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“The Life” Celebrating th e a r t s, cu l t u re, a n d s u s t a i n ab i l i t y o f t h e Hawa i i a n Is l a nds

Hawai‘i Island Edition

March–April 2013 • Malaki–‘Apelilai 2013

TIF received 1/21/13

Complimentary Copy


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“The Life” Celebra ting the a r ts, culture, a nd susta ina bilit y of the Ha wa iia n Is la nd s

March–April 2013 Malaki–‘Apelila 2013

Art 17 The Fabric of Community Kapa Artist and Kumu Hula: Micah Kamohoali‘i By Stephanie Bolton 37 Edwin Kayton Advocate of Island Renaissance By Margaret Kearns Business

Big Island Honda Kona supports the Big Island 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.

71 Managing with Aloha: Aloha is Our Rootstock By Rosa Say

Culture 13 Then & Now: 50 Years of Merrie Monarch Festival Nānā I Ke Kumu… Look to the Source By Karen Valentine 77 A Brief History: Hula By Peter T. Young

Land 21 Adorning the Dancers Understanding the Plants of Hula By Denise Laitinen 63 We Are All in the Same Canoe One Island Sustainable Living Center Promotes Sustainability on Hawai‘i Island By Barbara Fahs 67 W. M. Keck Observatory Seeking Answers to the Greatest Questions About Our Universe By Jon Lomberg | March/April 2013

81 Heart of Palm By Sonia R. Martinez


Big Island Honda Kona 75-5608 Kuakini Highway, Kailua Kona 329-8101




25 Hula Instruments The Rhythm of the Dance By Denise Laitinen

Ocean 43 Kūpuna Talk Story Herb Kawainui Kāne: Father of the Hawaiian Renaissance By Keith Nealy 49 Mālama Honua—Care for the Earth The Worldwide Voyage of the Hōkūle‘a and the Hikianalia By Keith Nealy

People 31 Ko Bo Kahui Ho‘oilina Ola Bo Kahui’s Living Legacy By Gayle ‘Kaleilehua’ Greco 55 Every Store Has a Story Kīlauea General Store in Volcano By Alan McNarie 73 Giving Back, Paying Forward Kona Brewers Festival By Catherine Tarleton Spirit 11 Kīpaipai Na Kumu Keala Ching Ka

Puana -- Refrain

90 Island Naturals Cookbook By Gina Franchini

Crossword Puzzle Island Treasures Farmersʻ Markets Community Calendar Community Kōkua–Volunteer Opportunities Life in Business

59 78 80 82 85 87

MAR 23

Red Road Art Festival

APR 2-7

Hula Heritage Festival

MAY 5-11

Puna Music Festival


with generous support from: County of Hawaii Back issues of Ke Ola available for purchase. | March/April 2013


MAR 9-16

Contra Dance Retreat with Wild Asparagus


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 47 Shipman House Bed & Breakfast 41 87 Waimea Guest House | March/April 2013

Activities, Culture, and Events American Red Cross Hats Off Event 86 Amy Greenwell Ethnobotanical Garden 24 Aloha Performing Arts Co. 52 60 Big Island Eco-Adventures Zipline Dolphin Journeys 51 Fair Wind Big Island Ocean Guides 8 Kalani 5 Kohala Ditch Adventures 47 48 Kona Boys Lyman Museum & Mission House 41 40 Palace Theatre Tribute to Kamehamhea III 92 54 Volcano Rain Forest Tour Waimea Events Salon 87 51 W.M. Keck Observatory


Art, Crafts, Jewelry 2400 Fahrenheit Big Island Glass & Art Gallery Blue Ginger Gallery Cliff Johns Gallery Cindy Coats Gallery Elements Gallery Donkey Mill Art Center Dovetail Gallery & Design Fabric Gift Shoppe Hamakua Hairbrush Co. Harbor Gallery Hawi Gallery Art & Ukuleles Holualoa Ukulele Gallery Ironwood Custom Framing & Design Island Edges Beads Living Arts Gallery Kailua Village Artists Gallery Martin & MacArthur Mountain Gold Jewelers Pele’s Glass Creations Pele’s Hokulele Gallery Quilt Passions Sassafras 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 Wishard Gallery

16 18 62 72 36 61 56 72 54 39 38 61 72 76 40 61 18 7 12 16 29 32 74 62 36 42 72 26 74 39

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

4 66 86

Beauty, Health, Nutrition Baily Vein Institute 10 Blue Dragon Bodywork 91 Douglas Dierenfield, DDS 46 20 Facial Fitness Joan Greco, DDS, Oral & Maxillofacial Surgery 24 Joan Greco, DDS, Mini-Makeover 64 Hamakua Hairbrush Co. 39 61 Health in Motion Lotus Center 12 NAET Hawaii 86 Natural Balance Acupuncture, Rolfing & Massage 56 Obstetrics & Gynecology, Christina Collins, MD 64 Ohana Hearing Center 88 Randy Ressler, DDS 45 89 Sole Comfort Footwear Spa at Kona Beach Hotel 12 Swami’s Healing Arts 33 Studio B Salon 76 44 Valerie Cap Master Haircutter Vog Relief Herbal Capsules 45 12 Yoga Studio at Kona Beach Hotel Building, Construction, and Home Furnishings Alii Woodtailors 89 Bamboo Too 33 46 Concrete Technology of Hawai‘i dlb & Associates 46 22 Garden Inspirations 20 Hawaii Water Service Co. 24 50 Hawaii Electric Light Company Indich Collection Hawaiian Rugs 12 22 Kona Hillscapes Plantation Living 34 Quindembo Bamboo Nursery 56 SlumberWorld 14 Statements 36 35 Trans Pacific Design Water Works 48 Business and Professional Services Action Business Services Aloha Business Services Allstate Insurance, Steven M. Budar Entrepreneur’s Source, Kari Waldhaus Great American Self Storage Homes Group Personalized Home Oversight Island Mailbox Internet Café Kona MacNet Linda Meyer Web Design Red Road Telecom Scott March, Attorney What to Do Media

88 70 87 70 66 35 40 70 70 70 70 2

Pets East Hawaii Veterinary Center Keauhou Veterinary Hospital

14 3

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

Real Estate Arabel Camblor, RS, Clark Realty 76 Barrie Rose, Clark Realty 87 Carol Ann vonHake, RS, Paradise Found Realty 48 Cindy Griffey Schmidtknecht, RS, MacArthur & Co. 88 Coldwell Banker-Daylum Properties 54 Hawaiian Dream Properties 44 68 Kelly Shaw, RS, Koa Realty Lava Rock Realty 30 Lorraine Kohn, RB, Paradise Found Realty 20 The Commercial Group 32 The Real Estate Book 89 Restaurants and Food Amici Italian Bar & Grill Blue Dragon Restaurant Gio’s Gelato Hawaiian Macadamia Granola Holukoa Gardens & Café Ho’oulu Farmers Market K’s Drive In Kailani Surf Co. Kaleo’s Bar & Grill Keauhou Farmers Market Kohala Coffee Mill Lava Lava Beach Club Mi’s Italan Bistro Mi’s Wine & Cheese Shop Moo Bettah Peaberry & Galette Pizza Hawaii Sushi Rock

62 91 62 42 72 47 42 50 68 78 60 48 33 34 29 29 86 61

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 Hawaii’s Gift Baskets Hawaii Loofah Farm High Country Farm Protea Flowers Ironwood Custom Framing & Design 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 Queens’ Marketplace Rainbow Jo Clothing South Kona Macadamia Nut Co. Sweet Wind Books & Beads

85 26 40 68 72 44 52 62 86 76 42 50 62 28 72 70 29 62 34 61 29 58 40 22 76

Travel Jet Vacation Travel Agency Mokulele Airlines

79 66

“The Life” Ce leb ra t i n g t h e a r t s, cu l t ure, a n d s u s t a i n ab i l i t y o f t h e Hawa i ia n I sla nds


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

Mary Strong Ed Gibson Mars Cavers Ed Gibson

808.935.7210, 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 menu) Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates

Subscriptions and back-issues available online © 2013, Ke Ola Publishing, Inc. All rights reserved | March/April 2013

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.


Publisher’s Talk Story...

Mahalo for Your Contributions

To quote Perry Como’s 1957 lyrics “We get letters...” well, not actually too many letters, we wish we received more! What we do receive is story submissions—lots of them—through our website and via email. There is no end to the inspiring story ideas that are submitted to us. On one hand, it's very exciting, because we’ll always have stories to tell about the people who make a positive difference on Hawai‘i Island. On the other hand, sometimes people have to wait a long time before we can publish the story someone submitted. And occasionally we are offered stories that are not a good fit for Ke Ola. We do our best to be objective and not to tell controversial stories, although we've learned that nearly every story can be controversial to someone. Have you noticed how many incredible fine artists live on this island? We haven’t even scratched the surface highlighting these talented people. When we choose someone, sit down and talk story with them, and look through their portfolio, that’s when magic happens. Our editor, Renée Robinson, enjoyed the opportunity to spend time with this issue’s cover artist, Edwin Cayton, and his sister Verna. His art is amazing. Enjoy the story. We love to receive letters and comments about how Ke Ola stories impact people’s lives. One phone message was from a reader, Elisa, in California who was so touched by the January/February cover of “Pele Dreaming” that she couldn’t open the magazine up at first! She said “it pushed her over the edge” because of the beauty of the art and she wanted to purchase a second magazine so she could frame the cover. This is the second person who wants to frame the Ke Ola covers. The first one we found was at a garage sale—framed and for sale! This has inspired us to start selling prints of our covers. Look for them on our newly redesigned website, where you’ll be pleased with the improvements. As many know, keeping up with the speed of technology can be a challenge at times. Let us know what you think by posting comments on our new website or Facebook page. We are excited beyond words to bring Ke Ola to Maui County. Our new edition will be on racks all over Maui County the first week in April. The reception we’re getting from the businesses is very positive. We know the Maui County edition of Ke Ola will be just as beloved as the one for Hawai‘i Island. Subscriptions are available for both editions on our website, by phone, or Maui County email—see our masthead for more Premier Edition co ver information. Please tell everyone you by Maui artist Be th Marcil know on Maui, Lana‘i, and Moloka‘i about your favorite magazine, and let them know they can pick up complimentary copies at more than 50 locations, with more coming soon. Celebr ating the a r ts, cultur e, a nd susta inabil it y

Maui County Edition—Prem

ier Issue

“The Life”

✿ Dear Renée, What a wonderful time I spent reading every—every—story and advertisment in this first issue in 2013!! I just had to send you a short note to say thank you for reminding me of what a beautiful place we live in and what a wonderful way to share Hawai‘i Nei. And the crossword puzzle was the bomb (as my kids would say)! I am so proud of you as the editor of this terrific magazine and for being my friend. Aunty Nona Wong, Kailua-Kona, HI

Healing the Land Takes a Big Vision—Andre and Joyti Ulrych and Startseed Ranch in Kohala, September-October, 2012

✿ Dear Editor, “I appreciate what you publish in Ke Ola, Thank You. I am sure you know that the stories you publish really do make a positive difference in people’s lives and in the community. I read the article about Starseed Ranch (Sep/Oct 2012) and now I am living here. And it’s great!” Carey Lillis Tinsley, Kapa‘au, HI

The Goddess and the Artist—Pele Dreaming January-February, 2013

✿ This note was wrapped around a piece of lava and mailed to MaryAnn Hylton with no name: “Hi MaryAnn, I saw your work on the Goddess Pele in the Ke Ola magazine. Wonderful!! No need to take a chance on the bad Karma! I know you will return this for us. Aloha and Thanks.” Anonymous, Pt. Roberts, WA

The late Uncle George Na‘ope (founder of the Merrie Monarch Hula Festival) was known to say, “A Ohe Pau Ko Ike I Kou Hālau” (think not that all wisdom is in your school).

of the Hawa iia n Isla nds

April–May 2013 • ‘Apelila–Mei 2013

“Lei Makamae” by Edwin Kayton See story on page 37. The talented hands that weave Hawai‘i’s lei to commemorate special occasions are a true treasure. These belong to Kaleonapua, a friend from Waimea, whom Ed has often painted making lei as well as dancing hula.

Join us at the 9th Annual Lei Day Festival, May 1st, 10 am–3 pm at East Hawaii Cultural Center.

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

Barbara Garcia, Publisher

From Our Readers...



| Na Kumu Keala Ching

Pi‘i mai ka lā i Ha‘eha‘e Hālau ola kū i ka lewa Waiwai ka ‘i‘ini e holomua Ua kau ka ‘ike i ka nu‘u ala E ala mai, E naue mai, E noke mai e

Rising of the sun at Ha‘eha‘e Living resource firmly above Valuable desire to move forward Risen knowledge to the highest Awake, Move, Persevere

Pi‘o mai ke ānuenue i ka ‘Ōpua Ua maila ka ua ola ka honua Ulupono ka lehua i Kīlau‘ea Ma‘ema‘e ke ‘ala e holo ala E ala mai, E naue mai, E noke mai e

Rainbow appear upon the ‘Ōpua clouds Rain brings life upon the earth Lehua growing abundantly at Kīlau‘ea Clear the path to move on Awake, Move, Persevere

Alaka‘i kai ola i Kahiki ala La‘a mai ke kapu e ho‘i mai Maile lau li‘i kau i ka poli Lipolipo ka mana‘o e pono ala E ala mai, E naue mai, E noke mai e

Life lead one back to Kahiki Sacred holy one returns Upon the bossom is the sacred lei Deep thoughts of righteousness Awake, Move, Persevere

Kahakaha ka ‘i‘iwi i uka ala Lapakū ke ola nape ka ‘i‘ini ‘Imi maila ke ‘ala, noke mau e E ala mai, E naue mai, E noke mai e E ala mai, E naue mai, E noke mai e

Soaring ‘I‘iwi to the highest Exciting life and controllable desire Seek the path, persevere always Awake, Move, Persevere Awake, Move, Persevere

mi maila iā ‘oe iho, pehea e holomua aku ai? ‘Ike wale i ka pi‘i ‘ana o ka lā ma Ha‘eha‘e ala, aia ka hālau ola i kū wale i ka lewa. Nānā maila ke ola i ke ānuenue i pi‘o nei, aia ka ua i ola nō ka honua. Ma laila iho nō ke ala i Kahiki ala, la‘a a‘ela ke kapu e ho‘i mai. Wānana a‘ela ka ‘i‘iwi i kahakaha aku ai, Lapakū ke ola ā nape mai ka ‘i‘ini. E ala mai, E naue mai, E noke mai e! Ask yourself, how do I move forward? Observe the rising of the sun at Ha‘eha‘e, there is a living resource firmly above. Seek the life within the rainbow that bends upon the clouds, the rain brings life to the earth. Within is the path to the ancestral lands, a sacred holy one that returns. Forsee the cherished bird, the ‘I‘iwi, that soars on, aggressive life and focused desire. Awake, Move on, and Persevere! Know the hope within surrounded by the faith to live with courage and move forward. The elements are metaphors of encouragement; as the sun strives to the highest, the rain forms rainbows as a reflection of the sun. The sacred return to the ancestral land and live with intention and determination. Contact Kumu Keala Ching: | March/April 2013






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Then & Now: 50 Years of Merrie Monarch Festival


Nānā I Ke Kumu… Look to the Source |

everywhere. Lights, cameras, and TV announcers are there to broadcast the event. Looking back to the beginning: in 1960, the town of Hilo was devastated by a giant tidal wave, destroying many businesses. At the same time, the state’s main cash crop, sugar, was declining. Hawai‘i County Chairman Helene Hale called on her director of programs, George Na‘ope (“Uncle George”), one of Hawai‘i’s most famous and revered kumu hula and The “Merrie Monarch,” her administrative assistant, King David Kalākaua Gene Wilhelm, to come up with an idea to boost the economy. They thought of creating a festival honoring King David Kalākaua, known as Hawai‘i’s “Merrie Monarch,” because of his love of grand entertainment. Together they devised every possible activity you could imagine to honor Kalākaua: a beard look-alike contest; a royal court complete with coronation; a torchlight parade; band concerts including the Navy Band; a “grogge shop” serving | March/April 2013

omething extraordinary happened in Hilo, Hawai‘i, in 1963—something no one would have guessed would blossom into the pinnacle of celebration and recognition of excellence in the Hawaiian cultural practice of hula. This year, the Merrie Monarch Festival is celebrating 50 years as a small-town festival that has achieved world wide fame. The stacks of boxes of ticket requests are piled high in Luana Kawelu’s office. As president and executive director of the Merrie Monarch Festival, she has the responsibility to assign tickets for this year’s festival, held in the limited-seating venue of Edith Kanaka‘ole Tennis Stadium. “It just breaks my heart to turn people down,” says Luana, daughter of the former executive director Dorothy “Aunty Dottie” Thompson, who passed the baton to her daughter upon her death in 2010 at age 88. “We have letters from countries all over the world from people who want to come: some from Europe, Japan, Taiwan, Australia, Tahiti, even Saudi Arabia.” “I don’t think my mom ever knew it would be this big,” Luana says. Today, throngs of people wait in line to get into the event, while dancers from two dozen hula hālau first honor the gods and goddesses of hula with ceremonies to prepare themselves for the final moments on a stage which thousands of feet have caressed in sacred dance, and where each spring, ipu heke (gourd drums) have echoed a heartbeat that goes back to the beginning of Hawaiian myth. The scent of flowers and maile is

By Karen Valentine


beer; a formal holokū ball; Hawaiian crafts; window displays; barbershop quartets; a massive bayfront hukilau (community fish netting); scavenger hunts, and a “mullet race,” a relay race in which live mullets were passed as batons! Master organizer, Aunty Dottie, who was a culture and arts specialist for the county’s Department of Parks and Recreation, helped put the plans into action. In 1965 the County dropped its involvement, and the Hawai‘i Island Chamber of Commerce carried on, selecting a chairman every year. However, at the completion of the 5th annual Merrie Monarch Festival, it seemed doomed. In a 2001 interview for the Honolulu Advertiser, Aunty Dottie is quoted as remembering, “[Chamber of Commerce officials] were going to kill it, for lack of a chairman, and the interest wasn’t | March/April 2013

Before the start of the 43rd Annual Merrie Monarch Festival hula competition, Gov. Linda Lingle met and posed for a picture with George Na‘ope (L) and “Aunty Dottie” Dorothy Thompson (R). Photo by Dennis Oda, April 21, 2006.


there. I called the president of the chamber, Earl Hirotsu. I told him, ‘You can’t let another Hawaiian festival go down.’ ... They had taken away the Kamehameha Day parade.” She paused. “He said, ‘Then chair it.’ ” “I called everybody who was involved with the Merrie Monarch, and nobody would touch it with a 10-foot pole,” she said. So she called his bluff and picked up the baton. Undaunted, the persistent Aunty Dottie again called on Uncle George, along with Haili Congregational Church choir director Albert Nahale‘a to help. “I told George from the start, ‘We gotta make this Hawaiian. This isn’t Hawaiian at all.’ Why don’t we do what Kalākaua did by bringing together dancers from all the islands to the coronation?” The group flew to Honolulu where Uncle George set up meetings with two kumu hula with large studios: Pauline Kekahuna and Louise Kaleiki. The pair proposed the idea of a hula competition and promised to bring their dancers. And so, in 1971, the first competitive Merrie Monarch contest took place at the Hilo Civic Auditorium. Only nine groups were entered, and maybe 100 people came. And they made history. The time was right and ripe, as a renaissance of Hawaiian culture was taking place. This new competition coincided with the building of the Hōkūle‘a and establishment of the Polynesian Voyaging Society. Hula had to be a part of it. Uncle George commented in a 2006 interview when he was honored with a National Endowment for the Arts Lifetime Honors award, “I felt the hula was becoming too modern and that we have to preserve it. Kalākaua brought the hula back to Hawai‘i and made us realize how important it was for our people. I didn’t realize that it was going to turn out to be one of the biggest things in our state.”

“That was something unusual they hadn’t seen in a long time, and it brought excitement,” said Luana. “Now the audience goes crazy when kāne hālau come on.” Competition categories of hula kahiko and hula ‘auana (modern style) were defined. Authenticity of costume and period became a factor in the judging, as well as accurate usage of chant and Hawaiian language. The rules now state the kāne and the wahine groups must dance in both kahiko and ‘auana style. A hālau may enter a solo dancer in the Miss Aloha Hula contest and they also must dance in the group competition. In 1979 the festival moved to the Edith Kanaka‘ole Tennis Stadium, where it has been held ever since. The next year television cameras arrived. Since 1981 the Merrie Monarch has been receiving uninterrupted live coverage on statewide television. And today it is streamed live over the Internet. “Nānā i ke kumu,” advises a famous Hawaiian proverb, “Pay attention to the source.” In hula this can bear the obvious meaning of “Watch what your kumu (teacher) does.” It also contains a more profound admonition not to lose sight of hula’s roots in the ancient protocols of Hawai‘i and Polynesia. As the dancers and the kumu have carefully observed each other throughout the five decades of competitions, they have evolved together in a tightly woven tradition, learning from each other and reaching for higher and higher levels of excellence. This, in turn, has also significantly influenced the worldwide scope of hula teaching and performance, says Kumu Etua. As part of their preparation for Merrie Monarch competition, kumu hula must now create fact sheets that explain the meaning and translates the ka‘i (entrance), the mele (song), the hula (dance) itself, and the A lei-draped photo of Aunty Dottie ho‘i (exit). Thompson and her daughter, Luana Saiki-Kawelu, the current “A lot of the kumu president and executive director. have told me how much they appreciate my mom forcing them to do this research because they themselves have learned a lot through this,” said Luana. Kumu Etua agrees. “The research is something new. Before you just got it from your teachers. And it came in the family lineage. You could tell what family the dancers were from by the way they danced.” The first winner of the solo competition, Miss Aloha Hula, was Aloha (Wong) Dalire, today a kumu whose three daughters each have won the same title. Many kumu pass on the leadership of their hālau to one of their children. With heightened emphasis on excellence, the judging has to look at more and more detail, says Etua. “Now everything is fine-tuned,” he explains. “The lei, the regalia, the ‘ōlelo. In the beginning there were some groups with very high precision and some groups not so much. As time went on, they got better.” Each year, the kumu are challenged to get more and more creative, yet retain the authenticity of the dance and the culture. | March/April 2013

Uncle George passed away in 2009 at age 81. His full name was George Lanakilakeikiahiali‘i Na‘ope, which meant, “the light that would lead the way” or “the protector of things of Hawai‘i.” With prescient wisdom, as often occurs in Hawaiian naming practices, his great-grandmother, Mary Maliapukaokalani Na‘ope, chose the name before he was born. Kumu Hula Etua Lopes of Kailua-Kona, a student of Uncle George, and his hānai son, was recruited as a teenager to “volunteer” with the festival in 1971. Later he formed his own hālau, Hālau Hula Nā Pua U‘i O Hawai‘i, and entered students in the solo competition in 1976, 1978, 1983, and in group competition from 1993 to 2000. He will bring back his hālau to Hilo for the 50th Anniversary competition March 31-April 6. “I’m very excited because I’m also celebrating 30 years in Kona,” he said. “My lineup dancing in Merrie Monarch stretches almost that whole 30 years. I look at them and lots of them are mothers now who danced in my keiki class years ago. I love my students.” Kumu Etua’s hālau is also known for performing during the monthly Sunday afternoon event at Kona’s Hulihe‘e Palace. If Uncle George was like a father to Kumu Etua, Aunty Dottie was like a mother, he says. “[The late Kumu Rae Fonseca and I] would go to her house and play Scrabble. In the beginning [of the festival] it was so hard. She sat in her office and hand wrote everything. She was the vehicle that carried the Merrie Monarch. She was so dedicated and her strength, it was amazing! How did one woman do this?” In fact, Aunty Dottie deferred to Uncle George when it came time to go on stage. With no hula training herself, she was shy about representing the culture. “Uncle wanted her to be the narrator for the coronation and she was scared to death to do the chant in Hawaiian,” he says. “Aunty Dot took the time to learn, though. She bought books and she read them. Uncle George gave us the knowledge— Kumu Hula Etua Lopes, of KailuaKona, recalls the Merrie Monarch and she gave us the Festival from the beginning, when he respect.” She was helped his teacher, Uncle George. In very strict, Etua says, this 50th year, he will enter his own especially in making hālau in the famous competition. sure no one broke the rules. “At first they had two sheets of rules and now it’s a book compiled from occurrences that happened each year. The kumu tried to maneuver, and when they got caught in their maneuvering, it caused a rule,” he chuckled. Luana says her mother was known for her organizational skills, her honesty, and her forthrightness. “[The kumu] knew they could trust her, and they didn’t want to let her down.” In the first years, 1971 to 1975, only wahine competed. It wasn’t until kāne (male dancers) were added to the competition that it brought new passion to the audiences and at the same time a new depth in presenting the Hawaiian culture through kahiko (ancient style) dance.

15 | March/April 2013

Special edition newspaper from the first Merrie Monarch Festival in 1964.


As a young volunteer, Etua says he learned that the lowly position of floor sweeper at the auditorium had a benefit. “While sweeping, I heard chanting and I realized I could peek through a crack and watch the rehearsals. I never told anyone the details. I could see how the masters did it, such as Aunty Vicky Holt Takamine and Hau‘oli Hula Studio. I would tell myself, ‘Boy, if I ever become a teacher, my dancers will look like this.’ I really think Merrie Monarch was a big part of the renaissance of the culture and teaching of Hawaiian studies in school and college. In my time with Uncle, we were told how to do everything. We had to make everything because it was not available in stores. We had to weave our lauhala mats, make and dye our costumes, our implements, everything we used.” Nānā i ke kumu. Look to the source. With all the success of the Merrie Monarch Festival, Aunty Dottie was adamant that it remain in Hilo with its roots on Hawai‘i Island, legendary home of the goddess Pele. Dottie kept admission prices low and resisted efforts to move the Merrie Monarch to a larger facility or a larger city. “I won’t allow it,” affirms Luana. “This is a small, humble, hula event and we want to keep it that way—keep it humble and share our tradition of hula with the world.” The festival invites hālau primarily from Hawai‘i, or those hālau on the continental U.S. whose kumu were trained and raised within a Hawai‘i hālau. In a small, nondescript building next to the stadium, the office is staffed with all volunteers, recruited from family as well. Aunty Dottie’s other daughter, Lei Andrade, sits at the reception desk, and Luana is grooming her own daughter, Kathy Kawelu to someday take over the reigns of the festival, as her mother once groomed her. In addition to her sister, Lei, her brother, Bo Saiki, son Albert Kawelu Jr., her daughter Colleen Kawelu, and granddaughter Kawena Kawelu also help. Nānā i ke kumu. Look to the source. The roots are strong, the lineage intact, the attitude humble and the pathway set for the next 50 years. ❖ For more information: Contact writer Karen Valentine:


The Fabric of Community

Kapa Artist and Kumu Hula: Micah Kamohoali‘i |

My family are kapa people and so I visited my aunty Malia Solomonʻs pieces that hang at the Hualālai Ballroom at the Four Seasons Resort Hualālai and measured how large hers were. They were about 6-by-10 feet, so I decided to make mine bigger by a foot in each direction.” Micah tells me. He goes on to explain that he modeled the design after the kapa used to catch each infant who was born into the family. This kapa, now very worn and over a hundred years old, would be taken out at the birth of each child so everyone in the family was caught on this same fabric. Kapa—a fabric made by native Hawaiians from the bast fibers of certain species of trees and in shrubs in the order of Rosales and Malvales. It is similar to tapa found elsewhere in Polynesia, however it differs in the methods used for its creation. “In, say Samoa, they will pound out sheets and then glue them together with pia (an arrowroot paste) and these pieces will overlap creating a larger piece. The Hawaiian method is different in that Hawaiians would smash, fold, and beat out a seamless piece,” Micah explains as he shows a group of volunteers how to make kapa. He takes us step by step through each part of the laborious process. First the tree is harvested and the bark is scraped off using a ‘opihi shell until white. A shark tooth knife is then used to score and peel off the next layer from the core of the plant. This layer will then soak for a week or so until it is pliable and no longer stiff [Fig. 1]. It will then be beaten on a lava stone [Fig. 2]. Next it will be beaten on a wooden anvil until it is very thin [Fig. 3]. Another thin Fig. 1 layer is added and pounded into the | March/April 2013

icah Kamohoali‘i is a professional artist who was born and raised on Hawai‘i Island. His family members are descendants of the Pele clan and the shark people of Waipi‘o Valley. He is the Executive Director for The Kamohoali‘i Foundation and Kumu Hula for Hālau Na Kipu‘upu‘u located in Waimea. An award winning Kumu, his hālau is rooted in Hawaiian culture and immersed in the traditions and old practices of the Kamohoali‘i family. He is also a Hawaiian scholar and language teacher who has taught and lectured around the world in such places as Europe, Japan, Mexico, Alaska, Canada, and Polynesia. He celebrates his rich heritage by keeping the traditional methods of creating ancient Hawaiian arts alive in their most authentic form. His ancestors were kapa people and he continues to use these old techniques to create his kapa artwork. “As a people we should always progress. We should be able to do things better and faster and bigger than our ancestors to show that the family is growing and progressing. It is in this spirit that I made my huge 7-by-11 foot kapa called Kihawahine.

By Stephanie Bolton


Fig. 2

Fig. 3

Fig. 4

first with the grooved wooden mallet called an i‘e kuku [Fig. 4]. It will then be folded into thirds and beaten again. The kapa continues to grow as more pieces are pounded into it and folded over… like kneading dough. Eventually the kapa is the size desired and soft like cotton. The last beating will be done with a i‘e kuku that has a specific design carved into its side and this design will leave a watermark impression in the fabric that can be clearly seen when held up to the light. Since every family had their own design, it was easy to tell whom the fabric belonged to by looking at this design [Fig. 5]. The fabric could lastly be dyed and stamped with meaningful patterns [Fig. 6]. “The dyes that I use for my artwork are all natural dyes from local plants. I do not use any modern methods to make these pieces; they are all made in the old style,” shares Micah

Fig. 5

Fig. 6

as he discusses the inspiration for a series of kapa paintings he created to represent Hawaiian deities. “I was inspired to use only the plants and things that represent each god to dye each piece because there are certain plants associated with certain gods. For instance, the kapa for Pele was dyed with pig’s blood and the designs were stamped on with charcoal made from burnt plant ashes mixed with coconut milk.” The markings signify different things. “Rain is Lono’s body form and Lono is the god of fertility and agriculture. So these designs that stream downward at diagonal angles represent the rain on the kapa for Lono. On the kapa for Kū, the god of war, there is the pattern of breadfruit and these spearhead designs to represent schools of fish,” he explained, “And for the goddess Haumea who gave birth to the islands, I split the

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kapa down the middle to represent the birth canal from which the islands were born. So you can see every part of the kapa is very symbolic.” Micah continues, “Kapa was used for clothing, for blankets… it was their fabric. So it had to be pounded out every day. Everyday there would be women pounding kapa for their families. And as you’ll notice, the anvils were hollowed out so that they serve duel purpose as a drum for what I call Hawaiian Morse code. As the ladies were pounding they could pound out a specific rhythm to tell the women in the next village that there was going to be a performance or if there was danger, because the pounding could be heard for miles away.” In March 2010 Micah’s hālau, Na Kipu‘upu‘u, received highly acclaimed honors from the state of Hawai‘i for their hula drama entitled “Mauliauhonua” about the descendants of Waipi‘o Valley. Micah is orchestrating an upcoming big community project with the help of volunteers. “This project is about bringing the community together in Waimea,” Micah shared. “I saw a segregation between the malihini (newcomers) and the Native Hawaiian people. So I wrote a grant asking to interweave everyone together because this is not about race. We are all residents of Waimea. We offered classes to celebrate the sacred sites in Waimea, taking groups from one side of Waimea all the way to the other to teach them the history about these places. We had more than 100 at each workshop where we partnered the stories with an art. After hearing the story of kapa, they learned how to make it so that they could be proud to be a part of the story of Waimea. We went to the pu‘u and talked about the battles that took place there between Hawai‘i island and Maui, discussed the strategies of battle and why they battled. Then we made dog tooth shin guards called kupe‘e niho ‘ilio. Each shin guard has around 500 canine teeth lashed together. Warriors would wear these to invoke the ferocious spirit of the dog for their fight.” From January until March Micah’s hālau will be creating a hula drama that will be performed at the Kahilu theater the week before the Merrie Monarch Festival. “This hula drama is

how we are getting the community to present these stories. It begins with the birth of the mountains and then the deities get placed on the mountains, who marry Waimea chiefs and so the people of Waimea are the descendants of these goddesses of the mountains.” This presentation is going to be accompanied by an art exhibit of Micah’s kapa artwork and of all of the things that the community helped to make. This art exhibit is the only venue currently showcasing Micah’s artwork as he has pulled all of his work from the galleries they were in to show his collection in its entirety for this special event. The show will use nothing modern. Every costume and prop will be something that was created in the traditional methods by the people of Waimea. “I think this hula drama is going to blow everything out of the water. It will be like using artifacts from the Bishop Museum and watching them come to life, used as they were originally intended. Some of these things have not been created for hundreds of years and so we will really get to experience traveling back in time.” I was excited to learn that the kapa I helped pound will be a part of one of the dresses worn by a hula dancer in the show. Micah’s hālau is one of the only—if not the only hālau—that performs in kapa made exclusively for each dancer, a manner that hasn’t been done for nearly 200 years. The show is projected to take place at Kahilu Theater Spring 2013. ❖ To reserve tickets:, 808.885.6868 Contact Micah Kamohoali‘i: 808.960.1900 Contact photographer Braylene Jones: 808.896.9967 Contact writer Stephanie Bolton: | March/April 2013


20 | March/April 2013


Adorning the Dancers

Understanding the Plants of Hula |

sacred to the hula goddess Laka, while others, such as the lehua, are considered sacred to Pele. Adornments—plants worn by the hula dancers—include maile, ‘ilima, lehua, palapalai, and ‘a‘ali‘i, among others. Sometimes hula altar plants may be used in lei worn by dancers and sometimes not. Hula dancers wear different types of lei: lei po‘o (head lei), lei ‘ā‘ī (neck lei), kūpe‘e (lei for wrist and ankles). “Depending on the hula that we are doing, if it is for Pele, we will use liko (the young shoots of the ‘ōhi‘a); we’ll use lehua (the flower) [as lei].” “If it’s for Hi‘iaka, we’ll use palapalai, which is a fern. Palapalai is kino lau for Laka as well,” explains Valencia. “Red lehua is always used in reference to Pele.” However, red and yellow lehua (mamo) are significant to ali‘i and mamo also indicates offspring. “For instance if the hālau were to perform a hula of an ali‘i as a young person, they might wear mamo flowers to reference the ali‘i as a youngster. “It all depends on the hula we are performing,” explains Valencia. In years past his hālau have traveled to Kaua‘i to perform at the Queen Emma hula festival held in Kōke‘e every October. While the event is on Kaua‘i, the dance is about Queen Emma, who is from O‘ahu. “If we are performing a hula about Queen Emma I may dress my dancers in liko lehua as a lei po‘o (head lei), but if I’m doing an Emma number and knowing that she is from O‘ahu, then I will dress my dancers in ‘ilima [the official flower of O‘ahu]. “The ‘ilima represents her O‘ahu connection and the liko represents our Hawai‘i Island connection.” | March/April 2013

tanding next to the kahua hula (dance platform) that overlooks Halema‘uma‘u Crater at the Hawai‘i Volcanoes National Park, you can see a plume of steam and gasses rising from the crater, home of the volcano goddess Pele. On this clear bright day, surrounded by a forest of ‘ōhi‘a lehua trees with their rich red blossoms, you can feel the mana of the land. Ab Kawainohoikala‘i Valencia, kumu hula for Hālau Hula Kalehuaki‘eki‘eika‘iu, is explaining the various plants and flowers used by hula dancers when they perform. “The kino lau (the manifestation of Hawaiian deities in plant forms) will determine what flowers are used in a particular hula,” explains Valencia. “The hula determines which plant we’ll use. The plant does not determine the hula.” There are two types of plants used in hula: plants used for the hula kuahu (altar), and hula adornment plants or lei. Kuahu hula plants include maile, ‘ie‘ie, ‘ilima, lehua, and halapepe. Some plants, such as ‘A‘ali‘i plant with ti leaf plant in the ‘ie‘ie, and maile background. Photo credit Denise Laitinen are considered

By Denise Laitinen

21 | March/April 2013

Not every plant represents a god or goddess. “We use the a‘ali‘i, but it doesn’t belong to anybody [particular Hawaiian god or goddess],” says Valencia. “The ti leaf doesn’t belong to anybody.” He notes that ti plants, called kī Ab Valencia holding a liko close up in Hawaiian, are a canoe plant brought here by Polynesians. Considered a sacred symbol of the gods and an emblem of divine power, the plants are seen as a symbol of protection against evil. And while ti plants are commonly used in hula, such as for skirts in hula kahiko, as well as in hula ‘auana dances (modern hula), not every Hawaiian plant is usable in hula because not every plant can stand up to usage. “You wouldn’t use kupukupu (a fern) because it would start to droop,” says Valencia, explaining that the laua’e fern is more commonly used. “However, palapalai is the best. The substitute for palapalai is pala‘ā, which is very fragile.” Valencia noted that some hālau are starting to grow their own palapalai because it can be hard to find. Maile, another important hula plant, is also hard to find in the wild.


“Some hālau have started to grow their own plants. They’ll grow their own gardens at their home or someplace they can tend to them because some plants are getting harder and harder to find. “Maile is very very difficult to get in the wild these days,” says Valencia. “If we know we’re going to need maile, then I will try to order it from a flower shop.” Valencia says that while he uses palapalai and maile, “Liko and lehua are my favorite.” It’s little wonder these are his favorite flowers since the English translation of his hālau’s name, Hālau Hula Kalehuaki‘eki‘eika‘iu, is “the majestic lehua blossom in the heights.” “Up here, the materials are available to us. I understand that elsewhere it’s very difficult, especially if you come from another island. [Hālau] have to go further and further to find materials. “I tell my dancers they have to know where their plants are going to come from. They need to have five or more places where they have their spots. And then once they find them, not to tell anyone,” he says with a laugh. “As a kumu hula you have to have all these sources. You have to know where to get it if you can and if not, you have to be prepared to make Lei po‘o of lei lehua substitutions.

Kumu hula Ab Valencia pointing out the hula platform at Hawai‘i Volcanoes National Park Photo credit Denise Laitinen

that we have to have a reason to pick [plants and flowers]. We don’t go and pick just because.” “For me, it’s strictly for a hula performance for things we need to do. Once I decide [what flowers will be used], then there are protocol from beginning to end.” “You can go and admire the different hula plants but unless you have a reason to pick I really don’t recommend that people do so. And they should always follow the direction of their kumu.” The types of flowers and plants to be used in a performance determine when the plants are picked. “If we’re using liko, then we would pick a week in advance. If we’re using ferns, then we would pick two days in advance.” Valencia explains there is a time sequence that needs to be followed in preparation for a performance. “You want the dancers on the day of the performance to be totally prepared for the dance, not spending hours and hours the night before making their lei and getting their costumes ready. They make the lei up to a week in advance, which means that all the other things that they need—their costumes, the instruments—all need to be prepped. We try to space it out so that there is time for them to carefully put things together.” When the performance is finished, the plant materials are returned back to nature. “After the performance we always return our lei to the land or to the forest,” says Valencia. “I tell my students to return it to the land or their garden.” ❖ Photo Credits: Hālau Hula Kalehuaki‘eki‘eika‘iu, Renée Robinson Contact writer Denise Laitenen:

There are a variety of places around the island where hula plants can be viewed. Several plants used in hula can be found throughout Hawai‘i Volcanoes National Park. Visitors can take a short, guided tour at the Visitors Center, which includes a stop at the nearby hula i la a P platform. In west Hawai‘i, folks wan ting to learn about various hula plants can take self-guided tours at the Amy Greenwell Ethnobotanical Gar den in Captain Cook. The 15acre garden features over 200 spe cies of endemic, indigenous , and Polynesian introduced plants in gardens at elevations ran ging from sea level to upland fore st. The gardens are organized by biogeographical zone, typ ical of a Kona ahupua‘a, or trad itional Hawai‘i land division. “Our gardens include ‘ōhi‘a, maile, ‘ie‘ie, as well lama, a‘al i‘i and pa‘u o hi‘iaka,” says Peter Van Dyke, manager of the Garden . Van Dyke says that this time of year, it’s common for visi ting hālau to come and pick ti leav es at the Garden. “A few weeks before the Mer rie Monarch Festival hālau com e and pick ti leaf.”

“We have a lot of ti leaf,” say s van Dyke. So [when hālau gather ti leaf ] it doesn’t eve n make a dent in our garden .” “We welcome hālau looking for ti leaf to come to our gar den.” | March/April 2013

Hālau from Kona or Kohala have their sources and their resources that they use. “The challenging ones are the hālau from O‘ahu because it is a difficult spot. It’s the most populous and it has the most hālau. “Because it is getting more and more difficult to get the native plants to dress dancers, we have to be very careful and very respectful of the resources.” Hālau follow certain protocol when gathering plant material for adornment of the hula dancer. First and foremost is to always ask permission. “As a kumu hula I will chant a protection chant, to allow us to go into the forest, as well as a chant asking permission to pick plants in the forest.” “Depending on the situation and what we are gathering for, either I will perform the chant as kumu hula or the entire hālau will perform the oli (chant).” Valencia notes that gathering plant material isn’t a social party time. “If we are in the forest, it is the realm of the gods and the other beings. It’s their home. We need to be respectful,” says Valencia. “We are the guests. For us too, sometimes too much noise attracts other spirits and we don’t want them to be nīele (nosy) and come look and see what’s going on while we’re there. We try to pick quietly and respectfully and leave.” Another key element of gathering plant material is to only pick what is needed. “We pick only what we know what we are going to use. We also clean [the tree branches] while we are in the forest.” Valencia says that while his hālau can apply for a picking permit to gather flowers within the Hawai‘i Volcanoes National Park, he points out that the park has stringent rules and regulations about gathering. “The park allows us to pick but they have very strict protocol about who can come and who cannot. If I know I need some things, then I will come in as the leader of the group. I need to get the permit. They only allow four people to come in and pick at any one given time.” However, since he and multiple members of the hālau live in the Volcano area where ‘ōhi‘a trees are plentiful, his hālau are able to gather outside of the park. It should be noted that his hālau, and hula dancers in general, do not gather plant material needlessly. “The important thing for us as hālau is


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Hula lei ‘ilima

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Hula Instruments

The Rhythm of the Dance | By Denise Laitinen “The kumu’s training includes making all of his or her own hula instruments, but the hula pahu is the most important,” says Valencia who became a kumu hula in 1991 on O‘ahu and started his own hālau in 1996 in Honolulu. After moving to the Volcano area in 2004, he created a Kīlauea chapter of the hālau in 2007. He oversaw both hālau, traveling between Hawai‘i Island and O‘ahu he retired the Honolulu hālau in December 2012. Valencia and his dancers make all the instruments they use when performing. Another drum used in hula is the small, lightweight kilu, also known as a pūniu, which is made out of a half coconut and covered with animal skin—usually that of the kala fish. The drum usually accompanies the pahu. Dancers strap it to their thigh and play it during the hula. One of the most commonly seen instruments at hula performances, such as the Merrie Monarch Festival held every year in Hilo, is the ipu, or gourd. Kumu hula often use ipu, usually an ipu heke (double gourd) as a percussion instrument to create rhythm and sound for the chant and dancers. Ipu heke are made by taking two gourds of different sizes, cutting them off at the necks and joining them so that the | March/April 2013

le‘a ka hula i ka ho‘opa‘a”—the hula is pleasing because of the drummer. The well-known quote from Mary Pukui’s seminal book, ‘Ōlelo No‘eau, means that although the attention is given to the dancer, the drummer and chanter play an important role in the dance. The drum is just one of several instruments in hula, although some would say it is the most important. The pahu, or hula drum, is the primary instrument of the kumu hula (hula teacher) and considered sacred. The beat of the pahu guides the dancers, dictating the pace of the dance with the rhythm of the drum. In the past, pahu drums were made of breadfruit trees, although these days coconut wood is more commonly used. The drums range from one to four feet in height. “The covering for the pahu drum is usually made with the skin of a shark, but these days because it is very difficult to get shark skin, people use cow hide,” explains Ab Kawainohoikala‘i Valencia, kumu hula for Hālau Hula Kalehuaki‘eki‘eika‘iu (the majestic lehua blossom in the heights). “Part of the training of becoming a kumu hula includes making oneʻs own pahu hula,” adds Valencia.


Hula Pūniu (knee-drum) smaller gourd is on top. A hole is cut in the top gourd to allow the sound to escape. Ipu heke ‘ole–a single gourd cut off at the neck–is sometimes used by hula dancers during a dance. “We get the gourds and dig them out, cutting them and gluing them both together to make the ipu heke,” explains Valencia. Although gourds used to be grown across the state, invasive insects are making it more difficult to grow gourds in Hawai‘i. These days, it’s not unusual for hālau to order gourds grown in California and the southwest. Valencia says his hālau typically order gourds from a hula supply store on O‘ahu. “As a kumu hula you have those sources,”

says Valencia. “And in turn those sources came from my kumu hula because she would tell use where to go.” While the gourds will last for years, they must be used with care. Ho‘opa‘a, chanters using an ipu heke, do not strike the ipu on the ground. Rather, they use a protective pad called a pale, usually woven from lauhala or made of tapa. Chanters and drummers need to strike the gourd in a certain manner to prevent it from breaking. “Never strike the piko—the center of the bottom of the gourd,” explains Valencia. “Always strike on the side of the ipu. If the ipu lands on the rim, and not straight down, you will break it.” Other instruments used in hula include the ‘ulī‘ulī, or rattle gourd. Made from la‘mia gourds, the rattles contain small dark round seeds, usually ali‘ipoe or Hula Pū‘ili (bamboo rattles)

cases, the instruments are made of natural materials and are subject to wear and tear. “For us, hula instruments are not permanent instruments,” says Valencia. “The only instruments that are permanent are the ‘ili‘ili because they are made out of pōhaku (stone). You can break your ‘ulī‘ulī. You can break your ipu. It happens.” Although he says they have had instances where they have repaired an instrument, Valencia says that he prefers that hālau members go ahead and make a new instrument. However, broken hula instruments are not discarded in the trash or treated carelessly. Being made of nature, they are returned to the natural environment. “There are two ways of dealing with a broken instrument: returning it to the garden or burning it.” ❖ Photo Credit: Hālau Hula Kalehuaki‘eki‘eika‘iu Contact writer Denise Laitinen:

Ipu heke or double gourd ipu used by Hawaiian chanters and drummers | March/April 2013

canna seeds. ‘Ulī‘ulī usually have a woven handle and feature feathers at the top. Not to be confused with the ‘ulī‘ulī are ‘ili‘ili, stones used by dancers in a staccato rhythm during a dance. The dancer holds the water-worn lava stones in each hand, striking them together like castanets. Valencia says his hālau gather the stones ocean side at mountain streams where the water has worn the stones smooth. As in plant gathering, there are protocols to be followed when collecting the stones. “We ask permission and chant when gathering any stones or other materials,” says Valencia. The same is true when harvesting bamboo, which we use to make dancing sticks called pū‘ili. Not just any bamboo either will do when making pū‘ili, which are 20 inches in length, and about 1.5 inches in diameter. “We need Hawaiian bamboo because they have long nodes,” says Valencia. “We can’t use introduced bamboos because they have short nodes. So we have to make sure it is Hawaiian bamboo.” According to Valencia, the bamboo sticks are picked when green and dried for about a month. Sanded and finished, several slits are cut into the sides of the bamboo with slivers between the strands removed to give it its unique rustling sound. Pū‘ili are not to be confused with kāla‘au, wooden rhythm sticks used in pairs by dancers. In years past, pū‘ili were made of hardwood, such as hau, milo, kauila, or sometimes in koa. Today, they are also made of pine and guava. There are two different type of kāla‘au: shorter sticks 12-14 inches long, and a longer version in which a stick 6 inches taller than the dancer is held in the left hand and shorter stick 14 inches long is held in the right hand. The kāla‘au are hit against each other in a back and forth motion to create a sound. Depending on the hula, performers use the kāla‘au by holding one in each hand and striking them together in the shape of an “X.” Another wooden instrument is the papa hehi, a footboard or treadle. The papa hehi is comprised of a board and a crosspiece. Used to keep time, the papa hehi is used with the kāla‘au. As can be imagined, it requires a great deal of concentration and coordination to dance, chant, and play an instrument during a hula. Some are more complicated than others. For instance it takes a great deal of skill to play the papa hehi with one’s left or right foot while your hands are simultaneously using the kāla‘au sticks, sometimes in a different rhythm pattern. While hula dancers take great care of their instruments, usually keeping them in protective cloth Kumu hula Ab Kawainohoikala‘i Valencia


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Ko Bo Kahui Ho‘oilina Ola

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Bo Kahui’s Living Legacy |

Bo Kahui at La‘i ‘Ōpua office

By Gayle ‘Kaleilehua’ Greco

throughout his military tour and in life­—other people had support systems, the children had recreational resources, and the adults had convenient services. Bo reflected on his Hawaiian lineage and recalled he knew what was needed: this town had a pu‘uhonua (an area of safety and peace), and he kept this in his vision—something that would later become part of his living legacy.

Saving an Island

Being back in Honolulu after his military duty, Bo enrolled in Honolulu Community College. He expressed, “I was looking for my own Hawaiian identity. I was searching. Coming back home after the service, I was still lost; I didn’t know who I was. I didn’t even know my own language. I asked, what is my role, what is my purpose?” In his quest for his ancestral identity, Bo’s awareness turned to a group of native Hawaiians who were striving to protect Kaho‘olawe, the Hawaiian Island being used by the U.S. Navy for live-fire training exercises. From 1978-1981, Bo was one of the central figures in the mission known as the Kaho‘olawe ‘Ohana Project, the strategic plight of saving Kaho‘olawe. While chastised by some for his involvement, Bo stayed the course in following his belief that they could make a difference in saving this precious island. “Aloha ‘Āina,” was the outcry of the Kaho‘olawe ‘Ohana, and they took that deep-seeded truth to Washington D.C. After years of researching, campaigning, and speaking to the legislative committees, Bo and his fellowship were successful in strategically winning back the island. | March/April 2013

ne person can make a difference, and everyone should try,” said John F. Kennedy in his 1961 inaugural address. Craig ‘Bo’ Kahui was seven years old at the time and living in Kalihi on O‘ahu. One of eight children, they lived in an urban neighborhood adjacent to central Honolulu, surrounded by government assisted housing. It was here Bo saw the affects of not having community resources to support the people. An ethnic mix of mid-to-low income families, some multi-generational and some single parents, blended together with a crowded school system and an uncertain job market, created stress on an otherwise content ‘ohana. Bo’s watchful eye and heavy heart witnessed the strain that enveloped his family as they succumbed to the societal pressure. Making his way through school, seeing his brothers fall to the temptations of substance abuse and alcoholism, Bo knew he had to get out of the system that held no future for him. In 1972, he enlisted in the Navy, and it was there Bo saw the possibilities of life. He experienced the diversity only world travel can show you, the lives and cultures of many different countries—the positive aspects and the difficulties. This young Hawaiian was far away from home looking at the world through lenses that seemed to open his eyes to the promise of something more. When Bo returned to Kalihi in 1975, he had come full circle, leaving as a young man and returning as a more seasoned adult. Expecting a shift from the wide-eyed experiences he had, Bo was surprised to find that nothing had changed in his neighborhood. In fact, everything and everyone was still the same. His ‘ohana had suffered greatly in the years as his brothers and friends went deeper into the cracks of the fallen. In reacquainting himself with the community, Bo met up with a friend who lived in Mililani, a town 18 miles north of Kalihi. Mililani is a community with all the amenities for their Bo Kahui residents. It was here Bo realized what in the Navy he had been sensing and observing


In 1990, the U.S. Navy stopped their military exercises, and Kaho‘olawe was transferred to the jurisdiction of the State of Hawai‘i in 1994. This event—the saving of the island—became one of Bo’s hallmark moments in life. Years later, while visiting Kaho‘olawe, Bo witnessed a group of school children on a field trip learning the history of the ravaged and resurged island. As Bo watched the children’s innocence in being taught this prominent piece of their culture, Bo reflects, “It dawned on me that what I did for the island was a rich experience of my life, and maybe this is my purpose: to do these programs.” Kaho‘olawe Adze Quarry, 1978

Cultivating the ‘Āina

As the Kaho‘olawe ‘Ohana Project grew to a close, Bo saw an opportunity to enhance the cultural teaching at the University of Hawai‘i. Bo knew, at the core of ‘ohana, is the ‘ohā, the shoot growing from the older root of the taro plant—the offspring, the youngsters. How was the origin of taro farming going to be preserved with the new generations in the urban areas? In 1979, Bo and several friends discovered the abandoned ‘auwai (irrigation ditch) at Kanewai, adjacent to UH Mānoa. Many hours of hard labor and commitment transpired as they began cleaning up the land on their days off, unveiling the fresh water stream and dam that would become the lo‘i (taro patch). It took a few years to develop the farm, and when all was completed, this program provided the first taro cultivation curriculum for the university. Today, the Ka Papa Lo‘i o Kanewai is a Hawaiian cultural research and outreach program housed in the Hawai‘inuiakea School of Hawaiian Knowledge at UH Mānoa. Thousands of students have been served by the program, which offers a cultural experience in planting, crop rotation, harvesting, and cooking of taro. The ‘ohā is growing on the land and in the hearts and minds of the new generations.

Destination: Hawai‘i Island

In 1998, Bo and his family moved from Hilo to Kailua-Kona where he acquired property in the Villages of La‘i ‘Ōpua, Native Hawaiian homelands in North Kona. Bo and five other families joined the DHHL self-help project and worked together to build each other’s houses. Proud and forthright, Bo had brought his family home to where they could live, go to school, and have their jobs. They had a community. And yet, in looking around, Bo felt his past in Kalihi eerily presenting itself in front of him. There were 225 homes in this development with a future projection of another 1000 units to be built. He looked at the plans, and realized that there was not a community infrastructure in place, and his past flashed before him as if in a déjà vu dream. Something needed to change.

The San Francisco State College Phoenix newspaper, May 13, 1982.

While serving as the Kaniohale Community Association (KCA) President in 2002, Bo was also working as the Bailiff in the Third District Court. In the court system, Bo recounted, “You see the people struggling, and it brought back the urban issues for me; the justice system was trying to reconcile the downfall in our communities.” La‘i ‘Ōpua had a small community services room that allowed some of the residents to use the area for meetings, hālau gatherings, and recreation. At one point, they tried to hold computer classes in the community center, however, they had to set up the computers in the kitchen area and then take all

the computers out whenever there was a function. Even in the infancy of this development, their needs had already outgrown the original community services facility.

La‘i ‘Ōpua 2020

Bo set out to assist in the incorporation of a nonprofit organization to plan for the growth in his neighborhood community. After being awarded State and Federal nonprofit status, Bo, as President of KCA, applied for and won a $125,000 grant for the vision of La‘i ‘Ōpua. | March/April 2013


La‘i ‘Ōpua Master Plan

Bo could see the vision of La‘i ‘Ōpua come to life as he had meetings with community and political groups. He also understood that it would take a full time effort to bring the project to fruition. He made the decision to quit his State job and devote a permanent commitment to develop and manage the funding campaigns for what is now known as La‘i ‘Ōpua 2020. People close to him doubted his move, as he would be not earning a consistent income during the time. And yet, Bo related, “My satisfaction is that one day we will make this happen—a brighter and better place, offering a quality of life that is worthy of the community.” Today, Bo is the Executive Director of La‘i ‘Ōpua 2020 with a modest staff of two, and has raised with its partners, over $8 million to date for the first phase of this development project. From the streets of Kalihi to the shores of North Kona, Bo has brought full circle the creation of a community infrastructure that will provide for the social and educational needs of its residents and surrounding areas. The vision for La‘i ‘Ōpua 2020 is built on an urgent need for a gathering place, formed from the cultural and spiritual values inherent in the land and people of Hawai‘i. Their goal is to ensure the existence of adequate health care, social service, and recreational facilities to complement and support the Native Hawaiian homesteaders and nearby populace residing in the greater Kealakehe community. With 275 homes resided in at Villages of La’i ‘Ōpua, there is an additional 2,300 mixed-use units planned for the Forest City Villages at Keahuolu, and 975 units planned for the Villages of La‘i ‘Ōpua—a total of over 3,500 residential units in need of a community infrastructure to support its residents. La‘i ‘Ōpua Construction

Serving as a model for emerging communities statewide, La‘i ‘Ōpua 2020 includes the Community Center—a 52,000 square-foot complex facility, which will offer an array of programs and services to meet almost every health, social, educational, and recreational need of the community and its surrounding neighbors.

Power of Partnerships

La‘i ‘Ōpua 2020 is partnering with several local agencies and organizations to provide these valuable services and programs together in one place. The West Hawai‘i Community Health Center is committed to bring medical, dental, behavior health, family planning, and health education to La‘i ‘Ōpua. The WHCHC will have a 26,000 square foot medical center and the ability to stabilize patients and call ambulatory transportation assistance. Plans are also underway for Kamehameha Schools to build a state of the art preschool on two acres of the Center’s grounds.

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L-R: Bo Kahui, Congresswoman Mazie Hirono, Senator Daniel Inouye, Senator Daniel Akaka, KCA President Dora Aio-Lemonds, OHA–Ruby McDonald, KHS Principle–Wil Murakami, and Greg Jacksons of Utah.

Living Heritage

At some point in our lives, there comes a time of reflection as to what is our purpose, what is our legacy. Craig ‘Bo’ Kahui has lived and answered that question many times over. Looking out beyond the confines of his office, he sees the prospect of something bright and worthy of his Native Hawaiian heritage—a deeper sense of community in a place where everyone deserves a promising future. ❖

For more information about La‘i ‘Ōpua 2020: Contact Craig ‘Bo’ Kahui:, 808.327.1221 Contact writer Gayle ‘Kaleilehua’ Greco: Photos by: Craig ‘Bo’ Kahui and Gayle ‘Kaleilehua’ Greco

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In addition to the Community Center, medical clinic, and preschool, La‘i ‘Ōpua will host a social service center, intergeneration daycare facility, abuse shelter, community gymnasium, aquatic center, and amphitheatre. A further $16 million is needed to uphold this first-phase conceptual plan. Without the necessary funding, the current and proposed residential units will be an example of unintended socioeconomic housing that leaves the people disconnected from the services that would unify them as a community. Having seen the effects of this in his lifetime, Bo has vowed to do what he can to educate and lead a proactive effort to benefit the growing population of Hawai‘i Island.


36 | March/April 2013


a’ū-based, artist Edwin Kayton approaches his work in just the same way he lives his life: quietly with humility and respect for humanity, spirituality, culture, and nature. And it’s these very qualities that have endeared him to the people of the Hawaiian Islands since relocating here from Oregon in 1976. Edwin, better known as Ed, is a champion of the revitalization of island traditions—in great part, he believes, sparked by the ocean voyages of the double-hulled sailing canoes Hōkūle‘a, Mauloa, Hawai‘i Loa and Makali‘i (all precise replicas of these ancient Polynesian sailing crafts). He has created a strong bond of trust with the Hawaiian community, affording him opportunities to attend and document cultural ceremonies and events that have inspired his work, while also serving to visually preserve the history and traditions for future generations. “You cannot live here and not be affected by the Hawaiian culture. It’s so great that it’s being kept alive and that it’s being invigorated,” Ed says. Often referred to as a “renaissance man” by gallery owners and critics, Ed has been prolific in the mediums of oil, drawing, and sculpture for more than 30 years.

Edwin Kayton

Advocate of Island Renaissance |

Best known as a figurative painter, his subjects focus primarily on the Hawaiian personality, European cultures, and the Western genre (think paniolos or cowboys, horses, cows, and bulls that reflect both the history and contemporary lifestyle of Hawai‘i’s upcountry communities). “The people I portray are individuals I have come to know personally over the years through my interactions with them. Their personal stories play a role in the image that emerges in the final piece,” Ed says. Portraits of wahine and kāne hula kahiko (ancient) comprise one of the largest segments of his work, occasionally including hula ‘auwana (modern). “I enjoy photographing the spontaneous interaction between hula hālau (dance group) members prior to and just after a performance as much as the dancing itself,” he adds, and this is clearly illustrated in his paintings. He has most recently added “true fresco” to his repertoire—a medium derived from his annual visits to Italy with his sister and agent, Verna Keoho. Working from photographs of his subjects is one of his preferred methods. Currently, according to Verna, his online database contains 60,000 photographs— all taken by Ed. “Ed works only from his own store of personal photographs, all categorized and quite easy to find,” Verna says. | March/April 2013

“‘Olapa Kia” Kia dancing in the forest—Ed has portrayed Kia Fronda of Waipi‘o Valley many times—dancing hula, playing nose flute and making hula implements.

By Margaret Kearns

37 | March/April 2013

“Spirit of Pomai” Pomaikai embodies the natural grace of Hawai‘i’s people, as a dancer and with her innate spirit of Aloha.


As for his passion for hula, Ed says it is much more than dance. “Hula tells the story of Hawai‘i’s ancient and contemporary life in every sense.” And the extensive training that’s imperative to mastering hula, he says, also offers multiple learning situations: the Hawaiian language, the creation of implements, attire, and activities relative to “Amid the Swells” Hōkūle‘a’s voyages throughout the vast the hālau. Pacific using celestial navigation have “I rarely paint confirmed the ancient art of wayfinding, contemporary a skill nearly forgotten in our hula. I like contemporary world. kahiko hula, | March/April 2013

the old-time feeling it invokes. And I often introduce elements that suggest the piece could have been painted 150 years ago or something painted today. I like that ambiguity; it encourages viewers to forget about being concerned with what time period it was created and simply enjoy the image, the feeling they get from it, and the atmosphere of the moment,” he says. Ed’s deep-rooted appreciation for the art of hula began with his introduction to one of Hawai‘i Island’s most respected kumu hula (teacher) A‘ala Roy Akana when he moved here in 1981. Members of her hālau permitted Ed to photograph them for portrayals. Immediately following A‘ala’s death, her student, Pua Case, afforded Ed the same courtesy when she formed the award-winning hula hālau Ke‘alaonamaupua. “Ed has been portraying Pua and her two sisters for more than 30 years now. He also had the opportunity to paint a portrait of Uncle George Na‘ope, who created the concept of the Merrie Monarch Festival,” Verna says. Pua also introduced Ed to members of Na Koa and Na Kalai Wa‘a, which eventually led to invitations to observe and photograph cultural ceremonies. “The awakening of the adze” protocol held on the high slopes of Mauna Loa in 1993 eventually


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“Bello Cavallo” “I chose to paint this stallion, which was part of the annual medieval festival in Bevagna, Italy, because I was attracted to the dramatic light and shadow on the horse as well as the color shift from the blues in his hindquarters to the rich browns across his back and shoulder.” led to a series of portrayals of Hōkūle‘a, Makali‘i and Mauloa canoes. The voyaging canoes and the ancient mariners who sailed them make up another important category of Ed’s work. Ed recently published a coffee table book documenting some of his artistic endeavors illustrated by the variety of subjects that have captured his interest over the past several years. A Journey, published in 2012, includes more than 150 paintings and drawings of Hawaiian, Italian, and western themes. “Ed’s story is actually more about the people in his artwork and the role they have played in his life. His spirit saturates every subject he chooses to portray—often focusing on the lines of age and character rather than a typical approach to ‘beauty’. Ed, however, is equally at home expressing the physical “Breath of Pele” attractiveness Emerging from the depths of the Pacific, of Hawai‘i’s Pele sent her fiery messages through people,” lava tubes and broad fields of ‘a‘ā, Verna says. shaping the sacred land. His artistic journey began in Oregon. “I attended the Museum Art School (now Pacific Northwest School of Art) in Portland, Oregon received the Outstanding Student Award at graduation. At the time you had a choice between taking classes to become an art teacher or classes to be an artist. I had no desire to teach, so chose the latter and was completely immersed in the making of art for five years,” he recounts. His background includes drafting, graphics, and woodworking in addition to the fine arts. Following several years of work as an | March/April 2013

industrial illustrator in Oregon, he moved to Honolulu, eventually managing the graphic arts department at Trade Publishing. “In 1981, I made a personal commitment to become a full-time artist as I moved to Hawai‘i Island. I’ve been painting, drawing, and sculpting ever since,” he says. Ed especially appreciates the work of 17th century artist, Rembrandt and his amazing use of chiaroscuro, the strong contrast between light and shade to create atmosphere and achieve a sense of volume in modeling threedimensional sculptural objects, including the human body. Another Kayton signature includes combining the “Comin’ In Outta’ the Rain” bright color Ed is enamored with the possibility of relationships of creating a dramatic atmosphere around Impressionist his primary subjects each time he begins a paintings with painting. He enjoyed this one immensely. the realistic forms found in Classical paintings that alter shapes, values, and colors to define balance, movement, and mood. Ed concludes, “Every artist has his or her own beliefs about spirituality and human nature and these perspectives come through in their art. As skills develop, these perspectives become more and more clear. This isn’t something that’s taught, rather it is something that simply comes through as a natural part of expressing yourself as an artist.” He continues adding, “I love humanity, and to me humanity and spirituality are one, they are combined.” ❖


Ed teaches occasional classes in oil painting in Kailua-Kona, a few select cities on the mainland, as well as Italy. His instruction is as exacting as his personal portrayals, covering all aspects of oil painting, emphasizing composition, and technique. Purchase Ed’s artwork: Lavender Moon Gallery (Kainaliu), Wishard Gallery (Waimea and Waikoloa), Colette’s Custom Framing (KailuaKona), Harbor Gallery (Kawaihae), Volcano Art Center (Hawai‘i Volcanoes National Park) Edʻs artwork: For classes information contact Verna: Contact writer Margaret Kearns:

Kūpuna Talk Story

s a filmmaker and storyteller, I have been blessed with the gift of sharing the mana‘o (knowledge) of more than 60 of Hawai‘i’s most revered kūpuna in spirited conversations exploring the cultural legacy they carry in their memory. Each conversation has been a journey back in time into the world they inhabited, through their eyes, and expressed in their words. This Kūpuna Talk Story series begins with excerpts from a conversation with Herb Kāne in 2004 during the filming of The Magic of Makali‘i.


“Sailing across the channels, especially the ‘Alenuihāhā Channel between Maui and Hawai‘i in the middle of the night, we encountered one squall after another and 12-foot swells. It was so dark you could see phosphorescence breaking on the top of the waves. During initial sea trials of the Hōkūle‘a,

By Keith Nealy

that channel was the hairiest experience of it all. I felt that the canoe was going to get us through okay. As you start crossing the channel the swells start heaping up because they reflect off the cliffs on both Maui and Hawai‘i. And so these reflective swells meet and they suddenly pile up and crash, and it can get a bit exciting. We got through that okay, and by daybreak we were just screaming off of South Kohala, still running with the wind on our port quarter. And I would swear that we were doing 17 knots—and that’s after we had bailed out [laughs], checking every few minutes for water that got into the hulls and bailing pretty constantly. Yeah, it was pretty exciting.” Having this conversation with Herb Kāne, I felt like a little kid talking with Superman as Herb had been my hero since I was a boy sailing off East Hampton, Long Island, imagining | March/April 2013


Herb Kawainui Kāne: Father of the Hawaiian Renaissance |


Herbʻs drawing of the Hōkūle‘a

I was a Polynesian voyager. Many people know Herb Kawainui Kāne as the premiere Hawaiian artist famous for his paintings of ka po‘e kahiko (the people of old) and his sculptures and books on Hawaiian cultural history. Not many know him as the catalyst responsible for the Hawaiian cultural renaissance in the 1970s, continuing to this very day. Nainoa Thompson, navigator of the Hōkūle‘a, says Kāne was “the visionary, the dreamer, and he was the architect and the engineer. He’s the one who carried the burden of building and constructing and sailing Hōkūle‘a. When you look at Herb’s legacy, it is transforming Hawai‘i’s society because he brought pride and culture and inspiration back through the canoe... He is the father of the Hawaiian Renaissance.”


Herb, what were some of the things that might’ve gone through your mind when you were sailing…thinking about what it must have been like centuries ago? | March/April 2013



I felt a closeness to the old people. At night—the first time steering to Kaua‘i from Hawai‘i—I knew the stars and I took dead aim on them. It was a dark night with no moon. I steered on the stars and I thought, Well, here I am using the same stars that some people used a long, long time ago, and we’ll see what happens now when the sun comes up. Well, the sun came up and we were off Kīlauea Lighthouse on Kaua‘i—exactly where I hoped we’d be.

Keith: Herb: I felt very connected. I saw this not just for myself,

What did it do for you in terms of you connecting to your culture? How did that make you feel? but happily with all the guys and gals who trained on the canoe. That they had this feeling of connection to the past in a very positive way, very spiritual way, but without getting into discussing it, without getting into trying to explain it, knowing that there are some things that defy explanation in words.


You know what it’s like being out in rough seas, being pushed to the limit. And I just keep thinking that the ancient voyagers must have had—through their oneness with nature—

a different sense of fear or of courage, of being more comfortable with it. Have you thought about that at all?


They had a different worldview than ours. To them it was their own world, it was their only world. We can see the difference in attitude between the ocean people— the Polynesians, the Micronesians—and people who lived on continents and were much more reluctant to leave those continents and sail away from the comforting presence of those continents, fearing they might even fall off the edge of the world.

Keith: What was the reason that you created the Hōkūle‘a? Herb: Ben Finney and I and Tommy Holmes were the three

collaborators who created the Polynesian Voyaging Society and Hōkūle‘a. Tommy was a canoe paddler. For him, it was strictly adventure. For Ben, he was chairman of the anthropology division at the University of Hawai‘i and it was an opportunity to answer some of the scientific questions. One of the reasons we created the Hōkūle‘a was to test the performance of a wa‘a kaulua (an ocean-going double-hulled voyaging canoe) and come to some conclusion as to the worldwide debate about Polynesian maritime capabilities. But there was another overriding reason from my point of view, which was not the scientific reason, but the cultural reason. I saw the canoe as the central object of the entire culture. It lay at the heart of the culture. It lay at the center of the cultural web. And everything about the culture was somehow—even if peripherally—related to the canoe. And my interest at that time was to rebuild the central object to see if that would inspire our renaissance. You see, no culture can exist without its objects. If a cultural loses an integral object that’s cultural disintegration. And people may retain a memory of it, which erodes and becomes distorted with time and eventually fades and then it’s forgotten. But bring that object back and you can effectuate the regeneration of the culture.

Keith: Herb: Yes, they were lost because we don’t live with that

Do you think that some of the values the ancient voyagers had have been lost over time?

Keith: Herb: [smiles happily] Mau is a friend. Ben Finney suggested

What were your experiences with master navigator Mau Piulug from Micronesia?

bringing Mau in because he is of a culture in which navigation has not been interrupted. They still build canoes the same way that they did 500 years ago. They still sail in the same way they did 500 years ago and these are excellent canoes. In fact, I’ve been researching the type of canoe that they sail and I’ve done a painting of that type of canoe. I want to carry on with that, to do some explanatory drawings of how they can be put together. It’s a very complicated system of struts and pieces that are all locked | March/April 2013

intimacy with nature any longer. We don’t have the respect for nature that they did. They had an idea that one had to live in harmony with nature; that everything had to be kept in balance, in lōkahi. Theirs was a universe of opposites—in which everything had to be balanced by an opposite. There cannot be any heat without cold. You cannot identify light if you don’t know darkness. There is an eternal opposition between masculine and feminine. But these opposites created a constructive tension throughout the entire fabric of the universe and it was thus planned by the original spirits. And one did everything one could to preserve that harmonious balance to live successfully. If you disrupted that, bad things could happen.


geography. He is the only living master who can read the stars, the swells, the sealife, and be at one with the natural and spiritual forces to find his way in the vast Pacific Ocean. He’s amazing.


When I interviewed Mau, he told me a fascinating story about when they were on their way to Tahiti on Hōkūle‘a’s maiden voyage. While he was resting down below, he was still tracking the swells. I had heard a rumor that he was the only person alive who could track five different swells at the same time. And he told me that he came up from below because they had turned completely 180° around. It was a total cloudy dark night, so navigation was almost impossible, and he told the captain ‘you’re going back to Honolulu.’ Finally the clouds broke and they were able to see some stars, and sure enough they were making a slow wide turn and were headed back to Honolulu. Herb laughs.

Micronesian canoe with interlocking pieces built on Satawal. Photo by Keith Nealy

together, and I could not get hold of any photographs. So, I had a model made on Satawal.

Keith: Herb: Excellent—absolutely flawless—within his sphere of

What do you think about Mau’s capability for wayfinding navigation?

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A number of years ago, I was sailing on Makali‘i to Maui across the ‘Alenuihāhā Channel at night and had a similar experience as you had with the 12-foot erratic swells. I had always been very impressed with the skills of the women sailors who have been sailing Makali‘i, but that night the women were particularly impressive. Was that always the case?


That was an idea we had from the very beginning. And we had some problems with that, with some old-timers [who] said that women didn’t go on canoes. Well, how the hell did they get here if they didn’t come on canoes? [laughs]. Yes, we had some problems with that, but we just didn’t pay any attention to some of those remarks. Today, there are many great women sailors.

Keith: Herb: Yes, I think it was. And my dad did tell me, he said,

Was building the Hōkūle‘a also an essential way for you to reconnect to your own Hawaiian cultural roots? “You’ve done alright, much to my surprise. I never thought you’d make it as an artist, but you’ve done okay. So I’d really appreciate if you go back to Hawai‘i and do something for the people.”


I’ve talked to many kūpuna who feel the need to come together to move into the future—saying Hawaiians and Westerners need to put aside a lot of the problems to i mua (move forward) by building a bridge between the cultures. In your book Voyagers (1991, 2nd edition 2006), you talked about the Polynesian world and the Judeo-Christian world where you describe the Western world developing technologically and the Polynesian world being more one with nature. It seems that as a world society, what we need is the best of both worlds to avoid destroying our planet. How do we build that bridge to get us to work together to move forward? Is that something you think about?

Herb: Yes, I do think about it. Politeness is very important.

Dignity. Restraint. One of the problems noticeably in my own life

span is the multiplicity of choices. And that means two things. It means that we have wants that are becoming needs. And we have a dangerous consumerism and demand for goods that is rapidly stripping our planet of its natural resources. So I think the lesson that we can learn from the Neolithic people that were here in 1778—who had an affluent culture—is that there’s something that they had that we are missing. And that we have to—through some kind of discipline—go on a quest to reacquire some of those values. And not just for Hawaiians or Polynesians or Southwest American Indians, but for everybody in the world. In June of 2013 the Hōkūle‘a and its support vessel, Hikianalia, will embark on a four-year World Wide Voyage to carry the message that ancient wisdom can and will inspire contemporary solutions toward a healthy and sustainable future for our planet. The quest Herb dreamed about many years ago is finally becoming a reality. Herb Kāne passed March 8, 2011, on the 36th anniversary of the launch of the Hōkūle‘a, leaving a vast legacy. I think most people would agree that Herb’s dad would be very proud of him. ❖ Hokulea II image provided by Fine Balance Imaging Studios, Herb Kāne fine art prints available at:, Contact writer Keith Nealy: Kūpuna Talk Story ©2013 Keith Nealy Productions | March/April 2013

47 | March/April 2013


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Mālama Honua—Care for the Earth

The Worldwide Voyage of the Hōkūle‘a and the Hikianalia | By Keith Nealy

I | March/April 2013

t is no surprise to the majority of people in the world that our planet is suffering from climate change; the depletion of natural resources; the degradation of our land, sea and air—conflicts that result from overconsumption and greed. As an individual, as a community, and as a nation we are left wondering who is going to do something about this? That answer may come as a surprise to many people. In June 2013, the Polynesian voyaging canoe, Hōkūle‘a, and its brand-new, state-of-the-art sister canoe, Hikianalia, will leave Hilo on the island of Hawai‘i and begin a four-year journey around the world, covering 46,000 miles to 21 countries with 65 currently planned landfalls. They sail for peace, for the love of our planet, and with a desire to leave the children of the world a hopeful, healthy future. Hawai‘i Island will play a major role in these voyages as currently there are only five captains qualified to sail these canoes and three of them live here: “Shorty” Bertelmann, Chadd Cody Onihi Paishon, and Kalepa Baybayan. Shorty and Chadd have been instrumental in the Na Kalai Wa‘a (the canoe builders) Makali‘i voyaging programs on Hawai‘i island for more than 20 years. Kalepa Baybayan is the voyaging captain and cultural advisor at ‘Imiloa Astronomy center in Hilo. More than 500 crew members will be needed to sail all the legs of the voyage. Many of them from Hawai‘i Island are in training now. In 1976, the Hōkūle‘a made its initial historic voyage from Hawai‘i to Tahiti guided by master navigator Mau Pialug from Satawal, Micronesia. As one of the last living navigators of the ancient art of wayfinding—finding land without the use of charts or instruments—Mau was concerned about passing on his knowledge, so he agreed to teach what he knew to Nainoa Thompson of O‘ahu and Shorty Bertelmann of Hawai‘i Island with

Crew member,

the agreement Mana‘o Ikeda, that they would raises the sails while Captain Chadd teach others. Paishon sets the When asked course. about Shorty, Chadd Paishon, captain of the Makali‘i says, “We consider Shorty the senior of the five of us because Shorty was Mau’s first student. Shorty was on Hōkūle‘a since the beginning in 1976 when he made the first voyage and really has been the closest one to Mau, in wisdom and experiences.” Wayfinding navigation is an ancient, somewhat C had spiritual, and mysterious d Pai s hon art. Mau was the last of the grand masters and was held in great reverence by all Polynesian voyagers. To be his student was an honor and one that Shorty carries with ha‘aha‘a (humbleness) that elicits respect in all who meet him. Part of that comes from knowing that with this gift of knowledge he carries the responsibility to pass it on to the next generation.

49 | March/April 2013


Among adventurers who risk everything, there comes a great respect, camaraderie, and humor. “In mannerisms, Shorty is very much like Mau,” Chadd laughs, “So we kid Shorty, and call him Yoda—just because of his wisdom is so deep. Shorty is a very special spirit— he’s no different than Mau; they are very Shorty Bertlelmann much alike.” Yet Chadd and Chadd and Shorty Shorty are different. Chadd is a huge bear of a man with a big laugh and a heart of gold. Shorty is thoughtful, quiet, and well—Yoda—full of wisdom that comes from hard-earned experience. Observing Shorty training some students, Chadd says, “In the last few years, Shorty has really come into his own and become quite a teacher for the crew and the students. It’s been really special to watch him and see what he’s doing.” Chadd continues with one of the highest compliments, “He’s been there”—meaning, there is no substitute for real experience —“And it’s very exciting to watch him share his knowledge. Shorty is a very quiet man, and when he speaks—you want to be there.” Mau’s other pupil, Nainoa Thompson, instructed Kalepa Baybayan in the art of wayfinding. From the tender age of 19, Kalepa had his sights set on the sails. In a 2000 interview with Sam Low, Kalepa is quoted as saying, “When I first saw Hōkūle’a in 1975, it just grabbed my heart. I knew that if there was anything in life that I wanted to do it was sail on her.” Eight Hōkūle‘a voyages have since been led by Kalepa. He currently works as Navigator-in-Residence at ‘Imiloa Astronomy Center. It is through this work, Chadd says, Kalepa has “expanded the opportunity for people to experience voyaging…a great example of giving back to the communities that have given so much to our canoes.” Just as his teachers before him, Kalepa is helping to perpetuate the knowledge and skills required to keep the wayfinding techniques of Kalepa Baybayan the kupuna alive.

The Vision

The Polynesian Voyaging Society says, “The mission of Hōkūle‘a’s Worldwide Voyage is to navigate toward a healthy and sustainable future for ourselves, our home—the Hawaiian Islands—and our Island Earth through voyaging and new ways of learning. Our core message is to mālama (care for) Island Earth— our natural environment, children, and all humankind.” This will be accomplished with educational programs on all levels that will utilize sophisticated tracking and communications technology to monitor the canoes via the internet and allow students to interact and follow the exploits of the canoes and Kumu Pua Case and students at the crew members. Voyager Exhibit, Kahilu Theater On Hawai‘i Island, the educational programs have begun with a corps of teachers assisted by Kumu Pua Case of Waimea along with teacher training in all of the schools to help them develop school programs. One goes on the Makali‘i and is trained in voyaging, navigation, resource management, and sustainability. Chadd says, ”By using crew members who are on-island, we can send them into the classrooms to assist the teachers to teach those lessons.” “We’ve taught a chant recently to all of the teachers called ‘Malana Mai.’ It’s a chant that connects all of our communities on the island. It was created by Queen Emma when she came to Hawai‘i Island. It’s about 200 lines long, but we only took the portion of it where she describes Hawai‘i Island like a canoe and the different districts as different parts of the canoe. By educating each one of these teachers who will be sharing it with their students, they understand that as an island whole—like the voyage—we are all connected.” | March/April 2013

U‘i Malakaua, Keli‘i "Sonny" Roldan, Leiohu Colburn, Elijah Kupaianaha Anakalea`Buckley, and Loyal Baisa— learning to lash one of the two steering paddles (hoe).


Aloha Per forming Ar ts Company Presents

Aloha Theatre February 15-March 10, 2013 Fri, Sat 7:30 - Sun 2:30

Adults $25 - Young Adults / Seniors $20 - Children $10 | March/April 2013 808-322-9924


Based on the book by L. Frank Baum Music by Harold Arlen and E.Y. Harburg

“Connecting our communities to the culture can sometimes be a challenge. The thing for our communities to understand is that our culture is a living lifestyle that does not have an on-off switch. It’s understanding that when you choose to live your culture as a lifestyle, that it’s in everything you do, it’s in every person that you interact with. And when we say “He wa‘a he moku, he moku he wa‘a” (the canoe is an island, the island is a canoe), it isn’t for a special event. You are your culture—Every day—every morning, every night. That is who you are.” I told Chadd, “When Clay Bertelmann was captain, he taught me that Makali‘i is not really about sailing—it’s about living the old ways.” Chadd laughed and said, ”Sailing is just the icing on the cake. Makali‘i has always been about who you are as a person—who you are going to be in your life. Some of those kids who sailed with us when you first started with us 10 or 12 years ago are teachers now. They are the ones teaching these chants to their kids.” He continues, “I think this voyage for me—means that the possibility of my ancestors going far beyond the horizon, even outside of Polynesia, is possible. Because, if I think that we can do this, why wouldn’t my ancestors have thought the same? Because, I am them. For me, this voyage is about how great a people that I come from—that we understood our connection to our world. That the same ocean that touches our moku (island) touches another many miles away. The same winds that blow through our sails carry us far beyond our horizons. And that our only limitations are within our own mind. So this voyage is a reaffirmation that I come from a people without boundaries.” A profound aspect of this journey, is that the canoes will travel the planet uniting with indigenous people around the globe sharing their mana‘o (knowledge) and creating a network of native knowledge and sharing this with the rest of the world to create awareness and a unique indigenous perspective of the global situation. They believe that ancient wisdom can and will inspire contemporary solutions. Westerners might question the validity of an indigenous point of view and discount it due to western stereotypes of indigenous people being inferior in technology and sophistication, though many learned scholars have strongly disagree with those theories. As an artist and historian, Herb Kāne, in his book, Voyagers, discusses the dichotomy of two civilizations where the western world was developing an audacity using technology to dominate the world, while the Polynesian world as an indigenous culture were developing a supernatural approach, becoming at one and more harmonious with nature and succeeding in a different way. Their development of lōkahi—of being in unity or balance or in a harmonious relationship with the natural and spiritual world— made them one of the healthiest and successful people on the

Sponsors: This program is sponsored in part by the State Foundation on Culture and the Arts through appropriations from the Legislature of the State of Hawaii.

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Kim Bennett, Loyal Baisa, Kanana Kuhaulua attach the mainsail to the mast and boom.

Crew member and teacher Rod Floro explains navigation to Tyler Uehara, while crew member Kailin Kim shows teacher Kanana Kuhaulua how to steer the canoe.

in balance and harmony and justice. That it is just about what is pono, what is right, what should be. “The awakening is taking place around the planet.” Reflecting on the people of Hawai‘i Island, Pua says, “Our young people in their classrooms are going to get to know what it’s like to live on the other side of the world—something they never would have been exposed to or would have experienced. That’s going to be available to them.” When I asked Chadd what his dream for this island was he said, “For our makua (parents), ask your kids what they know about this voyage. Then allow the conversation to happen. Engage with them in a way that will have them ask questions. It’s important that we have our community, our makua, our kumu (teachers), and schools talk with our young people so they understand it is important for them to be involved on this island, with the community, and with their family. Simple things are the most important. We need to constantly challenge ourselves to be better each day. We can do great things—and our youth need to understand that. They need us to be those examples, and if we can do that, their future is going to be great.” Excited for the possibilities, Pua added, “What I hope for everyone is—don’t miss out! Don’t miss out on the opportunity to be a part of this voyage in any way your heart says—I must be a part of the Kumu voyage. Don’t miss the boat! Pua Case Get on board—be a part of it, because it will change you, even if it’s a small change. At the end of the voyage you will be a bigger, deeper, transformed person if you just get on board. Just get on board.” ❖ For more information Worldwide Voyage:,@HokuleaWWV on Twitter Polynesian Voyaging Society: 808.842.1101, Makali‘i/Na Kalai Wa‘a: 808.885.9500, Contact writer and photographer Keith Nealy: | March/April 2013

planet. They were the finest sailors and explorers the world has ever known, exploring 10 million square miles of the Pacific Ocean and more than 100,000 islands. All this was accomplished more than 1,000 years before the European sailors ever left sight of their shore—and they did it without any navigational instruments. Also in support of this ancient Hawaiian wisdom is Kenneth Brown, the great grandson of John Papa Īī, advisor to King Kamehameha IV, a successful businessman, architect, and a visionary who supported Hawaiian cultural growth. “To the Hawaiian, the universe he knew was coherent and harmonious. For the westerner, the further the science took him up into cosmic space, and down into micro physics, the less it served as an acceptable discipline for living.” Dr. George Kanahele, the spiritual father of the Hawaiian renaissance, in his book Ku Kanaka offers, “We are a people with profound capacity for experiencing that which is extraordinary, sacred or kapu; a people with an abiding faith in the shared divinity—the mana—of man, nature and the cosmos beyond; a people able from the primal past to explain through myth, symbolism, and ritual transcendent realities of life; a people ‘in sync’ with the rhythms of the universe; a people who see time not as a linear measurement but is a qualitative experience: a people with an unsurpassed sense of place and the unity of all things.” Hawaiians and other indigenous people have been tracking the declining situation on the earth for many decades and are rising up making their voices heard. Kumu Pua Case is a warrior on Hawai‘i Island who is answering the call by supporting the WWV as an educator and by adding her voice to take a stand for what is right. “There is no coincidence here that at the beginning of this year, globally there is a shift in the air; by our relations in Canada, in Mexico, in Aotearoa, in Peru—they are idle no more—they are saying enough is enough. I am hopeful that it is grounded in peace and it is grounded in compassion and grounded in what is right for the earth and sky and for all of us


Free Volcano Rain Forest Tour Mondays at 9:30am & Saturday at 11:00am

Meet Ni‘aulani

A protected old-growth native Hawaiian rain forest. Learn how you can help | March/April 2013

perpetuate this rare natural/cultural resource for future generations.


1 Hour Guided Walk On an easy gravel trail--rain or shine. Be prepared for variable weather

Reservations of groups of 5 or more appreciated. Sign interpretation arranged with 2 week notice


19-4074 Old Volcano Rd. Volcano HI 96785

Every Store Has a Story Kīlauea General Store


“The quilt shop was the dream of Ola’s mom,” says Kathy. “Unfortunately, she passed away the month and the year that it opened. She never got to see it…. Of course, it’s a business; you have to run it. It’s been a real good thing for artists in the community. We have over 200 local artists.” They added Volcano’s Lava Rock Café a couple of years later. The store, the restaurant, and the quilt shop have expanded and modernized over the years. The interior of Kīlauea General now sports modern grocery displays, checkout stations, and an espresso/smoothie counter. And it retains the essence of a village general store: an idiosyncratic plethora of goods, from used books to handmade thick-crust pizzas. The air in the store is often fragrant with the aromas of homegrown products cooking in back: banana bread, ‘ōhelo berry jam, bread pudding, | March/April 2013

estled in a grove of feral bamboo in old Volcano Village is a love affair that looks like a general store. There are some outward signs that this is more than just a store: the big mural by local artist Kathleen Kam covering most of the store’s front is a panorama lovingly depicting most of the native birds and plants of Kīlauea’s rainforest. Or the second mural, painted by Kam and the owner’s children, which decorates the courtyard of the little sit-down café and bar behind the store. Or the comfortable benches under the roof eaves, where customers can stop to drink a soda or read the paper. Or the quilt shop in back, packed with handmade Hawaiian quilts, quilting supplies, and a huge range of works by local artists and craftspeople. This isn’t just a quick-trip joint, hustling customers in and out once they’ve spent their dollars. It’s designed to invite people in to sit a spell, to linger, and get to know the community. “The quilt shop was driven by passion,” says Kathy Tripp, who co-owns the Kīlauea General Store with her husband, Ola. “The restaurant is driven by passion, because we love local food and we love to eat out, and we wanted someplace affordable for families because we have a large family. Everything we do is a part of us. We love coffee, so we have espresso. We love sandwiches….” The Tripp family—originally Kathy, Ola, and Kathy’s mom, Audrey Kaneshiro—bought Kīlauea General in 1987. Ola’s mother, Momi Kalauli, was a lauhala weaver and Kathy was a quilter, so it was only natural for them to open the quilt shop, Kīlauea Creations, in a small garage-storage building behind the main store in 1995 to support quilters and Volcano’s growing arts and crafts community.

| By Alan McNarie


Come, sit a spell and enjoy the good food | March/April 2013

pepper jelly. Along a set of shelves on a back wall are hundreds of DVDs and Blue Rays—no red metal boxes here—for residents and tourists who need to while away a rainy Volcano evening. And this being Volcano, that loftiest and chilliest of all Hawai‘i’s communities, the usual tourist T-shirts have been replaced by a rack full of Lava Rock Café sweatshirts. And of course, like any good country store, there’s a local family at the heart of the business. Kathy and Ola grew up together in Hilo. “We’re locally born and raised. I met her in middle school,” says Ola, then adds, with a grin, “I haven’t been able to get rid of her since.” Sharing a workplace can be the death of some marriages. But after more than a quarter-century of working together, the Tripps are still very much in love. They thrive on each other’s company.


“It’s a personality thing,” says Ola.” Understanding the gifts that she possesses—I recognize the value of that and I don’t want to interfere because it only benefits me. It’s more important than just me, because together we can do way more.” “We wouldn’t be able survive what life throws at us without each other,” states Kathy. Ola’s cousin-in-law, Adele, serves as store manager, and her husband Rupert (Ola’s cousin) also sings in the musical group Kalapana and often can be found performing solos during the evening at the Lava Rock. Kathy does the accounting for the business. “I’m good at administration and delegating,” she says. And Ola? “There’s nothing he can’t do in any area: electrician, carpenter, plumber,” she says. And she quickly adds, “The most important thing he does is he keeps everybody laughing. We’re both people persons, but he’s definitely Mr. Aloha.” “I guess you’ve heard the term, front of the store, back of the store?” he says. “I’m front of the store.” He’s often seen literally out front, manning the cash register. Like Rupert, he’s proud of his Hawaiian heritage and has been active in promoting it. A portrait of him in the garb of Hawaiian royalty hangs in the store: a memento of 2002, when he presided in the role of King Kalākaua at the Merrie Monarch Festival. “It was a good time of life for me, as far as representing my culture,” he recalls. With his six-foot-four frame, he had no problem cutting an imposing figure. “I’ve always been the king type. Kathy loves it when people bow to me,” he jokes—although he had to spend a year growing a proper beard. The hardest part of the role, for him was keeping a straight face. Ironically, the king of the Merrie Monarch Festival is not supposed to smile.

Contact writer Alan McNarie: | March/April 2013

“I got scolded,” he recalls. “We were always joking around, because Rupert and Adele were in the royal court, too.” They’ve had the store long enough, now, that many village residents have known no other owners. But they aren’t the first family whose name has been associated with it. Kathy and Ola still have the general store’s first sign, which reads, “Hongo Store.” Torau Hongo founded the store in the 1930s with a loan from his older brother, Torakiyo, a successful Hilo businessman. Torau was one of those people for whom the phrase “colorful” was invented: handsome and charismatic, a womanizer who abandoned his first wife for his second—who in turn abandoned him—Torau was a successful salesman of kimonos and used cars, but a less successful business owner. After the teahouse that he’d bought on O‘ahu failed, Torakiyo persuaded his brother to try his luck in Volcano. Torau’s grandson, Garrett Hongo, a successful author and poet born in a back room at the Hongo store, describes the store’s genesis in Volcano, a Memoir of Hawai‘i (Knopf, 1995). “Torokiyo,” he writes, “got the idea from the Japanese truck farmers up in a little village by the volcano. They needed a local store up there because it was so remote, away from Hilo by nearly 30 miles, and they couldn’t afford to go down to town all the time to get their supplies, foodstuffs and utensils and luxuries like cigarettes and liquor. They needed a store and a storekeeper. A Japanese store. Wouldn’t Torau be interested in that?” Torau, writes his grandson, bought a plot of land with a strawberry patch and a shack and, “made the shack into a store and built a kitchen on it and added little bedrooms like berths on a steamship.” Torau brought his two daughters with him to help at the store, and left his two sons, including Garrett’s father, Albert, with a caregiver on O‘ahu. Albert would not be reunited with his father until after World War II, when he returned to Hawai‘i as a veteran who’d served as a guard at the Nuremberg

trials. For a while, Albert ran the store for his father. But Torau had remarried, and when he passed away, his wife inherited the store. Albert and his family moved to O‘ahu, where Garrett grew up. The store passed to other families before finally being acquired by the Tripps. One reason why they’ve survived so long is their ability to adapt to changing times. “When we first got the store 25 years ago it was a guarantee that the mom and pop could do what they do and still survive,” says Kathy. “Now, with all the Wal-Marts and such, you can’t just do one thing. You have to diversify.” One challenge that Kathy and Ola have faced was to make room for that diversification while keeping the old building’s historic and rustic character. When the front lanai was sacrificed to make room for the espresso counter, they hired Kam to paint the mural across the new front wall. Redwood, the original building material of so many plantation-era buildings, isn’t easy to acquire these days. They’ve used some modern materials on one outer wall, and when they remodeled the storage space behind the store to create the Lava Rock Café, they paneled the entire interior with pine. Soon the modernized outer wall will be shaded by a new lanai along the side of the store, supported by posts of local ‘ōhi‘a wood. Their clientele has changed, too. They still get the Japanese farmers and the local residents, but they now also cater to a much higher percentage of tourists. Tour buses stop there regularly, but their real bread and butter is free and independent travelers, or FITS: the folks who rent a car, plan their own itinerary, and tend to stay at Volcano’s numerous bed and breakfasts. FITS leave a lot more money in the local economy than do the tourists who stay at big foreign-owned resorts and travel by tour bus—and, as Kathy notes, “Don’t want the tourist experience.” So in deference to both the FITS and the local families, the Lava Rock serves well-prepared local dishes such as chicken katsu and its bar is stocked with Hawai‘igrown wines and Hawai‘ibrewed beers. Kīlauea Kreations provides the interface between FITS and local artists, and thousands of visitors have gone home with their first jar of ‘ōhelo-berry jam from Kīlauea General’s shelves. “We know what we do and we do it good,” says Kathy. “We know we do local good. That’s what we do.” ❖


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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 89. Your feedback is always welcome.

Down 1 Hawaiian word for April 2 Hawaiian word for amusement, ___ alea 3 Hawaiian word for life 5 Hawaiian word for swim toward something 7 Have a goal 8 Very long time 11 Hawaiian artist famous for his paintings of “the people of old”, Herb Kawainui ____ 12 Hawaiian word meaning to bark at 13 An arrow root paste 15 Hawaiian word for fragrance 16 ____ aka, Hawaiian word for laugh 19 Part of a foot 20 Hawaiian root 22 It’s also called Pejibaye (2 words) 23 They swim in Hawaiian waters 24 Hawaiian word for oven 26 Hawaiian word for fast, ____wi 27 Macadamia _____ 29 Hawaiian fabric 30 Drink made from coconut water 33 __ luck (fortunate) 34 Border 35 Hawaiian word for sand 36 Salvation Army, for short 38 Compass direction | March/April 2013

Across 1 Hawaiian word meaning the manner in which you live within every breath’s truth and dignity 4 Hawaiian word for spirit-driven breath of your life 6 Hawaiian word for father sky 9 Famous Hawaiian clan 10 Short for Great Britain 14 Hawaiian word for knowledge 17 ___ Papa Loi o Kanewai cultural research center 18 Copy 21 Hawaiian word for mother earth 25 Choice gourmet Hawaiian delicacy, an excellent source of protein and supplements (3 words) 28 Military officer, for short 29 Hawaiian tree 31 Peopleʻs Advocacy for Trails Hawai‘i, for short 32 Had some poi, for example 35 ____ Sustainable Living Center (2 words) 37 Hotel 39 Hawaiian word meaning for belonging to 40 Environmentally friendly color 41 Hawaiian word for lie down


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We Are All in the Same Canoe

One Island Sustainable Living Center Promotes Sustainability on Hawai‘i Island | By Barbara Fahs


ith a modest budget and big vision, the One Island Sustainable Living Center in Hōnaunau is accomplishing some amazing feats toward farming education and sustainability. The terms sustainable and sustainability are bandied about a lot today. To many people, they mean growing one’s own food at home, and perhaps installing solar energy or other renewable power. To One Island’s Executive Director Marcy Montgomery, “Sustainability is about much more than food and energy: it’s a mindset that affects lifestyle, including arts and culture, health and wellness.” She added, “Sustainability cornerstones also include natural resource conservation and a green economy. These are all interrelated components of sustainable living.”

One Island’s mission as a nonprofit organization is to facilitate new education and rural development opportunities that will help to find valuable solutions in Hawai‘i and beyond. Serving Hawai‘i since 2002, the Heritage Ranch, Inc. organization established One Island Sustainable Living Center in 2006. With the help of the nonprofit’s team and over 150 volunteers, including local residents and guests from around the world, the once impenetrable Christmas berry thicket on One Island’s 10 acre parcel has been transformed into a lush, beautiful farm and garden where butterfly habitat, local birds, and prevailing Kona breezes combine to create a healing and regenerative environment. Students from local charter schools and at-risk programs regularly pitch in to create and maintain the educational demonstration gardens. | March/April 2013

Mission and History

In addition to the help of volunteers and students, One Island has successfully applied for and received grants that have enabled them to create a community-based facility that includes: • a 2,500 square foot open air barn overlooking Kealakekua Bay that serves as an office, agriculture processing, and meeting facility; • a 4,500 square foot greenhouse for vegetables and herbs; • the farm and garden, including a 32,000 gallon water catchment system. Raven Bolas, a community facilitator and instructor at One Island describes the farm and garden as, “a living, learning laboratory where learners of all ages participate in workshops, attend festivals, go to youth camps, enjoy local food events, and learn about sustainability as an integrated lifestyle.” In 2006, One Island received a start-up grant from the U.S. Department of Housing and Urban Development (HUD), which allowed them to create an educational botanical garden and farm as a rural economic development project. After clearing the land, mostly barren black rock scattered with old mango groves, breadfruit (‘ulu), and kukui trees remained. “We cleared the land through ‘gentle’ bulldozing that left the mature trees intact and have implemented practices like sheet mulch and composting to create soil. Our gardens all follow the natural contours of the land because we did not rip the rock to create an artificial landscape.” The next One Island project, the West Hawai‘i Sustainable Energy Project, was funded by the USDA Rural Utility Service and has brought renewable solar energy, solar hot water, solar irrigation pumps, solar ovens, and solar refrigerators to Kona


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and Ka‘ū. “We have been able to serve over 150 families, farms, and nonprofits through this grant,” Montgomery said. “Bringing solar refrigeration to remote Hawaiian fishing village homes was one of the most rewarding experiences our team has had.” In May 2010, One Island opened to the public. Visitors may take a tour, volunteer their time, attend a workshop or special event, or host a personal event for a small group. The facility has a meeting space equipped with a food preparation area as well as indoor and outdoor dining options. There is an outdoor stage, with walking trails, lawn space, and gardens which boasts of mature bananas, mangoes, pineapples, papayas, coconuts, cacao, oranges, limes, grapefruit, lychees, sapotes, breadfruit, Surinam cherries, mangosteens, noni, starfruit, tree tomatoes, and liliko‘i, not to mention medicinals and ornamentals. The food-producing trees provide meals for the residents, students, guests, and volunteers. They also serve to educate members of the South Kona community about the importance and ease of growing their own food as a step towards self-sufficiency.

Current and Upcoming Projects

One Island is actively involved in spearheading several sustainable rural development projects, in addition to the West Hawai‘i Sustainable Energy Project: | March/April 2013

Same Canoe Community Gardens


With funding through the U.S. Department of Agriculture’s National Institute for Food and Agriculture, One Island is assisting in funding the growth of 15 community gardens at public schools, other nonprofit organizations, and senior centers as People’s Gardens. Michelle Obama’s White House food garden was the inspiration for the People’s Garden grant program. Through it, One Island will soon be awarding 120 mini grants to individual families intended to assist in creating food sources for local communities, wildlife habitat restoration and reforestation. To qualify for a mini grant, applicants must attend a One Island workshop and help out Raven Bolas at a local community garden in spring 2013. “The concept of this is like a pebble in a pond,” Montgomery explained. “That is, the efforts of a few will create ripples out into

their communities that will generate more local food production and conservation efforts.”

No Fruit Left Behind Gleaning Project

Reclaiming the local food system by increasing the island’s food security is an important goal that One Island continually strives for. In support of this, One Island sponsors the No Fruit Left Behind community harvest (NFLB), which has gathered over 3,600 pounds of fresh food since its inception in August 2012. NFLB team leader Raven Bolas said, “Our mission is to reclaim the local food system—one tree at a time. It’s a zero-waste campaign to get more locally grown food into the diets of local residents and to help decrease our dependence on imported foods.” “It’s great to see a local organization walking their talk and getting out there to harvest food that would otherwise go to waste. The farmers get help caring for their orchards, the food banks get fresh food, and the gleaners also get a share of the harvest. It is a win-win-win,” explained Bolas. Everyone is welcome to donate any over abundance of produce they may have or to help by picking or cleaning the collected produce. It is then sold at One Island’s farmers’ market booth at the South Kona Green Market on Sundays. The project also donates food to a food bank every week. To put your name on the announcement list for each week’s gleaning gatherings, e-mail One Island at This project also keeps interested people informed through their Facebook page, “No Fruit Left Behind.”

Volunteer Wednesdays

Green Business Incubator

Under the leadership of volunteer Stephen Shrader, this project has successfully helped to increase the number of jobs in the

YES!! Youth Empowerment for Sustainability Camps

The Camp is One Island’s learning program for elementary, middle, and high school students. Students spend six days and one overnight at the camp immersed in many aspects of sustainable living. They learn about the relationships between local food, renewable energy, arts and culture, wildlife and resource conservation. The next Youth Camps will be held in spring and early summer, 2013. Spring break activities are also planned. To learn more, contact One Island at

Upcoming: Flavor of Hawai‘i Farms Farmer’s Co-op

This project will have many levels of involvement, with the goal of connecting farmers with consumers by promoting farmers markets, educational festivals, food festivals, and the No Fruit Left Behind project. It will increase farmers’ visibility and encourage the public to buy and support locally grown food.

Ongoing Programs

Throughout the year, One Island holds sustainable living workshops, local foods festivals, and educational tours. Examples of topics being offered in 2013 include How to Grow it, How to Preserve it, Renewable Energy, Health and Wellness, Mauka-to-Makai Watershed, and Greening Your Business.

Current News

One Island has been awarded two fulltime annual VISTA volunteers for a period of three years. One of them will serve as a volunteer development leader and the other will function as a partner development leader. “This will enable us to grow and mature as an organization,” Montgomery noted. Inviting new rowers to the sustainability canoe, One Island encourages us all to “grab a paddle and be part of the sustainability solution.” ❖ For more info: Contact writer Barbara Fahs: | March/April 2013

Twice each month on Wednesday, from 8:30 am–noon, One Island hosts volunteers who help to develop their educational displays and garden exhibit projects as well as helping out at local community gardens. The community is invited to take a tour and help with the farm and garden projects, which can include superfoods, fruit orchards, canoe, native, spice, vegetable, and medicinal plant gardens. Lunch is provided and volunteers of all ages and abilities are welcome. E-mail to reserve your space.

green business sector on Hawai‘i Island. Through it, residents can receive training and support necessary for developing or expanding green businesses. Examples include business ventures such as agriculture, agriculture tourism, ecological tourism, renewable energy, healthy food and body care products, and wellness services of all kinds.



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Seeking Answers to the Greatest Questions About Our Universe |

are warned not to deviate from their planned observations with the maxim: “If you come up with a great idea on the summit, you haven’t.” Such stories may become fewer as more remote control becomes standard. A duplicate set of control rooms at Keck headquarters in Waimea now allows visiting astronomers to oversee the telescope’s operations without climbing the mountain. Usually the only staff on the summit at night are Keck’s technicians who monitor the operation of the machines. So drop the stereotype of the astronomer gazing pensively into an eyepiece. Telescopes like the Keck’s don’t even have eyepieces. All the “looking” is done by the various cameras and other detectors attached to the telescope. A trip to the summit for an observing session would be anticlimactic for most nonastronomers. Nothing much happens, very few images are studied in real time, and technicians mostly just keep an eye on the machines and talk about baseball. That being said, there are two breakthrough areas in telescope engineering that Keck has pioneered. First, the use of adaptive optics stops the starlight from twinkling, steadying the image so it can be seen more clearly. Second the multiple-mirror design gave Keck the world’s largest mirror.A reflective telescope is a bucket made to catch starlight. Just as a wide bucket catches more rainwater than a | March/April 2013

sk any astronomer to short-list the world’s best telescopes and W. M. Keck Observatory’s twin instruments on Mauna Kea will be at the top of everyone’s list. The combination of a perfect site, generous funding, and cutting-edge engineering has allowed a generation of astronomers to see the farthest, faintest, and weirdest objects in the Universe. The Keck Foundation funded and completed the first telescope in 1993. Three years later its twin was completed, identical in size and operation. Since then, astronomers using Keck have contributed more important published scientific papers than any other observatory on Earth. The two telescopes sometimes observe the same object simultaneously, as in an important study of disks of materials surrounding nearby stars—disks that will eventually evolve into planets. Usually they do not function as jumbo binoculars; they observe independently. Director Taft Armandroff refers to the telescopes as “an international treasure that you want to sustain.” Putting these large telescopes on Mauna Kea was not easy. The difficulties in constructing high-precision machinery above 12,000 feet is suggested by the story of the welder who called his foreman in frustration to complain, “I’ve cut this pipe three times and it’s still too short.” Hypoxia—lack of oxygen—can seriously hamper clear thinking. Astronomers new to the summit

By Jon Lomberg


purpose of keeping the mirror in a perfect parabola. “The thing that made it all possible was the advent of relatively inexpensive computing power—the mini computer and microcomputer,” recalled Hilton Lewis, Keck’s Deputy Director, an electronics engineer from South Africa who has been with Keck since 1986 when Keck Observatory was just on paper. Of course having to adjust all mirror segments is 36 times harder than adjusting one. It is only because the mirror is segmented that it can be 10 meters (33 feet) in diameter. The largest single mirror designs, also on Mauna Kea, are about 8 meters (27 feet) in diameter, and this is the practical limit of single-mirror design. In principle there is no limit to how many mirror segments can be joined together. The Thirty Meter Telescope proposed Photo Credit: Ethan Tweedie

smaller one, bigger mirrors catch more starlight falling to Earth from the depths of space. Ironically, the pristine starlight travels inconceivable distances for eons of time only to be smeared in the last few miles above the telescope. Rising currents of heat cause the light to deviate from a straight path, making the image appear to dance. This may be romantic, but astronomers would prefer their light detwinkled. Adaptive optics (AO) compensates for the light’s random detours, steadying the image by ingenious computer programs that fix the image by distorting a small deformable mirror to exactly cancel out the movement caused by the atmosphere. Most people then assume the primary mirror compensates for the abberations in AO. The primary mirror adjusts with the

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The Colors of Space

Mosaic false-color image of thermal heat emission from Saturn and its rings taken on February 4, 2004, with the Keck I telescope at 17.65 micron wavelengths. The black square at 4 o’clock represents missing data.

Photo Credit: W.M Keck Observatory/NASA/JPL-G.Orton Photo Credit: Jon Lomberg

For more info: W.M. Keck Foundation: Contact writer Jon Lomberg:

Photo Credit: UC Berkeley/NASA/ W. M. Keck Observatory

Astronomical image of Stephan’s Quintet, a small compact group of galaxies. Photo Credit: Bob Goodrich, Mike Bolte, and the ESI team

The sheer beauty of the images astronomy has brought to the world is almost as valuable as their scientific value. Like a treasure chest of gems, each picture is more beautiful than the last: glowing bands of light on Saturn, stars like colored jewels on black velvet, and pairs of galaxies distorted by each others’ gravity like a cosmic game of Twister. Only a purist would point out that the colors in most of these images have nothing to do with what they would look like to human eyes, even if you were there. Most things in space are either too bright to look at, too faint, or they radiate only in wavelengths invisible to the human eye. The truth is the colors in many astronomy photos are entirely artificial, added according to the taste and whimsy of the astronomers whose reason for manipulating the colors is to make subtle structures more visible. Keck is actually better than most—at least the false-color pictures shown above are clearly captioned in their photo gallery. For many years NASA’s Hubble Space Telescope and other great observatories have thrown realism off the bus in response to the wild popularity of astronomical images. The rationale seems to be that if the colors make people more interested in astronomy, then loss of accuracy is worth the increased interest—especially if it can lead to greater support and funding. One unhappy result is that when people get a chance to look through a real telescope they are disappointed to find that the Universe is not as psychedelic as the photos suggest. | March/April 2013

for Mauna Kea will join 492 individually controlled hexagonal segments to make a mirror 30 meters in diameter. The James Webb Space Telescope, built to replace the aging Hubble Space Telescope, will also use this technology to make a large segmented mirror. It is scheduled for launch in 2018 to unfold its mirror in space like orbital origami. One of the unexpected challenges Keck faced resulted from a fairly large Hawai‘i Island earthquake in 2006. The shaking of the ground was so intense that both Keck telescopes shifted a fraction of an inch off their bases. It might not seem like much, but since the telescope’s pointing accuracy is razor thin, the accurate use of the instrument was compromised. Each base and mirror assembly weigh 300 tons, so it was no small matter to shift things back to the right position. In all, it took six weeks and 270 subsystems recalibrated to repair the telescope from the earthquake. At year 20, Keck finds itself in the forefront of research, working on the discovery of Earth-like planets found orbiting nearby stars, finding the farthest supernova known to man, and the Nobel Prize-winning study of the accelerating expansion of the Universe. Keck is also pioneering the use of laser “guide stars” in adaptive optics. A laser shining upward creates a small glowing patch in the atmosphere. Seeing how that spot shimmers and twinkles determines the adjustments made to the mirror to compensate and keep the spot steady. Also steadied is anything else in the field of view—like the stars and galaxies they really want to observe. This artificial beacon allows astronomers to apply adaptive optics technology to any area of the night sky. Keck is also a member of the Waimea community, and has been active in programs trying to bring astronomy to North Hawai‘i residents. There is a monthly public lecture series and an annual Solar System Walk. Keck staff participate in a variety of local science education activities such as science fairs and engineering competitions. The Observatory is proud of its growing fan base called Keck Nation, a virtual on-line and international community connected by the social media tools of the internet. Events commemorating the 20th anniversary of Keck will begin in mid-March. ❖

The central starburst region of the dwarf galaxy IC 10. In this composite color image, near infrared images obtained with the Keck II telescope have been combined with visiblelight images taken with NASA’s Hubble Space Telescope to reveal distinct populations of red and blue stars.


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Aloha is a value, one of unconditional love. Aloha is the outpouring and receiving of the spirit. Second in an ongoing series.

Managing with Aloha: Aloha is Our Rootstock


given from one person to another.” To manage others is a profound responsibility, and Aloha must be in each intention and in each effort. There is no other way to manage or to lead—if you are to serve. If your Aloha Spirit confronted you, I imagine it would say, Don’t underestimate me. Any intimidation we sense is actually a dare: Be better. Like all values, Aloha wants to be owned and claimed. It wants your signature as you convert value into action. So do I—for I know Aloha to be a guarantee of the good inside you, waiting for breakout, breakthrough moments, the ones that will define you and grow you. My own self-talk changed in that certainty—How could I have struggled, with offering you something which is so thoroughly good? My earlier fears of being presumptuous and of grappling with my own authenticity have never returned. Publishing my book would end a chapter in my life and begin a series of others undeniably rooted in Aloha’s foundation: My roots dug in. Aloha is a value which grows as you do and leads you when you let it. Aloha is your rootstock too, much in the same way our kūpuna will talk about kalo, cultivated as the firstborn son of Wakea (father sky) and Papa (mother earth). Your Aloha firmly grounds you in your ancestry and sense of place. Aloha extends its roots to gather nourishment for you whenever you need it, and it branches out so easily, sending nutrition to whatever other value you’ll choose for your life’s expression. Your Aloha rootstock is the keeper of your DNA so that other values get defined through your Aloha identity and innate wisdom, ha and alo. You won’t grow like an unwanted weed; you’ll grow in the true seed of your Aloha Spirit. Aloha seeks to be shared, but it’s never ever depleted, for that unconditional part of love creates the bounty of amazing in-spirit abundance. What a great thing to bring to work, to managing others, and to the art and science of business. Don’t allow Aloha to intimidate you as I once did. Take the dare: Aloha is you becoming better. Next issue: Ho‘ohana, the value of worthwhile work. Contact writer Rosa Say:, Photo by Forest and Kim Starr | March/April 2013

remember my year a decade ago quite vividly, for in 2003 I began to write Managing with Aloha. It was writing that would define me as a manager and shape what I stood for as a human being. And yet… I clearly recall pushing my chair back several times, and pacing. I’d stare at the words I’d already written to ask myself, Just who do you think you are? Who are you to be writing this? My struggle in that 2003 inception was with the core value which would be the rootstock of all the others I’d write about: Aloha. Aloha intimidated me. It cut through me with an unsettling vulnerability that confused me—even though I felt I’d grown up with Aloha as love and had our island’s blessing of having it in my life as a constant presence. Up to that point of trying to write about it, Aloha had been everything good—and only good. Aloha was pervasive in how those closest to me would treat me. Aloha was beautiful grace. Aloha was immeasurable kindness. Aloha was unconditional acceptance. Aloha was exceedingly generous in its understanding as I grew up in Hawai‘i, and I relied on that generosity, so what was the problem? Aloha had never failed me, and it was love— wasn’t it? In the end, I decided to share stories of my own life’s Aloha experience to stick with what I knew as completely—and unquestionably—true. I would coach myself, Just tell your story as I’d pull my chair back in, and sit to keep writing. When I read those pages now, I see I didn’t actually define Aloha for my readers, only attempting to illustrate the way Aloha manifested itself for me—how it became real, and not just a romantic concept. I judge my writing differently now, thankful that my humility stepped in as it did, stopping me from defining Aloha any more explicitly. Aloha is something you have to define for yourself (yes, you) in the literal way its root words do: As ha, the spirit-driven breath of your life and as alo, the manner you live within every breath’s truth and dignity (your alo is your presence). You must dare to share it, that living from the inside out. I kept writing, and when I focused on management as I originally intended to, all struggle disappeared: Aloha was very clear. It had to be there, in every manager’s actual practice of their art and in all the work which would result. I wrote, “As it lives and breathes within us, Aloha defines the epitome of sincere, gracious, and intuitively perfect customer service

| By Rosa Say


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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. rely stroll through our quaint village . . .You’ll be glad you did.


Giving Back, Paying Forward Kona Brewers Festival |

conservation and the well-being of children.” One of their largest projects is Kapahukapu, “Manini Beach,” south of Kealakekua Bay. The Foundation leased beach property from the Kamehameha Schools Foundation in 2001, conducted an extensive renovation, and set up full time resident caretakers, landscape maintenance, and bathroom facilities. Funds raised through KBF are distributed by the Bill Healy Foundation. In 2012, Kona Brewers Festival and Bill Healy Foundation supported 13 Hawai‘i Island community nonprofits with over $80,000. And, in the continuing spirit of collaboration, those nonprofits give back to KBF. Hawai‘i Montessori School runs the annual Golf Tournament; the canoe clubs help by moving their canoes to make room for festival events; Nā Wai Iwi Ola Foundation, under the direction of Kumu Keala Ching, shares Hawaiian cultural presence with opening protocols, hula, and place-based education; and other groups pitch in on promotion, retail sales, set up, and clean up. “It’s a really neat event because it pulls people in from the local community who maybe weren’t even interested in going to a brewers festival,” said John Simmerman of Peoples Advocacy for Trails Hawai‘i (PATH), hard at work on KBF’s sixth annual Run for Hops. “It’s a nice mix of local residents and folks from all over the country.” Simmerman is targeting 500 runners for the 5K and 10K competitions, starting and finishing this year at BMW Hawai‘i on Saturday, March 9. “We are one of the few beneficiaries of the program that raises its own money,” said Simmerman. “We contribute 20% of what we raise back into the pool for those that aren’t able to have a fundraiser. It’s kind of a self-supporting, sustainable event.” Funds go to support PATH’S bike safety | March/April 2013

hat do potato chips, compost, microscopic algae, high school seniors, runners, recyclables, bicycles, beer, and some of Hawai‘i Island’s best chefs have in common? They’re all part of the Kona Brewers Festival (KBF), a threeday celebration March 7–9 that’s less about the beer than the benefits to our island community. The numerous nonprofits who help pull the Festival together have received over $555,000 in the last 18 years, and in turn, beneficiaries share their volunteer labor and enthusiasm, before, during, and after KBF events. The story starts in 1978, when young business innovator Cameron Healy began Kettle Foods with an old van and inspiration, delivering nuts and cheeses between Seattle, WA and Eugene, OR. After a visit to Hawai‘i, he developed the Kettle Brand Potato Chip in 1982, and with son Spoon Khalsa, opened Kona Brewing Company in 1994. KBF began two years later, to promote the new Kona Brewing Company, and the growing microbrew industry, and to encourage collaborative relationships and increase environmental awareness. Along the way, both Kettle Foods (now part of the Diamond Foods family) and Kona Brewing Company have remained committed to the environment and sustainability at their various locations—from the largest commercial solar array in the Pacific Northwest, to wetlands restoration in Oregon, biodiesel fuel for company vehicles (some from recycled cooking oil), a LEED® Gold certification in its Wisconsin facility, cause-marketing partnership with the National Wildlife Federation, and intensive sustainability processes in the Kailua-Kona brewing plant. In 2000, as a tribute to his father, Healy established the Bill Healy Foundation, for the purpose of philanthropic giving to nonprofits in Oregon and Hawai‘i, committed to “environmental

By Catherine Tarleton

73 | March/April 2013


education programs for fourth graders in schools island wide. “Our mission is to support organizations for children and environment,” said KBF Executive Director Kate Jacobson. “And often it’s both—like PATH for example… We really like it when the mission is combined within the organization.” Jacobsen said that the simple application process generally opens in the fall, for any island nonprofits meeting the Bill Healy Foundation parameters. “It’s a joy—a really, really fun job,” said Jacobson. “Our first year, we raised $5,000… and 18 years later we’re shooting for $100,000 for our beneficiaries.” Jacobson started work with KBF as a beneficiary and volunteer, with Hōlualoa Foundation for Arts and Culture (HFAC). She and husband Will Jacobson are both ceramic artists, who came to the island 12 years ago and became involved with HFAC, a growing nonprofit that offers art education for adults and youth at the Donkey Mill Art Center in Hōlualoa. Ongoing programs include papermaking, plein air painting, ceramics, a cinema club, and many others. The group participates with KBF every year, designing graphics, organizing the Volunteer Mahalo Party and Brewers Pā‘ina, which takes place Thursday, March 7, at the Sheraton Keauhou Bay Resort, 6–8 pm. The KBF signature event, “Kona Brewers Festival” happens Saturday, March 9, 2:30–6:30 pm at the Courtyard King Kamehameha’s Kona Beach Hotel. There, volunteers will pour 40 different craft brews from around the country, as well as meads, hard cider, and a gluten-free beer. In addition to hand-crafted microwbrew tastings, festival attendees can also look forward to an array of delectable edibles. “You come for the beer but you stay for the food,” said Jacobson. “It’s really a beer-food pairing event.” Gourmet pūpū will be prepared and served by talented chefs from forty island restaurants, coordinated by the American Culinary Federation (ACF) Kona-Kohala Chefs de Cuisine. “We help organize the different restaurants and chefs, and have a tasting station,” said local ACF President Devin Lowder. Funds raised for ACF are used to support programs for students in the culinary arts, including thousands of dollars in scholarship monies. “We do a two-day Culinary Summit workshop in the spring… and also work with the teachers,” said Lowder. “Hopefully, it helps get students interested in going to the Community College cooking school.” “They buy equipment, fund trips for kids to competitions,” said Jacobson. “And they are a great bunch. Culinary arts are such a huge part of our economy, and it tends to be lumped into the category of ‘tourism.’ It’s a great life, and this is such a great opportunity to support culinary arts in Hawai‘i.” “Kona Brewers Festival is a lot of fun,” said Lowder. “It’s a good, fun event, and it’s good to see the community come out to support all these great nonprofits.” To support their sustainable and environment-friendly ideals, KBF encourages chefs to use recyclable—or even edible—serving presentations and utensils. A special ‘Āina Akamai award is

raising seahorses, flounder, abalone, the Ocean Thermal Energy Conversion (OTEC) water-to-energy technologies, and much more. “Today, the kampachi farm is using soybeans to create better food for fish,” said Vaughn. “Tying the resources of land and sea together... It’s all very fascinating—and so dynamic,” he said. “It helps maintain the passion for what we are doing.” Passion seems to be the key element in common with all KBF volunteers and beneficiaries, working together to give back, pay forward and make a difference, one beer at a time.

Beneficiaries of the 2013 Kona Brewer Festival: Aloha Performing Arts Company American Culinary Federation, Kona Kohala Chefs de Cuisine Friends of NELHA (Natural Energy Laboratory Hawaii Authority) Hawai‘i Montessori School Hōlualoa Foundation for Arts and Culture Hōnaunau Elementary School Hualālai Academy Innovations Pubic Charter School Foundation Kai ‘Ehitu Outrigger Team Kai ‘Opua Canoe Club Kealakehe Project Grad Konawaena Project Grad Kona Athletic Club Kona Pacific Public Charter School Nā Wai Iwi Ola Foundation Peoples Advocacy for Trails Hawai‘i (PATH) Society for Kona’s Education and Art (SKEA) Tui Tonga Canoe Club West Hawai‘i Explorations Academy (WHEA) The 18th annual Kona Brewers Festival takes place March 7-9, 2013. Sponsored by Alaska Airlines, First Hawaiian Bank, Hawaiian Solar, Keauhou Veterinary Hospital and others, Kona Brewers Festival supports island community nonprofits working with children and environmental causes, through the Bill Healy Foundation. Tickets sell out quickly. ❖ For tickets and more information: Contact writer Catherine Tarleton:

This year’s KBF logo was created by Hawai‘i Island artist Che Pilago, perhaps best known for his talent as a tattoo artist and tee shirt designer, with the company Moku Nui. Pilago, who designed Hawaiian Telcom’s tribalstyle graphics, learned the intricate traditional art from his father and uncles, and carries on a long family legacy that expresses his Hawaiian-Samoan-Filipino heritage and passion for Polynesian cultures, legends and imagery. | March/April 2013

presented for the most innovative food tasting station, with a perpetual trophy on display at the Kona Brewpub in Kailua-Kona. Recycling—an important part of KBF since its inception— is handled in a variety of ways by volunteers from the beneficiary organizations. Innovations Public Charter School has helped move KBF towards becoming a zero-waste event over the last seven years. “Creating composting helps eliminate two-thirds of the waste,” said Garden Leader Krista Donaldson. “The compost is turned into soil at Innovations and Kona Pacific School.” Donaldson said that very little waste actually goes into the landfill after recyclable and compostable materials are removed. “It’s amazing,” said Donaldson, “The year of the tsunami, we only filled one-third of a 4x6 dumpster—that was it. Everything else was composted and recycled.” KBF supports the Garden Leader position at the school, which educates children about how to grow their own food, sustainable gardening practices, and more. “We are training the volunteers too,” said Donaldson, “talking to them about zero-waste methods, which they take back to their institutions… Hōnaunau Elementary School (another beneficiary) has incorporated them into classroom lessons; they have zerowaste programs at school and biodegradable food service.” She commended KBF for educating the community as well. “Kona Brewers Festival has been the cornerstone of this kind of training—in Innovations Students, L-R: many ways,” Kait, Kaiya, and Shea she said. “Pre-cycling” is done by volunteers from Kealakehe High School’s Project Grad, an all-night drug and alcohol free party for high school seniors, held annually in May. Project Grad has grown so successful, that Konawaena High School is planning one of their own, and joined the KBF beneficiary ‘ohana. To keep their intentions clear, Project Grad teams do not attend the Festival, instead they help with setup, and do a full pre-opening sweep of the food area, removing cardboard boxes and other materials. “It has worked out great for us,” said Project Grad volunteer grant writer Ann Scanlon. “It’s a lot of fun in the morning when everybody’s fresh, and the kids are so excited.” Scanlon started work with Project Grad when her daughter was a senior. “I’m a big fan of Kona Brewers Festival, and I’m not really a drinker,” said Scanlon. “I go for the fun and the people—and for Project Grad.” Also part of the recycling effort is another education-based organization and new KBF beneficiary this year, Friends of NELHA. Created in 2001, the Friends fulfill community education and outreach responsibility of the Natural Energy Laboratory Hawai‘i Authority. “We do education and outreach presentations and tours as a service to the community,” said volunteer leader David Vaughn. “We have fun,” said Vaughn. NELHA projects include a little bit of everything related to the ocean, including work with micro algae, algae as food for different kinds of marine life, research on fish,


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“Hula is not just a dance, but a way of life, an ancient art that tells of Hawai‘i’s rich history and spirituality.” (this is attributed to many) by Ludwig Choris, 1822

A Brief History: Hula

undeniable fact, the authorities sought to curb performances by regulation.” (Barrere, Pukui & Kelly) Despite efforts to eliminate hula, many of the ancient chants and dances were kept alive within families and passed to descendants. (Bishop Museum) In 1836, it was reported that the French consul for Manila visited Honolulu and attended a state banquet hosted by the King. Part of the festivities was a formal hula performance. In 1850, the Penal Code required a license for “any theater, circus, Hawaiian hula, public show or other exhibition, not of an immoral character” for which admission was charged. “No license for a Hawaiian hula shall be granted for any other place than Honolulu.” (The law did not regulate hula in private, so the dance continued to be practiced and enjoyed throughout the islands.) King David Kalākaua’s 1883 coronation included three days of hula performances and his 1886 jubilee celebrations had performances of ancient and newly created dances. Reviewing older drawings of hula, it is clear that the attire of the dancers is different than what we generally associate with hula attire today (and throughout the last century.) Men and women were topless in the original hula attire. Women wore a pā‘ū, which is a wrap made of tapa cloth. Men wore malos, or loincloths, and other kapa wraps. Hula attire was expanded with lei and decorations for dancers’ wrists and ankles. Originally, some of these decorations were made of whale bone or dogs’ teeth. So, when and where did the grassy/leafy skirt that we know today come from? Reportedly, the grass skirt was introduced to Hawai‘i by immigrants from the Gilbert Islands (small atolls that are today part of the Pacific Island nation of Kiribati) in the 1870s and 1880s. “Hawaiian hula during and after that period (Kalākaua era) influenced and was influenced by the dance styles of other Islanders, such as the incorporation of Kiribati-style grass skirts.” (Kealani Cook, PhD dissertation) By the early 1900s, hula performers in Hawai‘i and the US continent wore grass skirts. Some hula performers still wear grass skirts today. Today, grass skirts function as the international symbol for hula dancing. The grass skirts sway with the dancers as they move their hips, creating a fluid movement. Dancers also wear a variety of other apparel. Contact writer Peter: | March/April 2013

In 1830, Ka‘ahumanu issued an oral proclamation in which she instructed the people, in part: “The hula is forbidden, the chant (olioli), the song of pleasure (mele), foul speech, and bathing by women in public places.” (Kamakau) Although it was apparently never formally rescinded, the law was so widely ignored, especially after Ka‘ahumanu died in 1832, that it virtually ceased to exist. Hula combines dance and chant or song to tell stories, recount past events and provide entertainment for its audience. With a clear link between dancer’s actions and the chant or song, the dancer uses rhythmic lower body movements, mimetic or depictive hand gestures and facial expression as part of the performance. (ksbe-edu) As hula is the dance that accompanies Hawaiian mele, the function of hula is therefore an extension of the function of mele in Hawaiian society. While it was the mele that was the essential part of the story, hula served to animate the words, giving physical life to the mo‘olelo (stories.) (Bishop Museum) Today, we typically divide hula into two different forms, the hula kahiko (ancient dance) and the hula ‘auana, also spelled ‘auwana (modern dance). Although the terms hula kahiko (ancient) and hula ‘auana (modern) are used to divide styles of traditional dance, these terms are a relatively recent classification of a practice with a very long history. The dance has also undergone evolutions throughout its history, often being influenced by the political leaders and situations of the time. (Bishop Museum) “In the hula, the dancers are often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ankle, set with hundreds of dog’s teeth, so as to be considerably heavy, and to rattle against each other in the motion of the feet.” (Hiram Bingham) “They had been interwoven too with their superstitions, and made subservient to the honor of their gods, and their rulers, either living or departed and deified.” (Hiram Bingham) A common misrepresentation of history suggests that the American missionaries banned hula—they could not have, they did not have the authority. However, it is true that they openly disapproved of hula (as well as other forms of dance and activities) as immoral and idle pastime. As Bingham notes, they “were wasting their time in learning, practising, or witnessing the hula, or heathen song and dance.” “Missionary influence, while strong, never wiped out the hula as a functional part of the Hawaiian society. Faced with this

| Peter T. Young


Blue Ginger Gallery


ill Ami Meyers brought her silk art to Hawai‘i in 1985. Today she creates one of a kind paintings in all medias and still designs and merchandises for other artists. Her interest in art began at an early age when her mother introduced Jill to the wonders of the theatre, the Metropolitan Museum of Art, and various galleries in New York City. Jill’s early paintings were rendered with watercolors. Then, she discovered the rapidograph that allowed her to create detailed, fanciful illustrations and playfully humorous caricatures. Ever an industrious artist, Jill avoided the stereotypical starving artist persona; at the young age of 12, she began capitalizing on her art at a local outdoor market. By age 17, she was designing menus, painting signs, and designing interior environments in New York City. Jill has also created silk screen designs, illustrated for an outdoor product catalogue, | March/April 2013

“Hula moves me. The drum beat is that of a heartbeat; the stories told with sign language are meaningful. I try to capture the movement and energy in my painting of the “Hula Kahiko.”


“When I paint honu (green sea turtle) and the nai‘a (dolphin), I try to feel their mana as I did with the ‘Manini Mermaid’ painting.”

Manini M

ermaid designed and painted on clothing, and designed jewelry for high-end galleries in Beverly Hills. Later, she designed unique handcrafted wooden mannequins for creatively spirited window displays for clients such as Fred Segal, Machismo, and the Right Bank Shoe Co.—the same manikins outside of Blue Ginger Gallery today! Jill Ami believes Hawai‘i is a great inspiration for artists. Visions of incredibly beautiful flowers and fauna, the world underwater is endless, and the history of the hula with the mana of the powerful native presence has aroused many great artists. Come visit the Blue Ginger Gallery and see what Hawai‘i has inspired!   Blue Ginger Gallery 79-7391 Mamalahoa Hwy, Kealakekua 808.322.3898 “The flowers of Hawai‘i are so vibrant. I tried to express the beauty of the island when I created “In her Element.” The woman loves the ‘āina and feels so natural surrounded by nature.”

Martin & MacArthur


artin & MacArthur has been making fine furniture longer than any individual or company in the history of Hawai‘i. They are the fine furniture maker of ‘Iolani Palace and fine Hawai‘i resorts such as the Royal Hawaiian, the Moana Surfrider, the Four Seasons, the Ritz Carleton, and the Mauna Lani Bay Hotel. Two years ago they opened a flagship store at the Kings’ Shops, located at Waikoloa Beach Resort. This store highlights fine furniture made by the best craftsmen from Hawai‘i Island. One of their featured artists creates these beautiful platters made with koa, mango wood, purple heart, and other local and exotic hardwoods. Each platter is inspired by the Hilo rain that keeps the eastern part of Hawai‘i Island so verdant and lush. The lines of the design are translucent and create a beautiful effect when light passes through. Each platter is handmade by Hawai‘i Island craftsmen, Tim and Tiffany. These are available exclusively at Martin & MacArthur Kings Shops.

This platter is inspired by the rain in Hawai‘i and the way it penetrates and nourishes the islands.

The only wood platters with translucent lines, made from a variety of different woods.

Martin & MacArthur Kings’ Shops Waikoloa 808.886.0696

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. | March/April 2013


Hawai‘i Island Farmers’ Markets East West


Saturday 8 am–noon Keauhou Farmers Market, Keauhou Shopping Center, Keauhou.

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 9:30 am–2 pm SKEA Farmers Market Hōnaunau, Hwy. 11 between mile markers 104 & 105.

Saturday 8 am–1 pm Waimea Town Market at Parker School, 65-1224 Lindsey Rd., Waimea/Kamuela. | March/April 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 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 Wednesday Evenings 5–9 pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Local grown produce, ono grinds and live music.

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


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.

Please send info on new markets or changes to

Heart of Palm

| By Sonia R. Martinez


ne item often missing in most farmers’ markets is the heart of palm, so when you find it, it’s like striking gold. You can harvest heart of palm from any kind of palm tree, including the coconut. The quality varies depending on the type palm tree itself. In many countries where the palms are cultivated for the heart, the trees used mostly in commercial plantings are Bactris sps. Another is Euterpe oleracea, also known as acai palm but that is now harvested mostly for the fruit. Some of the palms are still harvested from the wild and are therefore not sustainable. In Hawai‘i, the palm of choice is the spineless pejibaye or peach palm (Bactris gasipaes), a multi-stemmed variety that can be harvested moderately without killing the entire plant, making it a renewable and sustainable resource. The parts of the palm that are cut at the time of harvesting, such as the fronds and outer layers of the tree are usually recycled as compost, thus enriching the soil and controlling weeds. They also serve as protection for the new shoots that sprout around the mother plant. In 1990, the peach palm was first introduced experimentally as a commercial product in Hawai‘i, and originally there were just a couple of farms growing them. The first harvests of hearts of palm were shared directly with several chefs on the island who were very excited to have the fresh product available and proceeded to feature this exotic product in their menus. Since then, several other farms have joined in and the fresh hearts of palms have become more familiar to the public via several food expositions around the islands and through a few selected farmers’ markets. This choice ‘gourmet’ delicacy is found encased in a tough cylindrical husk. Peel the husk until you reach the tender, delicate flavored, crispy, and creamy ivory flesh. Hearts of palm are an excellent source of protein, potassium, riboflavin, calcium, iron, Vitamin C, and fiber while low in calories, sodium, and cholesterol. I find the taste slightly sweet. Many people compare it to an artichoke in flavor, although the appearance is more like a thick and firm white asparagus.

Depending on the recipe, heart of palm can be eaten raw, steamed, grilled, roasted, or boiled. An excellent addition to salads, casseroles, stews soups and chowders, grain and pasta dishes, as well as quiches; it can give a nice crunch to fresh salsas and can be used to make delicious pickles. I chose to use it in a very simple, fresh and delicious salad combined with crab claw meat. Any other shellfish such as lobster or shrimp would pair well. The following was made recently to share at a gathering of friends and there was not one scrap left.

Baby Spinach, Heart of Palm and Crab Salad Large bundle of fresh baby spinach 1 piece raw heart of palm, 1-1/2 foot long cylinder 12 ounces crab claw meat, picked clean of shells

Wash the spinach in cold water and let it sit a few minutes in the cold water to crisp a bit, then drain and pat dry. Cover the bottom of a bowl or serving platter with the spinach. Cut the heart of palm into round slices and take apart in ‘rings’. Sprinkle the crab meat on top. Serve the dressing on the side. I chose to make citrus vinaigrette for our dressing.

1/2 Cup orange juice 1/2 Cup lemon juice – I used Meyer 2 Tablespoons garlic infused extra virgin olive oil 2 Tablespoons honey 1 Tablespoon prepared mustard 1 Tablespoon light soy sauce 1 rounded Teaspoon ground cumin 2 full Tablespoons grated ginger

Place all ingredients in blender and mix well. Pour into a lidded glass jar or cruet and store in refrigerator. Photos by Sonia R. Martinez Contact writer Sonia R. Martinez: | March/April 2013

Citrus Vinaigrette


March-April 2013 ❖ C A L E N D A R ❖

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 demos Saturdays, Mar. 2, 9, and 16 from 10 am–2 pm. Wailoa Center. Contact Doug Keown, 808.982.5173 or visit

Puna ‘Ulu Festival—‘Ulu a Niu

Saturday, Mar. 2, 9 am–3 pm, Free Puna

The second annual festival celebrates ‘ulu (breadfruit) and niu (coconut) with a cooking contest, breadfruit and coconut palm trees for sale, presentations, keiki activities, cultural demos, local food featuring breadfruit and coconut, and music all day with Diane Aki, Bruddah Cuz and Ili Wai, and Kua O Ka La Public Charter School at Pu‘ala‘a, adjacent to the ‘Ahalanui County Park warm ponds. 808.965.5098 or visit

Volcano Variety Show!

Saturday, Mar. 2, 6:30 pm, Fee Sunday, Mar. 3, 2 pm, Fee Volcano

The ultimate in good time, family entertainment! Acts range from sketch, comedy, music, dance and downright fun! Adults $8, Children under 17-$5. Order tickets at 808.967.8222. or visit

La‘a Ka Pa-Kapala Exhibit

Mar. 2–Apr. 14, Daily 9 am–6 pm, Free Volcano | March/April 2013

Sacred the Rhythms And Patterns exhibit by Natalie Mahina Jensen and Lucia Tarallo. A collection of acrylic paintings depicting the Hawai‘i Maoli’s penchant for sacred geometry. Opening reception Saturday, Mar. 2, 5:00 pm, Talk Story with both artists on Thursday, Mar. 14 at 6 pm at


Volcano Art Center Gallery in Hawai‘i Volcanoes National Park. All events open to the public. Park entrance fees apply. Contact Emily Catey 808.967.7565 or visit

13th Annual Great Waikoloa ‘Ukulele Festival

Saturday, Mar. 2, 1–7 pm, Free Kohala Coast

Featuring ‘ukulele master Ohta-San, Sean Na‘auao, One-Arm Extraordinaire Nick Acosta. 10-yearold You Tube Sensation Aidan James and more! Queens’ MarketPlace at the Waikoloa Beach Resort. 808.732.3739

Kona Brewers Festival

Friday-Saturday, Mar. 8–9, 2:30–6:30 pm. Fee Kailua-Kona

An annual festival that promotes craft brewing and recycling with beers from Hawai‘i and the U.S. Mainland. Gourmet food, Brewer’s Dinner, Golf Tourney and Run for the Hops. Courtyard King Kamehameha’s Kona Beach Hotel. 808.331.3033 or visit

Na Mea Hawai‘i Hula Kahiko Performance

Saturday, Mar. 9, 10:30 am, Free Volcano

Hula Arts at Kilauea–Na Mea Hawai‘i Hula Kahiko Performance. Featuring Hālau Hula Manaolana ‘O Kohala and visiting hālau, Hula Hālau Ka Pi‘o O Ke Anuenue of Ashland, Oregon. Their performance honors their late kumu hula Raylene Kawaia‘ea. Hawaiian cultural demos, 9:30 am–1:30 pm. Volcano Art Center Gallery at Hawai‘i Volcanoes National Park. Park entrance fees apply. 808.967.8222 or visit

Keck Week 2013 Mar. 15–19, Fee Various Locations

Events include: “Welcome to our Universe: Keck Observatory’s Open House,” “Astronomy Live! Tonight,” “Star Struck: Keck Observatory Gala” and the classic film, “Contact.”


Sam Choy’s Keauhou Poke Contest Sunday, Mar. 17, 10 am–3 pm, Fee Keauhou

Hawai‘i regional cuisine chef Sam Choy lends his name and fame to this event celebrating Hawai‘i’s favorite appetizer—poke. The poke contest celebrates locally sourced seafood with competition in six divisions. Culinary fun encourages the creative use of seaweed, seeds, herbs, spices, nuts, marinades, tofu, fruit, vegetables, and seasoning. Poke (po-KEH) is the Hawaiian word for “slice.” The local-style pūpū (appetizer) consists of marinated, fresh local fish that’s raw, seared, or cooked. Entry deadline is Friday, March 8 and contest details are posted at 808.885.7887

Kamehameha III Celebration Mar. 15–Mar. 17 Keauhou

(See Spotlight), Celebration commemorates the Hawaiian King Lani Kauikeaouli who was born in this area of Kona. Events include Hawaiian tribute Mar. 15, free concert Mar. 16 and Sam Choy Poke Contest on Mar. 17. Sheraton Kona Resort and Spa at Keauhou Bay. 808.930.4900

27th Annual Magic Spectacular

Saturday, Mar. 16, 2:30–7 pm, Fee Kainaliu

Fun For All Ages! SKEA and The Big Island Magic Club present the 27th Annual Magic Spectacular with Headliner Shawn McMaster and local talented magicians. Aloha Theatre. Tickets $10 & $12. 808.328.9392 or

Sam Choy’s Keauhou Poke Contest Sunday, Mar. 17, 10 am–3pm, Fee Keauhou

Kamehameha III Celebration Mar. 15–Mar. 17 Keauhou

Celebration commemorates the Hawaiian King Lani Kauikeaouli who was born at Keauhou Bay. Events at Sheraton Kona Resort and Spa at Keauhou Bay. 808.930.4900. Events include: • Free Daughters of Hawai‘i Tribute, 10 am March 15 at Keauhou Bay


• Free Puana Ke Iki Lecture “1893 Executive Agreements and Impacts Today: Hawaiian Protest and Demand Filed in United Nations” by Dr. Keanu Sai, 5:30-7:30 pm March 15 • Free 13th annual Kamehameha III “Lani Kauikeaouli” Concert, 4:30-10 pm March 16

(See Spotlight), Hawaii regional cuisine chef Sam Choy lends his name and fame to this event celebrating Hawai‘i’s favorite appetizer— poke— created with locally-sourced seafood plus seaweed, seeds, herbs, spices, nuts, and more. Cooking demos, tasting and contest. Sheraton Kona Resort & Spa at Keauhou Bay in Kona. 808.930.4900.

Big Island International Marathon Sunday, Mar. 17, 6 am, Fee Hilo

In this annual 26.2-mile marathon and 13.1-mile and 3.1-mile fun runs, participants run the coast Contestrelated activities start 10 am and include a Hawai‘i Island Marketplace, educational and cultural activities, entertainment, poke making demo by Sam Choy, and a celebrity poke-off. “Blind” poke contest judging starts 10 am with an awards ceremony and tasting open to the public at 12:30 pm. Admission to all activities is $5 at the door (keiki 12-and-under are free) and proceeds benefit the $1 million Equip the Kitchens Campaign for the future Hawai‘i Community College—Palamanui. At the Ainakai restaurant and Bay View Lawn at Sheraton Kona Resort and Spa at Keauhou Bay.

of old Hawai‘i along the Pacific Ocean, through rainforests, past rushing waterfalls, and along black lava beaches to finish at the historic Hilo Bay front. A flat, cool and fun course in the beautiful Hilo area. 808.969.7400 or visit

2nd Annual Big Island Chocolate Festival Thursday-Saturday, Mar. 21-23 Kohala Coast

This sweet and distinctive festival celebrates the local cacao industry and chocolate with three days of activities culminating with a gala 5:30-10 pm Mar. 23 at The Fairmont Orchid, Hawai‘i. Taste savory and sweet creations by top chefs and chocolatiers along with fine wines and handcrafted ales, live music, dancing, silent auction, and celebrity chefs. Festival Prelude 5:30-7:30 pm Thursday, Mar. 21 at The Shops at Mauna Lani; farm tours at Original Hawaiian Chocolate Factory Friday, Mar. 22; plus seminars and student competition Mar. 23 at The Fairmont. Details and tickets:

Lavaman Waikoloa Triathlon Sunday, Mar. 24 Kohala Coast

The 15th Annual Lavaman Triathlon Festival features an Olympic distance 10K-run, 40K-bike and 1.5K-swim open to individuals and relay teams of all ages and abilities, plus 5-K sunset fun run, health and fitness expo, awards party and beach barbeque. Waikoloa Beach Resort. 808.329.9718 or visit

❖ C A L E N D A R ❖ Haili Men’s Invitational Volleyball Tournament Mar. 25–Mar. 30 Hilo

More than a half-century old, this popular sporting event features novice to nationally ranked AA players from around the United States. Hilo Civic Auditorium and other locations around Hilo. 808.961.3633 or visit

MAMo Gallery Exhibit Mar. 29–Apr. 25 Hilo

Wailoa Art Center presents the 3rd annual MAMo exhibition titled “3…46…50” the showcases the work of Hawaiian artists with connections to Hawai‘i Island. 8:30 am–4:30 pm Monday-Friday, noon-4:30 pm Wednesday, Free. or

Day at Hulihe‘e

Saturday, Mar. 30, 9 am–4 pm. Free Kailua-Kona

This annual spring event, on the oceanfront grounds of the historic Hulihe‘e Palace, features arts and crafts, ono (tasty) food, Hawaiian music, hula and culture, and prize drawings for locally created artwork. Hawaiian blessing at 8:30 am. 808.329.9555 or visit

Hula Kahiko Informance

Saturday, Apr. 20, 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 Volcano Arts Center Gallery porch 9:30 am–1:30 pm. Park entrance fees apply. Contact Julie Callahan, 808.967.8222 or visit

Annual Merrie Monarch Festival March 31–April 6 Hilo

(See Spotlight), Hawai‘i’s most venerable hula celebration and competition with week-long festivities including exhibitions, musical entertainment, arts and crafts fairs and the Miss Aloha Hula Competition, kahiko (ancient) and ‘auana (modern) hula competitions. Except for the Hō‘ike and hula competition, events are free. 808.935.9168 or

Kalani Hula Heritage Festival Apr.2–Apr. 8, Fee Pahoa

Held in conjunction with the annual Merrie Monarch Festival, this week-long event celebrates Hawaiian culture with traditional songs, chants, myths, crafts, language, plant uses and hula in both kahiko (ancient) and ‘auana (post 1860) forms. Kalani Oceanside Retreat in Pāhoa in Puna. 808.965.0468 or visit

Tropical Paws Gala

Friday, Apr. 5, 6 pm, Fee Kona Coast

Annual benefit gala for the Hawai‘i Island Humane Society held at the elegant Four Seasons Resort

Kamuela Philharmonic Spring Concert Sunday, April 7, 4 pm, Free Kohala Coast

A community event that features the locally based orchestra will present two, well-loved works by the iconic composer Gerorge Gershwin, “Rhapsody in Blue” and “An American in Paris.” Mauna Lani Resort pavilion. 808.885.6868 or visit

I Hate Hamlet

Fridays–Sundays, Apr. 12–27, Fee Kainaliu

Paul Rudnick’s 1991 dramatic comedy, guest directed by Victor Pisauro, Replete with a séance, ghostly appearances, and plenty of swashbuckling, this show will delight Shakespeare fans and foes alike. Friday–Saturday 7:30 pm, Sunday 2:30 pm., 808.322.9924 or visit

Ka‘ū School of the Arts’ Spring Fling Saturday, Apr. 13, 9 am–4 pm, Free Na‘ālehu

Spring Fling celebrates the diverse culture of Ka‘ū district with entertainment, music, dance, creativity corner, and arts and crafts. Punalu‘u Bake Shop. Contact Brad Grohs, 808.854.5911 or 808.854.1540.

Hula Arts at Kīlauea in HVNP

Saturday, Apr. 20, 10:30–11:30 am, Free Volcano

Hula Arts at Kīlauea in HVNP. This Volcano Arts Center program features a Hula Kahiko Informance with kumu Leilehua Yuen and Manu Josiah, and is a 50-minute narrated demonstration of preparation, protocol and offering of traditional hula and chant. or 808.967.8222.

Ka‘ū Coffee Festival

Saturday-Sunday, Apr. 27–May 5 Pāhala

(See Spotlight, page 84), Featuring a ho‘olaule‘a, coffee tasting, recipe contest, music and entertainment, farm tours, and more. 808.928.0500 or visit

Spotlight: Merrie Monarch Festival Mar. 31–Apr 6 Hilo Ho‘olaule‘a (celebration) • Sunday, Mar. 31, 9 am, Free, Afook Chinen Civic Auditorium. Watch performances by our local hālau. Free Mid-day Entertainment • Apr. 1–5. Daily entertainment at the Hawai‘i Naniloa Volcanoes Resort (12 pm), and the Hilo Hawaiian Hotel (1 pm). Arts and Crafts Fair • Wednesday–Friday, Apr. 3–5, 8:30 am–5 pm, Saturday, Apr. 6, 8:30 am–4 pm Afook-Chinen Civic Auditorium. An annual favorite, this free event features local artists and crafters. Hō‘ike Performances • Wednesday, Apr. 3, 5:45 pm. Fee, Edith Kanaka‘ole Stadium. An exhibition night of hula and music.

Band appearance remembering Queen Ka‘ahumanu and Prince Kuhio.

Contact information in each listing for details

Meetings Lynn Bell 808.989.7494

May 5–11, Fee Puna

A one-week festival featuring performances by local, mainland and international musicians,

Merrie Monarch Royal Parade • Saturday, Apr. 6, 10:30 am One of the festival’s most entertaining and fun events for the entire family, the parade begins and ends at Pauahi St. and winds through downtown Hilo.


Hilo Lei Day Festival

Puna Music Festival

Group Hula ‘Auana & Awards • Saturday, April 6, 5:45 pm, Edith Kanaka‘ole Stadium. Hālau hula perform modern style dances with an awards presentation for all group winners.

Ongoing Events

Kona Toastmasters

Join the fun at the 9th annual Hilo Lei Day Festival, “He Mo‘olelo ko ka Lei” celebration of Hawai‘i’s “garlands of aloha.” Featuring music, hula, lei-making demonstrations, this uniquely Hawaiian event kicks off a month-long celebration of the heritage, history, and culture of the lei. Kalākaua Park. 808.895.0850 or visit

Group Hula Kahiko • Friday, April 5, 5:45 pm, Edith Kanaka‘ole Stadium. Hālau hula perform ancient style dances.

traditional Hawaiian instruments, music-and-hula focused cultural excursions, community marketplace and final performance and lū‘au featuring musical and culinary tastes of Puna. Kalani Oceanside Retreat. 808.965.7828 or visit

COMING IN MAY Wednesday, May 1, Free Hilo

Miss Aloha Hula • Thursday, Apr. 4, 5:45 pm. Edith Kanaka‘ole Stadium. Individual competition for the title of Miss Aloha Hula with contestants performing hula kahiko, hula ‘auana and oli (chanting).

1st and 3rd Tuesdays, 6 pm

Hawai‘i Island Network of Artists • Ka‘ū District Meeting

Na‘ālehu Community Center Mar. 7, 5:30 pm–7 pm

• North Hilo District Community Meeting

Laupahoehoe Library Apr. 4, 5–7 pm

Contact Tiffany DeEtte Shafto 808.967.8222

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

4 pm, Palace Grounds Mar. 17 Apr. 21

Event remembering Prince Edward Albert.

Aloha Fridays

Volcano Art Center Gallery Porch, Hawai‘i Volcanoes National Park Every Friday, 11 am–1 pm Free, donations welcome Hands-on cultural craft demos/lesson. Park entrance fees apply. Julie Callahan 808.967.8222

Basically Books Hilo Bayfront

Ongoing reading and book signing events. 808.961.0144

Hawai‘iana Live

Palace Theatre, Hilo Every Wednesday, 11–11:45 am Fee.

Leilehua Yuen and Manu Josiah present a Hawaiian cultural performance sharing history and traditions. 808.934.7010

Hilo Hula Days

Mo‘oheau Bandstand, Hilo 11 am–1 pm | March/April 2013


Hualalai north of Kona. Silent and live auctions, buffet dinner, live entertainment, and dancing are on tap for the evening. Always a sell out. Tickets at, 808.329.2135, ext. 2 or 808.329.1175.


❖ C A L E N D A R ❖ Mar. 4, 5, 7, 12, 13, 14, 18, 19, 21, 27, 31 Apr. 1, 9, 12, 16, 18, 19, 23, 29, 30 808.935.8850

HIP Tuesdays (Hilo Improvement Program) Mo‘oheau Bandstand, Hilo 9 am

Ongoing workshops in Tsunami Preparedness, Walking Stick Carving, and Ho’oikaika Kino Fitness.

‘Imiloa Astronmy Center of Hawai‘i University of Hawai‘i–Hilo

Find ongoing events on their website. 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. Julie Callahan 808.967.8222

Kids Capoeira

Tuesdays, 3:30–4:30 pm, Fee Waimea Community Education Building

A dynamic Afro-Brazilian art form, kids ages 7-12 will develop coordination and confidence through martial arts, music, acrobatics and song. Mario Hill 808.315.8501

Kokua Kailua Village Stroll Kailua Kona 1 pm–6 pm Mar. 17, Apr. 21.

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

Kona Stories Bookstore Keauhou Shopping Center | March/April 2013

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



Ka‘ū Coffee Festival

April 27-May 5 Pāhala

The Ka‘ū Coffee Festival perks with java-jumping fun starting April 27 and culminates the weekend of May 4–5 with a ho‘olaule‘a on Saturday and coffee education on Sunday. Serving as an economic stimulus for the rural Ka‘ū region, the festival is supported by the County of Hawai‘i Department of Research & Development, Hawai‘i Tourism Authority and Hawai‘i Department of Agriculture. Founded in a coffee tradition hailing to the 1800s—plus the hard work of sugar employees who lost their jobs in 1996—Ka‘ū coffee burst

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

Kona Historical Society

Lectures, Tours, Book Presentations Various Locations, Dates 808.323.3222

Letʻs Grow Hilo Community Beautification Day Mar. 31, Apr. 28, 2 pm.

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

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

Niaulani Nature Walk

Volcano Art Center, Niaulani Campus, Volcano Village Mondays 9:30 am and Saturdays–11 am, Free; donations welcome.

Meet at East Hawai‘i Cultural Center. Help make Downtown Hilo a more bountiful and beautiful place by getting a little dirty, pull weeds and plant vegetables.

Guided 1/7 mile Hawaiian rain forest tour. Park entrance fees apply. A. Spaur 808.967-8222

Live Harp Music at One Gallery

One Island Sustainable Living Center

Fridays 6–8 pm, Free Hilo

Come by and hear improv artist Cymber Lily Quinn and view beautiful art by local artists. Cymber Lily Quinn 808.345.0127

Lunch with a Ranger at Kahuku

Sunday, Mar. 17 and Mar. 30, 11:30 am, Free Bring a bag lunch and join a NPS ranger for a discussion on topics ranging from land management and conservation to environmental and cultural history. Hawai‘i Volcanoes National Park. The Kahuku gate is on the mountain side of Hwy 11 near the 70-mile marker. 808.985.6018

Lyman Museum Programs Hilo

Cultural programs, lectures, events. 808.935.5021

Medicine for the Mind, Buddhist Healing Meditation

Volcano Art Center, Niaulani Campus, Volcano Village Sunday, Mar. 10 & Apr. 14. 4–5:30 pm, Free. Donations accepted. Buddha’s teachings on finding happiness inside. Everyone welcome. Julie Callahan 808.967.8222

onto the specialty coffee scene by winning numerous awards. These accolades highlight the unique combination of people and place that makes Ka‘ū coffee a favorite across the globe. The festival’s mission is to raise awareness of Ka‘ū as a world-class, coffee-growing origin.

Events include: • Saturday, Apr. 27 Enjoy foodie fun at Simply Elegant: 2nd Annual Ka‘ū Farmers’ Table at The Inn at Kalaekilohana. The limited seating Table features locally sourced gastronomy with live entertainment. Advance only tickets are $75 at • Sunday, Apr. 28 the Triple C Recipe Contest returns to Ka‘ū Coffee Mill with competition in cookies, candies and crackers, all made with Ka‘ū coffee. Attendance and coffee tasting are free; find contest entry info at


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

People and Land of Kahuku

Sunday, Mar. 10 and Mar. 24, 9:30 am–12:30 pm, Free

Two-mile, moderately difficult guided hike explores the ways people lived on the vast Kahuku lands in the park, from the earliest Hawaiian settlements through today. Bring boots, long pants, raingear, water and snacks. Hawai‘i Volcanoes National Park. The Kahuku gate is on the mountain side of Hwy 11 near the 70-mile marker. 808.985.6011,

Snorkel Day for People with Disabilities

Kahalu‘u Beach Park 3rd Friday, 10 am–2 pm. Free.

For children and adults with disabilities and their ‘ohana to experience freedom. Stephanie Kovatch 808.326.4400x4017

• Wednesday, May 1 explore flume systems of the sugarcane era and development of hydroelectric power on a Ka‘ū Mountain Water System Hike. Fee. Limited to 30 with lunch provided. Visit or 808.928.0550 • Friday, May 3 is Coffee and Cattle Day at Aikane Plantation Coffee farm, where descendants of the first coffee farmer in Ka‘ū explain how coffee is integrated into other agriculture. Fee. Lunch included. Visit or 808.927.2252 • Friday, May 3 observe the heavens from the summit of Makanau at Ka‘ū Star Gazing, 7:30–10 pm Fee. To sign up, visit or 808.928.0550 • Saturday, May 4 enjoy the Ka‘ū Coffee Festival Ho‘olaule‘a, with a full day of music, hula, food, local crafts, coffee tastings and farm tours at the

Tea for Tuesdays

Volcano Art Center, Niaulani Campus, Volcano Village Every Tuesday in March and April 2013, 2 pm, Free.

Part of the 2013 Volcano Tea Series. Julie Callahan 808.967.8222

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 Yoga with Emily Catey.

Monday–5:30 pm

Beginning Yoga with Rob Kennedy. Contact Julie Callahan 808.967.8222

Classes and Workshops Make Books! with Lisa Louise Adams Volcano Art Center, Niaulani Campus, Volcano Village Saturday, Mar. 2, 10 am–1 pm, Fee.

Make a hard-cover accordion book and 2 softcover books. Bring cotton fabric for covers and magazine or favorite copies of photos. $35/$31.50 VAC members plus $10 supply fee. Call to reserve space. Julie Callahan 808.967.8222

Pastel Painting with Patti Pease Johnson

Volcano Art Center, Niaulani Campus, Volcano Village Saturday, Apr. 13, 1–4:30 pm. Fee. A beginner to intermediate workshop for pastel painting. $65/$58 VAC members plus $10 supply fee. Call to reserve a space. Julie Callahan 808.967.8222

Pāhala Community Center. Festival entry is free; Ka‘ū Coffee Experience coffee tasting $5; farm tours $20. 808.929.9550 or visit • Sunday, May 5 learn about the coffee industry at the Ka‘u Coffee College at Pāhala Community Center. Free, donations appreciated. 808.929.9550 or visit

Community Kokua–

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

Queens’ 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.

Volunteer Opportunities Use provided contacts for information


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

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

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

East Hawaii Cultural Council Hilo Monday–Friday, 8 am–3 pm. Volunteer in the art galleries, performing arts, classes, Workshops, festivals. Contact Dennis Taniguchi 808.961.5711

Friends of NELHA

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

Share Ocean Science/Technology using deep ocean water.

Hamakua Youth Foundation, Inc. Hamakua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30 pm, Wed. 1–5:30 pm, Thu. 2–8 pm. Serving Hamakuaʻs school-age kids. Contact T. Mahealani Maiku‘i 808.775.0976

Hawai‘i Island Humane Society 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

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.

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

Kalani Retreat Center Kalapana

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

Lions Clubs International

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

Make-A-Wish Hawaii

Granting wishes for children with life-threatening medical conditions.

Ongoing 808.537.3118

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

Parrots in Paradise Sanctuary Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh 808.322.3006

Snorkel Day for People with Disabilities

Kahalu‘u Beach Park 3rd Friday, 10 am–2 pm.

Volunteers needed. Contact Stephanie Kovatch 808.326.4400 x 4017

Sundayʻs Child Foundation Kamuela

Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier 877.375.9191 To have your non-profit group listed, please go to:

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"See our coupon at" | March/April 2013

Volunteers help in arts education program. Contact Anne Catlin 808.322.3362



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86 | March/April 2013

Life in Business

Facial Fitness Hawai‘i


Patsy Withers Hilo

Marty Dean Kailua-Kona

808.329.1074 Kona 808.934.2255 Hilo




I can help you protect your family and save money too. Introducing the Allstate Auto/Life DiscountÐ. Now you can save on auto insurance when you protect your family with life insurance. I’ll make it easy to get the quality coverage you need at an affordable price. So why wait? Call me today to put your family in Good Hands®.

Steven M Budar, CLU, ChFC (808) 326-1125 75-170 Hualalai Rd Suite D-112 Kailua-Kona

Insurance, discounts and savings subject to terms, qualifications and availability. Discount and availability varies by state and product line. Life insurance issued by Allstate Insurance Co., Northbrook, IL, Lincoln Benefit Life Co., Lincoln, NE and American Heritage Life Insurance Co., Jacksonville, FL. © 2011 Allstate Insurance Company | March/April 2013

arty Dean started Facial Fitness Hawaii in 1993 because she understood there was a need for a holistic approach to skin and body care. Constantly keeping up with the latest education, she is a living example of walking her talk on a daily basis. In 1995, she added permanent cosmetics to her services and has become a lifetime member of the Society of Permanent Cosmetic Professionals. A few years ago she moved the business to a private spa atmosphere where people come to rejuvenate, renew, and heal spirit, mind, and body. She strives to contribute to people’s wellbeing and help them maintain their beauty on all levels: spiritual, mental, physical, and emotional. Patsy Withers had travelled from Hilo to Kailua-Kona for years so Marty could treat her sun-damaged skin. In time, Patsy was inspired to attend an esthetics school in Hilo and receive handson training with Marty. “I am honored that Marty allowed me to carry on the Facial Fitness name in Hilo. That says a great deal, and I don’t take that title lightly. I am mirroring Marty as best I can. I learned all my techniques from her. The spa is in a quiet, private spot downtown.” Facial Fitness uses only the highest quality topical products with ingredients that are aroma-therapeutic, utilizing natural herbs and essential oils for professional treatments. The products have no parabens or other chemicals, so they work with the body to keep it balanced and restore its natural ability to heal itself. A few of the healthy skin care techniques Facial Fitness offers: • Women who have concerns about how their skin is aging. • Teens who have challenges with acne and prefer not to take pharmaceuticals for treatment. • Men who want grooming techniques for excess hair in their ears, brows, nose, and on backs and chests. Itʻs very important to help people achieve results by analyzing their skin correctly and then following through with the appropriate technique for the individual client. And the client must also do their part. That is why skincare products are available for them for purchase in order to continue their skin care regimen at home. Everyone needs to wear sunscreen and sun protection everyday, a minimum of SPF 30 between 9 am–4pm. When you’re driving, always put two coats of sunscreen on the left side of your body. The time to get started is now. If you are suffering from a skin ailment or just feel you are not putting your best face forward, keep in mind Patsy’s philosophy: “Itʻs never too late to help your skin look its best.”


Life in Business

Tax planning is a year round event!

Golden Egg Cash Assets

Paula Wilson, EA • Action Business Services

808-329-3403 | March/April 2013



Owner/Operational Manager—Michelle “Sakata” Johnson Manager—Ceri “Tacderan” Copeland

he Golden Egg is a women-run, locally owned store that buys miscellaneous gold, silver, platinum, dental gold, silverware, and gold and silver coins. One of their policies is that you will never feel pressured to sell anything that you are not ready to sell. Kona’s first specialized gold buying store has become a Market Place Ministry to help people financially, emotionally, and spiritually. There can be negativity attached to jewelry. The Gold Sistahs help their guests cleanse, refresh, and have new beginnings. For male guests, they have a ritual where the man crunches his previous wedding ring with a channel-lock wrench. It is very freeing! The business name “Golden Egg” came from a children’s storybook. “Cash Assets” was added to avoid being mistaken for a Chinese restaurant. Michelle and her best friend, Ceri “Tacderan” Copeland, are fondly known as “The Gold Sistahs.” (The nickname was coined by Michelle’s son after listening to a song.) Ceri was a favorite substitute teacher in Hawai‘i Island public schools for 15 years. Now she is the manager of the Golden Egg and organizes fundraising events that the Gold Sistahs are very proud of. To date, $12,000 has been donated to a variety of charities. Michelle is a fourth generation born and raised on Hawai‘i Island. She has an AA degree in fashion design and worked the fashion industry in Honolulu for 10 years before moving to Maui for 13 years to open restaurants and raise her children. In 2002, she moved near her parents, Mr. and Mrs. Norman Sakata. This year she will be launching her own lounge-wear line. The Golden Egg has a boutique selection of fine jewelry sold at wholesale prices. Their full-gold buying services includes a Customer Wish List and gem removal or purchase. Their own brand of Kona coffee, “Gold Sistah’s 24K Kona Coffee,” has become known for its “pretty bubbles” and perfect medium-dark flavor. With Kona Coffee Queen 1977, Michelle “Sakata” Johnson in the house, they only serve the best coffee. Visit the Gold Sistahs. Relax while they evaluate your unwanted precious metals at no cost. They are friendly, upfront, honest, and generous. And ask them about hosting a Gold Party. 75-5629 Kuakini Hwy., Suite N, Kailua-Kona 808.331.8910

Life in Business

Lyman Museum and Mission House

Counterclockwise from top: Maria Nagai, Nuuana Maikui, Linda Collazo, Jeff Flox, Michelle Bulos, Lynn Elia, Tricia-Lani Au, Jill Maruyama, Janis Larson, and Barbara Moir Not Pictured: Richard Henderson, Emily Benton, Dennis Fukuchi Photo courtesy of Karen Welsh


One block mauka (uphill) from Haili Church 276 Haili Street, Hilo 808-935-5021

P U Z Z L E S O L U T I O N | March/April 2013

he Lyman Museum led by Barbara Moir, Executive Director, and Richard Henderson, Board Chairman, is one of only four nationally accredited museums in the State of Hawai‘i and a Smithsonian Affiliate. This year marks the 180th anniversary of the arrival of David and Sarah Lyman in Hilo. They were New England missionaries with a lifelong commitment to education. The Lyman Mission House was built for them in 1839. The museum, established in 1931 by Lyman descendants, celebrated its 80th anniversary in 2012. The mission of the museum is “to tell the story of Hawai‘i, its islands, and its people” to all demographics. It hosts educational and public programs for visitors and kama‘aina alike. Daily guided tours of the historic Mission House provide a unique portrait of missionary life in the 19th century. Two permanent exhibits—the Earth Heritage Gallery and Island Heritage Gallery—both give a comprehensive natural and cultural history of Hawai‘i. Special exhibits are rotated to keep visitors coming back for more. The Lyman Museum Archives, open by appointment only, include centuries-old documents, books, maps, ephemera, and photographic collections specific to Hawai‘i Island. The small staff juggles multiple responsibilities, from giving tours and preserving artifacts to mounting exhibits, organizing public programs, and planning fundraising events. An exciting challenge they face today is updating the exhibits to accommodate Hawai’i’s vast history and ever-evolving culture. The museum is in constant need of both the helpful hands of volunteers to assist with the public programs, archival research, and museum operations and the generous gifts of donors to keep the museum exciting and educational for generations to come. Annual memberships include free and unlimited museum entry and other “Members-Only” benefits.


Ka Puana–The Refrain


his book can be found at: • Island Naturals Hilo • Island Naturals Kona • Island Naturals Pahoa • Basically Books • Book Gallery • Hilo Big Island BookBuyers • Kona Stories • Waimea General Store

Island Naturals Carrot Cake

This is another Island Naturals classic. It’s a crowd-pleaser for all ages. Makes great cupcakes or a layer cake, as well. Yields 1 cake 4 cups flour 3 ½ cups sugar 2 tsp baking powder 2 tsp baking soda 2 tsp salt 1-2 tsp cinnamon 3 cups carrots, shredded 2 cups safflower oil ½ cup egg replacer + 2 ½ cups water, whisked together 1 cup walnuts, chopped

Seaweed Salad | March/April 2013

If you aren’t eating seaweeds, you are missing out on a delicious and healthy food. They are just packed full of vitamins and minerals. Enjoy your greens—your sea greens! Serves 4


1 lb ogo seaweed dash of salt 1 red bell pepper, sliced ¼ red onion, sliced ¼ cup sesame seeds, roasted ¼ cup soy sauce 2 tbsp sesame oil ¼ cup rice vinegar ¼ cup green onion, chopped Blanch the ogo—bring enough lightly salted water to cover the ogo to a boil in a medium saucepan. Add ogo and turn off heat. Drain and rinse in cold water. Put cooled ogo in a medium bowl. Add remaining ingredients. Stir to distribute ingredients evenly. Serve cold.

Combine flour, sugar, baking powder, baking soda, salt and cinnamon in a large bowl. Add carrot, oil, egg replacer mix and walnuts. Beat until just mixed. Do not over mix. Pour into an oiled and floured (or lined) 10 x 14 inch baking dish, 2-8 x 8 inch cake pans or a cupcake pan. Bake at 350 degrees F for 50 – 60 minutes or until an inserted toothpick comes out clean. Cool before frosting.

Vegan Cream Cheese Frosting

Delicious and satisfying! Adjust the sweetness to your liking. This is ideal for our Island Naturals Carrot Cake and Banana Cake. Frosts 1 layer cake or 24 cupcakes 8 oz non-dairy cream cheese (We use 1 tub of Tofutti brand) ½ cup natural butter substitute (We use Earth Balance) 2 - 4 cups sifted powdered sugar, to taste 1 tsp vanilla Cream butter and cream cheese until fluffy. Add sugar a bit at a time. Taste test for sweetness. Beat in vanilla until smooth and fluffy. Continue to beat until white in color (not yellow). Tip: Try dusting frosted cake with cinnamon. For coconut lovers, toast 2 cups of shredded coconut and press into frosted cake. Imagine adding just a few drops of your favorite cooking essence to the frosting. Try adding a splash of beet or carrot juice to finished frosting as a natural food coloring.

Eat. Celebrate. Relax.

Dine & Dance - Dine under the stars with the swaying palms and the sounds of top local musicians. Our menu features fresh festive food with global coastal flavors. We are dedicated to using the freshest organic, local products.

Private Parties - With award-winning food, creative

specialty cocktails, caring service staff and the best in local entertainment … whether your group is 10 or 200 guests, a fun bridesmaid’s get-together, a wedding rehearsal dinner, or a corporate incentive event; we can accommodate your special celebration.

Spa - The perfect complement to your enchanting

evening is a day of pampering at Blue Dragon Bodywork. Enjoy a symphony of massage therapy and body treatments with experienced staff at reasonable prices.




BEST BARTENDER 2012 Brandon Winslow

BEST CHEF 2011 Morgan Bunnell & 2012 Noah Hester

BEST LIVE MUSIC BEST FAMILY BEST DINING 2009, 2010, 2011 ENTERTAINMENT ATMOSPHERE & 2012 2010, 2011& 2012 2010,2011&2012

BEST BARTENDER BEST FISH/ BEST BEST BEST MASSAGE 2010, 2011 & 2012 SEAFOOD CATERING VEGETARIAN THERAPIST 2012 2011 2011 & 2012 FOOD 2012 Brandon Winslow Renee Romano

Kawaihae Harbor, Hwy. 270 BODYWORK : Daily 9am – 7pm RESTAURANT: Thurs–Sun 5 pm – close


March-April 2013