Maui: August-September 2013

“The Life” Cel ebra t in g the a r ts, cu ltu re, a nd s us t a inabilit y o f t he H awa iia n I s l a n d s Maui County Edition

Complimentary Copy

August–September 2013 • ‘Aukake–Kepakemapa 2013

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KeOlaMagazine.com | Maui County, August/September 2013

On the slopes of Kilauea Volcano

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

August–September 2013 ‘Aukake–Kepakemapa 2013

Aloha from the Publisher

Ke Ola would like to thank everyone for your support in helping us get the Maui County edition started. This issue is a bit smaller than our first two. Summertime on the islands is typically slower—we had this same experience with our first summer issue on Hawai‘i Island in 2009, and now it’s more than 80 pages. Even with fewer pages, it was important to us to get it out on time as promised! We’ve shortened some stories, and moved others to future issues.

Your ongoing support, combined with new partnerships, will enable us to expand the October/November issue. Ke Ola will continue to help businesses with our effective, low cost advertising geared towards people who live here. Please contact us by August 20 to reserve your spot!

Aloha pumehana, Barbara Garcia, Publisher

Culture 9 Obon: A Time of Reflection

By Kailea Frederick

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, Operations

People 5 Ma Ka Hana Ka ‘Ike In Working, One Learns

By Mikala Minn

Spirit

Kaualani Pereira, 808.442.3244 x 2, MCeditor@KeOlaMagazine.com

4 Lili‘u E Na Antone Ka‘o‘o

Renée Robinson, 808.329.1711 x2, HIeditor@KeOlaMagazine.com

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10 Island Treasures 8 Life in Business

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Cover photo credit Rocky Cimarusti Artists Students of Ma Ka Hana Ka ‘Ike

It was brought to our attention that the photographer of the top picture on page 23 June-July 2013 issue was Steve Wilkings. We apologize for this oversight.

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.

KeOlaMagazine.com | Maui County, August/September 2013

Barbara Garcia Bowman, 808.442.3244 x1, Barb@KeOlaMagazine.com

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Lili‘u E

| Chant composed by Antone Ka‘o‘o | Submitted by Aunty Carolee (Doll) Aricayos

E Lili‘u ē noho nani mai kō kino ē ki‘i milimili Kō maka ē nōweo nei kō papālina e kukū ana Kō po‘ohiwi ani pe‘ahi kō poli ē nahenahe wale Kō kuli ē nuku moi‘oe kō wāwae pahu a‘e i luna Ha‘ina ‘ia mai ana ka puana e Lili‘u ē e noho nani mai O Lili‘u sitting so beautifully, your person we fondly touch Your eyes sparkle, your cheeks stand out Your shoulders wave like a fan, your bosom is so soft Your knees like a moi fish (thread fish) nose, your feet are lifted up Tell the refrain of Lili‘u sitting beautifully

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‘Onipa‘a. Ua lehulehu a manomano ka‘ikena a ka Hawai‘i.

Stand firm. Great and numerous is the knowledge of the Hawaiians.

his chant was written for Queen Lili‘uokalani. Also known as the Queen’s Hula, Ka‘o‘o wanted to express his loyalty and aloha through this chant, describing her as she sits on her throne.

Queen Lili‘uokalani was an accomplished author and songwriter. After Lili‘uokalani was imprisoned in the ‘Iolani Palace, she translated the Kumulipo in hopes that the history and culture of her people would never be lost. One of her most famous compositions is Aloha Oe, a song she had written previously and transcribed during her confinement. Originally written as a lovers’ good-bye, the song came to be regarded as a symbol of, and lament for, the loss of her country. —Catherine Kaczmarek Translation of chant by Thomas T Shirai Jr., great-great grand nephew of Antone Ka‘o‘o (noted hula master from Waialua).

KeOlaMagazine.com | Maui County, August/September 2013

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one student, “This program helps us become better people, not just Many hands working better workers and students.” together in Hāna Operating as a nonprofit housed in Hāna High School, MKHKI does its training both in the community and on campus. The results in East Maui over the past thirteen years are remarkable: 14 on-campus facilities, 27 collaborative building projects with other area nonprofits, 26 cottages for local elders, six solar photovoltaic systems, 16 solar hot water systems, a new community farm for Hāna, and more than 45 ramps and handicap-access improvements for elders and community members in need.

Reaching out to Ka Honua Momona—Moloka‘i

The student workforce of MKHKI recently brought many hands together to help an outlying community in Moloka‘i build for their future. MKHKI students took three separate trips to Moloka‘i between the Summer of 2011 and Fall of 2012 to work on a project with Ka Honua Momona (KHM), an organization focused on culture and sustainability. KHM, throughout eight plus years of work restoring fifteenth-century Ali‘i and Kaloko‘eli fishponds on Moloka‘i, had lacked the necessary facilities for its programs.

Several years ago, the organization began planning Kauhale, its momentous building project to include an office, restrooms, and traditional hale. In keeping with its mission “to be a model of sustainability mauka a makai,” KHM aimed to make its construction as green as possible, using sustainably harvested lumber and a Deltec home package, featuring an energyefficient design. Students of MKHKI played into the construction by building, from scratch, a solar hot-water shower and composting toilet facility.

Among the Hāna-based youth crew of 15 were five

KeOlaMagazine.com | Maui County, August/September 2013

n the outside we build structures—on the inside, we’re building lives. This is the motto that Ma Ka Hana Ka ‘Ike (MKHKI), an award-winning youth training program in Hāna, Maui, lives by. Founded in 2000 to provide valuable construction skills to at-risk high-school students, the nonprofit organization has drawn attention from the very start for its innovative, hands-on approach to education.

In the words of founder/director Rick Rutiz, “We want our kids to grow up learning that sustainable is the norm, not the ‘alternative.’ We want them to be the ones leading our community down the road to more self-sufficiency. “This is why we do so much work in town. Our families need these young men and women to share what they’re learning with them.

It’s not just about sitting in a classroom. It’s about making a difference in the lives of their families, their kūpuna.”

There are so many examples. In one early project, a Hāna family home burnt down to the ground, just before Thanksgiving Day. MKHKI students started strategizing how to build the single mother of five a new home and mobilized some 40 volunteers from the community to join them.

The students called island vendors and secured all the building materials, while Hāna locals cooked hot meals for the volunteers. By the end of Thanksgiving weekend, a new MKHKI students begin the Kauhale house had been building project on Moloka‘i built. In the words of

| By Mikala Minn

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Moloka‘i youth, Kauhale on Moloka‘i equally as interested in construction. The Moloka‘i Youth Center got a hand in the project as well, with 15 of its own youth handling the construction preparation, tackling the intense task of gathering ironwood logs for the traditional hale, and debarking and soaking the logs prior to construction. In turn, senior MKHKI mentors Russell Stoner, James Freudenberg-Pu, and Lyman Diego, were able to share their skills as they led the new student builders.

The Moloka‘i ‘ohana included a handful of local carpenters and masons who generously gave their time to share their mana‘o with MKHKI kids. Present and in their element, were the “architects” of Kauhale. Uncle Timmy Leong, Uncle Mervin Dudoit, and Kauwila Hanchett, who all serve important roles as community leaders on Moloka‘i, brought together this dynamic team that realized the Kauhale project from start to finish.

“The projects Ma Ka Hana Ka ‘Ike completes are only the physical evidence of the true building taking place within youth and the community,” says Kauwila Hanchett. Having lived on Moloka‘i and on Maui for many years, she brings unique experiences to her leadership role with KHM. For Kauwila, the interisland relationship between Moloka‘i’s KHM and Hāna’s MKHKI enhances the strengths of each. This is because both organizations approach their work with “a model of sustainability.” As Kauwila puts it, this model is vital to our islands because it “effectively addresses present community needs while also anticipating and providing for future needs by building strong leaders in the next generation.”

KeOlaMagazine.com | Maui County, August/September 2013

Hāna Skatepark

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For free water saving devices, contact the County of Maui Department of Water Supply at 463-3110 or visit www.mauiwater.org

Hāna’s youth are relishing summer at the skatepark they helped build at the County of Maui’s Pa‘ani Mai Park. Imagine.

Hāna keiki flow freestyle over every inch of cement paradise; it’s like an everlasting perfect wave for the keiki, who recreate the fluid movements from their surfing roots. The park gives Hāna kids something to do in a safe and friendly setting. More than an alternative to surf, the skatepark is a channel for a healthy new generation with visionary angles.

MKHKI assisted a professional crew in the construction of the skatepark in March of 2012, and are now involved with teaching Hāna kids how build their own skateboards. The success of the Hāna skatepark, and its skaters, has been visible from the start. Ever since the concrete dried, the wheels have hit the deck and life for Hāna youth has been full of action. The energetic criss-crossing of the keiki at the skatepark attracts passersby every time. The project has revitalized beautiful Shaping Hāna’s skatepark, Pa‘ani Mai Park, and the contracted crew has a loyal local with MKHKI students. following.

Hāna youth enjoying their new park.

More recently, MKHKI built four covered benches at the skatepark, sheltering spectators and resting skateboarders from the summer heat. Hāna familes have been coming out in numbers to watch their kids skate—after school and on weekends—rain or shine. They bring tents, and their own tables and chairs, and have parties and picnics while the kids go nuts for the new sport in town.

Skateboarding is a popular global sport, with a growing interest everywhere.

Hāna is clearly no exception. Hāna was a perfect candidate for East Maui girls sporting custom a skatepark. The high skateboards they built with turnout, and the positive MKHKI’s help collective vibe at the park, prove so. Now the keiki have more to connect them with the world outside the small town of Hāna.

Bath Houses and Solar Installations

As part of its sustainable-building training, the MKHKI crew finished a much-anticipated solar shower house for a Hāna family in need. The Kahalehoe ‘ohana have three teenagers who participate in the building program. The teenagers were honored to lend their skills to a much needed shower addition for their growing family. With the help of the student builders, and the support and enthusiasm of the family, solar hot water

panels were installed on the roof and a three hundred-gallon hot water tank was put in place in the shower house.

Keoni-Hanalei Kahalehoe says, “Having this solar shower is really awesome. It helps my family in a big way.

We’ve been struggling to get hot water and we have a big family that is growing! Having Rick and the Ma Ka Hana crew Rick Rutiz helps a MKHKI student come up and help is really with the final details of awesome.”

Kahalehoe ‘ohana’s bath house MKHKI’s student builders created a signature finish for the Kahalehoe shower house. A one of a kind tile mural depicts a vibrant scene of a double-hull voyaging canoe, inspired by the famous Polynesian voyaging canoe, the Makali‘i. Kahalehoe’s grandmother Kanani Kahalehoe was a crewmember on the Makali‘i. “She asked for the special touch,” says Keoni-Hanalei.

Ma Ka Hana Ka ‘Ike has touched many families, and they continue to involve themselves in a multitude of impactful projects in the Hāna community that will be felt for a very long time.

Contact Ma Ka Hana Ka ‘Ike: HanaBuild.org Contact writer Mikala Minn: mikala.minn@gmail.com

KeOlaMagazine.com | Maui County, August/September 2013

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ayle Barklie, spirit based Hypnotherapist, has been on the path of human observation since early childhood.

Animals taught her how to listen and have compassion for humans. The arts helped her express herself and stay grounded.

Her multifaceted therapeutic practice has evolved through a lifetime immersed in these two energies.

Gayle has 23 years in the mental health field, with a Masters Degree in Marriage and Family, Child Counseling and Clinical Art Therapy.

After spending more than 20 years in the mental health field she discovered that hypnotherapy worked faster than the methods she had been using, by going directly to the source of the issue that is stored in the subconscious mind.

“My soul’s purpose is to assist others in discovering their own true purpose in this life,” Gayle says.

She furthered her education at the Hypnotherapy Institute of Maui and The Newton Institute in Australia, with an advanced training in “Past Life Regression” and “Lives Between Lives.”

Through this work, she helps people visit the past to assist them with healing in the present for direction of the future.

Her traditional office is centrally located in Wailuku, and her nontraditional offices are located all over the island—and beyond. Locations in nature, such as beaches, have proven to be conducive for deep therapeutic work.

Next month she will be spending a week on a yacht, providing intensive therapy. Gayle’s work is for people who are ready to make shifts in their life, from stopping an unwanted habit to solving relationship issues and finding their soul’s true purpose.

Scott Werner, MD, a past client, shares about Gayle’s work, “I thought I was completely un-hypnotizable, but with Gayle’s professionalism and techniques, she thoughtfully guided me to heal, and address the issues which were hindering my soul’s progression.”

Soul Purpose 2070 Vineyard St, Suite #2, Wailuku 808.344.5688 soulpurposemaui@gmail.com SoulPurposeMaui.com

Talk Story with an Advertiser and Island Treasures are special features for our advertisers.

If you have a product or service you would like to have featured, please call 808.442.3244, x1.

Dancers at Wailuku Shingon Mission Obon

“Some dances are for the old timer, some are for the young people; and we all enjoy the dances together.”

—Mrs. Ken Tasaka, President of Maui Minyokai and Sensei of Japanese folk and Bon dance

Obon: A Time of Reflection

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| By Kailea Frederick

“A time of reflection over our whole life’s journey” —Reverend Gensho Hara

Originally, the Obon festival and services in Japan took place over the course of a few days. Bon observance symbolizes the story of Mokuren as offerings and prayers are made to the ancestors. Lanterns and fires are lit. Incense, flowers, and food are placed on altars or at gravesites to welcome the spirits of the ancestors back home to this world.

“Traditions have changed over the years here in Hawai‘i” —Reverend Sol Kalu

Traditionally, Obon was held on August 15, but due to the switch from the Lunar to Solar Calendar at the beginning of the Meiji period (1868-1912), it is now held July 15. Because of this there is also said to be a link between Obon and the full moon, which gives light to dance under and, depending upon belief, helped to guide spirits home.

Japanese plantation workers who immigrated across the passageway of the ocean brought Obon to Hawai‘i. Preserved through the hardships of plantation work and the anti-Japanese fervor that swept through during WWII, Obon in Hawai‘i truly serves as a matter of cultural pride and connection to the past.

Because of this specific time in Hawai‘i’s history, when many different ethnic groups were immigrating and mixing in the fields, all matters of cultural traditions were open to everyone.

Reverend Gensho Hara of the Lahaina Jodo Mission says, “The essence of the Obon celebration is a feeling of unity. People return to their temples from other places to offer their prayers and respect to their beloved ones and ancestors.”

This integration and sharing of cultural activity is something that has not only continued among Taiko Drummers at the Japanese community Wailuku Shingon Obon but has thrived as a local

KeOlaMagazine.com | Maui County, August/September 2013

estled alongside houses in the heart of a Wailuku neighborhood is the hum of people gathering. On the outskirts in the shadows of the streets, families set up camp with lawn chairs and line up for food. There are picnic benches set out and Taiko drums surrounding the yagura, a tall wooden structure for singers, in the center of the temple courtyard.

It’s summertime on Maui, and while some mark this as mango and lychee season, others have been participating in three months of planning and festivities that carries the Obon festivals throughout the Hawaiian Islands. Maui is the host of at least six different factions of Buddhism which all celebrate Obon, and every weekend in July and August each temple hosts their own Obon festival.

The word Obon is derived from the Sanskrit word Ullambana, which means, “hanging upside down,” and relates to the story of Maudgalyayana (or Mokuren in Japanese), a disciple of Shakyamuni Buddha. After his mother passed away, he had a vision that his mother’s soul had been re-born into the realm of hungry ghosts. Upset by this vision, Mokuren asked Shakyamuni Buddha how he could help his mother. The Buddha advised him to make selfless offerings Rev. Gensho Hara to the Buddhist monks who had just of the Lahaina completed their summer retreat on the Jodo Mission fifteenth day of the seventh month.

Upon doing so, his mother was released. It is also believed that as a result of his mother’s freedom, Mokuren danced with joy.

The Bon Dance is a symbol of Mokuren’s celebratory dance.

It has been brought up locally that at some Bon Dances in the United States, younger generations have begun to incorporate pop songs with much quicker tempos into the Dance, including the likes of Lady Gaga and Madonna. However, here on Maui, the Buddhist Council as a whole has decided that for now they will not be including modern music. “Minyo, or traditional songs and dances, I think, that is Obon. The slower movement we feel is beautiful. In the future maybe we have to change, I don’t know,” explains Reverend Takayuki Meguro of the Lahaina Shingon.

Besides the matter that there is a link between song words and dance movements, for many generational participants of Obon the music and dance Reverend Shinkai Murakami that have been passed down to them is a of the Wailuku matter of deep respect to their heritage.

Hongwanji Mission Kay Fukumoto, President of Maui Taiko, shares, “ I’m a real traditionalist because of my connection.

Personally I don’t feel it’s appropriate to have Electric Slide at Obon.” Kay’s great grandfather was a taiko drummer. Presently, as a founder and the president of Maui Taiko, she honors her ancestry through music.

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mindset of many people that are from the islands.

Although the core of Obon festivities is Japanese Buddhism, the open-armed welcome to all elements of our shared community has proven to be more than just words.

Reverend Ryozo Yamaguchi of the Paia Rinzai Zen Mission shares, “Obon reflects our culture, which has become mixed. This is a diversified society. I like that.”

Contact writer Kailea Frederick: kailea.sonrisa@gmail.com

ounty C i u a M 3 1 August 20Obon Festival Schedule

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KeOlaMagazine.com | Maui County, August/September 2013

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Native Intelligence

Island Treasures:

Island-Made Products and Where to Find Them

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ative Intelligence features the work of Maui’s finest craftsmen and women.

Inspired by co-owner Kapono‘ai Molitau’s passion as a hula practitioner, chanter, cultural protocol expert and a researcher in native cultural intellect, the store opened in May 2009. “Maui didn’t have an area that folks could get information, learn, and share Hawaiian cultural practices and traditions if you weren’t attending the University of Hawai‘i or a student in a hālau,” Kapono‘ai says.

So it was with this inspiration that Native Intelligence was created as a cultural resource center in Wailuku Town guised to look like a retail store.

Our Hawaiian language is alive and thriving inside Native Intelligence as you will hear for yourself as you enter the space.

“If you can speak Hawaiian, your entire experience will be in the native language of this land, it truly is wonderful to hear,” Kapono‘ai states.

Traditional and modern crafts find a welcome home at Native Intelligence, such as hand crafted ‘umeke by Maui’s own Milton Rollins. His ‘umeke are made from the finest woods located on the island of Maui. He truly is a gifted Hawaiian craftsman that has been working on his craft for the past 25 years.

World-renowned hula master Kumu Sonny Ching, together with Paradisus, present The Sonny Ching Collection, jewelry that beautifully combines traditional Hawaiian culture with modern aesthetics. These pieces serve to remind us of who we are by knowing who our ancestors are, and where we have come from.

Custom-made ipu heke are created by Kumu Hula Kapono‘ai Molitau. Each ipu heke is carefully put together to generate the best tone in each implement. Each implement is a work of art, and a must have for every hula practitioner.

Local clientele love the traditional lei provided for Native Intelligence by lei practitioners: fresh Hilo maile, kukunaokala, lei ‘ilima, pīkake, pakalana, and lei haku with only native plants on Maui.

Kapono‘ai’s hānai father was the late Master Kumu Hula John Keola Lake, from Wailuku, Maui. He instilled in Kapono‘ai 25 years of training in hula, Hawaiian chant, traditional implement making, and a mastery of the Hawaiian Language. “I am also a Kumu Hula and my hālau on Maui is known as Na Hanona Kulike ‘o Pi‘ilani. I also teach Hawaiian language, hula, and chant at Kamehameha Schools on the island of Maui,” Kapono‘ai shares.

Cultural practitioners of Hawai‘i are telling stories of their home through every piece of artwork in Native Intelligence.

We are reminded of our kuleana to preserve, protect, and live within the culture and the moral values of our culture.

Native Intelligence 1980 Main Street Unit 2, Wailuku 808.249.2421 ninau@native-intel.com Native-Intel.com

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