March-April 2017 by Ke Ola Magazine

March–April 2017

Your Community Magazine

March–April 2017 Malaki–‘Apelila 2017

Malaki–‘Apelila 2017 KeOlaMagazine.com

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

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March–April 2017 Malaki–‘Apelila 2017

Art

13 Recalling the Majestic Palm in Art Artist Shelley Hoist partners with the palm to create natural beauty By Karen Valentine

69 Featured Cover Artist: Kathy Long

Business

89 Celebrating a Long Time Advertiser with Ke Ola Magazine

Vein Clinics of Hawaii

45 Managing with Aloha: With Kūlia i ka nu‘u, We Strive

By Rosa Say

Culture

8 An Interview with Hula’s most creative Kumu Hula Johnny Lum Ho

By Skylark Rossetti

By Leilehua Yuen

50 Hula is Pleasing Because of the Drummer 23 Implements of Hula

Food

21 Stuffed and Fried Squash Blossoms

By Brittany P. Anderson

Health

59 Ke Ola Pono — Ka Niho

By Leilehua Yuen

Kupuna KeOlaMagazine.com | March-April 2017

29 Gene ‘Uncle Bucky’ Leslie

Sharing Aloha and Changing Young Lives By Karen Rose

Land

53 Pu‘uwa‘awa‘a: Energy Ranch

By Jan Wizinowich

Music

33 Komakakino

By Paula Thomas

Nonprofit

39 A Safe Haven For Hawai‘i Island Cats and Dogs

Rainbow Friends Animal Sanctuary By Denise Laitinen

Ocean

66 Worldwide Voyage of Hōkūle‘a

Legs 26 and 27 brought Hōkūle‘a from the Florida Keys through the Panama Canal to the Pacific Ocean By Ke Ola Magazine Staff

Spirit 7

Nani o Pele

By Kumu Keala Ching

Your Health. Our Mission.

Store

70 Mr. Yuen Wong and the Wong Yuen Store

The story behind a Wai‘ōhinu landmark By Karen Valentine

Sustainability

47 Resilience is the New Sustainability

By Michael Kramer, M.Ed.

Town

60 City of Murals Hilo has a new coat of paint—and a lot of new paintings By Alan McNarie

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

North Hawai‘i Community Hospital

Aloha from the Publisher

From Our Readers Dear Editor, thanks for the crossword puzzle—a fun way to be reminded of the magazine content and learn some new Hawaiian words! Karla Kailua-Kona Aloha Ke Ola Magazine, I look forward to your magazine each issue. I always feel I am back home! Robin New Canaan, CT Love the magazine. It really brightens our days—especially the stark, gloom of winters in Western PA. Peggy & Barry New Wilmington, PA

2017 March–April lila 2017 Malaki–‘Ape

unity Your Comm

Malaki–‘Ape

Moku O Keawe by Kathy Long See her story, page 69

lila 2017

The official magazine of KeOlaMagaz ine.com

For stories about Hawai‘i Island weddings and to plan all kinds of special occasions, pick up the 2017 issue at many locations island-wide (you can find a list of locations on our website) or you may order a copy to be mailed. You can also read it using our digital magazine by clicking on the cover on our website home page. Enjoy!

Aloha pumehana, Barb

2017

Now Available! Hawai‘i Island Weddings, Honeymoons, and Special Occasions

more sustainable way. He would encourage them to take baby steps, saying “it’s a process, don’t judge yourself for what you aren’t doing, instead make incremental changes towards being more sustainable in your offices, shops, and homes, too.” I was able to let go of being perfect about “being green” all the time, knowing that whatever I could (and can) do is a step in the right direction. That’s one of the reasons we print Ke Ola Magazine with a commercial printer that manages certified paper printing jobs according to the Forest Stewardship Council® Chain of Custody standard by the Rainforest Alliance—it’s just the right thing to do. I hope regardless of whether you’re active in a non-profit group that promotes these values or not, you’ll follow suit and take baby steps to do whatever you can to make our island more sustainable, or as Michael says, more resilient. With finite resources out here in the middle of the Pacific, we all need to mālama ‘ āina, take care of our home. Wishing you a delightful spring!

March–April

KeOlaMagazine.com | March-April 2017

One of the most wonderful parts of my job is the people I get to meet. Soon after moving to Kona in 2003, I joined the Kona-Kohala Chamber of Commerce so I could meet other business people. Local Chambers have always been organizations I’ve invested my time in, regardless of where I have lived. I’m still an active member in KKCC, even after moving to East Hawai‘i nearly five years ago. I love the people I’ve met through that group! I have also been a member of Hawai‘i Island Chamber of Commerce since the early days of Ke Ola Magazine; however I didn’t get active with this group until the past year or so. Since I’ve started attending many of their functions, I’ve gotten to know more wonderful people. A couple of years ago, I joined one of the Hilo chapters of BNI (Business Networking Intl.), which also has an amazing group of people, and most recently have joined Rotary Club of Hilo. I’m continuously in awe of the people I meet— there are so many caring individuals who volunteer their time to make this island a better place for us all. One of the benefits of being a Rotary member is receiving a subscription to The Rotarian, which is Rotary International’s official magazine. Since I have only been a member for a few months, I have to honestly say I never knew the magnitude of the Rotary slogan, “service above self”. Rotarians are doing things worldwide to literally save our planet. I’ve been an environmental advocate since the first Earth Day in 1970. My two brothers instilled in me the importance of growing our own food, recycling, reusing, and repurposing. It is so inspiring to read about people who are teaching this, as well as many other social and environmental concepts that will preserve and sustain our planet. We have a guest writer in this issue, Michael Kramer M.Ed., who is sharing his wisdom about ways we can live more sustainably right here on Hawai‘i Island. He was the creator of the Kuleana Green Business program (still being run by the Kona-Kohala Chamber of Commerce) and I served on the committee with him during the first few years. I liked how Michael coached business people who wanted to operate in a

Magazine

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

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

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

Advertising Design 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 Magazine is printed on recycled paper with soy-based inks. Ke Ola Magazine is a member of:

Worldwide Delivery 808.329.1711 x4, order online at KeOlaMagazine.com, Subscribe@KeOlaMagazine, or mail name, address, and payment of $30 US/$48 Canada for one year to: PO Box 492400, Kea‘au, HI 96749. Contact us for international rates. Subscriptions and back-issues available online. © 2017, Ke Ola Publishing, Inc. All rights reserved

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

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Spirit

He ‘Ike I Ka Nani a ‘o Pele Na Kumu Keala Ching

He ‘Ike I ka nani a ‘o Pele Ka wahine o ke ahi luapele Noho ka wahine Hōpoe Lehua Hi‘ileilani o Hi‘iaka

The splendor of Pele is observed A fierce woman of creation Amongst this creation a beautiful Lehua Cherished of the heavens of Hi‘iaka

Pā ahe Pu‘ulena o Kīlauea I ka hale ma‘uma‘u ‘o Pele ē He aloha kō ka Hawai‘i I ke ahi a Pele o ka lua

Gentle are the Pu‘ulena winds of Kīlauea Pele in her home at Halema‘uma‘u Fondly loved by her people Pele presents herself so reverently

Eō mai ka nani a ‘o Pele I ka malu o ka ua, Kilihune He aloha kō Hōpoe Lehua Hi‘ileilani o Hi‘iaka

Rejoice the splendor of Pele Anointed by the soft Kilihune rain Loved by her people, a beautiful Lehua Cherished of the heavens of Hi‘iaka

He Mele nō Hōpoe Lehua Hi‘ileilani

A song honoring Hōpoe Lehua Hi‘ileilani

Eö Mai Ka Wahine a ‘o Pele Na Kumu Keala Ching Eo mai ka wahine a ‘o Pele I uka o ka hale ma‘uma‘u Ka wahine, noho I ka lua He aloha nō ko ka Hawai‘i

Rejoice a powerful woman, Pele Majestically present at Halema‘uma‘u Presiding over the fiery image of home Admired and cherished by her people

HUI: Eō mai e Pele Eō mai e Pele Eō mai e Pele ē

Honored is Pele Honored is Pele Honored is Pele

Pā aheahe ka Pu‘ulena I ka pali a ‘o Kīlauea Kani le‘a ka leo Ko‘a‘e Nani wale ke ‘ike aku

Gentle Pu‘ulena winds Gracefully present at Kīlauea Soft sounds of the Ko‘a‘e bird Beauty at its finest is observed

I ka palena o Uē Kahuna ‘Ike wale ka nani o Kīlauea Hōpoe Lehua Hi‘ileilani Ka wahine, noho i uka ala

Upon the edges of Uē Kahuna Beauty is proclaimed often A cherished heavenly Lehua blossom Elegantly present high above

He Mele nō Hōpoe Lehua Hi‘ileilani

A song honoring Hōpoe Lehua Hi‘ileilani

In honor of a child, Helena Hōpoe Lehua Hi‘ileilani Bean, as we journeyed through the wonders of Pele with Kumu Pi‘ilani Ka‘awaloa on Saturday, December 17, 2016. Mahalo nui loa e Kumu Pi‘ilani! Ke aloha nō kūkae a na‘au, shared by Loea Kawaikapuokalani Hewett. Contact writer Kumu Keala Ching: kumukeala@nawaiiwiola.com

, An Interview with Hula s most creative Celebrating Hawai‘i Island Style

By Skylark Rossetti

s Hilo begins to host its 54th Annual Merrie Monarch Festival, Ke Ola Magazine is privileged to sit down with one of Hilo’s most creative Kumu Hula, recording artist, composer and musician, Johnny Lum Ho. For years he and his hālau have been the crowd pleasers at the annual hula event. Johnny Lum Ho has trained, entered and won the most Miss Aloha Hula awards, more than any other hālau. He is not entering the Merrie Monarch Festival competition this year, however he and his hālau participates each year in the opening Ho‘olaule‘a, on Easter Sunday at the AhFook Civic Auditorium in Hilo. Here the entire hālau performs, from keiki to kūpuna, and not just hula but Tahitian as well. The music is incredible and just to watch this man’s incredible vision for each performance is the best unknown event at the Merrie Monarch Festival.

KeOlaMagazine.com | March-April 2017

Halau Ka Ua Kane Lehua’s Taysha-Lei K Desa Born and raised on the East side of Hawai‘i Island in the Hawaiian Homestead Community of Keaukaha, Johnny lovingly remembers his pure Hawaiian mother and her love for her garden.

8 Kumu Hula Johnny Lum Ho photographed during this interview with Skylark Rossetti on January 16, 2017. photo by Aaron Miyasato

“My mother never let us go out and play. We had to hana hana (work) in our yard. We had a beautiful garden with ulu (breadfruit) trees, coconut trees; our yard was lush with plants. We also had a farm lot in Pana‘ewa and my mother made us cut the hāpu‘u (fern) and bring them back to Keaukaha. She would plant all the anthuriums under the hāpu‘u. We grew taro at the farm lot, we made our own poi. My mother was a mahi ‘ai (farmer) lady, every day she worked her garden and farm lot.”

Skylark: Johnny, when did you begin singing?

Johnny: Oh, that was in

high school. No one knew I could sing, even my mother didn’t know I sang. My sisters were beautiful singers and my oldest sister used to dance with ‘Iolani Luahine. Me and my two brothers were young.

Kumu Hula . . . Uncle Johnny Lum Ho

performimg her kahiko hula at the Miss Hula Competition, 2010 Merrie Monarch Festival. Photo by Stanley Chun. Photoshop digital time-lapse of Taysha-Lei K Desa’s performance by Aaron Miyasato.

Skylark: So what led you to Hawaiian music and dance? Johnny: I always loved Hawaiian music because my mother

was real Hawaiian. I had one high voice so I never sang, I was shame. When we pau school, had first bus and second bus. I would hurry up catch the first bus home, run in the house

and put a big pot on the table and sing and play the ‘ukulele. So I could hear myself, I sounded like my sister dem. Only me at home, but the neighbor, Sandra Lee’s aunty heard me singing and she would go into her yard, make like she was doing something just so she could hear. I never care, but when I heard the second bus, quick I put everything away. Until one

Halau O Ka Ua Kani Lehua, Merrie Monarch 2016, under the direction of Kumu Hula Johnny Lum Ho. photos by Kenji Kurashima

KeOlaMagazine.com | March-April 2017

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day me and my brothers were playing marbles in the evening and my mother called me into the den and said Keoni, you come up here and sing. My brothers started to laugh and giggle and I said ‘Look they laughing at me.’ I was so shame, ‘never mind,’ my momma said, and I got up and walked so slow to her. I even remember the first song I sang…It was Bill Ali‘iloa Lincoln’s “Poli Anuanu”. Then as time went by, I use to go to the Haili Choir. Even when I had to sing in church, I was shame. I would shake and fidget because I had that high voice. I use to admire Kihei Brown because he had that high voice.

Johnny: Since about 1968 or 1969. Since George Naope’s

Skylark: So when did you begin hula?

entered?

Johnny: As time went by, we danced hula with the Haili

Choir. We performed at places like the Hawaiian Village in Keaukaha. Violet Nakamura had a beautiful voice in the church and she and I use to sing together. She lived in Keaukaha next to me. We use to go down Kawananakoa Hall with Aunty Sally folks and sing and play Scrabble together. Then Rose Kuamo‘o and her daughter Kaieie was the singer for their hālau. When she passed, her daughter Lehua took over and I liked her playing and her strumming and that’s the first hālau I played for.

Skylark: When did you open your hālau? Johnny: Uncle George Naope told me to open my hālau.

My oldest sister sang for Uncle George. She recorded with him. So when he moved home from Honolulu, he asked me to go sing with him. We were all good friends…Leinaala Kamahele, Kalei Kaluna and we all were party hardy. That’s how come I use to drink a lot. I drank plenty because I was shame. When you inu (drink), who cares and we use to challenge to see who could sing higher, like dat. Who could hold their breath more long.

Skylark: So how long has Ka Ua Kani Lehua been in existence?

Skylark: How has Merrie Monarch changed since you first Johnny: You know, too much rules. They no let you pa‘i

(drum, hit) the ipu in ‘auana. We only like it to keep the beat, but no can so you hear us banging on the guitar or the upright bass. I ask Aunty Luana that how many times, you know if Aunty Dot was alive she would allow it. Because I don’t enter every year, I always have to check to see what changed. There’s ‘ōlelo Hawai‘i now so lots have changed.

Skylark: Are you entering this year? Johnny: No. Skylark: Are you judging? Johnny: No, I don’t want to judge. Everybody does so well, I give them all high scores, they not going win with my score sheet. You can feel the good performances and get some boring kind. It’s all nice, but you know.

Skylark: People come to Merrie Monarch especially to see your hālau perform. Where does your creativity come from?

Johnny: You know, I am a Christian now. I was raised by my momma whose family roots are from the Pele line, but I don’t believe in Pele anymore. I used to believe because my mother used to. She shared the stories with me about

KeOlaMagazine.com | March-April 2017

Kumu Hula Johnny Lum Ho during his interview with Skylark Rossetti. photo by Aaron Miyasato

students cannot enter the Merrie Monarch, they came to me like Lei Kalima, Sister Supe and some others. Uncle told me enter, and that’s how it started. That first year Aunty Mapu folks came in 1st place, and we came in 2nd, and Aunty Louise Kaleikini folks, Ilima Hula Studio, came in third. My mother shared plenty with me and they saw what I was doing in the Merrie Monarch and Larry Kimura folks came to speak to my mother, because she could ‘ōlelo Hawai‘i...she was a native speaker.

Waha‘ula and the temple above Halema‘uma‘u crater and how the priestess settled below the crater and they became family. But I’m a Christian now. When I create the hula, I just do what the words tell me.

Skylark: You have trained many artists like Darren Benitez, Kuana Torres Kahele, Bert Nahe, and Mark Yamanaka to name a few . . .

Johnny: Oh yeah, they sing because they like scream.

Sometimes we don’t have microphones so we have to close one part of our voice and scream the other part . . . my sisters could do the same thing. That’s why I always wanted people with high voices to sing with me.

Skylark: What advice do you share with a young dancer coming up?

Johnny: I don’t know until she’s ready to get on that stage.

When I teach, I can see how much they work at their hula. How they come every week. You compliment them; you like them do their best. Hālau is a family, the parents trust you. They support you and help keep the doors open. I thank God every day. I believe in the rapture, so if I’m not here, whatever you learn from me is what you learn and I hope you share it. I have girls who help me with the hula and if they like continue after I gone, that’s good. They can follow the style I get. It’s that style and nurture from Hawai‘i Island that has developed over the years which makes Johnny Lum Ho so different from all the other Kumu Hula. He has influenced not just the hula, but the music and he has shared the love for our Hawaiian culture with so many students over the years. Mahalo and aloha to you Uncle Johnny Lum Ho.

Contact Johnny Lum Ho: Halau Ka Ua Kani Lehua, 17 Makaala Street, Hilo, Hawai‘i Contact writer Skylark Rossetti: HNLSkylark@aol.com

KeOlaMagazine.com | March-April 2017

Halau O Ka Ua Kani Lehua, Merrie Monarch 2016, under the direction of Kumu Hula Johnny Lum Ho. photo by Kenji Kurashima

Artist Shelley Hoist partners with the palm to create natural beauty

Recalling the Majestic Palm in Art By Karen Valentine

ho doesn’t love a palm tree? Swaying in a tropical breeze, it’s the stuff dreams are made of. Whether for a visitor or a local Hawai‘i resident, the palm tree is a living symbol of paradise. As the feathery palm frond moves back and forth in the breeze, it clings tightly to the trunk at the base by means of its sheath—a very strong piece of nature’s amazing creation. The tree naturally sheds each frond at the end of its cycle. Local artist Shelley Hoist observes details, especially in nature, and imagines what she can make of something. Coming both from an artistic family and living frugally at times, Shelley, a 40-year Hawai‘i resident, has always found creative ways to make her surroundings beautiful. Her favorites are using elements from nature—a shell, an interesting branch or flower. Stooping to pick up a large palm frond shed from a Royal palm tree, Shelley marvels at the unique grain, color and texture of its sheath. Not all palms have a sheath—for example the coconut palm. “Each variety of palm is different”, she says, and she has come to recognize the features of each, her favorites being Alexander, Royal and Foxtail. Her desire to capture that beauty and preserve it into something of value has led to an extensive body of work in the fine art of making sculptural and functional vessels using palm sheath as the medium. A business, Shelley Hoist Sculptural Palm Art, was born. “It wants to be something else. It wants to go out and become this incredible piece of art. I love the uniqueness of the color and textures,” she exclaims.

The inside of each sheath has ridges or striations as well as patterns in shades of color, similar to the grain in wood. “It’s hard for me to keep my hands off of it. When I learned that different varieties of palms have different inner sheath colors, that was fascinating. It became a quest to make something with them, using different ones and experiencing how they reacted during the process.” The basic process involves soaking the harvested sheath in a big tank of water until it becomes pliable. “I love when I pull out a wet piece and lay it on the table, letting it speak to me. The other reason it seems to communicate to me is because it is of the earth. It’s been alive and now it will become sustainable, reusable. It is very strong, so much stronger than we think, and lends itself to a more permanent vessel. Once you wet it, form it and sculpt it, then watch it dry, it goes through this transformation; it becomes very, very solid. Some of the palm society people call it nature’s plastic, because it defies decomposition, especially in

KeOlaMagazine.com | March-April 2017

Giant palm sheaths soaking in water. The color, shape, and texture varies with the type of palm used. photo by Megan Spelman

13 Sago Segue Foxtail palm basket with Raffia palm stitching and dried Sago palm flowers. photo courtesy of artist

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KeOlaMagazine.com | March-April 2017

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Two wall vessels at her recent solo show at the Kahilu Theatre. On the left is Full Curve, made from natural colored Alexander palm and on the right is Perfect Passage, which is natural colored Royal palm with encaustic finish. photo courtesy of the artist

dry climates. It’s really durable and feels very much like heavy leather or fabric. Once it’s finished, it is preserved.” Shelley began playing with palm sheath when a friend took a basket-making class and showed her the basics of soaking and forming the material, then stitching it with raffia or cord before it dries. With increasing skill and attention to detail, Shelley has been able to raise the standards of working with natural fiber as art, from basic crafting to fine art worthy of winning awards in national juried shows. “I am completely self-taught. I learned the basic technique and after that for many years I just played with the material, creating gifts and things for myself. Once I started devoting myself full time to the material, I developed new ways to use it

Rest in Peace Memorial Urn Vessels. On the left is Be Willing to Wing It, a custom piece with a handmade interior bag; on the right is another lidded style made from Alexander palm sheath, fully lined, trimmed in leather and stones, with an interior handmade drawstring bag. photo courtesy of the artist

K and new techniques.” The finished pieces of palm art consist of home décor including sculptural vessels that stand or hang on the wall, some functioning as containers and others making a statement alone. People may add dried branches for additional interest.

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KeOlaMagazine.com | March-April 2017

The Zen Orchid Basket is a popular design and can hold three live orchid plants. The curve was a beautiful surprise and is an example of how the sheath has a mind of it’s own. photo courtesy of the artist

Happy St. Patrick’s Day!

Functional pieces can hold rolled up towels, fruit or collections. “Wall vases that hold a single flower with a glass tube inside to hold the water are a perfect way to bring the outdoors in,” Shelley says. The material isn’t waterproof, so it needs an inner jar or vase to hold live flowers. Certain vessels may be lined with fabric or trimmed with embellishments or other natural

KeOlaMagazine.com | March-April 2017

Top photo: Royal palm tree showing green sheaths. Bottom left: The inside of the sheath contains the striated texture and color variations. Bottom right: Folding the collar on Sand over Chocolate, the base is an Alexander palm and the top collar is a Royal palm. photo courtesy of the artist

material. Shelley has also expanded beyond vessels into personal adornments such as jewelry, purses, hats and even costumes as she has become more and more experimental. With the natural palm material as a partner in the process, Shelley starts asking it what it wants to be. “Once I get that raw material, I start listening; we start moving together, first through a series of folding and stitching it together by hand. Slapping a wet sheath on her work table, Shelley goes to work, first drying it with a rag, then using a brush to scrub off any clinging debris. She examines the sheath, turning it in her hands, then trims the edge and crops the length with sturdy scissors. Working deftly while the material remains wet, her knowing hands measure, fold, and stitch a basic basket, tying knots deep inside the basket, and using her fingers to measure the distance between stitches made with a sailmaker’s needle and raffia fiber. “Then over the course of about 48 hours, it starts to contract as the water evaporates,” she explains. “It will contract in certain areas so it starts to form a whole new sculptural shape, which I encourage or discourage. I control where it goes, but there is always an element of surprise. I’ve made an amazing piece out of something that was a surprise. After it’s dried, I then finish it with a hand-rubbed poly or encaustic wax finish and usually add embellishments, including foils and decorative papers. Sometimes organic textures are so wonderful, you don’t want to embellish it much. You have to know when to stop.” She often makes use of feathers, leather, boar tusks, sheep horns—all elements that lend themselves to the natural

expression of the art. Fortunately, the raw material comes free, with no shipping charges. Neighbors and friends who have palm trees look for ways to dispose of their fallen fronds. It makes them feel good to know it will have another life. “People share with me; there’s no shortage of raw material. Sometimes they might have a beautiful sheath from their land that I can make into a custom piece for them, something from their own yard, and elevate it to another level. I can incorporate natural elements and family keepsakes. Someone may have a special piece of coral or something they’ve found and we can work that into a piece,” she says. “The more you create, the more your work changes. Soon it became evident that some of the pieces needed a name. I started to create pieces that have more of a story or a

KeOlaMagazine.com | March-April 2017

Shelley at the Western Design Conference in Jackson, Wyoming in 2013 with award winning Ikaika, Alexander palm sheath, lined in silk, Hawaiian mouflon ram horn, leather, amber and feathers. photo courtesy of the artist

Historic Kainaliu, Kona’s original shopping village. Located 5 miles south of Kailua-Kona.

KeOlaMagazine.com | March-April 2017

message; I call it intentional artwork. I reminded myself to be open to what that might represent. Natural and intentional art is wonderful to surround yourself with in your home. First, it’s visually pleasing, next it has organic texture, but thirdly, if it reminds you of a representation or a theme, that’s golden.” One of the themes Shelley has worked with is called Passages. They are tall, narrow and elegant shapes. “To me, they remind me of a palm tree trunk, standing tall with their roots in the ground, their strong narrow trunk, and reaching for the sky. That’s what the word passage means to me. The first one I created is called the Three Sisters. It is a set of standing passages all of different heights. When I first created the set and watched them dry, I realized they are like three sisters, all from the same family, but different. We need to respect the differences in each other, whether sisters, brothers or humans on Earth.” After showing her work in galleries locally, such as Holualoa Gallery, and having a booth at the monthly Kokua Kailua Village Stroll, Shelley said, “Next I started looking for opportunities to take my work on the road. My Paniolo series, using naturally shed horns and leather, was created for the first opportunity I had to share my work on the mainland in a juried art show.” The 2013 Western Design Conference in Jackson, Wyoming touts itself as the ‘preeminent exhibition of the finest Western design in the world.’ “It’s an amazing show. I came home with an award in the home accent category.” After that experience, NICHE Magazine, featuring decorative art for galleries and fine retailers, chose Shelley Hoist as a 2014 NICHE Award finalist. In 2014, she returned to the Western Design Conference and also showed at the American Craft Council Show in San Francisco. On Hawai‘i Island, in fall of 2016, she was awarded “Best in Show” for a piece entitled Ho‘okumu at Kahilu Theatre’s “Art Off The Wall” Exhibit. Her award was the opportunity to mount her own exhibit at the theater’s gallery during November and December. A unique and special component of Shelley’s palm artistry, which synchs well with her desire to make something custom and meaningful for her clients, is what she calls a Rest In Peace Memorial Urn Vessel. It “cradles” the ashes of a loved one in a natural, organic alternative to a traditional urn. “The urn vessel is always lined. Some have tops that are removable, some open with a handmade bag on the inside that cradles the ashes. I often take a piece of clothing or fabric from the person, or line it with a material significant to them. The concept is something I’m very fortunate to discover. It’s an

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honor to make them. One example is a custom vessel created to hold a mother’s necklace given to her daughter. The basket holds the ashes and the necklace decorates the surface. It can be taken off and worn. It’s a neat way for mother and daughter to share that piece of jewelry,” she shares. “Basically I think we’re our better selves, the more we connect with nature. When we incorporate organic textures into our home or on an office wall where you’re living with the

items, touching them, seeing them—it helps us to reconnect and stay connected with nature.” People may visit Shelley in her Kona studio by appointment.

Contact Shelley Hoist Sculptural Palm Art: shelleyhoist.com Contact writer Karen Valentine: karenvalentine808@gmail.com

KeOlaMagazine.com | March-April 2017

Shelley on her studio steps in Kealakekua where she welcomes visitors by appointment. photo by Megan Spelman

KeOlaMagazine.com | March-April 2017

Local Foods A Recipe for Spring

Stuffed and Fried Squash Blossoms By Brittany P. Anderson

can say that my life is enriched because of it. From meats to coconut oil and ingredients in between, locally grown produce is just more nutritious than the store bought equivalent. Produce varieties sold by the farmer at market have spent less time in transit, are picked at peak ripeness, and are handled by fewer people, which all translates to healthier, more nutritious produce. Supporting the people in my community that are brave enough to farm, ranch, or bounce around on a little boat in a great big sea so we can eat is my favorite part of eating locally. One of my first farmer friends at the Hilo Farmers Market was Steve Sayre from Lava Rocks Puna Goat Cheese. Their goats are so cute and they eat lots of fresh green Puna grass. I had a craving for his rosemary black pepper chevre and luckily, squash blossoms are in season and were bundled nearby, so I grabbed a few bouquets of golden blossoms and some of Steve’s cheese. They are a great appetizer, are easy to make, and they look stunning on a plate. Contact writer/photographer Brittany P. Anderson: brittanypanderson@gmail.com

Stuffed and Fried Squash Blossoms Ingredients: Makes 16 16 squash blossoms, stamens removed Filling: 4 oz goat cheese, any flavor 1 bunch spinach, washed and trimmed 1 tsp chopped holy basil salt and pepper to taste Batter: 1 cup white flour 1 egg yolk 3/4 cups cold water pinch each salt and pepper oil or ghee for frying

Sauté spinach until wilted. Remove from pan and once cooled, press between two paper towels to remove moisture, then coarsely chop. Preheat pan with oil or ghee. Place all filling ingredients into bowl. Season with salt and pepper; stir together. Place about 1 Tbsp. of filling into the cavity of each squash blossom and gently push together to close. Place all batter ingredients into a mixing bowl and stir together until no lumps remain. Dip each stuffed squash blossom into the batter and gently remove the excess. Place each blossom into the oil and fry until the batter puffs and begins to turn golden brown. Remove from oil and drain on paper towel for 1 minute. Transfer blossoms onto a cooling rack, season with salt and pepper. Enjoy immediately.

KeOlaMagazine.com | March-April 2017

There is a date in everyone’s life that stands out to them—the birth of a child, their wedding anniversary, a favorite team winning the World Series. I will always remember a rainy August 4, 2011 as the day that forever changed my life. I was working at Hilo Farmers Market selling coffee, surrounded by local produce. It was the day I started a journey of eating 100% locally sourced foods. Throughout the process I created a business, Big Island Farm Fresh Foods, which delivered organic local produce to clients’ homes. Having found access straight from farmers, ranchers, and fishermen, it meant so much to me to show that eating locally didn’t have to be expensive or time consuming. Brittany Anderson with Steve Sayre of Puna Lava Rocks However, like many Goat Cheese at the Hilo Farmers Market Hawai‘i Island residents, I moved to O‘ahu for a promotion from my day job. Sadly, I closed Big Island Farm Fresh Foods after three delicious years. Moving to O‘ahu didn’t stop me from seeking local produce. My husband and I struck up conversations with vendors at farmers' markets. “Where is your farm?” we’d always ask. In the process, we met a couple that raises ducks and chickens for eggs. They invited us over and before we knew it we were in the field surrounded by 35 beautifully loud ducks. O‘ahu life was busy and expensive. We found local Hawai‘i Island produce at Whole Foods and frequented the Kailua farmers' markets. Our friends with the ducks asked us to farm sit, which was both exhilarating and terrifying. Caring for 35 ducks and 20 chickens is no easy task. Yet at the end of the day, I’d pick chasing chickens out of the vegetable field and hunting for duck eggs over any job promotion. We left O‘ahu with the farming bug. After five years of eating a diet of 95% locally sourced food, I Stuffed and fried squash blossoms ready to serve

Implements of the Hula By Leilehua Yuen From ancient times, Hawaiian people have had a love of music and rhythm. This love was expressed through oli (chant), mele (song), and hula (dance). While many early visitors to the Hawaiian Islands were not trained in music, and had limited understanding of musical concepts, a few, such as Capt. James King (who accompanied Capt. Cook), and Capts. Burney and Phillips of England’s Marines, had more sophisticated musical training and noted that Hawaiian people were skilled at singing in harmony and accompanying themselves on a variety of instruments. They also realized the Hawaiian musical scale included many notes which fell between the notes on a Western scale. In the previous two centuries, Hawaiian music often was described by Westerners as “weird” and “barbaric.” Since the 1970’s Hawaiian Cultural Renaissance, Hawaiian music has been gaining global recognition for its depth and beauty. Often, the traditional instruments of ancient times were very simple. Natural items such as sticks and stones might be used as they were found, or beautifully cleaned and polished. Examples of these are the ‘ili‘ili (water-worn river or beach pebbles) used as castanets, and kāla‘au (rhythm sticks). Other instruments were finely crafted with great care. The pahu, or great temple drum used in formal hula, was made by master craftsmen who were experts in the art of carving. The ‘ulī‘ulī, a special kind of rattle used in the hula, uses the skills of carving, weaving, and feather working to create a beautiful instrument that can sound like the tropical rains. Probably the most dramatic of instruments one will see on the hula stage is the great pahu drum. The oldest writings call the large coconut-trunk drum with a sharkskin head “kā‘eke” or “kā‘eke‘eke.” This drum has its heritage in the great temple drums that resounded for important ceremonies such as the start of a war or the birth of a chief. They are usually made from the trunk of a coconut tree with a diaphragm carved about 1/3 up from the bottom. They vary greatly in size. Traditionally, the drumhead is shark skin. In modern times, rawhide is often used.

Because of its heritage, it is associated with strict protocols. Hula for the pahu tends to be quite formal. The pūniu, a small knee drum often seen in hula, is made from half a coconut shell. The drumhead is traditionally from the tough skin of the kala (Acanthurus unicornis) fish. The lacings run through the edge of the skin and are attached to a cordage ring at the base of the drum, to which are also attached ties used to secure the drum to the right thigh of the player. To play it, the musician holds a kā, a rope striker, in the right hand. The ipu heke, double gourd hula drum, is unique to Hawai‘i. There is no evidence of it having developed anywhere else. It is fashioned from two gourds which are attached to each other at the neck. The upper portion has a hole or “mouth” at the top of the drum. It is struck on a pale (pronounced PAH-lay, a protective pad) on the floor, and with the hand, to create the distinctive rhythmic motifs associated with traditional hula. The ipu hula, a smaller drum made from a single gourd, is often used by the dancer. Kā‘eke‘eke, or pahūpahū, bamboo pipe drums, are fashioned by selecting an appropriate piece of bamboo, often Schizostachyum glaucifolium. From the top, nodes are punched out with a long stick, allowing the full length of the bamboo to resonate. Kā‘eke‘eke vary in length from a couple of feet to over two yards. The longer the length, the deeper the tone. They generally are used in sets of two, one held vertically in each hand. The bases with the nodes are struck on a stone or other hard surface covered by a thin mat, creating a resonant drumming. The bamboo is often tuned by cutting the lengths to play specific notes. ‘Ili‘ili and kāla‘au are the two most simple, and the two most commonly seen, striking implements. Two ‘ili‘ili are held in each hand in such a way that they may be clicked against each other to make a variety of percussive clicks. Sometimes they are compared to castanettes. Kāla‘au are used in pairs, and come in different sizes. Most common are

Traditional hula implements: ‘ulï‘ulï, ipu, pü’ili.

two sticks, around 12 to 16 inches, of equal length. One long stick paired with a shorter one for striking it has become more widely used in recent times. Sometimes the longer stick may be carved with ridges to produce a clicking or ringing tone when the shorter stick is rubbed along it. Short spears or javelins are sometimes used in place of the longer stick. The ‘ukēkē is a stringed instrument, generally about two feet long or a little under. It is made from a flattened piece of hardwood, such as kauila (Alphitonia ponderosa). A flange at one end and slits at the other hold the strings. One, two, or occasionally three strings are attached to the ends of the ‘ukēkē and tightened to bend the wood enough to tune and Kumu Hula Etua Lopes at Merrie Monarch 2013, Ipu Heke. photo courtesy of Suzi Derryberry

KeOlaMagazine.com | March-April 2017

Halau Hula Na Pua Uÿi o Hawaiÿi at Merrie Monarch 2013, dancing with ÿulïÿulï. photo courtesy of Suzi Derryberry.

play them. The tone is buzzy and light. The notched end is placed between the lips and the mouth of the musician acts as a resonating chamber. The ‘ukēkē was used to accompany hula and chant, as well as in extemporaneous courting melodies. There are a number of ways to make a nī‘au kani, which sounds something like a kazoo or musical comb. The simplest uses a coconut leaflet. A section, about 4 to 6 inches long, is taken from the leaflet. A fingernail, needle, or other sharp object is used to pierce and slice the leaf away from the midrib, leaving about an inch on each end to hold the leaf. The leaf is then held to the mouth, outer (convex) side toward the mouth with the midrib between the lips. By singing or talking through the leaflet, a kazoo-like sound can be made which gives a buzzing quality to the voice.

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The making of the feather top for the ÿulïÿulï. photo courtesy Gayle Greco

KeOlaMagazine.com | March-April 2017

The ‘ohe hano ihu is a traditional Hawaiian flute made from bamboo (Schizostachyum glaucifolium). It is considered a sweetheart’s instrument. It is not a loud instrument; rather, the tone is intended to be soft and sweet. Traditionally, it is not played in concert for a large audience, but played in a quiet place for someone special. It is also used in hula, as well as in courting. The spacing of the holes and the length of the flute were entirely a matter of personal taste, determined, presumably by what the suitor believed would please the object of his affections. He would then carefully sand the flute and burnish it with oil. Each flute, and its song, was as unique as the person who crafted it. The hoehoe is a simple bamboo tube, open at both ends or closed at the bottom end. It is held vertically, and the top end is blown across, much like blowing across the mouth of a bottle. The name means, “a plaintive prolonged sound.” Like the ‘ohe hano ihu, it is ideally made from bamboo (Schizostachyum glaucifolium). The traditional Hawaiian gourd whistle was played primarily for amusement, and by sweethearts. It is made from a small gourd (Lagenaria siceraria) or a kamani (Calophyllum inophyllum) seed. Like the ‘ohe hano ihu, it is played with the nose. The gourd or seed is drilled with a hole for the nose and one, two, or three

additional pitch holes. The seeds and or meats are removed and then it can be played. The oeoe, or Hawaiian bullroarer, is made from the shell of a coconut. The best tone comes from old shells which are light and thin. A hole, about one-half to one inch diameter, is carved into the end near the eyes. Strings are threaded through the eyes and drawn up to a long string used to swing the oeoe in circles. The sound is like the wind on a mountaintop. Some feel it is a children’s toy, but others consider it to be an instrument which represents the wind. The pū, or ‘olē, is the classic shell trumpet of Polynesia, used to announce the arrival of chief, ceremonies, and important events. It also is used as a signaling device on canoes. Generally made from Charonia tritonis or Cassis cornuta. A hole is made at the apex of the shell and used to blow, trumpet-like into the body which acts as a resonating chamber. At the opening of the Merrie Monarch Hula Festival, the Royal Court is preceded by attendants blowing the pū. Less well known than the pū, the pū ‘ohe serves the same purposes and is equally important. While the helmet shell pū and the conch shell pū were more difficult to acquire and prized by the chiefs for their tone, volume, and beauty, the pū ‘ohe was accessible to everyone. A signaling device for sailors at sea and hunters in the forest, it also announced ceremonies and called people home from the fields. Used by all levels of society, this simple trumpet is made from just one section of bamboo. One end is open, and the other end is closed by the node. The node has a hole bored in it and is smoothed to fashion the simple mouthpiece through which the player blows. The pū lā‘ī, leaf whistle, is usually made from a rolled leaf of tī or ginger. It is primarily made by children as a toy, but hunters and hikers also sometimes use them as signaling whistles. The leaf is split longitudinally and the midrib removed. The leaf is then folded over, underside (dull side) outermost, with the tip and the petiole ends touching each other. Holding the fold by the margin of the leaf, the folded leaf is wrapped around the finger to form a cylinder. Looking through the cylinder, two layers of leaf bisect it. The leaf cylinder is held in the fingers and placed just enough between the lips that it may be flattened somewhat when the lips are placed into a rigid line and air blown through the pū lā‘ī.

25 The Ipu Heke at the World Conference on Hula. photo courtesy of the World Conference on Hula

KeOlaMagazine.com | March-April 2017

Mary Kawena Pukui playing the ÿükëkë with Mrs. Timothy (Rosalie) Montgomery –1950. Photographer unknown. Hawaiÿi State Archives

Careful adjustment will allow air to cross the bisecting portion of leaf and vibrate it, creating a piercing whistle. From simple whistles to finely crafted drums, the music of Hawai‘i is enhanced by a variety of implements. Not only do they add to the music, incorporated into choreography where appropriate, they add to the texture and beauty of the hula. As the ‘ōlelo no‘eau (traditional proverb) says, I le‘a ka hula i ka ho‘opa‘a, “The hula is pleasing because of the drummer.”

Contact writer Leilehua Yuen: kumuleimanu@gmail.com

KeOlaMagazine.com | March-April 2017

Bibliography Buck, Te Rangi Hiroa Peter; Arts and Crafts of Hawai‘i Craig, Dr. Robert D; Dictionary of Polynesian Mythology Beamer, Winona; Nā Mele Hula Beckwith, Martha: The Hawaiian Romance of Laieikawai Gutmanis,June; Na Pule Kahiko, Ancient Hawaiian Prayers Thrum,Thomas G; Hawaiian Almanac and Annual for 1902 Westervelt, WD; Hawaiian Legends of Volcanoes Beamer, Winona; Interviews, 1997-2007 Josiah, Manu; Interviews, 2005-2015 Natividad, Anthony; Interview, 2011

27 Hula dancer holding ‘ulï‘ulï. photo courtesy of Suzi Derryberry

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Sharing Aloha and Changing Young Lives

Gene

‘ Uncle Bucky’ Leslie By Karen Rose

KeOlaMagazine.com | March-April 2017

Gene Leslie, also known as ‘Uncle Bucky,’ was born and raised in Kona, yet unlike his Hawai‘i Island contemporaries, he found himself rubbing elbows with the rich and famous in the inner circles of Hollywood and New York City. Charming and debonair, Bucky exudes an air of class and confidence wrapped up in a blanket of aloha. Now 75 years old, he has the gracefulness of someone 25 years his junior and the smile of a mischievous teenager. Bucky’s story is one of a local boy with an adventurous, entrepreneurial spirit who sets out to see what the world has to offer. After graduating from Konawaena High School in 1961, Gene moved to Honolulu to attend the Church College of Hawai‘i. He studied at CCH for two years before transferring to Brigham Young University where he earned his Master’s Degree in Education and Psychology. While attending college on O‘ahu, 18-year-old Bucky was part owner of the Surfboard Hotel and the Lemon Tree Nightclub in Honolulu. The hotel mainly served military personnel during the Vietnam War. He remained part owner of the businesses after moving to the mainland to attend BYU, and after five years, sold his share of the businesses to his partners. At age 22, he moved back to Honolulu and opened seven successful clothing stores. During this time, Bucky juggled his business dealings and being the lead singer of a band who performed at the Kahala Hilton. “I loved being in the entertainment world,” said Bucky. “Being an entertainer in Honolulu was unbelievable. I was doing so many different things. I also worked for Aloha Airlines. I was one of the first male stewards. I was doing everything I could think of. I didn’t know where I was going or what I was going to do with my life.” “After college, I went to Los Angeles and taught for three months before realizing it wasn’t what I wanted. I went through the process of figuring out where I was going next and what I was going to do,” Bucky said. In the mid 1960s, Bucky was living in L.A. with his then partner who was the vice president of ABC television. They starred in an episode of Lifestyles of the Rich and Famous. “We lived in Beverly Hills and my lifestyle was crazy, but I never did drugs and still do not to this day. I don’t even smoke.” While pondering which road to take on his life path, Bucky called upon some friends in New York City whom

Bucky Leslie in the 1990s

KeOlaMagazine.com | March-April 2017

he met during his college days in Honolulu. “I was hanging out with the surfers in Waikīkī back in the 60s and they had taken a liking to me,” he recalled. “They told me that anytime I wanted to come to New York they would put me to work. I had no idea what kind of work they were talking about, but I called them up and they flew me out to New York.” It turns out, his friends were executives for Coppertone Suntan Lotion and groomed Bucky to become a model for their product. For the next 25 years he traveled, modeled, and promoted Coppertone. Based out of Los Angeles, he worked nine months out of the year with three months off. In 1970, feeling restless and bored during his annual three month hiatus, Bucky started volunteering at a flower shop in Van Nuys, California. “I became interested in learning the flower business when one Christmas Eve, I went into a flower shop to buy some yellow roses for a dinner party I was hosting,” he said. “The flower shop wanted $175 for a dozen roses and I said, ‘What? This must be a damn good business to be in.’ So I started volunteering at a flower shop called Natalie’s. Natalie was a great lady who taught me everything I needed to know about being a florist.” Natalie encouraged Bucky to buy a flower shop in Tarzana, California and this was the beginning of Bucky’s venture into the flower business, which later would develop into his Hawai‘i Island flower business, Flowers for Mama. He even had the opportunity to create French style bouquets for Jackie Kennedy. Bucky continued to work for Coppertone while letting his employees run the flower business. During his years with Coppertone, he worked with celebrities such as Merv Griffith, Johnny Carson, Julie Andrews, Bette Davis, Elizabeth Taylor, Jodie Foster, Joan Rivers, Lana Turner, and Engelbert Humperdinck, to name a few. Talking story with Bucky is like traveling back in time to 30

a star-studded era of glitz and glamour. His stories are as entertaining as the characters that play the roles within them. Gene recalled the time he was having dinner next to Lana Turner at La Dome on Sunset Blvd. “We used to go to La Dome in L.A. Those were the kind of places where she liked to hang out. I remember sitting at the table when the waiter came over. Lana asked for Kendall Jackson Chardonnay and the guy filled it up how you would normally fill up a wine glass. She looked at him and said, “Are you serious? Fill the damn thing to the brim, so you don’t have to come back that often.’ Now I use that line constantly.” “I also remember when John Lennon was shot. I had an apartment in New York in the same building, The Dakota. I was coming home from working in the Bahamas when I couldn’t get to my apartment building because it was all closed off. That’s when I found out my neighbor John Lennon had been shot. This was also about the same time I decided it was time to quit working for Coppertone.” After 25 years with Coppertone, Bucky was almost 50 and he decided it was time to come home to Hawai‘i. He returned to Kona in 1988 to take care of his aging parents and to open his business, Flowers for Mama. “It’s been 32 years ago now and it’s one of the most unbelievable businesses I have ever been involved with.” Bucky began his flower business by selling cut flowers from his mother’s garden on the side of the road. His first day of selling flowers roadside, he brought home $2000. Realizing he would soon deplete his flower source, he began searching for additional resources to access his product. “I went to Hilo and met all the flower growers. I looked like a haole and had an attitude just coming from the Mainland that people didn’t like. My sister, who looks Japanese, knew everybody and decided to help me. She took a couple of days off work and took me to all the vendors in Hilo and that’s the beginning of my flower business.”

Bucky with his husband, Richard Gouveia Jr.

Bucky dancing hula. At that time, Bucky was still selling flowers on the roadside and the county informed him he had three months to leave. Subsequently, he made calling cards and gave them to every person he came into contact with. He left the roadside business in 1990 and started working out off his basement at home.

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Is Hawaii Calling You Home?

Flowers for Mama became wildly successful and Bucky had his flower arrangements in every hotel in West Hawai‘i from the Mauna Kea Resort to the Sheraton Keauhou. After 30 years of business, he decided it was time to hang up his hat and start a new chapter in his life. He closed the doors of his flower business in June of 2016, yet still creates arrangements exclusively for the Mauna Kea Resort and Four Seasons Hualālai. In 2010, Bucky started going into the local schools to share his experiences of being an openly gay man, teaching kids there is no shame in being who they are and showing them they can lead successful and happy lives if they authentically accept themselves. Bucky and his late partner of 30 years, Richard Gouveia Jr., were one of the first gay couples to marry when the Hawai‘i Marriage Equality Act went into effect. They married on January 1, 2012 at 12:01 am. “I want to teach kids to love themselves and be honest with themselves,” he said. “It doesn’t matter what anyone else thinks. It’s what you think and how you feel about yourself that matters. This needs to be taught in schools because there are a lot of kids that are troubled by their sexuality and many teachers don’t know how to help. We have so many teenage suicides and it’s because they don’t feel accepted or they can’t accept the fact they are gay. I’m 75 years old and I want to show these kids that they can achieve anything they want in life. If I can do this, anyone can do this.” Upon returning to Kona, Bucky became more engaged in community affairs when he became president of the Association of Hawaiian Civic Clubs on Hawai‘i Island. He began sitting on different state committees and working with

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the Hawai‘i State Legislature before deciding to run for office himself. “I don’t know what gave me the blooming idea to run for House of Representatives, but I tried it and it wasn’t my game, so that was that.” Today Bucky enjoys spending time with old friends, and has recently taken up golfing. He enjoys reminiscing with whom he calls the ‘Old Timers’ from the 1960s. “I recently had a luncheon in Volcano with my Hawaiian friend who invited all the old timers from the 60s who are still alive. Most of them are deceased now, but there are about five of us still around. One of them was in his late 80s and we were all laughing and having a great time. We all experienced the entertainment world during the same time, and oh my gosh, the things we did! We need to share these stories with today’s kids so they will know what Hawai‘i was like back then. No one could tell us what to do at that time. The 60s were the best and I have never regretted how I lived through it. When you sit down with the older generation, all of these great stories come back.” At 75 years old, Gene ‘Bucky’ Leslie is full of life and character. He is an inspiring example of how being adventurous and having self-confidence opens doors and offers opportunities. “I think the number one thing is to know yourself and love yourself, then you can share it with others. That is the greatest gift I can share with everybody. There are people in life who are not accepting of others and that’s their problem. Life is too good to allow yourself to be shut down by other people. It’s how you feel about yourself that is important.”

KeOlaMagazine.com | March-April 2017

Photos courtesy of Gene ‘Bucky’ Leslie Contact writer Karen Rose: island.girl.rose@gmail.com

A Hilo Cultural Treasure on the Music Scene

By Paula Thomas

hey have stepped forward as keepers of the future flame, this band from Keaukaha. Called Komakakino, the band is a foursome that performs and entertains with traditional Hawaiian music from days of old. And they are simply, sweetly amazing. The band’s name is a lyrical blend of the founding members’ first names: Koma, Namaka, and Kinohi. It seems fitting, as these three young men have been dancing hula together in the hālau of Kumu Paul Neves for years and have known one another since childhood. Namaka and Kinohi both attended Ke Kula ‘O Nawahiokalani‘ōpu‘u while Koma attended Kamehameha Schools. Yet it wasn’t until 2010 that they came together to play music; to blend their passion, their culture, and mana‘o (ideas) and bring it forth for stage-ready entertainment. They are like brothers, so comfortable in their skin in one another’s company. It’s this ease in togetherness that you can feel when they perform. For all of them, music played a strong role in family life. Mostly it was exposure to music from elders who either performed themselves or participated in musical events. Love of music sharpened their ears for listening to everything in a song: how the voice modulated, where and how the emotion came forth, chords, rhythmic structure, and the wholeness of the musical experience. With very little formal training as musicians, they learned mostly by listening and experimenting. Koma, whose full name is Kyle Reid Koma Wana, is the seasoned instrumentalist. He came to the group already playing guitar and ‘ukulele and taught Namaka (Michael-John Kekeikiinamakaho‘olili De Mello) and Kinohi (Kinohi Pukaua o Kamehameha Neves), the son of Kumu Paul Neves. Now, each not only play guitar and ‘ukulele, but also bass, thanks to sessions with musician Kuana Torres Kahele. They

Komakakino at the Kona Coffee Festival, 2015. Front to back: Kinohi, Namaka, Huliluna, Koma laugh about the process of learning the bass and having a hard time plucking strings with not-calloused-enough fingers. Christian, James Christian “Huliluna” Wadlington, is the fourth member who joined the band about three years ago. His gifts with steel guitar round out their Hawaiian sound. As their voices blend seamlessly together in falsetto harmonies, they are equally unified with instrument exchange in any given song, with the exception that Christian is always on steel guitar. With the singing, as Namaka noted, “you can express what you feel without actually saying it.” Their inimitable talents blend in service to performing traditional Hawaiian music, the brand of this band through which they honed their sweet falsettos, choral-like unity, and gentle, flowing sound that seems to come from the depths of their soul. And while they are on a mission to preserve and re-popularize this fabulously rich and iconic music, these artists also appreciate jazz and rock music from the 60s and 70s and have expanded their repertoire to include a range of cover songs. (I was treated to a rendition of Luther Vandross’s "If Only for One Night" in their distinctive style.) They’ve also stepped forth to write original music. “That’s hard,” notes Koma, who feels more comfortable composing music than lyrics. But when they are making

KeOlaMagazine.com | March-April 2017

Komakakino with Kumu Paul Neves (far left), and his wife, Wanda Mokihana (far right)

Steampunk Pele mural at Kukuau Studio. photo by Andreas Knuttel

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Hälau annual Christmas Party, January 2016 something original, they all work together. Their second CD, E Nipo Mai, is inspired by Mauna Kea and an experience they all had on a pilgrimage up to the summit to pray.

KeOlaMagazine.com | March-April 2017

A Distinctly Hilo Style

Kuana Torres Kahele, originally from Pi‘ihonua, Hilo, commends and celebrates the uniquely Hilo sound of Komakakino in his tribute to the band: “There is something about growing up on the slopes of Mauna Kea that humbles a person. The mountain creates a perspective from which you measure yourself and shelters you from all of the impurities of the outside world.” It is this sheltering that may be what has contributed to a distinctly Hilo sound in Hawaiian music, and Komakakino has it. Kuana Torres Kahele remains an inspiration to the group because of his vocal and composition skills and his unique, outof-the-box perspectives. “I am so optimistic for the keepers of our future flame. It is this passion and originality that has defined our community and elevated our sound. No one exemplifies this uniqueness more today than Keaukaha’s own Komakakino. Hilo’s offering of simple greatness in an overcomplicated, often duplicated world.” “Simple greatness” is a phrase to ponder, to consider for its

Hälau performance at Uncle Robert’s Awa Bar in Kalapana, Spring 2016

meaning. For while everything about Komakakino feels easy, open, humble, joyful, like a healthy and congenial camaraderie, there is something also profound in this togetherness. There’s an intimacy there and a respect that stems from the deep roots of the music and their mission to preserve this aspect of their Hawaiian heritage. Unlike the performers of old who may have performed the same songs, the members of Komakakino understand every word they speak. They are aware of the hidden meanings in the lyrics, the way the words play with references to beauty and love. And with that knowledge, they can feel through the song to connect emotionally to the audience. When I spoke with them on a Wednesday, the night they typically rehearse, we just sat on the lānai and talked story while Kumu Paul listened in from the adjacent room. The love and aloha shared between these men is palpable—an organic, brotherly connection between them all. And despite the fact that Christian wasn’t able to be there in person, he was included in conversation as though he was there. It was Kumu Paul who recruited Christian during one of his walks in Lili‘uokalani Park in December of 2013. Christian was sitting on a bench playing steel guitar with a friend on his birthday. Kumu Paul, drawn to the music, ventured over and

Performing for a private wedding at the Old Kona Airport pavilion, Summer 2015 KeOlaMagazine.com | March-April 2017

stood behind him. Next, Kumu Paul got on the phone with his son, Kinohi. Kinohi found himself listening to steel guitar music having no idea why. Christian showed up at the band’s gig—the County of Hawai‘i building for a Christmas party. As he tells it, “I chose to wear black shorts and a green aloha shirt that matched the band’s uniform choice for that evening. I couldn’t believe I was jamming with such talented Hawaiian musicians. It was a dream come true. That dream was a large part of what brought me to Hawai‘i in the first place.” He has been with the band ever since. The nickname “Huliluna” stems from Kumu Paul who, wanting the steel guitar to be louder, told Christian to “Huli Luna! “Turn it up!”

KeOlaMagazine.com | March-April 2017

A Mission to Entertain

Kumu Paul plays a quiet, guiding role in the band’s development. Just as he sat in the adjacent room to listen, he is ever watchful of the band as they develop and evolve as musicians, performers, and entertainers. “Komakakino is not just a band that performs. They have to also entertain,” he says. “Otherwise, they are just a group of men singing on a stage, and that’s not so interesting,” he says. “When you dance hula, you have to connect your body and your feelings to the audience. It’s all about the relationship with the audience. With Komakakino, it’s the same. There has to be some connection with the audience through the music,” he states. “It’s all about that connection.” It’s a common understanding that an appreciative audience will stay for an entire performance. On the other hand, when a performance dissatisfies, it’s not uncommon for people to walk out. “Hawaiians vote with their feet,” Kumu Paul explains. “We may not be great at the polls, but we are good at judging performances, and the kūpuna will walk out if they don’t like what they are seeing. No one walks out when Komakakino is playing,” he notes. “They are the best bridge between the older generation and the younger generation through their music.” And have that distinct Hilo sound. In 2017, they are working on more opportunities to perform locally. For now, they are regulars at the Hilo Hawaiian Hotel during Merrie Monarch Week, at Moku Ola (Coconut Island) on Kamehameha Day, and at Lili‘uokalani Park on the birthday of Queen Lili‘uokalani. They play at weddings, funerals, parties, and festivals. As busy as they can be, none of them expect to make a living through the band. “It’s hard these days to make a living as a musician and performer,” Kinohi says. “We all have regular day jobs.” It was exciting to learn that their comfort level with one another and growing confidence is manifesting in more improvisation, the occasional musical solo during performances, and more original writing. This is the arc of a maturing band. “We want to be like the Beatles,” Kinohi says with a wry smile. “We also want to connect with people through the music and remind them of what to hold on to.” When it comes to getting out there as performers, Komakakino has two CD’s out. The first is ‘O Kēia Ka Manawa, the second is E Nipo Mai, produced by Jaz Kaiwiko‘o and released through his record label, The Lahui Project. Kumu Paul is the Executive Producer and main decision maker for the band, overseeing the financing, supporting the vision setting for the sound, the look of performances, and the production and marketing of the CD’s. He is a cultural practitioner who emphasizes Aloha as a lifestyle within a hālau setting, with ‘ohana (family), alaka‘i (leadership), and lōkahi (unity) as a foundation for communal expression. Kumu Paul has a goal of making a difference in the world today through the practice of Hawaiian culture and values. His leadership leaves the band to do what they do best—to create music and continue to hone and polish their technique and talents for entertaining. It’s all about connecting with the audience—and as young as these band members are, let’s hope they will be able to this for years and years to come.

Photos courtesy of Komakakino Contact Komakakino: 808.937.8575; nahalauhaaokea.org Contact writer Paula Thomas: paula@delphipacific.com Komakakino’s CD Playlists ‘O Kēia Ka Manawa - First CD released in 2013 Makana o Keaukaha Kiss Me Love Palani Hula Ke Kali Nei Au ‘Eulopa Kou Maka U‘i Ke Aloha Kupaianaha

‘O Kēia Ka Manawa Poli Anuanu Nāhikulani Kūpuna Party Tusitala Kūwili Keaukaha Ku‘u Home Ia

E Nipo Mai - Ranked #11 on the mele.com top 50 albums of 2016 Ho‘onanea Na Hua Kawahineha’aheo Komokakino Medley E Nipo Mai Ka‘ina

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Komakakino’s Free Performances in 2017 Last Friday of every month: 5pm–7:30pm, Grand Naniloa Hotel, Hilo April 21st: 1pm–3pm, Hilo Hawaiian Hotel, Merrie Monarch show, Hilo June 11th: 1pm–2pm, Moku Ola/Coconut Island, Kamehameha Day, Hilo September 2nd: time TBA, Lili‘uokalani Day (free to the public), Hilo November 11th: 5pm Hilo Palace Theater, Hālau Presentation for Queen Lili‘uokalani Celebration of Life (tickets required), Hilo

KeOlaMagazine.com | March-April 2017

Performing for a wedding at the Nani Mau Gardens, July 2016

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“To me personally, we all are spiritual beings having a physical experience on this planet,” says founder Mary Rose Krijgsman. “It’s true for people and I also think it is true for animals. With animals you very much see that the intelligence is in the heart.” A native of the Netherlands, Mary Rose got the idea of starting a no-kill animal sanctuary in 1999 after visiting Best Friends Animal Sanctuary in Utah. After she and others formed a non-profit group and bought the Kurtistown property, Rainbow Friends Animal Sanctuary officially opened in May 2001. Within seven months they were caring for 50 dogs and 75 cats. As a no-kill facility, when Rainbow Friends Animal Sanctuary takes in a cat or dog, they do so with the knowledge that they’ll meet the needs of that animal for the rest of its natural life. Animals here are not euthanized if a home cannot be found for them. Over the years, the group has grown, as have the number of animals it cares for. Today there are nine catteries with 25 cats per cattery. Dogs are housed in large kennels complete with custom-built dog houses and other dogs for companionship. Dogs are housed depending on their situation and temperament. For instance, Eva, a small black and white terrier, was left at the sanctuary pregnant and her hind legs paralyzed as the result of being hit by a car. The team at Rainbow Friends cared for her during her pregnancy and found homes for her puppies when they were old enough to be adopted. One of

KeOlaMagazine.com | March-April 2017

t’s a typical Monday morning for Mary Rose Krijgsman and the crew of dedicated volunteers who are busy feeding the more than 250 cats and 78 dogs plus several chickens and pigs at the Rainbow Friends Animal Sanctuary in Kurtistown. Everywhere they go on the seven-and-a-half-acre property they are met with a chorus of meows and barks from the grateful residents of the facility. It’s a daily chore that takes hours and no small amount of pet food. Any given month, the animal sanctuary goes through 1,125 pounds of cat kibble (an entire pallet of 45-pound bags from Costco, each bag weighing 25 pounds); 480 large cans of wet cat food, 2,250 pounds of dog kibble and 300 large cans of wet dog food. After feeding the animals, the staff and volunteers tend to the emotional, spiritual, and mental needs of every animal. Some volunteers take dogs for walks, others play with the kitties. Still others groom the animals, do “pooper scooper” duty, and help out in the office or any of the number of chores that come with the daily care of 325+ animals. Even with a staff of five and roughly four-dozen volunteers there is always work that needs to be done and more volunteers are always welcome. Petting cats and playing fetch with dogs may not sound like work, yet it is vitally important to the well being of the animals at the sanctuary, helping their socialization as they await adoption. It is this caring for an animal’s four elements of needs: emotional, spiritual, physical, and mental on a daily basis that is at the very heart of Rainbow Friends Animal Sanctuary.

Mary Rose holding one of Rainbow Friends greeter cats on the front porch of the adoption cottage.

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KeOlaMagazine.com | March-April 2017

Dogs are pack animals. Decades of research show dogs need to be with their pack, meaning their humans, to be healthy and happy. Even people who love animals sometimes don’t know what proper care for their dog means. Maybe they are raised in a family or had friends who left their dogs crated or chained in this manner and they thought it was okay.

the volunteers built a wheelchair for Eva to aid in her mobility. She has a sweet disposition and curiously greets everyone that enters the pet clinic that encompasses the first floor of the Sanctuary’s main building. “Our animals come from a variety of directions, from abuse or neglect,” says Mary Rose. “They come from homes that have too many animals or from homes whose people are moving to another island or state and are not able to take the animals with them.” In some cases, the owners have died. Upon intake by the shelter, cats and dogs go through similar steps. Dogs are taken to a veterinarian to get a heartworm test and a physical. They are then started on a deworming program, flea and tick preventative and heartworm preventative (or heartworm treatment if it’s determined that they are heartworm positive.) Cats go through a similar process, going to the vet for a physical and in their case, are also tested for AIDS and feline leukemia. Mary Rose says those cats that are FIV positive (a disease similar to AIDS in humans) are housed in a separate cattery just for FIV cats. Based on the dog or cats age and gender, they are then spayed or neutered and microchipped. Volunteers clip the nails and clean the ears of the dogs and cats and treat them for any skin conditions. Once the dogs and cats go through their health screening and grooming, they are then assessed to determine their adoptability based on socialization, eagerness to be with a person, as well as age and health. “A lot of them are adoptable,” says Mary Rose, noting they have cats and dogs in a variety of sizes, ages, and breeds. “For the right person every animal is adoptable.” “Even the more difficult ones are adoptable,” says Mary Rose. “We have dogs that are not good with cats so they are very adoptable to people without cats. Likewise, we have some dogs that would be better off as the only dog in a household, because they don’t get along well with other dogs. We have semi-feral cats that would be great on a farm as mousers.” Mary Rose says there is hope even for feral cats and dogs. “We’ve seen feral dogs and feral cats become totally tame.

Abuse leads to aggression. Chained dogs can become aggressive and will bite to defend their tiny territory. Both keiki and adults have been attacked, even killed, when they enter a chained dog’s tiny territory. Be part of the movement to pass a law to prevent this abuse through guidance and education. Find out why chaining and crating a dog is animal abuse. Join the voices speaking up for dogs. Stop Hawaii Dog Abuse! Please LIKE the Stop Big Island Dog Abuse page on Facebook for live updates on Bills currently being heard during the 2017 Legislative Session. For more information go to: StopHawaiiDogAbuse.com

One of the 78 dogs at Rainbow Friends Animal Sanctuary waiting to find their forever home.

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Our domesticated cats and dogs teach them that it is ok to be touched and sit on a lap.” Staff and volunteers work hard to find permanent homes for all the animals at the sanctuary. The facility is open to the public for adoptions daily from 10am to 3pm and holds monthly adoption events at Aloha Pawz in Hilo. Plus twice a year Rainbow Friends holds large adoption events at the sanctuary complete with tents and festivities during which they offer two for the price of one adoption. The regular cost of dog adoptions is $75 and cats are $45, which covers vaccinations, deworming, spay/neuter, flea and tick treatment, and microchipping. People interested in adopting an animal can spend time with a prospective pet at the adoption cottage in order to get to know an animal before they adopt him or her. Built in 2012 with funding from a grant given by the Petco Foundation, the adoption cottage simulates a living room environment with a sofa, table and chairs. “People can bring an existing pet to see if it gets along with a cat or another dog,” says Mary Rose. If people already own a dog and are looking to adopt a companion for that dog, they can go play at the “pond”, an enclosed park-like setting complete with a small pond and covered pavilion in which dogs can spend time playing and getting to know other dogs. Before adopting out a dog, the staff from Rainbow Friends conducts home checks to see the life that the adopted dog is going to have. “We want to prevent future chaining of an animal,” says Mary Rose, noting that they will not adopt dogs

Volunteer Devon Bowen playing fetch with Yoda, who suffers from a fungal infection.

out to be used as hunting dogs. “We want to see if the dog will be an indoor or outdoor dog and help people with suggestions as to what will work well for a dog in their new environment.” She stresses that having a fenced property is not mandatory. Home visits are not required for cat adoptions, although new owners are required to keep the cat inside for two weeks so the animal can get accustomed to its new home. Because they are a no-kill sanctuary, Rainbow Friends can only take in animals as space allows, which makes finding homes for animals already at the sanctuary imperative.

The group works with other animal rescue and foster groups on Hawai‘i Island and is actively seeking people willing to foster dogs and cats. Foster volunteers take care of a particular dog or cat, usually kittens and puppies, in order to help socialize animals and aid in them finding a new home. “We’ve taken in animals from across the island and we adopt out to all the [Hawaiian] islands and other states on the mainland and even Europe.” They are also looking for volunteer dog trainers to help train the current dogs at the sanctuary in order to aid the dogs in their chances of being adopted. To that end, some volunteers bring dogs to the Kukini Dog Agility Club in Hawaiian Acres every week to help the dogs be socialized and trained. Mary Rose says pet overpopulation and backyard breeding continue to be an issue. The group offers low-cost spay/neuter clinics for cats and dogs on a monthly basis and has spayed or neutered more than 1,250 cats and dogs per year. They also do outreach in the schools to teach children about pet care. There is also the continual dual challenge of caring for increasing amounts of animals while trying to find funding for their care. There are times when the sanctuary cannot take in animals because they are at capacity, however that doesn’t stop people from dumping animals or even, in some cases, leaving the animals tied to the sanctuary’s front gate in the middle of the night. While the sanctuary receives grants for larger projects, such as the adoption cottage and the spay/neuter clinics, the group relies heavily on donations for daily operations. “It’s very difficult to get grants for general operations,” says Mary Rose. “Food and vet requirements are two of our biggest

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KeOlaMagazine.com | March-April 2017

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Left: Stained glass window in the Rainbow Friends Adoption Cottage. This stained glass piece of art was made by Linda Brooks, one of the volunteers at Rainbow Friends Animal Sanctuary. Each animal depicted in the window was a long-time resident at the animal sanctuary. Center: Mary Rose with volunteer Kathy Buono. Right: Volunteer Sharon Caldwell playing with kitties in one of the catteries.

needs,” says Mary Rose. “We receive donated dog kibble and donated wet food from people and stores around the island. It’s very, very helpful,” says Mary Rose of the community support. She is also tremendously grateful for the dedication and loving care shown by the volunteers over the years. The staff and volunteers of Rainbow Friends continue to strive to end pet overpopulation.

“Our vision is a no kill Hawai‘i,” says Mary Rose, “that is all the islands of Hawai‘i do not euthanize for reason of overpopulation.” As the dedicated group of staff and volunteers work towards that goal, they continue to provide loving care to all the animals at the sanctuary while encouraging more people to foster and adopt furry friends.

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For more information on Rainbow Friends Animal Sanctuary, become a volunteer, or to make a donation, go to rainbowfriends.org. Rainbow Friends is in need of: • Volunteers: dog walkers, play with kitties, cattery cleaning, dog trainers who can help train dogs in basic commands, and fosters who can care for animals in their home while they await adoption. • Towels • Six-foot long dog leashes • Medium size dog collars • Tidy Cats cat litter • Pedigree dog food (they go through 75 pounds of dog kibble and 10 large cans of wet dog food a day). • Kirkland brand dry cat food Contact writer/photographer: Denise@DeniseLaitinen.com

In addition to cats and dogs, Rainbow Friends also cares for pigs and chickens.

One dog’s story–How an ‘unadoptable’ dog found her forever home By Denise Laitinen

Even the most unadoptable of dogs can find loving homes if given a chance. The dog I adopted from Rainbow Friends Animal Sanctuary is proof of that. Winnifred’s situation is also proof of the difference volunteers can make at Rainbow Friends. In Fall 2009, I came across a picture of Winnifred, a large Rottweiler mix that had recently been taken in by Rainbow Friends. When I visited the facility to inquire about adopting her, I was told that she was not considered adoptable and would remain for the rest of her life at the sanctuary. Her previous owner had kept her on a chain staked to the ground for years and then left her at the sanctuary. She had never been inside a house, never been given affection, nor exercised and was heartworm positive. Rottweilers are by nature a strong breed and having had no training or affection her entire life, she was a force to be reckoned with both on and off leash. Six months later, I happened to run into a volunteer from the sanctuary who remembered my interest in Winnifred. She said a dog trainer volunteering at the sanctuary had achieved dramatic results training her. I visited Rainbow

Friends once again and the change in Winnifred was startling. Thanks to the efforts of an experienced dog trainer volunteer and the caring staff, Winnie now knew basic commands and was leash perfect—no pulling, no tugging. After bringing my other dogs to the shelter for a “get to know you” visit, I wound up adopting Winnie. For the first time in her life Winnie knew life inside a home. She quickly took to my sofa and bed—and at 120 pounds she literally took up most of the bed! Winnifred turned out to be a big love bug and despite her size, thought of herself as a lap dog, trying to sit on my lap while I typed away at my computer. She loved playing with toys and other dogs. To her, everyone was her friend and she greeted them all with a smile and wag of her tail, not realizing some people were scared of her because of her size. Winnie taught me not to judge a book by its cover and that love and training can make remarkable transformations. She was a loving dog who saw the best in everyone despite coming from a background of neglect. Not all the animals at Rainbow Friends are adoptable, but Winnifred is proof that positive reinforcement, good training and lots of affection can result in a happy, long-term adoption. Sadly, Winnie died suddenly about a year and a half after I adopted her. Although my time with her was not nearly as long as I would have liked, instead of spending her life at a shelter, Winnie knew the dog joys of car rides, swimming at the beach, and naps on the sofa.

Managing with aloha

BUSINESS

With Külia i ka nuÿu, We Strive By Rosa Say Külia i ka nu‘u translates to “Strive for the summit.” It is a value of accomplishment through effort. Sixth in Series Two on Managing with Aloha

Be specific in every endeavor you take on: Name your peaks, and describe them for your own visual and tactical purposes. We’ve done this with our “Aloha Intentions” in this Ke Ola Magazine series as; Peak 1: Living with Aloha Peak 2: Working with Aloha Peak 3: Speaking with Aloha Peak 4: Managing with Aloha Peak 5: Leading with Aloha

Külia i ka nu‘u visioning and project-mapping at a recent Managing with Aloha workshop Kūlia i ka nu‘u was chosen for our Language of Intention because it encompasses Ha‘aha‘a as well, the value of humility. Ha‘aha‘a teaches us to groom our character as good leaders and better managers with “a humility stemming from the utmost respect for others. There is nothing noble in being superior to someone else; true nobility is in being superior to your previous self, modestly and humbly open to growth learned from others… no individual can satisfy every need, and all in a ‘Ohana in Business are needed.” Yet Kūlia i ka nu‘u also recognizes that individuals must work at being their best, and at contributing excellence to KākouLōkahi teams which then benefit from positive contagiousness, where excellence permeates everything a team will do. Kūlia i ka nu‘u is a value employing and directing the great abundance within human capacity. It trusts that we are always able to strengthen our capacity through acts of striving. Choose Kūlia i ka nu‘u as your value of excellence and achievement, and you choose human possibility. Next issue: We revisit Ho‘okipa, the value of hospitality and service. Contact writer Rosa Say: RosaSay.com or ManagingWithAloha.com

KeOlaMagazine.com | March-April 2017

There are three different Hawaiian words used for the value of excellence and achievement in Hawai‘i today: Kela, Po‘okela, and Kūlia i ka nu‘u. It’s a very good example of how kaona, the hidden meanings often employed in ‘Ōlelo Hawai‘i, our language, affects what we do, by extension of what we actually mean when Speaking with Aloha, our 3rd Aloha Intention. Kaona, however, can be tricky. Good business takes fewer chances. Alaka‘i Managers prefer the deliberate and well-defined Language of Intention in communication, Managing with Aloha’s 5th key business concept. They understand how important a leader’s choice of vocabulary can be. We ‘walk our talk’ by having clearly understood talk to begin with. We marry implicit to explicit. According to the Hawaiian Dictionary by Mary Kawena Pukui and Samuel H. Elbert, Kela is “excelling, exceeding, projecting beyond, reaching high above” and in kaona can imply the ho‘okela of “outdo… show off… show preference… superior, vain.” This is quite different from Managing with Aloha’s relationship coaching within Kūlia i ka nu‘u’s value aligned practices, wherein “comparison and competition serves no purpose if its only goal is to leave someone else behind… strive to be your best, not just better than someone else.” Pukui and Elbert define Po‘okela as “foremost, best, superior, prime, outstanding, greatest, supreme, utmost, superlative,” referring to achievement in its past tense more than its current effort. In kaona, po‘o is more about one’s head, and is directed toward intellectual pursuits and mental effort. In comparison, we’ve chosen Kūlia i ka nu‘u for the Managing with Aloha philosophy, on mission with “bringing Hawai‘i’s universal values to the art of business,” to be a value of accomplishment through effort—through kūlia striving, and the exertion of physical and mental effort which strengthens one’s Ho‘ohana, one’s intention for worthwhile work. Emotional and spiritual efforts round out our essential capacities, and often come into play as well. Values are connected to good intentions; they are the principles, beliefs and convictions which drive our better behaviors and our best decision-making. Therefore, I would suppose those who prefer to choose Kela or Po‘okela as their value, have those good intentions as well—both choices are certainly shorter, easier to say and remember than Kūlia i ka nu‘u! In my mana‘o, as career manager, and the author and coach of Managing with Aloha, Kūlia i ka nu‘u was far more complete and comprehensive. As Kūlia i ka nu‘u’s inherent analogy to mountain climbing, “strive to reach the summit” became a highly useful visualization for coaching Ho‘ohana within workplace culture. In this analogy, Alaka‘i Managers are encouraged to kūlia sequentially and consequentially.

For example, project work could be outlined as; 1 st peak to climb: Why and What—Design a good plan. 2nd peak: Who and How—Work on your communication, relationship and partnership with co-climbers. 3rd peak: When and How—Transition your plan and coworking readiness into managed with Aloha actions on-target with mission. 4th peak: Where and How—In all choices and decisions, be true to your values as you work and strive. Align well, and you enjoy the climb.

KeOlaMagazine.com | March-April 2017

Resilience is the New Sustainability By Michael Kramer, M.Ed.

It’s been 30 years since the United Nations Bruntland Commission put sustainability on the global map of consciousness. Has it taken hold here in Hawai‘i? Ten years ago, Hawai‘i created the Hawai‘i 2050 Sustainability Plan, which involved 10,000 people throughout the state in articulating goals to improve our lives in areas such as jobs, housing, education, health care, culture, and the environment. The results of the public opinion polls then indicated that 80% of the population viewed sustainability and the “triple bottom line” for business as key to Hawai‘i’s future. Specific priorities identified were local food, renewable energy, water conservation, recycling, green business, and biodegradable products. Since that time, the world as we know it has changed considerably: the effects of climate change have been astonishing, with additional threats looming, especially for coastal areas; economic inequality has exacerbated; radical political thought and policies on the left and right have emerged; the cost of living in Hawai‘i continues to increase; and social justice and sustainable living have become quite mainstream, including on this island. One could argue that in the 30 years since sustainability first emerged that it has finally taken hold in Hawai‘i. But the question remains, does it go far enough? The embrace of sustainability’s tenets has largely been slow and gradual, even though the trend has been positive. Do we have enough time

to continue to progress slowly in this regard? Moreover, given that the future is volatile and highly uncertain; would it not be prudent to prepare for a variety of possible future scenarios that may affect us at both the personal and community level? It is for this reason that resilience may be the new sustainability as an organizing principle for how to live on this island. Whether you’re a Doomer or a Dreamer or somewhere in between with your worldview, it seems prudent to be ready for anything, because we can’t foretell the future. However, it is clear that we are quite vulnerable here in the middle of the Pacific, where imports prop up our society, and as such the affects of sea level rise and severe weather can have significant impacts on our capacity to import goods from elsewhere and thrive. This only further illustrates the imperative of island selfreliance. As such, it is critical that we focus on ways to produce more of what we need to survive here rather than expect the supply lines to be maintained without disruption. For the past 10 years, this has spawned great interest in island self-sufficiency in key aspects of our lives: food, water, energy, and shelter. While the state and local government have taken this challenge seriously, it remains to be seen whether or not the private sector and the general public will also take these issues seriously. Most people don’t change their behavior unless forced to do so, so planning ahead isn’t an automatic disposition for most people, however

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that doesn’t negate the importance of continuing our island’s path towards a regenerative way of life. Let’s look at our island’s recent progress in sustainability efforts. In 2012, according to the county food self-sufficiency baseline study, estimates were that Hawai‘i Island produces roughly 95% of the fresh milk, 17% of the fresh beef, 51% of the seafood, 34% of the vegetables, and 32% of the fruit consumed on the island. In actuality, not much has formally changed with these statistics in the past five years, but initiatives are underway to address that. Investment group Ulupono Initiative, launched by eBay founder Pierre Omidyar, has invested over $60 million on Hawai‘i Island alone in agriculture, aquaculture, and energy waste recovery in endeavors such as ‘Ano‘ano Farms, Paniolo Cattle Company, BioEnergy Hawaii, Blue Ocean Mariculture, and the Hawai‘i Island School Garden Network. Meanwhile, a lot of the innovation is coming out of North Kohala, which is the only district on the island to have declared a goal of 50% food self-sufficiency. Hawai‘i County, for

KeOlaMagazine.com | March-April 2017

One of the Hawai‘i Island School Garden Network programs. photo courtesy of Nancy Redfeather

example, helped support The Kohala Center in launching the Hawai‘i Food Producers Fund using the Kiva.org peer-to-peer lending platform, which allows local residents to crowdfund local farmers up to $10,000 for three year terms at no interest. The Kohala Center also created a Beginning Farmer-Rancher Development Program to train new farming families in the Hāmākua district to create viable jobs and businesses for the younger generation. The County also supported Kahuā Pa‘a Mua’s Kohala Swine Integrated Project, a youth run micro-enterprise project that uses the natural farming method to create businesses raising pigs in an environmentally conscious way. The Kohala Institute, meanwhile, is in the process of restoring the 2400 acres of ‘Iole to a functioning ahupua‘a (land division) system, where three vegetable, kalo, and fish farms are attempting to demonstrate the sustainability and viability of local food production in one ecosystem. HIP Agriculture provides an in-depth residential Farm Training program on its 7-acre permaculture farm near Pololū Valley, while the Hawai‘i Homegrown Food Network has been facilitating a Ho‘oulu ka ‘Ulu (Revitalizing Breadfruit) for several years, primarily by harvesting wild ‘ulu in West Hawai‘i and helping develop consumer and restaurant interest in the crop along with incubating value-added products. An integrated farm hub, Hamakua Harvest, is under development in Honoka‘a, while the Kohala Village Hub is fast becoming a center for food, arts, ecology, and culture. On the energy front, when the Hawai‘i County Energy Sustainability Plan was passed in 2012, 46% of the island’s energy was generated from renewable sources. Today, we’re closer to 50%, and Hawaiian Electric is still seeking a

NELHA’s Ocean Thermal Energy Conversation facility. photo courtesy of Laurence Sombardier

Contact writer Michael Kramer: michael@naturalinvestments.com

Beginning Farmer-Rancher Development Program. photo courtesy of Melanie Willich

KeOlaMagazine.com | March-April 2017

provider for an additional 50 MW of geothermal power for the grid. Meanwhile, the Natural Energy Laboratory of Hawai‘i is developing a 1 MW Ocean Thermal Energy Conversion plant, and Big Island Biodiesel is producing over 5 million gallons a year of biodiesel, which is half the demand for diesel fuel on the island. Our County government has been leading the way in sustainability in its own operations. In the past 5 years, the county has: • Installed a 3 MW wind farm for the Department of Water Supply, expected to save ratepayers up to $1 million/year • Installed 12,000 LED street lights and 1000 LED lights in county facilities, delivering savings of up to another $1 million/year • Shifted its vehicle fleet to electric vehicles and biodiesel, and installed 50 electric vehicle charging stations • Through energy efficiency performance contracts, the county is also expected to save over $8 million over the next 10 years in utility costs for its facilities The County is currently working to develop a hydrogen fuel production facility and intends to power public buses with this clean fuel, and it is facilitating installation of another 7,000 LED street lamps installed at parks, homeowner’s associations, resorts, and shopping centers. In the realm of green building, several significant LEEDcertified projects have been completed in recent years, including the Hawaiian Language Building at UH-Hilo and the State base yard in Kona. In the realm of green business, the Kona-Kohala Chamber of Commerce remains the only chamber in the state to offer a recognition program for members who set high standards of integrity, commitment and respect in their engagement with employees, customers, community, and the environment. Its Kuleana Green Business Program, which I founded 11 years ago require businesses to demonstrate ethical and sustainable policies and procedures to earn kuleana status. These are only a few examples of some of the important and innovative sustainability initiatives happening on Hawai‘i Island. Of course, the simple truth is that everyone can adopt new practices that contribute to a regenerative island lifestyle. Through our actions, and through our advocacy ad expectations of business, educational institutions, government, and the nonprofit sector, we can all accelerate the adoption of sustainable approaches on Hawai‘i Island through a variety of activities: • Buy from locally-owned businesses, as money spent this way circulates more on island before leaking away, which creates jobs here • Shop at businesses that take good care of employees, customers, the community and the environment • Save money in local financial institutions such as credit

unions—the money is loaned only to on-island members, which grows local businesses and does not support unsustainable enterprises • Invest in local businesses. Participate in the island agriculture microloan programs or form a hui (organization) and support other worthy businesses using sound due diligence processes (examples can be found at local-investing.com) • Join Hawaiian Ola, Hawaiian Legacy Hardwoods and Natural Investments as Hawai‘i Island Certified B Corps, beneficial corporations meet rigorous social and environmental operational standards akin to LEED standards (bcorporation. net) • Incorporate in Hawai‘i as a Sustainable Business Corporation, thereby agreeing to operate in the interests of the community and environment as well as the owners (sahawaii. org/p/sustainable-business-corporation.html) • Join the Kona-Kohala Chamber of Commerce’s Kuleana Green Business Program • Participate in efforts to establish food and energy independence, either at the home, neighborhood, or community level • Embrace a meaningful career or volunteer service that makes a positive difference to the people and environment of this island • Shop from socially and environmentally conscious corporations. Check out GreenAmerica.org and GoodGuide. com for a helpful app that rates major companies along these lines • Advocate for the preservation of natural ecosystems through the county’s set-aside of 2% of revenue from property taxes to purchase sensitive and important lands for public access and use • Develop a strong social network that can be tapped in case of natural disasters or other physical or financial disruptions in your life • Participate in community events and civic affairs, letting your elected officials know how you feel about your priorities; and • Remember that on a spiritual level, that we are all connected, and that all our actions on this island affect one another. Creating a resilient way of life based on the principles of sustainability requires that we expand our way of thinking to be ready for any possible future scenario, and in a way that there is simplicity about living consciously and integrating the ethics of caring for people and the environment in everything we do. If we wish to thrive as an island society, our priorities need to focus on growing the local green economy to assure a reliable supply of what we need to survive.

Hula is Pleasing Because of the Drummer D

By Leilehua Yuen

KeOlaMagazine.com | March-April 2017

ancers gliding, hands gracefully depicting misty rains or delicate flowers. Feet grounding powerfully on the earth while knees thrust forward in the motion of a lava flow. Voices evoking the many moods of lyrics newly written or passed on from generations who listen out of the mists of time. The word “hula” often evokes such images. The old saying, I le‘a ka hula i ka ho‘opa‘a—the hula is pleasing because of the drummer, reminds us that though they are not the focus, without the implements of the hula, the dance would not be the same. As the late Nona Beamer used to say, “Hula is storytelling, without the story there is no hula!” By the middle of the 20th century, many hula implements had fallen into disuse. Ipu (Hawaiian gourds) were seldom grown anymore, and had become hard to find. Suitable gourds had to be imported, and were far too precious for mere practice. However, there was an easily available substitute. Many kūpuna dancers today first learned the rhythms of the hula by beating them on an old and thoroughly rinsed Clorox bottle. Lightweight enough for the smallest dancer to use, unbreakable, and abundant, dancers’ names were written on them in pencil. If a keiki (student) forgot to bring the bleach bottle to class, it might cost a dime to rent one from the kumu (hula teacher). After much practice, the kumu might confer with the parents and present the proud young dancers with their first real ipu. Each of the beats learned on the ipu corresponds to different hula steps. Hour upon hour, dancers practice the rhythms and footwork until the feet automatically move to the sound of the drumming. If the feet can move on “autopilot,” that leaves the mind free to interpret with the hands. The next implement many dancers learn is the pū‘ili. The rustling, clattering bamboo rattle is a favorite implement for teaching coordination and teamwork. Striking them against each other, the hand, shoulders, thighs, or even the ground produces different tones. The rapid movements of the long shining bamboo are exciting as the pū‘ili whirl about the dancers. As experience is gained, the choreography becomes more intricate, and dancers strike each other’s pū‘ili, or toss them back and forth. A mele hula (hula song) that has lyrics which do not lend themselves to beautiful hand movements can be made dramatic and exciting with pū‘ili. For the audience, probably one of the most dramatic hula is the hula ‘ulī‘ulī. The gourd hand rattles with their brightly colored feather tops, fill the air with color and the crashing sound of a torrential rain as the dancers spin and swoop, or murmur like a gentle sea on a sandy shore around the knees of a dancer in the hula noho, the seated hula. Most dancers have stories of getting a bit enthusiastic while practicing the faster 50 hula ‘ulī‘ulī, and, next day,

finding bruises on shoulders and hips where they tapped the feathered gourds. Originally, ‘ulī‘ulī were made from small ipu or from large very dry coconut shells, well cleaned and polished. The handles were made from lau hala (leaf of the Pandanus), lā‘ī (leaf of the Cordyline fruticosa), or ‘ie‘ie roots (Freycinetia arborea). Bird pelts were sometimes glued to a disk woven at the end of the ‘ie‘ie handle, or feathers were sometimes affixed to the disk. Lau hala and lā‘ī handles were simply bound with string and the ends left in a decorative “pouf.” In the early 20th Century, the la‘amia (Crescentia cujete), which had been imported from South America, gained popularity and pinewood dowels, glue, and rattan replaced the original native fibers in the handle. A Masonite disk screwed to the dowel replaced the woven ‘ie‘ie disk, and feathers were stitched to muslin to decorate it.

In ancient times, both the pū‘ili and the ‘ulī‘ulī were used singly, and around the turn of the previous century, when hula shows became popular tourist fare, the visual drama of the paired implements became de rigueur. At hula competitions today, the same hālau may dance with one implement in the Kahiko division, and with two in the ‘auana. Some hālau require dancers to make their own implements, and may take harvesting expeditions to farms, forests, and sea to collect the materials. One favorite expedition is for ‘ili‘ili, after all, who would not want to spend a day at the beach. Often, the hālau will go to a beach renowned in song. For older Moku o Hawai‘i (Hawai‘i Island) dancers and their kūpuna, Kaimū in Puna was a popular place to go and learn “‘Auhea o Kalani,” a mele hula for King Lunalilo which celebrates his surfing skill. It is set at that now-lava-covered beach. Learning the mele there, in the shade of the very coconut trees which shaded the King, visiting the park where the freshwater Wai‘ākōlea pond lay dappled in the sun and shade, imagining how the King himself had bathed there after surfing at Kaimū, all these things made gathering the ‘ili‘ili from that place so very special. Those memories, stimulated each time the ‘ili‘ili were picked up to dance, added their mana, their spiritual energy, to the hula. Though the black sands of Kaimū now lie buried, the tradition of visiting such wahi pana (celebrated places) continues and remains part of the teaching of hula. ‘Auhea o ka lani lā, aia i ka he‘e nalu He‘e ana i ka lala lā, ho‘i ana i ka muku A ka nalu o Hō‘eu lā, ‘eu ho‘i a‘e kāua A pae a‘e Kaimū lā, ho‘omū nā kānaka ‘Au‘ai i ka wai lā, a‘o Wai‘ākōlea Lu‘u aku a aea mai lā, Kānaenae o ka Lani Ha‘ina mai ka puana lā, No Lunalilo ō he inoa

Where is the royal chief? There surfing Surfing on the long wave, returning on the short wave On the Hō‘eu wave we both return And land at the sea of Kaimū where the natives gather We bathe in the fresh water, the pond of Wai‘ākōlea We dive and surface, a prayerful chant for the King Tell the refrain, in the name of Lunalilo

KeOlaMagazine.com | March-April 2017

Slightly larger stones also are used in the hula. As taught by Aunty Nona Beamer in the hula “He Motu ta Ura,” a flat round stone, the Pōhaku Hina, is held in the left hand and a longer cylindrical Pōhaku Kū is held vertically in the right. The Pōhaku Kū is tapped on the Pōhaku Hina in time with the hula. Aunty Nona taught this hula as a gentle poem of the sunset, and the choreography and implements reflect a peaceful evening at the seashore. In other choreography, this same hula is often danced using long and short kāla‘au (rhythm sticks), or even an ‘ihe (javelin), and pāhoa (dagger). Chief Kalani‘ōpu‘u-a-Kaiamamao of Kona was not only a famed warrior; he was also a great aficionado of the hula. He used a version of “He Motu ta Ura” as a victory chant when he killed two chiefs from Maui. (Kalani‘ōpu‘u is the same chief who, in his later years, greeted Capt. James Cook at Kealakekua.) This choreography honors his use of the mele. A kāla‘au or ‘ihe about the height of the dancer is held in the left hand, and a shorter kāla‘au or a pāhoa is held in the right. By grasping the sticks harder or softer, and in different positions along their length, the tone can be changed to suit the melody and rhythm of the hula. In a third variant used on Kaua‘i, the dancers use the ‘ūlili, the spinning gourd rattles. Comprising three gourds on a stick, this rattle is manipulated with a string wound around the stick inside of the center gourd. The center gourd is held in one hand, and the string pulled through a hole in one side. This spins the rattle and the two end gourds, making a whirring and clattering sound. Many of the hula and implements of Kaua‘i are unique to that island, and only recently have been used in other parts of Hawai‘i Nei. Hula is an evolving art form which has its roots in the dance traditions brought by the earliest settlers. Various scholars date this at times ranging from the beginning of the Common Era to around 600CE. They brought with them their musical traditions, stories, and dances. They probably changed gradually over the generations, with occasional innovations, until the arrival of La‘amaikahiki during what some believe to be the height of the 12th to 14th Century migrations. La‘amaikahiki made major changes, and brought the great pahu (drum) used in worship within the heiau, and presumably the ha‘a (bent knee dancing) was danced in the

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sacred confines of the temple. Centuries later, in the time of Kalani‘ōpu‘u, and then Liholiho, sacred son and heir of Pai‘ea Kamehameha, the great drum was brought outside the heiau and began to see use for hula. Shortly after that, new instruments from the other side of the world, brought by sailors, traders, merchants, and missionaries began to find a place in the music of Hawai‘i Nei. The Spanish who came to help Hawaiians learn to work cattle made their mark, adding guitar melody and dance steps from their homeland to the mele and hula of the islands. Long before European contact, the Hawaiian people found that the innovations in singing brought by the religious music of the American missionaries added new melodies and texture to the vocal accompaniment of the hula. Even native implements changed. Documentation of the ipu heke, the chanter’s double gourd drum, abounds from the earliest records, before the early 20th Century there is a paucity of information on the dancers’ small gourd hula drum. It is often found used in dances such as “Green Rose Hula,” and may be an early 20th Century innovation. From ancient times, Hawaiian people were familiar with the potential of stringed instruments, and used the ‘ūkēkē, a sort of stringed jaw harp. After western instruments such as the guitar, ‘ukulele, bass, and fiddle were adopted, the late 19th through the 20th centuries were times of major evolution in Hawaiian music. Sam Li‘a with his fiddle, the Pahinui family in guitar, Helen Desha Beamer and the piano, plus so many more contributed to the diverse tradition we are heir to today. Hawaiian musicians and dancers of the 21st Century continue that heritage of evolution, continuing to honor the past while creating new works for the future. What new instruments will be added? What new rhythms will they play? What new steps will accompany them? What new stories will they tell?

KeOlaMagazine.com | March-April 2017

Contact writer/artist Leilehua Yuen: kumuleimanu@gmail.com

Pu‘uwa‘awa‘a: Energy Ranch By Jan Wizinowich

Approaching Pu‘uwa‘awa‘a Ranch, a sylvan scene of sheep and horses grazing in pastures unfolds. Standing above this pastoral landscape is the Blue Planet Energy Lab, a powerhouse that produces 400 to 450 kilowatt hours of renewable energy a day that is used to power the ranch, stored in batteries or to make hydrogen fuel. When owner Henk Rogers bought Pu‘uwa‘awa‘a Ranch ten years ago, he wasn’t thinking about hydrogen. “All I was thinking about was living sustainably. I wanted to grow my own food. I wanted to make my own energy. I wanted to take care of my garbage and I wanted to figure out all those things by living them,” says Henk. The first thing Henk and his architect Vincent Paul Ponthieux (Paul) did was to build what is now the Energy Lab. “I asked Paul to design me a workshop because I like to tinker. I like to build things. We really didn’t have a clear picture of what we wanted to experiment with afterwards,” says Henk. The Energy Lab, with its simple clean lines, is a monument to cutting edge, environmentally functional design. It highlights what can be done by understanding and using ambient natural processes. A giant wedge, the south facing roof slants at an

optimum 20-degree angle and is covered with 360 Sharp solar panels that power the ranch and hydrogen production. The north side of the building has tall cathedral-like windows that receive indirect north facing light. “All of the windows are on the north face so we get all of the light and none of the heat. If there’s any heat gain in the building at all, it floats up and vents out near the top. There’s no air conditioning needed,” says Henk. We board Henk’s Tesla and glide silently up to the main

The Blue Planet Energy Lab, north side, Puÿuwaÿawaÿa Ranch.

KeOlaMagazine.com | March-April 2017

Henk Rogers

53 Henk Rogers on the south side of the Blue Planet Engergy Lab.

house and sit out on the deck, where the pastoral landscape stretches across to Pu‘uanahulu, an ancient guardian of these parts. Before purchasing the ranch from Jerry King, the original 1906 house and surrounding structures were renovated and set up for executive retreats. “My very first gathering in the room downstairs was a meeting about hydrogen. I invited Mitch Ewan, the expert on hydrogen from the Hawai‘i Natural Energy Institute (HNEI) at the University of Hawai‘i. That was the beginning. Hydrogen. It makes sense. It’s something you can store long term and it’s portable and cheap to store. Why aren’t trucks, buses, cars and even cooking being done with hydrogen?” asks Henk. This question led to the formation of Blue Planet Research with Paul as director. The workshop was dubbed the Energy Lab, beginning an experimental odyssey into energy independence. Energy Roundup The first obstacle to tackle was making use of excess energy produced by renewables such as solar. “If you have an off-grid situation like us, it’s built for a cloudy day. In other words, the batteries have to be able to charge to 100% on a cloudy day.

The hydrogen fuel pumping station

using the excess to make hydrogen. Just outside the lab is a small outbuilding that contains an industrial sized electrolysis system or the electrolyzer that produces the hydrogen fuel that powers the back-up power fuel cells. Two five foot tanks lay on their sides with a series of chambers at their feet, each “stack” with dividing membranes. Oxygen bubbles up on the side with the positive pole and the

The electrolyzer where water is split into hydrogen and oxygen

KeOlaMagazine.com | March-April 2017

But what happens on a sunny day? The batteries are charged by 9 or 10 o’clock in the morning and you’ve got the rest of the day and all this energy being wasted because there’s nothing you can do with it,” says Henk. Unless you use the excess energy to split water and create hydrogen fuel. The basic process of creating hydrogen is simple. Plants do something similar every day when they convert light into chemical energy, which is then stored for later use. It’s called photosynthesis. To produce hydrogen you need to split water (H2O) into its two elements: hydrogen and oxygen. One method of doing this is through electrolysis, where running a current through water causes the oxygen to go to the positive pole and the hydrogen to accumulate on the negative pole. However, you need energy to power the electrolysis, so the only economically viable way to produce hydrogen is to use free or very cheap renewable energy, such as excess wind, solar or hydro power. The lab’s 360 solar panels were producing an abundance of extra energy and Paul and Henk got to work to harness it, 54 developing a battery storage system for the solar energy and

The charge controllers regulate the electricity coming directly from the solar panels

hydrogen bubbles up on the negative. They are then captured in the two separate tanks. The hydrogen is stored and the potentially volatile oxygen is released. Outside there are large propane tanks where hydrogen fuel is stored at 250 psi. A fueling station stands adjacent to the electrolysis chamber. When the fuel is fed into the pump’s tanks it’s compressed to 6000 psi. To fuel a vehicle, the hose locks onto the intake and the hydrogen flows into the tank. “The majority of hydrogen vehicles are full at 5000 psi but as you use the fuel the pressure goes down. From the tank it either goes into a fuel cell or an internal combustion engine,” says Henk. This is the end product; however, the conduits for all this abundance are inside the lab. There are seven bays, with the first four being workshop spaces and the second three living quarters for visiting engineers and scientists. We go into the fourth workshop bay and into a small side room. Henk points to a wall of black rectangular boxes, measuring about six by eighteen inches, called charge controllers. “This is where the electricity comes in from the panels. Each charge controller handles 18 panels. We have 360 panels on the roof so we have 20 controllers. They regulate the electricity that comes off the panels,” says Henk. From there, the electricity travels through “a big DC (Direct Current) bus”, a four inch diameter pipe that contains the wiring that carries the electricity to a couple of 1200 amp DC breakers on the facing wall. “This is control central for all the The lithium iron phosphate batteries used for energy storage.

KeOlaMagazine.com | March-April 2017

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DC electricity. The solar panels and battery storage are always DC. It goes from here to the batteries or to the electrolyzer,” says Henk. “And if we need AC (Alternating Current) it goes through here (pointing out another set of panels). These are the inverters. We have five inverters and each does eight kilowatts,” he adds. We move on to the number one bay that houses the batteries and the fuel cells. There are five stacks of Sony Lithium Ferrous Phosphate batteries, which replaced the failed vanadium redox flow batteries, which are cobalt based. “That was a terrible idea. They just never worked and cobalt is something you don’t want to have around,” says Henk. “So we were looking for our next battery. Sony showed me these batteries. They fit in server racks and so I’m thinking they were originally going to be uninterruptible power supply for server farms. I wondered what if I used them to take the ranch off grid?” he adds. Because they are lithium iron phosphate based, the batteries don’t overheat and charge quickly. Henk opens up one of the racks, which contains 18 battery packs and two Battery

Management Units (BMU). “One rack holds about 20 kilowatt hours. So this whole thing is about 100 kilowatt hours of battery storage. What’s inside each pack are batteries that look like slightly larger AA batteries. There’s a computer inside each BMU, which monitors the battery packs and makes sure they’re all charging evenly,” says Henk. The software communicating with the BMUs, called EMCc, was developed by an Energy Lab in-house team. Another necessary component of the system is fuel cells, which convert hydrogen back into electricity. These are housed in cabinets just inside the big bay door and are being fed hydrogen through 3/8” diameter tubing. The fuel cell then converts hydrogen into electricity. “If the batteries go down to 12%, the fuel cells kick in to charge the batteries. They do this until the sun comes up. A New Kind of Grid Although the Hawai‘i Legislature has made a commitment to be 100% renewable energy powered by 2045, Henk thinks it could happen sooner. “I think we can go 100% for electricity

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by 2030, easily.” One of the difficulties faced by Hawai‘i Island and the producers of renewable energy such as solar and wind farms, is they are unable to put the excess power to work. “They have to throw it away. In the contract they have with the electric company it says they can’t use it for anything else. We have to change that. The electric company can’t handle the excess electricity and they don’t want the solar farms selling their electricity directly to somebody else. That means that renewable energy providers have to charge inflated prices to break even. If we have to pay for the excess energy, then it’s too expensive. If we can get over the hump of, let’s not throw it away, then the price of electricity goes down,” says Henk. The Hawai‘i Island Energy Cooperative (HIEC), a non-profit association of community leaders, was formed in January 2015. The hope is that a cooperative would be capable of addressing this and other energy issues facing Hawai‘i Island with a cooperatively owned electric utility. Recently, eight organizations, including Henk’s non-profit Blue Planet Foundation, announced Drive Electric Hawaii, a mission to provide more electric ground transportation. That would mean more charging stations powered by renewables and an increase in the number of electric vehicles, including public transportation vehicles.

The inverters convert DC electricity into AC electricity as needed.

For their part, Blue Planet Research is exploring possibilities for transportation fueled by hydrogen fed fuel cells. “First we went after electricity, next we go after transportation. So if you’re a city or county and you own buses, when it’s time to replace the buses, replace them with hydrogen buses. And then there’s a demand for hydrogen. We have to create some legislation that allows solar and wind farms to use their excess power to make hydrogen. Then we make our own transportation fuel. So those are the steps that we’re working on right now,” says Henk. Henk believes that Hawai‘i can eventually be off the grid and he likes to walk the talk of sustainable living. “My theory is that when you live it, then you can talk to other people and say, ‘You know what? It’s not that hard’,” says Henk. Energy Lab photo courtesy of Blue Planet Energy Lab Contact Blue Planet Energy Lab: info@blueplanetenergy.net Contact writer/photographer Jan Wizinowich: janwiz@gmail.com

HEALTH By Leilehua Yuen

Ke Ola Pono - Ka Niho keep rebuilding itself. In fact, an unexercised adult jaw can actually start shrinking! Chewing ice and other hard things stresses teeth and can chip and crack them. When you crunch vegetables such as carrots, celery, broccoli, and such, they offer just the right texture, hardness and give, to provide the jaw lots of exercise and stimulate the bone for optimal growth. As adults, we should follow these same basic healthy practices to help us maintain a beautiful set of teeth out entire lives. My grandmother, who lived to be 89, had her own teeth her entire life! Do you want a bright white smile? The best way is not to let the teeth get stained. Cigarettes, coffee, tea, red wine, and many other things stain our teeth. We can combat the stains by rinsing immediately after consuming them, and flossing and brushing regularly. Regular dental exams also are important and can catch minor damage before it causes major harm. Some great resources for teaching young people about their teeth can be found at the SciShow Kids channel on YouTube: “Why do we have Baby Teeth?” “Why do we Brush Our Teeth?” “Teeth: Not Just for Smiles.” Bibliography: Interviews with various dentists American Dental Association publications Personal experience and experimentation Contact writer Leilehua Yuen: kumuleimanu@gmail.com

KeOlaMagazine.com | March-April 2017

I don’t care what “The Internet” says, don’t use a combination of baking soda and lemon juice to whiten your teeth. It’s the dental equivalent of using Brillo on your lacquerware. Sure, it will work the first few times, but only until the enamel is gone. Keep it up, and eventually your teeth will be porous, painful, and absorb all manner of stains. How do we get beautiful teeth? Ideally, we start at the beginning. Good prenatal nutrition, followed by life-long healthful eating and dental habits are the best way to grow and safeguard a beautiful set of healthy teeth. In utero, our jaws were being formed of soft cartilaginous tissue. By the time we were born, our “baby teeth” were waiting inside our gums for their time to appear. Behind their roots, the beginnings of our adult teeth were forming. Good nutrition for mom is the best way to give the best start to a great set of teeth! When we are a few months old, the baby teeth start growing out through our gums. They help us in our transition from milk to soft, and then harder food. They also help guide the adult teeth into their correct places. When a baby tooth is lost to decay, the remaining teeth can migrate to fill the space, preventing the adult tooth from aligning properly when it comes in. Decay in baby teeth also can extend to the permanent teeth behind them. How can we make sure baby teeth stay healthy and strong? Give milk (dairy or non-dairy) or any beverages other than plain water only at meal times. Between meals, pure, fresh water is the best! Soda pop is deadly to teeth, even the sugarless varieties, because of the acids they contain. Sugary bevarages, including juice, cause the teeth to be bathed in sugar. Bacteria eat the sugar and create acid which erodes the teeth. Besides, sipping on sugary drinks all day not only destroys our teeth, but sets us up for obesity and diabetes. Best is to keep plain water in the bottle or sippy cup between meals, which helps to wash the acids away, keeps the child hydrated, and does not encourage obesity and diabetes. After meals, wipe the teeth of young keiki (children) who cannot yet brush on their own with a soft cloth, and help children to brush with a soft toothbrush. Continuing a healthful diet as the child gets older will help the baby teeth to stay strong as long as they are needed and help the adult teeth to form correctly. As the molars come in, encourage the child to eat nice crunchy fresh vegetables. Not only are they healthful to eat, they give the jaw exercise. Yes, it’s a thing! What my grandmother used to call “exercising the jaw” turns out to be very important! When the jaw bone does not get sufficient stimulation, the bone does not get the proper signals to grow, or (in adults) to

By Alan McNarie

CITY OF MURALS

Hilo has a new coat of paint - and a lot of new paintings

KeOlaMagazine.com | March-April 2017

The aged plantation era buildings of downtown Hilo used to radiate an aura of slightly seedy gentility. That’s all changed— the city is now erupting in tropical pastels and bright primary hues. That’s partly due to a social media campaign by local residents that persuaded the Benjamin Moore Company to name the town a winner in its “Main Street Matters” promotion, which supplied a free coat of paint for the street level exteriors of downtown buildings. Most building owners finished the job by painting the upper level exteriors as well. More than coats of solid paint have also sprung up on Hilo’s walls recently, though. The exterior of KTA’s downtown store now hosts an ancient feast, a giant palila (Hawaiian honeycreeper), oversized local fruits and vegetables and a vision of Hilo Bay as it might have looked a century ago. Lava

KeOlaMagazine.com | March-April 2017

61 Keaukaha General Store manager Breeani Sumera-Lee, in front of her storeâ&#x20AC;&#x2122;sÂ Mauna Kea Mural. photo by Alan McNarie

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In the Beginning

Kathleen Kam’s murals at KTA started it all. photo by Alan McNarie

Brandy Sirikaku’s colorful interpretation of Hilo rain. photo by Alan McNarie

KeOlaMagazine.com | March-April 2017

and ocean goddesses cavort on the sides of Spencer’s Gym; another goddess peers serenely from moonlit waves on one wall of Agasa Furniture, and yet another rampages along the side of the Hilo Town Tavern. Across Kalaniana‘ole Avenue from the Port of Hilo, Hawaiian legends spring from the walls of the Keaukaha General Store. On Ponohawai Street, an enormous tako (octopus) scales one wall of a vacant building. Hilo may be vying for a new nickname: the City of Murals. More than two dozen of the big public paintings have sprung up around the city—most on downtown businesses, though several also grace civic buildings, public schools and UH-Hilo. A particularly spectacular one by UH-Hilo Hawaiian Studies Program students, sponsored by the O‘ahu-based Estria Foundation’s “Mele Murals” project, now adorns the back of the HPM Building Supply, facing the Edith Kanaka‘ole Tennis Stadium in Hilo’s industrial district. The murals come in all styles, from realistic to abstract, primativist to surreal; they can be as simple as the giant maile lei that stretches along the side of Verna’s Drive In, or as complex as Rick Hayward and Emily Devers’ intricate interweaving of letters, tropical fruit images and abstract white lines in the parking lot of the Hilo Backpacker’s Hostel. Some of the murals are by schoolchildren— the kids at Connections Charter School have painted two, for instance. Others sprang from the imaginations of nationally or internationally known artists, but almost all actually are the work of many hands: true community efforts.

Hilo’s mural movement started in 2009, when local artist Kathleen Kam had a casual meeting with Alice Moon of the Hilo Downtown Improvement Association. “I looked at her and said, ‘What if I could do a mural?’” recalls Kathleen. She was already known for other murals she’s painted, such as the forest scene that graces the side of the Kilauea General store in Volcano. She suggested that a similar project could serve as a “gateway to downtown Hilo.” Alice liked the idea, and passed the suggestion on to then HDIA President Jeff Melrose. Jeff met with Kathleen a few days later; they strolled downtown Hilo together, looking at possible mural sites, and settled on one wall of the renovated downtown KTA Supermarket. KTA officials enthusiastically came on board: when Kam offered to paint Hilo’s first downtown mural for free, the store offered to pay for a second mural panel beside it. The first, they agreed, would be a scene of old Hilo Bay, with local people engaged in traditional activities such as fishing and lei-making along the shore, plus traditionally rigged sailing canoes and a bridge-less Coconut Island in the background. The second panel would feature locally grown foods. “They wanted something that would reflect that they support the farmers and fisherman by purchasing all their goods to sell in the store,” recalls Kathleen. Those themes of Hawaiian heritage and sustainability would

be echoed in many murals to come. Kathleen’s work process would also set precedents: she made the mural into a public participation event. “I would park my van every morning at seven o’clock, have my paints premixed, and would work with anyone who showed up to help,” she recalls. Students, other artists, downtown residents and businesspeople, even tourists and street people were all invited to help sand down the plywood panels, then lay on the base coat of background paint. Kathleen then sketched in the mural’s outlines, and volunteers began filling in basic colors. They also served as models: Hilo residents strolling by the mural today may recognize familiar faces, including those of Alice Moon, who has since passed away, and her sister Sara; Jeff Melrose, and some former UH students, among others. Kathleen’s former art teacher, Richard Crawford, posed with a fisherman’s throw net. Others contributed special expertise. Local fisherman advised Kathleen about the mural’s fish; Kamehameha School students painted the taro leaves. A local tattoo artist painted the figures’ tattoos. Other murals have since joined Kathleen’s originals along KTA’s long wall. With the sponsorship of the Mauna Kea Forest Restoration project, Kathleen painted another mural in KTA’s parking lot: a far-larger-than life portrait of a palila, the little endangered silver-and-gold honeycreeper of the island’s upland māmane forests. From Hip-Hop to Hawaiian Culture Keaukaha General Store sits sandwiched between the Port of Hilo and the city’s industrial district, at the head of the Native Hawaiian neighborhood of Keaukaha. Founded by Breeani Sumera-Lee and her mother, Kim Kimi, about four years ago, the store sells food and dry goods with a strong emphasis on local products, from honey to hats, and it’s wrapped in Hawaiian myths and legends—literally. The Mauna Kea Mural, based on a birth mele (song) for King

Lauren Ys’s imginative goddess on the wall of Hilo Town Tavern. photo by Alan McNarie

Kamehameha III, covers one whole side of the store and aptly sums up how Hawaiian culture views its people’s relationship to the earth. The King’s bloodline includes more than people: it traces back to Wākea, the sky god, whose children include not just the first Hawaiian human, but gods, rains, Mauna Kea and the kalo (taro) plant. The mural traces their connections from the snow goddess Poli‘ahu all the way down to the waters that flow into Keaukaha’s ocean-side freshwater springs. Occupying another exterior wall is a second mural, in which each letter of the word “aloha” calls forth Keaukaha’s local legends, such as two giant mo‘o (lizards) associated with the area and Lono, the wise god of peace and fertility who was said to have been born in Keaukaha. The lead artist for both murals is John Hina, who calls himself “Prime,” an O‘ahu native and former hip-hop tagger who grew up, raised a family, and then returned to his spray cans as a way to lead Hawaiian young people back to their culture. His nonprofit, 808 Urban, has been painting murals all over the islands for more than nine years. “To take this concept of what everybody thinks of as graffiti, as vandalism, and turn it into an art form was new to people in 2007,” he muses. What he does now is light years away from vandalism. For the Keaukaha murals, he started by consulting local kūpuna for legends and history tied to the community. Then, like Kathleen, he drew in the community to help with the painting: from local school kids to famous Keaukaha residents such as aloha wear designer Sig Zane. The mural has become a focal point of neighborhood pride. Audio summaries of both murals can be heard by dialing the store’s phone line. “We’ve had so much feedback from people who were calling the number on the wall who said they’d never heard that story before,” says Breeani. Sustainable Dreams Several of the city’s most recent murals are the products of another Hawai‘i-based organization called Temple Children.

Detail of Passion, which Prime and a UH-Hilo student painted on Spencer’s Gym.” photo by Alan McNarie

While Prime’s 808 Urban promotes art and Hawaiian Culture, Temple Children attempts to simultaneously foster art and sustainability. The group, founded by Miya Tsukazaki and Dave Hooke, a.k.a “MEGGS,” was formed as “a creative platform for the collaboration of the socially and environmentally minded.” It has sponsored about nine murals in Hilo, so far. Some are by local lead artists such as Brandi Serikaku, whose colorful abstract interpretation of Hilo’s famous rain pelts down one wall of an alley off Hilo’s bayfront. Other murals were created by established artists that the group has recruited from elsewhere: Rick Hayward and Emily Devers, for instance, who paint as “Frank and Mimi,” hail from Brisbane, Australia, while Lauren YS, who did the rampant surreal goddess on Hilo Town Tavern, is based in the Bay Area. “We are working with people that we know very well: people who are involved in global consciousness, people who want to contribute to the greater good,” explains Miya. When those artists come here, it’s a two-way journey. They expose Hilo to international-quality art, and in turn, they’re exposed to Hawaiian culture, Hawaiian sustainable practices and Hawaiian foods. “One of our goals was to feed everyone (on the mural projects) as near to 100 percent island grown and raised foods as possible,” notes Miya. The artists also find out where those foods come from—one way is spending a day in Waipi‘o Valley and working in a lo‘i (taro patch) there. As well as learning Hilo’s past, they get to participate in its future. The old plantation town is rebirthing itself as a seedbed of small businesses: family restaurants, mom-and-pop stores, entrepreneurs’ personal dreams. The murals compliment those dreams, giving them personality and publicity. Take, for example, Oasis Skateboards, the dream child of owner Dan Madsen, who also happens to be an artist. He’s responsible for that giant tako climbing the empty building on Ponohawai. When Temple Children approached him about using his shop for their first Hilo mural, he jumped at the opportunity. “I was really excited when they approached us,”

he recalls. “I’m more excited when someone approaches me about doing my shop than about my own art. . . .” For the skateboard shop, MEGGS created a design featuring 197080s skateboarding legend Tony Ava bursting out of a lush undergrowth of tropical foliage. Maria Short saw the skateboard mural and took notice. She contacted Temple Children to create something for her own dream child: Short n Sweet Bakery on Kino‘ole St. For her shop, MEGGS and Honolulu artists Matthew and Roxanne Ortiz, who co-create under the nom de plume of “Wooden Wave,” did a piece of whimsical prophecy: a giant boat that houses, among other things, a bakery and a skateboard ramp—as well as solar panels, rainwater catchment, terraced gardens and as many other “community-minded sustainable systems as possible . . . that would conceivably meet the needs of an eco-conscious, fun-loving, ocean-bound community,” explains the wooden plaque that the artists gave Maria. More shop owners soon lined up to have their dreams “muralized”. The process continues. Nearly all the artists interviewed for this story already have plans for new projects. “There’s a lot of blank walls out there yet,” notes Dan.

Contact Temple Children: miva@templechildren.com Contact Keaukaha General Store: keaukahageneralstore.com/contact Contact The Astria Foundation and Mele Murals: estria.org/contact Contact Prime and 808 Urban: 808urban.org Contact writer Alan McNarie: amcnarie@yahoo.com

KeOlaMagazine.com | March-April 2017

Keaukaha residents add their handprints to a mural on the Keaukaha General Store. photo courtesy of Cody Alameda

Prime, at work on his Mauna Kea mural. photo courtesy of Cody Alameda

Mälama Honua Update

The Worldwide Voyage of Höküleÿa Legs 26 and 27 brought Höküle‘a from the Florida Keys through the Panama Canal to the Pacific Ocean.

After spending several months sailing up and then down the East Coast of the US, Hōkūle‘a left US waters in Key West, Florida headed to the Panama Canal. The crew spent Christmas and New Years in the Caribbean, sailing to the west of Cuba on their way south. After two days of transit through the Panama Canal, iconic voyaging canoe Hōkūle‘a reached the Panama city of Balboa on Wednesday, January 12, at 2:54 p.m. EST. The canoe went through three sets of locks on the man-made waterway and returned to Pacific waters for the first time in nearly two years. Because Hōkūle‘a has no engines, and because of the turbulence and currents within the canal, the canoe was safely towed by a powerful work vessel, DWS Linda, through the canal.

Crewmembers moored the double-hulled canoe at Balboa Yacht Club and remained docked in Balboa for about seven days. While in Balboa, Hōkūle‘a crew engaged with several indigenous organizations and leaders of the Panamanian community. Crewmembers used their time in Balboa to provision the vessel for her upcoming sail to the Galapagos Islands and then Rapa Nui, paying close attention to hull cleanliness to assure respect and care for these vibrant ecosystems, and ensured she was in exceptional condition for the remainder of her voyage home to the Hawaiian Islands.

photo courtesy John Bilderback

From top Left clockwise: Panama Canal / Panama Community and Höküleÿa crew January 2017 3 / Hilo’s Uncle Wally Wong smiles as water drains from the first of the 2 Mira Flores locks / Leg 26 celebrating the amazing voyage to Panama and the passage through the canal / Panama Canal docking / Höküleÿa crew members sound pü as they pass under Centennial Bridge, Panama Canal. Center photo: Eia ka waÿa, Eia Höküleÿa, Kü!

KeOlaMagazine.com | March-April 2017

67 New Year’s day 2017 sunset.

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Featured Cover Artist: Kathy

Long

“It’s the people who are creating the renaissance of the Hawaiian culture that truly inspire me. I hope that by documenting this moment in time, their stories will live on.” – Kathy Long

Kathy Long’s pastels and black & white drawings of the people and culture of Hawai‘i are seen as some of the most accurate and sensitive contemporary works available today. She captures the essence of Hawai‘i so well, that the Hawai‘i Visitor Bureau and Hawaiian Airlines have used her paintings and drawings to promote Hawai‘i as a cultural destination. Daughter of the well-known artist, Mary Koski, Kathy lived in Hilo as a child and traveled widely with her parents before settling down to study Fine Arts. After graduating from one of the oldest schools for the Arts in Scandinavia, she had her debut in the prestigious Waino Aaltonen Museum in Finland. This was the beginning of a series of thirteen one-woman shows throughout Europe over the course of the next several years.

and two dozen other internationally respected artists. In 1982, Kathy and her family settled in Waimea, where her husband became the curator for Parker Ranch for 13 years. Combining her interest in cultural anthropology and art, Kathy began to record the renaissance of the Hawaiian culture and is now considered one of the best interpreters of the revival. Kathy has been the winner of purchase awards by the Hawai‘i Council for Culture and the Arts and many “People’s Choice” awards, as well as featured on Hawai‘i’s PBS program, Spectrum, several times, and in national and international publications. The Island of Hawai‘i Visitors Bureau has commissioned her to do a series of images, which help promote the cultural identity of Hawai‘i. She is invited yearly to the Celebration of the Arts held at the Ritz Carlton Kapalua, as a guest speaker, has been the official artist for Hawaiian Airlines and has done the posters for the Merrie Monarch Hula Festival for 2001 and 2002. She has had over 50 one-woman-shows and her work can be seen in public and major private collections around the world. Contact Kathy Long: contact@kathylongartist.com

In 1979, Kathy and her husband, Bertil, an art historian, moved to the United States to open a gallery in Houston, Texas. The gallery handled works by her mother and herself as well as notable names such as Henry Moore, Robert Vickery

The story behind a Waiâ&#x20AC;&#x2DC;Ăśhinu landmark

KeOlaMagazine.com | March-April 2017

Mr. Yuen Wong and the Wong

70 Chinese immigrant merchant Mr. Yuen Wong opened the Wong Yuen store in 1935. Here he is shown with his second wife, Julia. photo courtesy of Walter Wong Yuen

Yuen Store By Karen Valentine

local-style market research. Consider the four-tier shelving rack of rubber slippahs among the canned goods at the Wong Yuen store, a few beach toys and popular Japanese candies like crack seed. There’s a substantial beer inventory and an ice cream freezer. Lately, business is booming there. “Our biggest boost in business was when the Island Market [in Nā‘ālehu] closed,” says store owner Roy Kamitaki. “When the big dog is gone,

KeOlaMagazine.com | March-April 2017

If you find yourself in Wai‘ōhinu or Nā‘ālehu on the south end of Hawai‘i Island and you need a snack or a staple food item, or let’s say a six pack, don’t even think of finding a supermarket. Going west, the nearest one is 15 miles away. Going east, you’ll drive 50 to 60 miles! What you do is imagine yourself in grandma’s day and walk into a mom-and-pop store like Will and Grace’s in Nā‘ālehu or the Wong Yuen store in Wai‘ōhinu. No crowds, no big parking lot, you can talk story with the owner at the cash register. If they don’t have what you need, they may order it and it will take several weeks or months. Or you adjust your needs just a bit and buy what they have. Their inventory is determined by local market needs and not a central, mainland purchasing department. That’s

The store in 1945 looks very much the same as today. photo courtesy of Walter Wong Yuen

KeOlaMagazine.com | March-April 2017

Roy personally pumps your gas for you. photo by Karen Valentine

the chihuahuas try to keep up,” he says in his typically laconic style. Roy hardly ever smiles, but he has a twinkle in his eye that challenges you to get his joke. If Roy is not minding the cash register, he is pumping gas at the adjacent gas station. Yes, really, they still pump it for you— from the three gas pumps or one diesel! Unlike the mainland, Hawai‘i is full of small, family-owned general stores. They dot the landscape on every island and are usually in the third or fourth generation of ownership. A story in Honolulu Magazine called them “humble to the point of ramshackle,” and that’s an apt description, for sure. The buildings are propped up with a few extra beams and braces, while the floors sometimes sag in the well-trod places. Cash registers are old-fashioned and the shelves are handmade. Roy says his closing time is whenever he feels like going home. In Wai‘ōhinu, the Wong Yuen store is a recognized landmark. A colorful mural by artist Pearl Maxner spans its well-worn, east-facing exterior wall, depicting life in the town in the late 1800s. It shows Hawaiian families, missionaries, sugar-cane workers, Mark Twain during his famous visit here, and the historic Kauaha‘ao Church that, until recently, stood at the intersection of Hwy. 11 and Kama‘oa Road. Wai‘ōhinu was once the recognized capital of the district of Ka‘ū during Territorial times, with a courthouse and jail building on the site of today’s county base yard. One source says the building housing the Wong Yuen store was also a post office. The town also had a larger population before people moved to the plantation towns of Nā‘ālehu and Pāhala. The Wong Yuen store is a landmark, too, as a main stop on the Hele-On Hawai‘i County bus line. Bus passengers wait on

Display of merchandise determined by local market research results in one shelf of kitchen appliances, one shelf of office supplies and four shelves of rubber slippahs. photo by Karen Valentine

the front porch or across the street in the morning for the bus to Hilo or to Kona. Lifelong area resident Walter Wong Yuen’s grandfather named the Wong Yuen store, although he says the name might be backward. He sits with me on the rustic front-porch bench at the Wong Yuen store and tells the story. “Grandpa died before I was born. We can’t figure out why he named the store Wong Yuen. It’s about understanding the Chinese,” says Walter. “They say the last name first; it tells what bloodline and where they’re from. His last name was Wong; first name Yuen. He did business here the way they did it there. His birth certificate in Hawai‘i? Yuen Wong. I’m one of those few that when my parents answered the question about the name for the birth certificate they said Wong Yuen. Everybody knows my relatives around here as those Wong Yuen kids, because of the business. There’s the Wongs across the street, and others are Yuen, then us oddballs named Wong Yuen,” he laughs, “but we’re all related. That’s why, when we compete at cards, we always say the Wongs vs the Wong Yuens.” Mr. Yuen Wong, Walter’s grandfather, was born in 1880 in the territory of Hawai‘i, in Honolulu. His parents came over as merchants, importing goods from China to sell, especially to the sugar plantations. “My grandfather was something else,” Walter said. “He was well educated at all the best schools on O‘ahu. After traveling around and graduating from a tailoring school in New York, he came to the Big Island first as a Chinese-English translator for the Chong store in Pāhala in 1913. Four years after that, he wanted to work for himself and opened a dinky little tailor shop in Nā‘ālehu. There’s a lot of Chinese in Nā‘ālehu. After his first wife from China died, he married a Hawaiian, my grandmother Julia. So I am Chinese Hawaiian.” Tailoring wasn’t enough to support his family, so Mr. Yuen Wong added merchant goods and later expanded. “He bought

KeOlaMagazine.com | March-April 2017

73 A 1960s photo of the gas station with a banner advertising Thrifty Green Stamps. photo courtesy of Walter Wong Yuen

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A colorful art mural describing the history of Wai‘öhinu on the east side of the store. photo by Karen Valentine

another shop from another Chinese guy. Chinese families always take care of their own, family to family. When he was there, he got wind of this building [in Wai‘ōhinu]. Other Chinese people owned it. ‘I’ll help you out if you want to do something,’ the owner told him. It was 1935 and the store was still in good shape, though the house in back was deteriorating. Grandpa still had the business in Nā‘ālehu while getting this store going and rebuilding the house to live in.” The buildings are pretty much the same as they were then. You can even recognize the store in a 1945 photo with an old truck in front. “In the back of the gas station was a warehouse, where they kept all the goods,” says Walter. “Cases and cases of canned goods and chicken feed. One day a week the supplies came in. Everybody in town had animals in their yard—chickens, goats, pigs. Feed was a big seller, and another big seller was kerosene for stoves and water heaters. There was no [propane] gas.” There were a lot of cousins and Walter says, “It was part of our requirement as family—you had to help in the store. It could be unloading goods, and at Christmas we always had to

come in at night and do inventory just before the end of the year. ‘Every kid get a piece of paper and count the cans’. At that time it was totally different goods. A lot of people used canned goods. Everything fresh came from the backyard. People baked, but it wasn’t a big thing like now, because they had to use kerosene in the stove. Pastries came from Hilo bakeries like Love’s. The store sold candies, Coke and Pepsi and all your fruit flavored sodas like orange, root beer and grape, some of them made in Hilo. Ice cream was a big seller with kids and old folks.” When his grandfather died in 1945, Walter says, the business was divided among the siblings, most of whom didn’t have any interest in running the store. Pointing to a photo from the 40s, he says, “This is Jack. He didn’t want to run the business, but he got stuck with it. My grandmother was the administrator. She divided the land and gave the gas station portion to one of my uncles and the store to the Wong Yuen estate. Everybody had shares. My uncle inherited the other portion but never did anything. It’s all run together.”

A southern Hawaiÿi Island landmark, the Wong Yuen store and gas station, just west of Näÿälehu in Waiÿöhinu. photo by Karen Valentine

KeOlaMagazine.com | March-April 2017

75 Store owner Roy Kamitaki mans the cash register each day. photo by Karen Valentine

Visit Historic Holualoa Village

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Grandson of store founder, Walter Wong Yuen, stands with current owner Roy Kamitaki on the front porch. photo by Karen Valentine

Trained by his father since he was a kid, “Jack did everything,” Walter said. “It was all he did until he died. The biggest problem he had—and took a loss—was when people used to charge and say, ‘I’ll pay you later.’ Write it down, and at the end of the month they’d come in with their paycheck, cash it and pay the bill. People always charged everything.” The store served as a bank, too.

In 1998, Jack heard of plans to put in a new gas station in Nā‘ālehu and one down the street by the Shirakawa Motel. Roy Kamitaki’s family owned land in Nā‘ālehu where the Ace Hardware is today, and he was thinking about putting in a gas station. Jack Wong Yuen came to visit. “’I heard you’re going to put one gas station here,’ Jack said. ’Do you want to buy mine?’” Roy relates. “So I was doing estimates and had to do a lot of changes for placement of a gas station in Nā‘ālehu. Of course Jack comes in with old stuff and the building in back needed repair.” Even so, they made the deal. “I walked in with an apprenticeship and this simple 20-year lease document.” Roy had substantial retail experience in his family, too. His grandparents came from Japan as Maui plantation workers. Roy was born in Kahului, Maui. “Dad had seven stores, two on O‘ahu, two or three here. Both my grandmothers in Maui had small stores just like this.” He met his wife, Theresa Lyon, also from Hawai‘i, at Pomona College in California. “She’s the brains; she does payroll and bookkeeping.” The store has four part-time employees. After moving to Hawai‘i Island, the Kamitakis lived in Hilo, had two daughters, and settled in Nā‘ālehu when the girls were in kindergarten. “This project was to raise the children,” Roy says, referring to the Wong Yuen store. He proudly says that both have graduated college. Living in Arizona, one is working, and one in grad school. They don’t plan to work in the store, but the store has worked for them. “To pay for an expensive, top brand school is a lot,” Roy says. “It’s done. I plan to retire at the end of the lease in 2018.” The future of the Wong Yuen store after that is unknown.

Contact Wong Yuen store: 808.929.7223 Contact writer Karen Valentine: karenvalentine808@gmail.com

Celebrating 103 Years

Hualalai Road at Mamalahoa Highway Holualoa, Hawai‘i 808-324-0053

Ma~- lama i Ka Ola

Holistic Health Center MalamaTherapy.com 808.324.6644

Malulani Pavilion at Holualoa Inn event rental info: 324-1121 holualoainn.com

susan knight photo

The Kamitakis Take Over

Find Hilo events and things to see & do at downtownhilo.com

190 Keawe Street Suite 21 Hilo, HI 96720 (808) 319-2500 www.backstagehi.com

New dancewear store in Downtown Hilo providing high-quality, fashionable apparel, shoes, and accessories.

Hilo’s historic waterfront district is home to landmark buildings, unique shops, restaurants, galleries, museums, cultural and interpretive centers, and lots of green space. You’ll ﬁnd shopping, dining, and entertainment, served local-style. Want to experience aloha? Come to Hilo! Find out more – Check out the new online resource: downtownhilo.com A project of the Hilo Downtown Improvement Association

CREATIVE PLAY FOR ALL AGES Give the Gift of Knowledge! BOOKS & MUSIC

ART & SCIENCE KITS MAPS, TOYS & PLUSH COLORING BOOKS BASICALLY BOOKS

961-0144 L 160 Kamehameha l Downtown Hilo Open 7 days a week ~ BasicallyBooks.com

MARCH 4 at 7pm ~ MARCH 5 at 4pm Two exciting Taiko Drumming Performances featuring world renowned Shakuhachi soloist MARCO LIENHARD. Special 2-Day Passes available!

KeOlaMagazine.com | March-April 2017

MARCH 11 at 2pm & MARCH 20-24

Come join the party at Lucy's... Hilo's Mexican Taqueria! FRESH MADE!

We use only the freshest ingredients. We serve lunch, dinner, and breakfast all day.

Lucy's Taqueria

Enjoy a drink at our full bar.

8 draft beers on tap!

194 Kilauea Ave, Hilo www.lucystaqueria.com (808) 315-8246 Sun, Mon, Wed, & Thur 10:30am-9pm 78 Fri & Sat. 10:30am-10pm

Lunch • Dinner • Tacos • Burritos • Margaritas

All New MAGIC SHOW with Bruce Meyers on March 11, Plus Spring Break, March 20-24, Enroll your keiki in MAGIC CAMP at the Palace!

APRIL 15 at 7pm KUANA TORRES KAHELE Returns to the Palace with new music, beautiful hula and melodic slack key! Ticket includes a free CD! Plus a $65 Lei Making Workshop that Saturday afternoon.

Visit www.hilopalace.com

for more information. Call 934-7010 or visit the Box Office, M-F, 10am-3pm for tickets.

38 HAILI ST ~ HILO ~ 934-7010

Crossword Puzzle | By Myles Mellor

This page is for Ke Ola Magazine readers to have FUN while learning about the Hawaiian culture and this wonderful island we call home. Some answers are in English, some are in Hawaiian. Some answers will be found when you read the stories and ads in this issue. Feel free to use the online Hawaiian electronic library.wehewehe.org Oh yes, you can find the answers on page 83. Your feedback is always welcome. HIeditor@keolamagazine.com

ACROSS

DOWN

1 2 3 4 6 7 9 12

5 8 10 11 14 15 17 20 22 24 26 27 28 29 30 31 35 38 40 41 44 45 46 47

L iving symbol of paradise and the inspiration for Shelley Hoist’s artwork, 2 words Hilo muralist, Kathleen _____ Started a fire It keeps the beat for hula dancing H awaiian ahupua‘a where the Kohala Institute is restoring land to cultivation Fierce woman of creation Hawaiian word meaning at or in P olynesian island—according to oral tradition, many Hawaiians migrated from there ___ food, a key element in Hawai‘i’s sustainability movement Slow fall of water Hawaiian word for cooked and unpounded taro Hawaiian town that has a new coat of paint! Sweet potatoes Quick swim Domesticate Definite article in Hawaiian Conditional word Uncooked Good friend Hawaiian word for enclosure “Strive for the summit”—3 words Heavy weight Ornamental staff Takaroa was one for Native Hawaiians, 2 words See 39 down

13 16 18 19 20 21 23 25 26 32 33 34 36 37 38 39 42 43

Fabric design Show happiness Threefold Time just before an event Variety of palm tree One thousand, in slang Hot drink eBay founder who has invested over $60 million on Hawai‘i Island in sustainable activities, Pierre _______ Hawaiian word for sun Highest points Fire in Hawaiian Hawaiian word for wink Margarita fruit Hawai‘i’s welcome wreath Male sheep Increase Hawaiian word for offering or sacrifice N ose ___, traditionally a courting instrument in Hawai‘i L ast name of the Kumu Hula who wrote the oli, Nani o Pele Cooking equipment H awaiian word abbreviation for land parcel C onservation of this liquid is important in Hawai‘i Walkway O ne of Hilo’s most creative Kumu Hula, Johnny ____ (goes with 47 across) Hawaiian word for distance Hawaiian word for rain

Woodshop Gallery - Honomū By Brittany P. Anderson The town of Honomū is home to Woodshop Gallery, which features local handmade products made from koa and mango wood, as well as a variety of local art. Woodworker Peter McLaren is a master of the craft, making fine furniture and other products for over 30 years. His rocking chair line includes heirloom quality mango and curly koa rocking chairs that are functional pieces of art available in two distinct styles. The characteristic Queen Lili‘uokalani is modeled after the mission style rocker that was made special for the Queen at the turn of the 19th century. The newest style available is the Maloof inspired rocking chair, which has a contemporary sculpted silhouette that adds a classic sophistication to any room. Woodshop Gallery features a line of chef’s knives made from Damascus steel with beautifully hand made Hawaiian curly koa handles. These kitchen knives provide excellent durability and functionality while also being a statement piece for the kitchen. In 2010, Peter McLaren started making ‘ukuleles and archtop guitars under the brand Poi Dog Ukulele. All ‘ukuleles and guitars are handmade from local music grade koa and mango woods. His designs feature exquisite abalone inlays and an artistic consideration for the wood grain. Archtop guitars are available in acoustic or electric/acoustic. Each instrument is hand made from locally sourced wood on the Hāmākua coast of Hawai‘i. Woodshop Gallery has been located in Honomū since 1992. Prior to moving to Honomū, Peter McLaren and his family settled in Hanapēpē, Kaua‘i. Originally from New Zealand, the McLarens’

LIC# C-27865

built their 49-foot sailboat and in 1975 set off to sail around the world with their two small children in tow. For 12 years the family sailed throughout the tropics while homeschooling their children. The family decided to settle in Kaua‘i and Peter opened Woodshop Gallery in Hanapēpē. There his retail space was small with a large woodshop in the back. The family thrived and Peter found success selling his stunning handmade furniture. Unfortunately, the famed 1992 Hurricane Iniki laid waste to Kaua‘i and Woodshop Gallery was destroyed. Looking for a new place to call home, the McLarens fell in love with Hawai‘i Island instantly. “I really liked the people and there is a large artist population here. There are so many great artists on the island,” recalls Jeanette McLaren, Peter’s wife and Woodshop Gallery owner. Honomū provided the look and feel of an old Hawaiian town and the location near ‘Akaka Falls was perfect for the Woodshop Gallery. Jeannette McLaren is also an artist, having spent time working with several mediums including glasswork, pottery, and more recently jewelry. She spends most of her days at Woodshop Gallery and is excited to offer a wide variety of artists’ work along with McLaren’s woodworking. Visit Woodshop Gallery in Honomū to truly appreciate the craftsmanship and artistry of the products available. Woodshop Gallery 28-1692 Old Government Rd, Honomū, HI 96728 Open daily from 11am 5:30pm 808.963.6363 woodshopgallery.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.

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Pat Pe arlman De signs - Holualoa Pat Pearlman designs sculpture to wear! Pat shares with our readers, “My original wax carvings are molded and cast in sterling silver, 14K gold and bronze. My beads, stones and pearls come from all over the world via the Tucson Gem Show, where I personally fly over to pick them out. They are then transformed into unique jewelry at my Hōlualoa Shop.” Pat’s designs were originally inspired by nature and her interest in symbolism. She also loves to design timeless items that never go out of style... future heirlooms. Pat feels that working with the stones as well as wearing them enhances our spirit, inspiration and healing through the calming and rejuvenating energy that come from our earth, and she has a variety of beautifully mounted stones in the shop for people to choose from. You have to visit her to see her designs up close—they are exquisite! Pat continues, “I have always been told I have an eye for the details that make quality jewelry. I consider all of my products, ‘Sculpture to Wear’”. Pat shares how she got into this business, “I got a summer job my junior year in college working for a jewelry store in Provincetown, Massachusetts. The former owner had been in business for many years and the shelves were filled with old beads and findings. That is where I started

my assembly designing. Then I spent time with the owner learning the lost wax technique and I was hooked, it was so easy and fun! Being a portable medium, it seemed a perfect way to be self-employed, make a living creatively and still be able to maintain a ‘wandering’ lifestyle.” Pat raised her son and worked mostly out of a studio in her home for many years in Alaska. When her son grew up and moved out, she moved to Hawai‘i. Beginning in 1993, she had a studio on her coffee farm in Hōnaunau. When she sold the farm, she looked for a studio in Hōlualoa, an area she loved. When she found this perfect retail space, she decided it was meant to be, because by then she had so much merchandise! She opened 3 weeks later, which was 3 years ago. Her business continues to grow. Pat loves meeting people from all over the world, as well as many local folks. Although challenged by not having enough hours in the day to execute all her ideas, Pat would like to teach and pass on her entrepreneurial skills to others. She has a BFA in Fine Arts, Painting and Design from Syracuse University and a lifetime of jewelry design, including studying gemology. Pat shares, “I am proud to be happily working at 70, having been making jewelry for almost 50 years!” Pat’s shop is located in the historic pink Kona Hotel and her designs can also be found in other select shops in Hawai‘i, Alaska and the mainland. Pat Pearlman Designs Kona Hotel, Hōlualoa Shop: 808.328.8366 Cell: 808.990.5686 patpearlman.com

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

Akamai Events

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

Aloha Theatre–Kainaliu Aloha Performing Arts Company

KeOlaMagazine.com | March-April 2017

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

Holualoa Village Association HolualoaHawaii.com

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

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

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

Kahilu Theatre–Waimea KahiluTheatre.org 808.885.6868

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

Kalani Oceanside Retreat Kalani.com 808.965.0468

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

Kona Choral Society

KonaChoralSociety.org 808.334.9880

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

Kona Stories Bookstore

Palace Theatre–Hilo

Lyman Museum

Society for Kona’s Education & Art (SKEA)

KonaStories.com ks@konastories.com 808.324.0350

HiloPalace.com info@hilopalace.com 808.934.7010

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

WestHawaiiBand.com westhawaiiband@gmail.com 808.961.8699

Skea.org 808.328.9392

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

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

CROSSWORD SOLUTIONS

Volcano Art Center–Gallery volcanoartcenter.org Director@volcanoartcenter.org 808.967.8222 UH Hilo Performing Arts Center

North Kohala Community Resource Center

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

NorthKohala.org info@northkohala.org 808.889.5523

Waimea Community Theatre

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

West Hawai‘i County Band

WaimeaCommunityTheatre.org 808.885.5818

Resort and Shopping Center Cultural Events

Log onto websites for event calendars

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. Hon Chew Hee, Windward Mountains, Oahu, watercolor, c. 1960, 13.5” x 21.5”

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

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

Kona Commons Shopping Center KonaCommons.com 808.334.0005

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

KeOlaMagazine.com | March-April 2017

Shirley Russell, Hibiscus Floral, oil on canvas, c. 1960, 36.0” x 36.0”

The Isaacs Art Center features exceptional Hawaiian, Pacific, and Asian art from the nineteenth and twentieth centuries, including the world’s largest intact collection of work by Madge Tennent, Hawai‘i’s most famous artist. The expansive roster of prominent artists exhibited at IAC also includes Jean Charlot, Robert Lee Eskridge, D. Howard Hitchcock, Ben Norris, Lloyd Sexton, Jules Tavernier, and Lionel Walden. Other highlights include antique and modern koa furniture and wood art that ranges from calabashes, coffee tables, and consoles to kinetic sculptures. Many of these fine works are available for purchase. Proceeds benefit the HPA Scholarship Fund, which assists promising young people from Hawai‘i in realizing their educational goals.

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

Community Kökua

AdvoCATS

Kona Vistas Recreational Center 75-6350 Pualani St, Kailua Kona 3rd Saturday, 1pm Trap, neuter, spay, community education, colony feeding, management. Contact Stephanie or Nancy advocatshawaii@aol.org 808.327.3724 advocatshawaii.org

Boys & Girls Club of the Big Island

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

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd 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

East Hawaii Cultural Center/HMOCA

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

Friends of Amy B.H. Greenwell Ethnobotanical Garden

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

Friends of 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

Hamakua Youth Foundation, Inc.

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

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

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

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

KeOlaMagazine.com | March-April 2017

Do you know someone in the wedding and special event industry on Hawaii Island?

Ask them to sign up for e-newsletters from Hawaii Island Wedding Association!

HIWA provides opportunities for:

~ Referrals ~ Discounts ~ Resources ~ Education ~ Networking

For more info: HIWeddingAssociation.com

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

Community Kökua

Hospice Care

North Hawai‘i Hospice, Waimea Monday–Friday, 8am–4:30pm Care for families facing serious illness. Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

Hospice of Hilo, East Hawai‘i

Serving Laupāhoehoe to South Point Ongoing Seeking volunteers to provide staff support and care to patients and families. Contact Jeanette Mochida jeanettem@hospiceofhilo.org 808.969.1733 HospiceOfHilo.org

‘Imiloa Astronomy Center of Hawai‘i

Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

Volunteer Opportunities Kahalu‘u Bay Education Center

Kahalu‘u Beach, Kailua-Kona Daily 9:30am–4:30pm ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

Kalani Retreat Center

Kalapana Varied Schedules Seeking volunteers: skilled trades/ maintenance, housekeeping, kitchen, horticulture. Contact Volunteer Office volunteer@kalani.com 808.965.7828 Kalani.com/volunteer

Kohala Animal Relocation & Education Service (KARES)

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

Kona Choral Society

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

Kona Toastmasters

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

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

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

North Kohala Community Resource Center

Kohala Welcome Center, Hawi Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha. Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha

Parrots in Paradise Sanctuary

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

Rainbow Friends Animal Sanctuary

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

Snorkel Day for People with Disabilities Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Stephanie Kovatch snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Sundayʻs Child Foundation

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

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 | March-April 2017

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

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

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

KeOlaMagazine.com | March-April 2017

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

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

East

Tuesday 2:45–5:30pm Hakalau Farmers Market Live music by: Alternative Medicine Bank Hakalau Veterans Park 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

Big Island Body Contours

Talk Story with an Advertiser

Big Island Body Contours 75-5706 Hanama Place Kailua-Kona, HI 96740 808.331.3000 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.

KeOlaMagazine.com | March-April 2017

Big Island Body Contours is the home of Hawai'i Island’s SculpSure laser treatment center. SculpSure is a non-invasive body contouring system for the reduction of stubborn fat in areas such as the abdomen and love handles. SculpSure is one of the most innovative and modern options for body contouring available today. It is FDA approved and the World’s First Hyperthermic Laser for Non-Invasive Fat Melting. It’s perfect for people whose body’s are resistant to exercise and diet. Each treatment takes 25 minutes. During the procedure, the patient will intermittently feel a tingling sensation. It’s been described as feeling similar to the sensation of having a deep facial treatment. You can even have the SculpSure treatment during your lunch hour and return to work immediately! Most patients see results with as little as one treatment. Final results will be seen within 12 weeks, as the body begins to evacuate the destroyed fat cells. The treated fat cells are permanently destroyed during the treatment and will not regenerate. HOW DOES IT WORK? Applicators are placed on the desired treatment area to administer light-based energy, which treats and injures fat cells. In the weeks following treatment, the body naturally eliminates the injured fat cells, resulting in a slimmer appearance. Peter Neumann, MD, F.A.C.S, from Nassau Plastic Surgical Associates, P.C. in Roslyn Heights, New York has been working with the SculpSure machine longer than almost any other practice in the U.S.A. Dr. Neumann is quoted as saying “Once fat is destroyed it never comes back. The laser shoots energy into the fat cells, which are then destroyed. The body absorbs the ruptured fat cells and removes all unwanted material. After the full 12 week period, you will see a 24% decrease in fat from the area treated. This fat will never return and the skin does not loosen.” Big Island Body Contours is located in the Kona office of Dr. Joan Greco. Dr. Greco is a highly praised oral and maxillofacial surgeon on Hawai’i Island. Her passion for helping her patients look and feel their best has motivated her to establish a medical corporation dedicated to SculpSure. All proceeds from BIBC procedures go toward the JMGreco Foundation, which has been established to fund education for local students with interest in medicine, dentistry and related fields. An equal portion of the proceeds goes to funding mission work that Dr. Greco does in Guatemala. This work includes repair of cleft lips, facial wounds and oral surgery. So, when you have this procedure done at Big Island Body Contours, you are also helping our community and our world!

Claire K. Bajo, REALTOR®

Talk Story with an Advertiser

KeOlaMagazine.com | March-April 2017

Calabash COLLECTIBLES

Claire Bajo is a Spiritual Real Estate Agent and Intuitive Fiduciary Consultant, based in Kailua-Kona. She is a lifelong Hawai‘i resident and is of Hawaiian ancestry. Claire helps all of her clients and friends by guiding them through Hawai‘i business practices and the local culture, especially when she is helping people purchase a property, or they need something completed at their property. Understanding how best to approach unique situations by following the Aloha Spirit Law HRS-5-7.5 is her specialty. With 25 years in the Hawai‘i real estate industry, and Claire’s spiritual background and connection to the islands, she implements the wisdom of her experiences to give you, your referrals, family and friends the best “Dream Come True in Hawai‘i” experience possible. With her strong network of resources, Claire makes sure your needs are met, and always sees miracles and magic happen all along the way, in your favor! For those who are interested in a Spiritual Real Estate experience, Claire can tell you about certain sacred sites and special places on Hawai‘i Island, in your preferred area, so you can be sure to connect and introduce yourself. Some people feel they are “called” to the islands and don’t know why. Claire introduces the concept of reincarnation and Lemuria to you, being open to the possibility of being spiritually called back to where you may have lived before, in a past life. For those who are interested, there are many “vortex/ portals” of energy that are stronger in some areas, especially near the 19.47 degree power ley line that runs through Hawai‘i Island. Claire will also share the ongoing stories of Pele, the Goddess of the Volcano, and the local lore that will help you to understand the politics and why things are the way they are in Hawai‘i. Claire is always excited to meet new people, especially those that are feeling the “call” to come home to Hawai‘i, even if it’s unexplainable to you. She has so much to share with you! Claire has been licensed as a Realtor in Hawai‘i since 1999 and even before that was already serving the industry here. She is a Certified Negotiations Expert, with a specialty of Hawai‘i real estate success using the Spiritual Law of Attraction, Aloha Spirit Law HRS 5-7.5, Karma, and Pele’s Law of Hospitality. She’s invaluable in assisting clients with successful integration. Visit Claire at the offices of Island Home Realty, either at the entrance to Kona Inn Shopping Center, or at the Real Estate Café in the Kona Coast Shopping Center. Claire K. Bajo RS-57707 SRES CNE Island Home Realty, Inc. RB-19983 808.756.4874 facebook.com/ ClaireBajo

Vein Clinics of Hawaii Celebrating a Long Time Advertiser with Ke Ola By Brittany P. Anderson non-invasive ultrasound device to help Dr. Juleff diagnose the cause of circulation issues. The information the RVT collects is crucial in diagnosis, and it also helps to put patients at ease by explaining why they are experiencing symptoms. This also keeps patients comfortable and helps empower them to make informed decisions about vein care. To further support Dr. Juleff’s vision, those looking for a vein screening in the comfort of their own home are able to submit a “Virtual Vein Screening” through Vein Clinics of Hawaii’s comprehensive website. Simply fill out the web based questionnaire answering a few questions regarding symptoms, medical history, and contact information. Your submission is confidential and you will be contacted for an appointment by Dr. Juleff’s caring staff. Dr. Juleff has enjoyed his first 5 years of working in Hawai‘i and becoming a trusted professional in the medical community, treating the people of Hawai‘i, and becoming a part of the community. He believes that patients will find a comprehensive practice with a compassionate staff. Individual needs of the patient are carefully considered, whether it is a mother with spider veins concerned with her legs' appearance, to the active individual who experiences pain or heaviness in their legs. He is also skilled at treating the elderly who have venous insufficiency with ulceration. The consequences of untreated vein disease can be serious, and Vein Clinics of Hawaii can address the issue quickly, safely, and comfortably. Dr. Juleff is experienced in the latest vein treatment technologies. Through minimally invasive treatments, Dr. Juleff and staff are able to address vein disease at its root, allowing you to enjoy healthier, better looking legs. Vein Clinics of Hawaii offers treatments that provide relief that require little downtime and are virtually pain-free. Contact the office of Dr. Randall Juleff at Vein Clinics of Hawaii to learn more about the treatments offered and how they can help you.

Vein Clinics of Hawaii 65-1158 Mamalahoa Hwy Suite 16 Kamuela, HI 96743 Phone 808.885.4401 veinclinicsofhawaii.com

KeOlaMagazine.com | March-April 2017

From the moment you enter Vein Clinics of Hawaii’s offices, their warm and compassionate staff will make you feel right at home. They are dedicated every step of the way, from initial evaluation through whichever treatment path is right. This dedication to patient comfort extends to the consultation and procedure suites, which are designed to keep patients relaxed and at ease. Vein Clinics of Hawaii is led by Dr. Randall S. Juleff, a triple board certified medical doctor. With nearly 20 years experience, Dr. Juleff is certified in Phlebology, General Surgery, and Cardiovascular and Thoracic Surgery. He has treated hundreds of patients with venous disorders as well as a range of vascular, thoracic and cardiac diseases. It is Dr. Juleff’s dedication to patient satisfaction that makes him one of the best vein doctors in Hawai‘i. Dr. Juleff earned his undergraduate degree from Oakland University. After graduating Magna Cum Laude he went on to medical school at Wayne State University in Detroit, Michigan. Following medical school, he completed an internship and residency training in General Surgery at William Beaumont Hospital, also located in Michigan. In order to enhance his skills and knowledge, Dr. Juleff completed a number of research and clinical fellowships. He completed a one-year research fellowship at Beaumont Hospital concentrating on vascular surgery, a clinical fellowship in vascular surgery at The Jewish Hospital in Cincinnati, and a cardio-thoracic fellowship at Tulane University in New Orleans. Dr. Juleff has been working in Hawai‘i for 5 years with offices on O‘ahu, Kaua‘i, Maui, and Hawai‘i Island. Vein Clinics of Hawaii believes that a positive patient outcome is directly linked to not only skill, but also care. Dr. Juleff is passionate about providing Hawai‘i Island care that is minimally invasive and with a human touch. The Vein Clinics of Hawaii (Hawai‘i Island) office, located in Waimea, provides state of the art vein treatments in a safe, comfortable, and supportive atmosphere. To ensure that patients receive the results they deserve, Vein Clinics of Hawaii offers several different vein treatments including sclerotherapy, radiofrequency ablation, and phlebectomy. Dr. Juleff is dedicated to providing Hawai‘i with vein treatment that utilizes the most advanced techniques available for a safe and comfortable experience. He works to keep facilities updated with the latest in vein disease technologies and employs a Registered Vascular Technologist (RVT) to perform diagnostic assessments for patients. Registered Vascular Technologists are trained and educated professionals who specialize in assisting physicians and surgeons in diagnostic tasks. Vein Clinics of Hawaii’s friendly and highly trained RVT helps patients get ready for a diagnostic procedure, answer any questions they may have, and use a

Advertiser Index Accomodations

68 27 10 20 87 77

Activities, Culture & Events

38 14 34 1 74 55 38 42 78 14 38

Art, Crafts & Jewelry

Akamai Art Supply Blue Sea Artisans Cliff Johns Gallery/Champions Wood and Fine Art Colette's Custom Framing Dovetail Gallery & Design Glyph Art Gallery Harbor Gallery & Charms of Aloha Holualoa Gallery Holualoa Ukulele Gallery Interpoint Art Hawaii Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Jeannie Garcia, Fine Artist & Oil Painter Kanilea Pen Co. Kimura Lauhala Shop Kohala Village HUB Piko Learning Center Kona Frame Shop Michael Arthur Jayme Gallery/Studio Mountain Gold Jewelers Pat Pearlman Designs Shirley Pu Wills, Fine Artist Silver Botanica Jewelry Simple Elegance Gems Woodshop Gallery Volcano Art Center

Automotive

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KeOlaMagazine.com | March-April 2017

Akaka Farms Vacation Rental Grand Naniloa Hotel Kamuela Inn Kïlauea Lodge Kohala Village Inn Holualoa Inn Malulani Pavilion 808 Billiards Aloha Performing Arts Co. Emily T Gail Show FairWind Big Island Ocean Guides ÿImiloa Kona Boys Kona Chorale Society Ocean Sports Palace Theater Paleaku Peace Garden Tsunami Museum

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

88 47 17 88 76 77 74 76 76 20 83 76 28 24 77 87 41 68 36 76 20 68 44 68 28 28

Ke Ola Magazine recognizes the use of the ‘okina [‘] or glottal stop, as one of the eight consonants of (modern) Hawaiian language; and the kahakō [ā] or macron (e.g., in place names of Hawai‘i such as Pāhoa). Ke Ola Magazine respects the individual use of these markings for names of organizations and businesses.

Beauty, Health & Nutrition

Alex's World of Beauty Big Island Body Contours Douglas Dierenfield, DDS Dr. Ardolf & Associates Hearts and Stars Day Salon and Day Spa Jade McGaff, MD Joan Greco, DDS, Oral & Maxillofacial Surgery Mälama i Ka Ola Holistic Health Center North Hawaiÿi Community Hospital Reiki Healing Arts Vein Clinics of Hawaii Water Bird Healing Arts - Hope Delaney, LMT

Building, Construction & Home Services

81 56 34 12 10 32 32 77 3 36 22 74

Aloha Metal Roofing Colette's Custom Framing dlb & Associates Fireplace & Home Center Hamakua Canvas Co, (Upholstery) Hawaii Water Service Co. Hawaii Electric Light Co. Indich Collection Hawaiian Rugs LeiManu Designs & Malama Torches Kona Frame Shop Mason Termite & Pest Control Plantation Interiors, Teak Garden & Lanai Polynesion Development, Inc. Renewable Energy SlumberWorld Furniture Smart Plumbing Hawaii Statements Tai Lake Custom Furniture True.Pure.Clean Hawaii Cleaning Service, LLC Water Works Yurts of Hawaiÿi

91 88 91 37 32 18 32 5 38 41 85 34 52 80 20 62 72 52 56 48 62

360° True North Photography Action Business Services Aloha Kona Kids Anoÿano Care Home Employment Experts Hawaii Community Federal Credit Union Hawaiÿi Island Adult Care Hawaii Island Wedding Association Lee Mattingly, Attorney Nautural Investment Services, LLC The UPS Store Pets Aloha Pawz Maikaÿi Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC Stop Hawaii Dog Abuse

68 91 42 84 35 43 16 84 28 74 62

Business & Professional Services

10 91 6 40

Real Estate

Beverly Y. Crudele, RS, Clark Realty Cindy Griffey, RS, MacArthur & Co.|Sotheby's Claire K. Bajo Spiritual Real Estate Coldwell Banker-Daylum Properties Hamakua Coast Realty Hölua Kai at Keauhou Kealakekua Magical Sprawling Estate Kelly Shaw, RS, Koa Realty Kimi White, RB, Rainbow Properties Koa Realty Pacific Isle Lending Group, LLC Paradise Found Realty Restaurants & Food Daylight Mind Restaurant and Café Hilo Shark's Coffee Holukoa Gardens & Café K's Drive-in Kailua Candy Company Kohala Grown Market Kohala Village Hub Pub Kona Coffee & Tea Lucy's Taqueria Nakahara Store Organo Gold Healthy Coffee & Tea Päpaÿaloa Country Store & Cafe Peaberry & Galette Standard Bakery Sushi Rock & Trio Retail & Gifts Backstage Dancewear Basically Books Calabash Collectibles Glass from the Past Hands of Tibet Hawaii Marine Center Hawi ÿUkulele Island Clutter Consignment Shoppe Kadota's Liquor Kanilea Pen Co. Keauhou Shopping Center Keauhou Store Kiernan Music Kings' Shops Kona Commons Shopping Center Mana Cards Nakahara Store Päpaÿaloa Country Store & Cafe Paradise Found Boutique ParadiseOnlineShopping.com Parker Ranch Store Puna Kamaliÿi Flowers Queens' MarketPlace

91 15 31 37 52 2 IFC BC 16 76 91 91 18 68 76 15 48 26 87 20 78 26 31 31 47 17 26

78 78 88 68 85 91 26 3 15 24 46 76 17 IBC 57 24 26 31 47 31 82 41 IBC

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Pele’s young sister Hi’iaka has now blossomed into a beautiful young woman. She is strong and sweet natured. Hi’iaka meets another young woman whom she befriends, named Hopoe. The two become constant companions and Hopoe teaches Hi’iaka the gift of making lei and the beauty of dancing Hula.

Hi'iaka and Hopoe Artist Linda Rowell Stevens 92 lindarowellstevens.com

THE BIG ISLAND’S

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From high style to family style, Kings’ Shops and Queens’ Marketplace are the ultimate shopping and dining destinations along the Kohala Coast. The two centers offer a range of stores, from exclusive luxury brands to popular boutiques. It’s a pairing made in paradise.

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