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Hawai‘i Island’s Community Magazine The Life |

January – February Ianuali – Pepeluali


11th Anniversary Edition

ARTS Award-Winning Photographers on Hawai‘i Island CULTURE ‘Iolani Luahine Festival SUSTAINABILITY Restoring and Protecting Hawai‘i’s Biodiversity


KeOlaMagazine.com | January - February 2020

KeOlaMagazine.com | January - February 2020


KeOlaMagazine.com | January - February 2020


Front cover: Discovery Discovery,, a painting by Diane Tunnell. Table of contents: Champagne Ponds, Ponds, a painting by David Gallegos. Read more about the artists on page 85.

The Life

Hawaiÿi Island’s Community Magazine January – February | Ianuali – Pepeluali 2020


The Meditative Nature of Carving Stone By Karen Valentine Kapono


Award-Winning Photographers on Hawai‘i Island 21 Mission. Quest. Obligation. Love affair. By Catherine Tarleton

Drew Daniels: Fertility from Fire By Mālielani Larish



The Boys & Girls Club of the Big Island


The Road to Recovery Began with a Road


Tong Wo Society’s Historic Kapa‘au Building Opens Once a Year


By Mālielani Larish By Stefan Verbano

By Ma‘ata Tukuafu

The Three Rs—Rhythm, Repetition, and Reverence 74 Mālamalama and Kona Pacific Celebrate 100 Years of Waldorf Education By Karen Rose


North Hawai‘i Research Center’s Heritage Center 42 Sailing into the Future


‘Iolani Luahine Festival Honors and Perpetuates Hula Tradition


Nā Pe‘a Participants Apply Canoe’s Lessons to Life By Sara Stover

By Tiffany DeMasters


Mauna Loa Observatory’s Keeling Curve Reveals CO2 Rise to the World


Restoring and Protecting Hawai‘i Island’s Biodiversity


By Rachel Laderman

By Brittany P. Anderson

KeOlaMagazine.com | January - February 2020

Cultural Community Connections By Jan Wizinowich




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The Life

Hawaiÿi Island’s Community Magazine January – February | Ianuali – Pepeluali 2020

Ka Wehena: The Opening

Kalaniana‘ole 9 By Kumu Keala Ching


Managing with Aloha

Ho‘ohana Isn’t Job. It’s Joy. Live a Good Life with Great Work. By Rosa Say

Island Treasures Hawaii’s Gift Baskets



Talk Story With An Advertiser

93 94 95

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Local Food

Keiki Garden and Grindz: Fruit Leather Recipe 35 By Brittany P. Anderson

Kela Me Keia: This & That

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New ER Opening Early 2020!


Meet the Cover and Table of Contents Artists Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts

85 86 88 90 92 96

2107: Make no ke kalo a ola i ka palili. 98 Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

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From Our Publisher Happy 2020! What a wonderful metaphor for having clear vision as we move forward into this new decade. For those who call Hawai‘i Island home all year ‘round, and for those who are known as snowbirds, I think it’s safe to say everyone feels similarly—we have a love for this island like none other. I’ve lived here since 2003 and I still don’t get tired of exploring this island’s wonders. People ask if I get island fever and my answer is always “no, I get mainland fever; I don’t like leaving the island.” With its diverse geography, we can virtually find any kind of weather and experiences we like within a two to three-hour drive. One of my friends who moved here about a year ago from Indiana recently accepted a job on O‘ahu for six months. She wrote to say how much she misses Hawai‘i Island, and that she talks about it all the time with so much love—that it feels like home. Lower Puna stole her heart and that surprises her. My own experience is I moved to North Kona in 2003, and since then have lived or worked in every district except Ka‘ū. I’ve loved every one of them for different reasons. I would never have imagined living in middle Puna, let alone loving it, yet here I am and I wouldn’t want to live anywhere else. When Karen Valentine and I created Ke Ola Magazine, we answered a call to create a magazine for people who live here full time and also those who love it here (snowbirds, second homeowners, time-share owners, etc.), because these people (myself included) have a deep connection to the island and want to know more about it. We needed to document the rich stories from this sacred land and culture, and we took it upon ourselves to make sure those stories got told and are documented into perpetuity. I am honored to have completed my first year as editor in our eleventh year—something else I never imagined. From the feedback we’ve been getting, it seems like our readers and advertisers are pleased with the way it’s evolving, which makes me happy.

Wishing everyone a healthy, prosperous and balanced 2020, the dawn of a new decade, the new Roaring 20s! Barbara Garcia and the Ke Ola Magazine ‘ohana

From Our Readers – With Much Love and Gratitude to you, yours and the magazine, Ke Ola. I enjoyed The Life and the life of Hawaii for the 11 days I was there. So much to share! Business coach centerfold was light and calming during an initial 2-day roughness. So Mahalo Plenty! Keep your Spirits Strong! Mahalo for the Beauty, Inspiration, and Natural State of Spiritualism your magazine conveys. Keep up the Good Works and Teaching and Inspiring!!! Aloha—Namaste, Mark Lind, Tucson, AZ – Enclosed is my renewal gift box annual subscription. Love reading and supporting this lovely magazine. Corinne Gross, Tigard, OR – PS: I love this magazine. I read every single word. Thank you so much for your wonderful work. I hope [everyone] reads it as carefully as I do. Aloha and Mahalo, Christel Chang, Sierra Madre, CA – Enclosed is a check for $150 to continue our subscription to your magazine in 2020. We continue to enjoy the articles and pictures in your magazine. We have enjoyed the gifts included with each issue. They are remarkable and remind us of the wonderful time we had on the Big Island. Eric Traywick, Keysville, VA

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Corrections In the story about Fantuzzi (Sept-Oct 2019), we inadvertently misspoke about the creators of MAnaFest Big Island. This festival was conceived and produced by women only from its inception five years ago, in honor of the Sacred Feminine. Please see the ad for MAnaFest Big Island 2020 on page 60.

KeOlaMagazine.com | January - February 2020


We love having subscribers all over the country—those visitors I mentioned earlier who have a strong connection to the island. Sometimes they send us letters when they renew their subscriptions. Following are some of the recent ones. Our staff is poised for a year of growth, and we’re excited about the possibilities. We’d love to have you join us as a subscriber or advertiser—you are what gives Ke Ola Magazine life.



KeOlaMagazine.com | January - February 2020


Ka Wehena

Na Kumu Keala Ching

Kaulana mai nei a‘o Kona Kona i ka malu o Hualālai Lā ē, Lā ē, Lā ē La‘i‘ōpua ē He ‘Āina Ho‘opulapula kō Kona Ma ka ‘āpana o Keala o ka hē Lā ē, Lā ē, Lā ē La‘i‘ōpua ē Hanohano ‘ia ‘o Kalaniana‘ole Mālama iho nō ka la‘i kō Kona Lā ē, Lā ē, Lā ē La‘i‘ōpua ē Ho‘i mai ka Hawai‘i nā pua lehua ē Kūkuna o ka lā i moe akula Lā ē, Lā ē, Lā ē La‘i‘ōpua ē Puana ‘ia mai ‘o Kalaniana‘ole Mālama iho nō ka la‘i kō Kona Lā ē, Lā ē, Lā ē La‘i‘ōpua ē

Famous indeed is Kona Kona protected by Hualālai Honor the peaceful billowy clouds Hawaiian Homestead of Kona In the district of Kealakehē Honor the peaceful billowy clouds Honored Prince Jonah Kūhiō Kalaniana‘ole Established peacefulness of Kona Honor the peaceful billowy clouds Precious Lehua flowers returns to Kona Radiant sun sets beyond Kona Honor the peaceful billowy clouds As mentioned Jonah Kūhiō Kalaniana‘ole Established peacefulness of Kona Honor the peaceful billowy clouds

This is the 20th year of my residence at Kealakehē, Hawai‘i. My Hawaiian Homes at Kaniohale, La‘i‘ōpua allowed me to return to my ancestral lands of Kona, Hawai‘i. I honor my homelands of Hawai‘i Island, Kaniohale at La‘i‘ōpua of Kealakehē. This song honors and pays tribute to the work and generosity of Prince Jonah Kūhiō Kalaniana‘ole to his people and their rightful ownership of their lands. Love to a great leader, Prince Jonah Kūhiō Kalaniana‘ole. Dedicated to the hard work of our kūpuna (elders) past, present, and yet to come. Mahalo!

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org

KeOlaMagazine.com | January - February 2020

Ua piha ‘Iwakālua Makahiki o ko‘u noho ‘ana ma Kealakehē, Hawai‘i. ‘O ko‘u ‘āina ho‘opulapula i Kaniohale ma La‘i‘ōpua ka mea i ‘ae mai ia‘u ā ho‘i mai i ka ‘āina o ko‘u mau kūpuna, eō e Kona! No laila, eia iho ka makana i ko‘u ‘āina ho‘opulapula ma Hawai‘i nei ‘o ia ho‘i ‘o Kaniohale ma La‘i‘ōpua, Kealakehē. He mele hanohano iā Jonah Kūhiō Kalaniana‘ole ka mea i mālama iho i ka Hawai‘i ā nāna nō i kōkua i ka Hawai‘i me kō lākou ‘āina pono‘ī. Ke aloha nui iā ‘oe e Jonah Kūhiō Kalaniana‘ole!


The Boys & Girls Club of the Big Island By Mālielani Larish

Chief Executive Officer of the Boys & Girls Club of the Big Island, Chad Cabral. photo courtesy of Boys & Girls Club of the Big Island


mbraced by trade winds and an expansive view of the bay, 100 members of the Hilo Boys & Girls Club sing “Ho‘o Nani” to bless the afternoon meal. With a “Pa‘i ka lima!” from their leader, the students clap twice and then flood towards the kitchen in a jubilant tide of laughter and chatter. Between bites of chicken spaghetti, carrots, and garlic bread, the students explain what they enjoy about attending the Boys & Girls Club’s signature after-school program. The consensus is clear: students love the opportunity to form lasting friendships, play games and sports, and learn more about Hawaiian culture. Parents love that the program fosters academic excellence, healthy lifestyle choices, and leadership skills—complete with quality academic support and nutritional supplementation—at a cost of only $10 per year. Proud to be the state’s longest-running Boys & Girls Club, the Boys & Girls Club of the Big Island provides a fun, safe, and

caring environment for approximately 1000 youth during afterschool hours. Within the last three years, BGCBI has overcome financial hurdles, opened three new locations, and added vital services for its members. Righting the Canoe When Chad Cabral became the club’s CEO in May 2016, the nonprofit suffered from a $600,000 budget deficit, with a $1.2 million budget waiting to be amassed. Chad recalls that his initial discussions with board members and staff revolved around the question, “How are you going to close programs?” Confident in the value of the organization’s youth development efforts, which have benefited the island since 1952, Chad knew that he didn’t need to change the organization’s mission, staff, or programs. Instead, Chad focused on forming partnerships with local government,

Boys & Girls Club youth engage in daily physical activities. photo courtesy of Boys & Girls Club of the Big Island

networking with businesses and the public, streamlining direct service operations, and increasing the nonprofit’s visibility. In addition to performing his required CEO functions, Chad volunteered his time as the organization’s janitor, lawn mower, and T-shirt printer to save on expenses. Identifying that most of the kids that the Boys & Girls Club serves are of Native Hawaiian ancestry, Chad secured additional partnership support from the Office of Hawaiian Affairs and Kamehameha Schools. BGCBI is proud to incorporate a strong cultural learning component into its youth programs. Students learn and practice Hawaiian oli (chants) every day as part of their afternoon protocol. Students also conduct weekly research on a wahi pana (significant historical and cultural place) in their community and share their findings with youth at other site locations via video. Hilo students regularly engage in service

projects at the Waiāhole Loko I‘a (fish ponds) in Keaukaha. Through Chad’s visionary leadership, the nonprofit not only kept all of its services open, it also opened three West Hawai‘i clubhouses, improved program access for East Hawai‘i and Ocean View members, and initiated a healthy full-meal program at the Hilo site. Developing Chapters in West Hawai‘i The Boys & Girls Club identified three communities in West Hawai‘i that had the highest likelihood of families in need: Kealakehe, Ocean View, and Ulu Wini. When BGCBI opened the Kealakehe chapter in September 2017, member applications soon exceeded the number of available spaces, necessitating a waitlist. Conveniently located on Kealakehe school property, the site serves 100 kids, many of whom live in low-income housing projects or neighboring Hawaiian


KeOlaMagazine.com | January - February 2020

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The Power Of Hawaiian Wisdom

Homelands properties. Bren Bailey, whose son has attended the Boys & Girls Club at Kealakehe for two years, says that the program offers much more than she expected. She loves spending quality time with her son after she picks him up from the program, noting that she doesn’t have to worry about coaxing him to do homework, because it’s already completed by the time she arrives. “I know that he’s in good hands,” she reflects. “All the staff is amazing and show how much they care for each student.” Janet Salgado-Cruz has five kids, three of whom attend the Kealakehe Boys & Girls Club program. As a native Spanish speaker, Janet felt inadequate when she tried to help her children with their homework, so she greatly appreciates how her kids receive quality homework assistance in English. Like their peers in Hilo, her kids love the outdoor games and Hawaiian cultural activities provided by the program. Janet muses, “Sometimes they get mad at me because I come early for them…they tell me: don’t come for me until we’re done with the Hawaiian cultural studies!” Before the Boys & Girls Club opened a site in Ocean View, no organized after-school youth development program existed in the community to actively engage kids in a meaningful way. In partnership with the Ocean View Community Association, Na‘ālehu Elementary School, and the Department of Education, BGCBI opened a site at the Ocean View Community Center and then rerouted the school bus so that students arrive directly at the center after school. As an added bonus for Ocean View families, who often commute long distances for work and tend to have a greater economic need, a Boys & Girls Club van shuttles youth participants home in the evening. In August 2019, BGCBI launched an additional chapter at Ulu Wini, the county-owned supportive family housing program located mauka (mountain-side) of Kaloko Industrial Area in Kailua-Kona. Hawai‘i Affordable Properties and the County of Hawai‘i partnered with BGCBI to establish the Ulu Wini site, which serves 120 kids and also has a waitlist. BGCBI now boasts seven site locations: Hilo, Kea‘au, Pāhoa, Pāhala, Ocean View, Kealakehe, and Ulu Wini. Bringing Hope to Families in Need Hawai‘i County has the highest rate of children living below the federal poverty level—more than double all other counties in the state. Thus, BGCBI’s affordable programs are a gamechanger for families that struggle economically and need to spend those extra hours working. One in three youth that participate in BGCBI programs live in a situation of poverty, and over 90% of youth members partake in the free/reduced school lunch program, which is an indicator of economic hardship. Chad sees BGCBI programs as a prevention mechanism. By positively investing in adolescents now, he says, “We increase their likelihood of future achievement and success and keep them away from the life-altering and debilitating threats that come from drugs, violence, and sexual exploitation.” Nationally, juvenile crime escalates during the after-school hours from 2 to 6pm, and the cost of rehabilitation is far more expensive than the cost of prevention. Since research has confirmed that post-secondary education plays an essential role in breaking the cycle of poverty, BGCBI programs emphasize the importance of daily homework completion, continued growth in learning, and academic readiness as a conduit for future success.

Many families who utilize BGCBI services cannot afford to enroll their kids in sports programs. In response, the Boys & Girls Club offers opportunities for kids to explore sports by providing volunteer coaches and covering the costs of uniforms and equipment. Healthy Meal Services Receive a Boost “In 2019, we still have kids on Hawai‘i Island that are going hungry,” Chad says, observing that for some children, the lunch provided at school will be their last meal of the day. “A child has no control over what situation they are born into, and we are here for all kids no matter what their situation is.” Through the support of the County of Hawai‘i Office of Housing and Community Development’s Block Grants, BGCBI was able to construct a brand-new commercial Youth members enjoy a canoe paddling excursion. photo courtesy of Boys & Girls Club of the Big Island certified kitchen at the Hilo program property, which now provides 100 Hilo youth with a full hot meal before going home for the evening. To underscore the importance of the healthy meal service, The organization’s 2020 goal is to deliver full meals to Kea‘au, Chad relates a story from one of his kitchen volunteers: an Pāhoa, and West Hawai‘i program locations. eight-year-old youth asked her for a piece of tin foil during “We have the ability to execute the expansion,” Chad the evening meal service. She asked the child why, and he says. “We just need like-minded individuals to help with the replied that he wanted to take food home so that his sister and resources to make this initiative free for struggling youth.” mother could benefit from the healthy meal as well.

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As part of the Boys & Girls Club’s daily programming, youth commit one hour towards the completion of their homework through an incentive-based homework assistance program called “Power Hour.” BGCBI staff has observed that the supplemental nutrition provided helps students to focus more during the dedicated homework time. “The Organization Has Blossomed” The Hawai‘i Alliance of Nonprofit Organizations named Chad as the 2018–19 CEO Emerging Leader of the year. Toby Taniguchi, KTA Superstores CEO and a Boys & Girls Club board member, says that under Chad’s leadership, “the organization has really blossomed. We are really proud of what he’s been able to accomplish in this short time. He’s Youth members share their wahi pana research via video. photo courtesy of Boys & Girls Club of the Big Island righted the canoe and he’s leading us to a brighter future.” in the kids now,” Chad says, “our communities will be stronger, At the end of the day, the dedicated staff and volunteers our communities will flourish, and the problems that we see who keep the Boys & Girls Club of the Big Island running are now will be resolved by these kids.” ■ not working for the money. They are rewarded by seeing the development of the kids, and the transformative impact that For more information:bgcbi.org positive mentors and a safe haven has on them. “If you invest

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The Meditative Nature of

Carving Stone By Karen Valentine Kapono


or sculptor Fred Soriano, it’s a working partnership with the stone sculpture he is crafting that is both difficult and peaceful. Contemplating his creations, you get that impression yourself. Where did that stone come from and how long had it been in existence? What caused its shape and its imperfections, and what inspired the sculptor to choose it? Then, how much physical effort had to be expended while bringing to life the images in the sculptor’s brain? A retired professor of sociology at the University of Hawai‘i at Hilo, Fred devoted 10 years pre- and post-retirement to kālai ki‘i pōhaku, the carving of stone. “Working with stone gives me the largest resistance. You work with the stone and it resists because it’s hard. With resistance you reach at the plane of meditation; it’s very meditative. And then you reach a point where the endorphins kick in and you feel very relaxed and

tranquil. It’s practicing the zen method of meditation. That’s what’s been my motivation for carving.” Stones are believed to hold a certain life force as well as the memory of existence in their environments. The reverence for stones can be found in most ancient cultures and religions, for example the carved stones, stone arrangements, and constructions found in Greece, England, South America, Egypt, and Japan in particular. According to traditional Hawaiian thought, pōhaku (stones) are living beings with mana (life force) and not inanimate objects. Kānaka ‘ōiwi (native people) also worshipped special stones as akua (gods). Some stones were carved and others were left in natural form. In Japan, the emotional attachment to natural stones, originally religion-inspired, has persisted and is manifest today

Sea goddess Na-maka-o-kahaÿi. photo courtesy of Charlene Asato

KeOlaMagazine.com | January - February 2020


in the creation of richly symbolic and spiritual stone gardens. Inspired by Japanese garden design, Fred began working with stones as installations in his own elaborate home garden. “The stones that I worked on were done in tandem with my landscaping and gardening,” he said. He has energetically applied chisel, mallet, grinder, and sander to sculpting the stone. Bookbinder and author Charlene Asato was inspired to publish a book about Fred’s art, Kālai Ki‘i Pōhaku, Carver of Stone. In it she writes: “His early works were stone lanterns, some with a niche carved out to hold a candle, others a free balance of stones emerging from the ground. Most of these lanterns are sets of stones, not permanently joined in any way and so they stand, subject to the whims of nature. “His stone pieces range from elements of a Japanese-style garden—lanterns, structures of balanced stone, fountains and miniature landscapes of mountains—to human figures of cultural significance.” “I love looking at the stones over and over,” says Fred. “The stone chooses you. The stone gives you an idea of what it should be.” He often quotes the words of poet William Wordsworth, who coined the phrase “intimations of immortality” in his “Ode: Intimations of Immortality from Recollections of Early Childhood,” as Fred contemplates the nature of the pohaku and immortality. “The whole summary of my experience in my intimations of immortality is: things are imperfect, incomplete, and impermanent.” Charlene writes that Fred “celebrates nature, the elements and time. He has infused his work with the philosophy of Zen and wabi sabi, which sees beauty in the simple, the earthy and the inconspicuous elements of imperfection, incompletion, and decay in both nature and man-made things. Within these stones’ imperfections, Fred discovers their beauty within. Weatherworn flaws and imbedded elements bring the spirit of the stone to the surface and Fred captures this energy when he carves his sculptures.” A child of the plantation with Filipino heritage, Fred has a lifetime of observing and living in a multicultural environment. Therefore his creative visions have included figures from Hawaiian mythology, Japanese Buddhist icons and, in honor of his own people, a statue of a Filipino migrant worker—a sakada. This statue is the culmination, he says, of a childhood dream he had. “As a kid I had a dream of sculpting something for public view. It was very real. That dream lay 50 years dormant

The stone sculptor, Fred Soriano, with his life-size statue of a sakada (Filipino migrant worker) at its dedication in Keaÿau. photo courtesy of Fred Soriano until the eve of the unveiling of the sakada statue,” he recalls. The sakada was unveiled in ceremonies on December 17, 2005, at the Kea‘au Village Market. Recalling his immigrant father, Irenio Jose Soriano, who arrived here at the age of 14, rose to plantation overseer and was one of the few who were literate, Fred created his life-size statue of a self-confident Filipino immigrant sugar worker. Gouged out of a two-ton slab of the hardest lava rock, it was commissioned to be part of the 100th anniversary of the arrival of the first 15 sakadas to the nearby Ola‘a Sugar Mill in December, 1906. It took a year to work and transform the stone into the 600-pound statue, grinding it with “many, many, many” diamond blades, he said. It represents the “struggle and determination” in the family stories he tells. His Zen description for the sculpture: “Waves crash on the rock, but the rock retains its identity down to its last particle. The same is true of Filipinos.” In his own youth, Soriano was urged to study hard but also to do manual labor on the family coffee farm in Wood Valley, Ka‘ū. His interests led him to become a social worker and then, in order to teach, he obtained a master’s degree from UH-Hilo and doctorate in sociology from Brandeis University. Among his human figures are three cultural perspectives, all of which have been on public display in the Hilo area, again fulfilling his childhood dream. In addition to the Filipino perspective, there are the Japanese and Hawaiian figures.

Sakada statue. photo courtesy of Charlene Asato

He has carved many Buddhas and Jizos, says Charlene. “Buddha, the ‘enlightened one’ is often sitting in the lotus position, has elongated ears [all-hearing] and a bump atop the head [all-knowing]. Jizo Bodhisattva or Jizo Bosatsu, is the Japanese guardian of women, children, and travelers. The Jizo is typically depicted with a shaved head, carrying a staff in the right hand and a wish-fulfilling jewel in the left hand.” One Jizo is now installed at the Kamana Center tea garden, along with a stone lantern. Figures inspired by Hawaiian lore include several kumu hula, one of which is installed at the University of Hawai‘i. A coral sculpture of the head of Queen Lili‘uokalani resides at Akiko‘s Bed and Breakfast in Wailea, north of Hilo. Akiko has been a patron of the sculptor, displaying a number of his pieces in her Buddhist gardens. Describing the process of creating the queen’s image in coral, the artist says, “This is real wabi sabi. As I was carving, I came across a pebble that was imbedded in her chin. She actually had a mole there.” “The compositions that I do are not from a picture, but all original, with no models. The theme of imperfection and incompletion runs through all of this.” A complex, reclining figure of Na-maka-o-kaha‘i, a sea goddess, the older sister of Pele, was installed for a time in downtown Hilo in front of the Pacific Tsunami Museum. Unfortunately, vandals lopped off the head of the statue. “The sculptures that I do have been prone to vandalism,” Fred says, quipping, “So much for my intimations of immortality.” In 2019, he was honored for his contributions to UH-Hilo, Hawai‘i Community College, and the Hawai‘i Island community at large. The proclamation presented to Dr. Soriano reads in part: WHEREAS, it is an honor to recognize Dr. Fred Soriano for his years of service to the University of Hawai‘i at Hilo and Hawai‘i Community College; and Dr. Soriano has been an influential leader in the Filipino community; and WHEREAS, Dr. Soriano has contributed greatly to local and university landscapes as a remarkable artist and sculptor honoring Hawai‘i’s people, culture, and history; and WHEREAS, the University of Hawai‘i at Hilo and Hawai‘i Community College communities recognize the extraordinary service of Dr. Soriano in providing strong leadership in education, economics, agriculture, Hawaiian culture revitalization, sociology and social progress of Hawai‘i Island…

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Fred working in his garden in 2011. photo courtesy of Charlene Asato Today Fred shares his story in between three-times-a-week dialysis treatments for renal failure. He is in his fifth year of treatment and no longer able to work the stone. He says, “In terms of imitations of immortality now it’s intimations of mortality. It’s wabi sabi again. Imperfection incompletion and impermanence.” ■ For more information: chaleidesigns.com/artist/publications for Kālai Ki‘i Pōhaku, Carver of Stone, by Charlene Asato Wahine kumu hula. photo courtesy of Charlene Asato


KeOlaMagazine.com | January - February 2020

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Quest. Obligation. Love affair.

Award-winning photographers on Hawai‘i Island By Catherine Tarleton


Don Hurzeler aredevils, geologists, surf and ski bums, “Sometimes you have to wait ’em out,” says Don Hurzeler. travelers, divers, authors, artists, and poets with pictures, Don’s photo of a Jackson chameleon—so intricate it looks like Hawai‘i Island’s award-winning photographers are known mosaic—was taken at a coffee farm in Holualoa. “I go there all around the world. These intrepid souls will go—sometimes the time,” Don says. “I took this one of the chameleon as he literally—to any heights and depths to capture their spectacular transitions from one tree to another. I waited and waited and images. They have ascended to mountain summits and braved waited for him to get in the right position, in the right light. sharks to descend 10,000 feet below the ocean surface in the dark of night. They have plunged into waves just out of reach of molten lava, stood fast on a cooling, shifting flow, fought and overcome obstacles, and never given up. Their work has been seen in the Smithsonian and other important museums, on major television shows, and in the most prestigious publications on the planet: National Geographic, Life, Surfer, Diver Magazine, Earth, Terra, and Outdoor Photography to name a few. The following group contains winners in the prestigious Nature’s Best Photography (NBP) competition, the Don and Linda Hurzeler love to share Hawaiÿi’s magnificent night skies, and their stellar, high-altitude Windland Smith Rice adventures with visitors. photo courtesy of Don Hurzeler International Awards. I’ve reached down to change lenses and come up and couldn’t Annually, judges review over 25,000 entries from 63 countries, find them again.” selecting winners in various categories. Along with wife Linda and fellow NBP winner CJ Kale, Don runs Lava Light Galleries in Queens’ MarketPlace in the Some of Hawai‘i Island’s winners are: Waikoloa Resort. When they’re not in the shop, Don and Linda Don Hurzeler, “Small Worlds” category, 2019 travel extensively. They spent a month in Australia this summer C.J. Kale, “Power of Nature,” 2010, “Art in and went to China in early November. They’ve ventured to Nature” and “People in Nature,” 2009 Africa on an Africa Wildlife Foundation trip sponsored by NBP, Joshua Lambus, “Oceans,” 2012 helping spread awareness about protecting natural resources Brad Lewis, Category winner and wildlife. Nick Selway, “Ocean Views,” 2015 “My first camera was an Exacta, an East German, WWII Doug Perrine, “Underwater World,” 2003 vintage, SLR,” Don shares. “It was wonderful but not reliable…I Bruce Omori, “Power of Nature,” 2013 and “Art of Nature,” always had decent equipment and a good eye for taking 2015 pictures, but I learned from Nick and CJ if you don’t have a coach or a mentor you will only get as good as you’re going What makes a great photograph? Or an award-winning to get, not as good as you’re going to be. Nick says you must photographer? Patience. have someone telling you the truth.”

last, the volume of lava flow into the ocean needed to be just right. Too much volume and the water would be boiling far out to sea, and with too little there would not be enough to be visible in the photo. After waiting several days, the lava had covered the entire beach.” CJ grew up in Hawai‘i where swimming was second nature. He became a Navy Rescue Swimmer CJ Kale often interacts with his subjects, giving him unique persepectives on a landscape or ocean image. photo courtesy of CJ Kale and avid surfer as well as world traveler. His imagery shares the dramatic contrast of earth’s CJ Kale highs and lows, ancient and just-birthed, cracked desert and One of CJ Kale’s claims to photographic fame is that he living ocean. He steps into the picture on occasion, catching was first to shoot lava from inside the surf. “I waited for five a wave with his camera, studying lava at his feet, in one case years for the conditions to be perfect for this type of shot,” wearing a falconer’s gauntlet, holding on to a giant eagle. CJ says, “First, the lava had to cross the beach where most of the coast is rugged cliff. Then there needed to be surf. And

KeOlaMagazine.com | January - February 2020

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Joshua Lambus specializes in mysterious images of deep-ocean creatures discovered on the exciting night dives he loves to share with visitors. photo courtesy of Joshua Lambus

Joshua Lambus Joshua Lambus is a water child as well. A renowned blackwater diver, his specialty is the deep ocean world at night, when pelagic creatures come up to feed and absorb moonlight. He particularly loves a photo he took in 2008, an alien-looking shot of a deep-water octopus. “It took three years to find that guy,” Joshua says. “He was holding on to two tentacles. Turns out they were two tentacles from a Portuguese Man o’ War

KeOlaMagazine.com | January - February 2020

From within the wave’s curl, Nick Selway can capture dramatic light and water interplay and motion, photo courtesy of Nick Selway


Bruce Omori has a passion for photographing Hawaiian birds in their habitat, like this ÿiÿiwi, an endangered species of honeycreeper. photo courtesy of Bruce Omori

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that he had torn off and was using against predators.” Originally from Houston, Texas, Joshua fell in love with diving when he came to Kona. Since then he’s logged over 400 blackwater dives, an experience he loves to share with others, in real life and in photographs. Nick Selway Nick Selway says, “You can think about a certain image you want to capture for a month. Research the best time of day to shoot it, what lens will work best for it. Make sure to check that the weather conditions are best for what you’re trying to capture, and hope that all comes together. Sometimes you get it the first time; other images might take months or years to finally capture it like you envisioned.” Nick grew up traveling the Pacific Northwest with his family, and fell in love with the natural world. However, it wasn’t until

KeOlaMagazine.com | January - February 2020

Doug Perrine’s honu shot at sunset shares the photographer’s love of the ocean, marine wildlife, and Hawaiÿi’s gentle environment. photo courtesy of Doug Perrine


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Pele’s Heartbeat by G. Brad Lewis, one of his favorite photos, has been shared worldwide. photo courtesy of G. Brad Lewis

KeOlaMagazine.com | January - February 2020


KeOlaMagazine.com | January - February 2020

Don’s poignant photo of memorial flowers, scattered from a helicopter; taken from below the ocean’s surface. photo courtesy of Don Hurzeler



he went to college in Coeur d’Alene, Idaho that he discovered photography. “I had to sign up for an elective class in my freshman year, and saw photography,” Nick says. “It sounded fun so I did, and the rest is history. I have been addicted ever since.” Nick credits college professors Tim Christie and Phil Corlis for changing the direction of his life and inspiring him to success. Nick’s winning Eye of the Storm seems at first glance to be an alien landscape, something out of Dune, with a distant turquoise lake. “The shot is special because it is a shot of a wave I captured in Hawai‘i and I love the ocean,” says Nick. “The wave had sucked up tons of sand, creating a dramatic looking wave, and at the end of the barrel, the light is coming through, making it look like a storm.” A lifetime ocean-lover, Nick came to Hawai‘i Island when he was 20 to visit his best friend. He returned home for two weeks, then moved to Kona and got a job working on a snorkel and dive boat. He kept on shooting and building his portfolio, eventually helping CJ open Lava Light Galleries. G Brad Lewis Brad Lewis moved from Utah to Alaska at age 19, and then took a trip to Hawai‘i in 1983. “I was vacationing on Maui, and I came to this island. I was here when the eruption started. I felt the rumble, saw fountaining of Pu‘u Ō‘ō. I thought, ‘This is wild.’ And, once it really started flowing, the Kupaianaha Flow, it floored me so much.” The first photo Brad ever sold was a two-page spread in Life magazine. “I shot it with my Pentax 6x7. I was on the moving flow,” he says. “I got calls from a dozen agents after

Doug says that some images lend themselves well to black and white, offering more braphic or geometric elements. photo courtesy of Doug Perrine

KeOlaMagazine.com | January - February 2020


that, and I was off and running, I never stopped…That was a good start.” Brad says the photo he’s most happy with is Pele’s Heartbeat, which he shot from a helicopter. “That was during the days we were contracted [by Hawai‘i Volcano Observatory], and I could fly in often. I always asked scientists if they wanted to fly in with me. We went in with a couple of guys, and the vent had stopped completely. So we camped out anyway, and I sat there on Pu‘u Ō‘ō for a long time—then all of a sudden it started again. That was in the film days, so I didn’t know I had captured the heart until two weeks later when the film came back!” Doug Perrine In Doug Perrine’s NBP-winning photo, dolphins dance and intertwine in the blue-on-blue light. “It was special because it was taken on a very unusually calm day where the surface of the open ocean was so still that the dolphins were reflected, with very little distortion in the reflected images,” says Doug. “The water seems to merge seamlessly into the sea surface with no horizon line. At that time, very few people had ever seen such a picture—where it seemed difficult to understand which was the real subject and which was the reflected image—and whether the subject was in water or air.” Doug is from Dallas, Texas, and after high school traveled here to attend the University of Hawai‘i at Hilo. He earned a master’s degree in marine biology, served two tours in the Peace Corps, and returned to the island in 1996. His work is displayed in the Kona Oceanfront Gallery on Waterfront Row.

KeOlaMagazine.com | January - February 2020

Brad has been shooting photos of the volcano from the beginning of its eruption in 1983, through the final flows of 2018. He feels a very strong and personal relationship with the volcano. photo courtesy of G. Brad Lewis


CJ steps into the photo from time to time, shown here in Mongolia in falconer’s gauntlet holding a huge eagle. photo courtesy of CJ Kale Bruce Omori In October 2006, Bruce Omori got a call from an editor shortly after the 6.7 earthquake that rocked the island while he was driving towards the Hāmākua Coast. “Turns out, the editor was North American director of the European Press Photo Agency,” says Bruce. “He had seen my photos on a forum I used to post to, and he thought I had a good eye for composition and creating a story. He asked if I was interested in shooting photos for their wire service…I said ‘Sure, I’ll shoot images for you, I’m heading out there to shoot right now.’ After I sent the photos, they ran worldwide through that wire agency. I got very excited…I still shoot for them. I shoot Ironman every year.”

KeOlaMagazine.com | January - February 2020


KeOlaMagazine.com | January - February 2020

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A local boy, Bruce’s family came to the island in the 1800s when his grandfather went to work on the sugarcane plantations. He attended Kalanianaole Elementary and Hilo High School, and graduated from University of Hawai‘i at Hilo. His gallery is Extreme Exposure, in Hilo. Bruce recalls one of his business partners in the engineering firm he helped run for 24 years, who was a hobby photographer. “We would always have great, deep conversations about photography,” says Bruce. “He was a gruff ol’ German guy who had traveled the world, and ended up being one of the founders of the [engineering] company. I looked up to him. I would shoot my kids, shoot honey creepers, go around my parents’ yard and shoot [other] birds. I shared these with him, and we would discuss and critique the composition, the colors. I would buy him a Christmas gift every year, and I’d look for books by Ansel Adams, master of light, or Art Wolfe.” “One of my big inspirations is Art Wolfe,” says Bruce. “He’s one of the world’s most prolific photographers. He’s a nature photographer, but works in every genre there is—wildlife, culture, conservation. I actually met him. We’ve gone shooting a number of times and are really good friends now. His work was a big inspiration and one of the reasons why I shoot today.”

Ikaika was first to post about the eruption on Facebook Live and was also instrumental in setting up what came to be known as “the hub,” Pu‘uhonua o Puna (Punaʻs place of refuge), to help local residents find resources, shelter, help with immediate needs, and current information. “Back then, I got photos of all these little kids,” says Brad. “I got Ikaika as a little boy, and now he’s this amazing man. I talked to him on one of his early live feeds, and then got on a plane the next day. In Leilani, there was fountaining lava everywhere, and I was able to take that iconic shot of him. That was an incredible event of humans helping humans.” [Editor’s note: this photo of Ikaika was featured on our Ka Puana/Closing Page in the September/October 2018 issue.] “Digital photography…has gotten people involved that would not have been otherwise,” says Brad. “I met a lot of new shooters this last time in Puna, and it was something special to connect with them. All of them told me, ‘You’re the one that inspired me!’ That’s what my work’s all about, inspiring people.” Redemption Doug explains his sense of service or motivation in a very different way. “I just finished watching this Ken Burns documentary on country music,” he says. “Over and over again I heard the world ‘redemption.’ A lot of country songs are about redemption.” For him, his photography is about redemption too. “I know how much we [photographers] contribute to the destruction of the natural world we love, and we try to redeem ourselves,” says Doug. “When I go in the ocean, when I breathe carbon dioxide out of my lungs, when I throw out the trash…it’s all destructive in a way. If I can do something to help galvanize people to rise up and take action to save our water planet, I feel like in some small way I redeemed myself. I’ve given myself justification to live on the planet. I’m in some way compensating for the damage I know I’m doing.” Obsession Although he didn’t photograph lava until 2008, Bruce says he was always obsessed with the volcano. “I grew up with

KeOlaMagazine.com | January - February 2020

Service or Purpose “What motivates me to take photos is a few things,” says Nick. “First, I love being out in nature and seeing the natural wonders of the world, Second, I love sharing and selling images to people, because it’s cool to see them seeing an image of yours when it puts a smile on their face. Maybe it brings back a memory for them from their life, or maybe they think it’s just so beautiful they can’t live without it.” Blackwater diver Joshua says, “I really like the fact that I can show people things they’ve never seen before, never even knew existed. Hopefully they see something to conserve, because the ocean is such a big part of our planet.” Early on, Doug realized his work was about more than making money. “I think we’re trying to make the world a better place. Bringing beauty and intricacy of the underwater world to the general public, many of whom may never get the opportunity to see for themselves.” Don Hurzeler remembers one night in particular. “I had two customers and their three kids come to the gallery at Waikoloa about 9:20 one night, right before we closed,” he says. “They looked at all the photos, and when I asked if they’d done everything on their list, they said everything except shoot the Milky Way. ‘Maybe next time.’ “I said, ‘Or, go with Linda and me up the mountain tonight. The moon is down, we are going 8,500 feet up Mauna Kea and you’re welcome to come along.’” It was a jaw-dropping experience for all. “I hadn’t realized how prominent the eruption was going to be,” says Don. “This spectacular Milky Way over all like a rainbow, Puna on fire below.” Brad Lewis has been shooting the volcano for over 30 years, since long before the first digital camera. Still, he learns something new with every shoot and every eruption. To him, it is a very personal experience, a deep relationship with powerful forces of nature, which has led him to human friendships and rewarding opportunities. In 2018, Brad spent time in Puna, working with local legend Ikaika Marzo, whom he had met years before in Kalapana.

Blue Velvet. photo courtesy of Bruce Omori



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asthma, and was allergic to sulfur,” he says. “My mother kept me from ever visiting the volcano when it was erupting...I remember going on fieldtrips with my schoolmates…When we went to the National Park, I watched my schoolmates having fun going on hikes, while I sat in the bus in the AC.” “My mother created an obsession with lava. I still have asthma and allergies, but as an adult, I’ve learned to manage my respiratory issues,” Bruce continues. “When the opportunity arose to shoot lava, I jumped on it...A friend invited me to go shoot, we went down to Kalapana—I took my inhaler—and we shot the lava crossing the road. I was hooked, really addicted to shooting the real stuff.” Heart and Healing One of Don’s all-time favorite shots was captured at a serendipitous moment while he was swimming and shooting in the ocean, and witnessed helicopters scattering thousands of flowers for a memorial service. He speaks about it with respect and reverence. “Phoenix Hauanio died in a fiery crash on Valentine’s Day, 2015. She was just 17 years old. The driver of the car was underaged, drunk, and drugged. In total, three people perished in that accident. Her parents, Daren and Cata Kaleo Hauanio of Kona, held a celebration of life for their beloved daughter on her 18th birthday, April 18,” Don says. “I was fortunate to capture the beauty of that event just off of Kua Bay,” Don continues. “The photos have since become associated with both Phoenix and the Hospice of Kona…as a reminder of the beauty of life and the love we have for those who have passed.”

Bruce particularly loves his photo of a winding road on Maui. “When I saw that meandering stretch of highway, it reminded me of all my struggles in my life. In fact I called it My Life,” says Bruce. “I shot it soon after I left the engineering job. My mother was diagnosed with Alzheimer’s not long after my father passed.” “Work was getting stressful. I had moved my family back to Hilo and was commuting,” Bruce continues. “There was a lot of pressure, because I felt the need to be there and put in more time. I would stay and work overnight one, then two or three nights a week. My partners were still not happy. I started having cardiac issues and went to the doc, who said nothing was wrong. The chest pains were caused by stress—mainly the commute—and if I kept gong it would kill me.” Bruce says, “Photography was my therapy. I would go out and shoot surfers, wildlife, native birds, forest. In two or three months, the pains disappeared…The first photo somebody paid for was the result of all that.” To Doug Perrine, being a photographer is many things. “It’s a mission, it’s a spiritual quest, an obligation, it’s a love affair,” he says. ■

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KeOlaMagazine.com | January - February 2020

Keiki Garden and Grindz: Fruit Leather Recipe

Local Foods

By Brittany P. Anderson

This recipe for fruit leather is a great way to get keiki (children) involved in the kitchen by picking out their favorite fruits and vegetables. The combinations are endless, and you can also hide some veggies in for picky eaters. Fruit Leather 1 lb fruit and/or vegetables (1/2 lb mango, 1/2 lb blueberry, 1 small beet pictured) 2–3 tbsp local honey 1–2 tbsp fresh lemon juice

Method Preheat the oven to 200°F. Combine the fruit and/or vegetables and honey in a blender. Add the lemon juice and puree until smooth. Place the puree into a medium saucepan over medium-high heat and bring to simmer. Reduce heat to medium-low and cook until most of the liquid evaporates, and the mixture is very thick, 30–40 minutes. Stir occasionally being careful as the liquid may splatter. Line a rimmed baking sheet with wax paper, non-stick foil, or a silicone mat. Spread the mixture into a thin layer and bake until tacky, approximately 3 hours. Remove from oven and cool. Peel the fruit snack away from the mat of your choice. If it is still moist, place it back in the oven for 15–20 minutes more with the moist side up. If the fruit snack isnʻt pliable, let it sit out on the counter for an hour or two to rehydrate. Cut into rectangles or strips and roll with wax paper. Store in an airtight container in the refrigerator. Enjoy!

KeOlaMagazine.com | January - February 2020

Some kids just don’t like vegetables. As the stepmother to a child who consistently picked tomatoes out of tomato sauce, I had to get creative. Hiding nutrient-rich veggies in smoothies, breads, and sweets was a weekly ritual until we planted a garden together. Building the raised bed, he helped calculate the lengths of wood to cut. Then, he assisted in painting and filling the frame with soil. We picked out seeds—tomato, lettuce, peas, and beets. Eagerly he got his hands dirty, making rows for planting and next, with great precision, dropped the seeds into place. Children who learn to garden are more likely to eat vegetables. There are several programs on Hawai‘i Island developing garden-based nutrition education programs that promote hands-on learning. Foodcorps Hawaii is part of the federal AmeriCorps program, placing a service member in local Hawai‘i Island schools to support local agricultural traditions and healthy eating habits. There’s even The Kohala Center’s Kū ‘Āina Pā School Garden Teacher Training Program offered to educators who want to build and maintain a garden at their schools. Whenever my stepson went to check on his plants in the garden, his face had a look of pure joy. He gladly weeded, watered, and helped trellis the tomatoes and peas. It wasnʻt long before the little garden was overflowing with bright red tomatoes, bulging pea pods, and tender leafy greens. He picked the bounty eagerly, even assisting in the preparation of a salad. And then, without prompting, ate a tomato. That day in 2009, I snapped a picture as proof, the kid ate his vegetables—then asked for more.



KeOlaMagazine.com | January - February 2020

side of the perched lava channel fed by Fissure Eight collapses, sending a river of pāhoehoe barreling northeast through Leilani Estates toward Puna Geothermal Venture (PGV). By the evening of May 29, 2018, the breakout flow has crossed Pohoiki Road, covered two capped PGV thermal wells, and cut off Highway 132, starting a frantic evacuation of Kapoho. In a scene reminiscent of the darkest days of the Dust Bowl, jalopies and pickup trucks loaded to impossible heights with every conceivable hodgepodge of household items—beds, tables, chairs, couches, lamps, refrigerators, TVs, stereos, dressers, solar panels—roll in slow procession to safety down the one-lane coastal Government Beach Road, now the only escape route for hundreds of soon-to-be-trapped households. Sedans with furniture ratchet-strapped to their roofs, pickups pulling trailers of terrified farm animals, rented box trucks barely clearing the low-hanging branches of ancient mango trees lining the hastily paved road that just days prior had been gravel, all driven by shaking hands wiping away beads of sweat and welling tears. These are the eruption’s last evacuees, watching with heavy hearts as their homes disappear from sight in rear-view mirrors. At mid-day June 2, the flow from now-enormous Fissure Eight was miles long, with its pioneering lobe within 100 yards of “Four Corners” where Highways 132, 137, Government Beach Road and Cape Kumukahi Lighthouse Road all intersect along the Kapoho coastline. This crossroads was the last access to the subdivisions of Vacationland, Kapoho Beach Lots, and Kapoho Farm Lots, all of which would be destroyed over the next month, save for a few surviving structures in a small sliver of spared land parallel to the lighthouse road. By the time the vast expanse of lava entering the ocean crept south and inundated Ahalanui Beach Park (locally known as “Warm Ponds”) and Kua O Ka Lā Public Charter School on July 12, the 2018 Lower Puna Eruption had covered 8,000 acres, destroyed 13 miles of public roads, created 650 acres of new land along the shoreline, leveled 700 homes and left 110 standing but inaccessible due to road loss. It had forced the evacuation of 3,000 lower Puna residents and created an elaborate checkerboard landscape of kīpuka (untouched land within a lava bed).


Aerial view of section of Highway 132 roadway completely inundated with lava from the 2018 Lower Puna Eruption. photo courtesy of Hawaiÿi County Department of Public Works

The Road to Recovery Began with a Road By Stefan Verbano

The Road to Recovery The largest of these spared areas was the “Highway 132 Kīpuka,” comprised of approximately 56 properties and 70 still-standing residences. Displaced lower Puna residents with unscathed houses and farms inside this large cut-off tract of land had been without a convenient, safe route home for more than a year and half. In December 2018, tenuous access came with PGV’s grading of a rough gravel road atop the lava channel across its property, with a small offshoot connecting further back roads, eventually linking up with the surviving 1.9mile stretch of old Highway 132 located inside the kīpuka. This “PGV Road” came as a joyous relief to the kīpukaʻs

A group of smiling Lower Puna residents stand along the road of freshly laid crushed gravel leading south to the pre-eruption site of “Four Corners” (intersection of Highways 132 and 137) on the Kapoho coastline. Most either lost or were cut off from their homes due to lava flows from the 2018 Lower Puna Eruption, and many have eagerly awaited the County’s reopening of Highway 132 and safe, convenient access to their land after more than one and a half years of isolation. Note: center-right of the photo shows the still-green upper slopes of Green Lake Mountain, which was spared from lava inundation. photo by Stefan Verbano

evacuees. By signing a waiver and entering at specific times of day, they could at long last access the highway and see their land again. But this special arrangement wasnʻt without its drawbacks: the road was one-lane and bumpy, too narrow to accommodate opposing traffic, often with poor visibility as the lava fieldʻs residual heat turned falling rain into thick, billowing pockets of steam. Residents had to negotiate a 24hour manned PGV checkpoint, which could deny access if road conditions were deemed unsafe. Power in the kīpuka had long since been out, and basic residential services like mail delivery, public transportation, and fire/medical emergency response

were impossible. County of Hawai‘i officials, including Mayor Harry Kim, emphasized the importance of reopening Highway 132 from early on. Mayor Kim directed the County to wait six months after Hawaiian Volcano Observatory lowered its alert level for Kīlauea Volcano before beginning any major infrastructure repair work—a postponement that ended last April. Kim has called the highway recovery a “number one priority,” and expressed confidence that the project’s construction costs would be fully reimbursed by the federal government, which they will.

A freshly-paved stretch of the new upper section of Highway 132 with banked shoulders of lava cinders, September 2019. photo courtesy of Hawaiÿi County Department of Public Works

After months of negotiations between Hawai‘i County Department of Public Works (DPW) and Federal and State Departments of Transportation stakeholders, on June 10, 2019, bulldozers started preliminary clearing of the 3.2 miles of covered highway on either side of the kīpuka: a 1.6-mile upper portion from PGV’s checkpoint to the kīpuka’s western edge, and a 1.5-mile lower portion from the kīpuka’s eastern edge to Four Corners. The project also involved the clearing, grading, and paving of a 0.2-mile segment of inundated Government Beach Road from Four Corners north to the edge of the lava flow, as well as brush clearing, striping, and signage/marking installation along the segment of surviving old highway within the kīpuka. The contractors worked diligently, battling hundred-footthick lava hills, hazardous undersurface voids and pockets

KeOlaMagazine.com | January - February 2020

In July 2019, bulldozers clear a path through the lava field from the 2018 Lower Puna Eruption along the new upper section of Highway 132 in order to build the new roadway, connecting the old highway terminus near Lava Tree State Park with the west side of the Highway 132 Kïpuka. photo courtesy of Hawaiÿi County Department of Public Works


KeOlaMagazine.com | January - February 2020

of extremely high heat— some crews encountered 800-degree rocks, which for a time halted progress of the lower portion. Though the County is calling the repaired segments a “temporary road,” the new highway will function just like the old one. It will have A bend in the road along the new upper section of Highway an identical 132 with paving complete, September 2019. alignment and photo courtesy of Hawaiÿi County Department of Public Works design speed, with the same dual travel lanes and shoulders as its pre-eruption state. According to County officials, much of the input they received from affected residents in the wake of the disaster involved how important Highway 132’s reopening was to the recovery of the area. “The County has received tremendous community feedback from those who live in lower Puna and whose lives were directly impacted by the loss of Highway 132 to reopen this crucial thoroughfare so that residents can return to their homes and businesses,” says DPW spokeswoman Denise Laitinen. “Big Island residents with homes and farms that have been landlocked by lava have voiced great relief about being able to once again reach [them].” Beyond just benefitting the kīpuka residents themselves, the reopened highway will improve access for hundreds of people living outside the lava area whose normal routes were still severely limited in the eruptionʻs wake. It will reduce traffic congestion in other neighborhoods, too, whose roads have long been used as detours, namely Kahakai Boulevard in the Hawaiian Beaches/Shores subdivisions. “Restoring Highway 132 will greatly reduce the amount of First day of work on the new upper section of Highway 132, June time and 10, 2019. With the yellow-lined terminus of the old highway in distance area the foreground, bulldozers begin to carve out a path through the 2018 Lower Puna Eruption lava field east of Lava Tree State residents need to travel to Park. photo courtesy of Hawaiÿi County Department of Public Works





Hyperbarics and Cryo-therapy at Healthways!

KeOlaMagazine.com | January - February 2020

Our bodies are reliant on oxygen more than any other substance for the smooth operation of each living cell. The absence or shortage of oxygen in the body predictably leads to crisis which can cause significant health issues, or even cell death. However, the increased delivery of oxygen through increased barometric pressure has demonstrated increased healing capacity in the body. Conventionally, hyperbaric has been used to treat Conventionall decompression sickness of divers, and diabetic foot wounds. Attention has been brought to the area of hyperbaric’s potential for improved recovery from injuries and decreased recovery time. Natural recovery from an injury has been expected to follow a traditional timeline. In other words, we are told that the body heals at a predictable set rate. Although comfort measures and traditional therapies can be applied, the patient must basically wait out the predetermined healing time that nature has set for us. However, with additional hyperbarics the previous standards of healing time have been revolutionized.
 A new era in therapeutic treatment has arrived, as scientific data continually documents emerging uses of proven effectiveness of hyperbaric oxygen therapy.
 These are some frequently asked questions about hyperbarics.
 Q: What is hyperbaric oxygen therapy? 
 A: A therapeutic treatment of increased atmospheric pressure, increasing the amount of oxygen per breath, significantly increasing oxygen delivery to the cells in the body.
 Q: How does hyperbarics wtork? 
A: In normal conditions, only red blood cells have the ability to carry oxygen in the blood stream. By way of hyperbaric oxygen therapy, inhaled oxygen is dissolved into the liquid part of the blood called plasma. This provides oxygen delivery deeper into the body at a significantly increased level.
 Q: What are the effects of hyperbarics in the body? A: The increased oxygen delivery and saturation of the deprived areas has demonstrated improved ability to create new blood vessels, new nerve tissue, build new connective tissue, and accelerates growth of new cells during healing. 
 Q: Does hyperbarics improve physical 40 performance? 
A: Several studies have Dr. Eric S. Mizuba D.C., DACBSP demonstrated improved

physical performance and decreased recovery time, with repeated and reproducible results. 
Q: Does hyperbarics decrease pain?
 A: Analgesia/pain levels have been reported to be decreased by 90-95% by several test studies.
 Q: What can I expect during hyperbaric treatment? 
A: Tsreatments last 15-90 minutes. Pressure is typically 1.2-3 atmospheres. People can lie down, sit up, or kneel inside a chamber. A gurney system is available and can assist an impaired person into the chamber. People usually read or choose to rest during treatment.

 Q: Is hyperbaric oxygen therapy safe? 
A: Yes, hyperbarics has demonstrated an impeccable track record when compared to many healthcare procedures over the past several decades. Pressures are typically lower in the present day then they had been in the past decades, as research has demonstrated the effectiveness of lower pressures with modern day techniques.
   If you would like to perform at the top of your game, or simply return to the game, contact Dr. Mizuba to see how hyperbarics may benefit you.
  Dr. Mizuba is a diplomate of the American Chiropractic D Board of Sports Physicians. He employs the practical use of chiropractic sports medicine in his practice for individuals seeking to maintain an active lifestyle. He serves as doctor for the USGA in the field of hyperbarics and chiropractic. He continues to be involved in the healthcare system for Major League Baseball and sideline doctor for athletic teams on the Big Island. Applying the benefits of hyperbarics and chiropractic sports medicine to his own endeavors, he has completed two long-distance swims of over 23 miles, and in triathlons since 1984.
    From the athletic arena to the flower garden, let Dr. Mizuba keep you in your game! This sponsored content is courtesy of Healthways Chiropractic, located at 65-1206 Mamalahoa Hwy. in Waimea. For more information visit www.drmizuba.com or call 808-491-2462

Pāhoa,” Denise says, “improving their overall quality of life, reducing emergency response time and minimizing impacts on neighboring subdivisions which have been providing alternate routes since the beginning of the lava event.”

KeOlaMagazine.com | January - February 2020

Looking Forward Nancy Seifers used to live in what is now the Highway 132 Kīpuka at mile marker 5.5, in a home down a dirt road off the highway in a neighborhood of about a dozen others homesteads. She would commute 12 minutes to work as a schoolteacher in Pāhoa. The flow took out 100 fruit trees and her property’s original farmhouse, yet left a newer structure standing. During the period when the only access to the kīpuka was through PGV’s primitive access road, it took Nancy 45 minutes to get from her home to town. With the renovated highway finally open in late November 2019, Nancy plans to move back into the surviving house and begin putting the pieces of her former life back together. “By our own devises, we’ve managed to start our own recovery,” Nancy says about residents in the isolated areas. “All we ever really needed was the roads. They’re imperative. If we got our roads…all the farmers could get their goods to market. We’d be thriving again.” Of her own 257 acres on the summit and slopes of Green Lake Mountain (Kapoho Crater), local resident Smiley Burrows lost 100. Smiley is an avid farmer, perhaps best known before the eruption for running her weekly fruit stand along Highway 137 across the street from Kapoho Beach Road. Avocado orchards, livestock pasture, banana groves, and monkey pod forests made up part of her consumed land. “We pretty much lost every fruit tree I planted for 20 years,” she says. Smiley is optimistic about the recovery of the area, though. With the highway open again, she too has her sights set on moving back into a surviving structure and working to make the land—whether covered in lava or not—productive again. (Top) United States Geological Survey (USGS) lava thickness map of the areas affected by the 2018 Lower Puna “There’s a lot of opportunity to replant. I’m Eruption, clearly showing the Highway 132 Kïpuka of approximately 56 isolated properties (center) as well as sections definitely into regrouping, replacing anything. of inundated highway. (Bottom) USGS map showing maximum extent of the 2018 Lower Puna Eruption lava flows. We have lots of cinder now, hah!” she says. Just right of center is the “Highway 132 Kïpuka,” an isolated island of unscathed land comprised of approximately 56 properties with an intact stretch of Highway 132 in the middle (clearly marked with a “132” inside a white circle on the “We look at the losses and the tragedies map), surrounded by lava fields on all sides. The new upper and lower sections of Highway 132 opened last November of this experience…I lost a lot...you know, and follow the original route of the highway. photos courtesy of the United States Geological Survey houses and this and that,” Smiley says. “But [during the flow] I was up on top of my optimism reigns, because people who choose to live in Puna ladder every night just in awe of creation, of are resilient. After all, Puna is strong! ■ having the opportunity to actually witness it, and I honor it. So this new land to me is beautiful and we need to recognize that For more information: thatʻs part of our choice of living on the Big Island: acceptance recovery.hawaiicounty.gov of new land forming. If you want to live here, you have to live that reality.” This seems to be the sentiment of many residents—eternal


North Hawai‘i Research Center’s Heritage Center: Cultural Community Connections By Jan Wizinowich

Visitors gather at the opening of the Honokaÿa Love Music exhibit. photo courtesy of the Heritage Center


KeOlaMagazine.com | January - February 2020

hrough the vision of a community to preserve and share the stories of the land and its people, the Heritage Center (HC) came into being in 2011. Hawai‘i Island’s story begins with its settlement by a people who connected deeply with the land and established traditions


that perpetuated the well-being of both the land and its people. These traditions and the spirit of the land, blended with stories of the many who came later, form a constellation of histories that are being preserved by the HHC. Headed up by curator Dr. Momi Naughton, whose life work has been multicultural historic preservation, the center is a blend of academic excellence and cultural community history. From its inception, Momi met with a community advisory board made up of a spectrum of people from all walks of life who continues to guide the direction of the center. “It’s evident that the community is engaged and taking ownership of their past through the Heritage Center because nearly every day someone comes in with an old photo album and memories to share,” said Momi. At the heart of the HC, an adjunct to the North Hawai‘i Education and Research Center (NHERC) which opened in 2006, and now part of Hawai‘i Community College (HCC), is a permanent exhibit featuring the history of the lineal descendants of the land as well as the many ethnic groups who came to work at the sugar plantations. Momi pointing out a video display of “talk stories” with prominent paniolo that can be viewed while visiting the permanent exhibit. photo by Jan Wizinowich

The first section in the permanent gallery highlights Mauna Kea, which has been foundational to Hawaiian spiritual practices and is home to important entities such as the goddess Poli‘ahu, whose mantle of snow and mist cloaks the mountain. “The culture is still alive and there is legitimate cosmology. The thing is to look at different ways of knowing, different ways of interpreting. It’s very obvious when you look at the chants and the story of Queen Emma going up to Lake Waiau to take a kapu kai [purification bath] to reconnect with her ancestors after her husband and son died. The importance of the mauna [mountain] comes out in chants,” explained Momi. The exhibit that follows is an array of cultural kīpuka (oasis) that contain sights, sounds, flavors, and textures of the foundational lives of the community. Here you will find the many stories of the brave souls who traveled from China, Japan, the Philippines, and Portugal to work the sugar, bringing their own traditions. Rotating Exhibits In addition to the permanent exhibit, the HC has mounted a series of rotating themed exhibits, the first being a commemoration of the 50th anniversary of the Peace Corps entitled Our Community and the Peace Corps. “What we discovered was that there were a lot of people in our

The Honokaÿa Hospital, Dr. Okata’s 12 bed hospital provided initially provided care for Japanese workers in their own language. photo by Jan Wizinowich

KeOlaMagazine.com | January - February 2020

community who had been in the Peace Corps, so a big section of the exhibit was on different people and where they served. They brought back artifacts from all over the world,” said Momi. Waipi‘o Valley was also a training site for the Peace Corps. “We did the whole training in Waipi‘o Valley section. I also wanted to focus on people from the community that had done the training in the valley. They were pretty proud of that,” said Momi. A museum is more than a collection of labeled items. When it is connected to the community as the HC is, it takes on a life of its own. This is what happened to create the next exhibit, Plantation Life on Hawai‘i Island: An Exhibit of Photographs by John and Ann Bowen, which opened in June 2012. “John and Ann Bowen came to Hawai‘i in 1965 when John got a job as an agriculturalist with C. Brewer and Company. The Bowens set about documenting the plantation lifestyle by photographing and audio recording the everyday people who built the industry,” remembered Momi. The exhibit itself came about through the serendipitous connections made by Hāmākua community member Kaye Lundberg, who happened to come across some of Bowens’ photos at the Laupahoehoe Train Museum. Kaye located the Bowens, invited them to meet Momi, and so began the collaboration that resulted in Plantation Life on Hawai‘i Island. Under Momi’s guidance and with the assistance of Marie Kinchla and grad student Nicole Garcia, the HC exhibits strive to honor the unique contributions of various ethnic groups. In the process of mounting Honoka‘a Loves Music, Momi discovered the stories of the Filipino musicians who formed small bands and traveled up and down the coast, playing at the different camps and plantations. This exhibit was followed by Nā Paniolo o Hāmākua that featured the small Portuguese ranchers who established cattle

The Waimea Ranch Hotel, built approximately 1922, was a community gathering place that 43 brought musicians from all over the islands and hosted dances. photo by Jan Wizinowich

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operations in Hāmākua, which was followed by Waipi‘o Valley: A Cultural Kipuka. Infused with the spirit of community and cultural kīpuka, the exhibit opened with a quote by Davianna Pomaikai McGregor: From these natural kīpuka come the seeds and spores for the eventual regeneration of the native flora upon the fresh lava. Rural Hawaiian communities may be regarded as cultural kīpuka from which native Hawaiian culture can be regenerated and revitalized in the contemporary setting. Through oral histories and other sources, Momi looked at every aspect of life in the valley. “There was a store and they walked up and down the valley to go to school and there were all sorts of gathering places where people got together. The valley is only a mile wide and six miles long and yet there were seven heiau. It just gives you an idea of what a deeply spiritual place it is.” Historically, with an estimated peak population of around 4,000, the cultivation of kalo (taro) and other foods have always been central to life in Waipi‘o Valley and beyond. “There’s records of drought when everywhere else was dry and Waipi‘o still had water. Waipi‘o was the breadbasket,” Momi said. The valley itself, once the seat of government of High Chief Umi, is a many-storied metaphor for a long legacy of life-sustaining practices that have emerged from a spiritual

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The Chinese were the first sugar workers to arrive in 1852, fleeing the Taiping rebellion. Mostly single men, some married Hawaiian women and stayed on after their contracts ended. photo by Jan Wizinowich connection to the natural world. But the impact of the exhibit was no metaphor. Prior to the exhibit, the Bishop Museum had announced plans to place some Waipi‘o lots on the market. “It [Waipi‘o Valley: A Cultural Kipuka] was one of the most successful exhibits and a good tool. The Bishop Museum signs the leases for the taro farmers here, so a lot of the taro farmers came to the exhibit and the head of the board of directors and their attorney came down and saw the exhibit and I think it had an impact on the decision to pull the lots off the market,” said Momi. Outreach The approach of the HC dynamic has been flowing from the community to the museum and from the museum out into the community. In the nine years since it began, the HC has created over 30 special traveling exhibits. “We’ve done a pā‘ū [skirt worn by women horseback riders]

exhibit at Paniolo Preservation. We’ve done a photo exhibit at the Kohala Library of pictures Boone Morrison had taken of archaeological sites, and for the 2012 Waimea Cherry Blossom Festival, we created an exhibit The hub of Hämäkua, Honokaÿa was a lively honoring Japanese commerce center that included a theater and many cowboys,” said Momi. stores. photo by Jan Wizinowich For the Kalo Festival that took place in Waipi‘o, HC brought the museum to the valley, setting up a tent with a series of historic photographs at the Waipi‘o lookout, generating much excitement for the upcoming Waipi‘o Valley: A Cultural Kipuka exhibit. “I want the changing gallery to be one where people can come in and go, ‘Oh thereʻs my aunty,’” said Momi. Waimea Old and New The current exhibit, entitled Maika‘i e ka ‘Āina o Waimea (good is the land of Waimea), opened in December and is a deep exploration of Waimea’s rich history. Among many resources, the exhibit draws on Momi’s extensive preservation work within the Waimea community. “I was the historic sites person in Waimea in the 70s, for what was then the Waimea Kawaihae Community Association, so I started photographing a lot of the old sites and collected a lot of the mo‘olelo [stories] of the area. This new exhibit gave me the opportunity to use a lot of that,” said Momi.

With chants and stories of the myriad Waimea rains running along the upper perimeter, you are welcomed into the exhibit with the oli and mo‘olelo of the goddess Wao and the journey of Hi‘iakaikapoliopele. This is followed by a gallery of artifacts, photographs and stories gleaned from the web of resources Momi has gathered over the years and the center’s collection, as well as the contributions of community members. These have been

World War II was a time of drastic change for Waimea with the arrival of Marine and Army divisions who set up Camp Tarawa as a training station. photo by Jan Wizinowich expertly woven into sections that include ali‘i visits, natural history, original stores and families, Parker Ranch, Camp Tarawa, and coastal development. The old Waimea is quickly fading away and hopefully this exhibit can raise awareness of some of the rich history of the

KeOlaMagazine.com | January - February 2020


Sugar drew workers from Asia and far-away Portugal; it was grueling work. photo by Jan Wizinowich

town and surrounding areas. The exhibit will run through 2021 and can be viewed Monday to Friday from 9–4 and Saturday from 9–1. The HC’s extensive archives that include maps, photos and documents are also available to anyone interested in doing their own North Hawai‘i historic research. ■

KeOlaMagazine.com | January - February 2020

For more information: 808.775.8890 or 808.969.8979


Dr. Momi Naughton has spent her life connecting culture, communities, and museums. After completing her bachelor’s degree at the University of Hawai‘i at Hilo, Momi earned a master’s degree in anthropology from Western Washington University in 1983. In 1985 she received a Kellogg Grant to study a team approach to exhibit development, which for her meant the inclusion of the people whose stories and artifacts were to be displayed. “It struck me that most of the major museums represented at the workshop that curated indigenous collections did not include people from the cultures whose artifacts they display as part of their exhibit team,” said Momi. This approach was further bolstered when in 1990, Momi received a Fulbright Cultural Exchange Grant to go to Aotearoa (New Zealand) to study the Maori bicultural model for museums, where elders were consulted and decisions were made biculturally. “Based on these experiences, I developed classes and internships at Western Washington University that gave students a hands-on experience in exhibit development. When the Hōkūle‘a and Hawai‘īloa voyaging canoes came to Bellingham in 1995, I had students working on numerous projects and exhibits involving the university, the community and the Lummi Indian Nation in cooperation with the Polynesian Voyaging Society.” Momi received her doctorate in museum and heritage communications from Simon Frasier University in 2002 and after a position as curator of Anna Ranch archives and a teaching position at Kanu o Ka ‘Āina New Century Public Charter School, she began work at the Hāmākua Heritage Center (HHC) in 2011. Her strong belief in allowing the culture to tell their own stories is what makes the HHC a rich and dynamic source of our shared history. “When I gave my presentation to the public before being hired, I told them that I would not interpret their history and culture but rather be a conduit for them to explore their own stories.”

g n i l into th i a S e

Fu t u r

‘a Participants Ap e P ply C Nā ra Stover ano a By S e’s Les s on s to “ Life Stay off the rocks,” Kalani Nakoa instructs his

young crew. The wind is light out of the west as they launch one of the three 26-foot single-hull canoes from Kīholo Bay. Within minutes, the wind shifts to the southwest. Going 12 mph, the Nā Pe‘a crew makes it to Kahuwai, where they tour the petroglyph field and learn about its unusual Hawaiian sail motifs, etched into the smooth pāhoehoe lava rocks. In the canoe, however, the rocks are to be avoided.

A Sense of Kuleana In an age where every second of life seems documented and planned, keiki in the Nā Pe‘a program bravely board the canoe with no clear knowledge of how long their journey will take. Neither do the courageous parents, who eventually receive a phone call that their children have completed the voyage. What is clear, however, is how cultural place-based teaching and learning increases children’s retention, and socio-emotional development and educational outcomes considerably. “When Kamrin is outdoors and applying what he learns hands-on, he excels faster and has a greater understanding,” says Kalei Haleamau-Kam, a Nā Pe‘a board member and mother to 16-year-old Kamrin Kam. “He’s grown so much through this program, taking on big responsibilities. Kamrin is now ho‘okele [steersman] and even one of Kalani’s deckhands for the other boats!” “Students with a strong connection to local Hawaiian culture feel more connected to nature, more self-efficacious, and are more likely to engage in pro-environmental behavior,” exclaims Kalani. Not only can Nā Pe‘a crew members feel more empowered and effective in their environmental responsibilities, but they can also receive one college credit for attending a HCC 47 Hawaiian Studies class. The two-day class includes learning

Nä Peÿa crew members cross the ÿAlenuihähä Channel between Hawaiÿi and Maui. photo courtesy of Tor Johnson for Eka Canoe Adventures

KeOlaMagazine.com | January - February 2020

The Roots A collaboration of the Nakoa Foundation, the Ala Kahakai National Historic Trail, Kamehameha Schools, and The Nature Conservancy, Nā Pe‘a is a youth program that focuses on the fundamentals of strong leadership, and effective stewardship of land and marine resources. This is accomplished by perpetuating the Hawaiian sailing canoe’s traditions and practices—an effort that grew out of an ancient force compelling Kalani to build the recreated, historically-accurate Hawaiian canoe, Wa‘a Kini Kini. “I had to build it. I didn’t know why at the time,” Kalani explains. “A genetic memory of canoe-building that was triggered by something, perhaps.” “But once I built the canoe, everything grew from there. The Nā Pe‘a program, Eka Canoe Adventures, the Nakoa Foundation, all have roots in that first canoe,” Kalani elaborates, referring to the organic beginnings of a program that demonstrates the usefulness of traditional Hawaiian cultural values in the modern world.


agrees: “Uncle Kalani always teaches us something new while making us laugh, giving us the animated version of every lesson!” Hawaiian Voyaging Values In honoring Hawaiian history by learning the place names of its ahupua‘a (land divisions), and the mo‘olelo (stories) of the wahi pana that the crew visits, Nā Pe‘a establishes a Hawaiian cultural presence. Wahi pana is the concept of a place’s significance in Hawaiian culture, such as places with a pulse, like Kīholo Bay. “Kīholo is the wooden hook with a bone point used to catch a shark, but the literal translation fails to truly capture the bay’s importance to Hawaiian chiefs,” Nā Pe‘a instructor Dale Fergerstrom explains. “The kūpuna shared the mo‘olelo of two mo‘o Sailing into the future. photo courtesy of Tor Johnson for Eka Canoe Adventures [protective spirits] that live in Kīholo’s ponds to remind us that we have to protect these spots. If we don’t, they go away.” about design and construction of the traditional Hawaiian Nā Pe‘a participants don’t just embrace the values and canoe at the Palamanui Campus and learning how to rig the Nā traditions of Hawaiian voyaging. This past October, they Pe‘a canoes at Kīholo. followed in the very canoe-path of ancient voyagers who The Nā Pe‘a program is designed to develop a Hawaiian braved the treacherous ‘Alenuihāhā Channel between Hawai‘i cultural presence, and sense of kuleana to place and to and Maui. On October 2, 2019, Kalani learned that Maui’s traditions. Kuleana is the Hawaiian concept that with every right comes a responsibility. Once students fill out an application and are accepted into Nä Peÿa encourages leadership through navigation in students. the program, they have the right to sail on one of four wa‘apea photo courtesy of Tor Johnson for Eka Canoe Adventures canoes. With this right, however, comes a responsibility that can only be learned at sea. To teach its young students kuleana, Nā Pe‘a must first teach them leadership.

KeOlaMagazine.com | January - February 2020

Leadership through Transformation To instill a sense of kuleana to cultural tradition, Nā Pe‘a develops youth leadership through environmental and social responsibility, canoe sailing, teamwork, communication, decision-making, basic ocean safety skills, navigation, and CPR. Entry-level crew members are generally middle school students living in the Kona district, with program activities typically conducted year-round. In Nā Pe‘a, it is the student’s journey, not the destination, that is emphasized. Whether it be the ocean or life, a true navigator must have an open heart and mind, setting sail despite (or even because of) a destination unseen. Nā Pe‘a encourages leadership through navigation in students like 18-year-old Ruthie Mersburgh. A cancer survivor and student member of the board, Ruthie has come a long way since she first began the program in sixth grade. “When Ruthie started the program, she was so timid. But I recognized her ability to be a skilled steersman right away,” Kalani says of how Ruthie was hesitant about steering when he initially instructed her to. “I watched her confidence grow every time she steered the canoe out of a precarious situation. She transformed from mouse to lioness!” “Uncle Kalani isn’t just making us sailors. He’s trying to make us the best version of ourselves,” Ruthie adds. “He teaches from the heart, not from a textbook. He will point out things in 48 a nurturing way.” Kamrin, who now works with Kalani on several boats,

The Nä Peÿa crew learns to avoid the rocks in the canoe, and in life. photo courtesy of Tor Johnson for Eka Canoe Adventures

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Trilogy Excursions catamaran was completing its dry dock at Honokōhau Harbor. He made a spur of the moment move, asking the boat’s captain if it would be possible to take the Nā Pe‘a crew back on its return trip across the ‘Alenuihāhā. The Trilogy Excursions company agreed, and within 12 hours, crew members were notified and arrangements made. A rare opportunity for the Nā Pe’a crew, only six members were given permission to make the ‘Alenuihāhā crossing. Seven showed up the next morning. “Nikko Allen showed up at the last minute with his bag,” recalls Kalani. “He said, ‘Uncle Kalani, you always tell us to go after what we want. You tell us to grab life and shake it until it gives us what we are after. So here I am!’” On the morning of October 3rd, seven Nā Pe‘a crew members set sail on Trilogy III bound for Maui. Sailing into the Future With wind from the ‘Alenuihāhā Channel still filling the sails of their dreams, the Nā Pe‘a participants are preparing to sail into 2020 at full speed. Their goal for this coming year is to take the Nā Pe‘a canoes to Maui and sail them to the island of Kaho‘olawe. This pursuit compliments the program’s dedication to cultivating an interest in career and vocational goals in the field of environmental sciences, agriculture, and community development. “Uncle Kalani says sailing is life. You have to commit to your path and navigate the winds and rough seas. For me, a degree in electrical engineering is the path,” Nā Pe‘a veteran and Konawaena’s 2018 Valedictorian Cyrus Jumalon shares. “In the

The Nä Peÿa youth program focuses on instilling the basics of effective stewardship of land and marine resources. photo courtesy of Tor Johnson for Eka Canoe Adventures

For more information: napea.info

KeOlaMagazine.com | January - February 2020

canoe, you have to avoid rocks and shallow reefs. In life, those rocks can be drugs or any negative distraction. Anything that would deter you from reaching your destination.” Cyrus, who attends college in Colorado, is committed to following his path back to Hawai‘i Island after graduating. “I want to use my degree to teach Hawai‘i to run on more sustainable energy. I want to help my community!” The Nā Pe‘a students learn to be prepared for the sea’s unpredictability, but their experience aboard the floating classroom has many practical applications as well. “Some challenges you see coming and some you don’t. The point is, how do you respond?” Kalani reminds the crew. “You have to adjust, and get past the rocks and through the currents.” “What are we going to do about plastic in the ocean and the future of recycling on the island? Or how will you treat someone who makes you upset?” In Nā Pe‘a, the canoe brings into focus a global recognition and connection, and teaches students to think about challenges outside themselves and how individual actions impact entire communities. “Everything you need to know in life you can learn on a canoe: sustainability, teamwork, working with your environment instead of against it,” insists Kalani. “It’s deeper than learning how to sail an ancient canoe. It’s learning how to move forward into the future with style and grace.” ■



KeOlaMagazine.com | January - February 2020

Mahalo Clark Realty – Home/Building Story Sponsor

By Ma‘ata Tukuafu

Kapaÿau Tong Wo Society’s building exterior. photo courtesy of the Tong Wo Society “They immediately became involved with the Hawaiian population,” Clyde says, “And got along so well with the Hawaiians that it alarmed the plantation owners. Eventually they were making big families, and didn’t want to work for the plantations anymore.” After contact, many Hawaiians had contracted diseases and were too ill to work or had died. The Chinese were able to lease a lot of the land; they refurbished fishponds, revived the taro patches, and cultivated rice paddies, eventually exporting rice to the continental US. As an industrious people, they would grow, harvest, and cook the taro, making it ready for the Hawaiians to buy and pound themselves. They plucked lauhala and would strip, cure, and roll it to sell to Hawaiians so they could weave mats, sails, thatching and more. The later immigrants brought their families with them, settling into life in the islands.

KeOlaMagazine.com | January - February 2020

ituated high on a hill in Kapa‘au is a colorful historical building constructed by early Chinese immigrants in 1884. Called the Tong Wo Society building, it served several purposes: a spiritual Taoist gathering place, a meeting house for an Eastern type of Masonic organization, and was used as a disguise from mainland Chinese government emissaries who were sent to check that expatriates were not plotting against them. Clyde Wong has been the caretaker for the Tong Wo Society building since the early 1970s. He and his brother, Gordon Oshiro, maintain the grounds and watch over the building, opening it up only once a year to the public for the Chinese New Year celebration. Clyde is very knowledgeable of the customs, the history, and the legacy of these early pioneers. Between 1840 and 1850, many Chinese immigrants to Hawai‘i were Hakka, an ethnic society who never assimilated into the Chinese culture. The first wave of Hakka Chinese were very poor men who left wives and families behind or who were single. Many of the men had three-year contracts to pay for their boat passage, and worked six days a week, from sunrise to sunset. Wages were around 10 to 15 cents a day, depending on the whim of the plantation owners or bosses, totaling about $3.00 per month.

Acquiring the Land It was in 1883, Clyde explains, that the Chinese purchased the Kapa‘au land upon which the Tong Wo Society building was built. Many of the Hakka who had finished out their contracts started their own farms or businesses. Concerned with the 53 welfare of their fellow countrymen in the islands, they began

Main altar with traditional lunar new year offerings. photo by Barbara Garcia to build clubhouses for meeting together, later becoming a viable political force. The North Kohala settlers recognized the perfect feng shui placement of that parcel: the wind blew from east to west, the stream ran alongside, and the mountains were at the back of the property. At that time, Chinese could purchase land in Hawai‘i, unlike

KeOlaMagazine.com | January - February 2020

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their counterparts on the continental US. While certain “scrub” (uncultivated land) properties could be purchased for 25 cents, a Scotsman named Sheldon agreed to sell this 2.5-acre property for $500 with a 12 percent interest note. Everyone who could afford to, pitched in to pay the entire land note in only three payments within one year. In 1884 construction began on the building itself, having been prefabricated on the West Coast with an interior of oldgrowth redwood beams and shipped by floating the lumber in the ocean. Clyde says this saturation of salt wasn’t good for the nails—they rusted—but was excellent for preventing termites. After the lumber made it to Mahukona, the wood was carried by mule and oxen cart up to the site. Originally built on huge beach rock, it has since been retrofitted on post and pier. Stock windows were purchased through the Plantation General Store and the roof was constructed of redwood shingles. The exterior paint colors were originally a whitewash brown with red trim, and are now a vibrant green for yin and cherry red for yang. Clyde tells a story about an “old guy” who was turning the dowels used for the railings. He would call out for the neighborhood kids to come and spin the machinery for hours, paying them five cents so he could lathe the dowels. “They were hungry boys, and five cents was a lot!” explains Clyde. “Eventually the old man died during the project, and so the right side of the building is finished with cross beams under the railings, instead of dowels.” When it was completed and dedicated in 1886, the Tong Wo Society building became the first Chinese gathering house

Reception area decorated for Lunar New Year 2019. photo by Barbara Garcia

KeOlaMagazine.com | January - February 2020

on the island. Eventually more society houses were built: Chi Hing in Kailua-Kona (where McDonalds is now), Bo Sing Ton in Na‘ālehu, and Lin Hing in Hilo. Clyde says there were also society buildings in Honoka‘a and Waipi‘o. Downstairs is the big hall where many gatherings took place. Old student desks line the walls and banners hang, with memories of bygone days. The stairway upstairs has been replaced; the original was too steep and not built to code. Once upstairs, there are altars everywhere; door gods are responsible for looking after the building while an entrance table with incense and offerings are for the gods of heaven. Inside the middle of the room is a statue of a deity who was a real-life general with a history of military success. Known as the patron of restaurateurs, bankers, firemen, and policemen, he is the epitome of the Hakka people who are known to be fierce fighters and excellent military leaders. The ornately decorated tables are filled with flowers, incense, and fruit, and the antique chandeliers have survived many earthquakes. “In the northern corner,” Clyde explains, “is an earth god’s altar for respect to the land, the haole gods, and the Hawaiian gods. We respect all of them.” On the left side of the great room is a smaller room dedicated to the goddess of compassion, Kwan Yin, and to Kwan Kung, god of war known to defend the guiltless and righteous. It is no surprise that the strong, hard-working Hakka women wanted to have these deities represented. Of all the society buildings in Hawai‘i, Tong Wo is the only one that allowed females inside. The women came for special occasions and spent years of devotion and prayers to ask for bountiful crops, happy families, and good health. The room on the right side Antique wood desks in the main hall. is dedicated to Sun Yat-sen, photo by Maÿata Tukuafu a philosopher, physician, and politician who spent his early


Altar colorfully decorated for 2019 Lunar New Year. photo by Barbara Garcia

KeOlaMagazine.com | January - February 2020

years in Honolulu. He eventually became the first president of the Republic of China, and many Hawaiian Chinese were involved in his leadership through their support within the society. A kitchen building, which used to be a barn, is connected with a walkway. In the evenings, men would gather, purchase


tickets, and gamble. Clyde says fortunes were made with games like Mah Jong and any other Chinese game that could be played. There were five small cookhouses to the side of the slab. The remaining cookhouse is the largest of the nowcollapsed progressively smaller ones. They held huge woks and iron pots, and the women who cooked could accommodate food for 2000 people on some celebrations. The heyday for the Tong Wo Society was during the 1920s and 30s. The attack at Pearl Harbor changed everything. Most of the Chinese left North Kohala for Honolulu to fill jobs the Japanese had held after they were taken to mainland internment camps. Families also wanted their kids to have better educations and with that migration, the aging 80 and 90-year-old immigrants with no families were left behind. “They could barely make it up the stairs,” Clyde says, “but would reminisce about younger days and wait to die. The society for them was like a home away from home.” There are more than 200 burial sites on the society grounds. Many graves are Clyde Wong flips through an old calendar marked, many more are not. of Sun Yat-sen photos. Some are for children who died photo by Maÿata Tukuafu

during the influenza outbreak, while others are for men who died while digging the Kohala Ditch. The Hakka Chinese traditional burials are ideally on a hillside with their feet toward the stream. The spring-cleaning Some of the marked graves at the back of the ceremony of Ming property. photo by Maÿata Tukuafu Ching is part of the New Year celebration, the streams open up and the spirits are called. A big feast is served, incense is burned and candles are lit. Once the last candle and incense is out, the spirits cross back over the bridge and everyone goes home happy until the next year. In essence, the Tong Wo building is a record of severe times of change, a legacy of a strong people who crossed oceans and survived hard times while their sole point of being was to give their children a better life. It is the perfect lesson in survival and a people who built a treasure to take into the future. ■ Annual Lunar New Year Celebration The Tong Wo Lunar New Year celebration is a fundraiser and is open to the public on Sunday, February 2, 2020 from

Central altar dedicated to Patron Diety Kwan Kung, patron saint of the Tong Wo Society. photo by Barbara Garcia

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Mälama Mokupuni: Caring for Our Island Environment

Mauna Loa Observatory’s

Keeling Curve Reveals CO 2 Rise to the World

KeOlaMagazine.com | January - February 2020

By Rachel Laderman


For more than 60 years, at a station perched at 11,000 feet on Mauna Loa, researchers have been meticulously collecting data that has changed our relationship to the earth. Based on their work, we have learned that human-caused carbon dioxide (CO2) emissions are affecting the climate. A CO2 analyzer was first placed there in 1958.  “That instrument, which went up on the side of Mauna Loa in Hawai‘i, is the most important scientific instrument in the world,” says Bill McKibben, leading climate change educator and author. “Beginning in 1959 it found that there was a steadily accumulating amount of CO2 in the atmosphere.” The Mauna Loa Observatory now tests more than 40 gases plus numerous important parameters such as ultraviolet radiation, ozone, and ozone depleters. The observatory is part of the National Oceanic and Atmospheric Administration (NOAA) Earth System Research Laboratory, Global Monitoring Division.     Steve Ryan, a geophysical scientist who

joined the observatory in 1989 and managed its CO2 program from 2001 to 2011, provides some history. “In the late 1800s, Swedish scientist Svante Arrhenius calculated that burning coal increases CO2 in the air, and realized that in a few hundred years it would build up in the atmosphere,” he says. The basic chemistry and physics were understood, but measuring devices were inaccurate, and a steady background level was elusive. In the early 1950s, Charles David Keeling, a postdoctoral student studying CO2 in California, took CO2 sampling to a new level of precision with improved equipment and calibration, which ensures accuracy by comparing results against a standardized, known quantity. He discovered that if he sampled at high elevations, the measurement was steady, due to the mixing of air and distance from pollution and plant life. The timing was serendipitous; 1957–58 was the International Geophysical Year, during which scientists from 67 countries took coordinated observations of various phenomena. Keeling proposed measuring CO2 at remote locations such as Mauna Loa and the South Pole. The US Weather Bureau and Scripps Institution of Oceanography had a weather station “hut” near Mauna Loa’s summit, and accepted his proposal to add a CO2 monitoring station. It was also fortunate that Keeling was a very precise researcher. From the beginning, the data was incredibly accurate. As Aidan Colton, who runs the CO2 monitoring program now, explains, “Keeling created a really rigorous calibration cycle, calibrating every hour.”    A Wiggle and a Curve, Seen for the First Time In 1958, with great excitement, the Mauna Loa team made the first clean, steady measurement of CO2, at a concentration of 313 ppm. In the first year, Keeling saw what has become the familiar zigzag cycle of decreasing CO2 in summer and increasing in winter (for the northern hemisphere). This shows the natural, seasonal cycle as plants withdraw CO2 from the atmosphere during summer growth, and release it during winter decay. “This was the first time this annual cycle was seen,” says Steve.   However, Keeling and other scientists also observed a more ominous process. Each year, the baseline level of CO2 increased. The second CO2 analyzer at the South Pole

corroborated the Mauna Loa data. Carbon atoms bear the The data is robust, fortified with approximately 96 weekly signature of their source as different isotopes, so scientists flask-sampling stations across the globe, plus satellite data. can tell that the excess CO2 is from human activities such as NOAA operates three other continuous CO2 monitoring stations burning fossil fuels. along roughly the same longitude (see graph). Steve has The graph showing the climb of CO2 is called the “Keeling the distinction of having worked at all four of the stations. Curve,” and is recognized NOAA started its own the world over as a symbol measurement at Mauna of climate change. The Loa in 1974, further Keeling Curve was on solidifying the data. “Within the wall in a Harvard our facility there are two University classroom separate, independent where it inspired student CO2 monitoring projects, showing exactly the same Al Gore to take action. In thing, one run by Scripps, 2006, he brought the the other by NOAA,” Aidan graph further attention in explains. his book and movie, An   Inconvenient Truth. Latest Trend   The Keeling Curve is not Why Mauna Loa—and only steadily rising; it is What about Vog? rising faster. In October Why is the side of an 2019, an international active volcano a good press release again led place to measure air with Mauna Loa data. A quality? “The station is new record was reached of above the trade wind 410 ppm. “It was 340 ppm temperature inversion when I started measuring,” and day-to-day weather says Steve. “I’ve seen it changes, capturing the increase by 70 ppm in my flow of almost pristine air,” The “Keeling Curve” shows the rise in atmospheric carbon dioxide over time. This graph compares career.” explains Steve. It is an the record from four continuous monitors along roughly the same longitude, divided equally between Even with numerous ideal location, set amidst northern and southern hemisphere, tropics, and poles: Barrow, Alaska; Mauna Loa (in red); American other sampling sites, barren lava, thousands of Samoa; and the South Pole. photo courtesy of NOAA Mauna Loa’s sawtooth feet above vegetation or graph is still used as shorthand for the most significant climate pollution sources, far from other continents. measurement of our time.  “We’re measuring the most well-mixed air we can find,” For more information: says Aidan. He describes that it is the baseline data that they esrl.noaa.gov/gmd/ccgg/trends/ want, not the spikes or dips. “The reason for sampling at   Mauna Loa is that our location allows us to exclude everything Rachel Laderman, Sustainable Pacific Program going on locally—our weather is often independent of the local Lynker LLC/NOAA Affiliate, Hawai‘i Island conditions.”  

photo courtesy of NOAA

KeOlaMagazine.com | January - February 2020

Hilo resident Steve Ryan in 2010, at the Mauna Loa Observatory NOAA computer for the carbon dioxide analyzer.

59 The Mauna Loa Observatory site, with carbon dioxide sampling tower to the left, and Mauna Kea in the distance. photo courtesy of NOAA

KeOlaMagazine.com | January - February 2020

Hoÿohana Isn’t Job. It’s Joy. Live a Good Life with Great Work. By Rosa Say


As its intrinsic nature and defining characteristic, Managing with Aloha is our philosophy for living a good life with great work. There are 9 Key Concepts, which serve as the foundation of business models, which seek to incorporate Managing with Aloha in workplace culture-building. Aloha is foundational as Key Concept 1, for it is our ‘Why’. Ho‘ohana is mission-central as Key Concept 2. As the driving value of “worthwhile, intentional work,” Ho‘ohana is the ‘What’ we eagerly obsess about. With Alaka‘i Managers as our catalysts, work becomes as meaningful and as important as it can possibly be. It’s only natural that our workplaces provide us with a sense of belonging and a sense of importance. Once our school days are over and we enter the working world full time, most of us will devote a full third of our lives to work. When work consumes so much of our time, it should be completely worth it: it should be a fulfilling effort to devote our energies to, and our workplace, whether office, factory, or field, should be a good place to be. At one time, work was thought of as our ‘industryʻ, and good work ethic was our industriousness within civic and social responsibility. Work was a universal expectation for making our livelihood, and ‘earning our keep’. Work was our skill builder and talent shaper. It was respected and admired much more than it was dreaded, ‘balancedʻ, or integrated. Work was our lofty endeavor. It can still be that way. Work can be the vehicle with which we make a difference in our world, and leave a legacy of usefulness and contribution: “I was here, and I did this!” Furthermore, it can be our joy in accomplishment and satisfaction: “I felt great while doing it.” The work we do is likely to shape our very identity. Evidence of this is everywhere: just look to the elders you know, or to where your own work has led you up to now, and to the reputation you have earned. Work is also a highly effective contagion. The work we devote our time and attention to will spill over into every other aspect of our lives—it’s not content with concentrating within its own domain. It’s personal and it’s pervasive, so we best work on work, by making it good. Therefore, the primary responsibility of managers, is to create and foster workplace cultures where Ho‘ohana can

Series 3 on Managing with Aloha, Bringing Hawaii’s Universal Values to the Art of Business Second in Series Three on Managing with Aloha


with aloha

Ho‘ohana is Key Concept 2 in the Managing with Aloha: we explore the WORK we devote ourselves to. Next issue, we’ll talk about Key Concept 3: VALUES in worthwhile work. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

KeOlaMagazine.com | January - February 2020

happen as the value driver and good result of all work done—a result personified in each individual employee and business partner. We complicate this with the other duties we tend to assign to, and expect of managers, when we instead should be freeing them up to concentrate on developing their people. Managers are the ones who are supposed to assure that we Ho‘ohana as the verb of work it should be. Not only will you work happily, passionately, and more intentionally, you will, in essence, work for yourself no matter who may pay you to do so. Work transforms from what you ‘have to’ do, into something you want to do, and ‘get to’ do. Everyone hopes for Ho‘ohana individually, yet in the Managing with Aloha philosophy and way of working, hoping for, or dreaming about Ho‘ohana isn’t good enough: we must make it happen. The focus on Ho‘ohana must be an everyday occurrence, and not a someday/maybe eventual possibility after someone ‘pays their dues’ or puts in any other conditional amount of time. Our hope for Ho‘ohana isn’t in future possibilities; our hope is in managers of today, right here, right now. They are the Alaka‘i Managers who understand, accept, and own their Kuleana in a singular, highly attentive-to-people way: it is their responsibility for delivering Ho‘ohana as their workplace service, product, and gift to humanity. Making Ho‘ohana happen for everyone in their circle of influence, IS the manager’s Ho‘ohana in Managing with Aloha. Thank goodness, for this singular, diligent and dedicated focus by managers is sorely needed. As Studs Terkel famously and very intuitively said, “Most of us have jobs that are too small for our spirits.” Managers can, and should, be the ones who open us up to release our abundance. When they do so, work becomes our celebration of who we are, especially in spirit, and in the sharing of the Aloha Spirit. With Alaka‘i Managers at the helm of their Kuleana, serving their staff as they so love to do, work becomes the joy it can be. Customers and society as a whole reap the benefits.


Restoring and Protecting Hawai‘i Island’s Biodiversity By Brittany P. Anderson

KeOlaMagazine.com | January - February 2020


he isolation of Hawai‘i Island, surrounded by the Pacific Ocean and born of volcanic lava flows from the ocean’s floor, shaped the biodiversity of the island. Our unique position makes the Island of Hawai‘i one of the most biologically diverse areas on the planet. As outer islands struggle with declining numbers of species, Hawai‘i Island maintains impressive numbers in the varieties of birds, insects, and plants throughout its 11 of the world’s 13 climate ecosystems. Large portions of these species are found only on the Hawaiian Islands.  Biodiversity increases ecosystem productivity, where each species has an important role to play. Living in such an exceptional and distinctive ecosystem is a delicate balance. Between Hawaii Tropical Botanical Garden and a seed saver movement, a shift to preserve and increase awareness of diversity is underway on Hawai‘i Island. 

A Family Legacy There is a wet coolness of Onomea Bay, located on the four-mile scenic route off of Route 19 in Pāpa‘ikou. Countless 62 travelers escape the sun’s heat under the tropical canopy leading to Hawaii Tropical Botanical Garden. The attraction’s

trails highlight stunning plant specimens set to the peaceful soundtrack of the ocean dancing with Onomea’s rocky shore. In 1977, Dan Lutkenhouse purchased the property and began hand clearing the densely vegetated gulch. His vision of preserving the beauty of the valley fueled his passion. Dan amassed an impressive list of rare and threatened tropical species from all over the world and personally selected each location for the plantings. Dan and his wife Pauline opened the Hawaii Tropical Botanical Garden to the public in 1984. The botanical garden boasts approximately Founders of the the Garden, Dan and Pauline 2,500 diverse species Lutkenhouse and their dog, Fawn. www.htbg.com

Mahalo Ahualoa Farms – Local Agriculture Story Sponsor of plants—some of them only living in conservation space, otherwise they’d be extinct. The Lutkenhousesʻ desire to preserve rare tropical plants extended to the entire Onomea Bay area. Before their passing, Dan and Pauline established a 501c3 nonprofit corporation and took steps to ensure their land, now more than 100 acres, will never be sold or commercially developed. Today, carrying on the legacy, their son Dan Jr. is shifting the organization’s work to sustainability. The Hawaii Tropical Botanical Garden will be changing its name to Hawaii Tropical Bio Reserve and Garden to reflect their new direction better. The Hawaii Tropical Bio Reserve and Garden will focus on the conservation of biodiversity and create a sustainability education center. “We will be creating native species gardens and be a living classroom,” said Drew Daniels, digital marketing manager of Hawaii Tropical Botanical Garden. “There are plans for digital education and an innovation incubator space. Since we have a condensed area with multiple mini-ecosystems, it’s a great place to serve as an education hub,” Drew continued. They are also working to enhance what ecologists refer to

biodiversity of Onomea Bay. Seeds of Change Traditionally, farmers saved seeds from their harvests to plant for the next season. This practice allowed for the natural adaptation of plants to their climate, soils, and pest pressures. After the boom of the seed industry in the early 1900s, seeds began being mass-produced, which started chipping away at genetic variety. According to the Plant Genetic Resources Project of the Rural Advancement Fund, Inc., between 1903 and 1983, we lost 93% of the variety in food seeds. The loss of heirloom seeds contributes to the erosion of plant genetic material that is essential to sustaining life. Biological diversity in plants ensures food security, and the Hawai‘i Seed Growers Network is working to improve, increase, and promote plant biodiversity on Hawai‘i Island.   The Hawai‘i Seed Growers Network’s goal is to produce seeds that are locally grown and naturally adapted to Hawai‘i’s diverse microclimates to increase the success of farmers and gardeners.  Nancy Redfeather is a powerhouse when it comes to

Iconic Onomea Bay is full of biodiversity. photo by Brittany P. Anderson

as “the edge effect.” The edge effect is an ecological theory that describes how there is greater diversity of life in the area where the edges of two adjacent ecosystems overlap. By focusing on this edge area of the gardens, greater variety of plants, insects, and animals flourish. Significant numbers of tropical and endangered plant species live on in the most extensive collection of plant types anywhere, including gingers, orchids, palms, aroids, and heliconia, while future efforts to educate the public in sustainability are underway. Combining the family legacy of preservation with a modern twist brings a fresh outlook to the

KeOlaMagazine.com | January - February 2020

Naturally adapted seeds. photo by Brittany P. Anderson

enhancing the biodiversity of local gardens across Hawai‘i Island. Founding member of the Hawai‘i Seed Growers Network and the Hawai‘i Public Seed Initiative, Nancy has been instrumental in building food self-reliance on the island.    From her upland Kona farm, Kawanui Farm, Nancy said, “For us to bring seeds back and offer that for the people of Hawai‘i is revolutionary.” She began saving seeds in 1994 after attending a class by renowned biointensive agriculturist and author John Jeavons. Nancy reflects on the event as a pivotal moment, “He said that 97% of all [food crop] varieties grown in the United States would be extinct by 2005. That was hard to fathom. All the different things that my ancestors ate and grew would be gone. That is the biodiversity base of the entire country,” she continued, reliving the painful realization.    Since then, she’s worked with a network of growers across the state to bring more locally adapted vegetables to the marketplace, testing for seasonal vigor and improving the seed quality with every planting.  63   “The plant knows what to do—they acclimatize every time

Kabocha pumpkin starts from local seeds. photo by Brittany P. Anderson

KeOlaMagazine.com | January - February 2020

you grow it,” she said. Depending on the variety, it could take from six months to three–five years to make a plant ready for the marketplace.      Seeds have a lifespan depending on how they’re grown, dried, and processed. Storing seeds appropriately is also a


Local papaya starts at health food store. photo by Brittany P. Anderson

key factor in successful growing. Nancy recommends keeping seeds in a cool, dry, dark place, and a refrigerator is best for storing seeds in Hawai‘i. “The more diversity I have, the healthier everything is. Plants have a complex web that, without the complexity, is not as healthy,” Nancy said thoughtfully of the importance of biodiversity at her farm. The seed savers offer an online website that makes purchasing these naturally adapted seeds easy. In fact, you donʻt have to have a green thumb to have a positive impact on our island’s biome.  Plant the Thought Staying on marked trails and reducing plastic waste are

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Natural locally-adapted tomato plants. photo by Brittany P. Anderson small but mighty steps that both visitors and residents of Hawai‘i Island can make to limit their impact on the island’s biodiversity, above and below sea level. While enjoying the park system and our network of trails, staying on the marked path is vitally important to the ecosystem. Staying on pathways avoids damaging precious natural and cultural resources like endangered plants, animals, and insects. Avoid spreading diseases and invasive species to fragile island habitats by using shoe cleaning stations, whenever available. When you stay on designated trails, you help preserve the diversity of these beautiful areas for future generations.  Single-use plastics are one of the biggest threats to marine life. Hawai‘i Island’s shoreline boasts rich diversity in coral, fish, and marine mammals, which are all threatened by discarded


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KeOlaMagazine.com | January - February 2020

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KeOlaMagazine.com | January - February 2020

plastics. Marine debris impacts biodiversity in multiple ways, mostly through entanglement, ingestion, and ecosystem destruction. The Convention on Biologic Diversity reports that “all known species of sea turtles, about half of all species of marine mammals, and one-fifth of all species of sea birds were affected by entanglement or ingestion of marine debris.” And the majority of marine debris? Single-use plastics, and plastic fragments. Reducing the use of plastic bags, bottles, and containers makes a lasting positive impact on life under the sea.    Diversity in plants is critical for food production on the Island of Hawai‘i. Locally adapted seeds are more resilient to our region, which means we have a more secure food system, but we have to keep growing. As our climate changes, plants can adapt too, as long as there are people dedicated to cultivating local seeds. Shifting the paradigm of the organization, Hawaii Tropical Botanical Garden is preparing to be a resource for the island and abroad—spreading knowledge like seeds. Through its sustainability initiatives, the Bio Reserve will preserve the diversity of Onomea Bay’s ecosystems and be a model for communities worldwide.  We all are responsible for protecting and promoting biodiversity, be it through participating in large movements like seed saving, or small gestures like forgoing plastic bags at the grocery store. Hawai‘i Island’s coastline ecosystems are suffering from tragic losses due to marine debris. The Hawaiian monk seal and green sea turtle are vulnerable to unnecessary plastic rubbish polluting our waterways.


The biodiversity of Hawai‘i Island is what makes it so unique—diversity in its ecosystems, plants, animals, and people. Each distinct piece woven together forms the tapestry that draws people from all over the world to experience Hawai‘i Island year after year. It is through the rich diversity we find strength and resilience. When we work to protect our biodiversity, we can ensure it is around for years to come. ■ For more information: htbg.com hawaiiseedgrowersnetwork.com

Road to Hawaii Botanical Garden. photo by Brittany P. Anderson

Honors and Perpetuates Hula Tradition By Tiffany DeMasters


olani Luahine was more than just a hula dancer—she was a storyteller and teacher who shared and perpetuated the traditions of ancient Hawai‘i. “It was like at times she became whatever she was dancing. You could really see it,” says Kumu Hula Iwalani Kalima. “Depending on what hula she was doing, it was like she was

there in that moment where that hula was.” Aunty ‘Io is regarded as one of the most iconic hula practitioners of the 20th century. The way she moved and expressed herself in kahiko (ancient hula) and oli (chant) was captivating. Kumu Hula Iwalani recalls how she looked like a lady dancing on air. While dancers now embody some part of

KeOlaMagazine.com | January - February 2020

‘Iolani Luahine Festival


2019 marks our 125 year anniversary, in which Hawai‘i Electric Light has had the privilege of serving our Hawai‘i Island Community. We began in 1894, with a water-driven dynamo in Hilo that was 100% renewable. And our goal is to come full circle and achieve that milestone again. On Hawai‘i Island, we already produce much of our energy from renewable sources. And we’re fully committed to reaching our state’s 100% renewable portfolio standard.

A freeze frame from Tip Davis’s film ÿIolani Luahine, Hawaiian Dancer. photo courtesy of the Tip Davis Collection, Hula Preservation Society

KeOlaMagazine.com | January - February 2020

her style, the Hilo kumu adds, there is no one like her. At the end of January 2020, the 17th annual He Lei Hiwa Nō ‘Iolani Luahine Hula Festival & Educational Challenge invites the young and old to share their knowledge of Aunty ‘Io through kahiko and oli at the Sheraton Kona Resort & Spa at Keauhou Bay. The festival is meant to perpetuate Aunty ‘Io’s legacy as well as the traditions of Kumu Hula George Na‘ope, who founded the festival with two of his students, Kumu Hula Iwalani and Pekelo Day. In an effort to stay true to this vision, festival Executive Director Kumu Keala Ching made the competition an educational challenge, requiring all participants—except kūpuna—to perform a kahiko number that Aunty ‘Io danced


A freeze frame from Tip Davis’s film ÿIolani Luahine, Hawaiian Dancer. photo courtesy of the Tip Davis Collection, Hula Preservation Society

during her lifetime. Throughout the process in preparation for the festival, Kumu Keala encouraged dancers to learn how Aunty ‘Io danced and emulated the stories. “I want them to connect with Aunty ‘Io in any aspect,” says Kumu Keala. “In order to tell a story you need to become the story. It’s about really getting them to know what this culture is all about.” The Woman, ‘Iolani Luahine Aunty ‘Io was born on January 31, 1915 in Napo‘opo‘o. She was raised by her great-aunt Julia Keahi Luahine, who was also a kumu hula and one of the last royal dancers of King Kalākaua’s and Queen Lili‘uokalani’s court. She is descended from a long line of Kaua‘i dancers, trained to perform for the ali‘i. ‘Iolani Luahine was a kapu dancer, meaning there were dances choreographed specifically for her that only she was allowed to perform. Aunty ‘Io’s roots run deep on Hawai‘i Island. She was a

A freeze frame from Tip Davis’s film ÿIolani Luahine, Hawaiian Dancer. photo courtesy of the Tip Davis Collection, Hula Preservation Society

Not a Competition It was Kumu Hula George Na‘ope who was inspired by his kumu, ‘Iolani, to start the ‘Iolani Luahine Festival. He told fellow kumu how Aunty ‘Io didn’t like the word ‘competition’, so the festival was education-based, awarding scholarship money, not a trophy. “Building on that vision by performing a number that Aunty ‘Io danced, the dancers in this year’s festival will

KeOlaMagazine.com | January - February 2020

curator at Hulihe‘e Palace during the 1950s and again in the 1970s. She was a regular performer at Kona Village on Ali‘i Drive. Kumu Hula Iwalani recalled first meeting the famed dancer when she was 11 or 12 years old. She explains how she had the pleasure of staying in her home on the grounds of the palace. “When I watched her dance I said, ‘Oh my gosh! I wanna be able to dance like her!’” Kumu Hula Iwalani reminisces. “She was amazing to watch. Her expressions, her feeling; you always knew that it was within her, her hula.” ‘Iolani took the hula to the National Folk Festival in Wolf Trap, Virginia three times, sharing the traditional art form with all its reverence to the goddess Laka. She is still regarded as not only an extraordinary hula dancer and kumu, but also a mystic, who communed with the elements around her and was in touch with the Hawaiian ancestors. Her death on December 10, 1978 was mourned across the state.


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learn more about the art of hula and one of its greatest practitioners whoever lived,” says Kumu Keala. Some of the required dances include: ‘O Kona Kai ‘Ōpua, No Luna i Ka Hale Kai, and Aia Lā ‘O Pele. The festival is about how kumu hula educate their students and how the students emulate those dancers. It’s also about how the dancers connect their dance to how they present themselves in costumes, implements, and lei. Kumu Keala’s hope is that students understand the relationship of their dress to the hula they perform. Soloists are also encouraged to write a research paper on ‘Iolani Luahine. “It’s not about you challenging the next hālau, but putting your best foot forward to the judges,” says Kumu Keala. “The festival is how we perpetuate tradition. The focus is on legacy and tradition.” Also new to this year’s festival is the E Ho‘okahi Kākou (united in the hula) project. This is designed to connect the hula judges to students in the educational system of Kona. Kumu Keala says it was Aunty ‘Io’s vision to bring kumu into schools and teach keiki (children) the traditions of hula kahiko. This project carries out that same vision. This year, Konawaena Middle School and High School were chosen for this project. To encourage the educational challenge, all kumu hula and hālau participants were invited to view the different selected educational videos on ‘Iolani Luahine, as part of the Hula Preservation Society and to read ‘Iolani Luahine by Francis Haar to better familiarize themselves with Aunty ‘Io. Everyone doesn’t get a gift, but they might learn a new oli. They might learn a new hula. And some people might not understand that, but that’s the kind of gift that can really educate, and by learning it, you challenge yourself to be better.

KeOlaMagazine.com | January - February 2020

The Festival The festival has always taken place at the end of January to coincide with Aunty ‘Io’s birthday on January 31. This year, the festival will start on January 24. During the day, judges will teach kahiko in the schools. Later in the evening, dancers will take the stage to kick off the educational challenge with kahiko. Friday will feature the mākua division (men and women


Judges observe dancers during the 2007 ÿIolani Luahine Festival at Kona Inn. photo courtesy of the Hula Preservation Society

ages 36–54) showcasing both hula kahiko and hula ‘auana along with the kūpuna division (men and women ages 55 and older) performing ‘auana. In the evening, the band Nā Hoa will perform. All proceeds from the concert go to the festival. On January 25, the educational challenge will continue with the keiki division (boys and girls ages 6–12), ‘ōpio (girls and boys ages 13–19), kāne (men ages 20–35) and wahine (women ages 20–35) divisions. They will present their hula kahiko and hula ‘auana. Workshops will be available that Saturday and also on January 26. Educational hula scholarships will be awarded to an overall soloist and to category winners, that they can continue their studies of hula. An educational research scholarship will be awarded to the individual (soloist) challenger who presents a research paper of ‘Iolani Luahine: her life, her legacy, traditions and her gift of hula.

ÿIolani Luahine appeared in the 1951 film Bird of Paradise alongside Kumu Hula Iwalani Kalima’s father. photo courtesy of Kumu Hula Iwalani Kalima

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Kumu Hula Iwalani was directly involved with the festival until 2008. Afterward, Kumu Iwalani entrusted the event to Kumu Keala, who first got involved as a Hawaiian language judge. His Kumu Hula, Lehua Kawaikapuokalani Hewett, was taught by Aunty ‘Io, making his involvement personal. Kumu Hula Iwalani has remained active in the festival as a judge, until now. This year, Kumu Hula Iwalani wanted some of her dancers to participate in the educational challenge. She gave students, who are ho‘opa‘a (drummers and chanters) or alaka‘i (leaders), the challenge to take the students to the festival. Kumu Hula Iwalani explains it’s all about learning and educating yourself as much as possible to learn the Hawaiian culture, learn the hula, and learn the music. Those who are recognized by judges receive a monetary scholarship to put toward furthering their education. The hope, Kumu Keala says, is those winners honor the donor’s wishes in perpetuating the hula. Kumu Hula Iwalani wanted Kumu Keala to keep the festival going so people would be able to learn about Aunty ‘Io, ensuring that her traditions were kept up, not lost. She hopes that everyone will come out to see the beauty of this festival. “It really would inspire you to learn a little bit more about your culture, about the hula. Because there’s so many people who think that hula is coconut bras and it’s not,” says Kumu Iwalani. ■ For more information: iolaniluahinefestival.org hulapreservation.org

KeOlaMagazine.com | January - February 2020

Meet Marlene Zeiser


Ke Ola Magazine’s Business Development Manager Marlene and Ke Ola’s owner, Barbara Garcia, are both available to help you reach new customers. Lock in 2019 rates for 2020, call now!

Give Marlene a call/text/email to set up a complimentary appointment: 808.765.7990 marlene@keolamagazine.com

Kumu Hula George Naÿope and Queenie Ventura Dowsett judged at the 2005 ÿIolani Luahine Festival at Kona Inn. photo courtesy of the Hula Preservation Society The Hula Preservation Society participated in the festival four times (2005, 2007, 2008, 2009) when Uncle George was directly involved, as the society worked closely with him through HPS. HPS brought panel programs and film screenings to the festival. Filmmaker Tip Davis made a documentary on Kumu ‘Iolani’s life. It can be found online at vimeo.com/ channels/iolaniluahine/257070893.

A freeze frame from Tip Davis’s film ÿIolani Luahine, Hawaiian Dancer. photo courtesy of the Tip Davis Collection, Hula Preservation Society

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Mälamalama and Kona Pacific Celebrate 100 Years of Waldorf Education

The Three RS - Rhythm, By Karen Rose


n September 19, 2019, Waldorf education proudly marked its 100-year anniversary worldwide. The first Waldorf school was founded in Stuttgart, Germany in 1919

Eighth graders at Mälamalama. photo courtesy of Mälamalama Waldorf School and is based on the educational philosophy of Austrian social reformer, Rudolf Steiner. Today there are more than 1,100 Waldorf schools and nearly 2,000 Waldorf kindergartens in more than 80 countries. Hawai‘i Island is fortunate to have Mālamalama Waldorf School in Kea‘au, and Kona Pacific Charter School in Kona. Mālamalama Waldorf School Founded by Donna Newberg and David Gradwohl in 1978, Mālamalama Waldorf School (MWS) is a non-sectarian

accredited school located in Kea‘au in East Hawai‘i. Recognizing the need for a school that focused more holistically on child development, the school was founded on the commitment to educate the healthy growth of body, mind, and spirit. “Mālamalama” means “the light of knowledge,” and today the school has grown from its humble beginnings in ‘Opihikao to a thriving, shining gem that sits upon a 20-acre parcel in Hawaiian Paradise Park, thanks to the generosity of co-founder David Gradwohl. “Waldorf offers a very holistic approach to education,” said Karen Rose, a longtime teacher at MWS (not related to this writer). “We incorporate all areas of art, music, drama, poetry, movement, and dance, and weave them into the academic curriculum.” Up to the age of seven, Waldorf curriculum focuses on the physical growth of the child. Learning is combined with physical activity and the teaching of positive habits for a healthy environment. After the age of seven, a love of learning is nurtured through instilling a strong sense of belonging, and respect for one’s teachers, friends, and ‘ohana. “One unique characteristic of Waldorf education is our teachers aspire to carry their class from first through eighth grade,” said Karen. “Teachers better understand their students’ challenges, strengths, and learning styles. They bond together as a family and support one another through all of lifeʻs experiences.” Waldorf curriculum is unique in many ways. It is designed to meet the specific developmental milestones of children at each age and grade. At MWS, educators are dedicated to cultivating a sense of wonder and inspiring students to view the world with wonder and purpose. By focusing on the specific needs of each stage of childhood development, they aim to encourage children to become lifelong learners. “Waldorf education is very child-oriented,” explained Karen. “Our curriculum follows the development of Mälamalama preschooler blowing the conch shell. the child, and photo courtesy of Mälamalama Waldorf School

Repetition, and Reverence multi-purpose space. This strategy game is the oldest board game continuously played in the world, originating in either China or Tibet 2500 years ago.” The new building, Hale ‘O Aihara, will become the school’s GO room and library. Donations from Denji and Mitsuko Aihara, Tsuneji Iida, and Yukio Ohnishi, all of Japan, laid the groundwork. In 2018, the staff at Pōhakuloa Training Area

Teaching class at Kona Pacific Charter School. photo courtesy of Kona Pacific Charter School donated, disassembled, and moved a pavilion they weren’t using anymore. Many more community efforts and donations went into clearing the site and preparing it for the building. On September 19, 2019, Mālamalama Waldorf School celebrated its own 41-year anniversary, along with 100 years of Waldorf education, receiving a mayoral proclamation, blessing of the new building, and honoring of the Aihara family. “Waldorf education is not only about teaching academics and arts, but is also about creating what we consider to be world citizens,” said Karen. “We work to build social and communication skills. We honor different cultures by learning about their belief systems and how they live. Through this learning, the children have opportunities to reflect about similarities and differences of other cultures. We honor our host Hawaiian culture by beginning each day with protocol and a rich Hawaiian Studies program.”

KeOlaMagazine.com | January - February 2020

recognizes where they are developmentally. We recognize the individuality of each child and where their skills and challenges lie.” By balancing artistic and academic education, MWS educates and nurtures the whole child, both intellectually and emotionally. The developmentally-oriented curriculum incorporates the arts and the imagination with academics and a sense of responsibility for the environment and humankind. “Waldorf education promotes critical thinking, not just memorizing an answer and repeating it back,” said Karen. “An example would be presenting science through observation and experimentation. This allows the children to think through experimentation, discover natural law, and become true scientists rather than giving them the expected outcome first.” Waldorf education gives children an inner confidence. Students are encouraged to speak about their thoughts and share their mind. They go into the world with a confidence and clarity of thought, because Pounding (paÿi ÿai) at Mälamalama preschool. photo courtesy of Mälamalama Waldorf School they are able to think about things with an open-minded point of view. Students go on to be successful and confident human beings. “Waldorf education provides our students with a foundation for success in whatever field they choose later in life,” said Kelley Lacks, MWS school director. “We know that education is more than the acquisition of information, curricular standards, and testing scores. I find Mālamalama Waldorf School to be more than a school of learning; itʻs a place to find your ‘ohana.” MWS recently received a generous donation from a Japanese family who visited the school several years ago. “The Aihara family came from Japan to Hawai‘i,” Karen explained. “They were invited by our Japanese teacher to teach the game of GO and immediately fell in love with the children and our ‘ohana,” said Karen. “They donated $31,000 toward creating a GO

Kona Pacific Charter School Founded in 2008 in Kealakekua, Kona Pacific Charter School


Celebrating with a festival at Kona Pacific Charter School.

KeOlaMagazine.com | January - February 2020

photo courtesy of Kona Pacific Charter School


curriculum is inspired by Waldorf principals, from kindergarten through 8th grade. The school is a member of The Alliance for Public Waldorf Education. Their educational program weaves together Hawaiian cultural knowledge and sustainable agriculture. Offering a holistic, project-based education, their educational program promotes student education in language arts, math, science, visual arts, foreign languages, musical training, and movement. “Waldorf education is unique in the way it delivers the education,” said Greg Learned, vice principal at Kona Pacific. “One of the core values of Waldorf education is learning by doing. It’s a very hands-on type of education. Waldorf education embraces the whole child, heart, hands, and mind.” One of the Waldorf methods employed by Kona Pacific is the use of what they call the main lesson block. The main lesson is a two-hour period of time set aside each day in which the class teacher leads the students in studying a specific subject for a three to four-week block. Waldorf classes around the world follow this curriculum. For example, in fourth grade, students may do a block on Norse mythology, during which time they will hear stories and complete projects related to the subject matter. They also create their own textbooks. “Every student makes a book about the subject they’re learning about in that block,” said Greg. “They will write and illustrate it themselves, so at the end of each block they have this main lesson book to take home with them. It’s a way

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KeOlaMagazine.com | January - February 2020

to show that they’ve actually experienced this education, versus just reading something and taking a test on it. After a number of years in Waldorf schools, the students have a large collection of books they’ve made themselves.” In addition to core academic subjects, students also learn to knit, sew, model with clay, work with wood, plant and tend a garden, play a stringed instrument, recite poetry, paint, sing, and act in plays. The school considers the arts to be equally important as traditional academic subjects for every child’s development, and incorporates them into all aspects of learning. Kona Pacific also places a strong emphasis on cooperation. “Waldorf has a very clear philosophy about working together,” explained Greg. “The students get an opportunity to develop their social and emotional knowledge through positive behavior support and encouraging them to work together cooperatively. There’s a real emphasis on cooperation.” Greg explained how Waldorf’s three Rs are rhythm, repetition, and reverence. He described how the school creates a rhythmic approach to educating children found at both Mālamalama Waldorf and Kona Pacific. “Festivals are one way we create rhythm and showcase what weʻve been doing,” he said. “For example, we had a festival at the end of September called our Festival of Strength and Courage. Waldorf schools around the world celebrated this same festival on the same day. It is a festival where everyone


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

The Aihara building dedication on September 19, 2019. photo courtesy of Mälamalama Waldorf School

has to find the way to tame their inner dragons. We have a giant dragon costume the students dress up in. The entire sixth grade fit inside it!” Greg also feels the holistic, open-minded education his students receive at Kona Pacific gives them unique skills that often help them succeed in college. “Waldorf students tend to do very well in college,” he said. “Waldorf education creates free-thinking human beings. Because our curriculum has a very imaginative and creative approach, we tend to see students graduate with a real love of learning. Students have a greater tendency to enjoy learning and want to continue learning more. It also teaches them to think outside of the box, so they tend to be more creative in the way that they approach problems and situations.” Waldorf founder Rudolf Steiner eloquently expresses his educational philosophy when he said, “Accept the children with reverence, educate them with love and send them forth with freedom.” ■

KeOlaMagazine.com | January - February 2020

For more information: hawaiiwaldorf.org kppcs.org


The annual Medieval Games at Kona Pacific Charter School. photo courtesy of Kona Pacific Charter School

Students at Mälamalama Waldorf School. photo courtesy of Mälamalama Waldorf School

KeOlaMagazine.com | January - February 2020



KeOlaMagazine.com | January - February 2020

Drew Daniels

Fertility from Fire By Mālielani Larish

KeOlaMagazine.com | January - February 2020


verything is perfect; everything is aligning, Drew Daniels thought to himself. Gazing at soft morning clouds framing a gold-dazzled ocean, he gently rocked his baby girl to the rhythm of cane grass dancing in the wind. Two years prior, he had liquidated his assets to realize a long-sought dream of moving to Hawai‘i with his soulmate. They purchased a piece of land within an intentional farming community where Drew built an off-grid cabin with the help of a close friend. Working with his farming hui (community), Drew cultivated a food forest and was just starting to enjoy the ample rewards of his labors.

The peaceful oasis where Drew spent many happy hours playing in the garden with his daughter transformed irreversibly during the summer of 2018. As Kīlauea’s Fissure Eight eruption advanced towards his backyard, days began to feel like weeks as fumes, gas explosions, and lava curtains ravaged the surrounding landscape. The loss, distress, and resilient hopefulness experienced by his community during the eruption ignited a creative flow within Drew that has culminated in his first solo album, Fertility from Fire, which is due out in early 2020. As the former lead 81 singer for East Coast reggae rockers Tsunami Rising, Drew

“Our New Life” cover art by Harry Durgin (inset). Drew Daniels performing with Tsunami Rising. photo courtesy of Drew Daniels

Daniels is a seasoned musician whose meaningful lyrics reverberate through fusions of punk, folk, reggae, hip hop, blues, and soul. Our New Life To help him process the surreal drama overwhelming his senses, Drew wrote a song of hope entitled “Our New Life.” “I wrote it as therapy, really,” Drew reflects. Many Puna residents affected by the lava found a message of inspiration and healing within Drew’s lyrics. “If we go with

Drew building his home in lower Puna. photo courtesy of Drew Daniels

Camping in Hawi after Kohala ÿÄina Fest. photo courtesy of Drew Daniels

KeOlaMagazine.com | January - February 2020

the flow, I know we’re going to be alright,” Drew sings in “Our New Life.” No longer eating or sleeping, with gas masks at the ready,


Drew prepared to evacuate his family. His mother graciously offered to pay for a hotel room in Kona that would accept their pets, and soon the family found themselves scrolling through social media next to a sun-dappled pool, anxiously checking for updates. The fresh air and Kona sunshine could not lift the gloom weighing on Drew’s family. Hiding in their hotel room, the family passed the time crying together, ordering take-out, and constantly wondering, “Did our house get taken yet?” At the time, Drew was recording a song for his cousin’s wedding with producer Michael Surprenant of Mana Music Studio. He was also helping co-write the album of fellow Puna resident Sarah Bethany. After hearing Drew perform

“Our New Life,” Michael insisted on recording it. The day after Drew recorded the song, on May 31, 2018, Drew received the news: his beautiful two-story home was entombed under 30 feet of lava. The lava flow claimed one-third of the intentional community where Drew had envisioned living a sustainable and serene life. The trauma of witnessing his community transform dramatically within just a few months engulfed Drew’s heart with anger, sadness, fear, and confusion. At one point he

Michael Surprenant skillfully mixed the chorus into the track. Attracting Positive Energy The production of the “Get Back Up” music video united the community in a life-affirming way. The video captures a bird’s-eye view of Drew on the massive skeleton of a burned tree that divides the new lava frontier from untouched jungle. Drew and his friends layered limbs from this tree with soil and mulch to create biomass-rich beds that will serve to regenerate the site of their former home. After the work party, the crew shared songs, food, drink, and hugs around a fire. Island Naturals, Irie Hawai‘i, Mehana Brewing, Coalatree, and Naked Hippie Brew helped feed, hydrate, and style the music video crew. Because Drew believes that people experience the greatest psychological growth at their “growing edges,” he intentionally infused the “Get Back Up” music video with the symbolism of the edge effect. In ecology, edge communities where two adjacent ecosystems overlap often host a greater diversity and density of organisms. Likewise, Drew feels that humans experience the greatest growth at their edges, where they can step into a zone of discomfort to explore the new and then return to a haven of familiarity to integrate and process what they’ve learned. The video invites the viewer to contemplate the majesty of the transformed landscape, with its stark contrast between jagged ‘a‘a lava and lush, intact forest. Drew says that the production of “Get Back Up” heralded “a big surge of good, positive energy.” That uplifting energy attracted a new blessing into Drew’s life: he won tickets to participate in the three-day Hawai‘i Songwriting Festival, where one of his songs won second place. He performed at the festival’s crowning Hitmaker’s concert alongside Kenny Loggins and other music industry greats from Los Angeles, Nashville, and New York.

Drew at Liliÿuokalani Park. photo courtesy of Katie McCarthy wondered if he should leave the island altogether. However, after checking in with his intuition and talking to an uncle about it, he realized that he still felt welcome here. Paralleling and intertwining these exhausting feelings, Drew experienced extreme gratitude, ambition, and hope. Friends in Philadelphia and New Jersey organized fundraising events to help support Drew financially, and more than 250 people contributed to the family’s GoFundMe campaign. A Choir of Resilient Voices Firmly believing in the power of music to transmute energies that may be considered negative into something positive, Drew resolved to channel the tumultuous energies from the previous year into a symbol of strength for his community. On the oneyear anniversary of the day he lost his home, Drew released an anthem of empowerment entitled “Get Back Up.” “May 31 is a day that the Universe is really trying to get me to recognize everything,” Drew observes, adding that his father had passed away eight years earlier on May 31. Drew made a video request calling for “a choir of resilient voices” to record themselves singing the chorus of “Get Back Up”. Over 50 people submitted their recordings, including a parent and child duet, a husband and wife duet, and individuals from as far away as Germany, Mali, and Argentina.

Live at Perfect Harmony. photo courtesy of Easten Tanimoto Within the same week, Drew’s enthusiasm surged even higher when he learned that he had been accepted into the Creative Labs Hawai‘i Songwriting Immersive Program. During the five-day program, Drew was paired with a new singer and producer every day. He worked with critically-acclaimed musicians like Lisa Harriton, who toured as a keyboardist and back-up vocalist for The Smashing Pumpkins, and Chance

Peña, who starred on the hit TV show The Voice. As the songwriter for each team, he received briefs from a music supervisor instructing him to write a song for a specific scene in a film, TV show, or commercial. His teams wrote and recorded four songs in three days, and then listened to the results over dinner on the final day. Drew continues to benefit from a Creative Labs mentor from whom he can receive feedback and professional advice throughout the year. To keep that tide of optimism flowing, Drew already plans to cultivate a positive project as May 31, 2020 approaches.

KeOlaMagazine.com | January - February 2020

Life Passion Drew spent nine years as the lead singer for Tsunami Rising, touring the US continent several times, releasing three albums, and even touring Ireland. Through the music, Drew was able to channel angsty and aggressive emotions regarding big-picture socio-political issues into songs and shows. As a teen, Drew was first attracted to the ska scene in hole-in-thewall clubs and church basements in Philadelphia due to its messages of unity and anti-racism. With his upcoming solo album, Drew writes about personal topics, which still carry universal themes that can resonate with every listener. Ripe with emotion, his expressive voice easily adapts to edgy punk, tender folk, righteous reggae, penetrating rap, and deep soul. Permaculture-inspired images and hard-earned wisdom infuse his lyrics. In his reggae song “Fertility from Fire,” Drew’s irie voice intones: “Let all energy that don’t serve you keep burning…burn them all away— compost components that become uncomplimentary. Identify what makes you stronger, live with this intention. What we do to others we do to our self too, so build up self and each other to higher value. From a fire comes fertility; we plant a more positive seed.”


Never Stop Practicing Drew’s advice for aspiring artists? The same advice that he gives to himself: “Practice, and never stop practicing…if you really want it and you’re practicing all the time, then you will naturally find that vein that best serves what you need to be.” He believes that you don’t have to abandon your childhood dreams. However, he acknowledges that sometimes you need to let those dreams simmer on the backburner while taking advantage of other opportunities. Drew has mastered the art of continually returning to his life passion of creating and sharing music. Not only does Drew play at festivals, restaurants, and bars, he also hosts open mics and plays at school fundraisers. “Everything that felt solid has shifted dramatically, but we’re still going,” Drew says. “Trusting the flow is the lesson that I’m taking from all of this.” ■ For more information: drewdanielsmusic.com Drew at Pohoiki. photo courtesy of Nick Sopczak

January – February

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Community Ma Hawai‘i Island’s


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11th Anniver

Pepeluali Ianuali – 2020 KeOlaMa gazine.c om

Island s on Hawai‘i Photographer Award-Winning tival Fes ity e ers hin ARTS div Lua ‘Iolani Hawai‘i’s Bio and Protecting CULTURE ITY Restoring SUSTAINABIL

Featured Cover Artist: Diane Tunnell Diane Tunnell was born in Billings, Montana. She grew up in Bartlesville, Oklahoma and Littleton, Colorado. Her dream at age five was to become an artist. She studied art at Colorado State University, received a BA in art and anthropology at the University of Colorado, and earned an Associate’s degree in advertising design at the Art Institute of Colorado. She traveled to Mexico, Europe, and India learning more about art. Diane pursued graphics, oils, and sculpture, and even worked in a bronze foundry. When Diane moved to Hawai‘i Island and began teaching elementary school, her art remained in the background. Her home near Donkey Mill Art Center and the artistic Hōlualoa Village prompted her to take a watercolor class from renowned Hiroke Mironoue. At that point she became completely enthralled by watercolor! Excellent books such as the Splash book series, watercolor workshops from prominent artists, and joining the Hawaii Watercolor Society (HWS) in 2010 raised the bar of her pursuit. A meditation practice helped Diane’s concentration and creativity enormously. She received great blessings to pursue her art full time. Many people helped to support Diane’s dream, including artist Kathy Long, who graciously mentored her. She took workshops from Carol Carter, Kathleen Alexander, and more recently from Paul Jackson, who taught about light and luminosity, glazing, and other helpful techniques of the medium. (Paul plans to be on the island teaching watercolor portraits in October at Akamai Art Supply in Kona.) After many years of hard work, entering juried shows, winning awards including Best of Show, Diane gratefully received her HWS Signature Membership in 2019, a great

honor from the society. She still takes many photos for inspiration, attends cultural events, and walks and hikes amidst the beauty of the island. She also paints plein air with the Kona group Painting Out There on Fridays as often as she can. The endearing children in the cover painting, Discovery, were cousins observing nature, whose parents are friends of Diane. One of the parents recommended adding the Jackson chameleon, and when Diane walked around, voila, there was a chameleon in the yard! The ocean is her favorite subject to paint, as well as florals, native flora and fauna, animals, people, and other Hawaiian scenes on the island. Lively color, value, design and composition command attention in her paintings. Diane considers her paintings as offerings to the Divine, like offering a flower on an altar. She hopes they bring joy, reflection, and enrichment to collectors’ and viewers’ lives. Her original watercolor paintings can be found at the Glyph Art Gallery in Hōlualoa, Harbor Gallery in Kawaihae, and Cliff Johns Gallery in Kealakekua. They are displayed in businesses and residences locally and around the world. For more information: dianetunnell.com.

Table Of Contents Artist:

David Gallegos

David Gallegos is a painter, printmaker, draughtsman, and photographer with an endless passion for experimentation and a belief in looking out into the world to get hope and positivity with respect. He believes that if you follow the Light, you will follow the Spirit. A collector commissioned him to paint Champagne Ponds in 2014 (featured on our table of content pages). While sketching, he captured keiki daring each other to be the first one in the pond, a cherished moment before Pele reclaimed Kapoho in 2018. David’s work is in the collection of the California Palace of the Legion of Honor and Saint Mary’s College, among others. For more information: kawikaspiritartstudio.com

Crossword Puzzle | By Myles Mellor

Enjoy this crossword that tests your knowledge about what you read in this edition of Ke Ola Magazine, including the ads, while learning about Hawaiian culture and our island home! Some answers are in English, some are in Hawaiian. Feel free to use the Hawaiian reference library at wehewehe.org. Answers can be found on page 89.

KeOlaMagazine.com | January - February 2020

Your feedback is always welcome. HIeditor@keolamagazine.com




1 Aquatic Hawaiian mammal living in the North Western Hawaiian islands, 2 words 6 Hawaiian chants 8 Extinct bird that couldn’t fly 10 Hawaiian deep water photographer who was a winner in Nat Geo’s Best Photography competition, Joshua ___ 11 Pleasant walk 13 Observatory in Hawai‘i testing atmospheric gases, 2 words 14 Hāpu‘u is one 15 Hawaiian word meaning there 16 Hawaiian word for sun 17 Curve that shows the rise of CO2 in the atmosphere 21 Oxygen or nitrogen, for example 23 Covering with rotting vegetable matter to reduce spoil erosion 25 Singer of “Get Back Up,” ___ Daniels 27 Environmental condition allowing for the survival of many kinds of species 30 Owns 31 It’s joy—not job (Hawaiian concept) 32 Tearful

1 It means “The Light of Knowledge”m in Hawaiianand it’s part of the title of a Waldorf school in East Hawai‘i 2 Rain cloud 3 Diving gear 4 Morning time 5 ___ Angeles 6 Bay in Pāpa‘ikou, with stunning plant specimens 7 ____ Luahine, hula dancer, story teller and teacher 9 Had a mango, for example 12 Bees collect it 14 Fruit often eaten dried 15 Long-legged ___ (insect found in Hawaii) 18 Biblical word ending 19 Hawaiian word meaning to fade 20 Close to the color of the sky 21 Crops not often grown in Hawai‘i 22 Moved to and fro like a tree in the breeze 24 Kamehameha ___ (Hawaiian king) 26 Whale rarely seen in Hawaiian waters 27 Arts degree 28 Keola and Kapono Beamer for example 29 Through

Hawaii’s Gift Baskets other types of artwork. Tammy creates custom gift baskets for weddings, showers, anniversaries, birthdays, or any other occasions. Baskets that contain locally made products make wonderful alternatives for Valentine’s Day, Easter, Mother’s and Father’s Day, graduations, housewarmings, Realtor closing gifts, or anytime for any reason! After several retail locations in Kailua-Kona and Waikoloa, Tammy chose to transition to a home-based online store. HGB offers free delivery in West Hawai‘i, and ships to other parts of Hawai‘i, the US mainland, and internationally. All over the world, people seek out aloha and one easy way to is to receive a box from Hawaii’s Gift Baskets. The packages that Tammy ships are large enough that the basket inside arrives as if it was hand-delivered. Tammy is also considering other ideas. One of them is to offer items without the gift basket for those who only want products. If you’re reading this and you like that idea, contact Tammy and let her know. She’s also looking to find more vendors on the island, such as someone who makes coconut syrup. If you know someone with unique products, they can also contact Tammy. Hawaii’s Gift Baskets also provides the fulfillment services for Ke Ola Magazine’s Gift Package Subscriptions. These deluxe subscriptions contain each new issue of Ke Ola along with some island made products from the magazine’s advertisers. Ke Ola has been doing this for two years now—it’s a very popular gift item that lasts all year! Contact Tammy for any occasion and she’ll come up with the perfect basket for your gift-giving needs! 808.333.9444 HawaiisGiftBaskets.com KeOlaMagazine.com/subscribe

KeOlaMagazine.com | January - February 2020

Hawaii’s Gift Baskets offers local arts, crafts, and food items made by people who live on Hawai‘i Island, contained in fun, reusable packaging. The inspiration for Hawaii’s Gift Baskets (HGB) came in 2008 when owner Tamarra Sullivan was working at Kona Village Resort. She was speaking with a guest who came back often. The guest was saying how they missed the things they loved from Hawai‘i Island when they went back home, such as poha jelly and macadamia nut pancake mix. They said they’d love to have those things available when they got back home. Tammy said she “ran with the idea, because I loved being able to send aloha from the island.” Her goal was, and still is, to include items that people experience while they’re here and they want to reproduce that feeling just by tasting the delicious food offerings and viewing local artisans’ creations. Tammy shared, “There’s a lot of people who don’t make it back here but are in love with the islands and they like to experience a gift basket that’s decorated with island flair and filled with items that are made right here on our island, including things that will last after the goodies are gone, like decorative tiles, wood bowls, and Hawaiian print insulated bags.” The types of products Tammy carries are all made by small local businesses. Tammy estimates there are at least 50–75 different types of manufacturers on this island that sell everything from nuts to jams to chips: BBQ sauce, syrups, pancake mix, candy, cookies, spa products, tiles, and


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.

365 Kona

365kona.com Julie@Ziemelis.com

Akamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

Aloha Theatre–Kainaliu Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

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

Holualoa Village Association

Kahilu Theatre–Waimea


KahiluTheatre.org 808.885.6868

Honoka‘a People’s Theatre

Food Hub Kohala

Kailua Village Business Improvement District

HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

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

Hulihe‘e Palace Wilhelmina’s Tea

Friends of NELHA

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

FriendsOfNelha.org 808.329.8073

Hawaiian Cultural Center of Hāmākua hccoh.org info.HCCOH@gmail.com 808.494.0626

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

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

HistoricKailuaVillage.com kailuavillage@gmail.com 808.326.7820

Kona Historical Society

‘Imiloa Astronomy Center of Hawai‘i ImiloaHawaii.org vrecinto@imiloahawaii.org 808.969.9703

KonaHistorical.org khs@konahistorical.org 808.323.3222

Kona Choral Society

KonaChoralSociety.org 808.334.9880


InBigIsland.com tony@inbigisland.com 808.333.6936

Kona Stories Bookstore

Island of Hawai‘i Visitors Bureau

KonaStories.com ks@konastories.com 808.324.0350

gohawaii.com/hawaii-island hawaii-island@hvcb.org 800.648.2441

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

i n c

KeOlaMagazine.com | January - February 2020

Bee Boys


Regenerative Beekeeping & Natural Products

The most complete art and art glass supply in Hawai‘i

808 215-0292

95-5657 Mamalahoa Hwy Na‘alehu, Hawai‘i 96772


KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona Commons Shopping Center KonaCommons.com 808.334.0005

Na‘alehu Honey Shop Raw Honey Plant Based Snacks Apiary Products Gifts • Crafts • Artwork All Locally Created

Stop in for Free Organic Hot Tea

Keauhou Shopping Center

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

Art makes you smart 808.334.0292 73-4976 Kamanu St #108, Kailua Kona, Hawai‘i 96740 in Hale Ku’i Plaza, mauka of Home Depot



ShopsAtMaunaLani.com/events 808.885.9501

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.


Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

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

LymanMuseum.org membership@lymanmuseum.org Liz Ambrose, 808.935.5021

Nā Wai Iwi Ola (NWIO) Foundation NaWaiIwiOla.org kumukealaching@nawaiiwiola.org Kumu Keala Ching

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

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

HiloPalace.com info@hilopalace.com 808.934.7010 Skea.org 808.328.9392

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


Volcano Art Center–Gallery volcanoartcenter.org Director@volcanoartcenter.org 808.967.8222 UH Hilo Performing Arts Center ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699



808.329.RACE (7223)



KeOlaMagazine.com | January - February 2020

Shelly, Ricky, and Raymond


To submit volunteer information for your nonprofit go to: kokua@keolamagazine.com

Community Kökua Volunteer Opportunities



Kona Vistas Recreational Center 75-6350 Pualani St, Kailua-Kona 3rd Saturday, 1pm Trap, neuter, spay, community education, colony feeding, management. Contact Stephanie or Nancy advocatshawaii@aol.org 808.327.3724

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd Thursday of the month, 1–2:30pm Men and women who support the mission of Daughters of Hawai‘i. Contact Geri Eckert hulihee@daughtersofhawaii.org 808.329.9555 DaughtersofHawaii.org

Alzheimerʻs Association Aloha Chapter

Kailua-Kona and Hilo Ongoing Variety of volunteer opportunities available. Patrick Toal patoal@alz.org 808.591.2771 x 8234 alz.org/hawaii

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

Anna Ranch Heritage Center

65-1480 Kawaihae Rd., Waimea Tuesday–Friday, 10am–2:30pm Looking for docent volunteers to provide guided tours. Contact Dayna Wong programs@annaranch.org 808.885.4426 annaranch.org

Donkey Mill Art Center

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 808.961.5536

Hōlualoa Hōlualoa Foundation for Arts and Culture Tuesday–Saturday, 10am–4pm Volunteers help in arts education program. Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

East Hawai‘i Cultural Center/HMOCA

Gallery Hours: Tuesday–Saturday, 10am–4PM

KeOlaMagazine.com | January - February 2020

Laupahoehoe Graphics



Coloring Books Canvas Bags Postcards • Notecards Luggage Tags 2020 Desktop Calendars Original Commissions Available


Hand Crafted

Dick and Avis Mortemore, Wildlife Art

Purely Organic

We Grow, Harvest and Create the Finest Medicinal Herbal Products in our Big Island Nursery

Miracle Rub Our signature product used for arthritis, bones & muscles, shingles, eczema, bruise, sunburn...

Love the Reef Sunscreen Body Butter Created using a Powerhouse of antioxidants, moisturizers and provides SPF 30 protection

Natural Lip Balms Designed using all Natural Botanicals to Soothe, Moisturize and Protect your Lips

Visit with us at MedicineMamaHawaii.com

Office Hours: Tuesday–Friday, 10am–4pm Volunteer in the art galleries, performing arts, classes, workshops, festivals. admin@ehcc.org 808.961.5711 Ehcc.org

Friends of Amy B.H. Greenwell Ethnobotanical Garden

Captain Cook Saturday, 9am–noon Volunteers needed to help with weeding, trimming and maintenance of the gardens. Contact Peter 808.323.3318 or 808.936.6457 kaluulu@hawaii.rr.com Facebook.com/Friends-of-Amy-Greenwell- Ethnobotanical-Garden-761479683986161

Friends of Lili‘uokalani Gardens

Hilo Ongoing Volunteers needed to help with the maintenance of Lili‘uokalani Gardens. kteger@hawaii.rr.com facebook.com/friendsofliliuokalanigardens/

Friends of NELHA

Natural Energy Laboratory of Hawai‘i Keāhole Kona Monday–Friday, 9am–noon Share Ocean Science/Technology using deep ocean water.

Use provided contacts for information (Listings provided on a space available basis)

808.329.8073 EnergyFutureHawaii.org

Hāmākua Youth Foundation, Inc.

Hāmākua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30pm Wed. 1–5:30pm, Thu. 2–8pm Serving Hamakua’s school-age kids. Contact T. Mahealani Maiku‘i HamakuaYouthCenter@gmail.com 808.775.0976 HamakuaYouthCenter.wordpress.com

Hawai‘i Care Choices (Formerly Hospice of Hilo)

Serving East Hawai‘i since 1983 Seeking volunteers to provide staff support and care to patients and families. Contact Jeanette Mochida jmochida@hawaiicarechoices.org 808.969.1733 HawaiiCareChoices.org

Hawaii Literacy/Kona Literacy Center Bougainvilla Plaza, Kailua-Kona Ongoing at various times Kona Literacy provides free, one-to-one tutoring for English speaking adults. Contact Lisa Jacob lisa.jacob@hawaiiliteracy.org HawaiiLiteracy.org

Hawai‘i Island Humane Society

Kona Shelter, Kailua-Kona

To submit volunteer information for your nonprofit go to: kokua@keolamagazine.com

Community Kökua

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 Plantation Museum

Pāpa‘ikou Tuesday–Saturday, 10am–3pm Greet Visitors, assist with tours. Contact Wayne Subica plantationmuseum@gmail.com 808.964.5151 hawaiiplantationmuseum.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

Hope Services Hawaii, Inc.

The Friendly Place Resource Center, Kailua-Kona Ongoing Volunteers help our community members who are experiencing homelessness. Contact Joycelyn Cabal volunteer@hopeserviceshawaii.org 808.217.2830 hopeserviceshawaii.org/getinvolved/

Volunteer Opportunities Hospice Care

North Hawai‘i 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

Hui Kaloko-Honokohau

Kaloko Fishpond, Kailua-Kona Last Sunday of every month, 8am–noon Rehabilitating Kaloko Fishpond. Learn about Hawaiian culture and ecosystem. Volunteer with invasive species removal. Contact Ruth Aloua ruthaloua@gmail.com 808.785.0211

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

ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

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

Kohala Animal Relocation & Education Service (KARES)

Parrots in Paradise Sanctuary

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events. Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

Rainbow Friends Animal Sanctuary

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

Ku‘ikahi Mediation Center

Snorkel Day for People with Disabilities

Lions Clubs International

Sundayʻs Child Foundation

Make-A-Wish Hawaii

The Pregnancy Center

Hilo Ongoing Become a volunteer mediator via Basic Mediation Training and apprenticeship. info@hawaiimediation.org 808.935.7844 HawaiiMediation.org

Malama O Puna

15-2881 Pahoa Village Rd, Pahoa Weekdays: 10am–1pm or by appt. Volunteers needed for outdoor work for our environmental nonprofit doing hands-on projects. Contact Rene malamaopuna@yahoo.com 808.965.2000 malamaopuna.org

North Kohala Community Resource Center

Kohala Welcome Center, Hāwī Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha. Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha Hilo Coffee Mill, Mountain View Ongoing

Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Hannah Merrill snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support. Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

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

Visitor Aloha Society of Hawai’i Island (VASH) Islandwide Ongoing Volunteers need to provide assistance to visitors who experience misfortune while visiting Hawai’i Island. Training provided. Contact Phoebe Barela west@vashbigisland.org 808.756.0785 Kona / 808.756.1472 Hilo VashBigIsland.org

KeOlaMagazine.com | January - February 2020

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

Accepting custom orders from designers, contractors, homeowners & galleries.

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork. Contact Mary Rose mail@rainbowfriends.org 808.982.5110 RainbowFriends.org

Kona Choral Society

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

Carved Signs • Sculptures • Cabinets • Doors • Tables • Urns Rocking Chairs • Benches • Koa Boxes • Cutting Boards

Use provided contacts for information (Listings provided on a space available basis)


Hawai‘i Island Farmers Markets East Daily Kea‘au Village Market Behind Spoonful Cafe and gas station, Kea‘au • 7am–5pm

Monday–Saturday Dimple Cheek Farm Stand Hwy 11, Mountain View 10am–6pm



Keauhou Farmers’ Market Keauhou Shopping Center 8am–noon * Waikoloa Village Farmers’ Market 68-3625 Paniolo Ave., Waikoloa Community Church parking lot 7:30am–1pm g Hōlualoa Gardens Farmers’ Market 76-5901 Mamalahoa Hwy, 9am–noon g

Sunday Pure Kona Green Market Amy Greenwell Ethnobotanical Garden, Kealakekua 9am–2pm * g

KeOlaMagazine.com | January - February 2020

Wednesday Kings’ Shops Farmers’ Market Waikoloa Beach Resort 8:30am–2:30pm Ho‘oulu Community Farmers’ Market Sheraton Kona Resort at Keauhou Bay 9am–2pm g Kona Sunset Farmers’ Market 74-5511 Luhia St. (HPM parking lot) 2-6pm g


Kona Village Farmers’ Market Corner of Ali‘i Dr. and Hualālai 92 Rd. 7am–4pm

1st and 3rd Friday of the Month Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd., Hōnaunau 4–8pm



Hawi Farmers’ Market North Kohala, across from post office and Nakahara Store 8am–3pm * Kamuela Farmers’ Market 67-139 Pukalani Rd., Waimea 7:30am–1pm * Kūhiō Hale Farmers’ Market 4-756 Māmalahoa Hwy., Waimea 7:30am–12:30pm Waimea Town Market at Parker School 65-1224 Lindsey Rd., Waimea 8am–1pm g Waimea Homestead Farmers’ Market 67-1229 Māmalahoa Hwy. at Lindsey Rd., Waimea 7am–noon

Saturday Hilo Coffee Mill 17-995 Volcano Rd., Mountain View (Hwy. 11 between mile markers 12 and 13) 9am–2pm * Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 6am–4pm * Honoka‘a Farmers’ Market Mamane St., Honoka‘a 7:30am–2pm Kino‘ole Farmers’ Market Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo 7am–noon * Kaimu Farmer’s Market Uncle’s Awa Bar, Kalapana 8am–noon * Pana‘ewa Farmers’ Market 363 Railroad Ave. (across from Home Depot), Hilo 7am–1pm

First Saturday of Every Month Orchidland Community Association Farmers’ Market Orchidland Dr. • 10am–2pm



Kekela Farms Organic Farmers’ Market 64-604 Mana Rd., Waimea 2–5pm

Hāmākua Harvest Farmers’ Market Hwy. 19 and Mamane St., Honoka‘a 9am–2pm * g

Wednesday Waimea Mid-Week Farmer’s Market Pukalani Stables, 67-139 Pukalani Rd., Waimea 9am–2pm * g

* EBT accepted • g Dog Friendly •

Laupāhoehoe Farmers’ Market Next to Minit Stop, Hwy. 19. 9am–1pm

Nānāwale Community Market Nānāwale Community Longhouse 7am–2pm Maku‘u Farmers’ Market Kea‘au-Pāhoa Bypass Road 6am–2pm *

Sun–Mon, Thursday Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 7am–4pm

Tuesday Hakalau Farmers’ Market and FoodShare Hakalau Veterans' Park, Old Māmalahoa Hwy. 3–5:30pm *

Wednesday Ho‘olaulea Uncle’s Awa Bar, Kalapana 4:30pm–9pm * Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 6am–4pm *

Friday Hawaiian Acres Community Marke 16-1325 Moho Rd., Kurtistown 2pm–6pm Pana‘ewa Farmers’ Market 363 Railroad Ave., Hilo 11am–5pm

South Sat and Wed

Nā‘ālehu Farmers’ Market Ace Hardware lawn 8am–2pm


Volcano Farmers' Market Cooper Center, 1000 Wright Rd., Volcano Village 6:30–10am *

Please send info and changes to michelle@keolamagazine.com

Celebrating a Long Time Advertiser Lorraine’s business card reads: “Working with respect for Hawai‘i, its people and its land.” For her, owning real estate on Hawai‘i Island is more than just a commodity. She says, “It’s also the place that we love. It’s that love for this island and this way of life that makes it a priceless investment. When you buy your own home, you’re investing in this island and the vision we share for our island home. The beauty of nature, the ocean, incredible geology, the culture of this land and so many diverse nationalities, the amazing keiki and kūpuna, even the very remoteness of this place creates such a unique place to call home. A place where the spirit of aloha is a part of every day life.” Looking to the future, Lorraine says she is bullish on the future of real estate in the coming year. “We never imagined this real estate market would continue to appreciate for more than 10 years. With low interest rates and a fairly strong national economy, it’s a good market to both buy and sell. The Big Island offers great value for those who know where to look.” What’s next? Lorraine is open to having more agents join her at Paradise Found Realty. She has decades of experience as both a buyer’s and seller’s agent, and would enjoy sharing it with those who are interested in building a future and making a difference. The name of her business reflects Lorraine Kohn’s love for this island and its people: Paradise Found! Want to buy your own home and not sure how to get started? Call Lorraine and her team of professionals at Paradise Found Realty. First-time homebuyers are offered a $1000 credit toward closing costs; call for details. Lorraine Kohn, Realtor/Broker, ABR, GRI, CRS Paradise Found Realty 808.937.1320 ParadiseFoundRealty.net

KeOlaMagazine.com | January - February 2020

Lorraine Kohn has been providing real estate services in West Hawai‘i for over 28 years now! When asked why she chose a real estate career all those years ago, she says, “I wanted to get into real estate because I wanted to buy my own home. I saw the importance of owning and wanted to make that available to others as well. For me, buying my own home was the beginning of building my financial future.” At first Lorraine began working with her friend Cynthia Supnet at Hawaiian Star Real Estate. Cynthia encouraged Lorraine to achieve success by getting the best real estate education available and by being involved in her community. Eventually Lorraine was inspired to open her own office as an independent broker so she could follow her own vision of helping people find their way home. In 2002, she started Paradise Found Realty. Lorraine loves to help both current residents and new arrivals buy and sell single-family homes and condos, as well as raw land and investment properties. Because she’s lived in Kona for more than 40 years, Lorraine is very familiar with the island and its people. As Lorraine progressed from becoming a homeowner to helping people find their own homes, she also came to realize the importance of investing in real estate. She says, “Real property differs from any other type of investment because it’s tangible, and the rewards are much greater in lots of different ways.” “As much as I was originally psyched to help people find their own house to live in, now I feel that having real estate as an investment in your portfolio is such an important way of taking care of your future. While I think every real estate decision should be made within your own financial plan, I believe real estate has a key part to play in laying the foundation for a stable financial future. With this island having so many different opportunities as far as price range and location, I really feel like everyone can own their own home, and every one of us can be a real estate investor here on the Big Island.”




Jeanna Rimmer

Talk Story with an Advertiser


KeOlaMagazine.com | January - February 2020




Jeanna Rimmer moved to Puna with her husband, David, and son, Schaefer, in June 2014, after visiting the previous two years. The Rimmer family felt at home in the Puna area right from the beginning. After moving here just a few months before Hurricane Iselle and the 2014 lava flow, they got to experience the aloha way of life immediately, as neighbors came together to support one another. They were hooked on the tight-knit community. Jeannaʻs prior career had been as a marketing and product development specialist for a child’s car seat and stroller manufacturer. She was traveling to Asia every six to eight weeks for two weeks at a time for 10 years, and missed her kids and husband. Although Jeanna was able to work for her same company for a while after moving here, she ultimately decided corporate life and traveling weren’t a good fit for her any longer. She chose a real estate career because she wanted to be selfemployed, but still connected with a larger brand name. She was licensed in January 2015, then one year after moving here she left her corporate job and went into real estate full time. She signed on with Hawai‘i Life in September 2015. One of the things Jeanna did right away was get involved in things outside her comfort zone. One was joining the Rotary Club of South Hilo. Another was volunteering at Ho‘ōla Farms with their Growing Veterans program. She still is involved with both groups. Jeanna specializes in Orchidland, Hawaiian Paradise Park, and surrounding areas from Kea‘au to Pāhoa. Her clients are often like her and her family: people who are moving to the island and need advice from someone else who moved here in the not-too-distant past. She is data-driven, so she can share all kinds of details, and she also loves showing her clients the beauty, uniqueness, and affordability of the middle Puna area. Since moving here, Jeanna shared that she “has learned about catchment tanks, solar power, the value of a 4-wheel drive, and the importance of multiple pairs of slippahs. Real estate has allowed me to share what I love about the affordable paradise of the east side of Hawai‘i Island. I love sharing properties that are right in my backyard—I don’t want to be everywhere, I want to be this area’s neighborhood specialist.” Jeanna Rimmer, RS, MRP Hawai‘i Life Real Estate Brokers 500 Kalanianaole Ave. #1, Hilo 808.209.0071 jeannarimmer@hawaiilife.com hawaiilife.com/jeannarimmer

Shops at Mauna Lani


Talk Story with an Advertiser Shops at Mauna Lani is a boutique shopping center that features everything from local to international items. As they say in their ads, “Enjoy the Experience,” and the experiences they offer are delightful! Where else on the island can your kids play in a fountain? You can even bring your dog and enjoy live music in the courtyard while eating from one of the restaurants. Everyone at The Shops offers a personalized touch for their customers’ shopping or dining experiences. They also take being part of the community very seriously, offering opportunities for local bands and groups to perform, and for fundraising opportunities as well. Property Manager Mitch Green says, “From the Honoka‘a High School Jazz band to taiko drum groups and hula dancers, we offer all types of entertainment. We also host the ‘My Furry Valentineʻ event to benefit the Hawaii Island Humane Society, as well as provide animal education and adoptions. My goal is for each guest to enjoy their time here as much as I do.”

The Shops at Mauna Lani 68-1330 Mauna Lani Drive 808.747.8541 ShopsAtMaunaLani.com


KeOlaMagazine.com | January - February 2020

Wondering how the Shops at Mauna Lani came to be? The original owner, Bill Borkan, owned a house in the Mauna Lani Resort. After driving past the empty lot for years, he decided he would build a shopping center on it. He loved this island and spent as much time as possible here. After Bill passed away, Arciterra purchased The Shops in 2017. Achiterra is committed to Hawaii. They expect The Shops to be at 100% occupancy soon and hope to expand their portfolio on Hawai‘i Island to include more properties and opportunities to serve the people here. Mitch reflects, “My diverse background got me hired as the operations manager here six years ago and then promoted to property manager almost two years ago. My staff here at The Shops are awesome, they will often come up with a better idea than mine, and we have created an environment where that is nurtured.” Mitch goes on, “We’ve had a few challenges in the past few years. One of the big ones came with the temporary closing of the Mauna Lani Hotel in late 2018. The good news about that, though, was this challenge gave us the opportunity to showcase the diversity and broad appeal of our shops and restaurants to visitors, kama‘āina and locals. Now that it’s reopened, we are poised for expansive growth.” Take your keiki and dogs for a visit to Shops at Mauna Lani!



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Zillow 5 Star Agent

Kelly’s Hawaii Business Magazine Awards: • 2017 Top 100 Realtors To Do Business With, Transactions & Top Sales Honorable Mention • 2014, 2015 & 2018 Top 100 Transactions


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Ocean View Home on Large Lot • 3bed/2bath $749,000 MLS 633731

In late 2019 Kelly received the prestigious Kupono REALTOR award, recognizing her professionalism, integrity, dedication and service to both her clients and to the greater Kona community. Kelly was nominated for this award by clients she has served over the past year, and was named one of five winners by a panel of judges. Kelly is humbled and honored to be a recipient of this inaugural award. She would love to help you achieve your real estate goals and is always happy to be of service. “Kelly Shaw is the most personable real estate professional I’ve ever met. She held my hand through the entire sales process and beyond.”–Zillow Review “Kelly is the absolute best in the business. All documents and services were professional and timely. We could not ask for anything more. Definitely a 5 star plus in all categories. Sold in 34 days at asking price.”–Zillow Review

“I've worked with Kelly numerous times in the past. Her clients' best interests are always top in her mind. She is 100 the type of ethical and honest professional you want on your side...and she's a joy to work with. Highly recommend.”–Zillow Review

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January–February 2020