July-August 2019

Hawai‘i Island’s Community Magazine The Life |

ARTS CULTURE SUSTAINABILITY

July – August Iulai – ÿAukake

2019

A Dream of the Heart: Jane and Linus Chao Perpetuating Traditions, Creating Cultural Practice Preserving Natural Resources by Protecting Native Forests

Front cover: Waikamoi lobelia, a painting by Melissa Chimera.

Table of contents: Mountain Apple Buds & Blooms, a photo by Georgia Michalicek.

Read more about the artists on page 81.

The Life

Hawaiÿi Island’s Community Magazine July – August | Iulai – ÿAukake 2019

Arts

A Dream of the Heart

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Tiana Malone Jennings

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Island Artists Jane and Linus Chao

By Jan Wizinowich

By Mālielani Larish

Community

American Association of University Women

41

Honoka‘a High & Intermediate School Celebrates 130 Years

30

Kea‘au, A Point in Time

73

Empowering Women and Girls to Reach Their Highest Potential

By Karen Rose

By Catherine Tarleton

Compiled by Peter T. Young and Barbara Garcia

Culture

Keeping up with Kapa

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To Seek Far

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Perpetuating Tradition, Creating Cultural Practice

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By Ma‘ata Tukuafu

‘Imiloa Astronomy Center Reaches Out to Students of All Ages

By Stefan Verbano

By Marcia Timboy

Sustainability

Preserving Natural Resources by Protecting Native Forests 10

By Sara Stover

A Lifetime in the Trees 47 The Vision of Skye Peterson, Treehouse Aficionado

By Lara Hughes

Invasive or Essential

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Hawaiian Island Land Trust

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Hilo’s History Through the Banyan Trees

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A Rare Moth Depends on a Roadside Weed

By Rachel Laderman A Legacy of Land

By Brittany P. Anderson

By Denise Laitinen

Farm Tour & Chocolate Tasting!

The Life

Hawaiÿi Island’s Community Magazine July – August | Iulai – ÿAukake 2019

Ka Wehena: The Opening

Ahupua‘a o Kealakehē, Eia ku‘u ‘īke

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By Kumu Keala Ching

Business

Managing with Aloha

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Ka lā hiki ola says, “Soar!”

By Rosa Say

Island Treasures One Gallery

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Talk Story With An Advertiser

89 90 91

Akamai Art Supply Kilauea Lodge & Restaurant Team Nakanishi

Local Food

The Sweetest Mistake

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With Recipe for Pains de Macadamia

By Brittany P. Anderson

Kela Me Keia: This & That

Crossword Puzzle Hawai‘i Island Happenings Community Kōkua Farmers Markets Advertiser Index

Ka Puana: Closing Thoughts KeOlaMagazine.com | July-August 2019

405: Hahai no ka ua i ka ululā‘au.

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

Look for Hawaiÿi Island Weddings, Honeymoons, and Special Occasions Islandwide!

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From Our Publisher many years and have recently moved on to other projects.

Gayle will still be writing for Ke Ola when time permits, and we look forward to her contributions. I’m so grateful for her assistance and support while with us as general manager for the past several years. Eric had been with the magazine since before it started. He was my original sounding board and supported the magazine in so many ways. Even though he’s a biologist by profession, he volunteered as our bookkeeper in the early years, until we could afford to pay ourselves. Ke Ola Magazine would not be where it is today without both of these wonderful people and I wish them both the best with their new endeavors.

We’re excited to announce our new full-time business development manager, Marlene Zeiser. Marlene is a graduate of Hilo High and University of Hawai‘i at Hilo. She taught English in Korea for 10 years and recently moved back home.

She is excited to represent Ke Ola Magazine and we are just as excited to welcome her to our ‘ohana. Marlene is out and about the island, talking to business owners and managers about how Ke Ola can help them grow their businesses. If you are interested in meeting with Marlene, give her a call at 808.329.1711 x 5.

Have a great summer!

Aloha nui, Barbara Garcia

Corrections Saving ‘Oha Wai [May/June 2019] Julia Meurice was inadvertently credited as the author of the Saving ‘Oha Wai story. Instead, it was written by Rachel Laderman.

Kalo Farming on Hawai‘i Island [March/April 2019] A few corrections or additions: All varieties of Hawaiian taro are grown in lo‘i: wetland, upland, and dryland. These varieties are cultivated in lo‘i. They are useable for poi and kulolo. Chinese taro (Bun-long) and Japanese taro (Dasheen) are grown dryland, are NOT cultivated in lo‘i and are not suitable for poi. I grow four Hawaiian taro, one Chinese, one Japanese, and grind homemade poi.

Mike Chun, via email

MAHALO TO OUR STORY SPONSORS Ahualoa Farms – Local Agriculture

Employment Experts – Business

Clark Realty Corp. – Home/Building

Kings’ Shops – Culture

KeOlaMagazine.com | July-August 2019

I’m gazing out the window at a prolific number of native ti plants, and across the road is a gigantic albizia, which, while highly invasive and shallow-rooted, is still a beautiful tree. I’m reminded that all living things have a beauty of their own, whether they belong here or not.

This issue is all about conservation. Some stories cover conserving cultural arts such as kapa making, ha‘akoa dancing, music, and celestial navigation. Other stories are about the importance of conserving our geographical landmarks, the island’s history, and maybe, most importantly, conserving our agricultural lands and the ecosystems critical to the survival of all of us on this island. Even a rare moth deserves conservation. It is exciting to read that so many people are on board to help protect our island’s resources—from fine artists to businessmen, from musicians to university alumni, and even a builder who crafts tree houses.

Quoting the proverb from ‘Ōlelo No‘eau in this issueʻs Ka Puana (Closing Thoughts): “Hahai no ka ua i ka ululā‘au. Rains always follow the forest. The rains are attracted to forest trees. Knowing this, Hawaiians hewed only the trees that were needed.” The root culture intuitively understood (and still understands) that there is a delicate balance, and that one should only take as much as is needed at any given time.

We see that happening with maile now, which in the past was widely used for ceremonial lei. However, with the loss of many maile farms due to the 2018 lava flow, people are choosing to make lei from ti rather than maile until there is an abundance of maile again. The rest of us malihini (newcomers) can gain so much wisdom from the kama‘āina (natives of the land).

Conserving relationships is also important. We are on this island together, interdependent on one another, whether we want it this way or not. If our food or other supplies— or our cars—weren’t available, we’d need to rely on our neighbors, each of us helping the other, sharing food and other commodities. How many of us know our neighbors?

Have we created back-up plans if the ships get extensively delayed for some reason? Maybe summertime is a good time to walk around our neighborhoods and introduce ourselves, so that if (or when) something like this happens, we are already acquainted.

Speaking of conserving relationships, I was remiss in acknowledging Gayle Greco and Eric Bowman in my last letter. They have both been integral to Ke Ola Magazine for

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_ Ahupua‘a o Kealakehe

Ka Wehena

Na Kumu Keala Ching

I uka (o) Hualālai, Ahu ā ‘Umi I Keala o ka hē, hele i Ālula Ālula Kai ‘Ōpua, malu ku‘u ‘āina ‘Āina kamaha‘o kō Kona i ka la‘i E aloha E aloha E aloha ē

Upward upon Hualālai, ‘Umiʻs temple Distinguish path of spirit, journeys to Ālula ‘Ōpua clouds at sea, covers my land An amazing peaceful land of Kona Truly honored Truly cherished Truly enlightened

Ua haku ‘ia kēia mau mele i mea i kāko‘o ho‘i i nā haumāna kō ke kula ki‘eki‘e o Kealakehē. Me ka hui, Keep it flowing, a me ke kula ki‘eki‘e o Kealakehē, koho ‘ia kēia Ahupua‘a o Kealakehē ma Kona ‘Ākau e lākou. No laila, eia kahi mo‘o‘ōlelo kupainaha pili i kēia Ahupua‘a pono‘ī. Ua maopōpō pono i nā haumāna ka mana‘o pono‘ī o ia Ahupua‘a. Me ke aloha nō kō ke kula ki‘eki‘e o Kealakehē pilina i ke kaiaulu nō!

These songs were composed to support the students of Kealakehē High School. Keep it flowing, and Kealakehē High School selected to understand the land district of Kealakehē of North Kona. So, here is an amazing story shared about this land district of Kealakehē.

Amazing that these students gained a better understanding of the righteous thoughts of Kealakehē. With love and support, Kealakehē High School, for its community—Kealakehē!

Eia ku‘u ‘ike Na Kumu Keala Ching

Eia ku‘u ‘ike O ka Ahupua‘a Hikina, Komohana ‘Ākau, Hema I uka ā i kai ‘Ākau, Hema Eia ku‘u ‘ike O ka Ahupua‘a ‘O Kealakehē ‘O Kealakehē ‘O Keala o ka hē Eō

I am responsible for my own knowledge Of a land district from mountain to sea Eastern shores until the Western shores Northern districts until the Southern districts Uplands (mountain) to lower lands (sea) North district and South district I am responsible for my own knowledge Of a land district from mountain to sea Pathway of the ancestors Pathway of the enlightened ones Pathway of the spirits Rejoice

Aia ka ‘ike kō ke kino pili ka ‘ike kō nā kūkulu ‘ehā. Knowledge relevance of the body and the four cardinal points—effective with the exploration of understanding Ahupua‘a—land district from Mountain to Sea and the North and South boundary. (Ka was selected for Ahupua‘a because of the relevant sound of the chant.)

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

Preserving Natural Resources by Protecting Native Forests

By Sara Stover

KeOlaMagazine.com | July-August 2019

W

hen Maunaloa erupted in 1926, it was impossible to stop the lava from destroying much of the forest found within what is the modern-day Kona Hema Preserve.

Stopping bulldozers and building plans from taking their toll on the forest, however, is not only possible, it’s integral to preserving Hawai‘i Island’s natural resources. No one was more aware of this than the late Dr. Charman J. Akina.

The Doctor that Intervened A Hawaiian physician, Dr. Akina spent the better part of his professional career specializing in internal medicine on O‘ahu. After retirement, Dr. Akina lived in Honolulu, and also spent time at his home on Hawai‘i Island. It was here that his interest in the native forest truly took root. It was the early 70s, and two South Kona parcels were being subdivided for sale.

“I went down there and found these properties that had beautiful trees on them, along with young forest. When I 10 found out they would be sold for development, I stepped in

Dr. Charman Akina’s donations led to the restoration and preservation of critical native forests. photo courtesy of The Nature Conservancy

Hawaiÿi’s largest koa tree can be found at the Kona Hema Preserve. photo courtesy of Alvis Upitisphoto

KeOlaMagazine.com | July-August 2019

and bought them,” he told The Nature Conservancy (TNC). “I wanted to save them from the bulldozer.”

Dr. Akina’s purpose for the land purchase was to protect it from development, and eventually to donate it to TNC. It was an intervention that led to a beneficial expansion of TNC’s Kona Hema Preserve.

Since 1999, TNC has been working with the region’s landowners to acquire neighboring forest, expand the Hawai‘i Island preserve, and assure the protection of Kona’s native forests. The preserve now consists of three adjoining forest parcels in South Kona purchased between 1999 and 2003 at Honomalino, Kapu‘a, and Pāpā.

In 2014, the doctor donated a 37-acre parcel of his purchased property known as “the Akina 37” to TNC. Prior to that donation, TNC had acquired more than 4,000 acres next door at Honomalino. In late December 2018, Dr. Akina gave TNC a 135-acre parcel located just below its 8,081-acre Kona Hema Preserve and the state’s South Kona Forest Reserve, which included the section impacted by Maunaloa’s 1926 lava flow.

In early January 2019, only a few weeks after making the most recent of his donations, Dr. Akina passed away at 85 years old, knowing that the forest was now safe in the hands of TNC—more specifically, in the hands of Mel Johansen.

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KeOlaMagazine.com | July-August 2019

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The tallest Hawaiian fan palm, the loulu is now thriving at the preserve. photo by Sara Stover The Keepers of Kona Hema Mel manages the Kona Hema Preserve for TNC with the help of field crewman Lester Gebin, dedicated volunteers, partners from the Plant Extinction Prevention Program (PEPP), and others who understand the important role the donated parcels play in the habitats of native wildlife and plants. When Mel was hired in 2000, he found the forest in a

compromised state from more than 100 years of grazing, harvesting, and invasive plant growth. To make matters worse, the property was overrun by mouflon sheep, pigs, and goats.

To restore the preserve, Mel launched a monumental initiative to fence in the entire property and remove the feral animals. The endeavor took over a decade, and more than 1,000 pigs were eventually removed.

“What I love most is seeing the changes that have taken place as the result of our work,” says Mel. “Watching the forest recover because it now has a chance is very satisfying.”

As a keeper of the preserve, Mel knows that threats to the forest don’t take a break for holidays. On Christmas Day 2010, Mel was driving to Waimea when he received word that a fire broke out on the preserve. He and his field crew fought the fire for 10 hours, extinguishing it by cutting a firebreak. Unfortunately, the blaze had reignited by the next morning, so naturally Mel, Lester, and others returned with a bulldozer, this time successfully containing the fire.

In 2012, a fire cam was installed in Hawai‘i Volcanoes National Park to detect forest fires, freeing Mel up to pour his energy into managing the preserve’s 8,089 acres.

The Defenders of Native Plants and Wildlife For more than a century, logging, and agricultural and urban development have caused excessive disruption and loss of resources to forest habitat. Fortunately, the Kona Hema Preserve offers shelter to biological resources that are crucial to native plants and wildlife.

Most days, Mel and Lester can be found working on the preserve in the glow of the morning sun and the dampness of the afternoon clouds. They are often joined by volunteers

Louise Hanna and Bob Kraus, and PEPP botanists Reid Loo and Josh Vandemark, who collect rare plants from places in the preserve where various threats are inhibiting their regeneration.

Some of the best defenders of Kona’s native animals and plants are actually animals themselves! Mel often relies on his team of trained dogs, Tank and Pili, who follow the scent of the pigs, sniffing out any intruders that could threaten native trees.

The Pāpā parcel contains indigenous tree fern, koa, and other trees that provide habitat for native forest birds like the ‘amakihi, ‘apapane, ‘elepaio, and ‘i‘iwi. The land offers a potential habitat for the restoration of the ‘alalā (Hawaiian crow), ‘alawī (Hawai‘i creeper), and other endangered birds that occupied the area until the 70s. Historically, the rare mēhamehame tree was found on Dr. Akina’s original 135-acre parcel. Today, the ‘iliahi, māmane, pāwale, and other native plants and ferns can be found along the 1926 lava flow edges.

The parcel is also part of a limited habitat range for the loulu, the tallest Hawaiian fan palm. Once nearly extinct, the loulu is now thriving at the preserve.

Kamehameha butterflies and lacewings have been reported on the property, while the ‘io (Hawaiian hawk) and endangered ‘ope‘ape‘a (Hawaiian hoary bat) have been reported on the Pāpā parcel.

The Advocates of the Native Forest With such biodiversity present in the preserve, measures must be taken to guard the forest against hoofed animals that can disturb native plants, degrading indigenous forest by uprooting understory plants. Pigs are especially destructive, scattering seeds of invasive plants and creating wallows that

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Mel manages the Kona Hema Preserve with the help of partners from the Plant Extinction Prevention Program (PEPP). photo by Sara Stover attract breeding mosquitoes. Feral animals are also known to dig at the ‘ōhi‘a bark and roots, creating wounds through which Rapid ‘Ōhi‘a Death (ROD) fungus spores can penetrate, but fences effectively keep these animals at bay.

Through volunteer days that Mel leads, fences are built and replaced to keep the pigs from returning and protect critically endangered plants within. Volunteer days give individuals the chance to become forest advocates. They may just see Hawai‘i’s largest koa tree in the process! Found at the preserve, the koa stands 115 feet high.

Forest trees like the emergent koa are essential for ongoing access to fresh water, and are critical to Hawai‘i’s watersheds.

These sources of clean drinking water are dependent on a process known as the water cycle—a symbiotic relationship between the atmosphere, ocean, and land that is necessary for replenishing the island’s water supply.

The delicate water cycle is dependent on tall trees like the koa, which are the first to intercept heavy rainfall. The koa leaves absorb moisture from clouds, which then runs down leaves and branches to the plants below. By sheltering native

Mel’s team of experts and volunteers help him replace fence to keep pigs out of the preserve and protect endangered plants within. photo by Sara Stover

KeOlaMagazine.com | July-August 2019

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Mel explains that the fuschia plant found on the preserve is not an indigenous plant, but it is not an invasive species either, so the plant has not been removed. photo by Sara Stover forest, the preserve encourages koa growth, contributing to a healthy water cycle.

Although hoofed animals and fire remain potential threats to South Kona’s fragile habitat, native plants and animals are beginning to dominate certain areas once again. The forest is showing signs of health, and the potential for further forest restoration is strong.

Native forest restoration is as crucial to the preservation of Hawai‘i’s culture as it is to the environment. Koa bears much cultural significance, as early Hawaiians used the wood to build ‘ukulele, canoes, and surfboards. In Hawaiian culture, hula dancers used blossoms from the ‘ōhi‘a lehua for lei; however, in efforts to reduce the spread of ROD, hula schools have forsaken this custom since 2016.

Although the koa and ‘ōhi‘a forests have been affected by grazing, harvesting, and disease, the preserve has reforestation potential. It is this potential that drives efforts to maintain the integrity of fences.

Once a poorly protected resource, the future is looking brighter for the forest and wildlife that are part of Kona’s native biodiversity. By researching the opportunity for sustainable forestry in the region, TNC hopes to further restore the Kona Hema Preserve’s native forests.

“Dr. Akina was a great man of Hawai‘i who inspired all of us to preserve and protect our native forest. When he spoke, everyone stayed silent and listened, knowing that his knowledge was gathered over a lifetime here,” recalls Mel. “His land donation will allow us to perpetuate his intent to ‘save the forest from the bulldozers’ and perhaps even bring back some of the trees that once flourished at this elevation, like the mēhamehame and māmane that are so essential to native birds.”

Dr. Akina left behind a legacy, and the forest he found so beautiful can now be restored and preserved for generations to come thanks to the care of Mel and his team of volunteers, crew, and a few four-legged hunters. ■

For more information: nature.org/hawaii

Resources: Timmons, Grady. “TNC Receives Gift of Land on Hawai‘i Island.” TNC Newsroom, February 27, 2019 DLNR’s Statewide Forestry Information. “Hawai‘i Big Tree Program.” hawaii.gov, Forestry Programs Wight, Evelyn. Associate Director of Communications at the Nature Conservancy of Hawaii

Keeping up with Kapa

By Ma‘ata Tukuafu

P

re-contact Hawaiian kapa was some of the most exquisitely made barkcloth in the entire world. After contact, cotton muslin and other fabrics were introduced to the Hawaiian Islands by settlers, and the intricate art of kapa making was extinguished for more than 100 years. Although other island nations like Tonga, Samoa, and Fiji never stopped creating kapa (known to them respectively as tapa, siapo, and ngatu) their methods varied widely with their cultures, and the Hawaiian kapa making techniques were forgotten.

During the Hawaiian Renaissance of the 1960s, many of the lost arts were brought back by people who knew there could be deeper connections with the ‘āina and its culture again. In the realm of the kapa resurgence, young students at the time, like Puanani Van Dorpe, Malia Solomon, and Marie McDonald, were eager to learn what their ancestors had known.

In 1978, Jani K. Puakea Fisher was born in Kahuku, O‘ahu to Rebecca, a woodworker, and Jan Fisher, an art professor at Brigham Young University-Hawaii for more than 20 years.

Her father was known for his great public monuments and

Hawaiian artwork on almost every island. At eight years of age, Puakea was attending Ka‘a‘awa Elementary School—her kumu (teacher) was Aunty Kawai Aona-Ueoka. Aunty Kawai went to every class and announced that 1987 had been named Year of the Hawaiian, and anyone who wanted to, could participate in the closing hula, to be held in January 1988 at Aloha Stadium.

“I remember electricity coursing through my little body when I heard her invitation. Not only did I always adore dancing, but from a young age, I would hear my father speak of the Hawaiian gods and goddesses,” Puakea says. “I thought of Aunty Kawai as my hero queen with her Pele-like hair and beautiful singing. Basically I wanted to do anything she asked of me, and I thought hula was my life’s purpose, I was so ready.”

Puakea, who currently lives in Ninole, remembers the event as almost a dream. There are few references to the ’88 Ho‘olakahi hula event, although 60,000 people from every island attended or participated in it. An internet search produced a blurry video from which Puakea was able to

Puakea’s ÿohe kapala (bamboo printer) study of designs, printed on paper to see how the negative space is created, which is done before printing on kapa. photo courtesy of Puakea Fisher

retrieve a still that shows what she describes as her “little ‘ehu [red] head captured among the huge group of students dancing.”

This memory has had a huge impact on her, as well as her Kumu Aunty Kawai, who nurtured her love of making kapa.

As haumana (students) of Aunty Kawai, Puakea says they would go to her home and learn to plant, harvest and process the wauke (paper mulberry) in her yard. The process had been forgotten, so cultural archaeologists like Aunty Kawai used what examples they had from their Polynesian cousins, in books, many pule (prayers), and a great deal of experimentation.

Puakea remembers being excited as a keiki (child), gently cradling the wauke shoots, and her kumu teaching them “these are our brothers, and we are to mālama [care] for them.”

Puakea says every moment with Aunty Kawai was about “communion with the natural world around us—singing, praising, asking questions and listening…as if all were good kine friends, from growing ipu [gourds], venturing into the forest and gathering bamboo for pū‘ili [rattles], kukui root bark for dye, or fern for lei po‘o [head piece].” She recalls that Aunty Kawai had one kapa wooden beater that had a pattern of maka ‘upena pūpū (fishnets with dots), and she fell in love with it. Later, as an adult, Puakea found that this Kaua‘i design is particularly helpful when embossed into the fabric for wearable kapa like the kihei (wrap) and malo (loincloth) as it gives greater movement and flexibility. These were the seeds that nurtured her love of making kapa and the grounding that hula provided her.

Time passed, Puakea moved away from the islands in her adult years, and lived in the Pacific Northwest to be near her Top left: Mr. Aron Michelson's science class at Laupahoehoe Middle School participates in kuku kapa (beating the kapa). photo courtesy of Jennifer Rose Middle left: Laupahoehoe Elementary School students in Jenny Bee’s garden class prepare the land the plant wauke. photo courtesy of Puakea Fisher Bottom left: Laulima’s corporate event at the Mauna Lani Resort.

KeOlaMagazine.com | July-August 2019

photo courtesy of Lilikoi Yod

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Kapa hui at the Hawaiian Cultural Center of Hämäkua to beat wauke. The women are at different stages of the beating process. photo courtesy of Puakea Fisher grandmother who was a known master gardener, quilter, and wool dyer. Her love of dance and textiles translated into folk and classical dances of the Middle East, dyeing silk veils, burial shrouds, and making costumes for her dancers.

“I danced because it was the purest form of expressing prayer and gratitude that I knew of. I taught dance for 11 years at a community college, and it was a feminine healing, but the dance wasn’t representing the land we were on,” says Puakea. “Over here, the dance is about the physical realm: flowers, water, fish, sun…whose hidden messages were to be interpreted by those aware of their energy and force. Many of the Middle Eastern dances are made for the stage—more surreal, and emotive. Unfortunately, I didn’t have that connection to the fabric from who-knows-where?

Or the chemical dyes made with who-knows-what? Also, I knew second to oil, the clothing and textile industry is the largest polluter in the world. So when you don’t feel the connection in the deepest recesses of your na‘au [the gut], you try to manufacture it. Deep in my core I knew there was something not quite right about it.”

Her brother suggested she move to Hawai‘i Island. She arrived in early 2015. Obsessed with kapa even during the years she was away, Puakea immediately searched out Roen Hufford and found her at the Saturday farmers’ market in Waimea. Roen, along with her mother Marie McDonald and 29 other kapa makers, had outfitted an entire hālau with kapa for the 2011 Merrie Monarch. Roen invited Puakea to her home and led her to the wauke patch that was planted in 1978 by her mother.

For Puakea, this was full circle, bringing her back to the art she loved since she was a keiki. Roen agreed to teach her, and said the only way to make kapa is by first making your

own kapa tools. This immediately led Puakea and her partner Nathan, an arborist, to begin learning how to fashion their own shell scrapers, kapa beaters, anvils, and the delicately carved bamboo stamps. Puakea says it was Roen who helped

In ancient times, the entire village worked together to make kapa. The men cared for and harvested the wauke trees. They made the tools and implements used in the process, which included: · Niho ‘oki (shark teeth knife) used to slice the bark of the wauke · Wa‘u (shell scraper) used to scrape the outer bark · Kua kuku (wood anvils) and kua pōhaku (stone anvils) used in the beating process · I‘e kuku (preliminary wood beater) · Kuku (second-stage beaters, squared in style) · I‘e kuku ho‘ōki (beaters with carved surfaces on all four sides) forms watermarks on the kapa during final beating The women created the kapa produced for (but not limited to): · Clothing: pā‘ū (skirt for females) and malo (loincloth for males), and kīkepa (wrap) · Bedding sheets called kapa moe; ivory or bone needles were used to sew the kapa sheets together · Adornments · Gifts presented at special occasions and chiefly events · Religious and ceremonial use · Sandals (some were made with partly beaten wauke) · Burial sheets (usually a black color) Other components in the dyeing and decorating process include: · Plant dyes: ‘ākala (pink), kōlea (red), black, kukui (redblack), noni (yellow), ‘uki‘uki (plate blue), kou (red), roasted and ground kukui nuts (black–charcoal) · Painting: using a hala brush from the lauhala tree · Cord snapping: dipping a cord in dye and snapping it over white tapa · Kāpala (printing): using ‘ohe kāpala (bamboo printers)—strips of bamboo whose inner soft bark is carved, either with straight lines (kapa liners) or other geometrical shapes (kapa stamps). · Scented kapa: using plants between the sheets of kapa, a sweet scent from mokihana, maile, ‘iliahi (powdered sandalwood), ‘awapuhi, kamani, laua‘e KeOlaMagazine.com | July-August 2019

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mold them into “those people” who make kapa tools. She reconnected with Aunty Kawai, and immersed herself in all things kapa in order to be as true to the art as she could.

Puakea feels tremendously blessed to learn from Kumu Roen: her unending wealth of plant knowledge, her playful exploration with kapa making methods and plant dyes, using various techniques like rubbing, steaming, and mixing with oils to create the native Hawaiian colors used on kapa. Kumu Roen allows her haumana the creative freedom to find out for themselves what works and what doesnʻt. Puakea still tends Roen’s wauke patch with her haumana and cultivates her own wauke patches on the Hāmākua Coast.

She is in her second year of Hawaiian language classes, as knowing the language helps with the kapa process. This has led her to co-author a kapa making children’s book in both Hawaiian and English. Puakea also contacted O‘ahu-based Dalani Tanahy, another passionate and renowned kumu kapa (whose first kumu kapa was Aunty Kawai, as well). Puakea and Dalani are currently collaborating on curriculum for higher education.

“In Dalani’s living room were several paintings that looked like my fathers work! Come to find out, they were her Grandma Enosʻs as she had taken art classes from my dad, Jan,” says Puakea.

She says Dalani has taught her how to create the softer type of kapa fabric. From a large collection of 800 kapa-making words in a master’s thesis by Benton Keali‘i, Puakea says this incredible resource is ordered alphabetically which makes it challenging for kapa makers to utilize; they are creating a working list categorizing names for types of kapa from design work on tools, as well as the nuances of what certain words may refer to.

Puakea believes sharing with people to make something that is 100 percent of the land. She says, “It reminds them that if I care for this land, I am from this land, then I must be beautiful, I must belong, therefore, like the plants, water and sky, I too am sacred. For our keiki and their kumu this is especially important to instill; deepening their pilina [sense of place] and showing them that not everything they use or create with, needs to be brought here on Matson containers or purchased from Amazon Prime.” This is why, Roen, Dalani, Puakea, and other kumu kapa make the time to teach this cultural practice, and how it instills the truest sense of pride The beautiful thing about living in today’s world is that both kāne and wāhine may shift from one component of kapa making to the other. Puakea is a teacher of kapa but insists that she is not a kumu—that she is here to share her kapa aloha and to walk side by side with the people she teaches.

She has brought the ancient to the contemporary by creating beautiful high-end women’s leather handbags, dress shirts, mu‘u mu‘u, belts, and jewelry by attaching kapa as the primary ornamentation. She holds classes and workshops as well as retreats for anyone interested in learning to make implements, plant pigments and kapa. By bringing back this beautiful and functional art form, Puakea, the other kumu kapa, and the pioneers before them have succeeded in connecting themselves and everyone involved to the ‘āina, the ancestors and to themselves. ■ For more information: kapaalohaaina.com Ka Hana Kapa, Merrie Monarch performance: https://vimeo. com/300473799

To Seek Far ‘Imiloa Astronomy Center Reaches Out to Students of All Ages

By Stefan Verbano

Educational Programs Coordinator Punawai Rice leads a Science On A Sphere (SOS) presentation for ÿEleÿele Elementary School fourth graders from Kauaÿi Island inside ÿImiloa Astronomy Center’s exhibit hall. Using computer-generated images and video projectors, the six-foot-diameter spherical screen is populated with visual data including earthquakes, passenger aircraft routes, sea surface currents and temperatures, climate change time-lapses, and sea ice concentrations. photo by Stefan Verbano

“

S

o, what’s one way we can tell the age of a volcano?” Punawai Rice asks the audience of fourth graders seated before him. No hands shoot up. “Well think about this: how can we tell one volcano is older than another?” More fidgets and befuddled looks.

Punawai negotiates the video game controller in his hands, and three interlinked flatscreen televisions behind him are set ablur with color and movement as the aerial view of a 3D-rendered Hawai‘i Island and its five volcanoes—

Maunakea, Maunaloa, Kīlauea, Hualālai, and Kohala—becomes superimposed with name markers. Using the controls, he soars north across the island, zooming in on the million-yearold Kohala Mountain and the long, skinny notches cut out of its eastern flank: Hāmākua Coast’s seven majestic valleys, including Waipi‘o, Waimanu, and Pololū.

“How do we know Uncle Punawai is older than all of you?” the guide starts a hint, hovering the controller over the valleys.

A kid in the back row pipes up: “No hair!” “Yes, thankfully I’ve

ÿImiloa’s exhibit hall contains a number of exhibits teaching about astronomy, astrophysics, space exploration, traditional Polynesian navigation, and Hawaiian culture. photo by Stefan Verbano

still got all my hair,” he jests, rubbing his scalp with a smirk, and the group bursts into giggles.

“How else do we know I’m older?” he eggs them on, setting the controller down and lifting both of his open palms up to his head, running fingertips across his face, drawing imaginary lines. “Wrinkles!” some of the kids yell excitedly. They’ve got it now. “That’s right!” he hollers back, motioning toward the interlinked screens behind him. “These are wrinkles made over

many, many, many years.”

The picture zooms in on the sharply detailed model (think Google Maps times a hundred) until Waipi‘o Valley’s deep, tapering profile takes up all three screens. Then the perspective morphs again, sinking from a bird’s-eye view down into a side-profile of the valley, as if the viewer were now peering over the railing of a tour boat anchored just offshore of where Wailoa Stream meets the ocean.

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“What can carve out rock like that?” Punawai asks the students, climbing up the valley now with his joysticks, panning side to side to show the sculpted green cliffs of eroded rock. “A pickaxe?” another would-be interloper in the back suggests. The group giggles harder this time. A girl raises her hand. “Erosion?” she offers, more confidently. “Yes, but what causes the erosion?” he drives the point home at last. In an instant faces light up, and the whole group howls out together: “Water!”

These students from ‘Ele‘ele Elementary School on Kaua‘i are sitting in ‘Imiloa Astronomy Center’s CyberCANOE—a miniature theater set back from the center’s 12,000 square foot exhibit hall—where instructors like Punawai manipulate data visualizations on the split screens and seemingly transport CANOE passengers inside, above and beyond Hawai‘i Island, to exotic, far-flung places in Polynesia, other continents on Earth, and even out into deep space.

CANOE stands for Collaborative, Analytics, Navigation and Observation Equipment, which uses data from research findings conducted within the University of Hawai‘i community and in various scientific industries to create visualizations depicting everything from coral reefs to volcanoes, river systems to solar systems. It’s just one of the many high-tech, world-class interactive learning tools found at the nine-acre ‘Imiloa Astronomy Center campus, located in the University of Hawai‘i at Hilo’s Science and Technology Park. In Hawaiian, ‘Imiloa means “to seek far,” and is used to refer to both “explore” and “explorer.”

The $26 million center opened its doors in early 2006.

It’s the brainchild of a team of educators, scientists, and community leaders who saw the need for a comprehensive educational facility attached to the university to help enlighten the public about how traditional Hawaiian culture, Polynesian open ocean navigation, and space exploration research being done atop Maunakea all intersect. In addition to the exhibits, ‘Imiloa has a 120-seat planetarium featuring a full dome video projection system offering K–12 field-trippers, freshman astronomy students, and everyone else a chance to recline and take a guided tour of the cosmos.

Roughly 100,000 visitors every year, including 10,000 primary and secondary school students, walk across artist Clayton Bryant Young’s giant glass tile mosaic installation, entitled Voyage of the Navigator, found just inside ‘Imiloa’s front doors. Some are held spellbound for a moment staring

photo by Stefan Verbano

KeOlaMagazine.com | July-August 2019

ÿImiloa’s exhibit hall contains a number of exhibits teaching about astronomy, astrophysics, space exploration, traditional Polynesian navigation, and Hawaiian culture.

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at the floor, at a scene of churning ocean, charging canoe, shining moon, steaming snow-topped mountain and, up in the night sky, a twinkling group of stars known to Polynesians as Mānaiakalani—Maui’s Fishhook. In ancient Greece, early sky watchers didn’t see a fishhook and line, but instead the pincers, body and tail of a scorpion, opting to name the same constellation Scorpio.

Yu Yok Pearring, ‘Imiloa’s director of marketing, sees the center as invaluable in giving students interested in scientific disciplines concrete, practical demonstrations of what they’re learning in textbooks: exhibits they can touch, manipulate and investigate for themselves.

“The biggest service to the schools is helping to augment what the teacher is already teaching,” Yu Yok says. “We really help bring science to life, and arouse the interests of the kids, whether it’s through math or science, history or sociology.”

The wow-factor at ‘Imiloa is undeniable. Its halls are filled daily with the ruckus of exhilarated school kids racing from display to display, filling their “Best Field Trip Ever” mental photo albums with scenes of star compasses, scale-model voyaging canoes, and astronomical bodies, helped along with more than a little Hollywood-style special effects. And

KeOlaMagazine.com | July-August 2019

A model double-hulled voyaging canoe, on display atop a star compass showing the Hawaiian names of cardinal directions. photo by Stefan Verbano

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our

this, Yu Yok says, is all part of the program. “Our niche is to incorporate fun into the learning component,” she says.

One of ‘Imiloa’s most striking visuals is its Science On A Sphere (SOS) installation—a product of National Oceanic and Atmospheric Association (NOAA) data and engineering. SOS is a room-sized display system using computers and video projectors to display planetary data on a six-foot diameter sphere suspended above the floor, creating the effect of a massive floating animated globe. A typical SOS field trip session can be heard throughout the exhibit hall as excited schoolchildren shriek wide-eyed at the 9.0 magnitude 2011 earthquake in Japan, which appears on the globe as a swelling translucent bubble sending multicolor time-lapse tsunami waves rippling across the Pacific Ocean.

On the benches encircling the SOS globe and its pedestal, Kālepa Baybayan shares the story of the ocean navigation side of ‘Imiloa.

Kālepa served previously as captain of Hōkūle‘a—Polynesian Voyaging Society’s (PVS) replica of a double-hulled voyaging canoe, known as wa‘a kaulua, which sails using traditional Polynesian navigation techniques. Kālepa has worked at ‘Imiloa since 2009, currently serving as its navigator in residence, developing navigational activities, creating curriculum materials, and doing educational outreach work in schools statewide.

Over the course of his life, Kālepa has witnessed the renaissance of Polynesian navigation, from the time of Hōkūle‘a’s first voyage nearly 50 years ago when only a handful of people could still navigate at sea using the ways of the ancient ones. “I think, coming from the fact that in 1976 we didn’t have any of this knowledge, it means we’ve come a

long way in understanding our connection to the past,” Kālepa says.

That connection was saved by a young inspired generation of PVS members like Kālepa, curious about the ancient Polynesian navigational techniques known as “wayfinding.” All those years ago, they tracked down the Satawalese Master Navigator Mau Piailug in the Caroline Islands in Micronesia, and asked him to share his knowledge so that it might avoid extinction. Mau, Kālepa says, was his first traditional wayfinding teacher. “I think it’s important for young people to find a connection like that to inspire their lives,” he says. “Just by DNA you inherit some of those traits, and you need to recognize the successes of those people who came before you, and be inspired by them.”

Polynesian wayfinding is based on observation and memorization, using markers in the surrounding ocean environment such as positions of the sun, moon and stars, the direction of ocean swells, groupings of clouds—even bird flight patterns—as navigational cues. Memorizing the place on the horizon where individual stars rise up into and fall down out of the sky (called “houses”), along with their corresponding cardinal directions at these moments of easterly entry and westerly exit, allows wayfinders to maintain a straight course across the ocean, following rising star to rising star, or falling star to falling star.

Scientific concepts expressed in real-world, easy-to-grasp ways like this, Punawai says, is what makes ‘Imiloa such an engaging place. As the center’s educational programs coordinator, he says it’s all about putting on an exciting show for students so some of the underlying science sticks. “I’m absolutely trying to create memories here,” he says. “How do

KeOlaMagazine.com | July-August 2019

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you engage them? How do you have them leave here excited about learning? Bewilderment: that’s one of things we want to see. Also getting them to talk to each other about what they’re learning.”

In the end, the educator says, he wants students to walk away from his presentations and ‘Imiloa’s exhibits stoked about their future studies of the physical world.

“We want to give them the skills they need to get to the next level,” he says, “to help them become scientists.” ■ For more information: imiloahawaii.org

KeOlaMagazine.com | July-August 2019

Circular mural of tiny painted tiles set into the floor of ÿImiloa’s entrance. A voyaging canoe is depicted rocking in rough seas, with a steaming snow-capped mountain in the background set against a full-moon night and the constellation known to Polynesians as Mänaiakalani—Maui’s Fishhook. photo by Stefan Verbano

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“Fantastic Bugs and Where to Find Them” Camp ‘Imi-Possible proudly presents “Fantastic Bugs and Where to Find Them”—a week-long program that takes campers on an insect-igation of Hawai‘i’s curious creatures and their habitats!

Young scientists will explore Hawai‘i’s endemic insects and spiders—our not-so-creepy crawlies that are found here and nowhere else in the world. On this camp adventure they will also discover mimicry, locomotion, and adaptation through inquiry, investigation, and engineering!

Camp will take them on an adventure to the furthest corners of Hawai‘i to observe Maunakea’s famous wēkiu bug, follow the lifecycle of the Kamehameha butterfly, and navigate why our cave-dwelling insects and spiders have lost their sight, just to name a few. Filled with hands-on activities, games, and STEM-based art projects, this camp is sure to engage. Hawai‘i is home to a spectacular array of spiders and insects...if you know just where to look!

Inside ÿImiloa’s Pikoÿi Theater, spectators can watch a real time-lapse video of the night sky as it appears from Maunakea’s summit. photo by Stefan Verbano

For Grades Kindergarten to Fourth Grade July 22–26th, 2019 from 8am–3:30pm (Early Drop-off/ Late Pick-up: 7:30am–4:15)

KeOlaMagazine.com | July-August 2019

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FASTER

STRONGER

Breathe Recovery!

LONGER

DR. ERIC S. MIZUBA D.C., DACBSP

KeOlaMagazine.com | July-August 2019

In recent years, the development of new rehabilitation techniques for sports players with injuries and overexertion has advanced very rapidly. One such treatment that has captured attention is hyperbaric oxygen therapy.

Conventionally, hyperbaric has been used in treatments of Conventionall decompression sickness of divers and diabetic foot wounds.

Attention has been brought to the area of hyperbaric’s potential for improved recovery from injuries and decreased recovery time.

The first reported usage of hyperbaric for sports injury was in Scotland in the late 1980s for professional soccer and golf players. The observed recovery period was decreased by an average of 71% in test subjects. The interest in hyperbaric treatments for sports injuries has since spread rapidly around the world.

Natural recovery time from an injury has been expected to have a set pace. In other words, the body only heals at one speed. Although comfort measures and traditional therapies can be applied, the patient must basically wait out the predetermined healing time that nature has set for us.

However, with the addition of hyperbarics the previous standard of healing time has been revolutionized.

A new era in therapeutic treatment has arrived, as scientific data continually documents emerging uses of proven effectiveness of hyperbaric oxygen therapy.

These are some frequently asked questions about hyperbarics.

Q: What is hyperbarics?

A: A therapeutic treatment that increases the atmospheric pressure above 1 atmosphere.

Q:What are the effects of hyperbarics in the body?

A: In normal conditions, only red blood cells have the ability to carry oxygen in the bloodstream. During hyperbaric oxygen therapy, inhaled oxygen dissolves into all body fluids such as plasma, lymph, interstitial, synovial and cerebrospinal fluid.This provides the body with new vehicles of oxygen transport. The result is increased oxygen levels to improve the body’s ability to create new blood vessels, build new connective tissue, and foster growth of new cells during healing. Areas of the body that may have restricted blood flow due to injury are able to receive 28 Dr. Mizuba at Major League oxygen during hyperbaric Baseball's annual meeting of conditions. healthcare providers, January 2019

Q: Does hyperbarics improve athletic performance?

A: Studies indicate improved performance and decreased recovery time, with repeated maximum efforts were observed in groups having hyperbaric treatments. Analgesia-pain levels were reported to be decreased 90-95% by test subjects.

Q: What are some conditions in the sports world that have been successfully treated by hyperbarics?

A: Improved adaptation to training, mitigating delayed onset muscle soreness/DOMS. Treatment of concussions, post-concussion syndrome with hyperbarics has shown successful results. Treatment of acute and chronic injuries.

Q: What can I expect during a hyperbaric treatment?

A: Treatments last from 15-90 minutes at pressures of 1.2-3.0 atmospheres. People can lie down, sit up, or kneel inside a chamber. A gurney system can assist an impaired person into the chamber as needed. People can read or choose to rest during a treatment.

If you would like to perform at the top of your game, or simply return to the game, contact Dr. Mizuba to see how hyperbarics may benefit you.

D Dr. Mizuba is a diplomate of the American Chiropractic Board of Sports Physicians. He employs the practical use of chiropractic sports medicine in his practice for individuals seeking to maintain an active lifestyle. He is serving as staff doctor for hyperbarics and chiropractic at the U.S. Open for golf in Pebble Beach, California in June. He continues to be involved in the healthcare for Major League Baseball. Applying the benefits of hyperbarics to his own endeavors, he has completed two long distance swims over 23 miles and competing in triathlons since 1984.

From the Athletic Arena to the flower garden, let Dr. Mizuba keep you in YOUR game!

This sponsored content is courtesy of Healthways Chiropractic, located at 65-1206 Mamalahoa Hwy. in Waimea. For more information visit www.drmizuba.com or call 808-491-2462

The Sweetest Mistake With Recipe for Pains de Macadamia

Local Foods

By Brittany P. Anderson

pubescens, from which the malaria-fighting drug is derived.

Unfortunately, the quinine tree became an unruly invasive, taking over the island.

Despite William’s epic mistakes, he did bring the incredibly delicious macadamia nut to the islands. The following recipe is a macadamia nut adaptation of pains d’amande, a traditional Belgian crisp cookie made with almonds. It was extremely popular in the 1970s at the renowned Chez Panisse in Berkley, California. Most recipes explicitly require Hawaiian raw sugar, which gives it the signature crunch.

Addictingly crispy, and bursting with macadamia nuts, these pains de macadamia stand up to multiple dunks in tea or coffee. They can even be crumbled to make a brilliant cheesecake crust.

Pains de Macadamia 2 1/2 cups all purpose flour 1/4 tsp baking soda 4 oz (weighed) unsalted butter 1/3 cup water 1/2 tsp ground cinnamon Pinch of salt 1 1/3 cup Hawaiian raw sugar 1 cup chopped macadamia nuts In a bowl, whisk flour and baking soda; set aside. In a medium pot, combine butter, water, cinnamon, salt and heat over medium until the butter is melted. Do not boil. Add sugar and stir until most of the sugar is melted. Remove from heat and stir in macadamia nuts and flour mixture until well combined into dough. Line a loaf pan with plastic wrap and pour in the dough. Place in refrigerator to chill for 4–6 hours.

Preheat oven to 325°F and place oven racks on lower third of the oven. Line cookie sheets with parchment paper.

Remove chilled dough from loaf pan and cut slices as thinly as possible (1/8 inch or thinner) using a serrated or very sharp knife. Carefully arrange on the lined cookie sheet allowing at least 1/2 inch between cookies. Bake for 8–10 minutes then carefully flip the cookies to bake for 4–6 minutes on the other side. Cookies should be honey colored when removed from the oven. Place on a wire rack to cool. Batches should always be started on a cooled cookie sheet. Recipe can make approximately 100 cookies. Enjoy with your favorite tea under the shade of a tree.

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KeOlaMagazine.com | July-August 2019

Macadamia nut tree orchards are a common and welcoming sight on Hawai‘i Island. Many a summer afternoon I find a cool respite in the shade of their branches. Greedily, I’ve filled the pockets of my overalls with their fallen nuts, their hard outer shell like a polished wooden marble, covering the buttery nut inside. The story of how macadamia nut trees came to Hawai‘i is simple, but the man who brought them committed some of the biggest blunders in Hawai‘i Island history.

William Herbert Purvis, with his father John Purvis, came to the island of Hawai‘i from England in 1878. They invested in the Pacific Sugar Mill at Kukuihaele near Waipi‘o Valley on the Hāmākua Coast. In the early 1880s, William visited Australia, and having seen their native macadamia nut tree, he felt it would be an advantageous wind block for the sugarcane fields.

Australian aboriginal tribes enjoyed the tasty nut for thousands of years before European colonists found the plant in Queensland in the mid-1800s. Back on Hawai‘i Island, William cultivated the trees from seed and grew macadamia trees ornamentally before it blossomed into one of the most important crops for Hawai‘i.

It wasn’t until 1931 (when several other key players entered the market, including Ernst Van Tassel, who purchased the first macadamia nut processing facility in Honolulu) that the macadamia nut was even considered a crop. It was then marketed to coffee farmers as an additional income crop and windbreak. In the late 1960s, macadamia nuts took off on the mainland and became the iconic island treat we have come to adore.

William may have brought macadamia trees to Hawai‘i, but he also committed some of the most notable introductions of invasive species in Hawai‘i Island history. He imported mongoose to hunt the stowaway rats that were overtaking the island. However, rats are nocturnal and mongoose hunt during the day so the two never cross paths. Mongoose have overrun Hawai‘i Island, decimating native bird populations in the process. He also imported the quinine tree, Cinchona

Honoka‘a High & Intermediate School Celebrates 130 Years

By Catherine Tarleton

The Honokaÿa School, from “Ka Nani O Honokaa,” 1939 yearbook.

H

KeOlaMagazine.com | July-August 2019

onoka‘a High & Intermediate School sits on seven ocean-view acres of Hāmākua hillside, its 19 buildings and covered sidewalks painted Dragon (their mascot) green and gold. 611 students, grades 7–12, work and play here. In its 130-year history, Honoka‘a High & Intermediate School (HHIS) has evolved with Honoka‘a town, from its bustling days as a thriving plantation town, through the changes of World War II, the tourism boom, decline of the sugar industry, and reinvention of itself for the 21st century.

This July, thousands of alumni from near and far will gather to celebrate the 130th anniversary of HHIS with a weekend full of activities, that—in traditional Hāmākua style—will include lots of music, food, talking stories, and more. A major parade through town hopes to feature representatives from each of the 80 graduating classes (1939 to 2019).

The first incarnation of Honoka‘a School was built on land purchased from Charles Montague Cooke (son of Castle and Cooke founder Amos Starr Cooke) in 1889. It was a small building on Ohelo Street near the Hāmākua Ditch, where Mrs. Robert M. Overend served as principal. When Mrs. Overend retired in 1892, a new principal came on board, and a threeroom annex was added near where the Brantley Center now 30 stands.

From the Report of the Minister of Public Instruction to the

Legislature of the Republic of Hawai‘i: “The Honoka‘a school with its 288 pupils is the largest on the Island of Hawai‘i.”

The so-called Republic of Hawai‘i had established itself after the illegal overthrow of the Hawaiian monarchy in 1893.

Honoka‘a Sugar Company Manager William Rickard was a Royalist who supported Queen Lili‘uokalani. In fact, he supplied the arms for an attempted counter-revolution he helped to plot. Their coup was unsuccessful; the five conspirators were jailed, then pardoned after the queen abdicated. Rickard returned to Honoka‘a, started a coffee farm, and was beloved

in the community. The HHIS auditorium is named for him.

As other schools had opened in the Hāmākua District, enrollment at Honoka‘a School declined to a low of 184 in 1908, when it moved into a four-room building on the site Students in the Honokaÿa Sugar Company Victory Corps worked Fridays and Saturdays on the plantation from September 1944 to June 1945. HHIS 1945 yearbook, NHERC Heritage Center

buildings across the road.

In 1936, a ninth grade class was added, followed by grades 10, 11, and 12 over the next three years. Mrs. Itsue Hino was in the first graduating class of 11th graders in 1938. She fondly recalled her days at the school during a baccalaureate ceremony for the HHS class of 2013: “Stand tall, sit tall, and be proud please,” she said at the service, where she and classmates Florence Botelho and The lineup for school lunch was “ladies first.” In spite of limited supplies during the war years, the menu listed “meat loaf, creamed salmon, chop seuy [sic], hekka, stew, Spanish macaroni and salads.” HHIS 1945 yearbook, NHERC Heritage Center}

of the State Building (police station). Some alumni remembered riding horses to school, and beginning each day with the boys beating drums as they marched to classrooms. On November 11, 1918, when World War I ended, those drums were used to lead a celebratory parade through town.

By 1924, Honoka‘a was a junior high school, with Mrs. Itsue Hino (first row center) and the class of 1938, HHIS’s first graduating class of 11th graders. The following year, the 12th grade was added. photo courtesy the Hino family

classes up to eighth grade; three classrooms were added on the present campus, and enrollment reached 517. Throughout the 1920s and 30s, additional buildings, tennis courts, and a gymnasium enhanced the school.

Of note, HHIS’s new athletic field, completed in 1926, was proclaimed “one of the best in the Territory” by the Hilo Tribune-Herald. The field was located across the “government road” from the school’s location at the time. Other plans were in place to move the courthouse, jail, and jailer’s house, in order to build new school buildings, and to move existing

Fujie Matsunami were special honorees. “Talking to you now takes me back 75 years...So, there are two foreign words I would like to give you. Arrigatai—be grateful. And gaman— persevere.”

Indeed, HHIS has persevered. After the attack on Pearl Harbor, Army troops occupied the school gym and some classroom buildings from March 1942 to June 1943. During World War II, many students attended class only four days a week.

On Fridays and Saturdays, they participated in the “Victory Corps,” working on the sugarcane plantations, filling in for adults serving in the military. Others volunteered to make sweaters and slippers for the troops, or took Red Cross nursing training. The school’s victory garden produced 31,191 pounds of vegetables. Alumni remember carrying gas masks around

the school, having to make do with a paperback yearbook instead of hardbound, and moving graduation ceremonies to the afternoon because of blackout regulations.

Despite the war, in 1944 enrollment exceeded 1,000 for the first time. The school continued to grow in the 1950s and 60s, including a new kindergarten, elementary school buildings, cafetorium, (combination cafeteria and auditorium) and intermediate school classrooms. The original gym was torn down and replaced by the library/administration building.

Furniture & products made with exotic woods Itsue Hino (2nd row), Fujie Matsunami (left) and Florence Botelho (right), HHIS class of ’38, were special guests of the Class of 2013 Baccalaureate. photo by Sarah Anderson

Cloth table, monkeypod, 48′ x 20′ x 36′

KeOlaMagazine.com | July-August 2019

Carved signs, sculptures, cabinets, rocking chairs, tables, benches, koa boxes, urns & doors.

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Boxes of many woods & sizes

Accepting custom orders from designers, contractors, homeowners & galleries Ray Kobayashi, Owner In business since 1974

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Facing Pakalana Street, this mural features elements of traditional Hawaiian culture, such as the red ti plant and essential kalo plant, and pays tribute to Waipiÿo Valley. photo by Catherine Tarleton

In the 1970s, buildings were added for music, science, homemaking, and agriculture arts; the 80s brought an auto shop, locker rooms, and more portable classrooms.

Also in the 70s, Music Director Gary Washburn arrived at HHIS. He re-built the music program in unconventional style, as the Honoka‘a Jazz Band, letting students bring in music they loved. He wrote arrangements, helped them learn to play like professionals, and found opportunities for them to tour with stars like Marcia Ball and Johnny Nicholas. In 2011, the school received a Grammy Foundation Award and a $5,000 grant. This year, the Jazz Band’s 17th CD, Playin’ in Traffic, was a finalist for the Nā Hōkū Hanohano Jazz Album of the Year, a first for a high school band.

Class of ’77 alumnus Dominic (Dom) Yagong was a selfproclaimed jock, as well as president of the student body, which may have ignited his interest in public service, leading to a 12-year run as county councilman. He’s proud to be counted among HHIS’s success stories—along with Governor John Waihe‘e, Lieutenant Governor Nelson Doi, State Senators Yoshito and Dwight Takamine, and Councilmembers Takashi Domingo and Valerie Poindexter. Possibly, Dom is more proud to be known as the “Voice of the Dragons” sports announcer for two decades.

In 1989, Dom chaired the committee for the school’s

Student murals color the covered corridors of today’s HHIS. This work depicts kalo farmers in Waipiÿo Valley, with a series of loÿi along the riversides, and prominent hala tree. photo by Catherine Tarleton

centennial celebration. “We had a two-hour parade,” says Dom, remembering how representatives from graduating classes marched or rode down the street. “We had all but two, from 1938–89, and 3–4,000 people came to the event. Now we’ve added 30 more classes!”

When asked how he got involved in the 130th celebration, Dom says with a laugh, “Quite frankly, every five years, people say ‘C’mon, Dom, you gotta do it again!’ So I thought, if I wait till the 150th, I’m gonna be 80 years old! It’s time. I was ready.”

A generous community spirit helps fund large-scale important events like these. “We are very fortunate to have some good support from local businesses,” NHERC Heritage Center

KeOlaMagazine.com | July-August 2019

says Dom. “Malama Market became a Green & Gold sponsor with a generous donation, and KTA Superstores as well.”

“We are also doing our own fundraising,” he continues. “One of our graduates designed the official t-shirt, and we’re also doing a lū‘au with hula Saturday, July 20 at the school cafeteria, 4–6pm.

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Jayson Kanekoa, class of ’84, will be the chef. [Jayson is executive chef at the Waikoloa Beach Marriott Resort and Spa].

The whole event is open to the public— and there will only be 100 tickets left for sale at the door.”

Other highlights include two free shows by comedian Augie T at 6 and 7:30pm Friday, July 19 during the Dragon Block

HHIS overlooks Honokaÿa town and the ocean beyond from its Hämäkua hillside location. Building A (gold columns) was built in 1923. photo by Catherine Tarleton

proudly of HHIS. “We are very much focused on three things,” she says. “Safety and security, learning—putting the kids first, and doing everything with aloha.” She says the school excels in many ways, with award-winning music program and sports teams, outstanding career and technical education (agriculture/farming and auto shop).

They are working to bring business and medical/ health services back into the curriculum next year, and are actively recruiting a culinary teacher.

Uncle Bill Rickard and the HHIS majorettes (left to right) Linda Teves, Beverly Awong, Paula Enaoria, Laurie Ann Cypriano, Alberta Branco. photo courtesy of Awong Family Collection, NHERC Heritage Center Party. 130th Co-Chair Maelan Abran with Nā Hōkū award winner R.J. Kaneao, Nā Hōkū nominee Mark Saito, Ryan Hiraoka, Preston Lee & Kennie Lee Bender, and Donnie B are among the stellar alumni who will entertain. With the exception of the lū‘au, events are free. He encourages people to share their stories.

“One gentleman who’s coming [class of ’51] has Parkinson’s.

In addition to an extensive athletics program, today’s HHIS students also train in competitive eSports in the computer lab.

photo courtesy HHIS

Front row (left to right): Daisy Ikeuchi, class of ’46, Roland Kaneshiro, ’57, Milo Ferreira, ’62, Sammie Pung, ’76. Back row: Johnalyn Margheim, ’87, Lane Guzman, ’93, Mahina Hoepner, ’05, Falyn Sebastian, ’19. photo by Sarah Anderson

The family’s going to bring him. He wanted to come because he was known as a smooth dancer, and he wanted to come to a place with those fond memories...That kind of stuff makes it worthwhile.”

Principal Rachelle Matsumura, class of ’88, also speaks

For more information: 808.895.1711 or honokaahigh.eventleap.com/honokaahigh130years With thanks to Dr Momi Naughton, North Hawai‘i Education and Research Center

KeOlaMagazine.com | July-August 2019

Athletics remain an important part of the school, and a new type of competition, eSports, is developing in computer labs.

They also have an excellent Personal Transition Plan (PTP) program. “Every student has a teacher working with them for three years on the program,” says Rachelle. “We have the best counselors, who work really hard with our students—whether they want to go on to college, or go into the workforce after graduation...It’s an awesome school, awesome community.” ■

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A Dream of the Heart Island Artists Jane and Linus Chao

By Jan Wizinowich

I

n the most positive sense, the Chinese saying “May your life be interesting” certainly applies to Jane and Linus Chao, island treasures who have been creating and teaching art for the last 50 years. Primarily watercolor artists on silk and paper, art has always been at the center of their lives, which they have shared with our island community.

KeOlaMagazine.com | July-August 2019

A Journey of the Heart Like lotus seeds arising from the murky chaos of post-World War II mainland China, Jane and Linus came separately to Taiwan to blossom into the artists they have become. Their journeys from northern China to Japan to Taiwan, and finally Hawai‘i Island have been steeped in art and multicultural experiences.

Jane spent her early years in Harbin, but lived in Japan from the time she was four years old until she was 12. While in Japan her talent was recognized. “When I was in Japan in elementary school the art teacher liked my work and that encouraged me. I was sent to a Japanese lady who paints Chinese paintings called Nan Ga, South Song Dynasty painting style. The Japanese came to China and brought that back to Japan,” said Jane.

Upon her return to Harbin in 1941, Jane resumed her art instruction with a Chinese teacher. When the war ended and with her father imprisoned in Siberia, Jane and her mother fled to Taiwan, where she met Linus. “I met him because I love art. He was in the art department at Taiwan Normal University, and he had an art show. I fell in love with his art and I married him. That’s how we started,” recalled Jane.

Linus, who grew up in Qingdao, China,

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37 Jane creating a watercolor on silk in her Studio Mountain View home. photo courtesy of Jane Chao

started a career in art at an early age. “I’ve loved art since I was a young boy. Second year elementary, some naughty boys didn’t like to draw and when the teacher went to the office, all the people asked me to draw for them,” remembered Linus.

In 1949, as the communists were taking over, Linus was sent to Taiwan, where he completed his last year of high school.

It took two years of teaching elementary school art before he was to enter the university where he met Jane. With a chuckle he recalled, “I wanted to be a navy officer but my math, physics, chemistry was bad.”

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New Dimensions While watercolors have been his main media, in 1959 Linus was selected to study animation in Japan. He joined the Tōei Studio in Tokyo and was introduced to a multimedia, collaborative process.

After a year in Japan, Linus returned to Taiwan and came to the attention of Father Phillip Bourret, who sent Linus to Disney Studios to continue his animation work with the caveat that when he returned he would teach animation and make educational films.

“At first I worked on Mary Poppins and after that they transferred me to Hanna-Barbera and I worked on The Flintstones and Yogi Bear,” said Linus. Upon his return Linus established the Kuangchi Program Services animation department, training personnel and gathering the necessary equipment to create animated films. “He is called the father of Taiwan animation because he was the first one to make animated films in Taiwan,” said Jane, who assisted Linus with the animation work.

When Jane arrived on Taiwan, bringing her background in Nan Ga and Chinese Gungbei style brush painting, she was looking to reconnect with art and took a class from a friend of Linus’s. “During this running around [before coming to Taiwan] I didn’t do any art, and then I met this guy and took a class

KeOlaMagazine.com | July-August 2019

Obake by Jane Chao. photo courtesy of Jane Chao

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39 Young artists Jane and Linus in Taipei, Taiwan. photo courtesy of Jane and Linus Chao

from one of his friends and I developed my own style,” recalled Jane.

Hawai‘i Bound A change in US immigration law that welcomed artists along with other professionals opened a portal for Jane and Linus to come to the United States. A desire to be in a multicultural setting, along with advice of friends from Hawai‘i they met in Taiwan, decided them on Hawai‘i Island.

“In 1969 we applied and within two months we got permission for the whole family, with four children, to come to the United States. I knew Hawai‘i was a beautiful place, singing, dancing. That’s the place I wanted to go,” remembered Jane.

The rich colors and welcoming culture of Hawai‘i inspired the Chao couple. Their distinctive artworks reflect their love of the natural surroundings of their adopted home.

“My own style—it’s not Japanese, it’s not Chinese, it’s not Western. Chinese and Japanese art is very serene. Not too much colors, but after I came here I saw so much color and I said, ‘Never mind, I’ll just paint the colors,’” recalled Jane.

Jane’s watercolors on silk and paper create a world of serene beauty rendered in deep intense color. To look at one of her paintings is to feel as though one has found the way into the inner life story of Hawai‘i’s natural world, so realistic it’s almost surreal.

KeOlaMagazine.com | July-August 2019

Direct Link from the Heart to the Page For Jane and Linus, art is a spiritual endeavor that has guided them in creating beauty and meaning in their lives and in the lives of those around them. Not long after they arrived in Hilo, Linus was invited to teach art at Hawai‘i Community College where, along with several international guest lecturer posts, he became a professor of fine art for 33 years.

Along with raising their children, Jane continued to paint and opened a gift shop on Banyan Drive where she exhibited both her and Linus’s artwork. She had her first art exhibit in 1976 at the Hawai‘i Preparatory Academy Gallery. After eight years, and with her children off to mainland schools, Jane closed her Banyan Drive gift shop.

Living in a neighborhood surrounded by schools, she began teaching after school art classes. “Now when I go out, I see an old man, bald, and he says, ‘Mrs. Chao, how are you?’ And I say, ‘Do I know you?’ And he says, ‘I was your student when I was eight years old,’” recalled Jane.

When Linus and Jane moved to their Studio Mountain View home that they designed and built, Jane taught art classes there and is still teaching. “I have a class of about 10 ladies, all my age, and we have a lot of fun,” said Jane.

Studio Mountain View, named for its awe-inspiring view of Maunakea, rests on four acres that include a large fishpond, teahouse, and a smaller lotus pond. In its entirety, Studio Mountain View and its surrounds are a philosophical metaphor, a testament to the deep connection to nature felt by the two artists.

“I carry a child-like heart, full of confidence as I experience life in art. One example is the creation and construction of our home and garden. I am experimenting with three-dimensional art by combining traditional Chinese garden landscaping with art using the practice of feng shui and the balance found in western aesthetics, with harmony and caring for the 40 environment,” reflected Linus.

Unexpected Divine Inspiration Linus has gathered experiences in a semiotic that combine learned techniques and theories with memories and experiences, creating a sense of divine connection to his subject. “There is much multimedia knowledge and work experience from photography and motion picture production that I have borrowed to apply in fine arts and the creative process of painting,” reflected Linus.

His paintings range from impressionistic renderings of hidden Hawai‘i treasures through memories of his childhood in wintry north China and travels in North America. “I have lived in Hawai‘i over 40 years; everywhere I look in the beautiful nature, I see subjects worthy of being painted. But what is unforgettable for me is still my childhood homeland, Shandong; the silvery winter snow often calls to me in my dreams.”

One of Linus’s paintings, Lotus in Winter, is a metaphor for his life. “My pond outside here has a lot of lotus. I feel sorry about the winter, my age, getting old. It comes from the mud.

The mud is dirty but the lotus grows up over the water and becomes beautiful. A poor boy from a poor family still has a chance to go higher.”

His artwork ranges from dream images to capturing and communicating the essence of his subjects. Having previously done a portrait of John A. Burns, Linus was commissioned in 2017 to create a series of portraits of all the deans of the John A. Burns Medical School. These portraits reflect Linus’s careful study of his subjects to capture the spirit of the men.

Open Hearts Jane and Linus have thrived in the inclusive spirt of Hawai‘i and have a cadre of fellow artists who join them in their many exhibitions. For the past alternating years, they have mounted a Linus and Jane Chao and Friends exhibit at the Wailoa Center in Hilo, and have taken collaborative art shows on the road to Honolulu, Japan, and Taiwan. Through their artwork and generosity of spirit, Jane and Linus have enriched the lives of all whom they have touched. ■ Postscript: As we were finishing this story, we received news that Linus passed away on May 1, 2019. We are grateful to have captured his last interview.

For more information: bbmtview.com

Lotus Pond by Jane Chao. Their Studio Mountain View landscaping, which includes a lotus pond, is their muse. photo courtesy of Jane Chao

Empowering Women and Girls to Reach Their Highest Potential American Association of University Women

By Karen Rose

Cindy Armer, chair of the GEMS event, welcomes the participants.

photo courtesy of AAUW Kona Branch

I

n 1776, future first lady Abigail Adams wrote to her husband John, then a member of the Continental Congress, “If particular care and attention is not paid to the ladies, we will be determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation.” Much has changed since her astute prognostication 243 years ago, and women have since made significant, hard-fought progress both socially and politically.

KeOlaMagazine.com | July-August 2019

AAUW State Convention in Kona, 2018. photo courtesy of AAUW Kona Branch

AAUW, the American Association of University Women, has worked tirelessly to institute these societal changes, and we’re fortunate two branches are on Hawai‘i Island.

AAUW first met in Boston in 1881 as a group of 17 female college students dedicated to promoting education and equity for all women and girls. At that time, there was a plethora of obstacles facing women who wished to obtain a college education or pursue work in a specialized field. This

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extraordinary group of college students believed that the more women were college-educated, the more society would benefit on all levels.

In 1951, AAUW began lobbying efforts to help establish the United States Department of Education. In 1958 the AAUW created the Educational Foundation to continue awarding fellowships to women from all walks of life. The organization is noted for granting financial support to many successful scientists, including Marie Curie.

In 1981, the AAUW established its Legal Advocacy Fund to promote equity by supplying financial and legal support to women in educational settings who have been harassed or discriminated against on the basis of sex. Currently, AAUW is one of the nation’s leading voices promoting equality and education for women, with a nationwide network of 170,000 members and supporters, 1,000 local branches, and 800 college and university partners.

The local branches of AAUW in Kona and Hilo continue the great work, as part of AAUW’s statewide organization which is made up of seven branches including three on O‘ahu, one on Kauai, and one on Maui. The Hilo branch of AAUW, with 105 members, was founded more than 65 years ago and has assisted women and girls in East Hawai‘i to achieve selfrealization through education.

“In the Hilo branch, we emphasize developing a community of women who give back to the larger community,” said Annette Barr, president of AAUW’s Hilo branch. “We work closely with the University of Hawai‘i and with Hawai‘i Community College. Currently, we are working with a committee from the assistant chancellor’s office and the Title IX administrators to re-envision The Women’s Center. We are developing ways to make it stronger, and meet the needs of both the students and the staff. We recently worked with the

center on an event for Equal Pay Day, as well as the mayor’s proclamation for the event.”

The Kona branch of AAUW was chartered in 1971 when it joined the Hilo branch to serve the women of Hawai‘i Island.

The branch started small, with a group of about a dozen women. Today, the Kona branch has almost 80 members.

“The mission of the organization is to advance equity for women and girls through three things: advocacy, education, and research,” said Jamie Pardau, vice president of membership for the Kona Branch and former state president.

“For Hawai‘i, most of the advocacy is done at the state level.

There are women in Honolulu who are avidly interested in pursuing what’s going on legislatively for women in our state.

We support them and have people locally who are on their committee. However, the women on O‘ahu do the heavy lifting, because they’re near the state capitol, so attending hearings is more convenient for them.”

Kona’s AAUW group focuses strongly on education, with three main objectives: awarding scholarships, Keiki Story Time at Kona Stories in Keauhou Shopping Center, and their GEMS (Girls Exploring Math and Science) event every fall for fifth grade girls. GEMS is a STEM event, which stands for Science, Technology, Engineering, and Math. They have held this event for more than 20 years, and it has grown significantly to the point that funding it is now one of the chapter’s biggest issues.

“We’ve have approximately 350 girls attend, and we’re now discussing putting limits on how many we can actually provide a quality experience for,” said Jamie. “We don’t want to have over 350 attendees, because even at that number, it is a costly event and we spend much of our time fundraising to make it successful.”

This annual event allows fifth grade girls to spend an entire day exploring exhibits and attending workshops. They are

KeOlaMagazine.com | July-August 2019

AAUW Hilo members and supporters at the Equal Pay Day event at the University of Hawaiÿi at Hilo in April 2019. photo courtesy of AAUW Hilo Branch

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Fifth grade girl fixing a computer keyboard at a GEMS event. photo courtesy of AAUW Kona Branch

all led by women who have used math, science, technology, and engineering in their careers. Many of the women are now retired, while some are currently working in the field.

“We have a lot of participation from the observatories, and from people like those who work for the Division of Aquatic Resources, so the girls get a hands-on workshop showing them the fun and the excitement of science, math, and technology,” said Jamie. “We understand our schools are strapped for funds and can’t always provide hands-on experiences in the sciences.”

AAUW’s Kona branch focuses on fifth grade girls because research shows that as girls move into middle school, they tend to lose interest in science due to social pressures.

“Being popular and socially desirable tends to overshadow exploring scientific interests,” explained Jamie. “We feel that if they see successful, happy women who let their interests and passions be their guide, instead of what’s going to make them cool, it can help them see the excitement of what these sciences can bring into their lives.”

The branch also offers college scholarships to girls in West Hawai‘i who wish to continue their education after high school.

“We used to give one $1,000 scholarship, then it grew to two,” said Jamie. “For the last few years we’ve been giving three $2,000 scholarships to girls graduating from any high school in West Hawai‘i. This year we have two new scholarships that are specifically earmarked for girls or women who want to go to UHCCʻs Palamanui campus.”

AAUW is currently collaborating with UHCC Palamanui to identify women in the community who didn’t attend college immediately following high school, but who now wish to

KeOlaMagazine.com | July-August 2019

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further their education.

“We also want to provide mentors for women returning to school,” Jamie explained. “For those who are returning to school and find it intimidating, we will match them up with a mentor who shares similar interests to give them the boost they might need. We want to provide the support they may not receive from their own family. We really feel strongly about national issues, but in terms of our own community, we want to have the best educational opportunities possible for the girls,” she continued. “We love that the County Council, Rotary, the Maunakea observatories, and other local businesses are supportive of our mission. We’re hoping we will be able to keep funding our projects. We want to continue this for the long term.”

AAUW’s Hilo branch also awards generous scholarships every year to graduate and undergraduate students at the University of Hawai‘i at Hilo, and has done so since 1954. This year, they will provide $8,000 in scholarships to students at Hawai‘i Community College, Hilo, as well as to UHH graduate and undergraduate students.

“We are working closely with the chancellor and the assistant chancellor at Hawai‘i Community College, to push for scholarships for women re-entering the educational field,” said Annette. “Some have families, others have survived domestic violence or had drug situations, but they’re all striving to return to school and better their situations, which is very exciting. We also offer mentoring where we connect a scholarship recipient with a female mentor who offers support and guidance.”

Both the Hilo and Kona branches of AAUW also offer interest groups like hiking and book clubs, to provide members an opportunity to network and develop friendships.

While AAUW has been an active force in advancing the rights of women in society, the leadership also recognizes there is plenty of work still to be done.

Girls learning archaeology at a GEMS event. photo courtesy of AAUW Kona Branch

“One of the challenges facing women today is the systemic bias towards men in our society,” said Annette. “Many of us grew up with John Wayne and Rock Hudson, and books and movies that supported the narrative that men have the power and strength, and women submit or serve. Fortunately, times are changing and today we have members who work closely with the legislators on O‘ahu to ensure Hawai‘i has the strongest equal pay bill in the nation, as well as working toward other legislation to improve the lives of all women and girls. I think that’s pretty darn exciting.” ■ For more information: Hilo AAUW: hilo.hi.aauw.net or Facebook.com/AAUW-Hilo Kona AAUW: kona.hi.aauw.net or Facebook.com/AAUW-Kona

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Learning about energy at GEMS. photo courtesy of AAUW Kona Branch

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A Lifetime in the Trees The Vision of Skye Peterson, Treehouse Aficionado

By Lara Hughes

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kye Peterson moved to Honolulu on O‘ahu in 1980. He was a young pilot flying small planes, and he didn’t really like the work or life in the city, so he moved to the countryside of Lanikai and started working construction jobs. While building homes on O‘ahu, he noticed a lot of material being discarded on construction sites and began collecting other people’s throwaway items.

“I began collecting all of these windows, big eight-foot windows. These big windows, maybe they had a little ding on them or something, so people were throwing them out.”

Skye made a quick reputation for himself, and he would be called to haul away cast-off materials from construction sites. He knew he would end up living on Hawai‘i Island, as the cost of living in O‘ahu was already high, so he started saving materials that he would one day use to build his own home.

He moved to Hawai‘i Island in the late 1980s, and began a years-long process of bringing his salvaged resources over from O‘ahu. He recalls, “I had a lot of glass, doors, and material that I had scavenged.” In fact, Skye recalls bringing more than 100 discarded windows to Hawai‘i

Stairway to the first treehouse that Skye built. photo by Lara Hughes

KeOlaMagazine.com | July-August 2019

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Looking down from the second floor of the first treehouse that Skye built, onto the cozy living room and wood-burning fireplace. photo by Lara Hughes creature comforts like a microwave oven.

Skye’s treehouses took him years to create and today they are his life’s work. He loves sharing his art with the world. He recently began work on his third treehouse and jokes, “I live in treehouses, and I’ll probably die building treehouses.”

The two completed treehouses are entirely supported by live trees, so the structures needed to ensure the trees would be able to move with the wind, grow, and still provide a sturdy base. The third treehouse is not being supported by live trees.

Instead, it has approximately 11 cut ‘ōhi‘a trees incorporated into and around its decks, staircases, and windows.

The first two treehouses were constructed using a system of ladders. “I had a couple different ladders so I could run back and forth. I’d run up one side, put in a bolt, then run back, make sure it was level and put in another bolt. It was a lot of work.” All of the tools were battery powered, so it was important to remember to recharge them every night. He had help placing the flooring and putting on the roofing, and he paid people to paint. Aside from that, Skye built his first two treehouses mostly by himself.

The adventure didn’t come without its risks—Skye fell out of the trees a couple of times. Luckily, he lived to tell the tale: “I was trying to put some shingles up and I wrapped my foot around a board that was screwed to [a section of the treehouse], and I started screwing the shingles to the wall.” He 49 estimates the drop from the trees there was 20 feet down. The

KeOlaMagazine.com | July-August 2019

Island. It took him years to bring everything over from O‘ahu.

In 1988 and 1989, Skye purchased two properties in an ‘ōhi‘a tree forest near Kīlauea Volcano. The all-inspiring ah-ha moment when Skye made the choice to build his first treehouse came during a trip into Waipi‘o Valley in 1988.

He remembers, “There was a lady down there named Linda Beech, who had built a treehouse. It was kind of famous—it had been in People magazine. It was in a monkeypod tree.

You had to go up a stream and cross the river to get to it, and it was way in the back of Waipi‘o Valley.” The treehouse piqued Skye’s imagination and he liked the off-grid approach that Linda had adopted. The home in the monkeypod tree was powered by a water pump that converted energy from a waterfall located behind the property and charged their batteries. This resonated with Skye and inspiration struck.

Skye reflects, “I knew I wouldn’t build in one tree, I would build in a lot of trees.” At the time, treehouses were typically built in one tree, but Skye decided to use five trees to build his treehouse so it would be big enough to live in. With his contracting background he knew he could make it work, although it wouldn’t be easy. “I knew I could make it strong enough, but I wanted to make sure it was light enough too,” he says.

Currently, Skye has built two treehouses and has a third on the way. The first treehouse is completely off-grid, running on solar power. The second runs on electric and allows for

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Treehouse aficionado Skye Peterson in one of his creations in the treetops. photo by Lara Hughes

board he had used for support came loose and Skye recalls waking up on the ground. “I had the wind knocked out of me and sprained my ankle, broke some ribs, broke some teeth, and got some cuts,” he says, “but I was able to recover quick enough.” However, that wasn’t the worst fall—it took him a couple of months to recover from falling out of the second treehouse. “It was always worth it, though,” he smiles.

The first treehouse took about five years to complete. It utilizes solar power to pump and heat water, and powering Kitchen views and stairs to the upper bedroom in one of Skye’s treehouses.

KeOlaMagazine.com | July-August 2019

photo by Lara Hughes

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Walking up to the third treehouse that Skye is building. It is currently under construction. photo by Lara Hughes

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KeOlaMagazine.com | July-August 2019

lights. There are also wood-burning fireplaces in both of his treetop creations, which supply warmth on cold nights up in the tree canopy. Special details abound in each of the lofty manors, like branches for bed frames, light switches set into trees, panoramic bathrooms filled with mirrors, ladders leading to hidden alcoves, cozy couches, relaxing verandas, and breathtaking views of the forest. Skye, being an artist in addition to his other talents, has also outfitted each treehouse with small libraries and a selection of artwork, including some of his own fantastical depictions of his treehouse daydreams, saying, “It was about it being fun and getting a chuckle.”

Skye lived in his first forest-top creation for about four years before letting a friend move in. “My friend stayed for a while and he really liked it, then some other people stayed, and I realized that maybe I could share it with people.” Since then he has had a lot of interest in his treehouse dwellings, and people have come from near and far to stay at his creations including Pete Nelson from Treehouse Masters on Animal Planet TV. In a way, Skye’s treehouse homes are functional works of art that have taken a lifetime to build. “I thought it was so cool that I could build something that was a piece of art and live in it.

I mean, how amazing is that? I get to have people come and enjoy it, which is really important to me, and it gives me good reason to keep all of the maintenance up, and I still have it.”

If you are able to track down this treehouse aficionado, you may be one of the lucky enthusiasts who get to stay a night or two in one of his pieces of incredible functional art. ■

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Mälama Mokupuni: Caring for Our Island Environment

Invasive or Essential?

A Rare Moth Depends on a Roadside Weed

By Rachel Laderman A tiny shining orb on the underside of a leaf—is it the egg of an endangered, endemic moth?

A team of volunteers systematically turns over every leaf on tree tobacco shrubs along a transect near Pu‘uwa‘awa‘a Forest Reserve. Christine Elliott, a University of Hawai‘i at Mānoa graduate student in entomology, leads the group in a yearly survey of Blackburn’s sphinx moth (Manduca blackburnii), ōka‘i in Hawaiian.

Christine comes over, looking optimistic, and peers at the perfect sphere. “Nope, that’s a water drop,” she tells the volunteer. “The eggs do look a lot like water drops, but not quite as shiny.” She pops it gently for proof. Soon after,

KeOlaMagazine.com | July-August 2019

View of Puÿuwaÿawaÿa Forest Reserve. photo courtesy of Conrad P.D.T. Gillett

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another volunteer did find an egg, and really, it didn’t look that different!

From such a tiny drop of an egg, the caterpillar that grows is startlingly large. It resembles a tomato hornworm caterpillar, with a long, thick body and a threatening-looking, spine-like “horn.”

“Blackburn’s sphinx moth is Hawai‘i’s largest endemic insect,” Christine explains. The moth’s wingspan can reach five inches.

“They were once abundant throughout Hawai‘i’s dry forests, but in the 1920s, started to dwindle. By the 1970s, they were thought to be extinct.” Then in 1984, a small population was rediscovered on east Maui, and later on two other islands, including here in Pu‘uwa‘awa‘a, on the slopes of Hualālai.

Part of the reason ōka‘i is so rare may be due to parasitoids and predators (which Christine is researching), but the overwhelming problem is the loss of healthy dryland forest habitat. As with many native animals, ōka‘i has a relationship with a native plant—the tree ‘aiea (Nothocestrum spp.).

‘Aiea is an endemic tree, only found in the Hawaiian Islands, with wonderful smelling flowers traditionally used in lei. Before timber cutting, ranching, and goats devastated the dry forests’ delicate ecology, three species of ‘aiea grew throughout the dry sides of the islands with a fourth species found in wet forests. Now all three dry forest species are endangered just like the ōka‘i they support.

Fortunately, the ōka‘i caterpillars can feed on other plants in the nightshade family, which includes tomatoes, tobacco, and the plant Christine’s groups survey—tree tobacco (Nicotiana glauca). Tree tobacco is a tall, spindly, non-native shrub that was introduced in Hawai‘i in the 1890s. Unfortunately, this ornamental, like so many others, has become an invasive weed.

A Blackburn’s sphinx moth caterpillar munching on tree tobacco. photo courtesy of DLNR

ÿAiea flowering; this is the very rare native tree that the Blackburn’s sphinx moth used to lay its eggs on. More than 90% of Hawaiÿi’s native dry forests have been destroyed. photo courtesy of DLNR

“Tree tobacco invades gravel roads and can completely swallow them up, eventually making them undriveable,” notes Dr. Elliott Parsons, natural area reserves specialist with the Department of Land and Natural Resources (DLNR), who helps with the sphinx moth research.

“The fact that the Blackburn’s sphinx moth relies on an invasive species creates quite a conundrum,” says Christine.

“People see tree tobacco and want to eradicate it, but the endemic species the moth relies on [‘aiea] is extremely rare and slow-growing.”

Kamahoi Hurley (Kama) is a volunteer who worked in Pu‘uwa‘awa‘a in 2015–16 as a Kupu intern, helping to save caterpillars from tree tobacco that was about to be removed because it was encroaching on roads.

“When we saw a caterpillar, we would carefully take it off and put it on another tree,” Kama said. “They were like 7–8 inches long, as big as a quarter in diameter. They try to bite or whip their tail and hit you with their horn!” He added, “Another defense mechanism is they vomit—the smell is pretty stink!

And it sticks to your clothes!” Christine adds, “They fight back, Volunteers help Christine Elliott (facing camera, in center) survey tree tobacco for Blackburn’s sphinx moth eggs and larvae near Puÿuwaÿawa‘a Forest Reserve. photo courtesy of Conrad P.D.T. Gillett

that’s what I like about them. They’re plucky!”

A new threat to the Blackburn’s sphinx moth is the planned roadway additions to the Daniel K. Inouye Highway (Saddle Road). As the Environmental Impact Statement for the project states, “The endangered Blackburn’s sphinx moth could be harmed by construction and maintenance of a highway if the host plants used in its larval and pupal stages, or the ground immediately surrounding them, are disturbed.”

The reason that disturbing the ground nearby is an issue is because, after growing to a plump size feeding on tree tobacco

Blackburn’s sphinx moth egg on tree tobacco leaf. photo courtesy of DLNR leaves, the larvae (caterpillars) climb down from the shrubs and bury themselves in nearby soil, where they will eventually pupate. Sometimes they stay underground for up to a year.

This feisty, rare insect—just one of thousands of creatures unique to the Hawaiian Islands—focuses attention on a modern predicament: how do we manage a problematic, invasive species that also fills an important gap critical to the survival of endangered species? The answer isn’t obvious, but the more we can learn about the life cycle and habits of the species involved, the better decisions we can make. This explains why researchers and volunteers spend their days on sun-drenched slopes, determining if a tiny drop is just morning dew, or a rare egg clinging to survival.

To volunteer with Blackburn’s sphinx moth surveys at Pu‘uwa‘awa‘a State Forest Reserve, email napuuconservation@ gmail.com.

Rachel Laderman, Sustainable Pacific Program, Lynker LLC/NOAA Affiliate, Hawai‘i Island

_ Ka la hiki ola says,“Soar!”

KeOlaMagazine.com | July-August 2019

By Rosa Say

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My coaching copy of Managing with Aloha is annotated with quotes I’ve found which resonate with the values written within its pages. Recently, I tucked this one into chapter 19 on Ka lā hiki ola: “One can never consent to creep when one feels an impulse to soar.”—Helen Keller We featured the value of Pono last issue, and talked about how it can fortify your readiness in tackling what’s next, simultaneously boosting your confidence: “Pono delivers integrity, ethical behavior, and morality—the morality of a particular system of shared values and principles of conduct.”

I encouraged you to have that ‘particular system’ be your business or organization.

With the value of Ka lā hiki ola, we focus on “what’s next” through another lens—exactly what will ‘the dawning of your new day’ be all about?

If it’s truly new, it will be about some kind of change for you, a change steeped in Nānā i ke kumu (truth) and Pono (integrity), which you chose with forethought and your Aloha intentions.

Within our value-mapping, Nānā i ke kumu and Pono have fortified your constants. Ka lā hiki ola heralds in your change, and it helps you articulate it well, so it can be communicated to others, and received well. As American systems scientist Peter Senge wisely observed, “People don’t hate change, people hate being changed,” and we must convey the good which change can bring.

A lot might sit in the grey area between honored constants and desired change if you’ve been in business for a while, and when people have settled into their jobs; it doesn’t take much time to accumulate systems and processes, which have become habits and comfort zones.

Ka lā hiki ola says, “Let’s fly. To change is to soar.”

“Ka lā hiki ola encourages us to make Pono today and not as a lofty distant goal. Let go of yesterday, and let go of everything irrelevant to the right now. Give yourself hope in this very moment, not just in tomorrow. Live again, and live better—start a new chapter going forward. Knowing that sunrise will always bring a new day, be secure in that certainty, while living with the attitude that today is it. Enjoy your present; focus on what matters, and relish the now.”— Managing with Aloha for Ke Ola Magazine, April 2016.

You can get pretty excited about this, and your team can chime in enthusiastically as they enroll in the visionary aspects of the change you propose—people tend to cheer for “the dawning of a new day!” Yet letting go of previous habits and

“It is the dawning of a new day.”

Optimism, Promise, and Our Sense of Hope.

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comforts can be challenging. It can take some time.

Or so we like to tell ourselves.

The ‘letting go’ woven into our practice of Ka lā hiki ola recognizes this need, but it comes with a greater sense of urgency as compared to the patience of Nānā i ke kumu and Pono, for that’s what a sense of hope requires. Think of this as a good impatience. Clear your runway—don’t be a leader who still holds back when everyone else is revving their engines, ready to soar.

Managing with Aloha is itself a good example, for much as we like to believe the Aloha Spirit is Hawai‘i’s natural persuasion, it’s no guarantee. We have to work on getting our Aloha intentions to be deliberate, thoughtful, and consistently present, so the Aloha residing in every individual will soar as their every day, every place, every job expression.

When I bring the Managing with Aloha philosophy to a business with its trunk full of how-tos, change comes with me.

The company of people within that business must become a learning organization willing to change their habits. As they learn something new, they have to make room for it, and as their coach I help them do so.

You have the same responsibility as an Alaka‘i leader, whatever your change may be: you’re charged with helping your people make room. Then, you make space to soar.

Sense of hope can be present in everyday moments, and not just in distant tomorrows. Ka lā hiki ola will coach you with these affirmations: “You made a decision to change, now trust in your decision and go for it. Welcome your sense of urgency as much as you welcome the dawn in each new day. Grab hold of your good impatience for change with both hands. Open your arms to let everyone else in, and clear the runway together.”

Listen well, and take it to heart.

Refuse to be average. Refuse to settle. Refuse to hold back.

Let go of whatever creeps.

Grab hold of opportunity. Grab hold of expectant optimism.

Grab hold of confident starts and fresh chances.

It’s time to soar.

Call us today to see what we can do for you!

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Hawaiian Islands A Legacy of Land

By Brittany P. Anderson

There is a place on Hawai‘i Island where clouds come down from the sky to walk amongst the trees. Noe kolo (creeping mist) overcomes the jungle as an ‘i‘iwi (scarlet honeycreeper) call rings out—its location masked as white envelops the forest.

Here, at the Kona Cloud Forest in the cool upcountry Kaloko area, this scene unfolds daily and thanks to the conservation easement by Hawaiian Islands Land Trust, it will run until the end of time.

The Hawaiian Islands Land Trust, HILT, operates statewide, conserving lands that promote the long-term well being of Hawai‘i. On the Island of Hawai‘i, HILT preserves wildlife habitats, agricultural resources, and areas of cultural and historical importance through perpetual conservation easements. These easements continue forever, ensuring a permanent endowment of land for generations to come.

KeOlaMagazine.com | July-August 2019

Mālama ‘Āina, Aloha ‘Āina (Care for the Land, Love the Land) HILT was founded in January 2011 when four individual island trusts merged, taking Hawai‘i land conservation to new heights. Together, Hawai‘i Island Land Trust, Maui Coastal Land Trust, O‘ahu Land Trust, and Kaua‘i Public Land Trust, became Hawaiian Islands Land Trust. The now-combined trust protects over 18,000 acres across Hawai‘i Island, Maui, O‘ahu, and Kaua‘i.

The rich fertile soils of Hawai‘i Island, the open shorelines along its rocky coast, and its dense forests sustain us— providing food, recreation, and supporting traditional cultural expression. It is this fundamental essence of Hawai‘i Island that HILT so intensely aims to preserve.

In Volcano Village, several landowners felt the conservation call to action. Working with HILT and professional resource managers, these residents aim to protect the unique Volcano habitat—home to some of Hawai‘i Island’s threatened rare native birds and plants.

The patchwork quilt of conservation easements throughout the Volcano area create safe havens for birds like the flaming red ‘apapane (a native Hawaiian species of honeycreeper) and blue-hued ‘ōma‘o (native Hawaiian thrush). Known as the Kīpuka Mosaic, the smallest protected area is a forested 0.4 acre and the largest are 3 acres. Each dedicated conservation inch of the Kīpuka Mosaic works towards the goal of connecting Kahauale‘a Natural Area Reserve, ‘Ōla‘a Forest Reserve, and Hawai‘i Volcanoes National Park, so animals, insects, and plants are able to move freely between critical habitats along Maunaloa’s southern slope.

56 “We started the project under the Hawai‘i Island Land

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Land Trust

Trust. When we became one land trust, we inherited the first land project in the area. We saw it as an incredibly important project that we’ve continued to this day,” says Scott Fisher, the associate executive director of conservation, and chief conservation officer at Hawaiian Islands Land Trust.

Hawaiian Islands Land Trust is dedicated to continued efforts in preserving native natural forest lands island-wide. In 2015 HILT added over 41 acres of wildlife habitat in Pa‘auilo.

Located mauka (mountainside) on Hawai‘i Island’s Hāmākua Coast, Kaye Lundburg and her family dedicate their efforts to reforesting their property with native plant species.

“There are lots of people like Kaye—people get the satisfaction of leaving a wonderful legacy behind. She has a deep commitment to the land and has been an inspiration for others on the Hāmākua Coast,” Scott says, reflecting back on the project.

Under a canopy of young native ‘ōhi‘a and koa trees, indigenous understory plants are re-introduced, fostering Kaye’s vision of conservation. In working with Hawaiian Islands Land Trust, the family is reassured their stewardship will continue, protecting the burgeoning forest from future development.

KeOlaMagazine.com | July-August 2019

He ali‘i ka ‘āina; he kauwā ke kanaka (The land is a chief; man is its servant) Hawaiian Islands Land Trust is working to create an enduring agricultural legacy on Hawai‘i Island, supporting sustainability by protecting rich agricultural lands. “Sustainability is the heart of what we do,” Scott explains. Despite the abundance of food available on the island, agricultural lands are being rapidly developed, putting our food security at greater risk. HILT aims to partner with farmers to keep their lands producing while protecting it from future development, both of which are vital to Hawai‘i Island’s future.

Up an old Ka‘ū road where the wind is called out to by name, Kuehu Lepo (dust-raising wind), HILT purchased a conservation easement for a 211-acre macadamia nut farm. Owned and farmed by the Grassman family, in purchasing the easement it ensures the land will be available for farming indefinitely.

“The Grassmans are so dedicated to seeing the value in conservation of Ka‘ū. They farm using innovative farm management techniques, and are really great people. Probably one of the nicest aspects of my job is working with and learning from the landowners that have so much passion for the land,” Scott says, reflecting on the project.

One tool HILT uses to preserve land is through conservation easements. It is permanent encumbrance on the land so that 57 A protected forest in Volcano. photo by Brittany P. Anderson

KeOlaMagazine.com | July-August 2019

ÿÖhiÿa lehua blooms in the conservation zone of Volcano. photo by Brittany P. Anderson

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whoever owns that land must adhere to the conservation easement. “Our policy is to work with willing landowners, and those landowners become our collaborators,” Scott states.

HILT works with individual landowners, community organizations, and local government to protect what we love, and seek, from Hawai‘i Island’s natural landscape. The trust has several options for placing a conservation easement on a property. Depending on acreage and potential for development, landowners may wish to donate the loss in value, which is tax deductible with HILT’s 501c3 status, or the easement can be purchased. Under certain circumstances HILT may also purchase land. The trust currently owns and maintains five such preserves though none are located on Hawai‘i Island.

“We look at lands that are threatened with development. If we don’t step in, it will be purchased by someone and those conservation goals will be lost forever,” Scott explains.

Hawaiian Islands Land Trust approaches each partnership as their kuleana (responsibility), with great respect for the diverse landscapes of our island home, and reflection on their individual impacts on future generations. With a foot in the past, one in the present, and a vision for the future, HILT ensures that the island we pass forward is better than the way we received it. This sentiment rings true not just for wildlife habitats and agriculture, but it also applies to culturally significant locations.

Mai nā kūpuna mai (From the ancestors) The shoreline of North Kohala with its rugged black lava and twisted kiawe trees holds substantial importance for Hawaiian culture. The area was once a thriving pre-contact community, with boundaries that extended to the horizon. The Kaiholena ahupua‘a (district) was once so sought after that during the mehele of 1848, two chiefs traded their ancestral lands on O‘ahu for the rights to parcels in Kaiholena.

Traces of the village can still be found today including burial sites, house structures, and more than 200 sites that qualify for the National Register of Historic Places. Places of such rich cultural and historic importance provide a deep ancestral connection as well as offer the ability to study pre-contact Hawaiian civilization.

Only a few years ago, all these ancient sites were on the verge of being sold and lost forever. Kohala residents, community volunteers, HILT, and government agencies worked together and, in 2015, announced the permanent protection of 35 acres of Kaiholena South, along the North Kohala coastline.

“We want to work to protect these special places within our community and ensure the values of the community are mirrored in the conservation goals for the area,” Scott says, looking back on the project.

Kaiholena South contains a portion of the Ala Kahakai Trail, a footpath used by ancient Hawaiians, connecting over 200 ahupua‘a. Today, a walk along the Ala Kahakai Trail in Kaiholena South is possible thanks to the steadfast work by community members, keeping the connection to the ancestors alive for a thousand more generations.

Protected land of Kaiholena. photo courtesy of HILT

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to feed the people of our island until the end of time. The words of Leimomi Akana, author of the book Hānau ka Ua: Hawaiian Rain Names, play over in my head, “Our kūpuna thrived, and by caring for the ‘āina created abundance. As their descendants, we must strive to do the same.” With Hawaiian Islands Land Trust, we will be remembered as the kūpuna that preserved Hawai‘i Island, passing it on better than we received it. ■ For more information: hilt.org

Entrance to the Kona Cloud Forest. photo by Brittany P. Anderson

KeOlaMagazine.com | July-August 2019

The Hawaiian Islands Land Trust serves the land and the people who love it with unending dedication. By keeping the legacy of the land alive, indigenous species may flourish, farmers can continue to farm, and the culturally significant relics of Kaiholena may keep their place in the sun forever.

There are ways to participate in land conservation beyond dedicating easements. HILT encourages communities to get involved through their Talk Story on the Land free guided hikes and volunteer opportunities. This December the Hawaii Island Paina will be held at Merriman’s in Waimea, for a farm-to-table culinary event to benefit Hawaiian Islands Land Trust.

As I plant new avocado trees on our farm, I can’t help but wonder what it would be like knowing my farm would be able

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Oceanside section of the Ala Kahakai National Historic Trail. photo by Brittany P. Anderson

Perpetuating Tradition, Creating Cultural Practice

By Marcia Timboy

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custom can be a protocol

or belief that has been practiced by an individual or a group for a long time. When a custom is transferred from generation to generation, it takes the form of tradition. Tradition can be explained as a custom that people have been following for a very long time.

In 2008, the Royal Order of Kamehameha, Heiau o Mālamahoa, organized a committee to provide clarity on the issue of a protocol practice. Would the restoration, revitalization, and creation of such a protocol have the validity, viability, and potential of positive impact on the

Kaÿimiäina Bourne, originally from Aotearoa, New Zealand, demonstrates his family’s haka at the recent haÿakoa conference held in Hilo. photo courtesy of Pua Ishibashi

Haÿakoa conference attendees learn a haÿakoa. photo courtesy of Pua Ishibashi

KeOlaMagazine.com | July-August 2019

lāhui—the Hawaiian community?

As other Polynesian societies practiced protocols to unify and empower themselves prior to conflict or battle (most notably, the Māori haka, New Zealand’s war dance), it can be assumed that Hawaiians had similar protocols. Exactly what these may have been are no longer known today. Loss of such ancient protocols are attributed to two historical events: 1) the unification of the Hawaiian Islands by Kamehameha I, thus producing a period of the absence of active warfare; and 2) the dismantling of the kapu system (religious law).

Consequently, all haka-like protocols practiced in Hawai‘i are presently recognized as modern construction with varying degrees of cultural competency.

The Royal Order concluded that in the absence of a recognized traditional cultural protocol exemplifying a strong kāne (male) energy, one must be created, which would benefit the lāhui today; however, such practices must be created in as culturally authentic means as possible.

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Ha‘akoa: Dance of the Warrior The definition of ha‘akoa incorporates ha‘a (bent knee dance style) and koa (brave, fearless, courageous, warrior, hero) or simply, dance of the warrior. Ha‘akoa does not refer to any specific dance, but to a style of dance that is done with bent knees and is ho‘o koa (warrior energy). Ha‘akoa are kāne cultural protocols that are clearly and uniquely Hawaiian: language, movement, ‘ike (feeling), and mana (spiritual power). Ha‘akoa are modern compositions that include lua, ha‘a, hula, and mele that may be hundreds or thousands of years old. Ha‘akoa may include the use of instruments such as the ipu (gourd) and pahu (drum), as well as mea kaua (warrior implements). Ha‘akoa are free from kapu and may be embraced by anyone, kāne and wāhine.

Hilo brothers Pua Ishibashi and Sky Ishibashi were (and still are) instrumental in the education, practice, and perpetuation of ha‘akoa, as a culturally competent and appropriate protocol.

Both are members of the Royal Order of Kamehameha, and active within the Hawaiian community. Together, they share a fundamental understanding of the Hawaiian culture, lua (Hawaiian martial arts, hula (dance) and ‘olelo Hawai‘i (Hawaiian language.) These skill sets put them in the unique position to create ha‘akoa.

A ha‘akoa conference held on March 26, 2019 (Prince Kūhiō Day) was the follow-up event to further define, educate, and perpetuate the ha‘akoa to the lāhui and broader community.

Pua and Sky acknowledged the potential the protocol would

bring to the lāhui, and over the years have compiled research and gained mana‘o (wisdom) on the Hawaiian ha‘akoa (dance of the warrior), having been involved with its perpetuation since 2008. Both are founding members of ‘Ahahui Ha‘akoa, an organization dedicated to the education and perpetuation of the ha‘akoa, as well as being members and officers of the Royal Order of Kamehameha I. (Pua and Sky would like to thank the Royal Order of Kamehameha, Māmalahoa, Office of Hawaiian Affairs, and Kamehameha Schools, for their support in the presentation of the 2019 Ha‘akoa Conference.)

“Our kāne required a strong masculine protocol, but it did not exist. As such, we were forced to borrow from our Maori cousins and use their haka. Others attempted to Hawaiian-ize the haka by using Hawaiian words and re-label it as ha‘a, while others attempted to create something Hawaiian with varying degrees of cultural competency. The ongoing issue here is one of resources—to create ha‘akoa with cultural competence and integrity requires resources. These resources include, but are not limited to an understanding of Hawaiian language and culture, hula, ha‘a, and lua. Unfortunately, most of the ha‘akoa being created and practiced falls short in one or more of these areas,” shares Pua. Today’s Innovation, Tomorrow’s Tradition The study of tradition is a subject of various academic fields in social science including anthropology, archaeology, and biology. According to sociologists, three things are necessary to make a practice a tradition: (1) a large number of people must participate in the practice or recognize and accept what it is; (2) it must be passed down from one generation to another; (3) it must honor, respect, or acknowledge the past.

Sky Ishibashi (right) teaching a haÿakoa, with Aliÿi ÿAimoku David Heaukulani (high chief of Mämalahoa), at the recent haÿakoa conference. photo courtesy of Pua Ishibash

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KeOlaMagazine.com | July-August 2019

Most sociologists believe a protocol must be carried on for at least three generations (75 years of continuous practice) before it can be considered a tradition.

“As cultural practitioners who create, practice, and share ha‘akoa, we must ensure that what we are doing is culturally competent. Because what we create today as innovations may one day be recognized and accepted as traditional cultural protocols,” shares Pua. The insightful words and mana‘o of cultural historian Dr. George Kanahele are to be considered as the guideline for such an undertaking: “Understand, therefore, that the Renaissance does not mean a literal rebirth of classical Hawaiian traditions, dances, chants and so forth. To believe otherwise is to make a fetish out of tradition. We’ve lost too much already. Who knows, for example, what a truly traditional, pre-1778 chant sounds like? And even if we did, could anyone recreate it exactly? Who would want to anyway? Creative artists are not mindless copycats. They strive to express their own selves and their own time. Consequently, todayʻs chants are not the same as those of 1778. They are different, yet they still retain some identifiable characteristics that we can call Hawaiian. What precisely are those characteristics, those standards by which we judge what is artistically and culturally honest, are sometimes questionable. Sometimes they lead to arguments. And, God knows, we have a lot of arguments among Hawaiians. Maybe that, too, is evidence of dynamic culture. I don’t know. At any rate, while we try to insist on certain standards of cultural integrity and authenticity, we must realize the historical reality of inevitable change. Thus, in our efforts to rediscover our roots, to reaffirm our heritage, to revive our past, we cannot always be too clear about precisely what we are rediscovering, reaffirming, or reviving. It may well be that much, if not most, of what we are reviving is new traditions that look like old traditions.” (G.S. Kanahele, The Renaissance, 1979) Though ha‘akoa celebrates Hawai‘i’s proud warrior heritage and the virtues of strength and honor, they are not associated with the ancient Hawaiian religion, or death and darkness. So, why the aggressive warrior energy? Ha‘akoa are referred to as dances of the warrior because they are protocols that will unify and empower an individual or group relative to overcoming an enemy. The battle is the process to overcome whatever the challenge or obstacle (enemy) may be. The challenge may include ourselves, others, governments, false doctrine,

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Conference panel (left to right): Kaÿimiäina Bourne, Sky Ishibashi, Aliÿi ÿAimoku David Heaukulani, Desmond Haumea, Pua Ishibashi, and Daniel Kikawa present and explain haÿakoa concepts during the question and answer segment. photo courtesy of Pua Ishibashi

Eia Hawai‘i* Eia Hawai‘i a he moku A he kanaka ‘eā ē!

A he kanaka ‘eā ē!

A he kama na Kahiki He pua ali‘i mai Kapa‘ahu

Here is Hawai‘i, an island A Hawaiian man!

A Hawaiian man!

A child of Kahiki (Tahiti/East) A royal flower from Kapa‘ahu Hawai‘i Island He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

Mai Moa‘ulanui a kea Kanaloa From Moa‘ulanui Kanaloa a Hawaiian man He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

A he mo‘opuna na Kahiko A grandchild of Kahiko Laua ‘o Kapulanakehau And Kepulanakehau He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

He kanaka Hawai‘i ‘eā ē!

A Hawaiian man!

“Eia Hawai‘i” is a chant with origins to the 12th century.

According to Abraham Fornander, High Chief Mō‘īkeha sailed to Hawai‘i from Kahiki (Tahiti) in the 12th century. Seeing Maunakea from a distance, the royal canoe headed towards Moku o Keawe (Hawai‘i Island). Upon arriving in Hilo Bay, the Chief’s hānai (adopted) son and navigator, Kamahualele, stood on the pola (platform) of the royal canoe and began this mele (chant) to convince High Chief Mō‘īkeha that this was a good place to make their new home.

In 2018, Ali‘i ‘Aimoku David Heaukulani (High Chief of Māmalahoa) commissioned the creation of a ha‘akoa for the practice and benefit of Māmalahoa. The creation was a collaborative effort between Sky Ishibashi, Kaimi Bourne, Pua Ishibashi, and Wally Wong. *The result is a ha‘akoa based on Eia Hawai‘i. Shortly after its creation, Ali‘i ‘Aimoku David Heaukulani proclaimed Ha‘akoa Eia Hawai‘i a makana (gift) to the lāhui (kāne & wāhine) for its use and benefit.

Historical Note: Fornander (1812–1887), a loyalist to the Kingdom of Hawai‘i, was also a journalist, historian, author, ethnologist, judge, member of the Privy Council of the Kingdom of Hawai‘i, governor of Maui, and member of the Royal Order of Kamehameha I.

or unrighteousness in high places. The message and intent of ha‘akoa are not to harm, but to show unity and commitment to overcome the challenge. The energy and ferocity of ha‘akoa chants and movements symbolize how the “enemy” will be dismantled, overcome, and defeated.

Besides being dances of the warrior, ha‘akoa honors the kūpuna (ancestors) and Hawai‘iʻs proud warrior heritage with the virtues of aloha (love), koa (strength), lōkahi (unity), and mana. As such, ha‘akoa may be used to not only empower those facing a challenge, but also honor those who have successfully overcome challenges. Ha‘akoa can benefit the lāhui in many different ways and at many different levels, physically, mentally, and spiritually.

The resurgence of cultural protocols like ha‘akoa can serve as an inspirational message to others in the global community, as well. ■

For more information: haakoa.com/ mamalahoa.org/kamehameha/royal-order-of-kamehameha-i/ kapalama.ksbe.edu/archives/PVSA/primary%202/79%20 kanahele/kanahele.htm oha.org ksbe.edu

Conference attendees learning a haÿakoa. photo courtesy of Pua Ishibashi

#2 Ao Side Up Born the light of new consciousness

The Power Of Hawaiian Wisdom

KeOlaMagazine.com | July-August 2019

MANA CARDS

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KeOlaMagazine.com | July-August 2019

Hilo’s History

Through the Banyan Trees

By Denise Laitinen

D

uring the 1930s, a virtual who’s who of celebrities, sports stars, and politicians including our nation’s 32nd president all made their way to Hilo. While here, many participated in planting a banyan tree on the Waiākea Peninsula. The result is one of the crown jewels of Hilo: 50 majestic trees gracefully lining Banyan Drive, providing a magnificent canopy of shade for those who stroll or drive along this scenic route.

“The trees are a window into the history of Hilo,” says writer and forensic anthropologist Jane Lasswell Hoff. The Hilo 66 resident is more than an avid history buff. She literally wrote

the book on the trees’ history, The Trees of Banyan Drive.

The guidebook is a handy reference, because even though the trees have markers in front of them, many of the brown wooden signs are rotted or missing.

What are Banyan Trees Banyan trees (Ficus benghalensis) are actually fig trees.

There are more than 750 species of banyan trees worldwide, with several varieties planted along Banyan Drive. Banyans are strangler figs, explains Mike Shanahan on his blog, Under the Banyan. Author of the book, Gods, Wasps, and Stranglers:

Many of the trees along Banyan Drive were planted long before the road was created. photo by Denise Laitinen

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The daughter of James Campbell, one of Hawaiÿi’s biggest plantation developers, Abigail Wahiÿikaÿahuÿula Campbell became known as Princess Kawänanakoa upon her marriage to Prince David Laÿamea Kahalepouli Kawänanakoa Piÿikoi. She went on to become a political leader, advocating for the rights of native Hawaiians. photo by Denise Laitinen

KeOlaMagazine.com | July-August 2019

The Secret History and Redemptive Future of Fig Trees, Mike writes that the trees are “pollinated only by their own species of tiny wasps that breed only inside the figs of their partner trees. Growing from seeds that land on other trees, the roots smother their hosts and grow into stout, branch-supporting pillars that resemble new tree trunks.”

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Film Stars, a President, Explorers, and a Baseball Slugger Hilo in the 1930s looked very different from today. Although Hilo Airport had been completed in 1929, most visitors arrived by ship at Hilo Harbor. Adjacent to the harbor, Waiākea Peninsula, encompassing Reed’s Bay, Lili‘uokalani Gardens, Moku Ola (Coconut Island), and Waiākea Village, was a mix of private homes, dirt roads and overgrown vegetation. There were no hotels yet; in fact, the Rose family owned a house on the site of the current Grand Naniloa, and the banyan tree in front honors them.

“Hilo was the first stop when people traveled around the islands back then,” explains Jane. “A group of people, including the county council, decided to create a scenic drive from Lili‘uokalani Park to the docks,” adds Jane. “The park was here and there was a bridge across Reed’s Bay from the dock, but there was no Banyan Drive at the time. They planted the first banyan trees before there was even a road here.

“Cecil B. DeMille was the first one to plant a tree,” says Jane.

In Hilo filming a movie, the director, his wife, and members of his cast planted banyan trees on October 20, 1933. Other trees planted that day include one by Constance Adams DeMille (Cecil’s wife); actor Herbert Marshall and his wife, Edna Best Marshall; actress Mary Boland; actor William Gargan; and actor and conservationist Leo Carillo.

A week after that first tree planting, Babe Ruth arrived in Hilo to play an exhibition game. The baseball legend planted a banyan tree on October 28, 1933, on his first day here. The tree he planted still stands in front of what is now the Hilo Hawaiian Hotel.

Plans for a more formal Banyan Drive were quickly put into motion when it became known that President Franklin Delano Roosevelt (FDR) would be visiting. Arranging for the president to plant a tree was challenging because his legs were partially

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A Link to History Many of the trees were planted between 1933 and 1935 because the beautification group had received a grant for the trees. “One of the most intriguing things,” says Jane, “is that the trees reveal what Hilo was like in a bygone era.

“We tend to think of Hilo as always being this sleepy little town, but the people coming through town, one after another, were incredible. Most of these people came through here because of the ships coming to Hilo.

“Amelia Earhart planted her tree, just five days before she set a world record flying from Honolulu to Oakland,” says Jane.

KeOlaMagazine.com | July-August 2019

In the 1930s, the home of Otto and Harriet Rose stood on what is now the Grand Naniloa Hotel. Otto’s mother was a cousin of King Kamehameha III and his niece was Anna PerryFiske, the namesake of Anna Ranch in Waimea. photo by Denise Laitinen

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Trrical Fllls and AAangements

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Baseball legend Babe Ruth planted a banyan tree the first day he was in Hilo for an exhibition game. Jane Hoff wrote the book Trees of Banyan Drive describing the history of the trees and each person for which they are named. photo by Denise Laitinen

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When it was learned that President Roosevelt would visit Hilo and accepted an invitation to plant a banyan tree, there was a flurry of activity to clear brush and create a drivable road on Waiäkea Peninsula. photo by Denise Laitinen Other tree honorees included Peng-Chun Chang, who wrote the Universal Declaration of Human Rights for the United Nations. “He was a really spectacular person,” says Jane.

Artic explorer Lincoln Ellsworth planted his tree on his way to Antarctica and becoming the first person to fly across the frozen continent.

Some of the trees are named for people who left a lasting impression on Hawai‘i Island. Thomas Jagger, the founder of the Hawaiian Volcano Observatory, had a tree planted in his honor, as did Albert MacKenzie. A forestry ranger, MacKenzie oversaw the planting of ironwood trees along the Puna coastline in an area that now bears his name: MacKenzie State Recreation Area.

A tree is planted in honor of the daughter of James Campbell, one of Hawai‘i’s biggest plantation developers.

Abigail Wahi‘ika‘ahu‘ula Campbell became known as Princess Kawānanakoa, upon her marriage to Prince David La‘amea Kahalepouli Kawānanakoa Pi‘ikoi. After her brother-in-law Prince Jonah Kūhiō Kalaniana‘ole died in 1922, she became a

political leader, advocating for the rights of native Hawaiians.

Roman Catholic Bishop Stephen Alencastre; James West, first chief officer of the Boy Scouts of America; Japanese labor organizer Toyohiko Kagawa; Sun Fo, Chinese official and the son of Sun Yat Sen, the first president of the Republic of China; and musician Louis Armstrong all had trees planted in their honor.

Sometimes History is Not Clear Cut Not everyone who has a tree planted in his or her name actually planted the tree. For instance, the tree planted in honor of Britain’s King George V (grandfather of present-day Queen Elizabeth II), was planted by two Hawai‘i residents in honor of the king’s silver jubilee.

Richard Nixon planted a banyan tree in 1952 when he was still a senator and in town to give a talk at a political dinner. Jane explains that the original tree Nixon planted was destroyed in the 1960 tsunami. However, his wife, Thelma Catherine “Pat” Nixon, returned to Hilo in 1972, while Nixon was president. She planted two trees on that trip, one for herself and a replacement tree for her husband.

“Some of the trees, we don’t know who planted them anymore,” explains Jane. “Louis Armstrong, I remember seeing his tree within the last 15 years but it has now disappeared.

“No one seems to know what happened to the tree.”

Preserving the Banyan Trees Many of the wooden signs depicting the tree’s honoree are rotted, faded, or missing. Few trees are maintained, aside from that of Babe Ruth and Princess Kawānanakoa. Most

threatening of all, a gall wasp infestation is starting to damage and kill some of the stately banyans. If left untreated, Jane says the infestation has the possibility of wiping out the trees.

There is a working group comprised of business owners along Banyan Drive, as well as other organizations, such as Hawai‘i Electric Light Company (HELCO) and the Hawai‘i Police Department, that are trying to improve Banyan Drive and save the trees.

George Applegate, who spearheads the group, says they are focused on three priorities: beautifying Banyan Drive, improving security in the area, and improving lighting in the area. “The County currently prunes the trees and we’ve asked them to identify who owns each tree,” says George. He adds that the working group is looking to form a nonprofit and implement an adopt-a-tree program, so individuals and organizations can adopt and care for particular trees. HELCO has already installed wiring for new streetlights. They are also working with HPD for better security.

“We’re looking at getting aluminum signs that won’t deteriorate,” adds Jane, stating that they first plan to tackle the tree signs that have incorrect names and rotted signs. They’re also working on adding short descriptions to each sign.

Jane notes that the state chapter of the Outdoor Circle as well the East Hawai‘i Outdoor Circle are involved in preserving the trees, although those groups are encountering bureaucratic red tape in their efforts to keep the trees healthy and reduce the damage from the gall wasp infestation.

“This could be such a tourist draw for Hilo,” says Jane.

“These trees are a window to the history of Hilo.” ■

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Compiled by Peter T. Young and Barbara Garcia

Keaÿau, i ke kai nehe i ka ÿiliÿili.

Keaÿau, where the sea murmurs over the pebbles.

(Pukui, Olelo Noeau, Proverb #1668)

‘Ōla‘a or Kea‘au?

What happened to ‘Ōla‘a? That seems to be the question for some, because in the district of Puna, what once was called ‘Ōla‘a is now called Kea‘au.

Forests once covered much of ‘Ōla‘a—from 1905–1928, they composed part of the forest reserve system within the islands.

The forestlands of ‘Ōla‘a were noted for their growth of ‘ōhi‘a and koa trees, and hāpu‘u tree fern.

At the Mahele in 1848, ‘Ōla‘a was retained by the Crown. It was described as “A very large land, but cut off from the sea

by Kea‘au” (Cultural Surveys).

Kea‘au includes about 60,000 acres of land and is the northernmost of some 50 ahupua‘a (ancient land divisions) found in the district of Puna. Kea‘au extends from the ocean fishery to approximately 26 miles inland, and reaches an elevation of about 3,900 feet. Portions of it wrap around the makai (ocean-side) point of ‘Ōla‘a.

Historically, people typically settled along the shoreline. In this sense, Puna is not typical because much of its coastal areas have thin soils, and there are no good deep-water harbors, so settlement patterns in Puna tended to be dispersed and without major population centers. Villages in Puna were built inland, away from the coast, where the soil is better for agriculture (Escott).

What is consistent and clear from testimony before the Land Commission: there definitely was an ‘Ōla‘a in upper Puna. The testimony is equally consistent and clear that there also was a Kea‘au. Thomas G. Thrum, in his 1894 Hawaiian Almanac and Annual, noted, “The year 1894 witnessed the completion of the volcano road which was begun in 1889. This is a boon to visitors and the settlers in the new coffee district of ‘Ōla‘a, as it affords a fine carriage drive the entire distance of thirty miles.

Regular stages now run between Hilo and the Volcano House every other day.”

In many historical websites and books, it is commonly referenced this way: “Ōla‘a is on the Hilo side of the road and Kea‘au on the Puna side.” Others phrase it, “Ōla‘a being on the North side of the road and Kea‘au on the southeast side.”

Thomas Thrum wrote, “Ōla‘a has come into prominence in the past few years as a most promising coffee center. The opening of the road from Hilo to the volcano, which traverses this neighborhood, was the means of bringing the possibilities of the Ōla‘a lands to public notice as well as within reach” (1898).

Before 1900, coffee was the chief agricultural crop in the ‘Ōla‘a area. Approximately 200 independent coffee planters and six incorporated companies owned more than 6,000 acres of coffee trees.

Soon, sugarcane was in large-scale production. Initially founded in 1899, Olaa Sugar Company leased about 4,000 acres of land, expanded, and eventually became the dominant operation in the region. Plantation fields extended for 10 miles along both sides of Highway 11 between Kea‘au and Mountain View, as well as in the Pāhoa and Kapoho areas.

Construction of the centrally located ‘Ola‘a Sugar Mill was completed in 1902, requiring 51 men working a three-shift operation. This industrial expansion marked the beginning of massive landscape alterations and clearing operations.

A community grew around the plantation. Attention to employee welfare was demonstrated by ‘Ola‘a Sugar Company’s housing program, free medical attention, and recreational facilities. ‘Ola‘a modernized employee housing by building new family units, and relocating outlying houses scattered about the plantation into nine main villages.

Those villages became miniature towns with running water, electricity, schools, churches, stores, clubhouses, theaters, parks, and ball fields. The plantation roads radiated from the villages to cover the cane areas where the men worked. The 1930 plantation census noted a total of 5,999 men, women,

and children residing in 1,098 houses at ‘Ola‘a (HSPA).

The plantation made land available for community uses.

As examples, the ‘Ola‘a Hongwanji was built in 1902. ‘Ola‘a School, an elementary school, began in 1939. Other groups and places were formed using the ‘Ola‘a namesake.

Without clear documentation to explain, The Friend newspaper reported that on April 10, 1951, the ‘Ola‘a Christian Church changed its name to the Kea‘au Congregational Church.

In 1960, ‘Ola‘a Sugar Company became Puna Sugar Company. ‘Ola‘a Elementary School became Kea‘au Elementary

Forming of the Village According to localciting.com, a paper was written in 1937 called “The Ecological Study of the Community: The Keaau Village (Olaa),” by someone referenced as C.T., for an introductory sociology class. “C.T.’s paper is an ‘ecological study’ of Kea‘au village, which was commonly known as Ōla‘a village. What makes C.T.’s work exceptional is the number of maps—seven in all—with their keys—and the exquisitely rendered details they provide. The first map offers a ‘bird’s eye view’ that highlights Kea‘au’s major landmarks and transportation network.”

The paper goes on, “The main plantation buildings and structures are in proximity to the village, as well as roads, footpaths, and railroad lines that service both the plantation and village. Although the focus of the paper is on the village, C.T. devotes the first three maps and half the paper’s narrative to the entire plantation-village complex. Because of the

Puna Honwanji, formerly ÿOlaÿa Hongwanji, was built in 1937. photo from PunaHongwanji .org

KeOlaMagazine.com | July-August 2019

and Intermediate School (later Kea‘au Middle School). In the early 1970s, ‘Ola‘a Hongwanji became Puna Hongwanji. Not all early labels and references were incorrect; a 1914 USGS map appears to correctly label the place once known as ‘Ola‘a, as Kea‘au.

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Maps from localciting.com

plantation camp’s system of roads and footpaths, workers had easy access to the village. The writer also notes, with apparent pride, the centrality of the village: ‘It is interesting to note in Map I that the village enjoys a central position. The mill occupies a secondary position in the scheme of the Ola‘a community.’”

“Of the several maps offered here, this map—Major Social Institutions in Village—brims with details and clearly illustrates the economic condition of the village in the late 1930s.

Although the writer asserts that trade is still at the elementary stage and the village remains dependent on the plantation, what he describes is a growing and bustling community. The map key lists sixty-three ‘institutions’ in the village, including central government and community services functions: the courthouse and prison (number 49), library (53), school (2) and community hall (63), as well as a branch office of a bank (52) and a doctor’s office (26).”

Maps from localciting.com

More History A historic trail once ran from the modern day Lili‘uokalani Gardens area to Hā‘ena along the Puna coast. The trail is often referred to as the old Puna Trail, or Puna Road. There is a historic trail/cart road that is also called the Puna Trail (Ala Hele Puna), or the Old Government Road (Escott).

It likely incorporated segments of the traditional Hawaiian trail system often referred to as the ala loa, or ala hele. The full length of the Puna Trail, or Old Government Road, might have been constructed or improved just before 1840. The alignment was mapped by the Wilkes Expedition of 1804-41 (Escott).

With Western contact, extensive tracts of Puna’s landscape

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were transformed, first with sandalwood export, which began in 1790 and reached its peak between 1810 and 1825 (Puna CDP).

‘Ōhiʻa forests also had to be cleared, field rock piled, land plowed by mules or dug up by hand with a pick. Soon, sugarcane was in large-scale production. The dominant operation in Puna was the Puna Sugar Company, whose plantation fields extended for 10 miles along both sides of Highway 11 between Kea‘au and Mountain View, as well as in the Pāhoa and Kapoho areas. The sugar mill operation ran for just over 80 years, until 1984.

Macadamia nuts and papaya were introduced in 1881 and 1919. Since the closure of the Puna Sugar Company, papaya and macadamia nut production have become the leading crops of Puna. About 97% of the state’s papaya production occurs in Puna, primarily in the Kapoho area, or at least it did until the 2018 lava flow covered much of Kapoho and destroyed many of the farms.

Another thing growing in Puna is housing and commercial buildings. Between 1958 and 1973, more than 52,500 individual lots were created. Current statistics state it is the quickest growing area in the state. Along with the housing boom comes the elimination of agricultural lands, and sometimes small “mom and pop” shops have to make way for other businesses whose management sense the potential for growth. Such was the case 25 years ago when a small shopping center was razed to make way for a fast food restaurant and gas station, and again recently when the Kea‘au Farmersʻ Market complex had to relocate for a chain store to be built.

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This painting, commissioned by businessman Verne Wood to local artist Mango Lehman in 1994, depicts the viewpoint from the Keaÿau Post Office looking across the Old Volcano Highway at what now is the Shell Gas Station and McDonalds. The building at that time was the location of Tanya’s Vegetarian Cafe, Puna Water Services (now WaterWorks), Mrs. T’s Barber Shop, and Keaÿau Natural Foods. The buildings were demolished 25 years ago and WaterWorks was relocated to Hilo, Keaÿau Natural Foods moved into the Keaÿau Shopping Center, and Tanya and Mrs. T retired.

Just like its two names, some call this progress; others call it an era gone by. Whatever it’s called, one thing everyone can agree on is the beauty of the Kea‘au and ‘Ōla‘a areas still remains. ■ For more information/Resources: imagesofoldhawaii.com localciting.com

”

You are

supposed to do music,” Aunty Mahealani

Tiana Malone Jennings

Kuamo‘o-Henry said as she gazed steadily into Tiana

By Mālielani Malone Jenning’s eyes.

“Hawai‘i is opening up your path and refining you for your purpose in the world.”

Tiana left Aunty Mahealani’s workshop that fateful day in 2008 with a song in her heart and a knot in her stomach.

Did she dare to transform her passion into a career?

Haunted by the thought of struggling to support her two young infants with music alone, she was nevertheless thrilled

by Aunty Mahealani’s confidence. Aunty’s words continued to echo through her mind: The ancestors say it’s about acceptance. If you accept that this is your path, you will be taken care of and the ancestors will pave the path for you.

Eleven years later, Tiana is a singer-songwriter who glows with serenity and gratitude, confident in the value of her chosen path.

Together with violinist virtuoso Hawk Devi, Tiana dedicates her clear soprano and melodious ‘ukulele to inspiring and uplifting humanity, strengthening her community, and expressing joy through music. She embraces and experiments with many genres of music, including pop, blues, island reggae, country, bluegrass, gospel, and most recently, traditional Hawaiian music.

Her new album, a mix of pop and traditional Hawaiian music, is set to debut as this issue of Ke Ola Magazine goes to press.

Larish

Musical Roots and a Splash of Hawai‘i By the time Tiana was five years old, she was already playing bass, guitar, piano, and singing harmony. Tiana’s parents and extended family thrived on music, spending their free time jamming together amidst laughter and jokes in a close-knit Chamorro community in southern California.

Tiana’s mother, who is full-blooded Chamorro from Guam,

Tiana and Hawk finding inspiration outdoors. photo courtesy of Premanandi sang soprano and her French-Spanish father played violin and saxophone.

When Tiana was six years old, her parents bought land in Puna. She recalls swimming at the black sand beach in Kalapana one month before Pele reclaimed the beloved landmark in 1990. The lava flows dampened her parents’ interest in moving to the islands, so the family moved to Oregon instead, to be closer to her father’s relatives.

During middle school, Tiana’s passion for singing blossomed

Return to Hawai‘i After her father’s passing, Tiana found herself asking the profound questions at the age of 24: What is life about?

What are we here for? Did God make a 40-hour work week?

Recalling her parents’ land in Puna, Tiana decided to seek clarity on Hawai‘i Island.

Arriving with just a suitcase, she eased into island life by volunteering as a summer nanny for her aunty’s kids in Kona.

Then it was time to confront the jungle that had consumed her parents’ Puna land. With the help of a hānai (informally adopted) uncle and her boyfriend, three days of physical labor cleared enough of a spot in the overgrowth to pitch a tent.

Here, Tiana offered blessings to the land and embarked on the “off-the-grid” lifestyle.

Musical synergy. photo courtesy of Eric Michael Fitt under the guidance of her choir teacher, who lived by the philosophy of striving for excellence and singing for the joy of it. A brave friend of Tiana’s resorted to jumping into a lake to finally convince Tiana to join the well-respected choir, which attracted 100 of her middle school classmates! A decade later, she would come to emulate her choir teacher, coaxing amateur singers to realize the strength of their own voice.

Tiana and her ÿukulele. photo courtesy of Eric Michael Fitt

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Diving into Music After hearing Aunty Mahealani’s words of wisdom, Tiana jumped into music with the same fearlessness and enthusiasm that brought her to the island. She started writing her own songs, and in 2014 she released her first album, Gifts of the Earth. Instead of the term ‘band,’ Tiana prefers to call the talented musicians who accompany her a “musical ‘ohana” (family).

Although Tiana’s musical ‘ohana changes constantly, Tiana is extremely grateful for the partnership of Hawk Devi, the violinist who has stayed with her through it all. Click on a video of Tiana and Hawk playing together, and you will witness the beautiful synergy between them, a synergy that Tiana describes as “magic.”

A violin virtuoso from the age of three, Hawk Devi debuted her first solo at 12 and played Carnegie Hall and Radio City Music Hall at 18. After walking away from classical music, she toured with jazz giant Dizzy Gillespie in Europe for a year simply to attune her ear to improvisation, and she has been improvising ever since.

A Positive Voice in the Community Tiana is deeply committed to building community; she often

plays at local benefit fundraisers and finds great fulfillment in organizing and co-teaching women’s chorus groups in Hilo, Puna, and Hawaiian Paradise Park in the fall and winter. Her lyrics unapologetically explore social issues that affect the community. For example, her song about Maunakea asks, “Where is the money for our indigenous communities?” and her song “Children of the Light” observes “teachers who work for pennies are responsible for our future generations.”

The community has likewise rewarded her with support and opportunities. Rick Jitchaku, of Hilo Ukulele and Guitar, has donated looper peddles, strings, and instruments to her band; provided a space where she can record music videos; and hosted performances by the Hilo Women’s Chorus. Awardwinning local musicians Dennis and Christy Soares, long-time mentors to Tiana, recently gifted her with free printing of her latest CD. In addition, restaurants like the Vibe Café have consistently booked her for performances and sponsored her summer tour.

Tiana has opened for legends like John Cruz, Cyril Pahinui, and Hapa, and she is often asked to collaborate on musical projects. “Koto Iwi,” a song by Maui-based musician Kaleo Phillips, features Tiana as the women’s chorus. It made it to the preliminary round of the Grammys, and Tiana had a blast working on it.

Throughout her evolution as a musician, Tiana remains humble and remembers to have fun, which is the message behind her song “Stay True.” The “Stay True” music video shows Tiana and her musical ‘ohana in light-hearted moments of laughter and frolicking, even using the Target storefront as a playground. Tiana’s performances showcase the deep soul connection that she has to her music and the pure emotion that radiates from that connection.

Every year Tiana looks forward to playing at music festivals across the mainland. “The touring circuit is tons of fun,” she says. During the last summer tour, her daughters, ages 10 and 11, even joined her to sing onstage. With her partner acting as the videographer and sound person, the whole family is part of the action.

Confirmation Feedback from her listeners washes away any doubt or

KeOlaMagazine.com | July-August 2019

Hawk and Tiana. photo courtesy of Eric Michael Fitt

Tiana and her daughters. photo courtesy of Tiana Malone Jennings

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misgivings that Tiana may have about committing to the path of music.

Tiana’s up-tempo original “Children of the Light” includes a sobering interlude about the police brutality experienced by the Standing Rock water protectors in 2016. Two people who were physically present during those attacks thanked her for her truthful narrative, and one gentleman even gifted her with a jar of ashes from the sacred Standing Rock fire.

When Mike McCartney, Governor Ige’s former chief of staff, heard Tiana’s rendition of Israel Kamakawiwo‘ole’s heartwrenching classic “Hawai‘i ’78,” he walked up to the stage where Tiana was performing at the Hawai‘i State Democratic Convention. “Thank you. I heard my ancestors singing through you,” he said.

Tiana was touched to hear these words. A friend had essentially tricked Tiana into playing at the convention, and when she finally learned of the venue an hour before her scheduled appearance, she assumed that she would nix most of her songs that touch on controversial subjects. However, a Democratic staffer encouraged her to play these songs, so Tiana agreed. Tiana was grateful for the positive response— young attendees were even capturing her performance with a wave of smartphones.

Tiana’s songwriting process is deeply spiritual. When she experiences an emotion that yearns to emerge in song, she connects to her na‘au (spiritual center), opens herself up to her higher source, and asks “What can I sing in this song that’s going to cause more upliftment and healing for myself and the world?”

Tiana tunes her instruments to specific solfeggio frequencies, which were used by monks of ancient Egypt for healing purposes. At first she was skeptical about the frequencies, but after seeing the response in her audiences, she knew that these frequencies added an angelic dimension to her music.

She has seen audience members moved to tears, especially when she performs traditional Hawaiian music with these frequencies.

Inspired by her kumu’s observation that the Hawaiian language has a high spiritual vibration, lately Tiana has incorporated traditional Hawaiian music into her repertoire.

Local singer and slack-key master Ben Kaili acts as her Hawaiian music mentor, giving her advice and offering her feedback about her Hawaiian performances.

Tiana’s humble dream is to tour across Hawai‘i, the mainland, and abroad with her family. Reflecting on her journey as a storyteller and truth-bringer, Tiana says “I need to stay true to myself. By doing that I am uplifting myself, healing myself and the world around me.” ■ For more information: offthegridmusic.org Tiana and Hawk with long-time benefactor Rick, owner of Hilo Ukulele and Guitar Shop. photo courtesy of Matty Malone Jennings

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st July – Augu ke Iulai – ÿAuka

2019

Iulai–`A ukake 2019 KeOlaMa gazine.c om

Linus Chao Heart: Jane and Cultural Practice A Dream of the ating ests Traditions, Cre ARTS ting Native For Perpetuating ces by Protec our Res RE l ura LTU CU ing Nat ITY Preserv SUSTAINABIL

Featured Cover Artist: Melissa Michelle Chimera and group portraits among native and introduced species.

Melissa hopes to continue exhibiting locally and abroad. She says, “My favorite projects have been collaborative. Inheritance: Land and Spirit, for example, is a painting-poetry collaboration with my mother, poet Adele Ne Jame, for the Sharjah Biennial in the United Arab Emirates. She curated and participated in The Far Shore, about the Arab immigrant experience last year for the Arab American National Museum.”

Museums are Melissa’s food and water. She shares, “I need them like air to breathe in order to see materials and subject matter with which artists are experimenting. The kernel of an idea usually evolves with a great deal of research and reading.

A thought-provoking image or idea can come from anywhere— hiking in the forest, on the street—but it usually needs to percolate a while before it matures and comes together.”

Melissaʻs work can be found on her website as well as at Tiffany’s Art Agency in Hawi.

For more information: melissachimera.com

Table Of Contents Photographer:

Georgia Michalicek

Georgia Michalicek moved to Hawai‘i Island in 2018 from Sedona, where she specialized in southwest landscape photography. She has shown her photographs in several galleries and juried art exhibitions in Arizona, winning a variety of awards. She was honored to display a solo exhibit of her work entitled Joyful Elements at the Herberger Theater Center in Phoenix, AZ, where she also served as an art curator.

Georgia’s focus, no matter the location, is to become aligned with the energy of a place while creating her compositions before she clicks the shutter on her Nikon D600 camera. Her new home in East Hawai‘i offers the perfect combination for her fine art photography of the four elements—earth, air, fire, water—and sacred places.

KeOlaMagazine.com | July-August 2019

Melissa Michelle Chimera is a Honolulu native of Filipino and Lebanese ancestry, who moved to Honoka‘a almost a year ago with her husband and son. Melissa studied natural resources management at University of Hawai‘i at Mānoa. She spent the first part of her career as a conservationist, working for The Nature Conservancy and National Park Service, preserving endangered species on Maui—plants and animals otherwise unknown to the world—which she now interprets as a painter.

Initially Melissa began painting to bring awareness to forgotten native Hawaiian birds, flowers, and trees, reflecting, “The kama‘āina unknown to even those like myself who were born and raised here.” For Melissa, this desire to discover and bring forward truth as an ethical observer now extends to other subjects like invasive species in Hawai‘i, the global refugee crisis, immigrants (like her Filipino grandparents who were sugarcane field workers) and those discarded by war. Melissa says, “I use the formal qualities of painting (surface, subject, color) to convey matters that in my mind are reaching a crisis point.”

Melissa has always painted in oils; however, the mediums she uses have changed over time. These substances range from fast-drying Liquin to old-fashioned slow-drying high gloss resins like Venetian turpentine. Her canvas of choice is linen, where she leaves part of the canvas unpainted to show the weave of the fiber. She recreates painted damask patterns that appear like woven fabrics, a reference to her Lebanese ancestors who were immigrant tailors working in cotton mills at the turn of the 20th century. Melissa is now interested in textiles and paper/ canvas/beading appliques, including her wedding dress and veil currently on view in her solo show Migrant, at the Honolulu Museum of Art. The paintings incorporate her genealogy as the granddaughter of immigrants by situating the individual

For more information: facebook.com/RawElementsPhoto

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Crossword Puzzle | By Myles Mellor

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

Some answers are in English, some are in Hawaiian. Feel free to use the Hawaiian reference library at wehewehe.org. Answers can be found on page 85.

KeOlaMagazine.com | July-August 2019

Your feedback is always welcome.

HIeditor@keolamagazine.com

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Across

Down

1 Long-standing organization promoting education and equity for women, abbr.

4 Religious law in Hawaiian history 7 Hawaiian word for a brave and fearless warrior 9 To feel, in Hawaiian 10 Lobbying group, for short 11 Man or boy 12 Groundbreaking 14 Hawaiian for warrior energy 17 Island artists, Jane and Linus 18 Before noon 20 Hawaiian for "creeping mist"- 2 words 22 Lavish celebration 24 Hawaiian for dawn 26 Greeting 27 Hawaiian word for gourd 29 Scarlet honeycreeper 32 Hawaiian word meaning at, in or on 33 Hawaiian bent-knee dance style 34 Native environment 37 Hawai‘i Island seaport 39 Pork, for one 40 High tech astronomy center educating Hawaiian students

1

2 3 4 5 6 7 8 13 14 15 16 17 19 21 23 25 28 30 31 33 35 36 38

Goal Hawaiian word for shadow Aloha (plural) Hawaiian word for fish spear Measure of land Craving Strong energy in Hawaiian Join (with) ____nut, fruit that gives milk Beehive product Wild pig Friend Dove's sound Hawai‘i Island mountain, 2 words Leaf, in Hawaiian Hawaiian word for beckon or wave Hawaiian organization that conserves lands that promote the long-term well being of Hawai‘i, abbr.

Hawaiian for drum Hawaiian word for spiritual power Business degree, abbr.

Breakfast meat Hawaiian word for fire or lightning Up to, for short Island black insect

One Gallery The inspiration behind One Gallery was to provide a place for Hawai‘i Island artists to come create, display, sell, and very importantly be supported and inspired by the other local artists. Several times a week guests come and meet the artists at the gallery and watch the art being created.

Deborah Beaver, owner of One Gallery, moved to Hawai‘i

One Gallery 186 Kamehameha Ave. Hilo, HI 96720 808.961.2781 onegalleryhawaii.com

KeOlaMagazine.com | July-August 2019

Island from St. George, Utah in 2008 with the dream of being a professional artist. Deborah shares, “I had never been brave enough to go out on that limb, and my dream had to wait until my kids were grown and gone, and raising their own families.

The move to the Big Island was so very inspiring and Hilo was the perfect place to make that dream a reality.”

The gallery opened in 2010, and has grown to include more than 70 artists with many different styles and art forms, offering an impressive selection of original and affordable island inspired art. Some of the styles of art on display are

original oil, acrylic, and watercolor paintings, photographs on canvas, stone and wood sculptures, jewelry, Ni‘ihau dyed gourds, CDs from local musicians, candles, soaps, bath “bombs”, ceramic tiles, chocolates, fused glass, gifts, prints, collectibles, cards, and more—all created here on Hawai‘i Island.

Each month one or two of the artists becomes the featured artist of the month with a display of new work in the front window of the gallery.

Deborah reflects, “Over the years we have had some very incredible featured artist displays. On the first Friday of each month the gallery stays open late and provides live music, pūpū [appetizers], wine and beverages to give back and to show all or our customers a fun evening.”

On the second Friday of every month, the gallery offers a fun evening of art and wine.

This is an art class taught by Garry Palm. Garry, a well-known watercolor artist, very skillfully guides attendees of the class from start to finish to create their own little masterpiece.

The gallery provides all the food, wine, other beverages, and all art materials as well as a lot of fun, all for only $35!

One Gallery is open every day from 9am to 6pm, so you can visit anytime!

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

365 Kona

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

Food Hub Kohala

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

Friends of NELHA

FriendsOfNelha.org 808.329.8073

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

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

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

Holualoa Village Association HolualoaHawaii.com

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

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

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

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Island of Hawai‘i Visitors Bureau

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

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

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

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona Commons Shopping Center KonaCommons.com 808.334.0005

KeOlaMagazine.com | July-August 2019

Kona International Marketplace

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KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa

Shelly Batha Art www.shellybatha.com Big Island Locations: Hawi–Elements Hilo–Wild HeArtist Kona–Pueo Boutique

QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events 808.885.9501

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

Konaweb

Palace Theater–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

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

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

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

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

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

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

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

CROSSWORD SOLUTIONS

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

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawai‘i County Band

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

David “Kawika” Wood Burned Oil Paintings™ In Select Galleries and Interior Design Houses in Hawaii

KeOlaMagazine.com | July-August 2019

First Place 2019 and Five Time First Place Winner of the Harbor Gallery Wood Show Featured Artist at The Keei Café and Hawaii Community Federal Credit Union www.kawikaspiritartstudio.com • Studio consults by appointment: 808-965-0747

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

Community Kökua

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

Volunteer Opportunities

AdvoCATS

Bgcbi.com

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

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

Alzheimerʻs Association Aloha Chapter

Kailua-Kona and Hilo Ongoing Variety of volunteer opportunities available.

Patrick Toal patoal@alz.org 808.591.2771 x 8234 alz.org/hawaii

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

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

Donkey Mill Art Center

Boys & Girls Club of the Big Island

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

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

Your path to the end of the rainbow in paradise!

Kona, Kohala, Waimea, and Hilo We Specialize in Quality Service Ethics - Integrity - Excellence

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.

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

ASK US ABOUT “RICKY’S LOYAL OIL CLUB”

D. Kimiko White, RB-17456 O: (808) 885-1229 C: (808) 938-5727 A percentage of every commission is donated to Habitat for Humanity.

KeOlaMagazine.com | July-August 2019

www.RainbowProperties.com

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Shelly, Ricky, and Raymond

QUALITY AUTO REPAIR & SERVICES SAFETY INSPECTIONS BY APPOINTMENT ONLY LOCALLY OWNED & OPERATED

808.329.RACE (7223)

‘Something for Everyone’

808-339-7614

MONDAY - FRIDAY 7:30 TO 5PM 74-5622 ALAPA STREET #3, KAILUA-KONA

35-2032 Old Mamalahoa Hwy. papaaloacountrystore@gmail.com

Hwy. 19 @ mile marker 24

WWW .P RECISION A UTO K ONA . COM

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

Community Kökua Volunteer Opportunities

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

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

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

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

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

‘Imiloa Astronomy Center of Hawai‘i

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/

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

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

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

ReefTeach Volunteers educate visitors on reef etiquette and protection.

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

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

DARIEN GEE

| | | |

Memoir Writing Creative Writing Fiction Writing Write Your Micro Memoir

1-on-1 manuscript consultations, creative support, ongoing writing mentorships, literary agent advice, traditional/self-publication strategies. memoir • fiction • creative nonfiction micro narratives • cookbooks • how to • self-help

(808) 937-7358

dariengee.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

Ku‘ikahi Mediation Center

Snorkel Day for People with Disabilities

Lions Clubs International

Sundayʻs Child Foundation

Make-A-Wish Hawaii

The Pregnancy Center

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

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

Malama O Puna

July 6 (Sat), 9-4 Sept 21 (Sat), 9-4 Dec 7 (Sat), 9-4 Self-Paced, 12 weeks

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots.

Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork.

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

Kona Choral Society

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

with national bestselling author

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

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 Daily Kea‘au Village Market Behind Spoonful Cafe and gas station, Kea‘au • 7am–5pm

Monday–Saturday

West

Saturday

Keauhou Farmers’ Market Keauhou Shopping Center 8am–noon *

✂

Waikoloa Village Farmers’ Market 68-3625 Paniolo Ave., Waikoloa Community Church parking lot 7:30am–1pm g Hōlualoa Gardens Farmers’ Market 76-5901 Mamalahoa Hwy, 9am–noon g

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

Wednesday

KeOlaMagazine.com | July-August 2019

Kings’ Shops Farmers’ Market Waikoloa Beach Resort 8:30am–2:30pm Ho‘oulu Community Farmers’ Market Sheraton Kona Resort at Keauhou Bay 9am–2pm g Kona Sunset Farmers’ Market 74-5511 Luhia St. (HPM parking lot) 2-6pm g

Wednesday–Sunday

Kona Village Farmers’ Market Corner of Ali‘i Dr. and Hualālai 88 Rd. 7am–4pm

1st and 3rd Friday of the Month Mā‘ona Community Garden Friday Night Market 84-5097 Keala O Keawe Rd., Hōnaunau 4–8pm

North

Saturday

Hawi Farmers’ Market North Kohala, across from post office and Nakahara Store 8am–3pm *

✂

Kamuela Farmers’ Market 67-139 Pukalani Rd., Waimea 7:30am–1pm *

✂

Kūhiō Hale Farmers’ Market 4-756 Māmalahoa Hwy., Waimea 7:30am–12:30pm

✂

Waimea Town Market at Parker School 65-1224 Lindsey Rd., Waimea 8am–1pm g Waimea Homestead Farmers’ Market 67-1229 Māmalahoa Hwy. at Lindsey Rd., Waimea 7am–noon

✂

Tuesday

Kekela Farms Organic Farmers’ Market 64-604 Mana Rd., Waimea 2–5pm

Dimple Cheek Farm Stand Hwy 11, Mountain View 10am–6pm

✂

Saturday

Hawaiian Acres Farmers’ Market 16-1325 Moho Rd., Kurtistown 10am–3pm Hilo Coffee Mill 17-995 Volcano Rd., Mountain View (Hwy. 11 between mile markers 12 and 13) 9am–2pm * Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 6am–4pm *

✂

Honoka‘a Farmers’ Market Mamane St., Honoka‘a 7:30am–2pm

✂

Maku‘u Farmers’ Market Kea‘au-Pāhoa Bypass Road 6am–2pm *

Sun–Mon, Thursday Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 7am–4pm

Tuesday Hakalau Farmers’ Market and FoodShare Hakalau Veterans' Park, Old Māmalahoa Hwy. 3–5:30pm *

Wednesday Farmers’ Market Kalapana End of Kalapana-Kopoho Rd. Evenings 5–9pm

Outer SPACE Ho‘olaulea at Uncle Roberts Awa Club, Kalapana 8am–noon *

Friday

✂

Pana‘ewa Farmers’ Market 363 Railroad Ave. (across from Home Depot), Hilo 7am–1pm

First Saturday of Every Month Orchidland Community Association Farmers’ Market Orchidland Dr. • 8am–1pm

Waimea Mid-Week Farmer’s Market Pukalani Stables, 67-139 Pukalani Rd., Waimea 9am–3pm g

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

✂

Nānāwale Community Market Nānāwale Community Longhouse 7am–2pm

Hilo Farmers’ Market Corner of Mamo and Kamehameha Ave., Hilo 6am–4pm *

Sunday

* EBT accepted • g Dog Friendly •

✂

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

Wednesday

✂

Laupāhoehoe Farmers’ Market Next to Minit Stop, Hwy. 19.

9am–1pm

✂

✂

Pana‘ewa Farmers’ Market 363 Railroad Ave., Hilo 11am–5pm

South Sat and Wed

Nā‘ālehu Farmers’ Market Ace Hardware lawn 8am–2pm

Sunday

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

✂

Participant in the 2019 Senior Farmers’ Market Nutrition Program coupon program.

Please send info and changes to michelle@keolamagazine.com

Celebrating a Long Time Advertiser Shirley says, “We are the only true art supply store on the island. We are certified art materials specialists, a certification offered by NAMTA, the International Art Materials Association.

We love to go to trade shows and discover new art materials for our customers!” That kind of knowledge and experience only comes from true art supply aficionados—which is difficult to find online, and that’s the only alternative for buying these types of professional supplies. Johanna expounds, “Fortunately, we have good product knowledge and a lot of experience in the art supply field. Many of the internet sellers do not know their products and their uses well. If we don’t carry something that a customer wants, we make every effort to get it.”

The two women share that their business is growing—the difficulty is keeping up with trends and modern marketing techniques. Shirley mentions, “Hopefully we are young enough to keep up! We work a lot—six days a week.”

What motivated them to get into the art supply business in the first place? Shirley was an art major in college and went on to exhibit in galleries. She later became a photographer and did a lot of work for the Hawaii Tribune Herald as well as the University of Hawai‘i at Hilo. She says, “I am still learning things about new products every day!” She attributes her success to her parents, “They owned their own business and worked hard to make it a success.” Johanna’s background is one of variety—from sailmaking, to NASA technician, to Realtor—all the while crafting, painting, and creating things.

Being in this business is a natural progression for both of them.

Come visit Akamai Art Supply, where even non-artists are sure to find something useful!

Akamai Art Supply Hale Ku‘i Plaza 73-4976 Kamanu St, #108, Kailua Kona 808.334.0292 akamaiart.com

KeOlaMagazine.com | July-August 2019

Akamai Art Supply’s customers come from all walks of life: professional artists, hobbyists, beginners, schoolteachers, children, tattoo artists, lure makers, sign painters, and people who want to change the color of their sofa or dye their jeans.

Everyone is welcome at this art supply and education facility.

People drive from all over the island to this specialty store, which is literally the only one of its kind in the islands.

Akamai Art Supply offers a full range of art, glass, and craft materials from the most affordable kid’s crafts to the most amazing pigments on the planet and everything in between.

They offer many classes including oils, acrylics, watercolor, stained glass, drawing, and more. The store has more than 20,000 items on the shelves, many of them made in the USA, Japan, or Europe.

Shirley Spencer and Johanna Wiseman are long-time residents of Hawai‘i Island—Shirley having moved here 42 years ago, and Johanna, 33. Their foray into the art supply business started with Johanna’s Island Art Supply back in 1996 in Hilo, with business partner Eva Anderson. In 2001 Johanna and Eva opened a second store in Kona, then in 2003 the two stores split into independent entities: Hilo Art and Glass, which Eva continued to run, and Art Supply Hawaii, which Shirley and Johanna operated.

Shirley and Johanna laughingly report they retired from retail in 2006. That lasted about a year and a half, and they were back in the art supply business with Akamai Art Supply. Akamai has been in its current location at the top of Kaloko Light Industrial area (near Costco and Home Depot) since 2013.

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MARKET PLACE

ACCREDITED BUYERS REPRESENTATIVE

Kilauea Lodge

Talk Story with an Advertiser

LAND SURVEYING

KeOlaMagazine.com | July-August 2019

MARKETING HELP

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REALTOR ®

The historic Kilauea Lodge and Restaurant is a rainforest retreat in beautiful Volcano Village, Hawai‘i. This TripAdvisor Hall of Fame-winning lodge features 16 unique accommodations, including four off-site cottages. Amenities include tropical gardens, an on-site restaurant, and a resort hot tub.

Each room encompasses the history of the lodge and the characteristics that make Hawai‘i Island such an unforgettable vacation destination. Local art and flowers, stained glass windows, and all the features of a 4-star hotel make each accommodation the ideal place for your getaway. Each of the rooms and off-site cottages have their own charm, which can be viewed by visiting the Kilauea Lodge website.

Highway West Vacations purchased Kilauea Lodge from Lorna and Albert Jeyte in the summer of 2018. The timing couldn’t have been more challenging—with three months of constant earthquakes and the incredible loss of business due to the Leilani eruption and Hawai‘i Volcanoes National Park being closed. Fortunately, they did not ever have to close their doors or lay off any employees during that time.

Kilauea Lodge was built in 1938 as a YMCA camp called Hale O Aloha. Besides being listed on both the National and State Historical sites, it is home to the International Fireplace of Friendship. The new owners are continuing to welcome guests from all over the world, sharing the aloha spirit.

Director of Marketing Samira Marjani explains, “Our customers are both kama‘āina and those traveling from out of state and country. Guests who are here to explore nature, relax, and celebrate special occasions. Our lodge provides the perfect atmosphere for a serene stay, surrounded by lush gardens and beauty.”

Samira expresses, “We are so grateful to everyone that came to Volcano to support the local businesses last summer. We invite everyone to come experience our enhanced dining menus at our restaurant. Our gift shop also features some of the best local items and keepsakes.”

The Kilauea Lodge restaurant is open to the public and serves some of the best breakfasts, brunches, lunches, and dinners on the island! Dinner reservations are highly encouraged, as this is a very popular restaurant destination.

The lodge also welcomes groups, such as weddings, corporate retreats, and other special events.

Whether you live on Hawai‘i Island or are a visitor, you are sure to delight in an overnight stay or even stopping by for a meal at the Kilauea Lodge.

Kilauea Lodge & Restaurant Highway West Vacations 19-3948 Old Volcano Rd, Volcano, HI 808.967.7366 kilauealodge.com

Team Nakanishi

MARKET PLACE TRAVEL AGENT

Talk Story with an Advertiser

Team Nakanishi, Hawai‘i Life Real Estate Brokers 500 Kalanianaole Street, Suite A, Hilo 808.936.5100 hawaiianrealty.com

UPHOLSTERER

VETERINARY SERVICES

WHOLISTIC HEALTH

KeOlaMagazine.com | July-August 2019

Hawai‘i Life Real Estate’s Team Nakanishi boasts a family of team members— some related, and some adopted—all who have come together for the greater good. Denise Nakanishi became a Realtor® nearly 30 years ago, in 1990. Her eldest daughter Mealoha joined the team in 2005, first as an assistant, and later as a partner, and her middle daughter Kealohanui (Nui) Browning joined in 2017, after selling real estate in Miami.

More team members were added as time went by, including Danny Krause. Denise says, “Not only are the team members hand-picked for their outstanding work ethic and professionalism, we made the business decision to include a professional photographer, three stagers, a team transaction manager and marketing professional.

The decision to include aerial photos as well as professional staging plus exterior and interior photos as part of our services has made all the difference.

Denise served active duty in the Army for 13 years, 2 months and 28 days and has since been known as Major Mom. She reflects, “The discipline and confidence I learned in the military has served me well. I entered with a BA but they paid me to go to college, so I did…a lot!”

Denise loves helping buyers and sellers—she loves the challenges! She says, “We sold over 90 properties last year so managing the workflow requires constant oversight. Market shifts are always a challenge. We are fortunate that in East Hawai‘i, things are affordable so even when things shift, our business is steady. The real estate market is brisk. I don’t see things changing anytime soon, but we keep a close eye on supply and demand. We are here to help buyers find their perfect piece of paradise. We position sellers to be in the best position possible to get their property sold.

Personally, Denise shares, “I’m so proud of my family. I have 10 grandchildren, two of them ‘Ōlelo Hawai‘i. My daughters are very involved with perpetuating the culture and environment on our island. They are all amazing. I learn from them every day. My husband Miles is still with me [in spirit]. He was my biggest cheerleader. Knowing this helps keep me grounded.”

Denise mentions, “Anyone who wants to consider a home purchase on Hawai‘i Island should contact us, even if they don’t think they’re ready. Also, we ask sellers we work with to be our partners.”

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

Advertiser Index

Accomodations

Hawaiian Sanctuary Retreat Center Kilauea Lodge & Restaurant

Activities, Culture & Event

Aloha Theatre Big Island Skydiving Blue Dragon FairWind Big Island Ocean Guides Harbor Gallery Summer Wood Show Hawai‘i Island's Largest Trade Show Hilo Drag Racing Hohoka‘a Chocolate Co. Farm Tour & Tasting Hula Kai Snorkeling Adventures Island Writing Workshops with Darien Gee Ocean Sports Palace Theater

Art, Crafts & Jewelry

Akamai Art Supply Barbara Hanson Polymer Clay Artwork Colette's Custom Framing David "Kawika" Wood Burned Oil Paintings 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 One Gallery Pat Pearlman Designs Shelly Batha Art Simple Elegance Gems Volcano Art Center

Automotive

Precision Auto Repair

69 59 50 48 78 63 3 22 25 6 62 87 64 23 80 72 80 85 72 72 3 72 72 27 72 38 45 23 72 84 24 51 86

KeOlaMagazine.com | July-August 2019

Beauty, Health & Nutrition

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CBD.Center 48 Colloidal Silver made on Hawai‘i Island 91 Dr. Deborah Ardolf & Associates, Naturopath 80 Dr. Eric Mizuba, Healthways Chiropractic 28 Dr. Joan Greco, DDS, Oral & Maxillofacial Surgery 54

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.

I Love Kigelia® Skin Care Serum Katherine Yano, Physical Therapy & Healing Arts Keary Adamson, LMT Medicine Mama North Hawai‘i Community Hospital Quantum Health Hawaii- Ionic Colloideal Silver Reiki Healing Arts

38 78 59 93 6 51 69

Building, Construction & Home Services

Colette's Custom Framing 80 dlb & Associates 90 Hamakua Canvas Co, (Upholstery) 91 Hawaii Water Service Co. 12 Hawaii Electric Light Co. 59 Hawaii PE, LLC+ 16 HomeWorld 75 Indich Collection Hawaiian Rugs 33 Kona Frame Shop 38 Paradise Plants 18 Polynesian Development, Inc. 38 RK Woods 32 Statements 71 Tai Lake Custom Furniture 44 TR's Property Shop, LLC 45 Uncle Tilo's Water Catchment Services 32 Water Works 44 Yurts of Hawai‘i 84

Business & Professional Services

Aloha Kona Kids 27 Employment Experts 55 Hawai‘i Care Choices, formerly Hospice of Hilo 74 Hawaii Community Federal Credit Union 26 Island Writing Workshops with Darien Gee 87 Kamaaina Tech Solutions 93 Netcom 12

Pets

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

Real Estate

Ayche McClung, RS, EXP Realty Beverly Y. Crudele, RS, Clark Realty Clark Realty Coldwell Banker-Daylum Properties Derinda Thatcher's Team Sold

91 8 16 90 46 24 68

Equity Hawaii Real Estate Jeanna Rimmer, RS, Hawai‘i Life Kelly Shaw, RS, Elite Pacific Kimi White, RB, Rainbow Properties Lava Rock Realty Paradise Found Realty Parks Realty LLC Team Nakanishi, Hawai‘i Life Windermere C and H Properties

Restaurants & Food

Ahualoa Farms Bee Boys Honey Shop Kailua Candy Company Kohala Grown Market Päpa‘aloa Country Store & Cafe Peaberry & Galette San Francisco Bay Coffee Bar Standard Bakery Sushi Rock & Trio

Retail & Gifts

Ahualoa Farms Aloha Gift Box Subscriptions Basically Books Bee Boys Honey Shop Hawaii's Gift Baskets Hawaii Cigar & Ukulele Island Clutter Consignment Shoppe Kadota Liquor Keauhou Shopping Center Kings' Shops Kona Commons Shopping Center Mana Cards Päpa‘aloa Country Store & Cafe Paradise Found Boutique Paradise Plants Puna Kamali‘i Flowers Queens' MarketPlace RK Woods Shops at Mauna Lani

Travel

A.S.K. About Travel Mokulele Airlines

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

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

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

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KeOlaMagazine.com | July-August 2019

Ka Puana - Closing Thoughts

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Proverb 405. Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press.

Your Hawai‘i Island Team of Realtors®

Our experienced agents have a keen understanding of the island and provide buyers, sellers, and property owners with a practical approach to the Hawai‘i real estate market. Lava Rock Realty is proud to be a leader in Hawai‘i’s real estate industry and will keep your best interests in mind.

www.LavaRockRealty.com

65-1298B Kawaihae Road, Kamuela, HI 96743 808.887.2500

KeOlaMagazine.com | July-August 2019

~ Residential Sales ~ ~ Vacant Land ~ ~ Investment Properties ~ ~ 1031 Exchanges ~ ~ Property Management ~ ~ Long-term Rental Properties ~ ~ Short Term Rentals ~ ~ Commercial Properties ~

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Celebrating 15 Years as a Realtor!

NORTH KONA

KeOlaMagazine.com | July-August 2019

3bed/2bath • Move-in Ready 545,000 MLS 628865

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MOUNTAIN VIEW

2bed/1bath & 1bed/1bath House/Ohana/Acreage $524,500 MLS 629311

Kelly’s Hawaii Business Magazine Awards: • 2017 Top 100 Realtors To Do Business With, Transactions & Top Sales Honorable Mention • 2014, 2015 & 2018 Top 100 Transactions

LOWER PALISADES

3bed/2bath • Spacious Home w/ Views $599,000 MLS 629004

KONA SUNSET VILLAS 2bed/2bath Jaw Dropping Master Suite $345,000 MLS 628253

KONA WEST STUDIO Income Producing Vacation Rental $125,995 MLS 628286

“Kelly was referred to us. Kelly is everything you want in a Realtor. She is friendly, personal, professional, listens well, asks lots of information soliciting questions, and knows the market.”

Zillow Review