March–April 2016

“The Life” Cel ebrat ing t he a r ts, culture, a n d s us t a inabilit y o f t he H awa iia n I s l a n d s For those who love life on Hawai‘i Island

March–April 2016 Malaki–‘Apelila 2016

KeOlaMagazine.com | March–April 2016

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“The Life” Celebrating the a r ts, culture, a nd susta inabilit y of the Ha wa iia n Isla nd s

March–April 2016 Malaki–‘Apelila 2016

Art 12 Mele Murals: University of Hawai‘i Hilo, Part 2

By Leilehua Yuen

Business

NEW OCEANFRONT HOMES COMING SOON TO KONA!

35 Managing with Aloha: Ka lā hiki ola

By Rosa Say 88 Celebrating a Long Time Advertiser with Ke Ola Plantation Interiors, Teak Garden & Lanai

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Health 47 Ke Ola Pono: Ka Wai Ola

By Leilehua Yuen

28 Puuopelu and Mana Hale Home of Modern Day Ali‘i

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Keiki 43 Hawaiian Immersion Schools Hawai‘i Island

By Tiffany Edwards Hunt

Land 79 Yuca

By Sonia R. Martinez

Music

KeOlaMagazine.com | March–April 2016

71 Laupāhoehoe Music Festival: Celebrating and Supporting the Community

By Denise Laitinen

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20 Caring for Kaloko Fishpond A Valuable Cultural Resource

By Karen Valentine

PRESENTING SEASON

67 Worldwide Voyage Mālama Honua West Hawai‘i Events with the Hikianalia

People 36 To See the Beauty of the Dance: Kumu Lona Warner’s all-inclusive hālau is truly one-of-a-kind

By Kate Kealani H Winter 51 Bridge House: A Sanctuary with Mana Where Recovering Addicts Can Find Peace and Healing

By Karen Valentine 57 Lucille Chung: A Kupuna Extraordinaire

By Paula Thomas 63 The Rebirth of the Kahilu Theatre

By Catherine Tarleton

Spirit

Orchestra

Friday, April 8

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Sat, April 16 & Sun, April 17

“Hawaii Women’s Voices” Sat, April 23 & Sun, April 24

Ka Puana -- Refrain

“In Dis Life”

90 Hawai‘i Tsunamis

By Barbara Muffler

- Tribute to Bruddah IZ

69 75 77 80 82 84 86

Sunday, May 1

Shane Koyczan “Award-Winning Spoken Word Poet”

Friday, May 13

Robert Cazimero

Saturday, May 14

www.kahilutheatre.org

808.885.6868 • 67-1186 Lindsey Rd • Waimea Back issues of Ke Ola available for purchase.

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KeOlaMagazine.com | March–April 2016

Crossword Puzzle Featured Cover Artist: Doug Perrine Farmersʻ Markets Island Treasures Hawai‘i Island Happenings Community Kōkua–Volunteer Opportunities Talk Story with an Advertiser

Hawai‘i Symphony

SHE‘ISLAND

11 Ku‘u Mauna

By Kumu Keala Ching

Departments

UPCOMING KAHILU PRESENTS EVENTS

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Advertiser Index

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ACCOMODATIONS Kīlauea Lodge

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ACTIVITIES, CULTURE, EVENTS Aloha Performing Arts Co. 82 Botanical World Adventures 52 Daniel Sayre Foundation Annual Awards 59 Dolphin Journeys 40 Emily T Gail Show 78 FairWind Big Island Ocean Guides 10 Farm Tours of North Kohala 49 Hawaii’s 1st Sea Glass & Coastal Arts Festival 70 Hawai‘i Volcanoes National Park Tours 44 InBigIsland.com 85 Kahilu Theatre 5 Kohala Zipline 48 Kohala Grown Farm Tours 49 Kohala’s Trash-Bash & Fashion Show 76 Kona Boys 66 Palace Theater 19

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ART, CRAFTS, JEWELRY Ackerman Gallery Akamai Art Supply Cindy Coats Gallery Cliff Johns Gallery Colette’s Custom Framing Dovetail Gallery & Design Dunphy Studios Gallery on the Green at Ho‘oulu Farmers’ Market Genesis Galleries at Queens’ MarketPlace Harbor Gallery & Charms of Aloha Hawi Gallery Art & ‘Ukulele Holualoa Gallery Holualoa Ukulele Gallery Hula Lamps & Tropical Lampshades Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Ipu Kane Gallery Jeannie Garcia, Fine Artist & Oil Painter Lava Light Galleries at Queens’ MarketPlace Mountain Gold Jewelers Pat Pearlman Designs One Gallery Showcase Gallery & Beads Simple Elegance Gems Starscape Gallery at Queens’ MarketPlace Volcano Art Center Gallery

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BEAUTY, HEALTH, NUTRITION Bailey Vein Institute 91 Douglas Dierenfield, DDS 59 Glenn Dundas, MD, Family Practice 58 Hawi Apothecary 48 Intuitive Energy Medicine 82 Jade McGaff, MD, presents the MonaLisa Touch Laser 62 Joan Greco, DDS, Oral & Maxillofacial Surgery 55 Medicine Man 49 Paradissimo Tropical Spa 15 Reiki Healing Arts 42 Restoritive Massage Hilo–Hope Delaney, LMT 80 Revive Wellness 73 BUILDING, CONSTRUCTION, HOME SERVICES Aloha Metal Roofing 89 Colette’s Custom Framing 64 Concrete Technologies 53 dlb & Associates 89 Fireplace & Home Center 32 Hamakua Canvas Co. (Upholstery) 24 Hawaii Water Service Co. 64 Hawaii Electric Light Co. 87 Home Furnishings at Queens’ MarketPlace 27 HomeWorld Furniture 14 Indich Collection Hawaiian Rugs 7 Mason Termite & Pest Control 53 Pacific Gunite 83 Plantation Interiors, Teak Garden & Lanai 34 Sound Handyman Hawaii 74 Statements 30 Tai Lake Custom Furniture 70 Trans-Pacific Design 25 Water Works 25 Yurts of Hawai‘i 78 BUSINESS AND PROFESSIONAL SERVICES Action Business Services 89 Ano‘ano Care Home 23 Budar Insurance 80 Hawai‘i Island Adult Care 76 Hawaii Trust & Estate Counsel 86 Kona Coffee Farmers Association 22 Kona4U Property Care 82 Lee Mattingly, Attorney 87 Nā Manu Li‘i 19 Pacific Island Insurance 55 State Farm Insurance, Robert Shimabuku 24 StorQuest Self Storage 53 The UPS Store 65 Vacation House Check 78 PETS AdvoCATS, LLC Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC Stop Big Island Dog Abuse

Ke Ola 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).

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UA MAU KE EA O KA ‘ĀINA I KA PONO.

The life of the land is perpetuated in righteousness.

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

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Hawai‘i Island Weddings, Honeymoons, and Special Occasions For stories about Hawai‘i Island weddings and to plan all kinds of special occasions, pick up the 2016 issue at many locations island-wide (you can find a list of locations on our website) or you may order a copy to be mailed.

You can also read it using our online magazine by clicking on the cover on our website home page.

Enjoy!

Japanese Gardens at Queen Lili‘uokalani Park in Hilo.

Mahalo to Demien Barrios Photography

The official magazine of

From Our Readers ✿ Dear Ke Ola, I love Ke Ola Magazine. It was a great resource when I was planning my June wedding last year at Laupāhoehoe. Because of Ke Ola Magazine, I found Leilehua Yuen and Manu Josiah to officiate, and though Skylark Rosetti, I found Ben Kaili to play music.

Mahalo!

Katy Brown, Seattle, WA

Corrections Jan–Feb 2016 issue: The country listed in The Old Hilo Hospital story is Sabah (not Saba).

Grandpa’s name in The Kona Hotel story was Zentaro (not Jindero).

We welcome your input and feedback.

You may submit a letter at KeOlaMagazine.com under the contact tab.

Hau‘oli la‘a ulu—Happy Spring!

I love this time of year because the days are getting longer, the flowers are blooming, and our gardens sprouting. There is no literal translation in Hawaiian for the season called Spring, so it’s apropos that it’s been interpreted as la‘a ulu, a time of growth.

I’ve written about what Earth Day means to me in prior publisher’s notes. Suffice it to say, this time of year is my favorite because of its symbolism of renewal. It’s a time to reconnect with our planet, nature, and growth. Watching nature from the inception of a sprout to full maturity—especially when it feeds us—what a miracle nature is! It makes me more hopeful than ever.

I’ve been thinking a lot about ‘ohana, Hawaiian ‘ōlelo (language) for family and what many of us malihini (newcomers) call our hānai (adopted) families, which we form with the ones we are most closely connected to.

When I think of my ‘ohana, I think of my daughter, Mariana, who has lived in Kailua-Kona (on and off ) for half of her life.

She has now chosen it as her permanent home. It gives me great joy to watch her bloom, and to see her relationships deepen within this community.

Like many of you reading this, we’ve formed our other ‘ohana on this island, even if not related by ancestry or marriage. It’s our family of choice and it is so precious. Our Hawai‘i Island community is constantly changing, with people moving here to explore their dreams, and others leaving, sometimes unexpectedly.

It’s our hopes and dreams that keep us moving forward with excited anticipation.

In the spirit of imua (moving forward), I’m pleased to introduce Gayle Greco, Ke Ola’s new General Manager. Gayle became a full-time resident of Kailua-Kona in 2011 and has been writing for Ke Ola since 2013. Her professional background is steeped in the publishing industry, most recently at the Seattle Times and Sacramento Bee. Now in our eighth year, Ke Ola is like a third grader—still a keiki, yet a keiki who knows what direction they’re heading. With Gayle’s added leadership, we are definitely heading in the right direction.

Imua!

Aloha pumehana, Barbara Garcia, Publisher

Heavenly Honu

by Doug Perrine See his story, page 75

KeOlaMagazine.com | March–April 2016

✿ Dear Ke Ola, [I] enjoy your magazine and learning of the culture of the Hawaiian people and island—now home to our daughter and son-in-law. Ke Ola enhances my armchair travels as I look out my windows and see three-foot long icicles hanging from the eaves and snow-covered landscapes. Keep up the excellent work.

Mary Jo Buhr, Cheboygan, MI

Aloha from the Publisher

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

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Ku‘u Mauna | Na Kumu Keala Ching

‘Ae, Ku‘u Mauna Aia la ku‘u mauna ha‘aheo Ha‘aheo iho nō kō Kona ala Laha launa ‘ole he mauna kapukapu Kapu ka hua noho i ka la‘i La‘i ana i luna o ke ao nei Nene‘e maila ka nani o ka ‘Ōpua ‘Ōpua o ka mauna kū kilakila Kilakila ka mauna lei hiwahiwa Eō mai ‘o Hualālai ē Aia la ku‘u mauna kū kilakila Lanakila ku‘u ‘ike, ke ‘ike aku Kūpa‘a ka ‘ahu, ‘Ahu a ‘Umi I kai a ke Akua, ‘Ahu ‘ula la La‘a loa ‘Ākau, ‘Ānaeho‘omalu Malu o kahi pu‘u, Pu‘u ‘Ōhau Au kapukapu i ka Pali lua la La‘i ana i Kona, kahi kapu ē Eō mai ‘o Hualālai ē

My Mountain Upon my proud mountain Proud indeed of Kona Beyond words, a sacred mountain Sacred fruit residing so calmly Calm amongst the clouds Beauty move like the ‘Ōpua ‘Ōpua upon the mountain so majestic Tall mountain with a precious lei Rejoice the name Hualālai Upon my majestic mountain Tall to my eyes, when looked upon Alter steadfast, ‘Ahu of ‘Umi Until the sea of Akua, ‘Ahu ‘ula Sacred indeed, ‘Ānaeho‘omalu Protected is Pu‘u ‘Ōhau Sacred time, the two cliff Calmness upon Hōnaunau, sacred Rejoice the name Hualālai

SPIRIT

Aia la ku‘u mauna kapukapu Kapu malu o Kona, hua lala i ‘I maila ke ali‘i kaulana ko ia ‘āina Nāna mai ke aloha, kupu hou a‘e Eō a‘ela ka maluhia ko nēia ‘āina la La‘i ana i luna o ke ao nei Nene‘e maila ka nani o ka ‘Ōpua ‘Ōpua o ka mauna kū kilakila Eō mai ‘o Hualālai ē Eō mai ‘o Hualālai ē

Upon my sacred mountain Sacred travel upon the fruits of Spirit It is said, famous are the cheifly land It is the compassion, brought forward Rejoice the peace of this land Calm amongst the clouds Beauty move like the ‘Ōpua ‘Ōpua upon the mountain so majestic Rejoice the name Hualālai Rejoice the name Hualālai

He mele ho‘ohanohano iā Hualālai mai ka wā kahiko ā ia lā kūpa‘a. Mai ‘Ānaeho‘omalu, malu o Mauna Kea ā i Honomalino i ka Pali lua ‘o Mauna Loa lāua ‘o Hualālai. Nani nō ‘o Hualālai ku‘u mauna kapukapu ke ‘ike aku me he lei ‘Ōpua kau i ka poli.

Aloha nui i ku‘u mauna ā na ku‘u mauna i mālama ho‘i iā kākou ma Kona nei.

Love of a precious mountain as this mountain protects us all in Kona.

Contact writer Kumu Keala Ching: kumukeala@nawaiiwiola.org

March–April 2016

Honoring a mountain so majestic of her time and into the present. From the sacred north to the sacred south of Kona, Hualālai presents her beauty wearing the precious lei ‘Ōpua upon her bosom.

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M E L E

M U R A L S :

O ke au i ka huli wela ka Honua O ke au i ka huli lole ka lani O ke au i kuka‘iaka ka lā E ho‘o mālamalama i ka mālama O ke au o Makali‘i ka pō O ka walewale ho‘okumu Honua ia O ke kumu o ka lipo, i lipo ai O ke kumu o ka Pō, i pō ai O ka lipolipo, o ka lipolipo O ka lipo o ka lā, o ka lipo o ka pō Pō wale ho‘i Hānau ka Pō

At the time that turned the heat of the earth, At the time when the heavens turned and changed, At the time when the light of the sun was subdued To cause light to break forth, At the time of the night of Makalii Then began the slime which established the earth, The source of deepest darkness.

Of the depth of darkness, of the depth of darkness, Of the darkness of the sun, in the depth of night, It is night, So was night born.

— English translation by Lili‘uokalani

Mele Murals:

University of Hawai‘i Hilo

T

he Kumulipo, a ko‘ihonua, or genealogical chant,

comprised of some 2,000 lines, establishes the

ancestry of the Kalākaua lineage from the beginning of time. As such, it also establishes the genealogy of the Hawaiian people. Lili‘uokalani cited the 18th century prophet and poet, Keaulumoku, as the composer.

The Kumulipo is the most renowned of Hawaiian cosmolgical chants. Its comprehensive depiction of cosmic relationships provides a foundation for understanding Hawaiian perspectives on many aspects of life.

The second Mele Mural project at the University of Hawai‘i at Hilo depicts concepts of the Kumulipo at Hale ‘Ikena, the

Kāne creates the cosmos from an ipu, a gourd.

Part 2

| By Leilehua Yuen

apartment-style residence hall on campus. ‘Ikena means view, seeing, knowing, association, scenery, and knowledge. It is a perfect name for the location of the Kumulipo mural. Kamalani Johnson, the Papakū advisor for the mural says, “We didn’t plan for the name to match the mural like that, but it did work out.”

Kamalani’s initial involvement in the Mele Mural project was in fall of 2014, when he was a senior at UH Hilo. He found the experience so rewarding that the next summer he signed on as a professional staff member. As the Kupa ‘Āina Summer Bridge Program Activities Coordinator, he had the opportunity to expand on his creative involvement with the first mural and coordinate the second.

Hina, woman of many forms and attributes, including goddess of the Moon.

A studentʻs motorcycle appears ready to ride into the cosmos.

‘Io, the hawk, is revered for its high flight and clear sight.

Hawaiian world view and an integral part of the Hawaiian programs at UH Hilo, provides an even deeper sense of place and gives students from all cultures a visual referent for the history and heritage of the islands.

To develop the artistic concept, the students studied the chant and explored its relevance to their lives. They then created their

March–April 2016

The Estria Foundation youth development project combines arts education, cultural preservation, and community building.

All of the murals, which have been developed under the program, give nā ‘ōpio (youth), makua (parents), and kūpuna (elders) a way to share across generations. Depicting the Kumulipo, a chant which is foundational to so much of the

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“Aloha” provides a background for kalo growing in a planter near Hale ‘Ikena. Included in the iconography is Mauna Kea, with its watercourses, and the clouds which bring the lifegiving rain to fill them.

KeOlaMagazine.com | March–April 2016

renderings. Before applying paint to the walls of the building, the students practiced on a shipping container in the parking lot. They explored depictions of ‘aumākua—family guardians or deities—and learned how to scale their concepts into larger-thanlife actualities.

On the Komohana (western) side of Hale ‘Ikena is a wall composed of hollow tile pillars. They have been painted in the billows and swirls of deep space formations, and spell out “Kumulipo.”

Following the word and heading around the corner, Kāne, one of the creator deities, brings forth from his ipu—the gourd—a many-seeded fruit, the depth of night and darkness from which all of creation will grow.

The roiling cosmos spill along the wall, and a celestial hand releases a voyaging canoe into the ocean of space.

The juxtaposition of ancient voyaging tradition and modern motorcycles and scooters brings a smile and sense of continuity.

A dual-sport bike looks ready to ride to galactic center.

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To practice their technique before tackling the final murals, students created an ‘aumākua mural on a shipping container used on campus for storage.

Hina, the cosmic feminine appears. She holds a flame, a seed, light: she nurtures creation.

Continuing around Hale ‘Ikena, ‘io, the high flying hawk, an ‘aumakua and symbolic of ‘ike—to see with knowledge and understanding—flies high against the sunlit clouds.

A mo‘o, another ‘aumakua, rests on the wall. The word, mo‘o, has many definitions. A lizard or dragon, a story, or a genealogical line. All are appropriate in this context.

Next, Hāloa, the kalo plant and ancestor of the Hawaiian people, is depicted. The infant Hāloa is the rootstock, the kumu of the Hawaiian people, and teaches us how to live.

Around the corner, the waters, source of life, flow down the mountains to the sea. Hilo’s iconic Wai ‘Ānuenue (Rainbow Falls) tumbles over it’s pali, veiling Hina’s cave. At the shore, a he‘e, the octopus kinolau (body form) of Kanaloa—sea god and friend of Kāne—rests in the shallows.

A planter filled with kalo, heart-shaped glossy green leaves waving gently, is a good place to pause and see Aloha. This small

not raise their voice, speak angrily, or make rude comments or gestures. How is this connected to an open poi bowl? Because Hāloa (Taro) is the elder brother of humans.

The ancient Hawaiians identified so strongly with taro that the Hawaiian term for family, ‘ohana, is derived from the word ‘oha, the shoot or sucker which grows from the taro corm. As the young shoots grow from the corm, people grow from the family.

A New Land

The fine lauhala sail that Ho‘ohokukalani had plaited caught the wind, and the couple was sailing from the land between the

mural within the mural depicts Mauna Kea graced by a rainbow, a spiral galaxy of clouds swirling above, bright sun shining down, and the waters for which Hilo is famous flowing down the mountain.

Near it is the Kumulipo wall. We have come full circle, back to our source.

The Legend of Hāloa

The waters flow to the sea. Streams are depicted flowing around Hale ‘Ikena, and out to the ocean.

Kanaloa, in his kinolau (body form) of a great he‘e (octopus) reaches across the walls and pillars with his tentacles.

Hāloa, the kalo plant and ancestor of the Hawaiian people, is depicted at the entry to Hale ‘Ikena.

Excerpt from the story as told

by Leilehua Yuen Much Hawaiian culture is based on taro cultivation. For example, you cannot fight, argue, or discuss unpleasant things when the bowl of poi is open. By ancient Hawaiian custom, it is considered disrespectful to fight in front of an elder. One should

clouds to the ocean below. The narrow bow of the canoe sliced through wavelets as it skimmed across the water. Soon, they reached Hawai‘i.

They sailed by various shores, and at last found a valley that could be their home. Wākea beached the canoe and set about building a hale for himself and Ho‘ohoku.

THE ISAACS ART CENTER at Hawai‘i Preparatory Academy, 65-1268 Kawaihae Road, Kamuela, Hawaii. Adjacent to the HPA Village Campus.

HOURS: 10 a.m. - 5 p.m., Tue. - Sat. Admission is free.

For information, or to arrange group visits: 808-885-5884 or isaacsartcenter@hpa.edu.

WEB: http://isaacsartcenter.hpa.edu &

KeOlaMagazine.com | March–April 2016

The Isaacs Art Center features some of the finest Hawaiian and Asian art from the nineteenth and twentieth centuries. All proceeds benefit the HPA Scholarship Fund, which assists promising young people from Hawai‘i in realizing their educational goals.

During March and April 2016, the Isaacs Art Center will host a special exhibit of “Historic Works on Paper” showcasing original prints and watercolors by renowned 18th to 20th century artists: John Webber, Charles Bartlett (Pictured left (top to bottom): Hawaiian Fisherman, Duke Kahanamoku, Surfriders Honolulu), Madge Tennent, Huc Luquiens, and Jean Charlot among other printmakers and watercolorists.

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KeOlaMagazine.com | March–April 2016

The pillars of the wall outside Hale ‘Ikena are used to spell “Kumulipo.”

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First he selected the site. Then, Wākea went to the beach and carried rocks to build the lower wall. He went to the forest and used his stone adz to cut trees for the house posts. He put the bases into holes in the ground and built the stone wall up around them. Then he added the roof poles. He had to cut many fine saplings to make enough ribs to tie the thatching to.

While he built the frame, Ho‘ohoku collected ti leaves and tied them into bundles for the thatch. Wākea spread ‘ili‘ili (pebbles) for the floor and covered them with fine sand.

Ho‘ohoku plaited lauhala to make a floor covering to go over the sand. She trimmed the thorns from the leaves with her sharp bamboo knife. She softened the leaves by pulling them back and forth over the dull side of her knife. She coiled them one way and then the other. Then she began to coil them into wheels, with the diameter the same size as the length of her forearm. When she had enough wheels of leaves, she sorted them by color and decided on a pattern for her mat. Then, with her fingernails, she stripped the leaves into long narrow pieces and began to weave.

At last the hale was complete.

Whether it was because of the stress of the sea voyage, her mother’s curses, or some other reason, Ho‘ohoku began her labor too soon. It was long and painful, and Ho‘ohoku did not have her mother there to help her, but she did not scream or cry.

At last, the baby was born.

This first child was premature, a legless, armless, formless lump of flesh. Ho‘ohoku and Wākea named him Hāloa-naka, but sadly he died. Wākea buried Hāloa-naka at the east corner of the house. Each day Ho‘ohoku tended the burial site. She carried water in Wākea’s ipuwai and gave Hāloa-naka a drink. She stirred the mud as if she were tucking a blanket around her baby. She kept the area clean and free of weeds and animals. In a few days, a tightly furled green leaf poked up through the mud. “Oh, Wākea,” she called, “Look at our son! See how he grows? He stands already!” Ho‘ohoku continued to care for her firstborn son, who grew into a large and handsome taro plant.

Later, Ho‘ohoku gave birth to a human child. He also was named Hāloa. He was perfect in form, intelligent, and handsome.

He grew like any boy, and became a man. He became the

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So now, even today, the descendants of Hāloa-the-elder provide nourishing food for the descendants of Hāloa-theyounger. ❖ Contact The Estria Foundation and Mele Murals: Estria.org Contact writer Leilehua Yuen: kumuleimanu@gmail.com Bibliography Beckwith, Kumulipo, A Hawaiian Creation Chant: Blogs.Ksbe. edu/adakina/files/2008/02/kumulipo-text.pdf Kanaka‘ole Foundation, E Mau Ana o Kanaloa: Kahoolawe.Hawaii.gov/KICC/12%20E%20MAu%20 Ana%20O%20Kanaloa%20Ho’i%20Hou.pdf Lili‘uokalani, The Kumulipo: Sacred-Texts.com/pac/lku

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The Kaloko wall is five times greater than the average fishpond wall size in Hawai‘i—a giant puzzle of interlocking rocks. It is an architectural mastery in rock walls, as it is designed to catch fish without the use of bait or tackle. photo courtesy National Park Service

Kaloko Fishpond provides habitat for the Hawaiian stilt.

Caring for Kaloko Fishpond A Valuable Cultural Resource

| By Karen Valentine

A

long the desolate western coastline of Hawai‘i Island, not too far north of Kailua-Kona, lies a property more valuable than the multi-milliondollar homes and resorts that distinguish the area. At least it was to the ali‘i—the chiefs and chiefesses of Hawai‘i—who knew the value of Kaloko Fishpond. It was a precious resource that fed the people of the land there, and one of three fishponds under the protection of the National Park Service at Kaloko-Honokōhau National Park.

If you follow a dirt-and-rock road leading makai (toward the ocean) from the cars whizzing by on Queen Ka‘ahumanu Highway today, you’ll discover for yourself the oasis with its massive stone wall that divides the ocean surf and the vast, shallow pond filled with silvery fish slapping and jumping in the sunlight.

Legend says the menehune built the first seawall—called a kuapā—or that lines of men miles long passed the pōhaku (stones) hand-to-hand to construct the 30-to-40-foot wide wall stretching 250 yards (the length of two and a half football fields to modern minds) across the entrance to Kaloko Fishpond, which is some 11 acres in size.

This is the structure that saved the culturally significant ponds from the bulldozer during the 1970s, when a development was proposed for the area, says Ruth Aloua, a Native Hawaiian and community volunteer committed to Kaloko-Honokōhau.

“When the developers wanted to develop this land, they said there was nothing archeologically significant, but there was a portion of the original wall foundation that really saved this from development.”

Native Hawaiian community volunteer Ruth Aloua

KeOlaMagazine.com | March–April 2016

The kuapā stood for hundreds of years and was maintained and used as an early form of fish farming into the 19th and early 20th centuries. As the population shifted away from the shoreline that once was dotted with fishing villages, the fish from Kaloko Fishpond were transported to markets in Kailua-Kona for a time. Eventually, the wall fell into disrepair and the ocean gradually deconstructed it, rock-by-rock, in the winter storms.

Fortunately, a foundation remained and so the site came under the stewardship of the National Park Service as part of KalokoHonokōhau National Park in 1978.

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Tropical Flowers and Arrangements

Each month, pond volunteer work days help bridge the gap between the community and the National Park Service. photo by Bill McCowatt

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Ruth, who worked as an interpretive ranger for the park during her years at Hawai‘i Community College from 2008 to 2011 adds, “The whole area around here was conservation land in the 1970s, however this land at Honokōhau was classified as urban, meaning it was to be developed, and that spurred a movement to protect Honokōhau. The fishponds were significant.”

The National Park was formed, and local masons familiar with the ancient Hawaiian building process were consulted and recruited to help the huge undertaking of restoration. The Kaloko wall is five times greater than the average fishpond wall size in Hawai‘i—a giant puzzle of interlocking rocks. No concrete is used, and the stones are not shaped. Local rock wall builders describe the work not so much as placing the rock in the right spot, but listening to where the stone wants to be. The Hawaiians were architectural masters in building rock walls, as this one is designed to catch fish without the use of bait or tackle.

The kuapā is porous. Water flows through and into the wall, helping to absorb the battering energy of the waves.

This description from the National Park Service website describes the ingenuity of the structure: “Watch the water break along the wall. The angle of the kuapā deflects the wave. Notice the pattern of breakers before they reach the wall. The waves build and break on a reef outside. Then they build again. The wall is deliberately placed at the point just before they break a second time, robbing them of their power. Engineers with laser transits and satellite data could not have done better.”

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Ruth grew up in the neighboring ahupua‘a of Kealakehe. She attended schools there and went on to HCC. “I really wanted to work outdoors and with our culture and our people,” says Ruth.

“Being a student allowed me to bypass some of the barriers that local people would usually have in getting work with the agency.”

Getting in touch with the land and learning about it inspired Ruth to do more. “I always wanted to help bring new life and revamp this place like it was created to be in its vision in the 1970s. The vision behind it was to rehabilitate it as a functional landscape with people from the area being allowed to participate.

I want to help the park service do that, to bring the ponds back and allow people to fish from the pond. All fishponds have their own unique mo‘olelo (stories) with their own sense of place.

They are still meant, in my vision, to be food producing. It’s a

part of being self-sufficient. Our ancestors understood how to take care of the ponds and this place.”

Ruth left to finish higher education, first at UH Hilo, where she graduated with a BA in Anthropology before going on to get her Master’s in Archeology at Simon Fraser University in Canada. There, she wrote her thesis as a case study on KalokoHonokōhau.

Her research sought to identify and create opportunities to engage Native Hawaiian communities as archeological research partners in the local area. Her goal was to create a communitybased stewardship plan to help Native Hawaiians share their personal histories and connections to the area.

“The project I developed emphasized the importance of community involvement,” Ruth says. “I wanted to work with my community to understand how they thought the Park Service could better fulfill the goals set out in the park’s enabling legislation. I also hoped to make things better, by creating recommendations for the Park Service, so that they could better work with kanaka ‘ōiwi (Native Hawaiians) and other locals to achieve their goals. In my Master’s thesis, I studied scientific objectives along with management practices and how they helped fulfill their mandate and also how barriers are created.

For my study, I analyzed approximately 80 documents and completed 19 recorded interviews. I shared experiences with both community members and Park Service staff.”

Now that Ruth is back on the island, she seeks to further encourage the connection between the community and the National Park with monthly pond cleanup projects.

KeOlaMagazine.com | March–April 2016

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Detail of the mākāhā or sluice gates in the Kaloko kuapā National Park Service drawing

The Hawaiian word kaloko means simply “the pond.” Although most fishponds had their own specific names, as do the other two ponds at the park—‘Aimakapā and ‘Ai‘ōpio Fishtrap—Kaloko Fishpond has always been referred to by this generic term and also the name of the ahupua‘a in which it is located, which may indicate its historical importance.

Another researcher of the Kaloko area, Marion Kelly, traced the chronology of a continuing succession of Kaloko Fishpond caretakers and lessees through the early 1960s and also provided information on how the pond was fished and the experience of living near it. These residents periodically performed repair work on the walls of the pond and were responsible for developing some of the house sites surrounding it. In fact, many of these sites can be attributed to families still residing in the area.

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“These ponds were cared for by various families,” says Ruth.

“They were always food producing, whether they were feeding the warriors of Kamehameha or in recent years when they were harvesting the fish and sending it to Kailua-Kona.”

Secondary walls inside Kaloko Fishpond form three separate areas in which fingerlings were raised or in which different species of fish were segregated.

Kaloko is a loko kuapā, or walled fishpond, formed by sealing off a small bay. The wall contains a mākāhā, or sluice gate that can be raised or lowered to isolate the fish. The other two ponds at the park are ‘Ai‘ōpio Fishtrap, which was built by constructing a stone seawall out from the shore to form a protected body of water (considered a fishtrap rather than a fishpond because it lacks a sluice gate) and ‘Aimakapā Fishpond, a lagoon formed behind a barrier beach.

Kaloko Fishpond and ‘Ai‘ōpio Fishtrap are the only remaining large Hawaiian aquacultural structures with extensive ancient foundation remains in place in relatively good condition, according to the National Park Service.

“Kaloko pond today isn’t using the mākāhā, or a sluice escape so the fish are able to come and go,” says Ruth, “and there is a wide variety of fish here.

The primary fish raised for food were the milkfish and the mullet. There is

Volunteer crew at the December 2015 pond work day, from left to right: Tyler Paikuli-Campbell, Cultural Resource Specialist for the park; Tammy Duchesne, Kaloko-Honokōhau National Park Superintendent; Bianca Isaki; Reid Isaki; Jonathan Yim; organizer Ruth Aloua; Bimo Akilina, and Avery Kramer — photo by Bill McCowatt

the larger fishpond in the center and four smaller ponds on the outskirts that can be used to stock certain fish or isolate certain sizes of fish.”

While Ruth is talking, the fish are jumping and birds call as they walk along the shoreline.

“The birds are really significant to this area,” she says, “because the fishponds provide them with a wetland habitat that’s disappearing today in Hawai‘i.”

To continue to bridge the gap between the community and the park service, she says, “Our work days are community led and community driven. The intent is to be a

catalyst to get more of the people out here. My goal is to actually stock fish and have a hui (association) to take care of the fish.

It’s all about relearning the ancestral knowledge and integrating it into practice to be able to provide life to the people and to the pond and honoring the spirit of this place.” ❖ Pond work days are the last Sunday of every month. See details on a special Facebook page for Kaloko Pond: Facebook.com/ pages/Kaloko-Ponds/100997446640495 Fishing by pole is permitted at the pond, however nets are not allowed. Swimming, boating, and stand-up paddle boarding is prohibited. For more park rules, visit the Kaloko-Honokōhau National Park: NPS.gov/kaho/index.htm.

Contact Ruth Aloua: ruthaloua@gmail.com Contact writer Karen Valentine: karenvalentine808@gmail.com

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KeOlaMagazine.com | March–April 2016

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T H E N

&

N O W : Puuopelu, built in 1862.

Puuopelu and Mana Hale Home of Modern Day Ali‘i

KeOlaMagazine.com | March–April 2016

T

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wo long rows of eucalyptus bow to the left, in respect to the prevailing makani (wind) from Kohala Mountain.

Through the gate, down the long lane leading to Parker Ranch’s historic homes, there are horses grazing in knee-deep green. A monumental Norfolk pine stands welcome at the circular drive. The mental radio plays the opening theme of Gone With the Wind.

This is Puuopelu, the 154-year-old “Hawaiian Victorian” mansion home of the legendary Parker family for six generations.

On its right shoulder, “Mana Hale,” (house of spirit), an unassuming white New England style house that conceals a magnificent solid koa interior, moved board-by-board and reassembled there from its original location, 12 miles away.

The rooms and gardens of these two houses tell an epic story—filled with drama, romance, hard work, conflicts of history, and colors of the finer things: art, music, and theater. Preserved, yet not kept under glass, the historic homes continue the story today, as headquarters of the venerable Parker Ranch in Waimea.

| By Catherine Tarleton photo courtesy Sarah Anderson Photography

In 1809, a young sailor, John Palmer Parker, 19, arrived from Massachusetts and left his ship to explore. He ended up staying on the island, and soon after he was introduced to the King, who recognized him as an asset and put him to work. Eventually, John was given permission to shoot the wild cattle with his muzzleloader and to trade beef and hides with harboring ships.

John learned to speak Hawaiian quickly, worked hard, and soon became a wealthy and respected man. In 1816, he married Chiefess Kipikane, ali‘i granddaughter of Kamehameha, and purchased two acres of pastureland for about $10. They lived in a Hawaiian-style thatched roof hale while building Mana Hale, a small home reminiscent of Parker’s New England upbringing on the outside and of a sturdy ship indoors. Here, John and Kipikane raised three children and began a dynasty that would last 200 years.

Mana Hale was and is a two-story Cape Cod “salt box” house, with a steep slate roof and plain white walls, small windows, and

Act I

The story of Parker Ranch and its historic homes actually begins with five cows, given to King Kamehameha I from British Captain George Vancouver in 1788. Released into the countryside and placed under kapu (taboo) for 10 years, the cattle multiplied rapidly, taking over the landscape, threatening agriculture and damaging property.

Mana Hale

Mana Hale, built in 1847. was moved piece by piece to its current location in 1986.

a dormer. Its three bedrooms, sitting rooms, and great room are completely koa—floors, walls, ceilings, and much of the furniture.

The result is beyond warm—a glowing home, filled with sunshine and spirit.

In the 1850s, Kipikane was granted 640 acres; John bought another 1,000 acres the next year and also leased land in the Waikoloa region. About the same time, Kamehameha III invited the first paniolo to Hawai‘i—the Spanish-Mexican vaquero (cowboys) from California, who trained Hawaiian workers to rope and handle cattle. Parker Ranch grew quickly.

Mana Hale hosted travelers frequently, and John would sing, chant, and tell Hawaiian stories, as taught by his brother-in-law, Kapua‘a. The property had separate cooking and bath houses, and at one time included similar two-story homes for John’s sons, John II and Ebenezer, and their families.

John I died in 1868, leaving his son, John II, and grandson, Samuel “Kamuela” Parker, as heirs after the tragic death of Ebenezer. Samuel went to school with David Kalākaua, who would become Hawai‘i’s first elected King. The “Merrie Monarch” appointed Samuel to his Privy Council, and Queen Lili‘uokalani had him as her Minister of Finance and Minister of Foreign Affairs at the time she was deposed. His daughters often invited their friend, Princess Ka‘iulani, to the ranch before her untimely death.

Historic photographs remain on the koa walls, giving us a glimpse of the monarchy relaxing at Mana Hale.

In 1879, John II and his wife, Hanai, purchased Puuopelu, originally built in 1862 by Englishman Charles Notley, for $2,720, which included seven acres of land. Puuopelu then became the heart of Parker Ranch operations. The couple adopted Samuel’s son, John III, as their heir, however, he too died suddenly at only 19, leaving wife Elizabeth and infant daughter Thelma. “Elizabeth wisely recruited well-respected businessman Alfred Wellington Hawaiian tree saddle

“A.W.” Carter to manage the ranch and protect Thelma’s interests. A.W. had been both practicing attorney and judge, with a Yale law degree.”

Years passed; Thelma married Gaillard Smart and gave birth to Richard in 1913. He was orphaned at age two when Thelma died of tuberculosis and Gaillard of meningitis. Elizabeth, who became known as “Auntie Tootsie,” again took the Parker Ranch heir under her wing. They lived in San Francisco for the most part, visiting Puuopelu every summer, and Richard developed a great love for the theater. He attended Stanford University and then signed on with the Pasadena Playhouse.

Act II

On his 20th birthday, Richard became the sole owner of Parker Ranch. Knowing he was more of an entertainer than a cattle baron, Richard trusted the ranch to the capable hands of A.W. Carter while he followed an acting career that led to success on Broadway. Under A.W.’s, and later son Hartwell’s leadership, the ranch grew to over 500,000 acres, about half of Hawai‘i Island. Parker Ranch was central to Waimea’s culture and the hardworking paniolo families who built lives there.

It was Richard who made Puuopelu the grand estate at the heart of Parker Ranch. When he returned to stay in 1960, he

Elegant 55’ by 35’ drawing room.

Octagonal skylights and crystal chandelier.

divided the kitchen wing (added in 1910) to create a formal dining room. He replaced the wooden living room with a concrete and steel structure and raised the ceiling to 16’, adding octagonal skylights and crystal chandeliers. The result is an elegant, soaring 55’ by 35’ drawing room, complete with baby grand piano, French Victorian furniture, Italian marble fireplace, and classic French doors leading to a wide lānai that overlooks a terraced garden, and Waimea’s green hills.

On the home’s front lawn with bricked walkway, he placed two statues of Greek deities: Apollo, god of music, song, poetry, and

29

KeOlaMagazine.com | March–April 2016

the protection of the young, and Diana, goddess of the moon, wild animals, and the hunt. Behind the house, he planted rose gardens, his mother’s favorite gardenias, and French lavender.

The expanded Puuopelu could properly exhibit Richard’s prized art collection. At the time, 75 original paintings graced the walls—by such notable European painters as Wilfrid Gabriel De Glehn, Constantin Kluge, Pierre Eugene Montezin and Edgar Degas. Many are cityscapes of Venice, a place he loved and returned to yearly. Collections of Murano art glass, Chinese pottery, and Japanese Statue of Greek deity Apollo at front entrance bronzes fill custom niches, to Puuopelu alongside an antique armoire containing John I’s muzzleloader and the sword given to Samuel, as a Knight Commander of the Royal Order of Kamehameha.

Family portraits peer down onto visitors as they peruse Richard’s Broadway memorabilia showcases, chronicling his 30 years in entertainment with playbills, record album covers, news clippings, props, and photos of him with theater colleagues such as Nanette Fabray, Eve

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Arden, Carol Channing, Richard Smart with his beloved dog. and others. It’s easy to imagine Richard’s Puuopelu as the setting for elaborate parties, costume balls, trail rides, and receptions for traveling dignitaries from the Hawaiian Islands and around the world.

In 1986, five years after building the Kahilu Theatre (see p63) Richard decided to move his ancestral home, Mana Hale, to the estate. His intention was to relocate the little house in its entirety, but the slate roof was too unstable, so he had it and the exterior walls removed. The interior walls, floors and ceilings were dismantled, numbered, and restored piece-by-piece into a replica of the original home he had constructed next door to Puuopelu.

At Mana Hale today, a picture of stone-faced John I greets visitors to the home, with its remarkable collection of eclectic items that speak to the intricate relationship between the ranch culture and Hawaiian culture. One cabinet holds a row of handcarved tiki sculptures, below, in a glass case, stone poi pounders

In the bedroom, a millionstitch Hawaiian quilt on a masterpiece of a koa bed; beside it a replica of Samuel’s wife Panana’s red dress.

Carved tiki sculptures.

and implements. In a nook, a koa treasure chest; on a table, china teacups and saucers. Hawaiian tree saddles in the great room, farm implements, and photos on a side porch. Lauhala mats on the floor beneath a modern sofa and chairs. In the bedroom, a million-stitch Hawaiian quilt on a masterpiece of a koa bed; beside it a replica of Samuel’s wife Panana’s red dress; an oil portrait of her hangs on the wall.

Upstairs, the koa bedrooms and sitting room pay tribute to Auntie Tootsie and Thelma, with photos, jewelry and catchall boxes on the dressers. Dresses, hats, and framed family photos on display. In “Thelma’s” room, a copy of her sky-blue

empire waist dress stands in one corner, her portrait wearing it in the other. A guitar and ‘ukulele on the cushioned recamier sofa are the remains of the musical talent she shared with her son, even though she barely knew him.

Richard Smart passed away in 1992, after creating the Parker Ranch Foundation Trust to help serve the education and health needs of the community, with four beneficiaries: North Hawai‘i Community Hospital, Parker School Trust Corporation, Hawai‘i Preparatory Academy, and Hawai‘i Community Foundation.

Act III

In 2008, after years of change and challenge, Parker Ranch closed the museum and visitor center that were located in Parker Ranch Shopping Center. In 2011, they moved operations to the Puuopelu property. Its bedrooms are offices, the dining room a conference room, and the historic homes remain open to the public during business hours.

KeOlaMagazine.com | March–April 2016

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KeOlaMagazine.com | March–April 2016

“I think Richard Smart and the Parker family would be happy there is life here,” says Mel Sanchez, Executive Assistant, whose office was the Broadway Room. Her boss, Parker Ranch CEO Dutch Kuyper Dutch Kuyper works with out of Richard’s former A.W. Carter supervising bedroom, where an oil painting of A.W. Carter supervises him.

“When I started in March of 2011 the board had made the decision to move offices,” says Dutch. “I love it. People have no idea—people from the mainland—that this history is still alive.” Originally from O‘ahu, Dutch spent most of his work life on the east coast before coming to the ranch.

“It’s interesting where we are right now. In a way, it’s like going back in time. That element of going through changes during the credit crisis made us refocus on things that really matter. And, family and community are on the short list of things that matter...Waimea is an incredible community. We have a lot of families whose histories are directly tied to Parker Ranch.”

“We wouldn’t have ranching in Hawai‘i if we didn’t have people who chose that lifestyle for themselves and their family,” says Dutch. “I never had a job that had such a community dimension to it.” Puuopelu, is still the heart of Parker Ranch, as they carry on the Parker traditions, including two annual rodeos and the Christmas tree lighting.

“I call it a ‘Dr. Seuss’ moment,” says Dutch. “Everybody’s invited to the house. Inside, we have entertainment, a hula hālau, Hawai‘i Preparatory Academy handbell choir, Hawaiian Civic Club Choir...and then we all pile outside at dusk to sing carols around the big Norfolk Pine. We pull one child out from the crowd, we count down from 10 to one, and the kid pulls the switch. It’s awesome. Who gets this kind of job?”

While the ranch has diversified their operations, Dutch says they will always be a cattle ranch, although that’s only one “leg” of their current three-legged strategy [with renewable energy and community development]. “Local beef will be more sustainable for us,” says Dutch. “It’s better for the land as land stewards, better for the environment as far as the carbon footprint.”

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“Richard in his own way, I think, knew what sustainability was,” says Dutch. “He must have believed that education and healthcare were pillars of a sustainable community.

That’s why he left the ranch to a trust, benefiting the schools and hospitals.”

“Parker Ranch’s future is directly tied to the future of Waimea,” Dutch continues. “And I think the Big Island is the future of Hawai‘i...

We have this diamond we need to protect, promote, and polish.”

“In the long run, the potential for cultivating value here is awesome.

I’m just the gardener—tilling rows, planting seeds, pruning, cultivating value.”

Before returning down the eucalyptus-lined drive, a visitor might walk around Puuopelu, take in its cultivated gardens, and reflect on the values it represents in Hawai‘i Island’s living culture. Behind the house, in the peaceful family columbarium, terra cotta colored statues stand watch over Richard’s rose gardens. A plaque reads “Kaleioku Richard P. Smart, a contemporary ali‘i, loved by many.”

Parker Ranch historic homes are open to the public during business hours, Monday through Friday, 8am to 4pm. There is no cost to visit, and guided tours can be arranged for a fee. ❖ For more information: ParkerRanch.com Contact writer and photographer Catherine Tarleton:

catherinetarleton@gmail.com

(from a Waimea Gazette article by Gordon W. Bryson.

To read the full story: WaimeaGazette.com/Mar95_ WaimeaRemembersTarawa.htm)

KeOlaMagazine.com | March–April 2016

Near the entry to Parker Ranch historic homes is a simple monument to those who trained at “Camp Tarawa,” a temporary Marine Corps base leased to the military by Richard Smart during World War II. Over 50,000 troops came to the small rural town, to train for the attacks on Iwo Jima and Okinawa.

“Waimea leapt into the twentieth century because of the technology and plenty that seemed to have followed the Marines into town. An electric generator allowed settlement houses to be lit by bulb rather than kerosene. The Waimea Elementary School and the Waimea Hotel became a 400-bed hospital with modern medical facilities. The engineers dammed the Waikoloa stream, constructed reservoirs to supply water to the division and the town, and erected temporary Canek structures behind the St. James Church. An icehouse helped Marine cooks to turn out seemingly tons of ice cream for delighted town children and adults. Entrepreneurs from all over the island began to show up to sell the thousands of papers that the Marines read and the hills of hot dogs that everyone consumed while watching the ball games at the park.

“In a wild rodeo, Marines from the Southwest and a few civilians who had never ridden a horse challenged the local paniolo to feats of cowboy skill. The results of this contest were not as close as the ball game, but no serious injuries resulted. Bruised contestants consumed several steers at the barbecue that the ranch threw for the competitors.”

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KeOlaMagazine.com | March–April 2016

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North Shore Maui Retreat The rare year-round waterfall, stream and hidden valley that grace this serene property were the inspiration for many of famed author/owner Alan Cohen’s bestselling books. A cozy gazebo along the stream provides the perfect space for peace, relaxation and meditation. The furnished two-story home with a large 2-car garage is thoughtfully placed for privacy, surrounded by a verdant lawn, large citrus trees, bananas, abundant palms, bamboo, and mature landscaping.

Two large lanais on either side of the home boast ocean and valley views with the constant soothing sound of the waterfall in the background.

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2/1/16 2:59 PM

Ka lā hiki ola

“The dawning of a new day.”

Optimism. The value of hope and promise.

Kohala Mountain Morning

Twentieth in our first business series on Managing with Aloha.

Managing with Aloha: Ka lā hiki ola | By Rosa Say

“Ka lā hiki ola; The dawning of a new day.”

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Next issue: We ho‘omau (continue) to renew with Aloha.

Contact writer Rosa Say: RosaSay.com, ManagingWithAloha.com

KeOlaMagazine.com | March–April 2016

a lā hiki ola is a phrase I initially learned of right here on Hawai‘i Island, for it is deeply ingrained into our local community. Its presence and influence is so strongly felt here, I’ve come to think of Ka lā hiki ola as another Hawaiian value in our arsenal of values-based management connected to sense of place—and deservedly so! Happily, it is gaining traction with neighbor island businesses as well, for Ka lā hiki ola is our sense of hope.

Literal translation does not suffice. Ka lā hiki ola is flush with the hidden meaning (kaona) of ‘this day wherein new life is possible, and much can be realized.’ This certainty of abundant new opportunity, and its optimistic attitude of immediately accessible likelihood, is most commonly spoken of expectantly and confidently, as ‘the dawning of a new day.’

With every sunrise we get another shot, another opportunity to be all we can possibly be. The sun may rise over some change that has occurred, yet it still comes with a fresh new start, and the gift of fresh chances. What’s past is now behind you.

The first time I went out on the ocean with the Alaka‘i Nalu, the watermen and women of Hualalai, I was in seat five of their oldest vessel, an outrigger canoe named Ka lā hiki ola (the seat where the steersman could best coach me.) My kaona in that day was that she represented my hope in all we would do together as a team bonded by our Aloha and Mālama for each other. When I climbed into that canoe, I was making a deliberate choice as to what I would give all my attentions to.

That day figured prominently in my own search for Pono, and it would be a turning point in my relationship with the Alaka‘i Nalu: They didn’t believe I could understand them completely, let alone be their manager, until I had been out on the ocean with them.

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.

There’s a fitting football analogy that helps us relate to this coaching. Once a game is in play, it’s time for everything you’ve practiced for, time to perform. Once the quarterback calls the play in the huddle and you take your place on the line, you’d better be ready to go, and ready to perform magnificently. The playbook is not coming on the field!

Don’t focus on the obstacles. If you receive the handoff as running back, you set your sights on the goal line, not on the monster tacklers trying to stop you; you look for an opening.

Who they are doesn’t matter; who you are does—you have possession of the ball! You have choices, and you will be the one to create your destiny and make it happen. You will be the one to cross the goal line or find you’ve fallen short.

We often find a rhythm in business, and we start plugging away, day in, and day out. Luckily, valuing Ka lā hiki ola shakes us out of our routine and encourages us to be creative again, asking how we can live in the present and take advantage of this new day gifted to us: Can we make it a dawning with more joy?

As liberating and hopeful as this can be, it takes an inner confidence to respond to the challenge set forth by Ka lā hiki ola—to not need that playbook on the field with you. Trust in your instincts, trust in what you know and have learned, and trust in the person you are. Prepare to grow. Should there be a Phase II to your business? Decide on the tone for it, and get the vision you paint for your staff to illustrate your dawning of a brand new day.

Trust in your team. Start by asking them to help you do what you do best: Don’t dilute your present efforts; invigorate what you are truly known for. What it is that brought you to Pono?

When we are calm, ready and at ease, we also find that others respond to us better—our contentment is very appealing to them, and they hope it’s contagious.

Ka lā hiki ola: Your possibilities await you. Grab hold of them, and live them fully. ~ Rosa Say

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The December 2015 performance at the West Hawai‘i Civic Center Front row L–R: Ria (Maria, or stage name, Malia) Givens, Kawai, Mahina (standing), Kumu Lona Warner, Danny Morales, Lisa Greig

Back Row L–R: Norma Neyman, Jackie, Adrian, Nikki Cleintuar, Lois, Marinna, Edna, Jan Tom, Shannon, Barbara Higas, Eileen Mena, Marcia Farias

Kumu Lona Warner’s all-inclusive hālau is truly KeOlaMagazine.com | March–April 2016

To See the Beauty of the Dance:

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A

one-of-a-kind

t the first Polynesian dance class of the new year,

Kumu Lona greets each of the dancers of Hula Hālau Makanani Kona with a bright new sarong and an “Aloha” brimming with energy and affection. As the dancers arrive at the West Hawai‘i County Civic Center rotunda where they practice in the late afternoon, they greet one another with generous hugs that linger. Each dancer ties on the new pareo proudly. When everyone has assembled, the group is united by the bold colors and design of their uniform.

The haumāna (students) of this hālau (school) are a mix of young and not so young, wahine (women) and kāne (men), and in front of them waits the petite figure of their kumu Lona Warner. Wrapped in one of the same pareo, she speaks quietly to the group before the mele starts, and then they all begin to

| By Kate Kealani H Winter

dance as she leads them—showing them, not telling them— while noting what is going on behind her in that way that great teachers can.

This is the only hālau on Hawai‘i Island—and perhaps in the state—that includes Special Olympics athletes and intellectually challenged men and women as students. For an hour they practice familiar hula and other Polynesian dances that they will perform at their public concerts with the rest of Kumu Lona’s haumāna. The dancers Lona calls “my specials” will dance with the rest of the hālau, thoroughly integrated into their summer and winter performances.

After an hour, the other dancers—kūpuna (elders) who have been quietly waiting and watching—assemble on stage to practice with the Special Olympic dancers. Later, they will

Lonaʻs Specials dancing Frosty the Snowman.

Kūpuna dancing Hapa Ipu.

and school principals as well as Hawaiian dancers and musicians, it may seem that she was destined to be a kumu hula, yet from childhood, she knew that she wanted to be a nurse. After graduating from St. Joseph’s private school in Hilo, she earned her nursing credentials Kumu Lona Warner and began her 40-year photo courtesy career as a nurse and Nikki Cleintuar teacher of nurses.

Settled in Torrance, California, she was working as a nurse, raising daughters and stepdaughters, and volunteering with various community service projects like Girl Scouts (where she became a troop leader) and Special Olympics. She made frequent trips home to Hawai‘i Island in those years, going back to the source. In 1976, her love of hula asserted itself, and she formed her own hālau in her home in Torrance. The group grew quickly and moved out of the house and into a community center.

March–April 2016

divide again so that the kūpuna can have Kumu Lona’s complete attention. The breeze off the ocean dances with them in the late afternoon light. For three hours, the kumu leads the dancers through the choreography, stopping only briefly when a toddling great-grandson runs to her and reaches up. She easily lifts him, hugs him to her while they finish the dance, and then turns him loose again, hardly missing a beat.

The small woman who accomplishes all this was born in Hilo in 1940 into an ‘ohana that connected her to many of Hawai‘i’s best musicians and After the dancers, including the nurse capping Beamers and Napua ceremony, 1958 Wood, sidekick of famous entertainer, Hilo Hattie.

Lona first learned hula from her mother.

Growing up, she lived in Hilo with her grandparents, Senator Eugene S. Capellas and wife, Eliza. Surrounded by a family of teachers

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Lona danced her way through 30 years of living in Torrance before she retired from nursing and returned home to Hawai‘i Island, Kona side, leaving her California hālau to her daughter.

Back in Hawai‘i in 2003, she soon recognized the need for a place for kūpuna to dance hula as well as other Polynesian styles and started Hula Hālau Makanani Kona.

There are two guiding principles for Kumu Lona’s Kona hālau: being non-competitive and being inclusive. Competition creates stress, something she tries to keep out of her hālau. There is something sacred in hula’s movement to music, and when dance is shared by a group of people committed to the art of hula and their hālau brothers and sisters, it is full of grace. They are not dancing for others, but with others.

Kumu Lona says, “Hula is a sacred living art form that thrives because it is continually being shared, passed on from one person to the next. It is the language of aloha, and it belongs to all of Hawai‘i’s people. We should not exclude those who seriously want to learn simply because they might take a little longer to become skilled or because we think they may never attain certain levels of perfection.”

She believes that dance should be open to anyone who loves hula and is willing to do what is necessary to learn. Her teaching has provided a place for that learning and more, a space open to people who otherwise would be marginalized or limited to being in the audience.

Instead, kūpuna, wahine and kāne, middle-aged folks who never danced hula until Lona invited them in, and Special Olympic athletes have all become more than anyone else saw

them being. The other dancers get to know the Lona special needs dancers as showing her individuals and hula peers, students a dance, 1976. enriching their own lives.

As a teacher, Lona has patience and compassion for all the dancers in the hālau and never singles out an individual for correction in front of the others, instead telling the whole group what needs to be changed or improved. Even the name of the hālau speaks of her wide and deep aloha: maka (to see) and nani (beauty). Lona sees the beauty in everyone.

Having been a long-time Special Olympics volunteer since her days in California, Lona joined in the West Hawai‘i area program when she came home. She became a coach—another kind of kumu—for bocce, t-ball, and bowling and was recognized in 2007 and 2009 as Outstanding Coach and in 2008 as Outstanding Ambassador for Special Olympics. After becoming the Head of Delegation, she was honored with the Lifetime Achievement Award at the state level.

At one point, the parents of some Special Olympic athletes asked if she could teach their sons to dance since the boys had

Keauhou Shopping Center

Adrian

KeOlaMagazine.com | March–April 2016

Kawai

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expressed an interest. With her signature enthusiasm, she answered yes, reflecting now that “I had always wanted to add a kāne class to my hālau, and this seemed like the perfect way to begin.” In 2007, she began with four kāne special athletes and three other male dancers without disabilities.

And how they dance! In concert and in practice, they are fully engaged in the dance, proud, and joyful. Their accomplished performance inspires the other dancers, and when the whole hālau dances together, the deep aloha is palpable. Their kumu says, “We do this simply because we love it, and in performing, we get to share our aloha with our families, our friends, and the community.”

You will not find this hālau competing at Merrie Monarch or any hula contests, however you can see them entertaining at

Lois

Shannon

Marinna

Mahina, the youngest dancer in the hālau.

Jackie

the Kings’ Shops, Waikoloa (the second Friday of the month, 6-7 pm), at Hualālai Regency twice a year, at two annual Saturday concerts at the West Hawai‘i Civic Center, and at community events and festivals of all kinds. Merchants always appreciate the foot traffic and patronage that follows wherever the hālau performs. The hālau website lists upcoming performances and includes videos of the group—a sincere gesture of sharing that expresses Kumu Lona’s generosity.

She also includes lyrics, translations, and choreography for her haumāna, a very modern use of technology for a very old art form.

Don’t expect a watered-down style of traditional dance. The varieties that can be seen at any Polynesian show are included— Maori, Tahitian, and Hawaiian kahiko (ancient), ‘auana (modern), and even noho (sitting) that accommodates wheelchair bound dancers while challenging the others—as well as the familiar hula implements: poi balls, pū‘ili, and ipu.

At the close of a performance, Hālau Makanani usually dances their signature piece, Melveen Leed’s beautiful mele pule (prayer song), “Walk Through Paradise/Kanaka Waiwai.” It is a fitting close to an inspiring experience of aloha and hula.

Meeting Lona is like being touched by a hummingbird. She is dazzling and lovely in her brightness, small and full of energy.

She is always whizzing around the Kona community from one service project to another. She can be found working at the Ironman® Triathlon and the Kona Marathon as well as the Queen Lili‘uokalani canoe races.

As Head of Delegation for West Hawai‘i Special Olympics, she has been responsible for all their sports events from Ka‘ū to Waimea.

One day each week, she gives free hula lessons at Hualālai Elderly Housing in Kailua-Kona, spreading aloha to another of Kona’s under-served populations. And though she buzzes from one event to another, she seems completely present in all she does.

One of her students likens her to a lighthouse—like the ones Lona herself collects—always giving off light and leading people home. That was one of the many reasons she got public recognition and was nominated for the Hawai‘i County Outstanding Older American Award in 2010. Even now, she moves like a dancer, still lithe and athletic, her graceful arms and hands telling the stories of aloha.

Ria now helps her grandmother teach the hālau.

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St. Pet-Tricks Day Pet Food Drive Saturday, March 12 at 10am

For more details and event time, visit konacommons.com

Located at 74-5450 Makala Blvd Gateway to Historic Kailua Village www.konacommons.com

KeOlaMagazine.com | March–April 2016

Lona dancing at her grandaughter, Riaʻs First Birthday, 1988.

Kona’s destination for SHOPPING& DINING

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Now she insists that she has just retired from heading up the Special Olympics, but is always ready on the sidelines to train new coaches and leaders, remaining a lifelong volunteer.

One of her most passionate hopes is that “all hālau in Hawai‘i will include physically and mentally challenged people in hula.” She is continually finding ways to help others grow, learn, and discover their own potential. The difference that her teaching makes for all her haumāna, including her “specials” is as parents and students will tell you, more selfconfidence, better social skills, fitness, and independence.

One mother says that her daughter has learned to listen, to be quiet, and not be in charge.

The mother of another special dancer thanks Lona for giving her and her child the opportunity to dance together.

One dancer says, “Lona has given me a gift that has changed my life.”

Lona—still Her energy feels kneeling and dancing at boundless to many of the 75-years-young. people whose lives she touches. Lona laughs and waves her beautifully expressive hands when asked where she gets her admirable sustained energy. She says it may be the two glasses of champagne she drinks with dinner almost every night. Perhaps. After all, hummingbirds drink nectar.

Whatever the source, Lona’s gift of aloha is spread lovingly throughout the Kona community. ❖

KeOlaMagazine.com | March–April 2016

Lona enjoying her dancers perform for her 70th birthday in 2010.

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December 2015 performance photos by Renée Robinson: hieditor@keolamagazine.com Historic photos courtesy Lona Warner.

Contact Lona Warner: 808.327.0491, HalauMakanani.com

December 1995

Contact writer Kate Kealani H Winter: khwinter@hawaii.rr.com

Hawaiian Immersion Schools

on Hawai‘i Island

Ka ‘Umeke students Apolei Carvalho and Vainui Davis-Tanaka

Editor’s note: This is the second article in a series about the 15 charter schools on Hawai‘i Island. In the last issue, Ke Ola Magazine introduced these alternative public schools that parents and children are choosing for their curricula, which are either project based or Hawaiian language and culture based, or a combination.

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explains, with some branching off to form Ke Kula ‘O Nawahiokalani‘opu‘u in Kea‘au at a former Christian school. Nawahi, as it is referred to in the community, is named after Hawaiian newspaperman Joseph Nawahi. The school focuses on Hawaiian language and culture, but is reputed to be focused more on Hawaiian language specifically, even offering weekly language courses to parents and the school community. Parents agree to learn the language along with their children at Nawahi.

Ka ‘Umeke, meanwhile, made its home Keaukaha Elementary School. Some of the buildings at Keaukaha Elementary School were procured and built for the Hawaiian immersion school. The two schools co-mingled together nicely for many years.

Yet all good things inevitably come to an end.

“Unfortunately, when we converted to a charter school, there was no agreement on facilities,” Olani explains. “At the end of school year 2016-2017, we’re basically being forced to leave.”

Ka ‘Umeke has its campus down the road for third to 12th graders. The ones to be displaced are the kindergarteners through second graders.

“Every year we’ve gone with it, because we feel like Keaukaha is our community. We’re one with it, allowing for the expansion of Keaukaha.”

On a tour of the classrooms at Keaukaha Elementary School, Olani points out the buildings that were erected on the traditional DOE campus for the charter school and also that Keaukaha’s new cafeteria was budgeted and built using the population numbers of both schools combined.

Ka ‘Umeke’s problem stems from the fact that, while the 1999 Charter School Act allowed for these non-traditional schools, they didn’t address facilities for these schools. DOE gives all the charter schools in the state funding on a per-pupil basis, like it does for all traditional DOE schools, but doesn’t provide a building to rent, lease, or buy.

The charter schools have nonprofit arms with boards intended to fundraise for facilities. The Hawaiian immersion schools have an advantage over other charter schools in that most of them have relationships with Kamehameha Schools and Office of Hawaiian Affairs, providing grants and leases for land.

Ka ‘Umeke’s leased land down the road from Keaukaha Elementary School is on Kamehameha Schools property that is also leased to the Edith Kanaka‘ole Foundation and Hālau O Kekuhi, the renowned hula troupe led by Edith Kanaka‘ole’s ‘ohana.

That particular campus is at capacity with its third through 12 grade classes. Another campus will need to be established in the next year to accommodate the kindergarten through second grade classes being evicted from Keaukaha Elementary School.

KeOlaMagazine.com | March–April 2016

a ‘Umeke Kā‘eo Hawaiian Immersion School was one of the first immersion schools in the state when it opened as “a school within a school” in Keaukaha in 1987. Beginning as a Department of Education Hawaiian Immersion program, the program evolved and was established as a charter school in 2001. Now it has expanded to a campus on leased Kamehameha Schools property down the road from Keaukaha Elementary School, at 1500 Kalanianaole Ave., near Carlsmith Beach Park and the ponds.

It started out with kindergarten, then first grade, then second grade, each year “pushing for resources” to be able to teach children the Hawaiian language in the public school setting.

“When the opportunity for a charter school happened,” with the passage of the 1999 Charter School Act, Ka ‘Umeke founders “joined the charge to have more autonomy,” recalls Olani Lilly, the po‘okumu, or administrator for Ka ‘Umeke for the last five years.

When Ka ‘Umeke went independent, (prior to becoming chartered) the school within the school “kinda split,” Olani

| By Tiffany Edwards Hunt

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KeOlaMagazine.com | March–April 2016

That’s weighing heavily on Olani’s mind, and she has appealed to, among other politicians and education types, the Board of Education, and that has proven to be fruitful. One board member suggested that she try to convince Keaukaha Elementary School to convert to a charter school.

Despite its facility challenges, Ka ‘Umeke is committed to teaching children, engaged in a partnership with the University of Hawai‘i Hilo, carrying out “Lononuiākea” with the goal to get more Native Hawaiians into science, technology, engineering and math.

Engaged in the Papakū Makawalu methodology for the past four years, Ka ‘Umeke has been having every first grader collect data at two sites, Kula Pae and Onekahakaha Beach Park in Keaukaha.

Dr. Puanani Kanahele developed the Papakū Makawalu methodology from the study of Kumulipo. ‘Papakū’ means foundational knowledge and ‘makawalu’ means to deconstruct. It’s inquirybased learning that is driven by keen observation, data, questions, and the use of ancestral text such as oli (chant) or mo‘olelo (story). According to the Papakū Makawalu methodology, ancestrally there have been three houses of knowledge: Papahulilani, or the top of the head and space; Papahulihonua, or everything related to earth, geology, and the ocean; and Papahānaumoku, everything that has a cycle.

Ka ‘Umeke has developed ancestrally based curricula with this methodology. Students collect data according to the moon phases and the seasons and develop and fine-tune what Olani describes as an “ancestral skill set apropos for the 21st century.”

“They learn early on how to develop keen observation skills in their environment,” Olani says, adding, “they look at shapes in

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nature. We get them used to seeing the whole and also the parts.”

Students broaden their observation skills, then they develop more sophisticated questioning skills. When they observe the kolea (Pacific golden plover) coming earlier in the winter than what has been historically documented, the students ask themselves why. They look for changes in the natural environment that would lead to the early arrival of these birds.

“Another piece is the ancestral data,” Olani continues. “You get it through teaching chants” and deconstructing those chants, she explains.

The second graders study clouds. They learn the “ao ‘ōpua” are the cumulus clouds, the ones that look like cotton balls. They learn that when they see the ao ‘ōpua, some area of the island is getting rain in the next 24 hours.

“I like to say the kids do weather better than Guy Hagi,” Olani says, referring to the veteran weatherman on KITV 4.

On our tour, we arrive at Kula Pae, and the second graders are bird watching with teachers Trask and Nahele. Each of them speaks Hawaiian. Olani translates; they are observing the ‘auku‘u (blackcrowned night heron), specifically, determining the color of the bird, which indicates to them the age of the bird.

The students diligently write down their notes on clipboards, not only describing the bird, but also the weather and ocean conditions.

Ka ‘Umeke middle schoolers and high schoolers are conducting research on the Kionakapahu Fish Pond at Honohononui (Richardson’s Beach) in Keaukaha that is owned and run by Kamehameha Schools. The fishponds are actually their Papakū, or foundation from which their curriculum is based. They use baseline data from the ponds for traditional mapping, GPS mapping, studying water quality traditionally, and with technology, species inventory, and laws and regulations from what Ka ‘Umeke describes as “pre illegal overthrow to post illegal overthrow.” The students host an annual Papakū Makawalu Symposium to present their findings.

Around sixth grade, Ka ‘Umeke starts to lose students to Kamehameha Schools. They lose students again around 9th grade, Olani notes. Because Ka ‘Umeke is so intent to run the

Papakū Makawalu methodology from kindergarten through 12th grade, the school is determined to try and retain the students at the higher grades. However, enrollment is so low at the middle school and high school level that Ka ‘Umeke can only afford three teachers for them. They hired a high school coordinator, Ili Anthony, to collect data and assess exactly why the school is losing children around middle and high school and how to reform the school to keep the students there.

Some students leave because they aren’t satisfied with the facilities—the middle and high schoolers are taught in a tent like, canoe-style hale. Some students want more rigorous academics or are seeking the social aspects of a larger middle or high school.

“Kids who have grown up together since kindergarten start to feel irritated with each other,” Olani says. “The students left after that are those who choose to educate themselves out of the box.”

Ili, in trying to respond to students seeking to socialize with those outside Ka ‘Umeke, is trying to arrange for students from Keaukaha and Ke Ana La‘ahana Public Charter School to work at the fishponds with them. “It helps to create social dynamics within academics when we interact more with other schools,” Olani says.

Ka ‘Umeke has an emphasis on language, and unlike Nawahiokalani‘opu‘u, decided to not require parents to learn the language along with their keiki. In the primary years at Ka ‘Umeke, the students speak Hawaiian in the classroom and out in the field full time. However, in middle school and high school, the kumu (teacher) chooses the time to speak ‘ōlelo Hawai‘i (Hawaiian language), according to Olani.

Because Hawaiian language is emphasized at some point from kindergarten through 12th grade, only students with a Hawaiian language background will be admitted after seventh grade.

Second graders and older have a sit-down meeting with parents and administrators before admission.

The English language is actually introduced at the fourth grade level. In fifth grade, English literacy and phonics are emphasized. ‘Ōlelo Hawai‘i is stressed from first through eighth grade.

Kanu o Ka ‘Āina It’s a typical overcast and windy day, with Earl’s lunch wagon pulled up at Kanu o ka ‘Āina New Century Public Charter School.

Students are lined up and, one-by-one approaching the lunch wagon to choose a meal from Earl’s—musubi, pizza, bentos, they

KeOlaMagazine.com | March–April 2016

take a look at what is on the menu and order whatever they want.

Without a cafeteria, Kanu o ka ‘Āina administrators decided a contract with Earl’s was the school’s best option for feeding the children who don’t bring lunches from home to school. Earl bills Kanu o ka ‘Āina for all the food the lunch wagon doles out. The school pays the bill, offering what Allyson Tamura, elementary school po‘okula, or principal, described as a “scholarship” to 143 students whose families cannot pay for the school lunches themselves. Since Earl is not a certified vendor, the lunch wagon cannot qualify for the school lunch program and therefore the school cannot be reimbursed from the federal government.

This unique school lunch situation is among Kanu o ka ‘Āina’s greatest challenges.

Like Ka ‘Umeke, Kanu o ka ‘Āina started out as a school within a school, according to Allyson and Mahina Paishon-Duarte, the secondary po‘okula. Ku and Nalei Kahakalau established it as the Hawaiian Academy at Honoka‘a School. Once the Charter School law passed though, the school branched out and moved to the Lālāmilo campus outside Waimea.

The first days of Kanu o ka ‘Āina were spent in a quaint hut and tents with portable toilets. There was also a tarp and pavilion at Kawaihae, and a partnership with University of Hawai‘i, Hālau Kekuhi, and the Makali‘i voyagers to help develop the curriculum.

The focus from the start has been on Hawaiian culture, language, values, tradition and practices.

Allyson has been with the school 11 years, starting out as an 11th grade resource teacher at Kanu o ka ‘Āina, while Mahina started out as a teacher in a Hawaiian language program on O‘ahu, Ke Kula o Kana Kau, before becoming a principal at Hālau Ku Mana for the last several years. She has led the middle and high school in Waimea for the last year.

Allyson recalls the days when Kahakalau first started hiring teachers and “dreaming that dream.” She attended public charities, which included a facilitator helping with blueprints and drawings for the school that exists today.

In fact, at the time Ke Ola Magazine was interviewing Allyson and Mahina, construction workers were finishing up what now is the County of Hawai‘i gymnasium adjacent to the school.

The school, unlike the other charter schools, boasts being the only option for public school in Waimea. Students choosing a traditional DOE setting are bussed to Honoka‘a for high school or pay private tuition at Parker School or Hawai‘i Preparatory Academy.

With architect-erected dioramas and models, Kanu o ka ‘Āina, and Kanu o ka ‘Āina Learning ‘Ohana (KALO), its nonprofit, were built on Hawaiian Home Land. The bulk of the funds to cover the costs of having their buildings erected came from the U.S Department of Agriculture. Many of the other schools also

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reported receiving that same funding. The school footprint on pastureland overlooking the north side of Mauna Kea consists of three buildings: an elementary building, Hālau Poki‘i; Hālau Ho‘olako, a community building with two classrooms and offices for a nonprofit (with an open invitation to community groups to use the building on evenings and weekends); and Hale Puke, which houses the middle and high schools and library, which provides services to all grades.

The newly erected gym, or “multipurpose building,” will have classroom space, a certified kitchen, and cafeteria space for the students currently spending their days eating food from the lunch wagon.

The multipurpose building comes with a partnership between the County and State of Hawai‘i, using funds through the Capital Improvement Project budgets and Grant-In-Aid, respectively.

The understanding is that the building will be used for the school during the day and the community in the evenings.

Kanu o ka ‘Āina’s total enrollment is 340, kindergarten through 12th grade, including the school’s online component.

Kanu o ka ‘Āina has a similar scenario to other schools like Ka ‘Umeke, seeing the emigration of students at the middle school

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and high school level, with students choosing Kamehameha, Parker, or HPA. “They want to uphold a family tradition,” when choosing Kamehameha, Mahina notes, adding that the students are choosing other private schools because they have “other resources we haven’t been able to provide,” like athletics, music, and performing arts.

“Kids are kids,” Mahina continues. “There is an importance with social clubs and also a brand issue. Charter schools make headlines. Because of the regular press, there are brand issues.

We want to share stories of success. Kanu has been in existence since 2000. We still get calls saying, ‘How can I apply? How much is tuition?’ They don’t know it is public.”

“Although some kids tend to leave, the amount of kids who stay are more,” Mahina says.

Kanu o ka ‘Āina has a good relationship with Honoka‘a School, and charter school students play sports with them and attend their prom. Ka ‘Umeke is seeking more of that with other Hilo schools, with Ili helping to coordinate that. Kanu o ka ‘Āina has an advantage, though, being the only public high school in the area.

“Finally in place, kids can receive more in pre-college,” Allyson adds, noting that Kanu o ka ‘Āina is like other charter schools which have many of its high school students taking college courses. Kanu o ka ‘Āina has the distinction that 40 percent of its students graduate with a high school diploma and associate degree in college at the same time. Six years ago, the school started offering its students college courses at night on campus or at UH Hilo’s North Hawai‘i Education and Research Center (NHERC) in Honoka‘a.

Now Kanu o ka ‘Āina is a satellite campus, with students and the community taking courses at the school. The school offers English 100, Math 100, Biology 100, Hawaiian Language 101 and Hawaiian Culture 100, according to Allyson and Mahina.

“We’re aspiring to be bilingual,” Mahina says.

Additionally, the students do have a mandatory requirement to take five years of Hawaiian language instruction between sixth and 10th grade. The biggest influx of the school’s students come in at kindergarten, and the primary emigration begins in sixth grade. Currently, there are over 150 children on the school’s waiting list.

The demand for Kanu o ka ‘Āina is there, and like its charter school contemporaries, isn’t getting fair funding from the state.

“Somehow the Legislature and Board of Education need to better support charter schools and our success,” says Mahina.

Mahina is hard pressed to think of anyone on BOE or within the State Legislature advocating specifically for charter schools. She pointed to the County of Hawai‘i and Mayor Billy Kenoi in particular for the multipurpose gym, though. The ground-breaking ceremony for that new County building was in December 2015.

In the next issue, Ke Ola Magazine will look at other charter schools on Hawai‘i Island, including those more project-based, such as Laupāhoehoe Charter School. ❖ Contact Ka ‘Umeke: 808.933.3482, Kaumeke.org Contact Ke Kula ‘O Nawahiokalani‘opu‘u:

808.982.4260, Nawahi.org Contact Kanu o ka ‘Āina: 808.887.1117, Kanu.kalo.org Contact writer and photographer Tiffany Edwards Hunt: newswoman@me.com

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ack in the 90s, when I was a cultural demonstrator at Pu‘uhonua o Hōnaunau National Historical Park, we sometimes used to enjoy mildly teasing visitors who asked us if there was a place they could find traditional Hawaiian beverages. “Oh, yes,” we’d tell them. “It’s even free! The water fountain is right over there!” Indeed, water, wai, is the most widespread traditional Hawaiian beverage and is so important that it is extolled in chants and offered to the gods.

Ke Ola Pono: Ka Wai Ola

The water of life | By Leilehua Yuen

E ulu, e ulu kini o ke Akua

Ulu Kāne me Kanaloa Ulu ‘ōhi ‘alaukoa me ka ‘ie‘ie A‘e mai a noho i kou kuahu Eia ka wai la, he wai e ola

E ola nō e!

O, grow, O grow multitude of Gods Grow Kāne and Kanaloa Grow forest forms of of the gods Dwell here in your altar Here is the water, the water of life Life, indeed!

What lessons do these things have for us today? Just as the earth must have adequate clean water to maintain the health of the land, rivers, and sea, we must drink adequate clean water to maintain the health of our bodies.

Contact writer Leilehua Yuen: kumuleimanu@gmail.com Sources: Mayo Clinic: MayoClinic.org Riverside Online: RiversideOnline.com/health_reference/

Questions-Answers/AN01734.cfm Hawai‘i Dept. of Health: Health.Hawaii.gov/cwb/site-map/

clean-water-branch-home-page/polluted-runoff-control-

program/prc-hawaiis-implementation-plan/agriculture/ Pukui: ‘Ōlelo No‘eau.

KeOlaMagazine.com | March–April 2016

Our bodies are 60 percent water, and we use it in many ways.

We use it to regulate our body temperature; lubricate joints, tendons, and muscles; dissolve minerals and other nutrients so they may be transported throughout the body, along with oxygen, to our cells; carry waste products, toxins, and gasses from our cells to our lungs, kidneys, liver, and skin for removal from the body; moisten tissues of our eyes, lips, mouth, and digestive system; and remove waste products from our digestive tract. We drink water, we clean ourselves and our environment with it, and we even breathe small amounts of it as vapor in the air. Dehydration, the lack of water, can lead to fatigue, impared thinking, and other problems. Human life is dependant on water.

In ancient Hawai‘i, this dependance on water was recognized in a number of sayings. The folk etymology that waiwai, (wealth), is a reduplication of the word for water is probably inaccurate, with the word being more closely related to wai meaning “retain,” as retaining goods or property. However, it is a good mnemonic to remember the importance of water to our kino, our bodies.

Mary Kawena Pukui recorded a number of sayings about water in her book, ‘Ōlelo No‘eau: Hawaiian Proverbs and Poetical Sayings: Ola i ka wai a ka ‘ōpua There is life in the water from the clouds.

Uē ka lani, ola ka honua When heaven cries, the land lives.

Hu‘ea na kai i piha‘ā moe wai o uka Washed to the sea is debris of upland streams.

Ka lepo ke kumu wai, e hua‘i ana ka lepo kai When the source of water is dirty, the dirt is carried to the sea.

On the macro scale, we must all work for the health of the land by supporting the health of the water. On the micro scale, we can support our own health by drinking clean, pure water.

Just as we can tell the health of a stream by how much silt and contaminents are spilling into the ocean from it, we can look at our own mimi (urine) to get some gauge of our health.

It should be clear or pale yellow. If it is dark or cloudy, we need to adjust our intake of water, and if that does not clear it up, see a doctor.

How much water does a person need to drink? That varies a great deal. In general, six or more eight ounce glasses of water per day are recommended for adults. However, if a person is doing activities that cause heavy perspiration, more water will be needed. Pregnant and nursing women need more water.

People who are ill also need more water.

While vitamin water is popular, doctors are starting to express concerns that we are overdosing on vitamins, which can lead to a variety of symptoms, depending on the overabundant vitamin. For example, overdosing on B1 (thiamine) can cause weakness, headache, irregular heartbeat, and low blood pressure. Overdosing on vitamin E can cause symptoms ranging from nausea, diarrhea, stomach cramps, fatigue, weakness, headache, blurred vision, rashes and even bruising and bleeding. A bottle of vitamin water every so often probably won’t cause problems, but frequent consumption, especially when taking vitamin supplements, can add up. Many of these drinks also have a lot of sugar, or have artificial sweeteners.

As long as we eat a variety of foods, unless we are working our muscles to fatigue on a regular basis, tasty as they are, we probably don’t need supplemented beverages.

Eia ka wai la, he wai e ola. E ola nō e!

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A bridge leads to the women’s hale (house).

in San Diego, doing work with forensics and the courts, Mark took a job on O‘ahu at Kapi‘olani Medical Center for Women and Children in a program for highly disturbed children and adolescents. While there, he learned about the need for a new director at Bridge House in Kona.

“I left a really good job that I enjoyed, with good pay and benefits. This is a lot different, but I wouldn’t trade it for the city.

Six months after being here, I got in tune with the spirit here, with the mana and people. This is where I want to be.”

Mark’s formal education is in both psychology and anthropology.

KeOlaMagazine.com | March–April 2016

t’s a rocky road full of pitfalls and the illusion of adventure, the life of a drug and/or alcohol addict. For those who want it to end, at the end of the road is a place called Bridge House.

Executive Director Mark Schuster believes the West Hawai‘i residential clean-and-sober facility is unique in both Hawai‘i and the mainland. He doesn’t mince words when speaking of the policies and rules of the government agencies that fund and regulate programs that he feels fall short of Executive Director Mark Schuster developed the recognizing the deeper down-to-earth program issues of personal growth at Bridge House. and recovery. Since joining Bridge House in 2004, after working in treatment programs in California and O‘ahu, he’s come to the realization that grass roots and Hawaiian values can work better than classrooms.

After being in private practice as a psychologist

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“When I started working with heroin addicts in San Diego, I fell back on my anthropology. I told myself I’m just going into another culture I know nothing about; they have their own mores, their own language. You realize there’s a whole undercurrent; they’re not just regular people doing drugs.

I sometimes think my anthropology training is a lot more valuable.”

As a kid growing up in rural Connecticut, Mark was around the elders who he says passed on wisdom you can’t get in schools.

“Sitting in a duck blind with old Yankee farmers,” he says, “there’s a lot of wisdom. They weren’t educated, but they knew how to handle people with problems.”

That understanding led Mark to develop a down-to-earth program at Bridge House, utilizing the seven-acre property, local kūpuna and Hawaiian practitioners, in addition to following the required protocol mandated by the state and federal agencies.

Residents at Bridge House come with addiction, whether to drugs or alcohol. According to Mark, some 80 percent have ice (crystal methamphetamine) as part of what they’re doing, maybe 15 percent are alcoholics and five percent have pharmaceutical addictions. Ice is a problem that hasn’t decreased over the years, but research is improving, Mark says.

“Ice has always been the fly in the ointment here. I would rather be locked in a room with 100 heroin addicts than three ice heads. So much new information is now being pumped out by the National Institute on Drug Abuse. The main thing they’re discovering—using brain imaging—is which parts of the brain are affected. The good news is that it’s not damaged, it’s just deactivated.”

He thinks the Bridge House program is effective in healing those disconnections.

“When I got here, I saw seven acres of farm land. I’m a farm boy. I said, ‘why aren’t we using this?’ And we have elders too, like the elders I knew who could talk about the important stuff. Let’s reconfigure the program because it’s not hard to get people clean, but when they go into the drug subculture, what’s changed is their character. It does nobody any good if they leave here and they still have their attitude. Most programs don’t change character. We are different; we’re a lot more interested in their character.

“The State of Hawai‘i requires concurrent enrollment in an outpatient program, which is very much a classroom endeavor, with the teacher and pupil, the lecture and the test. It takes focus and concentration, an ability to recall, and abstract thinking you can use later. Those three functions require the use of the three centers of the brain most impaired in ice use. We have to

Cultural resource kupuna, Kumu Hula Bobo Palacat, talks with residents about Hawaiian concepts of lōkahi, pono, and aloha.

immediately send them out three hours a day, three days a week to classrooms. I think it’s ludicrous. They don’t get anything out of it and need some time for brain healing/detoxing first.”

Bridge House also runs an outpatient program, and Mark thinks it’s an important component of the program at the right time.

The program at Bridge House incorporates multiple strategies.

“There are a lot of people here who are willing to help. We have people doing ho‘oponopono and growing Hawaiian plants for health and healing. We’ve got a naturopathic physician and acupuncturist. We’ve got a kumu hula and kūpuna who come in and talk about Hawaiian values.”

Naturopath and acupuncturist Dr. Joseph Kassel helps harvest lychee in the Bridge House orchard.

With him is Mike, a former resident who successfully re-integrated into the community and employment.

Mike is now employed at Bridge House.

— Photo courtesy Bridge House

One of two community-based assets for Bridge House is Dr. Joseph Kassel—“Dr. Joe”—a local naturopathic physician and acupuncturist specializing in detox. He spends two days a week at Bridge House, working with healing plants in the garden, conducting ho‘oponopono sessions, and doing acupuncture.

The other is Kumu Hula Bobo Palacat—“Uncle Bobo.” A lifelong resident of Kailua-Kona now living in the Hōlualoa area, Bobo spends one day a week talking story, sharing Hawaiian values, and teaching Hawaiian practices such as lauhala weaving, ipu growing and finishing, and hula for those who are interested.

Recovering alcoholic, mother and local girl, Jamie B, is one example of a former resident who has found a new life.

“I saw that everything was buried inside her because she went to that dark side,” Mark said. “After going through the program here, she just blossomed. She’s one of our real success stories. She now works here with our gardens and cultural program.”

Jamie shares her story: “I was born and raised on O‘ahu, and I’ve lived here now for many years. I’m a graduate of Kamehameha Schools, a recovering alcoholic, and also a single mom. It was a series of run-ins with the law that eventually brought me to a place that I could admit to myself that I needed help. I experienced a lot of anger and feeling different. My parents died when I was young and, being called an orphan, I identified with a real negative self-identity. Raising my kids by myself, I was very isolated, like most alcoholics. I thought nobody understood. My oldest boy

KeOlaMagazine.com | March–April 2016

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was in 9th grade and two younger ones in elementary Just one of Bridge House’s school. At the end, success stories: I became extremely Jamie B, self-destructive. With who is now employed there my charges, I knew as a cultural CPS [Child Protective coordinator.

Services] was going to get involved. It was the last straw for me.

I started attending 12-step meetings, and someone there said you should try this place, so I called, and a couple weeks later, I came here. It’s just about the best thing I ever did.”

Bridge House, with limited housing space for only 15 residents at a time, has a waiting list, says Mark, yet people are coming and going on a regular basis. Currently there are five beds for women and 10 for men, and they can stay for up to six months each fiscal year.

“We require they have 30 days clean before coming here as a commitment to recovery. When someone first comes in, they’re spinning; their brains are still detoxing. We offer sanctuary, but we keep people on a tight leash. We watch them as they start on a continuum of care.”

KeOlaMagazine.com | March–April 2016

Jamie came to Bridge House in early 2010.

She continues her story: “I was just numb when I first got here. I was at that place of ‘help me; just tell me what to do.’ I was open, and I’m grateful I reached that point before I came here. Just having to follow basic house rules, I didn’t have to think. It was really a relief for me. I got started in the program, which includes vocational rehab that, for me, was working in the garden. I grew up in Honolulu where we never had dirt to play in. I remember the very first time I went into the garden. I stuck my hands in the

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dirt and it was like electricity. I felt this connection I never felt before. It was at that point I started my cultural journey and became curious what it was to be Hawaiian. The aunty who was in charge of that program at the time, she meant the world to me. She would sit us down, and the first thing she would ask us is, ‘Who are you?’ For so many of us in recovery, we don’t know who we are. So I was able to connect with my genealogy, where did I come from? What is my kuleana (responsibility)? What is my place in this world? It’s just come full circle to a place where I would like to help others to feel that connection, to appreciate the culture and just the land here to give us a real sense of healing. After I was a year sober, I got [my children] back and they’ve been with me ever since.”

Another key part of the Bridge House program is vocational skills building, and it is mandatory that all residents participate.

They are assisted with job skills, and there are many graduated residents out in the community to help in getting them hired, says Mark. The job/work success rate for Bridge House residents after leaving the facility is 70 percent—meaning 70 percent will still be employed six months after they leave, more than double the national rate of just 30 percent.

“People here, even when the brain is still addled, can improve with these things,” Mark says. “I can take this program to any of the top psychiatric facilities I’ve been with on mainland and it will be successful. You watch what happens when the kūpuna are there in the garden. I see the difference from what I observe in the classroom. Not only are they sitting and focused, they ask questions. These are people who can touch them by talking about basic values we all share.”

Jamie says, “Being a mom, being a member of the community, being a woman, it’s so important to have a safe place. Cultural differences will always arise. For me, it’s more about teaching love and respect. Just be open to receive the mana that is here and what we can share with each other. This is the first place I ever felt safe. This is where I grew up.” ❖

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Bridge House maintains food and herb gardens where residents can grow their own food and also produce to sell to wholesale providers for local restaurants. It helps them to learn organic gardening and enhance their own nutritional health, and puts them in touch with the ‘āina.

They also have an imu for cooking lū‘au.

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Lucille Chung and Tommy “Kahikina” Ching honoring the eldest person at the 2013 Laupahoehoe Music Festival; Mrs. Alice Peters.

Karen Powell (niece) and Aunty Lucille Chung visiting in Alabama when Karen composed “Ohana Kuleana”

Lucille Chung and her children.

L–R: Kaleo, Valerie, Lucille, Anela, and Kaimi

Lucille Chung:

A Kupuna Extraordinaire | By Paula Thomas

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together to talk story. Lucille remembers this as being such a force in her life, this connection to extended family. She also remembers Kuku as being very stern, a man of few words who kept a tight rein on people and reflects that her mother did the same; perhaps she, too, is a little that way now when it comes to the younger generations in the family.

Aunty Lucille shares that she isn’t quite sure if her grandfather realized what he was doing, bringing everyone together like that weekly. The outgrowth was that since 1978 the entire clan has been gathering every three years for a family reunion at Laupāhoehoe Point. Today, some 250 attend.

Perhaps it was because these huge reunions were down to a science, in addition to her intimate knowledge of the Laupāhoehoe community that Lucille found herself in the festival “business.” It was the late Braddah Smitty (Claybourne Smith), with his home overlooking Laupāhoehoe Point, who had the vision. He and Lucille met at a pool bash in August 2004, at which time he shared his idea. Lucille thought nothing of making it happen. “Braddah, you get the musicians; I’ll do the organizing.”

The first Laupāhoehoe Music Festival, purposed to take care of the keiki and kūpuna, was held the following February over President’s Day Weekend. It brought 1500 to the Point and raised over $36,000. Now going into its 11th year, the festival has been

KeOlaMagazine.com | March–April 2016

e sat in Short N Sweet Bakery and Cafe, Aunty Lucille and me, along with her first cousin, Kawepa Francisco, known on O‘ahu as Natalie. Not much later, another cousin joined us making a tidy crowd for the small café, yet a mere fraction of the extended Akao family.

Aunty Lucille talks about her life and her family in the framework of the family values instilled in her by her grandfather, Kuku Akao. A man who fathered eight children, Kuku held family gatherings every single Saturday to make poi. Lucille’s mother, Mary Viveiros, who was Hawaiian/Chinese, and her father, William, who was Portuguese, also had eight children. The family gatherings on Saturdays were large.

Grandfather Kuku David Akao Much poi had to be prepared, with people using spoons or ‘opihi shells to peel the taro root, so everyone could go home with a bag.

The preparation and the ritual brought the cousins together to play and the parents

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Laupāhoehoe Set Up Crew

handed over to the Laupāhoehoe Community Public Charter School (LCPCS) and will serve as its fundraiser.

Aunty Lucille was long since retired from the police department by the time the music festival launched. She was working with Queen Lili‘uokalani Children’s Center as its Community Building Facilitator, helping families of Hawaiian ancestry, and recalls an event after which a young lady had called her home to be picked up, but distressed, told Aunty Lucille that she had forgotten to ask her family to put on water so she could bathe. Lucille realized the implication: the family had no hot running water. She quickly provided her phone so the girl could call back. This story brings a pang to her heart and tears to her eyes, still. “Some people have so little and are so humble,” she reflects.

“Truly, I feel blessed. I have no complaints. My life has been a wonderful journey.”

Although she never did get a degree in social work, her efforts since 1994 have all been about working in communities to support families and children. From the Na Pua Mai‘ole (a school group in Pāhoa), the Neighborhood Place in Puna, working with Milly Kim on the Heritage Corridor that stretches from Hilo to Honoka‘a and supporting the Laupāhoehoe Train Museum, developing Hawaiian summer programs, helping to transform Laupāhoehoe Elementary into a charter school, to working with Hawai‘i County Parks and Recreation—all this work is about connecting the dots, building capacity in the community, and promoting community self-care. So much of her capabilities come from working with her extended family all these years. After all, if you can pull together a family reunion for 250 people every three years, and you can organize an annual music festival for 500-1500 people, surely you can organize the food and prizes for other community events.

Family Reunion of the Viveiros Clan—just one branch of the Akao ‘Ohana.

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KeOlaMagazine.com | March–April 2016

Family is everything to Lucille Chung. Born Lucille Eunice Kalikolehua Moniz Viveiros, Lucille is now the matriarch of the Akao family, and when she speaks, everyone listens. There is humility, deep respect, an understanding of legacy, and a current of family values that runs very deep down to the essence and purpose of her life. “Know where you come from…know the meaning of your name,” she claims. “If you were named for someone else, understand that you have a responsibility to honor that name and bring no shame to it.”

From the age of three she went to work with her mother at the Laupāhoehoe post office, where mom served as postmaster.

She got to meet just about everyone in the community there and found delight in knowing everyone’s name and even knowing where some of them lived because she delivered some of the newspapers. It was a deeply cherished familiarity.

She was six when the tsunami hit the island in 1946 and devastated the Hāmākua Coast, including Laupāhoehoe Point. “People were talking about “big waves” that morning, she recalls, and didn’t put two and two together until the kindergarten teacher, Lucille’s kindergarten teacher, brought the news that her mother and nephew were gone, washed away. Lucille had been L–R: Kau‘i (Mom), Lawrence (brother), named for the teacher’s Peggy (sister), and Lucille up front mother, whose body was found up the coast in Pa‘auilo the next day. The news hit her like a brick. The nephew’s body was never recovered.

As she was growing up, Lucille set her sights on moving to the mainland. Her older sisters had gotten jobs on the mainland— one was a stewardess, one a secretary—and Lucille had every intention of finishing up secretarial school and joining her sister in Utah. It was never her plan to stay on Hawai‘i Island. (She had wanted to be a social worker, and was discouraged because it was a low-paying profession.) Before she finished secretarial school, though, a manager had spoken to her mother about having Lucille work at the Laupāhoehoe Sugar Plantation. A job

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KeOlaMagazine.com | March–April 2016

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was available because the secretary had left. When Lucille found out about it and told her instructor that she had a job offer, the instructor’s response was, “Lucille, if you take that job, you will never leave the island.” Nah, thought Lucille. That won’t happen.

She took the job, and as fate would have it, never did leave Hawai‘i Island.

After two years at the plantation, Lucille became the Police Operations Clerk at the Laupāhoehoe Police Station, where she served for 33 years before retiring in 1994. “I could really take care of the community in that position,” she said. “I knew what was going on. I was there to hug the crying parents when their kids got into trouble…I was there to chide the young ones when they came in for making mistakes and poor choices.”

In 1962, Lucille married the love of her life, Walter Chung, proprietor of Walter’s Electric. She and Walter raised four children: Kaimi, Kaleo, Valerie, Anela, who themselves are now married and collectively gave them 17 grandchildren. Kaimi now runs the family business.

The home she was raised in has been in the family for four generations now and “will never, never be sold,” she says. It’s part of the Akao legacy, that home, and Lucille is the matriarch of the family.

Lucille in her When they all gather, the women early 20s. sit at the table with Lucille to work through family issues, and it’s Lucille’s words that are followed when decisions need to be made. True to her family name and history, her decisions come from a deep sense of connection to the values instilled over the course of her life. What would mother do and why? she thinks. What is good for this person and for the family? An approach they take for family members who may be disgruntled or disagreeable is to love them even more. “Open the heart and overwhelm with kindness,” notes Kawepa, as Lucille nods. “We accept everyone.”

Kawepa arrived with Lucille because she was on-island, not by her choice—the family had called and told her she was needed.

That’s all it took for her to get on a plane within the day. The Akao family shows up in force to assist when there’s a family emergency. It’s a central role that family plays in all their lives.

It gives them security, a safety net, a sense of belonging to something much larger than themselves.

The cousin, Tevai Lucille, Tevai, and Kawepa Huangma, who arrived at the café in a bright striped dress, her dark hair pulled up on her head, talked about how unique her sense of family is compared to her college peers on the mainland. “They have taught us a lot about family, and we have a sense that no matter what happens,

Violet Francisco, Kawaihona Poy, Lucille Chung, and Bunji Fujimoto introducing the “April Fool’s” Oral History Book.

together we find a way to push through,” she says. Lucille nods, “It’s your turn,” she says, “to step up and put into practice all the lessons.”

Her career, spanning close to six decades, has been about community building and facilitating growth and development, truly social work, which she accomplished through both her employment as well as volunteer work. For her tireless giving and contributions, she received the YWCA 2015 Remarkable Person Award at an event held last April, alongside Barry Taniguchi of KTA Superstores, Inc. It couldn’t be a more fitting award for Lucille. Humble and giving, caring and compassionate, and doing for others with not the slightest notion of getting anything in return, Aunty Lucille understands what it Walter and Lucille Chung takes to bring people together and move a community forward.

Selfless acts well intentioned, founded on values, embracing everyone, and holding yourself and others accountable—these are the things that Kuku Akao was modeling all those years ago when he gathered his family on Saturdays.

For matriarch Aunty Lucille, four key tenets form how she leads her family: • the value of your name and not bringing shame to it • the value of hard work that establishes your self worth • the value of education and constantly learning • the value of family and of being respectful to all with whom you come in contact At age 75, she still goes to her office at Walter’s Electric and surrounds herself with family. A wonderful life, no complaints, for a kupuna extraordinaire. ❖ Contact Lucille Chung: 808.935.1868

Contact writer Paula Thomas: paula@delphipacific.com

The Morning Message

| By Ku‘ulei Keakealani

Kahakai Sunrise

K

As light of the morning began to overtake the dark of the night, my attention was called to the little white coral rocks that were no more than six inches to my left. After focusing better on what appeared to be an intentional setting of these coral rocks, I realized there was a message. Left there by an unknown author, this is what I was intended to wake to, to see, to start my day with and now… ultimately to share with you.

Here again, I share an entry from my personal journal:

The Morning Message July, 13 2014—Early morning journal entry at Kīholo, Kona Akau With morning eyes I look out, Kaua‘i point is in the near distance, the 1859 Mauna Loa lava flow is in the far distance.

Grandmother moon shines her light, piha (full moon). Piha—full souls. The waves continue to do their thing, their function, it is not un-purposeful.

A message left for eyes to see… hearts to feel. Four letters written upon the black ‘ili‘ili, white coral spell L-O-V-E, love.

Author unknown, fret not the least, that is irrelevant, the purpose is fulfilled.

Purpose—did these stones know that their purpose this morning was to be placed in a fashion that would communicate a spoken word? Perhaps? Did the hands that placed these rocks know that I would come to see and feel what he or she had intended? Perhaps?

What is known is that the message it conveys is read and felt.

Ohhh so powerful it is.

Sit I do, ocean, Moananuiakea before me.

Love Love Love Love

= = = =

mahina moon above me. black music making ‘ili‘ili under me. family seen and unseen behind me. sunrise is soon to come, Kanehoalani’s time, warming earth, you, and me, bringing life.

KeOlaMagazine.com | March–April 2016

akahiaka no. I am an early riser, most mornings I am up anywhere between 2–3am. I guess you could say I’m a morning person. It’s considered a “good sleep” when I can sleep to 4:30am. My closest friends and family know that I am usually asleep by 8pm, and are fully aware that if they call me, I won’t answer!

Nevertheless, it is the crisp coolness of the early morning that I love, when everything is quiet, even the land herself is quiet. The busy “ness” of the day is not heard and is still a distance away.

The birds haven’t stirred yet and there is a stillness, a calmness about this particular time. I am able to see the night sky and all that is illuminated above me. The stars that have been making their way through the vast cosmos are still up, rising and setting as time moves us closer to dawn. The magnificent mahina, the moon that speaks to us—so many messages she relays each and every night. Who hears her ever-lovely voice?

Like always, I rose early one morning, this time, however, I was in the ancestral homeland, the birthplace of my greatgrandfather, the beach where I had slept and woke as a child, the place where my dad was raised on the brackish water, and where I now take my children so they can breathe the “Kῑholo air.” The continued presence of our family on these lands that we belong to is vital and necessary.

In July 2014, our nonprofit organization Hui Aloha Kῑholo, along with our partners The Nature Conservancy and Conservation International, hosted one of our ‘Ohana Lawai‘a Camps—Ho‘omoana i Kῑholo.

As indicative of the name, we set our mats upon the sands of Kῑholo and camped; there in the ever-so-familiar ambiance of Kῑholo Kupaianaha, amazing Kῑholo.

As I exited our tent to go sit on the ‘ili‘ili (pebbles) and welcome in the Kῑholo morning, I walked only with the light of the moon as darkness was still evident.

Thinking I had chosen a suitable spot, I later learned that perhaps the opposite was true—the spot had chosen me.

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Dreams of little boys spoken, one day to be realized. Barriers broken, fears faced, laughter echoes, voices pour energies of love upon listening ears. So many sounds of love. Trusting in love. Aloha, a subtle but constant bell rings, calling, remindingpay attention, kilo, be aware for love is the covering.

revelations on multiple levels.

Friends join and become family. Memories made.

Solid. Piha—all this, bound nevertheless by the morning message. L-O-V-E, love.

One last thing.

To the unknown author, to the white coral rocks, to the spot that said “sit here,” to my ancestors, and our homeland…I say, “Mahalo.” Indeed I am thankful.

Unborn amongst us, visions of hope.

Kūpuna amongst us, lead us by example.

E lauhoe mai, we paddle together.

Function, purpose, objectives, outcomes, intentions,

Contact writer Ku‘ulei Keakealani: kuumehananani@yahoo.com

Kῑholo

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KeOlaMagazine.com | March–April 2016

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The Rebirth of the Kahilu Theatre | By Catherine Tarleton

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photo courtesy Andrew Hara

rom the front, Kahilu Theatre is similar to the building created 35 years ago by Richard Smart, sixth generation Parker Ranch heir, Broadway entertainer and “modern day ali‘i” to the Waimea community. Around the corner, however, brilliant fullwall murals reveal a different side of Kahilu’s new personality—one of unabashed color, risky creativity, and proud community support.

Richard named his theater Kahilu in honor of his mother, Thelma Kahiluonapua‘api‘ilani Parker Smart, great-great granddaughter of ranch patriarch John Palmer Parker. For the building, he commissioned the esteemed design firm Wimberly, Allison, Tong & Goo, and their architect Sid Char, who had also contributed to the venerable Mauna Kea Beach Hotel, where Richard occasionally escaped for a beach retreat. Groundbreaking took place in 1979, and the final cost came in at $1.5 million.

Kahilu’s curtain first raised on February 6, 1981, with a production of Oh Coward! starring Richard Smart and longtime friend, Honolulu actress Wisa d’Orso. The musical tribute to playwright Noel Coward ran for three days, launching a premier season that also included “the Honolulu Symphony, Little Consort of Amsterdam, well-known Hawaiian entertainers Nalani Olds and Charles K.L. Davis, a Los Angeles company performance of Grease, a kyogen play and a Kabuki drama,” according to Dr. William Bergin and Dexter Keawe‘ehu Vredenberg in Richard Smart of the Legendary Parker Ranch. photo courtesy Andrew Hara

photo courtesy Andrew Hara

In the next 12 years, Richard either performed in or directed modern classics like The Man Who Came to Dinner, Last of the Red Hot Lovers, and Cactus Flower, sharing the stage with Broadway colleague Nanette Fabray.

Richard Smart For his swansong, a 79-year-old Richard at Kahilu, 1980 starred in On Golden Pond in 1989.

When he passed away in 1992, no endowment was left to maintain the Kahilu Theatre, leaving it completely dependent on outside funding sources and ticket sales to meet its $1 million annual budget, including $10,000 per month operating costs. Twenty years later and $200,000 in debt, the Board of Directors made the difficult decision to close the doors for a year to re-group, restructure, and reorganize.

In June 2012, the Cazimero Brothers performed their annual concert, concluding Kahilu’s 31st season and beginning its oneyear “intermission.”

“You know, I love this theater,” said Robert Cazimero during the show. “I love what they’ve done for all of us. But instead of photo courtesy Andrew Hara

The award-winning Irish band Lúnasa will play a concert at Kahilu Theatre March 8. The acclaimed traditional ensemble is touring with Tim O'Brien, noted American Country and Bluegrass musician.

KeOlaMagazine.com | March–April 2016

being sad I’m focusing on the hope that it will be back soon.”

Robert and Roland’s concert was a highlight of the season, usually played to a full house, and often included members of the audience—when Kumu Robert called a hula dancer up onstage. “We are performing tonight with mixed emotions but great hope…Expect nothing and expect everything. Be sad and be happy. Let go–and hold on.”

Hold on they did.

“I joined the board when the Kahilu Theatre was going into its intermission period,” said Beth Bornstein Dunnington, Board Member and instructor in the youth programs. A theater professional from New York, Beth was not prepared to see the community’s prized theater stay dark. “When the theater shut down, I realized we had this huge crisis, so I contacted them and said ‘what can I do to help?’”

“I characterize it now as, the community was angry and it turned into support,” says Tim Bostock, Artistic Director.

Originally from Oxford, England, Tim has been a promoter of live arts for more than 30 years and ran numerous street festivals in Honolulu in addition to helping create The ARTS at Marks Garage. In 2013, he also helped revive the Waiki‘i Music Festival, and he and wife Melanie Holt are new owners of the Kamuela Inn, now undergoing renovation.

For Kahilu, a fundraising/development committee was formed, and that dedicated group worked nonstop to help the theater get back on its feet. Says Tim, “It’s about how the community didn’t want the theater to die.”

The whole community, including many beyond Waimea town, rolled up their sleeves, and got to work on fundraisers large and small. A $1.5 million grant-in-aid from the State of Hawai‘i (equal to the building’s original construction cost) spearheaded

by Senator Malama Solomon and Representative Cindy Evans

64

came through. By September 2013, Kahilu was able to launch a new season with a stirring concert by Kaumakaiwa Kanaka‘ole & Kekuhi Kanahele.

“Just a couple of seasons later, we’re thriving,” says Beth, who describes the successful reorganization as a “collective re-embracing.” “We have really great new board members— powerful, smart—and a terrific Board President in Mimi Kerley, plus several long-term board members who have stayed on and are committed to the theater,” she says. “The entire board would like the Kahilu to be a gathering place for all the voices of the community.”

Current Board, L–R: John Wray, Mahina Duarte, Beth Bornstein Dunnington, Mimi Kerley, Deb Goodwin, Monique Allison, Chadd Paishon, Jane Sibbett

Today’s Kahilu Theatre has a new roof, a freshly upgraded lobby, and welcoming reception desk flanked by two airy galleries—frequently filled with rehearsals, hip hop dancers, acting students, music, and applause. Executive Director Deb Goodwin says the galleries, with changing exhibits throughout the year, are popular with artists and patrons. “It’s such a nice addition,” she says. “We have things going on onstage and spilling out into the galleries. It’s great.”

Backstage, long strands of fabric hang to the floor, waiting for the aerial silks class in the new “Mike Luce Studio.” The studio was named for decades-long Kahilu supporter, board president, volunteer stage technician, and friend, Mike Luce, who passed away last October.

“Mike studied theater on the mainland, and when he came to Waimea as a contractor, he met Richard Smart and helped him mount shows in the heyday when they took shows to Honolulu,”

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“The Vagina Monologues directed by Jane Sibbett in 2013 was one of the key in-house productions / fundraisers in the year of recovery that helped the theater to survive and thrive,” says Tim Bostock.

Kahilu’s Aloha Music Academy, engaging students with Hawaiian and bluegrass styles on ‘ukulele, guitar, bass, mandolin, and more.

photo by Catherine Tarleton

says Deb. “He was a founding board member when Richard was president.”

“In one of our last conversations we talked about lighting,” Deb continues. “It’s not an accident that ‘luce’ means light, or that his last contribution was helping us light our theater.”

Technical excellence continues at Kahilu, with the assistance of Paul Buckley and Waimea Music Center. “Waimea Music Center was a partner in revitalizing the Kahilu,” says Tim. “Paul bent over backwards to make it possible...He was responsible for making the internal improvements that were part of the state grant, new LED lighting, curtains, projector, the house AV system, and more.”

In addition to improving the physical building, the board made a commitment to expand its education programs. These include Youth Shows, where professional musicians perform onstage as Kahilu Theatre is busy almost every day of the week, with education programs for adults and keiki across a wide variety of studies— from ballet to hip hop, acting to aerial silks and more.

well as visit public schools for shows and workshops—about 22 youth shows annually, for audiences of 10,000 kids.

After-school programs, offered by Prince Dance Institute and smART Academy (named for Richard) keep the theater lively with classes for keiki and adults in dance, trapeze, hip hop, ballet, singing, acting, aerial silks, and more. “We now have 27 hours of after-school programs each week, plus K(Arts) with Waimea

Middle School for another 12 teaching hours,” says Tim. “From 3–7:30pm Monday through Thursday the full stage, studio, and gallery are all in use.” Kahilu also works with Mana Christian Ohana (Kahilu Town Hall) to occasionally use their classroom space, and Tim says their only obstacle to expanding education is running out of room.

Over spring break, Kahilu’s Aloha Music Academy engages about 40 students, and the Summer Arts Program expands the arts into the garden, the ocean, or the culinary world. Keiki Performing Arts Workshop (KPAW) is a student-run, free musical theater camp founded by Beth’s daughter, Marena, of Kahilu Youth Theatre Troupe. Graham Ellis, founder of the HICCUP Circus, directs Circus Camp in July, and if that’s not enough, the Kahilu Theatre is partnering with Kohala Village HUB on a spring camp called “Earthsmart Artsmart,” featuring earth-conscious performing arts, “eco arts” and farming-to-food arts.

The three murals outside—arguably Waimea’s best setting for selfies—are part of another education project—a two-week Mele Mural creation in collaboration with the Waimea Education Hui in April 2014. Student artists from six schools, directed by mural/graffiti artists, Estria Miyashiro and John “Prime” Hina, transformed bare walls into epic stories—three panels that

photo by Catherine Tarleton

KeOlaMagazine.com | March–April 2016

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KeOlaMagazine.com | March–April 2016

journey from green hills into the spiritual realm of Manaua (a Hawaiian rain deity) and conclude with a rainbow of imagery over Mauna Kea. (see story in Ke Ola Jul–Aug 2015) Staff members are active in education, taking on multiple roles. “Danny [Waddell] is Marketing Manager plus DJ; Renee [Rudzinski, Box Office Manager] teaches street jazz; Graham [Ellis, Development Consultant] is involved in circus arts...They encourage each other to drop in and try each other’s classes,” says Tim. Deb signed up for the aerial silks class. “It’s awesome,” she says. “It’s a great way to build your upper body strength and flexibility, and to experience our educational programs.” Deb joined the Kahilu staff in September and was immediately impressed with the widespread support of patrons, the Friends of Kahilu (who recently fundraised for a new Steinway grand piano), a cadre of 50+ loyal volunteers, and more.

“I think the big emphasis is how much community enthusiasm we are receiving, which Tessa Lark will play the 1683 Stradivari violin (on loan from the helps motivate us to Josef Gingold Fund) on the Kahilu keep going,” says Deb. stage March 17.

“It’s palatable. Kahilu is becoming a community hub in Waimea.”

“He would’ve loved it,” says Tim of today’s Kahilu. “His [Richard’s] intention was to make a place for the community

66

Godspell was a Kahilu Theatre Youth Troupe production directed by Beth Bornstein Dunnington last June. photo courtesy Danny Waddell

that celebrates the arts and theater...Today we have a wider community, more diverse, still with eyes on excellence. And with excellence, it allows the community to see what can be.”

Highlights of the spring season will include Angel Prince and Prince Dance Institute’s 10th concert in April, which will bring 90 young dancers onto the stage performing aerial, hip hop, contemporary, ballet, and hula. Jane Sibbett will direct an original collaborative production, She’Island, an anthology of women’s stories and songs about their connections to the island. In May, a one-of-a-kind tribute to Israel Kamakawiwo‘ole, sung by an invited group of Hawaiian musicians, hosted by Skylark Rosetti. In June, 35 years after the first presentation of Grease at the Kahilu, Beth will direct a a Kahilu Youth Troup production of the musical. ❖ Contact Kahilu Theatre: 808.885.6868, KahiluTheatre.org Contact writer Catherine Tarleton: catherinetarleton@gmail.com

Worldwide Voyage Mālama Honua West Hawai‘i Events with the Hikianalia

Sunday, February 28, 2016, afternoon

Community welcomes Hikianalia (weather permitting) Location: Kohala Waho, Kawaihae Join the host ‘ohana in welcoming the canoe.

Potluck for community participants and wa‘a ‘ohana —bring something to share.

Wednesday, March 2, 5:30–8pm

Music and stories from the the canoe Location: Pu‘ukoholā Heiau, Lonoouali‘i This event is free and open to all families and community members.

Stories and music led by Chadd Paishon, Maulili Dickson,

and the Makali‘i ‘Ohana and the ‘Ohana Wa‘a.

Peace flag making for keiki.

Bring your picnic dinner, chairs/mat, and a flashlight.

RSVP: Hokulea.com/events

Education Engagement Day Location: All throughout West Hawai‘i.

Organize and pair up schools and community organizations

who mālama honua for community service learning or

classroom visitation.

RSVP: nakalaiwaa@gmail.com

Saturday, March 5, 8–10am

Wa‘a Talks Location: Pua ka Ilima (Kawaihae Sand Flats) Geared for educators: E Lau Hoe Wa‘a Teacher Training

Activites.

RSVP: Hokulea.com/events

Mālama Honua Worldwide Voyage Festival Location: Pua ka Ilima (Kawaihae Sand Flats) This event is free and open to all families and

community members.

Three Demonstrations—Fish, Water Safety,

Wa‘a Oli/Mele.

Community Partner Booths.

Wednesday, March 9, 5–7pm

Wa‘a Talks Kona: Keauhou Shopping Center Special Guest Speaker Celeste Ha‘o from Imiloa

Astronomy Center sharing the Kolea Wa‘a Tool Kit. Soon to be available to teachers.

RSVP: Hokulea.com/events

Friday, March 11, 10–11:30am Special screening for schools Location: Kahilu Theatre Screening of Te Mana o Te Moana. $2 Event Fee RSVP: pomai@kalo.org

Saturday, March 12, 10am–2pm

Make Happy, A hui hou Hikianalia Location: Kawaihae Community is invited to say A Hui Hou to Hikianalia.

Potluck for community participants and wa‘a ‘ohana —bring something to share.

KeOlaMagazine.com | March–April 2016

Friday, March 4

Saturday, March 5, 10am–1pm

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Crossword Puzzle | By Myles Mellor

This page is for Ke Ola readers to have FUN while learning about the Hawaiian culture and this wonderful island we call home.

Some answers are in English, some are in Hawaiian.

Some answers will be found when you read the stories and ads in this issue.

Feel free to use the online Hawaiian electronic library.wehewehe.org Oh yes, you can find the answers on page 83.

Your feedback is always welcome.

HIeditor@keolamagazine.com

DOWN 1 Hawai‘i is one 2 It means mountain in Hawaiian 3 Logical explanation 4 Place for cooking 5 Alpha’s opposite 6 She runs the exciting Polynesian dance classes at

Hula Halau Makanani Kona, ____ Lona 7 The hawk in Hawaiian 10 Troubled or agitated in Hawaiian 12 Latin word for earthen pot 13 Morning time 14 Mauna ___ (Hawaiian volcano) 15 Thin in an attractive way 18 Ceremonial procedure 20 Ocean photographer, Doug ____ 22 Hawai‘i’s welcome necklace 23 Pacific golden plover 24 Hawaiian word for careless 26 Scold 29 Expression of surprise 30 Period more than 2,000 years ago, for short 31 Male sheep 32 E-mail address ending for a college or university

KeOlaMagazine.com | March–April 2016

ACROSS 1 Type of school which teaches keiki (children) the

Hawaiian language 5 Tree that symbolizes strength 7 Jason Mraz song, “___ Yours” 8 Popular Hawaiian music festival held on the

Hāmākua coast 9 African antelope 11 Culturally significant fishpond on the

west coast of Hawai‘i 13 Aunt Lucille is the matriarch of this extended

Hawaiian family 16 Citrus fruit 17 Close to, abbr.

19 Deep blue-black in Hawaiian 21 Hawaiian Royalty 23 The in Hawaiian 25 Sheep which produces fine wool 27 Waimea theater founded by Richard Smart 28 Path or road in Hawaiian 30 West Hawai‘i drug rehabilitation facility run by

Mark Schuster, 2 words 33 Soup container 34 The 2nd ____ Mural project depicts the concepts

of Kumulipo at Hale ‘Ikena in the

University of Hawai‘i Hilo 35 Honored elder or grandparent in Hawaiian

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KeOlaMagazine.com | March–April 2016

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Laupāhoehoe Music Festival:

O

Celebrating and Supporting the Community | By Denise Laitinen

n April 23, one of the largest and most beloved annual events on the Hāmākua coast will take place at Laupāhoehoe Point Beach Park. Now in its 11th year, the Laupāhoehoe Music Festival draws residents and visitors from around the island to listen to great Hawaiian music. And it’s all for a good cause. The music festival serves as a fundraiser for local school children and kūpuna (elders) in the community.

“The festival is a beautiful way for a family to spend the day in the park,” says Niki Hubbard, governing board chairperson of the Laupāhoehoe Community Public Charter School (LCPCS), the organizers of this year’s festival. “There are games for the kids and craft vendors, plus a silent auction—people get really excited about that. It’s a great community event.”

Even though the music festival has been around for more than a decade, this is the first year that the charter school is officially managing the event. The origins of the music festival date back to 2005, when a small group of dedicated volunteers, including Hawaiian musician Braddah Smitty, got together to help the community.

At the time, Lucille Chung, who was born in Laupāhoehoe and active in the community, was planning community pool parties with Don Canario. Don worked as the Hawai‘i Police Department’s Community Policing Officer in the Laupāhoehoe district and was friends with the famous entertainer. The nephew of legendary Hawaiian musician Gabby Pahinui, Braddah Smitty, whose real name was Claybourne Smith, was a well-known slack key musician who performed with the Sons of Hawai‘i for more than two decades. He also happened to live in Laupāhoehoe. “[Braddah Smitty] wanted to do something that helped the youth and the kūpuna in the community,” recalls Don. “His home was on a bluff overlooking Laupāhoehoe Point.

Sitting in his backyard talking story, we talked about having something [in Laupāhoehoe]

Laupāhoehoe Music Festival co-founder Lucille Chung and Penny Vredenburg.

like the music festival they used to have in Waiki‘i. It made sense to have the festival at the Point.

“I had been hearing from Don that Braddah Smitty wanted to do a music festival,” says Lucille. “I said, ‘let’s get together and see what we can put together.’ We met in 2005. Braddah Smitty got the musicians and we got everything else,” adds Lucille.

“We came up with an organization, Malama Hawai‘i Nei, to organize the music festival,” says Don. It was a small, but dedicated group of less than a dozen people. “Aunty Lucille was the chair and handled the paperwork, Uncle Smitty handled the music, and I handled a lot of the logistics.

“I learned a lot,” continues Don. “How to build the food booths, setting up the staging, learning the process of getting permits with the building department, the fire department, all of that.”

The festival itself features a mixture of Hawaiian slack key

KeOlaMagazine.com | March–April 2016

music, performances by school groups and hula hālau. Thanks to Braddah Smitty’s efforts, over the years several award-winning performers have played at the festival, including Darlene Ahuna, Sonny Lim, Mark Yamanaka, Makana, and many others.

Both Lucille and Don say it’s a true community effort. Everyone involved donates his or her time to make the event a success.

“None of us got paid for any of it—it is strictly volunteer. It’s a very small group that have put it together and held it together.”

For instance, Don, a motorcycle enthusiast, enlisted the efforts of Hui Maka‘i, a motorcycle club comprised of law enforcement officers, to help with security. Another motorcycle club, Rock and Roll, handles stage security and parking.

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“We had prisoners come in to help clean the park ahead of time and then come down afterward to clean up and tear down the stages,” adds Don. “Firefighters would donate their time to volunteer to be at the medic station. Other Community Policing Officers would donate their time.”

“It just made my heart feel good that I was able to help the community,” Don adds. “I was happy to help. It’s my way of giving back to the community.

The music festival has been a success since it started.

According to Lucille, the Laupāhoehoe Music Festival has generated more than $35,000 in scholarships for children in the community, including the students of Laupāhoehoe Community Public Charter School.

Funds raised through the music festival have also gone a long way in helping area seniors too. According to Don and Lucille, proceeds from the festival have purchased fans for the Laupāhoehoe Community Center where the seniors meet every Friday. Malama Hawai‘i Nei was also able to purchase a new refrigerator and stove for the seniors to use at the community center.

Over the years, Braddah Smitty became synonymous with the music festival. When he passed away in 2012, the festival continued. Lucille says that even though Braddah Smitty was no longer with them, his presence was still felt.

“The year after Braddah Smitty died, it stormed all over the island the day of the festival,” says Lucille. “I was praying as I

John Mac Kalauli Jr., Kai Ho‘opi‘i, Lito Arkangel, Kyle Ka‘a‘a at the 2015 festival.

drove to the event, please have some nice weather. People were calling me asking what was Plan B. I said, ‘bring your umbrella.’

“When I got there and we did our opening prayer, the sun came out and stayed out. People who had brought their umbrellas used them as shade against the sun.”

“That year the rain was bad in Hilo. You could see it raining up in the mountains and out over the ocean, but we had sun.

“Penny, our emcee, said at one point, ‘Braddah Smitty has the shower curtain around us.’”

Lucille says the festival ends every year with the musicians singing Hawai‘i Aloha and doing the hokey pokey dance. That particular year the rain started as soon as the festival ended.

“When we sang Hawai‘i Aloha it started raining. I paused for a moment and said, ‘Brother, thank you so much for a beautiful day.’”

While Braddah Smitty’s legacy of the festival continues, time has brought changes. After eight years, Malama Hawai‘i Nei decided to move the date of the festival from February to late April. By that time, Don had retired from the police department, although he remained active volunteering with the festival. In 2014, however, both Don and Lucille decided it was time to hand over management of the music festival to the next generation.

“Don and I said we’re getting too old for this,” says Lucille.

“Since the festival was a benefit for the school, it made sense that the school take over managing the festival. The school was willing and accepted the challenge.”

Last year was a transition year in which staff and volunteers from LCPCS worked with Malama Hawai‘i Nei to learn how the festival is run.

“Last year, I shadowed Aunt Lucille and Uncle Don and made sure I did it the way they did it,” says Niki. Born and raised in Laupāhoehoe, both her children attend the school.

“It’s a lot of asking friends for favors and [Don and Lucille] have a whole lot of friends. Uncle Don introduced me to people who are willing to be helpful.”

Niki and her fellow organizers say that with the changing of the guard, they are also looking to bring in a younger crowd with more contemporary music.

“We’ll have a mixture of styles; we’ll still have slack key and hālau perform,” says Niki. “But we’re also looking to include more reggae performers.”

Shantell Urbanozo, a student activity coordinator at the school, says they are extending the hours of the festival this year, from 9am–6pm in order to accommodate more music groups.

“We want to bring different musical styles to the event,” says Shantell.

Lucille says she supports the changes and the new organizers.

“We’re turning it over to a younger group, and it’s their kuleana (responsibility) now. We had an older crowd in years past. Now there’s a younger group taking it on, and we’ll support them.”

The musical lineup for this year’s festival was still being confirmed as Ke Ola Magazine went to press, however Shantell says this year’s performers include Times 5 and Ho‘onanea.

Musical group Times 5.

KeOlaMagazine.com | March–April 2016

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Festival organizers have also expanded the amount of crafters, food vendors, and games this year.

“Last year we added on games for the kids,” says Shantell.

“We’ll have ring toss, Portuguese horse shoe, a fishing game, face painting, and more.” More than 15 food vendors ranging from booths to food trucks will be on hand, as well as nearly 20 craft vendors and a silent auction.

If past festivals are any indication, organizers expect upwards of 800 people at this year’s festival.

“People from as far as Kona and Ka‘ū come. It’s great to see people have fun and just relax and enjoy the music and engage in conversations,” says Shantell. “Laupāhoehoe is a togetherness community. We really want people to come out and enjoy themselves.” ❖

Contact Laupāhoehoe Music Festival: LaupahoehoeMusicFestival.org Photos courtesy Sarah Anderson Photography Contact writer Denise Laitinen: Denise@DeniseLaitinen.com Laupāhoehoe Music Festival—2016 April 23, 2016, 9am–6pm | Laupāhoehoe Point Beach Park Presale tickets are $10; tickets at the gate $15, children ages 10 and under are free.

Tickets are available at Hilo Guitars, M. Sakado Store in Laupāhoehoe, Grandma’s Kitchen in Honoka‘a, and Kona Music Exchange.

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Featured Cover Photographer: Doug Perrine

ur cover photographer Doug Perrine says the pictures he takes reflect his love of the ocean. Doug’s captivating photographs of sea life are truly one-of-a-kind. His photographs range from a whale’s eye to dolphins smiling while jumping in mid-air. He has a knack for capturing the moment of these adorable and mesmerizing creatures and may even leave you wondering just how in the world does he do it? Doug’s answer— location, location, location.

“The unique environment of West Hawai‘i makes it possible to encounter marine life under fairly benign sea conditions nearly every day of the year. The normally very clear water here is very advantageous for conducting underwater photography,” he says.

Doug, 63 years young, has been a photographer for more than 30 years. He moved to Hawai‘i 22 years ago, specifically for the environment where he could work on his art and continue to be inspired.

“Nearly every time I am on or in the ocean I see something I have never seen before—often something that may have never been seen by any person; I am driven to preserve those moments in order to communicate the hidden worlds of the marine environment to people who may never have the chance to see those things personally,” he says.

It’s his passion for water life that also motivates him to take these photographs—to capture their beauty, and to protect it.

“This is a world that is changing constantly, and important components are disappearing or being degraded as all parts of the natural environment sway under the increasing burden of humans and our activities. People cannot care about or be motivated to protect things that are unseen and unknown, so I strive to bring the beauty and majesty of the oceans to public view,” he says.

Doug is able to connect people to the subjects in his photographs by capturing them face-on, and with eye contact if at all possible.

“I also strive for fine details, and intense colors, which is a real challenge in a monochrome environment, where most of the visual field is dominated by shades of blue,” he says.

Limited editions are available at the Kona Oceanfront Gallery, 755770 Ali‘i Drive in Kailua-Kona.

Doug’s images will be shown at the Kona Community Hospital Auxiliary “Art at the Pavilion” on Saturday, March 19, 2016, at the Sheraton Kona Convention Center from 9:30am–4pm.

KeOlaMagazine.com | March–April 2016

Contact Doug Perrine: perrine@hawaii.rr.com, 808.329.4523

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WASTESTREAM, LAVAROOTS and the KOHALA VILLAGE HUB PRESENT

th 10 Annual Kohala

TrashBash & Fashion Show

Plastique Mystique du

The Folly of PlasticUnwrapped

April 30th, 2016 Performance and Art Show Opening Kohala Village HUB and Barn

KeOlaMagazine.com | March–April 2016

Community Partner

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Art Show Opening from 5:00pm ‘til 7:00pm Performance to follow at 7:00pm at the HUB Barn ~ Cash Bar Tickets available in April, for information 808-896-3429

Art Show

April 15 through May 8, 2016 www.kohalatrashbash.com EVENT TO SUPPORT THE KOHALA ELEMENTARY SCHOOL GARDEN

Hawai‘i Island Farmers Markets East

West

Saturday 8am–noon * Keauhou Farmers Market, Keauhou Shopping Center, Keauhou.

Saturday 7:30am–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School.

Saturday 9am–noon Holualoa Gardens Farmers Market 76-5901 Mamalahoa Hwy, Holualoa Sunday 9am–2pm South Kona Green Market Captain Cook, Amy Greenwell Ethnobotanical Garden Wednesday 8:30am–1pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast

Wednesday 2pm-Dark Kona Sunset Farmers Market In front of K-Mart, Makalapua Center Wednesday–Sunday 7am–4pm Kona Village Farmers Market, corner of Ali‘i Drive and Hualālai Rd.

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

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

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

Fresh locally grown produce, flowers, plants and value added food items, and crafts.

Saturday 7am–noon Waimea Nui Farmers Market 64-756 Mamalahoa Hwy (Hwy 11), Waimea Fresh produce, ono food, live entertainment, family friendly Tuesday and Friday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic.

Wednesday 9am–4pm Waimea Mid-Week Farmer’s Market at Pukalani Stables, site of the Paniolo Museum.

Pukalani Road in Waimea

Sunday 9am–2pm * Hamakua Harvest Farmers Market, Honoka‘a Hwy 19 and Mamane St. Quality farm products, live music, educational workshops, covered eating area.

Sunday 9am–1pm Laupāhoehoe Farmers Market.

Next to the Minit Stop on Hwy 19. Local products.

Daily 8am–5pm Pana‘ewa Hawaiian Home Lands Farmers Market, Puainako and Ohuohu Streets

by Walmart, Hilo.

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

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

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

Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo, Sunday 7am–2pm Pāhoa Village Farmers Market, Luquin’s/Akebono Theater parking lot in Pāhoa.

* EBT accepted: KohalaCenter.org/ebt/markets.html Please send info on new markets or changes to sharon@keolamagazine.com

Daily 7am–5pm Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Local grown produce, ono grinds and live music.

Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo.

Homegrown produce offered by Hawaiian Homelands lessees.

Saturday 8am–noon * Outer SPACE Ho‘olaulea at Uncle Roberts Awa Club, Kalapana Monday–Saturday 10am–6pm * Cheek Dimples Farm Stand Hwy 11, Mountain View Saturday 8am–1pm * Hilo Coffee Mill, 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

South

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

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

KeOlaMagazine.com | March–April 2016

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

North

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

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

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Yuca

| By Sonia R. Martinez

T

he Manihot esculenta, or yuca plant (you-kah)—yuca with one c and not to be confused with the American Southwest yucca plant from the agave family)—is a tropical perennial and better known in some areas as cassava or manioc. In the United States, the best-known product made from this plant is tapioca.

Yuca or cassava grows well in Hawai‘i, and you can find this root often at farmers markets. The plant can be found growing as a wild weed in many parts of our island, but not too many people are familiar with what it is or what to do with it.

It can grow up to 15-feet high with leaves shaped sort of like small, smooth papaya or schefflera leaves. The edible parts are the leaves and the starchy tuberous root, which can grow up to 2-feet long and has a hard, creamy white center covered with a pink skin and then a rough brown bark. It is difficult to peel, and care should be taken when using a sharp knife.

There are several varieties growing around the world, however two varieties are best known: the bitter and the sweet. The bitter contains higher concentrations of cyanogenetic glucosides (poisonous plant compounds that can cause headaches in some humans) than the sweet types. Cooking usually takes care of this problem. The varieties seen growing in Hawai‘i are the sweet type and are easiest to prepare by simply boiling or roasting.

When making soups or stews, peeled, chunked, or diced yuca can be substituted for potatoes, taro, or ‘ulu (breadfruit), or can be added along with all the other vegetables that you normally use.

Yuca con Mojo

Mojo (moe-hoe) is the sauce used by many Caribbean countries to season vegetables and pork. In Cuba, my native country, this is the simplest and most popular way to prepare yuca.

1-1/2 pounds yuca roots, peeled and cut in chunks 1 tsp salt Juice of one large lime 1 large pot of water

Mojo Sauce

The authentic mojo is made with juice from sour oranges. It still has that faint orangey taste, and it’s highly acidic and tart.

If no sour oranges are available, you can use Rangpur lime or a combination of equal portions orange and lime juices.

6–8 cloves garlic, thinly sliced or minced 1 tsp salt 2/3 C sour orange juice or lime juice 1/2 tsp ground cumin 1/3 C olive oil

Yuca Fingers You can use leftover boiled yuca con mojo by cutting the chunks lengthwise into strips, then frying in olive oil. Serve with more mojo sauce.

Yuca Fritters These can be made fresh or with leftover boiled yuca (before you add the mojo sauce), as long as the yuca is hot. It is too hard to mash the yuca into paste once it gets cold.

1 2 2 1 1

pound boiled hot yuca eggs, separated T freshly squeezed lime juice or vinegar tsp salt 1/2 C vegetable oil

Boil the peeled and cut yuca until very tender. Carefully discard the wick-like cord or vein. Quickly place the hot yuca in the bowl of a food processor and pulse until it becomes a paste; do not over process or it will turn into glue.

Add the egg yolks, lime juice, and salt. Pulse again until well mixed. Beat the egg whites until stiff but not dry and fold into the yuca batter. Drop in the hot oil by the tablespoon and fry until golden. Drain on paper towels. The lime juice or vinegar will prevent the fritter from absorbing too much oil.

Serve with honey or fruit syrup as dessert, or if you prefer them as a savory dish and as part of your meal, add two small cloves of minced garlic to the batter while adding the egg yolks.

You can also make them piquant by adding a small chopped Hawaiian chile pepper to your batter.

Contact writer Sonia R. Martinez: SoniaTastesHawaii.com

KeOlaMagazine.com | March–April 2016

First cut a small shallow X on both ends of each yuca chunk.

This seems to help the tuber expand (we call it ‘blooming’) when boiling. Place the yuca chunks in a large saucepan or pot with water just covering. Add the salt and lime juice and bring to a boil. Reduce heat, cover, and continue cooking at low heat until tender, about half an hour. Drain. Remove the wick-like cord or vein running through the center of each piece.

While the yuca is cooking, start preparing the Mojo Sauce.

Mash garlic cloves and salt with a mortar and pestle; add the sour orange juice blending well.

Heat the mixture in a saucepan until fragrant and the garlic is light beige; do not let garlic turn brown or the taste will be bitter.

Add cumin and olive oil. Bring to a quick boil and then simmer until ready to serve.

Place yuca on a platter or bowl and drizzle with the Mojo Sauce. Serve.

Mojo is best when served within a couple of hours of making, although it will keep for several days, well capped in a jar or bottle in the refrigerator.

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Hawaiian Crown Plantation & Chocolate Factory—Hilo

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bananas from their farm), and taro burgers.

The Hawaiian Crown™ brand represents all the values and ideals that matter most to the Menezes as a family farm in Hawai‘i. Tom says, “Here in the islands, ‘ohana, or family, is the basis of who we are and is a key element of how we interact with each other, our employees, our farming partners, and our customers in order to be successful in our island home. It is very important for us to differentiate ourselves not just in terms of the quality of our products, but also in the way we grow the crop and treat the land. We strive to use less chemicals and more sustainable farming practices than volume-based corporate farms. The love and respect for the ‘āina (land), and the appreciation that we have for the life and culture here in Hawai‘i are important aspects of how we run the business day-to-day.”

Oona says, “We ask Ke Ola readers to please come and check us out for gifts and treats for your loved ones and family. We all have a passion for making our products for you to enjoy and experience.”

We agree; the treats at Hawaiian Crown are onolicious!

Hawaiian Crown Plantation & Chocolate Factory 160 Kilauea Ave. Hilo These stories are special features for 808.921.5899 our advertisers. If you have a business HawaiianCrown.com you would like to have featured,

please call 808.327.1711 x1.

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KeOlaMagazine.com | March–April 2016

rown and manufactured on Hawai‘i Island, Hawaiian Crown Plantation & Chocolate Factory makes every effort to produce entirely local products.

Owner Tom Menezes has been in farming for close to 40 years. Tom has a degree in tropical agriculture from the University of Hawai‘i. With experience in plant pathology, production, breeding, research, and farm management of tropical crops in Hawai‘i, Tom’s extensive expertise includes collecting and breeding pineapples (and ornamental bromeliads), taro, and cacao.

He has also co-authored several research papers on ginger root, taro, and cacao with members of the University of Hawai‘i.

For the last 20 years, Tom has run his own successful banana and tropical crop farm and nursery on Hawai‘i Island.

Tom says, “We have partners on O‘ahu, and we have a sister store in Waikīkī. Statewide we work with 15 farms in addition to our own, with 10 different crops, but in the last 10 years we have been making tree-to-bar Hawaiian chocolates. We decided to embrace the challenge of producing the most delicious cacao.

We are one of the first certified organic cacao in the United States as Hawai‘i is the only state where cacao can be grown commerically. We are always trying to improve the Hawaiian ‘local-kine’ experience and adding new tasty products. Our main markets are still in Hawai‘i for now, and we are working with other chefs and chocolatiers on the mainland.”

Tom’s daughter, Oona, manages the Hilo store, which is in its second year of operation and is growing in popularity. They serve fine chocolates, smoothies, chocolate treats (including delicious chocolate covered frozen

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Ipu Arts Plus—Holualoa

T

| Megan Moseley

he artists and owners of Ipu Arts Plus are bringing back to life a once-lost Hawaiian art form called ‘umeke pāwehe.

Co-owner of the gallery Karen Root says, “An ‘umeke is a bowl or container, and pāwehe means ‘from within.’ ” These bowls are historically seen in museums around the world, from Brooklyn Museum in New York to Bishop Museum in Hawai‘i. Now, thanks to the crew at Ipu Arts Plus, visitors and islanders alike can experience these ancient artifacts in a new and modern form.

The store, named after the Hawaiian ipu—an instrument used in hula dancing—is also an art gallery located in Hōlualoa on Hawai‘i Island’s west side.

At the gallery, they use coffee as a primary dye for the gourds that the owners grow at Blue Rock Farm. Other natural dyes are used to color their designs from the inside out.

Karen has more than 20 years of experience as a professional baker and 13 years farming coffee, cacao, and macadamia nuts.

Her gallery partner, Dave Johnson, has a background in interior design, fine wood crafting, furniture, and building.

Karen says the journey that led these two friends in the opening of the gallery started with a man named Michael Harburg, owner of Ipu Kane in Hawi, which was formerly located in Ipu Arts Plus location.

“He stopped by Blue Rock Farm one day to look at gourds that we had growing around our gardens. I gave him several lovely huge specimens, and he offered to let me sit in on his next carving class.

I declined, citing that I had coffee, mac nuts and

cacao to be tended and harvested on my farm,” Karen explains.

“He gently insisted by saying he would mentor me privately.

The rest, as they say, is history.”

Several years later, Karen says she connected with Dave and taught him how to carve and dye. They later opened up the gallery in a 120-yearold building.

Now, Dave and Karen are busy perpetuating the ancient Hawaiian art form and “embracing artists island wide.”

“The art we practice is endemic to the Hawaiian Islands only,” Karen says.

The store first opened in 2014.

They also feature hand carved koa, ‘ulu, avocado, and coffee wood items. The products are sold exclusively at the gallery.

Ipu Arts Plus 76-5893 Mamalahoa Hwy Hōlualoa Tues–Sat, 11am–4pm ipuartsplus@gmail.com 808.464.5807

KeOlaMagazine.com | March–April 2016

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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.

Akamai Events

akamaievents.com aloha@akamaievents.com 808.747.2829

Konaweb

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

Hawai‘i The Big Island

BigIsland.org calendar@bigisland.org Sherry Bracken, 808.334.1521

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

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

Akebono Theater–Pāhoa

Facebook.com/AkebonoTheater 808.965.9990

Aloha Theatre–Kainaliu Aloha Performing Arts Company

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

Aloha Performing Arts Company Presents

KeOlaMagazine.com | March–April 2016

EHCC.org arts@ehcc.org 808.961.5711

Hawai‘i Volcanoes National Park Volcano Art Center VolcanoArtCenter.org julie@volcanoartcenter.org Julie Callahan, 808.967.8222

Holualoa Village Association HolualoaHawaii.com

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

Hulihe‘e Palace

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

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

ApacHawaii.org info@apachawaii.org 808.322.9924

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Hawaii Museum of Contemporary Art/ EHCC

By Jerome Lawrence and Robert E. Lee

April 15 to May 1, 2016 Friday & Saturday 7:30 pm, Sunday 2:30 pm Adult $22 • Senior/Young Adult $20 • Children $10

Aloha Theatre, Kainaliu

apachawaii.org

808.322.9924

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

Kalani Oceanside Retreat Kalani.com 808.965.0468

KAMA Hawaii Keiki Guide

KamaHawaii.com KAMAHawaii@hawaii.rr.com 808.987.3302

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

Hawai‘i Island Happenings Wondering what’s happening around Hawai‘i Island?

Visit these businesses and organizations websites for the most up-to-date event calendars.

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

Lyman Museum

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 hawaii@one-island.org 808.328.2452

Palace Theatre–Hilo HiloPalace.com info@hilopalace.com 808.934.7010

Resort and Shopping Center Cultural Events Log onto websites for event calendars

Society for Kona’s Education & Art (SKEA)

Keauhou Shopping Center

Queens’ MarketPlace–Waikoloa

UH Hilo Performing Arts Center

Kingsʻ Shops–Waikoloa

The Shops at Mauna Lani

Skea.org 808.328.9392

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

West Hawaii Dance Theatre and Academy

KeauhouVillageShops.com 808.322.3000 KingsShops.com 808.886.8811

Kona Commons Shopping Center KonaCommons.com 808.334.0005

QueensMarketplace.net 808.886.8822

ShopsAtMaunaLani.com/events.html 808.885.9501

PUZZLE SOLUTION

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

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

KeOlaMagazine.com | March–April 2016

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To submit volunteer information for your nonprofit, kokua@keolamagazine.com

Community Kōkua

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

Volunteer Opportunities

AdvoCATS

CommUNITY cares

Boys & Girls Club of the Big Island

Donkey Mill Art Center

Methodist Church Palani, Kailua-Kona 3rd Saturday, 10am Trap, neuter, spay, community education, colony feeding, management.

Contact Cathy or Nancy advocatshawaii@aol.org 808.327.3724 AdvocatsHawaii.org Hilo, Kea‘au, Pāhoa, Pāhala Oceanview, Hāmākua Monday–Friday, 2:30–5pm Volunteers needed for after-school youth programs 808.961.5536 Bgcbi.com

Calabash Cousins

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

Contact Sabine Andresen ccousinskona@gmail.com 808.329.9555 CalabashCousinsHawaii.com

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 Holualoa Holualoa 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

Hawaii Museum of Contemporary Art (aka East Hawaii Cultural Council)

Hilo Monday–Friday, 8am–3pm Volunteer in the art galleries, performing arts, classes, workshops, festivals. exec@ehcc.org 808.961.5711 Ehcc.org

Friends of NELHA

Hawai‘i Wildlife Fund

Hamakua Youth Foundation, Inc.

Hospice Care

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

808.329.8073 EnergyFutureHawaii.org

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

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

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

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 Island Humane Society

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

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

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

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

Hospice of Hilo, East Hawai‘i

Volcano Art Center Gallery

Kino Lau of Laka: The Embodiment of Hula March 26 - April 24, 9am -5pm

KeOlaMagazine.com | March–April 2016

A mixed media art exhibition featuring the work of: John Dawson Jelena Clay Bernice Akamine Micah Kamohoali‘i

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Print and Book signing by Dietrich Varez Saturday, April 3rd 10am -5pm Dancer Image by Dietrich Varez All events held at Volcano Art Center Gallery in Hawai’i Volcanoes National Park. Free, although park entrance fees apply. For more information call 967-7565 or visit www.volcanoartcenter.org

To submit volunteer information for your nonprofit, kokua@keolamagazine.com

Community Kōkua

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

Volunteer Opportunities

‘Imiloa Astronomy Center of Hawai‘i

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

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

Kahalu‘u Bay Education Center

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

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

Kalani Retreat Center

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

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

Kohala Animal Relocation & Education Service (KARES)

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events.

Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

Kona Choral Society

Kailua-Kona Seeking volunteers for help with box office and ushering at our concerts.

Contact John Week info@KonaChoralSociety.org 808.334.9880 KonaChoralSociety.org

Kona Toastmasters

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

Lions Clubs International

Various Locations, Kailua-Kona 2nd Tuesday, 5:30pm “We Serve” is the motto of Lions Clubs International.

Contact Lani 808.325.1973 lanika@hawaii.rr.com

Make-A-Wish Hawaii

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

North Kohala Community Resource Center

Kohala Welcome Center, Hawi Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha.

Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha

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

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

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots.

Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

Rainbow Friends Animal Sanctuary

Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork.

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

Snorkel Day for People with Disabilities Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed.

Contact Stephanie Kovatch snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Sundayʻs Child Foundation

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide.

Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

Surfrider Foundation

Hilo Monthly Meetings, 2nd Wednesday Surfrider Hilo believes in public beach access, a clean ocean, and supporting environmental efforts. hilo.surfrider.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

KeOlaMagazine.com | March–April 2016

The Pregnancy Center

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Kona4u Property Management Talk Story with an Advertiser | By Meagan Moseley

KeOlaMagazine.com | March–April 2016

K

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ailua-Kona resident Suzanne Louise offers a truly unique business to Hawai‘i Island.

“What I do is I care for people’s homes when they are off-island,” she says.

Such a business requires a lot of trust, which all of her clients undoubtedly have for her.

“They call me Aunty,” she says with a laugh. “For one thing, they love the way I take care of their pets. I’m dependable and very reliable.”

While Suzanne watches people’s homes for them while they are traveling, on vacation, or just simply escaping to the mainland for a quick visit, she says it’s taking care of the animals that she loves the most.

“I grew up on a farm so, yes, I’m a natural-born animal lover,” she says. “I grew up around horses, chicken, goats, dogs, and cats, of course. I can do almost everything. I have a lot of love for the pets and animals and take pride in taking good care of them.”

She started her services about two years ago, and ever since, her business has grown thanks to many referrals and her work ethic.

“They know I’m going to show up when I say I’m going to and they’re assured that when they leave, their pets will be taken care of,” she says.

Depending on the project, Suzanne watches animals and homes from anywhere between a couple of days to a few weeks. One thing she knows for sure is that helping people protect and take care of their homes and animals is her calling.

“It sort of fell into my lap and I absolutely love it. There are times when it’s hard to leave the animals, but I always check in on them and ask how they are doing,” she says.

Suzanne is also a certified Reiki Master. Read about her upcoming classes in her ad on page 82.

Kona4u Property Management/Intuitive Energy Medicine Slouis223@yahoo.com 808.345.4967 These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.327.1711 x1.

Paradissimo Tropical Spa, LLC Talk Story with an Advertiser | By Meagan Moseley

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Paradissimo Tropical Spa Lobby level of the Hilo Lagoon Center 101 Aupuni St. Suite 205, Hilo 808.217.2202 paradissimotropicalspa@gmail.com SpaParadissimo.com

KeOlaMagazine.com | March–April 2016

livia Jones Cockcroft, owner of Paradissimo Tropical Spa, LLC., says she decided to open her business after a vision came to her while snorkeling in the tide pools at Kapoho.

“I had a flash that I was guiding a group of women in slathering papaya and avocados on themselves while explaining the importance of connecting to the ‘āina,” she says.

“This vision popped up repeatedly over a few days, so I got online and explored what I would need to do to provide this service to women legally, and it was called an esthetician.”

With inspiration in her veins, she started looking for a holistic training program and found one available on Maui.

“So off I went,” she says.

Then, one year later, she opened a spa in Pāhoa, where she did business for several years until Madame Pele came calling.

Heeding the advice of many clients, she decided to relocate her business to Hilo. This effort resulted in finding a magnificent home at the Hilo Lagoon Center, which has plenty of parking and wonderful views of Wailoa Park.

While moving is stressful, she says her greatest challenge, to date, is to get the word out about the unique benefits of her integrated services.

“It’s all about health and wellness and supporting the whole person…not a silver bullet, injection approach to making pretty.

American culture has a distorted view of beauty and aging that I do my best to overcome and assist others with,” she says.

Olivia says she helps women of all ages who want to look and feel their best while using all organic skincare ingredients and body treatments that go beyond pampering and help reduce mental and emotional stress.

What makes her spa stand out among the rest?

“Me is what I hear!” she says. “I am very passionate about surpassing client expectations and always put safety first.

That means how you feel when you walk in the door, during consultation, receiving treatment, and employing home care.”

She carries Eminence Organic Skincare, offers detox packages including a Far Infra Red Sauna, and provides Goddess Good Gatherings™, for those with a sense of adventure who want to create a memorable experience with others.

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Plantation Interiors, Teak Garden & Lanai Celebrating a Long Time Advertiser with Ke Ola

“A

loha! Come in, make yourself at home!”

That’s the greeting you receive when you enter Plantation Interiors, Teak Garden and Lanai. It is a family owned and operated furniture store in the Aloha Plaza. Their furniture store was established 13 years ago based on the love and passion for the old Hawai‘i era when Duke Kahanamoku surfed at Waikīkī Beach and Elvis Presley entertained us in the movie, Blue Hawaii—a time of romance and simple carefree days.

Plantation Interiors does reproduction of the old 1930s–1950s, Gump’s carved wood, and rattan furniture reminiscent of that era. As the locals would say, “just like Tutu’s house.”

Plantation Interiors offers the community unique, quality, and timeless furniture. They custom create to meet customer’s needs by using only the finest tropical solid hardwoods—koa, mahogany, narra, and rattan—designed to last for generations.

In January 2014, Plantation Interiors took over Teak Garden and Lanai, which has been in business producing fine quality outdoor teak furniture since 1996. The teak used is farm raised and dry kiln wood.

Plantation Interiors

offers a unique collection of art from 30 plus local artists around the state. These include handmade koa and mango tables, original oil and water color paintings, etched glass vases, paddles, koa wood surfboards, carved koa islands, native Hawaiian fiber arts of lauhala, ipu gourds, and tapa.

There also is a great line of handmade throw pillows, bed quilts, rugs, and bed runners.

“Come by and let us help you with your indoor or outdoor shopping needs, says owner Dana Mattos.

Plantation Interiors, Teak Garden and Lanai would like clients to leave the store satisfied and as a new friend— with a bit of aloha.

KeOlaMagazine.com | March–April 2016

Plantation Interiors, Teak Garden & Lanai 73-5613 Olowalu Street, #4, KailuaKona (upper road to Costco in the Koloko Industrial area) Open M–F 10am–5pm; Sat 10am–4pm 808.329.7082 PlantationLivingHawaii.com

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KeOlaMagazine.com | March–April 2016

VETERINARY SERVICES

MARINE SUPPLIES

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Ka Puana–The Refrain Barbara Muffler, the author of Hawai‘i Tsumamis, is a Hilo resident.

These excerpts are used with permission.

Hawai‘i Tsunamis is available from Basically Books, Kona Stories, other local bookstores, and the Pacific Tsunami Museum.

Contact author Barbara Muffler: curator@tsunami.org

May 23, 1960

Residents in Shock. Astonished residents looked on the sea of debris in Hilo with concern and anguish, as officials looked for the missing.

(Charles Hansen Collection)

March 11, 2011

KeOlaMagazine.com | March–April 2016

A Rising of the Sea. When a tsunami crest comes in, as shown here in Kailua-Kona in 2011, it is a rising of the sea, a powerful in-rushing flood of water. This view is toward the King Kamehameha Kona Beach Resort.

(Brian and Linda Teahen Collection)

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April 1, 1946

A Lucky Switch.

Roy Wilson was a brakeman working on the train on April 1. The coach was transporting students, farmers, and goods from Puna to Hilo. Not his normal route, Roy had argued with his dispatcher about the switch. On the new route he had to spend two nights away from home, whereas on his normal route between Hilo and Pa‘auilo, he could go home every night.

Roy was on the assigned Puna route on April 1, and the train set out for Hilo at 5:45 a.m., making numerous stops, including Kapoho and Pahoa.

After each stop the conductor would call ahead to Hilo for the all clear, but that morning the conductor could not reach Hilo after Makuu.

Moreover, Roy noticed something very unusual at Makuu. The ocean, typically blue, was brown, seemingly flowing uphill. The Hilo dispatcher informed the conductor that Hilo had just been hit by a tsunami, and they should offload all passengers, who would be bused home. The train personnel proceeded to Hilo in the empty motorcar. Roy heard that Engine 121, his usual train, had been One of the waves advancing over hit by waves, and the track was the seawall at Puumaile in undermined and destroyed along Keaukaha near the hospital.

(Francine Ancheta Collection) bayfront, seen here from Waiakea.

If aboard the train, he could have perished. Roy was happy to find his wife safe in their home.

Note how high the water is under the Wailoa Bridge in the foreground.

(James Kerschner Collection)

A Survivor Describes What Happened.

Dan Nathaniel Jr. observed the water receding out about half a mile from the location of the American Factors lumber building.

He said, “The ocean bed was practically dry. You could see the bottom. We ran to the Wailuku River’s mouth; it too was dry.” “Then it began,” he continued. “It started slowly. The first wave came in the direction of the lighthouse, filling the ocean bed. You could see the current race in the direction of Waiakea, hit Sea View Inn, and then swing toward Coconut Island. It struck the breakwater, crashed along Wainaku, and then came heading directly for the railroad bridge and the lighthouse point. It smashed into the bridge and went on its way of destruction,” he said.

“When the big wave came,” Nathaniel continued, “I was standing in front of Hilo Meat Co. The next thing I knew I was hanging to the rafters for dear life, with boiling water all about me.” Note the scattered rail cars and lumber in this photograph. (James Kerschner Collection)