May-June 2017 by Ke Ola Magazine

Hawai‘i Island’s Community Magazine

May-June 2017 Mei-Iune 2017

ARTS Dietrich Varez: Cultural Illumination CULTURE Kamehameha, The Great Unifier SUSTAINABILITY Flower Power: Green Point Nurseries

KeOlaMagazine.com | May-June 2017

Hawai‘i Island’s Community Magazine

May-June 2017 Mei-Iune 2017

Art 15

awai‘i Preparatory’s Isaacs Art H Center Exceptional art for an exceptional community. By Catherine Tarleton 48

Dietrich Varez A malihini’s legacy of illuminating Hawaiian culture and legend. By Paula Thomas

Featured Cover Artist: Garry Palm

Business 10

Flower Power The Tanouye family, Green Point Nurseries, and Hawai‘i’s flowers. By Fern Gavelek

41 96 Years Of Perseverance HPM Building Supply celebrates nearly a century in business. By Mālielani Larish 47

Managing with Aloha: Ho‘okipa is a Game Changer in Service By Rosa Say

Culture

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25 To Celebrate The King Kamehameha Day and Kamehameha’s legacy of aloha. By Jan Wizinowich

61 Taiko Drumming Taiko’s rhythmic enchantment and its rise in popularity on Hawai‘i Island. By Denise Laitinen

Food 23

ummertime Table: Smashed Potatoes S with Swiss Chard Chimichurri By Brittany P. Anderson

Health 65

A Story Of Ho‘oponopono By Harry ‘Uhane Jim

Keiki and Kupuna 31

auhala Weaving with Kupuna Art L Murata This teacher helped children understand their culture through weaving. By Karen Valentine 74

Summer Activities For Your Keiki

Land and Sea 54

To Ride The Wind Hawai‘i sailing canoes. By Jan Wizinowich

66 Kahua Ranch ‘Ohana Reunion Paniolo life reverberates in families generations after leaving the ranch. By Ma‘ata Tukuafu 76

Your Health. Our Mission.

ālama Honua Worldwide Voyage M Update

Music 70 The Resilient Randy Parker In 2013, his music fell silent as he focused on staying alive – and he's back. By Leilehua Yuen

Nonprofit 35 Beyond Shuffle Steps and Pointed Toes Kona Dance and Performing Arts creates more than great dancers. By Karen Rose

North Hawai‘i Community Hospital • Offering primary care, surgery, orthopedics, rehabilitation, OB/GYN and more • Conveniently located in Waimea

Aia Lā Ka Hale O Pele By Kumu Keala Ching

Departments Crossword Puzzle 81 Island Treasures 82 Hawai‘i Island Happenings 84 Community Kōkua 86 Farmers Markets 88 Talk Story with an Advertiser 89 Ka‘ao (Hawaiian Legends) 94

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KeOlaMagazine.com | May-June 2017

Spirit

From Our Publisher

From Our Editor

It’s my pleasure to introduce you to Ke Ola Magazine’s new editor, T. Ilihia Gionson. In some ways, Ilihia has been preparing for this position his entire career. His editing and publishing experience began with his high school yearbook, the first one produced for his alma mater, Ke Kula ‘O Nāwahīokalani‘ōpu‘u.

Mai Kumukahi a ka lā i Puna, a kahi wēlau ‘o Ka Lae i Ka‘ū a kahi wēlau ‘o ‘Upolu i Kohala, mai nā pali kū o Hāmākua mā a i kahi nāpo‘o o ka lā i Keāhole i Kona; mai nā papakū o nā awāwa kaulana ‘o Waipi‘o, ‘o Waimanu, ‘o Pololū, a i ka wēkiu la‘ala‘ahia o Mauna Kea kū kilakila; ke aloha iā ‘oe e ka mea heluhelu.

Interestingly, Ilihia and I have nearly crossed paths many times throughout the years. We’re both alumni of the former Hawai‘i Island Journal, although we worked there at different times. He was editor of UH Hilo and Hawai‘i Community College’s newspaper, Ke Kalahea, before I served on the Board of Student Publications which oversees it. We’ve also both been members of the Big Island Press Club, yet we really hadn’t started connecting until now.

Wherever you find yourself on our magnificent island, from where the sun first touches land at Kumukahi in Puna, to the southern tip of Ka Lae in Ka‘ū, to the northern tip of ‘Upolu in Kohala, from the soaring cliffs of Hāmākua, to the last point to see the sun at Keāhole in Kona; from the floors of our famous valleys Waipi‘o, Waimanu, and Pololū, to the majestic peak of Mauna Kea; my aloha to you, dear reader.

Since its beginning, Ke Ola Magazine has been blessed with an outstanding editorial team, and now, with Ilihia accepting the position of editor, Ke Ola Magazine is moving to its next level. I’m excited for the fresh ideas he’s bringing, along with his ‘ike kūhohonu (deep knowledge) about the ‘ōlelo (Hawaiian language) and mo‘omeheu (culture) of the island we all aloha. As everyone knows, I’m a malihini (newcomer) to this island, doing my best to preserve these important stories so they will be documented into perpetuity. Ke Ola Magazine’s importance becomes clear when we lose people we’ve featured in stories, such as the recent passing of kupuna Mary Ann Lim, who was featured in our Sep/Oct 2016 issue; Alaina DeHavilland, our May/Apr 2014 cover artist; and Gille Legacy, featured in our Jan/Feb 2012 issue. There are others who have recently passed, such as Alan Lakritz and Bruce Hanson, beloved East Hawai‘i community members, whose stories are just as inspiring. As we enter our next chapter of growth, we welcome our readers’ participation. Please send your story ideas via the link on our website; check our cover themes and submit cover images for consideration. Most of all, enjoy these stories! Barbara Garcia, Publisher

Whether you are tied to this ‘āina by your geneology, your history, or your inspiration, Ke Ola is truly the magazine for those whose source of life is Hawai‘i Island. Although I was born on O‘ahu, I am only two generations removed from this island. My family returned here when I was just five years old. I am connected to Laupāhoehoe, Waikahekahe, and Pana‘ewa by family; to Keaukaha, Kea‘au, and Waiākea by education; to Hāla‘ila‘i and Hōlualoa where I make my homes today. Your Ke Ola Magazine writers, photographers, and editorial team endeavor to celebrate the arts, culture, and sustainability of Hawai‘i Island. We work tirelessly to find and tell stories of the people, places, and happenings that make our island so special. We do all of this for you, our reader. All of this is made possible by our advertisers, many of them small businesses just like us. Please show your appreciation to our advertisers through your patronage and let them know you saw their ad in Ke Ola. It is truly an honor to be at your service as editor of Ke Ola Magazine. I look forward to the many stories we will share together!

KeOlaMagazine.com | May-June 2017

T. Ilihia Gionson, Editor

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

munity Magazine

Hawai‘i Island’s Com

May-June 2017 Mei-Iune 2017

The official magazine of

Anthurium Arrangement by Garry Palm See his story, page 73

ARTS CULTURE SUSTAINABILITY

ion Cultural Illuminat Dietrich Varez: er The Great Unifi Kamehameha, series Nur t Poin en Gre Flower Power:

From Our Readers You produce a fine magazine that consistently showcases the best of our Island home. As the years go by, I reflect on numerous others that failed in their attempts to provide the product that you have so effectively produced. We are all enriched by your efforts. I would like to accept your offer for renewing my advertising. – Verne Wood, Water Works, Hilo Mahalo Verne! I appreciate your comments! Your continued support enables us to share these important stories. – BG ____________________________ This [the March–April 2017] is the best issue yet! Love the new layout, easy to read and the cover is exquisite. Great job! – Phyllis Klicker, Waikoloa Mahalo Phyllis! The kudos go to our creative Design & Production team, Aaron Miyasato and Noren Irie. – BG ____________________________ E Ilihia, he mahalo iā ‘oe i kou ‘ae ho‘i e lilo i kanaka ho‘oponopono ma Ke Ola. He mea e ‘ike ai ka holomua ‘ana o ke keiki Kula Kaiapuni - eō! E ola mau ka ‘Ōlelo Hawai‘i. Ilihia, thank you for agreeing to join us as editor of Ke Ola. I am happy to see the progress of a student of Hawaiian Immersion. Let the Hawaiian Language live forever! – Kumu Keala Ching, Kona Mahalo ho‘i iā ‘oe, e ke kumu ē, no kou mana‘o aloha e ka‘ana nei ma nēia leka, a ma nā ‘ao‘ao kehakeha o Ke Ola. Ua ka‘ana iho nei ‘o Barb no kāu hana ho‘ola‘a i ka makamua o kēia pāhana, he ho‘omana‘o no ka pau ‘ē o ka ho‘ola‘a ‘ia i ke aloha a me ka na‘au pono e alu like pū ana. Nani wale nō! He ho‘oikaika pūalu mai koe! Mahalo to you, Kumu, for your mana‘o aloha in this email and in the pages of Ke Ola Magazine. Barb shared with me about the blessing over which you presided at the very beginning, where you said the project was already blessed by the aloha and good intentions of all those working on it. Beautiful! Together we can only grow stronger! – TIG

In the story Mr. Yuen Wong and the Wong Yuen Store (March–April 2017), we misstated that Mr. Yuen Wong was born in the Territory of Hawai‘i in 1880. In 1880, Hawai‘i was an independent kingdom under the rule of Kalākaua, recognized by treaties with many of the world’s nations. Ke Ola Magazine strives to tell the stories of Hawai‘i Island faithfully and accurately. If you find something in our pages that you believe needs correcting, please don’t hesitate to email our editor, ilihia@ keolamagazine.com.

KeOlaMagazine.com | May-June 2017

Corrections

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Spirit

Aia Lä Ka Hale O Pele Na Kumu Keala Ching ‘Ae, aia lā ka hale o Pele

There is a house of Pele

Aia lā ka hale o Pele Halema‘uma‘u i Kīlauea I uka a‘ela noho ka wahine Lā ‘eā, ‘eā, ‘eā

There is a house of Pele Halema‘uma‘u at Kīlauea Above indeed sits a woman Tralalala

Hōpoe lehua puni iā Hi‘iaka Lihilihi maila ‘o Halema‘uma‘u I uka a‘ela noho ka wahine Lā ‘eā, ‘eā, ‘eā

Robust lehua blossom adorn Hi‘iaka Upon the edges of Halema‘uma‘u Above indeed sits a woman Tralalala

Pā ahe ka makani ‘o Pu‘ulena Kīkaha maila ke koa‘e kea I uka a‘ela noho ka wahine Lā ‘eā, ‘eā, ‘eā

Soft wind, Pu‘ulena Soaring about is the Koa‘e Above indeed sits a woman Tralalala

Nani wale ku‘u ‘ike i Kīlauea He hale kaulana o Pele ē I uka a‘ela noho ka wahine Lā ‘eā, ‘eā, ‘eā

Kīlauea so beautifully observed A famous house of Pele Above indeed sits a woman Tralalala

Aia lā ka hale o Pele Halema‘uma‘u i Kīlauea I uka a‘ela noho ka wahine Lā ‘eā, ‘eā, ‘eā

There is a house of Pele Halema‘uma‘u at Kīlauea Above indeed sits a woman Tralalala

He mele kaulana ka hale o Pele

A famous song of the house of Pele

I ku‘u ‘ike wale ka nani o Halema‘uma‘u, he hale kaulana o Pele, pili ku‘u aloha o ia wahine lā. ‘O Pele ka wahine o ka lua, nāna nō i hō‘ike mai ka nani o ke ahi, ka nani o ka lehua i ka lihilihi o Halema‘uma‘u. Ia‘u e kū alo i ke alo i ka hale kaulana o Pele, hiki ia‘u ke ‘ike ka mana o ia wahine nei. Eō e Pele, ka wahine o ka lua, ka makuahine o ka ‘ōiwi, ke kūpuna o ka Hawai‘i, a pela wale aku. He aloha nō! As I observed the beauty of Halema‘uma‘u, the famous home of Pele, I fill with love for this woman. Pele, the woman of the crater, she reveals the beauty of the fire, the beauty of the lehua upon the edge of Halema‘uma‘u. When I stand face to face with the famous house of Pele, I am able to feel the spirit of this woman. Rejoice Pele, the woman of the crater, mother of generations, an elder of Hawai‘i, and on and on. Love indeed! Contact writer Kumu Keala Ching: kumukeala@nawaiiwiola.com

photo courtesy Keoni Williamson

Flower Power! I

by Fern Gavelek

t all started more than a half century ago. The late Harold Tanouye Jr. was a college student in Iowa. In those days, Hawai‘i students attending mainland colleges stayed off island for the duration of their studies. In a 2009 interview, Harold recalled, “I would visit with classmates over the holidays and so my mother sent along a box of anthuriums as a hostess gift. People raved about them; they couldn’t believe how long the flowers stayed fresh. They had never seen anything like it.” Little did Harold know that personally experiencing the “wow factor” of anthuriums eventually paved the way for his occupation and path as both a pioneer and visionary for the state’s floriculture industry.

KeOlaMagazine.com | May-June 2017

Putting Hawai‘i’s flowers on the map Upon returning from college, Harold searched to make his way in the world. The Hilo resident was itching to be part of the business and political movement that was touting everything Hawai‘i. It was 1964. “I was gung ho about Hawai‘i and wanted to do something for Hilo’s economic development,” Harold said. He left his father’s tire company and eyed the business of exporting. He checked into two commodities— fruit and flowers—and found the waxy, heart-shaped anthurium flowers prime for exporting. Harold developed 15 acres of plantings. For inventory, he went into abandoned fields and bought plants by the wheelbarrow load. In those days, floriculture was a Hawai‘i cottage industry and there were only three colors of anthuriums: red, light red and red-orange. To create a demand, Harold headed back to the Continental US. “I did a lot of walking,” he laughed. “I had boxes of flowers sent to my hotel and I took them with me to work on wholesalers.” Harold also stopped in at florist schools and impressed them with the exotic tropical bounty of longlasting ti leaf, ginger and anthuriums. “They were in awe,” he remembered. During his travels, the enterprising entrepreneur discovered wholesalers ran out of red flowers for Christmas and Valentine’s Day. Harold decided to target sales for those holidays. “I’d go visit in November so I was fresh in their minds when they needed flowers,” he detailed. On the road, Harold met a businessman who was exporting 10 gladiolas from Florida to Europe. In 1971, the man agreed to

take 25 boxes of large, red anthuriums to Rome. The result was an industry game changer. “I was shocked when he came back with a standing order of 2,000 dozen a week!” exclaimed Harold. “That was the biggest order anybody in Hawai‘i had ever heard of.” Harold went to work to increase flower production and improve packaging for shipping. This began the long partnership between the nurseryman and the University of Hawai‘i at Mānoa’s College of Tropical Agriculture and Human Resources (CTAHR). With the help of the late Tadashi Higaki, a CTAHR horticulture extension agent, Harold improved plant nutrition by using a slow-release fertilizer. He switched growing mediums, going from degradable sugar bagasse to volcanic cinder. The grower also put plants in shade cloth greenhouses, relying on a workable greenhouse design by an agriculture engineer. Always the innovator, Harold devised and patented a sealed cluster packing system that housed more product while keeping it fresh longer for shipping.

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Breeding Floral Beauties Once anthuriums became a credible export, infrastructure started coming together for the industry to thrive. UH led the effort to create new anthurium varieties with different colors, shapes and desirable traits like robust root systems, strong stems and longlasting blossoms. Harold partnered with UH’s Dr. Haruyuki Kamemoto to bring new anthuriums to market. A genetics flower breeder, Dr. Kamemoto collected anthuriums from Hawai‘i and international growers to provide germplasm for research. Along with other local nurseries, Harold’s Green Point Nurseries served as a CTAHR Advanced Testing location to monitor the viability and market for new hybrids. One of those was UH’s large, roseopal pink anthurium, the Marian Seefurth, which Harold claimed helped launch Green Point’s success. The cultivar was named after a UH research benefactor who loved anthuriums and often stayed at the Pink Palace, the Royal Hawaiian Hotel, in Waikīkī. Harold’s son Eric Tanouye attributes CTAHR for helping his dad achieve his early industry successes. Through the years, Harold earned multiple awards for his foresight and innovation, including the 1988 US Senate Productivity Award and the 1992 Hawai‘i Exporter of the Year. Since his father’s passing in 2013, Eric has been at the helm of Green Point Nurseries in Pana‘ewa and Kurtistown, which also involves sons Jon and Chris, plus a staff of over 50 employees. Like his father before him, Eric continues the partnership with CTAHR as Green Point is monitoring hundreds of test plants on any given day—a minimum of 200 each of up to 10 hybrids. The company not only provides greenhouse space and growing resources, it has a cultivating team who walks the 11 rows of CTAHR’s plants weekly,

The late Harold Tanouye and son Eric at Green Point Nurseries in 2007. photo by Fern gavelek

checking on certain characteristics such as growth vigor, flower longevity and disease resistance. It takes about 10 years to create, test, patent and release a new variety. Because of his support of UH Mānoa’s CTAHR, Eric will be awarded the prestigious Ka Lei Hano Heritage Award New UH raspberry-hued cultivar being tested at Green May 5 in Honolulu. It Point Nurseries. photo by Fern Gavelek is one of CTAHR’s top honors and the first time the award has been bestowed to a father (in 2011) and son. “Eric has not only been a main partner with UH, but also a key industry leader, working at the organizational level to represent floriculture and nursery as a whole,” says Kelvin Sewake, interim associate dean and associate director for CTAHR’s Extension Service. Kelvin, who served from 1989 to 2015 as a floriculture county extension agent, worked closely with both father and son concerning CTAHR’s breeding trials and other projects, such as educating farmers on effective control strategies for Contemporary use of tropicals fighting anthurium blight. makes this bouquet pop.

KeOlaMagazine.com | May-June 2017

photo courtesy of Green Point Nurseries

Challenges of Hawai‘i’s Floriculture Industry Hawai‘i’s statewide floriculture industry—comprised not only of cut and potted tropical flowers but also palms, foliage plants and landscape materials—is among the state’s top diversified agriculture industries, behind seed crops and aquaculture. In 2015, it recorded $67.4 million in sales, besting cattle, coffee and macadamia nuts according to the Hawai‘i Field Office of the USDA’s National Agricultural Statistics Service. While stats by county are no longer available, Hawai‘i Island claimed the lion’s share—more than half—of industry value in 2011. Ten years ago, the value of Hawai‘i’s floriculture industry was nearly $109 million. “For a long time, until 2007, floriculture was Hawai‘i’s number one diversified ag product,” points out Kelvin. “Then the recession hit, the industry lost market shares and fuel prices skyrocketed. Sales are now flat and we’re hoping they will recover with the industry’s marketing efforts.” To compete globally with cheaper foreign product that’s increasingly imported into the US, Hawai‘i’s industry focuses on providing more unique varieties of flora and a high quality product that outlasts competitors. That’s why CTAHR’s breeding efforts are so important to industry success. Eric is excited about the new anthurium colors UH is

creating, including a raspberry tone and a deep, “red dirt” (rusty) color. He says color is what helps the grower deliver the wow factor for discriminating floral designers and brides. “UH is getting into the analogous or in-between colors,” he explains. “These new hues accent the basic colors and are our future because our industry is fashion-orientated. We need new, bright and exciting looks for our plants.” To florists, analogous colors better connect the elements of floral design. These in-between tones can connect a red flower to an orange, and then to a yellow. They encourage the eye to transition among the primary colors. Eric likens it to sizing up a person from head-to-toe. “When looking at someone, your eye starts at the top and goes down, then looks left to right,” he shares. “It’s the same with flowers. You want the eyes to look over the floral design and end up on the focal part of the arrangement. Color does that; it makes design art.”

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Evolving Market Demand and Commodity Unification In addition to promoting product development, Eric has been instrumental in helping the industry evolve to create a specialized market demand while unifying different flower and foliage commodities. He helped launch the Hawai‘i Floriculture & Nursery Association (HFNA) in 2010, a statewide organization representing about 400 growers, processors and distributors of Hawai‘i nursery products. Eric says HFNA provides members with a unified voice for more clout when negotiating legislative issues and shipping rates. Currently serving as HFNA president, he says Green Point has been very dedicated in time and resources to HFNA because in the words of his father, “With the incoming tide, all ships rise.” “My dad said we shouldn’t be afraid to invest in the industry or have other growers succeed because we are all part of the industry, and so Green Point will benefit too.” In addition, HFNA pools its resources to market the floriculture UH's cultivar Tropic Sunrise. photo by Fern Gavelek industry as a whole to a specialized market of floral designers and buyers. “It used to be we put out product through traditional wholesalers and mass market sales,” details

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Eric. “Now we provide product to satisfy and attract designers who are beautifying special events and interior spaces.” Eric adds that professional florists seek novel products to bring new shapes, colors and textures to innovative arrangements. To show what Hawai‘i has to offer, the industry has collaborated with renowned designers like Canadian Hitomi Gilliam, AFID, and Holland native Rene Van Rems, AFID, to garner international exposure and prestige for Hawai‘i tropicals. These top-notch designers travel to flower and trade shows to offer workshops extolling the quality of Hawai‘i’s products and how to use them. One of the most visible marketing efforts of HFNA is the “Hawai‘i Neotropica-Grown with Aloha!” brand and website, hawaiineotropica.com. Through photos and videos, the website illustrates Hawai‘i’s unique and spectacular flowers and foliage, and how to use them. Hawai‘i Neotropica emphasizes a new trend in floral design and interiorscape using tropicals in a fresh and fun way. In an effort to show Hawai‘i’s floriculture products are “Grown with Aloha!,” HFNA sponsors reverse trade missions to bring North American buyers to Hawai‘i to visit member nurseries and attend the Hawai‘i MIDPAC Horticultural Conference and Expo. While in the islands, buyers experience first-hand the extra care that goes into Hawai‘i tropicals while personally meeting growers and seeing product. Green Point is one of the nurseries visited, which at any given time is growing 40 different, commercial-ready varieties of anthuriums—including the prized, multi-colored obakes—in its 30 acres of greenhouses. Also available is the world’s first scented anthurium, UH’s Princess Aiko; it bears a dainty, tulip-shaped flower with a fleeting scent. For info on Green Point’s many offerings, visit greenpointnursery.com or hawaiiangreenhouse.com. Musing on the industry’s efforts, Eric concludes, “The winds of change will continue to challenge us with the need to do things differently… we need to be able to take advantage of technologies to make production more efficient while satisfying the ever-changing demographic of our customers.” Contact Green Point Nursery: greenpointnursery.com Contact writer Fern Gavelek: ferng@hawaii.rr.com

KeOlaMagazine.com | May-June 2017

UH Advanced Testing plants at Green Point Nurseries. photo by Fern Gavelek

Exceptional Art for an Exceptional Community:

Hawai‘i Preparatory Academy's By Catherine Tarleton

he Herb Kawainui Kāne painting is what draws me in. From the front door of the Isaacs Art Center, “Cook Landing at Kealakekua Bay” is like a window I need to look through. There must be hundreds of people in this painting. I walk up to it, into it, meeting the canoe passengers in the foreground: the elder in kapa with tattooed face, paddlers in malo, smiling women with feather lei and kukui nuts. A chanter greets Discovery, his companion holding a black pig. English sailors in the rigging on Resolution, watching, pointing; officers clumped in conversation on deck. Swimmers in the water, canoes, too many to count, all the way to shore. I know that Herb Kāne (1928–2011) was a voyager himself. That means the million details are perfect. This artist knows the smell of the ocean and the feel of the wind at Kealakekua, the exact color of the water and the lava. He would know the tattoo and kapa patterns, the correct lashing, rigging, construction of the ships. Years and years and years of research, of experience, guide his brushes. And great love. This is more than a painting. A wind-cooled tear slides down my face. Stepping back, turning around, I’m surrounded by what Isaacs Art Center Director Mollie Hustace calls “exceptional art.” I’m amazed by the center’s variety of past and present, its eclectic cohesiveness. Somehow it is perfect for Waimea, a sweet fusion of realist landscapes, Chinese and Japanese pottery, sleek koa furniture, magnificent Ni‘ihau shells, all contained in a 102-year-old former schoolhouse.

Isaacs Art Center

On one wall, an original engraving by John Webber from the atlas of the Third Voyage of Captain Cook, circa 1784. Nearby are vivid contemporary paintings by Jean Charlot, and Hon Chew Hee. In the next room, an intimate Harry Wishard valley landscape, and a 19th Century Jules Tavernier painting of Kīlauea on a wooden plate. A dazzling black and crimson quilt shares space with stunning woodworks, an intricate koa platter by Tiffany and Timothy Shafto with painting by Robert Jones, and trompe l’oeil bowl masterfully basket-textured by Gregg Smith. Other artists represented include Helen Thomas Dranga, Cornelia MacIntyre Foley, D. Howard Hitchcock, Helen Kelley, John M. Kelly, Hajime Okuda, Shirley Russell, William Twigg-Smith, Lionel Walden and Theodore Wores. A retail art venue supporting Hawai‘i Preparatory Academy’s scholarship program, the Isaacs Art Center opened in 2004 and is itself a work of exceptional art. It has grown from a spinoff of the school’s successful Scholarship Auction into a place for collectors, for community, and for keiki too. Filling its role as an education resource, the Center hosts classes not only in art, but in history, Hawaiian studies, language arts and music. “We showcase the most distinguished artists and some of the most exceptional art of Hawai‘i,” says Mollie, who also teaches art history at HPA. “Their works reflect a strong commitment to mastery of artistic skills and development of personal style.” “We principally focus on major 19th- and 20th-century movements, such as the Volcano School and Hawaiian Modernism, but also present an annual showcase of

KeOlaMagazine.com | May-June 2017

Intensely detailed, historically accurate, lovingly executed, the late Herb Kawainui Kane’s “Cook Landing at

contemporary Big Island wood artists,” she says. “Like Gauguin’s experience in Tahiti, trained artists came here in pursuit of a different life and found new inspirations. Through their work, they contributed to the story of art in Hawai‘i—a story that culminates in today’s emerging artists.” As I walk toward the far room, it’s hard not to look past the quieter historic works to the explosion of color, dizzying in contrast to Herb Kāne’s exacting detail. Huge, swirling images of ochre-skinned women doing simple things: making lei, hanging dresses. “This exerts a gravitational pull to it,” says HPA alumnus, Class of 2012, Justin Sandulli, referring to an enormous painting, “Lei Queen Fantasia” by Madge Tennent (1889– 1972). Justin wrote his undergraduate thesis on Tennent for Duke University and is presently Curator of Special Exhibitions with the Center. “It hypnotically pulled me toward it, and it was kind of a spiritual awakening,” Justin says. “She is one of the most consequential artists in Hawai‘i... Words can’t do her work justice. It expresses life from within; it has an internal glow.” Madeline Grace Cook was born in England and at a young age moved with her family to South Africa. Recognizing her artistic talent at a young age, her parents moved the family to Paris so that she could study with William Bouguereau. At age 12, she placed fifth in a juried academy show. Returning to Capetown, Madge met and married Hugh Tennent, and traveled to New Zealand and Sāmoa where they lived for six years and raised two sons. In 1923, en route to London to enroll the boys in an English school, they stopped over in Honolulu for a three-day holiday—and never left. “When she came along it was such a shock,” says Justin. “At the time, most artists were expressing the natural wonders of

Kealakekua” greets visitors to the Isaacs Art Center. photo by Kirstin Kahaloa

Hawai‘i in landscapes. And in landscapes, people just populate the scene. Madge is expressing the spirit of Hawai‘i through its people, especially these large women.” “I have built my Hawaiian figures in art, in the manner of building a cathedral," Madge wrote in her Autobiography of an Unarrived Artist. "Cathedrals are built slowly, and the people who build them seldom experience the joy of seeing their life work completed, but are sustained only by the instinctive faith that their work is important and beautiful.” Justin continues, “She is the most famous artist ever to have worked in Hawai‘i. The international art community loved Artist' rendition of the Hawaiian star compass used by navigators, by David Reisland, Cliff Johns, and Gary Eoff. photo by Catherine Tarleton

KeOlaMagazine.com | May-June 2017

Ask The Naturopath... (Third in a Series) Patient: What diet do you ascribe to?

her.” Indeed her work has appeared in major museums and exhibits worldwide, including the 1939 New York World’s Fair, the opening exhibit of the National Gallery for Women in the Arts in Washington, DC, the H.M. de Young Museum in San Francisco, the Victoria and Albert Museum in London, Honolulu Academy of Arts, and the University of Hawai‘i.

Dr. Ardolf, ND: Great question! First, I don't use that four letter word, “diet”. Instead I speak of foods as medicine. The foods we should consume are as individualistic as we are, so it depends on each patient. Their age, lifestyle, and current state of health (or illness) will all require different needs. I also don't advise in terms of percentages of protein, carbohydrates, or fats, as we fully realize there are very healthy and not-so-healthy foods in all three of these categories. If you’re interested in discovering which foods as medicine you should be consuming, call me to make an appointment for an initial consultation today!

The Isaacs Art Center houses the world's largest collection of Madge Tennent's art. The scale of her work was so large that she sewed canvasses together in order to express her concepts. photho by Catherine Tarleton

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KeOlaMagazine.com | May-June 2017

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Today, however, more than anywhere else in the world, Madge’s work lives in Waimea, in the Isaacs Art Center. How that came to be began in 1974 with the first HPA Scholarship Auction. “I had so little money to give for scholarships,” says Bernard Noguès, former HPA Admissions Director and Financial Aid Officer. “There was a school in Honolulu, now called La Pietra: Hawai‘i School for Girls, that put on the first large fundraiser dinner and auction for a cause. They did it in Honolulu in 1972 or '73, and I knew some parents and friends who went, and I had the idea we could do something like this here.”

A solid koa four-poster bed, displayed with Hawaiian quilts, wood and resin art. photo by Catherine Tarleton

Renowned Waimea rancher Anna Lindsey Perry-Fiske supported the auction in a big way. “Anna lent her name and energy,” says Bernard. “We held the auction in the Batik Room [at Mauna Kea Beach Hotel]. It was a superb location. We used

to be able to cram 222 people in the room, on long tables. We were packed like sardines, but when you are very close to others, there’s a sort of chemistry that develops. It adds to the excitement.” Bernard said that first auction raised $29,000, five times what he had for scholarships before. In 2007, it achieved $705,000. “We really built it up to the biggest auction in the state of Hawai‘i,” Bernard says. “Many great painters of the early 20th century were represented. It made it a place you wanted to come—not only to help HPA, but to see art and find things you don’t see anywhere. It also generated a lot of interest in the school, and made a huge difference in trying to establish a Financial Aid Program.” The tradition continued for more than 20 years. Along the way, HPA began conversations about a permanent art gallery on campus. Serendipitously, in 2002, members of the Waimea Preservation Society and Waimea Community Association visited Bernard. They were attempting to save the original Waimea Elementary and Intermediate School’s “Building N,” built in 1915.

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

Signs. Each room of the isaacs Art Center is named for the people who helped establish the gallery. photo by Catherine Tarleton

KeOlaMagazine.com | May-June 2017

Bernard and others raised $700,000 in restoration costs in a unique way. Building N was originally divided by pocket doors into seven classrooms. Once revitalized, these became seven of what Bernard called “naming opportunities.” “I was looking for people to support the project financially,” says Bernard. “We asked some people to give $50,000 or more to have a room named for them. One room is named in honor of the Dillingham family, class of ‘66. Every room has a name.” Seven rooms at $50,000 covered half of the total. The second half was financed by George and Shirley Isaacs, for whom the Center is named. Bernard continues, “George Isaacs had a son with us, George, Jr., in the 70’s. That was his connection with the school. He and wife Shirley worked hard for many years and built a large real estate company... They would lend their house on Kahala Avenue so we could invite people there to be interviewed—imagine the impression! They organized parties for alumni, and were very, very, very supportive of the school from way back.” A noted art collector, George also shared his

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treasures to help get the Center started. The 5,580-square-foot structure was carefully moved in sections to its present location. After an 18-month restoration, the Isaacs Art Center opened in 2004, earning a Preservation Honor Award from the Historic Hawai‘i Foundation and a listing on the State and National Registers of Historic Places. The following year, as a result of the established relationship between Bernard and the Tennent family, conversation began

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Director Mollie Hustace is an Art History teacher at HPA and great supporter of exceptional art, past and present. photo by Catherine Tarleton

about the possibility of transferring the care of the Tennent Foundation Collection to HPA. One year later, the transfer of 80+ paintings and works on paper was accomplished and Madge’s work had a new home. As I look through these rooms, I think of their benefactors. I imagine that the Crespis, Dillinghams, and Saalfelds, Michael Berolzheimer, Joyce Benfield, Martha L. Greenwell and the Burklands—and George and Shirley Isaacs—must be very pleased with their investments in the Isaacs Art Center. I stop again at the Kāne painting of Kealakekua on the way out. To the right are the rounded, sepia-toned women of “Hawaiian Three Graces” by Madge. Except for the obvious aloha in the artists’ work, there is nothing at all similar about these two paintings. But hanging together here, they make a most interesting marriage. Then I remember: Madge’s maiden name is Cook. I wonder if Herb Kāne borrowed Madge’s opulent wahine for his canoe. I wonder if Madge knows she built her cathedral. The Isaacs Art Center is open 10am to 5pm, Tuesday through Saturday. Admission is free. For more information, call 808.885.5884 or visit isaacsartcenter.hpa.edu. Contact writer Catherine Tarleton: catherinetarelton@gmail.com

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KeOlaMagazine.com | May-June 2017

Shirley Family. photo courtesy of Maria Shirley

ith her hands full of fiery red, bubble gum pink, and blazing yellow Swiss chard, Maria Shirley smiles revealing deep dimples in each of her cheeks. It is no small wonder how Dimple Cheek Farm was named. Her husband, Forrest, also possesses the trait and together with their four children form Dimple Cheek Farm. For Maria and Forrest Shirley, farming is a labor of love that has propelled their produce to being sought after by local chefs and residents alike.

The Summertime Table

Smashed Potatoes with Swiss Chard Chimichurri

Local Foods

By Brittany P. Anderson

dish loaded with flavor and color. Together, smashed potatoes with Swiss chard chimichurri are the perfect side to any summertime meal. Contact writer Brittany P. Anderson: brittanypanderson@gmail.com

Smashed potatoes with Swiss chard chimichurri. photo by Brittany P. Anderson

Smashed Potatoes with Swiss Chard Chimichurri Mint, 2 tbsp. minced Thai basil, 2 tbsp. minced Parsley, 2 tbsp. finely chopped Cilantro, 2 tbsp. minced Olive oil Pinch of sea salt Swiss chard stalks, 4 tbsp. finely chopped 2 tbsp. red or white wine vinegar Combine all herbs and Swiss chard stalks in small bowl. Add vinegar. Drizzle with olive oil until herbs are covered. Add pinch of salt. Stir to combine, set aside. Smashed Potatoes 2 pounds of potatoes

melted butter or ghee

Boil potatoes until fork tender. Preheat oven to 350F. Drain potatoes thoroughly. Place each potato on parchment lined cookie sheet. Gently press potato with a potato masher until slightly flattened. Spoon ½ tsp. of melted butter or ghee onto potatoes. Place in oven and cook until edges are brown and crispy, approximately 20 minutes. Remove from oven. Spoon chimichurri onto potatoes and serve immediately.

KeOlaMagazine.com | May-June 2017

I first met Maria and Forrest at the Hilo Farmer’s Market six years ago. At that time, the couple was farming on rented land in Ka‘ū. Giant heads of radiant purple cauliflower and striking broccoli romanesco would turn heads every Wednesday and Saturday. Eventually, the couple earned enough from the rented property to purchase their own equipment to farm the land Forrest bought in Volcano. The family is known for their “beyond organic” farming practices – that is, sustainable, environmentally responsible, and ecologically beneficial beyond what is required for organic certification. They use composting tea and love to cultivate the earth. It is common for their children to be in the fields with them, snacking on freshly picked vegetables throughout the day. Utilizing chemicals is just not an option when the field is your children’s playground. Maria was born in the Congo and spent many years living in a Tanzanian refugee camp. Through a US program of resettling refugees, Maria was brought to Washington State. After living outside all her life, transitioning to living and working indoors was difficult. She longed to have her hands in the dirt. When Maria and Forrest met, a story she tells me would take all day, he asked her if she wanted to farm. Maria replied with a resounding ‘yes!’ With a huge smile on her face, Maria hugs me close and tight. Seeing things grow makes her happy and her stunning produce is evidence that her life is full of happiness. After eight years of farming, Maria’s vegetables are highly regarded by local chefs and restaurants for their superior quality. The demand is so high the family can’t seem to pick it fast enough. Dimple Cheek Farm’s produce can be found on the menu at Hilo Bay Café, Conscious Culture Café, Café Pesto, and ‘Ōhelo Café. You can buy their produce for your own kitchen at The Locavore Store in Downtown Hilo and the Dimple Cheek Farm Stand located at 17-937 Volcano Road (Hwy 11) in Mountain View. Maria and Forrest have created a large open air market at their farm stand serving as an ‘all things local’ access point for residents of Mountain View and Volcano. The stand boasts an assortment of locally sourced items including Hawai‘i Island grass fed beef, local pastured chicken, fresh breads, as well as a wide variety of fresh fruits and vegetables. Dimple Cheek Farm’s Swiss chard has always been a favorite. The colors are vibrant and are not at all bitter as chard can be. My newest love coming out of Dimple Cheek Farm is the little red potato. We simply cannot get enough. At a recent trip to the farm stand I picked up several pounds of potatoes, a bunch of Swiss chard, and a variety of fresh herbs. I’ve combined my two favorite things into one

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Kamehameha Day and Kamehameha’s Legacy of Aloha

To Celebrate the King By Jan Wizinowich

very June 11 the islands celebrate Kamehameha, the Hawai‘i Island warrior chief who changed the course of history in the 18th and 19th century by uniting the Hawaiian Islands, preparing Hawai‘i for the future in a rapidly changing world. “In my opinion he is the greatest Hawaiian who ever lived— not only being the one to unify the islands, but having the vision, the power, the mana and the dedication and loyalty of thousands of Hawaiians who believed in what he did,” said Fred Cachola, historian and member of the Royal Order of Kamehameha I, Moku O Kohala. When Kamehameha’s mother Keku‘iapoiwa became pregnant, it was prophesied that the baby she was carrying would be a slayer of chiefs. On hearing the prophesy, Hawai‘i Island Chief Alapa‘inui began to plot to kill the infant. The great warrior Nae‘ole was selected by Keku‘iapoiwa to be the child’s caretaker, and he enlisted the entire Kohala populace in what Fred calls the “grand Kohala conspiracy” to do whatever it took to protect the infant. When Kamehameha was born at Kokoiki, Nae‘ole spirited him away, following a clandestine route to ‘Āwini, an easily defensible plateau three valleys past Pololū. The events of that journey can be found in the very place names of Kohala. Stories point out names like Hō‘ea, which means to arrive, to take first breaths. When baby Kamehameha arrives at Hāwī, the breath of hunger, the wet nurse isn’t there. Kapa‘au, with its many streams, had to be traversed and

his kapa cloth got wet moving through the water. Kamehameha is well known for the Herculean task of unifying the islands. But after unity and peace had been attained, Kamehameha set a standard for leadership whose guiding principle was the well-being of the people. “These ali‘i were what we would call today ‘servant leaders,’ and they probably served more than they led. They saw service and leadership as companion qualities that they had to have. They saw the two as very integral in creating a state that I would call pono (right/ balanced),” said Fred. Following Kamehameha’s death in Kona in 1819, western influences continued to bombard the Kingdom of Hawai‘i. Alarmed by rapid changes, Kamehameha V (Lot Kapuāiwa) established the Royal Order of Kamehameha I in 1865 to commemorate his grandfather. Then in 1871, he established Kamehameha Day, a celebration in honor of Kamehameha I’s accomplishments and contributions to the kingdom. History of the Celebrations The first celebration took place in 1872 and was a day of festivities of all sorts. “Early celebrations of Kamehameha Day featured carnivals, fairs, and lots of racing—foot races, horse races and even velocipede races. Accounts in the newspapers of the day counted over 4,000 people at Kapi‘olani Park in Waikīkī. Kalākaua and Kapi‘olani were in attendance. After the overthrow of the monarchy and the rapid changes that followed, Kamehameha Day celebrations were subdued. Then in 1914, a Kamehameha Day Celebration Committee

Mayor Billy Kenoi, center, and his executive staff present a lei to honor Kamehameha in Hilo in 2016. photo by Brittany Waipuÿilani Dayton

Kailua-Kona Kamehameha Day Parade. photo by Charla Photography

was formed and the day was celebrated with much of the old grandeur. The 1916 annual Chamber of Commerce of Honolulu publication described that year’s celebration in Honolulu as beginning with a parade from ‘A‘ala Park to the statue in front of Ali‘iōlani Hale for lei draping and the singing of Hawai‘i Pono‘ī. The parade then proceeded to ‘Iolani Palace, the capitol of the territory at the time. The festivities also opened and closed with horse races in Kapi‘olani Park. Kamehameha Day

celebrations continued and became one of the first official holidays declared when Hawai‘i became a state in 1959. To Celebrate the King Kohala, Hilo and Kona are the three Royal Order moku (districts) on Hawai‘i Island and each will host a celebration on or around Kamehameha Day. Each moku represents a different phase of Kamehameha’s life. Kohala, Kamehameha’s birth place, has the original statue, in

KeOlaMagazine.com | May-June 2017

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Lei draping ceremony Kohala. photo courtesy of North Kohala Community Resource Center

front of the historic courthouse in Kapa‘au. Originally bound for Honolulu, the statue was lost at sea when the ship carrying it sank in Port Stanley in the Falkland Islands. It was eventually recovered in 1882 by Captain Jervis, who spotted the statue in front of a store while strolling around Port Stanley. He purchased it and brought it to Honolulu. A replacement statue was already underway and plans were made to install the first statue in Kohala at the school house in ‘Āinakea on May 8, 1883. Kalākaua and an honor guard of 118 men arrived in Kohala for two days of festivities around the unveiling. On May 7, the Royal Hawaiian Band enlivened the neighborhood with song and in the evening presented a concert. The statue unveiling took place the next day at 3pm, with many admirers placing lei at the foot of the statue as the band played Hawai‘i Pono‘ī. Every year since that unveiling, there has been a Kamehameha Day celebration in Kohala on June 11. This year’s celebration will start with the lei draping ceremony at 7:45am, opening with a blessing, which is followed by hula and music. The parade, which begins at 10am, will have a number of floats, hālau hula (hula school), and a special pā‘ū unit (horseback riders) of Kahua Ranch reunion honorees. “The community of Kohala is very involved in the Kamehameha Day celebration. People line the street all the way from Hō‘ea,” said Ski Kwiatkowski, Royal Order of Kamehameha Moku O Kohala member. The parade ends at Kamehameha Park where there is a ho‘olaule‘a (celebration), including Makahiki games, hula, music and other entertainment. “The Royal Order has an awesome display of all of Kamehameha’s life, from birth to death and everything in between. There are markers for the places that Nae‘ole took the baby,” said Ski.

Hilo: Kamehameha’s War Years Although Kamehameha spent his early years in Kohala, it was in Hilo that he confirmed prophesies by lifting the 7,000-pound Naha Stone, enlisted warriors, and launched war canoes in his endeavor to unify the islands. The Hilo chapter of the Royal Order of Kamehameha I was given the name Māmalahoa by Prince Jonah Kūhiō and while the name refers to Kamehameha’s law of protection for all people, it also refers to Kamehameha’s personal guardians. This elite unit of warriors were recognized for their skill and courage in battle, and respected for their honor and loyalty to Kamehameha. “This kaona inoa (double meaning name) was chosen by Prince Jonah Kūhiō to inspire the members of Kailua-Kona Kamehameha Day Parade. photo by Charla Photography

The Ipu Heke at the World Conference on Hula. photo courtesy of the World Conference on Hula

of Life) in Hilo Bay. It is a day of sharing the richness of all aspects of the Hawaiian culture, including hula (dance), mele (music), oli (chant), and arts and crafts. The festivities will begin at 10am with the opening ceremony taking place at noon. The Royal Order of Kamehameha I Māmalahoa is joined by other royal societies and proceeds from Lili‘uokalani Park across the foot bridge to Mokuola, to pay tribute to Kamehameha with a blessing and ho‘okupu. The theme for this year’s celebration, which will take place on Sunday June 11, is “‘Onipa‘a” (to move forward and be steadfast), a tribute to the 100th year of the passing of Queen Lili‘uokalani. Hilo chapter of Royal Order Kamehameha I. Photo courtesy of Royal order of Kamehameha I, Mämalahoa

Pä‘ü riders in the Kohala Kamehameha Day Parade. photo courtesy of North Kohala Community Resource Center

KeOlaMagazine.com | May-June 2017

Māmalahoa to imua (move forward) and ho‘omau (persevere) in their cause as modern day warriors,” said Lani Ali‘i, Sir Pua Ishibashi. The well being of all people was at the heart of Kamehameha’s rule and continues to be perpetuated through the work of the Royal Order of Kamehameha I. The Kamehameha Festival has been celebrated in Hilo since 1908 and since 1985, has taken place on Moku Ola (Island

Kona: Kamehameha’s Ancestral Homeland and Final Dwelling Place Kamehameha I, whose mother Keku‘iapoiwa was the daughter of Kona Ali‘i Kekelaokalani, established the first capital of the united Hawaiian Kingdom in Kailua-Kona. After unification, Kamehameha went to work to ensure peace and the prosperity of all people of Hawai‘i. He understood that agriculture was key to this and the field systems he worked to create serves as inspiration to farmers until today. The first Kamehameha Day celebration in Kona was early in the 20th century. “I know early in the 1900s there was a celebration where they came ashore on canoes and marched down Ali‘i drive past [Hulihe‘e] Palace,” said Barbara Nobriga, parade committee chair. After that there wasn’t another Kamehameha Day celebration in Kona until 1953. Barbara was just a teenager then. “In 1953 they actually had a full on pā‘ū parade. Then they didn’t have another one until 1967,” said Barbara. At the heart of the Kona Kamehameha Day celebration is a parade with a full compliment of pā‘ū riders, reflecting the paniolo spirit of the district. “If you don’t have that full pā‘ū section on Kamehameha Day, you do not have a parade,” said Barbara. The parade will begin at the Royal Kona Resort at 9am on Saturday, June 10, led by the Royal Order of Kamehameha I, Moku O Kona and followed by the Pā‘ū Queen leading riders representing the eight main Hawaiian Islands. Each group, headed by their princess, is draped in flowing satin and velvet and stunning lei displaying the color of their island. The parade will also feature hālau hula, equestrian units, marching bands, a horse-drawn carriage, and more. The day will also feature a ho‘olaule‘a at Hulihe‘e Palace after the parade, with music by top Hawaiian musicians. The celebration is a reflection of unity and service, virtues that Kamehameha perpetuated in the life of the islands. “What we look for in the Grand Marshall and the Queen are people who do something to give back to the community. It takes a village to raise a child and it takes a village to put this parade together. It’s a community parade and without the community behind you, you wouldn’t get it off the ground,” said Barbara. When we celebrate Kamehameha Day, we are rejoicing in Kamehameha’s immense efforts to create a healthy, unified Hawaiian Kingdom. Contact writer Jan Wizinowich: janwiz@gmail.com

KeOlaMagazine.com | May-June 2017

Hilo Kamehameha Day Hula Dancers. photo courtesy Royal Order of Kamehameha I, Mämalahoa

KeOlaMagazine.com | May-June 2017

This teacher helped children understand their culture through the weaving craft

Lauhala Weaving

with Kupuna Art Murata by Karen Valentine

Art Murata with display of his specialty: lauhala ornaments. photo by Karen Valentine

KeOlaMagazine.com | May-June 2017

s a child who “asked too many questions,” Art Murata of Hōlualoa vowed he would try to answer any child’s question and not be afraid to say he doesn’t know. Growing up with the challenges of being visually handicapped and being Japanese under martial law in Hawai‘i during World War II, Art wanted to be a teacher who would try to answer every child’s question. “I was born in interesting times, Art says. “It was 1932, in the midst of the Depression. Growing up I had a firecracker accident at about age eight and lost vision in one eye. I was very small and didn’t have a high regard for myself. I was like Lucy in Peanuts. In sports, I was really bad. I didn’t know why I couldn’t see the ball. It would come and bump me in the head. This is a time when you are curious. I asked a lot of questions that got me into trouble with the teachers. Then the war broke out when I was nine years old.” Japanese families suffered the most during those years. A nisei (second generation) immigrant, Art’s grandparents, mother and father had come to Hawai‘i from Kumamoto, Japan, to work in sugar plantations. “Of all the people that came here from Japan,” Art said, “most of them came from southern Japan—Yamaguchi, Hiroshima, Kumamoto and Fukuoka prefectures. Kona is the only place in Hawai‘i where a majority are from Kumamoto.” It was logical, because it is also an agricultural area. Art’s mother, Yukino Mitsui, arrived as a baby with her parents by boat to the Hāmākua Coast. She was hoisted in a basket up a steep cliff in Kukuihaele as the sea raged below. Even at that age, she had already been betrothed to Art’s father, Hanzo Murata, back in Kumamoto, as was done in those days. As many other workers did, Art’s grandparents escaped their sugar plantation indenture, trekking overland to Hōlualoa, where others from their home prefecture were growing coffee. “Unlike many of the other coffee farmers who leased their land, my grandparents bought theirs,” he said of the four-acre parcel where he lives today. “My grandfather died in 1910. A few years later my father came over to meet my mother. As far as the Japanese were concerned, the records were kept in Japan, and as long as they reported themselves married, they were. Japanese aliens were not permitted to become U.S. citizens at that time, so they ignored the whole thing (marriage) until later. In 1952 the law

KeOlaMagazine.com | May-June 2017

Art Murata weaving lauhala ornaments. photo courtesy of Ulana Lauhala Hoaloha

Art Murata's big brothers sitting on a donkey (Kona Nightingale). photo courtesy of Art Murata

was changed, and Hanzo and Yukino Murata, after living in the U.S. for about 50 years, became naturalized citizens in 1954. They also got a legal marriage certificate when their first child started elementary school, to avoid confusion.” All the families in the region, he says, developed strong ties with each other as a community. Many belonged to kumiai or kumi, neighborhood support groups. Many of these ties still exist. “That was very important because in Japan, your family unit was extremely important,” Art explains. Japanese Families Struggled Here When World War II broke out against Japan, the US was suspicious of the strong family ties of Japanese. Art, who was in elementary school at the time, says, “They took away all the teachers and all the priests, closed the Japanese schools. The war years were not very pleasant. The US Army came over, and the school grounds were full of tents for the enlisted. We held school in Protestant churches or other places. It was illegal to speak Japanese. That meant my grandmother could never go out. Only six aliens were allowed to congregate together. Even at a funeral, only six could come, guarded by soldiers. This was my world when I was growing up. We were required to carry a gas mask. Because I was small, it came to my knees. Our diet had to change, because they decreed we should be planting wheat and corn, what they considered essential crops. They took away the rice fields

on O‘ahu. Taro was not allowed to be grown either, because it was not a standard staple. This was martial law. Fish was very important, but they took away all the boats of Japanese fishermen. Japanese made up about two thirds of all the fishermen. Coffee prices went up and down. You would think we were very poor. None of us were wealthy, but none of us considered ourselves poor. We had clothing and we had shelter. “I liked to read. The youngest of seven kids, I was also lazy. Many times in the evenings, I would climb to the top of a tall tree and watch the beautiful Kona sunset. One of the things I remember is that in the evening the donkeys would call, and the neighbors’ donkeys would answer. That’s how they got the name Kona Nightingales. The other thing I remember as a kid was smelling the wood smoke. All the families had to use wood to heat up the furo (Japanese tub)." “About the time I graduated high school in 1950, coffee prices were not very good,” Art said. “I was fortunate that my mother was a dressmaker. We were one of the few families that had some cash. Under martial law, they froze the price of coffee to eight cents a pound. There was no way you could survive at that price. There weren’t too many jobs. My father became a carpenter’s helper and my mother a full-time dressmaker. Many of the families in the Hōlualoa area and throughout Kona started to do lauhala weaving because they sold it to the soldiers, making purses, placemats, stuff like that. Some specialized in making hats, but not for soldiers;

Homemade tools include a roller to soften lauhala. photo by Karen Valentine

Spaced knife blades cut lauhala into uniform strips. photo by Karen Valentine

they were for the farmers and plantation workers.” Even with his spotty education, Art still wanted to become a teacher. Knowing that his parents couldn’t pay for that, he worked a year to raise money and was accepted at the University of Hawai‘i at Mānoa. “I didn’t do very well. I decided to go to the mainland and picked the school that had the least amount of Hawaiian students—the University of Missouri.” He was interested in using the GI Bill to help him, so he volunteered in the army for three years at the end of the Korean conflict, worked for a few years in Chicago, then came back and used the GI Bill to finish up at Mānoa. “Just about the time I finished, I got married to my wife, Sachie.” Together they had three sons who have given them Art’s new ornament concept, cute rats, shown with coconut baskets. photo by Karen Valentine

five grandchildren. Albert is a tennis pro in Honolulu, Stephen a welder in Kona, and Corey is a librarian at the University of Washington. Today, a dedicated member of the Kona Weavers, Art began weaving lauhala when he wanted to expose his seventh-grade students at Konawaena High School to their Hawaiian cultural heritage. Art was hired at Konawaena High School in 1963 and worked there until retiring in 1987, teaching social studies and other subjects, including world history. “The first year was weird,” Art relates. “I ended up with one general math, two English, one general science, one biology and one social studies class, and my field was only social studies, so I was terrible.” The school’s world history class, in his opinion, was lacking. “There was nothing in the curriculum about Asia, and most of the students were of Asian descent. So I devised my own world history, adding Asian countries like India, Japan, Korea, China. This made me realize you have to give people knowledge about their own culture.” It was a time in the 1970s, just before the Hawaiian Renaissance, which passionately revived interest in Hawaiian culture and history. At that time, Art says, the schools had decided to teach Hawaiian history and provided a syllabus for him to follow in teaching his high school social studies class. Art thought it was wrong that the history lesson was designed to begin in the 1890s—after Hawai‘i had fallen under the control of the United States—and not earlier. “When I was told that, I decided, ‘heck with that, I’m going to devise my own.’ So he asked to teach seventh grade, which

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allowed him more freedom. Art says he’s always been something of a rebel, which has gotten him into trouble—such as the time he invited the SDS (Students for a Democratic Society) anti-war activist group to speak to his class. “I didn’t know I had to get clearance!” His seventh-graders, he said, needed some activity to remain engaged and so he gave them lauhala weaving projects. He himself had to learn the skill from others in the community who had perfected the art. “I’m not an expert in lauhala,” Art says. “One thing I’m more expert in is coconut leaf weaving. You get one frond of coconut and you can do a lot with it.” During that time, Art was a volunteer at the Pu‘uhonua O Hōnaunau annual cultural festival, where he helped teach people how to make ti leaf sandals and coconut leaf bowls. “Every year in the seventh grade I would get the kids to make all kinds of Christmas ornaments—fish, birds, honu. I would take a bunch of kids to the King Kamehameha Hotel in Kona and they decorated a tree for them. That was the culminating activity for the kids.” Art retired from teaching in 1987, although he still supplies lauhala ornaments to the national park at Hōnaunau. “Why I’m weaving so much now is that Pu‘uhonua is now allowed to sell things that are culturally relevant, so the park contracts with weavers here because it also has to be made in Kona.” His active weaving group, Ulana Lauhala Hoaloha (Lauhala Weaving Friends) nicknamed the Kona Weavers, meets weekly at the Kona Koyasan Daishi Mission in Hōlualoa. Contact writer Karen Valentine: karenvalentine808@gmail.com

KeOlaMagazine.com | May-June 2017

Kumamoto community association at Holualoa ca. 1930. Art’s father, Hanso is in the front row, wearing a hat. photo courtesy of Art Murata

Kona Dance and Performing Arts Creates More Than Great Dancers

Beyond Shuffle Steps and Pointed Toes By Karen Rose

Five, six, seven, eight! Every dancer is well acquainted with these

KeOlaMagazine.com | May-June 2017

four numbers. For the young students of Kona Dance and Performing Arts, their training goes beyond dance and into life lessons that count. This group of dedicated dance parents and teachers have created an environment for keiki (children) that not only develops and nurtures the art of dancing with your feet, but dancing with your heart. Amanda Trusty, artistic director for Kona Dance and Performing Arts, lights up when she talks about the journey that began in February 2016, and brought the organization to fruition. She is proud of Kona Dance’s focus on developing the many important attributes of a growing child. Dance education facilitates a child’s ability to mature physically, emotionally, socially, and cognitively. While most people understand the physical benefits of dance, the emotional, social, and cognitive attributes have only recently begun to be appreciated. Recognizing the role dance could play in their children’s development, this group of parents sought out a space, specifically in the South Kona community, to fulfill the need for an intensive performing arts program. In doing so, they formed a non-profit organization with the mission of providing high quality dance instruction and education to local youth and the Hawai‘i Island community. Their perseverance paid off when they found the perfect location on Haleki‘i Street in Kealakekua. The building came complete with a dance floor, mirrors, barres, and space to add a dressing room. However, when something seems too good to be true, it usually is, and in this case the floor turned out to be completely termite-ridden. Upon this destructive discovery, board president Dana Mattos came to the rescue and got down on hands and knees for three days and filled every termite hole. Mason Termite & Pest Control also joined in the community effort and donated their time to rid the building of the pesky critters. After four months of the laborious dedication of volunteers, Kona Dance opened their doors on June 6, 2016. “It took a lot of deep cleaning and hard work. Now we have this beautiful 2,025 square foot space where we hold our classes,” said Amanda. “That summer we also held a four-week musical theater intensive and had about 20 students every week. Then in July and August we did an eight-week summer program where we had a lot of returning students. We started our regular season on September 8 and that’s been running ever since.” Amanda is quick to point out that high quality dance education, while Meilani Kanada and Johna Sejati being the main subject taught at Kona Dance, is certainly not the only caught in action during an in-house performance, An Evening of skill their students learn. She is proud of the organization’s dedication to Tap Dance and Entertainment, teaching their students self-care, time management, stress management, September, 2016. photo by Soul Sight and how to develop a personal practice regimen at home. Artistry, courtesy of Kona Dance and “There are so many dance teachers that are like, ‘Go home and Performing Arts practice‚’ and kids don’t know what that means,” she said. “So we felt it important to add additional skills to their lives. Like, what does it mean to come to class specifically to learn new things and not to practice? You don’t just come to class to learn to dance, you come with a goal. For example, a student may come to class wanting to fix something they’ve been 35 having trouble with, or to learn how to balance on their left foot. We want to know what their personal goals are,

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because you don’t just dance with your body, you dance with everything you’ve got.” The teachers at Kona Dance teach skills like injury prevention, strength training, and social awareness. Most of the teachers didn’t receive this kind of education as young dancers. It was all about how high they could kick, how well they could turn, or how pretty they could smile while performing. While dance is indeed an excellent form of exercise, dance also offers an avenue to promote psychological health and an appreciation of oneself and others. “We recently took some of our advanced performers to Hilo and performed for a benefit concert,” said Amanda. “We talked with the students about what it’s like to work with tech crew and stage managers they’ve never met. The dancers’ manners were so amazing. They said thank you to everyone they met and people actually commented about how impressed they were with our performers’ character.” Amanda explained that it’s not just about creating great dancers or great performers. It’s also about learning to network with other dancers and being socially and emotionally intelligent—for example, complimenting other dancers and

KeOlaMagazine.com | May-June 2017

Dancers ages five and six wait patiently for Miss Grace to call them onto the dance floor for their Saturday morning ballet/tap combo class. photo courtesy of Kona Dance and Performing Arts

thanking people who are helping them. It’s learning to not take things personally and encouraging the students to open up to their teachers if they need extra support or encouragement. “We encourage the dancers to come to us if anything happens… if their parents are separating, or they received a bad grade at school,” said Amanda. “It’s not an excuse for poor behavior, but it’s important to know how to share that information then leave it at the door. It’s learning how to use dance to express emotions like anger, frustration, and sadness. Those are the things we are working on with the students that go beyond pointed toes and shuffle steps.”

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Lilikoi canas, age 9, as Sophia Petrillo in a Golden Girls tap piece, performing at the Ladies Artisan Market at the Edible Institute, November 2016. photo by Brigid Huamani, courtesy of Kona Dance and Performing Arts

Amanda and the other teachers at Kona Dance understand the importance of promoting psychological health and maturity. Their students all begin with their own unique history of emotional experiences—some good, some not so good. Through dance and creative expression they learn to communicate ideas and emotions and work within group dynamics to foster cooperation and understand themselves in relation to others.

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“We have several children with their own unique challenges, and the difference we see in their behavior because of dance has been outstanding, especially in how they are now able to communicate with other people, especially adults,” said Amanda. “That has been truly amazing.” Amanda shared a story about one of her youngest students, eight-year-old Lilikoi, who was a year younger than most of the other students she danced with and had an outstanding stage presence. What she was lacking was a good work ethic, yet she couldn’t understand why she wasn’t moving up in levels while her friends were advancing. “Lilikoi didn’t understand what practicing meant so we started having conversations about her potential and what that means,” said Amanda. “She had a lot of catching up to do, so for two months she was taking ten classes a week, which is a lot for someone her age. Not long ago I had her improvise for me and something just clicked for her.” “She had this magical, unicorn-rainbow kind of moment, and I just fell to the floor. Lilikoi went from playing-the-cute-card kind of girl, to this don’t-get-in-my-way-I-can-do-anything girl. She just turned nine and she is one of our biggest success stories and is an inspiration to all of us. She’s proof that if you want something bad enough, you can achieve it with a little extra work.” Extra work is something the teachers at Kona Dance are not afraid of. In addition to Amanda and Managing Director Heidi Noche, the other teachers include Debra McGee, Miho Morinoue, Alexis Gaines, Grace Branham, Andreas Tolaas, and Michael Sato. They all dedicate extra time to teach the students how to take care of themselves both during and after dance classes. It’s important to everyone at the center to never focus on how a dancer’s body looks in terms of shape and size, but rather what their bodies can do with the proper training.

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They don’t tell the dancers what or how to eat, but how to strengthen and care for themselves in a way that allows them to accomplish their goals regarding dance and performance. We also educate the dancers on the difference between selfjudgement and self-critique. Our philosophy is that by teaching students how to critique their movements, both good and bad, it allows them to look at their own skills objectively. It’s about developing character in addition to improving their craft. A musical theatre major and professional actress, Amanda never thought she would be teaching dance to young children—however she found her calling at Kona Dance. “Teaching kids was never my dream,” she said. “I taught kids as a teenager and didn’t like it. My ‘aha’ moment when I discovered teaching was my calling, was when I realized I could coach these students on things other than dance. The coaching and the life advice, being real with them, and being a trusted adult they can come to with their problems‚ I wouldn’t trade that for anything!” “I love teaching more than I ever have. The other parents and teachers at the center share the same goals as me as far as creating well-rounded artists and exposing families to the arts. I enjoy the opportunity to use my life experiences to share with these performers, and break the cycle of the dance training I grew up with, which was detrimental to my health, my body and honestly, my heart. It’s an opportunity that I’m very grateful for.” Kona Dance teaches keiki and teens starting as young as three years old. The youngest classes begin with creative movement and exercises that connect body development to brain development. They also offer special teen and teacher assistant programs to mentor teenagers in their development as young adults to help to boost confidence, social skills, work ethic, and offer them an opportunity to teach younger dancers with the guidance of professional teachers and choreographers. The center offers classes in tap, jazz, ballet, musical theatre and contemporary dance training as well as hip hop, breakdance, African dance, keiki yoga, and improvisation. They also collaborate with other Hawai‘i Island art organizations such as the Big Island Music Academy, Aloha Performing Arts Company, and dance studios in Hilo. Their dancers perform regularly in the community at nonprofit events to artisan markets, parades and festivals. On June 3 and 4, Kona Dance and Performing Arts will showcase their choreographers’ and students’ work in three dance concerts at the historic Aloha Theatre in Kainaliu. Shows start at 2pm plus a special 7pm performance on June 3. Tickets can be purchased at apachawaii.org. All proceeds from ticket sales will go toward funding Kona Dance’s summer and fall programs. More information about performances and upcoming summer and fall programs can be found at konadanceandperformingarts.org. Dance embodies one of our most basic primal instincts. As humans, we often dance before we can speak. Rhythmic movement is innate in children and is often summoned when emotions are too powerful for words. We dance naturally because it brings joy and good feeling. When performing artists harness that movement in a structured way and bring conscious awareness to those movements—it’s called dance.

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HPM 96 years of Perseverance By Mālielani Larish

“M

ike, wake up! There’s no school today!” Roused from sleep by his neighbor’s excited shouts, Michael Fujimoto awoke gradually. As the news percolated into his consciousness, Michael thought to himself, “Wow, that’s great!” He could spend the day playing with his neighbor, who was also his classmate at Kapi‘olani Elementary School. Feeling upbeat, he rolled out of bed and walked into the parlor of his house, where he discovered his grandmother weeping and his father looking grave. He soon learned that at 1:05am, a tsunami demolished Hilo’s downtown district and ravaged the building supply store that his father, Bobby Fujimoto, managed. On that May 22, 1960 morning, his grandmother pleaded with Bobby to give up Hawai‘i Planing Mill, better known today as HPM Building Supply.

Bobby remained resolute—he decided to rebuild. This attitude of perseverance, along with a spirit of innovation and a commitment to adding value to the community, permeates HPM’s 96-year history. Four generations of Fujimotos have led the company, beginning with Kametaro Fujimoto, a skilled carpenter from Japan who worked on the sugar plantations. In 1921, Kametaro opened Hawai‘i Planing Mill with his business partner, Sanzo Kawasaki, to transform raw timber from the mainland into finished lumber. The first HPM building was located on the makai (ocean) side of Kamehameha Avenue, close to downtown Hilo. In the 1920s, Hilo was a hub where trains hauled sugar to the wharf at the terminus of present-day Waiānuenue Street. Without a breakwater wall to dissipate the energy of incoming waves, consistent surf rolled into Hilo Bay and sugar and other goods were transported out to the ships via small rowboats. When Kametaro’s son Barney became the general manager of HPM in 1929, he introduced new merchandise to the store, including hardware items, plumbing supplies, and paint. Hilo’s breakwater was completed in that same year, solidifying the harbor as a reliable center for trade. In spite of the Great Depression of the 1930s, Hawai‘i Island celebrated the completion of the Māmalahoa Belt Road around the island in 1933, and the first radio station broadcast in Hilo in 1936. After the bombing of Pearl Harbor and the declaration of martial law in Hawai‘i during World War II, the Navy Seabees took control of HPM’s operations. Fortunately, HPM was returned to the Fujimoto family at the end of the war. Other Japanese-American families were not as lucky. The majority of

KeOlaMagazine.com | May-June 2017

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Japanese-Americans living on the continental US were forced into internment camps in addition to having their homes and businesses confiscated. Only about 1% of Hawai‘i’s JapaneseAmericans were ordered into internment camps, with many of the Hilo internees assigned to Kīlauea Military Camp. Bobby recalls that the Navy Seabees retained about 90% of the original HPM employees during the war. Bobby himself was on a troop ship destined for basic training in Alabama when he received news that the war was over. After 18 months of military training, Bobby returned home and earned a degree

in Business and Economics from UH Hilo, intent on working at HPM. In 1954, the same year that Hilo welcomed its first traffic light, Bobby became the president of HPM. The following year, he built a new store on the Hāmākua side of the present-day Hilo Iron Works building, in a community called Shinmachi, or “new town” in Japanese.

Kametaro Fujimoto, HPM Founder and grandfather of Bobby Fujimoto

Three generations of Fujimotos: Jason, Bobby, and Mike

KeOlaMagazine.com | May-June 2017

Not long after Bobby finished paying off the loan for the Shinmachi store, the 1960 tsunami crashed into Hilo with a screaming roar, emptying the store’s merchandise into the Wailoa River. The water line on the few surviving coconut trees stood at the 42 foot mark. With gratitude, Bobby remembers that the Small Business Administration offered loans to victims of the tsunami. In 1961, one of these loans enabled Bobby to build HPM’s present-day facility further inland on Kanoelehua Avenue. During Bobby’s years as president, HPM opened a branch in Kona (1959), established a custom metal roofing department (1963), re-established a lumber department (1965), opened a wood protection plant in Keaukaha (1978), introduced packaged home plans (1982), and opened a branch in Waimea (1983). Despite all of these successes, Bobby remains humble when he reflects on HPM’s history. “We were just lucky to be at the right place at the right time. The community has been

HPM further serves the community through the HPM Building Supply Foundation, which donates supplies, skilled labor, and money to an extensive list of local nonprofits, including Habitat for Humanity, Junior Achievement of Hawai‘i Island, Hawai‘i Food Basket, and Hawai‘i Island United Way. Recently, HPM donated warehouse wall space and paint supplies to Estria Miyashiro of the Mele Murals project, who transformed the space with the help of 50 students from UH Hilo and Laupāhoehoe Community Public Charter School. The aweinspiring mural, which is visible from Kalanikoa Street, features mo‘olelo ‘āina (stories of place) and mele (Hawaiian lyrics) against a stunning backdrop of Mauna Kea and lava flows. At HPM’s newly renovated Kona Branch, another Mele Mural of a pueo (owl) graces a wall fronting Luhia Street.

HPM began manufacturing Custom Metal Roofing in 1963

KeOlaMagazine.com | May-June 2017

really good to us. We try to do whatever we can to help the community.” Indeed, HPM plays a generous role in the community. In the 1970s, Bobby set up the Barney S. Fujimoto Memorial Scholarship for high school seniors from Hawai‘i, Kaua‘i, and O‘ahu who plan to attend a school in the University of Hawai‘i system. He also established the Building Future Builders Scholarship, which awards money to selected students entering their second year in Hawai‘i Community College’s carpentry program. The Robert and Alice Fujimoto Foundation disburses the money for these scholarships.

HPM Waimea circa 1982

HPM Kona grand reopening in November 2016

After working for the company for several years and earning an MBA, Bobby’s son Michael became president and CEO of HPM in 1992. Although the Great Recession of 2007 to 2009 impacted the company, Michael took advantage of low land

prices to open a new O‘ahu branch in 2010, and later acquired Kaua‘i Lumber in Lāwa‘i in 2011. This acquisition enabled Kaua‘i Lumber to offer a broader range of products and services at lower prices, while retaining the original employees of the company. From 2011 to 2014, the company boasted double-digit growth, and opened another Kaua‘i branch in Kapa‘a in 2015. With six branches throughout Hawai‘i and a long history in the building supply business, HPM prides itself in providing both commercial contractors and residential customers with all the products, services, and delivery systems needed to build everything from pre-packaged homes to custom mansions and large developments. HPM’s Kea‘au facility in the Shipman Business Park manufactures and exports custom metal roofing, trusses, pre-hung doors, and wall panels, distinguishing itself as one of the largest truss and wall panel manufacturers in the state. HPM staff in the Home Planning department can walk the aspiring homeowner through the entire process of building a home, from the first phase of selecting a floor plan, requesting bids from contractors, and securing permits, to the last stage of contemplating kitchen and bath features. Michael believes that HPM distinguishes itself in the building supply industry by providing more “personal contact and service.” HPM’s 310 employees statewide are uniquely motivated to strive for excellence in their work because HPM employees own 100% of the company’s stock. Bobby hatched the idea in 1959 with a profit-sharing plan, and recruited his son to develop the program further. In 1977, Michael succeeded in installing the

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Employee Stock Ownership Plan (ESOP), which was a novel concept for the time because the IRS had just developed the rules for these plans three years earlier. The program is a free benefit for HPM staff, who automatically become members of the ESOP after working for the company for one year. “The goal was to provide our employees with the opportunity to develop real wealth beyond a normal profit-sharing plan, 401K, or pension plan,” Michael says. “If the company does well, the values of our shares increase, and thus the personal wealth of the employees increase.” When HPM employees retire or terminate, they receive a cash distribution of their stock ownership. When asked about his greatest accomplishment with HPM, Bobby humbly avoids taking credit for the company’s successes. However, he does consider the implementation of the Employee Stock Ownership Plan as a highlight of his time with the company. Although ESOPs can involve a fair amount of administrative costs, they are a proven way of increasing employee motivation. Bobby is glad that his son and grandson both work for the company, even though he never pressured them to return to the family fold. Both Michael and his son Jason surprised themselves by redirecting their lives back to HPM. After finishing an MBA from Berkeley, Michael envisioned himself pursuing a career in financial or investment services. However, his father presented him with an appealing opportunity to return to the company in order to install the ESOP and establish a wood treatment plant for HPM. After experiencing the challenges, rewards, and real impact of these two projects, Michael realized that he wanted to stay on with HPM. Jason worked as an investment banker on Wall Street before deciding to return to HPM on a one-year contract. One year naturally turned into two because Jason enjoyed helping the employees, contributing to the community, and diving deep into problem solving for the company. Since HPM is in the middle of the Pacific and stocks a variety of hefty products, there are always logistical and supply chain issues to solve. Through Jason’s initiative, HPM has added new concrete foundation and composite roofing supplies, redesigned operations to reduce shipping costs, and recruited new hires for the executive management team. In 2016, Jason became HPM’s President and Chief Operating Officer. On that fateful day of the 1960 tsunami, Michael Fujimoto first learned the word gambare—a Japanese expression used to encourage others to never give up, stick it out, and persevere. The Fujimotos have certainly persevered, innovated, and given back to the community during the 96 years that they have helped shape HPM’s history. And yet, three generations of Fujimotos remain humble. When Mike Fujimoto received the Top Gun Award from the North American Retail Hardware Association in May 2015, which is the highest honor an independent home improvement retailer can receive from the industry, he emphasized that the caring, energy, and enthusiasm of all of HPM’s owner-employees enabled the company to earn the award. “As long as we are adding value to our community and to our owner-employees, then we are doing the right thing,” Michael says. “I believe we have an organization that is equipped to persevere for years to come.” Contact writer Mālielani Larish: malielarish@gmail.com All photos courtesy of HPM

Ho‘okipa is the hospitality of complete giving. Welcome guests and strangers with Aloha. Seventh in Series Two on Managing with Aloha

Ho'okipa is a Game Changer in Service

Managing with aloha

By Rosa Say

non-negotiable, and never subject to budget cuts. A business plan complements your business model, by outlining your company’s strategy and expected financial performance over time. Designing your model and plan in a complementary manner, is what we refer to as ‘business savvy’ in Managing with Aloha. Without their harmony and strategic business sense, it’s unlikely you’ll be able to afford unparalleled service and the hospitality of the Mea Ho‘okipa. Your business plan must be able to afford your business model. Your business model must contribute to business plan growth. We tend to think of Ho‘okipa with the same kind of ‘soft stuff’ regard given to Aloha. We never argue how wonderful it is, how emotionally fulfilling it is, or what a difference it can make, yet we reduce achieving Ho‘okipa to simply trying harder and being nicer. We must become much more pragmatic about our own expectations—more practical, sensible, and business smart. We must change our game, allowing Ho‘okipa value alignment to make its best moves in our business model. A valid operational model, supported by the solid financial business acumen of a reasonable plan, is completely free of wishful thinking. You will promote Ho‘okipa service hospitality by being reasonable. You will adequately and consistently support the grace and generosity which paying customers say they love you for, as service standards they willingly pay you for. Of equal importance is the soft stuff your internal customers appreciate, and become loyal to you for—value staff, suppliers, and other business associates as partners who make Ho‘okipa happen with you. You may operate for quite a while without incorporating Ho‘okipa into your business model, however mere existence isn’t what you’re all about, is it? Be a game changer. Ho‘okipa will challenge and upgrade your business savvy. Being in business will feel more visionary, and become much more satisfying, for that’s what serving others well naturally accomplishes. Next issue: We revisit ‘Ohana, the value-driver of the Managing with Aloha ‘Ohana in Business model. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

KeOlaMagazine.com | May-June 2017

Did you “get your taxes won” in April? Let’s work on updating our business models and business plans next. Ho‘okipa will become the service standard you’ll be able to deliver comfortably and predictably. Ho‘okipa is widely known as the value of service and hospitality in Hawai‘i and deservedly so. Ho‘okipa practices define the gracious service standards of Aloha. Can you afford your Ho‘okipa practices? The exceptional service of Ho‘okipa hospitality is not something a business can economize or scrimp on. If you truly want it, your business plan must support Ho‘okipa as a constant in your business model—a fixed cost, never a variable one. In the Managing with Aloha philosophy, Ho‘okipa is described as ‘the hospitality of complete giving,’ because we ask Alaka‘i Managers to ‘be complete’ with servant leadership. We fully support working partnerships with Mea Ho‘okipa, the effusive hosts and hostesses known for their natural hospitality, innate grace, and unselfish generosity. They are our mentors. Mea Ho‘okipa is a recognition of character, and of self-expression rooted firmly in Aloha, sharing one’s valuedriven breath of life through service to others. Ho‘okipa hospitality is a game changer. Ho‘okipa revitalizes a business by sharpening its focus on unparalleled service as a highly desirable and profitable commodity. The service we give to others consistently takes its rightful place at the forefront of our efforts. When we say, “Our customer comes first,” those aren’t empty words—we succinctly state our genuine intention and describe our actions. Customers know we mean it, because they feel it. There is really no disputing that a business which exists to serve others, is a business internal and external customers willingly and readily support. So why don’t businesses pay attention to this expectation more consistently, and deliver accordingly? There are commonly two reasons a business will fail to serve their customers well. One or both sabotages their ability to be Mea Ho‘okipa regardless of their intent. One, they get distracted with other details, the ‘stuff’ every business is riddled with under the general category of operational complexity. These details are a combination of what you’ve outlined in your business model—the mechanism through which your company generates its profit— and the day-to-day busyness you’ll fall into as your how-to routine. Two, they don’t have a business plan constructed with the financial acumen to support service-giving as mission-critical,

BUSINESS

Dietrich Varez – A malihini’s legacy of illuminating Hawaiian culture and legend By Paula Thomas

Dietrich Varez with his Sunset at the Volcano

He makes his art to give back to his beloved Hawai‘i.

KeOlaMagazine.com | May-June 2017

He never set out to make a lot of money as an artist, however it worked out that art became his livelihood. He remains overjoyed this has kept him busy for nearly 50 years. Dietrich Varez’s hands have carved some 220 blocks of linoleum, from which he has printed hundreds of thousands of block prints. These have made their way into homes, offices, and personal collections all across the globe. It delights him, though not egotistically, that his depictions have disseminated Hawaiian culture and legend throughout the world. What he realized when he moved to Hawai‘i Island and started working inside Hawai‘i Volcanoes National Park, was that everyone wanted to know about the fire goddess Pele, Kamapua‘a the pig god, moon goddess Hina, trickster Māui, the legend of Lehua and ‘Ōhi‘a, and more. He served as caretaker of the Nāmakanipaio Cabins, hired by Nick Lykurgus, son of Volcano House owner “Uncle George.” He also lived there with his wife until he built his house. This was in the 1970s. He also tended bar at Volcano House where he had a clear view of Pele’s lava fields and the smoking Halema‘uma‘u Crater. To Dietrich, there was no better classroom. “I got to know all the terrain,” he says, “every berry, every bush. I had to talk about Pele every day. Visitors asked a lot of questions. I learned all the stories from the people around me so I could answer.” His work as an artist arose from a kind of emergency awareness, which was the realization that no images of these 48 stories existed anywhere. He decided to do something about it. “A story sinks more into people’s brains if you depict it,”

says this former English major with graduate training. “Hell, everyone knows these things but no one depicts them.” With his very able—and steady—hands, along with his empirical knowledge of the landscape and the stories, Dietrich set about making wood carvings and blocks, stuff he could give

away. It was a lot of work with nothing to show for it. Carving blocks that he could print, and doing that out of linoleum, came forth as the practical solution. The first ones sold for $2 apiece at the store inside the national park. Dietrich’s now-iconic block prints are monochromatic, gorgeously composed, and intricately detailed. A distinctive style— in his own words, “strong, definite, there.” Each represents his conception of a narrative—a particular passage, a description of how Native Hawaiians related to nature, the wondrous feat of a god or goddess described in a legend. Some have delightfully patterned borders while others are solid-framed. Nothing is accidental. As a process, each scene is first meticulously sketched out and then carefully carved with razor-sharp tools into the forgiving and relatively soft linoleum block. When the image is complete, the signature earth-brown paint is rolled onto the block and pressed onto rice paper. It used to be that Dietrich would sign every print: The title on the left, his name and year printed on the right. What he chooses to depict has evolved over the years. He’s bolder, more assertive. “I want to get people’s attention,” he declares. Not everything is flowery and sublime. “I want people to see the pig god’s eye, to get some spice in there, put in some risqué things, add a little bit of dare,” he adds. That spice and fire can be felt in his compositions, the flowing lines of paint, the focal point he makes you see. His work is aligned with his personal style in ways. Dietrich has an earthy pragmatism and is a no-nonsense guy. When I told him I owned several of his prints he bellowed, “You have good taste!” “I do,” I replied, with an almost equal gusto. A few years ago, he moved to a digital print process. These digital prints are not signed but are no less valuable than the ones that are because the image hasn’t changed. Dietrich is not an artist who believes in limited editions or exclusivity of any kind. He doesn’t bring his art to galleries that are going to

mark up the price. He is everyman’s artist. “I want my work to be affordable and for everyone to have it, so Joe Six-Pack can buy a print if he wants one,” he explains. His most expensive prints cost $20. He has been known to give prints away, too, even now. When I asked how that plays out, he replied, “They go into shock [that I am just giving it to them], and in the end they are happy that they have it and I am happy that they took it!” His prints extend to a line of Reyn Spooner aloha shirts. Someone from the company asked him to design shirts. In Dietrich’s abiding, unpretentious way, he responded “Sure!” In exchange for providing designs, he gets boxes of shirts, and that suits him just fine. The artist also paints. Unlike his monochromatic prints, the paintings are lush with color, swirling patterns, textural details, floral and flowing landscapes. He picked up painting from his wife, Linda, an accomplished and highly respected painter who, as he puts it, “showed me how to smear the paint on canvas.” When he’s tired of carving, he paints. It’s a change and “provides variety in the creative process and in the end process,” he notes. Harnessing Circumstance Perhaps the most life-changing decision Dietrich made was to purchase nine acres of land in Volcano, sight unseen, way back in 1969. He and Linda could barely afford rent on O‘ahu at the time, let alone buy a house, and the prospect of being able to own land and build on it proved to be irresistible. “I

The ÿOpihi Pickers

KeOlaMagazine.com | May-June 2017

Dietrich cutting linoleum

wanted my own place,” he said, simply. He built his home from the ground up, a solid wood structure deep in the bush in the Fern Forest/Glenwood area. Most people have never been there. He and his wife prefer it that way. He learned to build from his seven years at Ala Wai Marina boatyard after his two-year stint at Fort Benning, Georgia, where he managed and recruited army staff. He left as a second lieutenant. Having no real boat-building skills, he learned from his expert coworkers about wood, tools, techniques, materials. It was great on-the-job training, and

KeOlaMagazine.com | May-June 2017

much more enjoyable than his previous work as a graduate teaching assistant. Boat-building brought him back to working with his hands. It’s noteworthy that his biological father, Friedrich Donat, served under Albert Speer as an architect and engineer in Germany during World War II. Dietrich recalls that his dad was always sketching at home. When Dietrich picked up a pencil, his dad made sure his lines were straight. “He was a pretty fussy old bastard,” Dietrich remembers. “A nasty architect is about as stiff as you can get,” he grins. Discipline with a pencil, it appears, never left the young boy. Although his father fled from Berlin when the Russians invaded, Dietrich’s mother ended up meeting and marrying Manuel Varez, who adopted both Dietrich and his brother,

Christian, and moved the family to O‘ahu in 1946. Dietrich (named for actress Marlene Dietrich who frequented his uncle’s coffee house in Germany) was only eight years old. As a boy growing up at Fort Kamehameha at the mouth of Pearl Harbor, Dietrich preferred to spend time at home. He wasn’t particularly social and still isn’t. “I never liked parties or that stuff,” he says. “I’m not a social guy,” although he did work hard to fit in, learning pidgin and local ways, harnessing his new circumstances. He also figured out how to make things, like a go-kart. “I had it in me to put it all together.” As a teenager he was a hot-rodder, experimenting with cars and horsepower. It wasn’t until he was in his 30s that he found a purpose for his life. The realization that many Hawaiian stories were not depicted visually proved to be his “aha.” Looking back, it’s clear that his illustrations of Hawaiian stories and legends contributed to the renaissance of the Hawaiian culture. It was Dietrich Varez—the malihini (newcomer) from Germany—who was asked to illustrate Mary Kawena Pukui’s seminal collection of Hawaiian proverbs and wisdom, ‘Ōlelo No‘eau. He doesn’t see Hawaiian culture through the lens of geography or indigenous peoples, per se. Rather, Dietrich sees a much bigger picture: the stories of humans and how they interpret life, develop community, cope with conflict in universal themes of man vs. man and man vs. nature. He just filters these themes through the Hawaiian culture, the people HERE, to illustrate the creation stories and bring home the mythology. In his books, like Hina, ‘Iwa, and Pele, Dietrich

Dietrich Varez spreading ink at his home studio

KeOlaMagazine.com | May-June 2017

illuminates legends. Unlike conventional texts, he uses words only to explain pictures versus using pictures to illustrate text. His latest initiative goes even further—an adult coloring book, Pele, the Volcano Goddess, with 24 original block prints ready to come alive with colors you choose. Pele serves as his muse and his work pays her homage in direct and indirect ways. He loves and finds quite fitting the fact that a wahine, Cindy Orlando, serves as Superintendent of Hawai‘i Volcanoes National Park. It is these women who have aligned with him all these years to make his life possible. “The National Park shaped me, formed me into what I am today. Hawai‘i took me in and gave me a home, hell, a whole life,” he reflects. “I want to repay that kindness in order to feel square.” As for the Volcano Art Center, it wouldn’t be where it is today without its partnership with Dietrich Varez. Staffer Emily Weiss notes that Volcano Art Center Gallery has proudly represented Dietrich Varez and his artwork for over four decades. “His fine art prints and paintings express his deep understanding and appreciation of the Hawaiian culture. Volcano Art Center has been honored to share Hawai‘i’s unique customs, traditions and legends with visitors from around the world through his art,” Emily says. “Dietrich’s art, authentic and timeless, will be shared for generations,” Emily continues. “He is truly unique in his philosophy of art being easily accessible to all, [and] 51 we believe this is an extension of the

KeOlaMagazine.com | May-June 2017

Aloha Spirit which Dietrich personifies. His spirit and Aloha will continue through the art he has created.” Now 78, Dietrich seems comfortable with his legacy. “My work is all over the world,” he proclaims. “People from everywhere who have come to Hawai‘i have bought my prints”—very likely with his work at Hawai‘i Volcanoes National Park, which has been getting well over a million visitors in recent years. It’s like he’s been riding a wave that will never end, and that thought seems to bring him a sense of peace that perhaps he has, indeed, repaid the kindness. Contact writer Paula Thomas: paula@delphipacific.com Photos of Dietrich’s work and personal images courtesy of Karen Kaufman, artprintshawaii.com Maui Lifting up the

Images from Basically Books courtesy of Christine Reed

Sky

Where to purchase Dietrich Varez’ artwork Hawai‘i Island: Hawai‘i Volcanoes National Park • Volcano Art Center Gallery • Jaggar Museum Visitor’s Center • Pu‘uhonua O Hōnaunau National Historic Park • Pu‘ukoholā Heiau National Historic Site Books available at Basically Books in Hilo O‘ahu: Bishop Museum Kaua‘i: Kōke‘e Museum

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Dietrich at Volcano Art Center

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To Ride the Wind:

Hawai i Sailing

54 By Jan Wizinowich

ahakini and his three men arrive at Kohala’s Kēōkea Beach at moonrise. He walks to the cliff top and peers out into the ocean. The moonlight sparkles on small lines of white foam marking the swell direction. Across ‘Alenuihāhā Channel, all that can be seen of Maui is a dark strip where the island meets the sea and Kahakini wonders if the channel will live up to its name, “great billows smashing.” Back on the shore, he helps his men finish rigging the ‘ama and ‘iako and together they step the sail, fastening the stays. Kahakini glances out to sea once more and makes a slight adjustment to the sail. By now, family members join them and they circle the wa‘a and pule for their strength to hold. The canoe is in the water. Kahakini’s heart lifts. Paddles down and the wa‘a comes alive. The steersman points her out while Kahakini searches for signs of the wind that will sweep them in a broad reach to Hāna.

Jun and his crew set off from Këökea. photo curtesy of Katie Stephens, Vice President HSCA

KeOlaMagazine.com | May-June 2017

Canoes

Old Traditions Kept Alive When the Hawai‘i Sailing Canoe Association (HSCA) teams depart from Kēōkea Beach Park on May 13, headed for Hāna, they will be reliving an experience that has roots back to the first Polynesians to set out on the ocean. Scaled down from larger voyaging canoes like Hōkūle‘a or Makali‘i, smaller single and double hulled sailing canoes—like the one in Disney’s Moana, or Palikū, built in a month for ‘Imiloa’s Canoe Festival in 2016—were central to life in Hawai‘i. Sketches and written accounts of Hawaiian canoes under sail from the late 1700s and early 1800s illustrate that paddling

KeOlaMagazine.com | May-June 2017

while under sail was also standard procedure in old Hawai‘i. The sailing canoe was perfectly designed to tackle almost any condition offered up by the island waters. “When I think about the traditional Hawaiian sailing canoe and you think of the coastlines and the distances between the islands, you couldn’t come up with a better boat. You can sail when it’s light or when it’s a little heavy. When there’s no wind you can paddle, and it drafts just a few inches. I can pull up on a beach or I can come in over a shallow reef,” said Kamakakoa canoe captain Kala‘i Miller. While sailing canoes were used for practical purposes such as fishing, transport and communication, there are also historic accounts of sailing canoe races with equal billing as paddling races. Today’s sailing canoe is a hybrid that evolved by rigging an outrigger paddling canoe with a mast and sail. In the 1800s, canoes used for a paddling race in the morning were rigged for sailing in the afternoon (Holmes, p. 212). After western contact, canoe racing including sailing canoes declined, supplanted by western vessels ill-suited for Hawaiian waters. There was a short-lived resurgence of traditional water sports beginning in 1875 when King Kalākaua decreed an annual regatta to celebrate his birthday on November 16, which included sailing canoe races among several other water sports. In the 1930s, there were several small regattas exclusively for sailing canoes, sponsored by wealthy patrons. The current HSCA and the start of modern interisland sailing canoe racing began in 1987, the “Year of the Hawaiian.” Newly elected Governor John Waihe‘e asked for special events to celebrate that year. Kaua‘i County created Nā Holo Kai, an

annual sailing canoe race across Ka‘ie‘ie Channel from O‘ahu to Kaua‘i. Then in 1994, Mike Kincaid and Nappy Napolean decided to create a sail from Hawai‘i Island to Maui, tackling ‘Alenuihāhā channel. Mike’s crew included Manny Vincent, long-time president of the Kawaihae Canoe Club. The start of the HSCA interisland racing series, which began in 1997, was originally on Maui, with Hawai‘i Island added in soon after. The summer-long series of races will take place at four to six week intervals and go from Hawai‘i Island to Maui, to Moloka‘i, to O‘ahu, and culminate at Waimea, Kaua‘i in August. “We think of it as stitching together the whole chain of the eight main Hawaiian Islands,” said Kala‘i. Jun Balanga: A Lifetime on the Water Jun Balanga, canoe paddling and sailing coach, Ka Piko Kai sailing canoe captain and owner of Hulakai Surf and Paddle at Mauna Lani, has sailed the HSCA series for the last six years. “I grew up in Lanikai, on the water. What started me in canoe sailing was sailing, period. Before windsurfing, I sailed Hobie Cats. We grew up paddling. Paddled with Lanikai from 12 years old. Then I got into canoe sailing,” said Jun. His first sail was with Kala‘i Miller. “I really got hooked. We went from Kā‘anapali. We passed whales and they never even knew we were coming. We flew right by these guys. We had one breach and it land right on our track behind us,” said Jun. The Kēōkea to Hāna race was his first. “You’re leaving Kēōkea and all we have in front of us is clouds. You watch the angle the water comes in on, follow your wind chop, the angle

of your sail. You’re running that line and you got everybody in the boat believing in you. Never matter when we get there but let’s do this together. The wa‘a brings people together,” said Jun. When he’s not racing interisland, he’s coaching. “What we do here is I set up and sail a lot of four-man. That’s the beginning. We get the feeling of the shoreline. Then I’ll take them to rougher water and wicked winds. The year before I took six young women, all moms, on the Kēōkea race. I wanted them to experience what I felt and how it can change your life,” said Jun. Preparation for the Voyage On the shore at Kēōkea, crews will rig the canoes. “It’s all in pieces. You rig the canoe together like you would a traditional six man. You put the ama (outrigger float) and the ‘iako (outrigger boom) together, put the covers on and step the mast,” said Olukai canoe captain Marvin Otsuji. The set of the sail will be determined by wind, swell direction and intensity. Setting the sail takes knowledge of the conditions and the ability to see what lies ahead. “The way you set the sail on shore, it’s got to run that way all the way to the end. You can do one slight adjustment maybe, but you’re stuck with what you decided, it’s your future,” said Jun. The sailing canoes do well with a broad reach and for the Kēōkea to Hāna race, the idea is to gauge the course to approach at a point east rather than west of Hāna. “If you come in too early, the whole crew going to be paddling for miles. Really rough. The boat is all over the place, the sail is just flapping,” said Jun.

Capturing the Experience When the canoes depart from Kēōkea, Hawai‘i Island photographer Gloria Reed will be offshore in an escort boat. Gloria started as the HSCA’s photographer twenty years ago while working as a full time nurse. “I was shooting for Pacific Paddler, and a friend of mine, Thomas Kemper, was building a three man and wanted me to take some professional shots,” said Gloria. When Gloria was invited to come along on an interisland race she was hooked. “It isn’t about money or prestige. It’s my passion. I feel honored to be part of a really special ‘ohana,” said Gloria. Photographing canoe races is like riding a roller coaster. “There’s big swells, really rough and I have to brace myself in and pay attention to what I’m doing. There are moments out there that I’ve been scared,” said Gloria. Or like doing survivalist training. “You’re cold and you’re so tired and still waiting for the last canoe to come in. Every canoe gets a photo, whether they come in first, second or last,” said Gloria. Wind, swell, current in the Hawaiian channels creates the constant potential for a canoe to huli (flip). Then Gloria’s job changes as swiftly as the winds. “I put my camera away and I’ve literally jumped into the water to help,” said Gloria. And at times it means missing out on a shoot entirely. “At the Nā Holo Kai race last year, Olukai flipped right off Ka‘ena Point,” said Gloria. “I had to go back to Hale‘iwa with the crew and the canoe. It was really sad for me because Nā Holo Kai goes to my home island,” said Gloria. Although the equipment for today’s sailing canoes is updated with modern materials, the dance with the ever-changing ocean and winds are the same. “When you approach the shore, what you see, your mind goes out to how it used to be when the Polynesians approached a new place. I want to give everyone the opportunity and one chance to do something that brings the past back. That’s an honor and it’s huge,” said Jun. Contact writer Jan Wizinowich: janwiz@gmail.com

Olukai crew rig the ama to the 'iako. photo curtesy of Katie Stephens, Vice President HSCA

KeOlaMagazine.com | May-June 2017

Balancing on the Windline "Canoe sailing is all about the balance between the resistance of my steering and the effort of my sail,” said Jun. Which means that how the sail is set and how the canoe is pointed are key to making the most of the wind and waves. “When it gets super windy, the teams that do well are the ones that learn how to spill the wind, not capture it. You have to learn how to monitor it. Being able to find the sail trim that allows you to go forward and spill it efficiently so you’re not wearing the steersman out,” said Marvin. Each leg presents different conditions that need to be adjusted for. For the Kēōkea to Hāna run, “We stand the sail up a little more and move it towards the center line of the boat. What that does is create a pocket in the sail to store wind,” said Marvin. Canoe sailing combines paddling, surfing and sailing into one, demanding a complex set of skills with the most successful teams made up of crew that are both paddlers and sailors. The winning canoe is the one that can take advantage of wind, swell and paddle power. “Our main goal is to catch waves. You still have to have the paddle part to get you into the waves and there’s points where the wind dies and the angle changes a bit. You have to have really solid paddlers. But you need both a sailing crew and a paddling crew and you have to learn how to manage that,” said Marvin. “Captains need to know how to move the crew to respond to the demands changing conditions. If two guys steering, we on fire. No eating, no drinking. You better have hydrated last night. Two would be paddling, two in the tramp, two steering and one will run the bailing. Number four still got to help

run some backstays. You have to be synchronized and move together,” said Jun.

KeOlaMagazine.com | May-June 2017

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Taiko Drumming Ryuky

ukoku

By Denise Laitinen

There is something

intrinsically mesmerizing about percussion—drummers performing in unison, beating out rhythms both simple and intricate. That rhythmic enchantment has led in part to the rise in popularity of Japanese taiko drumming across Hawai‘i Island, the continental US, and beyond.

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ukoku Some Matsu ri Daik o Koh groups, like Kona ala/W aimea Daifukuji Taiko and Taishoji Taiko, have been around since the late 1980s, although there has been a tremendous amount of growth and interest in taiko drumming in the past 10–15 years. When Puna was founded in 2003, the group was the fourth taiko group on island. “We came on just as it was really exploding,” says Paul. Other groups, like the Ryukyukoku Matsuri Daiko (RMD) in Kohala and Waimea, are newer and see taiko as part of a cultural renaissance of Okinawan arts and traditions. Ryukyukoku Matsuri Daiko originated in Okinawa in the 1980s, and was first introduced to Hawai‘i on O‘ahu in 1996. There are two Okinawa taiko groups on island, including Hui Okinawa Kobudo Taiko in Hilo and Ryukyukoku Matsuri Daiko, which has groups in Kohala and Waimea. While taiko drumming is firmly rooted in Japanese culture, members of local taiko groups span a variety of ethnic backgrounds, including Japanese, Filipino, Caucasian, and African-American. The inclusiveness of the groups and their willingness to share and learn from one other has added to the increased popularity of the musical genre as it appeals to a wide range of people. “It’s not structured or governed like martial arts, so it’s very loose and collegial, in the sense that groups help each other out,” says Paul. “You have a folk art that’s old, but you have sharing of ideas across borders due to social media.” Each taiko group has its own style and influences. “We’re all innovating, we’re all learning from different influences, and

KeOlaMagazine.com | May-June 2017

A relatively new musical genre Various types of drumming date back more than a millennia in Japan: in religious ceremonies, on battlefields, and in some community gatherings. When Japanese immigrants came to Hawai‘i to work on the sugarcane plantations, they brought many of their cultural practices with them and taiko drumming in bon odori (dances) in Hawai‘i date back over a hundred years. However, the type of taiko drumming most commonly seen and performed today is kumi-daiko, or ensemble drumming, a relatively new art form originating in 1950s Japan with Osuwa Daiko of Nagano Prefecture founded by Daihachi Oguchi. “There’s temple drumming and folk music of old drumming,” says Paul Sakamoto, director of Puna Taiko. “But in terms of taiko as a stage performance, it’s about 60 years old.” While several local groups, like Taishoji Taiko of Hilo, specialize in kumi-daiko, other taiko groups specialize in performing at bon odori, community events held in the summer to honor one’s ancestors. Plus there is the Eisa style of taiko, a form of drumming from Okinawa. “Including the bon dance groups and Okinawan groups, there are eight groups on island, which is a lot,” says Paul.

Matsu

were all sharing from each other,” adds Paul. Some strictly follow songs and styles from Japan or Okinawa, while others incorporate rhythms from Polynesia or modern hip-hop. Several of the taiko groups perform original music composed by their group leader. For instance, Chad Nakagawa, artistic director of Taishoji Taiko, likes to layer simple rhythms with complex patterns into his original compositions for the Hilo-based group.

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Drummers from keiki to kupuna In addition to being from different ethnicities, members of Hawai‘i Island taiko groups range in age from children to senior citizens. For instance, Kona Daifukuji Taiko, which was founded by Reverend Ryuji Tamiya of the Daifukuji Soto Mission, was formed as a youth group for the Buddhist temple. Ryukyukoku Matsuri Daiko in Kohala also started out by working with youth. RMD O‘ahu instructors Melissa Ching and Jonathan Loomis first taught classes on the Okinawan style taiko in 2005 at Children’s Day Camps in Kohala with director Kathy Matsuda formally creating RMD groups in Kohala and Waimea in 2008 and 2009 respectively. Today, the 25 members of the RMD Kohala and Waimea groups range in age from 6 to 70+. When Earl Ikeda, minister of Puna Hongwanji, started Puna Taiko, he originally envisioned it as an after-school activity for school-age kids. However, when the group first formed, its members were decidedly older. One of the original members of the group, Paul says the Puna Taiko group started with nine

senior citizens, including his grandmother, and a handful of 30-something year-old men. Paul, who worked as a teacher at Kea‘au High School at the time, formed an afternoon taiko class at the school. That class and the Puna Taiko class were eventually combined, and today the group focuses on youth, with members ranging in age from middle school to college, although they also hold weekly adult classes. Taiko instruments While taiko drumming features a wide variety of drums, there are four common types of drums used by island taiko groups. Odaiko are the largest drums used in taiko—literally, “big, fat drum.” They can weigh several hundred pounds and are sometimes mounted on stands. Depending on the size of the odaiko, two performers may play the drum at the same time. Chu-daiko (also known as nagado or miya taiko) are like odaiko in that they are also made from the trunk of a single tree and the skins are nailed around the top of the side of the drum. Although chu-daiko are smaller than the massive odaiko, they are still substantial in size. Like the odaiko, they might be placed on a stand, either vertically, horizontally, or at an angle to vary the sound of the drum. Okedo-daiko are somewhat smaller than chu-daiko and are made from slats of wood or wooden barrels (“oke” means barrel in Japanese). These types of drums are lightweight and can be tuned since the drum skin is attached with rope instead

photo by Denise Laitinen

KeOlaMagazine.com | May-June 2017

Students practicing at Puna Taiko.

of nails. The smallest type of taiko drum is the shime-daiko. Like the okedo, these drum skins are also fastened with rope. However, the shime drums are typically made of a lighter wood and have a higher pitch, which contrasts well with the deep tones of the odaiko. The drumsticks used in taiko are called bachi and are typically made from different types of wood, such as beech, Japanese cypress, and magnolia trees, among others. Bachi themselves vary tremendously in style, size and shape. For instance, bachi for shime drums are quite light, while those used on the large odaiko drums are long and heavy. Prices of taiko drums are not for the faint of heart. A small

Taishoji Taiko drummers at 2015 Cherry Blossom Festival. photo courtesy of Taishoji Taiko

KeOlaMagazine.com | May-June 2017

Big Island Taiko Festival Fans of taiko drumming will want to check out the Big Island Taiko Festival taking place Saturday, June 3, at 7:30pm and Sunday, June 4, at 2:00pm at the UH-Hilo Performing Arts Center. Five top taiko groups from across the island will be performing as part of his energetic festival, including:

Taishoji Taiko • Puna Taiko • Kona Daifukuji Taiko Hui Okinawa Kobudo Taiko • Ryukyukoku Matsuri Daiko Kohala/Waimea All five groups will perform together as part of the opening and closing numbers of the show with each troupe performing new numbers specifically for the festival. This festival is a must-see event for fans of taiko drumming because it is held only every two years and won’t be offered again until 2019. “The taiko groups tend to perform quite often around the island throughout the year,” says Lee Dombroski, UH Hilo Performing Arts Center manager. She adds that organizing a festival of this caliber was a lot for the groups to take on in addition to their regular performances, so the festival is held only every couple of years. “They get really excited about it,” says Lee. Tickets are open seating and priced at $15 general, $10 discount and $7 UH Hilo/Hawai‘i CC students and children, up to age 17, pre-sale. Tickets are available by calling the UH-Hilo box office at 932-7490 Tuesday–Friday 9am–1pm or by ordering online at artscenter.uhh.hawaii.edu.

shime drum can be $1,000 or more, while large odaiko drums can easily cost more than $50,000. Taiko drums made in Japan tend to be expensive because they are labor intensive, requiring months to make a single drum. The larger drums are sourced from a single tree, a practice that is becoming harder to do as certain woods become scarce and there are few master taiko drum makers available. Because of the prohibitive cost of taiko drums made in Japan, many local taiko groups have learned to make their own drums. When Ryukyukoku Matsuri Daiko Hawai‘i taught their first taiko class at a Children’s Day Camp in Kohala, they made odaiko drums made out of five-gallon buckets and duct tape. Students at Puna Taiko started out using tires wrapped in duct tape. Groups like Puna Taiko make their own drums because it is a lot cheaper. The drums are made from recycled oak wine barrels from the mainland and the skins are rawhide from Oklahoma. From start to finish, it takes about a month to build a single taiko drum, says Paul. Given the bulky nature of the drums and their loud noise, members of taiko groups tend to have group practices. Those groups that focus on performing at obon dances tend to be busier during the summer, while those that perform year-round practice more often. Youth members of Puna Taiko practice three hours twice a week, plus teach a class on Sunday to elementary school kids, as well as an adult class. That’s on top of a performance schedule that incudes three to four concerts a month. RMD Kohala perform upwards of 30 times a year at community events ranging from weddings, Veterans Day programs, and community events. Kona Hongwanji Taiko performs at bon dances from Kona to Waimea to Pa‘auilo. Both Kona Hongwanji Taiko and RMD also perform at the annual Cherry Blossom Festival in Waimea, as well as the Kona Coffee Festival. Taishoji Taiko and Puna Taiko have performed at festivals on Maui and Taishoji Taiko has performed at the North American Taiko Conference in Las Vegas in 2015. Perhaps the biggest taiko event on island is the Big Island Taiko Festival, which is held every two years at UH Hilo Center for the Performing Arts. Taiko drumming enthusiasts are in luck as the next Big Island Taiko Festival will take place June 3–4 (see sidebar for more info.) Both new and existing fans of taiko drumming will enjoy hearing a wide variety of musical styles and original compositions in this premiere festival that draws from the best of Hawai‘i Island taiko.

Contact writer Denise Laitinen: Denise@DeniseLaitinen.com Puna Taiko group photo courtesy of Puna Taiko. photo courtesy of Puna Taiko

Talk Story with Harry ‘Uhane Jim

A Story of Ho‘oponopono

Neither man commonly used the word ho‘oponopono. It’s become a catch-all concept for representing the missing cultural behavior of the colonizers; the ability to build relationship skills to create safe change. Some Hawaiians knew this form of ho‘oponopono as closing a circle while staying in your own orbit, or huki: to pull out from, or lift away something to result in nothing; nothing, in the sense of a place of no magnetism pulling in any direction. Both men held Kū-Hina as their whispered lineage. The universe is made of the two: the spark of male, and the space of female. All living or vibrating, everything is in this truth. Uncle Mano‘e told a story about Hawaiian’s first mother and father, not the Adam and Eve tale of being chased out of Eden for unworthiness. His story is located on the island of Kaua‘i, at the very top of Mount Kahilihii, a huge peak with a flat field about 79 yards wide, sitting on the southwestern edge of the Līhu‘e Depression. It is believed that here is where the first man and woman lived in a heaven on earth. They both decided to leave Eden to find out what and where was unknown. Kū and Hina were clear that no animal, plant, bird, or insect, nothing would follow them out of heaven. The journey took them everywhere, seeding aloha. Divine breath connects us and brings us love in our relationships with all. Aunty Margret Machado said, “Aloha means the breath of God is in our presence”. Finding our common source of harmony will result in us knowing our identity, and we can safely change, creating a purposeful time during our orbit on this planet, with enduring aloha. May we all share Ho‘oponopono: love prevails over all trauma. Thank you for sharing your aloha with us! Contact writer Harry Uhane Jim: HarryUhaneJim@gmail.com Ke Ola Magazine celebrates a diversity of viewpoints from our guest writers. To submit a piece for consideration, please email ilihia@keolamagazine.com.

KeOlaMagazine.com | May-June 2017

Ho‘oponopono is an ancient tradition of creating balance and harmony within ourselves—the self that is now, the self of our past, the evolving self of our present and the self of our future. It is our identity. It embodies our present self, and the infinite self at the same time. It’s the “whole” of each one of us. I understand it this way: for the body, mind, and spirit, it’s the highlighted moments of our life, like standing on a surfboard pa‘a (with strength), even with the fluidity of the ocean, and in communion with the energy that is the force of the wave. It’s pono. Right. Ho‘oponopono is not a religion; it’s a spiritual practice. While forgiveness and reconciliation are skills from ho‘oponopono, the vast and timeless expression is to remain with the agreement of humanity, which we committed to at the beginning of time. Our origin speaks of a lineage of us Hawaiians, and all others, who were invited to the creation of this new universe of male and female: spark and space, Kū and Hina. We stood before the creators of this new universe and proclaimed inclusion, “I am IN.” We had all come from other universes, and were pulled to be in this new universe, where discovery rules. We became a fabric of light, each one of us, holding a thread of intention, to be the flow on the path, weaving the story of love, prevailing above all pilikia (trauma/drama). We all took responsibility for our unique inherited capacity to transmute negative energy into positive energy. We committed to learning forever how to co-create manifesting love from nothingness and space. I was fortunate to receive ho‘oponopono from my Grandpa Harry Uhane Ekau Jim of the Kaimikaua ‘ohana of Maui and Moloka‘i; and Tutu Moki Mano‘e, ‘ohana of Kalaheo, Kaua‘i. They were my babysitters. I was cast to be their entertainment during time off from school during summer and holiday times, because in the early 60’s, Dad and Mom both worked much of the time. My grandfather’s favorite times were to prod and challenge me by sharing skills men knew, like setting bird traps, pig traps, and helping clean lo‘i (taro patches) in Hanapēpē. We would also gather medicine plants at the old heiau (sacred spaces), while he and my Tutu Moki burned stories into my brain that went way beyond my childhood, about belonging.

HEALTH

KeOlaMagazine.com | May-June 2017

By Ma‘ata Tukuafu

ith humble pride in his voice, Godfrey Kainoa Sr. speaks about three gold and black plaques lined up in his living room. The inscribed awards are from the O‘ahu Cattlemen’s Association for three generations of hardworking Hawaiian paniolo (cowboys): his grandfather Peter Kainoa Sr. inducted in 2013, his father John Kainoa in 2003 and his own, Godfrey Kainoa Sr. in 2015. “All three of us were inducted to the Paniolo Hall of Fame,” Godfrey says. “I was the hard-headed one to take after my dad. He never wanted any of his kids to be a cowboy, but [on his deathbed] he said, ‘If you are going to be a cowboy, you be the best.’” A true paniolo, Godfrey has been a cowboy for most of his life. His wife Amoo Kainoa jokes that he’d ride anything with hair. Pointing to his torso, Godfrey says he’s broken almost every bone in his body from working as a paniolo on the ranch to participating in hundreds of rodeos. But he repeats with a grin that he’d do it all over again. Born in 1955, Godfrey is the youngest of ten children and the only child who was not born on Kahua Ranch. After living on the Ranch where Godfrey’s nine siblings were raised, his father “Johnny” Kainoa obtained acreage from Hawaiian Home Lands. The family moved to Waimea where Godfrey was raised, though his father contined to work at Kahua. When Godfrey was only three years old, his father became his babysitter. For an entire year, Godfrey was put on a horse, and followed his father around the ranch. He says that really, the horse was his babysitter. At four years of age, one of the families living at the ranch started caring for him, but the experience of being so close to his horse taught him to love animals, livestock, and the land. At the age of eight, Godfrey was riding in horse races in Hilo and herding cattle with his father. “My father would put me on a difficult horse, but he knew I could handle and control him. Pretty much though, I was more afraid of my dad than any horse!” laughs Godfrey. Godfrey graduated from Honoka‘a High School and entered the service for about six months. Then his father got sick and he moved home to take care of the family ranch. Godfrey Kainoa at the age of 3 years old with his "babysitter" at His father died Papa Lio, Kahua ranch, circa 1958. photo courtesy of Amoo Ching Kainoa

Godfrey with some of his belt buckles. photo by of Ma'ata Tukuafu

Monty Richards of Kahua Ranch with Godfrey Kainoa. photo courtesy of Amoo Ching Kainoa

shortly after he moved back, and Godfrey credits “Papa” Monty Richards and Kahua Ranch with taking care of all expenses and caring for the wellbeing of his mother. “Papa also helped with expenses for my grandpa; he was retired and got hurt in a roping accident while branding at Kahua. He took care of my mom and dad too. So no matter how small the pay for the work, I had to give back for all he’s done for our family,” Godfrey explains. This feeling of wanting to give back comes from many loyal Kahua Ranch families and employees. Though younger generations may not know first-hand the hard life of ranching, the effects of paniolo life on their forbearers still reverberate. This is how the idea of creating the Kahua Ranch ‘Ohana Reunion in 2017 was born. Godfrey and former cowboys of

Kahua Ranch were branding one day and started talking about getting people together for a reunion, to give families a reason to come back to Hawai‘i, and hear firsthand, stories from the older generations who worked the land. “Many people have roots here and have heard stories, but have never been to Kahua,” Godfrey says. “There are plenty of people we don’t know, and this is a chance for us to meet. We also want to honor those in Papa Monty’s generation who are up there in age and have worked at Kahua Ranch. There are only about ten of them left.” Founded in 1928 by Atherton Richards and Ronald Von Holt, Kahua Ranch eventually became its own little village on the slope of the Kohala Mountains. Atherton Richards, Monty’s uncle, didn’t have any children of his own, and bequested the ranch to Monty. Godfrey says Kahua had its own rubbish dump, small grocery store, church, and farm. Every week a cow would be slaughtered to provide meat for the ranch families. Cows were milked three times a week to provide milk for the workers. Poi makers from Kohala would go to the ranch and sell poi to the employees. Many of the original Hawaiian families hired by Richards and Von Holt still have descendants working on the land and the Kainoa family is one of them. In addition to the ranch in Kohala, there were other locations and enterprises Kahua managed over the years: in Kahuku on the south end of Hawai‘i Island, a slaughterhouse in ‘Ewa on O‘ahu’s south shore, and a ranch in Waialua on the north shore of O‘ahu. It takes a lot of work to find the descendants of former rancher families now long-gone, and committee planners have received a good response. They started searching with a list of 100 names of original employees and families who have worked for the ranch since its beginnings, people who were hired as cowboys, farmers, tour operators, and more. Amoo said they also put the invitation out on social media and approximately 600 people are expected to attend

Godfrey with his collection of horse bridles, some from his grandfather Peter Kainoa Sr. and father John Kainoa. photo by of Ma’ata Tukuafu

KeOlaMagazine.com | May-June 2017

the reunion. Without checking the calendar, Godfrey and the others met to plan dates for the gathering, and chose the weekend of June 9 through 11. They later realized their big weekend coincided with the Kamehameha Day Parade in North Kohala. Amoo says the Kamehameha Day committee decided to honor the paniolo during the parade and invited them to participate, creating the theme of this year’s parade: Kūkulu Kahua o Kohala Paniolo, rebuilding the foundation for Paniolo Ranching of Kohala. “The committee talked to churches and decided to start the parade at 11am on Sunday so people can go to church,” Amoo says. “At the reunion, Kimo Ho‘opai Jr. will hold ‘Cowboy Church’ on the deck at Kahua because we won’t fit into the little church on the ranch. The Kamehameha Parade will honor Papa Monty and nine other honorees.” The main purpose of this reunion is to give people a chance to return to their roots and to preserve memories, Kimo Ho‘opai Jr. says. Many of the families who left the ranch had no ties and never returned. For others, grandparents and their stories were the only ties, and Kimo Jr. hopes this reunion will teach descendants what roles their predecessors played and how Kahua Ranch life shaped entire families. Kimo Jr., part of the planning committee, was born and raised on Kahua Ranch. His grandparents migrated from Kealakekua to Kahua in the early 30s and worked as ranchers “old school style”—no trucks, no trailers, no electricity. Kimo Jr.’s parents also worked the land at Kahua and his father, like Godfrey’s, hoped neither of his sons would have to live the life he did. “The ranch life is blood, sweat and tears for a small amount of money,” Kimo Jr. says. “But Kahua Ranch provided meat, milk, rice, and more for the families. There were extras provided besides pay.” He explains that life was a lot tougher in previous generations; employees worked from morning to night and there was a lot of hardship. Kimo Jr. hopes that kids and grandkids get some of the knowledge and stories passed down when everyone gets together. As a paniolo, Kimo Jr. was hired by Kahua Ranch during the summers after he returned from the service. He worked at Parker Ranch for about eight years, then moved to Kehena Ranch for 18 years. For five years now, Kimo has worked at Palani Ranch in Kona. He treasures when folks come together to talk about the old times and to sing. His own father, Kimo Ho‘opai Sr. will be present to share his experiences of Kahua, along with Monty Richards, Alan Wall and other long-time cowboys. Even though people may have been away for years, Kahua Ranch will always be considered home by families who have worked there. Kimo Jr. talks about how music and kanikapila (to play Hawaiian music together) was and is an important part of ranch life. He says award-winning Hawaiian musician Kuana Torres Kahele has family ties to Kahua. Home and music are synonymous with paniolo and it is Kimo Jr.’s vision that a lot of music is sung and shared throughout the weekend. Kimo Jr.’s own two sons attended trade schools and worked for a while in their fields before becoming cowboys themselves. “They tried, but then said, ‘You Dad, you taught us to live off the land, and what better way to raise our families, with salt meat, smoke pork, hard work and good values.’ It’s about being out there every day. We all cherish what we do,” Kimo Jr. explains.

Both Kimo and Godfrey remember working at Parker Ranch in the early days. Hawaiian was the language of the land, and the Japanese and Portuguese cowboys knew the language too. Godfrey recalls that both his parents spoke Hawaiian fluently, but he could only understand the language and not speak it. “Numbers, colors of cattle, bent horns or straight horns, directions like left or right were all called out in Hawaiian,” says Godfrey. “You had to know what they were saying or you were in trouble. They made a man out of me at 18 years old, they chewed me up!” Kimo Jr. shares stories of his father’s early morning rides on horseback beginning at 2am, driving cattle from Kahua to Kawaihae and back. Godfrey knows Hawaiian place names for hills, pastures, bays and areas that have been long forgotten. He reminisces about camping and fishing on the beach owned by Kahua Ranch which Monty opened for use by ranch families. The preservation of stories and memories of the ranching life is one of the most important components of this reunion. Because it is anticipated to be a large gathering, the group planned a March trail ride fundraiser so the burden doesn’t fall on Monty or the ranch. For the reunion itself, Amoo says there will be tours of the ranch, trolley and trail rides, activities for the kids, riding in the Kamehameha Parade and of course, a lū‘au and ho‘olaule‘a (celebration). The committee will hire a videography team to capture stories and record history for the families. With a catch in his voice Kimo Jr. says, “We cherish what we do. Like any profession, each has its expertise, everyone has their own. We believe in Hawaiian cowboys and the Hawaiian language. We are still upholding a culture that people don’t know about.”

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Contact writer Ma‘ata Tukuafu: maata.tukuafu808@gmail.com Kahua Ranch Reunion Organizers Front row, L-R: Kimo Ho’opai Jr., “Papa” Monty Richards, Bernard Ho’opai Back row, L-R: Hana Giltner, Godfrey Kaino, Butchie Lincoln, Ned Salvador. photo courtesy of Amoo Ching Kainoa

KeOlaMagazine.com | May-June 2017

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By Leilehua Yuen

rowing up surrounded by music, it was little wonder that Randy Parker became a professional musician. “My Father played ‘ukulele, and Mom played piano and ‘ukulele and danced hula. I liked the music they listened to. A lot of Hawaiian, jazz, Don Ho, Jerry Vale…” It’s a quiet morning in Starbucks, and his soft, slightly gravely voice is easy to hear, and easy to listen to. Randy Parker leans forward and sips his chai tea. His hands, raw boned and strong, engulf the cup. Randy grew up on O‘ahu in Keolu Hills, near Ka‘elepulu Pond at the foot of Maunawili. It was country in those days, and his family had cattle and horses. Randy’s father founded the first 4-H club in the area. It was there that the foundations of his music career were laid. Early on, his parents taught him to play ‘ukulele. When he was ten, he started teaching himself to play guitar, and by age 16 he was composing music. In 1969 he started his professional music career with a $300 gig writing a jingle for Love’s Bread. Randy’s first paid performance was at Honey’s Tavern in Kāne‘ohe, O‘ahu—where Don Ho got his start. It was the beginning of an exciting several years of adventure abroad. “I drank sake in Tokyo, ate gau gi min in Hong Kong, ate coconut crab in Saipan, saw the Reclining Buddha in Bangkok, played music for the princess of Japan, went on tour with a rock and roll band in Micronesia. That was so fun, they treated us like we were the Rolling Stones! I was a professional motorcycle racer in Guam for Suzuki. In ‘71, I worked 'Down Under.' Married a beautiful island girl from the islands of Palau.” When Randy was ready to come back to Hawai‘i, his best friend Nelson Makua suggested Hawai‘i Island, where he moved in 1976 and started working at Kūka‘iau Ranch in Hāmākua. He played music at the former Rosie’s Boathouse (now Peggy’s Lounge in Hilo) and Volcano House. Honolulu Magazine featured Randy’s home in Volcano in a piece on the pioneer lifestyle. Randy became known through his regular gigs which, over the years, included the old Country Club on Banyan Drive, and later, Kaleo’s Bar and Grill, Hōkūlani Steakhouse, and a weekly radio program on KHBC which featured “good time” music, Hawaiian music, and visits from “Unko Uku.” At one point, he was contracted to play music at the Naniloa Hotel three nights a week. In 2000, he took a sabbatical and became a commercial painter. “The problem with music is it’s not a healthy lifestyle.” Randy found the nights away from home, the travel, and the hours, made it hard to spend quality time with his children. “That’s why I took a sabbatical, to raise my family.” Once the family was raised, he returned to music, including a regular spot at Café Pesto in Downtown Hilo. “I would say my music is ‘folk rock Hawaiian.’ Growing up, my inspirations were Kui Lee, Bob Dylan, Cat Stevens, the Sons of Hawai‘i. I was always a songwriter, and always inspired by people who wrote songs. I always listen to the lyrics. I cut six albums. The first was an LP—that’s how old I am! The next three were cassettes—yeah, people used to record to cassettes.

Randy performing at Cafe Pesto in Hilo 2017. photo by T. Ilihia Gionson

Then two were recorded on CDs. A record producer in Japan somehow got hold of my first album. He contacted me and reissued that record in CD, but only in Japan.” His songs have been on Sesame Street, The Young and the Restless, and in the movie, Fire on the Rim. In 2013, his music fell silent as he focused his energy on staying alive. “What happened was I got a lump on my neck. I let it go for about a year, then I showed it to my doctor. Right away he got concerned.” When the lab results came back, it was diagnosed as stage II squamous cell carcinoma. Further scans also found a tumor in Randy’s esophagus and a diagnosis of stage IV hypopharyngeal cancer, a cancer of the head and neck. It was considered stage IV because his lymph nodes were involved, and the tumors measured 3 centimeters. Despite the severity of the lymph involvement, the cancer had not yet invaded major organs. In April of 2013, he flew to O‘ahu to stay with family and begin treatment at The Queen’s Medical Center. The aggressive chemotherapy and radiation therapy left him with nausea, extreme fatigue, hair loss, and diminished ability to taste. Other side effects included diminished hearing and sores in the mouth and throat, making it impossible to swallow. He had to receive nutrition through a feeding tube inserted into his stomach through the abdominal wall, and the drugs through a chemo port. “I got a little bullet hole right here,” he says, pointing to the spot. “I was down to 120 pounds when I was diagnosed. The tube feeding kept me alive. They were feeding me 3,000 calories a day.” The radiation had to be carefully targeted to avoid the larynx and yet treat the pharynx. “I could barely talk for three

Best friends Nelson Makua and Randy Parker talking story. photo courtesy Big Island Video News

trial. “I thought that if I’m going to die from cancer, at least I’m helping them learn more so they can save people.” His sisters got him an apartment and made all the necessary arrangements. Randy says, “Two of the tumors completely shrank away. The largest is reduced by 80 percent.” While clinical trials are paid for by the research institutions— one infusion treatment is $12,000—the ancillary expenses are not. Apartments, airfare, taxis, and miscellaneous expenses add up. Randy wasn’t without his guardian angels on his journey. “My family loves me that much, my brother and sisters paid for everything.” Not wanting to burden them, Randy considered ending his treatments due to the costs. When clinic staff learned that, they began paying Randy $800 each trip to help with airfare. The first series of treatments at Queen’s was paid for through the aloha of friends. Local journalist Stephanie Salazar used her media savvy on his behalf. Randy says, “When I was in Honolulu at Queen’s, my friend Stephanie put together a fundraising concert for me at Sangha Hall [in Hilo]. All the musicians came together for me. We raised enough to pay about all of my expenses. I even got checks from people who saw me play Volcano ten years before. What support! I am very grateful.” But there is more to healing than drugs, radiation, and money to pay for them. “I pray every day,” Randy says. “The Good Lord has given me the strength to stay positive. I made changes in my diet, I have faith in God. Just being positive about the whole thing. The worst is having to travel every two weeks. I spend two days there, and I come home the morning of the third day. The side effects include COPD [chronic obstructive pulmonary disease]. I had to get a rescue inhaler. All my life I never was in the hospital for anything until I got cancer.” With his newfound sense of vulnerability came a determination to take control. “I’m going to be happy,” he says. “I’m not going to let it run my life.” Part of that is being proactive. “I changed my diet. Sugar was the hardest thing to give up. Harder than cigarettes. Stress is bad, makes it grow faster. And sugar. Every morning and for lunch I drink a shake called a Dragon Slayer: protein powder, all the vegetables you can think of. Positive attitude and the support of friends and family, my grandkids. I have a strong, supportive wife. Zita grew up in Palau. She grew up in a humble island lifestyle. You can’t get more Island than her.” He says, “If someone has cancer, don’t lose faith. Don’t just assume you are going to die. You can live. In 2013, my granddaughter, when she was six, came to me and asked me, ‘Papa, are you going to die?’ I told her, ‘Someday. We all do. But not soon.’ And she ran off, smiling.” “I don’t have a bucket list,” Randy reflects. “I already did a lot.” These days, Randy has no music projects in the works. “People ask me, but no. I’m not writing now.” The daily work 71 of fighting the cancer takes a lot of time and energy. The

KeOlaMagazine.com | May-June 2017

months. I could sing after three months. But after that I couldn’t for about a year. They were irradiating so close to my voice box that they told me I might never sing again. It burned the outside of my neck and the inside of my throat.” “The cancer made me feel very vulnerable,” Randy says. “Good things always happened to me. I even have a song called ‘Lucky Charm.’ So, I realized that we are so vulnerable. Try and make the best of your time on earth, help others as much as possible. It made me humble to see many of my friends and family share their aloha and kōkua with me.” “My friend Nelson Makua, he’s one of my oldest and best friends, before I had this cancer, he had a similar cancer. Once I drove him for his therapy. I thought to myself, ‘Now I know what it feels like to have a friend with cancer, who’s going through all this. What would it be like to be the one with cancer?’ Be careful what you wish for!” Randy’s throat cancer treatment lasted seven weeks. But as soon as that cancer was gone, doctors found three tumors that had metastasized in his lungs. In June 2014, Randy was given 24 months to live. Exploring a variety of treatment modalities, Randy got his medical marijuana license and learned to make cannabis oil, and treated himself with that. Beginning a new regimen, however, the doctors asked him to stop to avoid drug interactions. Then, Randy’s doctor in Honolulu told him about a clinical trial in Los Angeles. It was at the Angeles Clinic and Research Institute in Brentwood, a treatment called immunotherapy, a major new breakthrough in curing cancer using one’s own immune system. “There was nothing else they could do for me here. My three youngest sisters followed up on it, got me an interview, flew over with me, a month later they fly me back with all my medical records. At that time there was no openings, so they told me they would call me back because I was a perfect candidate.” Two months later, the call came. There was a place for him, but it would mean moving to LA for two months, and bi-weekly trips to the clinic after that. Randy wasn’t sure he was up for it. His sisters convinced him to try at least the two-month

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largest tumor is growing again, though his doctors tell him that is normal and to be expected. It’s still small. More radiation has been discussed, but it is not a favored treatment as he already has undergone so much. Despite everything, you can’t really keep a songwriter from writing. Though yet unpublished, he has written new lyrics to one of his songs: Sometimes things happen that you can’t explain From blue skies and sunny days it started raining on my parade But with my family and my friends And the Good Lord on my side I feel wonderful, happy to be alive I feel wonderful, happy to be alive Contact writer Leilehua Yuen: kumuleimanu@gmail.com

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KeOlaMagazine.com | May-June 2017

Photo courtesy of Randy Parker

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Featured Cover Artist: Garry Hawai‘i has definitely inspired Garry Palm in his paintings. He and his wife moved to O‘ahu in 1987 and ever since, Garry’s exacting watercolor style has been making an impression on kama‘āina and malihini alike. The beauty of bright tropical florals and beautiful nostalgic pin-up girls have a universal appeal that never goes out of style. Most of his recent works have been local flowers and familiar places around Hawai‘i Island, where he and his family moved in 2011. Garry’s distinctive watercolor style seems to draw attention into the depths of his paintings, letting you explore every detail. From his studio in Kapoho, Garry builds his paintings layer by layer, taking 30 to 40 hours to complete most pieces. His attention to detail also works well with another subject—portraits and pin-up girls—which he calls his “Palm Girl” collection. From looking at his work, you wouldn’t guess that Garry was born in Minnesota. In 1985, Garry married his high school sweetheart, Cynthia. They honeymooned in Hawai‘i where they both fell in love with the vibrant colors of the islands—and came back for good in 1987. Garry, already accomplished in oils and acrylics, focused his artistic expertise on watercolor. He continues to create glowing, translucent watercolors of the island’s most loved blossoms: plumeria, bougainvillea, hibiscus, bird of paradise, and more. Usually working from a photograph, Garry says he prides himself on capturing the subject’s personality, putting it on paper, and holding it there to cherish forever. In addition to having his work in galleries on Hawai‘i Island, Maui and O‘ahu, Garry also has his paintings in many private and corporate collections around the world, including Kapi‘olani Medical Center, Absolut Vodka, Hawai‘i Carpenter’s Union, The Hawai‘i State Foundation for Culture and Arts, Outrigger Hotels, Ilikai Hotel, Mauna Loa Macadamia Nut Company, and GTE Hawaiian Tel. Garry’s paintings have been purchased by people from all over the world. His work is shown in a number of galleries all over the islands, and has received multiple awards, including Best of Show, in juried competitive exhibitions. Despite his notable success and growing notoriety, Garry says, “My proudest accomplishment is just having the opportunity to be a full-time artist and doing what I love to do.” He is also a proud father of two, and enjoys golfing in the little spare time he has. Garry is always available for commissions and private showings of his current works. He is also teaching his style to beginners and experts alike at One Gallery in Hilo, and is available for private groups or one-on-one teaching.

Palm

Keiki Summer Activities By Tiffany Edwards Hunt

“What are we going to do with the keiki this summer?” is the question working parents or a stay-at-home caregivers inevitably ask around this time of year. For those seeking ideas for something a little different for their children during the summer months, Ke Ola Magazine has compiled an A–Z guide to activities and excursions all over Hawai‘i Island.

Field Trips Big Island Bees — KONA Learn all about bees at this honey farm and beekeeping museum. Museum admission is free. Tours are $10 for adults, $8 kama‘aina, free for keiki with reservations recommended. 808.328.1315, bigislandbees.com.

Silver Crest Farms Horse/Pony Riding — PUNA Pony/horse riding lessons for ages 4–18 near Lava Tree State Park in Puna. $25/half hour. Plans for Pony Day Camp in the works. Cynthia McClendon, 808.333.1859, silvercrestfarms.com

Hobby Garden — PUNA Enjoy train rides, catch-and-release fishing, miniature golf, basketball, dioramas of world cities, and a model craft museum with airplanes, cars, boats, trains and robots. 9am–5pm daily. 808.982.5604, facebook.com/hobbygardenhawaii

For Artists

KeOlaMagazine.com | May-June 2017

Ocean Rider Aqua Farm — KONA See where seahorses are born—and where 20,000 of them call home on any given day. This is the only aquarium where you can pet seahorses in the United States! 808.329.6840, SeaHorse.com

Donkey Mill Keiki Summer Art Experience — KONA Between June 12 and July 14, youth can express ideas and meaning through painting, printmaking, mixed media, ceramic, paper making and the performing arts. Scholarships are available. Miho Kanani Morinoue, 808.322.3362 East Hawai‘i Cultural Center (Hawai‘i Museum of Contemporary Art) — HILO Open Wed–Fri, 10am–4pm; Sat, 10am–2pm with free

admission. EHCC plans to host a Youth Art Series over the summer break. 808.961.5711, yas@ehcc.org, EHCC.org

For Curious Keiki Earl’s Garage — WAIMEA Workshops with hands-on projects and science exploration themes. Sign up for individual weeks or all five weeks, 8:30am–2:30pm. Katherine, 808.885.6777, katherine@tutushouse.org. ‘Imiloa Astronomy Center — HILO Where astronomy meets Hawaiian culture—visit ‘Imiloa’s planetarium and exhibits, and stay tuned for exciting summer programs. Children under 5 get in free, and discounts are available for kama‘aina and members. ImiloaHawaii.org Kona Coffee Living History Farm — KONA Visit the Kona Historical Society’s farm to experience firsthand traditional crafts, trades, practices and food that were common in early 20th century Kona. The Captain Cook farm is open 10am–2pm weekdays. 808.323.3222

Kuleana Education Music Mania – KONA Introducing kids K–8 to jazz, pop, rock and roll, and more. Other offerings include science, art, space camp, and an Around The World Camp. Dana, 808.989.0986, dkern@ kuleanaeducation.com

For Performers

Cirque ‘Ohana Summer Fun Circus Camp — WAIMEA A circus journey through history, June 12–23 at Kanu O Ka ‘Āina Gymnasium. Classes include acrobatics, aerial silks, unicycling, juggling, and more. $260 with a sliding scale and scholarships available. 808.557.4523, cirqueohana.org HICCUP Circus Summer Programs — PUNA Circus shenanigans for kids ages 4–17. Playful programs include juggling, unicycling, acrobatics, aerial silk, magic, ballooning, costuming, stilt walking and much more. Tristan, 808.965.8756, info@hawaiispace.com

For Water Lovers Big Island Sailing Foundation Camps — KONA Take your pick of one-week summer sailing camps through June and July, for novice to intermediate young sailors out of Keauhou and Honokōhau. 808.640.0662, Big Island Sailing Foundation on Facebook, bisf@earthlink.net Jack’s Diving Locker — KONA Learn about marine animals with hands-on activities and crafts in these 4 or 5 day camps, with beach excursions and pool snorkeling and diving. Ages 6–18. katie@jacksdivinglocker.com, 808.329.7585, JacksDivingLocker.com Junior Lifeguard Program — ISLANDWIDE The County of Hawai‘i teaches ocean safety and basic lifesaving skills to youth over the summer. Contact the County for more details on this year’s program. Mason Souza, 808.961.8694, aquatics@hawaiicounty.gov

KeOlaMagazine.com | May-June 2017

Bruce Meyers Magic Camp — HILO The historic Palace Theater will become a little more magical June 6-9. Bruce is known for the wonder, magic, laughter, and aloha he works into his act. Sign your keiki up for a magical summer! 808.934.7010, hilopalace.com

Mälama Honua Update

The Worldwide Voyage

Legs 28 and 29 brought Höküleÿa to the Galapagos, Rapa Nui, Pitcaairn, and the Marquesas Islands

After passing through the Panama Canal in January, Hōkūle‘a engaged in a cultural exchange with several indigenous groups in Panama before setting sail for the Galapagos Islands, a UNESCO World Heritage Site known for its vast number of endemic species. When they arrived in Puerto Ayora, the capital city of Santa Cruz Island in the Galapagos, the crew was joined by a contingent of teachers and students from Hawai‘i as well as representatives from The Nature Conservancy and Conservation International for an educational visit. During their stay, the crew and participating schools engaged in activities to further their understanding of the area’s fragile ecosystem and how its preservation aligns with the Worldwide Voyage’s Mālama Honua mission. KeOlaMagazine.com | May-June 2017

Off To Rapa Nui, Pitcairn From one UNESCO World Heritage Site to another: 16 days and 1,900 nautical miles after departing the Galapagos, Hōkūle‘a returned to the Polynesian triangle—back to Rapa Nui, where the canoe last visited 18 years ago. Because of its tiny size and remote location, Rapa Nui is considered one of the most difficult islands to find using traditional wayfinding. Hōkūle‘a was honored with a traditional landing ceremony on Anakena Beach on February 27, the site of historic seafaring welcomes on Rapa Nui. The crew was joined by the Nahiku Student Delegation from Hawai‘i as they met with both the Governor and Mayor of Rapa Nui, visited kūpuna (elders) at Hare Koa Tiare Care Home, and toured Museo Rapa Nui. The crew also connected with the Toki School of Music for a day of 76 community service and voyaging outreach.

of Höküleÿa

Map showing Höküle‘a's Mälama Honua Worldwide Voyage

The crew then departed from Rapa Nui headed to Pitcairn. During their one-day visit with the Pitcairn community, the crew engaged with one of the families the crew met when Hōkūle‘a last visited in 1998. Arrival at Nuku Hiva After 10 days on the sea after Pitcairn, the crew arrived on the island of Nuku Hiva in the Marquesas on April 2. The crew received a warm welcome from the community celebrating Hokulea’s journey around the world. Upon arrival, the crew members met up with the family who welcomed the crew when Hōkūle‘a first sailed to the Marquesas in 1995 as a part of the Nā ‘Ohana Holo Moana Voyage.

KeOlaMagazine.com | May-June 2017

Hikianalia Departs Hawai‘i Meanwhile, Hikianalia is underway on a 2,200 nautical mile sail to Tahiti to meet Hōkūle‘a and escort her back home. A team of five apprentice navigators and one primary navigator will be targeting a block of three atolls—Rangiroa, Tikehau, and Mataiva—at the western end of the Tuamotu Archipelago. Hikianalia left Palekai in Hilo on March 26. This journey to Tahiti marks the inaugural voyage as captain for apprentice navigator Kalā Baybayan Tanaka. Tanaka is an educator and apprentice navigator with Maui’s voyaging society, Hui o Wa‘a Kaulua, where she teaches about Polynesian wayfinding techniques to children and other interested learners. Tanaka draws her inspiration and connection to voyaging from her father and pwo navigator, Kālepa Baybayan, who will also be aboard while Kalā captains Hikianalia to Tahiti.

Reunion of crew and family that welcomed Höküle‘a in 1995 to Pitcairn Island

Hikianalia at Palekai, Hilo before departing for Tahiti their rendevous with Höküle‘a. photo by T. Ilihia Gionson

KeOlaMagazine.com | May-June 2017

73-5590 KAUHOLA STREET, NEAR COSTCO - KONA 808.326.7760 STATEMENTSHAWAII.COM MONDAY - SATURDAY 10-4:30

Teachers and students from Hawai‘i and representatives from The Nature Conservancy and Conservation International in the Galapagos Islands

Traditional welcoming ceremony in Rapa Nui

Hawai‘i Island United Way has a proud history of bringing Hawai‘i Island residents together to affect change. Since 1967, our mission has been to unite people, organizations, and resources to build a healthier community. Through your generosity, we invest in health and human service programs in the areas of education, income, and health that reach over 75% of people on Hawai‘i Island.

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KeOlaMagazine.com | May-June 2017

Our vision for the future is to continue to build upon this legacy of generosity and realize a stronger, healthier, more sustainable community.

KeOlaMagazine.com | May-June 2017

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 83. Your feedback is always welcome. HIeditor@keolamagazine.com

DOWN ACROSS 1 One of the many instruments that Randy Parker plays 5 Form of Japanese drumming popular in Hawai‘i 8 Hawaiian word for along or beside 9 Lū‘au action 11 Jun Balanga's craft 15 Lauhala weaving artist, ___ Murata 16 Repair 17 Beach in Kohala 21 They show the way 24 Hawaiian flower made popular abroad by the late Harold Tanouye Jr. 26 End of a pen 28 Hawaiian word for to choke 29 On the safe side, at sea 31 Linoleum block carver, Dietrich 32 Hawaiian word meaning packed full 35 Hawaiian word for someone new to Hawai‘i 37 Fire goddess 39 Port hull of a double canoe, in Hawaiian 40 Country retreat 41 Hawaiian word meaning to jerk 42 Hawaiian word for outrigger boom 43 Classical stringed instrument

1 2 3 4 5 6 7 10 12 13 14 17 18 19 20 21 22 23 25 26 27 29 30 32 33 34 35 36 38

Hawaiian word for hand wrestling Hawaiian word for the Big pooch Eternally Kind care, initials Personal, as thoughts Type of Japanese drum used in Hawai‘i Hawaiian word for to roll Dawn time Supported by Hawaiian word for with Hawaiian tree No longer fashionable Hilo University website ending Successful building supply company in Hilo One of the Fujimoto family that have made ___ across a big success Hawaiian word for period of time Clock information Hawaiian word for nagging Flower and vegetable growing area Website ending for a business Hawaiian word meaning to nibble, as a fish Blossom part of a Hawaiian legend Hawaiian word for the Antidesma tree Hawaiian word for to rise Succeed Permanent, in Hawaiian Hawaiian word meaning criticize Hawaiian word for to crawl as a baby

Michael Arthur Jayme Gallery and Studio - Honomū By Brittany P. Anderson Charming downtown Honomū is home to Michael Arthur Jayme Gallery and Studio, a unique gallery offering over 19 different artists’ work that ranges from pottery to abstract paintings. Artist and owner Michael Arthur Jayme can be found painting while answering questions and offering details regarding the individual works as patrons stroll through the gallery. Michael moved to Hawai‘i Island in 2015 after living in the Sonora Desert area of Arizona. He had the calling to be an artist at an early age and has been creating artwork all his life. Michael is a self-taught painter having only taken one painting workshop throughout his career. While living in Arizona, he owned his own gallery and organized numerous exhibitions in the area. He has found success in several mediums and a range of styles including representational, watercolors, abstract painting, oil paint with pallet knives, and painted silks. Many of Michael’s pieces are for sale in the gallery with his silk scarves being one of the most popular. Having a studio space within his gallery is Michael’s way of maximizing his creativity. “For me, a day without creating art is like a day without breathing,” he quips. The Hāmākua coast’s energy resonates deeply with Michael. He visited Hawai‘i Island on a whim, but once here he didn’t want to leave. Reluctantly returning home, Michael immediately placed his house for sale. He wanted to live perched on the cliffs of the Hāmākua and after several years and 20 more trips back to the island, Michael found his sanctuary. The artists shown at the

LIC# C-27865

gallery represent the best of what East Hawai‘i has to offer. “Sharing my space with other artists just enriches my life and my art tremendously,” Michael explains as his large abstract paintings hang behind him. It is the variety that truly sets Michael Arthur Jayme Gallery and Studio apart. Michael has selected a full range of pieces being created in East Hawai‘i. Honomū based artist Robert Weiss’ en plein air paintings, Hawaiian Paradise Park jewelry artist Kimberly Hagen’s porcelain sea urchin earrings are just a few of the local artists at the gallery. Michael enjoys speaking to visitors and locals about Hawai‘i Island artists. “I welcome everyone who comes in to be ‘ohana,” Michael says. He is very knowledgeable about the artists and the work on display. The gallery has a layout that is easy to peruse with consideration to artist, medium, and subject. A display case containing Jim Potts’ sea glass with fine silver jewelry separates the gallery from studio space. Michael explains as he spreads paint over stretched fine silk how Jim uses sea glass found just 4 miles from the shop to create the eye-catching pendants and earrings. Whether you are an avid art collector or simply looking to have a unique piece to call your own, it can be found at Michael Arthur Jayme Gallery and Studio. Artists and artwork vary throughout the month. One thing that doesn’t change is Michael’s enthusiasm for local art. Michael Arthur Jayme Gallery and Studio 28-1680 Old Māmalahoa Hwy. Honomū, HI 96728 Open daily from 11am-5pm 520.270.7462

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.

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Glyph Art Gallery - Holualoa Glyph Art Gallery is a warm and inviting space in the heart of Hōlualoa’s coffee and art country, offering a wide range of two and three-dimensional artwork from local artists and artisans. Glyph and Shelly Maudsley White’s ‘Ohana Gallery are two new additions to a village that continues to reinvent itself as a destination for art, coffee and culture. Glyph is owned by Ron and Lisa Haake, who are now in their ninth year of calling Hōlualoa and Hawai‘i Island home. Ron owned and ran a scenery and modelmaking studio in San Francisco for 27 years before deciding it was time to leave the rat race in the Bay Area. Lisa is a Montessori teacher and jewelry designer, specializing in woven, cast, and formed jewelry in precious metals. Ron changed careers and became a fine art digital printer for local artists and photographers when he moved here, a business he still engages in. In late 2015, the couple expanded and opened Glyph as a new art venue, offering the work of over 20 artists, including their own. “Our goal is to offer a wide range of styles in as many different genres as possible, especially some of the less widely offered mediums. We like to expand our client’s art options, and present as much unique work as possible in the context of contemporary Hawaiian styles and tastes,” says Ron. “That encompasses everything from realistic to highly stylized and fully abstract. By my definition, that also includes traditional Hawaiian cultural pieces, and art heavily inspired by the rich history of the islands. Often the juxtaposition works surprisingly well.”

A partial list of offerings on paper and canvas includes oils and acrylics, watercolor, block printing, pastel, colored pencil, charcoal, and digital art. Hawai‘i is known for its marvelous woods and woodworkers, and Glyph carries marquetry and pyrographic pieces, wood sculptures and art furniture, as well as wall art created from exotic woods and resin. There are also ceramics, jewelry and photography on canvas, paper and aluminum offered. You will find many established names, but also emerging artists. Ron describes their market as geared more toward a balance of full- and part-time Big Island residents and visitors. “Hōlualoa isn’t on the way to much these days”, Ron adds, “so most gallery visitors are here because they made a conscious effort to get here. Many come for lunch or dinner at our wonderful Holuakoa Gardens and Café, are here to browse the shops and galleries, or often both. We see quite a few second home clients, and have also made a lot of connections with full- and part-time residents at the monthly First Friday After Dark event we are privileged to participate in. It’s a great community event combining art, music and food and Lisa and I have met a lot of great people through that.” “Of course, advertising in Ke Ola Magazine has also been a great way to spread the word about the gallery. Life is good.” Glyph Art Gallery 76-5933 Māmalahoa Hwy., Hōlualoa 808.769.1550 glyphartgallery.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 | May-June 2017

ApacHawaii.org info@apachawaii.org 808.322.9924

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

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.

Kona Stories Bookstore

Palace Theatre–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

KonaStories.com ks@konastories.com 808.324.0350

HiloPalace.com info@hilopalace.com 808.934.7010

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

Skea.org 808.328.9392

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

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

NorthKohala.org info@northkohala.org 808.889.5523

Waimea Community Theatre

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

Ho‘olaha Ka Hua

“Da Box”

WaimeaCommunityTheatre.org 808.885.5818

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

EBT: $12/week (min. 2 weeks) Retail: $16/week (min. 5 weeks) One week trial: $18

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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 | May-June 2017

Once a week, you can receive fresh, in-season, Hawai'i Island grown produce delivered to sites all around the island.

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

Community Kökua Volunteer Opportunities

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

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

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

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 NELHA

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

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

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

KeOlaMagazine.com | May-June 2017

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

Hawaii Adult Literacy/Volunteer Training

Hawai‘i Community College, Pālamanui,Kona Ongoing 11am–3:30pm Training to teach low-literacy adults to improve their reading and writing. See website for more info. volunteer@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 808.217.0154 Hihs.org

Hawai‘i Wildlife Fund

Wai‘ōhinu Coastline, Ka‘ū SE Hawai‘i Island beach cleanups. Ongoing 7:45am Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

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

Community Kökua

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

‘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

Volunteer Opportunities 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

For Healthier, Happier Pets

• High Quality Dog & Cat Food • Collar, Leashes, & Toys • Treats from our “Barkery” • Lots of Locally Made Items Mon-Sat 9am-6pm 808.333.3530 697 Manono St. in Hilo alohapawz.com

Kona Choral Society

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

Kona Toastmasters

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

North Kohala Community Resource Center

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

Paradise Ponies, Carousel of Aloha

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

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

Snorkel Day for People with Disabilities Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Stephanie Kovatch snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.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 | May-June 2017

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

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

Hawai‘i Island Farmers Markets Wednesday 9am–4pm Waimea Mid-Week Farmer’s Market at Pukalani Stables, site of the Paniolo Museum. Pukalani Road in Waimea.

West

1st and 3rd Friday of the month 4pm–8pm Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd. Hōnaunau Featuring locally grown fruits, vegetables, fish, meat, local goods and educational resources. 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.

KeOlaMagazine.com | May-June 2017

Saturday 9am–noon Hōlualoa Gardens Farmers Market 76-5901 Māmalahoa Hwy, Hōlualoa. Friday 9–5 * Sunday 9am–2pm * Pure Kona Green Market 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 Market, Sheraton Kona Resort 88 at Keauhou Bay.

Wednesday 2pm-Dark Kona Sunset Farmers Market In front of K-Mart, Makalapua Center. 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 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. Fresh locally grown produce, flowers, plants and value added food items, and crafts. Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, at Hawaiian Homelands office, Waimea. Produce, honey, clothing, gifts, prepared food, and live music. Tuesday and Friday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic.

* EBT accepted: KohalaCenter.org/ebt/markets.html

East

Tuesday 2:45–5:30pm Hakalau Farmers Market Live music by: Alternative Medicine Bank Hakalau Veterans Park 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 Market, Honoka‘a Hwy 19 and Mamane St. Quality farm products, live music, educational workshops, covered eating area. Sunday 9am–1pm Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy 19. Local products. 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. Saturday 7am–noon * Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo.

Sunday 7am–2pm Pāhoa Village Farmers Market, Nānāwale Community Longhouse. Sunday 6am–2pm * Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road. 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. Local grown produce, ‘ono grinds and live music. Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Homegrown produce offered by Hawaiian Homelands lessees. 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 8am–1pm * Hilo Coffee Mill, 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.

• Please send info on new markets or changes to sharon@keolamagazine.com

Fair Wind Cruises

Celebrating a Long Time Advertiser Fair Wind Cruises is the oldest family-owned snorkel business in Hawai‘i, operating since 1971. With two 55’ catamarans taking guests to destination snorkel areas, Kealakekua Bay and various South Kona locations, the cruises are an inclusive experience complete with snorkel gear, instruction,flotation equipment and even a delicious owner-created breakfast and lunch. Although the original Fair Wind was headed to the South Pacific, an accident while docked in Kona showed its captain Hawai‘i Island’s true spirit of aloha. “My father, Mike Dant, sailed the original Fair Wind trimaran from California to travel the South Pacific in 1970,” owner Puhi Dant explains. “He made a stop, tied the vessel to a mooring already set in Kailua Bay, went to dinner at Herke’s Restaurant, and next thing he knew someone came in and asked if he owned that new boat in town. He soon found out his vessel had broken the mooring and drifted onto the rocks of the Hulihe‘e Palace grounds.” The community came together to help the stranded mariner. A crane working on the Kona Hilton (now Royal Kona Resort) helped get the boat off the rocks and to a yard behind King Kamehameha Hotel, which let Mike repair his boat there. Capt. Cook Building Supplies fronted him the materials to make the repairs needed to get the Fair Wind back in the water. To pay off his debts, Mike started a snorkel cruise—$12 a person, advertised with hand-written flyers passed out to tourists. “The town opened their arms to my dad and he fell in love with the people, the place and the lifestyle,” Puhi shares. “I moved over a few years later and started as a deckhand, then a dive leader, and then a captain. In 1983 my wife Mendy and I bought the business from my dad, and he retired to the mainland." Today, Fair Wind Cruises continues to give back to the community that opened its arms in 1970. “We use as much fresh local produce and beef for our menus as possible,” Puhi says. “We use compostable products on board for food service, recycle as much as possible, and

send our fresh food trash to pig farms and our Fair Wind farm compost pile. We also grow fresh fruits on our farm along with coffee, which we proudly serve on our vessels.” Even the boats eat local—Fair Wind Cruises’ vessels run on 100% biodiesel, produced locally by Pacific Biodiesel from on-island feedstock. “The environmental issues are a great concern for us, as we see daily changes in the corals from the water warming,” Puhi says. “We support and participate in many environmental organizations, along with being as conscientious as possible.” Fair Wind’s 46 years in business hasn’t been without challenges. In 1988, the state implemented new regulations for tour operators in Kealakekua Bay. It took two years to go through the conservation district use permit process. Then, in 1992, Hurricane Iniki broke the vessel Ho‘okele from her mooring and smashed her onto the rocks. Fair Wind found a temporary vessel, but it was half of Ho‘okele’s capacity. It took two years to recover and set sail with the Fair Wind II. Puhi credits the Fair Wind staff with the company’s success. “They work hard physically and have to have patience and the love of people,” he says. “Working with 200 or more people every day can be challenging, but they put a smile on the face of almost every single guest that comes in contact with Fair Wind.” So where does Puhi see Fair Wind Cruises in the next ten years? “We’ll continue as a family-owned business. Our sons were born and raised here, and we now have grandchildren that live here, too. We are very fortunate to have our family together. We have a lot of fun together.” Fair Wind Cruises 78-7130 Kaleiopapa St. Keauhou 808.322.2788 aloha@fair-wind.com fair-wind.com

MARKET PLACEM A R K E T P L A C E ACCREDITED BUYERS REPRESENTATIVE

MORTGAGE Glass fromBROKER the Past

Talk Story with an Advertiser By Brittany P. Anderson

BOOKKEEPING

Tax planning is a year round event!

Paula Wilson, EA • Action Business Services

808-329-3403 LAND SURVEYING

Glass from the Past has been in Honomū for 30 years and is not your typical antique store. “Digger” David Ackerman, the friendly owner, has turned his love of digging for glass bottles and REALTOR® other discarded relics of yesteryear into a business that keeps people coming back for more. Glass from the Past offers an assortment of glass bottles, LP records, plantation-era home furnishings, vintage aloha wear, and retro kitsch. Glass bottles are sorted generally by color, and use. “A lot of the items have a cool story and history,” David explains. He offers patrons a short oral history of any given item including the item’s use, where it was found, and details on how or where it was made. Bottles of every size and color line the windows and walls, illuminated by the Hāmākua sunlight. Customers from all over the world visit the shop with many ROOFING MATERIALS returning each year to see what new item they can add to their collection. Made On The Big Island David and his wife, Elizabeth (Lizby), grew up in Kailua, O‘ahu where collecting sea glass was a favorite past time. David was intrigued by the small bits of glass and wondered alohametalroofing.com what the bottle looked like prior to being worn by ocean waves. David was gifted a book on antique bottles of Hawai‘i and he was hooked instantly. David began digging in 1984 at a secret location he still uses today. His fascination with digging for buried bottles went from hobby to business when his home became overrun treasures. Friend, Peaches "We Manufacture Metal with Roofing" Grove, convinced David to open a store in Honomū and on June 14, 1986 Peaches opened Glass from the Past with David. The original store was just the •street from Flashing where it is Corrugated • Hi-Rib • 8down Colors Custom presently. Thirty years later, David is a mainstay at the store with Peaches and Lizby still working there as well. VETERINARY SERVICES Stroll down memory lane as you sift through the collection of LP’s that range from classic rock ‘n roll to vintage Hawaiiana. Then, check out the comprehensive collection of old license plates that adorn the back of the shop. A trip to Glass from the Past wouldn’t be complete without shuffling through the racks of classic aloha shirts and nostalgic mu‘umu‘u. If you enjoy treasuring hunting for antiques this is the place for you.

808-966-7788

"Your Boundaries are Our Business"

METAL ROOFING

KeOlaMagazine.com | May-June 2017

Keaau, Shipman Park

MARINE SUPPLIES

Nobody Beats Our Outboard Prices!

Glass from the Past 28-1672 #A Old Māmalahoa Hwy., Honomū, HI 96728 Open Mon-Sat 10:30am–5pm/Sun 9am–5pm 808.963.6449 facebook.com/glassfromthepasthawaii/

Shipman Park, Keaau

Financing Available Includes Installation!

982-6287

M A R K E T P L A C EMARKET PLACE

Hamakua Canvas Company ACCREDITED BUYERS REPRESENTATIVE

MORTGAGE BROKER

Talk Story with an Advertiser Hamakua Canvas Company is a custom sewing business that specializes in upholstery (home, boat, trucks and cars), draperies, and covers of many BOOKKEEPING kinds (heavy equipment, awnings, boat dodgers, biminis and full-boat enclosures). With roots in Alaska, owner Laurie Lloyd opened up shop on Hawai‘i Island in 2014. “In Alaska I owned a commercial fishing business and a Paula Wilson, EA • Action Business Services sailing charter operation. There I built fishing nets and sewed covers for my own808-329-3403 boats,” Laurie shares. “I bent frame and made my own dodgers, biminis, upholstery and full winter LAND SURVEYING covers out of necessity and my own pleasure.” She opened her first canvas shop in Juneau in 2008 and kept busy with projects for the Navy Seals, the Coast Guard, the Alaska state ferry system, and the Department of Fish and Game among others. Laurie opened another location in Kodiak, Alaska before selling the business and moving to "Your Boundaries warmer climates in 2014. She operates out of her home on the are Our Business" Hāmākua Coast. “In Hawai‘i, barbeque area covers have proven popular, plus reupholstering lānai furniture in Sunbrella fabric—there are so many pattern options!—vertical awnings on tracks, and even outdoor sculpture covers,” Laurie says. Laurie helps clients from beginning to end, from talking story with the client about the project and offering suggestions for design and fabric choice, building patterns on the spot or bringing the item to her shop to complete the project there. SUPPLIES For most people’s needs,MARINE there is no standard cover or massproduced pattern available. Laurie fills that void with custom patterning and fabrication. “I have a wealth of information and sourcing for hardware and materials, andBeats the skills to fabricate the end product Nobody Our Outboard Prices! with customer satisfaction, top quality and long life of service always the goal.”

REALTOR®

Tax planning is a year round event!

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.

Shipman Park, Keaau

Financing Available Includes Installation!

982-6287

Made On The Big Island

808-966-7788

alohametalroofing.com

METAL ROOFING

"We Manufacture Metal Roofing"

Keaau, Shipman Park Corrugated • Hi-Rib • 8 Colors • Custom Flashing VETERINARY SERVICES

KeOlaMagazine.com | May-June 2017

Hamakua Canvas Company • 808.936.2235 hamakuabelle@gmail.com • hamakuacanvas.com

ROOFING MATERIALS

Advertiser Index Accomodations Akaka Farms Vacation Rental Grand Naniloa Hotel Kamuela Inn Kïlauea Lodge Holualoa Inn Malulani Pavilion

KeOlaMagazine.com | May-June 2017

Activities, Culture & Events

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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Aloha Performing Arts Co. Emily T Gail Show FairWind Big Island Ocean Guides Friends of Lili‘uokalani Hawaii Hemp Conference Hilo BrewFest Hilo Orchid Show ‘Imiloa King Kamehameha Day Celebration & Parade King'sBread Basket at Kohala Hub Kona Boys Ka Ulu Lahala O Kona Conference Ocean Sports Palace Theater Paleaku Peace Garden Parker Ranch Rodeo

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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 & Charms of Aloha Holualoa Gallery Holualoa Ukulele Gallery Isaacs Art Center ( Hawaii Preparatory Academy) Ipu Arts Plus Jeannie Garcia, Fine Artist & Oil Painter Kawika David Gallegos, Fine Artist Kimura Lauhala Shop Kona Frame Shop Michael Arthur Jayme Gallery/Studio Mountain Gold Jewelers One Gallery Pat Pearlman Designs Silver Botanica Jewelry Simple Elegance Gems Woodshop Gallery Volcano Art Center

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

Automotive

Precision Auto Repair

Beauty, Health & Nutrition Alex's World of Beauty Big Island Body Contours Douglas Dierenfield, DDS Dr. Ardolf & Associates Hearts and Stars Day Salon and Day Spa Keary Adamson, LMT Jade McGaff, MD Joan Greco, DDS, Oral & Maxillofacial Surgery North Hawaiÿi Community Hospital Reiki Healing Arts Building, Construction & Home Services

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Aloha Metal Roofing Colette's Custom Framing dlb & Associates Fire Ants Hawaii Fireplace & Home Center Hamakua Canvas Co, (Upholstery) Hawaii Water Service Co. Hawaii Electric Light Co. HomeWorld Furniture Indich Collection Hawaiian Rugs LeiManu Designs & Malama Torches Kona Frame Shop Mason Termite & Pest Control Plantation Interiors, Teak Garden & Lanai Polynesion Development, Inc. Renewable Energy Statements Tai Lake Custom Furniture Water Works Yurts of Hawaiÿi

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360° True North Photography A.S.K. About Travel Action Business Services Aloha Barter Group Aloha Kona Kids Employment Experts Hawaii Community Federal Credit Union Hawaiÿi Island Adult Care Hawai‘i Island United Way Lee Mattingly, Attorney Paradise Web Service Pets Aloha Pawz Maikaÿi Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC

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Business & Professional Services

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Real Estate

Beverly Y. Crudele, RS, Clark Realty Cindy Griffey, RS, MacArthur & Co.|Sotheby's Claire K. Bajo Spiritual Real Estate Coldwell Banker-Daylum Properties Hamakua Coast Realty Kelly Shaw, RS, Koa Realty Kimi White, RB, Rainbow Properties Koa Realty Pacific Isle Lending Group, LLC Paradise Found Realty Restaurants & Food Daylight Mind Restaurant and Café Food Basket "Da Box" Hilo Shark's Coffee Holukoa Gardens & Café K's Drive-in Kailua Candy Company Kohala Grown Market Kohala Village Hub Pub Kona Coffee & Tea Lucy's Taqueria Nakahara Store Organo Gold Healthy Coffee & Tea Päpaÿaloa Country Store & Cafe Peaberry & Galette Standard Bakery Sushi Rock & Trio Retail & Gifts Basically Books & Petroglyph Press BTV Internet Streaming Device Calabash Collectibles Glass from the Past Hands of Tibet Hawaii Marine Center Hawi ÿUkulele Island Clutter Consignment Shoppe Kadota's Liquor Keauhou Shopping Center Keauhou Store Kiernan Music Kings' Shops Kona Commons Shopping Center Mana Cards Nakahara Store Päpaÿaloa Country Store & Cafe Paradise Found Boutique Parker Ranch Store Puna Kamaliÿi Flowers Queens' MarketPlace Saivian Shopping Savings The UPS Store of Kamuela

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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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A beautiful young couple was deeply in love. The man's name is ì‘Ohi ‘aî, the woman's, ìLehuaî. The Goddess, Pele desires ì‘Ohi ‘a but is spurned. In anger she turns ì‘Ohi ‘a into a tree. ìLehuaî, heartbroken, is transformed into a flower and placed on the tree by the other Gods. It is said, if a Lehua blossom is plucked, it will rain, for ìLehuaî cannot bear to be parted from ì‘Ohi ‘a.

Ohia and Lehua Artist Linda Rowell Stevens lindarowellstevens.com