“The Life” Cel e b rating t h e a r t s, cu l t u re, a n d s u s t a i n ab i l i t y o f t h e Hawa i i a n Is la nds
Maui County Edition—Premier Issue
Complimentary Copy
April–May 2013 • ‘Apelila–Mei 2013
“The Life” Celeb ratin g t h e a r t s, cu l t u re, a n d s u s t a i n ab i l i t y o f t h e Hawa i i a n I sla nds
April–May 2013 ‘Apelila–Mei 2013
Art 17 Art From the Inside Out Visual Art as a Tool for Transformation and Healing with Beth Marcil By Sherry Remez Business 11 Why Values? And Why “Manage with Aloha?” T he First in an Ongoing Series on Managing With Aloha By Rosa Say
Culture 7 Every Map Has a Story to Tell The Story of Hawaii Museum By Linda Olds
Music 21 Sam Ahia’s ‘Ohana Hawaiian Guitar… Brazilian Style… and All That Jazz By Keith Nealy
People 13 Flower Child Aunty Pua’s Wisdom Rooted in Ancestry and Intuition By Amorah St. John
Spirit 5 Wai ola hā Na Kumu Lei‘ohu Ryder
Puana -- Refrain
26 Haleakalā: A History of the Maui Mountain By Jill Engledow
Departments
Island Treasures Life in Business
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Ke Ola recognizes the use of the ‘okina [‘] or glottal stop, as one of the eight consonants of (modern) Hawaiian language; and the kahakō [ā] or macron (e.g., in place names of Hawai‘i such as Hāna). Ke Ola respects the individual use of these markings for names of organizations and businesses.
Back issues of Ke Ola Hawai‘i Island are available for purchase. KeOlaMagazine.com
KeOlaMagazine.com | Maui County April/May 2013
Ka
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“The Life” Celebra ting the a r ts, culture, a nd susta ina bilit y of the Hawa iia n Is la nd s
Feeling Tired? Sleep Disturbed? Memory Problems? Gaining Weight? Naturopathic Physicians specialize in identifying and removing the cause of disease rather than solely treating the symptoms. ND’s use a variety of natural therapies including:
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KeOlaMagazine.com | Maui County April/May 2013
Dr. Nancy Lins,
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is a board certified Naturopathic Physician licensed in the State of Hawaii. She received her doctoral training from Southwest College of Naturopathic Medicine and Health Sciences in Tempe, Arizona. That training included a four year didactic program and clinical residency.
UA MAU KE EA O KA ‘ĀINA I KA PONO.
The life of the land is perpetuated in righteousness. [Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the Hawai‘i state motto.
Publisher, Marketing and Operations Barbara Garcia Bowman, 808.329.1711 x1, Barb@KeOlaMagazine.com
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Maui Circulation, Inc, 808.871.8904
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Ke Ola is printed on recycled paper with soy-based inks. Ke Ola is a member of Hawai‘i Alliance for a Local Economy (HALE), supporting the “Think Local, Buy Local” initiative. Submit online at KeOlaMagazine.com (Info/Contact menu) Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates Worldwide Delivery 808.329.1711 x3, order online at KeOlaMagazine.com, or mail name, address, and payment of $24 US/$48 International for one year to: PO Box 1494, Kailua-Kona, HI 96745. Subscriptions and Hawai‘i Island issues available online © 2013, Ke Ola Publishing, Inc. All rights reserved
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Wai ola hā
| Na Kumu Lei‘ohu Ryder
Wai Wai Wai Wai Wai
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ola ola ola hā ola ho‘i ola ola hā
Living waters All waters Blessed by the breath of spirit The living waters of source returned Living waters of spirit
his oli/pule awakens the spirit of our essence as life. The internal and external knowing of all we are. It invokes the flow of the living waters of our connection to Source. Contact Kumu Lei‘ohu Ryder: LeiohuRyder.com
KeOlaMagazine.com | Maui County April/May 2013
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E komo mai!
Learn how this extraordinary couple creates heaven on earth!
Welcome to the premier issue of Ke Ola Maui County! I am deeply grateful for the life I am living here in Hawai‘i. So much so that I began a magazine four and a half years ago on Hawai‘i Island to celebrate the beauty and bounty of the island. Now you’re reading the debut issue for Maui County! We look forward to telling many stories about the people, land, music, art, food, and culture of Maui County. Ke Ola means “The Life” and we have adopted the state’s motto, originally the words of King Kamehameha III, written in 1843, “Ua mau ke ea o ka ‘āina i ka pono—the life of the land is perpetuated in righteousness.” To that we have added “Its sustainability depends on doing what is right.” This is our mission and our kuleana (responsibility)—to tell the stories that will perpetuate the land, because we believe it is the right thing to do. 15,000 complimentary copies of each bi-monthly issue will be given away at more than 50 distribution spots (plus all of our advertisers’ locations). These numbers will increase as popularity rises. While this first Maui County issue is fairly small, we expect it to grow quickly and you will see other features soon, such as our: Advertiser index, custom-made Hawaiian language crossword puzzle, Community Kōkua (Volunteer Opportunity) page, Farmers Market listings, historical features, and more full-length feature stories about people who are making a positive difference on the islands. We are able to offer Ke Ola for free on Maui, Lāna‘i, and Moloka‘i by the support of advertisers. We are very grateful to those who already understand our vision and have joined us for this premier issue! If you enjoy the stories, please support our advertisers by mentioning you saw their ad and even buying something from them. Our commitment to everyone on these islands is to provide illuminating stories, preserve the Hawaiian culture while building the local economy. As new members of the Maui Hawaiian Chamber of Commerce, we respect and adhere to their mission statement, “to promote and sustain Hawaiian culture and enhance the socio-economic status of Native Hawaiians in business and as individuals.” Mahalo ke akua, we give thanks for all our blessings! Enjoy the premier issue—we want to hear from you. Barbara Garcia, Publisher
KeOlaMagazine.com | Maui County April/May 2013
“The Life”
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Ce l e bra ti n g th e a r ts, cul ture, a n d s us ta i n a bi l i t y o f th e H a wa i i a n I s l a n d s
Maui County Edition—Premier Issue
Manifest Your Beloved For single men & women
May 3-5
Deepening Intimate Relationship For couples
May 31-June 2 Upcountry Maui
ReclaimingAphrodite.com
Complimentary Copy
April–May 2013 • ‘Apelila–Mei 2013
“Hi‘iaka’s Prayer” by Beth Marcil See story on page 17. Chanting powerful prayers and using sacred water and medicinal herbs collected in the vessel she holds, Hi‘iaka’s prayers for guidance require her utmost focus, testing her stamina and her mana, as she gains the experience of bringing life into being.
Send us your comments, letters, and photos! We take email, snail mail, submissions through our website, or posts on Facebook, LinkedIn, and Twitter! Editor@KeOlaMagazine.com
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Artist Parker Edwards designed this colorful, decorative map of Hawai‘i, which was produced by Dole Pineapple as a souvenir of the islands for travelers. Circa 1937.
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Every Map Has a Story to Tell The Story of Hawaii Museum
vast Pacific, the exhibit follows the waves of those who came to these islands. “The Polynesians have an extraordinary seafaring heritage and navigated This early Hawai‘i Government Survey map by natural is notable for the many place names markers such and preserving the ancient Hawaiian ahupua‘a as stars, sea (land divisions) and boundaries. currents, and the migratory patterns of birds,” says Neal. “Most people know Cook’s name but what they don’t realize is how much of the Pacific was first charted by him. For a long time others based their charts on his,” he says as he stops in front of an example made in 1798 by Italian cartographer Giovanni Cassini that fancifully depicts Cook’s demise on Hawai‘i Island. Following the adventurous European explorers, missionaries and whalers from New England discovered Hawai‘i. “The missionaries had a big impact. They changed Hawai‘i’s oral tradition by developing a written Hawaiian language. Here on
KeOlaMagazine.com | Maui County April/May 2013
he story of Hawai‘i is filled with adventure, discovery, and conflict. It unfolds in a unique exhibit of historic maps and vintage prints at the Story of Hawaii Museum. Nestled in a corner of the Mā‘alaea Harbor Shops, this new museum illustrates the amazing epic of Hawai‘i—from the Polynesian migrations of prehistory through the European voyages of exploration, to the monarchy, missionary and plantation days, the Territorial period through World War II, and statehood to the present—with rare maps, prints, and authentic pieces, some hundreds of years old. “Each map has a story to tell,” says co-owner and curator Bryant Neal. “This collection includes some of the most important in the history of Hawai‘i. The exhibit explains and describes Hawai‘i’s role in the Pacific in terms that residents and visitors of all ages can understand and enjoy. From school kids on up, people will get an overview—the big picture of Hawaiian history.” The display is set up in chronological order so you can Curator Bryant Neal follow the history of Hawai‘i just by and co-owner Richard taking a stroll around the gallery. Mickelson offer free Beginning with a panel that traces admission to all museum goers. early Polynesian canoe routes photo by Susan Halas across thousands of miles of the
| By Linda Olds
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KeOlaMagazine.com | Maui County April/May 2013
Maui, they set up a press to print bibles, periodicals, and newspapers. They also taught mapmaking and printed maps,” he explains, pointing to Dibble’s 1843 Cassini Map—One of the earliest decorative map of Maui maps of Hawai‘i, this Italian one was based that was on Cook’s and includes a fanciful view of the produced by captain’s death. The large font clearly shows Lahainaluna the phonetic spelling used by Cook in his attempt to write the Hawaiian language. students. The decline of the whaling industry led to the rise of the plantation era, and its demands cultivated a new concept in the islands—land ownership. This was a significant change. The old way of dividing land into ahupua‘a was displaced by new surveys and maps such as the colorful 1885 Alexander Survey. “This map is notable for the many place names and preserving the ancient Hawaiian land divisions and boundaries in a country that only converted to western-style land ownership a few years earlier,” remarks Neal. New ways displacing old ways—in some ways, the story of Hawai‘i is the story of everywhere—conflict based on power
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and money. As their interests in the islands grew, American businessmen used their resources to overthrow the monarchy and create a provisional government, finally persuading the United States to annex Hawai‘i as a territory and, in 1959, make it a state. “All of this created a need for new maps,” Neal says, “Several have an inset showing the strategic advantages of Pearl Harbor.” The Story of Hawaii Museum is one of the only places where you will discover an impressive array of rare and unusual authentic material relating to the December 7, 1941 Japanese attack on Pearl Harbor. In addition to the American photos, maps, charts, USO pamphlets, and original newspaper headlines, the exhibit features artifacts from the Japanese military, much of it acquired from defunct Japanese museums. There are uniform accessories such as boots, hats, gaiters, combat helmet and canteen; Rising Sun flags; and, printed propaganda. Some of the remarkable items on display include a senninriki, a handkerchief marked by 1,000 people with the character for power and given to a soldier to give him power in battle. Powerful Isoroku Yamamoto, the architect of the Pearl Harbor attack, sits front and center in an extraordinary large-format photo that hangs in the middle of the exhibit. It is a formal portrait of the admirals of the Combined Japanese Fleet taken at Iwakimi Naval Base in Japan three weeks before Pearl Harbor. More details are found in the charts and maps that graphically illustrate the movement of ships, planes, and troops. “This Hammond War map is a great one,” enthuses Neal, pointing at spots on the big blue and brown map. “This is one of the most detailed maps of the Pacific ever created. It shows every military installation and important site throughout the
illustration by Weber from Cook’s third voyage noting that here is the first known printed picture of surfing. Neal graduated with a degree in theater arts and moved to Maui from Colorado in 1982. After a stint with the jewelry company Maui Divers, he joined Lāhainā Printsellers where he became a partner. The Story of Hawaii Museum evolved from his presentation “The Early Mapping of Hawai‘i” as a way to tell the story using maps, prints, and vintage documents. Telling the story is important to Neal, “We want to be a resource for the community.” Regularly scheduled talks are given during the day. The speaker and topic vary: Neal presents “The Mapping of Hawai‘i;” Maui artist Ellen Bellerose talks about the women of the monarchy (a subject close to her heart; her portraits of Princess Ka‘iulani, Queen Emma, Bernice Pauahi Bishop, and others are detailed and touching). The museum’s monthly Hawaiian History Evenings feature casual sessions with a variety of speakers such as Maui author Jill Engledow, who has spoken about the Olowalu Massacre and Haleakalā National Park. A display of rare and unusual items about Other talks have World War II has authentic material been about from the Japanese military including an original photo of the admirals of the the birth of Japan Combined Fleet taken three weeks the Hawaiian before the attack on Pearl Harbor. kingdom, Hawaiian cultural misconceptions, statehood, whales, and Maui’s Heroesthe 442nd. Neal continues, “We are working with museum education consultant Cathryn Kelley Smith with input from local educators and community leaders to develop fun, interactive, Department of Education standards-based activities. Donations to the museum support its education programs. Another source of support is the museum’s gallery. It provides serious collectors with an opportunity to own historic and authentic Hawaiiana by offering a wide selection of original items such as maps, sheet music, Matson menu covers, and vintage art. If you just enjoy their decorative qualities, beautiful giclée reproductions of the rare maps, prints, and other pieces are also available. And, of course, what’s a museum without a gift shop? Completing the picture, the gift shop is chock-full of distinctive merchandise in a range of prices, much of it made on Maui. There are books by island authors and wood sculptures, fine jewelry, paintings, and photographs by local artists. The vast assortment of souvenirs includes just about everything you can imagine from fine jewelry to scented soap. ❖ Discover the Story of Hawaii Museum and enjoy the adventure. Located in the Mā‘alaea Harbor Shops, the museum is open daily from 10 am to 5 pm. Admission is free and donations are gratefully accepted. Donors receive a complimentary “Mapping of Hawai‘i” DVD. For more information: StoryOfHawaiiMuseum.com 808.242.6938 Contact writer Linda Olds: oldsey@gmail.com
KeOlaMagazine.com | Maui County April/May 2013
Pacific Rim. While showing Hawai‘i in perspective, it indicates time zones across the bottom and highlights air routes across the Pacific.” Happier times are depicted in One of the most detailed maps of the the colorful, Pacific ever created, beautifully this Hammond War map shows WWII designed maps, military installations and important sites. brochures, and advertising produced by Hawai‘i’s tourism industry. There is an entire display devoted to the heyday of the luxury liners that leisurely cruised the Pacific between San Francisco and Honolulu. Artifacts from the Matson Line’s ship, Lurline, are arranged on a table, inviting you to sit down and peruse the 1948 souvenir menu with colorful artwork by Eugene Savage on the cover. You can take your time wandering through the museum, reading the detailed information in a variety of exhibits that take up the center of the space: Duke Kahanamoku, Hawaiian monarchy, Claus Spreckels the sugar king, the Spanish in Hawai‘i, the whaling industry, and Elvis. Elvis? “This year marks the 40th anniversary of Elvis’s Aloha from Hawai‘i concert. It’s historic because it was the first concert [broadcasted] live by satellite around the world,” explains Neal. In commemoration of the anniversary, he acquired authentic, original items from the event including the double album, photos, and other memorabilia that are on display and for sale. The Story of Hawaii Museum is a privately owned and funded endeavor, the culmination of 20 years experience selling maps at Lāhainā Printsellers by co-curators Bryant Neal and Richard Mickelsen. Together these partners operate Tradewinds Production Group, the production arm of the museum that includes researching and creating interpretive and other materials for the display. Graphic designer Michelsen grew up on O‘ahu and inherited his love for history from his father, Bob Krauss, the late historian and veteran columnist for the nowdefunct O‘ahu newspaper, The Honolulu Advertiser. Mickelsen painstakingly restored many of the original source maps used in the museum which were retrieved from archives in poor condition including tears, stains, missing letters, as well as entire map sections. Neal’s passion for maps is evident when he is giving a tour of the museum. He delights in telling the stories of the maps and punctuates them often with Healani–A highly collectible vintage souvenir menu from little known facts and anecdotes. “Cook really put Hawai‘i on the Matson Cruise Lines with cover art by John Kelly. map,” he says and points to an
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KeOlaMagazine.com | Maui County April/May 2013
Rosa Say is a workplace culture coach, a zealous advocate of the Alaka‘i Manager, and the author of Managing with Aloha: Bringing Hawai‘i’s Universal Values to the Art of Business. She’s a wife and mom, sister and daughter, manager, leader and worker bee, living the best life she can. Learn more about Rosa at RosaSay.com, and discover more about the Managing with Aloha philosophy at ManagingWithAloha.com.
Why Values? And Why “Manage with Aloha?”
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The First in an Ongoing Series on Managing With Aloha
e true to your values.” It’s advice you’re likely to hear several times in your lifetime, and read in countless books and articles. What does it mean? Looking at it through the lens of ALOHA, it means, “Manifest your spirit completely: Be you.” Still a big phrase though, isn’t it? To “Be you” is to make several key choices, and then actively live your life by those highly visible choices: 1. You choose your values, knowing they will either help or hinder your behavior—hindering in a good way, curbing rash impulses, for by their inherent nature, values are good. 2. You choose the company of others you keep close, knowing that they will either encourage you, or challenge you with the honesty of unconditional love. This includes family, kept close (or not, also a choice) for ‘OHANA is the “human circle of Aloha.” 3. You choose the work you devote your efforts to, knowing that your work ethic will sustain you physically, intellectually, and emotionally. You HO‘OHANA (work with purposeful intention) as a person who does important work; work that matters.
Knowing this, we talk of how we Live with Aloha, and Work with Aloha, in order to self-manage with Aloha. Recognizing the drivers of our own behavior and taking responsibility for them is how we will ‘be true to our values.’ When you really think about it, the way you ‘walk the talk’ of your primary value drivers is a kind of signature that others identify with you. Taken altogether, your values are your personal brand. They define your reputation. The reason to bother with all of this is clear. “All of this” equates to wonderful self discovery, tapping into our innate wisdom—our mana‘o. Discovering who you are meant to be in this lifetime, is discovering the relevant answer to nearly every other question you’ll wonder about, because you now know how you fit in, and how you’re part of the whole we call our humanity. You have your sense of belonging. You feel PONO, having a rightness with your world, and sense of balance within it. As serious as this all sounds in its life-defining gravity, once you make those key choices, and commit to living your life by those choices willfully, they bring meaning, satisfaction, and true joy to your life. Your efforts become engaging, even playful. You become inspired (for now you are in-spirit) with your personal, relational, and professional value alignment fueling your best energies. Imagine how much simpler navigating our increasinglycomplex world would be if everyone was transparently true to their values. We could get on with our greater possibilities so much quicker than we now do. This is a great way to think about the servant leadership we know here in Hawai‘i as the value of HO‘OKIPA: we serve others best, by providing them with values and clarity when they deal with us: we’re honest and authentic. What they see, what they hear, what they feel radiating from us is truly what they get. It becomes clear to them how they fit in. too—and fit in with us. We seek to be what ALOHA is all about. We’re true to our values. These are the principles we’ll examine in issues to come as we explore the 19 Values of Managing with Aloha. The values of our Hawai‘i are timeless; they are wise, relevant and exceptionally useful to us, and I am very thankful to the ‘Ohana of Ke Ola, for allowing me to share them with you. Until next time. ~ Rosa Say
KeOlaMagazine.com | Maui County April/May 2013
Those are big choices, for they factor into our sense of wellbeing. Sometimes they’re clear, and we are tasked with keeping them clear, and directing them well. Sometimes they’re muddled and we need to sort through them; getting our clarity is Job One. Whether clear or muddled, our choices will consistently affect those three decision areas of life’s prevailing focus: values, relationships, and intentional work. Thus, those are the foci at the epicenter of a Managing with Aloha practice: value alignment, healthy relationships, and intentional work. We make a big deal about values most of all because values drive our relationships and our work as well. Our personal values are the critical ingredients of our beliefs and convictions, and they mix with our emotions, our intellect, and our spirit. We think of our values as immutable, and yet we’re impressionable, and they can be changed over time—by, and only by, our deliberate choice to do so. Whether or not you’re aware of it, your values essentially do two things for you: they define your WHY (because they define what you believe in) and they give you a HOW-TO (because they define what you believe in).
| By Rosa Say
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KeOlaMagazine.com | Maui County April/May 2013
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unty Pua Mahoe is described by many as Maui’s “living treasure.” A highly respected elder in the native Hawaiian tradition, she is a much sought-after speaker on Hawaiian history and culture. Aunty Pua’s great joy is sharing what she knows on a soul level about health, healing, art, music, spirituality, and the power of ‘ohana (family) in the native Hawaiian tradition. Pua means flower, and her story unfolds, petal by petal. Aunty Pua is at Bamboo Fresh, a new restaurant in Lāhainā, to give one of her many blessings to help assure that this new enterprise will grow and prosper. Fiery like the goddess Pele to whom she feels a deep connection, Aunty Pua begins with the extraordinary story of her birth. When Aunty Pua was in her mother’s womb 64 years ago on O‘ahu, she already knew her calling. “I knew I was coming to do my work…to represent the spirits of my ancestors,” says Pua. From the very beginning, she possessed an inherent understanding of who she is as a human
Flower Child
Aunty Pua’s Wisdom Rooted in Ancestry and Intuition | By Amorah St. John
KeOlaMagazine.com | Maui County April/May 2013
being and what lay ahead on her path in this lifespan. She almost didn’t make it. “When it came time for me to come out, I changed my mind. My consciousness was already there. I was stuck in my mother’s womb and the doctors had to pull me out,” claims Pua. She and her mother almost died that day. Fortunately for so many of us, she crossed the threshold and has been blessing the world with her wisdom and light ever since. A beloved kupuna elder now living on Maui, Pua believes she gets “directives.” She hears them first in her heart, sensing the message deeply, then they enter her mind so she can “rationalize” the information. She trusts and honors what she hears and feels, then takes inspired action. “When I was two years old, I began to see faces and figures—swirls of energy—coming into my room. They would take me from my bed and my feet never touched the ground. We were all walking on air.” Later, she realized they
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were ancestral spirits coming to visit. The next morning she would be a “lump” in her grandmother’s bed instead of her own. “My tūtū would call my dad and say, ʻJohnny, did you know Pua is here?ʻ ” Aunty Pua believes these spirits were all aunties and uncles who would tell her “the stories.” She was never afraid and always felt at home with her nighttime callers. They visited her off and on throughout her early childhood, and she always welcomed the stories, many that she would retell later as an aunty herself. “While I was sleepwalking (that’s what my parents called it), these spirit beings told me things that would happen down the road. I was being prepared.” Pua never told her tūtū or parents about the faces she would see smiling at her, leaving her with such a “peaceful feeling.” Somehow Pua knew it was wise not to speak of these things. Only later, grounded in her adult life, did she begin to reveal these early apparitions and understandings she had as a child. Clearly, this was a foundation being laid for her “coming out” in later years and growing up to become the cherished elder, a kupuna of Maui.
KeOlaMagazine.com | Maui County April/May 2013
Aunty Pua connecting with the wind, the land, and the trees
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Aunty Pua spent her early childhood on Sand Island, just one-half mile away from the island of O‘ahu where she learned the “wonders of nature.” One of four children, she would go out each day with her siblings and other children in her ‘ohana to fish on the reef, bringing home their catch of shellfish and crabs for lunch. Back home, her mother mixed poi in a big bowl and cooked a pot of rice while the men were off hunting. “We lived off the land,” states Pua, “and I understood, early on, that Mother Nature rules.” She discovered how everyone of us is dependent on the ‘āina, the earth upon which we walk as one human family. This instinctive knowing in her childhood was coupled with a simple, carefree life on Sand Island. She rode a dingy to and from O‘ahu where she attended Pu‘uhale Elementary School. “We had a horn signal when it was time to go home. One long and two short. At night, we flashed a light, one long, two short,” Pua’s voice softens. At Kamehameha School for Girls on O‘ahu, Pua was voted “Most Inspiring” by her classmates. A sensitive teen, these years were essentially not much different than her earlier ones, suffused with the beauty of the Hawaiian islands, their culture and sweet energy. Aunty Pua was married in 1969 to Benjamin Kaaialii Mahoe, Jr., her next-door neighbor on O‘ahu. They fell in love and had eight children, eight beings of light delivered by Pua into a world that had gradually dimmed and grown dark.
Aunty Pua blesses ancient crystal skull Synergy and guardian Sherry Whitfield at the Aloha Wisdom Gathering, June 2012 on Hawai‘i Island
have benefited from Aunty Pua’s intuitive counseling. She is called upon regularly for her sage wisdom and “inner eye,” seeing what few licensed therapists can. “I know what will happen before I get there.” Pua is always guided by spirit to lead her clients back into their own balance. Aunty Pua is known most widely on Maui for her blessings. She is invited by businesses, homeowners, new enterprises, and organizations of all kinds to perform her trademark ceremony. Steeped in the Hawaiian tradition, Pua always uses the same tools of her trade: ti leaves, Hawaiian salt, pure water, and a wooden bowl (ideally koa). “I half fill the bowl with salt water, dip the ti leaves in, then sprinkle, shake, and whip the leaves where it counts,” Aunty Pua beams. She sometimes works in silence, chanting only at the beginning and the end of each blessing. She also blesses and clears the energies of the people at each location. When everyone and everything feels in balance, the ceremony is complete. Aunty Pua then pours the remaining water into the sink or anywhere there are pipes to prevent negative energy from flowing in from the outside. She claims a two mile vortex opens for three, five, or seven days allowing all the negativity to leave the premises. As desired, the ti leaves are wrapped and hung outside on the door knob. “When it turns brown, get rid of it,” says Pua. “It is best to bury the leaves, cleansing and clearing the area, with the hope a healthy plant will grow.” At home in Makawao, Pua is fully grounded on her land and watched over by the ancestors that continue to visit her. When asked if she has an altar, she announces, “My bed is my altar. It’s covered with a beautiful Hawaiian blanket and it makes me feel like a Goddess.” Her temple is wherever she is. “What’s outside is inside.” she says. “What’s within is without. It’s Universal Law.” Five of Aunty Pua’s grown children live on Maui, two reside on Hawai‘i Island, and one on O‘ahu. “I am a mother who loves her babies, no matter how old. I always tell them come home if it doesn’t work out. I always cry when they leave.” Aunty Pua’s husband lives with their daughter on O‘ahu who cares for him as he goes in and out of dementia. Thanks to the practice of Ho‘oponopono, Pua has forgiven him for past actions and visits him regularly. True to form, she has “gotten on with it” and does not look back. Aunty Pua’s 14th grandchild was born this January in her home that she shares with her 33-year-old son, Kainoa, his wife, Krisssta, their son, Nari, and their new baby daughter who has yet to be named. Pua asserts that the baby knows her
KeOlaMagazine.com | Maui County April/May 2013
“My youngest was five and a half months old when I knew I had to leave.” Pua pauses to recollect this life changing turn on her path. “I ran because of abuse. I had to take care of me first. I would be no good to my children if I were dead. When you go through abuse, nothing exists but abuse.” At one critical stage of her journey, Pua uprooted her children and found a haven with Women Helping Women. To this day she sings the praises of this lifesaving group that has helped so many women find the strength and courage to go on. Aunty Pua was called to move to Maui, which she considers her true home, in 1984. “It would have dishonored me not to come here…not to honor my calling.” Pua feels that Maui allowed her, first and foremost, to BREATHE, to heal the wounds of the past and to “stay quiet.” “I spent my first years here figuring me out on a human level,” she muses. One by one, her children came to join her, feeling the pull of Mother Maui and their own dear mother, now fully landed in her new home on the valley isle. Her prayer and meditation practice is as varied as her own creative spirit: music, walking, swimming, and mostly just being. “I love the mountains,” Pua gazes into the horizon where Mt. Haleakulā rises majestically to the heavens. “The wind, the land, the trees…they speak to me, and they say ‘GET ON WITH IT.ʻ ” Aunty Pua believes Maui is like a mother, holding a “bowl of light,” as symbolized by the great energy vortex, Mt. Haleakulā. “People come and leave their ‘stuff’ in the crater,” says Pua. “In the evening the spirits come together to cleanse that bowl so that light can come streaming in.” Or, she says, you can sit in your hale (home) and see yourself there on the mountain. “Just hear, feel and touch the air. You can use that bowl of light for cleansing anywhere you are.” Aunty Pua is clear she is here because of A L O H A. She speaks eloquently of this powerful Hawaiian word that encompasses so much of the spirit of the islands. “The letter A represents the first light of dawn. We open our eyes and greet each day with this sound. It teaches us we are the AH of Father, Mother, God. “LO is the balance between the physical and the spiritual, declaring we are spiritual beings having a human experience. “HA is the breath. Where there’s breath, there’s life. Where there’s life, there’s light, where there’s light, there’s spirit, and where there is spirit, thereʻs god/ goddess within, completing the cycle.” Aunty Pua feels that this message of Aloha is finally being heard on the mainland where it is so desperately needed. Visitors feel it, deep within their cells, and take it back home with them, spreading the joy and magic of Hawai‘i. Hundreds here
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KeOlaMagazine.com | Maui County April/May 2013
own name, but now the parents have to figure it out. “There’s a reason a new life has come now. I believe I am here for her soul’s growth. And she is here for mine. This is the role of a tūtū. Maybe the spirits of our ancestors will come to her as they came to me as a child.” Pua calls young people the “doers.” “What they hear from us they will take in and do. Tūtūs have the experience, the knowing. Parents are busy taking physical care of the home and the children.” The grandparents, she believes, are here to be the “guiding lights” for our keiki. It is a widely-honored role here on Maui and throughout Hawai‘i.” Aunty Pua’s eyes light up when she talks about her vision for a major gathering on Maui with kūpuna of all races, tribes and religions. She envisions they will come together in 2014 to bring their collective wisdom to the masses, both here on Maui and via
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the World Wide Web. With Pua in charge, it will be an event to be remembered for generations to come. According to Pua, 2013 is a Year of Reckoning. The pace is being set and all things will be revealed when balance is restored. “When you know it, you own it,” Pua says with a gleam in her smoky brown eyes. Reverend Kedar St. John, who began the Temple of Peace in Haiku with Aunty Pua’s blessing (and intuitive guidance) says it best. “Aunty Pua shares her mana, her life force, with every living thing. She knows we are all intricately connected, and her mission is to let the world know.” ❖ Photos courtesy of ChetSnow.com, MeaningfulThings.net Contact Aunty Pua: puamahoe@yahoo.com Contact writer Amorah St. John: iamamorah@gmail.com
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uided by her passion for painting, teaching, and facilitating workshops for healing, Beth Marcil has been employing art as a profound transformational tool for more than 30 years. Beth lovingly shares and nurtures in others what has been instrumental in her own evolution, artistically and spiritually. She describes her work as “helping to light the creative spark within others, as well as myself. I want people to have the liberating experience of creativity which has been so impactful in my own life.” Bethʻs love affair with color and texture has earned her great respect among peers and collectors. The energetically vibrant works are shown in gallery exhibitions and hang in numerous private collections. Her continuing exploration of different media expresses itself through recurring themes, including ongoing visual documentation of the kalo culture, the taro farmers of Hawai‘i. A pivotal moment in her artistic growth occurred in 1997 when Beth created a piece for SHRINES: The Intersection of Art and Ritual, an exhibit at the Hui No‘eau. “The intention was for everyone in the show to create a shrine of some sort,” recalls Marcil. “I ended up focusing my mixed-media piece on my ancestors, the Lebanese women family members. What I realized through the process of creating it was profound. Although I had done a lot of other beautiful work, I felt that this was the first truly authentic art I had created. It came from deep within the gut. Its impact on other people was astonishing to me, and that’s when I
Art From the Inside Out Visual Art as a Tool for Transformation and Healing with Beth Marcil | By Sherry Remez
KeOlaMagazine.com | Maui County April/May 2013
started to ‘get’ just how transformational art can be.” Later, through the process of searching for a way to express herself more personally and intuitively in book form, Beth began a practice of visual journaling— recording her life experience and feelings through images and words via an “art diary.” She is the only one on Maui teaching this to others. Non-artists and professionals alike are drawn to her workshops. “One of the most popular mixed techniques is glazing thin layers of paint over collaged images and then wiping parts away. It is akin to an archeological dig. All sorts of tools are employed—anything that will engage the child in people. That child comes in and plays, and that leads to deeper insights.” One of Beth’s unique skills is the ability to provide a safe and fun environment for people of all ages. She serves as a kind of “creative midwife,” encouraging the confidence to experiment and go deeper. She believes all of us have the ability to create art. Conveying our inner world both visually and with words reveals insights into ourselves bringing to light what is hidden. The highly intuitive and deliciously enjoyable process of visual journaling in Beth’s workshops enables people to find their own unique language of imagery and to express that inner world. Reflecting upon, and then sharing what was created, allows participants to become aware of the connections
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KeOlaMagazine.com | Maui County April/May 2013
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between the image and their world that they might not otherwise have access to. The process can be profoundly healing, both emotionally and physically. According to Elizabeth Warson, a professor at George Washington University’s art “The Future of Kalo” therapy program, the regular practice of creating by means of an art journal can reduce the heart rate, increase serotonin flow and immune cell production, and decrease stress. In addition to visual journaling, Beth facilitates another dynamic workshop. SoulCollage® was originally formulated by Seena Frost, a student of the renowned symbolist and expert in myth and archetypal psychology, Jean Houston. “It involves producing an incredible deck of cards with deep personal meaning. A reflective process of dialoguing with the imagery naturally enables written expression. It is so exciting to see how this enriches the visual journaling helping with people’s life questions and transitions,” Beth explains. The transformational possibilities became immediately evident to Beth who describes it this way: “As a visual journaling teacher, I instruct my students how to layer various media to tap into their inner worlds. SoulCollage® added a piece which has proven quite powerful. I am continually surprised by the discoveries that emerge through the marriage of these two practices and the tenderness participants experience as they give voice to the formerly hidden and unloved parts of themselves. It’s like witnessing the opening of a rare, beautiful flower.” In 2012, as the evolutionary process continued, that flower opened into fuller bloom after a conversation between Beth, a teaching artist for the State of Hawai‘i, and Susana Browne, Education Director at the MACC. Browne, who had taken one of Beth’s SoulCollage® classes, saw that it could be a valuable tool for teens. The result was a county grant funding an arts integrated collaboration between Marcil as visual arts specialist and Melanie Chan, a language arts teacher at a local middle school. The creative sparks began flying when the two came together. “In the Misty Woods” Adapting the principles a highly textured acrylic of the ® of SoulCollage to Olinda pine forest during a soft rain the middle school
A visual art journal
between each other, and with the world. This is a big leap. Their voices are important, they are the voices of our future, and not too distant future either,” observes Beth. With additional grants to support it, IT’S ALL IN THE CARDS has the potential to become part of a national curriculum for teenagers. In our Western culture, this age group has few ways to accommodate the stresses inherent in maturing into adulthood. There have been essentially no rites of passage—until now. Beth loves working with the teenagers. She remembers that she was about this age when she discovered the benefits of art to open up new ways of viewing the world. “In the sharing circle at the program’s end, we realized that we had stimulated the kids in creating their own solutions and peacemaking skills. Students reported added confidence and that they could express feelings. Some were amazed at how a picture can speak to you and let out your inner feelings and emotions that are bottled up inside. They said they realized that others are going through what they are going through,” and most poignantly, “that they were not alone. One student said: ‘Never judge someone you don’t know, or judge them at all, because you never know what they are going through.’ ” As Beth prepares for an upcoming exhibition at Viewpoints Gallery, she is excited by the effects of her great passion: releasing the playful child in adults and igniting the sensitive adult in teens—using art to light the way, one image at a time.❖ Beth’s artwork is regularly exhibited at Viewpoints Gallery in Makawao, Village Gallery in Lāhainā, and Hāna Coast Gallery in Hāna. She is also published by Island Heritage. Contact artist Beth Marcil: ArtFromTheInsideOut.com Contact writer Sherry Remez: sherryremez@gmail.com
KeOlaMagazine.com | Maui County April/May 2013
environment, IT’S ALL IN THE CARDS was born. As with SoulCollage®, students chose images that they were intuitively drawn to. They used these to create their cards. Dialoguing with the card, interpreting its meaning and noting the feelings it evoked, they completed various written assignments, including a powerful personal narrative based upon the card. When the time for sharing with the group came, it was evident that a powerful vehicle for the teenagers to express their hopes, fears, and challenges had been created. The process brought into consciousness emotional and mental material that most had not expressed aloud until then. These insights brought about emotional growth and oftentimes resolution. The project expanded to include another class that will be making a documentary video. IT’S ALL IN THE CARDS proved to be a revolutionary educational tool. The results were so extraordinary, in fact, that a further modified version is being presented at another middle school in Wai‘anae next quarter culminating in a poetry slam. Here, teens will begin with the images and will produce poetry rather than prose. The operative principle is a lyric from an old song, “everybody has a story to tell,” and it can be told in multiple ways. Beyond what makes a good story is the ability to listen to other people’s stories and make an emotional connection to them. As the ability of the teenagers to observe, describe, interpret, and evaluate what was becoming visible developed, the implications and relevance in today’s society were being revealed. “Watching what we saw with the kids was a blooming of compassion within their hearts for each other that wasn’t there before. There was a shift in their perceptions of each other. They were making connections “Breath of Life” between a piece based on an Hawaiian myth themselves and about Pele and Hi‘iaka the images/text,
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Howard (l) playing with his father, Sam (r)
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family was more introverted. Sam’s dad, Sam Ahia Sr. had five brothers, and all six boys were intelligent, studious, quiet, and yet they also had their own kind of humor. Sam Sr. was a musician, playing piano and coronet in high school and later slack key. He went to Kamehameha school and there he was a student band leader. Sam grew up in Kalihi on O‘ahu. “It’s a place where you learn to fight early,” Sam says. “My uncle said, if you’re ever in a fight, I’ll back you up—but if you started it—you’re on your own.” He adds, “Kalihi was a good place to grow up because nobody knew you were poor—we were all in the same boat.” They had a large family and lived on an acre with his grandmother and all of his aunts and uncles living in this huge house. The property was actually smack dab in the middle of town between the state prison and the pineapple cannery. “It was a tough district to grow up in,” Sam says. “My uncles had to put on the boxing gloves and teach us how to take care of ourselves.” “I have a younger brother by two years named Clem who is a really good guitar player and a really great jazz singer. My younger sister, ‘Hardyʻ is a librarian. As youth we had a trio called Sonny, Sam and Clem and everybody thought we played country music,” he laughs. By the time Sam was 10, his father, only in his 30s, was not able to work as a welder anymore at Pearl Harbor for the Navy. This was before people were aware that breathing fumes in enclosed places could be deadly. He spent the rest of his life in and out of hospitals due to a lung illness. Things changed when Sam went to high school. He stopped playing the ‘ukulele completely. He didn’t play anything again until he was about 20. Then, one day he heard a local guy play guitar and said,
KeOlaMagazine.com | Maui County April/May 2013
hat makes a great musician? Is it just natural talent or experience? Or, a magical combination of life experiences that shape us and define our personal expression? Is musical style created like a tapestry, where every single thread of life’s experiences is woven together to create a sound that is uniquely individual? Sam Ahia is a native-born Hawaiian guitar player who came to Hawai‘i Island from Maui recently to play at “Twilight at Kalahuipua‘a,” hosted by Danny Akaka, Jr. and his lovely wife, Anna, at the Mauna Lani Bay Hotel. We met the night before the concert when Danny and Anna brought Sam and his wife, Rini, along with the legendary ‘ukulele player Roy Sakuma from O‘ahu to a private party. Our connection began with an amazing kanikapila (a Hawaiian jam session) and ended with a tsunami! During our jam session at the party, we began playing Hawaiian songs and organically took off, exploring the rhythms and sounds of Brazil. I heard an artistry and unique style I had never heard before. I had to find out who Sam Ahia was and how all this Brazilian jazz came to live in this sweet Hawaiian man. When Sam was about 10 years old, he used to shine shoes across the street from the Hawai‘i Theatre—right by the bar where a lot of music was playing. “I actually learned a lot of music while shining shoes in downtown Honolulu—just by heart. All that listening and memorizing really helped me out in later years.” Sam started playing ‘ukulele when he was six years old. At age 10 he was asked to play on the radio in Honolulu—The Jimmy Walker Show. He played every weekend and said, “There was no money, just lots of groceries. My mom really liked that. So, I guess I was, like a young rock star.” Sam’s family on his mom’s side loved singing, but his Dadʻs
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“Man, that’s for me. That’s what I want to do.” The player was a musician from Hawai‘i, yet he was living and playing in New York City. The local man proved to be a pivotal character in Sam’s life, effecting him permanently. “I was young but just seeing this guy play made me want to really practice.” Reminiscing he says, “It seems strange, but a couple years after that I was in California playing music for a living—and starving! That’s how it started.” Sam is self-taught and never spent a day in the classroom learning music, though he now wishes he had. “We had a vocal group where I arranged all of the vocal parts, and people said we sounded like the “Four Freshmen.” For seven or eight years they played in Lake Tahoe and Las Vegas. Then Sam felt it was time to get off the road to take better care of his family. In the fall of 1973 Sam moved back to O‘ahu and got his first gig in Waikīkī playing Hawaiian music solo at the Princess Ka‘iulani. He played with many famous people including Don Ho. “I used to like to study him.” Sam says. “Don used to act like he knew the least of anybody there. Somebody else in the band was calling all the shots, and Don would not say much. After a while I figured out that Don really knew everything that was going on—he was really smart—that was just his laidback style.” In 1982 Sam moved to Maui where he and Rini, his wife of 52 years, still live. “My wife is hard of hearing—that’s probably why we’ve lasted so long,” he laughs. He met Rini while she was working in the pineapple cannery. She was from Samoa and when he saw her, Sam was smitten. The relationship was hard at first because he lived in town and she lived in the country. “Later, when we were living and working in San Francisco, we had a band and she was one of the dancers. Then I took a job in Las Vegas, and 10 years later we were still working together. She was always in the band. Rini traveled with me everywhere I went. We were always driving to hear great jazz players,” he said remembering happy times. Family also played a large role in shaping his musical talents. Sam and Rini raised four children—all extremely gifted writers, artists, and singers. As Sam and I talked the energy shifted dramatically as he told me about his oldest daughter, Sina, who looks just like Rini. “Sina was artistic, a good musician, and a very successful owner of a hair salon on Maui.” He paused for a moment and quietly said that Sina passed away of heart failure at age 46 on March 23, 2010. Then he shared about his oldest son. “Conrad had a rough go being the son of a musician. My son was a great singer and I even have some of his recordings. He also was a great dancer— and he made Polynesian costumes and drums for the company he worked for.” He paused again and said that five months after Sina passed, Conrad passed on August 17, 2010 of a brain tumor. He was almost 50 years old. As a parent, I could not imagine enduring this Rini and Sam level of personal photo by Sophie Greeno tragedy. Then, I
Back to Twilight
It was the start of the second half of “Twilight at Kalahuipua‘a.” Sam and I were ready to cut loose and do a Brazilian jazz set, when the civil defense sirens sounded due to a tsunami threat from an earthquake in Canada. The Eva Parker Woods Cottage is right at sea level so everyone at the concert left quickly. The Lisa hotel was evacuated, and all the guests sent to higher ground on the golf course. Later I heard that Sam and Roy gave an impromptu concert under the stars, while Rini danced hula, to hundreds of people sitting on the golf course grass waiting for the “all clear” signal. These three turned what could have been a horrible experience into a wonderful time, sharing their mana‘o (wisdom, knowledge), their aloha, and making new friends. Playing Hawaiian music, and all that jazz. ❖ Sam Ahia, an amazing Hawaiian original plays at Kimo’s in Lāhainā every Tuesday and Wednesday, just as he has for the past 15 years. You may also see him at “Cool Cat’s” where he recently appeared with legendary musician Eddie Ramirez. Contact Sam Ahia: ahias002@hawaii.rr.com Contact writer Keith Nealy: KeithNealy.com
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KeOlaMagazine.com | Maui County April/May 2013
began to experience a quiet strength coming from Sam as he spoke of gratitude for the good times he had with them while they were here. And he expressed how thankful he was for the time he had been given with them. Sam brightened up when he told me about his son Howard. At 46, he is an amazing musician who writes and performs all of his own music on Maui. He said, “Man, Sina is he good and his music is so original.” Howard studied classical guitar at the New England Conservatory of music in Boston and classical piano in California. He became a prolific songwriter and recently released a new album. Sam says, “I dig his attitude because he’s always doing things he loves. I give him a lot of credit for doing that.” Then Sam laughs and tells me about Lisa, his youngest Conrad daughter who is six feet tall and lives on a 500-acre farm in Arkansas. She’s married to a trumpet player and they have a jazz band and Lisa sings. Their daughter, Lindsay, is about 10 now and, “She can flat out sing,” Sam says in amazement. “This girl is like a real farm girl, or what the Hawaiians call real kua ‘āina (from the sticks). She came and sang in church one Sunday and she knocked everybody out! She’s just not afraid of anything!” Still looking for the key to Sam’s unique style, I ask him about what he plays most these days. “I play mainly Hawaiian music but it just sort of comes out with a jazz feeling. I love that idea because I’ve played on records where people actually try to make a Hawaiian song sound ‘jazzy’ but I never thought you could make something sound like something else. It just has to come out naturally that way. It’s about how you hear it. I talk about that to my students. You have to spend a lot of time listening to music to really understand it.” He adds, “I have taught quite a few musicians as well, who ask me how to do specific things or get a certain sound. You don’t even have to pick up a guitar, all you have to do is talk about it. Even though I’ve never been formally taught, I can break down the colors of music and explain how to do things. And when I see people do it, man, it really feels good. I used to teach a lot of kids at a small church here in Maui. One of my students was a girl from Hāna. She was pa‘akikī po‘o (pig headed or stubborn) because she wouldn’t listen. I hadn’t seen her her for many years and then I heard that she gave a performance at Carnegie Hall!” Now, at 73 years young, retiring is not an option. “What I think about is recording all of the songs I’ve written that I’ve never recorded. I’d like to do that. And I’d like to do an album of ‘straight-ahead’ jazz [played with a 4/4 swing style] with just guitar and maybe a horn. And, I would like to record an album with my son Howard.”
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KeOlaMagazine.com | Maui County April/May 2013
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acNet is Maui’s premier Apple computer sales and service store. Brian Parnell and his wife, Sue were ecstatic to return to Maui after running the Kona MacNet on Hawai’i Island for two years. “Maui MacNet is our main store; it’s definitely a faster pace. The challenges are greater here, and so are the rewards.” Brian explained how the iPads have opened up the tech market. “It’s been amazing to see the way people of all ages are taking to the iOS devices lately." Likening the iPad to a “personal assistant who doesn’t take personal time,” Brian points out that the latest incarnations guide you through almost every aspect of basic use. “Apple has perfected the software delivery system, so buying an app and downloading to your Apple iOS devices is fast and easy.” Brian shared how all of these Apple innovations have affected MacNet. “At MacNet, we strive to give personalized assistance just like Apple gives you on a Mac. The only thing that’s changed is we have even more selection for you to choose from now,” he says, laughing. “But seriously, we are Apple-Trained and AppleCertified. Our knowledgeable staff is ready to find the right fit for your tech needs, or the right service solution for your Mac issues.” There is no appointment necessary to have your Apple products serviced, and turnaround time is usually three to five business days. And it goes beyond Apple, too. When you browse through MacNet’s vast selection you will notice the latest addition of the Bose brand. Brian commented, “We’re excited to represent Bose on Maui. I love the ‘Wow’ we get when we demonstrate the 55” Bose VideoWave TV in our in-store theater. It really blows the hair back.” There are so many choices here that one can feel overwhelmed. When there are so many right choices, how do you choose? Luckily, there’s an Apple Specialist for that. Maui MacNet carries a full range of Apple products including Mac computers, iPads, and iPods. Additional brands include Bose, LaCie, Griffin, Speck, and Marware.
C
athy Toda has a masters degree in Commercial Real Estate Development from USC. After living in California for a few years, family obligations brought her back to Maui. It was then that she decided to follow her heart. Her goal was to do organic farming, to promote open spaces, and help to preserve an old working ranch. That’s when she began working with Haleakala Ranch. Cathy started growing lavender and roses in the late 1990s. Once these first gardens were established, additional acreage was added. This expansion included a building that houses a shop and food service. The acres are filled with various fruit trees, coffee, olives, and more roses and lavender. Areas have also been planted with native plants and trees to help promote the return of disappearing birds and plant species. Their location at the 4200 foot elevation is uniquely positioned to serve the 1 million annual visitors to Haleakalā National Park along with local residents. They provide the perfect resting stop to stretch your legs and stroll the gardens, explore their line of bath and body and culinary products and dine at the farmers market featuring locally sourced farm to gourmet cuisine and organic pastries. Organic farming involves a great deal more labor and capital improvement expenditure. Cathy believes the additional costs and difficulties associated with organic practices are well worth the effort—and it shows in the end products and farm. Operating off the grid adds yet another challenge to the whole operation, and yet the benefits outweigh the risks. A solar photovoltaic system was recently installed to power the food trailer and farmers market. “Organic, toxic-free, local Maui-grown products are what make us unique. Fifteen years of trial and error have made it possible to produce our original organic products,” says Cathy. Maui Lavender’s organic toxic-free bath and body line has four Go Nutz Hawaiian Body Butters, which includes Kamaninutz (Grapefruit Sage) energized with Clarity; Coconutz (Coconut Vanilla) energized with Love; Kukuinutz (Pineapple Coconut) energized with Happiness; and Macadamianutz (Vanilla Citrus) energized with Friendship. All products are made from Maui grown lavender, nut oils, and fruits.
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Ka Puana–The Refrain Some excerpts from Haleakalā: A History of the Maui Mountain By Jill Engledow
W
A Wealth of Species
hen James W. Larson came to Haleakalā National Park as a naturalist in 1965, he was intrigued by a study proposal stating that “after nearly 50 years of supposed extinction, a small colony of the Hawaiian race of Dark-Rumped Petrel was found nesting in Haleakala Crater.” (The scientific name of the ‘ua‘u is now Pterodroma sandwichensis, or Hawaiian petrel, since scientists have realized it is not the same species as the dark-rumped petrel found in the Galápagos.)
KeOlaMagazine.com | Maui County April/May 2013
The bird was, nevertheless, in danger. Larson found that the worst threat within the petrel’s high-altitude breeding range was the rat. Farther down the mountain, its burrows were vulnerable to other predators such as cats, dogs, and mongooses. Long gone, however, were the days when the ‘ua‘u was considered food. “Ancient Hawaiians collected the old and young alike for food,” Larson wrote. “The young were considered a delicacy and reserved for the royalty, while the old strong-flavored birds were eaten by the common people.”
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Since Larson’s time, there have been some stunning discoveries about the ‘ua‘u. Department of Land and Natural Resources wildlife biologist Dr. Fern Duvall has been a key player in these findings. In 2006, Duvall and his colleague Jay Penniman followed up on Duvall’s earlier sighting on the island of Lāna‘i and discovered a previously unknown colony estimated to include more than 2,000 ‘ua‘u. It is considered the second largest colony, next to that at Haleakalā. Another discovery is that the petrel’s foraging trips to collect food for its young may cover thousands of miles at a time. Duvall says the first time scientists attached a satellite tag to one of the birds, they thought perhaps they had interfered with this endangered species’ regular journey, which they had assumed was a short flight, confined to the sea around the main Hawaiian Islands. They were amazed when the tagged ‘ua‘u flew up to the northern end of the island chain, then went northeast to the Aleutian Islands, to arctic Alaska, down to the border of Canada and the United States, then returned to Hawai‘i. In time, they realized that the bird was doing what it always did and their satellite tag had simply documented the petrel’s usual behavior. Now scientists understand that the birds will cover around 9,000 to 14,000 km (8,699 miles) in journeys lasting from nine to twenty-six days, while their chick sits in the burrow alone. Either mother or father swoops in to regurgitate a meal of half-digested squid and other seafood that the parent has snatched from the surface of the ocean, spends a couple of hours with the chick, and then takes off again. It requires two adults to raise a chick, and if something dire happens to even one of the parents, the baby will die. If the young birds escape predatory rats, mongooses, and feral cats while growing up in their summit nest burrows, they face subsequent threat from human civilization when they leave the nest. Their instinct, when first fledging, is to fly toward the stars—lighting the skies and guiding them out to the sea. But city lights masquerade as stars, and babies attracted to those artificial lights run into the lights, utility wires, or buildings and fall to the ground. Even if uninjured in the fall, the birds are often unable to take off and almost unable to walk on land. They are prime eating for cats and dogs. Some are struck by vehicles. Every autumn, when baby ‘ua‘u take their first flight, conservation groups work to recover, rehabilitate, and safely release downed birds. The wide-open spaces at the top of Haleakalā are now home to the world’s largest protected colony of ‘ua‘u, the nesting place for thousands of birds. ❖
Fledging ‘U‘au National Park Service photo
This book can be purchased at: MauiIslandPress.com; Haleakalā National Park shops: headquarters, summit, and Kïpahulu; Central Maui: Bailey House Museum, Lori’s Hair Shack, Maui Friends of the Library, Native Intelligence, Swan Interiors, Story of Hawaii Museum Gift Shop; Upcountry: Hui No‘eau, Kula Botanical Garden, Kula Marketplace, Pi‘iholo Ranch Store, ‘Ulupalakua Ranch Store; Lāhainā: Lāhainā Visitor Center, Maui Friends of the Library, Village Gifts; Hāna: Hāna Coast Gallery.
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