July–August 2014 by Ke Ola Magazine

“The Life” Cel eb rating th e a r t s, cu l t u re, a nd s u s t a i n ab i l i t y o f t h e Hawa i i a n Is la nds Hawai‘i Island Edition

July–August 2014 • Iulai–‘Aukake 2014

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

July–August 2014 Iulai–‘Aukake 2014

Art 45 Wood Sculptor Jan C. Orbom By Margaret Kearns

Business 55 Managing with Aloha: Kākou By Rosa Say 77 Celebrating a Five Year Advertiser with Ke Ola Trans-Pacific Design Culture 13 Royal Order of Kamehameha I Moku O Keawe By Russell Paio and Peter T. Young 41 Each Place has a Voice of its Own By Ku‘ulei Keakealani 62 Viewpoint: Ahu‘ena Heiau By Kahu Mikahala Roy 78 A Brief History: Queen Lili‘uokalani By Peter T. Young

Health 31 Healing Plants: ‘Uhaloa Wonderful weed is useful for many ailments By Barbara Fahs

Home 27 What Withstands the Test of Time? The Lyman Mission House By Le‘a Gleason

Land 56 Saving Hawai‘iʻs Native Dryland Forests By Denise Laitinen

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81 Bok Choy By Sonia R. Martinez

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The Lyman Mission House 1839

celebrate

life

Music 73 The Voice of an Angel Kanani Enos

Ocean 21 Wa‘a Hoena: Outrigger Canoe Paddling Bonding through lōkahi (unity) and mo‘olelo (tradition) By Alan D. McNarie

People 35 Kūpuna Talk Story: Clayton Bertelmann, 1946–2004 By Keith Nealy

65 If Walls Could Talk APACʻs long history at the Aloha Theatre By Le‘a Gleason

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Ka Puana -- Refrain 86 Lighting the Path By Kumu Keala Ching

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ACCOMODATIONS Dragonfly Ranch Healing Arts Center and B & B 84 Hokukano Bayhouse 19 Holokū Ball 42 Holualoa Hostel 39 Kalani 5 Kīlauea Lodge 38 Shipman House B & B 44

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ACTIVITIES, CULTURE, EVENTS Aloha Theatre 82 Amy B.H. Greenwell Ethnobotanical Garden 57 Dolphin Journeys 22 FairWind Big Island Ocean Guides 20 Hawaii Volcano Natl. Park Tours 26 Hawaii Museum of Contempory Art/EHCC 44 Hilo Orchid Society 84 Kalani 5 Kohala Zipline 74 Kona Boys 22 Kona Eco-Adventures Zipline 33 Lyman Museum & Mission House 44 Paleaku Peace Garden 17 TEDx Kamuela 60 Yurt Project Fundraiser for Habitat for Humanity 58

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BUILDING, CONSTRUCTION, HOME FURNISHINGS Aloha Metal Roofing 14 Bamboo Too 59 Concrete Technologies 14 dlb & Associates 59 Hawaii Water Service Co. 60 HomeWorld 39 Indich Collection Hawaiian Rugs 72 Islandwide Solar 24 Mason Termite 52 Pacific Gunite 28 Plantation Living 66 Statements 49 Tai Lake 70 Trans-Pacific Design 25 WaterWorks 38 Yurts of Hawai‘i 17 BUSINESS AND PROFESSIONAL SERVICES A Wealth of Wisdom Book Publishing 37 Action Business Services 54 Aloha Business Services 85 Great American Self Storage 54 Hokukano Bayhouse 19 Homes Group 25 Kona MacNet 85 Law Office of Lee Mattingly 52 Lorraine Shin Penn for OHA 40 Omnia - Coach, Mentor, Healer 52 Regency at Hualalai 23 UPS Store 34

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REAL ESTATE Coldwell Banker-Daylum Properties 28 Jacob Schneider, RB, Hawaii Beach & Golf Properties 61 Lava Rock Realty 3 Kelly Shaw, RS, Koa Realty 87 Ralph Harrison, RS, World Class Properties Hawaii 4 The Real Estate Book 54 RESTAURANTS AND FOOD Aloha Lehua Café 37 Blue Dragon Restaurant 15 Glow Hawaii Inspired Foods, Products & Services 47 Holukoa Gardens & Café 26 Ho‘oulu Community Farmers Market & Artisan Fair 61 54 K’s Drive In Keauhou Farmers Market 16 Kenichi Pacific 33 Kona Coffee & Tea 61 Kona Yogurt 16 Lucy’s Taqueria 44 Pele’s Kitchen 37 Peaberry & Galette 33 Rumley Edible Art Café (Acai & Crepes) 47 South Kona Green Market 22 Sushi Rock 75 Sweet & Savory Treats 38 RETAIL AND GIFTS Aloha Kona Kids 48 Aloha Kona Kids 69 AlohaTeddyBears.com 33 Basically Books 44 Hawaii Marine Center 14 Hawaii’s Gift Baskets 54 Kadota’s Liquor 54 Kiernan Music 68 Keauhou Shopping Center 32 Keauhou Store 26 Kings’ Shops & Queens’ MarketPlace 10 Kona Commons Shopping Center 64 Paradise Found Boutique 33 Puna Style 37 South Kona Macadamia Nut Co. 16 Sweet Wind Books & Beads 34 Vera’s Treasures & Mall 38 TRAVEL Jet Vacation Travel Agency

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

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.

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Aloha from the Publisher The Ke Ola staff loves to be involved with what’s happening around the island. One of our favorites is the monthly Twilight at Kalahuipua‘a, aka “Talk Story” on the property of the Mauna Lani Bay Hotel. On May 17, we were able to celebrate our May/June issue (and editor Renée’s May birthday) on the porch of the Eva Parker Woods cottage with “cover girl,” 2013 Pā‘ū Queen Anna Akaka and her husband, Danny. Also on the porch were Chad ‘Onohi Paishon, a navigator on the Hōkūle‘a and a fine musician, jamming along with the talented Liebert Lindsey, and Danny. What a great time we had! Aunty Maile, whose story we featured in the same issue, was handing out birthday lei to many in attendance, in honor of her own birthday! What a beautiful spirit Aunty Maile is!

Barbara Garcia, Sharon Bowling, Renée Robinson, and Lindsay Brown with Joe Holt on the porch of May’s Twilight at Kalahuipua‘a

From Our Readers

✿ Aloha Editor, What a wonderful article about our own Waimea gem, Aunty Maile in the May–June 2014 issue. Aunty Maile officiated my husband’s and my wedding vow renewal years ago and gave each of us a stunning lehua lei, that we still have hanging in our home. I then had the distinct honour of learning the art of lei making with Aunty Maile at a workshop she held for the Year of the Paniolo celebration in 2008. Aunty Maile said that every person should know how to make a lei. Dozens of women thronged to her house to learn how to gather, clean, and assemble the lei. And as my kumu, Ana Nawahine Kaho‘opi‘i has taught me, that this tradition must carry on through my actions. Whenever I gather and assemble a lei, I can hear the words of Aunty Maile’s instructions ringing in my ears. I continue to make leis, as Aunty Maile does, for whoever asks me for one. The tradition of Hawaiian artistry continues. Kit Kahelelani Hill Waimea, Hawai‘i Island ✿ Dear Barb, LOVED the May/June issue! Anna and the pā‘ū riders, Kiernan Music (my personal favorite), Ben Samson: all so beautifully written and such wonderful stories. I feel so proud to have been a part of the very beginnings of Ke Ola. My best gig ever and I remain one of your most loyal followers! Mahalo nui loa for a very special island magazine. I’m the only person on island who owns one of Brian and his son’s K Side ‘ukuleles that they make. The ukulele is unbelievable and I’ve only had it for about five months. Love it! Deb Sims Kailua-Kona, Hawai‘i Island

The following Saturday, May 24, we had the honor of boarding and touring the Hōkūle‘a and Hikianalia while they were in Hilo, as they waited for a safe day to depart for Tahiti, on the first leg of their World Wide Voyage. We were inspired by their mission to bring aloha around the planet by connecting all the seas, proving to the world that we truly are all one, and that this globe can be navigated without modern technology. You can look forward to seeing an update or story in each issue of Ke Ola for the duration of the voyage. We encourage all our readers to follow the Hōkūle‘a and the Hikianalia in real time at Hokulea.com. In this issue, we feature one of Keith Nealy’s interview series Kūpuna Talk Story. Keith pays tribute to Clay Bertelmann, a one time captain of Hōkūle’a, and one of the creators of Makali‘i, Hawai‘i Island’s own sailing wa‘a (canoe), which Renée Robinson, Sharon Bowling, and launched in February, 1995. Barbara Garcia with a crew member There are many other on the Hōkūle‘a, and the Hikianalia wonderful stories in this issue. masts in the background We hope you enjoy them all! In June, we released our first Wedding and Special Occasion magazine, which will be published twice a year. In addition to distribution on-island, we’ve also mailed it to travel agents and wedding planners in major cities in Washington, Oregon, California, and Nevada, as well as to hula hālau in Japan. It’s a big hit here, and with one story translated into Japanese, we’re already hearing great things from the Japanese wedding market. The wedding issue had only been out for one day when one of our advertisers contacted us to tell us they had already received an order, so we’re excited about expanding this special issue with the second edition. If you (or anyone you know) would like to contribute story ideas or inquire about advertising for wedding services and other special occasions, please contact us. Aloha pumehana, Barbara Garcia, Publisher

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Keauhou

| By Na Kumu Keala Ching

Nani wale ku‘u ‘ike i Keauhou

Beauty indeed is Keauhou

Nani wale ku‘u ‘ike

Beauty indeed

I ka mana hunehune

Is the delicate spirit

Noho la‘i ‘o Kanikani ka ‘ula

Peacefully is Kanikani ka ‘ula

I kai o Kaukulaelae

Toward the sea until Kaukulaelae

Aia i ke ‘ala o ke ola

Where the path of life

Kapu malu ē

Is sacred

Ho‘i nō ku‘u aloha

Return compassion

I ke alo o Hualālai ē

To the face of Hualālai

E ola, e ola, e ola ē

Let it live, live forever!

Keauhou, aia nā mea kupaianaha ke ‘ike aku. Noho wale i ka hale Akua o Kanikani ka ‘ula, ho‘ohanohano ‘ia ia hale Akua e nā Manahune. I kai ola nō, ako‘ako‘a iho nō nā iwi i hala ma Kaukulaelae, he ‘uhane lele ia. Kupu ho‘i ke ola kūpuna ā malu i ke kapu. Aia i Hualālai ke aloha i ‘ike ‘ia. E ola! At Keauhou, a special place to experience. Kanikani ka ‘ula, a house of the spirit honored by the Manahune (fine delicate spirit). Toward the sea of life, the spirits gather at Kaukulaelae—a place where the spirits transition. Indeed where the life of our ancestors are protected forever. Hualālai is where love can be seen. Let it live! Kapukapu Keauhou

Honored Keauhou

Kapukapu Keauhou

Honored Keauhou

Noho ‘o Kau‘ikeaouli

Residence of Kau‘ikeaouli

I ka lani ‘uli‘uli

Dark gray heavens

Kau mai i uka

Placed up high

Aia ke ola

There is the life

Kapu o ke Akua

Sacred of the Highest Spirit

Wahi hāwanawana

Calm and gentle place

I ku‘u poli

Dear to my bosom

I ka laelae

To the point

‘O Kaukulaelae

Of Kaukulaelae

He lei kupukupu

A lei of Kupukupu ferns

Laua‘e i ke ‘ala

Laua‘e scent woven

A mele honoring Kau‘ikeaouli, a special chief indeed. A royal lei of kupukupu ferns with the scent of laua‘e. Kapihe returned the life of Kau‘ikeaouli, honoring the sacred spirit of Keōpūolani. It is like the spirit of the ancestors at Kaukulaelae. Let it live! Honoring the special qualities found in everyone and every place. Stop and observe, it is wise! Contact Kumu Keala Ching: kumukeala@nawaiiwiola.org

KeOlaMagazine.com | July/August 2014

au‘ikeaouli, he ali‘i kupaianaha ma kona ola ā he mele ho‘ohanohano iā ia ma Keauhou. He lei ali‘i i ke kupukupu me ke ‘ala laua‘e i lei ‘ia. Aia ke kapu o ke Akua ā na Kapihe i ho‘iho‘i ke ola iā Kau‘ikeaouli. Ua ho‘i ke ola i ka poli o Keōpūolani, pili nō ke ola kūpuna i Kaukulaelae. E ola!

Royal Order of Kamehameha I Moku O Keawe

| By Russell Paio and Peter T. Young

Moku O Kona, Moku O Māmalahoa, and Moku O Kohala at the blessing of the Hōkūle‘a, Hikianalia, and the World Wide Voyage, May 24, 2014 photo courtesy John Bilderback / Patagonia 2014 / Malama Honua Editor’s Note: In respect for Moku O Kona, this story will not include the diacritics of the modern Hawaiian language, with the exception of the name of the Hawaii Island–East side, Hilo area Moku.

he Order of Kamehameha as it exists today was created on April 11, 1865 by Kamehameha V (Lot). The first Hawaiian Royal Order was established by the King to commemorate his grandfather, Kamehameha the Great. With the death of his younger brother in 1863 (Alexander Liholiho—Kamehameha IV), Prince Lot Kapuaiwa became Kamehameha V. He sought a new constitution to restore more powers to the king. In 1864, when it appeared that a new constitution could not be agreed upon, he declared that the Constitution of 1852 be replaced by one he had written himself. Consistent with the prior constitution, Article 35 of the Constitution of 1864 (identified as Article 37 in the prior Constitution of 1852) states, “All Titles of Honor, Orders, and other distinctions, emanate from the King.” The King’s Decree noted he was “desirous to cultivate and develop among (his) subjects the feelings of Honour and Loyalty to Our Dynasty and its institutions…” It also expressed his “wish to confer honorary distinctions upon such of Our subjects and foreigners as have rendered, or may hereafter render, to Our dynasty and People important services …” Privy Council meeting minutes state: “His Majesty stated that it was his intention to make Known to the Privy Council that it is his desire to institute an order of merit. Having read the Article 35 of the Constitution he asked the advice of the members of the P. C. as to the propriety of creating an order, and read a Decree which

he had prepared. Members Varigny, Harris and Andrews spoke in favor of the Institution and the following resolution passed unanimously. “Res 2. Resolved that this Council fully concurring in the views embodied in the preamble of a decree instituting an order of merit, respectfully advises His Majesty to promulgate the proposed decree.” The King made himself an ex officio Grand Chancellor of the Order of Kamehameha I; he also conferred the Order to a number of people, including Mataio Kekuanaoa and Richard Wyllie (Grand Cross;) CG Hopkins, GM Robertson, EH Allen (Commander), and a number of Knights. His Decree and subsequent statutes and meeting notes of what appears to be an organizational meeting, held March 16, 1867, note that there were initially three classes and limits on the number of (living) members in each class: Knights Grand Cross (10-members,) Knights Commanders (30-members) and Knights Companions (Knight) (50-members.) King Kamehameha Day Parade, 2012 Kailua-Kona

Participants in the 1867 meeting included King Kamehameha V, Mataio Kekuanaoa, Elisha H Allen, E Varigny, CC Harris, John O Dominus, Paul Kanoa, and HP Staley. The class and membership limitations did not include the King’s right to make appointments to foreigners (Foreign Exchanges) or as complementary to foreign sovereigns or powers. Prior to admittance, prospective members were required to state the following oath: “I do hereby solemnly swear to remain faithful to the principles of honor, obedient to the rules of the Order of Kamehameha I and to be a true and faithful Knight of the said Order of which I am this day a member.” Commissions issued to members of the Order were signed by the King and countersigned by the Chancellor of the Order.

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In the duration of the issuance of Order medallions under the Hawaiian monarchs (1865-1886), the Order of Kamehameha was awarded 57 times by King Kamehameha V and 82 times by King Kalakaua. The insignia, worn on the left breast, consists of a Maltese Cross surmounted by the Hawaiian crown. Rays of gold or silver are found between the arms of the cross. Enameled in blue and white and centered on the cross is a circular shield, the center of which is inscribed and elaborates “K.” On the periphery of the shield in a blue ban, is the inscription “Kamehameha I;” on the badge’s reverse around the shield is inscribed “E Hookanaka” (To be a man).

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In 1893, after the overthrow of Queen Liliuokalani, the Order operated as a secret society until 1903, when under Prince Kuhio Kalanianaole it returned into the public light. “Credit for the founding of this Order, which dates from May 1903, or a little more than 10 years after the close of the monarchy and a little less than five years after annexation to the United States, belongs to Dr. George H. Huddy, who has Merrie Monarch Parade, 2012 served the territory faithfully and well as a representative in the legislature, first from Kauai and then from Hawaii … Prince Jonah Kuhio Kalanianaole, delegate to congress, was the first alii ai moku, or sovereign head of the revived Order” (StarBulletin; June 10, 1913). In 1905, the Order of Kamehameha brought solemnity to the Kamehameha Day holiday by draping a lei on the statue of Kamehameha in front of Aliiolani Hale and standing watch throughout the day (Stillman). On July 16, 1907, Jonah Kuhio Kalanianaole, George H. Huddy, Nagaran Fernandez, Carlos A. Long, James H. Boyd, George E Smithies, Charles H. Rose, and Abraham Fernandez petitioned for a Charter for the Hawaii Chapter No. 1, Order of Kamehameha. “… the object for which the same is organized is as follows, 1. To inculcate the cardinal principles of Friendship, Charity and Benevolence; to provide for Sick and Funeral Benefits; to aid the widows and orphans; and to improve the social and moral conditions of its members” (Hawaii Chapter No. 1, Order of Kamehameha; Petition for Charter, July 16, 1907). An announcement in the Hawaiian Star shortly after noted similar language for the Māmalahoa Chapter No. 2. In 1912, members of the Order of Kamehameha invited representatives of other fraternal and civic organizations to participate in a commemorative ceremony to honor Kamehameha I. In 1914, the planning committee opted to organize a parade to process from Aala Park to Iolani Palace as a prelude to the ceremony at the Kamehameha statue. Thus, the inception of the Kamehameha Day parade. (Stillman)

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“The Order of Kamehameha ought to endure as long as social order and fraternal amenities prevail in these fair islands. This organization has changed fitful and voluntary homage to the memory of Kamehameha the Great to bounden and regular service on each anniversary of his birth. That the foremost young men of the rare are attending to this patriotic office is one of the best omens of the time. “It shows that their ideals are those of unity, courage, and progress. As they decorate the statue of Kamehameha, this day of his, with the fragrant wreaths that have long been worldknown as the regalia of the warmest human hospitality, let it be believed that they dedicate themselves anew to the social and political betterment of the still potent remnant of their wondrously Interesting race” (Star-Bulletin; June 10, 1913).

The Chapters

KeOlaMagazine.com | July/August 2014

Each Chapter has a Senior High Chief who is in charge. He may have 20 or so Chiefs on his individual council. Each Chief has a specific title and duties that he must fulfill and follow. The Chapter also includes other members who are regular members of the Moku and they assist and contribute where necessary. The “Alii Chapter” encompasses all the individual chapters. Members of the Alii Chapter include specific members of the individual chapters to serve in certain positions. The Senior High Chief in charge may have 50-60 Chiefs on his staff. Each chief has a specific title and duties that he must fulfill and follow on a different level. A member may be asked to serve on both levels, in the local individual Chapter, and on the Alii Chapter or State level, based on skill, intelligence, and commitment to the organization.

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The chapters around the state are numbered as to the date they were formed. 1. 1903 Moku O Hawaii, Oahu Downtown area 2. 1907 Moku O Māmalahoa, Hawaii Island–East side, Hilo area 3. 1918 Moku O Kaumualii, Kauai 4. 1922 Moku O Kahekili, Maui 5. 1928 Moku O Kalanianaole, Molokai (presently inactive) 6. 1962 Moku O Kuhio, Oahu, Kaneohe area 7. 1994 Moku O Kona, Hawaii Island 8. 2007 Moku O Kapuaiwa on Oahu, Kapolei area 9. 2011 Moku O Kohala, Hawaii Island

Who are the Members?

The foundation of the organization relies on the basic principles of the Brotherhood of Man. The Order strives to teach a member the duty he owes to Akua, his ancestors, his neighbor, and himself. To become a member one must be a kane (male) with Hawaiian descent who desires to join. No one is forced to be a member. He is loyal to one’s country and cheerfully renders obedience to every lawful authority. The members are taught the practice of virtue with the use of extensive symbolism—kaona or hidden meanings.

In front of Hulihee Palace King Kamehameha Day Parade

There are three types of membership: • Regular membership—kane must have Hawaiian ancestry • Honorary membership—kane can be of any ancestry • Na Wahine Hui O Kamehameha I—the women who are married to a member One well-known Honorary Alii Kahuna Laau Lapaau is Dr. Earl Bakken.

Code of Conduct

This is shared with an intended applicant who desires to be a member of the Order. If he chooses to live up to these requirements, then he can apply for membership. The Code of Conduct requires adherence to the behavior and cultural respect of nine categories of conduct and its corresponding Hawaiian values, attitudes, and concepts: 1. Kamehameha I (The Standard) Kamehameha, the Standard of Leadership. The ihe (spear) reminds us that Kamehameha with his chiefs and warriors united these islands; we are expected to guard well the welfare of our Order and to protect it against all enemies who seek to attack it with untruths. Keep always that high standard of integrity and honor as a Hawaiian subject and the duty you owe your country and Noble Order. Be a man in the highest sense of the word and let your conduct be a shining light among men. E HOOKANAKA – “Be a Man” 2. Alakai (Leadership) Cultivates the cardinal principles of friendship, charity, and benevolence; infuse the spirit of patriotism, loyalty,

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Annual Luau Fundraiser

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helpfulness, and kindness among its members, advance the interest of members in every rightful cause, and to encourage and develop leadership. 3. Kalaiaina (Political) The mission of the Royal Order of Kamehameha I, is to reaffirm the existence of the Kingdom of Hawaii and advocate for its full entitlements of Self Governance over its People, Land, Ocean, and other resources. 4. Hoolono (Obedient) Promise to aid in advancing the benefits of the Royal Order of Kamehameha I, and obey all orders given to you by the High Chiefs. 5. Wahi noho like o ka poe (Community) Uplift the Hawaiian people, Lokahi = Unity, as Hawaiians realizing the necessity of uniting our people so that ALOHA for one another may be fostered and cherished. 6. Na ike a me na hana (Cultural) Preserving and perpetuating the culture of our forefathers, uplift the Hawaiian people. 7. Hoomana (Spiritual) All life forms seen and unseen are sacred. Therefore all things require respect for their Mana (spiritual life energy). Maintain an attitude of respect and humility. 8. Makahiki (Sports and Religious Festivities) Caring for life, encouraging a brother to participate in the Order’s activities to the fullest extent possible. The ancient customs and practices are honored. 9. Hooponopono (Make Right) Healing to make right, to aid a brother in distress, to relieve his necessities in so far as you are able to. Hoihi aku, Hoihi mai, sharing mutual respect for each other with an attitude of haahaa, being humble.

What the Royal Order is not

The Royal Order of Kamehameha is not a benefit society. No one should attempt to join the organization with the hope or expectation that he will derive any financial benefit out of it—this is pure volunteerism. Nor should one join and expect the hope of personal gain or advancement within the organization. No member is forced to go up against his personal moral, civil, or religious duties. More importantly, the Order is not to be used for mercenary or other unworthy motives, such as any material or moneymaking reasons.

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What is Kapu

For protection purposes each person’s level of each chief is never revealed outside of the Royal Order. When the Royal Order is in full dress at any ceremony— dressed in black and wearing yellow and red capes in various designs—they are channeling the Alii and should not be touched or conversed with. Which is why, if anyone comes up to give them a hug while they are wearing their cape, they will politely redirect the hands of the greeter. Wahine (women) are not allowed to touch the capes, even when hanging in a member’s closet. The various colors and designs of the capes mean different things and are not revealed outside the Royal Order. “People ask us if we are a secret society, and I say no, we are a society with secrets,” says Nainoa Perry.

The purpose of the Royal Order today

The organization preserves and perpetuates the ancient culture, customs, and traditions of Hawaii while uplifting the Hawaiian people. The members unite and cultivate the cardinal principles of friendship, charity, and benevolence. They provide aid to widows and orphans. And improve the social and moral conditions of its members by infusing the spirit of patriotism, loyalty, helpfulness, and kindness. The Order encourages and develops leadership and advances the interest of its members in every rightful cause. It provides scholarship assistance to graduating West Hawaii high school seniors to help them pursue their goals of higher education at a two or four year college. Now, are they doing all of this? It depends who you ask, as a lot of what the Order does is done behind the scenes and not out in public view. It doesn’t matter what the public thinks of the Order, as long as its members know who they are and what they do. The organization was not created to be a popular men’s club. Yes, they are a fraternal group, however with a specific purpose. “As with all other organizations and groups in existence today, their current leadership will always try to improve or change the mission and goals of the organization entity to fit the modern world. We try to stay to the original purpose as much as possible, yet always leave room to adapt, modify, amend, and refine without losing the focus on our purpose,” says Russell Paio.

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Annual Fundraiser

The third annual luau is August 9, 2014 at the Makaeo pavilion at Old Airport State Park in Kailua Kona. The cost is $30, with the proceeds going towards their scholarship program. This is the second year the Royal Order Moku O Kona will be giving out scholarships and hopefully it will continue annually with the assistance of the local community and area kupuna. ❖ To order Luau tickets: 808.747.6165 Contact writer Peter T. Young: ToTakeResponsibility.blogspot.com Contact writer Russell Paio: RoyalOrderOfKamehameha.org Photos by Renée Robinson

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Wa‘a Hoena: Outrigger Canoe Paddling

Bonding through lōkahi (unity) and mo‘olelo (tradition) | By Alan D. McNarie

Keoua Honaunau Canoe Club president and head coach, Rafael Ramirez (left foreground) and his crew unrig the club’s koa canoe Ka‘ahumanu at Kamakahonu Beach, after the finish of the men’s race.

photo courtesy Ana Ramirez

A‘a, which was designed specifically for racing. A‘a won most of the races it entered for years until it began facing competitors designed like it. Later, Tahitian-influenced designs began to show up in local races. They were still built the traditional way, with koa-wood hulls painstakingly hollowed out, shaped, and smoothed by hand. To get a sense of where the outrigger racing has come from, step into the concourse of King Kamehameha’s Kona Beach Hotel and look at the Mahoe on display. This canoe dominated the Queen Lili‘uokalani and other long-distance races in the late 1970s and the 1980s. Built from a single Hawaiian koa log by an expert Tahitian crew for the Kai ‘Opua Canoe Club, the hull of the Mahoe is leaner than its fishing canoe ancestors. Yet the canoe is recognizable despite the leaner hull. A kanaka maoli (native Hawaiian) from 1000 years ago would have recognized it easily: the hand-lashed outrigger, the sleek graceful lines, the carefully hand-smoothed

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eptuagenarian (in his seventies) Rafael Ramirez still vividly remembers the first time he set a paddle in the water. “I paddled out and saw the reef and saw the fish, and I paddled back and said, man, this is awesome,” he recalls. “The feeling of power that I felt, being able to self-propel in the ocean…I could feel it right here,” Rafael says, pointing between his eyes. “A real buzz. My third eye—it opened it. From that moment, I lived to paddle.” Within a year, he was paddling in his first Queen Lilli‘uokalani— an annual long-distance canoe race through Kai ‘Opua Canoe Club, now in its 43rd year. On August 30, “God willing,” he says, he’ll be paddling his 40th race. Rafael and the race have matured together. The Queen Lili‘uokalani race has grown from a single 1971 race featuring eight canoes into the world’s largest long-distance paddling event, with 150 or more canoes from myriad islands and three continents. The events now stretch over three days. The traditional 17.4-mile long distance race—from Kailua-Kona to Hōnaunau for the women and Hōnaunau to Kailua-Kona for the men—takes place on Saturday. Sunday sees a host of shorter races for double-hulled canoes, one and two man teams, teenaged crews, and even paddleboards. On Monday, 12-person crews will participate in the Ali‘i Challenge: a sort of cross between the Ironman Triathlon and the Survivor reality show, with a canoe race followed by a culture-based obstacle course on land. The sport itself has evolved, as well. Outrigger racing has probably existed for as long as Polynesians have. In Hawai‘i, it was part of the training that the king’s warriors underwent to stay ready for battle, but was banned after Queen Ka‘ahumanu converted to Christianity and wasn’t made legal again until the reign of Kalākaua. Modern outrigger racing could be said to have started in 1902, when Prince Kūhiō commissioned a koa canoe, the legendary

photo by CharlaPhotography.com

KeOlaMagazine.com | July/August 2014

dugout hull that took countless man-hours to shape and polish. Like a streamlined racecar, the Mahoe exudes power and grace; even sitting on its concrete pedestal, it gives the sense of wanting to MOVE. It also exudes history and tradition. From the graceful, uplifted prow to the little stubby tail of wood under the stern, Mahoe’s form evolved over hundreds of generations. Veteran paddlers treat their canoes like “an ancestral member of the family,” notes Rafael. “Some of them have already been through three or four of our generations [of paddlers]. And before that, it was a tree.” In the decades since the Mahoe first graced Kona waters, modern fiberglass and composite hulls have come to dominate the sport. Outside the hotel on the white sand beside Kailua Pier, the Kai ‘Opua and Kai ‘Ehitu canoe clubs keep dozens of examples of this new breed of racer, which is a little lighter and more svelte than even than the Mahoe. Yet, not much lighter, not much skinnier. They’re still essentially the same form in a different medium. The proliferation of fiberglass canoes probably has more to do with its ability to be mass-produced given the rapid expansion of the sport and the scarcity of big koa trees than with the superiority of the material. That point was hammered home in last year’s Queen Lili‘uokalani race, when the canoe with the best overall time was made from koa. “Koa is not a lot heavier,” notes race director Mike Atwood of Kai ‘Opua, which sponsors the event. Modern

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photo by Renée Robinson

koa and fiberglass racing canoes, he says, are both usually about 400 to 410 pounds. And the paddlers have evolved, too. Mike estimates that about 40 percent of the participants live in Hawai‘i. The rest of the crews come from as far away as California, Florida, Guam, Tahiti, New Zealand, Singapore, Australia, and Japan. One winning women’s crew in recent years traveled all the way from Calgary, Canada. Paddling, like surfing, has become a truly international sport. This race, notes Mike, especially honors “the fact that this is a Hawaiian sport and so deeply rooted in cultural traditions.” After all, the two starting/finishing points of the main race are across from two of Hawai‘i’s most sacred spots: Kamakahonu, Kamehameha the Great’s final residence; and Pu‘uhonua o Hōnaunau, the sacred heiau where defeated warriors and others sought refuge in time of war. Keoua Honaunau Canoe Club, headed by Rafael, produces a pamphlet on the sacred site and its protocols that each race team receives on arrival. When the paddlers arrive at Hōnaunau, they’re greeted with a traditional welcoming ceremony. “You understand that Hōnaunau is a sacred place. So many of our kūpuna (ancestors) family, friends—their ashes are spread in that place,” says Rafael. “With all that mana—this is a resting place; when people come for a race, you have to have a welcoming ceremony to set the tone.” In Kailua-Kona race participants and spectators also get exposed to cultural activities, ranging from history walks and a lū‘au to some traditional makahiki games incorporated into the Ali‘i Challenge. “It’s surprising how many people take the time to research what else is involved in Hawaiian culture,” notes Mike.

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Hand-smoothed, dugout hull of koa Mahoe canoe

photos by Renée Robinson

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photo by CharlaPhotography.com

And the participants have evolved in another way: they’re more diverse than ever before. This is one sport that welcomes whole families, with racing categories for teens, adults, and seniors in both genders (though there’s not yet a category in the Lili‘uokalani races for women over 65—a gap that Rafael’s wife, Ana, wants closed). On practice days at Kailua Bay, scores of keiki, some as young as seven years old, take to the water to paddle under the watchful eyes of Mike and Larry “Uncle Bo” Campos. Keoua Honaunau Canoe Club started as an activity of a local Hawaiian immersion school. Those kids are growing up with the sport, becoming superb adult paddlers, and it’s showing at the finish line. “In those days, forty strokes was the most we could do,” recalls one original member of the Kai ‘Opua Canoe Club, describing the club’s early years in the 1930s. Until recently, most participants in the long-distance race used nine-member crews for their boats, which accommodate only six paddlers at a time; the three replacements would go ahead in a chase boat, then swim to the canoes, and get in on one side as the paddlers they were replacing jumped out on the other. Now

about 80 percent of the crews participate in the “Iron” category: the same six paddlers stay in the boat for the entire span of the 17.4-mile course. That’s helping with what may be the greatest challenge that the race faces: how to cope with its own success. A hundred and fifty or more canoes crowding the harbor at Kailua-Kona is an incredible spectacle. “When you’re at the starting line and you look to your left and look to your right, it reaches to infinity,” remarked one Canadian woman paddler in awe last year. Down at little Hōnaunau Bay, which already hosts a thousand or more tourists a day, all those canoes can be downright overwhelming. A six-man racing canoe is usually 45 feet long— about the length of a humpback whale. To those 150 whales, add scores of support and pleasure boats, and 1800 or more swimmers as the female crews trade places with their men, and you’ve got a major management challenge, especially when most of the bay is lined with delicate coral, and there’s only one decent spot besides the boat ramp where swimmers can get out of the water: a pair of basalt shelves nicknamed “Two Step” that can comfortably handle only a couple of people at a time.

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The trend toward iron crews has helped, since there are now far fewer support boats. So has moving the starting line out to a buoy and using staggered starts for different categories. Kai ‘Opua has rented boats that anchor offshore as changing stations, so some male and female crews can switch without swimming to or from the shore. Buses help cut down the number of rental cars shuttling between Hōnaunau and Kailua-Kona and the problem of getting hundreds of car keys from male crew to female crew. And grounding the race with the welcoming ceremony helps, too, believes Rafael. When people are aware of the spiritual power of the place—its mana—they generally treat it with proper respect. Rafael notes, for instance, that there’s seldom any remaining litter at the event because people make sure to clean up after themselves. Uncle Bo, who’s been paddling outriggers since he was seven years old, goes one step further. One big draw of the Queen Lili‘uokalani event itself, he believes, is “that you’re coming to a beautiful and spiritual race.” And it may not be just this one race. Outrigger paddlers often talk about a bond that develops between the canoe and the other paddlers that’s both physical and mystical. “The thrill in general is that you get to go out in the ocean and just kind of feel the canoe glide, and you’re out there with the dolphins and the whales and can generally be in tune with nature,” believes Mike. “There are times when the ocean isn’t so friendly. Then you really have to rely on the people with you to be able to get back—when the wind gets choppy and the waves are rolling—when you’re really in sync, it seems effortless. People

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work as a unit rather than six individuals.” Rafael also talks about that synchronicity—when canoe and paddlers, stroker and steersman put themselves aside and become a single being. “It takes a lot of mental discipline. Your mind has to tell your body to just keep on doing it. Your body will be telling you, oh, this hurts, oh, I’m itchy, oh, I’m hot, it’s too fast...” he says. “You know that canoe is part of you. It will bring you back, but it won’t bring you back on its own. There’s that bond there. Everybody’s gotta do their part. Not everybody brings the same thing to the table, but once it’s on the table, we all share.” ❖

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The Lyman Mission House

| By Le‘a Gleason

David and Sarah raised seven children in the home and worked to establish a system of education in the community. They believed that if people could read, they could read the bible and learn the gospel. David was instrumental in creating the Hilo Boarding School and served as the principal. Sarah taught there, homeschooled their children, and led sewing circles. Both were passionate about teaching the native children in Hawaiian and did so until they were commanded not to. Much of what’s known of the Lyman’s history is through Sarah’s letters and detailed journal entries, as the missionaries were required to keep journals. In the late 1920s, a land company was building a new subdivision on Halai Hill and wanted to demolish the home and build a road where it stood. The youngest Lyman child, Emma, then

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magine sailing for six months, leaving the cool Atlantic Ocean, and passing into the breezy Pacific Ocean to land in a foreign place. The rain soaks the thatched roof of your new home creating an ever-present dampness that warms to a heavy humidity with the beating sun. Here, there is no running water or electricity. Everyone speaks a different language. Letters home receive response nearly a year later. It might seem like life in Hilo in the early nineteenth-century was tragically difficult for missionaries David and Sarah Lyman and their seven children, and in fact theirs is a story of inspiration, resilience, and growth. Less than three weeks after they were wed, Reverend David and his wife Sarah boarded a ship and left New England on a mission to share the gospel with the Hawaiian people. They landed in Hilo in 1832 and over time became prominent community figures. They never returned home, as they would live to grow deep roots here in Hilo. The two originally resided in a stone hale (house) with a thatched roof until they moved into an improved stone hale with interior doors and glass windows. Later they moved into what would become their permanent home which was built in 1839 close to where it now stands on Haili Street. At the time, however, the home faced the ocean and was located down a footpath just off of what was then Church Street. The home featured the square-shaped lumber used in western-style homes but continued to use the traditional thatched roof style, for which Sarah suffered many health issues. To her relief, it was replaced with a new zinc roof, and four upstairs rooms were added in 1856.

What Withstands the Test of Time?

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80 years old, bought the house back from the land trust that owned it and had it moved on large logs to the place it now stands. If history could talk, Emma Lyman must have known something was special about her childhood home when she fought to save it, for today what is simply called the “Mission House” represents so much more than that. In itself the home is a registered artifact as well as a registered historical site. It is the oldest frame structure on Hawai‘i Island and represents a time in history when Hilo was experiencing growth, political change, and a new blending of cultures from abroad. In 1931, the Lyman’s home became the Lyman Museum. The second floor was to become the museum and the Hilo Women’s Club. Walls were knocked out to create the club downstairs, but when the deal fell through, the entire house became the first museum on Hawai‘i Island. In 1972, a modern museum building was constructed next door, and finally, in 1981, the Mission House opened up for tours, offering a little piece of living history to visitors. In the years since the official Lyman Museum building has existed, the Mission house has had room to grow into its own special display of history. Caring for a home that has been through such an evolution is no small feat. In 1996, Jill Maruyama became curator of the Mission House and has worked tirelessly since the project began in 2001 to restore it to its original condition. In the nineteenthirties renovations were made to the house and although they too were old by modern standards, Jill has focused on returning the house back to its original date.

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“It’s a responsibility and an honor for me to be able to take care of the house. What goes into the house—we’ve done a restoration not only physically but interior wise—what type of wallpaper we put in, furniture—we try to get it back to the time period of their residency,” Jill says. Jill explains that she and her staff try to do the interior decorating as much as possible the way Sarah would have done things. Not many pieces of furniture remain that were theirs, yet those in the house were built in the same time period. Through the journals, it is evident that although the home is large, the interior was not ornate. It was furnished with simple koa furniture. Pictures of Jesus adorned the walls. And through those same journals, Jill says she finds a connection with Sarah and the ways in which she grew throughout her time living in Hilo. “Reading Sarah’s journal did make an impact on me. Seeing how the community and the people impacted and changed her—she softened in many ways. Some of the missionaries did go back, but the Lymans lived out their lives here so they really planted roots. They were very grounded here. Father and Mother Lyman, as they were called by the students, were very respected in the community,” she says. In that same spirit of respect, not only has Jill worked to restore the interior of the house, but also to complete a project that was a dream from the time she first became curator. In 1845, a wing was added to the home as Reverend Lyman’s study and barter room. In 1931 when the house became a museum, the room was converted into an apartment for the then-curator. Restoring what she calls “the annex” has added a sense of completion to the house for Jill. “I worked with historic architect Spencer Leineweber in Honolulu, and she’s helped us tremendously. She wrote a Historic Structures Report, which is a total guideline for the house: windows, walls, the wood, anything you could think of, how it was constructed. So we followed that. She did some investigation, looked at how it was built, and we started putting it back together the way it should have been,” Jill says. In 2010, the renovation was completed, and the annex is now a part of the public tour of the house. Several times a week, trained docents guide the groups through the home, painting a rich history of what it might have been like to live there. Among them is Lyman Museum Publicity and Marketing Coordinator, Rachel Pierson. “I think it’s so interesting that it’s [the house is] an actual artifact—part of the collection. Being able to tell [their] story and tell it well is a unique opportunity. Luckily we have a house so we have a lot of room to do that. I think it’s a basic storytelling. In Hawaiian, the history is passed down orally, so it’s kind of a way to represent that,” she says. Like Jill, Rachel is grateful for Sarah’s journal, too. “One of the things her journal really helps do is add in the details. We know where the school was; we have these things [to] piece together the bigger story, but her journal adds the really personal touches—how she felt about things, what she thought,” she says. Rachel adds, “One of the things that really interested me was it was feast or famine for them. Sometimes there was an abundance of food…and other times it was taro three times a day. Sarah writes about three different ways: roasted, toasted, and fried.” The structure that stands today has quite literally withstood the test of time. In 1868, the mortise and tenon style in which

the house is constructed (the same style that shipwrights use) allowed it to survive a massive earthquake. To restore an artifact to its finest condition and offer a learning opportunity to the community is just another way of giving back, Jill says. Because the Lymans gave a lot. “I think they brought—they gave into the community— education, their religious beliefs, sewing circles; whatever it was, they came to give, not take. All the land he got for the school was given to him through the Hawaiian kingdom. They weren’t takers as many of the missionaries are looked upon. [Based upon] the research I’ve done on Sarah and David I can strongly say they came here to give, and they really did care for people,” she says. The Mission House isn’t just a place on a hill. It’s a place for the community to learn about its roots. “The word I think of is stewardship, and ownership. Even though we do the physical work in taking care of the place, hopefully the community feels some responsibility or connection to it. We hope they feel it’s their museum, whatever their nationality or ethnic group. Our mission is to tell the story of Hawai‘i, its islands, and its people,” Jill says. And Hilo’s Lyman Mission House is certainly a part of that history. ❖ Contact Lyman Museum: LymanMuseum.org Contact writer Le‘a Gleason: lgfreelancehawaii@gmail.com

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Healing Plants: ‘Uhaloa

Wonderful weed is useful for many ailments |

esidents in lower elevations on all Hawaiian Islands might have noticed a grey-green plant growing in seemingly impossible places on their properties. The plant is not especially attractive, so many people remove it from their carefully designed landscapes. ‘Uhaloa grows to only six feet tall under optimal conditions. It is sometimes called hi‘aloa in Hawaiian and Waltheria americana in the botanical world. Other nicknames include “sleepy morning,” “velvet leaf,” and “monkey bush.” Belonging to the same plant family as cacao (Sterculiaceae), this plant bears no similarity to the tree that produces chocolate.

Historical Uses in Hawai‘i

Uses in Other Tropical Areas

‘Uhaloa is found in many other tropical parts of the world at the lower elevations. For example, in Africa, where a species known as Waltherica indica grows as a native plant, indigenous peoples have long made an extract from the plant, believing it useful for skin ailments as well as infections. Modern science has validated this use by determining that the plant contains astringent, tonic, analgesic, and emollient properties. In Panama and other Central American regions, traditional practitioners make an eye wash from the leaves of this plant. In the same region, it is also used to treat some bronchial ailments. ‘Uhaloa and its related species are used for more than just medicine in some tropical areas. Its fiber is strong and has been

utilized in the making of cords, sacking, padding, and sandals, according to a document from the US Forest Service. In Hawai‘i, canoe builders used pounded leaves to fill in cracks.

Growing ‘Uhaloa

If you live in a warm, dry area, you might have ‘uhaloa growing wild somewhere on your property. It thrives on neglect, preferring rocky areas and poor soil. It needs no water or fertilizer, since Mother Nature provides all of its needs. It can endure droughts, salt spray, and soil with higher than normal concentrations of salt. Even the bugs leave it alone. Creating a garden area that includes Hawaiian native plants— whether they are medicinal or ornamental—helps to perpetuate some of our rare and endangered species. Although ‘uhaloa is not classified as endangered, it is uncommon in many parts of the world and is considered a native plant or early introduction. To transplant ‘uhaloa, find a small, healthy plant on a friend’s property. Carefully dig it up and plant it in a sunny place in your yard. It reseeds itself readily, so be sure to leave space in your garden plan for more of these plants to pop up as volunteers. If you harvest the small, round, dry fruit capsules, you can later plant the tiny seeds you find inside. 1. Place the capsules in a brown paper bag and store them in a warm, dark, dry, well-ventilated spot for one week. 2. Place the dried capsules into a strainer and rub them to force the seeds to separate and drop through onto a sheet of paper. 3. Drop seeds onto a mixture of sterile potting soil and perlite or fine cinder. Cover with 1/8 inch of soil. 4. Keep seeded flats in a shady area. 5. Keep the soil moist until you notice seedlings germinating, which will occur in one to three months. Contact writer Barbara Fahs: hiiakas@lava.net Notes/Info/Sources Earth Medicine Institute: EarthMedicineInstitute.com/more/ library/medicinal-plants/waltheria-americana University of Hawaii: Botany.hawaii.edu/faculty/carr/sterculi.htm Tropilab Inc.: Tropilab.com/sleepy-waltheria.html Native Plants Hawaii: Nativeplants.hawaii.edu/plant/view/Waltheria_indica Hawaiian Native Plant Propagation Database: Hawaii.edu/~eherring/hawnprop/wal-indi.htm US Forest Service document: Fs.fed.us/global/iitf/pdf/shrubsWaltheria%20indica.pdf

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‘Uhaloa is believed to be an early Polynesian introduction, although concrete evidence of this is lacking. It has been used throughout Polynesia for hundreds of years for many different health concerns. Early Hawaiian residents chewed the bark of its roots and swallowed the juice, in the belief that it helped to heal sore throats. Practitioners pressed the juice from its roots, leaves, flowers and flower buds and gave it as a tea to individuals suffering from asthma. Arthritic joints were helped when patients drank a tea brewed from the leaves. Kumu Dane Silva of the Ohana Learning Institute writes, “‘Uhaloa may be used both internally and externally. Consuming it as a tea or oral rinse has both traditional and scientific support for self-care and prevention of inflammatory disorders. External use as a topical or transdermal application improves circulation in the inflamed extremities.”

By Barbara Fahs

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Kūpuna Talk Story: Clayton Bertelmann 1946–2004

| By Keith Nealy

Cinephotography and CGI filmstrip by Keith Nealy

s a filmmaker and a storyteller I have been blessed with the gift of sharing the mana‘o of more than 60 of Hawai‘i’s most revered kūpuna in spirited conversation exploring the cultural legacy they carry in their memory. Each conversation has been a journey back in time into the world they inhabited, through their eyes and expressed in their words. Clay Norman Bertelmann was a paniolo from Waimea—as tough as they come. Although he spent many years working for Parker Ranch, he also had a deep love for his family, for the sea and was an avid fisherman, diver, and safety waterman on Hollywood films such as Waterworld. From 1965-68 he served in the war in Vietnam, which began to change his perspective of the world, and those years would change his life forever. A few years after Clay came back, Hawai‘i began to experience a cultural renaissance led by Herb Kāne and a few others who had a theory about the migration of the Polynesians crossing the Pacific that led to the building of the voyaging canoe Hōkūle‘a. Clay’s brother’s Shorty and Carl trained on Hōkūle‘a in 1975 and Shorty sailed on the maiden voyage of Hōkūle‘a to Tahiti in 1976. Clay eventually joined the 1985 voyage of Hōkūle‘a and sailed to Tahiti and other islands in Polynesia. By the 1992 voyage to Rarotonga, Clay had become captain of the Hōkūle‘a. Reaching the pinnacle of captain of the Hōkūle‘a would be enough for most people, though not for Clay. He and other veteran crew members of Hōkūle‘a, namely Shorty Bertelmann and Tiger Espere, wanted Hawai‘i Island to have its own canoe. In 1994 Clay had a vision and decided to build a canoe. He and the others asked the community for help— and they responded. Makali‘i was launched on Feb 4, 1995 and Clay captained her maiden voyage. Shorty, a navigator of Hōkūle‘a, joined Makali‘i as navigator and together they guided Makali‘i to Taputapuatea, Ra‘iatea in Tahiti Nui, and Nukuhiva in the Marquesas Islands. The people of Hawai‘i Island now had their own canoe, and the beginning of the legend of Makali‘i could be entered in the genealogy of voyaging canoes that settled the Pacific. I first became acquainted with Captain Clay Bertelmann at the premiere of a film I created for Dr. Earl Bakken, The Healing Island. Seated at the next table were a group of serious looking Hawaiians to whom Clay was obviously holding court. I felt a little intimidated as this was my first Hawaiian cultural production, and I knew that my film and I were going to be judged and scrutinized. At the end of the film during the applause, this huge mountain of a man with long white hair in a ponytail with sunglasses perched on top looked over at me and nodded with a positive look on his rugged face—as if to say “not bad.” To me, that nod was equal to winning an Academy Award—and I could now breathe again. Not long after I was summoned to meet with Clay and his ‘ohana wa‘a (canoe family) to discuss making a film about Makali‘i.

The following conversations came from the filming of The Magic of Makali‘i that occured between 2001-2003. Keith: What were the feelings you were having when you first sailed on Hōkūle‘a? Clay: The first time I sailed on that canoe, I said this is something that I’ve got to do. Then, to sail with Mau Pialug, the master navigator from Satawal, and being able to learn from him, not only the art of noninstrument navigation, but also the values and principles that surround his teaching ethics, ya? Of why, and how. When to, and when not to. That was so similar to how our culture was prior to contact. That was an awesome feeling, it was something that just charged me, and from then ‘til now that feeling is still strong and is still as intense as it was back then. Keith: Clay, why is the canoe so important? Clay: Well, if you look at our history at the time during the migrations, the canoe, or the wa‘a kaulua (double voyaging canoe), was the epitome of the culture— everything surrounded and supported the canoe.

Makali‘i under sail with students headed for South Point

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Keith: Tell me about the dream you had about Makali‘i. Clay: Makali‘i actually started a long time ago in our minds and in our dreams. Through the years we were blessed to be able to sail with Hōkūle‘a and learn from Mau and from the canoe. And research our traditions that gave us the opportunity in 1994 to build a canoe of our own for this island. We knew the Makali‘i would be a teacher to us

all—for us to learn and respect the old ways—and to serve the community in many different ways. Keith: When did you start Na Kalai Wa‘a and the Makali‘i voyaging program? Clay: Our first program was in 1995 working with “at risk” kids who were having problems, not only in the home, but in school and with drugs. Working with these kids to try to instill more selfesteem and have them understand that it is really important to be proud of who you are and where you are from. We use the canoe as a tool to bring people to come and reconnect with their past, ya? No matter if you’re pure Hawaiian or not. Our programs include working with a whole bunch of students, not only Hawaiians but from all other ethnic backgrounds. The local high schools were our first programs, the launching point for the Makali‘i education programs today. Keith: Have you had students from places other than Hawai‘i? Clay: Ya, we’ve been fortunate to work with students from Cornell in New York and we have relationships with UC Santa Barbara and many other places. Our programs are primarily focused on the youth of Hawai‘i, and it makes no difference what nationality they are. It’s about working together to preserve and take care of what we’ve got. Whether it’s physically, spiritually, or one of the biggest things— environmentally. Try to make everything better, that’s the whole focus of what we do.

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Keith: Drugs have become a huge problem in our communities. How does your program address that? Clay: Looking at our young kids in the programs that we run, how many of these kids, their parents, grandparents, brothers, sisters are hooked on some kind of drug. It just devastates the whole community. Not only physically but mentally and also the environment, you know? Violence in the home, drug abuse—as a teenager or as an adult—how do we prevent that? Keith: Yes, I agree, and what do you see as a solution? Clay: What I’d like to see are programs that are set up to prevent them from getting into those situations. And that’s where we come in. That’s where we try to help, ya? Creating more awareness, more education. We cannot fix the problem, but to prevent that problem from happening. To me, that’s the only way. Keith: What about rehab? Clay: Ya, they need rehab; they need all of that. But before we get to that stage of trying to rehab somebody it’s more important that we try to educate them so they don’t get to that point. Our focus has always been working with youth and working together as a family to try to make everything better. Meaning, if someone gets screwed up—you gotta try to help them. If the environment gets screwed up—you gotta try and help it. It all works together. Like family, ya? Family takes care of family. Well, this is one big family. This takes me back to when I was growing up. My family was really close. My family was really tight. My dad was strong. He was a tough man. He really wanted to make sure his family was taken care of. Back in time, same thing. It’s about survival. Take care of what you got—don’t misuse—you’ve got to take care.

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Now, we talk about canoes, same thing. You get out on the ocean, and the people on the canoe are your family, and you got to take care of those guys. The most important thing is the safety of your crew—or your family and the canoe. Therefore that canoe becomes your island, your little island. Keith: That reminds me that Herb Kāne once told me the voyagers were known as the ultimate resource managers—always maximizing resources to survive. Mau taught me a saying: “He wa‘a he moku, he moku he wa‘a.” Can you tell me what that means? Clay: It means, “The canoe is our island, and the island is our canoe.” Mau always said, “When on canoe—think island, and when on island—think canoe.” It’s a simple philosophy for survival and it has worked for thousands of years. Keith: The Makali‘i program is such an amazing concept. The kids I have met and sailed with have gone through such amazing transformations from doing drugs and being in gangs to becoming responsible members of the community. How do you feel about your success? Clay: I know it’s not a dream anymore and I know that collectively we can do something about it and really work to make this place a better place to live. I know the values that our culture is based on can be learned by everybody. Again, it’s not only about sailing; it’s not about jumping on the ocean and then go sail; it’s about working together, and you know all about that because you’ve been sailing with us for years.

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I realized that Clay belonged to the generation of other kūpuna I have been blessed to film (Nona Beamer, Kindy Sproat, Herb Kāne, Kenny Brown, etc.) who came from that so-called shameful era, when, as former mayor Harry Kim told me, “being Hawaiian was not something to be proud of. It was not looked on as being good to be a Hawaiian.” Keith: Aunty Nona [Beamer] once told me she got expelled from Kamehameha School several times for dancing hula and chanting Hawaiian oli. Uncle Kindy told me his parents were told “nevah teach your children Hawaiian, always teach English.” How did you feel about the disrespect of your culture when you were growing up and how do you feel about the culture now?

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Clay: I remember when I was growing up it was not good to be Hawaiian. We couldn’t speak our language in school. If you spoke Hawaiian, you’d get slapped! Today—our culture—we try to live it 24 hours a day. The culture side of what we do is totally important. Again, it goes back to the values. It’s not only about sailing—getting on a double-hull Hawaiian voyaging canoe and go sail. No, it’s a lot bigger than that. It’s about living the old ways. Keith: How does ancient wayfinding navigation compare with the development of technology in navigating using GPS and computers? Clay: I remember Mau being very strict telling us when it comes to navigation, “no more paper, no more pencil, everything goes in here [points to head]. Paper get wet. Paper fly away. All your knowledge is lost.” So the traditions that we try to maintain—and this is very important—are just the way we learned them passed down by our kūpuna. Keith: I remember Mau laughing when I mentioned using a GPS for navigating. “What if battery die? You lost,” he said smiling. Clay: For me, technology can be a great thing, and you can learn from both sides, as well. Not only one side... both sides. Some people talk from here [points to head] and some people talk from here [points to heart]. But if you could do both and feel comfortable about it… to make things better for everybody else… eh, that’s it, ya? So culture to me is the bigger component. Keith: Clay, your entire life is the canoe. Why is it so important to you? Clay: For me, the canoe has put me on a good positive path, and through the canoe, or the wa‘a, we’ve been able to help a whole bunch of people. Not only Hawaiians, but people from all different ethnic backgrounds. We’re just a small piece of this puzzle that are trying to make a difference in lives of people here in Hawai‘i. And maybe not only in Hawai‘i, but all over the place. We can make a difference by how we run our programs, in getting people or students or whoever to come be a part of these programs so that within themselves they can feel comfortable about who they are. It’s not only happening here in Hawai‘i, but all over the world.

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Again, it goes back to taking care of what you got, and taking care of each other. We have a unique opportunity here... to do something... collectively by working together. And, all of this is what we try to do to make Hawai‘i—and maybe the world—a better place. Clay was a giant of a man, tough and gruff on the outside with a heart of gold on the inside. Students really responded to his firm hand and warm heart. Through the years we sailed and filmed together, Clay taught me many things that changed my life forever. He taught me that we are all equal and that all are welcome aboard the wa‘a. And he taught me that we are one with all things, to respect everything as family, to love each other, and to mālama (take care of) the earth. Clay was an ethnic mix of Hawaiian, German, and Native Clay playing ‘ukulele and singing “Mauna Kea” at a party given by Uncle Robert for the crew of Makali‘i in Hāna, Maui

Captain Clay Bertelmann, one of the legends of the Polynesian voyaging wa‘a ‘ohana

American. He said to me, “Keith, don’t let anyone tell you that you don’t belong here in Hawai‘i. We all came from someplace else at one time or another and to be Hawaiian, the only thing that matters to me is what is in your heart, not the percentage of your koko (blood).” Clay left this world and transitioned before the film was completed, although he and I continued our spirited relationship during the editing for many months to follow, where he was right there with me, keeping me on the path towards his vision. When the film was finally complete, I looked at him and he just nodded with a positive look on his rugged face—as if to say “not bad.” I’m happy to say that Clay was also with me during the writing of this story—and still a kolohe (rascal) spirit—kept distracting me looking for the purple bag. Na Kalai Wa‘a program still shows the film The Magic of Makali‘i, keeping Clay’s memory and vision alive for the keiki and ‘ohana wa‘a of tomorrow. ❖

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Each Place has a Voice of its Own

| By Ku‘ulei Keakealani

lace names in Hawai‘i are important for many reasons. Above all, it is to honor this homeland, its native language, people, and heritage. Despite the nicknames that are regularly used in place of actual names, it is important that we learn and use the true names of places throughout Hawai‘i nei. Whether understood by some to the depth of its kaona (hidden meaning) or maybe just the surface knowledge of what it may potentially mean; I wish to encourage all to honor

and respect Hawai‘i, by utilizing the real names of its places. It is with this thought in mind that I honor my homeland as well as the other landscapes throughout the world with the hope that we may relate to one another insofar as the code of communication continues with and through oration, as has been Hawai‘i’s longstanding tradition.

Voices Pu‘uhonua O Hōnaunau Literal translation: Place of Refuge (Sanctuary) of Hōnaunau © George Burba/ Dreamstime.com

The “whoosh” heard as the wind blows through the branches of trees, the birds that chirp to a rhyme and rhythm all their own, perhaps the leaves that crackle or the branches that creak, gives me the impression that I am hearing the voices of the forest. The rumble of waves that crash against the rocky shore, the smell of salt air that I feel blow against my body and wet my skin, the sound of many grains of sand being moved through my fingers as I squeeze them, leaves an impression in me that I am hearing the voices of the sea.

‘Anaeho‘omalu Bay photo courtesy Wikipedia/Polihale

Just as you and I have distinct and unique voices, so too does each and every place. Known intimately by those whose eyes look, whose ears hear, and whose hearts fill with tenderness because it is familiar—a closeness—a love. What are the voices of your place? The real and true voices? Not the voices of hustle and bustle, of horns blaring, of people rushing, of everything and anything. Rather, that which was created by the hand of a higher power, creator—creation! The voices of the desert, a waterfall, a stream, or a river. The mountaintop, the crater floor, the vast and open ocean. So many voices for us to hear—but do we? Can we? Are we aware enough to hear? Far too often these voices are not heard, ignored by some, irrelevant to most. Isn’t that so? Isn’t that sad? A mere observation I offer. If then, the code of communication is the spoken word, I ask about those voices that are ignored or irrelevant, who will be their voice? Think about this. A native, almost extinct tree, rooted and grounded, cannot get up and remove itself from a raging fire or the chokehold of an invasive vine. Who then will be its voice? Who will be the voice of the hill, scarred now for the rest of eternity, or worse yet, no hill in existence where it once stood. Who will be the voice of the lava fields that will never have the ability to reveal the first liko bud that signifies new life or the mountaintop of a home to a surreal reality? By these truths, however, you can begin to see that people and place are interconnected, interrelated—one, pili wehena ‘ole, an inseverable relation, connection!

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The name of a place can alert us, dictate to us, and teach us about its significance or explain natural characteristics, and it also tells a story. Let us take, for example, the beach named Kalaemanō, literally, “the shark point.” If we focus on one word in the name, manō, meaning shark, we could ponder the thought that the beach may have strong correlations to sharks. If we separate out the first part of this place name, the word ka lae translates to the cape or point. Taking it a step further to understand the place itself, we see this coastal area here has many capes and points along its shoreline. When we learn the history of Kalaemanō, we understand that the geographical location is a part of a larger region of Kona ‘ākau (north Kona) called Kekahawai‘ole, or the waterless plains of North Kona. This coastal section of the ancient ahupua‘a (land division) of

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Ka‘upulehu was favored by ali‘i chiefs for its abundant fishing waters. A land still full of important resources, it is told in an ‘ōlelo no‘eau or wise proverb that speaks of this land and its riches from times past. This poetic saying is a direct reference to the aku and ‘opelu fishermen of the Kaha (Kekaha) lands of North Kona. Ola akula ka ‘āina kaha, ua pua ka lehuai ke kai. The natives of the Kaha lands have life, when the lehua blossoms are upon the sea! Petroglyphs carved by ancient Hawaiians are evidence of the journeys of our ancestors and can be still seen there today (Hawai‘i Forest Institute). Sources of place names are abundant and range from written documents to the spoken word: kūpuna (elders), kama‘āina (belonging to a particular land or place), Hawaiian language newspaper columns, and the wonderful resource book, Place Names of Hawai‘i, to name a few.

A Few Correct Names and Meanings

‘Anaeho‘omalu (A-Bay) “Restricted Mullet” ‘anae (a full-sized mullet fish) ho‘omalu (to put something under protection or restriction) This is where mullet reserved for the ali‘i were kept and fattened.

Echo

I close with a “voice” of encouragement to us all to utilize the names as intended by the people who named them. Thus, when we say a name like “Kalaemanō,” we pay homage to the story that preceded our own—a story necessary to the perpetuation of our own. For in the end, we all become stories. A nickname is not bad in the least bit; most of us have them—hopefully not at the expense of our real names. What’s at stake? The next generation, and beyond, knowing only the nickname of a place. Herein lies the transmittal of knowledge: it’s in our hands. Shall we not be the generation gap? As for me, I choose to be a bridge in the hope that others may move forward in kind rather than carve a generation gap. Me ka ha‘aha‘a (with humility), Ku‘ulei Keakealani ❖ Contact writer Ku‘ulei Keakealani: kuumehananani@yahoo.com Resources: HawaiiForestInstitute.org Place Names of Hawai‘i by Mary Kawena Pukui

Hokū‘ūla (Buster Brown) “Red Star” A function in astronomical observation/calculations. Kauhola (Lighthouse) To unfold something, like a blanket. To bloom open like a flower. Kohanaiki (Pine Trees) “Small Barrenness” A small area that is barren Lanimaomao (Lakeland) “Increasing Heaven” Maka‘eo (Old A’s/Old Airport) “Angry Appearing” ‘O‘oma (OTEC) “Concave”

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Waialea (Beach 69/69s) “Water of Lea” Lea is a goddess of wa‘a (canoe) makers.

Waialea Bay photo by Renée Robinson

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Wood Sculptor Jan C. Orbom

| By Margaret Kearns

panning more than four decades, Jan C. Orbom’s art has journeyed though many different mediums—from Hollywood set designer, to poet, wood sculptor, and classical guitar musician. Today, in his home perched high above the spectacular South Kona coast and dazzling blue Pacific, he turns out massive abstract sculptures, smaller life forms (primarily birds), and finely honed furniture. “My intention has always been to create beauty. Now it’s to create beauty and peace,” Jan says in defining his work. And peace is precisely what he’s surrounded himself with in his tranquil Hawai‘i Island sanctuary comprised of exotic tropical gardens, stunning home, and large working studio. Born into the movie industry in the mid-forties (Jan’s father, Eric, was the Academy Award-winning art director for the classic film, Spartacus in 1960), it’s no surprise his artistic career took seed right there in Southern California. Studying life drawing and perspective at Chouinard Art Institute—now the California Institute of the Arts—in Los Angeles, Universal Studios tapped Jan to draft blueprints and design sets for mega blockbusters such as Psycho, To Kill a Mockingbird, Judgment at Nuremberg, and the TV series Star Trek. “After about eight years, I became disillusioned with life in Hollywood and basically dropped out of society. I made the move to Marina Del Rey where I lived on a sailboat for years. Later, I moved further up the coast to Big Sur where I managed a ranch and ran a sawmill. In fact, cutting cord wood at that mill is where I learned to sculpt,” he says. “Looking back now, it’s funny, one of my teacher’s at Chouinard and my longtime mentor (appropriately named), Mentor Heubner, always told me I drew like a sculptor, and apparently he was right!” While becoming proficient with a chainsaw—always a risky proposition, he notes—and honing his sculpting skills in Big Sur, Jan says he found joy and a sense of purpose to his life again. He also developed a keen understanding of the strengths and weaknesses of various types of wood—something essential to creating the one-piece originals that have become his signature over the years. For instance, one of his master works is a nine-and-a-half-foot long by five-foot wide dining table made from one solid piece of an old-growth Koa tree that was gifted to him by one of his neighbors, a native of Hawai‘i Island. He also developed his own technique for cutting, grinding, chiseling, and then hand-sanding his work. “Hand-sanding is actually the most time consuming. I take most of my work to a fairly smooth, polished finish, although some call for a more rustic, rough finish with chisel marks clearly visible.” Jan describes his specific method as simply, “Just a bunch of hard work!” So, with lots of hard work, Jan made and sold furniture for a living at his popular—and hugely successful—Cypress Studio on California’s Central Coast for more than a decade. In 40 years, he says, “I’ve designed and sculpted several thousand pieces which have found homes all around the world,

including the United Kingdom, Germany, Japan, Canada, and locations throughout the United States.” Homes that include corporate offices, hotel entrances and “many a fine and humble home,” he adds. In addition to those placements, St. Martin’s College in Olympia, Washington is home to a permanent collection of Jan’s sculptures that resides in its museum and gardens. A renowned art collector in Malibu, California, he says, currently owns the largest collection of his abstract sculptures and unique, one-of-a-kind furniture. Since moving to Hawai‘i Island in 2005 and building his hillside home and studio in South Kona, Jan says he’s completed another 150 pieces with several more currently in the works. Today, his fine sculptures and tables are crafted from Hawaiian native woods—primarily koa, mango and monkeypod—rather

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than the redwood he started with in California. Still, some of his most treasured redwood pieces relocated with him. Here in Hawai‘i, one of Jan’s first inspirations came from an ‘io (Hawaiian hawk) that circled above him at the site where his studio now sits. Looking down, he saw the same bird’s form in a nearby piece of monkeypod, and it became one of the first pieces he completed here. He considered it a great omen at the time, in part because his original inspiration when he began carving was that of a hawk circling high above him in the forests of California’s Central Coast. That large, original piece now sits proudly at the entrance to a hotel in southern Japan he says.

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Another massive piece, still emerging from the wood, already holds a special place in Jan’s heart—a sculpture of an ‘io with its wings spread wide. Once again, the inspiration came from yet another close encounter with one of his favorite birds. While Jan firmly believes the final form of any sculpture already exists within the wood and his work is in releasing it, this particular sculpture had an additional push from an unexpected visitor! “Shortly after completing our home here, a large ‘io flew into my studio with claws outstretched. It flew back and forth a few times and then landed right in front of the piece of wood I had just started working with. He kept looking at it and then turned and walked out with a very dignified step. It was really a great sign and a moment when I felt the ‘io’s spirit come into that piece of wood,” Jan says. In Hawaiian legend, the ‘io represents a powerful symbol— royalty, supremacy, or excellence. Endemic to Hawai‘i, today the ‘io only breeds on Hawai‘i Island, though on rare occasions it is seen on O‘ahu and Maui. Another native bird frequently found in Jan’s collections is the pueo (Hawaiian owl), which is one of many nā ‘aumākua (ancestor spirits) in Hawaiian culture. A bird of power and strength, the pueo is considered a protector. And while birds feature prominently in his collections, they’re far from being the exclusive subjects of this creative artist. Marine mammals, primarily dolphins, are also frequent subjects, while one of the most stunning pieces in Jan’s studio is a large abstract entitled “Tango Dancers.” It was beautifully uncovered from the root of ancient monkeypod he found on his South Kona home site.

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“The tree’s memory resides in its heart, that place where the trunk emerges from the soil and its roots. I like to think this piece, the joy of the dance, is a memory from the tree’s first spring,” he says. In total about 20 works of art are exhibited at Jan’s home studio, and he estimates another 20 or so are on display in galleries and fine furniture stores throughout West Hawai‘i, including Statements in Kailua-Kona’s New Industrial area and Rumley Art & Frame in the King Kamehameha Courtyard by Marriott Hotel.

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And what exactly was it that drew him to Hawai‘i Island from his native California? Beyond what Jan describes as the beauty and mystery of the many forms of natural phenomena in Hawai‘i that inspires most of his work, he shares his late father’s lifelong love affair with the islands. “My first visit was in 1959; I was fifteen at the time. It was an extended stay, and I still remember bussing tables and washing dishes at the Royal Hawaiian Hotel! At the time, the Royal Hawaiian was just one of two hotels on Waikīkī Beach,” he says. After experiencing Hawai‘i during its highflying “Golden Years” on that initial visit, Jan was hooked for life! In the 1960s, he was back again and spent most of that colorful, mind-expanding decade on the island of Maui before landing in Hawi here on Hawai‘i Island. Jan spent part of the 70s in that idyllic small town situated on the island’s northernmost tip before marriage and raising a family took him back to the mainland in 1979. With roots now firmly planted in South Kona, Jan is finally back home in the islands for good. When he’s not creating beauty and peace with his wood sculptures, you can find him playing classical guitar—primarily Flamenco—at home or on rare occasion at a few restaurants and bars in and around Kailua-Kona. ❖ Contact Jan Orbom: 808.895.6743, JanOrbomSculpture.com Contact writer Margaret Kearns: margaretekearns@gmail.com

Landscapes, Still Lifes, Portraits Oils and Giclees Commissions Welcome greenwelc002@hawaii.rr.com

“Sonshine Circus”

Work shown at Colette’s Frame Shop

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Jan with the two ‘io he created from Deb’s monkeypod tree

Deb Sims reflects on working with Jan Orbom

Deb’s Tribute to Paul Why, I wonder, was it his favorite tree? This monkeypod with its beautiful canopy. It gracefully shaded our modest tent That no one in their right mind would ever rent. Maybe it was the beauty of its leaves, They moved and danced with the slightest breeze. Perhaps because the ‘io hawk came to rest On its strong branches as it flew in from the west. Now a part of him is scattered ‘round its base. I can gaze up thru the leaves and almost see his face As he talks about his very favorite tree On Sweet Spirit Farms, where he was meant to be. Deb Sims, Dec. 2009

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The ‘io hawk was special to my husband Paul and I. It always showed up at the most meaningful times. Ancient Hawaiian life was directed by spiritual guidance, and the belief is that the spirit was often found on Earth through a living creature. These creatures were known as ‘aumakua, or guardian angels. We believed our ‘aumakua was the ‘io, the native Hawaiian hawk found only on Hawai‘i Island. It was always a treat when we had a visit from the ‘io, soaring above our farm, watching over us. This graceful bird was seen on our coffee labels for Sweet Spirit Farms. In the spring of 2009 I had to have a large limb trimmed from Paul’s favorite tree on Sweet Spirit Farms, a huge monkeypod that was right above our house. We lived in a tent for nearly a year underneath that special tree when we first moved to the property. I tried, unsuccessfully, to find someone to come and haul the wood off. I’d contacted several woodworkers and no one ever took me up on my offer. Then I walked into the 2009 Mango Festival and there was a booth for Hawaiian Hawk Sculpture Studio. Jan Orbom’s main specialty is the ‘io hawk, so our paths were meant to cross. He especially enjoys working with monkeypod wood, and also uses koa and mango. When Jan came to pick up the wood, I told him about Paul’s passing on June 16, 2008, and his favorite tree. We struck a deal where he would make two hawks (one for me and one for my son, Justin). The sculptures are absolutely beautiful and the house doesn’t feel as empty with them in it. It’s been the strangest thing. Jan made a number of bowls out of the rest of the wood—there was a lot of it. I sent them to sisters, sister-in-laws, and a couple of best friends who really miss Paul. And of course, Paul’s mom got hers while she was here. They all have seen this tree on their visits to the farm, and know how special it was to Paul. I was trying to put together a little card to send with the bowls, and decided I needed a poem. So I sat down with my Artist’s Way journal and wrote one. It just flowed right out of my heart onto the page—I couldn’t believe it. That has never happened to me before! I created a beautiful gift card with the photo of the real hawk in the monkeypod tree, a photo of the leaves of the canopy, and our Sweet Spirit Farms logo with the hawk. Everyone was very surprised. Jan told me later that he was so inspired by Paul and the story, that when he started sculpting the hawk he finished it really quickly and believed it was one of his best hawks he had ever sculpted. I saw him a couple of years afterward and he said the inspiration was still affecting his work. I loved hearing that!

Paul and Deb Sims, with Nutmeg

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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. Your feedback is always welcome. HIeditor@keolamagazine.com

DOWN 1 There is the life, in Hawaiian 2 Family, in Hawaiian 3 North, in Hawaiian 4 Yellow fruit 5 The refrain, in Hawaiian (goes with 17 across- 2 words) 6 Japanese verse 11 Frozen water 12 Green grey plant also known as “sleepy morning” or “monkey bush” 14 Oh no! in Hawaiian 16 Observe 17 Hawaiian goddess of volcanoes 19 Make pure 21 P___, cooking pots 22 “Beauty indeed is ____” from a poem by Na Kumu Keala Ching 23 Collection 24 Story about supernatural events 27 ___ Keala Ching, teacher who dispenses Hawaiian wisdom 28 Thing, in Hawaiian 30 Composer of the mele “Ahu‘ena Heiau, Kahu Mikahala ____

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ACROSS 1 Name of the theatre for the South Kona community 4 Asian cuisine vegetable grown by island farmers (2 words) 7 Beautiful Hawaiian wood 8 Pink, in Hawaiian 9 Belonging to, in Hawaiian 10 Native son of Hawai‘i 13 Number 4 in Hawaiian 14 Word before a vowel in English 15 The Hawaiian word hale means ___ in English 17 See 5 down 18 Fruit grown in Hawaiian gardens 20 Waiau is one of these water areas 24 Solitary 25 Song in Hawaiian 26 Traditional Hawaiian seasoning (2 words) 28 Fine delicate spirit in Hawaiian 29 Burn a little on a barbeque 31 Had a meal 32 Colored 33 What kanu means in English

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Kākou

The value of inclusiveness and the language of we. The value of communication, for all of us. We are in this together. Learn to speak the language of we. Tenth in an ongoing series.

Managing with Aloha: Kākou

| By Rosa Say

“A

is explicitly clear that you are in it—whatever it is—with them. There is no me versus you, no us versus them, it’s all we and us. You may be the boss, but you are one of them. In a company you are all employees, you are all business partners, you are all on a mission. Your staff needs to hear this from you, and they can never hear it enough. Let language lead to action: When you incorporate something into your language, into the words that people hear you speak often, you then have to walk your talk to keep your credibility and your integrity. The surest way to change your own behavior for the better is to speak the words that will force you to make it so. And the brave soul who will say to his or her staff with humility and sincerity, “I need you to help me with this,” often becomes their Kākou champion. In our everyday work, Kākou will be activated in meetings, in group forums, and in individual conversations, wherein all communications aim for inclusiveness with a significant bonus. When you seek to create a forum for the collective brainpower of your staff to be voiced, you also gain this marvelous realization you can let go more as a leader. There is tremendous relief knowing you don’t have to be responsible for all which occurs, and be expected to know everything. You may never feasibly achieve as much on your own as you will with your ‘Ohana in Business, and not only is that okay, it’s better. You have harnessed the additional punch of accumulated experience and knowledge. Management is situational, and as an art it can take some improvisation. To encourage and support each other through the situations that occur we need to talk to each other, constantly practicing improvements in what we say, and how we communicate. We can best do this by learning the language of we that Kākou teaches us to employ, creating forums for collaboration. The more we collaborate, the more we increase the probability of creating novel alternatives that are often the best way to proceed. ~ Rosa Say Next issue: Kuleana, the value of responsibility. Contact writer Rosa Say: RosaSay.com, ManagingWithAloha.com

KeOlaMagazine.com | July/August 2014

ll of us.” These are the words, the empowering force, and the strength of mind of Kākou. Kākou affirms the unity you were able to achieve in your efforts with Lōkahi, and it feels good. Kākou is about inclusiveness, a state of belonging people thrive in. At its elemental core, the spirit of Kākou acknowledges that we are not on this Earth alone, and as the human race we will survive better in each other’s company, sharing the ups and downs of our day-to-day existence. Kākou is less intimate than ‘Ohana, for it applies to everyone who surrounds you in the consciousness of some particular striving or effort or task, yet it is just as warm and inviting. For instance, when I address a group of people, large or small, I normally start with the words “Aloha mai kākou,” to convey that I offer my Aloha to everyone there. Mai kākou includes me as the speaker, and it’s my way of asking permission to be included in their conversation, and in their attentions. Kākou promotes sharing, and making conscious effort to elevate the well-being that is felt with inclusiveness. When we teach the value of Kākou to our ‘Ohana in Business, we coach them to involve and include their peers in all they do, promoting Lōkahi and the team harmony that comes from intentional togetherness. In the Managing with Aloha work culture, we consider Kākou to be our value of communication, for it teaches us to use the language of “we.” And the language of we stimulates ownership and personal responsibility in the all-encompassing initiatives of a company. If you hear your employees talk about “our company” versus “the company” you know you’re on the right track. They feel they have a stake in what you do, and they take actions they believe are important and worthwhile. They are your partners, and these words of inclusiveness imply that they feel their voices and opinions are considered carefully in the decisions you make. The language of “we” is one of collaboration and partnership, and it also implies agreement and support of your vision. Every manager in Hawai‘i is well advised to respect the needs of our host culture by figuring out how to use the word Kākou in their own language, and in the sentences they say to their staff every day. For the beauty of Kākou is that it includes that manager and leader in whatever is being said. The message

Saving Hawai‘i’s Native Dryland Forests | By Denise Laitinen

Native ‘a‘ali‘i in the upland kula plains of North Kona. photo courtesy Yvonne Yarber Carter

very day, hundreds of Hawai‘i Island residents and visitors drive past them—most having no idea about the rare treasures they are zipping past as they travel along Māmalahoa Highway between Waimea and Kailua-Kona. These incredible treasures are so rare that 90 to 95 percent of their kind have already been destroyed on Hawai‘i Island alone, never to be seen again. I’m referring to Hawai‘i’s dryland forests, unique ecosystems found on the leeward side of the island from sea level to midlevel elevations, as well as areas of Puna, Ka‘ū, and the slopes of Mauna Kea. Receiving less than 50 inches of rain a year, dryland forests are remarkably diverse ecosystems featuring more than three-dozen native plant species. In fact, more than 25 percent of Hawai‘i’s endangered native plants are found in these forests. They’re also home to rare and endangered birds such as the ‘amakihi and palila, as well as insects like the ‘ōka‘i, the Munduca blackburnsphinx night moth. In his 1913 book, The Indigenous Trees of the Hawaiian Islands, botanist Joseph Rock singled out the dryland forests of Hawai‘i Island, particularly those of Ka‘ūpūlehu, adjoining Pu‘u Wa‘awa‘a, as “the richest in species as far as tree growth.” Talking about dryland forests across Hawai‘i, Rock says, “It is in these peculiar regions that the botanical collector will find more in one day’s collecting, than in a week or two in a wet region.” Fast-forward 100 years to development, wildfires, grazing, and invasive species that have all but wiped out our island’s dryland forests, with only five to 10 percent remaining in scattered remnants that struggle to survive.

The forests and the endangered plants, trees, birds, and insects found within them have a staunch ally in the myriad assortment of individuals, groups, and agencies that strive to save them. One such group focused on preserving these rare native forests is the nonprofit Ka‘ahahui ‘O Ka Nāhelehele, commonly shortened to Nāhelehele. Nāhelehele grew out of the Dryland Forest Working Group, an informal group that came together in the 1990s to try and preserve what was left of the dryland forests in Hawai‘i. The group was comprised of a broad mixture of concerned citizens, businesses, developers, agencies, and others, including Hawai‘i Forest Industry Association, (HFIA), Kamehameha Schools Bishop Estate, Hannah Kihalani Springer, Lisa Hadway, State Department of Land and Natural Resources, US Forest Service, Keoki and Yvonne Carter, Sally Rice, and many others. Coming from different industries and perspectives, the group was united in their passion to protect Hawai‘i’s dryland forests. Sally Rice, owner of Agro Resources Inc. and current president of Nāhelehele’s board of directors, recalls those early days. At the time, the group was focused on saving the dryland forest in Pu‘u Wa‘awa‘a, an area grazed by various cattle ranches under a crown lease for nearly a century. In 2000, the last cattle lease expired. “What happened was the Pu‘u Wa‘awa‘a lease was up, and there was a group of very concerned people who recognized that Pu‘u Wa‘awa‘a is a unique and marvelous ecosystem and pretty much all dryland forest. “Hannah Springer, Chris Yuen, Randy and Peter Vitousek, myself and several others got together to apply for the lease from the State Department of Land and Natural Resources.” The Board of Land and Natural Resources turned down the group and the lease was ultimately given to the State Division of Forestry and Wildlife.

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Native dryland forest of North Kona with a diverse mix of vines, shrubs and trees. Some of the natives in this photo include: koali ‘awa, huehue, hau hele ‘ula, hala pepe, ‘ohe makai, and lama trees. photo courtesy Yvonne Yarber Carter

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The Dryland Forest Working Group persevered. They decided to focus their energies on a demonstration site that could show that a dryland forest could be preserved while serving as an inspiration to others. With the Dryland Forest Working Group guiding the way, a formal agreement was signed between the US Fish and Wildlife Service and the Hawaii Forest Industry Association to conserve a native dryland forest in North Kona at Ka‘ūpūlehu. A few years later the State Division of Forestry and Wildlife was working with the US Forest Service Institute of Pacific Islands Forestry to establish two protected forest reserves on-island, one in Laupāhoehoe and one in Pu‘u Wa‘awa‘a. Managed as a State Forest Reserve, the Pu‘u Wa‘awa‘a Experimental Forest in North Kona covers 38,885 acres on the northern flank of Hualālai volcano, extending from sea level to within one mile of the mountain summit. The 76-acre Ka‘ūpūlehu forest preserve is located within Kamehameha Schools land and managed with collaborators. “HFIA was the organization that supported grant monies that came through in the very early days,” says Yvonne Yarber Carter, part-time outreach education and volunteer coordinator, at the Ka‘ūpūlehu dryland forest. Part scientific research project, part restoration project, with a myriad of organizations working in partnership, the Ka‘ūpūlehu forest is a place where people can learn about these rare forests while working to protect them. Initially, the Dryland Forest Working Group kept a low profile, not wanting to attract attention to the demonstration site or dryland forests in general for fear that they might be overrun with visitors who could potentially harm the very ecosystem they were trying so hard to restore. In 2002, Yvonne says the group made a fundamental shift to conduct more outreach. The group changed perspectives and realized that “if people know about [the dryland forest] they can care about it. That’s when I was hired as the part-time outreach person in 2002,” Yvonne explains.

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Waimea park project photo courtesy Mike Donoho

Yvonne spent the first four years on the job working on strategic planning, organizing meetings, and building partnerships between all the groups involved. At the same time, the Dryland Forest Working Group was also evolving. With the creation of the Ka‘ūpūlehu demonstration site, which was being managed by HFIA, Sally says the group decided to expand their focus and mission. “Heather Cole, Hannah Springer, Randy Vitousek, and I got together and decided to expand the mission to include dryland forests throughout the state,” says Sally. As part of that evolution, the group decided to become a 501c(3), with a formal board of directors. “We asked Hannah Springer to name our organization, and that’s how Ka‘ahahui ‘O Ka Nāhelehele came to be in 2005,” explains Sally. “Our mission is to advocate for the perpetuation of Hawai‘i’s dryland forests and the endangered birds and plants and insects within these communities. We look for a need within the dryland forest arena and look to see how we can be of help to either get the project started or fill a need.” Their work is all the more remarkable given that Nāhelehele does not have a paid staff. Sally points out that members of Nāhelehele’s board, “wear several different hats so the networking and communication is very good among the people involved in dryland forest restoration.” One of those long-term projects is an annual symposium that Nāhelehele coordinates. Since 2007, Nāhelehele has held the dryland forest symposium in Kailua-Kona every February bringing together researchers and conservationists from around Hawai‘i

and the US mainland to share ideas about protecting Hawai‘i’s dryland forests. Kathy Frost, vice president of Nāhelehele’s board of directors spearheads the symposium. “It’s her baby,” says Sally. “She’s done a fantastic job and it’s become a popular educational forum.” Another key education project for Nāhelehele was the creation of an information-rich website resource about Hawai‘i’s dryland forests. The comprehensive website, which was designed by Yvonne and her husband Keoki Carter, features a resource guide for grades three through eight, downloadable curriculum information for teachers, as well as detailed information on dryland forests, the various organizations working to protect them, and information on the annual dryland forest symposium.

Dryland kumulā‘au (trees) of the North Kona dryland forests. Native shrubs and trees seen here are: ma‘o hau hele, hala pepe, kauila, and lama. photo courtesy Keoki Apokolani Carter

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Yvonne developed the website for Nāhelehele in addition to her duties as outreach coordinator for Ka‘ūpūlehu. “The website was a labor of love,” says Yvonne. “It comes from this profound commitment to protecting the dryland forest.” Today, restoration work still continues at the Ka‘ūpūlehu forest. HFIA manages the project with site manager Wilds Brawner, as well as the education program Ho‘ola Ka Makana‘ā at Ka‘ūpūlehu, (“healing the place budding up out of the lava”), an on-site collaborative volunteer outreach program. With several capable organizations protecting the dryland forest in Pu‘u Wa‘awa‘a, Sally says that Nāhelehele’s immediate focus is a park project in Waimea. Located on the Mauna Kea side of Kawaihae Road, the park was given to the County by Henry Clark. Sally notes that the Waimea project differs from work they’ve done in Pu‘u Wa‘aWa‘a. “It’s a little different from what we were doing, as the Ouli Park has a stream that runs through it. We’ll be doing riparian work using native plants to prevent erosion along the stream. We also got a $10,000 urban beautification grant to put in irrigation at the park,” says Sally. She points out that by restoring the dryland forest in this Waimea community, the project can be a model to be used by other groups doing similar projects either on-island or across the state. It is the multitude of people and organizations working together to save the critically endangered forests that gives Sally the most hope. “There are a multitude of people who realize how important the dryland forest is and have stepped up to do something

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about it. They are walking the walk, not just talking about it,” says Sally. “Back in 2000, no one could have imagined the projects we are doing,” adds Yvonne, in regard to the work being done at Ka‘ūpūlehu. “It all stemmed from a group of people that never gave up hope.” ❖ To learn more about the Ka‘ūpūlehu forest and Hawai‘i’s other dryland forests: DrylandForest.org To link to digital mural learning activities go to Lesson 6: DrylandForest.org/learn-more-here Contact Yvonne Yarber Carter: yyc@trylookinside.com Contact writer Denise Laitinen: Denise@deniselaitinen.com If you are interested, a variety of Ka‘ūpūlehu dryland forest education opportunities are available through their ‘Āina UluKamehameha Schools program. Resources include displays, presentations, classroom or community group visits, special events, and structured “work while learning” visits. Learn more by contacting Yvonne Yarber Carter. Yvonne says there are limited volunteer work days open each year, and advanced scheduling is required. The work done by visiting groups depends on what the forest needs at the time. Activities are matched to the group. The range of projects varies says Yvonne. “It might be making trails or pulling weeds, collecting data or planting plants.” With its steep and rough terrain, however, not everyone can travel to the Ka‘ūpūlehu forest. In those situations, Yvonne says they bring the information to the group, be it a school or other organization.

This Wao Lama field guide to the native plant flowers of Kaʻūpūlehu and Kealakehe dryland forests has become an essential learning tool both digitally, and in the form of a 3ʻ x 6ʻ weatherproof roll-up vinyl mural. It is used in the forest and in presentations to the community and classrooms. The original 5ʻ x 10ʻ mural was painted on canvas (without numbers) by a collaborative group of people from different walks of life, all dedicated to the care and perpetuation of native plants. The foundational botanical design and outlines were the artistic and diligent work of interns Leah Ingram and Pua HerronWhitehead, with concept by Yvonne Yarber Carter.

The mural used in this learning resource began with an invitation to participate in a statewide event to paint 16-murals celebrating the land and the United Nationʻs “International Year of the Forest” from the mountain to the sea. As part of the Ka‘ūpūlehu dryland forest project, Ho‘ola Ka Makana‘ā agreed to paint a mural representing the dryland forest, and in turn invited partners from Ka‘ūpūlehu mauka to makai, and La‘i‘Ōpua at Kealakehe to hui (gather together) to express through art, their aloha and dedication to the legacy of these rare natives. The mural hui included 23 painters from age 7 to 60.

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Viewpoint: Ahu‘ena Heiau | Kahu Mikahala Roy

Publishers Note: The following mele and story, copyrighted by Mikalaha Roy, are in response to a story we published in the March/April 2014 issue. It is our desire to be pono by sharing more details on the history of the Ahu‘ena Heiau restoration. The content does not necessarily represent the views of Ke Ola Publishing, Inc.

This is a mele I composed in honor of my father telling of some of his footsteps in time.

Na Ho‘omeheu i Uka Trails Mountainward Mai kahakai a i ke kula E ‘ike i na mala ulu Ulu i ke kalo, ulu i ka ‘ulu Uhai loloa i ka ho‘omeheu

From the shorelines to the plains See the dryland gardens The kalo grows, the ‘ulu flourishes Persistently, follow the trails

Powehi ka ho‘omeheu i uka I ke kukulu ‘ana ma ka‘aina Ku iwikuamo‘o e ho‘opale Ia Kaluaokalani i Holualoa

The trails mountainward are dim Due to the building up on the land Backbones rise to protect Kaluaokalani in Holualoa

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Loloa e ka malo ia Holualoa The long malo extends to Holualoa ‘Aina ‘O Keolonahihi Land of Keolonahihi ‘O ke ala kapuali me ke ala hui The Kapuali and the Hui trails ‘Oiwi, tell of the history Ha‘i e na ‘oiwi i ka mo‘olelo Kahi la‘a ho‘omaukeiki Sacred place of the ho‘omaukeiki ceremony Where the Chiefs, the heavenly Ones before Loa‘a i na lani ki‘eki‘e Kapu loa ka papahana mamua Conducted ceremony in great reverence Ku kaua na ‘ailana pakahi When battles on every island ceased

Kahi kapu ‘akoakoa o ka po‘e Ka mauliauhonua o ia wahi Lana ka pueo i ke kakahiaka Me ka ‘io pu kau i ka lewa

Keolonahihi the gathering place Established families of the land of that area A pueo flew in the morning at meeting time Alongside a hawk, flying above the families

He mele nou e Keli‘ihelemauna Mai kahakai a i ke kula Ulu i ke kalo ulu i ka ‘ulu Uhai i na ho‘omeheu

Here is a song in your honor, Mountain-Roaming-Chief As you encourage from shorelines to the plains The kalo to grow, the ‘ulu to flourish And the people to follow the trails of the ancestors

He Inoa No Keli‘ihelemauna A Song in Honor of Kahu David Kahelemauna Roy, Jr. ‘A‘ala Kupukupu Ke Ahu o Kamakahonu Fragrant with Ferns Is the Altar of Kamakahonu He ‘onipa‘a ka‘oia‘i‘o Truth is not changeable Mai ka po mai ka ‘oia‘i‘o Truth comes from the night ‘Olelo No‘eau: Hawaiian Proverbs and Poetical Sayings

photo by Fleur Weymouth

photo by Halau No‘eau Kahelemauna

ruth is so highly prized by ‘Oiwi (people of the bones and the first people of Hawaii) that the greatest temples of worship in the islands at the time of Kamehameha the Great were those dedicated to Ku, the god of truth in righteousness. Ahu‘ena Heiau was such a temple prior to being re-dedicated to Lono by Kamehameha-the-Great. Ahu‘ena Heiau, Kamehameha’s personal temple was restored in 1975 by a team of Kanaka Maoli (Hawaii firstborn) led by Kahu David Kahelemauna Roy, Jr. It is the first restoration of the breath of life of a religious temple in the Hawaiian Islands of the modern era. Every repair since that great event is a pahonohono mapele or refurbishing of the Heiau dedicated to Lono. David Roy was first appreciated by his lahui (Hawaiian people) and Hawaii communities as Kahu (spiritual guardian) for his commitment to Ahu‘ena Heiau. Then, in 1993, the state of Hawaii confirmed him in a Memoradum of Agreement as the Temple’s Kahu. The ‘Aha‘aina Kumu Pono, (Gathering for the True Foundation) celebration was held at Kamakahonu. At that time, the Royal Order of Kamehameha bestowed its highest award to the Kahu conveyed by Dr. Yoshioko Sinoto of the Bishop Museum. In addition to the restoration and care of Ahu‘ena Heiau until he passed in 2005, Roy prepared Ku‘emanu Heiau and Hikiau Heiau for restoration and served as chairman of the Kamoa Point advisory commission that set the foundations for the future care of Keolonahihi and Kaluaokalani. He did the same for Kaloko-Honokohau in Kona. These works invigorated the traditional practices of communication between ‘Oiwi with our Ancestors related to the temples of the land. What constitutes a restoration? And what is a Kahu? Heiau, spiritual temples in Hawaii, represent the connection of ‘Oiwi to our Source. They are the revered manifestation of the kumulipo (source of life). The heart of a Heiau restoration is the “collective” heart of the people. In 1975, Kanaka Maoli involved with Ahu‘ena Heiau represented their connection to the ancestors back to the very Creator of heaven and earth. The loving intent in the hearts of these men as they worked represented all ‘Oiwi everywhere. In France’s famed cathedral of Notre Dame, words are inscribed into the stained glass windows of that sacred edifice by its artisans. The words are “the work of their hands is their prayer.” A Kahu holds a kulana, (station) with a kuleana (responsibility) to Ka ‘I (Divine Creator). In brief, a Kahu holds a kuleana for the spiritual and physical well being of, in this case, Ahu‘ena Heiau and Kamakahonu. It is a kuleana to the past, present and the future. Where there is more than one individual involved, they will be of one heart and mind and of one direction.

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Reconstruction was the physical aspect of the full restoration of Ahu‘ena Heiau begun in 1975. American Factors, descendant business of Hackfeld & Co. had built the original Hotel King Kamehameha prior to 1960 and desired to build the “New Hotel King Kamehameha” in the mid-seventies. Hawaiians and the greater community said no to the project. Community leaders were sought to help Amfac find success in their goals. Plans included imploding the original and building a larger hotel. There were good reasons for resistance to these plans—not the least of which was that this was an extreme undertaking at the location of ke Kapitala Mua o Hawaii, the first Capital of the Kingdom of Hawaii. The Office of Hawaiian Affairs had not been established in 1975 and not even Kamakahonu’s designation as a national historic landmark could ensure that the state’s historic preservation department would protect the first Capital of the Hawaiian Islands in truth and integrity. There were no safeguards in place to protect spiritual practices and sacred properties, including burials—just the honor held by the human businessmen, government workers and Kanaka Maoli. The adage, “every man who has honor is a King” guided this effort as it moved into the hands of the people. Bishop Museum provided the contractual framework required by business standards and this is when my father as the superintendent of the project selected the men and conducted the guidance for the restoration of the life of this temple. This is the element that could not be provided by western scientists. From start to finish and beyond, Ahu‘ena Heiau’s restoration and subsequent care has been in the hands of Akua (Divine Creator). Kahu David Roy and the community fostered the formation of two non-profit organizations to support his guidance for the temple. First Ahu‘ena Heiau Inc. (AHI) formed in 1993, then Kulana Huli Honua (KHH) (Foundation of the Search for Wisdom) in 1999. KHH formed to support traditions, advocate for protection and restoration and establish land archives to keep the wisdom of this and other sacred properties. Governor Linda Lingle acknowledged a declaration of purposes for the work of these two non-profits in a letter dated 11/20/2006. “We acknowledge that Kahu David Kahelemauna Roy played a critical role in the reconstruction of Ahu‘ena Heiau and its associated structures during 1975.” No matter how much more needed to be done at any given time on the temple, it was always adored by its Lord and adorned to its best condition for each and every Kamehameha Day. This was for the respect of our Ancestors and for the pride of each and every Kanaka Maoli on earth. The restoration of ‘75 is characterized by years of meticulous and ongoing research, rigorous and efficient planning and cooperative effort. Would a Japanese corporation desecrate a Shinto shrine? Would an American corporation destroy a Christian cross with the Savior upon it? There are spiritually guided protocols to be followed in the abiding care of Ahu‘ena Heiau. First of all, harmony is the requirement for life throughout Kamakahonu. The restoration of Ahu‘ena Heiau provides a strong reminder to future generations that such work is important. It is for this reason that business leaders associated with American Factors created lawful land covenants with the state of Hawaii to abide ‘with these lands’ throughout changes in time. The Spirit of the memorandum of agreement requires all land tenants to promise to uphold respectfully and with honor the dignity of the lands of ke Kapitala Mua o Hawaii (First Capital of Hawaii). All ensuing landholders here since Amfac have honored these land covenants. Conditions changed in 2007 and since then, the disrespect of the spiritual protocol and the heightened promotion of Ahu‘ena Heiau as a backdrop for a commercial lu‘au fails to uphold the sacredness and sanctity of Kamakahonu. The Spirit of the Ancestors of ‘Oiwi descending from Divine Creator, remains and guides at Kamakahonu. The Kingdom of Hawaii unified by

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Kamehameha the Great abides at Kamakahonu. Here, over the years, by our actions and by our words, we have told of the generational love given by ‘Oiwi for Akua, for their ancestors, for their rulers, for the love for their beginnings in heritage and hope for their country. We've shared the stories of inspirational acts in history and the customs of ‘Oiwi to inspire future leaders among ‘Oiwi. Kamakahonu's light is the beacon for the world that its always been. We move into times of great hope for the planet and all life upon the planet. Residents of Hawaii are all seated in the cradle of transformation—a fireplace in the Home of Ka ‘I-lala-‘ole (Supreme-One-Without-Branches). Ancestors of ‘Oiwi paved the way for those of us who follow, to help & heal all life on the planet by fostering aloha kekahi i kekahi (love one for another). So let us pay attention here at Kamakahonu. Ancestral wisdom shares that giving your essence here, where you feel you can, aids the abiding cumulative light of healing for the world. E ‘oni wale no ‘oukou i ku‘u pono, ‘a‘ole e pau Go on in the righteousness I have followed; it is not finished. Kamehameha-the-Great ‘O Kamakahonu Ahu Kupukupu Kamakahonu, Fragrant Shrine

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‘O Kamakahonu ahu kupukupu Hanu ‘a‘ala i ka ua loku Iho mai la e ka ua I ka ‘ili o ka Pahuali‘i

Kamakahonu is the shrine of the kupukupu Scent so fragrant in the downpour Rain falling Upon the skin of the drum of the chiefs

‘Ili‘ili leo‘ole i ka ‘ihi kapu Noho ‘O Koleamoku i ke ‘alaneo Pi‘i ‘O Lono i ka la ma kahikina Pa‘a ka paehumu o Ahu‘ena

Stone pebbles soundless in reverence Koleamoku dwells in sublime silence Lono rises in the sun from the east Secure is the sacred enclosure of Ahu‘ena Heiau

‘Ena‘ena e ke ahi o na ‘Aumakua ‘Olu‘olu mau no i ke alaka‘i I ka lehulehu akahai ke nonoi aku Na mea e hiki mai ai

The fire of the ‘Aumakua burns brightly They are always pleased to guide The humble company who ask Those who come

Ke hele ne‘ine‘i nei I ka pa‘ume‘ume mau Homai ka no‘eau o na kupuna Ho‘aho ka manawa o ke Akua

Taking very short steps In an abiding tug-of-war Wisdom of the Ancestors is given Wait upon Divine Creator

Na ‘ilina kapu ma Kaiakeakua Ho‘omakaukau ‘ia ka pono ala hele No ke ola o ka ‘aina No ke ola o ka lahui

By the sacred resting places at Kaiakeakua There has been prepared a right of way For the life of the land For the life of the nation

Ha‘ina ia mai ana ka puana ‘O Kamakahonu ahu kupukupu Iho mai la e ka ua loku I ka ‘ili o ka Pahuali‘i

The refrain is told Kamakahonu, shrine of the kupukupu Here the rain falls Upon the drum of the chiefs

At the rising of Makali‘i in November of 2004, an unusual downpour of rain fell upon Kamakahonu and Kailua. Pahuali‘ikoaoka‘awaloa is the first temple drum named in over 200 years and the first drum sounded in association with a religious temple of ‘Oiwi of the modern era. The drum, made by Kahu David K. Roy, Jr. to honor Kamehameha I, is sounded every year at the rising of Makali‘i, constellation Pleiades. During the 2004 ceremony held at Ahu‘ena Heiau the rain fell so heavily, it was as if the rain sounded the drum that day. All content in this story copyright © Mikahala Roy, Kahu Ahu‘ena Heiau, Kamakahonu. Published with permission of the author.

If Walls Could Talk

APAC’s long history at the Aloha Theatre | By Le‘a Gleason

original painting by Edwin Kayton kayton-art.com

KeOlaMagazine.com | July/August 2014

very town has its theater. That place where people go to escape the confines of reality, get lost in a performance, or lose themselves on stage. To become something or someone else— as if to try on masks—has become the paramount of artistic expression in many cultures. There’s a sort of raw energy that emerges in that moment of connection between audience and performer, and for the community of South Kona, that magic takes place at the Aloha Theatre. For Artistic Director Jerry Tracy, where that magic comes from is no mystery. “Step inside. It’s obvious. This is a magical place, a wonderful old lady. There’s quite a lot of mana accumulated in the walls here, and I would even go so far as to say it’s a sacred place because it’s a gathering place for the community and has been since 1932,” he says. In 1932, the Tanimoto Theatre was born and mainly showed American and foreign films as entertainment for workers in the coffee industry: Japanese movies on Mondays, Filipino on Wednesdays, and movies in English on Friday, Saturday, and Sunday. In 1939, the Kona Lions Club produced Who Wouldn’t Be Crazy?, which is believed to have been the first community theater production in Kona. Soon after, Tanimoto Theatre became the Aloha Theatre and has been such ever since, despite changing ownership several times over the years. In 1980, Alan and Susan Grodzinsky bought the building and remodeled the café next door, turning it into the landmark Aloha Café. Their daughter, Sacha, was born in the upstairs apartment around the same time.

During that same period, theatrical associations were beginning to form, and the beloved theater played host to a variety of acronyms: WHP, WCT, KCP, ACP, ACT, ATT, KAPA, and finally APAC. In 1991, the Aloha Performing Arts Company was born, and it has thrived ever since. That was the same year Jerry made his way to Hawai‘i Island and—as many others have experienced—never left. “I came here in 1991 as a guest director for Steel Magnolias and had another gig lined up on Maui which lost funding. I hung out for a while longer here and was asked to teach some classes and direct another show…and the rest is rock and roll history,” he says. Also in 1991, new seats, a wood shop, an electrical shop, dressing room, and an enlarged stage were added to the theater. For the following ten years, Jerry remembers that patrons continued to show up for productions with cushions to sit on, despite the renovations. Today, Len and Sue Welter own the facility, although some might argue it is really collaboratively owned by the many people who have served to make the Aloha Theatre the successful venue it’s become. “The [venue] itself is a big part of what draws Jerry Tracy people here, but the

circa 1933

success of APAC falls squarely on the community involvement. I love the theater because it’s such a collaborative process,” Jerry says. That collaborative process would not be what it is today without the many hands who pitch in at APAC. Among those are Barry and Gloria Blum, who have been involved with the company since 1988 and have become close friends with Jerry, as well. The Aloha Theatre now boasts an eclectic array of productions throughout its yearly season, ranging from kids plays and musicals to well-known crowd favorite musicals, classic plays, and even a host of little-known plays produced as a part of the “Original Play Festival” (OPF), which will mark its twenty-second year this August. “We accept plays that have not been produced and [have] not been published. They are brand new plays presented as staged readings with minimal

circa 1950

circa 1976

technical presentation and actors carry their scripts. It’s a chance for a playwright to see their work… and it’s also a trial round for prospective directors as well. We get scripts from all over the country and sometimes out of the country. It’s taken on a life of its own,” Jerry says. For Barry and Gloria, one shining moment came when Gloria won the Big Island Best Original Play Award in 1991. Her play Jenny told the story of a young woman, labeled mentally retarded, who refused to be held back and went out on her own, met the man of her dreams, got married, and raised a family despite all odds against her. “Jerry played Jenny’s boyfriend and husband in his acting debut at the Aloha Theatre,” Barry remembers, continuing, “Every woman in the cast fell in love with Jerry.” As part of this year’s regular season, Jerry just finished directing the classic play Waiting For Godot, one that is

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not as well-known, and perhaps draws less of a crowd. He says that APAC walks a fine line in choosing its season because drawing in patrons is a consideration. And, it’s the responsibility of a theater to push that envelope once in a while. “The way I look at it, we are the theater in our community. If we don’t bring this to our community, who is going to? It’s a classic of the theater, and we are a producing theater, so it’s incumbent on us to expose our community to these kinds of experiences. Those who see it will never forget it…it’s also a responsibility of our theater company, and I think we are fulfilling that,” he says. Up next is Annie Jr., a children’s adaptation of the classic musical. The OPF is to follow, and in the upcoming season, two musicals with major name recognition: Jekyll and Hyde and Evita. Last season, APAC produced Fiddler on the Roof, its most financially successful show. Jerry has found that the secret to success is more than just financial. It’s in mastering the art of human interaction. “Theater is…interactive because the energy in the auditorium goes both ways. There’s something that is very primal about sitting in an audience with other people and enjoying live performance. It’s not replicable. The people on the stage are pumping out energy, but the people in the audience are also giving energy in their reactions, their laughing and clapping…it’s a giving back-and-forth that is unique to the live theater,” Jerry says. If walls could talk, longtime members like Barry say they would speak on how the experience of doing theater is life-changing. “They would tell of hundreds, possibly thousands of individuals, who discovered depths of feeling within themselves that they never before appreciated. Children becoming adolescents, eventually coming-of-age as adults: learning about human feelings, fears, sensitivities, discovering and overcoming weaknesses and fears, gaining confidence and maturity, and building self-esteem. People uncovering anger, love, passion, courage, tears, and laughter. No one leaves unmoved.”

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Not every step of the way has been easy, though. The organization has very few paid staff members and relies heavily on volunteers. Jerry says APAC is continuously getting better and better at what it does. “We’ve tightened up the ship physically and we have tightened up metaphorically too, [in] that we are very careful to make sure that what we put on this stage reflects the artistic integrity that APAC has come to stand for in our community,” he says. Jerry laughs as he remembers another step of the way that wasn’t easy. “In 1997 I was in a show here being directed by a guest director and I ended up getting stabbed on stage. I was a minor character so I was supposed to be killed and didn’t appear in the rest of the play anyway, so I was rushed to the hospital and I made it back in time for the curtain call that evening,” he says. Many other moments as memorable as this have sunk into the walls and floors of the Aloha Theatre. For Barry and Gloria, who have produced numerous shows, South Pacific stands out. “Our preference has been to produce shows that have a heart—shows that resonate with the audience on multiple levels and that have meaning for our time. The show’s message about racism and tolerance resonates with all of us in Hawai‘i. The beauty of the music and the exuberance of the script made it a total joy,” Barry says. Over countless multitudes of applause, gasps, and sighs, people have bonded in this place in costumes of every type, singing and speaking countless sounds. The biggest productions, which can be fifty-or-so large, are all about people skills.

circa 1986

“We practically have to be psychologists to work with the many different types of people. Beyond the artistic endeavor, [it’s] about people coexisting, treating each other with respect, listening, focusing…it’s a whole other level of human interaction. I am a believer that the arts are the soul of a community and you have to have a home for the arts. We need these places to gather to enjoy art together,” Jerry says. The Aloha Theatre, that “wonderful old lady” has become a South Kona landmark for the community and for Jerry, who says he’s devoted the best years of his life to it. “It’s a magical place, and everyone who comes here recognizes that and enjoys contributing to the magic,” he says. A drive on the scenic South Kona highway is surely worth a stop at the old, unassuming wooden building marked Aloha Theatre. Inside, it’s a space of vibrant creativity, and there’s no need to bring a cushion. ❖ Contact Aloha Theatre: ApacHawaii.org Contact writer Le‘a Gleason: lgfreelancehawaii@gmail.com

KeOlaMagazine.com | July/August 2014

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Kanani, accompanied by Bolo Mikiela Rodrigues on his“ukeitar”

anani Enos grew up in a world of music, Hawaiian rhythm and melody reverberating through generations to create the living song she is today. “I grew up listening to my dad playing slack key guitar all the time,” she says. “Especially in the evenings or on weekends… there would always be an uncle or cousin stopping by to kanikapila…so I was always surrounded by music.” “My grandmother, Myra Koai Enos, was well-known in the South Kona area for her beautiful nahenahe (soft, sweet, melodious) voice. She entertained at local restaurants and bars, like the long gone ‘Kona Nightingale,’ and at family parties. She could play the piano as well as the ‘ukulele in addition to singing. “Ālika,” “Kāhealani,” and “Pua Līlia” were some of the songs people recall her singing.” Kanani never heard that nahenahe voice, however the mo‘okū‘auhau (genealogial succession) is strong; the blood runs true. “She died way before I was born,” Kanani says, adding,

“family members say ‘you sound just like your grandma,’ and I feel connected to her when I sing. Although I never met her, I feel like she’s one of my biggest influences and inspirations.” People new to her name think of Kanani as one of Hawai‘i’s up-and-coming musicians. However, she is hardly new to Hawaiian music. She says, “Most people know me as a hula dancer. I first started dancing hula as a little girl of five years old with Aunty Mahealani Perez, a student of Uncle George Na‘ope. I continued dancing hula all the way up into my teens with different Konabased kumu hula such as Sheraine Kamakau, Ulalia Berman, and Keoni Atkinson. I then went on to dance for the Lim Family and was 13 when we were entered in the Merrie Monarch competition.” Kanani attended high school at Kamehameha Schools Kapālama campus on O‘ahu. “It was there that my love for singing began to grow alongside my hula. We, as boarders, sang beautiful hymns at church every Sunday. I also sang in Concert Glee Club, which taught me appreciation for all kinds of music, and an openness to singing in other languages besides Hawaiian, such as Italian, French, Swedish, German, Tahitian, and many others. I loved it.” While at Kapālama, she studied four years of ‘ōlelo Hawai‘i (Hawaiian language). “This opened my heart up to haku mele (compose songs). It was at this time my first mele came to me while visiting home for the weekend and swimming at Ho‘okena. My first experience of words and lyrics flowing through me, capturing a mele that 15-plus years later would be the title track of my debut CD, Aloha I Ho‘okena.” All throughout her teens she was writing—writing poems and writing songs. It was something that just came very naturally to her. When she began to feel a song coming she would stop

and write it down. Her cousin Jeremiah Augustine taught her to play the guitar her sophomore year, and she had fun creating original songs in her dorm room. It was a good outlet for her as a teenager missing her family and home in Kona. Songwriting continues to be her best mode of expressing herself and her soul’s message. What is it like to be one of Hawai‘i’s rising musicians? “I consider myself more of a singer/songwriter than a musician because although I can play the ‘ukulele and guitar, I don’t consider myself a skilled player of either. My gifts lay in the receiving of words, lyrics, and poetry, and the melodies that accompany them.” “I have the privilege of having awesome musicians in my family. There are so many South Kona musicians that I grew up listening to who did not try to enter the Hawaiian music industry. Their soaring voices and slacked guitars filled the nights of my childhood ‘ohana get-togethers and continue to inspire me!” she says. Two who did move into music as a profession are a pair of Kahumoku men. “My cousins, Uncle George Kahumoku and his son, Keoki, brought the music out of Kealia—in the style of our ‘ohana— and shared it with the world. I like to think I am following their footsteps, in my own ‘wahine’ kind of way. I strive to honor the women singers and composers of our ‘ohana, including Uncle George’s grandmother, Lottie Koko‘o Haae Kahumoku, who was my great-grandmother’s sister.” She is the composer of Kealia, “One of my favorite songs featured on my CD,” Kanani says. Kanani carries the responsibility of her heritage with grace and strength, as she must also pass it on to the next generation. She has three young children, and it is a challenge sometimes balancing the life of music and the demands of motherhood. However, she’s up for the challenge if it means they will be proud of their mom one day and if she can instill a sense of love for Hawaiian music in their hearts. Teaching is an education in itself, and Kanani found that teaching hula pushed her musicianship to a higher level. Kanani taught hula in Ho‘okena from 20082013. She wanted to Kanani, age 4

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Kanani with Uncle George Kahumoku Kanani teaching hula

provide something cultural for the community to connect to their roots, and to learn and practice their culture together. She also taught hula at her cousin Keoki Kahumoku’s annual Hawaiian music and lifestyle camp in Pāhala from 2009-2013. Kanani taught many original mele she had written, as well as well-known classics. “It was during these years of teaching hula that I started to pick up the ‘ukulele more and more and began singing and playing songs for the dancers at hula. I needed to make sure the words, music, and timing was on point for them. This forced me to improve my ‘ukulele and singing skills, and I began to love it even more. Our performances in the community connected me with other musicians whom I could learn from and gain musical pointers.” One such musician was Bulla Kailiwai, a well-known Hawai‘i Island musician, and grandson of Ray Kāne, who offered his help and talents, “becoming the main musician on my debut CD,” Kanani says. “Uncle Sonny Lim recorded the entire album, and my cousin Jeremiah Augustine mastered it. My CD, Aloha I Ho‘okena was released in October 2013.” The CD features 11 songs, eight are originals. “The other three are ‘ohana favorites, all about Ho‘okena and Kealia. I really wanted to honor the place and people from where I come from. Our lifestyle and traditions and of course my kūpuna. My CD earned me a nomination for Most Promising Artist at this year’s Na Hōkū Hanohano Awards. It was so exciting and although I did not win I consider it an honor just to be nominated.” Kanani is currently on tour, playing in various venues and doing community work alongside ‘ohana/musicians, Jeremiah and Blue Augustine. They just returned from Maui and are planning to play on O‘ahu next. ❖ Contact Kanani Enos: kananienosmusic@gmail.com facebook.com/kananienosmusic

Trans-Pacific Design

Honoring a Five Year Advertiser with Ke Ola

ue is one of those lucky people who knew what she wanted to do in grade school. Her parents worked with interior designers and she loved watching them work. Sue received a four-year degree from Iowa State University in interior design and subsequently passed the qualification test to become a professional member of the American Society of Interior Designers (ASID). She gained the most experience during the five years she worked for Richard Crowell Associates in Honolulu. Richard’s firm did only commercial design—designing interiors for cruise ships, hotels, and offices. “I was exposed to some really interesting projects—going to dry dock with the SS Independence being the most interesting!” Sue says. In 1990, Sue and her family moved to Waimea (Kamuela) because her son was attending Hawaii Preparatory Academy. She felt it was a great location to work with all the homeowners and hotels at the resort communities along the coast. At that time there weren’t any businesses she could work for so she started her own, Trans-Pacific Design. It’s “island style interior design—taking our clients dreams plus our vision to create interiors for relaxing, entertaining, working, and playing,” says Sue. Having had bouts with allergies in the past, Sue wanted to learn how to create interiors that were not producing toxins. She studied and passed the US Green Building Council Leadership in Energy and Environmental Design (LEED) test. She is a LEED Accredited Professional, which allows her to be on a design team to create LEED Certified Buildings. Sue has seen the design business change tremendously. At the beginning, there was no Internet and it was a challenge to have materials at hand to show her clients. There were no interior showrooms on-island so Sue’s team created a large interior design library with samples of carpets and hard flooring, fabrics, catalogs for lighting, furniture, plumbing, hardware, ceiling systems, wall materials, etc. They still have quite an extensive physical library today. The Internet has made it easier for Trans-Pacific Design to source goods for their clients and actually allows them to have

Trans-Pacific Design By appointment only 808.885.5587 susan@trans-pacificdesign.com trans-pacificdesign.com Social Media: Houzz: Houzz.com/pro/smoss/transpacific-design Linkedin: Linkd.in/1nRNtcp Facebook: on.fb.me/SplqXE

KeOlaMagazine.com | July/August 2014

a smaller office since they don’t need as many catalogs. Shipping to the islands is always a challenge. TransPacific Design has done it for so long now that they have trusted shippers and installers who take pride in their clients’ furnishings. Their primary market is hotels and residences on Hawai‘i Island. Sue also has clients on Kauai and O‘ahu since she has lived and worked on Susan Moss, ASID, LEED AP, owner both islands. Some of her clients are so happy with their home on-island they’ve had Sue design their homes on the mainland, as well. The variety of jobs Sue has been exposed to in her career makes it easier and faster for the team to do both hospitality and residential interiors. Commercial work requires a special set of work experience and knowledge, which sets Trans-Pacific Designs apart from most interior designers on-island. Sue is always learning about interior design, whether it’s an online class, workshop, or conference. Every year she attends a conference on the mainland to be sure the office has the latest information. This year she attended KBIS, a kitchen and bath expo, and last year HDEXPO for hotel design. “I hope to take on an equity partner over the next five years who has interior design training and wants to learn how to run an interior design business. This would allow me more time for marketing and designing our client’s projects,” says Sue. Sue very deservedly won the 2014 SBA Women in Business Champion award. Congratulations, Sue, for all your accomplishments, and having a successful business for 24 years. Mahalo for your support of Ke Ola magazine!

Queen Lili‘uokalani 1891

he was born Lydia Lili‘u Loloku Walania Wewehi Kamaka‘eha to High Chiefess Anale‘a Keohokālole and High Chief Caesar Kaluaiku Kapa‘akea on September 2, 1838. At that time, children often were named in commemoration of an event. Kuhina Nui (co-regent) Kīna‘u had developed an eye infection at the time of Lili‘u’s birth. She gave the child the names Lili‘u (smarting), Loloku (tearful), Walania (a burning pain), and Kamaka‘eha (sore eyes).

KeOlaMagazine.com | July/August 2014

A Brief History of: Queen Lili‘uokalani

In her youth she was called “Lydia” or “Lili‘u.” She was also known as Lydia Kamaka‘eha Pākī, with the chosen royal name of Lili‘uokalani, and her married name was Lydia K. Dominis. As was the custom, she was hānai (adopted) by Abner Pākī and his wife Laura Kōnia. The Pākīs reared her with their birth daughter, Bernice Pauahi. The two girls developed a close, loving relationship. Together they attended the Chief’s Children’s School (Royal School), a boarding school, and were known for their studious demeanor. Lili‘u’s brother, David Kalākaua, was also among the royal students educated there. There Lili‘u learned and became fluent in English and studied music and the arts. Her talent for music blossomed and she eventually wrote more than 150 songs including, “Aloha Oe.” At 24, on September 16, 1862, Lili‘u married John O. Dominis. Dominis’ father, a ship’s captain, had built a New England style home, named Washington Place, for his family. They lived with his widowed mother. The home later served as the former official residence of Hawai‘i’s Governor and today serves as a museum. On February 12, 1874, nine days after the passing of King Lunalilo, an election was held between the repeat candidate David Kalākaua, Lili‘u’s brother, and Queen Emma—widow of King Kamehameha IV. Kalākaua won. At noon of the tenth day of April, 1877, the booming of the cannon was heard which announced that King Kalākaua had named Lili‘uokalani as heir apparent to the throne of Hawai‘i. Lili‘u’s brother changed her name when he named her Crown Princess, calling her Lili‘uokalani, “the smarting of the royal one.” From this point on she was referred to as Crown Princess with the name Lili‘uokalani. One of her first acts as Crown Princess was to tour the island of O‘ahu with her husband, sister, and brother-in-law. King Kalākaua died on January 20, 1891. Because he and his wife Queen Kapi‘olani did not have any children, his sister, Lili‘uokalani succeeded him to the Hawaiian throne. Kalākaua had been a staunch supporter of native Hawaiian civil rights. In part, this led to a rebellion in 1887 forcing him to sign a new constitution relinquishing his powers as head of state and relegated him to a figurehead. Queen Lili‘uokalani sought to amend the constitution to restore some of the power lost during the reign of her brother. Local sugar planters and businessmen feared a loss of revenue and influence and instigated an overthrow.

| Peter T. Young

On the afternoon of January 16, 1893, 162 sailors and Marines aboard the USS Boston in Honolulu Harbor came ashore under orders of neutrality. To avoid bloodshed, the Queen yielded her throne on January 17, 1893 and temporarily relinquished her throne to “the superior military forces of the United States.” A provisional government was established. The Queen issued a statement yielding her authority to the United States Government rather than to the Provisional Government: “I Liliuokalani, by the Grace of God and under the Constitution of the Hawaiian Kingdom, Queen, do hereby solemnly protest against any and all acts done against myself and the Constitutional Government of the Hawaiian Kingdom by certain persons claiming to have established a Provisional Government of and for this Kingdom.” “That I yield to the superior force of the United States of America whose Minister Plenipotentiary, His Excellency John L. Stevens, has caused United States troops to be landed at Honolulu and declared that he would support the Provisional Government.” “Now to avoid any collision of armed forces, and perhaps the loss of life, I do this under protest and impelled by said force yield my authority until such time as the Government of the United States shall, upon facts being presented to it, undo the action of its representatives and reinstate me in the authority which I claim as the Constitutional Sovereign of the Hawaiian Islands.” In 1895, Lili‘uokalani was imprisoned for eight months in ‘Iolani Palace for her alleged knowledge of a counterrevolutionary attempt by her supporters. On May 18, 1896, at 6:30am, Lili‘uokalani was baptized and confirmed by Bishop Willis into the Episcopal Church, although she had been a long-time member of Kawaiaha‘o Church. In her Deed of Trust dated December 2, 1909, which was later amended in 1911, Lili‘uokalani entrusted her estate to provide for orphan and destitute children in the Hawaiian Islands, with preference for Hawaiian children. Her legacy is perpetuated through the Queen Lili‘uokalani Children’s Center. Queen Lili‘uokalani died at Washington Place on November 11, 1917, at the age of 79. After a state funeral, her remains were placed in the Royal Mausoleum at Mauna ‘Ala. Connect with Peter: ToTakeResponsibility.blogspot.com

Luana Naturals—South Kona

aren Kriebl received her Ph.D. from Ohio State University. She was a professor at OSU and Capital University in Columbus, Ohio and taught at the Out of Door Academy in Sarasota, Florida where she was known as “Doctor K.” In addition to handcrafting skincare products and botanicals, she now chases chickens, goats, and geckos on her family’s South Kona farm. What began in 2008 as a simple blending of island oils and herbs from their garden eventually grew into a small family business. Karen, her husband Tim Bruno, and their children Mia and Oliver, work together to tend their farm, with a commitment to be good stewards of the land. They use no chemical pesticides, herbicides, or fertilizers and understand the delicate balance of Mother Nature. They farm using sustainable and “beyond organic” practices. The result is farm fresh, handmade, Hawaiian skincare products. Karen says, “Everything we create nourishes your skin. Our antioxidant and vitamin-rich collection is made from real ingredients and in small batches. Mother Nature has already created what is perfect for your skin. We simply hand-craft each product with a true sense of what benefits your body. Every order is prepared fresh, just for you.” More than 80 percent of beauty products available today are made with ingredients known to be harmful. If you are not willing to put something IN your body, you should not put it ON your body. Karen adds, “Our skincare line is free from parabens, mineral oils, sulfates, phthalates, and artificial preservatives. And of course, there is never any testing on animals. Our approach to skin care is to use pure tropical oils, real sea salt, organic sugars, natural plant extracts, and fresh herbs, fruits, and flowers.” There is beauty and appreciation in everything handmade. When someone makes something by hand, they are infusing themselves into the product— something that can be felt and appreciated. Another reason handcrafted items are beautiful is the relationship that develops between the producer and consumer. When you choose to

ISLAND TREASURES purchase something that is artisan made, you become a part of their ‘ohana. Luana Naturals is excited to have partnered with Four Seasons Resort Hualalai to create a beautiful, authentic, and luxurious bath experience. In September 2013, their products were featured at the 40th Anniversary Telluride Film Festival in Colorado and also at the St. Jude’s Pro Bowl Dinner on January 23, 2014. Living a life on the side of a mountain in Hawai‘i requires persistence, adaptability, and a bit of good luck. Karen concludes. “We are thankful for the support of our ‘ohana—our friends, our customers, and our suppliers. Your belief in what we do keeps our farm and business growing.” Luana Naturals South Kona Green Market, Fridays and Sundays, 9am–2pm Kona’s Own, Island Naturals, Imiloa Astronomy Center 808.328.8797 Karen@luananaturals.com LuanaNaturals.com

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 | July/August 2014

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

Tuesday and Friday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. Wednesday 9am–4pm Waimea Mid-Week Farmer’s Market at Pukalani Stables, site of the Paniolo Museum. Pukalani Road in Waimea.

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

Bok Choy | By Sonia R. Martinez

ok choy (Chinese cabbage or pak choi as it is sometimes called) is one of those veggies we are able to find year-round in most of our island farmers markets. Brassica chinensis, the scientific name of this member of the cruciferous or cabbage family, is common in Asian cuisine and is one of the most nutrient-dense greens. With high levels of Vitamins A, C, and K, bok choy also contains folate, calcium, antioxidants, and other cancer preventing compounds. The human body can absorb 54% of the calcium in bok choy—much more than spinach, milk, or any other calcium-rich foods, especially when chopped before cooking. Leaves and stalks can be eaten raw in salads, braised, stir-fried, or added to the soup or stew pot. Some members of the choy or choi family can vary in size and shape of leaves. The ones I prefer look like an overblown rose. When shopping, look for fresh, crispy leaves, and don’t wash until ready to use. Be sure to separate the stalks when washing as sand or soil tends to cling to the inside. Any unused parts can be kept in the refrigerator crisper drawer four to six days. They are easily grown in the garden or in large pots or containers, taking about two months from planting to harvesting. They prefer a milder climate, and we have better luck when planting in September and October for November, December, and even through January harvesting. When I first started experimenting with bok choy, I prepared it raw, as a simple slaw, using carrot flakings (flake carrot off with a sharp vegetable peeler), and dressing with a soy, mirin, and mustard vinaigrette. Soon after participating as a judge in one of the Big Island Beekeepers Association (BIBA) Honey Challenges, a friend gave me a couple of large bok choy as part of an edible plant trade we made. When I started wondering how I was going to cook it, oranges and honey kept popping into my mind. I created the following recipe incorporating all three. The following dish has several steps. It’s easy and there is no fat added.

For the Bok Choy: 1-1/2 pounds baby bok choy, washed well About 1 inch water in a 12-inch stainless skillet Bowl of water with ice cubes in it Trim the ends of the bok choy and cut in chunks or chiffonade*, however you prefer. Bring the water to simmer, add the bok choy, and cook in the simmering water three to five minutes, or just until tender with the stalk parts still crispy. Remove the cooked greens from the skillet and immediately plunge into the bowl of ice water to cool completely and preserve the green color. Drain very well once cooled.

2 ripe oranges With a microplane or smallhole grater, grate rind from one orange. Cut and juice the orange after grating rind, removing seeds. Slice the other orange in less than 1/4 inch slices with rinds on—reserve. 1/4 cup honey Juice from one orange 1 teaspoon grated orange rind 1/2 teaspoon grated ginger 1/2 teaspoon minced garlic 1/4 teaspoon prepared mustard (I prefer the rough mustard) Salt and freshly ground pepper to taste Mix the above ingredients and pour into a small saucepan. Simmer until reduced by two-thirds and slightly syrupy. Place the reserved bok choy, orange slices and the glaze back in the skillet making sure the greens and orange slices are well coated with the glaze. Braise for a few minutes or until heated through. Yield: 4 servings *A chiffonade of greens is any greens cut into thin ribbons. To make a chiffonade, take a handful of green leaves such as basil, lettuce, cabbage, spinach, etc., and loosely wad them up in your hand over a cutting board. With a very sharp knife and making rocking motions, cut across the wad of greens to make thin slices to form the ribbons. Contact writer Sonia R. Martinez: cubanwahine@hawaii.rr.com Photos by Sonia R. Martinez

KeOlaMagazine.com | July/August 2014

Braised Baby Bok Choy with Orange-Honey Glaze

Orange-Honey Glaze

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

Hawaii Museum of Contemporary Art/EHCC 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 ImiloaHawaii.org vrecinto@imiloahawaii.org 808.969.9703

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

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 WaimeaCommunityTheatre.org 808.885.5818

West Hawaii Dance Theatre and Academy

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

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kona Stories Bookstore

Kona International Marketplace

Living Arts Gallery LivingArtsGallery.net 808.889.0739

Lyman Museum

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

North Kohala Community Resource Center NorthKohala.org info@northkohala.org 808.889.5523

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

Kingsʻ Shops–Waikoloa

KonaStories.com ks@konastories.com 808.324.0350

KeOlaMagazine.com | July/August 2014

One-Island.org/hawaii hawaii@one-island.org 808.328.2452

Kona Choral Society KonaChoralSociety.org 808.334.9880

One Island Sustainable Living Center

KingsShops.com 808.886.8811

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 Center) 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 Choral Society Kailua-Kona

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

CROSWORD SOLUTION

KeOlaMagazine.com | July/August 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

Symphony of Orchids Celebrate the Year of the Hawai`i-Grown Orchid! Hilo Orchid Society Show & Sale 2014 Exotic Orchid Species & Hybrids Daily Demonstrations • Orchid Arts, Crafts & Apparel • Refreshments & Entertainment Wahine Toa Designs Fashion Show

www.hiloorchidsociety.org Preview Party July 31st 6pm-9pm

August 1st 9am-6pm

August 2nd 9am-5pm

August 3rd 10am-2pm

Edith Kanaka`ole Stadium Admission: $5 donation at the door or $8 for a 3-day pass keiki 12 & under free

The Largest Collection of Orchids in Hawaiì Funding provided by Hawaiì Tourism Authority and County of Hawaiì Department of Research and Development. Contact Sheryl Rawson at hiloorchidshow@gmail.com by 7-1-14 to request an auxiliary aid or reasonable accommodation.

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Island Spirit Healing Center & Day Spa

Talk Story with an Advertiser

KeOlaMagazine.com | July/August 2014

f you’re ready to feel truly relaxed and let go of stress, Island Spirit Healing Center & Day Spa can help! Ken Bevis, LMT, NCBTMB, Hypnotherapist, is a licensed massage therapist trained in Medical Massage, Swedish, Lomilomi, Sports Therapy and Table Thai Massage. He also does Energy Work, Hypnotherapy, and counseling. Ken graduated from The Hawaiian Islands School of Massage (HISM) where he received a solid background in medical massage therapy. His focus is tailoring your healing session to meet your needs. Christine A. Bevis, LMT, NCBTMB, MS Health and Education, is originally from Switzerland. She has worked with people for as long as she can remember. She holds a Masters Degree in Health Education from the prestigious University of Zurich. While living in Switzerland, she worked at the Olympic Sports Therapy Rehabilitation in Zurich and owned a dance studio. When she moved to Hawai‘i, she received extensive training in Hawaiian modalities. She speaks several languages. Her passion is to support people on their journey to balance and wholeness by nurturing the healing process through loving touch, massage, and energy work. Ken and Christine opened Island Spirit in January, 2012 to provide extensive spa services to South Kona and beyond. They also have an extended group of holistic health professionals who can provide professional therapeutic massage along with other treatments such as facials and wellness therapies, which will have you feeling like a brand new person. Some of the massage treatments available are Relaxation, Lomilomi, Pohaku Wela/Hawaiian Hot Stones, Medical, Sports, Lymphatic Drainage, Reflexology, Thai, Prenatal, Shiatsu, Deep Tissue, and Ayurvedic Oil. Spa body treatments include exfoliation, scrubs and masks. You can also experience luxurious all-natural facials and anti-aging treatments. These services are calming, mild, yet effective to help get a smoother and clearer complexion. Island Spirit carries all-natural skin care products made in Hawai‘i, available for sale in their boutique. You can experience energy therapy and healing services to start feeling the peace and calm you deserve. Some of the services are: Acupuncture, Chinese Moxa, Laser Vog Treatment/ Allergy Relief, Reflexology, Shiatsu, Chi Nei Tsang, Ayurveda, Biofeedback and Energy Medicine, INDIGO Biofeedback Therapy, Amethyst Bio-Mat, CranioSacral, Reiki, Polarity, Hypnotherapy, and Guided Meditation. Ken, Christine, and their colleagues also offer nutrition counseling, cleanse and detox services, spa memberships, and kama‘āina discounts. They also accept insurance. (Call for details.) Pualani Terrace 81-6587 Mamalahoa Hwy., Kealakekua 808.769.5212 info@islandspiritspa.com IslandSpiritSpa.com

Save $5 at our advertisers; see Ke Ola Kālā on p59

Ka Puana–The Refrain

Following are excerpts from Kailua-Kona resident Kumu Keala Ching’s book, Lighting the Path. Used with permission.

The Vision

n 2008, Barbara Garcia and I had the vision of helping the Hawai‘i Island community increase their understanding of the Hawaiian culture. I thought there was no one more fitted to this vision than my own kumu hula and kumu oli (chant), Kumu Keala Ching. His teaching style is comprehensive, weaving together the traditions of hula, language, chant and other concepts. In these writings from the pages of Ke Ola magazine, he eloquently shares his knowledge from his heart and his soul as any poet would do. Kumu Keala has a passion for sharing Native Hawaiian wisdom with all who desire to learn. His chants are composed with concepts that are both ancient and current. And like the Hawaiian language itself, they have many layers. They may be read as literature, and they may also be vocalized and performed by the students in his oli or chanting classes. They may help the reader learn the Hawaiian language as they sit with the Hawaiian dictionary by their side. The translation in English is helpful, too. The reader who seeks to know the Hawaiian traditions will find these chants filled with love for the ‘āina (land) and nature, as well as concepts such as aloha, ho‘oponopono (forgiveness), humility, and righteousness that are foundations of all harmonious human existence. We hope you enjoy this collection of writings from the pages of Ke Ola magazine, authored by Kumu Keala Ching and discover some of their hidden meanings again and again.

Karen Valentine

KeOlaMagazine.com | July/August 2014

Co-founder, former editor and co-publisher Ke Ola magazine

The left page shares more information about each chant and the inspiration for Kumu Keala to write it.

Contact author Kumu Keala Ching: Nawaiiwiola.org Lighting the Path is available from: The author, AWealthOfWisdom.com, and local bookstores.

KeOlaMagazine.com | July/August 2014