Maui: August-September 2014

“The Life” Cel e b rating t h e a r t s, cu l t u re, a n d s us t a i n ab i l i t y o f t h e Hawa i i a n Isla nds For those who love life in Maui County

August–September 2014 • ‘Aukake–Kepakemapa 2014

KeOlaMagazine.com | Maui County, August/September 2014

H A W A I ‘I ’S M O S T H A W A I I A N H O T E L

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

August—September 2014 ‘Aukake–Kepakemapa 2014

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, Sales and Marketing

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

Editor, Art Director, Maui County Manager

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

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Sharon Bowling, 808.557.8703, Subscribe@KeOlaMagazine.com

Distribution

Maui Circulation, Inc.

Ambassadors

Amorah St. John • Fern Gavelek • Shelley Maddigan © 2014, Ke Ola Publishing, Inc. All rights reserved

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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.

Culture

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Music 5

Lei Hulu: The Living Tradition of Maui Feather Work

By Katherine Kama‘ema‘e Smith

Henry Kaleialoha Allen: A Lifetime of Mele

By Heatherlyn Gray

Aloha from the Publisher At the one-and-a-half year mark of publishing Ke Ola in Maui County, and as this issue left for the printer, we were so privileged to witness the celebration of the launch of Mo‘okiha o Pi‘ilani, Maui’s Barbara Garcia, Ke Ola’s publisher and Kaualani own voyaging canoe. You’ll get to read Pereira, Ke Ola’s Maui County editor all about the wa‘a in our October/ November issue. We wanted to wait until it was officially in the ocean before we told its story, and also so we could share photos from the celebration, which took place July 11th at Māla Wharf.

In this issue, you’ll get to read about lei hulu (feather lei making), which has a significant part on the wa‘a. Members of the community (and I’m honored to say this included me) got to participate in creating the ten-foot poepoe lei hulu pennant, which was attached at the top of the mast in a ceremony on July 5th.

Also featured in this issue, stories on kūpuna Kumu Keli‘i Tau‘a and Henry Kaleialoha Allen, and the introduction of our Community Kōkua (Volunteer Opportunities) page, plus Farmers’ Market listings. If you would like to contribute information for either of those pages in future issues, please see the contact information on each of the pages.

We’re delighted with this issue, and hope you enjoy it as much as we enjoyed putting it together!

Me ke aloha pumehana (with warm aloha), Barbara Garcia, Publisher

People 13

Spirit 4

Kumu Keli‘i Tau‘a, PhD

By Mikala Minn

Na Kia Manu o Moloka‘i

By Cultural Practitioner Kaui Kanakaole

Departments

8 Featured Cover Artist: Anne Wertheim 16 Community Kōkua 17 Farmers’ Markets 18 Talk Story with an Advertiser

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Na Kia Manu o Moloka‘i | Submitted by Cultural Practitioner Kaui Kanakaole

KeOlaMagazine.com | Maui County, August/September 2014

The extinct Hawaiian ‘Ō‘ōnukumu Painting courtesy of Marian Berger

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Holo i ke kula holo holo e Holo i ke kula holo holo e Ma ka waokele o Pelekunu e Kai i na pele a nalo ka honua Kahi i noho na Oonukumu Eia la eia la e Eia la eia la e

Run to the uplands, run Run to the uplands, run To the rain forest of Pelekunu Where the lava procession covered the earth The place where the Oonukumu birds dwell Here it is, here It is here, here

Aue ua ki ka pu a na poe hahai manu Nalowale na manu e Mai ka paapu o ka ululaau Aue nalowale e Aue nalowale e Na Oonukumu e Aue Pelekunu e

Oh no! The gun shot of the bird catchers!

The birds are gone They once filled the forest Alas they are gone Too bad they are gone All the Oonukumu birds Alas Pelekunu

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his mele captures the events that led to the extinction of the ‘Ō‘ōnukumu bird at Pelekunu on the island of Moloka‘i. The kia manu (bird catchers) of Moloka‘i used the old ways of snaring birds, plucking the desired feathers and setting them free again. This old practice ensured the continued availability of bird feathers for use in the various feather making traditions. When guns were introduced by foreigners, the kia manu took to using it because it was much easier than the old ways, however it came at a price.

The ‘Ō‘ōnukumu bird became extinct because of the use of guns to catch the bird instead of the old snare and release method. An extremely poignant lesson learned and encapsulated in this mele for generations to remember.

Contact Kaui Kanakaole: kkanakaole@yahoo.com

Henry Kaleialoha Allen: A Lifetime of Mele | By HeatherLyn Gray

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Henry Allen with wife Sherron, Daniel Akaka Jr., Duke Aiona and Aloha Keko‘olani at the Henry Kaleialoha Allen Steel Guitar Festival

musical journey began in Mānoa Valley in the third grade with an ‘ukulele and an astute teacher named Mrs. Sherman. “She told me who I should be listening to, who I should be following,” said Henry. At the age of 10, he added the guitar and steel guitar to his repertoire. Taking Mrs. Sherman’s words to heart, Henry followed the music to McKinley High School, a school that he felt could provide him with a better musical education. Though he had begun performing professionally at the age of 13, Henry understood the importance of a formal education in order to bring him closer to his dreams. Growing up in a family of musicians, Henry’s future was pretty clear and, at the age of 19, he began traveling.

Henry became one of the “Hollywood Hawaiians”, performing in Los Angeles, California in the 1950s-60s. During this time Hawaiian music for movie scores such as Elvis Presley’s Blue Hawai‘i was in such high demand that many Hawaiian performers had moved from the islands to the mainland in search of better career opportunities. Henry provided guidance in the proper pronunciation of lyrics from the classic Hawaiian Wedding Song which was featured in Blue Hawai‘i and appeared in the film’s soundtrack. He says, “by the time I left Hawai‘i to go to the mainland, most of the good players left to go to L.A., too.” The exodus fueled by better pay is what sparked the music movement that would help put Hawai‘i on the map.

KeOlaMagazine.com | Maui County, August/September 2014

’ll be honest—I’m too young to remember the pioneers of modern Hawaiian music—the stewards of mele and mo‘olelo who brought the most isolated island chain in the world to the stages and screens of the mainland and beyond. I only know of tiny bubbles and beautiful hula dancers in sequined skirts from what I’ve seen on old television shows and mass-produced replicas of traditional lū‘au. I was born in Hawai‘i, but it wasn’t until college that I really began taking the academic route to learn more about the culture I had been born into. There I gained an appreciation for the Hawaiian music that my college kumu introduced me to, which was more chanting and drums than Hukilau and slack key guitar; where dancing was more kahiko than ‘auana, and where Aloha ‘Oe was as modern a song as we were likely to sing. With an education so rooted in the ancient and fundamental, it was easy to forget about the impact the Hawaiian Renaissance had on perpetuating and protecting the language and culture. It was easy to forgo thoughts of the Hawaiian musicians of the late 1960s who helped Hawaiian music travel far beyond these shores.

They did so not only to entertain, but to share our language and culture, stories and teachings, dance and ritual—in hopes that music would help others recognize the importance, beauty and power of the Hawaiian people and these islands.

After years of neglecting an entire era of music, in the mid-morning hours of an early June day, I find myself in the home of a living legend amongst musicians, a pioneer on the front of Hawaiian music’s journey around the world: Henry Kaleialoha Allen.

Henry was born in Hilo on June 11th, King Kamehameha Day. He moved with his family to Honolulu at the age of 7. His

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KeOlaMagazine.com | Maui County, August/September 2014

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Henry returned to Hawai‘i in the 1970s, moving to Maui in 1971—during the rise of tourism, lounge acts and the hotel lū‘au. According to Henry’s wife, Sherron, until recent years, he’s opened every hotel in Maui, and even the ones on Lāna‘i. One of the stories that Henry shared was about his trips between the two islands, usually on the same day, to perform. In addition to playing at hotels, Henry also performed at what was once known as the Wailea Shopping Village (today, the Shops at Wailea). His weekly show featured ancient and modern Polynesian music and dance, and was one of the longest running shows on Maui.

During his time on the mainland, Henry’s musical knowledge grew to include contemporary music, music theory and production. His appreciation of swing music from the 1940s led to an interest in jazz. He is well known in the jazz genre with his “tropical swing jazz” style. His album released in 2013, Step into My Life, was nominated for a 2014 Nā Hōkū Hanohano Award in the jazz category.

The story behind Step into My Life is one 20 years in the making and hallmarked by hard work, unforeseen tragedies, and triumph. In the 1990s, with the confidence and financial support of studio owner Herb Ono, Henry was able to record an album with his choice of musicians being flown to Hawai‘i, among them guitar virtuoso George Benson. Unfortunately, before Henry

had a chance to do anything with the newly produced work, he and Sherron were involved in a car accident caused by a drunk driver. The accident left Henry in need of surgeries to repair damage to his legs and feet, Sherron was hospitalized as well.

It was months before Henry was able to walk normally again, and he attributes time spent in a hotel pool with aiding in his recovery. All the while, Henry’s recordings sat unused, until a year after the accident when he went to listen to them again. In an unfortunate twist of fate, the tape had been damaged and deemed unusable—until many years later, when the technology to recover the tracks was available and the songs recorded years earlier were once again able to be heard, resulting in the final production and release of Step into My Life in 2013.

Ever performing, Henry has gone from hotels and shopping malls to the high seas, taking Hawaiian music and culture aboard cruise ships. “Cruise ships allowed great Hawaiian entertainers to stay in Hawai‘i up to the 1960s, before planes took off,” said Henry. His efforts to keep Hawaiian music in the spotlight and available to those abroad has come full-circle with his cultural enrichment programs aboard Holland America cruise ships.

While on voyages to the South Pacific, French Polynesia and the Marquesas, he performs and teaches ‘ukulele to passengers while Sherron provides an education in Hawaiian culture, language and music through her storyboards and presentations. “We take books and ‘ukulele with us and we always sell out,” stated Sherron in regards to the success of their program. For Henry, performing and teaching on the cruise ships are other ways of keeping Hawaiian music alive. By taking it outside, taking it to people who may not be familiar with it and instilling an appreciation, the music lives on.

Henry also keeps the music alive by teaching those interested in learning the steel guitar through his Hawaiian Music Institute.

Though his students range in ages (one student is 83) and locations (he has a student in Texas) they all share a passion for Hawaiian steel guitar. “You have to want to learn in order for me to teach you,” states Henry. One of the most important values Henry wants to instill in his students is the ability to read music, which is why he’s put so much work into the notation found in his sheet music collections and instructional guides. As a way to

make learning how to play more effective, Henry went through the challenge of learning music software (pioneering the use of the Sybelius notation software before widespread use) so that he could create instructional guides that emphasized fundamentals.

Notated Hawaiian sheet music to use in teaching can be hard to find—unless you’re in Henry’s musical library with access to over 500 songs. “I got my publishing license so that I can use and play any of the songs,” said Henry. It’s all part of the effort to keep Hawaiian music available to the public.

Keeping Hawaiians performing in the public view is something Henry is an advocate for. Through his activism, he strives to bring back music that has been missing from Maui. As part of the now disbanded Commission on Culture and the Arts, Henry sought to promote culture and tourism in ways that provided programs and training for Hawaiian musicians and those wanting to take up the art. When budgets are made, it’s usually the arts that receive the first and deepest cuts—funding is a constant issue for ventures such as these. With the right amount of support, any financial hurdle can be overcome, and Henry is no stranger to this concept as family and friends helped build the Hawaiian Music Institute when outside funding wasn’t available.

Through it all, Henry and Sherron have succeeded in their efforts with the support of family, friends, fellow musicians and appreciators of music in Hawai‘i and abroad.

Henry Allen has said, “Everything is music in my life.” Henry lives his music and sharing his passion with others is a big part of his day-to-day life. Henry and Sherron will be returning to their work aboard the Holland America cruise ships in September, where they will continue to share the Hawaiian culture with people from around the world. In the coming months, the couple will travel to Maryland where their son, Paki Allen, will be holding a traditional ho‘olaule‘a. Henry’s sheet music collections and Hawaiian steel guitar instructional guides are available through his website http://www.mauismusicmagic.com/ or at Barnes & Noble in Lāhainā. ❖ Contact Writer HeatherLyn Gray: HGray@hawaii.edu Contact Henry Allen and the Hawaiian Music Institute: 808.669.6189 or guitarmaui@aol.com.

Henry Allen with George Benson and friends at the Blue Max in Lāhainā (where Lahaina Pizza Co. is today), circa 1970

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Featured Cover Artist:

Anne Wertheim Eskimo Hunt

The illustration on our cover is one of countless beautiful works

by Maui artist Anne Wertheim. He Hula Ali‘i depicts many native Hawaiian birds, including kiwikiu, i‘iwi, ‘apapane, and the now extinct ‘ō‘ō. Anne’s illustrations have graced the pages of many children’s books, puzzles, games, and advertisements worldwide. Anne has been working as an illustrator for the past 20 years. After exclusively working in acrylics at the beginning of her career, she now does all of her work digitally.

Browse her work online and find her prints on the island of Maui at the Makawao Fine Art Gallery at 3660 Baldwin Ave., #A, or call the Gallery at 808.573.5972.

Contact Anne Wertheim: AnneWertheim.com

KeOlaMagazine.com | Maui County, August/September 2014

Strawberries

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Lei Hulu: The Living Tradition of Maui Feather Work | By Katherine Kama‘ema‘e Smith

‘Apapane.

Photo by Mike Neal

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“lei key” tool that Daniels adopted from a traditional bamboo shuttle which Hawaiian fishing families used to mend their nets.

The key improves measuring, cutting and speeds up the sewing process.

KeOlaMagazine.com | Maui County, August/September 2014

unty Pattie Hanna pulls one weightless pink feather from a plastic bag, positions it on her woven cord and ties it down. As she affixes more feathers, they form a rosebud shape and a Maui loke lani rosebud lei begins to emerge.

In her workshop “Create an Heirloom” at Maui Feather Lei on Central Avenue in Wailuku, eager students huddle around their kumu. “Wili…wili again…then a modified slip knot,” she pauses to let them see. They place feathers on their cords and mimic— circling their thread around twice and pulling it back through to make a half hitch.

Uncle Ron Daniels of Kula assists, “Now turn your central base cord a quarter turn left, overlap your next feather by one half, and sew again. Three times, now pull it through—not too tight.” So begins the process of creating stunning feather lei from thousands of precisely sorted and cut feathers. When strangers spot this lei, they will inquire where it was purchased; local Maui people will coo, admiring the aloha and workmanship.

Maui Feather Lei’s storefront is full of bags of colored feathers, cordage and thread from which students create unique works of art. On sale are rare feather neck and head lei and various pheasant hatbands. These precious and revered feather regalia will be worn or displayed on the most important occasions. At other times, they are carefully stored away and handed down with deepest aloha to children and grandchildren.

Pattie Hanna and Ron Daniels both learned their feather craft from kumu lei hulu Aunty Paulette Kahalepuna, who taught kāmoe, a flat style where feathers lie prone, and poepoe, a round method where feathers stand up and puff out. As kumu, Pattie and Ron adhere to her traditional teaching; as artists, they design unique central cord bases that enhance the shape and styling of their splendid creations. Maui Feather Lei also supplies a plastic

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Feathers Adorn Canoes, Too

This day a community group called Ka Moa‘e o Maui (Northeast Wind of Maui) were preparing to sew a ten-foot poepoe lei hulu pennant for Mo‘okiha o Pi‘ilani, Maui’s first ocean voyaging canoe.

A length of handmade coconut cordage wound among them and each worker pressed a colored feather to the cord. For a moment of prayer the cordage joined them all together. They collected their mana into the soon-to-be lei and asked the ancestors to join them in the work. Waterman Kimokeo Kapahulehua chanted, asking for wind from the “small ipu” that pushes gently— protection from winds that would destroy the canoe or harm the crew. Kumu Keli‘i Tau‘a blessed all who will work on this lei and sail the canoe. Like canoes 600 years ago, Mo‘okiha o Pi‘ilani will have a lei hulu floating with the wind off the trailing edge of her mast, as a symbol of the aloha invested in her. At sea, the lei hulu confirms wind direction, like a windsock. For weeks, pounds of feathers were measured, cut and tied one by one onto the coconut fiber. Volunteers from all around Maui County committed to taking turns sewing the lei, one at a time for twenty days— seven hours a day.

‘Ele‘io Brings Feather Lei Hulu to Maui

KeOlaMagazine.com | Maui County, August/September 2014

Although feather lei of all kinds and kāhili feather standards used in modern Hawaiian protocol are still central to the art today, Maui is well known for pheasant feather hatbands. Even more interesting is that feather lei makers throughout Hawai‘i may trace the lineage of their craft back to Maui.

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An early legend credits ‘Ele‘io, a famous kūkini (messenger) with bringing the first ‘aha ‘ula feather cape to his sovereign ruler, Maui high chief Kāka‘alaneo (about 1450AD). While fetching ‘awa and fish from Hāna, ‘Ele‘io saved the life of ali‘i wahine (female royalty) Kanikaniaula in Kanaio. Her grateful family gave him their daughter and a feather cape. ‘Ele‘io returned to Lāhainā and presented both the cape and wahine to Kāka‘alaneo.

Tradition says Princess Nāhi‘ena‘ena also wore the ‘aha ‘ula of Kāka‘alaneo four centuries later, in the 1830s.

Eighteenth century foreign explorers to the Sandwich Islands recognized world-class beauty and workmanship in Hawaiian feather work and bartered for or received as gifts magnificent royal feather work. Today, wonderful examples of traditional and ancient feather lei, long cloaks, shorter capes, helmets, tall kāhili standards, small kāhili scepters and feathered Makahiki god images sewn with feathers of native birds survive in British and European museums as well as the Bishop Museum in Honolulu.

Colors of Royalty

The earliest mentions of feather adornment in Hawai‘i appear in mele chants referring to the arrival of Tahitian Ari‘i. Ali‘i Nui

Pili and his chiefs accompanied priest Pa‘ao to Hawai‘i around 1200 A.D. Tradition says the ali‘i red canoes carrying the red feather god Kūka‘ilimoku, and chiefs in red-feathered helmets were preceded by the ua ‘ula, a red rain. In this case, red was the color of divine royalty.

Over time, yellow became a royal color in Hawai‘i. Sir Peter Buck concluded that rare yellow feathers were more highly valued than abundant red. Hundreds of thousands of feathers required to sew a yellow cape took all the longer to collect.

Kamehameha dynasty ali‘i proudly wore feather capes, neck lei and lei po‘o (head lei). Large feathered kāhili, on very tall poles lead all royal processions. Members of a royal entourage carried the high chief’s lei basket wherever he journeyed.

Today, members of The Royal Order of Kamehameha, Hale o Nā Ali‘i, and the Queen Ka‘ahumanu Society wear feather lei and velvet capes for their public protocols. The patterns and motifs are the same as those worn by their direct ancestors. The contrast of bright red and golden yellow against their black or white formal attire draws respect and reverence.

Kēōkea Connects Maui To Its Past

Maui people call the Kēōkea area near Kula, “Chinatown,” because these are lands owned by Chinese farming families. It also seems to be ground zero for the renaissance of traditional feather work, where Hew, Yap, Fong, Chung, Shim, Chun, Lau, Ching and other families have been sewing feather lei for over a century. Like all success stories, it involves the serendipity of supply, demand and opportunity.

Aunty Pattie, whose family name is Tanji, once asked Aunty Irene Chung, “Who taught you?” Aunty Irene replied, “I learned feather work from my mother, who learned from a Chinese tūtū man, who learned from some Hawaiian lady in Kaupō”. Gracious elder Hawaiians who shared their craft with Kēōkea farmers probably never knew that this community would be among those to keep the art going. Uncle Ron Daniels also learned from the ladies of Kēōkea and Aunty Florence Makekau, Lāhainā’s feather lei maker, learned from Daniels.

Aunty Pattie Hanna cherishes the knowledge that the Kēōkea ladies taught her. “I have been practicing contemporary lei humu papa kolohala (pheasant lei sewn flat) since I was eight years old,” says Pattie. “Sunday was the farmers’ version of the corporate water cooler—everyone went visiting to share their produce and gather news. I watched these Chinese ladies sewing lei humu papa on their porches, enjoying one another’s company.

By the time I was eleven they noticed my interest and began showing me what they were doing—they were my kumu. In my thirties, I began to develop my own style of sewing.”

Birds and Hunters: Supply and Demand

The huge number of feathers required to produce lei and capes in particular, required snaring or netting thousands of birds over long periods of time. In old times expert bird catchers, called kia manu, captured forest birds with prized feathers, using sticky sap on branch perches or bird poles. Some they netted; flightless birds were chased down and stoned. These days, red ‘i‘iwi and ‘apapane still thrive on Maui at elevations above the mosquito zone, but yellow tufted ‘ō‘ō and mamo, and other prized native birds like the dark green ‘ō‘ū, once plentiful in Hawaiian upland forests, became extinct a century ago. Native yellow-green ‘amakihi feathers were not so popular; these lucky birds also seem to have developed immunity to avian diseases, and now we see them at lower elevations.

The common pheasant hybrid was introduced to Hawai‘i in 1888, when King Kalākaua released several pairs on Maui and other islands. By the 1920s they were plentiful.

Wiki Common Photo by Gary Noon, Flickr

‘Ō‘ō and the Hawai‘i Island mamo were actually black birds with only small tufts of yellow feathers under wing or tail respectively. During molting season, hunters caught and released these birds after plucking golden yellow ‘ō‘ō wing feathers, or pale yellow tail feathers of the mamo. Some of the birds were harvested for their black feathers, often used to make kāhili.

According to Sir Peter H. Buck (Te Rangi Hiroa) in his book, Arts and Crafts of Hawai‘i (Bishop Museum Press), bright red ‘i‘iwi, and darker red ‘apapane birds were harvested for all their feathers. Their feather pelts were dried, and the meat eaten.

David Malo confirms that many trapped birds were used for food, clearly establishing the role of bird hunter in subsistence of the ahupua‘a—a provider of food and a resource for feather work artisans.

Feathers of sea birds were also prized for the mana they carried. New Zealand Maori and Cook Islanders still wear traditional feather earrings. Black feathers of the great ‘iwa (frigate bird), white and grey of the koa‘e (tropicbird), and the ka‘upu (white albatross) sacred to voyagers were used for kāhili and as adornments for the great procession of Lono during the Makahiki. On land, the ‘io (hawk) carried great mana, and the pueo (owl), supernatural wisdom. High Priest Hewahewa in the time of Kamehameha the Great is said to have worn a cape made entirely of pueo feathers.

Pheasants came to Maui 1888, during the reign of King David Kalākaua, whose interest in reviving Hawaiian arts and genealogies radiated throughout his Kingdom. Native birds were endangered or extinct already because of avian malaria, carried ‘I‘iwi

Photo by Mike Neal

KeOlaMagazine.com | Maui County, August/September 2014

Maui Pheasants

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Aunty Pattie Hanna (standing) with Kimokeo Kapahulehua and other haumana (students).

by introduced mosquitos. However, feather craft skills survived. By the 1920s pheasants were plentiful, and lei makers were making splendid feather lei and pheasant hat bands.

Today, as in the past, feather lei makers and hunters work together to sustain the traditions of the Upcountry Maui community.

Pattie buys and receives gifts of many different kinds of pheasant pelts from licensed hunters. Hunting clubs support their sport by raising chicks each year to stock the hillsides. These chicks grow and inbreed with older birds before the next hunting season—November 1 to January 1. Hunters keep the pheasant population in check and bring food to the community. In addition, breeders of fancy pheasants look for brightly colored feathers for lei.

Feather Work Going Forward

Pattie Hanna opened her shop for classes two years ago, and recently began selling feather supplies and feather lei kits on Etsy and eBay. “It’s not possible to pass on, in a few lessons, what I have been learning and perfecting all my life,” she says with a tear in her eye. “My kuleana is to uphold a strong tradition here on Maui, and to honor all the families who are true to our lei making.” She and Uncle Ron Daniels also teach students respect, pride and humbleness that comes with mastery. “Little by little our students come to understand that their lei is more than a project, it is a piece of Maui history. And in sewing it they become a part of a living tradition.” Then Pattie smiled, “My granddaughter is working on her fifth lei humu papa. ” ❖

KeOlaMagazine.com | Maui County, August/September 2014

Contact Writer Kama‘ema‘e Smith: HonuMaui@gmail.com Contact Maui Feather Lei: www.MauiFeatherLei.com

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Kumu Keli‘i Tau‘a, PhD

e moves gingerly as we walk toward the shade of a large kamani tree near the middle of Kalepolepo Beach Park. The sun shimmers off Ko‘ie‘ie Loko I‘a (fishpond) in the foreground, waving delightedly to a group of keiki wearing matching blue and white shirts as they dodge and tag each other in the grass on the edge of the beach. Their teachers and parents watch intently, their eyes set on the future.

Kumu Keli‘i Tau‘a turns slightly and smiles. “I went to Kamehameha Schools, too. I was an Upcountry boy, from Kula.”

Kumu Keli‘i grew up running through the forests and fields of Upcountry. The youngest of fourteen children, he had many siblings to admire and emulate, and among them were great ‘ukulele players and singers.

“My family was a musical family but the only time I got to see any of that talent was at church every Sunday at Pulehu Chapel.”

Today, this church serves as a national monument. Established in 1852, it was the first Mormon church building west of the Rocky Mountains.

Kumu Keli‘i had never used a necktie or wore shoes to school.

Then, in 1954, when he was twelve, Kamehameha Schools (Kapālama) came to recruit him. “My father and I were home when they came knocking. My father answered the door, and after they told him why they had paid us a visit, my father looked back at me and said, ‘Well, do you want to go?’, and I said, ‘Yes’.”

KeOlaMagazine.com | Maui County, August/September 2014

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| By Mikala Minn

“I didn’t know what to expect, but I was curious and excited to see what else was happening out there.”

Hopping over to O‘ahu to attend Kamehameha Schools would open Kumu Keli‘i’s innocent eyes to a wildly progressive world, and evolving Hawaiian culture.

Kumu reminisces, “At the school, I was able to see and admire the many different musical talents of my peers, which attracted me to select the choral glee club as one of my classes. There, I got to sing with boys my age. We formed a musical trio that traveled to the various Hawaiian Islands to perform along with the choral group. At that time, everyone who attended this school sang as part of the lifestyle. We sang at breakfast, lunch and dinner–it was part of the prayer over the food. We sang at all the assemblies, and participated in an annual song competition, which is still one of the trademarks of the school. Two very important activities that were nonexistent in our school for many years were the teaching of Hawaiian language and hula. Recently, however, as part of the Renaissance, hula, ‘oli (chant) and the performing arts, along with ‘ōlelo (language) have become very important in educating the students, which has contributed to many leaders in those respective fields. The real cultural learning came as the traditions trickled down, as expressed in the Hawaiian way of learning ‘to look to the source’ (nānā i ke kumu). During my college years, the ball started rolling and by the time I was teaching high school, the momentum of the Hawaiian culture started picking up steam.”

Kumu wears a cunning smile that has made many people return the gesture along the way. At age 71, heʻs been a treasure chest of knowledge and understanding of spirituality in the Hawaiian community for over forty years, and has taught many lessons in his time as a teacher.

Some of his students are our island’s most respected cultural leaders and he is one of the kupuna (elder) members at the Maui Native Hawaiian Chamber of Commerce.

Kumu Keli‘i has influenced countless numbers of Hawaiians as he moves through life humbly, at his pace. And also as he traveled over the Pacific domain to greet Hōkūle‘a and the Polynesian Voyaging Society in Japan in June, 2007. It was not his first sojourn to the Far East. In 1967 he had traveled to Japan as a missionary for his church, staying for two and a half years, immersing himself in the Japanese language and culture. On this huaka‘i (journey), however, he had the great responsibility of announcing the arrival of his home’s intrepid maritime explorers.

“When we arrived at Yokohama Bay, it was like, wow!, to imagine how far we had come. I stood there waiting for the Hōkūle‘a to arrive and thought, how lucky am I? I greeted our people on the shore of a faraway land, and I just hoped they felt welcome.”

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“After Hōkūle‘a arrived, my wife Chelsea and I remained in Japan for six months to open up a Hawaiian Academy for friends. It was during that time that I started writing the lyrics to Hōkū. Upon my return, I was attracted to a talented musical producer and musician by the same first name as the last king of Hawai‘i, King David.”

In 2008, Kumu Keli‘i and composer/translator David Kauahikaua released their first album together, Cloud Warriors. Truly a mystical journey through the wahi pana o Hawai‘i nei (legendary place of beloved Hawai‘i), Kumu Keli‘i tells uplifting stories of the beautiful ‘āina that he knows so well, the forces of nature that he has experienced and that he reveres, and the people of this land that he adores.

David’s voice swells through the verses like moisture filling the clouds that battle to blanket the summit of Haleakalā. Inspiration for the mele Cloud Warriors comes from a mo‘olelo that tells of Ūkiukiu, the great Northern Cloud, and Nāulu, the Southern Cloud, who battled everyday to possess the summit of Haleakalā. Their daily matches for glory can be witnessed in the thunderous storms that engulf the upper slopes of Maui’s big mountain. Ūkiukiu prevailed on many days, but Nāulu was persistent and kept trying, occasionally overwhelming Ūkiukiu to occupy the great summit of the house of the sun. Gatekeepers of the heavens, the great cloud warriors can be seen jousting to this day. When they call a truce and pull back to rest on the slopes of Haleakalā, their absence leaves a clear space between the masses of vapor looming against the blue of the sky, the space called Alanui o Lani.T Translation of Cloud Warriors (the mele) courtesy of tikirecordshawaii.com

KeOlaMagazine.com | Maui County, August/September 2014

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When listening to the mele of Cloud Warriors, it truly feels like Kumu Keli‘i and David wrote and sang the mele to accompany the listener while soaring through the clouds over the islands and beyond to far away lands, all connected by one big blue ocean.

The mele on this album, and the ones to come (Hōkū, Pauahi, Lahaina) have whimsy, and play on many currents of natural sound. They are sounds that have resonated in the musical minds of the two artists throughout their lives.

The occasional piano and flute add a lounge feel that relaxes while David’s effortless delivery echoes Hawaiian sounds and rhythms of crashing waves. The drum of waterfalls plunging off huge cliffs in the forest— the reverberation riding the wind on the valley edges back up through the trees, making insects fly and birds sing.

It is very difficult to exaggerate reality. Neither Kumu Keli‘i or David claim to reinvent sounds and stories that were created from reality. Yet it’s

Kumu Keli‘i blessed the Mo‘okiha o Pi‘ilani canoe during the July 11th launch ceremony at the Mala Wharf in Lāhainā.

clear throughout their musical creations, that they’ve pondered the natural world, their senses creating the music.

It’s a real life, seen through the eyes of a child perspective; as in the eyes of our ancestors. Kumu Keli‘i has a playful realism in his songs and chants (and in person) that evokes sureal emotions of a past that is utterly relevant now. Itʻs a feeling that we are living in the same world, and on the same land, and it’s our frame of mind that changes. Storytelling is such an important part of being human and especially important to being Hawaiian. Kumu Keli‘i’s mele release this feeling to the world. He tells his stories in song, as a way of portraying the world the way he sees it.

David completes the picture with his compositions and singing. Kumu Keli‘i gives David all the credit.

“I just write the songs, that’s all. David does everything else!” Surely David would reverse that statement on his fellow musician. And that’s why they collaborated in the first place. Because they have similar tastes, and they trusted their counterpart’s musical sensibilities.

Most recently, A Lifetime of Mele was released, an epic compilation CD starring friends and former students of Kumu Keli‘i.

This album features several of the more than 500 mele and ‘oli that Kumu Keli‘i has written over the last forty years. Artists such as Amy Hanaiali‘i Gilliom, Ron Kuala‘au, Frank DeLima, Roland Cazimero, Melinda Caroll, David Kauahikaua, Kenneth Makuakane,

Alan “Poki” Pokipala, and Mike Ka‘awa all contributed to tell the story of the lasting legend who is Kumu Keli‘i Tau‘a.

Things happen at a different pace in Hawai‘i; indeed, Kumu Keli‘i’s mele reflect this lifestyle. ❖ Contact Writer Mikala Minn: Mikala.Minn@gmail.com For more information: KeliiTaua.com

KeOlaMagazine.com | Maui County, August/September 2014

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Community Kōkua

Volunteer Opportunities in Maui County Fleming Arboretum

Pu‘u Mahoe, Ulupalakua First Saturday of each month, 9am–2pm Monthly volunteer workdays provide training in the care of native dryland plants, and field work projects in the D.T. Fleming Arboretum.

Contact Martha Vockrodt-Moran info@flemingarboretum.org 808.572.1097 FlemingArboretum.org

Friends of Haleakalā National Park Service Trips

Haleakalā National Park Aug 16–18; Aug 30–Sept 1; Sept 13–15 Service trip participants will backpack into the crater to a cabin or campsite and back. Depending upon the trip, the group will perform one of a number of tasks ranging from cabin maintenance, native planting to invasive species removal. Before signing up for a service trip, please create an account on FHNP’s website.

Contact Matt Matt@FHNP.org 808.876.1673 FHNP.org

KeOlaMagazine.com | Maui County, August/September 2014

Haku Baldwin Horse Center

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444 Makawao Ave, Makawao Mondays & Tuesdays, 1–4pm Therapeutic Horseback Riding Program (TRP) for children with disabilities. Volunteers gain experience working with a wide range of special needs children. Learn to work with horses in a therapy setting.

Contact Marianne Sharp, Chrissy Stout HBCRiding@gmail.com 808.572.9129 Facebook.com/HakuBaldwinCenter

Hawai‘i Wildlife Fund

Ka‘ehu Beach, Waiehu Fourth Sunday of each month, 9am–1pm Ka‘ehu Beach coastal cleanup and marine debris research. Clear marine debris (ocean trash from all over the Pacific) from a beautiful stretch of coastline to save it from washing back into the ocean and potentially harming marine animals.

Contact Cheryl King Wild@aloha.net 808.280.8124 WildHawaii.org

Ka Honua Momona

Kaunakakai, Moloka‘i Third Saturday of each month, 9am–noon Community workday activities may include any of the activities from their other programs such as: mangrove and limu removal, de-barking mangrove

for hale building, exploring mauka lands, kupuna sharing, etc.

Contact Ka Honua Momona KHMIntern@gmail.com 808.553.8353 KaHonuaMomona.org

Lāna‘i Animal Rescue Center

Lāna‘i City, Lāna‘i Second Sunday of each month, 2–3:30pm Dedicated to helping homeless animals on Lāna‘i.

Hosting 90-minute work parties, featuring activities such as raking up pine needles or painting cat enclosures that benefit rescue center animals.

Contact Kathy Kathy@LanaiAnimalRescue.org 808.215.9066 LanaiAnimalRescue.org

Leilani Farm Sanctuary

260 East Kuiaha Road, Haiku Mondays, Wednesday, 9am Help with farm related projects, feeding, and caring for rescued animals.

Contact Lauralee info@leilanifarmsanctuary.org 808.298.8544 LeilaniFarmSanctuary.org

Mālama Honokowai Maui Cultural Lands LLC

Honokowai Valley, Lāhainā Wednesdays & Saturdays 9am–2:30pm Ongoing restoration of an ancient farming archaelogical in Honokowai Valley. Efforts include preserving cultural resources, stabilizing archaelogical sites, and reforesting the area using native hawaiian plants. Volunteers meet at the Pu‘ukoli‘i train station in Lāhainā at 9am.

Contact Puanani Lindsey MCL@hawaii.rr.com 808.572.8085 MauiCulturalLands.com

Moloka‘i Land Trust

Kahului Fridays, 7:30am–3:30pm Anapuka Dune Restoration Project at Mokio Preserve. Staff and volunteers are working to restore the dune system by removing invasive species and replanting both common and rare native plants.

Restoration work supports habitat for ground nesting seabirds and rare plant species. This is one of the larger dune restoration projects in the main Hawaiian Islands. MLT is actively stewarding two large preserves and assisting other landowners in sound conservation practices to further protect Moloka‘i’s limited resources.

Contact William “Butch” Haase Butch@MolokaiLandTrust.org 808.553.5626 MolokaiLandTrust.org

Submit volunteer information for your nonprofit at: kokua@keolamagazine.com

‘Ohana Day at Kapahu Living Farm

Kīpahulu Third Saturday of each month, 9am–noon Come prepared to get muddy! Traditional wetland kalo cultivation hosted by Kīpahulu ‘Ohana, a nonprofit organization dedicated to educating residents and visitors of the “ways of old” through cultural demonstrations and hands-on activities.

Contact Scott Crawford Ohana@Kipahulu.org 808.248.8673 Kipahulu.org

South Maui Volunteers

Locations vary along Maui’s South Coast Most Mondays, 7:30–9:30am Working under the guidance and direction of Maui County Parks, State DNLR, Planning Department, and UH Coastal Hazard Specialist, South Maui Volunteers meet most Mondays. Check their website for this week’s meeting place.

Contact Bob and Lis Richardson KiheiVolunteers@hawaii.rr.com 808.264.1798 SouthMauiVolunteers.com

Volunteers on Vacation Several Locations:

Partnering with Hawaiian Islands Land Trust

Waihe‘e Fridays, 7:15am–noon Help to remove invasive species and clear brush and weeds with group leader Scott Fisher. Visit a remarkable coastal area that’s rich in Hawaiian history and bird watching. Be sure to call at least 24 hours in advance to sign up.

Partnering with ‘O‘o Farm Waipoli Wednesdays, 8:45–11:30am Help with assorted farm chores on an organic farm in Kula. Be sure to call at least 24 hours in advance to sign up.

Contact Pacific Whale Foundation’s “Volunteers On Vacation” Program LaurenCampbell@PacificWhale.org 808.249.8811 VolunteersOnVacation.org

Weed and Pot Club at Maui Nui Botanical Garden

Kahului Wednesdays, 8:30–10:30am If you love Native Hawaiian plants, you’ll love the Weed & Pot Club! This volunteer gardening group weeds at the Maui Nui Botanical Garden and pots plants in their nursery facility.

Contact MNBG info@mnbg.org 808.249.2798 MNBG.org

Maui County Farmers’ Markets

South

Monday–Friday 8am–4pm Farmers’ Market of Maui, Kihei 61 South Kihei Rd., Kihei

Upcountry

Saturday 7–Noon, Saturdays * Upcountry Farmer’s Market, Kulamalu Town Center 55 Kipoaa Place, Makawao Wednesday 10am–5pm * Makawao Farmers’ Market, Po‘okela Church parking lot, Olinda Rd. Monday-Saturday 10am–5pm La‘a Kea Community Farm, 639 Baldwin Ave., Pa‘ia

Central

Saturday 6am–1pm Maui Swap Meet, University of Hawai‘i, Maui College Campus, 310 Ka‘ahumanu Ave., Kahului Friday 9:30am–5pm Maui’s Fresh Produce Farmer’s Market, Queen Ka‘ahumanu Center, 275 W. Ka‘ahumanu Ave., Kahului

Hawaii Water Service Company 68-1845 Waikoloa Road, Unit #116 Waikoloa , HI 96738 (808) 883-2046 • (877) 886-7784 toll-free www.hawaiiwaterservice.com

East

Monday 3–6pm Thursday 11am–3pm Saturday 7:30am-1:30pm Hāna Fresh Market, 4590 Hāna Highway, at Hāna Medical Center, Hāna

Moloka‘i

Saturday 7:30am–noon Kaunakakai Town Farmers’ Market Alamalama St., Kaunakakai

Lāna‘i

Saturday 8am–1pm Lāna‘i Marketplace, Dole Park Lāna‘i City

* EBT accepted To add your market, contact: sharon@keolamagazine.com

KeOlaMagazine.com | Maui County, August/September 2014

Hawaii Water Service Company Proudly providing high-quality water and wastewater utility services to Hawai’i since 2003.

Saturday 8am–noon * Lipoa Street Farmer’s Market, South Maui Center 95 Lipoa St., Kihei

Sunday–Thursday 10:30am–6pm Ono Organic Farms Farmers’ Market, Across from Hasegawa General Store, Hāna

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Ocean LightForce Chiropractic

Talk Story with an Advertiser Dr. Patricia McLean

KeOlaMagazine.com | Maui County, August/September 2014

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r. Patricia McLean’s Ocean LightForce Chiropractic office in Lāhainā provides chiropractic care using the “100 Year Lifestyle” healthcare philosophy. Dr. Pat’s office provides you with the highest quality chiropractic work in a caring, supportive environment.

Whether you are in the middle of health crisis from a new injury, suffering from a chronic condition, or are ready to make the critical transition to a healthier lifestyle, Dr. Pat’s team will work with you to help you, and your family, reach your healthcare goals.

As a “100 Year Lifestyle” Licensed Affiliate, Ocean LightForce’s office provides ongoing educational workshops that are open to the community to help maximize your health. They are currently offering 4–6 classes each month where you will learn the latest information on health breakthroughs that can change your life forever! They also provide health and safety programs to companies, organizations and school systems to help improve the health and well-being of everyone in the community. They are carrying Young Living essential oils, too.

Dr. Pat McLean earned her Doctorate in 1984 from the College of Chiropractic at Life University, in Georgia. Together with her husband, Dr. Mike, they have developed the LightForce Chiropractic Technique and LightForce Corrective Care, a new approach to chronic problems. She has served as VP of corporate programs for Multi Radiance Lasers, and has taught Laser Techniques to doctors, physical therapists and athletic trainers since 2008.

Dr. Pat was a co-founder of the Virginia Society of Chiropractic and was selected as Virginia Chiropractor of the Year in 2002.

She is a founding member of the League of Chiropractic Women and is a nationally recognized authority and frequent lecturer on Chiropractic, the 100 Year Lifestyle, BioMat and Cold Laser work.

To make sure your keiki have the opportunity to grow up with full integration of their nervous system, Ocean LightForce Chiropractic offers Free Keiki Clinics for all of Maui’s children on the second Saturday of every month at their office from noon–1pm.

Bring your children for their LightForce adjustments and find out how regular adjustments can help sports performance, health and vitality, and impact intelligence and behavior. Bring your children—and with parental permission, your sports teams and classrooms, too!

If you or a loved one are in the middle of a health crisis, or if you want to live a healthier lifestyle, chiropractic can make a difference. Schedule an appointment today!

Ocean LightForce Chiropractic 180 Dickenson Street, #205, Lāhainā 808.419.6450 lightforcechiropracticmaui.com

Dr. Alan Kaufman, Realtor, Broker Talk Story with an Advertiser Dr. Alan Kaufman with his wife, Quinn

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Alan Kaufman, DVM, R(B), ABR, CRS, GRI Maui Real Estate Group, LLC 3311 Old Haleakala Highway, Pukalani, HI 96768 808.870.9861 kaufman@maui.net

KeOlaMagazine.com | Maui County, August/September 2014

r. Alan Kaufman is well known as a popular Upcountry veterinarian who treats every kind of animal, from aardvarks to zebras. When he’s not performing miracles for animal friends, he’s helping his human friends through the joys and pitfalls of buying and selling real estate.

Alan has worked for all the large ranches in the State of Hawai‘i, from Hawai‘i Island’s South Point to the privately owned island of Ni‘ihau. Because of this, Alan has a unique knowledge of the Hawaiian Islands, and a deep love for them, as well, enabling him to share his knowledge with his real estate clients. He has called Maui home since 1984 and prior to that, he lived on Hawai‘i Island, starting in 1977.

Alan is a graduate of University of California at Berkeley, University of California at Davis, and Deep Springs College—where he currently serves on the Board of Trustees. He has a Doctorate of Veterinary Medicine (D.V.M.) degree. In his “spare” time, Alan is President of the non-profit J. Walter Cameron Center, which assists persons with special needs by providing a home for Maui’s social service agencies (see Ke Ola Magazine Maui County’s December 2013/January 2014 for the full story). He is also President of Kula Kao, LLC, which raises Boer goats. Alan is also a Board Member of Veterinary Examiners and Past President of the Kula Community Association, plus he serves on the Hawai‘i State Board of Veterinary Examiners, amongst many other memberships and affiliations.

Alan lives and works in Kula with his wife, Quinn. They have seven children and two grandchildren between them, with five currently living at home. He also has many animal keiki in his ‘ohana, two of which are goats that were awarded Grand Champion and Reserve Grand Champion at this year’s Upcountry Fair.

As a Realtor/Broker, Alan cares deeply about his clients and their needs. His clients say he is patient, sharp, low pressure and pays attention to details. Also, that he’s quick and efficient, responding to their real estate requests. If you’re thinking of buying or selling property, give Dr. Alan Kaufman a call for a Realtor with a caring heart.

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P: 808-879-2828

“One-Stop-Shop” for ALL Your Transportation Needs

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