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“The Life” Cel ebrat ing t he a r ts, culture, a n d s us t a inabilit y o f t he H awa iia n I s l a n d s Hawai‘i Island Edition

May–June 2014 • Mei–Iune 2014


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“The Life” Celebrating the a r ts, culture, a nd susta inabilit y of the Ha wa iia n Isla nd s

May–June 2014 Mei–Iune 2014

Business 47 Managing with Aloha: Lōkahi By Rosa Say 55 Celebrating a Five Year Advertiser with Ke Ola Trudyʻs Island Arts Culture 27 Wahine Holo Lio (Women Riding Horses) By Denise Laitinen 31 What itʻs Like to be Pā‘ū Queen By Denise Laitinen 64 A Brief History of: Kalalea Heiau By Peter T. Young

Health 39 Healing Plants: Pōpolo Foundation of the Hawaiian pharmacy By Barbara Fahs

Home 65 A Place Like No Other Dragonfly Ranch

Land 49 All Creatures Great and Small Centipedes By Stig Lindholm 81 Chocolate Food of the Gods By Sonia R. Martinez

Music

KeOlaMagazine.com | May/June 2014

73 Kiernan Music A legacy of love from father to son By Fannie Narte

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Ocean 21 World Wide Voyage: Wayfinding Around ‘Islandʻ Earth Provisioning the Wa‘a By Margaret Kearns

People 13 Kolohe Diamond Aunty Maile Spencer Napoleon By Catherine Tarleton

41 Signature of Oneʻs Life The Story of Ben Mahi Samson By Gayle ‘Kaleilehua’ Greco 59 Every Store Has a Story B. Ikeuchi & Sons, Inc. hardware store By Barbara Fahs

Spirit

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Puna Music Festival

JULY 6-7

Ānuenue Freedom Festival

SEP 21-27

Puna Culinary Festival

NOV 9-16

Hawai‘i Yoga Festival

11 Pūnihi ‘o Mauna Kea By The eighth grade class of Kumu ‘Ilikea Kam at Ke Kula ‘o ‘Ehunuikaimalino 2014

Ka Puana -- Refrain 86 Aloha Joe in Hawai‘i By Joe Holt

Departments

46 71 79 80 82 83 84

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Crossword Puzzle Featured Cover Photographer: Dohn Chapman Island Treasures Farmersʻ Markets Hawai‘i Island Happenings Community Kōkua–Volunteer Opportunities Talk Story with an Advertiser

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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.75) and take it to one of the advertisers in this issue before June 30. You’ll receive $5 off your purchase!

ACCOMODATIONS Dragonfly Ranch Healing Arts Center and B & B 14 78 Hokukano Bayhouse Holualoa Hostel 61 Kalani 5 66 Kīlauea Lodge Mauna Lani Bay Hotel & Bungalows 16 36 Shipman House B & B

KeOlaMagazine.com | May/June 2014

ACTIVITIES, CULTURE, EVENTS Big Island Film Festival 82 Dolphin Journeys 22 88 FairWind Big Island Ocean Guides Hawaii Horse Expo 85 Hawaii Volcano Natl. Park Tours 60 Hawaii Forest & Trail, Native Bird Tours 51 Hawaii MOCA/EHCC—Izukura Exhibition 36 54 Hilo Brewfest Kalani 5 Ka‘ū Coffee Mill 12 68 Kohala Zipline Kona Boys 22 36 Lyman Museum & Mission House 36 Palace Theatre Paleaku Peace Garden 35 14 Plant Medicine Intensive- David B. Leonard Tiffany Edwards Hunt for County Council Party 76

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ART, CRAFTS, JEWELRY Akamai Art Supply Blue Sea Artisans Gallery, LLC Carol Adamson Greenwell Cindy Coats Gallery Cliff Johns Gallery Elements Gallery Fabric & Quilting Delights Harbor Gallery Hawi Gallery Art & Ukuleles Holualoa Ukulele Gallery Ipu Kane Gallery Ironwood Custom Framing & Design Jason Wright, Artist Lavender Moon Gallery Living Arts Gallery Kailua Village Artists Galleries Mary Ellen Clagett, Artist Mountain Gold Jewelers Pura Vida O‘Kohala Quilt Passions Sassafras Jewelry Showcase Gallery & Beads Simple Elegance Gems Susun Gallery Treasure Island Gallery of the Exotic Trudy’s Island Arts True Hawaii Blue Aprons Wright Gallery

50 25 79 70 20 69 74 78 68 26 69 72 25 20 69 45 45 53 69 70 75 20 70 70 74 70 85 40

AUTOMOTIVE Big Island Honda BMW of Hawaii Lex Brodie’s Tire & Service Center Precision Auto Repair

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BEAUTY, HEALTH, NUTRITION Bailey Vein Institute Douglas Dierenfield, DDS Frank Snow Yoga Hamakua Hairbrush Co. Hawaiian Healing Yoga Island Spirit Healing Center/Day Spa Joan Greco, DDS, Oral & Maxillofacial Surgery Kai Moku Holistics Kohana ili Skincare & Waxing Kona Family Health Center Luana Naturals Randy Ressler, DDS Swami’s Healing Arts Valerie Cap Vog Relief Herbal Capsules Wave Salon

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BUILDING, CONSTRUCTION, HOME FURNISHINGS Aloha Metal Roofing 23 Bamboo Too 53 23 Concrete Technologies 51 dlb & Associates Hawaii Water Service Co. 60 HomeWorld 28 Indich Collection Hawaiian Rugs 12 18 Islandwide Solar 50 Mason Termite Pacific Gunite 85 Plantation Living 62 Pools, Yards & Solar 76 Statements 40 77 Tai Lake Custom Furniture Water Works 67 Yurts of Hawai‘i 33 BUSINESS AND PROFESSIONAL SERVICES Action Business Services 84 Aloha Business Services 42 Budar Allstate Insurance 58 Entrepreneur’s Source, Kari Waldhaus 58 Great American Self Storage 72 Hokukano Bayhouse 78 Kona MacNet 84 34 Omnia - Coach, Mentor, Healer Regency Pacific 4 Wainaku Ventures Gathering Place 58

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PETS Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital

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REAL ESTATE Coldwell Banker-Day-Lum Properties 66 Jacob Schneider, RB, Hawaii Beach & Golf Properties 28 Lava Rock Realty 8 87 Kelly Shaw, RS, Koa Realty Ralph Harrison, RS, World Class Properties Hawaii 4 50 The Real Estate Book RESTAURANTS AND FOOD Aloha Lehua Café Banyan’s Restaurant, Bar & Malasadas Blue Dragon Restaurant Glow Hawaii Inspired Foods, Products & Services Green Market & Café Holukoa Gardens & Café Ho‘oulu Farmers Market K’s Drive In Keauhou Farmers Market Kenichi Pacific Kona Yogurt Lucy’s Taqueria Mahina Cafe Pele’s Kitchen Peaberry & Galette South Kona Green Market Sushi Rock & Trio Sweet & Savory Treats

62 32 7 74 52 26 20 37 26 57 35 37 77 62 57 30 68 52

RETAIL AND GIFTS Aloha Kona Kids 22 Aloha Kona Kids 35 AlohaTeddyBears.com 57 23 Hawaii Marine Service Hawaii’s Gift Baskets 84 37 Kadota’s Liquor Kiernan Music 20 56 Keauhou Shopping Center 26 Keauhou Store Kings’ Shops & Queens’ MarketPlace 3 Kona Commons Shopping Center 24 Mama’s House 72 Paradise Found Boutique 57 Puna Style 62 South Kona Macadamia Nut Co. 78 Sweet Wind Books & Beads 72 The Spoon Shop 58 Vera’s Treasures & Mall 52 TRAVEL Jet Vacation Travel Agency

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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.


“The Life” Celebrating the a r ts, culture, a nd susta inabilit y of the Hawa iia n Isla nds

UA MAU KE EA O KA ‘ĀINA I KA PONO.

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

Publisher, Marketing, Operations Barbara Garcia Bowman, 808.329.1711 x1, Barb@KeOlaMagazine.com

Editor, Art Director

Renée Robinson, 808.329.1711 x2, HIeditor@KeOlaMagazine.com

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Mary Strong, 808.747.2829, mary@ekahidesign.com Stephanie Schreiber, 808.315.7182, alohadigitalarts@gmail.com

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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 KeOlaMagazine.com (go to Contact menu) Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates Best dining atmosphere 2010, 2011,2012&2013

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From Our Readers

Ahu‘ena Heiau ✿ Aloha mai kakou, When I read the Ahu‘ena Heiau article, I was able to step back into Hawai‘i’s past and imagine myself back in the 1800s. Back when the culture or way of life was opposite to our contemporary/Westernized way of thinking. I can just imagine what life must have been like back then. A time when being in "alignment" was possibly an everyday occurrence, being in balance with nature; a must for survival. The elders knew the power of the sun, without the sun, how could we exist? Then to build a sacred place where the suns' ray landed, creating a power point harvesting all of the sun's energy. Our ancestors were in tune. It is important to preserve any/all Native Hawaiian sacred monuments because they hold the stories of our people. It is extremely important to tell our side, not the Caucasian version, but OUR people's version, our stories. Celia Xavier IndieInFilms.com ✿ Dear Editor, How wonderful to read the two articles by Fannie Narte in the current issue. I have had the joy of visiting Hawai‘i only once, but I hope to come back again some day. Learning the history of a place makes a visit so much more meaningful. Thank you for featuring Fannie’s writing. Ami Simms Flint, MI ✿ Dear Editor, I truly enjoyed reading about some of the historical properties that you highlighted in your recent edition. Most especially, Hulihe‘e Palace and Ahu‘ena Heiau. It was interesting to read about the background of each location as well as the meaning behind the names. It makes a visit that much more special when you are knowledgeable about it. Thank you. Lisa Griffin Londonderry, NH

Aloha from the Publisher It’s a pleasure to get so many letters that there isn’t much room for one from me. Please keep them coming—we’ll make more room! We’re so pleased that you’ve noticed and are commenting on the changes we’ve been making. With each issue, we’ve been moving toward our original mission: to provide an affordable means for businesses to promote themselves in a long-lasting and meaningful way, while perpetuating the Hawaiian culture, land, ocean, and people by telling the stories of Hawai‘i Island and Maui County.  We’re continuing with that mission by launching Hawai‘i Island’s own wedding magazine, which will be a separate supplement published twice a year beginning in June and again in December. Look for a complimentary copy wherever brides and grooms go, read it online, or order a copy from our website beginning June 1. Enjoy the rich stories in this issue! Aloha pumehana, Barbara Garcia, Publisher Kumu Raylene Ha‘alelea Kawaiae‘a ✿ Aloha e Keith [writer], I just wanted to reach out and thank you so very much for the gift of your story in Ke Ola magazine on your friendship with Raylene. How perfectly timed to come out just as we are all marking the two years since she walked the rainbow and the journey that all of us had to (as she would say) “figure out a way, to figure out a way” to do this without her—to step it up—to be the light that she shared!  I always feel so deeply connected to her spirit everytime I meet someone who shares their story, their experience, their remembrance—as we all pay it forward!  With Aloha. Mahalo nunui. Me ke ha‘aha‘a. Anna Hali‘a Mill Valley, CA Crafting the Rhythm of Hula ✿ Dear Barbara,   Wow!  The March-April issue of Ke Ola is so full and rich.  I can never throw any issue away, but this one is a goldmine of inspiration, ideas, suppliers, and subtle education in Hawaiian language and culture.   I especially loved master crafter Ika Vea’s way of learning to make hula instruments by repairing broken ones.  And the smiles of the wonderful people who live on The Big Island! Mahalo!   Lynne Farr Mountain View, HI

PUB. PAGE

✿ Dear Publisher, A healthy society promotes the well being of all its members including all component elements of earth, wind, sky and sea. As Kahu of Ahu‘ena Heiau at Kamakahonu, its with priority that I respond to Fannie Narte’s article written in last month’s issue. Any and all discussion on the vast subject of Kamakahonu, Hawai‘i is healthy for the past, present, and future. Mikahala Roy, Kahu Ahu‘ena Heiau

From the Editor: Mahalo Ty for your letter. A story about David “Mauna” Roy will be in the July/August issue of Ke Ola, written by his daughter, Kahu Mikahala Roy.

Pā‘ū Queen Anna Akaka giving a mahalo and complimentary pat to her horse photo by Dohn Chapman

See his story, page 75

KeOlaMagazine.com | May/June 2014

✿ Dear Editor, I was glad to see that Ke Ola ran an article on Ahu‘ena Heiau in your recent issue. I was a keynote speaker at the meeting of the Association for Social Anthropology of Oceania that was held at the King Kamehameha Kona Beach Hotel in February. We had the honor of being hosted by Kahu Mikahala Roy. I was surprised to see no mention of her or her father in the Ke Ola article. I would hope that the magazine would make room for an additional essay to be run that would fill in the missing pieces of such an important story. Ty P. Kāwika Tengan Department of Anthropology University of Hawai‘i at Mānoa

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Pūnihi ‘o Mauna Kea Hō‘anu ‘o Mauna Kea i ka pūnihi Pūnihi ka ‘ikena ma luna o nā moku Mauna Kea sits majestically in the cold The view overlooking the islands districts is noble Ka home o Poli‘ahu, Ka home o Poli‘ahu Kūpa‘a me ka ikaika nō ‘o Mauna Kea It is the home of Poli‘ahu, It is the home of Poli‘ahu, Mauna Kea stands firmly with strength Ka makani hu‘ihu‘i kū‘ululū la E ha‘ulili ana ‘o Lilinoe i ka ‘ili The wind is frigid and makes one shiver with cold Lilinoe (the mist) falls gently upon the skin Kū ki‘eki‘e i ka Moku o Keawe ‘O Waiau ka piko o ka mauna Standing high above the Island of Keawe Waiau is the epicenter of the mountain

Hā‘ina ‘ia mai ana ka puana Hō‘anu ‘o Mauna Kea i ka pūnihi Our story is told of Mauna Kea standing majestically in the cold

T

his is one of the mele, or songs, that was created by the students at Ke Kula ‘o ‘Ehunuikaimalino this year in their Mākau ‘Ōlelo Hawai‘i (Hawaiian Language Arts) class as part of an awareness of the recent issues surrounding Mauna Kea. The students chose the research questions to answer through inquiry to delve more into Mauna Keaʻs significance to Hawaiian people. The topics they found to be important about our mountain are: Waiau, the lake that is currently diminishing for unknown reasons; Pōhakuloa, both the land section as well as the military camp; Poli‘ahu, goddess of the snow; and Lilinoe, Poli‘ahuʻs sister, goddess of the mist/rain that creates the snow. The students also engaged in deep conversations about the military presence at Mauna Kea and the use of Mauna Kea culturally and commercially, such as the tours and telescopes. There are not too many songs written about Mauna Kea, therefore the students decided to create their own song to tribute Mauna Kea, Poli‘ahu, and Lilinoe. This song will be this classʻ presentation at the schools Lā Mei (May Day) celebration this year. Mauna Kea was chosen by the school as the topic for this yearʻs celebration to bring awareness forth of Mauna Keaʻs significance to Hawai‘i. Contact Kumu Keala Ching: kumukeala@nawaiiwiola.org

KeOlaMagazine.com | May/June 2014

He wai kapu ‘o Waiau, He wai kapu ‘o Waiau He wai kūikawā, wai hānai iwi Waiau is a sacred water source, Waiau is a sacred water source Indeed special waters, waters that feed the soul

Written by the eighth grade class of Kumu ‘Ilikea Kam at Ke Kula ‘o ‘Ehunuikaimalino 2014

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min. purchase) for the first strum of ‘ukulele, the sun begins its slow, colorful embrace of the horizon, and a lovely Hawaiian woman makes her way through the crowd with a basket of flowers. Small in stature and with a generous heart so big it glows, this is how teacher, artisan, lei-maker, and healer Aunty Maile Spencer Napoleon says aloha. “Merry Christmas,” she says as she always does, regardless of the season. “Would you like a lei?” Her smooth hands fit the lei

Kolohe Diamond

Aunty Maile Spencer Napoleon | By Catherine Tarleton

photo courtesy Michael F. O’Brian

po‘o on the crown of an unsuspecting head. From behind, she can’t see the smile illuminating that face, although it is reflected in faces all around. “People smile, they sit a little taller. It’s kind of a spiritual lift,” says Aunty Maile’s friend Anne Dressel. “You see it moving through the crowd.” “My daughter asked me one time, ‘Mom, why do you make leis and give them away when you could make money?’” says Aunty Maile. “I told her, ‘I’m going to buy your ticket and you come.’” When daughter Lehuanani did come to see for herself, Mom gave her the basket to carry.

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Aunty Maile with her daughter Lehuanani

KeOlaMagazine.com | May/June 2014

“Look for the saddest face,” says Aunty Maile. At one time, she only gave lei to divorcees, saying, “Either you’re happy, or sad, or confused—but either way you need to get lei’d!” She laughs in that naughty kolohe way, a style of hula she’s also famous for, and the air around her, like her eyes, twinkles. She’s given thousands of lei away in her 73 years, many crafted from what she calls the “free way flowers,” bougainvillea, because they grow free on the side of the road. Once she was admonished by a police officer, while picking free way flowers at 4:30am. “He tapped me on the shoulder and I just kept picking flowers,” says Aunty Maile. “When he told me I wasn’t supposed to pick there, I said, ‘Oh, good. Can you call Governor Cayetano? He asked me to go to the airport and give leis, and he didn’t send me any money or any flowers... so you let me know.’” Maile grew up in North Kohala, in the home of her paternal grandmother Abigail Ka‘omea Alapa‘i. In the Hawaiian hānai tradition, grandmother, “Kūkū,” helped raise Maile and her younger brother, as her parents’ home was already filled with children: seven nieces and nephews, plus two older sisters and a brother. She went to her mother’s house to learn to make flower lei, in the haku style, traveling across town by five-cent taxi ride. To supplement the family income, mother and daughter would make lei pāpale (hatband lei-making) for Kahua Ranch and

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photo by Catherine Tarleton


photo courtesy Sherm Warner

KeOlaMagazine.com | May/June 2014

Parker Ranch paniolo, at $3-5 each, to weight their cowboy hats and keep them secure in the wind. “I learned to make leis, because I didn’t want to get spanked,” says Aunty Maile. “I’m glad I learned. I love doing it.” From Kūkū, Maile learned lei hulu (feather lei-making), and lomilomi (massage), among many other things. She remembers fondly watching Kūkū work, following her every move and asking what she was doing. “She always said, in her way, ‘Come. Let me show you,’” says Maile. Descendant of the ali‘i Alapa‘i family, Maile remembers once asking Kūkū, if she was royalty, where was her crown? “She told me, ‘When you have a talent to create things that come from nature, that is your ali‘i,’” Maile says, holding up her two hands. “‘Those are your ali‘i, when you know how to use your hands. Your two hands, those are your crown.’” “She would say, ‘If you have a talent of some kind, do it—do it and give it away so you can share the aloha spirit,’” says Maile, near tears. “As a Hawaiian, everything you do only comes from within. Everything I do is from the heart because of my grandmother.” Their family, for more than 700 years, lived in Lapakahi (single ridge) on the North Kohala coast. In addition to farmers and fishermen, Maile says the villagers were healers, and that they knew where to dive for clean ocean water, which they drank every 90 days for natural cleansing. She says there were three rivers coming down to Lapakahi from Pololū. And when sugarcane dominated the land, plantation owners decided to divert the water for agriculture. “650 people had to move,” says Maile. “One family stayed on until 1960 and then moved to Māhukona.” Today, Lapakahi State Historical Park is there on the coast, a partially restored Hawaiian village and learning resource. “I was raised Hawaiian,” says Maile. “The first day of school I came home crying and told my grandmother I’m not going back to school because they only speak English and I don’t speak any English.” Maile says Kūkū immediately took her back to school in a taxi and had a stern talk with the teacher. “She said, ‘you will come to my house and teach her English and I will pay for the taxi,’” says Maile. “It was the first time I ever heard my grandmother speak English.” Maile says that as the waves of Chinese, Japanese, Korean, German, Russian, and Portuguese immigrants came to work on

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May 16, 2013 Melanie and Tony’s wedding Waialea Bay (Beach 69) photo courtesy Michael F. O’Brien

KeOlaMagazine.com | May/June 2014

the North Kohala plantations, they set up separate “camps” and schools to teach children their native tongues. Even the unions were not in favor of a homogenized workforce. It became clear to the young girl that those who could communicate at all levels had a distinct advantage. “I thought I’d better damn well learn English,” she says. “Even though it was against my whole being. Once I learned, I loved reading. I was a voracious reader. I wanted to be smart enough to know what all the words meant.” She graduated from Kohala High School, Class of ‘58, with a $280 scholarship for nursing school on O‘ahu. Tuition was $225, so she used the extra money to take hotel and restaurant classes at Kapi‘olani Tech—stock clerk, waitress, cook and pantry—at only $5 each. At 18, she wanted to join the Air Force, and even with two brothers and a sister in the military, her father objected, protectively. “He said, ‘The service is not for a woman. When you get big enough, you will know what I mean,’” she says. Instead, she finished school as an LPN, what she calls a “Low Paid Nurse,” making $125 every two weeks. At age 47, she became a teacher at Waimalu Elementary School, and stayed with the Kupuna Hawaiian Studies Program, teaching grades K-6 for about eight years. “You didn’t have to be certified,” she says. “They had 10 questions, but only asked me two, ‘Do you love children?’ and ‘Do you know how to speak the Hawaiian language?’” “In the 80s, before we fought for it in the legislature, children were not using Hawaiian or learning Hawaiian, learning the culture as much as they should,” says Maile. “We needed to start teaching in the state school system. People should be able to connect the past to the present, so that we don’t lose our culture. Once we lose the language, we lose our culture.” In her spare time on weekends, Maile worked for the Office of Hawaiian Affairs at Waimea Falls Park, where she made lei— at $6 per hour. “I would give lei away, share Hawaiian history and culture, anything Hawaiian,” says Maile. In 2000, she returned home to Hawai‘i Island to work for her church, and at the same time a job was available at Lapakahi State Historical Park. “I never told the interviewer that my family came from Lapakahi,” says Maile. “I wanted to be hired on my own merits.” It was at Lapakahi in 2003 where Maile met her her soonto-be close friend Anne Dressel. Anne and her husband had traveled to Hawai‘i Island for the first time with her cousin Bruce Starbuck and his wife. Bruce told Anne she absolutely had to go to Lapakahi to meet Aunty Maile. “So I did,” says Anne. “And I asked her, “You know anybody who makes those haku leis?” A little embarrassed now by the question, she nods to Aunty for confirmation. “She said, ‘Come next Sunday and bring bougainvillea and raffia and I’ll bring ferns.’ I didn’t even know what raffia was, so she said, ‘Never mind, I’ll bring it.’” “She did such a wonderful job I couldn’t believe it was her first time,” said Maile. Anne now lives here and is still making lei. In fact, for Maile’s 68th birthday, she made lei for a whole week, so that she’d have more than enough to share at “Twilight.” “I thought, ‘What can I give Aunty Maile, who doesn’t want anything and gives everything away?” says Anne. She worked tirelessly, 15 minutes on, 10 minutes off, Monday through Friday, and near the end of the week, Maile called to ask if she was going to the event. “I said yes, because I’d been making some leis for it. And when we got there and counted—hers and mine together turned out to be exactly 68, for her 68th birthday. The next year, same thing happened, only it was 69!”

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Aunty Maile and Anne Dressel handing out lei at Twilight at Kalahuipua‘a

KeOlaMagazine.com | May/June 2014

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“Aunty Maile is someone who gives and gives,” says Holly Algood of Algood Consulting in North Kohala, another friend, student and fan of Maile’s. “She embodies aloha. She gives and asks nothing in return. Anyone who has attended one of her workshops will tell you her gifts and efforts far exceeded the students’ expectations.” “Her leis are legendary and recognizable from a distance. She is also an expert carver, pū maker, and poi pounder creator. Maile teaches the mechanics of lomilomi, and more importantly, the attitude and preparation that must accompany the work,” says Holly. “Her goal is to help others feel better and live fuller lives with aloha. Her humor, love of flowers and aloha are infectious and heals us all.” Today, Aunty Maile continues to share her many gifts with friends and strangers. Maile teaches lei making, lomilomi (as taught to her from Kumu Kalua Kaiahua), Huna (which she learned from Serge Kahili King), ku‘i pōhaku (stonework), lauhala weaving, pū‘ili (bamboo rattle, sometimes used for soothing vibrational healing with lomilomi), pū ‘ohe (bamboo trumpet), Pranic healing, Lā‘au Lapa‘au (medicinal plants and healing practices), and Hawaiian philosophy. An Interfaith Minister since 1991, she also performs wedding ceremonies, rich in aloha, with her custom lei for bride and groom. She travels annually to Hāna, Maui for the Taro Festival, where she demonstrates the painstaking art of chipping stone into poi pounders. Recently she and grandson Alika teamed up to make a step-by-step poi pounder demonstration video and win a Kamehameha Schools competition. She continues to dance, tend her flowers, create and learn new things all the time. “Hawaiians are not lazy, not stupid,” says Maile, remembering historians who observed Hawaiians resting in the heat of the day while others worked in the sun. “Hawaiians started work at 3:30 or 4:30 in the morning,” says Maile. “People need to come and study before they write about us.” Her twinkling temperament sparks something deeper. A lift to the chin, a flush of ali‘i blood. “Hawaiians are the smartest people on earth,” she says. “We learned to speak English, we learned to read—because we knew we had to survive in our own native land.” ❖ Lapakahi State Historical Park: Hawaiistateparks.org/parks/ brochure_pdfs/hsp_lapakahi_state_historical_park26.pdf Aunty Maile’s classes and services: AuntyMaile.com Contact photographer Michael F. O’Brian: ongginui@gmail.com Uncredited photos by Renée Robinson: AWealthOfWisdom.com Contact writer Catherine Tarleton: catherinetarleton@gmail.com

KeOlaMagazine.com | May/June 2014

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

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photo by Jay Chambers

World Wide Voyage:

Wayfinding Around ‘Island’ Earth

W

hat was sparked by a fleeting glimpse of the Hawaiian Islands from outer space in 1992 is now a dream brought to life by the Polynesian Voyaging Society (PVS) and its many members, crew, volunteers, and sponsors—the Mālama Honua (care for the earth) World Wide Voyage (WWV). The five-year voyage (2012–2017) is being made by highly skilled navigators and crews aboard the two-hulled sailing canoe

| By Margaret Kearns

Hōkūle‘a, an authentic replica of the canoes used by ancient Polynesians on their wayfinding journeys throughout the Pacific centuries ago, including, of course, the Hawaiian Islands. It was NASA astronaut Lacy Veach (who grew up in the islands) who, while orbiting the earth on space shuttle Columbia, looked out the porthole just in time to view Hawai‘i Island and planet earth in one vision. “The sight of the islands took my breath away; more than that it gave me the vision that planet earth is an island just like Hawai‘i, an island in an ocean of space,” Lacy said at the time. “My thought was, we need to take care of our islands and the entire planet, if it is to remain a life-giving home for humanity.” Via satellite phone aboard Columbia, Lacy, who died in 1995, spoke with childhood friend Nainoa Thompson, a leading

KeOlaMagazine.com | May/June 2014

E Lauhoe mai na wa‘a; i ke ka, i ka hoe, i ka hoe, i ke ka; pae aku i ka‘aina. Everybody paddle the canoes together; bail and paddle, paddle and bail, and the shore will be reached. Hawaiian Voyaging Proverb

Provisioning the Wa‘a

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navigator for the PVS, to immediately share his vision, and the conversations continued at Nainoa’s kitchen table when Lacy returned to earth! Among the topics was concern that Hawai‘i was heading towards an unsustainable future. Nainoa’s late father Pinky’s point of view at the time was, “The knowledge and values that served ancient Hawaiians are truly strong and inspirational. They enabled them to care for Hawai‘i and her seas for nearly 2,000 years through the careful management of natural resources to sustain a large, healthy population.” It was his call for action to Hawaiians and all island residents to re-embrace these core values and traditions, to go out and share them with the world, and to learn from others about what they are doing to mālama their islands, their countries. This seed grew into the WWV with son Nainoa. Nainoa and fellow

KeOlaMagazine.com | May/June 2014

photo courtesy Jacques Descloitres, MODIS Land Rapid Response Team at NASA/GSFC

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navigators ‘Onohi (Chadd) Paishon, Kalepa Baybayan, “Shorty” Bertelmann (all from Hawai‘i Island), and Bruce Blankenfeld are navigating the way to a healthy and sustainable future—sharing the aloha and traditions of the Hawaiian culture. Prior to their departure, Nainoa stated, “As much as possible, throughout our journey around the world, Hōkūle‘a will use noncarbon-based renewable energy, such as wind and sunlight, just as our ancestors did.” The first leg of Mālama Honua (Mālama Hawai‘i) set sail from Honolulu on April 16, 2013 for an island-wide round-trip tour completed on August 7—more than two decades after that fortuitous glimpse out of Columbia’s porthole! Weather permitting, the crew will set sail this year from Hilo on May 27, following Hōkūle‘a’s months in dry dock on O‘ahu. From there, Hōkūle‘a continues its five-year journey, setting sail for Tahiti and then on to New Zealand. Her escort boat for this first international leg of the voyage will be her modern day twin, Hikianalia. Hikianalia is the next generation of long-range wayfinding canoes. According to PVS representatives, the craft is “modern and slick, outfitted with state-of-the-art radar, compasses, ARGOS transponders and a global positioning system (GPS) unit to give the crew information in an emergency.” During this WWV segment, Hōkūle‘a will make port in at least 15 different locations, according to Hawai‘i Island artist, lure maker, and long-time contributor to the Voyaging Society, Gary Eoff. He will provide Hōkūle‘a with fishing lures and some of the gifts to be offered at each port. In addition, a museum-quality exhibit of ancient Hawaiian tools, fish traps, ipu and gourds created by Gary, a long-time


Navigators Chadd Paishon, Kelepa Baybayan, Nainoa Thompson at Awa Ceremony in Hilo, 2013

photo by Renée Robinson

Hawai‘i Island resident and curated by internationally acclaimed artist, Hiroki Morinoue, a native of Hōlualoa on Hawai‘i Island, will be carried on the canoe and shown at stops along the voyage. The objects are reproductions of traditional Hawaiian cultural artifacts and were inspired by the expert craftsmanship, high level of aesthetics, and the natural materials used in the culture of old Hawai‘i. “By rediscovering the traditional practices and skills of our ancestors, we protect the land and ocean resources for our future,” Gary says, aligning with the WWV mission. “Itʻs rewarding to make new things in the old style with the same natural materials.” All of his materials are gathered in a manner that respects the forests and ocean.

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“I am always careful to nurture the plants and help them to reproduce more than what was taken. This is in the same spirit as the original craftsmen and practitioners. None of the materials are from modern sources. Everything from the raw fiber to the plant-based dyes is harvested form the forest or ocean using sustainable methods,” he says. In keeping with the PVS commitment to education, the WWV is both receiving the assistance of grade school children in helping with provisioning the canoes and giving back to them by providing live broadcasts weekly from Hikianalia to classrooms throughout Hawai‘i on a rotating basis. The broadcasts provide up-to-date news and the current location of the canoes. They also share crew experiences and discoveries along the way, including the foods, culture, and traditions of the places they visit and descriptions and views of the natural environment of that area. Several Hawai‘i Island schools participated in making cordage that is included in Gary’s round, rope-lashed gourds that are being gifted to officials at each port. “The cordage, which has been placed inside the gourds, is a metaphor for the purpose of the voyage—that is, binding all humanity together,” he says.

Feeding the Crew

Many of the schools that have sustainable fruit and vegetable gardens are participating in provisioning one of the most important needs of the crew on the voyage: nourishment! Each crew requires a minimum of 3,000 calories a day to maintain peak performance.

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The children are learning to grow, harvest, pickle, and dehydrate food for the voyagers, just as the Polynesians fermented and dried foods for their wayfinding voyages centuries ago. Navigator Chadd came up with the “ ‘Ai pono” (the right or the powerful way to, in this case, nourish) concept during the early planning stages for the WWV. “We have our waves, we have our hula, we have our canoe, and we have our navigators. Now, it is time to focus on nutrition,” Chadd says. To accomplish it, Chadd called on his friends and respected nutritionists, Nancy Redfeather and Ka‘iulani Odum, to work with the schools and to develop menus comprised of the “super foods” of old, including fresh sweet potatoes, yams, taro, breadfruit, coconuts, bananas, and sugarcane. These fresh provisions will be replenished at each port of call, while the pickled and fermented foods will sustain the crew in between, they say. Researcher, writer and waterman Tommy Holmes, a cofounder of PVS, writes in his classic book, The Hawaiian Canoe, published in 1981: “The Polynesians preserved most of the meals they would need for a long canoe voyage by drying or fermenting either raw or cooked foods. Compact, light, nutritious and almost spoilage free, the voyagers’ diet would have consisted of fish, turtles and other marine organisms, along with bananas, sweet potatoes, yams, breadfruit, taro, and pandanus flour. Undoubtedly there were trolling lines out all day, every day. Floating zoos, Polynesian voyaging canoes carried pigs, chickens, and dogs which were intended as breeding stock for a new settlement, though they could also be eaten if stores dipped perilously low. Rats were sometimes uninvited passengers and may have occasionally provided an emergency meal.” Holmes also notes that through experience, the Polynesians learned there were few edible plants growing on previously uninhabited islands, so together with their floating zoos, provisions included dozens of varieties of plants, fruit trees, and seeds. Slips, cuttings, tubers, and young plants were swathed in fresh water-moistened moss, wrapped in ti leaf, bark cloth (kapa) or skin from the banana tree. On board, fresh food was cooked in a hearth lined with stone, coral, and sand. Coconut husks and shells provided the fuel for the fire; fresh water was stored in gourds and sections of bamboo, the historian writes.


Provisioning in 2014

Today, Hōkūle‘a is a relatively self-contained environment— an island in the sea. Much like the original voyaging canoes, it takes with it what the crew needs to survive for the estimated time at sea during each leg of the voyage and supplements that with the fresh fish and fresh rainwater caught during the trip. The canoe weighs seven tons (14,000 pounds) with its rigging, and it can carry an additional 5.5 tons (11,000 pounds), which includes the weight of the crew, as well as the weight of provisions, supplies, and personal gear. According to the PVS, the weight allocation breaks down like this: • About one ton of food, • 1.75 tons of water stored in five-gallon jugs, • and the remainder of the allocated weight is comprised of: galley equipment (propane gas stove, pots and pans, kitchen utensils, dishes and glasses); safety equipment (life preservers, safety harnesses, safety nets, fire extinguishers, man-overboard float with pole, surfboard, anchors, hand-operated bilge pumps, foul weather gear, and waterproof flashlights); medical supplies; assorted tools; documentation equipment (cameras, video camera, tape recorders); plus various sizes of sails, extra ropes, and lines. Perhaps most importantly, the quartermaster must distribute the weight of these supplies in the canoe’s two hulls, being careful not to overload the canoe since this will reduce its maneuverability and increase the possibility of swamping. Now that the Hōkūle‘a is provisioned, the crew trained, the chants and blessings made to ensure steady winds and smooth seas for a speedy and safe journey beginning in May.

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You can be part of the WWV by becoming a PVS member. “The success of our organization could not be possible without the unwavering support of our members, volunteers, donors, staff, crew and leadership,” Nainoa says. “Whether or not you will sail on a canoe, we invite you to join this historic voyage as a member of the Polynesian Voyaging Society.” No amount is too stmall, he emphasizes; for just $1 and completion of the Society’s application form you are a member for one year. ❖ To join Polynesian Voyaging Society: pvs.hawaii.com/about For info on the World Wide Voyage: Hokulea.org Contact writer Margaret Kearns: margaretekearns@gmail.com

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Wahine Holo Lio

(Women Riding Horses) | By Denise Laitinen Kaua‘i Princess, 2013 photo by Renée Robinson

Horses were first imported to Hawai‘i in 1803 when Richard J. Cleveland presented two horses to King Kamehameha I on Maui after dropping off a mare and a foal on Hawai‘i Island. In the years that followed, Hawaiian women became accomplished equestrians. “Hawaiian women in the 1800s were beautiful riders. They rode bareback,” says Barbara Nobriga of Mahealani Ranch in Kona, one of our leading experts on pā‘ū riding. Being accomplished equestrians, riding sidesaddle seemed silly to Hawai‘i horsewomen who frequently had to travel through rugged terrain, including streams, mud, and lava fields. To protect their clothes when traveling to visit someone, they covered themselves with a long culottes-style pā‘ū skirt.

KeOlaMagazine.com | May/June 2014

T

hey are easily one of the most popular parts of any floral parade in Hawai‘i. Sitting regally atop their horses adorned in lei, shimmering colored fabrics draping them from head to toe, the graceful women wave to enchanted onlookers as they ride along the parade route. To be sure, pā‘ū riders are the highlight of any Hawaiian parade. Yet few people realize just how much time, energy, and work goes into being a pā‘ū rider and participating in a parade. The pā‘ū queen and princesses must excel at horsemanship, gather all the flowers and materials needed for their lei to create intricate headpieces and lei for themselves and their horses, as well as design costumes for themselves and their entire riding unit.

History of Pā‘ū Riders

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Barbara Nobriga, 2013 photo by Renée Robinson

Moloka‘i Princess, 2013 photo by Renée Robinson

KeOlaMagazine.com | May/June 2014

Pā‘ū skirts are made of 9–12 yards of fabric, wrapped in a way so as to flow past the stirrups. In the 1800s, pā‘ū were made of calico or gingham and were fastened to the rider’s waist and ankles with rope. Kukui nuts have long since replaced rope to ensure the skirts are securely wrapped around the rider. Using anywhere from 4–8 kukui nuts, the fabric is carefully pleated and twisted with the kukui nut tucked into the waistband of the rider. When floral parades were introduced to Hawai‘i starting in the early 1900s, pā‘ū riders started participating as groups. Over time, their costumes became more elaborate as practical calico skirts gave way to satin fabrics and elaborate lei. A full pā‘ū contingent in a parade includes the pā‘ū queen and her unit and eight princesses, each leading their own unit representing a different Hawaiian island. Each unit has a minimum of six members including pages, outriders, attendants, and even a pooper-scooper. Each princess and the members of her unit wear the colors and flowers associated with the island they represent.

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are accomplished riders in their own right. It’s made a huge difference in the quality of riders we’re able to call on now,” adds Barbara. Barbara knows what she is talking about when it comes to accomplished riders. She is one half of the only motherdaughter duo inducted into to the Paniolo Hall of Fame. Her mother, Kapua Heuer was inducted in 2000 and Barbara was inducted in 2004. A fourth generation rancher related to Ikua Purdy, Hawai‘i’s most famous cowboy, Barbara has received numerous awards over the years for perpetuating paniolo culture in Hawai‘i. (See Barbaraʻs story in the May-June 2013 issue of Ke Ola.) For the past several years Barbara has served as the chairperson for the King Kamehameha Day parade in KailuaKona, as well as the committee head for the parade’s pā‘ū units. In that capacity, it’s up to Barbara to select the pā‘ū queen and princesses for the annual parade. Barbara says she calls around and invites people to participate as the pā‘ū queen and princesses about six months before the parade. “I’ve got a good nucleus going right now. We try to bring in new riders every year, and we have our standby units that I can call at the last minute because I know someone may need to back out of the parade.” Barbara has also learned to be prepared for any circumstance that might arise. “One year we had an accident,” says Barbara. The horse being ridden by the princess representing Moloka‘i reared up and landed on the pā‘ū rider, breaking her pelvis. With the parade soon to commence, Barbara had to act quickly. “My mother was standing there, and I turned to her and told her to get dressed. My mother went through the parade and the princess went to the hospital.” Because the pā‘ū princesses are riding horses in crowded public areas, they must possess exceptional riding skills, a key point for Barbara. “Lots of people want to ride [in the parade],” says Barbara “Finding a rider is easy. Finding a rider that knows how to ride is the hard part.” About two months before the parade, Barbara and other leading equestrians and historians, such as DeeDee Bertelmann and Hannah Springer, hold a public O‘ahu Princess, 2013 workshop to address the roles photo by Jay Chambers and responsibilities of the pā‘ū rider. During the workshop, the queen and princesses are taught the finer points of lei making for horse and rider, the wrapping of the pā‘ū (skirt), and riding protocol. For Barbara, it’s important that princesses and queen know firsthand how to wrap their own pā‘ū and use the appropriate florals.

KeOlaMagazine.com | May/June 2014

For instance, Hawai‘i Island’s official color is red and is represented by the red lehua flower from the ‘ōhi‘a tree. The color pink and the lokelani flower, the pink Damask rose, represent Maui, while Kaho‘olawe’s official color is gray and their flower is hinahina, a native beach heliotrope. Pā‘ū riders representing Moloka‘i wear green, which symbolizes kukui, the blossom of the candlenut tree. Riders representing Lāna‘i wear orange and lei made of the kauna‘oa flower, a native dodder. O‘ahu’s color is golden yellow, signified by the ‘ilima flower. Kaua‘i’s official color is purple, symbolized by the mokihana berry, and Ni‘ihau’s official color is white for the pūpū, or tiny seashells, found on the island’s shores. And while the princesses must wear the color of the island they represent, the Queen, says Barbara, has the option of wearing attire based on her own ‘āina. Sometimes the pā‘ū queens choose to wear white, but Barbara points out that in 2012 well-known horsewoman DeeDee Bertelmann, who was the Pā‘ū Queen for the KailuaKona Kamehameha Day parade, wore black. Barbara, the longtime chairperson of the parade, recalls that DeeDee chose the color to represent the lava of her native Pu‘uanahulu and also included lehua blossoms and kukui nuts in her adornments. Pā‘ū riding units can be seen in King Kamehameha Day parades around the island in June (see sidebar for upcoming parade information), the Merrie Monarch parade held every April in Hilo, as well as the annual Paniolo Parade in Waimea every October, among others. Barbara says that there are several groups, usually extended families that ride pā‘ū on-island. However, each floral parade on-island is run separately, so it’s up to each parade’s steering committee to select pā‘ū riders for their respective parade. And the riders don’t always represent the same island says Barbara. Units change from parade to parade, as do the princesses and pā‘ū queen. Barbara herself first rode in pā‘ū in a Hilo parade more than 60 years ago when she was a page for a Hawai‘i Island unit back in 1953. The page carries the banner in front of the princess. She explains, “There weren’t a lot of parades between 1953 and 1967. It really got started in 1967, and there’s been a [King Kamehameha Day] parade every year since then.” According to Barbara, the level of pā‘ū riding has fluctuated over the years. Maui Pā‘ū in Kohala “The quality of riders has photo by Denise Laitinen been improving because there has been a lot more female participation in rodeos,” says Barbara. “It used to be [pā‘ū riders] were a paniolo’s wife or a ranch manager’s wife or daughter. “Now you have women competing in rodeos, and they

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“If you hire planners to create your parade unit, you will never know how to do it,” says Barbara. She continues, “If someone does all the work for you how will you perpetuate the knowledge for the next generation? The riders need to know how to wrap their own pā‘ū, saddle their own horse, and incorporate the materials they gather into a lei instead of hiring someone to do it. Then you have learned something.” Barbara sees the pā‘ū units as a way to educate people about the flowers and fauna of the state of Hawai‘i. “Never mind mainland flowers; stick to the flowers and fauna of the island you are representing.” Noting that Hawai‘i Island’s official pua (flower) is the red lehua of the ‘ōhi‘a tree, Barbara adds, “We don’t want to see red carnations and anthuriums in your lei.” “If you continue to use flowers that were brought in, you will perpetuate the idea that it’s ok to use whatever flower is available,” says Barbara. “You’ll never know what flowers are native to your island.” Using locally grown flowers doesn’t mean a complicated lei, however. Barbara says simplicity is key. “Simplicity is elegance.” And the pā‘ū riders that grace Kona’s King Kamehameha Day parade are elegant indeed. ❖ If interested in a workshop on pā‘ū contact Barbara Nobriga: 808.322.9944 Contact writer Denise Laitinen: wahineokekai@yahoo.com

2010 Lāna‘i Island Princess Awapuhi Huihui-Graffe photo courtesy Karen Anderson

KeOlaMagazine.com | May/June 2014

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What it’s Like to be Pā‘ū Queen | By Denise Laitinen

v

Anna Akaka Pā‘ū Queen Waimea Paniolo Parade 2013

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And while the Senator’s role as grand marshal may have been ceremonial, Anna’s role as pā‘ū queen was not. Anna points out that the pā‘ū queen is responsible for every aspect of each of the eight pā‘ū riding units, as well as funding it. Working together, the queen and the princesses are responsible for putting the units together, including the creation of the riding unit, the horses, creating their clothing, hairpieces, lei, lauhala stand, and the horses’ lei. Anna notes that more than 100 people were involved in helping with the preparations for just the queen’s unit alone. “What happened was it became a strong community effort,” says Anna. “We had friends and family that stepped forward to help.” Becoming a pā‘ū queen is not something that you can ask Google. There are no pā‘ū queen instruction books on how to be a pā‘ū queen at the local Walmart. It is information, history, and knowledge handed down through generations by people who perpetuate Hawaiian culture. “The Nobrigas were instrumental in providing training on [pā‘ū riding] protocol and how we were to assemble ourselves,” says Anna. About two months before every annual parade, Barbara Nobriga teaches a workshop on pā‘ū riding protocol for the princesses and queen. (see page 30 for contact information.) Anna also sought out the advice and guidance of well-known pā‘ū riders and former queens.

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t’s very humbling to be asked to be a pā‘ū queen,” says Anna Akaka, Pā‘ū Queen of the 2013 King Kamehameha Day Kona parade. Anna, the wife of Danny Akaka, Cultural Advisor for the Mauna Lani Bay Hotels and Bungalows, and daughterin-law of retired Senator Daniel Akaka, says being named pā‘ū queen comes with tremendous responsibility. “I think that every young girl [in Hawai‘i] that watches the pā‘ū riders in a parade is amazed at the pageantry,” Anna says. Every year, Barbara Nobriga, parade chairperson and respected expert on pā‘ū riding, selects the parade’s pā‘ū queen and the island princesses. Barbara says the selection process differs for pā‘ū queen versus a pā‘ū princess. However, all those selected must be excellent riders. Island princesses must also be 18 or older and part Hawaiian. The pā‘ū queen must also be part Hawaiian, and usually, although not always, has experience being a pā‘ū princess. “It used to be that after you rode all eight islands [as princess], you got to ride queen,” says Barbara. “Now things have changed. I don’t have any one person who has ridden all eight islands yet, so I go out to the community and select a queen that represents us well.” Last year, Barbara asked Anna to be pā‘ū queen. The parade became a family affair with her father-in-law, retired Hawai‘i Senator Daniel Akaka, serving as the parade’s grand marshall and her husband and children riding in her unit.

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Pā‘ū riders in King Kamehameha Day parades ISLAND Hawai‘i Maui Moloka‘i Lāna‘i Kaho‘olawe O‘ahu Kaua‘i

COLOR red pink green orange gray golden yellow purple

Ni‘ihau

white

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FLOWER or LEI MATERIAL red pua lehua (‘ōhi‘a blossom) lokelani (pink Damask rose) pua kukui (blossom of candlenut tree) kauna‘oa (native dodder) hinahina (native beach heliotrope) pua ‘ilima (flowers of native Sida shrub) mokihana berry (fruit from tree found only on Kaua‘i) pūpū (tiny seashells)

ou can see the majesty and beauty of pā‘ū riders for yourself in two upcoming parades on-island in June.

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North Kohala: Kamehameha Day Celebration is held annually on June 11, the day officially celebrated as the Hawai‘i state holiday, King Kamehameha Day. King Kamehameha was born and raised in North Kohala and this celebration draws a large crowd. Festivities include draping 25-foot lei on the King Kamehameha statue in Kapa‘au, a floral parade complete with pā‘ū riders representing the eight major Hawaiian islands, and a festival. The parade starts at 9am at the intersection of Ho‘ea Road and Akoni Pule Highway in Hawi and proceeds along Akoni Pule Highway to the King Kamehameha statue in Kapa‘au where every parade entry presents ho‘okupu (ceremonial gifts) in honor of King Kamehameha I. The parade then continues on to Kamehameha Park where a ho‘olaule‘a is held from 10am–4pm. For more info: KamehamehaDayCelebration.org

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West Hawai‘i: You can see pā‘ū riders in the King Kamehameha Day celebration parade in Kailua-Kona on Saturday, June 14. Beginning at the Royal Kona Resort, the parade travels down Ali‘i Drive to the pier and up Palani Road to Kuakini Highway, ending at the West Hawaii Today office. The annual floral parade will feature floats, hula hālau, marching bands, and the beautiful pā‘ū princesses on horseback representing the eight major Hawaiian islands. Leading the pā‘ū units will be this year’s parade pā‘ū queen, Michaela Larson, an accomplished hula dancer who has performed all over the globe. The parade’s grand marshal is Lily Haaunio Kong, age 85, who was born and raised in Keauhou Bay. On parade day, a Hawaiian music and art festival (ho‘olaule‘a) takes place from 8am–3pm inside the Courtyard King Kamehameha’s Kona Beach Hotel. After the parade, a free concert featuring Hawaiian musicians will take place in the ballroom beginning at 12 noon. For more information: KonaParade.org


photo by Renée Robinson

“Granny Stella Ka‘au‘a Akana comes from an iconic ranching family,” says Anna, describing one of the kupuna she sought advice from. “Aunty Barbara Nobriga, Queenie Dawson, Aunty Mona Teves, Hannah Springer…they helped me to understand what would be proper to use for adornment and protocol.” Anna points out that there are many aspects to being a pā‘ū queen. “Part of it is the protocol, the role you accept as pā‘ū queen,” and there are other important considerations as well. “Not only do you have to show the fine horsemanship of the former pā‘ū riders,” explains Anna, “You also have to acknowledge those who have come to honor you along the parade route. All the way from kupuna to keiki, you need to acknowledge those who have come to watch you in the parade.” Anna notes that while she learned a lot about pā‘ū riding protocol through workshops and volunteering in parades, some of the needed skills come from a being immersed in Hawaiian life.

“In the Kona parade my husband was my chanter. The chant that he composed as we presented our ho‘okupu (offering) at Hulihe‘e Palace honored my family, his family, and our family combined, as well as the elements of nature that our families are tied to. That was a very special chant of our family. It acknowledged our chiefly ancestors that our family descended from. Those are the kinds of things that are a lifetime of training.” It is that lifetime of learning that prepares a pā‘ū queen for any situation that may arise. Anna describes a spontaneous event that occurred during last year’s parade. “We had friends attending the parade who didn’t know we were in it,” she explains. “These folks are chanters for Merrie Monarch [hula competition]. When they saw us in the parade, they broke into chant. “It was very spontaneous. It was such an honor,” continues Anna. She responded in oli (chant) as well, acknowledging them by the importance of the nature in the district in which they live. It is not enough that the queen have the skill to compose an original chant, prepare a ho‘okupu, and possess the ability to instantaneously respond in Hawaiian with a chant specific to the natural elements found in the chanter’s district of origin, she must also be an accomplished equestrian, know how to gather and make lei, and prepare her own costume.

The Horses

A pā‘ū queen must first and foremost be a good equestrian. As head of the parade’s pā‘ū units, Barbara Nobriga personally verifies the riding skill of the queen and each princess in the parade.

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photo by Renée Robinson

“It’s a tricky situation finding people who will loan you their beloved horse to ride in a parade. “For most people their horses are part of their family. They might not be so willing to lend you their baby unless they know you very well and know how well you can ride.”

The Pā‘ū

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It’s not just the skill of the rider that’s important; the horses also need to be able to deal with riding in public. “There are working horses and there are parade horses,” says Anna. “Parade horses need to be accustomed to being on roadways, being around other animals, as well as the sounds of people, the wind, the air, and the surf.” Not every pā‘ū princess or queen has a horse capable of being a parade horse. “Aunty Barbara did a great job of acquiring horses,” says Anna of last year’s parade.

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When it comes to the pā‘ū costume, Anna says every parade is different. The princesses must wear the colors of the island they represent. The pā‘ū queen has more latitude in choosing her colors and fabric. According to Barbara, the pā‘ū queen can choose colors to represent the land of her birth. The type of fabric is also at the queen’s discretion. “It depends on whether each unit buys their own fabric,” says Anna. “In the Kona parade, Aunty Barbara provides pā‘ū for the queen and two of her attendants, as well as each princess and two attendants.” “The pā‘ū that were provided [for Kailua-Kona] were all white. That left us with an open palette for the floral lei.” However, when Anna rode as pā‘ū queen in the 2013 Paniolo Parade in Waimea last October, she went to famed Hawaiian clothing designer Sig Zane for help. “Sig Zane actually created my pā‘ū for me,” explains Akaka. She had heard that the Hilo-based apparel designer had a design with ties to the Akaka family name. “I sent him a copy of the design. He asked me what my colors were and created a special design and colored fabric of silver on black.” Sig also created a one-of-a-kind long sleeve shirt in a matching design for her husband Danny, who also rode in the parade in her unit.


Wrapping and Draping

Originally designed for 19th century Hawaiian horsewomen as a protective covering for their clothing, the Hawaiian pā‘ū is a culottes-style skirt made of 9–12 yards of fabric that is draped to cover the rider’s feet and stirrups and secured with kukui nuts. Anna says a pā‘ū riding outfit is more than just the fabric. “It isn’t just a wrap to protect your clothing. It also lends a beautiful elegance to the rider. “It’s the way that they drape the 12 yards of fabric around you.” The “they” she is referring to are the volunteer wrappers and drapers that help the pā‘ū princesses and queen prepare for a parade. “There are different techniques and ways to wrap,” explains Anna. “Families have different styles of wrapping. The pā‘ū skirt is always wrapped with kukui nuts that you tuck into your waistband. It can be as few as four nuts, but usually you need at least eight kukui nuts. The Keakealani family only uses four kukui nuts to hold the entire pā‘ū in place,” says Anna. And other women riders do not necessarily do pā‘ū wrapping. Anna says it’s an art form to be able to wrap a pā‘ū. “Just the way you tie—it has to be extremely snug, so as you fold the yardage and pleat it, you twist and tuck it into the waistband. The less nuts you have, the more comfortable it is for the rider. The more nuts that you have, the more nuts are pushing into your hip and waist. It’s kind of like having a corset. “The drapers have to drape the fabric in such as a way that it looks beautiful but that it won’t endanger you in case you have to dismount. [Draping] is an amazing skill, and not everyone who wraps knows how to drape,” says Anna. She continues, “You want to have at least two wrappers and at least one draper [per pā‘ū unit]. “I really learned to appreciate the pā‘ū wrappers and drapers.”

It’s All About the Lei

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As elegant as the pā‘ū skirts are, perhaps the most impressive part of the outfit is the incredible artistry of the headpieces, lei, and horse lei that captivate people’s attention when they watch pā‘ū riders. The pā‘ū queen and each island princess are responsible for designing, gathering, and creating the lei and headpieces used in their unit. “When we went through the training, one of the sounding directives from Aunty Barbara was to use what is in your ahupua‘a,” says Anna, “To be resourceful.” Anna grew up in Hilo and chose flowers that represented her district. “I really wanted to honor the land of our birth. I went with the traditional foliage on our land,” says Anna. She says the women’s lei were fashioned with multi-hued lehua blossoms from deep crimson, bright and pale reds, vibrant salmon to pale rust orange and golden lehua mamo. Additional foliage included liko lehua, maroon and chartreuse ‘a‘ali‘i, green palapalai and wāwae‘iole fern, silver ‘umi‘umi-o-Dole, gold and green moa, and green and golden yellow ti leaves. “It was very symbolic of where I grew up in Hilo,” explains Anna. “My crown was a feather lei. It was one that my daughter made for me. When we think of the ali‘i of old they had feather standards that were symbols of their royal status, so I utilized the yellow feather lei.

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“For the women’s leis we used fresh flora while the men all had lauhala and coconut frond leis for themselves and their horses.” Creating all the lei for both riders and horses was a group effort that took countless hours says Anna. Gathering and preparing the coconut fronds, and various shades of brown, tan, and crimson lauhala for the lei making was a major undertaking. In the weeks leading up to the parade they put the word out that they needed help gathering material for the lei. Word reached a group of lauhala weavers and those weavers went ahead and started making rosettes. The family organized a lei preparation day shortly before the parade and, “When I showed up at the cottage to prepare the leis, we had three dozen weavers show up.” Even with so many willing hands she says, “One lei alone took a whole day to gather and prepare and strip the lauhala and then to soften it. Then we had to hand stitch the lauhala and coconut fronds and sew the leis together. That’s just the lauhala and coconut lei.” After putting so much effort into the men’s horses’ lei, Anna says her family decided to keep them after the parade. They are on public display at the cultural center at the Mauna Lani Bay Hotel and Bungalows in the Mauna Lani Resort. Gathering the materials for the women’s floral lei was even more of an adventure. “With the fresh floral leis, there were more than a dozen of us that went out to gather just the lehua,” says Anna. “A friend with a ranch in Kohala opened his property to us to let us gather flowers. “We spent an entire day riding across these storied lands and would stop to oli (chant) and pule (pray) and to ask permission to be there in safety. It wasn’t just going out and gathering. It was going out and being in the amazing elements of Kohala as you called out and asked to be there. It was a chicken skin moment in time.” Anna also recalls with gratitude another instance when someone opened their property to them so they could gather ti leaves for their lei. “We were up in Kohala for the June 11 King Kamehameha Day parade and explained to someone that we couldn’t stay because we had to go down to Kona to pick ti leaves for our own lei in the upcoming Kona parade.” This person said, ”You need ti leaf? Come, I have ti leaf for you.” Anna says, “There were at least eight of us picking ti leaves. It took all eight of us an hour to gather the amount of ti leaves we needed for all of our leis.” It took more than 100 people just for the queen’s unit in last year’s Kona parade. “I have to tip my hat to all the men and women who helped to mentor me to become queen of this parade.” Looking back on her experience last year, Anna says, “It was all the preparation and all of the people that opened their hearts and their minds and talents to us that was a priceless gift beyond words.” ❖ Photos courtesy Sophie Greeno. Contact writer Denise Laitinen: wahineokekai@yahoo.com

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Healing Plants: Pōpolo

Foundation of the Hawaiian pharmacy |

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elated to tomatoes, eggplant, and peppers in the nightshade family, pōpolo, also known as Solanum nigrum or black nightshade, was a common medicinal plant in Hawai‘i until modern times. Like its culinary relatives, pōpolo is a small plant, growing to no more than three feet tall and sporting fruits that resemble small black peas. It’s likely a native of Hawai‘i, according to Dr. W. Arthur Whistler in his book, Polynesian Herbal Medicine. It grows in widespread areas of the US mainland, many other countries, and throughout Polynesia, including the Hawaiian Islands. You might find it growing wild in both windward and leeward areas, from sea level to 7500 feet.

Medicinal Uses

How to Grow Pōpolo

You might have pōpolo growing on your property as a wonderful weed and not even know about it. If you want to introduce it, collect berries from a friend’s plant and allow them to dry out. Then open them and scatter the tiny seeds in different parts of your property. Plants will pop up and grow wherever the conditions are suitable. White flies sometimes attack this plant. These white, powdery-looking flying insects are only about 1/25 of an inch long and occur mainly on the undersides of leaves. They suck sap from the host plant, which causes the plant to lose vigor and wilt. Eventually the leaves turn yellow and die, and the entire plant can die if you fail to treat it with yellow sticky traps or insecticidal soap spray. CAUTION REGARDING CONSUMPTION OF THIS PLANT According to Dr. Roger Baldwin, author of the book, Hawai‘i’s Poisonous Plants, “This plant is highly toxic on the mainland, but Polynesians have used a variety that is both nontoxic and delicious. Until about 40 years ago it was safe to eat wild pōpolos. Then the toxic mainland variety was introduced to Hawai‘i, so now it is not safe to eat wild pōpolos. If you grow the nontoxic Polynesian variety it should be safe to eat. The rule now is: don’t eat pōpolos unless you know they are nontoxic, and don’t ever eat pōpolos from the mainland.” David Leonard also advises in his book: “Do not use except under professional supervision.” Notes/Info/Sources David Bruce Leonard. Medicine at Your Feet. Roast Duck Producktions, 2012. Dr. W. Arthur Whistler. Polynesian Herbal Medicine. National Tropical Botanical Garden, 1994. Dr. Roger Baldwin. Hawai‘i’s Poisonous Plants. Hilo, Hawai‘i, Petroglyph Press, 1979 (out of print). photos courtesy Forest and Kim Starr

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Dr. Whistler states in the same book, “According to a wellknown folktale, Lonopuha, the ‘god of healing,’ injured his foot with a digging stick and was instructed by the god Kāne to use pōpolo leaves to heal the wound. The leaves were used and the foot immediately healed.” Other ailments for which the pōpolo has been used vary. The ripe black berries were prepared and fed to children suffering from thrush, a fungal infection that mainly afflicts the mouths of infants. When juice is extracted from the berries and leaves and then consumed, the effect is laxative. Young leaves were plucked from the plant and boiled like spinach, giving relief for colds, sore throats, and coughs. The juice of the leaves and ripe berries was used alone or in compounds for all disorders of the respiratory tract and for skin eruptions. The leaves were pounded with salt and applied to wounds, cuts, and abrasions. In other parts of the world, Solanum nigrum and the similar Solanum americanum have been used to treat such varied ailments as epilepsy, leprosy (Hansen’s disease), eczema, shingles, cataracts, cirrhosis, arthritis, different types of cancer, asthma, and roundworms, to name just a few included in the book, Medicine at Your Feet by David Bruce Leonard, L.Ac. David Leonard also gives instructions for gathering pōpolo in Hawai‘i, telling readers to harvest it any month of the year. It’s best to gather it “from plants standing on their own rather than from a large group. If one gathers from a large group, the others will become jealous for not having been chosen.”

By Barbara Fahs

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Signature of One’s Life

The Story of Ben Mahi Samson | By Gayle ‘Kaleilehua’ Greco

photo by Renée Robinson

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practice. And in time, I started putting the three roses on all of my ti leaf lei.” The nimble fingers of this lei master began picking flowers and making lei in the early years of his childhood. Ben would walk the trails on the family’s farm and call out to his grandmother, “What’s that?” She, in turn, would test young Ben on the names of the flowers, and together they strung their lei in mutual love of the plants and each other. These were quiet moments in the garden, unlike the times when Ben and his sisters would tromp through with their grandmother yelling repeatedly, “Don’t touch the plants! Don’t touch the plants!” Ben laughs a sincere, endearing laugh, looking to heaven and silently thanking his tūtū (grandmother) for those memories. Ben credits his grandmother, Phyllis Kiyoko Uwaine Mahi, a five-foot woman originally from Okinawa, Japan for his affinity for flower arranging and lei making. The two were so close that while Ben was in tenth grade at Hilo High School, he took a year off to care for his grandmother who was diagnosed with cancer. His grandfather was working long hours on the farm, his

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signature is an imprint, a sign of one’s self that signifies who we are. A signature comes in many forms, as common as a signed name to as subtle as a familiar color. What happens, though, when one has multiple signatures that appear in such a way, that when they are connected, they weave the very fabric of their purpose? This is the story of Ben Mahi Samson. If you’ve been in Kailua-Kona for any length of time, you’ve seen Ben’s signatures. Watching a parade or being at a celebration, you catch a glimpse of three ti leaf roses formed as a cluster on a lei, and with a simple nod to one another, you know that Ben Samson created that lei. Ben created the rose clusters years ago when he was at the Merrie Monarch Hula Festival craft shows. “I went around to all the auntys to see how they made their ti leaf flowers and I started practicing. The flowers would come out all different ways,” Ben says, laughing and shaking his head as his mind wanders back to the craft booths outside the Hilo Civic Center Auditorium. “Then, I would just practice, practice,

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Great-grandmother Kiyoko Mahi

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Grandparents Charlie and Phyllis Mahi

mother was working three jobs, and Ben knew what he wanted to do. He chose to stay at home and be the caregiver for his grandmother, giving them both time to continue weaving stories and memories, just as they did back on the flower farm. Ben cared for his tūtū until she passed. The flower farm was turned over to Ben’s uncle and Ben went back to school. Ben’s eyes still smile at the precious time he had with his grandmother. He recalls, “We liked so many of the same things; she taught me so much.” It was then that Ben started creating his masterpiece lei, and he recalls that at his grandmother’s funeral, he made a 100 strand ti leaf lei in her honor. That moment was the beginning of one of Ben’s signatures in life. While much of Ben’s childhood was on the land, his father taught Ben everything he knew about the sea, from fishing to diving to netting. Ben’s father, Benjamin Samson Jr., was a fisherman who knew the art of the sea better than anyone. He taught his children the importance of bringing food home and how to keep the balance with the sea life. Another layer to Ben appears as he begins to riddle the names of many fish that they would catch, and one realizes that there is a virtual symphony of respect for nature that has been imprinted on this island boy. Ben’s father passed away while fishing on the south shore of Hawai‘i Island when Ben was eight years old. At that time, Ben’s grandfather, Charles Mahi, became an important role model for Ben. His grandfather was the Hope Kahu at the Ke Ola Mau Loa Church in Waimea and also worked the family farm. Benʻs family L–R: Keone, Taryne, Ben, Mom Beverly holding granddaughter Tajlyn, Bryson, Shawn, Keola

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Ben credits his mother, Beverly Mahi Samson for his genuine nature, work ethic, and education. Ben reflects, “Our mother sacrificed a lot so that her seven children would have a full and happy life.” Although Ben says they lived a simple life on the farm, they never wanted for anything, had plenty of food, and had each other to play with. In 1993, Ben moved from Hilo to Kaua‘i to live with his Aunty, Cindy Mahi Rivera, and her ‘ohana from Kaua‘i and Ni‘ihau. Once again, Ben was a sponge as he learned the art of picking Ni‘ihau shells. Ben remembers, “I was lying on the beach, calling out, ‘which ones, Aunty?’ And she would call back, ‘the pink ones!’.” Ben’s hands rise in the wake of a smile and laugh as he says, “Of course, the pink ones were the smallest ones.” Ben squints and pinches his fingers together, “Such small, detailed work, these shells not for me!” While working in Kapa‘a, Kaua‘i, Ben entered many lei making contests and continually won the top prizes for his creativity. After winning first place multiple times at the Kaua‘i Museum lei competitions, Ben was asked to be a judge. He was so humbled at such a young age to be a judge of something that he cherished so much. Ben remained a judge of this competition for three years, evaluating this craft and also still learning and refining his own art of lei making. When asked what he looks for in a lei as a judge, Ben reflects, “I look for creativity, style, the technical skill, the mindset of colors, the flowers, the textures.” And then he pauses to say, “I want to know the story of each lei. That is what is most important. What is the story?”

Return to Hawai‘i Island

In 2000, Ben received a job offer to be the manager at the ABC Store on Ali‘i Drive in Kailua-Kona. As destiny would have it, the store was next door to the Hulihe‘e Palace, which would bring Ben home to his roots, the lineage of the maternal side of his family, the Mahi ‘ohana. At the time, Uncle Kahea Beckley was the caretaker of the Hulihe‘e Palace and became a mentor to Ben, seeing him every day after work. For the next six years, Ben listened intently to the many stories and historical references that Uncle Kahea shared with him, many of the stories about the Ali‘i (royalty) and the palace. Ben comments that his mentors of this time were Uncle Kahea for the protocol of the palace, Uncle Treva Johnson for the history of the island’s west side, and Uncle Etua Lopes for lei

New style of horse lei designed by Ben with the help of Kumu Etua Lopes

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Benʻs signature ti leaf roses

Wedding flowers by Ben August 2011

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Ben’s Pā‘ū designs won all awards in O‘ahu, 2010

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Ironman 2008

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making and the ancient history. Ben was so fascinated by their conversations and teachings, as he recounts story after story of their sharing, you can see that he drank up their words like flowers absorbing water in a vase. Then, one day in 2002, along came Aunty Fannie Au Hoy, the (now retired) administrator of the Hulihe‘e Palace and asked, “Who is this boy?” That solidified the bond of another teacher and friend, and as Ben says, “I received the mana‘o (thought, belief) of these Uncles and Aunty to know what I know today.” Part of Ben’s current kuleana (responsibility) is being the caretaker of the Hulihe‘e Palace. Ben’s humble nature shows as he recounts a time after the 2006 earthquake when he was sitting in the kitchen of the Kuakini Building on the palace grounds with Aunty Nona Wong. Aunty Nona taught Ben how to rewire and repair the palace’s six Austrian crystal chandeliers. Ben reminisces how they would sit in laughter, talk story, or sit in silence as they painstakingly rewired each chandelier piece-by-piece. He says, “Nothing was wasted, and today, if a prism is broken or a wire is frayed, I know how to fix it.” When you visit the Hulihe‘e Palace, part of what you see is Ben’s signature revealing itself as dedicated benevolence, offering his eye to the finest detail of preservation. In 2008, Ben started making ti leaf lei for the Ironman World Championship Triathlon. This project turned into something more than making lei for the winners of the race; in reality Ben custom-made more than 2000 lei for the event including a combination of ti leaf, haku, and floral lei. The finish line was completed with spectacular floral creations. Ben continues to supply the Ironman Triathlon event with flowers every year. As time rolls along, so does the word of Ben’s award-winning floral creations. In 2010, Ben was asked to adorn the pā‘ū horse units for the Aloha Parade in O‘ahu where Ben and his crew were awarded first place in every category. This was the first time in the parade’s history that there was a clean sweep of the awards. In 2012, the mainland called and Ben was asked to decorate the pā‘ū horse unit for the Portland Rose Festival Parade in Portland, Oregon. Ben shipped the flowers, the prepared lei, and adornments to the site. Another successful award-winning creation, Ben won the Best Floral Unit of the parade. It was the first time that the Hawaiian Islands had won an award at this Oregonian parade. Ben’s generosity casts a large net over many and presents another signature of what he is known for.

Ben’s signature twisted ti leaf lei photo by Renée Robinson


His love for sharing his gift is heartfelt as he says, “I find that lei-making is so gratifying; I feel so proud to create out of love. I only string lei if I’m in a good spirit. When I’m not, I leave the lei and string it another time.” When asked what his grandmother would say of his achievements, Ben reflects, “She’d be so proud, so happy, and say, ‘oh, my goodness, boy!’” Ben’s love of making lei starts with his time on the ‘āina (land) as he searches for and picks nature’s offerings. “I love the forest, the native, and local tropical plants. I only use what is from the islands. That is what I feel is special— when I can pick and use what the island provides,” says Ben. Once again, Ben credits his grandmother, Uncle Etua, and Uncle Treva for teaching him about the plants, where to find them, and how to care for them. As Ben reflects on his 40 years of life, he recognizes first his faith in God for giving him the talent, knowledge, and wisdom, and for the opportunities in his life to learn and to teach. His never-ending smile, happy eyes, infectious laughter, generosity, creativity, and constant gratitude to his ‘ohana exude the essence of life, and Ben reveals, “This all brings me joy.” Yes, joy. This is the signature of Ben Mahi Samson. ❖ Contact Ben Mahi Samson: CreationsByMahi.com, facebook.com/pages/Creations-by-Mahi/408198049288935 Photos courtesy of Ben Mahi Samson Contact writer Gayle ‘Kaleilehua’ Greco: gayle.greco@gmail.com

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Crossword Puzzle | By Myles Mellor

This page is for Ke Ola readers to have FUN while learning about the Hawaiian culture and this wonderful island we call home. Some answers are in English, some are in Hawaiian. Some answers will be found when you read the stories and ads in this issue. Feel free to use the online Hawaiian electronic library. wehewehe.org Oh yes, you can find the answers on page 83.

KeOlaMagazine.com | May/June 2014

Your feedback is always welcome. HIeditor@keolamagazine.com

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ACROSS 1 Ben Sampson’s signatures on lei (2 words) 9 Hawaiian word for strong 10 Hawaiian word for any instrument that opens and shuts 11 Hawaiian plant used for healing, some varieties are now toxic 12 Working together 15 Pā‘ū Queen of the 2013 King Kamehameha Day Kailua-Kona parade (2 words) 20 Formed yarn 23 Show respect, in a way 26 Coffee holder 28 Chimney duct or pipe 29 Hawaiian word for chant 31 “Aloha” garland 33 The Dragonfly Ranch: Healing Arts Center is known as an “___ Bed and Breakfast” 35 Tuna type 37 Lodging 38 ____ World Wide Voyage, meaning care for the earth 40 Hawaiian word for wither or droop 41 Reddish-brown color 42 Sanctuary

DOWN 1 Becomes ready for plucking 2 Hawaiian word for move ahead of others 3 Tree fluid 4 Type of lily 5 Not down 6 Polynesian sovereign state 7 Wagon track 8 Peek in (on) 13 Organization for all nations, for short 14 Hawaiian word for sun 16 Hawaiian word for fog or rain spray 17 Hawaiian word for a period of time 18 Hawaiian word for sugar cane 19 Hawaiian word for brace or support 21 Instruments you can find in Kiernan Music in Kainaliu 22 Compass point, for short 24 The harmony of being in agreement 25 Hawaiian word for the mist 26 Hawaiian goddess of the snow 27 What stars do 28 Person who cultivates the land 30 Hawaiian word for to go in 32 It means in at the beginning of a word 34 The Golden State, for short 36 Hawaiian word for to give or transfer 39 Hawaiian word for hinge or joint


Lōkahi

The Value of Harmony and Unity The value of teamwork—collaboration and cooperation. Harmony and unity—people who work together can achieve more. Ninth in an ongoing series.

Managing with Aloha: Lōkahi

| By Rosa Say

W

Lōkahi we learn to cooperate with each other, to strive together until we become one in our efforts; it helps us experience work that feels better when we do it harmoniously. Team is a noun, an objective, and should you choose it, the ‘Ohana in Business can be a higher evolution of a team for you, a concept of more intimacy and greater expectations. With Lōkahi we think of teamwork as active verb, focusing on the behavior of those within the ‘Ohana—how do they interact, how do they work together to effectively get things done? Striving for the Lōkahi of harmony becomes our goal, with the basic premise that groups of people who work together will achieve far more if they seek collaboration and cooperation agreement and ultimately unity. Just as I wasn’t about to struggle against the greater power of the ocean, there cannot be any power struggle when it comes to great teamwork. That being said, I do think the word “power” gets a bum rap sometimes. Harnessed power can be a pretty wonderful thing—a good force. For example, think about the generative power of medicine and the healing arts. Think about the bountiful electrical power entire cities receive, harnessed from the immense power of water, wind and sun. When it comes to people, we are better off thinking of power as influence and effectiveness, and how you harness it for good results in productivity, or in searching for the best solution of several options presented in problem solving. We each have the individual power to choose win-win agreements, and seek them. By virtue of the inherent goodness in universal values that appeal to the humanity of our kind, Lōkahi becomes a wonderful tenet for the managers who seek to coach their performers to their best achievement within the framework of any ‘Ohana in business. Lōkahi sets a proper climate and tone for the expectations of teamwork, for it teaches those involved to pursue the cumulative effect they can have when they harness their individual power and join forces in collaboration, cooperation, alignment, and unity. ~ Rosa Say Next issue: Kākou, the value of inclusiveness and the ‘Language of We.’ Contact writer Rosa Say: RosaSay.com, ManagingWithAloha.com

KeOlaMagazine.com | May/June 2014

hen I was young, my family bought a 21-foot fishing boat. As much as I grew up the local girl who adored going fishing, my preferences were standing thigh deep at a shoreline ‘oama (young goatfish) run with a bamboo pole, or whipping for pāpio (young ulua) from the rocks with rod and reel. Never having been much of a swimmer, I had my reservations about that boat, for 21 feet of floating fiberglass is nowhere near substantial enough for me when bobbing up and down rolling swells in the Pacific Ocean. So to secure my buy-in and get me to feel more comfortable with her, my family said I could name the boat, giving her a name with the kaona, or deeper meaning, that would make me feel I could enjoy her in harmony with the ocean. The word harmony was one that appealed to me, for never would I hope to have a greater power than that of the sea. Never would I dare to think that I could somehow control her; I just wanted it to be okay with her that I was part of some pirate crew using this boat to share her fish. We weren’t there to struggle with the ocean or dishonor her; we just wanted to respectfully ask her for some food and go get it without disturbing anything else in her domain. We wanted to coexist. I named the boat Lōkahi, learning at the time that Lōkahi meant the harmony of being in agreement. On my quest for this name I was taught that mana‘o lōkahi meant unanimous, and ho‘olōkahi meant to bring about unity, to make things peaceful and harmonious. I decided that if I would always have a demeanor of ho‘olōkahi while in our boat the ocean would sense my mana‘o, my respect, and seek to be peaceful for me. She would believe my intent to only fish for what we needed and no more. I suppose you could call it the power of belief, for from the time of her christening forward I always felt completely safe on that boat; I always felt she protected me, and she did. We were a team—me, Lōkahi, and the ocean. Our fishing boat has long since been retired, after helping us bring much fresh fish to our table. However Lōkahi is still with me, and still all about harmony, and bringing things and people to agreement. I’ve learned even more about Lōkahi as a value that can drive people to better performance; Lōkahi is a valuedriver of teamwork in pursuit of synergy. More hands make the work much more pleasant and they move it along faster. In

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All Creatures Great and Small Centipedes

| By Stig Lindholm

photo courtesy Wikipedia/Matt Reinbold

It was what children did—I think. Incidentally, after successfully accomplishing the roundup, the scorpion was returned safely to its habitat. In 1848 Irish born poet, Cecil Frances Alexander wrote the lyrics to the hymn, “All Things Bright and Beautiful,” in which the first verse and chorus goes: All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.

KeOlaMagazine.com | May/June 2014

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ff-island and rooting around in an English garden, my heart skipped a beat when turning over a rock I happened upon a centipede. Then, with surprised relief, I realized that an encounter with the British Isles’ cousin of the Hawai‘i centipede is, without question, far less exciting. I spent my childhood growing up on an island in the Mediterranean and was reminded of those times and the intrigue children have for all things living—particularly small creatures that walk, crawl, or squirm. Compelled by that intrigue, I recollect my excitement corralling a scorpion into a matchbox. I do not, however, recall any degree of trepidation.

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photo courtesy Wikipedia/Fritz Geller-Grimm

The hymn appeared as one of a collection of verses in a book, Hymns For Little Children, and aside from its religious connection it is, generally, how young children experience the world and everything in it. As we grow older, we learn more—usually from the elder and supposedly wiser—and together with that knowledge we often become attached to phobias regarding things we needn’t necessarily be concerned about. Those phobias rub off on us consciously or subconsciously, and however unconcerned we pretend to be, living in Hawai‘i can alter one’s perspective of small creatures with legs. Like my former island home, Hawai‘i has scorpions, yet it is the centipede that troubles Hawai‘i residents most—probably more so than anything that swims in the ocean. In his collection of short stories, Stories of Hawai‘i, Jack London devotes several paragraphs to a disturbing encounter with a Hawai‘i centipede—“the ugly venomous devil.” “The centipede, seven inches of squirming legs, writhed and twisted and dashed itself about his hand, the body twining around the fingers and the legs digging into the skin and scratching as the beast endeavored to free itself. It bit him twice.” As horrific as that sounds, when considering all creatures great and small, in particular those that live in the coastal waters surrounding Hawai‘i, and consequently our rather tenuous existence, the centipede is fairly insignificant. Knowing a little more about the centipede won’t necessarily make it less troublesome. At least we’ll know where it’s coming from and about the many legs on which it arrives. Centipedes (the name acquired from the Latin “centi-pedere,” meaning “hundred foot”) belong in the class Myriapoda, which is defined as an arthropod having an elongated segmented

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body with numerous pairs of jointed legs. They are metameric creatures with one pair of legs per body segment. Indifferent to its Latin name, centipedes may have less than 100 legs, or many more. How ever many they do have, they always have an odd number of pairs; therefore, as close as we can get to the Latin translation would be either 98 “foot” or 102. Myriapods have been around for more than 400 million years; as a species they are older than Homo sapiens and the Hawaiian islands themselves. Myriapods (or centipedes) have a single pair of antennae to sense their way around as most don’t have eyes, and those that do, don’t see very well. The mouthparts lie on the underside of the head consisting of a labrum forming the upper lip, a pair of maxillae forming the lower lip, and a pair of mandibles located inside the mouth. They breathe through spiracles (open holes close to the bases of their legs) that connect to a tracheal system. They have a long tubular heart that extends through much of the body and have few connecting blood vessels. The reproduction process involves the male producing a packet of sperm that is transferred to the female externally. The female lays eggs under rocks or bark or in any dark, damp, cool place. She is protective of her eggs, which eventually hatch into shortened versions of the adult with only a few segments and as little as three pairs of legs or into fully formed juvenile centipedes. The young that are not hatched fully-formed add additional segments and limbs as they molt into adult size and continue to grow throughout their lives of between three and five years. Research suggests that some centipedes may live as long as 10 years, which would account for the reports of giants, as with each successive molt, centipedes grow. Myriapoda is further categorized into four subclasses. One of those subclasses is named Chilopoda and is of particular interest to the anxious amongst us. It is the class of Myriapoda that specifically includes the species of centipedes whose front pairs of legs have evolved into jaws capable of dispensing venom. Our anxiety may be fostered from having been bitten, knowing someone who has, or we have heard enough about

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photo courtesy Glen Petitpas

the experience to be anxious in any case. And for new arrivals to this Pacific paradise and innocent of the notion, then after reading this and looking at the pictures, there’s a good chance you’ll begin to share in everyone else’s anxiety. Those centipedes (in the subclass Chilopoda) most commonly stumbled upon in Hawai‘i are further subcategorized in to four classes: stone centipedes, snail centipedes, house centipedes, and tropical centipedes. It is the fourth category that perpetuates angst—Scolopendromorpha. Unlike actual house centipedes, tropical centipedes—that are also found in houses— have thicker, shorter legs and can grow to an alarming size. We hear stories of encounters with some giants, and indeed, in other tropical countries, sizes of Scolopendromorpha reaching 18 inches have been recorded. In Hawai‘i though, large centipedes scurry in around six inches with occasional reports of eight inches, which is big enough in my book. Of the Scolopendromorpha encountered in Hawai‘i Scolopendra subspinipes is the largest and most daunting. Adults have 21 body segments and are a reddish-brown color with yellow-orange legs. They are strong and resilient wrapping themselves around prey, their grip assisted by small spines on their legs and the rear-most pair of legs possessing sharp claws.

Venom in glands is injected through the front pair of legs that have evolved into small jaws. The spines on their rear legs are sharp enough to scratch skin. In addition to venom-glands, centipedes have other glands that in defense of attack secrete a noxious substance onto their legs that can enter human skin through the scratches left by the claws and result in a trail of red swollen skin. At this point, it might be appropriate for some preventative advice—methods of deterring the centipede and ways of eradicating it. Well, I don’t have any. The centipede is here to stay, and living in Hawai‘i—at least on the warm and tropical lower lands—you will eventually encounter one and likely more than just one. There are probably a few old wives tales floating around and an arsenal of toxic options that would, along with killing the centipede, simultaneously kill everything else. It is worth noting that, if you are previously accepting of the use of poisons, in Hawai‘i, for ecological reasons and just common sense, poison is not the best choice. The old wives thing is probably alright, and there are natural measures that involve simple common sense. Generally speaking, it’s a case of being observant and hoping for the best.


Centipedes lose body moisture through their spiracles and prefer damp, cool, moist habitats, such as leaf piles or beneath piles of other garden debris and under rocks. I have heard of Puna residents in the rainy southeast corner of the island wrapping their bed legs in silver foil to prevent an assault from ground level and even suspending beds above the ground from chains hanging from the ceiling. On that count, it’s worth mentioning that Jack London’s centipede didn’t crawl up from the ground and onto someone. It dropped from the rafters of the lānai. I suppose then, when in Hawai‘i, we might consider centipedes coming at us from all directions. Yet, in fact—not that this will be in any way consoling—centipedes don’t actually come at you. Although fierce nocturnal predators of other small creatures, they are frightened of human encounters and only bite in defense. There—you see—nothing to worry about. While there are no records of a human dying as a direct result of a centipede bite, one might complicate a preexisting medical condition and its effect will depend on the individual’s tolerance to the venom and where on the body the bite occurs. In Jack London’s tale, the gallant Jack Kersdale, who calmly removed the centipede from Dottie Fairchild’s hair, was bitten twice on his arm, which despite almost immediate medical attention swelled to some size; it “was as big as a barrel, and it was three weeks before the swelling went down.” Considering the centipede’s preference to moist habitat, it would therefore be wise to remove any of those from the proximity of homes. Keep the yard—at least the area around the house—clean, including the space beneath the house.

It goes without saying, for centipedes and for all scavenging creatures that the insides of houses should also be kept clean. And consideration given to likely points of entry—under and around screen doors and via drainage pipes. It’s not uncommon for centipedes to appear through open plugholes, which can be a surprise in the bathroom. Once inside the home, centipedes will seek out dark places to hide—inside shoes, amongst piles of clothes left on the floor, and unfortunately, in our beds. Again, it’s a case of being tidy, vigilant, and hoping for the best. You might know already, or will eventually find out, that centipedes can move along at an unnerving speed. Given our propensity as humans to trip over just one pair of legs, centipedes have a remarkable system of coordinated propulsion. Each of the centipedes’ segments are joined by flexible membranes that allow them to travel over uneven surfaces while simultaneously altering the length of their stride to speed up or slow down. In addition, each pair of legs is slightly longer than the pair in front, so stepping forward doesn’t involve the following legs tangling with those ahead. Unfortunately, as marvelous as this feat is, it does not save the centipede from capture and the chopping block. After encountering and capturing a centipede, the common method of dispatch is by chopping it up into small pieces, usually an exciting and messy business. Clubbing a centipede with a slippah is pretty much useless. Some island residents keep a chopping board and knife specifically for the execution or a pair of heavy-duty kitchen scissors. I opt for a more humane approach. My preference for not killing centipedes doesn’t come from any religious or morale high ground, just karma—I suppose. I reckon

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that if I return a housebound centipede to the outdoors, or I let any I find outdoors go about their general business of attempting to flee, then, in some future time, themselves or their relatives might not bite me. It’s worked out for the best so far, for them and me. My centipede equipment consists of a long handled dustpan and brush. In a quiet house with a hard floor it’s possible to hear the larger centipedes scratching along. Then, much as I did with my childhood scorpion, it is as simple as brushing the corralled centipede into the pan and returning it to the outdoors. Well almost. During the transition you have to keep the pan at an angle and shake it a little, otherwise, eventually, the centipede manages to crawl up the slippery plastic surface of the pan and escape. Although I have never been on first name terms with any of the centipedes I have met, I’m pretty sure that I have come across the same character more than once. My last and closest encounter with a centipede was during the night while I was asleep in bed. I woke up to the sound and feel of scratching across the sheet. Fortunately it was across the top of the top sheet and not under. Then, simultaneously, I saw the silhouette in the moonlit room and felt the weight of it on my body. I didn’t hang around for any more of the experience and throwing the sheet aside ran for the closet, pan, and brush. When we hear stories of the sizes of some centipedes, we might doubt their validity. That said, I’m happy to be conservative with the estimate of the size of the centipede I encountered that night and say it was between six and eight inches long and perhaps up to an inch in diameter; notwithstanding a previously excellent dustpan technique this centipede managed to crawl out of the pan three times before we made it outdoors. “What good do they do?” is often the question that we ask of the less desirable creatures with which we share the planet. Well, they help with breaking down leafmould, which in a forest environment helps the tree. There might be more, but I don’t see that what the centipede does or doesn’t do really matters as the question is usually put from the human perspective of “what good does the centipede do for us—humans?” We are here to share the planet with them so we might as well get on with doing that and be more accepting of them and banish any phobias we might have. Given the time centipedes have existed here on the planet, they must be getting something right, and for that achievement alone they are quite remarkable. Hawai‘i is paradise for all God’s creatures, great and small, although it is easier to recite the verse from the relative safety of a temperate English garden. ❖

KeOlaMagazine.com | May/June 2014

Contact writer Stig Lindholm: stig_lindholm@mac.com

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photo courtesy Patrick Thompson revpatrick.com

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Trudy’s Island Arts

Honoring a Five Year Advertiser with Ke Ola

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Kara Yeaton, manager; Trudy Farley, owner

“I feel I have a good relationship with many other retailers. If I don’t carry something I know someone else does, I will send my customers to them. I would like nothing more than to have the entire Kona International Market full of merchants because it is much more attractive to would-be customers to come to a full shopping center instead of one with lots of empty or closed spaces.” Trudy loves this community and is active in supporting Project Hawai‘i here on Hawai‘i Island, which helps our homeless keiki. Some people may have heard that Trudy was planning to sell her store since she and Rick plan to semi-retire later this year. You can relax; the store isn’t going anywhere. Trudy’s “hānai” daughter, Kara Chaput-Yeaton is going to manage and work in the store while Trudy and Rick are traveling. Trudy was having a hard time imagining someone else taking over her “baby” after more than 10 years of putting her blood, sweat, and tears into it. So, she will remain the owner, and know it is in good hands when she’s away. In 2013 Trudy’s Island Arts was voted “Best Gift Shop in West Hawai‘i.” Congratulations Trudy, for more than 10 years in business and for deciding to continue! Mahalo for your support of Ke Ola magazine! Trudy’s Island Arts Kona International Market 74-5533 Luhia St., Kailua-Kona (In the back, facing the Queen Ka‘ahumanu Hwy.) Open daily 9:30am-5pm (except major holidays and Ironman) 808.329.7711 hitrudy@gmail.com TrudysIslandArts.com

KeOlaMagazine.com | May/June 2014

hortly after Trudy and her husband Rick moved to Hawai‘i Island in 2003, Trudy met Katrina Bellak, who needed some help at her new art kiosk. Trudy worked a few nights a week until the shop moved to Ali‘i Gardens Marketplace and then she began managing the store for Katrina who was battling cancer. About five months after the store moved to Kona International Market in May 2006, Katrina passed away. Trudy decided to continue the store and make it her own. Trudy’s Island Arts represents more than 60 artists living in Hawai‘i and a handful more who used to live here. They have artists specializing in oils, watercolors, jewelry, glass works, koa products, ceramic tiles, fabrics, and much more. “I have met so many great people—local customers, artists and visitors. Many have become friends over the years. It is so rewarding when someone comes into the store and says, ‘I’m so glad you’re still here!’ or ‘This is my favorite store in Kona.’” The biggest challenge was when the economy crashed in 2008. Until then Trudy’s Island Arts enjoyed steady growth— both in sales and in the size of the store. “I think keeping regular business hours throughout that whole time was important. Many businesses started opening late, closing early, and eventually closed. I think being consistent paid off for me,” says Trudy. Although tourists are the largest percentage of customers in the store, Trudy welcomes kama‘āina as well as returning visitors. Trudy’s Island Arts has a “frequent buyers club” that rewards locals and repeat customers for shopping at the store. For everyone who sees Trudy’s sign on a car at Costco when they pull out of the gas station and wonders—no, she doesn’t work there, too. Her husband does, and that has been some of her best advertising over the years. Ke Ola Magazine has been the one and only other form of advertising for the last five years. “Word-of-mouth is not to be taken lightly here. That goes for good and bad. So I always try to think of how my store, my help, and I will be perceived by those who come in. What will people say about Trudy’s Island Arts?” Trudy also markets her business at art fairs throughout the year. Since most art fairs attract a lot of people, it gives her the chance to educate potential buyers on all her store has to offer. She doesn’t see other businesses as “competition.”

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Every Store Has a Story

Bunso Ikeuchi Circa late 1910s

B. Ikeuchi & Sons, Inc. hardware store

A

| By Barbara Fahs

Early Years

Alan Ikeuchi is the third generation president of the store. Along with Alan, his sister, Susan Tanoue and their mom, Daisy keep the small store well stocked, extremely clean, and they provide just about everything the locals might need for their home repair and improvement projects.

emerged from a coalition of seven smaller plantations. Sugar was king for nearly a century until 1993. A six-mile railroad was built, and flumes were created to transport needed water to the sugarcane fields. The flumes also allowed harvested cane to flow to the large sugar mill in

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t the gateway to historic Waipi‘o Valley, in the town of Honoka‘a, the B. Ikeuchi & Sons, Inc. Hardware Store has been serving up essential supplies to local residents since 1918. It Honoka‘a sits on the Hāmākua coast, which has a long and holds the record for being the oldest business in Honoka‘a. active history. Native Hawaiians lived, farmed, and celebrated In an online review, one customer says, “The big chains have life along these shores and mauka into the coastal mountains nothing like the charm and selection of this old family-owned for many generations. Honokaa.org tells us, “This was the store in a great little Hāmākua Coast town.” original birthplace of kings, and locals believe this place has Bunso Ikeuchi established his store at the tender age of been infused by mana (spiritual power). Legend has it that 22 because as a trained plumber, he needed specific tools to Waipi‘o Valley, located at the heart of Hāmākua, was formed complete his jobs. In those faraway days nearly a century ago, by a boastful warrior who dragged his club through the land to the trip from Honoka‘a to Hilo often consumed two days of demonstrate his strength.” travel, requiring an overnight stay in Laupāhoehoe, so Bunso Daisy has strong ties to Waipi‘o Valley, having been born and filled a need for himself and—as it turned out—for an entire raised there. community. Sugar plantations Bunso Ikeuchi familiy Three members of the dominated the economy Daughters: Yaeko on the far right, Teako in the middle, Ikeuchi family continue and lifestyle of the area Niece: Yasuko on the left. to operate the store and beginning in 1899 when the Sons: Hideo “Harold” is the older and Walter is the younger are the only employees. Hāmākua Sugar Company

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Haina, downslope from Honoka‘a, and then to ships bound for the U.S. mainland. Modern Honoka‘a sprang up in response to the sugar industry and the many jobs it created. At first, most residents were native Hawaiians. Soon, immigrants from China, Portugal, Japan, Puerto Rico, Korea, and the Philippines arrived, making this budding town a true melting pot. Buildings and businesses popped up, giving the town its architectural charm and a history that reflects the plantation and paniolo character.

Bunso Ikeuchi—Part of the Area’s History

Bunso was born in Japan in 1896 and arrived in Hawai‘i in 1913, when he was only 17 years old. He spoke no English. “I give my father-in-law great credit,” says Daisy, “because he taught himself to read and write a foreign language.” He worked for the Hāmākua Sugar Company for a time, and later lived in North Kohala before he started the hardware store. Bunso’s original store was in a different location, next door to the local credit union. He moved to the present site in the Andrade Building in the late 1920s or early 1930s, according to Alan’s memory. The “& Sons” in B. Ikeuchi & Sons refers to Bunso’s sons, Walter and Harold, who were two of his six children. Walter, who was Alan’s and Susan’s father and Daisy’s husband, was born in 1928 and went to business school in Honolulu. Harold, who was two years older than Walter, and Bunso ran the store. After finishing his studies, Walter managed the store with Harold for several years as Bunso became older, and then took the reins completely when Bunso passed away in 1970, at age 74. From the time Walter became the chief operating officer until he suffered a stroke in 1987, he managed the store for 20 years. Harold retired before Walter’s stroke, leaving the top job to Alan. Harold passed away in 2004, at age 78. Walter passed in 2012, at age 84. Alan shares some fond memories of his grandfather Bunso. “What I remember most of my grandfather was when I was young. He impressed me as being someone that was very self-disciplined and dignified. A modern-day samurai. He grew orchids, anthuriums, hibiscus, and bonsai. He also raised koi. He practiced calligraphy, played competitive Go, and enjoyed travel and photography. I remember my dad telling me all my grandfather wanted from the business was for it to provide his family with a comfortable living. It’s done just that for three, going on four, generations.”

Current Cast of Characters

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Alan had years of experience when he took over the store after his father’s stroke in 1987: he had been working there during his summer vacations as early as the second grade. “I have always lived in Honoka‘a,” Alan shares. “It’s a friendly Circa early 1920s

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town, and it’s changing fast now because we get a lot more tourists. The town seems to stay much the same, but the characters change.” Susan and Alan work at the store full-time, while Daisy, who retired several years ago, comes in three days each week. She is far more than a valuable employee: customers love her and ask for her when they come to shop. No other employees are involved in the store’s operations. Have they ever thought of hiring extra help from outside the family? “Not really,” says Alan. “Some of our children, who range in age from 20 to 32, have worked here during their summer vacations, just like I did.”

You Can Get Anything You Want

“We are a part of the True Value buying co-op,” explains Alan, “and purchase our merchandise primarily through them. We try to buy heavy and bulky items like fertilizer and potting soil from local vendors because shipping costs to Hawai‘i can be very high, so we support local suppliers such as HPM Building Supply, C. Brewer & Company, and Central Supply, which provides us with our irrigation, plumbing, and safety equipment supplies.” Down the street, the Ikeuchis maintain a 40- by 60-foot warehouse, where they stock lumber and provide services such as cutting glass and threading pipe. The range of items the store carries runs the gamut from gardening supplies to nuts and bolts, which are kept in an antique wood cabinet made with no nails. If a Honoka‘a resident needs a hammer, paint, a doorknob, fishing supplies, epoxy, porcelain touch-up, duct tape, or Bunso’s favorite plumbing supplies, they can be assured of finding it in their hometown hardware store. Need a key made? That is just one of the many services the Ikeuchis provide. Every square inch of the store is utilized to its fullest capacity and the selection and choices are astounding for a store with only about 1,000 square feet of space, including an entire rack with different types of gloves. They manage their huge inventory the old-fashioned way—by hand.

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“We don’t use a point of sale system and have no website,” says Alan. “We do have computers for ordering our merchandise, but we conduct all of our sales by hand.”

High Praise From Customers

The locals love the B. Ikeuchi & Sons store. Reviews posted on the Internet reflect the important role the store plays in their lives. One of the customers who praised the store online says, “They carry an ample supply of tools and fixtures for any handyman. I would recommend this store to any Honoka‘a resident that needs to buy hardware.” Another review on Yelp.com gave the store five stars and raved: “This family run business is terrific! We were visiting my parents and did some repairs, as well as putting a railing on

their stairs. We needed galvanized pipe cut and the ‘big box’ stores would not cut it. We called the Ikeuchi store and they cut it to size in less than 30 minutes, AND you don’t have to buy the whole length of pipe—only what you need. The service was excellent and it’s located right in downtown Honoka‘a.”

Mom: Daisy Ikeuchi

What the Future Holds

Neither Alan nor Susan has plans to retire in the near future. Unlike the previous generations of Ikeuchis, all five of their children (now grown) have migrated to different careers and interests. “When Susan and I do retire, I suppose we will sell the store,” Alan says. Let’s hope the future management keeps the same Ikeuchi charm and customer service alive. ❖ Contact B. Ikeuchi & Sons: 808.775.0600 Store location and hours of operation: 45-495 Lehua St, Honoka‘a, Closed Sundays. M–F: 7:30am–5:00pm. They close for lunch in the old style from 11:30am–12:30pm. Sat: 7:30am–12 noon.

Siblings: Alan Ikeuchi Susan Tanoue

Contact photographer Alea Shechter: Alealani.com Contact writer Barbara Fahs: hiiakas@lava.net

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K

a Lae is the site of one of the earliest Hawaiian settlements, and it has one of the longest archaeological records on the islands (included in the complex is the earliest recorded occupation site (124 AD.) (NPS) Ka Lae (Lit., the point, commonly called South Point) on the Island of Hawai‘i is the southernmost point in the fifty states. Ka‘ū is poetically known as “Ka‘ū kua makani” (Ka‘ū with windy back.) (Soehren) An offshore stone at South Point is called Pokakuokeau (stone of the current) referring to the meeting of the different ocean currents that come together here. (k12-hi-us)

heiau are two more stones, the northerly one called ‘Ai‘ai, the son or Kū‘ula. Within the heiau, beside the mauka wall, is a rock called Kū‘ula, the god of fishermen. (k12-hi-us) In 1953 Emory obtained the following information from Mary Kawena Pukui: “One must not wear red on the beaches at Kalae where Kalalea Heiau is located. Women never went inside the heiau. The kū‘ula of this heiau is a shark. It is a heiau ho‘oulu (to increase) opelu (mackerel), malolo (flying fish), and ahi (tuna).” Directly seaward of Kalalea Heiau is a rough ledge of lava, with low cliffs dropping into the ocean. About eighty holes (like cleats)

A Brief History of: Kalalea Heiau | Peter T. Young

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Nā kai haele lua o Kalae, ‘O Kāwili lāua ‘o Hala‘ea The two sea currents of Kalae —Kāwili and Hala‘ea

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The Hala‘ea current (named after a chief,) comes from the east to Kalae and sweeps out to sea. The Kāwili (Hit-and-twist) comes from the west and flows out alongside the Hala‘ea. Woe betide anyone caught between. (Keala Pono) Here at the point is a heiau, Kalalea Heiau, located in the ahupua‘a of Kamā‘oa. In 1906, Stokes, in describing the heiau, said, “This heiau was … 43 by 35 ft., with platforms outside … adjoining its western wall ….” The heiau complex has a small terraced platform paved with ‘ili‘ili (small, smooth pebbles.) When Stokes visited the heiau, an informant told him that the heiau was Kamehameha’s and was very sacred. Ten years later another informant told Stokes the following: “(This is the) history of the heiau of Kalalea at Kalae, and of Kū‘ula, Wahinehele and ‘Ai‘ai. Kū‘ula (a male) married Wahine (a female) and they had a son ‘Ai‘ai. They left Kahiki and came to these islands, settling on Kaua‘i. ‘Ai‘ai left his parents on Kaua‘i and went on a sightseeing tour to the islands of O‘ahu, Moloka‘i, Maui and Hawai‘i.” “When he reached Kalae, he looked around and saw that it was a fine country, and a nice place to live in and well supplied with fish. He returned to Kaua‘i and brought his parents back with him, and they all lived at Kalae. While his parents were living at Kalae, ‘Ai‘ai set out for Kahiki and brought back many people—kilokilo (seers,) kuhikuhipuuone (architects who made plans in the sand), and ai pu‘upu‘u (stewards).” “He also brought back many different kinds of food, such as breadfruit, bananas, awa, cocoanuts, sugar cane, sweet potatoes, kalo, papaya, hapu‘u and pala (both edible ferns) and other foods in great quantity.” “And when ‘Ai‘ai saw that the food and the men were ready, he gave commands to all the Menehune and the erection of the heiau went on until the walls were completed. It was named Kalalea, which name still stands today.” Today, people reference Kalalea as a fishing heiau. There were stones that represent the fishing gods Kū‘ula and ‘Ai‘ai. On the main platform is a stone called Kumaiea (female), but also attributed to Kāne, and on the smaller platform just mauka is another upright stone called kanemakua (male), associated with the god Kanaloa. Standing twelve feet to the north of the

are carved into the lava to moor canoes (either for positioning over fishing grounds or to tie-up to shore.) (Kirch) While many have suggested the heiau is fishing related, it appears to also have links to navigation. Immediately behind the heiau is a modern navigational beacon. First proposed in 1883, a lens-lantern supported by a 34-foot wooden mast was ready for display on March 5, 1906. Its light, visible for nine miles, was produced by incandescent oil vapor. After several modifications and improvements, the present 32-foot concrete pole was built in 1972. The automated, battery powered light is charged by solar panels. In at least the 1940s and early-1950s, the military had a landing facility, Morse Field, in this area. There was limited infrastructure; the planes landed/took off on the grassy runway. At a recent lecture at Mission Houses, I heard another series of stories related to Kalalea Heiau, told by John Laimana (a descendent of the area, whose family has direct association with the heiau;) while similar to much of the other explanations, he expands upon the navigational aspects of the heiau to Kahiki (Tahiti) and Rapanui (Easter Island.) John says the heiau is actually the smaller of the structures there, makai of the larger, stonewalled rectangle (the larger he says is a fishers’ shelter.) More importantly, he notes that the heiau structure aligns east and west—and one wall aligns with magnetic north. Equally more important, he looks beyond the heiau structure and also looks at the larger surrounding perimeter wall structure. Careful review of that shows the two walls are in precise, straight alignment. OK, here’s another overlooked feature … extending the alignment of the walls, thousands of miles across the ocean lead you to Maupiti (in French Polynesia, near Tahiti) and Rapanui (Easter Island, Chile.) In Hawaiian, Panana means compass, especially a mariner’s compass. Panana are also referred to “sighting walls.” The alignment of the walls (within the heiau and the perimeter walls,) may have been used for navigational purposes. Oh, one more thing … Ka‘ū is an ancient name with similar derivations in Samoa (Ta‘ū) and Mortlock (Marqueen) Islands (Takuu; an atoll at Papua New Guinea.) (Pukui) (This heiau may have links across the extent of the South Pacific.) Connect with Peter: ToTakeResponsibility.blogspot.com


The Illuminarium with its colorful labyrinth overlooks the Kona coastline.

A Place Like No Other Dragonfly Ranch

guests eat organic food straight from the earth, and the days move through a clock of good conversation, trips to the beach, and whole body wellness. This “Eco Bed and Breakfast” is situated on what’s been called the Sacred Healing Triangle— a coastline where Samoans and Tahitians frequently sailed for respite in ancient times. The Dragonfly sits at a perfect elevation of just 700 feet, high enough to catch the breeze on the large open deck that

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estled in the South Kona hills, just along the treeline where the shade of great monkeypods cools the earth below, is a place so heavenly one could hardly believe it’s there. Descending the hill to Pu‘uhonua O Hōnaunau National Historical Park, or “Place of Refuge,” it’s a surprise to find a sign pointing towards the Dragonfly Ranch: Healing Arts Center. Just off the hot, steep highway is a place that’s anything but rooted in the din and drive of modern society. Instead, this healing hideaway is a place of rest, where one might finally feel as though their feet touch the ground. Life moves slowly here,

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overlooks the South Kona coastline. It’s a peaceful place where guests can completely relax. The Dragonfly today represents a collaboration of people and interests coming together during four decades to make this place into the “expansion mansion” wellness palace it has become. The five-bedroom house is stacked along the hill, virtually wrapped around a massive monkeypod tree that shades the home. Above the house, a bountiful organic garden thrives, and just above that stands the “Illuminarium,” complete with a rainbow-colored labyrinth where meditation, music and movement therapy takes place. It all started in the early seventies when Barbara Moore first came to the island escaping the academic world. “I was driving by one day and I said ‘I would like to live right here.’ When this property came up for lease in 1974, the Bishop Estate kindly granted me the privilege of stewarding this amazing spot. I heard from Lanakila Brant that I was meant to be here. I even had a vision one time of flying over these trees as if I were an owl,” Barbara says. Barbara and her mother set out to build the home together, and in the years that followed they would enter on a journey towards wellness together, each being diagnosed with cancer and healing through alternative medicines. Barbara went on to learn Lomilomi massage, whole-body nutrition, how to use flower-essences, and other techniques aimed at natural wellness. Throughout this journey, it became clear to Barbara that her mission for the Dragonfly would be to create a place where other people could enjoy physical and spiritual awakening. “We’re all searching for our true reason for being here and I think being surrounded by nature, beauty, harmony, joy and laughter all helps us get in touch with that part of us we feel most comfortable with. I believe the more people experience The spacious Lomilomi Suite


Several ‘ohana team members join the party, adding to the stimulating conversation, helping themselves to the delicious offerings of food they helped to grow and prepare. Tonight there’s a birthday to celebrate and Barbara gives the young lady a special blend of flower essences she has created. The Dragonfly assists people to become their most understanding, compassionate selves. Whether it’s the people or the place that’s blessed is a mystery. Barbara says that long ago she asked a respected kāhuna to bless the place, and he said, ‘It’s already blessed.’ She believes that when people come here with that understanding, they continue to perpetuate that tradition. Geographically, the ranch is in a prime location, just minutes away from world-class snorkeling at Hōnaunau Bay’s “Twostep.” Dolphins frequent the bay and dozens of colorful fish and brilliant coral can be seen below.

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this, they can take it home with them—that memory of who they really love being the most,” she says. As her desire to create that environment grew, so too did the house. “There’s a famous architect—Lucky Bennett—who designed a house I lived in up the road. Because I’m a Frank Lloyd Wright follower, I like form following function. Lucky designed my house, also, and gradually, as the need arose, my house grew,” Barbara says. At the Dragonfly, beauty abounds. Each room is decorated in a unique collage of fixtures, like the home of a world-traveled gypsy. There’s the Writer’s Studio, a homey space down below the main level with the coolness of a peaceful cave, decorated in white and light green tones, with a huge screened window overlooking the grounds. There’s the Lomilomi suite, an elegant space with a lovely deep bathtub and Victorian-inspired decorations in hues of maroons. Then there’s the Honeymoon Suite, with a large, four-post mirrored bed that sits at the top of the hill and includes a private outdoor bathtub. Each room has a sense of purpose and place. Upstairs, there’s an open living room complete with musical instruments and a large abundant kitchen, which is adjacent to a big deck with a communal meal table. There, guests share meals straight from the garden, bringing the inside outdoors. The Dragonfly has been used for healing workshops, conferences, weddings and family reunions over the years. To make it all possible, there’s a revolving team of “Dragonfly ‘ohana” that live here and tend to the garden, clean the rooms, prepare meals, and much more. For them, though, it doesn’t feel much like work. Jennifer Chardon, a budding writer working on her first book, has lived here for two months. “At the Dragonfly I am learning what it feels like to wake up again and again in the same day. The energy and love flows freely, back and forth and beyond between the family here, the guests, the beautiful animals and the plentiful land which feeds us. We stop to watch the sunsets. We fall asleep to the sound of the ocean. We wake at sunrise for yoga. It’s hard now to remember what rushing for the subway and trudging across the icy streets of Manhattan was like,” Jennifer says. Many others have experienced the same feelings. Sometimes, guests who plan on staying elsewhere for part of their vacation don’t want to leave. When there’s no room for them, Barbara has been known to give up her own bed to let them stay. “It means a great deal for them to be able to go home with this memory of not just being in Hawai‘i but being at the Dragonfly Ranch where there’s magic and love and beauty and joy and humor. Sharing with them is a tremendous joy for me. I always thought if I have this as a bed and breakfast then my entertainment is imported,” Barbara laughs. Barbara thrives on the excitement of all the wonderful people who come to pass through the Dragonfly, from well-known musicians to leading edge speakers. They are often eco-minded professional people. Sitting on the porch one evening talking over an organic meal from the garden, a guest from New York divulges that he’s a psychologist currently working on treating people with terminal cancer through plant-based medicines. The wind blows a set of chimes that hum a quiet song, like an anthem of peace. A 1400 year old Tang Dynasty statue of Kuan Yin, the Chinese goddess of compassion looks on the scene, blessing the space with her sacred ancient presence.

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After a morning swim, guests can sit in the Far Infrared sauna and then move to the outdoor shower to cool off. “Everything we have here is the best that I can find. The best sheets. The best food. The best water. I want to provide the best life has to offer, and I want to share that with my guests,” says Barbara. Wanting to provide the best is natural for Barbara, and when it comes to running such a large-scale operation, there are bound to be bumps in the road. People assisting her come and go, and the cost of upkeep is huge. Amazingly, none of that shows through the abundant love that resounds here. When asked why someone would continue to put out so much energy for other people, Barbara says, “Many years ago when I first moved here, I met a German lady who showed me around her garden and she said, ‘I want to share every good thing that I’ve learned with you,’ and that’s how I feel about people who are coming through here. Learning aloha from my revered teacher, Aunty Margaret Machado only accentuated that desire.” It is heartwarming for Barbara to hear that many people, even those who just arrived, say they feel at home at the Dragonfly. Linda Smeins, author of Sojourns of the Heart wrote, “this is my personal favorite, an instant sense of homecoming.” Another guest said, “This was a magical and nurturing place for my children and I. It’s a place where we can just be. It’s the type of place you search for but rarely find.” It’s hard to believe this is just another place to stay right off a simple highway. At the treeline where the giant monkeypods bring a cooling solace to all below, everything is possible. ❖ Contact Dragonfly Ranch: DragonlyRanch.com


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2013 Pā‘ū Queen Anna Akaka with two of her outriders and one female attendant lining up for the Kailua-Kona King Kamehameha Day parade.

Featured Cover Photographer: Dohn Chapman

A

Expansive view from Dohn’s home

Most influential might be Edward Curtiss for his art in recording indigenous people and their culture. Even though the wondrous beauty that is Hawai‘i has no limit for subject matters of landscape and flora, Dohn is attuned to the sensitive relationship between people and the ‘āina, firmly believing in the importance of supporting the local farmer. Promoting environmental awareness has been a lifelong endeavor for Dohn. Whether capturing images of the delicate natural world or the art of the built environment, it is to present the beauty and impermanence of the earth. When not engaged with the responsibilities of chief engineer for a Kona resort, Dohn is out on a country path or mountain trail rejuvenating his spirit. In the evenings, he ponders words and phrases and reviews photos to tell the story of his latest adventure. The freedom and independence Dohn derives from disengaging with outside influences and allowing his mind to stream on, or conversely, focusing to a pinpoint during the creative process are some of his life’s great joys. Another is tramping in nature just to see what he might see. Contact photographer Dohn Chapman: 808.936.3349 earthstonestation.wordpress.com, Earthstonestation@gmail.com

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New England native, Dohn Chapman moved to Colorado to hike and explore the Rocky Mountains and ended up in the highest incorporated town in North America—Alma, a small mining town at a more than 10,000-foot elevation. In 1999, his son did an extended bicycle tour of Hawai‘i Island and strongly encouraged Dohn to visit Hawai‘i and the blue ocean waters to add spiritual balance to his mountain existence. The following year, a close friend living in Kailua-Kona and suffering from a terminal illness requested Dohnʻs help as a caregiver. “Opportunity knocks but once they say. I arrived in Kona November of 2000. From the Atlantic shores to the mid-Pacific, it’s been an exciting journey,” says Dohn. Dohn started taking pictures when the breathtaking majesty of the Rocky Mountains inspired him to try and capture places and moments so that he might share with others an experience that few will ever have. Professionally, Dohn began in video and film with photography as a hobby. In recent years, he has become more passionate about photography and considers himself still a novice. He has developed a moderate and diverse following of visitors to his blog site from more than 100 countries around the world., Dohn’s photography has been influenced by Alfred Stieglitz, Ansel Adams, of course, Annie Liebowitz, and all the past photographers from Life magazine and National Geographic.

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Kiernan Music

Derek and Brian

A legacy of love from father to son

hen you walk into Kiernan Music in Kainaliu, the guitars, ‘ukuleles, and musical paraphernalia that fill every wall and floor space overcome your visual senses. Without taking another step, you notice the unique instruments hanging on the wall in front of you that look like they belong in a museum. Up high in the left corner of the store, there’s a shelf with an eclectic mix of items: a miniature folk guitar next to a large black speaker, a silver sculpture, and a small golden Buddha. On the opposite corner is a shelf with another black speaker surrounded by more miniature guitars, some with their own instrument cases. Below this shelf is owner Brian Kiernan’s computer, and on the wall above his computer is a mounted blue ‘ukulele and this quote: “Treat every interaction with another person as a sacred moment, because it is.” ~Anonymous

Curious customers wander into Kiernan Music and linger awhile to breathe in the ambiance. Customers with heirloom instruments in need of repair and restoration, who are reluctant to leave their beloved instruments with just anybody, learn that this is a safe place.

The Beatles, Guitars, and Girls

Brian, the second oldest of six children, grew up in Long Island, New York. His parents worked hard to provide for the necessities of their growing family. From a young age, Brian remembers being the “little guy” hanging around his grandpa’s workbench. His grandfather, an electrician in the Brooklyn Navy yard, was known as “Mr. Fix-it.” Like magic, he watched his grandfather repeatedly bring back life to broken and discarded items. Brian’s interest in guitars began when he was about eight years old. This was a period of time when the Beatles had risen

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| By Fannie Narte

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directions. He switched to a musical instrument technology program and honed his skills in instrument repair and building. Brian successfully completed the apprenticeship program and received his certification in 1977. With certificate in hand, he moved to California and found work as an instrument repairman in Santa Cruz. Later, he moved to San Francisco. In 1980, he met and married his wife, Jasmin. With a desire for adventure and in search of a place to call home, they moved to Boulder, Colorado. photo by Fannie Narte

to fame and every girl wanted to “hold their hands.” He was young and impressionable, and Brian thought that playing the guitar seemed like “a great way to meet girls,” he says. During this time, a neighborhood friend suggested that Brian attend the “free” guitar lessons that were being offered at a local church. Although this prospect excited him, how could he learn to play the guitar, without a guitar? His friend encouraged him to go to class anyway. Armed with the hope of a child and powered by the enthusiasm of Beatlemania, Brian went to the class. He bought an old guitar from the teacher for $10 and had his first lesson.

Changing Times

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Brian entered college as a music major with hopes of a career as a music teacher. However, because of the instability of the New York educational system during the mid-1970s, he changed

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A Fork in the Road

In Colorado, he went back to school, acquired an Engineering Degree and quickly found employment in the geographic information systems (GIS) industry. Although the work was interesting and financially rewarding, Brian’s passion was in building instruments. During the day, he worked to support his family. “Every night,” Brian says, “my sanity was restored by going into the workshop and building guitars.” During these nights, Derek, his son, was Brian’s shadow. Just as Brian was the “little guy” in his grandfather’s workshop; Derek became the “little guy” in Brian’s workshop. Eventually Brian’s work in the GIS industry evolved into independent consulting, which took him to O‘ahu in the early 1990s where he helped the City and County of Honolulu implement their mapping program. His frequent business trips to Hawai‘i were followed by numerous family vacations to the islands. Hawai‘i naturally became a favorite vacation spot for the Kiernans. “We discovered the Big Island in 1994 and fell in love with it. It felt like the home we had searched for,” he remembers.


After repeated visits to Hawai‘i Island, Brian and Jasmin decided that this was the place they would retire. They put their heads together and devised their long-term retirement plan. It was to buy an affordable home as soon as they could, which would then be rented until they were ready to retire. The search for their investment property began immediately. However, in 2002, that plan was altered when Brian had a heart attack. This setback was a time of reflection and re-evaluation. He thought, “I’m working really hard in my technology career, and I use my guitar building to relax. Why can’t I make the guitar building my career?” That realization significantly changed his career path and ultimately brought the Kiernan family to Kona sooner than they originally planned. After his recovery from his heart attack, Brian resumed his work as a consultant and continued his search for an investment property. After much searching, finally, they found their house. “We bought a fixer-upper house in Kealia, still planning to rent it out until retirement.” Brian set to work on the property, and that is when the aloha started. Neighbors stopped by to meet him and brought of fruit baskets and other meals. Their generosity and welcome overwhelmed him. He says, “I still well up when I think about it.” Impressed by this continuous flow of aloha, he told his wife, “We could wait until we retire, or we could move here now and become a part of this community so that by the time we retire, we really are home.” With that, Brian made the career change, and the Kiernans moved to their new home on Hawai‘i Island.

KeOlaMagazine.com | May/June 2014

photo by Fannie Narte

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Kiernan Music

Kiernan Music was established in 2004. Its primary business was instrument building and repair. Two years later, Brian moved it from his workshop at his home in Kealia to its first storefront location in Captain Cook. When Brian was five years old, his mom gave him a blue ‘ukulele. She then stored the instrument in their attic and gave it to him again when he turned 50. That ‘uke, which hangs over his desk, is an heirloom and a symbol of his mom’s love and generosity. His mom had one last gift. After she passed, Brian received a generous financial gift from her estate, which was an important piece of the Kiernan Music legacy. With the help of that gift, he was able to move the business from Captain Cook to its present location in Kainaliu and bring his son Derek back into the business. Today they are recognized as a father and son team.

The Workshop—Where Magic Happens

photo by Fannie Narte

In their workshop at the back of the store, Brian and Derek create their one-of-a-kind instruments. A beautiful archtop guitar rests on Brian’s worktable. On Derek’s worktable, there are two ‘ukuleles with unique sound holes specially designed by the team. A creative natural like his dad, Derek carved his own place in the industry. He built his first guitar in high school, which was his “resume” when he went to work for local guitar manufacturer, Goodall Guitars. A large amount of time is devoted to repair and restoration work. A 1927 Gibson mandolin banjo awaits restoration work. Recently,

Tiffany Edwards Hunt Hunt

for for Hawaii Hawaii County County Council Council Puna District 5

Puna District 5

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#Hunt4Puna #Hunt4Puna

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h , fr Paid for by Friends of Tiffany Edwards Hunt, P.O. Box 557 Kurtistown, HI 96760 6: .m. your vote Aug. 9 MAHALO 30 pfor MAHALO for your vote Aug. 9

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they completed restoration work on a 1936 Gibson guitar, which was signed by ten-yearold Shirley Temple.

The Legacy

Brian’s

The store is divided into Blue ‘Ukulele photo by vintages, collectibles, imports, Fannie Narte and Hawaiian made and locally built ‘ukes. In addition to selling quality instruments, each year Brian donates a certain number of ‘ukuleles to different charitable organizations throughout the island. He spreads his generosity to as many people as he can and chooses to focus his philanthropic efforts with schools. New customers enter Kiernan Music and think it’s a place of business, and they leave—like all of those who have come before them— knowing that it’s more than that. “If I don’t sell anything all day, if I just have good interactions with people, I’m happy,” Brian says. The passion and joy that Brian and Derek infuse into every piece they create are driven by their acknowledgement and appreciation for the gift of their legacy. Kiernan Music is “something that was a lot of years in the making.” It is a legacy of love from father to son. ❖ Contact Brian and Derek Kiernan: kiernanmusic.technologyaloha.net Opening photo courtesy Technology Aloha: TechnologyAloha.com Contact writer Fannie Narte: info@fannienarte.com

KeOlaMagazine.com | May/June 2014

photo by Fannie Narte

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KeOlaMagazine.com | May/June 2014

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Holualoa Ukulele Gallery/Workshop—Hōlualoa

S

am B. Rosen was a jeweler on the mainland from 1956–1977. After moving to Hawai‘i Island in 1977, he became a goldsmith. Sam wanted to learn to play the ‘ukulele, so he went to an Adult Education Extension Class at Konawaena High School. The class included learning to make an ‘ukulele, the product of which he still has today. After he made his first few ‘ukuleles, he joined the Big Island Ukulele Guild. Still a member, he continually expands his knowledge. “I learn something new every time I attend,” he says. Since 2000, Sam has been making custom-made and commissioned ‘ukulele’s for sale and teaching ‘ukulele making. Local woods he uses are koa, mango, monkeypod, milo, and lacewood (silver oak). Pāua shells from New Zealand are used as embellishments. At once a challenge to learn to do, teaching has now become Sam’s greatest satisfaction. He likes to see people grow. For

many students, it’s more than just making an ‘ukulele. When people learn a new skill such as this, they go away having gained selfconfidence and problem solving skills. “I’m amazed at the unexpected doors and pathways this instrument and music lead to. The people I meet, the experiences that happen continually surprise me. I would encourage even those who believe they have no musical talent to learn the basics of ‘ukulele playing,” says Sam. Want to make your own ‘ukulele? Sam has 10-week workshops for locals and snowbirds. Just visiting? He is the only instructor offering a 10-day ‘ukulele making workshop that results in an instrument you can take home with you. Holualoa Ukulele Gallery/Workshop 76-5942 Mamalahoa Hwy, Holualoa 808.324.4100 koaukulele37@yahoo.com KonaWeb.com/ukegallery

Commissions Welcome greenwelc002@hawaii.rr.com

“Kiholo”

Work shown at Colette’s Frame Shop

808 217-4337

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Landscapes, Still Lifes, Portraits Oils and Giclees

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Hawai‘i Island Farmers Markets West East

North

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. 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).

KeOlaMagazine.com | May/June 2014

Saturday 7:30am–2pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg.

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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.

Sunday, Monday, Tuesday and Thursday 7am–4pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors. Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors. 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. Daily 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: KohalaCenter.org/ebt/markets.html

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.

South

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 sharon@keolamagazine.com


Chocolate

Food of the gods

| By Sonia R. Martinez

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Chocolate Pot de Crème

10.5 ounces chocolate (the best you have) 3 yolks from large eggs 1-2 Tablespoons liqueur of your choice (optional) 2 cups whipping cream Fresh fruit to compliment the chocolate flavor (optional) Whipped cream for topping (optional)

Layer the chocolate, egg yolks, and liqueur (if using) into the blender. Pour the cream into a large saucepan so there’s at least 3” between the top of the cream and the lip of the pan. Over medium-high heat, bring the cream to a boil until it climbs the wall of the pan; or you could heat it in the microwave. Remove from heat before it boils over and immediately pour into blender. Let it sit for 30 seconds then pulse to get cream moving. Once you have it swirling, blend until smooth. Immediately pour into the individual containers chosen. Cover with plastic and refrigerate for 3-4 hours until set. Serve with a dollop of whipped cream. (I like to serve some fresh fruit as well to cut the richness.) To make chocolate from scratch: Instructables.com/id/How-toMake-Chocolate-From-Scratch/?ALLSTEPS Recipe photo by Sonia R. Martinez. Enjoy the Big Island Chocolate Festival May 2-3 at Fairmont Orchid: BigIslandChocolateFestival.com Contact writer Sonia R. Martinez: SoniaTastesHawaii.com

KeOlaMagazine.com | May/June 2014

ne of the perks of living in Hawai‘i is we can grow our own chocolate. Yes! Chocolate is made from cacao, and cacao trees grow very well on our island paradise. When strolling through the farmers market you might encounter some strange looking ridged pods in bright orange, yellow, or even darkish reds. They are actually Theobroma cacao pods, the seeds or beans from which cocoa and chocolate are made. The best-known varieties of cacao trees are the Criollo, Forastero, and Trinitario, which is a hybrid mix of both the Criollo and Forastero. There are quite a few farmers growing cacao on this island. Some sell directly to the consumer through the farmers markets and others sell to local companies that make chocolate. If you decide to grow your own cacao, several farmers might also sell seedlings. Criollo are considered the best chocolateproducing trees. There are several steps to follow when making chocolate from the cacao seeds. Pods can be harvested approximately every two weeks, and the ripe stage can be red, yellow, orange, or even mixed, depending on the variety of cacao tree. Harvest: To get the seeds, you must first tap on the pods with one or two sharp blows with a little mallet or hammer and it should open in two halves. You can scoop out the placenta holding the seeds. Each pod can contain anywhere from 30–40 seeds and are covered with a wet and slightly slimy pulp. The seeds need to be placed somewhere they can ‘drain’ the liquor or juice (which is delicious to drink ice cold, by the way) for a day or so. The empty pods can be recycled in the compost pile or used as mulching. Ferment: After the juices are drained, the seeds or beans need to be moved to another container to ferment for 5–7 days. Turn each day to ensure all of the beans are heating up.  Dry: The beans are turned onto a wire mesh drying rack in a single layer in a well-ventilated area and stirred daily. This can take up to six days, depending on humidity, heat, and air circulation.  Crack: The dried beans need to be ground or cracked. At home, a food processor or even a heavy rolling pin can be used. The papery husks need to be separated from the nibs. This can be done using a wire mesh colander and a hair dryer when working with small batches.  Roast: A small toaster oven will work well with smaller quantities. Set it to 425˚F and roast for nine minutes, then turn down to 325˚F for another 9 minutes, and finally bring the temperature down to 259˚F for 10 more minutes. Grind: You can use a peanut butter machine or an oldfashioned meat grinder to grind the nibs into a paste. Temper: The next step is a bit more complicated, but it can still be done in a home setting. For industrial productions,

conching and tempering requires a heavy-duty machine and several days. At home, a heavy mortar and pestle and a bit of elbow grease will work. At this point, sugar and vanilla can be added. Below is a website link which shows the different steps for ‘making chocolate’ at home. Or you can buy the best quality chocolate you can afford and make your dessert using the store bought. Fortunately, we can easily find locally made, first class chocolate on Hawai‘i Island! The following recipe is for traditional French custard typically served in little pot-shaped cups. It can also be served in demitasse, teacups, custard cups, or even glass stemware. Original recipes can call for double boilers and baking in a bain marie. My friend Fran Morales McCully has simplified it into a three-step, less-than-5-minute process:  Step one: get all your ingredients together.  Step two: heat the cream.  Step three: Blend everything in the blender. Voilà—you have an easily made fancy dessert!  

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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.

Konaweb

KonaWeb.com shirley@konaweb.com Shirley Stoffer, 808.345.2627

Hawai‘i The Big Island

BigIsland.org calendar@bigisland.org Sherry Bracken, 808.334.1521

Quick Eventz

quickeventz.com info@quikeventz.com

Akebono Theater–Pāhoa

Facebook.com/AkebonoTheater 808.965.9990

Aloha Theatre–Kainaliu

Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

Amy B.H. Greenwell Ethnobotanical Garden

BishopMuseum.org/greenwell pvandyke@bishopmuseum.org Peter Van Dyke, 808.323.3318

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

EHCC/Hawaii Museum of Contemporary Art EHCC.org arts@ehcc.org 808.961.5711

Food Hub Kohala

FoodHubKohala.org karla@andreadean.com Karla Heath, 808.224.1404

Hawai‘i Homegrown Food Network HawaiiHomeGrown.net editor@hawaiihomegrown.net

Hawai‘i Volcanoes National Park Volcano Art Center

VolcanoArtCenter.org julie@volcanoartcenter.org Julie Callahan, 808.967.8222

Honoka‘a People’s Theatre HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

Hulihe‘e Palace

daughtersofhawaii.org info@daughtersofhawaii.org 808.329.1877

‘Imiloa Astronomy Center of Hawai‘i

One Island Sustainable Living Center One-Island.org/hawaii hawaii@one-island.org 808.328.2452

Palace Theatre–Hilo HiloPalace.com info@hilopalace.com 808.934.7010

Society for Kona’s Education & Art (SKEA) Skea.org 808.328.9392

UH Hilo Performing Arts Center ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

Kahilu Theatre–Waimea

West Hawaii Dance Theatre and Academy

Kailua Village Business Improvement District HistoricKailuaVillage.com kailuavillage@gmail.com 808.326.7820

Kalani Oceanside Retreat kalani.com 808.965.0468

Kona Historical Society KonaHistorical.org khs@konahistorical.org 808.323.3222

KeOlaMagazine.com | May/June 2014

NorthKohala.org info@northkohala.org 808.889.5523

ImiloaHawaii.org jharman@imiloahawaii.org 808.969.9703 KahiluTheatre.org 808.885.6868

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North Kohala Community Resource Center

Kona Music Society KonaMusicSociety.org 808.334.9880

Kona Stories Bookstore KonaStories.com ks@konastories.com 808.324.0350

Living Arts Gallery LivingArtsGallery.net 808.889.0739

Lyman Museum

LymanMuseum.org ebenton@lymanmuseum.org Emily Benton, 808.935.5021

WaimeaCommunityTheatre.org 808.885.5818

whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

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

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events.html 808.885.9501


To submit volunteer information for your nonprofit, kokua@keolamagazine.com (Listings provided on a space available basis.)

Community Kokua Volunteer Opportunities

Use provided contacts for information

AdvoCATS

Friends of NELHA

Kahalu‘u Bay Education Center

Paradise Ponies, Carousel of Aloha

Trap, neuter, spay, community education, colony feeding, management. Contact Cathy or Nancy advocatshawaii@aol.org 808.327.3724 AdvocatsHawaii.org

Share Ocean Science/Technology using deep ocean water. 808.329.8073 EnergyFutureHawaii.org

ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Jean BevanMarquez jbevanmarquez@kohalacenter.org 808.987.6249 KahaluuBay.org

Seeking volunteers to create the Carousel of Aloha Pavilion. Contact Katherine Patton carouselofaloha@gmail.com 808.315.1093 CarouselOfAloha.org

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

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

Volunteers needed for after-school youth programs Contact Gail gail@bgcbi.org 808.961.5536 bgchi.com

Calabash Cousins

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

Men and women who support the mission of Daughters of Hawai‘i. Contact Sabine Andresen ccousinskona@gmail.com 808.329.9555 CalabashCousinsHawaii.com

CommUNITY cares

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

Community suffering from cancer, medical hair loss, domestic abuse. Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

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

Hawaii Museum of Contemporary Art (aka East Hawaii Cultural Council) Hilo Monday–Friday, 8am–3pm

Volunteer in the art galleries, performing arts, classes, workshops, festivals. exec@ehcc.org 808.961.5711 ehcc.org

Hamakua Youth Foundation, Inc.

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

Serving Hamakuaʻs school-age kids. Contact T. Mahealani Maiku‘i HamakuaYouthCenter@gmail.com 808.775.0976 HamakuaYouthCenter.wordpress.com

Hawai‘i Island Humane Society Kona Shelter, Kailua-Kona Monday–Saturday, 9am–5pm Need volunteers 16 or older, parent/child team 6 or older. Contact Bebe Ackerman volunteer@hihs.org 808.217.0154 hihs.org

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

SE Hawai‘i Island beach cleanups.

Ongoing 7:45am

Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

Hospice Care

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

Care for families facing serious illness. Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

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

Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

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

Hilo Coffee Mill, Mountain View Ongoing

Kalani Retreat Center

Parrots in Paradise Sanctuary

Varied Schedules Seeking volunteers: skilled trades/maintenance, housekeeping, kitchen, horticulture. Contact Volunteer Office volunteer@kalani.com 808.965.7828 Kalani.com/volunteer

Sanctuary for displaced parrots. Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

Kalapana

Kona Music Society Kailua-Kona

Seeking volunteers for help with box office and ushering at our concerts. Contact John Week info@KonaMusicSociety.org 808.334.9880 KonaMusicSociety.org

Kona Toastmasters

Kailua-Kona 1st and 3rd Tuesdays, 6pm

Lynn Bell contact@konatoastmasters.com 808.989.7494 KonaToastMasters.com

Lions Clubs International

Various Locations, Kailua-Kona 2nd Tuesday, 5:30pm

“We Serve” is the motto of Lions Clubs International. Contact Lani 808.325.1973 lanika@hawaii.rr.com

Make-A-Wish Hawaii Ongoing

Granting wishes for children with life-threatening medical conditions. info@hawaii.wish.org 808.537.3118 Hawaii.wish.org

North Kohala Community Resource Center

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

Greet people to North Kohala with aloha. Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Kealakekua Flexible hours Monday–Friday

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

Volunteers needed. Contact Stephanie Kovatch snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Soroptimist International Kona Kailua Kona Monthly Meetings

Enriching the lives of women and girls in our community for more than 40 years. SIKona.org

Sundayʻs Child Foundation Kamuela

Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

CROSSWORD SOLUTION

KeOlaMagazine.com | May/June 2014

Volunteers help in arts education program. Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

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

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Tax planning is a year round event!

Bailey Vein Institute

Talk Story with an Advertiser

O

Paula Wilson, EA • Action Business Services

KeOlaMagazine.com | May/June 2014

808-329-3403

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ur leg veins have many one-way valves that allow blood to travel up toward the heart. Upon standing, the valves close in order to keep the blood from traveling backwards down the leg. When valves don’t close properly, blood travels backwards in the direction of gravity. This valve problem is known as venous reflux or venous insufficiency. It is unrelated to heart valve Colin E. Bailey, MD, FACS problems. The symptoms of Medical Director, Owner venous insufficiency are due to the high pressure that develops in the veins as the blood travels backward. Over time, the veins below the bad valves can become dilated and varicosed. This condition always progresses and often leads to complications such as skin damage, chronic leg swelling, blood clots, ulceration and even spontaneous bleeding. The exact location of the abnormal valves is determined with an ultrasound examination that is performed in the office. Dr. Colin E. Bailey is Quadruple Board Certified in Cardiovascular Surgery, General Surgery, Cosmetic Surgery, and Phlebology. His commitment to you is to provide “cutting edge” vein care in the safest manner possible, while providing the best cosmetic outcome. Prior to 2005, Dr. Bailey spent a very satisfying 15 years performing adult cardiac, thoracic, and vascular surgery. Nine of those years as a cardiovascular surgeon were spent as the Director of Cardiovascular Services. He subsequently changed the nature of his practice and underwent extensive additional training in both cosmetic surgery and modern vein care in order to spend more time with his wife and three young children. Bailey Vein’s Kamuela office offers multiple types of procedures, which, in addition to treating varicose veins, also treat chronic leg swelling and restless legs. State-of-the-art vein care is minimally invasive. There is no downtime, and the procedures are officebased. The modern treatment modalities include: Endovenous Laser Therapy; Endovenous Radiofrequency Ablation; European Microphlebectomy; Ultrasound Guided Schlerotherapy; Visual (Cosmetic) Sclerotherapy; Surface Laser Treatment of Spider Veins. The goal of all of these procedures is to close off abnormal veins and redirect blood into healthier deeper veins. Vein stripping is no longer necessary. If you have painful, aching legs, make an appointment with our expert staff for an exam. Along with Dr. Bailey, you’ll meet Leonette Meyer, Office Manager; Shannon Miranda Curtis RN, BSN; Rachel Klingenstein, RN; or Heather Roth, RVT. Bailey Vein Institute 65-1158 Mamalahoa Hwy. Suite 16, Kamuela 808.885.4401 BaileyVeinInstitute.com

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Hawaii Water Service Company

Talk Story with an Advertiser

Waimea Town Farmers Market Every Saturday 8 a.m -1 p.m.

65-1224 Lindsey Rd, Waimea, HI 96743

Mike Mares

H

Manager of Hawai‘i

Hawaii Water Service Company Customer Service Center: Waikoloa Highlands Shopping Center 68-1845 Waikoloa Road, Unit 116 808.883.2046 customerservice@hawaiiwaterservice.com HawaiiWaterService.com 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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Celebrate the Year of the Horse at the S E V E N T H

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Hawaii Horse Expo Experience it all...education, insiration and vacation

Paniolo Style on the Big Island of Hawaii

August 23-24 Paniolo Heritage Center • Pukalani Stables, Waimea LIMITED-SEATING EQUINE MEDICAL SYMPOSIUM AUGUST 22 Special rates for attendees provided by Hapuna Beach Prince Hotel

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KeOlaMagazine.com | May/June 2014

awaii Water Service Company was formed in 2003 with the purchase of Ka‘anapali Water Corporation. Later, it purchased Pukalani Sewerage Treatment Works, Waikoloa Water Company, Waikoloa Sanitary Sewer Company, and Waikoloa Resort Utilities. Hawaii Water is a subsidiary of California Water Service Group, which has been in business since 1926. Hawaii Water is locally managed, and has the benefit of drawing on expertise and assistance from its parent company. Hawaii Water provides high-quality potable water, irrigation, and wastewater utility services to communities on both Hawai‘i Island and Maui. They currently have about 3,770 customer connections, many of whom are large users such as condominiums and resorts. They are regulated by the Hawaii Public Utilities Commission. There is an aging infrastructure that must be upgraded, or replaced, in order to remain reliable for the customers. Hawaii Water seeks the most cost-effective means to meet increasingly stringent water, wastewater, and environmental regulations. Innovation has been key to their success. In recent years, Hawaii Water has replaced wastewater plants on both islands with state-of-the-art filtration technology. This expands the amount of water the plants can process and improves the quality of effluent for reuse without expanding their footprint. Hawaii Water is committed to supporting the communities and improving the quality of life where they are located. They support community organizations that help people within these areas—both financially and with their time. They also participate in organizations that focus on economic development and water use, such as the Chamber of Commerce, Hawaii Leeward Planning Committee, American Water Works Association Hawaii Chapter, and Hawaii Rural Water Association. Mike Mares holds advanced water certifications from the State of California—Water Distribution Operator Grade IV and Water Treatment Plant Operator Grade II—and Hawaii DOH Water Distribution Operator Grade IV. He earned a Bachelor of Science Degree in Organizational Communications from Kaplan University. In February 2014 Mike was promoted to Manager of the state of Hawai‘i after two years as Local Manager of Hawai‘i Island operations. Congratulations Mike on your promotion!

Handcrafted Lined Aprons Made with Aloha

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Ka Puana–The Refrain

J

oe Holt (aka Aloha Joe) was born in Santa Barbara, California in 1978. After living in orphanages, foster homes, and even a forced child labor camp, he enlisted in the United States Marine Corps on his seventeenth birthday. He was an Aviation Electrical Engineer in the military and served two tours overseas during which time he attained the rank of Sergeant. After a series of traumatic brain injuries and other physical injuries on and off duty, he was medically retired at age 23. He spent the next 10 years as a member of five nonprofit organizations involved in the betterment of the local community and its citizens. However, he had never truly healed from the traumas of his past life. He spent a fair amount of time with psychologists during those 10 years. “I learned that I could be happy. My entire life up until that point had been about survival; I had no concept that happiness was an option. It took me almost six years from that point to end up here on an island.” Joe moved to Hawai‘i in 2011 to regain his health and mental well being. During this time he chronicled his journey of self-discovery and Hawaiian adventure in his first book Aloha Joe in Hawaii. Contact author Joe Holt: AlohaJoeInHawaii.com

KeOlaMagazine.com | May/June 2014

Following are excerpts from Kealakekua resident Joe Holt’s book, Aloha Joe in Hawai‘i. Used with permission.

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3 Try this next time you want to talk to someone that you care about, about something that is stressful. Get out two coloring books and some crayons. Now I know that you are laughing at this point, and that is good. That is the entire point. Insist that they color with you, while you talk. What you will notice is that you will both remain intently coloring and your communication will become much more open. Your speech will become unguarded and your thoughts won’t be based in emotion. You will just speak your mind openly and honestly. You will find that your words do not cause physical reactions in your body at this point. I wish that I was a doctor so I could explain why this works. I only know that it does in fact work. My best guess is that the distraction of your brain and your hands while coloring bleeds off excessive energy that allows unbiased communication. Of course, it always seems to bring me to a happy place to be coloring with crayons. There seems to be something very youthful and hopeful about it.

3 In my reality, I have survived more than thirty separate instances where I could have died, and in some instances almost did. If the purpose of the Marquesian tattoos is to show a man’s life events, then I am way behind on my tattoos. I would have a full body suit by now if I tattooed myself every time that I made it through another life threatening situation. Of course, there is always this answer: I am a man. I am spending my own money. It is my body. It is my business. Please let me explain to you what I think is entailed in being a man. This is not simply based upon your age. Men are kind, loyal, and always willing to help those in need. They hold doors open for complete strangers. They also open car doors for women and guest passengers. Real men protect women, children, and the elderly. They do not abuse the weak or downtrodden. The head that you are spitting upon is your own. Every time that you say something nasty to another person, you are destroying part of your own soul.

3 I found myself at an impressive 270 pounds and severely depressed. My birthday was in a couple of days and I wanted to do something for myself: I decided that I wanted to feel better. I had always wanted to visit Hawai‘i, and I had a friend named Chad who lived there. He invited me to crash at his place until I could find a room to rent. I found someone to sublet my apartment, and I put my things in a storage unit. I traded my TV surround sound with my friend Bull for a one way plane ticket to Maui. I had only $700 to my name but I went anyway. I figured that the “right time” I had been waiting for might never come. I landed on Maui and went to Lāhainā to see Chad at the Blue Lagoon. While I was sitting there having a Mai Tai and telling stories, I mentioned that I needed a place to live and was looking to buy a car. A guy sitting further down the bar said he knew of a room for rent and someone with a car for sale. I ended up renting a room that day for $400 a month and buying a two door hatchback for $300 cash. My point is—anything is possible. At the beginning of the week I was clinically depressed, suicidal, obese, and had lost all desire for life. By the end of the week, I lived on a tropical island in the South Pacific Ocean. I could see two other islands from the lanai on my house and I enjoyed watching the cruise ships come and go out of the Lāhainā Harbor. The sunsets were always incredible over the ocean too. 3 Trust me, the reality here in Hawai‘i is better than you can imagine. Of course, that depends on your frame of mind. If you are rude and impatient, you will find Hawai‘i to be a dangerous place. If you walk around with aloha in your heart, then you will be just fine. It is also great to use the terms Uncle and Aunty to address those that are older than you to show respect. Aloha and Mahalo go a long way as well. Just understand while you are here that you are in a sacred place of extreme beauty. Smile, say aloha, and treat the people and the land with the respect and reverence that they deserve.


Ke Ola: 2014 May–Jun  

Ke Ola magazine, May–Jun 2014

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