July-August 2018 by Ke Ola Magazine

Hawai‘i Island’s Community Magazine The Life |

ARTS CULTURE SUSTAINABILITY

July – August Iulai – ÿAukake

Larger than Life: The Work of Marcia Ray Ahupua‘a: Living Aloha Hawaii Tropical Fruit Growers

2018

KeOlaMagazine.com | July-August 2018

Cover artwork: Mango Magic, painting by Alice Hughes.

4 Table of contents photo: Chef Traskâ&#x20AC;&#x2122;s Fruit Plate, photo by Fern Gavelek.

Read more about the artists on page 85.

The Life

Hawaiÿi Island’s Community Magazine July – August | Iulai – ÿAukake 2018

Arts

Larger Than Life

Art Meets Nature

The Work of Marcia Ray By Catherine Tarleton

at Niaulani Sculpture Garden By Alan D. McNarie

Community

Brother Noland Award Winning Singer/Songwriter Shares His ‘Less Talk, More Do’ Philosophy By Karen Rose

Ocean Education

Ed Olson

Anna Ranch

Kuha‘o Makana Kawaauhau Case

Unlocking the Mystery of Underwater Marine Life for Hawai‘i’s Keiki By Karen Rose Hawai‘i Islandʻs Champion at 87 Years Young By Leilehua Yuen A Chapter of Waimea History By Catherine Tarleton Downloading from Heaven By Ma‘ata Tukuafu

Culture

Aunty Doreen Henderson

Ahupua‘a: Living Aloha

A Favorite Summer Tradition on Hawai‘i Island By Denise Laitinen Fascination with Feathers By Karen Valentine

By Jan Wizinowich

Sustainability

Hawaii Tropical Fruit Growers

Tropical Edibles

The Breakdown on Microplastics

Cultivating Successful Farmers to Feed Our Island By Fern Gavelek Dreaming of an Island Eden By Lara Hughes

By Julie Meurice

KeOlaMagazine.com | July-August 2018

Then and Now: Obon Season

bargergallery.com EXPLORE THE DREAMS OF ARTISTS

The Life Hawaiÿi Island’s Community Magazine July – August | Iulai – ÿAukake 2018

Ka Wehena: The Opening Hanohano e ka Manu

By Kumu Keala Ching

Business

Managing with Aloha

The Ho‘ohanohano Perspective By Rosa Say

Island Treasures WikiFRESH

Talk Story With An Advertiser

93 94 95

Coldwell Banker Day-Lum Properties Daylight Mind Coffee Company Hawaii Cigar & Ukulele

Local Food Hala Kahiki:

A Brief History of Pineapple and a Pineapple Pavlova Recipe By Brittany P. Anderson

Kela Me Keia: This & That

70 85 86 88 90 92 96

2018 Puna Lava Flow Tribute About Our Cover & Table of Contents Artists Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index KeOlaMagazine.com | July-August 2018

Ka Puana: Closing Thoughts

2392: ‘Ō‘ili pulelo ke ahi o Kāmaile. 98 Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

Look for the 2018 Hawaiÿi Island Weddings, Honeymoons, and Special Occasions Islandwide! The official magazine of

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From Our Publisher As this issue goes to press, much of the world’s attention has been on our latest lava flow, which has taken more than 600 homes already and changed Kīlaueaʻs lower east rift zone’s landscape forever. Unlike what’s happening concurrently in Guatemala, we are fortunate that we’ve had plenty of warning, and no one has died. Many of my friends and I have been to the Pu‘uhonua o Puna information and donation hub several times and something we’ve noticed is the positive spirit of the people affected by all of this the most. The people of Puna are resilient—this lava flow is not going to take them down, even those who have faced great losses. In 2014, this very strong community was also in the path of Hurricane Iselle and the breakout lava flow called 61g, which stopped just mauka of Pāhoa. They survived those, and they will survive this, too! Some of the most sacred places on this island are gone, and more may continue to be overtaken. While this is incredibly sad, it’s important to remember this is the way the Hawaiian Islands were formed, and will be ongoing into millennia. I’m grateful I had the opportunity to experience some of those sacred sites, however I regret never getting to Ka Wai a Pele (Green Lake) and the Champagne Ponds. I always intended to, just never made time for it—and that’s the message I want to convey. I don’t think anything could be a bigger reminder than this situation: sometimes, someday never comes. Another huge topic of discussion has been whether it’s safe to visit or move to Hawai‘i Island now. People are understandably concerned about the air quality and other side effects. Since the majority of our readers live here, or plan to move here, or visit often, you already know—we obviously feel safe or we’d be moving away, and we’re not. Of course, everyone needs to be smart about visiting and living here. Check the air quality websites frequently, and let’s do whatever we need to do to keep ourselves healthy. In this issue, we cover a wide array of topics. There’s historic Anna Ranch, which has stood the test of time since the early 1900’s, along with a story about farmers who have grown tropical fruit and nut crops for decades amidst the adversity of the economy and weather patterns. You’ll also find an interesting read about the ahupua‘a of Hawai‘i Island and how the divisions were so important for the sustenance of native Hawaiians on land and sea. Living on an island gives

a nod of credence to educating our keiki (children) about the ocean and also to be aware of environmental ocean safety. And then there’s music and dance, which are covered in our stories about Brother Noland, Kuha’o Case and a season full of Bon Dance…just to mention a few of the stories inside. It’s time to enjoy all this island offers. As one of my wise teachers once taught me: “Don’t Postpone Joy!” I encourage all our readers to take that to heart! Aloha nui, Barbara Garcia and the Ke Ola Magazine ‘ohana Mahalo to our contributing lava flow photojournalists: Andrew Hara AndrewHara.com Demian Barrios PrimaryFocusHawaii.com G. Brad Lewis VolcanoMan.com For future lava flow pictorial update consideration, please submit photos and captions to HIEditor@KeOlaMagazine.com

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MAHALO TO OUR STORY SPONSORS

Ka Wehena

Hanohano e ka Manu Na Kumu Keala Ching

‘Ae, Hanohano e ka Manu

Yes, Honoring the Birds

Hanohano e ka manu Hāhālua Au aku i kai o ka moana He manu kō ke kai, maluhia Eō mai e ka manu Hāhālua

ē ē ē ē

Honor given to the Manta Ray Soaring within the vast ocean A bird of the sea, peaceful indeed. Rejoice indeed the Hāhālua

Hanohano e ka manu ‘Iwa Kahakaha i kai o ka moana Huli iho e ka manu i ka ‘Āina Eō mai e ka manu ‘Iwa

ē ē ē ē

Honor given to the ‘Iwa Soaring above the vast ocean Seeker of the land is the ‘Iwa Rejoice indeed the ‘Iwa

Hanohano e ka manu ‘Elepaio Pi‘i a‘e i uka o ka waolani Huli iho e ka manu i ke kumu Eō mai e ka manu ‘Elepaio

ē ē ē ē

Honor given to the ‘Elepaio Guided upward to the forest Seeker of the source (tree) is the ‘Elepaio Rejoice indeed the ‘Elepaio

Hanohano e ka manu ‘Ō‘ō Lele aku, lele mai i ka lālā Huki ‘ia ka hulu melemele Eō mai e ka manu ‘Ō‘ō

ē ē ē ē

Honor given to the ‘Ō‘ō Fluttering its wings upon the branch Yellow feathers are gathered Rejoice indeed the ʻŌ‘ō

Hanohano e ka manu ‘I‘iwi Noho ke ali‘i kaulana i ke kua Hali‘a ‘ia ke aloha pau‘ole Eō mai e ka manu ‘I‘iwi

ē ē ē ē

Honor given to the ‘I‘iwi Upon the shoulders, the ali‘i is carried Remembrance of unconditional love Rejoice indeed the ‘I‘iwi

Hanohano e ka manu Pueo Nāna iho ke ola i ka makani Aia ho‘i ke ala i mua ala Eō mai e ka manu Pueo

ē ē ē ē

Honor given to the Pueo Its life upon the winds Its path is the journey Rejoice indeed the Pueo

Hanohano e ka manu ‘Io Kaha nani e ka manu i ka ‘āina Aia ke ola i kō Hawai‘i Eō mai e ka manu ‘Io

ē ē ē ē

Honor given to the Hawaiian Hawk Soaring above the land Life of Hawai‘i Rejoice indeed the Hawaiian Hawk

He mele hanohano e ka manu

Honor to the many birds

Nui ke aloha i nā manu kō Hawai‘i nei. He hanohano ia i kō ka hana o nā kahuna hānai manu i ka wā i hala. ‘Imi ho‘i i nā kumu koa i hiki ke hana ‘ia ka wa‘a, ‘ohi‘ohi nā hulu melemele i hiki ke hana ‘ia ka ‘ahu‘ula ali‘i, huli maila i ka ‘āina i hiki ke pae moku, ā wānana a‘ela i ka hō‘ailona i hiki ke kōkua ‘ia ka ‘ohana. Na nā manu i hō‘ike i nā mea waiwai kō ka hana no‘eau i ka Honua. Eō maila kō ka hana o ka manu. Truly appreciative of Hawai‘iʻs native birds. We honor the work of the master bird watchers of the past. Birds seeking the perfect Koa trees to create canoes, yellow feathers used to create the cape of the chief, birds soar upon the ocean to seek land for a navigator, and families seeking the birds for ancestral omens. Native Hawaiian birds present the wise arts of the land. Rejoice the work of these birds. Ke aloha nui i nā manu kō Hawai‘i nei—Love to our Native Hawaiian Birds!

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org Pueo. artwork courtesy of Terri Napeahi

Hawaii Tropical Fruit Growers:

KeOlaMagazine.com | July-August 2018

CULTIVATING

Successful Farmers to Feed Our Island By Fern Gavelek

rowing fruit in Hawai‘i to feed our island is one thing. Growing farmers to do it successfully is another. The Hawaii Tropical Fruit Growers (HTFG) does both. The statewide nonprofit was founded in 1989 and boasts more than 800 members with about 365 on Hawai‘i Island. It has chapters in both Hilo and Kona. The long-time executive director of HTFG is Ken Love of Kealakekua, West Hawai‘i’s official fruit guru on everything from avocado to yuzu. Educating consumers about favorite fruits like mango, and not-so-familiar ones like ooray, is on the radar for HTFG and the organization does it through a busy schedule involving promotion, research, education, and collaboration. For fruit production, HTFG operates five repositories—with three on Hawai‘i Island—to produce and provide carefully chosen varieties of germplasm to grow more fruit. Ken says HTFG’s goal “is to make small farmers more sustainable” so they stay in the business of farming and make money. “We teach our members about the cost of production and the importance of pricing fruit appropriately at farmers’ markets because if they are basically giving it away, like five lemons for a dollar, they aren’t going to make enough money to continue,” notes Ken, who points out it costs 27 cents to produce a lemon. “It’s not only about getting growers to understand the value of what they do, but also educating consumers on the benefits and ways to use locally grown fruit to increase its value.” While HTFG promotes tropical fruit to consumers and collaborates with other industries, the lion’s share of its work is providing what members need to be successful in business. This is done primarily through educational opportunities and by providing affordable and viable plant material via repositories.

(Opposite page) Ken holds a bunch of water apples; the fruit is given to women after childbirth as it is high in electrolytes. (Right) Brian Lievens, HTFG's West Hawaiÿi chapter president, discusses avocados with an attendee during a past avocado festival. photos by Fern Gavelek

“New-to-Hawai‘i chefs who happen to attend these festivals are amazed at the varieties of fruit we grow here,” shares Ken. “One chef thought there were only two kinds of avocados: one from Florida and one from California. We still have a lot of education to do.” Another way HTFG educates the public is through the Hawai‘i Master Food Preservers (MFP), which teaches participants how to properly preserve locally grown fruits and veggies. “In all the other states, the MFP program is a function of the local university extension office, but in Hawai‘i, it’s part of HTFG,” notes Ken. Research and Collaboration Selling fruit involves working closely with the food and beverage industry and growing what chefs need—the basic tenant of Hawai‘i Regional Cuisine. In 2010 on Hawai‘i Island, HTFG partnered with the University of Hawai‘i College of Tropical Agriculture and Human Resources (CTAHR) and the Kona Kohala Chefs Association to seek the island’s best varieties of avocados. HTFG asked farmers and backyards growers to submit avocado samples for possible crop industry research and preservation. “We were looking for a few great avocados to be evaluated

KeOlaMagazine.com | July-August 2018

Fruit Promotion and Public Education One way HTFG got the attention of shoppers was through a statewide grocer campaign to show people how to use locally grown, unusual fruits and encourage grocers to carry them. Called “New Markets for UltraExotic Fruits,” the 2012–13 campaign visited four islands with 16 events to build markets for juicy rarities like bilimbi, lychee, chico, jackfruit, pummelo, tamarillos, and Surinam cherries. At each activity, growers produced the fruit and a chef gave an advertised demonstration on how to use it. Fruit was available for sale and free recipes were provided to attendees. The effort was funded by the Hawai‘i Department of Agriculture (HDOA) through a USDA competitive grant program fostering small farm sustainability. HTFG members regularly educate the public about local fruits via displays at island festivals. For example, at Hawai‘i Island’s annual avocado festival, HTFG offers an exhibit on the many avocado varieties grown here. The organization also produces a poster on the many varieties of avocados and other fruits—banana, mango, citrus, and figs—plus the vast majority of different fruits grown in Hawai‘i.

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HTFG Survey Has Goal to Increase Production To find out what fruit, and how much, is being locally grown, HTFG conducted a 2015 survey of members and nonmembers that also questioned what growers need to help them successfully produce fruit. The three-month survey was funded statewide by the County of Hawai‘i’s Department of Research and Development. “The purpose of the survey was to determine what actions to take and to fulfill grants to get fruit trees into the hands of growers to increase local production,” says Alyssa Cho, assistant researcher in sustainable farming systems with an emphasis in tropical fruit and nut production at University of Hawai‘i at Mānoa. The survey’s 138 participants claimed a total of 42,955 fruit trees under cultivation with 88 percent growing citrus—primarily limes, lemons, oranges, and tangerines—83 percent cultivating Members of the Kona Kohala Chefs avocado and 82 percent farming bananas. Other popular fruit in the mix included mango, papaya, and pineapple. Top criteria used for selection of fruit trees grown on farms included the cost of the plant and time needed to produce a crop, followed by disease resistance and value for home use.

KeOlaMagazine.com | July-August 2018

Bilimbi is a relative of starfruit and a popular base for Filipino sauces. photo by Fern Gavelek

by horticulturists and chefs,” Ken explains. “The idea was to get feedback and then propagate those varieties.” Criteria for avocado evaluation included good seed-to-meat ratio, high oil content (buttery), smooth taste with no strings, appearance of skin and edible portion, plus overall flavor. In addition, chefs were also surveyed on O‘ahu with a total sampling of 358 respondents, while an additional 1,000 consumers were queried on Hawai‘i Island, O‘ahu, and Kaua‘i at farmers’ markets and festivals. Out of the 25 avocados tested by chefs and consumers, the five top placing varieties were Kahalu‘u, Sharwil, Malama, Linda, and local Haas. “Knowing these types will sell more easily, we grafted those types of trees or made scion (wood for grafting) available to growers,” details Ken. “We also learned that some chefs preferred other varieties and so those were propagated specifically for them.” Ken emphasizes, “There’s no instant gratification with fruit trees.” It takes several years for a fruit tree to produce. “In HTFG, we project what the market will be like in 20 years, when our newly planted trees will be in production. We have to think about diversity as you don’t want to put all your fruit in one basket or the market will be saturated.”

Educating Members HTFG presents its annual conference on one island and then continues with mini-sessions that travel to four additional islands. The main conference location rotates each year among O‘ahu, Hawai‘i, Maui, and Kaua‘i. These multi-day gatherings offer access to knowledgeable agricultural experts and researchers from around the world, breakout sessions, and farm tours geared to farmers, orchard managers, educators, and proponents of sustainable agriculture. The conference sessions are open to the public. Topics cover what members need to know: the latest research on select crops, integrated pest management, cultivating techniques such as trellising and the importance of pruning, irrigation, soil culture, harvesting, marketing, foreign trade, etc. Conference presentations, along with Chupa-chupa flowers grow right on the bark of the fruit tree. The fruit is commonly enjoyed out-of-hand. photo by Fern Gavelek

Association critique avocados during a past survey. photo by Fern Gavelek a wealth of other helpful educational materials, are available on HTFG’s website. The organization maintains a public group page on Facebook, Hawaii Tropical Fruit Growers, which boasts over 5,600 members. Users have to apply for membership. The page started as a members-only forum to exchange ideas and troubleshoot growing challenges. “We opened the page to the public to spread HTFG’s mission and knowledge and help build goodwill among fruit growers worldwide,” explain Ken. Besides members benefiting from the page’s lively forum, they have made contacts with international growers in Borneo, the Philippines, Malaysia, Japan, and India

KeOlaMagazine.com | July-August 2018

who have provided growing material that is being cultivated and under quarantine at an HTFG repository. In partnership with University of Hawai‘i, HTFG also presents workshops such as lychee air-layering, grafting, and fruit tree fertilizing.

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Hawai‘i Island Plant Repositories HTFG operates Hawai‘i Island repositories in Honomū, Hōnaunau, and Kealakekua. The newest, three-year-old Kealakekua repository sprawls across two acres of Ken’s farm and offers 300 varieties of fruit plants. “Repository choices are based on economic potential for future markets and use in value-added products,” emphasizes Ken. “It’s about what sells to local consumers, what chefs want to use to dazzle our visitors, and what can be enjoyed out-ofhand.” Ken says HTFG relies on the National Agricultural Statistics Service (NASS) to identify what is being imported to Hawai‘i “in the millions of pounds.” From those figures, HTFG pinpoints what members should grow to fill local demand. Those plants, like citrus, are propagated at the repository. In addition, other plants requested by members are cultivated, such as durian, bush tucker fruit like finger limes, and Davidson plums. To determine what varieties of fruit to grow, each repository chooses cultivars that grow best in that location, are good producers and can also be potted for home use. Since opening in Kealakekua, 13,300 plants have been in the works. They consist of planted trees in the ground, plus seedlings in pots, grafted trees, and scion for distribution. Ken Love of HTFG displays different Hawaiÿi mangos at a past mango festival.

KeOlaMagazine.com | July-August 2018

photo by Fern Gavelek

Work is done by HTFG and community volunteers. “In a two-year period, we have already distributed 8,200 trees from the Kealakekua repository,” details Ken, who says a current HTFG repository project with HDOA is to disseminate 10,000 trees in three years. To get plant material from the Kealakekua repository, HTFG members simply request inventory, purchase, and pick up. Chapter presidents from the different islands also visit to get trees to sell at events or plant in their own repositories. Ken says plans are in the works to open a repository on Maui; the other two are on Kaua‘i and Moloka‘i. In addition, the Kealakekua repository partners with the Urban Garden Center of O‘ahu for educational activities and providing materials to propagate fruit trees via cloning, grafting, and air layering. “Trees are also sold to the public, plus donated to schools, plant collections or Master Gardeners programs,” adds Ken. Ken Love with teen Xavier Chung, 2017 recipient of HTFG's Leslie Hill Service Award. photo courtesy of HTFG

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Ken Love in the repository nursery with the popular rollinia in the foreground. Rollinia fruit tastes like a lemon-vanilla-carmel custard pudding. photo by Fern Gavelek Another way members get plant materials is through research collaborations with the USDA. About 10 years ago, HTFG members helped the USDA determine what figs grew well throughout Hawai‘i as the state is free from the fig wasp. “Because of the introduction of fig varieties from the USDA repository in Davis, California, Hawai‘i growers are now able to grow more than 50 types of figs, where before we only grew a handful,” notes Ken. Summing up the efforts of HTFG—whether involving research, collaboration, education, or promotion—Ken says it’s all about “offering growers choices that help them become more economically viable.” HTFG’s Kona Chapter meets at 6pm on the third Monday of every month at the HTFG office at 81-6393 Māmalahoa Hwy. in Kealakekua. The Hilo chapter gathers every other month at various locations. Membership is $50 annually and open to the public. ■ For more information: hawaiitropicalfruitgrowers.org HTFG Hilo chapter: axel.kratel@gmail.com

Brother

Noland Award Winning Singer/Songwriter Shares his

‘Less Talk, More Do’ Philosophy

ncient wisdom declares it is best for one to pass their days through song, therefore letting their whole life be a song. Hawaiian recording artist Brother Noland, also known as the “Father of Jawaiian Music,” follows this philosophy and shares his authentically unique sounds with the world. Noland’s songs carry him through life as he influences contemporary Hawaiian music, and inspires local at-risk youth to foster connections within the Hawaiian community.

KeOlaMagazine.com | July-August 2018

By Karen Rose

Brother Noland speaking with keiki and adults about the ocean. photo courtesy of Brother Noland

KeOlaMagazine.com | July-August 2018

Brother Noland has won numerous Nā Hōkū Hanohano Awards including Best Reggae Album. He is best known for his song “Coconut Girl,” which ultimately created a new genre of music known as “Jawaiian,” a fusion of Reggae and Hawaiian music. While Brother Noland was born and raised on the island of O‘ahu, he remembers special times being with his hanai family in Waimea. Noland still frequents Hawai‘i Island to play music and spend time with his ‘ohana. Like many Hawaiian children, Noland grew up in a musical family surrounded by music. “My whole family is musical,” said Noland. “It starts from the roots. My mom and my dad were both musicians. My mom was a hula dancer and so was my brother, so music was always around us. I started performing before I even got out of high school. There were a lot of clubs and places for musicians to

play back in the 60s and 70s. So as a kid, I would go down to those places and although I couldn’t get inside, I could sit outside and listen.” His childhood immersion into music paid off, and today Brother Noland and his music are featured in several films, including Snakes on a Plane and Pineapple Express. One of Hawai‘i’s most loved and respected artists, he was honored with a Lifetime Achievement in Music award in 2014 by the State of Hawai‘i. In May of this year, Brother Noland was given the Kī Ho‘alu Foundation Slack Key Lifetime Achievement Award at the 2018 Nā Hōkū Hanohano Awards. Despite all his awards and achievements, Noland remains steadfast in his commitment to Hawaiian roots and community. One way he gives back to the community is through his philanthropic work with the Ho‘ea Initiative, a nonprofit organization dedicated to teaching children how to live off the ‘āina (land) and the moana (ocean). With nature as the classroom, the Ho‘ea Initiative offers life skills training for children and adults. Skills like wilderness survival tracking and cultural appreciation are just a few of the topics covered in these interactive camps. “Growing up in the islands where we do a lot of fishing and gathering has helped ground me, that’s why I do these camps for the kids,” said Noland. “There’s a lot of kids that don’t have that kind of upbringing anymore, so they don’t know how to gather from the sea or Brother Noland showing his book The Hawaiian Survival Handbook. photo courtesy of Brother Noland from the mountain. Because we have such a continuing migration of people that come here, they don’t understand it either. I think we tend to forget that we’re islands and not continents, so we have limited resources. We need to really be conscious. I call it sustainable aloha.” Through these camps, participants are immersed into nature

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Letting his hair down with camp goers. photo courtesy of Brother Noland and taught valuable skills designed to increase self-reliance and instill an appreciation for nature. Lessons focus on recognizing, utilizing, and managing the traditional resources provided by Mother Nature. These skills mimic the ones employed by early Hawaiians who lived in harmony with nature and practiced the spiritual custom of aloha. They lived in a way that sustained life for future generations, not just for themselves. By teaching these indigenous values and knowledge, the Ho‘ea Initiative aims to present a universal understanding of these principals and increase the individual’s connection to nature and their community. “I was always fascinated with nature and survival from the time I was young,” said Noland. “I actually attended survival school in New Mexico and Arizona and learned some really valuable skills. One of my teachers was John Stokes who lived with the Aboriginals in Australia. To make a long story short, I wanted to come back to Hawai‘i and localize this program for the kids. I wanted to integrate the Hawaiian-ness into the process.” Brother Noland believes the camp is unique because it is based on wisdom collected from a variety of indigenous cultures, not just exclusively Hawaiian traditions. “We have a most unique camp in the sense that we’re not full-fledged Hawaiian themed,” he said. “It’s kind of a blend of Native American, Aboriginal, and Native Hawaiian. We took

this collection and localized it so you don’t have to be a certain ethnicity, you just gotta be part of mankind. We need to understand how to sustain ourselves in the future with the knowledge of how it was done in the traditional ways.” A dedicated steward of the land, Brother Noland cares for acreage on Moloka‘i where most of his camps are held. He is passionate about preserving the indigenous plants and animals and shares his message through his music and community spirit. In addition to the main camp on Moloka‘i, Noland also has private camps on Hawai‘i Island, and teaches schoolchildren on O‘ahu and Maui. “We designed these camps to match the kind of clientele we work with,” said Noland. “For example, on the island of O‘ahu, I have several schools I work with once a month. Often these kids don’t have many opportunities and they’re quite urban. If they work hard and keep their grades up, they get a chance to go out with Uncle Noland for a day, once a month and we do all outdoor classrooms. The main incentive is to attend my open summer camp in June. At this camp, they are able to engage in all the things they learned throughout the school year.” Brother Noland teaches the students skills like building a fire and throwing a net. However, the lessons go deeper than the practical skills learned. They also teach a connection to oneself and the outside world. For example, he may teach a survival skill like creating fire with sticks, but he adds a spiritual element to the lesson as well. “We don’t just make a fire to survive and show we can make a fire,” said Noland. “We make a sacred fire. It’s the fire you don’t swear in front of and don’t throw rubbish into. We have conscious thought in everything we do. When we throw a net, we recognize how the net sustains the community. One throw of the net can catch a whole school of fish to feed the whole village. On Moloka‘i, we’ll fish one day with our nets and catch enough fish to feed everybody for the next two or three days. It’s like hukilau. I try to keep it simple so everyone can understand. Less talk, more do.” At the end of the school year, Brother Noland gifts his students with a copy of the book he authored in 2013, The Hawaiian Survival Handbook. In the book, he shares his knowledge of outdoor skills he developed over his lifetime growing up in the forests and waters of Hawai‘i. As if the Ho‘ea Initiative doesnʻt keep him busy enough, Brother Noland also has a new collection of songs available. KeOlaMagazine.com | July-August 2018

Group pose with Brother Noland. photo courtesy of Brother Noland

KeOlaMagazine.com | July-August 2018

“The new EP is truly different from the rest of my projects,” he said. “I’ve always been labeled as the father of Jawaiian music. I’m very humbled by the title, but I’m also an explorer of music, so I study and play all other genres too. My new EP is called His Songs, His Story, His Style, and is a mixture of the different genres of music I play. With everything I do, it’s this conglomeration of energy. And actually it sustains me and it fulfills me all the time, too, no matter what kind of music I’m playing.” Residents of Hawai‘i Island can enjoy Brother Noland’s sound on the fourth Thursday of every month at the Royal Kona Resort. “I really love that gig at Royal Kona because it’s a blend, yeah,” said Noland. “It’s a blend of tourists and local people, and also of people who live on the Big Island part time, and also live on the mainland part of the year. It’s a good vibe, you know?” Brother Noland is a unique and talented force of creativity. An author, singer, artist, poet, philanthropist, mentor, and

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musician, his wish is to inspire others with his talents and open new avenues for musical appreciation and human connection. Brother Noland feels the most important elements of his songs are the lyrics and the messages within their composition. When he travels to perform his music for others, he does so to share aloha with the world. “When we come to play, we come to deliver the aloha,” he said. “When we travel and we tour it’s the same expression. We gotta bring the aloha and we gotta share the aloha. And then it will be reciprocal.” ■ For more information: brothernoland.com

Brother Noland performs with his signature blue guitar at the Hawaii Theatre. photo courtesy of James Kimo Garrett

Then and Now

A Favorite Summer Tradition on Hawai‘i Island ummertime is obon season in Hawai‘i. Every year from June through August, the annual Japanese Buddhist tradition of obon festivals, or bon for short, takes place on Hawai‘i Island. These fun cultural events tend to draw large crowds and are renowned for serving delicious food. When Japanese workers came to Hawai‘i in the 1800s to work on the sugar plantations, they brought their cultural traditions with them and built

By Denise Laitinen

small temples (often referred to as missions or hongwanji in the Buddhist religion) in the communities in which they lived. Obon festivals are a custom dating back more than 500 years celebrating life and paying tribute to one’s ancestors. According to Buddhist tradition, a monk saw that his mother

KeOlaMagazine.com | July-August 2018

Along the Ala Kahakai Trail near Punaluÿu, Kaÿü. photo courtesy of Barbara A. Schaefer Puna Taiko performing at Puna Hongwanji bon dance. photo by Denise Laitinen

KeOlaMagazine.com | July-August 2018

Bon festivals are a fun summer tradition in Hawaiÿi. photo by Denise Laitinen

was suffering after she had passed away. The monk asked Buddha why his mother was suffering and what he could do to stop it. Buddha told the monk that he had to make offerings to his ancestors to show that he was grateful for all his mother had done for him. Because the monk showed his appreciation, his mother was released from suffering and the monk was so happy that he rejoiced and danced. Hence the traditions of holding a church service to honor the relatives, as well as a community dance to show one’s ancestors that you are doing well. The word “obon” also means “round tray” in Japanese explains Jane Heit, who is a member of Puna Hongwanji and belongs to the Hilo Meishoin Tsukikage Odorikai. “It’s a double meaning of serving someone using a round tray and being of service.” Typically held on a Friday or Saturday evening, the bon dance festivals feature a church service, taiko drumming, dancing, and of course, lots of good food.

“The bon season is when we honor people who have passed before but also when families get together,” says Winifred Kimura of Kainaliu, who has been teaching bon dancing at the Daifukuji Soto Mission for more than 20 years. “They come for the service and the dance and can join in whether they know how to dance or not,” explains Winifred. “It’s a time of joy. We always invite everyone to join in the circle. It’s a night of fun.” Bon festivals all follow a similar design. Lighted paper lanterns are strung across the temple grounds with an elevated stage called a yagura decorated with white and red ribbons at the center of the festivities. Dancers wear happi coats and cotton yukata kimonos and dance (called the bon odori) in a circle around the yagura while musicians playing string and wind instruments perform atop the stage. “The dances performed at a bon festival have a lot of repetitious motions,” explains Winifred. “Once you get into it and follow someone, it’s easy to learn. It’s a four-four time, maybe go forward four steps then back four steps. I try to pick out simple dances so people can just jump in.” During the sugar plantation era, bon dances were often the big event of the summer and today they still draw folks from far and wide, in part due to the legendary amount of delightful food, which is sold as a fundraiser for the host temple or mission. “To me growing up in Hilo and Kea‘au, you went because you had to go to church but you also went for the good food,” says Paul Sakamoto, director of Puna Taiko, which is affiliated with Puna Hongwanji. Taiko is a Japanese style of drumming that has its roots in bon dancing and is frequently performed at bon festivals. Paul adds, “You also went to dance and you got to wear your kimono—it was the one time a year you wore it. It was something you looked forward to.”

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You can find lots of delicious food at bon festivals. Food is often sold as a fundraiser for the church. photo by Denise Laitinen

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Jane also grew up going to bon dances. “In the old days the dances were often led by the wife of the minister and the women’s auxiliary group,” explains Jane. She started bon dancing at an early age because her mom and other family members danced. “It used to be the old ladies that ran things,” says Jane. “When they passed, there weren’t members of younger generations to take over as the lead dancer.” Jane and members of her bon dance group were asked to teach others because people knew “we were practicing the dances, and other people knew we knew how to do the dances.” Learning from older members of her church was how Winifred first learned how to dance obon. Born and raised on Hawai‘i Island, Winifred moved to the mainland as an adult and moved back to West Hawai‘i in the 1970s. “The older generations were still young, so I used to follow them,” explains Winifred. By the 1990s, Winifred started teaching bon dancing, learning dances from a friend at church who also taught Japanese folk dancing. Winifred says she used to only teach bon dances for a few weeks leading up to the bon festival, but now teaches the dances year round. “A lot of the ladies wanted to keep up with the dances, so we meet once a month throughout the year to practice the dances. It’s good exercise too.” For bon dance teachers like Jane and Winifred, it’s a balancing act when it comes to teaching the cultural tradition. “You need easy dances for the elderly members who may not be able to spin or move quickly, but also need faster dances for the younger people,” says Winifred. “I notice other places have incorporated modern songs and do line dances, even adding hip hop to their songs,” Winifred adds. “They choreograph some fast dances for the young ones. For me, I prefer the traditional Japanese folk dances. The main thing is to have fun; there are no critics.” There are more than 20 different dances that can be performed at any given bon dance. Over the decades, dances have evolved with some dance choreography being unique to Hawai‘i Island. “There’s a single song that’s super popular at Big Island bon dances,” says Paul. Called “Fukushima Ondo,” Paul says one of the reasons the song is popular is because many Japanese immigrants from the Fukushima region in Japan settled on Hawai‘i Island. According to Jane, “Fukushima Ondo” is so popular it is one of the main songs performed by the Hilo Bon Dance Club, a taiko group that performs at many bon dances around the Musicians perform at 2011 Hilo Betsuin. photo courtesy of Rick Ogata

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Food treats like andagi, balls of sweet deep fried dough, can be found at bon festivals. photo courtesy of K.T. Cannon-Eger

KeOlaMagazine.com | July-August 2018

Regardless of your religious affiliation, Paul says bon festivals are a great way to learn about local cultural traditions and have fun. “It’s great to see the tradition still thriving and transcending local roots,” says Paul. “I see it in my daughter, she looks forward to going every weekend with her friends. To me, it’s become more of a local thing, more than just a Japanese event. It’s truly a community festival and I think that’s what makes it so awesome.” ■ All ages join in the fun of bon dancing. Pictured is the 2011 bon dance at Hilo Meishoin. Bon dancers line up during a traditional bon dance at the 2011 Pähoa Obon Festival. photo courtesy of Rick Ogata

KeOlaMagazine.com | July-August 2018

island, particularly in east Hawai‘i. The way music is played at bon dances varies across the island. For instance, in Hilo it’s recorded music first and then live a Taiko dance, while in Hāmākua and Kona drummers’ rhythmic accompaniment adds an extra dimension to the recorded music. The music can also differ from one festival to another, from Eisa (Okinawan bon dance) and prefecture specific songs, that extends the range beyond its Buddhist core. Paul explains that Puna Taiko performs at Puna Hongwanji, a Buddhist mission, where they do taiko performances, but do not necessarily participate with the bon music. Alternatively, at Hilo Daijingu in Hilo, the drummers do play along with the actual bon music, which is unusual because the temple is a Shinto shrine, and Shintoism is a separate religion from Buddhism.

photo courtesy of Rick Ogata

2018 Hawai‘i Island Summer Bon Dance Schedule July Saturday, July 7, 7pm Kohala Hongwanji Mission 53-4300 Akoni Pule Highway, Waimea 808.775.7232

Saturday, July 28, 6pm Pāpa‘aloa Hongwanji 35-2026 Old Māmalahoa Highway, Papa‘aloa 808.962.6340

Friday, July 6 and Saturday, July 7, 7:30pm Puna Hongwanji Mission 16-492 Old Volcano Rd., Kea‘au 808.966.9981

August Saturday, August 4, 7pm Kurtistown Jodo Mission 17-4025 Kuaaina Rd., Kea‘au 808.935.6996

Friday, July 13 and Saturday, July 14, 7pm Honpa Hongwanji Hilo Betsuin 398 Kilauea Ave., Hilo 808.961.6677

Saturday, August 4, 8pm Hāwī Jodo Mission 55-1104 Akoni Pule Highway, Hāwī 808.775.0965

Saturday, July 14, 7pm Kohala Jodo Mission 54-541 Kapa‘au Rd., Kapa‘au 808.775.0965 Saturday, July 14, 6:30pm Kona Daifukuji Soto Mission 79-7241 Māmalahoa Highway, Kealakekua 808.322.3524 Saturday, July 14, 7:30pm Pa‘auilo Hongwanji 43-1477 Hauola Rd., Pa‘auilo 808.776.1369 Saturday, July 21, 8pm Hilo Meishoin 97 Olona St., Hilo 808.935.6996

Saturday, August 4, 7:15pm Hilo Taishoji Soto Mission 275 Kinoole St., Hilo 808.935.8407 Saturday, August 4, 7pm Pa‘auilo Kongoji Mission 43-1461 Hauola Rd., Pa‘auilo 808.776.1474 Saturday, August 11, 8pm Higashi Hongwanji Mission 216 Mohouli St., Hilo 808.935.8968 Saturday, August 18, 7pm Hakalau Jodo Mission 29-2289 Hanamalo Loop, Hakalau 808.963.6110 Saturday, August 18, 7pm Kamuela Hongwanji 65-1110 Māmalahoa Highway, Waimea 808.885.4481

Saturday, July 21, 7pm Ke‘ei Buddhist Temple 83-5569 Middle Ke‘ei Rd., Captain Cook 808.323.2993

Saturday, August 25, 7pm Honohina Hongwanji 32-896 Māmalahoa Highway, Nīnole 808.345.6869

Saturday, July 28, 7:30pm Hilo Hooganji Mission 457 Manono St., Hilo 808.935.8331

Saturday, August 25, 8pm Pāhoa Nikkei Jin Kyokai Corner of Pahoa Village Road and Kauhale Street, Pāhoa 808.966.9981

Saturday, July 28, 7:00pm Kona Hongwanji 81-6630 Māmalahoa Highway, Kealakekua 808.323.2993

September Saturday, September 1, 5pm Pāhala Hongwanji Mission 96-1123 Pa‘auau Pl., Pāhala 808.928.8254

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Hala Kahiki:

A Brief History of Pineapple and Pineapple Pavlova recipe

Local Foods

By Brittany P. Anderson

US territory, Hawai‘i pineapple had no expensive tariff making it a lucrative endeavor for Dole, and by the 1960s Hawai‘i was supplying 80% of the world’s canned pineapple. Several varieties still pay homage to the wild Hawai‘i Island pineapples that founded the industry. The Hilo is a compact yellow, low fiber flesh variety that was developed in Hawai‘i in 1960; the Kona is a white flesh, super sweet, and tender core variety. Cruising farmers’ markets during the summer months, you can find fresh and fragrant locally-grown white and yellow pineapples. What better way to highlight a juicy fresh pineapple than putting it on a pillow of crisp meringue and a dollop of whipped cream—I’m talking Pavlova. This Pineapple Pavlova features garden fresh white pineapple chunks paired with mango and mint. For whipped cream, I usually substitute whipped coconut cream for a light yet decadent locally sourced dessert. Pineapple Pavlova 4 large room temperature egg whites ¾ cup sugar ¼ tsp. vanilla extract 1 pineapple, cubed 1 mango, cubed 10 mint leaves Whipped cream

Method Preheat the oven to 225˚F. Place parchment paper on a sheet pan. Place egg whites in electric mixer bowl fitted with a whisk attachment. Beat egg whites on high speed until firm, about 1 minute. With mixer still on high, slowly add sugar and vanilla extract. Beat until firm, shiny peaks form, about 2 minutes. Spoon the meringue into 4-inch circles making sure to create a slight depression in the middle to hold the toppings. Repeat until all meringue is used. Bake for 60–70 minutes, so the outside is crisp, but the inside is soft and chewy. While the meringues bake, cut up pineapple and mango, place in a bowl and set aside. Once meringues are cooked, let cool before removing from parchment. Spread with your favorite whipped topping. Chop mint, toss with mango and pineapple. Spoon the fruit into the middles of the meringues, drizzling a spoonful of any juices that collect in the bowl. Serve immediately. Photos by Brittany P. Anderson

KeOlaMagazine.com | July-August 2018

Pineapple is one of my favorite fruits grown on Hawai‘i Island, with the white pineapple being absolute perfection. One of the only edible varieties of bromeliad, the pineapple is neither pine nor apple and many a visitor is astonished to find it does not grow on trees. In Hawai‘i, the pineapple looks similar to hala (pandanus) fruit, which is why it is called “hala kahiki” in Hawaiian. The pineapple is native to Paraguay and southern Brazil and later was cultivated throughout South and Central America, Mexico, and the West Indies. Explorer Christopher Columbus observed pineapple during a stop at the Carribean island of Guadeloupe in 1493, and he brought the exotic spiked crown fruit to Spain. Pineapples became a sign of wealth in 1600s Europe where you could rent a pineapple for a dinner party, just to show off the expense to guests. The fruit later became a home decor motif as a sign of hospitality after ship captains took to sticking a pineapple onto their front gate letting everyone know they were home safe and welcoming visitors. European kings and queens created greenhouses, known as pineries, to have a ready supply of the sweet tropical fruit. No one is quite sure when pineapples arrived in Hawai‘i, however there are accounts that the Spanish visited in the 1500s and quite possibly brought a few pineapples to shore. In our time, “Dole” is a name that is almost synonymous with Hawaiian pineapple, however it was John Kidwell who gave birth to the Hawai‘i pineapple industry. A trained nurseryman from London, Kidwell traveled west to Hawai‘i from San Francisco in 1882, a trip ripe with business connections. He had set out intending to begin a commercial nursery, however en route he learned about California’s growing demand for pineapples. Kidwell and his shipping partner decided to harvest wild pineapples from Hawai‘i Island and cultivate them on O‘ahu in order to decrease shipping time. Kidwell developed 4–5 acres of pineapples in Mānoa Valley. In searching for the sweetest fruit that could stand up to the long voyage to California, he ordered every variety of pineapple from sources in Florida, Jamaica, and London. The Hawai‘i Island cultivar remained the favorite. Transporting ripe fruit continued to be problematic for Kidwell because fruits had to be picked green in order to last the voyage yet arrived acidic and sour, so he decided to try new technology—canning. The tariffs on pineapple entering the United States and excessive shipping charges made the pineapple industry barely profitable. Kidwell sold off his cannery and leased his fields to sugarcane, retiring at 50 years old in 1898. After the annexation of Hawai‘i, Dole began his commercial pineapple operation in Wahiawā, O‘ahu. Then a

Tropical Edibles: Dreaming of an Island Eden By Lara Hughes

KeOlaMagazine.com | July-August 2018

The Dream

On the mauka (mountain) side of the Māmalahoa Highway on the slopes where Hualālai and Maunaloa meet overlooking Kealakekua Bay, you can find a garden vision brought to fruition. Hailing from different places around the globe and varying walks of life, the founders have one thing in common: a passion to help Hawai‘i Island become self-sustainable. The Tropical Edibles Nursery crew proposes to help Hawai‘i achieve sustainability, in major part, through the propagation of edible plants in residential landscaping. It is interesting to note that much of what we plant and grow in our yards does not produce food. The contingent of plant aficionados who make up Tropical Edibles Nursery would like to change that, and they share a sense of urgency in the work they do, especially when it comes to the well-being of the island community. As Momi Subiono, resident ethnobotanist points out, “If something should happen to the only two harbors that we have here, how is our island going to sustain itself?” In fact, with approximately 90 percent of our food being imported, the question becomes quite relevant. Momi is one of the part-time managers at Tropical Edibles Nursery along with Rayleen (Ray) Sopkin, their conservationist, and Maggie McDermont, the team’s agricultural specialist. Emmerich Grosch, originally from Germany, moved to Hawai‘i in 1967 and represents the rest of the team. He is the owner of Tropical Edibles Nursery and the biggest supporter of

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31 Momi, Maggie, and Ray outside Tropical Edibles Nursery herb garden. photo by Lara Hughes

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the work the three ladies are doing. “We want to supply the neighborhood with good products,” says Emmerich, “We want to achieve a very practical and very pleasant nursery where we can help farmers plant proper fruit trees and vegetables in their backyards.” Together the four make up the crew that represents the only privately owned nursery on the west side of the island. Aside from the nursery, Emmerich also runs a store called the Captain Cook Trading Company, where he sells some of the produce from Tropical Edibles Nursery. The Captain Cook Trading Company boasts what some might consider a romantic return to the past with different options for payment such as exchanges, trading, and access to pulping, hulling, and roasting machinery in return for a promised portion of the final product. “We tried to develop the operation, making more facilities available for people,” says Emmerich, “Those who have small amounts of macadamia nuts, they can bring them to the factory and get them to a finished state without having to invest in the equipment. We want to be accommodating and be helpful…to be of service to the community.” The Dreamers Tropical Edibles Nursery opened seven years ago with Diana Duff at the helm. Diana later went on to open her own business, and Maggie joined the movement soon after in 2011. Coming from Pennsylvania to Hawai‘i, Maggie was instantly enamored with the tropical climate, lush soil, and rich environment present in the islands. She says that one of

KeOlaMagazine.com | July-August 2018

Cacao tree at the Tropical Edibles Nursery. photo by Lara Hughes

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Outside the Tropical Edibles Nursery. photo by Lara Hughes the main focuses at Tropical Edibles Nursery is to educate the community about which types of fruit trees will produce fruit at different elevations. “It’s really important when we talk to someone, that we get a feel for where they’re actually located, and if the tree is going to fruit for them. I don’t want to sell

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them a tree if it’s never going to produce for them.” Aside from her honesty in her work and with the community, there is another of Maggie’s preoccupations that she is very honest about: making wine. People say, “In vino veritas,” (there is truth in wine) and Maggie finds no exception to that rule. She

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uses a variety of different tropical fruits including starfruit, jaboticaba, jackfruit, and mango to make herself a steady personal supply of high-octane wine that really packs a punch. “It’s not for sale though,” she laughs. Momi has been involved with Tropical Edibles Nursery since the very beginning, in 2011. She commands an extensive range of knowledge regarding sustainability, native Hawaiian plants, and the overall nursery. She also shares the same interest as Maggie in educating the community. Momi lives down south in Ka‘ū where the climate is among the harshest on the island. Because of this, she is perfectly poised to give advice to a diverse spectrum of visitors to the garden. Momi was instrumental in bringing Ray on board, as they knew each other through projects that they had collaborated on in the past. Ray is an independent landscaper and the newest of the three managers, having been there just more than a year. She says, “I always encourage people to put things on the landscape that belong there, like native plants that can survive without extra water and fertilizer.” She is highly motivated to conserve the native population of flora, while minimally impacting the environment. “It’s called xeriscaping,” adds Momi, “It’s using indigenous and endemic plants—you just put them in the ground and let them go.” The advantage is that there aren’t any extra additives being used, and you are helping keep native species alive and thriving. Plus, there are medicinal values found in many of the native Hawaiian plants. In fact, the women find varying uses for everything they produce at the nursery; it is not just necessarily for nutritional consumption.

Ray with some of the fruit trees they have that produce on the islands. photo by Lara Hughes An outside observer may even venture to call these women alchemists. Apart from her adventures in winemaking, Maggie concocted calendula oil from the flowers they grow in the garden, Ray made a mosquito spray when the dengue-fever outbreak rolled through, and Momi makes a natural salve out of ‘awa (Piper methysticum, also known as kava) that acts as a local anesthetic and anti-inflammatory agent. Not only do they talk the talk, they also walk the walk.

KeOlaMagazine.com | July-August 2018

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The three ladies together make a happily homogenous management team, each lending her own expertise and perspective to the nursery. “That’s how we run this place, nobody is really the boss,” says Momi. “We are all managers because we all work alone and whatever needs to be done, we all make the decisions and leave each other a little note.” Ray chimes in, “We have a communication log. I like it, we’re a pretty cohesive group and we get along.” Overall, they have divided up the workdays so each of them works 1–2 days per week at the nursery. Emmerich says, “They are a really good team, each of them has their own expertise.” Emmerich believes that in this way, they are able to help educate people to do the right thing agriculturally. Making it Real The nursery today has a garden area where people can come and pick their own fruits, vegetables, and herbs to purchase at a very affordable price. There are different trees including apple, olive, papaya, cacao, jaboticaba, and even plum. A culinary garden boasts an amalgam of edible flowers, herbs, and vegetables such as kale, beans, corn, tomatoes, cabbages, and arugula. There is a nursery area, where a majority of Tropical Edibles Nurseryʻs plant starters are raised from seed, with designated sections for native Hawaiian plants, medicinal plants, and fruit trees that the wandering guests to the garden can peruse. Centrally located is a 2-story house thatʻs been converted into a shop and education center with a view of Kealakekua Bay reaching out toward the horizon. That portion of the house is where they have held a range of workshops including

courses on subjects such as permaculture and sustainability and events like seed exchanges and educational seminars for local school kids. “The Kohala Center came last summer,” says Momi. “The teacher David Sansone brought the kids here, and we walked them through the garden. We cleaned a bunch of seeds, which we call seedsploration, where we were teaching them how important the seeds were. We also made an oil out of herbs that they had picked themselves, which they got to take home.” The nursery has also hosted classes on chocolate making dubbed Bean-to-Bar, where participants got to start with the raw cacao beans and go through the whole process of making their own chocolate bars. As for the finished product, “The thing was so strong,” says Momi, “Real chocolate has antioxidants and caffeine, so we could only eat a little bit of it at a time…it was the best chocolate I’ve ever tasted.” Keeping the Dream Alive The Tropical Edibles Nursery family wants to continue offering ethically sustainable and affordable food options for the Hawai‘i Island community and see people start gaining more awareness and taking action to plant more food producing varietals in their residential landscapes. Emmerich says, “It’s a really wonderful place that has its own personality, its own attitude and it really is reflected in the girls that work there now. It’s a happy place.” ■ Tropical Edibles Nursery, Captain Cook Hours: 10am–4pm, Tuesday–Saturday. For more information: facebook.com/tropicalediblesnursery/

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Mahalo Jack’s Diving Locker – Ocean Story Sponsor

Ocean Education Unlocking the Mystery of Underwater Marine Life for Hawai‘i’s Keiki

By Karen Rose

Sea Campers explore the shoreline conducting a tide pool study.

he famous French underwater explorer Jacques Cousteau famously said, “The sea, once it casts its spell, holds one in its net of wonder forever.” Junior Program instructors at Jack’s Diving Locker agree, and are striving to inspire youth through their summer camp programs. Young and aspiring marine scientists residing on Hawai‘i Island can reap the benefits of living near the ocean and enroll in one of the many keiki (children) and teen summer programs offered by Jack’s Diving Locker. Children who show an interest in marine biology at a young age foster their love of ocean life by attending one of the many adventure camps. For interested teens, these programs may foster an interest in the marine environment and potentially prepare them for a career in marine biology. Hawai‘i’s ocean environment is filled with pristine coral reefs, colorful reef fish, sea turtles, dolphins, manta rays, and more. Jack’s Diving Locker summer camp programs offer children opportunities to learn more about the marine animals of Hawai‘i while learning diving skills. “We love working with kids,” said Jeanne White, director

of education, “They are the future of diving and keeping our oceans and world in good shape. We strive in our work with keiki to have fun, while being educational and helping them to feel empowered to make a difference in the world.” Jeanne enjoys watching the kids become more comfortable and competent in the water and how that translates into other life skills. Seeing them accomplish new skills is a very rewarding part of her position. “We often work with kids who do things they didn’t think they could do,” said Jeanne. “Like mask clearing—it can be really intimidating at first—but once they get it, wow! They feel so accomplished and can use that learning experience to apply to many other things they will experience in life. We hope to have the opportunity to introduce more kids to the wonder of the water this summer.” Jeanne finds time in the water to be very inspiring to children, whether it’s their first experience snorkeling, or becoming an experienced open water diver (PADI Open Water). As a result, Jackʻs Diving Locker offers comprehensive and varied programs for kids to choose from.

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“We have two types of summer programs,” said Chrissy Bogdanovitch, PADI master scuba diver trainer. “We host and facilitate the instruction of adventure programs where mainland teenagers ages 12 to 16 come to Hawai‘i for three weeks. They get involved in a number of different activities and community service opportunities. One of the activities is getting scuba certified, and Jack’s Diving Locker facilitates this certification. We work with about 100 kids per year with this program.” Jack’s also has programs for local children. Their junior programs for kids ages six to 16 are weeklong camps that run from 9am to 3pm daily. Some topics include manta ray diving, night diving, underwater navigation, underwater photography, and more. “We have Keiki Camp for children ages six to eight years old and it’s basically an introduction into snorkeling and the marine environment,” said Chrissy. “We take them to the beach, and do tide pool studies and beach cleanups. We teach them all about the local environment and the ocean environment and how to be good stewards. We also do lots of playtime in the pool, so when they go home at the end of the day they’re pretty tuckered out. Then at eight years old, children can begin to learn scuba diving.” This is called the PADI Seal Team and Master Seal Team program. Another program unique to Jack’s Diving Locker is called the Hawai‘i Sea Camp Series. This is a snorkel-based program with a “try-scuba diving” opportunity. Jack’s offers six different camps. If a child completes all the camps they receive a Marine Ambassador Award and have their name imprinted on a plaque at the Jack’s Diving Locker shop.

KeOlaMagazine.com | July-August 2018

Nora putting her education to work.

Adventure Friday in the ocean.

it sets them up for potentially having a career they are passionate about in the marine sciences or diving industry,” explained Chrissy. “It’s a career they can potentially take with them around the world. If they get through their rescue diver certification before they’re 18, the next step is Divemaster, the first level of professional diving. We’ve had kids return from college (or after high school) earn their Divemaster so they can either work for us or take it to other places around the world. One such former student is Nora Frank, who attended University of California at Santa Barbara. “Nora went through all of our programs multiple times. She started with the Sea Camp Series and went into scuba diving, then moved onto open water and advanced classes,” said Chrissy. “She went on to study marine biology at UC Santa Barbara. For her high school project, she went out on our Pelagic Magic dive and studied different pelagic creatures. She’s just one of our more famous students who has gone on to study marine biology.” Nora recently graduated and is now seeking career options in marine operations and management. “Growing up with Jack’s Diving Locker helped me discover my love for the ocean and greatly contributed to my decision to pursue an aquatic biology degree at UCSB,” said Nora. “I recently graduated, and at the same time I also completed my NAUI Divemaster certification. I plan to pursue a career in marine facility and husbandry management and outreach around the Santa Barbara area. I would not be where I am 39 today without the support and heart from everyone at Jack’s. KeOlaMagazine.com | July-August 2018

“Each camp has a different emphasis,” said Chrissy. “A popular camp is the Sharks and Rays camp. All week we have one subject that we study. We do a lot of different activities including pool time, try-scuba, beach cleanups, tide pool studies, snorkeling at Kahalu‘u, and things like that. We really focus on learning in each one of these subjects. For example, at the end of the Sharks and Rays camp, we take all the kids out for a night manta snorkel, and parents are welcome to come as well.” Jack’s Diving Locker incorporates similar opportunities with their other camps. For example, in the camp that focuses on dolphins and whales, the students venture out for a dolphin snorkel to witness Hawaiian Spinner Dolphins in their natural environment, whether it’s by boat or onshore excursion. Similar experiences are offered for sea turtles, octopus and other marine life. “In the last couple of years, we’ve incorporated a lot of field trips to visit some of our local nonprofits and other local businesses,” said Chrissy. “For example, we go to the Kanola Octopus Farm at the Natural Energy Lab. We also have outside speakers come to talk about the reef fish and eels. The educators at the Marine Mammal Center come and talk to the kids about monk seals and whales. It’s a really cool program.” These hands-on experiences make a lasting impression with the youth who attend the camps. This makes their summer camp not only fun and adventurous, but educational and life changing as well. “When our students experience all these things as children,

I could not have asked for a stronger foundation for my childhood than the one that Jack’s has given me.” “We have other kids that have gone through the camp and created life-long friendships with each other, even if their friends end up moving off island,” Chrissy said. “It’s been great watching them get together when they’re older to go diving instead of sitting home and watching TV all summer. They have something that they can do that’s physical and also really rewarding for them.” Future goals for Jack’s Diving Locker summer programs include establishing a scholarship fund for local keiki. Chrissy Looking for mermaids at Jack's Diving Locker Ocean Fair.

Dolphins & Whales Sea Camp day on the boat. All students are giving the universal "Ok" hand sign. hopes these future scholarships will allow interested children to learn about the ocean environment without the cost being a deterrent. Thanks to the dedicated staff at Jack’s Diving Locker, the future looks hopeful for our oceans. With new generations of oceanographers and stewards of marine life, these environmentally conscious programs ensure we leave our planet in capable, well-educated hands. This is something we can all feel grateful for. ■ Contact: jacksdivinglocker.com All photos courtesy of Jacks Diving Locker

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Hawai‘i Island’s Champion

Ed Olson By Leilehua Yuen

d Olson first traveled to O‘ahu in 1959. He had come to teach a swimming pool builder how to use some new equipment. “It was about three weeks after statehood, and I fell in love with the island and the people,” says Ed. “Since then,” Ed continues, “everything has changed.” Ed recognizes that change is inevitable, however he wants to find a way to mitigate the environmental impacts. “Certainly the Nature Conservancy is working in that

at 87 years young

direction. I’m a director for the Trust for Public Land. We work to set aside lands in their natural state. It’s a national organization, but it has a Hawai‘i Chapter. I’ve also set aside some 4,000 acres for conservation so there will be no future development on them,” shares Ed. His passion for preserving land in Hawai‘i was in full view a few years ago when he made a $2 million gift that permanently endowed a state director position for the Trust for Public Land. “Preserving nature is not easy. There are a lot of outside forces impacting each piece of land,” Ed says. It is challenging

KeOlaMagazine.com | July-August 2018

Ed Olson in a stand of eucalyptus trees on a parcel in Kaÿü. The trees were slated to be sent to China. Because of recent tariff changes, the project is now on hold.

KeOlaMagazine.com | July-August 2018

to balance preservation and economic needs, and to coordinate the different approaches of various stakeholders. Ed’s ability to meet these challenges has roots in his childhood. Born in San Diego, Ed’s memories of California didn’t really begin until he was fifteen. “My mother left my father when I was two and a half years old, so I really never knew my father. My stepfather was a career Navy man, so every three years, a new town, a new school. My education was on the East Coast: Massachusetts, Virginia, Georgia.” He remembers eastern schools as being conservative. In Georgia, he attended military school where he met youth from all over the eastern United States. During World War II, those who could send their sons to military school did, so that when the boys came of age, they could serve as officers rather than infantry. He credits a diverse education with developing his broad world view. He loved listening to the many dialects and accents of his schoolmates. “I got a feeling for the country somewhat from listening to their diverse speech and histories.” World events also helped to expand his thinking. During World War II, women became highly visible in the American workforce. “My mother was a welder; she repaired bullet holes in planes in Virginia.” Watching his mother, Ed developed an appreciation for the benefits of hard work. “As soon as the war ended, my mother moved back to California—she couldn’t wait to get back. She left me in military school.” Behind Ed Olson, a field of young coffee trees Ed finished up the basks in the sun of Kaÿü, helping to continue the semester. “She [his region’s agricultural heritage. mother] sent me a letter with the train fare from Georgia to California.” But Ed had a different idea. Some of the seniors had started card games at school. “The seniors were smarter than the younger students. I made the mistake of getting into card games the last week of school and lost half the money. I didn’t call my mother and say ‘Hey, I got a problem.ʻ People didn’t phone much, then. Besides, I knew I’d get in trouble.” After school let out, “Me and another cadet from Louisiana hitchhiked down as far as New Orleans together. He went home, and I got a Greyhound bus to California. I was lucky enough to still have half the money to pay the bus fare, but it only left me $5 and change to eat for the next four days. It was a long, hungry trip at the age of 15. When I think of things like that, I think it made me a little harder, if that’s a good word to use. I realized at that age that I could take care of myself.” He attributes his success to the strength and positive attitude of his mother. The move to California was good for Ed. “I loved California.” Six years later, Ed was drafted into the Marine Corp. “I spent my 21st birthday in Marine Corps boot camp,” and remained in the Marines for the next four years. By the late 1950s, he had gotten into construction and had

KeOlaMagazine.com | July-August 2018

purchased a gunite machine. Gunite is a mixture of cement, sand, and water applied through a pressure hose, producing a dense hard layer of concrete used for constructing buildings and swimming pools. Ed remembers, “The place I bought it from sent a Hawaiian guy over to my place one day to describe it to him. They were trying to sell him one.” The strategy worked. “I went by the factory three or four weeks later and was told he had bought the machine on my advice.” They needed someone to set up the equipment in Hawai‘i because their installer was working on another project.” So, Ed went, installed the equipment, and headed home. Three months later, he returned to O‘ahu and bought interest in the gunite company. “In the course of my lifetime, I sprayed gunite in 34,000 swimming pools. California, Nevada, Arizona, and, of course, Hawai‘i.” Those who grew up on Moku o Hawai‘i (Hawai‘i Island) may remember the early 1960s when the pali (cliff) area of Hilo and the Keauhou area of Kona were being developed. A number of those homes had free-form pools integrated into the landscape, giving the pools natural rock edges. Ed reminisces that he probably built many of those pools. Ed was also very successful in business on the mainland. “I was in the self-storage business. It was a great business. We had a 112 locations and each location would take up to 600 customers.” When he sold that business, “I had lots of cash that I invested in Hawaiian land, not with the purpose to make any more money, but to have that money do some good.” Edʻs business took him throughout the islands. Over time, he purchased various parcels of land, sometimes with partners, with an eye toward preserving agricultural and forest lands for future generations. He does not suggest his path to others. “I was a wild and crazy kid, that’s all there was to it.” Instead, Ed recommends, “Get an education. I didn’t. I graduated from high school just a few weeks after my 17th birthday. I got by with what I had. But I really think there’s a time to go to college, and that’s right after high school. Through various programs that I’ve set up in the companies I own, I’ve provided a college education for over 105 students.” Those programs had provided up to $10,000 per year in educational grants for the children of employees. That’s just one of the ways that Ed is positively impacting Hawai‘i. The Edmund C. Olson Trust II was formed and is dedicated to the thriving of Hawai‘i into the future. The Olson Trust invests in sustainable agriculture, manages naturalresource conservation, community development, education, cultural legacy preservation, and renewable energy. The Olson Trust also owns or co-owns several agriculture and transportation businesses including the Hamakua Macadamia Nut Company, Island Nuts Trucking LLC, Ka‘u Coffee Mill, Ka‘u Farms Management, OK Farms LLC, Palehua Ranch LLC, and Wainaku Ventures LLC. Here are a few examples of the good Ed Olson has bestowed on Hawai‘i Island: In 2002, Ed and Troy Keolanui partnered to create OK Farms, named for the first initial in Olson and Keolanui. Troy first met Ed more than twenty years ago, when agriculture no longer held much promise for Hawai‘i’s families. He began helping Ed when they acquired an exceptional 500-acre property along the Wailuku River in Hilo, which had been used for agriculture for more than 100 years. OK Farms specializes in high-quality tree crops such as coffee, macadamia nut, lychee, longan,

citrus, cacao, heart of palm, and a Ed and bride Sami recognize the importance of the land and waters of Hawaiÿi. wide variety of other tropical fruits and spices. The farm has since doubled in size to more than 1,000 acres. Just outside the farm, Ed provided space for a soccer field, where Troy is the field manager for the AYSO Hilo. Another of his contributions is the Edmund Olson Trust Archive, housed in Pāpa‘ikou in the old Onomea Sugar Plantation building. The archive is the home to modern original art and hightech art reproductions, alongside archival historical materials. Before the electronic age, land sales and land titles, employee the reign of Kamehameha III through the heyday of plantation records, personal and business correspondence, photos, commerce, statehood, and the closure of the sugar industry. financial transactions, charts, maps, and other materials were Housed next door to the Trust’s headquarters is the documented and handed down from generation to generation, Plantation Museum, a nonprofit entity which Ed assisted in sealed in boxes and closets. When the Trust acquired the creating. [See Ke Ola July/August 2017 issue.] building (now the Trust’s headquarters) from C. Brewer & Co., Having worked 24/7 for the past six decades, now, at 87 it came in possession of vaults full of such palapala (paper years young, Ed is newly married to bride Sami. “I told her I’d artifacts). better marry her before she got any older,” joked Ed. He is now One of Edʻs most inspiring stories is that during the deciding how to spend his remaining years. Ed’s idea of his renovations to the building, the materials were being tossed legacy is simple. “Hawai‘i is so beautiful; I would like to protect into dumpsters and when he realized what was happening, it, that’s all.” ■ he was able to have everything recovered and preserved. The Trust has been archiving these valuable documents with the For more information: olsontrust.com wish to make them available to the public. Their collections trace the history of the Hawaiian Islands from the 1850s and Photos courtesy of Troy Keolanui.

KeOlaMagazine.com | July-August 2018

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Anna Ranch A Chapter of Waimea History

By Catherine Tarleton

ehind the white rail fence and trellis gate, across the lawn and gardens at the foot of Waimea’s rolling hills, inside the gracious white house with blue-striped awnings on its sunny bay windows, lives a story. Opening the front door opens a chapter of Hawai‘i’s history. A chapter where strong, self-sufficient women like this story’s heroine, Anna Leialoha Lindsey Perry-Fiske, worked tirelessly, survived, prospered, took care of their lands and gave generously to support the community they loved. The high-ceilinged parlor looks as if the lady of the house had just stepped out for a moment. Comfortable koa furniture is grouped around cowhide rugs; a hand-cranked music box

KeOlaMagazine.com | July-August 2018

Anna Ranch today. The original house began as a small cottage that was extended between 1910–14. It was remodeled by Anna in the 1940's–50's. photo by Sarah Anderson

Anna Leialoha Lindsey Perry-Fiske on the front porch. photo courtesy Anna Ranch Heritage Center

KeOlaMagazine.com | July-August 2018

for entertainment; paintings, photos, and an eland hunting trophy on the walls. Adjacent, a formal dining room with a long koa table waits beneath an oil portrait of “Aunty Anna” on horseback in full pā‘ū (horseback riders skirt) regalia. Hutches safeguard crystalware and Chinese porcelain treasures. In the kitchen—now a gift shop—cupboards are neatly stacked with china in her favorite “Franciscan Rose” pattern. On top of the cabinets, a string of toy horses, corralled within a handmade fence. Five bedrooms—one of which was probably the original ranch cottage—each contain clothing, furnishings, art, and items from six generations. Outside, walkways lead to outbuildings: a barn, slaughterhouse, carriage house-turned-garage. Beyond, above, on the slopes, cattle graze—descendants of Anna’s original herd of Charolais cattle.

Early Days To tell the ranch’s story, we have to go back to the days before Anna was born, when her great-great-grandfather James Fay came to Hawai‘i from England in the early 19th century and married Ka‘ipukai‘ikapuokamehameha Kahahana, an ali‘i (royal) woman from O‘ahu. James, who became Anna's fancy western garb designed by known in the community— Nudie's of Hollywood. photo by Sarah Anderson and in official records—as “Kimofe,” was given a parcel of land by Governor Kuakini for helping him with his cattle and various business interests. In those days, wild pipi (cattle) ran rampant on the countryside, before a concerted effort by island and paniolo (cowboys of Mexican descent) got them under control, beginning Hawai‘i’s ranching industry. Kimofeʻs land parcel was named Wai‘au‘ia, which means “diverted water,” probably referring to the ancient ‘auwai (canal) irrigation system that can still be seen today. He and

Ka‘ipukai made a home for themselves, and in 1830 they had a daughter, Mary Ka‘ala Fay. In 1848, Kimofe purchased a seven-acre plot called Keanu‘i‘omanō from a man named Mokuhia for $100. On the land were two old houses and a partially-built stone wall, often used by farmers to protect their homesteads from wild cattle. In 1850, Kimofe obtained an additional 180 acres in the Hanaipoe area of Hāmākua, built a sawmill and started milling koa wood. From that lumber, not only was his home constructed, but also some of Waimea’s most iconic buildings: Imiola Church, Mana (original home of Parker Ranch patriarch John Palmer Parker), and others. Kimofe also transported lumber for export to the harbor at Kawaihae, a five-hour trip by bullock cart. Along with lumber, and his already-established business of cowhide and tallow, Kimofe had begun sheep ranching in Waimea. He and Ka‘ipukai kept a second residence at the present Anna Ranch site, where their children swam, and the family also washed their clothes in Wai‘au‘ia Stream. Before he died in 1858, he sold Keanu‘i‘omano to son-in-law George Kynaston Lindsey for $300, and willed the remaining 1,000 acres to his daughter Mary. George passed his estate to Mary when he died, and she in turn left equal shares to her twelve children. Their oldest son, Thomas Weston Lindsey, Anna’s grandfather, went on to become a well-known expert paniolo, and the cowboy foreman for Parker Ranch. A ranching native, he bought many of his siblings’ shares, developed the Lindsey Ranch, and amassed significant land holdings which he bequeathed in equal shares to his eight children. Anna Thomas’ son, William Miller Seymour Lindsey, married a half-Hawaiian schoolteacher in 1896, Mary Leialoha Rose, and they had three children: Bill, Anna and Charles. Born in 1900 and raised on ranching life, Anna learned to rope and ride alongside her two brothers. From her mother she learned the fine arts of of pā‘ū riding, in addition to homemaking and hostessing, and proved equally adept at those. Educated on O‘ahu, where she met Queen Lili‘uokalani, Anna married Henry Lai Hipp of Hilo at the age of 19. During The dining room with portrait of Anna on horseback. photo by Sarah Anderson

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their 20-year marriage, she was park commissioner for Hawai‘i County, and one of her most notable projects is the celebrity tree planting along Hilo’s Banyan Drive. She also started Lai Hipp Stables, became one of Hawai‘i’s first female jockeys— training and racing her own horses—and rode in the Pasadena Tournament of Roses Parade, introducing pā‘ū riding to the world. Meanwhile, back on the ranch, the main house—constructed between 1910 and 1914—was expanded. The side porch was enclosed and set up as William’s office, where the cowboys would pick up their pay. A large, seven-segmented bay window was added to the dining room at the front of the house, and stairs, side porch, and saddle room in the back. The barn was built with rooms for feed storage, tack, tractor, and equipment, along with a freestanding slaughterhouse and carriage house with a fuel storage shed, gardener’s room, and storeroom. In 1939, Anna returned home to help take care of her father, and found Lindsey Ranch nearing bankruptcy as a result of his long illness. Anna took the reins. With a loan from Parker Ranch, and her own grit and determination, she got the property back on its proverbial feet and changed the name to Anna Ranch in 1941. With one full-time ranch hand, “Bull” Awa‘a, Anna worked six days a week mending fences, branding, and buying stock. She was one of the first women in Hawai‘i to get a butcher’s license, and slaughtered her own cattle at the ranch. During WWII, she entertained officers and nurses from nearby Camp Tarawa. In the 1950s, she was the first rancher in Hawai‘i to crossbreed Brahma bulls with Hereford cattle, and first to import Charolais from France.

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Tools from today and yesterday, photos and interesting found items fill a wall of the blacksmith shop.

In 1943 she married James Lyman Perry-Fiske from North Kohala and together they saw Anna Ranch begin to prosper. Anna was able to create grand charitable events including the outdoor pageant “Old Hawai‘i on Horseback,” a fundraiser for the American Heart Association, as well as a highly successful auction for Hawai‘i Preparatory Academy. She also made significant contributions towards building the emergency room at Lucy Henriques Medical Center. In 1978, then US Congressman Daniel Akaka Sr. honored her at the Capitol. When she died in 1995, Aunty Anna left her home to the community as a living legacy that celebrates the history and culture of ranching in Hawai‘i. With hard work by Dr. Momi Naughton and a dedicated team, Anna Ranch was named to the Hawai‘i State Register of Historic Places in 2005, and to the National Register of Historic Places in 2008.

photo by Sarah Anderson

Today The present 3.48 acre Anna Ranch Heritage Center includes the ranch house and outbuildings, and—added in 2000—a tea house, public restroom building, paved driveway and parking lot. In the gift shop, originally the kitchen, visitors can purchase Anna’s biography, Hawai‘i’s Incredible Anna, by Ruth M. Tabrah. The shop also features locally-made gifts, including hand-forged metal works by Ethan Froney, the blacksmith. Behind the house, in the “Education Barn,” visitors may catch blacksmith Ethan working at his anvil. Ethan, who learned blacksmithing at a Seattle community college, came to the island in 2010 to do sheet metal work, and instead, was pleased to find opportunities for his blacksmith skills at Anna Ranch.

KeOlaMagazine.com | July-August 2018

Groundskeeper Marcelino Tagudan, docent Barbara Sterne, trustee Steve Bess, manager Maka Wiggins. photo by Sarah Anderson

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“When I got here the barn was storage, and where she parked her cattle truck,” says Ethan. “It [the cattle truck] was an old Army 6x6.” Anna’s second husband James Lyman made the ranch’s branding oven, and Ethan re-made the original Anna Ranch brand itself. “I make everything from horseshoes to hand grenades except horseshoes and hand grenades,” he says with a grin beneath his goggles. Adjacent to the blacksmith shop is a classroom studio where artist Marcia Ray teaches painting on Tuesday and Friday afternoons at 1pm and has organized an art market, “Artisans Ethan Froney remade the original Anna Ranch brand for this branding iron.

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photo by Sarah Anderson

The enclosed front porch was used as a payroll office. photo by Sarah Anderson Hui at Anna Ranch,” on Wednesdays from 9am to 2pm. In the slaughterhouse, mountain bikes now hang on the hooks and rails that once held sides of beef. This is the base of operations for Alex Candelario of Big Island Bike Tours, who takes riders from the ranch across Kohakohau Stream and up about 1,200 feet for a snack stop, with views of the mountains and vast green Waimea hill country. Anna Ranch Heritage Center is open Tuesday–Friday 10am to 3pm, closed major holidays and for occasional private events. When the center is open, the public is invited to enjoy self-guided tours along the Discovery Trail, with informative illustrated signs. Guided ranch house tours may be scheduled at either 10am or 1pm, with advance reservations required. Admission for guided tours is $10 adults, $5 keiki. The property is also available to rent for private functions, weddings, and social gatherings, with a variety of garden or lawn settings, as well as the tea house, Anna’s Hall. ■ For more information: annaranch.org

KeOlaMagazine.com | July-August 2018

A hand-cranked music box is in the parlor for guests' entertainment. photo by Sarah Anderson

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Caring for Our Island Environment

THE BREAK DOWN ON MICROPLASTICS By Julia Meurice

rom the stomachs of sea birds to the muscle tissues of fish and the beaches across Hawaiâ&#x20AC;&#x2DC;i, tiny plastics are quickly building up in our marine environment. They may seem harmless enough, but both scientific data and human observations are uncovering alarming information.

KeOlaMagazine.com | July-August 2018

The Scoop Microplastics are generated in two ways. Primary microplastics include micro-beads used in cosmetic products, fibers from clothing, and nurdles, which are resin pellets used in plastic manufacturing processes. Secondary sources occur after larger plastics are exposed to sunlight and weathering degradation that make them break down into tiny pieces.

An Uncertain Health Microplastics can assist in invasive species transport and can act as binding elements for chemicals. Toxic molecules like Bisphenol-A (BPA), Polychlorinated Biphenyls (PCB), and Polybrominated Diphenyl Ethers (PBDE) can adhere to the plastics and are transferred to organisms they come into contact with. One of the biggest health concerns as a result of hitchhiking toxic chemicals is their bio-accumulation in the food web. Melissa Snover is a contractor for the National Oceanic and Atmospheric Administration (NOAA), studying Pacific sea turtle growth and population dynamics. She says, “Compounds that leach out of microplastics and into the environment end up in organs and tissues of lower trophic animals (filter feeders like mollusks), and as these animals are consumed as prey by higher trophic predators, they can bio-accumulate.” These higher trophic predators can include sea turtles, large fish, sharks, whales, and humans. The more plastic that is in the ocean, the higher the risk.

Solving the Plastic Puzzle NOAA’s Marine Debris Program provides funding to agencies in Hawai‘i to collect data, study, and develop action plans to prevent and manage microplastic buildup. Achieving these overall goals takes time and commitment. Cynthia Ho, who has been coordinating cleanup efforts through Keep Puako Beautiful for two decades shared that their 2017 efforts saw 806 volunteers who collected over 1.5 tons of debris and shoreline trash from around Puako. You can join one of their ongoing events, a clean-up hosted by the Hawai‘i Wildlife Fund or just gather friends and 'ohana and clean your favorite beach! Three action steps you can take today: 1. Avoid one-time use items (like straws and plastic utensils). Keep reusable ones with you. 2. Choose body-care products without plastic “micro-scrubbers” that wash down drains into our oceans. 3. Choose alternatives to plastic products like glass, cloth bags, and paper.

Photos on opposite page: Ocean currents push debris ashore, as seen on this isolated beach at South Point. photo courtesy of Julia Meurice Inset: MIcroplastics on a penny. Microplastics are defined as having a diameter between 1 nanometer and 5 millimeters. photo courtesy of News Deeply

KeOlaMagazine.com | July-August 2018

The Problem on Hawai‘i Island For at least the past 50 years, improper waste disposal has Sources: NOAA, Hawai‘i Wildlife Fund, Marine Pollution Bulletin increased—including the intentional or accidental dumping of garbage at sea and onshore. This, combined with land debris Julia Meurice being carried to the ocean in runoff water after big storms, has Marine Science Communications & Outreach brought more and more plastic to the ocean. From industrial NOAA Affiliate for Hawai‘i Island products to lost or discarded fishing gear (especially large Contracted through Lynker Technologies, LLC nets) most of this material does not biodegrade. Instead, it just particulates into smaller and smaller pieces. A school group hosted by Hawaiÿi Wildlife Fund skims a water sample for microplastics. Biodegradation of the plastic only occurs when some photo courtesy Megan Lamson types of microorganisms can consume and digest plastic molecules as food. A system of rotating ocean currents called the North Pacific Subtropical Gyre spirals around a central point: the Hawaiian Island chain including the Papahānaumokuākea Marine National Monument. The Great Pacific Garbage Patch, an enormous area of concentrated garbage in the water column located within the gyre, is thus the main source for the massive amounts of debris pushed onto Hawai‘i’s beaches and reefs annually. According to Megan Lamson of Hawai‘i Wildlife Fund, who has been coordinating Hawai‘i Island’s Marine Debris removal project since 2008, “There are likely 100 times more microplastics than macroplastics at any given moment, and it’s overwhelming as they are excruciatingly difficult to remove. The priority is larger stuff so it doesn’t photo-degrade.” The Hawai‘i Wildlife Fund has been working tirelessly on this issue for almost 20 years, focusing their efforts in the Ka‘ū district, particularly at South Point and on Maui at Ka‘ehu. In 2017 alone, with the help of more than 1,000 volunteers, 76,296 pounds of marine debris was removed from the shores of both islands during 67 cleanup events. However, with an estimated rate of return of 15–20 tons per year, more is coming.

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The Ho‘ohanohano Perspective By Rosa Say

Hanohano is a glorious and honorable expression of human dignity. To Ho‘ohanohano is to assure dignity exists for everyone, and to exalt it. We learn of Ho‘ohanohano as the value of respect and selfrespect, for it teaches us to honor the dignity of others while we conduct ourselves in a manner which honors our own sense of dignity as well. When we practice Ho‘ohanohano, we honor the intelligence of others, and we seek to learn from them. We ourselves aspire to be as upright in character and trustworthy as we can possibly be. Simply said, Ho‘ohanohano is the value of good behavior. Ho‘ohanohano is our character builder, and it is the benchmark of proper conduct and professionalism. It becomes an Alaka‘i Manager’s humble yet affirming statement of nobility through work. “Conduct yourself with distinction” is significant as our Ho‘ohanohano expectation within the Managing with Aloha philosophy, for it is our core belief that to be a better manager, one must be a better person first and foremost. It serves us well to regard Ho‘ohanohano as the face-to-face ‘alo’ part of Aloha, and the value which shapes our presence and demeanor, so we consistently showcase the dignity and spirit which our ‘ha’ embodies as our ‘breath of life.’

KeOlaMagazine.com | July-August 2018

Working on Ho‘ohanohano is simple and clear-cut in theory and proposition: concentrating on this value amounts to working on ourselves, and how we behave.

This is done in many businesses without their naming Ho‘ohanohano as the overarching value they are working within. Here is a list of character targets which may be touted as the individual ‘values’ companies vow they concentrate on— Ho‘ohanohano includes all of them. “We “We “We “We “We “We “We “We “We “We “We

will will will will will will will will will will will

be polite, kind, and courteous.” be honest. We will tell the truth.” be accessible and helpful. We seek to serve.” be respectful. We will be patient.” be ethical. We will act with integrity.” be understanding and reasonable.” be reliable, dependable, and trustworthy.” be professional.” be clear in how we communicate.” be calm, and even-tempered.” reflect on all feedback, and be introspective.”

“Ho‘ohanohano: Honor the dignity of others. Conduct yourself with distinction,and cultivate respectfulness.” Fourteenth in Series Two on Managing with Aloha

Managing with aloha

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Read over your company’s value statements; there’s a good chance Ho‘ohanohano appears there in some form. Annual Performance Reviews routinely check off boxes for honesty, respectfulness, and courtesy when people are appraised. Are your existing parts of Ho‘ohanohano good enough for you, or do you want more character building? To want more is to understand how essential dignity is to us as human beings, and to genuinely desire to deliver dignity at all times, and in all behaviors. Remember ‘alo’—through the practice of Ho‘ohanohano we purposely honor others, actively doing so through the varied complexion of our presence in their lives, and during each and every given moment we find we are together. Ho‘ohanohano will also feed off itself, because dignity sustains us. Separate from ego, dignity fuels our self-esteem, keeping us healthy enough to always seek improvement and become better versions of our existing selves. When dignity is missing, self-esteem, confidence, and courage are also lacking. We feel we aren’t up to coping well. We may lose hope. Ho‘ohanohano is crucial to those who aspire to manage and lead, if they are to do so with a thriving contingent of followers who feel dignified and thus capable in their own right—they feel effective as participants in that leader’s mission. Provide all the stakeholders of a company with Ho‘ohanohano fullness, and you provide people with the capacity for future growth. They will be ready for each new opportunity you accept, and you face any challenges together.

Next issue: We revisit Alaka‘i, the value of leadership. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

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Work devotedly with character traits you might now list within your value statements. Ramp it up, so you achieve the whole of Ho‘ohanohano. Have whatever you say, match whatever you do. Have what you expect from others, be what you expect from yourself, and from your business. Ho‘ohanohano will flourish, because your ‘Ohana in Business has been strengthened.

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Larger Than The Work of Marcia Ray

KeOlaMagazine.com | July-August 2018

By Catherine Tarleton

Although wood blocks are traditionally hand carved, which she also does, Marcia creates larger works, such as this fan coral, with her router. photo by Sarah Anderson

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Life

“Murals for me are the most important,

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because they are painted to tell a story,” says Waimea artist Marcia Ray. Four of her murals, and their stories, are stretched across the upper walls of Parker Ranch Center’s Fireside Food Court: panorama-wide paintings of paniolo (cowboy) life. One, The Line-Up is a shoulder-to-shoulder string of 30 mounted cowboys in the foothills of Maunakea. The paintings were created for the center’s re-opening in 2001. “One of the trustees said they wanted murals that represent Parker Ranch,” says Marcia. “They had a four-inch photo, and asked me ‘Can you paint this 24 feet wide?ʻ” She laughs at the memory, “I actually went to Human Resources [at Parker Ranch] to research the faces of the guys, the hats they might be wearing, their shirts, their horses.” Helping her with this daunting project was retired Parker paniolo Jiro Yamaguchi, son of the first Japanese cowboy hired by Parker Ranch. “Jiro would come by my studio. He loved the project,” says Marcia. “He’d say, ‘You know Massha, that stirrup is too long,’ or ‘That saddle is wrong, the spur is wrong.’ I told him, ‘Jiro, you’re my guru.’” Marcia also interviewed community members and collected photographs from the 1920s forward. The finished product took two years to complete, and the result is more of a story than the four-inch picture could ever tell of those proud paniolo on horseback, with names people may remember, since many are related to the families dining in the food court today. “What happened was so wonderful,” says Marcia. “I really got to know the paniolo families and share their stories.” The entire project encompassed four 24’ x 4’ murals, and 28 smaller paintings. When the murals were unveiled for the first time, Marcia remembers, “I was happy that I had enough room to paint the whole thing! That’s why I love painting big, on the Big Island. Most often, when I paint something with the mountain, I always run out of room.” Just down the road from Parker Ranch Center, five of Marcia’s murals also grace the walls of North Hawai‘i Community Hospital. Painstakingly researched, rich in detail and kaona (deep meaning) the paintings add life and spirit to the science of the space. To help create the murals, kahuna la‘au lapa‘au (Hawaiian herbal healer) Dr. Papa Henry Auwae provided input and wisdom.

Close up view of the fan coral piece Marcia created with her router. photo by Sarah Anderson

Hawaiâ&#x20AC;&#x2DC;i Lava â&#x20AC;&#x2DC;Ohana Relief Fund

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Big Island Photographer Demian Barrios has documented the volcanic eruption in Leilani since Day 1

Honua, Voyages of Ancient Polynesia. photo courtesy of Marcia Ray

Larger than life koi block print. photo by Sarah Anderson

KeOlaMagazine.com | July-August 2018

“One is in the nuclear medicine room, one of the best I’ve ever done,” says Marcia. “It’s two walls about Pu‘uhonua o Hōnaunau, a place of refuge. The mural has an eight-inch border of lauhala, with the caption ‘He pu‘wai e‘ehu ā ka pu‘uwai huikala oia’ (a healthy heart is a forgiving heart), because the nuclear medicine room is where they also do CAT scans and take care of people’s hearts.” She continues, “The mural in the ultrasound room is about dolphins. Their echolocation is the same process as the ultrasound machine.” Marcia’s own story begins on the East Coast. Originally from Florida, she went to the University of Arizona and studied art there, then finished at Ridgewood School of Art and Design in New Jersey. Her journey took her to the skies as a flight attendant for National Airlines in the 1960s. “We had to wear false eyelashes, pancake makeup, stockings, and high heels,” Marcia says. “I dropped out to be a hippie and went to San Francisco. My first real job was working for a psychedelic poster company.” Not long after, she moved to Charlottesville, Virginia and opened the area’s first vegetarian restaurant, The Natural Food Stand and Carrot Cafe. After vacationing in Hawai‘i, she moved to Hawai‘i Island and opened Paniolo Pizza, Kona’s first pizza place, in what’s now Ba Le Restaurant. “All along, I was still painting at home. Painting has been the one constant in my life,” she says. Although her mural works are larger than life and intricately detailed, she doesn’t think of herself primarily as a realist. “Fantastical art is my first love,” she says. “It’s more like surrealism, which depicts real objects in unreal situations. The artist has to first master realism—to be able to paint a perfect butterfly or flower—and then place it in a fantasy setting. You have to learn how to paint realistically in order to create a good surrealist painting.” Fascinating to the eye, Marcia’s fantasy works might bring together cross-cultural imagery and mythic elements: a bamboo fan catches the interest of a butterfly printed with hieroglyphics; a lion rests on the beach with stylized waves as a backdrop, reminiscent of Hokusai wood block prints. In Hawai‘i, she found a different art market, where collectors wanted to see palm trees and beaches, art representing the island. “It was a good learning curve,” she says. Marcia took her works to galleries, and started doing painted floors and painted ceilings. When the murals started to take off, she found

herself on the move again. She did six-foot paintings for the inter-island cruise ship SS Independence in the 1990’s, and murals for the Mauna Lani Bay Hotel. Two of those paintings, an octopus and a honu (turtle) shell, inspired a friend to help her find work as an artist in residence at Disney World in Orlando, back in her home state of Florida. “A year later I worked at Disney in the sign shop for Animal Kingdom,” Marcia says. After two years in Orlando (1998-2000) she came back to visit her Hawai‘i Island home. That’s when Parker Ranch approached her for the shopping center remodel and Marcia decided to move back. Today, she can be found painting and selling her wares at the Pukalani Farmers’ Market on Saturdays, and teaching art in Anna Ranch’s “Education Barn” on Tuesday and Friday afternoons. In between, Marcia is busy in her home studio, alive with colorful, beautiful, eclectic things from her travels, works in progress, painted furniture, books, toys, and the vibrant light of Waimea from every window. Recently, she started creating wood block prints, using a router to carve the wood blocks, and printing on paper or fabrics. Her art encompasses many media: oil paintings, watercolors, mosaics, standing art screens, furniture, and wood carvings. Most recently, Marcia collaborated with island artists to start

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would look like. She has an answer, Evolving Self Portrait, hanging, unfinished of course, on her bedroom wall. In it, a young Marcia in Hungarian dress is poised between sprays of tuberose and nasturtiums, her favorite flowers. Her left hand holds a plate with toy camel and cart (a symbol of her travels), her right hand suspends a lady marionette, a somewhat sarcastic homage to her flight attendant days. She is supported

the Artisans Hui at Anna Ranch, on Wednesdays from 9am to 2pm on the historic grounds of Anna Ranch Heritage Center. “It’s an artists’ market instead of a farmers’ market, featuring local artisans like wood carvers, leather workers, weavers, as well as paintings and prints of local scenes.” One has to wonder what the mural that tells Marcia’s story Top: An owl painting with an image of Buddha. Marcia says, "The owl represents wisdom and nature, and he's pissed off. I did it right after the election." photo by Sarah Anderson Right: Marcia with her self-portrait that shows her life journey in a mythic style through symbolic images. photo by Sarah Anderson Bottom: The Line Up mural at Parker Ranch Center. photo courtesy of Marcia Ray

by massive stone lion pillars and behind her, translucent, veined wings. “They’re all symbols. I love symbols,” says Marcia. “My bat wings are there to symbolize devils and angels. The lions are from Hungary, from a church where my grandfather went. The lion is my ‘aumakua (spirit guide), which I found out through hypnosis work.” When asked what her advice is to young artists, especially young female artists, “I’d tell them to really focus on what inspires them and try to bring it out, bring it on. Don’t try to be like other people,” says Marcia. “When I was in high school, I already knew I was an artist. I was told by so many different teachers, ‘You can’t make a living as an artist, so get a real job.’ I am still working and surviving as an artist; I’ve made a living as a female artist in Hawai‘i for the last 40 years.” She continues, “I say do what you love.” And what comes next? “My view of religion is to promote peace and try to be nice to each other. I try to portray that in my paintings,” she says. “My biggest dream would be to create a new peace sign for the planet, because when I was a young hippie, I was a peacenik. I remember some militant college folks told me, ‘When you look at the peace sign, it looks like a chicken foot. If you won’t go to war, you are chickens.’ The first thing is to come up with a new peace symbol.” What will it look like? Hard to say, but it will probably be larger than life. ■

KeOlaMagazine.com | July-August 2018

Marcia's home studio is a slice of a hardworking artist's life. photo by Sarah Anderson

For more information: marciaray.com

Art Meets Nature at Niaulani Sculpture Garden By Alan D. McNarie

t’s a drizzly morning in Volcano Village. Elizabeth Miller is kneeling in the new sculpture garden out behind the main building of Volcano Art Center’s Niaulani campus. She’s taking advantage of a small break in the weather to apply WD-40 penetrating oil to the metal surfaces of Pueo’s Flight Made Bright by the Moon, the sculpture that she and Jonathan Sudler created for Niaulani’s new sculpture garden. The WD-40 is needed because Kīlauea’s Halema‘uma‘u crater is erupting just a mile or so away. The rain that so frequently falls in the garden contains sulfuric acid from the volcanic steam cloud. Elizabeth’s sculpture, inspired by the pueo, the native owl, is made from basalt and aluminum. Elizabeth needed a way to protect its exquisitely detailed aluminum feathers from corroding away,

Elizabeth Miller works on Pueo's Flight Made Bright by the Moon. photo by Alan McNarie

Orangia, Niaulani's official cat in residence, inspects Henry Bianchini's Old Bird in a New World. photo by Alan McNarie

KeOlaMagazine.com | July-August 2018

and a coat of lacquer or plastic would obscure those details. She discovered that a super-thin coat of WD-40 can keep out the acid rain—but it has to be applied frequently. Welcome to the challenges of creating the island’s first and only outdoor sculpture garden. Time and the Elements Some of the garden’s sculptors are taking a different approach, though, letting their creations weather and change naturally. “That’s why sculpture gardens are important, because it shows the interaction of the art with nature, and the artist can let go and let nature interact with their piece,” believes Julie Williams, the garden’s founder. “In a museum, everything is so hermetically sealed, but in a sculpture garden, the art pieces change over time—especially in such a dynamic place as Volcano.” It is up to the sculptors how much and in what way their art piece interacts with nature—and also up to their materials. Glen Yamanoha, for instance, is thinking about touching up the flaking scarlet paint of I‘iwi, his giant steel outline of the iconic Hawaiian forest bird, which perches in a clump of yellow mau hau hele (a native Hawaiian hibiscus). On the other hand, Ethan Froney’s Kūlia I Ka Nu‘u, which resembles an ancient Hawaiian petroglyph rendered in 3D out of forged iron, already sports a shaggy orange coat of rust that he knew would happen. Other sculptures, made from terrazzo or basalt, have hardly changed at all, though a little algae may be starting to grow on their surfaces.

A Garden of Learning The sculpture garden opened in September 2017 just as Julie’s daughter was due to give birth; she laughingly recalls the race to get her brainchild into the world before her grandchild arrived. She had been dreaming of the sculpture garden for years. “I’m not an artist, but I love art, and I so admire people that can interpret nature,” she says. 66 Julie, who also coordinates the art center’s volunteers, is a

retired botanist and educator who for years ran a Department of Education facility in Volcano, where children from across the state came to learn about Hawai‘i’s volcanoes and rainforests. In many ways, the sculpture garden is an extension of that same mission. Most of the artworks currently on exhibit were inspired by their natural surroundings. Take, for instance, Henry Bianchini’s New Idea in Flow of Nature, which somehow manages to embody an obelisk, a human figure and the lava flow at the same time. “Lava finds its natural flow as it moves across the new world,” Henry writes of the piece. “Man’s presence is always near and yet he cannot interfere or change this natural flow. Man is humbled by this power and yet stimulated. New ideas arise.” Julie herself oversaw the planting and labeling of dozens of native plants among the sculptures, often helped by children from Volcano School of Arts and Sciences, the charter school that resides in the building that once housed the Williams’ education center. “The students have come here, had drawing sessions here, learned the native plants and helped maintain the garden,” she says. Birthing the Garden When the idea finally looked ready to become reality, Julie recruited Elizabeth, one of many talented artists who had put down roots in Volcano, inspired by the lava and the rainforest. “Julie wanted me to be her right-hand person. I know a lot of the sculptors,” recalls Elizabeth. “I understand how sculptors think. I worked with Julie on understanding timelines. For instance, it’s a longer process to create a sculpture and there’s more engineering involved. Every sculptor has to be an engineer.” Julie got a start-up grant from the Atherton Foundation, and with Elizabeth’s help, started planning the garden. Like most art galleries, the sculpture garden will host rotating exhibitions, but instead of changing monthly, each exhibition will stay for about a year. For the first exhibition, the center decided to invite six of

the best sculptors they knew on the island: Elizabeth Miller, Jonathan Sudler, Glen Yamanoha, Henry Bianchini, Lonny Tamono, and Randall Shiroma. In addition to supplying the artwork, they would all contribute to the garden’s design and help with the year-long process of creating it, aided by community volunteers, school kids and 30 visiting Alaska National Guardsmen who volunteered their services for a day. Also contributing was the ghost of another artist. Sheltered beneath a huge koa tree at the back of the garden is a mysterious, monk-like wooden figure by the late Randy Takake, who lived and worked for years in Volcano. The statue is called Guardian. “Randy’s mother gave us that sculpture on permanent loan,” says Elizabeth. “It was always in front of his studio. Randy loved all the arts—not just sculpture, but music and dance and writing, too. So we see the sculpture as a guardian of all the arts.” Glen Yamanoha, in addition to being a talented artist, knows how to operate heavy earth-moving equipment. He recruited his friend, landscape architect David Tamura, to design the space. “David used a koa tree at the back for a focal point,” says Julie. “He wanted there to be some topography and some hidden places to explore.” David laid out a plan for contouring the garden with small, vegetated hillocks and a figure eight of winding paths to show off the sculptures and plants. Under his direction, large stones dug up during the landscaping were strategically placed back along the paths, becoming another design element. “He placed rocks keeping this Japanese sensibility—kind of asymmetrical and sparse,” says Glen. “I feel like he [David] was one of the sculptors, too.” “Glen and his backhoe brought David’s vision to life by sculpting the land itself,” says Elizabeth. “Julie was the botanist sculptor.”

KeOlaMagazine.com | July-August 2018

Living Sculptures Currently growing among the sculptures are 20 or so native plant species: a feast of shape and form as rich and varied as the art itself. They include plants from every level of the rainforest canopy, from trees and tree ferns to vines to understory shrubs to creeping ground cover plants. Some, such as ‘ōhi‘a lehua and hapu‘u pulu, are recognizable to most island residents, however some are well known only to botanists. The yellow-blossomed hau is quite beautiful, as is the silvery ‘olina and the pāwale, a small shrub with handsome red-brown stems and narrow, vibrantly green leaves. Other plants are a bit unusual. The pa‘iniu, for instance, vaguely resembles what might happen if a pineapple top got stretched out into a vine. Right behind the garden, a small wooden gate leads to a nature trail that winds through one of the few remaining truly old growth rainforests on Hawai‘i Island. Most of the island’s forests were logged off and regrown in the 19th or 20th centuries, so the trees there are relatively young. The forest along the path, however, is so ancient that some giant ‘ōhi‘a grow amidst a network of arboreal flying buttresses: their main trunks begin five feet off the ground because as saplings, they grew atop the fallen trunks of other giants that have since rotted away, and the current giants now have other trees growing from their branches. The sculpture garden and the forest path complement each other. Everything in the garden is inspired by nature; even the placement of rocks is deliberately planned to look random and natural. Just beyond the gate of the garden lives

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the inspiration itself, and they interact: seeds and spores and even wildlife from the forest are starting to shape the garden, adding their own elements to the human design. A volunteer koa sapling sprouts along the garden path. A native moth flits on mottled grey-and-brown wings out of the forest; moving, it’s strikingly visible, but when it settles on the bark of a young ‘ōhi‘a, its wing markings become camouflage, causing it to disappear. Small shiny black skinks, the color of pahoehoe (smooth lava), sun themselves on those carefully placed stones. Nature fosters art, and art fosters nature. Like nature, the garden will continue to grow. The Hawai‘i State Foundation on Culture will be loaning Volcano Art Center three sculptures from the Foundation’s Julie Williams collection. The current exhibition photo courtesy of Rick Halford will continue until September; the one that follows will open in March 2019 and will be even more ambitious. Called “Interplay: Art/Science,” and curated by University of Hawai‘i at Hilo Art Department Chair Michael Marshall, the new show will be open to artists across the state. According to Elizabeth, the new show will feature art that “takes something in nature or a scientific or mathematical principle and expresses it as an art form.” Artists interested in participating can contact Volcano Art Center or submit their sculpture ideas at callforentry.org. ■ Ethan Froney's Kulia ka Nu'u. photo by Alan McNarie

For more information: volcanoartcenter.org

KeOlaMagazine.com | July-August 2018

On April 30, 2018 the lava lake inside Pu‘u ‘Ō‘ō crater drained into the lower east rift zone followed by the lava lake at Halema‘um‘u Crater of Kīlauea Volcano and started its flow toward the sea. As we go to print for this issue, fissures 1–24 have released an unimaginable amount of lava into the communities on the lower east rift zone. The people, flora, and fauna that inhabit this area are changed forever. On this page are a few pictures and the heartfelt words by the photographers that describe their encounter with Pele.

2018 Lava 5.24.2018 - "My heart is sad to see the devastation in Leilani Estates. A big hug to everyone impacted by the new eruption on Kïlauea Volcano. So sorry for your many losses. I feel like crying. I am crying...I just felt two big earthquakes in the Volcano Golf Course, after leaving Leilani. It’s going on folks...it’s real. Just saw this scene an hour ago in Leilani. Be safe. Have hope. Keep the faith. Help each other. Live aloha!" photo and commentary courtesy of G. Brad Lewis

KeOlaMagazine.com | July-August 2018

5.29.2018 - "End of a road in Leilani Estates. So much change going on. One thing about this eruption that I am noticing more than I have ever seen is the amount of methane gas burning in abundance in front of advancing lava flows. Very few explosions for the amount of gas. In this scene, I capture Carsten Peter checking out the glowing cracks in the road." photo and commentary courtesy of G. Brad Lewis

5.24.2018 - "There are shared sentiments that we will meet our creator when we lay this life down to rest one day. Today was special, I feel like we got to say “hello” today. It really surprised me. It was very humbling to watch a 40ft-fountaining cone create new earth where Kahukai St. and Leilani Ave. used to intersect." photo and prose courtesy of Andrew Richard Hara

Flow Tribute 6.5.2018 - "Shared a moment with this wild duck as Kapoho Kai slowly disappeared. Throughout this eruption I have been amazed at the connection with various animals and how they seem to let their guard down and allow me to get very close as if they know this is the last time they will stand on that ground. This duck looked deep into my eye with a look of sorrow. He was free to roam but was staying as close as possible and only moving slowly as the lava advanced. I could tell he was longing to be home and slowly evacuating, unwantingly, but forcefully as Pele slowly had her way. We will all feel the loss in our hearts for ever, and like this duck, I regretfully pulled back knowing that as I turned my back it would be the last timeâ&#x20AC;&#x201D;a reminder NOTHING is permanent. Nothing. A reminder to seize the day every single moment. It almost hurts me to think that I may have taken this place for granted, this life, this family, this view that I see through my eyes. One thing I have learned from this is to celebrate all the things in your life every day even the simplest thing. It could all be gone tomorrow. Please make sure that everything you do, everybody you see and everything you touch, you do so with a positive intention as you never know if it will be your last and final moment. Make it a special one to remember, because sometimes all we will ever be left with are our memories...make them good ones. Live every moment as if it were your last!" photo and prose courtesy of Demian Barrios Note: The duck flew into a nearby bush after this photo was taken and was later seen alive. The lava moves very slowly giving able bodied animals such as this more than enough time to get out of harms way.

5.27.2018 - "She sways in the wind alone under a threatening sky. Her roots run deep yet her thirst is not quenched for the ground is hot. All things assured but her future is not. Her comrades taken. Her children abandoned. Her home disintegrating around her. Nowhere to go, but to stand the test of time. In the distance, the moon illuminates the sky with a color of the opposite spectrum: A deep blue of hope. Let there be rain she thinks to herself, but rain cannot bring her drought to an end. A change of era is upon her. She stands. Waiting. Listening. Feeling alone. Trapped and captured yet longing for a space to descend...a new beginning will come from this end. As the fissure erupts behind her, seeming small, it is not. 150 foot fountain of lava and the rampart around it continually rising to kiss the sky. Crucial harsh reality, clashing duality. The who, the what, the when, the why, is irrelevant. The only pertinence, is presence. And here she is. This lone palm, future unknown, a story untold. Ashes smoke and no mirrors. Final moments of self reflection arise...we rise and we fall...let inner core values and dignity lead the way, for truth in self is loss of doubt...stand strong for long...like a palm in the wind." photo and prose courtesy of Demian Barrios

commentary courtesy of Andrew Richadrd Hara

KeOlaMagazine.com | July-August 2018

5.22.2018 - "A string of fissures from Fissure 15 and 19 open up on the southeastern side of PGV, burning a State of HawaiĂżi warehouse next to Pohoiki Road. Slow moving pahoehoe begins to approach PGV land at a crawl." photo and

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Aunty Doreen Henderson Fascination with Feathers

85 years of perpetuating an elegant, native Hawaiian craft By Karen Valentine

ith the confidence of a master craftsman

who is still working and teaching at age 92, Master Kumu Doreen Henderson’s eagle eye marks each student’s feather work and doesn’t let them get away with anything but perfection. Her students, who have been gathering at the Kea‘au Community Center every Wednesday morning for decades, agree. Even though they may be asked to take a project apart and start over, it’s obvious they respect Aunty Doreen as one of

KeOlaMagazine.com | July-August 2018

the leading experts and kumu (teacher) in the art of making Hawaiian feather lei or lei hulu, as well as other feathered objects such as kāhili. Her students are happy to work hard and do everything they can to help her with class logistics. “If I get after them and it turns out well, they’ll do it the same way again,” she remarks. “And if they become a teacher, they will do it the way I do; it’s a reflection on me. A lot of them make lei and it really floors me. Good thing I’m not competing!” “She is a perfectionist,” chimes in one student at the Wednesday class, smiling. “Aunty has the patience of a saint,” says another as each student painstakingly picks up tiny feathers and places them gingerly on a project in process. There are 13 levels of specific items, each subsequently more difficult, that a student must complete in order to graduate from Lei Hulu o Hilo, which Doreen Henderson founded. They start with a feather flower and a kāhili (feather standard, a symbol of royalty) before they tackle their first lei wili poepoe (feather tips lay against the cording and appear round when finished) and lei kāmoe (feathers are tied so they lay flat around the cording and the completed lei resembles a velvet rope) to adorn hats. Dense rows of tiny feathers are overlapped and sewn onto a felt backing, creating an exquisite flat or round lei that is smooth and soft to the touch, like the bird itself. Her class is casual as students walk in and out on their own schedules. It is a mix of first timers and veterans, men and women. The veterans help the newbies. “I have a wide range of students. I start something and they carry on, jump in and help. I try to inspire, encourage, and push students,” she says. “Sometimes I find lots of little errors in a student’s work. I want them to do it over until it’s corrected. If they say, ‘I’ll just leave it like that,’ I tell them, ‘No, it won’t look nice.’ You want to make the person feel good about their project. I want people to look at it and feel the movement of the design, not stop. You can actually read the lei, like the news.” Due to her teaching career, her artistic excellence and heritage, Aunty Doreen has been selected numerous times to represent the native Hawaiian craft of creating garments and adornments with bird feathers— ka hana no‘eau i ka hulu—for exhibitions. It is a treasured native Hawaiian craft that has immense historical 73 significance

Master lei hulu kumu, Doreen Henderson

most famous kumu of modern times—and Kekuewa’s student, the late Mary Kahihilani Kovich, both of Honolulu. Before her passing in 2008, Aunty Mary Lou would attend the Hilo hālauʻs graduation ceremonies. Although Aunty Doreen, as well as her teachers and those who succeed them, are passing on the craft of Hawaiian feather work to many, it was traditionally considered “a semisacred privilege of a select few,” according to cultural historian and author Mary Kawena Pukui. Women of rank would often make their own lei hulu, hair combs and other more elaborate feather work to decorate formal gowns. Honolulu’s Bishop Museum has precious royal feather artifacts such as Princess Thane Pratt meticulously sorts tiny peacock feathers.

During class, Ricia Shema and D'Arcie Beytebiere admire a lei hulu hat band. and therefore places the burden of responsibility on those teachers who aim to perpetuate it and feel that it should not be treated as a casual hobby. The lineage of kumu hulu may be compared to the lineage of kumu hula, where knowledge is passed down from one generation to the next. Aunty Doreen has a genealogy that includes her cousin, the late Aunty Mary Lou Kekuewa—the

KeOlaMagazine.com | July-August 2018

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KeOlaMagazine.com | July-August 2018

“I made my first lei hulu at age 17. I tried learning on my own, until I met Mary Lou Kekuewa in Kapahulu. One of her students, Mary Kovich, became my teacher.” Hawaiian cultural practices are as intertwined as a feather lei. Mary Kovich was a kumu hula in Kaimukī, where Doreen started dancing hula after graduation from Roosevelt High School. “We used feathers for dancing. Our hula class entertained at Hawai‘i Theater and the Princess Theater. We all had to make our own feather lei, either around the neck or maile style. We would make a ribbon lei with feather rosebuds every inch and it twirled around the maile. I had a special technique for holding a [feather hibiscus] flower open. When I did it, Aunty Mary said, ‘Who taught you Aunty Doreen shows her own hat band, made with feather flowers and curled feathers, to Teri Vollero and Liane Garrett in the that?’” foreground. As in hula, feather work can be Ruth Ke‘elikōlani’s personal feather kit. There were other learned just by watching the kumu and others. items, especially kāhili, ‘ahu‘ula (feather capes), and helmets, “I made feather work at home. I was really into feathers, which carried such sanctity that only certain people, usually looking for sparrows or whatever bird I could get ahold of, male, could be instructed in their construction. Examples of because I didn’t know where to buy them. I picked it up by these are also in the Bishop Museum collection, including King watching the older girls sewing their feathers. I made mistakes Kamehameha I’s feather cloak, made entirely of some 80,000 and corrected myself. I wanted to make feather lei for the yellow feathers of the now-extinct mamo bird (black Hawaiian other girls to dance with. I had to make my own patterns. I honey creeper). Other native and non-native bird feathers found it hard. I couldn’t draw, but after I started feather work, were also used, but none of these are available today. I could see things like mountains and trees in the feather Today’s craft uses materials easily available and which can arrangements.” be ordered, such as dyed goose or chicken feathers, peacock Perhaps the greatest honor and compliment Aunty Doreen and pheasant feathers. received was being asked to do all the feather work trim on Feather work has been in Aunty Doreen’s consciousness a selection of royal gowns recreated from historical records since age seven, adding up to 85 years of fascination with for ‘Iolani Palace. When Queen Kapi‘olani and her sister-infeathers. As a child visiting her aunt and uncle’s house, she law, then Princess Lili‘uokalani, attended Queen Victoria’s watched her uncle practice his craft of feather lei. “I knew from Golden Jubilee in 1887, they wore colorful and elaborate the time I was little what I wanted to do. I would watch him sew his feathers and he would give the lei to his friends.” Yvonne Bento sorts feathers before beginning construction of a lei hulu. The feathers can be tiny and delicate, and her uncle had big hands, she says. “He had a hard time picking up feathers. He let me help him because my hands were small. Every time my two sisters and I went there we had to climb into the chicken coop. He also had canaries. We worked hard picking up canary feathers and made it a contest; we also got to measure the feathers.” That’s also where Doreen started to learn hula at age three, because her aunty had a piano. Hula would lead her to fulfilling her desire to make feather lei. Aunty Doreen Henderson was born in Hilo in 1925 when her family property sat where the Grand Naniloa Hotel sits today. Her grandparents occupied the first house on Reed’s Bay and they lived in the caretaker’s cottage at the point. Her father, Leonard Rose, was a fisherman and her mother was with him in a boat when she went into labor. He had to finish catching a fish before he would take her to shore, she says. When World War II broke out, the family moved to O‘ahu, where Doreen and her sisters finished school. Later she moved 75 back to Hilo as an adult. Her ancestry is part Hawaiian.

gowns covered with feathers, perfectly in step with the Victorian tradition of the day as well as paying tribute to the Hawaiian tradition of reserving these special feather adornments for royalty. The Friends of Lei Hulu o Hilo display of graduation cape, graduation lei and ‘Iolani Palace commissioned three of the 13 lei styles required to graduate. historical-dress designer Iris Viacrusis of Hilo to recreate four of their outfits worn for state occasions—known only from vintage photos—in a yearlong project completed in 2017. [See Ke Ola, March/April 2018 issue] Iris had met Aunty Doreen several years before when she was teaching her annual workshop at the Lyman Museum. He offered to design her dress to appear at the 50th anniversary of the Merrie Monarch Festival, where she was being honored as Queen from the very first Merrie Monarch Royal Court. He was impressed by the peacock feather collar she made in remembrance of Queen Kapi‘olani’s famous Peacock Gown, the replica of which she decorated for Iris three years later. “I am glad to teach a teacher,” says Aunty Doreen, “because it expands the craft. I have students in Los Angeles, San Francisco, here, and on O‘ahu.” Many have also started teaching. She is still making her own projects at age 92, including a royal helmet that’s in progress. She makes elaborate, feathercovered hats, pictures and even feather-covered stuffed animals. “I have to keep making lei because I keep giving them away. I’m fortunate; my eyes are still sharp. I wish I could live to 125, because there’s so much more I can learn, so much more I can do.” ■

KeOlaMagazine.com | July-August 2018

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For more information: Doreen Henderson, Lei Hulu o Hilo, 808.982.5571 Photos by Karen Valentine Peacock feather lei similar to those worn by Hawaiian royalty. This one adorned the dress Aunty Doreen wore at the 50th Anniversary of Merrie Monarch Festival, as she was honored for being the very first Queen of the Royal Court at the hula festival.

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Ahupua'a: Living Aloha By Jan Wizinowich

Beyond canoe plants and animals, the first

voyagers to these shores brought the spirit of ahupuaʽa, a sense that they were of the land. On the most basic physical level, the ahupuaʽa is a dedicated land division that ensured a sustainable livelihood for the inhabitants; however, it is also an enduring testament to the canoe culture that propelled the first Polynesians to these shores. Successful voyagers had a keen understanding and a spiritual connection to the natural forces that ruled their world, honed through generations of careful observation and a community of people bound together in a single purpose. Navigating the Land To be of the land, you must know that land. Upon their arrival, the voyagers began observing and noting all the natural phenomena surrounding them. This became their new

mō‘ī. The right to use it depended entirely upon the use of it.” (Handy, p.63) Keen observation led to connections between phenomena happening in different regions of the ahupuaʽa. “When they saw something happen in the mountains in their own ahupua‘a, they related it to what was happening in the ocean. Thatʻs how we have these great sayings like ‘When the wiliwili blooms the shark bites’ or ‘When the sugarcane tassles, the time is right to gather the octopus’. The ahupua‘a really made the foundation for culture and traditions,” explained Waimea cultural practitioner, Micah Kamohoali‘i. The ʽOhana Community The ahupuaʽa within the districts of Kona, Kohala, Hāmākua, Hilo, Puna and Kaʽū, were generally, yet not always, sections of land that ran from mountain to sea, divided into kai (sea), Evidence of a once thriving fishing village at Kaloko. photo by Jan Wizinowich

KeOlaMagazine.com | July-August 2018

culture. “The natural cycles within the ahupua‘a were also the foundation of the Hawaiian family, social, political, and religious structure, and it can be said that the Hawaiian culture itself is rooted in the land.” (Maly, p. 7) On the ocean, the voyagers navigated by the celestial realm. They were aware of wind, clouds, and rain cycles along with the natural world of sea life and bird life. On land, the navigators noted the moon phases, tides, and currents in relationship to planting and fishing cycles. The Polynesians started along the shoreline of this verdant island, eventually moving inland up streams to discover and develop mauka (mountain side) resources. Some plants they recognized, others were new, but soon ways were found to make use of them. Canoes for return voyages were

constructed from koa logs harvested from upcountry groves, hollowed out using adze from mountain top quarries and lashed together using olonā, a fiber only found on Hawaiʽi Island. As the population grew, cultivated land extended mauka, creating long sections of land, later termed ahupuaʽa. “The ahupua‘a within which the native Hawaiians lived represented land divisions that were complete ecological and economic production systems. The boundaries of the ahupua‘a were generally defined by cycles and patterns of natural resources that extended from the mountainous zone, or peaks, to the ocean fisheries.” (Maly, p. 7) Water, a primary resource and considered sacred, was found in abundance in streams and springs. The early settlers discovered ways to channel and share this resource within the ahupuaʽa by creating ʽauwai or irrigation ditches and aqueducts that made irrigation possible for numerous loʽi (irrigated terraces). “Water, then, like sunlight, as a source of life to land and man, was the possession of no man, even the ali‘i nui or

kula (fields/plains), and uka (upland/mountain) sections, each contributing to sustain the residents within. While technically considered a tax district, in origin and spirit it was a connected community of people, a weaving of ʽohana (family) groupings who cultivated the resources of their particular ʽili (land section). Handy describes the relationships within the ahupuaʽa as “neighborly interdependence,” where goods and services were shared. “Between households within the ‘ohana there was constant sharing and exchange of foods and of utilitarian articles and also of services, not in barter but as voluntary

Anchialine ponds, such as this one at Kohanaiki, provided much food.

KeOlaMagazine.com | July-August 2018

photo courtesy of Nahaku Kalei

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(though decidedly obligatory) giving.” (Pukui p.5–6) Within this system, ʽohana living inland who could supply taro, bananas, wauke (bark for tapa), olonā for fiber and lashing, gifted supplies to the coastal area ʽohana and in return received fish, gourds, coconuts, and other resources. “My dad’s family is from Kona and they all lived in the ahupuaʽa system. My dad’s grandma was born in 1908 and she would tell us that the families that lived up in the mountains would bring all their birds, berries and all the things they gathered in the mountains down to the middle of the ahupua‘a and the ones on the bottom brought their fish and they traded things over and over. So she said that the families on the mountain always had fish for dinner,” said Micah. Just as with a successful canoe voyage, the success of the ahupuaʽa depended on each person fulfilling their kuleana or responsibility. The system of “sharing between chief and tenant was comprehensive and reciprocal in benefits. It also assured subsistence shares in food, fish, firewood, house timbers, thatch, and the like, to the lesser landholder—the planter.” (Handy, p. 48) In later settlement years, this also meant producing enough food and other supplies to fulfill the tax levied by the aliʽi ai ahupuaʽa (chief who eats the ahupuaʽa). This was determined by the konohiki, who was a kind of an overseer appointed by the aliʽi and usually an extended family member. The success of the early settlement system and the later designated ahupuaʽa was based on faith. Faith that everyone would take care of their kuleana, faith that the aliʽi would be fair and provide for the well-being of the ʽohana and most importantly, faith in the unseen forces that could determine feast or famine.

An anchialine pond protected by rock wall structure at Kaloko. photo by Jan Wizinowich

Spirit and the Land The Polynesians brought a spiritual practice firmly planted in the land and connected to the natural world. They maintained that connection through chant and practices which honored the gods and ‘aumakua (family or personal gods) who

represented various aspects of the natural world. “Indeed, the spiritual beliefs, cultural practices, and cultural landscape of the Hawaiian people, were intricately bound to the natural landscape of the islands.” (Maly, p. 5) The Hawaiians saw that. “The ocean, the underworld of volcanism, the terrain, and the heavens all harboured and brought forth elemental Persons embodying natural forces or phenomena and generic forms of life.” (Pukui, p. 27) Early spiritual practices were based “upon simpler local clan and tribal subsistence economics having their roots in planting rituals and worship carried on by individuals and families of Kane and Lono as progenitors and waterers, respectively, of taro and sweet potato.” (Handy p. 351) Later the aliʽi were the recipient of hoʽokupu (gifts), which literally means to cause to grow, in the belief “that the high chief was the scion and living embodiment of the akua upon whom fertility depended, this contribution or levy actually was a ceremonial gift (mohai) of the fruits of land and labor to the deities who were believed to be the source of nature’s productivity.” (Handy, p.351) The boundary markings of the ahupuaʽa (ahu–altar; puaʽa–pig), where offerings were made during the Makahiki season, were a tribute to Lono, whose main form was closely connected to agriculture, often in the form of dark thunderous clouds that bring the necessary winter rains. The major gods of Hawaiʽi Island were Kāne, Kū, Kanaloa, Lono and Pele, however the primary god of worship depended on family lineage. Ahu (altar) and heiau (place of worship) can be found in any region of the ahupuaʽa to honor an event that happened there, a special feature or a unique resource. “There was one ahupuaʽa in Kona that had a spring and all the other ahupua‘a around it were dry so they built an ahu there to honor the god Kāne because it was Kāne who came

Working the loÿi in Waipiÿo Valley. Water-rich valleys were utilized to grow kalo. photo courtesy of Mahina Patterson

KeOlaMagazine.com | July-August 2018

Loÿi for growing crops were created in valley areas of the ahupuaÿa. photo courtesy of Mahina Patterson

and plunged his ‘ō‘ō (digging stick) in and started this spring,” said Micah. Harvest was an especially important time for tribute. “It was a time to put an offering on the ahu to thank their ancestors, ancestral guardians, their gods and ‘aumakua for providing their life and providing the miraculous things that were happening in their ahupua‘a,” said Micah. There was a constant awareness of the need to acknowledge the gifts of the greater powers that made their lives possible. “They were in tune with everything around them and with everything they did; they honored their ancestors and their ‘aumakua. If they had a big harvest, it was because the ‘aumakua took care of them,” said Micah. Although since the Great Mahele (land division) in 1848, the old system of land use has suffered; the spirit of ahupuaʽa lives on in the many hearts whose efforts today are contributing to our sustainable island. ■

KeOlaMagazine.com | July-August 2018

Sources cited: Native Planter in Old Hawaii: Their Life, Lore, and Environment. Handy, E.S. Craighill and Elizabeth Green. Mauna Kea – Kuahiwi Ku Ha‘o I Ka Mālie. Maly, Kepā. The Polynesian Family System in Ka‘u, Hawai‘i. Pukui, Mary Kawena.

Kaÿüpülehu ahupuaÿa from the mountains to the sea. photo by Jan Wizinowich

Downloading from Heaven By Ma‘ata Tukuafu

hen Kuha‘o Makana Kawaauhau Case weeks old, I suffered from an intestinal infection and plays music on the piano or organ, he can feel how his had to go into surgery,” Kuha‘o, now 21, explains. melodies affect the people listening. Kuha‘o “When they did the operation, they gave me 100% is a self-taught musician who oxygen and didn’t think I was going to survive. But I found his talent at beat the odds with the help of my Heavenly Father the age of nine and Jesus Christ.” when he began He survived, although he became blind as playing around on a result, and he was given the name Kuha‘o a keyboard with his (extraordinary/one who stands alone) Makana friends at Waimea (gift). His grandmother Iwalani Case says the Elementary School. name is very fitting and that Kuha‘o truly is an “When I was at extraordinary gift. Waimea, the favorite Iwalani says Kuha‘o had the capacity to learn students I surrounded very quickly, even at the age of three and four myself with played years old, and has almost a photographic keyboard,” says Kuha‘o. memory. His mother taught him at home, He began and he knew all the state names by the time experimenting with the he started school at the age of five. There different settings on the were no available teachers for the blind, so keyboard: drums, flute, as a family, his mother and grandmother , n a g in Lo recorded violins, and would play had to advocate for him, working with the d n a d e duc Case pro songs as if he was in an Department of Education to get assistance ÿo a h u K m by first albu f Iwalani Case orchestra. Eventually, by from any programs that existed , m a e r D Dare to . photo courtesy o the age of 12, he could play for the vision impaired. h 2012 ta U any song after hearing it only “He started in Special once. Ed classes, but was Kuha‘o is blind, and his extraordinary talent for listening there for only a short and hearing makes up for what he lacks in visual sight. His time,” Iwalani says. ability to translate this talent through his hands and onto the “They [the school keyboard is “God-given,” as Kuha‘o says. administrators] Born on July 27, 1996 to Pumehana Kawaauhau-Case and streamlined him Donovan “Kekai” Case, Kuha‘o was two months premature and he was in and weighed only two pounds, two ounces. The medical staff classes with the did not expect him to live, and he was transferred from North other students Hawai‘i Community Hospital to Kapi‘olani Medical Center on right through O‘ahu. Before he was flown over to Kapi‘olani, rather than his entire school travel with the name “Baby Case,” his father named him education. Because Makana Case, a name Donovan had heard before, there were no teacher’s but didn’t know its meaning. aides available for him, “From what I know, I had his mother went to to be placed in an school every single incubator. When day with him for I was two about three to four years.” Iwalani adds that Pumehana took

Kuhaÿo plays at Kent Concert Hall, Utah State University, Logan, Utah 2012. photo courtesy of Iwalani Case

Kuhaÿo playing music on the LDS organ in Waimea. photo by Maÿata Tukuafu

the initiative to learn to read Braille, borrowing books from the library so she could teach her son how to read and write. “This is no easy feat for a seeing person,” Iwalani says. “Kuha‘o reads Braille easily now, thanks to his mother.” In the fourth grade, Kuha‘o was assigned a teacher who could teach vision-impaired students. This teacher saw him through elementary, intermediate, and then high school. In intermediate school, blind children from other schools in Hilo and Kona would get together for activities. Others began to notice Kuha‘o’s musical talent, and he enjoyed teaching other kids. Kuha‘o was able to incorporate his talents with the school, playing music while the kids danced or sang in May Day celebrations, or while the students marched at graduations. In 2010, at the age of 14, Kuha‘o flew to Honolulu to perform at Hawaii Stars, a locally-produced talent show for TV. That same year, he was grand marshal in the annual Waimea Christmas parade, a memory that makes Kuha‘o smile. “I had a keyboard in front of me while sitting on the float, and I played music for everyone,” Kuha‘o says. “All the trucks were honking; it was a good time.” A dream came true for Kuha‘o when he was invited to give a TEDx Talk in New York City in 2013. He likes to address audiences, especially young people, and share his motto that anything is possible. His TEDx Talk “Seeing No Limits” is available on YouTube, where Kuha‘o is prepared, well-spoken, and makes his point with finesse and humor. “Each of us…has untapped potential. A lot of people see limitations on the road to success. I can often do more and be more than others may think. It can be that way for all of us,

KeOlaMagazine.com | July-August 2018

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Kuhaÿo playing at the Kent Concert Hall, Utah State University, Logan, Utah 2012. photo courtesy of Iwalani Case keyboards. He has learned the stops (registers for the pipes) and plays the pedal board with his feet, all at the same time. Kuha‘o says when playing prelude music before the church service starts, he connects to heaven and brings notes down to earth. Iwalani adds that when Kuha‘o was practicing the organ, people would hear him from the Waimea Community Park, follow the music, come sit in the pews, and listen to his compositions. It was in 2012, at the age of 15, when another of Kuha‘o’s dreams came true. He had the opportunity to play the huge pipe organ at the Mormon Tabernacle in Salt Lake City. Before leaving, he’d been given a CD of all the pieces played by the principal tabernacle organist. By the time Kuha‘o sat down at the famous pipe organ, he was able to find his way around the multiple sets of keys. “I also got to play on the LDS conference center organ and meet the members of the Mormon Tabernacle Choir,” Kuha‘o says. “I’m so grateful to have had this experience. There is a lot to learn on a pipe organ, and I like to know what the stops are, which registers to pitch. I’ve now played the tabernacle organ twice, and it is very special, but I have to be humble about it.” Kuha‘o has a special mentor: his manager, Andy Thunell, who has been instrumental in sending opportunities his way. Andy helped create a Kickstarter fundraising campaign for

KeOlaMagazine.com | July-August 2018

regardless of our circumstances. Dare to see no limits,” Kuha‘o says in his speech. Iwalani says they were impressed when Kuha‘o was asked to give a second TEDx Talk at a doctorsʻ convention on Maui in 2016. She says she wondered what her 19-year-old grandson could possibly teach or say to such accomplished and professional people. After a successful presentation, Kuha‘o was rewarded with a standing ovation. “He came to the consensus that in their profession, medically the doctors heal bodies with their hands. Kuha‘o heals people spiritually with his hands by sharing and playing his music,” says Iwalani. Kuha‘o is very spiritual and believes that his talent is Godgiven. In 2009 at the age of 12, he became a member of the Church of Jesus Christ of Latter Day Saints (LDS). Kuha‘o remembers the first hymn he heard, called “How Firm a Foundation,” and after church that day, began playing it on his grandmother’s piano. “I call my grandmother Ama, and she was cooking lunch. I was sitting at her piano playing the song I’d heard, and when she entered the room, all she could do was weep,” Kuha‘o says with tears in his eyes. In addition to the piano, Kuha‘o taught himself to play the organ. He has been able to practice on the organ at the Waimea LDS chapel, and knows how to play both sets of

Kuhaÿo playing at "Wonders Without Limits", a benefit show at Hilo's Palace Theater, March 10, 2018. photo courtesy of Iwalani Case

KeOlaMagazine.com | July-August 2018

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Kuha‘o to begin recording his first album in 2013, Dare to Dream (available on cdbaby.com). Andy uploaded songs requested by Kuha‘o’s Kickstarter supporters and backers of the album to YouTube, to share his music with other listeners. Kuha‘o also names the late Barbara Townsend as someone who has sponsored and supported his trips to the mainland and assisted him with different opportunities over the years. “With the funds from Kickstarter I was able to get an 88-key Yamaha Clavinova keyboard,” Kuha‘o says. “Then we decided to do another Kickstarter for my second CD Seeing No Limits, but it wasn’t successful.” He was only 15 when Dr. Craig Jessup, a former conductor for the Mormon Tabernacle Choir heard him play while he was in Utah. Dr. Jessup told Kuha‘o that he had something very special for him: he would provide the gift of a full music scholarship if Kuha’o returned home and completed his schooling. Then, when he felt ready, he could return to the University of Utah on the music scholarship. Kuha‘o completed school in 2017, and is now focusing on how to create a means to support himself: he wants to be a motivational speaker. “The advice I’d like to offer is this: anyone who has a talent for playing music, playing sports, cooking, or whatever flows into the hearts of those who want to learn, take it even further and share with people all over the world. Anything is possible. Remember this: you can not and do not, ask ‘Why?’ Block out all the images telling you that it isn’t possible or that you can’t do it,” Kuha‘o says. “Dare to see no limits. Ask yourself, ‘Why not?’ and if there is anything you want to do in your life, I say, follow your dreams.” ■ For more information: iwalanicase@gmail.com

July–Aug ust

unity Magazine

2018

Comm Hawai‘i Island’s

The Life |

st July – Augu ke Iulai – ÿAuka

2018

Iulai–`A ukake 2018 KeOlaMa gazine.c om

Marcia : The Work of Larger than Life Aloha ing ARTS Ahupua‘a: Liv rs we Gro CULTURE Tropical Fruit ITY Hawaii SUSTAINABIL

Ray

Featured Cover Artist: Alice Hughes soothing) songs of Hawai‘i,” shares Alice, who also performs with a trio every other Saturday at a local resort lobby. “We are called Na Leo Nahenahe O Waikoloa and sing the beautiful mele (songs) of Hawai‘i. The words and images of these songs are an inspiration for my art…music and art seem to go hand in hand for me. They both seem to bring out some of the best in humanity,” says Alice. She continues, “I have been blessed with a career in real estate and the ownership of a real estate brokerage, a several generation family here in Hawai‘i, a supportive spouse, Ken, a group of great friends who love to swim, hike, enjoy Hawai‘i, and have a love of music. I am very grateful for Hawai‘i and the one of a kind, world renowned place that it is.” For more information: aliceinhawaii@gmail.com 808.989.1905

Table Of Contents Photographer:

Fern Gavelek

Fern Gavelek is a veteran journalist and public relations professional who says she “takes photos to illustrate stories and events.” The Hōlualoa resident moved to Hawai‘i in 1988 and started covering topics for Ke Ola Magazine with the first issue in December 2008. Regarding her photo, Chef Trask’s Fruit Plate, Fern says, “I was on assignment writing about and photographing culinary options at the former Outrigger Keauhou Beach Hotel in 2008. I asked Executive Chef William Kaluakini Trask to prepare a plate of fruit that guests could enjoy from the breakfast buffet. We took the plate outside and I shot this photo on the hotel grounds.” The late Chef William was a wizard as the culinary Art of Garde Manger and his buffets were colorful and full of Hawai‘i’s bounty. An advocate for fostering farmer-chef relationships, he often hung a huge bunch of bananas right on the buffet to the delight of patrons. For more information: ferng@hawaii.rr.com

KeOlaMagazine.com | July-August 2018

Alice first came to Hawai‘i in 1972 on an around-the-world trip. “It was a lot different in some ways, but is still the same in others. I was embraced by this island in many ways and made it my home,” says Alice. Alice knew she was an artist as a small child. “I always had interest in all the arts including music. I would spend my time with crayons and chalk on coloring books and even hidden away back bedroom walls that I thought needed an image,” recalls Alice. She has spent years drawing and learning how to create images and often carries a small sketch book with her to capture subjects of interest. She started to paint professionally in the mid-1990s. Alice had several shows including a large one-person show at Pu‘u Opelu, the home of the late Richard Smart, now the Parker Ranch headquarters. Alice shares, “This was a very successful show, and many [of my] paintings were purchased. I also won a best in show at a local art exhibit.” Alice has been influenced by some of her teachers such as Timothy J. Clark and Darrel Hill. She has also admired the work of Windlow Homer. “The beauty of Hawai‘i has been my greatest inspiration. I enjoy the plants and beautiful sea and landscapes, the flowers and fruits and the amazing culture,” says the Waikoloa resident. One of Alice’s passions is to paint on location or from life. “There is something so alive and authentic about seeing your subject in its original state. The colors are so vivid and somehow I am able to see the essence of the subject more easily,” says Alice. She enjoys seascapes, landscapes and all the wonders of Hawai‘i. As an artist, Alice creates from her imagination as well, using a compilation of images put together for a pleasing composition of subjects that are reflected in her paintings. She has made a variety of prints and Christmas cards from her work. Water colors are another favorite for Alice, having painted with them for many years. Alice paints on a half-sheet of Arche water color paper and uses Winsor Newton paints. “This combination if handled with care will make the watercolor paintings last many years,” says Alice. With a fond love of music, Alice’s ‘ukulele is always in her studio. “I love to sing and play the lovely nahenahe (sweet and

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 89.

KeOlaMagazine.com | July-August 2018

Your feedback is always welcome. HIeditor@keolamagazine.com

Across

Down

1 Director of the Trust for Public Land, Ed ____ 4 Tropical ____ Nursery, promoting sustainability for Hawai‘i 8 Longstanding 9 Paddle 10 Hawaiian word for the mauka to makai land section 12 Much-loved tree in Hawai‘i 14 Wildlife 16 Hawaiian word for toward the mountain 20 Chapter of history 21 Very long time periods 22 Blind Hawaiian musician with an amazing ability, Kuha‘o Makana Kawaauhua ____ 26 Equipment 27 Hawaiian word for a black insect, earwig 29 Marcia Ray’s style of paintings 30 Compact yellow, low fiber fresh variety of pineapple 33 Supervision of natural resources and public lands to preserve and protect them 38 Basked on the beach 39 Hawaiian word meaning the glorious and honorable expression of human dignity

1 It’s the season of summertime in Hawai‘i 2 British title 3 Singer of “Coconut Girl” Brother _____ 4 Dutch cheese 5 Underground oven in Hawai‘i 6 Hawaiian word for leaf 7 Mariner 11 Juicy fruit 12 Hawaiian word for a large triton conch or helmet shell 13 Hawaiian word for sun 15 Heritage center in Waimea where cattle were raised, 2 words 16 Keep an appointment with 17 Hawaiian word for rain 18 Lean dried meat 19 Large tree 23 Drink daintily 24 Without exception 25 The color of Hawaiian waters 28 Hawaiian word meaning careful with one’s property 31 Iz was a Hawaiian ___ (much loved) 32 Wow 34 Brazilian city, familiarly 35 ___ general rule, 2 words 36 Hawaiian word meaning sinful 37 Fishing equipment

WikiFRESH, LLC in a business that serves real food, supports island farmers, provides employment opportunities to our island people, and gives back to our community generously.” About her business partner, Jan says, “Peter is my friend; he’s like a brother to me. He believed in the WikiFRESH dream and encouraged me to come back to Hilo and start the business and was willing to invest in it. Interestingly, everyone I told about ‘the dream’ thought it was a good idea from the start.”

WikiFRESH is located on the corner of Kilauea & Kekuanaoa in central Hilo. It is open 7 days a week: Monday–Saturday from 10:30am–8pm, and Sundays from 10:30–7pm. They accept orders online or in the restaurant for meals to-go or dine-in. If you haven’t yet, go have a meal, you’ll be glad you did! Mention Ke Ola Magazine sent you and you will get a free glass of their delicious freshly-made infused water. WikiFRESH, LLC 1177 Kilauea Avenue, Hilo, HI 96720 jan@gowikifresh.com Order online: gowikifresh.com 808.930.9456 KeOlaMagazine.com | July-August 2018

Twenty-two years ago Jan DeLuz had a dream. In her dream, she clearly saw an okazu style (cooking side dishes to pair with rice or noodles) restaurant where the food was prepared using marinades, slow cooking, and the freshest ingredients. Guests would choose what they want and could dine-in or take it to go. The food preparation process would go quickly. This dream stuck with Jan until it finally became a reality, when she partnered with Peter Kubota, a Hilo attorney. WikiFRESH started with a food truck in August, 2015 and the Hilo restaurant opened in April, 2016. WikiFRESH is considered “fast-casual” in restaurant lingo; however it is by no means typical fast food. ‘Wikiʻ means fast in Hawaiian, and when added with FRESH, it is WikiFRESH, a very easy name to remember. WikiFRESH is a 100% scratch kitchen with all marinades, preparation, cooking, made in-house. All foods are prepared raw, grilled, steamed, or baked, with the exception of the tortillas chips, which are freshly fried. Jan is proud that all the produce served at WikiFRESH is sourced from Hawai‘i Island first. If she canʻt source it on Hawai‘i island, she buys from neighbor island farms whenever possible. Grass-fed beef is from Big Island Beef Producers in Pa‘auilo. Currently, 90%+ of the produce they serve is from the state of Hawai‘i. Jan and her staff have cultivated a business that puts community first. They frequently (almost daily) donate to local charities and schools. Their “people first” culture is what gives WikiFRESH its edge, and provides a place for the community to gather, eat healthy quality food, and feel welcomed. Jan says, “We focus on catering to public charter schools, government agencies, and businesses. Being available to provide a private dining room for parties and meetings is another way we love to give back to the community. It’s a win/ win—people get to come in and have a quick healthy meal while we provide the space for them to meet.” Jan spent more than 30 years in the automotive marketing and management business. With her children grown, she says, “I felt it was time to ‘live my dream’. Sounds corny, I know.” Although born in Hilo, Jan lived most of her adult life in Florida. She says she felt a call to come back to Hawai‘i Island “and do what my grandfather asked me to do: plant trees that will bear fruit that I will never live to see mature. I am a different kind of farmer than my grandfather, but still farming. Planting seeds

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.

365 Kona

Downtown Hilo Improvement Association

365kona.com Julie@Ziemelis.com

DowntownHilo.com 808.935.8850

Akamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

Aloha Theatre–Kainaliu Aloha Performing Arts Company 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

Food Hub Kohala

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

Friends of NELHA

FriendsOfNelha.org 808.329.8073

Hawaiian Cultural Center of Hāmākua hccoh.org info.HCCOH@gmail.com 808.494.0626

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

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

Safe and Effective Colloidal Silver Made on Hawai‘i Island • Nano-sized particles as small as .8 nanometer • Higher bioavailability than other larger-sized silver particles*

KeOlaMagazine.com | July-August 2018

$20 per quart

(32 oz.) First purchase includes a reuseable EZ cap bottle for $5 additional

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

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Island of Hawai‘i Visitors Bureau

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

Kona Stories Bookstore KonaStories.com ks@konastories.com 808.324.0350

gohawaii.com/hawaii-island hawaii-island@hvcb.org 800.648.2441

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

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

Free East Hawai’i Delivery

Queens’ MarketPlace–Waikoloa

Other Areas Shipped Priority Mail

The Shops at Mauna Lani

808-936-1821 *Clinical studies have shown that colloidal silver particles <50 nanometers are more fully assimilated and are much more effective against pathogenic microorganisms than colloidal silver particles >50 nanometers

QueensMarketplace.net 808.886.8822

ShopsAtMaunaLani.com/events 808.885.9501

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.

Konaweb

Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

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

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

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

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

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

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

Volcano Art Center–Gallery volcanoartcenter.org Director@volcanoartcenter.org 808.967.8222

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

CROSSWORD SOLUTIONS

UH Hilo Performing Arts Center ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

KeOlaMagazine.com | July-August 2018

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

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

Donkey Mill Art Center

Friends of Lili‘uokalani Gardens

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.

KeOlaMagazine.com | July-August 2018

Serving East Hawai‘i since 1983 Seeking volunteers to provide staff support and care to patients and families. Contact Jeanette Mochida jmochida@hawaiicarechoices.org 808.969.1733 HawaiiCareChoices.org

Hawaii Literacy/Kona Literacy Center Bougainvilla Plaza, Kailua-Kona Ongoing at various times Kona Literacy provides free, one-to-one tutoring for English speaking adults. Contact Lisa Jacob lisa.jacob@hawaiiliteracy.org HawaiiLiteracy.org

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

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

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

Hawai‘i Plantation Museum

Pāpa‘ikou Tuesday–Saturday, 10am–3pm Greet Visitors, assist with tours.

Cruise the Marquesas & Tuamotus Islands on Paul Gauguin

Accepts private medical insurance, such as HMSA

Hawai‘i Care Choices (Formerly Hospice of Hilo)

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

Eight-Bed Treatment Center on a Private Estate on the Hāmākua Coast

• Resolve Underlying Causes of Addiction & Eating Disorders • Gain Life Skills to Overcome Triggers • Release the Anxiety that Holds You Back • Rebuild Your Relationships • Rediscover Your Passion in Life

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

Luxury starting at $5861.00 pp

Check out our weekly specials @ askabouttravel.net

808-325-1651

A.S.K. about Travel and Wild Walkabout Travels

The Only Premier Aussie Specialist in Hawaii!

Aloha eatre presents their

2018-2019 Season

e Addams Family Oct. 12-28, 2018 Harvey A Christmas Story Nov. 30-Dec. 16, 2018

Mamma Mia!

Feb. 8-Mar. 10, 2019

May 3-19, 2019

Peter Pan, Jr.

June 21-30, 2019

alohatheatre.com • 808.322.9924

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

Community Kökua Volunteer Opportunities

Contact Wayne Subica plantationmuseum@gmail.com 808.964.5151 hawaiiplantationmuseum.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

Hope Services Hawaii, Inc.

The Friendly Place Resource Center, Kailua-Kona Ongoing Volunteers help our community members who are experiencing homelessness. Contact Joycelyn Cabal volunteer@hopeserviceshawaii.org 808.217.2830 hopeserviceshawaii.org/getinvolved/

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

Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

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

Kahalu‘u Bay Education Center

Kona Choral Society

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

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

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

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

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

Kalani Retreat Center

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

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

Ku’ikahi Mediation Center

Snorkel Day for People with Disabilities

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)

‘Imiloa Astronomy Center of Hawai‘i

Kona Toastmasters

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

Lions Clubs International

Plantation Interiors, Teak Garden and Lanai

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

Malama O Puna

North Kohala Community Resource Center

For a unique shopping experience come to Plantation Interiors, Teak Garden and Lanai. Whether it be a one of a kind piece from one of our 24 local artists, a vintage Hawaiiana treasure, or one of our unique lifetime pieces of furniture, you are sure to find something extraordinary and timeless.

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

Paradise Ponies, Carousel of Aloha

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

Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Hannah Merrill snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Sundayʻs Child Foundation

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

The Pregnancy Center

Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support. Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

Therapeutic Horsemanship of Hawaii Kailua-Kona Volunteers are the heart and soul of this program. All levels of expertise needed. Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

Visitor Aloha Society of Hawai’i Island (VASH) Islandwide Ongoing Volunteers need to provide assistance to visitors who experience misfortune while visiting Hawai’i Island. Training provided. Contact Phoebe Barela west@vashbigisland.org 808.756.0785 Kona 808.756.1472 Hilo VashBigIsland.org

KeOlaMagazine.com | July-August 2018

15-2881 Pahoa Village Rd, Pahoa Weekdays: 10am–1pm or by appt. Volunteers needed for outdoor work for our environmental nonprofit doing hands-on projects. Contact Rene malamaopuna@yahoo.com 808.965-2000 malamaopuna.org

Rainbow Friends Animal Sanctuary

Hawai‘i Island Farmers Markets East

Tuesday 3–5:30pm * Hakalau Farmers Market and FoodShare. Botanical World Adventures, 31-240 Old Mamalahoa Hwy

West

1st and 3rd Friday of the month 4–8pm Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd. Hōnaunau Saturday 8am–noon * c Keauhou Farmers Market, Keauhou Shopping Center, Keauhou. Saturday 7:30–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School.

KeOlaMagazine.com | July-August 2018

Saturday 9am–noon Hōlualoa Gardens Farmers g Market 76-5901 Māmalahoa Hwy, Hōlualoa. Sunday 9am–2pm * Pure Kona Green Market g Kealakekua, Amy Greenwell Ethnobotanical Garden. Wednesday 8:30am–2:30pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast. Wednesday 9am–2pm Ho‘oulu Community Farmers g Market, Sheraton Kona Resort at Keauhou Bay.

Wednesday 2–6pm c Kona Sunset Farmers Marketg 92 74-5511 Luhia St (HPM parking lot).

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

North Saturday 8am–1pm, Saturdays *c Hāwī Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans.

Sunday 9am–2pm * c Hāmākua Harvest Farmers g Market, Honoka‘a Hwy 19 and Mamane St. Sunday 9am–1pm c Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy 19.

Saturday 7:30am–1pm c Kamuela Farmers’ Market g 67-139 Pukalani Rd, Waimea. Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, Waimea.

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 c Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors.

Saturday 8am–1pm c Waimea Town Market g at Parker School, 65-1224 Lindsey Rd., Waimea. Saturday 7am–noon c Waimea Homestead Farmers Market, 67-1229 Māmalahoa Hwy, Waimea. Tuesday 2–5pm c Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. Wednesday 9am–3pm c Waimea Mid-Week Farmer’s g Market at Pukalani Stables, 67-139 Pukalani Rd in Waimea.

* EBT accepted • c SFMNP Coupons accepted • g Dog Friendly •

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

Wednesday and Saturday 6am–4pm * c Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors. Saturday 7am–noon * c Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo. Sunday 7am–2pm c Pāhoa Village Farmers Market, Nānāwale Community Longhouse. Sunday 6am–2pm * c Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road.

Every 2nd Saturday 10am–2pm Orchidland Community Association Farmers Market Community Lot Orchidland Dr. Daily 7am–5pm Kea‘au Village Market, Behind Spoonful Cafe and gas station, Kea‘au. Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Saturday 8am–noon * Outer SPACE Ho‘olaule‘a at Uncle Roberts ‘Awa Club, Kalapana. Monday–Saturday 10am–6pm * c Dimple Cheek Farm Hwy 11, Mountain View. Saturday 10am–3pm Hawaiian Acres Farmers Market 16-1325 Moho Rd., Kurtistown Saturday 9am–2pm * Hilo Coffee Mill, g 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

South

Sunday 6:30am–10am * c 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

Celebrating a Long Time Advertiser year, and is beginning to delegate portions of the business to her staff to help move the company forward. She sees them continuing to provide housing through rentals, sales, management, and good service into the next 10 years and longer. She goes on to say, “As I get older, I’m able to look back at my life and decisions I made to get to this point. I’ve had great experiences living in many beautiful places like O‘ahu and Moloka‘i before moving to the big city of Hilo. I’ve been blessed with a wonderful family: a loving husband, four sons and their wives, and beautiful grandchildren. As a family, we involved ourselves in horses and rodeos. I’ve been blessed to ride horses in a number of Big Island parades and festivities. Being able to trail ride on horseback on this island is incredible. You see so many beautiful sites that you’d otherwise miss. Nothing beats the sound of silence on a hillside while on horseback. Our family and friends have orchestrated the Panewa Stampede Rodeo, which has been a big contribution for the community to help perpetuate the paniolo (cowboy) culture. “I’m grateful for all the people in my life and here at work including our fantastic Principal Broker, Glenn Takase; our Rental Office Manager, Sheila Evans; and Sales Manager for Coldwell Banker, Bobby Dugar. Sometimes you go through ups and downs but things always find a way to work out when you are willing to work hard and have the desire to help people and your community.” Coldwell Banker Day-Lum Properties is located in a prime area in downtown Hilo. When driving south from the Hāmākua Coast, it is the first building you see when entering Hilo—you can’t miss it. If you are looking to buy or sell any kind of property, or need help with property management, stop by or give Nancy’s staff a call! Day-Lum Rentals & Management, Inc. Coldwell Banker Day-Lum Properties 2 Kamehameha Avenue, Hilo, HI 96720 rentals@daylum.com; sales@daylum.com daylum.com Rentals: 808.935.4152; Sales: 808.935.0399

KeOlaMagazine.com | July-August 2018

Day-Lum is celebrating 34 years of serving the east side of Hawai‘i Island by helping the community find homes. Their sales department assists both buyers and sellers and their rental department oversees properties for owners, while helping renters find a place to live. Owner Nancy Cabral started out very humbly. In one chapter of her life, she was homeless. Nancy says, “I learned a lot from that experience. It helped me to not pass judgment on people for their particular situation and instead try to give them opportunities to succeed. I’m always looking to change that negative into something positive!” Nancy has a bachelor’s degree in social work. Although she didn’t end up working in that field, she worked a number of other jobs ranging from grounds keeping to property repair. All these experiences gave her the understanding of how to manage properties and do things correctly. Nancy first got into the real estate business in 1979, when she answered a classified ad in the Hawaii Tribune Herald for a property manager position. After working for that company for five years, she started her own real estate businesses. In 1984, Nancy chose the name Day-Lum, and opened her businesses so she could establish her own policies and be more helpful to people. Day-Lum’s customers are any and every person. Due to the nature of their business, they work with a spectrum of various people, from those qualifying for low-income housing assistance to pay their rent, to people who purchase expensive homes and investment properties. Nancy notes, “Our newest customers appear to be in two categories: the baby-boomer generation looking to sell or downsize, and the millennial generation looking to purchase their first home. Our two companies combine sales, rentals, and management to help people find homes, condos, vacant land, investment properties, and businesses for all types of clients. This is unique compared to any other real estate business on our island.” Nancy reflects on her 34 years in business, “I really have been blessed by God with wonderful people who work with me and always give more than 100% to make this business a success. It’s amazing how many great people work here!” Regarding future plans, Nancy is 65 years young this

MARKET PLACE

ACCREDITED BUYERS REPRESENTATIVE

Daylight Mind Restaurants

Talk Story with an Advertiser

BOOKKEEPING

KeOlaMagazine.com | July-August 2018

CATERING SERVICE

HOME EQUITY CONVERSION MORTGAGE

Colin Finn opened his first cafe in Boston when he was a mere 24 years old! He has opened and designed over 30 cafes in five countries, and proclaims, “I’ve been in the restaurant business forever!” Colin first vacationed on Hawai‘i Island in 2012. At the time, he was considering Sydney or San Francisco for his next restaurant venture, however he and his partner, Millay Stevens, Daylight Mind’s financial controller, fell in love with Kona’s magic. The former Chart House building at Waterfront Row on Ali‘i Drive was vacant, so Colin and Millay seized the opportunity. They renovated it and opened their first location, Daylight Mind Coffee Company, in September 2013. In addition to delicious food, this oceanfront restaurant features Daylight Mind’s own brand of coffee, roasted onsite, as well as a bakery. There are two floors here: the lower floor offers indoor and outdoor oceanfront dining and the upper floor is for special events such as their very popular weddings and private parties. They also host frequent concerts and benefits. Parking underneath the building is partially validated. Colin has recently hired Chef George Gomes to run the kitchen and update the menu. Chef George has a vast amount of experience, having formerly been the executive chef for the Sheraton Kona Resort and King Kamehameha Hotel, as well as having a long teaching career at UH Palamanui. The new menu will offer “Plantation Hawai‘i” cuisine, a cultural fusion, which includes mostly locally sourced foods. In November 2015, Colin and Millay opened their second restaurant in the Queens’ Marketplace in Waikoloa Resort. Located at the east side of the shopping center, the ambiance is open and airy and offers plenty of free parking. The third location, a bakery and café at Lanihau Center in Kona, opened in April 2017. It’s on the south corner, mauka side of the shopping center, and there’s lots of free parking there, too. Both visitors and residents, from young professionals to the elder crowd, enjoy all three locations, which are open every day. In case you’re curious, Daylight Mind is the literal translation of the Hawaiian word for enlightenment, na‘auao. Colin says, “Our name weaves together a love of scientific exploration with a deep respect for the wisdom and strength of its Hawaiian roots.” Let’s eat! (And drink coffee!) Daylight Mind Restaurants, Coffee House & Bakery 75-5770 Ali‘i Drive, Kailua-Kona 69-201 Waikoloa Beach Drive, Suite J1, Waikoloa 75-5595 Palani Road, Suite A10, Kailua-Kona daylightmind.com 808.339.7824

Hawaii Cigar & Ukulele

MARKET PLACE LAND SURVEYING

Talk Story with an Advertiser

Hawaii Cigar & Ukulele 55-3419 Akoni Pule Hwy, Hawi, HI 96719 richard@bodien.com hawaiicigarandukulele.com Call/text: 808.889.1282

MARKETING HELP

REALTOR ®

VETERINARY SERVICES

KeOlaMagazine.com | July-August 2018

“The World’s Only Cigar & Ukulele Shop” is located in the heart of beautiful downtown Hawi on the northwestern tip of Hawai‘i Island. Featuring Hawaiian cigars, ukulele, vintage aloha shirts, music, and authentic Hawaiiana, this jewel box combines the best of two businesses into one world-class shopping experience. In 2011, owner Richard Bodien first created Hawi Gallery, and then Hawi Ukulele, both with impressive collections of fine ukulele, authentic Hawaiiana, and authentic vintage aloha shirts. Meanwhile, in the Kohala Trade Center, Jon Adams had built Mother’s Antique’s and Fine Cigars into an outstanding destination for cigar lovers. Richard says, “Now our guests can enjoy even more of a good thing. From children playing their first ukulele, to cigar aficionados looking for something special, you’ll love it here! My assistant, Katie Adams, and I will help you enjoy your visit with premium service, an outdoor cigar lounge, and free ukulele lessons for the whole family.” “Doing business in Hawai‘i is not without challenges,” says Richard, “By combining these businesses, it is much easier to weather the factors that affect tourism, plus people love the combination! It is difficult to put into words, but the natural materials—tobacco, wood, silk, shells, and feathers—that are used to make cigars, ukulele, shirts, and Hawaiiana blend together in a uniquely beautiful way. You just have to come visit us!” Vintage vinyl records, CDs, and even cassettes of your Hawaiian favorites, and those you haven’t discovered yet, are available along with new CDs from local artists. Before starting a retail business, Richard spent decades in corporate marketing and communications. He says, “I have no regrets that I left my professional career and started over in specialty retail. I opened my business with much love and great faith, worked hard, learned much, and made many friends. The key for me is to help people have fun, to treat everybody with the same courtesy and respect, and share the love that emanates from Hawaiian culture. The reward is five star reviews on social media and the many new friends that return year after year to share their love of cigars, music, and Hawai‘i itself.” Stay tuned to Hawaii Cigar & Ukulele on Facebook for news of events, specials, and more information.

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.

Advertiser Index Accomodations Island Paradise Inn Kamuela Inn Kïlauea Lodge

Activities, Culture & Event Aloha Performing Arts Co. Big Island Skydiving FairWind Big Island Ocean Guides ‘Imiloa Astronomy Jack's Diving Locker Kona Aloha Singers Palace Theater

Art, Crafts & Jewelry

Akamai Art Supply Barbara Hanson Polymer Clay Artwork Barger Gallery Colette's Custom Framing Db Photo at Primary Focus Dovetail Gallery & Design Glyph Art Gallery Harbor Gallery Holualoa Gallery Holualoa Ukulele Gallery Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Kona Frame Shop Mountain Gold Jewelers Nalu Island Jewelry & Gifts One Gallery Pat Pearlman Designs Puna Gallery & Gift Emporium Simple Elegance Gems Volcano Art Center

Automotive

BMW of Hawaii Precision Auto Repair

KeOlaMagazine.com | July-August 2018

Beauty, Health & Nutrition

Hawai‘i Care Choices Hawaii Community Acupuncture I Love Kigelia® Skin Care Serum Keary Adamson, LMT Jaiya Spa Joan Greco, DDS, Oral & Maxillofacial Surgery North Hawai‘i Community Hospital Om Fitness and Training Quantum Health Hawaii Pahoa Chiropractic & Massage

57 50 67 90 28 8 22 40 97 72 54 36 6 78 88 36 36 3 36 36 20 36 14 48 20 72 36 56 14 67

Premier Dental Group HI Reiki Healing Arts The Exclusive Hawaii

Building, Construction & Home Services

Colette's Custom Framing 78 dlb & Associates 95 Fireplace & Home Center 32 Hamakua Canvas Co, (Upholstery) 82 Hawaii Water Service Co. 78 Hawaii Electric Light Co. 27 Indich Collection Hawaiian Rugs 13 Kona Frame Shop 14 Plantation Interiors, Teak Garden & Lanai 91 Polynesian Development, Inc. 89 SlumberWorld 26 SMART Plumbing Hawaii 23 Statements 69 Tai Lake Custom Furniture 88 Water Works 48 Yurts of Hawai‘i 78

Business & Professional Services Action Business Services Allstate Insurance, Kris Speegle Aloha Kona Kids American Advisors Group A.S.K. About Travel Employment Experts Hawaii Community Federal Credit Union

Education

Hilo Ukulele & Guitar- Ukulele Lessons Jack's Diving Locker- Summer Camp Mälamalama Waldorf School Om Fitness and Training

64 34

Pets

44 84 44 42 47 42 6 50 32 57

Real Estate

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.

24 74 90

Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC Beverly Y. Crudele, RS, Clark Realty Clark Realty Coldwell Banker-Daylum Properties Kelly Shaw, RS, Elite Pacific Properties Kimi White, RB, Rainbow Properties Kona Coast Realty Corp. Lava Rock Realty Paradise Found Realty Parks Realty LLC Savio Realty Team Nakanishi

94 19 15 94 90 55 25 82 40 89 49 95 2 95 51 18 33 82 16 68 94 47 57 67

Restaurants & Food

Ahualoa Farms 15 Black Rock Café 56 Boogie Woogie Pizza 57 Daylight Mind Coffee House, Café & Bakery 43 International Grindz 57 Island Naturals Market & Deli 35 Island Naturals Market & Deli - Pahoa 56 Kailua Candy Company 76 Kaleo's 56 Kohala Grown Market 28 Lava Shack 57 Lucy's Taqueria 72 Nicoco 56 Paolo's Bistro 57 Päpa‘aloa Country Store & Cafe 49 Peaberry & Galette 49 SJ's Personal Chef & Catering 94 Standard Bakery 38 Sugai Kona Coffee 36 Sushi Rock & Trio 28 Tin Shack Bakery 56 WikiFresh 74

Retail & Gifts

Ahualoa Farms All Kine Aloha Aloha Grown Basically Books Hawaii Gift Baskets Hawaii Cigar & Ukulele Island Clutter Consignment Shoppe Jungle Love Kadota Liquor Keauhou Shopping Center Kiernan Music Kings' Shops Kona Commons Shopping Center Mana Cards Pahoa Used Books & Movies Päpa‘aloa Country Store & Cafe Paradise Found Boutique Parker Ranch Store Puna Kamali‘i Flowers Queens' MarketPlace The UPS Store

15 57 46 49 34 28 89 57 54 62 38 80 60 27 56 49 38 46 76 99 84

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"The L

ife"

Celebrating the arts, culture, and sustainability of the Hawai'i Island

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

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Choir conductor since 1989

KeOlaMagazine.com | July-August 2018

Learn choral arrangements from master songwriters Elton John, Leonard Cohen, The Beatles plus music from The Sound of Music, and more!

Performer, composer, arranger and music teacher

To Join: Please message us through the Kona Aloha Singers Facebook page or email: contact@konaalohasingers.org.

Choral Director – Katya Eaddy Chorus Piano Accompanist – Irminsul

Ka Puana - Closing Thoughts

KeOlaMagazine.com | July-August 2018

Ikaika Marzo, one of the founders of Pu‘uhonua o Puna and a beloved community spokesman, has provided daily on-scene Facebook Live videos. Hawai‘i Island’s community is grateful for his mana‘o (wisdom) and his pa‘a (strength).

photo by G. Brad Lewis Proverb 2392 Mary Kawena Pukui. ‘Ōlelo No‘eau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press.

KeOlaMagazine.com | July-August 2018

At the beginning of May 2018, when the current lava flow first erupted in Leilani Estates, the lower Puna ‘ohana quickly rallied in support of their community. No time was wasted setting up the Information & Donation Hub called Pu‘uhonua o Puna at the intersection of Hwy. 130 & 132. It is being run by an all-volunteer staff, a group of residents and friends who immediately mobilized to get the job done. T hey are currently taking the steps to become a 501(c)3 corporation, and have accomplished an amazing feat. They are an inspiration for us all! The entire Puna community is grateful to all those who have supported them in so many different ways. Their lives have been changed forever and our island ‘ohana has come out in full force to help, from near and far.

Help will still be needed for a long time. If you’d like to donate, here are some ways: