A great majority of the feathers were collected from endemic birds such as the Hawaiian honeycreepers found throughout the Islands. Collecting feathers was left to experienced feather gatherers called po’e hahai manu. The process of collecting was quite elaborate and time-consuming—it could last decades and even generations. These collectors spent long months in forest habitats, catching their elusive prey with fiber nets and nooses. Breadfruit tree sap was glued to various tree limbs that the most desirable birds were known to frequent. Only a few treasured feathers could be gathered from the wings, neck and tail of the gold yellow mamo bird and the pale yellow ‘ō’ō bird. The ‘i’iwi and ‘apapane honeycreepers were sought for their red feathers, and because they were more plentiful at the time, they were usually killed and eaten. All these prized birds, once abundant in Hawai‘i, are now more uncommon. While the scarlet ‘apapane is not endangered, it is a protected species with only 3,000 left in secluded areas of Hawai’i. The crimson-colored ‘i’iwi is considered a vulnerable species. Both the ō’ō and mamo are now extinct.
Creating the garments and other adornments required thousands of feathers. One cape alone used more than 60,000 feathers. An intricate mesh backing was made and the feathers adhered to this mesh with natural olona fibers. Striking designs of geometric patterns were created utilizing mostly the yellow and red feathers, which were symbolic of nobility and royalty. The designs were carefully considered and chosen to convey symbols of the garment wearer’s lineage or clan, as well as his ‘aumakua or spiritual connections to the universe. Today, artisans are continuing to practice Hawaiian-style feather craft. Goose feathers are dyed to resemble the colors of the original native birds, and gathering feathers is easily accomplished by purchasing them at a variety of online sites that specialize in selling feathers from every type of bird imaginable. The common goose feather can be dyed into the popular red and yellow colors symbolic of Hawaiian ali’i. Turkey
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❁Continued from page 41 program. Her full curriculum entails making over 13 traditional lei and adornments, which can take an average of two years or more to complete. The center is Ancient feather capes or ahu’ula on busy and full display at Bishop Museum in Honolulu. of friendly – Photo by Laura Marable faces sharing their aloha and enjoying time together while creating beautiful pieces of feather work. Many from Aunty Doreen’s halau participate in community outreach demonstrations for the cruise ships, Imiloa Center, Lei Day at the Lyman Museum and various senior group programs. Laura Marable, one of Aunty Doreen’s students, has taken on the craft as a way of making a supplementary income. She also teaches to perpetuate this craft and sells her work at various local shows including the Merrie Monarch festival and teaches an introductory two-day class in the Puna district. “I took an intensive, credentialed class in feather working through Aunty Doreen,” says Laura. Aunty Doreen Henderson demonstrates for a “Since she student. – Photo courtesy of Doreen Henderson gave a more traditional approach to learning feather craft, all her classes focused on traditional costuming and approaches to the craft. In my class, since they are shorter projects, I let my students decide if they would like to make the lei kamoe, the lei poepoe, or for the more adventurous students, the hat band or humu papa.” The lei wili poepoe is made with the feathers standing up for a more fluffy effect, and the lei kamoe is made with the feathers laid flat on top of each other, creating a smooth, velvety texture. The best part of learning a new craft like feather work is that you pick up a lot of knowledge and history about the early Hawaiians, their culture and lifestyle. Although ancient Hawaiians reserved the use of feathers for their ali’i, today feather work is available to the general public. Once utilized to show rank, lineage and status, they are used in modern times primarily for decorative purposes and creating a unique identity for each wearer.
“Feathers have recently become very popular and are turning into one of the hottest fashions trends of the year,” says Laura. Today you can see trendy feather details in hair extensions, fashionable feather earrings, necklaces and other accessories. Feathers are even being woven into clothing and shoes, creating fun and quirky details on these garments. The increase and visibility of feathers in Laura Marable with several lei poepoe clothing and – Photo by Noel Morata accessories has, in turn, created more interest in Hawaiian feather work, both in learning to make the various ornaments and in finding feather art you can purchase directly from a crafter. ❖ Contact writer Noel Morata at firstname.lastname@example.org.
Read more in the book, Feather Lei As An Art by Auntie Mary Louise Kekuewa and Paulette Kahalepuna, published by Mutual Publishing, LLC Take a class or the credentialed program with Aunty Doreen Henderson at the Kea’au Community Center every Wednesday morning. For more details, contact her directly at 808.982.5571.
A feather lei hatband in the lei kamoe style. – Photo by Noel Morata
Laura Marable’s classes in feather craft are offered regularly in the Puna area. Contact her at email@example.com. For feathers: www.hawaiianfeathers.com
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Resources: Learn more about feather making and the history of this craft by visiting www.hawaiiforvisitors.com/about/ featherwork.htm
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Creations by Keiko
Tiles by Scarlet
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Founding member of Ka Hui Apano O‘Waimea, 87-year-old Violet Okatani, right, with fellow quilt club member Lorane Elliott and her colorful piece-work quilt. -Photo by Margaret Kearns
Ka Hui Apano O‘Waimea, the oldest quilt club in the state of Hawai‘i (founded in 1972), is one of five formal clubs dedicated solely to Hawaiian quilting on Hawai‘i Island with locations stretching from Volcano Village to Waimea. Currently, Ka Hui Apano O‘Waimea is comprised of 45 members with 20 or so actively attending monthly meetings held the last Saturday of the month at St. James Episcopal Church in Waimea. Members bring quilts in progress, share ideas and talk story from 9 a.m. to noon. Kubo, who served as president for nearly two decades (“Most of the ‘80s and ‘90s,” she recalls), joined Ka Hui Apano O‘Waimea in 1976 and says that one of the group’s objectives—and indeed, its biggest challenge—is perpetuating the art of Hawaiian quilting by encouraging more young people to get involved. “Most of us are retired with time to devote to quilting; we need more young people to keep it going. About five to 10 years ago we enjoyed a swell of strong interest in the art of Hawaiian quilting, but now it’s waned again; it seems to come in waves,” Kubo
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Edna Pavia, a Ka Hui Apano O‘Waimea quilt club member since 2002, shows off her queen-sized Hawaiian quilt featuring the flowers of Hawai‘i. -Photo by Margaret Kearns
cattered around Hawai‘i Island, small groups of women— and a handful of men—are using passion and knowledge, skill and patience, hands and hearts to save what they say is a dying art. Hawaiian quilting is literally a labor of love with deep roots in the culture of these islands. Created completely by hand, often with many hands contributing to the effort, Hawaiian appliqué quilts are rarely found for sale, since most are gifted to family and friends, and then handed down from generation to generation, according to Kathy Tanaka, member and spokesperson for Ka Hui Apano O‘Waimea quilt club in Kamuela. “Most of Hawai‘i’s master quilters have been practicing their art from childhood, a skill learned at the hips of their mothers and grandmothers who patiently and lovingly shared their knowledge of the craft and wisdom on how to—and how not to—work on a quilt,” Tanaka says. One of Ka Hui Apano O‘Waimea’s founding members, 92-year-old Stella Akana, is among the kūpuna in the group who advise those new to quilting: “Always quilt with good thoughts. If you are angry or agitated about something, put it down,” a sentiment that is based in Hawai‘i cultural traditions and the belief that what you do should be done from the heart with aloha. Only then is it pono (in perfect balance and harmony, proper, righteous, good). “Stella’s work is absolutely perfect from the patterns to the stitching,” Tanaka says. “She continues to be extremely active and creates large quilts (queen and king sized) in half the time it takes most of us,” she adds. And time is exactly where patience comes in! To create the larger, queen and king sized quilts requires a minimum commitment of two years and often up to five years, depending on how much time you spend on the project each day, according to one of the group’s long-time members and past presidents, Irene Kubo.
Princess Ruth’s bedroom in Hulihe‘e Palace in Kona features an heirloom quilt in the pattern “Kāhili.” Photo by Fern Gavelek/ Courtesy Daughters of Hawai‘i
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❁Continued from page 45 says. “It’s not only the beauty of the art, but the camaraderie we all enjoy that we want to share and perpetuate—not to mention quilting is the best and cheapest therapy there is,” she quips. An encouraging sign: the club’s current president Cyndy Martinez oversees monthly meetings with both daughter and granddaughter at her side. In addition to family recruits, the club generates new interest by its Hawaiian Quilt Show held every other February (on the last Saturday of the month) at Kahilu Hall in Waimea. The next club show takes place in 2013, according to member Mary Hinck, as this February, 2012, the group is joining forces with all North Hawai‘i quilting clubs to present The Festival of Quilts, featuring quilts of various styles and techniques. The one-day show, she says, will take place in conjunction with the annual Cherry Blossom Festival in Waimea on Saturday, February 4, from 10 a.m. to 2 p.m. While most of the quilts will be on display only, a small number will most likely be offered for sale, as well, Hinck says. Clubs presenting their work are the Sew N Sews of Waikoloa, Anuenue Quilters of North Hawai‘i, Mauna Kea Quilters, Laulima O Hamakua, Sew Fun After School Program and Ka Hui Kapa Apana O‘Waimea.
History of Hawaiian Quilting
Traditional ancient Hawaiian bedcoverings were made of kapa, a cloth made from the inner bark of native trees. Strips of this bark were beaten and felted together to make a smooth cloth that was soft to the skin. Kapa moe was kapa made into a bedcovering. Kapa moe was made in layers similar to today’s Hawaiian quilt, which emerged in the 1800s. The layers of Kapa moe were connected only at one end so individuals could adjust the number of layers required, depending on the temperature outside. Often the kapa was scented with fragrances made from native flowers, and the top sheet of kapa was dyed and stamped with an overall graphic design. Some quilts suggest the traditional Hawaiian appliqué designs found in kapa moe, but the kapa designs were geometric as compared to the flowing designs of Hawaiian appliqué quilts emerging over the past two centuries. It was following the arrival of the first New England missionaries to the islands that native Hawaiians began to use fabric.
The missionary women taught them the fine art of needlework through their patchwork quilts which were made from scraps of fabric—an early American tradition. It did not make sense to the Hawaiians, who had no scraps, to cut up bolts of fabric into little pieces and sew them back together. A popular story says a breadfruit pattern was the first truly Hawaiian quilt design, and it remains the “trademark” design of a Hawaiian quilt. Some Hawaiian women laid some fabric on the grass to dry, the story says, when they noticed the leafy shadow cast upon it from the branches of the breadfruit tree overhead. A Hawaiian woman went to the fabric and cut out the pattern, then laid it onto another fabric and stitched it, thus the birth of the first Hawaiian quilt—an appliqué quilt, as opposed to patchwork. From there, many designs based on plants and flowers were created by the talented Hawaiians, who caught on quickly to the process. Now, in Hawaiian tradition, you should start with a breadfruit design and you will have a fruitful life, never hungering for wisdom or knowledge. This tradition of starting with the breadfruit is a very spiritual journey and will ensure that Hawaiian quilting becomes a part of your life. Today’s quilters like to flock together in groups. The first club, Ka Hui Kapa Apana O‘Waimea, was formed on July 29, 1972. With
The Festival of Quilts, this February, will feature a special quilt commemorating the role Aloha Airlines has played in Hawaiian life. Designed by Marilyn Henderson, the quilt was made by long-time Ka Hui Apano O‘Waimea member Dorothy Badua. -Photo by Margaret Kearns
a State Foundation on Culture and the Arts Hawaiian Cultural Studies grant, the Hawaiian Civic Club of Waimea initiated a two-year workshop studies program on Hawaiian Quilting. The evident widespread interest in Hawaiian quilting encouraged those involved to continue by creating an organization devoted exclusively to Hawaiian quilting. Ka Hui Kapa Apana O‘Waimea was founded as a non-profit organization with two essential objectives: to gather members of mutual interest in friendly fellowship and to preserve, perpetuate and encourage the art and
❁Continued on page 49
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2011 Best of Show: Large Segmented Vessel by Gregg Smith
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Join us for the th
Annual Hawai‘i Wood Guild Exhibit
January 24—February 25, 2012
at I s a a c s a r t c e n t e r in Waimea 65-1268 Kawaihae Road, Kamuela (Waimea), HI 96743
Free Exhibit Open: Tues.—Sat. from 10 AM to 5 PM Meet the Artists Opening Reception: January 21, 2012 at 5 PM
For more info & directions, visit www.HawaiiWoodGuild.com All entries are available for purchase. Sponsored by the Hawai‘i Wood Guild, Isaacs Art Center, and the Hawai‘i Forest Industry Association.
Find a club near you on Hawai‘i Island and find locations to view year-round displays of this treasured Hawaiian art form in the listings that follow: Hulihe’e Palace in Kailua-Kona. 75-5718 Ali‘i Drive. Open TuesdaySaturday, 10:30 a.m. to 3 p.m. Closed major holidays. The summer palace for Hawaiian Royals, original furnishings and artwork are on display. For more information visit: Hulihe ‘e Palace. Lyman Museum & Mission House in Hilo. 276 Haili Street. Open Monday-Saturday, 10 a.m. to 4:30 p.m. Closed major holidays. Featuring numerous examples of traditional Hawaiian art and furnishings, including Hawaiian quilts. For more information visit: Lyman Musuem.
Years of precise, careful – and heartfelt – hand work go into creating a bed-sized Hawaiian applique quilt -Photo by Margaret Kearns
❁Continued from page 47
Contact writer Margaret Kearns at email@example.com. Former club president and long-time member Dorothy Badua explains the basic components of a Hawaiian quilt: the cover and backing with batting sandwiched between the two. The most important ingredient? Loving hands and patience. -Photo by Margaret Kearns
Ka Hui Apano O ‘Waimea. Members meet at 9 a.m. on the last Saturday of the month (except November and December when they meet on Wednesday) in St. James Circle at St. James Episcopal Church, Waimea. For more information, phone: 775.0765 or email: firstname.lastname@example.org. Mauna Kea Quilters’ Guild. Established in 1977, the group meets the second Saturday of each month (except November and December) from 9:30 a.m. to noon in the Thelma Parker Memorial Library meeting room, Waimea. For more information, phone: 937.2159. Tutu’s House. A non-profit community center in the Kamuela Business Center, 64-1032 Mamalahoa Highway, Waimea. Offering numerous classes and presentations, the Tutu’s Quilters class meets each Monday at 9:30 a.m. For more information, phone: 885.6777 or email: email@example.com. Volcano Quilt Guild. Located in Volcano Village, this small group meets at 6 p.m. on the first and third Wednesday of each month. For more information, phone 967.8080. Hawaii Island Quilt Supplies (Some retailers listed below offer classes, as well. Contact them directly for details): Dragon Mama, 622 Kamehameha Avenue, Hilo, 934.9081. Specializing in Japanese fabrics and kimonos. Fabric Gift Shoppe in Kona Old Industrial Area, 74-5599 Luhia St Unit D-5. 329.8177. Great selection of fabric, notions and patterns Kilauea Kreations, Volcano Village, 967.8090, and Kilauea Kreations II, 680 Manono Street, Hilo, 967-8090. Featuring Hawaiian prints, batiks, and Moda hand-dyed fabrics. Kimura’s Fabrics on Highway 11 in Kainaliu Village, 322.3771. Kimura’s stocks a huge selection of fabrics as well as notions, craft supplies and Hawaiian quilt kits. Quilt Passions, Kailua-Kona, in King Kamehameha Mall. Offers classes for adults and keiki (call for times). Open Mon-Fri 10 - 5; Sat. 10 - 4 329.7475 www.quiltpassions.net Top Stitch, 64-1067 Mamalahoa Highway, Kamuela, 885.4482. A small shop with many supplies for both Hawaiian and American quilting styles. They sell fabrics, notions and gadgetry for the quilter and carry an extensive inventory of Hawaiian appliqué pattern books, Hawaiian quilt block patterns and Hawaiian quilt pillow kits.
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culture of Hawai‘i in the field of Hawaiian quilting. To accomplish these objectives, the organization developed a system for its members to share their Hawaiian quilt expertise and knowledge. Through generous cooperation, members contribute Hawaiian quilt patterns to a collection file that the organization maintains and makes accessible for use by all members. Over the years, this process established a large pattern library that forms the foundational structure for continual instruction. The group participates in numerous community festivals each year, Badua says, offering free classes and small samples to festival-goers. In addition to these annual festivals, they take the art of Hawaiian quilting into classrooms at local schools and to various clubs and organizations on the island. “Whenever and wherever we have an opportunity to teach, we do it,” says Badua, who took over the leadership reins from Kubo in 2000, holding them through 2010, when Martinez stepped in. Teaching is one of the best ways to spread awareness and appreciation for this Hawaiian art form, she says. ❖
Aloha Quilters of Kona. This club meets at Wallace Hall in the Christ Episcopal Church, Konawaena, on the third Saturday of each month (except November and December). For more information, contact: firstname.lastname@example.org.
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www.bamboonursery.com • 885-4968 email@example.com
Call “Auntie Geri”
OF THE LAND
Lau or Lū’au ~ Leaf
Turning over a new leaf this magical year of 2012? Think of making that a taro leaf. For a taste of the divine, simmer it into a soothing soup with coconut cream and garlic, or place cooked taro corms into a Manapua for a savory new delight. The word, lū‘au, in Hawaiian, is the name of the top of the taro (kalo) plant, the leaves, or a dish made from them. Because it’s often served at feasts, the name became commonly used for the feast—lū‘au. Taro’s heart-shaped leaves and plump bodies have a magical past we don’t often associate with a simple herbaceous plant. Legend says that taro is the elder brother of humans. Two siblings in harmony, taro and us. Nature feeds and sustains humanity. We, in turn, cultivate and care for nature. Easy. Natural. Nutritious. The mainstay of the healthy Hawaiian diet since Polynesian voyagers brought living taro starts to these shores in canoes 1,700 years ago, taro does more than nourish the people—it can save lives, nurture aloha and form a foundation for present and future food security. In 1991, taro ascended to a kind of rock-star status among doctors and scientists as a weight-loss miracle after 19 women lost 17 pounds in 21 days on the Wai’anae Hawaiian diet. (See sidebar.) But Hawaiians have always known taro’s allure.
Makua ~ Corm, Parent
“There’s much much more to it than just putting food on your table,” says Uncle Jerry Konanui, the eighth-generation taro farmer and proponent who knows as much about taro-culture as anyone alive today. “Eating well is the result of good practice, hard work, and knowing what to do. It is also about tuning in. You have to know your environment, your ‘āina, the climate, the seasons and you have to know what surrounds you both near and afar.” Whether you are a farmer feeling the mud between your toes as you nurture the taro in lo’i—taro patches similar to rice paddies—or neighbors at a pā’ina (potluck), the ‘ohana is at the heart of taro cultivation and preparation.
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Wet-land taro, growing in a waterfilled lo‘i or taro patch –Photo by Karen Valentine
We are a “culture of sharing,” says Jerry, recalling his earliest memory of “waking up in my grandma’s taro patch. She babysat me and I would be sleeping on a raised platform in the field, lauhala mat for a bed, a roof for shade from the sun and protection from rain.” Surrounded by the sounds of rain in water-catching metal drums, he would awaken, see her weeding and call out to her. Then she would feed the child with nutritious poi, as Hawaiians have done for centuries. Taro, the elder brother in Hawaiian legend, came from the first-born child of Wākea, the sky father, and Ho’ohokukalani, the daughter of Papa, the Earth, but it was stillborn. Where Wākea buried the child, a plant sprang up. It was named Hāloa-Nakalaukapalili—long stalk with leaves quivering—the first taro plant. The second-born of Wākea and Ho’ohokukalani was called Hāloa, whose kuleana (responsibility) was to care for his elder brother, taro—Hāloa-Nakalaukapalili. As a human, he is considered the progenitor of all peoples of the Earth, and taro is our elder brother. The word Hāloa, meaning long stem, represents the long stem of the taro plant, the symbolic stalk connecting human and divine. Hā—breath of life— and loa—long —make Hāloa—long life. Reflecting family relationships, the taro plant is described in metaphorical Hawaiian words that imbue a sense of ‘ohana throughout taro growing, preparation and eating, a comforting sense of the continuum of love and slow, steady nourishment. “It’s called breaking bread together—‘ai pono,” says Jerry. “Instead of dropping the kids off for some McNuggets, when a family grows, prepares and eats their own food together, the root-stalk of the group grows strong.”
Terrific Taro Recipes: Comfort Food for the Future
Like giant potatoes, a taro is a dense, starchy tuber with brown skin, but inside the taro’s flesh may be white, pink, yellow, cream or purple. A good-quality taro corm will be firm and dense, but a word of caution: taro corms and leaves contain calcium oxalate crystals which can irritate the mouth, throat and skin. Wear gloves when handling raw taro. Cooking thoroughly inactivates the stinging crystals. Taro, when served, can have a creamy consistency with the rich taste of a comfort food, as you’ll find with these simple recipes.
Makes about 2 cups
2 large taro corms Coconut oil for deep-frying Sea salt
Scrub raw taro corms (wearing gloves) and boil in water to cover for 40 minutes or until fork-tender, but not mushy. Cool, peel, and chill thoroughly. Slice into paper thin slices. Deep fry in oil heated to 380o F. Drain on paper towels and salt generously. Eat while hot or freeze for later use.
Coconut Taro Curry
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Serves 4 – 6
3 T. coconut oil 1 t. black or brown mustard seeds 1 tsp. garlic, crushed ¼ t. ground chili pepper 1 medium yellow onion, chopped 2 t. fresh or ground ginger root 2 t. fresh or ground turmeric 1 t. ground coriander ½ t. ground cardamom 2 taro, chopped 1 can of coconut milk (13.5 oz.) 1 t. sea salt Photo by Na Maka O 2 T. maple syrup or ¼ cup apple juice Ka ‘Āina 1 T. lemon juice Optional: ½ t. curry powder and/or 1 - 2 T. Patak’s Curry Paste (mild, medium or hot)
1. Steam taro for 40 minutes. Cool enough to peel. Set aside. 2. Heat oil in large pot or frypan. 3. Add the mustard seeds and cook them until they begin to pop. 4. Stir in garlic, chili, onion, ginger, turmeric, coriander and cardamom (OR in lieu of individual spices, timesavers can use 1 – 2T. of Patak’s Curry Paste). 5. Add cooked, chopped taro. 6. Put a lid on the pan and steam for a few minutes until the vegetables are tender. 7. Add coconut milk, lemon juice, maple syrup or apple juice and salt. 8. Let simmer a few minutes until flavors merge and serve by itself or over brown rice or quinoa. Contact writer at Marya@loomoflove.com University of Hawaii recipes www.hawaii.edu/hga/Lessons/maui98/TARO/trecip.htm Polynesian Cultural Center Recipes www.hawaiiforvisitors.com/ recipes/ pcc-taro-rolls.htm
❁Continued from page 51 The taro huli planted in the ground is the makua, parent or ancestor, the stable foundation of the family. From the makua sprout ‘oha—offshoots, keiki, children of the mākua. Many keiki forming together with the mākua become ‘ohana. Concerned for the fate of taro, Hāloa, long stem of humankind, regional taro farmers have united with Jerry to form another kind of ‘ohana, ‘Onipa’a Na Hui Kalo, whose mission is to maintain the purity of taro. Many among Jerry shares his mana’o at the 2011 them credit Jerry with Grow Hawaiian Festival at Amy B.H. being the “real deal, a Greenwell Ethnobotanical Garden. Superman,” a one-of-aPhoto by Craig Elevitch kind resource who has travelled the world to help save this mighty Hawaiian elder brother taro from becoming a “Frankenstein food,” an unnatural version of itself.
‘Ohā – Offshoot, Keiki or Child
In the last several decades, global companies like Dow AgroSciences, Monsanto, Syngenta Seeds Inc. and Dupont’s Pioneer, have moved into Hawai’i with “transgenic” crops which modify the genetic code of plants. With little public discussion, Hawai‘i became a world leader in open field testing of genetically modified organisms (GMOs), and no one knows what the long-term effects may be. Nancy Redfeather of the Kohala Center recalls that in 2002, she and a group of Kona women, mothers and organic farmers decided to take on the GMO issue in Hawai’i. Studies had already started to show what’s been proven a decade later: that NO level of GMO is safe for human consumption. She feared that genetically engineered foods would devastate the food chain. “We looked around for Hawaiians to join us,” says Redfeather. “The issue of seed sovereignty seemed like a natural fit for Hawaiian farmers. Jerry seemed like a likely candidate but at the time he was working with University of Hawai‘i Manoa (UHM), and was supportive of this new technology. His hippy friends had been telling him about this (GMOs), but he was not convinced that there was a problem.” When asked to take a stand on GMO from friends on both sides of the issue, Jerry said, “I can’t, I don’t know what is wrong with GMO, I need to know more.” His plea for help was answered by an invitation to attend a New Mexico gathering of indigenous peoples, where GMO effects on human and ecosystem health were at the forefront. Jerry learned that unpredictable biotech methods could lead to toxic carcinogens. Rats fed GM potatoes had pre-cancerous cell growth and gastric problems. Jerry couldn’t believe it. A perfectly good, natural, life-saving edible corm was being sacrificed for a monstrous Franken-foods experiment in genetic modification that would diminish the
spectrum of more than 300 varieties of taro grown here in Hawai‘i. Impossible! Not satisfied with that one conference, Jerry attended Terra Madre, the Mother Earth Conference, sponsored by the Italian Government, an event held every two years. Five thousand people and experts from 150 countries convened to acknowledge that global GMO technologies give corporations control over our food production. Jerry became convinced that genetic uniformity restricts a species’ natural ability to evolve. Once you freeze its evolution, it’s a sitting duck for pests. Thus, monocultures need corporate chemicals to protect them. Toxic chemicals have lethal impacts on health, culture and land, but worst of all, GMOs give ownership of food and life forms to corporations. GMO taro would mean that corporations could own HāloaNakalaukapalili, the Hawaiians’ elder brother. The Hawaiian worldview of balanced, cyclical systems and a culture based on ‘ohana was the antithesis of the corporate ownership and narrowing of genetic possibility. “He called his friends at UHM and University of Hawai‘i Hilo and told them that he would be traveling in another direction from now on,” says Redfeather. “That was the beginning of the bridge that was built between the Hawaiians, the farmers, and all the concerned citizens of Hawai’i.” Through peaceful means, he shifted himself from being an eighth-generation kanaka maoli farmer in favor of GMOs to becoming a voice for sustainable agriculture around the world, a defender of our future food sources from biotech abuse. Truly, elder brother is his kuleana.
Huluhulu – Roots
Hā – Stem
Inspired by hard work and staying true to his principles, Jerry’s wisdom has attracted apprentices and students like Noa Kekuewa Lincoln, a Stanford University scholar who works at the Amy Greenwell Ethnobotanical Garden. “I was born and raised in Hawai‘i, by a moderately but not staunchly Hawaiian family,” he explains. “I was just always too haole....too white, too smart, too sober, too whatever to fit in properly. This continued through my time at Kamehameha
Pua – Flower
The events, campaigns, and tireless teaching by Jerry and his wife Gladys, at taro festivals, public presentations and talks across the state, fueled understanding about the dangers of genetic alteration of plants and foods. Still, the battle took seven years. In the end, the Hawai‘i County Council passed a No-GMO Taro/Coffee Moratorium. Maui County soon followed Hawai’i Island’s lead by banning GMO experimentation on taro. Supporters argued that taro, a sacred plant and staple food for Native Hawaiians, should be kept secure in its natural and pure form. But the Hawai’i State Legislature refused to ban GMOs altogether or even to tighten restrictions. In 2008, they did establish the Taro Security and Purity Task Force. The Office of Hawaiian Affairs funded the Task Force for two years to gather input, concerns and potential solutions from taro-growing communities on all islands. The 108–page report entitled “E ola hou ke kalo; ho’i hou ka ‘āina lē’ia” - “The taro lives; abundance returns to the land,” distills the collected wisdom of taro farmers, agencies and UH
❁Continued on page 55
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Sprouting wild along tropical riverbanks or planted in terraced fields, taro grows easily in dry or wet soil in 65 countries. Taro was at the center of Old Hawaiian culture, fostering the aloha lifestyle, its seasonal rhythms, the cycles of planting and harvesting and an understanding of natural laws through a sophisticated system of succession planting. Farmers from Puna and Ka‘u have names for seven generations of taro produced from one planted huli, the makua. “Kalo (the Hawaiian word for taro) is the center of my universe,” says Jerry, “where every facet of life is revealed and practiced, where our Hawaiian values lay within. Many look at a mahi’ ai or a hula dancer and say that’s all they are, but the true fact of the matter is, whatever the practice is, it contains all the components of the universe. “You have to be everything in order to succeed in it and that means a multi-disciplinary scientist, a naturalist, an environmentalist. As well, you have to know yourself completely so that you can embrace your immediate surroundings as well as the afar surroundings that you cannot see. You have to know, it was how our ancestors survived.”
[School], and when I returned from college on the East Coast the feeling changed from being misunderstood to being downright ostracized.” Trying to find his place in a changing Hawaiian culture that seemed to reject him, he began working for the Greenwell Garden, immersing himself in Hawaiian plants for consolation. That’s where he saw Jerry’s impassioned workshops on kalo and slowly came to know him. The Jerry-moment that changed his life and world view was at Pu’ukoholā, where the taro-master had helped install a small mala (dryland garden). “Jerry was his usual jovial self, and the ensuing discussion . . . was interesting and inspiring, but nothing out of the ordinary to me. Then it happened. Lo and behold, this Hawaiian kalo farmer, this respected kupuna, this keeper of Hawaiian knowledge whips out a pair of reading glasses and begins to take detailed measurements and notes on the sweet potatoes growing there.” Jerry meticulously measured hundreds of leaves and stems, recording details from direct experience, in the classic scientific method. In that moment Noa realized that, despite resistance from the different cultures, his local peers and others, “there is not only a need, but a true desire to understand more. This moment went far in providing me with a certain confidence,” he adds. “He (Jerry) was just one of those people that everyone pointed to as a source for knowledge,” says Kawika Winter, now Director of the Kaua‘i Limahuli Garden and Preserve, who was a UH student at the time he met Uncle Jerry 10 years ago. “For the vast majority of us . . .who had dedicated their lives to reawakening Hawaiian traditions, there existed a generational disconnect—a break in the line of traditions on one level or another (and sometimes several). But here Photo by Na Maka O Ka ‘Āina was a man, a young Hawaiian-elder, who lived it, who learned it straight from his elders—one of the last.”
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❁Continued from page 53 representatives. Until 2008, it was precisely this local perspective which had been missing from the table, according to the Task Force Executive Summary. While letting a field go fallow may be a useful agricultural strategy, lying fallow politically when corporations are moving to bio-engineer essential food sources is not enough. Monsanto Jerry identifies unusual taro varieties and other companies brought by the public to the 2008 have thousands of HaGrow Hawaiian Festival at Amy B.H. waiian acres planted Greenwell Ethnobotanical Garden. in genetically modiPhoto by Craig Elevitch fied crops. A bee or butterfly doesn’t seem to know the difference between GMO and non-GMO plants, and farmers and activists are worried because genetically modified crops crossbreed with organic crops.
Mōhala or ‘Ao lū’au – New Leaf Rolled Inside Groove of Youngest Leaf.
Piko - Where Stem or Hā Joins Lau
Taro, kalo, dasheen, eddoe, elephant’s ear, arvi leaves, West Indian kale, Colocasia esculenta—in any language, taro remains the star of the Pacific Rim. Generations of humanity have feasted on it, rested on its broad purple chest. Thriving in māla (field) and lo’i, quivering with heart-shaped leaves, taro might be our life raft, in the future as it was in the past. ❖ In a botanical version of Noah’s Ark, taro has no match. Contact Writer Marya Mann at firstname.lastname@example.org RESOURCES Hawai‘i Cooks with Taro by Marcia Zina Mager with Dr. Alvin S. Huang and Recipes edited by Muriel Miura, CFCS (Mutual Publishing, LLC, 2006) Find some entrées and desserts mentioned in this story here. The Wai’anae Book of Hawaiian Health: The Program Manual by (The Wai’anae Coast Comprehensive Health Center, 1993. Facing Hawai‘i’s Future: Harvesting Essential Information about GMO’s, (Hawai’i Seed, 2006) Co-written by Nancy Redfeather and Elisha Goodman, among others. Available at www.hawaiiseed.org
Wai’anae Study Showed Poi Saves Lives By Marya Mann In Hawai’i today, childhood obesity rates are twice the national average, but when Captain Cook arrived, the Hawaiians were thin and strong, powerful, graceful and healthy. They were possibly the healthiest race on earth. For centuries, taro provided a nutritious staple food for Hawaiians; cooked taro mixed with water, pounded into a taro paste and fermented, called “poi,” offered something else, a miracle medicine, a superfood. Vigorous, thin, muscular, Hawaiians’ exceptional health may be the result of poi, which is slightly tart to the taste and has the consistency of molasses. While taro boiled or baked and eaten like a vegetable is an excellent source of fiber, vitamins A, C and E, potassium, magnesium, and folate, poi is therapeutic, with alkaline-forming elements that are hypoallergenic, easily digested and capable of reversing colon cancer. In the days of Old Hawai’i, a person might consume up to five pounds of poi per day, together with taro, ‘ulu (breadfruit), ‘uala (sweet potato), uhi (yam), seaweed and other mana-filled foods, made a well-balanced diet. With the onslaught of processed convenience foods, many Hawaiians disconnected from the land and became susceptible to modern diseases. The Wai’anae Coast Comprehensive Health Center found that “diet-related diseases (such as diabetes, cancer, and heart disease) account for approximately 70 percent of the deaths among Native Hawaiians.” These dismal facts led to a remarkable experiment in 1993: The Wai’anae Diet. For three weeks, a group of Native Hawaiians ate a natural diet of poi, vegetables, fruit and small amounts of fish and chicken. The results were astonishing. “Weight loss averaged 17.1 pounds over 21 days” says Kona Naturopath Michael Traub. “Cholesterol and triglyceride levels fell by 14 percent, as did and other factors related to heart disease and diabetes. “There was no increase in exercise in the pilot study and participants ate more food but fewer calories,” says Dr. Traub, adding that a taro-based Hawaiian food program is the basis of a healthy lifestyle, regardless of race. During the Wai’anae study, Hawaiian healers helped teach spiritual, mental, and emotional as well as physical health. Still, unless you grow your own taro and make poi paste at home, poi can be expensive. The research has not translated into widespread dietary change. Resources: To find our more and learn how to plant the seeds of change in your life, check out The Wai’anae Book of Hawaiian Health and Wai’anae Diet Program Manual, published by The Wai’anae Coast Comprehensive Health Center in 1993. To reach Michael Traub, N. D., visit www.michaeltraubnd.com “Poi Facts” - www.poico.com/artman/publish/article_3.php
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“It’s not one single solution,” says Uncle Jerry. “Aloha is the driving force. It’s the only cure. A guy who abuses life, and then has a granddaughter, that triggers something in him deep down. Maybe that’s the one that turns the tide. On a new leaf, on new life.”
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The Life OF THE LAND
he mushroom—actually a fungus—grows on a lot of different matter in the wild, from tree logs to cow pies. It’s called “substrate,” as opposed to soil. In cultivation, the substrate makes a difference in the quality and shelf life of the end product, as we shall learn. Janice and Bob Stanga have had their hands in a variety of careers and substrate on the road to becoming successful mushroom farmers in Hamakua. Overcoming obstacles that would have stopped lesser souls, they persevered to create Hamakua Mushrooms, Hawai‘i’s own
commercially grown gourmet mushrooms. Mushrooms from “Hawaii’s Gourmet Fungal Jungle” in Laupahoehoe are now found in supermarkets and stores around the state, on the tables of the most discerning Hawaiian restaurants, and even at a White House dinner. Janice Stanga spent 27 years as an interior designer and her husband, Bob, was a helicopter pilot before they decided to switch careers and start growing mushrooms. Why mushrooms? Because they wanted to create gourmet items no one else was growing. “Bob knew a lot of chefs and wanted to do something with them,” explains Janice. She had a client that grew mushrooms
❁Continued on page 60
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Close-up of pioppini mushrooms
Building Better Communities One Home Sale at a Time
If you’ve purchased or sold a home through Windermere you’re a part of the Windermere
Hamakua Mushrooms founder Janice Stanga (left) with worker Amelia Haslam
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Humane Society construct a permanent
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❁Continued from page 59 and “when we visited my client’s farm, it ignited our passion for growing mushrooms.” Like many novice farmers with a passion, they found that passion alone doesn’t equal success in the business or farming world. The couple knew they needed help learning the ins and outs of farming—from the ground up—as well as the particulars of dealing with mushrooms. So they hired a consultant. Only things didn’t go according to plan. “The consultant bailed on us,” explains Janice. Back at square one, they explored production options and discovered a growing process not widely known in the U.S. “We use the Japanese bottle cultivation method for growing mushrooms,” says Janice. “There are very few people using this method in the United States,” she adds. “I think there are two people that I know of in the U.S. [growing mushrooms this way.] The growing process allows them to produce mushrooms without synthetic fertilizers, pesticides, or other chemicals. Using steam and filtration to control the growing process, Hamakua Mushrooms uses environmentally friendly techniques. The process starts with using the wood of eucalyptus trees grown in nearby forests and ends with producing a tasty mushroom, as well as spent organic matter that can be used by area landscapers and gardeners, creating a truly sustainable growing cycle. As Janice explains it, using the Japanese bottle method is a completely different way of growing mushrooms than is commonly done with brown button or agaricus mushrooms. “The difference between our mushrooms and other mushrooms—say brown and white button mushrooms—is that ours are wood decomposing mushrooms,” explains Janice. She says that most types of agaricus mushrooms are composted mushrooms, grown in dark rooms using a lot of chemicals. Typically, such mushrooms have a shelf life of two to three days. In comparison, Hamakua Mushrooms are wood-decomposing mushrooms grown in sunlit, air-conditioned rooms. If the
❁Continued on page 62
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mushrooms are refrigerated when harvested, they have a shelf life of four weeks. Hamakua Mushrooms are also grown for medicinal purposes. When the Stangas produced their first batch of mushrooms in 2003, they started with shiitake mushrooms because that was a type most commonly known by most people. Over the years they’ve grown nameko, kea hon-shimeji (brown and white varieties), maitake, and gray cluster oyster mushroom varieties. They’re currently growing three main varieties. “Our main mushrooms now are the ali‘i, pioppini, and pepeiao” says Bob. “We grow the pepeiao because when eight out of ten local people find out I grow mushrooms they always ask if we grow pepeiao and say they remember their aunty or uncle taking them into the forest to collect pepeiao (a word meaning “ear” in Hawaiian). It brings back a lot of fond memories for them,” says Bob. Janice, on the other hand, is partial to the Italian pioppini mushroom, which is something they’ve recently started growing. “It’s a new mushroom for us” adds Janice. “These are really yummy, they’re my favorite.” The entire growing process for all the mushroom varieties is done at the 16,000 square-foot production facility that sits on the Stanga’s 37-acre Hamakua Heritage Farm, the parent company of Hamakua Mushrooms. The production is done in a circular pattern, meaning that the mushrooms always move forward from one room to the next. Even the workers do not move backward from room to room because it could cause contamination within the production process. Eucalyptus trees, harvested from a tree farm next door to their farm, are ground up to create a wood pulp substrate in which to grow the mushrooms. Personnel man the machines as the substrate is placed and tightly compacted into 1,000 millimeter jars and a hole is made in the center of the container where the mushroom spore will be placed. “We fill the jars with substrate, a combination of wood pulp, wheat bran, corn cob, and water,” explains Bob. The jar is capped and workers clean off any loose material. The jars are then sent down the conveyor belt to the autoclave, a large pressurized tube five feet in diameter and 18 feet long. Approximately 3,072 jars go into the autoclave, which is heated to 250 degrees Fahrenheit at 15 PSI for one-and-a-half to two hours. The sterilization process kills any bacteria and prevents other organisms from competing with the spore during the growing process. “After we’ve done ‘the cook’ as we call it, we open up the end of the autoclave that’s in the sterile laboratory,” continues Bob. “We unload all the bottles and cool them down to 90 degrees Fahrenheit.” “Once they’ve cooled down, we run [the jars] through another conveyor belt where they go through the seeding machine. The machine, which can place 6,000 spores an hour, lifts open the cap of each bottle and places two tablespoons of sawdust spawn on top of the sterilized material in the jar,” explains Bob. “The sawdust spawn then starts to digest the substrate and begin the growing process,” he adds. After the jars are seeded they are placed in an incubation room for five weeks and then spend another three weeks in a grow room. All total, the process from incubation to harvesting takes about two months. Each variety of mushroom is housed in a room specifically for that mushroom and air conditioned at a precise temperature best suited for it. For instance, shiitake mushrooms wouldn’t be
A harvester looking over the rows of ali‘i mushrooms deciding which ones are ripe for harvesting
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❁Continued from page 61 grown in a room with pepeiao mushrooms. “The mushrooms are particular, so each room is different,” says Janice. The mushrooms are stacked on storage trays on racks six to seven feet tall. The size of the mushroom and the size of the grow room influence how many mushrooms can grow at any given time. For example, up to 6,000 pounds of ali‘i mushrooms can be grown in a single grow room while the pioppini mushroom grow room can only produce 400 - 600 pounds of mushrooms. After three weeks in the grow room, the mushrooms are harvested. Mushrooms are picked daily to be delivered to area chefs and supermarkets. After all the mushrooms in a given jar are picked, the remaining organic matter is recycled and made available to the public. Local landscapers, gardeners, even school garden participants are able to use the spent-wood substrate material as a growing medium. From start to finish, the process is truly cyclical and sustainable. “Nothing is wasted,” says Bob. “It’s all returned to the earth.” Today, Hamakua Mushrooms are in supermarkets and outlets all over Hawai‘i. “Our mushrooms are with all the major food distributors in the state and on all the other islands,” says Janice. “KTA was our first supermarket account,” adds Bob. Another early vendor was Costco, a partnership that came about by happenstance. When they were setting up the production facility, Bob and Janice bought several thousand dollars worth of storage racks from Costco in Kona. The store manager was curious about such a large order and called them to ask why they purchased so many storage racks. When they explained that they were starting a gourmet mushroom farm, the manager was intrigued and said he’d be interested in selling their mushrooms. Supermarkets aside, Bob and Janice early on focused on partnering with well-known Hawaiian chefs to have Hamakua Mushrooms featured in restaurants. Peter Merriman’s signature restaurant Merriman’s was the first to use Hamakua Mushrooms in its dishes.
“Today it would be hard to name a restaurant that does not use our mushrooms,” says Janice with a laugh. Alan Wong is another preeminent chef that uses Hamakua Mushrooms. One of the 12 co-founding chefs of the Hawai‘i Regional Cuisine movement, Wong is ranked as one of the top 10 chefs in the world. In 2009, he was invited by President Obama to prepare a lu‘au meal at the White House for the first family and members of Congress. Wong served Hamakua Mushrooms at the White House. It’s a distinction few other farmers can claim. World leaders also dined on Hamakua Mushrooms prepared by Chef Wong at the recent APEC Conference in Hawai‘i. Bob and Janice value the relationships they’ve built over the years with various world-class chefs. So much so, that they recently built a one-bedroom Chef House on the farm as a getaway retreat just for chefs. With spectacular sweeping views of the ocean, the cottage comes complete with a hot tub and an expansive, covered lanai designed for entertaining. “It’s a place where chefs can come for a retreat away from a hectic kitchen, relax and be creative,” says Janice. The Stangas planted a wide variety of vegetables, fruits and herbs around the house so the chefs can stroll the grounds and pick whatever is in season and use it in their cooking. The setting lends itself well to culinary events and fundraisers, and the plan is to offer events featuring different chefs. Alan Wong will be hosting the first event at the Chef House later this year. ❖ Contact writer Denise Laitinen at email@example.com.
Close-up of ali‘i mushrooms growing in substrate jars
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Resources: For more information on Hamakua Mushrooms, check out their website www.fungaljungle.com. It features recipes using their mushrooms, including Ali‘i Oyster mushrooms with spinach and hazelnuts, grilled mushrooms, and mushroom risotto. While the mushroom facility does not offer tours to the general public, you can view a tour on YouTube.
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Saturday: Waimea Town Market at Parker School, 65-1224 Lindsey Rd., Waimea/Kamuela. 8 a.m. – 1 p.m. Saturday: Waimea Hawaiian Homestead Farmers Market, 64-759 Kahilu Rd., located at Kuhio Hale Bldg. (off of Mamalahoa Hwy., two miles east of Waimea town). 7 a.m. – noon Saturday: Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg. 7:30 a.m. – 2 p.m. Tuesday & Friday: Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. 2 – 5 p.m. Wednesday: Midweek Farmer’s Market, Anna Ranch, 65-1480 Kawaihae Rd., (nestled beneath Hoku‘ula, aka Buster Brown), Kamuela. 12:30 – 5:30 p.m.
Sunday: Laupahoehoe Farmers Market. Next to the Minit Stop on Hwy. 19. 9 a.m. – 1 p.m. Sunday – Monday: Panaewa Hawaiian Home Lands Farmers Market, Puainako and Ohuohu Streets by Walmart, Hilo. 8 a.m. – 5 p.m. Sunday, Monday, Tuesday & Thursday: Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 7 a.m. – 4 p.m. Sunday: Akebono Farmers Market. Luquin’s/Akebono Theater parking lot. 7 a.m. – 2 p.m. Sunday: Maku‘u Farmers Market, Kea‘au-Pahoa bypass road. 8 a.m. – 2 p.m. Sunday & Thursday: Pepeekeo Farmers Market. Off Hwy. 19 on Ka‘akepa St. Produce and foods. Sundays dawn to 2 p.m.; Thursdays 2 p.m. – dusk. Tuesday – Saturday: Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au. 7 a.m. – 5 p.m. Saturday: Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo, 7 a.m. – noon Saturday: Keaukaha Panaewa Farmers Market. Railroad Avenue, across from Home Depot. Homegrown produce offered by Hawaiian Homelands lessees. 7:30 a.m. – 4 p.m.
Saturday: SPACE Farmers Market, Seaview Performing Arts Center for Education, 12247 West Pohakupele Loop, Kalapana. 8 a.m. – noon Saturday: Hilo Coffee Mill, 17-995 Volcano Rd., Mountain View (on Hwy. 11 between the 12 and 13-mile markers). 8 a.m.–1 p.m. Saturday & Wednesday: Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 6 a.m. – 4 p.m.
Friday: Green Market, Ocean View Community Center, 92-8924 Leilani Circle, Ocean View. 2 – 6 pm.
Saturday: Keauhou Farmers Market, Keauhou Shopping Center, Keauhou. 8 a.m. – noon Saturday: Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. 7:30 a.m. – 1 p.m. Sunday: South Kona Green Market, Captain Cook, Kealakekua Ranch Center (behind ChoiceMart and Ace Hardware). 9 a.m. – 1 p.m. Wednesday: Kings’ Shops Farmers Market, Waikoloa Beach Resort, Kohala Coast. 8:30 a.m. – 1 p.m.
Sunday: Volcano Farmers Market, Cooper Center, 1000 Wright Rd., Volcano Village. 6 – 9 a.m.
Wednesday: Keauhou Wednesday Market, Front lawn, Outrigger Keauhou Beach Resort. 10 a.m. – 2 p.m.
Saturday & Wednesday: Na‘alehu Farmers Market, Ace Hardware lawn. 8 a.m. – noon
Wednesday-Sunday: Kona Farmers Market, corner of Ali‘i Drive and Hualalai Rd. 7 a.m. – 4 p.m.
Please send info on new markets or changes to firstname.lastname@example.org.
Breadfruit By Sonia Martinez
These little puffy fritters are wonderful as a light dessert. 1 medium breadfruit, roasted 1/2 cup or less all-purpose flour 2 Tablespoons or less powdered sugar 1 egg, well beaten Vegetable oil for frying Roast the breadfruit for about an hour at 425 oF and check for doneness with a skewer or sharp knife. Cut in half and take out the stem and heart. The roasted breadfruit will be soft enough to spoon out from the peel. Mash; add beaten egg then add flour and sugar in small amounts until you get the consistency and taste desired. It will be sticky. Fry by dropping in tablespoon size portions into the hot oil in small batches. Turn over and continue frying until done. Continue until all batter is used. Serve with a drizzle of honey or liliko’i syrup.
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ately, the breadfruit (Artocarpus altilis) or ‘ulu, as it is known in Hawai’i, has been receiving quite a bit of attention. It is one of a species in the Moraceae or mulberry family that can produce 200 or more fruit per tree per season, which makes it one of the most prolific food trees ever known, thus a logical candidate to help relieve hunger in many areas around the world. Although native to the Philippines, it can now be seen growing through most of the islands in the Pacific Ocean, Southeast Asia and parts of the Caribbean. The trees were propagated far outside their native range by early voyagers such as the early Polynesian settlers who came to the Hawaiian Islands and transported them as root cuttings or air-layered plants as part of the original list of what are called in Hawai’i, ‘canoe plants’. There are many varieties of breadfruit and they are all very rich in starches. Low in calories, containing virtually no fat and loaded with Vitamin C, the breadfruit is a good substitute for potatoes in any recipe, but more so in soups and stews as it really soaks up the other flavors. Breadfruit is roasted, baked, fried or boiled before being eaten. When cooked the taste is described as potato-like, or similar to fresh-baked bread and this is how it received its name. Peeled and cored, ripe, raw breadfruit freezes well and can be stored in freezer bags for up to six months. The range of dishes using breadfruit runs the gamut from appetizers to desserts and everything in between.
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The Life OF THE PEOPLE A resident of Pana‘ewa Rainforest Zoo, Max has in impressive vocabulary. – Photo by Alan McNarie
t’s noon on a Wednesday at the Pana‘ewa Rainforest Zoo in Hilo, and Jan Comstock and Zoe are having some quality time at a picnic table. Let’s play “find the nut,” says Jan. “Mac nut,” says Zoe, emphatically. Only it sounds more like “Nyak nut.” Sort of a cross between “mac nut” and Curly of the Three Stooges laughing. Zoe has a little trouble with ‘m’s—probably something to do with having no lips. Jan hides a mac nut under a towel on the table. Zoe quickly locates it and throws the towel aside. “Good job, Zoe!” exclaims Jan, as Zoe gnaws delicately on the nut. Zoe acts a lot like a three-year-old. Her vocabulary is limited, she throws things a lot, she’s curious about everything, and she loves attention. She is actually a hyacinth macaw, the largest member of the parrot family: a magnificent, three-foot-long, vibrant blue bird—her feathers are actually blue on top, black underneath—with a ring of brilliant yellow around each coal-black eye. She’s five years old and came to the zoo two and a half years ago. Jan is an “enrichment volunteer”: one of 11 or so people who provide exercise and mental stimulation for the zoo’s animals. She’s been working with Zoe for about two and a half years. “The vet who was involved with her offered a series of classes for members of the enrichment teams who wanted to work with her,” Jan explains. She and another volunteer, Barbara, finished the class and became Zoe’s special friends.
The remarkable thing about the “find the nut” game is that Zoe isn’t just mimicking a human word. She knows what a mac nut is, and she uses the words to communicate her wishes. That’s what linguists call a “referential utterance”: one of the cornerstones of language use. Zoe makes her understanding of words even clearer a minute later. On the way to the picnic table, Jan proudly explains about another of Zoe’s accomplishments: she can open a snack-sized box of raisins. “She doesn’t tear it up,” Jan says. “She really politely opens the lid. She takes out one and she peels it and eats it. Then she takes out another one and peels it. Then I take the box away.” Now, Jan pulls out one of those little boxes of raisins. But Zoe takes the box in her beak and tosses it aside. “Nyak nut,” she repeats. Her vocabulary goes beyond nuts. She also clearly recognizes the name of another game Jan plays with her. When Jan puts the towel over her head, Zoe gleefully cries “Peek-a-boo!” and pulls the towel off. Zoe’s not the only parrot at the zoo who uses words for more than mimicry. In a large cage near the zoo’s entrance is another of its stars: a Catalina macaw named Max. If Zoe is a study in monochromatic blue elegance, Max is just the opposite: he’s a gaudy riot of color, with an orange breast, sky blue wings and blue, green and yellow back and tail feathers. It isn’t his looks, however, that make him special. It’s his vocabulary and how he uses it. He knows scores of words, including the names of several past and
❁Continued on page 70
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Zoe, the hyacinth macaw, enjoys play time with a zoo volunteer. – Photo by Alan McNarie
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present zookeepers. He doesn’t just say “hello”; he says it with several different inflections — as well as “Hi,” “How are you,” and ”Well, hello.” He also clearly has assigned meanings to some words. His word for treats, for instance, is “cookie.” Originally, it was literally cookies; he used to eat Oreos, unscrewing them and eating the middle first, just like kids do, until his vet put a stop to that practice. Now he uses the word for almonds. Max is in the front of his cage one day, chatting with this writer and a couple of other visitors, when zookeeper Dan Green stops by with a bag of almonds. Max’s attention immediately shifts. “Have a cookie,” he says. Green obliges him. Max has apparently also learned the meaning of raising his voice. “I’m sitting at the desk [in the nearby zoo office] and he says, “Come here,” Greene relates. “I don’t get up, and he says, ‘COME HERE!” Zoo Director Pam Mizuno has had the same experience, with an extra punchline. Shortly after she took her current job, she says, she was sitting in her office when Max pulled his “come here” routine on her. When she finally responded, he looked her over and then said, “Well, how are you?” In a cage next door to Max is one of the zoo’s most recent acquisitions: a yellow-headed Amazon parrot named Salsa. Max and Salsa hold long conversations with each other—in English—though the subject matter is admittedly limited. Mostly they just shout “hello” back and forth to each other, though sometimes it’s the name of some human they know or have known. Salsa has another talent. He sings human songs, on key and in time. “Salsa sings ‘Blue Skies,’” remarks another zoo volunteer named Evelyn. “He knows all the words.” She also recalls a time when she heard him singing “Over the Rainbow”: “He got to ‘Birds fly over the rainbow,’ and then stopped, like he was thinking about it….” Unfortunately, Salsa is a little shy, so he usually only sings when it’s raining or the zoo is closed. Parrots are widely considered to be among the smartest of all birds. An African grey parrot named Alex, trained over 30 years by mainland animal psychologist Irene Pepperberg, learned and used hundreds of words and even mastered some human syntax; she could use words not only to distinguish objects, but to describe their color and texture; she recognized numbers up to six and could do simple addition; she even used the words, “I’m sorry,” if she sensed a human colleague was frustrated. Just
❁Continued on page 72 An aging pair of red-lored Amazon parrots live at Parrots in Paradise.
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how parrots accomplish their mental gymnastics is one of science’s great mysteries. They have big brains by bird standards, but Zoe’s brain is still only about the size of one of her beloved mac nuts. If mammal brains were as efficiently wired as Zoe’s, then lemurs would be reciting Shakespeare. Parrots’ cleverness, as well as their beautiful colors, work both for and against them when humans are involved. Zoe’s relatives in their native Amazon habitat are now considered endangered, partly from habitat loss and also due to the pet trade. The same can be said for Salsa and many of the other parrots at the Hilo zoo: Those that aren’t endangered are generally either threatened or, as least, suffer from shrunken ranges in the wild. It’s now illegal to capture and import most species of wild parrots, though many are being successfully bred in captivity. And their cleverness can work against them in captivity as well. Zoe, Max and Salsa all share similar histories. Before Salsa was donated to the zoo last January, she was hand-raised and kept as a pet by a family for 15 years—until some construction happened next door, and he learned to imitate the back-up beep of a truck. It became so annoying that the family gave him to the zoo. Max was donated when his owner left for the mainland. Before the zoo purchased Zoe, she’d been kept by two different families. The first family, Jan says, “found that they couldn’t devote enough time to her, so they sold her to a second family, who found the same thing.” In fact, most of the zoo’s parrots were given away by owners who found they were no longer up to the responsibilities of parrot ownership. During this interview in Mizuno’s office, she got yet another call from an owner who wanted to give her bird to the zoo. Mizuno had to decline; the zoo has no more space. Some of those unwanted birds end up in the care of Dorothy and Jerry Walsh, who run the Parrots in Paradise bird sanctuary in Kealakekua. The sanctuary currently houses about 70 parrots of all sorts: Amazons, true parakeets, macaws, cockatoos, parakeets, Senegals, love birds, Pionus, African greys, Australian eclectus Lately, they’ve been getting an influx of conures, as people reconsidered their impulse buys from a local pet store. “People think, Oh, I’m in a tropical paradise, and I’m gonna have this bird and it matches my sofa,” says Dorothy Walsh.
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A colorful pair – Photo courtesy of Parrots in Paradise
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❁Continued from page 71 “They have this dream of walking around with the parrot on their shoulder. And I say, ‘Oh like a pirate?’ I remind them that the pirates in the movies are usually wearing an eye patch.” That’s one thing a prospective parrot-owner should consider. Parrots are vegetarians (it’s illegal to turn one loose, because they can become agricultural pests), but if they feel threatened, they are awesomely armed. Zoe’s knife-sharp beak is also one of the few tools in the animal world that can crack a mac nut shell (though she’s gotten lazy and only accepts them pre-shelled). Her talons, though designed for grasping tree branches, would do a hawk credit; she has to have them blunted so she won’t accidentally injure Jan and the other zoo volunteers. She’s quite considerate—one of the tricks that she performs for children at the zoo is a “somersault” where she drops under Jan’s wrist and comes back up the other side, all without injuring Jan’s bare arm—but even so, accidents occasionally happen. Jan recalls one Christmas when her daughter gave her a big toy for Zoe and “stocking stuffers” of Band-Aids and antibiotics. “It was one of the best Christmases I’ve ever had,” she says. A parrot can’t be bullied or ordered around like a dog or even a cat; there has to be a relationship of mutual respect. Dogs play fetch for their masters. Parrots often toss things so their humans will retrieve them. And their moods can be tricky to judge, if you’re not used to them. A parrot has no mobile mouth or eyebrow muscles to give its face expression. It shows emotion by, say, ruffling its feathers or vocalizing. If a macaw is really angry, notes Jan, its eyes “whirl around and that means it’s going to attack.” That’s never happened, fortunately, with Zoe. But with her black-on-black eyes, it would be difficult to spot the warning signs. And parrots are not low-maintenance pets. They’re flock animals. Parrots hand-raised by humans “imprint” on them, basically adopting humans as their flock. Being away from their people is a high-stress experience that can lead to self-destructive behavior such as plucking out their own feathers. “If they’re bonded to a human that has a 9-to-5 job, that’s a real problem,” says Walsh. “That’s a lot of lonely hours, and when the human gets home, that’s about time for the bird to hunker down.”
And then there’s the matter of longevity. Large parrots are one of the few species on earth that can outlive a human being: in captivity, they often survive from 50 to 80 years, depending on the species, and 100-year-old birds are not unheard of. Given that parrots are also expensive, people are usually at least in their 30s before they acquire one. If you own a parrot, you need to make provisions for it in your will. Children are another consideration. Parrots really do resemble human toddlers; most of Zoe’s toys are actually designed for children of that age. But Walsh doesn’t recommend parrots for people with small children, because the birds may see the kids as rivals. So a good match for a parrot is a very special breed of person: a human who is willing to commit himself or herself to a decades-long relationship with an inquisitive toddler who never grows up. When someone approaches Parrots in Paradise about adopting a sanctuary bird, Dorothy screens them carefully and makes sure that they know what they’re getting into. The flip side is a genuine companionship with a creative, intelligent, startlingly alien and yet startlingly empathetic creature. When Zoe and Jan are together, she often nuzzles against Jan’s shoulder in an obvious expression of affection. Jan recalls one day when she came to the zoo but “was not feeling perky. She sensed it, and all day she was cuddling me.” And for those who want a taste of that relationship without the commitment, there’s always the zoo. I’m there one afternoon, and stop by Zoe’s cage just at closing time. We play one of Zoe’s games: When you say “good bye,” or wave at her, she waves her claw back at you. It’s not just a game. When I say, “good-bye, Zoe,” a final time and start to walk away, she waves her claw even more frantically and squawks in distress. Don’t worry, Zoe. I’ll be back. ❖
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Contact writer Alan McNarie at firstname.lastname@example.org.
PANAEWA EQUESTRIAN CENTER
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Parrots in Paradise is seeking people to adopt birds, and both Parrots in Paradise and the Pana`ewa Rainforest Zoo welcome donations and volunteers. For more information go to: Pana`ewa Rainforest Zoo www.hilozoo.com Parrots in Paradise www.parrotsinparadise.com/parrotst.aspx
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Fused Glass Lava Explosions are the specialty of glass artisan Dave Karl. In the image below, left, he combines the explosion with stained glass in a commissioned piece.
Pele’s Glass Creations
lass artisan Dave Karl, who lives close to actual lava flows in Puna, wanted to create the beauty of the lava eruptions. With Pele as his inspiration, he developed a special way of playing with glass to replicate lava explosions. Pele’s Glass Creations are designed so that the glass is ever-changing. “My speciality is fused glass lava explosions,” says Karl, who has lived most of his adult life in Hawai‘i. “My lava explosions have one look with the light source behind the glass, and then, when the light source is in front, the glass has a totally different look. They are unique, one-of-a-kind pieces.” Dave was in retail management before he took an early retirement because of health issues. On a trip back to the Mainland to be with his ailing father and help with his care, he was fascinated with his dad’s stained glass hobby. He asked him to teach him how to work with glass, and at the age of 50, Dave says he found a creativity he never knew he had. “Playing with the glass is something I can do on days I have energy,” he explains. He has been “playing with glass” for 12 years now and doing fused glass for the past six. Fused glass is created by melting glass pieces together in a kiln. “I now include fused glass in all of my stained glass panels. And I always put a red ribbon for AIDS awareness some place in each of my larger pieces.” Pele’s Glass Creations can be found at the Hilo Farmers Market mauka craft tent on most Wednesdays and Saturdays from 7 a.m. – 2 p.m. It is also available at Volcano Art Center Gallery in Hawai‘i Volcanoes National Park, Volcano Garden Arts and at Kalani Oceanside Retreat in Kehena. Dave also participates in the Kokua Kailua Village Stroll in Kona along Ali`i Drive one Sunday each month. For more information, call 808.938.9757, email pelesglasscreations @hawaiiantel.net, or visit www.pelesglasscreations.com f you have a locally-made product—an Island Treasure— that you would like to see featured here, please email email@example.com or call 808.345.2017 for more information.
Hawaiian Macadamia Granola
For more information, visit the website: www.hawaiiangranola.com, email firstname.lastname@example.org or phone 808.640.3916.
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arbara Andersen, owner of the Shipman House Bed and Breakfast, developed her own special recipe for island-style granola to serve her guests at the breakfast buffet—something that reflects Hawai`i Island. “I started tweaking recipes, adding and subtracting ingredients, until I came up with a granola I loved. Over the past 15 years, every morning, guests have commented on our macadamia nut granola. So many have asked to buy it that I finally started Hawaiian Granola Company LLC,” she explained. The primary and signature ingredients in the granola are Hawai‘i-grown macadamia nuts—not only the nuts themselves, but Hawaiian macadamia nut honey and Hawaiian macadamia nut oil. Born in Hilo, a member of the old kama`aina Shipman family, Barbara now owns and operates the historic family home as Shipman House Bed and Breakfast on Reed’s Island. “I opened the bed and breakfast nearly 15 years ago,” Barbara says, “and am just launching the granola business after several years of prep-work. The two businesses will operate simultaneously.” To keep the new business separate from the B&B, the granola product is prepared in a commercial kitchen across town. The granola has become popular with residents and visitors, she says, either for themselves or as gifts. “Parents of college students send it in care packages, even to Europe.” “The generous amount of macadamia nuts and macadamia products we use sets our granola apart. It is decadently delicious!” Other island flavors have been added to the selection, too— coffee, ginger, and coconut granolas, all with macadamia nuts. Hawaiian Macadamia Nut Granola may be purchased directly online, and store locations are in development. Ask for it at your favorite store, Barbara says.
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She complied and Bob played around with it on his own, but things didn’t click, he says, until, in 1999, when steel guitar wizard Ken Emerson of “Slack and Steel” album fame came to the Big Island from Kaua’i to play a concert in Hawai’i Volcanoes National Park. Bob grabbed the chance to talk with Ken after the show, inquiring about the tuning he used. “That conversation sparked a fire in me,” Bob says. “I’d tried other tunings, but they were more applicable to Country Western or bluegrass music. Ken’s tuning was the key I needed to unlock that ‘Hawaiian sound’ I had been hoping to find. The steel guitar has a lush, romantic sound that really appeals to me: it’s fretless, so it can evoke emotions in much the same way as the human voice.” Ken later played on one of the first Hawaiian albums to win a Grammy award. Right around the time Bob went to see Ken Emerson in concert for the first time, he and Shirley also went to hear Maggie Lobo’s
❁Continued on page 78
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ob Stoffer, known as “Konabob” to many people in Hawai’i and around the world, had loved Hawai’i and Hawaiian music for a long time before moving to the island. He listened to Hawaiian music at his bakery in the mountains of Colorado, with a picture of Gabby Pahinui and a map of Hawai‘i Volcanoes National Park on the walls, and Kona coffee in the thermoses on the counter. Ever since living in Waimea for a year in 1985, he had always wanted to move back. In 1995, he did, along with wife Shirley. Though he was always musically inclined, Bob had never studied an instrument before moving to Hawai’i, and was a rather frustrated musician. One night, after he’d been living on the island a few years, he had a dream that he was playing the Hawaiian steel guitar in front of a large audience. The next day, he asked his mother-in-law if she’d bring over the steel guitar that had been her husband’s and was sitting, unplayed in her garage in Denver.
Konabob with his signature Kona Walkingbass and Bobby Koanui, performing at the Hilton Waikoloa Village – Photo by Shirley Stoffer
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Many don’t realize the steel guitar was invented by a Hawaiian. Bob Stoffer supports its comeback. Photo by Shirley Stoffer
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❁Continued from page 77
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FOR RESERVATIONS CALL 882-7771 FOR SIK EVENT Sponsored by Soroptimist International of Kona, a non-proot [501(c)3] volunteer organization
bluegrass band, the Voggy Mountain Ramblers, in Kona, with a friend who played banjo and also loved bluegrass music. Shirley, too, caught the music fever, and, soon after that, “I had my mother bring over the violin I hadn’t touched for a dozen years and I started trying to learn fiddle,” she says. Maggie was losing some of her band members to the mainland, and soon she had new members of the band! “Maggie took a chance on us. Her generosity was the beginning of my musical career,” Bob says. The group had a standing gig at the Kona Brew Pub for years, and at the annual Brewfest. Mainly through kani ka pila (jamming) with kūpuna for years (specifically, Kona aunties Loretta Sherlock, Leilani Belanio and the late Ella Neula), Bob became adept at playing Hawaiian music, and has played in a few Hawaiian music bands through the years: first with Lenard Kaniho and wife, Shirley, in the group Hana Aloha, and currently wth Bobby Koanui and Rupert Adarme in Aloha in Motion Trio. He says he’s also very honored to play steel guitar with The Ladies of Waiku’i (Rolinda Bean, Mana Leonah and Aunty Kaipo Harris) at the Keauhou Beach Resort’s Verandah Lounge. Bob also plays steel with the Merrie Monarchs Men’s Glee Club, led by Joe Spencer, at Hulihe’e Palace. “My connection with Hawaiian music opened doors for me here that I could never have dreamed of,” he says. “After it became known that my love for it was sincere and deep, I was given access to a side of Hawai’i you just don’t see as a tourist—baby lu‘au, local
parties, the ‘inside scoop’ on songs and cultural tidbits shared by local musicians and kūpuna. I’ve even been flown to Okinawa and Lana’i to play for hula festivals! I am so grateful.” Nothing would please Bob more, he says, to see the Hawaiian steel guitar regain the prominence it once had in Hawaiian music. “Many times at music gigs I have been asked what instrument I’m playing. People—even many Hawaiians—don’t realize that the steel guitar was invented by a Hawaiian. Joseph Kekuku, of O’ahu, invented the steel guitar technique in 1889. He experimented with sliding different objects—a bolt, the back of a pen knife, a steel comb—across the strings of a guitar to see what sounds could be produced. It eventually led to the use of a highly polished steel bar, as is used now.” When Kekuku was 30, he played the instrument in vaudeville shows on the mainland—from coast to coast—and then went on an eight-year tour of Europe with “The Bird of Paradise Show,” which had played on Broadway. People all over the world fell in love with the sound of the steel guitar. In the ‘30s, when the steel guitar went electric, it was discovered by Nashville and Hollywood in a big way, and many Hawaiian musicians left for the mainland. The lilting, sweet sound of the steel guitar that would always be associated with Waikiki in the memories of tourists and GIs stationed on O’ahu during the war, became harder and harder to find in Hawai‘i as the years went by. The younger generations were more interested in playing rock and roll, and later, “Jawaiian,” a reggae-Hawaiian hybrid. Today, Bob is encouraged about the future of the instrument. He teaches steel guitar at Keoki Kahumoku’s annual Music and Lifestyle Camp each November, to kids and adults, and says, “I‘m starting to see what I hope is a trend among the younger kids at
Contact writer Shirley Stoffer at Shirley@konaweb.com. Bob and Shirley Stoffer founded www.konaweb.com when they moved to Hawai‘i. It’s become a popular forum, especially for people planning to move to the Big Island. Today Konaweb is a community in itself, with over 5,500 members signed up for its forums and an average of 1,500 individuals visiting the site every day. There are even “Konaweb Parties” once a month, where members of the site can meet and talk story. Members on the mainland have even hosted Konaweb parties themselves, to fuel their enthusiasm for the island until they can return. www.konawalkingbass.com Konabob’s Famous Lilikoi Cheesecake recipe: www.konaweb. com/forums/cheesecake.html Bob Stoffer, more commonly known as “Konabob.” Photo by Tonya Dale
Aloha in Motion Trio: www.alohainmotiontrio.com The Ladies of Waiku’i: www.konaweb.com/ladies
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that camp. Rhythm-based music is still a big part of their lives, but I’m seeing more enthusiasm for exploring melody-based music. Of course, the steel guitar is perfect for that.” He also has taught steel guitar at the Beamer ‘ohana’s Aloha Music Camp to people who, in general, have come to Hawaiian music later in life, and, like Bob, have a sincere love for the music and the culture. “They are dedicated to perpetuating traditional Hawaiian music, and many of them are also writing their own songs! I really enjoy seeing people blossom at these camps,” he says. Bob is now the on-site manager for Aloha Music Camp. In 2003, Bob decided he wanted to learn how to play the bass. This led to his invention of the Kona Walkingbass, a three-string electro-acoustic portable bass. The prototype was a takeoff on the Hawaiian pā kini bass, which is similar to the washtub bass of the Appalachians. Bob’s first attempt also had one string, and was made with a piece of two-by-four and some weedwhacker string. It also had an ‘ukulele pickup. “I was immediately surprised at how good it sounded through an amplifier, so I decided to make an amplified bass,” he says. He designed it so it was tuned to the Hawaiian “Taro Patch G” tuning and could be “bar chorded” with one finger like a steel guitar. The Kona Walkingbass has three strings instead of the four found on a standard bass. “It made it simpler to play that way—a basic chord only has three notes!” he says. “The average person can learn to play bass in this tuning in 20 minutes.” He’s now sold 250 of the Kona Walkingbasses to people all over the world, including two to the famous Langley Schools in British Columbia, which are famous for their ‘ukulele programs, and two to the University of Missouri Music Dept., which uses them to teach their bass players to “think outside the box”. Since early on, neighbor and world-class fine woodworker, Tai Lake, and his sons, were involved in the process, making furniture-quality “blanks” for Bob’s basses. Out of mango and Big Island koa, they carved this totally new instrument. There’s a video of Bob playing the Walkingbass with Ledward Ka’apana on YouTube that’s received over 15,000 hits. Bob is one of the few Hawaiian musicians who performs on instruments he has made himself. So far, he has made one acoustic steel guitar, with the help of Na’alehu luthier, Dennis Lake, and three electric steel guitars. He plays one of the solidbody electric steels at his Keauhou Beach Resort sunset gig. “It’s perfect!” he says. “It’s really got that ‘Waikiki sound’.” ❖
METROPOLITAN OPERA HD LIVE First time in KONA ! Makalapua Stadium Cinemas January 21 12:55pm
The Enchanted Island Arias and ensembles by Baroque composers
February 11 12:55pm
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E rnani April 7 12:55pm
M anon April 14 12:55pm
❖ H A P P E N I N G S ❖
JANUARY Waimea Ocean Film Festival Jan. 4–8 and 10-13 Waimea and Kohala Coast The second annual Waimea Ocean Film Festival is the premier venue for documentary films about the ocean and the environment. It is designed to inspire, educate and engage participants in a celebration of the ocean and island culture within a dynamic and exciting world-class venue. The festival kicks off with a gala function at Four Seasons Resort Hualalai on Jan. 4. From Jan. 4 – 8, films will screen in Waimea and at the Mauna Kea Beach Hotel. The festival continues at Four Seasons Resort Hualalai Jan. 10 – 13. Daily programs, in addition to films and presentations, include talks with filmmakers and speakers, morning yoga on the beach, outrigger canoe lessons and art exhibits. Festival passes are available at waimeaoceanfilm.org/ and from the festival office. Rates start at $85 for a kama‘aina six-punch pass, and $165 for a kama‘aina four-day Waimea Film Pass. Call 808.854.6095 to purchase passes. The hospitality desk opens at Kahilu Theatre at 9 a.m. on Jan. 4 to sell passes. There is a $35 film pass available for students with ID. Email: email@example.com or visit waimeaoceanfilm.org.
Photographing Papahanaumokuakea Wednesday, Jan. 4 Waimea A travel adventure with photographer Wayne Levin to the Papahanaumokaukea National Marine Monument in the Northwest Hawaiian Islands, a realm of islands and atolls almost untouched by modern human civilization. A unique and pristine environment. 7 p.m. Free community event. Kahilu Theatre. 808.885.6868 or visit kahilutheatre.org.
Volcano Art Exhibits
Co-presented by Aloha Performing Arts Company and Kahilu Theatre Foundation
Jan. 6-25 Hilo “Volcano” and “Hawai‘i Volcano Observatory 100th Year Celebration Exhibition” by EHCC members features multi-media,
juried artwork on display at East Hawai‘i Cultural Center Gallery. Monday-Saturday 10 a.m. – 4 p.m.
Sunday Walk In The Park Sunday, Jan. 8 Hawai‘i Volcanoes National Park This monthly program on second Sundays is aimed at bringing together members of the Friends of Hawai‘i Volcanoes National Park to explore the park’s beautiful trails. 1 - 3 p.m., this month’s 3.5-mile roundtrip walk led by Nick Shema explores the summit area of the park. Trek through rain forest, rich with native plant and bird life, and past Steam Vents, Steaming Bluff and Sulphur Banks. Meet at the Kilauea Visitor Center. The walk is free to Friends (though non-members are welcome to join the non-profit Friends group in order to attend). Park entrance fees apply. To register, 808.985.7373 or firstname.lastname@example.org or visit fhvnp.org.
Maceo Parker Performs Friday, Jan. 13 Waimea It is said that Maceo Parker, the multitalented blues musician, has “the tightest little funk orchestra on earth.” The funk and soul jazz saxophonist played with James Brown, George Clinton and Bootsy’s Rubber Band. Now with a blistering solo career, he’s collaborated with Ray Charles, Ani Difranco, James Taylor, De La Soul, Dave Matthews Band and the Red Hot Chilli Peppers. Live at the Kahilu Theatre, 8 p.m. 808.885.6868 for tickets or kahilutheatre.org.
Land and People of Kahuku Sunday, Jan. 15 and Jan. 22 Ka‘u Hosted by the Hawai‘i Volcanoes National Park, enjoy a special guided hike exploring the ways people lived on the vast Kahuku lands in the park, from the earliest Hawaiian settlements through today. 9:30 a.m. – 12:30 p.m. Two miles, moderately difficult; boots, long pants and rain gear recommended. Entrance south of Ocean View in Ka‘u. Free. 808.985.6011.
“Kokua Kailua” Village Stroll and Palace Event Sunday, Jan. 15 Kailua-Kona Stroll thru historic Kailua Village from 1 – 6 p.m., enjoy oceanside cafes and restaurants, local musicians and artists. At 4 p.m., Hawaiian music and hula on the south lawn of Hulihe‘e Palace, featuring Na Pua U‘i O Hawai‘i Hula Halau, vocal music by the Merrie Monarchs and performance by Hulihe‘e Palace Band, this month remembering King Charles “Lunalilo” and Aunty I‘olani Luahine. Bring beach mat or chair.
Kamuela Philharmonic Winter Concert Sunday, Jan. 15 Waimea The first of three annual concerts presented by this talented, locally-based orchestra during the year, this concert features a performance of Symphony No. 1 by Johannes Brahms along with concertos by winners of first annual student concerto competition. Free community event. 4 p.m. at the Kahilu Theatre. 808.885.6868 or visit kamuelaphil.com.
Dennis Kamakahi and Stephen Inglis in Concert Saturday, Jan. 17 Hilo Hawaiian Music Performance by reknowned slack-key performers Dennis Kamakahi and Stephen Inglis at East Hawai‘i Cultural Center, across from Kalakaua Park in downtown Hilo. 7:30 p.m. 808.961.5711 or visit ehcc.org.
Ben Vereen Performs Friday, Jan. 20 Waimea Versatile Broadway star Ben Vereen performs a one-man show at Kahilu Theatre. On Broadway, Tony Award-winner Vereen has appeared in Wicked, Hair, Jesus Christ Superstar, Pippin, and A Christmas Carol, among others. He is also dedicated to encouraging youth to develop mindbody-spirit balance, through creative expression. For his full biography, visit benvereen.com. 8 p.m. 808.885.6868 for tickets or kahilutheatre.org. Also see Jan. 21 in Hilo.
❖ H A P P E N I N G S ❖ Mitsubishi Electric PGA Champions Golf Tour
for a total purse of nearly $2 million. Visit hualalairesort.com.
Jan. 20 – 22 Ka‘upulehu-Kona Now in its 14th year, this annual PGA golf event at Four Seasons Resort Hualalai Golf Club is the first match of the year on the PGA Champions Tour. It features 36 40 top golfers 50 years or older who have won Champions Tour or other PGA majors or money events in a 54-hole competition
The Art and Traditions of Hula at Kilauea Saturday, Jan. 21 Hawai‘i Volcanoes National Park Kumu Leilehua Yuen and Manu Josiah present a hula kāhiko “informance” at the hula platform 10:30-11:30 a.m., lei making demonstration 12-1 p.m. and
basic ‘ukulele lesson 1:30-2:30 p.m. at Volcano Art Center Gallery. Free; park entrance fees apply. 808.967.8222 or visit volcanoartcenter.org.
Volunteer Forest Restoration Project Saturday, Jan. 21 Ka‘u Volunteers are needed to help at Hawai‘i Volcanoes National Park’s Kahuku Unit,
located in Ka‘u between mile markers 70 and 71 on the mauka side of Highway 11. 9 a.m. - 3 p.m., meet to plant native seedling trees in a fenced enclosure, where the plants will be protected from grazing animals. Also learn about the park’s native forest restoration program and view the start of natural recovery of the forest. Volunteers should be at least
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❁Continued from page 81 12 year old, able to hike at least one mile over rough, uneven and sloped terrain. Pre-registration required at 808.985.7373 or email@example.com.
Metropolitan Opera HD Live The Enchanted Island, World Premiere
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Saturday, Jan. 21 Kailua-Kona “The Enchanted Island” is a new opera that will premiere on New Year’s Eve at the Metropolitan Opera in New York. This world premiere Baroque fantasy brings together some of the finest arias and ensembles by Handel, Vivaldi, Rameau and other 18th century composers. The Met website suggests the opera story creates a “speculative prequel to Shakespeare’s play The Tempest.” Among the all-star cast, playing the role of Neptune, is Placido Domingo. 12:55 pm, Makalapua Stadium Cinemas, 74-5469 Kamakaeha Ave. 808.329.4461. $24, $22 senior, $20 student.
VAC Poetry Slam Saturday, Jan. 21 Volcano Another amazing evening of poetry, performance and fun with poet Kimberly Dark! Up to 15 poets will be chosen at random to perform. Bring two poems of your own creation, no longer than three minutes each (you’ll lose points when too long). Please, no props, costumes, or music. Prizes awarded to the top three finishers as chosen by the judges. Admission is $6. Drinks and snacks available for purchase. VAC’s Niaulani Campus. Doors open 6:30 p.m., show 7 p.m. Visit volcanoartcenter.org.
Aloha Saturday Festival Saturday, Jan. 21 Hilo Free every third Saturday in Kalākaua Park, Hilo: Hawaiian music, hula and Tahitian dance. Noon-4 p.m.
Ben Vereen in Concert Saturday, Jan. 21 Hilo Versatile Broadway star Ben Vereen performs a one-man show at UH Hilo
of volcanological features such as Pele’s Hair. Cost is $35 for members and $50 for non-members, students half-price. Non-members are welcome to join the non-profit Friends group in order to get the member discount. 808.985.7373 or firstname.lastname@example.org. Register: fhvnp.org.
Revitalizing Hawaiian Language Wednesday, Jan. 25 Kailua-Kona The first in a monthly, year-long community lecture series on a variety of historical and cultural topics of interest featuring statewide speakers. This presentation looks at how the Hawaiian language is being revitalized through Hawai‘i’s children. 5:30 – 7 p.m. Free. West Hawai‘i Civic Center in Kona. 808.323.3222 or konahistorical.org.
Thursday, Feb. 2 Waimea “Prelude and Revolt” is a montage of modern dance pioneer Martha Graham’s work, narrated to provide a history of this ground-breaking artist. The Martha Graham Dance Company brings to life a timeless and uniquely American style of dance that has influenced generations of artists and continues to captivate audiences. 7 p.m. 909.885.6868 or visit kahilutheatre.org.
He Lei Hiwa No ‘Iolani Luahine Hula Workshop and Festival
Waimea Cherry Blossom Heritage Festival
Jan. 26 – 28 Keauhou-Kona This three-day event honors Hawai‘i Island’s cherished cultural historian, legendary hula master and Living Treasure of Hawai‘i, ‘Iolani Luahine. Performance, talk story, workshops; various hula masters – many former students of ‘Iolani – will participate. Keauhou Beach Resort. 808.324.2540 or visit iolaniluahine.org.
Kipuka ‘Akihi Forest Hike
Waimea Cherry Blossom Heritage Festival
Saturday, Feb. 4 Waimea In conjunction with the 2012 U.S. Cherry Blossom Centennial in Washington D.C., the Waimea Cherry Blossom Heritage Festival marks its annual celebration with the planting of cherry tree seedlings gifted from the Embassy of Japan. The living gift of friendship commemorates the first planting of Japanese flowering cherry trees in the nation’s capital and is part of a program to spread the trees into many U.S. states. The two varieties of seedlings to be planted in Hawai‘i were specially chosen for Waimea’s clime by Dr. Tetsuo Koyama, a Honolulu-based botanist formerly of The New York Botanical Garden.
Performing Arts Center in Hilo. On Broadway, Tony Award-winner Vereen has appeared in Wicked, Hair, Jesus Christ Superstar, Pippin, and A Christmas Carol, among others. He is also dedicated to encouraging youth to develop mindbody-spirit balance, through creative expression. 7:30 p.m. UH Hilo Performing Arts Center. Tickets: 808.974.7310 or visit artscenter.uhh.hawaii.edu.
In its 19th year, the festival showcases the 60-year-old cherry trees planted at Church Row Park and the Japanese tradition of viewing them— hanami. The event includes a variety of activities from 9 a.m.-3 p.m. at venues throughout Waimea. Look for pink banners identifying site locations. Enjoy an all-day lineup of Japanese and multi-cultural performing arts, plus hands-on demonstrations of bonsai, origami, traditional tea ceremony, fun mochi pounding and craft fairs. New this year is a Festival of Quilts display featuring the handiwork of all six local quilt clubs. Free shuttle transportation among most venues. 808.961.8706. Photos by Bob Fewell & Fern Gavelek
Sunday, Jan. 29 Hawai‘i Volcanoes National Park Join Hawai‘i Volcanoes National Park rangers on this hike to a kīpuka or isolated geologic island of remnant native vegetation to discover the rare plants and trees that live there. A challenging 1.5-mile hike. Free; participants limited. 10 a.m. – 3 p.m. Bring rain gear, garden gloves, day pack, insect repellent, water, lunch. Register: 808.985.6011.
Footprints Trail To Mauna Iki Sunday, Jan. 29 Hawai‘i Volcanoes National Park Join UH-Hilo Educational Specialist Darcy Bevens for a guided geological hike to explore features from Footprints Trail to Mauna Iki in the Ka‘u Desert. 8:30 a.m. – Noon. The four-mile round trip hike includes viewing of footprints, fossilized in the muddy ash by Keoua’s fallen army in 1790, and geological details of various lava flows. Ascending to Mauna Iki (little mountain), explore a variety
FEBRUARY The Martha Graham Company “Prelude and Revolt”
Saturday, Feb. 4 Waimea Traditional, annual festival celebrates Japanese traditions and culture and includes cherry blossom viewing, music, demonstrations, exhibits, crafts, entertainment, ethnic foods, a farmers’ market and visiting performers and artisans from Japan. 808.961.8706. (See spotlight)
Festival of Quilts Saturday, Feb. 4 Waimea Ka Hui Kapa Apana O‘Waimea presents Festival of Quilts as part of the 2012 Cherry Blossom Heritage Festival. Features the work of North Hawai‘i area quilt clubs: Sew N Sews of Waikoloa, Anuenue Quilters of North Hawai‘i, Mauna Kea Quilters, Laulima O Hamakua, Sew Fun After School Program, and Ka Hui Kapa Apana O Waimea. Exhibit in Kahilu Hall from 10 a.m. to 2 p.m. for one day only. Also crafts sold by club members. 808.938.5728.
Haili Ho’olaule’a Benefit Saturday, Feb. 4 Hilo Haili Christian School is hosting its first Ho’olaule’a to raise money for their scholarship fund. On the day before the Super Bowl, it features a “Super Bowl Steak Fry” along with more great food and treats. Also includes a craft fair,
❖ H A P P E N I N G S ❖ Arts and Music Benefit
Hilo Chinese New Year Festival
Thursday, Feb. 9 Kawaihae Women Artists of West Hawai‘i present an arts and crafts sale at the Blue Dragon restaurant in Kawaihae, with live music and dancing from 5:30-9:30 p.m. Benefit for women, children and victims of gender-based violence. Sponsored by Soroptimist of Kona. For reservations, call 808.882.7771. www.sikona.org
Saturday, Feb. 11 Downtown Hilo The 10th Annual Hilo Chinese New Year Festival celebrates the Year of the Dragon, roaring with Lion Dancers parading through town beginning at 9 a.m. Ceremonial opening at 10 a.m. at Kalākaua Park, which is filled with arts, crafts, Hawaiian and Asian gifts, international food booths and cultural information. Family fun. Info: downtownhilo.com, email email@example.com or 808.935.8850. (See Spotlight)
Saturday, Feb. 11 Hilo The 10th Annual Hilo Chinese New Year Festival celebrates the Year of the Dragon, roaring into Downtown Hilo with Lion Dancers parading through town beginning at 9 a.m. The lions open the free festival at 10 a.m. at Kalākaua Park, which is filled with arts, crafts, Hawaiian and Asian gifts, international food booths, and cultural information. bake sale, silent auction, plant sale and live music. Free games for kids 12 and under at the Kids Zone. 9 a.m. - 2 p.m. at Haili Church and School, downtown Hilo. Free. 808.961.5026, email coachkimo@ hailischool.org or visit HailiSchool.org/hoolaulea.html Saturday and Sunday, Feb. 4 and 5 Hawai‘i Volcanoes National Park Join award-winning photographer and wildlife biologist Jack Jeffrey for Hawai‘i Nature Photography: Field-Work, Instruction, and Critique, inspirational sessions of capturing the splendor of Hawai‘i’s natural environment like the pros. Technical aspects of photography are discussed as well as composition and photo ethics.
Performances, calligraphy, I-Ching and martial arts demonstrations along with a free food tasting and free kids activities turns the park into a mini-Chinatown for the day and offers something for just about any age. Info: downtownhilo.com, email firstname.lastname@example.org or 808.935.8850. Photo courtesy of Downtown Hilo Association
Review and critique. Saturday, 8 a.m. - 4 p.m., and Sunday, 7 a.m. - 4 p.m. Sign up for either day or both! Limited to 10 participants each day. 808.985.7373 or email@example.com. Register: fhvnp.org.
Aloha Music Camp Feb. 5 – 11 Keauhou-Kona The Aloha Music Camp is a week-long immersion into the music, dance, language and culture of Hawai‘i. Join the Beamer ‘ohana—famed slack key pioneer Keola, kumu hula Moanalani Beamer and Hawaiian language specialist Kaliko Beamer-Trapp—along with some of the most respected musicians, performers and instructors in the islands. Keauhou Beach Resort. Info, alohamusiccamp.com.
Thursday, Feb. 9 Hilo On stage at UH-Hilo Performing Arts Center, “No2” is a one-woman play with nine characters from a feisty Fijiian/New Zealand matriarch to a lovesick rugby player. Family matriarch Nanna Maria decides she wants a fabulous feast at which she intends to name her successor—her number two. Only her grandchildren— and none of her children—have been invited, apart from one outsider, Father Francis…and there is one more unexpected guest. Starring Madeleine Sami, one of New Zealand’s most acclaimed young actors. For more information about No2, visit Pasifika Artists Network, pasifika-artists.com. 7:30 p.m., UH Hilo Performing Arts Center. 808.974.7310 or visit artscenter.uhh.hawaii.edu.
Szymanowski Quartet Friday, Feb. 10 Waimea Founded in Warsaw in 1995, the Szymanowski Quartet—one of the most exceptional international string quartets of its generation—has performed at prestigious festivals and concert halls in Europe, the U.S., Asia, Australia and South America. Along with standard classicalromantic repertoire, the quartet has a strong commitment to contemporary music. Kahilu Theatre, 8 p.m. 808.885-6868 or kahilutheatre.org.
Metropolitan Opera HD Live Gotterdammerung by Richard Wagner Saturday, Feb. 11 Kailua-Kona With its cataclysmic climax, the Met’s new Ring Cycle comes to its resolution. Deborah Voigt stars as Brunnhilde and Jay Hunter Morris is Siegfried, with James Levine conducting. According to the production director, Robert Lepage, “At the end of Gotterdammerung, the world and Valhalla have been destroyed, and we’re ready for life to begin again.” $24, $22 senior, $20 student. 12:55 p.m., Makalapua Stadium Cinemas, 74-5469 Kamakaeha Ave. 808.329.4461.
“Love the Arts” Fundraiser Saturday, Feb. 11 Volcano The theme of Volcano Arts Center’s 8th annual “Love The Arts” Fundraiser is “Carnivale di Venezia: Under a Hawaiian Moon.” To be held at Volcano Art Center’s Niaulani Campus in Volcano Village. Cost: $50/$60 door. Event includes tables of delectable foods, wine and champagne, live and silent auctions and special surprises all evening long. Enter the mask contest and party for a great cause—
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Hawai‘i Nature Photography
Hilo Chinese New Year Festival
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❁Continued from page 83 perpetuating arts and culture on Hawai’i Island. 808.967.8222 or visit volcanoartcenter.org.
Heart Skips A Beat Saturday and Sunday, Feb. 11 and 12 Hilo Play by Sarah Goo on stage at the Theater at East Hawai‘i Cultural Center, across from Kalākaua Park in downtown Hilo. 7:30 p.m. 808.961.5711 or visit ehcc.org.
‘Q’uisine of Hearts Sunday, Feb. 12 Kohala Coast Enjoy sumptuous food by Big Island chefs along with desserts, wine, handcrafted ales and Kona coffee, music and bid for silent auction items at this American Culinary Federation Valentine’s brunch that benefits childhood nutritional education. 11:30 a.m. - 2:30 p.m. Hilton Waikoloa Village Resort. Tickets $45 adults/$20 children. 808.333.5442. (See Spotlight.)
Rasta Thomas’ Bad Boys of Dance
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Q’uisine of Hearts Valentine Brunch Sunday, Feb. 12 Kohala Coast Celebrate Valentine’s Day at the 17th annual ‘Q’uisine of Hearts, a lavish brunch that annually benefits 2,000 KonaKohala keiki through American Culinary Federation (ACF) Chef and Child nutrition awareness programs. 11:30 a.m.-2:30 p.m. at the Hilton Waikoloa Village. Enjoy a tantalizing bruschetta buffet prepared by culinary students plus omelet and eggs benedict stations. Attendees will be tempted with bite-sized pastry specialties by local dessert chefs, bakers, chocolatiers and ice cream makers. Also on tap is 100-percent Kona coffee, handcrafted ales, champagne and wine. Accompanied by romantic piano music. Silent auction. Tickets, priced at $45 for adults and $20 for children aged 5-10, available for purchase at Chef’s Kitchen Supply, Kailua Candy Company and Kona Wine Market in Kona or at Tropical Dreams Ice Cream in Waimea. Charge by phone, 808.329.2522.
Tuesday, Feb. 14 Waimea Bad Boys of Dance is a fresh, new dance company comprised of the most talented and versatile young male dancers in the world today, each one hand-selected based on his extraordinary physical abilities and artistry. Founded by Rasta Thomas, “to show the world what great male dancing looks like; and to make dancing fun, entertaining and accessible to a whole new generation.” badboysofdance.com. Kahilu Theatre. 7 p.m. 808.885.6868 or kahilutheatre.org. Also see Feb. 21 in Hilo.
theatre still being followed today. “Oklahoma!” is set in Oklahoma Territory in 1906. Several intertwining love stories unravel with humor and danger, as the audience is treated to some of the most famous songs in the Broadway canon, including “Oh What a Beautiful Mornin’,” “The Surrey With the Fringe on Top,” “Kansas City,” “People Will Say We’re In Love,” and the title tune, “Oklahoma!” 7:30 p.m. Aloha Theater in Kainaliu. Visit apachawaii.org or 808.322.9924.
Na Mea Hawai‘i Hula Kahiko Performance
Hawai‘i Avocado Festival
Quilt & Fiber Arts Show
Saturday, Feb. 18 Keauhou-kona Go green – avocado green – at this celebration of the delicious and nutritious avocado, featuring tastings, growing demos, recipe contest, eco fashion show, farmers market, performing arts, avoinspired dinner and more. Free. 10 a.m. – 4 p.m. at the Keauhou Beach Resort. 808.334.3340 or visit avocadofestival.com. (See Spotlight)
Laupahoehoe Music Festival
Friday and Saturday, Feb. 17 and 18 Waimea These two concerts on successive nights feature Hawai‘i’s top slack key guitar and ‘ukulele talents. Featuring different musicians on each night. 8 p.m., Kahilu Theatre. 808.885.6868 or kahilutheatre.org.
Saturday, Feb. 18 Laupahoehoe Rising stars, veteran masters and top local bands come together for a day of nonstop music and hula, island style. Food vendors offer a wide variety of tastes; local craft vendors also on site. Fundraiser for civic projects and scholarships. Admission charge. 9 a.m. – 4:30 p.m. at Laupahoehoe Point Beach Park. 808.938.3688 or e-mail firstname.lastname@example.org.
Aloha Saturday Festival
‘Ukulele and Slack Key Masters Concerts
Feb. 17 – March 11 Kainaliu Rodgers & Hammerstein’s first and perhaps most innovative collaboration, Oklahoma! set the standard for musical
Saturday, Feb. 18 Hilo Free every third Saturday in Kalakaua Park, Hilo: Hawaiian music, hula and Tahitian dance. Noon-4 p.m.
Saturday, Feb. 18 Hawai‘i Volcanoes National Park See traditional hula and chant performed outdoors on the hula platform overlooking Kilauea Crater, featuring Halau Na Pua Ha‘aheo O Kona at 10:30 a.m.; Hawaiian cultural demonstrations at Volcano Art Center Gallery, 9:30 a.m. - 1:30 p.m. Free; park entrance fees apply. 808.967.8222 or visit volcanoartcenter.org. Saturday and Sunday, Feb. 18 and 19 Honaunau “Fire and Ice” features the work of Big Island artisans. To enter your work, email email@example.com by January 15. 9 a.m. – 5 p.m. on Saturday, and 9 a.m. -3 p.m. on Sunday at SKEA (Society for Kona’s Education & Art), between MM 105-106. Free. 808.329.9392, email firstname.lastname@example.org or visit skea.org.
Portuguese Day In The Park Sunday, Feb. 19 Hilo Celebration of all things Portuguese! Portuguese Chamber of Commerce members make and serve Portuguese bean soup and fresh baked bread from the “fourno,” free! Live music. Sweet bread, pickled onions, sausage and malasadas available for sale. Special ancestry booth to look up ancestry and history of the Portuguese in Hawai‘i. 9 a.m. - 1 p.m. Gilbert Carvalho Park, Hilo. 808.935.0547 or email email@example.com.
“Kokua Kailua” Village Stroll and Palace Event Sunday, Feb. 19 Kailua-Kona Stroll through historic Kailua Village from 1 – 6 p.m., enjoy oceanside cafes and restaurants, local musicians and artists. At 4 p.m., Hawaiian music and hula
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Hawai‘i Avocado Festival Saturday, Feb. 18 Keauhou Moving to the Keauhou Beach Resort, the 6th annual Hawai‘i Avocado Festival is a free, community event from 10 a.m.-4 p.m. Fun and informative festivities include demonstrations on avocado grafting and growing, an avocado recipe contest, free guacamole sampling, farmers’ market, arts and crafts, healing on the south lawn of Hulihe‘e Palace, featuring Na Pua U‘i O Hawai‘i Hula Halau and vocal music by the Merrie Monarchs, this month remembering Princess Ruth Ke‘elikolani. Bring beach mat or chair.
Bad Boys of Dance
Grow Hawaiian Festival Saturday, Feb. 25 Captain Cook The annual Grow Hawaiian Festival features presentations on native plant horticulture; this year taro will be fea-
tured—its conservation and traditional Hawaiian arts. Also dance, demonstrations and garden tours. Amy B.H. Greenwell Ethnobotanical Gardens on Highway 11. 9 a.m. – 2:30 p.m. Free. 808.323.3318 or visit bishopmuseum.org/exhibits.
Metropolitan Opera HD Live Ernani by Giuseppe Verdi Saturday, Feb. 25 Kailua-Kona Verdi’s thrilling early drama is about a young woman named Elvira who finds herself loved and pursued by three noblemen. The one she loves is the former nobleman Don Juan of Aragon who turned outlaw and was banished. He took the name Ernani. One of the other suitors was King Carlo who later became the Holy Roman Emperor. The third suitor was Elvira’s elderly Uncle Silva whom she is being forced to marry. The opera’s plot tells the story of the interactions of these four characters. $24, $22 senior, $20 student. 12:55 p.m. Makalapua Stadium Cinemas, 74-5469 Kamakaeha Ave., 808.329.4461.
“Ma Maison” Saturday, Feb. 25 Waimea “Ma Maison,” the stunning, 30-minute dance collaboration between choreographer Trey McIntyre, costume designer Jeanne Button, the improvising musicians of the Preservation Hall Jazz Band and nine dancers whose artistry let them forge a powerful blend of street styles and ballet athleticism, is an artistic triumph. 8 p.m. Kahilu Theatre. 808.885.6868 or kahilutheatre.org.
Chinese New Year: Celebration and Tradition Wednesday, Feb. 29 Kailua-Kona Another in a monthly community lecture series on a variety of historical and cultural topics featuring statewide speakers. In this presentation, Ed Yap and the Kohala Tong Wo Society discuss the customs and traditions of the Chinese New Year. 5:30 – 7 p.m. Free. West Hawai‘i Civic Center in Kona. 808.323.3222 or konahistorical.org.
MARCH In Concert: Korean Pianist Soyeon Lee Friday, March 2 Waimea Naumberg Competition 2010 1st Prize Winner Soyeon Lee is hailed by The New
York Times as a pianist with “a huge, richly varied sound, a lively imagination and a firm sense of style.” The Korean pianist and Julliard School graduate Soyeon Lee won the Rachmaninoff Concerto Competition, two consecutive Gina Bachauer Scholarship Competitions and was awarded the Helen Fay Prize, Artur Rubinstein Prize, Susan Rose Career Grant and the William Petschek Piano Debut Award at Julliard. She has been rapturously received as guest soloist with The Cleveland Orchestra, the London Symphony Orchestra, as well as orchestras of Napa Valley, San Diego, and the Daejeon Philharmonic Orchestra (South Korea). 8 p.m. Kahilu Theatre. 808.885.6868 or kahilutheatre.org.
Breadfruit Festival Saturday, March 3 Kapoho Kua O Ka Lā Public Charter School at Pu‘ala‘a in Puna (adjacent to Ahalanui County Park’s warm ponds) celebrates the traditions and cuisine of ‘ulu (breadfruit). Enjoy food, cultural activities, cooking demonstrations, presentations, trees, music and more! Free. 9 a.m. – 3 p.m. Visit breadfruit.info.
Kona Brewers Festival Friday and Saturday, March 9 and 10 Kailua-Kona This annual festival promotes craft brewing in Hawai’i and promotes recycling. Expect about 60 craft beers from Hawai‘i and the U.S. Mainland, plus gourmet food. Also Brewer’s Dinner, Golf Tourney and Run for the Hops. Courtyard King Kamehameha’s Kona Beach Hotel. Entry fee. 2:30 – 6:30 p.m. 808.331.3033 or visit konabrewersfestival.com.
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Tuesday, Feb. 21 Hilo Bad Boys of Dance is a fresh, new dance company comprised of the most talented and versatile young male dancers in the world today, each one hand-selected based on his extraordinary physical abilities and artistry. Founded by Rasta Thomas, “to show the world what great male dancing looks like; and to make dancing fun, entertaining and accessible to a whole new generation.” badboysofdance.com. 7:30 p.m. UH Hilo Performing Arts Center. 808.974.7310 or visit artscenter.uhh.hawaii.edu.
arts, eco fashion show and a full lineup of performing arts. Last year’s all-day event attracted 3,000 attendees. Also on display and for sale will be original festival art and t-shirts. 808.334.3340 or visit avocadofestival.org.
Saturday, Feb. 25 Kailua-Kona Annual fundraiser featuring a sumptuous dinner buffet, live cabaret, silent and live auctions, plus dancing in support of the Kona Festivale Chorale. Held in the newly renovated ballroom of the Courtyard King Kamehameha’s Kona Beach Hotel. Historically a sellout, order tickets early. 5:30-9:30 p.m. Price TBA. 808.331.1115, email firstname.lastname@example.org or visit konafestivalechorale.org.
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The Life in Business...
One Vendor. One Bill. Finger pointing? Only when you dial.
Big Island Coffee Roasters
Owners Brandon Damitz and Kelleigh Stewart
randon Damitz and Kelleigh Stewart have combined their expertise in biological and culinary sciences and organic farming to create a business that offers the finest local products to the public along with support for other coffee growers in commercial roasting, packaging and processing. “In 2011 we re-named our coffee farm, mill and roastery Big Island Coffee Roasters to reflect our dedication for improving the quality of coffee throughout the Big Island of Hawai‘i,” says Brandon. “We continue to operate Makana Gardens, LLC, as a tropical flower wholesaler and gift box retailer.” After purchasing the coffee farm previously known as Volcano Isle Coffee, Brandon and Kelleigh imported a Diedrich coffee roaster and engaged in massive tree pruning, while experimenting with different processing techniques. Kelleigh has a background in the biological and culinary sciences. Her degree is in organismal biology and her culinary experiences range from employment as a chef, managing a restaurant, and engaging food/wine pairings. Brandon’s experience is in organic vegetable farming and all aspects of service in casual fine dining. “Our inspiration is in the exploration of coffee chemistry and how subtle adjustments can reflect remarkable changes in flavor,” explains Kelleigh. “We believe that everyone should have the opportunity to enjoy their cup of coffee in the same way as a fine wine, microbrew, or a flavorful dinner.. “Our coffee farm contains an array of yellow, pink and red bourbon, red and yellow caturra, red catuai, SL-28 and typica trees. We also showcase exceptional coffees from other microlots around the Big Island,” she continued. Big Island Coffee Roasters’ (Makana Gardens) most popular coffee, Puna Sweet Estate Coffee, has a “richness of brown sugar and milk chocolate, with the fruit character of red wine and tropical citrus.” All coffee has the roast date handwritten on the label, and is never sold two weeks past roasting. Services to Big Island coffee growers include complete on-site processing and roasting. “We share our attention to quality with all of our processing customers, and advise our customers of different ways to bring out desirable traits in their coffee beans. Coffee, tropical flowers and gift boxes are available through the website, telephone orders, and Big Island B&B’s. Call for kama’aina pricing. Location: Hawaiian Acres Road 1 in Mountain View Phone: 808.968.6228 Email: BigIslandCoffeeRoasters@gmail.com Website: BigIslandCoffeeRoasters.com , MakanaGardens.com
The Life in Business...
Island Edges Beads Owner Sharon Turner and son Garry Turner
Store location: 265 Keawe St, in downtown Hilo Phone: 808.935.3332 Email: email@example.com
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haron Turner retired from being a high school theatre teacher in Arizona. Looking for something different and creative, she took a few classes in jewelry making. A native of Phoenix, the single mom of two boys taught there for 26 years. In the early ‘80s she took a two-year leave of absence, taught speech for Maui Community College, and fell in love with the Islands, she says. After moving to Hawai‘i 14 years ago, after having owned a house here for eight years before that, Sharon started selling her jewelry at craft shows and the newly-opened Kea‘au Village Market. When people started asking her where she bought her beads, she found that there was a demand among other crafters for beads. In 2004 she opened a bead shop there two days a week. It was successful and three years later, needing more space, she opened Island Edges Beads in Hilo. The business outgrew its first location on Keawe Street and, after two years, moved down the street to its present location at 265 Keawe. “I love the atmosphere in our shop,” Sharon says. “We get complements all the time from our customers. It is tropical, relaxing, and just has some good vibes with all those beautiful beads from around the world surrounding us.” The store attracts customers of all ages: men, women, tourists, local artists, Big Island residents—long-time beaders and beginners, she says. “We don’t just sell beads. We enjoy getting to know our customers and I love helping them to discover a new talent! I am always ready to show someone how easy it is to create your own jewelry. Plus, I teach classes in wirework, art clay, silver and have some great guest instructors. Many of our first time beaders have gone on to sell their own creations.” Now, with her son Garry’s help, the store is open five days a week. Garry had stayed in Maui, after moving there with the family, and then got his boat captain’s license, working as a captain for 26 years. Sharon still sells her wirework jewelry and Garry has discovered his creative side and makes chain, glass beads and finished jewelry. “His jewelry sells better than mine but nobody asks me ‘Where do you buy your beads?’ anymore!” she exclaimed.
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The Life in Business...
Could your business use a shot of caffeine?
Hawai‘i Biological Dentistry
Randy Ressler, DDS
r. Randy Ressler may be the most musical dentist in town! “Music has always been a big part of my life,” says the owner of Hawai‘i Biological Dentistry in Kailua-Kona. He’s been performing since he was 10 and he helped pay his way through college and dental school in Iowa by playing in various rock bands. “I ran a large music venue, The Great River Roadhouse, for several years and performed in a group, The Uninvited, who opened for many national acts including Cheap Trick, Nine Days, Firehouse, REO Speedwagon, Edgar Winter and Debbie Gibson. We had the number one requested song in the Dubuque market for nine weeks running.” Dr. Ressler moved to the Big Island in 2003 and purchased his practice from Dr. Charlie Roberts, who was retiring. One advantage, he says, is the nice office space, close to the ocean, with beautiful views. The dental practice now has a number of specializations and out-of-the-ordiniary services, including cranial osteopathy; gnathologic orthopedics (think of non-extraction orthodontic treatment without braces, correcting the alignment of the jaws and teeth); homeopathy; safe amalgam removal and oral implantology. “I do full-smile makeovers in a single visit using the CEREC system of in-office ceramic fabrication and custom staining and glazing,” says Dr. Ressler. He is proud of his staff, who he says are “the greatest people ever.” One of ten children, Ressler grew up in a “big, loving, musical family. After dental school, I started a dental practice in Dyersville, Iowa, just eight miles from the house where I grew up and my mother continues to live.” Still a musical performer after hours, you may see the dentist in clubs and on stage locally. “I work as a solo performer in restaurants and clubs in West Hawai‘i, and occasionally perform in community theatre. I’ve played leading roles in such plays as ‘Annie Get Your Gun,’ ‘The Sound of Music’ and ‘To Kill a Mockingbird.’” Location: 75-184 Hualalai Road, Suite #300. Phone: 808.327.9677 Email: email@example.com Website: www.randyresslerdds.com
The Life in Business...
Verne Wood, owner and founder of WaterWorks is shown with a few of the company’s recently-expanded line of FDA-certified, food-grade, plastic storage tanks.
Tax planning is a year round event!
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Store Locations: 1717 Kamehameha Ave., Hilo 79-7511 Mamalahoa Hwy., South Kona Phone: 808.933.9111 (Hilo), 808.322.2222 (Kona) Hours: Mon. – Fri. 8 a.m.-5 p.m., Sat 9 a.m.-2 p.m. Email: firstname.lastname@example.org Website: www.WaterWorksHawaii.com
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erne Wood, founder of WaterWorks, is a pioneer in the business of water catchment services and products on an island where many homes are independent of the County water system and rely on collecting rainwater. The company began more than 20 years ago as a trucking company in Puna, hauling water to homes with water catchment systems. Responding to an apparent need, the company started providing related products and services to homeowners who wanted to improve their water systems. “Although we do offer a variety of other water products, water catchment systems have always been the backbone of the company,” said Wood. WaterWorks is a major supplier on the island of water supply systems for agricultural, commercial and governmental projects WaterWorks moved from Puna to Hilo 10 years ago and recently moved to a prime location there. “In our new flagship location, at the zero-mile marker of our two highways, we’ve been able to liven up our business with a brighter showroom and a better display of our hot tubs, pools, and water catchment products,” Wood explained. The company also has a second location in Kealakekua on the island’s west side. Part of the mission and philosophy of WaterWorks is an ongoing effort towards changing the way that people think about their water supply choices and providing viable alternatives to municipal water sources. “We are unique as a result of our original commitment towards improving and legitimizing the water catchment industry,” said Wood. “Our pioneering in this field is now drawing a lot of attention from other areas of the country where people are becoming more self-reliant and choosing ‘greener’ alternatives for the design of their water systems.” There are very real health consequences of bathing in, preparing food, and ingesting water from untreated catchment water. WaterWorks has worked closely with the University of Hawai‘i to educate the public of the benefits of ultra-violet disinfection, and there are other products they offer for their efficacy in providing clean and healthy water.
Richard Smart in front of Pukalani Stables, Parker Ranch – Photo courtesy of Paniolo Preservation Society
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Richard Smart was the last of the Parker family to own and manage Parker Ranch. His legacy made its mark on not only today’s Parker Ranch, but the community of Waimea. Rather than ranching, he chose the career path of a Broadway theatrical performer. In a new book about his life, authors William C. Bergin, DVM, and Dexter Keawe‘ehu Vredenburg, both with personal and professional ties to Parker Ranch, explore the diverse character of Richard Smart and all of his passions. The following is excerpted from the book’s introduction, by the authors.
mart’s enjoyment of life was in singing, acting, and ranch managing, in that order. That imposition of Broadway on ranch economics was ultimately responsible for certain adjustments to the supporting cast at Parker Ranch – that is, firings, new job openings, periodic deposits of largesse on employees. Just as a director might post a star on an actor’s dressing room door halfway through a run, the director is equally empowered to remove that star four weeks later in favor of a newly hired actor whose performance brought the house down. In Richard Smart’s case, his perceptions and emotions as director (or ranch owner) had as much to do with cast changes as the producer’s or chief accountant’s cash bottom line. The happiness of employees, like the applause of the audience, was as important to him as the immediate economic outcome.”
Richard Smart of the Legendary Parker Ranch, by William C. Bergin, DVM and Dexter Keawe‘ehu Vredenburg, is available at local vendors: Kona Stories, Basically Books, Parker Ranch Store, KTAs and Hilo Hattie’s.
Richard Smart with actress Nanette Fabray – Photo from the book.
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Our credit union. Our ‘ohana.
Michelle Kaulumahiehie Amaral and her daughter Misti trust the credit union for high-tech, personalized service with an ‘ohana touch.
As we celebrate 75 years of credit union history, we are proud to count hula soloist Michelle Kaulumahiehie Amaral among our valued members. Along with her parents, children and grandchildren, Michelle represents four generations of credit union membership. As true ambassadors of aloha, Michelle and daughter Misti appreciate our ‘ohana-centered organization with its personalized, high-tech member service. They know that no matter how trying the financial times, the credit union has remained a strong, member-owned organization dedicated to serving its membership for three quarters of a century. A philosophy of people helping people prevails. After all, isn’t that what the aloha spirit is all about? Visit any one of five branches of Hawaii Community Federal Credit Union to learn more about the credit union difference.
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