Ko Olina Magazine

Artwork by George Woolard

A Place of Joy: Looking Ahead While Embracing Our Past

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o olina Resort is blessed with a spectacular oceanfront location and a passionate community of visitors, residents, employees and partners. We are enriched by our diverse cultural landscape that has its roots in a deeply held heritage of caring for the land, the sea and each other.

Today, we celebrate this vibrant history, the resonance of our Hawaiian culture, and the very genuine and engaging personalities who provide us with life-enhancing experiences.

o C E a n L a n D P E o P L E s P i R i T

for more than 12 years, my personal commitment has been to help shape this “place of joy” into a model coastal Resort Community that sets the standards for livability, sustainability and job training, not just for the Leeward Coast, but for Hawai‘i and the world. i’d like to say a very warm ‘mahalo’ to everyone in our community for helping our carefully nurtured collection of World-Class Hotels, Vacation Clubs, Residential Commercial and Recreation amenities to grow in amazing ways. aulani, a disney resort & spa, has opened. this “one-of-a-kind” project is disney’s first stand-alone hotel and vacation ownership Resort in the world.Their commitment to Ko olina to complete this tremendous undertaking speaks volumes and we are thrilled to welcome their special brand of inspired experiences to our island paradise. marriott’s Ko olina Beach Club is marriott’s #1 vacation club product in the world.The JW marriott ihilani Resort & spa at Ko olina has also completed an impressive $24 million room, spa and meeting space renovation. Ko olina marina, set on 43 acres with 330 slips, with a Central activity check-in Center for all ocean adventures, is the only private state-of-the-art marina in Hawai‘i. The Ko olina Golf Club, our 18-hole Ted Robinson-designed championship course, has concluded a complete greens renovation. and we recently finished more than $10 million in resort enhancements, including updated roads, landscaping and lighting, and introduced our new resort shuttle. all of these people and businesses make Ko olina the premier destination that it is today. We are honored to welcome visitors from around the world such as the heads of state and leading delegates from the 21 member countries of apec (asia-pacific economic cooperation). this is the first time since 1993 that the u.s. has hosted the premier economic organization that facilitates trade and investment in asia-pacific, representing more than 2.7 billion consumers and 43% of all world trade. ko Olina is a major economic resource for the u.s., hawai‘i and O‘ahu’s travel industries. we currently generate $800 million annually in direct and induced spending and provide 4,300 jobs annually. at full build-out, Ko olina will generate $1.4 billion in annual economic activity for the state, support 8,100 jobs and produce a total of $5.7 billion in construction development spending creating more than 26,000 related jobs. all with the most stringent land, sea, air quality and energy conservation practices in place to ensure that Ko olina remains a model sustainable community for generations to come.

We have much to be grateful for. i reiterate my commitment to embrace our kuleana (responsibility) to continue to provide jobs for our up and coming community, revenues for our state and City to operate and provide services, so that our future will continue to be filled with positive changes and opportunities. mahalo and aloha, JEFFREY R. STONE Master Developer, Ko Olina Resort

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or generations, Ko olina, the place of joy, has been just that.

Whether it was a sanctuary of quiet beauty, or a locale to gather and celebrate with loved ones, Ko olina has been there to provide.

indeed beyond providing a place of respite, Ko olina, a gleaming coastal gem that’s part of the Hono‘uli‘uli ahupua‘a, has given food, shelter and more to the area’s ancestral residents who maintained traditional Hawaiian values of sustainability and sharing.

Ko olina was the chosen playground of the ali‘i—from Queen Ka‘ahumanu, favored wife of Kamehameha the Great, to Queen Lili‘uokalani, Hawai‘i’s last sitting monarch. it’s no wonder; this area surrounded by calm, cerulean waters, filled with gentle breezes and lush green is a heaven on earth.

Ko olina has always held in high esteem the importance of the area’s host culture. one important component of the culture is aloha. That comes through in the hospitality of the people here, like those found at marriott’s Ko olina Beach Club. Gregg Grigaitis, project director, says that many of his guests share a similar mantra: “… marriott’s Ko olina Beach Club has become our home away from home.” sometimes, the culture is incorporated in specific services offered to guests. ihilani spa’s “Healing by the sea” Thalasso hydrotherapy honors the traditional healing properties of salt water. in other places throughout Ko olina, the beauty of the area is celebrated literally—by allowing you to get out and enjoy it!

in fact, that is what alice Kamokila Campbell, daughter of James Ko olina marina is the launching place for your next ocean Campbell (the industrialist who helped develop much of o‘ahu’s adventure, whether it’s fishing or swimming with pods of dolphins.

‘Ewa Plain), chose to name her little slice of paradise when she “The biggest enjoyment i see running the marina is the excitement settled in Ko olina: Lanikuhonua, or “Where Heaven meets Earth.” and happiness of our guests coming off the tour boats,” says Today, aunty nettie Tiffany, whose mother befriended Kamokila Chuck Krause, general manager at Ko olina marina. “These are Campbell, remains on site as a cultural adviser to all of Ko olina. folks who’ve never seen turtles or had tropical fish swim around them … they’re beaming and sharing stories of what they saw.” now, many generations later, Ko olina Resort continues in the footsteps of those who came before. all of the people here strive at Ko olina Golf Club, golfers are greeted with a stunning waterfall to create a place of respite, where all can enjoy the beauty of cascading alongside their signature #12 par-3, providing a teasing this land. thrill of adventures yet to come. and, who knows what such adventures will lead to, as the course has hosted keiki golfers such one of the resort’s newest additions—aulani, a Disney Resort as michelle Wie and allisen Corpuz, who’ve gone on to national & spa—impressed many kama‘aina with its commitment to not and international acclaim. only honor the Hawaiian culture, but also make it the focus of everything they do on property. from an all-Hawaiian language Destinations like the Ko olina Beach Villas continue to be places restaurant, to building designs based in traditional practices, for loved ones to gather.“There are many families that have started Disney made every effort to ensure that “sense of place” wasn’t coming to the Ko olina Beach Villas for their annual reunions,” says just a buzzword, but a way of being.

Joseph yamaoka. “a family came (recently) for their second visit—

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and brought their daughter’s wedding with them!”

Weddings are the name of the game at Watabe Weddings. over a decade ago, the company realized that Ko olina was the ideal scenic location for its chapel. since then, it has sent thousands of couples off to matrimonial bliss and there are now three wedding chapels throughout the resort.

While it may seem far-fetched that such a modern, luxurious resort would maintain strong ties to the heritage of the area on which it sits, it is certainly true here. in fact, Ko olina Center and Ko olina station, developed by Honu Group, house a myriad of specialty restaurants, boutiques, a market and services, right next to the historic oR & L train track. at its foundation, Ko olina Resort is a community. a key part of fostering a community is ensuring that all of the people’s needs are fulfilled. to this end, ko Olina charities was established. the organization’s events include the Ko olina Thanksgiving outreach, serving 4,000 holiday meals to homeless and low-income families. it also supports programs such as Wai‘anae High school’s searider Productions and the Boys and Girls Club of Hawaii and nfL youth Education Town (yET) educational and job training.

Ko olina’s various businesses are involved as well. “for the past 11 years, we have successfully partnered with the Queen Lili‘uokalani Children’s Center to provide six-week summer internships to native Hawaiian students,” says Dan Banchiu, general manager for JW marriott ihilani Resort & spa at Ko olina. another key example is the Harry & Jeannette Weinberg Campus seagull school, The stone family Early Education Center. so, Ko olina continues on, as a thriving community—place of relaxation, celebration and recreation—taking care of those who live on its shores and sharing its heavenly beauty with everyone.

ALOHA! DENNIS FRANCIS CEo

J. DAVID KENNEDY President

LINDA WOO Publisher

JAY HIGA Project Director

BRIAN BERUSCH Editorial Director

LIANNE BIDAL THOMPSON

Our purpose is to honor those among us who teach about our cultural and natural landscape: the ocean, land, people and spirit that connect us all. The common thread of the storytellers in these pages is the depth of wisdom and the hope each possesses and has generously shared.

This collection of stories is guided by the beauty and enduring power of nature, by history retold as future knowledge not forgotten, and by the promise of empowering Hawai‘i’s youth. Each of the contributors share the belief of giving to community and taking responsibility to lead sustainable lives of peaceful relationships.

Through the Hawaiian tradition of storytelling, the people’s connection to the ocean and land is preserved.

Our storytellers weave the rich history of Ko Olina, the Wai`anae Mountain Range coast and the ‘Ewa plains of O‘ahu. The telling of stories continues the knowledge of ocean and land. Without the storytellers, the essence and soul of Hawai‘i would be lost forever.

We hope the photos within capture each person with whom we had the pleasure to talk-story. We thank all who participated in this labor of love and we are grateful to be able to share just a few of the stories of this remarkable place in Hawai‘i. • Mona Abadir

managing Editor

GINA LAMBERT Creative Director

CHRISTY SABIDO associate art Director

MOLLY WATANABE sales

Ko Olina magazine is a collaboration between Oahu Publications, Inc. and Honu Group Communications, LLC for Ko Olina Resort Operators Association MONA ABADIR Principal, Honu Group Communications, LLC

CONTRIBUTORS Writers

Bunky Bakutis, Carol Chang, Lynn Cook, Rasa Fournier, Kaui Goring, Terri Hefner, Lehua Kai, Jeela Ongley, Sarah Pacheco, Florence Parma, Chad Pata, Nina Wu Photographers

Mona Abadir, Jamm Aquino, Olivier Koning, FL Morris, Dennis Oda, Doug Peebles, Kyle Rothenborg Cover (front and Back) Photo by Kyle Rothenborg © 2011 oahu Publications inc. all rights reserved. no part of this magazine may be reprinted without the written consent of the publisher.

Oahu puBlIcatIOns, Inc. 500 ala mOana Blvd., suIte 7-500 hOnOlulu, hawaII 96813 Advertising & Sales | 808.529.4355

for more information on Ko olina Resort scan this code to go to www.Koolina.com

CONTENTS 04 Bridging Heaven and Earth

aunty “nettie” Tiffany nurtures the cultural ties at Lanikuhonua.

08 Rooted in Tradition

for albert silva, the key to the future lies in the past.

14 Ancient Fibers

Dalani Tanahy is the keeper of kapa traditions.

18 Lessons of a Hawaiian Grandmother

alice Guild, mary Philpotts and Judy staub share their special memories of a remarkable woman.

22 Watermen of the Wai‘anae Coast

fostering a legacy with Buffalo and Brian Keaulana.

28 Destiny Defined

for kumu o’Brian Eselu, hula is about character.

32 Tracking Time

The Hawaiian Railway society recalls a bygone era.

36 Living Culture

Kamaki Kanahele and aunty aggie Cope are preserving the wisdom of the past for future generations.

42 Unearthing the Past

Discovering the secrets of Kalaeloa with shad Kane.

46 Sowing Partnerships

from farm to community: ma‘o organic farms, makaha studios and searider Productions.

48 Nanakuli’s Ambassador

Josiah “uncle Black” ho‘ohuli.

50 West Paint

mark kadota finds inspiration in wai‘anae.

56 Voyaging Into the Future

Billy Richards shares how the Hokule‘a and Hawai‘iloa are teaching tools for the culture and history of Polynesia.

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B R I D G

“Ko oLina is my sanctuary, the place where I feel secure.�

Aunty Nettie, who started coming to Lanikuhonua as a child, is now the cultural adviser for Ko Olina Resort.

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PEOPLE • LAND / aunty nettIe

G I N G

Heaven & Earth

Nurturing the Cultural Ties of Lanikuhonua

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By Rasa Fournier Photos by Kyle Rothenborg

alk past leafy naupaka bushes, hearty laua‘e ferns and into Lanikuhonua—“Where Heaven meets Earth.” a soft lawn connects two small huts nestled in tropical foliage to a low rock wall fronting a crystal lagoon. Just near the wall, under gently swaying coconut fronds, is aunty nettie, attractive in her red mu‘umu‘u patterned with white hibiscus, a red flower in her pulled-back hair.

“Welcome,” she smiles.

The scene is like something from a Hawaiian storybook, but then much of her life is an enchanted tale, sprinkled with special memories of Ko olina. Growing up, her family lived in town.

no soil. alice’s father, the famed James Campbell, changed all that, helping her create the Eden she named Lanikuhonua. nettie’s mother—a kahu, or spiritual adviser—had befriended mrs.

Campbell, and through that relationship nettie’s family had their own protected enclave away from public censure.

“Being Hawaiian wasn’t fashionable when i was growing up,” says nettie. “i was very fortunate. as a kahu, my mother retained the language, the art and the crafts—the culture and rituals.

“We started coming out to Ko olina in the ’50s,” nettie recalls.

“Kamokila became like a hanai (adoptive) grandmother.”

“oh look!” a honu, or sea turtle, captures nettie’s attention as it glides to the surface of the lagoon. Looking toward the sea brings up thoughts of her father.

nettie refers to alice Kamokila Campbell, who, shirking convention, moved to O‘ahu’s secluded southwesterly shore in the 1930s. the onetime fishing village had no trees, no grass, limited fresh water and

“my dad was the original Indiana Jones,” she laughs. “He made us do crazy things. He’d wake us in the morning and tell us we’re going to go holo holo, which meant down to the ocean. we’d go fishing and he

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had a rice ball for each of us, that’s it. ‘if you’re hungry you’re going to have to catch it, clean it and cook it.’ We’d dive in and hook the nets on rocks. it was wonderful.”

Her dad was known as fun and friendly, and mom was strict. When her mother passed, nettie would inherit her position as kahu.The initiation was nothing short of magical. years of learning culminated in a private ceremony: “my mother took me with two kahunas and my aunt. The tide was out and we were at these little ponds in the rocks. it was after i became a woman. i was naked and they bathed me in the moonlight.” now 70, and residing on the outskirts of O‘ahu’s fast-growing “second city” of Kapolei, aunty’s days are devoted to weddings, baby blessings and the blessing of new houses and businesses. Her lovely hideaway, Lanikuhonua, is a cultural refuge where kupuna, the respected elders, teach a variety of Hawaiian arts from singing, hula and music to knowledge about medicine plants and Hawai‘i’s other natural resources. on this day, the mother of three, grandmother of four, is preparing to receive a ho‘okupu, or gift, for her services as kahu. “i blessed a baby and they want me to come and get my ho‘okupu.

The last time they did this, it was a Pomeranian. i have this feeling it’s another four-legged ho‘okupu.”

Can’t she in turn give it to her grandchildren? “it’s one of these odd situations—you cannot turn down a ho‘okupu but neither can you give it away.”

The jovial kahu and her husband of 50 years just may have a new addition to their storybook home. •

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“i am nanEa WHEn i walk the grOund of Ko oLina.”

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ROOTED IN TRADITION

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PEOPLE • LAND / aLBERT siLVa

For Albert Silva, the Key to the Future Lies in the Past

By Chad Pata

Photos by Kyle Rothenborg

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hen most people think of the environmental movement, thoughts turn to 21st century inventions like wind farms and electric cars. But for local cowboy and lifetime resident of the Wai‘anae Coast albert silva, sustainability is as old as the Hawaiian people themselves.

“Before, the Hawaiians had a barter system—and now we are calling it sustainability!” silva says with a gleeful laugh. “They had no money, so they had sustainability. if you lived mauka, up the valley, you planted crops—taro, pumpkin, sweet potatoes. and they brought it makai and traded with the people that fished—vegetables for fish—the original sustainability.” silva has spent his life preaching the good word of the old ways, as his family history on the Leeward coast dates back to the 1800s. His grandfather dug some of the earliest wells on o‘ahu. silva has lived the cattleman’s life—a lifestyle that continues on today with Lyman Ranch, nanakuli Ranch and his own ranch. silva’s fervor for preservation of the land and the customs of his people led the Wai‘anae Preservation Council to anoint (his word, demonstrating how serious he takes this role) silva the konohiki of the ahupua’a that encompasses much of Wai‘anae.

Albert Silva is a lifelong paniola and konohiki of the ahupua‘a that encompasses most of Wai‘anae.

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The cattleman walks his ranch.

an ahupua‘a is a traditional land division used in the islands that runs like a pizza slice from the mountains to the sea. it is the job of the konohiki to use his knowledge of the environment to help perpetuate the life of the land and its inhabitants. “it is really a lost responsibility that is given to a person,” says silva who has held the position for more than 30 years. “That person is supposed to oversee, to make adjustments, to make sure everything stays nice, pono, sustainable.”

The konohiki does not serve as a cop, but rather as an educator whose position in the community is to show his people the proper way to treat the resources they have been provided. “i am not writing tickets, that is wrong for me. i am here to teach them, to help,” says silva, who learned this lifestyle growing up as a paniola, a Hawaiian cowboy. “Don’t shoot all the animals, leave some back, don’t touch the wahines, let them propagate. fish, the ones that don’t know how to swim, let ‘em be. Let ‘em learn how to swim, and then you can take ‘em. “i try to teach them what is right, that is my responsibility as the konohiki. i don’t tell

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them what to do, but what not to do.” another thing silva tells people not to do is mispronounce his lifelong passion of being a paniola. The common usage today is paniolo, a misnomer that silva claims comes from the wife of Riley Greenwell, who served as head of Parker Ranch back when silva was still riding rodeos on the Big island. “i tell mrs. Greenwell it is not ‘paniolo,’ it is ‘paniola’,” recalls silva. “Do you know what she says to me? ‘Well, you have to have a gender.’ ” silva shakes his head at the memory of a malahini bending the rules of the Hawaiian language to match their own Latin-based paradigm. yet he acknowledges things have improved from when he was young. Being raised by his Hawaiian mother he was always taught english, even though she spoke fluent hawaiian. the idea was to learn the new language for the new world, so while he does have a working knowledge of the language, stringing together sentences is still a challenge.

However, the generation that followed his grew up during the Hawaiian Renaissance, which saw the embrace of the language and astral navigation. These two aspects

“i am HERE To HELP,” says siLVa, WHo learned hIs lIfestyle grOwIng up as a PanioLa, a HaWaiian CoWBoy.

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make silva beam with pride, knowing that they helped his own nephew Glenn silva go on to be director of hawaiian studies at uh hilo. “from day one his mother talked to him in Hawaiian, and look at him now,” says the proud uncle.

While the language may be beyond his mastery, the lifestyle and values are not.

He ran ohikiolo Ranch for many years, raising livestock and tending the land as the generations before him did. Each year he would open the property up the day before mother’s Day for a lu‘au and cattle branding. Everyone was invited and thousands would attend. “it was not about money, it was about life, niceness, sharing,” says silva. “We never charged anyone anything, because it was to give back, and we had the branding for the youngsters, and—hooo!—they loved it! When you give it away it gives it a spiritual aspect; if you charge for it, money comes, money goes, there is no value.

This way, it meant something.”

Reminding the residents of these important aspects of their heritage remains his duty to this day. and at 82, silva is showing no signs of slowing down.

“I just hope these thoughts don’t get lost,” says silva, whose mother lived to be 98, “because the bigger picture of sustainability is forever present, but its roots come from right here. We want to practice it, continue it, for future generations of Hawaiians.” •

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ANCIENT FIBERS 14

SPIRIT / DaLani TanaHy

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o watch a skilled Hawaiian kapa artist like Dalani Tanahy is akin to seeing a chef concoct a favorite dish: “Take the bark, shred it and boil it for a week,” she might tell her students, who hang on every word.

By Carol Chang Photos by Olivier Koning

“Kapa is cloth made from a tree, and it’s all its many components and its rarity that keep me interested,” explains the makaha resident, who left her job teaching kapa at Ka‘ala farms to plunge completely into the ancient art. That means growing her own wauke (paper mulberry) trees for the precious bark, making her own tools to shape it into cloth and experimenting with dyes from nature to decorate it for display or practical use. “i’m like a mad scientist in the kitchen,” she adds, referring to the endless search throughout the islands for just the right colors or hues to adorn the delicate fabric she creates. “you have to use what you’ve got” is her motto. for all this effort and attention to detail, she reasons, it should be respected and valued more than the artist who needs only simple, storebought supplies: “is kapa not worth more than a painting? Hello!”

Besides learning patience and physical stamina over her 15 years in the art, Tanahy’s creative talent in kapa design is now known and respected across the globe. Just witness her soaring panels at Disney’s aulani Resort as well smaller touches that add warmth to the guest rooms.

Tanahy commands thousands for her elegant cloth art and travels Hawai‘i—as well as the world over—to teach or display it.yet she admits the craft keeps her humble. “at the end of the day, i still have to sit on my butt at home, all by myself, and pound and pound and pound,” she professes.

Lately the teaching part of kapa has grown more appealing to her. Her students now learn to create and gather their own materials, if they want to perpetuate the art as she does. and the new generation, including her own granddaughter, whom she’s now teaching, will be all the better for it.

Peek into her world at kapahawaii.net • Artist Dalani Tanahy carries on the kapa tradition of ancient Hawai‘i.

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Tanahy and model wearing two of her creations.

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perpetuate the art

Some of Tanahy’s tools of the trade.

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Lessons of a Hawaiian Grandmother

By Kaui Goring

Photos by Kyle Rothenborg

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veryone experiencing a place or event has their own reality of it. What they take away from the experience is often different. This is certainly true talking to three sisters, who, as children, grew up playing at Lanikuhonua (meaning “Where Heaven meets Earth”), located within the resort of Ko olina.

To the flanders sisters, granddaughters of alice Kamokila Campbell, the place was simply referred to as “‘ewa.” In the late 1930s and early 1940s, ‘ewa was a sugar plantation with miles of swaying cane baking on the dry, flat plain. kamokila campbell’s father, James campbell, pioneered the area years before, finding water and making the land prosper.

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PEOPLE • LAND / CamPBELL famiLy

Grass halau, late 1950s. Courtesy James Campbell Co.

What her granddaughters, alice Guild, mary Philpotts mcGrath and Judy staub, remember is an area of sandy roads, kiawe trees and the absence of decent drinking water. But at the sand’s edge were coves and pools cooled by springs of fresh water bubbling up and mixing with the salt, making swimming a refreshing surprise. as children, the area taught each of them different lessons in what it means to be Hawaiian.

Kamokila was the daughter of a Hawaiian mother and scottish father, which often made her a contradiction of sorts in early 20th century Hawai‘i. Lanikuhonua was brought to her attention by her son, Walter macfarlane, a well-known Hawaiian waterman. He saw the coves first from the ocean and contacted his mother, who was then living in northern California. she, too, resettled on the property shortly afterward.

“Kamokila took the Hawaiian system of konohiki, or the protection of water and land rights, seriously,” says her granddaughter, alice.

“The concept of only taking what you needed and respecting limu, or seaweed, gathering and fishing rights was strictly enforced.”the fish were so plentiful, says alice, that they were almost tame.

Sisters Judy Staub, Alice Guild and Mary Philpotts McGrath.

alice remembers swimming in the large pool near the area now called Paradise Cove. icy cold, natural springs shoot up under the water as you swim. In one corner, near the rocks, you can find natural clay. the children made pots and tiny figures; then baked them in the sun. mary’s best memory is of her grandmother’s famous Hawaiian hospitality. “she was gracious and charismatic, but she could never remember anyone’s name. so she called everyone ‘dear.’ There was an unhurried aura that surrounded her. she even spoke slowly and on Hawaiian time,” she says. mary learned the connections to things past, and the need to continue traditions, such as family loyalty and the sharing and wearing of favorite lei. “The giving of lei was different in those days,“ she says. she also remembers that poi was served at every meal. alice tells of her grandmother’s frugality and contradictions. she would have the girls pick up kiawe beans and put them in heavy bags that scratched and poked them. she’d pay the children 10 cents a bag and then sell the beans to pig farmers in nanakuli for 25 cents a bag.

she also learned how benign and seductive the ocean could seem in this area of protected coves. “But it can turn on you in seconds. Even though she was an heiress, whose family mingled with nobility We learned through experience never to turn our backs on the ocean.” of the time—mary remembers her grandmother noting that

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King Kalakaua would play “poka” with her father at his Honouliuli ranch— Kamokila lived among the kiawe trees much of the time wearing a simple mu‘umu‘u made up of two pieces of fabric sewn together. she would even go into the water in the dress. at other times, done up in an elegant black holoku (that mary still owns) wearing strands of lei reaching down to her knees, she would duck into her limousine, driven by her private driver, to an upscale function in town.

“sHE Was gracIOus and CHaRismaTiC.”

strewn throughout the property were military buildings and structures made from army packing crates. she lived in one of them, her driver and groundskeeper lived in others. a much more stylish home had been designed by famed architect Vladimir ossipoff prior to World War ii, but the plans were abandoned when the war broke out and she turned over the area to admiral nimitz to use for rest and recreation for soldiers.

Abigail Kuaihelani Maipinepine Campbell (center) and her daughters. Alice Kamokila Campbell is standing, at left.

Courtesy James Campbell Co.

The surprise came, says alice, when you entered one of the old buildings. the furnishings were fine, plush furniture and objects from the high-end Grossman moody Company mixed with precious Hawaiian artifacts. she was always an enigma. for Judy, the youngest of the sisters, Lanikuhonua was a happy and spiritual place. she suffered from allergies at her nu‘uanu Valley home and the dry climate of ‘Ewa suited her. from the very beginning of her time there, Judy felt the sacredness of the land. she suspects that the spot was a place her grandmother reconnected with the Hawaiian part of herself. for the most part, she threw off the lavish lifestyle she had enjoyed when she was younger and found peace and simplicity. Judy, too, remembers the simple mu‘umu‘u and her grandmother sitting at a picnic table just gazing at the ocean. she even drank her coffee made with brackish water, because fresh water had to be brought in large bottles. “i think the land grounded her,” says Judy, who sees the honor of her grandmother living between two worlds—yet in the end, tried to hone in on her Hawaiian nature. •

The lagoon at Ko Olina fronting the eventual home of Kamokila Campbell—Lanikuhonua.

Courtesy James Campbell Co.

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“THE oCEan is THE BiGGEsT TEaCHER fOr Our famIly … everythIng Is HonEsT in THE oCEan,” says BRian.

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OCEAN / BuffalO keaulana

Watermen of the Wai‘anae Coast Fostering the Keaulana Legacy

By Bunky Bakutis Photos by Kyle Rothenborg

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anakuli valley, a cascade of mountain-to-ocean terrain on the Wai‘anae Coast, is the stuff from which legends are forged. it’s also the home of mischievous maui, the legendary demigod fisherman, where he dug in his heels to hook the sun, in efforts to slow down its course.

Here, salt water seems to run in the veins of Hawai‘i’s people. makaha boasts living legend Richard “Buffalo” Kalolo‘okalani keaulana. at 77 years old, he can trace his genealogy to king Kamehameha i (on his father’s side) and King Kekaulike on his mother’s side. and although the Keaulana family’s connection to the ocean is known from Japan to france, their fame had humble beginnings.

Buffalo grew up a poor, homeless nanakuli boy, whose father died a month before he was born. He was exiled from his mother’s home because of an abusive stepfather.

Buffalo Keaulana, seen here with his son Brian, grew up in and around the waters of the West Side.

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“The ocean is the glue of life. It keeps our family bonded…”

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“if you had a father and mother, life would have been better. i never had that, so my life was really hard,” Keaulana says, adding that he would often trade fish he caught for vegetables, to round out his diet. “i lived on the beach … my life of surviving was in the ocean,” Buffalo reminisces from a large dining table in his Hawaiian homestead, surrounded by surfing trophies and ocean-related memorabilia. “When i went to school, i never had lunch money. so i would hide my spear. (at) lunchtime, i would jump in the ocean, poke a few fish, bring them back to the cafeteria, give them to the lady there and trade the fish for lunch. “it always wasn’t like that though,” he says, recalling the times he bounced around between friends’ houses or slept on the beach.

When the waves didn’t cooperate, he’d catch chickens. as adulthood beckoned, Buffalo looked for an escape. “When i got older, i wanted to get in the military, even if it meant going to the Korean War … i just wanted to get away.” following service as an army lifeguard in Hale‘iwa (and receiving

an honorable discharge), Buffalo knew it was time for a job. “i didn’t know how to read or write,” he says. “i stuttered. i was one of those ‘nothing’ guys.”

But his reputation as one of Hawai‘i’s top surfers already had begun to build. In 1954, he won the bodysurfing division at the makaha International surfing championship, the most prestigious surf contest in the world. Buffalo went on to win bodysurfing three more times.

In 1960, he married a waikiki beach concession worker, leimomi Whaley, and landed a live-in park-keeping job at makaha. The same year, he won the international’s surfboard division, remaining among the top five for the next five years. as makaha Beach park-keeper, Keaulana gained recognition in water safety. although beyond his duties, he rescued numerous swimmers.

“People would come to the comfort station, pound on my door upstairs at night, and yell for help. my wife would come out and

they would be crying, ‘Please help! my wife is out there.’ ” “i’d been out late drinking that night, and came downstairs … hung over,” Buffalo recollects. “The husband showed me where he last saw his wife and told me she could only swim on her back. so I figured, if she was swimming in, she would only see darkness. she wouldn’t like that. But if she turned around to see the lights on shore, she would be paddling out. sure enough, i paddled way out, a quarter mile past makaha Point. i was yelling for her and i could hear her yelling back. i paddled further out and got her on my board.

“When we got to shore, the husband was so happy and hugging me. i just wanted to go (to sleep). so here i am, lifeguarding at 2 a.m., on overtime—plus it’s not my job,” Buffalo says with a laugh. “But when i save somebody, i feel good. That’s how i want to feel—good.”

Buffalo’s lifesaving accolades came to the attention of then-mayor neal Blaisdell, who appointed him to a lifetime lifeguard position at makaha, the first such position in hawai‘i. he held the job for 35 years.

Left: Buffalo Keaulana surfing a wave at Makaha during Buffalo’s Surfing Classic. Keaulana is at the rear, followed by Tony Guerrero, and the writer, Bunky Bakutis. Right: Buffalo with his wife, Momi.

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In the meantime, Buffalo and momi raised their five children at the beach: the oldest being Brian, followed by Jody, Lehua, Rusty and Jimmy. all were taught how to survive in the ocean and eat from the sea. some followed in their father’s footsteps. Brian became a water safety expert; rusty a three-time long-board world surfing champion, Jimmy a body-board champion and throw-net fisherman.

En route to 50 years old, Brian has developed the Jet ski as a water safety tool, an ocean risk-management program and underwater defense training. He has applied his expertise to lifeguards locally and worldwide, navy seals, police and firefighters, and his current job as stuntman and part-time director for a majority of the films made in hawai‘i. Brian is quick to praise his father’s guiding hand.

“The ocean is the glue of life. it keeps our family bonded … Dad kept us in it. from the time we were small babies, he would throw us in the rip and swim with us. mom would freak out with the strong, powerful currents. Dad would make it a game, laugh and look into our eyes. He would tell mom, ‘it’s not ‘if,’ but ‘when’

26

they get caught in a current, and i’m not going to be there.’ ” now a parent of two children, Brian has kept his daughter Ha‘a and son chad in the water as much as possible. reflecting on many in his generation who have either died or gone to jail, Brian says, “i think that was my success, being kept so grounded in the ocean and surf. That gave us the opportunity to bloom.” although Buffalo raised his children with a cultural connection to the ocean, he views his own youth as focused on survival.

“They would say this is my culture,” Buffalo adds. “To me, it’s just what i do—because it’s survival. it’s for my health and keeping my body strong, my eyes and my legs. it makes you a better person, every day, if you do something to survive… “

During the 35-day sailing voyage, it was Buffalo who discovered that the canoe’s forward holds were taking on water, thus averting disaster. years later, crewmates still praise Buffalo’s ability to surf the canoe. upon return, he turned back to his surfing roots, and in 1977, founded Buffalo’s Big Board surfing classic—an event that included the old style of fun surfing on boards measuring more than 10 feet long, as well as a royal court, live Hawaiian music and hula.

While most surf contests begin with a horn, the Classic required a traditional blessing.

TaKE To THE sEa

“Before we start the meet, we have to thank God for this day, thank God for the water, thank God for the people, thank God for everything we do,” he explains.

In the mid 1970s, at the height of the hawaiian cultural renaissance, Buffalo again expanded his ocean-going horizon by studying Polynesian sailing. He was selected by the Polynesian Voyaging society as steersman for the double-hulled canoe Hokule‘a on its maiden voyage to Tahiti.

thirty-five years later, the classic is now held over the last two weekends of february. it has grown to include eight disciplines of surfing, from body surfing to canoe surfing spread over 14 divisions, which include “big people” (250-pounds-and-over).

according to Buffalo, the “melting-pot” event is canoe surfing.

“They would all come to makaha, and, gosh, what a great scene to see all these canoes. one year, i counted 25 canoes on the beach—all ready to go out and charge 8- to 10-foot surf.”

The legacy, for the last seven years, now heads overseas to put on a similar Buffalo Japan Classic. But most importantly, the waterman’s legacy is ensured by his children.

“The ocean is the biggest teacher for our family, because everything is honest in the ocean,” says Brian, who doubles with his father as contest director. “you cannot lie to the ocean. you cannot tell the ocean ‘i’m in great shape, i’m going out there and tackle the biggest wave.’ The ocean is going to pound you down and show you how honest you are and how great shape you are in.

Buffalo Keaulana was appointed to a lifetime lifeguard position at Makaha.

He, along with his friend, waterman Tony Guerrero, also brought the Jr. Lifeguard Program to Makaha.

“To exist with all that energy, you feel everything and you see everything—not just visually,” he concludes. “you become one with that part of nature, that ocean. That’s always been something i love. now, my son is doing it—that’s the scary part.” •

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Destiny FOR KUMU O’BRIAN ESELU, HULA IS ABOUT

CHARACTER

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Defined

SPIRIT / O’BrIan eselu

By Nina Wu

Photos by Kyle Rothenborg

s

ince 1980, O’Brian eselu has been director of entertainment at Paradise Cove Luau, overseeing a troupe of Polynesian dancers that delight visitors. While he presides over the show every evening, Eselu also has another role: kumu hula.

Eselu’s halau, Ke Kai o Kahiki, has swept the men’s division at the merrie monarch festival in Hilo three years in a row. Last year, with just six male dancers, the halau netted the highest score from merrie monarch, winning the overall title.

This year, with eight male dancers, the halau took the men’s division again. it’s an accomplishment worth noting, earning him respect in the traditional hula world, especially since Eselu is competing against many younger kumu hula who feature larger halau. a kumu hula since 1979, he has always been humble about winning.

He respects traditions but is still an innovator, having introduced a new step to the competition in 2010. This was no small feat, since merrie monarch judges are notoriously rigorous in their requirements for every step, word and implement to have a basis in tradition. Eselu was up to the challenge as his mele (songs or chants) are carefully chosen for their poetry and hidden meanings.

The kahiko they performed at the festival, A Ka‘uku, depicted a land battle between Pele and half-man, half-pig demigod Kamapua‘a in a vigorous, stage-stomping performance that showcased the new step—ke nakulu—which involves a jump and quick armcross movement that reflect the resounding thunder of akaka falls. Eselu said he learned the step from his own kumu decades ago. His halau is the only one that performs the move, but he was nervous about including it because he wasn’t sure how the judges would react. so he wrote up a fact sheet explaining it, and luckily the judges accepted it.

“i’ve been doing this for 32 years and my role is to teach what i know. and that’s it,” he says.

Eselu, 55, was born in ‘aiea to samoan parents and raised in Halawa public housing. He credits his late hula partner Thaddius wilson (who first competed at the festival 31 years ago with the na Wai ‘Eha ‘o Puna halau), Thaddius’s mother Verna Wilson and her mother, Keoho oda, who set him on the path. other mentors include aunty Pat Bacon, the late malia Craver and the late aunty Genoa Keawe.

Ke Kai o Kahiki translates into English as “seas of the ancestral lands,” which encompasses Tahiti, samoa, new Zealand, Tonga and other isles.

Today, Eselu is invited to perform all over the world. The halau just returned from a trip to Tahiti, and will head to fukuoka, Japan, after practicing once a week at a scenic stretch of green called Lanikuhonua, which means “Where Heaven meets Earth.”

Photo by Dennis Oda.

CREaTE yOur Own DEsTiny

Radasha Ho‘ohuli, a former Miss Hawaii USA, once trained under Eselu.

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The men of Ke Kai o Kahiki performing at the Merrie Monarch Hula Festival, one of the world’s most prestigious hula competitions. Photo by Dennis Oda.

it’s a special place with spiritual assets, says Eselu—one he feels for tunate to have been able to practice at for more than 25 years. “it has all the elements that we need for hula—the elements of nature—and it has a connection to Pele,” he says, adding that he was inspired to compose a song called Lanikuhonua one day while waiting for his students to come for class. While strumming his ‘ukulele overlooking anianiku Cove, feeling the gentle rain and soft breeze, he completed the tune, which appears on his latest album, Aloha E, Alohe E, Aloha E (2010).

The song brings the listener to Lanikuhonua as the day breaks, describing the magical area by detailing the rain “E ho‘opulu ia e ka ua Pala‘ila‘i (Drench by the Pala‘ila‘i rain);” the wind “Pa Mai Ana ka makani o a‘eloa (Blowing is the a‘eloa wind)” and the swaying palm trees.

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With a voice that is distinct, yet soft or commanding at times, Eselu also has won recognition for his compositions in the music world. In 1998, eselu made his recording debut with the album Ke Kumu, which won the “most Promising artist” award at the na Hoku Hanohano awards, Hawai‘i’s version of the Grammys. as the director of entertainment at the lu‘au, Eselu expects hard work and discipline from his entertainers. as a kumu hula, he expects the same from his students. for example, his students go through a regular regimen, which includes climbing coconut trees to strengthen their legs.

Besides the discipline of the dance, Eselu expects integrity from his haumana (students). most importantly, he wants them to have the heart of a hula dancer, which is of pure aloha.

“The Hawaiian heart is so special and beautiful. it has no prejudice,

no boundaries and limits,” he says, adding: “Love is like that.”

Eselu will take a break from merrie monarch next year, but is planning to participate in the 50th anniversary two years from now. Ensuring his halau serves an important role in promoting men’s style of dance, he makes sure they follow in the footsteps of their ancestors, and remain healthy. “i want to make sure that men have their place in the hula world, just like the women,” he says.

He hopes to develop great dancers, believing every one of his students will carve out his own path in life. “as long as they’re good human beings, good fathers and husbands, everyone has their own destiny,” he says. “To be in my halau you create your own destiny—hula is just one of the stepping stones.” •

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TIME

TRACKING

L-R: Glen Houlton, Larry Howard (seated) Virgil Rewick and Lou Hopf.

PEOPLE • LAND / HaWaiian RaiLWay soCiETy

The Hawaiian Railway Society was founded in 1971 to preserve the islands’ rich railroad past. It serves as the local chapter of the National Railway Historical Society.

The Hawaiian Railway Society Recalls a Bygone Era

By Sarah Pacheco

Photos by Kyle Rothenborg

T

here’s no better way to tour o‘ahu’s “Wild West” than aboard a historic locomotive.

steam locomotives also have been cosmetically restored and are on display in the train yard.

established in 1971 to preserve hawai‘i’s rich railroad past, the Hawaiian Railway society takes passengers on the ride of a lifetime on a fully restored diesel train. and as the vintage choo-choo chug-chug-chugs along the tracks from its station in ‘Ewa out to Kahe Point and back—passing sugar cane fields, a sisal plantation, fort Barrette and even an honest-to-goodness ghost town!—society guides share stories of the old oR & L and how life out west once was.

“(The railway) is all that’s left of that chapter of history,” mcCarthy states, “so education is very, very important to keep the history of the island alive.”

“The railroad changed the culture of the island,” says railroad administrator Tom mcCarthy. “so many people in the islands have their roots in the railroad—they came here to work in the cane fields or pineapple fields, and the railroads played an important part in that. There’s not a sunday that goes by that i don’t hear someone say they had a family member who worked along the railroad.”

Tickets cost $8 (children ages 2-12 and seniors ages 62 and up) and $12 (adults), and may be purchased at the Ticket sales and Gift shop beginning at 11:30 a.m. seats fill up fast (maximum capacity is 150 people) and are available on a first-come, firstserved basis.

since its inception, the nonprofit and its volunteers have been able to fully restore 6.5 miles of track, three diesel locomotives and the famous Dillingham Parlor Car, which is available for rides on the second sunday of each month and for charters. several

Today, as the local chapter of the national Railway Historical society, the society continues to educate and share its works with the public through train rides held twice every sunday throughout the year.

Departure times are at 1 and 3 p.m., with rides lasting approximately 90 minutes.

Weekday charters also are available for school or senior day-care programs. the hawaiian railway society is located at 91-1001 Renton Road. Call the society at 681-5461 or visit its website, www.hawaiianrailway.com, for further information. •

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“THE RaiLRoaD changed the culture of THE isLanD.” Motor Car M-1, Wai‘anae ca. 1940, Elinor Ikawa Collection.

Courtesy Hawaiian Railway Society

No. 85 departs Honolulu with Barbers Point Commuter ca. 1944, Bill Blewett.

Courtesy Hawaiian Railway Society

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Train rides by The Hawaiian Railway Society run through Ko Olina from ‘Ewa to Nanakuli.

Diesel Locomotive 302, a 300 horsepower Whitcomb diesel electric, pulls the society’s passenger and work trains.

Steam Locomotive Ewa 1 was the first steam locomotive used on the ‘Ewa Sugar Plantation.

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Living Culture Kamaki Kanahele and ‘Aunty Aggie’ Cope Bring the Past into the Present

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SPIRIT / aunty aGGiE CoPE & KamaKi KanaHELE

By Lianne Bidal Thompson

a

Photos by Kyle Rothenborg

s you head deeper west along the Wai‘anae Coast, Pu‘u ma‘ili‘ili rises, golden in the sunlight.

This mountain sits squarely in the legendary home of the demigod maui, and it seems to draw you toward it. fittingly, the Wai‘anae Coast Comprehensive Health Center (WCCHC) rests at the foot of Pu‘u ma‘ili‘ili, and nestled—almost hugging the mountainside—is the Dr. agnes Kalaniho‘okaha Cope Traditional Hawaiian Healing Center. as you walk around its grounds, one can literally feel the mana, or power, of the area. Director Kamaki Kanahele (son of the center’s namesake, whom he refers to as “mama,” and everyone else reverently calls “aunty aggie”) says “traditional healing is the foundation of all healing,” for the Hawaiian culture.

However, the strength of this place is girded by the strength of the

people within, and the healing center is equipped with individuals of formidable talents and skills. The kupuna here, quiet in their nature and intent on their purpose, serve people who come for healing but also work to share and preserve a knowledge that was almost lost to the ages.

“…That’s when the majority of the culture just disappeared,” says Kanahele. “if you speak with people like mama (aunty aggie) they would quietly go see the old healers, but that was all in secret,” says Kanahele, explaining how the traditional healing practices managed to survive.

Kanahele explains that King Kalakaua, during his effor ts to revive traditional Hawaiian culture, not only brought back hula and mele, but he also worked to restore traditional healing practices.

It was in the 1970s that a renewed interest in hawaiian culture saved many traditional healing practices from extinction. aunty aggie was actually tasked by the state of Hawai‘i to search out practitioners.

“he was the first king to say ‘there will be a society of healers,’ and he actually certified them with his own signature as great healing masters,” Kanahele adds.

“she’d find these old masters in crafts, language, arts and bring them out of the trees and out from the back of closed doors (to) come and reveal and practice out in the open,” Kanahele recalls. “from that day on, culture was coming back alive.”

However, after the fall of the monarchy, practices such as lomi lomi and la‘au lapa‘au went underground.

Kanahele points to Hawaiian language immersion schools such

37

Director Kanahele is gathering the knowledge of Hawaiian elders and masters—safekeeping it for future generations.

as ‘aha Punana Leo and the merrie monarch festival as evidence that the Hawaiian culture is thriving.

He also is quick to acknowledge the efforts of area businesses, such as Ko olina Resort and its components, namely Disney, for being not only respectful of Hawaiian culture, but supporting and bringing it to the forefront.

Excitement peppers his voice as he describes aulani’s ‘olelo Room, a restaurant at the resort that immerses guests in the Hawaiian language, which is solely spoken by the wait staff.

The constant remains aunty aggie and WCCHC, of which the healing center—although rooted in the oldest cultural practices— happens to be one of the newest components. While the healers take patients and serve the public just as the rest of the health center does, it also is playing a big part in nurturing the practices of Hawaiian culture that were almost lost to time. a training center and archive is being added to the wooden building that looks out on the Wai‘anae coastline. While kupuna from all over the island come to share and exchange their knowledge, the center, with their permission, documents their knowledge by filming them. “(it) will house the world’s largest archival library of native Hawaiian traditional healing,” says Kanahele, just one of the superlatives to describe the health center that boasts 500 employees, 71 percent of whom are native Hawaiian. “We service the largest community-based native Hawaiian population in the state. This past year, we serviced 126,000 people.”

WCCHC also services the largest populations of homeless, mirconesians, medicare and medicaid patients.

38

The Wai‘anae Coast view as seen from the Dr. Agnes Kalaniho‘okaha Cope Traditional Hawaiian Healing Center.

39

“it’s quite a mission that mama founded here,” he says of the lady who not only founded the health center, but the Waianae Coast Culture and arts society as well. Both organizations are 50 years old.

Born in Kipahulu, near Hana (maui), aunty aggie was driven to found WCCHC because of a lack of health care for native Hawaiians.

“This image is a very sacred symbol,” says Kanahele. He explains that it represents the piko, the umbilical cord, referencing creation. “Hawai‘i is the piko of the whole world, and each circle represents each generation. This speaks to the generations and the circle of life.”

“in the early ’30s and ’40s, they would not let our Hawaiians go to Queen’s Hospital because we didn’t have any money,” Kanahele explains. “and yet, the plantation ‘Ewa hospital would not allow us to go there because we were not plantation workers. a lot of Hawaiians passed away because they couldn’t get medical services. mama had had enough and decided, ‘We’re going to build our own.’ ” aunty aggie’s infectious smile plays upon her face when asked about how busy she was founding such an important organization.

“When i was young, i was busy,” she says. “now, i want to rest.” now, a half-century later, it’s the state’s largest community health center. add to that the fact that the center graduated its first class of nine medical doctors who will be serving communities in the Philippines, arizona and beyond. still, for Kanahele and aunty aggie, the focus is on traditional healing. The healing center offers lomi lomi, la‘au lapa‘au, la‘au kahea (spiritual healing), pale keiki (art of midwifery), haha (ancient art of diagnostic observation and healing) and ‘ike papalua (seeing with a third eye). The latter two are rare and very ancient practices. The kupuna at the healing center are the only known masters of their respective practices.

Kanahele acknowledges that it can be tough to think of a traditional practice disappearing. But he also points to the positive, which is that the healing center is waiting to train future students.

“This is the only place in all Hawai‘i that will be a formal training center for the traditional healing arts,” he says. “We’re trying to make this the premier reservoir of traditional healing practices— by preserving and healing, and actually implementing these practices.” •

40

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JWMR-30889_KoOlinaInsertSAfnl.indd 1

8/31/11 10:23:19 AM

Shad Kane works to discover the hidden stories behind Kalaeloa Heritage Park.

42

Unearthing the Past

PEOPLE • LAND / sHaD KanE

s

By Jeela Ongley Photos by Kyle Rothenborg

The sinkholes, or karsts, found in the area were important sources of fresh water.

had Kane chants a prayer and places a lei at the large ahu, or stone altar, where the remains of 15 people are interred. Ti leaves planted at each of the four corners rustle in the wind while sleek-looking chickens bob and weave around the area. small planes buzz overhead like droning insects on flight paths coming from Kalaeloa airport. To the untrained eye, the area looks barren and useless; but this land is sown with secrets.

“What the people that lived here knew, that others did not, is that there is water here,” Kane explains of this land, formerly part of Barbers Point naval air station and future home of the Kalaeloa Heritage Park. The site is a relatively undisturbed, 77-acre parcel with more than 177 recorded home, heiau (temples) and other habitation sites. we find relief from the sun under a portable gazebo as Kane explains how this area came to be so culturally rich.

“It’s much Older than One wOuld suspect.”

The topography of the area offers important context. stretching along the coast from Pearl Harbor to Wai‘anae, the entire ‘Ewa Plain is an emerged coral reef. Eroded by rain and wind and covered with thin coatings of soil over tens of thousands of years, the land is uneven, tufted and full of crevices, or sinkholes. also called karsts, these small caves pepper the plain and were important sources of fresh water as well as being agricultural and sacred sites for early inhabitants. for scientists they are time capsules, offering not just evidence of human activity, but rich troves of fossils, many from extinct birds, snails and plants. it’s not hard to imagine the chickens that have followed us as large, flightless land geese, now extinct, grazing the area like goats before becoming easy prey for early settlers. kane says there are at least five ancient house sites a stone’s throw away, only one of which has been reclaimed from the brush by volunteer labor. asked about the most exciting finds in the area, he thinks for a minute.

“it’s not just the structures. it’s really much more than that. i learned … that the cultural history—and i don’t want to say Hawaiian, because there’s questions about that—it’s much older than one would suspect.”

The nearby structures, he explains, are unique in Hawai‘i because they are built entirely of coral in a style markedly different than the tight-fit hawaiian rock wall construction style. Clustered around sinkholes used for water and agriculture, the ancient walls are built with upright stone slabs filled in with smaller rocks, Tahitian style. a striking feature of the area is a coral slab-paved trail that once ran from the ocean to Kapolei, a pathway Kane likens to the H1 freeway of the day. a nearby heiau is characteristic of those found in the area, smaller than the chiefly heiau many people think of and partly underground, as evidenced by the rocky gash of a karst entrance within its walls. upright stones, now toppled, once stood guard on either side of a raised mound looking into the sinkholes.

43

This heiau is different from most found in Hawai‘i, reinforcing Kane’s assertion that many of the structures and artifacts found at the park are not necessarily Hawaiian, and may predate the establishment of a Hawaiian culture.

44

he was invited by the Kapolei Civic Club—a club chartered to give the City of Kapolei a Hawaiian cultural presence—to represent them at a series of community redevelopment commission meetings held as the Barbers Point land was transferred to the state. archaeologists, cultural experts and scientists shared their knowledge at these meetings, and Kane began making connections.

“I was able to take what I saw in the field on my horse and was able to bring that together with all this information that these people were ready and willing to share with me,” he says with gratitude. “i had access to everything.”

Kane’s introduction to the area deftly weaves together the work of modern scientists and scholars, 19th century map-makers and ancient Polynesian genealogies and lore. These sources provide tantalizing evidence that the people who lived for hundreds of years at Kalaeloa were not Hawaiian, but other Polynesian families who probably traveled regularly between Hawai‘i and their far-away homeland.

His insights into the area include the spiritual lore of former inhabitants. a practicing Catholic, Kane shares “chicken-skin” stories about the restless spirits Hawaiians believed inhabited the area in a sort of Earthly purgatory. He also has stories about unexplained incidents from when he worked at the Kapolei Police station. Today he gets calls to attend to seemingly supernatural situations; sometimes he offers blessings, other times referrals to kahu or priests. But he turned down a ghost-hunting television crew looking for material. “it’s not something we need to fear, but it’s something that we need to embrace, because it’s part of our past.”

it’s an astounding synthesis of knowledge from one unassuming man, but kane’s own story sheds some light. an avid horse-lover, he first explored surrounding areas on horseback, where he saw archeological remains without knowing much about them. He also came to know the area from different vantage, that of a 30-year Honolulu Police Department veteran.

The vision for the future of the Kalaeloa Heritage Park is grand, including interpretive exhibits, cultural practitioners, native plant restoration and an onsite archeological project. They’ll need donations, grants, expertise and a small army of volunteers to help maintain the site. now in his late 60s, Kane says matter-of-factly, “i probably won’t be around to see it, but there will be others.There is a lot more to be done.”

“i was a detective for 10 years, so i was very accustomed to doing research. i transferred that interest from researching criminal activity to researching Hawaiian culture,” he explains. Kane became involved at Kalaeloa when

anyone interested in learning more about visiting and volunteering can email shadskane@gmail.com or call him at (808) 429-7175. •

One discovery includes this pathway—paved with coral slabs—that once ran from the ocean to Kapolei.

45

Sowing Partnerships from

Farm to Community n

estled at the base of the Wai‘anae mountain range, in an area rich with historical lore, rests 24 acres of organic bliss: ma‘O Organic farms, a flavor-packed wonderland filled with enough produce to sustain 40,000 people, or the entire population of West o‘ahu.

By Lehua Kai Just 19 miles north of this verdant retreat, resides the powerhouse, searider productions, a media education program at Wai‘anae High school. yet a partnership between ma‘o, makaha studios and searider has caught the interest of the W.K. Kellogg foundation—a $4 million interest, to be precise— that allows the three entities formalize and expand upon the program. the partnership, now called “kauhale o wai‘anae,” fills a cultural void that deals with the dysfunctions of modern society and our dependence on imported food, by creating businesses that are vibrant and yet still a part of our traditional practices. Like storytelling and farming.

“People always ask, ‘oh how do you merge digital media with organic farming?’” says Candy suiso, program director for searider Productions. “We have a lot in common. We are growing our youth to become leaders and we are growing our land to become abundant. it’s our job to share these stories with the world.”

“We are providing an opportunity for students who graduate high school to participate in an intern program that not only provides valuable on-the-job experience, but will help pay for their education,” says John allen iii, the founder and owner of makaha studios. The studio also provides brand consultation and media services for Kauhale o Wai‘anae.

MA‘O Organic Farms owner Gary Maunakea-Forth samples some arugula leaves from his crop on their farmland. The farm-to-table movement is thriving on the West Side, with MA‘O and other area farms supplying O‘ahu businesses such as Roy’s Restaurants, Aulani and Island Country Market. Photo by Jamm Aquino

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PEOPLE • LAND / ma‘O OrganIc farms, makaha studIOs & searIder prOductIOns

maisha abbot, a college intern at ma‘o organic farms and a graduate of Wai‘anae High school, is benefiting from a program called youth leadership training, or ylt (one of the programs the kellogg grant will help continue to fund). yLT gives students a scholarship to attend college as well as a stipend for working on the farm; this has helped abbot plant her path to her future.

“Being born and raised here and being a part of the movement that is the continuation of ‘aina-based learning—having been raised in this environment that is built on this concept of having a venue to return to—and being able to contribute to the community in a meaningful way by doing the things that we’ve always done, that is a really powerful transformative thing…”

“i want to return to Wai‘anae when i get my degrees. if i did not come back, it would mean that i was not true to my word of helping my community be better,” says the 20-year-old entrepreneur. “i see myself becoming a eco-fashion designer … i would want to show other future young designers on the Wai‘anae Coast how to express their own styles through more eco-friendly material.”

“What we are trying to do at ma‘o is create economic development in a community that matches the fabric and nature of what it means to be from Hawai‘i, and to do our part to partake in Hawai‘i’s food security.”

While remaining eco chic, and enjoying all of her duties on the farm, abbot says it’s her participation in the farmers market that she loves most.

“We get a chance to communicate one-on-one with our customers; this creates a food-growing niche between the people of Hawai‘i and farmer.”

By building the farms and restoring a culture to community-based food systems, Enos believes we can resurrect the role of the farmer and give them back the respect that they deserve.

“Look around you, these kids, these are your farmers. They are bringing you food to your table,” Enos says, calling it “sweat equity.”

“We recruit kids to work on the farming and academia as a personal development.”

The term kauhale is rooted in the ancient Hawaiian land division system known as the ahupua‘a (land division). It referred to the extended family units that kept each ahupua‘a self-sufficient. each unit had its own responsibilities in its region. If you lived by the sea, you maintained near-shore fisheries; if you were upland, you managed the taro, and more importantly, you never traded outside of your ahupua‘a. it revolves around the concept of “it takes a village to build a village.” most importantly, those who come back to lead the village are the ones who keep it alive.

“We’ve always pushed many life skills at searider Productions and makaha studios,” says allen.

“Responsibility, timeliness, communication, working together … seeing the students realize that these skills can apply in the ‘real world’—that’s definitely been the most rewarding part (for me).”

Case in point: after Kamuela Enos, ma‘o’s community relations director, graduated with an m.a. in urban and regional planning from the university of hawai‘i at manoa, he made it a point to give back to “the village.”

Candy suiso points to Kainoa aila as an example. searider Productions followed his story; how he lost 130 pounds in 10 months by working on the farm and reconnecting to the land. in his words, “when you grow the food you eat, it makes you feel a lot better.” •

Even if the students don’t go on to a future in farming, the program still provides many useful lessons.

kauhale O Wai‘anaE fiLLs a cultural vOId.

Photo by Ronen Zilberman

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NANAKULI’S AMBASSADOR

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LAND • PEOPLE / uncle Black

Photos by Kyle Rothenborg

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ou could think of Josiah “uncle Black” ho‘ohuli as an unofficial ambassador for his hometown of nanakuli. He’ll gladly take the curious around to discover the histories and tales that seem to be hidden in plain sight. if anyone should know, it would be ho‘ohuli, who’s a fixture at nanakuli high school and loves everything about his West side town. His father owned the bus line that took people between the Wai‘anae Coast and Kaka‘ako, and he says, “i pretty much know everyone here.” When asked about his youth, he chuckles about being “naughty” but adds that he joined the marine Corps for a change of scenery.

Ho‘ohuli humbly adds that he likes to get involved in the community, pointing out that people recognize him and others as the elders in nanakuli. “you have to pay attention to the kupuna,” he says.

He credits his late wife, Leina, as the source of his humility. They were married for more than 40 years, and together they had three boys and three girls. Grandkids? “i don’t know, i can’t keep count—that’s the parents’ job,” he chuckles. Ever the gracious host, he enjoys sharing the beauty of nanakuli with guests, even those from beyond Hawai‘i. a few years back, he took a spurof-the-moment trip to new Zealand that proved to be lifechanging. “i hooked up with some good people … i decided to do a cultural exchange,” he says. “it was completely different, and i really wanted to learn more.” now, his Kiwi friends know that “uncle Black” will always take care of them when they’re in town. •

Uncle Black Ho‘ohuli, at Nanakuli High School.

Ho‘ohuli shares the stories and sights around Nanakuli, including the Maui coral rock and a beach bunker that he’s working to protect (bottom).

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WEST PAINT

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SPIRIT / maRK KaDoTa

By Florence Parma

Photos by Kyle Rothenborg

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s a child, mark kadota asked his parents for some paints. slightly mystified by the request, they went ahead and bought him a paint-by-number kit.

He removed the paints, ignored the picture and created his own art—a little boy who knew his whole life what he wanted to be and grew up to become a modern-day Renaissance man. the california native came to hawai‘i as a young man in 1971. he settled at the back of a remote valley in the Wai‘anae mountains with a group of other artists, studying not only techniques of painting but also the culture of Hawai‘i.

He studied under the late kuma hula mililani allen, who inspired his early art. “i love Wai‘anae and have spent most of my life there,” says Kadota. “it is my muse when i am in Hawai‘i. i still love to travel and live in other lands but always return to my home in Wai‘anae. as an artist, it constantly inspires me by the beauty and power. Parts of my travels give me a renewed appreciation for the Wai‘anae area. i never want to take it for granted.” a multifaceted artist, Kadota also expresses his creativity through ceramics, sculpture, photography, performance art, dancing, music and writing.

His landscapes, many of the Wai‘anae coastline, are mixed-media using a combination of oils and acrylics and even sand and dirt mixed in for texture.

“Creating artwork has been my lifelong passion,” he says.

Kadota’s works are collected and shown around the globe. at the Beijing olympics in 2008, Kadota was one of only six artists asked to represent the united states in the cultural exhibition at the today art museum.

However, it’s his island sanctuary that he keeps returning to. “i love my home in wai‘anae, it allows me to reflect, focus on my artwork and live a simpler life,” he adds. “i can maintain a strong focus on my art in my studio in Wai‘anae. i love living quietly surrounded by nature.” •

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Mount Lahilahi.

“This portrays a beautiful sunset on the Leeward Coast. The gold leaf bottom panel represents the preciousness of our ‘aina.” - Kadota

“aLL of THEsE PainTinGs aRE pOwerful places fOr me on THE LEEWaRD CoasT.”

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“This painting is called Secret Beach, and is a beautiful hidden beach on the Wai‘anae Coast. I used to visit this beach with my kumu hula, Mililani Allen. It is a quiet and calm place for me,” says Kadota.

“I wanted to capture the beauty of these places and moments when I have been moved by their beauty.”

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Makua. “This is one of my favorite places on the Wai‘anae Coast,” says Kadota.

Inset: Following the tracks of the original OR & L along the Wai‘anae Coast to beautiful Makaha Valley, home to the first Leeward Coast Resort developed by the Chinese.

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Voyaging into the Future

Billy Richards stands with E Ala (Awakening).

It is planned that this inter-island voyaging canoe will serve as a floating classroom for future voyagers.

Richards considers Aunty Aggie Cope the “Matriarch of the Canoe,” meaning she commands this canoe on all levels.

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OCEAN / BiLLy RiCHaRDs

By Lynn Cook

Photos by Kyle Rothenborg

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awaiian men and women and others who love the sea and these beautiful islands, anchored in the Tropic of Cancer, sail on great Polynesian voyaging canoes.They dream great dreams.They accomplish heroic feats, not just for themselves but also for the generations to come. They sail by the ancient ways with non-instrument navigation.

Their compass is a rising and setting star. They voyage in all our names.

In the 1970s, historic accounts of ancient voyages fired the imaginations of Hawaiian sailors and surfers, artists and anthropologists.Their theory was that in a time when Europeans had not ventured from the sight of their own shores, Polynesians were making voyages of discovery and then returning to settle far-off islands. ancient rock carvings of canoe sails were discovered on Hawai‘i island. They were studied and copied. Canoe designs were created and considered. Epic voyages were planned. Those with the navigator’s heart did not question the possibility of success. referred to as the ‘hawaiian renaissance,’ the ’70s and ’80s were a time of realization that Hawai‘i had to malama, care for, its treasures of music, language, arts and voyaging, before they were lost. The Polynesian Voyaging society was organized, a 61-foot, double-hulled voyaging canoe, Hokule‘a, was designed and built, and the theory of polynesian wayfinding was proven when the canoe was successfully sailed from Hawai‘i to Tahiti and beyond with only the stars, wind and waves as a navigational guide.

The canoe carried a captain, a navigator, a crew and the dreams of thousands in Hawai‘i, then hundreds of thousands of people worldwide.

Hokule‘a was soon joined by two more canoes—the Makali‘i and Hawai‘iloa—to explore all the pacific Islands, Japan, new Zealand, canada and the u.s., allowing new dreams for young crews, training for the epic adventure of their lives. These canoes broke the historic barrier between the ancient celestial navigation skills of Polynesians and the oil-powered world of modern travel.

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The Hawai‘iloa is being restored, so that it can travel throughout Hawai‘i as the Hokule‘a makes its journey around the world.

Tay Perry, a kalai wa‘a of the highest order, works on a model of a voyaging canoe.

reluctant vOyager Back in the day, Billy Richards worked as a musician and an underwater survey diver. He didn’t belong to a canoe paddling team. What he knew of the voyaging canoes came mostly from the evening news. “i drove by Kualoa one day when Hokule‘a was anchored there,” he says. “I saw it was fiberglass with dacron lines. i thought, ‘this isn’t real.’ ” But, the thought of voyaging didn’t leave his mind. He heard that they were taking crew who paddled in canoe clubs. “That wasn’t me,” he says. as Richards tells the story: “one day on the Big island, outrigger canoes were racing out and back, around the Hokule‘a, anchored off shore.They said the canoe was about to sail, would we paddle the crew out? i jumped in and helped. We stayed for their prayer circle, asking for a safe voyage. Just as we started to pull our canoe away a hand came out to me. a crewmember said, ‘i think

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you belong on this boat.’ i knew he was right.”

The rest, as they say, is history. Richards has been voyaging ever since, across oceans, accepting challenges. Richards is president of the friends of Hokule‘a & Hawai‘iloa, charged with restoring the canoe Hawai‘iloa, made of native woods, so it can voyage Hawaiian waters as the Hokule‘a voyages around the world. He is also the president of the ‘ohana Wa‘a, the statewide organization and alliance of canoes, canoe builders, friends and fundraisers who recently welcomed Vaka Moana, the five new canoes from the south pacific.voyaging may be one of the world’s most costly endeavors. young crewmembers have been heard to say, “it isn’t technically a sport or a career, it is a way of being.” “in the late ’80s”, Richards says, “we did a tree search in the koa

forests of the Big island for a koa tree tall enough and big enough around to carve into a canoe. We found it but had no way to get it off the mountain.” he laughs as he recalls, “I called the u.s. marines to see if they could air-lift something that was five to six tons. They said ‘no problem’ until they heard it was up where the air was too thin to operate.”

The Tlingit tribe, owners of the sealaska Corporation, offered two sitka spruce logs, 200 feet tall, 7 feet in diameter and more than 400 years old. in the journals of Captain George Vancouver, he described the largest canoe ever seen in the islands, somewhere between 60 and 100 feet long, carved from the trunk of a pine tree. To those who doubt, Richards says, “visit Ka Lae, south Point on the Big island even today and you can see drift logs from alaska.”

Hokule‘a arrives at Ko Olina Marina.

great adventures The canoes called Hokule‘a and Hawai‘iloa voyaged to destinations that were instinctively recognized, charted by stars but not written down. Hawaiian navigators were trained by the late mau Pialug, a micronesian from satawal island. He was the only master who still knew the art of wayfinding.

Hokule‘a navigator, nainoa thompson, mau’s first student navigator, says that, “mau passed on his closely guarded knowledge of blue water voyaging so it could be taught to future generations, and that’s our plan, to enlist the next generation of voyagers. Without them, voyaging won’t continue.” to fire the imagination of young adventurers, Hokule‘a is cruising toward their monumental plan for a 2013 voyage around the world. “our mandate is that 40 percent of the crew will be under

30,” Richards says. Thirty-two legs for the trip will allow the new crews to make their own history. “We are training now on maui, Kaua‘i, the Leeward Coast of o‘ahu and Hawai‘i island.” The trainees have logged 16,000 miles since april of ’08 and it’s only 21,000 miles all the way around the earth. meanwhile, Richards and his team will bring life back to the Hawai‘iloa, the first deep ocean canoe in centuries to be built totally from native materials, so that it can be the touchstone for Hawai‘i as the voyagers circumnavigate the globe. soon Hawai‘iloa will join Makali‘i and Hokule‘a—the three giants, restored and revitalized, will be sailing against the wind, rising up to meet the dreams of people who may never voyage across an ocean but believe, because of these brave navigators in the great canoes, that they can. •

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Ko Olina Beach Villas

Ken Williams and Bill Blaisdell

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Ko Olina Station and Ko Olina Center

Ko Olina exemplifies sustainable living at its best— when employees and business owners live close by and work together for the benefit of others.

It’s a full-circle philosophy.

NON-PROFIT & COMMUNITY ORGANIZATIONS

The People and Place of Ko Olina Ko Olina Resort Information, Activities & Special Events / www.Koolina.com Aulani, a Disney Resort & Spa / www.aulani.com

Friends of Hokule‘a and Hawai‘iloa / www.fhh-hawaii.org

JW Marriott IIhilani Ko Olina Resort & Spa / www.ihilani.com

Hawaiian Railway Society / www.hawaiianrailway.com Junior Lifeguard Program / www.aloha.com/~lifeguards/jrguards.html

Ko Olina Beach Villas / www.koolinabeachvillasresort.com

Kalaeloa Heritage & Legacy Foundation / shadskane@gmail.com

Ko Olina Center & Ko Olina Station by Honu Group www.koolinacenter.com / www.koolinastation.com

Lanikuhonua Cultural Institute / www.lanikuhonua.org

Ko Olina Golf Club / www.koolinagolf.com Roy’s Ko olina

Makaha Studios / www.makahastudios.com MA‘O Organic Farms / www.maoorganicfarms.org

Ko Olina Marina / www.koolinamarina.com

Native Hawaiian Traditional Healing Center /

Ko Olina Productions / www.koolinaproductions.com Ko Olina Realty / www.koolinarealty.com

www.wcchc.com/nativeHawaiianHealing.aspx

Searider Productions / www.seariderproductions.com Waianae Coast Comprehensive Health Center / www.wcchc.com

ARTISTS

PHOTOGRAPHER

Mark Kadota / www.markkadota.com

Kyle Rothenborg / www.kylerothenborg.com

Dalani Tanahy / www.kapahawaii.net

o‘ahu photographer Kyle Rothenborg is a lifelong Hawai‘i resident. He has spent the past 25-plus years photographing throughout the pacific. “the diversity in the places and people i work with is awesome.”

George Woollard / www.georgewoollard.com

Ko Olina Golf Course

Marriott’s Ko Olina Beach Club

Honu Kai Place of Welina

Mona Abadir and Billy Richards

The Spirit of Ko Olina: How to Give Back

Kai Lani, The Coconut Plantation, Ko olina Kai Golf Estates & Villas, Ko olina Hillside Villas, The fairways at Ko olina Resort

Marriott’s Ko Olina Beach Club / http://www.marriott.com/hotels/travel/hnlko-marriotts-ko-olina-beach-club/

Paradise Cove / www.paradisecovehawaii.com The Harry and Jeannette Weinberg Campus Seagull School, The Stone Family Early Education Center / www.seagullschools.com/koolina Watabe Wedding / www.Koolina.com aquaveil frais marina Ko olina Le Plage, Honu Kai Lani at Ko olina Place of Welina, Ko olina Chapel Place of Joy

Mahalo nui loa to the following people and companies for their participation in the beautification of the Ko Olina, and to Ko Olina Community Association.

Ko Olina Community Association Board: Jeffrey R. stone • Kendall Kim • nadine ogata • Ko Olina Beautification Project Management Team: Concepts Hawai‘i, Bill Blaisdell • Ko olina Community association, Ken Williams • PBR Hawai‘i & associates/Landscape Plan & Design, stan Duncan • allied Builders/Contractor, Victor Han & Lee George • ultimate Innovations/landscape contractor • pacific atelier International, llc/comfort stations architect • Honu Group Communications, LLC/Resort aesthetics & Branding, mona abadir Participants: allison ide structural Engineers LLC • anderson Lahne & fujisaki LLLP • apao’s Repairs • Chee markham & feldman attorneys at Law • Clifford okinaga • Commercial Electric, inc. • Concrete Coring Company of Hawaii • Consolidated Painting LLC • Construction management Resources, inc. • Contract specialties in Hawaii • Creative Concrete impressions LLC • Creative signs and Graphics, Ltd. • Dorvin D. Leis Co. inc • Eight Honolulu LLC • Evergreen by Debra, LLC • first Hawaiian Bank • forms and surfaces, inc. • foundations Hawaii, inc. • fred Lau-Hawaiian Landscape Company, inc. • G.P. Roadway solutions, inc. • grace pacific corporation • H&o iii, inc. • Hawaiian sign & Design Corporation • Hida, okamoto & associates, inc. • Honblue, inc. • Honolulu sign Company, Ltd. • in Line • flooring, LLC • Island pacific distributors, Inc. • J.J.s. Construction, inc • Kichler Lighting • Ko olina operations, LLC / aloha Team • Kusao & Kurahashi, inc. • Landscape forms, inc. • most Dependable fountains • natural stone LLC dba Bella Pietra • nCm Contracting Group, LP • nomura Design Company, LLC • pacific aquascapes, Inc. • pacific sign & graphics, Inc. • Palekana Permits LLC • Plas-Tech, Ltd • Pono Energy solutions • Rmy Construction, inc. • RTV Designs • safety systems Hawaii, inc. • sea Engineering, inc. • shinsato Engineering, inc. • standard sheetmetal & mechanical inc. • The Resort Group • Tilecraft, inc. • Walter P. Thompson inc. • William Grix • Wong’s striping, inc. • yRC inc. dba Century Construction Co.

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