PUNCHING UP Honolulu’s dockworkers duke it out Down Under STRANGER WINGS The weird world of Hawai‘i’s native moths GOLD FUSION John Hook’s double exposures
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16 / Grow This STORY BY
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PHOTOGRAPHY BY JESSE RECOR
STORY BY JACK TRUESDALE
PHOTOGRAPHY BY JUSTIN GARDNER
/ Songs of Freedom
STORY BY MARIA KANAI
PHOTOGRAPHY BY ELYSE BUTLER
STORY BY SHANNON WIANECKI
DEPARTMENTS & FEATURES
30 / Wings in the Dark Hawai‘i’s native moths are surprising, strange and increasingly hard to find
STORY BY MADDIE BENDER
PHOTOGRAPHY BY ZACHARY PEZZILLO
42 / Resounding Success ‘Ukulele in the Hawaiian Music Archive aren’t just for show—they’re meant to be heard
STORY BY LARRY LIEBERMAN
PHOTOGRAPHY BY DANA EDMUNDS
52 / Greener Waves
Weaning surfers off plastic is an uphill battle, but for these shapers it’s worth the fight
STORY BY JACK TRUESDALE 60 / The Good Fight Honolulu’s longshoremen duke it out for a cause in the War on the Wharves
STORY BY LIAM WILMOTT
PHOTOGRAPHY BY JUSTIN TURKOWSKI 72 / Double Takes
The happy accidents of John Hook’s double exposure photography
PHOTOGRAPHY BY JOHN HOOK
84 / Flower of Good Fortune For seventy-five years, the Narcissus Festival has celebrated and sustained Chinese culture in Hawai‘i
STORY BY MADELEINE HILL
PHOTOGRAPHY BY ELYSE BUTLER
96 / Postcards for All Glimpses of a changing Hawai‘i through James Steiner’s Island Curio postcards
STORY BY DAVID THOMPSON
108 / Events Calendar & Island by Island 143 / Hawaiian Airlines Information
160 / PAU HANA
What’s in an ‘Okina?
STORY BY JACK KIYONAGA
PHOTOGRAPHY BY PF BENTLEY
FA‘A FOOTBALL / The national football team of American Sāmoa heads to Apia, Western Sāmoa, for its shot at redemption at the World Cup Qualifiers in September, 2024.
MĀLAMA MOENA / At one time, floor mats woven from the leaves of the hala tree were common in homes throughout Hawai‘i. Not many of these large mats, or moena, survive today, and those that remain often need repair. Join the weavers of Keanahala as they mālama (care for) these legacy moena and perpetuate the art of ulana, or weaving.
THE GOOD FIGHT / Honolulu stevedores pull no punches in Sydney, Australia, during War on the Wharves, an annual boxing event where dockworkers from Hawai‘i, New Zealand and Australia duke it out for charity, camaraderie and bragging rights.
DOUBLE TAKES / Photographer John Hook’s double-exposure photographs are a little bit of intention and a lot of luck. Hook shoots a roll of film, then shoots again, creating superimpositions of two images that are poignant, provocative, ethereal and beautiful accidents.
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ON THE COVER Pier Pressure
Stevedores Aaron Dudoit (left) and Alfonso Pitolo spar at Honolulu Harbor in preparation for the War on the Wharves charity boxing event in Sydney, Australia.
PHOTOGRAPH BY JUSTIN TURKOWSKI
“This was my first time shooting a story like ‘The Good Fight.’ The setting was completely new to me,” says cinematographer Justin Turkowski, who photographed six stevedores on their journey from the Honolulu waterfront to Australia for a charity boxing match called the War on the Wharves. “I tried to capture the industrial grandeur of the ports and the character of the men and women who fought in the ring,” he says. Turkowski has found success pointing his camera lens at all things adventure: mountain sports, hunting, travel, spearfishing. He lives an aquatic life in Hawai‘i, a place he calls home with his wife, Kimi, and their spirited son, Buddy. See more of his work at justinturkowski.com.
Maddie Bender
Maddie Bender has long been fascinated by evolution but hadn’t thought much about moths before working on “Wings in the Dark” in this issue. There’s one moth she now thinks about constantly: Blackburn’s sphinx moth—the first Hawaiian insect listed as endangered by the US Fish and Wildlife Service. Once found on all the main Hawaiian Islands, the moth was presumed extinct until it was rediscovered on East Maui in 1984. “It’s perching on the brink of extinction because it has, incredibly, found a new host plant: tree tobacco, which experts have deemed one of the hundred worst invasive species in the world,” Bender says. “There’s more overlap than we’d like to believe between native and invasive ecosystems, and conservation scientists are going to have to make some tough calls as we unravel the webs of Hawai‘i’s ecosystems in hope of restoring them.” Bender is a science writer and audio producer based in Honolulu.
Madeleine Hill
Madeleine Hill, who wrote “Flower of Good Fortune,” says that after interviewing four of the Narcissus Festival’s cultural practitioners, it was a challenge to narrow down what to include. “Each one had so much knowledge and so many interesting stories,” she says. “From Chinese knotting to acupuncture, the depth and breadth of their experience was just incredible.” She hopes readers will discover something new about Chinese culture in Hawai‘i. “There’s value in learning about these traditions, especially if you live here,” she says. “Hawai‘i is all about these different cultures woven into the Islands and each one is so important.” Hill has been writing professionally since 1994 and is a frequent Hana Hou! contributor.
Zachary Pezzillo first encountered native moths over a decade ago while volunteering with The Nature Conservancy of Hawai‘i in Waikamoi Preserve on Maui. “Our native moths are so beautiful, but documenting them for ‘Wings in the Dark’ was a challenge,” he says. “Their often small size and nocturnal habits can make them tough to photograph.” Specialized lenses, lighting and access to native forests helped. “Many of these moths’ habitats are accessible only by helicopter,” he adds. “You find yourself out there hiking, sitting in the cold and rain, waiting for nightfall and for the moths to emerge.” When he began photographing moths, he says, they all looked almost the same to him. But with help from researchers, he can now identify species—or at least the genus or family. Through photography, Pezzillo hopes to spotlight Hawai‘i’s diversity. “There’s just so much out here that people never get to see, native species that are unique and remarkable,” he says. See more of his work on Instagram @zpezzillo and at zachpezzillo.com.
Zachary Pezzillo
Justin Turkowski
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Grow This
Who wouldn’t want ‘a‘ali‘i growing in their yard? Their papery, cream to maroon-colored winged seed capsules are often used in lei making. ‘A‘ali‘i also signify resilience, as in the ‘ōlelo no‘eau (proverb), “He ‘a‘ali‘i kū makani mai au; ‘a‘ohe makani nāna e kula‘i,” or “I am a wind-resisting ‘a‘ali‘i; no gust can push me over.” The native Hawaiian hardwood is also pretty rare
in urban areas, making it an ideal Grow Aloha adoptee.
The National Tropical Botanical Garden began the Grow Aloha plant adoption program in 2024 at its sites on Kaua‘i and Maui. This year it expanded across the state to give away native and canoe plants (those brought by the early Polynesians) for free. The aim is not just to propagate native plants but
to “deepen people’s relationships with plants,” says NTBG communications director David Bryant, “and connect them to the plants that are part of the ecological and cultural fabric of Hawai‘i.” Partner organizations—the Moloka‘i Land Trust, Bishop Museum on O‘ahu, Maui Nui Botanical Gardens on Maui, and the Amy Greenwell Ethnobotanical Garden on Hawai‘i Island—have offered different seedlings each month, like ‘ōhi‘a, the backbone of Hawai‘i’s forests and a crucial habitat for native birds; and kou, its wood valued for carving and its orange flowers for lei.
Funding from the state’s urban and community forestry program, Kaulunani, helped spread Grow Aloha to more islands. Both initiatives emphasize the importance of caring for the urban forests—the ones where we live, work and play. “Our built environments are just as worthy of care as our most remote preserves and natural areas,” Bryant says. Community forests have the advantage of being accessible, though the benefits extend beyond our yards and parks. “Plants offer us the opportunity to care for and develop our relationships with place,” says Bryant. “As we tend our relationships with these plants, we strengthen the bonds that sustain both our ecosystems and our communities.”
You won’t need money to take a plant home, but you will need to fill out actual adoption papers, which help Grow Aloha track its impact. While the plants are chosen for their adaptability in Hawai‘i’s diverse microclimates, no worries if your thumb isn’t bright green. “There’s no shame at all if a plant doesn’t survive, as long as you’re genuinely invested in its care,” Bryant says. “Death is part of the cycle. You learn from those challenges, and they ultimately make you a better plant person.”
PHOTOGRAPHY
One way to encourage people to plant natives? Give them away for free. Above, Gina Errico from the National Tropical Botanical Gardens’ Grow Aloha plant adoption program holds a young milo.
’Bow Hunting
“Trout guy” Garrick Tatsuda-Merrell (above left) scoops a netful of rainbow trout from Pu‘u Lua Reservoir in Kaua‘i’s Kōke‘e State Park (seen above right). The Division of Aquatic Resources stocks the reservoir each year and opens it for recreational fishing starting in June, making Pu‘u Lua the only trout fishery in Hawai‘i—and one of the most densely stocked ponds in the country.
Christmas comes early each year for Garrick Tatsuda-Merrell. At the beginning of December, the Division of Aquatic Resources fisheries technician receives a special package: twenty-five thousand rainbow trout hatchlings. The fry are hatched at a Sand Island facility, from eggs shipped in from Mount Shasta Fish Hatchery (the oldest trout hatchery west of the Mississippi). Once they grow two inches long, they’re scooped into bags, loaded into coolers and flown to Līhu‘e. Then Tatsuda-Merrell rushes them to their destination: Pu‘u Lua Reservoir in Kōke‘e State Park. He trucks them up to Waimea Canyon, where volunteers ferry the fish to floating pens in the middle of the 12.6-acre reservoir. There they will spend the next six months feasting on “trout chow” and growing an inch a month. When Tatsuda-Merrell releases them, Pu‘u Lua becomes one of the most densely stocked trout ponds in the nation.
Rainbow trout were first introduced to lakes and streams in Hawai‘i for sport fishing in 1920. They thrived only at higher elevations on Kaua‘i, so the state
stopped stocking them on the other islands in 1928. Today they’re released only into Pu‘u Lua to protect native aquatic species.
During opening week in June, thirteen hundred anglers flock to the reservoir and hook some nine thousand trout. It’s a long-standing Kaua‘i tradition, says firefighter Bo Domingcil, whose father, Myles, started trout fishing as a Boy Scout. Domingcil remembers being pulled out of bed at 4 a.m. to drive up and claim their spot on the shoreline before sunrise. He’s missed only two seasons: the year he was born and the year of COVID. For his fortieth birthday last June, there’s no place he’d rather have been.
“Fishing at the reservoir is fishing in a barrel,” Domingcil says, “except the barrel is really, really big. You bring your kids, they’re going to catch a fish—a hundred percent.” A couple of years ago he began volunteering to help TatsudaMerrell, driving two hours from his home in Anahola to feed the fish. “When I see the surface of the water bubbling up, it’s an experience,” he says, looking forward to sipping coffee on crisp
mornings in Kōke‘e while watching kids stalk crawfish in the mud flats. “I can picture all of their smiling faces. All the dads are happy. All the moms are happy—as long as it’s not raining.”
Tatsuda-Merrell, whose grandfather taught him to fish as a kid in Ketchikan, Alaska, doesn’t catch the fish he raises but loves to watch families make their own fishing tales. The trout will hit anything—worms, guppies, lures, crawfish, dough balls. “During the first week you’ll catch your limit within an hour,” he says. As for the perfect recipe? “You can steam, grill or fry them with butter, garlic, lemon, salt and pepper. That’s all you need.
“One thing I like about trout, they tend to live in really beautiful areas. They like the cold mountain streams,” says Tatsuda-Merrell, who is known on Kaua‘i as “the trout guy.” “Wherever you find nice scenery, you usually find trout. That’s where I thrive and that’s where they thrive.”
STORY BY JACK TRUESDALE
BY JUSTIN GARDNER
The Gratitude Express
On a hot day in ‘Ewa Beach, O‘ahu, Jeff Livingston smokes in front of a freshly restored World War I-era boxcar, its dark gray paint gleaming and forty colorful crests popping in the sun. Most cars at the Hawaiian Railway Society once cruised the Islands, but not this one. It was French. And Livingston— white hair, tattooed arms crossed—is making sure it isn’t forgotten.
The boxcar’s westward journey began after World War II, when the United States sent relief to war-torn Europe via the Friendship Train. The people of Hawai‘i pooled nickels and dimes to send sugar overseas. “They’d just gone through martial law and rationing, and still they wanted to give,” Livingston says. The sugar helped fill two boxcars bound for France, with some left over for Italy, Belgium and Germany.
To say thank you, France sent forty-nine boxcars filled with gifts for America’s forty-eight states—the Merci
Train. The forty-ninth boxcar was to be shared by Hawai‘i (then still a territory) and Washington, DC. “Rumor is, Hawai‘i donated much more than DC,” Livingston says. When the car arrived in Honolulu in November 1949, it carried dolls, heirloom silverware and a Sèvres vase from the president of France. The gifts have since been lost to time, says Livingston, “and we’ve been looking.”
After years in the American Legion’s care, the boxcar was moved to the Hawaiian Railway Society in the 1980s, where it languished. That changed when director of restoration Glen Houlton recognized its significance. Volunteers began preserving it, but when Houlton passed away in 2022, the project stalled.
Enter Livingston. A Navy veteran, he revived the restoration, gathering volunteers to fix what remained broken: a rotted roof, missing siding, no floor. “But the bones were good,” he says. In one weekend a team of veterans
and military technicians from the US continent stripped rust, reinforced the frame and primed it for paint. Historical accuracy mattered. Research suggested the dark-gray paint. Inside, Livingston placed a mannequin in a period-accurate uniform, honoring the only Native Hawaiian, John Rupert Rowe, known to have died on the battlefield in France. The restored car now rests at the rail society’s yard in ‘Ewa Beach, which is open to the public.
Of the original forty-nine boxcars, forty-four remain—“which surprises the hell out of the French,” Livingston says. “They never expected these things to last.” He hopes more people recognize the generosity that Hawai‘i showed to Europe back then. “That spirit continues,” he says. “I look at what’s happening on the Mainland, and I think y’all ought to come here and see how it’s done.”
A mannequin dressed in a period-accurate WWII-era uniform sits in a boxcar that was once part of the Merci Train, a gift from France in appreciation for American support after the war. The newly restored car is now on exhibit at the Hawaiian Railway Society in ‘Ewa Beach, O‘ahu.
PHOTOGRAPHY
STORY
Songs of Freedom
Ku‘uipo Kumukahi (seen also on pages 14–15) performs mele (songs) composed by Queen Lili‘uokalani in the Imprisonment Room of ‘Iolani Palace, where the queen was held captive in 1895.
M ai nānā ‘ino‘ino/Nā hewa o kānaka/Akā e huikala/A ma‘ema‘e nō,” sings Ku‘uipo Kumukahi in the Imprisonment Room. Her white Ni‘ihau shell lei, made by her mother, matches her hair, starkly contrasting with her black mu‘umu‘u. The phrase, from a mele (song) by Queen Lili‘uokalani, means “O look not on their failings/Nor on the sins of men/Forgive with loving kindness/That we might be made pure.”
Lili‘uokalani wrote “Ke Aloha o ka Hoku” (the Queen’s Prayer) while confined in this room in ‘Iolani Palace for eight months, held in solitary captivity after her supporters tried and failed to restore the Hawaiian kingdom in 1895. “To be able to write and sing something like that is so powerful, given what she was going through,” says Kumukahi. “Instead of being angry, she’s showing forgiveness to her captors and concern for her people.”
MARIA KANAI
A Nā Hōkū Hanohano Award winner many times over and a cofounder of the Hawaiian Music Perpetuation Society, Kumukahi has been performing in ‘Iolani Palace for nearly a decade. The room’s acoustics, its somber history and Kumukahi’s clear, pure voice add a haunting yet beautiful layer to the palace tour. Kumukahi sings these songs on the second and fourth Wednesdays of the month, during tours running from 9 to 11 a.m.
Lili‘uokalani was prolific—she wrote approximately 140 songs, including the powerful “Aloha ‘Oe.” She wrote two while imprisoned: “Ke Aloha o ka Hoku” and “Ku‘u Pua i Paoakalani.”
“She was such a talented musician,” says Kumukahi. “She wasn’t allowed any instruments—she was able to compose music and write the notes down by ear.”
Kumukahi understands the importance of mele in perpetuating Hawaiian culture. Her father was a mānaleo (Native speaker) who would not communicate in ‘ōlelo Hawai‘i (Hawaiian language) at home—the language had been suppressed in Hawai‘i, even banned from use in public schools from 1897 through 1986. Kumukahi’s Hawaiian-Chinese mother encouraged her to study Hawaiian songs instead. “I finally realized in my sixties what my mother was doing,” she says. “Because I was not going to learn Hawaiian language from my father, she encouraged me to learn music so I could speak it through music.” Kumukahi shares more mele traditions through the Hawaiian Music Perpetuation Society, hosting concerts and kupuna (elder) nights in Hilo and at the Waiwai Collective in Mō‘ili‘ili, O‘ahu.
“It’s so important to keep our queen’s message going,” she says. “We’re not ever going to forget. Songs are a real, living, breathing experience for us. If we silence our voices, then the story is pau.”
BY
PHOTOGRAPHY BY ELYSE BUTLER
A new dawn of live entertainment rises in Cirque du Soleil ‘Auana –a Hawai‘i-inspired production featuring a cast of powerful acrobats, talented musicians and singers, and profound hula dancers. Only at the OUTRIGGER Waikīkī Beachcomber Hotel.
Cinematic Experience
When Destin Daniel Cretton was in the fourth grade, his grandmother flew him and his five siblings from Maui to California, where the wide-eyed gang toured Disneyland and Universal Studios. Grandma Hisako recorded the adventure with her VHS camera—which Cretton then borrowed and never returned. “It sparked my love of the movie-making process,” he says.
Cretton, who now directs blockbusters such as Shang-Chi and the Legend of the Ten Rings and SpiderMan: Brand New Day for Marvel Studios, hopes to share that spark with other Maui kids. Last summer, he and two family members launched the Hisako Film Lab. “It’s been a dream of mine to give students what I craved when I was younger,” Cretton says, “and to expose them to good people in the industry.”
He didn’t have to look far. Plenty of film industry folks call Maui home, including his sister, award-winning costume designer Joy Cretton. Brad
Kester, who married their sister Merrily, is a fellow filmmaker with a decade of teaching experience. He and Joy stepped up to lead the student film lab.
The rigorous, six-week program is free. The hitch? Attendance is mandatory. Maui students in grades 9–12 are encouraged to apply. Last summer’s cohort included eight students who produced three films. This spring, eighteen students produced five films.
“We walk students through the whole filmmaking process, from pitch to premiere,” says Kester. “They write scripts, plan out their projects, cast, film and edit.” The students meet several times a week for hands-on lessons. Guest instructors include the Crettons’ Maui High School classmate Rachel Kondo and her husband, Justin Marks. They wrote and produced the hit series Shōgun. Aaron and Jordan Kandell—the O‘ahu-based brothers who helped write Disney’s Moana—have shared scriptwriting techniques. Celebrity makeup
artist Christy Tagatac recently helped a student team create prosthetic fish scales for a character who turns into a fish.
“The students always blow me away with their creativity,” says Kester.
Baldwin High School student Emma Jane Roy attended last summer’s lab. She and her partner wrote “Driver’s License,” a six-minute film about a newly minted driver who reluctantly chauffeurs her younger brother around. When casting proved tricky, Roy turned to her teachers for help; Kondo played the lead character’s mom. Roy enjoyed troubleshooting on the set. “It was really fun trying to figure out how to film inside the car,” she says. This fall she’ll continue studying film production at Chapman University; a personal recommendation from Hollywood’s top talent probably didn’t hurt her application.
Above left, instructor Brad Kester teaches Hisako Film Lab students on Maui. The free six-week program was started by Maui-born director Destin Daniel Cretton, along with his sister and Kester, to mentor young filmmaking talent on an island where such opportunities are rare.
Above right, lab students Bransen Tubbs (left) and Raine Quenga at work on their short, “Perfect Day,” during HFL’s 2024 summer program.
STORY BY MARTHA CHENG
Reliving Language
Ke Kula Niihau o Kekaha student Kauhane Mainaaupo with a book written in the Ni‘ihau dialect of ‘ōlelo Hawai‘i (the Hawaiian language). The Hawaiian-language immersion school on Kaua‘i wanted to teach the dialect, but no resources existed. So they created their own: some four hundred titles in a variant of Hawaiian that’s considered closest to the language as it was spoken at the time of Western contact.
Tia Koerte was 28 when she became the principal of Ke Kula Niihau o Kekaha, a Hawaiian-language immersion school on Kaua‘i that teaches the Ni‘ihau dialect. A few years into her role in 2016, “I’m thinking, ‘I need to know, as a young leader, what the community is expecting of me and the school,’” she says. So she hosted a two-day retreat with students, staff and families, some of whom had been a part of the school’s inception fifteen years before.
“We didn’t agree on all things, but it was unanimous that ‘ōlelo Ni‘ihau (the Ni‘ihau dialect) needed to remain a top priority.” But there was one major problem, she says: “There were zero resources published in our ‘ōlelo.” Now, about a decade later, Koerte has helped to create more than four hundred original books in the Ni‘ihau dialect.
There are only about two hundred Native speakers of ‘ōlelo Ni‘ihau. Because of its isolation—the island northwest of Kaua‘i has been privately owned by the
Robinson family for more than 150 years, and they have restricted visitor access to it since 1915—it’s thought ‘ōlelo Ni‘ihau is the closest to the earliest forms of ‘ōlelo Hawai‘i. Koerte, whose maternal family goes back nearly ten generations on Ni‘ihau, grew up speaking it at her home in Kekaha, Kaua‘i. “I’m not just a principal at a school,” she says. “It’s a matter of sustaining a people and a community and a language that is my own.”
But she needed teaching materials. Tracy Fredin, the director of Hamline University’s Center for Global Environmental Education in Minnesota, had gotten to know Koerte through his wife, a professor who had been working on service learning projects with students at Ke Kula Niihau for years. Fredin offered the university’s design and publishing resources. “I kind of joked to her, ‘Let’s make a thousand books in the Ni‘ihau language,’” he says.
Except now it’s looking less and less like a joke. The first book, about Ni‘ihau’s
most famous craft, Koerte and teachers wrote about a woman making a Ni‘ihau shell lei. They sent Hamline’s book illustrator dirt from Kaua‘i and Ni‘ihau shells. “We want all the details to match our students, to match our community,” Koerte says. “We want our students to be able to open these books and go, ‘Oh my gosh, that little girl looks like me.’”
Each student—about fifty attend the school—also writes a book annually. Each year focuses on a different genre and theme, such as fiction and biography; this year, the theme is procedural writing, which might include documenting family recipes. In the past, students have written about their experiences at Kaua‘i’s salt ponds, the Kauai Museum and the taro patches in Makaweli Valley. Koerte says, “The goal is to be able to leave a legacy behind for our language, our Ni‘ihau language, for our children and grandchildren and all that come after us.”
departments & features
Wings in the Dark
Hawai‘i’s native moths are surprising, strange and increasingly hard to find
Entomologist Kyhl Austin scans his lightsheet for native moths. Because of its isolation, Hawai‘i is a petri dish of evolutionary biology. Many of its moth species, like the Carposina gracillima (opening spread right) and Eupithecia monticolens (pages 30–31) are endemic, found nowhere else in the world. Opening spread left, Austin inspects a leaf in The Nature Conservancy’s Waikamoi Preserve on Maui.
Kyhl Austin finds a flat spot along the Kalāwahine trail through the jungle on Tantalus, above O‘ahu’s Mānoa Valley, to assemble his contraption. First, he plants both ends of what looks like a curved fishing rod in the dirt. Next, he Velcros a lightsheet onto the line and draws it taut. The last element is the most important, and expensive: an ultraviolet light that Austin received as a graduation present from his master’s degree adviser (four hundred Euros; “I’ve had it for five years, almost, and I use it nearly every month”).
Austin, a lepidopterist who studies native Hawaiian moths, is going bug hunting. (For the record, entomologists don’t consider “bug” to be pejorative—just slightly imprecise, as there’s an order of insects, the hemipterans, known as “true bugs.”) With the lightsheet up, all that’s left is to do is wait for sunset. We sit watching the sheet. Soon, Austin spies the first native moth of the evening, of the genus Hyposmocoma; it stops briefly on the
sheet before flitting off with its oblong, feathery wings.
There are more than four hundred endemic—that is, found nowhere else on Earth—species of Hyposmocoma moths throughout the Hawaiian archipelago. Some of them are pretty weird. Hyposmocoma molluscivora does something that has been observed only in Hawai‘i: When its caterpillar encounters kāhuli (native land snails), it spins silk like a spider would, trapping the snails against a leaf. Then the caterpillar goes in for the kill. This behavior flummoxed researchers: Caterpillars live with snails on most continents, but Hawai‘i is the only place in the world where they eat them. Recently, scientists discovered another gruesome Hyposmocoma caterpillar they nicknamed “the bone collector.” Before metamorphosing into a pretty if unassuming adult moth, this caterpillar somehow evolved to live under the nose of spiders. The bone collector evades the spider’s radar by enveloping
itself in bug bits—the skeletons of the arachnid’s meals—and the spider’s own sheddings. Why is Hawai‘i home to such unusual moths? Researchers can only conclude that the Islands’ evolutionary sandbox has given rise to some strange bedfellows.
Austin walks around to the dark side of the screen and peers at a swarm of tiny flies dancing on the vertical surface. He pauses, listening to what sounds like gentle raindrops. On the other side of the screen, the silhouettes of moths twirl around the light.
“Hearing the pitter-patter makes my heart happy,” he says.
Insects comprise about 80 percent of all described species. Take a moment and let the images of all the mammals, birds, reptiles, fungi and bacteria you can name cycle through your mind’s eye. All of these species— animals, plants and microorganisms— add up to only 20 percent of Earth’s
known biodiversity. There are four times more named species of insects worldwide as other life-forms, and the Hawaiian Islands are home to over six thousand species of terrestrial invertebrates (insects, snails and arachnids) found nowhere else. Some of these endemic species don’t need glossy magazine features to engender mass appeal: The yellow-faced bee (Hylaeus genus) and happy-face spider (Theridion grallator) are fan favorites, perhaps because their “faces” are easily anthropomorphized. Local gift shops routinely stock finger puppets and graphic tees featuring these
charismatic critters. Austin specializes in leaf-roller moths, so called because some caterpillars in the family roll or tie leaves together. It might go without saying that these moths, the tortricids, are not known for their faces.
Modern genetic sequencing suggests that some ancestral species likely blew into Hawai‘i on the wind 21 million years ago. Those “micromoths,” some the size of an eyelash, landed in the Northwestern Hawaiian Islands. Over time, other moth species landed, and groups of moths evolved to fill almost every nook and cranny of their volcanic homes, colonizing each new
TOP / Paralopostega larvae leave trails as they mine into an alani leaf. A moth in this genus lives its entire life inside a single leaf.
BOTTOM / A female tortricid, Panaphelix marmorata, endemic to Maui. Its species name comes from the Latin word for “marbled.”
AT LEFT / An as-yet undescribed tortricid moth endemic to Maui. Its feathery, forward-facing antennae indicate the insect likely represents a new genus.
Hawaiian island as it erupted out from the sea. After humans arrived, and especially after Western contact, these unique moths declined for the usual reasons: habitat loss and competition from introduced species.
Atop Tantalus the night does not lend itself to moth hunting. But two more native genera landed on the lightsheet: Eudonia, long and thin, and Mestolobes, dark brown and shaped like an isosceles triangle. Also seen: an invasive banana moth and more mosquitoes than we could count.
“In any other forest this would be the perfect night: warm, calm,
An undescribed totricid belonging to the genus Pararrhaptica. As Hawai‘i’s ecosystems change, the search for native insects becomes more urgent. “For birds, plants, snails even, we have a pretty good idea of what’s been lost and what’s caused their declines,” Austin says. But for insects, which make up the majority of animal life in Hawai‘i, “we don’t have any inkling of an idea of why they’re declining as fast as they appear to be declining, or even if they’re declining at all.”
dry forest like this,” Austin says, unplugging the portable battery from the UV lamp and rolling up the lightsheet. But where we are, the plants are all non-native. The hyperspecialized endemic insects don’t have anything to eat. “It’s just dead,” he says.
Less than 150 years ago, the forests of O‘ahu were replete with pitter-pattering moths. Entomologists visiting the Kingdom of Hawai‘i traveled almost exclusively on horseback or by carriage; rail had been introduced in a few places to haul sugarcane, but few strayed off the beaten path to bug-hunt. The English zoologist Robert Cyril Layton Perkins was likely not intending to be an iconoclast when he swore off horses in 1892—he was just fed up with them.
Perkins had been in Hawai‘i barely a month when a trip to the Wai‘anae Mountains went awry. Torrential rain
had slicked the trail in red mud and overflowed the nearby gulches, so much so that his horse was up to its neck in water. By the time he returned to his boardinghouse on Nu‘uanu Avenue, the entire inside of his legs was skinned. And this was the second time a horseback riding excursion went south. “I always hated riding after those first two trips,” he wrote.
Perkins became known for his peripatetic fieldwork, sometimes walking barefoot over lava and through dense forests as he surveyed the insects throughout the kingdom. He carried a stove and oil on his back and camped for months on end, collecting specimens during the day and pinning them at night. Postmasters ventured deep into the forest to deliver mail to Perkins, who was often so absorbed in his work he forgot to eat and sleep.
Take one night in the spring of 1893: Cold rain throughout the day had threatened to warp Perkins’ wooden
boxes and, worse yet, soak his tobacco stash. While in his tent, ostensibly to warm up, he scanned the space for flies and spiders. He spotted a red beetle with thin legs and sprang into action. “Whether I had carried it in after beating or it had crept out of the Lehua poles of the tent, I do not know,” he wrote. “I beat and searched every possible tree around but got no other.”
Between 1892 and 1912, Perkins collected upward of one hundred thousand specimens of insects and birds in remote areas throughout the Islands, cementing his title as the father of Hawai‘i zoology. In his journal entries and letters to benefactors and collaborators, he comes across less as a diminutive, mustachioed entomologist and more like a bug-obsessed Indiana Jones.
In one entry we meet our protagonist clinging to the face of a pali (cliff) on Moloka‘i. Whereas Indiana Jones might have been pinching golden statues, Perkins had his eye on a
different priceless treasure: the Moloka‘i ‘ō‘ō, a rare endemic bird. After a misstep at the head of the Pelekunu Valley, Perkins was plummeting through the overgrowth, dropping his axe. “I heard it, or stones that it dislodged, striking the bed of the stream below,” he wrote. Desperate to avoid a similar fate, he clung to a staghorn fern and managed to hoist himself onto a landing.
“I went slower and carefully after this,” Perkins wrote.
It’s difficult to say how many of the species Perkins collected have since gone extinct—and that’s part of the problem. The archetype of the intrepid field researcher has similarly become imperiled. Today’s entomologists are more often sifting through temperaturecontrolled museum collections or peering at dissections under a microscope than out in the field. The number of entomologists in Hawai‘i can be counted on six legs, and fieldwork is only one part of their job description.
So it’s all the more unusual that Austin views fieldwork as a perk of the
job, rather than a requirement. The week before we went bug hunting, he had gone to The Nature Conservancy of Hawai‘i’s Waikamoi Preserve in Upcountry Maui and discovered what he believed was an entirely new genus of tortricid. It had feathery antennae (already exceedingly rare for the family) that it extended forward rather than laterally. “I’ve never seen a tortricid do that before,” he says.
Austin’s fellow grad students and lab-mates recognize his unusual commitment to fieldwork. “Kyhl really likes what he does, and he’s always volunteering,” says Spencer Pote, who studies Hawaiian fruit flies. But that’s only partially altruistic: Friends in conservation will offer Austin an extra seat on the helicopter when they travel to far-flung cliffs and gulches, and restoration work during the day leaves time for moth catching at night. “It’s all about who you know,” Austin says. “They can bring you to the spots as long as you show that you’re worthy of being trusted in that way.”
Austin is slight, with dirty blond hair and blue eyes. The eldest of four
boys, he was raised in the South and moved to Hawai‘i five years ago for graduate school. His family knows he’s passionate about native moths, but their beliefs about evolution differ. “I try to talk more about the conservation ecology side of things, rather than the evolution side of things,” he says.
The navy-blue quarter-zip sweatshirt Austin pairs with shorts and slippers might raise a few eyebrows in a hot, tropical climate until one enters his adviser’s frigid lab space, the University of Hawai‘i Insect Museum. Despite its status as one of the largest collections of insects in the state, second only to the Bernice Pauahi Bishop Museum, there are no fulltime docents or tour guides—unless you count Brad, a mannequin dressed in a lab coat that tacitly greets visitors. An unusual scent lingers in the air: naphthalene from the mothballs used to safeguard the moths and other mounted specimens from carpet beetles. Austin and the other graduate students in the lab pull out specimen drawers with highlights from the collection’s over 50,000 specimens for school groups and the occasional
Austin inspects a mined leaf in the Kanaio Natural Area Reserve, on the southeast slope of Haleakalā. Established in 1991, the reserve’s rough lava terrain protects what remains of native dryland forest that once covered the volcano’s flank. The endangered Blackburn’s sphinx moth calls the reserve home.
The Ambassador of Aloha lives on in every stitch.
Two genera of tortricids at the University of Hawai‘i Insect Museum: Nuritamburia and Panaphelix. The hard exoskeletons of adult moths lend themselves better to preservation than larval caterpillars, which shrivel unless preserved in alcohol. Like a library, the museum follows its own version of the Dewey Decimal System: A blue tag denotes an endemic species; a black tag denotes an extinct one.
confused family from out of state who’d been misled by Google to think that the Insect Museum was more an actual museum than a research lab with grad students, Brad and a bunch of bugs.
When these groups visit, “I won’t ever bring out my moths, because as much as I love them, they’re not the most charismatic things in the world compared to, say, this,” Austin says, pointing to a drawer full of dozens of pinned, vibrant orange-and-black endemic Kamehameha butterflies, each the size of a toddler’s fist. “Yes, it’s tough to admit but it’s true.” But under the microscope? “These are beautiful,” he says. “The most beautiful insects in the world, in my opinion.”
To the microscope: Austin places a dull, brown moth the size of a dime on the stage and focuses. Magnified, with its wings illuminated, iridescent camouflage hues come into view. Minute streaks of hunter green, beige and brown decorate the moth’s
forewings, each symmetrical side like a tiny watercolor artist’s canvas—if that artist also loved glitter glue.
Because so few are looking for them, moths that haven’t been seen in decades frequently reappear. In one scientific paper, Austin reported the rediscovery of a species of tortricid (Pararrhaptica leopardella) first collected in Kahōluamanu, Kaua‘i, by RCL Perkins in 1895; it hadn’t been seen since 1920. The systematic work of peering at moths, dissecting them, analyzing their genetic information and ultimately classifying them—that’s the other half of Austin’s job, one that the swashbuckling entomologists of the nineteenth and twentieth centuries have left behind. Species are waiting to be discovered, not only in nature but also in museum collections where they sit collecting dust.
“Thankfully, people had the foresight 130 years ago to collect, and so many things are sitting in museums,
waiting for names,” Austin says. “Even if everything goes extinct tomorrow, we’ll still have probably a century’s worth of work to just document the stuff in museums, if not more.”
“Tomorrow” might be a hyperbole, but not a huge one. If a species goes extinct before it’s been named, how will scientists be able to remember it? That question gives Austin his sense of urgency.
“At least we know it existed at one point. That’s why I’m trying to collect as much as I can now,” he says, because in twenty years these species might not be around anymore. “So maybe I won’t get to it, but maybe someone in a hundred years will eventually get to it and study it like, ‘Oh, wow. I’m glad Kyhl found this, because it’s gone now.’”
Entomologists work at a painful, magical intersection. Until we look, we won’t know what we’ve lost. But we also won’t know what we still have time to save. hh
STORY BY LARRY LIEBERMAN
Resounding Success
‘Ukulele in the Hawaiian
Music Archive
aren’t just for show—they’re meant to be heard
Here’s an example of an early instrument that we are quite sure was made by Augusto Dias, one of the original three makers,” says archivist Adam Jansen, showing off a humble and well-worn koa ‘ukulele in the upstairs “vault” of the Hawai‘i State Archives. “The original three” were Portuguese immigrant laborers who arrived in Hawai‘i in 1879, bringing with them the musical instruments of their
native Madeira, the ancestors of what became Hawai‘i’s indigenous string instrument, the ‘ukulele. “There are only about fourteen known examples from this maker in the world, and this is one of them.”
Behind Jansen is a spectacle that would make any music historian dizzy: a display of more than two hundred antique ‘ukulele, each mounted carefully on a wall, but this is only a fraction of
what’s becoming the most important ‘ukulele collection in the world. “The problem is, I have no more wall space,” Jansen laments. “And there are 650 more of them boxed up here, waiting for more racks to be built.” The wall of ‘ukulele and mountains of boxed instruments are part of the larger Hawaiian Music Archives (HMA), which also include instrument-making tools, sheet music, photographs and
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recordings that preserve the history of Hawaiian music.
Jansen’s curation efforts for the HMA exceeded expectations when he traveled with ‘ukulele historian and collector Shawn Yacavone to the continental US in 2023 and acquired two different large private collections donated by Paul Syphers and Tom and Nuni Walsh, the founders of the ‘Ukulele Hall of Fame. For more than thirty years, they have sought
to establish a museum in Hawai‘i to celebrate the birthplace of the ‘ukulele, and through partnership with HMA, that dream has come to life.
Although many of the earliest instruments are lost, devoted collectors like Yacavone have made it a mission to bring some of the best and rarest remaining examples home to Honolulu. “I’ve been traveling around the world, repatriating some of Hawai‘i’s rarest ‘ukulele for educational purposes,”
OPENING SPREAD / Left, 1920s Martin ‘ukulele; right a rare 1920s soprano ‘ukulele by Hawaiian luthier David Mahelona. Both instruments are part of the Hawaiian Music Archive, which holds some of the world’s oldest and rarest ‘ukulele.
TOP / A custom tenor ‘ukulele made by renowned luthier Chuck Moore for the HMA project.
BOTTOM / A 1927 Stromberg-Voisinet ‘ukulele fashioned to resemble the Spirit of St. Louis in honor of Charles Lindbergh’s solo transatlantic flight.
AT LEFT / Hawai‘i State Archivist Adam Jansen with the world’s largest ‘ukulele, at a little over fifteen feet tall.
Yacavone says, “because there are only so many of these still around, and they belong here.”
The HMA will be more than just a repository of rare ‘ukulele: It’s focused on education and preservation of the history of the instruments and the musicians who played them. Music researchers will have hands-on access to study and play them. “These instruments are meant to be held, played and heard. On the first floor
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“The Hawaiian Music Archive includes the instruments, the tools and dies, and the music itself in phonograph recordings and digital form,” says Jansen. In addition to nearly a thousand vintage ‘ukulele, the HMA holds the world’s largest collection of phonographic recordings of Hawaiian music. Above, a collage of ten-inch LPs from the 1950s.
there will be a sound booth for research purposes,” Yacavone says, “to hear and compare the different sounds and even record yourself playing, so the sounds would be accurate to the time period when that instrument was built. The instruments breathe when played, which is what they were intended to do. We’re creating an interactive educational opportunity for the community, because instruments lose their soul when they are simply placed behind glass.”
On Saturday, August 23, 1879, the three-masted sailing ship SS Ravenscrag completed a dangerous, four-month-long journey. Arriving in Honolulu from the Portuguese island of Madeira, more than four hundred immigrants debarked to begin new lives in Hawai‘i. Mostly contract laborers for the Islands’ booming sugar industry, they didn’t bring along much more than their skills. Some had agricultural experience; some were craftsmen and cabinetmakers. All of them were ready for a fresh start in a foreign land. Three
of them went on to change the course of musical history.
“The woodworking traditions of the Madeirans were highly regarded throughout Europe. In fact, the term ‘Madeira’ itself means wood,” says Yacavone. “It’s interesting that none of the original three were listed as instrument makers in Madeira, but the craftsmanship evident in the instruments they created in Hawai‘i are consistent with some of the world’s top luthiers of that time.” Those three fresh arrivals—woodworkers Manuel Nunes, Jose do Espirito Santo and Augusto Dias—adapted quickly to their new home, making use of local hardwoods and other materials to create a derivative of a tiny four-string Madeiran guitar called the braguinha, also known colloquially as a machete. The new instrument, first built in Honolulu from Hawaiian koa, had an arched back and was slightly larger than its Madeiran cousin, with more resonance, volume and warmth. The thin neck and simple tuning made it easy to play: the world’s first ‘ukulele.
“There was a bustling music scene in downtown Honolulu, in Chinatown,” Yacavone says. “The ‘ukulele was born into that community of music, and King Kalākaua immediately embraced it. It took less than ten years for it to become known as Hawai‘i‘s instrument.” Although the Hawaiian word “‘ukulele” literally translates to “jumping flea,” accounts differ on how the instrument received that moniker. The most common is that the name describes the movements of the players’ hands and fingers. Others say it was named for Edward Purvis, a British army officer who served as a vice chamberlain (and musician) in Kalākaua‘s court. Purvis loved the instrument and performed with it often. His energetic manner and diminutive size is said to have earned Purvis the nickname ‘ukulele, which might have been passed along to the instrument itself.
After fulfilling their plantation contracts, the three luthiers set up woodworking shops in downtown Honolulu, where they handcrafted ‘ukulele in addition to selling and
repairing other instruments. The smooth curves and paper-thin decorative inlay made each instrument a work of art. As the ‘ukulele‘s popularity grew, other manufacturers emerged to meet the increasing demand. In time, ‘ukulele became recognized worldwide as their own class of Hawaiian string instruments, played and enjoyed globally.
“Hawai‘i has actually played a disproportionately large role in the creation of what we consider modern music,” says Kilin Reece, founder of the online Pacific String Museum and one of the initial thinkers behind the development of the HMA’s ‘ukulele collection. Reece, a luthier himself and restorer of string instruments, was inspired by his work with the Museo del Violino in Cremona, Italy, where some of the world’s finest vintage violins are brought out of their cases every day to be played, heard and appreciated. Reece wanted to create a similar “living collection” of Hawaiian instruments. He introduced Jansen to Yacavone and helped get the curation started with a major donation of more than 150 instruments. “The musical culture that evolved here in Hawai‘i
in the nineteenth and early twentieth centuries was truly ahead of the curve,” Reece says. “It led to the development of some of the most famous string instruments in history, including the original Martin Dreadnought acoustic guitar and the first electric guitar ever made, the Rickenbacker ‘Frying Pan’ lap steel. Even the Fender Stratocaster—they all can trace their origins to Hawai‘i.”
After catching on in Hawai‘i, where the ‘ukulele was embraced by everyone from kings and queens to children and tourists, the instrument took the rest of the country—and many parts of the world—by storm. During San Francisco’s ten-month-long PanamaPacific International Exposition in 1915, the Hawaiian Pavilion charmed crowds day after day with hula dancers and singing, ‘ukulele-strumming Hawaiian performers. Millions of enchanted attendees went home dreaming of tropical tunes and exotic hula. The craze hit hard, and by 1916 Hawaiian music was the number-one genre in North America.
“All of a sudden, tens of thousands of people wanted to play Hawaiian steel guitars and ‘ukulele,” says Reece. ‘Ukulele sales took off, along with the rise in popularity of Hawaiian music,
and large manufacturers ramped up production. In its first eleven years of commercial ‘ukulele making (from 1916 to 1926), the CF Martin company built almost twice as many ‘ukulele as the total number of guitars they had produced since their founding ninetythree years earlier. The ‘ukulele division helped keep the company afloat during the Great Depression.
The ‘ukulele’s simplicity, portability and affordability gave it mass appeal— but it also helped change the way popular music was performed. “It was a new phenomenon that really was popularized by Hawai‘i—to be playing a string instrument and singing at the same time,” Yacavone says. “That was not typical.” In the late 1800s and early 1900s, it was much more common to see a large brass or symphonic band, either fully instrumental or with vocal accompaniment. “So when people on the Mainland saw these Hawaiian entertainers pick up a small string instrument and begin to play and sing simultaneously, it was very attractive to them, both as observers and participants. As a result, the love for ‘ukulele and Hawaiian music spread rapidly across the continental United States.” The era of orchestras playing foxtrots and waltzes for formal balls
The HMA’s historical photos and sheet music include compositions by Queen Lili‘uokalani, like the 1912 printing of “Aloha ‘Oe,” seen above right. Above left, three Hawaiian women during the kingdom era model the latest string instruments. Left to right, an ‘ukulele, a parlor guitar (with the price tag still attached) and a rajão—an ancestor of the ‘ukulele— from Madeira, Portugal.
The phrase “wall of sound” takes on new meaning at HMA. Over two hundred vintage ‘ukulele are on display, while hundreds more await additional wall space. “I want to preserve our music traditions in Hawai‘i,” says historian and collector Shawn Yacavone, who was … instrumental … in the development of the HMA collection. “So we can honor those who came before us and educate our children for generations to come.”
gave way to a much more intimate style of musical performance, more focused on the singing. The emergence of the singer/songwriter/guitarist as a cornerstone of today’s music culture may owe something to Hawaiian ‘ukulele performance traditions
At the Hawai‘i State Archives, work continues to acquire, study and preserve Hawai‘i’s musical antiquities to share with the public. The HMA collections include the world’s smallest playable ‘ukulele (just over five inches long) as well as the largest (more than fifteen feet) and just about everything in between. “Each one of these instruments has its own soul,” says Jansen. “And they have their own sound. We often hear people say things like, ‘Oh, my tūtū [grandparent] used to have one of these, and I remember how she used to play.’ The sound of these instruments brings it all back. So they’re more than just instruments. They’re memories.”
Some of the notable items in the HMA collection include an ‘ukulele
formerly owned by Richard W Konter, a Navy radioman that traveled with Admiral Richard Byrd on his Arctic and Antarctic expeditions in 1926 and 1929. Konter entertained the crew with ‘ukulele on both trips; the instrument that went on the North Pole voyage is now in the possession of the Martin guitar company, while the South Pole ‘ukulele is at the HMA. Another storied ‘ukulele was owned by the Waikiki Hawaiian Trio, a celebrated local group that released several recordings in the 1920s .
The collection also includes all types of accessories and parts. The vintage jigs and forms, bindings and pegs, antique strings, frets, tools and other components used to make and maintain the original instruments are important when it comes to understanding and preserving the sonic underpinnings of the ‘ukulele. One goal of the HMA is to provide hands-on access to the original instruments for researchers, hobbyists and students, along with an exhaustive body of knowledge about how they
were built and used in performance and recordings.
In addition to the instruments, the HMA also houses the world’s largest collection of recorded Hawaiian music. Providing further context for the wall of ‘ukulele, the institution is digitizing its vast holdings of more than twenty-five thousand recordings on vintage discs and wax cylinders, most of them prominently featuring ‘ukulele and/or lap steel guitar (which was also invented in Hawai‘i).
“This isn’t just a five- or ten-year project. We want this collection to last for hundreds of years,” says Yacavone, “so a hundred years from now, researchers can look back and see how these instruments were made and where they came from. That includes the ‘ukulele, the sheet music, the forms and building patterns, the bracings, the strings—and most importantly, the stories. The kūpuna [ancestors], the people who came before us and created these instruments and played them and wrote and performed songs with them, they all had stories, and we want to celebrate and preserve them.” hh
STORY BY JACK TRUESDALE
Greener Waves
Weaning
surfers off plastic is an uphill battle, but for these shapers it’s worth the fight
It’s morning at Ho‘okipa Beach Park on Maui, and Nic Timpone’s SUV is stuffed with surfboards. Out they come in earthy finishes—some with a mocha tint, others with a raw cloth pattern, each one reinforced with hemp and flax fibers. These are Timpone’s Maui Leaf Lite boards, built to be more ecofriendly than a mainstream shortboard, though he’s shied away from using the
E-word in recent years. He likens them to reusable water bottles. “You’re able to replace single-use materials. Is the Hydro Flask going to save the world? Probably not, but it is a better solution, and I believe deeply in taking small strides in the right direction,” he says. He explains the relative merits of each board: This one’s a little more maneuverable, that one’s going to get you into bigger waves more easily.
Today the waves are choppy and only head-high, so I choose a six-foot thruster. It sits high in the water and turns well. It picks up some of the wind chop, but the heavier materials Timpone uses dampen some of the vibration. Timpone catches wave after wave, laying back into his backside turns. Between sets he sits in the lineup, chatting with a professional surfer friend about that time someone
PHOTO BY DANIEL SULLIVAN
Nic Timpone glasses a surfboard in his workshop in Ha‘ikū, Maui. Timpone is on the vanguard of finding solutions to the pollution and waste associated with traditional foam and fiberglass surfboards. He uses sustainable materials like hemp and flax, but a truly green board is an uphill climb. “I stopped calling them ‘eco-boards,’” he says, “because really they’re just slightly less bad.” On the opening page, Nic’s father Jeff Timpone, a renowned shaper, works on a Maui Leaf Lite board.
hacked his Instagram account. What looks like a casual morning surf is, in fact, part of a broader experiment: Can surfboards with a lighter ecological footprint be ridable, durable and produced at scale? Would they be something surfers actually want?
Across the surfing world, most boards are still made with petroleumbased foam and resin—materials that pollute during production and persist long after a board snaps in half or picks up too many dents and dings to carry on a meaningful life. But in Hawai‘i and a few other corners of the globe, shapers like Timpone and Tom Loomis of Rise Up Surfboards are reworking the recipe. Their boards—built with biobased epoxies, recycled foam, flax and hemp cloth, even invasive and native woods—represent an evolving craft.
Companies like Spain’s Polyola are using two-thirds recycled polyurethane foam; Bizia, a Hawai‘i-based company, is turning invasive albizia trees into boards. But Timpone has learned
that in every solution lies a tradeoff. “The surfboard biz relies heavily on petroleum-based products,” he says. “I started confronting a bunch of issues with building an eco-board. It has to be able to perform and have the lifespan of traditional surfboards.”
Tom Loomis’ shaping journey was unconventional. He didn’t begin, some twenty years ago, with traditional surfboard materials at all. “I found some soybean blanks and a bamboo cloth and made some boards out of that,” he says of his early experiments while attending college in Humboldt County, California. His interest led him to the Northwest School of Wooden Boatbuilding, where he deepened his knowledge of composite materials and discovered “bio-based”—i.e., renewable, sustainable, recyclable—alternatives.
At his shop on Hawai‘i Island, Loomis uses everything from flax
linen to basalt-based cloth. “They only have to heat it once and pull the fiber—it’s less energy-intensive than traditional glass or carbon.” He’s even experimenting with a resin developed in Europe that can be shredded and reused, a rare trait.
His process is as inventive as it is eco-conscious. For foam-based boards, he uses expanded polystyrene (EPS) blanks laminated with flax and a biobased resin. For wood boards, he relies on chambered or hollow-core designs, often incorporating invasive trees like African tulip or reclaimed wood from arborists and the local fire department. “The wooden boards feel different. They sit lower but they float like epoxy boards. And they’ve got this bounce to them from the wood’s natural flex,” he says. Loomis envisions DIY kits one day: “I’d love to CNC-cut wooden frame kits and let people build their own boards.”
He also recycles old boards using an industrial shredder to grind them into material for new products.
PHOTO BY DANIEL SULLIVAN
Shaper Tim Loomis of Rise Up in his workshop in Kapa‘au, Hawai‘i Island, where he experiments with flax cloth, basalt fiber and even invasive woods to build surfboards with a lighter environmental footprint. Above right, Loomis holds shredded remnants of old surfboards, destined for reuse. “There’s so much potential in repurposing what would otherwise just sit in a landfill,” he says.
“I rescued thirty boards from a gulch,” he says. “I’m slowly shredding and turning them into other things.” His hope is that in the future, these shredded remnants could be molded into fin boxes, leash plugs or even nonstructural paneling for furniture or houses. “We’re just scratching the surface,” he says. “There’s so much potential in repurposing what would otherwise just sit in a landfill.”
Beyond the boards, Loomis has a broader philosophy. “Being out on an island in the middle of the Pacific, it’s key to use sustainable resources,” he says. “You can’t just ship your way out of every problem.”
Timpone works in a secondfloor loft of an old pineapple cannery in Ha‘ikū, above a ding repair shop next door to his dad’s office. The air carries the singularly toxic (though nostalgic) smell of surfboard production. He wears a resin-hardened
apron and sneakers bejeweled with yet more multicolored resin. Along the walls are jugs of epoxy and buckets of resin under sunbleached posters of surfers on picturesque waves. On one side are mounted rolls of hemp and flax fabrics. Some are hard to work with. “It’s like sanding your shirt,” he laughs. Materials come from around the world: a hemp farm in China, a collaborator in Australia who co-developed their hemp-and-basalt strips, a US-based company that now supplies recycled polyester blends.
Timpone was born into the shaping business. His father, Jeff, started Timpone Hawaii, a decadesold surfboard company on Maui. But the younger Timpone’s journey into building a more sustainable board began during his time at Maui Community College. “I was searching for something,” he says. He took agriculture courses, learned about landscape design. Then, during a class project, someone suggested he try building eco-friendly surfboards,
“which I hadn’t heard anything about up until then.”
He found his way to Sustainable Surf, a nonprofit that certifies boards made with greener materials. It clicked. “I started marrying the idea of surfboard production and sustainability,” he says. That marriage became Maui Leaf Lite, a line of boards made with a mixture of plant-based and recycled materials. “We could get these partially recycled expanded polystyrene styrofoam blanks, the core of the surfboard. ... Instead of fiberglass, we started using hemp. Later we got into flax linens.”
Timpone’s shop is both a lab and a legacy project. It’s where decades of experience meet experimental thinking. His father, who once built forty boards a week during a windsurfing boom in the 1980s, now works with Nic producing a more limited—but more refined—run of around two hundred boards per year. “He’s made thousands of boards, but now we’re focused on one-offs and each one counts,” Timpone says.
PHOTOS
Voyager 47 Club Lounge at OUTRIGGER Reef Waikiki Beach Resort
The Maui Leaf Lite line makes up 30 to 35 percent of his business. “Some people come back just because of the performance aspect.”
Sustainability, however, often takes a back seat to market demands. “The highest bio-content stuff didn’t look pretty. ... It had this amber color,” he says. “It looked sun-baked. That’s a hard market entry product because people are like, ‘You’re telling me it’s new, but it looks used?’” Many of the more eco-friendly materials—flax, hemp, certain resins—naturally come in caramel or off-white tones. They resemble what a bright, synthetic-white conventional board might look like after months in the sun. “People want that blinding white look out of the gate,” Timpone says, “even though it’s just going to yellow over time anyway.”
There are deeper frustrations, too. Price might be one barrier—Loomis’ boards sell for $1,000 to $1,500, and Timpone’s cost about $125 to $150 more
than a standard board. But for Timpone, the bigger surprise was cultural. “I came out of school thinking I’d change people’s minds,” he says. “I was shocked to realize that surfers, who should care most, didn’t.” Professional surfers, he points out, might use dozens of boards a year, snapping and denting them at breakneck pace. “That’s where a lot of the waste comes from. If you can build a board that lasts longer, that’s already a win.” For Timpone, that tradeoff— performance over durability—is exactly the mindset he’s trying to change. Using higher-quality materials, Timpone builds with longevity in mind. It’s a quiet resistance to a culture of churn and a bet that surfers will value something that holds up through the seasons.
Surfboards didn’t use to be plastic and foam, of course— that happened only in the middle of the twentieth century. In ancient
Hawai‘i they were made from solid wood—koa, wiliwili, ‘ulu—shaped by hand and often imbued with spiritual significance. Hollow-core wood boards became popular in the early twentieth century and remained so until Pete Peterson made the first fiberglass surfboard in 1946. But lately there’s been something of a niche resurgence in wood boards, including the plankthin, finless alaia-type surfboards that Hawaiians once surfed.
“It could be argued that the more sustainable option would be a wood board,” Timpone says, “or something entirely bio-based that, after six months, you’d put in your garden.” To that end, some board builders today are experimenting with blanks made from the agave cactus—lightweight, fibrous and renewable—but those are still fringe. Most boards, even those marketed as sustainable, are still plastic at the core. And that’s a truth Timpone has come to embrace, if with nuance. “I stopped
A lineup of Maui Leaf Lite boards built by Nic Timpone on a recent trip to Indonesia. Made with alternative materials like hemp, flax, recycled expanded polystyrene foam and bio-based epoxies—which mitigate environmental harm without sacrificing performance—each board represents a small step toward a more broadly sustainable surf culture.
calling them ‘eco-boards,’” he says, “because really they’re just slightly less bad. You’re still riding plastic.” Instead, he prefers “sustainably minded” or “alternative construction.”
Loomis and Timpone agree that change can happen, if incrementally, and will require broader buy-in. “When people walk into the shop and see the flax boards or the tapestries of different materials we’re trying out, it opens up conversations,” he says. “Even if they don’t buy that board, maybe they leave thinking a little differently.” While both men acknowledge the limitations— cost, supply chains and the inertia of consumer habits—they see value in the effort. “It’s easy to be cynical,” Loomis says, “but it’s also easy to underestimate what a little creativity and persistence can do.” The future, says Timpone, lies in steady progress, not perfection. “If it’s 2 percent better, it’s 2 percent better. I think that’s better than just throwing your hands up and completely scrapping the whole idea.” The ideal Timpone envisions is a sustainable board that biodegrades in three to five years; Loomis is now working on a fully compostable performance board.
The surf industry, after all, isn’t a major contributor to global carbon emissions—at least not when compared with something like the auto industry. Far fewer people surf than drive. But surfing happens in the ocean, in plain sight of the damage done by climate change and pollution. That’s likely why surfers are often held to a higher standard. It’s easy to ask, “Why aren’t your surfboards eco-friendly?” But maybe that’s a misplaced critique. Personal carbon footprints might be small potatoes next to systemic pollution from fossil fuel-reliant industries. Still, Timpone and Loomis believe there’s value in acting anyway. While they know they’re working uphill, there’s joy in the process and meaning in the materials. hh
STORY BY LIAM WILMOTT
The Good Fight
Honolulu’s longshoremen duke it out for a cause in the War on the Wharves
It’s a balmy night at Honolulu Harbor. Less than an hour after sunset, fifty-odd stevedores, sweat already beading on their necks, mill around the company message board, shaking hands and waiting for the night shift to begin. One of the guys, Alfonso Pitolo, his wingnut ears flaring out beneath his hard hat like truck sideview mirrors, puts a hand on Justin Turkowski’s shoulder. “Be careful up there, brother, move slowly.” He cautions the photographer assigned to shoot these dockworkers about to tackle the unloading of Janet Marie, a forty-three-thousand-ton freighter
moored at Pier 51, because they’ve lost fingers—and worse. “Keep me in your sights and I’ll watch out for you.”
Tonight, Turkowski and I have one job: Don’t die. It’s the night shift’s task “to clear above and below,” that is, to remove the web of taut metal lashing securing hundreds of containers to the ship, then delicately unloading them one at a time by crane onto trucks, then stacking them in the sprawling yard like Lego blocks. It’s important and risky work that takes three days and nights before Janet Marie is reloaded and sent back out to sea. And it happens 24/7, 365 days a year.
Most everything in Hawai‘i comes by boat. You name it: building supplies, helicopters, furniture, clothes, Teslas, Toyotas, toilet paper, paper cups, concrete, Costco, Costco and more Costco. Even boats come by boat. And stevedores are the ones ensuring it’s all safely dispatched. I know this because for eleven months I’ve worked beside these men and women as an on-call laborer with Hawaii Stevedores, Inc.
“Da ship is ready!” yells the foreman. “Work safe, bullehs!” Pitolo turns and makes a beeline for the gangway. Most of the workers march up empty-handed, some carry short pieces
ships in Hawai‘i, six were selected for the annual War
the
Australia and New Zealand converged in Sydney last November to duke it out for
“drop the lashings,” the diagonal braces securing a container, aboard Janet Marie in
of rebar, others tote long aluminum tubes like pole vaulters.
Turkowski tries to blend in: steel-toe boots, reflective yellow vest and a thin plastic hard hat adorned with an LED headlamp. In the sea of grease-stained clothing, scuffed boots and tattooed flesh, his fresh fit looks kinda costumey. “Are they really about to unload this whole ship using their bare hands and a few sticks of metal?” Turkowski asks. Taking in the mass of a fully loaded container ship, it does seem improbable.
The work is sweaty, noisy, choreographed chaos. Pitolo and his gang drop the lashes feverishly, hopscotching and crawling over each other. The alleys between container stacks are narrow and dark—metal valleys slick with salty grease and condensation. Dismantled lashing litters the gang’s wake like a boneyard. Pitolo lowers a seventy-five-pound, fifteen-foot-long rod to the ground with a clang and doesn’t miss a beat,
jamming his rebar into the next buckle to spin it loose. He shows no sign of pain from the rib he broke recently while sparring, which is a good sign, because he’s going to want to go ham in next week’s fight.
Pitolo has been handpicked from hundreds of Hawai‘i stevedores to box in a unique charity night, the War on the Wharves (WotW), an annual fundraiser held for the ninth time in November, 2024. Dockworkers from Hawai‘i, Australia and New Zealand will don gloves to trade jabs, swing haymakers and spill blood in the name of the less fortunate. This year it just so happens to be held in the country where I was born, Australia, and I’ve been invited to head Down Under with my coworkers.
Pitolo and five other waterfront workers from Hawai‘i—Matt Coleman, Nepo “Sunny” Leutu Jr., Louie Mansanas, Aaron Dudoit
and Dakota Papapa—will head to Sydney to represent Hawai‘i in what Dustin Dawson calls “an international grassroots fight night.” Dawson is director of the Hawaii Longshore division, the local chapter of the International Longshore and Warehouse Union (ILWU), which represents dockworkers in the United States, and a respected figure on Honolulu’s waterfront. It’s Dawson’s job to ensure Hawai‘i stevedores have safe and fair working conditions on the pier—after all, “An injury to one is an injury to all,” goes the ILWU’s slogan. The charismatic, heavyset and broadbacked Native Hawaiian rose through the ranks and is known for going above and beyond in his duties.
“When I first learned of what our brothers and sisters were doing in Australia and New Zealand, I saw it as an opportunity for our members to share cultures, be a part of the bigger picture and give back,” Dawson says. “Our industry spans the globe, and it’s
Above, Hawaii Stevedores, Inc. workers receive their assignments at the start of a night shift. Of the approximately 1,200 stevedores servicing cargo
on
Wharves boxing event, where dockworkers from Hawai‘i,
charity. On the facing page, Alfonso Pitolo prepares to
Honolulu Harbor.
OPENING SPREAD / “I’ve gone from not knowing anything about boxing to it being all I can think about,” says Dakota Papapa, seen in red sparring with Sunny Leutu Jr. “It created new habits and added structure to my life.”
TOP / “My progress in life has always been due to the fact that I’ll always give opportunities my best shot, and I always do my best to be nice to people,” says Louie Mansanas, seen preparing for a shift on Pier 52 in Honolulu. “And that’s been my mindset in preparing for this fight, too.”
BOTTOM / Hawai‘i stevedore Matt Coleman (facing the camera) gets a feel for the ring in Sydney. “When I meet workers from the other unions, I realize it doesn’t matter what country you work in, being a member of a waterfront workers union is like being part of a really big family,” says Coleman. “It’s special what we can accomplish together.”
FACING PAGE / Aaron Dudoit (in red) and Pitolo watch Leutu and Papapa spar at Honolulu Harbor.
important every worker knows they are a link in this chain.”
Hawai‘i participated for the first time in 2023, hosting Australia and New Zealand in Honolulu and raising $15,000 for Kids Hurt Too Hawaii, a nonprofit that helps children and teens impacted by loss and trauma. “It might have been for charity and against people I now consider friends, but there was no love lost in the ring,” says Coleman, a soft-spoken McCabe, Hamilton & Renny Co. machine operator who emerged as one of the heavy hitters on Team Hawai‘i. “We did OK for our first time, but braaahhh, we kinda caught cracks, too.”
Before becoming a stevedore, Leutu danced for renowned Ke Kai o Kahiki, the all-male troupe known unofficially as the “Navy Seals of hula” (given that most of their dances are spent crawling or balanced low to the ground). “In hula you need that mentality to push through the pain and see it through no matter what,” Leutu says. He’d told me this a month before, while wearing boxing headgear, his nose still squashed and swollen after it was broken during sparring. Behind him, in the practice ring, Mansanas and Papapa landed punches that sounded way heavier than sparring warrants. Team Hawai‘i has had over a year now to improve, and for the past three months they’ve been focused on a little Rocky II-type redemption in Australia. From the top down at the ILWU, Dawson’s directive was clear: “When you climb through the ropes on November 5, you guys bettah smash!”
I personally have never been in a charity boxing match. My gran—God rest her soul—would argue that belting each other to raise money for hospitalized kids is a little … counterintuitive. But when I watch Mansanas, a grandfather who has lived at least ten lives in his fifty-nine years on Earth, spar with Papapa, a baby-faced 26-year-old with no kids,
I can’t help noticing how happy they are to beat each other up. “Competing at something makes life interesting for me,” says Mansanas; he collected a few world bench-pressing records in his early fifties in Germany, but after suffering a heart attack he’s discovered pickleball and has even taken his paddle to tournaments on the US continent. Mansana’s eldest son fought in the MMA, and he’s always wanted to experience being inside the ropes. He hopes to win, of course, but he’s managing his expectations. “I’m trying to keep it in perspective—if nothing else, I’m pretty sure I’ll be the only guy with eight grandchildren in the ring!”
When I land in Australia to cover the fights, I seek out the two blokes responsible for this head-scratching/ head-traumatizing idea, Australian stevedores Kane Hay and Jules Parry. We meet at a quaint beach café in Sydney, where they shed some light on the first event in 2012, which raised money for Sydney Children’s Hospital.
“For ages, people thought of ‘wharfies’ as lazy, fat, drunk, slobby, thieving crims, ya know?” says Hay. “Just makin’ good loot and goin’ to the pub, eh.” Hay’s a clean-cut fella, but his Aussie accent is so gritty it sounds like he gargles gravel for mouthwash. “We wanted to raise money for the nurses and all that, but what the fights actually did is put a spin on people’s beliefs,” he adds. “We kinda figured our mates would donate to watch us punch on with each other, I guess,” adds Parry. “We just didn’t know how many would or how much they’d pay.”
A little caffeine is all it takes for these two Aussie wharfies to relive the first fights: how easily they enlisted eighteen coworkers, how not having any real boxing experience wasn’t a problem, how they realized that this was the beginning of something special. Hay says that the venue was packed well beyond its five-hundredperson capacity on fight night. “It was pretty obvious from the get-go that the
Pitolo has the eye of the tiger as he enters the arena to his chosen theme song, “I Love Nānākuli.” Moments later he throws everything he’s got into the first fight of the night. On the facing page, Pitolo lands a jab on Australian “wharfie” Francis Smith’s chin while the ref looks on.
audience didn’t want any showboating— they wanted a brawl—so we gave ’em their money’s worth.” In the dying seconds of the final match, Parry didn’t parry and caught a punch to the head that dropped him to the mat, stone cold. Friends, family and coworkers celebrated in disbelief. Parry regained consciousness in time to join Hay in handing a check to the nurses from the children’s hospital, and the place almost burned to the ground.
This year’s fights are being held at the same venue as 2012, South’s Juniors Rugby League Club, a four-story labyrinth that’s been part of the Sydney entertainment circuit since 1959. The ballroom where the twelve fights will take place is smaller than I’d expected: carpeted, high-ceilinged, windowless and slightly tilted toward the far wall, where a boxing ring has been set up in front of a stage. Bassthumping music pulses as patrons
file in endlessly, the line at the bar is backed up ten deep, and empty beer and wine glasses are already crowding the tables. When bright, white light suddenly floods the ring, an emcee in the center dramatically raises a microphone.
“Aaaare we ready to see some fights?!” he booms. The whole place gets vocal.
Pitolo happens to be the first battle on the cards, slated to box Australian wharfie Francis Smith. Both part Samoan, Pitolo and Smith are similar in height and width across the shoulders, but at the pre-fight weigh-in there’s an obvious discrepancy: Smith has fifteen pounds on Pitolo, mostly in the gut. In combat sports, fighting at the target weight is seen as a big deal— it’s only fair that the scales be even, literally. They were slated to fight at 210 pounds, but Team Hawai‘i accepts the fight regardless.
In the ring Pitolo looks trim and athletic in contrast to Smith. But from the opening bell, the Aussie shows you should never judge a Samoan by
his waist. Smith dominates the ring, swaying and pivoting like a bowling pin that won’t go down, peppering Pitolo with shots from all sorts of odd angles. Fitness and strategy get Pitolo through the first two brutal rounds; by the third, sensing Smith flagging, the Hawai‘i fighter clicks into “delash mode,” chopping Smith with heavy lefts and rights like he’s dropping rods on Janet Marie. Pitolo lands a clean left hook, loosening Smith’s buckles. The final bell sounds and a spent Pitolo and Smith hold each other up in a Samoan bear hug. Moments later the referee raises Pitolo’s gloved hand in the air. There are three more bouts before the next Hawai‘i fight, so I take advantage of my all-access pass and seek out Angelo Dymock, the man Hay and Parry credit with steering WotW to this level of professionalism. I eventually find Dymock in the audience, all smiles, glad-handing with a table of suits and ties. I wait and follow him out to the hallway ringing the venue.
“That table looks almost like they’d found themselves in the wrong joint,” I joke. Dymock turns, his phone is pinging as we shake hands. “That’s the Shandong delegation, from China,” he says. “They’re here as a show of solidarity with our unions.” I can tell he’s running on fumes. “It must take a lot to put on an event like this, yeah, Angelo?” I ask.
We walk as Angelo tells me—as best as he can—what goes into staging WotW. Being in compliance with Combat Sports Australia and Boxing New South Wales means checking off a long and heady list, but Dymock says it’s important to do it properly. “It covers everyone, but most importantly it keeps the fighters safe.” He mentions that he’s established a nonprofit this year, the Waterside Workers Limited, to streamline the WotW donation and grant-giving process.
We reach the back-of-house area and show our credentials to security before we’re allowed into the fighters’ quarters. A quick farewell handshake and Dymock disappears, leaving me in a hallway lined with doors. The walls are a patchwork of old event posters: comedians, cover bands and the Aussie folk music icon John Williamson. Suddenly a door behind me bursts open so hard it’s almost ripped off its hinges. It’s Papapa, with Team Hawai‘i in tow. There’s a palpable rush as they pass: Papapa is about to enter his first-ever bout, and he’s in the zone, with zero flight in his fight.
Although tonight’s matches are designated “amateur fights” by Boxing NSW, there is nothing amateur about the thrill of victory. “This is the greatest feeling I’ve ever felt!“ roars Papapa, back in the changing room with his exuberant entourage after a hard-fought win over Australian Jamie Donnelly. Papapa’s face is bright red and freckled with wet blood. He’s soaked in sweat, and one of his neck veins seems ready to burst. But it’s not sweat in his eyes—it’s tears.
Thirteen years since the first WotW, and there are still no belts,
purses or titles—just one “perpetual shield,” a plaque with the names of the boxers who duked it out in the “Fight of the Night.” It dawns on me how much commitment training for a fight requires when you’re part of a labor force that routinely works sixty-hourplus weeks. Three months of brutal discipline to live out three short rounds in a ring. That return on investment might seem insufficient for most adults, but the jubilation surrounding Papapa in that tiny changing room wouldn’t have happened without it.
In one fight, two Australian women, Keely O’Neil and Casey Burley, go hell for leather in the ring, punching each other like they have something to prove. And maybe they do: I think about Janet Marie, that greasy, dark and dangerous workplace, where the delash crew ground through that sweaty choreography last week. These women would without question hold their own there. Burley takes the win to an ovation from the crowd. These women, and those I work with in Hawai‘i, are crashing through the metal ceiling of the still overwhelmingly maledominated waterfront industry, earning the respect of their peers on the pier.
Until Coleman’s match, it didn’t really occur to me that someone could get seriously hurt. For that reason, the NSW Boxing Association’s amateur rules are focused on “safety of the combatant” and not “entertainment of the sport.” If there’s blood or a fighter cops a heavy blow, the referee may intervene and potentially stop the bout. Coleman is boxing beautifully but has a worthy opponent in Australian Cameron Van Wyk. He was just warming up his sledgehammer of a right hand when blood began pouring from his nose. “It’s a bummer brah,” Coleman seethes through bloodstained teeth at the referee’s decision to stop the fight twentyseven seconds into the second round. “It’s just blood, and I just like finish. I just like put on a show for everyone.”
But Coleman’s disappointment pales in comparison with Mansana’s.
BOTTOM / Before becoming a stevedore, Jesus Salud, (seen tending to Leutu between rounds), was a world champion boxer. “I just want to see the team learn the fundamentals of boxing,” he says. “Boxing taught me so much in life, and I think this sport can provide so much to people that work in our profession.”
FACING PAGE / Though Burley (in blue) takes the win after a brutal bout, the referee raises both Burley and Keeley O’Neil’s hands in celebration. More than 270 rounds have been fought and over $200,000 raised for charity in War on the Wharves since it began thirteen years ago.
TOP / Australian fighter Casey Burley gets advice between rounds from her trainer, Lauri Laurino.
The inspirational grandfather who motivated Team Hawai‘i through the grueling months of training didn’t even get to suit up. “Right before we flew to Australia, they said that due to my age and medical history, I had to undergo even more screening, and there just wasn’t enough time,” said a deflated Mansanas, who made the trip to Australia anyway. “At my age I’ve learned to just accept the things I can’t change, but it’s not always easy.”
Aaron Dudoit looks like a tough guy: heavy-set, heavily inked and wearing a heavy gold chain. I got to know him in the Matson Terminal employee car park before the trip, where I learned he also has a heart of gold. We leaned against his car, chatting while trucks rumbled along Sand Island Access Road, kicking up dust in the last golden moments of the day. I asked why he’s fighting, as this would be Dudoit’s first time in the ring. “My son is 10 now,” he said, shaking his head. “Man, I tell you, life’s crazy.” He stared across the road, where a building under construction was washed in the kind of honeyed Hawai‘i sunset that can gild even a grim industrial zone. “I doing this fight for … my son,” pronouncing “my son” with unexpected fragility, as though something might crack inside him. “He was born with an incurable condition that requires surgeries every year. So I doing this fight in solidarity with him— because he has to fight every day.”
He went quiet, collecting his thoughts while waiting for trucks to pass before continuing.
“You see that building site across the road?” Dudoit pointed. “That used to be a drug rehab center. I was there after getting out of jail.” He stopped, and I wondered whether he might be reconsidering divulging all of his story to a writer. “My wife found out she was pregnant while I was in rehab there. And look now, brah. I’m ten years clean. I’m one stevedore. And I have one family.” Massaging the sleeve of tattoos running up his arm, he filled in the gaps for me: the poor choices, the wrong influences, the wife who became his rock and her sons who got him into kickboxing, fulfilling his childhood, action-hero dreams. “See what I mean? Life is
crazy, brah!” He chuckled, a weightless smile spread across his face. “Nevah in a hundred years would I evah thought that, one: I get a passport! And, two: I going go Australia fo’ fight! I mean, brah … only guys like Max Holloway get to do dat!” he said, referring to Hawai‘i’s champion MMA fighter.
Even my chicken skin gets chicken skin when Dudoit walks out for his fight to the Damian Marley song “It Is Written,” Hawaiian flag draped across his shoulders, Team Hawai‘i at his back, his family in the crowd. But when the bell sounds and it’s just Australian Connor Higgins and Dudoit in the ring, none of that backstory matters; his fists will have to do the storytelling. Their matchup is pure entertainment—it’s Higgins’ first time boxing, too, and it’s clear they both have the same game plan: Stalk the opponent around the ring while throwing huge bombs and swinging haymakers. The whole fight is one punch from going either way, but at the end the referee declares Dudoit the victor. Life is crazy.
After Leutu’s
narrow victory
over New Zealander David Tepoutoa, Hawai‘i’s six-man team proudly returns home with four wins. Overall, the night raised $19,000, with Papapa and Donnelly receiving the honor of having their names etched into the Fight of the Night shield.
“It’s not even about the W,” reflects Coleman. “Representing ourselves and our union as best as we can and knowing that money we raised will go to helping someone in need is really what we all came together to do.”
Still, WotW isn’t only about charity; for Team Hawai‘i it was also about redemption, honor, integrity and camaraderie. “The guys down in Australia were so cool to us,” says Papapa, “but hands-down, the best thing about the experience is the friendship I have with Uncle Louie Mansanas now.” Papapa says that things feel different back at work on Honolulu’s waterfront. “We know each other in this whole other way. Even though Uncle Louie is, like, thirty-some years older than me, we’re boys now. Our friendship is 110 percent legit.”
A few weeks after fight night in Australia, I’m working a day shift on Pier 1, dispatching 1,397 vehicles from the Marjorie C. Northeast winds blow across the pier, and I think: More than 220 years have passed since these same winds brought the earliest trade ships to Hawai‘i. I look west at the Matson and Pasha terminals across Honolulu Harbor. Containers are bricked in neat columns across their yard, and cranes reach for the clouds, the containers stacked high beneath them. Looking mauka (toward the mountains), apartment buildings and residential neighborhoods ascend the ridges and fill the valleys.
It might not be a postcard image of Hawai‘i, but it’s real, and without the men and women who move these huge metal boxes, none of it would be possible. During COVID, waterfront workers were considered essential personnel, as important as firemen and nurses. The state Department of Transportation website spells out why: “Hawai‘i,” it reads, “is entirely dependent on ocean transportation of freight.”
Still, Dawson is always reminding workers to be humble, to remember that, as he says, “it’s what we do for others that counts.” Even if that includes beating the daylights out of each other once a year. hh
FACING PAGE / A tug tows an outer island barge to Kaua‘i while Janet Marie waits for the vessels to clear the entry to Honolulu Harbor.
Double Takes
The happy accidents of John Hook’s double exposure photography
Ashark descends from the sky above Honolulu like a Polynesian god A surfer wraps a rooster tail of spray around a solar eclipse at its moment of totality. An Earth-shadowed, blood-red moon floats in the waters of Waimea Bay.
These separate worlds fuse in photographer John Hook’s double exposures, strangely disparate and yet also coherent. Weird juxtapositions that somehow make sense. And they are even more surprising because the images that follow in these pages are entirely accidental: They are not digital, not Photoshopped, not AI hallucinations spat out from a text prompt.
For the past decade or so, Hook has been harnessing an ancient technology—film—to collapse space and time in unexpected ways. He’ll shoot a roll of a subject—an eclipse, for example—then reload that same roll sometimes months or even years later and shoot something else, exposing the same frame twice. Fingers crossed.
Most of the results are disappointing. A frame edge might cut
across the image because Hook didn’t load the film precisely the second time, or the composition feels unbalanced because he has only a vague idea of what the first image might be when he shoots the second. But every now and again, serendipity: The underside of a wave at Pūpūkea crashes over Wakīkī like a squall, or a surfer glides across a wave face jungled by monstera leaves.
“Every time something comes up, like a lunar or solar eclipse, I’ll shoot a roll of film and save it for later. And I think, ‘What else can I expose this on later?’” says Hook. “Every single roll I’ve ever shot has been luck. Just pure, happy accident.”
Any meaning, like the images themselves, is a conjuration left up to the viewers. But if they take anything away from these photos, Hook hopes it’s the inspiration to play. “Maybe they encourage people to look at things differently, even try something for themselves. I don’t mind if people steal the idea, try to copy it or whatever. Just have fun. That’s the whole point.”
STORY BY MADELEINE HILL
Flower of Good Fortune
For seventy-five years, the Narcissus Festival has celebrated and sustained Chinese culture in Hawai‘i
Hawai‘i’s Chinese people are well-assimilated, says Douglas Chong, president of the
office. “We eat kimchi, we eat sashimi. We’re so cosmopolitan, even in our diet. Things have changed so drastically.”
help Hawai‘i’s Chinese maintain their culture through the annual Narcissus Festival, first celebrated in 1950.
She’s quite old. She’s a grandmother. She’s going to be a great-grandmother. Wow!” says Douglas Chong, gesturing toward a volunteer in the tiny office that is the Hawaii Chinese History Center. The volunteer looks up and smiles—she’s used to Chong’s teasing. “She doesn’t even know how to cook New Year’s monk’s food! And, of course, because she’s third, fourth generation, she’s never had to do it,” Chong tells me. “Now she has grandchildren, so she wants to teach them. But at least she’s trying. That’s where we are.”
“We” means Hawai‘i’s Chinese, whose roots in the Islands reach back to the late eighteenth century. They’re so well assimilated, says Chong, that even many of the older generations know little about Chinese traditions. Chong, who is both the center’s president and the
preeminent authority on the history of Chinese people in the Islands—his own family goes back nine generations in Hawai‘i, he says—laments that Hawai‘i’s Chinese have drifted from their heritage. One way he’s tried to counteract this has been through the annual Narcissus Festival, the largest celebration of Chinese culture in Hawai‘i.
Conceived in 1949, the festival was in part an effort to revive cultural connections that had been severed during WWII. After the attack on Pearl Harbor, all Asians were affected, says Chong. Japanese, Chinese and Korean schools were closed, and goods stopped flowing from those countries, leaving Asian communities in Hawai‘i disconnected from their roots. Thirdgeneration Chinese wanted to restore those ties through the Chinese Chamber of Commerce, which has sponsored the
Narcissus Festival since 1950. Initially tied to the spring Chinese Lunar New Year, the festival now stretches from September to April. It’s named for the narcissus, or daffodil, because its yellow-and-white flower represents purity, prosperity and balance in Chinese culture. In 2025, the Year of the Snake, the Narcissus Festival passed a milestone: its seventy-fifth anniversary, making it the second-longest-running cultural festival in Hawai‘i, close behind Aloha Festivals, which started in 1946. Possibly the highlight—or at least most visible—part of the festival is the Narcissus Queen Pageant. It was once like a typical beauty pageant, with a queen selected for her aesthetic qualities and performative talent. Although it still includes traditional beauty pageantry, these days the contestants are judged
Hawaii History Center, seen above in his Chinatown
Chong aims to
“
Barbara Chung Ho, seen above teaching a traditional Chinese knotwork class, is one of several cultural practitioners who educate contestants in the Narcissus Pageant. During her first-ever lesson she tried to teach twenty young women to create a “double happiness knot.” Three hours later, each had barely finished one knot. Since then, she’s taught the “double connection knot,” which is easier to master.
on more substantive criteria: their understanding of Chinese history, language, art and traditions—traditions they might not know much about. So, they get a crash course in Chinese culture from the elders who know it best, like Douglas Chong.
Chong spends about ten hours teaching the contestants. He tells them how the Chinese helped the Native Hawaiians restore neglected taro and fishponds, how they introduced rice cultivation, and how Native Hawaiians and Chinese intermarried. While ten hours is scarcely enough to do more than introduce them to the traditions their great-great-great-grandparents brought to Hawai‘i, at least, as Chong would say, he’s trying.
Michele Choy first heard of the Narcissus Festival in 1974, when her father encouraged her to enter the pageant. Back then the
contestants were required to study only “charm” and makeup techniques. Choy didn’t win, but it was the start of her fifty years of volunteer leadership in the festival, eventually becoming the pageant producer. In that role, she was floored to discover that many of the participants knew virtually nothing about Chinese culture.
So, about thirty-five years ago, Choy set out to change that. She scoured the community for experts—in paper cutting, cooking, history, traditional medicine and more—who would be willing to share their knowledge. When some retired or passed away, she found new ones. Some are passionate hobbyists; others consider it their life’s work. Regardless, they’re motivated by a common goal: ensuring their knowledge is passed down to Hawai‘i’s future Chinese and shared with all the people of the Islands.
This free cultural education has been a boon for the pageant contestants but not for anyone else—until now. “How
come you have this for the girls, but you don’t have it for us? Why can’t we learn it?” people asked Choy. So she decided the seventy-fifth anniversary was an opportune time to open the classes to everyone in the community. Chong, an expert in Chinese ching ming rituals (rites in memory of the ancestors), led a group through the Mānoa Chinese Cemetery, for example. And opening up the classes might have an added benefit: helping attract new people interested in keeping these traditions going.
Some of the cultural practitioners teaching Narcissus Pageant contestants are looking toward retirement and grappling with how to pass on their experience. Chong is often asked who will run the Hawaii Chinese History Center after him. So far, no one. “It’s not easy to find somebody who has the knowledge, the background and most importantly the sincerity of heart to teach, revive and preserve Chinese heritage in Hawai‘i. Someone who’s really interested
Since Michelle Choy participated in the Narcissus Pageant in 1974, she’s been working to deepen the festival’s cultural relevance by inviting experts in various disciplines to teach the contestants.
in looking at migration, at assimilation, at the diaspora of the whole experience.”
Harlan Lee didn’t embrace martial arts as a child. In fact, he and his two siblings hid when it was time to accompany their martial arts instructor father to Chinatown for training. But his dad said something that stuck with him: that the day Lee decided he did want to train, it might be too late.
Lee sees this now, watching other cultures embrace the Chinese arts that Chinese people themselves don’t pursue with the same enthusiasm. Twelve years ago, as Lee sat beside his father on his deathbed, he promised to carry on his father’s teaching. “I’ll take it as far as I can,” Lee says. “I don’t want it to be lost.”
Today, Lee owns the Gee Yung Chinese Martial Arts Dragon & Lion Dance Sports Association studio in Chinatown, where he’s taught pageant contestants for more than twenty years. It’s virtually impossible to cover more than four thousand years of martial arts history in the two classes contestants take, but it’s better than nothing: Many know only what they’ve
seen in Bruce Lee and Jackie Chan movies, he says, so he teaches an introduction to the origins and culture of Chinese martial arts.
Lion dancing, which dates to the Tang Dynasty, is believed to ward off evil spirits and bring good luck. Two dancers, one holding the head and the other the tail, stand under the colorful lion costume, which has shiny, metallic stripes and is trimmed with fur. The martial arts provide the foundation
for this physically demanding dance, Lee says.
Lee explains to contestants how martial arts became intertwined with Buddhist and Taoist philosophies in the seventeenth century, when the Manchurians invaded China. Renegade practitioners fled and hid in the Shaolin Temple in Henan province, where they studied religious scriptures.
Lee also demonstrates simple, effective self-defense techniques,
such as using your palm or aiming for certain body parts to disable an aggressor. But the main takeaway, Lee says, is that martial arts aren’t only about fighting. “It’s about living. It’s about cultivating yourself and learning what you can do.”
Shi Zhong Xiao has practiced traditional Chinese medicine for sixty years. He came to Hawai‘i
Students of martial artist Harlan Lee wait their turn to perform a dragon dance during the 2025 Chinese New Year Festival in Chinatown (seen also on the opening page). Lee gives Narcissus Pageant contestants a crash course in four thousand years of Chinese martial arts, which are the foundation of dragon dancing.
in 1985, after studying traditional Chinese and Western medicine in China. He’s taught pageant contestants since 1999, for the past two years alongside his mentee and translator, Yu Yang Phillips.
Like martial arts, traditional Chinese medicine goes back thousands of years—about 2,200. So that the contestants don’t get overwhelmed, Xiao teaches “a crash course” consisting of a two-hour
DISCOVER ALOHA IN ALOHA WEAR .
Shi Zhong Xiao and his apprentice, Yu Yang “Mandy” Phillips, examine herbs used in Chinese medicine at the Institute for Chinese Acupuncture & Oriental Medicine in Chinatown. Xiao does his best to share a sliver of his eighty-six years of knowledge and experience with pageant contestants, many of whom have had little to no exposure to traditional Chinese medicine.
class in herbal medicine and another one in acupuncture. Students learn the science of Chinese medicine, sample herbs and receive acupuncture.
At the Institute for Chinese Acupuncture & Oriental Medicine in Chinatown, where the 86-year-old Xiao still teaches, there’s a room with shelves lined with hundreds of herbs, their labels reading “clear heat and relieve toxicity” or “regulate the qi.” The corridor is covered with charts of the human body crisscrossed with lines denoting meridians and acupuncture points. Whereas Western medicine relies on lab work and imaging, Xiao diagnoses patients by looking at their tongue and complexion, feeling their pulse and even smelling them before asking about their health.
With Phillips interpreting, Xiao says he is heartened that interest in traditional Chinese medicine has grown since he came to Hawai‘i. He believes collaboration with Western
doctors is crucial to the discipline’s survival. “Western medicine is good. Chinese traditional medicine is good,” Xiao says. “But a combination is better.”
And of course, the discipline’s longevity is dependent on having young people carry it on. Phillips is Xiao’s heir apparent.
“He’s still training me. One day he will feel I can take over everything,” she says. When asked when that will be, they laugh.
“I still need to learn a long, long time until one day he’ll feel like, ‘Oh, you’re OK,’” she says. “I think that will be maybe twenty or thirty years from now … if he’s still here.”
Barbara Chung Ho was born and raised in Honolulu by Chinese parents who spoke only English to her. In 1980 she landed in Taipei, Taiwan, for a three-year postcollege program, where she studied
Mandarin and learned traditional Chinese decorative knotting, which dates to the Song and Yuan dynasties, and Chinese paper cutting, which is traced to the Tang Dynasty. The knots marked important milestones, Ho explains. The more significant the event, the larger the knot.
When Ho was in Taiwan, Chinese knotting and paper cutting stores were as prevalent as 7-Elevens. “Everybody was just going wild, learning and learning, and learning it,” she says. After returning to Hawai‘i, she signed up for a knotting class at the Temari Center of Pacific and Asian Arts. At the last minute the instructor’s visa didn’t come through, and Ho wound up teaching. She still teaches through the University of Hawai‘i at Mānoa Outreach College Statewide Cultural Extension Program. In 1991, Choy tapped her to teach Narcissus Queen Pageant contestants, and she has been doing so ever since.
It takes Ho about two hours to make a “double happiness” knot, a hanging design that includes multiple knots within it. Ho has knotted a dragon boat sculpture that took 72 hours and 240 yards of gold metallic cord. She’s been displaying it to students for at least twenty-five years. Recently, Ho ran out of beads she brought from Taiwan. Because the size of the holes is so specific, she can’t find them online, so she searched for them when she was in Taipei last April—to no avail. And like the beads, the craft itself might be vanishing, at least in Hawai‘i. She can’t teach forever. “If no one else perpetuates it and it fades away,” she says, “at least I’ve done it for forty-something years.”
Nineteen-year-old Alycia
Abordonado was adopted from Anhui province in China by her Chinese mother and Filipino father. Raising her on O‘ahu, her parents ensured she stayed connected to her roots. When she was 4 they gave her a choice: study Mandarin or take martial arts and lion dancing classes. Captivated by kung fu movies, Abordonado began training with Harlan Lee at Gee Yung. That year, she attended her first Narcissus Pageant Coronation Ball, where she performed as a lion dancer with her classmates.
Harlan Lee with the 2025 Narcissus Pageant Queen, Alycia Abordonado.
Sifu and the Queen: Abordonado has trained under Lee’s tutelage since she was four years old. “Seeing her from when she was small, and now she’s a queen, attending university, focusing on her degree …” Lee says. “It makes me happy because I’m trying to carry on my father’s martial arts legacy. If I can, I did my duty before it’s my time to go.”
“I saw all the girls on stage, and I thought I wanted to be like them one day,” Abordonado says. And so when she was old enough, she did exactly that, becoming the 2025 Narcissus Pageant Queen.
Granted, the new queen may have had a bit of an edge, culturally speaking, over other contestants. The University of Hawai‘i at Mānoa student still trains with Lee at Gee Yung for five to ten hours a week. Growing up in her Gee Yung “family” has informed her worldview,
Abordonado says. “The Buddhist principle or Taoist principle, which is what the martial arts line is really so entrenched in, kind of takes root in my thought process, which is approaching your problems headon, dissolving them at the root so they don’t become bigger problems. It’s sort of embedded in Gee Yung itself, which means ‘to go forth and be brave,’” she says. “It’s what the instructors here try to teach us in the best way.”
Being crowned the seventy-fifth Narcissus Pageant Queen was a full-
circle moment for Abordonado. “I was on that stage, shaking, like, ‘Oh my God. I feel like I’m about to cry,’ but somehow held myself together,” she says. The moment was a culmination of her training at Gee Yung, of everything she learned through her teachers. It was about making her parents proud— even her biological parents, whom she never knew. If they could see her at that moment, she says, she felt sure they’d be assured of their decision to give her up so she could have a chance at a better
The
life. And it was about perpetuating her Chinese culture.
“Tradition isn’t just the outdated things that we carry on without thinking,” Abordonado says. “It’s respect for our elders, respect for the people who came before us and the way that they lived—and what they can teach us about how we live today.” hh
STORY BY DAVID THOMPSON
PHOTO
Among the crowd of stamp collectors roaming around an Ilikai Hotel ballroom during the 1986 Hawaiian Philatelic Society’s dealer show was a middleage attorney named Keith Steiner. The show’s feature attraction was an exhibition of postmarked envelopes from the inaugural flight of Pan Am Clipper service to the Islands in 1935—Hawai‘i’s first airmail from the continent. For Steiner, however, the highlight turned out to be a collection of fish in a box.
Steiner happened upon a stash of early twentieth-century postcards bearing scientific illustrations of tropical fish. The imprint on the cards read, “Published by the Island Curio Co., Jas. Steiner, Honolulu.” James (Jas.) Steiner was Keith’s grandfather, and Island Curio Co. was the old curiosity shop he ran in downtown Honolulu during Hawai‘i’s early territorial years.
As a boy Keith had known his grandfather, who was born in 1860 in what is now Czechoslovakia. Trained as a baker, James set out to bake his way around the world, but when he reached Hawai‘i in 1882, he decided to go no farther. Fresh off the boat in Honolulu, he found work scooping ice cream. Eventually he came to own the ice cream parlor, among other ventures, as he rose to prominence as a Honolulu businessman.
Island Curio was one of various souvenir stores catering to the steamship passengers coming and going through Honolulu Harbor in the Territory of Hawai‘i’s early years. They sold things like peacock feather lei, shells, calabash
Postcard publisher James Steiner, left, and his Island Curio souvenir shop, as seen in the postcard above.
Postcards from faraway places helped acquaint the people of the early 1900s with life in other lands. One popular Island Curio postcard showed two lei and a simple Hawaiian meal—an overflowing calabash of poi and a fish wrapped in a tī leaf, ready for cooking.
bowls, hula skirts and coconuts carved with funny faces. Picture postcards were among the lowest-priced items. Keith wasn’t surprised that Island Curio sold them, but he had no idea his grandfather also published postcards. He bought the whole box of fish.
It’s not a far leap from philately (stamp collecting) to deltiology (postcard collecting), and Keith quickly became an avid deltiologist dedicated to Island Curio postcards. Gradually he amassed a collection of nearly five hundred distinct Island Curio postcards that span an eleven-year period, from 1903—the year the first batch of postcards arrived from the German printer—to 1914, the year James sold the souvenir business.
Keith cataloged the collection in a labor-of-love coffee table book, Hawai‘i’s Early Territorial Days: Viewed From Vintage Postcards by Island Curio, published in 2001.When he died in 2018 at age 90, his postcard collection passed to his descendants, who keep them in five
oversized binders in the Steiner family foundation’s downtown office. Some of the duplicates have been framed and hang in Steiner family homes and offices around the Island.
Others hang in the studio of Jamey Steiner, a fifth-generation Steiner in Hawai‘i and a photographer whose project to shoot Island Curio postcards in the locations they depict juxtaposes past and present. “I thought it would be fun to take my great-great-grandfather’s postcards and do something creative with them,” he says.
Ever curious about old Hawai‘i, I jumped at the chance when Jamey invited me to see the originals. I was captivated by these little cardboard artifacts and the kaleidoscope of impressions, for better or for worse, they offer of Hawai‘i from their time.
James opened Island Curio in 1900, the same year Hawai‘i’s
territorial government was established. The Hawaiian monarchy had been overthrown seven years earlier, the Spanish-American War had just been fought, the US military presence in the Pacific was expanding and the number of nonnative residents in Hawai‘i was growing rapidly. Among a population of 154,000, newcomers outnumbered Native Hawaiians by three to one. Postcards were a wildly popular medium at the time. During the period from about 1905 to 1915—the “golden age of postcards”—billions of them moved through the mail worldwide. Still more were bought as keepsakes and never sent. It was a time when newspapers and magazines ran few if any photographs, and the motion picture industry was in its infancy. Postcards offered some of the first photos of faraway places that people had seen. As part of this craze, Island Curio’s postcards helped to shape the world’s view of Hawai‘i as a land of rainbows, waterfalls and volcanoes,
The “golden age of postcards” coincided with the end of the horse-and-buggy era. In this postcard, a horse-drawn carriage heads up Nu‘uanu Pali. As the site of a 1795 battle during King Kamehameha’s campaign to unite the Hawaiian Islands, and a scenic lookout, the Pali has long intrigued visitors.
(seine nets) or catch them on the reef with ‘ōkoholua (fishing spears).
Portraits of Queen Lili‘uokalani are a mainstay in the Island Curio lineup. Visitors to the Islands would have known of her and the controversial notion that the United States had annexed the land of a toppled monarchy. Her ongoing appeals to Congress for reparations made the national news—and that drove interest in her postcard, as a 1909 Island Curio ad in The Pacific Commercial
Advertiser suggests. “The Queen of Hawaii is before Congress,” it said. “Help the good lady by sending your friends one of her picture postcards of unusually pretty design.”
At the dawn of the twentieth century, Pu‘uloa was just beginning its transformation into Pearl Harbor, the mighty naval base. In the postcard world it’s still a dreamy place, with palm trees,
shimmering waters and not a warship in sight. Meanwhile, bustling Honolulu Harbor is where the action’s at. Both old-fashioned sailing ships and coalpowered steamships dock there, civilian and military.
The soldiers and sailors coming ashore while their ships recoaled made for dependable souvenir shoppers, and Island Curio catered to them. One troop transport in particular, the USAT Sherman, passed through Honolulu
so often that Island Curio put it on a postcard. The Sherman could carry more than three thousand soldiers and crew, all of them potential purchasers of a memento from their voyage.
When the sixteen battleships of the Atlantic fleet were bound for Honolulu during an around-the-world demonstration of American might in 1908, Island Curio prepared with “a special postcard.” As a newspaper ad announced, it was
A postcard of downtown Honolulu, circa 1900, looking mauka [toward the mountains] from the corner of Fort and Merchant streets. Note the hitching posts, trolley tracks and newsboys. The McInerny clothing store is opposite the Pacific Hardware Company. High-rises have replaced these buildings, and Fort Street is now a pedestrian mall. No cars—or horses—allowed.
“a marvel of cuteness.” It’s not clear whether this particular card made it into Keith Steiner’s collection, but if it did, it’s probably one of the illustrations depicting lusty cartoon sailors cavorting on Waikīkī Beach.
In Honolulu’s (then) low-rise downtown, the men on the street wear lightweight suits and straw boater hats; the women wear late-Victorian dresses, skirts, blouses and wide-brim hats. The businesses have hitching posts for their customers’ horses. Tracks for the electric trolleys run down the middle of the streets. Newsboys on the street corners stare intently at the photographers capturing the scene.
Horse-drawn vehicles and bicycles are common. The rare automobiles that appear are of the earliest vintages. On a postcard titled “On the road to Waikiki,” three horseless carriages race down Waikiki Road, the wide, unpaved thoroughfare that became today’s Kalākaua Avenue. Never mind windshields, let alone seat belts: These
cars don’t even have steering wheels. The drivers steer with tiller-like levers.
Waikīkī is still an agricultural wetland, filled with fishponds, farm shacks and wooden fences. Beach houses and a few small hotels line the shore. Surfers and bathers wear woolen bathing suits or sometimes the traditional Hawaiian malo (loincloths). But street clothes seem to be perfectly acceptable beachwear, even lace-up shoes in the sand.
Tropical flowers, fruit and trees get a lot of attention—especially coconut trees. A man on a dusty street poses beneath one, its trunk leaning toward him over a white picket fence. A boy who has climbed to the top of one waves a coconut for the camera. In “The Kissing Cocoanut Trees by the Taro Patch,” two tall coconut trees lean toward each other, touching at the top while gracefully framing Diamond Head between the curving lines of their trunks.
Kīlauea volcano, with bubbling lava lake and fountaining cinder cones, is
a source of fascination. Visitors travel in carriages through a rainforest to get there. At Volcano House, the lodge on the crater rim, they relax by the fireplace in rocking chairs. They trek across desolate lava landscapes and pose beside unusual lava formations. They bring postcards— this being the golden age—and hold them on sticks over a volcanic fissure to scorch the edges. A postcard titled “Tourists Scorching Postcards, Volcano of Kilauea, Hawaiian Islands” would have undoubtedly given other tourists the same idea and been the most meta of choices for volcanic scorching.
As for the scientific illustrations of tropical fish, they came from a 1903 bulletin by the United States Fish Commission titled “The Aquatic Resources of the Hawaiian Islands.” Not only were these fish colorful and exotic, they were also in the public domain—perfect postcard fodder. Island Curio sold so many of them that
of James Steiner’s great-great-grandsons,
the
photographic
some are still in circulation today. Just Google “fish postcard Hawai‘i,” and they will likely pop up.
More than thirty fish and at least three crabs made it onto postcards, including the little triggerfish with the famously long name—the humuhumunukunukuāpua‘a.
Unfortunately, the name got abridged. In one edition it’s simply “Humuhumu,” while in another it’s thoroughly misspelled as “Nakunuku.”
When James Steiner retired in 1914 from the curio business—and the postcard publishing that went with it—his timing was good. The outbreak of World War I that year curtailed tourism and brought a hard stop to the already waning postcard fad. Island Curio carried on under new ownership, but the golden age of postcards was history. By this time Steiner was living with his large family in a beachfront home he had built in Waikīkī. He had
long been an investor in Waikīkī and a major booster of the place that served as a backdrop for so many of the postcards he sold.
Sometimes these postcards got things right, and sometimes they got things wrong. Probably, nobody back then thought too much about it. They were just postcards, after all—pleasant but inconsequential images, the Instagram posts of their day, TikToks from the new US territory. They weren’t
One
Jamey Steiner, photographs Island Curio postcards in the locations they depict, hiding the metal arm holding
cards with
sleight of hand. Above, swimmers in the real world mix with illustrated surfers from another era, with timeless Diamond Head in the background.
meant to be taken too seriously. One of the newspaper advertisements for Island Curio that Steiner took out in 1908 might well reflect his attitude. It simply read, “Malice to none and postcards for all!” hh
PHOTO COURTESY
SANDY BEACH O‘AHU
Kenny Endo 50th Anniversary Concerts
AUGUST
BISHOP MUSEUM
AFTER HOURS
Second Fridays
Museum exhibits are open for viewing from 5:30 to 9 p.m., along with cultural demonstrations, keiki activities and a night market with food trucks and local vendors. Bishop Museum, bishopmuseum.org
HOMA NIGHTS
Every Friday
Honolulu Museum of Art remains open until 9 p.m. with opportunities to explore the galleries, stargaze in the courtyards and enjoy live art experiences and music. Honolulu Museum of Art, honolulumuseum.org
KŪHIŌ BEACH HULA SHOW
Saturdays, first and third Tuesdays
Authentic Hawaiian music and hula shows by Hawai‘i’s finest hālau (dance troupes) and Hawaiian performers. Shows will be canceled for parades, street fairs and bad weather. Free. 6:30 to 7:30 p.m. Kūhiō Beach Hula Mound, (808) 843-8002
KILOHANA HULA SHOW
Sunday through Thursday
A modern take on the historic Kodak Hula Show featuring mele (songs) that honor Waikīkī and dancers from six awardwinning hālau across Hawai‘i. Presented by the Council for Native Hawaiian Advancement. Free. 9:30 a.m. Tom Moffatt Waikiki Shell, blaisdellcenter.com
KŪ A LANAKILA!
Through 8/10
This exhibition delves into the ways Kānaka ʻŌiwi (Native Hawaiians) asserted their presence and sovereignty during Hawaiʻi’s early territorial period through cultural and political expressions. Bishop Museum, bishopmuseum.org
MARY CASSATT AT WORK
Through 10/12
Honolulu Museum of Art presents a major exhibition focused on Mary Cassatt, the only American included among the French Impressionists, and her enduring legacy in the world of modern art and in HoMA’s collection. Honolulu Museum of Art, honolulumuseum.org
21ST KOREAN FESTIVAL
8/2
This annual festival presents an authentic taste of Korean culture through food, dance, art, music and entertainment. 10 a.m. to 8 p.m. Honolulu Hale Civic Grounds, koreanfesthawaii.com
KENNY ENDO 50TH ANNIVERSARY CONCERTS
8/9&10
Taiko drummer Kenny Endo celebrates fifty years of artistry with two distinctly different concerts featuring traditional and contemporary musical collaborations with special guests. John F. Kennedy Theatre, kennyendo50.com
ALEX WARREN
8/14
American singer, songwriter, influencer and YouTuber Alex Warren performs as part of his Cheaper Than Therapy tour. Tom Moffatt Waikiki Shell, blaisdellcenter.com
ALOHA PEARLS & SCHWARTZ
O‘ahu, Maui, Hawai‘i Island, and California
Adorn yourself with the beautiful, natural, sustainable Tahiti Pearls gifted from the Pacific Islands. At Aloha Pearls & Schwartz, we strive to be Hawaiii’s premier supplier of South Sea Pearls, especially Tahitian Pearls. Learn to craft your own pieces in small jewelry group classes with local artisans, or load up on supplies, tools and 14K, gold fill and sterling silver findings, and gemstone beads.
Instagram (80 8 ) 255-1975
@alohapearls | alohapearls.com
BATTLESHIP MISSOURI MEMORIAL
Arizona Memorial Place, Honolulu
Mark the 80th anniversary of WWII’s end with a visit to the Battleship Missouri Memorial—America’s most historic battleship. Stand on the deck where World War II officially ended and explore powerful new exhibits. Once home to 2,700 sailors and 1,220 projectiles, the Mighty Mo now stands as a symbol of history and honor. Shuttle service from the Pearl Harbor Visitor Center is included with admission. Discover new exhibits, commemorating the 80th anniversary of WWII’s end.
(808) 455-1600 ussmissouri.org
Duke Kahanamoku OceanFest
August 15-24, 2025
dukesoceanfest.com
The Duke Kahanamoku OceanFest, held each year in late August on the shores of iconic Waikīkī Beach, where Duke groomed his athletic skills that elevated him into becoming the pioneer of “Watermen”, an Olympic Champion, and the Ambassador of Aloha, celebrates the life and legacy of Duke Paoa Kahanamoku. Duke’s disciplines of Surfing, Swimming, Outrigger Canoeing, Paddleboard Racing, Surfboard Water Polo, Beach Volleyball, along with evolutions of his influence that includes Foil Boarding and Dog’s Surfing are shared throughout the weeklong festival by local, international, and mainland competitors and lifestyle enthusiasts. The Duke Kahanamoku OceanFest’s mission, in conjunction with the Outrigger Duke Kahanamoku Foundation (“ODKF”), is to financially support the development of individuals and organizations that perpetuate the spirit and legacy of Duke Kahanamoku.
Kūhiō Beach- Waikīkī (near the Duke Kahanamoku Statue)
FARMLOVERS FARMERS MARKETS
Hale‘iwa, Kaka‘ako, Pearlridge, KailuaTown
Immerse yourself in local food culture at any one of our Farmers Markets. Taste the true Hawai‘i. Experience our local farmers, culinary masters, and artisans. Fresh locally grown produce. Tropical fruits and vegetables. Come Hungry! Leave happy. Our chefs cook healthy, Island-style grindz. Need a gift? Our local artisans have you covered. Hale‘ iwa (Thu) , Kaka‘ako (Sat), Pearlridge (Sat), KailuaTown (Sun).
Watch our master soap maker when you visit North Shore Soap Factory! Come for the soap, stay for the stamping. Customize your bar at our stamping station. Book a Behind-the-Scenes Tour* to see how we handcraft Hawaiian Bath & Body® soaps and skin care products. Local art, gifts and more. Find us in the big, coneshaped building!
(808) 637-8400
northshoresoapfactory.com
Made in Hawai‘i Festival
HOLLYWOOD/KINE
8/15
Known for their live performances and groundbreaking television roles, Amy Hill and Alec Mapa join forces for a night of comedy hosted by Brook Mahealani Lee. Hawaii Theatre Center, hawaiitheatre.com
MADE IN HAWAI‘I FESTIVAL
8/15–17
Hundreds of exhibitors sell locally made food, apparel, accessories and art along with cooking demonstrations and live music. Hawai‘i Convention Center, madeinhawaiifestival.com
DUKE’S OCEANFEST
8/15–24
A celebration of waterman, olympian and ambassador of aloha Duke Kahanamoku with various sports competitions and cultural, hula, film and music presentations. Waikīkī Beach, dukesoceanfest.com
HUBB’S KEIKI FEST
8/23
A children’s boogie boarding competition focused on creating ocean awareness, cultural connection and fostering the competitive spirit. 7 a.m. to 3 p.m. Free., Waimānalo Bay Beach Park, (808) 635-2435
ADO
8/24
Japanese pop singer Ado, known for her emotive songs and mysterious identity, performs as part of her Hibana World Tour. Neal S. Blaisdell Center Arena, blaisdellcenter.com
WAIMEA SUMMER CONCERT
8/30
Waimea Valley’s summer concert series continues with performances by Pomai and Friends, Hawaiian Style Band, “Kumz” and Hālau I Ka Wēkiu, and Hālau Ka Pā Nani o Lilinoe. 2 p.m. Waimea Valley, waimeavalley.net
FOURTH ANNUAL HAWAI‘I SWIM SHOW
8/30&31
Two days of vendors selling swimwear, resort wear and jewelry from 10 a.m. to 3 p.m. From 7 to 10 p.m., there will be fashion shows featuring eighteen designers. Tickets are required for the fashion shows. ‘Alohilani Resort, hiswimshow.com
SEPTEMBER
END OF WWII COMMEMORATION
9/2
Commemorate the 80th anniversary of the end of WWII with a solemn ceremony honoring “The Greatest Generation” and their legacy, while reflecting on lessons of war and peace. 9:02 to 10:30 a.m. Battleship Missouri Memorial Pier, ussmissouri.org
49th Annual Honolulu Intertribal Powwow
WAIKĪKĪ STREET JAM
9/6
Kalākaua Ave closes to traffic and turns into a pedestrian marketplace with vendors offering apparel, accessories, jewelry, crafts, delicious street food and drinks. 4 to 10 p.m. Free. Waikīkī, millwoodohanaproductions.com
49TH ANNUAL HONOLULU INTERTRIBAL POWWOW
9/6
This annual festival of Native American culture features local and mainland Native American arts and crafts vendors, craft activities for kids and educational booths along with dance concerts, drumming and singing. Magic Island at Ala Moana Beach Park, htchawaii.org
EVENTS: O‘AHU
HONOLULU COMMUNITY GARDENS ANNIVERSARY CELEBRATION
9/13
Celebrate fifty years of the Honolulu Community Garden Program with community garden information booths, educational activities, vendors, food trucks and entertainment. Free. 10 a.m. to 2 p.m. Foster Botanical Gardens, (808) 768-7135
71ST WAIKĪKĪ HO‘OLAULE‘A
9/20
Thousands of people gather on Kalākaua Avenue for food and entertainment as part of this year’s Aloha Festivals. Hawaiian musicians and hula hālau perform on stages set up along the street. Hawaiian crafts, lei and Island cuisine are offered throughout the event. 6 to 9:30 p.m. Kalākaua Avenue, alohafestivals.com
TEDDY SWIMS
9/26
American singer, songwriter and rapper Teddy Swims performs as part of his Tried Everything but Therapy tour alongside Freak Freely and special guests Seven Suns. Tom Moffatt Waikiki Shell, blaisdellcenter.com
ALOHA FESTIVALS
FLORAL PARADE
9/27
A parade featuring floats decorated with fresh flowers, horseback riders showcasing the traditional art of pā‘ū and participants from marching bands to civic leaders. 9 a.m. to noon. Ala Moana Park through Kalākaua Avenue, alohafestivals.com
HONOLULU CENTURY RIDE
9/28
Cyclists from around the world come together for the largest cycling event in Hawai‘i featuring 25, 50, 75 or 100mile rides. Kapi‘olani Park, hbl.org
NA WAHINE O KE KAI
9/28
A grueling and prestigious forty-onemile women’s outrigger canoe race across the channel from Moloka‘i to Waikīkī. Hale o Lono Harbor, Moloka‘i, to Waikīkī Beach, O‘ahu, nawahineokekai.com
43rd Okinawan Festival
Hawai‘i Convention Center
August 30 - 31, 2025
okinawanfestival.com
info@okinawanfestival.com
The Hawai‘i United Okinawa Association is proud to host the 43rd Okinawan Festival on Labor Day weekend at the Hawai‘i Convention Center. This year marks the 125th Anniversary of Okinawan Immigration to Hawaii. The Okinawan Festival brings together Okinawans and Okinawans-atheart to celebrate all things Okinawan.
The Okinawan Festival showcases Hawai‘i’s multi-ethnic culture and invites locals and visitors alike to enjoy Okinawan performances, shopping, children’s games, and cultural exhibits. There will be plenty of food like Okinawa Soba, okidog, pig’s feet soup, and our #1 favorite – andagi (fresh fried Okinawan donuts)! Entertainment will fill both days with Okinawan dance, karate, taiko, and live music.
The Okinawan Festival is a family-friendly event and continues to be one of the largest ethnic festivals in Hawai‘i. For information visit, okinawanfestival.com.
IN THE SOUTHERN SUN
WAIKIKI‘S FIRST ART IMMERSIVE
FROM THE RISING TO THE SETTING SUN
MAI KA LA HIKI A KA LA KAU
MAUI MOLOKA‘I LĀNA‘I
KAHEKILI HIGHWAY - MAUI
Gardenlands
John Cruz “Island Style” Series
AUGUST
JOHN CRUZ
“ISLAND STYLE” SERIES
First and third Wednesdays
Nā Hōkū Hanohano award-winning singer-songwriter John Cruz has built his career telling stories through songs about everyday people and experiences. His ongoing “Island Style” series celebrates the ties that bind. 7 p.m. ProArts Playhouse, proartsmaui.org
KANIKAPILA THURSDAYS
Second and fourth Thursdays
Maui artists perform live music, and families can participate in giant yard games. 5:30 to 7:30 p.m. Queen Ka‘ahumanu Center, (808) 877-3369
KĪHEI FOURTH FRIDAY
Fourth Fridays
A monthly community street party with food trucks, entertainment, crafters and kids’ games. 6 to 9 p.m. Free. Azeka Shopping Center, kiheifridays.com
UPCOUNTRY
FARMERS MARKET
Saturdays
Locally grown produce, fish, prepared food and products. Free. 7 to 11 a.m. Kulamalu Town Center, (808) 572-8122
QKC KEIKI CLUB
Third Saturdays
Monthly crafting and creativity activities for kids presented by Queen Ka‘ahumanu Center and Handmade Gifts & Decor. 10 to 11 a.m. Queen Ka‘ahumanu Center, (808) 877-3369
MAUI SUNDAY MARKET
Sundays
An evening marketplace with local food and product vendors and live entertainment. Free. 4 to 8 p.m. Kahului Shopping Center, (808) 871-1170
MAUI IMPROV
MONTHLY SHOWCASE
Last Sundays
Beginner and experienced performers improvise live theater on stage. 6:30 p.m. ProArts Playhouse, proartsmaui.org
SPECTACULAR POLYNESIAN HULA SHOW
Fourth Sundays
Polynesian dance and hula performed at QKC’s center court. 1 to 2 p.m. Queen Ka‘ahumanu Center, (808) 877-3369
MACC BIENNIAL
Through 8/30
A statewide juried exhibit for artists living in Hawai‘i to enter their strongest, most innovative and thought-provoking work. Maui Arts & Cultural Center (MACC) Schaefer International Gallery, mauiarts.org
BON DANCE
8/1&2
The bon dance is a Japanese Buddhist tradition that honors the spirits of family members who have passed away through music, dance and community gathering. All are welcome. Wailuku Hongwanji Mission, wailukuhongwanji.org
YOUTH ART EXHIBITION
8/1–22
An exhibition showcasing works by more than 250 keiki artists participating in Hui No‘eau Visual Arts Center’s summer arts program. Hui No‘eau Visual Arts Center, huinoeau.com
LĀHAINĀ COMMUNITY
BON DANCE
8/9
The communities of Lāhainā Hongwanji Mission, Lāhainā Shingon Mission and Lāhainā Jodo Mission join together for an evening of remembrance, gratitude and celebration. All are welcome. Lahaina Cannery Mall, (808) 661-5304
BON DANCE
8/16
The bon dance is a Japanese Buddhist tradition that honors the spirits of family members who have passed away through music, dance and community gathering. All are welcome. Pā‘ia Rinzai Zen Mission, rinzai-maui.org
BON DANCE
8/23
The bon dance is a Japanese Buddhist tradition that honors the spirits of family members who have passed away through music, dance and community gathering. All are welcome. Kula Shofukuji Mission, koyasanshingonhawaii.org
MARINE SCIENCE NIGHT
8/23
Learn about ocean-themed careers, internships and volunteer opportunities. Aquarists and naturalists will share personal stories and inspiring insights, often from within the tanks. Guests can also enjoy hands-on scientific activities such as coral feeding. 6 to 9 p.m. Maui Ocean Center, mauioceancenter.com
Bon Dance
Featured Event
The Branches at Royal Lahaina
Royal Lahaina Resort & Bungalows, Kā‘anapali Beach, Maui
Ongoing Seasonal Series –RoyalLahaina.com/the-branches
Set beneath a century-old tree in the heart of the Royal Lahaina Resort & Bungalows, The Branches is a complimentary live music series that captures the spirit of Maui through sound, flavor, and gathering. Taking place seven nights a week, this open-air experience invites resort guests, visitors and local residents alike to unwind, connect, and enjoy the island’s vibrant music scene in an intimate, relaxed setting.
Each evening features a rotating lineup of talented local musicians—from acoustic duos to slack key soloists—creating the perfect soundtrack for sunset and starlight. Guests can sip and savor from a variety of food and drink options available for purchase, with local artesian market often featured.
On the third Friday of each month, The Branches turns up the volume with its Featured Artist Night—a special showcase of
one of Hawaii’s premier musical acts, offering an elevated experience that draws the community together.
Whether you’re winding down from a beach day or starting your night out, The Branches is a uniquely local way to experience the warmth, rhythm, and aloha of Maui.
KA‘ANAPALI GOLF COURSES
Mā‘alaea Harbor (Maui), Mānele Harbor (Lāna‘i)
Explore the enticing beauty of Lāna‘i with one of EXPEDITIONS ecofriendly, USCG certified, daily cruises. Snorkel, hike, drive, tour or just Lounge on Lāna‘i! Aboard Expeditions, you’ll enjoy spectacular views of Maui County, including the islands of Maui, Lāna‘i, Moloka‘i and Kaho‘olawe. For three decades Expeditions has been providing the most reliable, affordable inter-island travel between Maui and Lāna‘i.
(808) 661-3756 go-lanai.com
2290 Ka’anapali Pkwy, Lahaina, HI 96761
Royal Kā‘anapali and Ka’anapali Kai Golf Courses offer spectacular Maui golf with panoramic ocean views. The Royal Kā‘anapali Course leads down to the Pacific where players putt next to gently lapping ocean waters. Kā’anapali Kai focuses on strategy, which is why it is enjoyed by both the beginner and avid golfer. Experience FootGolf, Fit Club and “keiki” tees at Kā’anapali.
ADVERTISING IN HANA HOU! GETS SEEN. PRINT. DIGITAL. IN-FLIGHT.
“We have a great partnership with Hana Hou!, and our advertising gets strong results. We don‘t advertise anywhere else and are pleased with the business generated by our ad in Hana Hou!—both in person and through website sales.”
BRYCE ZANE Sales Manager,
Dole Hawaii
(808) 661-3691 kaanapaligolfcourses.com
“Hana Hou! has been our most important form of marketing communication to customers since we started advertising in the magazine in 2000. To achieve the greatest impact, our new ‘Collections’ are introduced first in Hana Hou! and there is no doubt that our advertising in Hana Hou! has contributed greatly to our success.”
COLE SLATER President & CEO, Maui Divers Jewelry
“Our advertisements in Hana Hou! magazine received an excellent response. Our ad reached our target audience, generating significant interest and engagement, resulting in positive outcomes for Kuilei Place.”
ALANA KOBAYASHI PAKKALA Executive Vice President, Kobayashi Group.
Lā ‘Ulu Breadfruit Day
SEPTEMBER
LĀ ‘ULU BREADFRUIT DAY
9/6
Taste food made with ‘ulu (breadfruit), shop at a plant sale including Pacific ‘ulu tree varieties and try hands-on activities. Free. 9 a.m. to 2 p.m. Maui Nui Botanical Gardens, mnbg.org
FESTIVALS OF ALOHA, ALOHA FRIDAY
9/12
An evening of Hawaiian cultural exhibits, hands-on activities, Hawaiian music and hula. 5 to 8 p.m. Queen Ka‘ahumanu Center, festivalsofaloha.com
KŪ MAI KA HULA
9/12&13
Maui’s premier adult hula competition features award-winning hālau (dance troupes) competing in solo and group performances. MACC, kumaikahula.com
MĀLAMA WAO AKUA 2023
9/12–11/7
A juried art exhibition of all media celebrating the native species of Maui Nui (Maui, Lāna‘i, Moloka‘i, Kaho‘olawe). Maui artists explore watersheds and raise awareness about the importance of protecting native species. Hui No‘eau Visual Arts Center, malamawaoakua.org
SHARKS AFTER DARK
9/20
The ’80s night edition of Maui Ocean Center’s 21-and-older event Sharks After Dark. Live music, dancing under the stars, specialty food and beverages, diver presentations and more. 6 to 9:30 p.m. Maui Ocean Center, mauioceancenter.com
FESTIVALS
OF ALOHA, RICHARD HO‘OPI‘I LEO KI‘EKI‘E FALSETTO CONTEST
9/20
Held in honor of Uncle Richard Ho‘opi‘i, one of Hawai‘i’s most beloved and talented musicians, this singing competition showcases some of Maui’s finest amateur male falsetto performers. The Ritz-Carlton Kapalua, festivalsofaloha.com
ST. JOHN’S KULA FESTIVAL 9/27
This annual community festival features local crafters, a silent auction, baked goods, fresh produce, plants and flowers, a kids’ zone and food vendors. 9 a.m. to 4 p.m. St. John’s Episcopal Church, stjohnsmaui.org
FESTIVALS OF ALOHA, LĀNA‘I
9/27
The Lāna‘i ho’olaule‘a (celebration) includes entertainment, cultural demonstrations, hands-on activities and ‘ono (delicious) eats. Dole Park, festivalsofaloha.com
HUI NO‘EAU VISUAL ARTS CENTER
2841 Baldwin Avenue, Makawao, Maui
Located in Upcountry Maui at the historic Kaluanui Estate, Hui No‘eau Visual Arts Center is a nonprofit community arts center offering art classes, workshops, exhibitions, and events. Explore the 100-year-old Kaluanui home, view local artwork in the gallery, tour the scenic 25-acre grounds, or shop for unique Made-on-Maui gifts in the Hui’s gallery shop.
(808) 572-6560
SURFING GOAT DAIRY
Surfing Goat Dairy, nestled on the slopes of Haleakalā in Maui’s Upcountry, is evolving from a commercial dairy into a culinary agro-tourism haven. Visitors can experience the sweet magic of our goats and their milk. Book an interactive tour, or simply enjoy our award-winning cheeses and freshly made culinary offerings, like our famous Goat cheese chocolate truffles. 3651
surfinggoatdairy.com
(808) 878-2870 huinoeau.com
Omaopio Rd, Kula
HAWAI‘I ISLAND
KĪLAUEA
AUGUST
UNDER THE NEW MOON
Last Tuesdays
An evening of Hawaiian storytelling with Kumu Keala Ching, live Hawaiian music and hula performances. Bring your own beach chair or mat. No coolers. Free. 5 to 6:30 p.m. Outrigger Kona Resort & Spa, nawaiiwiola.org
KOHALA NIGHT MARKET
First Wednesdays
A monthly community event featuring local products for sale, live entertainment, food trucks and service booths. 4 to 7 p.m. Kohala Village Hub, (808) 889-5471
HO‘OULU FARMERS MARKET & ARTISANS FAIR
Wednesdays and Fridays
YOUTH ARTS SATURDAYS
Second Saturdays
Keiki of all ages are welcome to join guest artists and local organizations in making a variety of creative projects. Free. 10 a.m. to 2 p.m. East Hawai‘i Cultural Center, (808) 961-5711
MADE IN HAWAI‘I ARTISAN MARKET
Second Saturdays
Local crafters and makers selling gifts, art, crafts and food. 9:30 a.m. to 3:30 p.m. Kona Commons Shopping Center, (808) 854-1439
PĀHOA MUSIC & ART WALK
Second Saturdays
A market featuring 100 percent locally made, grown and created products and live entertainment. 9 a.m. to 2 p.m. Outrigger Kona Resort and Spa, bigislandmkt.com
PORTUGUESE BREAD BAKING
Thursdays
Observe the traditional art of baking Portuguese bread in a large wood-fired stone oven, or forno. Bread sales begin at 1 p.m. Program begins at 10 a.m. Kona Historical Society, (808) 323-3222
FRIDAY NIGHT MARKET
Fridays
A weekly market in downtown Hilo with live entertainment, local food, unique crafts, gifts, jewelry and more. Hilo Town Market, hilotownmarket.co
NIGHT MARKET
Second and fourth Fridays
Live music, food trucks and dozens of local vendors with Hawai‘i Island products, artwork and other artisanal goods. 4 to 8 p.m. Kings’ Shops in Waikoloa, (808) 886-8811
HALEKI‘I
FARMERS MARKET & CRAFT FAIR
First Saturdays
Local crafts and art vendors, keiki entrepreneurs, fresh food, ‘ohanacentered outreach, sustainable-living resources and live music. Free. 9 a.m. to 2 p.m. Kona Grill House, (808) 960-7728
This free monthly event features live music, arts and crafts vendors and local restaurants in Pāhoa town surrounded by the island’s largest collection of centuryold buildings. 5 to 9 p.m. Pāhoa Village Road, (808) 937-4146
FREE ADMISSION DAYS
8/4 & 9/27
For the anniversary of the Great American Outdoors Act and National Public Lands Day, Hawai‘i Volcanoes National Park offers free admission all day. Hawai‘i Volcanoes National Park, (808) 985-6000
KĪLAUEA HULA KAHIKO
8/9
Hula and chant on a sacred site near the Volcano Art Center with Kumu Lahela Spencer and Hālau Kaleiokaulupalai. Call ahead to confirm the monthly event. 10:30 to 11:30 a.m. Volcano Art Center Gallery, volcanoartcenter.org
TWILIGHT AT KALAHUIPUA‘A
8/9
Local storytellers, dancers and musicians join together to tell stories, myths and legends and share other talents. Mauna Lani Auberge guests, Hawai‘i residents and resort employees and their families are welcome. 5 to 8 p.m. Eva Parker Woods Cottage, (808) 885-6622
AHUALOA FAMILY FARMS
45-3279 Mamane Street, Honoka’a
Stop by “The Nuthouse” and see what’s crackin’! Ahualoa Family Farms grows, processes, and produces delicious 100% Hawaiian macadamia nuts and 100% Hāmākua coffee in Historic Honoka’a town, the gateway to Waipio Valley. Come in for free samples, relax on the lanai, enjoy a cup of coffee and take home your favorite macadamia nut flavor. See you at The Nuthouse!
(808) 775-1821 ahualoafamilyfarms.com
THE TEMPLE BAR KONA
75-5799 Ali‘i Dr., A1, Kailua-Kona, HI 96740
The Temple is a casual yet upscale craft food, cocktail, beer, and wine bar in Hilo and Kailua-Kona, Hawai‘i. Open from 11 a.m. until 11 p.m. daily and for brunch at 8 a.m. on weekends in Kailua-Kona. We focus on fresh, local ingredients and personalized service. Our dishes and drinks showcase Hawai‘i’s vibrant culinary spirit. Reservations encouraged.
(808) 331-2606
thetemple.bar
VOLCANO ART CENTER
Volcano, Hawai‘i
Volcano Art Center (VAC) is a nonprofit, 501(c)(3) organization founded in 1974 to promote, develop and perpetuate the artistic, cultural and environmental heritage of Hawai‘i through art and education. Experience exhibits, classes, concerts and signature programs including Hula Arts At Kīlauea and free, weekly guided forest tours, supported in part by Hawai‘i Tourism. Join us in celebrating the unique arts and culture of Hawai‘i!
(808) 967-8222 volcanoartcenter.org
Parker Ranch Round Up Club Rodeo
KIPAIPAI FELLOWS—MANY HANDS, MANY JOURNEYS
8/9–9/14
Fifteen recent participants in the Kipaipai Artists Development Program showcase recent works inspired by Hawai‘i. Kahilu Theatre–Simperman & Suli T. Go Galleries, kahilu.org
KŌKUA KAILUA VILLAGE STROLL
8/17
Ali‘i Drive transforms into a festive, pedestrian-only marketplace filled with music and art. 1 to 6 p.m. Kailua-Kona, historickailuavillage.com
QUEEN LILI‘UOKALANI CANOE RACES
8/28–9/1
The largest long-distance canoe race in the world attracts dozens of canoe clubs and hundreds of paddlers from Hawai‘i and beyond. This five-day event also includes a cultural festival, parade, fair, lū‘au and food booths. Kona, qlcanoerace.com
PARKER
RANCH ROUND UP CLUB RODEO
8/31&9/1
This annual end-of-summer rodeo raises scholarship funds for children of Parker Ranch employees, with events like team roping, bull riding, double mugging and more. Waimea, (808) 885-7311
SEPTEMBER
WONDROUS LIGHT: AURORA BOREALIS
9/5–25
Award-winning textile pieces from the Hawai‘i Handweavers’ Hui Biennial Exhibition will be on display along with pieces by local fiber artists. Wailoa Center, wailoacenter.com
HILO BAY 5K AND 10K
9/6
Big Island Road Runners’ longest running event. The route for both races includes Lili‘uokalani Park and Hilo Bayfront. Reed’s Bay Park, bigislandroadrunners.com
TWILIGHT AT KALAHUIPUA‘A
9/6
Local storytellers, dancers and musicians join together to tell stories, myths and legends and share other talents. Mauna Lani Auberge guests, Hawai‘i residents and resort employees and their families are welcome. 5 to 8 p.m. Eva Parker Woods Cottage, (808) 885-6622
KONA PRIDE
9/12–14
A weekend of events hosted by nonprofit Kona Pride Inc. celebrating and bringing visibility to Hawai‘i Island’s LGBTQ+ community. Various locations, konapride.com
KĪLAUEA HULA KAHIKO
9/13
Hula and chant on a sacred site near the Volcano Art Center with Kumu Moses Kaho‘okele Crabbe and Halauolaokalani. Call ahead to confirm the monthly event. 10:30 to 11:30 a.m. Volcano Art Center Gallery, volcanoartcenter.org
JAZZ IN THE FOREST
9/13
This bimonthly series highlights local musicians at the Dietrich Varez Hall surrounded by native Hawaiian rainforest. September’s concert features JP Thoma and the Jazztones covering Miles Davis. Volcano Art Center’s Niaulani Campus, volcanoartcenter.org
KŌKUA KAILUA VILLAGE STROLL
9/21
Ali‘i Drive transforms into a festive, pedestrian-only marketplace filled with music and art. At 4 p.m. there is a free Hawaiian music concert at Hulihe‘e Palace. 1 to 6 p.m. Kailua-Kona, historickailuavillage.com
Get a ride with your HawaiianMiles
Sign in to your HawaiianMiles account for real-time redemption using miles or a combination of dollars and miles for car rentals with Avis and Budget. Don’t have a lot of miles? Don’t worry, you can redeem as little as 2,500 miles and go on your next adventure. Book now at HawaiianAirlines.com/Cars. For complete Terms and Conditions, visit HawaiianAirlines.com/AvisBudget.
KAUA‘I
NĀ PALI COAST
SCAN THE QR CODE FOR A FULL LIST OF KAUA‘I EVENTS
AUGUST
TODDLER TUESDAYS
First and Third Tuesdays
Dance and sing along with The Showtime Characters and featured guests followed by photos. 11 a.m. Kukui Grove Center, kukuigrovecenter.com
KAUA‘I CULINARY MARKET
Wednesdays
A weekly farmers market featuring fruits, vegetables, flowers and a cooking demonstration. 3:30 to 6 p.m. The Shops at Kukui‘ula, (808) 742-9545
ALOHA MARKET
Thursdays
Everything from fresh fruits and vegetables to noodles, spices and treats, along with jewelry, clothing, art and more for purchase. Hula performance at 12:30 p.m. every week. Free. 10 a.m. to 2 p.m. NTBG South Shore Visitor Center, (808) 742-2623
ALOHA FRIDAY ART NIGHTS
Fridays
Each Friday night, Kress Street fills with live art demonstrations. From music to murals, artists share their craft with the community. Kress Street, Līhu‘e, (808) 652-1442
HANAPĒPĒ ART NIGHT
Fridays
Hanapēpē town comes to life with food trucks, street performers, live music and opportunities to talk story with local artists and gallery owners. Free. 5 to 8 p.m. Hanapēpē, hanapepe.org
OLD KAPA‘A TOWN HO‘OLAULE‘A MULTICULTURAL CELEBRATION
First Saturdays
Food vendors, crafts and treasures from local artisans and services from local nonprofit organizations along with live multicultural performances. 5 to 9 p.m. Old Kapa‘a Town, kbakauai.org
ANAHOLA NIGHT MARKET
Last Saturdays
Live music, food and handmade products from over twenty local vendors. 4 to 9 p.m. Anahola Marketplace, (808) 320-7846
ALAKOKO PLANT SWAP
Sundays
This weekly market offers plant lovers the chance to buy, sell or trade a variety of greenery. Free. 10 a.m. to 1 p.m. Alakoko Shop, (808) 652-1442
LOCAL TREASURES MARKET
First Sundays
An outdoor market showcasing products from local artisans, crafters, food trucks, bakers and vintage vendors. 9 a.m. to 2 p.m. Kaua‘i Veterans Center, (808) 635-4314
WAILUA BAY CREATORS FAIR
Fourth Sundays
Artisan goods, clothing, accessories, handsewn items, jewelry, photography, wood carvings, home decor and more accompanied by live music and local food vendors. 8:30 a.m. to 1 p.m. Hilton Garden Inn, Kaua‘i, Wailua Bay, (808) 746-2162
END OF SUMMER BASH & RESOURCE FAIR
8/2
An afternoon filled with live music, food trucks, free activities, local vendors, resource tables and giveaways. 3 to 6 p.m. Puhi Farmers Market Field, (808) 977-8207
HEIVA I KAUA‘I
8/2&3
A two-day festival that showcases Tahitian culture, featuring Tahitian dance and drum groups and soloists competing in traditional and contemporary styles. Crafts and food vendors sell a wide variety of food and gifts. 9 a.m. to 5 p.m. Kapa‘a Beach Park, heivaikauai.com
DRAG RACING
8/2,30,&31
NHRA drag racing featuring some of the state’s fastest cars. 2 p.m. Kauai Raceway Park, dragracekauai.com
PRINCEVILLE NIGHT MARKET
8/10
This monthly festival features live music, pottery, paintings, apparel, jewelry and more than 40 local artisans. Free. 4 to 8 p.m. Princeville Shopping Center, princevillecenter.com
Heiva I Kaua‘i
GARDEN ISLE QUILTERS EXHIBIT
& SALE
8/15–23
A diverse display of quilts from every day to fine art. All quilts are for sale and ready to carry away. Meet the Artists Reception on 8/15 from 5 to 7 p.m. Free. Kauai Society of Artists Gallery, gardenislequilters.com
KAUA‘I MARATHON
8/31
Participants in the Kaua‘i marathon and half-marathon pass hula dancers and taiko drum troupes along the course while viewing striking mountain vistas. Kōloa, thekauaimarathon.com
SEPTEMBER
MELVIN SEALS & JGB
9/12&13
Melvin Seals is known for his powerful performances on the Hammond B3 organ and keyboards in the Jerry Garcia Band. Anaina Hou Porter Pavilion, anainahou.org
HAWAI‘I LINE DANCE FESTIVAL
9/12&13
Kick up your heels with open line dancing, dance workshops, performances, food trucks, craft fair and prizes. Kaua‘i Veterans Center and Museum, hawaiildf.com
MAKANA WAIPĀ: EAT THE INVASIVES
9/20
Chefs from O‘ahu and Kaua‘i gather with the community to celebrate the bounty of Waipā and enjoy innovative dishes highlighting invasive plants. Waipā Community Complex, waipafoundation.org
KAUA‘I MOKIHANA FESTIVAL
9/21–27
This celebration of contemporary Hawaiian culture includes a Kaua‘i composers contest, a children’s music competition and a three-day hula competition. Various locations around the island, maliefoundation.org
Food, Farm & Lei Experience
Kīlauea, Kaua’i
Weekdays Ongoing
commongroundkauai.com
Experience the beauty and flavor of Kauai at Common Ground. Set on a 63-acre historic agricultural property that was once home to a guava plantation, Common Ground is a destination unlike any other. Take a leisurely walk to a 100 year old stone dam and waterfall, enjoy a tour through our lush food forest, savor a farm to table dining experience and learn the art of lei making. At Common Ground, we celebrate connections- whether it’s with nature, culture or one another, our experiences are rooted in place and designed for visitors and kama’aina young and old.
Our guided tours invite you to explore the wonders of regenerative agriculture and the critical piece it plays in the future food systems for the island. Savor an incredible meal crafted by our expert culinary team, featuring 100% locally sourced ingredients. Each dish tells a story of our commitment to sustainability and community, allowing you to truly appreciate and experience the beauty of Kaua’i and its people.
Join us as we set the table for a regenerative future!
Waipā Cultural Foodways Program: Food and Farm Tours
5-5785A Kuhio Hwy, Hanalei
Weekdays ongoing
waipafoundation.org/food-and-farmtours/
Ever wonder how Hawaiian people lived sustainably in ancient times? Or which cultural practices around farming and food continue to be utilized today?
For over 30 years the Waipā Foundation has been exploring how traditional values can guide modern practices to create vibrant, abundant natural resources and healthy, thriving communities. Waipā is a 1,600-acre ahupua‘a on Kaua‘i’s North Shore—a living learning center hosting thousands of lifelong learners annually.
Join our guided tours to learn about the deep cultural relationship between our people, food, and ‘āina. Walk and ride with us to explore the food systems and waterways within the valley. Journey from Halulu Fishpond, through lush farmlands, orchards, gardens, and lo‘i kalo (taro fields), to the cool uplands of Waipā Stream. Along the way, learn about practices that have fed Hawaiian communities for generations.
Savor a light continental breakfast, a mid-morning tasting, and a delicious five-course lunch featuring fresh, Waipā-grown ingredients.
Immerse yourself in Waipā and its vibrant community and be inspired to aloha ‘āina.
Kaua‘i Mokihana Festival
See web site for various locations
September 21–27, 2025
www.maliefoundation.org
The Mālie Foundation is a Hawaiian organization that collaborates with individual community members, organizations, schools and businesses to sustain its programs each year. Mālie strives to nurture Hawaiian culture by creating respectful and authentic hands-on experiences for residents and visitors, and supports Hawaiian-language immersion schools and other programs that preserve and perpetuate Hawaiian culture. This year’s theme is Ka Makahiki o Nā Mea Ho‘okani— Year of Implements & Instruments.
The Kaua‘i Mokihana Festival is one of the Garden Island’s longest-running events. All who participate in and attend this and other Mālie Foundation events help to pass on the traditions of our kūpuna (ancestors) through hula, music, language and history.
Kaua‘i Mokihana Festival will be held on September 21–27, 2025, with events such as Hawaiian church service, a composer’s contest, workshops, a hula competition and a two-day craft fair with vendors from across the Islands. Sponsored by Kilohana CNHA, Hawai‘i Tourism Authority, County of Kaua‘i and the Hawai‘i Community Foundation.
4427 Papalina, Kalāheo
Browse our showroom of fine quality goods for men, women, horses, the home and garden. Now featuring: Abilene, Billy Cook, Blundstone, Carr & Day & Martin, Hario, Haws, Justin Boots, Kimes Ranch, LC King, Mauviel, Montana Silversmiths, Mu’umu’u, Palaka, Pāpale, The Tailored Sportsman, Thorogood, Tony Lama, Toyo, Vinyl Records and Western Aloha.
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hawaiianairlines.com/hawaiistories/hana-hou
Photo Credit: John Sizelove
Aloha Welcome aboard
E nanea i kā mākou ho‘okipa, a e luana i ka lele ‘ana!
Please enjoy our hospitality, and have a relaxing flight!
In Hawaiian culture, mea ho‘okipa means "I am your host." This phrase expresses the spirit of hospitality you'll find on our flights, whether you're traveling to the Neighbor Islands, between Hawai‘i and North America or within the Asia-Pacific region. If there is anything that we can do to make your flight more enjoyable, please don't hesitate to let us know.
We prioritize the privacy and safety of our guests and employees. We do not tolerate physical, sexual, verbal and digital harassment or assault, including unwanted photography/ videography. Guests should immediately report unwelcome behavior to an employee; those who feel uncomfortable reporting in person may do so anonymously by calling the Hawaiian Airlines Ethics and Compliance hotline at 1-888-738-1915 or by visiting hawaiianairlines. com/ethicsreporting. Guests may also report incidents to the FBI by contacting their local FBI office, calling 1-800-CALL-FBI or visiting tips.fbi.gov. Any crime committed onboard our aircraft is a federal offense.
144 / In-Flight Meals
145 / Streaming Entertainment on A321neo Aircraft
146 / In-Flight Snacks, Souvenirs and Beverages
148 / Terminal Maps
150 / HawaiianMiles Partners
152 / Route Map
154 / The ‘Ohana Pages
In-Flight Tastes of Hawai‘i
Delicious Complimentary Meals
It’s true. We’re one of the only airlines left in the country to serve you a complimentary meal at mealtime in the Main Cabin. You’ll find Hawai‘i-inspired meals on select flights to and from Hawai‘i, always served with our unique brand of Hawaiian hospitality.
Above top: Wade Ueoka and Michelle Karr-Ueoka
Bottom: Chuck Furuya
Left to right: Chef Eric Oto of Hoku’s at the Kahala Resort and Spa, Chef Robynne Maii of Fete Hawaii, Chef Dell Valdez of vein at Kaka‘ako, Executive Chefs Wade Ueoka and Michelle Karr-Ueoka of MW Restaurant, Chef Chris Kajioka of Miro Kaimuki and Chef Jason Yamaguchi of Mugen Waikiki.
Hawaiian Airlines Featured Chef Series showcases star chefs
Hawaiian Airlines’ in-flight service shares the sights, sounds and tastes of Hawai‘i, and when it comes to our First Class meal service, that means exciting, varied Pacific Rim cuisine with our Featured Chef Series. This esteemed collaboration showcases some of Hawai‘i’s most dynamic chefs creating menus for meals served in our forward cabin.
The Featured Chef Series is overseen by Hawaiian Airlines Executive Chefs Wade Ueoka and Michelle Karr-Ueoka.
Sit back and enjoy Hawai‘i’s vibrant food culture and our distinct onboard experience.
A taste of tradition
Executive Chefs Wade Ueoka and Michelle Karr-Ueoka opened MW Restaurant in Honolulu in 2013. Their cuisine combines inspirations from travels around the world with Hawai‘i’s culinary traditions and local bounty. To sample MW’s latest creations visit their new location at 888 Kapi‘olani Boulevard in Honolulu.
MWRestaurant.com
Wine pairings by our Master Sommelier
Chuck Furuya has a passion for the world’s oldest fermented beverage and holds the distinction of becoming only the tenth person in the United States to pass the rigorous Master Sommelier examination, in 1988. You can find Chuck at Chuck Furuya Uncorked on YouTube.
Starlink In-Flight WiFi on A321neo and A330 Aircraft
In-Flight WiFi
Hawaiian Airlines is proud to be the first major airline to offer Starlink WiFi onboard our A321neo and A330 aircraft. It is fast, free internet available for everyone right when you board. Switch to Airplane Mode and connect to “ Starlink WiFi on HawaiianAir ”
Note: Starlink WiFi is not available on our B787 aircraft at this time.
USAGE GUIDELINES
The following is not permitted with our in-flight internet service:
• No voice or video calls
• No Livestream broadcasting
• No viewing obscene/offensive content
Mele
Collections to suit your musical tastes
Hawaiian Airlines offers DJ-hosted, curated audio programming devoted to musical styles from across the globe, ranging from award-winning Hawaiian music to jazz and K-Pop.*
FEATURED CHANNELS INCLUDE:
Slack Key Serenity
A selection of kī ho‘alu masters showcase varied interpretations of the Hawai‘i-born slack-key guitar style.
Island Favorites
A collection of the best in Hawaiian music, from classic to contemporary.
Classic Jawaiian Rhythms
The melding of Hawaiian melodies with Jamaican rhythms creates a uniquely Island groove.
The Wings of Jazz
Explore the Island jazz scene with some of Hawai‘i’s top artists.
*Available only on A330 and A321neo aircraft.
Taimane (left) and Waipuna (right).
In-Flight Snacks and Souvenirs
in
Pau Hana Snack Cart
Keepsake blanket, popular local snacks, souvenirs and sundries are available from the Pau Hana Snack Cart. Cabin crew will advise when the cart is heading down the aisle on domestic flights or is open in the galley on Australia and New Zealand flights.
Selections and quantities are limited and may vary. To print receipts of in-flight purchases, visit HawaiianAirlines.com/receipts.
Popular Local Snacks
Waiākea Hawaiian Volcanic Water in Refillable Bottle, 22 oz.˙˙
Hawaiian Chip Company Taro and Sweet Potato Chips
Island Princess Caramel Macadamia Nut Popcorn
Kona Chips Furikake Chips
Samurai Furikake Popcorn
‘Ohana Nui Beach Brittle
Coconut chips and macadamia nut brittle with shortbread seashells
Snack Packs ˙
Made in Hawai‘i Snack Sampler K
Choco Caramel Popcorn, Choco Mochi, Lightly Salted and Maui Onion Macadamia Nuts, Mele Mac
‘Ono Snack Box GF Salami, Cheese Spread, Crisps, Olives, Fruit Bar, Snack Bar
Cheese Tray˙˙ with Crackers and Dried Fruit
Classic Snacks
M & M’s Peanut
Maruchan Cup Ramen Chicken
Pringles K
Sundries
Ear Buds with Hawaiian Airlines Zipper Case
Hawaiian Airlines Blanket and Pillow Set
Made
Hawai‘i Snack Sampler
Waiākea Hawaiian Volcanic Water in Refillable Bottle
‘Ohana Nui Beach Brittle
In-Flight Beverages
Juices
Passion-Orange-Guava* (POG)
Pineapple Orange Nectar / Apple / Orange
Mott’s Tomato / Mr. & Mrs. T Bloody Mary Mix
Hot beverages
Lion Coffee* / Tea
Soft drinks
Coke / Diet Coke / Sprite
Diamond Head Strawberry Soda
Canada Dry Ginger Ale
Milk (Lowfat or Whole)
Club Soda / Tonic Water / Flavored Sparkling Water
Cocktails
Mai Tai (Kō Hana)
Pineapple Daiquiri** (Kō Hana)
Old Fashioned** (On the Rocks)
Spirits
Rum (Koloa Rum)
Vodka (Ocean)
Scotch (Dewars)
Whiskey (Jack Daniel’s)
Gin (Tanqueray)
Koloa Pineapple Passion*** (Koloa Rum)
Wines & Champagne
Summer Club Pogmosa Sparkling White Wine with Passionfruit, Orange, Guava
Mionetto Prosecco Sparkling Wine Split
Woodbridge Cabernet Red Wine Split**
Woodbridge Chardonnay White Wine Split**
Red or White Wine Glass***
Beers
Big Swell IPA (Maui Brewing Co.)
Bikini Blonde Lager** (Maui Brewing Co.)
Da Hawai‘i Life Lite Lager (Maui Brewing Co.)
Hard Seltzer Dragon Fruit** (Maui Brewing Co.)
Heineken**
Complimentary beverages provided by *Complimentary on Neighbor Island flights. **Available for purchase on Neighbor Island flights. ***Complimentary glass of wine on flights to/from New York and Boston. Complimentary glass of Koloa Pineapple Passion on flights to/from West Coast North American cities. $8 per glass thereafter.
All beer, wine, champagne and spirits available for purchase on North American flights. Complimentary in First/Business Class.
Alcoholic Beverages
Only alcoholic beverages provided by Hawaiian Airlines and served by Flight Attendants may be consumed on board the aircraft. No alcoholic beverages will be served to persons who appear intoxicated or to those under 21 years of age.
Hawaiian Airlines’ complimentary items may change or vary from time to time, and availability can be affected by aircraft schedule changes.
Beverage menu is subject to change. Some items may not be available on all flights and/or classes of service. Beverage availability is limited. Beers, wines, spirits, snacks and sundries are available for purchase with major credit/debit cards only.
˙ Snack box components are subject to availability. Please see snack box for list of included items.
˙˙ Available on select North America flights only.
GF Gluten-Free
K Kosher
SOUTH KOREA
The ‘Ohana Pages
‘Ōlelo Hawai‘i (Hawaiian language) is one of two official languages of the State of Hawai‘i, along with English. Last February, as part of Hawaiian Language Month, Hawaiian Airlines guests on select flights received commemorative cards featuring aviation-related vocabulary.
First Language
Mahina ‘Ōlelo Hawai‘i (Hawaiian Language Month) is celebrated every February in the Islands. This year, as it has for the last several, the Hawaiian Airlines Community and Cultural Relations Team organized a series of expert workshops, language lessons and Team Kōkua volunteer activations that engaged guests, employees and the community.
‘Ōlelo Hawai‘i took to the skies with a special bilingual flight between Kahului, Maui, and Seattle, Washington—a first for Hawaiian Airlines’ nonstop service to the Emerald City. On Tuesday, February 18, HA30 departed Maui with 10 crew
members and three gate agents, some of whom are learning the language and others who have earned Hawaiian Airlines’ language certification—a distinction marked by the Hawaiian flag on their name tag. In-flight and gate announcements were made in both ‘Ōlelo Hawai‘i and English. Guests were also given a commemorative engagement card to use when ordering drinks and snacks, starting a conversation onboard or sharing the language with others at home.
After the flight’s arrival, Hawaiian Airlines employees joined their Alaska Airlines teammates for an ‘ōlelo class at Alaska’s SeaTac headquarters, exploring new ways to incorporate the language in daily conversations in
and out of work. A similar class was held at Anchorage Airport for Alaska Airlines employees, followed by a special cultural exchange at the Alaska Native Heritage Center.
“[Our visit to Anchorage] was an excellent chance to meet with the Indigenous people of that land,” said Manakō Tanaka, senior community and cultural relations manager at Hawaiian Airlines. “One extra special moment for me was when [the Alaska Native groups] taught us some words from their language, and then we taught them some Hawaiian—language becomes the vessel by which we build connection.”
Of the several other workshops and gatherings held throughout the month,
one of the most moving came when the Hawaiian Airlines Talent Acquisition team hosted eight students from Ke Kula ‘o Samuel M. Kamakau Laboratory Public Charter School (LPCS) for a special career day called Aviation ‘Ike (knowledge). The event, conducted entirely in ‘ōlelo Hawai‘i, introduced students in their junior and senior years to flight attendants, pilots, mechanics, cargo agents, airport operations, corporate staff and more, allowing them to connect with aviation professionals and learn about their career journeys. The goal being to encourage the next generation of Native speakers to consider careers in aviation, while also establishing new opportunities for the language itself to thrive in professional settings.
“Hū a‘ela ko‘u ha‘aheo ma ia huaka‘i e ‘ike i ka nui o nā kānaka i kēia manawa e kū i ka ‘ōlelo Hawai‘i,” said Dr. Meahilahila Kelling, director at Ke Kula ‘o Samuel M. Kamakau LPCS. “Ua ‘ike maka nā haumāna i ke kūpono e kūpa‘a i
ka ‘ōlelo Hawai‘i ma waho aku o ke kula kaiā‘ōlelo a ma nā ‘oihana like ‘ole.” (I was filled with pride on this trip to see how many people speak Hawaiian now. Our students were able to witness that it is prudent to continue to use Hawaiian language outside of just our community, and now in various lines of business.)
Moving Up
For many Hawaiian Airlines employees, joining our ‘ohana opens up unexpected new career paths. Take Heather Sanchez, a Hawaiian Airlines flight attendant since 1999. When the COVID-19 pandemic caused widespread flight cancellations and travel restrictions, she saw an opportunity.
“Most of the airline industry came to a halt—except for flight schools, which continued to operate,” said Sanchez. “In 2020, a friend interested in getting her pilot’s license invited me to join her for a [introductory] flight. I went and
immediately fell in love … that’s when I decided it was now or never.”
Fast-forward five years and Sanchez is now the proud owner of pilot and flight attendant wings. When she’s not caring for Hawaiian Airlines’ guests in the cabin, she’s earning flight hours at PSA Airlines, a regional carrier under American Airlines Group.
“Balancing a full-time flight attendant job while building hours as a pilot hasn’t been easy,” Sanchez said. “Thankfully, I have an incredibly supportive family and the flexibility to curate my schedule so I can pursue my goals. My kids have seen me struggle to juggle it all, but I do it for them: I want to set an example of perseverance, dedication and never giving up on your dreams.”
Yuka Nissle, a Hawaiian Airlines flight attendant for 15 years, followed a similar path toward earning her pilot’s wings. Nissle, a fluent Japanese speaker, joined Hawaiian in 2010 as we were expanding service in Japan. While
Working with Hawaiian Airlines can open multiple career paths in the aviation industry. Yuka Nissle (pictured), is a longtime flight attendant at Hawaiian. These days she also takes to the skies as a pilot for Mokulele Airlines.
she still works as a flight attendant on Hawaiian’s Asia routes, she can also be found behind the controls of Grand Caravans with regional carrier Mokulele Airlines.
“I pursued a flight attendant career because I love to travel, meet new people and be part of the aviation world,” Nissle shared. “I’ve always been fascinated by how pilots fly planes, and after working alongside them for many years, I felt inspired to pursue it myself.” Despite the demands of their budding pilot careers, both Sanchez and Nissle remain passionate about their flight attendant roles and look forward to one day serving Hawai‘i’s aviation community in a new capacity.
“I love my job and the camaraderie this industry has given me. Many of my colleagues and mentors at Hawaiian Airlines have been incredibly uplifting, and I continue to be humbled by the support of my work ‘ohana and the culture of aloha we share,” Sanchez said. As Hawaiian Airlines and its 7,000plus employees embark on a new chapter with Alaska Airlines, numerous positions in multiple areas are available. Job openings are posted online at HawaiianAirlines.com/careers.
Made in Hawai‘i
Each year, the Made in Hawai‘i Festival brings hundreds of vendors and thousands of visitors to the Hawai‘i Convention Center for three days of shopping, live music and performances, cooking demonstrations and fashion events. Among the booths will be one celebrating Hawaiian Airlines’ collaboration with local business incubator Mana Up, which will include the full retail collaboration between the airline and Mana Up’s supported businesses. During the festival Mana Up and Hawaiian will release a couple of brand new, travel friendly products.
Hawaiian Airlines is proud to be the presenting sponsor for the Made in Hawai‘i Festival, which this year runs from August 15 through 17. For more information, visit madeinhawaiifestival.com.
Family Visit
Last March, as the first cherry blossoms of the season began to bloom, twenty
This year’s Made in Hawai‘i Festival, which runs August 15 through 17, will include a booth featuring travel-friendly products created by members of the Mana Up business incubator.
people from Hawaiian and Alaska Airlines’ technical operations teams embarked on a special visit to Holy Family Home, an orphanage in Osaka, Japan. Each year since 2017, the Hawaiian Airlines tech ops team has journeyed over 4,000 miles from Honolulu to support Holy Family Home through Team Kōkua, the airline’s employee volunteer group. Aligning with tech ops’ annual international maintenance leadership gathering, these visits have evolved into a heartfelt demonstration of our deep commitment to nurturing community, fostering cultural exchange and spreading the spirit of aloha.
Following World War II, the Sisters of Charity of St. Vincent de Paul established Holy Family Home in Osaka to care for orphans spanning infancy through high school. In 1949, members of the 27th Infantry Regiment, known as the “Wolfhounds,” visited the orphanage for the first time. Shocked by the poor living conditions, the soldiers began pooling money from their paychecks to support the children. That year, they collected $149—equivalent to roughly $2,000 today—marking the beginning of their ongoing efforts to aid the orphanage, including raising enough to fund the construction of a new facility.
Hawaiian Airlines’ maintenance & engineering vice president Beau Tatsumura read about the story in a military newspaper while on deployment with the US Army and was touched. Years later, when Tatsumura and his team had the opportunity to support a community group during their regular Osaka visit, Holy Family Home immediately came to mind.
During this year’s visit, Team Kōkua tackled essential facility upgrades, including planting flowers, repainting an emergency slide and entrance gates and repairing a broken clock tower. After a shared lunch, the group hosted cultural activities for the youth, including a finger puppet game that taught the children about native birds that inspired the names of Hawaiian’s Boeing 717 fleet. ‘Ukulele lessons and a custom cornhole game, assembled by aircraft mechanics, added to the fun. Each child was also gifted cotton candy and a special treat bag.
“I think the children really enjoyed learning about the birds,” said Jennifer Lee, senior director of supply chain management programs and initiatives at Hawaiian Airlines. “It briefly took them to a place that’s near and dear to our hearts, and it was nice to be able to share that with them.”
Team Kōkua engages employees from around Hawaiian’s global network to give back to the people and places the carrier serves. “If you can volunteer when you travel, whether for work or pleasure, it is always well worth it,” Miller said. “I think that generally those who volunteer tend to get more out of the experience from the positive impact on the community and the camaraderie built while working together.”
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STORY BY JACK KIYONAGA
What’s in an ‘Okina?
At the Molokai Dispatch, where I work, we run a copy center out of the front of our newspaper’s office. People come to print Amazon labels, tax returns, screenshots of texts from exes. While they wait for our oneworker copy center to fire up, they’ll scan our bookshelf, often stopping at Mary Kawena Pukui and Samuel Elbert’s Hawaiian Dictionary. First published in 1957, the dictionary is still a hot-ticket item.
“You guys sell this?”
“Just for in-office use,” I’ll explain. It’d be cooler if we were a quasibookstore. But why does the dictionary draw such attention? Why not our books on the 442nd Regimental Combat Team or poems by local Moloka‘i residents? Perhaps it’s because ‘ōlelo Hawai‘i (the Hawaiian language) is deeply important to people here, so many of whom hew closely to Native roots. Language is everything: It distinguishes between insiders and outsiders, the sacred and the mundane. And this esteemed dictionary holds a piece of evidence in a decades-long debate specific to this island and its proud community: Is it Molokai or Moloka‘i?
The difference is the ‘okina, the diacritic mark denoting a hard stop before a final long e. Without the ‘okina the name ends on a softer, floating “aye” sound. Pukui and Elbert have it as Moloka‘i, and the publication you’re reading now defaults to their Hawaiian Dictionary. (It’s worth noting that written Hawaiian, created by outsiders in the early nineteenth century, didn’t have diacritics at first—they were added later to help non-Hawaiian speakers with pronunciation.) But you’ll hear Moloka‘i people say it both ways. Which is correct?
For them the debate can be pointless or agonizing or both. “Growing up here, the discussion on Molokai or Moloka‘i wasn’t an issue,”
says Kanoelani Davis, a Hawaiian cultural practitioner and a born-andraised Moloka‘i girl. As a kid, Davis noticed that the pronunciation reflected where you grew up and which family you came from. Families from Mana‘e on the east end were more likely to say Moloka‘i. Davis herself says Molokai, but she would never challenge another generational Moloka‘i resident’s pronunciation. “It was just an identifier. I don’t correct anybody,” she says. “But I don’t agree with outsiders who come here and want to make our kūpuna
[elders] or our families feel bad because they’re saying it a certain way.”
For former Maui County councilmember for Moloka‘i, Stacy Helm Crivello, deferring to the kūpuna is also best practice. Growing up in Kalama‘ula, on Moloka‘i’s south shore, Helm Crivello was neighbors with the renowned Harriet Ne. Ne had grown up on the remote “backside” of Moloka‘i, in the valley of Pelekunu. Helm Crivello says that Ne, who was her hula teacher, and other prominent kūpuna of that time were adamant that it was Molokai. “You do not question our kūpuna,” says Helm Crivello.
PHOTOGRAPH BY PF BENTLEY
La‘akea Suganuma, though, has some questions for the kūpuna. ‘Ōlelo Hawai‘i is in his blood: His grandmother, Mary Kawena Pukui, literally wrote the dictionary. For Suganuma, the issue is one of validity rather than preference. According to his research, which includes deep dives into archived interviews, old songs and linguistic materials predating Pukui and Elbert’s Hawaiian Dictionary, the name is Moloka‘i. Suganuma is passionate in defending the accuracy of his grandmother’s scholarship. “The truth,” he says, “is not changeable.”
Though the name is definitively Moloka‘i in the Hawaiian Dictionary, it offers no literal translation other than simply “name of a Hawaiian island.” Molokai is thought to mean the swirling seas—molo means twisting and kai means sea—perhaps because of the mixing of ocean currents in the island’s channels. “After a heavy rain, you can see a swirl of red dirt in the ocean where the channels meet,” Davis says.
It’s less clear what Moloka‘i might mean. Davis suggests that it might refer to ‘iwa, or great frigate birds, said to circle above the homes of the recently deceased to guide them to the afterlife. In this context, ka‘i means to lead or process.
So, to clear things up, I ask my dad.
“What did your dad call the place he grew up?” I ask.
“Molokai.”
“Not Moloka‘i?”
“No chance.”
So I, too, say Molokai. Regardless of its origins, whether you pronounce (or spell) it Molokai or Moloka‘i today probably says more about you than about Moloka‘i itself. Maybe it’s not a case of either/or, but both/and. Perhaps the debate is best resolved by listening to those who have called the place home for generations—by whatever name—or, maybe, by not debating it at all. hh
