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“The Life” Cel ebra t in g the a r ts, culture, a n d s us t a inabilit y o f t he H awa iia n I s l a n d s For those who love life on Hawai‘i Island

September–October 2014 Kepakemapa–‘Okakopa2014


Experience your pet deserves, experience you can trust

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Keauhou

Veterinary Hospital, LLC

Are you coming to Hawaii for a visit, a vacation or relocating to paradise? We can help! Keauhou Veterinary Hospital’s experienced staff can guide you through the process. We will meet you and your pet at Kona International Airport to perform the safe

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

September–October 2014 Kepakemapa–‘Okakopa2014

Art 49 The Mana Anointed Steve Grossman By Peter Michael McCormick

Business 59 Managing with Aloha: Kuleana By Rosa Say 75 Celebrating a Five Year Advertiser with Ke Ola Kelly Shaw, Realtor® Culture

UNIQUE HAWAIIAN STYLE JEWELRY & INTERIORS

Beautifully hand made sterling silver collection by Sassafras inspired by the Big Island of Hawaii.

13 The Holokū By Leilehua Yuen 19 Dressing for a Holokū Ball By Leilehua Yuen

Health 37 Healing Plants: Māmaki The “Stingless” Stinging Nettle By Barbara Fahs

Home 61 Boone Morrison Hawai‘i Islandʻs Leading Restoration Architect By Alan D. McNarie

Land 23 Toward a Firewise Community: Follow the lead of Kohala by the Sea By Denise Laitinen

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39 Aloha ‘Āina Waimea I uka By Ku‘ulei Keakealani

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65 Ancient Hawaiian Agricultural Practices at Sacred Sites in North Kohala 79 Passionately Yours Liliko‘i By Sonia R. Martinez

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Music 71 Mark Yamanaka “Just a regular dude that loves music” By Catherine Tarleton

NOVEMBER 9-16

Ocean 33 World Wide Voyage: Threads That Tie The Hōkūle‘a crew connecting Hawaiian culture to the world By Le‘a Gleason

Come to Hawaii’s Yoga Coast for the intimate, empowering, and soulful Hawai‘i Yoga Festival.

People 43 Fire and Ice Kumu Dane Kaohelani Silva’s life of spirit and service to health By David Bruce Leonard, L.Ac.

Spirit 11 Ahi a Pele By Kumu Keala Ching

Ka Puana -- Refrain 86 My Year in a Yurt By Jen McGeehan

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

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Advertiser Index

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ACCOMODATIONS Dragonfly Ranch Healing Arts Center and B & B 22 Holualoa Hostel 77 Kalani 5 Kīlauea Lodge 34 87 Maui Sunseeker LGBT Resort Shipman House B & B 46

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ACTIVITIES, CULTURE, EVENTS Aloha Theatre 80 Amy B.H. Greenwell Ethnobotanical Garden 51 Art Show by Carol Adamson Greenwell 53 Botanical World Adventures 70 “Building Commnities” Home Expo 22 Dolphin Journeys 36 FairWind Big Island Ocean Guides 32 Farm Tours North Kohala 31 Festival of 1000 Bowls at Donkey Mill Art Center 35 64 Hawaii Artist Collaboration Art Auction Hawaii Museum of Contemporary Art (EHCC) 46 Hawaii Volcanoes Natl. Park Tours 14 35 Home Tours Hawaii - Culinary Tours Kalani 5 Kohala Zipline 28 Kona Boys 36 Maui Pride Festival 87 46 Palace Theater Roaring Twenties Auction & Gala Benefit 74 72 TEDx Kamuela Yurt Project/HFH–Home & Garden Tour 12

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ART, CRAFTS, JEWELRY Akamai Art Supply All Nations Powwow Blue Sea Artisans Gallery, LLC Cindy Coats Gallery Cliff Johns Gallery Harbor Gallery Hawi Gallery Art & Ukuleles High Fire Hawaii Gallery & Ceramics Studio Hilo Health Fair Holualoa Ukulele Gallery Ipu Kane Gallery Ironwood Custom Framing & Design Jason Wright, Artist Kailua Village Artists Gallery Lavender Moon Gallery Living Arts Gallery Mary Ellen Clagett, Artist Mountain Gold Jewelers Pura Vida O‘Kohala Quilt Passions Rumley Art & Frame Sassafras Jewelry

66 56 52 48 17 27 28 46 56 18 29 38 68 22 17 29 48 52 29 50 68 4

Showcase Gallery & Beads Simple Elegance Gems Treasure Island Gallery of the Exotic Trudy’s Island Arts True Hawaii Blue Aprons Wright Gallery AUTOMOTIVE Big Island Honda BMW of Hawaii Precision Auto Repair BEAUTY, HEALTH, NUTRITION Aloha Aina Wellness Center Bailey Vein Institute Douglas Dierenfield, DDS Grace’s Braces (Orthodontist) Hamakua Hairbrush Co. Hawaiian Healing Yoga I Hear Angels Island Spirit Healing Center & Day Spa Joan Greco, DDS, Oral & Maxillofacial Surgery Kai Moku Holistics Kalona Salon & Spa Kona Family Health Center Luana Naturals Progressive Medical Randy Ressler, DDS Reiki Healing Energy Swami’s Healing Arts Vog Relief Herbal Capsules

17 66 50 53 50 60 26 2 58 44 8 77 34 70 56 42 38 45 18 55 74 68 42 74 58 83 38

BUILDING, CONSTRUCTION, HOME FURNISHINGS Aloha Kona Kids - Baby Equipment Rentals 36 62 Aloha Metal Roofing Bamboo Too 67 Closets & Things 72 Concrete Technologies 18 dlb & Associates 30 62 Fireplace & Home Center Hawaii Water Service Co. 30 HomeWorld 85 Indich Collection Hawaiian Rugs 20 Island Style Enterprises Window Coverings 24 Islandwide Solar 70 Mason Termite 84 Pacific Gunite 84 Plantation Living 68 Statements 60 Tai Lake 67 Water Works 82 Yurts of Hawai‘i 82

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BUSINESS AND PROFESSIONAL SERVICES A Wealth of Wisdom Book Publishing 58 Action Business Services 16 Aloha Business Services 85 Great American Self Storage 15 42 Island Spirit School of Massage Kona MacNet 84 Law Office of Lee Mattingly 58 16 Regency at Hualalai UPS Store 38 PETS Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital

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REAL ESTATE Coldwell Banker-Daylum Properties Jacob Schneider, RB, Hawaii Beach & Golf Properties 42 Lava Rock Realty 10 Kelly Shaw, RS, Koa Realty 88 Ralph Harrison, RS, World Class Properties Hawaii 4 The Real Estate Book 83 RESTAURANTS AND FOOD Ahualoa Farms Mac Nuts and Coffee 25 7 Blue Dragon Restaurant Glow Hawaii Inspired Foods, Products & Services 45 18 Holuakoa Gardens & Café Ho‘oulu Community Farmers Market & Artisan Fair 76 K’s Drive In 47 30 Keauhou Farmers Market Kenichi Pacific 55 84 Kona Coffee & Tea Lucy’s Taqueria 47 55 Peaberry & Galette 68 Rumley Edible Art Café (Acai & Crepes) South Kona Green Market 44 28 Sushi Rock & Trio Sweet & Savory Treats 25 RETAIL AND GIFTS Hawaii Marine Center Hawaii’s Gift Baskets High Country Farm Protea Flowers Kadota’s Liquor Kiernan Music Keauhou Shopping Center Keauhou Store Kona Commons Shopping Center Paradise Found Boutique South Kona Macadamia Nut Co. Sweet Wind Books & Beads

84 42 25 47 17 54 18 40 55 83 38

TRAVEL Jet Vacation Travel Agency

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UA MAU KE EA O KA ‘ĀINA I KA PONO.

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From Our Readers

✿ Aloha Sharon Of course I will renew my subscription to Ke Ola Magazine! It’s after all my bi-monthly lifeline to the islands…. And so nice of you to insert a handwritten note. Somehow makes it all so down-to-earth and personal. Mahalo :-) Again, I so appreciate you guys and all the good work you do. Sometimes I get an issue, and realize I personally know almost everyone in it! Mahalo with gratitude and aloha! Patricia Salvo Switzerland ✿ Aloha Renée! I LOVE the article [Ke Ola July-August 2014, The Voice of an Angel], it came out beautiful!!! The layout is so nice. I cried when I opened the magazine and first saw it. This issue of Ke Ola is so amazing for many reasons!! I love all the wa‘a stories. I used to sail on Hōkūle‘a and Uncle Clay is very dear to us. A deep sincere Mahalo nui from my ‘ohana and I for honoring us in such a beautiful, profound way. Me Ke Aloha, Kanani Enos Ho‘okena, Hawai‘i Island Publishers note: We’re always happily surprised about the magical things that happen in the pages of Ke Ola. In the same issue, unbeknownst to us, Kanani Enos was also in a photo with Uncle Clay Bertlemann on page 38, as a keiki in training on the Hōkūle‘a. Kanani recognized herself and let us know via a Facebook post. We were delighted with the synchronicity!

From the Editor

Renée Robinson, Editor

Our final production week, when each magazine is leaving for the printer, is always hectic. For many of us, last minute is our standard M.O., due to having so many responsibilities which all need to be taken care of at once. Many times we have so many things on our priority list, it’s difficult to prioritize our priority list, because everything needs to get done at once! (Can any of you relate to this?) So, I’m sure you were all in the same “boat” as us the week of August 4, as we were preparing to be hit with Hurricane Iselle, while at the same time needing to meet our press deadline. We are proud to say, as we near completion of our sixth year of publishing, we have never missed a deadline, and that every issue of Ke Ola has been distributed on time. This one will be no different, although it was a true test of our ability to multi-task. While we were finishing editorial tasks and ad production, we were also battening down the proverbial hatches, and taking every safety precaution we could. When the storm hit on Thursday we were attempting to proofread our final pages, and I must admit, focusing on the task at hand was very difficult as the wind and rain picked up and we watched the NOAA website for updates. Ke Ola’s headquarters are located where we live—in a yurt in the Mountain View area. We had been assured our yurt would withstand high winds, so we felt confident and prepared. In the end, we were grateful to be protected by the forest surrounding us, and only had minimal damage, although it was scary at times. Our off-grid systems all held up, and unlike many others in our area, we never lost power. The Internet stayed on most of the time, so we never felt out of touch. As this issue went to press, damage and destruction around the island was still being discovered. I’m sharing this because I encourage all of our readers, if you haven’t already, make sure to take the time now to prepare for possible future emergencies, which will protect you in unpredictable situations. Moving towards self-reliance, whatever that means to you, is a positive step in the right direction. Along those lines, we’re proud to be co-sponsors of Habitat for Humanity’s Yurt Project, which is building affordable, safe homes in Hawai‘i. We are here to say, yurt dwelling works! Enjoy the meaningful stories in this issue—we’re very proud to share them with you. Aloha pumehana, Barbara Garcia, Publisher

Cover Artist Kira Kamamalu See her story, page 69

KeOlaMagazine.com | September/October 2014

While looking for pictures for the All Creatures Great and Small: Centipedes story (May-June 2014, p49, ) I contacted friends and on-island photographers. Their response was a mix of horror and disgust: “I only have some shots of the ones I’ve chopped.” “I never take pictures of those buggers.” “Yuck!” “Who takes pics of these critters? I’m focused on getting them outta the house or killing them.” Fortunately I found some pictures online and received permission to use them, as well as public domain pictures for the story. Fast forward to June 10 and a 5-hour layover in the Seattle airport. Guess what I found for sale in one of the giftshops? For “only” $89 you could have one of these fascinating creatures. One was in a box, the other embedded in resin. Anyone ready to start a new business?

Aloha from the Publisher

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Ahi a Pele

| Na Kumu Keala Ching

photo courtesy CJ Kale Lava Light Galleries LavaLightGalleries.com

Fire of Pele

Mai Kahiki mai ke ahi a Pele I pae Nihoa i ka poli o Hawai‘i

From Kahiki, the fires of Pele Arrived upon Nihoa, the bosom of Hawai‘i

Mai Kahiki mai ke ahi a Pele

From Kahiki, the fires of Pele

Kaha ‘Iwa i Kawaihoa e Pele ē Moku moku i Leahi, Kaulana ‘ia mai

‘Iwa soars to Kawaihoa, is Pele Sharp movement to Leahi, famous indeed

Kaha ‘Iwa i Kawaihoa e Pele ē

‘Iwa soars to Kawaihoa, is Pele

Kapa ahu i Mauna Loa ke ahi a Pele Kilakila o ka lā i Haleakalā ala

Sacred Mauna Loa, the fires of Pele High is the sun upon Haleakalā

Kapa ahu o Mauna Loa ke ahi a Pele

Sacred Mauna Loa, the fires of Pele

Paepae ho‘i i Mo‘okini e Pele ē Pipi‘i uka i Kilau‘ea, i ka Halema‘uma‘u

Arrived upon Mo‘okini, is Pele Ascended to Kilau‘ea, Halema‘uma‘u

Paepae ho‘i i Mo‘okini e Pele ē

Arrived upon Mo‘okini, is Pele

Pūana ‘ia mai ke ahi a Pele No Hi‘iakaikapolia‘oPele, he inoa

It is told of the fires of Pele In honor of Hi‘iakaikapolioPele

Pūana ‘ia mai ke ahi a Pele

It is told of the fires of Pele

He mele no Hi‘iakaikapolia‘oPele

Honoring Hi‘iaka dearest of Pele

olo nō ka ‘ohana a Pele i ka wa‘a kaulua i Hawai‘i ala, mai Kahiki mai ke ahi a Pele. Paepae ho‘i i ka moku mua o Nihoa ala ā i ka moku o Hawai‘i ma Halema‘uma‘u, ka hale a Pele. He mele i ho‘ohanohano ‘ia ke ahi a Pele e Hi‘iakaikapolia‘oPele. He aloha pau‘ole i ke aloha nui i ka u‘i o ke ahi a Pele. A journey of Pele’s family upon a double-hull canoe to Hawai‘i from the ancestral lands of Kahiki. Pele and her siblings make their way to Hawai‘i, seeking a home righteously to care for the ancestral fires. From Nihoa until Halema‘uma‘u, Pele travels caring for the love of the fire ignited forever and honored within this mele. Unconditional love is shared through the beauty and love for and of the fire of Pele. Eō e Hi‘iakaikapolia‘oPele. Ignited love is forever; nurture and care for it because it is everlasting. A love between another—a sister, a brother, a lover, and a mentor—is forever. Nurture it. Contact writer Kumu Keala Ching: kumukeala@nawaiiwiola.org

KeOlaMagazine.com | September/October 2014

H

‘Ae, Mai Kahiki mai ke ahi a Pele

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The Yurt Project

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Home & Garden Tour

sland residents and visitors will have a unique opportunity to take a peek inside three stunning Kona residences where they will be treated to a progressive four-course Hawaiian brunch during the Yurt Project Home & Garden Tour. With one-third of island residents living at or below poverty, this one-of-a-kind tour serves as a fundraiser for Habitat For Humanity West Hawaii, bringing affordable yurt-living to partner families. The first family will receive a move-in ready, 30-foot yurt on a one-acre lot in Ocean View in 2015. With an interestfree, 15-year mortgage held by Habitat, and an anticipated monthly payment less than $200, The Yurt Project yurt IS affordable housing at its best! The Yurt Project began with a partnership between Jen McGeehan—Pa‘auilo resident and author of the 2014 nationally released book, My Year in a Yurt: God’s Blessings While Living In 450 Not-SoSquare Feet!—and Yurts Of Hawai‘i (located in Volcano), and Habitat For Humanity West Hawaii. Viewed as a divinely inspired opportunity just prior to her book release, Jen says, “The Yurt Project combines three partners who each bring a unique area of expertise as well as vision, with the ultimate goal of creating a truly affordable housing option for residents here on the island—and then worldwide. I am thrilled that from the ashes of being over $600,000 in debt, our move to Hawai‘i Island, a rented yurt in Pa‘auilo, then complete financial healing and restoration, The Yurt Project was birthed!” Melissa Fletcher, owner of Yurts of Hawai‘i, states that, “Modern yurts have their roots in original designs that spread across Central Asia more than 2,000 years ago. They are typically constructed of a solid wood floor, lattice walls, a stainless steel tension band, and an acrylic dome skylight that covers the compression ring at the roof. The entire yurt is enveloped with NASA-developed insulation and a waterproof, architectural grade fabric.” The Home & Garden Tour, offered through Home Tours Hawai‘i, is scheduled for Wednesday, September 17 and October 15 from 9am–1pm. Participants will be chauffeured in comfortable Home Tours Hawai‘i vans, enjoy award-winning, island-inspired cuisine, and tour each spectacular home and garden. Each tour is $149 per person, with 50 percent donated to The Yurt Project. To apply for The Yurt Project yurt, contact Habitat West Hawaii at 808.331.8010 for the required paperwork. To make your reservations: HomeToursHawaii.com Contact The Yurt Project: HabitatWestHawaii.org/yurtproject Sponsored


The Holokū

| By Leilehua Yuen

I

remember as a girl longing for the day I would be deemed “a young lady,” mature enough to be allowed the privilege of wearing high heels, makeup, and that most elegant dress, the holokū. In our ‘ohana, our family, the favored style for this traditional gown was fitted, and so it required perfect posture that made the wearer look tall and stately. The long sweep of train demanded regal carriage so that the heavy fabric flowed gracefully across the floor as one walked, or danced the hula. I spent hours enduring correction to my stance, and walked endless miles up and down our stairs with a book balanced on my head, striving to achieve the effortless grace of movement that my grandmother and my aunt displayed. I remember the awe with which I touched my first holokū. It was polished cotton. Velvet and satin were considered too “mature” for a girl in her early teens. It was from the designer Alfred Shaheen. Sky blue with a profusion of white nightblooming cereus, stamens drawn in metallic gold, tumbled from the ruffled shoulders and down the train. Not only was it a real holokū, but also it was cut deep in front and back, requiring an oh-so-grownup underwire foundation garment!

Hawaiian fashion begins long, long ago in the early mists of time and legend At one time, the people of Hawai‘i nei used leaves of mai‘a (banana), hala (pandanus) and kī (cordyline) to clothe themselves. At this time, a man named Maikoha lived in Nu‘uanu Valley at Pu‘iwa, beside the waters of a stream. Maikoha had two daughters, Lauhuiki and La‘ahana who were hard working and obedient. The three lived for many years, planting and farming beside the stream, catching river shrimps to eat with their vegetables, and trading with the neighbors when they wanted

Holukū Ball, December 2012, Courtyard by Mariottʻs King Kamehamehaʻs Kona Beach Hotel photo by Renée Robinson

fish from the sea. Eventually Maikoha became old and knew he would soon die. He told his daughters to bury him beside the stream, and that soon after his burial a plant would grow from his body, and this plant would be useful to them. The young women followed his instructions, and soon a plant did grow. Their father came to them in dreams and taught them to strip the bark and pound it into large sheets, which could be fashioned conveniently into clothing and coverings. They learned to take the sap of plants and make beautifully colored dyes to decorate this new kind of garment. When others saw it, they asked what it was. “Ka pa!” The beaten thing. This new beaten thing could be worn in many ways, wrapped and twisted, gathered and ruffled, dyed different colors, and patterned beautifully. Fashion had come to Hawai‘i nei. For hundreds of years, those of a sartorial bent delighted in finding new ways to decorate, pleat, fold, and tie their kapa. Pā‘ū (woman’s skirt) and kīkepa (tapa or sarong worn by women under one arm and over the shoulder of the opposite Holokū are often arm), malo (male’s family heirlooms. loincloth), and kīhei The author’s daughter (rectangular tapa garment Jessica-Anne Lehua worn over one shoulder Murphy wears her and tied in a knot) were great-grandmother’s worn in a variety of ways, holokū. About 1997. tied and retied according to fashion’s whims as well as ceremonial convention.

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Eliza “Aunty Dolly” Josiah, mother-in-law of the author.

The author’s paternal grandmother, Thelma Floy Stephenson Yuen

Then, in 1778, Englishmen reached Hawai‘i for the first time, and island fashion took a new direction. As more foreign vessels visited Hawai‘i, bringing trade cloths, jewelry, and other items, Hawaiian people began to incorporate European items into their fashion pallete. Jackets were paired with malo, silks were used for pā‘ū, and a beaver hat might complete the ensemble. The king, Pai‘ea Kamehameha himself, might elect to wear either the traditional malo or European clothing. By the time the missionaries arrived in 1820 aboard the ship Thaddeus, Pai‘ea Kamehameha had died, and his son Liholiho was king, with Ka‘ahumanu, one of his father’s wives, acting as Kuhina Nui and regent. The traditional religion had been dismantled, leaving a vacuum, which the missionaries were delighted to fill. Hawaiian fashion was based more on whim, fancy, and display of wealth than on any previously known sense of esthetic design. Hawaiian women however, had seen the miniatures of sailors’ sweethearts that the young men carried on their voyages, and were starting to think in terms of contemporary European clothing design. Learning that women were on board Thaddeus, Kalākua Kaheiheimālie, a widow of the late Kamehameha, visited them and immediately demanded they sew her a European style dress. Grabbing the opportunity for ministry, the missionary wives immediately got up their sewing circle and set to work. As they stitched the chiefess’ gown, they set her four attendants to practicing stitching on scraps of calico. Already skilled at sewing kapa with bone needles and thread they had spun from native fibers, the steel needles and silken threads of the missionary wives must have been a delight to the women. Stays, corsets, and laces were foregone, as they were only needed under the more highly constructed and complex gowns. A simple day gown could be stitched up, even by a beginning seamstress, and ready to wear in just a few hours. Kalākua Kaheiheimālie became the proud owner of the first holokū. By 1822, according to diary entries of Missionary wives, the holokū was standard dress for Christianized Hawaiian women. By 1838, it was commonly seen clothing women from all walks of life.

“Stop-Go.” What an odd name for a dress!

Different etymologies for the name have been proposed. One says that the first women to wear the garment cried out “Holo!” (Run!), and then stopped and cried out, “Kū!” Supposedly indicating, “I can run and I can stop!” Why would a woman do

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The author, Leilehua Yuen, about 1999

Thelma Floy Stephenson Yuen, the author’s paternal grandmother


such a thing when she can run and stop perfectly well in any of her garments? Another proposed etymology is that the women would say “Holo!” when turning the wheel to make the sewing machine run, and “Kū!” when they stopped the machine. But the first holokū was sewn in 1820. Mention was made of the garment by that name (sans kahakō) in newspapers in the 1830s. Elias Howe made the prototype of the first practical home sewing machine in 1844. The first such machines to be used in Hawai‘i probably arrived in the 1850s, so this etymology is unlikely. Reading the old newspapers, searching for the earliest use of the word “holokū” and various permutations, has led me to formulate the following hypothesis: The word is a contraction of “holo aku,” (travel away), which is precisely what the needle does in a simple running stitch. An 1857 newspaper uses the term “holoku hana” in reference to digging up onions. Using a digging stick or spade to harvest onions in friable soil would produce the same motion (albeit on a larger scale) as that of a needle in a running stitch. Or perhaps (keeping the kahakō) the best answer invokes lex parsimoniae. “Holokū” means, “evenly plump, stout, symmetrical,” which could very Holukū Ball, September 2013 well apply to the appearance of a Kila DeMello woman dressed in the voluminous garment. The upper classes tend to be the trendsetters, and the first to indulge in wearing the new holokū were royal women such as the chiefesses Kalākua, Kīna‘u, Keōpūolani, and Nāmāhāna. Originally very full, with gathers at the yoke and little in the way of shaping, it had the advantages of being cool and comfortable, and using great quantities of fabric—in keeping with the several layers of kapa a proper pā‘ū would comprise. Truly a status symbol worth wearing. Undergarments also must be provided, and so a chemise must be sewn. Even simpler than the holokū, with no yoke, a shorter hem, and half-length sleeves, it was “mu‘umu‘u” —cut off. Comfortable

Leiomālama Tamasese at Holukū Ball, December 2012 photos by Renée Robinson

and easier to work in, the mu‘umu‘u gained in popularity and became a popular garment for working, swimming, and lounging, especially among the common folk. In the following decades, because of the affinity the Hawaiian royalty had for Great Britain, the fashion of Queen Victoria’s court had a strong influence on the development of upper crust Hawaiian fashion sensibilities. Hawaiian women subjected themselves to the corseted lacing and shaping that European women underwent. Even the holokū underwent a few pin tucks and some shaping. The train grew longer. Soon, public attire for the upscale was Ka‘ōnohi Johnson no different than for those of the same class in Europe. Toward the end of the 19th Century, the Crown Princess Ka‘iulani exemplified the height of Hawaiian fashion sense, and wore the new Edwardian styles with grace and charm. Through it all, the holokū and the mu‘umu‘u remained relaxing refuges for family times and informal occasions.

Then everything changed. Or, from a sartorial perspective, everything stopped changing

With the 1893 overthrow of the Hawaiian Monarchy, the 1898 annexation to the United States, and the 1899 death of

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Tax planning is a year round event!

Paula Wilson, EA • Action Business Services

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808-329-3403

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Princess Ka‘iulani standing on top of steps on the porch of her house at ‘Āinahau; wearing the holokū and lei, 1898 public domain photo by Frank Davey

the beloved Crown Princess Ka‘iulani, the Hawaiian people felt a loss that cut to the innermost heart of being. The holokū, once worn by royalty while relaxing on palace grounds, hand feeding peacocks, and entertaining close friends from half a world away, became a symbol of all that was now gone. As day broke on the new century, night fell on the Hawaiian Kingdom. The Americans and others who moved to, lived in, or visited the new island territory of the United States were enchanted with the ease and comfort of the mu‘umu‘u, now made in bright colors and floral prints. They took the former chemise home to California and Iowa, New England and Florida, and points around the world, and it came to define, for non-Hawaiians, “real” Hawaiian dress. And yet, in the islands themselves, the holokū clothed the self-image of Hawaiian women. Preserved like the petals of a cherished blossom, the traditional holokū remained the same. At the turn of the century, the heavily boned and laced Victorian and Edwardian silhouettes stayed in the century that created them. The softer silhouette of the holokū, like a misty shadow of the elegance of that bygone time, still appears. After World War I, the holokū developed two distinct categories: The traditional gown, by now often called the “Mother Hubbard,” remained, and a more fitted and embellished garment which was strongly influenced by the European tea gown began to appear. Lighter fabrics, straighter silhouettes, longer trains, laces, pin tucks, flounces, gores, and ruffles at the yoke, sleeve, and hem were experimented with, though for evening wear, heavy satins and velvets often were chosen. Called the “fashion holokū” by researcher Linda Boynton Arthur, this version of the garment became a showpiece of the designer’s art. As World War II approached, the gown began to incorporate bias cuts, princess lines, and side zippers. During and after WWII, bold “Hawaiian” tropical prints became popular as the fashion holokū became the garment of choice for solo hula dancers who needed to show up well on stage. Brilliant colors and bold designs were popular into the 1970s. Necklines dropped and trains lengthened. The ruffle evolved to look like a lei. Those of this cut which had the train eliminated were termed “holomu‘u.” In the 1970s, with the Hawaiian Cultural Renaissance, fashion holokū design looked back to its roots. Though retaining the slimmer silhouette, colors became more reserved, necklines


rose, and the yoke returned. Ruffles shrank to become an enhancement rather than a feature. Formal dress fabrics such as satin, brocade, lace, silk, and velvet are popular. One style incorporates a satin chemise over which a lace holokū in matching or contrasting color is worn. Since the 1980s, trains have become quite short, often remembered more in the gored style of the back than the actual length of the train. Now touching three centuries, the traditional holokū remains essentially the same. Sometimes its outlines are sharply defined. At other times it is a faint shadow seen from the corner of the eye. But it remains. Clothing the spirits of Kalākua, Keōpūolani, Kīna‘u, Nāmāhāna, and Kapi‘olani, when we wear it today, we walk in their footsteps. The holokū of the 21st Century may be fitted or loose, off the shoulder or with a high-necked yoke, be fashioned from simple cotton or heavy brocade. It may be simple or elaborate. The train may be long or short. And it always echoes that dress first worn by Hawai‘i’s queens. In whatever permutations it appears, there is something about a holokū that tells you immediately what it is. Like kī hō‘alu, distinctive music of our islands, it’s hard to define, and you know it when you hear it. The holokū is distinctly Hawaiian. ❖

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

Contact writer Leilehua Yuen: Leilehua@LeiManu.com Resources Newspapers Ka Elele, 26 Aug 1848 Ka Hae Hawai‘i, 19 Dec 1856 Ka Hae Hawai‘i, 1 Jul 1857 Ka Hae Hawai‘i, 2 May 1860 Ka Hae Hawai‘i, 10 Oct 1860 Ka Hoku o ka Pakipika, 28 Nov 1861 Ke Kumu Hawai‘i, 1 Feb 1837 Nupepa Kuokoa, 12 Jul 1862 Nupepa Kuokoa, 22 Jul 1865 Nupepa Kuokoa, 9 Jun 1866 Nupepa Kuokoa, 23 Feb 1867

Painting of Nāhi‘ena‘ena (daughter of Kamehameha I) by Barthélémy Lauvergne, 1836 Wikimedia/public domain

Manuscripts Arthur, Linda Boynton; Fossilized Fashion in Hawai‘i; Washington State University

Books Grimshaw, Patricia; New England Missionary Wives, Hawaiian Women, and the “Cult of True Womanhood”; University of Hawai‘i at Manoa. Robert, Dana Lee; American Women in Mission: A Social History of Their Thought and Practice; Mercer University Press. Kīna‘u and ladies-in-waiting returning from church Wikipedia/public domain

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Aunty Maile Schuwer at the Holukū Ball, December 2012 photo by Renée Robinson

Dressing for a Holokū Ball | By Leilehua Yuen

1) Posture 2) Posture 3) Posture

They are still valuable rules today. Perfect posture and a sense of panache enable one to carry off virtually anything. Once they are achieved, all else is easy. Foundation garments for a holokū follow the same rules as for other garments—well fitted so that they smooth the body, rather than add lumps and grooves—and invisible once attired. Stockings may or may not be worn. Shoes for a holokū generally should be light and dainty, and carry the theme or era of the gown. A holokū reminiscent of the Gibson Girl look would do well with a full shoe in a soft kid or satin. If the cut is closer to WWII, then a heeled open toe

slingback might work well. A 70s or even more modern look generally does nicely with dressy sandals. When ordering a custom holokū, my Nana would ask the dressmaker to have some of the fabric sent to her shoemaker to have matching shoes made. Hair can be worn up or down. A lei po‘o (head lei) or wehi (floral hair ornament) looks well alone or in combination with a Spanish or Victorian style comb. Speaking of Victorian accessories, a réticule is the perfect handbag for a holokū, and can be made from a few scraps of fabric left from the garment. Lauhala clutches also are quite nice. And a lauhala fan can be quite useful if the evening is warm. Lei, of course, are always appropriate accessories, and should compliment the cut of the gown. If the yoke is deeply ruffled, a lei that hangs just above the ruffle and echoes its shape can have a lovely effect. Pūpū o Ni‘ihau (shell), lei hulu (feather), and lei hoaka (boar’s tooth), are among the more formal lei. If wearing floral and/or maile lei, choker length to knee length could be worn, depending on the cut of the holokū. Do use care in selecting the flowers, however. Deep colored blossoms such

KeOlaMagazine.com | September/October 2014

T

he first three rules my Nana, my paternal grandmother, drummed into my head about looking good in a holokū were:

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as Nani Ola‘a and jade vine can stain, so they should only be worn on very dark fabrics or bare skin (if one does not have a sensitivity to the blossom). If the cut of the holokū allows, wearing the lei kīkepa, over one shoulder and tied at the opposite hip, can give a lovely effect. Once one is fully attired and ornamented, moving gracefully with a six foot train can take a little bit of thoughtfulness. Smaller steps, somewhat slowed, will allow the train to keep up with one, preventing it snagging and jerking along the floor. When turning, it helps to keep moving forward so that the train does not wrap around one’s feet, but rather makes a long sweeping arc behind. Once the grand entry has been made, one’s escort might be gracious enough to pick up the lady’s train by its loop, and hand it to her. Then, the loop goes over the left hand, and the train may be carried for convenience. Yes, it is perfectly fine to use

Wayne and Patti Holum photo by Renée Robinson

photo by Renée Robinson

the left hand to make graceful gestures when talking, which just happen to show off the beauty of the train. When being seated at a table, the train can be laid across the lap, and one’s napkin placed over it. When sitting in the ballroom or parlor, the train may be allowed to rest on the floor. It looks unlovely in a wadded pile, but, with just a little practice, one can learn to give a slight flick that lets the train settle gracefully by one’s feet. Of course, an elegantly attired man should escort such an elegantly attired woman! And what is more elegant than a man dressed in crisp white with a lei and a kā‘ai? It is an image to sweep a woman off her feet!


In Hawaiian dress, the kā‘ai replaces the waistcoat, providing a segue between the dress shirt and the pants, hiding the often bunchy and untidy line where the shirt is tucked in. With its broad waist and long tails, it adds visual height to a man, a slimmer appearance, and accentuates the chest. The kā‘ai is cooler to wear than a waistcoat, and for many occasions can be worn without a jacket, making it ideal in the tropics. For my grandfather’s kā‘ai the dressmaker often would use the same fabric as for the holokū she was making for my grandmother. The kā‘ai should be twice the height of the gentleman, or five times the gentleman’s waist measurement, whichever is greater. If the holokū’s train is self-lined or unlined, both faces of the kā‘ai would be in the holokū fabric. If the train were lined with a contrasting fabric, then the kā‘ai would have the inner face made of that. Some of the dressier kā‘ai have fringe or tassels at the ends. Generally the kā‘ai would be worn with the pola, the “tails,” hanging down on the left. When horses were the general transportation for people who wore such attire, one stood to the left of the horse to mount, placed the left foot in the stirrup, and swung the right leg over the horse. A sash hanging down the right leg would have presented some difficulties. The kā‘ai should be positioned so that there is an equal amount of fabric above and below the top of the waistband of the pants. The pola should be positioned so that when one is standing erect with the arms hanging naturally at the sides, the hand is centered front-to-back on the pola. Manu Josiah demonstrates a simple method of tying the Kā‘ai Kā‘ai photos by Leilehua Yuen 1) Find the center of the kā‘ai

2) Place center on left hip, pulling both pola to your right

5) Tuck the forward pola between the waist of the kā‘ai and your shirt, pulling it all the way through

6) Smooth the lower pola so it lies flat to your hip and leg

There are various ways to wrap the kā‘ai. The most simple, and least likely to untie at awkward moments, is the knotted wrap. Place the center of the kā‘ai on the left side of the waist, bringing the fabric across the back and the abdomen. Cross the fabric over the right side of the waist, smoothing it neatly and bringing the ends back to the left. Pulling the kā‘ai snug, tie a square knot tight up against the waist. Let the rear-most pola hang, and tuck the forward pola up under the kā‘ai and bring it out over the top, pulling the knot about one third of the way up under the kā‘ai. Smooth out the under pola so that it hangs flat from the waistband. Smooth the upper pola so that it drapes flat over the waistband, and hangs on top of the lower pola. The end of the upper pola should be one or two inches above the end of the lower pola. If the pola are fringed or tasseled, the bottom edge of the fringe on the upper pola should just touch the top edge 7) Smooth the upper pola. of the fringe on the The upper pola should hang bottom pola. slightly higher than the lower pola Attire with which the kā‘ai is worn is generally about the same as white tie or black tie, sans the waistcoat. A lei hoaka or other lei niho might be worn instead of the tie. If one elects to go open collar, then a soft fronted shirt should be selected. In any case, a mid-chest closed lei or a long open 8) Put on your lei! lei is ideal. When wearing a lei, there is no need for a boutonniere, pocket square, or dress scarf.❖ Contact writer Leilehua Yuen: Leilehua@LeiManu.com Mahalo to the Schuwer family for permission to share the memories of Aunty Maile

KeOlaMagazine.com | September/October 2014

3) Cross the pola on the right hip, and bring around to the left

4) Pulling the kā‘ai tight, tie a square knot with the pola

photo by Renée Robinson

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Toward a Firewise Community: Follow the lead of Kohala by the Sea

| By Denise Laitinen

photo courtesy State Division of Forestry & Wildlife

K

Denise Laitinen presenting the Firewise Communities USA award to Debra McCarthy (left) and Sharon Cislo (in blue)

KeOlaMagazine.com | September/October 2014

KBTS receiving accolades from the Hawai‘i State House of Representatives and Governor Abercrombie’s office for their 10 year anniversary in the national Firewise Communities program

ohala by the Sea is the little community that could. This group of Hawai‘i Island residents has achieved a status reached by few communities in the entire country: they’re part of the nationally recognized Firewise Communities program. For 10 years, the small neighborhood nestled along the Kohala Coast has worked diligently to reduce its risk to wildfire. Part of the National Wildland Urban Interface Fire Program since 1987, Firewise has educated and encouraged action to minimize home loss to fire in the wildland urban interface, which is anywhere wildlands and houses meet (meaning a good portion of Hawai‘i). It’s a collaborative effort of multiple organizations across the country, including fire departments, government agencies, and community groups working together to teach people how to prepare for a wildfire before it occurs. The Firewise program is multifaceted, providing free resources and training for firefighters, community developers, as well as homeowners. Neighbors who want to work together to reduce their community’s risk to wildfire can participate in the five-step Firewise Communities/USA Recognition Program. To become part of the national Firewise recognition program, communities must: . Form a Firewise committee or working group. . Have a Firewise wildland fire hazard assessment conducted for their community that identifies wildfire threats. . Implement a community project that will reduce wildfire threats in their community. . Contribute $2 per resident to the wildfire project, which can include volunteer time. . Hold an annual community fire education event. . Submit a report to Firewise of work they’ve accomplished that year.

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photo courtesy State Division of Forestry & Wildlife

KeOlaMagazine.com | September/October 2014

It all started for Kohala by the Sea in 2003 when Sharon Cislo and her husband Randy, a dentist in Waimea, attended a Firewise workshop in Waikoloa. Sharon and Randy had never heard of Firewise and certainly didn’t consider themselves to be trailblazers in their community; they just knew that wildfires were a threat to their neighborhood. Indeed, that particular coastal region receives less than 10 inches of rainfall a year and is surrounded by thousands of acres of intermixed flammable grasses. The district also has a history of

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wildfire. In October 1993, a wildfire destroyed six structures in the subdivision adjacent to Kohala by the Sea. “We had seen wildfires north of us before and knew that they can move fast and furious,” says Sharon. “Having seen the flames of nearby wildfires, we knew we had to take action and find ways to protect our home.” After attending the Firewise workshop in Waikoloa, Sharon asked the Firewise Communities Hawai‘i Coordinator to give a talk in her community. At the time, the 77-acre community was


Firewise tips to create defensible space around your home: . Prune shrubs and trees so the lowest branches are 6 to 10 feet off the ground to prevent fire traveling from the ground to the tree tops. . Remove dead leaves and plant material from around your home. . Plant vegetation with high-moisture content or plants native to your area. . Make sure plants closest to the house are low to the ground. just being developed, and less than a dozen families lived in Kohala by The Sea. Although small in size—the subdivision contains only 77 home sites—the residents wanted to make sure they took every precaution possible to protect their community. They were also concerned about a gulch filled with flammable trees and overgrown brush that ran through the heart of their neighborhood. An informal group of neighbors met with local fire officials on a Friday afternoon over pūpū and refreshments at the Cislo’s home. Before the evening was done, area residents decided to form a Firewise committee and had decided upon their first community project: improving a secondary emergency evacuation route. The Firewise committee started meeting regularly. The Firewise Communities Hawai‘i Coordinator conducted a wildfire

Hono k a`a Historic Plantation Town Only 15 minutes east of Waimea, and 1 hour northwest from Hilo. Come over and spend some time exploring our restaurants & shops!

In May, Kohala By The Sea held a Firewise community workday as part of National Wildfire Preparedness Day. Photos courtesy KBTS Firewise committee


KeOlaMagazine.com | September/October 2014

Denise Laitinen teaching Hawai‘i Fire Department class of recruits about Firewise program

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hazard assessment of the community and identified ways the community could further reduce their wildfire risk. Fabio Franzo, a landscape architect, was one of the founding members of the Kohala by the Sea Firewise Committee. Using free educational materials he received from the Firewise program such as landscaping and construction checklists, Fabio created info packets that he personally distributed to every resident in the small community. Property owners who owned lots and had yet to build their homes received info packets in the mail. The design committee of the community’s homeowners association distributed free Firewise videos on how to build a home using fire-resistant building materials. Community members attended a free Firewise workshop to learn simple and easy steps they could take to protect their homes from wildfire. “It just seemed like such a smart thing to do,” explains Cislo. “Our community was so small at the time that it was easy get everyone involved.” Spurred by their initial success, the community kept up their efforts year after year, installing a wildfire danger rating sign and information board at the entrance to the community, tackling brush abatement, and planting native Hawaiian plants with high moisture content. The annual Firewise community workday has become a tradition within the small community and often involves local fire personnel. “I remember the first few Firewise workdays we had, and everyone worked so hard clearing kiawe and brush,” says Sharon. “During the Firewise workdays, the firefighters from South Kohala station would visit and give us demonstrations on how to use fire hoses and such. Every year was something different. One year we learned how to use the hoses, another year we had a contest to see who could get dressed in the firefighter suit the fastest.” “When we were done we would go to someone’s house and have a potluck dinner. We’re a small community where the neighbors really care about each other.” The amazing thing is that the Kohala community has kept up their wildfire prevention efforts every year for 10 straight years. In order to maintain their national Firewise recognition

photo courtesy State Division of Forestry & Wildlife


status, the Firewise committee and the community as a whole has had to complete the same steps every year. Over the years, the Firewise committee members have changed. For instance, Sharon and her husband moved to a nearby subdivision. Yet the committee remains steadfast in its efforts to reduce the community’s risk to wildfire. “The community remains active today and is a shining example of what great things people can do when they join together for a common cause,” says Michele Steinberg, Wildland Fire Projects Manager for the National Fire Protection Association, the organization which co-founded the Firewise program. Debra McCarthy, current president of the Kohala by the Sea Firewise committee, can point to some impressive statistics accomplished by the community working together. The neighborhood Firewise Committee improved an emergency evacuation route and built a covered wildfire danger community bulletin board. Strict design rules are in place that require homebuilders to use fire-resistant roof material and encourage the use of stucco and other fire-resistant building materials. photo courtesy State Division of Forestry & Wildlife

Emergency steps to follow if a wildfire is approaching your house:

KeOlaMagazine.com | September/October 2014

1) Call 911. 2) Close all entrances, windows, and other openings. Close shutters, heavy drapes, blinds, or other window coverings. This action is recommended to prevent sparks from blowing inside your house and igniting there. 3) Turn off residential fuel. If you use gas or butane, turn it off at the tank or meter. 4) Dress to protect yourself. Wear cotton clothing including long pants, long sleeved shirt, gloves, and a handkerchief to protect your face. 5) Have tools and water accessible: Have a ladder, shovel, rake, and long water hose available. Fill buckets and other bulk containers with water. 6) Wet down the roof. If your roof can burn, wet it down with a hose. 7) Prepare your vehicles. Back as many vehicles as possible into your garage so that if an evacuation were necessary, it would be easier. In the event you evacuate, close the garage door behind you as you leave in order to contain the fire. If you do not have a garage or if it is full, park vehicles so they are heading in the direction of the evacuation route. 8) EVACUATE THE FAMILY. If evacuation becomes necessary, take your family and pets to a safe location.

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In 2008, four years after receiving their initial Firewise recognition status, residents volunteered more than 150 hours of volunteer services to wildfire prevention efforts. In conjunction with their annual community workdays, the group has received federal grants to remove overgrown brush from the gulch running through the community and planted plants with high moisture content along interior roads within the subdivision. Since 2010, community residents have donated more than $14,000 in goods and volunteer labor for various wildfire prevention projects. Last year, the Kohala by the Sea Firewise Committee launched an updated Fire Automated Call Procedure ensuring all homeowners had easy-to-use instructions on getting the word to the community about a fire in the area. All new owners receive Firewise materials in their community welcome package, and Firewise assessments are performed for new owners. This year, the Firewise committee held their annual Firewise community workday on May 3 to coincide with the first-ever national Wildfire Preparedness Day during which hundreds of communities nationwide simultaneously partook in wildfire prevention projects. Today, there are more than 1,000 nationally recognized Firewise communities across the country. However, Kohala by the Sea is one of only 34 communities nationwide that have maintained their Firewise status for 10 straight years. In addition to receiving a crystal statue from the national Firewise program in recognition of their efforts, the Firewise Committee received proclamations from State Representative

Cindy Evans, Governor Neil Abercrombie, and Mayor Billy Kenoi. And in March a special ceremony was held at the West Hawai‘i Civic Center during which time the Hawai‘i County Council recognized the group for their efforts. “The Hawai‘i Fire Department is proud of the Kohala by the Sea community for achieving national Firewise recognition for their efforts to protect their communities from the potential devastating effects of wildfires,” says Hawai‘i Fire Department Chief Darren Rosario. “It’s important for communities to become Firewise for several reasons, the most important of which is that the effects of weather on a wildfire can overwhelm even the most prepared fire departments. A large fast-moving wildfire may escape the fire suppression efforts of the fire department. All that stands in the way of the fire and your home is a Firewise protected property,” the Fire Chief says. Denise Laitinen and Mayor Billy Kenoi at 2013 Hilo Fire Prevention Week in Hilo

Denise Laitinen and Smokey Bear at 2013 Fire Prevention Week event in Hilo


Kohala by the Sea community and its neighbors were victims of serious fires in the early 1990s. “It’s with their effort to be Firewise that I can proudly say as Fire Chief it has made a difference,” adds Darren. Perhaps former Firewise committee president Diana Bonnici summed it up best. Speaking a few years ago after a wildfire had once again threatened the community, she said residents weren’t scared because they knew they had done everything possible to reduce their collective and individual risk to wildfire. And that’s what being Firewise is all about. ❖ To learn more about wildfire safety or the Firewise Communities program: Firewise.org, Facebook.com/firewisecommunitieshawaii, @Firewisehawaii on Twitter Contact the Firewise Communities Hawai‘i Coordinator: 808.281.3497 Firewise Communities Hawai‘i wildfire safety videos: Youtube.com/channel/UC8ec9QRXHA -6gqyzlKcO9Jw Contact writer Denise Laitinen: wahineokekai@yahoo.com

Kohala by the Sea Firewise committee first received Firewise status, 2004. Photo by Denise Laitinen

Fire safety tips:

National Fire Prevention Week is October 5 to 11 and this year’s theme is “Working Smoking Alarms Save Lives.” Here are some fire safety tips from the National Fire Protection Association (NFPA): 1) Make sure you have working smoke alarms in every bedroom of your home and the main living area. 2) Test smoke alarms at least once a month using the test button. 3) Replace the batteries in your smoke alarm at least once a year. If you purchase a smoke alarm with a non-replaceable battery (i.e. a long-life battery) and it starts to chirp, replace the entire smoke alarm right away. 4) Replace all smoke alarms after 10 years.

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KeOlaMagazine.com | September/October 2014

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KeOlaMagazine.com | September/October 2014

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Growing Agricultural Tourism in North Kohala is a project of the North Kohala Eat Locally Grown Campaign and is sponsored by the Hawai‘i Tourism Authority, County of Hawai‘i, Department of Research and Development and the Dorrance Family Foundation.

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The community of North Kohala is revitalizing the local food system and agricultural traditions. Come meet the farmers who are growing food and perpetuating culture in our community today. North Kohala has farm tours and farm to fork culinary events for the whole family!

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• P I G S • C H I C K E N S • K O H A L A G R O W N G O U R M E T M E A L S • B E S T C H E F S • U N I Q U E L O C A L F L AV O R S •

H AWA I I A N

FARMS AL

Here at Ke Ola magazine the incredibly talented people that call Hawai‘i Island home constantly amaze us. In fact, we started this magazine to showcase the people, life, and land of our island paradise. And yet, sometimes those talented folks are right under our very noses and we don’t even realize it! We knew Denise was involved in “fire stuff,” yet had no idea the extent of her expertise or her trailblazing efforts to bring wildfire safety education and awareness to the state of Hawai‘i. After Denise left Maui to be with family on the east coast in the 1990s, she began working for the National Fire Protection Association (NFPA) managing their award-winning national magazine, NFPA Journal. During her tenure, Denise was frequently asked to represent the organization at events throughout Asia and travelled to Japan, China, and Singapore to interview fire service and civil defense leaders and report on best practices. NFPA is the same organization that founded the Firewise program, and Denise also spent her time educating the Firewise program staff about the unique wildfire threats facing Hawai‘i, not realizing what it would lead to in the future. Right around the time that Firewise officials were developing the concept of state coordinators, Denise moved back to Maui. While Hawai‘i fire officials were well aware of the wildfire risks facing our island communities, national fire leaders were less certain. Working with Hawai‘i forestry officials and national Firewise Program staff, Denise became the first Firewise state coordinator in the country, working at the local level assisting communities in their efforts to reduce their wildfire risk. Denise works at the grassroots level, providing technical assistance and wildfire education to community groups. Over the years, she’s taught more than two-dozen full day workshops to firefighters and community members and has given presentations at more than 325 community events across Hawai‘i. Recognizing the unique challenges facing Hawai‘i communities, Denise created several outreach tools, including a Hawaiian word puzzle for fifth graders, a Hawaiian poster on wildfire safety, as well as a video on wildfire safety she wrote and produced with the Maui Fire Department (you can see the video on the Firewise Communities Hawai‘i YouTube channel). In addition to the being the first Firewise state coordinator, Denise was the first female on Maui to be nationally certified as a wildland arson investigator (origin and cause determination). She was the only non-firefighter and the only female in her class when she became certified as a wildland firefighter. Denise is active in a variety of fire related and disaster preparedness organizations across Hawai‘i. A member of the Hawaii Fire Chiefs Association, she is a former vice chair of the Maui County Fire and Public Safety Commission and a past member of the Maui Volunteer Organizations Active in Disasters. A member of the Big Island Wildfire Coordinating Group—a hui (group) of all country, state, and federal fire related agencies on island—Denise is the longest running Secretary in that organization’s history. Denise now lives on Hawai‘i Island. In her spare time, she volunteers with the Hawai‘i Chapter of the American Red Cross as a Disaster Assistance Team member and a Disaster Course Instructor. For her trailblazing efforts in the fire service, Denise was nominated to the 2009 Hawai‘i County Women’s Hall of Fame and was a 2009 Hawai‘i County Woman of the Year nominee.

TRADITIONAL

C U LT I VAT I O N

About the Writer and Firewise Communities Hawai’i Coordinator

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World Wide Voyage: Threads That Tie The Hōkūle‘a crew connecting Hawaiian culture to the world

| By Le‘a Gleason

Moorea departure Navigator Chadd ‘Onohi Paishon Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: Nā‘ālehu Anthony

H

awai‘i is a place where we navigate community and culture, finding a delicate balance between reverence for the past and enthusiasm for the future. It’s with this same careful attention to culture that we watch from afar as the Hōkūle‘a and her sister vessel, Hikianalia, sail the world as ambassadors, explorers, and gatherers of cultures and traditions both new and old. The Hōkūle‘a is a traditional double-hulled sailing vessel with crew members who study nature’s elements for traditional navigation. There is no glue on the Hōkūle‘a. All the pieces can come completely apart, and are literally bound together with many yards of cord made by crewmembers in the months of preparation before the voyage. In that same sense, crewmembers on the vessel must work to create that bond with each other and with the elements to make the voyage a success.

Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: ‘Āina Paikai

A crew member explained, “Once you wake up the first morning to 360 degrees of ocean, you’re in it.” By its side, the Hikianalia is an updated vessel, traditional in design, and technologically outfitted with a research lab, satellite-internet connection, and a battery-operated motor charged by solar panels. It’s the scientific hub of the voyage, allowing scientists and crew members to research ocean species, water quality, and allowing the public an unprecedented look into what’s happening on board. A revolving team of crew members of both vessels will sail the world together as ambassadors of ancient Hōkūle‘a Image ® Polynesian Voyaging Society culture, looking for ways to Photo © ‘Ōiwi TV . Photographer: ‘Āina Paikai bring more sustainability to the islands through sharing knowledge with other cultures at each place they dock. At the printing of this issue of Ke Ola, the voyage is on its second leg, traveling from Tahiti to Cook Islands, to Samoa. Navigator Chadd ‘Onohi Paishon told UH Alumni Magazine (UHAM) the story of how he first became involved with the Hōkūle‘a.

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KeOlaMagazine.com | September/October 2014

Leaving for Leg 2 of WWV (L-R): Tava Taupu, Mike Manu, Kaniela Anakalea Buckly, Keala Kahuanui, Maulili Dickson, Lei‘ohu Santos-Colburn, and Chadd ‘Onohi Paishon photo courtesy Pua Case

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It started with a picture. Chadd met Herb Kawainui Kāne, one of the four Polynesian Voyaging Society (PVS) founders, as a child and was gifted a drawing of the canoe. He says he only ever imagined getting to touch the canoe. He began sailing and taking classes at the Sand Island Education Training Center, so he’d be prepared, just in case. As fate would have it, in 1992 he was chosen for Hōkūle‘a’s voyage to Tahiti. He told UHAM, “The crew really becomes family. The canoe is our mother; the navigator is our father. Aboard the Hōkūle‘a I really felt I belonged.” Chadd is one of just five Pwo (master navigators) in Hawai‘i, trained by Micronesian navigator “Papa” Mau Piailug. “It’s still a learning process. I’m always amazed about how much our ancestors knew. We’re still scratching at the surface at what they understand,” he said in UHAM. During this voyage, he says he is most looking forward to “making connections and reconnections with people and passing on the knowledge passed on from our teachers and sharing and learning from the world how we are all caring for our honua.” Keala Kahuanui is the cook and one of two watch captains for the second leg of the voyage. She’s trained, sailed, and taught aboard the Makali‘i, a double-hulled canoe on Hawai‘i Island, since 2000. In 2007, she took her first voyage to Micronesia to gift Papa Mau with a Hawaiian voyaging canoe named Alingano Maisu with Chadd as navigator. On this leg of the Hōkūle‘a’s journey, Keala is again working with Chadd and says he will “be our father of the wa‘a as our navigator.” “This leg is about reconnection. I’m excited about returning back to our motherland and seas. I’m looking forward to Maupiti, French Polynesia arrival

Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: Scott Kanda


being out on the ocean and on land, in the elements, with our synchronized crew on our mama Hōkūle‘a...” she says. Quartermaster Maulili Dickson is serving many duties as cook, fisherman, and electrician on the voyage. At 67, he’s the oldest of the current crew and was first welcomed to the Hōkūle‘a in the seventies in preparation for the 1978 voyage. He later trained with crew members on E Ala, Hōkūle‘a, Makali‘i, Hawai‘i Loa, and Hikianalia, and was a member of the search team to locate logs for the Hawai‘i Loa before 1991. Maulili is looking forward to “sailing to all the island communities in the Tahiti, Cook Island, and Samoa groups, and helping the younger crew members.”

Huahine, French Polynesia arrival Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: ‘Āina Paikai

Crew member Mike Manu became involved with the Polynesian Voyaging Society (PVS) in 1992 during the “Mauloa project” and was involved in a ceremony for the tree that would become the Mauloa. In 1995, he sailed the Makali‘i’s maiden voyage to Tahiti, and on this leg he is looking forward to reconnecting with the families he met then. “These connections are a vital part in increasing the longevity of all the lessons Papa Mau has given us and the continuation of the Art of Wayfinding in the Hawaiian and Polynesian Cultures,” he says. Kalani Keamu is the rescue swimmer for this leg of the voyage and was there 18 years ago when Hōkūle‘a arrived at Makua Bay, Tahiti.

KeOlaMagazine.com | September/October 2014

Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: Nā‘ālehu Anthony

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Maupiti Arrival Kālepa Baybayan Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: Scott Kanda

KeOlaMagazine.com | September/October 2014

“I was one of the hundreds of Hawaiians in the water at that time, and it was like the King’s arrival on this huge Hawaiian canoe. They dropped the anchor, and I was tasked by one of the uncles on deck to make sure the anchor was set right. Keep in mind I was just a bystander...and Uncle said ‘check the anchor, boy.’ I haven’t let go of the rope yet. Still hanging on,” he says. Kalani has worked with the community to make blankets as gifts for the people they will visit. “We’ve made over a hundred keiki blankets with our peace flag activities here in Hilo. Lots of kūpuna and community people helped me...I need to do this for the people from my community,” he says. Julaine Keamo is the educational specialist on board and is blogging and connecting online with local schools, as well as carrying out science experiments. She’s an educator at Ke Kula ‘o Nāwahīokalani‘ōpu‘u and became involved with PVS through the

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ocean program at her school. There she had the opportunity to sail interisland on the Hōkūalaka‘i. “There are so many things I’m looking forward to,” she says, “[Among them] is making a difference in the way the children of Hawai‘i perceive themselves.” “I am most looking forward to gaining new knowledge and perspective throughout this voyage and imparting this new knowledge with the schoolchildren throughout Hawai‘i. There is nothing more special than to share this experience with others,” she says. And thanks to technology, islanders will be able to share that experience, so that the bond of those threads that tie the Hōkūle‘a together as it sails the world can be felt all the way across the world, on a tiny island in the middle of the Pacific called Hawai‘i. ❖ Editor’s note: Our goal is to have a WWV update in every issue of Ke Ola during the voyage. If you have a WWV story you’d like us to consider, please contact us: HIeditor@KeOlaMagazine.com. Contact writer Le‘a Gleason: lgfreelancehawaii@gmail.com

Hōkūle‘a Image ® Polynesian Voyaging Society Photo © ‘Ōiwi TV . Photographer: ‘Āina Paikai


NOTE: The use of herbal products should not be taken lightly. Consult a physician before using any herb, especially if you are taking any prescribed medications, due to drug interactions. Do not use this herb if pregnant or nursing: nettles are a galactagogue (increases milk production).

Healing Plants: Māmaki

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The “Stingless” Stinging Nettle |

By Barbara Fahs

ou might have seen dried māmaki leaves for sale at your local drug store or farmers market. Tea made from this endemic Hawaiian plant is tasty and popular. Known as Pipturis albidus, māmaki is a perennial shrub or small tree that can grow to 15-feet tall and live for five years or longer. The leaves are fairly large and pretty and grow from 2 to 12-inches long. They also have attractive purple-red veins. Māmaki occurs on all of the major Hawaiian Islands. It is in the same plant family (Urticaceae) as stinging nettles, which grow in widespread areas of the U.S. mainland, Canada, Greenland, and parts of Europe. Unlike its “cousin” plant, māmaki has no stinging hairs; it is believed this defense mechanism did not develop during its evolution due to the absence of predator animals (including humans) and insects.

Medicinal Uses

Growing Māmaki

Māmaki does well in both windward and leeward gardens. Be sure to plant it in an area with well-drained soil where it will get some shade every day, such as under a fruit tree or large heliconia. If you live at a low elevation, this is especially important because it thrives in slightly cooler areas and naturally occurs up to around 6,000 feet in elevation. Cuttings can be difficult to start, so I recommend starting your māmaki crop from seeds or purchased plants. To plant

How to Make Māmaki Tea

Fresh is always best when making any type of plant medicine. In fact, māmaki’s young leaves are edible, either raw in salads or cooked like spinach. 1. Place six fresh or dried māmaki leaves into a teacup or mug. 2. Boil water in a kettle or pan. 3. Pour boiling water over your leaves, to fill the cup. 4. Allow to steep for 10 minutes. 5. Enjoy with honey, sugar, lemon, or milk. DO NOT BOIL māmaki leaves in water. Cautions Beware of drinking large quantities of māmaki tea. Because it is a diuretic, it can cause from simply inconvenient to troublesome urination. And the strange little berries, which are gelatinous white blobs that form on the stems, can have laxative effects. I tell people not to eat them unless they need a laxative! Contact writer Barbara Fahs: hiiakas@lava.net Sources and more info Plants.usda.gov/core/profile?symbol=urdi Nativeplants.hawaii.edu/plant/view/Pipturus_albidus Ehow.com/how_4422194_use-hawaiian-mamaki.html Ncbi.nlm.nih.gov/pubmed/8786654

KeOlaMagazine.com | September/October 2014

One of the important reasons to learn about plants before you use them is to understand what chemical components and properties they include. Although māmaki has not been well studied in laboratory tests, its cousin, the stinging nettle, has. According to the Physician’s Desk Reference for Herbal Medicines, nettles can help to purify the blood, cause phlegm to be expectorated, cause the contraction of body tissues (astringent), and increase urination (diuretic). Because this information applies to the related nettle, we can expect māmaki to have similar effects. In former times in Hawai‘i, māmaki leaves were commonly used to help support healthy prostate glands and the urinary tract, which supports its use as a diuretic. It was also used to help relieve allergies and hay fever symptoms. Locher et al. published the only study conducted on māmaki in 1995. It revealed that an extract of the plant showed selective anti-viral activity against Herpes Simplex Virus and Vesicular Stomatitis Virus, growth inhibition of Staphylococcus aureus and Streptococcus pyogenes, and slight anti-fungal activity.

seeds, simply scatter them on top of potting soil in a pot or flat, without covering with additional soil. Keep it moist and give it some sun every day. When young plants are about two inches tall, transplant them to individual pots. Wait until they grow to about one foot tall before planting them in your garden. Mulch generously with raked leaves from nearby trees and keep an eye open for drooping during hot weather. Māmaki needs little or no fertilizer, although it will “benefit from an application of a balanced slow release fertilizer with minor elements every six months,” according to NativePlants.Hawaii.edu. Be sure to water māmaki during dry spells. The native King Kamehameha butterfly larvae (Vanessa tameamea) and the Koa or Blackburn butterfly (Udara blackburni) use māmaki as their host, so if you notice caterpillars feeding on your plants, try not to kill them. Instead, collect them and treat them to a ride to another location where your māmaki will be safe from these hungry creatures. This is an important reason to avoid using pesticides on your māmaki plant.

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Aloha ‘Āina Waimea I uka

| By Ku‘ulei Keakealani

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Journal entry April 20, 2008

The trail laced with red ‘ohelo welcomes us and we enter into the bosom of the mountain—Hu ka momona! ‘Olapa dance above us to the rhythm of the wind which blows the ‘ohu in—this uhi, covering to the hillsides. The Lehua call to us, we see and touch its powerful beauty caressed by the droplets of rain. Pa‘ahoa perhaps? ‘E‘elekoa or maybe the Kipu‘upu‘u? Our boots squeak and slide as we make our way in—into an unknown destination. Our walk, or our walking is maybe our destination. Hele (i) mua, onward we go!

STOP—pause, take a moment to see all which surrounds us. Too often we miss the beauty spread before our eyes. Not this time, not too busy to see, notice and realize. Inhale this beauty, this gift. He makana no! Our voices flow through the forest, skim across the waters of the stream, wrap around the branches, and folds its love upon all which is the forest. A lei tossed and left floating in the middle of the Waikoloa stream. The adornments we leave in reciprocation for all that has been given to us. The destination, it seems, keeps calling and so the travelers continue upward. Hands scoop the cold tinged water, water beads hang from my fingertips. This chilling water of the stream. The face is splashed, this cool water awakens my being. This perhaps—is the awaited destination? The uluhe prepares a path and we walk in gratitude, complete gratification. Feeling total satisfaction of God’s marvelous creations gifted to us this day. The birds of these uplands share the sweet berries with us—singing an inviting tune, just as if saying, “stop to pick and enjoy the ‘ohelo, just as I taste the sweetness of the forest, so too can you!” Wet and quenched, we descend from the place of the living, sacred waters of Kāne. Aia i hea ka wai a Kāne? Aia i Waikoloa ka wai a Kāne ka wai ola a Kāne! Forever flow these waters of Kāne through the waterway of Waikoloa. Ola no ka wai ‘olu, ka wai anu o Waikoloa! Destination… Reached! Mahalo and aloha, until the next time. ... ‘Āina aloha, beloved land, cherished by its inhabitants, both native and newcomer. This land and sea, Hawai‘i, the beauty

KeOlaMagazine.com | September/October 2014

n April 20, 2008 a group assembled on a misty Waimea morning. The destination was somewhat clear and somewhat vague, i uka, to the uplands, was our chosen destination. Were we on a journey for answers? Perhaps. Five individuals with questions overlapping one another, nevertheless, not a word was spoken. It was a quest that had more meaning for us just to be in place with the elements as opposed to any other reasoning. We moved with and in the spirit of aloha ‘āina. Yes, that was the purpose—aloha ‘āina—for us who speak its stories, compose and sing its mele, dance its hula, and recall our childhood within it. This is our ‘āina aloha, beloved homeland. The bouncy truck ride took us as far into the mountainside as we could go. Knee-high rubber boots, rain jackets zipped tight, and a walking stick on hand for weariness. Here we go, I thought. The following is a journal entry from our trip. I invite you to experience ‘āina aloha.

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abounds. Whether it is the seemingly barren lava field or the picture perfect white sand bay, the mountain slope of Mauna Loa, or the distinct hill of Pu‘u Wa‘awa‘a, these places that we set our feet upon and lay our heads to rest deserve our absolute best. Yes, the best of ourselves, the best of our efforts to mālama and, at a minimum, the best of our energies and thoughts for their good and benefit. Wouldn’t you say? Throughout this island, and state for that matter, there are many people, groups, and organizations that work endlessly to care for their places. I’d say these efforts are truly a “labor of love.” The magnitude of these endeavors is not for some selfpromoting motive or recognition in the least; it is purely because of our love for place that we carry on the workings that we do. For some, it is the ancestral connection that binds us to a certain place or region, while for others it’s a calling or a destiny. Loko i‘a (fishpond) restoration projects, re-forestation projects, cleanup


efforts, gardens being sung to, seeds being dispersed, wahi pana visited, ho‘okupu offered and yes, even Sunday morning walks to special places. These places can stir memories of “before days” that could span generations upon generations. Walking in the footsteps of your kūpuna, does something to you—for you. In Hawai‘i today there are so many people who make up our communities. Some people have been here for several months, relocated from another island or state, some, perhaps, have lived here for most of their lives. Native Hawaiians who can trace their genealogies to the time of the ruling chiefs or beyond to people who are second or third generation immigrants. No matter the “composition” of our communities, we are in it together. The caring for and honoring of these special places are in our hands—literally! Our home will see benefits to a much larger extent if done together by all. This brings to mind an ‘ōlelo no‘eau or poetic proverb, which reads: “‘A‘ohe hana nui ke ‘alu ‘ia, no task is too big when done together by all.” In this light, the attitude we possess and the willingness we have to contribute to the overall good can be realized if we live the words of this phrase. I know there are many ways in which one can contribute to the amazing work being done in various communities. I offer a word of encouragement—find out what’s going on in your area and pitch in, if and when possible. There is certainly no lack of volunteer days that can be found happening on any given weekend in one or more communities. Many great purposes and objectives are being met and health restored to many special places. Find one close to you, or not, and join in the efforts. Speaking from experience, they are incredibly fulfilling and at the end of the day you and place are so much better for it. Ready? Set? Go! There’s really something to be said and celebrated here—our beautiful island home of Hawai‘i nei. To each and every place cared for by its people, and to each and every person who keeps on keeping on doing the awesome work for their respective places, I say, “Ola, life to you and all our ‘āina aloha, cherished and beloved lands.” ❖ Submitted with aloha ~ Ku‘ulei Keakealani Contact writer/photographer Ku‘ulei Keakealani: kuumehananani@yahoo.com

Volunteer Opportunities Amy Greenwell Botanical Garden: BishopMuseum.org/greenwell Hawai‘i Volcanoes National Park: NPS.gov/havo/index.htm Hawaii Wildlife Fund: WildHawaii.org Ka‘ahahui ‘O Ka Nāhelehele: DrylandForest.org Kaloko-Honokahau National park: NPS.gov/kaho/index.htm Kohala Watershed: KohalaWatershed.org/volunteers.html Outdoor Circles around the island: OutdoorCircle.org Glossary of Hawaiian words and phrases ‘Āina aloha—beloved land Aloha ‘āina—love of land ‘A‘ohe hana nui ke alu ‘ia— No work is too big when done by all ‘E‘elekoa—stormy, another rain name of Waimea, Hawai‘i He makana no—indeed a gift Hele i mua—onward Ho‘okupu—gift Hu ka momona—so rich and fertile Hula—dance of Hawai‘i I uka—to/toward the mountains, inland Kīpu‘upu‘u—name of a chilly wind and rain at Waimea, Hawai‘i. Kūpuna—elders Loko i‘a—fishpond Mālama—care for, preserve, protect, conserve Mele—song ‘Ohu—mist, fog Ola—life ‘Ōlelo no‘eau—proverb, wise saying, traditional saying Pa‘ahoa—Rain associated with pu‘u Ka‘ala of Waimea Hawai‘i Uhi—covering

Hawaiian plant names Lehua—The flower of the ‘ōhi‘a tree (Metrosideros macropus) ‘Ōhelo—A small native shrub, (Vaccinium reticulatum), in the cranberry family ‘Ōlapa—several native species and varieties of forest trees (Cheirodendron) Uluhe—All Hawaiian species of staghorn fern Glossary of Places on Hawai‘i Island Mauna Loa—Long mountain Pu‘u Wa‘awa‘a—Furrowed hill Waikoloa—Stream of Waimea

KeOlaMagazine.com | September/October 2014

Aia i hea ka wai a Kāne?—Where is the waters of Kāne? Ka wai ola a Kāne—the living waters of Kāne Ola no ka wai ‘olu, ka wai anu o Waikoloa— Living indeed are the refreshing, cool waters of Waikoloa Wahi pana—storied, legendary and honored place/landscape

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island spirit

KeOlaMagazine.com | September/October 2014

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Fire and Ice:

Kumu Dane Kaohelani Silva’s life of spirit and service to health

visceral. He knew intuitively that this plant was calling to him. It was a hō‘ailona, or omen. Heeding the request from the flowers, a stunned kumu offered a prayer of purification and blessing for the garden, formally asking permission from the plant to use it as medicine. He followed his formal protocol for gathering, storing, and drying the plants under the shade of the deck at his small studio amidst the ‘ōhi‘a trees. A few weeks later, simply following his instincts, he prepared the flowers and leaves for heating in a large pot of coconut oil. After soaking the lā‘au (medicines) in the oil for an additional day, he separated the plant matter and poured the filtered oil into containers that he stored in the refrigerator. How would he use it? As he thought about it, he knew that some use would appear for the mysterious plant. His faith and trust in his intuition was strong, but it had not always been that way. This trust in his deep inner knowing was a gift from his kūpuna; it was a seed that had been nurtured in him through the years and the powerful experiences he’d had with his teachers. Growing up in the tough neighborhood of Keaukaha was not an easy task for this bright and intensely curious young man.

KeOlaMagazine.com | September/October 2014

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s the late afternoon sun warmed his back and shoulders, the chiropractor, acupuncturist, and teacher of Long Life Lomilomi walked briskly across his garden, following a wellworn path between tall ‘ōhi‘a trees bedecked with scarlet lehua flowers. Kumu Dane Kaohelani Silva paused as he heard a highpitched humming sound from behind him. He turned to identify the source of the vibration. Hmm...no one there. With his curiosity piqued, and no immediate source of the sound apparent, he resumed his daily walk. Once more, the humming sound caught his attention, and he stopped and turned completely around to see what was making the vibration. At that moment, a ray of sunlight reflected off the yellow flowers of the low bush alongside the trail. Dropping to one knee, he examined the cluster of flowers and noted that their usual color had deepened to a beautiful, golden hue. Kumu wondered if this small flower could be the source of the humming sound. It was. He had heard stories like this from his kūpuna, growing up in Keaukaha on Hawai‘i Island. But this was first hand, personal, and

| By David Bruce Leonard, L.Ac.

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KeOlaMagazine.com | September/October 2014

There was often little food to eat and even less education. In order to survive the chaos and aggression around him, he initially remained passive and avoided confrontation. That didn’t work, and only increased the stress of living in the small community. Sensing that this bright young man was on a troubled path, a local elder named Uncle Bill Kanui took Dane under his wing and began to teach him martial arts, healing, and Hawaiian culture. Uncle Bill trained Dane in everything from working with energy to instructions on how to catch and prepare fish for dinner. Uncle’s large family gym became Kumu’s second home. The young man’s spirit began to flourish. As Kumu recalls, “Uncle Bill taught me to be receptive to my immediate environment and to increase my awareness as a tool for survival and self-mastery.” Once, when Kumu was walking to Uncle Bill’s house, he saw that a neighbor’s garage had collapsed. No one had a clue that there was anyone in there, but Kumu sensed a body under the rubble. He called on two of Uncle Bills’ sons to help him start digging. Sure enough, they dug up a young boy. He had no breath and no pulse. Kumu performed the techniques he had learned from Uncle Bill. At first the heart began to beat again, then the breathing resumed.

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In 1959, Kumu began to study herbal medicine with Uncle Henry Auwae, and his lifelong fascination with plant medicine began.

Stoking the Fire

After graduating from high school, he left Hawai‘i to study engineering and science at Purdue University on the mainland. One day, while studying chemistry in the college cafeteria, he was to have the first of many inexplicable experiences: inner “voices.” These voices would prove to have a powerful influence on his life, allowing him to observe and understand things that were not readily apparent. These experiences would eventually propel him even deeper into the myths, legends, and nuances of Hawaiian culture. 1980, Dane about to shatter the lava rock with his bare hand


KeOlaMagazine.com | September/October 2014

In the Purdue cafeteria, as he passed by a young woman, he sensed a yearning for “help” coming from her, although she was not looking at him or acknowledging him in any way. He found himself walking up to the young woman, holding her hand, and looking into her eyes. When he did, she told him she had been in a lot of pain and had been hoping that someone would do that. “How is it possible to hear someone else’s thoughts?” he wondered. This was the beginning of Kumu’s realization that we must be able to use both sides of our brain including our body awareness and intuition if we are going to be effective as human beings. This was a tradition that was deeply embedded in Hawaiian culture, and it resonated with him. This experience was such a turning point for him that he left college and returned to Hilo to study meditation, ceremonies, and hula with Kahu Lanakila Brandt. Kahu Lanakila also introduced Dane to Ho‘oponopono, the Hawaiian ritual tradition for healing. Dane had not yet turned 25 years old, when he left a college career in science to completely immerse himself in the culture of his people. As he got in touch with the spiritual side of healing, it deepened his awareness of both the mysteries inherent in our humanness, and the profound tools provided by his ancestors. Later, while still immersed in Hawaiian cultural studies, Dane heard another inner voice, this one telling him to complete his degree. Not having any idea exactly what that “degree” might be, he drove to UH Hilo. As he was stepping out of his van, an old school friend called out to him, “Are you Dane Silva? Come on up and meet Dr. Sood.” Dr. Sood, it turns out, had an 1978 in Puna, NIH grant to study cancer. He Tapa-wrapped Lono stick, took the bright young student photo by Vaughn Notley under his guidance and asked Dane to be a Minority Biomed Research Student (MBRS) to study electron microscopy and tissue cultures of various cells. And study he did, learning the specific details and nuances of statistical analysis and the many sophisticated protocols of Western medical scientific research. One day he got a call in the lab asking him to teach science in the local nursing school. This was 1976 and the beginning of his career in vocational education. While in college, he was disturbed to find that the numerous sports injuries he had acquired over the years were not healing. Disillusioned with the way Western medicine was treating his conditions, he began to explore other modalities for treating his ailments. Pleasantly surprised,

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

 

    

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he discovered that injuries that had not responded to Western medical treatment at all were completely resolved by massage, acupuncture, tai chi, herbs, and meditation. His awareness of the need to combine scientific and cultural medicines began to grow. He realized that the great gifts that have been given by his ancestors have been overlooked in Hawai‘i. Their effectiveness has been systematically minimized by modern corporate medicine. As his clinical and research skills increased, Kumu began to build a philosophical foundation for a truly integrated system of medicine. In the 1990s, he was asked to provide technical support for a research study that described chronic inflammation as the central axis or common ground for a number of neuromusculoskeletal disorders. This was an idea that was way before its time.

In Kumu Dane’s Words

“This prompted me to conduct further studies of my own into the impact of chronic inflammation on these and other health disorders. I realized that inflammation was at the center of many of the ailments of the Hawaiian people. It was a common factor in heart, lung, kidney diseases, liver and pancreatic disorders, cancers, infections and autoimmune disorders. “In describing the situation, I referred to inflammation as Fire, and the subsequent traditional anti-inflammatory treatments as Ice. “At the start of my voyage of discovery, it was very difficult to find appropriate studies that fit my search profiles. But things have changed radically in the past few years, and the numbers of congruent studies have increased dramatically. “I began to speak at medical conferences about my findings. At first, the ideas were novel yet well accepted by biomedical educators, researchers, and physicians on the continent. Here on my own home grounds in Hawai‘i nei, some local Hawaiian physicians rejected my thesis and publicly rebuked me. I considered their criticisms seriously and dove deeper into my search for truth. At this point in time, I can safely say with confidence that my thesis has been accepted and acknowledged by the mainstream authorities at the national and international levels. “It has still been an uphill struggle, however, to address this topic with leaders of the health care systems in Hawai‘i. Saddled with the rising tide of obesity and diabetes, complicated by high blood pressure, heart attacks, kidney failure, and cancer within their own families, the powers that be are desperately looking for answers solely within scientific medicine.

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1975, Dane doing undergrad biomedical research at Hilo College (today: UH-Hilo)

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KeOlaMagazine.com | September/October 2014

“Sadly, I don’t expect any miracles there. It didn’t work before, and employing the same methodology cannot be expected to produce different results in the future. “Historically, we Hawaiians have known this all along from our direct perception and vast experience in healing our own people. We can see very clearly with our own eyes when one of our treatments makes people better. We do not need a scientific study to validate what we already know: that Hawaiian medicines save Hawaiian lives. In the past we have been forbidden to speak our own language and practice our own healing arts. Our traditional healers have been politically suppressed and punished, and it is still happening today within our current system. Our

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people are suffering, and our young people are getting sicker. Scientific medicine has not effectively addressed our healthcare needs. Kānaka Maoli (Native Hawaiians) cannot readily access our traditional healthcare. Where is our traditional Hawaiian medical school? So much money continues to be spent on what has already failed. “Hawaiians need Hawaiian medicines. Western corporate medicine needs to recognize the profound value of our traditional practices. Our Native Hawaiian healthcare system desperately needs a new direction: Lōkahi. Lōkahi is the physical, spiritual, and emotional treatment of the whole person in an integrated medical system. And we need this integration to be more than just corporate lip service; it has to emerge from the ground up. Traditional healers should be hiring the doctors and nurses, not the other way around. If we ask an engineer to design a healing center, we are going to get a prison, not a place of true healing.”

Happy Trails

And what ever became of the plant oil he made? Kumu indeed found a use for it. He has used it on numerous diabetic neuropathies with promising results. Kumu Dane Kaohelani Silva’s inner voices, those provided by his ancestors and cultivated by his teachers, once again have directed him on the powerful path of spirit and service. ❖ Contact Kumu Dane Silva: HaleOla.com Contact writer David Bruce Leonard L.Ac.: EarthMedicineInstitute.com


The Mana Anointed: Steve Grossman

| By Peter Michael McCormick

M

ana, a supernatural or divine power, Mana, miraculous power; a powerful nation, authority; to give Mana to, to make powerful; to have Mana, power, authority; authorization, privilege; miraculous, divinely powerful, spiritual; possession of Mana, power. From the Hawaiian Dictionary, revised 1986 University of Hawaii Press, Mary Kawena Pukui and Samuel H. Elbert. What is it about Hawai‘i Island that draws so many people from different backgrounds and changing life circumstances from all parts of the earth to this mountain in the middle of the sea? Sure, there is the weather and island lifestyle, but I believe there something much more powerful that draws us here. Does it have something to do with the fact this island is the largest mountain (measured from the ocean floor) on earth? You hear the stories of the Nightmarchers and feel the force of the Kohala winds. Spiritual healers, musicians, artists, and priests are drawn to this mountain in the middle of the sea from all different races, nations, and religions to form a powerful melting pot for seekers. Anyone who lives on Hawai‘i Island understands that there is something at work here. This is a story about the power of Mana at work. An individual arrives here with one game plan of life on their

mind and becomes empowered through the graceful Mana wind that blows into their life. You have seen them. The guy who cleans the beach every day and doesn’t work for the State or County. Or the humble caretaker of a piece of ‘āina in the forest or lava field. I believe these people have been chosen, or anointed through the power and order of Mana to perform special tasks that contribute to the hidden sustainability of these islands. Meet Steve Grossman, a Mana-filled artist in Hōlualoa, originally from Ohio, with a Bachelor of Arts degree in art

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education from Bowling Green State University. Steve arrived in Hawai‘i 30 years ago to pursue his dream as a pencil artist. He learned the whaling art of scrimshaw and displayed his work in galleries around the islands, but just was not feeling the passion. Steve, like many of us, fixed his attention to the sea for refuge, becoming a windsurfing and scuba instructor to fill his teaching desires and income needs. Starting a family and working in the airline industry, Steve did not draw anything for thirty years. Then last year, suddenly a feeling came over Steve to pick up his pencil and begin drawing again. Without direction to find a subject for his art he wandered for a while in the spirit room of the mind. This is where artists and writers go when they do not know what to do next. If you are an artist or a writer, you know this place well. While browsing around in a bookstore, Steve turned a corner into the Hawaiian Spirituality section. Thinking he was in the wrong aisle and turning around to exit the area, a force of curiosity pulled him back into the aisle and directed his attention to three books: Spiritwalker by Hank Wesselman, Fundamentals of Hawaiian Mysticism by Charlotte Berny, and Urban Shaman by Serge Kahili King. “The Mana came over me when picking out these books. It gave me the desire to begin reading all three books at the same time, becoming completely absorbed in their material. I could not stop reading,” Steve says.

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The readings inspired his art. Images of Hawaiian people took shape onto the page, and the subjects’ feelings, personalities, power, and individual Mana are immortalized there. When I first viewed his art, the images moved through my body, holding me hostage in awe of their beauty. The art clearly projects a personality; it’s like I’ve met these characters before. Steve cannot say where the images come from exactly. “When I start a piece, it begins with a fairly clear concept, and from there I just go along for the ride, making sure that the fundamentals of art do not get trampled along the way,” he explains. Sometimes they start out as young women or men and then age twenty to forty years as the portrait continues to be completed. There is a story in their faces—one of pain, joy, and a life of the past—a profound reminder of a culture of this land that cannot be lost or forgotten. The artist is quick to point out that he is not channeling these images through lost spirits, but understands there is a power working within him. Steve says, “It’s just me, but it seems to be a product of my subconscious interpreting the material I read in the books and other influences I don’t pretend to understand.” My experience in looking for the Mana-filled or Mana-anointed person has shown me a pattern in what they have in common. Mana likes open minds.

KeOlaMagazine.com | September/October 2014

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BLUE SEA ARTISANS

GALLERY Kona international market

A Tropical Gallery Featuring the Works of 15 Hawaii Island Artists & Fine Crafters:

marilyn koschella

Stefanie culbertson

4th annual FALL art & music festival local artists, crafters & musicians

Saturday, NOV. 22, 2014 10am - 4pm at the

kona international market

interested vendors applications & for more info call office 329-6262, stop by or call the gallery

KeOlaMagazine.com | September/October 2014

74-5533 Luhia St, Suite C-24 (Makai Bldg.) Kailua-Kona, Hawaii 96740, ph: 329-8000 open : Mon - Sat 9 am - 5 pm , sun 11 am - 4 pm

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What is important to understand is in this artist’s transition, there is no magic wand or a sudden awakening. Before Steve could produce these images with his passion and their storytelling faces, there was a humbling period of time taken to educate, prove worthy, and/or earn a respect by studying the past beliefs of the people in ancient Hawai‘i. Artist Shelley Maudsley White, whose gallery is in Hōlualoa Village, has been Steve’s friend for more than 20 years. “I have always known of Steve’s great art ability and have been constantly encouraging him to get back to work,” Shelley says. She would tell him, “An artist can’t wait to feel it to paint; they must paint to feel it.” When Shelley saw his latest work of Hawaiian images, she felt the work was mystical and spiritually driven, telling a story that must be told. Knowing that an artist has a hard time parting with their originals, Shelley again encouraged Steve to have high quality prints produced because his art must be shared. These are now in the process of production and will be available soon. Steve Grossman’s journey is a great example and lesson for all of us who have sought the gifts and lifestyle of these islands. Through his studies of ancient Hawaiian spirituality, Steve says, “learning to combine a harmonious, loving relationship


between Kū, Lono, ‘Aumakua, the three selves, and practicing these together on a daily basis” is when the Mana started fully influencing his art. I subscribe to the thought that our past holds great wisdom of all that walked before us, you must remember that the Hawaiian Islands were fully sustainable and supportive of all living things before fuel, electricity, and broadband showed up here. There is much to be learned and gained for our future development by taking time to study the past of Hawai‘i. So what is this Mana that we feel so strong on Hawai‘i Island? You feel it in the winds, the rain in Hilo, and moving through the warm green blades of grass in Ka‘ū. How will the power of Mana affect your life as you take part in these amazing mountains in the middle of the sea called Hawai‘i? If you are a resident or visiting here, take a look around you during your daily adventures and see if you can spot the Mana-anointed people at work. I believe Mana is the thread of energy that weaves us all together to create this special place called the Hawaiian Islands. Steve’s work is called “Hawaiian Dreamscapes” and consists of drawing on stretched canvas with a graphite pen, watercolor, and colored pencil. His subjects appear to him, and you can see a collection of faces sometimes in a single image. Currently you can view Steve’s work at Ipu Kane Gallery in Hawi and other selected galleries. ❖ Contact Steve Grossman: grossmankona@gmail.com Contact writer Pete McCormick: pmmccormick@outlook.com

KeOlaMagazine.com | September/October 2014

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

 ♦ 

♦ 

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

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                       

  

 





  

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 

♦

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

DOWN 1 Hawaiian name for the pandanus plant 2 Affection in Hawaiian 3 English name that is Lala in Hawaiian 4 Hawai‘i coast famous for its winds 6 Digging tool in Hawaiian 7 Everyone 8 Hawaiian word for intelligent 10 When boiled this nut is a popular appetizer 12 Hawaiian dance 14 Free from, with “of” 19 At the present time 20 Hilo singer and guitarist who is a nine-time Nā Hōkū Award-winner, Mark ____ 22 Religious songs 23 Brown color 24 Not together 26 It’s made of lauhala 29 Hawaiian word for how 32 Scarlet Hawaiian flower 33 Hawaiian floral hair ornament 35 Shore sheltered from the wind 36 ____ lima, a bracelet in Hawaiian 37 Hawaiian word for night

KeOlaMagazine.com | September/October 2014

ACROSS 1 Elegant Hawaiian dress 5 Hawaiian for family 9 In Hawaiian, it means meeting 11 Hawaiian word for life 13 Aka is the Hawaiian word for this sound of joy 15 Hawaiian word for medicines 16 What we breathe 17 Collection of flowers, like a lei 18 Hawaiian for observe 21 Hawaiian bird, now extinct 22 S.____ Building, one of the fine restorations by architect Boone Morrison 25 Way of cooking vegetables 27 Suitable 28 It shows where you are 30 Supernatural or divine power in Hawai‘i 31 Moved along on the surface of the water 34 It’s in ocean water 36 Poem by Na Kumu Keala Ching (3 words) 38 It means shell in Hawaiian 39 Famous Hawaiian wood 40 Hawaiian words for boar’s tooth 41 Hawaiian word for a bean or pea

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Kuleana

The value of personal responsibility “I accept my responsibilities, and I will be held accountable.” Eleventh in an ongoing series.

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Managing with Aloha: Kuleana

as forging ahead with new ideas. In practice, it means we fully engage with authoring our own job descriptions, turning their conventions upside down and inside out, and working with a no limits attitude, enthusiasm, and eagerness. We make room in our workday for what we want to do, want to be responsible for, and prefer to be compensated for. We eliminate the boring and the less meaningful. Second, we dare to make more promises directly connected to our job performance. When you agree to be held accountable for something, you are making a promise to deliver, and there’s real self-empowerment simply in making that promise, whether it is to yourself or to someone else. You bravely get your intentions out in the open, and you give them more clarity and workplace relevance. A spoken promise is this wonderful obligation you hang within reach, begging to be made good on: to speak your promise is magic. When you make a promise, you are putting your own good word at stake, and with the actions you then take to deliver on your word, you have created your self-worth and your value to others. You have built upon your trustworthy reputation, fortifying the credibility of your word when you next speak. You have accepted responsibility, you have performed, you have been held accountable, and you are newly transformed into the engineer of your own growth and self-development. Initiation is the key to true Kuleana. We defensively answer back with, “Hey, it’s not my kuleana” when unwanted responsibility of some kind is assigned to us or we’re blamed for not owning up to it, allowing accountability to slip through the cracks. Conversely, we’ll eagerly say, “This is my Kuleana” when we speak up and volunteer for the responsibility we want to take ownership of, designing the work of our Ho‘ohana. So speak up. If you are an owner, boss, or manager, get these workplace conversations to happen, and take a fresh Kuleana approach, following up with meaningful partnering, reassignment, and delegation. When managers smartly connect Kuleana to the work to be performed, doors of opportunity swing wide open, and responsible people eagerly step through to do their best work. ~ Rosa Say Next issue: ‘Ike loa, the value of learning. Contact writer Rosa Say: RosaSay.com, ManagingWithAloha.com

KeOlaMagazine.com | September/October 2014

ne of my goals for our Hawai‘i is fully woven into the mission and healthy work culture of Managing with Aloha, is that the negative phrase, “Hey, it’s not my kuleana” be something we never hear again. It’s high time we recognize how empowering and transformative the value of Kuleana really is. We must talk about what responsibility and accountability are to us rather than what they’re not. When we assertively say, “This is my Kuleana” instead, Kuleana becomes overwhelmingly positive. We see how powerful it can be as the driver of behavioral motivations, and we welcome it. Kuleana is one’s personal sense of responsibility. It is responsibility we accept because we value it, and we treasure the person we become when we fulfill it. Kuleana helps explain mana‘o (personal belief) by articulating the responsibility a person wants to take and is completely willing to be held accountable for. Through Kuleana expressed, we understand how taking responsibility shapes who we are and who we are capable of being. Therefore, Kuleana is an exceptionally strong driver of our actions. At work, Kuleana uplifts our performance standards by aligning them with personal expression. This is the value that drives self-motivation, for our desire to act comes directly from accepting our responsibilities with full intention, with deliberate thought, and with diligence. When we have this activity-aligned focus, Kuleana drives self-reliance, for we want to be involved, learning to do whatever it takes and participating in the performance of work in a hands-on manner. We want to do for ourselves what we strongly believe we are capable of doing and furthermore, are best at owning. Our value of responsibility will always seek opportunity: we look for the possibility to act, and we investigate all our options in fulfilling the responsibility we are determined to perform and shine in. We network, partner, and team up in newly initiated ways. We ignore “I can’t” and ask, “Why not?” more often. Kuleana is thoroughly desirable—something we want at work: we all want the opportunity to take ownership of the performance we feel we are truly meant to deliver. So how do we have this conversation, where we talk about what Kuleana IS to us rather than what it’s not? We dive in to our sense of wanting, allowing our workplace conversations to be about the opportunities we see and the initiatives we’d like to take and grab personal ownership of. We tap into self-motivation and give it a realistic, immediate outlet. In business, we usually refer to this as being more ambitious, or

| By Rosa Say

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Boone Morrison: Hawai‘i Island’s Leading Restoration Architect | By Alan D. McNarie

“W

hen I was about 11, my folks were touring the gold rush country,” reminisces Boone Morrison, sitting in the architect’s studio behind his house in Volcano. “We showed up in Sacramento and they were restoring Sutter’s Fort. They were making adobe and hewing timbers, and there was a blacksmith doing ironwork.” Boone never lost the fascination he felt that day. A few years later, when he was a junior at Stanford, he answered an ad for a summer job with the California State Park Service doing restoration work. He got the job. It turned out to be at an old Russian trading fort in northern California; the man in charge of the project was one of the craftsmen he’d watched at Sutter’s Fort. That was about half a century ago. Now in his 70s and not slowing down, Boone is the island’s leading restoration architect. In addition to designing 110 modern buildings, he’s done at least 35 restorations of historic structures. He’s helped return many of Downtown Hilo’s treasures—Haili Church, the S. Hata Building, the Volcano Block Building, the Palace Theater, the Hilo Masonic Temple—to their former glory. When Hurricane Iniki devastated Kauai in 1992, Boone was called over to lead efforts to rescue several historic buildings. He’s since restored more than a dozen landmark buildings there. It’s all part of a larger fascination with history. Boone’s workshop holds working examples of black powder rifles similar to those carried by his ancestor, Daniel Boone. On the lawn outside is the rusted undercarriage of an antique railroad car on a section of rail. (When Kilohana Plantation on Kauai built an old-fashioned plantation railroad for tourists, Boone became the project’s architect.) He’s participated in historic reenactments on the mainland and published articles in history journals.

photo courtesy Kornelius Schorle

One of Boone’s first restoration projects in Hawai‘i was the Volcano Art Center Gallery in Hawai‘i Volcanoes National Park, originally the 1877 version of Volcano House, the park’s iconic hotel. In the early 1970s, Boone was exploring the park and noticed the rustic old building, which had been moved from its original site to make way for later versions of the hotel. “It was full of junk and smelled of rat urine—old clothes piled around and broken furniture—but the quality of the spaces really impressed me,” he recalls. The park service was planning to burn the building for a fire fighting drill. Boone thought the rustic old hotel could be restored and repurposed as an art gallery. “In early 1973, I approached the park service. Brian Harry, who was head of the park at the time and was a very accomplished wildlife artist on his own, was very receptive to the idea. At the same time I met [the late] Russ Apple, who was Pacific Region Historian at the time, and he was very enthusiastic about the idea. Together we put together the paperwork to put it on the National Registry [of Historic Buildings].” Restoring the old hotel was no easy task. About 20 percent of the building was in disrepair—floors were collapsing and timbers were rotted—and yet it was still a major historical asset. Boone Morrison (far right) with his Volcano House restoration crew


Volcano House, 1877

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“Here we had the oldest visitor accommodation standing in Hawai‘i and the first wood frame building on Kīlauea,” notes Boone. “The hewn-timber frame, using locally sourced woods, is totally unique.” The hotel’s carefully preserved guest books showed that the 1877 version had played host to such historic personages as Queen Lili‘uokalani. That meant that the building met all three criteria required for listing in the National Historic Registry: it was of historical note, it was associated with important people, and it was architecturally significant. Boone not only served as the architect for the restoration project; he headed up the carpentry crew. Early on, he and Russ decided to carry out the entire project using nineteenth-century tools and techniques. “That meant felling trees in the forest, bringing the raw logs into the site, hewing the logs with ax and adze. My experience with hewing redwood logs in California did not prepare me for the same task with ‘ōhi‘a, which is so much harder,” he recalls. “You have about three to four days to hew an ‘ōhi‘a log, or it will get so hard that you can’t work on it. An ax will bounce.” The sight of workers using axes, handsaws, chisels, and brace-and-bits (a type of hand drill) turned the work site into educational tourist attraction. The park had to erect barricades for crowd control and assign rangers to explain what the crew was doing. “Without any prompting the guys began to wear their interpretation of historic period costumes,” remembers Boone. The restoration had evolved into a reenactment. When a government inspector had looked over the restoration, he told Boone, “The problem is your work is identical to the original. In the future, people could mistake all your work for original work.”

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Old Volcano House: restoring a timber


Boone had to crawl under the building again and stamp the date of construction into every timber that he and his crew had replaced. The Volcano House project illustrates a number of the interwoven challenges involved in any historic building restoration: recognition, research, reconstruction, and repurposing. First, the building has to be recognized as a valuable asset— and that often involves research: How old is it? What is its story? What’s its significance to the community? Boone’s research had to develop a near-encyclopedic body of knowledge about the 1800s and 1900s: everything from nineteenth-century newspapers to steamship routes.

Volcano House, 1921

“From 1873 into the 1890s, Port Blakely Washington was the single largest shipping origin for Doug[las] fir,” he rattles off, for instance. That tidbit may explain why the old Volcano House was framed in hand-hewn ‘ōhi‘a, but clad in milled mainland lumber: “Informed conjecture says, your lumber from Port Blakely is months away.” Boone reasons: By using local materials, the builders could have the frame up by the time the rest of the lumber arrived: “They could do what is currently called fast-tracking.” Sometimes, instead of old books and photos, the restorer needs to read the building itself, or even fragments of the building. The style of a structural post may betray the location of a once-open porch that was later enclosed; a discontinuity in the flooring may suggest that a bedroom or kitchen was added later. Boone calls that sort of research “forensic architecture.” It can be especially important in the wake of a natural disaster. Among the buildings that Boone was tasked with restoring after Hurricane Iniki was Kilohana, the 1935 Gaylord Wilcox estate near Puhi. The chimney had ended up in the kitchen of the huge 1935 mansion, and much of the steep Tudor-style roof was gone. One of the first jobs was the stretching of tarps to protect the interior by workers using rappelling gear. The main mansion was still a fairly “straightforward” job, according to Boone; they even had the original architectural drawings to use. A bigger challenge was the estate’s 1910 visitor’s cottage, which had “literally been blown to smithereens.” “All I had to work with was the floor, some fuzzy photographs, and the debris that was blown across the cane field. That was truly forensic architecture,” Boone recalls. The woodwork of the cottage had to be completely recreated by examining the designs in fragments of debris.

Another challenge of restoration is repurposing, or “adaptive re-use.” Often, an old building’s salvation may depend on finding a new use for it. Kilohana now holds shops and a restaurant. In the 1877 Volcano House, former bedrooms now display pottery, sculptures and paintings. Historic houses in rezoned neighborhoods may find new life as doctors’ offices. Even a retail space may need to be adapted for a different kind of retailing. One of the buildings of which Boone is particularly proud, for instance, is the S. Hata Building on Hilo’s Bayfront, “the first substantial business building [in Hilo] built by a Japanese commercial interest,” notes Boone. When Hata Dry Goods opened in 1914, a shopping trip to Hilo meant an overnight excursion on the island’s now-defunct railroad system. Instead of traveling to Hilo themselves, notes Boone, families would pool together and employ buyers to take their orders to town, fill them and bring their goods back. So Sadanosuke Hata’s new store had upstairs bedrooms for those buyers. The building’s sturdy reinforced concrete walls survived Hilo’s two tsunamis. And yet, by the time new owner David Levinson contacted Boone in the early 90s, the building was in such bad shape that county officials wanted it torn down. One of the first things Boone’s engineer, Afaq Sawar, had to do was “encircle the building with steel strapping to keep parapets from dropping pieces into the street.” An open alleyway had originally split the dry goods complex. Boone’s team roofed the alleyway to create a shopping arcade incorporating some of the building’s original design elements. The popular Café Pesto moved into the former dry goods space as the building’s anchor,

Volcano House, 1877

and art galleries, boutiques, and a small museum found homes along the arcade. The buyers’ bedrooms upstairs became office space. David Levinson, Boone notes, purchased the building for under $200,000 and put a little more than $700,000 into the restoration. “Less than five years later, he sold it for $2.1 million. And he received 25 percent federal tax credit on his business income through the Federal Rehabilitation Tax Credit Program.” It isn’t just mansions and commercial buildings that are worth restoration. “The whole theory behind restoration and its validity is that aside from obviously historically important buildings, the more commonplace buildings are just as important a part of the historic fabric,” maintains Boone.

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Another restoration project that he takes special pride in is an old vacation cottage that was purchased in Volcano in 1907 by an immigrant Italian engineer named Guido Giacometti. The cottage is probably considerably older than that, and some of its parts may be older still; its windows, for instance were recycled from verticalsash window frames typical of late nineteenth century houses, but the windows were turned on their sides so they slid horizontally—a common feature, Boone says, of early cottages in Volcano. It’s not a fancy building—instead of porcelain, the sinks are lined with zinc, for example—and it evokes the time and the place very well. Lovingly kept by the Giacometti family through the decades, it’s now a vacation rental offering visitors a unique taste of Old Volcano. Boone is Vice Chair of the County of Hawai‘i Cultural Resources Commission, which reviews building modification plans for significant structures that are older than 50 years—the legal definition of an historic building. “We’re interested in intercepting historic buildings of importance to ensure that their restoration does not damage the historic asset,” he says. “If we lose that, we lose who we are and where we came from.” ❖

The 1877 Volcano House, today

La Capanna, the Giacometti family vacation home

Contact Boone Morrison: BooneMorrison.com Contact writer Alan D. McNarie: amcnarie@yahoo.com Contact photographer Kornelius Schorle: korneliusschorle@gmail.com

Hawaii Artist Collaboration 2014

KeOlaMagazine.com | September/October 2014

ART AUCTION

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Saturday, October 25TH 4 -7pm Holualoa Inn • Malulani Pavilion 76-5932 Mamalahoa Hwy, Holualoa Village, Hwy 180 30 International and Hawaii artists, from a variety of mediums, have collaborated to bring you creative, original art pieces. A not-for-profit event, all proceeds benefit scholarships and future events.

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For ticket information call: 808-331-0813 hawaiicollaboration@gmail.com

Holomua Kakou

“Moving forward together”


Ancient Hawaiian Agricultural Practices at Sacred Sites in North Kohala

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rchaeological surveys in Hawai‘i yield valuable knowledge about the traditional life of a place, and yet it is often knowledge that is inaccessible to the community where the surveys are conducted. Many contracts call for reports to remain sealed. Since 1995, however, North Kohala has been the fortunate location for the Hawai‘i Archaeological Research Project or HARP. HARP combines the efforts of several institutions: the University of Hawai‘i, the University of New Mexico, the University of Auckland, and Southern Methodist University, among others. Under the direction of Dr. Michael Graves, Dr. Thegn Ladefogd, and Dr. Mark McCoy, the Project has greatly enlarged our understanding of traditional Hawaiian agricultural practices. That knowledge, in turn, has been freely shared on numerous occasions with the North Kohala community.

In its nearly 15 years, the project has examined ancient Hawaiian agricultural practices using cutting-edge techniques such as GPS, remote sensing, and aerial imagery. Numerous students from Hawai‘i Island and other islands have participated in the summer field schools, which have also trained students from all over the country in archaeological techniques. It began with a focus on the leeward field system covering approximately 25 square miles of upland Kohala, and then expanded to coastal sites, valley irrigated agricultural complexes, and recently, windward sites. It has gathered an extensive body of knowledge about pre-contact agriculture in the field and stream fed irrigation systems in leeward and windward Kohala. Heiau (temples) and smaller religious structures associated with agricultural sites were also mapped. “The structures include many located within the dryland fields and were clearly dedicated to encouraging rainfall and the

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successful cultivation of crops. Elsewhere heiau occur along the coast in Kohala, often on the tops of cliffs or above bays. The spare elegance of these dryland masonry foundations belies a religion that permeated virtually all aspects of traditional Hawaiian life. These were locations of reverence, of worship, of dedication to the system of organizing culture and society that existed in Hawai‘i for centuries. Many of the heiau have been lost to history; others retain their Hawaiian names and are associated with rich oral traditions and histories of the chiefs on whose behalf the heiau would have been built,” Dr. Michael Graves explains.

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In the mapping of upland sites, tantalizing hints have emerged that the ceremonial sites were carefully placed within the agricultural field system to make best use of view planes. These small heiau look out over a vast landscape that encompasses pu‘u (cinder cones), other temples, the ocean, Maui, and the sky. In the context of the field system, even now, they leave an indelible, powerful impression. The upcoming exhibit, October 3–29, at the Hawai‘i Museum of Contemporary Art was created between 2004 and 2010 in collaboration with the UH Summer Field School. Jesse Stephen, one of two photographers for the exhibit, was also a UH grad student studying the upland field system and helped to facilitate the field school each summer. Jesse’s images are in color.


The black-and-white work of Jan Becket, photography teacher for 20 years at Kamehameha Schools Kapālama, constitutes the bulk of the exhibit. Because not everyone has access to the private property where many of these sites are located, and not everyone can visit them after they have been cleared of vegetation, the images in the exhibit, in addition to the community forums in Kohala, serve as a model for sharing knowledge with the community. The exhibit also includes work by noted local sculptor Rocky Jensen.

It was the connection to the Field School over that span of time that allowed access to many of the sites documented in the exhibit. North Kohala is the location of relatively few monumental, named heiau: Pu‘ukoholā, Mo‘okini, Kukuipahu, Hale Ka‘ili, Kapālama, Kūpalaha. These are acknowledged in the exhibit, of course. However, it is the smaller sites, their names now lost, that is the real focus. Most of them are ceremonial structures. The exhibit of nearly 60 photographs also includes images that provide their context: lo‘i, house sites, and North Kohala’s vast upland field system. ❖ Contact Hawai‘i Museum of Contemporary Art: EHCC.org Contact writer/photographer Jan Becket: janbecket.net@gmail.com

KeOlaMagazine.com | September/October 2014

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“H

Featured Cover Artist: Kira Kamamalu Kira currently has many projects underway: a textile clothing line with her art deco images to be released this winter; creating a line for Kona Rock & Mineral; a Hawaiian Comic Book that blends her art with Hawaiian legends; and a restoration project for the new St. Michael’s Church, restoring the old statues, creating the mosaics—including a tapa-patterned mosaic trim on the interior with ‘ili‘ili stones—and painting the church’s ceiling. Kira’s artistic abilities are attributed to her family and her classical training. “My entire family is extremely creative, and bouncing ideas off of them is hugely beneficial for my thought process…I had a lot of art instruction in Europe, and when I came home I felt like I was bringing [that entire] knowledge home to adapt it to my land.” Kona artist Vicki Penny-Rohner was Kira’s first mentor in painting. Presently, Kira creates under the masterful guidance of Ed Kayton. Kira also studies Harley Brown, Richard Schmid, Sargent, Matisse, Rembrandt, Michelangelo, and many more, noting that her art studio is filled with books on art and artists. That art studio, Kira says, is her personal heaven. “All artists who have a studio away from home understand the value of having a space specifically dedicated to their work. There are no distractions, and the only thing to do is to get to work,” she says. Open by appointment, Kira’s studio is located in the southernmost room on the lanai at the Kona Hotel in Hōlualoa. Kira’s dog is her “studio assistant,” hanging around the hotel and “monitoring” her work. Contact artist Kira Kamamalu: kamamalu@me.com 808.938.5054, kira-kamamalu-art.com

KeOlaMagazine.com | September/October 2014

ave you ever had the feeling that you were doing exactly what you were meant to do?” Hilo born 31-year-old Kira Kamamalu is going into her eighth year as a professional artist. She says that painting is the thing she feels she was born to do. Through the facial expressions of her subjects, Kira explores themes of personal power, beauty, thoughtfulness, compassion, and love. “As a figure painter, all the messages I try to convey must come through by the emotions on my subjects and the nature of the supporting elements such as colors, background, and texture. I explore a lot of traditional Hawaiian actions and activities because they are still a part of Hawaiian modern life; I enjoy bridging the old and the new Hawai‘i.” For Kira, paintings begin with inspiration and then inspire new direction as they take shape on her canvas. “The beginning of every painting is a thoughtful one. I never start without knowing which direction I’m going, even though that is almost guaranteed to change once the painting starts speaking back.” Kira describes her craft as exciting, noting that she often rises before the sun because her passion won’t allow her to stay in bed a moment too long. And— strangely perhaps—a larger force that has carried her and disciplined her since the beginning of her art career: frustration. “Frustration that I wasn’t as good as I knew I could be, frustration over knowing the piece could be better,” forced Kira to strive harder to paint “a powerful and moving work of art.”

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Mark Yamanaka: “Just a regular dude that loves music”

| By Catherine Tarleton

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nly in Hawai‘i. Only in Hilo, actually, can you buy a car, turn on the radio, and drive away listening to a hit song by the guy who sold it to you. Nine-time Nā Hōkū Hanohano Award-winner Mark Yamanaka may be a musical superhero, but by day he’s the mild-mannered employee of Aiona Car Sales. The Hawaiian family-run business is happy to accommodate Mark’s “gigging” schedule. “A lot of people ask, ‘Why are you still working?’” says Mark. “I tell them it makes me feel normal. In this industry, you get a lot of attention, and it can change your perception...I’m just a regular dude that loves music.” Mark’s albums reflect that love unquestionably. His first, Lei Puakenikeni, was nominated for 10 Hōkū Awards in 2011. He took home five—including Album of the Year, Male Vocalist of the Year, and Most Promising Artist of the year—a “trifecta” sweep won only twice before by Willie K in 1992 and Keali‘i Reichel in 1995. His second album, Lei Maile won five Hōkū Awards in May 2014. Although Mark was born on O‘ahu, his parents wanted their keiki to grow up close to their grandparents, so they moved when he was two, and he has been a Hilo-boy ever since. The Yamanaka’s are not a musical family—or weren’t.

“I’m the first to pursue the journey I’m on,” says Mark. “I’m the first pioneer in the family to undertake the entertainment business.” Mark’s musical calling began when he was about 13. “In Hilo Union (Elementary School) the fourth grade had ‘ukulele class, but I had no interest in learning how to play at the time,” said Mark. “Four grades later, hearing my friend playing a song from the radio—I was hooked. That was the spark.”

Mark with managers Lesley Iida Kumiji and Pat Aiona Jr.

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Inspired, he borrowed his father’s 70s-era Kamaka, fixed and tuned it up, and was soon consumed in his room, practicing the opening licks to “Darcie’s Lullaby” by Island Rhythms over and over. When he had it down, he was ready for something new; it wasn’t long before his dad recognized his dedication and took him to the music store for a new ‘ukulele of his own. And when he wanted to try his hand at guitar, he taught himself by listening and playing with others. He doesn’t read music and has no formal training, but that has never slowed him down.

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“Sometimes something in your heart says you want to do this. I can’t even help myself. It is such a deep passion for me,” he says. He worked to develop his poi-smooth falsetto by listening to Gary Haleamau, Dennis Pavao, Darren Benitez, and mentor, Kumu Hula Johnny Lum Ho. “For me it was mimicking... trying to sound like them,” says Mark. At the age of 17, he joined the band for Ho’s Hālau O Ka Ua Kani Lehua, where he connected with fellow musicians Bert Naihe, guitar and background vocals, and Eddy Atkins, bass. “They took me in and showed me the ropes,” says Mark, who was at first intimidated by the kuleana that comes with playing Hawaiian music. “I don’t have any Hawaiian blood,” he says. “And I struggled with that, with insecurities, carrying a ‘ukulele around and not being Hawaiian. I had thoughts that maybe I shouldn’t be doing this.” “I worked hard through that,” says Mark. “I had taken Hawaiian classes in high school and college (at University of Hawai‘i at Hilo). “But at the time there was nobody to use it with—so I could understand but not converse back.” Mark says he worked hard to perfect his Hawaiian enunciation and pronunciation. For song lyrics, he writes poetry in English and works with trusted friends who are fluent in Hawaiian to translate and interpret the words. “Winning the [Hawaiian Music Album] Hōkū really put me over the top,” says Mark. “It feels amazing; like I have gotten my heroes’ respect—like I have come into their world of expertise.”


Mark and his son Jorden at the Hui Kāko‘o Benefit Concert Keauhou Shopping Center photo by Renée Robinson

Mark loves all genres of music. Lei Puakenikeni includes a cover of Collin Raye’s country song, “Love, Me,” as well as a hymn, “How Great Thou Art” (“Ke Akua Mana E”). At a Hilo memorial for the late Senator Daniel K. Inouye, Mark played the classic Irish ballad “Danny Boy,” beautifully punctuated by the liquid silver steel guitar of Dwight Tokumoto. At a concert in Japan, Mark dedicated an Eagles pop hit, “Love Will Keep Us Alive” to those who had suffered loss in the 2011 earthquake. Mark, Eddy, and Bert go to Japan for concerts six or seven times a year, about every other month starting in March. It is an experience that Mark finds particularly rewarding, perhaps because the Japanese passion mirrors his own, and perhaps because Hawaiian audiences don’t always realize what musical treasures play in their own backyards, or on car radios. “It’s just like the beautiful beach that you always go to,” says Mark. “From their point of view, it’s so different. There is a lot of appreciation,” says Mark. “They want to learn about Hawaiian culture...and we seem to be coming to a point in the Hawai‘iJapan relationship where they also want to share—the hula, the music—themselves.” Mark says that he admires the dedication of Japanese dancers and musicians he meets and can see the discipline they have. “They want to fine-tune what they are learning and get beyond the language and just mimicking what they see. Their dedication is pretty unsurpassed,” says Mark. “Japanese people take anything like that and make it their own—they want to be authentic. They don’t have that connection with the ‘āina, the kai, and will always rely on kama‘āina people to learn more—to learn the whole aspect of living here in Hawai‘i.” “I’ve seen it evolve,” says Mark. “They truly want to learn what the songs, the chants, the dances represent. We could learn from that, too, not to take it all for granted.”

Father of two, Mark makes time between work and music to be with his son Jorden, 12, and daughter Ryane, 9. He’s written songs for both, and in fact, “Kaleo‘onalani,” which is also Ryane’s middle name, was the 2011 Nā Hōkū Song of the Year. Jorden is a musician himself, playing ‘ukulele and drums and loves singing and dancing. Like Dad, he’s had no formal training and Mark’s not pushing him. “It’s a tough industry, and I want him to concentrate on school. I am there to support, not to push,” Mark says. “It’s not spoken, but I can sense his admiration for what I do. I know he is watching. I know he is listening.” Mark Yamanaka can be heard at entertainment venues, cultural events and fundraisers statewide, and his albums are available at your favorite music retailers and online.❖ Contact Mark Yamanaka: yamanakamusic@gmail.com Contact writer Catherine Tarleton: catherinetarleton@gmail.com

ACCORDING TO WIKIPEDIA: “Falsetto (Italian diminutive of falso, “false”) is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave. It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both men and women, is also one of four main spoken vocal registers recognized by speech pathology.” A much simpler explanation is the Hawaiian leo ki‘eki‘e (high voice).

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Kelly Shaw, Realtor®

Honoring a Five Year Advertiser with Ke Ola

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This year, Kelly achieved the great honor of making the Top 100 Realtors in Hawaii Business Magazine for the number of her transactions. She was also recently inducted into the Institute of Luxury Home Marketing Guild for her sales volume of luxury homes. Part of her talent may come from her designations, especially her CRS or Kelly Shaw, RB, ABR, CRS, GRI Certified Residential Specialist. According to the Council of Residential Specialists, less than three percent of more than one million Realtors® are qualified Certified Residential Specialists. Kelly compares it to the more common understanding of doctors, “If you needed brain surgery, would you go to a general practitioner or a specialist?” A specialist in more ways than one, Kelly continued to further her career path and passed her Real Estate Broker’s exam last December, one of her five-year goals. Her future goals include traveling more and giving back to the community. Already, Kelly gives 10 percent of the proceeds of each sale to the nonprofit of the buyer’s choice. She is also part of the Aloha Chapter committee on O‘ahu, which gives to Shriners Hospital, and will serve as their secretary next year. Kelly is also a long-time active member of Soroptimist of Kona, a forty-three year old non-profit group that betters the lives of local women and children. Kelly Shaw Koa Realty, Inc 76-5905 Mamalahoa Hwy, Hōlualoa 808.960.4636 KellyShaw@BuyAHomeInKona.com BuyAHomeInKona.com

KeOlaMagazine.com | September/October 2014

elly Shaw, an independent Realtor® with Koa Realty in Hōlualoa, believes in having goals and meeting them today instead of tomorrow. In Long Island, New York at only 25, Kelly was diagnosed with ovarian cancer. Like taking a page out of a movie, Kelly decided to seize the day and live where she wanted to now instead of when she retired. And so she came to Hawai‘i. Kelly hails from a long line of Realtors®, and it wasn’t her original plan. She went to school for education, despite her grandmother and aunts all urging her to try real estate sales. It wasn’t until 2003 that she started to change her mind. She’d graduated from college in West O‘ahu and she had a year off to do her practicum. The only problem was, she realized returning to school hadn’t changed much for her. Employers estimated her earning potential as not much higher, and possibly less than if she had not gotten the degree at all. Exhausted, Kelly sought counsel in her family and was able to see what they saw in her. “They said I worked so hard and they saw the potential in me to work for myself,” Kelly says. Finally, she stepped into her family lineage and decided to try out the real estate world for one year, and ended up sticking with it. Today, Kelly has been with Koa Realty for nine years, working out of a beautiful, quaint building in Hōlualoa. She’s earned several distinguishing awards and sets her own schedule. Best of all, she loves what she does. “I’m dedicated to the community. It’s where I live. It’s where I work,” she says. On her website, she addresses her clients in a bold statement, desiring them to know her honest thoughts: “You will never be a statistic in my database or a commission in my pocket, but a valued member of our community that I am committed to seeing thrive and grow.”

| Aja Hannah

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High Fire Hawaii Gallery & Studio —Hilo

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KeOlaMagazine.com | September/October 2014

hannon Hickey was born and raised in Chicago and has lived in Hawaii 25 years. She holds a degree in Art from the University of Hawai‘i at Hilo and was deeply involved in ceramics and printmaking during her time at the University, where she worked as a studio technician. Shannon has been crafting handmade high fire ceramic art and sharing her passion for ceramics with students for more than 15 years. She was also instrumental in the creation of High Fire Hawaii Gallery & Studio where she shows her work and serves as gallery manager. She also teaches classes in beginning and intermediate ceramics for adults and children. “The inspiration for my work is grounded in the natural environment of our volcanic island and its cultural history; influenced by Asian traditions that came to the islands with immigrants from Japan, China, and Korea. I am particularly inspired by the traditional wood fired techniques of Japan that yield pieces reminiscent of the natural

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| Le‘a Gleason

artwork of our island’s volcanoes,” Shannon says. Shannon says her work is unique because it represents an intersection between functionality and art. It's crafted from clay

and glaze materials imported from the mainland and local materials (leaves, ferns, shells) are used for impressing textures and detail. “Each object serves as a canvas that can be exploited to expand the level of artistic expression available to me as an artist. The result is a synthesis of utility and aesthetics that I strive to cultivate in my work and my student’s work,” she says. One challenge in Shannon's work has been that production costs have always been higher for island potters because of the high costs associated with shipping and storing heavy materials. High Fire Hawaii became an authorized dealer for Laguna Clay Company, which has allowed Shannon to offer significantly lower material and equipment costs for potters on Hawai‘i Island. Shannon says her clientele is split between visitors and local residents. She strives to create a product that inspires repeat customers. She says that many visitors bring home her work and end up ordering again. High Fire Hawaii Gallery & Studio 114 Kamehameha Ave., Hilo 808.935.8380 info@highfirehawaii.com HighFireHawaii.com


South Kona Macadamia Nut Company—South Kona

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eris Farwell, a soft-spoken and petite woman, hand scoops a bag of Tamari-flavored macadamia nuts. Flavored with shoyu (soy sauce), the reddened nuts drop into 4oz and 8oz packages. Each package of South Kona Macadamia Nuts is hand packaged by Meris, her husband Brad, or local seasonal labor in her farm’s kitchen. During the packing season, Meris will frequently stand in the same position, perching over a sleek silver table and marking her products in a weathered notebook. Above her, a large rectangular window breathes a view of the City of Refuge, Kealakekua Bay, and miles of outstretched Pacific Ocean. The same view is printed on each hand-placed label of mac nuts. South Kona Macadamia Nut Company sits on 11 acres of sprawling greenness and macadamia nut trees, most of which started from seed more than 30 years ago. From these trees, the nuts are picked at just the right height of moisture. The biggest are then sorted out for retail use and their shells are cracked open, revealing a creamy-white center. The commercial grade nuts—the best ones—are chosen as they bob in a restaurant-sized sink full of water.

| Aja Hannah

Afterward, the chosen nuts undergo a special South Kona Macadamia Nut Company process. The nuts are dried at a lower temperature, dehumidified in order to keep the flavor of the nuts “raw” and fresh. The rest of the process remains a company secret. In the end, the process leaves the enzymes of the nutritious nuts unchanged. In contrast, a traditional macadamia nut processing method will dry the nuts at lower moistures and roast the kernels at higher temperatures. It is following this secret process, that the nuts’ fates are chosen. To be eaten straight or salted, to be crushed or seasoned. Salted Mac Nuts Lightly salted with sea salt, the nuts are packaged in 4oz, 8oz, and 16oz sizes. Unsalted Mac Nuts Left natural and distinct, the dehumidified nuts are packaged in 4oz, 8oz, and 16oz sizes. Macadamia Nut Butter Ground from the same high quality nuts, the butter is packaged in an 8oz jar. Honey-Mac Spread The spread is made sweet and thick with 100% Hawaiian Lehua honey and mac nut butter. A citrus smell floats out from each 9oz jar. Tamari-Flavored Mac Nuts Excess nuts flavored with tamari, a soy sauce from Japan. The taste lingers on the tongue, unique and reminiscent of fried rice. Macadamia Nut Oil Extracted from dehumidified nuts, the oil is delicate and bottled in 8oz glasses. The oil can be used on salad dressings and as cooking oil.

Celebrating 35 years of outstanding Dental Service to Kona • Cosmetic & General Dentistry • Implant Restorations • Laser Periodontal Surgery & Therapy (LANAP Certified)

Douglas H. Dierenfield, D.D.S. Casa De Emdeko, Suite D 75-6082 Alii Drive Kailua Kona, Hawaii 96740 konadentisthawaii.com

329-5251

KeOlaMagazine.com | September/October 2014

South Kona Macadamia Nut Company 808.323.3696 mfarwell@southkonamacs.com SouthKonaMacs.com

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Hawai‘i Island Farmers Markets West East

North

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

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

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

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

KeOlaMagazine.com | September/October 2014

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).

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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 6:30am–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.

Saturday 8am–noon * Keauhou Farmers Market, Keauhou Shopping Center Keauhou. Sunday and Thursday 2pm–dusk, Thursdays Dawn–2pm, Sundays Pepe‘ekeo Farmers Market. Off Hwy. 19 on Ka‘akepa St. Produce and foods.

Saturday 7:30am–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School.

Daily 7am–5pm Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au

Sunday 9am–2pm South Kona Green Market Captain Cook, Amy Greenwell Ethnobotanical Garden

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.

Wednesday 8:30am–1pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast

Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Homegrown produce offered by Hawaiian Homelands lessees. Saturday 7am–noon * Outer SPACE Ho‘olaulea at Uncle Roberts Awa Club, 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

Please send info on new markets or changes to sharon@keolamagazine.com

Wednesday 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.


Passionately Yours

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Liliko‘i | By Sonia R. Martinez

here are many varieties of Passion Fruit (Passiflora edulis), or as we know it in the islands, liliko‘i. The most commonly used in Hawai‘i is the yellow fruit (flavicarpa). A less common variety also seen in Hawai‘i is the giant granadilla, which can reach 12 inches in length and can weigh up to six pounds. The pulp of both the flavicapa and the granadilla may be eaten fresh or used in recipes. The granadilla may be eaten like a melon or mixed in fruit salads. If served chilled as a dessert, the pulp is improved when sprinkled with a bit of powdered coriander or lime juice. Liliko‘i is a vine found cultivated or growing wild in Hawai‘i, usually between July and December, although sometimes until January or February. You can also purchase the juice or pulp year-round. The pulp can be sometimes found frozen, imported from South America where they call it maracuyá. The smaller species have round to oval, tough and smoothshelled 2-inch fruit that contain many seeds imbedded in a gelatinous, aromatic juicy pulp. Pungent and tart in flavor, this fruit can be eaten from the shell with a spoon. Some people prefer to add sugar. There are many recipes using the liliko‘i juice or pulp—drinks, salad dressings, sauces, desserts, and as an ingredient in hundreds of dishes. Just think, any recipe that calls for lemons or limes could be made with the juice of liliko‘i! Extracting the juice There are several methods for extracting the juice; pressing the pulp, seeds and all, through cheesecloth or strainer or put the pulp, seeds and all in a blender and give it a little quick whirl, then pass through a sieve or strainer. Another way is to heat the pulp, which loosens the seeds. Then strain, cool, and refrigerate or freeze the pulp for later use after discarding the seeds.

Bettina Linke’s Butter Mochi 1 box Mochiko (sweet rice flour) 2 cups milk 3 cups sugar 3 teaspoons baking powder 1 teaspoon vanilla extract 1 12-ounce can coconut milk ½ cup butter 5 eggs

Preheat oven to 350° F. Melt butter and beat the eggs. In a large bowl, mix rice flour, milk, sugar, baking powder, vanilla, coconut milk, melted butter and beaten eggs. Shredded coconut can be mixed in or sprinkled on top. Pour into greased 9 x 13 baking pan and bake for 1 hour.

Liliko‘i Mochi —Editor Renée’s modifications 2 cups liliko‘i juice instead of the milk Do not add the shredded coconut

Sonia’s modifications

I added a couple of drops of yellow and red food coloring to resemble the color of the pulp. It took about four dozen liliko‘i to make 2 cups juice. After extracting the two cups of juice, I put the seeds in a nonreactive saucepan with 1 cup water and 1 cup sugar, brought the mixture to a boil, then turned down to low and simmered for about 30 minutes. The resulting liquid will be used as syrup and/or to make vinaigrette. The shells went into the compost pile. So nothing goes to waste. My mochi came out stickier than both Renée’s and Bettina’s. We’re wondering why. Is it affected by humidity? I’d love to hear how yours turns out. 2nd Annual Lilikoi Festival, October 25, 2014, 10am to 2pm, Nani Maui Gardens in Hilo: Facebook.com/LilikoiFestival Contact writer Sonia R. Martinez: cubanwahine@hawaii.rr.com

KeOlaMagazine.com | September/October 2014

Liliko‘i Syrup An easy liliko‘i syrup can be made using equal amounts of juice and sugar. Bring to a boil, and then simmer until you reach the consistency desired. This syrup can be also used to flavor cream cheese cake icing by just mixing with equal amounts of cream cheese and sweet butter. An easy salad dressing can be made adding the syrup to white wine vinegar to make a vinaigrette.

The following recipe was shared with me by my Ke Ola editor, Renée Robinson. The original recipe came from her friend, Bettina Linke. Every March you can buy Bettina’s mochi at the bake sale at the Day at Hulihe‘e Fundraiser. I am sharing the recipe as written by Bettina, then adding Renée’s changes and my little contribution.

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Hawai‘i Island Happenings

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

Konaweb

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

Hawai‘i The Big Island

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

Quick Eventz

quickeventz.com info@quikeventz.com

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

Food Hub Kohala 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

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

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

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

Hawai‘i Volcanoes National Park Volcano Art Center

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

Holualoa Village Association HolualoaHawaii.com

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

KeOlaMagazine.com | September/October 2014

Kona Choral Society

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KonaChoralSociety.org 808.334.9880

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

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

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

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

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

Waimea Community Theatre WaimeaCommunityTheatre.org 808.885.5818

West Hawaii Dance Theatre and Academy whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

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

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Living Arts Gallery

Queens’ MarketPlace–Waikoloa

Lyman Museum

The Shops at Mauna Lani

LivingArtsGallery.net 808.889.0739

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

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

QueensMarketplace.net 808.886.8822

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

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

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

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

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

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

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

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

SE Hawai‘i Island beach cleanups.

Ongoing 7:45am

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

Hospice Care

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

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

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

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

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

Hilo Coffee Mill, Mountain View Ongoing

Kalani Retreat Center

Parrots in Paradise Sanctuary

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

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

Kalapana

Kona 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

Therapeutic Horsemanship of Hawaii Kailua Kona

Volunteers are the heart and soul of this program. All levels of expertise needed. Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

CROSSWORD SOLUTION

KeOlaMagazine.com | September/October 2014

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

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

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Maika‘i Veterinary Clinic

Talk Story with an Advertiser

| Le‘a Gleason

Alfred Mina Doctor of Veterinary Medicine (DVM) Owner

KeOlaMagazine.com | September/October 2014

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lfred Mina, Doctor of Veterinary Medicine (DVM) has a deep-seated interest in caring for animals and for serving the Hilo community. He was born on Kaua‘i and raised in Hilo on Hawai‘i Island. As a child, he was active in 4H where he learned how to care for animals. As a young man, Alfred took an interest in veterinary care and went on to receive a Bachelors of Science in agriculture and a Bachelors of Arts in biology from the University of Hawai‘i at Hilo. In 2000, he graduated from Washington State University’s College of Veterinary Medicine. He says that working with animals is about working with people too. “Working in this profession, people think we’re just working with animals, but a lot of it is dealing with clients,” he says. He works daily to help heal animals based on creating a relationship of trust with their owners first. He gains clues from the owner about how he can best help their beloved pet. As the clinic has grown, Alfred and the staff have tried to incorporate technology into the practice in a way that’s affordable to clients. Maika‘i Veterinary Clinic is the only one in East Hawai‘i that offers stem cell treatment and laser therapy for animals with arthritic conditions. In 2011, Dr. Maila Lyons joined the clinic as a graduate from Colorado State University. Malia was also born and raised in Hilo. Both doctors are committed to giving back and regularly bring local high school and college students on as interns or on-staff to learn about veterinary medicine. They are also both trained to be mixed-animal practitioners in veterinary school. “We see more than just dogs and cats: avian, exotic birds, small mammals, zoo animals.” Alfred says. Alfred says what makes Maika‘i Veterinary Clinic most unique is their level of care. “I work from my heart. Some just work from their title. My clients believe in what I do for their pets,” he says. Maika‘i Veterinary Clinic 111 East Puainako Street Suite 109, Hilo, HI 96720 808.959.CARE (2273) MaikaiVet.com These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.329.1711 x 1.


Hawaii Marine Center

Talk Story with an Advertiser

| Le‘a Gleason

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Hawaii Marine Center 16-207 Wilimina Place, Kea‘au 808.982.6287 glenn@hawaiimarinecenter.com HawaiiMarineCenter.com

KeOlaMagazine.com | September/October 2014

ucked away in the Shipman Industrial Area, Hawaii Marine Center is no small business. Manager Glenn Marsteller grew up on the North Shore of Maui and was raised in the ocean—surfing, scuba diving and boating. He worked for Valley Isle Marine Center before moving to Glenn Marsteller, Manager Hawai‘i Island. “I come from a background of 16 years in the industry, and people like that. I know what I’m talking about. We have everything you need for your boat at the best prices on island for the stock we sell,” Glenn says. Glenn focuses on keeping prices low and having a knowledgeable staff. That’s how he’s managed to beat the online shopping market and create a successful business. Although there are other supply places in East Hawai‘i, Hawaii Marine Center is the only one to offer a broad spectrum of marine accessories and engine service together. The business deals in several well-known brands: Honda and Tohatsu outboard motors, EZ Loader Trailers, Yakima Car racks, and Ocean Kayak. Another focus for Glenn is making sure to have products in stock for customers who depend on their income from marine activities. “Everybody I cater to is doing this for some sort of income or sustenance for their family. They need their engines to run well; they need things and they need them quickly for the next night to go out and fish. When the school is on, everybody’s out, and when it’s not, they’re waiting. It’s feast or famine for them,” Glenn says. He’s also worked to make Hawaii Marine Center a great work environment and says, “The style in which we run the business is friendly, like a family; we like each other, and we try to be very adaptable to everybody’s personal needs. It’s kind of the cool hangout job.” Glenn also says that, “Honda offers the best in class fuel economy, best in class 5-year warranty and best in class finance rates. If you’re looking to repower your boat, give me a call. If you have an old 2 stroke, the 4 strokes get at least double fuel economy. The fuel savings alone will pay your loan payment, so it’s sort of a no-brainer.”

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Fair Wind Big Island Ocean Guides

Outboard Sales & Service•Yakima Car Racks•Marine Supplies

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On Sale! Malibu 2 Tandem $539

KeOlaMagazine.com | September/October 2014

16-207 Wiliama Pl. Shipman Park, Keaau

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Talk Story with an Advertiser

982-6287

| Aja Hannah

he beginning of Fair Wind Big Island Ocean Guides is a recognizable one. The family-owned company was started by Michael and Janet Dant, when they built their first boat in 1969 in Monterey, California, and planned a trip through the South Pacific. When they began sailing from California Penn Henderson to Hawai‘i, their trip was cut short due to a Director of Sales damaged boat, and they ended up off the and Marketing Kona coast. The Dant’s had to stop their expedition to make repairs and the whole community pitched in with aloha spirit. It was then the Dant’s knew they had found what they “weren’t” looking for: a home. They started the Fair Wind business the following year, giving snorkel tours and dinner cruises. Today, the Dantʻs son Puhi and his wife Mendy own Fair Wind, and the company fleet is made up of four main boats. Itʻs original trimaran with the tri-colored striped sail is now Fair Windʻs trademark. Twice a day it sails into Kealakekua Bay. Passengers of the cruise can slide down the waterslide, relax on the top deck, or snorkel in the clear waters by the Captain Cook monument. And, if they can’t swim or snorkel, there are floatation devices and viewing boxes. Penn Henderson, Director of Sales and Marketing at Fair Wind, took his family on a tour recently and even his 15-month-old son enjoyed splashing in the water and looking through the viewing box to the fish down below. Most Fair Wind customers come to Keauhou Bay as tourists, visiting Hawai‘i Island with their families on vacation. However, Fair Wind also has a Kama‘aina Club, which is free to join. All you need is a Hawai‘i driver’s license and you can earn points for your purchases and for referring friends. The points earn you discounts and free cruises with Fair Wind. This year they earned a Hawai‘i ecotourism certification. They understand the importance of sustaining and taking care of the environment. “We are sharing beauty with people in a responsible way,” says Penn. The boats use biodiesel fuel, and the company is looking into solar possibilities. Fair Wind 808-322-2788 Aloha@fair-wind.com Fair-wind.com


BMW of Hawaii

Talk Story with an Advertiser

| Aja Hannah

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BMW of Hawaii 74-5533 Loloku St, (Behind Target) Kailua–Kona 808.930.3400 BmwBigIsland.com

KeOlaMagazine.com | September/October 2014

hen customers first walk onto the 2.5-acre property of the BMW parking lot in Kailua-Kona, they are greeted by BMW staff who stay within sight and earshot to answer any questions, and are allowed to browse at their leisure. “It’s very quiet here. It’s like a learning center,” says the sales administrator of BMW of Hawaii, Susan “Awa” Graffe. Aka DeMesa, Manager Unlike other dealerships, BMW of Hawaii does not pressure their customers into a purchase. “Our customers are the reason we continue to be in business. We consider our customers as friends for life and can only hope we pass that onto our new friends who visit our dealership,” says Susan as she shows me a silver pin, BMW of Hawaii’s latest award. Opened in August, 2008, BMW of Hawaii has already won the Center of Excellence award in 2013 and 2014 for exceptional customer service commitment, an honor bestowed upon only the best BMW dealers in the United States. When a customer does choose to make a purchase, BMW of Hawaii agents will take as long as the customer needs to walk completely around the vehicle to make sure the buyer know every aspect of the product. One hour, two hours, it doesn’t matter. “You have to know every button, every light that comes on. [We] take time for you to know your own product. Until they’re comfortable, we will continue to show them,” says Susan. This excellent customer service doesn’t stop once their customers leave the parking lot either. Susan says, “Our sales people get calls constantly.” She continues. “If you ask for their cell number, you will get the sales manager’s cell, service manager’s, service assistant manager’s, and the parts’ manager’s so someone can help anytime.” Customers from the Hilo side of the island are also well taken care of. “We drive two vehicles out there and leave one for the customer in Hilo to use while we service their vehicle back here,” says Susan. It has always been this way at BMW. Before the dealership opened on Hawai‘i Island, Rocco Mahoney (now the service manager at BMW) repaired BMWs with the same attention he does today. Rocco worked out of an auto body garage, leasing one of the stalls, because he knew BMW needed him to service cars that were shipped on a barge from Honolulu. BMW of Hawaii has an ultimate goal of sustainability. They are debuting the ultimate driving machine, an electric BMW. The building itself is also 100 percent solar and has charging service stations for the new electric vehicles.

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Ka Puana–The Refrain

My Year in a Yurt

Following are excerpts from Pa‘auilo resident Jen McGeehan’s book, My Year in a Yurt. Used with permission.

KeOlaMagazine.com | September/October 2014

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Look Up!

here are many elements to yurt living that make it both unique and enjoyable. The ceiling is just one of them. Our little love yurt offers only one entrance/exit. We refer to it as the front door. Upon entering, one almost instinctively looks up as the eye follows forty-two 2” × 4” rafters attached to a center ring. The crowning jewel is a six-foot, pop-open acrylic dome creating additional light and ventilation inside, as well as a peek-a-boo to the outside world. I believe that one of the key factors to successful small-space living is a high ceiling. Ours is approximately fifteen feet from top to bottom. This design concept not only enables our lightweight structure to stand on its own, with no interior beams or load-bearing walls, but also creates a sense of roominess throughout the 450 not-so-square feet. My favorite view from inside is looking out, more specifically up—especially while dropping off to sleep each night. The combination of circular bone-colored vinyl and naturally-stained wooden rafters create a vision similar to that of the sun’s rays shooting three hundred and sixty degrees from its center, or petals exiting the seedfilled center of an enormous sunflower. On a clear night, I can see a myriad of stars suspended from the evening sky. If sleep escapes me, I attempt to count those stars, far better than drumming up a vision of sheep and then unsuccessfully trying to count them as they scramble around in my head. Occasionally, after giving Pat his goodnight smooch and pulling the covers up to my chin, I lie on my back, look up, and behold a stunning view—the moon, whether sliver or full, depending on the time of year. I lay there mesmerized, thinking that every home should include a dome! (I guess skylights could be considered the next best thing, but not as large or attractive, in my humble opinion.) ... The very first thing I do upon waking up every morning is look up. The dome tells me what my ears might not have heard through the night. Did it rain? If I see circular coin-size drops on the dome, I know the pasture has been nourished and the water tanks replenished. Contact author Jen McGeehan: jenmcgeehan1@gmail.com My Year in a Yurt is available from the author and local bookstores.


September–October 2014  
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