March–April 2022

Hawai‘i Island’s Community Magazine The Life |

ARTS CULTURE SUSTAINABILITY

March – April Malaki – ‘Apelila

Chris Berry: Mastering Improvisation Waipi‘o Valley — A Cultural Kipuka Students Learn, Grow Food, Eat at School Gardens

2022

E kū i ka pono, ke kipa i Hawaiʻi.

I pledge to be pono (righteous) on the island of Hawaiʻi.

E nanea i ka ʻikena, ʻaʻole e kiʻihele hewa i kahi kuleana ʻole.

I will mindfully seek wonder, but not wander where I do not belong.

E nihi ka helena i ka uka o Puna, mai pūlale i ka ʻike a ka maka.

I will not defy death for breaktaking photos, trespass, or venture beyond safety.

E mālama ʻia ke kai a me ka honua, a e mahalo ʻia ko laila mau ola lōhiu mai kahi mamao aku.

I will mālama (care for) land and sea, and admire wildlife only from afar.

Hoʻohihi ka maka i ke ahi a ka Wahine, he ahi ʻenaʻena e akahele ai.

Molten lava will mesmerize me, but I will not disrupt its flow. ʻAʻole e kāʻili ʻia kā haʻi, e waiho ʻia ka pōhaku a me ke one i kona wahi ponoʻī I will not take what is not mine, leaving lava rocks and sand as originally found.

E nānā pono i ke kai, ʻaʻole e huli kua ʻia.

I will heed ocean conditions, never turning my back to the Pacific.

Ke loku mai ka ua i uka, e ao aʻe i ia wai makamaka ʻole.

When rain falls ma uka (inland), I will remain high above ground, out of rivers and streams.

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He aliʻi ka ʻāina, he kauā ke kanaka.

I will embrace the concept of being a steward of the land, revered as my loving chief.

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E ʻapo i ke aʻo a hoʻohana, a e ʻoi mau ka naʻauao.

Those who apply their teachings increase their knowledge.

ponopledge.com No matter where you call home or where your wanderlust leads you, please honor and respect place - be mindful - be safe. Mahalo!

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The Life Hawaiÿi Island’s Community Magazine March – April | Malaki – ÿApelila 2022

Arts Chris Berry: Mastering Improvisation in the Land of Fire and Water

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By Sara Stover

Elizabeth Theriault’s Journey with the Drum 40 A Pathway of Heart

By Ma‘ata Tukuafu

Community Tsunamis: Hawai‘i’s Most Dangerous Natural Hazard

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By Walter Dudley

Donnie’s Thanksgiving: 24 First-hand Story of Halapē’s 1975 Tsunami

By Leslee Engler and Donnie Cruz

Culture Waipi‘o Valley—A Cultural Kipuka

By Jan Wizinowich

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Sustainability 28

Hawai‘i County’s Innovative Native Forest Dedication Program

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Mālama Mokupuni: Take These Broken Wings

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By Fern Gavelek

By Mālielani Larish

By Rachel Laderman

Front cover: Waipiÿo Solstice Glow, a photograph by CJ Kale.

Table of contents: Waipiÿo Valley, a photograph by Tina Clothier.

Read more about the photographers on page 53.

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Students Learn, Grow Food, Eat at School Culinary Gardens

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The Life

Hawaiÿi Island’s Community Magazine March – April | Malaki – ÿApelila 2022

Ka Wehena: The Opening Pili Keauhou

By Kumu Ka‘ea Lyons and Kumu Keala Ching

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Business Talk Story with an Advertiser

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Island Treasures

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Big Island Perennial Peanut

Tiger Shark Nutcracker

Local Food Earth Day Meditation on Food with Recipe for Butterfly Pea Lemonade

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By Brittany P. Anderson

Featured Artists Featured Cover Artist

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Table of Contents Artist

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CJ Kale

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Tina Clothier

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Ka Puana: Closing Thoughts 356: E nānā ana ika ‘ōpua o ka ‘āina

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Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings

Annual subscriptions to Ke Ola Magazine available at: KeOlaMagazine.com/subscribe $45 for six issues, delivered First Class mail anywhere in Hawai‘i and the United States.

To Our Readers

From Our Readers Hi and Happy New Year! Congratulations on a FANTASTIC issue to start 2022 and the continuing of this wonderful magazine. I have not been able to put it down as the articles are absolutely wonderful. THANK YOU so much for your hard work and efforts towards this community, and the bigger universe as well. Much aloha!

An avid fan, Karen Moriuchi Hilo

Strength of Greetings in Makahiki the Greatest Sacred Time for the Planet— Tyrone Young has not discovered the resting place of Hawai‘iʻs Great King, Kalanipai‘eakūnuiākea Kamehameha the Great.

Tyrone Young has only confirmed his place among too many ‘Ōiwi who fall to sensationalism born of colonization and who fail to uphold the standards of their Ancestors.

Tyrone Young should have heard his father’s words that admonished against entering burial caves, over words of Herb Kāne, the artist historian, who stood by while Young took his steps.

What is extremely sad is how you, the magazine and a business, have had the pristine opportunity to honor Hawai‘i in the greatest way by honoring the Spirit of Hawai‘i and her people. Tyrone made a choice and so did you, Editor, Publisher and Staff of Keola [sic]. You elected to tell a story of shame over the history of Light unfolding that is the CONTINUING STORY of Kamehameha-The-Great, of Ahu‘ena Heiau, of Kamakahonu and Ka Mo‘olelo Hou (New History) for Hawai‘i and the World!

Furthermore, the author of this article, [Melisse Malone], presents a technically modified photo of Ahu‘ena Heiau. By the Guidance of Akua, since 2007, no Ho‘okupu (physical offerings) have been accepted at Ahu‘ena Heiau. No photographs of Ahu‘ena Heiau have been permitted. [Melisse Malone] did not seek permission of Akua in the Kahu of Ahu‘ena Heiau to take her photo or to tell this story of great disrespect to Hawai‘i’s Great King and to Kamakahonu, the Heart of Hawai‘i for ‘Ōiwi, and all people.

Ahu‘ena Heiau is the first Restored Heiau in Hawai‘i of the Planet. In 2010, we began hearing from the Ancestors of ‘Ōiwi who uphold the highest light of Akua (Divine Creator) of Heaven and Earth. What was 2010 but the 200th anniversary of the unification of the Hawaiian Islands by KamehamehaThe-Great.

Aloha pumehana, Barbara Garcia and Tanya Yamanaka

(continued on page 57)

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

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Tsunamis! We don’t tend to think about them until one happens somewhere in the world to remind us, or when we hear the testing sirens on the first Monday of the month at 11:45am. Do we take those reminders seriously?

Several months ago, we were contacted by Leslee Engler on behalf of Donnie Cruz, who had a story to share—her personal account of the night her family experienced a tsunami at Halapē, in 1975. Our jaws dropped when we read this story. We discussed it with Walter Dudley, who volunteers at the Pacific Tsunami Museum, and decided to publish it along with a more comprehensive tsunami story about several tsunamis our island has been hit by in the past seven decades. Coincidentally, while we were editing this issue, there was an earthquake in Tonga that caused a small tsunami, which hit our shores. Thankfully no one was hurt, but it did do some damage. The staff at Sea Quest at Keauhou Bay came to their business, only to find the destruction you see pictured here. We are sharing this as an extra reminder that we can never be too careful when it comes to the power of the ocean. Walter Dudley shares some tips on how to stay safe when the times comes, because it will.

Our cover story, about the difference volunteers are making in Waipi‘o Valley, is incredibly inspiring. Helping and caring for our island home is of utmost importance, and it takes all of us to do it. This Earth Day season, we encourage everyone to find something in nature you enjoy helping with, then get outside and do it—whether it’s growing a garden, doing a beach clean-up, preparing a lo‘i for planting taro, or using Hele-onʻs bikeshare service instead of your car to cruise along the oceanfront in Kona or Hilo. You are certain to get inspired after reading what local students are doing in their school gardens.

We have many new advertisers to welcome, including the Island of Hawai‘i Visitors Bureau, reminding us of the Pono Pledge. Please read it and be an example for visitors and keiki.

We are grateful IHVB and our other advertisers value Ke Ola to reach you, our readers. Whether you’re a part-time or full-time resident or frequent visitor, we are happy to know that Ke Ola is an important part of your reading material. Now, more than ever, we encourage you to support and recommend these local businesses whenever possible. Please thank them for keeping your favorite magazine in business!

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Ka Wehena

Pili Keauhou

Na Kumu Ka‘ea Lyons lāua ‘o Kumu Keala Ching

He aloha laha‘ole, pili i ka poli Ka poli pumehana i ka ‘iu‘iu He aloha laha‘ole pili kāua Noho i ke kai ma Keauhou la Ala hou ke ao, kū pilina nei He aloha laha‘ole pili kāua Eia kāua pilina laha‘ole Noho i ke kai ma Keauhou la He aloha laha‘ole pili kāua

Unweaving love and association of presence An endearing friendship truthfully honored An unbreakable relationship of kinship Upon the sea of Keauhou Awaken new journey forever connected Association beyond acquaintance Acknowledge stewardship and love forever Awaken new journey forever connected Herald the existence of love and association

Historically, Keopuolani, sacred wife of King Kamehameha, gave birth to Kau‘ikeaouli, King Kamehameha III, at Keauhou, and her bond with her child(ren) was forever. During the birth, Kau‘ikeaouli did not cry, in fact, there was no movement by this child.

Kapihe, a kahuna from Kailua Kona, assisted with the life of this child and he lived!

At Keauhou, a place of new beginnings, new times, new relationships, and a place to seek your connections, your relationships, your association with spirit, land, and people.

Kumu Ka‘ea and I enjoyed an afternoon at Keauhou contemplating our work to, with, and for our people from kūpuna to the next generations. So, here is a song documenting our association and relationship!

He aloha nui kēia iā Kumu Ka‘ea, Kapua (Ka‘ea Jr.), Kepa (Ka‘ea Jr.ʼs friend), Andre (caretaker of Kaiwiko‘o and Helena), Kaiwiko‘o a me Helena ā Weluwelu lāua ‘o Siulin ma Outrigger Kona Resort and Spa at Keauhou Bay.

For more information on Kumu Keala and Nä Wai Iwi Ola, visit: nawaiiwiola.org

KeOlaMagazine.com | March - April 2022

I ka wā i hala, ua hānau ‘ia ‘o Kau‘ikeaouli e Keopuolani ma Keauhou ā he pilina kāna me ia pēpē nei. I ka hānau ‘ia ‘ana, ‘a‘ole ‘o ia puka uē ā no‘ono‘o ‘o Keopuolani, he pilikia Kona. Na Kapihe i kōkua i ke ola o ia keiki nei ā ola!

Ma Keauhou, he ala hou o nā ao he nui ā he wahi no‘ono‘o ia e huli i pilina nou.

Eia na‘e, noho māua ‘o Kumu Ka‘ea ma Keauhou ā no‘ono‘o māua i kō māua hana pilina i ka lāhui. No laila, eia kō māua ‘i‘ini nui ma ia mele nei.

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Waipi‘o Valley

A Cultural Kipuka

By Jan Wizinowich

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t’s December 22, 2021 and Kūlia Kauhi Tolentino Potter greets volunteers from Sam Houston State University (SHSU) at the Waipi‘o Valley lookout. It’s pouring rain and a work day is looking doubtful, but they are full of spirit, having completed a week-long exploration of the island as part of a university geography class conducted by SHSU professors Ava Fujimoto Strait and John Strait.

Kūlia prepares to chant—a request for the rain to clear, allowing the work to be done; she asks the students to join their hearts with hers. As she chants, clouds begin to shift and the whole atmosphere changes. When she is finished, the rain has stopped. Whether coincidence or not, it’s clear that Kūlia’s entire being is in touch with the elder souls of Waipi‘o Valley.

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Waipi‘o: Deep Roots In his book, Voyage: The Discovery of Hawai‘i, Herb Kawainui Kāne imagines the first humans to approach the island in search of a new home. “And then the valley opened before us—a wide valley many times larger than our home in the south. Several waterfalls coursed down its northern walls, and as the valley opened to view, two majestic falls of identical size could be seen cascading side by side down a dark chasm in the high southern cliffs.”

With its abundant lo‘i (taro patches) and seven heiau (temples), including Paka‘alana, once the most powerful spiritual site in all the islands, the valley is a kīpuka (a calm, deep, timeless place) containing reminders to all those that enter of the ancient origins of Hawaiian culture.

Kila is a name that has been passed down through Kūlia’s family and is a beloved ali‘i of Waipi‘o Valley, the youngest son of Mo‘ikena the ali‘i nui of Kaua‘i. After Mo‘ikena’s death, Kila became the high chief of Kaua‘i. On the journey to take his father’s bones back to Tahiti, he was left in Waipi‘o Valley by his two jealous brothers. He lived as a commoner until his true identity as the high chief of Kaua‘i was revealed, and then became konohiki (land manager). During his time as a commoner, he gleaned much about farming. He passed that knowledge on to the valley’s farmers, who were able to grow an abundance of food.

This abundance has carried through the centuries.

Historically, Waipi‘o Valley has been the “bread basket” for

Waipiÿo Epic, photo courtesy of CJ Kale

other communities experiencing famine and drought, and Kūlia carries on that tradition with food boxes delivered to the community. Waipi‘o has also endured the destruction wrought by attacking chiefs, tsunamis, floods, and the ravages of misguided schemes. The valley is in need of help and as a native daughter and lineal descendent, Kūlia has made caring for the valley her kuleana (responsibility).

From the Roots Up The act of regeneration—bringing back to life—has been a recurring theme in Hawaiian legend. Mistakes can be made pono (right) through right actions, restoring things to balance—a matter of “doing the right thing, at the right time, for the right reason” (Aunty Ku Kahakalau).

Waipi‘o is Kūlia’s kuleana, inherited from her father and going back countless generations. A native of Honoka‘a, Kūlia spent many “small kid” hours roaming the valley with her father and grandfather. No longer in possession of land in Waipi‘o, on the weekends Kūlia’s family helped work the lo‘i of others. When most kids were playing ball, Kūlia was slogging through the mud, pulling weeds and planting or harvesting kalo (taro). Most keiki would balk, but her love for Waipi‘o took root and grew in her heart.

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Jesse Potter, Kulia’s husband and president of the board of directors of Pohaha I Ka Lani, with their youngest daughter, Kamanawa, at Napoÿopoÿo village with Hiÿilawe in the background. photo courtesy of Külia Tolentino-Potter

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Kūlia was a student of Ku Kahakalau, who, with her husband Nalei, created the Hawaiian Academy, a school within a school at Honoka‘a High School to teach Hawaiian studies. In 1997 the couple helped open Kanu o ka ‘Āina, a Hawaiian culturally based charter school in Waimea.

When Kūlia left for college, she carried the valley with her. During her time at the University of Hawai‘i at Hilo, she engaged in Hawaiian studies, education and anthropology.

While there, all she could think about was coming home.

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SHSU volunteers harvesting kalo at Napoÿopoÿo. photo courtesy of Külia Tolentino-Potter

She got her chance when she started teaching in Keaukaha, and began taking students into Waipi‘o Valley. Like her teacher, Aunty Ku, she noticed that students who were struggling in the classroom suddenly came alive, easily absorbing the lessons of the valley, as if the knowledge and wisdom had lain dormant within them, waiting for the right conditions to emerge. When they returned to the classroom there was a new sense of purpose and confidence that set many of them on a path to success.

HPU students helping out at the Napoÿopoÿo site.

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photo courtesy of Külia Tolentino-Potter

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Külia shares native stories and wisdom with Drew Kapp’s HCC and UH Hilo students. photo courtesy of Drew Kapp

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Külia prepares Drew Kapp’s HCC and UH Hilo students to work in the loÿi. photo courtesy of Drew Kapp

In 2001, Kūlia formed Pōhāhā I Ka Lani, a nonprofit that now hosts two or three workshops and volunteer groups a week, educating people about Hawaiian cultural practices, as they work to mālama (care for) the valley. Pōhāhā I Ka Lani’s initial kuleana was the stewardship of six acres, and now also includes five parcels below Hi‘ilawe at Napo‘opo‘o Village, Koa‘ekea (lookout), and most recently, the rim lands which include parcels in Lalakea, Mahiki, Kilohana, Waikaileo, and Puakalehua mā.

Many Hands, Many Hearts Volunteering in the valley is a work of aloha that demands an open-hearted willingness. The first challenge is actually getting there. The first people to enter Waipi‘o most likely came by water, which had its own challenges. The journey there is a short, steep hike, and before the construction of a road, could be perilous.

Hiram Bingham describes his 1847 trip into Waipi‘o: “With one hand clinging to little shrubs and strong grass,

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HCC and UH Hilo students cutting ginger in the valley. photo courtesy of Drew Kapp

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Külia immersed in one of the many loÿi at Napoÿopoÿo. photo courtesy of Külia Tolentiono-Potter

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and with the other thrusting a sharpened staff into the earth to avoid sliding fatally down the steep, I attempted it. Friendly natives of the valley ascended part way to meet and assist me.”

Walking on a widened paved road, the SHSU students need no assistance to enter the valley. They are enveloped in moist fragrant air as the valley floor and its drifting mists beckon

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them down into an emerald vortex. At the end of the day, they will retrace their steps, this time trudging upslope—body tired, but heart elated.

Over the years, the valley has drawn many volunteers from all over the globe, as well as Hawai‘i. All have sensed the mana (spirit) that is Waipi‘o, and left the valley changed. “They’re in awe. Just to be standing in an ancient taro field. In the mud, mosquitoes. But they’re giving back. It’s a humbling experience. Sustainability has a deeper meaning. It changes how they move through the world after that,” relates Ava, also a descendent of Hāmākua.

Nestled at the foot of Hi‘ilawe falls, Napo‘opo‘o Village was originally one of the largest settlements in the valley. Because of its isolation, it’s impossible to bring in machinery, or to haul materials out. Through volunteer help, green waste has been composted, rock walls have been rebuilt, and lo‘i reestablished.

“Different school groups helped us open up the lo‘i. We didn’t sell taro. We donated to school events and now we give to families,” says Kūlia. A distant echo from the past when

there were poi factories in the valley that supplied Hāmākua, Pa‘auilo, Waimea, and Waiki‘i with poi, hauled up in mule trains.

Napo‘opo‘o has also been planted with a community garden that contains natives and endemics used for both lā‘au lapa‘au and cultural practices such as hula. “We had no money so we used whatever we had. It was all overgrown so we made a community garden. It has everything people need for food and cultural practices. Every kind of flower for hula, and banana, breadfruit, sugarcane, 15 milo trees, kukui, and hala,” shares Kūlia.

This is mirrored up at Koa‘ekea, the lookout, where lush native gardens thrive. This was made possible when the County of Hawai‘i purchased the property through the Public Open Spaces and Natural Resources (PONC) program and awarded the stewardship to Pōhāhā I Ka Lani.

“It had been a dump site. There were 13 abandoned vehicles, 50 loads of trash, and an abandoned lunch truck with a banyan tree growing from it. We cleared it all out and planted natives. The community came out and helped. Uncle Toko came with his torch and helped us with the lunch truck.

People brought weed whackers, plants they grew, and helped us to cook,” recalls Kūlia.

Building a rock wall to protect the rim lands is another recent project involving many hands, guided by kahuna pōhaku (rock wall expert), Uncle Walter Wong, and many volunteers who have given their time and effort to Waipi‘o.

Today a Growth International Volunteer Excursion (GIVE) group is assembled at the entrance to one of the rim land sections. Their introductions are wide-ranging across the

continental US and they have come together for the first time, with a common purpose: to give back.

One of the volunteers asks: “Is there anything around here that can be used as medicine?” Kūlia identifies honohono, which is a plant that can be used to seal wounds in the absence of a first aid kit. After a short lesson about the uses of the ti plant, the volunteers get to work clearing weeds and grass from around large boulders, what Kūlia identifies as “protectors,” on either side of the entry.

As difficult and demanding as the work can be, Kūlia continues to live up to her name as one who strives with strength and wisdom to share the gifts of Waipi‘o Valley that have touched the lives of so many. n For more information: pohahaikalani.com

Waipiÿo Valley Kökua Mahalo to

People and organizations who have donated their time and resources: G.I.V.E. Hāmākua Harvest Hawai‘i Community College Hawai‘i Pacific University Hawai‘i People’s Fund Hawai‘i Preparatory Academy Honoka‘a School Kamehameha School Kupu Lanakila Mangauil Men and Women of PA‘A Oak Grove School, Ojai, CA Pāhoa High School Putney Student Travel Rustic Pathways Sam Houston State University Shibby Stylee University of Hawai‘i at Hilo Uncle Toko Waimea Elementary Waimea Middle School

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TSUNAMIS

By Walter Dudley

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ust before 7am on the morning of April 1, 1946, Seaman Perry Minton was in the radio room aboard the USS Thompson headed toward Pearl Harbor when, he recalls, “Almost as soon as I put on the headset, I heard a patrol plane calling its base at Kāne‘ohe to report something on the surface of the sea, perhaps just a line or small wave. When the station at Kāne‘ohe asked the pilot to drop down closer to the surface to see what it was, the pilot said it had outrun his aircraft!” Minton wondered what was going on; however, his friends aboard the Thompson assured

18Men on the Hilo bayfront running away from the third and largest wave of April 1, 1946 tsunami. photo from the Cecilio Licos Collection, courtesy of the Pacific Tsunami Museum

him that it was just an April Fools’ joke—but it was no joke.

Herbert Nishimoto, a sophomore at Laupāhoehoe School, had spent the weekend hanging out with some buddies in an empty cottage on the little peninsula when he was awakened by a friend shouting, “Tidal wave!” He watched in awe as the second wave destroyed an old canoe shed and then the third wave came, and Herbert remembered, “It looked terrifyingly huge.” At that point, Herbert was swept off his feet and sucked into the sea. When the wave finally subsided, he found himself floating amongst

Hawai‘i’s Most Dangerous Natural Hazard debris and accompanied by sharks! Being clever, industrious, and lucky, Herbert tells his story, “I found a mattress and some logs and I made a raft.” After a while he saw two fellow students and managed to pull them aboard. He saw a bottle of Crisco floating by and grabbed it so that they could rub it all over their bodies to protect them from the sun, the cool wind, and water as they began drifting along the shore, north of Laupāhoehoe.

Meanwhile, the tsunami waves had continued on their path of destruction, crashing ashore in Hilo and along the shores of Keaukaha, where six-year-old Jeanne and her younger brother

David had spent the night with their grandparents Charles and Elizabeth Mason, and their uncle Rod. Jeanne had gotten up to get ready for school, when she looked out the kitchen window and saw water in the yard up to the clothes line.

Uncle Rod quickly grabbed Jeanne, carrying her and David through the water to higher ground where they met neighbors who took charge of the kids while Rod went back to check on his parents. Rod took his mother to a nearby house high atop a rocky mound, but his father refused to leave. A retired sea captain, and a stubborn man, Charles Mason remained determined to stay with his home, as if it had been his ship.

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Rod took the amazing photo pictured above of the third wave as it roared through the park across the street and then lifted the Mason house and washed it inland. As the house floated away with Charles onboard, Rod turned to his mother and said, “Looks like Admiral Mason’s finally gone back to sea.” His mother was not amused.

That afternoon, after the tsunami waves had stopped, Jeanne and David returned to their grandparents’ home to find everyone safe. The Mason house had been lifted from its foundations, but then deposited in their backyard with “Admiral Mason” aboard. When the kids approached the house, Charlie said, “I knew you’d be back when you got hungry.” The Masons, Jeanne, and David had all been very lucky.

But what about Herbert and his two classmates?

As Herbert and his fellow students continued to drift offshore, they heard an airplane flying overhead and saw it drop an inflatable raft. They paddled toward the raft, climbed in, and quickly rowed offshore away from the debris, fearing the nails or splinters in the wood might puncture their little rubber boat. They were now safely in a life raft, but rapidly drifting north along the coast of steep, jagged cliffs. As night fell, they saw lights above the cliffs and Herbert realized they were offshore of Honoka‘a, 20 miles north of Laupāhoehoe.

They dozed off wondering where they might safely get to shore along the treacherous and largely uninhabited coast that lay ahead.

They awoke to find themselves drifting along the North Kohala coast heading into the notoriously dangerous ‘Alenuihāhā Channel; however, luck was with them. As it approached 11am, Herbert shares, “I saw a whole bunch of people running down to the shore. Two guys hit the water and

Photo taken by Uncle Rod Mason of the third wave roaring through James Kealoha Beach Park in Keaukaha, Hilo on April 1, 1946.

start swimming out, and they took us on shore.” Herbert and his two classmates survived, thanks to his ingenuity and their luck, but 24 fellow students and teachers at Laupāhoehoe died that tragic day, along with 96 people in Hilo and another 38 across the islands.

Following the April 1, 1946 tsunami, the Pacific Tsunami Bernard and Richard Waltjen (holding fish and boat ropes) in the Wailoa River prior to the third wave in the 1960 tsunami. photo courtesy of the Hawaii Tribune-Herald Collection, Pacific Tsunami Museum

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predicted to arrive at Hilo around midnight.

The people in Keaukaha, who had seen the destruction in 1946, evacuated immediately, but in Hilo many people either didn’t evacuate or even went down to watch the waves. Such was the case of 19-year-old Bernard Waltjen and his 16-year-old brother, Richard. They were watching television when breaking news reported the tsunami warning. Bernard recounts, “So we looked at each other and decided, let’s go down and take a look.” Their prudent sister immediately said, “Don’t go down there!” and they replied that they weren’t going down to the bay to watch, but were only going up the hill to their friend Eddie’s house. “So, we went up to Eddie’s house, and then turned around, turned off the car, rolled past her house, and then went down to Waiakea.” They estimated that there were 60 to 70 people standing around watching, when at 12:30am the second wave began to Herbert Nishimoto and classmates floating in a life raft (center, bottom), about to be rescued at Keokeo Bay. arrive and by 12:46am the second crest washed photo courtesy of Pacific Tsunami Museum under the Wailoa River bridge at a level nine feet above normal.

Warning Center was established on O‘ahu and would begin As the water began to withdraw after the second wave, just sending out warning messages when tsunamis threatened the after 1:00am, the 20-foot-high front of the third wave roared islands. The question was, would people listen? into Hilo Bay. Bernard began running like his life depended on it, which it did. Richard climbed up an electric light post.

The 1960 Tsunami from Chile Suddenly he felt the light post begin rocking back and forth, After a few small tsunamis during the 1950s, on May 22, “So I jumped off the post to the roof of Café 100. I see this 1960, the largest earthquake ever recorded—a colossal 9.5— house in front of me and I stand up and I grab this windowsill, struck Chile. A tsunami warning was declared with waves and I start to spin around with this building, and I’m hanging

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Bayfront downtown Hilo following the 1946 tsunami. photo courtesy of Larry Nakagawa Collection, Pacific Tsunami Museum It’s not IF, but WHEN another tsunami will strike!

Hawai‘i is not only struck by tsunamis from all around the Pacific rim, but we create our own “local tsunamis” right here in the islands. In 1975 a 7.2 magnitude earthquake struck Kalapana, creating a tsunami with waves as high as 26 feet at Halape, where two people were killed. It’s been more than 45 years since that tragic event and more than 60 years since the last deadly Pacific-wide tsunami struck the islands. That only makes things worse! Many people forget about the danger of tsunamis and new residents from out-of-state may not even know about tsunamis. On the positive side, there have been many improvements in the Tsunami Warning System. There is no such thing as a “false alarm.” If the sirens sound (unless itʻs the first Monday of the month at 11:45am when the sirens are tested), head to high ground!

The only problem is, with local tsunamis, there may not be time for the Tsunami Warning Center to get the message out to local communities, especially here on Hawai‘i Island.

The 1975 tsunami struck Hilo less than 15 minutes after the earthquake. An ancient tsunami off South Kona, caused by a massive landslide, struck Kailua-Kona less than five minutes later! How can we prepare and react to local tsunamis? Know nature’s warning signs: • Rapidly receding water Destruction in Hilo following the 1960 tsunami.

• Rapidly surging water Photo courtesy of Martin Polhemus Collection, Pacific Tsunami Museum • A strange sound coming from the ocean If you hear or see any of these, head inland to high ground.

The survivor stories related above were all collected by Hiloʼs Pacific Tsunami Museum to promote tsunami preparedness and help save lives. To learn more about tsunamis, their history and impact in Hawai‘i and around the world, visit the museum. Don’t be scared, be prepared! n

on...the water seemed to be calming down. And then I see something floating by, so I swim to it, and it was a canoe, and I hung on and it took me in. Then I felt ground and I stood up and started walking towards blue lights, the cops.”

Bernard continued walking toward the lights, now searching for his brother, Richard. Bernard exclaimed, “And then we see each other.” Richardʻs first words were, “Oh! My god, we thought you were gone! Wait ‘til your sister hears about this, she’s going to kill you!” Throughout the other Hawaiian Islands, the 1960 Chilean tsunami caused only moderate damage and no lives were lost. In Hilo, it killed 61 people.

Three Pacific-wide tsunamis have struck Hawai‘i since 1960.

In 2009, tsunami waves higher than 70 feet crashed ashore in Samoa and American Samoa, killing 192 people. In 2011, a tsunami from the Fukushima earthquake caused massive destruction and killed more than 20,000 people in Japan.

In January 2022, Tonga was rocked by a volcanic explosion that created a tsunami, killing people as far away as Peru.

Thankfully none of these took people’s lives in Hawai‘i, or caused much local damage, however every year, the risk of injury from another deadly tsunami grows.

KeOlaMagazine.com | March - April 2022

For more information: http://tsunami.org/

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Donnie’s Thanksgiving: _ First-hand Story of Halape’s 1975 Tsunami

By Leslee Engler and Donnie Cruz

KeOlaMagazine.com | March - April 2022

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f you lived through an earthquake and The soothing rhythm of the waves as they danced on the tsunami on the beach where your family was camping, you beach sang the perfect lullaby of Hawai‘i. The pickers felt the would remember that very clearly. It took place 47 years ago, magic—and then they felt the quake. and Donnie Cruz remembers every minute of that terrifying The earthquake Madam Pele made at Lae‘apuki between night in 1975 when Madam Pele took the life of her brother.

Halapē and Kalapana stunned everyone for miles. People all It was Thanksgiving Eve when the Cruz ‘ohana rode several over the island stood petrified, all senses on high alert, waiting horses on the long trail to Halapē Beach in Kahuku, Ka‘ū, to for what would come next. The 5.7 magnitude quake jolted camp. All 13 keiki the ground all of Alfred “Rico” the way to Hilo, Cruz were there. but Halapē felt it The low tide at most. midnight was their The keiki, still time to pick ‘opihi awake picking from the rocks ‘opihi, looked to add to the to the kūpuna wedding feast of who had felt Donnie’s cousin. the rumbling ‘Opihi are a of Madam Pele traditional delicacy many times, but that would assure not like this. It many children to was 3:36am. the celebrating The horses couple. became very Thirty-two restless before people were the quake and enjoying the now were near perfect weather panic. Donnie’s on the beach that brother, Michael night; a Boy Scout “Micky,” 27, went troop had also to check on hiked there from them. All were Chain of Craters tied up and safe, Road to camp until suddenly under the trees came the crash called Coconut of boulders flying Grove, as they did downhill. The every year. sound came from The kūpuna everywhere, were gathered bouncing off uphill at the Hilina Pali and cabin talking then back again. story, watching The ‘opihi Donnie Cruz, on a recent flight from Hilo to Halapë. photo courtesy of Donnie Cruz the horses that pickers didn’t were in the corral know where to beneath Coconut Grove, and overseeing the ‘opihi picking. run in the confusion, until they saw the water being sucked With campfires burning on the beach, the Boy Scouts told away from the beach and knew to run fast, away from the each other ghost stories on this night of a bright full moon. beach. A tsunami! But, the crashing boulders were coming Low tide was timed with the highest point of the moon. The downhill in a huge wave of their own. Which way was safe? pickers went down to the beach with their sacks for gathering, The campers were between two huge powers of nature they and knives for prying the shells holding fast. The waves could not stop. Most ran uphill. They sensed the thundering were not large on the south coast of the island that night. sound was a huge landslide bearing down on them so they ran

Boy Scouts gathered for a photo on their way to Halapë for their annual trip in 1975. photo courtesy of the Dorothy H. Thompson Collection, Pacific Tsunami Museum

to the sides. Several tucked themselves into cracks in the face of Hilina Pali, which formed the west side of the bay.

The first wave hit 84 seconds after the quake. It crashed on shore in a five-foot wave. Everyone knew it was only the first— the next one would be bigger!

The Boy Scout leader, Dr. James Mitchell, yelled to everyone to run for high ground. They did and it saved their lives.

Thomas Amar, 27, was looking to help Rico and Dr. Mitchell.

Thomas saw Rico and yelled, “Run Dad!” Rico yelled back, “No can! I no more slippahs!” They ran anyway, for the trail leading uphill across the sand. On the pāhoehoe lava trail there had always been a crack to step across. Now the crack had split too wide to jump across and had filled with water. Several people couldn’t see it in the dark and fell in, including Rico and

swimming hole

KeOlaMagazine.com | March - April 2022 Left: Halapë before the 1975 tsunami. Right: The same coastline after the tsunami. The palm tree grove clearly shows the new coastline. The current swimming hole crack that was created was once narrow enough to jump over, widened during the earthquake, and in the dark of night, people fell in. photos from the National Park Service, courtesy of the National Geophysical Data Center

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Dr. Mitchell. Horses, logs, and rocks fell in, too, all hitting the sides as the water sloshed. That was when many were hurt and is apparently when Dr. Mitchell died—his body was found in the crack.

Thomas heard the wave coming right behind him and jumped. The wave picked him up and carried him across the huge crack. The dauntless power that could have caused his death saved his life instead.

A man on the scarred open edge of the crack thought he was holding up his son from drowning. He had the unconscious Rico instead.

The second earthquake shook the feet of Kīlauea at Kamoamoa. It was bigger than the first at 7.2 magnitude, the largest local quake since 1868. The summit of Kīlauea moved four feet outward and four feet down with the mighty shake.

It was 4:48am and still very dark, with the sky filled with the dust of crushed rock.

The roar of crashing rock was even louder than before and just as confusing. It gathered sound as it gathered speed. The screams of horses were just a whisper.

Now the biggest tsunami crashed on everything that was before it. Even the rocks still sliding downward to challenge the mountain of water did not prevail. The wave rose 26 feet above the beach, along the pali wall. This is when the very land itself broke off and slid down, across what had been the beach. It carried Coconut Grove with it, which settled 10 feet below the surface. Only the top 30 feet of the giant palms were visible. Most of the horses went with it. Micky, too. He was not seen again.

Nineteen of the 32 people were injured and two were dead.

People who were able, bandaged and soothed the injured,

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even though they themselves were exhausted. Rico survived thanks to the strength of the man who held him up. The man’s son also survived.

A young cousin of Donnie’s ran for help in the dark. He ran across Kahuku on the lava path to Chain of Craters Road and up to the summit ranger station, about 18 miles and 4,000 feet in elevation gain in about an hour. Only a boy bent on saving his whole family could do such an impossible thing. He reached the ranger station but the rangers didn’t believe he could have done that run in such short period of time. Rico had registered the trip at the ranger station, listing the names of all the ‘ohana in the party, including the name of the boy who ran—the rangers didn’t believe that either. They delayed a search until dawn so they could ride a helicopter to the site.

They were shocked to find the boy was right—destruction was all Madam Pele left behind.

It took hours and many helicopter trips to evacuate all the survivors. They were taken to the hospital in Hilo. Most were released that day to their ‘ohana with cuts, bruises and trauma. At least one boy had a broken leg. Micky was not among them.

At the feet of a young boy who was sheltering against Hilina Pali was a crack in the ceiling of a lava tube, revealing a burial canoe. Two paddles were crossed inside. There was a split following the grain of the bottom making it unsuitable for paddling in the sea. In this way it was marked as a burial canoe. This canoe was also removed by helicopter and taken to the ranger station to be sent to Bishop Museum.

This same type of canoe had been used for carrying the body of kūpuna across the uneven lava at the base of Hilina Pali to their final resting place. Each ‘ohana owned their own

Current view of the enlarged crack created from the 1975 earthquake, now a swimming hole for hikers. photo courtesy of Nadia Arbles

Editor’s Note: Donnie shared this story with Leslee as she remembers it from 47 years ago. Scientists recorded it somewhat differently, namely the 5.7 earthquake at 3:36am didn’t generate a tsunami—the first wave was huge, but not a tsunami. The actual tsunami was generated by the much larger 7.2 quake at 4:48am. The first wave was still extremely dangerous and caused the trouble Donnie describes.

KeOlaMagazine.com | March - April 2022

sacred crypt, made for them by Madam Pele as lava tube openings at Hilina Pali. The bodies and cremated remains of their family had rested safely there for hundreds of years, and now, they were revealed.

In Ka‘ū there are still kūpuna who know the ancient Kanaka Maoli (Native Hawaiian) ways of divining the future. They told Micky a few years before the tsunami that he would pass at age 27 in a tragic accident, which made him reluctant to go ‘opihi picking that night. It was to these kūpuna that Rico turned for help to find Micky. Donnie had searched the beach for her beloved brother. She found his picking bag. Then his knife. Then his belt on a stick pointing to the now sunken Coconut Grove. She didn’t know what this would mean, but the kūpuna did. They chanted and prayed for knowledge of where Micky was for four days, until they saw the answer. They told Rico they saw Micky buried under three crosses, so Rico and some of his ‘ohana went back to Halapē. They were thankful to the kūpuna when they saw the three crosses of the horse corral gate that washed to the sea atop the rocks that buried Micky. He lies there today with the prayers and blessings of his ‘ohana. To this day Donnie takes ho‘okupu (offerings) to chant and pray for him on his birthday. It is tradition, and it means even more than that to Donnie. She and her ‘ohana have blessed him with love in this way for 45 years, and she will continue. n

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Students Learn, Grow Food, Eat

By Fern Gavelek

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tʻs all about “connecting the dots to textbooks while making learning delicious.”

That’s how Patti Cook, community development director of Waimea Middle Public Conversion Charter School, describes the

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in Hawai‘i and all are members of the larger Hawai‘i Farm to School Hui that provides political advocacy and resources.

It Takes a Village to Start a School Garden Māla‘ai became a model garden through the dedicated efforts of school garden visionary Amanda Rieux and a group of community stakeholders. Initiating the garden’s formation was Waimea physician Michelle Suber, who was concerned with diet-based illness among her patients. Dr. Suber invited Amanda, a school garden educator at Alice Waters’s Edible School Yard at Martin Luther King Middle School in Berkeley, California to come to Waimea and join a workshop with interested community members.

Mountain View Elementary School Fourth Grade Honors students working as a team to pull kalo for harvesting and replanting. photo courtesy of Jaime Lewis Māla‘ai Culinary Garden. Started in 2003 through a community effort, the Waimea school garden is the poster child for the Hawai‘i Island School Garden Network (HISGN) and their Kū ‘Āina Pā School Garden Teacher Training.

At more than 60 schools across Hawai‘i Island, school gardens are engaging students in learning math, science, health, reading, writing, and teamwork with guidance from the Hawai‘i School Garden Curriculum Map (HSGCM). Kū ‘Āina Pā has graduated more than 200 K–8 educators who have pioneered garden-based learning in Hawai‘iʻs statewide schools.

Thatʻs right—the success of Māla‘ai helped inspire schools across the state to implement culinary gardens into their curriculums. There are five island-level school garden networks

Hawaii Academy of Arts and Sciences Garden to Grinds students examine soil horizons in a freshly cleared bed. photo courtesy of Wendy Baker This enthusiastic group worked with Waimea Middle School on the garden’s possibilities. A board of directors and nonprofit formed, and Amanda became the school’s garden leader in 2005, subsequently laying the foundation for Māla‘ai.

The way Māla‘ai works is somewhat modeled after Edible

at School Culinary Gardens School Yard, according to Amanda, who eventually served as the garden’s executive director while also involved with HISGN and HSGCM, before stepping down in 2021.

While classroom teachers accompany students into the

value that’s benefited Māla‘ai as evidenced by the program’s wonderful allies.”

In addition, Amanda emphazies, “the culture of this place, of Hawai‘i” also plays a critical role in all aspects of the garden.

“The work is so gratifying—it’s an act of service and love that nurtures the children, honors the culture, creates food, and is done with the best of intentions.” She adds Māla‘ai is a collaborative and supportive community effort.

The help of volunteers is critical at Māla‘ai as it enables all of the school’s students to participate. Culinarian Sandy Barr Rivera has been woven in and out of the program as a volunteer for almost 20 years. While she’s “shown up for workdays and cleaned the tool shed or pruned fruit trees,” the

school garden, Amanda emphasizes the garden leader does the garden teaching. “Learning has a physical manifestation in the school garden—you can see it, you can taste it—so it’s really tangible and that’s important.” Amanda also adds the value she learned at the Edible School Yard of “using the garden to engage all of the senses of the children in their learning: seeing and hearing, but also touching, smelling, and very importantly, tasting” has been key to Māla‘ai’s success.

Hawaii Academy of Arts and Sciences Garden to Grinds student Sophia Ovcharuk collects mämaki berries for seed. photo courtesy of Jada Wagner

Māla‘ai: An Act of Love with the Best of Intentions “My experience at Edible School taught me what we’re doing is an act of love for the children and the land, and with that thought, that’s the way we prioritize our teaching and facilitate the program,” Amanda details. “That love is a real and tangible

retired chef has also done culinary class presentations and cooked food for summer teacher training sessions.

“Volunteers tell us they have amazing conversations with students when they are on their knees digging in the dirt,” shares Patti. “They get as much out of it as the kids do.”

KeOlaMagazine.com | March - April 2022

Waimea Middle School student Tristan Torrano harvests kale and beets from Mälaÿai Garden. photo courtesy of Holly Sargeant Green

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To have the resources needed for the one-acre Waimea school garden—which grows a bevy of veggies, fruits, and flowers—Māla‘ai does its own fundraising and grant writing.

New garden Executive Director Zoe Kosmas is at the helm of that effort while bringing new energy to the garden and HISGN. “Māla‘ai basically provides food for the students to learn to prepare and enjoy,” says Zoe. “The idea is they grow, prepare,

KeOlaMagazine.com | March - April 2022

Seventh grader Hailey White at Waimea Middle School preps a fresh fruit tasting to conclude a Mälaÿai garden class. photo courtesy of Holly Sargeant Green

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and present it, and agree to taste everything once.”

Holly Sargeant-Green, Māla‘ai garden leader involved with the program since 2006, sums up the gardenʻs benefit, “More than ever during these challenging times, it’s important for our children to have the opportunity to be outside, socializing, and learning about the ‘āina. Being in the garden gives students a better understanding of themselves and their place in the community.”

Hawai‘i School Garden Curriculum Map Following the HSG Curriculum Map for grades K–8, instruction at Hawai‘i school gardens involves four themes with a variety of different topics. Themes are A Sense of Place: Sustainable Living is Rooted in a Deep Knowlege of Place and Self, The Living Soil–The Living Plant: We Are All Interconnected and Related, Nourishment: Feeding Our Mind and Body with What It Needs to Stay Healthy and Flourish, and Natureʼs Design: Systems, Cycles, Pattern, Relationships, and Adaptations in the Garden System.

For example, with Sense of Place, the scope of study is weather and seasons for that specific location—topics covered include Hawaiian names and patterns for local weather, the lunar cycle, local legends and stories, plus the local ag industry. In this sequence, garden students in grades K–2 could create a daily weather journal and observe and record weather by reading a thermometer and rain gauge. Older students could design and conduct an experiment using data from local weather patterns and events.

Garden to Grinds in Pāhoa School gardening is an elective for students in grades 7–12 at Hawaii Academy of Arts & Science Public Charter School in Pāhoa. Wendy Baker has been at the helm of the school’s Gardens to Grinds program for 10 years, teaching about 40 kids per year. “We compete with skating, surfing, and band, but gardening is becoming more popular,” she grins.

When Wendy came to the progam, it had an Iron Chef competition with students first deciding on a recipe and then growing what was needed to furnish ingredients.

“Now the garden is a learning classroom where we grow what works best for our environment,” she notes. “We try to grow what kids want and sometimes it works or not—great lesson.”

Similar to Māla‘ai, students follow a protocol when entering the garden. They recite a chant specially written by Kumu Keala Ching, followed by two minutes of observation. Wendy says the lessons follow the HSG Curriculum Map. The garden is about a half-acre in size and comprised of 10 25-foot-long mounded beds. They also tend an orchard with 30 diverse fruit trees.

KeOlaMagazine.com | March - April 2022

Waimea Middle School seventh grader Rene Soriano prepares a stir fry tasting for fellow students to conclude class in Mälaÿai Garden. photo courtesy of Holly Sargeant Green

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KeOlaMagazine.com | March - April 2022

“Garden diversity is important,” stresses Wendy. “Kids learn every fruit and veggie contributes taste and nutrition, resulting in a better diet and health.”

Garden to Grinds also has a garden growing native plants for the school’s Hawaiian studies pathway, a sheltered classroom, tool shed, covered greenhouse, and food processing area.

As a senior project, school alum Alex Dodge organized the creation of the food processing building.

The screened-in covered structure was financed by the Pāhoa nonprofit Arts & Sciences Center.

Wendy got a grant to outfit the kitchen with a sink, stove, shelves, and cookware. The kitchen is used to make snacks from the garden’s bounty.

“Alex’s brother, Michael, was in my Mountain View Elementary student Kalen “Mahi” Kaili first class and he grew holding his newly freed-from-soil kalo plant. broccoli that never photo courtesy of Jaime Lewis crowned,” Wendy recalls. “He used the leaves anyway for his Iron Chef recipe and proudly took the experience home to his family. That participation inspired Alex to design our kitchen.”

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Mountain View Māla Māla means garden in Hawaiian and 500 students at Mountain View Elementary School participate annually in the school’s veggie and fruit growing.

Overseeing the program is Jaime Lewis of Kea‘au while Matt Mittermayer— originally of the national nonprofit FoodCorps—serves as the garden teacher.

“Our school garden is a resource class and each student attends the class once weekly,” explains Jaime, who doubles as an honors instructor for grades three to five. Jaime Mämaki berries harvested by Hawaii Academy of Arts coordinates all the and Sciences Garden to Grinds students hoping that garden activites, these seeds will grow into next year’s crop! including staff Blue photo courtesy of Jada Wagner Zones functions, volunteer garden workdays, and lesson plans.

“Our future goal is not for gardening to be a resource course, but for general ed teachers to do their teaching in the garden,” she explains.

Matt Mittermayer giving instructions to fourth grade honors students at Mountain View Elementary School Mäla. photo courtesy of Jaime Lewis Jaime is also working with a fellow school instructor on piloting a Garden Pacing Guide that takes Next Generation Science Standards and applies them to using the garden as a teaching tool. Jaime accesses the HSG Curriculum Map to help with the guide, which is “customized for our school.”

Because of recent drainage work at the 10-acre campus, the main learning garden was temporarily moved to the existing staff garden location. Students also have access to two 20-square-foot garden boxes placed near classrooms for each grade level. A lei garden provides native flowers and orchids.

“We will put together a committee to plan a whole new learning garden and orchard,” shares Jaime. “We’d like to attain grant funding to build a garden hale.”

Due to Covid-19, the garden program hasn’t included food prep with students.

Garden bounty is distributed for home use or sold to school staff as a fundraiser.

“In the past, we used our garden kalo [taro] at the Fourth graders harvesting and cutting slips of sweet fifth grade banquet,” potatoes at Mountain View Elementary School Mäla. recalls Jaime. “Kids photo courtesy of Jaime Lewis got to plant, grow, harvest, and eat the kalo all in one school year. It connected them to this place, our host culture, and the process that feeds them.” n For info: malaai.org hiphi.org/farmtoschool/

KeOlaMagazine.com | March - April 2022

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Hawai‘i County’s Innovative Native Provides Tax Incentives for

By Mālielani Larish

Did you know that special tax incentives

exist for Hawai‘i County landowners who want to restore or preserve native forest on their land?

The County of Hawai‘i Real Property Tax Division initiated the Native Forest Dedication Program in 2004, enabling landowners with existing native forest to benefit from a reduced property tax rate once enrolled.

Thanks to the shared vision of a diverse group of professionals, the program now features more attractive financial incentives and expanded choices for dedications, making it the most comprehensive initiative of its kind in the state. To get started, the property needs to be three acres or larger and privately owned (or have a long-term lessee).

Since dedication projects demand a long-term investment of time and money, the renovated program rewards this commitment by enabling eligible landowners to start receiving tax breaks once they have an approved forestry management plan. By creating this much-deserved tax benefit, the Native Forest Dedication Program recognizes the importance of thriving native forests to the well-being of our island and the planet.

KeOlaMagazine.com | March - April 2022

Two New Pathways to Dedication Under the program, landowners who have already poured years of labor into their property to achieve 60% native species forest cover (or who were lucky enough to buy a property rich in native species) qualify for a “Native Forest Preservation” dedication. However, many landowners will need to begin with a “Restoration” dedication instead, meaning that they will need to cultivate a native-dominated forest on

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Rebecca Ostertag, Amanda Uowolo, Susan Cordell, and Nicole DiManno hold a timeline of Liko Nä Pilina experimental milestones. photo courtesy of Rebecca Ostertag

their land. As anyone who has tried to battle invasive species, install fences, or coax plants to grow out of degraded soil can tell you, restoration work can quickly drain the body and the wallet.

Leslie ColeBrooks, the attorney who penned the legislation behind the program’s revamp, knows this first-hand because she initiated a smallscale native forest restoration project on her property. The two new categories help address the many challenges underlying forest restoration by making the process more affordable and practical.

Although the Native Forest category is the gold standard, Leslie says that the two new categories— Functional and Successional— help create a “glide path” to restoration.

The Functional Forest pathway allows landowners to combine the planting of natives with the planting of certain “functional” species, which are non-native, non-invasive species, that, as Leslie describes it, “play well with others.” The installation of these functional species provides freshly-planted natives with benefits such as windbreak, shade, moisture retention, and nutrients, thus filling essential ecological niches that would otherwise have been filled by fully-mature natives.

These functional plants protect the slow growing natives

Forest Dedication Program Preservation and Restoration against the constant threat of rapidly reproducing, resourcehogging invasive species, with the key being that the functional species themselves do not become aggressive.

Recognized functional species include fruiting trees like orange, lychee, and mango; ornamentals like hibiscus, plumeria, and gardenia; and Polynesian introductions, such as ‘ulu (breadfruit), mai‘a (banana), ‘ōlena (turmeric), and kukui (candlenut).

A landowner who enters into a Functional Forest Restoration commits to having 60% of forest cover comprised of native and functional species by the end of the 20-year dedication period.

The second new forest category acknowledges the fact that we live on a volcanically

Liko Nā Pilina: Planting Seeds of Success The origin of the Functional Forest category began with native seeds that didn’t sprout. Starting in 2004, Rebecca Ostertag and a team of students and colleagues began to remove invasives from experimental plots at Keaukaha Military Reservation, with the goal of evaluating how the remaining native plants would fare. Rebecca, who is a biology professor at University of Hawai‘i at Hilo, and the associate program chair for the Tropical Conservation Biology and Environmental Science (TCBES) graduate program, hoped that this “passive restoration” method would give the native plant species the opportunity to regenerate from the existing seed bank. The results were discouraging; whereas natives returned sparingly, invasives returned robustly. Rebecca and her colleagues turned to functional trait theory, asking, “Can we create a forest that is more resistant to invasion by planting a combination of native and functional species?”

Starting in 2013, Rebecca and her collaborators planted four combinations of native and functional species in the experimental plots, naming the project the Liko Nā Pilina Hybrid Ecosystems experiment. Six year later, Rebecca and Susan Cordell, who is the director of the Institute of Pacific Islands Forestry in Hilo, presented their findings to the County: the plots that contained a mix of native and functional species exhibited more native species regeneration, lower nutrient cycling, and decreased invasion when compared to the nativeonly plots.

Lisa Miura, administrator of the County of Hawai‘i Real Property Tax Division, wanted to integrate these scientific findings into the structure of the Native Forest Dedication

active island—only landowners who are situated on new or very recent lava substrate (and thus have a soil/organic matter depth of less than 10 centimeters) can participate in this pathway. Property owners who enter into a Successional Forest Restoration agree to develop a Native Forest or Functional Forest on their land by the end of the 50-year dedication period.

KeOlaMagazine.com | March - April 2022

Sebastian Maÿa, pictured in a native forest, created a species list of native and functional species to help landowners select appropriate plants for their restoration projects. photo courtesy of Sebastian Maÿa

Rebecca Ostertag and Taite Winthers-Barcelona plant the first tree (ÿulu) within the Liko Nä Pilina Hybrid Ecosystems experiment. photo courtesy of Rebecca Ostertag

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Seven years of forest growth in the Liko Nä Pilina Hybrid Ecosystems experiment.

KeOlaMagazine.com | March - April 2022

photo courtesy of Amanda Irish

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Program. Serendipitously, Lisa met with Leslie Cole-Brooks, the lawyer who had resolved to work on the project on a pro bono basis even before the meeting.

After working as a legislative advocate on behalf of renewable energy companies on O‘ahu, Leslie moved to Hāmākua on Hawai‘i Island in 2018. She was inspired by the spirit of aloha ‘āina (love for the land) that she experienced here, and she felt called to work on the forest restoration component of the climate change puzzle. As she dug into the financial aids and incentives available to property owners engaged in native forest work, she discovered the County’s property tax code for Native Forest Dedications.

“It had great goals and good intent,” Leslie reflects, “but the section on restoration needed to be updated.” Leslie took a year off from work to devote her professional skills to the task.

Soon, an informal working group formed, comprised of Leslie, Rebecca, Lisa Miura, and Keita Jo of the County of Hawai‘i Real Property Tax Division, and a student intern from University of Hawai‘i at Hilo TCBES graduate program, Sebastian Ma‘a.

Rebecca says, “We all got along really well together. It’s been a great journey because it all clicked.”

When the working group’s efforts culminated in the introduction of Bill 178 to the County Council, Leslie recalls that the bill sailed through the legislative process. “We had unanimous ‘yes’ votes at all three hearings!” The changes went into effect on January 1, 2020.

Thanks to the work of Sebastian, who has since earned his master’s degree and now works as a biocultural forester, landowners seeking to participate in the Native Forest Dedication Program have three invaluable resources: a Management Plan template, a species list of native and functional species, and a nursery list of businesses specializing in native plant propagation.

Why Native Forests?

Jill Wagner, who has devoted her career to reforestation and seed banking, calls the revamped program a “win-win situation.” Landowners, forests, and every island resident benefits, owing to the ecosystem services and life-enriching

Terraformation CEO Yishan Wong next to a koaia seedling in Kohala, where the company manages a native forest restoration project for a private landowner. photo courtesy of Jill Wagner

opportunities that forests provide. In her role as chief forestry officer for Hawai‘ibased Terraformation, Jill has clients who are planning to apply to the program.

She appreciates how the program’s new categories encourage landowners who want to start projects on degraded land, and she highlights the fact that native forest restoration helps capture carbon and preserve biodiversity not only for Hawai‘i, but as a gift to the earth.

Native forests are the unsung heroes of our island home: they prevent erosion and protect our beautiful reefs from sedimentation, serve as an integral part of water processing and purification, provide recreational opportunities, and serve as the home of numerous threatened and endangered organisms.

In addition, native forests inspire the oli (chants), mele (songs), and mo‘olelo (stories) of Hawaiian culture and support the collection of materials for cultural practices.

KeOlaMagazine.com | March - April 2022

How Much Can I Save?

Keita Jo, assistant real property tax administrator of the County of Hawai‘i, emphasizes that the tax savings resulting from enrolling in the program will not offset all the costs associated with restoring and maintaining native forest.

He calculates that a six-acre property with a market value of $209,000, if entirely dedicated as native forest, would save $1,754.15 in property taxes annually.

At scale, the savings can accumulate generously: a 602-acre property with a market value of $3.5 million would save $32,571 per year in property taxes if every acre was dedicated as Functional

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Forest, and a 22-acre property (with market value of $1.49 million) that dedicates every acre to the Successional Forest category could save $13,722 in property taxes annually. Interested landowners are advised to call the County of Hawai‘i Real Property Tax Division directly—the staff there can help you determine your baseline eligibility.

There are many financial resources available to help owners who want to steward a forest on their land. It is worth noting that landowners can receive grant monies for this purpose and enroll in a Native Forest Dedication simultaneously.

“Putting in a Native Forest Dedication is a labor of love,” Leslie says. “It is a way to give back to the ‘āina, to the community, and to put something in that is going to be a legacy that will last well past you, for generations.” n For more information: • Hawai‘ipropertytax.com/dedications.html • dlnr.Hawai‘i.gov/forestry/lap/fsp/ • nrcs.usda.gov/wps/portal/nrcs/main/ national/programs/financial/cig/

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Leslie Cole-Brooks digs fence posts for a native forest restoration project. photo courtesy of Andy Brooks

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Earth Day Meditation on Food Recipe for Butterfly Pea Lemonade

Local Foods

By Brittany P. Anderson

ever before right here at home.

Reflecting on Earth Day, celebrating our love for our planetary home, it’s a fantastic time to explore our connection with the foods that nourish and heal us. Taking the time to look at why you eat what you eat, where it was grown, and how it got to your plate deepens a connection with the world around you.

The butterfly pea flower is a plant that has been used for centuries as a food, drink, and dye in Southeast Asia. The deep blue color of the flower is seldom found in edible form, making it a unique and rare plant. Used for its natural health benefits and medicinal qualities, the pea flower is often made as a tea sweetened with honey and served hot or cold. All parts of the pea flower plant are used in Ayurvedic and other traditional medicines.

In Hawai‘i the pea flower flourishes on trellises. The soft compound leaves and striking indigo flowers mask fences well. They grow with willful abandon, serving as a constant reminder of the beauty and hidden medicinal potential in the world around us.

Butterfly Pea Lemonade 5–6 butterfly pea flowers 5 cups water 1 cup honey 1 cup freshly squeezed lemon juice Method First, make the blue honey water by combining 3 cups of water with honey in saucepan and bring to a simmer. Stir gently and add the flowers. Remove from heat and allow to steep for about 10 minutes.

The mixture will turn blue, and the flowers will lose most of their color in the process. While it cools and turns blue, take 2 cups of water and 1 cup lemon juice and combine in a jar or measuring cup. Next, remove the flowers from the cooled blue honey water. Finally, put ice in a glass cup and fill about halfway with the lemon juice, then half with the blue honey water. Watch as the colors change! Garnish with a bit of mint and enjoy.

Note: You can add herbs like lemongrass, ginger, or lavender to the honey water before simmering for an added twist!

KeOlaMagazine.com | March - April 2022

Hawai‘i Island is full of astounding wonders. Plants that grow to incredible heights and animals that are infinitesimally small. Some beasts blend seamlessly with their surroundings while flowers bloom in an array of shocking colors to attract attention. When the sun passes through droplets of water to create a rainbow suspended across the horizon, then disappears without a trace, it is hard to ignore the natural beauty of our island home.

Since the dawning of time, people have interacted with their natural surroundings. Cultures formed and passed down knowledge of their environment—from interacting with plants, to navigation by the stars.

When we dive deep into cultural meals, we see an intense relationship between herbs, spices, plants, and sometimes animals. Eating is very intentional—not just replenishing energy—it’s intended to heal. Cultures formed their unique ancestral diets by using the wisdom passed down about their predecessors’ environment. From there, our guts developed specific flora based on our diets, locking them into our DNA. Today, it seems so hard to envision going into a field and tasting seeds at random or foraging in a forest without having a smartphone in hand to tell if something is poison or not.

Imagine taking a tuber that causes a prickling of the mouth, smashing it, fermenting it, and then thoroughly enjoying the potent probiotic known as poi. Can you imagine packing plants in a jar, letting it sit on the counter for months, and then taste-testing whatever came out? Most cannot; however, that’s essentially how kimchi and sauerkraut are made. Our ancestors did most of that heavy lifting for us over thousands of years as they unlocked the potential in what grew around them.

Archeologists constantly unearth what ancient civilizations ate, how they cooked, and why diets shifted over time. Before travel bloggers and food shows, how certain foods became popular in a culture remains a mystery and conjecture.

Dieticians are still exploring why one ancestral diet can result in perfect health in one group while making another unhealthy.

Once practical in every sense, eating seasonally is not always in the forefront of our minds when meal planning, because it’s not necessary anymore. Somewhere in the world, peppers (and most everything else) are being grown and transported across the globe to make it to Hawai‘i Island grocery stores year-round. The good news is, with modern greenhouse technology, we’re able to cultivate more food than

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Elizabeth Theriault’s

by Ma‘ata Tukuafu

W

on me in healing ways, to both strengthen and support a Hawaiian heart.” Humbleness, respect, aloha, forgiveness, and sharing sculpted her, while she worked on the sacred land of Ka‘upulehu and Kahuwai Bay. By 1998, Elizabeth was asked to officiate weddings at Kona Village. She developed a deep relationship with the elements, combining her love of people and Tattooed dragonfly and lotus drum. Made with translucent elk hide stretched on a 15” maple wood frame. ceremony in culturally-related reverence. The kūpuna and co-workers were generous with their time and mana‘o (thought) which helped to deepen Elizabeth’s life. She remained there until the Fukushima tsunami closed the resort in 2011. While there, lifelong ‘ohana were gained, particularly with Leina‘ala Lightner and the Keakealani ‘ohana, who continue to share ho‘okipa and aloha with Elizabeth, supporting community throughout, including holding DrumSpeak gatherings at the cultural learning center of Kalaemano, at Ka‘upulehu.

Connecting to the Drum Despite her full life, Elizabeth has always made time to

KeOlaMagazine.com | March - April 2022

hen Elizabeth Theriault moved to Hawai‘i in 1985 with her husband and son, she came with eagerness to integrate into the Hawaiian culture. Elizabeth, a lifelong creative artist, grew up in a diverse multi-cultural family of hunters, gardeners, beekeepers, fishermen, and cooks. Born and raised in an agricultural valley in California, and then living in Washington and Oregon, Hawai‘i Island became their long-term home.

Upon moving here, Elizabeth immersed herself into the culture by taking a Hawaiian language course, learned lauhala weaving, gourd carving, and danced hula for ten years. From the ‘Study of Hawaiian Plants and their Uses’ class at University of Hawai‘i’s Kealakekua extension program, she learned about the diversity of ancient indigenous practices in every area of life and spirituality.

Combining her career as a chef with her love for this cultural home, in 1994 Elizabeth began writing a column for Ka‘u Landing called “E Ho‘olaulea i Ka Pulapula o Ka ‘Āina” (Celebrating the Foods of Our Land). It was the same year she was hired at Kona Village Resort as a pastry chef, as well as cooking for the resort’s guests with special dietary needs.

She reflects, “I thought I would be there just a year, yet the gifts of place, ‘āina, culture, and people continued to work

40 First group drum making workshop in Hawaiÿi at Puÿuanahulu Community Center in 2005. Assisted by a grant from Healing our Island.

Journey with the Drum —A Pathway of Heart

Mended Heart Drums After the tragic death of a friend’s son, Elizabeth created a mended heart drum in 2009, forming yet another creative healing approach to making drums. As she says on her Blessingways website: “In inspiration, it came to me to take all the little pieces of hide from my drum and rattle makings

over the years and stitch them together with prayer, love and support in a shape of a woman coming back to herself and serenity.” Since then, many Mended Heart Drums have gone to people who are grieving and healing, using the drum as a way of “finding and bringing their ‘pieces’ Hexagon layout of hexagon shaped drums representing bee nations and continents.

Each hand painted drum has an additional plant, animal, or insect illustrated. When all six drums are played, each person gets a special visual nature message.

back home to self.”

Elizabeth has learned it is vitally important to have connection and ceremony, encouraging people in small ways with expressions of love, stories, songs, or poems.

“A strong connection with good spiritual listening, required by reducing distractions, is what is going to transform and heal us,” she says. “This is what I want to spend the remaining years of my life doing. Being in daily ceremony, being prayerfully present, receiving inspiration, sensitive to synchronicities, and acting on directions given by Spirit. That’s one of the things that came to me too.”

Natural, Adorned, Painted, or Tattooing Drums Whether by innovation or touching in with the ancient, every drum Elizabeth has made is unique with a distinct character and voice. She has left many drums unadorned, while others are painted and decorated.

Sometime in 2010, an inspiration came to Elizabeth to tattoo the drum skins. “When I ‘heard’ this, I was amazed and asked myself the Elizabeth Theriault tattooing the dragonfly drum. It must be origins of the kept wet while working, and wiped up quickly after each color word tattoo,” use to prevent permanent smearing.

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create art. Introduced to the Native American frame drum in 1993, she found her authentic voice through her own cultures, after making her first drum. She says she played it every day for a year amongst a variety of island topographies. This led her to participate in full and new moon ceremonies and making drums with other individuals. Her experience grew into co-leading seasonal drum ceremony circles and facilitating board and community-building groups.

Years later, the path of the drum has deepened her life immensely, as well as touched countless lives of the many people who have been fortunate to meet and work with her.

In 2003, Elizabeth traveled to her homeland in the Sierra Nevadas with Leina‘ala for a week-long American Indian Women’s conference. Her experiences there were enlightening and educational. Elizabeth not only received spiritual permission to make drums in groups, she also envisioned DrumSpeak, an organization that would share ways to use the drum for healing and personal empowerment with people from diverse cultures.

The following year, Elizabeth and her husband, Gary, opened Kona Art Gallery in Holualoa, where Elizabeth’s art and drums are sold. In February 2005 she began holding monthly drum circles at the gallery (which are still active in different locations), while leading group drum making workshops. In October 2005, the first drum making program was held in Hawai‘i, with grant assistance from Healing Our Island (which provides an alternative away from drug and alcohol use). From this project at Pu‘uanahulu, 38 drums were created. DrumSpeak’s website, which Elizabeth created in 2006, visions a three-fold path of action: monthly drum circles, drum making workshops, and International Drum Day gatherings. Elizabeth shares, “One DrumSpeak activity close to my heart supports the voices of young girls and women to be heard in a purposeful way in the world through the drum.”

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KeOlaMagazine.com | March - April 2022

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Elizabeth with drum makers at Kaÿupulehu in 2017. People came from near and far, and 33 natural-color drums were made.

Elizabeth explains. “Among a few definitions, I learned that a synonym for tattoo is drumbeat. I knew I had something special come to me to learn about joining the mediums and practices and to steward it in development for a while.”

She began the creative process, bringing ideas into form and experimenting with different methods of tattooing on the skins.

To date she has completed 16 tattooed drums. Elizabeth’s own most personal tattooed drum relays her ‘kakau,’ a process originally shared by Kumu Raylene Kawaiaea, which reveals

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KeOlaMagazine.com | March - April 2022

and helps one connect to a Divine Pattern or original blueprint.

Elizabeth says she will continue to work with the tattoo drum process, yet also thinks at 64 years, it’s time to share the seeds of this discovery for others to explore in a dedicated way. After researching to find out if anyone has tattooed on drum skins, as far as Elizabeth knows, no one has done this before. Tattooing drums has not been an easy process to learn. Animal hide texture is not always consistent, and is quite different than tattooing on human skin. She is learning by trial

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The finished tattooed honu drum. This natural elk hide was chosen to intimate the honu emerging from the water.

KeOlaMagazine.com | March - April 2022

and error, using various types of hides and testing different methods of pattern transfer. Unlike marking and tattooing human skin which can be stretched and moved, Elizabeth says the drum hide is flaccid and must be pierced while wet. A huge part of the challenge is to keep the design from rubbing off, and she has practiced with pencil, colored pencil, and transfer and carbon papers. Drawing the designs on both sides of dry hide elevates the possibility of preserving it throughout the tattoo process.

Once the skin is soaked, the ink or tracing may rub off.

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The honu tattoo outline is viewed on a light box before shading is added. It is easier to see where there may be line breaks to reinforce.

Starting the tattooing by outlining everything followed by any shading throughout, results in a better outcome. When wet, the drum hides expand and contract when stretched onto the drum to finish it. In this expansion/contraction process, thinner and thicker, uneven skins provide a challenge for piercing and may create an accidental hole not seen immediately.

Unlike tattooing on human skin where tattoos will heal, a deeper breakage of the animal hide won’t heal on a drum,

Drum making gathering in Puÿuanahulu. The weekend experience touches on the physical, emotional, and spiritual aspects of drum making. Circle sharings include what it means to be a “drum carrier” once the drums are completed.

the practice of being present with one’s work, always listening to intuition, and following ones na‘au (gut) will bring the best results. Elizabeth states, “I look forward to seeing what beauty practiced tattoo artists may bring to this sacred art form.”

‘O ke Aloha ke Alaka‘i…Let Love Lead Elizabeth shares, “I believe that life is a ceremony when we pray it to be.” She is happy to be fully living this now, in an integrated way. While having done many diverse art mediums over her lifetime, she has concluded that she can best be of service to herself and others by sharing ways for each of us to connect through nature, art, culture, and the natural cycles we live within.

She focuses her artistic efforts in creating ceremony and tools with this objective and for these purposes. She sums up the conversation, saying, “the largest drum that we all share is Mother Earth herself, with her own heartbeat rhythm and frequencies. We need to honor, respect, and protect her.

Environmental integrity is vital for survival of all living beings at this time.” She compares her current efforts to assisting our evolving humanity and life on earth. Elizabeth’s life has been a journey of heart-encompassing art, spirituality, ‘ohana, gratitude, and aloha. She continues to lead drum making workshops for all who are inspired. This year’s DrumSpeak Peace Walk is on March 19, 2022 in Kailua-Kona. n All photos courtesy of Elizabeth Theriault

but may tear when stretched across the drum frame making it impossible to complete the drum.

Sometimes a single needle tattoo piercing is called for and sometimes it is fine to use a tattoo machine. Elizabeth says

For more information: drumspeak.org worldpeacerun.org

KeOlaMagazine.com | March - April 2022

45

Mälama Mokupuni: Caring for Our Island Environment

Take These Broken Wings . . .

efforts, skill, and perseverance, but this one concerning the threatened ‘io, Hawai‘i’s only hawk, carries extra poignancy.

Response, Rehabilitation, Release—and Return In June 2020, an orphaned young ‘io was brought to HWC. The bird was uninjured but too young to survive on his own. He started out in the hospital and was gradually introduced to the raptor aviary, where he grew up and learned to fly.

By December, he was mature enough to be ready for release, but still needed to learn how to live and hunt in the wild. The HWC provided a soft release: he was free, but had the support of food provided on what is called a “hacking platform.” After an hour he finally flew off into the forest. Over the next months, staff occasionally spotted him in a nearby

KeOlaMagazine.com | March - April 2022

By Rachel Laderman

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The Hawai‘i Wildlife Center (HWC) is Hawai‘i’s only comprehensive facility for rehabilitating native winged creatures. Linda Elliott, the founder, president, and director, says, “Here we are, the extinction capital of the world. Our state has the majority of the endangered species in the US—around 25%! We built HWC to give injured Hawaiian birds and bats a second chance.” HWC is celebrating its 10th anniversary this year, and has thousands of reasons to be proud.

Since November 2011, HWC has provided medical care to 2,536 winged patients representing more than 40 species and subspecies of native birds and one bat. From their base in Kohala, plus statewide partners and satellite operations on O‘ahu and Lana‘i, HWC serves the entire Hawaiian archipelago. The staff provides emergency response, rehabilitation, and release, as well as research, training, and education.

In its first few years, the nonprofit HWC and partner programs saw 20–30 cases per year. This quickly grew to 20– 30 at a time, and more than 800 patients per year. Ironically, part of the rising case load is due to successful conservation measures. Some of Hawai‘i’s threatened and endangered endemic birds have made a comeback in recent years, but learning to coexist with them in urban settings has brought unique challenges.

Rae Okawa, HWC’s development coordinator, explains that most of the injuries are from human impacts, whether that’s from a run-in with a car, impact with buildings, entanglement in barbed-wire fencing, or from fallout due to bright lights.

“When seabirds fledge, they head out to follow the light of the moon, but if they see other bright lights, they become disoriented and circle these lights until they fall out of the sky from exhaustion,” Rae explains. “Around 75% of the cases we see are related to seabird fallout.”

Injured birds from throughout the main Hawaiian Islands are flown to HWC’s two-acre headquarters in Kapa‘au. The state-of-the-art facility includes an oil-spill wash room, an isolation room, and predator-proof, specifically designed rehabilitation and flight training areas for the five types of fliers: seabirds, forest birds, birds of prey, water birds, and the Hawaiian hoary bat. There is also a retail shop and educational exhibit center. (Sales from the shop directly support the HWC’s operations.)

HWC has many successful rescue stories involving heroic

HWC staff and interns outside the Kohala facility. Left to right: Dr. Juan Guerra, veterinarian and wildlife rehabilitation technician (WRT) manager; Shelby Eisenberg, WRT; Heidi Franz, WRT; Rae Okawa, development coordinator; Marie Tomas, administrative manager; Linda Elliott, president and center director.

Returned ÿio with shot wing. This injury is beyond repair, he will have to live in captivity now.

ÿÖpae ÿula grazing on algae. Their colors can be speckled or banded, and range from clear or white to pink or red, depending on environment. Red is most common On release day, after seven of care, the ÿio on Hawaiÿi Island. photo courtesy Hawaiÿi Department of Land and months Natural Resources hung out on this “hacking” platform for almost an hour, snacking and stretching his wings until finally taking off. He continued to visit the platform and call from nearby trees, working on his independence.

tree. He was living successfully and independently.

Later in 2021, this ‘io again was brought to HWC. One wing was shattered by a pellet gun. “He was doing well being a wild hawk and hunting. Now he can never be released in the wild,” says Rae. Pellet gun injuries in ‘io are a disturbing trend on Hawai‘i Island. Harming an ‘io is against the law. The Hawaiian Islands are the ‘io’s sole home in the world; they only breed on Hawai‘i Island. There have been reports that chicken owners may be shooting ‘io, thinking they are protecting their flock. Like many other species, ‘io are opportunistic. “The easiest meal is the best meal,” says Rae. Rather than shooting the birds, farmers can discourage ‘io by protecting their chicks in a coop and providing nearby shelter. The ‘io will find something easier to eat, such as rats, lizards, even centipedes!

Kōkua Dos and Don’ts •T urn off unnecessary lights and shield bright outdoor lights so they illuminate the ground, not the sky.

•U se wildlife-friendly rodent bait, to avoid poisoning hawks and owls; slow, poisoned rodents make easy prey.

•T o report a bird in need, call Bird and Bat Helpline: 808.884.5000 •F or more information, to donate, or volunteer: hawaiiwildlifecenter.org

All photos courtesy of Hawai‘i Wildlife Center Rachel Laderman, Sustainable Pacific Program Lynker LLC/NOAA Affiliate, Hawaii Island

To keep his feathers in good shape, the HWC staff spritzed them with water. “It was like getting a teenager to take a shower,” says Rae. “This encourages preening, which helps them waterproof their feathers.”

KeOlaMagazine.com | March - April 2022

This orphaned ÿio grew up in the HWC raptor aviary. On the left, he still had his downy juvenile feathers. On the right, he has transitioned into adult plumage.

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Chris Berry

By Sara Stover

F

or Grammy award winner, singer, songwriter, and drum master Chris Berry, the most important lesson in school wasn’t even part of the curriculum—improvisation. Born and raised in Sebastopol, California, Chris was just 12 years old, learning to read music and playing the trumpet in the school’s band, when his teacher pulled him aside.

“One day, Mr. Marmelzat pulled me out of band and challenged me to improvise. To play what I felt and not just what was on the sheet music,” Chris recalls. “It was my first lesson in jazz. In that moment, that teacher changed the trajectory of my entire life.” Mastering improvisation would prove to not only shape his career, but transcend music, enabling Chris to thrive in the face of life’s biggest challenges.

KeOlaMagazine.com | March - April 2022

A Journey to Africa At 14 years old, Chris’s fascination with music led him to study the djembe with Titos Sompa, a founder of the African drum and dance scene on the West Coast. By the time he graduated from high school, Chris was ready to join the drum master on a journey to Africa.

While staying in a

village on the Congo River, the mbira found him. Chris’s focus shifted to playing the African thumb piano, launching him into a study under mbira master Monderek Muchena during the Mugabe Regime.

During this turbulent political period, Chris lived in Zimbabwe, learned to speak Shona fluently, mastered the mbira, and began to create the issue-driven music that he is known for today.

For the Shona people, mbira is a traditional musical instrument made of a wooden board with attached metal tines, as well as a mystical music which has been played for more than a thousand years. While engaged in the polyrhythmic harmonies of mbira ceremonies, Chris found his voice.

His teachers took notice, nudging him out of the role of student and into a new chapter as a musical composer and multi-instrumentalist. Not long after that, Chris formed Panjea, a band fusing funk with Afro-pop, classic African music, and hip-hop.

Once Panjea’s songs hit the airwaves, they shot to number one on the charts, and tours across Africa followed. Around the time Panjea’s popularity was reaching an all-time high, Chris was instructed to take his music out to the world.

“A gift is waiting for you in the land of fire and water,” a nganga (shaman) told

48 While living in Zimbabwe, Chris Berry began to create the issue-driven music that he is known for today.

Mastering Improvisation in the Land of Fire and Water him. So, when his lyrical opposition to the government resulted in attempts on his life, Chris knew it was time to improvise once more.

The Land of Fire and Water After nearly a decade in Zimbabwe, Chris left to share his uplifting, Afro-infused content with the world. His travels brought him from Taiwan to New York, and to Sydney, Australia, where he performed at the 2000 Olympics.

When he wasn’t touring the globe, Chris taught music and culture as a guest faculty member at Berklee College of Music, Stanford University, and a few other schools. Although Chris was taking his music to the world, it wasn’t until he traveled to Hawai‘i for a show that he discovered the gift of which the nganga spoke.

As he boarded the plane for O‘ahu, Chris shared a post on Facebook about looking for land for a music retreat center.

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49 “Music can help us process our feelings in a healthy way if we have an open ear and open heart,” says Chris.

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with a Hawaiian named Puna. We collaborated to create art and music.

Flow Fest grew out of this shared respect and learning!” Chris exclaims.

A conscious music, cultural, and sustainability festival, the event has been held nearly every year since 2014. After the pandemic and volcanic activity that defined the past few years, this year’s festival is further proof of what Chris has known all along: “Music can help us process our feelings in a healthy way if we have an open ear and open heart.

This is what I hope to instill in the Bana Kuma kids,” Chris says of his current role teaching the Bana Kuma Orchestra After nearly a decade in Zimbabwe, Chris left to share his uplifting music with the world, and found a gift waiting for him in the which shows its students how music can help anyone, whether they want to shift land of fire and water. out of unhealthy states of being or heal from the devastation of all that was lost in the 2018 Kīlauea He didn’t specify where, nor did he have a specific location in eruption. mind.

“Then, on the flight over, I saw a video of lava flowing into Evacuating Hawai‘i the ocean,” he recalls of his first sense that Hawai‘i Island Lava splatters light up the sky and an active ‘a‘ā flow spreads was a spiritual and special place. “By the time I landed, I had into Chris’s backyard while he sings “As the smoke rises from a reply on Facebook from the couple that was picking me up our burning home, I understand this land I never owned.” at the airport. They wanted to gift me 18 acres on the Big Island!”

Driven by a vision to return to the roots of music, Chris established his Music Retreat Center in Pāhoa in 2009, and has called the Puna district home ever since.

“Before music was entertainment, music was therapy. In other cultures, it is still healing. That’s the model I bring to my retreat center and now my master classes,” says Chris of a mission nurtured by his years living in Africa after the apartheid.

“I wanted to be part of healing the broken relationship between the indigenous people of Africa and the rest of the world by embracing their music, since music is a vehicle for decolonization. Now I’m doing that on Hawai‘i Island. And it all goes back to Mr. M!” Chris’s commitment to embracing Hawaiian music has resulted in a cherished friendship and a festival to enhance harmony in the community.

A conscious music, cultural, and sustainability festival held in the Puna district each year, Flow Fest grew out “At Uncle Robert’s Awa Bar, I became best friends of a musical collaboration with Chris’s best friend, Puna.

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Chris alchemized the grief of losing his family’s home to the lava in 2018 by writing honest, moving songs.

Bringing a Legend to Life “The phrase Bana Kuma refers to the process of turning thoughts into reality. Bana Kuma is a university of creative thought,” says Chris, whose goal is to give back by helping youth develop a passion for music. “I want them to have FUN and experience music as unifying. They are learning to create, not regurgitate. I’m just giving them the tools to be creative.”

The university makes music accessible to children from kindergarten through 12th grade, using instruments like the marimba and ‘ukulele, as well as singing and dancing.

“To play together, the kids have to listen to each other. It’s a potent exercise in balancing expressing themselves and listening to others in the orchestra, and it translates to life beyond music,” Chris explains. “They’re better communicators on the playground and at school.”

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The song “Pele’s Way” was written during the 2018 eruption, when Fissure 17 opened up and a river of fire took the Berry family’s home, burning it to the ground. Throughout the song’s video, Chris allows his fans to walk with him while he processes losing the land and the retreat center, his promised gift, to the lava. When evacuations became necessary, Chris retreated to his Albuquerque, New Mexico studio, where he let go. In turn, the music began to flow.

In December 2019, Chris returned to his home on Hawai‘i Island, bringing some of the most meaningful music he’s ever composed back to a community striving to start over.

“We returned to find the landscape stripped bare and transformed. Miraculously, our original house survived,” Chris shares. “We lost our main home, retreat center, meditation space, Hawaiian Hale, and all of our farm animals, but our original spirit house is still standing, and we feel deep gratitude for all that we still have.”

With honest, moving lyrics, Chris alchemized grief into positivity, finding beauty as “the new is born while the old is burnt down,” and celebrating the chance to start anew. Within a few months of his return, however, the pandemic shut down Chris’s touring schedule.

“When that happened, I went inward, reanalyzed, and improvised,” says Chris of his decision to give back the encouragement that had flowed from his own teachers and masters over the years. “I developed a curriculum and started Bana Kuma University. And it changed my life!”

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Chris’s goal is to give back by helping Hawaiÿi Island’s youth develop a passion for music.

KeOlaMagazine.com | March - April 2022

The young members of the Bana Kuma Orchestra are also learning to bring the legend of Yauna to life. “Yauna is a man who goes on a quest to reunite with his family. It’s a story full of lessons about forgiveness, and choosing love over war,” says Chris of the fable that came to him while he was in Zimbabwe.

“The kids are working very hard to write the music and lyrics over 12 Monday night sessions and even performed four pieces at this year’s Flow Festival.”

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Living in the Land of Creativity While many refer to Chris as a master drummer, he insists that he is still a student.

“I may be a teacher, but I’m still learning.

Learning has no end!” says the father of three, who intends to continue encouraging youth by hosting a music camp and recording an album with the Bana Kuma keiki.

As for the gift that brought him to the island in the first place, Chris is no longer lamenting its loss. “The land for the center was taken back

by Pele, but a new gift takes its place. The new land is the gift,” Chris points out. “I look at that new land every day. I’m teaching in it. I’m living it, here in the land of creativity.” n All photos courtesy of Chris Berry For more information: chrisberrymusic.org

Featured Cover Photographer: C J Kale CJ Kale grew up on the Waianae Coast of O‘ahu and has lived on Hawai‘i Island more than 25 years. His early years were spent on the water, as a surfer and competitive swimmer.

Those skills served him well when he joined the Navy and became a rescue swimmer.

CJ shares, “My mom turned me onto photography at a young age. I did it as a hobby for years, using film. I joined the Navy and traveled with my camera. Later, I got stationed back in Hawai‘i at Barbers Point Naval Air Station, 15 minutes from my hometown. After meeting Amanda, now my wife, we decided to move to Kona and start photographing the Big Island. Shooting the volcano was my passion, but I crewed on boats as well, so I could photograph whales, dolphins, turtles, sharks, and other marine life. During the day I was on the water, at night I was at the volcano, and during sunrise and sunsets, I was all over the island.” Over time, he became a master photographer.

CJ studies photography, and dreams about the shots he wants to capture. He does the preparation necessary to make those dreams come true and then he calmly stands, often on the edge of calamity, and gets the shot, now mostly shooting with a digital camera. He says, “The natural beauty of the Hawaiian Islands is all the inspiration I need, but I have found in my travels around the world that inspiration is everywhere if you look.”

Regarding Waipi‘o Solstice Glow, the photo on this issueʼs cover, CJ says, “It was one of the most beautiful sunrises that I have ever had the pleasure of witnessing in the beautiful Waipi‘o Valley. The black sands make for the most beautiful reflections.”

An award winning photographer, CJʼs photos have won numerous contests, his photos have been hung in the Smithsonian Museum, heʼs earned the cover of National Geographic and numerous other magazines, including Outdoor Photography. His photos have also been featured in books and advertisements.

CJ and his friend Nick Selway were the first two to shoot a “lava wave” in 2010. They jumped into the sizzling hot ocean water next to the lava flow and took photos down the tunnels of crashing waves. Those lava wave shots earned them worldwide notoriety and an appearance on The Today Show.

Heʼs also been a guest on other television shows, everything from local productions to Galileo, a German television show.

Along with partners Don and Linda Hurzeler, CJ co-owns

Lava Light Galleries at the Queensʼ MarketPlace in Waikoloa, which he dreams of continuing for years to come. He and Amanda have two children and live in Kailua-Kona.

He jokingly reflects, “I do not need much, just the love of my family, light to photograph by, and the support of my customers to keep me from getting a real job.”

“I hope everyone enjoys the beauty of our natural world and takes the time to get out and explore it. You might be surprised at the things you experience out there.”

For more information: lavalightgalleries.com

Table of Contents Photographer:

Tina Clothier

Tina Clothier first became interested in photography while traveling in Bhutan in 2006. Armed with her point and shoot camera, she tried to capture that life-changing experience through photos. From that time on, sheʼs been hooked on photography! Throughout the 42 years sheʼs lived in KailuaKona, her interest has grown to include night photography, especially of the Milky Way. Hawai‘i Island’s dark skies make it an ideal place for astrophotography and for exploring the heavens. Tina is grateful to live in a place that offers some of the best stargazing in the world, as well as incredible sunrises, and sunsets. Since she retired from the business world in 2020, Tina has been focusing all her attention on shooting her favorite scenes.

For more information: konatina.com

Big Island Perennial Peanut

KeOlaMagazine.com | March - April 2022

Talk Story with an Advertiser

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Finally, a sustainable groundcover that offers beauty and ease at one-third the price of grass!

Big Island Perennial Peanut (BIPP) offers Arachis pintoi, also known as Golden Glory, a regenerative and drought tolerant groundcover in the legume family that is nitrogen-fixing, builds up soil nutrients as it self-mulches, and never needs to be mowed! Regardless if a homeowner is in the city or a large farm with grazing animals, perennial peanut nurtures all plantings in a symbiotic relationship.

The roots of BIPP began when Michelle McClellan met Raven Garlock and Isaac Becker-Gonzalez in August 2020, during a visit at Garden of Eden homestead, where Michelle and Milo Bickmore both live and farm. As is so common on Hawai‘i Island, Garden of Eden in Kapoho had mostly ‘a‘ā lava and extremely limited soil. The drought-stressed fruit trees and ornamentals, and the various grasses that made up a groundcover, looked brown, dead, and offered minimal protection and nutrients to plants.

When Michelle was introduced to the perennial peanut at a neighbor’s home, she noticed the compatibility of the lush, dense mat around the fruit trees—the trees were thriving and the beautiful deep-green clover groundcover with yellow flowers was exceptionally lovely! She soon learned the many beneficial qualities of the so-called peanut plant, and was blessed when another neighbor gifted them with a bag of stolons (cuttings with small roots that are ready to plant).

Enter Raven and Isaac. Michelle recalls, “They enjoyed nurturing the ‘āina and began assisting me with planting perennial peanut at our homestead. Within a few months, we became a team with a shared goal to replace the weedy-grass with a sustainable groundcover. To support our venture, Raven posted Big Island Perennial Peanut signs throughout our area and our newest team member, Ridge, now takes our plants to farmers’ markets.”

Michelle shares, “Customers are excited by the peanut because it never needs to be mowed, fertilized, re-seeded, or weeded after establishment. We also share our propagation method so our clients can easily replicate what we have accomplished once their peanut is established. The plants feature yellow flowers that flourish from February to October. People love to walk barefoot or play on it with their pets.

Homesteads with grazing animals such as chickens, ducks, sheep, cattle, and even horses appreciate the peanut as forage or fodder crop, which mitigates financial costs even more.”

Perennial Peanut comes in one-gallon pots with an established root-ball, in addition to stolons. Readers are invited to visit Garden of Eden Homestead to see the abundance of companion plantings with fruit trees, bananas, pineapples, ornamentals, and ancient mango trees.

Big Island Perennial Peanut, Kapoho 808.345.9705 Facebook.com/bigislandperennialpeanut

Tiger Shark Nutcracker Island Treasures

Jim Harrold, Woodworking Originals LLC Kailua-Kona 515.422.4321 mancavewoodworking.com

KeOlaMagazine.com | March - April 2022

Love for a place can express itself in many ways, depending on one’s interests, experience, and talents. Jim Harrold feels fortunate that his 35 years in woodworking allows him to design and build original wood products that dovetail nicely with those items that reflect his adopted home of Hawai‘i; namely, macadamia nuts, handcrafted beers, and coffee.

Tiger Shark Nutcracker, one such product, combines three familiar elements of Hawai‘i Island: the revered tiger shark, macadamia nuts, and rare and beautiful koa wood. The wavelike edges of the nutcracker box provide an appropriate setting for the stainless-steel shark to bite and crack open a tasty, heart-healthy nut. Decorative and strong box joints at the corners ensure a lifetime of enjoyment. But what good is the nutcracker without a reliable source of mac nuts? In addition to the one-pound bag of nuts that come with your order, you’ll also receive information for resupplying your nutcracker with one-pound, two-pound, five-pound bags and more.

Jimʼs most recent design is an ‘Ukulele Beer Flight Server, because, as he says, “quality craft beers deserve a wellcrafted sample server.” This signature design draws its shape and length from the soprano ‘ukulele, the most popular instrument in the islands. Jim says, “The server is music to your beers.” Made from koa, it features a fretboard and realistic hardware in the guitar’s head.

Four cork-lined recesses each hold one-ounce taster cups, which come with the ‘ukulele, along with a custom placemat for evaluating brew samples.

A third design, Jimʼs vintage side-cranking coffee mill, takes you back in time. The grinding mechanism sits atop a sturdy splined koa box, complete with a removable drawer that contains the fresh grounds that you pour into your coffee maker.

Jimʼs products come with reasonable price tags, considering the materials and time it takes him to handcraft each one. His knowledge stems from his careers as an executive editor and writer for Better Homes & Gardensʼ WOOD Magazine and as the editor of Woodcraft Magazine. At Woodcraft, he worked with and learned from top craftsmen in the United States.

Jim has resided in Kona since 2015. He says, “I continue to imagine and make Hawaiian-themed originals with the Big Island always gentle on my mind.”

For more on Jimʼs products, including his magnetic beer bottle and surfboard bottle openers, and other designs, visit his website.

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KeOlaMagazine.com | March - April 2022

From Our Readers (continued from page 7)

UA MAU KE EA O KA ‘ÄINA I KA PONO. The life of the land is perpetuated in righteousness.

[Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the Hawai‘i state motto.

Publisher, Editor Barbara Garcia, 808.329.1711 x1, Barb@KeOlaMagazine.com

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Here in Hawai‘i how blessed are the first people of the Pacific for mankind that by our Ancestors of the Light of Kamakahonu, we hear from Most High God for the benefit of ‘Ōiwi, the planet and all life upon the planet!

How blessed are the first people of the Pacific for mankind that Kamakahonu is the Kapitala Mua (First Capital of Hawai‘i) unified by Kamehameha-the-Great.

How blessed are the first people of the Pacific for mankind

by Akua Manamana loa that, today, Kamakahonu is the Capital of the Restored Kingdom of Hawai‘i by Ali‘i Nui Mo‘i Edmund K. Silva, Jr. Lamakū Mikahala Roy Nā Māmaka o Ka Lama Ahu‘ena Heiau Kamakahonu, Hawai‘i HM Edmund K. Silva, Jr. PhD Kingdom of Hawai‘i Nou Ke Akua Ke Aupuni O Hawai‘i ________________________________

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Hyperbaric Oxygen Therapy Promote Your Recovery

THERE COMES A POINT in every doctor’s life that his or and satellite cell activation. Both animal and human hyperbaric her own health is in jeopardy and they ask themselves how oxygen research studies show significant reduction of injury to remedy the situation. What would they advise a patient in healing time. Repetitive exposure to hyperbarics has been the same circumstances? I would like to share an experience shown to improve efficiency of cell function and cellular energy about my own journey through an injury. As I am writing this pathways, thus reducing the likelihood of excessive adhesion/ article about the benefits of hyperbaric oxygen therapy, I too scar tissue formation and chronic issues within injured areas. am experiencing the humongous benefits of hyperbaric oxygen as I have seen my wounds, bone trauma, and hematomas heal Q: What is hyperbaric oxygen therapy? at a significant accelerated rate that are the result of a bicycle A: A person is placed in a chamber which atmospheric crash at 37 mph that occurred along pressure is increased to above 1.5 the Hamakua Coast. Reflecting after the atmospheres, and oxygen levels are accident and contemplating the “what managed. Oxygen molecules dissolve ifs”, I realized that I was in a real pickle! deeper into the body by increased After having my wounds scrubbed out atmospheric pressure. Increased levels and properly bandaged at the ER, I of oxygen are detected within areas that have been able to experience at an were previously compromised. accelerated rate the reduction of swelling, pain, inflammation, and mitigation of Q: Is hyperbaric oxygen therapy safe? infection by utilizing hyperbaric oxygen A: Yes. Hyperbaric Oxygen Therapy treatments with specific established has demonstrated an impeccable safety protocols for wound healing that I teach history over the past several decades other practitioners in the classroom and when performed by a doctor and staff practicum experience. certified by Undersea and Hyperbaric What would have been considered Medical Society. The chambers utilized a normal rate of healing without should also be FDA/ASME certified and hyperbarics for the massive bruising, undergo regular scheduled maintenance.

LOREM IPSUM AMEN bone trauma and road rash to heal, instead I have been able to experience Q: What are some other observed significant acceleration of healing and effects of hyperbarics in the body? pain reduction with the use of hyperbaric A: Studies show angiogenesis (growth oxygen treatments. What would have been months has instead of new blood vessels), neurogenesis (growth of nerves), taken only a few weeks to heal. I have been able to return back neuroplasticity, increased stem cell proliferation, and increased to activities that I enjoy and duties that are expected of me cognitive function. on a daily basis much sooner. With the bone and soft tissues mended this way, the possibility of infection and long-term IF YOU WOULD LIKE TO EXPERIENCE THE POSITIVE EFFECTS chronicity effects were eliminated. of hyperbarics, contact Dr. Mizuba to see how this may benefit you.

How was this all possible? Hyperbaric Oxygen Therapy Dr. Mizuba is a diplomate of the American Chiropractic Board of provides increased level of oxygen to the damaged and sick Sports Physicians, a member of Undersea and Hyperbaric Medical cells or tissues, while decreasing the inflammatory process Society, board-certified in hyperbaric oxygen therapy level lll and gently and effectively. Furthermore, research has shown that hyperbarics safety director certified. He teaches hyperbaric safety the increased atmospheric pressures of above 2 atmospheres operations and compliance internationally. Dr. Mizuba continues increases oxygen saturation which then increases stem cell to serve as a staff doctor for the USGA each summer and in the proliferation by 800-1000%. Furthermore, it includes analgesic healthcare system of Major League Baseball. and cytokine reduction.

To summarize, hyperbaric oxygen applied to, whether it be acute or chronic situations, oxygenates muscle, bone, nerve This sponsored content is courtesy of The O2 Lab/Dr. E.S. Mizuba, D.C., and other tissues in the body, and exhibits accelerated rates of DACBSP, CHT, CSD, located at 65-1206 Mamalahoa Hwy. in Waimea. regeneration of damaged body tissues via stem cell proliferation For more information visit www.drmizuba.com or call 808.491.2462.

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“Aci sinciis endaeseque nisquunto quis esequis ea ipiciist aute est”

KeOlaMagazine.com | March - April 2022

Award Winning Realtor® Celebrating 18+ Years in West Hawaii!

KeOlaMagazine.com | March - April 2022

KONA | HOLUALOA | KEAUHOU | SOUTH KONA

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Kelly Shaw 808.960.4636 Realtor Broker, R(B )-21516 ABR, e-Pro, CRS, GRI, CLHMS kelly.shaw@compass.com buyahomeinkona.com

73-1325 NAWAHIE LOOP KAILUA KONA, HAWAII

73-1980 KALOKO DRIVE KAILUA KONA, HAWAII

3 Bed | 2 Bath | 1,640 sq ft home on 10,397 sf lot $925,000 | MLS 656831

3 Bed | 3 Bath | 2,264 sq ft home on 10.5 acre lot $1,600,000 | MLS 657312

Meticulous single level home in Keahole Heights, located at comfortable elevation in North Kona.

Light-filled open floor plan with updated features including a well designed kitchen with stainless steel appliances, granite countertops and large pantry. Huge primary bedroom with walk-in closet & attached bath. Lovely tropical gardens surround the home, giving it a sense of privacy and tranquility.

Spacious, secluded multi-level home on over 10 acres of wooded forest, yet surrounded by wellmanicured terraced gardens. Several decks for bird-watching, stargazing and enjoying the natural beauty of Hawaii. Two of the three bedrooms w/ attached baths offer ocean views & direct access to decks. Well designed ‘out building’ sits adjacent to the main house - perfect for an artist studio or craft room.

“Kelly helped us find a home that we love, in a very challenging market. We purchased the home from the mainland, and Kelly was exceptionally helpful, prompt and responsive throughout the entire process. She showed us a ton of homes throughout our search and was very patient with us. She found the house that we purchased before it hit the market, which allowed us to make an offer quickly and secure the home. We will use Kelly for an future home purchase or sale on the island, and would recommend her to anyone!” - Zillow review Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only.

Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. No statement is made as to the accuracy of any description. All measurements and square footages are approximate. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage.