March-April 2018

Hawai‘i Island’s Community Magazine The Life |

March – April Malaki – ÿApelila

ARTS Sea Love with Don Elwing CULTURE Hula Kane: Invoking the Warrior SUSTAINABILITY Hawai‘i Island School Garden Network

2018

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

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Cover artwork: It's the Beans! fabric collage by Phyllis Cullen.

4 Table of contents image: Konawaena High School's mural (with mirrored-image) Take Care of Uplands to Sea. Read more about them on page 85.

The Life

Arts

Hawaiÿi Island’s Community Magazine Malaki – ÿApelila | March – April 2018

Sea Love with Don Elwing

11

Kahakai Elementary School Art Program

41

Turning Ocean Debris into Awareness Art

By Britni Schock Leaves No Child Behind

By Karen Rose

Community Ka Mauloa Church

31

Pālamanui

45

Three Iconic Women's Organizations

63

He Lei Ho‘oheno O Hilo

81

100 Years of Worship

By Denise Laitinen

Offers 21st-Century Learning

By Fern Gavelek Hilo Woman's Club, Zonta Club of Hilo, Soroptimist Intl. Kona

By Paula Thomas A Cherished Adornment of Hilo, A Special Moment with Irene Midel

By Ku‘ehu Mauga

Culture Hula Kane

21

Iris Viacrusis

37

May Day is Lei Day in Hawai‘i

52

Invoking the Warrior

By Karen Valentine Creating Fashion from Paris to Paradise

By Mālielani Larish

Behind the Scenes at the Merrie Monarch Festival 77

By Leilehua Yuen

Sustainability Hawai‘i Island School Garden Network

17

huiMAU

58

Wai Watchers

73

Lessons from the Garden

By Jan Wizinowich

Cultivating Healthy ‘Āina and Strong ‘Ohana

By Karen Rose The Vital Role of Volunteers in Watershed Health

By Julia Meurice

KeOlaMagazine.com | March-April 2018

By Leilehua Yuen

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bargergallery.com EXPLORE THE DREAMS OF ARTISTS

The Life Hawaiÿi Island’s Community Magazine Malaki – ÿApelila | March – April 2018

Ka Wehena: The Opening 9

Lei ‘Ōpua

By Kumu Keala Ching

Business 56

Managing with Aloha ‘Ike Loa

Island Treasures

87

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Your Health. Our Mission.

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Kēlā Me Kēia: This & That

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Worldwide Voyage Update: Māhalo, Hawai‘i Sail About Our Cover & Table of Contents Artists Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts 2388: ‘Oi kau ka lā, e hana i ola honua.

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From Our Publisher Ke Ola Magazine is all about connections. The letters and calls we get are a testament to the magic that takes place within its pages. For example, there are the two letters on this page from a couple that have reconnected with longtime friend Mary Matayoshi, and even someone who has reconnected with her ancestors! Then there is a woman named Ethyl who read a letter in our Jan-Feb 2018 issue from her longtime friend Vanna McKay. Vanna subscribes to Ke Ola at her home in North Carolina and wrote to us because she saw a photo of her husband and herself from 1956 in the Nov-Dec 2017 issue.

Ethyl called me after reading Vanna’s letter, saying she had lost touch with her friend decades ago and asked if we could contact her. They were on the phone together within minutes.

Ethyl called me back, in tears, expressing how meaningful their reunion was. It’s stories like these that continue to energize us!

Many mahalos, Barbara Garcia and Ke Ola Magazine’s ‘ohana.

From Our Subscribers I look forward to another year of Ke Ola! The magazine has continued to evolve over the years with stories and appearance. You are ALL to be congratulated on doing a wonderful job telling Hawai‘i Island’s stories of aloha!

As I sit here looking out of my office window, through a terrible snowstorm, I know a ‘warm’ Ke Ola is on the desk just behind me. Keep up the wonderful work!

From Our Readers To Mary Matayoshi, c/o Ke Ola Magazine: It was so good to come in contact with you again…this time via the Ke Ola article recently published. [Nov-Dec 2017] Donna and I were on the Big Island for a week when we saw it. You probably do not remember us. We Peace Corps trained in the old nurse’s quarter up Waianuenue in Hilo. That was more than 50 years ago.

We went off to Borneo for two years of the best times of our lives as volunteers. Later, we came back to join Peace Corp. staff to instruct new volunteers. In both cases we came to meet and work with you. And for both, you were an inspiration. For that, we are thankful.

We wed at St. Joseph’s and this last trip of ours we celebrated 50 years of marriage, back at St. Joseph’s.

Parishioners there, in true Hilo fashion, were very welcoming.

It was not easy to leave the islands this time.

Reading the article filled in for us some gaps of knowledge of your special career. Extraordinary and so giving. You deserve all the kudos given to you. We did meet briefly with you at the PC reunion, was that in 2014 at UH Hilo?

Anyway, it was delightful to read this article, and to feel we shared a small part of your life. Your friendship, even if not close, has meant a lot to both of us.

All the best, Donna and Brian McCarthy, San Diego, CA _______________________

Many mahalos, Michael Tuttle Owner, Hale Ohia Cottages, Volcano

My deepest appreciation, Faith Burgwinkel, Kaneohe, HI

PS—We are so looking forward to returning to the Kona area for a visit. I am already reading what to do and where to dine and shop in Ke Ola, Mahalo!

Corrections

MAHALO TO OUR STORY SPONSORS BMW of Hawaii – Art

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KeOlaMagazine.com | March-April 2018

Thank you very much for the wonderful story on my business, Hale Ohia Cottages.

I was out of town when the writer was finalizing the content and the acknowledgement for the photos should go to Randall Duryea, located here on the Big Island.

Dear Barbara, The reason I asked for your older magazine issues is because they featured sites where my ancestors lived and my siblings, (who are now 2 in number), remember. Your pictures and articles are helping me preserve our family history in a book.

Words can’t express my deepest gratitude for your kindness and generosity. You are a spiritually sensitive soul to send me the copies of your magazine. Both I and my ancestors are thankful.

My prayer for you is that you will be personally blessed with happiness and success in your life, and with your career.

God has His hand over people like you. And He can, and will continue to guide you when you avail yourself to the whisperings and intimations of His Spirit.

A very chilly David Mix, Michigan

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_ Lei 'Opua

Ka Wehena

Na Kumu Keala Ching

Eō mai Lei ‘Ōpua la

Honor ‘Ōpua Clouds

‘O Hualālai kō Hawai‘iloa He aloha kō lāua, lei ‘Ōpua la Noho uka i ka nani, mauna kū kilakila Kaulana ‘o Hualālai, malu kō Kona Eō mai ē, Eō mai la

Hualālai, the woman of Hawai‘iloa Their love is a lei of ‘Ōpua clouds Upward beauty and majestic mountain Famous Hualālai, protector of Kona Honor with, honor always

Lei ‘Ōpua wehi mai o luna ‘Ohu‘ohu o ka uka i ka wēkiu Kaulana kahi kapu ahu a ‘Umi Alo mua o ka lā, pili ka mahina Eō mai ē, Eō mai la

‘Ōpua clouds adorned the uplands Elegant beauty found above Famous place sacred to ‘UmiāLīloa Upon the sun relative to the moon Honor with, honor always

Pā ahe ka makani ‘Eka kō Kona Kaulana Lei ‘Ōpua o uka ala I kai mā‘oki‘oki, kai mālinolino ‘Ōpua i kai ao uka ala Eō mai ē, Eō mai la

Upon the ‘Eka breezes of Kona Famous ‘Ōpua clouds of Hualālai Moveable seas upon calmness ‘Ōpua clouds travel upland Honor with, honor always

Kaulana nā ‘Ōiwi o Hawai‘iloa Noho uka i ka nani o Hualālai Lei ‘Ōpua wehi mai o luna ‘Ohu‘ohu o ka uka i ka wēkiu Eō mai ē, Eō mai la

Famous generations of Hawai‘iloa Upon a beautiful majestic Hualālai ‘Ōpua clouds adorned the uplands Elegant beauty found above Honor with, honor always

Kaulana Lei ‘Ōpua o uka ala

Famous ‘Ōpua clouds of Hualālai

I ke Alaula, ‘Ike wale ka nani o Hualālai, ka wahine kō Hawai‘iloa. ‘O Hualālai ka mauna kū kilakila, malu ho‘i i ke ola kō Kona. Mai kai ala, kai mā‘oki‘oki a i kai mālinolino, pā ahe ka makani o ‘Eka i ke ao ‘Ōpua i uka ala. Eia maila ka Lei ‘Ōpua kaulana o Hualālai. Eō mai ē, Eō mai la.

At the light of day, beauty is observed of Hualālai, the woman of Hawai‘iloa. Hualālai, a majestic mountain, protector of the many lives of Kona. From the deep sea, a moveable sea upon the sea of calmness, the ‘Eka breezes blow the ‘Ōpua clouds upward. Here is the Lei of ‘Ōpua clouds famous of Hualālai. Honor with, honor always.

Mo‘okūauhau—genealogy of existences. Honor always the pathway of knowledge!

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org Hualälai, Hawaiÿi Island. photo courtesy of Aaron Miyasato

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KeOlaMagazine.com | March-April 2018

Turning Ocean Debris into Awareness Art

By Britni Schock riving up mauka (mountain-side) of the Ocean View community, you see an endless sky, a terrain of ‘ōhi‘a lehua trees, and lava rock. After a few miles you arrive at the home of Don Elwing (Uncle D), and are greeted by two towering Japanese samurais. Upon closer examination you notice something unique about these mesmerizing figures. These solid black statues are made completely out of plastic and rubber trash. For years, Don has been cleaning up trash along the coastline between Papakōlea (Green Sands Beach) and Ka Lae (South Point). Using his truck named “Da White Rhino”, he ventures off the beaten path to pick up heavy loads of marine debris along the shore. The words ‘Sea Loveʻ are painted alongside a wave coming into a heart on the door of Da White Rhino. Don hopes to turn his trash cleanup into a nonprofit organization to expand and further spread awareness.

In 2017, Don estimates that he collected about 3000 pounds of plastic and 7000 pounds of ghost net/rope. A significant

percentage of the incredibly large amount of trash that he’s collected gets taken to the landfill. Some is used for Don’s art, and due to the popularity of debris art, he is now shipping materials to other debris artists on the mainland. He has been trying to upcycle as much of the trash as possible. Uncle D shipped more than 600 pounds of upcycled materials to the mainland in 2017 alone! These shipments included thousands of plastic bottle caps, buckets of microplastics, and huge bundles of rope and net. “I’ve always wanted to give back something, somewhere. I started volunteering with Hawai‘i Wildlife Fund down there [at South Point]. They are stellar folks and good inspiration. So I started picking up the plastic down there with them and was just overwhelmed with how much was there,” said Don. Every day Don sees first-hand the disturbing magnitude of debris and trash that washes up onto the shores of Hawai‘i

This page: Da White Rhino, Uncle D's beach clean up truck. photo courtesy of Don Elwing Opposite page: Uncle D's self portrait. photo by Ikey Jackson

Uncle D talking about his masterpiece, Peace at the Temple Bell. photo by Ikey Jackson Island. He wants to spread awareness to people who may not see the trash, yet still need to be informed about this environmental issue. “If they can’t get to the beach, I try to bring some of the beach to them. Which unfortunately is a lot of plastic,” said Don. Don wants people to understand how much plastic is floating around in our oceans and the effect it is having on the entire ocean and food chain. “I call my stuff awareness art to bring people’s awareness to how much plastic is coming in. Plastic lasts forever. Cleaning up the beach showed me not only how much plastic was coming in, but 30–40% of it has obvious fish bites in it,” said Don.

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KeOlaMagazine.com | March-April 2018

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Oregon, Alaska, to Hawai‘i Born in Oregon, Don spent time traveling to various places around the western side of North America and the Hawaiian Islands. He has been a Hawai‘i Island resident for about 30 years, and has always had an immense respect for the ocean.

He has always been near it, either working or enjoying some playtime. Don reflects, “I grew up on the Oregon coast and always clammed, crabbed, and fished out of the ocean. When I lived in Alaska on the coast, I did the same thing there and then came here. So I always respected the ocean. To me it’s a real sacred place”.

He has found fishing supplies that were lost in the 2011 Japan tsunami and have voyaged across the Pacific to our Hawaiian shores. “There were 15,000 fishing boats lost in the Japanese tsunami plus all the businesses along the coast that supported the fishing industry. So a ton of all this net and rope that’s still washing up, a lot of it is from the fishing industry. All of these baskets and stuff I find, I date them back because of what it says on them, back to the fishing industry,” said Don. Don has a great love for Japan and Japanese culture, which These microplastics are mistaken for food and ingested by many marine animals. photo by Ikey Jackson

Display of the many plastic bottles found along the Papakölea coastline during cleanups. photo by Ikey Jackson

is often reflected in his art. He explains how he lights Japanese incense before starting a new art piece and experiences a feeling of spiritual connection to the very people who tied the knots on the rope of the debris he has found. He describes his art as a tribute to all the people who lost their lives in the tsunami. It felt natural for Don to create the Japanese samurais because he feels that in another lifetime he lived a Japanese life.

Kamilo Men in Black was inspired by black plastic debris found at Kamilo Beach. photo by Ikey Jackson

FPO

KeOlaMagazine.com | March-April 2018

The Artist Emerges Don has always been creative and began with woodworking about 10 years ago. “I never went to art school. I just started messing around with this stuff and I always say the purpose of why I do this is how I get inspired.” Plastic art has become incredibly popular with artists working with marine debris, and having worked with plastic for many years, Don found his niche focusing on rope and net art. “So when I first decided two years ago that I was going to switch to rope and net, I asked myself, what can I do? I started investigating art that had big brush strokes. I came across van Goghʻs Starry Night.

It was the first piece that I did attempting to use rope and net for art,” said Don. Many of the works of art that Don has created not only tell a story of our garbage epidemic, he also incorporates Hawaiian culture and nature into the pieces. ‘Ōhi‘a lehua, Pele and lava, hula, and native birds are some of the Hawaiian influences you see in many of his creations. When asked about his favorite piece of art, Don said, “I love Pele.” He has created various lava and volcano artworks, to honor his beloved Hawaiian Goddess of Fire, Pele. Uncle D and Pele have had a long relationship, dating back to the 1990 lava flow in Kalapana. He was living in the area when the flow covered the little town and grew an immense respect for Pele during this experience.

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KeOlaMagazine.com | March-April 2018

His home is a gallery in itself, displaying over 100 pieces of art, both indoors and outdoors. Don felt the desire to reach out to the Hawai‘i Island community and further share the message of what he was doing. Education and awareness of the current excessive pollution taking place in our oceans is what really drives the inspiration of Uncle Seahag is a creation from microplastics and rope found D’s art. Sharing this Kamilo Beach. photo by Ikey Jackson message of marine debris and plastic abuse with the future generations is another way Don loves to spread the knowledge. He takes his “no rules art” to different schools around Hawai‘i Island and educates the keiki (children) on the serious topic with fun art projects.

He regularly volunteers at the Volcano School of Arts and Sciences. He teaches the students about marine debris and takes his “gypsy art gallery” of about 30 pieces to show them.

After his instruction, the students get to make a masterpiece of their own from materials Don brings in. He is a strong believer in educating the younger generations, as they are the future and have the chance to recover from the ecological damage

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Pahoa Elementary School keiki with the ÿalalä (Hawaiian crow) artwork they made with Uncle D. photo courtesy of Don Elwing currently caused. “The kids get the message, they really do.

And they are the ones who can save the Earth,” said Don. Uncle D has a remarkably humble presence and “how can I help” attitude, which is reflected in all that he does to help the ocean and our Earth. He volunteers his time to something that he is passionate about and shares it with others in a beautiful way. Don organizes beach cleanups to further spread the awareness of ocean pollution and inform others of how they can help. He believes we must mālama the ‘āina (take care of the land) and leads by example. Admirers do not realize the great deal of time that is devoted to each piece of art: collecting the debris, sorting out all the pieces, cleaning

Yellow lehua branch made from various ropes and net fibers. photo by Ikey Jackson

Vincent van Gogh's Starry Night inspired this rope and net piece. photo by Ikey Jackson

Little Grass Shack from mixed rope, net, and plastic debris. photo by Ikey Jackson

Rope and fiber "selfie" of Vincent van Gogh. photo by Ikey Jackson

KeOlaMagazine.com | March-April 2018

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The Kamokuna overflow made with anudda rope and net by Uncle D. photo by Ikey Jackson

Don Elwing's self-portrait sewed in plastic rope. photo by Ikey Jackson

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the materials, and finally getting inspired to create a work of art. One man’s trash really can be another man’s treasure, or art. By using his unique artwork to share a very important message, Don is making a wave of change and beautifying our ‘āina. n For further information: wingha@hotmail.com Facebook: Don Elwing GoFundMe: gofundme.com/don-elwings-beach-cleanups-necoart

Mahalo Island Naturals – Local Agriculture Story Sponsor

Lessons from the Garden

By Jan Wizinowich

T

he Hawaiʽi Island School Garden Network (HISGN) was created in 2007 through The Kohala Center as a way to promote garden education and food sustainability practices. As the network grew, educators began to realize the potential for course connections. In 2016 the HISGN received funding to develop a curriculum map, which was created by a consortium of K–8 school garden educators, led by Nancy Redfeather, Ming Wei Koh and Amanda Rieux, Malaʽai Culinary Garden Director.

“It’s not a curriculum. It’s a curriculum map. It’s not a set of lessons at all. We started out with the basic question: what do we ideally want an 8th grader to know if they spent their career as schoolchildren learning in the garden. We went through by grade level to see what the learning outcomes were and the garden activities that go with them and then we looked at classroom extensions. We came up with four themes or lenses: sense of place, living plants and living soils, nourishment, and nature’s design,” said Amanda.

Now 60 strong, the gardens have become intrinsic to school curriculums, providing unique lessons from the processes that are the foundations for life. Also, with grounding in Hawaiian cultural practices, school gardens have created a path back to the source for students, educators and community members on Hawaiʽi Island.

In the Kohala district, school gardens range from a series of wood-framed raised beds such as at Kanu o ka ʽĀina, to a full garden space such as at Malaʽai Culinary Garden and Kohala Elementary to Parker School’s food forest.

Parker School middle school students work in the forest garden. photo by Jan Wizinowich

Kanu o ka ʽĀina The school garden at Kanu is really a series of gardens that are connected to each of the grade level classrooms. The school garden coordinator, Heather Sarsona, meets me in front of the school and we walk down to the makai (ocean-side) end of the building. “This is our preschool garden and outdoor learning space. Anna Peach is our garden teacher for the preschool. Right now we’re planting buckwheat and beans to amend the soil,” said Heather.

We move on to the next garden area. When Makali‘i sails to Papahānaumokuākea in two years, they will be carrying supplies grown in the Kanu garden. “This is a developing tea garden area. We have mamake, lemon verbana, African hibiscus, lemon mamake, lavender, lemongrass, and ‘ōlena (turmeric). The teas are one of the things we’re going to contribute to the voyage,” said Heather. “Each hui (group) is going to look at what they grow best and learn how to process it.”

The garden boxes contain a range of plants such as kalo (taro), lettuce, tomatoes, herbs, squash, corn, and pumpkins.

“We grow a lot of pumpkins and that’s another thing we’re going to contribute to the voyage,” said Heather.

All the classrooms open to the garden space and there is a sense of continuous flow between indoor and outdoor learning environments, complete with a gathering place for stories and a kōnane (Hawaiian checkers) board.

Malaʽai Culinary Garden Bordered by Waimea Middle School’s new science building and playground, Malaʽai Culinary Garden is ideally located in

KeOlaMagazine.com | March-April 2018

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the heart of old Waimea. Besides garden director Amanda, the garden has executive director Alethea Lai and full-time garden leader, Holly Sargent-Green, who sees every student at least every two weeks.

The garden provides a holistic learning environment that connects with the kind of learning that takes place in the classroom. “We have a really long-term, solid partnership with our science teachers. The garden is a lens that connects students to the living world, which connects them to all living worlds,” explains Amanda.

Students participate in all aspects of garden life while at the same time gaining a deep understanding of the underlying biological processes at work. Starting in kindergarten, students are observing, collecting data and developing a keen sense of place.

A favorite saying of Pwo Navigator Chadd Paishon is, “Know your island and you will never be lost.” Beyond the science, the garden experience helps students develop a personal compass that will guide them throughout their life journeys.

“As they are growing they have a relationship with this place. There’s a personal, private relationship that grounds them. Their actions, their work over time is really important.

That sense of place and feeling, like they are real contributors.

That’s where it becomes very powerful,” said Amanda.

KeOlaMagazine.com | March-April 2018

Kohala Elementary School Garden To find your way to the Kohala Elementary School garden you follow a path along an array of terraced classrooms and then suddenly off to the left you see a koa-lined, downward, zigzagging path to an Eden-like valley.

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Kohala Elementary students planting carrots with garden teacher June Guo. photo by Jan Wizinowich

A group of second graders pause at the top to chant and ask permission to enter, leaving any disturbances behind. “A while ago I created a trouble tree. However you’re feeling affects the plants, so you shouldn’t walk into the garden feeling angry or sad. We toss all that to the trouble tree,” said Kayla Sinotte, the garden coordinator for Kohala Elementary School.

Each class has its own garden bed with varying themes such as seeds and lifecycles, nutrition, compost, soil and native Hawaiian plants. “The older classes have themes such as Mediterranean, bodybuilding and they choose plants according to their use and companion planting. Then they harvest whatever they grow and make something,” said Kayla. “The connection to the land; I think it’s really important for kids to know where they’re from and where their food comes from,” she added.

This year’s full-time Food Corps teacher, June Guo, gathers students at a table to examine the carrot seeds they will be planting today. “What happens when seeds get water and sunlight?” June asks. “They break and you give them more water and they sprout,” answers one of the students.

June goes on to explain why they will be planting the seeds directly into the ground, rather than starting them in pots and then it’s off to their particular raised bed to plant. “We incorporate science into the lessons but we also give them the opportunity to get their hands dirty. There’s a living curriculum that’s inspired by all these garden resources we have. What is happening in our garden? What’s happening at our school?

What cultural activities are going on?”

Garden lessons also stretch out to other parts of the students’ lives. “Parents have come up to me and made comments like: ‘I don’t know what you do in the garden but now my kid is helping me in mine. And he asked me for kale.

What did you do to get him to like kale?’” said Kayla.

Parker School Garden The Parker School garden is located on the north side of Waikoloa Stream, running through the center of town.

Today’s session for middle school science students begins in

the classroom where their garden teacher, Jared Chapman, is having students write and reflect on six principles promoted through work in the garden: hoʽokuanoʽo (complex thinker), hana noeʽau (quality producer), mālama kaiāulu (community contributor), kūpono hana ‘ike (effective user of technology), kuleana i hola (self-directed learner), kaka ‘ōlelo (effective communicator).

On the way to the garden, students stop to form a line facing Maunakea and chant Mālana Mai Kaʽū (Buoyant Comes Kaʽū). We enter the garden, a veritable food forest with paths that meander through a treasure trove of native plants. “This area in general used to be ancient farms. If you walk the stream you can see where the old ʽauwai (canal) was built.

This whole area was agriculture and now we’re bringing it back,” said Jared.

Observing and nurturing potted plants is the first order of the day. “Look, it’s like a raincoat,” said one student observing a bead of water dancing on a kalo leaf. Students then disappear into the forest, harvesting mamake and weeding around trees.

Students are constantly grappling with the complexities of life and the garden is rich with informative metaphors.

“When you’re doing a school garden, you have that unique opportunity to focus on diversity. Once they’re working, they’re seeing things around them and the lessons come, regardless of what I tell them,” said Jared.

Parker School science and Hawaiian studies teacher, Susan Rickards incorporates the garden in a range of classes she teaches at Parker School. “What’s more tangible than the garden? It ties into all of the classes, especially the Hawaiian studies class. As far as the historical curricula, we go to the garden and investigate which of these, if any, existed

KeOlaMagazine.com | March-April 2018

Waimea Middle School students trimming the hibiscus hedge. photo by Jan Wizinowich

Parker Middle School's Jared Chapman guides students in the garden forest. photo by Jan Wizinowich

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Waimea Middle School students harvest food for their snacks. photo courtesy of Holly Sargeant-Green

pre-human or pre-mammal even, pre-invasive species, precanoe,” said Susan. “Then we learn about a particular species, plant it and see how it grows.

We tie that intimately with the culture and traditions,” she added.

Community Connections

The Kohala school gardens have developed strong mutual relationships with their communities. “We couldn’t run our program without our community volunteers. We have four community members that come and work in the garden with our classes. It allows us to have small group sizes and it gives us the opportunity to go deep into subject matter,” said Holly.

The Kohala Elementary School garden has made a connection with local businesses. “We sell our mint, basil, parsley, and dill to Sushi Rock/Trio Restaurant and kale and eggplant to the Kohala Coffee Mill,” said Kayla. “We also sell our taro leaves to CSC Café, right across the street. The kids bring their families in and order the laulau plate and they can say, ‘I grew that’,” she added.

Like the Hōkūle‘a, Kohala gardens have the potential to make global connections. “We just had a group come from Amsterdam. They came to the garden and did a workday and

met with the Ike Hawaiʽi students. It was great,” said Holly.

Gardens are living metaphors that promote health and peace and the Kohala school gardens are a shining example of the waʽa (canoe) spirit that permeates our island. n “He waʽa, he moku. He moku he waʽa.”

(The canoe is our island, and the island is our canoe.)

—Clay Bertelmann For more information: kohalacenter.org/hisgn malaai.org/

Kanu o ka ÿÄina second graders collecting seeds and exploring. photo by Jan Wizinowich

KeOlaMagazine.com | March-April 2018

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Invoking the Warrior:

Hula Kane

By Karen Valentine

T

he line of kane (male) hula dancers lies in the shadows, poised to walk onto the Merrie Monarch Festival stage. Their kumu (teacher) takes his place behind the pahu (drum) and raises his arms along with his voice in a powerful oli (chant), calling the dancers to enter. The crowd erupts in shouts and applause as they burst into the spotlight. The kane dancers are always crowd favorites, especially when they perform powerful, primal kahiko dances with gleaming muscular bodies and athletic moves, choreographed in precision timing.

The Merrie Monarch Festival was born during the 1960s, an era when hula was predominantly female in the eyes of a public attuned to Waikīkī hula shows. The ancient arts,

including hula kane, were to make their comeback during the Hawaiian cultural renaissance of the ‘70s. Uncle George Naope, co-founder of Merrie Monarch, was also a kumu hula who encouraged male dancers, so it was inevitable that Merrie Monarch include the competition category of Hula Kane. In 1978, the Men of Waimapuna, under Kumu Darrell Lupenui, was the first hālau (hula school) to win the Kane category, in both kahiko (traditional) and ‘auana (modern), and repeated the honors in several subsequent years.

The young Keala Ching, today a kumu hula and founder of Na Wai ‘Iwi Ola in the Kona district, performed in Lupenui’s winning hālau in 1986, when they swept all Kane categories with the highest total score ever. Their depiction of Moloka‘i

KeOlaMagazine.com | March-April 2018

21 Powerful Kahiko Kane Hula performance by Hälau Hoÿola Ka Mana O Hawaiÿi of Dallas, Texas at the 2006 Merrie Monarch Festival. photo courtesy of Aaron Miyasato.

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warriors in battle and their introduction of malo-style costumes with minimal coverage set the standard for years to come.

“When I grew up it was that generation that really frowned upon men doing hula and people were not really versed in the culture,” says Kumu Keala. “My aunt was involved with an entertainment company in Waikīkī, and she asked me if I would like to participate. I started to learn basic hula, but I felt that wasn’t what I really wanted to do.”

Kumu Keala attended St. Louis School, an all-boys private high school in Honolulu, and was fortunate to take a hula class with the famous kumu hula, chanter and Hawaiian cultural practitioner John Keola Lake. “That was my first connection with a hālau. Kumu John Lake taught hula in school and also had his own hālau after school. I was really excited about learning hula protocol.”

There were many kapu (taboos) associated with early hula training, going back centuries, some of which endure today, depending on the kumu and the tradition of his or her hālau lineage. Most involve preparing the body and spirit to “become” the hula, such as doing water cleansing ceremonies The body-sculpting training regimen of Halau Ke Kai ÿO Kahiki appears more rigorous than boot camp, with routines including running laps, carrying large boulders and climbing coconut trees. photo courtesy of Hälau Ke Kai ÿO Kahiki, “Warriors of Hula”

and gathering plants for costumes. Kumu Keala remembers one of the practices he learned while preparing for a high school competition with Kumu John, which was to not eat he‘e (octopus) before the dance. It symbolized “having the energy sucked out.”

A high school friend, Darrell Lupenui, was also a Waikīkī entertainer and at the same time one of the primary dancers for the Men of Waimapuna. “Kumu Darrell was well known at the time, and he had already won trophies at Merrie Monarch.

In 1983 or ’84 my friend took me to a practice. I really loved it and I was accepted in the hālau,” says Kumu Keala.

KeOlaMagazine.com | March-April 2018

Gender Confusion There is some confusion about the historic male and female roles in hula. Some say that hula dancers were originally only male. However, the ancient myths of the origin of hula involve dancing goddesses: Laka, Pele’s sister Hi‘iaka and her companion Hōpoe. When Captain Cook first visited Hawai‘i, his 1778 journals recorded seeing women dance on the island of Kaua‘i. His expedition artist, John Webber, made a drawing of a male hula dancer, which probably influenced outsider impressions of hula in that era.

23

The Men of Waimapuna gathered together again at the 50th anniversary celebration of Merrie Monarch in 2013. Here Keala Ching greets the audience.

KeOlaMagazine.com | March-April 2018

photo courtesy of “Tribute to Darrell Lupenui”

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Perhaps more significant than an understanding of gender is to first understand the important storytelling role of hula in Hawaiian culture, where history and tradition were recorded orally, using both words and gestures. Much more than entertainment, hula was an important aspect of the ceremonial practices in society by both men and women, such as honoring a monarch or occasion, festivals, temple prayers, and even as a discipline used in training warriors.

The art of lua is known as the Hawaiian martial art, practiced by warriors trained first in hula. It is said that warriors were chosen from the ranks of hula dancers, who learned steps and movements that were functional in battle, enhancing balance and strength.

A hālau known for its warrior-like style, winning the Hula Kane categories from 2000 to 2011, is Ke Kai ‘O Kahiki from the Wai‘anae district of O‘ahu, originally under the direction of the late Kumu O’Brian Eselu.

The style of dance of this hālau is particularly dynamic and physically grueling, performed with exaggerated ‘ai ha‘a (squatting low to the ground) movements. Its body-sculpting training regimen appears more rigorous than boot camp, with routines including running laps, carrying large boulders and climbing coconut trees.

Another distinction in ancient times involved the fact that women were not allowed in the primary areas of the heiau (temple). It was the men who were designated as ceremonial temple dancers, practicing what is called hula ha‘a. The word ha‘a, as in the warrior-like dance, ‘ai ha‘a, means “humble.”

Literally, ‘ai ha‘a means “eat humbleness.” It represents both strength and respect, qualities important in communicating with the deities or giving honor.

Another renowned kumu well versed in the warrior connection with hula was the late Kumu John Ka‘imikaua from Moloka‘i, an island with legends of powerful warriors who danced and chanted while defeating their enemies.

“John Ka‘imikaua camped at the beach near my home,” said Kumu Keala. “I sat down with him and gained insight about the ties between lua and hula. Most significant to me was that you needed to know the ho‘ola before you could lua. In other words you had to learn how to heal before you could kill. Bone

breakers had to know how to break a bone and how to heal it. It was very profound for me to learn that.”

The winning hula kahiko performance for the Men of Waimapuna in 1986, under the direction of Kumu Darrell Lupenui, depicted the warriors of Moloka‘i.

“Our performances that year—both female and male—honored warriorship. The wahine dance honored [goddess] Hina and the four winds. With the kane, we depicted warriors intertwined with Makahiki games and a love story. In our classes in hālau, we were mixed with women. We learned the stylistic differences with our movements and then we danced together. Darrell’s greatest quality as a kumu, I understand now, was humbleness, being able to receive that ‘ike (knowledge) and to impart it comes with being humble.” Kumu Darrell passed away in 1989.

representative not only of his current generation (in his 30s) but of the somewhat privileged position of growing up in a multi-generational hula family. When children—brothers and sisters—grow up together in hula, the prejudice of gender difference may not be so much of a factor.

“My kumu, Iwalani Kalima, of Halau Hula ‘O Kahikilaulani, is also my aunty. It’s in the family, therefore I’m always around it,” No‘eau says. The hālau, originally under the late Kumu Hula Ray Fonseca, won trophies during the late ‘80s and early ‘90s, then came back to win the Kahiko Kane category in 2016.

No‘eau also danced in that performance.

“My formal training started at the age of four or five with Aunty Iwalani and also Kumu Ray Fonseca.” Both were trained under Kumu George Naope.

The Next Generation When he turned 13, No‘eau was invited A hula practitioner in the next to participate with Fonseca’s hālau in generation following Kumu Keala and Merrie Monarch. “At the age of 13, I Noÿeau Kalima during his winning performance at the 2007 his hula sisters and brothers is (Joshua) inaugural Kane Hula Festival's Mr. Hula Competition in Hilo, was the youngest performer. That first No‘eau Kalima of Hilo, who has been experience I’ll never forget. I continued Hawaiÿi. photo courtesy of Aaron Miyasato dancing hula since the age of four with Kumu Ray and we later won first and is currently in training to become a kumu hula. He is place in 2016 in Kane Kahiko. That moment was overwhelming because Kumu Ray had passed away, but it’s just the amount of community that supports us. It’s an out-of-body experience.

It’s surreal.”

KeOlaMagazine.com | March-April 2018

Joshua Noÿeau Kalima speaking at a recent program at Volcano Art Center, entitled "Hula Voices." photo by Karen Valentine

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Hilo's Halau ÿO Kahikilaulani won the Kane Kahiko title in 2016, a special honor for their late Kumu Ray Fonseca. photo courtesy of Merrie Monarch.com

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The first trophy in the Kane categories at Merrie Monarch went to the Men of Waimapuna in 1986, under the direction of late Kumu Darrell Lupenui. They portrayed the warriors of Molokaÿi. The young Keala Ching is fourth from left in the back row. Today, he is a kumu hula and founder of Na Wai ÿIwi Ola in Kona. photo courtesy of “Tribute to Darrell Lupenui" No‘eau is a recent graduate of University of Hawai‘i at Hilo in Hawaiian Studies, which he studied to better grasp his Hawaiian identity as a foundation to becoming a kumu hula. “Uncle George said hula has the ability to express one’s innermost feelings. I think that as a hula person connected to the surroundings, we call in both male and female energies. The female can pull up male energy and a lot of the kane dances require female energy, but it’s whatever the mele (song) is wanting to come across, how it wants to be expressed. You can do kane energy or wahine energy. When you do dances about our goddess Pele, it’s the same as warrior energy.”

No‘eau says that the men in his hālau are taught certain moves, such as the flat-foot ka‘o step. “It is very centered and grounded. It’s more like pulling the energy out of the ground.

I am really fortunate to have had a kumu that’s female and one that’s male, but they come from the same lineage, so their teaching is kind of the same. There is a little softness in the female kumu and something more stern in the kane kumu. At the same time, Kumu Iwalani can pull out the other (powerful) side, and Kumu Ray could pull up the soft side.”

As both males and females practice the art of hula, they learn that the dance enhances one’s balance, both in the physical and the energetic sense. Both have the opportunity to express their masculine and their feminine side.

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Local Foods

Going Bananas

By Brittany P. Anderson

never noticed in the small patch of Apple Bananas in my yard.

The first hand of Saba didn’t last long. My newfound love created an insatiable appetite for more. Having only eaten bananas raw, the same way I’ve been eating them for years, cooking a banana in a savory dish was beyond my comprehension.

I flew through two more hands of Saba bananas, savoring the sweetness each time I devoured my morning banana.

Bananas are full of beneficial nutrients like energy boosting carbohydrates, potassium, vitamin C, vitamin A, and iron. Sabas are low on the glycemic index, too. Eating a Saba, or in my case two to three, is actually a good thing.

I set my sights on a light-yellow hand with just a bit of green around the edges. Starchier and a touch less sweet, these would be the honorary first Sabas to widen my culinary world.

Prito Saging is the basis for what came next. In Tagalog prito means fried while saging means banana—literally fried bananas. Blending a little Puerto Rican tostones technique (smashing with a plate) makes this Prito Saging an unexpectedly perfect bread substitute.

The crunchy sweetness of the fried Saba is delightful for a hearty sandwich, burger, or the most epic avocado toast.

Prito Saging Tostones Style—A Recipe Saba banana bunch, peeled Oil for frying, about 1/8 of an inch in the pan Toppings of your choice Heat oil on medium heat in frying pan. Place peeled Saba in oil. Turn after about 1 minute to slightly brown on each side.

Banana should not burn. Once browned slightly on all flat sides, remove from pan and place on paper towel to absorb excess oil. One at a time, place Saba between two pieces of parchment paper. With the bottom of a plate, firmly press down on the Saba, flattening it. Return the flattened Saba to hot oil and fry for about 1 minute on each side, gently flipping with a spatula. Remove from oil and place on paper towel to absorb excess oil. Top with whatever you like. Eat immediately and enjoy!

Photos by Brittany P. Anderson

KeOlaMagazine.com | March-April 2018

I used to think that all bananas were the same. Yellow skin, bland taste, mushy, and eaten on the go for breakfast. The Cavendish banana was all I had ever known. Chopping down the thick stalk of an Apple Banana, some 12 years ago, was the first time I had even laid eyes on a banana plant let alone tasted a true ripe banana.

Little did I know there are about 1,000 varieties of bananas in the world, with about half of the varieties bearing fruit while the rest are ornamental. Approximately 200 different varieties are grown in Hawai‘i!

Praying Hands, Lady Fingers, Ice Cream Banana, green striped A‘ea‘e, Cuban Red, Apple Banana—the list goes on for the amazing variety of bananas available here on Hawai‘i Island. Recently, at Island Naturals in Hilo, I came across a variety of banana eaten both green and yellow— the Saba.

Saba bananas are popular in Philippine cuisine, and to my surprise, are cooked in both sweet and Prito Saging (Saba Sandwich). savory dishes. The Saba banana grows exceptionally well in Hawai‘i. They are massive plants that grow to around 25 feet tall. Fat and square, these bananas look very different than other types of cooking bananas.

I peeled back the yellow blocky fruit and took a bite. Their skin is thick and leathery in a deep golden shade of yellow. The taste was unlike any banana I had ever eaten! The ripe Saba retains a firm meaty texture and has tasting notes of peach, a slight tangy lemon, and butter. Slightly chewy, it has a great consistency for eating fresh off the bunch.

Bananas are marvelous plants—planting just one can create a whole forest. Bananas are cultivated from a rhizome most commonly called the corm. It is like a big bulb, and from that rhizome, stems grow outwards and form banana plants. The magic of the banana is that multiple stems can grow from the same corm, eventually turning just one rhizome into an intricate, delicious fruit-bearing network.

Banana plants aren’t trees even though they may seem like it. They’re more closely related to a turnip than they are a ‘ōhi‘a tree. The trunk of the banana plant is actually a tightlywrapped stem made up of leaves, something I would have

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100 years of Worship: Ka Mauloa Church

By Denise Laitinen

I f you stop and listen on any given Sunday as you

travel along Highway 11 in Kurtistown, you may hear the sounds of church parishioners singing in Hawaiian.

Small in size and humble in nature with roots tracing to Hawaiian royalty, Ka oka Malamalama Ho‘omana Na‘auao o Hawai‘i Church (HNOH) has played an important role in both Hawaiian culture by perpetuating the Hawaiian language, and the Hawai‘i Island community through its many outreach efforts. This April, the little church marks a big milestone celebrating its 100th anniversary.

History of Ka Mauloa Church and its Ties to the Hawaiian Monarchy Ka Mauloa Church is part of the Ho‘omana Na‘auao o Hawai‘i HNOH congregation of churches across the State of Hawai‘i. On O‘ahu, the HNOH church organization dates back to April 1853, when Hawai‘i Island resident J.H. Poloailehua of Kukuihaele created a ministry there when he believed he was healed of a deadly fever through prayer. While preaching on Hawai‘i Island in 1881, Rev. Poloailehua stayed at the home of Kohala resident John Kekipi. Rev. Kekipi, who is regarded as the co-founder of Ho‘omana Na‘auao

HNOH Church, was believed to have healed Queen Kapi‘olani from an illness through prayer. Rev. Kekipi was going to ask Queen Kapi‘olani’s husband, King Kalākaua, to declare HNOH as the official church for the Hawaiian people, however the king passed away in San Francisco before the request could be made.

Ho‘omana Na‘auao o Hawai‘i HNOH, which means to worship with wisdom, was the first independent Hawaiian Christian organization in Hawai‘i and remains independent to this day. After the first church was built on O‘ahu, eleven more churches were built within a decade across the state, including Ka Nani oka Malamalama built in Kohala in 1897, Ka Uwila oka Malamalama in Kailua-Kona, Ke Kilohana oka Malamalama Ho‘omana Na‘auao in Hilo and Ka Hoko Malamalama in Papa‘ikou.

Each congregation usually started in members’ homes before parishioners built a church.

For instance, Ka Elele oka Malamalama Ho‘omana Na‘auao was

KeOlaMagazine.com | March-April 2018 Built in 1918, Ka Mauloa church in Kurtistown is celebrating its centennial this April. 31 photo by Denise Laitinen

Inside Ka Mauloa Church. Sermons are often given in Hawaiian and English and church hymns are sung in Hawaiian. photo by Denise Laitinen built in Kapoho for residents in lower Puna while Ka Mauloa oka Malamalama Ho‘omana Na‘auao Church was built in upper Puna, in Kurtistown.

Although the Kurtistown church dates back to 1918, records of the early years are sketchy. Many of the church records only go back to 1933 when Rev. Ku‘ulei Warren was the kahu (pastor) of the church. By that time, church membership had waned and some weeks Rev. Ku‘ulei, who also served as postmaster for Kurtistown, conducted the service for herself. Slowly, more families started coming to church and membership grew.

Today, Ka Mauloa Church has about 200 members, although it is not unusual to find only a handful of Hawaiian families seated in the church’s 12 pews on an average Sunday.

Rev. Pi‘ilani Ka‘awaloa notes that it can be challenging for members with children to attend as much as they would like since youth athletics and work schedules can make it difficult to attend church every week. However, both she and Rev. Gladys Brigham point out that special occasions such as baby blessings can draw a standing room only crowd.

Church leaders explain that babies are blessed after they are one month old, however to be considered an official church member, a person may join once they reach age 18. That way they can decide for themselves if they want to join the church as an adult and be baptized.

“When we have special occasions our church is always full, especially at holidays such as Easter and Christmas, or a funeral,” says Rev. Pi‘ilani. “If someone has a baby blessed, the whole church is full,” adds H. Kanoeokalani Cheek with a smile.

Kanoe, who resides on O‘ahu, is the HNOH property manager, as well as secretary and director of the board.

Community Activities Ka Mauloa Church does a tremendous amount of community outreach. “The purpose of the church is to promote Christianity and ameliorate human suffering,” says longtime church member Kehaunani (Nani) Masaki.

Church members work with numerous nonprofit agencies to help distribute towels, blankets, and hygiene items all year long to the island’s homeless, as well as toy and gift bags at Christmas. Organizations they partner with include Child

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Rev. Gladys Brigham (left) and Rev. Piÿilani Kaÿawaloa giving a sermon at Ka Mauloa Church. photo by Denise Laitinen

& Family Service, Children’s Justice Center, Strong Families, Child Protective Services, Hui Mālama Ola Nā ‘Ōiwi, Under His Wings Ministry, Veteran’s Outreach, Salvation Army, and Hope Services. They also partner with local businesses. For instance, Hilo dentists Dr. Steven Sakata and Dr. Neal Nakashima have donated toothbrushes and toothpaste for hygiene kits.

Ka Mauloa Church members also work with other churches and organizations, such as Our God Reigns, New Hope, Pentecostal Disciple, Alpha-Omega Church, and Kurtistown Assembly of God to supply hygiene items, school backpacks, and fresh produce to those in need. Every year church members donate shoeboxes filled with small toys and toiletries for Operation Christmas Child.

In 2015, five different California quilting circles donated 54 quilts for those in need. Church members, families, and friends also take hygiene bags, school items, and blankets into their communities to help struggling families.

After Tropical Storm Iselle, church members cut trees, distributed water, and supplied towels, personal hygiene products, and fleece blankets to Pahoa School for showers for the community.

“We are active in our community because it glorifies God,” says Nani. “We know we cannot do everything, but we can do something.”

Perpetuating Hawaiian Language Given that native Hawaiians founded the church for Hawaiians, Ka Mauloa Church and its sister churches have helped perpetuate the Hawaiian language over the decades.

“There was a time when the Hawaiian language was banned and you could not speak Hawaiian in public,” says Kanoe.

Her great-grandfather, Rev. Kekipi, co-founded the religious organization and built churches providing Hawaiians with a sanctuary where members were able to speak the Hawaiian

language freely. “My aunties used to go talk in the church [to speak in Hawaiian].”

“The churches helped keep Hawaiian language intact,” adds Nani. “The language was spoken in the churches and it was the churches that helped keep the language alive.”

Indeed, church services include scripture in English and Hawaiian and hymns are only in Hawaiian.

“The uniqueness of our church is that we still do our services in Hawaiian and our hymns are original hymns that are in Hawaiian too,” says Rev. Pi‘ilani.

Pi‘ilani, who works at Kamehameha Schools, is also the main Sunday school teacher. She notes, “There are a few of the children that are fluent in the Hawaiian language. I speak to them in Hawaiian and we read our scripture in Hawaiian and English, just as during the worship service.”

“Our churches have always been bilingual in English and Hawaiian,” says Rev. Gladys W. Brigham.

“One minister would read in Hawaiian and another would speak in English, whichever one was most comfortable with either language.”

As it so happens, Rev. Pi‘ilani is fluent in Hawaiian and Rev. Gladys prefers English,

Mrs. Mary Kekuewa and Youth Challenge volunteers bag snacks for outreach hygiene bags in December, 2014. photo courtesy of Ka Mauloa Church

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Jaylynn and Simba prepare to bag hygiene items for outreach in 2014. photo courtesy of Ka Mauloa Church

so each minister delivers sermons in the language she is most comfortable speaking.

Like many members of the church, Rev. Gladys and Rev. Pi‘ilani have deep ties to the congregation and their families have attended the church for generations. A life-long member of the church, Rev. Gladys’ great-granduncle, Rev. Clement K. Hauanio was ordained as a minister at the Kurtistown church in 1933 and her father, Rev. John K. Hauanio Jr., became kahu of Ka Mauloa church in 1984. Rev. Pi‘ilani’s grandparents were ministers and her mother was a member of Ka Elele O Ka Malamalama Ho‘omana Na‘auao, in Kapoho, which burned down in the 1960 lava flow. Rev. Pi‘ilani’s mother later became a minister at Ke Kilohana oka Malamalama church and then kahu at Ka Mauloa church.

Both Rev. Gladys and Rev. Pi‘ilani were ordained at the same time after the church’s two ministers, Rev. Minnie Ka‘awaloa (Pi‘ilani’s hānai mother) and Rev. Adam Warren died within a month of each other in 2014.

Since that time, Rev. Bettina M. Recca, President of Ho‘omana Na‘auao o Hawai‘i HNOH in Some of the 54 quilts donated by five quilting circles in California for Ka Mauloa Church's outreach in May, 2015. photo courtesy of Ka Mauloa Church

Honolulu, who is also descended from kahu within the church, and Rev. Gladys and Rev. Pi‘ilani have overseen weekly church sermons while the church seeks a new kahu.

Essentially, the church members vote on a new kahu, explains Rev. Gladys. She adds that it is not that simple when talking about the search for a new kahu.

“It’s also a calling,” says Rev. Pi‘ilani. “It’s very powerful. The way our founders established our church, it was through the grace of God. They were very powerful back then with their relationship with God. With the way they brought families together, all their knowledge and gifts came from the Bible and the power of prayer. And so it wasn’t about ‘you’re a good speaker, you’ll make a good minister, get up there [on the pulpit].’” “In this church, God chooses the ministers,” says Nani.

In addition to searching for a new kahu and their many community assistance programs, church members are actively gearing up to celebrate the church’s 100th anniversary.

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Celebrating 100 Years of Worship On Sunday, April 29, the church will celebrate its 100th birthday with a rededication at the church followed by a pā‘ina (party) for members and guests at the Hilo Hawaiian Hotel.

As the congregation gets ready for this important milestone, parishioners are also busy fundraising to make much-needed repairs to the church.

Fundraising for a New Roof Like many old wood buildings on Hawai‘i Island, Ka Mauloa Church is dealing with termite damage and roof issues. Church members have been fundraising and applying for grants in order to raise $155,000 to repair and restore the church in time for the centennial in April.

“We recently had a giant yard sale at the Haili Tent in Panaewa,” says Nani. “We’ll also have a cookbook and t-shirts available to purchase at the celebration to commemorate 100 years of blessings.”

As the congregation enters its next hundred years of service, Rev. Pi‘ilani says, “Our hope is to gain more members and to also pray for the return of our existing members.” n For more information: call 808.778.5598 Ka Mauloa oka Malamalama Ho‘omana Na‘auao Church HNOH 17-604 Volcano Road (Highway 11), Kurtistown PO Box 435, Kurtistown, HI 96760 Church services are held every Sunday at 11am KeOlaMagazine.com | March-April 2018

Rev. Piÿilani Kaÿawaloa, Kanoe Cheek, Nani Masaki, and Rev. Gladys Brigham of Ka Mauloa Church in Kurtistown. photo by Denise Laitinen

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KeOlaMagazine.com | March-April 2018

Iris Viacrusis:

By Mālielani Larish

D

ressed in a velvet azure gown made by Hawai‘i Island fashion designer Iris Viacrusis, and adorned with a peacock feather collar that she had handcrafted herself, Aunty Doreen Henderson graced the 2013 Merrie Monarch stage with an air of royalty. Aunty Doreen had made her debut as the event’s first queen 50 years earlier. Beaming proudly, Iris escorted Aunty Doreen across the stage, wearing a traditional piña fiber tunic as a tribute to his Filipino heritage.

Exhausted, but happy that he had contributed to several projects for the Merrie

Creating Fashion from Paris to Paradise

Monarch’s 50th Anniversary, Iris whispered to Aunty Doreen jokingly, “I think you need to hold me up.”

Three years later, Aunty Doreen would support Iris in creating his crowning achievement to date, the regalia of the ‘Iolani Palace’s Ali‘i Gown Reproduction Project. In addition, Iris has catalyzed local interest in Filipino culture and the traditional attire of the Philippines. He also worked as the wardrobe designer for a film entitled The Islands (which will premiere in November 2018). A series of serendipitous events have enabled Iris to stay true to his dream of creating ultraclassic, ultra-feminine, one-of-a-kind works of fashion.

From the Philippines to Paris Born in Olongapo City in the Philippines, Iris moved to San Jose, California at age 13. From the first peach dress that he created for a beloved doll, Iris recalls immersing himself in the creative process at a young age. He studied business administration

KeOlaMagazine.com | March-April 2018 Iris arranges the skirt of a bustle dress, which was inspired by clothing worn around 1875. photo courtesy of Anna Ampleyeva

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and fashion, and moved to Los Angeles in 1998 in the hopes of infiltrating Hollywood’s fashion scene.

Alas, Iris realized that the industry had changed and no longer needed skilled designers. He found that modern productions often hire stylists who rent costumes or pull costumes out of archives.

Still passionate about creating Reproduction of Queen Liliÿuokalani’s coronation gown, on fashion from display at ÿIolani Palace. photo courtesy of Bonnie Nims drawing board to finished work of art, Iris decided to settle in Paris in 2001, where he hoped to study at the same school that his admired mentors, such as Valentino, had graduated from. After being turned down several times due to his limited French speaking skills, Iris was finally admitted to L’École de la Chambre Syndicale de la Couture and earned a special certificate from the institution.

This certificate served as Iris’ ticket to Paris’ realm of haute couture (high fashion). He landed a position with American designer Abraham Pellem and designed a personal collection for an interpreter from Geneva. Later, he found work at Paris’ premier weaving company, Malhia Kent Fabric Design House.

When his textile designs were selected to appear in fashion shows for the likes of Christian Dior and Chanel, the owner of the company gave him tickets to the show.

“I lived the Bohemian lifestyle,” Iris says, recalling his closetlike living quarters with a grin. After three and a half years surviving on minimal pay in Paris, Iris decided to return to the US. He soon found work in Dallas, Texas, where he designed and installed draperies and curtains for the nouveau riche. “It got lucrative, but it wasn’t fitting nicely,” Iris says.

When Iris moved to Hawai‘i Island in 2005 to rescue a property that his father wanted to sell, he allowed his design career to hibernate. In the fertile jungle of Hawaiian Paradise Park, Iris cultivated a plant nursery business with his partner Iris and the women of Lei Hulu of Hilo (Naomi, Sheila, Gay, Momi and Aunty Doreen) work on the peacock bands for the Aliÿi Gown Reproduction Project. photo courtesy of Elyse Butler

to collect traditional costumes and textiles over a three-year period. He has shared this collection and given presentations about it on several islands. He also visited New York to deliver a presentation to the Filipino American National Historical Society and organized Hilo’s first annual Sakada Day to celebrate the arrival of Filipinos in the Hawaiian Islands. Iris has also served as a mentor for University of Hawai‘i at Hilo’s Bayanihan Club.

The Ali‘i Gown Reproduction Project at ‘Iolani Palace With a mannequin as his blank canvas, Iris assembles the Victorian-era bustle dress that helped initiate his partnership with the ‘Iolani Palace. Evoking the prevailing tastes of the year 1875, the dress is comprised of a foundational skirt, an overskirt that consists of a front apron, back pouf panel, and a bodice. The multi-layered effect is sumptuous: in the front, the wine-red velvet drapes down in concentric rings,

In New York at the Filipino American Nation Historical Society in June 2016. photo courtesy of Filipino American Nation Historical Society

like a symmetrical pahoehoe lava flow. In the back, Iris pulls the fabric up and out from the waist to create a luxurious cascade that accentuates the derrière. Intricate black lace and beadwork grace the front and sleeves of the bodice. This is the type of dress that Queen Emma would have worn, the monarch who reigned as Hawai‘i’s queen for 18 years before the future King David Kalākaua defeated her in a royal election.

Iris first created the dress for the YWCA’s 90th annual benefit show in 2009. When former Miss Hawai‘i Desiree Cruz donned the dress to perform the Queen’s song at ‘Iolani Palace’s annual fundraising event, the dress sparked the curiosity of then-curator Heather Diamond. Heather hoped to recreate the beloved gowns of the Ali‘i in an effort to attract more visitors to the palace, and after contacting Iris, she learned that his qualifications to assist with the project exceeded her expectations.

The magical coincidence is this: Iris studied Edwardian and Victorian costuming at Fullerton College in California, and the dresses worn by Hawai‘i’s regents come from this exact time period.

To recreate the gowns as authentically as possible, Iris became a historical detective for the project. He received permission from Bishop Museum’s curator, Betty Kam, to inspect remnants of the original gowns and peruse personal 39 reminiscences of the Ali‘i. To take one example of his sharp

KeOlaMagazine.com | March-April 2018

and channeled his creative instincts into designing the Hilo Orchid Society’s display for its annual sale.

The universe, however, blessed Iris with a gift that reawakened his designing career. After one of Iris’ friends was diagnosed with breast cancer, he spent six months as her caregiver. Her husband insisted that they repay Iris with a meaningful gift. When they found out about Iris’ latent talents, they funded the conversion of his carport into the design studio that he still uses today.

Fast-forward to 2009, while attending a presentation at the Lyman Museum, Iris was introduced to Aunty Doreen Henderson, a respected kumu (teacher) of lei hulu (featherwork). Iris asked her what she was planning to wear for the Merrie Monarch’s 50th Anniversary event.

“They want me to wear my original dress!” Doreen replied.

“You can’t do that!” Iris said. “It would be an honor for me to make you a dress…what color do you want?” Without hesitation, Doreen said “Peacock! I’ve always wanted to do a peacock collar for a dress.” Iris smiled. “I have the perfect fabric for you,” he said.

Iris’ role in creating Aunty Doreen’s dress launched his partnership with the Merrie Monarch Festival. For the 50th anniversary event, Iris created a new wardrobe for those who portrayed Queen Kapi‘olani, Queen Lili‘uokalani, Princess Likelike, and Princess Ka‘iulani in special appearances. He also designed and created the dresses for Kumu Hula Etua Lopes’ hālau (hula school), including Etua’s kupuna (elder) solo and his kūpuna dancers, along with the keiki (children) and wahine (women’s) groups.

Iris continued to bring his passion to Hilo’s beloved hula festival by leading the effort to bring the Los Angeles-based dance troupe Kayamanan Ng Lahi Philippine Folk Arts to the Merrie Monarch stage for the 2015 Ho‘ike, marking the first time that a Filipino performing arts group graced the Merrie Monarch stage. The performance exposed the audience to the cultural diversity of the Philippines and inspired pride in Filipino heritage.

(The Philippines is home to 7000 islands and 118 indigenous groups.) In 2016 and 2017, Iris paved the way for another group, Parangal Dance Company, to represent Filipino culture at the Merrie Monarch Festival.

Iris notes that several of the kumu hula who compete at Merrie Monarch have Filipino heritage and that his goal is to highlight and celebrate the Filipino culture in hopes that it may flourish.

With a grant from the Hawai‘i Tourism Authority and the Atherton Reproduction of black ribbon gown worn by Queen Liliÿuokalani, on display at ÿIolani Palace. Foundation, Iris traveled throughout the Philippines photo courtesy of Bonnie Nims

KeOlaMagazine.com | March-April 2018

eye for detail, he called attention to the fact that Queen Lili‘uokalani’s coronation gown was actually lilac in color. Iris found this by looking at the fabric hidden in the seams of the still-extant dress, which has otherwise faded to an ivory color. After reading a passage from Lili‘uokalani describing her favorite flower as the crown flower, Iris selected a fabric for the dress that captures the unique silverlilac tone of the crown flower.

“If the king and queen were alive, this is what Reproduction of the Peacock gown worn by they would wear,” Iris says Queen Kapiÿolani, on display at ÿIolani Palace. of the reproductions. photo courtesy of Bonnie Nims Of the first four gowns that Iris debuted for the project in 2016 and 2017, three represent gowns worn by Queen Kapi‘olani and her sister-inlaw Lili‘uokalani to Queen Victoria’s Golden Jubilee in England.

Queen Victoria requested that her guests wear fashion representing their culture, so Hawai‘i’s leading females chose to give their gowns a uniquely Hawaiian twist by incorporating featherwork. The first gown, Queen Kapi‘olani’s Lei Hulu gown,

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features the yellow feathers of the now-extinct ‘ō‘ō (black/ yellow honey eater) bird. Iris believes that the feathers for the original gown were repurposed from old cloaks. In the reproduction of the gown, he used dyed goose feathers and combed them to mimic the wispy texture of ‘ō‘ō feathers.

Iris aptly calls Queen Kapi‘olani’s peacock feather gown, which took two years to complete, “the gown of my life.”

Perhaps the most majestic of the collection, this azure gown features a train four yards long and peacock feather borders along two panels, the apron, the train, and the collar.

Iris partnered with Aunty Doreen Henderson for the project, who selected the crème de la crème of her Lei Hulu hui (club) to engage in the painstaking task of trimming and bundling peacock feathers, which must be stacked together to create a rich blue radiance. One Lei Hulu member, Noemi, even flew back and forth from Japan to help with the endeavor.

Some visitors to ‘Iolani Palace are moved to tears when they see the gowns. The dresses effectively embody the majesty of Hawai‘i’s royalty, who wore the gowns during the time when the Hawaiian nation was taken over by the United States.

Iris feels grateful and honored to have worked on the Ali‘i Gown Reproduction Project at the ‘Iolani Palace, and says that Aunty Doreen and her hui provided instrumental support for the endeavor. No matter what the future holds, Iris will continue to find ways to create, because for him, it is the creative process that brings him enduring joy. n

For more information: iviacrusis@yahoo.com FaceBook: Iris Viacrusis

Mahalo BMW of Hawaii – Art Story Sponsor

Kahakai Elementary School Art Program

Leaves No Child Behind

By Karen Rose

Former Director of the National Endowment

for the Arts Jane Alexander famously said, “When we teach a child to sing or play the flute, we teach her how to listen.

When we teach her to draw, we teach her to see. When we teach a child to dance, we teach him about his body and about space. When we teach a child design, we reveal the geometry of the world.”

In recent years, schools across the country have cut back significantly on art programs and shifted their academic focus heavily toward common core subjects like math and reading.

However, one grade school on Hawai‘i Island recognizes the importance of art education and is doing everything it can to maintain a quality program for its students.

Kahakai Elementary School in Kailua-Kona regards art education as an essential factor in the building blocks of child development. Four years ago, the school created an art program for its students with the goal of enriching their lives and educational experience.

This year, Linda Wantanabe stepped in to teach Kahakai’s art program. Although Linda has a degree in fine art, she taught various other subjects at Kahakai before recently taking over the art program.

“Not many schools have the same opportunities for students to create something with their hands anymore,” said Linda. “I think that makes our program really special. It kind of brings

back how it used to be in the old days. We give our students opportunities to be creative and make something from their own ideas, which is wonderful.”

No school program is successful without the support of its leadership, and Kahakai’s school principal, Mr. Denight, felt the art program was important enough to ensure money was available to purchase a kiln and have two art teachers.

“I feel it’s important to focus on the whole student, not just on academics, but their creative side as well,” said Mr. Denight.

“It’s important to expose students to art in elementary school because you never know with whom it’s going to take off. It’s extremely important that we focus on the entire child, for their development.”

“We are very lucky because not many grade schools have a kiln,” said Linda. “This enables us to incorporate ceramics into the art program and the kids seem to enjoy ceramics more than anything else we do. We also let them glaze their projects, so they get a beautiful piece when they’re done.”

In addition to ceramics, Kahakai offers instruction in painting and drawing as well.

“We pretty much do everything,” said Linda. “It’s not the biggest classroom, but we make the most of what we have.

This year we expanded the art program. Prior to this year, we did not include the lower grades, just the three upper grades.

Kahakai is very committed to providing a great art program to

Top background: Create art mural at Kahakai Elementary School. Middle: Image art mural created by the Kahakai Elementary students. Right inset: Art teacher Linda Wantanabe inspires her students through creativity.

KeOlaMagazine.com | March-April 2018

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Historic Kainaliu, Kona’s original shopping village.

Located 5 miles south of Kailua-Kona.

the kids in a very big way.”

Kahakai’s commitment to the arts is supported and backed by research. According to a report by Americans for the Arts, art education strengthens critical thinking skills and improves a child’s ability to solve problems. These skills are carried with them throughout their lives. The developmental benefits of art are exponential and include skills such as visual learning, motor skills, and improved academic performance.

“Art allows children to think outside the box and try new things,” said Linda. “Even if they don’t become artists themselves, art helps them in other avenues of their life when they become adults. Instead of following the same methods to do something, kids with an art background may be more willing to try new things and do something in a unique way. I really believe it opens up their minds to different avenues. In addition to the usual way of doing things, art allows kids to create whatever it is they feel, instead of just having to follow specific instructions.”

Kahakai’s art program encourages students to express themselves through creativity, and as such, develop a sense of innovation and inventiveness. They are preparing their students for the future by encouraging them to think, invent, and discover new ways to make the world a better place.

“Our art program allows the children to have the freedom to make something unique,” said Linda. “That’s nice because their days are so regimented. They are required to have math at a certain hour and reading at another hour. But in that one-half hour period, they’re really enjoying themselves without the rigid rules of other classes. While they still have to behave in art class, they have a lot more freedom. I think that’s good.

There’s very little of that free creative time anymore.”

Numerous academic studies show a correlation between art and achievement. For example, the same report by Americans for the Arts found students who regularly participated in the

KeOlaMagazine.com | March-April 2018

Outdoor mural at Kahakai Elementary.

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arts were significantly more likely to excel and be recognized in other areas of academia than children who did not practice art. Linda noticed a behavioral shift in students once they participated in the school’s art program.

“There were some kids that had a difficult time in the other classes, especially with behavioral issues,” she said. “They had a difficult time focusing and sitting still. However, those same kids, when I see them in the art room, are not like that at all.

They get lost in their projects and they end up with something that’s really, really great. They have no trouble spending the whole time making something and not fooling around.”

Linda believes art class is a place where students excel and build their confidence. This confidence building often carries over to other subjects and other aspects of their lives.

“For some kids, art class is the place they can shine because they don’t have to settle down,” she said. “They can just put all that energy into creating something, and for them it may be the only time they are really in their top form. They have a place to channel their energy as opposed to causing disruption in the classroom. It’s amazing. I was like, ‘Wow, this is the same kid I had last year but look at him in here. This is a whole different scenario.’ Usually, those kids actually come up with the best work.”

Modern day students are very adept and familiar with using technology of all sorts, and while the teachers at Kahakai encourage technological learning, they also recognize the benefits of creating something with one’s own two hands.

“I can see my students thinking, ‘Oh, wow, I don’t need my iPhone. I don’t need all that stuff. I can just make something with this pile of clay’,” said Linda. “The joy they feel when they see their piece come out of the kiln is wonderful. They’re so proud of their work and they want to bring it home to their parents to share with them. It makes them feel good about themselves.”

KeOlaMagazine.com | March-April 2018

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KeOlaMagazine.com | March-April 2018

The school’s art program is also designed to give students an opportunity to relax and temporarily escape the stresses of academia. With cuts to school art programs, having time for art class is somewhat rare in schools today. However, the students at Kahakai Elementary School dedicate 30 minutes of every day to being free and creating something they can feel good about.

“The students seem happier when they’re creating art,” said Linda. “We have several kids with difficult home lives which affect them at school. However, when they’re in the art room, they tend to forget about their stresses outside of school and are happy focusing on their art. It gives them self-confidence to create something beautiful. I really think it’s one of the best programs you could have in school.”

Kahakai is also known for the beautiful murals their students created, which now adorn the outside of the building. Former Kahakai art teacher, Susan Gallery, inspired her students to join forces and create colorful murals to display to the public.

“The former art teacher was wonderful. She had the students create some wonderful murals,” said Linda. “There is one outside the classroom now. The kids each created a small piece of the mural and then joined them all together to make one big mural.”

Students have their art work displayed inside the school as well.

“They’re very happy to see their work displayed with their names on them. They’re very proud,” said Linda. “They often bring their parents to show them their displayed work. It’s nice. It gives them a feeling of accomplishment.”

There is much to be learned from the arts, and Kahakai Elementary School’s art program is a testament to the

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importance of art education at every age level. In today’s diverse and often stressful world, teaching children to recognize their own creativity and the creativity of others opens their minds to the idea that what we see in the world around us, whether it is art, marketing, or advertising, may just be someone else’s interpretation of reality. Recognizing everyone’s unique ability to create and influence creates more critical thinkers, and that is something the world always needs more of. n Photos courtesy of Linda Wantanabe For more information: kahakai.me

Recycle mural at Kahakai Elementary.

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magine going to college in a learning laboratory where sustainable building and design has earned the highest award in the green building industry.

Residents of West Hawai‘i can do just that at Hawai‘i Community College, Pālamanui and University of Hawai‘i Center, West Hawai‘i.

Located in North Kona, just mauka (mountain-side) of the Ellison Onizuka Kona International Airport at Keāhole, HCC-Pālamanui boasts a Platinum rating for Leadership in Energy Environmental Design (LEED) from the U.S. Green Building Council. Platinum is the highest rating possible in the sustainable building program.

Completed in time for the Fall 2015 semester, the $27 million first phase of the campus provides 24,000 square feet of instruction space, including classrooms, offices, library, culinary arts kitchens, and science labs. Today, it’s where more than 500 students are enrolled in a variety of academic disciplines: liberal arts, digital media, hospitality, tourism, nursing, and more.

The campus earned LEED’s top rating by incorporating numerous sustainable elements into its design and construction: on-site photovoltaics (PV) for electricity, efficient water and natural lighting systems, a wastewater recycling system, and sourcing of sustainable building materials.

Honolulu-based architecture firm Urban Works designed the campus and it also won a Renaissance Building & Remodeling Grant Award in 2016 from the Building Industry Association of Hawai‘i. Pālamanui is heralded for being a learning laboratory that demonstrates off-grid constructed wetlands, passive solar orientation, and a PV array.

LEED is considered the most widely used green building rating system in the world. According to leed.usgbc.org, LEED offers independent verification of a building or neighborhood’s green features, evaluating design, construction, operation, and maintenance of resource-efficient and cost-effective buildings.

Based on the number of points achieved, a project earns one of four LEED rating levels: Certified, Silver, Gold, and Platinum.

According to the LEED Case Study brochure for the campus, Pālamanui illustrates the benefits of green building design as shown in the following projected statistics: • 45% indoor water savings or 71,590 gallons/year •3 0% energy cost savings or $101,316 in electricity saved/ year •1 00% gray and black water reused for irrigation or 394,642 gallons/year • 40% energy produced by PV on site or $103,904 in electricity generated/year

KeOlaMagazine.com | March-April 2018

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Pālamanui Director Dr. Marty Fletcher says a dashboard is in the works to share live data on the green building operating systems of the campus.

“We’re looking at both a touch screen and online portal to show the numbers in real time,” explains Marty. “This information can be used by students to calculate sustainability problems and outcomes.”

Using the data, for example, a student could come up with a recommendation to reprogram the timing of air conditioning, taking into account real weather conditions.

“The statistics on our power and water usages could be used to provide sustainable solutions to students working on assignments in math, science, and Hawai‘i lifestyle classes,” notes Dr. Fletcher.

Going Green—A Goal that Inspired Campus Fruition The Pālamanui campus was envisioned and designed as a learning laboratory, and as a sustainably-built campus.

According to Beth Sanders, who served as interim director of the University of Hawai‘i Center-West Hawai‘i at the former Kealakekua campus, the idea of having a green campus took hold during planning sessions in 2007.

“We, in administration, had a vision to have a sustainable campus and so that focus became part of the conversation,” she shares. “Sustainable building was a new idea in Hawai‘i then and it provided inspiration to set us apart from others. We really pushed for that goal and it helped us succeed in bringing the new campus to fruition.”

At Pālamanui, Beth is an accounting professor who also serves as the lead faculty liaison between Pālamanui and HCC-Hilo. She adds that thinking sustainably, in the context of

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“We wanted to set an example on how to take care of and honor our island home,” Beth details. “As a community college, I think we’re supposed to be initiators and think sustainably.”

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Building the Campus The 73-acre Pālamanui site provided Urban Works with a variety of challenges. An undeveloped lava field, the location was isolated from existing infrastructure and included an archaeological preserve containing burial sites and culturally significant features. It was determined to include sunlight harvesting through a photovoltaic system, daylight harvesting, mixed-mode air conditioning and natural ventilation, an onsite wastewater system, and water recycling for irrigation.

The site’s large archeological preserve influenced building placement and offered cultural educational opportunities.

Buildings were positioned to also ensure preservation of views to Maunakea and the ocean. Since the campus sits in a vast, undeveloped lava field, it appears to “float” above the pahoehoe (lava) landscape.

“The project reduced cut-and-fill to minimize impact and tread softly on the land,” explains Karen Lee, senior associate at Urban Works. “Site disturbance during construction was limited to only 10 feet beyond the edge of the sidewalks/ parking lot and 40 feet beyond the edge of the buildings…the lava field comes right up to the buildings.”

The entire campus is also situated to maximize solar exposure. PV panels cover south-facing roofs and extend over exterior corridors and outdoor classrooms. On muggy days, buildings use a high-efficiency, VRF-zoned cooling system.

Providing precise, zoned control of an area, VRF is an energy-

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Classrooms are well lit and airy thanks to building positioning, daylight harvesting, and VRF-zoned cooling.

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efficient HVAC system used in schools. Shared spaces are paired with signals that indicate optimum conditions for natural ventilation. If windows are opened, the A/C shuts down and fans kick in to circulate air.

Classrooms and offices rely on horizontal surfaces, called lightshelves, to reflect daylight deep into interior rooms.

Combined with strategically placed glazing, the effort gives all classrooms and gathering spaces ample natural daylight, plus views to the outdoors. Paints, carpets, and other indoor materials are low-emitting, rendering optimum indoor air quality.

Chosen for durability and environmental stewardship, building materials included local aggregate, polished concrete floors and FSC sustainably certified wood beams. FSC building materials are sourced from responsibly managed forests that provide environmental, social, and economic benefits.

“We used glue-laminated timber structures rather than steel,” elaborates Marty. “A lot of energy is used to produce steel.”

Water isn’t wasted at Pālamanui, the only UH campus to boast an onsite wastewater treatment system. It employs constructed wetlands and recirculating sand filter technologies to treat 100 percent of its wastewater from buildings, which is reused in the native landscape. Stormwater is managed by surface swaling to irrigate xeric (dry-tolerant) landscaping.

Showers are available for cyclists, as the campus is bike and pedestrian friendly. Pālamanui sits on the northernmost end of the under-construction Queensʻ Lei, a 16.7-mile looped pathway for cyclists and pedestrians connecting to Kailua Village. In an effort to encourage the use of mass transit, the Hele-On Bus stops at the campus Monday through Friday.

Boasting UH's only campus with an onsite wastewater treatment system, recycled water irrigates the xeriscape landscaping.

Preferred parking spots are reserved for low-emitting vehicles and those who carpool.

Across from the parking area is the landscaped gateway to the campus, considered the campus piko or umbilical cord, which is inspired by traditional Polynesian gathering spaces.

Situated under a triangle-shaped canopy, Dr. Fletcher says the spot can accommodate 500 people during commencement and is the location for the UH Speaker Series. A campus hub, it is adjacent to the outdoor dining area where culinary students serve scheduled lunches.

During Pālamanuiʻs official dedication in February, 2016, a traditional Hawaiian Moku Ka Piko ceremony blessed the campus. The ceremony was likened to the birth of a child who

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KeOlaMagazine.com | March-April 2018

carries a promise of commitment to the community. Chants and hula acknowledged the campus as the home of lifelong learners and leaders in West Hawai‘i.

The Hawaiian names for campus buildings were chosen in consultation with Kupuna Karin Kawiliau Haleamau. They represent healing plants that were once gathered in the area in hopes Pālamanui will promote the health and well-being of the local community through education.

Names are Hale Koali for classrooms and offices, Hale Panini for culinary and nursing departments, Hale Limuwai for sciences, Hale Kaliko for the library and learning center, and Hale Ēlama for student and administrative services.

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Attracting Students Hidden from the highway and accessible via Kaiminani Drive, Pālamanui isn’t very visible to West Hawai‘i residents. Marty wants to change that by providing community outreach opportunities. A two-day open house, formatted as “A College Experience,” is planned March 21–22 when local schools are on spring break.

“In addition to high school students weighing their college options, part of the idea is for parents to bring their children, as a family, to see what we have here,” explains Dr. Fletcher.

“We want to show off the campus when it’s acually functioning and let keiki (children) and their parents envision themselves as students here.”

The College Experience event will have families attend in two-hour blocks to experience a multiple classroom rotation through the campus. Attendees will witness first-hand how the campus works in action, showing both faculty and students interacting. The hope is the experience will open the conversation and the possibilities of attending Pālamanui to prospective students.

“Part of being sustainable is also servicing people in different ways,” emphasizes Dr. Fletcher. “People donʻt have to move to get an education here, which makes it so much more convenient and doable.”

Jason Roberson of Kailua-Kona credits the campus with allowing him to work towards an accounting degree without moving. While employed in construction as a granite fabricator, he wanted to pursue a degree and remain in Kailua-Kona, so he came to Pālamanui. He earned an Associate of Arts Pälamanui sits in an isolated lava field just north and mauka of Keähole-Kona Airport.

Pälamanui's design offers flexibility for program variation and campus transitions. with a Business Emphasis in two years and then smoothly transferred to UH-West O‘ahu through the universityʻs Distance Learning Program. Now a junior, he plans to graduate with his accounting degree in Spring 2019—a four-year college experience.

“I love the campus; all the classrooms are well-lit without needing so much artifical lighting,” shares Jason. “The technology for video conferencing is huge.”

Distance Learning provides students with access to UHʻs statewide educational resources through a network of audio, video, and computer technologies. Testing for Distance Learning is conveniently done on-site at Pālamanui. Distance Learning options are available to earn undergraduate, postbaccalaureate and graduate certificates, plus associate, bachelor, master and doctoral degrees. Students can study a variety of disciplines including nursing, teaching, business administration, public administration, management, economics, social sciences and more.

“We want the community to know our state-of-the-art Pālalmanui is a landmark for higher education,” notes Dr. Fletcher. “Designed for 21st-century learning, it is a vibrant and essential resource for those who call West Hawai‘i home.” n Photos by Andrew Richard Hara KeOlaMagazine.com | March-April 2018

For more information: hawaii.hawaii.edu/palamanui/

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May Day is Lei

By Leilehua Yuen

T

his year’s Hilo Lei Day Festival will be held on May 1, at

Kalākaua Park, the original town square of Hilo, and the site of Hilo’s Lei Day celebrations in the 1920s. May 1, celebrated around the world as a workers’ holiday and festival of spring, is known in the Hawaiian Islands as Lei Day. Don Blanding, fondly known as the “Poet Laureate of Hawai‘i,” explained the origin of the Hawaiian holiday in his book, Hula Moons: Along in the latter part of 1927 I had an idea; not that that gave me a headache, but it seemed such a good one that I had to tell someone about it, so I told the editors of the Honolulu Star-Bulletin, the paper on which I worked. They agreed that it was a good idea and that we ought to present it to the public, which we proceeded to do. It took hold at once and resulted in something decidedly beautiful...The custom of weaving and wearing flower leis originated

Lei Day Festival performers, 1940. photo courtesy of Lyman Museum

with the Hawaiians so long ago that they have no record of its beginning...When tourists discovered Hawaii, they loved the charming gesture and they spread the word of it until the lei became known around the world...Hawai‘i observed all of the mainland holidays as well as those of a number of the immigrant nationalities in the Islands. But there was no day that was peculiarly and completely Hawaii’s own; that is none that included all of the polyglot population there.

So, the bright idea that I presented was, “Why not have a Lei Day?” Let everyone wear a lei and give a lei. Let it be a day of general rejoicing over the fact that one lived in a Paradise. Let it be a day for remembering old friends, renewing neglected contacts, with the slogan “Aloha,” allowing that flexible word to mean friendliness on that day.

Blanding proposed the holiday in his column in the Honolulu Star-Bulletin on February 13, 1928. Two days later the paper printed a letter from Blanding’s co-worker, columnist Grace Tower Warren, who suggested May 1 for May Day celebrations as ideal for the holiday, and crafted the slogan, “May Day is Lei Day in Hawaii.”

Princess Helen Kawananākoa told Blanding, “Indeed, I do approve of the idea. I think it is a beautiful thought and you may count on me for anything you want to help it along. And I

,

Day in Hawai i Lei Day Festival at Kaläkaua Park, 1940. photo courtesy of Lyman Museum

know that you will have the loyal support of all the Hawaiians on O‘ahu. They have been discussing it among themselves and are unanimously in favor of it...The nicest part of Lei Day is that it brings kama‘āina (local residents) together again. With so many malihini (visitors) and malihini customs in Honolulu, the old-timers have rather withdrawn from public events.

But Lei Day is so much in the old-time manner that they are planning to revive many ‘good old days’ courtesies.”

In 1929, Lei Day received official recognition, and continues to be marked by celebrations in Hawai‘i and, now, around the world.

In 2001, Hawai‘i Senator Daniel Kahikina Akaka, during a May 1 address said, “May Day is Lei Day in Hawai‘i.” Lei Day is a nonpolitical and nonpartisan celebration. Indeed, its sole purpose is to engage in random acts of kindness and sharing, and to celebrate the Aloha spirit, that intangible, but palpable, essence which is best exemplified by the hospitality and inclusiveness exhibited by the Native Hawaiians—Hawaiiʻs indigenous peoples—to all people of goodwill.”

As Princess Kawananākoa explained to Blanding those many years ago, a lei is more than a garland of flowers hastily bought and carelessly given. She said that it should be made by the giver with much thought and consideration of color combination, fragrance, and design.

Lei also are more than flowers sewn on a strand. There are

lei of seeds, shells, feathers, and even words. A special song composed for a loved one can be a lei.

All of them are a tangible expression of aloha, given to show love, joy, or sympathy, and as greetings and farewells.

Historian and writer Emma Ahuena Taylor wrote in 1928, “The lei meant a great deal in old Hawaii. The favorite child in the home was called a wreath—a lei. Konia, the mother of Bernice Pauahi Bishop, when she spoke of Lili‘uokalani, called her the ‘lei a‘i,ʻ or ‘the wreath of her neck.ʻ As to Princess Pauahi, her daughter, she spoke of her as her ‘lei po‘o,ʻ or ‘the wreath of her head.ʻ This has been told me by my mother.”

A Traditional Lei Chant Ke lei maila o Ka‘ula o ke kai Ka mālamalama o Ni‘ihau ua mālie A mālie pā ka Inuwai Ke inu maila nā hala o Haue i kekai No Naue kahala, no Punaka wahine No ka lua nō I Kīlauea Ua ‘ikea

A lei of sea foam is there at Ka‘ula Ni‘ihau shines in the calm Parched by the Inuwai wind There drink the pandanus of Naue from the sea From Naue the pandanus, from Puna the woman From the pit indeed of the Volcano Let it be known

KeOlaMagazine.com | March-April 2018

For millennia, Hawaiian poetry has celebrated the lei. From ancient chants to modern songs, from poetic metaphors to literal descriptions, the lei has been a popular subject.

Formerly, while the lei was always given with great affection and respect, it might not always be placed on the recipient by the giver. To “nā po‘e kahiko”, the people of olden times, the head was sacred. People did not put their hands or arms above anotherʻs head. A lei was carefully wrapped in a special container, often made of fresh tī leaves, and handed to the recipient. If the lei was for a very high ranking ali‘i, then the lei would be handed to a retainer to give the ali‘i.

Emily Ahuena Taylor wrote, “Leis, I have always known, were, and are, an expression of love.

Leis were the garments of Hiku, the god of love. When one arrives at a Hawaiian home, the dwellers therein always hasten to deck him with leis, their expression of welcome and love. At departure, that same expression—of love— and farewell, is used in leis to decorate the departing one.

“At a feast, it is not complete unless every guest is

54 Hula troupe at the mauka doorway

of the Federal Building (now the Hilo downtown post office). photo courtesy of Lyman Museum

Aunty Joan Wheeler and long time Lei Day Festival organizer Leilehua Yuen. photo courtesy of Hilo Lei Day Festival

bedecked with a lei. In olden times when people were traveling and they came to a sacred or historic place where there might be a stone that was venerated, the visitors placed wreaths of greenery upon it...

“It seems to me that anything that tends to perpetuate the beautiful custom of the lei is worthwhile. What is more beautiful and fragrant than the green maile of different varieties, as one of the standard leis of Hawai‘i. ‘Lei Dayʻ and ‘May Dayʻ almost seem synonymous.”

Among the many supporters of Lei Day were tourism officials and business people. Along with Blanding, they saw huge commercial potential in the holiday. Warren and others, who saw themselves as North American expatriates living in the islands, thought of the new holiday as a way to enjoy their own traditions with a tropical flavor.

To Hawaiians, it was a way to regain and promote their mother culture, which they saw washing out to sea in the tsunami of modernization and Americanization.

Kama‘āina Gerrit Wilder probably put the feeling of ‘locals’ most succinctly when he wrote in April of 1928, “I heartily kōkua for ‘More Hawai‘i in Hawai‘i.’ n The Hilo Lei Day Festival is a celebration of the traditional lei of Hawai‘i Nei, and our multi-cultural heritage. The festival is held every year on May 1. It opens at 9am with ho‘okupu honoring Hi‘iakaikapua‘ena‘ena, goddess of lei making.

Lei making demonstrations are continuous throughout the event. Come and learn different types of lei! Music and hula celebrating the lei will be performed, and all are encouraged to join in the group hula held throughout the day.

Story sponsored by the Hilo Lei Day Festival. See contacts below for more information and to participate.

Email: info@LeiDay.org Website: LeiDay.org Phone: 808.895.0850 Facebook: HiloLeiDayFestival Twitter: LeiDayInHilo

KeOlaMagazine.com | March-April 2018

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56

‘Ike loa

By Rosa Say

Learning to listen to one’s self-talk is powerful self-coaching.

Sometimes, however, we must learn to distinguish and disavow the self-talk we’d be wiser not to listen to. Self-deprecating beliefs aren’t part of being humble, modest, or humorous— they’re damaging.

A manager I know used to say this to, and about himself: “I really have to beat my head against the wall before I learn anything new.” When I first heard him say it out loud, I felt compelled to jump in and respond with, “Not true! Not at all!

We have to talk story about the value of ‘Ike loa my friend, for you are more the learner than you give yourself credit for.”

It was early in our partnership, and I didn’t know him that well yet. However I was completely confident that I’d find my assertion to be valid, and I did. He learns well, can do so with the enviable intensity of a student fresh full of exploratory curiosity, and is indeed a lifelong learner.

So are you, and so is every other person you know and may encounter. The human ability to learn is our inborn talent— without it, we wouldn’t survive.

With that assumption as our starting point, ‘Ike loa, the Hawaiian value of learning, is one of those values which illustrate how value adoption and value alignment is a matter of deliberately chosen degree. Any value we can articulate enough to say, “Yes, I believe in that as a good source I can pull from,” resides within us like germinating seeds, and we can store an amazing quantity of them. Consider them part of your knowledge bank.

We adopt our values when we choose them more deliberately, and when we call on them to align with our good intentions so they may better guide us. When we are specifically asked, “What are your core values?” and we respond by listing the handful which immediately come to mind, we’re actually listing the ones which we happen to call upon with regularity, and most naturally via our instinct and intuition.

Therefore, this is the encouragement we share with all managers and nascent leaders in our Managing with Aloha coaching: Assume that everyone you work with is a learner, and that they can always choose to learn more. Your job as their manager, or as their workplace peer or partner, is to make these ‘Ike loa discoveries about them: —What must they learn in the context of your work together?

—What kind of learning do they aspire to? What is it about?

Why? —What kind of learner are they, i.e., how do they learn best?

— When do they learn best, i.e., how are timing and sequence

“The value of learning in Hawai‘i is ‘to know well.’

Seek knowledge and wisdom.”

Twelfth in Series Two on Managing with Aloha

Managing with aloha

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Next issue: We revisit Ha‘aha‘a, the value of humility.

Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

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factors of consequence for them?

Most important will be your follow-through. Add the discoveries you make to your partnerships: — How can you support them, starting where they are, and growing them to where they must work, and can excel?

— How can any learning they aspire to, be made as relevant to their Ho‘ohana as possible?

If you work at answering those questions, the degree of ‘Ike loa learning you apply, literally “to know well” and “to seek knowledge and wisdom”, will become clear to you.

By the way, this diagnosis is not something you do alone— ask each person you work with or manage. Create that safe and trusting conversational space where they tell you. Your partnership can grow within the value of ‘Ike loa as it is certainly, beautifully, and productively meant to do.

This may be new learning for you as a manager as well, in regard to how people learn best, and how you work in support of them—it’s the perfect example of when training, schooling and education, and curriculum-setting can be better suited to the workplace and made relevant and less theoretical. If you are a manager or business person who read the Managing with Aloha coaching above, and wondered, “And how do I do that?” pursue that learning for yourself. Trust me: learning to be the manager who is an ‘Ike loa-aligned coach is tremendously rewarding.

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57

huiMAU Cultivating Healthy ‘Āina and Strong ‘Ohana

KeOlaMagazine.com | March-April 2018

By Karen Rose

58 Keiki and ÿohana form an "aloha circle" to begin their work at Mälama ÿÄina Koholälele.

“U

KeOlaMagazine.com | March-April 2018

a mau ke ea o ka ‘āina i ka pono” is typically translated as “The life of the land is perpetuated in righteousness.” However, according to No‘eau Peralto of huiMAU, a more appropriate translation is, “The sovereignty of the ‘āina (land) continues on because it is pono (righteous).” This saying is not only Hawai‘i’s state motto, it is a source of ancestral wisdom and a way of life for the staff and volunteers of Hui Mālama i ke Ala ‘Ūlili, or abbreviated “huiMAU”.

Founded in 2011, huiMAU is a community-based nonprofit organization of families from East Hāmākua who are committed to creating safe, healthy spaces for cultivating and revitalizing Hawaiian ancestral knowledge, healthy food and ecosystems, and strong families who will thrive in the Hāmākua district for generations to come.

No‘eau Peralto is the current President of huiMAU, and dedicates his time to the nonprofit’s goal of reestablishing systems that lead to community abundance. “Our mission is to re-establish the systems that sustain our community through educational initiatives and ‘āina-based practices that cultivate abundance, regenerate responsibilities and promote collective health and wellbeing,” said No‘eau.

“We started off as a hui (group) of families coming together from this area to take care of our kuleana (responsibilities), to mālama (care for and protect) the ‘āina (land) and the community,” said No‘eau.

“It’s important we understand that the well-being of the land is tied to the well-being of the people who care for that land and vice versa.”

Education Programs One of their educational initiatives is the HoAMa After School Mentorship Program (hō‘ama means ‘to begin to mature or ripen’). The goal of the program is to mentor and cultivate the next generation of youth leaders in Hāmākua. It is important to huiMAU to be 59 rooted in the values of aloha (love), ‘ohana

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(family), kuleana (responsibility), ha‘aha‘a (humility), and aloha ‘āina (love for land) for the next generation of youth.

By sharing and teaching these cultural values, the program aims to restore abundance, and cultivate a strong sense of responsibility to care for the land, family, community and the nation.

“In 2015, we started our educational programs,” said No‘eau.

“The focus of our program is really about aloha ‘āina, instilling the values of kuleana to place, kuleana to community. These are the responsibilities we have to care for our homelands, our families, our community and the practices of aloha ‘āina. If we’re talking about sustainability and long-term well-being of our people, we need to focus on restoring the well-being of our land, our ocean and our water.”

The HoAMa After School Mentorship Program is a safe afterschool learning environment where students cultivate strong relationships and support networks with peers, mentors, and ‘ohana. No‘eau and huiMAU believe these support systems increase the likelihood of a childʻs success in school, at home, and in their community. By having a solid foundation, children become successful, healthy adults.

“It starts with our kids,” said No‘eau. “We look to the examples our ancestors left us through stories, genealogies, songs and chants, and we see they created time-tested models and systems of caring for our land for hundreds of generations.

We need to get back to that way of thinking again—not just for a year or a few years, but for multiple generations ahead.”

The afterschool program engages students and their families in hands-on learning through ‘āina-based education, community gardening, arts and crafts, storytelling through mele (song) and hula (dance), lessons with local kūpuna (elders) and more. The HoAMa staff and mentors also provide students with academic support and guidance, encouraging them to achieve their academic and life goals, all while mentoring them to become productive and thriving members of the community.

“We start working with the kids at the age of five to teach

Land Restoration Project In 2013, huiMAU started a land restoration project called the Mālama ‘Āina Koholālele Project. This kuleana-based project began as an effort to restore land located within the ahupua‘a (land division) of Koholālele to the fertile and productive state their kūpuna had fostered for generations.

“Our kūpuna left us a legacy of abundance, not just an ecosystem that allowed them to survive, but a state of abundance that enabled and empowered people to thrive and become specialists in different arts and sciences,” said No‘eau.

“This kind of expertise doesn’t happen in a society unless there is a thriving environment and state of abundance in terms of food and ‘āina.”

By initiating this project, huiMAU hopes to lead by example in cultivating the living practice of aloha ‘āina within the community. Mālama ‘Āina Koholālele is a volunteer, grassroots project to reclaim space along the coast and eliminate invasive species while simultaneously planting native species and Hawaiian food crops. It is creating a space for families to come and learn about caring and reconnecting with their responsibility to care for the land.

A young kaikamahine (girl) of the HoAMa After School Program and her mother planted an ÿulu tree together at KaHua HoAMa in Paÿauilo in November 2017. them these values and empower them to become leaders in our community,” said No‘eau. This is all while being rooted in these values of aloha ‘āina, mālama, kuleana, and caring for kānaka, and our ‘ohana.”

KeOlaMagazine.com | March-April 2018

Community Garden Another sustainability project founded by huiMAU is the KaHua HoAMa Project (KaHua means ‘base or foundation’) in Pa‘auilo. This community garden and art project reflects the organization’s long-term vision of transforming and elevating the cultural and political consciousness of the Hāmākua community. By restoring the local food systems, it encourages increased food sovereignty within the community and within Hawai‘i as a whole.

Students and staff from huiMAUʻs HoAMa After School Program work together to cultivate a culture of responsibility and healthy living. With the garden as their classroom, the students learn the skills of gardening, environmental observation practices, and healthy food preparation, all while sharing the history and stories of Hāmākua.

“We look to the stories of this place, and in particular Hāmākua Hikina (East Hāmākua)—stories of one of our famous chiefs who lived here 18 generations ago,” said No‘eau. “His name was ‘Umi-a-Līloa, and he became the ruling chief of this island. Because of his characteristics of caring for the land, and caring for the people, he was chosen to become the next chief and created a system of land tenure, governance and agriculture that was celebrated and replicated by every single chief after him on this island. It created a time of abundance and prosperity that every generation after him tried to replicate.”

Building for the Future No‘eau believes this story is a good example of leadership and how to live as ‘ohana. He believes by sharing these stories, the community can promote balance and abundance to be sustained over generations.

“If we don’t share these stories, the knowledge held within them can be lost, and then those practices can become unsustainable and detrimental to our ‘āina, and ultimately, detrimental to our people,” he said. “We’re fortunate that many families in our Hāmākua community are connected to ‘āina and still take care of the land. They still carry those values within 61 their families. There’s a lot of support for our program, from Keiki of the HoAMa After School Program paint a kaulana mahina (Hawaiian moon phase) mural at their garden in Paÿauilo.

the parents especially, and this has a huge influence on the kids.”

The HoAMa afterschool program is almost two years old now, and leaders see the transformations and growth in the students who have participated. The program now has more than 40 children, up from nine students when the program first began. No‘eau shares one of their student’s success stories: “There’s one particular young man that we’ve worked with for a couple of years now,” said No‘eau. “He’s in high school now, and his family lives here in Pa‘auilo. He was real quiet and shy when we started working with him, and he was struggling a bit in school. As part of our program, we did an imu (in-the-ground oven). We had a couple of uncles and elders lead and teach the kids about it. In old-school fashion, HoAMa After School Program keiki shared hula and mele (chants) at Koholälele for their Höÿike Hoÿoilo (Hoÿoilo season exhibition) in December 2017.

they just made the kids sit and watch, especially because most of the kids are really young and they didn’t want them getting in the way. When they chose one of the boys to come and help them, it was this young man. He thrived in this situation. It was a moment where his intelligence and leadership abilities became apparent, and his knowledge and background was valued. We selected him as one of our first leadership interns for our summer program, to work with him one on one, and now, two years later, he’s thinking about college to learn more about caring for the ‘āina and working with youth here in our community.”

No‘eau and others in the huiMAU community hope to fulfill their personal and familial responsibilities to the land, and by doing so, they can inspire other families and communities around Hawai‘i to do the same.

“It’s easy for us as people to get caught up in thinking that we are entitled, but we have immense responsibilities,” said No‘eau. “It begins at home with our own families, with our own kids, and then radiates out from there. We see the kids we work with as part of our family. We treat these kids like they are our own and we try to create a place of learning they can feel safe in, and feel loved in. A place where they can learn, grow, and heal. All of the things that happen in a family that’s thriving, in an ‘ohana that’s thriving. This is why we are here.” n Photos courtesy of huiMau For more information: alaulili.com Email: kealaulili@gmail.com

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Three Iconic Women’s Organizations Hilo Woman’s Club, Zonta International, Soroptimist International of Kona

F

or decades, Hawai‘i Island women have taken up causes in support of improving the lives of women and families. In the case of the Hilo Woman’s Club, the impact has extended to arts and culture—even the local landscape.

For Zonta International of Hilo and Soroptimist International of Kona, visionary female leadership tapped into large global movements, established local chapters of international organizations, and have served to uplift and empower women in our island community ever since. 1921, 1950, and 1971 are the respective years in which the three organizations featured in this story were founded on Hawai‘i Island.

Hilo Woman’s Club The Clubhouse is home to the Hilo Woman’s Club, an iconic Hilo organization founded in January, 1921 by Mrs. George Bennett, a prominent Hilo resident at the time. Like many woman’s clubs around the country founded early in the last century, the Hilo Woman’s Club predominantly served as a social and philanthropic outlet for their membership, the elite women in town.

Over the decades and into this new millennium, membership demographics have changed dramatically and today, Hilo Woman’s Club is an everywoman’s club, open to any female who wants to serve and socialize with other women.

Membership currently stands at 56, stated current President Jen Tanouye. Past President Beverly Heikes noted that two members in particular, Virginia Maeda and Dorothy Williams, both over 90, have been with the club for over 45 years.

Steeped in Hilo history, the club’s archives include articles and clippings going back nearly 100 years. In the early days, its mission was threefold: to improve the outdoor environment, to promote the study of civics, and literary/dramatic study.

Scores of tree plantings all over Hilo town including the pink shower trees at Kapi‘olani School (1924) and the coconut trees at Ho‘oulu Park (1932) are all legacies of the Hilo Woman’s

Club. So is the Japanese Pagoda at Lili‘uokalani Park (1931) and the playground system in Hilo, which started with Lincoln Park. Hawai‘i County slowly took over funding from Hilo Woman’s Club before creating the Department of Parks and Recreation. There was a time in Hilo when if someone wanted to cut down a tree, the Hilo Woman’s Club would get called for permission. At the height of its popularity in the late 1970s, the Woman’s Club charted more than 180 members.

Between 1925 and the 1960s, the women donated uniforms and instruments for the County Band, sponsored YMCA and YWCA campers, started what is now the Humane Society by funding the first dog kennel, and used connections to bring marvelous classical music performers to Hilo as a precursor to the Hawai‘i Concert Society.

While the club no longer focuses on outdoor improvement and hasn’t for decades, its mission is to “promote the educational, social, and civic development of its members and of the community of which it is a part; and to assist in the betterment of the social and civic conditions in the City of Hilo.” In 2017, Hilo Medical Center, Hospice of Hilo, the women’s shelter in East Hawai‘i, and three students at our local colleges were all annual beneficiaries of the Hilo Woman’s Club largesse.

Remarkably, the Hilo Woman’s Club is the only club in town with its own clubhouse. Designed and built in the 1970s, the clubhouse is on the corner of Kaumana Drive and Lele Street across from Carvalho Park. It is a practical and accommodating space complete with a small stage, a non-certified kitchen, a service alcove with countertops, and parking for 25 cars.

Room capacity is 125. The club’s logo is a red hibiscus, a featured plant on the property as well as on a richly-painted interior landscape mural. It is perfect for club and community meetings, musical events, presentations, workshops, parties, and classes. Past President Beverly, now clubhouse manager, handles outside rentals that support building maintenance,

KeOlaMagazine.com | March-April 2018

2018 Hilo Woman's Club board members. photo courtesy of Hilo Woman's Club

By Paula Thomas

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Zonta Club members at the completion of the playground equipment build out for Child and Family Services. photo courtesy of Zonta Club of Hilo which is ongoing. The club is currently raising funds for a new roof. “I got involved here when I first moved to town,” Beverly notes. “I needed to rent space for an event and when I inquired here, I was asked if I wanted to become a member.

So I asked about the mission and decided to join. I believe in supporting students to get an education, and I wanted to support the medical center because we do need more doctors here.”

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Models in Zonta Fashion Frenzy Runway Show 2017. photo courtesy of Zonta Club of Hilo

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Because membership is a modest $25 annually, the club runs events to raise funds for its charitable causes: wine tasting in March, an Oktoberfest or themed dance in October, and an occasional fashion show or musical event. December’s Christmas Party is an annual event for families in need. For the 2017 event, the club brought in Santa, purchased specific gifts for over 40 keiki (children), and produced a festive holiday party. “The children were so happy, and it meant a lot to the

parents to see their kids enjoying it,’’ notes President Jen Tanouye.

Currently, monthly member meetings feature guest speakers from local organizations who inform the membership on issues like health care, the Blue Zones Project, and law enforcement.

Hilo Woman’s Club is for all women who want to serve, make friends, and continue the legacy of women making a tremendous difference in our community.

Zonta Club of Hilo Established in 1950, Zonta Club of Hilo advances the status of women through empowerment and advocacy.

This club of established professionals supports our Hawai‘i Island community by providing scholarships for women in college, conducting service projects, and generating advocacy programs aimed at empowering women and bringing awareness and action to domestic violence and sexual assault.

Current President Ashley Kierkiewicz is a major force in the resurgence of Zonta fashion shows, now branded as Zonta “Fashion Frenzy.” The event is a cross-generational and cross-cultural designer runway fashion show that shines a light on budding local designers, artisans and tastemakers.

The evening incudes dinner and pop-up clothing sales, all to support Zonta’s service activities. “Hilo Marketplace” is held the night before—a buzzing, luminous evening of runway fashion in an after-dark bazaar atmosphere.

The club is funded solely by its members and friends.

Monthly member meetings are occasions for club business, event planning, informative presentations, and great fellowship. For new member induction, the Sioux origins of Zonta’s logo (it symbolizes a radiant group of honest, loyal, trustworthy professionals inspired to empower women) are celebrated.

“I was once told Zonta is Hilo’s best kept secret,” notes Ashley. “With our club at 45 members strong from across East Hawai‘i, I think the secret is out. Membership is not just limited to women; anyone can join.” Dues for new members are $200.

Every year, the Zonta Club of Hilo has teamed up with the Weinberg Friends Foundation for a signature service project, in which one nonprofit organization benefits for two years from a clean-up, fix-up event. Zontians move in for a morning

KeOlaMagazine.com | March-April 2018

Zonta's Hands Are Not for Hitting Project at Hilo Hongwanji Preschool. photo courtesy of Zonta Club of Hilo

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of light chores and environmental improvement: cleaning windows, hanging curtains, and assembling scores of hygiene kits. At the women’s shelter in East Hawai‘i, women assembled two new bookcases, a barbecue, playground equipment, and supplied kitchenware. In addition to the physical, hands-on contributions that have benefitted organizations such as the Hilo women’s shelter, HOPE Services and the Neighborhood Place of Puna, Zonta presents a $10,000 check to the nonprofit from the Weinberg Foundation. At least 25 Zonta members must participate, in accordance with Foundation stipulations.

The service project precedes Zonta’s worldwide movement to end gender-based violence through the Zonta Says NO to Violence Against Women campaign. This is a 12-day advocacy program that begins the Friday after Thanksgiving.

For five years, Zonta has funded the Amelia Earhart Girls Engineering Day (Earhart was a Zontian), a day-long workshop at Waiakea High School for girls in grades 4-8. This year, girls launched rockets and programmed drones, which they were able to take home.

The Zonta Club of Hilo is one of four clubs in Hawai‘i and part of Zonta International (ZI), an organization that has globally advanced the status of women since 1919. Zonta International has 32 governors worldwide with nine in the US. The governor of District 9 is Hilo’s Mele Spencer, a Zonta member since 1998. As governor, Mele links the district with Zonta International and administers the affairs of 25 clubs— including seven high school Z clubs and six college Golden Z clubs. District 9 is composed of 543 members from the states of Hawai‘i, California, Utah, Arizona, and Nevada. Globally, Zonta International has 30,000 members across 66 countries and funds $6 million in international projects annually. District 9 funds about $115,000 in projects.

“Districts promote ZI goals and programs, serve to inspire and assist clubs to implement programs,…and promote links between clubs and include support such as conferences, area meetings, training, and tools,” Mele explains.

“What is remarkable about ZI is that its programs are geared with elements to not only change attitudes, skills levels, and opportunities among women and girls we are helping, but also to change attitudes and legislation in local organizations,

Soroptimist Club's garage sale fundraiser with Virginia Isbell, Fanny Gouveia, Ofelia Schamber, Linda Meyer, Lois Griffiths, Mamie Bramlett, Paula Wilson, Kelly Shaw and Claudette Serion (seated). photo courtesy of Soroptimist Intl. of Kona broader communities, and government…We strive to empower women to change their situations,” says Ashley, “If you’re interested in networking and helping women and girls in our community reach their utmost potential, check us out.”

Soroptimist International of Kona The first thing you’re likely to ask is what does “Soroptimist” mean? The answer comes from Latin—Soror (sister) + optimist and translates as what is best for women.

The first Soroptimist Club in the US was established in Oakland, California in 1921, a year after the 19th Amendment gave women the right to vote. Today, Soroptimist International

is a global volunteer organization working to improve the lives of women and girls through programs leading to social and economic empowerment, with some 75,000 members in 122 countries.

Soroptimist International of Kona started in 1971. It is in District 6, the Founder Region along with the Mariana Islands, Guam, Saipan, and five other clubs in the state of Hawai‘i. For years the club has supported scholarships, citizenship awards for young people, nonprofits that support women and children, and Christmas cheer for a needy family, among many other charitable actions large and small.

Two of the Kona club’s members, Virginia Isbell and Fannie

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for decades. This past year the club placed a tree at the Mauna Lani Bay Hotel, decorated with an ornament for every West Hawai‘i recipient of the Live Your Dream Award.

Since it is an international program, Live Your Dream Award recipients get to compete at the district and regional levels for additional funding.

Soroptimist International has General Consultative Status as a non-governmental organization at the United Nations. The Founder Region level holds an annual conference in California where local members can connect globally. In addition, funding is awarded to women pursuing their PhDs. “I really believe in helping other women,” says Past President Kelly Shaw, “and making a difference for women and girls in the community. I love that there is an opportunity for women returning to school to get scholarships and that we have a local impact as well as a global one.” Mamie remains inspired by the effect on women and girls.

“I love how we go down to Life Care Center and bring joy to these people by singing Christmas carols. Like sisters, it’s people being together to help women and girls, helping the community because as each person gets Club members and friends gather to support the Alzheimer's Association Walk. photo courtesy of Soroptimist Intl. of Kona better and can be more uplifted, the whole community gets better. It burns in your heart.

It’s just a feeling you have in your heart.”

Gouveia, are 45-year veterans. This year, charter member To recruit new members, the Kona club hosts a Ho‘olaule‘a Mamie Bramlett serves as president for 17 members, most of (gathering) potluck and auction early in the year. Annual whom are over 65. Mamie is 80, with the energy of someone dues are $170. With the national attention being paid to the half her age. status of women and gender-based violence in the workplace, On Valentine’s Day, club members bring food and gifts to it is a perfect time to join in. This year marks Soroptimist all the women and children in the women’s shelter in Kona. A International of Kona’s 47th anniversary. The club is ready for month or two later, scholarships are announced at a special an infusion of younger women to carry its mission into the dinner for the signature Live Your Dream Award program. future.

“Live Your Dream is our main focus for this year,” says Mamie. “It’s an award program for women head-of-households The causes these three organizations serve represent strong who are back in school,” she notes, “wanting to develop needs in our community—better education, awareness of skills, increase employment prospects, and improve the lives sexual assault, ending the cycle of domestic violence, and of their family. The club reaches out to schools and issues uplifting those most in need. The more attention we can a public service announcement to advertise the award. This collectively bring to these issues, the more avenues we open year, $1,000 will be given at a dinner in the spring. It’s a much for solutions. beloved fundraising project. To raise money, club members sell These clubs have survived as long as they have because See’s Candies at Thanksgiving and deliver at Christmastime.” of their strong missions and deeply committed members.

The club also supports women at the shelter with emergency Each club will benefit greatly from an ongoing stream of new needs. From mostly private donations, very specific needs are members to take them into the future. met, like the purchase of professional uniforms or supplies This work takes more than just the love and fervor of the needed for a trade (e.g., hairstyling). Past President Kelly Shaw women who started them. Younger generations of women are explains, “These women often have to pick up and go for their being called to step forward and join hands with their older own safety, leaving everything behind. Our victim assistance sisters. There has never been a better time to stand together. fund helps them get things they need to keep their lives Heed the call. Get involved. n going.” At times the club has held fundraisers which raised enough money to purchase new vans for the shelter.

For more information: Each Christmas, the club provides food, toys, and clothing Hilo Woman’s Club, hilowomansclub.org for one family in need. The club allocates a small budget, gets Zonta Club of Hilo, zontahilo.org a wish list, and members shop for gifts and wrap them. The Soroptimist International of Kona, member who lives closest to the family does the delivery near Facebook: Soroptimist Intl. of Kona Christmas Day. For a family in need, this can feel like the work 69 of angels and is a project that has been an ongoing tradition

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Mahalo, Hawai‘i Sail Poka‘i Bay, Wai‘anae, O‘ahu was the next stop on the Mahalo, Hawai‘i Sail voyage by Hōkūle‘a. Arriving on December 9, 2017, the canoe spent nearly 15 days at Poka‘i Bay where they were welcomed by all eleven schools of the Wai‘anae complex area and others in Central and Ewa region, in addition to hundreds of ‘ohana (family) and malihini (visitors) in the community.

The west side stop also was an opportunity to celebrate voyaging and community leaders, young and old, from the Wai‘anae area, including 1976 Hōkūle‘a crew member Buffalo Keaulana.

Hōkūle‘a celebrated the new year of her Mahalo, Hawai‘i tour with two January engagements at Ko Olina Resort. The legendary voyaging canoe docked at Ko Olina Marina from January 3–10, and returned for a second visit January 21– February 3, 2018. During the two engagements, the Polynesian Voyaging Society and Ko Olina welcomed the general public and school groups to the marina to tour the canoe, meet crewmembers, and participate in events highlighting the recent Mālama Honua Worldwide Voyage and the 42-year history and legacy of Hōkūle‘a.

“We want to give all of Hawai‘i’s children and communities an opportunity to step on the deck of Hōkūle‘a and be a part of our voyages,” said Nainoa Thompson, president of Polynesian Voyaging Society. “This stop at Ko Olina will allow thousands of students, residents and visitors to visit the canoe and crew, learn about voyaging, and bring light to the community

of Ko Olina and West O‘ahu to elevate the work being done to perpetuate culture, environment and education through multiple pathways,” he added.

Ke Ola Magazine will continue to follow Hōkūle‘a and the Mahalo, Hawai‘i Sail.

Photos courtesy of Polynesian Voyaging Society.

For the most up to date information of the Mahalo, Hawai‘i Sail visit: hokulea.com

KeOlaMagazine.com | March-April 2018

Top background photo: Pokaÿi Bay December 2017,© 2017 Searider Productions. Left: Governor Ige, Mayor Caldwell, and delegation of Hawaiÿi leaders welcome the voyaging canoe, and honor “Uncle Buffalo,” Keaulana. photo by Honolulu Dept. of Parks and Recreation. Right: Arrival at Ko Olina Marina January 2018. Bottom left: Pokaÿi Bay December 2017, © 2017 Searider Productions. Bottom right: Arrival at Poka‘i Bay, December 2017.

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Mālama Mokupuni: Caring for Our Island Environment

Wai Watchers T h e V i t a l Ro l e o f Vo l u n t e e r s i n Wa t e r s h e d H e a l t h

By Julia Meurice

T

his is a story of how communities are uniting and strengthening to protect the quality of our water from the mountains to the coast, of people rebuilding relationships with life and their connection to the Earth. From the cloudy mists among ‘ōhi‘a trees in the Kohala Forest Reserve, to the dew that drips into mountain streams to mingle with ‘ōpelu (mackerel scad) and wana (sea urchin) at the coastline—all water is connected. So too are the humans who live together on Hawai‘i Island.

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This story reveals how laulima, many hands working together in harmony, brings us closer to protecting what we hold precious: our water, the wai.

Since the 1970s, Hawai‘i’s population has tripled, ocean temperatures have risen, weather patterns have shifted, populations of native species have decreased dramatically, and budgets are tighter among the organizations that take care of the ‘āina. These factors, compounded by soil erosion, illegal activities, and wastewater pollution, have impacted the water from mauka (mountain) to makai (sea) and continue to threaten Hawai‘i Island’s special environments.

Groups working on water health have found that community members are eager to help however they can—and their help is necessary.

One example is the South Kohala Coastal Partnership, which aims to revitalize one of the longest coral reefs in the state, the South Kohala reef ecosystem.

The South Kohala Coastal Partnership is composed of over 70 participants including 30 state and local experts such as biologists, kūpuna, cultural practitioners, teachers, fishermen, coastal business owners, land managers, resort representatives, and more.

Together they tackle everything from landbased sources of pollution, to unsustainable 73

Dedicated Makai Watch Volunteer James Heacock (clipboard) has been doing surveys for 10 years. Here, he surveys the coast with fisherman Kawika Auld.

photo courtesy of Christine Shepard

BEFORE January 2017: Anchialine ponds, depressions in lava fields that have a mixture of salt and fresh water, host unique creatures that are being crowded out by non-natives.

Here, volunteers help clear invasive plants to make space for natives and restore higher biodiversity. photo courtesy of Julia Meurice fishing practices, to invasive species. Community participation has provided essential people-power for data collection and projects supporting this work.

The Partnership has been looking closely at how critical volunteers are in meeting conservation objectives. “We have a lot of individual organizations working in the Partnership separately, and the goal is to bring every agency and local organization together, because we all have similar priorities,” says Julia Rose of The Nature Conservancy, who coordinates the Partnership. Julia is encouraged by how volunteers unify and assist in meeting these conservation priorities, “I see the potential of evolving a volunteer program to combine all our individual operations—turning it into a cohesive volunteer network that every agency can tap into and build on.”

Keeping the Mountain Together The reefs located at the bottom of Kohala Mountain reflect

AFTER May 2017: With less plant pressure, natural tides refill anchialine pools and native sedges such as makaloa return. Native fish and crustaceans will soon follow and can now live here. photo courtesy of Julia Meurice what happens at higher elevations. Over the centuries, events such as the historic harvest of sandalwood, the introduction of species like goats, overgrazing by cattle, fires, and floods have converted much of the once-forested mountain into grassland and denuded landscapes. Without roots, ferns, and mosses to catch and hold the heavy rains, acres of bare soil wash downstream. This erosion buries corals in sediment and reduces the reef’s once-rich diversity of fish and invertebrates.

Did you know that each grain of sediment can be re-suspended 10,000 times by waves, blocking light and re-smothering coral over and over? Agencies like The Hawai‘i Wildfire Management Organization and The Kohala Center are working in partnership with landowners and ranchers to reduce this impact up-slope.

The Kohala Mountains collect and store the rainwater that feeds all life and supports the human communities below.

The native forest attracts clouds and helps to retain the water within the soil and underground. Volunteers and small crews have provided much-needed people-power in the planting

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of native trees and shrubs and other revitalization projects organized by the Kohala Watershed Partnership, a program of The Kohala Center.

“Since its creation in 2002, the Kohala Watershed Partnership has planted over 40,000 native trees across 220 acres with the help of over 1,000 people,” says Cody Dwight, its program coordinator. The scale and effort of this revitalization work “is keeping the mountain together”—literally from running off into the sea, says Kukui Keli‘iho‘omalu, who worked for the Kohala Watershed Partnership for more than 12 years and grew up on Hawai‘i Island.

All Eyes on Deck Community members themselves form some organizations, such as the Puakō Makai Watch, which operates under guidance from the Department of Land and Natural Resources and The Nature Conservancy. This group of volunteers sets up booths at events through their ReefTeach Program where they provide information about marine life creatures, how human behavior affects them, and some fishing regulations and guidelines. Their outreach also includes recommendations for swimmers, divers, and snorkelers on how to respectfully and safely enjoy the waters and reef.

After volunteers are trained with ReefTeach, they can also lead important coastal monitoring activities such as reef fish surveys with Makai Watch to track changes in populations over time, and information collection on how many visitors are present plus how people are using the beach.

State and National Parks in Hawai‘i also recruit help from the community to complete projects. At Kaloko-Honokōhau National Historical Park, biological scientist Amanda McCutcheon with the Pacific Islands Network Inventory and Monitoring Program brings along interested volunteers to help check water quality at anchialine pools. These pools are depressions in lava fields that have a mixture of salt and fresh water. Together, they also test the health of groundwater.

“Projects like these would not be possible without the support of our volunteers,” Amanda says. “Our water quality data is useful in determining the impacts of nearby developments on our precious water resources. It’s helpful to have informed volunteers to share this impact.”

Volunteers with CORAL take to the field after a classroom training session to collect water samples on Puakö's shores. The participants are learning to follow specific protocols to test for pH, turbidity, and salinity on site. photo courtesy of Rachel Laderman

photo courtesy of Julia Rose

Waiÿulaÿula Stream washing out into coastal waters. The stormwater sediment settles on coral reefs, blocking the coral from needed sunlight. photo courtesy of Julia Rose

a series of classroom and field trainings until they are ready to sample on their own. They must be disciplined and follow a protocol that can include exact locations, methods, dates, and even time of day (the tide is important). The volunteers in some programs form teams that collect samples, conduct tests, and record data. Water samples are then transferred to a local lab for filtration and refrigeration before being shipped to a participating analytical laboratory for more in-depth nutrient and bacterial tests.

Recognizing the critical shortage of staff and funding for water quality monitoring of Hawai‘i’s coastal areas, Maui’s community mobilized a team of citizen scientists called Hui O Ka Wai Ola in partnership with The Nature Conservancy. This dedicated hui—called the “Clean Ocean Team”—now samples over 40 coastal sites across Maui, making it one of Hawai‘i’s most active volunteer-based monitoring programs.

“While the Department of Health does monitor beach quality at certain stations around the island, their monitors can’t be everywhere,” says Dr. Kim Falinski, one of the Conservancy’s marine science advisors and a water quality expert. “That’s where we come in. We fill in the gaps.”

According to Falinski, the most essential ingredient for a successful citizen science water-quality monitoring project is the people—you must have strong community support to make it happen. This is followed by funding, equipment supplies, a Quality Assurance Project Plan and finally, a lab space.

On Hawai‘i Island, the Coral Reef Alliance (CORAL) is exploring how to best support a citizen science program along our coastlines, similar to the Maui hui (group). In and around Puakō’s coastal waters, a group of volunteers has taken quarterly water samples at six sites along a two-mile stretch that includes some popular swimming spots. The team has tested for salinity, pH, turbidity, nutrient, and bacteria levels. Their sampling equipment and methods are guided by the same Quality Assurance Protocol that Falinski developed, and could be included in the state’s database once a stable program evolves.

As Danielle Swenson, Engagement Manager for CORAL, says, “The citizen science volunteers are critical to the monitoring process. Their passion, attention to detail and willingness to learn are what drives this program. It is exciting to witness the community caring about the water quality and actively doing something about it.”

Revitalizing Kīholo Bay Two groups that support each other in bringing together 75 community for ecological revitalization are Hui Aloha Kīholo

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Citizen Science One program type that takes volunteerism a step further is “citizen science.” In this model, community members are trained and empowered to take an active role in understanding watershed health while also collecting professional scientific data for environmental decision-making at higher levels.

Citizen science programs typically have a community or site organizer who coordinates a volunteer base of people that helps with data collection. The volunteers participate in

After a big rainstorm, sediment-laden waters wash into the Waiÿulaÿula Stream in Waimea. Without native forest to hold the soil in place, erosion is rampant.

Two students hold trays of native seedlings for planting during Aloha ÿÄina Day with the Kohala Watershed Partnership in October 2017. photo courtesy of The Kohala Center

KeOlaMagazine.com | March-April 2018

and The Nature Conservancy’s Hawai‘i Island team. They organize and host a workday in Kīholo Bay every third Saturday of the month. Tasks have included clearing kiawe (algaroba) trees, restoring the fishponds, rebuilding lava rock walls, removing invasive plants to make space for natives, and more.

The best part is arguably the enormous potluck that brings everyone together pau hana (after work), and the talk-story following the meal where mo‘olelo (stories) from different speakers are shared.

The incredible impact of laulima here is evident. Over 2500 volunteers have contributed 12,000 volunteer hours since 2012, and the way the land has been brought back to life is immeasurable. “There has been much degradation that has happened in the last several decades, but Kīholo is resilient and with active revitalization of the area—there is now a glow, from the fish species to the coral health and the colors of the ocean there,” says Ku‘ulei Keakealani, whose family are descendants of this ahupua‘a (district) and part of several Native Hawaiian families that guide Kīholo’s future.

“I see, and more so I feel, Kīholo is happy. She can breathe again, and every breath that Kīholo breathes is a healthier breath, a much more meaningful breath—she is a product of all that care.”

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Making the Connection Volunteerism reconnects people to the spirit of the ‘āina.

Rebecca Most, The Nature Conservancy’s marine coordinator who helps organize Kīholo’s workdays says, “It is the connections between community, culture, and conservation— including active revitalization, education, research, sharing of mo‘olelo and history, spiritual and emotional renewal, traditional practices, and youthful recreation—that grow the love and understanding which deepens our bonds with a place.”

Hawaiians have long recognized the connection between our vitality and clean abundant water, or wai—so much so that one of the meanings of waiwai is wealth. Whatever feels best to you and your family, there are many ways to get involved and connect deeper to the land and sea. n For more information: Volunteer opportunities exist with any of the organizations mentioned above, plus many more through the Hawai‘i Conservation Alliance’s Conservation Connections page: conservationconnections.org/opportunities Learn more about the South Kohala Coastal Partnership at: southkohalacoastalpartnership.com/ Reference: Julia Meurice, Lynker Technologies, Inc./NOAA Affiliate

Behind the Scenes at the

Merrie Monarch Festival

By Leilehua Yuen

The Merrie Monarch stage is built anew each year by experienced professionals.

A

“Laulima,” literally “many hands,” is translated as a group of people working together. The Merrie Monarch Hula Festival is an example of laulima.

With the number of tasks to be done, and the number of people doing them, attention to detail is critical. For example, once the stage is built, it still has to be fine-sanded before dancers set foot on it. The dancers will be barefoot, and many hula steps are forceful, spinning and twisting swiftly. “The festival hires a contractor to put up the stage as well as take it down. It takes them five working days, including the fine sanding of the finished stage, to complete the job [of getting the stage built],” Aunty Luana says.

The stage has to be finished about a month before the festival so that hālau can start practicing. Entering and exiting on the ramps, ka‘i (entrance), hula (dance), and ho‘i (exit), all must be coordinated with the size and angles of the new stage so that everything flows, from the first footstep to the final bow.

About a week before the festival, the stage and dais for the Royal Court are decorated. King Kalākaua’s portrait is placed in a position of honor. Aunty Luana shares, “I see at least fifty or more people involved in the decorating of the stage. The hālau, as well as the parents and grandparents, are there to help. I leave the decorations completely up to the decorators.”

When the Merrie Monarch Festival added hula competition in 1971, Aunty Dottie’s co-founder, the late Uncle George Naope, tapped the haumāna (students) of his hālau to kōkua (help).

As his haumāna became kumu in their own right, they, in turn, tapped their haumāna to help. For many hālau and haumāna

KeOlaMagazine.com | March-April 2018

month before the opening kāhea (to call out) of the Merrie Monarch Hula Festival, the Edith Kanaka‘ole Stadium is filled with sound. Saws shriek, hammers pound, drills buzz, sanders growl, and the pine resin smell of lumber scents Hilo’s humid air. A stage grows in the stadium; a strong stage, one that hundreds of feet will move on. The dancers move slow and fast, soft and hard, pounding into it, turning in unison, changing direction over and over again, stressing the joists, posts, and plywood with compression loads, lateral loads, and dynamic loads the average floor would never hold.

The people building it know what they are doing. They’ve done it before.

The stage construction crew is part of the team that works behind the scenes to make the Merrie Monarch Festival happen each year. Luana Kawelu, director of this annual celebration of “all things hula”, and daughter of the late “Aunty Dottie” Thompson, the previous director and a co-founder of the festival, estimates that more than two hundred people work together to make it happen.

What kinds of roles are there for 200 people in one festival?

Aunty Luana says they include, “Ticket collectors, ushers, people setting up, cleaning and taking down chairs, civic clubs helping in booths, et cetera.” And that is just the week of the festival.

The rest of the year, a staff of eight volunteers work in the office, three of whom are there on a regular basis. “The others come in most of the days but are not here regularly. The week, or even a month before the festival, many more people, clubs, and organizations chip in to help,” Aunty Luana says.

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hula, who were involved in the early days, returning to kōkua is a homecoming.

Now a third generation of hālau work with the festival. Kumu Ray Fonseca’s haumana, Kumu Hula Emery Aceret, is among those carrying on the tradition. Kumu Emery says, “The main theme of the Merrie Monarch Hula Festival is to honor the last king of Hawai‘i, King David Kalākaua. As far as the ‘yearly theme’—there really isn’t any. However, the Merrie Monarch Chair, Aunty Luana Kawelo, along with her committee, select a distinctive t-shirt design by a local artist, and a color to represent one of our eight Hawaiian Islands.”

Once Aunty Luana selects a hālau, organization, group, or individual to do stage decorations, Kumu Emery says, “It is up to these groups to design and create an outstanding Hawaiian floral display.” The foliage is selected for durability as well Läÿï, tï leaves, are fashioned into a frame for the portrait as beauty. It will of Queen Kapiÿolani, wife of King David Kaläkaua. have to last through the festival with little maintenance. Kumu Emery continues, “Everything used has to be real. Decorating the Merrie Monarch stage takes place at least a week before the festival begins. When Aunty Dottie was still alive, she requested for the

decorating deadline by midnight of Good Friday.”

The Hawaiian Islands are renowned for their lush foliage, and floriculture is one of Hawai‘i’s top diversified agriculture industries. Because Moku Hawai‘i (Hawai‘i Island) provides about half the flower inventory statewide, it is fitting that all of the Merrie Monarch foliage for the stage and dais comes from this island. Growers, nurseries, and farms donate everything. Kumu Emery says, “Most of the foliage is used in decorating the stage, from multicolored tī leaves, monstera, laua‘e, and palms, to anthurium, Cherry pickers are used to place the orchids, and birds of paradise. The many lights which illuminate the hula surplus of the foliage and flora are competition. then donated to various groups building floats for the Merrie Monarch Royal Parade, which happens on the last day of the festival.”

Aunty Luana says, “I think the world sees how rich and beautiful our hula culture is and that it is still ‘alive and well.’

It is a spiritual tradition that was almost lost but has been preserved and is still perpetuated by the many hands all working together.”

In addition to stage building and decorating, Kumu Emery also notes, “There are numerous people and groups that are

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involved. Here we are talking about the County of Hawai‘i, contractors, KFVE TV Station, private organizations/ groups, nā hālau, schools, football teams, church and kūpuna Banks upon banks of lights are used to illuminate the (elder) groups. In competition, which begins at dusk. addition, we have the inmates of our local prison putting in some community service time.”

Another group that comes together to laulima for the Merrie Monarch Festival is Ke Kuini, the house band. Kelli Viernes, Ho‘o Apo and Kehau Tamure currently fill the roster. Aunty Luana says, “I am not sure how far back the house band goes but I can remember Kekua Fernandez and Ainsley Halemanu as part of the band.” All of the band members are experienced musicians who come together to kōkua the cultural showcase.

“The house band plays before and after the shows from Wednesday through Saturday,” Aunty Luana says. “So far, we have had the same band for many years. Some of the members in the band change but the core members usually stay. Sometimes the name of the band also changes.”

Playing music for hula is a skill in itself. The musicians provide an auditory platform for the dancer to work on, with a rock-steady beat, and clearly enunciated vocals. Hula is storytelling, and the story must be heard. The musicians must

keep the focus on the dancer, eschewing the limelight for themselves.

Each of nā hālau have their own ho‘opa‘a (chanters and drummers) and musicians for the competition. Many are renowned artists and have their own fans, making listening, as well as watching, a delight. It is a small community, and bands may share musicians. At times it can seem like a bit of a round-robin as the musicians form and re-form bands in different configurations which will best serve the needs of the various hālau.

Between performances, a team sweeps the stage, making sure it is as pristine for the last hālau as for the first. Before the next night’s competition, decorators will check the foliage and flora, and make any necessary repairs or replacements.

The three competition nights fly by. Suddenly, it is Saturday night, and the last hālau has exited. During the score tally, the house band strikes up again. Nā kumu hula take the stage to share their aloha and dance the hula to which they have dedicated their lives.

Then the announcements are made, the prizes awarded, the hugs shared, and the tears shed. People spill out of the stadium and into the night. Ua lawa, ua pau. It’s enough, it’s done—almost.

Again, coordinated teamwork sweeps through the stadium, but in reverse. The foliage is bundled up and removed. The King’s portrait, the thrones, and all the accoutrements of royalty are removed. Squeals, shrieks, and thumps of tools resound through the stadium, along with the banging of lumber being stacked and chairs being folded. The cleanup crew begins sweeping as a month’s worth of work comes apart.

Under the stage, innumerable knee-braces assure stability.

KeOlaMagazine.com | March-April 2018

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Top: The ramps must be as strong and sturdy as the rest of the stage.

Bottom left: Finish sanding is critical to the safety and well-being of the dancers.

Bottom right: At last, the foliage and flowers add beauty to strength.

Kumu Emery shares, “Taking down the Merrie Monarch Stage is literally done overnight. Soon after the last award is given to the winning hālau, everything in the stadium is dismantled. It’s like nothing ever happened.”

Just like a hula, all of the training, practice, dress, and adornments come together for an ephemeral moment of beauty, remaining as he hali‘a aloha, a cherished memory. n Photos courtesy of Kenji Kuroshima

KeOlaMagazine.com | March-April 2018

For more information: merriemonarch.com

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Huge lei are lovingly crafted as adornments for the stage and dais.

"He Lei Ho'oheno O Hilo" A Cherished Adornment of Hilo

A special moment with

Irene Midel

By Ku‘ehu Mauga

I

Aunty Irene on Kamehameha Day 2016 at Mokuola (Coconut Island), Hilo. photo by Kuÿehu Mauga

KeOlaMagazine.com | March-April 2018

rene Midel is the epitome of aloha. If her striking floral hairpieces don’t leave a lasting impression on you, her effervescent personality will.

At the age of 89, she shows no signs of slowing down. Affectionately known as “Aunty Irene,” many consider her true Hilo royalty.

Born Irene Nohokaha Simeona on October 13, 1928 in Honolulu, O‘ahu, Irene lived on Kukui Street (to be exact). Irene moved to Hawai‘i Island to be raised by her grandmother (surname a Kama‘u Hulihe‘e) who lived in Kalaoa-Kona.

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Irene’s love for flowers began at a young age. “When I was 7, I used to use red hibiscus. My grandma always said, ‘Better to wear the flowers when you alive; when you dead, you will never enjoy the flowers. She always said, ‘He u‘i nō ka wahine me ka pua.’ (A woman adorned with flowers is truly beautiful.)”

Staying true to her grandmother’s words of wisdom, flowers—orchids especially—became an iconic statement for the hairpieces Aunty Irene is known for creating.

Change came when Aunty Irene met and married her husband, Daniel Midel. After having worn flowers on the right side of her head since she was a little girl, she now shifted them to the left, as some would a wedding ring. Irene and Daniel moved to the Hawaiian homestead of Keaukaha where they raised their eight children.

KeOlaMagazine.com | March-April 2018

Hilo Hawaiian Hotel's 43-year employee Irene Midel with General Manger Daryle Kitamori. (photographer unknown), photo courtesy of Aaron Miyasato

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15 - AWA (THe Kava Plant)

meaning: Offering/Sacrifice Giving Freely Versus Giving With Expectation

The Epitome of Aloha Aunty Irene has dedicated more than 45 years to Hilo’s hospitality industry. First, she started working at the Hilo Lagoon Hotel, and after three years was transferred to the Hilo Hawaiian Hotel, where she has been employed since 1975.

To this day, she still works 8-hour shifts in the Housekeeping Department. “I love it. I have good bosses,” says Irene.

Aunty Irene also shows her support for many Hawaiian events in our community, including the annual KWXX Ho‘olaule‘a and the Merrie Monarch Festival.

When asked about Merrie Monarch, Aunty Irene says, “Oh yes, I’ve been going every year. I never did miss. I love the hula, and I love the people. They recognize me when I go to Walmart. They always tell me, ‘Aunty, I met you at Merrie Monarch, and you look so elegant.’”

Aunty Irene during a 2018 interview at Ken's House of Pancakes, Hilo. photo by Kuÿehu Mauga

KeOlaMagazine.com | March-April 2018

One could assume that Aunty Irene would be a prime contender for the Merrie Monarch Queen; however she literally came up a little short. When asked if she was ever invited to be in that role, Aunty Irene replied, “Aunty Dottie [Dottie Thompson] did, but my height. She measured me, [but] I was too small. Aunty Dottie was a good person. I was too short, so my daughter said, ‘Why don’t you wear high heel shoes?’

You had to be tall, but I was only 5 feet. No, [I] promise, she [Aunty Dottie] did, she measured, from the back. She was so sweet.” Aunty Irene was still too short for the role.

You can find Aunty Irene in her same seat every year at the Merrie Monarch Festival thanks to Aunty Dottie Thompson.

Irene says, “I told [her], ‘Aunty Dottie, can I sit behind you?’

Aunty Dottie replied, ‘Why you want to sit behind me?’ ‘Cause I can watch. You have a TV, ah?’ and she said, ‘Okay.’

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KeOlaMagazine.com | March-April 2018

Aunty Irene attending a 2017 Hilo Hula Tuesdays program at Moÿoheau Bandstand, downtown Hilo. photo by Kuÿehu Mauga

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She was so good to me.”

Aunty Irene still resides in Keaukaha, where she has lived for more than 60 years. Both her flowers and family continue to grow. In 2018, she has a garden of 24 grandchildren, 48 greatgrandchildren, and one great-great-grandchild. Aunty Irene is also a mānaleo (native speaker) of ‘ōlelo Hawai‘i, Hawaiian language being her first language/mother tongue.

When asked if she grows her own flowers, she replied, “Yes my orchids, but not as much now. When my husband was alive, he used to raise a lot of orchids. I’ve been [a] widow for 34 years.” Since her husband’s passing, Aunty Irene has kept herself busy with her family and her work.

Finally, let’s not forget Aunty’s love for jewelry. Some items are one of a kind. When asked which her favorites are, she replied, “All of them.”

In October of this year, Aunty Irene will turn 90 years young, and she is as healthy as ever. Her advice to the next generation for living a life of longevity is simple, “Be happy, be nice to people, and always keep smiling.” n

March–Ap ril

| ine The Life

2018

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Hawai‘i Island’s Co

March – April ila Malaki – ÿApel

2018

Malaki–‘A pelila 2018 KeOlaMa gazine.c om

h Don Elwing Sea Love wit rrior oking the Wa ARTS Hula Kane: Inv n Network RE School Garde LTU nd CU Hawai‘i Isla ITY BIL SUSTAINA

Featured Cover Artist: Phyllis Cullen year she will travel to Australia. Phyllis says of teaching, “I enjoy watching other people discover color and apply the principles of art to a humble media.”

You can see Phyllis’ artwork at One Gallery in Hilo and the Michael Arthur Jayme Gallery in Honomū.

For more information: phylliscullenartstudio.com

Table Of Contents Artists:

Konawaena High School Mural Program The Konawaena High School mural program was established in 2005. In total, the students have completed six community murals on the Konawaena campus, and five off campus.

There is no typical way a community mural begins, however all murals need a wall, a sponsor and an idea. Students from Konawaena High School and students from other schools are involved in the process from start to finish.

The Take Care of Uplands to Sea mural was completed by approximately 20 students grades 9–12 in 2011 and is on the S building of the Konawaena campus. In addition to illustrating plants, fruit and fish, the mural depicts hidden words in the volcano and hair of the wahine (women).

Michelle Obregon, Arts and Digital Media teacher says, “This mural was displayed in front of the culinary class illustrating how the island of Hawai‘i nourishes us from the sea to the mountains.”

Currently at Konawaena, the 1001 Origami Crane community mural is being created by students, staff and volunteers. They have all contributed their messages of goodwill on individual hand painted tiles. The mural will be ongoing for the next two years. There are three main panels of tiles symbolizing family, community and self.

If you would like to paint a tile of goodwill for the 1001 Origami Crane tile mural or help by donating to the mural, please contact Michelle Obregon at mobregon@ konawaenahigh.k12.hi.us

KeOlaMagazine.com | March-April 2018

It’s the Beans! is the name of the fabric collage featured on the front cover of this issue. Designed and created by Phyllis Cullen, fabric artist and painter, this award-winning quilt was made for the Kona Coffee Festival in 2013. The quilt has been exhibited in over 30 venues around the world and is part of a book called Food for Thought. This art creation speaks to the exuberance of Phyllis’ mantra, “It’s all about the color. My goal is to recreate the color and light and bring out the story and the soul of my subject whether I am painting on fabric, canvas or paper, or in mixed media collages.”

After a career in medicine, specifically chronic pain management, Phyllis moved from Northern California to the Hāmākua Coast in 2012. Phyllis reflects on working on her art while practicing medicine, “Fabric is familiar and has a comfort factor. When I hung my fabric art in the [medical] clinic, I could see the effect of the color and warmth for the patients. It was soothing to them.”

Phyllis says she has always explored multiple mediums: photography, drawing, painting, mixed media, fabric, beads, and clay. While her favorite media is fabric art, Phyllis says, “I haven’t met a medium I didn’t like.

I like fabric and thread for the texture, the sculptural effect, and how I can integrate printed fabric as anther design factor that simple painting can’t do.” Phyllis adds that living in Hawai‘i has enhanced her work with color. “I’ve always loved color and Hawai‘i stimulates that.”

Inspired by colorists throughout her life, Phyllis mentions her affinity for the likes of Afremov for his explosion of color, Matisse for his use of shapes, and Chagall for his stained glass windows. As with most impressionistic artists, the color tells the story.

Through the years, Phyllis has expanded to teaching art locally and internationally. She teaches at the Quilting on the Beach conferences via Quilt Passions in Kailua-Kona, at Kilauea Kreations in Hilo, and on the mainland. In the summer and fall of this year, Phyllis will teach in Israel and Mongolia and next

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Crossword Puzzle | By Myles Mellor

Enjoy this crossword that tests your knowledge about what you read in this edition of Ke Ola Magazine, including the ads, while learning about Hawaiian culture and our island home!

Some answers are in English, some are in Hawaiian. Feel free to use the Hawaiian reference library at wehewehe.org. Answers can be found on page 89.

KeOlaMagazine.com | March-April 2018

Your feedback is always welcome.

HIeditor@keolamagazine.com

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Across

Down

1 Flower that Aunty Irene likes wearing, also the logo of the Hilo Womanʻs Club, 2 words 7 Iconic hula festival, Merrie ____ 9 Hilo club that advances the status of women through empowerment and advocacy 10 Hawaiian martial art 12 Smile broadly 13 Measure of land 15 Hawaiian jungle chicken 16 It produces high quality wine 17 Like some wines 18 Where you can get organic vegetables locally 19 Hawaiian word meaning with 21 Hawaiian word for teacher 23 Historic Hawaiian church in Kurtistown where hymns are sung in Hawaiian, 2 words 26 Ana is the Hawaiian name for this English name 27 ____International of Kona, works to improve the social and economic position of women 30 Most common color of the anthurium flower 31 Garden of Eden lady 33 Sad jazz 34 Trash used by Uncle Don as his art material

1 2 3 4 5 6

Walked around casually Uncle Dʻs first name Supply fields with water Snug Source of solar power Hawaiian word for the call out of the Merrie Monarch 8 ___MAU, Hāmākua nonprofit revitalizing Hawaiian ancestral knowledge, food, and ecosystems 11 ___ Hanaiali‘i, ambassador for Hawaiian music 13 Noahʻs boat in the Bible 14 Signal 16 Inventive 18 Before in Hawaiian 19 Hawaiian word for silent 20 Pailolo Challenge boats 21 Romantic connection 22 Wall art piece 23 Toys that fly in the sky 24 Not right now 25 Placed above 28 Before, prefix 29 Vital card 32 6 on a sundial

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All products are made in small batches to ensure quality control and freshness. They don’t test on animals.

I Love Kigelia® products are currently available online, plus at six retail outlets on Hawai‘i Island, and four on the mainland. See Cindy’s ad on page 49 for the local locations, or visit her website.

I Love Kigelia® offers a product sample and information at the Hilo Coffee Mill Farmers’ Market on Saturdays from 9am–2pm. ​ I Love Kigelia® 808.345.1111 facebook.com/Kigelia ilovekigelia.com

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

Akamai Events

Aloha Theatre–Kainaliu

InBigIsland

Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

AkamaiEvents.com aloha@akamaievents.com 808.747.2829 InBigIsland.com tony@inbigisland.com 808.333.6936

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

Konaweb

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

365 Kona

365kona.com hawaii-island@hvcb.org Julie@Ziemelis.com

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Food Hub Kohala

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

Friends of NELHA

FriendsOfNelha.org 808.329.8073

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

Holualoa Village Association HolualoaHawaii.com

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

Hulihe‘e Palace Wilhelmina’s Tea

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

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

Kalani Oceanside Retreat Kalani.com 808.965.0468

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

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

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

KeOlaMagazine.com | March-April 2018

Kona International Marketplace

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KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events.html 808.885.9501

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

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

Lyman Museum

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

One Island Sustainable Living Center

West Hawai‘i County Band

Palace Theatre–Hilo

West Hawaii Dance Theatre and Academy

One-Island.org hawaii@one-island.org 808.328.2452 HiloPalace.com info@hilopalace.com 808.934.7010

Society for Kona’s Education & Art (SKEA)

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

North Kohala Community Resource Center

UH Hilo Performing Arts Center

NorthKohala.org info@northkohala.org 808.889.5523

Whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

CROSSWORD SOLUTIONS

Skea.org 808.328.9392

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

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

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

KeOlaMagazine.com | March-April 2018

89

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

Community Kökua

AdvoCATS

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

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

Boys & Girls Club of the Big Island

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

Calabash Cousins

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

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

CommUNITY cares

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.

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

Friends of NELHA

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

808.329.8073 EnergyFutureHawaii.org

Hāmākua Youth Foundation, Inc.

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

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

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

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

Hawai‘i Island Humane Society

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

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

Hawai‘i Plantation Museum

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

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

KeOlaMagazine.com | March-April 2018

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm

Volunteer Opportunities

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

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Melissa Fletcher & Associates •808 968 1483• www.yurtsofhawaii.com

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

Community Kökua

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

Hospice of Hilo, East Hawai‘i

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

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

‘Imiloa Astronomy Center of Hawai‘i Hilo

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

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

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

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

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

Kalani Retreat Center

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

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

Kohala Animal Relocation & Education Service (KARES) Kamuela/Kona Shopping Area

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

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

Rainbow Friends Animal Sanctuary

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

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

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

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

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 | March-April 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

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

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

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Hawai‘i Island Farmers Markets East

Tuesday 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 * 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 | March-April 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–1pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast.

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

Wednesday 2–6pm 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 and Tuesday 8am–2pm, Saturdays * Hāwī Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans.

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

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

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

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

Wednesday 9am–3pm Waimea Mid-Week Farmer’s g Market at Pukalani Stables, site of the Paniolo Museum.

Pukalani Road in Waimea.

* EBT accepted: KohalaCenter.org/ebt/markets.html • g Dog Friendly •

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

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

Next to the Minit Stop on Hwy 19.

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

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

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

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

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

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

Sunday 6am–2pm * Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road.

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 * 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 * 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 “What is a yurt?” That’s a question Melissa Fletcher, owner of Yurts of Hawai‘i, LLC would often hear when she started her business more than 13 years ago. The answer?

They are beautiful, strong, durable structures that are well suited to Hawai‘i’s varied climates. The largest yurt provides 706 square feet of wide-open space, which clients can customize to create a full-sized residence, guesthouse, bedroom, office, meditation room, game room, or rental– it’s a blank canvas.

“Housing is a critical issue here in the islands. My intention is to offer an affordable option for people to own a beautiful home and still avoid crippling debt and high rent,” Melissa states with conviction. “I moved here in 2005 with a background in emergency medicine and had worked serving as the hands for a quadriplegic doctor for several years.

I attended the University of Hawai‘i at Hilo, and before I graduated, I was working with the homeless population for my practicum when I realized how many displaced people had simply been ‘priced out’ of renting. Even during a construction boom, many families in our communities were not finding housing.”

Melissa looked at many types of affordable housing and knew she had discovered what she was looking for when she came across the concept of yurts. She vetted the quality of every major yurt manufacturer in North America and found the Colorado Yurt Company. “Partnering with Colorado Yurts was one of the best decisions I could have made. They had nearly 40 years of experience behind them, major integrity, and a willingness to collaborate with us to make quality improvements for Hawai‘i climates. Together we met local codes and began implementation of nationwide standards in the yurt industry through the formation of the organization NAYA (North American Yurt Alliance).”

Yurts are an ancient, brilliant design. A tension structure originating about 3,000 years ago among the nomadic people of Mongolia and other groups from Central Asia, they are still in use

today in the region as a mainstay in familial dwellings. Nearly 50 years ago, Bill Coperthwaite brought the concept of yurts to the US. For four decades he participated in building more than 300 yurts for family homes, schools, camps, and outbuildings, including one in Kāne‘ohe, O‘ahu for a hospital in the 1970’s.

As Coperthwaite’s handcrafted yurts gained in popularity, a few North American craftsmen and women were inspired by his work and began experimenting with yurt designs. The Colorado Yurt Company founders, Dan and Emma Kigar, are two of those pioneers. They found a way to utilize modern-day materials while keeping to the ancient design.

Yurts of Hawai‘i, LLC specializes in yurt construction. Whether it is a simple off-grid structure or a fully permitted, stunning, residential yurt, Yurts of Hawai‘i benefits clients by assisting in management of all phases of construction, tailoring services to fit their clients’ needs.

With more than 200 yurts built on this island alone in her 13 years in business, Melissa shares, “Sales are a byproduct of doing what we love to do. We strive to provide information about these awesome structures and stay persistent in our mission to show how yurts are structures that serve incredibly well here in Hawai‘i. These days, we rarely hear the question, ‘What’s a yurt?’ More often, we see a spark of happy recognition at the mention of the word. That lets me know we’ve done a good job.”

Melissa, her husband Jupiter, a fourth generation Hawai‘i Islander born and raised in Kalōpā, and their daughter, live in Volcano near their showroom which is located on Highway 11 near Akatsuka Orchids. Follow them at Facebook.com/ YurtsHawaii/ or check out their website.

Yurts of Hawaii, LLC 11-3137 Volcano Rd, Volcano, HI 96785 808.985.9715 yurtshawaii@gmail.com yurtsofhawaii.com

MARKET PLACE ACCREDITED BUYERS REPRESENTATIVE

Beverly Crudele, Clark Realty Corp.

Talk Story with an Advertiser

BOOKKEEPING

KeOlaMagazine.com | March-April 2018

HOME EQUITY CONVERSION MORTGAGE

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LAND SURVEYING

Beverly Crudele was raised on Hawai‘i Island with family roots from the Hāmākua coast, Hilo, and upper Puna. She has been in real estate related services in East Hawai‘i for 24 years, starting in 1994 as a part-time executive assistant for RSM, Inc. Her interest in real estate grew during her tenure in the Land Division at C. Brewer and Company, Limited, which ended in 2007 due to their corporate liquidation. At that time, Bev decided to attend real estate school and was licensed soon after.

Bev’s varied expertise, such as property management, land development, escrow/title, and marketing/specialty leasing, gives her a well-rounded approach for all real estate needs.

She believes in helping all and servicing as much as she can through sales in residential, land and commercial properties, in addition to commercial leasing.

As a young girl, Bev spent many hours with her grandfather, who was an entrepreneur starting his own tour business, service station, and lastly, a bus transportation company. Being raised by her mother and grandparents, Bev learned strong work ethics, to strive for excellence, and to sacrifice for those around her. In addition to her family, she’s been very fortunate to have many special mentors in her life and says she’s “extremely grateful to each of them for playing a significant role in my personal and professional growth.”

Bev mentions, “The most difficult career challenge I’ve had was deciding to leave corporate employment to continue my business offering full-time real estate services.

It was the best decision I could have made, and I’ve been active with Clark Realty Corporation-Hilo for the past four years. I’m very fortunate and thankful for the strength to move forward with my passion. Waking up daily to help others is the greatest feeling of accomplishment for me.”

In addition to real estate, Bev volunteers to coordinate events and promotions for various organizations and enjoys her hobbies of hula, golf, and hanging out with little Nalu.

She also looks forward to traveling and highlights visits with her sons, daughter-in-law, and six-month old grandson in California.

Whether selling, buying or leasing, it is one of the most important decisions a person makes during their lifetime.

Having trust in your Realtor® is of major importance and their knowledge to guide you through a transaction smoothly makes your real estate experience pleasant and exciting. Bev offers all this and more!

Beverly Y. Crudele, REALTOR®, RS-69782 Clark Realty Corporation – Hilo 101 Hualalai Street, Hilo, Hawaii 96720 Cell: 808.937.7490 bcrudele@hawaii.rr.com

Hawaii Community Acupuncture

MARKET PLACE MARKETING HELP

Talk Story with an Advertiser

Hawaii Community Acupuncture 465 Hinano Street, Hilo, HI 96720 Call: 808.854.5063 or book online hawaiicommunityacupuncture@gmail.com hawaiicommunityacupuncture.org

REALTOR ®

TV / ENTERTAINMENT

VETERINARY SERVICES

KeOlaMagazine.com | March-April 2018

Where do you go in Hilo for effective, but inexpensive acupuncture treatments? Hawaii Community Acupuncture.

What is community acupuncture? It is simply acupuncture in a group setting. Each acupuncturist treats multiple patients at the same time, so the cost per session goes down.

Julie Kaneshiro, acupuncturist and founder of Hawaii Community Acupuncture explains, “It’s our mission to make the highest quality acupuncture care affordable for everyone.

We’re proud to offer community acupuncture 5 days a week!”

Hawaii Community Acupuncture’s fees are on a sliding scale of $20–$50 per treatment. (The first visit is from $35–$50, which includes an initial consultation and assessment). “You choose what to pay—no qualifying is necessary.”

Why Hawaii Community Acupuncture? The community acupuncture model allows you to get treated more often while staying within your budget. And remember, with acupuncture, the more frequently and consistently you get treated, the better your results will be.

Julie explains how she got introduced to community acupuncture. “I first experienced community acupuncture as an intern studying Chinese Medicine at NUNM, in Portland Oregon. There were times when I would treat more than 40 people in one shift, and more than 100 in a week as a student. I was amazed and proud of the service our school offered. Now I am proud to bring this wonderful service to my home town of Hilo.”

In 2013, Julie created a natural healthcare clinic in the same building that for 35 years had housed her parents’ accounting firm and began offering community acupuncture in Hilo. Julie is delighted to share that, “Now, many of the same people who used to get their taxes done here, come in for acupuncture.”

In addition to Julie, Hawaii Community Acupuncture’s team consists of amazing acupuncturists: Lori Pusateri and Ann Klaft, who offer loving, kind, expert acupuncture care.

“At Hawaii Community Acupuncture we treat a lot of people who have neck or back pain, headaches, stress, allergies, sprains or strains, PMS or hormone imbalance. We also help people with acute conditions like coughs and colds—even chronic conditions like diabetes, COPD, and cancer. Our patients range from keiki (children) to kūpuna (elders) and include residents and visitors to the Big Island.”

Julie says, “Come try us out. Community acupuncture is awesome and can help you in so many wonderful ways.”

Community acupuncture is a worldwide movement. It is so nice to have it right here in Hilo! Walk-ins Welcome!

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

Advertiser Index Accomodations

Kamuela Inn Kïlauea Lodge Holualoa Inn Malulani Pavilion

Activities, Culture & Event

Aloha Performing Arts Co. Contemporary Hawaiian Quilt Show FairWind Big Island Ocean Guides Hawaii Plantation Museum Hawaiian Cultural Center of Hämäkua Kona Choral Society-Mozart Requiem Laupahoehoe Music Festival Meyers Magic-Wonders Without Limits Palace Theater Rainbow Friends Parade of Paws Dog Walk

Art, Crafts & Jewelry

Akamai Art Supply Barbara Hanson Polymer Clay Artwork Barger Gallery Cliff Johns Gallery/Champions Wood and Fine Art Colette's Custom Framing Dovetail Gallery & Design Glyph Art Gallery Harbor Gallery Holualoa Gallery Holualoa Ukulele Gallery Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Kimura Lauhala Shop Kona Frame Shop Linda Rowell Stevens Mountain Gold Jewelers Nalu Island Jewelry & Gifts One Gallery Pat Pearlman Designs Roz Marshall Fine Art Simple Elegance Gems Tiffany's Art Agency Volcano Art Center

Automotive KeOlaMagazine.com | March-April 2018

BMW of Hawaii Precision Auto Repair

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80 35 71 12 25 2 56 12 43 40 40 28 67 48 71 6 42 56 70 71 76 70 70 18 70 70 48 26 74 38 28 70 67 66 36 88 44 30

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.

Beauty, Health & Nutrition

Colloidal Silver made on Hawaiÿi Island Deborah Ardolf, ND Douglas Dierenfield, DDS Hawaii Community Acupuncture I Love Kigelia® Skin Care Serum Keary Adamson, LMT Joan Greco, DDS, Oral & Maxillofacial Surgery North Hawaiÿi Community Hospital Premier Dental Group HI Reiki Healing Arts

80 22 22 60 49 83 23 6 16 74

Building, Construction & Home Services

Colette's Custom Framing 56 dlb & Associates 94 Fireplace & Home Center 47 Hamakua Canvas Co, (Upholstery) 34 Hawaii Water Service Co. 47 Hawaii Electric Light Co. 35 HomeWorld 15 Indich Collection Hawaiian Rugs 13 Kona Frame Shop 48 Plantation Interiors, Teak Garden & Lanai 97 Polynesian Development, Inc. 56 SMART Plumbing Hawaii 46 Statements 89 Tai Lake Custom Furniture 84 Water Works 91 Yurts of Hawaiÿi 90

Business & Professional Services Action Business Services Allstate Insurance, Kris Speegle Aloha Kona Kids Aloha Plus Storage & Packaging America Advisor Group A.S.K. About Travel Employment Experts Hawaiÿi Care Choices Hawaii Community Federal Credit Union

Education

Mälamalama Waldorf School

Pets

Maikaÿi Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC

94 32 18 38 94 32 57 82 14 49 95 3

Real Estate

Beverly Y. Crudele, RS, Clark Realty Claire K. Bajo Spiritual Real Estate Clark Realty Coldwell Banker-Daylum Properties Hamakua Coast Realty Kelly Shaw, RS, Elite Pacific Properties Kimi White, RB, Rainbow Properties Koa Realty Kona Coast Realty Corp.

Lanihoku Designs LLC Lava Rock Realty Paradise Found Realty Parks Realty LLC Team Nakanishi

95 23 51 97 35 100 49 70 62 88 68 94 60 32

Restaurants & Food

Ahualoa Farms 78 Daylight Mind Coffee House, Café & Bakery 24 Food Basket "Da Box" 38 Holukoa Gardens & Café 70 Island Naturals Market & Deli 20 Kailua Candy Company 34 Kohala Grown Market 36 Lucy's Taqueria 28 Päpaÿaloa Country Store & Cafe 34 Peaberry & Galette 78 Standard Bakery 42 Sugai Kona Coffee 71 Sushi Rock & Trio 36 WikiFresh 90

Retail & Gifts

Ahualoa Farms 78 Aloha Gift Box Subscriptions, a taste of Hawaiÿi Island 65 Basically Books 97 Dragon Box Cable Alternative 95 Hawaii Gift Baskets 30 Hawi Cigar & ÿUkulele 36 Island Clutter Consignment Shoppe 83 Kadota Liquor 83 Keauhou Shopping Center 8 Kiernan Music 42 Kings' Shops 27 Kona Boys 30 Kona Commons Shopping Center 50 Mana Cards 82 Päpaÿaloa Country Store & Cafe 34 Paradise Found Boutique 42 Parker Ranch Store 26 Puna Kamaliÿi Flowers 66 Queens' MarketPlace 99 The UPS Store 84

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

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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.

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

General Manager Gayle Greco, 808.329-1711 x5, Gayle@KeOlaMagazine.com

Editorial Team Gayle Greco, Sharon Bowling, Barbara Garcia

Advertising, Business Development Barbara Garcia, 808.345.2017, Barb@KeOlaMagazine.com Gayle Greco, 808.329.1711 x5, Gayle@KeOlaMagazine.com

Bookkeeping Eric Bowman, 808.329.1711 x 3, Info@KeOlaMagazine.com

Customer Service, Distribution, Subscriptions Sharon Bowling, 808.557.8703, Subscribe@KeOlaMagazine.com

Creative Design & Production Aaron Miyasato, Creative Director, 4digital, Inc. 808.961.2697 Noren Irie, Graphics & IT/networking

Ad Production Manager, Graphic Designer & Webmistress Michelle Sandell, Michelle@KeOlaMagazine.com

Proofreaders Eric Bowman, Sharon Bowling, Michelle Sandell

Ambassadors Emily T Gail • Fern Gavelek • Keala Ching • Mars Cavers • WavenDean Fernandes

Plantation Interiors, Teak Garden and Lanai

Ke Ola Magazine is printed on recycled paper with soy-based inks.

Ke Ola Magazine is a member of:

Worldwide Delivery 808.329.1711 x4, order online at KeOlaMagazine.com, Subscribe@KeOlaMagazine, or mail name, address, and payment of $30 US/$48 Canada for one year to: PO Box 492400, Kea‘au, HI 96749.

Contact us for international rates.

Subscriptions and back-issues available online. © 2018, Ke Ola Publishing, Inc. All rights reserved

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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.

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Submit online at KeOlaMagazine.com (go to Contact menu) Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates

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KeOlaMagazine.com | March-April 2018

Ka Puana - Closing Thoughts

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Proverb 2388. Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press. Kindle Edition.

Kelly’s Hawaii Business Magazine Awards: • 2017 Top 100 Realtors To Do Business With, Transactions & Top Sales Honorable Mention • 2014 & 2015 Top 100 Transactions

KAHAKAI ESTATES $859,000 FS MLS 612616 4 Bed/ 3.5 Bath in gated community. Single level home.

Resort-like backyard with salt water pool. Beautiful designer touches throughout. Solar photovoltaic system (owned).

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LOKAHI MAKAI  COMING SOON!

MLS 613611 Compact 2 Bed/2 Bath home with ocean view from front yard FS

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Darling studio apartment with income potential. Short term vacation rentals allowed. LH • MLS 614460

4 Bed/3 Bath Income-producing vacation rental