Maui: October-November 2013 by Ke Ola Magazine

“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

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October–November 2013 • ‘Okakopa–Nowemapa 2013

KeOlaMagazine.com | Maui County, October/November 2013

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

October–November 2013 ‘Okakopa–Nowemapa 2013

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

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

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Renée Robinson, 808.329.1711 x2, HIeditor@KeOlaMagazine.com

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Aloha from the Publisher

We’re delighted to welcome many new advertisers into this issue! Ke Ola’s Maui County edition is finding its footing and we’re gratified to receive so much adoration from the Maui County community. Mahalo! Check out Ke Ola Kālā (below), which enables you to receive a discount at any of our participating advertisers in this issue. Hele in to start your holiday shopping and cash in your Ke Ola Kālā. Have you ever lost your keys, phone, laptop, or briefcase? Take a look at our back cover, then register for Ke Ola’s new lost and found service. You’ll even get a beautiful free Ke Ola key tag or sticker! Two of my favorite words are kaizen (Japanese, meaning continuous improvement) and imua (Hawaiian, to move forward). As we move forward, making continuous improvements, we look forward to hearing from you! Aloha pumehana, Barbara Garcia, Publisher

Culture 9 Kākau: Written on the Skin By Shannon Wianecki and Kaualani Pereira

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5 Pu‘u O Hoku A Shining Star of Sustainable Ranching on Moloka‘i By Kaualani Pereira

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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.

13 Haleakalā Waldorf in the Hui Haleakalā Waldorf expands to include High School campus on Maui By Linda Olds

Spirit 4 Mo‘o Chant By Cultural Practitioner Kaui Kanakaole

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Cover photo A Prayer for Our Brothers by Christina DeHo ff (p18)

16 Island Treasures 17 Talk Story with an Advertiser 18 Featured Cover Artist: Christina DeHoff

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Mo‘o Chant E ka mo‘o akua, ka mo‘o nui, ka mo‘o lau Mai ka nahele ‘o Pihaehae a i ka wai o Kawaipapa Nāu ‘o Waihua a hū a‘e ka mo‘o mahi Nāu ‘O Waikaloa a loloa ka wai Nāu ‘o Kawaipuna‘alae a ola ka lae ‘ula Eia ka ‘awa E inu i ka ‘awa E hānai ‘ia E ola nā kua o ka ‘āina e E ulu, e ka moʻo akua Ola nā kini e

| By Cultural Practitioner Kaui Kanakaole

Mo‘o god Mo‘o who is large Mo‘o who is many From the forest of Pihaehae to the water of Kawaipapa Yours is the loko Waihua where the baby fish grow and multiply Yours is Waikaloa where the waters are permanent Yours is Kawaipuna‘alae where the expert thrives Here is ‘awa Drink the ‘awa Be satisfied Life be granted to the people of the land Grow and inspire, mo‘o god Longevity be granted to all

o‘o have very important roles in our culture. They are many things. One that is pivotal for all of us to understand is that Mo‘o are guardians of our watering holes, especially for us who live on the east side of Maui where ka wai a Kāne permeates every crevice. It is important that we acknowledge their presence and respect their function of looking after our different areas, like our fresh water ponds and streams. As with all relationships there must be communication, a give and take and a feeding—physical, emotional and spiritual. Building this relationship with a mo‘o guardian is a part of utilizing our streams and ponds. This oli was written for this purpose; specifically for the fishpond named Waihua located down at Waikaloa, Hāna.

KeOlaMagazine.com | Maui County, October/November 2013

Contact Cultural Practitioner Kaui Kanakaole: kauikanakaole@gmail.com

The shoreline at Pohakupili with a unique view of ‘Turtle Rock’ a protected bird sanctuary

Pu‘u O Hoku:

A Shining Star of Sustainable Ranching on Moloka‘i

mbracing a land rich in cultural history and natural beauty, Pu‘u O Hoku ranch on Moloka‘i offers a glimpse into the past and maybe even a vision for the future. The ranch’s dedication to sustainability and conservation is what gives visitors to this place a depth of experience seldom found in today’s Hawai‘i. Pu‘u O Hoku means “hill of stars” in Hawaiian. Spanning 14,000 acres, the ranch includes a farm, three orchards, forest, and pastureland with views of a wonderfully dark night sky with zero light pollution. A portion of the spectacular north shore sea cliffs of Moloka‘i, “4,000 feet from tip to ocean-floor,” are located on the backside of the ranch. Considered the highest sea cliffs in the world, they can only be viewed by plane or boat. During the rainy season there are literally thousands of waterfalls to be seen. Lavinia Currier, who purchased the ranch in 1987, “has placed conservation easements on coastal land as well as the forest lands,” says Jann Roney, Pu‘u O Hoku ranch manager. The conservation easements are in partnership with the Hawaiian Islands Land Trust (HILT). A total of 2,887 acres were designated as protected in 2006 and 2007 under the following ‘conservation values’ according to HILT’s website, “agriculture and open space, archaeological and cultural preservation,

| By Kaualani Pereira

and habitat for native plants and animals.” “Conservation lands ensure important benefits, including clean air and drinking water, beautiful Grove Cottage located near ranch views, rich headquarters utilizes solar heat for water and agricultural land will be completely off-grid by the end of 2013 and protected access to Hawai‘i’s mountains, forests and beaches,” according to HILT’s website. “This exquisite working ranch will remain in agriculture as an expansive natural landscape thanks to Lavinia Currier’s conservation easement agreements with the Hawaiian Islands Land Trust,” continues the HILT profile for the ranch’s protected lands. “East Moloka‘i supported thriving Hawaiian communities prior to Western contact. Under this easement all documented

KeOlaMagazine.com | Maui County, October/November 2013

cultural sites are forever protected including Ulu Kukui o Lanikaula, the sacred kukui grove said to be the burial place of the famous 16th century Hawaiian prophet Lanikaula,” A portion of Moloka‘iʻs north shore cliffs describes the HILT listing for the Pu‘u O Hoku conservation easement. There is a small group of local community members who help preserve it, as well as an expanded group from the outer islands that come once a year to maintain the site. The ranch has provided deer fencing around the grove, as well as helping with the maintenance and other needs to protect this sacred site. The ranch recently became involved in the East Moloka‘i Maui Watershed Partnership. It plans to do more in the preservation of the several watersheds that initiate on the ranch land, as well as preserve more of the intact forest. The endemic nēnē is the world’s rarest goose. To protect the nēnē, the ranch is home to the first safe harbor agreement between a private landowner and the US Fish and Wildlife Service on the island of Moloka‘i. “What started out as 10 nēnē birds initially relocated to the ranch has grown to a flock of more than 100 birds, all currently doing well. The ranch has agreed to allocate another two acres dedicated to a second nēnē goose hatching pen so that birds from Kaua‘i can be relocated to Moloka‘i,” says Jann. An active program has been initiated to identify native plants on the ranch and more than 200 have already been identified. The plan is to ‘drop fence’ around some of the more rare plants until a long-range solution can be found. This will allow potential seed sources to be protected so that natives can be propagated and out-planted in other areas of the ranch. In addition to playing an active role in restoring native plants, a food forest program is being created to protect cultivars and provide long-term sustainable production. “We have been replacing invasive species with food providing sources that grow in pockets where run off water can support them,” explains Jann. As well as their “food forest program,” raising food on their 30 acre farm in a regenerative way is a top priority at the ranch. Their farm was first certified organic many years ago by HOFA. In 2009 became certified Organic (NOP) by Stellar Certification Services, and the following year became certified Moving cows to a different pasture biodynamic by Photo courtesy Richard A. Cooke III the Demeter Association. There have not been any chemicals used on the ranch in 25 years. “The comments from our guests about their experience eating organic, biodynamic produce continues to encourage us to stay the course,” says Jann.

Sunset at the ranch

Hawaiian Mo‘olelo Quoted from Tales of Moloka‘i by Harriet Ne with Gloria L. Cronin. Published by The Institute for Polynesian Studies, La‘ie, Hawai‘i.

Nakoa was a lonely man, who lived by himself and seldom spoke, not even to his neighbors, the people of Pa‘uwela on Maui. He had a dark reason for his silence. A chief from Kukuihaele was seeking him for breaking a serious kapu, and Nakoa lived in constant fear of being captured and killed. One night he dreamed a dream in which a voice spoke, “Gaze always over the bays of Pi‘ilani.” He began to do so, and his neighbors thought him even stranger than before. But one day, he saw a white cloud shaped like a finger pointing to Moloka‘i. At once he recognized it as a sign, took his canoe, and paddled under the cloud, going in the direction the finger pointed. After four hours of steady paddling, he landed on the beach at Kahei Point. He beached his canoe and stood on the shore watching the finger cloud. He was amazed to see the finger point upward and thought to himself, I certainly can’t go up into the sky. What is the sign saying? Perhaps it is telling me to climb the cliff and go upland? Wasting no time, he began to climb the cliff. But when he got to the top he saw another hill and another. After he had climbed three hills, it was nightfall. Exhausted, he sat down, then lay on his back and gazed in the sky. Suddenly he had a glorious feeling as if he could reach up and touch the stars. I shall call this place Pu‘u o Hoku, or ‘Hill of the Stars,’ ” he whispered. He did not move and finally fell fast asleep, his eyes closing as he still gazed at the stars. He awoke the next day and went to see the famed kahuna Lanikaula of the sacred kukui grove. He told Lanikaula of his life of fear and confessed his fault in breaking the kapu. “You need not run any more,” Lanikaula told him. “It is the will of the gods that you stay here at Pu‘u o Hoku. You will always be safe here.” Thus it was that Nakoa lived on the Hill of the Stars till the end of his days, lonely no longer.

KeOlaMagazine.com | Maui County, October/November 2013

The farm is the largest organic, biodynamic grower of ‘awa in the state. An extensive following of men’s groups use the ‘fresh frozen’ one pound bricks in their ceremonies. Jann shares, “We are working towards expanding our heirloom seed focus to go beyond our own needs, and to be able to supply seeds to other farmers in Hawai‘i. For the ranch, and our mission towards self reliance and sustainable practices, this is an important piece.” Currently all the fresh produce and meat grown on the ranch are marketed first to the guests, then to neighbors, and also to other islands. The ranch has been well known for their livestock operation for decades, selling fresh frozen organic biodynamic meat to customers on several of the other Hawaiian Islands. This operation has been impacted in recent years by two damaging influences. The commercial herd has decreased in size due to the changing weather conditions in the past several years and significantly reduced annual rainfall. A recently introduced invasive species, the axis deer, has become a direct A tranquil spot to view Maui’s northwest shores competitor for the grass, causing serious negative impact on the quality of grass in the pastures. The over grazing by the deer have created an opportunity for invasive species to encroach and get a good foothold on the land. A recent key change in the ranch’s focus of establishing selfreliance has been to have the livestock program be a full-life cycle program. Historically, the majority of all calves born and raised in the islands have been shipped to the mainland at weaning time where they are grown from 400 pounds to 1200 pounds. “Then the meat has been shipped back to the stores in boxes,” says Jann. Pu‘u O Hoku has recently been able to have all of the calves born on the ranch be finished as naturally grown, organic grass-fed beef in Hawai‘i, completing the cycle, and significantly reducing the ranch’s carbon footprint. In addition to their sustainability efforts, the ranch offers farm-stays, work study programs, and sometimes even internships. Those who are fortunate enough to visit the island of Moloka‘i to experience its natural beauty can find great hospitality at the ranch. The use of a few ranch homes as visitor rentals provides the ranch with the opportunity to create a couple of jobs for local families. “Last year, following our desire to provide an educational focus to our hospitality program, we shifted to an ‘all inclusive’ offering at our lodge. For small groups that are doing a training, we provide three meals per day—utilizing our farm and ranch products—as well as rooms. The ranch easily lends itself to providing the perfect environment for workshops that are focused on sustainable practices and other natural venues. The teachers bring their students to the ranch to fully experience the amazing nature all around, the vibrant foods that wake their

bodies up, and the connectedness with the land that many are missing. The feedback we receive from the guests as they are departing is of such a deep appreciation that we know we will see them again one day,” Jann explains. In keeping with the focus on sustainability, the ranch is using renewable energy to power the operation. As part of a longterm plan that includes education and sharing, the ranch is taking bigger steps towards becoming completely self-reliant in the area of power. While there have been solar water heaters and composting toilets on the ranch for years, the first significant solar array was installed, and a net metering agreement with Maui Electric Company was established at the beginning of 2013. This phase provides all the power needs for the lodge. “It allows our neighbors an opportunity to evaluate the difference in cost and production so they may choose what fits them best as they advance forward into their own selfreliance,” says Jann. The next step towards producing power for the The pool and a few of the lodge rooms available for guests, as part of the retreat center located on ranch’s the ranch. Photo courtesy Duncan Berry shop and

For Optimal Health

KeOlaMagazine.com | Maui County, October/November 2013

Treat the person, not the illness

Naturopathic Medicine has five basic principles:

First, do no harm Act in cooperation with the healing power of nature Address the fundamental cause of disease Heal the whole person through individualized treatment Teach principles of healthy living and preventative medicine Regardless of your health challenges, you can activate the healing power of nature by removing the obstacles to wellness and supporting healing of your body through nutrition and lifestyle. Illnesses are symptoms of imbalance in the body. Dr. Lins will work in partnership with you to create a comprehensive and customized health plan to support and guide you towards optimal health.

Dr. Nancy Lins, is a board certified Naturopathic Physician licensed in the State of Hawaii.

Ali’i Wellness 180 Dickenson Suite 218 in Lahaina

808.667.9554 • drlinshawaii.com

greenhouse area will come from two small windmills scheduled to be installed later this year. Following that, a gasifier will be installed which will provide power through the burning of invasive species. “At that point all of the power needs will be provided by the ranch and a renewable energy ‘classroom’ will be available for our island neighbors to view as they consider their own options,” Jann says proudly. The ranch is actively managing the land to restore ecosystems that are still relatively intact on the remote east side of Moloka‘i. As the sun sets on Pu‘u O Hoku ranch, the dark night sky fills with stars—a bright new day awaits. ❖ For more information: PuuOHoku.com, 808.558.8109 Photos by Jann Roney unless noted Contact writer Kaualani Pereira: mceditor@keolamagazine.com

Chad Hew-len, Kamali‘ikupono Hanohano, Kalama Souza, Brandon Caires, Keli‘iokalani Makua, Kawika Au, Sam Kamu Kapoi, Jordan Gomes, Stabren Caires—Photo courtesy of Kapulani Landgraf and MAMo Wearable Art Show

Kākau:

Written on the Skin

| By Shannon Wianecki and Kaualani Pereira Native American organizations with grant reporting. He had no intention of becoming the authority on a lost art. “I was pushed,” he says, “in a gentle way.” Growing up in Nānākuli on O‘ahu, Uhi by Māori he soaked up his Hawaiian elders’ practitioner knowledge of hula and other cultural Te Rangitu Netana practices, including kākau. His aunt Photo courtesy of Georgina Netana had been a ho‘omaloaili (literally “to stretch the skin”)—the person who holds the skin taut for the tattooist. Nunes says. “There were five kūpuna who gave me information freely about [kākau] in the 1960s and 70s. At that time I thought it was common knowledge.” He discovered otherwise in 1989, when he went searching for someone to apply a design his aunt had given to him. He couldn’t find any tattooists who were tapping; they all used machines. The traditional practice had all but vanished in the islands. When his hula hālau was preparing for the Merrie Monarch competition, several members decided they wanted traditional tattoos. Nunes shared some of what he knew about the ancient patterns and meanings. “It was brought to my attention that very few people had that same knowledge,” he says. “That’s what got me started.” Nunes has since tattooed hundreds in the old way. To augment what he knew, he studied with the Samoan handtapping master, Su‘a Sulu‘ape Paulo. Nunes works by word of mouth and is very selective. His studio is in the back of a Wai‘anae church—appropriate since the traditional Hawaiian tattoo, or uhi, has spiritual underpinnings. Each step of the kākau process is guided by protocols to preserve and enhance the mana, or spiritual power, of those

KeOlaMagazine.com | Maui County, October/November 2013

olynesia gifted the world with the tattoo—both the art and the word, derived from “tatau” in Samoa, Tahiti, and Tonga, and “kākau” in Hawai‘i. Prior to Western contact, each of the Pacific island nations possessed unique tattooing customs. Samoan chiefs covered their torsos with designs that revealed their rank. Maori women permanently painted their lips and chin with swirls. In the Philippines, Kalinga warriors earned symmetrical chest patterns after a successful headhunt. Hawaiian royals declared their sacred lineage with certain marks. Today, even as Polynesian-inspired skin art surges in popularity, the ancient practice of kākau remains cryptic, on the edge of extinction. Modern tattoos bear only superficial resemblance to their traditional counterparts, which are handtapped, applied with the cadence of a heartbeat rather than the buzz of an electric tattoo gun. Kākau is an active verb: kā, to strike, and kau, to place upon. The word mimics the sound of the wooden mallet hitting the needle-sharp mōlī that deposits ink into the skin. Unlike the ubiquitous sailor’s anchor or a generic tribal armband, traditional Polynesian tattoos are sacred. They are not simple decoration or physical embellishment; rather, each mark has nuanced meanings that imbue its wearer with specific powers and protection. Te Rangitu In Hawai‘i, Keone Nunes is almost working with single-handedly reviving the ancient a skin stretcher Photo courtesy of practice of kākau. A quiet and Georgina Netana methodic man, Nunes works on O‘ahu as a federal contractor, assisting

KeOlaMagazine.com | Maui County, October/November 2013

involved. It begins with the tools. A set of five small, comb-like mōlī of varying widths and a hahau, or mallet, hewn from native ‘ūlei wood, takes a month or more to make. Each is hand-carved, without metal. “Metal throws everything off,” explains Nunes. “It’s too sharp, too convenient. If you use metal, you might as well use a machine.” Historically, mōlī were carved from albatross bones or boar’s teeth. Nunes’ mōlī are made from hippopotamus tusk. Te Rangitu tattooing It’s the hardest ivory in the traditional way available and works with his Photo courtesy of Georgina Netana medical-grade sterilization equipment—his sole compromise to modern necessity. His ink is a traditional blend of oil and burnt kukui nut ash. Tattooists occupied an interesting role in Hawaiian society, says Nunes. “We were the only ones who could sit with wahine (women), the only ones who could spill the blood of the ali‘i (royalty). The tools allowed us to do that.” Understandably, Nunes treats his implements with reverence. He wakes at two or three in the morning to pray and ceremonially cleanse his mōlī in the ocean before working on someone. Long before that day arrives, the tattoo recipient has been busy preparing. “Each person’s journey is vastly different, says Nunes. “Typical protocols include prayer, genealogical study, fasting, celibacy, and abstinence from intoxicants. Sometimes a person must clear away grievances with family and friends, or even learn to speak Hawaiian.” The process of preparing for an uhi, enduring the pain of its application, and wearing the mark is meant to create a lasting and sacred bond between the bearer, his or her community, nature, and the divine. Each symbol or pattern has profound spiritual and genealogical significance. It identifies its wearer. While some designs are free for anyone seeking protection or healing, many are kapu, restricted to specific Native Hawaiian families. Adopting the design of Pi‘ilani’s great great grandson, for example, is a mistake unless that’s who you truly are. It’s equivalent to wearing another person’s birth certificate or diploma.

Even free or noa marks have layers of meaning. The maka ihe—eye of the spear—represents a man’s duty to protect and provide for his community. Canoe builders, farmers, or fishermen wore certain designs representing and honoring their skills. Others displayed the image of their ‘aumakua, or ancestral spirit guardian—such as an owl or shark. Based on long consultation, the tattooist decides when someone is ready and what the design will be. Nunes talks with the person to discover who they are, who they can become. The resulting design reflects the past, and also the potential. The process is a transformation, both inside and out. “I can feel the person change as I’m working on them,” says Nunes. “Kyle is a good example. When I first met him, he was like a lot of other Hawaiians—proud of being Hawaiian but he didn’t know why. Now he knows why.” Kyle Nakanelua is an important man by Western and Hawaiian standards. He’s an Air Force-trained fire captain with 35 years of service under his belt. He farms taro at his ancestors’ lo‘i in Wailua on Maui’s rural east coast. He mentors young Hawaiian men in the traditional ways at Hale Mua. He waited nearly two decades for his facial tattoo, Keone Nunes at work in Hawai‘i Photo courtesy of Lane Wilcken or maka, which he calls one of his greatest treasures. It’s a powerful, tangible declaration of his commitment to his community, his kuleana. In receiving this mark, he placed his trust in Nunes. “When you deal with an individual like Keone, itʻs his prerogative,” says Nakanelua. “He doesn’t use poetic license. He looks within himself and within the person. He knows how to take the old implements and the old meanings and place them within this context and time. It’s not like putting on a design, it’s like clearing away the dirt to allow it to come out.” Nunes is the acknowledged master of kākau, and he’s training others. He’s comparing notes with traditional practitioners from other cultures. In 2010, he read an article about the last living Kalinga tattooist in the Philippines. Whang Od, well into her nineties, worried that her craft wouldn’t survive her. Nunes recognized the sorrow in her eyes; he’d seen it in the Hawaiian

of which carry across multiple cultures. Wilcken says that Filipino women received tattoos with their first menstruation, to honor their transition into womanhood. This was also true in Aotearoa (New Zealand) where women of rank received additional designs on their chins. Wilcken’s wife sees similarities between her husband’s work and midwifery; the tattoo process gives birth to another aspect of the person. When Netana works on Māori women, he says he is privy to traditions rarely seen. Traditional tattooing is a social experience that involves several people—at the very least the tattooist, one or two stretchers, and the person being tattooed. “Everyone has a role to play,” says Netana, “We all have to be thinking in the same direction for the best outcome for the person. We pray as one person.” Nunes, Netana, and Wilcken agree that the biggest change from ancient times is the shift towards individualization. Today, people view tattoos as an expression of personal aesthetic. Individuals decide on a piece of artwork and go to a shop alone or with one or two other friends. In the old days, an entire family would gather under the shade of a hale or a large tree, in support of the chosen member of the family who earned the right to be tattooed. Nunes and Netana have both tattooed entire families; the impact on the family members’ relationships is tangible. While modern tattoo fans feel that getting inked is Whang Od tattoos Lane Wilcken in itself a right of passage, in the Philippines Netana says that when the Photo courtesy of Keone Nunes experience is devoid of mana, something is lost. It is just an echo of the past, and the person is left superficially marked. When tattooed in the traditional way, a person is strengthened and connected to their ancestors. The ancient Hawaiians did possess a written language—one that was inked on the skin. Each tap on the mōlī revives the spiritual essence of that language. ❖ Contact writer Shannon Wianecki: shannon.wianecki@gmail.com Contact writer Kaualani Pereira: mceditor@keolamagazine.com Editor’s Note: We searched for a traditional tattoo artist in Maui County and the closest we could find was Keone Nunes on O‘ahu. We are grateful to Keone for sharing his knowledge and photos.

KeOlaMagazine.com | Maui County, October/November 2013

kūpuna (elders) of his youth, who, finding no one to carry on their traditions, had resigned to die with their knowledge. Nunes packed his bags and set out for Od’s remote Philippine mountain village. Keone Nunes and Whang Od “I wanted to take the Photo courtesy of Keone Nunes burden off of her, to show her that other people tap,” he says. Lane Wilcken, a Las Vegas tattooist of Filipino descent, joined him on the journey. The three tattooists became fast friends. Nunes was astonished at the similarities between Od’s tools, symbology, and methods and those passed down from his Hawaiian ancestors. Even the formula for mixing ink was identical, with one exception; Od uses pine tree ash. The wizened Filipina was delighted to meet men committed to carrying their ancestors’ art into the future, one tap at a time. Traditional Polynesian tattooing is gaining currency. The handtapping masters—Nunes, the Sulu‘ape family, and a handful of others—were given center stage at this year’s Pacific Ink and Art Expo. Many of the top tattooists from around the world gathered in Honolulu for the exposition, which attracted 20,000 attendees to the Blaisdell Center. It was an occasion for traditional tattooists from across the Pacific to connect. While contemporary body artists flaunted their psychedelic sleeves, piercings, and studs, Nunes and Wilcken sat down with Māori tattooist Te Rangitu Netana to discuss their common practice of ancient rites. Each of these men holds the burden and honor of bringing the mana‘o (knowledge) of his culture from antiquity into modern times. It’s not a responsibility they take lightly. Due to colonialization, each nation experienced a lapse in traditional tattooing practice. The gap lasted a few generations in Hawai‘i and Aotearoa. In the Philippines, hundreds of years passed after Western contact before traditional tattooing was practiced again. The elders of each culture held the knowledge, passing it down through each generation until present day. The traditions survived because, as Netana says, “our secrets are within each other.” Most Polynesian cultures speak different dialects of the same language, and that applies to tattoo symbols as well. There are slight variances, yet a familiar current runs between the islands, connecting them all. Netana sums it up well: “Once we see all the similarities in our work, once we realize we are family, we find strength in each other.” Historically, women have had special tattoo traditions, many

KeOlaMagazine.com | Maui County, October/November 2013

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

Hui No‘eau Visual Arts Center and the Cottage Studio

Haleakalā Waldorf in the Hui

Haleakalā Waldorf expands to include High School campus

school experience between them. Antje is an adjunct faculty member and both have taught at the Rudolf Steiner College, where many Waldorf teachers receive their training. Mikko is the author of two chemistry textbooks and teaches math and science. “We had the start of a fantastic team already in place, but we were waiting for just the right configuration of teachers, families, and community supporters to launch, as well as the right location,” shares Maka‘ala Palmore, one of the faculty from Haleakalā Waldorf. “Antje and Mikko Bojarsky were the perfect final pieces to complete the high school puzzle we had been building for a long time. They brought the skills and experience to bring it all together and move forward in making our high school dreams a reality.” “If they had not come, we would not be opening the high school at this time,” says Jocelyn Romero Demirbag, administrative chairwoman of Haleakalā Waldorf. “Their hiring created the opportunity of opening a high school with a faculty of very high quality with experience in teaching the Waldorf high school curriculum.” Other members of the high school faculty include Matthew Clement, Ryan Anderson, Chenta Laury, Jennifer Staub, and Iris Sullivan. These are teachers hand chosen by the Bojarskys to offer a high level of expertise and enthusiasm in their respective fields, a hallmark of a Waldorf high school. There are striking differences between the Waldorf curriculum and a typical public school education. For instance, students in each grade level advance with the same teacher throughout their first eight school years. “Students see the teacher as a friend, mentor, [and] counselor,” says Mikko. “It’s not an adversarial relationship.” Another facet that sets Waldorf apart is that the student’s entire family is involved with their education. “Parental support is huge,” explains Mikko. “It’s the key to the success of Waldorf.” There are no textbooks. Students create their own, starting with a blank book. They record their experiences, draw, take notes, and add in whatever they decide to include.

KeOlaMagazine.com | Maui County, October/November 2013

elebrating its 40th anniversary this year, Haleakalā Waldorf School was founded by parents in 1972 and began with 50 students and four teachers. Current enrollment at its historic Kula campus is 260 students in pre-K through grade eight with a faculty of 40. Until now, students who completed the eighth grade then transferred to other private or public schools. This fall, Haleakalā Waldorf opened the first Waldorf high school on Maui at the Hui No‘eau, expanding to offer ninth and tenth grades, and providing students with the opportunity for continued Waldorf education. Waldorf education is based on the work of Rudolph Steiner (1861–1925), an Austrian philosopher, scientist, artist, and educator. Waldorf follows his early-20th century educational philosophy that incorporates mind, body and spirit, follows the natural development of the child, and teaches academics through the arts. Steiner opened his first school in 1919 when the owner of the Waldorf-Astoria cigarette factory in Germany asked him to start a school for the workers’ children. Today, there are a thousand Waldorf schools in 91 countries, including 159 in the United States, where the number is growing. Waldorf education is the largest independent alternative education movement in the world. Part of that movement for more than 20 years, Mikko Bojarsky and his wife Antje are credited with making the plans for Maui’s new high school into a reality. Both are faculty members at Haleakalā Waldorf with 45 years of high

| By Linda Olds

The Cottage Studio, the new home for the high school

No ‘Appleʻ for the teacher, either. And for the students there are no cell phones, iPods or earbuds. Computers are not introduced until the upper grades and then on a limited basis. Students are encouraged to participate in the community and gain experience learning and working off campus with various entities such as farmers, environmental organizations, artists, technology companies and parks. According to Waldorf literature, “Through these experiences, Waldorf students cultivate a lifelong love of learning as well as the intellectual, emotional, physical and spiritual capacities to be individuals, certain of their paths and to be of service to the world.” A lot of the learning is hands on. How many children in school had this experience: looking out the window, watching a butterfly float by and wishing they could be outside chasing it? Part of the class study at Waldorf schools is going outside where students chase a butterfly, and also learn everything

KeOlaMagazine.com | Maui County, October/November 2013

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about it, up close and personal. Then they put on a play about everything they learned. Waldorf students learn academics through the arts, by doing things. They learn mathematics through games and arts projects. They learn anatomy by sculpting and ecology by gardening. They learn life skills like cooking and knitting. The lessons are tailored to the developmental level of each but always include the arts and sciences. As it says on the school’s website: “For the Waldorf student, music, dance, and theater, writing, literature, legends and myths are not simply subjects to be read about, ingested, and tested. They are experienced.” What better place to experience all this than the campus of Hui No‘eau Visual Arts Center in Makawao? Haleakalā Waldorf’s new high school has been set up in the Cottage Studio on the grounds of the lovely estate, Kaluanui, home of Hui No‘eau. Haleakalā Waldorf School’s Kula campus “The idea of approaching the Hui came up several years ago among our parents and board members who were working on developing the high school. However, it was felt that the high school wasn’t far enough along in its conception to make a credible proposal,” relates Mikko.

Studio, Waldorf will also be using the Children’s Garden, and Breezeway Studios along with the jewelry, ceramics, and printmaking facilities.” Also known as the Matsumoto Cottage (Matsumoto was a fulltime yardman who lived on the property during Ethel Baldwin’s time), the quaint and charming Studio has been refreshed with a new coat of paint. “Students are sensitive to their surroundings,” says Mikko. “We put green ti leaves and Roses outside a classroom in Kula Hawaiian salt in each room at a ceremony held earlier in the spring.” The design for the building’s conversion to meet the needs of the new school was done by local artist and architect, Don Bernshouse. The refurbishment was completed this summer and the improvements nearly doubled the size of the building. There are classrooms and a spacious multipurpose room brightened by louvered windows, sliding doors, and skylights. Outside, elegant doors and a wrought iron gate are planned for the entrance. There is a stage, an important piece for the program. A covered patio is where students meet, eat lunch, and enjoy the view. “We are going to plant gardens and hope to do beekeeping as well,” says Mikko as he gazes at the lush landscaping of Kaluanui’s 25 acres. “These experiential activities teach students a lot: sciences, mathematics, colors, care for the environment.” The curriculum in the upper grades causes the student/ teacher ratio to change. No longer is one teacher dedicated to a class. Now a team of teachers is involved. Now each day begins with the morning lesson, a two-hour session instructed by specialists who are brought in to teach an in-depth class. Hui No‘eau Visual Arts Center Topics and instructors rotate every three weeks allowing the opportunity to cover a broad range of subjects. The usual afternoon sessions include mathematics, ecology, English, history, arts and crafts, and athletics. “Adding ninth and tenth grade is an extension of the experience for many of the students who have gone to Haleakalā Waldorf kindergarten to grade eight,” says Mikko. Right now total enrollment is 25. We plan to add an 11th grade next year for a total of 50 students and then a 12th grade after that. Our long-range plan is to build our own campus with a lab, gym, and theater.” And, so, Haleakalā Waldorf will continue to grow. ❖ Contact Haleakalā Waldorf School: WaldorfMaui.com Photographer: Kailea Frederick

Teepee bean trellis at the Kula campus garden

Contact writer Linda Olds: oldsey@gmail.com

KeOlaMagazine.com | Maui County, October/November 2013

He continues, “When the high school started to take shape in 2011, our high school committee approached the Hui board. In the words of one of our Board members: ‘Both parties immediately realized the potential for a mutually beneficial agreement, providing a beautiful location for a Haleakalā Waldorf high school, while allowing the Hui to derive additional revenue from renting space that was mostly vacant during normal school hours.’ Many productive negotiations followed, culminating in agreement that was finally reached in September 2012.” Historical and beautiful, Kaluanui was designed by famous Honolulu architect C. W. Dickey (1871–1942). Credited for developing the “Hawaiian style” for his distinctive hip roof designs and the way his structures make the best of the surrounding land and weather, Dickey was a cousin of Ethel Baldwin’s. Ethel and her husband Harry, rich scions of the pineapple industry and a politically prominent family, chose Dickey to design their country house. They moved in around 1917 and, in 1934, Ethel famously founded Hui No‘eau as an arts club. Practical and resourceful, she repurposed areas of the estate into places where she and the members of her club could put ceramics in a kiln, make elegant silver hollowware, craft jewelry, draw, and paint. Today, Kaluanui Tree bench at the Kula campus continues to house Hui No‘eau, a unique center for the arts including classrooms, studios, and exhibition space. Itʻs a perfect fit for Haleakalā Waldorf’s high school curriculum. “We are very happy to share our commitment to the community by sharing the campus,” says Caroline Killhour, executive director of the Hui. “Our wellequipped studios are used mostly on nights and weekends so this fills the gaps in their schedules. In addition to the Artists’

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im Kingwell has been capturing the scenic beauty of Maui for 25 years, sharing his unique “Romantic Realism” perspective with visitors and locals alike. “An outrigger canoe under a palm tree with Diamond Head in the distance was the earliest oil painting I can remember having done. It was after our family vacation to Hawai‘i in the sixties. I always loved drawing and painting during or Kapalua Point after visiting exotic getaways, from Yosemite National Park in California to Alberta’s Canadian Rockies and eventually to Europe’s Swiss Alps and Santorini, Greece,” Jim recalls. Today, his original oil and watercolor Plein Air paintings of local landscapes, florals, and street scenes of the Hawaiian Makawao Town islands are inspired by Hawai‘i’s raw beauty and cultural diversity. Jim also specializes in inserting his customers likenesses into his paintings. Stop by his studio and see for yourself! Jim got his start with a full scholarship to attend the Hamoa Beach Academy of Art University in San Francisco, California. “After studying at the Academy in 1969, I lived in New York City for a few years in the 80s which allowed easy access to return trips to Europe and South America. By 1989 I wanted to live the island life and paint to my heart’s content,” Jim shares. After revisiting all the major islands, Maui seemed best suited for Jim. Once settled on Maui, he joined the Lāhainā Arts Society, and while on the Board of Directors of the Art School of Kapalua, he became Resident Artist for the Four Seasons Maui Resort in Wailea. Since 1994, Jim can be found painting “to his heart’s content” and sharing his work in his gallery and studio on Front Street in Lāhainā. He also continues teaching workshop classes in Yosemite National Park, plus small and individual classes at his Lāhainā studio gallery and at local schools. Kingwell Island Art 834 Front Street, Lāhainā 808.667.6782 KingwellIslandArt.com

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KeOlaMagazine.com | Maui County, October/November 2013

our body can heal itself with the proper nutrition and lifestyle support. Dr. Nancy Lins’ passion is helping people optimize their health through learning about themselves. Her practice is not a one-size fits all, it is highly individualized and specific. “I do not treat a disease,” Dr. Lins explains. “I treat the person.” Dr. Lins is a primary care physician who loves to work with patients who have tried everything conventional and still are not satisfied with their level of health and wellness. Whether the problem is hormonal, such as infertility, perimenopause, or anti-aging for men and women, a weight issue, or problems of a more serious nature such as diabetes, cancer, high-blood pressure, or high cholesterol. Dr. Lins believes that “by finding the cause, removing the obstacles, and supporting good health with ongoing habits, no matter what our current condition there is always hope for a brighter tomorrow.” Since weight is a big problem in America, Dr. Lins implements various treatments to help reset a person’s metabolism and remove them from the threat of ‘Metabolic Syndrome’, borderline diabetes, obesity, high-blood pressure, or high cholesterol. Dr. Lins uses a variety of herbs, foods, and hormones to improve patients’ well-being. Dr. Lins graduated in 2001 from Southwest College of Naturopathic Medicine in Tempe, Arizona and moved to Hawai‘i Island with her husband and son. In 2002 she became licensed and board certified in the State of Hawai‘i as a Naturopathic Physician. That same year, she also gave birth to a daughter. She opened the Kona Wellness Center in 2004 and still continues to manage and run that practice in Kailua-Kona. “In 2011 my family and I moved to Maui,” Dr. Lins shares. “I opened the Ali‘i Wellness Center in response to requests from the community.” Dr. Lins loves the quaintness of her office located in Lāhainā Town. Dr. Lins will be certified in 2014 as a Perfect Health Instructor from the Chopra Center in San Diego. She continues training with anti-aging aesthetics, introducing Platelet Rich Plasma treatments for the face and neck, and endocrinology training with AARM, the Association for the Advancement of Restorative Medicine. Dr. Chandy Lopes will be joining Dr. Lins at Ali‘i Wellness this fall. Dr. Lopes was born and raised on Maui and is a recent graduate of Bastyr University. She specializes in Pediatrics, Herbal Medicine, and Craniosacral Therapy.

Featured Cover Artist: Christina DeHoff

| By Amorah Light

KeOlaMagazine.com | Maui County, October/November 2013

“E

very time I paint, it’s a new moment, like I’ve never painted before,” says visionary artist Christina DeHoff. It’s clear Christina’s art comes directly from her soul’s urging. Her subjects are beautifully crafted in oil, acrylic, or metal leaf, and it is the energy that emanates from her pieces that attracts the eye and opens the heart. “I feel that the art I create is not from me. It’s given to me and, if I get out of the way, the painting comes through me,” says Christina. “It feels good to be the vessel for a sacred communication.” Christina’s subjects range from Hawaiian women, light dancers, fairies and mermaids to glorious tropical seascapes, moonrises, soul portraits and memorials. Educated at the University of Maine, Christina owned and operated an art gallery in Rockland for 10 years, representing more than 50 artists. In 1999, she had her first solo show and within two weeks all 30 of her paintings sold. Over time, Christina found that the traditional, more conservative environment of Maine was limiting her progress as an artist. Where would any sensible soulful painter go next? Maui, of course, home to an unending array of artistic talent. Here Christina feels “way more expanded,” inspired by the natural beauty, feminine heart, and sensuality of the island.

“I feel inspired to bring art into the world that inspires and uplifts hearts,” she says. “A Prayer for Our Brothers” (shown on cover) is about respect between men, brothers, sons, and fathers, each feeling the love of family and honoring the ancestors who stand behind them. “In this painting,” states Christina, “A father and son embrace with strength and grace along with a deep knowing that they will support and love each other always. The silver leaf is meant to symbolize the mana that flows from them, between them, and around them as they share the sacred breath of life.” “I believe the spirit of a friend whispered this painting to me at his memorial service. The island lost Anthony Natividad this past fall, very unexpectedly. At Anthony’s service, I sat behind his family and watched as life-long friends and loved ones greeted one another. I was deeply impacted by the way men embraced, forehead to forehead, and nose to nose, in silence.” Christina DeHoff is represented by Sargent’s Fine Art in Lāhainā and Turnball Fine Art in Pā‘ia. She also has artwork on O‘ahu’s North Shore. ❖ Contact Christina DeHoff: ChristinaDeHoff.com Studio visits to her Kihei home are also welcome. Contact writer Amorah Light: iamamorah@gmail.com

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