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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

November–December 2013 Nowemapa–Kēkēmapa 2013

Art 25 Where Art Found Its Place Donkey Mill Art Center By Le‘a Gleason 61 Healing Art The metamorphoses of Phan Nguyen Barker By Alan D. McNarie

Business 75 Managing with Aloha: Kūlia i ka nu‘u By Rosa Say

Health 33 Kūpuna Talk Story: Kai Kaholokai Native Hawaiian cultural practitioner, Kumu Lā‘au Lapa‘au By Keith Nealy

Home 69 An Abundance of Energy An intentional property in harmony with nature By Cynthia Sweeney

Land 53 What the World Needs Now Peace, harmony, and love—sweet love By Margaret Kearns 83 Tropical Fruitcake By Sonia R. Martinez

Music | November/December 2013

77 The Love Story of Harp and Soul Manuel and Bernice Roberto By Gayle ‘Kaleilehua’ Greco


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Hawaii’s oldest food festival is brewing up a celebration of Kona’s world famous coffee.

Ocean 47 Lights! Camera! Ocean! Waimea Ocean Film Festival By John J. Boyle

$3 Festival buttons are on sale now and serve as tickets to events.



19 Christmas on Parade Celebrating the season island style By Barbara Fahs 39 Sean “Peaman” Pagett Founder of Frozen Pea Productions By Hadley Catalano

Spirit 11 Alo ke Alo Na Kumu Keala Ching

Ka Puana -- Refrain 90 How To Be Happy In one reading By Michael J. Vielman

45 67 80 82 84 85 86

Sunday, November 3 KTA Super Stores Kona Coffee Recipe Contest & Big Island Showcase Sheraton Kona Resort & Spa 12:30 p.m. – 3:30 p.m. Amateurs, culinary students, keiki and professional chefs present their favorite entrée and dessert recipes featuring 100% Kona Coffee. The Big Island Showcase features Hawaii Island products, gifts, and a chance to buy farmerdirect Kona coffee. Saturday November 9 Kamehameha Schools Kona Coffee Cultural Festival’s Ho‘olaule‘a Keauhou Shopping Center 10:00 a.m. – 8:00 p.m. This multi-generational, multi-cultural celebration of Kona coffee brings together a kid’s world, hands-on cultural workshop, an interactive Global Village, the popular Ethnic Food Market, a Kona Coffee Corridor and all-day live entertainment culminating with taiko drummers and a Bon Dance showcasing over 200 paper lanterns.

K O N A Back issues of Ke Ola available for purchase.

Talent Night



Scholarship Pageant Coffee Picking Contest Recipe Contest Label & Website Display Farm & Mill Tours Living History Farm Tours Cupping Workshops Quilt Show Bowling Tournament Ho‘olaule‘a Makahiki Concert


Save $5 at our advertisers; see Ke Ola Kālā on p87 | November/December 2013

Featured Cover Artist: Lisa Greig Crossword Puzzle Island Treasures Farmersʻ Markets Hawai‘i Island Happenings Community Kōkua–Volunteer Opportunities Talk Story with an Advertiser

Art Shows

Coffee & Art Stroll

13 A Mele Kalikimaka to All: ‘Elves’ around Hawai‘i Island helping ‘ohana in need By Catherine Tarleton


10 Days of Festival Fun


Advertiser Index

Mahalo to our advertisers, who make Ke Ola’s stories possible and keep circulation free on Hawai‘i Island. Clip our new $5 Ke Ola Kālā coupon (p.87) and take it to one of the advertisers in this issue before Dec. 31. You’ll receive $5 off your purchase!

AccomModations Dragonfly Ranch Healing Arts Center and B & B Holualoa Inn Kilauea Lodge

78 30 48 | November/December 2013

Activities, Culture, Events Active Lava Hawaiian Tours 78 Amy Greenwell Ethnobotanical Garden 57 Aloha Performing Arts Co. 84 Dolphin Journeys 49 Donkey Mill Art Center Holiday Affair 30 Celebration of E Mau Ana Ka Hula 76 FairWind Big Island Ocean Guides 10 Hawaii Forest & Trail, Native Bird Tours 56 Hawaii Honey Festival 38 Hawi and Kapa‘au Art & Street Fair 73 Ka‘u Coffee Mill 18 Kea‘au Lighted Christmas Parade 41 72 Kohala Zipline Kona Boys 49 Kona Coffee Cultural Festival 5 Kona Cowboy 55 Kona Music Society 76 Lavaland 34 Lilikoi Festival 89 Lyman Museum & Mission House 16 Blessing of POW/MIA Garden at Veterans Cemetary 85


Art, Crafts, Jewelry Blue Sea Artisans Gallery, LLC Bob’s Jewelers Carol Adamson Greenwell Cindy Coats Gallery Dovetail Gallery & Design Eclectic Craftsman Elements Gallery Fabric and Quilting Delights Firehouse Gallery Harbor Gallery Hawaiian Dolls Hawi Gallery Art & Ukuleles High Fire Hawaii Gallery & Studio Holualoa Gallery Holualoa Ukulele Gallery Ipu Hale Gallery Ipu Kane Gallery Ironwood Custom Framing & Design Lavender Moon Gallery Living Arts Gallery Kailua Village Artists Galleries Kimura Lauhala Shop Mary Ellen Clagett, Artist M.Field Art Gallery Mountain Gold Jewelers Paradise Studio Tour Quilt Passions Sassafras Jewelry Shelley Maudsley White Gallery Showcase Gallery & Beads Simple Elegance Gems Studio of Sticks and Stones Susun Gallery Treasure Island Gallery of the Exotic Trudy’s Island Arts True Hawaii Blue Aprons Wright Gallery

26 16 44 27 30 29 72 7 66 23 29 73 17 31 31 31 72 66 21 72 62 30 46 92 24 24 50 44 30 21 26 27 64 64 29 55 28

Automotive Big Island Honda 42 BMW 2 Lex Brodie’s Tire & Service Center 14 Precision Auto Repair 38 Beauty, Health, Nutrition Bailey Vein Institute Clockwork Masseuse Colleen Keegan, CHT, NLP Douglas Dierenfield, DDS Joan Greco, DDS, Oral & Maxillofacial Surgery Hamakua Hairbrush Co. Hawaiian Healing Yoga Kohana ili Skincare & Waxing Luana Naturals Monica Scheel, MS, Dermatologist Natural Balance Acupuncture, Rolfing & Massage Randy Ressler, DDS Swami’s Healing Arts Valerie Cap Vog Relief Herbal Capsules Wave Salon

8 46 52 51 32 65 46 46 66 66 35 20 35 48 34 46

Building, Construction, Home Furnishings Algood Living 64 Aloha Adirondack Chairs 70 Bamboo Too 68 Concrete Technologies 32 dlb & Associates 56 Garden Inspirations 68 Hawaii Water Service Co. 48 Indich Collection Hawaiian Rugs 22 Interior Alchemy 76 Marcus Castaing Fine Furniture 44 Mason Termite 84 Pacific Gunite 18 Plantation Living 18 Pro Vision Solar 60 Quindembo Bamboo Nursery 70 SlumberWorld 7 Statements 68 Tai Lake Custom Furniture 65 Trans Pacific Design 71 Tropical Living By Design 76 Water Works 71 Yurts of Hawai‘i 20

Pets Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital

4 43

Real Estate Abacus Real Estate Appraisal 14 Aloha Kohala Real Estate 4 Arabel Camblor, RS, Clark Realty 81 Coldwell Banker-Daylum Properties 52 Hawaiian Dream Properties 48 Jacob Schneider, RB, Hawaii Beach & Golf Properties 87 Lava Rock Realty 3 Kelly Shaw, RS, Koa Realty 51 Kona Coast Realty 54 Ro Scarborough, RS, Hawaii Life Real Estate 49 The Commercial Group 50 The Real Estate Book 89 Restaurants and Food Aloha Lehua Café Big Island Bees Honey & Museum Blue Dragon Restaurant Boogie Woogie Pizza Coco Island Cuisine Chef Paul’s Sauces & Seasonings Country Coffee Holukoa Gardens & Café Ho‘oulu Farmers Market K’s Drive In Keauhou Farmers Market Kenichi Pacific Lucy’s Taqueria Pele’s Kitchen Peaberry & Galette South Kona Green Market Sushi Rock

37 70 63 37 37 50 51 31 24 17 80 59 16 37 59 38 73

Business and Professional Services Action Business Services 86 Aloha Business Services 88 Allstate Insurance, Steve Budar 74 Ameriprise Financial, Andrew Spitz 89 Entrepreneur’s Source, Kari Waldhaus 74 Great American Self Storage 40 Ho‘oNani Place Adult Day Care 52 myKonaOffice 74 Netcom 74 Red Road Telecom 86 Scott March, Attorney 86 Wainaku Ventures Gathering Place 87

Retail and Gifts Aloha Kona Kids 36 Aloha Kona Kids 86 36 Basically Books 16 Big Island BookBuyers 36 Golden Egg Cash Assets 88 44 Hawaiian Island Aloha Plates Hawaii’s Gift Baskets 62 High Country Farm 55 Hilo Bay Paddler 16 Kadota’s Liquor 17 Kiernan Music 21 Keauhou Shopping Center 58 Keauhou Store 30 Kona Commons Shopping Center 60 Kona Wine Market 60 Kona Stories 59 Mama’s House 66 Paradise Found Boutique 59 Puna Style 37 Queens’ MarketPlace 12 South Kona Macadamia Nut Co. 55 Sweet Wind Books & Beads 66 The Spoon Shop 65

Education Keystone Waldorf Malamalama Waldorf

Travel Jet Vacation Travel Agency Mokulele Airlines

38 35

52 32

“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, Operations Barbara Garcia Bowman, 808.329.1711 x1,

Editor, Art Director

Renée Robinson, 808.329.1711 x2,

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Sharon Bowling

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Eric Bowman • Keala Ching • WavenDean Fernandes • Fern Gavelek | November/December 2013

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 Worldwide Delivery 808.329.1711 x3, order online at, or mail name, address, and payment of $30 US/$48 to Canada for one year to: PO Box 1494, Kailua-Kona, HI 96745. Contact us for international rate. Subscriptions and back-issues available online © 2013, Ke Ola Publishing, Inc. All rights reserved

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Aloha from the Publisher

As we close out our fifth year of publishing Ke Ola, I’d like to express my heartfelt gratitude for the people who have made each issue possible, starting with every advertiser, past and present. Ke Ola would not have been possible without your foresight- for seeing the value in what we have been offering the Hawai‘i Island community and now Maui County, too. Also, every Advertising Account Manager who has helped for any length of time (you all know who you are), please know that you have helped Ke Ola grow and are still very much appreciated. Thanks goes to Karen Valentine, Ke Ola’s co-founder and original editor, whose vision helped shape Ke Ola for future growth, including her exquisite and unique Ke Ola logo—and by the way, it was Karen who suggested the name Ke Ola. Thanks also to our current editor, Renée Robinson, who has helped create structure in the editorial and production process and Richard Price, our “invisible” production manager who puts together all the pieces, sometimes in an amazing feat at the eleventh hour. Our story designer, Mike Portillo, from Mana Brand Marketing in HiloKe Ola could not have possibly come as far as it has without your beautiful and creative design skills, and the same can be said for our ad designers. Our writers and interns, who are the island’s best storytellers, provide the “juice” that keeps Ke Ola living and breathing. We are so grateful for your contributions. Thanks also to our detailed copy editor, Lindsay Brown, and our proofreader and Hawaiian punctuation maven, Sharon Bowling, who doubles as our distribution manager. Sharon distributes each new issue come rain, sleet or snow (or maybe just hurricane and tsunami warnings). With the help of

our Account Reps Mars Cavers, Mary Strong, and Ed Gibson, they make sure Ke Ola gets out in record time when it arrives on-island. I’m so proud that for five years, six issues a year, Ke Ola has been out on time, every time. We have not missed one publishing date! Last but definitely not least, I’d like to express my thanks to my husband, Eric, who has been volunteering to do the bookkeeping for the past several years. Eric is the cog to my wheel and I could not have made it through these five years without his love and support. As Ed, our West Hawai‘i Account Manager, so eloquently stated in a mahalo letter emailed to the Ke Ola ‘Ohana, “What there was and continues to be, is an exceptional product that you’re each a part of creating … every little piece that it takes to have Ke Ola spread out island-wide (and worldwide) issue after issue adds up to something VERY SPECIAL, so I have to say MAHALO!” I ditto Ed’s words ten-fold. Please clip the Ke Ola Kālā $5 coupon (p. 87), which enables you to receive a discount at any of our participating advertisers in this issue. Go do some holiday shopping for you or someone else, and hele in to cash in your Ke Ola Kālā! The best part is it won’t cost the advertiser anything, so it’s a win/win for everyone! If you haven’t signed up for our free lost and found service, read about it on the inside back cover and get your own Ke Ola key tag or label. It’s our gift to you this holiday season! Wishing you much aloha during this season of gratitude and holiday cheer. Aloha pumehana, Barbara Garcia, Publisher

From Our Readers

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

Hawaiian Christmas Joy Handpainted Lino Cut by Lisa Greig See artist bio on page 45.

It was brought to our attention that Mark Evans was called Mike in the Sept/Oct 2013 Big Island Ukulele Guild story. We apologize for this oversight. 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. | November/December 2013

✿ Aloha Barb, I just wanted to share with you that my mother, Catherine, LOVES Ke Ola magazine. She is currently in Florida receiving cancer treatments. She has been listening to her Hawaiian CDs as she “devours each and every Ke Ola article.” She’s nearly finished with her treatments and in December, she and my father will be here for more than a month. We cannot wait, and you can bet that we will be celebrating “LIFE” [Ola]! Mahalo for producing the most stunning, informative Hawaii magazine time after time.  Keep up the great work! Rhonda Darling Pollard Waikoloa, HI


Alo ke alo

| Na Kumu Keala Ching

Maka i luna, kuli i lalo Alo ka lani, lani ke alo Nani ke alo, alo ke ‘ike Alo ke alo, pili ke aloha

Eyes above, knees below Honorable presence, presently being Beauty within, a face of clarity Face to face fulfillment of compassion

Maka i mua, I mua ke ‘ala Alo nā puna, ola ke ola Nani ke alo, alo ke ‘ike Alo ke alo, li‘a ka mana

Eyes before, the path is presented An ancestral path is a living path Beauty within, a face of clarity Face to face remembering the spirit

Maka ka ‘āina, hana ka ‘ike Alo ka mo‘o, ‘ike ka ‘ōlelo Nani ke alo, alo ke ‘ike Alo ke alo, hi‘i ka pua

Eyes upon the land, work of knowledge Thoughts of historical knowledge Beauty within, a face of clarity Face to face a precious source

Maka i lalo, lima i luna Alo ka pono, kupu ka pula Nani ke alo, alo ke ‘ike Alo ke alo, malu ke kapu

Eyes below, hands above Presence of righteousness, gift of many Beauty within, a face of clarity Face to face with a righteous being

Alo ke alo, ‘imi ka pono Alo iā ha‘i, ha‘i ka pilina Nani ke alo, alo ke ‘ike Alo ke alo, alo ke ‘ala

Face to face, righteousness is found Presence of someone deepens relationship Beauty within a face of clarity Face to face with an honored path

Today, we are faced with relationships or forms of disrespect towards others as one become messengers of social media—no face-to-face relationships. Face to face, we are able to seek and know the righteous relationship with the spirit, the stories of the land, and those that set the path before us—Aloha. If we stand face to face with each other, we would understand each others rightful path based upon the journey of the ancestors. Here is a thought relating to a righteous way of living in righteousness—Make right what is right. Let it live! Always observe the unobserved to acknowledge what is not so obvious and to seek a relative sense of balance amongst all to live in and surrounded with compassion. ~ Kumu Keala. Contact writer Kumu Keala Ching: | November/December 2013


keia lā, pau koke iā kākou i ka pilina alo iā ha‘i a ma‘a no ka pua e ‘elele ma luna o kekahi pili ke kanaka‘ole—Hā ‘ole ke alo. Alo ke alo, aia no ka ‘ike pono‘i o ka lani a pili ke ‘ano kanaka i ka pilina mo‘o‘ōlelo o ka ‘āina a me nā kūpuna i hele mua ai—ALOHA. Inā ‘ike pinepine ke alo kanaka, maopopo le‘a ke ‘ano pono‘i i ke ‘ala pa‘a i ka pono. Eia no ke ola pono, ‘o keia mana‘o pili ke ola i ka pono me ka pono—Ho‘oponopono. E Ola!


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A Mele Kalikimaka to All:

‘Elves’ around Hawai‘i Island helping ‘ohana in need

This is the first in an occasional series where Ke Ola magazine highlights some of the important work of our on-island nonprofits. Enjoy learning about these two organizations and please support them. If you have a favorite nonprofit organization, please let us know the name and weʻll add it to our ever growing list of worthy stories to feature in future issues of Ke Ola. Barbara Garcia, Publisher

Project Hawai‘i

and young can let a lot of light shine on the child inside. These moments make a difference, turn lives around—from the toughtalking teen mom who got her GED and became a teacher, to barefoot baseball players who hit home runs with new sneakers, and throngs of kids who start to fit in when they learn how to brush their teeth, to eat at a table, or catch the bus. Magin has been taking care of homeless kids since she was 19, opening a thrift store to raise money for a halfway house for teenagers. “People always ask why I do this,” says Magin. “My answer is, this is what I was born to do. In Hawaiian they say kuleana. This is my kuleana.” She moved to Hawai‘i in 2002 and was stunned by the number of homeless people on the island, not living in shelters like they do on the mainland, but surviving in tents, in the bushes, and in beach parks. Project Hawai‘i (PH), the nonprofit Magin runs with partner Cliff Kama and a small army of volunteers, was conceived as a nonjudgmental way to make holidays a little better for homeless children. Today PH serves keiki on O‘ahu and Hawai‘i Island with Santa gift deliveries, Christmas, Easter, Halloween, Thanksgiving, and other holiday parties, summer camps, a teen mentoring program and more. PH also operates free summer programs, like Adventures Abound day camp, with tours of Mokupāpapa Discovery Center, Pana‘ewa Zoo, ‘Imiloa Astronomy Center, Hawai‘i Volcanoes National Park, and more across a two-week period. Their weeklong overnight camp experience, Kamp Kalōpā, takes place in the Kalōpā State Park and includes camp outfits and shoes, hygiene products and nutritious meals. The awardwinning Teen Mentoring Summer Camp program gives youth the opportunity to expand their potential and gain leadership skills while enhancing the lives of homeless children. | November/December 2013

“There’s no such thing as Santa,” said the little girl, hands on hips. It was 11pm on Christmas Eve, and a silly looking lady in an elf costume had just finished delivering gifts in the beach park when she stumbled upon the child’s family living in a van. Elf Magin Patrick, Program Director of Project Hawai‘i, had heard it before. “I’m sorry, but there certainly is a Santa, and he asked me to make sure he doesn’t forget anybody. And if you and your mom will give me their names and ages, I am going to come back with presents for you and all your brothers and sisters,” she said. “If there is a Santa, he will bring me what I want,” said the little girl. “And I want a Care Bear. No, I want the red Care Bear that sings. And my brother wants a train, and my sister needs a rolling backpack because she can’t walk very good.” At one in the morning, after a rush trip to the 24-hour toy store where the red, singing Care Bear was waiting on the top shelf, along with train, rolling backpack, and presents for six more siblings, Magin returned to the site, holding her breath in fear they might have vanished, like so many do. The little girl was there, eyes wide as the moon. “I told you Santa was real! I told you Santa was real!” A crack of magic in the bitter, brittle shield of one so jaded

| By Catherine Tarleton

13 | November/December 2013

Christmas Wish Program “Kids don’t have the choice if they are poor or not,” says Trudy Farley, volunteer coordinator with PH. The heart-driven nonprofit runs free summer camps and holiday parties for up to 350 homeless and underprivileged children and their families. What began as a gift-wrapping table at the old Borders bookstore in Kailua-Kona has evolved into a year-round service for keiki and ‘ohana, thanks to the tireless work of a small army of volunteers, spearheaded by Program Directors Magin Patrick and Cliff Kama. Trudy now hosts the Christmas Wish Program gift-wrapping booth at her store, Trudy’s Island Art in the Kona International Market. Proceeds help fund PH’s bounteous Christmas dinner at Aunty Sally’s Lū‘au Hale in Hilo—complete with games, prizes, a visit with Santa, and gifts for all the children. During December, shoppers may stop by Trudy’s to have purchases giftwrapped for a donation, and pick up one of the many Keiki Tags posted on a special board, each with a child’s name, age, and a few items on their Christmas wish list. “These kids have things on their list like sleeping bags, underwear, books—they love books,” says Trudy. “Nothing like iPods or cell phones, none of the things the rest of us take for granted.” Trudy says it’s most rewarding to see donors go shopping with their own children, a real eye-opener for young people. “It makes them think, ‘wow, kids don’t have the same things we do,’” says Trudy. Trudy came to the island from Southern California about eight years ago and wanted to connect with and give back to her new community. “Because I’ve moved away from my family and friends, I like to get involved in something for the holidays,” says Trudy. “It gives me something to do to focus on other people. I mean, I’ve got everything I want, and it is nice to see you can make an impact – especially at the party, when you see all the smiling faces.”


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According to the PH website, there are an estimated 2,565 homeless people on Hawai‘i Island, most of whom are single mothers, struggling to provide food, shelter and basic necessities for their children. On average, emergency shelters permit a length of stay for families of 96 days (120 days for singles). Transitional housing projects act as stepping-stones between emergency and permanent living situations. They allow stays of 351 days on average, however, only 64% of families actually move from transitional into stable, permanent housing. While affordable housing is a critical element in Hawai‘i Island’s homeless situation, it is not the only factor, as family crises, job loss, drugs and alcohol, mental illness and other issues come into play. “I certainly don’t have that kind of knowledge [to solve the problems] but if I can make it a little better, that’s a good thing,” says Trudy. The Christmas Wish Program takes place December 1–23, 2013, with giftwrapping, toy drop-off, and Keiki Tags available at Trudy’s Island Art. Open daily 10am– 4pm, Trudy’s is located in Kona International Homeless camp on Christmas Morning Market in the Old Industrial area, at 74-5533 Luhia Street, Kailua-Kona. Givers can also email info@ to have a child assigned to them. There are no limits to ways those who live on Hawai‘i Island and those who love Hawai‘i Island can help PH brighten the holidays for a child. Donations of time, toys and other items, food, services, gift certificates, and monetary contributions on any level are gratefully appreciated.

Big Island Giving Tree | November/December 2013

“In the last two years, 90% of applicants asked for food,” said Rhonda Bell, coordinator for Big Island Giving Tree, a volunteer nonprofit that helps families with school supplies, holiday needs and more. “They ask for clothing for children. Basic necessities. Most get a little bit of food stamps, but they don’t qualify for assistance because they have full time jobs.” Rhonda, Nancy Carr Smith, and others picked up the banner once carried by the Lōkahi Giving Tree program, carrying on their good works and making sure all funds raised in the community stay in the community. In partnership with fiscal sponsor, the Christopher Nance Children’s Foundation, Big Island Giving Tree’s adopt-a-family program provides food, gifts and more to seniors, homeless and working families who would otherwise go without. Christopher Nance, an Island resident, offered his Foundation’s sponsorship at no cost. “I sit on his board of directors,” says Rhonda. “And he asked me ‘why don’t you use our foundation, and everything you raise will be yours?’ Because, he said, ‘The reason I opened this foundation was to bless people, and if I take a percentage I am not blessing people to my full potential.”

Similar to Project Hawai‘i, Big Island Giving Tree (BIGT) allows generous community members to “adopt a family” for the holidays. Adopters cover the cost of a big turkey dinner WMS Student Leadership and three gifts Donation Presentation, 2012 for each keiki in the household. Contributors on a smaller level may adopt a child, or contribute new, unwrapped toys, gift cards, or monetary donations of any amount. “We are very particular the people we serve,” said Rhonda. “These are working families struggling to make ends meet, to budget money wisely and stretch from paycheck to paycheck— not using all the services to enable them. They may have lost a job and everything is mayhem, or they are experiencing circumstances beyond their control, like the death of a parent, a house fire, or other emergency. And, I have a heart for seniors because they have very little and live on very little.” Rhonda, who runs a custom embroidery business, Ke Ala o ka Lani, from her home in Kawaihae, is one of the dedicated team that volunteers countless hours to help those less fortunate in a big way. Last year, BIGT was able to support more than 300 seniors at eight different senior housing complexes in Waimea, Kohala, Honoka‘a, and Kailua-Kona, as well as homeless people and families. Altogether they raised more than $73,000 last year, and their 2013 goal is $100,000. Applications for families are accepted from November 18–December 11. The holiday push begins at the Waimea Christmas Tree Lighting on Thursday, December 5, 7–8pm at Parker School. The always festive, and sometimes chilly holiday kick-off includes entertainment, free coffee and cocoa, and other refreshments for sale, plus community talk-story. On Saturday, December 7 at 10am, BIGT takes part in the Waimea Christmas Parade and afterwards sets up a donation drop point at Waimea Center (McDonalds side). On Sunday at Parker Ranch Center’s Food Court (Starbucks side), they will staff a donation table from noon–3pm, while the community enjoys entertainment by the Hawaii Preparatory Hand Bell Choir, Waikoloa Dance Company hip hop, Aulani’s Hula Hālau, and more.


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“Big Island Giving Tree Store” will be open at Parker Ranch Center, December 4–20, Tuesday through Saturday from noon–6pm. The store will be a drop-off location for items and monetary donations and the central place to organize the adopta-family or adopt-a-child program. “Businesses, organizations, churches, little clubs, all kinds of people and groups can help,” says Rhonda. “We all have heart for different things. Last year, someone wanted to give because he vacations here and wanted to help feed seniors. Another person, from Colombia, wanted to buy toys for kids.” Like Trudy, Rhonda sees the value of this type altruism for children. “I bring my children along a lot of times on the deliveries to see how other people are living—because sometimes they think they have it rough. My youngest asked me one time, ‘Why are we always doing things for other people?’ and I said ‘God told us we need to be servants when we are here, to serve, not to be served. That’s the way it’s supposed to be.” “We have much,” says Rhonda. “We are richly blessed.” ❖ Big Island Giving Tree To volunteer contact: Rhonda Bell 808.880.1984, Tax-deductible donations may be sent to: The Big Island Giving Tree, PO Box 2786, Kamuela, HI 96743 Make checks payable to the Christopher Nance Children’s Foundation with “Big Island Giving Tree” in the memo. Project Hawai‘i Tax-deductible donations may be sent to: Project Hawai‘i, PO Box 1844, Kea‘au, HI 96749 808.987.6018, To volunteer for the Christmas Wish Program, contact Trudy Farley: 808.987.7880, Contact writer Catherine Tarlton:

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photo courtesy Damon Tucker


Christmas on Parade

Celebrating the season island style |

Kea‘au: A Very Green Christmas—Think Green! Only six miles southwest of Hilo, Kea‘au has all the charm of a small town, while also sharing the amenities of the larger nearby city. This year, the Kea‘au Christmas parade’s theme is “A Very Green Christmas—Think Green!” It happens on December 14 at 5:30pm. The sunset opening of the parade and the quickly darkening skies will offer an impressive display of colored lights that would be far less dramatic in daylight. Featuring Mayor Billy Kenoi as Grand Marshal, this tenth anniversary parade promises to be bigger and better than ever. Started in 2004, the parade attracts 50 to 55 participating floats, marching bands, sports teams, church groups, and civic organizations. This year, it will kick off with the Nawahi Hawaiian Immersion Charter School choir singing Christmas carols at the intersection of Kea‘au-Pāhoa Road and Old Volcano Highway. Additional choirs and singing groups will be featured along the parade route, which will wrap up near the Puna Hongwanji Mission on Old Volcano Highway. The President of the Parade Committee, William Walter, is a fifth generation member of the Hawai‘i Island Shipman family.

Small Towns, Big Parades

The small towns of Kea‘au and Pāhoa may have few traffic signals, yet they both know how to throw an awesome Christmas parade.

All decked out for the Kea‘au parade | November/December 2013

hen the weather is warm, we might not feel very Christmasy. Leave it to the Aloha State to come up with original, distinctive ways to make this time of year all its own. Santa, known here as Kanakaloka, sheds his heavy fur-lined cloak and trousers and dons an aloha shirt, shorts, and rubber slippers. Santa also ditches his sleigh and rounds up helpful dolphins to pull an outrigger canoe. The elves strip down to aloha shirts and shorts, and carols are sometimes sung in the Hawaiian language set to the plinking glee of an ‘ukulele. Christmas dinner is often a far more casual affair in Hawai‘i than in colder Kea‘au parade goes on despite the rain climates, with lū‘au on beaches and backyards offering a uniquely Hawaiian tropical note. Local cuisine is on the menu, so don’t expect turkey! Ahi, mahi mahi, or roasted pork are often the featured dishes on the big day, and don’t be surprised to also find sushi, poke, lumpia, tamales, curry, and other locally favored delicacies. Mashed potatoes? You’re more likely to encounter rice at a Hawaiian Christmas dinner. Keeping the Christmas tradition alive is a joyful goal of many cities and towns, and Hawai‘i Island’s Christmas season parades do a great job of instilling both the Christmas spirit and community pride in the inimitable Hawai‘i Island fashion.

By Barbara Fahs


He praised the choirs by saying, “These singing groups, whether they be adults or children, really help to get everyone into the Christmas spirit.” Although the W.H. Shipman Company Limited assists with organizing the parade, Walter emphasized that it is truly a community effort. “A community committee is responsible for putting the parade together,” he added. “It consists of interested residents, all of the public schools, the police, town businesses, Kamehameha School, and others. We like to think of it as a coming together of all parts of the local community, and it connects them to each other in ways that they might not ordinarily have occasion to interact.”

Passport to Pāhoa

Pāhoa is an eclectic town less than 20 miles south of downtown Hilo, and yet it’s a world away in appearance and style. The 2013 Pāhoa Holiday Parade’s theme is “Passport to | November/December 2013



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Pāhoa,” and it happens on Saturday, December 7 at 9:30am. It will include music, floats, a fleet of classic cars, Santa, and will feature many Pāhoa Parent and Teachers Together costumed (PACT), Hawaiian Beaches Head Start characters and photo courtesy Damon Tucker animals. According to parade organizer Madie Greene, this year’s Grand Marshal will be a surprise. “We are considering two kūpuna to honor all of our seniors, the Montessori Country School staff for a flock of marshals, and an employee of First Hawaiian Bank.” The Pāhoa Christmas parade will launch at Pāhoa Village Road and Apa‘a Street, north of the historic center of town, and proceed to Pāhoa High School. The 2012 parade included 40 entries, and this year Madie estimates the same number. Last year’s participants included the Pāhoa Montessori Country School, the Boys and Girls Club of Pāhoa, the Hiccup Circus, the kūpuna group Women of Pa‘a, the Hawai‘i Horse Owner’s Association, and the Puna ‘Ukulele and Kanikapila Association (PUKA). The many sponsors of last year’s parade represented the entire community and included Pāhoa Propane, Jan’s Barber and Beauty Shop, Black Rock Cafe, Kaleo’s Restaurant, Island

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

Puna ‘Ukulele and Kanikapila Association (PUKA) winners of 2012 Pāhoa Parade—Best Community Spirit photo courtesy Damon Tucker

Naturals Market and Deli, Puna Geothermal Venture, Luquin’s Mexican Restaurant, Malama Market, Atebara Hawai‘i Island Gourmet Products, W.H. Shipman Company Limited, Subway Sandwiches and Spa Paradissimo. “We’re expecting many of these loyal sponsors to repeat their involvement in our 2013 parade,” Greene added.

Kailua-Kona: Larger Town, Bigger Parade

“Kona Kine Christmas” is the theme of this year’s big west side parade, happening on December 14 at 5pm. Presented by the Rotary Club of Kona and the Kailua-Kona Community Parade Association, this 29th annual event will begin at the Kekuaokalani Gym and pool complex on Kuakini Highway. Winding its way south along Ali‘i Drive all the way to Walua Drive, near the Coconut Grove Marketplace, as many as 70 entrants will take part in the festive event. The number 70 is deceiving because approximately 1900 individuals belong to the marching bands, choirs, schools, keiki groups and other community organizations that populate the parade, according to organizer Renee Kraft. “If you’re reading this issue of Ke Ola magazine before December 2, it’s not too late to sign up your group for the parade,” Renée announced. “Whether you represent a neighborhood group, a nonprofit organization or a commercial venture such as a retail store, everyone is welcome to participate until we hit the magic number of 70 entrants. We especially like

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to include floats and groups that provide music,” Kraft added. To apply, visit the Kona side Mayor’s office at the West Hawai‘i Civic Center or contact Chauna Reese at 808.313.0025. This year’s Grand Marshal is Jerry Tracy, who has served as the Artistic Director for the Aloha Performing Arts Company for more than 21 years. A Missouri native, Tracy relocated to Hawai‘i in 1974. He might be familiar as the face and voice of Mark Twain, around whom he has created a one-man show titled “Mark Twain Rides Again,” which will benefit the Aloha Performing Arts Company at the Aloha Theatre November 22–24. In his show, he reminisces about Twain’s 1866 visit to Hawai‘i. Watch for Tracy as a Mark Twain look-alike during the parade on December 14. Theater is his lifelong calling and he especially enjoys teaching performance skills to keiki from eight to 12 years of age at the Aloha Theatre in Kainaliu. He certainly


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has not limited himself to working with only more mature children—he has served as the director of many productions (with min. purchase) that include kids as young as three years old. Tracy has made it his joyful life’s work to promote the mission of the Aloha Performing Arts Company: to enrich the lives of Hawai‘i residents and visitors by presenting quality theatre and providing theatre education. The “Kona Kine Christmas” parade is also a chance to give back to the local community. Shortly before and during the parade, the Second Annual Menehune Holiday Food Drive will collect donated food at locations along the parade route. It’s a great opportunity to help those in need and to join with the Rotary Club of Kona in supporting the Food Basket, Hawai‘i Island’s branch of the Hawai‘i Food Bank Network. According to their website, “The Food Basket is an island-wide,

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supplemental food network that collects and distributes nutritious, high-quality food to low-income households, the working poor, the disabled, the ill, senior citizens, children, and other members of Hawai‘i Island’s most vulnerable populations.” ❖ Kea‘au parade, Valerie Ferrari: 808.270.0090 Pāhoa parade, Madie Greene: 808.640.0919 Kailua-Kona parade: Hawai‘i Food Bank Network: Photos provided by Renée Robinson, Kea‘au Parade Committee, Madie Greene Contact writer Barbara Fahs:

A Few Hawai‘i Island Holiday Events

The calendar lists additional events. | November/December 2013

Dec. 7: Christmas in Waimea features holiday events and activities, plus entertainment all around town. Come early at 9am or wait until the parade begins at 5:30pm. The highway will be closed from 5:30pm until 6:45pm. After the parade, keiki can visit Santa at Parker Ranch Center. Contact: WaimeaTown. org or Patti Cook at Dec. 7: Christmas at Hulihe‘e Palace in Kailua-Kona marks its fourth annual event, with a royal holiday dinner, live and silent auctions, and holiday-themed performances. It happens 5–10pm. Contact: 808.331.8010 Dec. 14: Christmas at the Fairmont from 5–10pm featuring delicious local cuisine prepared by more than 20 chefs. Live jazz, handcrafted ales, wines, and Kona coffee will complement the food. Contact: 808.895.1967 Dec. 22: The 9th Annual Jingle Bell Beach Run gives both walkers and runners a 5K workout along Ali‘i Drive, starting and ending at the Kailua pier. Kids can get in on the fun as well by entering a one-mile keiki run. Both events start at 7:30am and a registration fee must be paid in advance by signing up at

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Volunteers at the annual fundraiser Cool Fusion on September 7, 2013

Where Art Found Its Place Donkey Mill Art Center |


By Le‘a Gleason

“It’s always people first,” she said. “We have a lot of visiting artists come through and they love that they feel immediately connected as family. Most of the people here, including the board, would tell you they’re here because of the people.” Underneath the Donkey Mill family and their dedication to art is always an underlying desire to use the Foundation’s status as a nonprofit organization to make sure that art is here to stay. One of the ways that is done is with a grant that strives to bring disappearing art programs back into schools. “I think that creativity exists all around us. It’s in all of our expressions and it’s something that’s important to us at a soul level. It’s part of the overall balance of the whole person— physically, emotionally, spiritually…[and] it’s often underrecognized,” Anne said. At Donkey Mill, one of the philosophies encouraged is creativity as a way of life. Anne and the staff work to call attention to the

Stephen Mickey’s ceramic workshop | November/December 2013

ineteen years ago—before a collaboration like this existed for South Kona—a group of artists gathered to share a vision. It was this decision to come together to “develop and expand opportunities in the community to enrich lives through art” that would birth the Holualoa Foundation For Arts and Culture. In 2001, the Foundation found its happy home in an old coffee mill known as the “Donkey Mill.” Today, what has become the Donkey Mill Art Center is a thriving representation of the Foundation’s original mission. Five dedicated staff members head the team and are joined by a host of world-class artists who offer classes to people of all ages and walks of life. And it’s all in keeping with the mission to bring art to the people. Anne Catlin is the Director of Programs at Donkey Mill. She’s an artist—primarily a Leo Rogers, age six painter—who has a history of working with nonprofit art centers including the East Hawaii Cultural Center and the Volcano Art Center. For Anne, finding the Donkey Mill meant more than just a new job. “It’s been a wonderful blessing because it feels like [I’m] not only working in a field that I believe in strongly, but with people who are deeply heartfelt and really dedicated to the mission,” Anne said. To Anne, this place has its own personality.

Bowls made by volunteers for Cool Fusion: The Festival of 1,000 Bowls


Hands working on the potter’s wheel



intrinsic creativity in people’s lives and to help them make the conscious choice to explore what that means. Each year, the art center offers a wide array of art classes for beginners and beyond. Winters usually feature classes from visiting artists who are on vacation, sometimes from other countries. Summers are kid-centric, and devoted to helping children apply creativity to their daily lives. Miho Morinoue is the Youth Program Coordinator at Donkey Mill and her roots run much deeper. Her parents, Hiroki and Setsuko, are two of the original founders. Hiroki, a native of Japan, set a life goal of creating art and embarked on a journey of self-study many years ago. He has numerous public murals around the state, including one at the Pāhoa School and Community Library. His daughter Miho has worked with the center formally for eight years. She has a background in classical ballet and danced with Complexions Contemporary Ballet Company in New York City for 10 years. When she wasn’t dancing, she was always engaged in some form of visual art. | November/December 2013

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Master potter Ken Matsuzaki demonstrates his wheel-throwing technique

Sculpting class taught by Tip Toland | November/December 2013

For Miho, Donkey Mill has become her “other home” and when asked what she likes best, she was hard-pressed to choose, saying, “The art, the struggle [of creation], the food, company, community gatherings, the children, my fellow staff, and volunteers.” The Children’s Program she coordinates is designed to explore making art through the lens of self, family, community, and world, she explained. Children’s art classes are among the most popular offerings at the center. This year, 12-week programs are now shortened to six weeks, bringing in new teachers, focused mediums and subjects. Miho hopes it will allow for expansion of the teaching roster and build in flexibility and creativity through collaboration. She also hopes to incorporate more music, Hawaiian culture, and gardening/ food into the curriculum in the future. Another program that has been popular is the Ceramics Program headed by Claire Seatone, who’s been working with clay for 16 years. “I grew up around handmade ceramics since my grandfather was a potter, and our house was full of his beautiful work, so I had an appreciation for it long before I ever touched clay,” Claire remembered. Claire’s six-year-old son, Leo, will grow up watching his mother in the same way. She studied ceramics in college, where she worked as an assistant and studio technician for the Ceramics Department while building a home studio for herself. Claire then spent two years as a studio assistant at La Meridiana, an international

Large scale painting class

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27 | November/December 2013

ceramics center in Tuscany, Italy. “There are so many aspects of ceramics that I love,” Claire said. “I love the meditative process of working on the potter’s wheel. The versatility of raw clay in all its different stages keeps me learning Wauke stripping for paper making about new ways to work with it all the time.  I am entirely addicted to the incredible transformation by fire that happens in the kiln, putting in an object made of raw clay and ending up with a ceramic piece.” Claire also said that she’s, “challenged and intrigued by the complexity of ceramics as part art, part science, part expression, part therapy, part work.” For Claire, who’s worked at Donkey Mill four years, she most enjoys spending time helping people get their hands in clay. “It is such an accessible medium to work with, and there is nothing like watching a student’s eyes light up when they really start to get it. Although it’s not necessarily an easy medium to learn, it is so malleable and versatile that the process of working with it really is compelling and can be very intuitive,” Claire said. In our changing world where art struggles for a place, it has found in Donkey Mill a place to call home, and for that, Donkey Mill Art Center has become an intrinsic part of West Hawai‘i.


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“The Donkey Mill is a truly unique art center, and its mission is one which is critical to our well-being as a community. It was started out of deep heartfelt desire for our people to have a place to be creative and make art, with the intention to be open to all. The huge range of different media offered and the incredibly high quality of instruction are a great resource for people on this island,” Claire said. Miho and Anne hold the center in high esteem as well. “I find that it is amazing this place exists in the middle of nowhere. I couldn’t live here without the Mill and that is the kind of people who tend to collect in this place,” Miho said. To Anne, even the challenges Weaving with Ed Kaneko serve as a reminder.

“It calls to mind how challenging the work is to advocate [for art]…it’s not until you’re in it that you realize how much it does struggle for a place. We are trying to engage and connect community in a meaningful way and illustrate the value of what this is,” Anne said. In the future, Anne hopes to feature more local artists and add programming that reflects current issues that people might have a hard time processing without an artistic venue. At Donkey Mill, creativity is an essential part of being human. “For me, art is all about people communicating with each other about the common human experience and expressing their perspectives and observations. I think we as individuals are healthier and more balanced when we have opportunities for creative expression, and this makes our community stronger,” Claire said. The Holualoa Foundation for Art and Culture found its home at the Donkey Mill—a place where art is nurtured. A place where artists are not merely creating art, they are creating a community. ❖

Photos courtesy Anne Catlin, Claire Seastone, Miho Kanani Morinoue Contact Donkey Mill Art Center: Contact writer Le‘a Gleason:

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Hawai`i Island's Finest Artisans | November/December 2013

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For a truly unique experience, visit historic Holualoa Village, rich in culture, coffee farms, quaint shops and some of the best art in the state of Hawaii. Located on the slopes of Mt. Hualalai, it is a little cooler and only a 15 minute drive from the KailuaKona coast to scenic Mamalahoa Hwy. 180. Plan to spend a few hours to have breakfast or lunch at Holuakoa Gardens, and visit the dozen unique shops, studios and galleries all within strolling distance. This is a not- too-distant, off the beaten path favorite, for both locals and visitors for festivals, sightseeing and shopping.

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November && December December Holualoa Holualoa Village Village Events Events November Photos of last year’s events, along with maps and information about Holualoa Village are available at:

Saturday, November 2, 2013 Holualoa Village’s 15th annual “Coffee & Art Stroll” , co-hosted this year with the Kona Coffee Farmer’s Association, helps kick off the ten days of the Kona Coffee Cultural Festival with free coffee samples from over two dozen local coffee farms, each presented on the front lanais of the upcountry town’s historic buildings. Along with tasting dozens of famous Kona coffee brands, visitors will be able to talk with the farmers that actually grow and process the award-winning brews and get ‘farm direct’ prices. The event begins at 9 a.m. and runs until 3 p.m.

Saturday evening, December 7, 2013 Historic Holualoa Village comes alive with the lighting of the town Christmas tree at dusk in front of the Holualoa library. The 17th annual “Music & Light Festival” features local slack key guitar and vocal holiday music throughout the town. Just before sunset Santa arrives by convertible and greets keiki from his tent next to the Holualoa Gallery in the center of town all evening. Nearly two dozen of the festively lit classic wooden buildings, many of which are now art studios and galleries, will host free refreshments and holiday specials until the event closes about 8:30 p.m.

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Kūpuna Talk Story: Kai Kaholokai


Native Hawaiian cultural practitioner, Kumu Lā‘au Lapa‘au |

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 conversation 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 conversation is with Kai Keali‘ikea‘ehale O Kaholokai. Aside from being a teacher of Hawaiian herbalism, Kai Kaholokai is also a Kumu Lomi Lomi (teacher of Hawaiian massage) and the founder of the Kai Malino Wellness Center. He holds a BA in Sociology and Anthropology and has been propagating and gathering indigenous Hawaiian plants, farming taro, and studying archeology in the North Kohala district since 1973. Keith: Kai, A big part of what you do today is grow and gather lā‘au lapa‘au or Hawaiian medicinal plants so you can teach and heal patients. Is this something that was taught to you as a young boy? I’ve heard that Hawaiian children are often assigned a kuleana, or a responsibility. Did you have that experience in your family? Kai: Yes, as a child, you learned your role. You knew your responsibilities, and for me, I grew up gathering. It was just a way of life. So that’s how I began as a gatherer. Things from the ocean, things from the mountain, and your role develops from what your parents need and what your grandparents need. In that way, it’s all part of your contribution in the family or ‘ohana. You’re taught that gathering is a way of providing for your family and it was understood. It just happens that you had this gift that it came easy to you. You get out in the ocean and you have this gift, not that all of a sudden you’re a great diver, but you learn. And then you find out—wow—I can do this! Keith: Tell me about native Hawaiian healing practices and why they are different. Kai: Well, subject to interpretation. The word healing in the Western culture is different. They [Westerners] take it upon themselves to give credit to the presenter or doctor. The presenter presents something to the patient, then, he automatically gets the credit of “healer” for the patient. Where the native intent is—he is just a mediator—the credit goes back to “the Source.” It’s about Spirit. Always has been and always will be. And then, when there is an imbalance with the spirit—mentally and emotionally—what it does is manifest itself in the physical. And all we see is the physical. As we get still, we realize that we have a spirit within us. And because we have a spirit that means a lot more elements are involved to make the spirit whole. But we only give it a physical manifestation and we deal with just the physical. So if you go back to the spirit—see from your awareness—then you see how you can navigate your thinking correctly. To set things right. That’s when the ho‘oponopono—the comforting word—the understanding of what occurred with the situation, the seeing of the signs, the symbols—all that has an awareness factor of what led to the physical manifestation. In allopathic [Western] medicine, they have good intentions, but once they realize it’s not working on the physical then they neglect to go back to Spirit. And whenever you [can go] back to

By Keith Nealy

Spirit then you can be realigned. If you come from Spirit, you will never have a problem. No native person would neglect something that is Spirit. They embrace it. If you come here with Spirit, it is not their place to not accept you. It’s only when you’re not coming from Spirit, when you’re coming from ego or you’re coming from power and control, then it’s not right. Then what you say is not balanced. This is a no-win situation. Keith: Tell me about the lā‘au lapa‘au – the medicinal plants and where they came from and how you learned about them. Kai: When you’re talking medicinal, it’s all part of the Creator Consciousness. There is no such thing as non-medicinal plants; it’s just a misconception. It’s all part of God’s creation. So all is good. And every culture has their own favorites. Or their own uniqueness. Something that over time worked for them for generations. And each clan has their own—the ocean people, the mountain people—each have their own favorites that they passed down through the generations. And I’ve been blessed because I have families of both the mountains and the ocean. So I embrace all of the things of the mountain and all of the things of the ocean. When you embrace both you see even more in appreciation of what is and so in the gathering it makes it easy to ask permission—

Used with permission from Kamehameha Schools


to gather what you need, to manage your resources. Keith: I’ve heard so much about medicinal plants like ‘olena, or turmeric, a common spice now found in every grocery store. Why does consuming ‘olena make me healthy? Kai: Well, it’s a lot more than that. When we talk about turmeric or ‘olena—I’ve been growing it for 14 years—and even when you see all the chemical analysis and all the data of what it is, it comes back to Spirit—the spirit of the plant. If you have a pili lōkahi, a relationship with the spirit of the plant, like with the spirit of another individual—soulto-soul, spirit-to-spirit—when you have that relationship—it’s that bonding that takes things out of the physical. For example, if we are evolving, as we know we are, the plants are evolving. So even though what is written about the plant’s chemical property, when the spirit takes on this bonding relationship, the plant literally goes out of its chemical properties to help you because of the spirit of your relationship. And when it does, you become whole. | November/December 2013

Cinephotography and CGI filmstrip by Keith Nealy


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Keith: Wow. You’re saying that you develop a spiritual relationship with the ‘olena? Kai: Yes. And even to the next level of consciousness. You don’t even have to consume it—no actual physical consumption [is required]—in order to be balanced by it. I can BE with the ‘olena—without ‘Ōlena from Halawa Gulch consuming the ‘olena. Because our physical vibration is dense, we’ve been conditioned to thinking that we have to consume the ‘olena in order to become whole. No! I can just BE with the ‘olena. And then my sinuses, my cough, my cold is pono. Because I trust in Spirit, it goes out of its way to help me. And that’s where the unique navigating, the unique embracing comes to play. So thus, the physical consumption has been conditioned in us to believe that we need to consume it in order to be whole, and that’s where the misconception lies. You don’t have to consume me to be aware of me. You can just be with me. And that’s when the vibration and tone comes to play. But because of our dense physical vibration we assume we have to consume [in order] to be.


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And that’s where the allopathic institutions have good intentions. But when the intent is not with Spirit—the control and manipulation comes into play. And anything not of Spirit— that’s where you observe. What roads do you take? How do you participate? What is your story? Keith: So if I hear you correctly, lā‘au lapa‘au is as much metaphysical and spiritual healing as it is physical? Kai: Of course. Think of the word dis-ease. Physical disease only occurs because spirit is not pono. Vibrational things are happening and a thought form is so powerful that you believe. My dad had asthma, therefore I am going to have asthma. You’ve been told this many times and after that you believe it. A thought form is so powerful. Thought directs energy. It’s ingrained—he had asthma, therefore I’m going to get it. The reverse happens also. Dad took this lā‘au—this medicine— and involved trust. I trust grandma, I trust daddy, I trust grandpa so I take it, not a problem. And so when growing up, when something was not right, grandma was there, grandpa was there, and they took care of it. You don’t question it; you have total trust. Then after a while, it’s a common practice—you don’t even think twice about it. They knock you down and give it to you. ‘This is what you need.’ That’s it, and after a while you say, ‘Wow, this works.’ The belief, the trust, the connection—after that, there is no need to consume it. You already know how to navigate, how to pay attention before the physical manifestation. And that’s why I don’t have a medical situation today. I choose not to. You can be self-responsible for your own path if you choose to. Keith: I have been told that the word “aloha” has a far deeper meaning and history than most people understand. How is “aloha” related to healing? Kai: The word “alo-ha” has many old meanings. “Alo” means in the presence of the creator. And “ha” means we share the breath of life. Creator consciousness has no barrier. You embrace all with unconditional love. And if things are not right then ho‘oponopono comes into play. You still do your part— you forgive. The more we honor people in their uniqueness, then we see no differences—we ‘Ōlena-Turmeric Curcuma Aromatica Salisb. can truly see as human beings that we have different tones and we have different vibrations. It’s all about relationship and harmony. “Man’s relationship with nature is to trust that evolved herbal plants create a new form of fire-breath-energy for life.” Keith: This metaphysical aspect of lā‘au lapa‘au is fascinating. Tell me more about the importance of breathing and the “ha” and how creating a still, meditative state can lead to healing. Kai: Good health comes by taking diligent awareness with Spirit of what’s going on. You need to take the quality time to pay attention—take a breath. And that’s why “alo–ha” is so essential. If you practice proper breathing—the ha—just that in itself can align things in so many ways if you observe. I have an Aunty who’s been telling us for 50 years that she’s been dying. She got in this critical situation and she finally surrendered. I got her some lā‘au and taught her how to


breathe and what she needed to do, and finally she reached this awareness. And I said, ‘You know Aunty, you’ve been dying for 50-something years, it’s about time you started living.’ And she finally realized she’s been dying, but never died—she’s been suffering. And she finally came to the conclusion—that’s not where life is.

‘Ōlena from Halawa Gulch

Aloha Teddy Bears

Keith: Amazing. It’s interesting because I was brought up in the western world of allopathic medicine and programmed to “take this pill” to solve a medical problem without any of these other considerations. I’m beginning to see that the Hawaiian concept of lōkahi or balance is even more important because you are saying the psychological and spiritual components play just as important a role in the healing process. Kai: Absolutely. My aunty made the shift and now everything’s about living. Now she’s living. Everything changed. All the dis-ease that she supposedly had is not her story anymore. Now she’s beginning her new path and her navigating with “alo-ha” because sheʻs still alive—still around—and she has a purpose. “True health will be ours when we choose to live, breathe, and create from our true essence—as God-beings of light and love,” says Linda Mae Kaholokai. Keith: In studying the Hawaiian migrations and the Polynesian voyagers who settled 10 million square miles of the Pacific long before the Europeans ever left sight of their shores, one can’t help but learn about the indigenous plants and the lā‘au lapa‘au that kept them alive onboard the canoe and were ready to be planted once they reached land. What can you tell me about them? Kai: In the Polynesian triangle from Easter Island to New Zealand to Hawai‘i you have the indigenous plants of Polynesia. Twenty-four canoe plants were selected because of their properties, because if you travel you want to make sure you have all the necessary resources for lumber, for medicine, for food. So if you look at these plants—taro or kalo—that’s our staff of life. That’s our main bulk of food. Then coconut. All throughout Polynesia coconut has endless uses for food, rope,

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building supplies. With the coconut everything is used-—shell, bark, trunk, leaves, and sennet for rope. For medicine, food, water— all 24 plants have their role. If that’s all you had, that would be the beginning of managing your resources and having the basics. And with the basics, it gives you a start. So the Kai Ke-ali’i-ke-a’e-hale O Kaholokai 24 canoe plants doing what he does best, were the necessary teaching and “Me being me” basics for survival, photo courtesy of for functioning and for expanding because they grow fast. Keith: Legends say the voyagers maintained perfect health on those long voyages. Can you tell me how lōkahi or harmony went hand in hand with lā‘au lapa‘au to maintain their health and wellbeing? Kai: It’s all about balance. When we have an ‘āhā,’ what all the kūpuna have been telling us is that there are categories or layers that make us up. There is a spirit body, a mental body, an emotional body, a physical body, and you have a soul navigating. You have all these different bodies that are ingrained in here [points to self], but all we see is the physical. And when spirit is not pono—not balanced—you have to take into consideration all these bodies because something will manifest itself in the physical body as some kind of illness. And in that awareness, for yourself and your self-discovery, when you get that ‘āhā,’ it shows you the area you have to focus on. Because just a little calibration, a little fine-tuning is all that’s necessary to help in your alignment. The voyagers were masters at lā‘au lapa‘au and relationships—with the natural world, the spirit world, and with each other. Keith: Kai, tell me about the legendary Papa Henry Auwae. Kai: I was blessed to have a special relationship with Po‘okela Kahuna La‘au Lapa‘au O Hawai‘i Papa Henry Allen Auwae (the master holder of the knowledge of herbal medicine). When he came and visited North Kohala, he stayed in our house and we set up workshops with other kūpuna who came to share. He had such clarity. And because of his clarity and his presence— the belief was there, the trust was there, the acceptance was there—and people began paying attention to things. As with each gifted kūpuna like Papa, when they came there and they embraced you, they were trying to empower you. Ninety percent of healing is Spirit and only 10% is physical. He set a tone for everybody. And even though he is now gone, we are still blessed by him, and I am still inspired by him. ❖ Contact Kai Kaholokai:, 808.895.0905 Contact writer Keith Nealy: Kupuna Talk Story ©2013 Keith Nealy Productions


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Bill Pagett, “Papa Pea” with son Sean “Peaman” in 1992


Sean “Peaman” Pagett

Founder of Frozen Pea Productions | By Hadley Catalano He was surrounded by a group of middle school students who had contacted him with the interest of filming an on-camera interview for a class assignment. Seated outside on a metal school chair on the grassy lawn with neatly trimmed hibiscus bushes as a backdrop, Peaman waited patiently while the three preteens adjusted the camera and fretted over the angle of the tripod. He listened intently as they asked difficult emotional questions, and he gave poignant heartfelt answers—responses he’s been giving since childhood. Watching Peaman share his story with the children was inspirational. Later when I approached Peaman with my own request to interview him, the Kailua-Kona sports icon was unquestioningly ready to share his life’s story again. To him, this is just who he is. To me, this was something more than just another interview. Here was a man who despite his pain and discomfort was granting the public access to his mortality. The very nature of his existence was altered at the age of nine on a trip back to his birthplace of Manhattan Beach, California. He moved to Hawai‘i Island in 1969 at five years old with his family and grew up surfing, playing outside, and taking advantage of his natural surroundings. His mother, Joan, owned Butterfly Boutique, located across from the pier in Kailua-Kona, and his father, Bill, worked as a carpenter. On an extended holiday break from school, Joan took her two sons back to Manhattan Beach on a buying trip for the shop and to visit family. After dinner one night at Hibachi, a restaurant close to the coast, the young family was walking down Manhattan Ave, and while crossing the street, Peaman heard the sound of burning rubber against the pavement and saw a Corvette barreling down the road toward them. “My brother thought quickly and darted across the street,” Peaman said as he recalled the accident with the drunk driver. | November/December 2013

o ahead and call Sean “Peaman” Pagett’s home phone and listen to the message. Don’t worry, he won’t mind. He doesn’t answer it. After a couple rings the answering machine (updated every 24 hours) picks up and Peaman’s gentle, methodical voice is heard, reading the day’s message. The first time I called the Kailua-Kona triathlete—best known for his off-the-wall named sporting events and his contagious heart-warming spirit—I reached his voicemail. His answering machine informed me that the upcoming Sunday at 8:03am was his Pedal Till Ya Puke and Run Till Ya Ralph + The Papa Pea Pedal or Plod + Mad Dog Mile Kaloko Road race and that it was national Watermelon Day and Twins Day. Peaman can recall a million and one stories behind his nickname and credits Gene “Turtle” Powers as first referring to him as the “Pea Guy,” which morphed into his present identity. His physical condition limited us to phone conversation, a more comfortable pace for Peaman, who struggles daily with chronic pain and fatigue from severe pituitary gland damage and fibromyalgia. So until the moment when we could speak at length, I listened for voicemails left on my phone in regards to health updates and I would leave inquires on his machine following a narration of facts like, “Thursday, June 20th is National Vanilla Milkshake Day and American Eagle Day.” His brightening effect on even the most tiresome answering system is just a small example of what Peaman signifies. His infectious personality and persistent courage are what have connected countless Hawai‘i Island residents and international visitors to his annual multisport races and resulted in regular interviews from newspapers, websites, and students. It was during such an interview at Hualalai Academy in Kailua-Kona that I first made an acquaintance with Peaman.

39 | November/December 2013

Joan, Sean, Darwin at Christmas


“My mom and I hesitated and were hit by the car. I physically flew across the street and landed on the curb and my mother was killed instantly.” During the moments after being hit, he reflected on a sensation that he described as his spirit going towards heaven, of memories and emotions quickly flashing before his eyes, a moment, he said, of pure love. “There was a tunnel of bright light. It was comforting. I didn’t feel fear or sadness. It was all blissfully perfect. I was feeling [my mother’s] spirit telling me it was okay, but it wasn’t my time yet,” he said, adding that’s when he first felt a separation from her, his spirit moving quickly back into his body. “At that point it wasn’t happy or sad—it just was.” As Peaman’s spirit returned to his body, he felt a blast—a shockingly hyper-vigilant blast—of reentering and suddenly, “I could hear everything—the sand between my feet and the concrete, the vibrations of the world. It wasn’t scary or traumatic because of the experience the Lord had just given me. He allowed me to get a glimpse of heaven and it was a comforting feeling, everything was okay. What happened to us, happened for us.” Peaman carried a sense of reason and purpose with him for the next three years as he underwent numerous surgeries; bone grafts; casts to repair many broken bones, among them a shattered leg. He was 12 years old when the last cast came off his leg and he was ready to run. “Track and field, baseball, football, I wanted to do everything. I loved sports. I wanted a normal life again,” he recalled of his commitment to athletics. By his 17th birthday he had noticed a decrease in his energy levels and pain and stiffness in his joints

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and muscles. After many visits to the doctor it was confirmed that Peaman had developed osteoporosis cause by damage and malfunction of his pituitary gland. The Konawaena High School athlete’s body did not produce enough hormones to maintain his muscle mass, causing the scrawny teenager to remain frail and underweight. Then, during his senior year, Peaman broke his femur, and the previously damaged pituitary gland further deteriorated his body resulting in constant muscle and connective tissue pain. “My joints hurt; my elbows, knees, wrists and ankles hurt. My weight would fluctuate. I would lose a lot and had nerve damage, bringing about a massive list of diagnoses,” he said. He noted that it wasn’t until 2002 when he was admitted to the Mayo Clinic in Arizona with his weight hovering around 80 pounds that the severity of the chemical imbalance from the pituitary gland damaged was revealed. The diagnoses were: hypothyroidism, hypoadrenalism, and gastromobility, causing numerous subsequent conditions such as low body temperature, chronic pain and fatigue, a thinning of the skin, occipital neuralgia, cognitive abnormalities, migraines, osteoporosis, anxiety, depression, fibromyalgia, irritable bowel, and diabetes insipidus. Following high school, the young athlete pursued his love of sports by working at a local Kona surf shop, competing regularly in island biathlon and road races, writing a weekly column called “Multi-Sport Mania” for West Hawaii Today (which appeared every Friday in the paper for more than 20 years), and completing four Kona Ironman Championships (starting at age 18, competing in four with his father). Today, Peaman’s daily life is a constant balance of sleep, exercise, and a moderate diet, and while exercise is truly the best remedy to help combat his pain, it is only second to volunteering at the Peaman events. “I choose to celebrate each day. I just thank the Lord I am here. I’m the lucky one. 1988 Tinman Triathalon When your life is altered at 2nd place-Men 19 and under a young age, you learn to

Doing Zumba covered in slime, Dec. 2010

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appreciate things,” Peaman explained. “Sure I get sad and the pain is unbearable at times, but life is such a miracle…it doesn’t change my inner strength. There can be 10 things going wrong, but 10 million going right.” Peaman’s father, “Papa Pea” or “Pops” Pagett credits his son’s spirit to an incredible inner strength. “He’s always been that way, he’s always been so positive. I couldn’t have asked for a better kid,” Papa Pea said of his youngest, whom he thanks for helping him recover after suffering from his own demons years after the accident. “I was going downhill and Sean bought me a bike, taught me about nutrition. He keeps me going. He saved my life.” His most influential contribution to the Hawai‘i Island athletic community, however, began in 1987 when he held his first Peaman Event. Over the last 26 years, the Kailua-Kona sports fan has hosted more than 340 races, 13 annual biathlons, and has participated in every one. “Someone has to finish last,” he laughed, and despite the fact he may be using a crutch or just had surgery, Peaman participates in some aspect of each race—even if it’s walking just a couple miles. The monthly races, sponsored by Frozen Pea Productions (FPP), Peaman’s self-proclaimed “negative profit” volunteer organization, are free and designed with families in mind. “There were not many activities for children to participate in that didn’t cost money,” Peaman explained about the purpose of beginning the races in the late 80s. “I thought it would be good to have a free event for the whole family that was different from the usual 5k races.”

So, taking a lighthearted approach to racing and biathlons, and blessing it with a silly name, Peaman began a Kona tradition. Each month, runners, swimmers, and walkers look forward to the FPP lineup of events, like the Peaman Kickoff Klassic Biathlon, September’s celebratory race of the football season where participants are asked to wear their favorite football team’s colors or logo for the 3/4 mile swim/ 3.9 mile run/walk. Every race is open for men (individual pea), women (chickpeas), keiki (peawees), or relay (split-pea) in any division or “pod” of choice, including family relays, K-9, or corporate relays. The FPP races are always free, participants are always fed, prizes are drawn from a hat, and Peaman gives out toys to the children that enter. Peaman always offers transient, or in his words, “outdoor folks,” volunteer positions so they too can enjoy the post-race feast. While the events take a toll on Peaman’s health, he attributes his resilient spirit to his father who raised him to be independent and strong. The patriarch now well into his 70s attributes the events to his son’s happiness. “Mr. Sean works very hard, these events are keeping him alive,” said Papa Pea, who participates with his son in every event and looks forward to doing the 700th biathlon with his ‘Pea’. I pray for him every day. I love him dearly.” Equally as devoted, Peaman’s biggest fan is his wife, Linda Jane “Mouse” Kelley, who has been by his side for the last 23 years providing support and love along with her two sons Sparky and Bucky. “Sean is the kid who brings balls, bats, and extra sports equipment to the play field or beach because he wants to be ready for anything and wants everyone to have the opportunity to play,” said Linda of her husband, who continues to put on events (with a group of volunteers) despite his fragile health and limited energy. “We used to joke that he put on the Peaman events because he didn’t like to play alone, however there actually is a lot of truth rooted in that. He even had a shirt that read ‘Plays Well With Others.’ That really sums up a lot about him. He just wants everyone to have fun and for himself to be included. This is how all of the silly divisions were created. He did not want to exclude anyone, no matter his or her limitations or imagination. It is Sean’s determination to make sure everyone has fun that makes the Peaman events so infectious.” Close friends Doug Henbest, Jay Plasman, Chris Green, and the staff at Big Island Honda (who help sponsor the events) have rallied behind Peaman’s contagious enthusiasm. The energy they have devoted to FPP biathlons over the years have established the races as what Peaman refers to has “true community events.”


Sean “Peaman” Pagett and father Bill “Papa Pea” Pagett

Big Island Honda Kona supports the Big Island You’ll see our company name attached to quite a few functions here on the Big Island. We believe in supporting local, quality the Hospice of Kona, the Peaman races at the pier, PACE, and tons of local school and community events. Please remember us when you are in the market for a new or pre-owned vehicle. That’s all we ask... we’ll be there for you.

Hawai‘i Island has honored Peaman’s dedication to the community. He was inducted into the Big Island Sports Hall of Fame, because, he joked, “Everyone thought I was going to kick the bucket.” He has also received an award from the Hawai‘i State Department of Health and was the first person to receive the Ironman Malama Award, presented by event director Diana Bertsch in 2003. The honor, which is bestowed on individuals who give of themselves so that others might benefit from their support and care, was presented to the dedicated Ironman participant and volunteer for his “iron heart” and embodiment of the aloha spirit. Peaman’s aloha runs the gamut. It has reached a walker who needed companionship during a race, it was heard by seniors of Konawaena High who listened to his speech on graduation day, it has been shared by friends and fellow residents of the Hualalai Regency (where Peaman now lives), and of course, it has touched the many hearts of strangers he encounters every day. “I met Peaman at The Club in Kona,” said one of Peaman’s best friends, Debbie Raiter. “He’s charitable, wonderful, so humble; he’s the most enlightened person I know. He’ll shift the way you look at life. He is 100 percent in the moment. What takes some people a lifetime to figure out, he has: be in the now.” Life is a blessing to Peaman. He lives for the authenticity of the moment. And that moment might just be National Peaches and Cream Day or Take Your Dog to Work Day. So go ahead and enjoy today’s moment on Peaman’s answering machine—it will be medicine for the soul. ❖ | November/December 2013

For more information on Peaman Races:


Contact Sean “Peaman” Pagett: 808.938.2296 Contact writer Hadley Catalano:

Upcoming Peaman Events • Post Pigout Peamania (last Sunday of November). This swim/run/swim/run four-segment event, which takes place appropriately after Thanksgiving, will be two loops on the 1⁄4mile swim and 2-mile run/walk course. The pea-wee race will also cover two loops. Doing one loop or mixing the long course and pea-wee course is also ok.

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• In celebration of Peaman’s 50th Birthday: Peaman’s Birthday Bonanza (last Sunday of December) will wrap up the 2013 Frozen Pea Production race schedule. Western-themed attire is encouraged and a bandana or sheriff’s badge never slowed anyone down in this 1⁄2-mile swim and 3.9-mile run/walk race.

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Landscapes, Still Lifes, Portraits Oils and Giclees Commissions Welcome | November/December 2013

Work shown at Rumley Gallery & Colette’s Frame Shop


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Featured Cover Artist: Lisa Greig

L | November/December 2013

isa Greig grew up in a creative atmosphere in Sydney, When Lisa creates a hand painted linoleum block print, Australia. Her parents were graphic designers who worked from she thoroughly researches the Hawaiian birds, plants, and home and had many artist friends who stopped by. their environments. Art has been her passion since she was a little girl. After researching native species in their habitat, Lisa and “I love the creative process—whether it’s her family take field trips to observe, lino carving, oil painting, screen printing, photograph, and make color notes for making greeting cards, or doing art projects future reference. Using her photos she with my two girls. It’s a passion that needs to spends extensive time on her drawing and be channeled on a regular basis.” composition before transferring the finished When Lisa graduated from Sydney College image onto the linoleum block. of the Arts at the University of Sydney, she Lisa uses the sun to soften the linoleum received a Bachelor of Visual Arts degree block, which makes it easier to carve the with high distinction. Her art sold at Balmain design. Even though she uses regular lino Markets in Sydney and her greeting cards were carving tools, her favorites are her Stanley sold in stores along the east coast of Australia. knife and a plastic spoon. Lisa came to Hawai‘i Island to extend “One of the reasons I love doing lino Top: Kahalu‘u Honu her lomilomi training with Aunty Margaret cuts is because I can do it at my kitchen Bottom: Pueo Mana Machado, to swim, and to tone harmonics table! I use plastic spoons as my burnishes with the wild dolphin pods off the Kona coast. and picnic plates as my paint palettes. My “When I arrived in Hawai‘i in 1999 it was artwork is displayed in my massage studio the ‘āina (land) and nature that spoke to me. and living room.” I experienced a series of spiritual awakenings Once the design is carefully carved, the and guidance that deeply made me feel like block is inked with a roller. It is then printed I had come home. I grew up in Australia and onto Japanese rice paper by pressing the have traveled to many places overseas and surface with a plastic spoon. Then it is yet never had I experienced being one with carefully hand painted. nature. This is where my artwork blossomed.” Each year Lisa is inspired to create a Lisa had the wonderful opportunity piece for the Hawai‘i Nei Exhibition—an art to dance hula under the tutoring of contest celebrating native species of Hawai‘i Kawaikapuokalani Hewett with Hālau Hula Na Lei Kapua O Kaua‘i Island. In 2011, she won second place for the Adult Amateur 2D for three years on Kaua‘i before moving to Hawai‘i Island. category, and in 2011, she won honorable mention in the same It was that extensive training where she was immersed into category. This year’s contest artwork will be on display the month the Hawaiian culture through the language, the myths and of November at the Wailoa Arts and Cultural Center in Hilo. stories, creating implements and lei, and feeling the inner When she’s not creating art, Lisa is outdoors playing in the spiritual connection with the ‘āina and her body as one. ocean and take daytrips exploring and hiking with her loving “This connection I celebrate in my artwork. The exquisite husband, Kawena, and two daughters, Erica and Mahina. beauty of Hawai‘i and the mana, the vibrancy and life force all around me,” says Lisa. Contact Lisa Greig:, 808.331.2957

45 | November/December 2013


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1966 2nd Duke Kahanamoku Invitational Surfing Championship competitors L–R: Bobby Cloutier, 1965 Champion Jeff Hakman, Greg Noll, Kealoha Ka’io, and Jock Sutherland, at right-edge of frame, prepare to enter the water at Sunset Beach for their 45-minute heat photo by Tim McCullough

Waimea Ocean Film Festival |

s the Waimea Ocean Film Festival lines up for the next set, the fourth year bodes to follow the swell of the previous three, growing in size and direction. With more venues, films, and jaw dropping content, the 2014 film festival reflects building interest and participation, with all the makings of an epic event. More than a room with a view, this festival has proved to be a multiple-course hybrid world attraction. From January 2–5 films play across multiple venues simultaneously in Waimea and on the coast. The Fairmont Orchid joins the list of venues this year, bringing its own newly retrofitted theatre into the mix, along with the opening night reception. Films also play in Waimea at Kahilu Theatre, Hawai‘i Preparatory Academy, Gates Theatre, and Parker School Theatre, before moving to Four Seasons Resort Hualālai January 6–10. Wrapping up the first half of the event on January 5, The Taste of the Island evening features music, hula, and a sampling of treats from the island’s top chefs, all while overlooking the ocean as the sun sets on the lū‘au grounds at the Mauna Kea Beach Hotel. Last year’s array offered a feast for the eyes as well as

By John J. Boyle

the palate with delicious fare from Mauna Kea Resort, Sushi Rock, Redwater Cafe, Merriman’s Cafe, Daniel Thiebaut, Napua at Mauna Lani Beach Club, All About Chocolate, and locally crafted Big Island Brewhaus beer. Festival 2014 postcard, Closing it down oil painting by Christian Enns in style, the final night at Four Seasons Resort Hualālai, January 10, promises to reach new heights this year, with special guest appearances and film showings. | November/December 2013


Lights! Camera! Ocean!

47 | November/December 2013

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Ocean Film Festival Ocean Film Festival founder and director, founder and director Tania Howard Tania Howard shares and her the story of how daughter, it began. “Five years ago, Sofia. I saw a couple of films that seemed so important, I thought they should be shown here, on Hawai‘i Island. Some time before, I had made a promise to myself, after spending time with dolphins, that I would do something to speak on their behalf, in protecting the ocean, for all the joy they’ve brought me. This seemed like my opportunity to follow through. I found available theatre time, selected a total of six films, which collectively told a story about what is happening in the ocean today, and raced towards the first theatre opening, not realizing that I wouldn’t slow down, or take a day off, from then until now. “After the first showing, people started to ask if I would take the films to Hilo and Kailua-Kona, then to Maui and O‘ahu, and then if I would take them on tour around the mainland, and around Canada.” In that first wave of the festival’s nascency, Tania took the film series on tour to eight locations, before deciding to refocus on a single larger event centered on Hawai‘i Island. “There are so many extraordinary people who live or spend time on this island,” Tania said, “that I decided to keep the center here and let others come in.” She began to craft an event to match the caliber and intellect of the people on the island, broadening the focus of the films to incorporate the wisdom of the culture, the love of surfing and paddling, inspirational themes, and speakers and exhibits that point towards solutions, or contribute to our understanding and appreciation of the island and culture. “The first time I showed the films,” Tania shares, “someone came up to me after the film on ocean acidification, and said, ‘there’s no hope.’” After that, she started to introduce the films talking about solutions to the topic at hand, and found that people were better able to absorb the content of the films within a positive context. For the ongoing festival, Tania sought speakers who could share positive solutions around the primary issues facing the oceans—in particular energy consumption, plastics use, and global fisheries collapse with their resulting impacts on local and subsistence fishermen. As part of this pointpositive direction, festival speakers have included from Maverick Moments

leaders in these arenas such as former Governor of Colorado Bill Ritter, who spoke on what it took to transform Colorado into the forefront of solar, wind, and green building development. For Colorado, this involved passing nearly 60 pieces of legislation, along with setting a 30 percent Renewable Energy Standard. The result launched Colorado on its path to a clean energy future, and also resulted in the investment of nearly one billion into the state by wind manufacturing giant, Vestas, and the creation of 6,500 new primary jobs. Equally encouraging, was a talk by the Speaker of the House of the Palau National Congress, Noah Idechong, who shared how working with local fishermen in Palau to reinstate ancient kapu on fishing in spawning grounds resulted in a dramatic increase in local fish stocks and colorful reef fish, leading to its reputation as one of the premiere dive destinations in the world. So, wax up your board, clean off your mask, and take a deep breath, as many more interesting and timely speakers are slated for the year to come.

It’s Showtime

Changing currents have created new breaks for audiences to share as the Waimea Ocean Film Festival dips into a brilliant spectrum of films for what promises to be the most exciting season yet. The full festival program will be posted on the website in mid-December, and here’s a peek at what’s to come. Bud Brown Films partners with the Waimea Ocean Film Festival to launch the 50th anniversary tour of The Endless Summer, the classic surf movie from 1964 that follows two surfers chasing waves around the world. Amidst the lineup of high-octane surf and adventure films, Maverick Moments, a beautifully shot sequence of award-winning shorts on the surf

Eddie Kamae and Sam Li‘a

It was in searching for a way to honor his teacher and mentor, Sam Li‘a Kalainaina, that Eddie and Myrna Kamae first started making documentary films.

spot known as Maverick, will have its Hawaiian premiere at the festival this year, with director Rocky Romano on hand to talk about the making of the films. Eddie and Myrna Kamae bring a series of films about the history of music and hula in Hawai‘i and those who have worked to preserve and pass the culture along. Sons of Hawai‘i tells the story of this influential musical group who were pioneers in the resurgence of Hawaiian music and among the leading voices in the Hawaiian cultural renaissance, anchored through the years by Eddie Kamae. Li‘a: The Legacy of a Hawaiian Man relates the life and story of Sam Li‘a, known as the songwriter of Waipi‘o, who taught the ways of his Hawaiian ancestors through Hawaiian language, hula, and song. Eddie Kamea will bring | November/December 2013

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his ‘ukulele and share a few songs that he and Sam Li‘a wrote together as part of his way of continuing to honor his mentor and teacher. Keeper of the Flame chronicles the lives of three women who helped save traditional Hawaiian culture, keeping it alive through the 20th century: Edith Kanaka‘ole, who opened Hālau O Kekuhi in Hilo; legendary dancer, chanter, and teacher ‘Iolani Luahine; and Mary Kawena Pukui, who was one of the leading preservers of the Hawaiian language and culture. The presence of ‘Iolani Lauhine weaves its way through the tapestry of the festival this year. The Hula Preservation Society (HPS), founded by Nona Beamer, will give a live presentation and performance, sharing historic footage, oral history, and the knowledge of kūpuna, for what promises to be a very meaningful evening about the history and heritage of hula. The presentation will include footage from the last performance that ‘Iolani Lauhine gave, being shown here publicly for the first time. In other musical and inspiring works, Shining Night shares the story of 2007 National Medal of Arts award-recipient composer Morten Lauridsen. Following the showing of the film, members Hula Preservation Society of the Waimea Community Chorus will be conducted by Morten Lauridsen in a very special guest performance of one of his original compositions. Among the thought-provoking and forward-thinking films to be shown, Ocean Frontiers brings to light the efforts of fishermen, shipping companies, farmers, and scientists, who are working together to protect marine mammals and fish resources in their own backyards. In one example, a small community of local fishermen in Oregon created their own Marine Protected Area with the added foresight of extending the protection inland to include the whole river watershed comprising their salmon run. The Last Mountain tells the story of an Appalachian coalmining town, whose inhabitants are working to transition from coal miners to wind energy producers for their health, benefit, and well-being. In a similar vein, Power Paths tells the story of the Navajo and Hopi, as they turn to solar energy leaders Germany and Denmark to find better alternatives to mining coal as a basis for their economy. Inspirational speaker and author Alan Cohen, one of the presenters in the film, Finding Joe, returns to the festival to host a workshop on the Hero’s Journey. And Jim Charlier, one of the early planners in the development of the nation’s interstate highway system, before becoming a leader in the development of integrated, multi-modal transportation systems, joins the festival to speak about pedestrian-oriented and bicycle-friendly urban design, as well as the economic benefits of rail.

Na Kalai Wa‘a, the organization that runs the voyaging canoe Makali‘i, will host the Voyager Exhibit during the festival, as part of the discussion on the upcoming worldwide voyage of Hōkūle‘a. The exhibit includes the stunning photographs of National Geographic photographer Nicholas DeVore III, taken on the 1976 voyage of Hōkūle‘a, many of which have never before been published, and were printed by the festival in collaboration with the DeVore family. ‘Imiloa Astronomy Center also joins the festival this year, with a fulldome presentation on the Hawaiian night sky and the art of non-instrument navigation. Other exhibits and talks include the early surf photography of Timothy McCullough, whose iconic images burst across the covers of surf magazines and posters in the 60s and 70s, filled with shots of surfing legends from the day. Timothy McCullough will give a slideshow presentation to accompany his standing exhibit, and the local artist, who provided the artwork for this year’s festival and last, will also Jim Hurst tech team have work on display. ❖ by Steve Campbell

Voyager Exhibit Images © Nick Devore III

Cue the House Lights

Nothing matches the big screen’s potential to be intimate from a distance as it illuminates people and issues, bringing stories to life with sights and sounds. This feast of offerings is a boon and reminder to look up, as the art of cinematography fills the screen and our beautiful blue marble invites us to sit through the credits and share the story. For more information: Contact writer John J Boyle:

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Entrance to Paleaku Gardens Peace Sanctuary


What the World Needs Now Peace, harmony, and love—sweet love |

Memorials are celebrated frequently at the Sanctuary and participants are encouraged to plant a tree or place a bench in commemoration of their loved one. ‘Ohana (family) was also a “big thing” in the slow and steady growth of the gardens over the years, according to Barbara. “What you see today is the work of five generations—my parents, myself, my daughter, grandchildren, and great grandchildren. It has been 43 years and tons of outreach and neighborhood building. Bringing something as vast as Paleaku and its mission into form is a balancing act that the world has yet to achieve,” the energy-charged 63-year-old says. “These gardens have been a work in progress for decades,” says Micah Sterrett, sailor turned landscape expert. A 20year resident of Hawai‘i Island, Sterrett has been cultivating and maintaining the gardens for four years. “It’s a wonderful relationship with nature that comes with challenges, too,” he says. One of his biggest? “Making sure all of these different plants, trees, and florals get along!” Stepping through the gate to the serene, manicured grounds, visitors are greeted with spectacular coast and ocean vistas stretching from the Captain Cook monument in Kealakekua Bay to the north Barbara DeFranco with and the National Historic Park her great granddaughters to the south. The gently sloping | November/December 2013

acred lands, historical treasures cherished and protected by the people of Hawai‘i, exist throughout the island chain. All possess special mana (power or energy) and some much more than others. On Hawai‘i Island, one such place is Paleaku Gardens Peace Sanctuary on Painted Church Road in South Kona. Quietly situated between Kealakekua Bay and Pu‘uhonua o Hōnaunau National Historic Park (once a place of refuge for ancient Hawaiian wrong-doers), the gardens embody deep spiritual mana combined with amazing natural beauty that invites contemplation and creative expression. Visionary and steward of the nine-acre property for 43 years, Barbara DeFranco devoted seven acres for the development of a spectacular botanical garden with numerous plants and trees endemic to Hawai‘i, as well as from countries worldwide. Multi-denominational statues and shrines are mindfully scattered throughout the gardens to illustrate the beauty of all the world’s cultural and spiritual traditions. Exploration, including spiritual studies, she says, is part of life. The Paleaku Gardens’ mission from day one has always been to create a strong sense of peace and harmony through beauty and balance. Rare flowers and trees share the space with macadamia nut, coffee and citrus orchards, along with more exotic fruit trees planted here from seeds and brought in from around the globe. “With the help of friends, I found this property more than 40 years ago and knew immediately it had an unique purpose. Because of the historical significance of the land and the topography that exists here, I knew one day it would become a spiritual center— I just didn’t know exactly how,” Barbara, owner and executive director, says. Today, with the help of many like-minded friends who shared her vision and a great Board of Directors, Paleaku Gardens Peace Sanctuary operates as a nonprofit charitable organization offering tours Tuesdays through Saturdays, special events (including weddings), yoga classes and educational seminars year round.

By Margaret Kearns


Hawaiian Heiau | November/December 2013

terrain and beautifully maintained pathways provide easy access to the gardens, grottoes, and the numerous shrines representing all of the world’s major religions, including Buddhism, Hinduism, Islam, Christianity, Judaism, and including Native American and Native Hawaiian. All were designed and built traditionally under the direction of kāhuna, learned scholars, Tibetan priests, visiting swamis, and local friends of the sanctuary. All touch each other in some way, creating a “sacred geometry” or Feng Shui, Barbara says, stressing the fact that Paleaku Gardens is absolutely non-sectarian, a spiritual rather than religious center. The inclusion of the large walking labyrinth dating back to “preChristian” times is another testament to the respect and balance of beliefs exemplified at the gardens. The Hawaiian shrine is a small heiau (spiritual altar) where prayers are traditionally offered to honor the ‘aumākua or guardians


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of the land at Paleaku. The ‘aumākua are ancestral spirits that take the form of animals and at Paleaku the guides are the ‘io (hawk) and honu (turtle) symbolic of the land, sky, and water being joined here in harmonious arrangement. The shrine sits on a 3,300-yearold lava flow that runs through the property containing lava tubes and natural grottoes. One grotto, adjacent to the Hawaiian shrine, contains petroglyphs (rock drawings) estimated to be 800 years old. The petroglyphs, primarily “triangle people” that depict the lineage of medicine people who are believed to have lived here, are easily viewed from the pathway; entrance into the grotto is strictly kapu (forbidden). Among the many additional inspirational sites is the Galaxy Garden, the world’s first walk-through model of the Milky Way Galaxy. (See full story in Ke Ola, June/July 2009.) It’s mapped in brightly colored flowering plants and based on current astrophysical data that gives new perspective to “our place in the universe, our community and within our own selves,” Barbara says. “The enormous—and costly—project,” she adds, “was funded by Estimated 800 year old petroglyphs the Change Happens Foundation.”

Tibetan Buddhist Monument “The 100-foot diameter Galaxy Garden provides a tangible example of earth’s place within the 100,000 light years in diameter Milky Way, which is really an impossible number for any of us to conceptualize,” she says. The Galaxy Garden was designed by a neighbor as were many of the other installations, and as part of the gardens’ community outreach, Hawai‘i Island schoolchildren were invited to help with the installation of plants and winding pathways that ultimately lead to the Milky Way’s center or black hole. A circular fountain sucks water inward to its center and then spurts it back up and out to depict the action of black holes. Entering the garden, visitors are directed to a leaf with glittering stones (stud earrings!) that mark earth’s place, and illustrates its size, within the Milky Way. Incredibly humbling and enlightening are the two descriptors most

commonly heard, according to sanctuary volunteers and staff— huge understatements since astronomers estimate hundreds of billions of galaxies make up the universe! Visited by scientists and astronomers from the observatories on Hawai‘i Island to NASA, Paleaku Peace Gardens Sanctuary was selected as one of 10 locations worldwide to receive a live uplink to NASA’s website for the Mars landing of Curiosity. “The live feed of our presentation during Curiosity’s landings is just one example of the many special events that occur here,” Barbara says. Another was the January 2009 visit by several monks from the Zongkar Chode Monastery that was established in Tibet in 1270 and is now based in South India. They traveled to the sanctuary to create two large sand mandalas—colorful, intricate representations of the Tibetan culture. Taking days of disciplined concentration to build, as one individual sand grain is placed at a time, the mandala

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is traditionally dismantled by the monks immediately upon completion as a lesson in the impermanence of things in this life. Through special dispensation, the mandalas created at Paleaku, which Tibetan Monks with Sand Mandala depict healing and photo courtesy of Randy Magnus the creation of compassion have been allowed to remain on permanent display. Barbara shares in the financial support of the nonprofit by managing a retail store—the Indich Collection—in Kailua-Kona, and earlier this year a retail area was added at Paleaku to aid in the sustainability of the gardens. It contains the work of local artisans— painters, jewelers, and wood carvers—along with organically grown fruits, Kona coffee, and macadamia nuts from the gardens and neighboring lands. “The retail area provides revenues, while allowing us the opportunity to showcase and support our incredible community of farmers and artists,” Barbara says. Complementing those retail offerings, a new nursery has been added recently featuring bamboos, palms, garden-statuary, and water plants all sold at wholesale, contractor-direct prices to everyone. Even with these retail components, donations continue to provide the majority of revenues for maintaining the property and perpetuating its mission. Late last year, a Special Use Permit application with the County of Hawai‘i was approved for Paleaku Peace Gardens Sanctuary to allow agrotourism, retail sales, and special events. Along with the permit came large financial burdens of compliance. This includes a new waste water system, upgrades in the buildings, ADA parking improvements, as well as an increase in lease rent requested by Kamehameha Schools. In order to continue its mission—offering a sanctuary for the advancement of individuals and communities toward peace and harmony—a new membership campaign, “Friends of Peace,” is underway to support the increased expenses. Basic yearly memberships are available, as well as escalating membership levels

that entitle donors to expanded benefits. As a 501c3 nonprofit organization, donations are 100% deductible. In addition to monetary donations, individuals are encouraged to volunteer their time and skills. “We’re also looking for helping hands. Volunteers are always needed,” according to Barbara. ❖ For more information or to make a donation: Tuesday–Saturday, 10am–4pm Photos by Renée Robinson, Jay Chambers, Barbara DeFranco Contact writer Margaret Kearns:

Through a Volunteer’s Eyes: Alana Swoyer, volunteer 2009–2012 | November/December 2013

The Sanctuary is truly a place of peace. When you step through the front gate, you are sheltered by a canopy of red jade vines and welcomed by the vibrant color of their flowers. As you walk through the entryway, you shift into another “space.” The peaceful, relaxing energy of the gardens is palpable as you wander the grounds. A quiet moment expands into a quiet experience of peace. This was especially noticeable when I witnessed a family or small group enter the gardens. Sometimes there would be one member of the group who lagged behind, not really interested in exploring the grounds. They might appear to be a little agitated, restless, or wanting to be somewhere else. An hour or so later, when that person reappeared at the Visitors Center, their whole demeanor had obviously changed. Their pace more thoughtful, their face relaxed, with a smile emerging. Often they would express how wonderful the gardens were. I saw this over and over again—the “powerful garden experience.” Visitors frequently told us that Paleaku was the best place they visited while on-island, while local residents came regularly, often bringing off-island guests with them. One of my most powerful experiences was the privilege I had to participate in the creation of the “Mary Grotto.” This was a heartening project that unfolded over the course of a year. Though I did not have a particular affection for “Mary” in any of her many forms, I was drawn to help with the making of this shrine. I saw wonderful people show up, share their time, their particular talents and provide physical materials to the process—and a process it was! From the initial conversations Barbara had with Jane Hendrickson, an artist and visionary from Arizona, creation of the multi-leveled base, seating area and protective roof, to the installation of the hand painted statue of Our Lady of Guadalupe, and the ceramic rose-making sessions—all efforts showed how many hands can come together to create a space for attuning to the mana, in all its myriad forms.

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Soulscape three pieces dyed silk hand stitched

Healing Art


The metamorphoses of Phan Nguyen Barker |

strike. My visa expired. So Father Cain had to take me back to the Ministry [of the Interior]. They asked to see the document that proved I had paid all my taxes. I didn’t have it because I’d already given them my papers.” The impasse was only broken when she burst into tears. An official watched her crying, then went into the back room and found her folder. Her visa was renewed. She finally got on her flight. Phan was 24 years old. “I was sitting in the plane and I looked out the window, and I thought, I don’t think I’ll ever return to this painful place,” she remembers. The pain continued after she left. When the South Vietnamese government fell, Phan’s father was put in a “re-education camp.” “When he came back to his house in Bien Hoa, my sister looked at him and said, ‘No, go away!’ She thought he was a beggar,” Phan says. Eventually, she would help bring her father and other family members to America. However her father only lived for six months after arriving. After Phan Nguyen reached America, she stayed with relatives of Father Cain in Phoenix, AZ, enrolled in a business college and got a student visa, though she struggled because of her English. Eventually she | November/December 2013

ever in my life did I see more beautiful, beautiful flowers, foliage, ocean,” recalls Phan Nguyen Barker (pronounced Fawn), of her first days in Hawai‘i. “So I began painting—painting flowers like crazy.” That’s a story shared by hundreds of artists who’ve moved here. For better or for worse, Hawai‘i Island lures and shapes artists with its lush greenery, abundant flowers, intense tropical light, dramatic skies, fiery lava eruptions, and mountainous and boundless ocean. Hawai‘i is a visual feast. And that landscape also has its pitfalls: it’s so rich that many artists never get beyond its surface. Phan, however, didn’t stop with flowers. She keeps pushing her art to its limit, then discovering something beyond: from complex natural landscapes painted in dyes and wax on silk, to abstract explorations of the soul, to incredibly complex pieces that combine techniques from batik to crochet. A Phan Barker exhibition routinely breaks the Star Trek Barrier, going where no man has gone before. That’s why when Phan has a new show, the reception is usually packed with other artists. This is all the more remarkable because of the physical journey that her life has taken. Phan started her life as refugee. She was born in 1946 in Tu Chau, a predominantly Catholic village north of Hanoi. When Vietnam was partitioned in 1954, young Phan fled with her father and siblings to South Vietnam, leaving her mother behind in a grave with no headstone. She grew up with the Vietnam War raging around her. As a young woman, she got a job as a clerk/typist at the U.S. Air Base at Bien Hoa, despite knowing “only a few words of English.” Later, she worked as a volunteer interpreter for Father James Cain, an Air Force chaplain. Cain suggested that she go to America to study. Getting permission to leave from her own government involved endless paperwork and delays. Then, just as the red tape logjam seemed to have broken, a new obstacle rose. “Father Cain had someone drive me from Bien Hoa to Saigon,” she recounts. “Except this was in August, 1969. Pan Am went on

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transferred to Phoenix College, changed her major to Arts Education, and finally got her bachelor’s degree in Secondary Art Education from the Arizona State University in 1975. A friend in Phoenix introduced her to batik, the art of using wax to control the dyes in fabrics. Batik is most famous for its use in colorful Indonesian printed fabrics. What Phan did with it was something no one could teach her. “I have a desire to paint nature, so I thought, how am I going to combine dye and silk and wax and landscape and seascape and nature? So I learned it by just doing it,” she says. The results were unique: vivid, complex silk paintings whose detail rivaled those done in oil or pastels. And when Phan moved to Ascending Souls Hawai‘i Island in 1983 dyed Batik silk, with her first husband, hand stitched she found the perfect landscape to go with her new technique. Her unique silk paintings soon made a name for her. She taught her technique to other artists. Some, such as Patti Pease Johnson and Elizabeth Paine, began selling their own batik silk paintings in a clearly similar style. Effectively, Phan had founded a new school of painting. Other artists, even if they didn’t become batik silk painters, flocked to her classes for inspiration. “You can walk into a workshop to a medium which you’ve never worked in before, and Phan can give you the confidence to complete a work that inspires you to do more,” remarked Kona Artist Lisa Bunge, at the opening reception for a Barker exhibit at Volcano Art Center last spring. That would have been enough for many artists. For Phan, it was just the beginning. In 1991, she says, “I had a show scheduled with Volcano Art Center. I had already painted flowers, forest, landscape, [and] seascape of Hawai‘i. I was beginning to think I wanted something new, a challenge.” She saw an article by Volcano entymologist Bill Mull about insects in the rainforest. It triggered something inside. “I said, ‘Why don’t I paint the forest through the eyes of a butterfly, or better yet, a caterpillar?’ ” she recalls. “I got a book about butterflies and said, ‘Oh, my God. That’s me. I’m going

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through metamorphosis.’ ” So she created a silk painting called “Metamorphosis” from the viewpoint of a butterfly just as its cocoon began to rip open. More paintings followed that looked wholly different from the ones that had made Phan’s reputation. “The series is about me changing from realism to abstract— but spiritually, I’m also changing,” says Phan. The next revolution took her back to her roots. In January of 1992, she finally returned to Vietnam with American journalist Jeannette Foster. “I felt I was ready to go back,” she says. “On the conscious level, I said I was going to paint Vietnam so people could see how beautiful it was, and not just a war zone.” The reality of Vietnam brought back a flood of emotional pain. With a sister who’d stayed in Vietnam, she journeyed back to Tu Chau to visit her mother’s grave. “In my memory there was a beautiful red brick path,” she recounts. “But when I returned, it was not very beautiful. It was dirty and there were dog droppings, and there were children with dirty sleeves and no shoes. I remembered that I was one of those children. I had no shoes for many years.” She had sent money back to a relative to have a headstone put on her mother’s grave, and somehow that had never happened. The grave was simply a mound with a simple cross atop it. “When my mother died, I had no feeling,” she says. “I didn’t understand what death means, until I was 11. Before my mother died, she bathed us. She gave all of us a bath. I never forgot that.” It took her months to recuperate from the trip Lantern for the Journey emotionally. dyed Batik silk, hand stitched

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As a part of that healing process, she turned again to her art, and her art again reinvented itself. The result was “The White Mourning Cloth” series, (in many Asian nations, the traditional color of mourning is white), and again, it was like nothing she’d done before. Some of her pieces broke away from silk

painting entirely and explored new media. “A Poem for my Mother,” for instance, consists of a matrix of branches embedded in a rough paper made from “cotton linter, mourning cloth, banana bark” and “pigment”; the textures recalled the rough materials of the village hut she and her family

lived in for five years in South Vietnam. The piece was chosen for the Smithsonian Institution Traveling Exhibition Service. “At first I wanted “The White Mourning Cloth” series to be my own private ‘spiritual purification,’ a ‘healing ceremony’ for myself,” she wrote of the exhibition. “Then when I visualized people who came to the opening of the exhibition, I could see the viewers through ‘the window’ of the artwork. They would become a part of the work. I asked myself, ‘What about their pain, their sorrow and their unresolved issues—about the Vietnam war, or any war? Are we not ONE SPIRIT, ONE CONSCIOUSNESS, ONE HUMANITY, ONE WORLD?’ Then, we must have one pain, one sorrow, and the same unresolved issues. We can heal ourselves and as a consequence, heal others.” Her art since then has continued to metamorphose, exploring spiritual territory where few artists would dream to tread. For instance, “Soulscape.” She imagined, “If you paint your soul, what would it look like?” To tackle such subjects, she’s invented her own vocabulary of abstract shapes. “Soulscape” uses concentric circles symbolizing energy and tombstone shapes “representing what we have to let go” with fish-like forms swimming among them. For her, the piece is about “life and death and life again,” Phan says. “A part of you dies. You leave it and just let go, because a part of you is always growing.” Others can look at those shapes and come up with different interpretations. That’s what good abstraction does: it makes our brains change, without always giving easy answers. She’s also incorporated another level of technique into her recent works, making the silk more three dimensional by

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incorporating needlework—borrowing stitches and techniques from a whole range of fabric arts, from Hawaiian quilting to crochet. These avant-garde works do share one common trait with traditional Hawaiian quilting: they’re incredibly laborintensive. A single one-by-two-inch detail of a piece called “The Womb,” for instance, contains miniature crocheted net of silk threads, in which each of the hundreds of links in the net contain at least four different colors of thread, and then no two of the polygons formed by the threads are alike. “Oh, my, Phan, you’re really going crazy,” remarked one artist, staring at all those stitches. The common thread to all these threads remains spiritual healing. For Phan, the pain of life is transformed into peace through creation. When a sister now living in Tucson developed

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cancer, Phan went to be by her side—and took along a work in progress, a complexly layered piece called “The River Beneath the River.” “All the stitches were done in my sister’s kitchen,” she says. At the opening of her show at Volcano Art Center last spring, Phan dropped a bombshell: “This is going to be my very last show on silk,” she said. Wherever she goes next with her art, there are two near-certainties—it will be surprising, and it will be unique. “I have completed the whole process,” she says. “I can go on and do something else.” ❖

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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 Oh yes, you can find the answers on page 85. Your feedback is always welcome.

Down 1 Fish served at Christmas in Hawai‘i 2 Hawaiian fish and a Beatle’s wife 3 Hawaiian word for sugar cane 4 Every now and then Kilauea _____s 5 Molten rock from a volcano 6 Sacred Buddhist word 8 Special power or energy found in sacred lands 9 Hawaiian word for shadow 12 Hawaiian healing artist who loves painting flowers, ___ Nguyen Barker 15 Hawaiian word that can mean honoring 17 Graduate of a university 19 Christmas day food in Hawai‘i 20 Hawaiian word for thought 21 Hawaiian word for path 22 Kailua-Kona athlete, ____ “Peaman” Pagett 24 Trees that are symbols of strength 25 ____ and Holly Algood: they created an organic and sustainable home in North Kohala 27 Covered transport 30 Hawaiian cultural practitioner, ___ Kaholokai 31 Aloha garland 34 Sacred place of worship, in Hawaiian 36 Hawaiian word for to try to understand 38 ____ Santos San Diego Padres 2013 draft pick 39 Feeling you get seeing the Hawaiian mountains and scenery 40 Request 41 Whale rarely seen in Hawai‘i 43 Hawaiian dance 45 Order to a horse to go to the right 46 Nonprofit looking after homeless Hawaiian kids, abbreviation 47 Hawaiian word for melody | November/December 2013

Across 1 Beautiful chant by Na Kumu Keala Ching (3 words) 7 Hawaiian word for outrigger float 10 It goes with neither 11 Dawn time 13 Short for Alaska 14 Hawaiian word for wicked 16 Family in Hawaiian 18 Hawaiian word meaning to awake 20 Welcoming rugs 23 Turtle in Hawaiian 26 Shaped like a football 28 Hawaiian word for sickness 29 Hawai‘i’s Christmas present bringer 32 Hawaiian word for red hot 33 Hawaiian word for to draw near 35 Hawaiian word for to reach out 37 Computer department 39 Hawaiian word for to dive down and come up 42 Christmas ____ Program, nonprofit that runs free summer camps and holiday parties for kids 44 Hawaiian artist Lisa ____ 46 _____ Gardens Peace Sanctuary in south Kona, a sacred land 48 Hawaiian word for octopus 49 Location of the Ocean Film Festival 2014 50 Hawaiian word for belonging to

67 | November/December 2013


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An Abundance of Energy

An intentional property in harmony with nature |

“We’re about 85 percent self-sufficient,” Eila says. Although I am intrigued that Holly’s office is an old, converted school bus permanently parked on the land, the centerpiece of the homestead is a large barn-like structure built out of bamboo, from floor-to-ceiling with double-wall construction and bamboo supports. Wanting to experiment with this alternative building material, the Algoods’ research led them to a bamboo building company

Eila and Holly Algood | November/December 2013

nce, people didn’t use such words as sustainable and organic because everything just was sustainable and organic. The earth provided, and people lived completely off the land. We can do that again today, only with state-of-the-art technology. Standing on Holly and Eila Algood’s sustainable homestead in North Kohala is like taking a step both backwards and forwards in time. The first thing I noticed, however, was that their wind turbine was barely moving. “Is it broken?” I asked. They both grinned. “We get that question a lot. We have such an abundance of energy right now it doesn’t need to work,” Eila explained. An abundance of energy. There’s a phrase you don’t hear everyday. Eila went on to explain that when you don’t have to rely on another entity or pay someone else for the energy you use, you look at energy use in a whole new way. And that is what Holly and Eila’s green journey is all about. Holly and Eila bought their property in Hāwi in 2008 with the express purpose of building and living as green as possible. The result is a sanctuary that satisfies their own desire to live sustainably and contributes to the community, as well. On 34 acres at 200 feet elevation, the Algoods not only live off the grid—they excel at it.

By Cynthia Sweeney


“Here, it’s used for sound insulation and it gives the building more strength. It’s also cooler during the day and warmer at night,” Eila explained. On the walls, light earth tones emanate from the American Clay covering—a plaster-like product that emits negative ions, has resistance to mold, and simply looks good—giving off a warm sort of glow. The Algoods were so impressed with this product they are now a distributer of the clay. The barn is also equipped with an energy efficient kitchen. The size, open space, and ambience of the barn provide an ideal venue for community events such as group meetings, African drum and dance classes, and ho‘oponopno mediation, of which Holly is a facilitator. Barn building 2010 | November/December 2013

on Maui and a company in Viet Nam that constructed and shipped the barn to Hawai‘i Island in pieces, like a puzzle. Building permits, which can be a lengthy process in Hawai‘i, were not a problem. The Viet Nam company’s product was certified and up to international building codes, and in Hawai‘i, green buildings are pushed through the permit process faster than those for conventional structures. With community help, the basic framework of the barn went up in four days. A few months later, windows were installed. Inside the barn is comfortably sheltered from the gusting wind and heat of the day outside. It is insulated with soy foam spray and blue jean scraps—actual, soft scraps of recycled blue jeans. So why bother to insulate when we’re in Hawai‘i?


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Recycled blue jean insulation

PHOTO: James Cohn

Susan J. Moss

Professional Member ASID, LEED Accredited Professional

Kamuela, HI PH: 808-885-5587 | November/December 2013

The other two buildings on the property—the Algoods living space and a vacation rental unit—were constructed with recycled foam and steel and spray concrete with the help of Tridipanel in Honolulu. Finding contractors and carpenters willing to work with these new materials was another matter. “They were reluctant,” Eila said. “They struggled, so we did a lot of the work ourselves.” The results were rewarding. The buildings stay cooler by day and warmer by night, are resistant to bugs, and last “forever.” Holly and Eila used recycled materials wherever they could: used doors, used furniture, a reclaimed bathroom vanity. Appliances, as you might expect, were selected for their green qualities, including LED lights and an Energy Star refrigerator. “We do not have a traditional kitchen,” Eila says. In lieu of a standard stovetop and oven, the Algoods selected a portable induction stovetop and a convection oven. “It suits me just fine. I’ve been using it for five years and there is much more flexibility.” Though their living space is relatively small, the high ceilings, full-size bathroom, and floor-to-ceiling windows create an inviting space. As does the round “floating bed,” a platform with a round mattress suspended from the ceiling, far from the crawling reach of centipedes or scorpions. Next-door is the self-contained vacation rental cottage. “People come from all over the world to learn how to live off the grid,” Eila notes, including, recently, a professor from the University of Hawai‘i. “The first thing people can do is to be more conscious of the energy we use. We buy everything we can used—including clothes. It saves money and stuff doesn’t go into the landfill,” Eila said. Another thing, “Turn off the power strip when you go to bed. We’re very conscious of where and when everything is hooked up.” Initially, converting their solar and wind to energy that powers lights and appliances was a challenge. Eila, not to be daunted, taught herself the inverter system. Housed in a small outdoor closet, the system converts the wind and solar energy from AC to DC, into eight car-sized batteries that power the entire property. Maintenance to the system requires filling the batteries with water once a month and takes Eila about half an hour. There is also a back-up generator, just in case. The Algood’s property has an expansive view of Maui, and the land in this part of the island is rugged. It has been 30 years since sugar cane was grown and harvested. The soil is

The meeting room inside the barn

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unpredictable and the weather this year has been hot, windy, and dry. Planting something every day is a compulsion with Holly. They have planted 600 trees on the property so far, including 150 coconut trees. The goal is to plant 2,500 trees to bring back the land to a healthy state. “The big thing we’re doing is in 30 years [we want] to have a food and hardwood forest. I try to plant something every day. That’s one of the things the land keeps telling me to do,” Holly explains. Overflow from their catchment system is redirected by three pumps to water their trees and herb garden. This manmade ecosystem is the tilapia tank. The fish provide food and their effluence is used to feed the plants. On to the chickens—why shouldn’t they be just as comfortable? The chickens spend some of their time in mobile pens, which are rotated to where the grass is greener. The rest of their time is spent in a 24-square-foot, dome-like structure that is modeled after a Korean natural farming system. It’s built on layers of bio char and compost mixed with microorganisms, and the round shape disperses the wind. Eila remarks, “We have people ready to move in if the chickens ever move out.” And the chickens seem happy and healthy, and don’t look like they are going anywhere soon. Holly and Eila have created a domicile for themselves that is in sync with their philosophy. And the daily joy of living this way has motivated them to extend this lifestyle to the community. They live by example, and even though people may not have what it takes to live completely off the grid, Eila says there are steps that can be taken to live a little more sustainably and organic.

The Algood’s grow their own food with aquaponics Eila’s top tips to shift towards a sustainable lifestyle: • Appliances and lighting: Use a clothesline, LED lightbulbs. • Treasures and trash: Shred waste paper and combine with food scraps to make great dirt and compost for your garden. • Your landscape: Plant for shade, windbreaks, and food. “We’re really committed to the community and feel it’s important to share [our experience],” Eila said. “It’s nice to share it with people if it gets them to think a little bit differently.” ❖ Contact Eila and Holly Algood: Contact writer Cynthia Sweeney:

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Kūlia i ka nu‘u The value of achievement. “Strive to reach the summit.” Pursue personal excellence in all you do. Sixth in an ongoing series.


Managing with Aloha: Kūlia i ka nu‘u

s the Hawaiian value of achievement, Kūlia i ka nu‘u promotes personal excellence. Therefore, it is quite understandable that Hawai‘i’s most legendary teacher of Kūlia i ka nu‘u was a queen. I was a student at the University of Hawai‘i at Mānoa when I discovered the serene morning pleasures of getting my exercise with a run around Kapi‘olani Park, that verdant oasis between Mt. Leahi (Diamond Head) and Waikīkī. Years later, with frequent business trips from my Hawai‘i Island home back to O‘ahu, the promise held in staying at Waikīkī hotels was their proximity to the park for my now habitual run. The scenery along my route has changed as Kapi‘olani Park has aged with me. Nature doesn’t remain constant; you need to look carefully so you won’t miss her surprises. I vividly remember the day I first saw one of those great surprises: near the bandstand, facing the makai walkway, was a newly placed statue of Queen Kapi‘olani. I stopped to read the inscription at the base of her bronze pedestal: Queen Kapi‘olani Queen of Hawaii 1874–1891 Kūlia i ka nu‘u (Strive for the highest)

The statue wasn’t there when I was in college, yet its presence that day of discovery felt perfectly timed. Kūlia i ka nu‘u would not have meant as much to me earlier, and small as she is in her bronze stature there, shaded over by taller overreaching trees, I may have even passed by the statue completely. Whenever I now have a morning’s opportunity to visit Kapi‘olani Park, I pause at the statue, and silently thank the queen for what her motto has taught me more than 100 years later. I soak in the encouragement I imagine she’d give me as I think of the summit I currently face. I never fail to resume my run with a spurt in energy I didn’t have moments earlier. Kūlia i ka nu‘u inspires me to be my best, and take actions that matter. The literal translation of nu‘u is summit, or highest place. Kūlia is to strive. However Kūlia i ka nu‘u is not simply a description the sculptor chose to describe Queen Kapi‘olani;

during her lifetime it was widely known as her motto—favorite words she would say often to explain her own beliefs, and to encourage her people to strive constantly to reach as high as they could, and to act with the spiritual rightness of actions that stem from being at one’s “highest place.” Excellence is never an accident. It is always intentional, and it demands more than the norm. Excellence in the achievements you work for will set you apart, for it will shape your character with the destiny of leadership. I believe it was this value of Kūlia i ka nu‘u, held by so many here, that helped us realize our strength together in the aftermath of the terrorist attacks of September 11, 2001. These were years when the warmth and beauty of the islands were secondary in what a traveler wanted. Our economy took severely damaging hits in those uncertain months that followed, yet in a relatively short time, we were successful in reminding travelers that Hawai‘i offered U.S. soil to them, and would be a safe haven to visit, a place of our enduring Aloha. Those formerly in competition eagerly joined forces to tell our story together. In Hawai‘i, we seek to share a feeling that’s very real—the vibrant tangible energy force connected to our spirit of Aloha called Ho‘okipa (hospitality within service). It called out to many visitors, and they came to experience Ho‘okipa for themselves. The perceived risk in traveling began to lessen, and Hawai‘i rebounded much more quickly than most destinations, with Kūlia i ka nu‘u enabling us to do so. I’d later learn that the statue of Queen Kapi‘olani was unveiled at Kapi‘olani Park on December 31st of that year, as we all looked forward to the promise of more prosperity in 2002. In part, the news release done by the City and County of Honolulu gave this description of what sculptor Holly Young, who lives on Hawai‘i Island, had captured: “Her bronze statue, which is mounted on a pedestal faced with black granite, depicts the Queen in ‘street costume’ at about the age of 40. Her face has a warm, subtle smile and one of her arms is slightly extended, palm open, as if to welcome someone into her home.” In those final months of 2001, Hawai‘i’s entire community extended its arms as well, and we continue to do so. I think Queen Kapi‘olani would be proud of us. ~ Rosa Say Next issue: Ho‘okipa, the value of hospitality Photo courtesy Dan Davila: Contact writer Rosa Say:, | November/December 2013

“The Queen who loved children” was a woman of commanding presence, of easy manner and quiet disposition, ever kind, ever thoughtful of others. She dedicated her life to the wellbeing of her people.

| By Rosa Say


The 7th Annual Celebration of E Mau Ana Ka Hula Saturday November 16 8am - 5pm Sheraton Kona Resort & Spa at Keauhou Bay

On this special occasion, Kumu Hula and students from across the Hawaiian Islands, Japan, and Europe will present their art of style and tradition of hula with either hula kahiko (ancient) or hula auana (modern) styles of dance. Each school will showcase the best integrity and quality of traditional hula steps, expressions, creativity, and adornments with costumes and stories that support the hula traditions. Arts & crafts vendors will feature quality locally made items, and ono food is available too! Admission is free, so bring the family and join us to share in the joy of hula!

Hula Workshops Friday & Saturday —all are welcome. For information & workshop registration, please visit us at

A tribute to King David Kalākaua | November/December 2013

Kona Music Society and Artistic Director Susan McCreary Duprey


• • •


Sunday, November 30th, 2013 - 7:00 PM Messiah Concert at the Kahilu Theater in Waimea Sunday, December 1st, 2013 - 5:00 PM Messiah Concert at the King Kamehameha Hotel in Kona Sunday, December 22nd, 2013 - 4:00 PM

A Free Community Holiday Concert

Makaʻeo Pavilion - Old Airport Sunday, April 27th, 2014 - 4:00 PM Bernstein’s Chichester Psalms at the Sheraton Hotel & Spa

For more information and tickets call (808) 334-9880 or visit us at

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Performing in Berkeley, 1977

The Love Story of Harp and Soul Manuel and Bernice Roberto

| By Gayle “Kaleilehua” Greco

Divinely devoted to one another for 40 years, Bernice and Manuel have traveled extensively to finally call Hawai‘i Island home. Manuel reflects, “We were a young couple in love with a life purpose. They call it ‘destiny.’ ” Manuel discovered the flute with his good friend and experimental musician, Richard Marriott, as they played music for several friends and at parties in Berkeley. Manuel, usually on the tabla drums, picked up a sakuhachi (Japanese) flute and began to play. Richard was surprised at Manuel’s ease, as this specific flute is one of the hardest instruments to learn. Manuel felt very connected to the flute and soon met G.S. Sachdev, a Bansuri (bamboo flute) master and one of the most well known North Indian classical flautists, who also happened to be in Berkeley. | November/December 2013


he strum of the harp mixed melodically with the sound of the flute leaves an echo lingering in the air. It weaves with the breeze, playing on heartstrings, as if one is sitting in heaven. Lost in the moment, you realize heaven really is on earth in the presence of the remarkable musicians, Bernice and Manuel Roberto of Kailua-Kona. This was the scene in the Roberto’s beautiful home, as they played their instruments and spoke of each other as their mutual inspiration. Bernice is an accomplished harpist, pianist, and singer; along with her other talents of playing the synthesizer and co-composing songs with Manuel, her husband. Manuel is an established poet, composer, flautist, and devoted Interfaith Minister. Manuel lovingly says his third job (along with working as a financial consultant) is a “harp mover” for Bernice. Imagine the time: 1970. The place: University of Madrid, Spain. The characters: a handsome Spanish boy and a browneyed, beautiful girl from Guam. A classic boy-meets-girl tale of how they met, fell in love, and moved to Berkeley, California where they studied music, film, the arts, and opened a Vedic Cultural Center for music—all in the height of the flower power days of the San Francisco Bay Area.


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Richard made Manuel a flute, G.S. Sachdev became his teacher, and this began Manuel’s passionate and innate expression of flute playing. Manuel has an extensive collection of instruments that he has acquired from world travels. As Manuel describes, each instrument has a story of its own mana or energy, a living spirit that is devoted to sound healing, which Manuel merges with his own breath to create the musical resonance. Manuel comments on how he was always interested in the root or origin of music, from growing up with a father and grandfather who were poets, to himself taking on that craft as a child and adult. As he learned the scales of North Indian classical music, he found that most music is based on this musical scale. In a moment between words, Manuel picks up one of his cherished flutes, the Bansuri, and the air fills as he harmoniously plays a melody of seamless musical styles from flamenco to Indian, to Celtic, with a hint of blues as an ending repertoire. As if on a magic carpet ride, one is transported around the world through the brilliant effect of Manuel’s flute playing. In 1985, Manuel and Bernice opened an East Indian music school, the Vedic Cultural Center, in Berkeley during a time when the likes of Ali Akbar Khan, Ravi Shankar, Zakir Hussain, and many well-known musicians came to the San Francisco Bay Area to share their music. The music school served as a home for aspiring musicians and artists to grow their talents at a time when cross-cultural lines were being merged. This was a time of great creativity and deepening of the Roberto’s musical experiences, a foundation that would carry them to the east coast to raise their children. They have fond memories of

Taj Mahal in India, 2007

Photos by Gayle Greco and courtesy of the Roberto’s Contact Manuel and Bernice Roberto: Contact writer Gayle Greco:

Young love, Berkeley, 1977 | November/December 2013

traveling with the Whole Life Expo as the conference musicians. Bernice, a classically trained musician, has been on a musical and spiritual path since she was a child in Europe. Bernice played piano from a young age and began studying harp with Francis Duffy of the Pittsburgh Orchestra. Her vocal work blended beautifully with the instruments and added to her inherent spiritual gifts. Bernice reflects on her 28 years of playing the harp and recites from Ireland’s 15th century national composer, “To be a true harper, one must be able to make people laugh with your music, cry with your music, and dream with your music.” Bernice, with a sweet twinkle in her eye, says “we added to that quote, to transcend people with your music.” Bernice shares, “In studying the harp and having cross cultural experiences, it has helped me to understand the essence of music. It is not a proprietorship of one culture, it’s a reflection of consciousness.” Having an international look, and speaking several languages, it was possible for Bernice to fit in to any cultural situation, especially with music, which is as universal as air. As Bernice prepares to play her harp, she reflects that music is a blend of cultures and traditions, the stories of elder to young. She comments on how it is exciting to see where the next generations take the music. A strum of the harp and she speaks, “We are Spirit-Soul eternal,” and in a moment, the resonance of her harp is joined by Manuel on a Bansuri flute. Heaven’s gates reopen. Bernice recalls that she was always a hesitant performer, however. Through the years, Manuel has encouraged her to take a more prominent role with her musical gifts. Bernice now teaches harp, voice, keyboards, and harmonium. She performs with different musical groups: the Magic Strings, a group made up of members from the Waimea Philharmonic, where she plays the violin, viola, cello, and harp; and Kona Harp Ensemble, where she provides a polyphony of multiple harps. Moving to Kailua-Kona in 2000, Manuel and Bernice have built their community around the music, spiritual events, and volunteer work in the community. Manuel has served as President of the Rotary Club of Kona and as a member of the Kona-Kohala Chamber of Commerce. Bernice serves as founder of Hawai‘i Heavenly Weddings, a wedding services company that performs

ceremonies at the Four Seasons Hualalai, Fairmont Orchid, Waikoloa Hilton and Hapuna Prince hotels. In addition to weddings and engagement receptions, Bernice provides a number of musical offerings for conferences, corporate events, vow renewals, theatres, and private home events. Sharing their talents in the local community, Manuel and Bernice play with JP Thoma in Blue Indigo, a world music group featuring a unique blend of Indian, Hawaiian, Celtic, and Japanese music. And with another ensemble, Zen Moon Rising, a dynamic group that offers meditative, elegant, and distinguished soundscapes of harp, flute, and gongs. The Roberto’s have recorded CDs including “Lover of the Soul,” “Journey to the Self,” “Echoes of the Moon,” “Eternal Flame,” and soon will be recording another series of CDs. On any given day on Hawai‘i Island, you can hear a rich blend of music with the ever popular ‘ukulele and slack key guitar, to the Polynesian drums and flutes sustaining the traditional meles of Hawaiian composers, all rhythmically setting us to a common heartbeat. In KailuaKona, another marriage is heard, with a strum of a chord, angelic in its tone, combined with a light, wafting whistle in the air, and one realizes the healing power of sound culturally integrates us at a deeper level. This is the gift that the Roberto’s give each other each day and share with the community. Bernice comments about their life in Hawai‘i, so similar to her remembrance of Guam, “We are blessed to be here in a place that is accommodating and simple.” ❖


High Country Farm—Honoka‘a


| Sara Hayashi

rotea flowers originate from the southern hemisphere, and their unusual shapes give them an otherworldly appearance. High Country Farm has 1.5 acres of these unique flowers on the Hamakua Coast. Shortly after she moved to Hawai‘i Island, Anne St. Johns was introduced to protea flowers by a friend who was growing the King variety. At the time there were no commercial protea growers in North Hawai‘i so Anne decided to take the plunge and open High Country Farm. She and her business partner, Richard Berman, began planting in the late 1990s and began selling protea flowers in 2000. Growing proteas takes patience as there is a long time between the initial planting and the first harvest—about five years. The commercial life of the plant is approximately 10 years, so commercial growers like High Country Farm must constantly be planning ahead. Proteas are commonly found in South Africa, Australia, and New Zealand. They do well in higher elevations and

warmer climates. They are resilient against bugs, which allows High Country Farm to dedicate itself to sustainable propagation without the use of sprays. There are many species of plants under the Proteaceae family that come in all shapes and sizes. High Country Farm focuses primarily on the following four main types:

Manini M


Protea: Including King and Big Girl Duchess varieties. These flowers are bowl shaped with large, dense flower heads surrounded by narrow, flat petals. Banksia: Including the Integrifolia variety. These varieties are fairly common and have a long, cylindrical shape which makes them look like candles. Leucospermum: Including Reflexum and Pincushion varieties, which are dome shaped with protruding pin-like petals. Leucadendron: Includes the Red Devil and Safari Sunset, which have a more compact flower and long, narrow petals. Protea flowers are beautiful in arrangements or as individual cut flowers. They have a vase life of three weeks or more and dry well. High Country Farm sells through local flower shops, including Nicco Designs in Waimea and Grace Flowers in Honoka‘a, as well to individuals around Hawai‘i Island. They have also begun shipping to the mainland. | November/December 2013

High Country Farm 808.936.1045


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Hawaiian Dolls —Wood Valley


s a little girl in Germany, Sabine Hendreschke had about 30 dolls that all had a name and a “soul.” Her childhood was filled with fairy tales and magic. One of her most cherished toys was a coconut cradle that her parents made with a baby doll inside. Fourty-five years later she reinvented the coconut cradle design integrating her legendary Hawaiian Menehunes. Sabine moved to Hawai‘i Island 30 years ago to work as an artist and writer, as well as educational assistant and computer instructor at the Ka‘ū High School. About five years ago she started her art business. Hawaiian Menehunes are one-of-a-kind miniature collectible dolls individually handcrafted on Hawai‘i Island with the greatest love and respect for all that is Hawai‘i. All dolls are about 3.5” tall and fit in the palm of a hand. The bodies are made out of stretch cotton and wired for flexibility. The dolls have tiny little hands and feet, ears, buttocks, and a belly button. The eyes and mouth are intricately embroidered onto the face. Lili and Lomi

Hawaiian Menehunes are “dolls with a soul,” carrying the spiritual power of Hawai‘i. They are intended to serve as guardian angels and spiritual guides. Each Menehune has a story to tell and conveys a personal, inspiring message for guidance and protection. Their detailed personalities Hana Hou and accessories reflect the wisdom of Hawaiian culture and spirituality. All dolls come with a booklet of their special story and a certificate of authenticity. They are unique art dolls for display and inspiration rather than a child’s toy. Tremendous time and mana (spiritual energy) are devoted to each doll. This makes the Menehunes priceless.  “Honoring magical Hawai‘i and spreading its magnificent aloha spirit throughout the world has become my life’s purpose. Expressing the individual characters of my dolls and writing their stories has involved intensive studies and research of Hawaiian culture, which has given me some knowledge to integrate Hawaiian traditions and symbolism into my art and writings.” Sabine’s main objective with her Hawaiian Menehunes is to bring joy and inspiration to people. Hawaiian Dolls 96-2337 North Road, Wood Valley (6 miles above Pāhala) 808.928.6491

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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.


Hawai‘i Island Farmers Markets West East


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

Saturday and Tuesday 2–6pm, Tuesdays 8am–pau, Saturdays * Hawi Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans.

Daily 8am–5pm Pana‘ewa Hawaiian Home Lands Farmers Market, Puainako and Ohuohu Streets by Walmart, Hilo.

Saturday 8am–1pm Waimea Town Market at Parker School, 65-1224 Lindsey Rd., Waimea/Kamuela.

Sunday, Monday, Tuesday and Thursday 7am–4pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors. | November/December 2013

Saturday 7am–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).


Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors.

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

Saturday 7am–noon * Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo, Sunday 7am–2pm Akebono Farmers Market. Luquin’s/Akebono Theater parking lot in Pāhoa. Sunday 8am–2pm * Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road.

Sunday and Thursday 2pm–dusk, Thursdays Dawn–2pm, Sundays Pepe‘ekeo Farmers Market. Off Hwy. 19 on Ka‘akepa St. Produce and foods. Tuesday – Saturday 7am–5pm Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Local grown produce, ono grinds and live music. Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Homegrown produce offered by Hawaiian Homelands lessees. Saturday 8am–noon * SPACE Farmers Market, Seaview Performing Arts Center for Education, 12-247 West Pohakupele Loop, Kalapana. Saturday 8am–1pm * Hilo Coffee Mill, 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

* EBT accepted:

Saturday 8am–noon * Keauhou Farmers Market, Keauhou Shopping Center Keauhou. Saturday 7:30am–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. Sunday and Friday 9am–1pm South Kona Green Market Captain Cook, Amy Greenwell Ethnobotanical Garden Wednesday 8:30am–1pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast Wednesday and Saturday 9am–2pm Ho‘oulu Community Farmers Market, Sheraton Kona Resort at Keauhou Bay Wednesday–Sunday 7am–4pm Kona Farmers Market, corner of Ali‘i Drive and Hualālai Rd.


Sunday 6am–9am * Volcano Farmers Market, Cooper Center, 1000 Wright Rd., Volcano Village. Saturday and Wednesday 8am–noon Na‘ālehu Farmers Market, Ace Hardware lawn.

Please send info on new markets or changes to

Island Tropical Fruitcake | By Sonia R. Martinez


ruit cake (or fruitcake) is traditionally a dark and dense cake made with chopped candied or dried fruit, nuts and spices, and usually wrapped in linen and soaked in spirits for several weeks. Comedians have made fun of fruitcakes for many years, calling them doorstops or claiming that there is actually just one cake that gets passed around in each family making the rounds every year. Whatever your thoughts are about them, fruitcakes have become one of the traditions of the Winter Holiday Season. During the Victorian era, fruitcakes were served at wedding celebrations as “groom’s cake.” The tradition was to put a piece of cake in a small box, and give a box to the unmarried women attending the wedding who put it under their pillow, giving them the hope that they would find a husband. What we know today as a fruitcake started as far back as early Roman days as a way to preserve a type of bread made with barley mash by adding pine nuts, raisins, and pomegranate seeds to the mix. During the Crusades in the Middle Ages, honey, spices, and preserved fruit were added. This is the version that comes closest to fruitcakes in our time. Through the years, other versions have appeared. What they all seem to have in common is a spice cake base with lots of fruit and nuts. By substituting the traditional glazed citron, pecans, or walnuts with locally available fruit and nuts you can bake your own version of a Tropical Fruitcake. All of the fruit and the nuts can be found at your nearest island farmers markets. Buddha hands (a fragrant citron variety with finger-like fragments of fruit), though not seen often, are available in some of our markets during season. They are all peel and pith, with no pulp at all, and all parts can be used. The peel can be candied and the zest can be used as a condiment. The white pith is not bitter and the fingers may be cut off and then sliced lengthwise, peel, pith, and all, and used in salads or served with fish.

5 cups dried or fresh tropical fruits, chopped and mixed (I used sliced and chopped Buddha hand fingers, pineapple, mango, papaya, and candied ginger) 1 1/2–2 cups spirits (brandy, rum, fruit wine) 1 cup macadamia nuts, chopped and toasted Put the chopped fruit in a large glass jar (I used a 1/2 gallon Mason jar) and add the spirits; cap and store in fridge for minimum of 1–2 weeks. When ready to bake the fruitcakes, empty the contents of the jar into a non-reactive saucepan (material that will nor react with acidic ingredients: stainless steel finish or non-stick pans are good examples) and bring to a slow boil at a low temperature and cook until liquid evaporates and fruit is soft and translucent. Mix in the nuts and then set the whole thing aside to cool while you mix the batter.

1 1 3 2 2

C milk dollop sour cream large eggs tsp vanilla extract 1/2 C bleached all-purpose flour 1/4 C cornstarch 4 tsp baking powder 1/2 tsp ground nutmeg (I used fresh grated)

1 tsp ground cinnamon 1/2 tsp ground allspice 1/2 tsp ground cloves 2 tsp ground ginger (I used fresh grated) 2 C dark brown sugar 1 C unsalted butter, room temperature

Mix the milk, sour cream, eggs, and vanilla extract. In a separate large bowl, mix all dry ingredients. Add the softened butter into the dry ingredients until it turns sort of crumbly. Add one-third of the milk mixture and beat or whisk until smooth. Repeat twice until all liquids are mixed into the batter. Add the fresh grated ginger (if using) and sugar. Beat again until completely incorporated. Add the fruit and nut mix and incorporate well with a large whisk or spatula. Pour batter into pan or mold(s) and bake for about 40 minutes or until toothpick or clean bladed sharp knife comes out clean. Remove from oven and cool for a few minutes on a cooling rack. Unmold, brush with spirits, cover tightly with linen cloth that has been doused with spirits; seal tightly into a lidded storage container or wrap in foil. Let it rest a few days before serving. It’s delicious when served with a creamy dollop of thick yogurt that has been slightly sweetened with confectioners’ sugar and a bit of liliko‘i juice added. These make wonderful holiday gifts. Hau‘oli La Ho‘omaika‘i, Mele Kalikimaka me ka Hau‘oli Makahiki Hou to all! Photo by Sonia R. Martinez Contact writer Sonia R. Martinez: | November/December 2013

First the Fruit

Start 1–2 weeks before you bake the cakes by selecting and chopping your fruit and nuts and macerating them in spirits.

Then the Cake

Preheat oven to 325°F if using a heavy bundt pan, 350°F for loaf or baking pans. Butter 6 mini-loaf pans or a bundt cake mold and dust with white refined sugar, not powdered. This gives the surface of the fruitcake a nice slight caramelized crunchy texture.


Hawai‘i Island Happenings

Wondering what’s happening around Hawai‘i Island? Visit these businesses and organizations websites for the most up-to-date event calendars. Use provided contacts for information.

Ke Ola Magazine Hawai‘i Island Edition

Donkey Mill Art Center

Hulihe‘e Palace

Palace Theatre - Hilo


Downtown Hilo Improvement Association

‘Imiloa Astronomy Center of Hawai‘i

UH Hilo Performing Arts Center

Kahilu Theatre - Waimea

Waimea Community Theatre

Kailua Village Business Improvement District

West Hawaii Dance Theatre and Academy Sharon Bowling, 808.329.1711 ext 4 Shirley Stoffer, 808.345.2627

Hawai‘i The Big Island Sherry Bracken, 808.334.1521

Aloha Theatre - Kainaliu

Aloha Performing Arts Company 808.322.9924

Amy B.H. Greenwell Ethnobotanical Garden Peter Van Dyke, 808.323.3318

Basically Books 808.961.0144 Free Estimates 808.322.3362 808.935.8850

East Hawaii Cultural Center 808.961.5711 808.969.9703 808.885.6868

Food Hub Kohala Karla Heath, 808.224.1404

Hawai‘i Homegrown Food Network

Hawai’i Volcanoes National Park Volcano Art Center Julie Callahan, 808.967.8222

Honoka‘a People’s Theatre 808.775.0000

Bugs Be Gone! 808.329.1877

Free Inspections 808.326.7820

Kalani Oceanside Retreat 808.965.0468

Kona Historical Society 808.323.3222

Kona Stories Bookstore 808.324.0350

Living Arts Gallery 808.889.0739

Lyman Museum Emily Benton, 808.935.5021 | November/December 2013

C o m m ercial & Residential C a ll us for a FREE I n s p e c t ion & Quote TODAY!


M a s o n . Te r m i t e @ y a h o o . c o m (808) M a s o n Te r m i t e A n d P e s t C o n t r o l . c o m Island Wide Service PCO#1267

557-3333 Locally Owned

North Kohala Community Resource Center 808.889.5523

One Island Sustainable Living Center 808.328.2452 808.934.7010 808.974.7310 808.885.5818

Contact Virginia Holte 808.329.8876

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

Keauhou Shopping Center 808.322.3000

Kingsʻ Shops-Waikoloa 808.886.8811

Kona International Marketplace 808.329-6262

Prince Kuhio Plaza 808.959.3555

Queens’ MarketPlace–Waikoloa 808.886.8822

The Shops at Mauna Lani 808.885.9501

Community Kokua

To submit volunteer information for your non-profit, email (Listings provided on a space available basis)


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.

Volunteer Opportunities

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.

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

Need volunteers 16 or older, parent/child team 6 or older. Contact Bebe Ackerman 808.217.0154

Calabash Cousins

Hawai‘i Wildlife Fund

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

Men and 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

Volunteers help in arts education program. Contact Anne Catlin 808.322.3362

East Hawaii Cultural Council Hilo Monday–Friday, 8 am–3 pm.

Volunteer in the art galleries, performing arts, classes, workshops, festivals. 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. 808.329.8073

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

‘Imiloa Astronomy Center of Hawai‘i Hilo Tuesday-Sunday 9 am–5 pm.

Assist with tours, shows, education programs and membership. Contact: Roxanne Ching, Guest Service Manager 808.969.9704

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

Contact Jaynie Reich 808.896.6840

Kona Toastmasters

1st and 3rd Tuesdays, 6 pm Lynn Bell 808.989.7494

Lions Clubs International

Sundayʻs Child Foundation Kamuela

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

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 the 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

        | November/December 2013

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

Wai‘ōhinu Coastline, Ka‘ū

Kona Music Society


Tax planning is a year round event!

Plantation Living and Interiors

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Paula Wilson, EA • Action Business Services


One Vendor. One Bill. Finger pointing? Only when you dial. | November/December 2013

Replace your business phone & internet service.


Keep your phones & numbers.

Save 25 - 60%!

Dana M. Mattos Owner


ana Mattos is hooked on collecting vintage Hawaiiana. It all began in 1979 during her senior year at Konawaena High School when she got a job at Hula Heaven/Flamingo’s, a well-known retail store in Kailua-Kona that featured new and vintage Hawaiiana. During college on the mainland, she moved through several states, all the while looking for vintage Hawaiian treasures. In 1985, it was time to come home to where she’d been born and raised. There was such a craze during the late 1990s for anything vintage Hawaiiana, especially the furniture that was made and designed in Hawai‘i from the late 1930s to 1960s. The high demand for vintage Hawaiian furniture drove prices to an alltime high. This prompted Dana to seek a company that could do a reproduction of the old Hawaiian plantation look. In 2001, she found just the company. In 2003, she opened her first of three locations, now consolidated into one central place. Dana educates people who are buying homes that the Hawaiian plantation look from the 1930–1960s is not the Balinese or teak that you see in some of the five-star hotels on island. Plantation Living and Interiors offers the community unique, quality, and timeless furniture. They custom create to meet customers’ needs using only the finest tropical solid hardwoods—koa, mahaogany, and narra—durable rattan, and high quality upholstery designed to last for generations. The Plantation Living trademark will become a lasting family heirloom. In addition, they have a revolving collection of unique vintage Hawaiiana at great prices that you are unlikely to find anywhere else. These include: Gil, John Kelley, original Matson posters, vintage ivory, jewelry, perfume bottles, vintage aloha shirts and clothing, Bakelite, hula and chalk lamps, and native Hawaiian fiber arts of lauhala, ipu gourds, and tapa. Plantation Living and Interiors is the only store that carries these lines of Hawaiian reproduction rattan and carved wood furniture from the 1930s to 1960s, vintage Hawaiiana collectibles, locally made home interior accent pieces, and artwork from 25 local artists. Plantation Living and owner Dana Mattos are perfect examples of living aloha. Stop by the store and see for yourself! Plantation Living and Interiors 73-5613 Olowalu Street, Kailua-Kona 808.329.7082

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Kelly Shaw with Koa Reality, Inc.

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Kelly Shaw Realtor®

K | November/December 2013

elly Shaw has worked with different kinds of people since she was 14 years old, spending many years working with special needs populations and families in crisis. Moving to Hawai‘i Island in 1998, her first job on-island was as a Americorps volunteer for two years. Her career change into real estate came naturally. Kelly watched family members, especially her tūtū and aunt, build their careers in real estate. They always encouraged Kelly to follow their joy of helping people become homeowners and expand their portfolio of wealth. They were the inspiration for Kelly to join in the action. Even though they live miles apart, she enjoys meeting and learning with them when they attend National Association of Realtors conventions and leadership conferences together. Kelly is extremely proud to be part of The Koa Realty family. Being part of a non-franchised Real Estate firm, Kelly has the opportunity to personalize her services to meet her clients individual needs. Broker Dave Lucas has many roots in Hōlualoa, so when he had the opportunity to move from Ali‘i Drive to Hōlualoa Village it was an easy decision. The office in Hōlualoa has fostered Koa Realty to become one of the most successful non-franchised firms on Hawai‘i Island. Kellyʻs primary source of business is people who live and work in Hawai‘i. She also loves assisting families’ moving to Hawai‘i to find their dream hale. “It is fun to stage, market, and find buyers for my sellers to successfully sell their property,” says Kelly. In January 2014, Kelly will celebrate her 10-year anniversary as a real estate agent. She is proud to continually learn more to better serve her clients and community and enjoys giving back to our communities nonprofits. Kelly Shaw, Koa Realty, Inc. 76-5905 Mamalahoa Hwy, Holualoa 808.960.4636 These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.329.1711, x1.

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Arabel Camblor with Clark Realty

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Arabel Camblor Realtor®

I | November/December 2013

n 1990, Arabel Camblor and her husband moved here with their son from Miami, Florida. Faced with limited job opportunities, she helped her husband build his optometry practice. It was perfect with a young five-year-old son just starting school. She could stay involved with his classroom, reading to the kids one morning a week, chauffeuring him to piano lessons and baseball, and volunteering at the YWCA as a director on their board. Ten years later she felt the urge to venture out in a different direction and try her hand at real estate. It was a field in which Arabel would have flexibility in her work hours, and allow her to be her own “boss.” Homeownership means a lot to Arabel. “My father was a psychiatrist and we moved every three or four years. That forced me to adapt very quickly to my surroundings. We lived in staff housing on the different state hospitals grounds. We didn’t own our own home until I was a junior in high school. It was such a big event because it finally meant we were putting down roots! That’s what is so great about homeownership. It builds communities.” As the Broker in Charge of the Hilo office of Clark Realty, it has become her second home. The people are top-notch, from the sales agents all the way up to the management team. She enjoys working with the group of dedicated individuals who practice their craft and do it with the highest level of professionalism. It’s all about the personal relationship that makes Clark Realty successful. Arabel is passionate about her work and the people that she manages. Arabel’s primary market is sellers and buyers for residential properties. She strives to balance and maintain the personal relationship with her clients when much of the communication now is done on the internet. “When it comes right down to it, this is a people business and you have to be able to develop that personal relationship that is built on trust.”


Clark Realty Corp. 99 Aupuni Street, Ste. 118, Hilo 808.961.6015 Ext. 207 These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.329.1711, x1.

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Pacific Gunite

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Lilikoi Festival 2013

| Sara Hayashi

Standing L–R: Kahea McKeague Adam Williams Eddie Wayne Willie Wayne Kneeling: Peter Epperson

Saturday, Nov. 2nd 10 am–3 pm Maku’u and 17th Streets, Kea’au Cooking Contest ❦ Live Entertainment ❦ Cooking Demonstrations ❦ Vendors ❦ Tastings ❦ Guest Speakers & Judges ❦ Lilikoi Cookbook ❦ Fun for “keiki” ❦ Hawaiian Paradise Park “Hui” Contact: 965-1866


Pacific Gunite 808.968.6059

The first step in reaching your goals is reaching the person who can help you achieve them. Putting the needs of clients first is the approach I believe in. I’ll work with you to find the right financial solutions to help you plan for your unique goals. Our Advisors. Your Dreams. MORE WITHIN REACH®

Call me today at (808) 238-5400 Andrew D Spitz, CFS®, CRPC® Chartered Retirement Planning CounselorSM Financial Advisor An Ameriprise Platinum Financial Services® practice Ameriprise Exceptional Client Service Award 2011, 2012

75-170 Hualalai Road Suite C111 Kailua Kona, HI 96740 808-238-5400 andrew.d.spitz

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rom a young age, Peter Epperson has enjoyed building and working with concrete. Backyard projects with his father paved the way to opening his own business, Pacific Gunite, in 1986. Peter describes his early interest in concrete saying, “I loved how it [can] be shaped and worked and later it becomes stone. It [is] kind of like what Pele does except for the hot part.” Peter grew up in California where he attended college and worked as a prototype builder for a manufacturing company before moving to Hawai‘i Island in 1975. He learned about the ferrocement technique from a friend and realized it would be perfect for creating water catchment tanks because it is wellsuited for curved and free-form shapes. Peter was intrigued by the strength and flexibility of the material and took an idea that was popular in New Zealand, Australia, and Asia, and adapted it to Hawai‘i. Pacific Gunite products are unique because they are constructed with ferrocement technology, a technique relatively unknown in the United States, which involves a higher than normal ratio of steel in the cement mixture. Ferrocement combines the best of its individual materials, meaning that it can flex without cracking and will not rust. It is considered labor intensive and is most often used in third-world countries. Peter and his team have developed a technique that reduces the labor considerably while still maintaining the quality of the product. “The first years were hard since even less people back in the ‘80s knew about ferrocement,” Peter says, and as time went on, Pacific Gunite developed a reputation. Their tanks are now regarded as the “most durable and trouble-free tanks,” and Peter estimates that they have built a few thousand water tanks on Hawai‘i Island over the years. He is extremely grateful to his crew, saying, “I wouldn’t have this business without them.” Pacific Gunite is based out of Mountain View and does most of their work around the island onsite, while Peter’s wife and business partner Rachael, “keeps the wheels turning smoothly.” Their most popular product is the standard ferrocement water tank for household use, and they also make urns, Japanese-style furo tubs, and cattle troughs that are used at several large cattle ranches and can handle much abuse, even from angry bulls.


Ka Puana–The Refrain

How To Be Happy

In one reading | | November/December 2013



By Michael J. Vielman

motions, we all have a little or a lot, but being able to feel them is first, before being able to control them. Emotions are like the colors of your soul. That’s why people say when you’re sad, you’re blue! When you’re happy, you are a bright, radiant, attractive person. People might even say that you’re glowing. In order for you to help maintain your happiness, realize whether you have a little or a lot. Then you must always use them for self-realization, truth, and health. Your emotions should be helping you grow forward in your life, not stifling you by making you hate life. If you want to be happy, you must be willing to feel and deal with your emotions to better understand them. Also, if you are the type of person who does not do what is right for you, then you’ll have a hard time trying to be happy. Even if it’s telling someone you can no longer be their friend, because it’s best to be honest. For example, being involved in a romance that you know you should not be in. Your lover lies to you. You go emotionally crazy. You blame your madness on them. Then you do something that is wrong for you, and you then suffer the consequences. When actually, the only person betrayed is yourself. Their lying shouldn’t steal your happiness. Maybe your emotions are teaching you not to be in a lying relationship. Use your emotions to love yourself, to forgive yourself or someone else. Use them to feel okay about yourself, to smile. We live today and die tomorrow. It is now that we live our lives. It is now that we should use our emotions to choose well for ourselves. The only constant is change! So, be well with the choice of change. Two years ago, you were far from reading this book, and two years from now, you’ll be somewhere else, I’m certain. If you are sad, remember, it too will pass. We have the capacity to get over it. In order to be happy, we had to be another emotion first. Even right now when it’s hard, we choose to be happy emotionally. Learn to love yourself. No one can love you better than yourself. Not your parents. Not your lovers, husbands, and wives. Not your friends. Not your children. Only you! In doing so, you’ll be good to yourself and stop doing what is wrong for you. You’ll do what is right for yourself. Learn to control your emotions so they don’t control you. Use your emotions to keep you strong and healthy. We all can feel lonely, be angry, worry. These are all good, normal feelings. What can be wrong is that when anyone, or a combination of feelings, become so overwhelming, we begin to think and be less of ourselves. In

doing so, we have just changed our belief system for ourselves. Then we attract just what we didn’t want. Do you remember the law of attraction? Well, just change your mind. If you want to be happy, you must be willing to feel good or get over the emotions that seem to confuse and hurt you. Know that it is okay to feel what you feel. Remember, you control how much or how long it affects you. Be good to yourself, don’t let your emotions make you do something that is bad for yourself and then blame it on someone else. Learn from them. You have to learn when you should say yes and when you should say no. Learn to say what you mean and mean what you say. Don’t be upset! Because when you get emotionally upset, you get angry. When you become angry, you become mad! When you’re mad, you’re crazy. So if you are now crazy, how could you ever expect anything good to happen to you, like happiness! The only person that you compromise is yourself. The people who have the good fortune of knowing you and share their lives with you are going to think whatever they want of you. It will be constantly changing and you’ll never be able to live up to everyone’s expectations everywhere, all the time, always. Nor should you have to! Emotions are like colors on a painting. You have a beautiful picture, your life, your happiness. It is what it is, it’s yours and personal. Such as your life, the picture of happiness can only be enhanced or depreciated by the colors or emotions that you happen to be holding. Therefore, you either paint your own happiness with beautiful seascapes, majestic mountains and fluffy white clouds, with spectacular vibrant colors so that everyone may see how beautiful you really are. Or do you paint your happiness like a gloomy Gus? Is your portrait and life as gray as your disposition? Most of us don’t even realize that our canvas of life is where we portray our happiness, and like inexperienced artist or children, we paint anywhere, everywhere, all over, at the wrong time, wrong place, without any thought. It totally affects our happiness by letting our colors or emotions run wild. So if you don’t control your emotional palette, your picture or your happiness will always be obscured or unrecognizable. Remember, whatever feelings that you are feeling, it’s okay! God loves you, so do I and I haven’t even met you yet. Let your emotions flow, so that you may know, How to Be Happy. How to Be Happy can be found at Kona Stories. Contact Michael Vielman:

Excerpt used with permission.

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November-December 2013