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Fourth Anniversary Edition | January/February 2013


"The Life" Ce l e bra t i ng t he a r t s, c ul t ure, a nd sust a i na bi l i t y of t he Hawa iia n Is la nd s

January–February 2013 ‘Ianuali–Pepeluali 2013

Art 25 The Goddess and the Artist “Pele Dreaming” By Gayle ‘Kaleilehua’ Greco 41 For the Love of Creating Dan DeLuz: A Special Man Who Embodied the Hawaiian Spirit of Sharing Graciously By Tiffany DeEtte Shafto 77 The Road Less Traveled Destination: Diane Renchler’s Toulouce Gallery By Jessica Kirkwood

Business 75 Why Values? And Why “Manage with Aloha?” Managing with Aloha By Rosa Say

Culture 53 Waiho‘olu‘u The Ancient Practice of Natural Dye Making with the Kukui Tree By Renée Robinson

Land 37 Loulu Palm Is On The Rebound South Kona Garden Quietly Conserving Hawai‘i’s Endangered Plants By Barbara Fahs 67 A Journey Through Light and Stone The Art and Architecture of John Wallis By John J. Boyle | January/February 2013

89 Warabi By Sonia R. Martinez


Music 85 Under the Radar Ben Kaili is His Own Man By Shirley Stoffer

50 Activities a week. • • • • • •

Ocean 19 Freeing Willy, Hawaiian Style Hawai‘i Island’s Whale Entanglement Response Network By Cynthia Sweeney 49 Hawaiian Monk Seal Recovery Hawai‘i Adds Second Marine Facility to Protect One of Its Rarest Mammals By Denise Laitinen 63 A Brief History of: Whales in Hawai‘i By Peter T. Young

People 13 Then & Now: The Mysterious Death of David Douglas By Bob Oaks 29 Mana in a Sacred Place Keauhou Beach Resort ‘Ohana By Marya Mann 57 Storytelling Quilts From the Wisdom and Wit of Rozemaryn Van Der Horst By Karen Valentine

Hawaiian Culture Yoga Performing Arts Visual Art Wellness Personal Growth

All KAlAni clAsses Are free or by donAtion for KAmA‘AinA.

71 Every Store Has a Story K. Takata in Hawi By Hadley Catalano

Spirit 11 Hali‘a ke Kumu Hala Na Kumu Keala Ching Ka

Puana -- Refrain

Departments Crossword Puzzle Island Treasures Hawai‘i Island Farmers Markets Community Calendar Community Kōkua Life in Business

81 82 88 90 93 95

Renew. Rejuvenate. Find yourself here. Back issues of Ke Ola available for purchase. | January/February 2013

98 Contemporary Hawai‘i Woodworkers: the Wood, the Art, the Aloha By Tiffany DeEtte Shafto and Lynda McDaniel


Advertiser Index

Please support these businesses! Their advertising is what brings these stories to life and keeps Ke Ola complimentary across Hawai‘i Island.

Accomodations Kalani 5 Kilauea Lodge 60 Shipman House Bed & Breakfast 47 | January/February 2013

Activities, Culture, and Events Amy B.H. Greenwell Ethnobotanical Garden 39 Aloha Performing Arts Co. 84 Big Island Eco-Adventures Zipline 64 74 Big Island Rodeo Dolphin Journeys 21 Hawai‘i Reggae & Agricultural Festival 100 Hilo Chinese New Year Festival 47 Hilo Hula Days 45 62 ‘Imiloa Astronomy Center Kohala Ditch Adventures 7 Kona Boys 20 Kona Concierge 59 Lyman Museum & Mission House 46 86 Hula Festival & Educational Challenge 46 Palace Theater Volcano Rain Forest Tour 24 W.M. Keck Observatory 59


Art, Crafts, Jewelry 2400 Fahrenheit Aloha Fabric & Quilting Big Island Glass & Art Gallery Blue Ginger Gallery Blue Sea Artisans Cliff Johns Gallery Cindy Coats Gallery Elements Gallery Desgins by Shirley Donkey Mill Art Center Dovetail Gallery & Design Hawai‘i Wood Guild Hawi Gallery Art & Ukuleles Holualoa Ukulele Gallery Images of Paradise Ironwood Custom Framing & Design Island Edges Beads Living Arts Gallery Kailua Village Artists Galleries Martin & MacArthur Mountain Gold Jewelers Pele’s Glass Creations Pele’s Hokulele Gallery Quilt Passions Rainforest Gallery at Niaulani Showcase Gallery & Beads Simple Elegance Gems Studio of Sticks and Stones Treasure Island Gallery of the Exotic Trudy’s Island Arts Visions of the Tropics Volcano Art Center Gallery Wishard Gallery

44 78 28 56 32 62 43 65 78 68 62 92 65 62 79 80 47 65 43 17 94 42 35 38 24 56 26 26 79 32 79 24 27

Automotive Big Island Honda Lex Brodie’s Tire & Service Center

74 95

Beauty, Health, Nutrition Abundant Life Natural Foods Baily Vein Institute Blue Dragon Bodywork Douglas Dierenfield, DDS Facial Fitness Joan Greco, DDS Graciela’s Salon Hamakua Hairbrush Co. Health in Motion Lotus Center Maile Medicinals NAET Hawai‘i Natural Balance Acupuncture, Rolfing & Massage Obstetrics & Gynecology, Christina Collins, MD Ohana Hearing Center Progressive Medical Randy Ressler, DDS Randall Cislo, DMD Sole Comfort Footwear Spa at Kona Beach Hotel Swami’s Healing Arts Studio B Salon Vog Relief Herbal Capsules Yoga Studio at Kona Beach Hotel

37 8 99 48 61 15 76 42 65 50 48 48 48 50 52 48 52 80 87 50 86 80 52 50

Building, Construction, and Home Furnishings Aloha Adirondack Chairs 44 Ali‘i Woodtailors 66 36 Bamboo Too Bryan Booth Antiques & Restoration 66 76 dlb & Associates Garden Inspirations 82 Habitats Hawai‘i 72 74 Hawai‘i Water Service Co. Hawai‘i Electric Light Company 66 30 Indich Collection Hawaiian Rugs Koehnen’s Interiors 2 Kona Hillscapes 14 10 KUMUkit Solar Electricity Paradise Plants Home & Garden Center 36 16 Plantation Living Quindembo Bamboo Nursery 76 SlumberWorld 14 Statements 58 Trans Pacific Design 69 Business and Professional Services Action Business Services 94 Aloha Business Services 97 Allstate Insurance, Steven M. Budar 84 Entrepreneur’s Source 96 Hawai‘i Community Federal Credit Union 40 Great American Self Storage 93 Homes Group Personalized Home Oversight 69 Island Mailbox Plus Internet Café 46 Jet Vacation Travel Agency 96 96 Linda Meyer Web Design 94 Manuel Roberto, Merrill Lynch 96 Red Road Telecom 84 Scott March, Attorney 87 What to Do Media 3

Pets East Hawai‘i Veterinary Center Keauhou Veterinary Hospital

50 18

Real Estate Aloha Kohala Realty Arabel Camblor, RS, Clark Realty Carol vonHake, RS, Paradise Found Realty Cindy Griffey Schmidtknecht, RS, MacArthur & Co. Hawaiian Dream Properties Kelly Shaw, RS, Koa Realty Lava Rock Realty Lorraine Kohn, RB, Paradise Found Realty The Commercial Group The Real Estate Book

4 66 86 54 54 60 12 84 38 60

Restaurants and Food Amici Italian Bar & Grill Blue Dragon Restaurant Gio’s Gelato Hilo Coffee Mill Holukoa Gardens & Café Ho‘oulu Farmers Market Island Naturals Market & Deli K’s Drive In Kaleo’s Bar & Grill Keauhou Farmers Market Kohala Coffee Mill KTA Superstores Lava Lava Beach Club Mi’s Italan Bistro Mi’s Wine & Cheese Shop Mike’s New York Pizzeria Peaberry & Galette Pizza Hawai‘i Sushi Rock Waikoloa Village Market

56 99 56 37 62 83 52 86 22 87 64 97 20 72 16 22 35 72 65 54

Retail and Gifts Aloha Kona Kids - Rentals Aloha Kona Kids - Retail Store Basically Books Big Island BookBuyers Buddha’s Cup Coffee Golden Egg Cash Assets Hawai‘i’s Gift Baskets Hawai‘i Loofah Farm High Country Farm Protea Flowers Kadota’s Liquor Kailani Surf Co. Kiernan Music Keauhou Shopping Center Keauhou Store Kona MacNet Kona Stories Kona Rising Coffee Co. Mi’s Wine & Cheese Shop Olivia Claire Boutique Paradise Found Boutique Perfect Harmony Rainbow Jo Clothing Sweet Wind Books & Beads

61 32 47 22 62 68 4 56 15 76 21 56 34 62 96 35 56 16 65 34 46 46 80

"The Life" Celebrating the ar ts, culture and sustainability of Hawai‘i Island


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

Publisher, Marketing and Operations Barbara Garcia Bowman, 808.329.1711 x1,

Editor and Art Director

Renée Robinson, 808.329.1711 x2,

Advertising Sales and Business Development East North South West

Barbara Garcia Ed Gibson Mars Cavers Ed Gibson

808.329.1711 x1, 808.987.8032, 808.938.9760, 808.987.8032,

Distribution and Subscriptions

Sharon Bowling, 808.557.8703,

Creative Design

Michael Mark P., Creative Director, Mana Brand Marketing 808.345.0734,

Advertising Design

Karen Fuller, 808.769.8151, Stephanie Schreiber, 808.315.7182,

Copy Editing, Proofing

Sharon Bowling • Lindsay Brown • Fern Gavelek

Production Manager Richard Price


Eric Bowman • Keala Ching • WavenDean Fernandes • Fern Gavelek

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. Submit online at (go to Contact page) Calendar submissions Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates

From Readers...

✿ Aloha Barb, Just a note to compliment you on the magazine. It has shown constant improvement since you began publishing a few short years ago. We just returned from Hawai‘i Island and had another great time. Mr. Dee Likes, Topeka, KS

The Parrots of Pana‘ewa, January/February 2012

✿ Mahalo Barbara, “Years ago I had a beautiful Hyacinth Macaw parrot named ‘Zoe.’ She was the sweetest bird companion ever. When we moved into town in a ‘neighborhood’ from our Captain Cook farm eight years ago, she was a young two-year-old bird. We were the first ones to move in and we quickly realized it would not work to have a parrot with lungs the size of hers in a neighborhood. When I would leave the room, at 11 pm, she would scream in a ear piercing yell that would have probably ended up in civil court once any neighbors moved in. We decided to find a home for Zoe and sold her to a man who owned a store on Ali‘i Drive. He wanted to take her to work with him to perch in the store for tourists. Zoe loved people (especially men) and we thought this would be an ideal home for her. We lost track of him when his store disappeared in the wake of the declining economy. There was an article in Ke Ola magazine featuring a bird at the Hilo Zoo named Zoe. The article said that Zoe had two previous families and wound up at the zoo. I was so excited to find my bird! She definitely remembered us and was actually a little mad at me (for leaving her). She let me pet her a little and she said some of the words we used to say with her when she was young. As it turns out, she is the pride of the zoo. The volunteer ladies dote over her and they refer to her as ‘The Queen.’ They buy her toys with their own money and she is the ONLY parrot allowed out of their cages to go around the zoo and perch in public (like the parrots at the Hilton). She has the hugest cage imaginable with tons of perches and her favorite toys. She gets visited by lots of people every day and gets to be ‘The Queen.’ I don't think she could have ended up in a better home and I am so happy that she is happy. It made me feel a little sad, yet relieved at the same time. If you go to the zoo, stop by and say ‘Hello’ to her. And if you play Reggae music off your phone—she’ll dance for you!” Steve Von Hargett, Kailua-Kona, HI

Worldwide Delivery 808.329.1711 x3, order online at, or mail name, address, and payment of $24 US/$48 International for one year to: PO Box 1494, Kailua-Kona, HI 96745. © 2012, Ke Ola Publishing, Inc. All rights reserved


Fourth Anniversary Edition—Hau‘oli Makahiki Hou! Happy 2013!

Corrections to the Nov/Dec issue. Ke Ola apologizes for any confusion these might have caused. In the Island Mailbox Plus story, Hilo Burger Joint’s correct address is 776 Kilauea Avenue. In the Holy’s Bakery story, the name Hori was misspelled twice.

The New Year is also a time to reflect and bid aloha to the past. This issue features a fond farewell to the Keauhou Beach Resort in, “Mana in a Sacred Place.” The 40-year-old hotel will be dearly missed, and the memories will continue to live on in our hearts. We thank all the employees from the historic hotel for their service and wish them much aloha and success. Did you notice the Advertiser Index in the front of our November/ December issue? It’s very unconventional. Most publications, if they have one, place it in the back. We feel it’s our kuleana (responsibility) to remind our readers that it’s our advertisers who provide the opportunity for us to bring you these amazing stories without charge. They make it possible for us to provide 24,000 complimentary copies around the island. Please mention you saw their ad in Ke Ola when you visit them in their store or run into them anywhere around the island. Better yet, utilize their services and buy their products. Be sure to check out advertiser discount coupons on our website, too. For our new year, Ke Ola is happy to announce it is expanding its circulation on Hawai‘i Island. Ke Ola is also launching a second edition in Maui County, serving the residents of Maui, Lāna‘i and Moloka‘i. The inaugural issue will be distributed during April/May 2013. Please let your Maui County ‘ohana know it is in the works and to keep an eye out for it. We would love to receive story ideas and advertising inquires. If you have any ideas, please send them our way. Our first involvement in the Maui arts community will be when we help sponsor the Maui Open Studios Tour. Please join us on February 2, 2013 for the opening celebration at the Maui Tropical Plantation. For more info: Barbara Garcia, Publisher Renée Robinson, Editor

On the Cover “Pele Dreaming” and MaryAnn Hylton See story on page 25. Also see

Send us your comments, letters, and photos! We take email, snail mail, submissions through our website, or posts on Facebook, LinkedIn, and Twitter! | January/February 2013

As I write this in early December 2012, I’m noticing people who laugh or shrug off the “End of the World” theories, while others are hesitant to commit to anything in the future. In my opinion, there is far more to be excited about on our island home, with the potential for it to be one of the few places in the world for selfsustainability. This is quite profound and hopeful. It's why many people have chosen to live here. Many of the stories we’ve published over the last four years address important topics, such as growing our own food and medicine, using sustainable building materials, and reforesting and planting native plants. We have highlighted local businesses dedicated to serving the local community, homeopathic uses for island plants, recipes to live off the land, and art forms imbedded in the Hawaiian Renaissance Movement that strive to restore and perpetuate the culture of Hawai‘i’s ancestors. All this will teach our keiki to utilize their environment and community in a way that surpasses our own. Archives of our stories for the past couple of years are on our website. As our website is revamped, archives for the first two years will be available. At Ke Ola, we look forward to a bright 2013. We remain committed to finding the stories that inspire, uplift, and connect us to each other in this living paradise. The New Year is a wonderful time to think forward and connect us to each other on Hawai‘i Island. Perhaps there is a story you’ve been hoping to read or something you’d like to learn more about in our community. Now would be a great time to tell us what you think, as we all plan for the future. You’re welcome to submit story ideas to us through the contact page on our website,, or by emailing Renée at I’m so excited to share some new additions to the Ke Ola story lineup starting with this issue. Rosa Say, West Hawai‘i resident and author of the business book, Managing with Aloha, will be sharing her 19 Hawaiian values to heed for personal and business success. One value with additional commentary from Rosa will be featured in each of the next 19 issues. You’ll want to read every one of them! Peter T. Young has joined us by sharing historical stories and photos about the island, also featured on his blog: It’s an honor to welcome Rosa and Peter to the Ke Ola ‘ohana, and we look forward to many great stories from them both! Another new addition, beginning with this issue, is we’ve added a crossword puzzle that’s custom-made for Ke Ola! Have some fun!


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Hali‘a ke Kumu Hala | Na Kumu Keala Ching

‘Ae kaulana ke ‘ala o ka hala o Puna

Famous scent is the hala of Puna

Kaulana ke ‘ala o ka hala o Puna Famous scent is the hala of Puna Aia ‘o Puna paia ‘ala i ka hala Puna Puna known for the scent of the hala I ka hala me ka lehua, ma‘ema‘e ‘o Puna Scent of the hala and lehua at Puna ‘O Puna, kai nehe i ka ulu hala At Puna, the sea speaks to the hala ‘O Puna, kai nehe i ka ulu hala

At Puna, the sea speaks to the hala

I ka makani hali ‘ala o Puna Nani Puna pō i ke ‘ala o ka hala Hali‘a ke kumu hala o Puna ‘A‘ohe hala ‘ula i ka pō ala

Wind carries the scent of Puna Beautiful scent of Puna is the hala Honored is the lauhala, a source of Puna Beauty must be seen to be enjoyed

‘A‘ohe hala ‘ula i ka pō ala

Beauty must be seen to be enjoyed

‘I‘ini ka lehua me ka hala o Puna Punahele ‘o Puna puni i ka hala I ke ola lauhala laha‘ole o Puna Puhalu ka ihu, nānā i ke kā‘ao

Seek the lehua with hala of Puna Puna famous for the hala Living abundantly is the lauhala of Puna Honor before it is gone

Puhalu ka ihu, nānā i ke kā‘ao e

Honor before it is gone

Kaulana ke ‘ala o ka hala o Puna

Famous scent is the hala of Puna

aulana ke kumu hala o Puna, ‘o Puna wahi paia ‘ala i ka hala laha‘ole. Eia ka hali‘a ke kumu hala o Puna, ‘a‘ohe hala ‘ula i ka pō ala. He ‘i‘ini ka lehua me ka hala o Puna, punahele ka hala puni o Puna. He mana‘o hali‘a i ke aloha puni o Puna, puhalu ka ihu, nānā i ke kāʻao. ‘O Puna kahi kumu ‘ike o ka hala, like nō nā kūpuna ‘ulana lauhala! Famous is the lauhala tree of Puna, Puna an abundant wall of scented hala. Honoring the hala tree of Puna, where beauty is enjoyed when seen. Desired are the lehua and hala of Puna, famous indeed surrounding Puna. Remember the love of Puna, honor before it is gone. Puna, a source of lauhala knowledge, like our lauhala-weaving ancestors and practitioners! Honoring Puna as the source of lauhala knowledge has been passed down to enhance our lives. This chant honors all lauhala weavers who are inspired to share the beauty of lauhala in gifts given and received. Mahalo nui loa e Vivian Ontai and your kumu lauhala. Resources: ‘Ōlelo No‘eau: Hawaiian Proverbs and Poetic Sayings by Mary Kawena Puku‘i, published by Bishop Press. Contact Kumu Keala Ching: | January/February 2013



Then & Now: The Mysterious Death of David Douglas | By Robert Oaks


ost residents and visitors to Hawaiʽi Island are familiar with the Kealakekua Bay monument marking the spot where Captain James Cook was killed in 1779. Less familiar is a monument that marks the spot where David Douglas, a fellow British subject, died over half a century later on the other side of the island. Born in Scotland in 1799, Douglas developed a keen interest in botany when still a boy. By the time he was in his early 20s, his passion led him to the Pacific Ocean, where he began exploring the west coast of Spanish and British North America and eventually the Hawaiian Islands (then usually known as the Sandwich Islands). He spent more than a decade in what is now California, Oregon, Washington, and British Columbia cataloging plants unknown to Europeans. Most famously, he wrote about and gave his name to the majestic Douglas Fir tree that covered much of the coastal region. In addition, several Hawaiian plants, including the hala tree and silversword, were introduced to Europeans through Douglas’ reports. The reports and journals he sent back to Great Britain established his reputation with fellow botanists. He also acquired—apparently somewhat accidentally—a reputation as a medical doctor. When in Monterey, California, in 1831, nineyear-old, Honolulu-born William Heath Davis, who would later found the city of San Diego, fell down a ship’s hatch and broke his arm. Douglas responded to a plea for help, set the bone cleanly, and was henceforth known as Dr. David Douglas. By late 1833, in poor health after spending a winter in the chilly regions of the Fraser River in British Columbia, and troubled as he had been for years by poor eyesight, Douglas decided it was time to return home, and wanted to go by way

of the warm climate of the Sandwich Islands. He had briefly visited the islands in 1830 and again in 1832, and had done some preliminary exploration and plant categorization on O‘ahu. Accompanied by his trusty terrier Billy, Douglas reached Honolulu two days before Christmas, 1833, and stayed with the British consul Richard Charlton. photo courtesy of Hawaiʽi State Archives On this trip he was especially eager to visit the two large volcanoes on Hawaiʽi Island. He sailed for Hilo, and at Charlton’s suggestion made friends with Reverend Joseph Goodrich, who in addition to being a prominent missionary in the town, was also an experienced climber who had tackled Mauna Kea several times. Through Goodrich, Douglas also met the Reverend David Lyman, and he usually stayed in the Lyman and Goodrich homes when in Hilo. Douglas was determined to make the 27-mile climb up Mauna Kea himself. He was accompanied by 16 porters, rounded up by Goodrich, and a Hawaiian guide and interpreter, John Honoriʽi. A fervent Christian, Honoriʽi had recently returned from the United States, where he had tried to procure additional missionaries for Hawaiʽi. ❁Continued on page 14

13 | January/February 2013

❁Continued from page 13


Laden with a 60-pound pack of scientific equipment, Douglas and the party set out on January 7, 1834. He wrote of the landscape, the crops and native plants, as well as the feral sheep, goats, and wild cattle, the result of a gift that Captain George Vancouver had made of California livestock to King Kamehameha I 40 years before. The five-day trek to the summit was hampered by constant rain and falling temperatures as they gained altitude. A violent headache and bloodshot eyes added to Douglas’ discomfort, yet the awe he experienced, the unbelievably clear night sky, the “infinite solitude,” and the feeling that he was “standing on the verge of another world” made up for the pain. Though their descent brought more unpleasant rain and mud, Douglas collected along the way more than 50 species of ferns, moss, and other plants. Back in Hilo, he and Goodrich calculated the height of Mauna Kea at 13,851 feet, not that far off from modern calculations, and considerably lower than previous estimates. Within a week of his return, Douglas and Honoriʽi set out first for Kīlauea and then for Mauna Loa. Kīlauea’s lava flow fascinated Douglas, who even cooked chicken and pork, wrapped in banana leaves, in 27 minutes by the heat of a fissure, whose temperature he estimated at 195.5 degrees. Setting off for Mauna Loa, Honoriʽi preached two Sunday sermons in the village of Kapapala, where they also recruited more men to help reach the summit. Again, hampered by rain and snow, Douglas and one of his bearers reached the summit on January 29. Douglas became only the second non-Hawaiian to conquer Mauna Loa. The first was fellow Scotsman and fellow botanist Archibald Menzies, a member of Vancouver’s expedition, who succeeded in reaching the summit in 1794. The descent back to Hilo was dangerous and painful, due to Douglas’ deteriorating health: “I found myself instantly seized with violent pain and inflammation in my eyes … from the effect of the sun’s rays shining on the snow; a slight discharge of blood from both eyes followed, which gave me some relief.” He was exhausted when he reached Hilo, and yet exhilarated by the experience. He spent the next few months traveling throughout the islands, while waiting for a ship that would take him back to England. In Honolulu he met John Diell, an American chaplain, and persuaded his new friend to go with him back to Hawaiʽi Island to view the wonders of the volcanoes. Diell and his family wanted to take a side trip to Molokaʽi, so they agreed to meet in Hilo. Douglas continued on with his dog Billy and the Diell’s black servant, John.

Their ship reached North Kohala (probably Kauhola Point) on July 9, 1834. Douglas, Billy, and John disembarked intending to walk the 90 or so miles from there to Hilo. Although Douglas was used to such excursions, which he could accomplish in three or four days, John was not. He gave up after one day, so Douglas went on with Billy. On July 11, Douglas and Billy spent the night at the home of a local rancher named Davis. Setting out the following morning, they reached the dwelling of one Ned Gurney, who, like others in the area, supported himself by trapping wild cattle in deep pits, and then killing them for their meat and hides. Such pits usually were dug around a pond or watering hole and covered with brush and dirt. Lured by the water, the thirsty animals would stumble into one of the pits, where they were easy to kill. Gurney was a seemingly unsavory character. English born, he was caught stealing when he was a teenager and shipped off to the penal colony of Botany Bay in New South Wales. He somehow managed to escape, made his way to Honolulu, and then to Hawai‘i Island, where he had been living for several years when Douglas and Billy met him. According to Gurney, he accompanied Douglas for a short distance down the trail the next morning, cautioning him to watch for three pits that he had dug, two of them directly in the road, the third off to the side. Douglas continued on and Gurney returned home. Sometime later that day, two Hawaiians ran up to Gurney to report that when passing the pits, they saw a piece of clothing on the path. They approached the pit, saw a trapped bull inside, and then noticed a foot and shoulder sticking out from the dirt below. Grabbing his musket, Gurney ran to the pit, shot the bull, and upon climbing down found Douglas’ mutilated body. The dog Billy was subsequently found a short distance down the road, guarding Douglas’ bundle of possessions. Seemingly Douglas had walked safely past the pits, and after a short distance decided to return for a second look, leaving Billy and his bundle behind. Had he heard a noise perhaps and returned to investigate, only to tumble into the pit to be trampled by the bull? Had his poor eyesight contributed to this accident? ❁Continued on page 16 | January/February 2013


Monument Dedicated July 12, 1934

❁Continued from page 15 In any case, Gurney and the two Hawaiians carried the body to a nearby village and hired a man with a canoe to transport the corpse to Hilo. July 14, Sarah Lyman related, was “one of the most gloomy days I ever witnessed…. Mournful to relate, Mr. Douglas is no more.” Douglas’ friend, John Diell—who had been waiting for him in Hilo, Reverend Goodrich, and others cleaned up the body, ordered a coffin, and were preparing to bury Douglas in the Goodrich garden, when some began to have second thoughts about the cause of death. One neighbor, Charles Hall, claimed that the wounds on Douglas’ face and head could not have been caused by a bull’s horns. Rather than bury Douglas, Diell and Goodrich concluded that a formal autopsy should be conducted to determine the cause of death. Such a task, however, could only be done in Honolulu. Diell “had the contents of the abdomen removed, and cavity filled with salt, and placed in a coffin, which was then filled with salt.” The coffin was then submerged in a box of brine, awaiting a ship that could take the body to Honolulu. Ned Gurney arrived in Hilo with Billy and Douglas’ belongings. These included his watch and a few other instruments plus a small amount of money. Gurney detailed his belief that Douglas had indeed accidentally fallen into the pit and drew a map of the site. Diell and Goodrich seemed satisfied by Gurney’s story, though doubts remained. According to the rancher, Davis, with whom Douglas had spent a night on the trail, Douglas had been carrying a rather large amount of money, not the small amount that Gurney returned. Did Gurney, as some suspected, murder Douglas for his money? Or did he simply take the money from the dead man’s possessions? Or what of the two Hawaiians who discovered Douglas body? Were they somehow involved? And then there was Diell’s servant, John, who was nowhere to be found. Was he somehow involved either as a perpetrator or a victim? Meanwhile, the body arrived in Honolulu in early August, where Consul Charlton had it examined by two local doctors

and two surgeons from a British naval vessel then in port. They all agreed that the wounds had been caused by the bull. That verdict was sufficient for Charlton, who arranged for a funeral on August 4. Many of Honolulu’s non-Hawaiian community attended, and the body was buried in the cemetery of a small church. Douglas’ possessions, along with Billy, were sent back to England, and yet not everyone was satisfied with the outcome. Charles Hall, who first suspected foul play, went to the pit, found the body of the bull, cut off its head, and shipped it to Honolulu as evidence. Of course with Douglas’ salted body in his grave, further examination would have been difficult if not impossible. Rumors and suspicions, mostly focusing on Gurney continued for many years, but we may never know what really happened that day in Hāmākua. Douglas was gone, but not forgotten. The site of his death was soon known as Kaluakauka, literally the doctor’s pit. A memorial plaque was erected at Kawaiahao Church in Honolulu. There is an impressive memorial in his birthplace of Scone in Scotland. In 1934, on the 100th anniversary of his death, the Hilo Burns Club erected a monument at Kaluakauka at the site at the 6,000-foot level of Mauna Kea. It can be visited today, preferably with a four-wheel drive vehicle, by taking Saddle Road to the Mauna Kea access road to the Keanakolu-Mana Road. Douglas is also remembered on the mainland. A high school and entire school district in Portland, Oregon is named for him. Vancouver, Washington has David Douglas Park, and Prince George, British Columbia, has David Douglas Botanical Garden.❖ For further reading: Barnard, Walther M. “Earliest Ascents of Mauna Loa Volcano, Hawaiʽi,” Hawaiian Journal of History, Vol. 25 (1991), p. 53-70. Greenwell, Jean. “Kaulakauka Revisited: The Death of David Douglas in Hawaiʽi,” Hawaiian Journal of History, Vol. 22 (1988), p. 147-169. Nisbet, Jack. The Collector, David Douglas and the Natural History of the Northwest. Seattle: Sasquatch Books, 2009. Wilson, William Frederick. David Douglas, Botanist at Hawaii. Honolulu, 1919. | January/February 2013

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Underwater view showing lines and anchor attached to a whale’s tail (Courtesy of HIHWNMS/NOAA Fisheries MMHSRP permit #932-1905

Freeing Willy, Hawaiian Style

Hawai‘i Island’s Whale Entanglement Response Network


Since the Hawai‘i Islands Large Whale Entanglement Response Network was founded in 2002, the Network has mounted over 121 on-water or in-air responses, freeing 16 whales with more than 6,700 feet of entangled line removed. Over the last several years the number of entanglements involving local pot gear has increased. Statewide, the Response Network has grown to more than 230 mostly volunteer members who have received various levels of training in order to support large whale response efforts. “A huge part of the entanglement network is the community. The whale tour boats and fishermen are pretty aware of what to look for,” Justin said. The Humpback Whale National Marine Sanctuary on Hawai‘i Island spans from Keāhole point, near the Kona airport to Upolu point in North Kohala. Although whales can be seen all around the island, this area is identified with the highest density of these 35-45 ton, endangered marine animals. Humpback whales may travel 3,000 miles from Alaska to Hawai‘i one year and then to Japan or Mexico the next. “Hawai‘i is the main thoroughfare, and they go other places,” Justin explains. “The interesting part is we don’t know for sure how they navigate. Perhaps it is by sound or magnetic fields. Itʻs something we just don’t know.” Continued on page 20 | January/February 2013

ore than 10,000 humpback whales migrate to the Hawaiian Islands each year, mostly from Alaska, to give birth. And it is estimated that 30 percent of those whales, adults as well as calves—have been entangled in fishing lines at some point. Whales, along with other marine animals, are susceptible to many natural dangers including orcas and sharks. Humans inadvertently contribute considerably with pollution, boat collisions, hunting and fishing lines, and random debris like crab pots or trap cages. Entangled whales often swim here trailing their fishing lines. The longest recorded distance a whale carried gear was more than 2,450 nautical miles from Alaska to Maui. Only a handful of people in the world have the training and the mental and physical stamina required to go eyeball to grapefruitsized eyeball with an entangled, 35-ton humpback whale. Justin Viezbicke is one of them. Each year, Justin, the Hawai‘i Island Programs Coordinator with the National Oceanic and Atmospheric Administration (NOAA) and his network of community volunteers disentangle whales caught in fishing lines and other life-threatening hazards offshore of Hawai‘i Island.

| By Cynthia Sweeney


❁Continued from page 19 | January/February 2013

Leftside of entangled whale from surface (Courtesy of Beth Goodwin, Liquid Robotics/ NOAA Fisheries MMHSRP permit #932-1905)


The whales swim around the Hawaiian Islands with no discernable pattern. Researchers like Justin track whales by taking pictures of their tail flukes. At 15feet wide, the markings on a whale’s fluke are as unique as a fingerprint. Justin and his assistant, Kanani Frazier, run a small office at the very end of the Natural Energy Lab park just south of the Kona Airport. The office is cluttered with an inflatable raft, boat motor, bags of gear, specially made knives for cutting the entangled lines, satellite buoys, and stuffed animals—props for educational talks. When a call comes in from someone who has spotted a whale in trouble, it takes Justin about two hours to mobilize, loading up his truck with gear and driving to Honokōhau harbor. Since there is no response boat on this island, he relies on community support. “Without resources (like a boat) we rely on the community of ocean users, volunteers, all these different entities putting in their piece to make this work,” Justin emphasizes. Susan Rickards, with the Hawai‘i Marine Mammal Consortium (HMMC), plays an integral role in the entanglement response team. She is a researcher with about

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ten years experience on the waters collecting data and being around marine animals. She has also taken workshops with the entanglement network. Based in Kawaihae, she is on-call and frequently volunteers to drive HMMC’s 17-foot Boston Whaler. HMMC is a non-profit organization with federal and state permits to approach a whale within the 100-yard limit and is also involved in tracking and tagging. “We have our own gear and if need be we can assist to attach a satellite buoy with transmitters to trail the animal,” Susan replied, adding there is a lot of cooperation from the tourism industry. Helicopter operators and whale-watch boats will wait by the entangled animal until Justin and company arrive on the scene. Entanglement rescues are dangerous on many levels. The operation requires adherence to strict protocol, and the safety of the crew is the first priority. “People want to do something, yet they need to let us come and deal with it,” Justin emphasizes. “It can be extremely dangerous and these huge animals can do a lot of damage.” Before any action is taken, Justin assesses the whale’s predicament. “The biggest part is evaluation. First we assess the situation for what’s safe. Is it life threatening for us? We want to know what’s going on before we do anything at all,” he says. “We document everything and evaluate everything we do.” If a whale has been entangled for some time, he may be quite injured, tired, and moving slowly. If a whale has recently been entangled, he’s most likely still active and reactionary to changes is his immediate environment. If a calf is entangled, the protective mother will be somewhere nearby.

Sometimes the problem is actually locating the whale. An entangled whale can be spotted again and again, and yet by the time the team gets to the location the whale is gone—on the move and diving deep. If Justin determines the situation is safe enough that the whale can be disentangled, he attaches a satellite tracking buoy, which looks like a hard, plastic beach ball, to the entangled material. Hopefully, it will remain attached and continue to work. He then heads back to shore and calls for back-up. Ed Lyman is the Resource Protection Manager, Large Whale Entanglement Response Coordinator with NOAA, and is based on O‘ahu. Originally from the East Coast, Ed flies to Mexico, Alaska, and up and down the West Coast training and providing education in Large Whale Entanglement. “It’s really the efforts of the on-water community that makes the difference in whether an entangled whale is ultimately saved,” ❁Continued on page 22

Underwater image showing left flank of entangled whale (Courtesy of HIHWNMS/ NOAA MMHSRP permit #932-1905) | January/February 2013


❁Continued from page 21 says Ed, who flies over from O‘ahu to join the crew. “And the information we gain is used to reduce the entanglement threat to these magnificent animals in the future.” All Network efforts involving close approach to large whales are authorized and permitted under NOAA Fisheries’ Marine Mammal Health and Stranding Response Program. Justin has over eight years of whale entanglement training and follows strict NOAA protocol. He also goes to O‘ahu each year for pre-season training where the regimen mostly involves preparedness for worst case scenarios, such as a person falling overboard, getting injured, or if the raft flips over. The work has other unexpected aspects as well. “Everybody thinks it’s cool to be out there with the whales,” Justin said. “It is, until you get snot [from a blowhole] blown all over you. It’s nasty, it smells, and it’s gross.” Disentangling a whale requires a high level of physical and mental stamina. Members of the entanglement network put in long hours on the water. Depending on how entangled the whale is, and if the weather is cooperating, they could spend up to eight hours bouncing around in the dingy. Mentally, the rescuers in a high state of alertness and strive to keep their emotions in check. “You have to keep emotions out of it,” Ed explains adding “Even though you do your best, you get home and [the emotion] hits you.” The most difficult situation Ed has experienced was off the coast of North Carolina, when his team spent a month trying to free an entangled female Sei Whale. Then Hurricane Floyd hit and they had to cease operations. “That hit us hard. There are only 300 of the Sei left, and she was a female. The energy [of that loss] hit us hard,” he said.

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Sometimes during the evaluation, it is determined that a whale is too far gone to risk the network’s safety in saving it. “It’s tough to make that decision,” Justin admits. “We have to ask ourselves ‘why put people in the line of fire when there is no hope?’ We need a safe environment to work in.” Specially made knives are used to actually cut the lines in the right places. V-shaped with serrated edges, they are attached to long poles. “You never want to get into the water [around an entangled whale]. It’s very unsafe. You could get pulled under or caught up in the lines,” Justin says. The lines are strategically cut. If the whale is anchored down by a line, that is the last line to be cut because as soon as the whale is freed, it bolts. Although the whales don’t look back and wave their fin in thanks like in the movies, Justin is moved. “It’s definitely very exhilarating—my favorite part of the job,” he says. Susan concurs. “You can’t let emotion or ego get involved. You have to trust the other people you’re with immensely. It’s very unglamorous, and it’s a job first,” she emphasized. “But it’s awesome by any context to be out there with a 40-foot whale, and everything that goes along with that. Obviously we’re human and can’t escape how awe inspiring it is to free an animal like this.” Justin grew up in Colorado, far from any large body of water. Yet he knew from a young age that he wanted to work with marine animals, which frequently found their way into his science projects. He went on to earn degrees in marine biology and environmental ecology.

Courtesy of M. Deakos/ HIHWNMS/ NOAA Fisheries MMHSRP permit #932-1905

animal. We are learning a lot each time we go out and it’s helpful to the species as a whole,” Susan said. The law states that people and boats must maintain a 100-yard distance from humpback whales. Violators are prosecuted and fines vary according to a violator’s intention. A couple of years ago a paddle boarder on Maui was fined $600, although fines can exceed thousands of dollars. NOAA is mostly an educational organization which also enforces federal and state regulations as they apply to the Endangered Species Act. Working with the Coast Guard and DOCARE, NOAA officers patrol the waters within the Humpback Whale Sanctuary for one week each month during the whale season. “We want people to be aware that things we do in the ocean have an effect,” Justin points out. “We want people to be aware that things we do in the ocean have repercussions. We’re looking for a win-win situation, finding a way that humans and whales can coexist.” ❖ For more information: The whale entanglement hotline: 888.256.9840 In Kailua-Kona, Justin Viezbicke: 808.327.3697 To volunteer for the annual whale count: 1.888.55.whale (94253) ext. 253 Shoreline Whale Watches at Pu‘ukohala Heiau National Historic Visitor’s Center in Kawaihae are every Friday from 9–11 am through March, 808.882.7218. Justin will be speaking at the third annual Ocean Film Festival in January: Contact writer Cynthia Sweeney: | January/February 2013

Justin’s job is part C.S.I., part Jacques Cousteau. Tracing the entangling menace back to where it came from is possible because the fishing communities are small and tight. Telltale signs like certain kinds of knots and gear are specific to certain areas. Entangled fishing gear, marine debris and mooring gear has been traced back to the Pribilof Islands, the Aleutians, and Southeast Alaska. In fact, last year, fishing line was traced back to a fisherman in Wrangell, Alaska. That line now hangs on the fisherman’s garage door. “Losing gear is expensive and entangling whales is not something the fishermen want to happen,” Justin says. While eight or ten entanglements per 10,000 whales may not seem significant, indications from scaring and other wounds suggest that about 30 percent of the population has been in trouble with entanglement at one time or another. Thus, a large part of the entanglement mission is about education and prevention. Justin Viezbicke asks the public to get “It’s not a waste involved. Photo from of time to save one



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The Goddess and the Artist “Pele Dreaming” |


In creating the multiple sculptures, attention to detail was extremely important, as MaryAnn thumb printed the representation of each hulu or feather on the statue of King Kamehameha I while also making wax casts to represent the dogs’ teeth that were worn around the calves of the ancient warriors. MaryAnn was tasked to create things that she had not seen before, like the malo, draped fabric as a loincloth, that adorned the male figures. She remembered her mother’s words, “Nothing you learn is ever wasted.” And there it was, the years of MaryAnn folding linen and fabric for her mother, came forward to this moment as she formed the impression of the malo—with perfect billows and folds—she knew exactly what to do. In the five months it took to create the 18 sculptures, there was a day when Herb Kāne walked into the studio with rolled up drawing paper and presented his next creation. Herb had been looking for a live model to bring Pele to life and in the long time of searching, no one had surfaced. In his mind’s eye, Herb saw his model, his Pele, and he sketched her into what we now know as one of his most popular art pieces, “Pele Dreaming.” As MaryAnn and Herb studied the sketch, they began massing clay on a special table Herb had made to hold the weight of the mold. Creating, sculpting, hands deep in clay, bringing to ❁Continued on page 27 | January/February 2013

t first glance, you wonder, are her eyes open or closed? Is she smiling or pensive? Is it lava flow or ocean? That is the mystery of MaryAnn Hylton’s casting of “Pele Dreaming.” The image of Pele was first designed by the late Herb Kawainui Kāne, a beloved Hawaiian artist, historian, and author with special interest in Hawai‘i and the South Pacific. MaryAnn Hylton, a Kailua-Kona artist, has been producing works of art for 60 years. Herb and MaryAnn collaborated to bring Pele forward as the Goddess who breathes grace, compassion, and love of the ‘āina (land)—the true guardian of Hawai‘i Island. In 1989, MaryAnn and her husband Brock were asked to come to the islands to assist Herb in the creation of multiple sculptural works for the Grand Wailea, Maui—a project that required many months of close collaboration and an opportunity to discover symbiotic talents. Their personal friendship and professional relationship was fortified by a mutual passion for sculpture and a sensitivity and respect for the spirits of the islands. MaryAnn applied her technical knowledge and unyielding dedication to meticulous craftsmanship and Herb, his anthropological knowledge of the Hawaiian culture and extraordinary skills as a master sculptor.

by Gayle ‘Kaleilehua’ Greco


26 | January/February 2013

photos by George R. Young

❁Continued from page 25 | January/February 2013

life the ‘other woman,’ the One, Pele-honua-mea, Pele of the Sacred Land. At one point, Herb, a quiet man, stepped back, and MaryAnn could sense he was looking for something more. She watched as he held a mound of clay and walked off into the distance at Hōnaunau, deep into the sacredness of the ‘āina. When Herb returned, he brought a clay impression of the lava flow, with just the right depth and curvature; this was Pele’s hair. The sweeping richness of lava-like waves cascaded down and around Pele’s body, encircling her in the black opulence representative of her cherished island. Their collaboration continued, now moving in the direction of Pele’s face. From the coarse indentations of the hair, to the silken, smooth aspect of delicate Pele. The most beautiful face emerged. It was the softer side of Pele, the one who holds the compassion and love, the insightful beauty and guardian of Hawai‘i Island. Something extraordinary was happening, another transformation was being shown to the artists, the ones chosen to bring Pele into three-dimensional form. Herb stepped back and quietly shook his head; what was it? What was being asked of him? And the message came, quickly and with clarity, it was her eyes, Pele’s eyes, they needed to be closed. In this moment, a moment of intuitive reflection, there was a birth. The revelation was a new Pele, pensive and peaceful: a contemplative goddess, softly lowering her top lid to her bottom lid, beckoning viewers to come inside her welcoming energy. MaryAnn continued to sculpt and create the form of “Pele Dreaming,” bringing forth the fiery flames and the Goddess’ crown of lehua blossoms—the flower of Hawai‘i Island and most associated with Pele. MaryAnn noted that Herb was a taskmaster for details. He would give MaryAnn all the intricate work to recreate his vision, which was now their combined creation. In molding Pele’s hand into just the right position and angle to hold the Earth’s flame, MaryAnn became the model for that piece of the relief. Ever so graceful and still, MaryAnn was now an extension of this figure. Pele was near completion and as MaryAnn commented, “it seemed like magic when it was finished. Everything flowed as if time stood still for all of this work to be done.” Through all the talk stories, the chicken-skin moments, the silence and deliberation, Pele seemed to guide Herb and MaryAnn into bringing Pele’s new form to life. In our time together, MaryAnn unveiled a mold of the relief, an empty vessel awaiting the contents of its structure. A bluegreen imprint, lying prone on the work table, a life-sized portrait of the Goddess’ face looked back at us. Peering into the shape, hovering ever so carefully above her, one could get lost in the mystery of Pele. Here she was, presenting herself as if to say, “know me from the inside out.” Her closed eyes appeared open in this negative relief form, releasing a communication that she sees all, whether internal or external, her power is present and her love for her land and people is unconditional. While there is one master mold, the one that held the energy of this experience, Herb gave MaryAnn the rights to make additional molds and produce ❁Continued on page 28

27 | January/February 2013

❁Continued from page 27


“Pele Dreaming” for custom orders. In creating the bas-reliefs, each one is made from the same mold; yet as MaryAnn works with Pele to let her know who has commissioned the particular piece, there is always a unique revelation in the finished product that reflects the buyer and the presence of Pele. As MaryAnn continued to create “Pele Dreaming,” she talked to Herb about creating a smaller version of the piece for people who may not have the space to accommodate a large relief. At first, Herb was not fond of the idea and yet he knew that there had been requests for the smaller size. MaryAnn began to experiment with the mold making samples of what a scaled-down version would look like. With Pele as her guide, MaryAnn found that the Goddess’s face was to be the focal point, so Pele’s face remained the same size while MaryAnn carved around the flames and lava flow. When MaryAnn was finished with the cast, she said it was like “...freeing Pele, allowing her to float with outward expression of her feminine aspect of power and grace.” Here Pele was revealed again, this time in the “Mask of Pele Dreaming.” Herb was delighted with the outcome of this art relief. It carried the same elegance and craft as the larger relief, and yet somehow portrayed a personal side of Pele. Always the artist and creator, MaryAnn says that “texture and patterns are part of my life” and one sees that in walking through the home and gardens of MaryAnn and her husband, Brock. Everything within view has color and dimensional qualities. As MaryAnn began to experiment beyond the cold-cast bronze, she refined her production of Pele to use materials that are in alignment with nature and would also give her the texture and depth that she is known for in her threedimensional art selections. From her earlier days in sand casting, MaryAnn contacted a master sculptor in San Diego to assist her in creating the molds and ingredients for the castings that are available as hand-poured and hand-finished in matte white, black, antiqued true bronze, antiqued pewter, and 24K gold.

MaryAnn, 81-years-young, remembers her first ‘ah-ha’ moment of loving art. As a small girl, four years of age, living in Washington D.C., MaryAnn’s mother brought her to her aunt’s house and they went for a visit to the next door neighbors. It was there where MaryAnn was surrounded with child-sized easels, painting tables, sandboxes, and all things this little girl could imagine. MaryAnn instantly played and created, dreaming up all possibilities her mind’s eye envisioned. Not knowing there was such a thing as an ‘artist,’ in that day’s playtime, MaryAnn knew this is what she wanted to do for the rest of her life. In following her dream, through childhood and young adulthood, MaryAnn found art was her way of expressing herself, her story, and connection with nature. Her work included many art forms: painting, collages, weavings, sand casting, and sculptures. Settling in Maryland with her husband and three children, MaryAnn noticed the schools were not teaching the arts in the way she had experienced them. The schools were teaching technique, however not the soul of the work. MaryAnn long believed that every person carries creativity within them. She desired to make the opportunity of creative expression available to her community and with that, MaryAnn opened an art school. Her first students ranged from eight to 80 years of age, and as she taught them, they blossomed like a field of flowers, each revealing their own unique style and expression. The school grew to include five teachers and had quite a range of art media instruction. After five years, MaryAnn was recruited to lead touring art exhibits and workshops around the country. She was commissioned to do art projects along the way, and one in particular led her to San Diego which started her journey into sand casting and sculpting. MaryAnn’s intuitive nature taps into the very essence of Pele, as if chosen to bring all the dimensions of Pele forward. When MaryAnn began to create art in Hawai‘i, she realized this was a culmination of all her beliefs. As MaryAnn’s turquoise blue eyes deepen with conscious understanding, she says, “the power of creativity is in all of us, we are born with this power and it is the essence of who we are.” When the artist elder speaks these words, one can only step back and observe, are these words of Pele or MaryAnn? Perhaps it is the message of both women, strong and willful, creative and passionate, sensitive and compassionate. Herb Kāne often said, “Every brushstroke and every word has brought and will forever bring wisdom, beauty, inspiration, and understanding.” ❖ Contact artist MaryAnn Hylton: Contact photographer George R. Young: Contact writer Gayle ‘Kaleilehua’ Greco:

photo courtesy of Nancy Daniels of Outrigger

Mana in a Sacred Place Keauhou Beach Resort ‘Ohana


| By Marya Mann

ne of the last hula performances at the Keauhou Beach Resort appears before us, spellbinding and alluring. In his soothing baritone, Kumu Keala Ching chants the genealogical history of this powerful place, where kings and queens, leaders and billionaires, musicians and dancers have walked. The oli, or chant, summons the resplendent presences of star-voyagers and sea-breathers, the ‘Iwa bird and cloud-piercing rainbows—an array of potent elements and heroic human actions reminding us to be mindful of the historical events, and also of the lessons to be learned as we move on into our future. The graceful dancers illustrate the stories, matching the rhythms of Kumu Keala’s beat on the ipu, a gourd drum. Because the Keauhou Beach Resort is closing and scheduled to be torn down, the dancers’ feet are especially sensitive to

photo by Renée Robinson

the floor of the Verandah Lounge, where the closing concert of the hotel is underway. The chant acts like a fishnet, gathering together the stories of species and clans who have lived here. Honoring magnificent journeys, the mishaps and the noble

❁Continued on page 30


The Mana is the Message


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deeds which occurred here, the hula invokes the invisible essence of a multi-layered past which has led us into the heart-breaking present. Mana, spiritual power invoked by Kumu Keala’s genealogical oli, is alive in the room, meant to empower the community to move forward, despite loss or disappointment. For many people at this closing concert, however, the reality is that the 40-year-old hotel, one of Hawai‘i’s most Hawaiian hotels, the island’s tenth largest accommodation and the 24th largest employer (according to Pacific Business News) is about to be demolished.


long white wedge of the building in its ten-acre nest of Royal Gardens, the remaining light dusts the walkways and Pacific sacred Largest inventory in the pools with vibrant color. Thewith ten ancient heiau, or temples, everyday low prices bordered by turquoise tidepools, black lava and a sapphire sea, contain the ancient mana of Polynesian voyagers. More recent Hand Natural Fibers mana is everywhere, amongWoven the stately• gingers and fragrant Silk • Wool & Hemp orchids twining around monkeypod trees near the parking lot Custom Design & Sizes Available and up toward the mountains. Mana emanates from the replica of King David Kalākaua’s summer house near the hotel, from the waterfront fishing shrine and from the great big blue beyond in the Pacific Ocean itself. (with min. purchase) Hawaiians teach that there is mana in everything, and if you cast a “net” to capture an essence of mana instead of fish, perhaps by singing a chant or drawing certain memories to the heart, the rope and the spaces between the ropes are still required. The seen and the unseen both contribute to the effectiveness of the net. Here at Keauhou, home of a revered archaeological site, brimming with ancient healing pools, sacred temples, and tropical seaside solitude, people can feel Hawai‘i’s ancient family tree, both roots and branches, and carry the story forward. “You feel it when you are on this property,” says Kahu Dennis Kamakahi, an instructor at Keola Beamer’s Aloha Music Camp, which has been displaced by the closing. “It’s like living in real

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history. There are certain places that conduct energy for you to learn. So when you’re participating here, it’s like you’re going back to the ancient times. And now it’s a hālau; it’s a school.” Mana at Keauhou runs through deep veins inherited from nature’s undersea volcanoes that thrust this island above water more than 500,000 years ago, and mana flows from the men and women who have walked these trails—men like King Kamehameha and women like his great-granddaughter, Princess Pauahi. “Keauhou was home to Hawaiian royalty,” says Paul Horner, former General Manager who led the hotel to its modern stature with innovative Hawaiian Cultural classes and programs. “From the start, this was a center for training leaders. There was something special about it.” When he first visited Keauhou in 2000, before any of the restoration of the heiau took place, he said, “I knew instantly. The hair stood up on the back of my arms and back of my head. It was a good feeling, not a scary feeling, like I was being caressed.” Paul joined the staff eight years later, and what evolved under his management was something like a renaissance in Hawaiian culture on the island. “I think that it’s going to be hard to measure how the loss of the hotel affects our local community. So many kūpuna came into the building itself, as well as to the land. Power caresses everything on the land. It’s so important. People like Herb Kāne had an art studio on the fifth floor in the back of the hotel. His mana is in there. His spirit is in there.” The late, highly celebrated Hawaiian artist worked in a hotel room overlooking Kahalu‘u Bay for three years in the 1980s on a series of paintings including “The Death of Captain Cook.” Mr. Kāne said, “I always wanted to do a series of portraits of people who had trades and professions in the old society—not just the chiefs.” His wife Deon Kāne added, “They built a room for the paintings.” Painters weren’t the only artists to be attracted to the power of Keauhou. In 1987, Kumu Hula George Na‘ope was the main act

at Keauhou. He danced here with his band, which included famed musician Bobby Koanui, and featured his student, Etua Lopes, who performed before a succession of locals and visitors who flocked to the historic hotel. Uncle George later became one of the visionary co-founders of the Merrie Monarch Festival. “It’s been a place for the gathering of the clans,” explains Paul. “People left their mana, their spirit, there.” The mana of the area, he says, stems from even deeper roots. Before the hotel was built in 1970, settlements, battles, restorations, and significant social occasions happened at Keauhou. Some events may go back a thousand years or more. This heritage has touched on nearly everything that human beings value—family, agriculture, the sacredness of relationships, and ho‘okuleana (to take responsibility). In losing the hotel, Hawai‘i Island may be losing more than bricks and mortar. The island is losing family, an extended ‘ohana of artists, musicians, educators, scholars, avid students, and multi-generational relationships. The spacious open-air lobby and jasmine-scented lanai-fostered stories, hugs, and musings just above the moray eels swimming below the railing. For many people, both visitors and residents of Hawai‘i Island, the falling of the hotel is akin to the falling of a kupuna, a grandparent. The hotel wasn’t just what you could read about on Expedia. You checked in at the front desk, bleary-eyed from travel, and the fragrances of gardenia and coconut adjusted your attitude. In the morning, Kona coffee aroma wafted through the restaurant and aunties were singing and laughing while weaving plumeria and orchid lei. “We had Hawaiian language practice every morning. Kumu Keala Ching used Hulo!, a Hawaiian word game similar to Scrabble—except the tiles have the Hawaiian alphabet, to teach the language. Everyone, when they got off the elevator, would see sharing—‘ohana—and that’s how they became part of the family. They were included. We wanted the cultural program to caress our guests,” said Paul. Continued on page 32 | January/February 2013

photo by Chris Stewart


❁Continued from page 31 Paul began working in 2008 with Gregory C. Chun, Ph.D., Vice President for Kamehameha Schools. He credits Dr. Chun with the vision for a new branch of Kamehameha Schools system, the Keauhou-Kahalu‘u Education Group, to provide ‘āina-based education and culture-based instruction. Previously, Dr. Chun had served as President of Bishop Holdings Corporation and Subsidiaries, the for-profit arm of Kamehameha Schools. “The vision was to reintroduce the hotel as a cultural and educational program,” says Paul. “We finished a renovation in April, then the recession hit. Aloha Airlines and ATA Airlines, Inc., formerly known as American Trans Air, both went belly up. That took away 290,000 seats to the island. We weren’t the most luxurious area around, but we thought the cultural program would win over the cultural tourism market.” To bring out the true history of the place and tell the story to the world, Kumu Rolinda Bean started singing favorite Hawaiian tunes and teaching ‘ukulele inside the hotel. Kumu Keala Ching brought Hālau Na Wai Iwi Ola (his hula school) to the hotel once or twice a week. “They would do their hula practice right there in the Royal Gardens. He welcomed everybody into his hālau. If you wanted to learn, you were welcomed. He brought them in the real Hawaiian way. No one was turned away.” “There was another cultural program too: Huaka‘i Tours (Huaka‘i is the Hawaiian word for journey) on the sacred grounds, which cost a fee. I convinced the trustees,” says Paul, “that initially as we developed the program, we needed to do cultural programs we did not monetize, because of the specialness of the place.”

The free cultural program brought a new ‘ohana to life. Children and adults singing with ‘ukulele on the lānai, hula in the Royal Gardens, Hawaiian games, chanting lessons and lei-making and guests were welcome to participate. Most did. Paul hired a staff of four, including Kumu’s Keala Ching, Rolina Bean, Healani Kimitete, and Mana Hasagawa. “Mana would be singing and get everyone to sing along together. It was special,” he recalled. The cultural programming really drew more and more people to the hotel. “It really took off—in the midst of a recession,” says Paul. “We have a vision. Some may think it’s lofty,” said Dr. Chun. “We want visitors to walk away asking themselves fundamentally different questions, not just learn about Hawaiian culture. We want them to go away asking questions about their own roots, their own genealogy. How did they come to view the world from their point of view?” The Hawaiian Cultural Program at the hotel was dissolved in early 2011, and Paul left the hotel to serve as the resort manager at the Sheraton Keauhou Bay Resort and Spa, where he was instrumental in the $16 million renovation and in creating cultural programming for guests to enhance their understanding of the historic area. In June 2012, he moved to a position as Managing Director of Marketing for the Big Island Visitor Bureau. On August 22 at 2 pm, hundreds of Hawaiian families were shocked when Kamehameha Schools President Dee Jay Mailer, Kamehameha Investment Company CEO Kyle Chock, and Outrigger Hotels executives paid the staff a surprise visit. The hotel was too expensive to repair, they announced; it would be razed to make way for a new culture and education center.

Aunty Kaipo Harris Kumu Mana Hasagawa Kumu Rolinda Bean Konabob Stoffer photo by Renée Robinson

Ms. Mailer and Mr. Chock emphasized their duty to preserve Hawaiian culture, support Kamehameha Schools educational programs, and restore the land and seacoast to a pristine condition. They regretted the job losses, explaining it was necessary. “Executives then left through the back door of the meeting room,” reported Sherry Bracken, “saying they had a press briefing to attend, and did not speak with reporters waiting for them at the front door.” “It’s got to be hard for asset managers to make that kind of decision,” says Paul.

The Last Dance

Resources: Kamehameha Schools: Sherry Bracken: Pacific Business News: html?page=all Peter T. Young and Ho‘okuleana, LLC, a land use planning and consulting firm: 10/holua-keauhou-hawaii.html Samuel P. King & Randall W. Roth, Broken Trust (University of Hawai‘i: Honolulu) 2006. Outrigger Hotels and Resorts: Mahalo to photographer Chris Stewart: Contact writer Marya Mann: | January/February 2013

Onstage, Kumu Rolinda Bean says, “As of Wednesday, your waiters and bartenders won’t have a job. Tip them well.” Everyone cheers to encourage many of the 113 workers who have lost their jobs. “Let’s bring the house down,” shouts Rolinda in a double entendre that stirs laughter from the crowd; most know that the owners have already applied for demolition permits. The closing concert is rocking. The doors of the grand old hotel will officially close in two days. The initial anguish of displaced employees and adoring visitors from all over the world has—at least for tonight—given way to acceptance and celebration. Here at the closing concert, Kumu Mana is singing and dancing hula. Aunty Kaipo Harris sings and plays the upright bass while Konabob Stoffer kicks it up a notch with his Hawaiian steel guitar. The evening is filled with gleeful chaos, tears, laughter and more dancing. Someone encourages, “Let’s go, kupuna! One more dance.” Aunty Lei gets up and dances to the last song. “We want to cooperate, not be competitive. That’s the future of this island,” Paul says. “We want to adopt geo-tourism, connected to the local culture. So people feel more connected when they come here. It’s not the photographs. It’s the mental connections they get. When you tell your story like the Hawaiians say, ‘share your mana‘o,’ it’s very personal. Two people sharing

mana‘o, it’s going to be different, not like anybody else. You’re giving that person a part of you when you share mana‘o. You don’t talk from here,” he points to his head. “You talk from here,” Paul touches his heart. For the 200 or more people in this ‘ohana gathered for the final a hui hou, “until we meet again,” closing the cultural program and hotel seems incongruent with the Bishop Estate and Kamehameha Schools’ mission of furthering Hawaiian education. “So what happens when the building is gone? We cannot measure it. It might be good. I don’t know,” muses Paul. “All that energy is still there. I don’t want to take the building away. Maybe there is a better use for it.” He stops. Tears soften his eyes. “There are more people we haven’t heard from yet who have ties to this place, who love it. They haven’t spoken up yet. They’re in mourning.” ❖


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Loulu Palm Is On The Rebound

South Kona Garden Quietly Conserving Hawai‘i’s Endangered Plants

| by Barbara Fahs


he Amy B.H. Greenwell Ethnobotanical Garden in Captain Cook doesn’t have a big neon sign that brags about its ongoing conservation efforts. Instead, Manager Peter Van Dyke and his small crew of helpers quietly go about the work of collecting seeds and propagating some of Hawai‘i’s most endangered species.

Amy Greenwell and the Garden

Established as part of the Bishop Museum in 1974, the Greenwell Garden is dedicated to the study of the Hawaiian people and their plants. Thanks to the efforts and generosity of botanist Amy Beatrice Holdsworth Greenwell, the land where the Garden is located was her gift to the people of Hawai‘i. She began her affiliation with the Bishop Museum in 1947, after contributing to a definitive book on Hawaiian plants titled Flora Hawaiiensis. Although she worked with Bishop Museum scientists on many archaeological projects, her heart and soul remained with the plants. Upon her death at age 53 in 1974, Amy left her 15-acre ‘preCookian’ garden property to Bishop Museum. It became the heir to the future ethnobotanical garden named in her honor. Scores of native and Polynesian-introduced plants were planted among intact remnants of Hawaiian agricultural formations according to the Bishop Museum website. The work continues to this day.

Endangered Remota

Carrying On with Greenwell’s Work

Since its inception, the garden has grown to include over 200 native Hawaiian plant species, many of which are on the federal endangered species list and some of which are extinct in the wild. Included in the long list of plants are: taro; kukui; hibiscus such as the extremely rare Koki‘o drynarioides; and several species of the only native Hawaiian palm tree, which belongs to the Pritchardia genus.

Not all Pritchardia species are native to Hawai‘i. According to Van Dyke, the most common non-Hawaiian species are two from Fiji (P. pacifica and P. thurstonii). The following species are among those listed as endangered: P. affinis, aylmer-robinsonii, kaalae, napaliensis, remota, schattaueri viscosa, and the munroi, of which only two known individuals remain in the wild on Moloka‘i.

What Are the Pritchardias?

Traditional Uses of Loulu Palms

Because some of the taller species of loulu have very hard wood, it was fashioned into spears in historic times. All of the Pritchardias produce fruit similar to the coconut, yet smaller. The young fruit, which is called hāwane or wāhane, was peeled and eaten much as we eat the introduced coconut today. Loulu fronds, or lau hāwane, served as thatching material in ancient times and more recently they have been woven into pāpale (hats) and fans.

Why Do Plants Become Endangered?

“The pollen record suggests that there might have been large loulu forests in ancient times,” Van Dyke theorized. The Cambridge University International Journal of Conservation, Oryx, reports, “Eleven [Pritchardia] species are categorized as Critically Endangered, nine Endangered, two Vulnerable and one as Data Deficient... A large proportion of this genus is on the verge of extinction and will continue to decline in the wild without active conservation management.” ❁Continued on page 38 | January/February 2013

If you have seen the California fan palm (Washingtonia filifera), or the Mexican fan palm (Washingtonia robusta), you’ll have some idea what their “cousins,” the Pritchardias, look like. In Hawai‘i, the 24 known species of native Pritchardias are all called loulu (pronounced LOW-loo). However, the Palm and Cycad Societies of Australia website reports, “new Pritchardia species are still being found and described as recently as 2004 (P. flynii) and 1998 (P. perlmannii), both from Kaua‘i.” Loulu is the Hawaiian word for umbrella, which is appropriate because Hawaiians of a bygone era commonly used the fronds as protection from rain. The Pritchardias are generally slow growing yet can attain heights between 25 and 60 feet or taller at maturity. Their canopy can extend from four feet for the miniature varieties, such as hillebrandii, to 15 feet for the larger species, such as schattaueri, making this tree a good choice for relatively small properties. In his book, Loulu: The Hawaiian Palm, author Donald R. Hodel refers to the loulu’s flower clusters as “colorful,” the foliage “dramatic” and the fruit “conspicuous.”


❁Continued from page 37 The Palm and Cycad Societies of Australia website reports, Hawai‘i’s “delicate ecosystem has not withstood the impacts of introduced animals and plants, and shares the tragedy of a high rate of extinction as well. The native palms, Pritchardia or loulu palms, are unique to Hawai‘i and the majority rank from vulnerable to critically endangered.” Before the arrival of the first Polynesians or other earlier settlers of the Hawaiian Islands, this Society believes, “most likely Pritchardia dominated the lowlands and interiors of the islands or it was at least a major forest component.” The early introduction of rats, goats, deer, and pigs began a death sentence for many Hawaiian plants and animal species as well. Rats just love loulu fruit and the young seedlings that productive trees create. Pritchardias that grew in inaccessible areas, such as steep cliffs, stood a better chance of survival than those growing in places where rats found it easier to invade their territory and wipe out their chances of survival.

Conservation Projects

The Amy Greenwell Garden offers Pritchardias for sale to the public. Their plants are open pollinated, which means it is possible that they might be crossed with different species. They propagate all of the trees they sell from their own specimen trees. The Garden also provides plants to restoration projects, such as those that occurred at the 8,000-acre Kona Hema Nature Conservancy Preserve. For restoration projects, seeds are either collected from wild trees (a process that involves many governmental agencies and permits), or they are produced by controlled pollination, where the flower clusters are bagged to prevent inadvertent crosses. Amy Greenwell Garden maintains a seed bank, where they store seeds of endangered Pritchardias and other native plants. It exists to keep old varieties of plants alive and make them available to growers and gardeners by preserving the seeds of various plants.

Growing Pritchardias in the Home Garden

Before 1998, Hawai‘i state law prohibited individuals from buying and growing endangered plants. Thanks to the efforts of botanists and conservationists, the law changed that year to open up home cultivation of special plants that are in danger of extinction. Although it remains illegal to collect any species from the wild, more nurseries and growers are making available some species of Pritchardia and some other heritage plants.

Loulu Palm

If you purchase a Pritchardia palm tree at the Amy Greenwell Garden or other source, choose a species that is native to your part of the island. For example, the schattaueri species comes from South Kona’s inland areas. The affinis is also from Kona, and its range extended to coastal Ka‘ū and Kohala. The beccariana is a bit more common and hails from Puna. If you’re an adventuresome gardener Endangered Munroi who likes to experiment with “iffy” projects, you might consider planting a napaliensis. This endangered, miniature variety is native to the Nā Pali coast of Kaua‘i. Loulu palms are generally fairly easy to grow and add a natural look to landscaping. Plant young loulu trees in deep, well-drained soil you have amended with compost: palms do not do well in soggy soil. However, keep newly planted trees well watered until they show signs of good growth. Snip off yellowing fronds and use them as mulch on the soil surface surrounding your loulu. Periodically add a shovel full of compost at the base to keep the roots well covered.

Controlling Insect Pests

Banana moth info: | January/February 2013

Insect pests rarely attack the loulus, but whiteflies, spider mites, and scale can sometimes occur. Spray spider mites and whiteflies only with insecticidal soap, or hang sticky traps around your tree. For scale insects, mix insecticidal soap with cooking oil and spray every other day until all signs of the insects are gone. The University of Hawai‘i Cooperative Extension Service reported in 2005 that the banana moth (Opogona sacchari) is perhaps the most dangerous pest to the loulus. When a loulu becomes weakened due to drought, wounds, flooding, or other environmental stresses, the female moth lays her eggs on the tree. When they hatch into caterpillars, they eat the plant’s living and dead tissues. Death can occur. The Cooperative Extension Service recommends using pyrethroid products and those containing Bacillus thuringiensis (Bt), a naturally occurring soil bacterium. ❖

Contact writer Barbara Fahs:


For more info: Amy B.H. Greenwell Ethnobotanical Garden: 808.323.3318 Palm and Cycad Societies of Australia: Loulu: The Hawaiian Palm: Kona Hema Preserve: unitedstates/hawaii/placesweprotect/kona-hema.xml Hawaiian Native Plant Propagation Database:

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For the Love of Creating

Dan DeLuz: A Special Man Who Embodied the Hawaiian Spirit of Sharing Graciously


wave of grief swept through Hawai‘i’s woodworking community as news of the passing of a beloved mentor, friend, and master woodturner, made its way along the coconut wireless. Dan DeLuz inspired a generation of woodworkers by openly sharing everything he learned from his path of mastering his art. A heart attack took Dan on January 15, 2012 at 77 years young. “It was a blessing he went so quickly and peacefully,” remarked Mary Lou DeLuz, Dan’s wife of 26 years. “It would have driven him crazy if he hadn’t been able to work.”

In The Beginning

Dan DeLuz, the boy from Pa‘auilo who grew up in Hilo, spent his first career on O‘ahu as a roofing contractor. After returning to Hilo in the 1968, Dan had a chance encounter with a lathe while repairing his neighbor’s roof. Dan mentioned he’d like to buy it and his neighbor gave it to him—a serendipitous moment that transformed Dan’s life. Listening to his stories about using truck springs for gouges and building his own lathe out of a ’47 Chevy truck transmission, Dan’s passion for his craft was obvious. That passion led him to become world-renowned for his thin-rimmed, beautifully balanced calabashes—though fame never was a goal for the very humble Dan.

| by Tiffany DeEtte Shafto

In 1970, Dan opened his first woodshop, Hawaiian Handcraft, on Kino‘ole Street in Hilo. He later moved to Kilauea Street and renamed it Dan DeLuz Woods. It was there he met Jay Warner, the then 25-year-old looking for work as a woodworker. While he denied Jay a job at first, Dan eventually offered shop space in exchange for a percentage of sales. “I remember him telling me, ‘Go across the street and GET YOUR license—then you can work in my shop,’” recalls Jay. “I felt like I’d been handed the keys to the kingdom!” Through their mutual appreciation for trees and wood, a unique bond formed between the two and Jay

❁Continued on page 42


❁Continued from page 41 became Dan’s hānai (adopted) son. Jay’s stories of Dan, including his times wooing Mary Lou while she was a musician at The Green Door in Hilo, bring smiles and laughter. Dan turning “Dan would go blow himself up (Dan’s phrase for dusting himself off with the air hose) and get ready for a night at The Green Door. He had this dog, Spotty, and he’d make me come keep the thing from jumping in his truck so he could drive across the street to see Mary Lou,” shares Jay. Dan and Mary Lou had grown up together in Hilo’s Villa Franca. Apparently Dan was afraid of Mary Lou’s father—a warrant officer in the National Guard—and the two went their separate ways after high school, and were reunited later in life. They married in 1985 and then relocated the shop to Mountain View where it remains open today. From 1991 to 2009, Dan and Mary Lou operated a second gallery in Waimea. “Those were some of the most fun and relaxing years of our marriage,” recalls Mary Lou. Although work was involved, Dan was able to pull himself away from the lathe on weekends and the two would go out for dinner. The quiet time in the country and the fun interaction with their collectors and friends provide fond memories for Mary Lou. | January/February 2013

Creative Spirit


For Dan, it was the creative process—the making—that brought him joy. He’d rough turn a calabash to about an inch thick then wait for a full year for it to dry and stabilize before finishing the bowl. Every step of the way his creative process was on display and he was always willing to take a break to talk story, answer questions, and offer a cup of coffee. Watching Dan turn was a delight—the ribbons of shavings piling up at his feet as he guided the gouge in a seemingly effortless way— the way only years of practice could allow. His island chains, tikis, bud vases, salad servers, and spoon sets kept him busy carving when he wasn’t turning. And sanding filled his time further. He had patience and drive—a unique combination that enabled him to produce an abundance of beautiful work. Working so closely with nature, Dan developed a knowledge and appreciation for Hawai‘i’s trees and their woods. He epitomized the Hawaiian value, “I ola ‘oe, I ola mākou nei,” (My life is dependent on yours. Your life is dependent on mine), and practiced protection of the living forest by purchasing wood from dead, fallen, and dying trees, or trees that were being removed near homes for safety issues. His imagination and ingenuity led him to create collections

of his work—sets of calabashes made from different woods to showcase nature’s beauty. While he sold several sets over the years, a Dan DeLuz Collection of 68 large calabashes is currently available for purchase. Most of the calabashes are from locally grown woods, though some are from turning blocks sent to him by friends on the mainland. (He had quite the following and blocks of wood had a way of showing up at his shop.) Dan’s creative spirit gave him a special way with animals, plants, and even people. Lightning and Tiger, two of his longterm shop cats, were joined by several more when a group of feral kittens found his soft spot. He always had a shop dog, and at one time even a cockatiel that would perch on his shoulder while he worked. With his green thumb, he turned the former pasture around his shop and gallery into a garden full of fruit trees and vibrant tropical flowers. Dan’s green thumb extended beyond his beautiful garden—he seemed to help everything around him grow, including a community of woodworkers.

Growing A Community

While it is easy to appreciate a work of art, Dan fostered appreciation for the art of making—the kind of appreciation that transforms lives and leads people to follow their own creative passions. Woodworkers from around the globe would make the pilgrimage to meet Dan DeLuz and he’d humbly shake off their praise and answer their questions. Thanks to Dan’s special spirit and willingness to share, Dan DeLuz Woods became a gathering place for Hawai‘i’s woodworkers. For them, seeing him in action became addictive. What would he be up to this time? With a consistent flow of visitors—frequently woodworkers asking questions or just coming by for a visit—it’s remarkable Dan produced so much work. He’d often comment that he got up early to get a jump on the day—out turning at 3 and 4 am so he could keep his galleries filled with his latest creations. Dan supported many other local woodworkers by selling their work at his galleries in addition to his own. “The spirit Dan embodied helped establish a sense of sharing, which is evident today within the Big Island Woodturners Club, the West Hawai‘i Woodturners Club, and the Hawai‘i Wood Guild,” says Robert (Bob) K. Masuda, Dan’s friend of nearly 40 years. “He was one of a handful who helped build

Kailua Village Artists


Original Art by Local Artists Our Alii Sunset Plaza Gallery closed December 31, 2012. We anticipate being open in our

new gallery space

down town Kailua Kona Watercolor by Gay Jensen

in early January 2013. We hope to see you there.

Pottery by Linda Savell

celebrating over 25 years Find our new location : call 808-329-6653 photo by Doug Edens

or check our website | January/February 2013

❁Continued on page 44


❁Continued from page 43 the foundation for Hawai‘i’s special fellowship of outstanding, world-class woodworkers.” Amazed by what Dan could do, Bob would purchase Dan’s works for omiyage and special gifts for presentations around the world during Bob’s time Dan buffing a bowl as an international YMCA executive, and a friendship was born. “The Hawaiian calabash has the meaning of being a vessel for sharing and koa has the unique distinction of only growing in Hawai‘i so Dan’s work was the perfect gift of, and from, Hawai‘i,” shares Bob. Over the years, Dan would tell Bob that he should learn how to turn and as Bob reached retirement, he finally agreed. “Dan was my sensei,” shares Bob. “I was fortunate enough to receive lessons from my friend and watch as he shared his knowledge with me and countless others, including most of the now wellknown woodworkers.” Dan knew the importance of teaching and was happy to share his knowledge with anyone who was interested, and yet he had only one true apprentice—his grandson, Shaun Reegan. Over the course of eight years, Dan shared his shop and techniques with Shaun. Dan’s pride in his grandson’s work was evident and he often spoke of how naturally Shaun took to turning.

Continuing On | January/February 2013

Mary Lou has kept Danʻs gallery and shop open. It is her connection to all that her husband created. Now left with stacks of roughed-out calabashes that have waited far longer than a year to dry, Shaun is finishing what his grandfather started. “Most of the calabashes in the gallery are still his,” says Shaun. “As I’m going through the roughed out bowls, I see many I worked on years ago. The date is written in my handwriting.”


Mary Lou with the empty chair

“I was always impressed with how expertly Shaun learned from Dan and was able to develop his own style while also replicating his grandfather’s work,” says Bob, who had the pleasure of observing the apprenticeship over the years. “Dan made the most beautiful and authentically shaped Hawaiian hardwood umeke and calabash bowls of various shapes and styles.” Shaun is now spending his weekends at his grandparentsʻ shop turning and carving just like his grandfather taught him to do. “It’s been several years, but it’s a bit like riding a bike. I’m getting back into the swing of things and this doesn’t feel like work. I am really enjoying it.” Mary Lou finds it a blessing to have her grandson finishing what her husband started. “It is so nice to have Shaun here to help me. He’s really doing beautiful work and has even been able to replicate Dan’s scale model of the Hawaiian Island chain.” “You’re only as good as your tools, my grandpa used to say,” shares Shaun. Fortunately for him, he’s been left the tools and the know-how to carry on a family legacy.


On January 26, 2012, more than 600 people gathered at Dodo Mortuary to pay their respects to Dan and his family. With standing room only at his service, Mayor Billy Kenoi declared January 25, 2012 as Dan DeLuz Day in Hawai‘i County—a beautiful tribute to a talented maker. When Renee Godoy, Dan’s daughter, asked all the woodworkers in the crowd to stand, a quarter of the room stood up. It was clear that Dan left behind more than his family— photo by Doug Edens he left behind a community that shared his love and appreciation for wood, trees, and art. Dan’s creations live on and continue to connect us all through our mutual appreciation of this special man who embodied the Hawaiian spirit of sharing graciously. “It’s a year later and I still want to bring things by to show Dan,” shares Jay. “The truck almost automatically makes the turn, and then I see the empty chair.” ❖

Dan DeLuz Woods 17-4003 Ahuahu Place Mountain View, HI 808.968.6607, Contact photographer Doug Edens: Contact writer Tiffany DeEtte Shafto:

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KP2 After Release Photo by NMFS NOAA Permit #932-1489-09

Hawaiian Monk Seal Recovery

Hawai‘i Adds Second Marine Facility to Protect One of Its Rarest Mammals


The answer is twofold. First, as Dr. Turner points out, TMMC is one of the best qualified organizations in the world to handle Hawaiian monk seals, and the second reason is all about location. Founded 37 years ago and based in Saulsalito, California, just north of San Francisco, TMMC started out small with a few enclosed pens with pools and construction trailers to house vet care operations. Today, the facility has a staff of 50 and 1,100 volunteers who have rescued 37,500 sick, injured, and orphaned seals, sea lions, dolphins, and otters from more than 600 miles of California coastline. TMMC staff are very active in monk seal recovery efforts. The organization’s senior scientist, Dr. Frances Gulland, has been a member of the Hawaiian Monk Seal Recovery Team since 2001 in addition to being a member of the presidentially-appointed threeperson U.S. Marine Mammal Commission. Most of the marine mammals they rescue in California come from species with healthy populations. The Hawaiian monk seal on the other hand, faces the possibility of becoming extinct within the next 50 years. Hawaiian monk seals are one of only two monk seal populations in the world with the other being the Mediterranean monk seal, which has a population of less than 800 seals. A third monk seal population, the Caribbean monk seal, was officially declared extinct in 2008. HMS Goundbreaking Ceremony According to Heather White Photography NOAA Fisheries, Hawaiian monk seals are one of the rarest marine mammals in the world. The Marine Mammal Protection Act, which was enacted in 1972,

❁Continued on page 50 | January/February 2013

n 2009 when KP2 (Kauai Pup 2), an orphaned Hawaiian monk seal in waters off Moloka‘i needed medical attention, he was transported roughly 2,500 miles to the University of California Santa Cruz Long Marine Laboratory for care because there were no long-term monk care seal facilities in Hawai‘i. Starting this spring, if other monk seals like KP2 need medical attention they’ll be able to receive quality treatment at a new monk seal hospital in Kailua-Kona. Last September, The Marine Mammal Center (TMMC), one of the largest marine mammal facilities in the country, broke ground on the first-ever Hawaiian monk seal hospital in the state. It is designed to hold up to 10 seals at a time, and is expected to be near completion in Spring 2013. The Center is working in collaboration with a number of groups including: NOAA Fisheries, the Hawaiian Monk Seal Recovery Team, Hawai‘i Wildlife Fund, the Kohala Center, NELHA, and others, in an effort to save Hawaiian monk seals. “I think what cases like KP2 illustrate is that every time there’s a seal that needed medical attention or needed to be relocated, there really was nowhere to take it,” says Dr. Jason Turner, director of the Hilo Marine Mammal Response Network, a group comprised of volunteers who respond to Hawaiian monk seal sightings, birthing events, and deceased and stranded marine mammals. “The alternative was short-term observation at the Waikīkī Aquarium or to be relocated to the UCSC Long Marine Laboratory in California,” adds Turner, who is also an associate professor in the Department of Marine Science at UH-Hilo. “It’s my opinion, and I think a lot of people share my opinion, that the Marine Mammal Center is one of the best pinniped rehab places in the world. It’s the pinnacle of marine mammal response and their vets are some of the best in the world.” So how did a California-based organization decide to build a Hawaiian monk seal hospital in Kailua-Kona?

| By Denise Laitinen


❁Continued from page 49

considers Hawaiian monk seals a depleted species, meaning the number of seals is below optimum sustainable population. Monk seals, which typically weigh between 375-450 pounds and are 7 to 7-1/2 feet in length, spend two thirds of their time at sea, coming ashore beaches to rest and give birth. Monk seals hunt for fish, cephalopods (such as octopus, cuttlefish, squid), and crustaceans in offshore waters 60-300 feet deep, although some have been known to dive as deep as 1,000 feet. Found only in Hawaiian waters, there are roughly only 1,0001,100 monk seals left on earth. For the past three decades their population has decreased—currently by four percent a year. There are only 150-200 monk seals in the main Hawaiian Islands, with the bulk living in the northwest part of the island chain. However, monk seals living in the northwest portion of the Hawaiian archipelago face a higher rate of death due to

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predation from sharks and a lack of food. In fact only one in five seals live to their second birthday. “In the year 2000 there were 1,300-1,400 monk seals,” says Turner. “Now we’re talking about 1,100. It’s crazy to think that we are seeing an endangered species disappear in front of our eyes.” “The Hawaiian monk seal is the most endangered seal in U.S. waters,” adds Boehm. “Unlike species that live in regions of the world that cross international boundaries… this species lives within one state, in one country. If we can’t reverse this trend in population decline, it would be an absolute shame.” While the decision to create a monk seal hospital where monk seals live was an easy one, the more challenging task was where to build. In the end, it came down the old real estate adage— location, location, location.

“It’s going to be amazing to have a place for the monk seals to go,” says Turner. According to Turner, two Hawaiian monk seals, who hauled out to rest on Hawai‘i Island beaches in recent months, were spotted with fishing hooks imbedded in their mouths. One of the seals is dragging fishing lines. Later this year, should the seals require medical attention, they can be transported to the seal hospital in Kailua-Kona for treatment. Boehm says education, a cornerstone of the Marine Mammal Center’s mission, and outreach are a priority for the new facility. However, because any seals at the hospital are there to be treated and healed, the general public will not be able to walk in off the street to see the critically endangered mammals. Boehm added that organized school and community groups, as well as participating volunteers and colleagues are welcome at the facility. Hawai‘i Island is well on its way to becoming a mecca for marine mammal rehabilitation. The monk seal hospital makes the second marine mammal facility to be built in recent years on Hawai‘i island. In 2009, the Hawai‘i Cetacean Rehabilitation Facility (HCRF) was built in the Hilo neighborhood of Keaukaha. The facility, a partnership developed between UH Hilo and NOAA, treats injured and sick whales and dolphins with the goal of rehabilitation or release of the cetaceans. Its area of responsibility covers the state of Hawai‘i, Samoa, Guam and Saipan. Staffed with volunteers from the Hilo Marine Mammal Response Network, the facility is authorized to house 18 different species of whales and dolphins up to 15 feet in length. The facility in Hilo cannot take in monk seals because it was not permitted or designed to handle such critically endangered mammals. Now with the TMMC seal hospital, when HMMRN respond to a stranding of a monk seal in need of care, the seal can be transported and cared for right on the island. The rarity of two such marine mammal facilities on one island can not be emphasized enough. Nationwide, only two-dozen facilities are set up to rehabilitate marine mammals and only half of those handle whales and dolphins. The Hawai‘i Cetacean Rehabilitation Facility in Hilo is the only facility of its kind in the entire state and the soon-to-becompleted Hawaiian monk seal hospital in Kailua-Kona will be the only one of its kind in the country. ❖ For more information: Contact writer Denise Laitinen: | January/February 2013

Boehm says the decision to build in Kailua-Kona made sense for several reasons. The facility’s location at the Natural Energy Laboratory of Hawai‘i Authority (NELHA) is adjacent to the Keahole Kona Airport, which makes transportation of seals and personnel from anywhere in Hawai‘i easy and efficient. And they were able to lease the location at a reasonable cost, compared to prices on O‘ahu, where land is scarcer. Better yet, NELHA offered several advantages not readily found on neighbor islands which made it attractive to build on Hawai‘i Island. For instance NELHA provides critical infrastructure, such as redundant pump systems that will provide access to highquality, clean seawater for the seals. The $3.2 million project includes two neonate rehabilitation pens and pools, quarantine pen areas, two larger pens and pools for juvenile seals, as well as a medical lab, staff office, and a patient food preparation kitchen. Future plans call for an education pavilion. According to Boehm $2 million has already been raised for the seal hospital. “With the money raised thus far, we can undertake construction of the first phase of the project, says Boehm. “This will result in pools in the ground and the potential if necessary to work out of the facility to care for seals in need even while fundraising continues. “Having said that, we’re determined to raise funds for the entirety of this important project as quickly as we can,” he adds. “We’ve been gratified in that regard by the great and generous outpouring of support from individuals and foundations in the islands and from support from across the nation.” The idea is to model the Kailua-Kona facility on the same model of success at the Sausalito center, namely, have a limited number of paid personnel with a large number of passionate, dedicated and talented volunteers. Boehm says that currently, there is a plan for one paid employee at the facility. The seal hospital is designed to accommodate as many as ten seals at one time amongst four separate pools. Boehm anticipates periods of intensive use of the facility and lighter times, with a variety of pups, juveniles, and adults in care. TMMC used local companies to design and build the seal hospital. The architect for the project is Waimea-based K&G Architects and the project contractor is Maryl Group Inc., which has offices in Kailua-Kona and Honolulu. Boehm estimates that the first phase of the project Photo by Michelle Barbieri will provide work for several subcontractors and keep 20+ people working full time for about six months. Hawai‘i Island groups that deal with marine mammal response, such as the Hilo Marine Mammal Response Network, laud the addition of a facility to care for the critically endangered seals.


52 | January/February 2013

photo courtesy of Forest and Kim Starr



The Ancient Practice of Natural Dye Making with the Kukui Tree

The Kukui Dye Workshop We gathered at the Amy B.H. Greenwell Ethnobotanical Gardens in Captain Cook to learn from Bernice Akamine, a Hawaiian cultural arts practitioner from O‘ahu. Throughout the day she taught us the cultural uses of the kukui tree and how to make waiho‘olu‘u (color, dye, coloring liquid). Of course, this being a hands-on workshop, we first needed to gather the materials to work with. Plastic bags in hand, we collected kukui nuts: green ones off the tree, nuts on the ground with the dark—and sometimes yucky—outer rind, nuts, and nuts without the rind. Some people

had bulging bags in a few minutes, others went to kukui trees further away. Not wanting to go back empty-handed, I used a stick to dig nuts out of the impacted dirt where the maintenance vehicles drive. Back at the workshop tables, we sorted our gatherings: green nuts in one pan, plain nuts in another, and the dark ones in several pans. Then we began to prepare the dye-making ingredients. The green rinds were cut in half to free the nut. I helped separate the dark, decaying rinds from the nuts. A messy job, yet so worth it in the end. Any parchment was recycled. Once separated, the rinds were rinsed several times, then put into two large kettles on the stove with an equal part of water to make the dye. Ours cooked for about an hour, more time would make a darker dye. ❁Continued on page 54 | January/February 2013

n Hawai‘i the kukui tree, distinctive in its pale green, silvery foliage, is a symbol of enlightenment, protection, and peace. Kukui (also known as candlenut) was a canoe plant. Its seeds were brought to Hawai‘i by the first Polynesian voyagers. In old Hawai‘i, kukui nut lei were worn by the Ali‘i (royalty) to honor the life-giving force of Lono and to show their social status. For them it was like wearing a lei of light providing hope, healing, and protection. Kukui was believed to be a physical manifestation of Lono, the Hawaiian god of agriculture and fertility. Lono appeared when abundance was ready to be harvested. All parts of the plant were used by the early Hawaiians, and many of these traditional uses are still practiced today. The light colored wood of kukui trees was often used for canoes and fishing floats. It’s been said the fishermen would chew the nuts and spit them on the water to break the surface tension and remove reflections, giving them greater underwater visibility. Historically, the oily nuts were burned and used like candles for indoor and outdoor lighting. The nuts were strung four or five on a stiff palm leaf mid-rib. The oil in them burned slowly and brightly providing an excellent portable light source.

| By Renée Robinson

53 | January/February 2013

❁Continued from page 53


While a group of us sorted and cleaned the nuts with rinds, others used hammers or lava stones to crack the nuts and separate the meat from the hard shell. The shells were used as mulch underneath the trees. The actual nut meat went into a big foil-lined stainless steel pan. When a hammer was available, I cracked my first nut— oh my, what a stench! Apparently it had been sitting in the driveway too long and was rotten. Later Bernice said we could have used the oil from those ‘rotten’ nuts to help start the fire of the fresh nuts. Who knew? Lesson learned— everything is usable. While I finished cracking my kukui nuts, part of the group were peeling kukui roots and exposing a beautiful red color. They scraped the peeled root with the edge of a knife and ended up with piles of red shavings. These were combined in a pot, water was added, and onto the stove it went. The longer it cooks, the deeper color the dye will have. Ideally you’d let the cracked nuts dry for a day or two before burning them to extract the oil. Because the nuts were fresh we used a blow torch. This is where my ‘rotten’ nut oil would have helped. Once the nuts were lit, a foodservice deck pan with a smooth inside was placed over the burning nuts for about an hour. The soot collected on the inside of the pan is used to make an ink that can be used on kapa and also for body tattoos.

While the nuts were cooking, some of us peeled logs from a downed kukui tree. It was BEAUTIFUL! I wanted to take my peeled log home and use it as a piece of art. Instead, I was a good student and scraped off the red color, then added the shavings to the pot of red dye. Several attendees took the scraped logs home to use for firewood. Near the end of the class, we dropped pieces of white cotton fabric in the pans of strained dye. Normally these would sit for a couple of hours or overnight to fully absorb the color. However, it was enough for us to see the rich dark brown, the beautiful red, and the greenish beige colors which came from our day’s work.

More Dyeing Tips

• The oil is known for its healing properties and is an important ingredient today in many creams and massage oils. • Sometimes called the varnish tree, kukui nut oil is used to varnish and preserve wood as well as to waterproof fishing nets, tapa cloth, and paper. • The red dye is used to make fishnets less visible to fish. • The sap from the leaves will help with gum infections. Bernice Akamine • The sticky tree sap is used as a healing covering for wounds, mosquito bites, shingles, chickenpox, or as an adhesive gum. • The juicy sap that fills up the depression left when the stem is pulled off the green fruit is used to treat thrush/ white tongue. This sap is also a healing application for chapped lips, cold sores, and mild sunburn. • If you’re constipated, drink a glass of water with grated green kukui nut added. • Need to boost your immune system? Eat some of the flowers. • The leaves and the lightly fragrant white flowers are often used in lei, as are the inch-round nuts or seeds. The delicate flowers of the kukui tree played a role in the ancient healing practices by helping to clear the centers of the body from which a person can collect energy (chakras). The kukui nut is not considered ideal for regular consumption. Uncooked it is quite toxic to the body. The cooked nuts are eaten in small portions, typically as a topping on other foods. Too much can cause an intestinal cleansing with a purging effect. ‘Inamona is a tasty condiment used in Hawaiian cooking made from roasted kukui nuts and Hawaiian sea salt. A serving of ‘inamona and poi was considered a full, nutritional meal. Chili peppers and seaweed can be added for more flavor. My biggest takeaway was participating in the ‘talk story’ learning process while working with my hands. Everyone contributed as they were able—sharing in the work, and sharing in the results. What a blessed way to live. And it’s fun to recognize the green, silver leaves as I drive around Hawai‘i Island. Kukui trees grow quickly with male and female blossoms on the same plant. Its stately size, rounded, spreading crown, seasonal inflorescence and silvery-lobed leaves add a unique beauty to any property. Adding to the appeal of growing kukui trees is the ease of maintaining them. Though they prefer a steady supply of water, they can tolerate lengthy dry periods. They have few pests and need only light pruning when young to ensure a desired canopy shape. Is it time to plant a kukui tree on your property? They are available at Amy B.H. Greenwell Ethnobotanical Garden as well as several local nurseries.❖ Contact Amy B.H. Greenwell Ethnobotanical Garden: 808.323.3318, Contact Bernice Akamine: Contact writer Renée Robinson: | January/February 2013

When you dye a project (fabric, ipu, kapa, paper), remember to make all the dye that you will need at one time, as many variables affect the color from batch to batch. If you gather the red from a live kukui tree, PLEASE take the following precautions: First, only take what you need. Make strips going lengthwise on a branch. Never peel all the way around a branch or it will die. Gently scrape the color, leaving the inner bark so the tree can heal. Gather from multiple trees instead of just one. Clean and sanitize your knife blade an alcohol or disinfectant wipe between trees. Older bark has a deeper color than new bark. If you gather the bark in the rainy season the color will be lighter, the dry season yields a darker color.

Other Uses for a Kukui Tree



since 1981

Fine Crafts Local Art Furniture Gifts, Beads & Jewelry Supplies

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Storytelling Quilts

From the Wisdom and Wit of Rozemaryn Van Der Horst

of Kona, a member of Mensa, a pilot who flew a plane before she learned to drive, a hula dancer, world traveler, ‘ukulele player (amateur), home brewer, and the former manager of a local coffee farm, Loke Kai Farms, for 20 years. And, she can communicate in Morse Code. After the war, she moved to the U.S. and worked for her father’s U.S. company, the Van Der Horst Corporation, which provided electroplating services for aviation. That’s when he sent her to Spartan College of Aeronautics so she could fly the company plane from coast to coast. She met and married Johan Thingbo, in Norway, in January of 1958. Though she has no formal training in art, “I was always drawing and painting, since the time I was little,” says Rozemaryn. After becoming a newlywed and moving to Santa Rosa, California, she turned her talent to the pragmatic purpose

❁Continued on page 58 | January/February 2013

storytelling quilt crafted by kupuna Rozemaryn Van der Horst is more than a beautiful rendering of fabrics, hand embroidery, colors, patterns and shapes that tell a story, it is a glimpse into the brilliant mind and sometimes irreverent sense of humor possessed by this individualistic artist. In fact, if she were standing next to you as you view one of her quilts on display in an exhibit—maybe in Hawai‘i, in the Netherlands or in Rome— you’d delight in hearing the real story of how the quilt came to be. As an octogenarian, her memory of dates and chronology isn’t always right on the tip of her tongue, and it’s not important anyway. The tapestry of her unusual life is laid out in a panorama that needs no timeline. Each episode is colorful, intricate and unique, just like the squares in one of her quilts, which are never actually square—nor is she! South Kona resident Rozemaryn, who was born and raised in the Netherlands (she won’t say exactly when; it was prior to World War II), counts among her former teachers and friends such well-known names as her kumu hula, Uncle George Na‘ope; the famous Dutch artist, M.C. Escher; Hawaiian language and cultural teacher, A‘ala Akana; and dear friends on Pitcairn Island, the descendents of Fletcher Christian of “Mutiny on the Bounty” fame. As well as being an accomplished painter, illustrator, and fabric artist, she is one of the founders of the Aloha Quilters

| By Karen Valentine


❁Continued from page 57 | January/February 2013

of furnishing a home, and made her first quilt. “My first quilt, see, it has blocks,” she points to the bottom half of the quilt. “That’s dull!” The top half, however, is not. The torsos of two figures arise from the blocks. The woman is holding a rose between them. She was modeled after a picture in Playboy Magazine, says Rozemaryn. Her pink polyester skin has padding inside to form her figure. The man’s skin is brown, primarily because Rozemaryn ran out of pink. “But, oh, did it cause a stir,” says the artist. “I hung it in a local quilt exhibit, and the newspaper told everyone, ‘Come and see the interracial quilt!’” The Hawaiian volcano goddess of fire and the Mauna Kea goddess of snow—Pele and Poli‘ahu—competed with each other in legend. In this quilt made of silk, undulating waves of black and white symbolize the battle of the goddesses and overlay the two dynamic figures, which are portrayed as hula dancers. The border has illustrations of traditional hula steps. This quilt sold for $10,000, she says. Rozemaryn performed in the hālau of the late, renowned kumu hula, Uncle George Na‘ope, for eight years, during which time he took the troupe to Reno and Alaska to dance. “He was very strict,” she says. “I can tell, watching other dancers,


whether they learned from him.” Her hula training remains with her, as just recently she stood up to perform at the request of two friends in a restaurant. “A couple of ladies, my friends, were playing ‘ukulele in the coffee shop. They saw me come in and called out to me to dance ‘Little Grass Shack’ with them.” “This was entered in a big quilt exhibit in Houston. Sometimes I create fabric pieces you can lift up and look underneath,” she said. “The shell placed just below the waist of the merman is loose. I watched several people in the exhibit walk up to it and look around before lifting it up. Underneath it I had embroidered the words ‘Disappointed?’” she chuckles.

The quilt she made for an astronomy exhibit at Keck Observatory headquarters on the theme of a black hole, has an irreverent, stuck-out tongue underneath a flap. “I didn’t really want to make ‘celestial’ quilts,” she exclaims. “I asked an astronomer at one of their monthly lectures, ‘Do you know what’s inside?’ He looked and was very insulted.” The famed Dutch graphic artist, M.C. Escher is described by Wikipedia as being “known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.” Rozemaryn happened to attend a well-known school in Baarn, Netherlands, where Escher also lived at the time. During breaks from school, she says, “I met Escher, and he and the French teacher (also an artist) gave me drawing lessons while we walked in the Baarn forest. They would draw with a stick in the sand to show me how to draw perspective, etc. I was just a little girl in pigtails. I was fascinated and I had followed them and it amused him,” she says. In 1998, she was invited to enter a quilt in an exhibit by the Escher Foundation in Rotterdam. Designs were to be inspired by the work of Escher, with repetitive patterns and tessellations—flat, symmetrical patterns of

shapes, which can be optical illusions. Rozemaryn’s quilt is entitled, “How Does a Cow Catch a Hare?” When she was a child, she says, her mother told her a tale based on a common Dutch phrase that is said when you don’t know how to do something. She said you can do anything when you do it in the right way. “How does a cow catch a hare? It hides behind a cabbage and makes cabbage noises,” she relates. Finding it a real challenge to represent Escher’s art, she was reminded of this saying, and when she saw cows laying down along Napo‘opo‘o Road, she decided to use them as her theme. As viewed from different angles, the quilt has shapes that resemble cows and hares. On the backs of her quilts, she often stitches a related story or drawing. This one has a cow hiding behind a cabbage, looking at a hare and singing a French song about the hare running a zigzag path. A U.S. Coast Guard veterans group, Friends of the Coast Guard, commissioned this quilt for its 200th anniversary. Rozemaryn consulted with Coast Guard officials here in Hawai‘i who helped her with the details. The border has various insignia and the interior portrays the first Coast Guard ship, the first lighthouse, a modern

❁Continued on page 60 | January/February 2013


❁Continued from page 59 helicopter and sea rescue. After traveling around the U.S., the quilt is now hung in the Coast Guard Museum in New London, Connecticut. The Meadowlands Race Track also commissioned a commemorative quilt, after they saw the Coast Guard quilt.

on me. There was a knock on my door. With the leaves still spread out on the table, I looked out and saw who it was, and I almost did have a heart attack! I walked out to show them I was OK. Whew!” she laughs.

Pitcairn Island Connections | January/February 2013

With rows of hand stitching, in the style of a traditional Hawaiian quilt, the Breadfruit Tree Quilt is also an Advent calendar used to count the days leading up to Christmas, with flaps to be opened every day during Advent. Under each is a beautifully detailed Hawaiian image, from ancient times to modern era. Just above the second branch from the bottom on the right is a gold-leafed marijuana leaf. “It was in 1991, and I was laying out a few leaves on my kitchen table, preparing to paint them, while talking with a friend on the phone,” Rozemaryn said. “Well, a storm blew up and lightning struck nearby, knocking out the phone. My friend thought I had had a heart attack and called the police to check


“My father went to sea when he was 15,” Rozemaryn says. She was always fascinated by the story of the HMS Bounty and its fate after mutineers took over from Captain William Bligh in 1789. They settled on Pitcairn Island, near Tahiti, and their descendents still inhabit the island. “When I was little he used to tell me stories about his seafaring days, and included his visit to Pitcairn. There was a lady in Sausalito, California, who organized trips on sailboats all over the world in the 1980s. I heard that she intended to have a trip to Pitcairn from Tahiti, and I went and stayed on Pitcairn for several weeks. My hosts were Irma and Ben Christian. Later Ben and Irma came to Hawai‘i and stayed with me.

The cookbook was my idea because I thought it would give them a chance to sell something to visiting tourists from cruise ships, besides the lauhala things she made.” Irma Christian is a commercial radio operator on the island. At the time, the ham radio was the only means of communication with the outside world. Because she also knew Morse Code, Rozemaryn developed a radio correspondence with Irma. In 1986, they published the Pitcairn Island Cookbook, written by Irma Christian and illustrated by Rozemaryn, who transcribed all of the text in her own handwriting, which is also reproduced on the pages of the book. It is a fascinating combination of Pitcairn Island history, local agriculture, preparation methods and recipes used by the islanders. The cookbook cover is illustrated with a stunning batik made by Rozemaryn with a breadfruit motif and hand-dyed with dyes made from local plants. The breadfruit is meaningful to Pitcairn Island, as it was the reason for the voyage of the Bounty and Bligh’s mission to take breadfruit back with him. The cookbook is available on the website,, and also on the website of Irma Christian and her son Dennis:

Another ambitious project was a special, commemorative quilt. “When Pitcairn Island approached their 200th anniversary of Fletcher Christian landing there, they asked me on the ham radio for [a quilting] idea in which the children could participate. I suggested a group quilt based on the drawings of the children. I think there were 14 in the school at the time. I received drawings and asked women from the fiber hui to select a drawing and pick some fabric. We did not copy the drawings but interpreted them. The quilt took one year to make. Five Pitcairn women participated and the others were from Hawai‘i. I put it together. The quilt traveled a lot: to Kentucky, Vermont, Switzerland, the Isle of Man, California, Texas, and Australia.” Rozemaryn had also learned that the island needed a satellite dish and was inspired to help them, especially because it was the means for the children to get their school lessons. So the quilt was sold in a raffle and won by a man in England. It made enough to buy the satellite dish, and the winner chose to donate the quilt back to Pitcairn Island, where it hangs in a museum today. Rozemaryn Ven Der Horst is quite good at organizing quilting projects. In recent years, she also organized the quilt contest for the annual Kona Coffee Festival. Today she remains active, with weekly outings to lunch at the Hawai‘i Community College Culinary School, playing ‘ukulele with a Saturday bluegrass kanikapila group, coffee with the local Mensa club and visiting with friends. ❖ There are yet more stories and more one-of-a-kind quilts from this lively, one-of-a-kind artist at Contact writer Karen Valentine: | January/February 2013


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View of Hilo, Mauna Kea, and Mauna Loa in the 1820s, from A Residence of Twenty-one Years in the Sandwich Islands by Hiram Bingham I.

Peter T. Young grew up on Kāne‘ohe Bay, lived for 28 years in Kailua-Kona and Waimea on Hawai‘i Island, then returned back to O‘ahu where he lives in Kailua. He is President of Ho‘okuleana LLC (to take responsibility) and a lover of history of the Hawaiian Islands. Ke Ola is honored to have him share his historical findings with our readers. Connect with Peter:

A Brief History of: Whales in Hawai‘i

Road from Queen Ka‘ahumanu Hwy (190). Turn Left at Mamalahoa Hwy (180), os and local shops now occupy historic buildings from Hawai‘i’s past. The koholā whale) well to the rely stroll through our(humpback quaint village . . .was You’ll beknown glad you did.early Hawaiians. In the Kumulipo chant—the Hawaiian chant of creation—the Second Era speaks of the birth of the whale: "Hanau ka palaoa noho I kai"—born is the whale living in the ocean. The presence of the koholā in Hawaiian waters is evidenced in Hawai‘i’s oral and written history through petroglyphs, legends, legendary place names, and artifacts. Kapoukahi, a powerful kahuna from Kaua‘i, prophesized that war would end if Kamehameha I constructed a heiau dedicated to the war god Ku at Pu‘ukoholā. In 1791, Keoua, Kamehameha’s cousin, was slain at Pu‘ukoholā, an event that according to prophesy, led to the conquest and consolidation of the islands under the rule of Kamehameha I. Whaling in Hawai‘i

dramatic and of considerable importance in the islands’ history. Over the next two decades, the Pacific whaling fleet nearly quadrupled in size, and in the record year of 1846, 736 whaling ships arrived in Hawai‘i. Then, whaling came swiftly to an end. In 1859, an oil well was discovered and developed in Titusville, Pennsylvania; within a few years this new type of oil replaced whale oil for lamps and many other uses—spelling the end of the whaling industry. Humpback Whales in the Hawaiian Islands The warm waters surrounding the main Hawaiian Islands are breeding, calving and nursing areas for humpback whales and is one of the world's most important habitats for them. At the start of the 20th century, the global population of humpbacks was depleted by the commercial whaling industry. In 1973, the United States government made it illegal to hunt, harm, or disturb humpback whales. When the Endangered Species Act was passed in 1973, the humpback whale was listed as endangered and remains so to this day. Protection of this important ecological habitat was necessary for the long-term recovery of the North Pacific humpback whale population. In 1992, Congress enacted the Hawaiian Islands Humpback Whale National Marine Sanctuary, recognizing the important role that the Hawaiian Islands play in the preservation and long-term vitality of the endangered humpback whale. The Sanctuary is jointly managed in an equal partnership in the oversight of sanctuary operations by the National Oceanic and Atmospheric Administration (NOAA) and the State of Hawai‘i. They determined that co-managing a sanctuary would provide additional beneficial resources and expertise to enhance the protection of humpback whales and their habitat.The cooperative agreement was signed in 1998. The sanctuary conducts and supports humpback whale research to increase scientific knowledge about the North Pacific humpback whale population and its habitat. Research efforts include photo identification, population, birth and mortality rates, and whale behavior. Like our fingerprints, whale flukes (tail fins) are unique with distinctive patches and markings for each whale. Researchers use the irregularities and differences of a whale's fluke to distinguish between individual whales. Along the coastlines of the Hawaiian Islands, the whales cause pause as travelers stop to watch their antics in the ocean.❖ | January/February 2013

Hawai‘i’s whaling era began in 1819 when two New England ships became the first whaling ships to arrive in the Hawaiian Islands. At that time, whale products were in high demand; whale oil was used for heating, lamps and in industrial machinery; whale bone was used in corsets, skirt hoops, umbrellas and buggy whips. Rich whaling waters were discovered near Japan and soon hundreds of ships headed for the area. The central location of the Hawaiian Islands between America and Japan brought many whaling ships to the Islands. Whalers needed food and the islands supplied this need from its fertile lands. Whalers’ aversion to the traditional Hawaiian diet of fish and poi spurred new trends in farming and ranching. The sailors wanted fresh vegetables and the native Hawaiians turned the temperate uplands into vast truck farms. There was a demand for fresh fruit, cattle, white potatoes, and sugar. Hawaiians began growing a wider variety of crops to supply the ships. In Hawai‘i, several hundred whaling ships might call in season, each with 20 to 30 men aboard and each desiring to resupply with enough food for another tour “on Japan,” “on the Northwest,” or into the Arctic. The whaling industry was the mainstay of the island economy for about 40 years. For Hawaiian ports, the whaling fleet was the crux of the economy. More than 100 ships stopped in Hawaiian ports in 1824. The effect on Hawai‘i’s economy, particularly in areas in reach of Honolulu, Lāhainā, and Hilo, the main whaling ports, was

| Peter T. Young


66 | January/February 2013

A Journey Through Light and Stone The Art and Architecture of John Wallis |

A Place to Breathe in the Light

John Wallis, an architect for more than fifty years, sees to how we live in houses and why. His forms embody a practicality which some call Sacred Geometry, Sustainable Design, or Feng Shui. Yet for John, his design choices are a matter of distinct practical efficacy. In his solutions for building in Hawai‘i he uses locally produced concrete and sustainably harvested woods. He comes up with site-specific solutions for living with the land as opposed to on it, and caring for—rather than exploiting—the ‘āina. In this, he is very much of his time and of this place.

❁Continued on page 68 | January/February 2013


he art of creating a space for a place to live suggests an attention to placement, form, and strength of materials. In designing for Hawai‘i, engineering and traditional construction meet a sculptor’s eye and soft, human skin. Traditional Polynesian Hawaiians built high-walled woven shelters on carefully fitted stone foundations. On the floors, woven lauhala mats were piled up for comfort on the warm stones. The windowless, hive-like shelters were cooler in the midday heat. These sleeping spaces had a high ceiling of braided fronds. The moisture that collected on the leaf roof acted like a swamp cooler as the air passed through it. A small entryway was just large enough to crawl through. They moved seasonally and the fronds were easily replaced. This kind of partially-outdoor living changed with increasing contact with world cultures that brought mosquitos, vermin, disease, and a rectitude that rejected their organically breathing hut structures.

by John J. Boyle


❁Continued from page 67 For John, Feng Shui is a wisdom that has to do with the nature of the building and sacred geometry has to do with the structure. Both express practical and aesthetic choices, which can include pathos, spirituality, and healing energies. Intuitively, rather than formally trained and experienced, John may not be able to define his work in terms of fractals or a golden ratio, but he may comment that, “it works.” One may explain the beauty of an enclosed setting as defined by a Chinese elemental system, or perhaps it just makes sense. Although John’s work may seem new, it is merely a return to practical efficient design. Having designed and built in climates with four, two, and seemingly one season, he is well informed. His travel, patience, and curiosity prepared him for building in Hawai‘i. On a small avocado orchard 270 feet above sea level in North Kohala he has built his own home where he lets in light, cohabiting with the land. He named his home Nalukea, the Hawaiian word for ‘white wave’, after an image of pāhoehoe lava that gleamed in circular, silver waves.

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For those who have the resources and good fortune to build their own home where they want to, the art of architecture exists. Out of this practice innovation and excellence speak of all time. In most cases, the way it is done goes unquestioned—houses are built and homeowners become homemakers by what they bring into it. Building codes are in place to protect an owner and builder from foreseen errors. At other times, codes and regulations challenge creativity. In John Wallis’ architecture innovation combines with nuance, inviting the natural beauty indoors. His tropical gardens are only a breath away, thinly distanced by glass and screens. The ability to sense a form in a place before it exists demands attention to the lay of the land and the coursing of weather. Hawai‘i’s climate may appear to be benign, or even static in its consistently comfortable temperature range. One is more inclined to be outdoors with the elements in such a temperate clime. John’s designs reflect traditional and state of the art stone work of Greek, Caribbean, Mexican, and Southeast Asian styles, in effect, holistic sensibilities. Hawai‘i’s temperate position in the unobstructed ocean is at the same latitude as other more humid

continental communities. It is fair to model after such places, yet there is a need to note our distinctions. Hawai‘i is different because the trade winds cool and aerate each of our 11 out of 13 distinct micro climates. Thus his screens and walls are carefully placed. Salt, seeds, and pollen make good with our trade winds. In turn, on up the food chain, from hundreds of molds and microbes to the ants, spiders, lizards, and rodents, each subsequent ground feeder is the food of another. It is the work of informed design to attend this fact of nature. On John’s home an external traffic lane of a concrete apron walkway embraces the house, next to that is a skirt of thin gravel. The poured concrete slab on which the walls stand is thicker and deeper then ordinary floors or footers. This slightly thicker concrete acts as a thermal battery storing the day’s ambient heat and warmly radiates into the evening balancing day and night temperature changes. This warm concrete barrier moat also dissuades molds and offers few cool corners for insects. Understandably, what works for human comfort suits many other life forms and so his conscious design manages pests without toxic poisons.

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Out of the Box

(808) 885-6515 Formerly Eryce Enterprises

PHOTO: James Cohn

A world accustomed to boxes has created a product line of materials and codes as well as a business of selling and manufacturing parts. John has, in a sense, outgrown the exclusive use for rectangular building. Upon buying his land in 1999, John lived in a tent and began his stewardship while he honed in on where and how his house needed to be set. He began drawing and sketching before he landed on his design. The journey from pencil to shovel was as rife with glorious incidents as it was with impediments and challenges. From the pitch of the roof to the placement of openings, his house was designed to meet and embrace the subtle seasonal weathers. His house is a one-story, many-leveled, open-floor design that makes for ease of stride. Twenty-seven poured concrete cylinders are set at angles to support the leaf-shaped umbrella roof. The interior spaces are defined by glass or screens and shade cloth is used to create 20-foot tall walls. The high, enclosed spaces are set into the roll of a hillside. Not one of the six glass openings vies as the front door, nor does it seem to matter, as they all serve equally as access-ways. “It is like a tree, with no facade front or back, per se.”

“It is mostly in the concept, the details are to refine. If you have a really strong concept, the details are there to support it.” A concept can be a style of indoor versus outdoor living, or to integrate the natural with the manmade. Or it could be building out of one’s immediate environment and a detail could be which materials and why. “How do you belong or respond?” he asks. “What are the joys and the pleasures of the relationships to the natural and man made? I really like the way they work together.” Another concept is the budget. How much per square foot as opposed to an unlimited budget? “There is nothing to refine without a concept. It could consist of using red, yellow, white, and copper alongside natural woods. A limited palate can give a dynamic impression.” ❁Continued on page 70

Susan J. Moss

Professional Member ASID, LEED Accredited Professional

Kamuela, HI PH: 808-885-5587 | January/February 2013

The Concept


❁Continued from page 69 “A building needs a sense of center. Where are people going to end up when they enter? What is the next order of events? What is the journey?” The unifying quality of the design for his home is derived from sections of cylinders and angles. Even the hinges on the doors are little cylinders. Like leaves in the orchard, the circular and angular forms relate to each other. A simple round catchment for his orchard reflects the summer moon and casts light upon contiguous spaces. On a more practical level, John’s structures consider North Kohala winds. One of the ways the building breathes is through the air space or cracks around an opening or a door, they are not sealed and yet are thin enough to deflect the zigzagging earthbound mosquitos and flies. In some other similar mosquito climates, homes are built high off of the ground, above the bug zone. Mosquitos tend to swarm around slippers and shoes because they sense human essences, so shoes are kept a short walk away from the door. By reducing access and providing sunlight, other life forms are disinvited into a home’s comfort. John has created ventilated cabinets with drawers that breathe. This is done by using galvanized half inch wire grid bottoms. This shelving is too precarious for cockroaches and manages to keep the neighborhood insects apart from household activity. The library’s wall of books is set to meet the winter’s sunlight against an eastern thermal wall, defending against moist tropical air and darkness which tends to mold paper. Efficiently, one dimmable 200-watt light fixture in the center of his round living room illuminates each of the exterior accesses. | January/February 2013

Bird Cloud, The Delight of Beauty


In Annie Proulx’s nonfiction book about building her home Bird Cloud, she writes: “The Agustan architect Marcus Vitruvius Pollio is regarded today more as a figurehead father of architecture than someone whose views on houses belong in the pages of Dwell or Wallpaper, but there is something terribly obvious about his three general precepts in De Architectura that have held true over two thousand years: that an architect-designed building must have integrity of structure, a responsibility to function, and the added delight of beauty. Included in these precepts might be enhanced landscaping, and, as we discover today, in the first years of the third millennium, the necessity of making energy-efficient, water thrifty houses overrides everything else. Buildings must operate within stricter “green” bounds.” John Wallis’s concrete construction is sustainable, cost efficient, and environmentally sensible as our wood stock diminishes into the past. His simple design obviates the expense of drywall, trim, caulking, and paints. By estimates of square footage under the roof, his costs are half of that of a more traditional construction.

The Journey

Walking the land is the beginning of what John calls the journey of collaboration. He says, “If I fail in a building, I fail to keep that journey going.” On another of his building sites in the Kohala Mountains, John explains a work in progress, “See how it is triangulated among these lava-slump-angled hills. These angles are also the earth’s angles. That’s where the house gets its geometry, from the slump in the lava.” In another use of the word, John describes

how triangulation in construction makes a building stronger and there is less construction waste and less stiffening energy to build a typical rectangular unstable form. It is more efficient and aesthetic as it allows for a larger range of organic shapes. The Hawaiians with their A-frames were working with a similar understanding. As we walk on the land he says, “Working while the sun provides the necessary light is a very green and natural act.” “As an arch builder, through these amazing years, I have been part of the process that has enabled an Arabian horse ranching couple to have their poetry; a Hollywood Director ‘a triple Wow’; a UCLA Professor, his ‘Greek house with a Blue Roof’; and today a client sits in his ‘Bird of Prey,’ settling down upon the western slopes of the Kohala Mountains. All of these are site-specific, live-in-sculptures, as unlike another as they honor our sentient human condition with an unrelenting objective that differentiates and allows each owner’s personal expression formed in stone, space, and light.” ❖ Resources: A Memoir of Place Bird Cloud by Annie Proulx, 2011, p121. Creating Sacred Space With Feng Shui by Karen Kingston, 1997. Contact John Willis: 808.889.5790 Contact writer John J. Boyle:

Every Store Has a Story K. Takata Store in Hawi |


By Hadley Catalano

K. Takata Store, founded in 1923 by Keizo Takata, a few storefronts down from the old Hamada Hotel. A year or so later Takata purchased the foreclosed hotel in the heart of Hawi, and expanded his clothing store to a grocery store.

little English, found his perfect match in his intelligent and hardworking wife. A year later the blossoming businessman opened a small shop, selling kimono in the town center of Hawi (where the Cherry Blossoms building stands today). Keeping up with the changing times, the couple soon adopted Western ways and supplied the developing community with more up-to-date styles and footwear, and began offering canned goods and small merchandise items. Aware that the Bank of Hilo had recently foreclosed on the two-story Hamada Hotel down the street, Keizo seized the opportunity to purchase the broken down, collapsing building. And with the help of his wife, who translated and negotiated the sale, the pair settled and signed on the property while expecting their fourth child. Wasting no time, the duo renovated the building and opened K. Takata Store, servicing the Kohala community in what is now the Bamboo Restaurant and Gallery in Hawi town. ❁Continued on page 72 | January/February 2013

hiro Takata had no interest in working in his father’s grocery, K. Takata Store, during his childhood in North Kohala in the 1930s and 40s. He’d much rather play sports outside, and as the fourth son of Keizo and Hatsuko Takata, he didn’t have the same chores and obligations as his older brothers. “I was the least dependable,” Takata joked about his work ethic at the time. “But after I graduated high school in 1948 my family wanted me, no other sibling, to work in the store. I was surprised.” A labor of love, Shiro’s parents and older brothers were ready to pass the torch to the younger generation. The store, which today serves as an important narrative and testament to Kohala’s resilient history, had already been serving the community for 25 years. The store’s history (which was compiled by Kim Takata and the North Kohala Cookbook Committee) dates back to the beginning of the 1900s, after John Hind engineered the construction of the Kohala ditch to feed his sugar canefields at Hawi Mill and Plantation in Ho‘ea. It was shortly after the community began to experience a vast modernization with improved roads, hydroelectric plants, and electricity that a young Japanese salesman settled in Kohala. Keizo Takata, selling imported traditional kimono, went door to door at the camps offering his wares until he meet his future wife Hatsuko Fujimori, who was working as a server for the Hind family. The couple soon married in 1922 and Keizo, speaking


❁Continued from page 71 | January/February 2013

“There were plenty of people and activity in Kohala at that time,” Shiro Takata recalled, noting that his parents raised their seven children in the store, living in the old hotel. “Nobody traveled so we did the majority of our business at the plantations. We would drive to camps Four generations of Takatas have kept in our old Ford truck, the store in operation for nearly 90 years. take orders, and Here, Shiro Takata and his son, Jerry, make deliveries.” who is the current store manager. Originally the store was designed for counter service, customers would enter and order items displayed on shelves. Over the years the Takatas, taking note from growing businesses in Hilo, adapted to a self service shop, selling strictly groceries. While the store was running at full speed, Pearl Harbor had a devastating impact on the family. Keizo, being Issei, not an American national, was forced into a Japanese internment camp on the mainland. The eldest son was drafted into the war, leaving Hatsuko and the six remaining children to run the store and manage on their own.


“In an attempt to make more money, my mother began making kimono again for the new service men, as a designer gift for them to take home to their girlfriends and wives,” Takata said. “When my father returned he wasn’t the same, he has lost his drive and ambition and my mother became the new ‘boss’.” So upon Shiro’s graduation and his parent’s call to duty in the family business, he picked up the slack, taking over for his elder brothers who were burnt out on the business. “I thought to myself, if I’m going to be stuck here, I might as well make the most of it and do the best I can,” as he explained how he adopted the motto, ‘Everyone should leave the building smiling.’

From left: Shiro Takata; brother, Masa; mother, Hatsuko; brother, Takuji; founder and patriarch Keizo Takata (seated), and former Hawai'i Governer George Ariyoshi. Circa 1979.

Shiro Takata keeps an illustration by local artist Jim Channon of the fable of the Goose That Laid the Golden Egg. It depicts how his wife Clara’s Pua Lani Beauty Shop provided the start-up capital for Shiro to purchase the grocery store from his parents in 1958.

Armed with a new objective, it took Shiro only a few years to meet Clara Ogi, the owner of Pualani, a beauty shop a few storefronts down, who would make his life and business even more successful. In the mid-1940s Clara, not yet 20, with the help of her brother’s money from the family’s coffee farm in Holualoa, bought a closed beauty shop in Hawi and soon transformed it into a gainful commercial operation. The couple wed in 1955 and continued to work at their respective jobs, while living in the Takata store building. Two years later their first son Rayton was born, followed by Jerry in 1959. During this time it became increasingly difficult to conduct business in Kohala due to the closure of Māhukona port (items were now trucked from Hilo). Keizo and Hatsuko were ready to retire to O‘ahu and kept insisting that Shiro buy the business. It was Clara who took her earnings from Pualani Beauty Shop and invested in Takata Store. “She made the business possible, she was my biggest supporter,” Shiro said of his wife, who helped the store thrive with her friendly demeanor, community investment, and love of the family business.

To contact the K. Takata Store: 808.889.5261 Circa 1975, workers

Circa of 1975, workers Takata store of Takata store unloading unloading freight into the freight into the of back theat shop back theof shop the at the old Hamada hotel location. old Hamada hotel location.

Contact writer Hadley Catalano: | January/February 2013

“My mother was the backbone of this store,” Jerry, who is now the store manager and purchasing agent explained of his mother who won the 2011 Citizen of the Year award from the North Kohala Merchants Association. “My father did the business end, however this store was my mother’s life. She worked here everyday and had to retire last year due to her health, or she would have kept on working.” When Jerry and his brother returned from college on the mainland, Shiro explained that they followed a similar path to his own, taking up a later interest in the store and observing the day-to-day activities of the business, an interest that made their father happy. The business grew and developed and in 1992 the Takata family relocated the store to a family property a short distance from their current location, up Akoni Pule Highway. The new building brought with it a fresh face to the grocery store, ample parking, a wider range of products, and a larger volume of merchandise for the isolated neighborhoods of Kohala. Clara Takata, wife of Shiro Takata, was the backbone of her husband’s “We were very family owned and operated store. excited about the She worked there for more than 50 years. change, never could have imagined it. We wanted to be the best convenience store we could be,” Shiro said. “People here are so appreciative of the business, this is the joy of serving this community.” Takatas have been acting as any good business in a small town would, supporting the youth of Kohala, providing donations, and offering a Banzai Card to support community projects. The small mom and pop shop has clearly expanded, now offering locally grown produce, a variety of stock according to customer demands, and employs 20 people, including the next Takata generation, Rayton’s son Jake. “There is a lot of hard work that goes into this store,” Jerry explained. “Like the past in Kohala we never know what the future will bring. We have loyal employees and customers and we are proud to be able to serve Kohala as a community store.” ❖


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Big Island Honda Kona supports the Big Island | January/February 2013

Youʼll see our company name attached to quite a few functions here on the Big Island. We believe in supporting local, quality the 4th of July Fireworks, the Peaman races at the pier and tons of local school and community events. Please remember us when you are in the market for a new or pre-owned vehicle. Thatʼs all we ask... weʼll be there for you.



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Rosa Say is a workplace culture coach, a zealous advocate of the Alaka‘i Manager, and the author of Managing with Aloha: Bringing Hawai‘i’s Universal Values to the Art of Business. She’s a wife and mom, sister and daughter, manager, leader and worker bee, living the best life she can. Learn more about Rosa at, and discover more about the Managing with Aloha philosophy at

Why Values? And Why “Manage with Aloha?”


The First in an Ongoing Series on Managing With Aloha

e true to your values.” It’s advice you’re likely to hear several times in your lifetime, and read in countless books and articles. What does it mean? Looking at it through the lens of ALOHA, it means, “Manifest your spirit completely: Be you.” Still a big phrase though, isn’t it? To “Be you” is to make several key choices, and then actively live your life by those highly visible choices: 1. You choose your values, knowing they will either help or hinder your behavior—hindering in a good way, curbing rash impulses, for by their inherent nature, values are good. 2. You choose the company of others you keep close, knowing that they will either encourage you, or challenge you with the honesty of unconditional love. This includes family, kept close (or not, also a choice) for ‘OHANA is the “human circle of Aloha.” 3. You choose the work you devote your efforts to, knowing that your work ethic will sustain you physically, intellectually, and emotionally. You HO‘OHANA (work with purposeful intention) as a person who does important work; work that matters. Those are big choices, for they factor into our sense of wellbeing. Sometimes they’re clear, and we are tasked with keeping them clear, and directing them well. Sometimes they’re muddled and we need to sort through them; getting our clarity is Job One. Whether clear or muddled, our choices will consistently affect those three decision areas of life’s prevailing focus: values, relationships, and intentional work. Thus, those are the foci at the epicenter of a Managing with Aloha practice: value alignment, healthy relationships, and intentional work. We make a big deal about values most of all because values drive our relationships and our work as well. Our personal values are the critical ingredients of our beliefs and convictions, and they mix with our emotions, our intellect, and our spirit. We think of our values as immutable, and yet we’re impressionable, and they can be changed over time—by, and only by, our deliberate choice to do so. Whether or not you’re aware of it, your values essentially do two things for you: they define your WHY (because they define what you believe in) and they give you a HOW-TO (because they define what you believe in).

| By Rosa Say

Knowing this, we talk of how we Live with Aloha, and Work with Aloha, in order to self-manage with Aloha. Recognizing the drivers of our own behavior and taking responsibility for them is how we will ‘be true to our values.’ When you really think about it, the way you ‘walk the talk’ of your primary value drivers is a kind of signature that others identify with you. Taken altogether, your values are your personal brand. They define your reputation. The reason to bother with all of this is clear. “All of this” equates to wonderful self discovery, tapping into our innate wisdom—our mana‘o. Discovering who you are meant to be in this lifetime, is discovering the relevant answer to nearly every other question you’ll wonder about, because you now know how you fit in, and how you’re part of the whole we call our humanity. You have your sense of belonging. You feel PONO, having a rightness with your world, and sense of balance within it. As serious as this all sounds in its life-defining gravity, once you make those key choices, and commit to living your life by those choices willfully, they bring meaning, satisfaction, and true joy to your life. Your efforts become engaging, even playful. You become inspired (for now you are in-spirit) with your personal, relational, and professional value alignment fueling your best energies. Imagine how much simpler navigating our increasinglycomplex world would be if everyone was transparently true to their values. We could get on with our greater possibilities so much quicker than we now do. This is a great way to think about the servant leadership we know here in Hawai‘i as the value of HO‘OKIPA: we serve others best, by providing them with values and clarity when they deal with us: we’re honest and authentic. What they see, what they hear, what they feel radiating from us is truly what they get. It becomes clear to them how they fit in. too—and fit in with us. We seek to be what ALOHA is all about. We’re true to our values. These are the principles we’ll examine in issues to come as we explore the 19 Values of Managing with Aloha. The values of our Hawai‘i are timeless; they are wise, relevant and exceptionally useful to us, and I am very thankful to the ‘Ohana of Ke Ola, for allowing me to share them with you. Until next time. ~ Rosa Say

75 75

76 | January/February 2013


hen traveling up the Hamākuā coast I often I often turn makai (towards the ocean) off the main highway, just seven miles north of Hilo, in favor of the old Māmalahoa’s four-mile scenic route. Each time I venture down the cracked and winding road in anticipation of the lush, botanic canopies and collapsed Onomea Arch, I pass the same Buddhist Hongwanji and the same mountain-fed stream that flows below the same mossy wooden bridge. I glance to my left at the same patch of thick, tenacious bamboo, and then to my right at the same weathered, hill-top cemetery. Soon after, I pass the same antique art gallery with the same bright lavender lettering ‘Toulouce’ with the same orange and white calico cat painted on the side. Then I tell myself the same old thing, “You know, you really should check out that place some day.” The gallery’s exterior is so vibrant, so full of charm and character, so perfectly out of place, and so hard to pass by unnoticed, and somehow I had always done just that—passed it by. So the last time I took the road less traveled, I pulled over, and stopped in to see what treasures and stories were held within the walls of this seemingly forgotten, if not colorful, gallery. Upon entering, I was greeted by an elegantly attired woman with lively hazel eyes and wispy, grayish-blonde hair. Meet Diane Renchler—the owner of the Toulouce Gallery. She is graceful, sweet, and unbeknownst to me at the time, open and willing to unabashedly share herself with me. She began by recounting one of her earliest memories—her four-year-old self sitting on the cool kitchen floor of a friend’s apartment while visiting her grandmother. “My friend’s mom put some newspapers down on the tiles and placed a set of water color paints in front of me. I remember thinking it was the most exciting thing I had ever seen,” she smiles, “And I still do.” Growing up in Nevada, Diane received a Fine Arts Scholarship

The Road Less Traveled

Destination: Diane Renchler’s Toulouce Gallery

the gloomier and more lurid Vietnam conditions by painting the calming, tropical backdrops. Delving artistically, emotionally, and even physically into the soothing Pacific waters, she promised herself she would someday return. Between that ‘someday’ and her current vocation and milieu, if you will, she has lived multiple lives. From owning a stained glass gallery in Aspen, Colorado where the hedonistic lifestyle of the 1970s eventually wore thin, to receiving life-threatening toxic poisoning from working with stained and leaded glass. At another daunting point along her path, her sole pleasure was found in painting the portraits of girls, both young and old, while living at a women’s shelter in the slums of Harlem, New York. Spiraling health problems ultimately caused her to take a step back, and then a big step within—a ‘bout of depression turned inner journey’ as she calls it. “After a few really shaking experiences, even after going back to arts school, I realized that the knowledge of how to create my art was within me all along. I was looking outside myself for praise, recognition, and guidance from others, instead of looking within.” ❁Continued on page 78 | January/February 2013

and eventually earned her Master’s Degree in Expressive Arts at Lesley University in Cambridge, Massachusetts. She dabbled in the mediums of acrylic, oil, printmaking, glass, and sculpture. At twenty-one, Diane became a flight attendant, where she traveled to far-off destinations including Japan, South America, Israel, Europe, and Australia, and eventually bringing American troops into Vietnam during the war. The one grounding constant in her then moving life were her watercolor paints, “I carried my kit with me everywhere. They dried quickly and were so easy to travel with,” she says. One particular flight touched down in Waikīkī, where she found solace from

| By Jessica Kirkwood


❁Continued from page 77 | January/February 2013

The fear of failure had been guiding her aimlessly for so long that when she suddenly stopped long enough to reflect, she realized just how clear her own answers actually were. What it took was getting back to the basics: laying out some newspaper, opening a set of watercolor paints, and finding the courage to dive in and begin. In 1995, Diane sold her house along with all of her belongings and hopped a flight across the Pacific with the destination Hawai‘i Island. Once on Hawaiian soil, she invested in an aquamarine Volkswagon van. “I knew that if I bought a plot of land I would dedicate myself to maintaining it instead of painting everything I had,” she says. That VW van, now indefinitely parked in her driveway, covered with moss and memories of a past life, became her home for her first four years on-island. “Unemployed was sometimes a shaky place, yet it allowed me the time to travel the perimeter of the island countless times. I painted nearly every setting Hawai‘i Island has to offer,” she says. Once her van was full of paintings, she’d store them under friend’s houses across the island—with hopes of someday reclaiming them. She eventually began selling her art at the Hilo and Pāhoa farmers’ markets, where she accumulated a small fan base.


One day, a woman who, over time, had bought several of her paintings peered into Diane’s van and asked where she was living. “I didn’t know what to say—I didn’t even know where I was going to park my van that night!” she laughs. The woman, inspired by the nomadic artist, offered a place in Onomea for Diane to more permanently set up camp. “I had driven my Volkswagon by this spot many times before. I think I even camped out here one night.” That property is now Diane’s home, art gallery, and evermaturing Eden of papaya, avocado, rolenia, coconut, banana, mango, pineapple, and taro patches, “This building was abandoned and run down, and the land was completely overgrown. It was awesomely scary at first. It took over a year of non-stop renovations,” she says, “But this was the exact space I had envisioned for myself.” The Toulouce Gallery is named after her cat (and long-time VW companion). And her cat, well, he was named after the renowned French Impressionist Henri de Toulouse-Lautrec. “It wasn’t until after I had finished painting the word ‘Toulouce’ on the outside of the gallery that I realized I had misspelled the artist’s name,” she laughs. Diane thought it cheeky

and so she left it. The original blooper still stands today, merely adding to the gallery’s unique character. The old, wooden plantation home is classy and cozy with an undeniably French feel. It features more than 20 local artists whose works include: painted gourds, clay sculptures, photography, jewelry, blown glass, essential oils, and vintage clothing. Since those distant VW days, Diane is now an award-winning painter whose art has been shown at the Hilton Waikoloa Gallery, the Woodshop Gallery in Honomū, Waipio Valley Art works, Volcano Art Center, Dream’s of Paradise Gallery in Hilo, Trudy’s International Art in Kailua-Kona, and was recently featured as an artist at the Plein Air Paintures of Hawai‘i (PAPOH), a juried show in Kailua-Kona. Playing with the element of water, above all, brings the most balance to her life, as she paints with it, and plays in it nearly every morning. “I think I’ve swam off nearly every coastline of this island. It’s probably the real reason I moved here. I used to swim in the 55-degree Boston Bay, so this is much nicer,” she laughs. “I think I’m addicted to water; it makes me high.” Just as she’s about to close the gallery for the day, a couple visiting from

Japan wander in. Their camera had run out of batteries just before snapping a shot of ‘Akaka Falls, “Do you have any pictures of waterfalls,” the woman asked, desperate for a specific memento of the island. “Yes, a few actually,” Diane says, flipping through a basket of matted prints, “Here you go. This is my favorite one of ‘Akaka. I set up my easel and painted it just a few years ago.” The woman smiles, she seems relieved. My eyes wander around at the brightly colored pastel walls and focus on Diane’s many works, some of which include: “Old Onomea Road,” “Hapuna,” “Sunrise at Mauna Kea,” “Hāmākua Coastline,” “Opihikao,” “Pohoiki,” and “Wahine at Rainbow Falls.” I smile, knowing the paintings adorning the Toulouce Gallery walls quite literally tell the story of one woman’s audacity to take the plunge and trust in the pursuit of her childhood passion. ❖ Contact artist Diane Renchler:, 808.936.0915 Contact writer Jessica Kirkwood: | January/February 2013


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Crossword Puzzle | By Myles Mellor

This page is for Ke Ola readers to have FUN while learning about the Hawaiian culture and this wonderful island we call home. Some answers are in English, some are in Hawaiian. Some answers will be found when you read the stories and ads in this issue. Feel free to use the online Hawaiian electronic library. Oh yes, you can find the answers on page 95. Your feedback is always welcome.

Down 2 Common name for the Pritchardia palm tree 3 Pay attention to 4 In that location 6 Cheerleader's cry 7 What poi is made of 8 Alan Wong is one 11 Ocean 12 Lava ___ Realty 13 Softwood tree used for calabashes 15 Ke ____ 16 British, for short 17 More than one ‘alaea 20 Endangered whale 21 What a wave does on the shore 22 Kīlauea is an active ________ 23 Hawaiian word for and 25 Hawaiian word for yes 29 Iz creation 31 Hawaiian word for night 33 Placed above 34 Kau___, Hawaiian word for summer 35 Hawaiian word for flower 38 ___i, Hawaiian word for chant | January/February 2013

Across 1 Hawaiian word for love 5 Bowl-shaped hole in a volcano 9 When your flight is due to arrive, for short 10 English word for Hawaiian hale 11 Hawaiian Monk Seals come a_____ to rest 12 Start of a memo 14 Sacred number in Hawai‘i 16 Used to whale watch 18 Hawaiian word for sugar cane 19 Shape of a rainbow 21 Volcanic flow 24 Bay near Hulihe‘e Palace 26 Leave out 27 Hawaiian word for May 28 The personification of volcanic majesty 29 Rest 30 Hawaiian word for lover 32 ___ and arrow 35 Hawaiian word for pig 36 Hawaiian mackerel 37 Artist who sculpted "Pele Dreaming" 39 Hawaiian word for hibiscus 40 Hawaiian mythology, ____ is god of the sky


Pele’s Hokulele Gallery and Gifts


laia Leighland has lived on Hawai‘i Island since 2000, and is a self-taught jewelry maker and artist. Her passion began when a dentist friend let her “play” with a lost wax machine he was no longer using. She began to see the potential in everything and ultimately settled into wire as her primary medium of expression. Her jewelry uses a combination of sterling silver, 14kt gold, peridot, pearls, other precious and semiprecious stones, and other elements. Her work can be found at the Holualoa Gallery, as well as her own store. Alaia says, “Every piece is handmade and somewhat of a channeled creation because I don’t sketch out a design. No two pieces are EVER alike. I let each stone tell me what it should be housed in. Everything is a unique fingerprint of that stone’s desire and the inspiration around me at the time.” The Signature Designs Collection portrays and honors the legends, the lore, and beauty of Hawai‘i Island in four categories: The Aumakua: Each signature piece is created with precious and semiprecious stones, then enhanced with sterling silver and gold turtles, dolphins, whales, or mantas. Occasionally there is a dragonfly and other fauna of the island included. | January/February 2013

The Exotic Quartz Collection: Pele’s Fire Pendants were inspired by the color of our beautiful, red sunsets and the illusive green flash that can be seen on the Kona side. Titanium is reminiscent of the wonderful colors of the freshly cooled lava flow found


at the caldera. The platinum quartz looks like the fresh snow that caps Mauna Kea in winter. Aqua, aura with its stunning clear blue looks like the crystal waters filling Kailua Bay. The baroque pearls reflect the balanced perfection of it all. The Fire and Ice Collection: Peridot is the stone of Pele and represents the element of fire to me. Mother of pearl and pearls are of the sea. Our island home is the product of fire and ice, so this collection is a tribute to the elements that create this sacred place. The Hawaiian Surf: These wearable art pieces are inspired by the beautiful black sand beaches of Hawai‘i Island. The stone is cut into cabochons and beads that resemble the seascape then are combined with sterling silver. These are collector items as there is a limited amount of the stone available because the deposit was very small. Alaia’s goal is to create a lasting memory of the island that is a talisman of power and peace AND a tribute to the beauty that is Hawai‘i.

Pele’s Hokulele Gallery and Gifts Keauhou Shopping Center 520.360.1294 cell

Images of Paradise


ll products are hand-crafted, original designs. Whether you are looking for art pieces to add to your collection, gifts for any occasion, island keepsakes, or novelties, our products showcase beautiful, organic Hawaiian materials that will become family heirlooms. The perfect combination of function, form, fit, and finish, Images of Paradise products and fine art pieces showcase natural style and old-world techniques. The company philosophy seeks to utilize materials in a conscious, sustainable way. A wide range of recycled materials is employed to fabricate the various components that our products are made from. Reclaimed wood abounds. Curtain cords and organic dyes are used for braiding. Leftover metal is utilized for hardware and parts. Also, discarded cardboard from stores is put to use for packaging, storage, and assembly of our designs. Husband and wife duo Thom Breeze (Artist/ Owner) and Bridget Breeze (Artist/manager) work as a team to create their unique designs. “Years of research and a love for the arts have motivated my passion for design. I am intrigued by the coincidence in art and nature. I don't believe that artists create. It is only our ability to imitate with minds’ eye a skill of hand,” Bridget says. Images of Paradise, like so many other local businesses, have had their share of challenges in this economy. And yet Bridget remains optimistic that what they offer fills a need in the community.


“Our product line reflects the necessity to promote the quality of art in the marketplace. So we strive to service local galleries and markets to ensure fine products are available. Also, we continuously strive to support local, custom orders, Bookmarks as well. We believe in ‘Shop Local, Buy Local,’” explains Bridget. Their originality is apparent in their designs. From jewelry to musical instruments, hair accessories and walking sticks, high-quality craftsmanship is pervasive. Bridget says this is in line with their motto, “When Quality Counts, Set Your Scale High.” The Breezes have produced their basic items for 20 years on Hawai‘i Island. Koa vase “We encourage questions on perplexing with gold problems, and try to motivate and inspire our own ambitions.” Images of Paradise products can be found at fine galleries throughout Hawai‘i and on their website. 87-3211 Mamalahoa Highway, Captain Cook 808.430.8568

If you have a locally-made product—an Island Treasure—that you would like to see featured here, please call 808.329.1711 x 1. | January/February 2013





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Under the Radar

Ben Kaili is His Own Man |

When he was eight or nine, Ben began to teach himself to play slack key guitar. “At my grandparents’ caterings, they always had music,” he says. “I used to watch Uncle Fred Punahou and other local greats play, and I grasped a lot of knowledge from them. Then I would go home and try to get the tuning as close as possible to what they played. I would position my fingers and hands like I saw them do on stage. Then I would try playing. I would go to sleep, literally, with my guitar. My grandfather bought me a Sony tape recorder, and it would always be on ‘Record/Pause’ when I went to sleep. I would wake up in the early, early morning, hit the button, and play for a half hour or so, hit the button again and go back to sleep. I didn’t know what I was playing. I’d listen to what I played the next morning. I was working out songs by Gabby, Hui ‘Ohana, and Sunday Manoa.” Ben says that he is the only guitarist he knows of who can keep his guitar in slack key tuning while accompanying a song in any key and playing complete chords (guitarists will understand what an accomplishment that is). Even though he plays ‘ukulele and bass too, slack key guitar is his main instrument. Ben likes staying “under the radar” and being “his own man” without the restrictions imposed on musicians by huge event coordinators and record companies. “I like working with local musicians and studios,” he says. “I do a lot with the community here.” ❁Continued on page 86 | January/February 2013

e appears at most of the major Hawaiian music events on the island of Hawai‘i and neighboring islands, playing slack key guitar and singing in his sweet, nahenahe style. He shares traditional Hawaiian music at music festivals on the mainland and in the state of Hawai‘i, and plays at Hawaiianstyle restaurants and other live-performance venues in California and Las Vegas. He’s played on two CDs that were nominated for Hawai‘i’s prestigious Nā Hōkū Hanohano award. All the top Hawaiian musicians seem to know him, do you? Meet Ben Kaili, from Keaukaha in Hilo. Ben is the oldest of three children. He was raised from birth by his grandparents on his mother’s side, Joseph and Hannah Kahe‘e. His father, Benjamin Kaili, was in the military on O‘ahu, where his siblings and mother lived. His grandparents did catering for events in Hilo. Ben says, “My grandparents knew everybody—from Auntie Dottie (Thompson), who co-founded the Merrie Monarch Hula Festival, to the mayor and Governor Burns—because they catered their functions.” He was exposed to fine Hawaiian music from an early age. “I met great entertainers like Melveen Leed, Aunty Genoa Keawe, Aunty Edith Kanaka‘ole, the Kalima ‘ohana and many more during those years.” Ben started going to ‘ukulele classes at age six, and took uke lessons from Nicky Kauhi and schoolteacher Uncle Albert Nahāleā. Ben’s grandmother gave him his first guitar— a twelve-string.

By Shirley Stoffer


❁Continued from page 85 | January/February 2013

He is the Hawaiian Festivals Coordinator for East Hawai‘i Cultural Center in Hilo, which produces the annual Big Island Hawaiian Music Festival held each July. The two-day festival features premiere Hawaiian musicians—some “legends,” and some up-and-coming. Some of the internationally known participants in the 23rd annual event in 2012 were Cyril Pahinui, Dennis Kamakahi, Benny Chong, Sonny Lim, and Aunty Diana Aki. There is music, hula, food and culture at the event, all for a very modest entry fee. As of 2010, the festival began advertising in Japan, emphasizing it presents “authentic” Hawaiian music, versus the Japanesestyle Hawaiian music that is often in heard in Japan. There were Japanese scheduled to come to the event from Sendai, Japan before the tsunami hit; of course, they photo by had to cancel their Lance Miller trip. Happily, in


2012, a group of ‘ukulele players from Japan, along with their wahine hula dancers, were able to participate in the festival. Dennis Taniguchi, executive director of the East Hawai‘i Cultural Center, created the very popular annual Japantown Nihonmachi Street Fair in San Francisco 40 years ago. He arranged for Ben to play at the Ho‘olaule‘a Stage at that festival in 2009 and it has become a regular gig on Benʻs calendar. “Japanese people love Hawaiian music so much,” he says. “They enjoy seeing ‘the real thing’!” Uncle George Na‘ope, famous for co-founding the internationally-known Merrie Monarch Hula Festival, was a relative of Ben’s on the Kaili side of the family: he was Ben’s grandmother’s nephew. Hula holds a special place in Ben’s heart, too. He has been playing music for Kumu Meleana Manuel’s Ke ‘Olu Makani o Mauna Loa, a hālau based in Volcano, for about five years. Kumu Meleana was a student of Uncle George’s. Ben accompanied her hālau in the revived Merrie Monarch Keiki Hula Competition which was held again in Hilo this past October for the first time in ten years. He is looking forward to accompanying the hālau to the Nihonmachi Festival in San Francisco in 2013. He will also be playing with them at The George Na‘ope Keiki Hula Competition in Sacramento that is held each July as part of the Sacramento Aloha Festival. “It’s a great event,” he says. Ben plays in the band, “Kanakapila,” with Victor Chock on ‘ukulele, JJ Ahuna on bass, and Dwight Tokumoto on steel guitar. They have been together since 2005, when Victor called them all to play with him at a baby lū‘au. The group’s Tuesday night jam sessions at Hilo Town Tavern have a large following of both locals and visitors.

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“The band is well-known in Portland, Australia, London, and Canada, among other places,” Ben tells me, “because of the ‘snowbirds’ who return to Hilo every year. They come to see us at the tavern and pass the word along to their friends.” Ben has recorded five albums: two with Kanakapila, two solo, and one slack key guitar album with bass player Eddie Atkins. He played on a Christmas music compilation “Slack Key Christmas” put out by Palm Records that was nominated for a Nā Hōkū in 2008. “Kaowahi,” the slack key album he released in 2009, was nominated for a Nā Hōkū Hanohano award that year. Ben’s slack key music is also heard in the background of the popular “Volcanoscapes” video, which features footage of erupting Kīlauea caldera. 2013 will be an especially exciting year for Ben. It begins with his first visit to Japan in March with the Ke ‘Olu Makani o Mauna Loa hālau. Later in the year, he will be releasing a new slack key guitar CD. “It will have a lot of originals on it that will be in the Hawaiian traditional style,” he says. He is recording it at Charles Brotman’s Lava Tracks Recording Studio. Charles, the well-known musician and producer of Grammy and Nā Hōkū Hanohano award-winning albums, is based in Waimea on Hawai‘i Island.   Ben and the band also appear annually in Hilo at the Big Island Hawaiian Music Festival and the KWXX Ho‘olaule‘a, the Hawaiian Slack key Guitar Festival at the Sheraton Kona, Kailua Kona’s Kupuna Hula Festival, Moku O Keawe Hula Festival at Waikoloa Beach Resort, and the Gabby Pahinui Waimānalo Kanikapila on O‘ahu. (Ben has a close relationship with Gabby’s son and slack key master, Cyril Pahinui, affectionately calling him “Uncle C.”) You will also see them backing up well-known

local musicians like Darlene Ahuna and Aunty Diana Aki on Hawai‘i Island. On the mainland, watch for Ben in California at the San Francisco Japantown Nihonmachi Festival, Bocci’s Cellar and Pono’s Hawaiian Grill in Santa Cruz, American Burger in Monterey, and Da Kine Cafe in Sunnyvale. You may even get a chance to catch him at the Pure Ben warming up in the Aloha Festival in Green Room of the Las Vegas. 2012 Kupuna Hula Festival Ben Kaili gets photo by Konabob Stoffer around! Now that you’ve been introduced, please say “Aloha!” when you see him. ❖ Contact Ben Kaili:, Contact photographer Lance Miller: Contact writer Shirley Stoffer: | January/February 2013


East North

Saturday and Tuesday 2–6 pm, Tuesdays 8 am–pau, Saturdays Hawi Farmers Market, North Kohala, across from Post Office and Nakahara Store, under the banyans. Saturday 8 am–1 pm Waimea Town Market at Parker School, 65-1224 Lindsey Rd., Waimea/Kamuela. | January/February 2013

Saturday 7 am–noon Waimea Hawaiian Homestead Farmers Market, 64-759 Kahilu Rd., located at Kuhio Hale Bldg. (off of Mamalahoa Hwy., two miles east of Waimea town).


Saturday 7:30 am–2 pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg. Tuesday and Friday 2–5 pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. Wednesday 9 am–4 pm Waimea Mid-Week Farmer’s Market at Pukalani Stables, site of the Paniolo Museum. Pukalani Road in Waimea.


Saturday 8 am–noon Keauhou Farmers Market, Keauhou Shopping Center, Keauhou. Saturday 9:30 am–2 pm SKEA Farmers Market Hōnaunau, Hwy. 11 between mile markers 104 & 105. Saturday 7:30 am–10 am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. Sunday 9 am–1 pm South Kona Green Market, Captain Cook, Kealakekua Ranch Center (behind ChoiceMart and Ace Hardware). Wednesday 8:30 am–1 pm Kings’ Shops Farmers Market, Waikoloa Beach Resort, Kohala Coast. Wednesday 9 am–2 pm Ho‘oulu Community Farmers Market, Sheraton Kona Resort at Keauhou Bay Wednesday – Sunday 7 am–4 pm Kona Farmers Market, corner of Ali‘i Drive and Hualālai Rd.

Sunday 9 am–1 pm Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy. 19. Daily 8 am–5 pm Pana‘ewa Hawaiian Home Lands Farmers Market, Puainako and Ohuohu Streets by Walmart, Hilo. Sunday, Monday, Tuesday and Thursday 7 am–4 pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. Sunday 7 am–2 pm Akebono Farmers Market. Luquin’s/Akebono Theater parking lot in Pāhoa. Sunday 8 am–2 pm Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road. Sunday and Thursday 2 pm–dusk, Thursdays Dawn–2 pm, Sundays Pepe‘ekeo Farmers Market. Off Hwy. 19 on Ka‘akepa St. Produce and foods. Tuesday – Saturday 7 am–5 pm Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au Saturday 7 am–noon Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo,

Please send info on new markets or changes to

Saturday 7:30 am–4 pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Homegrown produce offered by Hawaiian Homelands lessees. Saturday 8 am–noon SPACE Farmers Market, Seaview Performing Arts Center for Education, 12-247 West Pohakupele Loop, Kalapana. Saturday 8 am–1 pm Hilo Coffee Mill, 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13). Saturday and Wednesday 6 am–4 pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo.


Friday 2–6 pm Green Market, Ocean View Community Center, 92-8924 Leilani Circle, Ocean View. Sunday 6 am–9 am Volcano Farmers Market, Cooper Center, 1000 Wright Rd., Volcano Village. Saturday and Wednesday 8 am–noon Na‘ālehu Farmers Market, Ace Hardware lawn.

Warabi—Fiddlehead Ferns | By Sonia R. Martinez


hether you know them as warabi (Japanese), ho‘i‘o (Hawaiian) or ostrich fern (most of the mainland), the fiddlehead ferns are the young, edible, tightly coiled shoots of the fern that resemble the end of a violin or fiddle. The shoots remain coiled for about two-weeks before they unfurl into the delicate, lacy greenery we are all familiar with. The species most commonly found in Hawai‘i is the Pteridium aquilinum, which grows in temperate and sub-tropical regions. It was introduced to the islands by Japanese immigrants who value it mainly for the young stems rather than the unfurled coils. Certain varieties of the plant contain the carcinogenic compound Ptaquiloside and need to be cooked thoroughly before eating. Fiddlehead ferns are a very rich source of antioxidants Omega 3 and Omega 6, high in iron and fiber, and loaded with Vitamins A and C. They retain a deep green color even after cooking, and the taste is similar to a combination of asparagus, green beans, and young, tender okra. In Hawai‘i warabi is available to us year-round. If you have never gone fern hunting, find a friend who can take you the first time. It seems that fiddlehead harvesting areas are closely guarded secrets along the lines of keeping a favorite fishing hole protected from “poachers.” Look for smooth, shiny, dark green coils covered with light tan “fuzz” or as some people call it, “onion skin.” Snap the stem off with your hand at the place where it gives the least resistance and gather them in a basket, bucket, or open container. On a hot day any wild edible will begin to decompose rather quickly in a plastic bag. Choose small, firm, brightly colored ferns with no sign of softness or yellowing. If not planning on using right away, refrigerate, tightly wrapped in wet towels, for no more than two days. They should be washed and the ends trimmed before cooking by steaming, simmering, or sautéing.

Warabi and Shrimp Salad

This salad was originally brought by my friend Jessie Hillinger to one of our frequent potluck dinners at Kolekole Beach Park. 1 bundle fiddlehead ferns 1 medium Maui onion, chopped in large pieces 12 cherry tomatoes, halved 1 pound shrimp (cooked, shelled, deveined)

Warabi or fiddlehead fern stalks usually can be found at the markets in large bundles. After washing, snap the stalks at the breaking point and cut into one and a half inch pieces including the slightly unfurled frond tips. Boil in rapidly boiling water for 3-5 minutes. Drain and cool. Assemble the ingredients in a large bowl. Toss with dressing. Serves 4 to 6 as a side dish.

Warabi Cream Soup

4 cups fresh fiddleheads, washed and cleaned 4 Tablespoons unsalted butter 1 medium onion, sliced 4 cups chicken stock 1-1/2 cups milk, cream, or whipping cream Salt and pepper, to taste Garnish: Zest from one lemon, cut finely Paprika Add the fiddleheads to a large pot of boiling water. Cook until they are almost tender, about 5 minutes. (Don’t be alarmed when you see your cooking water turning dark, with bits of frond in it. This is normal. In fact, if you strain the water, it may be added to other soups, supplying nutrients and good flavor. You may freeze it for later use.) Drain and rinse with cold water. Chop coarsely and reserve. Melt the butter in a large saucepan. Add the onion and cook until translucent, stirring occasionally; add the fiddleheads and sauté a few more minutes. Add some of the chicken stock, stir, and bring to a gentle boil. Cover and cook until fiddleheads are thoroughly tender, about 5 minutes. Use a blender or food processor to blend the fiddleheads with some of the stock until smooth (you might have to do this in batches). Pour it back into the saucepan, add the rest of the chicken stock and the milk or cream, reduce heat to medium. Be careful not to boil or the milk might curdle. Once dished, garnish with the lemon zest and paprika. Serves 4 to 6. If you like a very creamy soup, add less stock and more cream, or if your taste leans more toward lighter soups, omit the milk or cream altogether. I found I did not need to add salt, and used a bit of freshly ground pepper. Contact writer Sonia R. Martinez: Photos by Sonia R. Martinez | January/February 2013

Dressing: (amounts to taste) Aloha Shoyu (local brand soy sauce) Honey (or sugar, if you prefer) Chili pepper water** Grated fresh ginger Sesame oil ** Chili Pepper Water—Or as the locals call it, chili peppa wattah. Made with rice vinegar, Hawaiian sea salt, and tiny red hot Hawaiian chili peppers; some add a few crushed garlic cloves.


January-February 2013 ❖ C A L E N D A R ❖

JANUARY Waimea Ocean Film Festival

Waimea–Jan. 3–Jan. 6, Fee. Kohala Coast–Jan. 8–Jan. 11, Fee. Taste of the Island– Sunday, Jan. 6, 5 pm, Fee. Mauna Kea Beach Hotel.

(See Spotlight) More than 30 films foster awareness and understanding about the world’s oceans and island cultures. See website for list of activities and films, times and exact venues. 808.854.6095 or visit

Rhinos and Corsets, Oh My! Jan. 4–24, Free.

Hilo Cutting-edge portrait paintings by Adare and surreal rhinoceros paintings by Sarah Soward. East Hawai‘i Cultural Center. 808.961.5711 or visit

Mitsubishi Electric PGA Champions Golf Tour Jan. 18–20 Hualalai Resort

15th annual golf tourney at Four Seasons Resort Hualalai Golf Club is the first match of the year on the PGA Champions Tour. See website for details. | January/February 2013



The pastoral town of Waimea and the sundrenched Kohala Coast provide the backdrops for the 2013 Waimea Ocean Film Festival. The third annual event immerses participants in a greater understanding and awareness of the ocean. Through a combination of films and activities, Ocean Film inspires, educates and engages participants in a celebration of the ocean and island culture. Cinematic fun is January 3–6 at three Waimea venues:­Kahilu Theatre, Parker Theatre and HPA Gates Theatre—before moving January 8–11 to Four Seasons Resort Hualalai. In addition to screening 30 to 40 exceptional and award-winning films, Ocean Film offers breakfast talks, Q&A filmmaker sessions, compelling panel discussions, artistic exhibits, receptions, a Taste of

27th Annual Hawai‘i Wood Guild Exhibit

Jan. 19–Feb. 23,Tues.–Sat., 10 am–5 pm. Free. Waimea

Annual Hawai‘i Wood Guild Exhibit is the premiere event for fine woodworking on Hawai‘i Island. Works by most talented woodworkers are displayed and available for purchase. Opening Reception 5 pm Jan. 19. Isaacs Art Center. or visit

Broadway in Hawaii– An Evening of Song

Saturday, Jan. 12, 7 pm, Fee. Waimea  

Enjoy Broadway’s toe-tapping tunes and memorable melodies during this evening of song performed by Big Isle teens and Dr John Stover. Kahilu Theatre. 808.885.6868

“Silver Magic” Exhibit with Boone Morrison

Jan. 12–Feb. 24, 9 am–5 pm Daily, Free. Jan. 12, 5–7 pm–Opening Reception Volcano

Exhibit of landscape photographs by Boone Morrison. Featuring moments captured in silver which

Waimea Ocean Film Festival

the Island and ways to get wet—try yoga on the beach and outrigger canoe lessons. Festival passes are available as six-punch passes, film passes and contributor passes and can be conveniently purchased online. For festival details, contact 808.854.6095

defy intellectual understanding. Park entrance fees apply. Contact Emily Catey 808.967.7565 or visit

He Lei Hiwa No ‘Iolani Luahine Hula Festival Jan. 24–Jan. 26 Kailua Kona

Three days honor Hawai‘i Island’s cherished cultural historian, legendary hula master and Living Treasure of Hawai‘i, ‘Iolani Luahine. Performance, talk story, workshops. Hula masters, many former students of ‘Iolani, participate. Hulihe‘e Palace.

Hula Kahiko Informance

Saturday, Jan. 26, 10:30–11:30 am, Free. Volcano Kumu Leilehua Yuen and Manu Josiah present a 50-minute narrated demonstration of preparation, protocol and offering of traditional hula and chant at the hula platform. Rain or shine, bring rain/sun gear and sitting mat. Hands-on cultural demos on VAC Gallery porch 9:30 am–1:30 pm. Park entrance fees apply. Contact Julie Callahan, 808.967.8222 or

SKEA Annual Membership Day Sunday, Jan. 27, 2–5 pm. Hōnaunau

Enjoy a Sunday afternoon at SKEA with live music, art exhibit by South Kona Artist Group, silent auction, pupus and beverages, kanikapila and brief elections. Contact Donna Stiles, 808.328.9392 or visit

FEBRUARY 5th Annual Quilt Shop Hop Feb. 1–16 Island Wide

(See Spotlight) Visit different quilt shops around Hawai‘i Island.

20th Waimea Cherry Blossom Heritage Festival Saturday, Feb. 2 Waimea

(See Spotlight) Enjoy Japanese and multi-cultural performing arts at numerous sites identified by pink banners. Free shuttle offers transport among most venues. 808.961-8706

Waimea Quilt Festival Saturday, Feb. 2 Waimea

Quilting is one of Hawai‘i’s indigenous arts that is known world-wide. This year’s event is Hawaiian quilts only, learn from skilled quilters and purchase quilts. Sponsored by Ka Hui Kapa Apana o Waimea, this special show is a part of the annual Cherry Blossom Festival. 9 am–3 pm at the Thelma Parker Gymnasium.  808.775.0765

11th Annual Hilo Chinese New Year Festival

Saturday, Feb. 9, 10 am–3 pm. Free. Hilo

Chinese lion dancers celebrate the Year of the Snake 2013. Performances, displays, cooking and cultural demos, martial arts, product vendors show the Chinese influence in Hawai‘i.  808.935.8850 or visit

Valentine’s Wine Tasting Celebration Saturday, Feb. 9, 4–8 pm. Fee. Kailua Kona

Enjoy fine wines, gourmet food, romantic music and a silent auction at an exquisite private residence to support local scholarships. Rotary Club of Kona Mauka. Contact Sandee Crisp, 808.9870184

5th Annual Hawai‘i Reggae & Agricultural Fair

Sunday, Feb. 10, noon–6 pm, Free. Hilo

Keep it Green Hawaii, zero waste event featuring Marty Dread, Irae Divine and Sahra Indio. Cultural food and drink, organic farmers, keiki activities and more. Mo‘ohea Park Bandstand. 808.216.7372 or visit

Aloha Music Camp Feb. 10–16, Fee. Kailua Kona

Celebrate Hawaiian song, dance, storytelling and cultural activities at this educational retreat for classes in ukulele, slack key guitar, hula and chant for all ages and skill levels. Sheraton Kona Resort & Spa. 650.733.4643 or visit

‘Q’uisine of Hearts

Sunday, Feb. 10, 11:30 am–2:30 pm. Fee. Kohala Coast

Sumptuous bruschetta buffet and tempting desserts by Big Isle pastry chefs and local culinary students, along with wine, handcrafted ales, Kona coffee, and music. Bid for silent auction items at this American Culinary Federation Kona Kohala Chefs Valentine brunch that benefits childhood nutritional education. Hilton Waikoloa Village Resort. 808.329.2522 or visit

❖ C A L E N D A R ❖


20th Waimea Cherry Blossom Heritage Festival

Saturday, Feb. 2 Waimea

The 20th Waimea Cherry Blossom Heritage Festival remembers its past with an anniversary exhibit, entertainment by some of the festival’s first performers and a commemoration of its founders. For two decades, the free community festival has showcased 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 9 a.m.–3 p.m. at venues throughout Waimea—look for pink banners identifying site locations from the Parker Ranch Historic Homes on Mamalahoa Hwy. 190 to the Hawaiian Homestead Farmer’s Market on Hwy. 19. Spend the day to experience 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 a host of colorful craft fairs. Enjoy free shuttle transportation among most venues. 808.961.8706.

ety of tastes along with local craft vendors. Money raised goes for civic projects and scholarships. 9 am–4 pm. at Laupāhoehoe Point Beach Park. 808.938.3688

Hawai‘i Island Network of Artists

A King in China, The Life of Joseph Francis Rock

• North Kona District Community Meeting

Thursday, Feb. 28, 7 pm, Fee. Kainaliu

A film of Rock’s China Explorations and a presentation celebrating the centennial of his book, “Indigenous Trees of Hawaii.” Sponsored by Ka Ahahui O Ka Nahelehele. Aloha Theatre. Admission $5. Contact Jill Wagner, 808.325.2377 or visit

COMING IN MARCH Big Island Woodturners 15th Annual Exhibit

Mar. 1–23, Monday–Saturday, 8:30 am–4:30 pm, Free Hilo

View creations from the Big Island Woodturners with woodturning demos Saturdays, Mar. 2, 9, and 16 from 10 am–2 pm. Wailoa Center. Contact Doug Keown, 808.982.5173 or visit

MEETINGS, ONGOING EVENTS, WORKSHOPS, SHOPPING CENTERS/ RESORTS JAN/FEB 2013 Contact information in each listingfor details

The Wizard of Oz

Fridays–Sundays, Feb. 15–Mar. 10 Kainaliu

A production based on the Royal Shakespeare Company’s celebration of the 1939 MGM movie features all the classic songs as composed by Harold Arlen and E.Y. Harburg. Friday–Saturday 7:30 pm., Sunday 2:30 pm. Contact, 808.322.9924 or visit

Saturday, Feb. 16, 10:30–11:30 am. Free. Volcano

Featuring Hālau Na Pua Ha‘aheo O Kona with kumu hula Roy Palacat. Rain or shine, bring rain/sun gear and a sitting mat. Hands-on cultural demonstrations on the VAC Gallery porch 9:30 am–1:30 pm. Park entrance fees apply. Contact Julie Callahan, 808.967.8222 or visit

Saturday Sunday, Feb. 16–17, Fee Hilo

This Hawaiian-style rodeo features amateur competition between cowboys, cowgirls, keiki and kūpuna. Enjoy paniolo (cowboy) demonstrations, Hawaiian musical entertainment, food and craft booths. Panaewa Equestrian Center. Noon–5 pm both days. 808.959.8932 or visit

Grow Hawaiian Festival

Saturday, Feb. 23, 9 am–3 pm. Free. Captain Cook

This premier festival features presentations on native plant horticulture, conservation and traditional Hawaiian arts, plus dance, demos and garden tours. Amy B.H. Greenwell Ethnobotanical Gardens on Highway 11. 808.323.3318 or visit

Braddah Smitty’s Laupāhoehoe Music Festival Saturday, Feb. 23, Fee Laupāhoehoe

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 vari-

Meetings Kona Toastmasters

1st and 3rd Tuesdays, 6 pm

Contact Lynn Bell 808.989.7494

SKEA Jan. 24, 5:30 pm–7 pm Donkey Mill Art Center Feb. 7, 5:30 pm–7 pm

Contact Tiffany DeEtte Shafto 808.967.8222

Ongoing Events Afternoon at Hulihe‘e Palace Presented by Daughters of Hawai‘i

4 pm, Palace Grounds

Jan. 13–Band and hula remembering King Charles “Lunalilo” and Aunty I‘olani Luahine. Feb. 17–Hula remembering Princess Ruth Ke‘elikolani.

Aloha Fridays

Volcano Art Center Gallery, Hawai‘i Volcanoes National Park Every Friday, 11 am–1 pm,

Free, donations welcome Hands-on cultural craft demos/lesson. Park entrance fees apply. Contact Julie Callahan 808.967.8222

Hawai‘iana Live

Palace Theatre, Hilo Every Wednesday, 11–11:45 am Share Hawaiian history, traditions. Fee. 808.934.7010

Hilo Hula Days

Mo‘oheau Bandstand, Hilo 11 am–1 pm Jan. 3, 7, 8, 10, 11, 15, 21, 22, 24, 29, 31 Feb. 4, 5, 9, 11, 12, 18, 19, 21, 22, 25, 26 808.935.8850

❁Continued on page 92


5th Annual Quilt Shop Hop

Feb. 1–16 Island Wide

Celebrate one of Hawai‘i’s favorite pastimes on your own or with a busload of friends to eight different quilt shops, each with its own personality. Shop Hop bus tours: Feb. 2–Kona to Waimeaʻs Cherry Blossom Festival and Quilt Show; Feb. 9–Kona to Hilo; Feb. 16–Hilo to Kona. Shop Hop stops offer “Big Island” original design fabric, Hawai‘i-theme quilting blocks for the 2013 oneof-a-kind memory quilt and stamp “passports” for eligibility of Grand Prize drawing. Contact Mary

Moody Cox or visit | January/February 2013

Na Mea Hawai‘i Hula Kahiko Performance

Panaewa Stampede Rodeo

• South Kona District Community Meeting


❖ C A L E N D A R ❖

❁Continued from page 91 ‘Imiloa Astronmy Center of Hawai‘i University of Hawai‘i–Hilo Find dated events on website. Contact, 808.969.9703

Kanikapila Jam Sessions

Volcano Art Center, Niaulani Campus, Volcano Village Wednesdays 5:30 pm

Free, donations welcome “Garage style” jam open to all musicians. Contact Julie Callahan 808.967.8222

Kokua Kailua Village Stroll Kailua Kona 1 pm–6 pm Jan. 13, Feb. 17

Enjoy vendors and restaurants while strolling Ali‘i Drive. 808.329.9555 or visit

Kona Historical Society

Lectures, Tours, Book Presentations Various Locations, Dates 808.323.3222

Lyman Museum Programs Hilo

Cultural programs, lectures, events. 808.935.5021

Na Makana O Hulihe‘e Palace Gift Fair Kailua Kona 2nd Wednesday, noon–4 pm, Free

Locally made marketplace on the palace grounds. Contact Sabine Maeva Andresen 808.324.0179

Niaulani Nature Walk

Volcano Art Center, Niaulani Campus, Volcano Village Mondays 9:30 am and Saturdays–11 am,

Kona Stories Bookstore Keauhou Shopping Center

4th Tuesday–Just the Facts Book Club, 6 pm, Free Last Wednesday–Keiki Storytime, 10:30 am, Fee Contact 808.324.0350

Monthly Activity Schedule 1st Tuesday–Words and Wine Event, 6 pm 2nd Tuesday– Second Tuesday Book Club, 6:30 pm. Fee 3rd Tuesday–Lesbian Book/Movie Group, 6:30 pm, Fee

Free; donations welcome. Guided 1/7 mile Hawaiian rain forest tour. Park entrance fees apply. Contact A. Spaur, 808.967-8222

One Island Sustainable Living Center Hōnaunau

Ongoing sustainability events and programs. 808.328.2452

Open Mic-All Ages-All Talents Hilo Burger Joint Sundays 7–10 pm

Prizes for all performers; great music and local talent. Sean OPhelan, Host 808.854.3443

Snorkel Day for People with Disabilities Kahalu‘u Beach Park 3rd Friday, 10 am–2 pm. Free.

Need participants, volunteers, sponsors. Contact Stephanie Kovatch 808.326.4400x4017

UH Hilo Performing Arts Center Year-round Arts Events 808.974.7310

Yoga Classes

Volcano Art Center, Niaulani Campus, Volcano Village Monday–7:30 am, Tuesday/Thursday–5:30 pm, Fee

Join us for the

27th Annual Hawai‘i Wood Guild Exhibit

January 22—February 23, 2013


2012 Best of Show & Peoples’ Choice Award: Guardians of the Heart by Marcus Castaing | January/February 2013

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 19, 2013 at 5 PM

All entries are available for purchase. Sponsored by the Hawai‘i Wood Guild, Isaacs Art Center, and the Hawai‘i Forest Industry Association.

Yoga with Emily Catey Contact Julie Callahan 808.967.8222

ZUMBA at Volcano Art Center Mondays, 5:30–6:30 pm. Contact Julie Callahan 808.967.8222

Classes and Workshops Experimental Watercolor Class Volcano Art Center Saturday, Jan. 26, 1–4 pm. Fee.

Join Patti Pease-Johnson in this new, innovative class offering. $40/$36 VAC Members. Contact Julie Callahan 808.967.8222

Ongoing Resort and Shopping Center Cultural Events Log onto websites for event calendars

The Shops at Mauna Lani 808.885.9501

Keauhou Shopping Center 808.322.3000

Kingsʻ Shops-Waikoloa 808.886.8811

Queensʻ MarketPlace–Waikoloa 808.886.8822

Kona International Marketplace 808.329-6262

Prince Kuhio Plaza 808.959.3555

Disclaimer: Calendar listings are submitted by the producers of the events and are subject to change. They are accurate as of the time Ke Ola goes to press, which is sometimes one to two months before the event. Please call the contact number in the listing to confirm the event. Ke Ola is not responsible for event changes or cancellations. If you have an event you would like included in this calendar, please submit via the form on our website,, or email to Deadline for the March/April issue is January 25, 2013.

Volunteer Opportunities Use provided contacts for information


East Hawaii Cultural Council

Contact Cathy or Nancy Trap, neuter, spay, community education, colony feeding, management. 808.327.3724

Volunteer in the art galleries, performing arts, classes, Workshops, festivals. Contact Dennis Taniguchi 808.961.5711

Methodist Church Palani, Kailua-Kona 3rd Saturday, 10 am.

Boys & Girls Club of the Big Island Hilo, Kea‘au, Pāhoa, Pāhala Oceanview, Hāmākua Monday–Friday, 2:30 pm–5 pm.

Volunteers needed for after-school youth programs Contact Matthew S. Therrien 808.961.5536

Calabash Cousins

Kailua-Kona Hulihe‘e Palace Grounds 2nd Tuesday of the month, 1 pm–2:30 pm

Men, women who support the mission of Daughters of Hawai‘i. Contact Sabine Andresen 808.329.9555

CommUNITY cares

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

Community suffering from cancer, medical hair loss, domestic abuse. Contact Tiana Steinberg 808.326.2866

Donkey Mill Art Center

Holualoa Holualoa Foundation for Arts and Culture Tuesday–Saturday, 10 am–4 pm

Friends of NELHA

Natural Energy Laboratory of Hawai‘i, Keahole Kona Monday–Friday, 9 am–noon

Hospice Care

North Hawaii Hospice Waimea Monday–Friday, 8 am–4:30 pm.

Care for families facing serious illness. Contact Catrinka Holland, Volunteer Coordinator 808.885.7547

Kahalu‘u Bay Education Center Kahalu‘u Beach, Kailua-Kona Daily 9:30 am–4:30 pm.

North Kohala Community Resource Center

Kohala Welcome Center, Hawi Daily 9 am–noon or noon–3 pm.

Greet people to North Kohala with aloha. Contact Juanita Rivera 808.889.5523

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

Share Ocean Science/Technology using deep ocean water. 808.938.1017

ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Jean BevanMarquez 808.987.6249

Ongoing Seeking volunteers to create Carousel of Aloha Pavilion. Contact Katherine Patton 808.315.1093

Hamakua Youth Foundation, Inc.

Kalani Retreat Center

Parrots in Paradise Sanctuary

Serving Hamakuaʻs school-age kids. Contact T. Mahealani Maiku‘i 808.775.0976

Varied Schedules Seeking volunteers: skilled trades/maintenance, housekeeping, kitchen, horticulture. Contact Volunteer Office 808.965.7828

Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh 808.322.3006

Hawai‘i Island Humane Society

Lions Clubs International

Hamakua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30 pm, Wed. 1–5:30 pm, Thu. 2–8 pm.

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

Hawai‘i Wildlife Fund Wai‘ōhinu Coastline, Ka‘ū

SE Hawai‘i Island beach cleanups. Ongoing 7:45 am. Contact Megan Lamson 808.769-7629


2nd Tuesday, 5:30 pm

Various Locations, Kailua-Kona “We Serve” is the motto of Lions Clubs International. Contact Lani 808.325.1973


Sundayʻs Child Foundation Kamuela

Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier 877.375.9191

Make-A-Wish Hawaii

Granting wishes for children with life-threatening medical conditions. Ongoing 808.537.3118

This symbol on ads means:

"See our coupon at"

This symbol on | January/February 2013

Volunteers help in arts education program. Contact Anne Catlin 808.322.3362

Hilo Monday–Friday, 8 am–3 pm.


Life in Business

Tax planning is a year round event!

Lex Brodie’s Tire & Service Center

Paula Wilson, EA • Action Business Services

808-329-3403 | January/February 2013



Anita and Josh

ave you heard the Lex Brodie’s Tire radio commercials that feature ANITA & JOSH? The daring duo who banter back and forth about vehicle repair issues and tire sales. Well…now you can meet them. Josh Porter is the Managing Director for Lex Brodie’s and Anita Tatum is their Marketing Director. Both were born and raised in Hilo and love the Hawai‘i Island lifestyle. Their radio spots are humorous, informative, local, and fun. “Our goal is to engage and educate our listening audience in a fun way and to keep Lex Brodie’s top of mind when they think of tires or repairs,” said Anita. “We did this one spot talking about annual check-ups and named off a few common check-ups that one might do. It included a colonoscopy. We got a great response from middle-aged men. They related to our conversation and we got quite a few brake repair jobs because of it.” Along with repairing brakes, Lex Brodie’s also repairs airconditioning systems, suspension and exhaust systems, performs oil changes, replaces shocks and batteries, does transmission and cooling system flushes, alignments, factory-scheduled maintenance and other common repair issues. All of their work is backed by a written warranty. Lex Brodie’s is the only AAA (American Automobile Association) certified business on the island. This means they continually train and are current on all certifications, while maintaining high levels of customer satisfaction. Their equipment is up-to-date so they can properly diagnose and repair vehicles, which assures you receive reliable, trustworthy service. The Kailua-Kona store will be moving in 2013 across from West Hawai‘i Today, which some people remember as the “Old Island Chevrolet.” There will be better accessibility and lots of parking. They will have a quicklube facility where they can offer customers the convenience of drive in/out oil changes, as well as other quick service maintenance items. “We feel the new location will allow us to offer our customers better service, a better overall environment and a long term location within the community.” 808.961.6001 Hilo, 170 Wiwoole Street 808.329.8826 Kailua-Kona, 74-5536 Kaiwi Street 808.965.9125 Pahoa, Pahoa Market Place 808.885.5959 Waimea, Parker Ranch Center jporter@

Life in Business


Budar Insurance Agency llc-Allstate

Lynn, Mary Kay, Steven, Jessica

In the Hualalai Center 75-170 Hualalai Rd, Ste D-112, Kailua-Kona 808.326.1125

Puzzle Solution | January/February 2013

orn and raised in Honolulu, Steven M Budar, CLU, ChFC has been in the insurance business since 1972, after graduating from the University of Michigan. His insurance career began in Southern California and then moved to Hawai‘i. However, in 1996 he wanted a change. And change he got. First, he sold his partnership in an insurance agency in Honolulu. Then he agreed to represent the Allstate Insurance Company. Allstate had researched, done due diligence, and believed the Kailua-Kona area had excellent potential for growth. They asked Steven to open a brand new office in West Hawai‘i. All Allstate Insurance Company offices are independently owned and operated. So in September 1996, Steven opened his “scratch” office without any accounts or knowing anyone on island. The business has been built one policy at a time. The first couple of years was very much day-to-day. Thankfully, the company’s “customer first” attitude helped Steven and his staff earn nearly 5,000 clients over the years. “Despite the challenges, I like being a small business owner. It gives me a lot of flexibility and opportunity. It allows me to stay connected to my clients and employees on a very personal oneon-one basis.” Home, condo, renters, auto, and life insurance are the primary sales to families and small business owners. “Our business is unique because of my office staff. My office manager Lynn has been with me since I opened and she is absolutely amazing. My wife, Mary Kay and daughter, Jessica joined the agency—both are powerhouses in meeting our customer’s needs. Everyone here works hard to take care of our clients. We work to present coverage options to our clients that will best protect their current quality of life should a claim occur.” Steven is a Commodore in the US Coast Guard Auxiliary, a member of the Kona Executives Association, and currently serves on the board of directors for the Kona Kohala Chamber of Commerce.


Life in Business

Maile Medicinals Dr. Sarah Strong Maile Nelson Keaka Nelson


Disclaimer: Drugs and herbs can interact, so you should always talk to your doctor before taking supplements. 1.888.908.2940 | January/February 2013

re you looking for a natural way to deal with your vog symptoms or support your adrenals or immune system? Dr. Sarah Strong is a naturopathic physician and owner of Hilo Natural Health Clinic. Her undergraduate degree was in biology (magna cum laude) with a dual thesis (biology/honors) on phytochemistry of medicinal plants. She went to Bastyr University in Seattle for naturopathic medical school for four years before beginning her practice in the Hilo area in 2007. She is currently the Vice President of the Hawai‘i Society of Naturopathic Physicians. She was having a hard time finding a product that would help her patients with vog symptoms. So she spent two and a half years doing clinical trials with her patients to create the first formula, Voggy Daze. “My background in phytochemistry (study of the compounds in plants), and passion in herbalism and willingness of my wonderful patients to try my new formulas before they go to production means that we are able to get a really nice product that works for most people.” She decided to pre-bottle the formulas that she recommended most often for patients and make them accessible to the general public. The company has something for everyone from teething babies to elderly patients with insomnia. The adrenal support and organic kava (Hawai‘i Island grown) are the biggest sellers, so apparently their main demographic is people who are a bit stressed. Soon after starting the business she got pregnant with daughter, Maile, who was born in May 2011. Juggling a practice and a baby meant the business has stayed very small and local, although her tinctures have travelled as far as Africa! Having the products available online allows for patients everywhere to order easily. The products are also available in local health food and retail stores. The bigger picture is to expand to stores throughout the other islands. All the herbs used are organic, wildcrafted, or of the highest quality available and are manufactured in a processing plant that follows GMP guidelines. They are developing a line of children’s formulas and also a line using exclusively local plants. “Even though my husband is from O‘ahu, Hawai‘i Island is home. Our long-term goal is to make our business as sustainable and local as possible. One that can be passed on to our daughter when she is older.”


Tiffany DeEtte Shafto and Lynda McDaniel’s book, Contemporary Hawai‘i Woodworkers: the Wood, the Art, the Aloha details the Hawai‘i’s most prized and sought-after wood. | January/February 2013



oa is Hawai‘i. It provides that sense of place, that connection to the ‘āina (land) that is uniquely Hawai‘i. With a property known as chatoyancy (shatoy-an-cee)—the ability to shimmer like a cat’s-eye gemstone—figured or curly koa wood is like no other. From deep, dark browns, to pale, golden blonds, koa produces a remarkable range of color. Its figure is just as impressive, from plain to fiddleback with every variation in between. Although not classified as “rare” by scientists, koa naturally occurs only on the larger Hawaiian Islands and nowhere else on earth. It evolved here, in the middle of the Pacific, some 2,400 miles from the closest land mass. Koa is the largest and second most common native tree in Hawai‘i, though commercially viable koa forests occur only on the Big Island of Hawai‘i and Maui between 2,500 and 7,000 feet in elevation. Currently, koa wood is predominately cut from dead,

fallen, and dying trees on private land that is zoned for agricultural use. Koa sawyers today do both the salvage logging and milling operations, and a couple of their stories are shared in these pages. Much skill, equipment, and time are required to salvage what nature has left behind. Koa has strict protection—anyone who cuts a live tree on land zoned for conservation is subject to prosecution. Private landowners who grow koa and are zoned for agriculture can harvest their live trees. Several are working to do so in a sustainable way. Koa has unique properties. It’s genetically predisposed to have curly or figured wood, yet the majority of the wood is plain grained. It is also very susceptible to injury by machinery and grazing animals and lacks the ability to “heal.” This makes more sense when you consider that this amazing tree originated in these islands before human contact. Without predatory animals, koa had no need for a natural defense mechanism.”

The collectors’ Edition of Contemporary Hawai‘i Woodworkers: the Wood, the Art, the Aloha is available. These special books were lovingly shipped to four locations on three islands to be autographed by 35 award-winning woodworkers and both authors. Each is numbered, has a gold seal, and comes complete with a slip case for $199. Purchase yours at Basically Books in Hilo, Cliff Johns Gallery in Holualoa, Dan DeLuz Woods in Mountain View, Dunn Gallery in Kapa‘au, Martin & MacArthur in Waikoloa, Wishard Gallery in Waimea, and Photos by Doug Edens:

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January-February 2013