July-August 2017

The Life - Hawai‘i Island’s Community Magazine |

Iulai - 'Aukake J u l y

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A u g u s t

2017

ARTS Kalani Pe‘a Reflects On His Roots CULTURE

Fit For A Queen: Lili‘uokalani Gardens SUSTAINABILITY Kohala Watershed: Bringing Life Back To The Land

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KeOlaMagazine.com | July-August 2017

KeOlaMagazine.com | July-August 2017

4Cover photo by Jay Takaaze. Table of contents photo by Rita French. Read more about them on page 75.

The Life

Hawai‘i Island’s Community Magazine Iulai-‘Aukake | July-August 2017

A Garden Fit For A Queen

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Lili‘uokalani Gardens in Hilo, built on land gifted by the Queen, celebrates its centennial year.

Lauhala's Roots In Puna

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‘Aha Pühala O Puna, a lauhala weaving club, celebrates its 25th anniversary.

Fifteen Years Of Delighting Audiences

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Kïlauea Drama and Entertainment Network celebrates a decade and a half of theater.

Abled Hawai‘i Artists

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A program to support artists with disabilities is promoting a renaissance of inclusion.

A Depository Of Stories

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Hawai‘i Plantation Museum in Päpa‘ikou shares the stories and relics of our plantation era.

A Place To Call Home

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Hawai‘i Community College's hands-on building project completes its 50th model home.

Kalani Pe‘a

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The Grammy-winning musician reflects on his Hawai‘i Island roots.

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The Kohala Watershed Partnership brings landowners and conservationists together.

Historic Campus Gets New Life, New Vision

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The Kohala Institute at ‘Iole turns the 19th-century Kohala Girls School into GRACE Center.

The Contemporary Traditionalist Darlene Ahuna's music is steeped in tradition while looking toward the future.

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KeOlaMagazine.com | July-August 2017

Bringing Life Back To The Land

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The Life

Hawai‘i Island’s Community Magazine Iulai-‘Aukake | July-August 2017

Ka Wehena: The Opening

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Moemoeä, a composition by Kumu Keala Ching.

Business

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Managing with Aloha: The ‘Ohana in Business.

Local Food

Your Health. Our Mission.

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Edible flowers that grow in our gardens can be used to liven up food and drink.

Island Treasures

Colette's Custom Framing, Kailua-Kona's choice for framing memories.

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Petroglyph Press, Hawai‘i Island's hometown book publisher and printer.

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Talk Story With An Advertiser Kïlauea Lodge, unique lodging, dining, and events in Volcano Village.

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Island Clutter Consignment Shoppe in Waikoloa Village.

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Russell Ili's Organo Gold.

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Kēlā Me Kēia: This & That North Hawai‘i Community Hospital • Offering primary care, surgery, orthopedics, rehabilitation, OB/GYN and more

KeOlaMagazine.com | July-August 2017

• Conveniently located in Waimea

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• Emergency services available 24/7 for all your needs, large or small • Fully accredited Level III Trauma Center • Affiliated with The Queen’s Health Systems for easy access to top specialists

For appointments call

887-CARE

67-1125 Mamalahoa Highway, Kamuela, HI 96743 • www.nhch.com The Queen’s Health Systems is a 501(c)(3) nonprofit family of companies.

North Hawai‘i Community Hospital is part of The Queen’s Health Systems ‘ohana.

15558 NHCH Ke Ola Magazine; 3.5 in w x 7.25 in h; cmyk

Worldwide Voyage Update

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About Our Cover & Table Of Contents Artists

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Crossword Puzzle

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Hawai‘i Island Happenings

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Community Kökua

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Farmers Markets

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Advertiser Index

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Ka Puana: Closing Thoughts Ke Aloha O Ka Haku, The Queen's Prayer by Lili‘uokalani.

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From Our Publisher I’ve been so inspired by the stories we’ve been publishing lately! I’ve felt that way for the nearly nine years Ke Ola Magazine has been sharing Hawai‘i Island’s stories, and the feeling gets stronger as the years go by. I’m certain that there is an unending amount of stories that need to be told about the amazing people on Hawai‘i Island who truly are making a difference. This issue is packed with these inspiring people!

KT Cannon-Eger spearheaded the effort to create Friends of Lili‘uokalani Gardens, and has been planning its centennial celebration ever since. We’re excited to celebrate with KT and all the others who work so hard to preserve this beautiful open space. For those who haven’t visited the Queen’s park on Banyan Drive in Hilo yet, you must!

Another mover and shaker on the island is Mar Ortaleza. I met Mar last year in a marketing class we took together at UH Hilo and we became fast friends. (I’m sure it’s no coincidence that our first meeting after our class was at Lili‘uokalani Gardens!) You get to read how Mar is making Hawai‘i Island a better place by teaching uniquely-abled people career skills which help them flourish in our community. One of them, Michael Nizo, has a 3-D laser machine and he’s making Ke Ola Magazine’s new counter-top racks, which are beautiful!

There are many more stories on these pages for you to enjoy. We get daily feedback about how much people love Ke Ola Magazine. They are grateful to the advertisers who make it possible for them to pick up free copies. Sometimes people want to support the magazine’s efforts even if they don’t need advertising, so we’re starting to offer sponsorships for some of our stories. If you know of a business that would like to be recognized as a sponsor for a story in some of our issues, please have them contact me, or our General Manager in West Hawai‘i, Gayle Greco. Our contact information is on page 89.

Aloha pumehana, Barbara Garcia, Publisher

The official magazine of

In 1976, the voyaging canoe Hōkūle‘a set sail from Hawai‘i's shores, headed for Tahiti using only traditional methods of celestial and natural navigation. When Hōkūle‘a arrived in Tahiti, it was the first to do so in generations. That original voyage sparked a renaissance of Hawaiian arts and culture, and reawakened the native awareness of the importance of sustainability. The effects of that original voyage and the renaissance it sparked are still felt today.

Fast forward to 2017. As this issue of Ke Ola Magazine goes to press, Hōkūle‘a and her crew just arrived back home in Hawaiian waters after a voyage around the world, sharing the lessons of sustainability found in native arts and culture, and building relationships to further the cause of mālama honua– caring for our rapidly changing world.

We’ve shared regular updates on the Mālama Honua voyage in every issue of Ke Ola Magazine since Hōkūle‘a and her sister canoe Hikianalia departed Hilo in 2014. And as we have since the inception of Ke Ola Magazine nearly nine years ago, we continue to share stories about arts, culture, and sustainability efforts here on Hawai‘i Island.

In this issue, we are proud to share stories of those preserving our history, like the Hawai‘i Plantation Museum in Pāpa‘ikou or Lili‘uokalani Gardens in Hilo. We are proud to share stories of those keeping our arts scene vibrant, like the Abled Hawai‘i Artists and Kalani Pe‘a, with his award-winning contemporary Hawaiian soul music. We are also proud to share the stories of those protecting our future, like the Kohala Watershed Partnership working to keep our island’s ecosystem in balance for generations to come.

Mahalo for reading Ke Ola Magazine. Your support of our magazine and our advertisers is what makes it possible for us to keep bringing you these stories of our home, the place to which we connect and get our inspiration: our Hawai‘i Island.

Na‘u nō me ka mahalo, T. Ilihia Gionson, Editor

Corrections Summer Activities For Your Keiki, May-June 2017: We published an incorrect contact number for the Junior Lifeguard program, which is now with the Hawai’i Fire Department.

Interested parents can call Captain John Baehr at 961-8689 or 756-2827 for East Hawai’i, and Captain Chris Stelfox at 3273570 for West Hawai’i.

Johnny Lum Ho, March-April 2017: We misspelled the name of a contributing photographer in the captions. Mahalo to Kenji Kuroshima for sharing his photos with us!

KeOlaMagazine.com | July-August 2017

Look for Hawai‘i Island Weddings, Honeymoons, and Special Occasions Islandwide!

From Our Editor

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“BEST SNORKEL CRUISE ON THE BIG ISLAND” WEST HAWAII TODAY READER’S POLL

Fair Wind II and Hula Kai at historic Kealakekua Bay & site of the Captain Cook Monument Information & Reservations 808.322.2788 | www.fair-wind.com

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Ka Wehena

Moemoea Na Kumu Keala Ching

Eō ka Lani, nani ao Ao melemele a‘e nō Noho puni ka ‘Ōpua Pua lei Kahiki moe Moemoeā, moemoeā

Rejoice the heavens, heavens so beautiful Heavens are yellow above so high Surrounded by ‘Ōpua clouds A flower lei upon the horizon To dream, to dream

Ola ke ola, lani ao Ao poli makamaka Kau aku i ka poli Lipolipo, komohana Moemoeā, moemoeā

Life lives, heavens above Breast of heavens, precious indeed Place forward upon the heavens Deep within, Western horizon To dream, to dream

Kau ka moe, moemoeā Noke mau ke ola Ola ke ola, noke mau ē A mau a mau, a mau a mau Moemoeā, moemoeā

Place the life, to dream Move onward, the life Life lives and moves onward Forever and ever To dream, to dream

E ola

‘O Keaomelemele ka wahine o nä ao melemele i ‘ike ‘ia ma ka pi‘ina a me ka näpo‘o ‘ana o ka lä. He akua wahine ‘o ia o ka hula a he haumäna o Kapo‘ula, kekahi akua wahine a‘e o ka hula. Ahuwale ka nani o Keaomelemele ma ka lae ‘o Ka‘ukulaelae, Keauhou. I ka näpo‘o ‘ana o ka lä, he paipai ia i ka mana‘olana o nä känaka aloha iä Keaomelemele, e hiki ana nö he lä hou.

Noho wale au i ka hale o ku‘u hoaaloha ‘o Mayumi Oda kona inoa.

Ma laila nö, ua ‘ike ho‘i mäkou i ka nani o ke ao, he ao melemele ia i këlä me këia mau lä ma kö Mayumi hale. Ma ko‘u ‘ike ‘ana i ka nani o Keaomelemele, puka wale maila ko‘u aloha i ka moe ‘ana o ka lä ä ho‘i hou mai. He mana‘olana ia. E ola ke ola!

Ho‘ola‘a ‘ia këia mele no Mayumi Oda, 2004.

Keaomelemele is the woman of the yellow clouds visible during sunset and sunrise. She is known as a Hula Goddess and a student of Kapo‘ula—Hula Goddess. Keaomelemele often graces us with her beauty at the point of Ka‘ukulaelae, Keauhou. As the sun sets it encourages Keaomelemele’s true believers to dream and hold on to hope, because a new day will arrive.

As I sat at the home of my dear friend, Mayumi Oda, we observed the beauty of the clouds. Yellow clouds every day at Mayumi’s house. My observation of Keaomelemele shares my compassion of the sunset and sunrise. Hope indeed, Life!

E ola ke ola–let life live forever!

This mele is dedicated to Mayumi Oda, 2004.

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

A Garden Fit for a Queen Celebrating Lili‘uokalani In Her Garden’s Centennial Year

KeOlaMagazine.com | July-August 2017

By Brittany P. Anderson & Leilehua Yuen

The official design for the Lili‘uokalani Gardens Centennial celebration by local artist Nelson Makua depicts the queen in her namesake gardens. She passed away before the 10 gardens were complete.

As the sun rises steadily over Hilo Bay on a bright Saturday morning, a group of college students rake leaves at the far end of Lili‘uokalani Gardens. While dozens of early morning walkers and runners do their laps around the park’s outer walkways, a couple strolls through the winding path in the middle of the garden with shovels in hand.

After two years of construction beginning in 1917, Lili‘uokalani Gardens opened in 1919 and has been serving the community as a meeting place, recreational park, and tourist attraction ever since. The park’s wide sidewalks around the perimeter and meandering pathways within offer safe, beautiful places for people to spend time. The iconic red bridge, imported a century ago from Japan, stars in many photos of Hilo and was even featured on a US postage stamp this year. One of Hawai‘i County’s most heavily used parks, and the crown jewel of Hilo’s public parks, isn’t only named in honor of Hawai‘i’s last queen—Lili‘uokalani herself played a part in its inception.

Japan–Hawai‘i Ties As leaders of an independent nation recognized by other nations throughout the world, Hawai‘i’s monarchs maintained relationships with other countries. Japan enjoyed an especially close relationship with Hawai‘i, especially in the later years of the monarchy.

On his visit to Japan in 1881, Kalākaua was received by Emperor Meiji, with the military band playing Hawai‘i Pono‘ī

A new United States Postal Service Priority Mail postage stamp was issued in January 2017, a centennial project of the Friends of Lili‘uokalani Gardens four years in the making. The stamp is part of the American Landmark series of stamps, which began in 2008. It is the first Hilo locale to be featured on a postage stamp, and the first time a Japanese garden has been featured. Other stamps in the American Landmark series include Mount Rushmore, the Hoover Dam, Old Faithful, Grand Central Terminal, and the USS Arizona Memorial at O‘ahu's Pearl Harbor.

as his ship pulled into port. He was the first foreign monarch received in Japan.

Lili‘uokalani continued her brother (and royal predecessor) Kalākaua’s keen interest in Japan and learned Japanese so she could speak with the people. Lili‘uokalani’s steward, Mr. Fujimoto, was Japanese, his children were born in her home, and the Queen was their godmother.

In the “high society” of the late 1800s and early 1900s, building a Japanese tea garden “was the social thing to do,” said KT Cannon-Eger, founder of the Friends of Lili‘uokalani Gardens. Kalākaua and his wife Kapi‘olani had one built at their home on Beretania St. in Honolulu by Japanese gardeners.

Robert Irwin, the Kingdom of Hawai‘i’s minister to Japan in the days of Kalākaua, had a Japanese garden at his Waikīkī home designed by the same gardeners. (His summer home in Japan was in Ikaho, where a companion festival to the Merrie Monarch Festival is held every year. The home is maintained today as a museum.)

Skylark Rosetti has been involved in the He Hali‘a Aloha No Lili‘uokalani Festival for nearly two decades. She shares that the land on which Lili‘uokalani Gardens sits had once belonged to Ke‘elikōlani, great-granddaughter of King Kamehameha, royal governor of Hawai‘i Island. Ke‘elikōlani was one of the most powerful, wealthiest people in her time.

The bulk of Ke‘elikōlani’s estate was given to her cousin Bernice Pauahi, which later became the endowment of the Kamehameha Schools. However, the land at Makaokū in Hilo, including the Waihonu fishpond, was given to Lili‘uokalani.

Hawai‘i County Mayor Billy Kenoi, left, and Mayor Michihiro Takeuchi of Sumoto City, Japan, plant a black pine tree in Lili‘uokalani Gardens in 2015 to commemorate the 15th anniversary of the sister city pact between the two municipalities. photo by T. Ilihia Gionson

Vision: A Garden For Hilo

KeOlaMagazine.com | July-August 2017

While traveling in Japan in 1914, Hawai‘i Island resident Laura Kennedy fell in love with the highly stylized Japanese gardens. Captivated by the tranquility and high fashion of the time, Laura came back to her Bide-a-Wee estate in Volcano Village yearning for a Japanese garden of her own. Mr. Yamamoto, a Japanese gardener from Kyoto, was employed to make Laura’s dream come true. By 1916 the Bide-a-Wee garden was completed—and Mr. Yamamoto’s services would soon be called on again.

Mrs. Machida was president of the Hilo Japanese Women’s Friendship Association of Hilo—Fujin Shinkokai—that had formed in 1912 to seek a location for lanterns and a potential tea house. The name of the group is carved on the two oldest stone lanterns in the garden. Fujin Shinkokai acquired the lanterns from Japan, in hopes of installing them in a Japanese

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Jewelry Design and Repair On Site

by Moses Thrasher

808.882.GOLD (4653) Kawaihae Harbor Center www.mtgold.com

In 1914, Hawai‘i Island resident Laura Kennedy was part of a group traveling in Japan.

She brought her newfound love of Japanese gardens home, having one built at her estate in Volcano before joining others to advocate for a Japanese agrden in Hilo. photo courtesy Friends of Lili‘uokalani Gardens

Volunteers at a recent work day organized by the Friends of Lili‘uokalani Gardens prepare to dredge sediment from the Waihonu ponds. photo by T. Ilihia Gionson garden at Mo‘oheau. That park, however, was bounded by the railroad tracks, commercial buildings, and the ballpark. With nowhere to grow, they looked toward Makaokū.

At the time, Lili‘uokalani was a frequent visitor to Hilo. She joined her friends Laura Kennedy and Mrs. Machida, and the three spearheaded the effort to install a Japanese tea garden in Hilo. Friends of Lili‘uokalani Gardens member Bill Eger said that creating the garden was “a favorite goal of Queen Lili‘uokalani.”

It must have been a great pleasure to Lili‘uokalani, then, to learn in April 1917 that the territorial government’s efforts to make her former lands into a tea garden were under way.

With additional lands, the garden was to be 17 acres. As Mr. Yamamoto began his construction on Lili‘uokalani Gardens in November 1917, the beloved ali‘i passed away. She was 79.

year the 20th anniversary of the Shoroan tea house. The new tea house garden was designed and installed by Waimea’s Fred Nonaka, a long-time friend of Mr. Nakamura, the original designer. Many of the rocks, walkways, and tsukubai (water basins) from the old tea house garden were relocated in the present one.

The garden’s footprint grew over the years. In recognition of the 200th anniversary of the United States of America, the three-acre Bicentennial Park was added in 1976. In 2002, thengovernor Ben Cayetano added Rakuen (Happiness Park, behind the Suisan fish market) and Isles, a half-acre shoreline park popular for fishing and picnicking. These additions brought the garden’s size to just shy of 25 acres.

Perhaps the biggest changes to the garden that made it into the accessible, enjoyable park that it is today came in the year 2000 at the hands of then-mayor Stephen Yamashiro. “It was a beautiful job. It was his hana hou as mayor,” Skylark recalled.

Mayor Yamashiro pushed the $2 million project which not only refurbished the entire park, it also improved accessibility and infrastructure.

Because it is a Japanese garden, the park became a natural place to commemorate ties with Hawai‘i County’s sister cities, six of which are in Japan. One stone monument commemorates our longest-standing sister city relationship with Izu Ohshima, Japan—established in 1962. Black pine trees were planted to commemorate other anniversaries with Japanese sister cities, like Hawai‘i County's 15th anniversary with Sumoto in 2015, or our 20th anniversary with Yurihama in 2016.

A plaque reminds visitors that the gardens are dedicated to Lili‘uokalani and her aloha for Hawai‘i's people. In the distance, a Japanese lantern and Waihonu fishpond. photo by T. Ilihia Gionson

A Park For The People KeOlaMagazine.com | July-August 2017

Despite the death of its namesake and a tsunami inundation in September 1918, Lili‘uokalani Garden was completed and opened to the public in 1919. Another tsunami hit Hilo’s shore in February 1923, damaging the park. The larger, deadlier tsunamis in April 1946, and May 1960 wreaked further havoc as the huge waves, as high as 36 feet, crashed into the island and churned across the gardens. Each time, the park was rebuilt.

In 1927, management of Lili‘uokalani Gardens was transferred from the State of Hawai‘i to the County of Hawai‘i.

Mokuola was added to the park in 1933.

Mrs. Machida’s dream of a traditional tea house was realized in 1972. A chashitsu, both the traditional tea house and garden, were installed. They were a gift of Dr. Shōshitsu Sen, the 15th Grand Tea Master of the Urasenke Foundation in Kyoto. Tragically, arsonists destroyed the tea house in 1994.

It was rebuilt in the present location in 1997, making this

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A Little Help From Friends

Lili‘uokalani Gardens is maintained by a collaboration between Hawai‘i County and the nonprofit organization Friends of Lili‘uokalani Gardens. Volunteers from the University of Hawai‘i at Hilo, local high schools, and residents join Friends of Lili‘uokalani Gardens for restoration days throughout the year.

KT Cannon-Eger founded Friends of Lili‘uokalani Gardens in 2012. It was at Bide-a-Wee—Laura Kennedy’s estate—in Volcano Village that she was first introduced to Japanese gardens when hired for landscape work by the estate’s current owner.

KT found herself pruning and taking care of the Bide-aWee estate regularly. Inspired to learn more about Japanese gardening, KT travelled to Japanese gardening conventions several times. Each convention she would speak about Lili‘uokalani Gardens, networking with some of the most renowned Japanese gardeners in the world. She learned of the connection between Laura Kennedy and Lili‘uokalani Gardens through extensive research on the history of Japanese gardens in Hawai‘i. It was clear to her that Lili‘uokalani Gardens needed to be brought back to its former glory.

“Lili‘uokalani Gardens is a living treasure,” KT muses while retelling the series of events. With her husband Bill, KT set out to visit as many Japanese gardens as possible to learn from them and bring that knowledge back to Hilo. During her exploration, she collected information on the organizations that assisted counties in caring for the gardens. KT’s investigation paid off, and the non-profit Friends of Lili‘uokalani Gardens was created.

Hawai‘i County maintains its public parks by mowing, pruning, and removing debris. This maintenance is viewed as

necessary and for public safety, generally not with complicated aesthetics in mind. A complex garden system with such purposeful landscaping like Queen Lili‘uokalani Gardens requires more specialized care and precision.

KT first approached Hawai‘i County in 2009 to teach Japanese gardening techniques to maintenance crews.

The board of Friends of Lili‘uokalani Gardens formulated a handshake agreement with the county to take over certain higher-skilled maintenance tasks. With the county’s support, the organization also held a seminar for all the county grounds crews, teaching the basics of Japanese gardens.

Utilizing a network of volunteer groups like Hilo’s Rotary Club, Lions Club, Waiākea High School clubs, University of Hawai‘i at Hilo students, and countless others, Lili‘uokalani Gardens began to take shape again.

The past few years have been busy with preparation for the centennial, including maintenance efforts such as thinning the bamboo thicket and removing muck from the fishponds, celebrating the US Priority Mail stamp featuring the gardens, and preparing for the upcoming regional conference of the North American Japanese Garden Association.

“We really want this to be the best garden it can be,” KT explains as she surveys the Lili‘uokalani Gardens landscape.

On this particular Saturday, a large eclectic group of volunteers have turned out to assist in pruning, weeding, pond mucking, and edging. Each one signs in and gets to work with almost giddy enthusiasm. “There have been moments of revitalization to honor the ancestors, but let’s make sure this lasts in good quality for future generations,” KT says with a smile.

Standing at the edge of Waihonu, shovel in hand, a college student scoops muck and clods into large buckets. Friends board member Alton Okinaka oversees the task as a group

A past He Hali‘a Aloha No Lili‘uokalani Festival. A highlight of the annual festivities is the mass hula performance, where dancers are between festival-goers all around the gardens.

KeOlaMagazine.com | July-August 2017

photo courtesy Friends of Lili‘uokalani Gardens

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One of Lili‘uokalani Garden's torii gates frames Mauna Kea across Hilo Bay. Torii gates mark the transition into a sacred space. photo by T. Ilihia Gionson

KeOlaMagazine.com | July-August 2017

trims sago palms behind him. “We’ve collected 1,500 gallons of muck out of the pond so far,” he says. Friends of Lili‘uokalani Gardens transports the waste to University of Hawai‘i at Hilo’s agriculture farm where it is composted for one year. “They compost it to get the salt out and then use it as soil, it is really great soil after that,” explains Alton, who is also a professor at UH Hilo.

Lili‘uokalani Gardens hasn’t been without its challenges.

In the 1990s vandals burned down the original tea house.

Japanese lantern statues have been knocked over or destroyed. The original red bridge—financed by Laura Kennedy’s husband and shipped in pieces from Japan—was destroyed in a tsunami. Using donated family photographs, reproduction items were made by local craftsmen to replace the damaged or lost objects. While explaining the significance of the donated photographs, an antique image of the red bridge catches KT’s eye. “Look, I think we need to add an extra piece right in here,” she says holding her hand up pointing to the embellishments missing in the replica.

The sense of community that exudes from Friends of Lili‘uokalani Gardens is palpable. “The hope is that students that come out and volunteer will feel a connection with the community and that will keep them here after graduation,” Professor Okinaka says regarding the strong college and high school presence on volunteer days. Professor Okinaka is faculty advisor to several student organizations on the UH Hilo campus. “We’re making this is a regular thing that students can be a part of,” he explains. Students go off in groups of three to edge the ponds and pull weeds from rock formations.

Every single student has a smile on their face, even during the light drizzle that has blown in from the bay.

As the cleanup is going on, a couple out for a stroll becomes so inspired by the volunteers that they too sign in and get to work. “This park was and is built with aloha,” KT beams with pride.

Many of the residents attending the volunteering event learned of it by following Friends of Lili‘uokalani Gardens on social media. “I saw the event on Facebook and well, I was driving by and had an hour so here we are to help,” says resident Kim Pierce with her young son in tow. They work together pulling weeds, and playing amongst the rocks.

Multiple generations toiling side by side on a typical Hilo

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Saturday morning give hope that KT’s vision of preserving Lili‘uokalani Gardens for future generations will come true.

KeOlaMagazine.com | July-August 2017

Celebration

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194 Hualalai St. • Hilo 808-935-1802 www.kadotas.com

An annual festival celebrating Lili‘uokalani will take on extra special meaning this year, at the centennial of the garden built on the Queen’s land at her behest. On Saturday, September 9, 2017, the normally serene gardens will be filled with music and motion as hundreds of hula dancers express their aloha for Lili‘uokalani, hula, Japanese culture, and the blended community which defines our islands today. He Hali‘a Aloha No Lili‘uokalani Festival, celebrates “Beloved Memories of Lili‘uokalani.” “'Free Family Fun' are the three words that, to me, capture the essence of He Hali‘a Aloha No Lili‘uokalani,” says KT Cannon-Eger. “Celebrating the Queen’s birthday is a daylong affair in the gardens with mass mele and hula (song and dance), a rain of orchids, cultural demonstrations, craft displays, children’s activities and games, food booths, and more.”

Live entertainment in the past has included Darlene Ahuna, Mark Yamanaka, the Christy Lassiter Trio, Kahulanui, Lito Arkangel, Komakakino, and the Waiākea Ukulele Band. The 2017 lineup was not available as of press time, so watch for this year’s lineup as the event gets closer.

The highlight of the event, the mass hula, fills the park with dancers from around the world, each arrayed in the regalia of their hālau and performing the designated hula in the tradition of their own kumu, a living demonstration of the ‘ōlelo no‘eau, “‘A‘ohe pau ka ‘ike i ka hālau ho‘okahi”—Not all knowledge is in one school.

In addition to the scheduled special activities, there is vending of traditional Hawaiian crafts, music throughout the day, and a “park passport” to help attendees find all the different offerings. This year, Hawaiian games, lei making, and hula lessons are expected to add to the festivities.

Skylark began her association with He Hali‘a Aloha No Lili‘uokalani 18 years ago as a member of the organizational committee, and as MC of the first celebration in 1999. She shares that then-mayor Stephen Yamashiro and Paula Helfrich of the Hawai‘i Island Economic Development Board were instrumental in establishing the celebration. Over the years the festival has grown to include the county, Lili‘uokalani Trust, Friends of Lili‘uokalani Gardens, and other local organizations.

“It’s a wonderful family event. We hope that the families will stay for the day. After the hula presentation and rain of orchids, there are all kinds of activities for the children to do,” said Roxcie Waltjen, Administrator of Culture & Education with the county Department of Parks & Recreation.

Roxcie credits Hilo Kumu Hula ‘Iwalani Kalima with developing one of the festival’s highlights, the mass hula. “She coordinated the mass hula for many years and was successful in bringing hālau from as far away as Japan to participate,” Roxcie said. Skylark added that Kumu ‘Iwalani’s efforts to organize the mass hula fulfilled a dream of her Kumu Hula George Naope, “who always wanted to see keiki dance in that park.”

KT adds, “For this year, I’d like to see the entire pond ringed with hula dancers. Everybody who has ever danced before, everybody who has never danced before, everyone come!” ■ Find the Friends of Lili‘uokalani Gardens at facebook.com/ friendsofliliuokalanigardens/

‘Aha Pūhala O Puna Weaving Club celebrates its 25th anniversary

Lauhala Has Strong Roots in Puna

By Karen Valentine

“Nānā i ke kumu” is a Hawaiian proverb—‘ōlelo no‘eau—commonly used throughout the culture to express the correct way of passing down wisdom from one generation to the next, from teacher to student, and even from the wisdom of nature to those who seek answers. It means “look to the source” or “look to the teacher.”

As with many Hawaiian cultural arts, the art of lauhala weaving is best learned directly from kumu (teacher) to student. In the process, very personal relationships are formed between the two and can last for decades.

Aunty Lily Sugahara was one such beloved kumu. A master weaver who desired to pass on the art, she and fellow master Aunty Minnie Ka‘awaloa set out to form a local lauhala weaving club in Puna, a land known for its fragrant hala. They called together other interested weavers and formed ‘Aha Pūhala O Puna in 1992.

The club accomplishes its

KeOlaMagazine.com | July-August 2017

17 The correct term for the lauhala craft is not weaving but plaiting or ulana.

Hala tree, with its distinctive, strong roots, produces the leaves from which the lauhala craft is made.

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mission “to promote the art and culture of Hawaiian lauhala weaving” through teaching workshops, demonstrations, and a conference held every five years.

In honor and recognition of the founders of ‘Aha Pūhala O Puna, the club members have set the theme of their upcoming fall conference, commemorating the club’s 25th year as “Nānā I Ke Kumu.”

“Especially as many of our kūpuna and kumu lauhala have passed away recently, we find this time essential in encouraging new weavers to learn the art of ulana lauhala,” said club member Valdeane Odachi.

The conference is set for October 12–15, 2017, at the Hilo Hawaiian Hotel.

“We were so lucky to have Aunty Lily as our teacher,” says club president Katie Lowrey. The co-founder kupuna stayed with the club as a kumu for some 20 years, sharing her skill and knowledge. “In 2009, when her health was becoming fragile, she named five of us to carry on. In a special ‘ūniki ceremony, she designated us officially as master lauhala weavers.”

The five include Katie and four others: Kathy Walsh, Pam Lipscomb​, Dee Shimabukuro, and Jo Ann Park. They are now teaching the next students, from beginning to advanced, and loving the process. Aunty Lily passed away from cancer in 2010.

“The kūpuna have been so generous, sharing their knowledge with us of all ethnicities,” said Katie. “Our club wants to continue that tradition of sharing with aloha the weaving traditions of Hawai‘i.”

In particular, she says, the members are excited about the upcoming conference.

“Our members love the conference, making lei for the kumu who are coming and early-registration bonus gifts for the first 25 people who sign up.” The gifts are handmade lauhala treasures. “That’s what excites the members. What can we weave?”

The hala tree (Pandanus), which produces the leaves (lauhala) from which the crafts are made, may be seen somewhat comically as a many-legged creature with an unkempt head of hair. It perches upon strong roots that extend upward from ground level. Its long leaves are strong and tough, providing durable material for a plethora of useful items.

This important tree is most famous in Hawaiian legend in

the district of Puna. It is here where it is said Pele burned the sacred hala grove of her sister Hi‘iaka in a fit of jealous rage. Legend also says that the hala tree is so abundant here because upon first landing on the island, Pele's canoe got entangled in the tough roots and leaves. In her anger she ripped the trees into pieces and threw them across the island, where the hala sprouted far and wide. It was a fortunate propagation—from pollen to blossom to flower to fruit, from leaf to bark to wood to root, all parts of the tree have value. In the old days lauhala was used for canoe sails, wall thatch, window-shutters, roof lining, mats, and even for protective male loincloths. The dried, stiff fruit can be used as paintbrushes. Techniques have hardly changed, a testimony to the exquisite artisanship of the early Hawaiians. Today, contemporary weavers have adapted their craft to a changing market (purses, baskets, bottle holders, and placemats).

Especially treasured as examples of master workmanship are pāpale (hats).

At the workshops, Katie says, everyone comes in saying they want to make a hat. However, it takes several years of making more basic items to even begin the intricate process of weaving and shaping a hat.

“We expect 90 to 100 people including 20 kumu. In four days, they make a lot of things: trivets, bracelets, a lauhalacovered brick doorstop, slipper covers, jewelry, purses, tote bags and beginning twill weave (something you have to know

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Founding member, kumu and master weaver Aunty Lily Sugahara.

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Lauhala workshop at annual Pu‘ukoholä Cultural Festival with club member Atsuko Kimoto at left wearing hat and teaching.

KeOlaMagazine.com | July-August 2017

to make a hat),” she says. A few of the well-known kumu lauhala who will be teaching are Pohaku Kaho‘ohanohano from Maui, Margaret Lovett from Kaua‘i, and Lola Spencer from Moloka‘i.

Students in the beginner class are initiated into lauhala weaving through the very first steps of gathering the lau, stripping thorns (ouch!), flattening, rolling, cutting into strips, and plaiting or ulana (the correct term, instead of weaving).

That’s the time when they learn and appreciate the art of patience. They also learn various designs and methods of plaiting.

Lauhala connoisseurs know the difference between Hawai‘imade lauhala and cheaper imports available in retail outlets.

The hats and bags that local artisans once made for practical reasons are now recognized as art, and modern practitioners weave out of passion, not for money. Some weave, too,

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Graduating master weavers in ulana lauhala with their kumu are from left Kathy Walsh, Pam Lipscomb​, Kumu Lily Sugahara, Dee Shimabukuro, and Katie Lowrey. Missing is Jo Ann Park.

because the slow pace and patience the craft demands recall a simpler, less frenetic past.

A nice hat can cost $1,000, for example, which probably doesn’t even begin to pay a decent hourly rate for the time that went into it. The fine lauhala strips are plaited in intricate patterns. Beautiful lauhala hats are treasured and coveted by connoisseurs, all of whom appreciate and admire a fine hat being worn proudly by someone.

“I like to make hats the most. They’re fun,” says Katie, who has been weaving since 1980. “You can get addicted to it. It’s a tactile thing. I’ve planted maybe 20 trees in my yard.”

There is a banquet on the last night of the fall conference where everyone has a show-and-tell with their kumu, displaying what they made. There is also a silent auction, where everyone has been invited to bring an item to donate.

Katie says they will be teaching some new projects this year, including a four-corner hat. Other items attendees will make and take home are big-weave baskets, water bottle covers, place mats, purses and different styles of hats.

Members of ‘Aha Pūhala O Puna, who come mostly from the Hilo and Puna districts, regularly meet on the second Saturday of the month at Kea‘au Community Center, where they share weaving projects, discuss club activities and enjoy lunch and fellowship. Members can also volunteer with outreach efforts in their mission to teach lauhala.

“The club has taken upon itself a strong mission of outreach,” according to Katie, especially in the summer with the island’s three National Parks’ annual cultural festivals. They conduct free lauhala lessons for the visitors, beginning in June at Pu‘uhonua O Hōnaunau, in July at Volcanoes National Park and in August at Pu‘ukoholā Heiau in Kawaihae.

“We’re really busy doing outreach. We make up 500 kits for people to make lauhala bracelets that they get to take home

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KeOlaMagazine.com | July-August 2017

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with them. These are our three main volunteer efforts, and throughout the year we do others. When the National Parks pay us for the kits, it becomes a fundraiser for our conference."

Katie sells hats and other lauhala items each year at the Merrie Monarch Invitational Hawaiian Arts Show, where she formerly shared a table with master Kona weaver Aunty Elizabeth Malu‘ihi Lee until she passed away last year. Now she and fellow club member Pam Lipscomb are carrying on that tradition, as well.

“I guess one of the most important aspects of lauhala for me has been the friendships that we all have with each other. I am so close with these other weavers, people I wouldn’t know without lauhala in our lives,” she says. ■

‘Aha Pūhala O Puna 25th Anniversary Conference “Nānā I Ke Kumu” (Look to the Source) October 12–15, 2017 • Hilo Hawaiian Hotel, Hilo, Hawai‘i Fee: $200 • Deadline to register: August 30 Email: ahapuhala@gmail.com / Phone: 808.756.0093

Current members of ‘Aha Pühala O Puna gather at Lili‘uokalani Gardens in Hilo.

Left: Auntie Minnie Ka‘awaloa, master weaver and co-founder of ‘Aha Pühala O Puna.

Right: Club president Katie Lowrey, left, and Pam Lipscomb, right, sell their craft each year at Merrie Monarch Invitational Hawaiian Arts Fair. Between them is the late kumu and master weaver from Kona, Aunty Elizabeth Malu‘ihi Lee. All photos courtesy of ‘Aha Pūhala O Puna

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A recipe for floral ice cubes

Edible Flower Power

Local Foods

By Brittany P. Anderson

blossoms as tea, however local herbal teas will sometimes include coffee flowers. A favorite use for coffee blossoms is infusing simple syrup.

What hostess doesn’t love decorating with a bouquet of flowers? With edible flowers, you can decorate the plate with something you can eat. Viola tricolor, also known as heartsease and love-in-idleness have the appearance of a miniature pansy. They were originally a wildflower in Europe, and went on to become cultivated into the popular garden pansy. Their ease of cultivation and mild flavor of soft spearmint and sweet pea make it a versatile joyous addition to the plate. Colors range from dark velvety purple to sunny yellow—all with the happy little pansy face.

You don’t need to be a seasoned botanist to add flowers to your next dish. Try adding freshly picked edible blossoms to your next salad. These easy floral ice cubes are another way to bring a little excitement to the table.

Flower Power Ice Cubes Materials: Edible Flowers, Water, Ice Cube Tray To suspend flowers in the ice cubes, work in layers. First, fill the ice tray half way with water. Then, add flowers and freeze. Once the ice is set, fill with water the rest of the way and freeze again. When cubes are completely frozen remove from freezer and enjoy!

KeOlaMagazine.com | July-August 2017

My puppy, Ku‘u Lei, bounds around the backyard plucking flowers from their branches, then playfully running about with flowers in his mouth like a little prince. He only drops the flowers to chew on their petals. Like Ku‘u Lei, we can enjoy a variety of edible flowers and have a little fun with our food in the process.

There is not much nutritional value to flowers, though some have medicinal use when brewed in teas and tinctures. They can impart bitter, sweet, spicy and aromatic notes to dishes while adding visual excitement as a garnish or ingredient.

On Hawai‘i Island, we are fortunate to have a wide selection of edible flowers that can be foraged or easily cultivated. Stumbling upon a flowering red ‘awapuhi while on a hike is a satisfying moment for the flower forager. If you are going to forage for edible flowers, please make sure that it is at a trusted location.

Orchids have long been used in traditional medicine, specifically the Dendrobium genus. While most research shows that these orchids are usually benign, please use caution when consuming—it is important to avoid ingesting pesticides or herbicides.

If you are not certain of a plant’s identity, do not eat it! It’s always best to get information from more than one source on a plant’s edibility. Some plants contain both edible and poisonous parts, so safe handling and knowledge is key.

Lavender, oregano, chive, and basil are all fragrant herbs that produce flowers which can impart their herbal flavor while looking pretty on the plate. The purple puff flowers of the chive plant can be pulled apart and tossed about the plate indiscriminately as a young flower girl would. They convey a light onion flavor which makes them great for adding to salads, deviled eggs, or to enhance a hot dish. The plight of the gardener is making sure plants don’t go to seed, known as “bolting.” It is one of my biggest obstacles with basil plants. Turn that predicament into a bonus! Snipped basil flowers impart a mild basil taste which works well in cold pasta salads or fruit salad.

The aroma of the gardenia-related coffee flower is intoxicatingly fragrant, similar to the jasmine flower. Once flowers have opened, germination occurs, giving coffee growers at most three days to harvest these sweet-scented white blossoms.

Harvesting blooms is careful work so as not to disturb the growing coffee cherries. Because of their delicate nature, coffee blossoms are a rare specialty item most commonly dried for tea.

Coffee blossom tea has a mellow floral flavor with hints of vanilla.

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By Alan McNarie Fifteen years ago, Suzi Bond had a career crisis.

She’d been directing summer musicals for Volcano Art Center for years when that organization decided to end its theater program.

“My first impulse was to crawl under my blankies and hide, just kind of shutting down,” she admits.

Soon after, cast members of the Art Center’s last show, Man of La Mancha, told Suzi they’d like to take it on the road to other locales on Hawai‘i Island. So she decided to start her own organization to produce it.

“I ran into Peter Charlotte, Bill Chikasuye, Tom McAlexander and Karen Blue,” she recalls. “I said, ‘I’m gonna need a board,’ and they said, ‘Okay, we’ll be on that board….’ About a month later, we were opening Man of La Mancha in Kona and then we played the Palace Theater in Hilo.”

And so was born the Kīlauea Drama and Entertainment Network, or KDEN, pronounced like the pidgin version of “Okay, then.” (It was originally going to be the Kīlauea Drama and Education Network, says Suzi, but the bureaucratic hoops they’d have needed to jump through to create a declared “educational” nonprofit were not worth it.)

In the decade and a half since then, KDEN has produced a musical every summer, with casts and crews of about a hundred and attendances that average about 1,500.

Those trademark musicals are only the beginning of the group’s achievements. It’s also produced non-musical dramas, especially mysteries—Suzi is fond of Agatha Christie adaptations.

In Hawai‘i Volcanoes National Park every Tuesday, KDEN actor Dick Hershberger dons the clothes and identity of pioneering volcanologist Thomas Jaggar and descends into Jaggar’s historic Whitney Vault seismic laboratory at 10am, noon, and 2pm to entertain visitors with stories of Jaggar’s life and the founding of the Hawaiian Volcano Observatory.

When the park and Kīlauea Military Camp celebrated their bicentennials last year, they called on KDEN to produce a pageant celebrating those events. Dick dug into the park’s and camp’s history to write a script, and KDEN players enacted a surprisingly powerful drama that left many members of the audience in tears.

A KDEN-sponsored amateur choral group, the Volcano Festival Chorus, puts on annual Christmas concerts. Over at

The step mother and sisters with Cinderella (Erin Smith, Stephanie Becher, Rachel Edwards, Cristina Hussey) Cinderella (2012). photo by Janet Coney, courtesy KDEN

the Volcano School of Arts and Sciences, Volcano Village’s charter school, Suzi has created a drama program that she jokingly calls KDEN’s “farm team.”

Not a bad record for a drama company based in the tiny village of Volcano. But then, Volcano isn’t your typical village.

It’s chock full of resident artists and scientists, a surprising number of whom have turned out to have backgrounds as amateur thespians and musicians. The group’s reputation for quality productions attracts talent from all over East Hawai‘i.

“I would say maybe a quarter to a third of the folks participating come from the Volcano area, but we draw on a talent pool probably from the entire Puna-Hilo area,” said Bill Chikasuye, a Mountain View-based attorney who has been involved with KDEN from the start.

Suzi Bond tests a flying rig for Peter Pan (2010). photo courtesy KDEN

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Amahl and the Night Visitors (2014). photo by Janet Coney, courtesy KDEN

Volcano offers the company another asset: at the back of Kīlauea Military Camp is the Kīlauea Theater, a little 1927 building with a reputation for some of the best acoustics in the US. It’s been the home of most of the company’s productions.

Those wonderful acoustics make it the perfect place for young actors to gain confidence that their voices will be heard, though it does create other challenges. Frequent KDEN musical director Walter Greenwood remembers one show when, to accommodate the action, the theater’s little stage had to be

Cinderella’s Carriage – Cinderella (2012). photo by Suzi Bond, courtesy KDEN

Brian Fuhrer gives Pedro Ka‘awaloa horns for Beauty and the Beast (2013). photo by Suzi Bond, courtesy KDEN

Indians and lost Boys, Peter Pan (2010). photo by Janet Coney, courtesy KDEN

extended out over the orchestra pit, and the orchestra ended up sitting on the stage behind the actors. Still, he says, “The theater’s a very nice place to put on a show. It’s not new and shiny, but it holds a good crowd, and it’s easy to see and hear in every seat in the house. I love working there.”

As with many community theater companies, KDEN faces another challenge: a tight budget. Chikasuye and the other board members scramble annually to get grants that keep ticket prices affordable and offer at least some small stipends to the director, the music director and the set designer.

The group is “infamous” for recycling sets and props, says Suzi, and for innovating with what they have. A recent production of Beauty and the Beast, for instance, featured oversized teacups made from “cone of shame” dog collars.

Local businesses also donate materials and services. “People like Discount Fabric Warehouse and Argus Building Supply and Petroglyph Press have always, always had our backs,” notes Suzi.

“Our goal is to do quality community theater. Just because you don’t have a big budget doesn’t mean that you can’t do a great show,” she says. “You just have to be more imaginative about how you make the show.”

Then there’s the challenge of putting together a rehearsal schedule that includes scores of amateurs with different jobs and/or school schedules. That’s one reason, perhaps, why the big musicals always take place in the summer, when it’s easier to get actors of all ages to participate.

“The whole point around the summer musical is to involve kids, and especially families,” notes Suzi, who revels in the transformation that occurs in some young actors, who often start out so shy that they deliver their lines to the floor, but bloom as they gain confidence: “By opening night they’ve Pedro Ka’awaloa as the Prince and Dick Hershberger as the King in Cinderella (2012).

KeOlaMagazine.com | July-August 2017

photo courtesy KDEN

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Pedro Ka’awaloa in Joseph & The Amazine Technicolor Dreamcoat. photo by Janet Coney, courtesy KDEN

Dancers perform “Small House of Uncle Thomas” in The King and I (2015). photo by Stacy Halemano, courtesy KDEN

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329-5251 got their faces up and their hands out. They may not be the loudest actors on the stage, but their confidence and self esteem has improved greatly. Those are what I call my wins.”

In addition to the Volcano School of Arts and Sciences students, students from other public schools around the island and college students from UH Hilo also come to practice their acting chops in the shows.

For some, it’s the start of something bigger. Suzi recalls Pedro Ka‘awaloa, for instance: one of those “shy kids” who taught himself how to play piano and earned his musical and acting chops within local productions. He served as musical director and orchestra conductor for KDEN productions before Bianca (Dailee Marrone) teases the suitors (Josh Adams, Stephen Bond and Steven Coney) in Kiss Me Kate (2009). photo by Janet Coney, courtesy KDEN

Learn more about the Kīlauea Drama & Entertainment Network at KDEN.org.

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KeOlaMagazine.com | July-August 2017

going to study at Harvard, coming back to do KDEN musicals in the summer. Suzi says KDEN’s tradition of doing Gilbert and Sullivan came after Pedro “did Gilbert and Sullivan at Harvard and enjoyed it so much that he came back and said, ‘Hey, let’s do it here.’”

Pedro has gone on to a professional career, but still keeps in touch. Suzi says he spent last summer as a musical director at a theater company in Colorado, and toured in a production of Jesus Christ Superstar.

Dick Hershberger also has fond memories of Pedro: “He’s been my son in a number of different shows. So our relationship is, he calls me ‘dad’ and I call him ‘son.’”

“The young people who are involved have gone on to academic institutions on the mainland where they can advance their acting or vocal careers,” Dick notes. “My hope is that at some point I can fly to New York and see some of the young people here on stage at a Broadway show. I can say, ‘Hey! I worked with them when they were kids.’” ■

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Abled Hawai‘i Ar tists Promoting a ‘renaissance of inclusion’ in our Hawai‘i Island community

By Paula Thomas

Mar Ortaleza’s work centers around helping adults with disabilities live a fuller life. An employment specialist at the Hawai‘i Island nonprofit Full Life, Mar’s job is to help his clients develop skillsets and find gainful employment. He calls it matchmaking—linking the uniquely-abled with a long-term employment opportunity that will provide his clients with economic stability and financial independence.

Mar has been in this field for more than 10 years, and in many ways, it’s a variation on the matchmaking theme which characterized the essential nature of his previous jobs on the mainland.

Mar moved to Hawai‘i Island from Seattle where he worked for large corporations. “I worked in health insurance, hospitality management, and homeowners association management. I had reached a point in my life where I wanted to have more meaningful work. I wanted to make a difference and relocate to Hawai‘i,” he says.

Mar Ortaleza at the first “Got Art” Abled Hawai‘i Artists annual Art Festival back in 2008.

It's still going strong 10 years later. photo courtesy Mar Ortaleza.

KeOlaMagazine.com | July-August 2017

Makani Wind by Rose Adare. photo courtesy Rose Adare

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Rose Adare at work at The Muse Studio. photo courtesy Rose Adare

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He relocated but wasn’t yet settled when he was asked to assist nature photographer Louie Perry III to build a photography business that Louie could manage. Louie, an avid runner who represented the United States in the Special Olympics World Games in Athens, Greece, flourished in photography with Mar’s help.

It was this successful venture with Louie that inspired and enabled Mar to connect with Full Life, a service provider that empowers people with developmental disabilities to live selfdetermined, full lives. Once Mar and Louie started with Full Life, he could leverage his time and a few resources to expand Abled Hawai‘i Artists, or AHA, to support more people like Louie.

AHA started in 2008 and is a strictly volunteer organization founded to support artists who are uniquely-abled. Its mission is to raise awareness about the local community of people with disabilities, which he sees as an integral part of our vibrant culture in Hawai‘i.

AHA’s signature event is a summer arts festival to be held this year on July 22 at the Prince Kūhiō Plaza in Hilo 10am– 3pm. This year marks the 10th anniversary of the festival that showcases the creations of over 30 AHA artists and includes demonstrations on music therapy, healing arts, tai chi, a silent auction, music, and free activities for the keiki (children). The festival is the key way AHA provides support (monetary and otherwise) for practicing artists.

Beyond the summer festival, AHA organizes collaborative events to promote individual abilities and employment exploration in the arts. Mar leverages the resources of nearby The Makery and the Hawai‘i Museum of Contemporary Art/East

KeOlaMagazine.com | July-August 2017

Hawai‘i Cultural Center for exhibits, studio space, jobs, skill development, equipment, supplies, and mentoring.

“I like to call people with disabilities uniquely-abled,” he says. “I want to see a renaissance where they are recognized, appreciated, acknowledged, and hired for their skills and talents, just like the rest of us.” Mar is all about heart, and it’s clear that AHA is all about harnessing heartfelt effort to make life work.

As an example, take Rose Adare, a fiercely talented and nationally recognized portrait painter. To look at her paintings, you would never suspect that she has difficulty moving her fingers and cannot stand for long periods of time. Afflicted with Ehlers Danlos Syndrome (EDS) and other conditions—including fibromyalgia, scoliosis, vocal cord dysfunction, and chronic pain, to name a few—Rose adapted her painting style to adjust to her changing medical conditions.

When unable to work with fine brushes owing to pain, she turned to experimentation with larger shapes and texture using gesso (a paintable material that is like a blend of white glue and spackle). A whole new style emerged, born of necessity, and it has amazed even Rose.

She takes on students, only a handful at a time, as a way to supplement her income and is planning to open a new studio in the not-too-distant future. Most of what she does is supported by AHA in some way, and the reciprocity that exists between her and Mar has spawned a deep friendship. “Mar wears about 20 hats, and is just the most amazing person,” Rose says.

Rose was seven when she declared that she wanted to paint.

To this day, she’s not sure what it is that made her say it. At the time, school was problematic, plus she had eye trouble.

Her parents were frustrated.

But when they gave her the tools to paint, she took off. In high school, she completed a large canvas at home.

When she brought it into school, her instructor assumed that Rose purchased the work, put her name to it, and submitted it. After parental intervention and much protest, Rose’s failing grade was raised to a D-.

Even with that negative academic experience, she graduated with a bachelor’s degree in fine art from the San Piko by Rose Adare. photo courtesy Rose Adare

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A modern painting by Rose Adare using gesso. photo courtesy Rose Adare

KeOlaMagazine.com | July-August 2017

Francisco Academy of Art. Instead of enrolling in a master’s program, Rose, at 28, was accepted to The Atelier for Classical Realism run by the living master David Hardy. This immersive experience shaped her as a fine artist.

Because she was mentored, coached, and nurtured as a painter, Rose is paying it forward in her own space, The Muse Studio.

Since she can currently only take six students at a time, she is ready to expand. A two-car garage-size studio in HPP will be the new home to Muse in the summer of 2017, and Abled Hawai‘i Artists will provide any support it can.

Rose’s extraordinarily detailed portraits lovingly contextualize subjects in every way a full-body portrait can, through choice of scene, background mood colors, surrounding objects, clothing, accessories, facial expression. Treatment of light, shadow, brushstroke, how paint is laid on—these factors all contribute to the emotive quality of her work.

It’s as though you can hear and feel the essence of her subjects on the canvas. That’s because Rose is able to “see” right into people she paints. She connects to the spirit of her subjects, and from there works intuitively, instinctively, always listening to what the brushes, the canvas, the colors want to say.

“If I feel some resistance, I’ll take a break,” she notes. “I don’t want to fight with my brushes or the colors. If I do, it will show up on the canvas.”

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Michael and friend Zach sell at a Merrie Monarch craft fair. photo by Paula Thomas

In May 2017, her latest book was published: The Comprehensive Pocket Guide for the Badass Artist, full of great tips and techniques for artists at any skill level as well as tips on how to develop one’s professional career. As Rose raises funds through Indiegogo for the new studio, anyone who donates is entitled to a free copy. Rose is nothing if not extraordinarily talented, determined and prolific.

So too is Michael Nizo, an artist in Hilo who works with woods like birch, poplar, mahogany, and koa. Michael’s business, Nizo Natural Precision, stems from his surname, Nizo, the fact that he works with "natural" materials, and uses a laser so that each piece is cut with absolute "precision."

As Michael reveals, Mar is one of his greatest promoters.

Michael sells finely designed Hawaiian-themed laser-cut wood jewelry, fun educational puzzles, key chains, lamps, coasters, and ornaments, mostly at craft fairs. He graduated in 2013 from Technology for Untapped Talent where he learned computer-aided design and laser-cutting and he honed his skills at The Makery. Michael goes into his studio in Pana‘ewa about three days a week to create and produce.

An only child with a large extended family, he is a quadriplegic with limited use of his arms and legs. As a kid he was an all-star baseball player, always outdoors, in love with the game of baseball. Today he doesn’t spend much time outdoors at all and realizes that compared to who he was, his old friends wouldn’t find him all that much fun.

While he can drive and get himself to work, his left side is weaker than his right and small work with fingers is very difficult. Despite this, Michael says “the hardest part is the designs,” which he does on a computer. “But once you have that, the laser does the rest.” Michael’s work includes inlays in the earrings and etching that add depth and dimension to the coasters, key chains, and lamps.

He became disabled at the age of 14 as a result of a jump off Hanalei Pier on Kaua‘i. To this day, the doctors don’t know why or how he sustained such a catastrophic injury, since he wasn’t the only kid who was enjoying plunging into the water from the pier on that fateful day. All he remembers is attempting a dive and waking up in a hospital with people around him crying.

His injuries led to nine months of critical care and rehabilitation in a Sacramento pediatric orthopedic hospital for a bruised spinal cord that required fusion of several vertebrae in his neck.

KeOlaMagazine.com | July-August 2017

Images by Louie Perry III. photo by Paula Thomas

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Michael remembers the hospital because he saw many traumas there—young kids with severe burns, and amputees. “I grew up fast,” he remembers. “No patient there was over 21. I saw some horrible things and realized that I was lucky.”

His father stayed with him although he told him he needed to put in 110%. “We can do this together,” he said, but Michael had to be all in.

He was, and after nine months Michael was able to return home.

Years later, since working with Mar and developing NN Precision, Michael sells at craft Nënë Puzzle by Michael Nizo. photo courtesy Michael Nizo fairs and at AHA’s summer festival (as long as he has assistance for set-up and transport), and he receives large orders—a recent one came in from Kamehameha Schools for his Hawaiian themed puzzles. Under each piece is a drawing or a Hawaiian word, so they serve an educational purpose. What he doesn’t sell he may send to his mother, who has a stand at a local market on Kaua‘i.

As Mar noted, it’s time for a renaissance, for the community to awaken to the abilities of people who are uniquely-abled. They have lots of talent and drive, and need support and assistance. His mission is to make sure they get a lot of both. ■ To get involved with AHA and help our local artists, call Mar Ortaleza at 808.895.5353 or aharts808@gmail.com.

Mar Ortaleza in his office at Full Life. photo by Paula Thomas

KeOlaMagazine.com | July-August 2017

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KeOlaMagazine.com | July-August 2017

A Depository of Stories Hawai‘i Plantation Museum in Pāpa‘ikou

By Catherine Tarleton

Glenn Carvalho, a volunteer at the Hawai‘i Plantation Museum, points out signs of interest in their collection. photo by Catherine Tarleton

KeOlaMagazine.com | July-August 2017

“I never thought I would be in the museum business,” says Wayne Subica, director of the Hawai‘i Plantation Museum in Pāpa‘ikou. Floor to ceiling, wall to wall, the old Onomea Plantation Store is filled with an ever-expanding collection of tin signs, factory parts, photos, models, bottles, baseball uniforms, bango tags (numbered tags issued to plantation laborers so they could be identified for payroll without the management needing to learn their employees' foreign names), a restaurant booth, a phone booth, Pete Beamer’s buggy, and countless more items.

Wayne has been gathering plantation-era antiques since high school. He knows the story of every item, from “Mrs. Hanabata,” the museum’s mascot in cane field work clothes, to the koa wood scale model of a cane truck, complete with chains, that he built to show his grandchildren.

“No one was happier than Wayne’s wife when he opened the museum,” says Donna Johnson, Wayne’s associate and museum volunteer. Donna’s father was a crane operator at Hilo Coast Processing, and her grandfather was editor of the plantation newsletter, the “Onomea Echo.” The Frank M. Santos Park in Pāpa‘ikou is named after him.

Donna grew up in Pāpa‘ikou and remembers the store had the best burgers in town. She explains that much of the museum’s collection was donated by people with connections to plantation life, people who happened to come in with their memories and come back with treasures to share.

“That’s what happens every day,” Donna says. “People come here and start talking, and the next thing you know, everyone is family. We are a depository of stories.”

Wayne’s story begins in 1958, at age 14.

“My dad bought a Model A Ford,” says Wayne. “I would drive the Model A when I was about 14, before I even had a license.

Dad sold the Model A and I was mad. So I bought one in Mountain View for $15. I didn’t take it home, I took it to a friend’s house. That ‘31 Model A was my first antique.”

After graduation, Wayne took a job with the US Department of Agriculture Soil Conservation Service.

When he traveled to Ka‘ū for work, he would spend the night at Wai‘ōhinu’s Shirakawa Motel, affectionately called the “Shirakawa Hilton,” an old hostel complete

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with a community bath.

“In the old days people would throw their rubbish in the yard,” says Wayne. “Behind the hotel I found a Primo bottle, lots of bottles. We would come back from Ka‘ū with a Jeep full of stuff.”

“When we bought the house we’re in now, I set up a 50’s soda fountain inside,” Wayne says. “I had a 7-Up machine set up for beer. We had all kinds—Bud, Coors, and soda for the kids. I had all this stuff in my house. A friend came from Honolulu and said ‘Wayne, you should open a museum.’”

He retired in 1999, and in 2004 opened a 1,500 square foot museum on Keawe Street in Hilo, where Ebesu’s Flowers used to be. “The first was mostly sports,” says Wayne. “I was there four years. The first year I ran out of room. People kept bringing me stuff.”

He looked at several locations in Hilo (too close to the tsunami evacuation zone) and Honomū (leaky roof) before the museum partnered with the Edmund C. Olson Trust in Pāpa‘ikou. The Trust also owns the Onomea Plantation building, next door to the museum, which houses a large, private collection of plantation documents, including maps, employee records and photographs. A museum volunteer is helping the Olson Trust preserve the documents.

Originally opened in 1900, the plantation store was a central part of sugarcane culture across the islands, selling goods to workers on credit. On payday, according to Wayne, the paymaster would sit next to the store manager, who took her cut from paychecks first, giving the employees whatever was

KeOlaMagazine.com | July-August 2017

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left. The Yoshiyama family eventually took over the store, and operated it until its closure in 1997. After 14 years of standing empty, the store was completely renovated by Wayne and a cadre of dedicated volunteers, and opened as a museum in February 2013.

The museum’s front room is a greeting area, piled with miscellany begging to be explored. Prominently posted is a list of 85 sugar plantations on Hawai‘i Island, from Goodrich (1829–36) to Ka‘ū Agribusiness Co. (1986–1996). Many plantations became part of larger companies controlled by the “Big 5” as the industry evolved. For example, Onomea Sugar Co. and Hilo Sugar Co. (who had already absorbed two other companies), merged to become Mauna Kea Sugar Co. in the 1960s. In the 1970s, the five companies making up Hilo Coast Processing were also part of Mauna Kea Sugar until its closure in 1994.

Above the list, a wood and tin foil display built by volunteer Leo Crivello, shows how the sugarcane flume system worked.

Another volunteer with history, Glenn Carvalho, explains.

“They hand cut the cane in the field in 40-pound bundles,” says Glenn. “Then they put it on a portable flume drawn by horse. Then it went into the permanent flume and into the factory flume.” He points to a fading, sepia-tone photo: workers on a tall causeway across one of the Hāmākua gulches. “See that? No safety harness,” says Glenn. “If they fell their wife had to replace them or they were fired.”

Glenn has firsthand experience over many years of plantation work.

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Over 100 years of plantation history and culture is exhibited in the museum’s extensive collection of photos, tools, records and everyday items. photo by Catherine Tarleton

KeOlaMagazine.com | July-August 2017

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L-R: Wayne Subica, Donna Johnson, and Glenn Carvalho, the volunteers that share Hawai‘i Island's plantation history at the museum. photo by

KeOlaMagazine.com | July-August 2017

Catherine Tarleton

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“I started in 1971 at Hakalau. I was on the crushing crew and I got crushed,” he says. “It was Labor Day 1971.

They were ‘boiling off’ for the holiday. We were feeding the bagasse onto the conveyor belt with a 2x4 bolted to a chain.

A pitchfork fell in and I yelled to stop the belt, and climbed in. Somebody heard somebody say to start up. It broke both my legs.”

“One of the doctors was on the way to the factory in case he had to amputate. They were using torches to cut me free—because what if the bagasse had caught fire?

It made the front page of the paper—me on the stretcher, giving the peace sign. I was out of work for a year. After that, I went to work at Hilo Coast Processing as a diesel

mechanic.” He fondly remembers being visited by his boss “Belly” Ugawa, and his family.

Glenn talks about the various tools and equipment, the red door of a sugarcane truck, the factory diagram—explaining that it’s not a “mill,” because only the rollers are mills. Using a piece of cane as a pointer, he taps the lids of labeled jars to tell about the process of refining sugar.

Then, he points up to a banner for the Hawai‘i County Band. “My dad was the high school band teacher in World War II,” Glenn says. “When the men were being drafted, my grandfather (Jules Carvalho) and great uncle (Joe King) founded the county band.

“You are the history of this place,” says Donna. “You think history is dead, stagnant. Not here. It’s always evolving.”

The Hawai‘i County Band banner flies overhead, among flags of Hawai‘i's ethnic populations. photo by Catherine Tarleton

“I think the most iconic symbol of the era was the kaukau tin,” says museum volunteer Donna Johnson. photo by Catherine Tarleton Donna stands by a display of everyday items that a sugarcane worker would use. There are handmade leggings to fend off centipedes, a wire “catcher’s mask” to protect face and eyes from the sharp grass, a canvas raincoat made waterproof with sap from the banana stump.

“I think the most iconic symbol of the era was the kaukau tin,” says Donna, pointing out a blue, stacked food carrier that would hold rice on the bottom and different dishes above. At the time, immigrant field workers from various ethnic groups lived in separate camps without much interaction. However, at lunch time, over familiar cuisine with tastes from home, they could

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An antique wall-crank ringer phone from the Kohala Ditch, donated by Clarence and Edith Keawe. photo by Catherine Tarleton share and compare, “borrow” words from various languages to describe the food and communicate with each other. “Kaukau” could have come from the Chinese word “chow” (food) or “kow” (test) and/or the Hawaiian word “pākaukau” (table).

“Pidgin was born over food,” says Donna.

The back wall is lined with food things: bottles from Hilo Soda works, painted signs from mom & pop shops and eateries, a milkshake machine. On top of a glass case, the two-basket “yoke” of a manapua man. In the corner, the first thing Wayne installed in the museum: an entire booth from legendary ‘Ōla‘a Steakhouse in Hilo, complete with tabletop jukebox and a menu. The restaurant was opened by Yasuo and Aiko Ogata on Dec. 4, 1941, three days before the Japanese attack on Pearl Harbor. “‘Ōla‘a Steak House had the best beef you could buy in the Territory of Hawai‘i,” says Glenn. “All local beef. Some said they fed the cows papaya or massaged them with papaya.”

Donna points out a large sign with faded stars and bars. She explains that during World War II, Japanese immigrants had a very tough time. If their store had a Japanese name, and kanji, many shopkeepers would paint over it to show their patriotism.

Nearby, a cabinet holds gas masks, military memorabilia, and weapons. After the attack on Pearl Harbor, each plantation formed defensive units called the Hawai‘i Rifles, intended to protect their community in case the Territorial Guard (later National Guard) was called up. Wayne says that the Guard loaned some equipment, but the men trained with brooms before they got rifles, and were called the ‘Broom Brigade.'

“The day the war ended, they stopped,” he says.

After decades of collecting, research and talking story with the community, Wayne’s hobby has grown into an interactive history lesson that expands beyond four walls. Somehow, in his spare time, Wayne shares even more knowledge and experience in ten books (for sale in the museum), just as packed with photos, stories and slices of life as the museum itself.

“It’s funny,” Wayne says with a laugh. “My two worst subjects in school were English and History.” ■ The Hawai‘i Plantation Museum is located in the old Onomea Sugar Plantation Store at 27-246 Old Māmalahoa Highway in Pāpa‘ikou. It is open Tuesday–Saturday 10am to 3pm, closed Sunday, Monday, and holidays. Admission is $6 for Kama‘āina and Seniors, $8 Adults, $5 Military, $3 Children 6–17 and Free for Children under 5. Private and group tours can be arranged.

For more information, please call 808.964.5151 or visit plantationmuseum.org.

Support the 19 Values of Aloha with a comprehensive business model.

Eighth in Series Two on Managing with Aloha

The 'Ohana in Business

Managing with aloha

By Rosa Say

BUSINESS

Nine key concepts shape Managing with Aloha as a culture-building workplace philosophy. Key Concept 6 is the ‘Ohana in Business.

As written in Managing with Aloha, the value of ‘Ohana “becomes a sacred ‘Imi ola form for sharing our lives with Aloha, for it gives us the unconditional gifts of love, understanding, forgiving, and acceptance.” In this way, ‘Ohana can also inform business well-being with ‘Imi ola’s highest form and best function.

‘Ohana then becomes a modeling aspiration business owners and managers can apply their visionary thinking to.

What can their company be as a result of intentionally shaping its organizational structure in a values-driven way? How can the characteristic spirit of family shape behavioral culture building operationally?

Family is well-known as the meaning of ‘Ohana, however this is not to suggest that every business should be family-owned or family-run. The ‘Ohana in Business names a comprehensive business model which aspires to be a more inclusive and harmonious “human circle of Aloha” as the entrepreneurial pursuit and vision-aspiring enterprise it seeks to be.

10 tenets are suggested for an ‘Ohana in Business: It’s a business model wherein cash flow must be kept constant, as is the challenge of all businesses. Revenue streams are actively and intelligently pursued to firmly support these minimum requirements as the ‘Ohana of its structure;

business upholds as its Ethos.

2 - Everyone employed, works ON the business as well as IN it, recognizing that both of those engagement attentions are necessary. All financial information is shared and discussed, with financial literacy pursued as learning crucial to effectiveness in these engagements.

10 - A paying-it-forward element gives back to the community the company operates in. In a for-profit model, there will be profit-sharing offered to employees as well as shareholders.

3 - The work culture’s trifecta is that it is values-centered, customer-focused, and mission-driven, with Ho‘ohana as a unifying value-driver. Therefore, the worthwhile work considered crucial to company Vision is the bar raised in all professional mission statements—it’s the Ho‘ohana sensibility of the trifecta.

Happily, there are business models which are pushing further even than this, such as the PBC model Kickstarter and others have adopted as Public Benefit Corporations.

4 - There are baseline value-alignment requirements for each and every value articulated within the Value Statement the

Next issue: We revisit Lōkahi, the value of harmony and unity.

For more information, visit managingwithaloha.com

5 - The worth of Alaka‘i management and leadership is understood and valued, yet organizational hierarchy is kept as flat as feasible. Employees’ interests are valued as highly as those of shareholders, and this fiduciary accountability extends to its board of directors.

6 - The dignity and Aloha Spirit of each person is highly respected, and their talents and strengths are fostered, however the key sustainability target of the company pursues a thriving, healthy culture, regardless of the individuals working within that culture.

7 - The ‘acid test’ of the workplace culture is Kākou communication: Everyone involved speaks up, and speaks freely regardless of their title or position. Problem-solving and cross-functionality are programmatically designed into this model for continuous improvement, fresh ideas, and dynamic energy generation.

8 - Equitable compensation is defined similar to a ‘living wage’ i.e. high enough to maintain a normal standard of living as defined by the geographic Sense of Place the business identifies with as its resident community.

Cost of living increases factor into the model as well.

Would your company make the cut?

Managing with Aloha asserts that “people are inherently good.”

Business can be too. ENDING SQUARE HERE

KeOlaMagazine.com | July-August 2017

9 - Business reinvestment is made annually—not just in ‘good years’—whether the business is publicly or privately owned, and whether profit or nonprofit.

Baseline reinvestment will include maintaining safety, adequate purchasing for operational 1 - Everyone involved with the company—not just those employed by it—is considered In Managing with Aloha, the pineapple is a symbol of competitiveness, research and development the Ho‘okipa hospitality it is universally recognized as, per industry standards, and providing all both stakeholder and business partner in and for ‘Ohana in Business sustainability and succession. stakeholders with continuous training and the “human circle of Aloha” the business education. identifies with.

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Celebrating the 50th Model Home

A Place to Call Home

By Brittany P. Anderson

KeOlaMagazine.com | July-August 2017

While the locations have changed and more programs have joined the project, the core of Hawai‘i Community College’s Model Home Project has remained the same over the past five decades—offering hands-on learning to students, and affordable housing to the community. To date, approximately 4,000 students have completed the program. Celebrating the 50th home built not only signifies the achievement of the class, but also the achievement of a community.

According to Hawai‘i Community College’s history of the project, it was the brainchild of Herbert Watanabe, who in 1964 was with the Hawai‘i Department of Education, which oversaw Hawaii Technical School. He envisioned a trade curriculum centered around real-world application of skills with several technical programs working together to build a home.

Herbert passed the reins of the project to Mitsuga Sumada,

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Students work on the framing of an early model home in the 1960s. Note the billboard–Hawai‘i Community College was still Hawaii Technical School at the time. photo courtesy Hawai‘i Community College

principal of Hawaii Technical School (predecessor to Hawai‘i Community College). Mitsuga continued to push for the program. After much consideration and discussions with trade unions, college advisory committees, and local suppliers the project had full support.

The very first model home was completed by the carpentry program in June of 1966, with sponsorship from developer giant of the time American Factors. (For historical context, that's a full decade before Habitat For Humanity International was founded.)

At that time, homes were completed on the Manono Street campus and auctioned off to the highest bidder with the home then being transported to the buyer’s home site. However, by 1971, moving homes became much too expensive and the college sought to build the home on-site on state land.

In 1972, the first of nine state sponsored homes was built on Hawaiian homestead land in Pana‘ewa. By 1981, an agreement was forged with the Hawai‘i Housing Authority to

build affordable homes on Popolo Street, and later on ‘Āinaola Drive. Currently, the Department of Hawaiian Home Lands functions as the owner and developer of the home and Hawai‘i Community College provides students for the design and labor.

Harold Nishimura is credited by former students as being a driving force behind the advancement of the Model Home Project. A Hawai‘i Community College alumni and skilled carpenter, he served as carpentry instructor for 24 years.

Throughout his tenure as professor he coordinated multiple ventures outside of the Model Home Project to offer students even more opportunities for hands on learning.

`A`ohe Hana Nui Ke Alu `Ia (No task is too big when done together)

“I poured the concrete this year,” Kalani Wills says proudly before the 50th Model Home dedication ceremony began on May 11. He stands admiring the workmanship visible from the exterior of the house. “I used to be a laborer. Now, I am understanding the perspective of a carpenter,” the delighted grandfather explains. The two-year Carpentry program offers a chance at personal development and a second career for Kalani. “I can start my own company, The Grumpy Kupuna,” he laughs.

The Model Home Project starts when Architectural, Engineering, and CAD Technology (AEC) students submit designs

KeOlaMagazine.com | July-August 2017

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KeOlaMagazine.com | July-August 2017

for a chance to be the winning Model Home Designer. First year carpentry students pour the concrete, second year carpentry students build the home, Electrical Installation and Maintenance Technology program students install the photovoltaic system, Diesel Mechanics students offer equipment maintenance throughout the project, and the Agriculture program completes the landscaping. Students of the Ola Hāloa Center for Hawai‘i Life Styles conducts the blessing ceremony once the house is completed.

“They go through the process very quickly and will have experienced every step of building a house and becoming a well-rounded employee,” Darryl Vierra, Carpentry instructor explains. Even the day of the ceremony students pass out programs and greet guests. Students answer questions from onlookers, taking great pride in a job well done.

Since 2011, homes have been built with sustainable design features including solar hot water heaters, Energy Star® appliances, Energy Star® metal roofing and radiant barriers, as well as native plant landscaping.

Assorted colors of ti leaf dot the perimeter of the yard and several ‘ōhi‘a lehua are planted around the home. Landscaping with native and edible plants are important considerations for the Agriculture students. Edible plants include Mountain Apple, orange, calamansi, jaboticaba, dragonfruit, and māmaki were planted in the backyard. “You’ve got to make sure they can live, at least a little, off the land,” acknowledges Skye Hoefke, a second-year AEC student.

As the ceremony edges near, it is remarkable to see the diverse range of students. Some, like first year student Maka-ou

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Karren, are laying the groundwork for their future careers and others like Kalani bring years of labor experience. Individually and collectively the students come together, contributing immeasurably to the accomplishment of the Model Home Project.

“I didn’t really know what I wanted to do, but I knew I wanted to work outside and with my hands,” Maka-ou recounts. After helping add a classroom onto his high school, Hawai‘i Academy of Arts and Sciences, Maka-ou was inspired.

He learned of the Model Home Project and enrolled in Hawai‘i Community College’s Carpentry program after graduation. “I’m in the CAD and carpentry program to learn the technical and hands on aspects of building.”

The Model Home Project wouldn’t be successful without each student working together, the partnership between Hawaiian Home Lands and Hawai‘i Community College, and the support within the community.

More than a Hale

Above and below: Hawai‘i Community College students work on this year's model home on site in Keaukaha. photos courtesy Hawai‘i Community College

KeOlaMagazine.com | July-August 2017

Each year Hawai‘i Community College, in partnership with the Department of Hawaiian Home Lands, gives a family the opportunity to have a place to call home. As the clouds part over Keaukaha, an azure sky is revealed over the 50th home.

Students take their seats off to the side and guests settle in at long wooden tables in the driveway. The crowd is comprised of program alumni, dignitaries, and members of the community.

Speeches are made and laughter peppers the recognition portion of the ceremony.

The 50th Model Home couldn’t exist without the partnership between the Department of Hawaiian Home Lands and Hawai‘i Community College. The Hawaiian Homes Commission Act of 1921 was set forth to provide Native Hawaiians with the opportunity to return to the land and maintain traditions.

Prince Jonah Kūhiō Kalaniana‘ole was instrumental in setting aside approximately 200,000 acres of Hawaiian Home Lands.

Today, those not already in Hawaiian Home Lands spend a lifetime waiting, some not ever able to realize the dream.

An impromptu hula performance takes place in the crowd during a Hawaiian music interlude. Students cheer the women on, elevating the air of celebration. More than 100 students were involved in the construction of the home, a cause for celebration, indeed.

Attention shifts to the reality that this is not only a learning opportunity for students, but also a home for a family. “We are so very blessed...and thankful for the opportunity,” the new homeowner, Luana Dang, says holding back tears. Keys and house plans transfer from Hawai‘i Community College to Hawaiian Home Lands, and then on to Dang with the crowd in near silence.

In the front yard, students begin the traditional blessing ritual. The new owner tells the crowd that she has waited 31 years for her homestead. Our collective silence is broken as she steps over the threshold and applause rings out over the Keaukaha neighborhood. This house joins six others in the immediate area built by Hawai‘i Community College students.

Shoes and slippers line the front walkway as everyone eagerly files inside to see the handiwork. The owner welcomes each person, thanking them for attending the ceremony.

Students flood the hallways pointing out details to each other, beaming with pride. First year carpentry students eager to get to work on their own house next year bustle about the kitchen,

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Students from Hawai‘i Community College's Hawaiian studies program participated by conducting a blessing ceremony for the house, the new family, and the students who worked on the project. photo courtesy Hawai‘i Community College perhaps becoming inspired to outdo the graduating class.

Every door hung by hand, each cabinet made from scratch resonates with the sense of starting anew.

Carpentry alumni joke and greet one another in the living room charging the space with laughter. Harold Nishimura shakes hands in the shade of the carport. “I never thought of it as the only program in the state,” he says modestly, “I was just doing my job.”

The 50th Model Home for Hawai‘i Community College is a milestone for the program and the community. It is the only program of its kind in the state. Students are quick to offer that for them, the Model Home Project goes beyond learning a

The Model Home Project engages students in all aspects of building a home, including installing cabinetry and fixtures. photo courtesy Hawai‘i Community College trade—it is an opportunity to start their own business, provide for their family, and learn to work with others. “About 70% of the graduates stay on island using the skills to build or remodel homes, start businesses, or go on to further their education,” Darryl Vierra reports. Since 1991, 15 alumni have earned their contractors license and frequently hire graduates of the program. For the new homeowner, this is a lifetime of waiting for the opportunity to live on the Hawaiian Home Lands all made possible through the synergy of a community working together. ■ To learn more about the Model Home Project, visit hawaii. hawaii.edu/50yearsofmodelhomes

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Kalani Pe'a Hawai‘i Island born and bred artist brings home a Grammy

By T. Ilihia Gionson

He’s come a long way from the entertainment tent at the Hawai‘i County Fair! As Kalani Pe‘a stood on the stage at the Staples Center in Los Angeles to accept the Grammy for Regional Roots Album for his debut album E Walea, he knew that it was the lessons and values learned growing up on Hawai‘i Island that got him there.

KeOlaMagazine.com | July-August 2017

Hānau A Hānai ‘Ia Ma Hilo (Hilo Born And Bred)

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Kalani was born and raised on the Hawaiian homestead in Pana‘ewa. While he was in preschool, a teacher identified a speech impediment and referred Kalani to a therapist.

“I stammered and stuttered, stuttered and stammered a lot,” Kalani says, “but my mom (Pua Leonard) figured that singing would be key.” That was Kalani at four years old, and he hasn’t stopped singing yet—long after the speech impediment was gone.

Kalani’s dad, Arthur Pe‘a, who comes from a musical family, introduced him to jazz and big band music. He grew up listening to an eclectic mix of music—Luciano Pavarotti, Luther Vandross, Genoa Keawe, even The Lim Family. (Little did Kalani know then that he would later collaborate with Nani Lim Yap on the song “He Wehi Aloha”.) You can hear these multi-genre influences when Kalani sings.

Arthur and Pua encouraged Kalani to take vocal lessons, join choir, and enter talent competitions. Early performance venues included the Hilo Medical Center lobby, the entertainment tent at the Hawai‘i County Fair, and the pool at Hilo High where Kalani and friends won the Brown Bags To Stardom competition in high school. He also won the National Association of Teachers of Singing Competition while he was in college.

Although Kalani’s artistic talent isn’t limited to singing—he is also a talented visual artist who illustrated five Hawaiian language children’s books—singing always had his heart.

Kalani grew up in Hawaiian language immersion schools, attending Ke Kula Kaiapuni O Keaukaha for elementary school, and graduating from Ke Kula ‘O Nāwahīokalani‘ōpu‘u in Kea‘au.

He went on to Mesa State University in Colorado, earning a degree in Mass Communications. While at Mesa State, Kalani was exposed to opera singers who added to his training.

Back home in Hawai‘i and working as a Hawaiian Resource Coordinator with Kamehameha Schools–first in Kona, then on Maui–Kalani kept singing. Friends and family knew that if there was a song to sing, a microphone to hold, Kalani would be right there. “I love singing, just being so free. It’s la‘au lapa‘au (medicine) for me.”

“Ua Lawa Ka Hīmeni Manuahi!” (“Quit all of this singing for free!”)

Turning his love for singing into a career came at the behest of Kalani’s fiancé, Allan Cool. “So I’m sitting in Lava’s (a karaoke bar in Wailuku, Maui) with my other half, and I’m gonna sing a Luther Vandross song,” Kalani remembers. “Allan looks at me and says, ‘You gotta quit this! Quit all of this singing for free!’”

“He would just sing, and it would turn into a party,” Allan elaborates. “A mini-concert! It wasn’t just karaoke, was a minishow. I told him, we have to put the music you’ve composed— Hawaiian music, Hawaiian contemporary soul music, your favorite covers, on an album.”

Although they both had full-time jobs—Kalani at Kamehameha Schools, Allan as a manager for a retail store— they put in the work and investment to make Kalani’s debut album a reality.

“Could I be a full-time musician? I prayed about it, and I had to have my fiancé’s support. He helped me soar,” Kalani recalls.

“And of course, my parents and ‘ohana have always supported me.”

Kalani and Allan found their producing partner through a chance encounter one year at the Nā Hōkū Hanohano awards, where Allan was doing makeup for a hālau that was performing.

Kamakoa Lindsey-Asing, a Waimea boy, is a member of the group Ho-a and Project Kuleana. He had also been working with legendary producer and engineer Dave Tucciarone, who has more than 300 albums under his belt including many Hawai‘i Island artists. Kamakoa and Dave agreed to talk story with Kalani, and they embarked on the adventure of recording E Walea in September 2015.

Kalani backstage after winning the Grammy for Best Regional Roots Album. photo courtesy Kalani Pe‘a

Ua Hana A Walea (Practice Makes Perfect)

For as much as Kalani had sung in his life until that point, he was very much aware that recording an album would be something quite different. “You’re recording music that will be with you for the rest of your life. Every sound, every dynamic, every crescendo, every vibrato, will be recalled and remembered,” he says.

It turns out all that karaoke paid off, Kalani says. “You Are So Beautiful”, his take on the soulful Joe Cocker classic with a mix of original and new Hawaiian lyrics, was recorded in one take—a rarity in Dave’s studio. Commuting back and forth between Maui and Dave’s studio in Honolulu, E Walea was completed in May 2016.

Kalani performed at the 2017 Nä Hökü Hanohano Awards in May, where he won the award for Contemporary Album of the Year. photo courtesy Thomas Tsutsumoto

KeOlaMagazine.com | July-August 2017

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Ka Lei O Ka Lanakila (Wearing The Lei Of Victory)

KeOlaMagazine.com | July-August 2017

Kalani at one of his earliest public performances: the talent show at the Hawai‘i County Fair. photo courtesy Kalani Pe‘a

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Selecting the 12 songs that would be part of E Walea was important to Kalani. There are songs he sang growing up—“Nani A Maika‘i” from church, “E Nā Kini” from school.

There are Kalani’s twists on songs he loves singing at karaoke, like “You Are So Beautiful” and Luther Vandross’ “Always and Forever”. There are originals for special people and places, like “Hanalei I Ka Pilimoe” and “Ku‘u Poli‘ahu”.

“Aloha wau i nā mele a pau ma ia sēdē (I love each and every song on this album),” Kalani says. “Ua noho au me ka maluhia a kālailai kūpono i kēia mau mele a pau. (I sat for a while and put a lot of thought into choosing these songs.)”

Of special interest to Kalani are the songs about the places he loves: “He Lei Aloha No Hilo” for his childhood home, “Eō Lononuiākea” for his time living in Kona, “Oli Mahalo No Maui” for his newly adopted home.

“He mea nui ka hāpai ‘ana i nā inoa o nā wahi pana, i ola nā inoa kūpono o kēlā me kēia ‘āina—‘o ka ‘ili, ke ahupua‘a, pono e hāpai i kēlā mau mea a pau!” (It’s important to recall the names of our places so that they will continue to be passed on—every part, every ahupua‘a, we must use them!”)

E Walea means to come together, to enjoy each others’ company. The musical styles that come together on the album are an eclectic mix that quite faithfully reflects Kalani himself. “It’s OK to be innovative, creative, spontaneous, and authentic,” Kalani says. “I’m not a traditional artist, I’m not an R&B artist, I’m not an opera singer. I’m Kalani Pe‘a who sings Hawaiian contemporary soul. I’m all about that.”

E Walea was released to the world on August 5, 2016, and it skyrocketed to the top of the iTunes World Music Charts on its release date. Two weeks later, the album hit No. 12 on the Billboard World Music Chart. Kalani is humbled that people connect with his music. “Ua nui ‘ino ke aloha o nā kānaka like ‘ole no kēia mau mele!” (All kinds of people are very drawn to these songs!)

The quick success was a blessing that kept Kalani and Allan quite busy.

“People think we have a hui (team) of marketers, public relations people, photographers. It’s just the both of us,” Kalani says. “We have office hours. We sit. We have our laptops out.

We strategize. They call it horizon scanning—what are the ‘ōpua (clouds) out there? What will give us the inspiration to create?”

Even though Kalani knew he had something special in E Walea, it got real when the album got nominated for a Grammy in the Regional Roots category. He got the news of his nomination in December. On February 12, 2017, former karaoke singer Kalani Pe‘a became a Grammy winner.

His Grammy acceptance speech went between song and speech, between Hawaiian and English. “Music saved my life,” he said, sharing the story of his childhood speech impediment.

He quoted Joseph Kaho‘oluhi Nāwahīokalani‘ōpu‘u, the 19th century legislator, composer, newspaper editor, artist, educator, and musician for whom Kalani’s alma mater is named. “Hele aku au me ka mana‘o pa‘a, I will strive to move forward with dignity. Paio aku au me ka mana‘o koa, I will go forward like a warrior. Lanakila au me ka mana‘o pono, I will win and wear that laurel of achievement with righteousness and equality.

Mākaukau au me ka mana‘o wiwo‘ole, I am ready to set sail with courage, dignity, and honor for my people.”

When Kalani won the Grammy, it was the first award for a Hawai‘i artist since the academy discontinued the Hawaiian Music Album category in 2011. It was also the first Grammy for Kalani with his fiancé Allan. photo courtesy Kalani Pe‘a

Kalani entertains his hometown crowd at the 2017 Merrie Monarch Invitational Hawaiian Arts Fair. photos by T. Ilihia Gionson

KeOlaMagazine.com | July-August 2017

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Dave, his producer and engineer. Kalani later added the 2017 Nā Hōkū Hanohano Award for Contemporary Album Of The Year to E Walea’s accolades.

Kalani still gets back to Hawai‘i Island often to visit family— mom, dad, grandma, siblings, and extended family are still here—and to perform. He attracted one of the largest crowds at the Hui Kāko‘o Concert Series at Keauhou Shopping Center in late 2016. Just days after winning the Grammy, Kalani was back at his alma mater, Ke Kula ‘O Nāwahīokalani‘ōpu‘u, performing at their benefit Pūlama Mauli Ola. And yes, during Merrie Monarch week, he was out and about in Hilo. For this interview, we met at Freddy’s Restaurant (the quietest place we could think of) between his performances at ‘Imiloa Astronomy Center, the Merrie Monarch Invitational Hawaiian Arts Festival, and at his CD release party in the Crown Room at the Grand Naniloa Resort.

“My heart is filled with love as I go through this journey.

These awards don't define who I am,” Kalani says. “Yes, I’ve achieved one milestone in my life. But you know what? ‘Akahi a ho‘omaka. He ho‘omaka wale nō kēia. (We have just begun.

This is only the beginning.) We don’t believe that you start something then finish—we must continue to learn new things.”

■ Kalani will be performing at Kahilu Theatre in Waimea on October 21, sharing music from E Walea. Details are TBD. For details on this and other shows, follow Kalani on social media @KalaniPeaMusic, and visit KalaniPeaMusic.com.

KeOlaMagazine.com | July-August 2017

Just days after his Grammy win, Kalani returned to his alma mater Ke Kula ‘O Näwahïokalani‘öpu‘u for a fundraising concert. photo courtesy Kalani Pe‘a

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Ku‘u Poli‘ahu

by Kalani Pe'a

Mauna Kea kilakila keu a ka u‘i Luhiehu ka makua o ku‘u lani Poli‘ahu ka wahine kapa hau anu Pumehana ka wahine e ‘apo mai ē Majestic Mauna Kea, oh, you’re exquisite The most appealing guardian, my heavenly one Covered in the blanket of the snow, you are This warmth of love, she embraces us

Ke Ola Magazine asked Kalani what his favorite song is on his debut album, E Walea.

He loves each and every song, but one song did stand out–"Ku‘u Poli‘ahu." “I shed tears because I often think about why I chose this. I shed tears of joy because it has such significance.”

When he was a high school junior at Ke Kula ‘O Nāwahīokalani‘ōpu‘u in 2000, Kalani and his classmates had already started taking courses at the University of Hawai‘i at Hilo. One course that Kalani took was traditional Hawaiian song composition with longtime professor and legendary composer Larry Lindsey Kimura.

“My mother was going through some trials and tribulations at the time. I compared those to the thunder and lightning on Mauna Kea,” Kalani says. Even with all that was going on, his mother never wavered in her commitment to her children–covering them with her love much as the snow goddess Poli‘ahu blankets the peaks of our mountains with snow. “She is beautiful, luhiehu– gorgeous, exquisite.”

“I also dedicate this mele to other mothers who nurture their children. Without our moms, we wouldn’t be here. We need to cherish our kūpuna and mākua.”

Poli‘ahu's snow covers the many pu‘u of Mauna Kea in 2005. photo by T. Ilihia Gionson

KeOlaMagazine.com | July-August 2017

Kalani with his parents, Pua Leonard and Arthur Pe‘a.

photo courtesy Kalani Pe‘a

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KeOlaMagazine.com | July-August 2017

Looking for a way to experience a taste of Old Hawai‘i? Come visit the birthplace of King Kamehameha in beautiful, green, historic North Kohala, at the northernmost tip of Hawai‘i Island. Once sugar plantation towns, Hawi and Kapa‘au offer a delightful array of small shops, eateries, wonderful art galleries and lovely accomodations. It’s also the home of an exciting waterfall zipline!

It’s just a short drive from the Kohala Coast resorts and a great day or weekend trip from anywhere on the island!

KeOlaMagazine.com | July-August 2017

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Worldwide Voyage of Höküleÿa

Homecoming Leg 31

May 19th–Today’s morning sun.

Wednesday evening, May 17, 2017, Hōkūle‘a, her sister wa‘a (canoe) Hikianalia, and the escort vessel Gershon II departed Tahiti for the final leg home to Hawai‘i. The canoes will returned to a welcoming cultural celebration in Honolulu’s at Magic Island.

The people of Tautira have been the Tahitian caretakers of the canoes and crews of Polynesian Voyaging Society since Hōkūle‘a’s maiden voyage in 1976. The crew payed homage to the family ties so important to the shared voyaging heritage of Hawai‘i and Tahiti. They visited the grave sites of leaders who helped build the connection more than 40 years ago.

Hōkūle‘a crossed the equator May 26, 2017 marking an important milestone in her journey north from Tahiti back to Hawaii. Having been at sea for ten days during this final international leg of the Worldwide Voyage, Hōkūle‘a crew members performed a deeply significant ceremony to mark the crossing.

Paying close attention to the canoe’s position relative to the elements surrounding them, the crew accurately tracked their latitude to recognize this moment entering the piko o wakea, or equatorial crossing point. “To be in this space, and to be

able to confirm where we are based on what we’re seeing in the sky—and to then justify it, back it up one more time with our mileage and navigating process—has been very gratifying,” said Pua Lincoln Maielua, apprentice navigator aboard Hōkūle‘a.

The crew performed a traditional awa ceremony; one by one, each person then placed pohaku, or stones, in the water, representing the crew member’s home and family.

The ceremony performed yesterday fulfilled a vision by pwo (master) navigator Bruce Blankenfeld, set in motion at the beginning of the Worldwide Voyage three years ago. Now the sail master on board for this final leg of the Mālama Honua voyage, Bruce led the crew to begin this new tradition. As traditional Polynesian voyaging continues to grow and flourish and as crossings occur over years and generations, sailors will continue to drop pohaku into the ocean here in honor of this place.

As of press time, Hokule‘a and her companion canoe Hikianalia have just arrived back in Hawaiian waters. We'll provide an update of their future plans in our September/ October issue.

KeOlaMagazine.com | July-August 2017

(Left) Pomai Bertelmann is the captain of Höküle‘a for her return leg back home. (Middle) Crew member preparing to release her pohaku into the water. (Right) Pohaku being prepared as part of the awa ceremony.

62 © 2017 POLYNESIAN VOYAGING SOCIETY PHOTO: ÿÖIWI TV • PHOTOGRAPHER: NÄ' ÄLEHU ANTHONY

© 2017 POLYNESIAN VOYAGING SOCIETY PHOTO: ÿÖIWI TV • PHOTOGRAPHER: NÄ' ÄLEHU ANTHONY

© 2017 POLYNESIAN VOYAGING SOCIETY PHOTO: ÿÖIWI TV • PHOTOGRAPHER: NÄ' ÄLEHU ANTHONY

Kohala Watershed Partnership: Bringing Life Back to the Land

Kukui Keli‘iho‘omalu in the cloud forest. photo by Jan Wizinowich

KeOlaMagazine.com | July-August 2017

By Jan Wizinowich

Kohala Mountain

stands like a cloud-cloaked monarch, crowned with a 50,000 acre forest that feeds the streams and people of Kohala.

The tradewinds bring warm water into the cool mountains and create a constant source of moisture that in pre-western contact time fed the intensive Kohala field system.

Today, Kohala Mountain still provides approximately 6%, or 154 million gallons per day, of the sustainable yield of water for Hawai‘i Island. The watershed is a primary source of drinking and irrigation water for Kohala and parts of Hāmākua, but with an enlarged, restored watershed the potential is much greater.

Recognizing this, the state Department of Land and Natural Resources (DLNR) brought Kohala Mountain landowners and managers together in 2003. 63

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“There was a push from the DLNR to look at watershed forest issues on a bigger picture level as a whole,” said Pono Von Holt, owner of Ponoholo Ranch and one of the landowners convened. “Lisa Hadway, who was working within the DLNR, started the momentum. They called a meeting and we found that our goals were in alignment.”

The landowners and managers that formed the Kohala Watershed Partnership (KWP) were Kahua, Parker and Ponoholo ranches, DLNR, Kamehameha Schools, the Department of Hawaiian Home Lands, Queen Emma Land Co., Laupāhoehoe Nui LLC, Surety Kohala, and associate partners The Nature Conservancy (TNC) and the National Oceanic and Atmospheric Administration (NOAA).

The eighth watershed partnership to be formed statewide, KWP consists of approximately 68,000 acres of forest and grasslands on the windward and leeward slopes of Kohala Mountain, the island’s oldest volcano.

The partners agreed that the organization would have a very limited to non-existent bureaucracy while also realizing they needed a coordinator. They brought the Kohala Center onboard, hiring Melora Purell.

“I sat down with each of the partners when I started the job and the key thing I wanted to understand was why they signed on to this,” Melora said. “I was quite blown away by how it was driven by landowners and managers wanting to do what was right, what was pono for the land, the ecosystem, the forest, the watershed.”

One of the first tasks of the KWP was to create a management plan. “The management plan was really clear about what needed to be done, why it needed to be done and how it needed to be done. I had this plan in front of me and I just needed to get to work,” said Melora.

The Kohala Center with its current KWP Coordinator, Cody Dwight, seeks out funding and manages the “boots on the ground” work. “That’s [The Kohala Center’s] forte being an organization that pools together these different programs and facilitates funding, as well as the operation side, so we can pool our goals and our time and effort,” said Pono.

First Steps Starting at the top, the idea was to extend the forest reserve zone down the mountain by eliminating feral ungulates

KeOlaMagazine.com | July-August 2017

Offshore view of the Kohala Watershed. photo courtesy The Kohala Center

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Kohala Watershed Partnership crew leader Haia Auwelo. photo by Jan Wizinowich and installing fencing to create exclosures—fenced areas to protect the forest within. “Take the forest away from the cattle and move them down the mountain. We’re going to increase the size of the watershed by several thousand acres into our ranch country and that will give us a buffer for invasives,” said Pono.

Getting the feral cattle—probably descendants of the cattle gifted to Kamehameha by Captain George Vancouver in the late 18th century—out of the forest was no easy task. Individual efforts by the ranches in the past had not been successful, but united under KWP, Ponoholo, Kahua and Parker Ranches were able to remove all the feral cattle from 1,000 acres of the forest. “We learned our strength just by the fact that we put

KeOlaMagazine.com | July-August 2017

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KWP volunteers construct a sediment check dam. photo courtesy The Kohala

Ke Kumu ‘Äina students collecting enviromental data. photo courtesy The Kohala Center.

Center

the three ranches together in a concerted effort,” said Pono.

Fencing is a key component of ungulate control. “The first fence up was on Ponoholo Ranch, about 100 acres. Parker ranch extended from that along the inside of the Honokāne Valley ridge and right in to the edge of Pololū,” said Pono. “By the time we get done we’ll have 3,000 acres that we’ve taken back and in 50 years or so, it will be reforested,” he added.

Pelekane Watershed

KeOlaMagazine.com | July-August 2017

The Pelekane Bay Watershed is a graphic example of the importance of a botanically healthy watershed. The Koai‘a Corridor, which is in the upper Pelekane Watershed, runs mauka from Kohala Mountain Road and is a two-mile riparian corridor of about 300 acres nestled between Waiakamali and Luahine streams. Down slope in the lower Pelekane Watershed, the two streams eventually merge into Makeāhua stream which in turn empties into Pelekane Bay. The watershed needs a layered diversity of plants to capture and absorb the rains. Otherwise sediment-filled water flows down the mountainside and into the ocean. Standing on the Koai‘a Tree Sanctuary fence-line, the contrast is stunning.

Inside the sanctuary are groves of koai‘a, large healthy ‘ōhi‘a and lower canopy natives. Outside the fence is a windswept grassland.

Once a canopied forest, the lower Pelekane Watershed is almost completely devoid of vegetation and is severely eroded.

“A large portion of the leeward side of this mountain used to look like the Koai‘a Corridor,” said Cody. The consequences of the denuded watershed can easily be seen in Pelekane Bay. Once a biologically diverse estuary, Pelekane Bay has been inundated with sediment washed down the drastically eroded mountainside.

“To protect the coral reef we have to stabilize this mountain from eroding. Get some vegetation to grow in critical erosion areas,” said Cody. The main obstacle to this is a large uncontrolled herd of feral goats that live in the watershed.

“The goats live in gulches and they eat the grass from the top and then they go back down into the gulches,” said Cody.

A temporary measure to control erosion while working towards revegetation is the installation of check dams: a wire and cloth-wrapped rock wall, placed in key drainages and capable of holding up to 10 tons of sediment. In August 2015 a large brushfire followed a week later by a brief, intense storm 66 event put those check dams to the test. “It was like a perfect storm event. Those sediment check dams we had in place all

filled up,” said Cody.

Changes in water quality are being monitored by TNC and NOAA. “The water quality has improved. Changes in Pelekane Bay. Changes on the landscape. These areas are looking a lot better,” said Cody.

Creating Conditions for Growth The ultimate goal is to have a re-vegetated watershed, but to do this it is necessary to remove invasive plants and create positive conditions for forest regrowth. Propagating and outplanting, along with fencing, invasive species control and anything else that needs to get done, is the job of the four person KWP field crew.

Crew leader Haia Auwelo, Kukui Keli‘iho‘omalu, Jordon Wills and new volunteer crew member Makali‘i Bertelmann drive up Kohala Mountain Road and enter the Lower Pelekane Watershed. The crew spreads out to survey the area and find several ‘a‘ali‘i with mature seeds, which are collected and will be taken to the State Tree Nursery in Waimea where plants are propagated for future out-planting. “In the Koai‘a sanctuary corridor we have about 60,000 plants already and below we have about 20,000 plants,” said Hai‘a.

When they’re ready to be outplanted, the seedlings are set outside the nursery in a semi-sheltered area and watering is continued. The next step is to take them up to the watershed for planting, where they are sheltered by tall grass and will

Watershed corridor above the Koai‘a Tree Sanctuary. photo by Jan Wizinowich

continue to receive water through a temporary irrigation system fed from water tanks and when established, the plants will stop receiving irrigation.

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The Watershed is our Kumu The Kohala Watershed has become an outdoor classroom and laboratory for Kohala’s children. Along with The Kohala Center’s Ke Kumu ‘Āina program, Mahina Patterson coordinates place-based, hands-on science classes in the watershed.

“Because the Kohala Watershed Partnership is housed at the Kohala Center, we have this resource to share with the community,” said Mahina.

Being in the watershed allows learners to explore independently and make observations. “I ask students: ‘What do you see inside the fenced unit versus the outside landscape?’ We read the story that the land has to tell us,” said Mahina.

Students also get an opportunity to think and act like scientists. “Another great lesson is biodiversity. What are the species here and what are we seeing? They get to experience doing real science using scientific tools,” said Mahina.

The watershed also gives students the opportunity to experience restoration work and to grapple with its challenges.

“I was on Pu‘u Pili with a group of Kohala Middle School students, learning about pig trapping and ginger control. It was an opportunity to show them why fences are important.

Let’s together look at the effects of the pigs on the forest, do ungulate surveys. Real science,” said Mahina.

The watershed also educates the heart and fosters gratitude.

“It’s just so beautiful and so different that even kids that had a bad attitude when they got into the van, when they get there, everything shifts,” said Mahina. ■

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Pono Von Holt, owner of Ponoholo Ranch, one of the partners in the Kohala Watershed Partnership. photo by Jan Wizinowich

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Historic Campus Gets

KeOlaMagazine.com | July-August 2017

By Ma'ata Tukuafu

The parking lot is brand new. The short walk is breathtaking as the sun shines through the lush trees and the road curves, opening up to beautifully renovated buildings.

This is the Kohala Institute at ‘Iole (KI), and the GRACE Center is the former 19th century Kohala Girls School in Kapa‘au, now a state-of-the-art facility.

A lot of planning and work has gone into creating this space which will be home to many programs benefitting young students to corporate gatherings, college-level learning semesters to family reunions.

The Kohala Girls School was founded in the 1800s, and the six buildings which were renovated and turned into the GRACE Center were built between 1874 and 1921. The exteriors were restored to their original specifications, while the insides were brought into the 21st century with modern utilities and amenities including high-speed fiber-optic internet connectivity and a commercial kitchen. Between the restored buildings and a few newly built cottages, GRACE Center offers over 15,000 square feet of learning, meeting, and lodging space.

Noelani Kalipi is the Executive Director of the Kohala Institute, which manages the 2,400 acres of the ‘Iole ahupua‘a (traditional Hawaiian land division from uplands to the sea).

Incorporated in January 2016, Kohala Institute is a separate entity from the New Moon Foundation, a nonprofit founded in 1999 which owns the ‘Iole ahupua‘a. Kohala Institute adopted New Moon Foundation’s mission and strategic plan: to use ‘Iole ahupua‘a as a space to bring people together to collaborate on solutions.

“We call it GRACE Center because it is a living embodiment of our core values, represented in the acronym GRACE: Gratitude for what we have been given, Respect for history and culture, Accountability for our actions, Courage to act with integrity, and Engagement of others for a better world,” Noelani says. “Our vision is that GRACE Center will be a living lab of place-based and experiential learning for all ages to come together and collaborate on solutions for the future.”

The entire mission of Kohala Institute is to “provide opportunities to connect with the land and universal values for a better world.” To collaborate on solutions means offering a place-based learning experience which “integrates culture, history, contemplative practice, education, and sustainable practices to yield connection to environment, self and others.”

Does this sound ambitious? Yes, it is, and Noelani is the first to admit it.

GRACE Programs

GRACE programs are a series of methodologies which offer opportunities for students, individuals, groups and corporations to participate in problem solving, leadership development, and retreats. Programs may be tailored to suit a group’s needs and be combined with Hawaiian cultural traditions taught by experts from all over Hawai‘i Island.

Collaboration For Solutions is KI’s signature program that uses Hawaiian cultural traditions and cooperation, bringing 68 people together to solve problems. Participants establish

relationships with the land, with each other, plus find ways to work together and agree to make positive changes. Noelani envisions both visitors and Hawai‘i residents learning from this program to increase perspectives and achieve common goals.

The GRACE Learning Journey offers age-appropriate activities that allow participants to learn more appreciation for each other and the earth they live on. Workshops may be custom-made and are divided into age groups for adults and children.

The GRACE Leadership Journey is a 12-month program for high school juniors that will teach Hawai‘i’s future community leaders how to communicate in spite of being from different schools, geographic areas and backgrounds. Each student will

New Life, New Vision work with a mentor to guide them through goal setting, life coaching and time management skills.

Growing Economic Sustainability Through Teaching Sustainability â&#x20AC;&#x153;The GRACE values project is a hands-on experience. It just breaks even [financially], so we have created some other projects in order to help create the funds to support it,â&#x20AC;? says Noelani. These are sustainability projects which include a fishery, farms, agricultural and ecotourism tours, natural resource management and renewable energy systems.

The Kohala Mountain Fish Company, located on five acres adjacent to the GRACE Center, is a closed-system aquaculture tilapia fish farm. It includes a hatchery, nursery grow tanks, processing facility, and a water filtration system. The market for tilapia on the mainland US is over 65 million pounds a year, imported mostly from China. Noelani said within a few years, the fish farm will have the capacity to produce up to five million pounds a year. In addition, Kohala Institute will be able to teach others how to build and put up their own fish tanks on their own properties and to increase economic development in aquaculture-based jobs. Water from the fishery is filtered and feeds into the taro patches located below it.

KeOlaMagazine.com | July-August 2017 An aerial view of the GRACE Center, the former Kohala Girls School. photo courtesy Kohala Institute

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In May, Kohala Institute’s effort in restoring GRACE Centerwas recognized by the Historic Hawai‘i Foundation with a 2017 Historic Preservation Honor Award. From left to right, Katie Schwind, KI project development coordinator; Katie Stephens, architect, Mason Architects; Noelani Kalipi, KI executive director; Alan Tang, KI board member. photo courtesy Kohala Institute

Informative tours at ‘Iole explore land and water management within the ahupua‘a. Divided into distinct time periods, the tours provide guests with information on resource management at ‘Iole, like water distribution through the generations: Kamehameha I’s ‘auwai (pre-Western contact), lateral tunnels (missionary era), and the Kohala ditch (plantation era). The agricultural and ecotourism tours of the fish farm, agricultural projects and sustainability projects include workshops where people can pick products from native botanical gardens and use them while learning about cultural practices and traditions.

The institute has dedicated 30 acres at ‘Iole to agriculture and currently includes the five acre Kauhale, a garden which includes the lo‘i patch and lei making plants (hau, ‘ōlena and wauke among them). The Mea‘ai food gardens include an ‘ulu orchard, bananas, broccoli, ‘ōlena and kale. Working with University of Hawai‘i’s College of Tropical Agriculture, it is a working research and food production farm. Eventually, KI will allow opportunities for farmers to lease areas to farm and share resources in distribution and marketing. Farm crops will be used to sustain dining needs at the GRACE Center and will provide produce to local businesses, markets and schools.

Kohala Institute is working with partners to build a customized electrical microgrid to provide for energy needs on

the property and its multiple facilities. Using solar and other renewable resources, the KI Energy program will showcase innovation and utilize the institute as a living laboratory.

In partnership with the Kohala Ride Wild Club, the institute also hosts horsemanship and equine programs for youth, and licenses parts of the ahupua‘a to four ranches.

GRACE Center can hold up to 200 people for a conference and there are 80 beds in total. The multi-purpose facility consists of six newly renovated buildings, and 10 new onebedroom/one bathroom cabins. There are 40 hostel-style dorm beds, a corporate conference room, a 1,400 square foot great room, a 700 square foot dining room and a certified kitchen and dining room. Other buildings offer classrooms, a library, and individual treatment rooms that can be used for one-onone counseling, massage, or similar services. These facilities are available for retreats, university collaboration, corporate meetings, conferences, classes, family celebrations, and community events.

Rave Reviews

In May, Kohala Institute’s effort in restoring GRACE Center was recognized by the Historic Hawai‘i Foundation with a 2017 Historic Preservation Honor Award. Since the foundation began giving the awards in 1975, the award has been the highest recognition of projects, organizations, or individuals working to preserve Hawai‘i’s archaeological, architectural, and cultural sites.

More recognition of the special place the Kohala Institute has built with the GRACE Center and its programs has come from groups who have experienced ‘Iole ahupua‘a. One of the first groups was Lavaroots Performing Arts & Kissidugu Foundation.

Michal Anna Carillo recently held their Merveilles Hawai‘i Drum and Dance Conference at ‘Iole and says it was a wonderful experience.

“It was a fabulous space for our drumming and workshop retreat. Everyone loved the accommodations and those who came to the retreat loved it [GRACE Center],” Michal says.

“Noelani is positively fantastic and works with a great team of people.”

Michal has already planned their next African Dance retreat called Camp Merveilles Hawai‘i for November 2017 at GRACE Center and says she is excited about collaborating with the Kissidugu in this optimal space.

Another group who has utilized the accommodations and learning facilities at ‘Iole are students from Maharishi University

These photos show an original GRACE Center building on the left, and the restored building on the right. photos courtesy Kohala Institute

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Working in the Kauhale taro patch is the kind of hands-on experiential learning the institute is fostering. photo courtesy Kohala Institute

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of Management, a consciousness-based educational institution in Fairfield, Iowa. Lonnie Gamble, Dean of the sustainable living program at Maharishi, created a Hawai‘i semester to give students a chance to use the ahupua‘a as a living lab. Lonnie says the semester-long course at ‘Iole has been the most transformative education program he’s ever been involved with.

“We are bringing a college presence into Kapa‘au and Hāwī,” says Lonnie. “Hawai‘i is such a great laboratory, and ancient principles are still alive. Our students learn to plant taro and learn from cultural practitioners. The program continues to exceed all our expectations.”

Various groups, schools and organizations may customize their tours or programs to fit the needs of their participants.

Shelby Loo, a sixth grade teacher at Waimea Middle School, says their students were able to incorporate their core values into their community service day held in the Kauhale Gardens at ‘Iole. The students were divided into two groups; some did planting, others worked in the kalo patch. There was a planned activity for the students that included a learning game based on the rock/scissors/paper game, as well as having lunch together.

“The majority of the kids worked, and some weren’t as brave as the others to get into the water in the kalo patch,” Shelby says with a laugh. “It was a beautiful day of teaching kids that sense of place, as well as learning the value of hard work.”

Noelani said she is excited about demonstrating success at Kohala Institute. Within the strategic plan, between the sustainable tours, the fish farm and the GRACE Center programs, she hopes approximately 100 to 120 new jobs will be created in the next four years.

For more information about the Kohala Institute, GRACE Center and the ‘Iole Ahupua‘a in North Kohala, visit kohalainstitute.org. ■

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Darlene Ahuna

Celebrating Traditional Hawaiian Music

By Gayle Kaleilehua Greco

The sound of her voice is unmistakable, a resounding ha‘i (falsetto) spun with the grace of serenity. You are in the presence of Darlene Ahuna, a Hawaiian traditionalist singer and musician who has been playing music since she was a teenager. Gifted with her natural talent and feeling the pull to music as early as three years old, Darlene has evolved to one of our most talented and honored Nā Hōkū Hanohano Award winners of classic Hawaiian songs.

“Back in the day” says Darlene, “you could get on a plane and know that you’d be delivered to your mom on another island.” This was a special time for Darlene, when as a child she would frequently visit her mother, Lucille Green, who worked for Unitours Hawai‘i. At her last tour stop on Kaua‘i, her mother would pick up Darlene from the airport and visit Darlene’s Uncle John who played music at the Old Hanalei Plantation.

“That was my first

introduction to Hawaiian music,” Darlene reminisces. “There were no microphones or amplifiers then. Those were the days of the strolling musicians.” Darlene would sit with her mother in the dining area, and watch with pride as her uncle strolled through the restaurant, table to table, with his group, the Holo Holo Trio. Darlene daydreamed of becoming a musician, and “when you want something bad enough, it will come to fruition”, a wiser Darlene says today.

Born and raised in Kāne‘ohe, O‘ahu, Darlene listened to the famous Hawaiian singers—Lena Machado, Genoa Keawe, Leina‘ala Haili, Hui ‘Ohana—and found her spirit lifted with each mele (song) played. At 14 years old, Darlene was enrolled in a hula class. After the second day, Darlene could only focus on the music and was in awe when the musicians would come to play for class.

“I knew then I wasn’t a hula dancer, I was only interested in the music,” Darlene says with insight, “and today, even though I don’t have the direct hula foundation, I know what the dancers are doing and how to play for them.”

When Darlene was in junior high, her father, Fred Green Jr., bought a business in Hilo and moved the family to Hawai‘i Island where he had been raised. Being unfamiliar with the area and people, Darlene joined the Hawaiian Club. She thought, “I better play music. Everybody played ‘ukulele, so I started playing the guitar.” Darlene was also a star third baseman on the girls’ softball team and her classmates would wonder, is she off to play music or play softball? Everywhere Darlene went, her guitar was always in hand.

Sound check, the early days One December day, Lloyd Akiona, Darlene’s

Darlene performing one of her signature songs. photo by Aaron Miyasato

softball coach and also the manager of Hawaiian Discovery Tours, announced they were having a Christmas party and invited some of the softball players to be the entertainment.

“That meant seven of us,” Darlene remembers. “We had three hula dancers and four musicians. We practiced at Shirley and Albert Estabilio’s house where Mrs. Estabilio set up the sound system in their living room.”

Darlene had never heard herself over a sound system before.

“I was so scared, I started to cry,” says Darlene. “Mrs. Estabilio started scolding me and said ‘you just open your mouth and let that voice out.’” Laughing at the memory of it all, Darlene shakes her head, “Those words rang in my head, and now, today, you cannot shut me up!”

During her time at Hilo Intermediate School, Darlene and others started their own Hawaiian Club outside of the school parameters. “There were too many club rules to follow through school,” said Darlene. They had a mentor who gave them the protocol for the new club and oversaw their meetings at Waiākea Villas. That spring, Waiākea Villas was holding a May Day festival and Darlene was chosen as the May Day Queen.

The main entertainment was Ku‘uipo Kumukahi. Darlene was asked to step out of the court to perform, which is when Ku‘uipo heard Darlene sing for the first time.

Later, when Darlene was at Hilo High School, Ku‘uipo Kumukahi asked Darlene to join her playing music. Darlene reflects, “It was awesome. I started playing with her at all kinds of events, lū‘au parties, graduations, and then at Uncle Billy’s Hotel in Hilo.” All the while, Darlene was still in high school—quite an experience for a teenager who always dreamed of being a musician. A cherished friendship began between Ku‘uipo Kumukahi and Darlene. “It is a bond that will last forever,” says Darlene in deep appreciation for her mentor and friend.

The summer after high school graduation, Darlene received another phone call: “This is George Naope,” said the iconic kumu hula and musician. “I want you to come play music with me.” Full of excitement, Darlene started playing with Uncle George at Waiākea Villas. Darlene recalls, “Uncle would come up and do the first

Darlene's album Aloha Pumehana, released in 2009.

two songs with us and then go to the tables and visit with the audience. Then the last two songs, he’d come back up on stage.” With that kind of kuleana (responsibility) to keep the show going, Darlene says, “that let the genie out of the bottle for me.” She was hooked on being an entertainer.

On the road

Darlene’s music caught the attention of promoters and in 1998, Darlene performed the national anthem for the opening day at the Oakland (California) Coliseum for the Oakland A’s baseball team. Quite an accomplishment!

As part of her music connections, Darlene had the good fortune to perform at Carnegie Hall with Aunty Genoa Keawe.

While there was a prestige about playing Carnegie Hall, what Darlene remembers most was the personal time she spent with Aunty Genoa. “Growing up listening to her and admiring her, then being with and getting to know her, we would room together, just her and I, it was awesome.” Darlene and Aunty Genoa traveled to Japan as well, and another deep friendship emerged that would imprint Darlene for all time to come.

While promoting her album, All the Best of Darlene Ahuna, Darlene was doing a live interview on KCCN and they played her version of "‘Akaka Falls." Kata Maduli, a prominent producer of Hawaiian music, called in and said, ‘you need a manager, call me.’ Once again, history paved its way for this

Darlene at Hale Häläwai in Kailua-Kona. photo by Gayle Kaleilehua Greco

Call Today To Schedule Your Consultation!

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homegrown musician. Darlene hired Kata as her manager and soon after began touring with The Mākaha Sons. Darlene is grateful to her mother, sister, and brother-in-law, who helped take care of her three sons so that she could be on the road.

Back home, Hawai‘i Island Traveling with The Mākaha Sons for seven years, Darlene made her way home to Hawai‘i Island, this time settling in Waimea with her youngest son. Playing at various resorts and many events around the island, along with a day job, Darlene has the benefit of her long-time partner, Lani Alvarez, supporting her in her music and life. This support is as important now as it was then, as Darlene goes back into the studio this August with the legendary Dave Tucciarone, a Grammy and multiple Nā Hōkū Hanohano award-winning producer/engineer.

Darlene shares her thoughts about preparing for her new CD, “I’ve always been a traditionalist, that’s my first love.” She expresses her desire to stay current and yet remembers a profound statement from Aunty Nona Beamer, which Darlene summarizes, “There’s no way for a people to move forward if the language doesn’t move forward. That applies to music, too. We can’t stay stuck in a certain type of music one way, we have to move forward.” Darlene hopes to display the new and traditional styles in her upcoming CD. Asking one of Hawai‘i’s most foremost female singers if she has a favorite song, Darlene replies, “It has to be "‘Akaka Falls." It is my family legacy, [composer] Helen Lindsey Parker was my great aunt, my great grandmother’s sister.” Listening to her familiar and powerful rendition of "‘Akaka Falls," Darlene’s voice is so clear you can imagine the strength of the falls and the beauty of the surrounding area. Midway through the recording, Darlene recites, “The words of this song, "Wailele ‘O ‘Akaka," were written by the late Aunty Helen Lindsey Parker.

Aunty Helen so loved this beautiful waterfall and plantation village of Honomū, just outside of Hilo. Today, many enjoy its gracious beauty and it is here that Aunty Helen will remain embraced by the beauty of ‘Akaka Falls.”

Darlene’s falsetto voice resonates in the air as she continues the song. A natural born talent, Darlene is dedicated to the tradition of classic Hawaiian music. Her recording of "'Akaka Falls" boasts one of Hawaiian music’s most recognizable melodies and while other singers have recorded this song, Darlene Ahuna remains a purist giving homage to her family lineage. ■

You can see Darlene Ahuna weekly at: Fridays Saturdays

Hilo Hawaiian Hotel Nāpua Restaurant Mauna Lani Bay Hotel

Upcoming Special Events Hilo Slack Key Festival July 8 & 9, Kress Theater, Downtown Hilo

He Hali‘a Aloha No Lili‘uokalani Festival September 9, Lili‘uokalani Gardens, Hilo

July–Augu st 2017

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The Life - Haw

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Iulai–‘Auka ke 2017 KeOlaMag azine.com

ARTS CULTURE TY SUSTAINABILI

His Roots Reflects On i Gardens Kalani Pe‘a Land en: Lili‘uokalan Back To The Fit For A Que Bringing Life : hed ters Kohala Wa 6/11/17

11:49 PM

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2017 July-Aug

Featured Cover Artist: Jay

Table Of Contents Artist: Rita

French

Rita French knew two things from a very young age. She knew that she would be a photographer, and she knew that she belonged in Hawai‘i.

“I was the kid running around with my parents little Brownie camera,” she says. “I was 7 years old in South Dakota, looking out my bedroom window in the blowing snow and thinking to myself, someday I will move ‘home.’ Although I had never been to Hawai‘i, I knew deep in my soul it was home. It only took me 55 years!”

Rita has lived on Hawai‘i Island for about 10 years now. For the most part, her photography is best defined as the things that stir her soul. She is also available for weddings and portraits.

KeOlaMagazine.com | July-August 2017

With a degree in Architecture and a Masters of Photography, Jay Takaaze has been a professional photographer in Hilo for over 40 years. He is recognized both statewide and nationally, garnering numerous awards for his photography.

Jay has been a partner with his brother Reed at Reed and Jay Photography. Over the years he has photographed literally thousands of school photos, senior, family and business portraits, weddings, sports, events and almost anything you can think of here on Hawai‘i Island.

“When we started we knew almost zero about photography and business. We were just fascinated by photography and naive enough to just plunge in, learning as we went. When I look back on how we started I am truly amazed we ever made a go of our business and know somebody was watching out for us. It is so gratifying to have memorialized so many milestones for island families. I did not realize, before starting out on this career path, how many people I would come in contact with and how many lives we would affect. So many times people will stop me and say, 'Hey you the guy from Reed and Jay’s!'”

For the most part, Jay has been a portrait photographer and only after selling their business in 2006 has he been concentrating on local landscape photography. “I enjoy getting up while it’s still dark and heading out looking for that sometimes elusive sunrise or whatever nature will serve up that particular day. It’s a challenge and sometimes takes you to remote areas that I had never been to before. Landscapes and grandkids—just love it!”

There has been a demand for his photography, so much so that Jay and Reed will be opening up a gallery to showcase their art within the next couple of months.

“Growing up on the Onomea Sugar Plantation in Pāpa‘ikou, we were always outdoors and all of nature was our back yard. There is such beauty and uniqueness here to share, expressing the love and appreciation my family and I have for our home.”

Takaaze

Contact Rita via Facebook, email at anelahonu@gmail.com, or call 808.308.1865. 75

Hilo’s historic waterrront district is home to landmark buildinns, unique shops, restaurants, alleries, museums, cultural and interpreeve centers, and lots oo reen space. You’ll nd shoppinn, dininn, and entertainment, served local-style. Want to experience aloha? Come to Hilo! more – Check out the new Find out mo online resource: downtownhilo.com

KeOlaMagazine.com | July-August 2017

A project oo the Hilo Downtown Improvement Associaaon

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Crossword Puzzle | By Myles Mellor

Enjoy this crossword that tests your knowledge about what you read in this edition of Ke Ola Magazine, including the ads, while learning about Hawaiian culture and our island home! Some answers are in English, some are in Hawaiian. Feel free to use the Hawaiian reference library at wehewehe.org. Answers can be found on page 81.

Your feedback is always welcome.

HIeditor@keolamagazine.com

Down 1 Poi has a ____-like texture 2 Testing area 4 Requests 5 Kalani Pea’s debut album which won Regional Roots Grammy 6 Part of necklace 7 Host an event 8 Have some poi, for example 10 Art___ (creator) 14 Iconic feature of the Lili‘uokalani Gardens that was restored, 2 words 15 Home of the Lili‘uokalani Gardens 16 Treat with contempt in Hawaiian 17 Like many Hawaiian reefs 19 Do, ray, __, fa, so- in music 20 ____ Ortaleza, working with Hawai‘i Island's non profit Full Life, helping adults with disabilities live a fuller life 22 Artistic inspiration 23 ____ communication (open communication to solve issues and provide fresh ideas) 24 Hawaiian traditionalist singer and musician, Darlene 26 Summer musicals director, ____ Bond 27 ___man® Triathlete 31 Manta ____ 32 Number 4 in Hawaiian

KeOlaMagazine.com | July-August 2017

Across 1 Fire Goddess 3 Offering or sacrifice in Hawaiian 5 Fall back, as a tide 7 Lap up water, in Hawaiian 9 Director of the Hawai‘i Plantation Museum

in Pāpa‘ikou, Wayne _____ 11 Hawaiian mountain crowned with a 50,000

acre forest 12 “___ the season to be jolly” 13 Soil 16 Organization producing summer musicals, abbr.

18 Hawai‘i Community College’s project that

provides training to students and homes

for the community, 2 words 21 Note in music 23 To hit in Hawaiian 24 Land area 25 Calmed in Hawaiian 26 Formerly a major Hawaiian crop 28 You and me 29 Beneath 30 There are 3 in a thousand 32 50th US state, abbr.

33 Period of time in Hawaiian 34 Length of life 35 “____ i ke kumu” Hawaiian proverb

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Colette's Custom Framing Inc. - Kailua-Kona No matter what kind of memory or work of art you’re trying to display, choosing the right frame can be a daunting task.

At Colette’s Custom Framing, Colette Walton brings an expert eye and years of experience to pick the perfect frame for each customer. Born into the business, Colette started working for her parent’s framing shop as a teenager in Ventura, California.

She learned the business inside and out, apprenticing alongside her father to learn the craft of framing. Some 40 years later, Colette still strives for perfection in every job.

In 1999, Colette and her husband David opened Colette’s Custom Framing in Kailua-Kona. The shop has a range of custom framing options including mango and koa wood frames, and it also offers local artwork for sale. The artists corner at Colette’s Custom Framing showcases local artists with a selection that changes frequently.

Sending artwork as a gift or bringing home a special piece from vacation couldn’t be easier at Colette’s Custom Framing.

Colette and her team are experts in securely crating small to sizeable works of art and are experienced in shipping all around the world. The shop is also used by other local galleries to package and ship to the mainland and beyond.

Colette’s Custom Framing is experienced in working with local interior designers, picking the highest quality frames to suit the piece while staying on budget. They frequently work in bulk orders outfitting hotels and office buildings, as well.

Professionals and hobbyist photographers alike prefer Colette’s Custom Framing for their canvas transfer needs.

The shop can expertly transfer photographs to canvas—with or without gallery wrapping. Also offered is the increasingly popular

ColorPlak treatment which is an alternative to the traditional picture frame. ColorPlak is where an image is mounted onto fiberboard and heat sealed under pressure. The result is a vinyl laminated non-glare image that can be hung without a frame.

Preserving family heirlooms can be difficult on Hawai‘i Island.

Moisture and sunlight damage photographs causing fading and yellowing. Conservation and museum quality glass protection can help defend those memories from the harsh climate.

Whether mounted or placed in a shadow box, Colette and her staff assist customers with picking out the best quality glass protection for each setting.

Colette’s goal is to make sure every project exceeds her customer’s expectations. From family heirlooms to large scale photography, Colette and her team offer fine craftsmanship with quality materials. They offer a variety of frame styles including antique, modern, and rustic, ensuring each client a personal touch to make their piece a standout work of art. At Colette’s Custom Framing, finding the perfect frame has never been easier.

Colette’s Custom Framing Inc. 74-5590 Eho St., Kailua-Kona HI 96740 808.329.1991 colettescustom@hotmail.com Monday-Friday 8:30am–4:30pm Saturday 10am–2pm

Darlene Ahuna • Ben Kaili • Bert Naihe Diana Aki • Braddah Walter • Randy Parker Kainani Kahaunaele • Bula Kailiwai Hula Halau Keolu Makanai O Mauna Loa And Many More • 10 Performances Per Day!

Petroglyph Press - Downtown Hilo Petroglyph Press is Hilo’s family-owned hometown book publisher, with more than 50 Hawai‘i-focused titles published over the company’s 55 years.

Harvard-trained engineer Stephen Reed came to Hilo to work for Hilo Sugar Co. and C. Brewer. Following entrepreneurial instincts that were cultivated on his family farm in Pennsylvania before making his way to Hawai‘i, he bought a printing press in Honolulu, shipped it over and set up a commercial printing company in September 1962 on the corner of Haili Street and Kamehameha Avenue in Downtown Hilo.

Stephen’s wife Frances was a librarian at Hilo Library from 1958-68, when she became aware of important books about Hawai‘i that had gone out of print. Petroglyph Press began to reprint them. Eventually, original works by local authors were added to the press’ repertoire.

Stephen and Frances’ son, David Reed, was active in the business from the beginning and took over in 1974. David grew up in Hilo and was immersed in the printing trade, learning on equipment ranging from an old-style platen press, to offset printing, and into the digital machines of today.

David’s wife Christine came to Hilo from San Francisco, and they married here in 1976. Her voracious reading and inquiring mind, as well as her training in photography, art, and graphics, have made her the proofreader and editor for the press. Her responsibilities include marketing, management, purchasing, and community outreach.

Through the years, the duo has expanded what was once a small printing operation into a publishing enterprise and a popular retail bookstore—Basically Books, which will be 32 years old in November. David and Christine’s daughter Stacey is also working with Petroglyph Press now, making it a threegeneration family business.

As interest in the history and culture of Hawai‘i has grown, Petroglyph Press books have continued to fulfill the need for local readers and scholars, as well as inquiring visitors. In June, one of their books won the Hawai‘i Book Publishers Association’s Ka Palapala Po’okela Award of Excellence in Children’s Literature: ‘Iwa, The Hawaiian Legend by Dietrich Varez.

Petroglyph Press’ two most recent projects combined Dietrich’s contemporary art with the century-old writings of folklorist William Westervelt. The depiction of historical and mythological characters in Dietrich’s signature block prints and oil paintings have been inspired by research into writings of early scholars, including Westervelt. This is the fifth of Dietrich’s books they've published, and a newly established relationship with the Westervelt ‘ohana will help return more of his historical writings to print.

In addition to book publishing, Petroglyph Press continues to operate as a commercial printing service, with copy, fax and email services. From design through printing, binding, and distribution, all books are produced entirely at the facility in Hilo—still in the original location.

Petroglyph Press books are available on Hawai‘i Island at Basically Books, Kona Stories, Bell Book and Candle, Sweet Wind, Big Island Book Buyers, and Hilo Bay and Kona Bay Books, as well as book and gift stores throughout Hawai‘i.

Petroglyph Press 160 Kamehameha Ave., Hilo / 808.935.6006 PetroglyphPress@hawaiiantel.net / PetroglyphPress.com

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

Akamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Island of Hawai‘i Visitors Bureau gohawaii.com/hawaii-island hawaii-island@hvcb.org 800.648.2441

Konaweb

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

Aloha Theatre–Kainaliu Aloha Performing Arts Company

KeOlaMagazine.com | July-August 2017

ApacHawaii.org info@apachawaii.org 808.322.9924

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For advertising info: East Hawaii 935-7210 West Hawaii 329-1711

808-886-6666 HawaiiOceanSports.com

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Food Hub Kohala

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

Friends of NELHA

FriendsOfNelha.org 808.329.8073

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

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

Holualoa Village Association HolualoaHawaii.com

Honoka‘a People’s Theatre HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

Hulihe‘e Palace Wilhelmina’s Tea DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

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

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

Kailua Village Business Improvement District HistoricKailuaVillage.com kailuavillage@gmail.com 808.326.7820

Kalani Oceanside Retreat Kalani.com 808.965.0468

Kona Historical Society KonaHistorical.org khs@konahistorical.org 808.323.3222

Kona Choral Society

KonaChoralSociety.org 808.334.9880

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

West Hawai‘i County Band

Kona Stories Bookstore

Palace Theatre–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

KonaStories.com ks@konastories.com 808.324.0350

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

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

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

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

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

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

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

CROSSWORD SOLUTIONS

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

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

handcrafted by Manu Josiah

HawaiianHeartWoods.com 808-895-0850

KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona Commons Shopping Center KonaCommons.com 808.334.0005

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events.html 808.885.9501

KeOlaMagazine.com | July-August 2017

• luminescent • sustainably sourced • made on Hawai‘i

Keauhou Shopping Center

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

Community Kökua

AdvoCATS

Kona Vistas Recreational Center 75-6350 Pualani St, Kailua-Kona 3rd Saturday, 1pm Trap, neuter, spay, community education, colony feeding, management.

Contact Stephanie or Nancy advocatshawaii@aol.org 808.327.3724 advocatshawaii.org

Boys & Girls Club of the Big Island

Hilo, Kea‘au, Pāhoa, Pāhala Oceanview, Hāmākua Monday–Friday, 2:30–5pm Volunteers needed for after-school youth programs 808.961.5536 Bgcbi.com

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd Thursday of the month 1–2:30pm Men and women who support the mission of Daughters of Hawai‘i.

Contact Geri Eckert hulihee@daughtersofhawaii.org 808.329.9555 DaughtersofHawaii.org

Volunteer Opportunities CommUNITY cares

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm Community suffering from cancer, medical hair loss, domestic abuse.

Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

Hōlualoa Hōlualoa Foundation for Arts and Culture Tuesday–Saturday, 10am–4pm Volunteers help in arts education program.

Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

Friends of Amy B.H. Greenwell Ethnobotanical Garden

Captain Cook Saturday, 9am–noon Volunteers needed to help with weeding, trimming and maintenance of the gardens.

Contact Peter 808.323.3318 or 808.936.6457 kaluulu@hawaii.rr.com Facebook.com/Friends-of-Amy-Greenwell- Ethnobotanical-Garden-761479683986161

Friends of Lili‘uokalani Gardens

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

Friends of NELHA

East Hawai‘i Cultural Center/HMOCA

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

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

808.329.8073 EnergyFutureHawaii.org

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

Hāmākua Youth Foundation, Inc.

Hāmākua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30pm Wed. 1–5:30pm, Thu. 2–8pm Serving Hamakua’s school-age kids.

Contact T. Mahealani Maiku‘i HamakuaYouthCenter@gmail.com 808.775.0976 HamakuaYouthCenter.wordpress.com

Hawaii Literacy/Kona Literacy Center Bougainvilla Plaza, Kailua-Kona Ongoing at various times Kona Literacy provides free, one-to-one tutoring for English speaking adults.

Contact Lisa Jacob lisa.jacob@hawaiiliteracy.org HawaiiLiteracy.org

Hawai‘i Island Humane Society

Kona Shelter, Kailua-Kona Monday–Saturday, 9am–5pm Need volunteers 16 or older, parent/child team 6 or older.

Contact Bebe Ackerman volunteer@hihs.org 808.217.0154Hihs.org

“Celebrating over 25 years of Aloha, sharing Hawaii’s Best”

KeOlaMagazine.com | July-August 2017

We are the Exclusive Retailer of These Locally Made Products and Much More!

82

Manuheali`i

Aloha Clothing

Simply Sisters

Cowboy Gang

“Pure Paniolo Pride”

Aloha Grown

Parker Ranch Logo Wear

808.885.5669 67-1185 Mamalahoa Hwy, Waimea

www.ParkerRanchStore.com

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

Community Kökua

Hawai‘i Wildlife Fund

Wai‘ōhinu Coastline, Ka‘ū SE Hawai‘i Island beach cleanups.

Ongoing 7:45am Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

Hospice Care

North Hawai‘i Hospice, Waimea Monday–Friday, 8am–4:30pm Care for families facing serious illness.

Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

Hospice of Hilo, East Hawai‘i

Serving Laupāhoehoe to South Point Ongoing Seeking volunteers to provide staff support and care to patients and families.

Contact Jeanette Mochida jeanettem@hospiceofhilo.org 808.969.1733 HospiceOfHilo.org

Volunteer Opportunities ‘Imiloa Astronomy Center of Hawai‘i

Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership.

Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

Kahalu‘u Bay Education Center

Kahalu‘u Beach, Kailua-Kona Daily 9:30am–4:30pm ReefTeach Volunteers educate visitors on reef etiquette and protection.

Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

Kalani Retreat Center

Kalapana Varied Schedules Seeking volunteers: skilled trades/ maintenance, housekeeping, kitchen, horticulture.

Contact Volunteer Office volunteer@kalani.com 808.965.7828 Kalani.com/volunteer

Kohala Animal Relocation & Education Service (KARES)

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events.

Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

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

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots.

Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

Rainbow Friends Animal Sanctuary

Kailua-Kona Seeking volunteers for help with box office and ushering at our concerts.

Contact John Week info@KonaChoralSociety.org 808.334.9880 KonaChoralSociety.org

Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork.

Contact Mary Rose mail@rainbowfriends.org 808.982.5110 RainbowFriends.org

Kona Toastmasters

Snorkel Day for People with Disabilities

Kona Choral Society

Kailua-Kona 1st and 3rd Tuesdays, 6pm Lynn Bell contact@konatoastmasters.com 808.989.7494 KonaToastMasters.com

Ku’ikahi Mediation Center

Hilo Ongoing Become a volunteer mediator via Basic Mediation Training and apprenticeship. info@hawaiimediation.org 808.935.7844 ext. 5 HawaiiMediation.org

Lions Clubs International

Various Locations, Kailua-Kona 2nd Tuesday, 5:30pm “We Serve” is the motto of Lions Clubs International.

Contact Lani 808.325.1973 lanika@hawaii.rr.com

Make-A-Wish Hawaii

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

Kohala Welcome Center, Hāwī Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha.

Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha

Hilo Coffee Mill, Mountain View Ongoing Seeking volunteers to create the Carousel of Aloha Pavilion.

Contact Katherine Patton carouselofaloha@gmail.com 808.315.1093 CarouselOfAloha.org

Sundayʻs Child Foundation

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide.

Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

The Pregnancy Center

Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support.

Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

Therapeutic Horsemanship of Hawaii Kailua-Kona Volunteers are the heart and soul of this program. All levels of expertise needed.

Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

Visitor Aloha Society of Hawai’i Island (VASH) Islandwide Ongoing Volunteers need to provide assistance to visitors who experience misfortune while visiting Hawai’i Island. Training provided.

Contact Phoebe Barela west@vashbigisland.org 808.756.0785 Kona 808.756.1472 Hilo VashBigIsland.org

KeOlaMagazine.com | July-August 2017

North Kohala Community Resource Center

Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed.

Contact Hannah Merrill snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

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Hawai‘i Island Farmers Markets East

Tuesday 2:45–5:30pm Hakalau Farmers Market Live music by: Alternative Medicine Bank Hakalau Veterans Park

West

1st and 3rd Friday of the month 4pm–8pm Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd. Hōnaunau Saturday 8am–noon * Keauhou Farmers Market, Keauhou Shopping Center, Keauhou.

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

Saturday 9am–noon Hōlualoa Gardens Farmers g Market 76-5901 Māmalahoa Hwy, Hōlualoa.

KeOlaMagazine.com | July-August 2017

Friday 9–5 * Sunday 9am–2pm * Pure Kona Green Market g Kealakekua, Amy Greenwell Ethnobotanical Garden.

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

Wednesday 9am–2pm Ho‘oulu Community Farmers g Market, Sheraton Kona Resort at Keauhou Bay.

Wednesday–Sunday 7am–4pm Kona Village Farmers Market, corner of Ali‘i Drive and Hualālai Rd.

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

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

Saturday 7am–noon Waimea Hawaiian Homestead Farmers Market, 67-1229 Māmalahoa Hwy at Lindsey Rd, Waimea. Behind the post office across from Kahilu Theatre.

Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, at Hawaiian Homelands office, Waimea.

Saturday 7:30am–2pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg.

Sunday 9am–2pm * Hāmākua Harvest Farmers g Market, Honoka‘a Hwy 19 and Mamane St. Sunday 9am–1pm Laupāhoehoe Farmers Market.

Next to the Minit Stop on Hwy 19.

Daily 8am–5pm Pana‘ewa Hawaiian Home Lands Farmers Market, Pū‘ainakō and ‘Ohu‘ohu Streets by Walmart, Hilo.

Sunday, Monday, Tuesday and Thursday 7am–4pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors.

Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors.

Tuesday and Friday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic.

Saturday 7am–noon * Kino‘ole Farmers Market.

Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo.

Wednesday 9am–4pm Waimea Mid-Week Farmer’s g Market at Pukalani Stables, site of the Paniolo Museum.

Pukalani Road in Waimea.

Sunday 7am–2pm Pāhoa Village Farmers Market, Nānāwale Community Longhouse.

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

Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe.

Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo.

Saturday 8am–noon * Outer SPACE Ho‘olaule‘a at Uncle Roberts ‘Awa Club, Kalapana.

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

Saturday 10am–3pm Hawaiian Acres Farmers Market Hawaiian Acres Community Center, 16-1325 Moho Rd., Kurtistown 8am–1pm * Hilo Coffee Mill, g 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

South

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

Saturday and Wednesday 8am–2pm Nā‘ālehu Farmers Market, Ace Hardware lawn.

Wednesday Sunday 2-6pm 6am–2pm * Kona Sunset Farmers Marketg Maku‘u Farmers Market, 74-5511 Luhia St (HPM Kea‘au-Pāhoa bypass road.

84 parking lot). * EBT accepted: KohalaCenter.org/ebt/markets.html • g Dog Friendly • Please send info on new markets or changes to sharon@keolamagazine.com

Kïlauea Lodge Volcano Village

Celebrating a Long Time Advertiser

rooms offer balconies, fireplaces, and common rooms. In addition, there is a relaxing hot tub for guests to enjoy.

The lodge’s restaurant is open for breakfast, lunch and dinner nightly, as well as Sunday brunch. Owner-Chef Albert offers a menu which reflects a marriage of his European background and local flavors. Kīlauea Lodge dinners are well known for Albert’s specialty, European favorites like hasenpfeffer, antelope, and duck. There’s always fresh fish from deep Hawai‘i Island waters, too. The Fireplace of Friendship, with its precious collection of artifacts, provides the setting for the meals.

For special events, the restaurant can accommodate private dining or meetings with seating for 22 or standing room for up to 30 people in the Kīpuka Room. The lush grounds, complete with gazebo and vast lawns, are the perfect setting for an outdoor wedding surrounded by green tropical forests.

Kīlauea Lodge 19-3948 Old Volcano Rd., Volcano Village 808.967.7366 stay@kilauealodge.com kilauealodge.com

KeOlaMagazine.com | July-August 2017

A rustic lodge built as a children’s camp nearly 80 years ago is now home to one of the most unique lodging experiences in Hawai‘i: Kīlauea Lodge in Volcano Village, just outside Hawai‘i Volcanoes National Park.

Originally built in 1938 for the YMCA, Camp Hale O Aloha was a gracious ten-acre retreat. Thousands of youngsters experienced Kīlauea’s wonders by day and, warmed by the fireplace, told stories by night. In October of 1938, four hundred people from around the Territory of Hawai‘i gathered at the camp for the dedication of a unique fireplace: The International Fireplace of Friendship. With its stones from 32 nations and coins from all over the world, the fireplace was the brainchild of Harold Lucas, the YMCA camp director in charge of construction at Camp Hale O Aloha.

Purchased by Lorna and Albert Jeyte in 1986, Kīlauea Lodge was refurbished to welcome visitors from all over the world.

Locally raised, Lorna taught school before making a mid-life switch to inn keeping. German born Albert, an Emmy awardwinning make-up artist, and Lorna bought the property on their honeymoon.

Kīlauea Lodge is only one mile from the entrance of Hawai‘i Volcanoes National Park, and offers nearby volcano explorations, hiking, birdwatching, wine tasting, golfing, and much more. The lodge offers twelve rooms on property as well as four off-property vacation rental cottages nearby. Several

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MARKET PLACE ACCREDITED BUYERS REPRESENTATIVE

Island Clutter Consignment Shoppe

Talk Story with an Advertiser

BOOKKEEPING

KeOlaMagazine.com | July-August 2017

LAND SURVEYING

86

MARKETING HELP

Island Clutter is a locally owned and operated consignment shop in Waikoloa Village that features Hawaiian and globally inspired furniture, collectibles, Hawaiiana, art, books, and jewelry.

“I have always enjoyed seeking out interesting items for myself, and I believe that the older collectibles have more soul,” says proprietor Kathleen “Kat” Berman. “I previously sold vintage and antique items on the mainland for years, and my favorite places to purchase were consignment stores.”

Kat has lived in Waikoloa Village since 2008 with her husband Dan, who is the General Manager of Hawai‘i Forest & Trail/Kohala Zipline. Their son Dakota is a graduate of Hawai‘i Preparatory Academy in Waimea, and daughter Alexa is a graduate of the University of Hawai‘i at Mānoa. Alexa just completed a two-year course in Ayurveda in Colorado. Two cats and “the happiest dog in the world” adopted from the Hawai‘i Island Humane Society round out the Berman ‘ohana.

Kat wanted Island Clutter to be in the Village, close to home—there is nothing like working in your own community, she says. It helps that Waikoloa Village is home to many folks moving to and from Hawai‘i, and in the course of moving, many fabulous things find their way to Island Clutter.

Consignors can check their account at any time online, so they don’t have to live on island to consign.

Shoppers enjoy visiting often, because new items arrive all the time. The consignments are either new, new-ish, vintage, or antique in excellent to very good condition. Kat also gets more tourists visiting Island Clutter than she originally expected—while visiting the Waikoloa Highlands Shopping Center, they purchase something to remind them of Hawai‘i and ship it home.

Items which don’t sell that their owners don’t want back get donated (with owner’s permission, of course) to the Dusty Donkey Emporium thrift shop in Waikoloa. It is a win-win situation for everyone—consignors receive a tax write off, and the thrift store supports the Waikoloa Dry Forest Initiative. In any case, helping people pass their things to the next person who will enjoy them is Kat’s contribution to recycling and upcycling, keeping the island that she loves beautiful.

“My favorite part of the business are my customers,” Kat says. “Most of my customers are local, and I have made many new friends. They are knowledgeable about many things, and I am constantly learning. I love helping people!”

Island Clutter Consignment Shoppe Waikoloa Highlands Shopping Center 68-1845 Waikoloa Rd. Waikoloa, HI 808.883.8004 islandclutter@gmail.com islandclutterconsignmentshoppe.com

Organo Gold's Russell Ili

MARKET PLACE MORTGAGE BROKER

Talk Story with an Advertiser Russell Ili is all about health and growth. Collegiate study of botany combined with traditional training in la‘au lapa‘au (Hawaiian natural medicine) led Russell to an entrepreneurship opportunity that combined both.

Russell attended the University of Hawai‘i at Mānoa for Hawaiian studies, but he was always attracted to the native plants around him. “I spoke with Dr. Isabella Aiona Abbott, a botanist, the first Hawaiian woman to get her Ph.D. in science.

I told her I was interested in the plants but had no plant background.” Dr. Abbott encouraged Russell to pursue his interest, and pursue he did: he earned a Master’s degree in botany, and is working on his Ph.D. in ethnobotany.

He also got trained in traditional Hawaiian natural medicine by a master. “I was fortunate to be a haumāna of Papa Auwae,” Russell says. “Seeing the power of la‘au lapa‘au and plants in healing helped me decide to go into the Organo Gold business.”

With his botanical and medicinal training, Russell joined the Organo Gold business at the invitation of a classmate. It brought together his love of plants and health.

“Organo Gold is a health and wellness company that uses coffee as a vehicle for special ingredients,” Russell says. The primary special ingredient in the coffee: Ganoderma lucidum, a large, woody, and tough mushroom used for herbal remedies.

More commonly known as reishi or lingzhi, the mushroom is understood to have beneficial effects on the immune system, cardiovascular system and prostate gland.

Organo Gold is Russell’s first business venture, now in its fifth year. Prior to joining Organo Gold, Russell taught preschool at Pūnana Leo O Honolulu for nine years, as well as teaching students of various ages about native plants. He appreciates the flexibility that his business allows him as the father of seven children, ranging from age 21 down to 7.

Russell’s biggest piece of advice for entrepreneurs on Hawai‘i Island: “Learning how to be a businessman, and how to run a business, is a lot about personal development. You have to invest the time in making connections. It isn’t about dog-eatdog.”

These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.327.1711 x1.

WEBSITE CREATION

VETERINARY SERVICES

KeOlaMagazine.com | July-August 2017

Russell Ili, Independent Distributor Organo Gold 808.349.0045 ili.myorganogold.com

REALTOR ®

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Advertiser Index

Accomodations Kamuela Inn Kïlauea Lodge Holualoa Inn Malulani Pavilion Activities, Culture & Events

38 12 83 8 30 58 67 78 24 83 39 76 19

Art, Crafts & Jewelry Akamai Art Supply Barbara Hanson Polymer Clay Artwork Blue Sea Artisans Cliff Johns Gallery/Champions Wood & Fine Art Colette’s Custom Framing Dovetail Gallery & Design Glyph Art Gallery Harbor Gallery Holualoa Gallery Holualoa Ukulele Gallery Isaacs Art Center ( Hawaii Preparatory Academy) Ipu Arts Plus Kimura Lauhala Shop Kona Frame Shop Mountain Gold Jewelers Nizo Natural Precision One Gallery Pat Pearlman Designs Simple Elegance Gems Tiffany’s Art Agency Volcano Art Center

43 23 53 21 38 22 23 3 22 22 44 22 19 42 12 44 76 22 18 61 20

Precision Auto Repair Schneider Services Mobile Motorcyle Service

KeOlaMagazine.com | July-August 2017

34 16 23

Aloha Performing Arts Co. Catching your Inner Fire with Rosalyn Bruyere Emily T Gail Show FairWind Big Island Ocean Guides Friends of Lili’uokalani Gardens Events Benefit Golf Tournament Kona Historical Society Hawaiian Coastline Adventures Hilo Slack Key Festival ‘Imiloa Astronomy Center International Day of Mango Festival Ocean Sports Palace Theater Parker Ranch Rodeo

Automotive

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Mahalo to our advertisers! By recognizing the value of Ke Ola Magazine for their marketing, they enable us to perpetuate and immortalize these important stories that deserve to be shared. Please visit them (in person, online, or by phone) and thank them for providing you this copy. Without them, Ke Ola Magazine would not exist.

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Beauty, Health & Nutrition Alex's World of Beauty Big Island Body Contours Colloidal Silver made on Hawai’i Island Douglas Dierenfield, DDS Hawaiian Hands Healing Services Keary Adamson, LMT Jade McGaff, MD & Valerie Quijano, MD Joan Greco, DDS, Oral & Maxillofacial Surgery Maggie Connor, Certified Master Trainer North Hawai‘i Community Hospital Reiki Healing Arts West Hawaii Community Health Center Building, Construction & Home Services

Colette’s Custom Framing dlb & Associates Fire Ants Hawaii Fireplace & Home Center Hamakua Canvas Co, (Upholstery) Hawaii Water Service Co. Hawaii Electric Light Co. Indich Collection Hawaiian Rugs Hawaiian Heart Woods Kona Frame Shop Plantation Interiors, Teak Garden & Lanai Polynesian Development, Inc. SlumberWorld Furniture Statements Tai Lake Custom Furniture Water Works Yurts of Hawai‘i

Business & Professional Services

A.S.K. About Travel Action Business Services Aloha Kona Kids Employment Experts Hawaii Community Federal Credit Union Hawai‘i Island Adult Care Hui Ho’omalu Foster Care Services Paradise Web Services The UPS Store of Kamuela

Pets Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC

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

Ke Ola Magazine respects the individual use of these markings for names of organizations and businesses.

79 38 32 31 36 37 71 37 43 6 38 64 38 86 74 31 74 46 20 2 81 42 32 16 24 28 50 46 18 67 86 30 15 32 42 74 87 65 87 26

Real Estate Beverly Y. Crudele, RS, Clark Realty Cindy Griffey, RS, MacArthur & Co.|Sotheby’s Claire K. Bajo Spiritual Real Estate Coldwell Banker Day-Lum Properties Hamakua Coast Realty Kelly Shaw, RS, Koa Realty Kimi White, RB, Rainbow Properties Koa Realty Pacific Island Home Loans Pacific Isle Lending Group, LLC Paradise Found Realty

Restaurants & Food Daylight Mind Coffee House, Café & Bakery Food Basket “Da Box” Holuakoa Gardens & Café Kailua Candy Company Kohala Grown Market Kohala Village HUB Pub Lucy’s Taqueria Organo Gold Healthy Coffee & Tea Päpa‘aloa Country Store & Cafe Peaberry & Galette Standard Bakery Sugai Kona Coffee Sushi Rock & Trio WikiFresh

Retail & Gifts Basically Books & Petorglyph Press BTV Internet Streaming Device Calabash Collectibles Hands of Tibet Hawi ‘Ukulele Island Clutter Consignment Shoppe Kadota’s Liquor Keauhou Shopping Center Keauhou Store Kiernan Music Kings’ Shops Kona Boys Kona Commons Mana Cards Päpa‘aloa Country Store & Cafe Paradise Found Boutique Parker Ranch Store Puna Kamali‘i Flowers Queens’ MarketPlace The UPS Store of Kamuela

87 67 46 50 43 92 45 22 71 87 86 35 45 22 65 61 60 76 50 34 53 21 23 61 39

76 36 64 61 61 64 16 52 22 21 91 57 89 82 34 53 82 24 91 65

Send us your comments, letters, and photos!

KeOlaMagazine.com We accept email, snail mail, Facebook.com/KeOlaMagazine submissions through our website, Instagram.com/KeOlaMagazine or posts on Facebook.

LinkedIn.com/in/BarbGarcia Twitter.com/KeOlaMagazine HIeditor@KeOlaMagazine.com

UA MAU KE EA O KA ‘ÄINA I KA PONO. The life of the land is perpetuated in righteousness.

[Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the Hawai‘i state motto.

Publisher, Marketing, Operations Barbara Garcia Bowman, 808.329.1711 x1, Barb@KeOlaMagazine.com

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Ka Puana - Closing Thoughts Ke Aloha O Ka Haku Na Lili‘uokalani ‘O kou aloha nō Aia i ka lani A ‘o kou ‘oia‘i‘o He hemolele ho‘i

Ko‘u noho mihi ‘ana A pa‘ahao ‘ia ‘O ‘oe ku‘u lama Kou nani ko‘u ko‘o

No laila e ka Haku Ma lalo o kou ‘ēheu Ko mākou maluhia A mau loa aku nō

I live in sorrow Imprisoned You are my light Your glory, my support

Behold not with malevolence The sins of man But forgive And cleanse

And so, o Lord Protect us under your wings And let peace be our portion Now and forever more

‘Āmene

Amen

KeOlaMagazine.com | July-August 2017

Mai nānā ‘ino‘ino Nā hewa o kānaka Akā e huikala A ma‘ema‘e nō

90

Your loving mercy Is as high as Heaven And your truth So perfect

Ua laha këia mele ma ka inoa ‘o The Queen’s Prayer. Haku ‘ia na Lili‘uokalani ma ka makahiki 1895—‘elua makahiki ma hope o ka ho‘okähuli ‘ia o ke aupuni mö‘ï. Ma loko nö o ka noho pa‘ahao ‘ana ma ka Hale Ali‘i ‘o ‘Iolani, he hö‘ike këia mele i ko ke ali‘i ‘onipa‘a i ka huikala, ke aloha, ka mana‘o‘i‘o, a me ka mana‘olana.

Commonly known as The Queen’s Prayer, this mele was composed

by Lili‘uokalani in 1895—two years after the overthrow of the Hawaiian kingdom. Though she was under house arrest at ‘Iolani Palace, this composition demonstrates her steadfast commitment to the values with which she lived her life: forgiveness, love, faith, and hope.

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