November-December 2018 by Ke Ola Magazine

November – December Hawai‘i Island’s Community Magazine The Life | Nowemapa – Këkëmapa 2018

ARTS It’s Tiki Time! CULTURE Kumu Kawaikapuokalani Frank Hewett SUSTAINABILITY Reforest Hawai‘i

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Cover artwork: Winter Guest, a painting by Shay Niimi Wahl Table of contents photo: Hawaiian Poinsettias in Puna, a digital painting by Joalene Young. Read more about the artists on page 85.

The Life

Hawaiÿi Island’s Community Magazine November – December | Nowemapa – Këkëmapa 2018

Arts

Itʻs Tiki Time!

Kūkahi and the Love Machine

Three Island Artists Turning Idols into Art By Karen Rose

By Ma‘ata Tukuafu

Community Puna Lights

The Wow Factor of Chef Sam Choy

A Beloved Holiday Tradition By Denise Laitinen

By Fern Gavelek

Then and Now: Kaimū Beach, Kalapana, Kapoho 58 The Only Constant is Change By Stefan Verbano

Hui Mālama Ola Nā ‘Ōiwi

Live Longer and Feel Better Together By Paula Thomas

Culture

Aha Pule ‘Āina Holo

The Gannenmono

A Prayer Moving Throughout the Land By Mālielani Larish A 150 Year Celebration of Faith & Fortitude By Lara Hughes

A Journey with Kumu Kawaikapuokalani Frank Hewett 77 By Karen Valentine

Sustainability

Diving into the World at Pacific Aquaculture and Coastal Resource Center

Reforest Hawai‘i

For the Love of Cacao

By Brittany P. Anderson

Feeding the Forest, Feeding the Soul By Jan Wizinowich Highlighting East Hawai‘i Cacao Farmers By Brittany P. Anderson

Barger Gallery creator Jeff Barger offers commissioned works of art. Capture a favorite personal photo or beach scene. Call 360-9 360-991-3432 and ask for details.

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The Life

Hawaiÿi Island’s Community Magazine November – December | Nowemapa – Këkëmapa 2018

Ka Wehena: The Opening Hualālai, Ku‘u Mauna ē

By Kumu Keala Ching

Business

Managing with Aloha

Mālama ka po‘e By Rosa Say

Island Treasures HonuHeart™ Designs

Talk Story With An Advertiser

93 94 95

Parker Ranch Store The Exclusive Hawaii ‘Imiloa Astronomy Center

Local Food Naughty and Nice: The Chocolate Ghost Pepper 29 By Brittany P. Anderson

KeOlaMagazine.com | November-December 2018

Kela Me Keia: This & That

52 85 86 88 90 92 96

2018 Halema‘uma‘u Rediscovered About Our Cover & Table of Contents Artists Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts 1821: Ko koā uka, ko koā kai.

Mary Kawena Pukui, Olelo Noeau: Hawaiian Proverbs and Poetical Sayings.

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

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From Our Publisher

Last but definitely not least, we are gearing up for a once in a lifetime party to celebrate our 10-year anniversary! We’ve booked the Waikoloa Bowl at the Queens’ MarketPlace, and are having a concert with Kahulanui, Alii Keanaaina, the Kalapana Awa Band, and Hoku Pa‘a on Saturday, January 19, 2019! You can read all about it on page 66, and also on our website and Facebook page. There are so many good stories in this issue, it makes me happy just proofreading it. I hope you enjoy this issue of Ke Ola as much as we’ve enjoyed putting it together for you. Hau‘oli lānui (Happy Holidays), Barbara Garcia and Ke Ola’s ‘ohana

Corrections September/October 2018 Issue Amy B.H. Greenwell story: flower identified as pōhuehue (Hawaiian morning glory) in the photo caption on page 16 should be ‘Akiohala, Hibiscus furcellatus, an indigenous hibiscus. Lau‘au Lapa‘au story: plant identified in the photo on page 64 as ‘Ōlena, Curcuma longa, is actually Rose Tumeric, Curcuma zedoaria. Mahalo to David Paul for contacting us about these.

MAHALO TO OUR STORY SPONSORS BMW of Hawaii – Art

Jack’s Diving Locker – Ocean

Clark Realty Corp. – Home/Building

Kings’ Shops – Culture

Employment Experts – Business

Kona Coast Realty – Sustainability

KeOlaMagazine.com | November-December 2018

As we complete the 60th issue of Ke Ola Magazine, I reflect on where we started and where we are now. In August 2008, when the idea for creating Hawai‘i Island’s own lifestyle magazine sprouted, Karen Valentine and I formed a vision of what we thought people who live here (and other’s who love it here) would want to learn more about. I’m confident in saying that over the course of these 10 years, Ke Ola’s editorial staff has stayed true to our original vision of sharing stories about the arts, culture, and sustainably of our island home. Many of us who live here are malihini (newcomers), yet there is a special spirit in people who are Hawaiian at heart, if not by blood. Those of us who have chosen this island as our home are grateful to those who have allowed us to be here. The Ke Ola staff is honored to share the stories of our adopted home. Of course there is a reason we’ve been able to produce and distribute Ke Ola free for these 10 years. It’s all because of our advertisers. There are some businesses on these pages that have been with us for the entire 10 years. For our five-year anniversary, we added a full-page “celebrating a long time advertiser” story feature. In each issue from then on, we’ve featured an advertiser who has been with us for at least five years. Here we are five years later and we haven’t run out of long time advertisers to feature! We are grateful for all the people who value Ke Ola Magazine to reach their customers— our readers. We are also grateful to all the readers who value our advertisers by supporting them and mentioning you saw their ad in Ke Ola. We’re excited to start our second year of Aloha Gift Box subscriptions. Every two months subscribers receive a package from us containing products made here on Hawai‘i Island from our advertisers in addition to the most current magazine. The packages have proven to be popular gifts, priced at $25 every two months or a one-time payment of $150 for a year (six boxes.) More details about the Aloha Gift Box are in the ad on page 49 and on our website.

KeOlaMagazine.com | November-December 2018

Hualalai, Ku‘u Mauna e

Ka Wehena

Na Kumu Keala Ching

Hualālai, ku‘u Mauna i ‘uka la He wahine kupaianaha iā Hawai‘i loa Noho uka ‘o Hualālai i ka ‘Ōpua ‘Ōpua malu, ku‘u ‘āina kō Kona Eō, eō e Hualālai Ke aloha palena‘ole ke ‘ike aku He mauna kū kilakila ‘o Hualālai Kāhikohiko ka ‘ike malu i ke kapu Kapukapu ke kai mā‘oki‘oki ala I ke kai mālinolino kō Kona Eō, eō e Hualālai Ke aloha palena‘ole ke ‘ike aku Aloha nō kō Kona iā Hualālai He Makua mālamalama kō ia nei Hāli‘ali‘a ke aloha o ka Makua Kāhikohiko ka ‘ike malu i ke kapu Eō, eō e Hualālai Ke aloha palena‘ole ke ‘ike aku

Hualālai, My precious Mountain An amazing woman of Hawai‘i Loa Hualālai was placed within the ‘Ōpua clouds Protected ‘Ōpua upon my island Kona Announce, Rejoice Hualālai Unconditional love is seen Majestic Mountain is Hualālai Historical knowledge, a sacred protector Honored is the choppy ocean To the glistening seas of Kona Announce, Rejoice Hualālai Unconditional love is seen Kona adores the beauty of Hualālai Hualālai, nurtures and protects Kona Cherished love shared by a parent Historical knowledge, a sacred protector Announce, Rejoice Hualālai Unconditional love is seen

‘O ka makua ke kahua mua, ma hope kia‘i ‘ia ka pono e nā kūpuna. He aloha palena‘ole i nā kūpuna i mālama ‘ia ana nā ‘ike kahiko ma ‘ō aku o nā mo‘o‘ōlelo, nā mele, a me nā oli. I ka mo‘o‘ōlelo, hō‘ike ‘ia ka nani o ka ‘Ōpua ma Hualālai, i ke kai mā‘oki‘oki ala ā i ke kai mālinolino nei me ka pā ‘olu‘olu maila ‘o ‘Eka, he makani. Palekana ‘o Hualālai ma ke ‘ano he makua. He mana‘o kāhikohiko ‘ia i ke ola nahenahe kō Kona. Eō e Hualālai, ku‘u mauna ē! Parents are the foundation guided righteously by the elders. Unconditional love of our elders for their deep sense of historical knowledge found within the stories, songs and chant. In this story, Kona speaks of the beautiful ‘Ōpua clouds upon Hualālai, the rough, calm and glistening seas balanced with the gentle ‘Eka breeze. Hualālai protects Kona like a parent. Historical knowledge confirms the lifestyle of Kona. Rejoice Hualālai, My mountain! A Tribute to Hualālai and her majestic protection she provides for Kona District—‘Ānaeho‘omalu until Kaulanamauna.

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org Hualälai in the early morning light, September 2018. photo by Gayle Greco

Puna Lights: By Denise Laitinen

KeOlaMagazine.com | November-December 2018

Stanward Oshiro is hard at work making the holidays a little brighter for Hawai‘i Island residents. His annual synchronized Christmas light and music display in lower Puna has become a community favorite for more than a decade, drawing thousands of residents from across the island. No mere light display, this feast for the senses is synchronized to music and even has its own FM radio station so spectators can watch and listen—all from the comfort of their cars parked in Stanward’s front yard. The popular holiday display runs December 1 to 31 from 7pm to 9pm. Stanward says he aims for a December 1 launch, although he is sometimes delayed by a few days. “People really enjoy it. There is really nothing to see in Hilo like the Honolulu City Lights. Sometimes it seems like the parents enjoy it as much as the children,” he says. [Editor’s note: Honolulu City Lights is a month-long December celebration on O‘ahu.] It all started on a whim back in 2007 when a friend sent Stanward a link to a website featuring an impressive Christmas light display. Intrigued, the following year he started buying equipment to create his own Christmas light display. An electrical engineer for Hawai‘i Electric Light Company, Stanward received a degree in engineering at University of Hawai‘i at Mānoa. While he says, “It definitely made it easier being an engineer,” he admits he learned how to make the displays by watching YouTube videos and seeking advice from others. He is a member of various online forums and Facebook groups dedicated to synchronized Christmas light displays. “The synchronized Christmas light community is a tight knit community,” explains Stanward adding that fellow enthusiasts share tips and suggestions with aficionados around the 10 country.

Stanward started small with the display, growing in complexity and size over the years, and adding more props and lights over time. “When I started in 2008, I had 16 channels controlled on a computer. That’s pretty much the smallest controller you can buy with 16 individual sets of lights flashing to music.” By Christmas 2009, word of mouth about the display had grown to the point of causing traffic congestion on the narrow dead end road; the following year Stanward opened his front yard as a viewing area. At the time his yard could only fit 6–7 cars, and in 2011 he bulldozed his front yard to accommodate more cars. “Now I can fit about 20 cars in the front yard,” says Stanward. “During the peak times we might have 40 cars waiting to get into the yard.” Between word of mouth and being mentioned on social media and the radio, people come from around the island to see the display. “I can tell the visitors from Kona because they come about an hour before the display starts. They come early just in case there’s traffic.” Stanward is mindful of the neighbors as well, stating, “I only do the light show two hours a night so it doesn’t go really late. I also go around pick up all the trash and my wife and relatives help direct traffic.” All for a Good Cause Stanward does not charge admission for his show and says, “In the early years people kept trying to give me money to pay my electric bill.” Instead, he decided to focus on the community and asks for donations for The Food Basket, Hawai‘i Island’s Food Bank. Since 2011, spectators of Stanward’s Christmas synchronized light display have donated 6,375 pounds of food and raised $8,176.19 for The Food Basket.

Mahalo Clark Realty Corp. – Home/Building Story Sponsor

A Beloved Holiday Tradition

Puna Lights display. photo courtesy of Puna Lights YouTube channel

Stanward Oshiro (far left) and his ÿohana provide traffic control during the 2017 Christmas light display. photo courtesy of Puna Lights

The Light Displays During this year’s display, Stanward will already start thinking about next year’s show. “I start thinking about the next show during the existing show. I start planning in January but don’t really do anything January through August, and then September I start building new displays.” Stanward builds his own props to use in the displays. For example, in order to create his simulated fireworks display, he

KeOlaMagazine.com | November-December 2018

Cost of Electricity One of the most common questions Stanward is asked is about his electric bill. Since he doesn’t use traditional strings of lights in the display, his electric bill is not as high as people might assume. “There were times that my electric bill went up only $50 for the whole month.” In 2012, he had a photovoltaic system installed; adding that since there isn’t much sun output in December, his electric bill is around $200 for the entire month. Ever evolving, in 2015 Stanward started using all LED lighting in the show, which used less energy. The following year he changed the system yet again to all programmable pixels. Using pixels enables every single individual light to be programmable and different while keeping energy costs low.

Stanward enlists the help of friends in creating the light displays. Here two of his buddies lend a hand during the 2017 Christmas season. photo courtesy of Stanward Oshiro built a pole 20 feet tall. “September, October, and November I’m physically building the props. To buy some of these large props would cost thousands of dollars, so I wind up building my own. I like to do welding, and it definitely helps.” The fireworks display has been his favorite prop that he has made. “I converted it to all pixels last year with the lights going up the pole and exploding in an array of colors.” Come November, he spends about 150 hours on

programming and 160 hours on physical setup for the various light displays. Stanward says each display takes about 20 eight-hour days to physically put together. That includes just putting up the display and does not take into account programming the music or lights. “I save up my vacation and use it all to put up the display lights. I’m not at work much in November because I take so much time off to put up the light display.” He does the bulk of the computer programming in November,

KeOlaMagazine.com | November-December 2018

One of Stanward's Puna Lights displays in 2012. It has since evolved and grown in size. photo courtesy of Puna Lights

which is no easy task, especially since the display changes every year. A time-consuming process, it takes five hours to program one minute of music. When Stanward kicks off his display at the beginning of December, the show is about 30 minutes long and repeats itself on a loop. Throughout the month he keeps tweaking the displays, so that by Christmas day, the display may have 40 minutes of music. Stanward uses open-source software that’s available for free to fellow synchronized Christmas light display creators. “There are different software programs you can get,” he explains. “The display can be as complicated or as easy as you want. In 2016, I changed to a free software program that creates code just for people that program Christmas lights. “If you have an effect that you want to do, these computer programmers will try to create an effect or a tweak to the Stanward builds his own props for the holiday light displays, including a mega tree, a large Christmas tree that is composed of Christmas lights, typically in a triangular or inverted cone shape. photo courtesy of Stanward Oshiro

KeOlaMagazine.com | November-December 2018

program for free. Several thousand people use the program across the country that are involved in Christmas light displays. “There’s another entry-level program called Light-o-Rama. It’s geared toward the person who has no clue about electronics with no technical background.” When he first started creating displays Stanward says he used Light-o-Rama then switched over to the pixel-based design. Song Selection Stanward uses a wide range of holiday music in his synchronized light displays and notes that not all the songs he uses are Christmas related. His lightwork displays have included a Star Wars montage, rap songs, and the upbeat Justin Timberlake song “Can’t Stop the Feeling” from the movie Trolls. Other music in previous displays has run the gamut from “Santaʻs Coming for Us” by pop star Sia, to “Filipino Christmas” by Frank Delima, to the iconic Trans-Siberian Orchestra

KeOlaMagazine.com | November-December 2018

A unique perspective of one of the mega trees taken back in November 2015. This mega tree utilizes regular strands of Christmas lights. However, this mega tree is now upgraded to pixel LEDs as of 2016. photo courtesy of Stanward Oshiro

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Stanward's whole family pitches in when it comes time to set up the lightworks display. Pictured is Stanward's wife Leah Oshiro, their two daughters, and Leah's father as they set up miniature arches for a display in 2015. photo courtesy of Stanward Oshiro

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KeOlaMagazine.com | November-December 2018

Trrical Fllls and AAangements

Lightshow setup in November 2015. photo courtesy of Stanward Oshiro performance of “Christmas Eve in Sarajevo.” Stanward says he is open to suggestions about music to be featured in the displays, although he notes that people don’t realize it is not a simple task to program music. Stanward plans to keep creating the annual synchronized light display well into the foreseeable future. It’s something his kids have grown up with and is not only a family tradition, it is also a community one as well. “As long as I’m physically able to go up on my roof I’ll keep doing it. It’s such an addictive hobby. I try to outdo myself from the previous year. You’re not competing against anyone else but yourself.” ■

KeOlaMagazine.com | November-December 2018

For more information: Location: 15-2053 18th Ave. Hawaiian Paradise Park, Kea‘au Facebook.com/punalights YouTube: Stanward Oshiro

Stanward's Christmas light display in 2012. photo courtesy of Stanward Oshiro

Mahalo BMW of Hawaii – Art Story Sponsor

It’s Tiki Time! Three Island Artists Turning Idols into Art Romanticized images of Hawai‘i and Polynesia abound in Hollywood films and dramatizations of island life. One of the most iconic images of Hawai‘i adopted by popular culture is the tiki. Tikis are wooden carvings created to represent the image of a particular deity and to embody its particular power. Contemporary tiki culture has drawn both criticism and praise. Visitors to Hawai‘i love to take home tiki memorabilia to remind them of their time spent relaxing in tropical paradise. Pacific Islanders have mostly taken this American fascination in stride, despite the sometimes-dubious reaction to seeing their ancient gods or ancestors on a coffee mug or in a bar. Today’s obsession with tikis has moved beyond the tiki bars of the 1950s and made its way into the fine art realm. Three local artists on Hawai‘i Island have helped evolve this kitschy retro trend into a whole new level with their unique interpretations of these ancient, sacred carvings. One such artist is Brad Parker of Kailua-Kona. Brad considers himself a “Tiki Artist” who specializes in Hawaiiana pop culture. He likes to think of his work as bringing the fine art of lowbrow and cartoon realism into the popular world of souvenir art. “I started becoming interested in tiki art when I was a kid and I went to Disneyland for the first time, and visited the Enchanted Tiki Room,” says Brad. “Then in the 80s, I moved to California to go to art school. In the late 80s and early 90s, a whole subculture started to appear on the West Coast. It was a sort of revival, called urban archeology. A bunch of us would get together and go to tiki bars around LA and San Francisco. We’d wear retro aloha shirts, and we’d drink old-style drinks. It turned from a local, small underground scene into this kind of above board art movement and pop culture movement.” The tiki craze hit its peak in the late 1950s when tiki-themed establishments were at a crescendo. Post-World War II Hawai‘i mania swept through the mainland with tiki-themed bars, drive-in theatres, motels, and restaurants incorporating the word ‘tiki’ into their names. The craze began to decline in the 60s and 70s. “The tiki culture kind of got swept under the carpet, when people began to recognize it wasn’t really a Hawaiian cultural thing at all,” says Brad. “Instead, this tiki culture was someone’s foggy memory of Hawaiian culture they recalled when traveling back through the Philippines and the South Pacific after World War II. What they remembered Hawai‘i was kind of like, but not exactly. Tiki art wasn’t really Hawaiian culture—it was pop Hawaiiana culture.” Background photo: Brad Parker's Tiki Cat. photo courtesy of Brad Parker Brad Parker. photo courtesy of Tim Coutney

By Karen Rose

As the tiki culture began to disappear, so did the hotels, restaurants and bars. Tiki enthusiasts began to venture out on urban archaeology tours to find old tiki-type establishments. “It was kind of like finding lost civilizations that never really existed in the first place,” says Brad. “It wasn’t proper Hawaiian civilization. It was this whole strange pop culture invention, but the remains of it were all over America, as well as Europe and Australia.” By the late 80s and early 90s, the tiki scene was reviving among former California punk rockers who were now too old to go slam dancing in mosh pits. Artists like Brad were going to tiki bars and hanging out. “It was a counterculture scene that went hand in hand with the low brow, underground art movement. It wasn’t really considered real art,” explains Brad. “When the underground art scene started to happen on the West Coast, I began to actually put brush to canvas, and people responded really well,” he says. “People began to look at my art, and I decided if I was going to do this for real, I should move

KeOlaMagazine.com | November-December 2018

to Hawai‘i. I went back and forth from LA to Big Island for a while and when I discovered Kona sunsets, realized this was the side of the island I wanted to live on.” Brad ran into difficulty when he first showed his paintings to galleries on Hawai‘i Island. The gallery owners didn’t understand his style. Brad was told tourists wanted to purchase artwork with dolphins, flowers, and seascapes. After being turned away several times, he was down to one last gallery and was determined to have his work accepted. He had a plan, and his plan worked. “My business partner had given me a lot of advice in my career, but had never actually stepped in and acted as my representative in person,” Brad explains. “So, I asked him to represent me with this gallery. He put on his fancy clothes and introduced himself as my representation from Los Angeles. Suddenly I get treated completely differently. The gallery was like, ‘Oh wow, he’s got reps. He must be good.’” The gallery owner decided to take a chance and accept Brad’s work into his gallery. Brad feels fortunate to have found his niche. Today, he enjoys reading and learning as much as he can about Hawaiian mythology. “Living here has changed my art,” he says. “It’s a different experience to live in Hawai‘i as opposed to just visiting. There’s something deep and rich here in the culture. The more you study the mythology and the culture, the more there is to learn. I want my art to reflect this. Now there’s a lot of other local artists exploring what’s called pop surrealism, a lowbrow art.” Two of the local artists Brad is referring to are Jacob Medina and Kevin Murray. From Texas and California respectively, Jacob and Kevin incorporate their own unique art styles into their tiki pieces. Jacob Medina will proudly tell you he was born on the Day of the Dead—Dia de Los Muertos. His day of birth is reflected in his unconventional and extraordinary tiki representations. “My father’s side of the family is from Mexico and I grew up in Texas, so I’ve always resonated with Day of the Dead imagery,” says Jacob. “I moved to the Big Island in 2002, and I noticed there was no Dia de los Muertos art. So, I started to paint it myself.” Initially Jacob felt a disconnect between his style of art and the Hawaiian culture. However, the more he worked on his

craft and the more he assimilated into island life, he began to see his style evolve. “Because my art was so Mexican when I moved here, it didn’t really fit in,” he says. “It was art that would have went over better in Texas. Then it slowly morphed into this Day of the Dead tiki art. I felt like the tiki was basically an icon, like the skeleton is in Mexico. The tiki is a symbol in Hawai‘i that I could really build on. My art became a fusion of characters that reflect where I come from and where I am now. It just kind of came together.” Jacob moved to Hawai‘i Island after serving in the army. He attended the University of Hawai‘i at Hilo on a G.I. bill where he majored in printmaking.

“I pretty much just graduated from coloring books, to drawing on my walls at home, to painting,” he jokes. “Some people stop coloring—I never stopped. I knew from an early age I wanted to go to art school, and have some sort of career in art.” He continued to create art pieces focusing on skeletons, yet he noticed they were becoming more anatomical since he was studying human anatomy. A new style began to emerge. “I was studying human anatomy, so my style kind of evolved from there,” says Jacob. “I was bummed when we had to actually paint the models with their skin on. I liked it when we had the skulls and bones.” Jacob strives to keep his artwork as personal to his own life as possible. He and his wife rescue animals and currently have nine cats and three dogs. “My piece titled Warrior Kitty is a painting

Kevin Murray carving one of his tikis. photo courtesy of Kevin Murray

KeOlaMagazine.com | November-December 2018

of one of our adopted cats,” says Jacob. “He kills everything. I joke that he probably killed a pig out there somewhere and I visualize him putting the pig skull on his head and going out hunting some more. That’s kind of how most of my paintings come about—from something personal in my life.” Jacob is humbled at his success and is grateful to be making a living doing something he loves. “It always surprises me that people are actually buying my work,” he says. “I never thought I would be able to make a living as an artist. I was teaching art for a long time because I thought that’s what I had to do. It’s inspiring to know I can do something I really love. I never really thought I could do it, and now it’s starting to happen.” Another Hawai‘i Island artist making himself known in the local tiki art scene is wood carver Kevin Murray. Originally from Northern California, Kevin built log homes and eventually became interested in carving and sculpting tikis from logs. “Basically, one thing led to another,” says Kevin. “I started off carving bears, then began carving a variety of things. One day I started carving tikis and got hooked on it. I’ve been focused mainly on carving tikis for about 10 years now.” Kevin, along with his wife and daughter, dreamed of moving to Hawai‘i Island for 14 years. Two years ago, they sold their home in California and made their dream come true. Kevin is currently building a home in Kalapana Seaview Estates. “Because the volcanic eruption put a hold on the building project, I started carving more tikis in the interim,” he says. “Now I’m back to building, and when construction is finished, I’ll be carving tikis again.” Many of Kevin’s carvings reflect the tikis found on the island and most are made of large cedar logs; the largest stands at 13 feet in height. Borrowing inspiration from carvings at Pu‘uhonua O Hōnaunau National Historical Park (Place of Refuge) and elsewhere, his pieces incorporate traditional ancient stylings with his own unique flair. “I’ve borrowed inspiration from the Place of Refuge style, and added some of my own uniqueness,” he explains. “Occasionally, I’ll have customers who specifically want me to carve them a tiki thatʻs already carved from the Place of Refuge or the Bishop Museum and Iʻll try my best to create one. However, I prefer to do something of my own, and put my own spin on it. My work will often be standing on skulls or holding spears. I enjoy creating pieces with my own style.”

Jacob Medina's Puÿuhonua O Hönaunau. photo courtesy of Jacob Medina Kevin feels fortunate to be living his dream on Hawai‘i Island and creating pieces of art for people to enjoy. “Iʻm not seeking fame,” he says. “I just think itʻs really cool that people are interested in what I do, and I enjoy doing it. I like working with wood and I like being an artist. People really seem to enjoy my tiki work and that makes me happy.” It appears the current fascination with tiki art isn’t going away anytime soon, and these three Hawai‘i Island artists are proof of its endurance. What was once retro Hawaiiana pop surrealism is now en vogue once again. ■

KeOlaMagazine.com | November-December 2018

Jacob Medina. photo courtesy of Rachel Pierson-Medina

For more information: Brad Parker: tikishark.com Jacob Medina: saatchiart.com Kevin Murray: timbercovetiki.com

The Wow Factor of Chef

By Fern Gavelek

Sam Choy H

served in the kitchens at the Turtle Bay Hilton and today’s Royal Kona Resort, developing his signature cooking style. Sam characterizes his cuisine as “a melting pot of the freshest ingredients from every culture of these islands.” Sam Choy’s Aloha Cuisine Achieving “the wow factor” is important to Sam when it comes to food. He likes creating a surprise when you bite into his Asian Braised Short Ribs or Garlic Ginger Chicken. “It’s about blending taste and flavors in unexpected ways,” details the 66-year-old chef. “It’s long on experimenting and trying to be different; it’s short on doing the same thing forever.” While Sam is respectful of tradition and knows the importance of understanding how flavor and ingredients work, he’s motivated to be out of the ordinary. He says his cooking style, selfdescribed as “Aloha Cuisine,” is simple and about what people like to eat here in Hawai‘i. “My cooking style reflects the multiethnic nature of the islands and I keep

KeOlaMagazine.com | November-December 2018

e cooks a mean oxtail soup and made poke a nationwide sensation. With 14 cookbooks, several TV shows, a string of celebrity clients, and involvement with numerous restaurants, Chef Sam Choy is a culinary ambassador for Hawai‘i. Whether he’s touting the attributes of ‘ulu (breadfruit) or designing the menu for American Airlines, the Kailua-Kona resident takes it all in stride. Looking back on his nearly five-decade culinary career, Sam simply shakes his head and says, “It’s amazing.” And he’s not done yet. Claiming he’s “just a local boy who made good,” Sam grew up in the small town of Lā‘ie on O‘ahu’s North Shore where he learned to cook in his father’s restaurant, Sam’s Place, today known as The Hukilau Café. On the weekends, his family would gather to prepare traditional Hawaiian fare for large lū‘au and celebrations. His Chinese father, Hung Sam Choy, taught him the culinary basics. “Dad said to make everything uniform, that vegetables and meats should be about the same length,” recalls Sam. “The idea was when you cook, the dish becomes a complete masterpiece. Everything blends.” After discovering her son’s love for cooking, Sam’s Hawaiian-German mother enrolled him at Kapi‘olani Community College. He earned his professional culinary chops at the Waldorf Astoria in New York City. He moved on to 21 years of working at both Hilton and Hyatt properties. Island life beckoned and he

Sam models one of his kitchen towels while making stew. photo courtesy of Tiki Shark Art Inc .

it simple because I sense people crave the simplicity and familiarity of food they have grown up with … but I still like to add my twist to it, to make the dish memorable,” the chef continues.

KeOlaMagazine.com | November-December 2018

Claim to Fame Sam opened his first restaurant on Hawai‘i Island in 1985, Sam Choy’s Diner, at today’s location of K-B Extreme. The modest eatery was located adjacent to the bowling alley with a bustling dining counter and comfy booths. The location was a big hit and Sam soon outgrew the spot and opened his first stand-alone restaurant in the Kaloko Industrial Area in 1991, Sam Choy’s Kaloko. That same year, Sam was one of 12 top island chefs who helped establish Hawai‘i’s trademark culinary movement— Hawai‘i Regional Cuisine; it blends locally-sourced ingredients with a variety of ethnic cooking styles and flavors. Sam says “Word will spread if you take care of your customers,” and that is what he did at the Kaloko restaurant. Dinner patrons were greeted with a steaming bowl of delicious oxtail soup and a no-nonsense salad topped with a creamy Sam Choy Miso Salad Dressing (which is now bottled and sold at grocery stores). These “starter” courses were all served before your chosen entrée: a generous portion of local-style goodness like Shoyu Chicken, Baked Teriyaki Butterfish, or Hoison Pork Chops. Residents and visitors flocked to the Kaloko location, followed by food writers, and soon Sam Choy became known in nationwide culinary circles. He made appearances on network TV shows like Emeril Live!, East Meets West

with Ming Tsai, and Iron Chef America. In 2004, Sam Choy’s Kaloko Restaurant was the recipient of the prestigious James Beard/Gallo of Sonoma American Classics Award. Sam looks back fondly on his days operating his Kaloko restaurant, and feels it is one of his most important culinary achievements. “A lot of the food we created at Sam Choy’s Kaloko has now been mainstreamed at numerous restaurants today,” he notes. “And I’m not talking about who invented things; I’m talking about how we made food exciting.” Celebrity Catering and Consulting After operating Sam Choy’s Kaloko, the Kona resident was involved in an ever-expanding family of restaurants in Hawai‘i, Tokyo, and Guam. He was also called upon to do on-location lū‘au and dinners for a host of film and sports celebrities at their posh homes. Sam was often seen at the Ellison Onizka Kona International Airport at Keāhole waiting for a flight to “go cook.” Sam’s food literally “took to the skies” when he started developing meals for airlines. “I’ve been doing it a long time, first with United, and then after 9-11 I got on board with American,” details the chef. At American Airline’s research and development kitchen in Dallas, Sam designs food for all the transcontinental flights and those transporting passengers to and from Hawai‘i. “They put the pedal to the metal in Dallas,” continues Sam. “They do thousands of meals a day. Everything is exact; there is no room for error.” While Sam is no longer affiliated with some of his past restaurants, he is involved with new eating establishments on the

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KeOlaMagazine.com | November-December 2018

23 Poke is a mainstay in the world of Sam Choy. photo by Fern Gavelek

mainland’s west coast, and on O‘ahu and Kaua‘i. Sam Choy’s Poke to the Max restaurants are found in Seattle’s Hillman City and the University of Washington’s Tacoma campus. There are Sam Choy’s Poke to the Max food trucks servicing numerous Seattle locations, including the corporate campuses for Amazon and Starbuck’s, Century Link Stadium, and the Seattle-Tacoma International Airport. A new location recently opened in San Francisco. On the Garden Isle of Kaua‘i, Sam is involved in a partnership with the Holoholo Grill at Koloa Landing Resort. Sam takes a break with his twin granddaughters during the 2013 Keauhou Poke Contest.

KeOlaMagazine.com | November-December 2018

photo by Fern Gavelek

He handpicked the restaurant’s culinary team, with whom he collaborates to develop a diverse menu. “The folks there are wonderful to work with,” confides Sam. Most recently, Chef Sam has been busy developing the student dining facility for Hawai‘i Pacific University at Aloha Tower Marketplace, called Pier 9 by Sam Choy. About 270 students live in waterfront lofts on the second floor of the marketplace and the new dining commons opened for the 2018 fall semester. “The concept is a combo of feeding students and people from the downtown community, as they can come in too,” shares Sam. “Not many restaurants can boast having that dual kind of patronage.”

Sam at a past Keauhou Poke Contest. photo courtesy of Kirk Shorte

Putting Poke on the Culinary Map Poke, the popular island pūpū (appetizer), is a mainstay in the world of

Sam Choy. Over the years it has been featured at his many restaurants, explored in his cookbooks (two are just on poke), demonstrated on TV, and it has also starred in numerous island poke contests. As such, Chef Sam put poke on the culinary map and today it is served in cities across the US. Poke hails from Hawai‘i; the Hawaiian word means “to slice or cut crosswise into pieces,” according to The Choy of Cooking. Pronounced poh-KAY, poke is typically raw or cooked cubed fish seasoned with Hawaiian sea salt, spices, and sesame oil, and accented with seaweed, nuts, and other ingredients. Variations to this theme are up to each individual and even vegan poke is delicious. Poke can be a pūpū or a side dish, served with rice or poi. While Sam is no longer involved with poke contests in Hawai‘i, he “discovered it was important to continue them.” He is currently head honcho at the Sam Choy’s Poke to the Max Poke Contest in Seattle. On the Tube You can watch Sam in action on KHON-2 during Sam Choy’s in the Kitchen; the TV show is broadcast at 6:30pm Sundays on FOX. During the half-hour show, Sam shows families how to turn leftovers into “new and exciting, delicious dishes” using ingredients found in their refrigerator. Sam insists the show “is the real deal; we don’t stock the fridge.” Shows are taped between Sam’s traveling schedule—26 to 30 episodes per season. Segments are filmed primarily on O‘ahu. Chef came up with the idea for the show 20 years ago when he saw people throwing away “good food.” “You know, it’s a lot of fun … we dig around in the fridge and so far, we have always been able to come up with something

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Sam demonstrates how to make poke at the 2012 Keauhou Poke Contest. photo by Fern Gavelek

KeOlaMagazine.com | November-December 2018

to make,” he details. “It gets our creative juices flowing.” Sam likens the show’s format to cooking challenges where chefs prepare food from a mystery box. “It’s the same energy,” he explains. “It’s exciting and my mind is spinning a mile a minute. I’m taking leftovers from a container and creating something different.”

Kitchen Towels and Giving Back In an effort to “bring a little aloha to your home,” Sam partners with Kona’s Brad “Tiki Shark” Parker to offer a selection of Sam Choyʻs Hawaiian Kitchen towels and accessories. A newer linen line will be out for the holidays, debuting at major retailers throughout the islands. “I love Bradʻs artwork and having him design my kitchen line locally in Hawai‘i is even better,” notes Sam. Believing it’s important to give back, Sam says, “I take my love for food and use it to raise money.” It could be by donating a catered dinner for a silent auction or the proceeds from a poke contest. “If we can help a child get a higher level of education, we have created another successful person,” adds the grandfather of three. Sam believes in making appearances and donating cookbooks to promote causes he believes in, including the use of ‘ulu for the National Tropical Botanical Garden’s Breadfruit Institute and the University Hospitals Seidman Cancer Center in Cleveland. “I lost my mom to cancer, so I give a lot for cancer; I work hard at doing that.” Chef offers a bit of advice for those who toil in the kitchen: “Never cook mad!” He notes food in the islands has always been associated with caring and giving—whether a lū‘au, sharing kau kau around the plantation kettle, or pūpū for a pau hana (after work) get-together. “Preparing food is love,” he grins. ■ For more information: chefsamchoy.com

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Chef Sam Choy, who put poke on the culinary map, taste tests an entry during a past Keauhou Poke Contest. photo courtesy of Kirk Shorte

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Naughty and Nice: The Chocolate Ghost Pepper

Local Foods

By Brittany P. Anderson

recipe for chocolate ghost pepper salt has been an intense labor of love. For starters, I did not take my own safety advice and forgot to wear gloves when handling the peppers. For two days my hands throbbed with heat. The end result of this recipe is a salt that delivers a subtle warmth perfect for finishing salads, rubs and brines, or rimming a margarita glass. This can easily be adapted for any number of hot peppers for a variety of flavors and desired heat level. Chocolate Ghost Pepper Salt 5 chocolate ghost peppers 2 cups high-quality Hawaiian sea salt Method First, put on gloves before handling peppers. Wash and dry peppers then cut in half, removing the green top and stem. Arrange on a parchment-lined cookie sheet. Place in 200F oven, or your lowest available setting, for 1–2 hours until dry but not burnt. Coarsely grind dried peppers in spice mill or food processor. In a layering fashion, pour dried pepper and salt into a glass jar that has a lid (I used a canning jar) then secure the top. Gently shake to distribute the pepper more evenly throughout the salt. Let the jar sit for at least 5 days, lightly shaking each day to disperse peppers throughout salt. Keep in a dry location and enjoy! KeOlaMagazine.com | November-December 2018

“I just don’t know what to do with these hot peppers,” my friend Barbara said to me, “They’re beautiful, but they are just so hot.” Barbara has a thriving chocolate ghost pepper plant in her bountiful Hilo-town garden. “Drop them off, and I’ll see what I can do,” I promise as Barbara leaves with a laugh. I had no way of preparing for the heat I was in for. About a week later, on my doorstep was an egg carton and in each egg cradle was a gorgeous chocolate ghost pepper. The skin is chocolate mahogany red with a blistered pattern characteristic of the ghost pepper family. The mid-sized hot peppers look so delicate, sweetly concealing the intense heat they are waiting to deliver. The heat level of hot peppers is measured in Scoville Heat Units (SHU). Our beloved Hawaiian chiles weigh in at 50,000 to 70,000 SHU while the chocolate ghost pepper averages at 1,000,000 SHU. That’s one hot chile! Also known as Bhut jolokia or ghost chile, it is native to Northeastern India. Ghost peppers grow best in hot and high humidity locations. Their seeds need 80-degree soil even to germinate. Barbara has raised beds in her backyard which is ideal for ghost pepper planting as they help to maintain higher soil temperature. Out of sheer curiosity, I nibbled on the end of the chocolate ghost pepper—the taste was brilliant like sweet pepper and then the heat gradually built to an impressive intensity bringing tears to my eyes and radiating throughout my mouth. Capsaicin is the compound that gives hot peppers their heat. It is a kind of evolutionary armor to prevent mammals from eating peppers because the seeds are not viable after going through the digestive tract. When mammals, like you and me, eat a hot chile pepper, capsaicin stimulates our pain receptors linked to burning sensations and not a result of real heat. Birds, however, are not affected by capsaicin and are the perfect seed distribution system. Most hot peppers only store capsaicin around their seeds, but not ghost peppers. These pack high levels of capsaicin throughout the fruit and seeds. Usually, omitting hot pepper seeds from a recipe will reduce the heat; however, it makes no difference with chocolate ghost peppers. The attractive peppers should be handled with gloves for your protection. The fire packed within just one of the chocolate ghost peppers is enough to irritate eyes and create a lingering burning sensation on the hands—which can be transmitted elsewhere on the body if the peppers are handled unprotected and without caution. My challenge was to find a way to redistribute the heat while preserving the sweet floral taste of the variety. Creating this

Aha Pule ‘Aina Holo,

A Prayer Moving Throughout the Land By Mālielani Larish

mbraced by bright sunshine and crisp breezes, a group of runners bearing a wooden Lono staff exit the busy Highway 19 and enter a verdant field near Anna’s Ranch in Waimea. A crowd of supporters welcome them at Manaua rain rock, where Pua Case and her ‘ohana greet them with chants honoring the hills, streams, and storied places of Waimea. Pua knows that every joyful step of the prayer runners brings a blessing into her hometown and that many hands will hold and bless the Lono staff on the final day of its journey back to Honoka‘a. The runners are part of the Aha Pule ‘Āina Holo, a fourday, island-encircling relay run that lives up to its name of “a prayer moving throughout the land.” The run was founded in 2014 to bring awareness to the health of the land and the people, in the spirit of Makahiki—an important Hawaiian season dedicated to honoring Lono, the god of peace, sports, and an abundant harvest. Pua Case organizes the Kohala and Waimea portions of the run and helps coordinate the event with Lanakila Mangauil, the visionary behind the run.

KeOlaMagazine.com | November-December 2018

Rooted in Makahiki To usher in the Makahiki season, the chiefs and kahuna carried the sacred Lonomakua staff around the island in a clockwise direction, stopping in each district to collect tribute, cleanse the land, and assess the health of the land and people. This ancient procession inspired the Aha Pule ‘Āina Holo’s route and the creation of the Lono ke kukini pule (Lono of the prayer runners) staff. Even though the modern ceremonial run draws many elements from this ancient procession, Lanakila emphasizes that the Aha Pule ‘Āina Holo is a new ceremony, not a re-creation or replacement of the ancient one. During the four months of Makahiki, no warfare or political shifts were allowed and kapu (prohibitions) were placed on work and resource extraction to encourage the revitalization of the land. With little work to perform, people moved freely throughout the land to engage in competitive sports, hula, and feasting. The Aha Pule ‘Āina Holo weaves together these themes of Makahiki through ceremony, prayer, celebration, and the 30 physical test of running itself.

James Akau of Kaÿü carries the Lono staff to bring mana (power) to the restoration work at Kawa Beach.

The symbolism of Makahiki also permeates the run: every footfall is a ku‘i, the pound of the ipu that stimulates and awakens the Earth. The white sweatband that the runners wear represents the clouds, and the sweat itself mimics the rain that rejuvenates the aquifers and rivers and cleanses the land. Every deep breath represents the kona (western/ leeward) winds, which come during Makahiki to trim the trees and mulch the Earth. The heartbeat is akin to the pahu drums that sound during this season.

Runners from Northen California tribes carry their prayer staffs and flags in support of fellow Kanaka Maoli runners with Lono staff.

jump out and swim the staff back to shore at Hiki‘au Heiau, the very place where Lono was said to arrive on the island every year after his annual pilgrimage to Kahiki, the ancestral homeland. After prayers, the run traverses the rest of South Kona, heading to Ali‘i Drive, pausing at Hulihe‘e Palace and Ahu‘ena Heiau for protocol, and resting at the Old Airport for lunch. The day’s activity culminates at Pu‘ukoholā Heiau, where Kawaihae and Kohala families gather to meet the runners with hula and chanting. Francois, a resident of Waikoloa who has run in every Aha Pule ‘Āina Holo since its inception, says, “The energy of the run is so incredible—so many people of all ages join in. We have some kūpuna (elders) running just one step, some aunties running for miles, kids, entire families, people cheering.” On the final morning of the event, the runners traverse the coast of North Kohala and experience an enthusiastic welcome at the King Kamehameha statue in Kapa‘au. Then they snake up and over the Kohala Mountain road to Waimea, where a solid crowd of supporters gather at Manaua rain rock. The run passes through the Hawaiian Home Lands of Kuhio Village, where lunch is hosted by ‘Aha Pūnana Leo preschool. After traveling through the town, the runners disappear down a section of Mud Lane that is impassable to vehicles and emerge at Waipi‘o lookout. The final stretch returns the Lono staff to Honoka‘a, where the People’s Theater plays host to a 31 big, multi-cultural feast and final prayers. KeOlaMagazine.com | November-December 2018

From the Piko (Navel) of the Island to the Periphery Even before the run begins, a group of Hawaiian practitioners gather on Maunakea, conducting ceremonies at Hale o Kū Kia‘i Mauna (house of the Maunakea guardians) and the summit of the mountain before sanctifying the Lono ke kukini pule staff in Lake Waiau, officially dressing the staff. This trip to the piko of the island concludes with prayer at Pu‘u Kohe, a cinder cone in the very center of the island that overlooks Pōhakuloa Training Area. A coordinator from each district organizes the runners from their area so the Lono staff can be handed off in relay fashion throughout the district. In addition, a core group of long-distance runners run alongside the staff each day. Every district also dictates the way in which runners and guests are greeted and cared for in the form of food, lodging, and protocol. The first leg of the run traverses the Hāmākua coast from Honoka‘a to Hilo, where the Royal Order of Kamehameha I and Hilo residents conduct protocol to welcome the prayer runners at the Kamehameha statue. Hilo runners continue the run up Volcano highway, and the first day ends with prayers at Uwēkahuna Bluff (Kīlauea’s summit) and a dinner at Kīlauea Military Camp. Every nightly celebration during the Aha Pule ‘Āina Holo brings the community together for storytelling, songs, and prayers from all faiths. “We open it up for everyone to offer their prayers,” Lanakila says. Likewise, anyone is welcome to run alongside the staff provided they undergo a quick pi kai (ritual sprinkling of seawater or salted water for purification) beforehand given by a member of the vanguard of long-distance runners. Lanakila intends to keep the ceremony la‘a—sacred. The next day begins with a dawn pule (prayer), and the runners set forth for Na‘alehu. Ka‘ū families greet the runners and host a lunch, welcoming the runners at Ka‘ū’s traditional Makahiki grounds. The day ends with a warm welcome at Miloli‘i’s fishing village, where another pu ‘ai (feast) is shared. The Miloli‘i canoe club brings the Lono staff aboard for the next morning’s section of the journey. Canoes from Hōnaunau and Ho‘okena join the party and the fleet swings into Hōnaunau Bay, where protocol is conducted at Hale o Keawe. After a short paddle to Kealakekua Bay, paddlers

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KeOlaMagazine.com | November-December 2018

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Kanaka Maoli runners and California Native runners move along the Hämäkua Coast. A Mutual Exchange Every year, a mutual exchange occurs between prayer runners: runners from Hawai‘i participate in the Pit River Nation’s annual Ancestral Run in Northern California, and Pit River people participate in the Aha Pule ‘Āina Holo. Lanakila calls the Ancestral Run the “mother run” because it was his experience participating in this run that inspired him to bring this concept home. After asking Pit River Run leaders for permission to create a prayer run in Hawai‘i, Lanakila received their full blessing.

to the Pit River area in canoes on a quest to visit Mt. Shasta and that they taught a hula to the Pit River people that has been passed down through the generations. “We all inspire one another,” Radley continues. “I’m proud to be part of it, proud that it’s growing.”

Radley Davis and other members of the Pit River community created the Ancestral Run around 1992 to re-direct everyone’s energies towards well-being and pride in a community plagued by health issues, domestic violence, and drug and alcohol abuse. “It’s medicine that is healing for us,” Radley says. “It really is a part of us that helped us grow and get through hard times.” Intriguingly, this mutual exchange between Hawai‘i Island and Pit River extends back to a time when knowledge was passed down orally. Pit River elders say that Hawaiians sailed

Rippling Outward On the individual and collective level, the run inspires a greater commitment to respecting the health of one’s body and the well-being of the Earth. During the run, Lanakila asks participants to observe ‘ai pono, or healthy eating, by eating locally-sourced food and avoiding refined sugar. Lanakila knows of farmers and gardeners who plant crops specifically to supply the runners. Some of Lanakila’s Japanese students were so enthused by experiencing the prayer runs in both Hawai‘i and California that they started a four-day ceremonial run around Mt. Fuji in 2017, an event that Hawai‘i delegates attend every year. Stopping at important shrines and temples along the route, the Tasuki runners carry a Shinto staff adorned with bells and multicolored ribbons that represent all the peoples of the world.

KeOlaMagazine.com | November-December 2018

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Runners who started running the Hämäkua coast at dawn arrive in Hilo by midday to bring the combined prayer to the foot of the Kamehameha Statue. Lanakila credits the Aha Pule ‘Āina Holo with inspiring him to “put my body where my prayers were at.” In March 2015 he literally ran up Maunakea to prevent construction crews from accessing the mountain. When he put a call out on Facebook for help, the first people to come up the mountain to support him were not big-name activists or cultural practitioners, but a mother and daughter who had participated in the ceremonial

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run four months before. Back in Waimea, Pua Case is looking forward to this year’s Aha Pule ‘Āina Holo, which will take place November 6–11. Reflecting on the run’s many interwoven layers, she observes that people are drawn to the ceremony and culturally based values that it embodies. “It’s amazing to me to watch a runner and cheer them on,” Pua says. “Every step of the way is filled with prayer, respect, and protocol starting from Maunakea all the way to where it ends in Honoka‘a.” ■

References Cunningham, Scott. Guide to Hawaiian Magic and Spirituality. Woodbury, MN: Lewellyn Publications, 2009, p 24-25. Malo, David. Hawaiian Antiquities. Honolulu, HI: Bishop Museum Press, 1997, p 146. Mann, Marya. “Makahiki—Codes for Regeneration.” Ke Ola Magazine, Nov/Dec 2012. Scheurell, Diane. “On foot around the Big Island in four days— Aha Pule ‘Aina Holo.” Manifesting Paradise Blog, Dec. 9, 2014.

Protocol chants accompany the departure of the waÿa from Miloliÿi on the third day of the run.

Photos courtesy of Aha Pule ‘Āina Holo Participants For more information: info.hccoh@gmail.com or facebook.com/puleainaholo/

KeOlaMagazine.com | November-December 2018

Diving into the World at Pacific Aquaculture and Coastal Resource Center By Brittany P. Anderson

he constant low hum of bubbling water provides a soothing soundtrack to the work taking place at the Pacific Aquaculture and Coastal Resource Center in Hiloʻs harbor area, Keaukaha, on the east side of Hawai‘i Island. The remnants of an old wastewater treatment facility still punctuate the nineacre property. A tall rusted cylindrical metal tank sits empty near the main office while two clarifiers, wide round tanks integral to the purification of sewage, are now repurposed for raising fish and oysters. The mission of the Pacific Aquaculture and Coastal Resource Center (PACRC) is to advance long-term sustainable solutions and conservation of worldwide coastal areas through aquaculture and proper resource management. Grants fund much of their research, while some private companies partner with the center to test pilot programs that demonstrate their proposed aquaculture venture is feasible. The center is also a learning site for University of Hawai‘i at Hilo students working towards creating a sustainable future for Hawai‘i Island and the world.

KeOlaMagazine.com | November-December 2018

The World is your Oyster Aquaculture is the rearing of aquatic animals or the cultivation of aquatic plants for food, like a water-based farm or ranch. Hawai‘i Island would seem like the perfect place for aquaculture ventures with its expansive 266 miles of coastline; however, not so says Maria Haw, Director of PACRC and Associate Aquaculture Professor. “Most of our coastlines don’t pass DOH [Department of Health] standards due to a number of reasons. We don’t have a lot of industrial contaminants, but we do have agricultural runoff and coliform, or fecal waste, in our waters.” She explains that because of the cesspool and the agriculture industry’s chemical runoff it became clear that edible shellfish could not be farmed along much of Hawai‘i Island’s coast. There are also substantial permitting roadblocks, as much of the coastline falls within the Special Management Area (SMA), making shoreline activity heavily regulated. Any and all industry operating within the SMA must obtain a permit from the Hawai‘i County Planning Department, which is a lengthy process. PACRC found that drilling a salt-water well is the best option for edible shellfish production on the east side of Hawai‘i Island. The 36 water obtained through salt-

water wells is naturally filtered by lava rock and soil allowing it to pass DOH testing requirements. Visible from Kalaniana‘ole Avenue, one of the two towering white greenhouse structures house the oyster nursery at PACRC. Millions of juvenile oysters are cultivated in large blue tanks, their every stage calculated, monitored, and cataloged. The adorable mini-oysters look like small pebbles a child might tuck into their pocket. PACRC spawns mostly Pacific oysters, raising them until they reach two millimeters then selling the oysters back to Pacific coast oyster farmers. Currently, there are five oyster hatcheries on Hawai‘i Island that supply the Pacific Coast with oyster seed. Millions of little oysters are shipped to Washington State, and then placed in farming beds along the coastline. Big names in oyster farming, like Goose Point Oysters, see Hawai‘i Island producers as stabilizing the industry, making it more sustainable and maintaining enough product to satisfy our appetites. “The student workforce sells the oyster babies and uses that money to fund their work,” Maria says. There are also several tanks of native oysters that are exceptionally good at improving

Mahalo Jack’s Diving Locker – Ocean Story Sponsor water clarity and quality. They are part of the first Waterkeeper project on Hawai‘i Island, led by O‘ahu Waterkeeper which aims to clean the waters around Pearl Harbor with these powerful molluscs. The small, one- to two-inch oysters can filter 50 to 100 gallons of water a day, straining out pollutants and depositing them below the ocean floor. The oyster program at PACRC includes pearl oysters and the native Hawaiian oysters as a method of cleaning our shores and ancient fishponds so they may once again be used to feed Hawai‘i communities. Not as Many Fish in the Sea From the outside, the ornamental fish hatchery is an unassuming beige outbuilding, another artifact of the old treatment facility. Inside, are a series of cylindrical tanks and a maze of white piping that delivers water and nutrients to an array of tropical fish. The area is kept sterile, so viewing the operation is done from a metal scaffolded landing decorated with colorful posters detailing the species below. The number of endemic reef fish in Hawai‘i include Potter’s Angelfish, Hawai‘i Longfin Anthias, and Flame Wrasse, which exist here in some of the highest concentration of numbers in the world. PACRC hopes that their efforts to spawn these four species along with several others, will help keep their numbers up and create a viable aquaculture business for Hawai‘i Island. Potter’s Angelfish, prized for their striking color, are one of the most collected native aquarium fish. They live in deep reefs throughout the Hawaiian Islands; however, their numbers are threatened by habitat degradation like coral bleaching. Maria notes, “Ornamentals are difficult to raise in captivity,” however, it is far from impossible. An aquaculture venture could also take pressures off natural

Adult oysters resting before spawing.

KeOlaMagazine.com | November-December 2018

populations by growing and selling them wholesale to ornamental fish enthusiasts. Maintaining a healthy ornamental fish population in Hawai‘i Island’s waters can be done by keeping habitats healthy and managing resources well. With the effects of climate change and environmental factors outside of our control, being able to raise ornamental fish in captivity provides an opportunity for a sustainable industry throughout the island chain. Outside, moi (Polydactylus sexfilis), a‘hole‘hole (Kuhlia sandvicensis), and kahala (Seriola rivoliana) swim in their respective tanks draped with black shade cloth. The fish hatchery is currently undergoing expansion thanks to grants from the National Oceanic and Atmospheric Administration (NOAA) and Sea Grant which, in addition to Hawaii Fish Company, will be supporting the research. The overall goal is to create a viable fishery operation to help feed the Hawai‘i community with time-honored favorites. Edible limu, or seaweed, is another research effort championed at PACRC. Along with Dr. Karla McDermid of the Marine Science Department at the University of Hawaii at Hilo, the team at PACRC is working to develop limu propagation methods for both sustainable food production and conservation efforts. Over 60 species of limu were consumed by native Hawaiians though today roughly only three species are commonly sold with only one being native to the islands. Wild stocks of native limu that were once harvested along our shores are also diminishing. Research is aimed at finding viable farming methods for food production as well as the chance to transplant native species back into the wild. On the other side of the property, in the repurposed clarifying tanks, another experiment is underway. Dull grey shadows swim just under the surface before darting out of sight. Here, fish of varying types are used to create algae blooms in the water which in turn feeds oysters suspended 37 Limu growing experiment.

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refrigeration containers, and under two giant greenhouses, there are great minds hard at work. “We have a partnership with the UH Sea Grant Program; we are one of a few places that have the distinction of being a Center of Excellence for Sustainable Aquaculture.” says Maria. They have also received National Sea Grant funding for pearl oyster farming in Hilo Bay. Each year 20–30 students come through the center, “The

Ornamental fish hatchery at PACRC. in hanging baskets along the edge of the tank. These large tanks are among the few shellfish growing areas classified as “Approved” by the Department of Health for oyster rearing because the water is so clean. It isn’t just the oysters and fish working hard at the center; staff and University of Hawai‘i at Hilo students care for and study aquatic life with extraordinary precision. All in a Day’s Work In the makeshift laboratories fashioned out of old

One of two hatcheries at PACRC. hands-on experience supplements what they learn in the classroom. There are management-type positions some of the students come into so they really have a lot of experience before they graduate.” Maria explains. Every position at the center is integral to the research being conducted, from making sure water temperatures are ideal to scrubbing oysters to induce spawning. There is a sense of fluid

Algae growing lab at PACRC.

KeOlaMagazine.com | November-December 2018

Leaving the Pacific Aquaculture and Coastal Resource Center, there is a newfound appreciation for the scientists dedicated to conservation and food sustainability on Hawai‘i Island. With Hawai‘i importing approximately 90% of its food, now is the time to work towards creating local means for feeding our communities. The PACRC’s work goes well beyond our island chain, helping to make the world’s food sources and oceans stable for future generations. ■ Photos by Brittany P. Anderson For more information: pacrc.uhh.hawaii.edu/ Native oysters are small yet efficient.

KeOlaMagazine.com | November-December 2018

harmony and interdependence between students, marine life, and the research. Current student, David Littrell, is an aquaculture technician. Full of knowledge, a life of experience, and with an Ironman® tattoo on his left heel, David guided me throughout the campus. Once a commercial diver for an offshore fishery in Kona, he is only a few classes away from graduation. “Finally, at 50 years old I know what I want to do,” he says with a smile, “It’s the best thing I’ve ever done.” David believes finding sustainable solutions for raising fish and shellfish is the answer Hawai‘i Island has been looking for in the drive to be more food secure. “We’re doing good for the world; instead of just taking and taking, we’re giving something back.”

Repurposed waste water tank is one of the few “Approved” oyster rearing locations by the Department of Health. home to Mozambique tilapia.

The Gannenmono: A 150 Year Celebration of Faith & Fortitude By Lara Hughes

The Arrival In 1860, King Kamehameha IV met with the first delegation of Japanese people to visit the Hawaiian Islands. During this visit the king proposed a friendship treaty with Japan. This action, along with the rise of the sugar industry and the surrender of the Tokugawa Shogunate in Japan, led to the first Japanese contract laborers being recruited to come to the Hawaiian Islands. These men would become known as the Gannenmono, or first-year men. On May 17, 1868 the ship Scioto ferried approximately 148–153 Japanese men from Yokohama, Japan to Honolulu, O‘ahu. They were aboard the Scioto for 33 days. According to one of the descendants of the Gannenmono, Gwendellyn Sanchez, the exact number of people who immigrated have varied, “There was one man that died on the way here, and there were five women and one infant on board.” There were also rumored to be samurai on the ship, “Some say there were four samurai onboard, some say more.” With the overthrow of the Tokugawa Shogunate and reinstatement of the Meiji Emperor, the samurai loyal to the Tokugawa Shogunate were duty-bound to kill themselves. “The story that we heard,” says Gwen, “was that they had to flee and leave Japan.” Gwen’s great-grandfather, Tokugiro Sato, was one of the Gannenmono. It is not known whether or not Tokugiro was a samurai; however, he did have a samurai sword that was later presented to his employer, Samuel Parker. The sword hung in the Mana Museum for some years before it was closed.

Photo of Tokujiro Sato originally published in the Star Buletin in 1968. photo courtesy of Gwen Sanchez

The Descendants Early on, Gwen’s family heritage was almost lost to her. When her grandfather was seven years old he was taken and raised by a single man in another part of the island and was lost to the original family. He grew up being named Fukui

KeOlaMagazine.com | November-December 2018

The Gannenmono In Hawai‘i After arriving in the Honolulu Harbor on June 19, 1868, the Gannenmono were separated and sent to different Hawaiian islands. A reported 51 men remained on O‘ahu, 71 were sent to Maui, 7 to Lāna‘i, and 22 to Kaua‘i. The sugar plantations and different individuals contracted them. The Japanese men had reportedly been told that they would be very highly paid. They worked 10- to 12-hour days, six days a week, “It was hard labor for them,” says Gwen, “when they came here they were very disappointed, because what they were promised was not that.”

In December 1869, a Japanese envoy was sent to Hawai‘i to investigate complaints received from some of the Gannenmono regarding the working conditions on the plantations. An agreement between Hawai‘i and Japan was reached where 40 Gannenmono would be sent back to Japan and the others would be allowed to finish their contracts. In January 1870, the agreed-upon 40 Gannenmono were returned to Japan. In 1871 another 13 returned after fulfilling their contracts and 40 sailed to the US mainland, leaving only 50 of the original Gannenmono in Hawai‘i. In the years afterward, King Kalākaua traveled to Japan and worked to gain approval for more migrant workers to come to Hawai‘i. In 1885, approximately 950 contract laborers entered Hawai‘i and over the next nine years about 29,000 more arrived. This second wave of immigrants from Japan is referred to as the Kanyaku Imin, or contract laborers. By the mid-1920s they made up approximately 40% of the population of Hawai‘i. According to Byrnes K. Yamashita, Education Committee Chair to the Nisei Veterans Legacy, most of the Japanese Americans in Hawai‘i today can trace their lineage back to these first immigrants. The first generation of Japanese in Hawai‘i is called the Issei, and Japanese people living outside of Japan are referred to as Nikkei. Tokugiro himself was a young man of about 18 or 20 when he came to Hawai‘i. He worked for a sugar plantation on O‘ahu or Maui, and was later employed by Samuel Parker on Hawai‘i Island. He was a jack-of-all-trades and served the Parker family as a butcher, cook, and carpenter. Tokugiro married a Hawaiian woman named Kalala Kamekona, whose family was from Ka‘ū. Kalala’s father was a Hawaiian ali‘i (chief). Jamelyn Pe‘a is Gwen’s second oldest child. When speaking about her great-great grandparents she wonders, “Can you imagine that you come to the islands, you speak fluent Japanese and then you fall in love with a Hawaiian? I mean how does that work?” In fact, despite their language barriers and cultural differences, most of the first Japanese men to Hawai‘i married Hawaiian women. Kalala’s family resided in Waipi‘o Valley, and this is where she and Tokugiro raised their family. According to census records, they owned at least two homes in the valley. Gwen says that before Kalala’s family settled in Waipi‘o there were mostly rice farms propagated by Chinese immigrants who had previously occupied the valley. Tokugiro and Kalala farmed taro—they were some of the first people to bring taro farming back to Waipi‘o Valley.

KeOlaMagazine.com | November-December 2018

was someone who looked just like him and asked if he had any brothers. He responded that he did not. Gwen says that this person told him, “You know, you look like this man John Toko. You have to go and see this man.” Fukui was already married when he was reunited with his family. He went to visit John Toko, who told him the story of his birth family. There were 10 children, so Fukui went from having no brothers and sisters to having nine siblings in an instant. Today, Gwen can pass her heritage down to her children. Jamelyn is the second oldest of five and has been passing their legacy down to her children, “It’s very important for me to know where I come from.” Jamelyn has a son who just turned six, “He’s amused and just loves anything ninja or samurai.”

Handwritten record of names of the Gannenmono who were aboard the Scioto when it sailed to Honolulu from Yokohama. photo by Lara Hughes Yamamoto, while the last name of the original birth family was Toko. There are many stories surrounding Fukui and what happened, one of them being that it may have been blackmail in relation to possible samurai ties that Tokugiro was trying to hide. To this day, no one is certain as to what exactly transpired. Years later when Fukui was an adult, a man who worked at an oil depot in Kohala recognized him and told him that there

Jamelyn and Gwen holding a collection of photos of their relative Toshiro Sato, his wife Kalala, and their children. photo by Lara Hughes He had to do a presentation in kindergarten having to do with culture and he did a presentation on the samurai and his relative Tokugiro. “He talks about it proudly because it’s his interest,” she says, “The more I find out who my family is, the more it means to know there’s a connection … the things Tokugiro accomplished, I don’t know if I could do that myself.”

Sanchez family and descendents. Gwen Sanchez center with her husband and their children, children’s spouses and grandchildren, all descendents of one of the original Gannenmono, Toshiro Sato. photo courtesy of Jamelyn Peÿa

The Celebration The year 2018 celebrates the 150th anniversary of the Gannenmono and their arrival in Hawai‘i. Jamelyn reflects on her great-great-grandfather Tokugiro and the importance of the Gannenmono today, “He left such a huge legacy behind—I bet he probably didn’t think about it, not knowing that he

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would have thousands of descendants that would one day talk about him.” In honor of the 150th anniversary, there have been various celebrations, symposiums, and exhibits made available to the public throughout the year. Exhibits honoring Japanese immigrants to Hawai‘i that are still available for viewing include the Nikkei Legacy Exhibit and the Gannenmono Exhibit at Bernice Pauahi Bishop Museum on O‘ahu. This display was put together with some assistance from Gwen. She helped compile close to 900 names of the descendants of Tokugiro and checked for spelling accuracy. Byrnes Yamashita, son of a Nisei, or second-generation Japanese-American soldier, is assisting with the display of the Nikkei Legacy Exhibit. It has been touring Japan since May 2017 and has purposefully been shown in prefectures where the most Japanese immigrants to Hawai‘i came from. Now it is available to Hawai‘i residents. “I think the exhibit project and the various tours of locations in Japan and Hawai‘i are probably the best thing I have done in my life,” says Byrnes. “The Gannenmono symbolize the pioneering spirit of the immigrants to go to a foreign land about which they knew almost nothing with the hope that they could earn money and make a better life for themselves and their families. That story is not unique to the Japanese.” The Legacy Thanks to the Gannenmono, Hawai‘i has shared a history rich with Japanese influence. For Jamelyn, she believes there is a lot to live up to. “Our ancestors made the community, they were the starters, the founders. They set the pace for us …

The Nikkei Exhibit in Hiroshima, Japan. Hiroshima is one of the prefectures from which many of the first Japanese laborers came to Hawaiÿi.

KeOlaMagazine.com | November-December 2018

photo courtesy of Byrnes Yamashita

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Byrnes Yamashita, chair of the Nikkei Exhibit, pointing to a picture of his father when he was 19 years old, while in Italy with the 442nd Regimental Combat Team. photo courtesy of Byrnes Yamashita

they are an inspiration.” Gwen agrees, “Just to see what they achieved makes me really proud of my heritage, that they are a part of and a contribution to Hawai‘i and what it is today.” Byrnes further sees how these legacies can give insight to cultural exchange on a global scale. “I feel that we are a laboratory for the world in terms of how different races and ethnicities can live together in harmony. We achieved this while retaining our respective cultural values and customs while developing a respect for all of the other cultures in Hawai‘i.” The Nikkei Legacy Exhibit will be visiting Hawai‘i Island at the Hawaii Community Federal Credit Union in Kailua-Kona on November 1–28 and in Hilo at the Hawaii Japanese Center on December 1–21. ■

KeOlaMagazine.com | November-December 2018

By Jan Wizinowich The main clearing of Reforest Hawaiÿi is surrounded by an ÿöhiÿa and koa forest. photo by Jan Wizinowich

KeOlaMagazine.com | November-December 2018

loha is at the heart of everything Joe and

Kristen Souza do and when the forest spirits called, they answered by creating Reforest Hawaiʽi, whose sole purpose is to rebuild Hawaiʽi’s native forests where “the journey of the ʽukulele starts,” says Joe. Joe started playing ʽukulele when he was nine and eventually became intrigued with the fine shadings of sound produced by the instrument, leading him to become a master ʽukulele builder. While working as a fireman, he began to learn the craft from master luthier, “Uncle Pete” Burmudez. Joe swept the floor, watched, and started tinkering on his own. Eventually Joe started crafting ʽukulele in a patio workspace in his Heʽeia, Oʽahu home and in 1998, created Kanileʽa ʽUkulele, an internationally-known producer of world-class instruments, producing about 2400 ʽukulele a year. Then realizing that all those beautiful nuanced sounds are vibrations from deep in the soul of the koa (Acacia koa) tree, he went looking for the source.

The Forest Calls In 1998, when Joe won an interisland trip in a falsettosinging contest, he and Kristen decided to go to Kauaʽi to look 46 for a place to plant a forest. “We drove around with our oldest

son Kaimana and found these beautiful properties up in the mountains and just imagined planting trees, but nothing really stood out,” says Kristen. Several years later, “I was sitting on the couch one day and something told me to look up property on Hawaiʽi Island,” recalls Kristen. The first property that popped up online was a 96-acre parcel within Hōkūkano Ranch, the combined properties of Greenwell Estate and Kealakekua Ranches, purchased by the Pace family in 1986 and 2004, respectively. Kristen called their real estate agent and the next day they were on an airplane to Hawaiʽi Island from Oʽahu. “We’re going up through Hōkūkano Ranch. It was beautiful. There’s horses, sheep, llamas, buffalos, turkeys. And then we drove up into the forest with all these native trees. It was amazing.” Within two days of that first phone call in 2014, Joe and Kristen Souza purchased the property, began their journey into the forest, and haven’t looked back. The Journey into the Forest Kristen, who literally hums with energy, meets me at the Hōkūkano Ranch gate and we travel upland to the forest. As we enter Reforest Hawaiʽi, we are greeted by young koa trees. “Pōmaikaʽi Lyman planted this one for her grandmother, who is

Mahalo Kona Coast Realty – Sustainability Story Sponsor Auntie Genoa Keawe. We wanted her right at the entrance to guide us in,” explains Kristen. Passing through towering ʽōhiʽa (Metrosideros polymorpha), koa, and a forest floor choked with native understory plants, the road up to the 4000-foot parcel, an ancient mauka-makai (mountain to sea) trail, opens up into a clearing bursting with life, a small compound of cabins, and a greenhouse. We are surrounded by lush trees over 20 feet tall that simply radiate life and the sense that they are standing watch. “Those were all planted in 2016. The first day we walked here as the new stewards, we had no idea, other than this is what we had to do. But now that we are here we can appreciate this deeper forest and have a better understanding of our kūpuna (elders) and who we are as a people. Not only did the journey of the ʽukulele start here, but also the journey of who we are as Hawaiians started here,” says Joe. To work towards creating a bio-diverse forest, the Souzas have gleaned knowledge from cultural practitioners, and reforestation experts. “We’re learning how to create a successful bio-diverse forest. The first out-planting, I’d say we were in preschool. But even just knowing what we did, out of the 5000 keiki (seedlings) we planted we only lost five,” says Joe. One of the first things Joe and Kristen did was to work

together with their three sons, Kaimana, Iokepa, and Kahiau to pull out invasive plants such as fire weed and German ivy and that is when the magic began. “We pulled out lots of invasives and then when we came back, there were all of these keiki koa volunteers. They were just waiting for the right moment,” says middle son, Iokepa. One might think that because Joe builds ʽukulele that this reforestation effort will provide wood for future instruments, but Joe and Kristen buy their koa from sustainably-farmed sources and there is absolutely no plan to harvest any of the native trees. “There’s a beautiful old koa tree that lived its life. There are a few keiki volunteers and we got lots of seeds from it, but we didn’t take any of the wood. We just appreciate the beautiful life this kupuna has led, a sentinel in the forest that has seen hundreds if not thousands of people going up and down [the mauka-makai trail the Souzas named Ala Ponoʽī],” explains Joe. The Souzas organize a major out-planting once a year, usually in September, and the plan is to plant 8800 trees this year. The greenhouse is bursting with seedlings. ʽIliahi (sandalwood, Santalum paniculatum) pop up in trays like a miniature forest. “There are hundreds of seeds in there and then as they come up we transfer them to pots,” explains Kristen.

KeOlaMagazine.com | November-December 2018

47 Pueo prepares to plant a koa tree for future generations. photo by Jan Wizinowich

Joe, Kristen, and Pueo check out seedlings in the greenhouse before selecting trees to plant. photo by Jan Wizinowich

KeOlaMagazine.com | November-December 2018

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There is tray after tray of koa, māmane (Sophora chrysophylla), māmaki (Pipturus spp.), ʽiliahi, naio (Myoporum sandwicense), and native ferns all waiting to find their place in the forest. The trays fill from the bottom to irrigate the plants daily and the water drains down into buckets and is reused. The Souzas have established a nonprofit, Saving Hawaiʽi’s Forests, and will be seeking funding to improve their irrigation system and expand the capacity of the greenhouse.

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The Song of the Forest To own a Kanileʽa ʽukulele is to become a member of the forest ʽohana, which means planting trees. Today, cultural practitioner and musician Cody Pueo Pata and his partner Keoni Kuoha are on hand to talk story. Pueo and Keoni are both part of Papahana Kualoa, a place-based education program on He‘eia Stream just minutes from the Souzas’ factory in Kāneʽohe, O‘ahu. “I get to the factory and as an ‘ukulele player, the reverberation, the tone, everything about it, I’m instantly in love. I saw their banner: ʽOla Ka ʽĀina, Ola Ke Kanaka’ [When the land lives, the people live] and then their work ethic and their manaʽo about what they’re actually trying to do and I went home and I was so inspired I wrote a song,” recalls Pueo.

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A guardian tree planted by Pomaikaÿi Lyman for Aunty Genoa Keawe.

KeOlaMagazine.com | November-December 2018

photo by Jan Wizinowich

Since that time, Pueo has become a historical and cultural advisor for the Souzas, pointing out that the 96-acre parcel, named Nani ʽEkolu, straddles the boundary between North and South Kona and so is a water source for both districts. For many of the Kanileʽa artists the forest is a source of inspiration, which has led to the creation of Ola Ka ‘Āina, a CD that was released at a fundraising concert at the Hawaiʽi Theater on September 9th. “All these artists have written songs about reforestation, sustainability, and their experiences planting trees, and that’s what our CD is all about,” says Kristen. “It was a carbon-neutral event. We calculated how many trees we’d have to plant to offset the carbon footprint of travel and the concert itself,” she adds. Kristen’s passionate aloha is all-encompassing and, “when Kahanuola Solatorio of the group Keauhou wrote ‘I Pu‘u Lehua,’ about the journey entering the forest, the scent of the maile [Alyxia olivaeformis], the birds chirping, the beautiful sunrise, planting your koa tree that is steadfast in the ground, I wanted to dance it at our concert. I needed a kumu [teacher] to teach me and Pueo choreographed the whole dance,” shares Kristen. We talk story around the lunch table as the afternoon mists float around us, and Pueo shares some of his manaʽo (thoughts) about the forest. “Koa is a foundational species of the forest and it represents the water cycle. The trunk is Kū [traditional Hawaiian entity of masculinity] but the leaves are definitely Kāne [entity connected with water]. The spiralshaped leaves themselves collect water. You might see a tree but I see surfaces where the mist can condense and become a water source, the lau kē wai, the leaves that drip water.”

Pueo also shares how scientific knowledge of the forest is recorded in stories. “We treat mo‘olelo as data bases. A lot of stories are how their kinolau [body forms] interacted in the forest. So when we have these mele or these stories that tell us these things, we know exactly what to expect and what a healthy system is supposed to look like,” explains Pueo. Where the Past Meets the Future Kanile‘a, which means “joyful sound,” is derived from a legacy that goes back many generations. “The full name is Kanileʽaokawaonaheleopāʽīʽī and it translates as: to seek a joyful sound and knowledge in the forest,” explains Kristen. In October 2017, Joe and Kristen added a piece to the picture when they purchased another 162 acres of Hōkūkano Ranch land at the 5000-foot elevation that contains more than 100 seeding ʽiliahi trees. They also plan to construct a nēnē (Hawaiian goose, Nesochen sandvicensis) pond. “We are hoping that if we build the pond, they will fly in,” said Kristen. Reforest Hawai‘i stands tall for generational continuity that honors the ancestors and with the help of the Kanileʽa ʽohana and many volunteers, the kūpuna forest will build on into the future. “We want our children, grandchildren, greatgrandchildren and onwards to have the opportunity to walk in the forest,” concludes Joe. ■

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Iokepa Souza points out trees planted by family members. photo by Jan Wizinowich

Ron, with Sue Aronson, accepting the Kona-Kohala Chamber’s 2017 Lifetime Service award from Governor Ige

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At the edge of the newly revealed Halema‘uma‘u, the only sounds are the breaths as visitors encounter the crater with its changes for the first time since Hawai‘i Volcanoes National Park closed May 11, 2018. Along the trail, lined with blooming ‘ōhia, thousands of bamboo orchids, uluhe fern, ‘a‘ali‘i, and other indigenous plants, voices of the world speak together in soft tones of awe. At the beginning of the trail, steam rises from within deep, old fern-lined cracks in the earth. Farther along the trail, ‘ōhelo berries look to be everywhere in the kīlau fern and grasses, a rich feast for the endangered nēnē (Hawaiian geese). As the trail terminates at Kīlauea Military Camp, the scent of the forest is sweet, the path covered with koa treesʻ crescent-shaped phyllodes. Maunaloa stretches beyond the forest of ‘ōhia and koa, a few puffy clouds forming a partial lei po‘o across the mountain’s gentle forehead. This is an experience of creation, of the power of the earth. It is met with joy, with exhilaration. This is where we breathe with the planet itself, the mana of the hā, the sacred breath. The eruption that closed Hawai‘i Volcanoes National Park began with the collapse of the Pu‘u ‘Ō‘ō Crater in late April. A cascade of events continued from there; the lower east rift zone (LERZ) eruption within Leilani Estates most dramatically brought our volcano into world view as lava erupted from the streets in front of people’s houses. Giant fissures opened in the ground, some cracks threatening to swallow entire buildings. One day there were cracks and steam and the next, lava. Fissure 8, in lower Puna, became the dominant feature of the eruption, spilling tens of thousands of gallons of molten rock a minute into the landscape and ultimately the ocean. Meanwhile, at the summit of Kīlauea Volcano, Halema‘uma‘u crater lost its lava lake. As the magma drained from the chambers beneath it, the walls began to fall inward. Over 40,000 earthquakes shook the summit, and 62 times the floor

Rediscovered By Gail Armand

Kïlauea's Halemaÿumaÿu crater, September 2018. photo courtesy of Gail Armand

For more information: nps.gov/havo/index.htm Visitors on reopening day, September 22, 2018. Photo courtesy of Gail Armand

KeOlaMagazine.com | November-December 2018

of Halema‘uma‘u collapsed, creating a hole today as deep as New Yorkʻs World Trade Center was tall. Visually, the experience of the crater has vastly changed. It has widened to become an opening so large that even the floor is readily visible from Volcano House, onward. The entire landscape has opened into broad canyon-like vistas, with scenic old walls appearing around curves in the Crater Rim Trail, then sudden new cliffs with piles of rubble at their base. There are outstanding views of the new crater between the Steam Vents and the military camp. The view from Volcano House alone will be mind bending for anyone who saw the crater before May. Halema‘uma‘u was a distant glow in April. Today, it opens in front of you as if the earth is beckoning you into its redesign, an amphitheater forged in a few short weeks of earth movement on the grandest of scales. It is an extravagant sensation to realize the vistas you come upon here did not exist before August of this year. The last collapse of the caldera occurred August 3 and the park reopened on September 22. Come visit!

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_ Malama ka po‘e

KeOlaMagazine.com | November-December 2018

By Rosa Say

Let’s dig into the Mālama element of Alaka‘i leadership we briefly mentioned last issue: “Legendary Hawaiian leadership was marked by koa, the attribute of strength and courage. What we find in much larger measure however, is mālama ka po‘e, as the determination to care for one’s people, and ho‘omālamalama, to ‘cause light, brighten, illuminate, enlighten, inform, [and] civilize,’ (Pukui Elbert’s Hawaiian Dictionary) so ‘one’s people’ could elevate themselves along with the Ali‘i as their leaders.”—Alaka‘i: To Lead well, Guide well. A determination to care for one’s people and to bring light into their lives, is an extremely worthwhile commitment. It’s also remarkably different from the cold-hearted, solely profit-driven reputation business can have today, and the environment in which we find ourselves fighting to institute the more dignified tenets of an ‘Ohana in Business. A determination to care for one’s people is the response the Managing With Aloha philosophy asks all leaders and managers to make as their kuleana (responsibility); “Managing others is a profound responsibility. In Aloha we are held accountable, and working true to our values, we ourselves become better.” We often speak of the ‘oxygen mask theory’ when we talk about the value of Mālama in regard to self-care, that instruction to ensure your good health first—your very survival, if need be—so you will be fit and able when called upon to assist in the care of others. In contrast, mālama ka po’e removes the ‘in case of an emergency’ element from the scenario, and replaces it with a consistent allegiance and devotion—“the determination to care for one’s people.” Determination. To care for others—your people—as self-care for you as a manager. Devotion. Every day. In every workplace endeavor. In every business transaction, so that as managers and leaders, “we ourselves become better” and breathe in our own oxygen of Aloha. Stories abound in which Mālama shines through its expressions of care, empathy and compassion. It’s more than tapping into touchy-feely emotional responses however, for Mālama beams with ho’omālamalama in ‘tough love’ as well, as long as the intent and the actions of tough love practices are to ‘enlighten’ the person they are directed to, helping them to be stronger and healthier in the process. Mālama is both soft and firm. A very strong case can be

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made for the emotional intelligences of caring, empathy and compassion, for they are fuel to human energies. Think of them as “gentler care.” Think of “tough love” as consistency in high expectations. Whether in performance management or progressive discipline, when Alaka‘i managers combine gentler care with tough love effectively, they infuse workplaces with the knowledge and confidence that human energy is the most valuable asset we have in business, bar none. They do so consistently. We need that confidence. It says that when human energy is healthy, abundant, and well-directed in work performance and delivery it will create every other asset our business may need, whether financial, in tangible resource, or in service provision. Let’s recall our management versus leadership definitions in regard to energy: To manage well, is to effectively channel your existing energies. To lead well, is to inspire and strategically create the additional energy which is necessary, and may not yet exist. The manager’s job, is to coach their people toward performance where their energies become self-perpetuated and self-sustaining—where their motivation is an inside job, and comes from within them as fresh and nourishing as an artesian spring. The inherent qualities of mindfulness and good character are the deliverables which result when we Mālama those we work with. Join me, and others who work within the Managing with Aloha movement, by committing to Mālama ka po’e: Be fiercely determined to care for your people as the way you care for your business. Ho‘omālamalama to boost their best disposition and their energies, and you will be boosting the health of your business. Best of all, you will Mālama pono, devote energy to your own self-care as well. You will feel good about how you manage others—isn’t that what all managers want to feel?

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Then

Now

Kaimū Beach, By Stefan Verbano

KeOlaMagazine.com | November-December 2018

hrough a break in the shrubbery beside Highway 130, the lava field reveals itself for the first time. After a long, gradual bend in the road heading downhill from the turn to ‘Opihikao, strawberry guava-laden jungle falls away for a few hundred feet and it feels as if the whole world has opened up. Far off in the distance, ripples of lava long since cooled mix with oases of green scrub that roll down to meet the ocean of tiny white-tipped waves. Manmade incursions are few from this vantage point. Several dozen simple rectangular buildings are scattered throughout the lava field, most with roofs and sides of differing colors. On one side of the field, tall stands of coconut palms throw shade on the barren, almost lunar landscape. This is Kalapana’s lava field, what remains of the towns of Kalapana and Kaimū after the devastating 1990 lava flow that destroyed more than 150 homes over a 10-month period. Prior to that, the eruptions from Kīlauea’s Pu‘u ‘Ō‘ō vent beginning in 1983 were mostly contained within Hawai‘i Volcanoes National Park (HVNP) boundaries, until three years later when a lava tube feeding magma to Pu‘u ‘Ō‘ō ruptured, forming the Kūpa‘ianahā vent two miles down rift. This new vent sent lava farther east, eventually pouring it into the streets of Kalapana covering cars, homes, parks and stores beneath rock 85 feet deep in some places. The flow pushed through Kalapana eastward out into the sea, destroying most of Kaimū town and its world-famous black sand beach, filling in Kaimū Bay, and creating a new coastline 1,000 feet wide. In early 1991, new lava tubes diverted the flow away from Kalapana and back into the HVNP. The eruption from Kūpa‘ianahā declined steadily over the next year until the vent finally died in early 1992 and the eruption was once again 58 confined to Pu‘u ‘Ō‘ō.

For years the inundated land lay almost vacant. Some families chose to stay and live on the outskirts, and others have since moved back to Kalapana’s lava field, built small off-grid structures, and planted baby coconut palms and other tropical flora in the barren waste. Over the years the community feel has revived. Kīlauea’s New Flow On a windy afternoon in mid-July, 2018, seen from the cliffs of rounded lava boulders above the crashing waves of the new Kaimū beach, Fissure 8 smokes in the distance. Nearly three decades after Kaimū’s destruction, Kīlauea is once again sending lava ripping through lower Puna subdivisions, this time in Leilani Estates, Lanipuna Gardens and the Greater Kapoho area. Fissure 8 is the last active fissure of what is being called the “2018 Lower Puna Eruption,” which started in early May when 24 fissures opened within and near Leilani Estates and Lanipuna Gardens subdivisions. The eruption covered almost 14 square miles, destroyed roughly 700 houses, caused more than 2,000 residents to evacuate and created about 875 acres of new oceanfront land stretching from Kumukahi Lighthouse several miles south to Pohoiki Bay. As of mid-August, the flow had declined significantly, with only sluggish oozing into the ocean and a nearly crusted-over

Kalapana, Kapoho: The Only Constant is Change

KeOlaMagazine.com | November-December 2018

lava pond within Fissure 8’s 100-foot-tall cinder cone. While standing on this ledge of newly created land—feeling the concussion of waves pounding the black cliffs, hearing the rumble of smooth lava stones the size of engine blocks tumbling as each wave crests and rolls back out again, watching Madame Pele, Hawaiians’ volcano deity, destroy and create underneath a cloud of burning forest and sulfur far away on the horizon—a peculiar feeling starts to permeate the air. It is the feeling of continuity; of equanimity; a feeling of humble awe at seeing the primordial forces of nature at work, past underfoot, present in the distance, which dredged up from the ocean’s depths this magical, isolated island chain unlike any other place on Earth.

New Kaimü Black Sand Beach, July 2018. photo by Stefan Verbano

KeOlaMagazine.com | November-December 2018

Top photo is Kapoho after the lava flow of 2018. Bottom photo is from Google Maps before the lava flow. photos courtesy of USGS and Google maps

Kaimū and Kalapana Communities Revive From the new Kaimū beach, it’s a quarter-mile walk across footpaths paved with red cinder stones, over hills of cracked, ropey lava, to get back to the main hub of Kaimū: a handful of parking lots, a convenience store, an art gallery in the back and a sprawling open-air complex operating every day which hosts Kalapana’s famous Wednesday night market. The entire compound, including the Wednesday night festivities, are affectionately referred to as “Uncle Robert’s” in honor and memory of the beloved patriarch of old Kalapana Village, Robert Keli‘iho‘omalu. On a Sunday morning in late-July 2018, Uncle Robert’s son Samuel Keli‘iho‘omalu sits at one of the picnic tables in the main market area while church services wind down onstage. Just a few paces away, a framed portrait photograph of Uncle Robert hangs over the bar, fringed with polished seashells, showing his fatherʻs warm eyes, closed-mouth grin, salt-andpepper goatee and Crocodile Dundee hat. “Uncle Sam,” as everyone seems to call the 54-year-old burly Hawaiian, moved from the Kaimū area to the mainland in 1989 as a young man, evading most of the Kūpa‘ianahā vent’s destruction. However he would return in the summers to visit, and watched as the communities slowly rebuilt, replanted, and attempted to make the lava field inhabitable again. Uncle Sam was instrumental in the replanting efforts focused around the new Kaimū beach trail, where now patches of papaya trees, coconut palms, ornamental ginger, Monstera vines, noni plants, ti plants, kukui nut trees, and breadfruit trees thrive. When asked whether he views the lava flows as something tragic, Uncle Sam answers with an unfurled brow, “To me, it’s just Mother Nature doing her thing,” he says. “You can’t think about the other side of it ... just get the hell out of the way and let it go.” Coming from a family that survived one catastrophic lava flow, speaking to those currently being affected by another one, Uncle Sam offers this consolation, “Everybody has to give themselves hope,” he says. “Theyʻve gotta put hope in themselves, and that life keeps on going. It is devastating because it’s home ... you’re gonna be devastated for a while,

but you’ve got to move on.” At the other end of the property, Joel Corley works in the House of Fire Art Gallery. He’s a 31-year-old Colorado native who moved to the Kalapana area in 1997 and witnessed the post-destruction, isolation and slow revitalization of Kaimū from its earliest stages. “It was very traumatic,” Joel says. “Lots of people felt like they lost a lot of beautiful spots ... everyone talks about how beautiful it used to be.” He has watched the population of Kalapana grow tremendously over the past decade from humble beginnings, recalling a time when farmersʻ markets were barely on their feet and most of the area was still deserted. “It was no man’s land in 1998,” he says. “I remember when [the market] used to be just three vendors.” Joel is a glass blower. Before the May 2018 eruptions, the art studio featured pieces from more than 40 artists including his own. Now the studio is down to 12 artists, its walls boasting ceramic bowls, fine jewelry, photography, slumped glass pieces and more. After the powerful earthquakes at the recent eruption’s start, some artists have left the studio and even lost homes in the current flow. “Try to figure out a new normal,” he offers as advice to victims in the Leilani and Kapoho areas, “because it will never be the same again.” Lessons of Kapoho Twenty miles northwest of Kalapana as the crow flies, up the slopes of Kīlauea in Volcano Village, Serge Kahili King’s teacups clatter quietly atop their saucers. Serge lost his home in Kapoho to the current flow almost two months prior, and on this late-July day he’s in the midst of packing up and moving the fine art pieces in his Volcano home into safekeeping, in light of the near constant earthquakes shaking the summit. Serge was on Hawai‘i Island that day in 1990 when the flows entered Kaimū Bay. He was here visiting friends who had a house in the Kalapana area on Highway 137, or the “Red Road,” and were working in Hilo the day the lava came. A color-coded map of lava flows from the Puÿu ÿÖÿö and Küpaÿianahä vents organized by year, with Kalapana in the bottom-right. photo courtesy of USGS

KeOlaMagazine.com | November-December 2018

“So they left for work that day, and the prognosis at the time was that it might reach Kalapana and that area in six months,” Serge said. “They went to work that day, and when they came back, it was all covered. And the bay was filled in already.” He arrived in Kalapana after sunset, and vividly remembers watching as the Star of the Sea Painted Church was trucked out of town on a big flatbed, saved from the advancing flow. Serge may have witnessed Pele’s rapid destructive power objectively from a distance in 1990; however, three decades later, it hit him very close to home. He lost what he calls “a beautiful, beautiful house” in Kapoho Beach Lots over the course of a day when Fissure 8 sent rivers of lava cascading down the hill toward Four Corners in early June 2018, paralleling Highway 132. In a tragic story reminiscent of his friends’ past peril in Kalapana, Serge left his Kapoho house in late-May thinking he would see it at least one more time. “We picked up a few things, planning to come back next weekend to get the rest,” he said, “and in 24 hours it was gone ... there was no indication that it was coming over that fast.” When asked if he sees some similarities between the 1990 and 2018 flows, Serge says the spirit of aloha has been undoubtedly strong among the victims of both disasters. “I can understand from being part of a community that was overrun how it must have been for them, because the people did come together, everybody was helping each other ... and I suspect it must have been exactly the same thing [in Kalapana]. The people are always helping each other. It’s part of the trait.” His words of solace for those currently being affected are befitting for a wise man, no doubt refined over the course of

many years of advising, helping, healing and listening. “This is a live volcano—it erupts,” Serge says. “And here we are living in this absolutely gorgeous place, which is inherently dangerous, so I try to get them to remember the good parts of having lived here and the benefit of having spent so much time here, but not to live in regret. This is a changeable island, and change is part of the life here. And we can sit with each other and talk about how wonderful it was, but then we have to move on ... to whatever new things are going to be in our life.” ■

Uncle Samuel Keliÿihoÿomalu sits onstage at Uncle Robert's Farmer's Market. Uncle Sam was indispensable in the efforts to replant the New Kaimü Beach trail after the 1990 flow. photo by Stefan Verbano

For the Love of Cacao Highlighting East Hawai‘i Cacao Farmers By Brittany P. Anderson

Hawai‘i Island farmer once told me, “Plant

some; if it grows, plant some more,” and that’s just what East Hawai‘i cacao farmers are doing. From the lava scalded shores of Puna to the rolling hills of Waimea, cacao growers up and down the east coast tend to trees that yield one of the most popular flavors in the world—chocolate.

KeOlaMagazine.com | November-December 2018

Grow What You Love By all accounts, cacao shouldn’t thrive in Hawai‘i. The ideal growing conditions are within the cacao or chocolate belt, a band that extends about 20 degrees in latitude north and south of the equator. The middle of Hawai‘i Island lands at 19.5 degrees north, just barely falling within the narrow growing region. Chocolate is made from the seed of the cacao tree. When in bloom, tiny pinkstriped white flowers dot the trunks and branches of the stout broad-leafed tree. A small flower deserves an even smaller pollinator. In other cacao growing countries, bees and moths pollinate the beautiful buds, yet Hawai‘i Island is abundant with the Roasted Cacao Beans. minute Forcipomyia midges (small flies)—the ideal cacao pollinator. These midges mostly live in banana plants but adore cacao flowers, too. Because of an abundance of the midges, trees on the east side of Hawai‘i Island yield more cacao per tree than other regions. Once the flower is pollinated, a cacao pod forms. The football-shaped pod has deep ridges and develops into a range of colors rivaling any rainbow. Cacao trees thrive with consistent year-round warm to hot temperatures, high humidity and an abundance of rain, all overwhelmingly prevalent in East Hawai‘i. The husband-wife duo of Kahi Ola Mau Chocolate Farm, Mike and Rhonda Pollard, tend to their 350 cacao trees up the Hāmākua Coast in Honoka‘a. Mike, farmer and chocolate maker, quickly dismisses the “standard” idea of where cacao should grow. “While it is the north pole of the cacao growing

region, the ocean creates great conditions for us, and at six miles north of 20 degrees, cacao thrives.” The seminars at the Big Island Chocolate Festival hooked Rhonda from the start. “It was fascinating, something different, up-and-coming in Hawai‘i. Cacao is a unique crop that everyone loves.” One lecturer had a cacao pod, and after class Rhonda asked, “Can I have your pod?” He handed it over. She took it home and thought, “I think we can grow this.” Cacao seeds were planted, sprouted, and thrived, “so we planted them all,” Rhonda says with a giggle. When asked what he likes most about growing cacao, Mike quips, “Because you get to make chocolate from it and chocolate is delicious.” Also, the expanding cottage industry provides a viable source of income. Mike explains, “The magical thing about Hawai‘i is the demand for Hawaiian cacao is high. Most farmers have realized that, and are making chocolate because the profit margin potential is so huge. For now, it is a really good industry for Hawai‘i Island farmers because there is a high demand for it as finished chocolate.”

A Bittersweet History Some attribute the first cacao in Hawai‘i as being planted in the garden of King Kamehameha I by his lead horticulturist, Don Marin. It was said to be an ornamental token when hot chocolate shops were the “Starbucks” of their time. In the early 1900s, Dole planted cacao as the demand for chocolate soared; however, the small ventures in Hilo and Puna couldn’t quite take hold. With World Wars I and II, trade routes were disrupted, and despite rising prices, cacao didn’t hold farmersʻ interests. In 1986, Jim Walsh tried to sprout a profitable cacao industry with the help of Hershey’s, the chocolate giant. A businessman from Chicago, he blazed the trail for importing cacao trees. He even established a cacao research center in Hilo, which served as the quarantine location. Jim worked with state and federal 63 governments to obtain approval for importing the crop since no

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American regulations existed at the time. He planted 18,000 trees; however, due to severe mismanagement, poor growing conditions, and high expectations, the venture folded in the mid-1990s with a fanfare of lawsuits. What these failed attempts have in common is that they centered around growing cacao and not on making chocolate in Hawai‘i. The goal was always to create a commodity, but the cacao is a raw asset, not a finished product. The price of cacao is volatile, and higher-producing countries use much cheaper labor than available here. Cacao trees take up to five years to steadily produce, and by the time trees mature the fickle market has already shifted. East Hawai‘i cacao farmers are betting the third time’s the charm. Beans, the Magical Fruit East Hawai‘i farmers generally harvest September through May, which is nearly year-round. The ripe pods are harvested by hand, clipping each fruit at its attachment to the trunk so as not to damage the fruit stem, which turns into another flower. The leathery pod is cracked open with a machete or mallet to reveal the white mucilage-covered seeds all packed tightly like a wet corn cob. This fruity flesh that covers each seed tastes light and sweet, similar in flavor to lychee. Then

the seeds are fermented. Fermentation develops the chocolate flavor and removes the white fleshy covering that readily absorbs water, which makes the drying phase easier, which comes next. Cacao seeds are fermented for five to eight days, carefully monitored to ensure the right amount of fermentation occurs. Tom Sharkey, known for his Hilo Sharks Coffee, is the Johnny Appleseed of eastside cacao. His coffee shop in Honomū doubles as a chocolate shop these days, stocked with chocolate bars, cacao nibs, and espresso chocolate bars (a personal favorite). Tom was an early cacao adopter at his Pāpa‘ikou coffee farm, planting his first trees in the summer of 2000. “We planted them in the summer and went on vacation. When we came back, the beetles had eaten all the leaves,” Tom says in a heavy, serious tone. “From then on I spent the entire night squeezing rose beetles, and that lasted for six months.” For the past 15 years, Tom has been sprouting cacao seeds—selling them, giving them away, and encouraging everyone to plant cacao. “There is so much land out there, and our eastside quality is really good,” Tom explains. Holiday gifts for men, too!

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Today, Tom mostly uses leased land where he has established cacao orchards. However, he admits the magic is in the fermentation process. Colin Hart, a graduate of UH Hilo College of Agriculture and the College of Tropical Agriculture and Human Resources (CTAHR) graduate research assistant, has been working with Tom for several years refining the fermentation method. “He has a very scientific approach to the fermentation process,” Tom says of Colin, “I’m lucky because he’s going to be in high demand really soon.” Colin’s current research, funded by Hawai‘i County Research and Development and the US Department of Agriculture, centers around finding

KeOlaMagazine.com | November-December 2018

Young cacao orchard at Kahi Ola Mau Chocolate Farm.

alternative methods of cacao fermentation and drying that are better suited for East Hawai‘i’s humid climate. After the beans are fermented for several days, they go outside onto wire mesh tables to dry under the cover of a greenhouse. Once dry, the beans are roasted, then coarsely ground and made into chocolate. Growing Agri-Tourism Many cacao farmers on Hawai‘i Island’s east coast offer bean-to-bar workshops where guests can get a taste for farming and the chocolate-making process. “People want hands-on experiences, people want to learn and see where their food comes from,” says Maddy Smith, owner of Barefoot Chocolatini, a chocolate eco-tour in East Hawai‘i. On one of her tours, Maddy escorts a group around the farm, pointing out the various types of plants and diving deep into the different varieties of cacao. She offers a handson workday from harvesting off the tree to post-harvest production during the season. “People love that, they like to get their hands dirty,” Maddy explains. East Hawai‘i cacao growers welcome farm tours and workshops. Many of the farms like Kahi Ola Mau Chocolate Farm, Tom Sharkey, Hawaiian Sanctuary in Pāhoa, and eco-

Cacao flowers grow in clusters directly on the trunk and branches and are about 1cm in length and width. tours like Barefoot Chocolatini, are embracing agri-tourism as a viable secondary farm income as well as sharing their passion for chocolate. “Hawai‘i is becoming a worldwide destination for chocolate; my goal is to help make Hawaiian chocolate known for the artisanal bean-to-bar,” Maddy says. On a sunny day in Honoka‘a, Mike shares Kahi Ola Mau Chocolate Farm with a couple visiting from Michigan. “My absolute favorite part is meeting new people and teaching them about sustainable farming methods and then tasting chocolate with them,” Mike says in his open-air chocolate tasting room. A common thread amongst Hawai‘i Island’s east coast growers is their love of all things chocolate. From the cultivation of their trees to the hands-on processing, and then spinning beans into delicious chocolaty goodness, farmers embrace each step with care and intention. Above all, sharing the joy of chocolate with anyone and everyone sets this generation of cacao farmers on the east side of Hawai‘i Island apart from previous growers. “I’ll teach anyone who wants to learn,” Tom says, “because, my dear, if you could grow chocolate, why wouldn’t you?” ■

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i w i Ö ‘ ä N a l O a m a l ä M i Hu

r e t t e B l e e F d n a r e g n o L e v i L By Paula

Thomas

ui Mālama Ola Nā ‘Ōiwi has been providing health and education services to the residents of Hawai‘i Island since 1991, following the Native Hawaiian Health Care Improvement Act that was passed in Congress in 1988. The Act was the first legislation passed that provided health care funding for indigenous peoples outside of the Native American Indian Act. Senator Daniel K. Inouye advocated for this bill and the appropriations funded five health care organizations around the state to support increased access to health care as well as health education. From the outset, Hui Mālama Ola Nā ‘Ōiwi’s focus was on diabetes and hypertension—two rampant chronic diseases

afflicting the Native Hawaiian population—as well as healthy eating. Edna Nicol Baldado, RN, was among the first employees. “From the beginning we would talk about eating healthy, but no one knew what that meant. So we had to explain in sensible terms related to: how often do you eat? How much do you eat? What do you eat? As we began to teach our classes, we came up with the idea of connecting the value of the food to its color, and teaching to eat the colors of the rainbow,” she says. Hui Mālama’s ‘Mai Ka Mala ‘Ai’ (Return to the Garden) was a program focused on how to grow, what to grow, why to eat it, making meals, and sharing recipes as a pathway to better health with diabetes. “Nothing was very medical or intellectual,” Aunty Edna offers. “People needed really practical information and advice.” At first, no one would ask questions and Edna knew from her

p, 2017.

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Läÿau Lapa ui Mälama's

r e h t e Tog

Times Are Changing Today, Hui Mālama’s suite of educational offerings covers everything from diabetes and hypertension to prenatal care and exercise plus health assessments. The Mai Ka Mala ‘Ai program used to span 10 weeks. The Diabetes Management class now runs for three weekly two-and-a-halfhour. Participants learn about diabetes, nutrition, exercise, medication, and tools needed for continued management of self-health while living with diabetes. Classes are delivered by RNs and other professionals all across the island. Hui Mālama is going mobile, having closed its Ka‘u, Kona, Waimea-Kohala, and Honoka‘a offices to free up resources for island-wide outreach. “We are able to go to the people and visit schools, hospitals, homes without being confined to one physical work space,” notes Jasmine LeFever, Director of Community Relations & Special Projects. “We can better meet the needs of the community. This is especially helpful with the size of our island.” Hui Mālama is in a rebuilding phase that is led by Louis “Uncle Louie” Hao, Executive Director. This year Uncle Louie stepped down from the board of directors to run the organization. “We are going to reopen our medical services,” he says, “and we’re on track to bring in $1 for every $5 of federal funding we receive. We have to become sustainable.” His philosophy of management is founded in the Hawaiian word ‘ho‘iho‘i,’ which means to replenish, replace, restore,

Aunty Edna with the Diabetes Support Group in Hilo.

KeOlaMagazine.com | November-December 2018

work at Hilo Medical Center, where she served for 28 years as a licensed practical nurse and an ICU nurse, that many people were simply not comfortable talking about their health issues publicly. Early on, she made home visits and worked one-on-one with patients and families. Hui Mālama offered van transportation to their facilities and Edna often drove. It was good private time to talk story. Aunty Edna also taught groups of 25–30 people. During one session, she recalls an elderly woman who raised her hand and started off meekly with: “I have a stupid question.” Aunty Edna addressed this head on. “I told her there was no such thing as a stupid question. I said that if you come to this class and ask a question, it shows that you are smart.” When the woman asked her question, the audience began to stir because many others had the same concern. This broke the ice. People started talking more and asking for support. It didn’t take long before the Mai Ka Mala ‘Ai program enabled some big shifts. People felt less skeptical, less concerned about being attended to because of their ethnicity, and no longer felt ill-informed. Doctors who came to speak realized that patients were hungry for information and so

shared more—even with their office patients. At the start of every session, clients had their height, weight, and blood pressure obtained. Blood glucose was measured at the start, middle and end. By the end of the program, Hui Mālama’s clients were seeing changes in their health. “We realized that patients didn’t feel that medical information was user-friendly. We set a new tone,” says Aunty Edna. “As we shared more and our clients asked more questions, the patient/doctor relationships started to change. We were supporting education and helping people to help themselves. It wasn’t about making demands on people or pushing things on them, but rather just to help them.” This was all happening in a climate of doctor shortages, few hospitals or clinics, and limited access to health care across the island, with transportation being a limiting factor for many. Soon, Hui Mālama’s program was affecting other programs across the state.

KeOlaMagazine.com | November-December 2018

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preserve, revive. “You cut one tree and plant two,” he says. “We cannot just rely on federal funds and offer everything for free because that is not sustainable.” Hui Mālama is looking at funding models that remain totally affordable to clients, provide opportunities for billable services, and include programs that can generate income, like medical and behavioral health services. Billing through insurance companies and soliciting donations and contributions will continue as it is a nonprofit 501(c)3. Uncle Louie is exploring ways to expand already-existing initiatives that embrace traditional Hawaiian healing (lā‘au lapa‘au, ho‘oponopono, lomilomi hāhā, and lā‘au kāhea) and Western medicine in partnership with higher-educational institutions. A former basketball player who cuts a six-foot-plus profile, Uncle Louie is passionate about having our islanders exercise and move more. He retired from the County of Maui in 1999, and he found retirement uncomfortably boring, so he went back to work and is applying his expertise in management, human resource development, sociology, and as a kupuna (elder) in his new position. “You gotta sweat, you gotta move, circulate the blood,” he says determinedly, “find an opportunity to use your body. It helps with the mind.” Uncle Louie suggests everyday activities like gardening, walking, mowing the lawn, or even tai chi. What does he do for exercise? “I do zumba,” he says, smiling. At the present time, Hui Mālama’s classes are offered for free and clients simply need to register online or in person. The community can take advantage of diabetes, hypertension, and nutrition education, assessment, exercise programs, traditional health workshops, support groups, or all of the above as appropriate to their health needs and diagnoses.

Community Outreach and Ho‘iho‘i Wanda Louis, RN and Community Health Coordinator, runs community programs and is passionate about her health education role. Her interactive sessions on hypertension include recipe modification, exercise lessons, and stress management. Participants learn to grow plants in the Grow Your Own Läÿau class.

The Mālama Nā Keiki Festival, (Care for the Children) is a signature event in the summer that celebrates children, mothers, and families. During the school year, Hui Mālama teaches healthy eating habits through stories, craft projects, interactive sessions, and games. Wanda sits with the children

Healthy at Any Size participants received certificates for completing the six-week class.

KeOlaMagazine.com | November-December 2018

Members of the Hui Mälama Cancer Support Group, Mälama Ka Pili Paÿa, with handmade pillows for their Hope Pillow Project for cancer patients in treatment. and talks about eating the colors of the rainbow and why that is important. Keiki learn what color foods help which parts of the body, what kind of foods to choose at restaurants, and Kimo, a hand-made wooden display with rolling eyes, is used with a scale to show keiki what happens when calories you take in from food don’t match the calories you use up from physical activity. Everything is geared toward making the learning fun, interactive, and easy to understand. “Of importance about our work and services is that we can fill the need for more thorough education. Doctors try to educate patients during visits but time with patients is limited so they’ll refer to programs like ours. Making healthy changes

KeOlaMagazine.com | November-December 2018

Hui Mälama Ola Nä ÿÖiwi staff.

takes time and ongoing support, and we provide the education and interactive support to help people make healthier lifestyle choices,” adds Jasmine. In a continuing effort to meet the needs of the community, Hui Mālama introduced a new class this year: Healthy at Any

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Ladies getting pampered with foot and hand massages at the 18th Annual Ladies' Night Out. Size, a six-week class that addresses hunger, fullness, body image, and fun ways to move and nurture body and soul. Makahiki Games, an elementary school physical education competition, will be rolled out in the 2018–2109 school year thanks to a small grant. The concept of ho‘iho‘i is sparking new ideas, new initiatives, and the preservation of what is working well, and innovation in response to the changing landscape in health care. Hui Mālama receives grants from local and national organizations, the Office of Hawaiian Affairs, and the County of Hawai‘i in addition to federal funds. The Health Resources & Services Administration and the County funded September’s Ladiesʻ Night Out, now in its eighteenth year: an annual, free,

KeOlaMagazine.com | November-December 2018

Ladies gathered at the 18th Annual Ladies' Night Out September 28, 2018. three-hour event held at the Afook-Chinen Auditorium that is a celebratory, health awareness, and pampering extravaganza for women 18 years of age or older. With new initiatives in the works, Hui Mālama is on the move. Preserving its 27-year history with the principle of ho‘iho‘i guiding its future, Hui Mālama Ola Nā ‘Ōiwi will remain

a landmark health care organization supporting health and wellness at any age, at any size. ■ Photos courtesy of Hui Mālama Ola Nā ‘Ōiwi For more information, go to: HMONO.org

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A Journey with Kumu

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T his is a story about one who might be called a Hawaiian renaissance man. This man is multi-facetted and multi-talented, with an insatiable drive to serve his culture through sharing his knowledge. Like a tripod that will fall over without its three legs, Kumu and Kahuna Kawaikapuokalani Frank Loea Lehua Hewett could be called a master of three arts: hula, ho‘opa (healing) and haku mele (song composition). All are woven together, as all are intrinsic to the whole of this man. Na Kumu (The Teachers) It was said by those who watched the famous hula dancer ‘Iolani Luahine that she seemed to float on air as she moved. Kahuna (spiritual leader/master) and much-honored Kumu (teacher) Hula Emma DeFries was as much a master healer as a teacher, composer and dancer. Edith Kanaka‘ole is a legend in hula and Hawaiian cultural Kumu Kawaikapuokalani Frank Loea Lehua Hewett

KeOlaMagazine.com | November-December 2018

teaching, whose name is revered and who founded a family of hula masters. These beloved teachers of past generations, each of whom passed their ‘ike (knowledge) on to Kawaikapuokalani (Frank) Hewett—also known fondly as Lehua—are recalled by him as he talks story. Kumu Kawaikapu has himself become a legend in his own lifetime, and embodies many of the qualities of his honored teachers. Following the thread of his comments is like poetry itself, just as watching him dance recalls the grace and etheric nature of Kumu ‘Iolani. He seems to float across the stage in a dreamlike state. Imagine a graceful bird in flight—his long legs, long arms, long fingers trace the story in the air as if he is living it. History, legend and lineage are woven together in the poetry of song and memory as Kumu Kawaikapu performs, writes songs and tirelessly crosses the globe to teach others. His feet barely touch the soil of his homes in He‘eia, O‘ahu or Ola‘a here on Hawai‘i Island before he is off again, judging a competition or conducting workshops in Japan, Europe or the US mainland. Along the way, stories are woven into songs that will live on long after he is gone. The young Frank’s kumu and aunty, Emma DeFries, accepted him as a student in 1972 at age 18. He had already been taught hula by his grandmother and possessed musical skills and a compassionate interest in healing. He soon became Kumu Emma’s protégé. Kumu Emma—a direct descendant of Hewahewa, spiritual advisor to Kamehameha the Great—along with his grandmother, gave him the name Kawaikapuokalani (sacred water of the heavens). “I was born really sickly and throughout my childhood I had been very sick,” Frank says. “As I got older, they wanted to give me something that would give me strength, both spiritual and physical. My grandmother and aunt prayed on it. They received the name Kawaikapuokalani.” Aunty Emma was a practitioner of the healing traditions of lā‘au kāhea, lā‘au lapa‘au, ho‘oponopono, and lomilomi as well as a musician and kumu hula. As her young student developed into a tall and gangly young man, she encouraged his graceful moves, taping together his ring and middle fingers to help train his hands, he says. Upon his graduation she bestowed upon him additional names. “When I graduated from Aunty Emma Defries [hālau], she gave me the name Ka Lehua O Ka Hula. Lehua is not only a flower, but also a word for expert. She gave me the lehua as my plant symbol, the color red as my color symbol and also gave me the name of the school, Kuhai Hālau Ō Kawaikapuokalani Pā ‘Ōlapa Kahiko, which I founded in 1978.” Frank was already a musician, having been taught by his grandmother, a musician and dancer who spoke Hawaiian 77 language at home. Aunty Emma introduced him to Jerry

Santos and Robert Beaumont of the famous Hawaiian music group Olomana. That was the beginning of a relationship that would last 28 years. He performed regularly as principal hula soloist with the group in Waikīkī and also with the famous musician, the late Palani Vaughn. During the late 1970s, he performed with a hula kahiko (ancient style hula) group in Kailua-Kona called E Ho’o Hawai‘i Kakou. During this time he was instructed and mentored by Hula Master ‘Iolani Luahine. He attended college at University of Hawai‘i at Hilo, during which time he was introduced to Edith Kanaka‘ole. He sat with her and absorbed her stories and shared wisdom. “My grandmother came to see Aunty Edith Kanaka‘ole. They came from the same place and were somehow related. Aunty Edith became my kumu for ‘ōlelo [language] Hawai‘i and tutored me in poetry. I also learned hula and oli [chanting] from her. I graduated UH Hilo in 1977 with a degree in liberal studies with emphasis on Hawaiian Culture.” In true Hawaiian tradition, Kumu Kawaikapu honors his kumu and kūpuna. “What they share with you is what you follow. In reflection of that, I wouldn’t be a good example for my students who are trying to follow me. Every moment that I sat with my kumu, every moment they had a free time to talk, they would share with me something. Did the learning ever stop? With my teachers it’s only stopped because they have passed on, but what they shared with me has left such a huge impact that it inspires me to do more and more research.” In addition to sharing this wisdom within his own hālau and graduating many other kumu, Kumu Kawaikapu has been a perennial judge of the Merrie Monarch Festival and is in much demand to judge other competitions.

Frank Hewett dancing.

Ho‘ola: Healing “The two words, hula and ho‘ola, are connected. Healing and dance traditions come under the same goddesses: Kapo and Laka, Hi‘iaka and Pele, Hōpoe and Hā‘ena, Keaomelemele and

KeOlaMagazine.com | November-December 2018

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Paliula. These are all hula goddesses but also the goddesses of the preparation of medicine for healing. “Knowing the prayers taught to me for healing, and learning the same or similar prayers for hula is where everything became connected. From there on the journey became very easy. You dance, you end up with body aches. You stress, you hurt your muscles, then they teach you the lomilomi, the lā‘au lapa‘au [herbs] and the prayers. Same prayers, same goddesses. It’s not like these traditions were so separated far and wide. They were quite closely related and therefore the learning process was not a difficult one.” Kahuna Emma DeFries also passed along her knowledge of natural medicinal healing, enabling her student to practice native Hawaiian healing modalities such as lā‘au lapa‘au, touch therapy, lomilomi massage, spiritual mediation through chants and prayers, and ho‘oponopono. Hawai‘i Island Connections Although Kumu Kawaikapu was raised on O‘ahu and worked there for years, he has a special feeling for Hawai‘i Island, composing many songs based on its goddesses and wahi pana (sacred places). He once had a dream to establish a school here, leading him to search for real estate. “I had an aunt who was a Kahuna Pule. Her forté was lā‘au kāhea, to heal by prayers. Aunty Momi Ruane served for many years as my mentor and helped me through a lot of things. I had also worked at the Waimanalo Medical Center for 10 years. After graduating from UH Hilo, I always wanted to come back and have a school here—a hula school, a school for healing, for medicines and lomilomi—to fulfill the dream.” Talking story at his house in Ola‘a, near Volcano, he shares, “And so I called a Realtor and asked them to help me find a place here. When I first walked out on this lānai [porch], I said, ‘Oh my God, ka hale lehua.’ Of course, the home of the lehua blossoms or the expert, the wise person, the skilled person. Also the place where people come to be wise, to be skilled. The owners had some problem with the papers. My aunt prayed with me and asked what I wanted to call it. ‘Ka Hale Lehua,’ I said, also for the hula goddesses. She said the name would make sure everything would work out.”

Haku Mele (Songwriting) “In haku mele or poetry, I capture the most important things that I feel at the moment about these fabulous people. Some say my songs are tradition already. They are already recognized as standards in both music and hula. For example, ‘Ka Wai Lehua’ has already been recorded by 65 other recording artists.” He is known for singing his own songs, and for having his songs recorded by many of the top artists in Hawaiian music. He started recording his own music in the early 1980s and very soon after won his first Nā Hōkū Hanohano Award in 1981: Best Song, Haku Mele for “Ka Wai Lehua A’ala Ka Honua.” Since then he has written many songs and won many more Nā Hōkū Hanohano awards. “I started composing music when I was in the 4th grade, under the guidance of my beloved grandmother. She would inspect my use of Hawaiian language to make sure all was done correctly. I loved writing poetry, putting words together. My grandmother’s attention and knowledge were valuable to me when I did my first recordings.” Kumu Kawaikapu hopes his songs also inform and inspire the issues of today. “When I wrote ‘Poli‘ahu’ [snow goddess residing at Maunakea] in 1990 or 1992, there was not a protest at Maunakea, but when I wrote about her loneliness in the song, I was thinking, ‘Why weren’t her people there at that time? Proud grandfather surrounded by four of his 17 moÿopuna (grandchildren), from tallest to smallest: ÿIlihiananiohawaiÿiloa; Kïnohinohileimomilanileiponimöÿï; Kuÿulaiÿawapuhiokalani; and Kuÿupualehuakauhiehieokalani

KeOlaMagazine.com | November-December 2018

Goddesses Through his learning, research and his own genealogy, the famed kumu and musician has written poetry and composed songs that faithfully portray the goddesses of Hawai‘i Island. “We have a connection to both Pele and Poli‘ahu. When they came to Hawai‘i they were real women who had children. They were elevated to goddesses through the tradition of ancestor or ‘aumakua worship—as actual descendants of people in a community who valued what they did. Pele married Kamapua‘a and they had a son. Pele and Poli‘ahu are sisters. Descendants of each married one another. Queen Ka‘ahumanu made a journey to Maunakea to find the bones of Poli‘ahu. You can read about it. I have a genealogy to Pele, some 24 or more generations back, not that long ago. If you are connected by blood to Pele, then you’re related to Poli‘ahu, to Laka, to all of these people. It’s more than just a story; this is your bones, your flesh, your blood. We talk about it in a different way. We are the living descendants.” Hōpoe, who is recognized for teaching hula to Pele’s sister Hi‘iaka and to Pele herself in the Puna district of Hawai‘i Island, is the subject of his song “E ‘Ike I Ka Nani A O Hopoe.”

“She was turned to stone, overwhelmed by the fire goddess Pele at Kea‘au. I have gone there, felt the inspiration. I wanted to capture their stories, their life and honor them, not only with the song but also in naming my grandchildren, who all have Lehua as part of their names. It’s to allow them to live again, not only in this world, but with their family, their descendants, their blood relations.”

Were we not ready, not prepared? There are sacred mountains all over this world.’” “I continue to compose, so this story is far from over.” He is currently working on a song about Lake Waiau.

KeOlaMagazine.com | November-December 2018

‘Ohana “We are responsible for each generation, parents to children. I have 17 grandchildren all around the world, three greatgrandchildren. I like spending time with them, listening to their stories. We get crazy together and I like watching them running around, screaming—it’s joyous. That is what drives me to write poetry, to teach hula: to continue to learn and strive for their betterment. I had to help my mom and my dad to raise my brothers and sisters on a farm, where I worked from sun up to sunset. I sang through everything. I never stopped singing. I made up songs all day long. “When I was young, preparing for life, my teachers sat me down and told me I would never marry. I did not question. They said to me, ‘You will never have children, yet you will have many, many children.’” In fact, he had six children, all legally adopted by him. “All carry my last name, Hewett. Some of them were given to me as infants and some older. We found that every single one through DNA is closely related to me. I believe there is a purpose in everything. Once I took them into my home they were in an instant mine, as are their children.” Kumu Kawaikapu has inherited his drive to help and teach others. “My mom has volunteered for over 50 years in Kāne‘ohe. At 87 now, she is running sports teams. There’s so much more to do. What I do is what the taro farmer or the fisherman would do. You work to take care of your family. My children are my inspiration, the driving force behind me. I’m working to help take care of five generations. I’m going to keep on working as long as I can.”

Teaching Kumu Kawaikapu conducts training of other kumu hula at his residence here on Hawai‘i Island. He can’t count the numbers he has graduated, but he is clear to teach them in the tradition of his kumu. “The majority have graduated through the process of Aunty Emma DeFries. What I teach is from that foundation. The most important thing is to have a kahua or foundation that links you to the generation before you to connect with the generations into the future. The relationship between student and teacher is a lifelong relationship that is based on trust, honor, and loyalty—to the school of learning and to the teacher. The teacher also has the responsibility to the student based on the same tradition: respect, honor, and loyalty. I have been teaching now for more than 40 years, and I have students who have been with me for 40 years and still going. I am their parent, teacher, doctor, nurse, advisor, counselor, leader, and everything else. I love and take care of them. When do I plan to stop learning and teaching? When I drop dead. I live for those moments to first research and then share with my students.” ■ Photos courtesy of Kumu Kawaikapuokalani Hewett

For more information: Kumu Kawaikapuokalani Hewett kahalelehua@hotmail.com

By Ma‘ata Tukuafu

Na Hökü winning artist Kükahi at the Aloha Puna benefit concert.

His father Shane Lee, who is his producer, says Kūkahi wanted an electric guitar after learning to play chords on an acoustic guitar. He replied that if Kūkahi wanted an electric guitar, he would have to learn at least 10 songs note by note, to show he was serious about it. Kūkahi learned 10 songs and got his electric guitar. Part of the magic of Kūkahi’s story is that he began creating his own melodies, spending a lot of time on his own putting songs together. He attended Parker School and at the age of 14, and took a songwriting class. His interest in songwriting was piqued and that is when he began composing and collecting material that went onto his first award-winning EP (extended play record, which contains more tracks than a single but is shorter in duration than an album.) The first song he ever wrote was “Raw,” a tribute to Freddie Mercury. His process is playing a guitar lick, adding a drum machine, bass and synthesizer, all on his computer. The lyrics to his songs develop after he has the song in place. His mother Maka is a musician herself, and has assisted Kūkahi with 81 writing the lyrics to his songs. KeOlaMagazine.com | November-December 2018

ūkahi Allan Nu‘uanu Lee was only seven years old when he wrote his first song. Very interested in music at a young age, he was drawn to the piano and taught himself to play by ear at the age of six. His parents Shane and Monica (Maka) Lee recognized his musical talent and hired a piano tutor so he could learn to read sheet music. Ten years later, Kūkahi was the youngest musician to receive the prestigious 2017 Nā Hōkū Hanohano award for his selftitled 2016 release Kūkahi, in the best alternative album category. After Kūkahi learned the basics of reading musical notes, he began to take up other instruments. He is mostly self-taught, having learned to play the keyboard, guitar, bass guitar, drums, percussion instruments, and the ‘ukulele. “When I was really young, my parents got me Michael Jackson’s CD Number Ones. That was what made me want to become a musician in the first place,” Kūkahi said. “I’d listen to that record over and over again.” He also names Selena as one of his idols because of her family band, as well as Prince, Queen, and David Bowie.

Kükahi playing his favorite electric guitar. A fascinating note (and nod to Kūkahi’s talent) is he wrote and recorded his first EP in his bedroom “recording closet,” all on his Mac’s Garage Band program. “It was like songwriting school for me,” says Kūkahi. “Now I know a lot more, but looking back, I did a lot of things in my music that was experimental.” When he first began writing music, it was an emotional outlet, Kūkahi explains. He struggled with social anxiety, yet the more he wrote and performed, he became more outgoing and confident. He believes in spreading positive messages and his songs are about daily life, getting out of heartbreak or dealing with anxiety or depression. His goal is to empower others, and he tries to impart his encouraging messages through his performances. Kūkahi says his first EP was released when he was 16, and his music got radio play in Europe, mostly France and Russia. Some of his songs drifted to US college stations. His parents submitted the album on the ballots for the Nā Hōkū Hanohano awards. He was 17 when he went to Honolulu to attend the award ceremony. “To be honest, I didn’t know what it was about,” Kūkahi says. “When I got there, it was a huge room with thousands of people. It was fancy and glamorous and much bigger than I thought. The world opened up a lot for me, with new opportunities.” His first album features songs that range from hard rock, dance, slow songs, old school rap, to punk inspired. His style crosses multiple genres, and the music he creates reflects his talent. Kūkahi gave out business cards and happened to pass his information to a radio DJ from Japan. This is how he got

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Kükahi performing music from Jam, his newest album. to perform in Japan after he won his award. He has now performed in Hawai‘i, the US mainland, Canada, and Japan. Kūkahi has since released a CD entitled Human, which showcases songs about love, angst, encouragement, compassion, and anger. “Because no matter what differences people may have, we are all human,” Kūkahi says. Shane and Maka are producing a family band. All five of their children have musical talent, Kūkahi being the eldest. Sister Monica, who is 15 years old, plays bass guitar. Thirteenyear-old brother Keli‘i plays both keyboard and synthesizer. His sister, 11-year-old Alana, keeps rhythm on the drums, and youngest sister, 10-year-old Mālie, accompanies with acoustic/ rhythm guitar. Shane says each of his children are talented, and with Kūkahi showing them the ropes, all of the siblings are now part of the Kūkahi and the Love Machine band. “We are fortunate as a family,” says Shane. “We homeschool our children, and it opens up their brains. We’re trying to take it to the next level and will submit our information to America’s Got Talent. Instead of solo Kūkahi, we are submitting our talent as a family band.” Shane says people have compared the band to the Partridge Family. In Japan, he says, people have commented they are comparable to the Jackson Five. Though Kūkahi’s siblings play their various instruments and are eager to be on stage, they have yet to join in the vocals. For now, Maka helps with back-up vocals while on stage and the goal of the siblings is to eventually play each other’s instruments. Though his brothers and sisters love being in the family band, they are jittery until they get on stage, says Kūkahi. They feel more confident when people respond to their Kükahi (center) surrounded by his band the Love Machine. From left to right, Mom Maka (background vocals) sister Mälie (rhythm guitar), sister Alana (drummer), brother Keliÿi (keyboards), and sister Monica (bass guitar).

KeOlaMagazine.com | November-December 2018

Kükahi serenading his audience with his original alternative rock-pop music.

KeOlaMagazine.com | November-December 2018

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music by getting up and dancing, and adds that with the encouragement of their parents, they are becoming more courageous on stage. With three CDs out and working on more original music, Kūkahi enjoys composing the music that comes to him. Maka co-writes the lyrics, and Kūkahi says he feels he has accomplished a lot already. He uses Facebook, Snapchat and Instagram to put his music and information out into the world, and now they are working to play at various music festivals. The family practices together almost every day. Before a show, Kūkahi says they rehearse at least six hours at a minimum. They get along well together and when the family plays music, there is a camaraderie among them that shows. Even with three CDs released, Kūkahi still lays tracks in his recording closet. He puts a big blanket over the door and his siblings record one at a time, playing their tracks separately on his new songs. For Kūkahi, his goal is to be where Bruno Mars was in his early twenties. For Shane, it is to support his kids as they blossom in the musical world and create a niche by being a family band. The recording industry may peg musicians to play only one type of music, Shane says, but for Kūkahi as a songwriter, it doesn’t matter what he writes, whether it is in the genre of rap, dance or pop, it’s hard for a multi-talented musician to stick with one type of genre. He hopes to find a label that supports the idea that a multi-talented musician can play many types of music. “This is cliché but true: if I can do it, you can do it, and that is the biggest advice I could give to any aspiring artist,” says Kūkahi. “It’s hard work, but worth it, and if you are going to take this kind of lifestyle seriously, you have to be dedicated.” ■ Photos courtesy of Colin Edsman For more information: brandspankingku.com

Novemb mbe er – Dece

December November –

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2018

Community Ma Hawai‘i Island’s

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! Itʻs Tiki Time ank Hewett apuokalani Fr ARTS Kumu Kawaik awai‘i CULTURE st H ore Ref ITY SUSTAINABIL

Featured Cover Artist: Shay Niimi Wahl After her first four years in Honolulu, Shay Niimi Wahl grew up in the once-thriving sugar plantation town of Pa‘auilo on Hawai‘i Island. Her rural upbringing made Shay aware of the beauty and diversity of the island, which she sought to capture in drawings and simple paintings. Her mother’s love for flowers and her father’s respect for nature still inspire Shay, along with a carefree country lifestyle. Shay attended Chapman University in California where she double-majored in international studies and sociology. Shay says, “I loved learning the cultural aspects of various nations, especially their art.” After graduating, Shay made a career teaching in public education where she integrated art in the elementary classroom as much as possible. Upon retiring, she began life as a full-time artist. Shay says, “It was a dream come true. I painted to my heart’s content.” What she hadn’t expected in retirement was to make new friends and resume teaching as an art teacher to adults. Shay reflects on her 12 years of teaching, post-retirement, “I hope I’ve left many with a love for painting with watercolors and a method to get started and continue on as artists on their own. In teaching, the teacher always learns more than is expected and that is what occurred with me. I am so very grateful for the unexpected.” Shay paints mainly with watercolors on silk and paper, often with sumi ink and acrylic paints. She always begins with the traditional Asian method of gongbi, which is a meticulous

detailed style of painting that originated in early China. She includes strokes of the spontaneous style of Chinese painting, xieyi, resulting in a combination of styles and also a combined flavor of the east and west. Shay compares her painting style to life in Hawai‘i, known as the melting pot of the Pacific, where many cultures meet and mix and share Hawai‘i’s aloha. “My paintings are an expression of that aloha and a deep appreciation of the boundless beauty found in nature. Our beautiful surroundings inspire me to worship the Creator by way of a brush and a rainbow of colors.” The artist’s watercolor painting on this issue’s front cover, Winter Guest, was inspired as the winter season neared in 2015 and colorful poinsettias began to decorate the roadsides, stores, offices, and homes to welcome a time of excitement and gatherings for family and friends. Loose and detailed brushstrokes of red and green with yellow stars express the mood of good cheer and celebration that the poinsettia represents. Shay lives in Waikoloa Village on Hawai‘i Island with her happily retired and very supportive husband, Ric, and their sweet border collie, Hoku. Shay works out of her studio in their home. Her paintings are on display for sale at the Wishard Art Gallery in Hāwi and the Gallery of Great Things in Waimea. Her prints are available in the Gallery at Bamboo in Hāwi and Kilauea Kreations in Volcano. Shay also paints by commission and can be contacted through her website. For more information: ShayWahlArts.com

Table Of Contents Photographer:

Joalene Young

Joalene Young is a fine art photographer and conceptual artist, who turns her photographs into digital paintings. Her art focuses on flowers, land, and seascapes, all reflecting the magic and wonder of Hawai‘i. Living in Puna on Hawai‘i Island, Joalene’s art is available in art galleries and stores in Pāhoa, Hōlualoa, and Hilo. For more information: joalene-young.pixels.com

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 | November-December 2018

Your feedback is always welcome. HIeditor@keolamagazine.com

Across

Down

1 Teacher in Hawaiian 4 Wooden wine holder 6 For example, abbr. 8 Hawaiian word for an outrigger float 10 Mystique 11 Aha Pule ____, Makahiki relay run. “A prayer moving through the land” 2 words 13 Recently produced for the first time 14 Relation 15 ____ Hawai‘i, organization formed to rebuild Hawai‘i’s native forests 17 The art of song composition in Hawaiian, 2 words 20 Type of whale 23 __________ Discovery Center in Hilo, for Hawai‘iʻs Remote Coral Reefs 24 Hawaiian word for to flow as water 26 Joe and Kristen Souza’s instrument, for short 27 Hui Mālama ___, providing health and education services to Hawai‘i residents. 3 words 30 Long slippery fish 31 Hardwood 32 Hawaiian word for an era 33 Love, affection and compassion in Hawaiian 34 Hawaiian word for to conquer

1 2

3 4 5 7 9

12 15 16

18 19 21 22 23 24 25 27 28 29

ilo harbor area, where the Pacific Aquaculture and H Coastal Resource Center is based King’s horticulturalist who is believed to have planted the first cacao plant in Hawai‘i, Don ____ Hawaiian word for hand wrestling Boki was one in Hawaiian tradition Like the night sky Cultivate One of the major purposes of the Pacific Aquaculture and Coastal Resource Center Allow Famous lover in Shakespeare Hawaiian season honoring dedicating to honoring Lono, the god of peace, sports and an abundant harvest Hawaiian word for to hit Leaf in Hawaiian Yellow fruit Chinese food pan St Louis arch’s state, for short One of the three disciplines that Frank Loea Lehua Hewett is a master of Hawaiian singer, Kūkahi (last name) Hawaiian word for life and well-being Hawaiian word or awe and reverence Hawaiian word for canoe

HonuHeart™ Designs

own—Nalu Island Jewelry & Gifts—in the Sheraton Kona Resort & Spa at Keauhou Bay. Peggy notes that she will be closing the store at the end of December because her wholesale business has grown and she needs more time to focus on it. Peggy says, “Retail can be all-encompassing. I really loved dealing directly with customers in the store setting and I’ve learned a lot from this experience, which will make me a better supplier to the store owners who buy and sell my products.” HonuHeart™ products are available at 60 stores across the islands. For a complete list, visit Peggyʻs website. HonuHeart™ Designs 808.989.5100 peggy@honuheart.com shopnalu.com

KeOlaMagazine.com | November-December 2018

Peggy Waterfall has been designing and producing sterling silver jewelry with Hawaiian images for 13 years. Peggy says, “A few years ago I woke up at 4am with a picture in my mind of those same designs as Christmas ornaments. If you know me, you know I love Christmas, and the joy that comes in decorating for the holidays. I knew immediately that a line of ornaments in Hawaiian images—plumeria and honu instead of Santa Claus and candy canes—was going to be a huge hit. So I came up with a line of laser cut Christmas ornaments in Hawaiian themes.” Originally, Peggy produced the ornaments in pewter; however, the ocean air wreaked havoc with the metal. That is when she realized the idea was good, but the material was wrong, so she switched to birch and later added solid Hawaiian koa wood. Every ornament image Peggy creates has a heart woven into the design. That is her signature and makes each item completely unique. HonuHeart Designs™ is the only ornament manufacturer that provides a high quality ribbon embossed with ALOHA Hawaii on one side and Mele Kalikimaka on the other. In addition, their koa ornaments are presented in a high-quality red gift box. Peggy utilizes a Hawai‘i Island engraving company to laser cut the wood and she and her staff tie every ribbon themselves. Before Peggy moved to Hawai‘i in 2004, she was an engineering manager at IBM for 23 years. She learned design and manufacturing methods and spent time in quality control. She also learned a great deal about managing budgets and hiring good people. Designing jewelry and crafting Christmas ornaments was something completely new and in 2005, it became her second career. This past year, Peggy experimented with a retail store of her

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

365 Kona

365kona.com Julie@Ziemelis.com

Akamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

Aloha Theatre–Kainaliu Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Holualoa Village Association HolualoaHawaii.com

Honoka‘a People’s Theatre

Food Hub Kohala

HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

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

Hulihe‘e Palace Wilhelmina’s Tea

Friends of NELHA

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

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

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

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Island of Hawai‘i Visitors Bureau

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

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

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

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

KeOlaMagazine.com | November-December 2018

Kingsʻ Shops–Waikoloa

KingsShops.com 808.886.8811

Relieve Stress Alleviate Pain Restore Your Natural Energy Remember Who You Truly Are…

Kona Commons Shopping Center

Experience Reiki — Find Heaven on Earth!

Kona International Marketplace

Reiki is a gentle form of healing, used for nearly a hundred years in Japan. It activates the body’s own natural ability to heal itself. Located in a tranquil comfortable setting in Hilo. Evening and weekend appointments available.

$90 per 1.5 hour session Mention this ad, receive $15 off! Gift certificates available

Barbara Garcia 16 year Reiki Master Call / Text for an appt:

808-345-2017 /barbgarciareiki

KonaCommons.com 808.334.0005

KonaInternationalMarket.com 808.329.6262

SUNDAY DECEMBER 9TH 7:30AM - 11:30AM HPP ACTIVITY CENTER ON MAKU’U & 17TH

DOG N’ JOG GREAT PRIZES FOR THE DOG/CAT-HUMAN TEAM WHO RAISES THE MOST FOR RAINBOW FRIENDS. OVERNIGHT STAY FOR TWO!

LIVE MUSIC, ONO FOOD & MUCH MORE!

www.rainbowfriends.org Phone: (808) 982-5110

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 808.885.9501

Happenings West Hawaii Dance Theatre and Academy

Konaweb

Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

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

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

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

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

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

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

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

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

CROSSWORD SOLUTIONS

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

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

DESIRABLE KALOLI POINT: 3BD, 2BA HOME & OHANA, 1 BLOCK FROM THE OCEAN

D. Kimiko White, RB-17456 O: (808) 885-1229 C: (808) 938-5727 www.RainbowProperties.com

A percentage of every commission is donated to Habitat for Humanity.

Custom baskets and ﬂoral arrangements for every occasion!

www.HawaiisGiftBaskets.com 808.886.8000 info@HawaiisGiftBaskets.com

KeOlaMagazine.com | November-December 2018

Enjoy the soothing sounds of the surf in the sunny Banana Belt of HPP on 1/3 acre. Sliders open to the wrap-around deck. The spacious kitchen, dining and living areas share an inviting open-beam ceiling. Plenty of natural light. Tiled 426 sq.ft. lanai, and covered car port with laundry room in the back and a separate closet with large shelves for lots of extra storage. MLS 620717

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

Alzheimerʻs Association Aloha Chapter

Kailua-Kona and Hilo Ongoing Volunteers to facilitate new support groups Patrick Toal patoal@alz.org 808.591.2771 x 8234 alz.org/hawaii

Anna Ranch Heritage Center

65-1480 Kawaihae Rd., Waimea Tuesday–Friday, 10am–2:30pm Looking for docent volunteers to provide guided tours. Contact Dayna Wong programs@annaranch.org 808.885.4426 annaranch.org

Boys & Girls Club of the Big Island

KeOlaMagazine.com | November-December 2018

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

Volunteer Opportunities Bgcbi.com

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd Thursday of the month, 1–2:30pm Men and women who support the mission of Daughters of Hawai‘i. Contact Geri Eckert hulihee@daughtersofhawaii.org 808.329.9555 DaughtersofHawaii.org

CommUNITY cares

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm Community suffering from cancer, medical hair loss, domestic abuse. Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

Hōlualoa Hōlualoa Foundation for Arts and Culture Tuesday–Saturday, 10am–4pm Volunteers help in arts education program. Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

East Hawai‘i Cultural Center/HMOCA

Gallery Hours: Tuesday–Saturday, 10am–4PM

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

Friends of Amy B.H. Greenwell Ethnobotanical Garden

Captain Cook Saturday, 9am–noon Volunteers needed to help with weeding, trimming and maintenance of the gardens. Contact Peter 808.323.3318 or 808.936.6457 kaluulu@hawaii.rr.com Facebook.com/Friends-of-Amy-Greenwell- Ethnobotanical-Garden-761479683986161

Friends of Lili‘uokalani Gardens

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

Friends of NELHA

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

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

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

Hawai‘i Care Choices (Formerly Hospice of Hilo)

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

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

Hawai‘i Island Humane Society

Kona Shelter, Kailua-Kona

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

Community Kökua

Monday–Saturday, 9am–5pm Need volunteers 16 or older, parent/child team 6 or older. Contact Bebe Ackerman volunteer@hihs.org 808.217.0154 Hihs.org

Hawai‘i 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 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/

Volunteer Opportunities 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

Hui Kaloko-Honokohau

Kaloko Fishpond, Kailua-Kona Last Sunday of every month, 8am–noon Rehabilitating Kaloko Fishpond. Learn about Hawaiian culture and ecosystem. Volunteer with invasive species removal. Contact Ruth Aloua ruthaloua@gmail.com 808.785.0211

‘Imiloa Astronomy Center of Hawai‘i Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

Kahalu‘u Bay Education Center Kahalu‘u Beach, Kailua-Kona Daily 9:30am–4:30pm

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

ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

Seeking volunteers to create the Carousel of Aloha Pavilion. Contact Katherine Patton carouselofaloha@gmail.com 808.315.1093 CarouselOfAloha.org

Kohala Animal Relocation & Education Service (KARES)

Parrots in Paradise Sanctuary

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events. Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

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

Rainbow Friends Animal Sanctuary

Kailua-Kona Seeking volunteers for help with box office and ushering at our concerts. Contact John Week info@KonaChoralSociety.org 808.334.9880 KonaChoralSociety.org

Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork. Contact Mary Rose mail@rainbowfriends.org 808.982.5110 RainbowFriends.org

Ku‘ikahi Mediation Center

Snorkel Day for People with Disabilities

Lions Clubs International

Sundayʻs Child Foundation

Make-A-Wish Hawaii

The Pregnancy Center

Kona Choral Society

Hilo Ongoing Become a volunteer mediator via Basic Mediation Training and apprenticeship. info@hawaiimediation.org 808.935.7844 HawaiiMediation.org 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 Ongoing Granting wishes for children with life-threatening medical conditions. info@hawaii.wish.org 808.537.3118 Hawaii.Wish.org

Malama O Puna

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

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

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

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

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.

KeOlaMagazine.com | November-December 2018

Saturday 7am–1pm Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. Saturday 9am–noon Hōlualoa Gardens Farmers g Market 76-5901 Māmalahoa Hwy, Hōlualoa. Sunday 9am–2pm * Pure Kona Green Market g Kealakekua, Amy Greenwell Ethnobotanical Garden. Wednesday 8:30am–2:30pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast. Wednesday 9am–2pm Ho‘oulu Community Farmers g Market, Sheraton Kona Resort at Keauhou Bay.

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

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

North Saturday 8am–3pm * Hāwi Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans. Saturday 7:30am–1pm * Kamuela Farmers’ Market g 67-139 Pukalani Rd, Waimea. Saturday 7:30am–12:30pm Kūhiō Hale Farmers’ Market 64-756 Māmalahoa Hwy, Waimea. Saturday 8am–1pm Waimea Town Market g at Parker School, 65-1224 Lindsey Rd., Waimea. Saturday 7am–noon Waimea Homestead Farmers Market, 67-1229 Māmalahoa Hwy, Waimea. Tuesday 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, 67-139 Pukalani Rd in Waimea.

* EBT accepted • g Dog Friendly •

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

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.

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

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

Sunday 9am–1pm Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy 19.

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

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

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

Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors. Friday Friday 11am–5pm Saturday 7am–1pm Pana‘ewa Farmers Market 363 Railroad Ave, Hilo (across from Home Depot.)

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

Saturday 7am–noon * Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo.

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

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

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

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

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

Celebrating a Long Time Advertiser “We also give back to the community through our Aloha Grown Malama Honua fund that provides grant funds to local schools and organizations that promote sustainability through education and service. Through Malama Honua, two percent of all Aloha Grown products sales are set aside to give back to the community annually,” explains Camille. When asked what their biggest challenge is, Camille mentions that since the new Daniel K. Inouye (Saddle) Road was completed a few years ago, making cross-island travel quicker, vehicular traffic has drastically changed because it gives people the option to bypass Waimea and the northern side of the island. Fortunately, many people still enjoy traveling the scenic route, which doesn’t add a lot of time to the drive. Noting that Hawai‘i Island’s visitor industry continues to grow, with more visitors coming to experience all that it has to offer, Randy says, “I see Hawai‘i Island as the future of the State of Hawai‘i. Its diverse ecosystems, culture and traditions as well as the abundance of natural resources make us the prime destination for both visitors and people wanting to move to Hawai‘i.” Now more than ever, people who live here take pride in where they’re from and want to share that with others. Likewise, visitors seek out gifts and experiences that are authentic from the place they are visiting. This provides the staff at Parker Ranch Center great hope and promise. The Parker Ranch Store ‘ohana wants to mahalo the community for its support for the past 30 years and looks forward to the next “30 years of aloha, sharing Hawai‘i’s best.”

Parker Ranch Store at Parker Ranch Center 67-1185 Mamalahoa Hwy E126, Kamuela 808.885.5669 parkerranchstore.com

KeOlaMagazine.com | November-December 2018

Established in 1988, Parker Ranch Store is celebrating 30 years of being part of the Hawai‘i Island community. The store was originally established by Parker Ranch; however, in 2009 it was put up for sale as the ranch refocused on its core mission of land stewardship and cattle operations. Owner Randy Kurohara saw the tremendous opportunity that Parker Ranch Store had to support his vision of promoting his Aloha Grown brand and mission: support local, sustain the ‘āina (land), and share the aloha, so he acquired the store in 2010 during a down economy. The timing didn’t deter Randy’s tremendous faith in both the management and staff, who had already been running the store for years. It was also important to him to keep the ownership local and with a vested interest in Hawai‘i Island. Randy says, “Parker Ranch Store is more than just a clothing and gift store. It is a part of our Waimea community, connecting our community and visitors with the rich history of Parker Ranch and the paniolo [cowboy] lifestyle. It’s a cornerstone to the Waimea experience. Parker Ranch Store supports the vibrant culture of sustainability that resonates from the North Hawai‘i region, historic Waimea town and its rich ranching and farming history. We feature some of the best locally grown and made products; original and exclusive clothing and accessories that promote our sense of environment, our culture, and our farming and ranching lifestyle.” “We also saw the opportunity to help shape the future of Parker Ranch Store through new merchandising and branding efforts in addition to a more vertical integration with our other business, Creative Arts Hawaii,” says store manager Camille Kalahiki. Camille adds that Parker Ranch Store supports local products by offering merchandise from more than 50 different local businesses. Products range from soaps to coffee, clothing, art, lotions, cookies, and much more.

MARKET PLACE

ACCREDITED BUYERS REPRESENTATIVE

The Exclusive Hawaii

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BOOKKEEPING

KeOlaMagazine.com | November-December 2018

CONSTRUCTION

LAND SURVEYING

Located on a secluded 50-acre ocean view estate in Hakalau, The Exclusive Addiction Treatment Center is an internationally accredited holistic treatment center specializing in all types of addiction and co-occurring disorders. Co-founders Jean-Francois Benoist (J.F.) and Joyce MarvelBenoist started out as counselor and life coach, working with clients for many years as Self Empowerment Counselors. They found that clients and their partners repeatedly reported substance abuse as central in their relationship and depression challenges. The couple’s passion for helping people heal is palpable. After visiting and attempting to collaborate with more than 30 addiction treatment centers, it became clear that a new model was needed, so the Benoists developed the methodology of Experiential Engagement Therapy™ (EET), around which the therapy of The Exclusive Hawaii is based. Although they see 12-step groups as useful supports in the community, the Benoists call their program “non 12-step” because it is focused on the deep core beliefs and underlying issues that have motivated the person’s self-destructive habits. “The depth of therapy necessary to address the underlying pain is something that cannot be handled in any community group, such as AA, NA, or Smart Recovery,” states Joyce. “People working through these deep issues need to be in a profoundly safe setting, where they feel nurtured and supported by trained professionals to do the hardest emotional and mental work, often of their entire lives.” The eight-bed, 30-day residential program is unique in that it offers individual and group sessions throughout the day, six days a week, including individually customized services such as trauma-informed therapy, integrative medical treatment, acupuncture, massage, fitness, and nature and recreational therapies. So, why the name? “The Exclusive” was originally just that: exclusive individual and family programs, in the clients’ homes. Over time, the value of group process became evident to J.F., who has been the therapeutic director from the onset. From that realization, the residential program was born in 2012. With a desire to help people outside of their dual-diagnosis program as well, J.F. recently launched his new book, Addicted to the Monkey Mind: Change the Programming that Sabotages Your Life. The book is being exceptionally well-received in the genres of personal growth and addiction recovery, and by therapeutic professionals. “I’m so happy to get this work out to as many people as possible, because we see people truly healing and changing the future for their families,” says J.F. “I’m also incredibly proud of our team of professionals who deliver EET and our whole holistic team whose compassionate dedication never ceases to amaze me.” The Exclusive Hawaii 808.775.0200 TheExclusiveHawaii.com

'Imiloa Astronomy Center

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‘Imiloa Astronomy Center of Hawai‘i 600 ‘Imiloa Place, Hilo HI 96720 808.932.8901 imiloahawaii.org

REALTOR ®

VETERINARY SERVICES

WHOLISTIC HEALTH

KeOlaMagazine.com | November-December 2018

An iconic structure on Hawai‘i Island with an award-winning native plant landscape showcasing over 70 native species, ‘Imiloa Astronomy Center of Hawai‘i is a world-class informal science center that showcases the power of Hawai‘i’s cultural traditions, its legacy of exploration and the wonders of science that come together to provide inspiration for generations. It’s the place to go to learn about the lives of Hawaiian ancestors and appreciate the connection between Hawaiian culture and the world of science, from the stars and plants to the ocean that surrounds us. From the exquisitely designed titanium cone-shaped roofs to the only full dome planetarium on Hawai‘i Island, ‘Imiloa offers a unique experience for residents and visitors of all ages to experience the depth and magnitude of Hawai‘iʻs rich heritage of exploration. Being part of University of Hawai‘i at Hilo, next to Ka Haka ‘Ula o Ke‘elikōlani (College of Hawaiian Language) and a neighbor to six observatories’ base offices, ‘Imiloa is fortunate to be able to collaborate with professional astronomers, scientists and a cross section of educators to present interesting research findings to the community at large. The vision for creating ‘Imiloa began in 2001 with community interest to build a place where Hawaiian culture and modern astronomical research could come together. The doors first opened in 2006. Raised on Hawai‘i Island, Ka‘iu Kimura, ‘Imiloaʻs Executive Director says, “We take great pride in welcoming numerous school fieldtrips on a year-round basis. To date, more than 7,000 students—locally, nationally and internationally, from more than 200 schools—have visited ‘Imiloa, just this year!” Well known for their annual signature events such as the Merrie Monarch Cultural Enrichment week in the spring and Wayfinding Festival in the fall, ‘Imiloa also supports the usage of Hawaiian language. With an array of interactive exhibits, and a data visualization room called CyberCANOE, guests are able to immerse in the wonders of culture, science and technology unique to Hawai‘i. ‘Imiloa has a navigator-in-residence who served as a senior crewmember for the Polynesian Voyaging Society’s Hōkūle‘a Worldwide Voyage (2014–2017). They have developed an extensive array of wayfinding-themed activities that they present on and off site through their outreach programs. The facility is also ideal for those looking to host events, from corporate to social. Imagine having a wedding ceremony in the planetarium! ‘Imiloa has a membership program that offers discounts to daytime shows, retail store and the on-site restaurant, and also offers corporate membership programs.

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

Advertiser Index Accomodations Island Paradise Inn Kamuela Inn Kïlauea Lodge

Activities, Culture & Event

Aloha Theatre Big Island Skydiving Christmas in the Country at Volcano Art Center Christmas with the Chefs FairWind Big Island Ocean Guides Hula Kai Snorkeling Adventures ‘Imiloa Astronomy Center Jack's Diving Locker Kahi Ola Mau Chocolate Farm & Tastings Kamaÿaina Christmas Craft Fair Ke Ola Magazine's 10th Anniversay Concert Nä Mäkua Invitational Christmas Craft Fair Palace Theater Rainbow Friends Howling & Meowing Holidays Waimea Ocean Film Festival

Art, Crafts & Jewelry

KeOlaMagazine.com | November-December 2018

Akamai Art Supply Barbara Hanson Polymer Clay Artwork Barger Gallery 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 Kona Frame Shop Mountain Gold Jewelers Nalu Island Jewelry & Gifts One Gallery Pat Pearlman Designs Puna Gallery & Gift Emporium Simple Elegance Gems

Automotive

BMW of Hawaii Precision Auto Repair

56 44 78 34 42 32 22 61 60 24 40 64 15 66 34 38 88 45 82 74 6 23 74 74 67 74 74 25 74 14 65 62 38 74 56 54 20 75

Beauty, Health & Nutrition

CBD.Center 82 Colloidal Silver made on Hawai‘i Island 95 Dr. Ardolf & Associates, Naturopath 32 I Love Kigelia® Skin Care Serum 25 Keary Adamson, LMT 52 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.

Joan Greco, DDS, Oral & Maxillofacial Surgery 72 North Hawai‘i Community Hospital 6 Om Fitness and Training 84 Quantum Health Hawaii- Ionic Colloidal Silver Water 84 Quantum Health Hawaii- Zero Gravity Chair 44 Reiki Healing Arts 88

Building, Construction & Home Services

Colette's Custom Framing 23 dlb & Associates 94 Fireplace & Home Center 34 Hamakua Canvas Co, (Upholstery) 14 Hawaii Water Service Co. 82 Hawaii Electric Light Co. 54 HomeWorld 26 Indich Collection Hawaiian Rugs 13 Kona Frame Shop 14 Parasdise Plants 78 Polynesian Development, Inc. 94 Statements 90 Tai Lake Custom Furniture 33 Uncle Tilo's Water Catchment Services 57 Water Works 52 Yurts of Hawai‘i 18

Business & Professional Services Action Business Services Aloha Kona Kids Aloha Plus Storage & Packaging A.S.K. About Travel CU Hawaii Employment Experts Hawaii Community Federal Credit Union Hawai‘i Care Choices, fromery Hospice of Hilo

Education

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

Real Estate

Beverly Y. Crudele, RS, Clark Realty Clark Realty Coldwell Banker-Daylum Properties Derinda Thatcher's Team Sold Kelly Shaw, RS, Elite Pacific Properties Kimi White, RB, Rainbow Properties Kona Coast Realty Corp. Kuwili Lani Lava Rock Realty

94 48 89 67 23 55 35 62 84 95 76 95 16 84 64 100 89 51 3 70

McCourt Realty, Ltd. Paradise Found Realty Parks Realty LLC Rebecca K. Collection Savio Realty- Pahoa Team Nakanishi

27 94 52 2 57 32

Restaurants & Food

Ahualoa Farms 48 Black Rock Café 57 Boogie Woogie Pizza 57 Daylight Mind Coffee House, Café & Bakery 50 Hawai‘i Food Basket 75 International Grindz 57 Island Naturals Market & Deli - Pahoa 57 Kailua Candy Company 65 Kaleo's 56 Kohala Grown Market 42 Lava Shack 57 Lucy's Taqueria 38 Nicoco 56 Paolo's Bistro 57 Päpa‘aloa Country Store & Cafe 45 Peaberry & Galette 19 Standard Bakery 73 Sugai Kona Coffee 74 Sushi Rock & Trio 42 WikiFresh 33

Retail & Gifts

Addicted to the Monkey Mind, a self-help book Ahualoa Farms All Kine Aloha Aloha Gift Box Subscriptions Aloha Grown Basically Books Hawaii's Gift Baskets Hawaii Cigar & Ukulele Island Clutter Consignment Shoppe Jungle Love Kadota Liquor Keauhou Shopping Center Kiernan Music Kings' Shops Kona Commons Shopping Center Mana Cards Pahoa Used Books & Movies Päpa‘aloa Country Store & Cafe Paradise Found Boutique Parker Ranch Store Puna Kamali‘i Flowers Queens' MarketPlace Shops at Mauna Lani

91 48 56 49 53 14 89 42 72 56 26 28 73 80 97 78 56 45 73 53 15 99 8

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

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