May–August 2020 by Ke Ola Magazine

May – June July – August Hawai‘i Island’s Community Magazine The Life | Mei – Iune Iulai – ÿAukake 2020

ARTS Peer through the Lens of Photographer Wayne Levin CULTURE The Bray ‘Ohana—A Family’s Deep Connection SUSTAINABILITY Maile Grows Sustainably on Hawai‘i Island

KeOlaMagazine.com | May – June July – August 2020

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Front cover: Canoes with Aloha, a photograph by GP Merfeld.

4 Table of contents: Hoe Waÿa, a silkscreened pareu by Richard Koob and Arthur Johnsen.

Read more about the artists on page 60.

The Life

Hawaiÿi Island’s Community Magazine May – June – July – August 2020 Mei – Iune – Iulai – ÿAukake 2020

Arts

Hawai‘i Handweavers’ Hui Hard Work and Endless Play By Catherine Tarleton

Peer through the Lens of Photographer Wayne Levin 52 By Fern Gavelek

Tūtū Lanakila Manini

A Hula Gem and Hawaiian Music Renaissance Torchbearer By Lara Hughes

Community

Paddling for Hope

Hāmākua Jodo Mission, A Beacon for Peace

North Kolaha Rocks with KNKR Radio!

Derek Park Fundraises for Breast Cancer Education and Early Detection By Karen Rose

By Jan Wizinowich By Eila Algood

Culture

Every Paddler Knew the Voice of Aunty Maile 10 The Bray ‘Ohana

Kai ‘Ehitu

A Talented Family’s Deep Connection By Catherine Tarleton An Outrigger Team Remembers Its Roots and Its Papa By Sara Stover

Sustainability

Maile Lei, Lovely Maile Lei

...Is Growing Sustainably on Hawai‘i Island By Marcia Timboy

Corals: Living Rainforests of the Sea 41 By Stefan Verbano

Nursing Along a Coral Nursery

By Rachel Laderman

KeOlaMagazine.com | May – June July – August 2020

By Karen Valentine Kapono

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Hawaiÿi Island’s Community Magazine May – June – July – August 2020 Mei – Iune – Iulai – ÿAukake 2020

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Ka Wehena: The Opening Ho‘omana Kanaka

By Kumu Keala Ching

Business

Managing with Aloha

The Role of the Manager: Redesigned and Reconstructed By Rosa Say

Island Treasures

Gary Leveque and Karen Spachner

Talk Story With An Advertiser

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Local Food

Oh, Honey! With Recipe for Green Bean Salad with Honey Vinnaigrette By Brittany P. Anderson

Kela Me Keia: This & That KeOlaMagazine.com | May – June July – August 2020

Meet the Cover and Table of Contents Artists

Ka Puana: Closing Thoughts

327: E lauhoe mai na wa‘a; i ke kā, i ka hoe; i ka hoe, i ke kā; pae aku i ka ‘āina Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

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Ke Ola Magazine recognizes the use of the ‘okina [‘] or glottal stop, as one of the eight consonants of (modern) Hawaiian language; and the kahakō [ā] or macron (e.g., in place names of Hawai‘i such as Pāhoa). Ke Ola Magazine respects the individual use of these markings for names of organizations and businesses.

thank them for still valuing Ke Ola Magazine for reaching their customers! We truly wouldn’t be able to produce and distribute this magazine without them. My thought is by combining the May–June and July–August issues, weʻll have a better chance of being at the start of the recovery stages by the July 20th deadline for the September– October issue. Weʻll see! When you feel the thickness difference, and you notice how much smaller the photos in the stories have to be with fewer advertisers, plus all the other content we like to include, such as the crossword puzzle, volunteer opportunities, farmersʻ markets, and island happenings, you can understand that Ke Ola Magazine is just as vulnerable to this shutdown as every other business. We are going to need all the help we can get to add the missing content back in, would love to welcome you to our advertising ‘ohana. To our beloved readers, if youʻd like to ensure there will be future issues of Ke Ola, please consider ordering a subscription. Itʻs just $30 a year for our regular subscription, and youʻll have a copy delivered right to your mailbox, while knowing you are contributing to the longevity of this magazine. We also offer our gift package subscriptions, which in addition to the magazine, includes goodies from our advertisers every two months. The gift package subcription is $150 for six issues, and can be paid at $25 every other month. I send my deepest aloha, wishing you mālama pono, take good care of yourself and your ‘ohana. Aloha nui, Barbara Garcia

From Our Readers I just wanted to let you know that January/February 2020 issue has several really good articles. The standouts for me were the Mauna Loa Observatory CO2 Rise to the World and the Hawaii Tropical Botanical Gardens. Both were very informative, important, and interesting articles. I have been reading your magazine for many years and usually enjoy it, but I really like the direction you are going. Thank you! Melisa East Hawai‘i

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Send us your comments, letters, and photos! We accept email, snail mail, submissions through our website, or posts on Facebook. HIeditor@KeOlaMagazine.com

KeOlaMagazine.com | May – June July – August 2020

Aloooohaaaaa... A group of friends had joined me for a Ho‘opono Pono Ke Ala (the path of making right more right) class taught by our islandʻs beloved Kumu Aunty Mahealani Henry. We had our first class on March 8, it was to be for four Sundays. So far that was the only class weʻve held—we have not taken the leap to continue online, originally thinking it would just be delayed by a couple of weeks. Itʻs now the second weekend in April and there is no sign weʻll be able to gather again anytime soon, so we may reconvene online, after all. At our first class, Aunty Mahealani talked about the meaning of Aloha. According to wehewehe.org, alo means presense, and hā is to exhale or breathe, so aloha is the presense of breath. Kumu Mahealani pointed out that when we bestow this greeting upon one another, we are not just saying hello or goodbye, we are offering to share our breath. How fitting that out of the many cover submission artworks, GP Merfeld submitted the one we chose, with the name of a canoe front and center, Aloha. How fitting that in this moment, our world near and far is not allowed to share aloha, at least not in person. The customary Hawaiian hug and honi greeting is kapu for now, no touching. How different everything is in such a short time. This brings me to the business at hand. It would be hard not to notice this issue is not only 30 percent thinner than in the past several years, itʻs also being published for four months instead of the usual two-month cycle for Ke Ola Magazine. We had to make this adjustment to help “weather the storm” that COVID-19 has brought with it. Our hearts go out to anyone who is being affected by this illness, whether it be experiencing the physical illness or experiencing the financial ramifications of it. No one knows what the future will bring—as I write this letter, there have only been 28 confirmed cases on Hawai‘i Island; however, itʻs impossible to know how many may have it (or had it) without reporting it, and there are many test results still outstanding. By the time we distribute this issue at the beginning of May, our island community is predicted to be hitting the top of the infectionʻs curve. Iʻm hoping with all the preventive measures our residents were quick to take, and the relative speed that visitors and returnng residents were requried to quarantine, that we may have prevented what is happening in many other areas around the world. I have complete compassion and understanding for those advertisers that needed to drop out of this issue and any others. I am also eternally grateful to those who have “hung in there” with us! Please patronize these businesses soon and

FASTER

STRONGER

Hyperbarics. A Matter of Healing

KeOlaMagazine.com | May – June July – August 2020

Our bodies are reliant on oxygen more than any other substance for the smooth operation of each living cell. Oxygen makes life possible, as we learned in our first science class. Oxygen is viewed as our “life force.” 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 increasing barometric pressure has Dr. Eric S. Mizuba D.C., DACBSP demonstrated increased healing capacity in the body, by increasing cell function. Most people in the United States associate hyperbaric oxygen therapy with decompression injuries of divers and also for the treatment of diabetic related wounds. Attention has been brought to the area of hyperbaric’s potential for improved recovery from injuries and decreased recovery time. Natural recovery time from an injury has been expected to follow a traditional timeline. Conventional rates of healing are expected for specific injuries; however, complicating factors often slow the rate of healing for many. Although comfort measures and traditional therapies can be applied, the patient must basically wait out the Howeve predetermined healing time that nature has set for us. However, with additional measures such as hyperbarics, many aspects of healing have been shown to be improved. 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 that a person sits in an environment of increased atmospheric pressure, significantly increasing oxygen delivery to the cells of the body. Q: Is hyperbaric oxygen therapy safe? A: Yes, hyperbarics has demonstrated an impeccable track record over the past several decades. Protocols have been refined, and modern-day equipment and standards are safe and more comfortable.  Q: How does hyperbarics work? 8 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

LONGER

plasma, providing increased oxygen delivery to the cells deeper into the body.  Q: What are the effects of hyperbarics in the body? A: The increased oxygen delivery and saturation of deprived areas have demonstrated improved ability to create new blood vessels, new nerve tissue, new connective tissues, and accelerate growth of new cells during healing. Q: Does hyperbarics improve physical athletic performance?  A: Repeated studies over the past several years has demonstrated improved physical performance through improved recovery time and adaptation to physical overload. Whether overtraining or injury, many situations have shown positive outcomes to hyperbaric oxygen therapy. Q: What can I expect during hyperbaric treatments?  A: Treatments last typically 15–90 minutes. Treatment atmospheric pressure is typically 1.2–2.2 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. Q: Who can benefit from hyperbarics? A: Anyone can benefit from a proactive course of hyperbarics. Celebrities have made it a regular regimen part of their anti-aging. Many people with painful debilitating inflammation report significant decreases in pain and inflammation. Professional athletes use it to improve ability to recover from injury and for optimizing athletic performance. D If you would like to find out more about hyperbarics, contact Dr. Mizuba to see how this may benefit you. D Mizuba is a Diplomate of the American chiropractic board of Dr. 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 staff doctor annually at the U.S. Open for the USGA in the field of hyperbarics and chiropractic. He continues to be involved with the healthcare system for major-league baseball. D Mizuba From the athletic arena to the flower garden, Dr. keeps 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

Ho‘omana Kanaka

Ka Wehena

Ho‘omana—to strengthen, Kanaka—the people.

E Ho‘omana ē

Na Kumu Keala Ching

E ho‘omana o luna Empower above E ho‘omana o lalo Empower below E ho‘omana ke ola Empower the life E ho‘omana ke kānaka ē Empower the people E Ola Let it live!

I Mua ē

Na Kumu Keala Ching I mua ē Before me Ke kukui ‘imo‘imo aku lā A sparkle of light

E Ulu ē

Na Kumu Keala Ching E Ulu o Luna: Honor all that is above us to inspire, motivate and create our best options of our journey—best accomplished through PRACTICE. E Ulu o Lalo: Honor all that is below us to move, grow and support our best desire to improve our own life to become better leaders in our own community—best accomplished through COMMUNICATION. E Ulu o Uka: Honor all that is upward (towards the mountains) to appear, unveil and prevail the beauties of the world to guide and nurture our own journey—best accomplished through APPRECIATION.

I mua ē Before me Ke aloha palena ‘ole aku lā Unconditional love

E Ulu o Kai: Honor all that is seaward (towards the ocean) to cleanse, open and connect our best opportunities to improve our own lives—best accomplished through RESPECT.

I mua ē Before me Ke ala koho like ‘ole aku lā An unfamiliar pathway

E Ulu ke Ola: Honor all that is living to develop, explore and produce our best life to inspire others within our community—best accomplished through ACCEPTANCES. E Ulu ke Kanaka ē: Honor all peoples to understand, tolerate and accept diversities in our communities—best accomplished through COMPASSION.

I mua ē, I mua ē, I mua ē Before me, Before me, Before me

E Ola: Let it live and Let it become a part of our everyday lives.

E ola Let it live!

Maka i luna, Kuli i lalo: Eyes upon high, knees below. Honoring spirit!

This is a collection of chants I used during our ceremony “Hi‘uwai” in January 2020, E Ulu ē 2020, and I Mua ē 2019. They help to prepare our journey by recognizing what is before us. Then, we should honor what is and what could be.” (Hi‘uwai—water purification festivities near the end of each year or beginning of a new year.)

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

KeOlaMagazine.com | May – June July – August 2020

I mua ē Before me Ke ola pono i ku‘u ‘i‘ini aku lā A desired righteous life

By Karen Valentine Kapono

KeOlaMagazine.com | May – June July – August 2020

t’s race day at Hilo Bayfront. The summer outrigger canoe paddling season is in full swing. Colorful canoes are lined up, ready to race. Canoe club T-shirts with club insignia move through the crowd on paddlers of all ages, a seemingly chaotic scene. Until you hear a strong, commanding voice. Who is that woman with the bullhorn? Everyone knows it’s Aunty Maile—the one who keeps keiki and adults in line, the Big Island Sports Hall-of-Famer, renowned and respected for her half-century of canoe paddling leadership as paddler, coach, official, and race organizer. “My mom was harsh,” says her daughter Aloha Mauhili, who now carries the role of race secretary held for many years by her mother in the Moku O Hawai‘i Canoe Racing Association— only the third one in the history of the association. Aunty Maile Mauhili’s commanding voice is missing this year but will be echoing and remembered by many of the paddlers competing in the July championship regatta named after her: the Aunty Maile Mauhili/Moku O Hawai‘i Championships, recognizing Hawai‘i Island’s best teams. Sadly, Aunty Maile suffered an aneurysm last summer at age 85, after having been on the scene of a race just days before. She passed away October 19, 2019 at her family home in Keaukaha. Even with the legion of significant leaders in the long history of canoe paddling, no other island has someone’s name on a regatta championship. The Moku O Hawai‘i Canoe Racing Association board renamed the Hawai‘i Island championships in 1984, in recognition of Aunty Maile’s outstanding leadership and

commitment. She was instrumental in the revival of the sport in Hilo during the 1950s and 60s. She served 38 years as race secretary for Moku O Hawai‘i, was coach and co-founder of the Kailana Canoe Club and a board member of the statewide Hawaiian Canoe Racing Association (HCRA). There are more than 70 clubs in the state association. Her tenure as Moku O Hawai‘i race secretary—an important job of checking the registration cards of more than a thousand paddlers—has little reward other than to know that all the paddlers can go home with the confidence that their results were officially confirmed and their efforts recognized. Every seat in the wa‘a (canoe) has an important role in competition. The slightest blip in timing and focus can affect the result. Aunty Maile’s role was to be an inspiration for each one. Reaching far beyond her official job of tallying the races, Aunty Maile embodied the aloha spirit of this recognized, pure Hawaiian sport of outrigger canoe paddling, helping to shape the characters of youth, and maintain the team spirit among adults as well. She took all the youth under her wing and guided them, literally, often paddling out with the kids to keep them straight, says her daughter. “Every time they would finish, she would give advice to each one, saying, ‘You can do better’—gave positive feedback, making the kids feel good and making it fun, too.” “It is up to us to serve as good role models to the younger generation,” Aunty Maile said upon her induction into the Big Island Sports Hall of Fame. “We, as adults, have the

responsibility to lead by example.” At least one and maybe two generations of youth on the island are better off because of her. “Mom told us that there was no way we weren’t going paddling,” says daughter Aloha, who has been paddling in competition since age 14. “With paddling you learn teamwork and respect. Respect that wa‘a [canoe] or she’s not going to make yourselves win. It was teamwork and listening. You had no choice. Respect your elders, respect the wa‘a, and respect yourself.” Born and raised in the Hilo area and graduating from Hilo High School in 1953, Aunty Maile worked as a campus security official for the school, also coaching their paddling team before retiring in 1984. Every day while at the school, Aloha says, “My mom just

reached out to a lot of kids. Even ones that the school or parents just wanted to throw away, she rescued. Parents came to her later and said, ‘Thank you Aunty, my boy went from an F to a B; he’s doing real good, going to graduate.’ “She put in a lot of time talking with the kids. She’d say, ‘Why you kids acting like that? You good, you got a good heart, you don’t have to follow. Be a good leader.’ She would always tell them, ‘You’re a good person, gotta do good. You don’t want to go there, go here.’ They remembered all those things—tough talk and tough love. When I was there and would look at some of the boys [acting up], I’d say, ‘You’re in for it. Go sit down and listen. Get a talking.’ Mom gave them good advice. Also coaches. She was strict. No switching paddlers. Either you toe the line or you will be the line. She would sometimes break up fights between coaches and officials. ‘What are you guys doing? What are the kids going to think? Knock it off already, you guys.’” Aloha, also a paddling coach who works at Hilo High School helping special ed students, says, “Paddling is good for kids, giving them focus, teamwork, just getting them on a straight path. Mom wouldn’t allow gossip, no stealing. The kids helped her carry the paddles and load her car.” One memorable scolding was for former mayor Billy Kenoi, says Aloha. “She called him ‘Billy Boy’ when he was a young kid, 14 or 15. Billy shared with everyone at mom’s service, about being down at Bayfront near a fight that was not his. ‘Aunty Maile saw me, yelled out, ‘Billy Boy’, and pointed me to get out.’ He laughed out loud and said, ‘I was 86’d from Bayfront by Aunty Maile. She’s the one who kept me straight!’” “’Til today I have emails, texts from people throughout the world,” Aloha says. “They all have stories of her. The kids all remember her, and she remembered them. She had one (Below) Aunty Maile Mauhili/Moku O Hawaiÿi 2019 Championship race. photo courtesy of Matt Gerhart, Hawaii Tribune-Herald (Inset photo) Aunty Maile. photo courtesy of the Mauhili family

KeOlaMagazine.com | May – June July – August 2020

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sharp memory to the end.” Aunty Maile was once quoted as saying, “I love canoe paddling and everything about it—the people, the paddlers, the culture. When I don’t come down to the beach, I don’t feel right.” Aunty Maile’s Early Days Maile Abigail Auwae Mauhili was the second oldest of 16 children of Hawaiian herbal healer “Papa” Henry Auwae and Agnes Kela. Born in Ola‘a, she credited her maternal grandmother, Tūtū Malia Kela, as her biggest influence. She was quoted in a 2015 interview as saying, “The thing she taught us first and foremost was respect. We were always told to respect people no matter where they came from and who they are. What I’m most proud of is always giving back. If can, can. If no can, then try. There’s no such thing as cannot. My grandma used to tell us that.” She first learned to paddle in March of 1946, at the age of 11, just before the tragic April 1 tsunami hit Hilo. Seven years later, Maile, along with a handful of others, helped revive the sport of canoe paddling in East Hawai‘i. Her first paddling coach was Isaac Keli‘ipio, whose family were caretakers of Moku Ola (also known as Coconut Island) before there was a bridge to it. The club he ran became the Kamehameha Canoe Club of today. Maile paddled for

Mauhili family celebrates Aunty Maile’s 84th birthday. In front: Aunty Maile holds great-grandson James Mauloa Kamaka-Mauhili. Standing behind, from left: greatgranddaughters Makamae and Jaselle Kamaka-Mauhili, granddaughter Kanoe MauhiliKamaka and daughter Aloha Mauhili. photo courtesy of the Mauhili family Kamehameha from 1953 to ’68, Keaukaha from 1973 to ’85, and finally for Wailani, the Hilo club she helped form and later coached. The name was later changed to Kailana and is one of the 13 clubs in the Moku O Hawai‘i Canoe Racing Association. She took her Kailana paddlers to the World Sprint Championships in New Zealand as well as to other islands for weekends, learning about Hawaiian culture. One day in 1972, Maile was at Hilo Bay to watch the races when the late Dottie Thompson, matriarch of the Merrie Monarch Festival, approached her. Aunty Dottie also worked in parks and recreation for the county, and was a scorekeeper at Moku O Hawai‘i races. “Aunty Dottie flagged us down and told us to get over there and do something,” Aunty Maile said. It led to Maile’s lifetime dream job, secured by Charles Rose, Moku O Hawai‘i’s first president, who came to see Maile one day at Hilo High campus and pronounced her the new race secretary, following Mary

Maile with family canoe. photo courtesy of the Mauhili family Jane Kahanamoku. After Aunty Maile’s aneurysm last year, her health worsened and she entered a residential care home where she continued to hold court, says Aloha, who, along with other family, often gathered in her room. “She gave instructions about everything for her service down to the last detail. She was in charge. She had a Wreath created by Ola Jenkins for Aunty Maile’s talk session with all services in Keaukaha. photo courtesy of Ola Jenkins of us and advice to each. She was strong to the end.” Aunty Maile is survived by four children, five grandchildren and eight great-grandchildren. Aloha is now planning for the Summer Moku O Hawai‘i Canoe Racing Season. Sadly, this summer’s Aunty Maile/Moku O Hawai‘i Championship Regatta and the planned IVF 2020 World Sprint Championships have been cancelled due to the virus pandemic. Hawaiian outrigger canoes are the standard canoe used internationally in outrigger canoe racing and each country’s team has to use the koa canoe. The canoe goes by different names throughout the Pacific. Itʻs known as an outrigger in

the continental US, canoe or wa‘a in Hawai‘i, va‘a in Tahiti, and waka ama in New Zealand. The IVF’s founders agreed that va‘a would be the international designation for an outrigger canoe. ■ For more information: MokuOHawaii.com IVFIV.org

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KeOlaMagazine.com | May – June July – August 2020

Shelly, Ricky, and Raymond

The Bray ‘Ohana—A Talented Family’s By Catherine Tarleton

he story of the Bray ‘ohana reaches back through generations—from Hawai‘i, back to Tahiti, back to ancient knowledge, history, culture, and wisdom. “I have a book written by my great-grandfather,” says Lelehua Bray, hula teacher, travel professional, wife, mom, and keeper of so many family memories. Her great-grandfather was David Kaonohiokala “Daddy” Bray, a practicing kahuna

David Kaonohiokala “Daddy” Bray, Lelehua’s greatgrandfather, carried extensive knowledge of Hawaiian culture.

Mama and Daddy Bray’s son, David Mililani Bray, Lelehua’s grandfather.

(priest or shaman), born in 1889. “In that book, he talks about our family’s ancestry, hula, culture, the whole thing,” she continues. His unpublished manuscript is in a well-worn three-ring binder, which her friend Donna Kimura helped her organize some years back. Itʻs filled with both handwritten and typed pages, with notes in the margins, and pictures tucked in plastic pockets. In it, Daddy Bray tells of his genealogical ties to Pa‘ao, the formidable Tahitian priest who came to Hawai‘i about 1200 AD, and is said to have established (or re-established) a rigorous kapu system for the maintenance of law and order. Historian Abraham Fornander writes that before Pa‘ao landed on Hawai‘i Island, “the kapus [sic] were few and the ceremonials easy; human sacrifices were not practiced; and government was more of a patriarchal than of a regal nature.” The kapu system was a controlling way of life for Hawaiians— from everyday eating, to annual farming and fishing cycles, religious rituals, and more—until Captain James Cook’s arrival in 1778. By 1819, King Kamehameha I had died, the ali‘i had defied the ‘ai kapu (the taboo against men and women eating 14 together), and thrown down the entire kapu system. Christian missionaries arrived soon after, and the culture of the kāhuna KeOlaMagazine.com | May – June July – August 2020

went underground. Ancestors of Pa‘ao, like Daddy Bray, maintained a spiritual connection to the old gods as well as embracing the Christian God. But we are getting ahead of ourselves. Or behind. “Growing up, I never met my great-grandfather; he died one month before I was born,” says Lelehua. Daddy Bray’s father was David Howard Hitchcock, a Hindu-English seaman,

Lydia Maunahina Dusson, “Mama” Bray, Lelehua’s greatgrandmother, was a renowned kumu hula.

half-brother of D. Howard Hitchcock, known for his paintings of Hawaiian volcanoes. His mother, Hana Bray, was Hawaiian— granddaughter of Namahana Namahana (married to William Bray III). Her grandfather was Holoa‘e, advisor to King Kamehameha I, present on the day Captain Cook sailed into Kealakekua Bay. Daddy Bray’s mother died when he was six months old, and he was adopted by his aunt Lukia, who trained him in the ways of the kāhuna. “Daddy Bray was from the Pa‘ao and Holo‘ae lineage, that was the kāhuna side,” Daddy Bray, dancing between the ladies in a Waikïkï says Lelehua. “My club. great-grandmother is the hula side.” Born and raised in Hāna, Maui, Lydia Maunahina Dusson “Mama” Bray was given her name by Queen Lili‘uokalani (b. Lydia Lili‘u Kamaka‘ehu). She became one of Hawai‘i’s premier kumu hula.

Deep Connection In 1919, the Brays founded a hula hālau (troupe) to help revive that revered tradition, suppressed by the previous century’s rapid change. They also taught classes in culture, legends, language, and songs, and began to entertain visitors as well. In the 1930s they started organizing festivals and events featuring Hawaiian entertainers. And, 100 years later, Daddy and Mama Bray were inducted into the Hawaiian Music

As a young woman Mama Bray worked with her husband to share hula and Hawaiian culture with visitors, and around the world.

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to Kamehameha School. Mom went to Punahou. They both got expelled senior year because she was hāpai with me. They graduated from Roosevelt!” she says with a laugh. She grew up on two islands, Hawai‘i and Kaua‘i, and her father worked for Aloha Airlines at the time. “Dad died in 2008, at the age of only 58,” she says fondly. “But you can see what he left; he left us his art.” Her father, David M. Bray,

Daddy and Mama Bray in their aloha attire, adorned with lei.

Present Day “Hula just kind of happened. It was the path thrown out before me,” Lelehua says. “My journey was hula. I know for a fact it’s in my blood, my genealogy, and that’s why I love hula so ÿIolani Luahine, Lokalia Montgomery, and Daddy Bray. much.” photo courtesy of the Kona Historical Society Lelehua was born in Kealakekua, South Kona, the oldest of seven children. “My dad is HawaiianCaucasian, and my mom is pure Sicilian,” Lelehua says. Recounting a favorite family story, she says, “My father went

was a gifted painter, bringing to life vivid, colorful Hawaiian images—a collection of still lifes with koa bowls and hula implements, busy scenes of people and canoes, and much more. Says Lelehua, “I had my first hula lesson in the second grade, with Kumu Roselle Bailey, in Kamakani, Kaua‘i…I was in Merrie Monarch with her when I was 14 years old. It was always exhibition for us, not competition.” Going back and forth between islands, Lelehua also studied hula (and still does) with Kumu Michael Pili Pang in Waimea (Kamuela). “One of the cool things about Michael, he has the ability to write and manage all these grants,” Lelehua says. “Weʻve had the privilege to share hula in Taiwan, Quebec, and at the Museum of Natural History in New York City.” Between 1995 and 2001, Lelehua completed the ‘ūniki (graduation protocols) with Kumu Michael as a dancer, chanter, and a teacher (‘ōlapa, ho‘opa‘a, and kumu). In 2009, she founded her own hula hālau, Hālau Hula Maunalei, in Hōlualoa. Now, Kumu Lelehua teaches hula to students of all ages, from her youngest keiki, to her “gracious ladies” ages 70 and up. Classes are held at the old Hōlualoa Theatre, shared with the Martial Achievement Center, on Tuesdays from 12–7pm. “I 15 am so in love with hula,” Lelehua says. “If I can plant a little KeOlaMagazine.com | May – June July – August 2020

Hall of Fame in recognition of their contributions to hula. “My great-grandmother was in the movie Bird of Paradise,” says Lelehua, referring to the 1932 film starring Delores del Rio. “My great-grandmother and Aunty ‘Io [‘Iolani Luahine] choreographed the whole thing.” (Daddy Bray also appeared in the film as a chanter, uncredited.)

Mama and Daddy Bray, with President Dwight Eisenhower during his June 1960 visit.

have been taught, and continue teaching what we learn,” says Lelehua. “No one is ever better than anybody else. Not all knowledge comes from the same hālau.” Lelehua’s husband, Manu Heinicke, is as dedicated to community as she is. His volunteer works include being the high school judo and wrestling coach, and participating with the Boys to Men mentorship program, and the Lokahi Treatment Centers programs for at-risk teens and men struggling with addictions. Sadly, in August 2019, Lelehua and Manu were involved in a motorcycle crash, and Manu’s injuries were extensive. Recovery was long and extensive, and they are both very grateful for the community’s generous kōkua. Lelehua’s “day job” is with the travel company Expedia, for which she earned the title of Hawai‘i Concierge of the year in 2018. “I’ve been in customer service all my life,” she says. “I love people. I love sharing the island.” “I think it is our kuleana to direct our visitors. I think social media and books can tend to misdirect our visitors,” she continues. “I’m going to tell you about your journey to Mauna Kea and Mauna Loa, what the words mean, why they are so important. I’m going to make sure that our visitors have a little more understanding of the place names they are going to see. They so want to embrace Hawaiian culture.” It is also her belief that there are certain places that should not be exploited because of their sacredness. “The environmental impacts on these places have been devastating.

KeOlaMagazine.com | May – June July – August 2020

Lelehua, husband Manu, and a few of her young students.

seed of love for hula in them, that’s the fulfillment.” Hālau Hula Maunalei, Kumu Lelehua and co-chair Kawehi Inaba help put together the monthly “Under the Kona Moon” event at West Hawai‘i Community Health Center. Inspired by the beloved Mauna Lani tradition, “Twilight at Kalahuipu‘a,” the event features a variety of speakers, dancers, and guest entertainers. For the last 20 years, she has also helped organize the annual hula production, “Christmas Calabash,” at Kahilu Theatre, which features kūmu and their hālau from around the island coming together to dance in holiday celebration. It is a collaboration she loves. “We can only teach what we

The smiling faces of the ÿÖpio class show students and kumu with a love for hula. photo by CTarleton

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A pre-performance pule (prayer) with students at the 2019 Prince Lot Festival at ÿIolani Palace. behind the mele, but also to be creative and document my experiences as they happen in this era.” She flashes back to another part of her family’s story. “My great-grandfather spoke Hawaiian at home as his first language. On the way to Kamehameha School, he was told not to speak Hawaiian at school.” She shakes her head, thinking, then continues. “There’s nothing Hawaiian about that, about putting people down. It’s Hawaiian to be loving and kind. That is Hawaiian. My Papa used to say, ‘My mo‘opuna, be humble, kind and gentle to all forms of life!ʻ” ■ All photos, unless otherwise specified, are courtesy of the Bray ‘ohana. For more information: MartialArtAchievementCenter.com

KeOlaMagazine.com | May – June July – August 2020

This is something I am very passionate about!” In her hula class at the old theatre, Lelehua speaks to her dancers. “It is a gift to be able to teach you.” “This song, ‘Pua Lililehua,’ was written for Aunty Maiki,” she says, speaking of her hula “ancestor,” legendary kumu hula Maiki Ai‘u Lake. “She died while teaching hula, and the legacy she left us is amazing. Not only did she teach my kumu, Michael Pili Pang, she taught and graduated some of the most noted kūmu hula of today. She graduated Uncle Robert Cazimero, Aunty Vicky Holt, and many others whom have continued her hula genealogy and carried on her legacy.” Someone has asked if she understands every word of the mele they are rehearsing. “Only the writer can tell you what the song is really about,” she says. “I was taught by my kumu to understand what I am teaching, to embrace the kaona

Maile Lei, Lovely Maile Lei …is Growing Sustainably on Hawai‘i Island By Marcia Timboy

KeOlaMagazine.com | May – June July – August 2020

or centuries, lei made from the shiny fragrant lei has become excessive in recent decades, and is notably vines of maile have been used to communicate love, respect, linked to the inception of Hawai‘i Island’s celebrated Merrie blessing, enduring devotion, reverence, friendship, and peace. Monarch Festival. Many ancient oli (chants) and mele (songs) celebrate its The maile vine is an integral part of the native Hawaiian fragrant beauty. forest understory. Improper gathering practices, a lack of Maile, Alyxia stellate, an endemic plant only found in Hawai‘i, cultural protocol, and uneducated and acquisitive opportunists is fairly common in dry to mesic forests on all the main islands have added to the decline of Hawai‘i’s already fragile except Kaho‘olawe and Ni‘ihau, where they probably occurred ecosystem—specifically of the native forests. Fortunately, in the past. Traditionally the true stewards of the island’s maile was symbolic of the gods natural environment are taking and one of five kino lau (plants) measures to ensure sustainable used to decorate the kū‘aha practices will preserve these (altar) of Laka, goddess of hula. native forests for future The legend of the five Maile generations. Sisters—minor goddesses of hula, who took human or plant The Island Gardener—Aloha forms—are remembered today ‘Āina Practitioner by the five varieties of maile: David Miranda was six years maile pākaha (blunt leaf maile), old when he decided to become maile lau nui (large leaf maile), a horticulturalist. “I knew my maile lau li‘i (small leaf maile), work would be to grow plants.” and maile kaluhea (sweet One of six children of Wallance smelling maile). Freitas Miranda and Lorraine Maile was offered to signify Lopes Miranda, Dave grew up a peace agreement between in Kāne‘ohe, O‘ahu; however, warring chiefs. The chiefs would his roots run deep in ‘O‘ōkala symbolically intertwine the on the Hāmākua coast. Both maile vines during ceremony sets of great-grandparents, at a heiau (temple), and its one family immigrating from completion officially established Oslo, Norway, and the other peace between the two factions. from Madeira, Portugal, sailed The maile lei’s allure endures from Jamestown, Virginia, on to this day. Hula dancers still passage around the Horn to the wear strands of maile, and Kingdom of Hawai‘i between kama‘āina boys opt to wear 1885–1887. Jonas Gulbrand a maile lei to prom instead Jonnasen and Libana de Freitas of a boutonnière. Maile lei were young children when they are gifted to celebrate significant Maile farmer and aloha ÿäina practitioner, David Miranda. photo by Marcia Timboy landed at Hawi, on the Kohala occasions like graduations, coast. The Jonnasen and Freitas birthdays, and retirements. families, as with many North Grooms adorn themselves and their groomsmen in maile lei, Hawai‘i settlers, became “cattle people,” or ranchers. Jonas and a hand binding ceremony using maile lei is still performed and Labanga eventually met and married in Kukuihaele, a at weddings. Untying a maile lei is the Hawaiian version of village along the Hāmākua coast. “My great-grandparents were a ribbon cutting ceremony, commemorating the opening of Royalists; they were loyal subjects of the Kingdom.” new buildings, roads, businesses, and even at Hawai‘i State Dave’s grandmother, Olivia Jonnasen would marry his government sessions. grandfather, Joseph Miranda, from another ranching family. The popularity of giving and receiving lei, along with other The Mirandas moved to the ranching area of Maunawili on Hawaiian cultural practices, has grown in the last century as O‘ahu and had five children. Tragedy struck when Joseph was the islands have become more accessible to visitors globally. kicked by a cow, contracted tetanus, and died. Soon after the Hālau hula (hula schools) from the continental US, Japan, sad event, his grandmother took the four younger siblings and Europe, Mexico, and around the world order the highly coveted moved to California. Dave’s father, the eldest child, was 18 at the time. He stayed in Honolulu, finding work as a machinist 18 maile lei for special performances, as well as for weddings, graduations, and other occasions. The great demand for maile at Pearl Harbor. As fate would have it, he was called in to work

Mahalo Ahualoa Farms – Local Agriculture Story Sponsor on his day off, December 7, 1941, to assist in the bombing clean-up. Dave’s childhood summers were spent at Kūka‘iau Ranch with his paniolo (cowboy) Hawaiian stepgrandfather, John Holimai. (His widowed grandmother, Olivia, eventually returned to Hawai‘i Island’s paniolo country and married Mr. Holimai.) The experiences with his stepgrandfather would be the lifetime Dave Miranda not only grows maile, he also knows how to inspiration of make lei! photo by Marcia Timboy his reverence for Hawai‘i’s natural environment. He learned Hawaiian environmental stewardship by observing his Grandpa John’s daily activities, including cultural protocol especially in regards to the ‘āina. “I turned seven on the 4th of July at the

homestead on Kūku‘iau Ranch.” When his family took a day trip up to Volcano that same summer, young Dave made another decision while in awe of the upland forests. “This is where I want to live.” Dave attended Damien High School in Honolulu, and went on to graduate with a bachelor of science degree in horticultural Dave’s lei making technique creates lovely and sturdy maile technology from lei. “My leis don’t fall apart, because I take the time to the University assemble them correctly.” photo by Marcia Timboy of Hawai‘i at Mānoa. While attending UHM, he started apprenticing at Pang’s Nursery, gaining hands-on experience in plant breeding, propagation, and nursery production. Dave worked for Pang’s

KeOlaMagazine.com | May – June July – August 2020

Nursery for 10 years before being recruited by Tropical Connection, a large anthurium nursery. He was hired to set up a clean propagation system to mitigate the anthurium blight that severely impacted East Hawai‘i’s horticultural industry. Always interested in solving problems in plant production and viability, Dave went on to work as a production manager developing sanitation protocols for Orchid Works from 1999– 2008.

Sustainable Maile Production—Preserving Native Forests An avid hiker, Dave has had peace-filled, enlightening, infuriating, and almost treacherous experiences exploring native Hawaiian forests. He was a near witness to the Olokele Canyon Collapse on Kauai in 1981. “There was a noise, muffled but distinct; the sound of trees and rocks falling suddenly and unexpectedly. A landslide for sure, falling into who knows where; we could not see it but the sound was unmistakable. It wasnʻt until three or four days later when we were off the mountain that we saw the headlines and pictures of the wall collapse in Olokele canyon…when we actually reached Wai‘ale‘ale, that we got to see the slide for ourselves. It seems to my memory that the slide was so massive that it fell from one wall and sloshed up the wall on the other side of the canyon. I was impressed and grateful that we had not been closer.” He has seen firsthand the devasting effect of improper gathering techniques that many people have when picking maile. “I saw this one young guy rumbling through the forest with trash bags, pulling up maile vines with roots and all… stuffing them into the trash bags. I find the behavior offensive, motivated by greed, with no reverence for the plant and forest.” “Always ask permission [from the plant] to pick it”, as his Grandpa John Holimai taught him years ago to do. Dave’s primary effort to grow maile in a sustainable fashion is to get pressure off the native Hawaiian forests. The horticultural challenge of propagating maile was another motivating factor, and after five or six years of research and development, he finally planted his first seedlings in 2014. Today he has a greenhouse full of healthy and beautiful sustainably-grown maile plants. Dave hopes to have apprentices to “pass on and teach others what I’ve taught you” as his first mentor, Everett Pang, told him years ago. David Miranda wants to set a new standard in maile production and maile lei making. “I make lei that doesn’t fall apart.” He plans on writing a manual on maile production and propagation protocols. “I believe this is another horticultural industry for the younger generation. This can be a living income for a farm family to do in a committed deep way.” Incomparable and Fragrant A lot of the maile presently sold are from the Cooke Islands,

Maile Lei, Lovely Maile Lei… You weave your magic charms around Hawai‘i nei. Every day in your subtle way, You tease the tradewinds with your fragrance, maile lei. – Maddy Lam, 1963

and have no distinct fragrance. Native Hawaiian maile is the most prized and fragrant found here on Hawai‘i the Big Island. Onaona Puna i ke ‘ala o ka hala la e Ua wiki pū ‘ia me ka maile la e He aloha no ‘o Pana‘ewa Sweet is Puna with the fragrance of the hala Entwined with the maile Beloved is Pana‘ewa (Alice Ku‘uleialohapoina‘ole Nāmakelua, 1958) Several Hawai‘i Island ‘ōlelo no‘eau (Hawaiian proverbs) relay a wonderfully fragrant image of Puna and Pana‘ewa districts. Ka makani hali ‘ala o Puna, the fragrance-bearing wind of Puna; Lei Hanakahi i ke ‘ala me ke onaona o Pana‘ewa, Hanakahi is adorned with the fragrance and perfume of Pana‘ewa. These were both places that had a moist climate suitable for maile and other fragrant ferns, as well as the famous hala from Puna. The phrase Puna paia ‘ala, fragrant walls of Puna, gives reference to the hīnano blossom which was famously hung inside hale (homes) of that district to scent the house. People traveled to both Puna and Pana‘ewa to pick maile, hence those areas being remembered as fragrant. ■ For more information: BigIslandMaile.com

KeOlaMagazine.com | May – June July – August 2020

Hawai‘i Handweavers’ Hui:

Hard Work and Endless Play By Catherine Tarleton

KeOlaMagazine.com | May – June July – August 2020

ords about weaving conjure up artistic images all of their own. We weave stories, spin a “yarn,” and embroider narrative with detail. In Hawai‘i, we weave a tapestry of cultures, from East and West, ancient and current. Weaving has always been both practical and decorative, form and function. And so it goes with today’s weavers—as members of the Hawai‘i Handweavers’ Hui, a statewide collaboration of weavers, spinners, knitters, and more—come together to celebrate, educate, innovate, and elevate these traditional crafts. They are artists, and more. “I’m an engineer,” says Joelle Dubois, who’s been spinning for two years and weaving for four. “I like the combination of mechanics and equipment, with being able to produce something for the home. You start from scrap and produce beautiful things for yourself and others.” Jill Cohen, a five-year hui member from Colorado says, “I’m a logical person, and weaving is very logical, very mathematical. The loom does the work.” Prior to moving to Mountain View on Hawai‘i Island, she worked for the Budget Office for the City and County of Denver. “Weaving keeps my interest. There are so many different possibilities, different patterns, different things you can do. It’s also very meditative, calming, kind of zen.” “It’s good for the brain, because weaving involves so much math,” says weaver, author, and retired food writer Joan Namkoong. “I’ve been a weaver while I was a foodie, about 35 years,” says Joan. “I moved to the Big Island 14 years ago, and then I had more time, and started doing more.” The Hawai‘i Handweavers’ Hui, Hawai‘i Island chapter hosted a recent exhibition, “Threads Allure,” at Pictures Plus in Kailua-Kona. It was designed to show an interactive relationship between woven fibers and the viewers themselves. “The intention is, whatever was in the show, you could go and feel and touch and experience,” says Joan. “With fiber, you want to go feel it. Definitely, the tactile experience appeals to me, especially silk. It’s soft and silky but very strong.” Hui member Joelle Dubois demonstrates

22 using a spinning wheel to make yarn

at the recent exhibition. photo by CTarleton

Twenty-one different works, from the islands of O‘ahu, Hawai‘i, and Kaua‘i, invited visitors to touch and enjoy scarves, towels, wall-hangings, samples, and more. The items are made from everything: handwoven cotton chenille, hand-extracted coconut fiber, and sanseveria. There’s threaded bamboo with onion skin and sandalwood, Kool-Aid-dyed silk and wool shawls, and something called pattern-undulating indigo. The show is true to the Handweavers’ Hui’s mission, to promote excellence in handweaving in all its diversity of materials and techniques. It’s easy to see these creators share a joy and passion for the fiber arts, at the heart of the Handweavers’ Hui. Founded on O‘ahu in 1953, the hui now has more than 100 members and a second chapter on Hawai‘i Island. In addition to practicing their own crafts, they are dedicated to promoting them by teaching in schools and community centers. Joan remembers learning to weave in classes at Bishop Museum. “I worked with some old-time weavers who started the hui, like Ruthadell Anderson,” she says. “She made the two big tapestries in the State Capitol Building, with a group of weavers.” The tapestries were hung in the House and Senate Chambers for the building’s opening day in 1969. Joan says, “Weaving is one of those things…It’s kind of a dying craft, and mostly done by older people,” she says. “We all take it for granted. It’s been done for millennia.” Weaving is historic and universal; it was done everywhere there were materials to be used. Indeed, the early Polynesians had been master weavers before they ever sailed to Hawai‘i. And, although the iconic Hawaiian kapa cloth was made by pounding plant fibers instead of weaving them, weavers were highly regarded, as were the plants that yielded weaving materials. So much so, that of the 24 carefully chosen “canoe plants” brought to the islands by early settlers, five of them related to weaving were allowed precious cargo space. According to the 19th-century historian David Malo, “This work [weaving] was a source of considerable profit; so that women who engaged in it were held to be well off, and were praised for their skill. Such arts as these were useful to the ancient Hawaiians and brought them wealth.” It must have been jaw-dropping for those lifelong weavers, when outsiders arrived on ships with giant cloth sails, their crews in

cotton clothing of every color. One story indicates the first loom weaving in Hawai‘i was done by a man, a sailor on orders from King Kamehameha I. In 1809, the king learned of Archibald Campbell, who had been abandoned by his ship (not the other way around, as some stories tell). Archibald was a sailmaker, and in spite of the fact that both of his feet were cut off (why was never known), he was still able to get around, and to work. Kamehameha had him repair his own sails, and then asked him to make canvas for new ones. Archibald built himself a loom, and hired a boy to work the treadles, since he couldn’t manage without feet. They wove canvas from a kind of thread made by women, from olonā bark (normally used for fishing lines), which they stripped, squeezed, scraped, and spun into twine by rubbing it on their bare legs. It’s said that when Archibald left the island, the king did not pursue sail-making. Later, missionary women would bring in many bolts of fabric to be sewed into their long dresses. Of course, the ali‘i women wanted to emulate them, and of course, the weavers wanted to learn how to make them. In 1835, Miss Lydia Brown was sent with the 7th Company of missionaries on the Hellespont from Boston, specifically to teach women the arts of spinning, weaving, and knitting. At age 55, she set out to accomplish that mission on Maui, with a “religious” fervor. She harvested wild cotton (likely planted by botanist Don Francisco Marin in 1812), then carded and spun it into thread, re-purposing an old wagon wheel for spinning. She rented classroom space in July and, according to author Rossie Moodie Frost*, she and her students made 90

A simple over-under loom weaving technique. photo by CTarleton yards of cloth by the end of the year. In 1837, Miss Brown sent three of her students to the first factory ever built in Kailua-Kona, an ambitious project of Governor Kuakini, which eventually employed 30 Hawaiian

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The Allure of Chasing Rainbows, woven unbalanced twill by Hawaiÿi Island weaver Shannon Mathers. photo by CTarleton

KeOlaMagazine.com | May – June July – August 2020

women. A cotton gin was added, more cotton planted in the islands and the industry grew to the point where Hawai‘i exported hundreds of bales of cotton. What seemed like a tremendous opportunity, however, was overshadowed by the gigantic sugar industry which dominated Hawai‘i’s economy in the late 19th and early 20th centuries. Deeply rooted in the past, the arts of weaving have played, and continue to play, an important role in history, culture, and everyday life. “There is a local teacher who wants us to come into her class and do a demonstration on weaving, not just how to do it, but how the industrial revolution changed everything,” Jill says. “Think about it. The invention of the sewing machine, the whole manufacturing process. The economic and social impacts were huge.” She holds a patterned cotton towel that took her five hours to hand weave. It could be finished

Weaving classes and activities on Hawai‘i Island: Weaving Day at Tūtū’s House First Friday of each month, 1–3pm 64-1032 Mamalahoa Hwy., #305, Kamuela 808.885.6777 Friday Weavers Former Island Yarn and Art Supplies Fridays, 11am–2pm 73-5568 Olowalu St., Kailua-Kona 808.326.2820 Big Island Chapter, Hawai‘i Handweavers’ Hui Meeting, “iWeave It” June 14, 1–4pm North Hawaii Education and Research Center 45-539 Plumeria St., Honoka‘a 808.775.8890

in moments by machine, minus the love and care, the pleasure of it. “I just play,” says Joan, “mostly with silk. I make scarves, Traditionally, every weaver’s loom has its own name. This one shawls, cotton dish towels. Once is “Marie.” photo by CTarleton a year I have a sale and sell it all, and start over again. Weaving is fun. People specialize, but I do plain weave—over under, over under. There’s so much you can do with changing colors, changing threads, different kinds of thread. Sometimes I throw in beads. It’s kind of endless play.” The Hawai‘i Island chapter of the Hawai‘i Handweavers’ Hui provides demonstrations periodically where they exhibit weaving and spinning in various locations, such as Hilo Public Library and Kahilu Theatre in Waimea. In addition, workshops, weaving days, and other activities take place around the island during the year (see above). New members are always welcome. ■

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Oh, Honey! With Recipe for Green Bean Salad with Honey Vinaigrette

Local Foods

By Brittany P. Anderson

The first honeybees arrived on Hawai‘i Island in 1857. They made the journey from California by boat, after several unsuccessful attempts to bring them around South America from New England. Can you imagine sailing aboard a ship with several beehives buzzing below deck? It must have made for an exciting journey. There are over 20,000 known types of bee, crossing every continent except for Antarctica, and their ancestors have existed for over 80 million years. All honeybees fall in the Apis genus, Latin for bee, which has at least 44 honeyproducing sub-varieties. A group of hives is known as an apiary, and a person who tends bees can be referred to as an apiarist, or simply beekeeper. Hawai‘i Islandʻs first honey bee residents were the German black bee, used to pollinate kiawe trees to increase seed production. Kiawe, Prosopis pallida, is a species of mesquite tree native to Ecuador, Columbia, and Peru that was brought to Hawai‘i Island sometime in the late 1820s. Kiawe beans were a staple fodder for the cattle ranches on the arid western shores of the island, so an increased production meant better cattle yields in the unforgiving terrain. It wouldn’t be until 37 years later, in 1894, that the first commercial shipments of honey were exported from Hawai‘i. Shortly thereafter, large apiaries were established across the islands. Kiawe honey was one of the most prized kinds of honey of the time with its creamy texture and white coloration, and is still quite rare today. Lehua honey, made from the nectar of the ‘ōhi‘a lehua tree, gained favor on the mainland and abroad. It too has a thick crystalized texture and light coloration, and is only found in Hawai‘i. The American Sugar Company on Moloka‘i added honey to its list of imports and in 1930 produced nearly 500,000 pounds of honey, earning its spot as the largest producer in the world that year. The industry suffered setbacks as American foulbrood, a deadly bacterial disease that kills off bee brood, wiped out many of the island’s apiaries. The price of honey also drastically dropped making it a less attractive investment for the big companies that controlled most Hawai‘i honey production. Today, a group of dedicated beekeepers on Hawai‘i Island continue producing some of the world’s rarest honey, in addition to regional and varietal specific flavors. Honey flavors are indicative of the flowers they pollinate so every beekeeper has a special taste unique to their hives.

This recipe for Green Bean Salad with Honey Vinaigrette is a great summer side that would do well as part of a Niçoise salad. You might not want to use the coveted kiawe or lehua honey for this recipe. Instead, use a sweet varietal like wilelaiki (Christmas berry), or your nearest local honey for an apiary-totable experience. Green Bean Salad with Honey Vinaigrette 1/2 pound green beans 2–3 small tomatoes, cut in eighths (optional) Vinaigrette 1/2 tsp salt 1/2 cup minced red onion 1/4 cup apple cider vinegar 4 tsp local honey 1/2 tsp coconut oil freshly ground pepper to taste Method Blanche a half pound of fresh green beans and drain in a colander. Place salt, onion, vinegar, honey, oil, and pepper in a bowl and stir. Put green beans and tomatoes in a dish with sides, so they are in an even layer. Drizzle the vinaigrette over the beans and tomatoes, toss lightly to coat. Then cover and marinate on the counter for at least 1 hour or refrigerate overnight. Enjoy!

Paddling for Hope: Derek Park Fundraises for Breast Cancer Education and Early Detection By Karen Rose

he “Prince of Preachers,” Charles Haddon Surgeon said that hope itself is like a star—not to be seen in the sunshine of prosperity, but to be discovered in the night of adversity. Nine years ago, paddler Derek Park made it his goal to share hope and optimism with cancer survivors, all while raising money for Hawai‘i Island patients battling this disease. Today, his organization, Paddling for Hope Foundation, offers breast cancer education and early detection to benefit the residents of Hawai‘i Island. “Nearly 10 years ago, I did a paddling race, and my team and I wanted to donate some money to the American Cancer Society,” said Derek. “It became evident that the money raised here all went to O‘ahu, then they would distribute it out per the population and the needs. We had to get special permission from American Cancer Society to keep the money

KeOlaMagazine.com | May – June July – August 2020

Paddling for Hope wellness ride with Hui Mälama at Reed’s Bay. photo courtesy of Derek Park

here. At that time, I felt that if we raised all the money here, the money should stay here as well. So, six years ago, I founded Paddling for Hope.” Raising Money, Cancer Education, and Early Detection An avid paddler, Derek races every year in the M2M (Maui to Moloka‘i) channel race, as well as the Pa‘a Kaiwi Solo race from Moloka‘i to O‘ahu. During these races, he raises money by racing with “honor name” stickers on his canoe, in memory of cancer survivors. Because his mother is a 35-plus year survivor of breast cancer, Derek chose to raise money specifically for that purpose. “After watching my mom go through all she did, it was important to me that the money raised go to breast cancer [education],” he said. “It’s something that is close to my heart.”

When he decided to research how he could help, Derek met with his friend, Dr. Jan Levitan, from Hāmākua Health Care Center. The doctor explained the islandʻs biggest needs. “I learned from Jan that if we educate people and increase early detection, treatment is significantly more successful,” Derek explained. “The technology and understanding of how to do biopsies and lumpectomies has improved so much, that fighting cancer in its early stages is a lot more successful than waiting for it to spread into your lymph nodes where it’s more difficult to eradicate. In cancer’s later stages, patients must go through more invasive treatments that can be destructive to the immune system.” According to the University of Hawai‘i Cancer Center’s Hawai‘i Tumor Registry, more than 1,000 women are diagnosed with invasive breast cancer in Hawai‘i each year. Another 300 are diagnosed with early stage tumors that have not yet invaded surrounding tissues in the body. According to the same registry, breast cancer takes the lives of more than 100 women each year in Hawai‘i.

Offering Water Adventures to Cancer Survivors In addition to his racing canoe, Derek also has a special canoe he uses for community events, and to provide cancer survivors and supporters a healing, positive paddling experience. Last year, he partnered with Hui Mālama Ola Nā ‘Ōiwi for two cancer support events, and took cancer survivors out on the water free of charge. “I have a three-man canoe that I rig up, and itʻs also a sailing canoe,” he explained. “Iʻll set up trampolines on each side, then do paddle-out events. I teamed up with Hui Mālama

Derek at Huggo’s 50th birthday party. photo courtesy of Derek Park

KeOlaMagazine.com | May – June July – August 2020

Honor Names and Paddling for a Cause Derek is currently organizing Paddling for Hope’s next fundraiser, which he likens to Susan G. Komen’s Race for the Cure, the 5K runs organized throughout the United States. He decided to do something similar to the names the race participants wear on their backs in honor, or in memory of, a cancer survivor, except he is doing it by adding names to his one-man canoe. “I liked the idea of people wearing the names on their backs because it gives the event more meaning and adds personal purpose,” said Derek. “So, I did something similar, but I call it Honor Names. Anyone can pay $10, and that $10 buys you a name on my canoe. I add the names all over the canoe, and then paddle across the Pailolo Channel in the M2M Race. I also do a solo crossing of the Kaiwi Channel on this canoe.” The Pailolo channel race is from Mauiʻs Fleming Beach Park to Kaunakakai, Moloka‘i. This is a 26-mile open ocean race for serious paddlers that boasts some of the best downwind surfing conditions in the world. So far this year, Derek has 286 names on his canoe. Every year he strips off all the previous names and adds an entirely new batch to his canoe. In 2019, the nonprofit organization raised and donated $6,000 to Hawai‘i Island nonprofits. “This year, the money got shared among Kona Community Hospital’s Cancer Support Center, Hilo Medical Center’s Cancer Support Center, and Hui Mālama’s cancer support group,” said Derek. “I went to Honua Kai’s Cancer Support Center, as well, and donated $3,000, $2,000 of which stays in Honua Kai, and $1,000 of it is given to their satellite office in North Kohala.” Next year Derek plans to incorporate support groups in the Nā‘ālehu and South Point areas, to distribute donations for early detection and education. His goal is to distribute the funding in an equitable way that doesn’t leave out the smaller satellite communities. Paddling for Hope is the only private nonprofit in the state of Hawai‘i that is focused on early detection and education for breast cancer, and for that, he is very proud. “It’s an honor to be the only private nonprofit doing what we are doing,” said Derek. “When somebody donates $10, 100 percent of that is donated; nothing gets held back for administrative purposes. Nothing gets held back to make the sticker, either. If there are any expenses accrued, I will either

pay for them personally or it comes out of the sponsorship donations that corporate companies donate to cover the expense of my races. There is also a Paddling for Hope clothing line, and 100 percent of the profits from the sales of those items gets donated as well.”

and Kona Community Hospital to take patients out in the canoe to Kahuli Bay. It’s a lot of fun for everyone and allows me to share with others why I love paddling so much. We’ve also done paddle-outs in Hilo Bay, Reed’s Bay and Keauhou Bay.” Derek’s goal for the foundation is to purchase two fourperson canoes, rigged as an eight-man double hull. With this extra room, he hopes to organize many more events. Today, Derek makes himself available for visitors and residents who 29 call him, requesting to participate.

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Paddling for Hope and the Näpali challenge on Kauaÿi. photo courtesy of Derek Park

KeOlaMagazine.com | May – June July – August 2020

“Yesterday I received a call from a community member about a couple who was visiting the island,” he said. “The wife had beat breast cancer and they requested to go out on the canoe. I love to make those kinds of things happen.” As the charity grows, Derek is ever more grateful for the symbiotic relationship between the foundation and the community. It’s important to him that the money and support received by members of the community is well spent, with all

Derek before the Paÿa solo. photo courtesy of Derek Park

• Over 8,000+ customers installed • # 1 Locally Owned Company • No payments/interest for 2 Years • TESLA Powerwall Baaery! Call 808.640.8177 for a free solar quote of the proceeds going directly to assist breast cancer education and early detection. “I love that the charity is growing,” said Derek. “I want it to grow at a medium pace. I donʻt want to push it too hard and fast. It’s great when people find out about the charity and have questions. If people want to support it, the best way is to purchase an honor name for my canoe. It’s a really cool thing when you see the one-man canoe full of names. It’s a heartwarming tribute to honor anyone who has ever dealt with cancer.”

For more information: Facebook.com/PaddlingForHope Instagram@PaddlingForHope

KeOlaMagazine.com | May – June July – August 2020

Honor a Loved One Derek knows where every person’s name is on his canoe. He often gets stopped in parking lots with his canoe on top of his truck to get questioned about the stickers. “People will approach me and ask about the names,” he explained. “For example, I had someone visiting from North Dakota who pulled out $20 and asked me to put his mom and brother’s name on the canoe, as well. Afterward, I’ll take photos of it and send it to their family. For those on island, I’ll bring the canoe to them so they can see their loved one’s name they had put on the canoe.” Anyone can honor a loved one who has battled or survived cancer by contacting Derek for more informartion on submissions. For $10, a sticker with the name of the person being honored will be placed on Derekʻs canoe prior to him racing across the two channels. Every October, Derek donates 100 percent of the profits back to the Hawai‘i Islandʻs cancer education programs. ■

KeOlaMagazine.com | May – June July – August 2020

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Hamakua Jodo Mission, A Beacon for Peace By Jan Wizinowich

ike a guardian spirit, the Hāmākua Jodo Mission (HJM) sits on a slope above the old plantation community of Pā‘auhau, backed by the gravestones of the many generations of members who attended and contributed to the temple. With a one-time congregation of more than 600 worshipers, it is now sustained with just a handful of elderly members who endeavor to maintain the spirit and history of the Japanese in Hawai‘i. Origins In 1868, the first Japanese immigrants arrived in Hawai‘i to face harsh conditions in an unfamiliar land. They were forced to labor for long hours in sugarcane fields, with no traditional social structures such as the religious practices they left behind. This led to an untenable situation. The next group of Japanese workers, who arrived in 1885, were under government contracts between Hawai‘i and Japan, and were promised better conditions. Instead, the harsh treatment by the field bosses continued. Sometime in 1894, the Imperial Consulate General of Japan, Hisashi Shimamura, paid a visit to the Hāmākua Coast. During that visit, members of the Japanese

immigrant community suggested the idea of building a home temple in Hāmākua. Mr. Shimamura was so pleased with the idea that he pledged $300 to get construction underway. Temple founding members Tanikichi Fujitani and Shoichi Hino were instrumental in securing the pledge from the Japanese Consulate. The rest of the $3,000 construction costs were raised by Mr. Fujitani and the founding Reverend Gakuo Okabe, who visited house-to-house, collecting donations. “When times were tough, they only ate bananas to survive in their tireless effort to obtain donations,” said youngest active temple member Sandy Takahashi. “Reverend Okabe was known to travel around carrying an Amida Buddha statue on his back. He would tirelessly walk around with it, spreading the teachings of Buddhism and raising funds to build a home temple,” she added. Opened in 1896, the original temple, which was named the Hāmākua Bukkyo Kaido (Hāmākua Buddhist Temple), renamed the HJM in 1951, was located in Pā‘auhau Mauka, the geographic center of the five sugar plantations. The oldest (Left) The 1918 dedication ceremony for the newly built temple, which was started in 1916. photo courtesy of Hämäkua Heritage Center

(Below) Eizuchi Higaki, who was a plantation machinist, along with Mr. Tanaka and an unknown carpenter came to the temple every day after work for two years until the transoms were finished. photo courtesy of Sarah Anderson

The Hämäkua Jodo Mission temple sits high above the Päÿauhau village. photo courtesty of Sarah Anderson

KeOlaMagazine.com | May – June July – August 2020

Japanese sanctioned Buddhist temple in Hawai‘i and possibly the United States, the 24-by-36-foot structure stood on an acre of land, surrounded by sugarcane fields, with another acre designated for the cemetery. When the current temple was built, this original building was converted into a kitchen and dining hall, which is still in use today.

Temple Reborn In 1909, Reverend Ryoyu Yoshida became the fourth minister to serve at the HJM. It was under his leadership that a new temple, Konpondō (main prayer hall), was completed in 1918, under the direction of Umekichi Tanaka. Mr. Tanaka had moved back to Pā‘auhau in 1916, and had been trained by his father as a miyadaiku. Miyadaiku carpenters only build shrines and temples, use no nails or metal of any kind and are renowned for their elaborate wooden joints. The buildings they construct are among the world’s longest surviving wooden structures, which is certainly borne out by the 102-year-old HJM temple. The Pā‘auhau plantation donated the materials, built a road to the site, and helped haul materials there; however, the construction was a community project with more than 270 people directly involved. With the efforts of several carpenters under the supervision of Mr. Tanaka, and only working weekends, the construction took two years. The plantation also gave permission for the removal of four koa trees from the forest, located at the back of the property. These were used to carve the two distinctive transoms guarding the altar and the altar piece itself. When the temple was finished, a lean-to was created for the koa logs. Eizuchi Higaki, whose youngest son George is a current temple member, was a plantation machinist. Mr. Higaki, along with Mr. Tanaka and another unknown carpenter, Church President Masa Nishimori, and members Suye Kawashima, Sandy Takahashi, and George Higaki, whose father carved the koa transom. photo by Jan Wizinowich

came to the temple every day after work for two years until the carving was finished. Each hand-carved transom depicts a fierce dragon aswirl amidst an elaborate wave design, symbolizing a close connection to the oceanic world. The temple sanctuary has koa pillars and beams along with sliding panels that can be opened, inviting the natural world to join the service. Most of the deceased temple members’ names are recorded on ihai memorial tablets (spirit tablets). These are carved with the person’s name and a new name given to the person who has passed. The tablets sit on koa shelves in the inner sanctuary. The Amida Buddha statue and ritual objects such as the mokugyo drums, the bonshō bell, and the two golden lotus arrangements, came directly from Japan. The mokugyo is a traditional drum that is sounded along with chanting, and during meditation to encourage wakefulness. The Jodo Mission’s bonshō bell, which dates from 1900, is suspended from the ceiling of the veranda. It is made of bronze and struck with a wooden mallet, producing a distinct, resonating sound that is believed to be heard in the underworld. Two stunning golden lotus sculptures flank the entrance to the altar area. Reverend Kogan Ekuan’s daughter, Yokshiko, remembers her father unpacking and assembling the golden lotus arrangements. “I remember thinking, ‘How beautiful,’” said Yoshiko.

Longest-Serving Reverend Kogan Ekuan Reverend Kogan Ekuan served the community from 1937– 1977 and is remembered fondly. However, his years of service were interrupted by a twist of fate that highlights the ongoing connection between Hāmākua and Japan, despite world events. Reverend Ekuan was in Japan tending to his ailing mother when the US entered World War II. Earlier in 1941, his wife Kimie had died while giving birth to twin daughters, along with

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A Community Center and History Keeper The HJM served as a place of worship where immigrants could gather as a community and take refuge from the rigors of plantation work. Along with regular services, the temple offered Sunday school, kabuki-type plays, music, and traditional crafts such as shishu (Japanese embroidery) taught by Mrs. Yoshida (Reverend Yoshida’s wife). The temple’s cemetery along with the stories of the many generations of temple members, tells the history of an island community that spans across the Pacific. One of the first graves, once the temple was built, was that of Katsu Goto, who arrived in 1885. Mr. Goto became a spokesman in a labor dispute between Japanese workers and the plantation, and in October 1889 was found lynched from a pole on main street Honoka‘a. When the temple was finished, members transferred his remains to the temple cemetery and erected a large gravestone. Revered in his hometown of Oiso, Japan, the municipal museum there has created a memorial exhibit honoring Mr. Goto. The cemetery has an array of headstones ranging from carved marble, to carefully arranged boulders, to simple stones. The stones are the resting place of unknown immigrants whose families had perhaps returned to Japan. It is also the resting place for Japanese laborers whose graves were transferred from nearby Kūka‘iau.

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one of the twins. Reverend Ekuan’s mother-in-law, Tome Oda, came from O‘ahu to take care of her newborn granddaugther and the Ekuanʻs other two young sons. During the time Reverend Ekuan was away, Tome kept the mission open as a community center and gathering place. Upon his return in 1948, services and temple activities resumed. Daughter Yoshiko remembered, “When my father came back, he started a Sunday school; we went down makai for services. At the temple we had the Hana-matsuri service to celebrate the birth of Buddha. And what was really cute was my father made a play, a shibai, where the Sunday school children would be the actors and actresses.”

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Interior of the Hämäkua Jodo Mission temple. photo courtesty of Sarah Anderson who do an annual work day to prepare for Obon, church president Masa Nishimori is a constant presence. “Trimming trees, hauling filled wheelbarrows clear across the property and back, mowing the yard, raking leaves, and doing various handyman work are just some of the things he does, so that the property is kept in good condition,” commented Sandy. The future of HJM is uncertain, but it continues to be a regular destination for both Japanese and mainland visitors. The remaining members hope to see it preserved for future generations as a center for learning and remembrance. Every Buddhist temple contains a munafuda (dedication board), which is placed somewhere high in the rafters. Like a time capsule, along with a recording of the construction details including names of the people and funders, the Hāmākua Jodo Missionʻs munafuda also contains a prayer for the future: M ay there be harmony below the heavens with the sun and moon shining brightly. M ay the wind and rain be timely and disasters and calamities not arise. M ay nations be bountiful, people be safe, and armies and weapons not used. L et us revere virtue and humanity and cultivate respect and humility. ■

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North Kohala Rocks with KNKR Radio! By Eila Algood

School reunion, followed by many daily music and talk shows. The current tally of live weekly shows is 30 and there are 15 encore presentations. KNKR is a listener supported, non-commercial, nonprofit community radio station in partnership with Kohala High and Middle schools. It broadcasts exclusively to North Kohala, although there have been a few Maui residents across the ‘Alenuihāhā Channel who have said they’ve tuned in on their radios. As many people affirm, it is clear that KNKR is an asset to North Kohala. Its presence has created a deeper experience of connection within the community. The core KNKR ‘ohana consists of Bob Martin, general manager; Cecily Deville, volunteer coordinator and training manager; David Ebrahimi, program manager; and Robert Shoup, sound engineer. The mission of KNKR is to: • provide programming that attracts sufficient listener support to keep KNKR on the air. • reflect the North Kohala community by offering programming by a wide variety of local volunteers. • present local emergency broadcasting for the community. • promote and broadcast local community activities and events.Encourage cultural diversity and provide a platform for creative expression. A Day in the Life of KNKR Let’s take a ride through a typical day of programming. Wake up your Monday with Uncle David’s Big Show by David Ebrahimi. David has been entertaining Kohala since the station went live with jazz, pop, world, Hawaiian, and, well, whatever David wants to play. He shared, “It’s all about bringing diverse music to the community and making the morning easy for

KeOlaMagazine.com | May – June July – August 2020

n the windy northern tip of Hawai‘i Island is the district of North Kohala. Whether you approach Hawi-town along the coast or over Kohala Mountain, once you’re within a few miles you’ll want to tune into 96.1 FM—KNKR-LP, North Kohala’s community radio station. KNKR (LP stands for low power) offers a wonderful array of programming. You may hear a duet of Louie Armstrong and Ella Fitzgerald, Hawaiian falsetto Raiatea Helm, a country tune by Dolly Parton, a bit of Bob Marley, a talk show, or other special broadcasts. The shows and tunes change with the Kohala winds. In general, community radio operates as a not-for-profit organization designed to serve a specific geographic area and group of people with relevant content often overlooked by commercial and public radio. KNKR was prompted by the 2006 Hawai‘i Island earthquake, when retired businessman Bob Martin and Dr. Alan Thal had an idea for a local low-power community radio station. The two men recognized a need in their community to be able to communicate in emergency situations. With the help of an attorney, they applied to the Federal Communications Commission (FCC); however, their efforts failed because there were 88 other applications for FCC funding in Hawai‘i at that time. Not thwarted by their initial rejection, Bob and Alan once again began the application process in 2013 along with John Sullivan, David Ebrahimi, and Karl Toubman. Failure became their teacher—they were able to create a perfect application— which led to them receiving approval to proceed. They were elated! For the next two years, many volunteers contributed their time, expertise, and money to help KNKR go live. North Kohala’s own community radio station had its first broadcast in July 2015. The initial broadcast was remote from a Kohala High

37 KNKR-LP volunteers. photo courtesy of Erin Pajimola

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listeners.” Then comes Tani’s World by Tani Waipa. Tani is a talented musician—it’s great to have her at the station sharing her favorite island-style tunes. Later, hosts Kelly Hyde and Devin Longfellow stroll in for Revolution Radio, “music with a message.” They have fun segments bantering together, in between reggae, folk, hip-hop, and spoken word. Devin shared, “I bring my passion for the empowerment of children and women to the show,” while Kelly (also known as Ka‘ahele) is a singer, songwriter, and musician who said she “believes music can bring about positive change in our turbulent world.” Up next is Women’s Voices by this writer, Eila Algood,

Guests musicians of Mystical Joyride on Women’s Voices. photo by Eila Algood offering songs and spoken words by female voices from Kohala and around the world. I’m committed to continuing this show until half of all songs played on commercial radio are by women. The evening shows begin with Healing Consciousness, hosted by April Lee who discusses the many facets of spirit. While still floating in the ethers, Martini Mondays follows with host Pamela Huggins who said, “Music has been speaking to me my whole life and when I come to KNKR, I get to share it. I find it to be a powerful anti-depressant.” Pamela also does Friday evening’s Plush Lounge. The programming is as varied as the imagination and lives of the DJs and hosts. There are even two bilingual Filipino music shows: Pinay’s Favorite Hits with DJ Analisa Marcom, who

shares Filipino singers along with American 1980s love songs. Analisa speaks English and Tagalog throughout her lively show. Also, Bruce Kelly plays beautiful love songs on Love Drive. Their ability to switch from English to their native language is impressive as is their individual music selection. Cosmic Cowgirl has mixed genres of Americana stemming from the southern US and Gulf Coast regions. Cecily DeVille created the show in 2015 and is on the air multiple days a week along with her Aloha Country show offering up Hawaiian and country sounds. Cecily also hosts the Goldstar Listening Library. Michael’s Mix entertains listeners with blues, country, jazz, and rock by DJ Michael Foust. Musician Mila Polevia shares stories and island style music on Mila’s Lunch Wagon while Music Magazine by DJ Kathie Babben shares her love of music combined with a love of vegetarian cooking. “I love being on the radio playing music and introducing people to new ways of eating,” Kathie said. The weekend is filled with encore presentations with the exception of two live shows playing blues, rock, and jazz: Funkle Greg by Greg Johnson and Riding Home with Karl Toubman who adds country and Hawaiian to the mix. Then there are talk shows: Kukakuka with Kalani, by host Jeff Coakly, discusses topics relevant to the community. Holly Algood hosts Tūtūs Talkstory, an interview hour with older women sharing their wisdom and life stories. Holly said, “There are so few opportunities to hear our elders on the radio, especially female elders, and we have so much to learn from them.” Lisa Ebrahimi and Josh Alt host a talk and music show,

Kumu Hope Keawe with Hälau. photo by Eila Algood Working Hard/Hardly Working, complete with local news and conversation. Donovan and Sammi Aiona greet other volunteers with smiles and hugs as if they were family each time they enter the studio to do their reggae show, Jah Works. Over the years they’ve brought students from the elementary school where students are taught how to record station identifications, providing the children with an introduction to radio broadcasting. Songs in the Key of G by Ernesto Hernandez spins songs for the soul while on Free Form Radio by Jim Pedersen, any style of music goes. There’s even the 1950s Doo Wop show by Tom “Terrific” Knowles. A few new shows came on the air in February: Intuitive Talk Story with hosts Michal Anna Carrillo and Eila Algood, Return to

KeOlaMagazine.com | May – June July – August 2020

the Library with Bobby Hoyt, and Surfing Cowboy with Josh Alt. With the option to stream the radio station on the web, many DJs report having listeners from other parts of Hawai‘i, North and South America, Middle East, Europe, Africa, and Asia. Many interesting and valuable programs over the past five years have included: • t alk show on environmentally-friendly practices and ideas with weekly guests. •S unday call-in show about health issues with a medical doctor and a naturopathic doctor. • t alk show with Kohala residents invited to have conversations on-air. •b ipartisan group discussions of local politics and issues pertaining to North Kohala. • r egular play-by-play coverage of Kohala schools’ sporting events. • fishing talk show. • s pecial broadcasts have included: author readings by Hawai‘i Writers Guild members at North Kohala Public Library, interviews with politicians, Filipino Festival. Looking forward, KNKR has a vision for continued growth in listenership and programming with more volunteers, DJs, and hosts. Volunteer Coordinator Cecily Deville says, “If youʻd like to be involved, letʻs get in touch!” Tune in to KNKR-LP at 96.1 FM while in North Kohala. Stream live at KNKR.org or RadioFreeAmerica.com (which also offers an archive of all shows for two weeks after live broadcast). In March 2020, the radio station was presented with a new challenge as the seriousness of the coronavirus pandemic

Pinay’s Favorite Hits. photo courtesy of Cecily DeVille made its way to Hawai‘i. They decided to cease all live shows and, instead, broadcast encore presentations that had been recorded over the past year. Each morning one assigned person went into the on-air studio to set up the shows for the day on the computer. There was an 8am live Hawai‘i Island news update, which replayed at noon, then another live update happened at 5pm, which was aired again at 10pm. At the writing this article, KNKR was researching a way for eager DJs to record their shows at home and send via the Internet to the station. Talk shows are available for replay as podcasts on Spotify, Radio Republic, and iTunes. ■ For more information: KNKR.com Facebook.com/NorthKohalaRadio

CORALS Living Rainforests of the Sea By Stefan Verbano

Clusters of coral showing signs of bleaching, as colorful beneficial algae are expelled from cavities within the coral when ocean surface temperatures rise. photo courtesy of Hawaiÿi DLNR, Division of Aquatic Resources

Surrounding the islands, inhabiting a narrow column of warm water—with destructive pounding surf above and inhospitable cold darkness below—the reef-building corals cling to life. Marine scientists call them the “rainforests of the sea,” named so for the elaborate technicolor ocean floor landscapes they gradually create. These landscapes provide food and habitat for countless underwater species: forage for feeding fish, scuttling grounds for crabs, hiding places for eels, firm footing for mollusks. Some researchers suggest 25 percent of all organisms in the world’s oceans directly depend on reef ecosystems for survival. Darting tropical fish color these Hawaiian underwater rainforests most strikingly, but on second glance the corals themselves are adorned in brilliant greens, golds, browns, and silvers, too, colored by microscopic algae living within their delicate, porous superstructures—structures that grow to resemble everything from grains of rice to antlers, heads

KeOlaMagazine.com | May – June July – August 2020

Hanau ka ‘Uku-ko‘ako‘a, hanau kana, he ‘Ako‘ako‘a, puka “Born was the coral polyp, born was the coral, came forth” —Kumulipo, Hawaiian Chant of Creation, line 15

of cauliflower to patterns of lace, cups, fingers, brains, and mushrooms. The formations are built by tiny jellyfish-like organisms called “polyps,” which spend their days within hollow cavities inside the coral matrix, extending tentacles out at night to capture plankton floating by in the water. This method of feeding supplies the polyps with only about 20 percent of their necessary nutrients; the other 80 percent comes from a symbiotic relationship they have forged with the colorful algae growing on the coral’s surface. Coral provides a safe home for algae, while algae photosynthesizes the sunlight in the shallows, creating oxygen and glucose to feed the polyps. Reef-building corals are only found in shallower waters for this reason; without enough sunlight, the algae can’t survive and complete the symbiotic cycle. The byproducts of this arrangement—excreted as waste by the polyp—are thin layers of calcium carbonate. These are their skeletons, which build upon one another over numerous generations to create the stone-like consistency of coral. Over the course of decades, even centuries, of building their colorful underwater swaths, coral reefs become the essential link in a 41 food chain which supports all life in the shallows and beyond,

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Thank you everyone for all you do in these challenging times. Share Aloha and make your world beautiful.

Voyaging Table

Dr. Susanne Otero, Legacy Reef Foundation’s project director and co-founder, examines a tank of newly transplanted cauliflower coral fragments inside the foundation’s coral propagation lab, within the Hawaiÿi Ocean Science and Technology Park along Hawaiÿi Island’s Kona coast. photo by Stefan Verbano including here in Hawai‘i, where humans living in coastal communities have depended on sea life as an indispensable source of protein since the time of the first Polynesian settlers. Ancient Hawaiians recognized the important role corals played in sustaining lifeforms living both in and out of the water. The Kumulipo, their more than 2000-line creation chant recited from memory, names the ko‘a, or coral polyp, as the first organism created after the Earth was brought out of cosmic darkness, followed by urchins, sea stars, sea cucumbers, and then every other strata of ocean life in everincreasing complexity. In their maritime culture, the ancients went to great lengths to be stewards of the reefs, knowing the many types of fish that had found such a fond place in their imu (Hawaiian underground earthen ovens) depended on corals as building blocks of life in the underwater world. Modern ocean science has come to the same conclusion: that the health of the corals, and thus the health of the reefs, dictate the health of every species which relies on them. This fact has researchers treating corals as a type of “canary in the coal mine” for coastal sea life ecosystems, whose early peril warns of worse things to come. The Beginning of Change Not long ago, the island chainʻs reefs, especially those surrounding Hawai‘i Island, were doing relatively well. But a boom in coastal development along shorelines, in tandem with slowly but steadily increasing global ocean surface temperatures caused by greenhouse gas emissions, wastewater pollution, toxic sunscreen use, boat anchoring and groundings, careless ocean-goers, and overfishing, are all threatening the viability of the state’s coral populations. Fall 2014 marked the beginning of a three-year period of significantly heightened ocean surface temperatures in the state, setting off a process known to scientists as “coral bleaching,” where warmer water turns the symbiotic relationship between the two organisms toxic, causing the coral polyps to expel the colorful algae, rendering their vacated stony structures ghostly white. At this stage, the coral is sick but not dead, and with a prompt return to normal water temperature it can recover and once again accommodate algae, attract fish, grow, and multiply. But should a fall heat wave be drawn out, with weeks turning into months, the

algae won’t return to bleached coral and the polyps will die of starvation. Roughly 60 percent of Hawai‘iʻs corals were stricken during this massive bleaching episode—30 percent eventually died. The archipelago is home to 80 percent of coral reef populations in the US, split between the inhabited main islands and the Northwestern Hawaiian Islands, including Papahānaumokuākea Marine National Monument. The National Oceanic and Atmospheric Administration (NOAA) predicted a second massive bleaching event would occur last fall, in 2019, but it was fortunately less severe than first feared. Still, on Hawai‘i Island, according to the Hawai‘i Department of Land and Natural Resources (DLNR), the majority of reef sites surveyed by their Division of Aquatic Resources (DAR) team that season showed some level of bleaching, with the most severely affected areas located along the Kona coast, where 40 percent or more of live coral colonies at many sites were found bleached. The DAR team observed rice and cauliflower coral species to be hardest hit. Coral bleaching is a global problem, with seasonal tropical ocean heat waves compromising reef health and thus the biodiversity, food security, and economic stability of coastal communities worldwide. It has cropped up as one of the many consequences of human-caused climate change, where increased carbon emissions into the atmosphere create a greenhouse effect, trapping solar energy and excessively warming the planet’s surface, throwing off weather patterns, causing sea levels to rise, and creating more violent and unpredictable storms. Reefs serve as breakwaters for big ocean swells, tempering the power of waves before they reach shore,

Extensive coral bleaching intermixed with still-healthy coral off of Maui County’s Molokini Crater islet during the peak of the fall 2015 coral bleaching event. photo courtesy of Darla White, Maui DLNR, Division of Aquatic Resources

and help slow the speed of moving water during tidal changes. Looking to the Future Dr. Susanne Otero walks up the steps and through the swinging door of the screened-in hale (house) behind her office to check on the coral. This is Legacy Reef Foundationʻs Coral Propagation Lab, and Susanne is the organizationʻs co-founder and project director, assisting the foundation in distributing low-tech, self-contained coral propagation systems to coastal communities on multiple continents experiencing the ill effects of reef loss. Inside the 40-gallon aquariums lining the labʻs wall, tiny pieces of cauliflower and rice coral cling to neatly arranged tile and concrete blocks. The miniature specimens are created through a process called “coral micro-fragmentation,” where

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larger salvaged corals are broken into smaller, uniform pieces and adhered to useful substrates to grow in a type of nursery. These coral fragments will grow many times faster than if still in one piece, gradually filling in voids and fusing into one continuous organism after the “cuttings” recognize they all share the same DNA. Micro-fragmentation as a propagation technique has the potential, Susanne says, to create a large volume of coral in a relatively short amount of time. “You take a little piece from the ocean and then you bring it back in two years,” Susanne says, “and by then it will be the size it would have been in 20 years normally, ready to reproduce. That is the hope.” The coral lab hosts visitors from many walks of life: students on field trips, casual tourists on vacation, ocean lovers, divers, and snorkelers of every stripe—even business groups. In most cases, Susanne says, visitors arrive at the lab, located inside the Hawai‘i Ocean Science and Technology Park along Hawai‘i Island’s Kona coast, not knowing much about coral, and leave with a newfound interest and appreciation for the animal that looks like a rock. “They love the idea of how they reproduce—just cut off a little piece!” the director says. “They recognize that thatʻs one of the things that represents part of the solution—buying time for nature to replenish itself. They are always surprised that they might be stepping on something thatʻs alive.” Susanne views the issue of reef loss through the lens of her public health background. Without viable reefs, she says, the countless communities of people who rely on them will become as vulnerable and unhealthy as the coral itself. “Theyʻre going to have trouble feeding themselves,” she says. “Weʻre going to lose more fishermen, and theyʻre going to start migrating. Whenever people are taking off from their culture and their homes and their support systems, it really is a recipe for disaster. So, I look at it as a public health problem.” In May 2019, Heather Howard founded the Coral Reef Education Institute in Kona after selling her fancy new truck, buying a cheap clunker, and using what was left for seed money to cover the instituteʻs earliest expenses: computer, website, business cards, nonprofit status paperwork. “We basically started by just rubbing two pennies together,” Heather says. “Everything has been out of our own pockets. We hope that will change of course...the further down the road we get, the more it evolves.” Currently, the institute is engaged in training divers in identifying and counting corals, mentoring high school students interested in ocean conservation, raising money for scholarships, and sending teams to popular West Hawai‘i beaches to help swimmers exchange toxic sunscreen for reefsafe varieties. Heather dreams of building the Pacific Ocean Science Center, a world-class coral education, research, and conservation facility along the Kona coast where scientists, students, and the general public can work together to mitigate human impacts on the reefs. “The more we learn about what’s going on with the corals,” Heather says, “the more we learn that the problems corals face are human-based. We have to change human behavior... because if we continue on the path we’re on, even planting corals might not be that successful.” ■ For more information: OneCoralReef.org LegacyReefFoundation.org

Series 3 on Managing with Aloha, Bringing Hawai‘i’s Universal Values to the Art of Business Fifth in Series Three on Managing with Aloha

The Role of the Manager: edesigned and Reconstructed R B R S y

osa

Managing with aloha

Are JPDs a traditional tool in your company? Keep using them IF you continually revise them to ensure they’re relevant and useful. JPDs should be personalized to the mission of your company and to a person’s Ho‘ohana when seen as their professional mission statement. Therefore, I can’t propose a draft for you. Yet I can give you the guideline we share. Use this in your Key 4 reconstruction as goal-setting: is this result what your JPD would achieve? “Managers must own workplace engagement and be comfortable with facilitating change, creative innovation, and development of the human asset. The ‘reconstruction’ we require in Managing with Aloha is so this expectation of the Alaka‘i Manager is both reasonable and possible, and so they can channel human energies as a company’s most important resource, they themselves having the time, energy, and support needed in doing so. Convention may work against us, where historically, people have become managers for reasons other than the right one: Managing people is their calling. A new role for managers must be explicitly valued by the entire organization as critically important to their better success: Managers can then have personal bandwidth for assuming a newly reinvented role, one which delivers better results both personally and professionally, and in their stewardship of the workplace culture.” Managers should be creative initiators, coaches and culture stewards. Realistically, they may become babysitters, stopgaps and emergency valves at times, but those become very rare and short-term conditions in reconstruction—even ‘temporary’ and ‘acting’ is unreasonable and unhealthy in workplace cultures managed with Aloha—correct course and/or fill your vacancies quickly. The role of the manager has become crucial in our time, when Human Resources is no longer the manager’s stopgap, emergency valve, or resource, primarily focused as they are on laws, regulations, benefit costs, and negotiation. I say, bring it on. I have the utmost faith in Alaka‘i Managers as those who can do ‘human resources’ better than it has ever been done before. The Role of the Manager Reconstructed is Key Concept 4 in the Managing with Aloha philosophy: we reimagine, redesign, and reconstruct the ROLE managers play in the optimal business model for your company. Next issue, we’ll talk about Key Concept 5: Language of Intention. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

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People ask me, “What’s a good jumpstart to help me deep dive into a Managing with Aloha practice?” First, read the book for an overall picture of what the philosophy is all about, and read it with purpose: what are your goals? Freshly articulate them. Second, identify your core values personally and professionally: understand which beliefs and convictions propel you forward, for they drive your life and your work when pursuing Ho‘ohana, the value of worthwhile work. Identifying your values is the first step to harnessing their energy; get them to help you feel the work you do is for you and on you as your ethos. Third, start doing the Daily 5 Minutes immediately, the conversational practice described in chapter 11 of the book on ‘Ike loa, the value of learning. It will help you become a “good receiver,” practicing no-agenda listening as it keeps you connected to the practical relevancy of your everyday work and essential relationships. If you do not have direct reports, do it with your peers. I cannot overstate how useful this is: your Daily 5 Minutes helps you prioritize and “keep it real” with right task/right time focus, illuminating the action steps you need to take each day thereafter as it simultaneously strengthens your partnerships. Finally, commit to Key Concept 4, The Role of the Manager Reconstructed, for that’s where the magic of true “with Aloha” management for the better happens. This is the key which opens the door to all 9 concepts. Let’s examine this part of the Managing with Aloha jumpstart more fully. Can you guess who has the worst, most useless job position description (JPD) in every company universally, and no matter what the mission and vision of that company may be? Managers. They often have no JPD at all, for managers are largely expected to write it for themselves—to show up where needed, and then be there as stopgap or emergency valve. They babysit—everyone cringes when I use that word, yet if they’re honest, they’ll admit that’s what they mostly do. They aspire to leadership by neglecting its foundation in good management. Therefore, when we at Say Leadership Coaching take on a coaching project, we initiate the same jumpstart just recommended to you: We identify that company’s mission and vision; we identify the core values we need to align all our recommendations and actions with; we teach and coach the Daily 5 Minutes to involve people immediately with difference-making participation; and we take steps to reimagine, redesign, reconstruct and then implement a renewed role for all managers in the company as quickly and as comprehensively as possible.

Mälama Mokupuni: Caring for Our Island Environment

NURSING ALONG a coral nursery

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By Rachel Laderman

How do you create an ocean in an aquarium? This is the challenge Michelle Nason took on in 2017, when she was a student in the University of Hawai‘i at Hilo’s Marine Science Department and Marine Option Program (MOP), within the College of Natural and Health Sciences. She wanted to be able to preserve and regrow damaged corals broken off from their home substrate. Corals, which form the reefs that protect our shorelines, certainly look like tough creatures—many people mistake them for rocks. Although supported by a rock-like skeleton of their own making, corals are colonies of thousands of living polyps, which are quite sensitive to ocean conditions. Coral populations around Hawai‘i Island suffered serious declines from the unprecedented coral bleaching of 2015. With continued warming oceans and stresses such as sediment and wastewater runoff, they have not recovered. As the corals die off, the hundreds of fish and invertebrates dependent on the reef habitat diminish as well. Coral can also be damaged by anchors that drag through the reef and by severe storms. Coral are very specific to their location—if a broken fragment lands somewhere rocky and at the right depth, it can regrow. If it lands in sand, the polyps get smothered and die.

Hands-on Training In 2017, Michelle and UHH MOP staff coordinator Matt Connelly began setting up a coral nursery to provide students an opportunity to learn how to grow coral in captivity. The UHH MOP Coral Nursery is housed in Keaukaha, at the Pacific Aquaculture and Coastal Resources Center (part of the UH College of Agriculture, Forestry, and Natural Resource Management). In addition to mentoring students, the nursery aims to provide local coral specimens for restoration and research. “Students learn how to raise and propagate coral in the delicately balanced conditions of a tank. These skills are 46 very valuable for careers continuing this work in Hawai‘i

and elsewhere,” says Matt. More than 50 students have participated, with 15 who volunteer regularly. “Students learn the whole system: the reasons why there is a chiller on the tank, how the plumbing works,” says Michelle, now the lead aquarium technician. Before the project could begin, the team needed to apply for a collection permit. It is illegal to collect coral and “live rock,” which is rock covered in coralline algae and other species. “When taking coral off the reef or beach, even if it is dead, you are depleting an ocean resource. Coral releases calcium into the ocean, provides hidey holes for animals, and is a base for other coral,” Michelle explains. The first coral nursery tank was up and running in March 2019. This 125-gallon tank also has 25 gallons behind it in a sump, necessary to maintain the large volume of water constantly recirculating, adding oxygen, and filtering out excess nutrients. “Our plan is to replicate the ocean,” says Michelle. “The tank is pretty representative of coral growing in shallow water in the Hilo area,” says Matt. In addition to nurturing coral fragments, the tank houses a “clean-up crew” of 15–20

hermit crabs and around 50 nerite snails (pipipi in Hawaiian) to eat algae. Challenges of Growing Wild Coral While preparing to create a much bigger tank, Michelle, Matt, and students are learning the exacting needs of growing coral in an artificial setting. Most coral grown by hobbyists or aquaria have been bred in tanks over many years and are like house pets—not equipped to survive outside. Wild coral rescued from a damaged reef doesn’t last in a typical tank. It is complex to duplicate reef conditions. “You need proper lighting, temperature, feeding, waterflow; it’s a huge learning curve for each type of coral in each specific location,” says Michelle. Despite its small size, the project has an excellent track record to date of maintaining live coral fragments. Matt notes that their small nursery is poised between Hilo’s wastewater treatment plant and fuel storage tanks, symbolizing two of the greatest threats to coral. The team has a big challenge ahead, but is taking it one coral fragment at a time.

How You Can Help 1. Do not take “live rock” and coral from reef or beach—it is illegal. 2. Donate to the UH Foundation’s UH Hilo Marine Option Program Fund. Most funding for the coral nursery is from grants and donations: uhhmop.hawaii.edu/donate References: uhhmop.hawaii.edu/certificate uhhmop.hawaii.edu/coral Rachel Laderman, Sustainable Pacific Program Lynker LLC/NOAA Affiliate, Hawai‘i Island

If you look closely, you can see the polyps of this rice coral (Montipora capitata) growing in the nursery tank. “The polyps can send out tentacles to sting another colony. We separate the colonies in the tank so they don’t fight!” says Michelle. photo by Rachel Laderman

Matt Connelly, to left in reflection, and Michelle Nason, with the help of student volunteers, have worked hard to replicate the chemistry of seawater and movement of surf in this aquarium. The “live rock” rubble is representative of the Hilo area; the microbes living on it are critical to maintaining the tank’s water quality. “Without Michelle’s perseverance through many obstacles, the nursery would not be here today,” observes Matt. photo by Rachel Laderman

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These coral were from a portion of a Fish Aggregating Device that broke loose and was recovered by the Hawaiÿi Department of Land and Natural Resources Division of Aquatic Resources (DAR). DAR staff coordinate closely with the nursery project. photo by Bryant Grady

Kai ‘Ehitu An Outrigger Team Remembers Its Roots and Its Papa By Sara Stover “

ever forget your roots,” Puamaile Kimitete insists. Her mother Augustine, sister Healani, and brother Richard all nod their heads in agreement. “Even though he lived in Hawai‘i for over three decades, Papa never forgot his Tahitian roots.” It is here, in front of Kai ‘Ehituʻs fare va‘a (canoe house), that she can best reflect on how her fatherʻs decision to move his young family from Tahiti grew into a canoe club that impacted the very culture of Hawaiian canoe racing. “This property was overgrown and in need of some love when it was given to us. Mama and Papa cleaned it up and planted the noni tree,” she says. Brought by ancient Polynesians to Hawai‘i, noni trees were one of the original canoe plants, making them a fitting addition to Kai ‘Ehitu’s first home. In many ways, it was the canoe that brought the Kimitetes to Hawai‘i.

his father, skills which would eventually open doors for the Kimitetes to journey across the ocean. In the early 60s, the Bishop of the Church of the Latter Day Saints contacted Utunaiki, asking for advice about building a Tahitian village on O‘ahu intended to be part of what would become the Polynesian Cultural Center. He agreed to spend some time on O‘ahu assisting with the preparations, and suggested Pierre join the other talented craftsmen in building the new village. Pierre, his wife Augustine, and their young sons Robert, Richard, and Joseph moved to Lā‘ie, O‘ahu in 1962.

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A Legacy of Exploration The Polynesian Cultural Center featured traditional canoes from its opening. Skilled artisans were commissioned to carve many of the center’s canoes, including Pierre. During the Kimitetes’ time at the center, he carved tiki, pahu drums, paddles, The Art of Carving and canoes, while Mama In 1940, Bernard Augustine weaved Pierre Kimitete was born lauhala mats and coconut in Hatiheu Nuku-Hiva, baskets, and sewed lei Marquesas Islands to and costumes for the Utunaiki and Adelaide entertainers. Merging Kimitete. Utunaiki passion with talent, served as chief of police Papa’s most beloved in Pape‘ete, Tahiti, piece was a large stone simultaneously refining ti‘i (tiki) carving of a his skills as a renowned woman and two children Papa and Mana Kimitete. Papa’s reputation as a master woodcarver led to jobs at the Polynesian Cultural woodcarver. Raised in representing Augustine Center and the Kona Village Resort. photo courtesy of the Kimitete ÿohana Pape‘ete, son Pierre and sons, Robert and grew up to be a talented Richard. sportsman, playing soccer and boxing. He also possessed a In 1965, Elvis Presley filmed several segments of his movie genuine kindness that won the heart of a beautiful young Paradise Hawaiian Style at the cultural center. Papa’s talents as an entertainer led to his appearance in the movie, playing 48 woman named Augustine, whom he married in 1964. Pierre learned the art of carving and canoe building from drums on stage next to Elvis in the “Drums of the Islands”

Papa and Mama Kimitete. Papa coached soccer until the day he passed away. He showed up, rain or shine. photo courtesy of the Kimitete ÿohana segment. While in Lā‘ie, the Kimitete family welcomed two daughters, Healani and Puamaile, into the family. The parents continued to pour their hearts into ensuring that the center flourished.

Rain or Shine After about seven years, the Kimitetes moved out of Kona Village and the children began attending school at Kealakehe and Konawaena. “There were no other Tahitian families at school, but everyone welcomed us,” Richard notes. There was also no

Branching Out Now home of the Keauhou Canoe Club, Keauhou Bay was home of the Kauikeaouli Canoe Club before the new club’s inception. “Its name pays tribute to the birthplace of King Kamehameha III, whose birth name was Kauikeaouli,” Healani explains. It was here that Papa first embraced the role of head paddling coach for his sons and other hānai paddlers. “That club was the piko, but Papa dreamed of branching out and reaching more youth,” explains Puamaile. Papa didn’t just breathe life into each canoe he carved. He also breathed life into this dream, officially founding the Kai ‘Ehitu Canoe Club with his ‘ohana in 1982, and imparting a lifetime of values to thousands of youth and adults. Meaning “Seven Seas,” the name Kai ‘Ehitu is also a nod to the theory that the seventh wave in a set is the best. For the logo, the team settled on a representation of their roots—the Kimitete’s family crest, carved by Grandpa Utunaiki himself. “Papa served as Kai ‘Ehitu’s president, but really, he was everyone’s Papa,” says Richard of his fatherʻs ability to use

Mama Kimitete is involved in Kai ÿEhitu to this day, ensuring that it still cultivates soul paddling 38 years after its inception. photo courtesy of Mikey Brown

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A Big Choice Around 1970 Pierre’s distinguished reputation as a master woodcarver got the attention of both Disney World and the Kona Village Resort. He and Augustine gave their children a choice: move to Hawai‘i Island or Florida. The decision was unanimous, and in 1971, Kona Village Resort became their new home. It was here that the Kimitete children spent their most formative years. Built like a traditional Hawaiian village, the resort offered guests a vacation from phones and TVs. The Kimitete children took the guests’ children fishing and taught them how to pick ‘opihi and coconuts while their parents worked. In turn, the young tourists taught the Kimitetes English. Pierre, who would come to be known as Papa, instructed the other workers and carved stunning tikis, including a 40-foot high figure made of driftwood. Mama was responsible for arts and crafts and sewing lei during the day, and helped Papa with the Polynesian entertainment at night. The family formed the Kimitete Polynesian Review, which was performed exclusively at Kona Village. “If Papa found out that a guest wanted a lū‘au, he would put one on out of the goodness of his heart,” Puamaile recalls. “Kona Village was our home base, with its sand and the ocean. The lava field was our playground,” recounts Richard. “We were the original Kona Village kids. Everyone knew us. Everyone got along,” Healani adds. “As young children, everything was good in our world!”

Konawaena High School soccer program, a deficiency that Papa would soon remedy. Soccer was a fundamental aspect of Papa’s adolescence and he wanted other youth to experience it, so he developed a soccer program. “I’ll never forget that first day of practice,” Richard says, laughing about the day he waited with Papa for their soccer hopefuls to arrive. “With the exception of one guy, everyone showed up in slippers, work boots, or barefoot!” While most of the potential players were coffee pickers and fishermen’s sons with no background in team sports, Papa accepted them all…and devised a plan. “For the first month of soccer, there wasnʻt a ball in sight. Papa had us spend our time on conditioning and drills. And it worked!” exclaims Richard. By the end of their first year as a team, Konawaena won the Big Island Interscholastic Championships, an accomplishment that they repeated 10 years in a row. “Papa was coaching soccer until the day he passed away in 2002. Nothing stopped him from doing what he loved, and he loved sports,” Puamaile says with a smile. It was with this same dedication that Papa Kimitete coached the Kauikeaouli Canoe Club paddlers. As a craftsman who built racing canoes for clubs across the state, Papa was no stranger to outrigger racing. He was one of only a few Tahitian canoe builders to carve wa‘a, ‘iako, ama, wae, hoe, and other canoe parts. “Today we still have two of his original wa‘a [canoes] with us,” says Healani. “The Heipualani, which is named after Puamaile and me, and the Vai Tiare.”

sport as a means of offering ‘ohana to kids who had nowhere else to go. “He and Mama took everyone in, no matter their background. The love in their hearts extended to the community,” he continues. “They used Kai ‘Ehitu as a platform to teach perseverance, the importance of setting goals, and always fulfilling oneʻs dreams.” With a new outrigger team came new dilemmas, including finding a place to house the canoes. Mayor Dante Carpenter (in office 1984–1988) offered a building at Old Kona Airport Recreation Area to Kai ‘Ehitu. The facility needed to be cleaned and the yard cleared, so Mama and Papa worked hard to transform the building into a fare va‘a. “Papa wasnʻt just talented, he was kind. He would lend out canoes. He would use the old fare va‘a to host birthdays, weddings, and graduation parties,” Richard says. “The Kai ‘Ehitu fare va‘a became a gathering place for many. Everyone has memories of Mama and Papa sitting under that noni tree.”

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Pierre “Papa” Kimitete with Puamaile and Healani. Papa named one of the canoes he carved the Heipualani after his daughters. photo courtesy of the Kimitete ÿohana

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Planting a Seed Since 1982, the Moku O Hawai‘i Outrigger Canoe Racing Association has opened the regatta season in May with the Papa Kimitete Memorial Regatta at Kailua Bay. The race celebrates Papa’s life and his dream lives on through Kai ‘Ehitu. “Because our roots were in Tahiti, our parents started the canoe club to ensure that we had a foundation here in Hawai‘i, no matter what,” Healani says.

is its strong youth program, and Papa wouldn’t have had it any other way. “From day one, we have been family-oriented, teaching both kids and adults. That has allowed us to grow,” affirms Richard. Kai ‘Ehitu continues to teach Tahitian technique fused with Hawaiian paddling style. Conditioning remains a key element to Kai ‘Ehitu’s program, as well as caring for the youth. “Care for the kids. The adults will be fine, but the kids need guidance. That’s what Papa always said and that’s why the youth are still Kai ‘Ehitu’s priority,” explains Richard. The noni tree planted by Mama and Papa continues to grow and thrive, as does the club. Its values remain the same and its roots are never forgotten.

“We are living what our parents taught us, representing the whole family, country, and Polynesian people everywhere,” says Puamaile Kimitete. photo courtesy of Mikey Brown “We are living what our parents taught us, representing the whole family, country, and Polynesian people everywhere,” Puamaile points out. “And remembering our roots. We cannot grow without strong roots.” With around 285 members, the club has indeed grown. Over the past few years, Kai ‘Ehitu’s menʻs and women’s divisions have grown stronger. What truly sets Kai ‘Ehitu apart, however,

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Soul Paddling At a time when much of the world of sport emphasizes prize money and fierce competition, Kai ‘Ehitu cultivates soul paddling. Its paddlers are taught to value the process over the results and honor connection over competition. “We need the people with that competitive fire,” Puamaile concedes. “We leave the competition in the water though. On land, weʻre ‘ohana.” At the heart of Kai ‘Ehitu is a respect for the ocean and a shared belief that the canoe is a sacred vessel. “Canoes connected the ancient world and brought it together. Papa carved canoes. That’s what brought us here,” says Puamaile, her ‘ohana nodding their heads in agreement. “To perpetuate the art of canoe paddling is to perpetuate connection.” ■

as two books and exhibited statewide, while the latter was displayed at the Smithsonian and earned Wayne one of two Hawai‘i Book of the Year Awards. The Hōnaunau resident is best known for his black-andwhite underwater work. Wayne says 80 percent of his photography is in black-and-white format, as he’s “better at it.” He likes the nuances of contrast and tones when working with black, white, and gray.

World-renowned photographer Wayne Levin. photo courtesy of Mary Belanger

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Peer Through the Lens of Photographer

Wayne Levin By Fern Gavelek

award-winning photographer Wayne Levin

has exhibited images in galleries around the globe. You can see his work in New York’s Museum of Modern Art and the Dimbola Museum and Galleries in England. His photos have appeared in a host of national publications— Harper’s, Conde Nast Traveler, Outside Magazine—and have been the subject of several books capturing life above and below the ocean’s surface. Wayne chronicled the challenges 52 of Hansen’s Disease patients on Moloka‘i and documented the restoration of Kaho‘olawe; the former project was published

Seeing the World through a Rectangle Wayne “got hooked” on photography as a 12 year old, long before digital cameras and iPhones. He was gifted with a Kodak Brownie camera and do-it-yourself negative developing kit. Looking through a camera’s viewfinder was second nature to the youth after previously seeing the countryside during train trips with his grandmother. “I loved those trips, looking at the world through the rectangular shape of the train window,” Wayne recalls. “I was imposing a rectangular look at the world.” As a teen living in Los Angeles, Wayne took his camera along on family road trips, often shooting from the backseat car window. He developed his film before sending it to a lab for prints. Subjects included scenery at national parks, the family’s racing sailboat, and “big, beautiful yachts.” “I shot landscapes and scenics and I’m amazed how much of it involved water: oceans, streams, and lakes—water reflections too,” he adds. “My earliest memory of a photograph was during a one-day trip to Mexico where I captured these pastel-colored tombstones. They fascinated me.” After graduating from high school in 1962, Wayne studied his craft at the Brooks Institute of Photography in Santa Barbara. While he served in the Navy, Wayne’s family moved to Hawai‘i. He joined them in 1968, upon his discharge. His interest in travel and photography led him to take a trip around the world, sailing through the South Pacific and traveling over land through Asia and Europe. He took photos in both color and black and white. Photography as an Occupation Images documenting Wayne’s travels became the basis for his first solo exhibitions in Honolulu in 1970. He also worked as an assistant for renowned Hawai‘i photographer Robert

Shooting Black and White The photographer also thought shooting bodysurfers was more interesting in the black and white format. “You could see more of them under water and it looked like they were diving under storm clouds,” Wayne details. “In color, the viewer knew it was water and ocean but with black and white the view is more ambivalent…it could have been people flying through the sky. Black and white made the work come to life; it was more abstract and there was a question of what you’re looking at.” In addition, Wayne created drama with his black and white photo printing in the darkroom. For example, he could lighten a too-dark face by using a dodging tool which lessens the light released from the enlarger onto the photographic print paper. Like the renowned photographer Ansel Adams, with whose work Wayne’s was exhibited with at the Mumm Fine Art Photography Gallery in Napa, Califormia in 2017, Wayne also

Circling akule, Kealakekua Bay, Hawaiÿi, 2001. photo courtesy of Wayne Levin used filters. “If you look at Ansel Adams’ pictures, he would darken skies using filters,” notes Wayne. “I used filters too, but not as dramatically. I did it more subtly.” Capturing Kona’s Marine Life In 1990, Wayne moved to Kona. A friend suggested he photograph dolphins at Kealakekua Bay. This experience

Wayneʻs Tips for Shooting Underwater Snapshots • Pick up a disposable underwater film camera—all have color film—or an inexpensive underwater digital camera • Stay close to the surface or use a flash. Light is especially needed to capture yellows, oranges, and red. Greens filter out deeper. • Try to shoot when sunny out and the sun’s rays are penetrating into the water. Best is from 10am–2pm for best light and clarity. • The amount of water (distance) between the camera and subject matters. Anything more than 10 feet is like shooting through a veil of blue. Be as close as possible.

KeOlaMagazine.com | May – June July – August 2020

Wenkham and architectural photographer Augie Salbosa. After opening his own commercial photography business on O‘ahu in 1973, Wayne “took whatever work he could get,” busying himself with weddings, portraits, and darkroom developing for others. He recalls being hired by the Damon family to document the archeological sites in Moanalua Valley, which he says, “nixed the H3 freeway from going through it.” Wayne got interested in photography as an art form and decided to continue his education, earning fine art degrees at the San Francisco Art Institute and Pratt Institute in New York. He moved back to the Aloha State in 1983 to teach photography at the University of Hawai‘i, Mānoa, and purchased his first 35mm Nikonos underwater camera as a coming home gift to himself. He began an underwater study of surfers. “I wanted to photograph surfers from below, rather than above, the surface,” explains Wayne, who got the idea while watching surf movies. “I thought the vantage was interesting from below the action. I wanted to shoot the Body surfer diving under outside bottom of the surfboard wave, Makapuÿu, Oÿahu. and the wave churning by as photo courtesy of Wayne Levin seen from below the surface.” Wayne first did these shots in color, but only got blue tones and murky water. “I switched to black and white as I could increase the contrast and have more control of the tonality of the picture.”

endeared him to capturing Kona’s marine life while scuba and free diving. Wayne recalls coming upon what he thought was a large coral head—until he saw movement—and discovered it was a massive ball of moving fish. Mesmerized, Wayne then spent two decades photographing fish schools, especially akule (big-eyed scad) and ‘ōpelu (mackerel scad). “I thought these schools were an interesting subject as they made incredible shapes,” Wayne explains. The photographer said the more he photographed them, the more he realized the whole school “acted like an individual and each fish is like a cell within a larger being.” He found the idea intriguing. Wayne continues, “It made me question what does this say about all life in general and humanity? Are we all connected or do we just end at our skin?” Considered both interesting and captivating, Wayne’s akule images were displayed at the National Academy of Sciences in Washington, DC and selected DC’s Best Photography Exhibit in 2015.

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Underwater Photography Challenges Today, Wayne is still shooting film photography using Nikonos underwater cameras, though they are no longer being made. He prefers the brand as they are compact, don’t require the use of an underwater case, and have good optics. He doesn’t use flash shooting black-and-white. Wayneʻs challenges using a film camera is he is limited to taking 36 photos before he has to surface and carefully reload a new roll without getting water into the camera. Sometimes he brings an extra camera along and an assistant to optimize use of his four Nikonos cameras. “I could do a book on all the incredible shots I could have taken but I ran out of film,” he laughs. One time the Wayne Levin in action. photo courtesy of John Hook

photographer got lucky. When scuba diving in Hōnaunau in 2015 to document coral bleaching, Wayne saw a huge school of ‘ōpelu but was out of film. He surfaced, called his wife at home to bring him another scuba tank, camera, and two rolls of film. She arrived 30 minutes later, he went back down and found that school of fish. He got his photos! “That was unusual as ‘ōpelu move fast,” he adds. After shooting more than 60 years, Wayne says his favorite subjects are fish schools, people doing water activities— surfers, canoe paddlers, divers, and swimmers—plus reflections off windows and water in all of its forms. As far as locations, he favors Kona’s Kua Bay, where he shoots āholehole (endemic Hawaiian fish) schools and waves. “For some reason, you can have nice, mid-size waves and the water is still really clear there—that doesnʻt usually happen,” he emphasizes.

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New Projects What’s next for Wayne? As of this writing, heʻs headed to the US-Mexican border to shoot where the border fence extends 50 feet into the ocean. “This project is a change for me; I have no pre-concepts,” Wayne muses. “Itʻs a border of contrasts as the Mexican side of the fence is a gathering place with murals and graffiti while the American side has a kind of desolate beauty, but with a lot of warning signs.” Wayne will be shooting above water with a 35mm digital Nikon. “I plan to return later though and photograph whatʻs going on underwater too,” he says. ■ For more information: waynelevinimages.com

Vortex of bigeye jacks (trevally), Hanauma Bay, Oÿahu, 2017. photo courtesy of Wayne Levin

KeOlaMagazine.com | May – June July – August 2020

Tūtū Lanakila Manini A Hula Gem and Hawaiian Music Renaissance Torchbearer By Lara Hughes

ose Lanakila Manini, known to many affectionately as Tūtū (grandpa) “Kila” Manini, has been singing and playing Hawaiian music for more than 50 years. Kila, who turns 89 in 2020, got his musical start in 1966 in Honolulu, with his cousin Darrell Lupenui. “We sang at all the hotels, every hotel you can think of,” Tūtū Kila says in pidgin English, “Aunty Muriel [Lupenui] got

Lanakila Manini outside his Kailua-Kona home. photo by Lara Hughes me started playing guitar and I didn’t know anything about music or even Hawaiian. I couldn’t read Hawaiian.” Both of Kila’s parents worked at Pearl Harbor during WWII and he recalls that his grandmother passed away before she could teach him to speak Hawaiian. So, not knowing the language, Kila started reading lips, “When they would sing, I

would read their lips. If there was a song, I would play that song five times and I could sing it.” The practice went with him when he moved to Kona and started playing music at the Merrie Monarch Festival in 1971, under the direction of Aunty Dottie Thompson. That was the same year the first hula competition took place at the Hilo Civic Auditorium and the first Miss Aloha Hula title was awarded to Aloha Wong Dalire. Kila has attended Merrie Monarch every year since then, 49 years this year. Kumu (teacher) Keala Ching is the executive director of Nā Wai Iwi Ola (NWIO) Foundation, which was founded to perpetuate the Hawaiian culture through hula protocol and ceremony. His hula hālau (group) follows in the footsteps of his predecessor, Kumu Darrell Lupenui, who passed away in 1987. Kumu Keala shares, “As a young man I admired our Hawaiian singers of old. Lanakila Manini was part of a group that sang at the Merrie Monarch as the house band. He also played music for my Kumu Hula Darrell Lupenui, and it was beautiful.” Kila has been a contributing artist in many bands over the years, and his involvement with Hawaiian music and Merrie Monarch has been seen by many as having a major influence on the Hawaiian Renaissance. Renaissance of the Falsetto In 1976 Kila played guitar and sang falsetto on an album called Hula Gems with the Aloha Pumehana Serenaders. The Serenaders included Kuulei Clark, Darrell Lupenui, Wendell Silva, and Ainsley Halemanu. The album is now part of the Library of Congress in Washington DC and has been widely considered a hula staple for those who are learning to dance. In fact, Kuulei Clark, the visionary behind the album, designed the album for the “serious hula student.” One of the songs on the album, “Baby Kalae,” is an old favorite and features Kila singing in Hawaiian falsetto. According to numerous sources, this falsetto style of singing, or as it is known in Hawaiian, leo ki‘eki‘e (high voice), likely evolved from a blend of ancient Hawaiian chanting, missionary hymns, and the music of Mexican, Spanish, and Portuguese immigrants to Hawai‘i. There is conjecture that falsetto may have been a natural and comfortable vocal technique for early Hawaiians, considering that a similar break between registers, called ha‘iha‘i, is used in some traditional chanting styles. “Today,” Kumu Keala says, “there are many singers that sing falsetto range. Kila, along with others in this group, really empowered our youths and young adults to entertain and share our culture of leo ki‘eki‘e, creating a venue to explore all possibilities of Hawaiian falsetto singing, melodic Hawaiian music, and hula at its finest.”

Making It in the Marines Before becoming a musician with the Merrie Monarch Festival, Kila worked for the State Department and also served for four years in the Marine Corps. “I was in the Korean War,” Kila recalls, “I was a marksman.” He mentions that he lost a lot of friends, “So that was sad.” He also says that there was a lot of comedy in his life, “I didn’t take it seriously, whatever people said.” Kila remembers that there was a sergeant who helped push him through his Marine Corps training, and he had told him that all of the companies had placed bets to see if he would make it. Kila didn’t let it affect him, “I took it through one ear and out the other, and I paid attention.” At his graduation with the Marine Corps, the drill sergeant came and shook Kila’s hand and told him that he thought he wasn’t going to graduate because the training was so hard. Then he thanked Kila since he had helped him win 50 dollars, to which Kila replied, “Well, where’s my 50 dollars?”

Friend.” After the show, she walked backstage and talked to Kila’s captain and one of the generals. “I had bought a poster of her in Hollywood, at the Grauman’s Chinese Theatre for $1.99 and I brought it with me,” Kila says. “When she got through talking to the general, I waved to her and she nodded her head and came over to talk to me.” She asked Kila where he was from and he told her Hawai‘i, “Oh,” said Marilyn, “I was just there.” They had a conversation about her getting married, as Kila had read about her and Joe DiMaggio, and she asked how Kila was liking the Marines. He recalled how beautiful she was, and when he tried to call her ma’am, she insisted he call her Marilyn. Then he asked, “Would you sign my poster?” and Marilyn said, “Yes, of of the rt course,” setting off a domino a p a s, now Hula Gem Lanakila Manini effect, whereby everyone f o r e v album co urtesy of Meeting Marilyn and Singing with Bing began pulling out their Marilyn Monroe The 1976 Congress. photo co f Library o While Kila was stationed in Korea in 1953 there posters. “We all had posters,” he says matter-of-factly, was a cease fire and Marilyn Monroe came to “and she signed them all.” visit the troops. He was asked to volunteer to be an MP and Marilyn wasn’t the only celebrity that Kila met. Before being make sure that people didn’t run up on stage while she was discharged, there was a division-wide contest and Kila’s Marine performing. “Everyone was there,” he recalls, “every division.” division made a script featuring Carnation Milk where they Kila remembers that Marilyn came out on stage wearing a danced around wearing skivvies. The show was a hit and spaghetti strap dress and sang “Diamonds are a Girl’s Best earned them the win and a trip to NBC Studios in Los Angeles.

KeOlaMagazine.com | May – June July – August 2020

They toured the studio and while there, Bing Crosby walked in. “He was tall, with big blue eyes, and a deep voice,” Kila recounts, “and he looked at me and he says, ‘Are you the one that’s gonna sing with me?’” Kila was confused and so Bing said, “Me and the Andrews Sisters were going to sing ‘The Wedding Song,’ and we wanted someone to sing in Hawaiian with us.” So Kila walked in and sang Hawaiian falsetto with Bing Crosby through the halls of NBC Studios. Later, as they were continuing their tour of the studio, they ran Cover of the Merrie Monarch Festival program circa 1980. into a tall man photo courtesy of Lanakila Manini standing outside the door where Elizabeth Taylor was rehearsing a show called Elephant Walk. Kila asked the man, “How is the weather up there,” then, “how do we get to see Elizabeth Taylor?” He opened the door, and Kila tried to warn him, “We’ll get in trouble,” but the man assured him it was fine. Once inside they saw her. “She came down [from rehearsing] and she was gorgeous, she had violet eyes and I couldn’t believe that.” Kila recalls that she had even heard about him singing with Bing Crosby. Then they met Eva Gardner. She was promoting her movie Barefoot Contessa, and Humphrey Bogart joined her, so they got to sit and listen to Eva talk about her show. Months later, Kila would recognize the same tall man on TV who had been outside the door of Elizabeth Taylor’s studio—it was Howard Hughes. Paving the Way Forward After a life of challenges, historical influence, and dedication to Hawaiian music, From left: Lanakila Manini, Ainsley Halemanu, and Kimo Alama circa 1975. photo courtesy of Lanakila Manini Kila’s impact may be quite evident to those around him. When Kumu Keala was asked what he feels Kila has accomplished, and what his contribution to the community has been, he replied, “Many famous and successful

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Playing music at the Waikiki Sands circa 1975. From left: Keoni, Kimo Alama, Naÿale Olsen, unknown guitarist, Lanakila Manini, and Kamai Lupenui. photo courtesy of Lanakila Manini singers today should thank Lanakila for paving the way of traditional Hawaiian music, either at Merrie Monarch or any Hawaiian gatherings.” When discussing the future, Kumu Keala says, “I hope to see Kila’s music and his love for the stories of the music and the way he has perpetuated this powerful musical connection then and now, carry on into the future generations. Struggle is a challenge when you do not change or make a difference. Struggle is an awesome lesson when you change for the benefit of the future generations.” Truly, Hose Lanakila Manini has lived his life in and for music and his adventures have led him across the world and helped set the stage for Hawaiian music on a local and global scale. In closing, Kila adds, “I admired all of the women I played music for, Aunty Dottie, and Luana at Merrie Monarch. I also played music for Etua Lopez at Hulihe‘e Palace under Lei Collins and Aunty Fannie. These were wonderful times, and I really was blessed to do so much in my life.” ■

KeOlaMagazine.com | May – June July – August 2020

Marine Corps portrait of Lanakila Manini when he entered the Marines in 1951. photo courtesy of Lanakila Manini

Featured Cover Photographer: GP Merfeld

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In the 11 years since being featured on Ke Ola Magazineʻs first cover, GP Merfeldʻs passion has continued with his Portraits of a Culture project, concentrating on the activities and events unique to our islands, like hula, Hawaiian music, outrigger canoe paddling, and the paniolo lifestyle. GP concentrates mostly on candid portraits, along with the motion and grace 2020 | of our islandʻs people. He reflects, azine The Life Community Mag Hawai‘i Island’s “I turned my eye to capturing and celebrating the culture of our islands in 2000, and have been consumed by this passion ever since.” GP was raised in Southern California, and he later traveled the world for three years before settling at Lake Tahoe, which became his home for the next five years. He moved to Hawai‘i Island in 1982. He had fallen in love with photography while in high school, and processed his work in a homemade darkroom. While traveling from Europe to Nepal and India, his camera was stolen, and he did not resume his photographic passion until more than 20 years later, with the advent of digital photography. GP is currently working on a retrospective of his work to be published in a series of books. GP states this eloquently on his website: “By exploring differences, I encourage acceptance By exposing dichotomies, I find unity By celebrating the unique, I embrace the whole By honoring the tribes of man, I honor the greater Family of Man.” “I have always been a lover of Nature as well, of animals and oceans and mountain forests, choosing in adulthood to make my home away from the city, living a simpler life to the tick of a slower clock. The camera for me, as for many photographers, has encouraged me to drop to my knees in exploration of the natural world up close, reveling in the magnification of a divine design, intricate and beautiful. Yet somehow my focus always seems to return to the human face, to the stories written in the eyes, the lines, the texture and glow of the skin, the arch of a brow. Each story so different, 60 some short with youth, others speaking volumes with age, and all sharing chapters in the greater human book. And so I July-A ugust

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ne Levin tographer Way tion the Lens of Pho Deep Connec Peer through —A Family’s ARTS Bray ‘Ohana ai’i Island The Haw on CULTURE ws Sustainably ITY Maile Gro SUSTAINABIL

attempt to record these stories, these fleeting glimpses of unguarded moments, by taking candid portraits on the street or in the country, wherever I go.” “Living in Hawai‘i for well over half my life has been a special journey of its own, and I am honored and humbled to partake of the immense beauty of the land and its people on a daily basis. I feel that it is my privilege and my obligation to share with the world the rich and endangered culture of these islands, and so my personal project, Island Preservations, which began as a scientific process of preserving indigenous flowers, has grown into a photographic journey to preserve the Tribal Heart, Island Life, and Aloha Spirit that is Hawai‘i. I am thankful.” GP’s work has been exhibited in several galleries throughout the islands. For more information: gpmerfeld.com

Table Of Contents Artists:

Richard Koob and Arthur Johnsen

Inspired by the Puna Canoe Club and Pele’s creativity, Richard first painted Hoe Wa‘a in oil on canvas, and then collaborated with beloved Arthur Johnsen in producing this pareu for the 1985 Festival of Pacific Arts and Culture in Tahiti, which commenced with the arrival of Hōkule‘a and other heritage vessels. Richard grew up in Minnesota, received his bachelor of arts in literature in Germany, and had dance-arts careers in New York and Paris. He arrived in Hawai‘i in 1973, receiving his MFA at UH Mānoa. In 1975, Richard co-founded Kalani Honua retreat center in Kalapana. When Richard met Arthur, he was helping him silkscreen for O‘ahu craft fairs. Arthur became artist-in-residence at Kalani from 1989–1998, and thereafter built his own studio nearby. Arthur excelled in art at Punahou, then UC Berkeley. Although he passed away in 2015, his aloha generosity and nostalgic paintings of the Puna coast and Hawai‘i’s heritage continue to inspire. His painting of Pele has graced HVNP’s Visitor Center since 2003. For more information: https://richkoob.wixsite.com/website

Gary Leveque and Karen Spachner Gary Leveque first visited Hawai‘i Island in 1985 while on tour with Showcase Hawai‘i. He had been living on O‘ahu since 1982, while attending Brigham Young Universityʻs Hawai‘i campus. After receiving his bachelor’s degree in fine arts and also his education credentials, he first taught in Kuhuku.

The Gary and Karen Connection Gary met Karen Spachner Goard in 2002, when he spotted a painting of a plumeria in the gallery at the former Keauhou Beach Hotel. He purchased it, and left a note for Karen. She contacted him to thank him and they’ve been friends ever since. Karen lives in Kapa‘au and had been semi-retired until Gary pulled her out of it for this exhibition. He felt her multitudes of fine art needed to be seen again and is making sure that is happening. A biography on the Isaacs Art Center website says, “Karen takes her inspiration from her home. Her fanciful designs reflect the island’s beauty and warmth. As the island of Hawai‘i grows from volcanic action, Karen’s work continues to emerge as a true portrait of Hawai‘i, while she captures local fish, historical sites, beaches, flora, and fauna. Her love of children led her on the exciting adventure of illustrating children’s books. Painting and drawing most of her life, Karen majored in art at Dean College in Massachusetts. She attended New York’s School of Visual Arts. She moved to Hawai‘i more than 30 years ago. Karenʻs art can be found in shops and galleries around the islands, and in homes around the world.” Although COVID-19 caused them to reschedule twice, the benefit exhibit is now July 31 and August 1, 2020. Please call Pictures Plus in Kona at 808.327.3810 to confirm the date. For more information: garyleveque.com

KeOlaMagazine.com | May – June July – August 2020

After 10 years on O‘ahu, Gary moved to Livermore, California to teach middle school and college for the next 28 years. In the meantime, he had fallen in love with Kona, traveling here virtually every school break. On a fateful day in 2013, Gary met Kaeti Ecker on an airplane. Kaeti enlisted him in the Keauhou Canoe Club the day after they met and he’s been involved with the club ever since. Gary considers the members his hānai ‘ohana. Gary is an extraordinary watercolor artist whose art had been displayed at Pictures Plus since an exhbition in January 2019. When his hānai (adopted) aunty, Maxine Kaha‘ulelio (Aunty Mack), was walking through the exhibit, she said to him “Gary, your heart is Hawaiian.” Truly, his heart and his art have always been in Hawai‘i.

Gary returned to Kona again in April 2019. Jade Chang, the director of Pictures Plus, offered him the challenge of having a new exhibition with another island artist. Gary chose to work with his favorite island watercolorist, Karen Spachner Goard. Originally announcing the new exhibition for April 2020, fellow paddler and dear friend Mika Yandall asked Gary to make this exhibit a fundraiser for the Kona Choral Society. Gary, Karen, and Jade agreed to the benefit exhibit. Gary returned again in June 2019 to begin making plans for the exhibition. Shockingly, he discovered Mika had suddenly died of a heart attack during the Kona Choral Societyʻs tour of New Zealand. Mika was only 11 days into his retirement. Devastated, Gary and Mika’s widow, Susan, mutually agreed that plans for the benefit exhibit would move forward in his honor. Gary reflects, “Mika enveloped the spirit of aloha in everything he did and offered his aloha to everyone he met. I miss my friend.”

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KeOlaMagazine.com | May – June July – August 2020

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It is very important that those using water from a rain catchment or well system understand all the potential dangers and benefits. Uncle Tilo’s Clean Water LLC is the shared vision of Todd Lolla and Kathy Archer, both residents of lower Puna for the past 10 years and outspoken advocates for sustainable community living. Their goal starting out in 2017 was to assist their community with basic water treatment services; however, the 2018 eruption soon brought about a heightened demand for education specific to rainwater harvesting, the primary water source for nearly one-third of all Hawaii‘i Island households. Todd says, “We were already hosting our First Saturday Education events at a local park when the eruption started. We quickly needed to add regular posts on our Facebook page to reach an even larger number of people with questions.” Their First Saturday Education event is now in its third year and is held at their store in Pāhoa from 10am to noon every month. Todd Lolla, aka Uncle Tilo, grew up in the Midwest and remembers harvesting rainwater on his family’s dairy farm through the mid-1970s. He is a graduate of the South Dakota School of Mines, with a BS in geological engineering. His earliest projects involved groundwater studies and the subsequent cleanup of fuel spills at gasoline stations. This led him to become a licensed well-driller in Arizona for the next 10 years. His focus on groundwater issues led him to specialize in storm water management, working with state environmental agencies to set standards for the protection of groundwater across the Southwest desert. In 2009, he left the engineering world behind and moved to Hawai‘i Island. Itʻs fitting that his engineering skills are again being called upon to work with local water quality issues. Uncle Tilo focuses on water disinfection for household use and consumption. As a distributor for Claire Technologies, they carry the full line of Quantum Disinfection and reverse osmosis water sources. Uncle Tilo’s exclusive “Clean Water Filter Pack” for whole house disinfection produces 12 gpm (gallons per minute) of clean water and does not require power. The plug-and-play board is complete and ready to install. Off-grid community members find this very attractive. If you have any water questions, whether itʻs about well, municipal, or rainwater catchment, you can stop by, call, read their Facebook page, check out their new website, or attend the next monthly education event.

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Gregg and Sue Sorbets are 25-year residents of Hawa‘i Island and have a passion for its art, native flora and fauna, unique culture, and its people. For the past three years, theyʻve owned and operated Ironwood Picture Framing to help bring a little more beauty to the island. The Sorbets acquired Ironwood Picture Framing because it satifisfies their artistic sides, aids the community and its visitors, and is the perfect venue to produce Greggʻs unique koa paddles, shadow boxes, and more. Ironwood Picture Framing offers custom picture framing and design. The shop has more than 1,000 frame and mat choices including koa and other local woods. They also have a gallery and gift shop, which includes ready-made frames. Gregg enjoys a well-regarded reputation as an expert finish carpenter. Thanks to his upbringing in an artistic family, he developed a great eye for detail that pairs well with his appreciation for their customers’ needs. He became a certified picture framer, one of the only in the state, through the Professional Picture Framing Association. Sue assists in design, management, and sales, and is also a respected real estate agent. Thanks to her expertise, she assists her clients and the community in finding perfect homes and commercial spaces. Her familiarity with the best-displayed homes, offices, and public spaces lends an eye thatʻs trained in design, staging and presentation. Gregg says, “We work with archival mounting methods and techniques, and only use acid-free mat boards and foam core materials, all used to protect the customer’s art. We use a special backing paper to help with moisture. We have a state-ofthe-art computerized mat cutter. We only use UV glazing, both glass and acrylic, and now we have Optium Museum Acrylic®, the ultimate glazing for large pieces with no glare. We also offer art installation and delivery services.” About their location, Sue shares, “Waimea is an awesome place with some of the best artists in the state. Itʻs a perfect location for a business like ours. The local artists welcomed us into their community and entrusted us to take their art and continue to enhance and showcase it.” The couple envisions having a place where they and some local artists meld together to create an artist hub. Together, they could offer art classes, booths, and artistic displays all in one building.

KeOlaMagazine.com | May – June July – August 2020

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

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Ka Puana - Closing Thoughts

Proverb 327. Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press.

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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

75-683 LALII PLACE, KAILUA KONA • PUALANI ESTATES

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Meticulous move-in ready home located at a comfortable elevation away from road noise 3bed/2bath $659,000 MLS 637284

73-1102 NUUANU PLACE #F201, KAILUA KONA

Seascape Condominiums • 2bed/2bath Ocean views from living room & master bedroom $325,000 MLS 637833

75-6016 ALII DRIVE #127, KAILUA KONA Alii Villas • 2bed/2bath Ocean view, turn-key totally updated Vacation rentals allowed $555,000 MLS 634712

68 “Kelly is a great Realtor, thoughtful and effective, she is a total professional in every way. I have bought two homes with her help and sold one. All went well!! Highly recommended.”—Zillow Review