January-February 2017

January—February 2017

Your Community Magazine ~ Eighth Anniversary Edition

January—February 2017 Ianuali–Pepeluali 2017

Ianuali–Pepeluali 2017

Happy New Year!

KeOlaMagazine.com

May the Year of the Rooster bring you Good Fortune

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January–February 2017 Ianuali–Pepeluai 2017

Ar t 22 Meet the Artists of South Kona

By Karen Valentine 73 Feature Cover Artist: Michele Iacobucci

Business 39 Managing with Aloha: Ho‘omau

By Rosa Say 91

Celebrating a Long Time Advertiser with Ke Ola Palace Theater

Church 77 Queen Emma’s Church

By Kate Kealani H Winter

Culture 15 It’s Cherry Blossom Time

By Fern Gavelek 9 Chinese New Year

By Alan D McNarie 29 Almanac in the Sky

By Leilehua Yuen

Food 21 Mochi Making

By Karen Rose

Health

KeOlaMagazine.com | January–February 2017

62 Ke Ola Pono

By Leilehua Yuen

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Home/Building 67 Habitat for Humanity

By Karen Valentine

Land 55 Kohala Youth Ranch

By Denise Laitinen

Music 33 Kukuau Studio

By Denise Laitinen

Ocean 49 Man on a Blue Mission

By Jan Wizinowich 61 Worldwide Voyage Update

By Ke Ola Staff

Your Health. Our Mission.

People 41 Kupuna: Penny Keli‘i Vrendenburg

By Cathey Tarleton 74 Kupuna Talk Story with: Fred Cachola

By Shana Logan

Spirit 7 He Nani Hualālai

By Kumu Keala Ching

T hen & Now 63 Kainaliu Town

By Karen Rose

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Community Kōkua–Volunteer Opportunities Crossword Puzzle Farmers Markets Hawai‘i Island Happenings Island Treasures Talk Story with an Advertiser

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Aloha from the Publisher Happy 2017!

We are excited to welcome you to the first issue of Ke Ola Magazine’s 9th year! With our Chinese New Year themed cover celebrating the year of the Fire Rooster, let’s jump right in. Astrology.com explains, “The Year of the Rooster will be a powerful one, with no middle of the road when it comes to moving forward.

This year, impressions count. You’ll want to look your best and be clear on your intentions concerning love, money, and business. Stick to practical and well-proven paths to ensure success, rather than risky ventures.”

Given that advice, it’s our pleasure to welcome Aaron Miyasato to the Ke Ola Magazine ‘ohana. Many of you already know Aaron from his vast community involvement. A gifted graphic artist, photographer, and owner of 4Digital, Inc. in Hilo, Aaron worked with Chelle Pahinui to produce Humu Mo‘olelo -Journal of the Hula Arts several years ago. Aaron is our new creative director and is well known in Hawaiian cultural circles. You’ll be able to see the first glimpse of Aaron’s talent in this issue and can look forward to lots more this year. We also welcome his fellow designer Noren Irie, whose attention to detail is reflected on each page. Shana Logan, our interim editor, has been sharing her wonderful stories in Ke Ola Magazine for the past several issues. We appreciate her insights and contributions. We’re also excited to welcome some newer writers, such as Jan Wizinowich and Karen Rose,

Aloha pumehana, Barbara Garcia

Correction Nov–Dec 2016 issue: In the Talk Story with the Advertiser featiuring Dr. Jade McGaff, we mispelled her name in the headline of the article. Our apologies, Dr. McGaff!

2017 January—February 2017 Ianuali–Pepeluali

Happy New Year!

2017

Rise and Shine

by Michele Iacobucci See her story, page 75

Anniversary Edition Magazine ~ Eighth Your Community

Ianuali–Pepeluali KeOlaMagazine.com

The official magazine of

We wish you a happy, healthy and prosperous 2017. Feel free to get in touch with me anytime. This year it’s easy to remember my phone number: 808-345-2017!

2017

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For stories about Hawai‘i Island weddings and to plan all kinds of special occasions, pick up the 2017 issue at many locations islandwide (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!

The stories we’re starting 2017 off with are certain to bring you some New Year inspiration. We love the work Bryce Groark is doing to preserve our oceans. We met Bryce at the 2016 Waimea Ocean Film Festival, which is happening this year from January 2–10. As promised, we’re continuing our series of historic villages, with this issue’s installment being Kainaliu Town. A bit further south, we celebrate the 150th anniversary of Queen Emma’s Christ Church in Kealakekua and the talented artists of SOKO. Also in this issue, you’ll read about kūpuna Aunty Penny Vredenberg and Uncle Fred Cachola; Habitat for Humanity’s inspiring programs; the Almanac in the Sky; Kohala Youth Ranch; Hilo’s Kukuau Studio; the Cherry Blossom Festival in Waimea; and a special nod to Chinese New Year.

January—February

KeOlaMagazine.com | January–February 2017

Now Available!

Hawai‘i Island Weddings, Honeymoons, and Special Occasions

and welcome back our veteran writers Alan McNarie, Catherine Tarleton, Denise Laitinen, Fern Gavelek, Karen Valentine, Kate Winter, Keala Ching, Leilehua Yuen and Rosa Say. Look for more new writers in upcoming issues.

May the Year of the Rooster

bring you Good Fortune

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

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

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

Interim Editor Shana Wailana Logan, 808.329.1711 x 2, HIEditor@KeOlaMagazine.com

General Manager Gayle Greco, 808.315.7887, Gayle@KeOlaMagazine.com

Advertising Sales, Business Development Barbara Garcia Bowman, 808.345.2017, Barb@KeOlaMagazine.com

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

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

Creative Design & Production Aaron Miyasato, Creative Director, 4digital, Inc. 808.961.2697 Noren Irie, Graphics & Information Technology, 808.938.7120

Advertising Production Manager Dianne Curtis, 808.854.5868., Dianne@KeOlaMagazine.com

Advertising Design Alicia Hanson, alicia@hioctanedesign.com Leslie Sears, 808.969.9419, leslie@lesismore.com Mary Strong, 808.747.2829, mary@ekahidesign.com Stephanie Schreiber, 808.315.7182, alohadigitalarts@gmail.com

Proofreaders Eric Bowman, Sharon Bowling

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

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

Ke Ola is a member of:

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

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Subscriptions and back-issues available online. © 2017, Ke Ola Publishing, Inc. All rights reserved

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KeOlaMagazine.com | January–February 2017

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He Nani Hualälai Na Kumu Keala Ching ‘Ae, He nani Hualālai He nani Hualālai, la eā, eā He mauna kō Kona, la eā, eā

Hualālai is so beautiful, tra la la Kona’s precious mountain, tra la la

I uka ka ‘Ōpua, la eā, eā Lei kaulana kuahiwi, la eā, eā

Above is the ‘Ōpua clouds, tra la la Famous precious lei, tra la la

Pā mai ka makani ‘Eka, la eā, eā ‘Olu‘olu ma ke alo, la eā, eā

The ‘Eka wind blows, tra la la Pleasant upon my face, tra la la

Aia kai mālinolino, la eā, eā I kai mā‘oki‘oki, la eā, eā

There is the calm waters, tra la la Indeed the choppy waters, tra la la

Ulana ka lauhala, la eā, eā ‘Ike wale ka mo‘olelo, la eā, eā

Weaving the Pandanus, tra la la Stories are observed, tra la la

He nani Hualālai, la eā, eā He mauna kō Kona, la eā, eā

Hualālai is so beautiful, tra la la Kona’s precious mountain, tra la la

He mele nō Hualālai

Song honoring Hualālai

Kuÿu ÿÄina Na Kumu Keala Ching

‘Ae, Ku‘u ‘Āina Aia la ka mauna kū kilakila I ka ‘āina kapu, kau i ka poli

Observe this majestic mountain Sacred land, placed upon the bosom

‘Ike wale ka lā, ‘ālohilohi nei Noho ke kumu, malu iho nō

Observe the sun, radiantly shining Source reminds, protected always

He ‘Ōpua la eā, kau mai i luna Pā maila ‘O ‘Eka, i kai uka ala

‘Ōpua cloud placed so high ‘Eka wind blows from the sea upward

He ‘āina malu ho‘i, ‘O Hualālai I kai mā‘oki‘oki, mālinolino nō

Sacred land, Hualālai Choppy waters until glassy shores

Eia ku‘u aloha i ku‘u ‘āina I ka ‘āina kapu, kau i ka poli

My love always for my land Sacred land, placed upon the bosom

Ku‘u ‘Āina

He nani Hualälai, he mele ho‘ohanohano iä Kona. Ku‘u ÿÄina, he ‘äina kü ha‘ahe‘o no‘u, nui ko‘u aloha i këia ÿäina i mälama ho‘i ia‘u. No laila, eia ko‘u mälama ho‘i i këia ÿäina kapu a he mele a‘o i nä mea waiwai kö Kona kekahi.

Hualälai is so beautiful, this mele pays tribute to Kona. My ÿÄina, a land that I am so proud of. Lots of aloha to this land that cared for me. Therefore, here is my honor to this sacred land and a mele to share (teach) the richness of Kona.

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Celebrating Hawai‘i Island Style

Chinese New Year

by Alan D. McNarie

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round the world, the new year is celebrated at the stroke of midnight on January 1st to ring in the coming year. In Hawai‘i, we celebrate another popular traditional New Year’s event as well, which happens about a month later. Chinese New Year, also called the Spring Festival in China, is determined by the movements of the moon and usually takes place in late January or early February.

The 2017 Chinese Year of the Rooster begins on January 28th, and the celebration will last for 15 days until February 11th. For those who observe this event in Hawai‘i, it’s a time of deep spiritual and family traditions. It is a time that mixes gaiety with religion and ritual, and celebrates an incredibly ancient past while setting a hopeful tone for the future. This is also a time of spiritual and literal housecleaning and renewal, when mythical beasts of Chinese folklore walk the earth and families renewtheir ancestors and their children.

Chinese New Year dancing lions and fireworks at Kaläkaua Park, Hilo

Keiki (children) “feeding” the lion at Chinese New Year celebration Kaläkaua Park, Hilo.

KeOlaMagazine.com | January–February 2017

Public and Private Observations On Hawai‘i Island, there are public festivals usually hosted in Hilo, Waikoloa, Waimea and Kailua-Kona. It is a tradition to use fireworks to say goodbye to the old year and welcome in the new year. The use of firecrackers can be traced to the legend of the Monster Nian 2,000 years ago, when people threw bamboo into the fire to drive away the monster. After gunpowder was invented, firecrackers replaced the bamboo. Because fires can be easily started by the firecrackers, many places ban firecrackers except in designated areas.

The Chinese New Year also means red envelopes

called, yasui qian, containing small cash gifts for friends and family members. According to tradition, the yasui qian envelope provides protection for the bearer. Another custom is the lion dance, when the Chinese lion Wu Shi visits businesses on the first day of the Chinese New Year to bless them and cast away evil spirits.

He’s portrayed by two dancers, one manning the head with its movable mouth and big, batting eyelashes, while the second dancer mans the tail.

While the dancers are inside, Wu Shi is considered a living creature, an incarnate god.

“You have to have a ceremony to bring it to life,” notes Leonard Kam of the Hawai‘i Chinese Chamber of Commerce. “You have to open its eyes, dot it with rooster’s blood—it’s sort of like the substitute for life for the lion.” Its heartbeats, he says, are the drums that accompany it everywhere.

Wu Shi stops at each shop, sometimes performing athletic feats such as leaping atop posts and park benches. It blinks its huge eyes and accepts gifts of cash and and red envelopes in its mouth. It’s good luck to feed the lion, both for the donors and the dancers, who get to keep the generous donations. Wu Shi usually dances in downtown Hilo, and then performs at the New Year’s Festival in Kalākaua Park, just up the road from the downtown area.

On Hawai‘i Island’s west side, Wu Shi has been known to pop up at major hotels and shopping malls such as the Keauhou Shopping Center, Waikoloa Kings’ Shops and Kealakekua Ranch Center. The dancing lion has also appeared at the Chinese New Year’s Celebration in Waimea during the Cherry Blossom Festival.

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horn in the middle of its forehead, unicorn-style.

Its forward-looking eyes are human-like, with a woman’s long lashes, but far larger than any natural creature’s, allowing him to see both the natural and the supernatural.

Some of Wu Shi’s features have no equivalent in any natural animal. Below the horn, for instance, between those enormous eyes, is a round mirror, said to reflect both physical and spiritual creatures. “It’s called, ‘Heaven’s Mirror.’

It’s actually giving the lion’s Tao, or the ultimate principle needed for life, and the mirror is the representation of the universe, with the natural phenomena and division of time being

Chinese lantern

KeOlaMagazine.com | January–February 2017

Leonard says Wu Shi isn’t really a lion, though; it’s a hybrid creature out of Chinese mythology.

“Even though we call it a lion, it’s got pieces of different animals in it,” he says. Wu Shi’s lionlike head for instance, sports a short, knobby

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Taiko drummer performance Chinese New Year celebration Kaläkaua Park, Hilo

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KeOlaMagazine.com | January–February 2017

destructive to all beings who disturb the order. Evil spirits see themselves in the mirror and flee,” he says.

There’s another mythical creature that’s also woven into the fabric of Chinese New Year: the dragon.

However, it’s not just any Chinese lion dancer dragon, according to Kumu Hula Kimo Awai, a Hawaiian Studies teacher at Keaukaha Elementary School, who’s studied and taught about his Chinese culture for years. The dragon’s name is Fu Chiao, and it’s a she. Her story is an old Buddhist tale, and it’s all about parenthood.

“Fu Chiao,” says Kimo, “laid her eggs in a cave near a village. Ten of her eggs hatched into baby dragons. With ten little dragon children, that’s a lot of food to provide.” Soon Fu Chiao had wiped out all the game in the forest. Desperate to feed her offspring, she approached the human village.

Lurking at its edge, she heard a mother asking her child to go out and do an errand in the field.

“But the child told his mother, ‘You go out in the field. When you come back, you have to feed me.’

That gave Fu Chiao an idea,” Kimo retells. “She said, ‘I’ll look for disobedient children and feed them to my dragon babies.’ ” Fu Chiao waited until the mother had gone to the field, then grabbed the obstinate child, carried him back to her cave, and put him in a cage.

When the child cried to be let go, she told him she would feed him to her dragon babies because “Disobedient children should not dishonor their parents.” Then she went out and kidnapped more disobedient children. Soon the villagers were scouring the woods, hunting for their lost children, to no avail. They finally approached a wise old man for help.

“The wise man said, ‘They brought dishonor to the families. I’m sure Fu Chiao has found them,’” recounts Kimo.

The wise man knew where Fu Chiao had her cave. He made the villagers vow never again to raise disobedient children, then visited the cave when Fu Chiao wasn’t there, and freed the young prisoners after extracting promises from them to obey their parents.

Then he found the nest of baby dragons and decided that he needed to teach Fu Chiao a lesson.

So he picked out the tiniest dragon, the runt of the litter, and took it home with him.

“When Fu Chiao returned, Chinese toddler in traditional wear she was absolutely

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distraught when she realized that the littlest dragon was missing, along with all the children.

An old woman told her to see the wise old man.

“Fu Chiao went to the dwelling of the wise man, and crawled on the floor,” says Kimo. “The wise old man reminded her that she was taking the human children to feed their little children, and returned Little Number ten to her, but he asked her to make a promise to do good for children and protect them.” The dragon kept her promise. Ever since, concludes Kimo, “We honor Fu Chiao.”

In larger cities like Honolulu, people can see Fu Chiao dancing as well as Woo Chi. Fu Chiao is especially appropriate to honor during Chinese New Year festivities.

KeOlaMagazine.com | January–February 2017

Traditional Foods Leonard says that everything done on the first day of the New Year is, “to bring prosperity to the family.” The rituals begin long before the first lion dance, with an early morning breakfast of a vegetarian concoction called Jai, made from an even number of ingredients for good luck (but never four ingredients, which are unlucky.)

Leonard notes that there are, “very simple ways of making jai with only a handful of ingredients, and elaborate and expensive ways, with more than 20 ingredients.” All the ingredients have various symbolisms, all with good overtones.

Sesame seeds are often added, for instance, because they equate with long life. Then there’s a stringy black fungus, zhúshēng, which Leonard notes, “sounds like you’re wishing people good fortune.”

Yet, there’s something deeper going on here than just lucky ingredients. A twelve-flavor meal is a complex experience, indeed. Thinking about those flavors, and about the qualities they symbolize can put the diner in a very aware and positive state of mind, cooking as though in advanced meditation.

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Tangerine and orange fruits usher in good fortune for the upcoming year.

“It’s sort of like your breakfast is to start the first day of the year clean and pure,” says Leonard.

Other new year foods take a similar tack, combining flavor with positive symbolism, like gau, for instance. “Gau is basically like a fortune cake, so to speak,” Leonard observes. “It’s supposed to

symbolize the family because it’s so sticky, and it’s sprinkled with sesame seeds for fertility. There’s a red date that’s put in there for sweetness, to have a good life.”

Honoring the Past As we look to the The lotus is the most significant flower in the future, it’s also good to Chinese culture. It symbolizes perfection and purity of both the heart and mind. remember and honor the past. One tradition integral to this holiday is the trip to the cemetery to remember ancestors and burn incense in their honor.

China is one of the oldest civilizations on earth, with a long and glorious past. The Chinese have also played key roles in Hawai‘i’s history. The first Chinese to migrate and settle here in the 1700s were carpenters and seamen aboard sailing ships that used the islands as a supply stop on long voyages to trade furs from the U.S. West Coast for ceramics and tea from China.” When Kamehameha set out to conquer all the islands, it was with a cannon mounted on canoes by Chinese carpenters.

Later, more Chinese arrived to participate in the harvest of sandalwood for export to China. In 1802, the first sugar cane mill in the islands opened—brought here from China by an entrepreneur named Wong Tze-Chun. Many Chinese owned mills themselves, often with American financial backing. Chinese merchants ran plantation stores and other shops. Chinese farmers planted rice in the lowlands of what would become downtown Hilo. The New Year brings a time of reflection for the past, honoring for the present, and hope for the future. Enjoy your community’s celebrations and have a prosperous new year. ◊

Contact writer Alan D. McNarie: amcnarie@yahoo.com Hawaiÿi County Band performing at Moÿoheau Bandstand downtown Hilo during a Chinese New Year celebration.

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KeOlaMagazine.com | January–February 2017

It’s Cherry Blossom Time!

By Fern Gavelek

The festival annually celebrates the blooming cherry trees at Church Row Park. photo by Fern Gavelek.

T

Hanami Tradition Harking from seventh-century Japan, hanami celebrates the fleeting beauty of nature while heralding the arrival of spring.

Japanese aristocrats of the day would gather under blossoming trees and write poetry or draw the beauty of sakura (cherry blossoms). As the blossoms are short-lived, poets used sakura as a metaphor for life itself—beautiful, yet temporary. By Japan’s Endo Period (1600-1867) citizens from all walks of life participated in hanami, with customs including mountain hikes to find blossoming trees for a picnic, complete with sake.

Today, hanami continues in Japan, with people gathering for eating, drinking, and music wherever flowering trees are found. Popular cherry blossom locations get crowded so protocol dictates the claiming of a picnic spot. Best-practice guidelines are shared at japan-guide.com/e/e2011_how.html.

For over half a century, the Japan Meteorological Agency offered a forecast for blossoming trees so partygoers could plan accordingly and be prepared for nature’s show. Now tourism websites, smart phone apps, and the crowd-sourced Sakura Channel share eye-witness reports on the opening of blossoms. The southern islands of Okinawa see the first pink of the season and media closely follow the “cherry blossom front,” reporting the sightings of pink moving from south to north.

In the U.S., hanami has caught on, as numerous municipalities have been gifted with cherry trees from Japan as a gesture of friendship. The National Park Service monitors the blossoming of cherry trees for the annual festival in Washington D.C. with a Bloom Watch posted at nationalcherryblossomfestival.org. Over the past 15 years, 15 peak bloom dates for “the nation’s greatest springtime

KeOlaMagazine.com | January–February 2017

he age-old tradition of hanami is celebrated on Hawai‘i Island every first Saturday in February during the annual Waimea Cherry Blossom Heritage Festival. It’s when cool-clime Waimea, often back-dropped by a wintery white summit atop Mauna Kea, boasts an eruption of pink cherry blossoms. The heart of the multi-hued floral display encircles Church Row Park with its many varieties of cherry trees. Hanami, which literally translates to hana (flower) and mi (look), means “cherry blossom viewing party.”

celebration” have ranged from March 17 to April 11. Signature events over three weeks include a Pink Tie Party, Blossom Kite Festival, Sakura Matsuri-Japanese Street Festival, and a parade. Festival goers hop aboard the Blossom Bus “to look for pink and petals” throughout the capital’s Tidal Basin.

Waimea’s Cherry Blossom Trees Cherry trees first came to Waimea in 1953 as a living memorial to Fred Makino, founder of Hawai‘i’s Japanese language newspaper, Hawaii Hochi. The three Formosan cherry blossom trees were distributed to different people, and one can be viewed at the back of the Kamuela Hongwanji Mission grounds, adjacent to Church Row Park. The late Isami Ishihara, a noted Waimea gardener and bonsai master, propagated more trees using seeds from the Formosan trees.

He donated the seedlings to the Waimea Lions Club for community beautification, and the club received permission from the county to plant the trees in 1972 at Church Row Park.

According to Lions Club member Frank Fuchino, who has been involved with the project since day one, the idea to beautify Church Row Park sprang from talk of a future bypass road coming in. “We heard a road would be built to bypass Waimea, so we thought we’d plant the trees to attract

KeOlaMagazine.com | January–February 2017

Costumed in kimono, Emiko Wakayama performs a traditional tea ceremony, chanoyu, in 2005. photo by Bob Fewell

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people to town,” he explains. “(The late) Masayoshi Onodera coordinated the planting of the trees.”

Through the years, Lions Club members nurtured the trees and replaced those that died. The late Hisao Kimura, who was a professional agronomist, was instrumental in laying the groundwork for the partnership between the county and the club in caring for the trees. In 1975, the Lions planted numerous trees throughout Waimea to commemorate the visit of Emperor Hirohito and his wife to Hawai‘i and honor the first Japanese immigrants who settled in Waimea 100 years before.

“Each year, we’d plant one or two trees to honor certain individuals or welcome visiting dignitaries,” adds Frank. The park is currently home to about 75 trees.

“The cherry trees have been our kuleana (responsibility) for more than 40 years,” notes Jim McDonough, treasurer of the Waimea Lions Club. “We trim the trees once or twice a year, fertilize and spray them to prevent rust and eradicate moss,” says Jim. The county provides supplies. The men use their own clippers and Lions member Fred Nonaka, a landscaper, offers the use of his chain saw. For years, Dickie Hanano served as the club’s

leader in caring for the trees, but now Fred spearheads the activities of the never-ending service project.

Church Row Park Blossoms with Beauty During the Cherry Blossom Festival, the club offers a photo display that chronicles the original and subsequent plantings.

Located at Church Row Park, the booth also shares photos of the park in full bloom and is updated annually.

Frank thinks the original vision for beautifying Church Row Park has come to fruition. “We have people coming from Japan and around the world to Waimea to see the blooming trees and attend the Cherry Blossom Festival. It has brought many organizations together. Without the trees, there would be no festival!” he exclaims.

Cherry trees bloom after a good “winter chilling” and Waimea residents often see their trees flower after a winter storm has dropped snow atop Mauna Kea. One year, the late Dolly Loo, one of the festival’s first organizers, didn’t think the trees were going to bloom in time for the festival, so she recruited the help of her late husband Gilbert, a nurseryman by profession.

He picked up ice from a local bar and spread about a gallon of cubes around each of the shallow-rooted trees. The icy application seemed to work, as in a few days, the trees were full of flowers.

The locally crafted Sakura Quilt, which is sometimes displayed at the festival, provides a backdrop for Japanese performers in 2006. photo by Bob Fewell

KeOlaMagazine.com | January–February 2017

The Festival is a Yearly Community Event Originating at Church Row Park in 1994 under the watch of former county Parks and Recreation Director George Yoshida, the festival has evolved over the years to involve numerous community organizations offering fun activities at multiple venues. At the helm is Roxcie Waltjen, culture and education administrator for the county’s park and recreation department. She visualizes the event as Waimea’s premiere festival, attracting both visitors and residents while fostering community, business, and government participation.

“My goal and vision is to develop, encourage, and educate attendees through interactive activities, cultural demonstrations, entertainment, and collaborations,” she explains.

That includes tree plantings by dignitaries like the Consulate General of Japan, state governor, and island mayor. Every year the festival honors individuals and organizations on the main stage that “shine” within Waimea, whether they are community volunteers, leaders, paniolo, artisans, or businesses involved with the festival.

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While activities vary each year and venues come and go, the festival always offers hands-on fun: mochi pounding, bonsai demonstrations, traditional Japanese tea ceremonies, sake tasting, quilting instruction, and bon dancing.

Hula dancers bring some Hawaiiana to the 2012 Festival. photo courtesy Waimea Cherry Blossom Heritage Festival

KeOlaMagazine.com | January–February 2017

Food, Family, and Fun Hungry? Taste-test offerings at staged cooking demonstrations by local chefs. Browse among numerous broke-da-mouth food booths, Asian-baked goods like andagi and prune mui and more.

“We are always open to new ideas and have welcomed unexpected windows of opportunities,” notes Roxcie. In fact, headliners sometimes travel all the way from Japan to delight the stage with authentic Japanese costume, dance, song, and instrumentation. Case in point is when the renowned Okinawan dance academy, Hooge Kai Nakasone, performed authentic traditional court and folk dances at the festival.

Attendees are also treated to a wide range of local entertainment, including taiko drumming. There are multiple locations staging a wide range of local and ethnic entertainment, numerous craft vendors—over 150 at Parker

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Dramatic taiko drummers are part of the festival entertainment every year. photo by Bob Fewel.

Ranch Center (PRC) alone—as well as farmer’s markets, sales of Asian-themed collectibles, cherry tree blossoms, and cherrythemed art...and don’t forget the quilt show!

Waimea Festival Grows Waimea’s weather hasn’t always cooperated, however. “One

year the large tent blew away and some of the festival had to be cancelled with activities moving into nearby church halls for the day,” Roxcie recalls. “When I arrived at Church Row, my volunteers were trying to tie down the tent. David Gomes was flying six feet off the ground in an effort to save the festival.”

After the weather mishap, Parker Ranch Center stepped up to the plate, volunteering to serve as the festival’s main stage and other locations followed suit in providing festival venues— Kamuela Hongwanji, Parker School, Kahilu Theatre, Waimea’s Historic Corner at Highways 19/190, Kamuela Liquors, Pukalani Stables, Ginger Farm and more.

Historic Kainaliu, Kona’s original shopping village.

Located 5 miles south of Kailua-Kona.

Waimea Bonyu Kai’s bonsai display at Church Row Park. photo courtesy Waimea Cherry Blossom Heritage Festival

“We have been able to grow the festival to its current size that includes approximately seven venues with free shuttle transportation between the major ones, thanks to the generosity of Roberts Hawaii,” Roxcie says.

A Popular Event Brings Diversity and Visitors Open from 9am–3pm on festival day, the sprawling event runs like a well-greased wheel. Monthly committee meetings, attended by representatives from each participating organization, keep all appraised of who is doing what and where.

Roxcie says her favorite thing about the festival is that every year “it’s a little different,” with new performers, activities, and volunteers. In addition, new cherry-themed art by a local artist sports the cover of the festival’s annual program, available at each venue and as a poster for sale at the Firehouse Gallery.

KeOlaMagazine.com | January–February 2017

Festival’s many hands-on activities includes mochi pounding. photo courtesy Waimea Cherry Blossom Heritage Festival

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“This works very well for us because we have visitors who return every year around the same time so they can attend,” she shares. While changes can result in more planning, Roxcie says the satisfaction of accomplishing a collaborative effort is very rewarding. She adds, “It’s a good lesson plan for every challenge in life.”

With the festival’s average annual attendance at 60,000, Roxcie credits its popularity to community involvement and what each participant brings to the festival. While the festival is centered on the blooming trees at Church Row Park—which are usually “pretty in pink”—the diversity of activities and multiple venues offers something for everyone, even visitors from Japan.

One year, Japan Airlines brought 300 attendees to the festival as part of a chartered flight. Roxcie notes the event offers Japanese attendees the unique experience of pounding mochi the traditional way as the sweet rice treat is created in Japan using mochi tsuki machines. At the festival, 500 pounds of rice are handcrafted into tasty mochi outside the PRC Fireside Food Court.

Rock out with the original rebel

KeOlaMagazine.com | January–February 2017

Aloha Performing Arts Company

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Friday & Saturday 7:30 pm Sunday 2:30 pm Aloha Theatre, Kainaliu alohatheatre.com 808.322.9924

The Cherry Blossom Festival in 2017 While the festival committee is still finalizing the activities for the 24th annual festival on February 4, the 2017 honorees are long-time shuttle bus service provider, Roberts Hawaii, and Waimea’s Guinness World Record holder Betty Webster, who boasts the world’s largest collection of sunglasses (see her story in Ke Ola Magazine, Nov/Dec 2016). The festival will open to honor them at 9am on the main stage at PRC. It’s best to get to Waimea early, parking is available at some venues and at the soccer field across Church Row Park.

Attendees are encouraged to walk among venues or take the shuttle. Look for pink banners identifying venues: new this year is the Historic Spencer House. Follow updates on Facebook or phone 808.961.8706.

“The Waimea Cherry Blossom Heritage Festival is a perfect example of how community, private business, and government can work together for the good of all,” Roxcie with a smile..

“Everyone wins; the glory of the festival is shared by all— participants, presenters, and attendees.”

Contact writer/photographer Fern Gavelek: ferng@hawaii.rr.com

Local Food

Hawai‘i Maintains Japanese Tradition of Mochi Making

by Karen Rose

After all the pounding, creating, and feasting, families can create kadomatsu, a traditional Japanese New Year decoration that is placed in front of homes to welcome ancestral spirits and gods who bring bountiful harvest. Designs for kadomatsu are typically made of pine or bamboo and represent longevity and prosperity.

The charm of mochi-making is how it brings together family and friends of all ages. Although mochi is readily available at most Hawaiian grocery stores, nothing compares to the fun of laughing and laboring over this freshly-made treat. Mochimaking is a joyful tradition of bringing people together to celebrate not only the New Year, but the bonds that strengthen and hold our community together.

Contact writer Karen Rose: island.girl.rose@gmail.com

Butter Mochi Recipe Ingredients: 3 1/2 cups sweet rice flour (mochiko) 2 1/2 cups white sugar 2 tablespoons baking powder 5 eggs

1 teaspoon coconut extract 1 teaspoon vanilla extract 2 cups milk 1 (14 ounce) can coconut milk 1/2 cup melted butter

Preheat oven to 350° Grease a 9x13 inch baking dish.

Whisk the rice flour, sugar, and baking powder together in a mixing bowl.

Beat the eggs, coconut extract, and vanilla extract in a mixing bowl until the eggs are smooth. Whisk in the milk, coconut milk, and melted butter until incorporated.

Stir in the flour mixture a little at a time until no lumps remain; scrape into the prepared baking dish, and smooth the top.

Bake in the preheated oven until the mochi is golden brown, about 1 hour.

Cool to room temperature before cutting into 24 pieces to serve.

KeOlaMagazine.com | January–February 2017

Hawai‘i’s culture is unique. Many of the state’s traditional practices are a fusion and adaptation of customs brought to the islands by multiple ethnic groups who migrated here to start new lives.

These varying immigrant groups each contribute elements of their heritage to the cultural stew, creating Hawai‘i’s distinct local island flavor. Japanese-Americans make up a significant percentage of the state’s population, and one of the celebrated customs brought with them to Hawai‘i is the practice of mochimaking.

For local Japanese-Americans wishing to perpetuate their culture, mochi-making has become a traditional practice during the New Year, and is a favorite local treat year round.

A symbolic blessing of longevity, good health, and strength, mochi is made from a sweet rice that is cooked and pounded into a chewy, sticky consistency. It’s made in a variety of colors and delicious sweet fillings such as black bean, taro, Making Mochi green tea, and peanut butter.

Most grocery stores in Hawai‘i sell mochi throughout the year and it’s found in abundance during the holiday season.

On New Year’s Day, mochi is often made and given as a gift of good luck, or put into a soup thought to bring courage and strength to those who partake. Another traditional way to present mochi is stacking two round pieces together and topping it with a tangerine. The treat is placed on paper along with drawings of good luck and taken to the gravesides of loved ones, or placed around the home or workplace to bring forth wealth and prosperity.

To make mochi, rice is soaked overnight, then once it is pounded soft and smooth, it is pulled and shaped into various sizes and shapes and filled with different flavors. Legend says that luck is rejuvenated while pounding mochi.

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By Karen Valentine

A

rtists are often reclusive people. You may imagine them sitting in a messy studio, contemplating the universe until some inspiration enters their being, causing a masterpiece to be born. That may not be too far from the truth!

Bringing their work out into the open so that we may appreciate—and hopefully buy—it is a necessary end to the process. Thankfully, a group of brilliant artists in South Kona has pooled their talents into a two-day, weekend event inviting the public into their studios: the annual SOKO studio art tour, Saturday and Sunday, February 25-26.

Inspired by two successful California open studio tours in which they participated for many years, accomplished artist, author, and photographer Kathleen T. Carr and painter Linda Purcell Satchell started talking with their neighbor artists in South Kona several years ago about doing something similar here.

Kathleen is a professional and fine art photographer, teacher, author, and a former staff photographer at the Findhorn Foundation, Scotland, and Esalen Institute, Big Sur, California during the ‘70s and ‘80s, as well as a former Polaroid Creative Uses Consultant. She has published four books and a DVD of underwater videography with humpback whales. Since 2006, she has lived in Hōnaunau, where she conducts an annual women’s photography workshop.

SOKO, South Kona Artists Collective, was born out of the local artists’ discussions and their first studio tour was held in 2015 along the scenic roads overlooking the island’s leeward coast and Kealakekua Bay, from Hōlualoa to Hōnaunau.

This year’s tour will feature 22 unique artists, selected by a jury committee for their talents, their work, and their medium. Eleven studios/ locations will be open from 10am to 4pm on Saturday and Sunday.

“Our first tour had 16 artists at 13 locations; now it has grown to 22 member artists, who have to apply to be included. We want to keep a high level of quality and a variety of media.

This year we have seven potters, and others are showcasing jewelry, photography, painting in oils and watercolors, quilt making, sculptures with assemblage and found art, wood carving, print making, weaving, and mixed media,” said Kathleen.

To see a preview of the SOKO Studio Tour art, you can visit their upcoming display at SKEA’s Annual Membership Day on January 29 at their Hōnaunau campus. Most of the artists will have up to five pieces in the preview, Kathleen says.

SKEA (Society for Kona’s Education & Art) is SOKO Group Front row, Left to Right: Jozuf Hadley, Kathleen Carr, Linda Purcell Satchell, Wayne Levin, Peter Underwood, Ru Carley. 2nd row: Andrea Pro, Ina Koch, Catherine Wynne. Back Row: Janice Bovard, Mark Martel, Linda Savell, Willa Marten, Joyce Monsky, Ellen Crocker, Pamela Colton Thomas, Gigi Goochey, Michele Iacobucci, Clive Salmon, Alysia Samaru, Lynn Peavy. Not pictured: Kim Thompson.

a partner with the SOKO collective. Enjoy live music, hula and more from 2pm to 5pm and pick up a catalog with map for the SOKO open studio tour.

Both organizations get additional help from the Hawai‘i Department of Research and Development, the State Foundation on Culture and the Arts, through appropriations from the Hawai‘i State Legislature, and by the National Endowment for the Arts.

A beautiful scenic drive in the country will be only part of the visions you’ll see as you visit the studios of the following talented (and sometimes famous) artists, arranged in order of their locations on the map: 1. The studio and home of Andrea Pro is located on a coffee and macadamia nut farm in Keauhou mauka (inland), just north of the Donkey Mill Art Center. Her woodcut and other styles of printmaking are inspired by the natural environment around her. (andreapro.com)

KeOlaMagazine.com | January–February 2017

2 & 3. Next studio is on Donkey Mill Road, also in the quaint coffee-growing and art community near Hōlualoa. There you’ll find two artists. Jan Bovard, veteran and internationally traveled ceramicist, offers fine, functional pottery influenced by Japanese master potters and their culture. For a different look, enjoy the found art assemblages of Jozuf Hadley, who is also known for his Pidgen Poetry books (see Ke Ola magazine Nov/Dec 2016). Sculptural arrangements combining and juxtaposing natural objects and salvaged things manmade, ranging from children’s blocks and wooden tools to

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Doorways ~ Jozuf Hadley

pieces of fine Asian art, are combined in various pleasing ways. (jozufhadley.com) 4. Traveling south on the Hawai‘i Belt Road (Highway 11) to Kealakekua, look for Discovery Antiques, located on the makai (ocean) side of the road. There, owner Peter Underwood has his studio and gallery. The antiques he acquires and sells have also given him inspiration to “re-imagine junk into art” and put together various assemblages ready for display in new ways.

5 & 6. Turn down the street just past Manago Hotel in Captain

Cook and find an impressive downstairs studio tucked away under a house at the end of the Kololeke St. cul-de-sac in Cooks Landing subdivision. There you’ll find two internationally known and award-winning photographers displaying their images and published art books. Kathleen T. Carr, underwater photographer and producer of digital prints and art from Polaroid images, exhibits black and white, infrared and color landscapes, and underwater images. (kathleentcarr.com) Wayne Levin (see Ke Ola magazine Nov/Dec 2016), offers a vast selection of underwater black and white prints. (waynelevinimages.com) 7. Look for the Coffee Shack restaurant along Highway 11 in Captain Cook. Across the road, you’ll find the studio of Mark Martel, fine artist, cartoonist, comic book illustrator and writer.

Browse his varied selection of landscapes, wildlife, figures and abstracts in a diverse range of styles and media—drawing, watercolor, acrylic and pastel. (martelart.com)

“The Magical Wiliwili Forest” print by Andrea Pro.

8, 9, 10. Continuing south on the highway, in Hōnaunau, is SKEA (Society for Kona’s Education & Art), housed in a historic building and campus of a former Japanese schoolhouse. Three artists can be found here, in the main schoolhouse building.

In the main room, Ellen Crocker, quiltmaker and painter, who has studied ink brush technique and Japanese wax resist (Roketsu-zome) on silk, displays her painting on paper, wood and fabric, along with art quilts. (ellencrocker.com) Joyce Monsky and her pottery is in the adjacent art room, offering clay sculpture incorporating movement, color, form technique and wire. On the front porch you’ll find weaver and fabric artist

KeOlaMagazine.com | January–February 2017

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pottery. Linda Savell also offers functional and decorative pottery, as well as decorative fish. In work by Ru Carley, you’ll find high-fire stoneware for the home and garden.

KeOlaMagazine.com | January–February 2017

16 & 17. At the Hōnaunau intersection, take a turn down the highway toward Pu‘uhonua O Hōnaunau. On the right side, you’ll see the flag for the driveway leading to the home studio of Linda Purcell Satchell. You can also park on the highway and walk up.

Linda’s diverse art includes “From left, Joyce Monsky, Lynn Peavy, and Alysia Samaru, of Kona Potters Guild.” paintings in oil and chalk pastels and Hawaiian ipu (gourd) art. (lindapurcellsatchellart.

Kim Thompson, showing hand weaving, eco print and natural com) In the same house are colorful, intricate and reflective dyes on silk. paintings in watercolor and acrylic by Pamela Colton Thomas. (pamelacoltonthomas.com) 11-15. The Kona Potters Guild has their group studio behind and below the SKEA schoolhouse. Just walk around and down!

18. A drive down Nāpō‘opo‘o Road, either from the main Displaying their works there are five potters. Pottery lovers will highway or by taking the Hōnaunau Highway to Painted Church be immersed in its diversity. Alysia Samaru, creates porcelain Road and Middle Ke‘ei Road, will bring you to Kealakekua and earthenware pottery with functionality and expression, Bay Estates, overlooking Kealakekua Bay and Captain Cook’s personalized by the inspired textures of nature and bright monument. The house and studio of Michele Iacobucci can colors. Ina Koch is the designer of internationally inspired, be found there, showing her mosaic art for the garden, using hand-built pottery with a variety of glazing techniques. Lynn combinations of glass, pottery and substrates of found objects.

Peavy, shows hand-thrown, porcelain, functional and Raku

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Clive Salmon carving tiki.

19 & 20. Continuing down Nāpō‘opo‘o Road, you turn right on Meli Road, which leads to Big Island Bees. Just before that is the large studio of Catherine Wynne, maker of quilting and fiber art. A veteran quiltmaker of traditional Hawaiian and artistic quilts, as well as a quilting teacher, the artist is a member of both Aloha Quilters of Kona and Ka Lae Quilters. (catherinewynnequilts.com) Also at this stop is metal worker Willa Marten, featuring pewter castings and sculpture using found natural objects.

21. At the end of the road, in the shop at Big Island Bees, you’ll find jewelry by Gigi Goochey, who works in silver, gold, and various stones.

SOKO tour brochures and maps are available at Blue Ginger Gallery in Kainaliu, concierge desks at local hotels, Kona eateries, and at each artist’s venue. Pick up a brochure, and follow the bright yellow signs to discover wonderful art and visit with the artists in person.

All photos courtesy of SOKO Contact SOKO Artists: sokoartists.com Contact writer Karen Valentine: karenvalentine808@gmail.com

Dining: Dairy Queen / Orange Julius Genki Sushi McDonald’s Panda Express Subway Taco Del Mar Ultimate Burger Shopping: Hawaiian Island Creations Jeans Warehouse Office Max Petco Ross Dress for Less The Vitamin Shoppe Target Services: AT&T Bank of Hawaii Century 21 All Islands Sprint Supercuts T-Mobile Trixx Beauty Salon Verizon Go Wireless

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

KeOlaMagazine.com | January–February 2017

22. Clive Salmon’s studio is also just off Nā‘pō‘opo‘o Road, turning mauka at Red Ti Hale and counting two driveways on the right, then two on the left. His studio and house are filled with tiki furniture and accents. The artist creates South Seasinspired, tiki-style woodcraft with modern touches.

Enjoy

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KeOlaMagazine.com | January–February 2017

Almanac in the Sky B y Le ile hua Yuen

Mauna Kea, Moon, & Stars. Digital artwork by Aaron Miyasato.

L

In some traditions, the month begins with the first glimpse of the new-born crescent moon above the western horizon.

Being rather empirical in approach, practitioners using the celestial “Hawaiian almanac” often adjust the name of the night to match the observed phase of the moon, though others name the days in order and then drop a day or two every few months.

In the tradition documented by Fornander, each month had 30 days, and there were twelve lunar months per year. This left the lunar and solar calendars out of synch by about five days, which was compensated for by making an adjustment at Makahiki time.

Today, it can be confusing to reconstruct many of the ancient modes of codifying knowledge. Different islands, and even different districts on the same island, might have different names for the stars, constellations, and months. Sometimes different practitioners in one district might use different names for the same phenomena.

Messier 45, The Seven Sisters, and The Pleiades all are used in the English language in reference to the same star cluster.

Remembering that, it is not strange that Hawaiian people might use Na-Huihui-o-Makali‘i (The Cluster of Makali‘i), Huihui-koko-a-Makali‘i-kau-i-luna (Makali‘i’s rainbow colored nets hung above), Na Wahine-o-Makali‘i (The wife of Makali‘i), Na-ka-o-Makali‘i (The bailers of Makali‘i), or Na-koko-a-Makali‘i (The nets of Makali‘i). The different names serve different purposes, encoding information such as how high above the horizon the cluster is. To a seafarer, this information, combined with other signs, is important in navigation. For the farmer, it is important in determining times to plant, harvest, prepare irrigation, and plan other activities.

29 People came to the Hawaiian Islands in successive migrations,

KeOlaMagazine.com | January–February 2017

ike many peoples around the world, from ancient times Polynesians have been guided by the stars. The constellations move in predictable rhythms across the sky, with mathematical precision, unchanging over the course of many human lifespans.

Weather patterns come and go, animals nest and fly, plants bloom and fruit, days lengthen and shorten. All these can be predicted by observing the movements of the stars, sun, and moon as if they are a great celestial almanac.

In the 1800s, Hawaiian people still retained the skill of observing the motions of stars, planets, and moon so accurately that “they judged the hours of the night quite as correctly as they did the hour of the day,” according to William Richards, writing in 1841.

The kilo lani (astronomers/astrologers) of Hawai‘i, had an even more precise and vast knowledge of the heavenly bodies and their workings. They examined the positions of the planets in relation to fixed stars and constellations to predict the success of various activities such as battles and major building projects, as well as the lives and deaths of high chiefs.

Time, in the traditional Hawaiian “calendar”, is measured by using both the moon and the fixed stars. According to David Malo, an eminent scholar of the early 19th century, “the ancients reckoned by nights instead of days. . . names were given to the different nights to correspond with the phases of the moon.”

Hoku, the night of the full moon, is differentiated from hōkū, star. Poetically, “Mahina o Hoku” is a beautiful way to describe the moon on that night. When the full moon sets before daylight, it is called Hoku Palemo, “Moon that Slips Away.”

When it sets after daylight, it is called Hoku Ili, “Stranded Moon.”

Priests traveling across Kealakekua Bay for first contact rituals.

KeOlaMagazine.com | January–February 2017

each bringing their own varients of traditions and once settled, evolved those traditions to suit their new home.

These traditions were codified in oli (chants), mele (songs), and hula (dances). Many have been preserved in hālau hula (schools of traditional dance), in books, and in recordings.

Some have remained in continuous use, and some are being studied and brought back into use. Among these is He Ua Lā, He Ua, a portion of which is below. (For another perspective, an excellent piece on it, written by Kīhei de Silva, is posted online. The link is in the bibliography of this article.)

Because of the importance of the Makahiki, the religious/ agricultural/political festival marking the change of the Hawaiian year, it was critical to understand the signs marking its advent. Different islands each had their own specifics, but in general a combination of stellar and lunar observations would be used to determine the beginning of the season.

People today generally believe that on Moku Hawai‘i, the first Hilo moon (first sighting of the new crescent moon) after the November 17 rising of the Pleiades begins the Makahiki season.

According to Kīhei de Silva’s article on the mele, one tradition for it holds that it was performed for Captain Cook as part of the greeting ceremonies at Kealakekua, which certainly places at least that performance during the Makahiki.

In another tradition, it is believed that this mele lists the months of Makahiki and some of their signs, a belief that is congruent with it being performed at the time of Makahiki for 30 Cook.

He ua la, he ua He ua pi‘i mai Noenoe hālau Hālau loa o Lono O Lono ‘oe Pā ‘A‘ā na pali I ka hana a ‘Ikuā Pohā kō‘ele‘ele A Welehu ka Mālama Noho i Makali‘i Li‘ili‘i ka hana Aia a e ‘Eu, He ‘eu ia no ka la hiki The rain, the rain The rain comes, ascending the slopes An impenetrable mist The great work shed of Lono Thou art Lono ‘A‘ā (Sirius) touches the cliff In the time of ‘Ikuā Storm breaks forth Mālama (unknown star) is in the month Welehu Makali‘i tarries There is little warmth There is ‘Eu (unknown star) ‘Eu that is rising Based on the above interpretation of this mele, the almanac

in the sky tells us that when ‘A‘ā, Sirius, touches a point on a specific pali (cliff/slope) during the month of ‘Ikuā it is the start of the Makahiki. Depending on the tradition one learns, Hawaiian months run either from Muku (the night of the new moon) to Mauli, or from Hilo to Muku.

Setting Stellarium (a wonderful desktop planetarium program) to January 18, 1779, when Capt. James Cook arrived in Kealakekua, we find at nightfall it is the night of Muku. There is no moon, only stars glimmer above the western horizon.

Looking east, we find at full dark that ‘A‘ā burns bright and clear as it rises to touch the limb of the pali.

So, if our celestial almanac began with the Hilo moon of ‘Ikuā, November 22, 1778, then sighting the Hilo moon of December 20 began the month of Welehu. At last Makali‘i came, the last month of the Makahiki season and among the coldest of months.

On the last day of Welehu, at the beginning of Makali‘i, Cook arrived with the rising of the hōkū hele, traveling star, ‘Eu. If we run Stellarium, we see that at the time of Cook’s arrival, there is, indeed, a traveling “star”, Jupiter, rising through the fixed stars that designate Makahiki.

Today, we do not know to which star the name ‘Eu corresponds. However, we do know that the hōkū hele, the traveling “stars”, the planets, were given many different names. These various names correspond to where and when the planets appear in the sky, and may also relate to other behavior, such as retrograde motion and opposition to the sun.

Among its other meanings, ‘eu is the hoot of an owl warning of danger.

Mercury is Ukaliali‘i, a reference to one who attends on a

chief. As Mercury’s proximity to the sun assures that it can appear only in the morning or evening sky, never in the middle of the night, with its eccentric orbit it appears to hurry about, coming and going in attendance on Venus, its chief.

Venus, seen in the morning, is called Hōkūao (dawn star or day star). Other names given Venus when seen in the morning are Mananalo or Mānalo (appeased or safe from harm or danger). In the evening, Venus is called Nāholoholo (to flee), or Ka‘āwela (having the nature of heat). Hōkūloa “long [staying] star,” may be the name for Venus after sunrise. It is the third brightest celestial object after the Sun and Moon, and can sometimes be seen long after dawn.

Hōkū‘ula probably references the red color of Mars.

‘Aukelenuiaiku (‘Aukele), another name for Mars, is the name of a hero who sought the water of life. Holoholopīna‘au, may refer to the eccentric orbit of Mars, as holoholo connotes traveling about aimlessly.

Jupiter is known as Aohōkū (star light), ‘Iao, ‘Ikaika (strong or potent), Ikiiki (heat, humidity, pain, suffering), and Kaluaihaimohai. Attempts to translate that last name find a number of words associated with warfare and sacrifice. ‘Iao is a name for Jupiter as the morning star. Also as the morning star, Jupiter shares the name Mānalo with Venus. As the evening star, Jupiter shares with Venus the name Ka‘āwela.

Many of the names for Jupiter are associated with wela (heat), war, and sacrifice. Perhaps this is related to the unknown star known as ‘Eu. Saturn is known as Makulu or Mākulukulu, “Dripping.” With the clearer skies of ancient Hawai‘i, and trained eyesight of the kilo lani and kilo hōkū, could our ancestors actually see the

KeOlaMagazine.com | January–February 2017

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changing shape of Saturn? Could the dripping refer to its changing shape? Some say yes, and some say no. But they certainly would have seen the waxing and waning light of this golden planet, which might have inspired the name.

Hōkū (stars), were certainly recognized from ancient times as having different characteristics from planets—hōkū‘ae‘a (shiftless, wandering, unstable, vagrant), hōkūhele (going, coming, moving), and hōkūlewa (floating, dangling, oscillating). With the exquisite attention to detail traditional Polynesians, including Hawaiians, exercised, one wonders if the different names for planets designated the differing orbital motions.

There are many websites with information on the names of the months and days, including Ka‘ahele Hawai‘i (kaahelehawaii.com/nana-i-na-hoku-star-lore-of-hawaii). Those interested in further study can find numerous resources.

With increasing light pollution, it is more and more difficult for the average person to directly study the stars. Computer programs such as Stellarium can help in understanding the skies our ancestors saw, but there is no substitute for going outside and raising one’s face to the night sky.

Much of the lore regarding the Hawaiian “Almanac in the Sky” has been lost, but as the Hawaiian language newspapers are being digitized, a lot of information and hints are being found. Perhaps with greater study, we shall recognize the importance of this knowledge for understanding the people and cultures of ancient times, and therefore the roots from which we have grown. Also, perhaps it will teach us to value the dark night sky which does not hide, but reveals the stars and planets in all their glory.

KeOlaMagazine.com | January–February 2017

Contact writer Leilehua Yuen: kumuleimanu@gmail.com

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Steampunk Pele mural at Kukuau Studio. photo by Andreas Knuttel

B

KeOlaMagazine.com | January–February 2017

uild it and they will come. And come they have. Since opening Kukuau Studio in downtown Hilo two years ago, musician and music/vocal teacher Bub Pratt has created a community center that provides music instruction by day and performance art space by night, where musicians, writers, and artists gather and collaborate on a near daily basis.

Originally from the Seattle area, Bub grew up singing and studied music and creative writing at Olympia College. For several years after graduation, Bub was busy teaching music while juggling his performing and recording career.

On top of his full schedule, he also spent seven years creating several gallery and art studio spaces, as well as art installations in Bremerton, Washington. Bub didn’t realize it at the time, but all these endeavors were laying the groundwork for a future studio that would combine all these elements in one space. Bub hadn’t envisioned Hawai‘i in his future, but when his family moved to East Hawai‘i, he decided to follow suit a few years later and moved to Hawai‘i Island in 2011.

As Bub settled into life in Hawai‘i, he began teaching guitar lessons in Hilo and checking out the local arts and music scene.

“I saw a lot of niches that needed to be filled,” says Bub. “I saw that a lot of things that were happening in Seattle, things like poetry slams that

Priscilla Momah and Bub Pratt at Kukuau Studio. photo by Andreas Knuttel

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KeOlaMagazine.com | January–February 2017

I took for granted, weren’t happening here.”

Between his love of music, experience creating art installations, and his work teaching music and vocal lessons, an idea was slowly taking root.

That idea grew even larger when, in 2014, Bub had to find a new space to teach guitar lessons in Hilo. The previous studio space where he taught had barely fit two people and Bub jumped at the opportunity when a friend said he had space available at the old Hatada Bakery next to Sangha Hall.

“I was looking for a bigger space to teach music, guitar specifically, and then have the space pay for itself through community events,” he says.

“It was pretty cool, but gross,” says Bub of the first time he saw the space. “You couldn’t walk upstairs without fear of falling through the floor.”

He started to put together a crew of people who got the vision of a place where people could feel free to create music and art and bring their creative energies together with other like-minded people. Friends and community members pitched in to support it any way they could.

“I fixed it up on a shoestring budget,” Bub says.

A lot of the music and sound equipment, including a piano, drum set, and speakers were donated.

“People saw the value of a community based multi-media art space and they just wanted to help, they felt compelled to help,” he adds. “They still do. There’s a team here, people who will help out with concessions or play music or make art.”

For instance, Dean Krakauer, a musician, designed the light chandelier that hangs above the center stage.

“Dean is a metal artist in addition to being a musician,” says Bub. On top of the large chandelier that spans nearly the entire stage with hundreds of small lights, he says, “he made the metal stanchions for the handrails on our balcony out of some recycled conduit left over before I acquired the building, and he also made the metal peace sign out front.”

If the vintage seats in the upstairs balcony look familiar to long-time Hilo residents, it’s because they were recycled from the former Kress Theatre.

In addition to the main stage area, there are plenty of sofas, loveseats and tables spread out across the main two-story performance space providing areas for people to collaborate on music, vocals or art. Just outside is the “Rick Barbati Acoustic Stage,” made with recycled crate material that held the laser addition to the Subaru telescope while it was being shipped from Japan.

It is a smaller space which provides a two-tier platform where people can rehearse, practice, or play.

Kukuau Studio also provides full audio recording services. The bakery’s old freezer serves as an isolation booth for recording and there’s an additional sound booth upstairs for recording vocals.

34 “It’s got an urban black box theater vibe,” says

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KeOlaMagazine.com | January–February 2017

Bub of the 1,200 square foot venue space.

Part of that vibe comes from the large-scale artwork featured in the center stage area.

Since its opening, Kukuau Studio has had three different art installations, each by different artists.

The current art mural, called Steampunk Pele, was designed and painted by Dan Madsen of Oasis Skateboards. True to the studio’s collaborative and multi-media nature, Raiatea Arcuri Photography filmed Steampunk Pele in time-lapse. You can see the time lapse video on Raiatea’s Facebook page. (facebook.com/pg/raiateaarcuri/videos/) The eye-catching mural with its bright red and orange hues and black background runs behind and on either side of the stage in the main hall.

Krakauer’s light chandelier perfectly compliments and enhances the hues of the artwork.

During the day, Bub teaches music lessons to more than two-dozen students throughout the week. At night and on the weekends, a broad spectrum of events takes place.

“This place does a lot for the community in a lot of different ways,” says Bub. Kukuau Studio has hosted everything from CD release parties, to speed dating events, to author talks offering nearly 10 events a month.

“We’ve had an all-day harmonica workshop here with two stages for harmonica players, as well as mini-music festivals with food vendors outside in the parking lot.”

Not all the events are music related. For instance, local author Dennis Alstrand gave a talk about his book “The Beatles and Their Revolutionary Bass Player,” an event which included showing a Beatles film. In November 2016, Hilo artist Joshua Fay held a kickoff event for his Kickstarter campaign for a series of graphic novels he created. Bub says Fay and his team recorded the audio version of the first graphic novel at Kukuau Studio. The kickoff party was a multi-media event with the audio tracks played, plus art from the graphic novel displayed while the author talked about his book.

Bub also notes that he’s seeing an increasing amount of hip hop artists come to Kukuau to record music tracks. In December, the studio held a Hip Hop Hui, featuring a variety of DJs, MCs, and break-dancers.

He’s also quick to point out that Kukuau attracts artists of all ages, not just young people. That’s partly due to the wide range of events held on a monthly basis at Kukuau Studio.

“In any given month, we have ten events, including a Jazz Jam, poem slam, blues jam, and songwriters showcase,” says Bub. There’s no admission charge for the Jazz Jam, and for regularly scheduled monthly or weekly events, a $5 donation is suggested. Admission fees for other shows throughout the year vary depending on the event.

Since Bub’s favorite music genre is jazz and 35 he is involved in many of the jazz events held

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KeOlaMagazine.com | January–February 2017

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on island, it’s not surprising that Kukuau Studio offers a weekly Jazz Jam on Monday nights. Held from 6–9pm, the weekly sessions are aimed at strengthening the Hawai‘i Island jazz community through networking and jamming. The all-inclusive jazz session includes a rotating house band.

Open to all ages, people are encouraged to bring their favorite chart music and instrument of their choice or just come to sing.

As with other events at the community venue, it’s a collaborative effort.

“We have a bass player, Diana Webb, and a drummer, John Robinson, who help organize the Jazz Jam,” explains Bub. “We try to have an organized rotation of different musicians but they are the main house musicians.”

The Jazz Jams tend to attract a broad spectrum of ages, while the monthly poetry slams attract a younger, collegiate crowd. Held the fourth Friday of every month from 6–9pm, the poetry slams are open to anyone over age 18. All spoken poetry pieces must be three minutes or less in length, with random audience members selected as judges for that evening’s event. Extra points are given for memorized pieces, and prizes are awarded to top three poets.

“The poetry slam is magical,” says Bub, “sometimes people bust out a poem and you can hear a pin drop.”

“We have prizes for the poetry slam winners, and it’s always gift cards to other Hilo businesses, that way we help support other local businesses,” he adds.

Other regularly-scheduled events include a monthly songwriters showcase, held the second Friday of every month from 6–9pm, open to all ages.

“We feature four singer/songwriters with a different line up every month,” says Bub. The

Weekly/monthly events at Kukuau Studio: Weekly Jazz Jams Monday nights, 6–9pm. Free to all ages.

KeOlaMagazine.com | January–February 2017

showcase features only original songs with just the songwriter, a microphone, and their instrument. Bub adds that most musicians featured in the monthly showcase play guitar or ‘ukulele. Audience members, whom Bub says cover all ages, get to hear great music from up and coming artists, while the artists get to reach new audiences and gauge their reaction to new material.

As if that weren’t enough, Kukuau Studio also regularly offers a monthly blues event, which Bub says attracts a mainly baby-boomer crowd.

Held the second Thursday of every month with Grammy-award nominated blues singer and guitar player Larry Dupio, the blues jam doubles as a monthly food drive, with a $5 suggested donation and a can of food, or just a $7 monetary donation.

“It’s more an invitational event than a jam,” says Bub. “Larry invites a different guest artist every month.”

Regardless of the type of musical genre, whether blues, jazz, or the songwriter’s showcase, the music performed at Kukuau is original. “We don’t do loud rock and roll or cover songs,” says Bub, “it’s all original music.”

As the New Year gets underway, Bub says the studio is increasing its live-streaming capabilities and combining that with an increase in performances. The studio already live-streams all its events on their website and then archives them on the Kukuau YouTube channel so people can watch online in case they miss an event. In the coming year, Bub is also looking to partner with venues and radio stations, providing additional opportunities for live-streaming broadcasts.

“More national and international touring acts are going to be rolling through here. They’ll perform a live-stream set here in an intimate setting and then play their gig at another venue, like the Palace Theater,” he says. The intimate live-stream would then be simulcast or rebroadcast on the radio, exposing the artists to an even larger audience. As word spreads about Kukuau Studio via social media and word of mouth, Bub sees the community performing arts and theatre program growing at Kukuau and beyond.

“It is so beautiful how many amazing artists are represented here behind this subtle, nondescript door off the beaten path…on this little, one-way street in downtown Hilo,” he quips.

For event information, you can check the calendar on their website, Facebook, or as Bub says, “just look for the glowing, orange peace sign…then you’ll know we’re doing something.”

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Monthly Songwriters’ Showcase Second Friday of the month, 6–9pm.

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Monthly Poetry Slam Fourth Friday of every month, 6–9pm. Ages 18+.

All poetry pieces must be three minutes or less, with random audience member judges. Extra points for memorized pieces. Prizes awarded to top three poets. $5 suggested donation.

Monthly Blues By The Bay Second Thursday of every month, 6–9pm with Grammy-award nominated blues singer and guitar player Larry Dupio. $7 suggested donation, or $5 with canned food item. Blues event doubles as a monthly fundraiser for the Hawai‘i Island Food Bank.

Contact Kukuau Studio: kukuaustudio.com Contact writer/photographer Denise Laitinen: Denise@DeniseLaitinen.com

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KeOlaMagazine.com | January–February 2017

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Peace sign outside Kukuau Studio. photo by Denise Laitinen

Ho‘omau is renewal.

Business

To persist, persevere, continue and perpetuate.

Fifth in Series Two on Managing with Aloha | By Rosa Say

Hoÿomau: Love the One You’re With Many times, this amounts to giving people permission, access, and the freedom to innovate. We talked about this last issue, in regard to the spirit of seeking ‘Imi ola and supporting reinventors. Creating positive expectancy for tenacious, persistent effort, is how Alaka‘i Managers state the job at hand, so they frame it in a more compelling way, similar to saying “love the one you’re with.” All routine work to be performed can probably be executed better or in a refreshing manner, with a stripping away of the obstacles which deter innovative thinking.

Those obstacles take assorted shapes and forms. Old habits which refuse to die, because we have not worked to replace them. Job descriptions which have not been updated for years, and box people in. A mission statement which wasn’t rewritten when our vision changed. A reasoning which once made sense and no longer does, yet no one has thought to question it.

Slogs and obstacles are targets Alaka‘i Managers set their Ho‘omau sights on. They are ‘the ones we’re with’ in the workings of business, and if we allow them to stick around we have to learn to love them again, or change them.

Apply the Ho‘omau thinking of renewal to whatever ‘standard operating procedures’ you can describe with an Aloha-loving language of intention: Describe them as the tools of your craft, and as the paintbrushes of your particular business art.

Remember why you felt a passion for whatever it is you do in business. You have to feel it, if your partners are to share that passion, and if your customers are to reap its rewards and consider you their best source. As any savvy business person knows, the most profitable commodities bring customers back to you for some kind of refreshing renewal.

Do this for you, and you do it for them. Be coached by Ho‘omau, and love the ones you’re with.

Next issue: We revisit Kūlia i ka nu‘u, the value of excellence and achievement.

Contact writer Rosa Say: RosaSay.com or ManagingWithAloha.com KeOlaMagazine.com | January–February 2017

The song lyric, “Love the one you’re with” is superb Ho‘omau-driven advice quite applicable to business.

Its language of intention resonates. “Love the one you’re with” is better coaching than “practice continuous improvement.” It sounds more intriguing, and well worth one’s effort. Yet the two phrases are the same, both framing an essential business practice; necessary reiteration, the constant tweaking to get ever better at whatever it is we do.

“Love the one you’re with” is gripping because it begs the questions, “How so?” and “How personal do I get?” It entreats us to explore more options.

To love something in Hawai‘i, we give it our Aloha.

In contrast, we tend to associate “practice continuous improvement” with the rework of “we need to do it all over again.” The potential for renewal escapes us. To work well, to Ho‘omau with our Ho‘ohana, we do need to fall in love with the work again, giving ourselves the permission and freedom to innovate as we remember, so we will keep at it, and tenaciously persist enough to reach renewal as our objective.

The principles of continuous improvement are sound: Iteration—improvements can be based on small changes, not major paradigm shifts or new inventions; Cost Effectiveness— Incremental improvements are typically inexpensive to implement; Inclusion—internally improving means rallying the talent and input of all staff; which leads to Engagement—people take ownership and are accountable for improvements they co-author and steer; Communication—continuous improvement calls for reflection, asking, “Is this working?” and demands feedback loops; Tracking—we target improvement which is measurable and potentially repeatable. Small wins add up.

When we recall these principles, continuous improvement starts to sound more compelling. We reinforce each principle with our sense of place when we then employ the kaona, the hidden meaning of Ho‘omau as renewal and continuity. We are reminded how essential “in our trenches” work is, in serving the overall health of a good business when we don’t neglect its baseline quality.

One of our associative Managing with Aloha value connotations, is that “values equip you,” for values drive human behavior so predictably and reliably. Ho‘omau is basically defined as the value of persistence and tenacity, yet we must elevate this definition to our value of renewal if business is to become our art. Employing Ho‘omau renewal becomes a strategy in sustainability.

We can be smarter about how we frame work, so it is thought of as art in human expression. Framing, the communications practice of putting a good spin on all the work we do, is a finely tuned skill of the Alaka‘i Manager; they have a penchant for making work more interesting, more meaningful, and therefore, more compelling to those who will actually have to do it. They describe best possible outcomes as the fruit of worthwhile work (which we have learned to frame as Ho‘ohana). Alaka‘i Managers specialize in creating positive expectancy.

This symbolizes an eternal knot of trust made from the roots and trunks of growing trees, as a community or business concept of the power of teamwork and solidarity.

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KeOlaMagazine.com | January–February 2017

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Aunty Penny Keli‘i Vredenburg, Mistress of Ceremonies

I Love A Parade

By Catherine Tarleton

Standing in

Penny Vredenburg brings the Waimea Twilight Christmas Parade to a halt.

She climbs up on the running board, looks in, then shouts out to the folks along Waimea’s crowded street. “OMG he’s so good looking,” she says with a kolohe (mischievous) smile. “I’m going home and set fire to my house and call you!”

One of her favorite events of the year is the annual parade, which celebrated its 56th anniversary in December. Penny has been one of the MC’s since 2005.

KeOlaMagazine.com | January–February 2017

front of the fire truck, armed only with her cordless microphone,

Penny Keli‘i Vredenburg. Photo by Aaron Miyasato 41

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“It’s the second oldest parade in the state,” she says. “This one is wonderful because it is so community-oriented.

It is a very dear, very sweet parade. About 30 big rigs are a big part of it.” Festooned with lights and spirited holiday decorations, the trucks chug through town just after dark, much to the delight of hundreds of keiki (children) and families.

“Aunty Penny” has been Penny known to out-heckle hecklers, stop people from tossing candy into the street, and shame litterbugs. “I tell them, ‘if you see rubbish, you own it. If not, I’m calling you out!’” she says.

Penny’s MC adventure started 20 years ago in Hilo with the renowned Merrie Monarch Festival. She credits dear friends John Wray, former KITV producer, Aunty Dottie Thompson, creator of the Merrie Monarch, and longtime friend, Skylark Rossetti, for giving her the chance to MC many local events.

“I used to do lots of events around Merrie Monarch, eight hours on the microphone, all over town,” she says. “From the opening day on Easter Sunday to the parade, the final event of my responsibilities. Did I tell you I love parades?”

Although she never competed on the big stage, Penny is a lifelong hula dancer. Born and raised in Hilo, she first learned from Jenny Naope, Uncle George Naope’s cousin, at the age of three.

“Hula teachers will not take you unless you are toilet trained,” says Penny with a laugh. She later studied with Flora “Tita” Beamer, of the esteemed Beamer-Solomon hula legacy. “She was my absolute idol—sweet, kind,” Penny says. “She used to say ‘dance for me, babies.’” Penny remembers a loving hula teacher, back in the day when the title “kumu” wasn’t used. She was a teacher who gave only gentle correction, never punishment.

Penny continues, “Tita’s mother was Aunty Louise Beamer, and her husband, Uncle Pono, was a songwriter. When she went to Hollywood Penny dancing hula at the cottage at Mauna Lani Bay. photo by Aaron Miyasato to teach Shirley Temple

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KeOlaMagazine.com | January–February 2017

how to do the hula, Uncle Pono missed her so much he wrote a song for her, ‘Ku‘uhoa.’ They had the most wonderful love affair. Hawaiians of that era were very demonstrative in their affection for each other. It is a lovely thing to emulate, to live with.”

Indeed Aunty Penny’s life has been a long love story, or a series of stories, about love of family and friends, of her community, of music, people, culture, and home, nurtured first by the love of two mothers.

The daughter of a Japanese woman and an American soldier, Penny says, “I grew up thinking I was half Japanese and half haole. I was adopted by a wonderful haole couple, Mary and Jim Pitman. My birthmother worked for them and they loved her—to the point of sending her through college and eventually producing her wedding to a fine local Japanese man—they treated her as their daughter.”

“My biological mother gave me life; my adopted mother taught me to live it,” she says fondly.

That life has included many happy days as a keiki, riding horseback, swimming, and traveling to the mainland for annual family camping trips.

She loved the water, and one year for her birthday, she and her father built a small boat from scratch. They painted it gray and red, and she and her friends paddled around the lagoon where the family lived.

Penny aboard the Höküleÿa.

Years later, she was privileged to help build the double-hulled voyaging canoe Hōkūle‘a. “Nainoa (Navigator Nainoa Thompson) blessed me saying, ‘you are invited to sail on Hōkūle‘a,’ and I did, many times,” says Penny. “Once you sail on her, you are never the same. She doesn’t sail on the water, she hulas.”

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KeOlaMagazine.com | January–February 2017

There were kolohe times too: as a young teen, figuring out how to turn the cigarette machine upside-down to make the quarters fall out; climbing out the bathroom window at Kahilu Hall in Waimea to escape the HPA dances and run over to the nearby saimin stand.

“On Chinese New Year in Hilo, people would bring all these beautiful platters of food to the graveyard for their ancestors, and we tried to go every year to eat all the fabulous food offerings,” Penny says. “The last time, we were caught by the police. They took us all to the Police Station and charged us with grave robbing. Most of my friends were from prominent Hilo families, and when they were Penny called to come and pick us up, to say the very least, our parents were NOT pleased!”

She survived an adventurous childhood, and in the late 1960’s moved to Honolulu to model for Nali‘i Fashions, one of the earliest aloha wear designer-manufacturers. Later she applied for a job at Maritz Travel, a large incentive travel agency.

“I was a secretary,” she says. “I lied and said I could take shorthand; I lied and said I could type. I got a second-hand typewriter and taught myself and I learned to take the fastest

44

longhand ever!”

Eventually, she made her way into the hotel business. “My sister-in-law Nina Keali‘iwahamana Rapozo (revered Hawaiian music vocalist and daughter of hula legend Vicky I‘i Rodrigues) was Executive Secretary at Hyatt Regency Waikiki. She called and said they needed clerks. In 1976, Hyatt Regency Waikiki opened and I was there. Eight years later, I left as Assistant to the Director of Catering,” Penny says.

She also spent some time in Tahiti, helping with the Kia Ora Resort renovation on Moorea, returned to Honolulu in 1986 and went to work at the Westin Ilikai Hotel as one of their catering managers. “Our ballroom held 3,000,” says Penny. “Hilton Hawaiian Village always had the Hōkūs (Nā Hōkū Hanohano Awards). My boss said ‘Do you think you can get that event Penny and Skylark Rossetti over here?’ I said ‘yes.’”

Her good friend, Marlene Sai was the President of Hawai‘i Academy of Recording Arts, parent of the Hōkūs. Penny helped them plan a special dinner at the Ilikai. She says, “It was Marlene’s birthday, so I ordered a cake. Suddenly, in comes the

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cake. The waiters lowered the lights. Marlene was shocked. We sang ‘Happy Birthday,’ had a couple bottles of champagne... and I said, ‘Goofy (that was Marlene’s nickname), you know I

Penny and Keawe Vredenburg really am pitching for the Hōkūs to come to the Ilikai.’ I went on my knees. ‘And I’m not above groveling!’And yeah, we got it.”

In her Honolulu years, Penny got to know celebrities like the

Cazimero Brothers, Frank DeLima, Mihana Souza, Jerry Santos, Tony Conjugacion, The Makaha Sons, and many more. Her good friend, newspaper reporter Ben Wood, would occasionally mention her in his social column, sometimes describing her humorous nature, like the time she used two kitchen whisks as pū‘ili hula implements.

But that was only part of her story. At the same time, Penny was raising her pre-teen daughter, Lisa and two hānai children. “I was a single mom, and the hānai kids were Jewish,” Penny says. “Every Friday we went to synagogue, and every Sunday they came with me to St. Andrews. I wanted them to know their heritage.

That was my duty, my obligation... I had them write letters to their mother once a month and send them with a Polaroid picture. They were good, good kids. I am proud of all they have become today.”

For her own two mothers, Penny was able to help at the end of their lives. “My biological mom had Alzheimer’s,” Penny says. “I told my brother who was caring for her at his home in Iowa, ‘Bring her home to me. When she doesn’t remember you and doesn’t remember me, she’ll remember her long ago comfort foods, like pork tofu and miso soup.’ She remembered us both right ‘til the end.”

“I was privileged to have a large home,” she continues.

“And I was honored to be able to take care of both my

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KeOlaMagazine.com | January–February 2017

Aunty Queenie Dowsett, Penny and Uncle George

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mothers during their last years—at separate times of course.

My mothers were relatively easy to care for and I was able to experience some awesome times with them in those waning years. Most importantly, when they passed they knew absolutely that they were loved.”

One “lighter” memory of this difficult time had to do with her birth mom’s incessant smoking. Penny was deathly afraid she’d start a fire and cringed every day when she’d light up.

“One evening before her bedtime, I took her pack of cigarettes out of her purse,” says Penny. “The next morning she looked for them, then asked me and I replied, ‘Your cigarettes? Why, you stopped smoking five years ago!’ She looked quizzically at me and never asked for them again!

I was going to make that damnable disease work for me.”

After her birth mother passed, Penny searched for her biological father on the internet, found him in Penny in her hula jeans Oklahoma and asked to come and meet him. In 2001, she met up with her half-brother (same mother) Bruce, on the mainland and they drove to Oklahoma together.

“I had the address, found the street. It was a cul-de-sac.”

Penny says. “The front door opened hesitantly, and there was this tall, handsome man. He started to come out to see us, and

Penny and Uncle George Naope at a hula festival. Photo by Aaron Miyasato.

She was impressed. “He had a very swift, very dry sense of humor that enchanted me and his wicked brilliance, was like a walking encyclopedia... I was totally charmed and attracted to him.”

At that time, Penny had raised three children as a single, working mom and enjoyed an independent, unmarried life. “I had been divorced 25 years and wasn’t going to do that again,” she says. “I had boyfriends, but as soon as they would say ‘let’s get married,’ I’d say, ‘WHY?’” Over the next few months, Keawe made several visits to Hilo to see her. “One time, we were having dinner at Uncle Billy’s (former Hilo Bay Hotel), and he said ‘Will you marry me?’ and I heard myself say ‘Yes,’ and I thought ‘Who said that?!’ It was love,’” she recalls. The two were married in 2004 at ‘Imiola Church in Waimea, which Keawe’s grandfather helped build.

On her wrists are Hawaiian bracelets, four gold and four silver. One says, “Only love endures.”

With enduring love, enthusiasm, and endless gratitude, no doubt Aunty Penny will host many more wonderful events before her parade passes by. When you see her with her microphone, at a concert, parade, or various events wherever her journey takes her, please take a moment to soak up a little of the very special and very strong, deeply-rooted aloha she has to share. “Love isn’t love ‘til you give it away,” Penny says.

Photos courtesy Penny Vredenburg, Sarah Anderson Contact writer Catherine Tarleton: catherinetarleton@gmail.com Contact Penny Vredenburg via facebook.com

KeOlaMagazine.com | January–February 2017

from behind, his three sons pushed out ahead of him. They were all so handsome. Dang! They were my half-brothers!”

“One of them asked me, ‘Did our father know you were born?’” says Penny. “I told them ‘yes, but don’t be angry. This was a different time in society. He impregnated a an AmericanJapanese woman and he had to go home and make a new life for himself. Don’t hate on him.’”

One of her first questions to her father was about his ethnic background. “He had this Oklahoma accent that could make a one-syllable word into two or more. He said ‘Way-ull, I’m half Chickasaw and half white,’” says Penny. “It stunned me, I was a quarter Chickasaw. People assumed I was part Hawaiian.”

With so much aloha in her life, and in her stories, that would be easy to assume. And in 2003, a new love story began for Penny, when she met Dexter Keawe‘ehu Vredenburg. Recalling Uncle Pono’s loving relationship with Aunty Lou, she compares the memory with her present life.

“My husband and I follow that,” she says. “We got married later in life, and we focus on each other. We came (together) without a lot of baggage. Unconditional sweet, and a very strong love.”

Although Penny knew his brother Gordon in high school, Dexter “Keawe,” had already graduated and left for college. “I didn’t know him from Kimo’s housecat,” says Penny.

Many years, adventures, and a few relationships later, their paths would finally cross. “I was having a pre-class reunion party at our house in Hilo,” says Penny. “Gordon flew in from Sacramento with his wife, and he picked up his brother in Honolulu. I met Gordon at the door and asked ‘Who is this?’

He says, ‘Oh, I forgot to tell you I was bringing my brother with me.’”

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Bryce spent almost two years as a scuba guide and instructor on Kaua‘i’s Na Pali Coast and one day his boss handed him an underwater video camera. “The moment I was underwater with that camera in a cavern with a pregnant white tip reef shark, I was thinking, this is why I became a scuba instructor.” says Bryce.

Next, Bryce and his wife, Jen, headed to S.E. Asia where they spent a year back-packing and scuba diving with sharks on remote reefs. “We carried hardly anything with us except for a few clothes. Our back packs were 90% scuba gear,” says Bryce.

Still in search of a way to support himself while doing what he loved, Bryce kept applying for jobs, and a degree in finance didn’t get him anywhere. “I only heard back from three people, and they told me that even people with PhDs would have trouble getting these jobs. So I wrote this guy Samuel Gruber, who’s a legendary shark scientist, with a sob story about how nobody would give me a job and how much I loved sharks,” says Bryce.

Gruber gave him a chance and in three weeks Bryce was in the Bahamas. “We were working with lemon sharks, bull 49 sharks, and tiger sharks, catching and tagging them and

KeOlaMagazine.com | January–February 2017

hances are if you’ve ever been on the Fair Wind snorkel boat, you’ve sat in on a Bryce Groark fish class. Although Bryce’s cinematography and marine research work takes him all over the world, his roots are in Kealakekua Bay. His long journey there was fueled by his passion for sharks and a quest for science knowledge that began on Kaua‘i, coming full circle to settle on Hawai‘i Island.

Growing up landlocked in Missouri, it wasn’t until college that his ocean soul came alive. “I spent a year in Australia and realized that people actually live on the beach, and that was it for me,” says Bryce. Although his true love was marine science, he earned a degree in finance from SMU and worked as a stock trader in the Dallas/Fort Worth area, all the while dreaming of the ocean. “I subscribed to SCUBA magazine, and any time I made some money, I would go to Mexico or Costa Rica for the weekend and go scuba diving,” he recalls.

Eventually, Bryce moved to Fort Lauderdale and spent four months training to become a scuba instructor. When he was done with his course work, he had two job offers. One in the Caribbean and the other on Kaua‘i. While in the process of deciding, one of his instructors who had lived on Maui for 30 years told him, “You belong in Hawai‘i.”

On location filming for Whale Like Me in the Canary Islands photo by Bryce Groark

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KeOlaMagazine.com | January–February 2017

monitoring their diets. It was an amazing experience. I fell in love with the science,” says Bryce.

After working with sharks in the Bahamas, Bryce was inspired to seek a PhD in Zoology from University of Hawai‘i at Mānoa.

“Unfortunately, we only lasted 36 hours in Honolulu. We’d never been to the Big Island and we decided to go there for a week. We came to [Kailua] Kona and that was it,” says Bryce.

His search for work underwater led him to the Fair Wind

On location filming for Ocean Preservation Alliance in the Red Sea, Southern Egypt. photo by Bryce Groark

snorkel boat that runs from Keauhou to Kealakekua Bay. Bryce created Living Ocean Productions and began filming in Kealakekua Bay. “I was reading fish books like crazy. I’d read a behavior in Hoover’s fish book and then go film it. While the

tourists had lunch, I’d be off just looking for behaviors,” says Bryce.

Those hours of observation and filming were transformed into a series of intriguing stories that, to the delight of the passengers, became the daily reef ecology class on the Fair Wind. Bryce talked about these creatures as if they were his family, which in a sense they were. “Behaviors make it interesting and correlate to our daily lives. We changed lives with that class and inspired people to care more about the ocean. They still have it on the Fair Wind. I’m pretty proud of that,” says Bryce.

The time he spent on the Fair Wind and in Kealakekua Bay were foundational for him. “I started to see the reef differently.

Every little component and nook and cranny. I’d go to 120, 130 feet by myself and I would just sit. That time I spent in Kealakekua Bay by myself every day just brought me to a level that I don’t think I could be who I am today without that,” says Bryce.

All the while he was observing and filming in Kealakekua Bay and giving fish classes on the Fair Wind, Bryce still had his sights set on marine science cinematography. “I’m trying to figure out how to film for National Geographic. If I wasn’t going to get a PhD, I wanted to film the guys who have PhDs. I started to build a library of behaviors and I started getting calls from film crews for fill-in stock footage,” says Bryce.

One day Bryce wondered, “How am I going to know what it’s like to film 500 hammerheads at a time if I’ve never been there or done something like that? Who’s going to give me that job?”

That’s when Bryce and Jen decided to take the plunge, literally, and went on a series of trips to rare animal dream places. We’d

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go for things that were really unique and really big. We went to Mexico, to Islas de Revillagigedo where giant pelagic manta rays are common and seven species of sharks can be seen on one dive. We went back to the Bahamas, a place where there were giant tiger sharks, guaranteed,” says Bryce.

There was no plan to create a movie, just a passion to shoot film footage of large pelagic marine life. It was those filming experiences and concerns for the depletion of the world’s shark populations, one of the biggest threats to the well-being of the marine environment worldwide, that were the basis for the creation of the award-winning shark documentary, Requiem.

Released in 2007 and shown at the 2011 Waimea Ocean Film Festival, Requiem “Was one of the early movies showing sharks as they are and not this huge killing, eating machine. We made it in a few weeks and just sent it to a few film festivals. People were wanting to fly Jen and me to film festivals and all of a sudden we were film makers. To this day, I think it has played in 61 different countries,” says Bryce.

Bryce’s experience and knowledge and ability to interpret science for the non-scientist, has made him a bridge that allows anyone to access and understand the marine ecosystem and hopefully contribute to preserving it, which is how the On location filming for Ocean Preservation Alliance in Elba, Italy onboard mega-yacht, Pegaso. photo by Bryce Groark

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Ocean Preservation Alliance (OPA) came about.

“I sailed from Egypt to the Sudan on this multi-million dollar yacht and it felt like we just lit money on fire the whole way.

Then a few weeks later I was on a job doing a shark film with a National Geographic scientist and he says, ‘If I only had 7,000 more dollars, we could have three more tags and we could have gotten all this extra information,’” says Bryce.

Stunned by this revelation, Bryce and his OPA partner Sean Dooley devised a plan to, “Pick amazing places in the world and present them to yacht owners. We would recommend that they bring these scientists who are the world’s biggest manta ray and shark experts of that area. We would spend all day diving and doing work and then at night we’d have these incredible dinners. At the end of the trip, these billionaires would be like, ‘How do we save this place?’,” he says.

What’s really special about the connections Bryce makes is that he honestly wants to learn about and understand other perspectives. He worked two years creating a Discovery Channel TV series called, Fish Mountain (never aired) by spending time on Hawai‘i fishing boats going out to the Cross Seamount. “I went and met all these local commercial fishermen who are under fire big time here every single day, and I asked them to tell their story. I wanted to know what’s going on out there and I didn’t want to judge,” says Bryce. “I

wanted to understand why people do things in certain ways and by doing that I think I’ve broken through barriers and walls.”

In 2010, Bryce had an opportunity to meet world renowned marine conservationist Sylvia Earle. Sylvia had won the TED Prize that year and had gathered 100 of the world’s most influential people on a boat in the Galapagos for five days to create a think tank focused on unique solutions for the earth’s endangered marine ecosystem. For Bryce, this began

On location filming for The Pod - Photo of Bryce Groark filming sperm whales up close off the Caribbean Island of Dominica. photo by Bryant Austin

the four year odyssey that became Mission Blue (2014), screened at the 2015 Waimea Ocean Film Festival.

While on that boat, Bryce was able to make a direct connection between think tank and action. Senator Clayton Hee, Stefanie Brendl and many others had been working hard on SB 2169, a shark finning ban, which eventually was signed into law.“I get this email from Stefanie Brendl that the vote is on the next morning at nine, and she was wondering if I could get any of the influential people on the boat to help us with this. I went to Sylvia, told her what was happening and said, ‘If I could deliver 50 or 60 world class signatures, that would be pretty powerful.’ And she said, ‘I On location filming for Sea of Hope - Photo of Bryce Groark filming a turtle cleaning station off the west coast of Kauaÿi, Hawaii. photo by Brian Skerry, National Geographic

KeOlaMagazine.com | January–February 2017

love it. That’s why we’re here. Let’s do it,’” says Bryce.

Despite his awareness of the dire state of the marine environment, Bryce is positive. “I feel like there’s a shift.

Fifteen years ago I couldn’t get anyone to care about saving a shark. Now there’s a 100 NGOs specifically for sharks. It’s

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starting to be mainstream, and for me that’s massive. I don’t want to just show how bad things are. A lot of my projects that I’m in right now are about hope,” says Bryce.

With his next filming project, Bryce will pursue a dream of hope as he travels to Palmyra Atoll, which is relatively undisturbed by human activity, to observe natural ecosystem processes and the interplay of ocean and land. Bryce describes

Bryce’s Current Filming Work: Before the Flood (Oct. 2016). Leonardo DiCaprio’s latest climate change film.

Whale Like Me (2017). Six years in the making, a film about the multi-nation whaling controversy.

Sea of Hope (Jan. 2017). A film about the creation of newly protected areas in U.S. waters, including Papahānaumokuakea.

Contact Bryce Groark: bryce@livingoceanproductions.com Contact writer Jan Wizinowich: janwiz@gmail.com

Filming for Mission Blue - Photo of Director Fisher Stevenswith a ball of jacks in Cabo Pulmo, Mexico. photo by Bryce Groark

the concept as, “A love story between the land and the sea and how the land and the sea work together and influence each other, affect each other. We’re becoming so much more aware that we need synergy, man and the planet, and to love the earth a little bit in our lives.” ◊ On location filming for Ocean Preservation Alliance filming at Cocos Island, Costa Rica photo by Jeff Gale

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KeOlaMagazine.com | January–February 2017

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Helping Teens and Veterans with Equine Assisted Therapy

Kohala Youth Ranch By Laitinen ByDenise Denise Laitinen

Middle School students (Left to Right) Laakea Kauka, Jace Hook, Shiloh Perez serenading Wally with an ÿukulele.

situation is one of many examples of the benefits of the equine-assisted therapy program they offer at their Kohala Youth Ranch.

“Horses are honest and non-judgmental,” says Joe. “They’re social and intuitive by nature. They see through a person’s outward persona to their authentic self.”

A project of the North Kohala Community Resource Center, Kohala Youth Ranch provides free equine-assisted psychotherapy (EAP) and learning (EAL) to veterans suffering from (PTSD), as well as at-risk teens. One of the leading ranches in the state for EAL, more than 800 participants have gone through its programs, attracting veterans from as far away as the mainland.

The experiential therapy program helps participants develop coping and problem-solving skills, as well as increase selfesteem and confidence. Kelly points out that all the therapy work is done entirely on the ground, participants don’t ride the horses.

“It’s not occupational or physical therapy,” says Kelly. “The

KeOlaMagazine.com | January–February 2017

A

man is standing on the outer edge inside a round horse pen in scenic North Kohala trying to get a horse, who is standing in the middle of the ring, to obey his non-verbal commands. It’s not working. The horse won’t move. It’s also completely backwards from the way the situation is supposed to be—with the man standing in the middle of the ring directing the horse along the outer edge.

Rather than get upset and angry, the man has an “aha” moment, realizing the situation is a metaphor for his life— always on the outside looking in, not fully participating in the world around him.

He mentions this to the group facilitators overseeing the exercise, who suggest a few techniques, including having the man change his energy level. It works. In short time, the fellow is in the center of the ring directing the horse to follow him around the ring.

The man in question is not an aspiring horse trainer; he’s a combat veteran suffering from post-traumatic stress disorder, (PTSD). For group facilitators Kelly and Joe Vitorino, the

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horses act as mirrors for whatever a particular individual is experiencing. In order to interact and connect with each other, the horse and participant need to be able to see eye to eye.”

It was a different story back in 2010, when Joe and Kelly first started offering horseback riding lessons and trail rides. They had purchased nearly 30 acres in the small hamlet of Niuli‘i Village, near Pololū Valley a few years earlier and had brought over a herd of Paso Fino horses, a breed known for their smooth gait, gentle dispositions, and intelligence. Over time, the couple noticed behavioral trends—in both their students

Dustin McCasland working a boundary exercise with Gaucho.

KeOlaMagazine.com | January–February 2017

and the horses.

“We saw that some of the people that came out every week for lessons were not necessarily coming to ride, but coming to heal and for their own personal growth,” says Kelly. She notes that some weeks the clients wouldn’t even want to ride; they just wanted to be with the horses.

“As we got better at understanding what the horses were communicating, we saw that the horses were not liking it,” adds Joe. “We were putting people on their backs who weren’t self confident enough to lead a horse or who had anger issues.”

During that time they participated in the Kohala Fair multiple

years in a row and saw the same kids come back again and again just to be with the horses and hug them.

The couple started researching about how horses could help people, attending equine therapy workshops and conferences around the country. They received certifications in several types of equine therapy programs, including the OK Corral Series, the Equine Assisted Growth and Learning Association (EAGALA), Equine-Guided Education at Sky Horse Ranch, and the Equine Experience at Hacienda Tres Aguilas. While at a conference on the mainland, they met Greg Kersten, a leader in working with horses for human growth and development and founder of equine-assisted psychotherapy EAP and EAL. At the time they had jokingly asked him if he wanted to come to Hawai‘i.

From the ranch’s beginning, they worked with at-risk youth, partnering with Sunday’s Child Foundation and Ke Kama Pono—a resident home program for both boys and girls funded by the Salvation Army.

A Navy veteran himself, Joe explains they also offered free services to veterans from the ranch’s earliest days.

“We started a branch of Operation Vacation, a program that provided family vacations for soldiers returning from Iraq and Afghanistan.” In addition to the trail rides, they helped arrange for free car rentals and lodging for the soldiers and their families for four years until the national organization closed in 2012.

It was during this conflux—noticing how the horses were reacting to people, seeing people want to be near the horses, and working with veterans and troubled teens, that things took a new direction at the ranch.

Already having an established program offering equine assisted activities, in 2014, Joe and Kelly were approached by Linda Clifford, a member of the board of directors for the PTSD Health and Research Center based in Waimea.

“Linda asked if we would be interested in offering an equine therapy program for veterans,” explains Joe. “They were starting programs for combat veterans, people who were

56 Kawika Lawton-Campollo pledging a personal responsibility commitment to Encantador

Tom LeMasurier having fun with Miradouro

having difficulty processing combat experiences and reintegrating back into civilian life. They were looking to expand their offerings to give veterans additional options.”

Thus began a two-year process to get the current program in place. After Linda reached out to them about working with veterans with PTSD, Joe and Kelly called Greg and asked him if he had a specific program for training the trainers who work with veterans.

They also reached out to EAGALA and convinced them to hold a train-the-trainer clinic at the ranch in 2014, a clinic they also made available to the public. Joe points out that while EAP and EAL have been around for decades on the mainland, they are not widely known about or practiced in Hawai‘i and the workshops were a way to increase knowledge in Hawai‘i about the programs.

In 2015, Joe and Kelly talked to the leaders of the OK Corral program who agreed to come to Hawai‘i for the first time as well.

“Because we were focused on providing EAP for veterans, we talked to Greg about doing a clinic specifically for train-the-trainer,” says Joe. “All the stars aligned and Greg came out in 2015, and we held a three-day clinic,” adds Joe. Greg demonstrated how to facilitate a group with veterans, particularly those suffering from PTSD. Eighteen people participated in that clinic, including mental health professionals from Hilo and Kona, as well as trainers from across Hawai‘i and

KeOlaMagazine.com | January–February 2017

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the mainland.

Then, later in 2015, Joe and Kelly held their first equineassisted therapy programs with veterans from Hilo and Kona.

“It’s a team—you can’t really do it by yourself. The way that the program is set up in EAGALA’s professional code of ethics— it’s a team approach,” explains Joe. The equine-assisted

therapy program team at Kohala Youth Ranch consists of a professional equine specialist, a mental health professional such as a social worker or psychologist licensed in the state of Hawai‘i, and of course, the horses.

The equine specialist is responsible for the safety of the horses and the safety of the person, while the mental health

“Kohala Youth Ranch owner Joe Vitorino walking with middle school student Noah Smith and horse Gaucho as part of a training exercise.

KeOlaMagazine.com | January–February 2017

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professional is responsible for ensuring the therapeutic safety of the client and facilitating emotional growth. Both the equine and mental health team members must be certified by one of the various national organizations that specialize in training for EAP/EAL. The programs for both at-risk teens and veterans are multiple weeks long with a weekly session lasting three hours at the ranch. The veterans program is six weeks long and the teen programs are four weeks long, while some school programs are only a single visit, where they focus on respect and boundaries.

Living pono or living with respect, is an integral part of the program according to the Vitorinos.

Since Greg conducted the first train-the-trainer program for working with veterans suffering from PTSD, the Vitorinos have worked with the Veterans Administration and the PTSD Health and Research Center to provide multi-week therapy programs for more than a half dozen groups of veterans from both east and west Hawai‘i.

Joe points out that the teens they work with may face a wide range of issues, while their work with veterans focuses on those suffering from PTSD. “One of the things you see with veterans with PTSD is hypervigilance, the need to be at attention all the time,” explains Joe. “Military life is very structured, yet civilian life is less structured. Sometimes they feel lost and not in control and they don’t want to show the civilian world that lack of control.

One of the things we work on is getting them to not be at attention all the time.”

Horses are prey animals and are finely tuned to their surroundings at all times, much like those in the military need to be for survival.

“If horses see a threat they go into attention mode. If the threat goes away, the horses go back to being at ease. A lot of Erich Brockmoeller in a healing moment with Wally

KeOlaMagazine.com | January–February 2017

the veterans are stuck in hypervigilant attention.

“We show them that there are ways to relax from that hypervigilance. For example, we ask them to walk the horse in a pen. There’s no rope and they can’t touch the horse, they have to use their energy to get the horse to walk in a circle, to stop and then go in the other direction,” he says.

Because the horses mirror the inner behavior of the participant, the equine therapy team sees scenarios play out in the arena with both healthy and unhealthy behavior.

“The horses know if you are faking it and because they don’t

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judge, it allows a positive energy interaction that eventually leads to a trusting and open relationship,” says Joe. What happens in the arena reflects whatever the participants are going through in their lives. Joe mentions the veteran standing on the outer part of the round horse pen with the horse that wouldn’t move.

“This guy went to the outer ring and the horse was in the middle (opposite of how it should be). He tried to get the horse to move, and the horse wouldn’t move. We talked to him and asked him what he could do to get the horse to walk. He re-evaluated the situation and brought his energy up, and the

KeOlaMagazine.com | January–February 2017

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horse started to walk.”

Joe explains that this particular veteran had previously told them he always stayed home because of a fear of getting out of control or getting hurt. His emotions were controlling him.

“We worked with him to be in control and provide just enough energy to get the horse to do what he wanted him to do. He got the horse to walk and go fast. He brought his energy down and got the horse to walk in the opposite direction.“ “With these exercises, the veterans see how their energy affects the horse. As trainers, we always look for metaphors.

The veteran told us that the horse was a metaphor for his life.

He was on the outside, and nothing was happening.”

“It was an ‘aha’ moment. It was like a light turned on. He realized he hadn’t been controlling his life and realized that he needed to get out more,” Joe explains. He notes that since that “aha” moment, the veteran has started getting out more, made friends with a fellow veteran, and is even planning a trip to the mainland to visit family. Such “aha” moments are what makes it all worthwhile for the Vitorinos.

“The horses never cease to amaze as they help the vets heal wounds from their pasts, get them to be present in the moment, and act as spiritual guides into the future,” says Joe. Upcoming: In May 2017, a three-day OK Corral Series EAP and EAL Clinic will be held in Hilo at Heart Ranch in which Kohala Youth Ranch will participate.

Contact Kohala Youth Ranch: kohalayouthranch.com All photos courtesy of Kohala Youth Ranch Contact writer Denise Laitinen: Denise@DeniseLaitinen.com

Mälama Honua Update

The Worldwide Voyage of Höküle‘a The iconic Hōkūle‘a sailing canoe is now making her way

back to Hawai‘i for a triumphant homecoming in June of this year through the middle of the Pacific. This is following a brief period of drydock at the Mariner’s Museum in Newport News, Virginia late last year, when visitors flocked to greet her and learn about Polynesian voyaging for the first time. Many along this journey had never seen a real Hawaiian canoe, or wa‘a, as Hawaiians say, so the crew spent much time educating the public and sharing the spirit of Aloha, building bridges and making memories that will last a lifetime. In his captain’s crew blog, Captain Kapela Babayan talks about his experiences on this leg of the voyage: “There are many to thank for the tremendous opportunity afforded the members of Leg 23, where we took a circuitous route 853 nautical miles to the northern freshwater lakes of Oneida and Ontario of the Great Lakes, the St. Lawrence River, and transited 61 canal locks to learn about the cold water systems of our planet. We visited the border country of Canada and its two provinces of

Ontario and Quebec, and toured upper New York state and Vermont. We were so blessed to be able to come to know our planet in a very intimate way, through the incredible kindness and generosity of the people and communities we were able to meet. Of note, a special thanks to the communities of Khanawake and Westport, the lock masters of the Eerie, Chambly, and Champlain Locks, and to the many people who brought gifts of food and friendship to the canoe and crew.”

On November 7, 2016, Hōkūle‘a, with crew on hand, was lifted into the water, towed to Bluewater Marina, and smoothly docked by experienced crew and navigator Bruce Blankenfeld.

Within a few hours, Hōkūle‘a transformed from a seemingly simple craft to an alluring vision, with masts, spars & boom erected proudly and lines draped. After 1100 miles and 16 stops, Hōkūle‘a arrived in Miami on December 8, 2016.

Kawika Crivello and JD from Seminole Nation reunited. JD was crew member when Hoküleÿa first arrived in Florida earlier in 2016.

KeOlaMagazine.com | January–February 2017

WWV Mälama Honua Youth With Disabilities Miami Nov 2016

©2016 Polynesian Voyaging Society Photo: ÿOiwi TV • Photographer: Kaipo Kïÿaha

Höküleÿa sailing the Indian Ocean. Crew: Dean Hoe, Dr. Craig Thomas, Chef Gary Yuen.

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Feast and Famine

By Leilehua Yuen

KeOlaMagazine.com | January–February 2017

n the Northern hemisphere, the season of feasting is over and we are now heading into a more ascetic phase. Whether this is through religious doctrine, or simply following the cycles of nature, it still holds true. However, sometimes we continue to act as though the feasting part of the cycle lasts all year long!

In ancient times in Hawai‘i, the ‘aha‘aina (feast) provided comfort, community bonding, and communion with the gods.

Food was, and is, a blessing which should be celebrated. As in so many other cultures, a full ‘ōpū, (tummy), gives feelings of conviviality, and so community ties are enhanced through the sharing of meals. The ‘aha‘aina (today often called a lū‘au) is a community event, from the preparing of the food to the eating and entertainment. In ancient times, this conviviality extended to the gods. Even after the offerings were made, a sense of the gods’ presence remained through the feast.

Wasting food was considered hewa, a terrible offense.

Sayings addressed this: “Mai māuna wale i ka mea ‘ai o huli mai auane‘i o ka ‘ai e pāhenehene.” If you waste food, some day it will turn and laugh at you. “Mai ho‘omāuna i ka ‘ai o huli mai auane‘i o Hāloa e nānā.” If you waste food, perhaps Hāloa will turn around and stare at you. The idea of these sayings being that if the food was wasted when abundant, then when it was scarce it would be unobtainable.

Thankfulness for having sufficient food to eat is also highly valued in traditional Hawaiian culture. “‘Ai a manō, ‘a‘ohe nānā i kumu pali.” When a shark eats, it does not bother looking at the foot of the cliff–where the food came from.

These same concepts can be found in many cultures. My Irish/English grandmother used to say, “Waste not, want not,” and, “Use it up, wear it out, make it do, or do without.” Some other Irish sayings about food are: “A king’s son is not nobler than his food,” “A long fast and want of shoes makes young folk sensible,” and “Those who neither work, nor pray, shall starve.”

Our parents and grandparents who lived through the Great Depression had a deep understanding of the importance of respecting food. I remember being told to “Clean your plate!

There are starving children in China!”

The more ascetic missionaries, who arrived in 1820, were not as given to celebration as to commemoration. Fasting was a large part of their tradition. Rather than communing with the gods through sharing in and celebrating the physicality of appetites, communion was achieved through denying the body’s appetites and mastering them. In fasting, the body’s changing chemistry can give a sense of euphoria which can lead to a stronger spiritual/religious experience. Many Hawaiian people who converted to Christianity began to practice fasting in addition to the traditional feasting.

Though famines were common in ancient times, and noted in many mo‘olelo (stories) and ka‘ao (legends) today, most of us 62 have never known what it is to go hungry because there is no

food. We have a steady supply which fills our grocery stores and can easily be brought home. Restaurants and fast food outlets surround us, so we tend to eat as though every day is a feast day. This has resulted in a lot of food-related disease.

We can reverse this trend in a number of ways. One is to re-examine the diet of our ancestors. Before the introduction of Western food and eating habits, Hawaiian people were noted by the earliest visitors to the islands as being tall, muscular, graceful, and stately. In 1779, Capt. James King wrote, “The natives of these islands are, in general, above the middle size, and well made; they walk very gracefully, run nimbly, and are capable of bearing great fatigue.” Nimble and able to bear great fatigue! All of us should be so!

In ancient times, the Hawaiian diet was based on vegetables and complex carbohydrates. Kalo (taro) corms, ‘uala (sweet potato) tubers, and ‘ulu (breadfruit) provided most of the calories. Lū‘au (young taro greens), lau ‘uala (sweet potato leaf), and hō‘i‘o (fern fiddleheads) were eaten in large amounts. Limu (seaweed), fish, and fruits were eaten as relishes to add flavor and variety. Birds were caught to eat fresh for special occasions, or salted and dried for use when other foods were hard to come by. Pork and dog were rarely eaten, and then generally only at high state occasions conducted by chiefly people.

Another important part of the traditional diet is that sense of communion with community and higher power. In the 1990s, Dr. Terry Shintani and his team developed the Wai‘anae Diet Program which many Native Hawaiian people found to be lifechanging. One of the foundational practices in the program is before eating to express your gratitude “...and understand that you are connected to the ‘āina through the mana of your food.”

I highly recommend the Wai‘anae Diet to anyone who suffers dietary diseases.

E ho‘i hou in nā ‘ai o nā kūpuna! Let us return to the foods of our ancestors!

Sources: Pukui, Mary Kawena; Nānā i ke Kumu; Queen Lili‘uokalani Children’s Center Shintani, Terry; The Wai‘anae Book of Hawaiian Health; Wai‘anae Coast Comprehensive Health Center

Contact Leilehua Yuen at Leilehua@LeiManu.com KaaheleHawaii.com

Then and Now

Small in Size, Big in History

Kainaliu Town

by Karen Rose

Venturing south from Kailua-Kona is the charming town of Kainaliu. Whistle-stop in size, this quaint, island-style locale is named for an ancient canoe bailer who served under King Keawenuia‘umi in the 16th Century. Kainaliu means “bail out the bilge,” and was originally the name of a small village on the coastline, located in the ahupua‘a (land division) of Honuaino. Canoe paddlers coming off the rough waters and into Kealakekua Bay found Kainaliu a calm place to bail their canoes. Today, Kainaliu is an inland town, however historically it was located on the shore.

People started migrating mauka (inland) from that original coastal settlement into what is currently known as Kainaliu town. The late Uncle Billy Paris, a respected elder and

The 19th century was a time of uncertainty and unprecedented social change. With the end of the kapu (taboo) system in 1819, along with the influx of alcohol, increased access to firearms, and a changing legal and social landscape, conflicts among native Hawaiians and immigrants sometimes led to violent confrontations. The Kaona Uprising was one of the most infamous events of the 19th century and is thought to have started at Lanakila Church.

Historical notes from the Reverend Paris tell a story of major discontent among the charismatic self-proclaimed prophet, Joseph Kaona, and his followers. In 1868, Kaona persuaded a loyal group of proselytes that the end of the world was near and that he was the only true prophet of Jehovah. Convincing his followers they would all perish unless they followed his lead, Kaona and his group took possession of Lanakila Church, claiming it their new residence. Reverend Paris had Kaona and his followers evicted by order of Governess Ke‘elikolani, and the group subsequently set up camp illegally for several months on private property nearby.

Kainaliu Town

Aloha Theatre Kona’s chief law enforcement official, Sheriff Neville, served Kaona with eviction papers, yet according to Reverend Paris’s notes, “The rebel spat on the paper, tore it into pieces, and stamped upon it.” Kaona’s band of followers had grown into the hundreds when Sheriff Neville decided to enter Kaona’s camp one last time, determined to evict the group, using force if necessary. The confrontation led to a violent encounter resulting in the bloody death of Sheriff Neville and a native Hawaiian police officer.

It wasn’t long until troops arrived from O‘ahu aboard the steamer Kīlauea to extinguish the rebellion and apprehend Kaona and his followers. Kaona was sentenced to 20 years incarceration for second-degree murder. He was later pardoned

by King Kalākaua and spent the rest of his days in Kona where he died in 1883. Reverend Paris died in 1892, and he and his family are buried in the church’s cemetery.

KeOlaMagazine.com | January–February 2017

historian, believed the inland town of Kainaliu to be misnamed, and said it should have been called “Honuaino Village,” after the ahupua‘a in which it is located. However, the name Kainaliu took hold and the town became a prosperous hub for local residents.

The history of Kainaliu dates back to the early coffee farming days when immigrants came to Hawai‘i in search of a new life and hopes of creating a brighter future for themselves and their families. As the population grew, so did the town, as local residents needed places to purchase farming supplies and groceries.

The sleepy little town of Kainaliu began bustling from the demands of coffee farmers and ranchers who settled the area in the early 20th Century. By 1920, small mom and pop shops opened their doors to provide produce and necessities to the rural residents. Farmers and ranchers would tie their donkeys to the hitching posts lining the main street, so the trusty beasts of burden could transport the heavy bags of flour and rice back home.

The early days of Kainaliu sound simple and peaceful, but this wasn’t always the case. In 1867, prior to Kainaliu being recognized as a legitimate town, Lanakila Church was built on the northern end of town by the Reverend John D. Paris.

Located on the makai (ocean side) of the highway, Lanakila was one of eleven churches Reverend Paris built on the island of Hawai‘i. Although the church grounds exude a sense of peace and serenity today, its earlier days tell a different story.

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Although we only have a one-sided account of the confrontation, it’s clear the lovely town of Kainaliu has more of a dramatic and salacious history than first meets the eye.

Lanakila Chruch

KeOlaMagazine.com | January–February 2017

After the Kaona Uprising, the coffee and ranching industries began to boom, and commercial developments in Kainaliu started to spring up in support of local residents and workers.

Many of the new establishments were owned and operated

by Japanese families, including Oshima’s drugstore, established

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in 1926. Oshima’s still operates today and offers an eclectic variety of products, including housewares, trinkets, fishing supplies, candies, and more. Described as “fun and funky,” visitors enjoy perusing the aisles of Oshima’s to see what kind of treasures are hidden among its wares.

Kimura’s fabric store was founded in 1927 and supplies shoppers with many types of fabrics, including aloha print and quilting, plus out-of-the-ordinary Japanese products. Locals and guests alike enjoy browsing for treasures less commonly found in the more traditional fabric shops.

In 1932, the movies came to town when the Tanimoto Theater opened its doors. Designed by William Harold Lee, the theater seated 325 people and entertained local residents, mostly workers from the coffee farms. As the theater grew in popularity, its repertoire of films expanded. Mondays were Japanese movie nights, Philippine movies played on Wednesdays, and American films were shown on Fridays.

The theater became the hot spot in town and provided the primary entertainment for the residents of Kailua-Kona.

In 1939, the theater produced its first live stage production with, Who Wouldn’t Be Crazy?, marking the beginning of community theater in West Hawai‘i, a tradition that is still going strong today.

Tanimoto Theater changed it’s name to Aloha Theatre after World War II. In the following four decades, the theater vacillated between being a movie house and being a live community theater. In 2003, it became the home theater for the Aloha Performing Arts Company (APAC), a thriving group of thespians dedicated to bringing live performance art to West Hawai‘i through their annual presenting seasons. The

Aloha Performing Arts Company recently purchased the theater in 2016. The Aloha Theatre is the oldest theater in Kailua-Kona that is still open and thriving.

Doors away from the Aloha Theatre is Standard Bakery, a leading supplier of baked goods for 70 years. Standard Bakery is known for baked goods that are made from scratch, using the best ingredients and baked fresh daily. The bakery was founded on the promise of creating baked goods that have exceptional taste at reasonable prices; a goal that continues to be delivered decades later.

In 1948, Kainaliu experienced a devastating fire behind Oshima’s barber shop. The theater was spared, however the fire destroyed many structures on the makai (ocean) side of the town, including Kimura’s Store and Oshima’s Dry Goods, both of which were since rebuilt. In the meantime, the coffee industry was continuing to thrive.

Kona Coffee was first mentioned in writing in 1840, and although coffee was planted in multiple locations around Hawai‘i Island, it thrived in the Kona District. By the 1920s, coffee was becoming a bustling economic industry in Kainaliu.

At that time, Māmalahoa Highway was a dirt road that

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Oshima Store

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connected the coffee farms between the towns of Hōlualoa, Kainaliu, and south through Captain Cook.

The original Kona Coffee farmers of Kainaliu were primarily Japanese second-sons that migrated to Hawai‘i in search of a better life. In traditional Japanese society, the second-born sons did not inherit their father’s property; therefore they were more likely to venture out of their homeland to create new lives for themselves. Many took the opportunity to lease portions of land for coffee farming, and today many of these Japanese farmers are credited with giving Kona coffee the stellar reputation it has today.

Today, most of the coffee grown in Kailua-Kona is cultivated on land owned by the Kamehameha Schools Bishop Estate, which was created in 1884 by the late Princess Bernice Pauahi Bishop. The estate leases more than 1,200 acres to more than 600 coffee farmers in Kainaliu and the surrounding Kona area.

The typical size farm lease is relatively small, averaging only seven acres, with some of the farms being in the same family for five generations.

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Kainaliu continues to be a world-famous coffee-producing town, with successful plantations such as Kona Joe’s and Mountain Thunder, which attract coffee loving visitors from around the world At an elevation of 1,394 feet, Kainaliu boasts refurbished storefronts, art galleries, restaurants, a bakery, quaint specialty shops, and a bit of relief from the Kailua-Kona heat.

Many of the buildings from the 1920s and 1950s still remain, some with their original tenants. Walking through town now, there’s a variety of offerings to choose from. Paradise Found Boutique offers a beautiful selection of women’s clothing and Aloha shirts for men. For the music lovers, Kiernan Music is home of West Hawai‘i’s finest selection of new, used, and vintage guitars and ‘ukuleles. If you are looking for an extensive collection of art and gift-giving offerings, Kathleen Dunphey Studio features art made from a collage of objects, while Showcase Gallery and Lavender Moon display art from artists all over Hawai‘i. Without a doubt, Kainaliu lives up to its reputation as a well-preserved example of an old-time mainstreet with everything from a local candy store to fine art.

the southern section of the bypass in July of 2014, and finally, in November of 2016, the 2.2 mile southern segment of Māmalahoa Highway Bypass opened, providing an alternative traffic route from Ali‘i Drive in Kailua-Kona to Nāpō‘opo‘o Road in Captain Cook.

Kainaliu town continues to charm visitors with its oldfashioned, island-style vibe and artistic flare. Residents and visitors from all over enjoy spending time in this quirky, funky village in the middle of coffee country. Although rustic in

Old Kainaliu Town Historic photo credit Kona Historical Society appearance, it’s the perfect spot for a night out for dining at one of Kainaliu’s restaurants and catching a live theater performance at the historical Aloha Theatre. During the day, tour one of the coffee plantations, sip a cup of Kona coffee and talk story while taking in the surrounding traditions of this captivating town steeped in Hawaiian history.

Resources: Aloha Theatre, Eight Decades of History, dedication and creativity: West Hawai‘i Today; November 13, 2015 Lanakila Church: Kona Historical Society website; Retrieved November 2016 The History of Kainaliu Town: Big Island Television; February, 2011 Contact writer/photographer Karen Rose: island.girl.rose@gmail.com

KeOlaMagazine.com | January–February 2017

Lanakila Chruch

Headstone of Rev John D. Paris

On the southern border of Kainaliu is another delightful stop with a collection of eclectic storefronts at Mango Court, where you can dine on fresh salads and burgers, satisfy your sweet tooth with homemade gelato, and shop at the fine art collective of Cliff Johns Gallery with the most comprehensive collection of master woodworkers on Hawai‘i Island.

Up until November 2015, a two-lane highway was the only road connecting Kailua Village to Kainaliu. Traffic jams between the two towns during rush hour was referred to by locals as the “Kainaliu Crawl.” In November 2016, the long-awaited 2.2 mile, $27.9 million segment of the Māmalahoa Highway Bypass opened up to enthusiastic motorists making the daily journey.

The project certainly didn’t happen overnight, as the relief highway was first envisioned in 1960. It wasn’t until January 2013 when the first portion of the Māmalahoa Highway Bypass 66 opened daily, with no vehicle restrictions. Ground broke on

Habitat for Humanity A call to action to face our growing crisis in housing

By Karen Valentine

Raising a home with many volunteer hands.

T

Blitz Build—10 Homes in 10 Days The local nonprofit organization is gearing up for their biggest year ever. From Sept. 13 to Sept. 23 it plans to hold

a big “Blitz Build” with the ambitious goal of building 10 homes in 10 days! Building on a successful Blitz Build in 2012, when they had a huge outpouring of some 1,200 volunteer workers and completed five homes in five days, this year’s campaign is twice as big. Both initiatives are located in the Kona neighborhood of La‘i ‘Ōpua in the Kealakehe area. In partnership with the Department of Hawaiian Home Lands, they will put homes on DHHL lease lots for 10 qualified Hawaiian families. The remaining four homes, fulfilling the annual goal of 14 homes, will be spread throughout the region and throughout the year.

Blitz Builds are popular community events throughout the world, as they bring so many people together: volunteer construction workers, volunteers to do other things, the families who will be housed, donors of money, food, and materials, and members of Habitat’s Global Village—troupes of volunteers from other locations who fly in to help out.

“It’s a huge event,” says Isobel. “We have to come up with all of the funding of the homes up front, as well as all of the logistics to get it done. We’ll use all volunteer labor, except

KeOlaMagazine.com | January–February 2017

o build a community takes more than money. Habitat for Humanity West Hawaii has come up with a term that is friendlier than fundraising. Want to make friends? Engage in a Friend-Raising activity with Habitat. This year, there are more ways than ever before to do this.

Because the need for affordable housing is growing, the board of directors and volunteer committees with Habitat have set an ambitious goal. In 2017, they want to build 14 homes for needy families with the help of hundreds of volunteers. This is a call to action to the entire community.

Habitat for Humanity West Hawaii, an affiliate with Habitat for Humanity International, has been serving low-income residents living on the west side of Hawai‘i Island from Hawi to South Point since 2002. This year, there are plans to expand to an island-wide organization, merging with the Hilo Habitat, says Isobel Donovan, deputy director.

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KeOlaMagazine.com | January–February 2017

for three paid project management staff You don’t have to be skilled to volunteer, but many professional construction workers also volunteer. members and paid subcontractors in skilled trades like electrical and plumbing. There should be lots of community volunteers to organize. We bring in Global Village teams from across the country who will spend the week with us.”

Families who qualify to receive a home through a rigorous application process are also required to contribute 500 volunteer hours themselves to complete the task and receive the keys to their own new front door.

The Appleseed Foundation in Hawai‘i provides housing data and needs. “It’s a sad situation and it’s getting a lot worse,” Isobel says. According to the data, Hawai‘i has one of the highest costs of living, poverty, and homeless rates in the country.

It has also one of the lowest rates of homeownership. In Hawai‘i County, there are 6,000 families on the waitlist for public housing with a six-to-seven-year wait time.

It’s determined that $65,600 is the annual income needed to afford Fair Market Rent here.

Land for the house that isn’t on a lease arrangement is “We know the need is increasing because either owned by the family or acquired by Habitat and sold every time we put out an offering, the number of people to the family as a component of the mortgage, which is attending [our presentation] escalates. We know we make structured on a no-interest, no-profit basis and requiring only a huge impact. The families we deal with make from 30 to a 1-percent down payment. Families, who become “partner 80 percent of the area median annual income, which means families,” are required to contribute “sweat equity” during $29,000 to $60,000 for a family of four. They have to be the building process. The Family Support component of the employed and be able to pay around $450 to $550 monthly Habitat program provides assistance with budgeting, house mortgage payments. DHHL lots are leased to them for $1 a repair, and maintenance for the duration of the mortgage. year.”

The organization’s goal is to break the cycle of poverty for its A Habitat mortgage is designed so that no family is paying partner families, helping them to acquire an asset that they more than 30 percent of their monthly income on their can pass on to their children. All mortgage payments are put housing. In this way, Habitat stands out from other providers into a revolving “Fund for Humanity,” which is used to build of low-income housing. Its programs typically help those who new homes for other families in need, thereby allowing each fall through the gap. partner family to “pay it forward.”

“A new initiative for us is building homes in Waikoloa Village, where we bought six lots,” Isobel says. “It’s an affordable workforce housing program in partnership with the county. One of the criteria for these families is that they drive more than 30 miles to work each way, and most drive much farther.”

The first family selected for the 2017 Blitz Build is the Alvarez-Torres family: Kalani Sr. and Amber, with their two children, Sasha and Kalani Jr. Amber is a general manager at Subway, which has donated lunches to Habitat’s volunteers and construction teams in the past. When she learned that Habitat would be doing a Blitz Build in 2017, she decided to apply for one of the ten available homes in the La‘i ‘Ōpua neighborhood.

“We want our kids to be able to focus on schooling, instead of on struggling to stay off the streets,” Amber says. The Alvarez-Torres family was struck with tragedy during their application process. Soon after the home visit, their 14-year old daughter became ill due to a bad reaction to medication.

Destiny Alvarez-Torres was on a wait list for a bone marrow The Alvarez-Torres family was approved as the first new homeowner in the Blitz Build 2017 transplant when she passed away last spring. marathon building project. The family, shown here, lost their 14-year-old daughter tragically 68 during the application process.

Through the extreme hardship of losing a child, the

Alvarez-Torres family received the news that they were approved for their Habitat home. Amber and her family now look forward to owning their own home for the first time ever.

Isobel tells the story of how it all began. “Habitat for Humanity West Hawaii started in 2002,” she recalls. “Lorraine Highkin got her friends together. She said come for dinner, and bring your checkbook.”

That started the ball rolling and it gained huge momentum, with Habitat for Humanity West Hawaii being granted international affiliation soon after. It began doing home repairs for people in need and built the first new home in 2005.

Building on the example of Lorraine Highkin, Habitat is creating social activities as a way to “friend-raise.” “Especially because we don’t have large corporate headquarters here to rely upon,” says Isobel. “We do small events to raise funds and make people more aware. For example, we recently started

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A Waimea-area kupuna volunteer, Aunty Gwen Ahana, (center) was instrumental in rallying neighbors in her DHHL community to come out and help. She was honored in 2015 with a Lifetime Achievement Award for volunteer service. Here she is shown helping with a home repair project.

The Grandest Garage Sale “Since this year’s ambitious Blitz Build needs funding more than ever, some new strategies were needed,” says Isobel.

“Every year, we have a development strategy for raising funds.

This year, we also decided to hold a Grandest Garage Sale, March 10–12, including a preview night on Friday night with reception and auction. It’s building on what we do well with our retail stores. We will be collecting donations of larger and higher-end items. I think it will be a great event in the spirit of our Blitz Build. We have an additional storage unit in Kealakekua where people can drop off items. At the Hualalai and Kukio luxury home developments, we’ll have the big ReStore box trucks stationed in their complexes around the holidays to facilitate donations from the homeowners there,” she says.

New resident to the community, Natasha Green, is now a

KeOlaMagazine.com | January–February 2017

our successful Paint and Sip nights. A local artist comes in and teaches people how to paint. We had our first event at Humpy’s in Kona, and it sold out in three days. We’re going to do one every month. It’s a good girls’ night out! You get two drinks and take home an oil painting. There is also our annual golf tournament, this year planned to be at Hokuli‘a Golf Club on January 9. People can register on the website.”

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Habitat volunteer and came up with the garage sale idea.

“Folks like me coming new to the island can furnish a home at dramatically reduced prices. I have bought literally everything from Habitat and garage sales,” she says. “We are hoping to have an art auction the evening of March 10 selling art re-imagined from recycled materials. We are looking for artists who would like to donate a piece. All donors will receive two invites to the Friday night event.”

The Grandest Garage Sale will take place in and around the retail Habitat for Humanity ReStore above Costco, just off Hina Lani Street. The store takes donations and sells items all year long, but this will be a special donation blitz. The new Kealakekua self-storage drop-off location will be ongoing.

There is another ReStore on Kawaihae Road in Waimea.

“If people have a big item, we pick it up. We don’t accept clothes. It has to be furniture, household equipment, or appliances. We get building materials from construction people who bring in leftovers from their projects. When you spend money in a ReStore, you help someone in need,” says Natasha.

There is a year-round need for volunteers, not to mention the thousand-plus that will be needed this September.

“On an ongoing basis, we maintain about a dozen volunteers between the Re-Stores,” she says. “We also have an 11-member board of directors, building committee, family service committee, and a development committee. Our volunteer department has a construction manager and a couple of site supervisors for West Hawai‘i. On our website, there is a page for volunteers. We need people who can travel to all sides of the island to construction sites, we do an orientation program and work to retain them as volunteers.

We are continually looking for volunteers as well as donors.

Donations to the local organization stay here in the community 100 percent.”

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Home remodeling is also a volunteer-fed initiative, serving in particular the growing population of seniors wishing to stay in their homes. Habitat West Hawaii joined the international Neighborhood Revitalization Program in 2011, and it’s already won national recognition from Habitat for Humanity International as a leader in the implementation of its efforts to end substandard housing on Hawai‘i Island. It has completed

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Deputy Director Isobel Donovan accepts a donation from a donor in her Kona office.

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The Habitat for Humanity box trucks are a familiar sight around town, reminding people to donate items to its ReStores.

24 critical home repairs to alleviate safety, health, and environmental concerns for more than 100 residents.

The organization has literally gone out and knocked on doors to find people to help, and many are too proud to ask for help.

Habitat for Humanity International’s most famous volunteer is former President Jimmy Carter. The organization, according to its website “was founded on the conviction that every man, woman and child should have a simple, durable place to live in dignity and safety, and that decent shelter in decent communities should be a matter of conscience and action for all.”

All photos courtesy of Habitat for Humanity West Hawaii Website: habitatwesthawaii.org Phone: 808.331.8010.

Contact writer Karen Valentine: karenvalentine808@gmail.com

Three Ways to Make Friends and Build Homes 1. Grandest Garage Sale (GGS), March 10–12

KeOlaMagazine.com | January–February 2017

Friday night is a preview and wine-and-pūpū evening, along with an art auction of re-imagined pieces created by local artists using recycled materials.

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Habitat for Humanity is currently accepting donations for the garage sale—in particular, gently used house and garden art, decor, and furniture. Call to pick up large items or bring it in.

Identify that it’s for GGS. Donations can be dropped off at the ReStore location in Kona, above Costco at 73-4161 Ulu Wini Place, Bay 1, or at My Self Storage in Kealakekua, at 81-934 Waenaoihana Loop.

Call or email GGS coordinator Amanda Macintosh at amanda@habitatwesthawaii.org/ 808.491.5420.

2. Paint and Sip Nights Paint and Sip every second Thursday of the month.

Reservations required. Ideal for girls’ night out and other celebrations. Humpy’s Big Island Alehouse, 75-5815 Ali‘i Drive in Kailua-Kona. Purchase tickets online at habitatwesthawaii. org.

3. Blitz Build 2017, September 13–23 Help build 10 homes in 10 days in Kona. Volunteer or sponsor via website: habitatwesthawaii.org

January— February

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Featured Cover Artist: Michele Michele Iacobucci moved to Hawai‘i Island 3 years ago, after spending 4 decades in the design industry in Los Angeles and the San Francisco Bay area. She was drawn to work with this year’s Chinese zodiacal figure, the Rooster, because of its vibrant colors and significance in the Chinese calendar. Throughout the process, she has reflected on its deeper meaning and has been aware of how its essence has influenced her artwork. “The Rooster is our timekeeper,” says Michele. “He keeps us on purpose and schedule. His morning greeting awakens and encourages us to use our own voice in our life just as he does, each and every day. Roosters are confident and witty and full of old-fashioned gusto! These are some of the characteristics of rooster that inspired me to start this piece.”

“I appreciate the qualities of color and texture and what is not to love about the gorgeous, colored Rooster plumage!

The vibrant colors, textured glass and reflective surfaces on

Iacobucci

ancient alchemic powers to bring harmony and balance to the cut pieces of colorful glass. The Rooster wears his jewelry with pride!”

According to Chinese tradition, the rooster brings with it good fortune and prosperity. When the rooster enters our life, it means perhaps there is something more to accomplish.

“My studies in graduate school had an emphasis in art therapy, and the process in my mosaics of ‘piecing together’ the sum of fractured parts to create the whole has intrigued me not only as an art form, but also as a therapeutic process,” Michele says.

“The beauty surrounding me on Hawai‘i Island inspires me. I admire and have much gratitude for the winged creatures, the inhabitants of the sea, and the power and elegance of Madame Pele. I listen and look for all of the messages from nature.”

“My mosaic medium is glass, broken pottery and even fabric depending on the criteria of the design project. I often use recycled items as the substrate for my work. My work can be enjoyed in the garden, lanai or home.”

“I enjoy experimenting with unusual materials, learning from my mistakes, employing magical thinking, innovating, and I thrive on creating and using my imagination. I believe in the ‘aumākua (spiritural guardians) and their guidance. Play and laughter are important parts of my day. I pride myself in being a great collaborator believing that art can heal,” says Michele.

Michele currently lives with her husband in Captain Cook.

Contact Michele Iacobucci: cre8magic.com

my piece symbolize the energy and vitality of Rooster. The broad glass strokes of its tail feathers depict his whimsy and flamboyant personality. The playful, smiling grin on his face and the sparkle in his eye extend an invitation for the viewer to share in his joy in bringing in the New Year. He is thrilled for the celebration and ready to strut his stuff!” she adds.

Michele continues, “Each piece of glass is hand cut using a combination of tesserae, textured and mirrored glass. It felt appropriate to integrate contrasting materials in the form of disassembled metal jewelry pieces, for it drew upon their

Kupuna Talk Story

Fred Keakaok

KeOlaMagazine.com | January–February 2017

by Shana Logan

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Fred Keakaokalani Cachola was born at a time when Hawai‘i was still a territory, graduating from Kamehameha Schools in 1953, six years before Hawai‘i became the 50th state. He was in the U.S. Army, yet remained a Hawaiian in every sense of the word. Back then, when electricity did not reach most of Hawai‘i Island, his family lived a simple life in Kohala. Fred reflects this rural lifestyle, and has never shed his “kua‘āina kid” roots, like picking fruit on the side of the road and cooking it to store for the winter months.

As he stands at the gas stove and stirs his guava jam (picked from up Kohala Mountain Road), he gleefully sings, “You’ll Never Find Another Hawaiian Like Me”, as we all enjoy his charm, hospitality, and true aloha. “We Hawaiians, we share!” he says. “Come, try some!”

At heart, Fred is warm and compassionate, as he expresses his love for Queen Lili‘uokalani for all she did for him by leaving behind a trust for Hawaiian children. “If it wasn’t for her, I don’t know what would have happened to my family,” he recalls. Fred lost his mother, Esther U‘u, when he was only eight years old, leaving behind her husband, Fredrico Laya Cachola, Sr. to raise the children.

He recalls how some of his siblings were almost separated, yet with the Queen’s Trust, they made it through. Fred also speaks fondly of Princess Bernice Pauahi Bishop, for leaving behind a legacy that has touched his life so deeply. “I always say I have two aunties: ‘Aunty Lili‘u and Aunty Bernice,’ because they both made me who I am today. The Queen for her help with my family and the education I received from the Princess,” he says. Both Hawaiian monarchs were strong, independent women who wanted to make sure their fortunes and land were used for the people of Hawai‘i, particularly the orphaned and indigent children like Fred once was.

The Queen Lili‘uokalani Trust cares for the immediate needs of the orphaned child and their family, and Kamehameha Schools, Fred’s alma mater, was created by the Princess to make sure Hawaiian children have an education. Fred is

thankful he was a recipient of both monarchs’ benevolence, and he never forgot it.

Today, his blood runs deep with devotion to his Hawaiian heritage and the legacy he has built all these years from hard work and perseverance, on a mission to create a better world for all children.

From his days of living as a simple Kohala country boy, to his auspicious career as an educator and cultural historian, Fred has always kept the values he learned as a keiki o ka ‘āina, a child of the land. The value of mālama, to take care, is what he has done for his family and the people of Hawai‘i all his adult life, and he does this to give back for what was given to him. In the 60s, he ended his time in the military and began his career as a teacher after graduating from Iowa State Teacher’s College. He taught at Wai‘anae Intermediate, then vice principal of Nānākuli High School and later, principal of Nānāikapono Elementary, making his home on the West Side for 30 years—and he loved it. He started a program there to transform the school into a center for learning, bringing in community members to share their knowledge of the area and its history.

“There was a time when the kūpuna knew all the kids.

What I saw in Wai‘anae were teachers who were coming in from places outside of the area to teach. They did not really understand where the kids were coming from and what they went through at home. All they looked at were test scores. I saw myself in some of those kids. The public school system is very competitive, and Hawaiian students, in particular, were not doing well like that. We did a school-based study at

Fred stirs his homemade guava jam photo by Shana Logan

Poha berries picked in Kohala photo by Shana Logan

the time to show this: we had these students study for their standardized tests individually and in groups. And guess what?

Those students who did better were the ones in the groups. It showed that they were more collaborative, group thinkers, and that relationships really mattered in their success,” Fred recalls.

Through time, he also made sure the teachers got to know the students and he arranged it so that they would be required to spend time on their short day, Wednesdays, to make

Kohala

alani Cachola

apart, as if in a straight line. So I had each stand at opposite sides and walk towards each other. That’s how we figured out it was a straight line, and how it might have looked in the past.

It was built in 1778 by Kamehameha I when he was made custodian of Kūkā‘ili-moku,” says Fred.

Fred was recently a delegate for Na‘i Aupuni, a group supported by the Office of Hawaiian Affairs which allows for Hawaiians to form a government and constitution. “I was on the Preamble committee, in which we looked at the proposed constitution for the new government. We collectively agreed and presented to the rest of the delegates that we believed that Hawaiians have spoken and we must respect their wishes.

If the majority don’t want a nation-to-nation relationship with the United States, we must honor that. We fought long and hard for the one line statement that says we will not relinquish our right to complete independence.

KeOlaMagazine.com | January–February 2017

off-campus visits with their students, either at their home or somewhere in the community. That way, they could get to know students better and be able to teach them from where they were at. “I wanted to show that the school should reflect the values and beliefs of its students and where they live. I brought the community onto the campus, and we showed the students that we want to serve them and value what is important to them,” he says. “We made the campus central to their lives, and it worked!”

This was followed by an offer in 1971 to be the first Director of Extension Education at Kamehameha Schools. He accepted and began transformational changes that are still felt and appreciated today by many. One was the institution of Hawaiian language classes as mandatory for every student in order to graduate. As he looked at the school’s curriculum, he saw that Hawaiian was just another foreign language elective, while the R.O.T.C. military training program was mandatory.

Being alumni, he had no qualms with the program, except that Hawaiian language was far more important, in his opinion, for a Hawaiian school like Kamehameha. Eventually, the R.O.T.C. classes became electives, and now every student must take Hawaiian language in high school.

Going beyond Kamehameha Schools, Fred has also participated in numerous community initiatives, such as the creation of the Protect Kaho‘olawe ‘Ōhana (PKO) in the 70s, when sovereignty was a new word in Hawaiian circles.

“I helped create PKO with George Helm because I truly believed, deep in my heart, that this land is so sacred.

When I went to Kaho‘olawe, it took me to another level.

We have been protecting and taking care of this island for many, many years now, and are proud of our efforts to restore this ‘āina,” he says.

Fred even authored the resolution to designate Kamehameha’s birthstone in Kohala as a state monument, and was a member of the Advisory Commission (1972-74) which helped to established the Kaloko-Honokōhau National Historic Park by Congress in 1978. He also tells a story of how his daughters, now adults with their own families, became a part of it all.

“I can never forget when I rediscovered Hale o Ka‘ili, the first heiau Kamehameha dedicated to his family war god, Kuka‘ilimoku, around 1779-80. It was on a cliff in Hapu‘u, Kohala. I felt it there, and I tried to walk over to it. I went 40 paces, then I saw it: but I couldn’t get near it. I couldn’t pass a certain spot. This went on for years.

I went, I tried to approach it, but I am stopped and cannot go forward at a certain point. I visited this site for six years, and on the seventh year, something changed and I was able to go all the way up to it. My daughters were with me, and we saw two large stones many feet

Fred K. Cachola talks story with Ke Ola Magazine about his life and being a Hawaiian today. photo by Adam Prall

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Fred found the interest in civic politics from the younger generation refreshing. “I would say 50 percent of that group (Na‘i Aupuni) was under 40. It made me feel good that there were young people that could stand up and articulate their mana‘o (thoughts),” he says. “The young, articulate Hawaiians, what a joy.”

As the 2005 recipient of the Order of Ke Ali‘i Pauahi award for his lifetime of service to the Hawaiian community, he has much to share with the younger generation. “Understanding who you are is the first thing. You cannot move forward if you don’t know who you are and what your responsibility is to the ‘āina and to the people. To the younger ones who are fighting for issues like Mauna Kea, I would say that if we bring out our guns and grenades, then we simply assimilated to the western mentality of violence. We have got to use aloha as our weapon. Have a sense of ‘āina and truly care about what you do. Restore the dignity of the Hawaiian people in sincerity, and use the Hawaiian language to express it. Make sure we are reaching back while we reach forward, never losing our sense of being a Hawaiian. When I was first introduced to politics back in the 70s, I saw no Hawaiians—Democrat or Republican! So I created what we called, the ‘Homerule Movement,’ where we began educating them to become more actively involved and benefit from politics,” he says. “That is how it’s going to happen.”

Now, Fred’s children are a large part of his legacy. His daughter, Julie-Ann holds a master’s degree in urban and regional planning, working for the Department of Hawaiian Homelands, while his middle daughter, Leinani, holds a bachelor’s in botany and works for a pharmaceutical company. Youngest of the three, Kehau, holds a doctorate in anthropology and archaeology from the University of Hawai‘i (the first Hawaiian ever to receive a PhD in this field). “I’m very proud of my girls,” he says.

Fred has also established the Ho‘okama Scholarship for deserving college students, funded by the Cachola family. He is a kupuna on the move, an island treasure who has done much to shake up the local community for the good. It was an honor to talk story with Fred Cachola, Kohala’s “kua‘āina kid.” ◊ Contact photographer Adam Prall: adamprall@thinkingman.com

KeOlaMagazine.com | January–February 2017

Contact writer and Shana Wailana Logan: Slogan808@gmail.com

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Christ Church Kealakekua at 150 Years

Queen Emma’s Church

by Kate Kealani H. Winter

a

subjects followed along or waited in a throng at the church.

They filled it to overflowing, and many had to sit on the shaded steps or the grass outside.

Very few changes have been made to the structure in the past 150 years, because the church building itself is important for research into Hawaiian history and architecture. It is a rare, intact structure from its period and thus of great historical and cultural value.

Its story begins with the 1867 arrival at Kealakekua Bay of Charles Williamson, who had been educated at St. Augustine’s Missionary College in Canterbury, England. In addition to the classic education for Anglican ministry, he had studied carpentry and medicine. Once landed, Reverend Williamson began searching for a place to build the first Anglican church on the island. He finally found the perfect spot. At an elevation of about 1500 feet, cooler than down near the shore, warmer than higher up the slope of Hualālai, blessed with abundant sunshine and rain and an ocean view, as well as being situated on the only “highway” along the leeward side of the island.

77 The land was owned by British businessmen engaged in the

KeOlaMagazine.com | January–February 2017

s visitors and locals hurry along the Hawai‘i Belt Road (Highway 11) near Kealakekua, they look mauka (toward the mountain) and see an old lava rock wall that seems to enclose a very old graveyard, and up the slope, a simple 150 year old gray church. A small sign down on the highway identifies it as Christ Church Episcopal.

Throughout 2017, the church celebrates its sesquicentennial, offering events that provide a view of its own history as well as Kona’s history and culture. The display of a new plaque points out that Queen Emma and King Kalākaua both worshipped there.

Behind the church itself is the modern Queen Emma Community Center that honors the church’s connection with Hawaiian royalty. By the 1860s, the English Anglican church that later became the American Episcopal Church was wellestablished in Honolulu. King Kalākaua, a confirmed Anglican, attended Christ Church while staying at Hulihe‘e Palace in Kailua-Kona. Later, Queen Emma went to services at the upcountry English-style church as well. When the Queen rode her horse the 15 miles mauka from Hulihe‘e Palace, her faithful

On the left, quilted hanging of King and Queen, behind the altar 5 panel 19th century oil painting.

sugar industry, and it had been abandoned. The three owners “loaned” the young minister a two-acre parcel on which to build.

With almost no money, he himself began building. Within three months, with the help of two local carpenters, Williamson had built a church and a house where one room was arranged Windows on east wall depicting Queen Emma lilies.

KeOlaMagazine.com | January–February 2017

to be used as a school. The cost was slightly over $2000, most of that for lumber. With his own hands and back, he did at least a third of the work. During repairs more than 100 years later, a blue “W” was found painted on crossbeams and on one of the handmade pews, probably a mark from its builder and first minister.

The foundation is made up of low lava rock walls with ‘ōhi‘a

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logs for reinforcement. Douglas fir floors top that, and 5.5 inch tongue and groove Douglas fir covers the walls of the nave.

Each single-hung window features a gothic arch. The structure was protected by a wood shingle roof held fast by square nails.

Before the church was even finished, Williamson held his first Hawaiian language service with 25 local natives attending.

Sixty haoles (white people) attended the English service. On May 19, 1867, the first wedding was held for bride Pelieli‘i and groom Nakepalau. The church served as a spiritual home for native and haole alike, marking the important events in the peoples’ lives.

In just over two years, Williamson moved on. By then, Theo Davies was the only one of the original owners left, and since the land had been “loaned” to the young minister, ownership issues had to be negotiated.

Three years passed, and in 1872 the second vicar (minister) arrived: Samuel H. Davis. In the interim, the grounds had become choked with weeds and grass. Davis cleaned up and fenced off an area for a cemetery that would be consecrated two years later. The graves now spread down the hillside but leave plenty of room for another 150 years worth of stones and stories. Christ Church’s own coffee grove flourishes below the green expanse of the graveyard where headstones mark the histories of Kona. Historian and writer Maile Melrose gives lively walking tours of the cemetery, recounting the dramatic life and death stories that depict old Kona days.

Davis’ repairs to the original church included enclosing the steps leading into the church, affording protection from the rain and the sun. A corrugated metal roof was put on over the original shingles, and the spire was galvanized. Looking toward

a long history of the church in Kona, Davis began the church’s endowment fund with the proceeds from the minister’s sale of homemade guava jelly. For the interior, he built the hexagonal baptismal font from a single piece of koa wood that is still used today.

Queen Emma’s well-known commitment to education for Hawaiian girls was supported by the church. Davis built a schoolhouse on the grounds, and his wife opened a boarding school for Hawaiian girls that offered “a sound English education.” Eventually it became a coed day school, and now a Hawaiian immersion school makes its home there.

Today you can touch the “plaster” on the exterior of the church, its sand and paint still mostly intact. Going into the old church now, visitors and parishioners cross the red carpet that provides a quieter walk to the altar than the bare floors did.

The pews, however, still rest on the old fir floorboards. Vaulting across the nave and over the steps to the choir loft and altar is a dark arch bearing the verse, “Worship the Lord in the beauty of holiness.” In the 1980s, the church’s structural elements were “grandfathered,” but a ramp and rail were installed on the south side of the old church to make it welcoming to all.

Behind the altar and cross is a five-panel painting in oil.

Some of its history is a mystery, but it is documented as a gift to the church and sent from Paddington, England in 1888.

The three tall stained glass windows high above the painted panels—Jesus as a shepherd flanked by the sturdy pink of Queen Emma lilies that match the flowers growing around the grounds—blend images from traditional churches with particularly Hawaiian ones.

On the east wall rests a gleaming brass cross, an Easter gift

Close up of the 5 panel 19th century oil painting behind the altar.

from The Guild at Christ Church. “The Guild” was the first women’s circle in Kona. It began in 1905 and included women from all denominations, local women teachers, and the wife of volcanologist Thomas Jaggar. Despite the distance, the Guild participated in being of service to the larger world, sending donations to help in the aftermath of the San Francisco earthquake in 1906, for example. At their meetings twice a month, they shared refreshments like fresh lemonade, ginger cake, and guava whips.

When wars came, the little church and the Guild did all they could, living their motto, “Yes, thank you.” The Guild raised funds to pay for the passage of four Red Cross nurses from Honolulu to London to help the war effort. At the start of the war in 1917, the parsonage or minister’s house became the

KeOlaMagazine.com | January–February 2017

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Red Cross Center where the first telephone was installed. Not even the White House had a phone yet.

With World War II, the church again gave its energies and funds to supporting the troops. The familiar 1933 song “Little Grass Shack” inspired the minister to build one on the church grounds, not for whimsy or tourism, but to provide a way for soldiers billeted locally to communicate with their families.

A soldier would pose under the “Little Grass Shack” sign for a photo that he could then send home. Even though war prevented them from telling folks where he was deployed, the family could at least know that he was safe in Hawai‘i.

The USO had a mission to connect American civilians with the military during wartime, and Christ Church offered a touch of home by hosting its own USO activities and events. On Thanksgiving Day, long tables were set up in the shade outside the church and soldiers were treated to a traditional holiday dinner.

In 1945, the original house for the minister was torn down and the family moved to another house in Kealakekua.

Eventually, in its place rose the Queen Emma Community Center. With doors that open wide to the outside, the structure serves the Kona community as a gathering space for weddings, lū‘au, crafting groups, meetings, and other denominations’ services. Its certified commercial kitchen produces some of the finest local products that can be found at the farmers markets in the area. Just outside the doors is a classic labyrinth installed as a memorial in 2005. Open to sky and the public, it is surrounded by trees, ferns and flowers, creating a contemplative place amid the busyness of church functions and the immersion school.

KeOlaMagazine.com | January–February 2017

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The melding of traditional sacred art and Hawaiian images continues down both sides of the church with unique stained glass windows that were commissioned from artist Rita Cowel to replace the old waxed paper ones. There is a window for each of the seasons in the church year, but instead of familiar religious icons, the designs use Hawaiian motifs, melding ancient Biblical stories with old Hawaiian ones.

Today a quilted hanging in the church replicates the stained glass window depicting Queen Emma and King Kamehameha IV that hangs in St. Andrew’s Cathedral in Honolulu. The exquisite details put into the piece by a quilting circle that uses the Queen Emma Center include real earrings on the Queen’s likeness. Both the Queen and her King are now saints in the Episcopal Church with their own feast days. On Sundays, Queen Lili‘uokalani’s “Queen’s Prayer” is sung in Hawaiian during the services as is the Doxology. The 150 year old church maintains a special blend of Hawaiian and haole histories combined into something that is. ◊ For more historical detail, see Nancee Pace Cline’s book Queen Emma’s Church in Kealakekua: Crossroads of Culture, 2010.

Photo Credit: Stephen Cline Contact: christchurchkona.com Contact writer Kate Kealani H. Winter: khwinter@hawaii.rr.com

Special events for the Sesquicentennial Year: January 8, 2017 Celebrating Queen Emma’s Birthday 10am Honoring the patron Queen and formally beginning the anniversary year with special service, food, dedication of plaque, photo display, commemorative gifts for all.

February 5, 2017 Taize Service 5pm In the contemplative style, simple music by candlelight in the old church, for healing and reconciliation.

March 4–5, 2017 Heritage Days 10–4pm Speakers, authors, photography exhibit, play, quilt show, graveyard tours, reunion for school’s students exhibits to honor all past CCE members May 6, 2017 Queen’s Tea Party 2pm Elegant tea held at historic Kona home (contact to make reservations, please).

July 4, 2017 Old Fashioned 4th of July Picnic Noon September 4, 2017 Upcountry Faire With Sesquicentennial Flair 9–2:00pm All events are free and welcoming to all; donations are accepted.

Early morning light shines on the passionflower window representing Lent.

KeOlaMagazine.com | January–February 2017

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KeOlaMagazine.com | January–February 2017

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Crossword Puzzle | By Myles Mellor

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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

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Oh yes, you can find the answers on page 87.

Your feedback is always welcome.

HIeditor@keolamagazine.com

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KeOlaMagazine.com | January–February 2017

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DOWN Down Across 1 They 1 Chinese Year1 ofThey the contain ____ begins 28and 2017 Chinese Year of the ____ begins on Jan. 28, 2017 small giftson for Jan friends family Color of Kona’s volcanic rock members given at the Chinese New Year, 2 words memb 5 Color of Kona's volcanic rock Hawaiian word for to fade 2 Hawaiian word for bamboo 2 Hawa Reaching down a long way to the bottom, like8theHawaiian word 3 __ and for to fro fade ocean around Hawai‘i 4 Room, for short 3 __ and 10 Reaching down a long way to the bottom, like the Hawaiian annual celebration on the first Saturday 5 It might hang on a necklace 4 Room ocean around6 Hawaii in February Hawaiian word for an outriggger float Drivers license, for example 7 Small town south on of Kailua-Kona which means “bail 5 It mig 11 Hawaiian annual celebration the first Saturday Music event in Hilo “Monthly ___ by the Bay” out the bilge” in February 9 Hawaiian word for fire 6 Hawa Famous district on Hawai‘i Island Famous singer from Hawai‘i, Don ___ 12 Pour out 13 Drivers license, for example 7 Small Texas hold’__, poker game 14 Through 14 Music event15in Hilo "bail o "Monthly ___ the Bay" Blossoms at the heart of the celebration in 11 Snowbush and dogtail areby Hawaiian ____ across 17 Painter’s medium 9 Hawa 16 Famous Hawaiian island Hawaiian wreath 19 Alternative word 12 Pour o 18 Famous singer Hawaii, Don ___ Hawai‘i’s ____ Waiau 21 from Hawaiian word meaning to tie Hawaiian word for cat 22 This, in French 14 Throu 20 Texas hold'__, poker game Guinness Book of Records holder for her sunglass 23 Nevertheless 15 Snow 22 Blossoms at26the Studio heartinofdowntown the celebration collection, Betty ____ Hilo which isina across community Hawaiian word for red-hot 17 Painte 24 Hawaiian wreathcenter for music instruction Horse related 28 “Kona” weather phenomena 19 Altern 25roots Hawaii's ____ Cinematographer and marine researcher with 29 Waiau Arrive at in Kealakekua Bay, Bryce ______ 31 for Closecat to, abbreviation 21 Hawa 27 Hawaiian word It means “Come!” in Hawaiian 32 Hawaiian word for shadow 22 This, 28 Guinness Book Records holder for her sunglass Beach shelters 34 of School of whales Japanese dessert tradition maintained in Hawai‘i collection, Betty 35 Brazilian ____ city 23 Never 30 Hawaiian word for red-hot 26 Studio 83 33 Horse related center 28 "Kona 34 Cinematographer and marine researcher with roots

Jeannie Garcia - Fine Artist

D

o you have a favorite beach or location on Hawai‘i Island?

Jeannie Garcia can capture the beauty in an oil painting that you can cherish for years to come.

Jeannie Garcia grew up in Pennsylvania and attended York Academy of Arts in York, Pa. She moved to Southern California and trained at the Mission Renaissance studios in the traditional methods used by the Great Masters. While she loved living in Southern California for more than 20 years, the beauty of the Hawaiian Islands called her family to Kailua-Kona in 2003.

While living in Hawai‘i, she attended many workshops in pastel, oil painting and outdoor painting. In August 2011, Jeannie joined the West Hawaii Plein Air Painters group and has loved painting outdoors ever since. She has participated in several Paintouts that proved to be a lot of fun. She is also a member of Plein Air Painters of Hawaii. In January 2014, she participated in the “Big Island Plein Air Show” at the Wailoa Center in Hilo.

In February 2015, she won 3rd Place for the People’s Choice at

The majority of her artwork consists of small plein air landscape oil paintings (painted on location), although recently she has ventured into largescale paintings.

She also accepts commission requests from clients to paint their favorite beaches, which is a great a way to preserve their memories of Hawai‘i for years to come.

When asked where she gets her inspiration, she responds, “As a landscape painter here in Hawai‘i I have an endless supply of wonderful subject matter. For me, the awesome beauty of this island reflects God’s artistry. I can clearly see his talent as a Master of Creativity. It is his creativity that inspires me. I am truly blessed to be among those who get to witness and attempt to record His talent”.

Jeannie’s goal in painting is to capture the endless beauty and ever-changing landscape that surrounds her on the rugged and magnificent Hawai‘i Island.

KeOlaMagazine.com | January–February 2017

Jeannie’s art is on display at Lava Java and Daylight Mind in Kailua-Kona and Kohala Coast Fine Art Gallery and Daylight Mind in Waikoloa Resort.

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the “Art at the Pavilion” benefit for Kona Community Hospital Foundation. In December 2015, she received “Best in Show” for her oil painting “Calm and Quiet” in the juried Big Island Plein Air Exposition held at the Kahilu Theatre in Waimea, and she was the top People’s Choice for painters at the 2016 “Art at the Pavilion” benefit.

Jeannie Garcia Fine Artist 808.896.9094 JeannieGarcia.com

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.

Kona Frame Shop K

strong. Matt and each staff member stands behind their work and care deeply about their customers and the objects they bring and entrust with the shop.

Services offered by Kona Frame Shop: ~ Conservation/Archival Picture, Textile, & Object Framing ~ Koa, Mango, ‘Ōhi‘a, & other local and imported woods ~ Custom Mirrors ~ Ready-Made Frames & Mat Boards ~ Crating, Packing, & Shipping ~ Canvas Stretching ~ Frame Repair & Restoration ~ Pick-Up, Delivery, & Installation ~ Archival Mounting ~ Local Artwork ~ Fine Art Conservation ~ Object Display Solutions (Acrylic/Wood/Glass) ~ Framing and Art Consultation ~ Art Collection Management Kona Frame Shop 74-5484 Kaiwi St. Kailua-Kona, HI 96740 808.329.1722 KonaFrameShop.com Facebook.com/KonaFrameShop

KeOlaMagazine.com | January–February 2017

ona Frame Shop is Hawai‘i Island’s oldest custom picture frame shop, now entering its 42nd year in business. The shop offers complete framing services and has a large selection of high-quality frame styles, ready-made frames, mat boards, and fine fabrics. They carry major American frame moulding lines and specialize in frames made of local woods, including koa and mango. Many of their frames are custom handcrafted by special order—frames made in and unique to Kona.

Owner, Matt Harper, purchased the Kona Frame Shop from founder Lou Ellen Lambert in 2015, on the eve of the shop’s 40th anniversary. A transplant from Atlanta, Georgia, Matt comes to the framing business from the art museum industry, having worked in collection management and exhibition registration for 10 years. He is well versed in the latest museum/conservation framing standards and practices, as well as fine art crating/shipping and art installation. In his first year at the shop, Matt has enjoyed meeting and seeing the work of local artists and craftspeople and in October was honored to be asked by the Waimea Arts Council to jury their 32nd Annual Helen M. Cassidy Memorial Art Show. He is committed to continuing with the highest standards of quality in framing and excellent customer service that Lou and the shop staff have maintained since 1976.

Remarkably, Matt’s three employees have been with Kona Frame Shop for decades: Rosemary Schatzlein started in 1978, followed by Nora Yamanoha in 1982, and Diane Kraul, the “newbie”, joined the staff in 2000. It says a lot about the legacy Lou passed on to Matt, to the infrastructure she created, and that the shop and its employees are still going

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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.

Kamai Events

AkamaiEvents.com aloha@akamaievents.com 808.747.2829

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

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

Konaweb

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

Akebono Theater–Pāhoa

Facebook.com/Akebono-Theater-232555183354 808.965.9990

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

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Food Hub Kohala

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

Friends of NELHA

FriendsOfNelha.org 808.329.8073

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

Hawaii Museum of Contemporary Art/ EHCC 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

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

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

Kalani Oceanside Retreat Kalani.com 808.965.0468

Honoka‘a People’s Theatre

Kona Historical Society

Hulihe‘e Palace Wilhelmina’s Tea

Kona Choral Society

HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

KonaHistorical.org khs@konahistorical.org 808.323.3222 KonaChoralSociety.org 808.334.9880

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

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa

KeOlaMagazine.com | January–February 2017

KingsShops.com 808.886.8811

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Kona Commons Shopping Center KonaCommons.com 808.334.0005

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events.html 808.885.9501

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

Kona Stories Bookstore

West Hawaii Dance Theatre and Academy

Palace Theatre–Hilo

KonaStories.com ks@konastories.com 808.324.0350

HiloPalace.com info@hilopalace.com 808.934.7010

Lyman Museum

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

Society for Kona’s Education & Art (SKEA)

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

Skea.org 808.328.9392

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

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

Waimea Community Theatre

North Kohala Community Resource Center

WaimeaCommunityTheatre.org 808.885.5818

NorthKohala.org info@northkohala.org 808.889.5523

West Hawai‘i County Band

One Island Sustainable Living Center

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

One-Island.org hawaii@one-island.org 808.328.2452

CROSSWORD SOLUTIONS 1

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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 | January–February 2017

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.

The Hawaiʻi Wood Guild and Isaacs Art Center are pleased to announce the 31st Annual Wood Show 2017. The free exhibit will open January 14 with an artist reception, 5-7 p.m., and run through February 24. Talk story with guild members every Saturday. All items in the show are available for purchase. For more information, visit www.HawaiiWoodGuild.com or contact the Isaacs Art Center.

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

Community Kökua

AdvoCATS

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

Boys & Girls Club of the Big Island

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

Calabash Cousins

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

Contact BK Calder president@calabashcousinshawaii.com 808.329.9555 CalabashCousinsHawaii.com

Volunteer Opportunities CommUNITY cares

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm Community suffering from cancer, medical hair loss, domestic abuse.

Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

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

Friends of Amy B.H. Greenwell Ethnobotanical Garden

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

Hawaii Adult Literacy/Volunteer Training

Hawai‘i Community College, Kailua-Kona Ongoing 11am–3:30pm Training to teach low-literacy adults to improve their reading and writing. See website for more info. volunteer@hawaiiliteracy.org HawaiiLiteracy.org

Captain Cook Saturday, 9am–noon Volunteers needed to help with weeding, trimming and maintenance of the gardens.

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

Hawai‘i Island Humane Society

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

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

Friends of NELHA

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

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

Hamakua Youth Foundation, Inc.

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

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

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

Business Owners and Managers!

You’re invited to visit with these business owners and many more!

Meetings held every Thursday from 10:15 to 12 noon at the Wainaku Executive Center in Hilo.

Discover why over 17 million homeowners trust State Farm®.

Discover why over 17 million homeowners ®. comes new trust StateWithFarm your new home

Agent Name, State Farm Agent Street Address City, State, Zip Phone E-mail

responsibilities – like protecting your new investment with the right amount of homeowners insurance.

That’s where I can help.

Like a good neighbor, State Farm is there.® CALL ME TODAY.

KeOlaMagazine.com | January–February 2017

Robert Shimabuku, State Farm Agent

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Shimabuku Insurance & Financial Services, Inc.

16-566 Keaau-Pahoa Rd. #122, Keaau, HI 96749 808-982-4530 www.HiloSFinsurance.com 0907507.1

State Farm Fire and Casualty Company, State Farm Insurance Company, Bloomington, IL StateGeneral Farm Fire and Casualty Company, 0907507.1 State Farm General Insurance Company, Bloomington, IL

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

Community Kökua

Hawai‘i Wildlife Fund

Wai‘ōhinu Coastline, Ka‘ū SE Hawai‘i Island beach cleanups.

Ongoing 7:45am Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

Hospice Care

North Hawai‘i Hospice, Waimea Monday–Friday, 8am–4:30pm Care for families facing serious illness.

Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

Hospice of Hilo, East Hawai‘i

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

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

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

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

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots.

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

Rainbow Friends Animal Sanctuary

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

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

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

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

Kona Toastmasters

Snorkel Day for People with Disabilities

Kona Choral Society

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

Ku’ikahi Mediation Center

Hilo Ongoing Become a volunteer mediator via Basic Mediation Training and apprenticeship. info@hawaiimediaiton.org 808.935.7844 ext. 5 HawaiiMediation.org

Lions Clubs International

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

Contact Lani 808.325.1973 lanika@hawaii.rr.com

Make-A-Wish Hawaii

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

Sundayʻs Child Foundation

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

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

The Pregnancy Center

Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support.

Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

Therapeutic Horsemanship of Hawaii Kailua-Kona Volunteers are the heart and soul of this program. All levels of expertise needed.

Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

Visitor Aloha Society of Hawai’i Island (VASH) Islandwide Ongoing Volunteers need to provide assistance to visitors who experience misfortune while visitingHawai’i Island. Training provided.

Contact Phoebe Barela west@vashbigisland.org 808.756.0785 Kona 808.756.1472 Hilo VashBigIsland.org

KeOlaMagazine.com | January–February 2017

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

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

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Hawai‘i Island Farmers Markets 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.

WEST

1st and 3rd Friday of the month 4pm–8pm Mā‘ona Community Garden Friday Night Market 84-5097 Keala ‘O Keawe Rd. Hōnaunau Featuring locally grown fruits, vegetables, fish, meat, local goods and educational resources.

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

KeOlaMagazine.com | January–February 2017

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 9am–2pm Ho‘oulu Community Farmers Market, Sheraton Kona Resort 90 at Keauhou Bay.

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.

NORTH 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 7:30am–12:30pm Kuhio Hale Farmers’ Market 64-756 Mamalahoa Hwy, at Hawaiian Homelands office, Waimea.

Produce, honey, clothing, gifts, prepared food, and live music.

* EBT accepted: KohalaCenter.org/ebt/markets.html

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

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.

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

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.

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

Celebrating a Long Time Advertiser with Ke Ola Palace Theater lines, while giving the Palace a very spacious lobby.

Built in the days before electronic sound amplification systems, the Palace boasts excellent natural acoustics for live musical groups and drama. One of the most enchanting, nostalgic, and thrilling experiences is the music of the original Robert Morton pipe organ, either played in concert or before a movie presentation.

In 2000, a nonprofit group called “Friends of the Palace Theater” was formed.

This group has worked for nearly 17 years to preserve and continue upgrades for Jake Shimabukuro performs at the Palace Theater every year the building and photo by Adam Jung. works tirelessly to restore the historic theater building. Through the generosity of numerous grants, plus business and individual donations, this beautiful “olde Grand Dame” is still open and still going strong.

In addition to raising funds for the much needed air conditioning, 2017 campaigns will focus on bringing in money for general operating expenses, and to support the incredible fall musical, which only brings in enough money from ticket sales to pay for its expenses. If you’d like to support the Palace Theater by making a one-time, monthly or annual donation, the staff at the Palace warmly welcomes any amount.

KeOlaMagazine.com | January–February 2017

Hilo’s historic Palace Theater is still going strong at nearly 92 years old! Its most recent fundraising efforts enabled the Palace to convert to solar energy, which saves the theater much needed operating funds every month. Community residents, including many Rotary members, also reached into their pockets recently to repair the Palace’s broken movie projector. Ongoing fundraising campaigns continue, with the biggest one being for air conditioning. Can you imagine how wonderful it will be to have this elegant theater cooled down for its patron’s comfort? It’s possible, and with the help of the community, it’s in the works.

The Palace Theater was (and still is) a theater in the “Grand Old Tradition”. It was built and opened in 1925 at the peak of the heyday for American movie palaces. It was originally part of a small family of theaters owned and operated by Adam C. Baker, a dashing Hawaiian gentleman who was the nephew of the last royal governor of the island of Hawai‘i. Adam Baker had been involved in the theater business since the early 1900s and was a well-known showman in Hawai‘i.

The Palace was built on a scale that had never been seen outside the capital city of Honolulu, and it was always the grandest theater on all the neighbor islands. One unusual feature is the structure was made entirely of redwood, imported from the Pacific Northwest. Fourteen huge redwood columns support the wooden roof trusses, which span the entire width of the building. The roof, sides and back were sheathed in corrugated sheet metal, a very typical construction style in tropical Hawai‘i. The building’s façade is an elegant neo-classical design executed in stucco with wood molding accents.

The theater was designed to take maximum advantage of its limited property size. The stadium seating arrangement (pre-dating the “discovery” of stadium seating by modern theater operators in the 1990s) allowed for unobstructed sight

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Contact: Hilopalacetheater.com

Hands of Tibet

Love is a four legged word • • • •

High Quality Dog & Cat Food Collar, Leashes, & Toys Treats from our “Barkery” Lots of Locally Made Items Mon-Sat 10am-5pm 808.333.3530 697 Manono St. in Hilo alohapawz.com

KeOlaMagazine.com | January–February 2017

Calabash COLLECTIBLES

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Talk Story with an Advertiser Customers often ask how a store selling items made by Tibetans happens to be here on Hawai‘i Island, and like many interesting stories, the evolution of Hands of Tibet is based on the life experiences of an individual. Tenzin Norbu was raised in Lasa, Tibet and left his homeland as a young man when he became a Tibetan Buddhist monk. His life as a monk took him to India and Nepal, and after 10 years, he chose to leave the monkhood, immigrate to the United States and marry the American woman he had met in a rural village in Nepal.

Robyn was living and teaching at the same Tibetan monastic school where Tenzin was assigned to live and teach Tibetan.

She knew she loved the culture and people of Nepal when she volunteered to spend a year in the rural monastic school, what she did not know was that she would meet the man who would become her husband and partner in life.

Tenzin worked in a pizza shop as his first exploration into making a living in the U.S., and his hobby was to share his Tibetan culture by importing a few items from his friends in Kathmandu. He sold the handcrafted items at local street fairs and online. This was the beginning of Hands of Tibet.

After twelve years, the business has two retail stores on Hawai‘i Island—one in downtown Honoka‘a on the Hāmākua coast and one in downtown Hawi in North Kohala, plus it has a popular web-based business.

Opening retail stores offered the opportunity to carry books.

Tenzin says, “We like to carry books with a personal/spiritual/ healthy lifestyle orientation and children’s toys, too—we choose distinctive toys not readily available on our island. Our customers appreciate the unique items we offer and the connection to other cultures our products provide. Our goal is to help provide living wages to the people who make the items we sell and to offer our customers authentic, unusual items.”

Recently, Hands of Tibet has expanded its inventory to include items Tenzin, Robyn and Pemma (their 9 year old daughter) discovered during their travels to Nepal, India, Bali and Thailand. Knowing the people who make the products sold by Hands of Tibet continues to be a valuable aspect of this business. The hands who produce the amazing inventory displayed represent the Himalayas and beyond…

Visit Hands of Tibet in Honoka‘a or Hawi to experience the beauty and talent represented in our products and maybe find a special gift for yourself or a loved one. Namaste.

Hands of Tibet 45-3587 Mamane St. Honoka‘a and 55-3410 Akoni Pule Hwy, Hawi 808-775-7747 Handsoftibet.com

Dr. Deborah Ardolf Talk Story with an Advertiser

Dr. Ardolf & Associates, LLC Deborah Ardolf, ND, SLP 54-3853 Akoni Pule Hwy Kapa‘au, HI 96755 and Waimea Town Plaza, Suite 110, Kamuela, HI 96743 808.498.4018 drardolf.com

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Dr. Deborah Ardolf runs a full time naturopathic medical clinic providing intelligent compassionate care for the whole family.

She first started treating people in 2009 while still living in Arizona. Dr. Ardolf says “my passion for naturopathy started when I met Dr. William Hitt, who later became my mentor. He had what I saw as simple, brilliant treatment modalities that helped the lives of thousands of people otherwise not helped by traditional medicine. He was 75 years old when I met him. I wanted to do what he did and know what he knew, so I studied with him for 9 years. I am so grateful I did as sadly he passed away one month after I opened my own clinic in Arizona.”

Another of Dr. Ardolf’s mentors was Dr. Thomas Kruzel, also a naturopath, who taught her intravenous therapies, homeopathy, herbal medicine, and effective all natural supplements to help move the patient towards a healthy state of being.

Dr. Ardolf would like people to know that it’s a fallacy that naturopathic medicine is expensive. She comments “there is no cost too great to have your health, really your life, back.” She can help anyone with a strong passion to get healthy and stay healthy, if they are willing. She believes no one needs to live their life without the hope of getting out of their present medical condition(s). Naturopathic medicine has so much to offer and oftentimes she likes to combine complementary modalities for the greatest benefit to her patients.

Dr. Ardolf chose North Kohala for her Hawai‘i practice because, like so many others, she found that it is truly a community in every sense of the word. She says, “I fit right into Kapa‘au. We all love our farmers, especially the organic growers, the respect of the ‘āina, and ‘ohana. I am here to service all and to prescribe the local foods as medicine to keep us all healthy.” Also, it helped that there were no other full time doctors in that area, so people had to travel great distances to receive treatment. She provides care at her Kapa‘au office, at least 5 days a week, and also has an adjunct office in Waimea.

Helping all different kinds of patients brings joy and satisfaction to Dr. Ardolf. People who seemingly cannot be helped by the traditional medical system, such as those with chronic fatigue, hepatitis, skin rashes, asthma, allergies, autoimmune diseases, prescription drug dependency, multiple sclerosis, and on this island, rat lungworm, and dengue fever can all be helped with specialized naturopathic treatments.

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