Maui: Summer 2015

“The Life” Ce l e b ra t i n g t h e a r t s, c u lt u re, a n d sust a in a bilit y o f t h e H a wa iia n Isla nds

M A U I • M O L O K A‘I • L A N A‘I

KAU WELA (SUMMER) 2015

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ALOHA TO OUR READERS The changes you are about to see in this issue all started with a call from one of Ke Ola’s writers, who is also a good friend of mine.

Shortly afterwards, I had a cup of coffee with the publisher, Barbara Garcia, and I was instantly swept off my feet! I fell head over heels in love with Ke Ola and the potential it can offer our community, especially after seeing the original Hawai`i Island edition! Little did I know what I was about to embark on! It has been a thrilling three months working with our incredible editor, Debra Lordan, and extended network of freelancers, supporters and friends of Ke Ola’s Maui County edition who have created it for the past two years. Now in its third year, it is my esteemed pleasure to present our first Summer issue, redesigned by Maui’s own Daryl Fujiwara.

I promise to continue to share the beauty and culture of our islands.

I will strive to create Maui County’s best resource for businesses, residents and visitors who have a deep connection to our home.

Please enjoy our seasonal publications, share our stories with your friends and please share yours with us. We love your interaction online via Facebook, Twitter and Instagram and are looking forward to seeing you there!

Me ke aloha (With Aloha), AIMEE PARADISE Associate Publisher

C O N T E N T S

19 24

5 SPIRIT

Eö E Höküle‘a

6 ART

19 HEALTH

Healing Ourselves, Healing Our Home

Honoring the Generations COVER STORY

20 HOME

12 PEOPLE

24 WEDDINGS & CELEBRATIONS

The Missionary Doctor Who Saved Maui

Maui Film Makers Bring Enlightenment to the Let Your Love Grow Silver Screen

16 TALK STORY WITH AN ADVERTISER

Kä‘anapali Beach Hotel

Cover courtesy: Hilary Hacker, 808 Urban

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Summer 2015

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“The Life”

M A M o

Cel ebrati ng the a r ts, cul ture, a nd susta i nabi l i t y of the Hawa iia n Isla nds

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Sept 10, 7:30 pm The Life and Music of John Kamealoha Almeida

Maui County Edition Kau Wela (Summer) 2015 • Publisher | Barbara Garcia Bowman barb@keolamagazine.com Associate Publisher | Aimee Paradise aimee@keolamagazine.com Editor | Debra Lordan mceditor@keolamagazine.com Subscriptions | Sharon Bowling subscribe@keolamagazine.com Graphic Design | Daryl Fujiwara Ambassadors | Amorah St. John, Shelley Maddigan Advertising Sales | 808.442.3244 maui@keolamagazine.com • Ke Ola is printed on recycled paper with soy-based inks.

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SPIRIT Pa mai ka makani Pu‘ulena Hiki mai ka la ha‘aheo A hiki pu me nā A‘a Ea nā me‘e o ke kai Nā me‘e kaulana o ka Pākīpika Ua ho‘i mai E lohe kākou ka nuhou Ua ho‘i mai nā kama Ku aku i ka home me ka lanakila Oli e, oli e o Hawai‘i E ulu, E ola mau Nā hana a pau o Hōkūle‘a

The Pu‘ulena wind blows As the victorious day arrives With the flocking A‘a birds Here are the heroes of the ocean The famous heroes of the Pacific Have returned We listen to the news The children have returned Proudly to their home Rejoice, rejoice Hawai‘i Let it grow, let it live forever All the works of Hōkūle‘a

EÖ E HÖKÜLE‘A

N A K U M U K E L I‘I T A U‘A

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© 2014 Polynesian Voyaging Society and ‘Öiwi TV. Photographer: Kaipo Kïaha

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Honoring the Generations

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ART

> LÄNA‘I MURAL PAYS

TRIBUTE TO THE PAST AND TO THE FUTURE B Y J O A N A VA R AW A

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The principal volunteers are honored at the unveiling of the mural: (left to right) Anthony Ka`auamo Pacheco, John “Prime” Hina, Kaimi Kalaola, Arieta Hina, Laetitia Mahoney, Kanoa Castro, Michelle Fujie, Simon Seisho Tajiri, Kealoha Kahananui, Keri Manuel, Derec Kahananui and Erryel Tolentino.

he mural is astonishingly beautiful. Born as an idea in the mind of middle school math teacher Michelle Fujie, creating Ke Ali‘i Ka ‘Āina – The Land Is Chief seemed an impossible task. Yet through the vision and cooperative effort of many, this impossible task was completed in twoand-a-half months.

From the sophistication of graffiti artists working with O‘ahu’s 808Urban, to the nuts-and-bolts organizing effort of Michelle, her students and community volunteers, a huge blank wall on the north side of the Lāna‘i High and Elementary School gym has been transformed into a brilliant depiction of the history of the island—its myths, stories, heroes and real people.

Arching through the colors of the rainbow from east to west, from dawn to dusk, the mural begins with the unassuming petroglyph of a small dog, reaching into the sky with the flying figures of the island’s legendary bird men, touching the heavens, where the constellation of the whale is accompanied by a humpback whale and a diver. It travels through a field of symbolic pineapple crowns, to the hope for the future, as symbolized by a glowing “cosmic” butterfly in the hands of a young girl.

Michelle first thought of having her students paint a 9-by-12-foot mural on her middle school math classroom as a tribute to the memory of her beloved grandmother, Helen Fujie. Paging through her scrapbook devoted to her grandmother’s accomplishments, Michelle remembered Helen’s lifelong devotion to the arts, and realized that a mural would be both a fitting tribute to her grandmother and a way that her seniors could leave their impression on the school.

However, from an idea to a finished work is a long and difficult journey—in this case, marred by missed shipments of paint, heavy rain that turned the turf at the base of the wall into slushy mud that could not support the lift, and ongoing confusion as to what exactly the mural would look like.

Michele took her students to wahi pana (sacred places) accompanied by stories and remembered names. Sometimes the weather wouldn’t let them follow their original destination, so they changed directions. From one day came the inspiration to include petroglyphs, and the memory of the sharp wind and wild grasses at Pōʻaīwa.

They turned southwest and followed the rocky, bumpy trail down into Kaunolū and its heiau and more petroglyphs, foaming tide pools and transparent water. While they traveled, they learned the stories about those places and began to find a connection to their island. It was not only art that was involved; it was becoming ma‘a (knowing thoroughly) to that place. They drew pictures of things that were interesting—fish, diving, eating by sea in the moonlight, baskets of fish and taro; their sustenance.

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The mural slowly unfolded in the minds of everyone who thought about it, and began to take shape on paper.

This was not merely a dreamscape—a way to envision a work of art that would tell the story of their island—it was material.

Paint, brushes, containers, safety equipment and ladders had to be bought, picked up, carried, stacked. Equipment had to be found; volunteers gathered to paint and help. A whole complex of actions and motions—get the paint from the harbor, make sure about the lift, check the weather, pick up the artists from O‘ahu, copy the release forms….

Early on, Michelle had called John "Prime" Hina from 808Urban, an O‘ahu neighbor-centered arts organization of “graffiti” artists who had taken their outlaw art and tamed it in murals around the city.

The urge to leave your mark is strong in humans. There are correlations between spray-can graffiti and petroglyphs—each made by someone passing by who wishes to leave the memory of their travels behind. For centuries, it was boulders and rock walls— now it is freeway underpasses.

But graffiti is rejected as a form of art, so these artists of spray-can and large vision had formed 808Urban, with a mission to catalyze and assist neighborhoods in creating their own murals

This was not merely a dreamscape—a way to envision a work of art that would tell the story of their island—it was material.

This photo shows the entire Pedro de la Cruz Gym and the recently completed mural that honors the history, sacred places, mythic and real people that inspire this generation.

the community, and its progress became a daily event of interest as this crazy, impossible project took form.

Crises occurred. The weather was not helpful, heavy rain turned the ground under the wall soft and unreliable. The lift got mired in the mud; had to be hauled out; the ground could not support its weight.

There was a tight schedule because the painting had to be finished

by January 10. There was only a one-week winter break when the students would be free to paint and help. The artists from O‘ahu had to be supported, transported, fed, welcomed and housed. People got to know one another, worked together, friendships formed, knowledge was transferred and the beauty of the island experienced.

When Prime talks about the mural, he talks about Lāna‘i and what it meant for him to come here from O‘ahu.

“Lāna‘i,” he said, “where people wave at one another and know your name, something long gone out of the life on O‘ahu. Working on the mural gave us the chance to know the stories; but not only the stories, the places, and to also know each other. It was interesting, just how much the students know and how much they didn’t know.”

For many young people on Lāna‘i, buried in their iPhones and preoccupations, the island is a background to daily life devoted to a repetitions routine. Flying birdmen and even the rattle and roar of pineapple trucks down at Kaumālapaʻu are as remote as the moon.

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and delving yet deeper into their local history, rather than leaving a simple signature sprawled across a wall.

Michelle told Prime her story—her ambition to paint a mural on her classroom wall as a tribute to the memory of her grandmother, Helen. She had no money, but sent $50 as a donation. She also sent a photo of her classroom, and looming behind it was the blank wall of the gym.

“What’s that wall?” asked Prime.

In that instant, the project took a lurch and shifted into what was accomplished some 10 weeks later—a 3,000-square-foot mural glorifying the island’s history and welcoming its future.

Michelle’s middle school math students measured the wall, using the skills they learned. Sketches of ideas to include in the finished painting were pinned to the classroom walls, and students and volunteers held workshops to explore the concepts and places that would be illustrated.

Their ideas were given to Wendell Kaho‘ohalahala, an island artist, to combine in a master sketch, which was then projected full-size onto the wall and dots painted to define the lines in the drawing—a process not so different from the one that Michelangelo used when painting the Sistine Ceiling. Michelangelo had the support of the church; the Lāna‘i mural had the support of almost everyone in

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The moon, too, is rarely noticed in their daily lives, but she centers the mural and her rays extend to the horizon. Getting ma‘a (familiar) to not only places on Lāna‘i, but also the actual heavens, was certainly a learning experience.

It was messy, it was fun, it was scary and it took concentration and focus. Kids painted light blue waves for hours, tending paintbrushes, keeping them clean. There were conversations at the wall while working, and some places a deep silence reigned, marred only by the sound of a passing truck or plane.

Something happens when one paints—mind comes together with eye and is absorbed. It’s calming, and the atmosphere around the wall when people were working was quiet and settled.

Very slowly, the colors emerged and the vision took form. Here is Maunalei, the valley where taro flourished, the place of the yearround stream flowing to the sea to nourish the reef that sheltered small fish floating in the surge. Maunalei is crowned by the moon, with rays extended into the colors of the rainbow.

In the east with the sunrise, men with the perfect wings of great birds soar into the sky.

Above them is Kaululā‘au, who drove the spirits off the island and made the land safe for settlement. He holds an ʻulu, a breadfruit, a generator of growth, of food, of life. The whales are with him, the one in the sky that guides the navigators, and the one of flesh that brightens the deep with his breaching. A diver is there, and as the rainbow arcs to the west in the orange and yellow of the setting sun, two kids ride their bikes in the pineapple fields. A family is sitting on the beach in the moonlight.

There is a fire and food cooking; and it will soon be time to sleep.

Then to the west, larger than any of the mythic, historic people, is a young girl wearing a pink shirt. She is looking down at her hands holding a brilliant purple and green butterfly.

The girl completes the symbolism, from the inspiration of the grandmother, through the granddaughter, to the great granddaughter, the lineage continues. Life is born and reborn, and there will be time for other stories and other heroes and new legends.

How the mural evolved, and what it finally came to be is the work of many, many hands.

Each gave what they had to give, and each can look up at the big wall of the Pedro de la Cruz Lāna‘i High and Elementary gym and be proud.■ Contact writer Joana Varawa:

joanavarawa@gmail.com

Life is born and reborn, and there will be time for other stories and other heroes and new legends.

TL: The gym is named after Musashi de la Cruz’s (standing) grandfather, Pedro de la Cruz, union leader and the first state legislator elected from Läna`i.

Jessie Velasquez is pictured here on the ladder.

TR: A group works to complete the mural days before the deadline (left to right): Kayla Medeiros, Samantha Padron, Hilary Hacker, Kaohulani Hanog, Jessie Velasquez, Hi`ilani Mano, Kamele Mano and Bryssen Seghorn.

M: Meyah touches the painted butterfly that symbolizes the renewal of generations.

B: The Mano sisters, H`ilani and Kamele, share their love of the island while painting the waves they’ve known growing up on Läna`i.

PEOPLE

Maui Filmmakers Bring Enlightenment to the Silver Screen

> TOM VENDETTI AND ROBERT STONE RAISE AWARENESS OF THE SACRED IN EVERYDAY LIFE. B y C i n d y S c h u m a c h e r

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utual respect and high regard for each other is the foundation of the long-term working partnership between independent Maui filmmakers Dr. Tom Vendetti and Robert C. Stone. Traveling together around the globe, they have co-produced seven films that have gone on to air on the Public Broadcasting System, PBS. Several are Emmy Award nominees and winners.

The impact of their work has been profound. Through telling simple stories that open the heart and emotions, they have raised our awareness of the sacred in everyday life. They are, in fact, great contributors to peace on the planet.

The synergy of Tom and Robert has changed the world in many ways. Working together since 1997, they are on the same page when it comes to the preservation of culture and the environment. Individually and jointly, with the use of stunning cinematography, they bring consciousness of our common humanity to a new height.

“We simply want to make a positive difference that will help all of

us,” they agreed, noting that video is a powerful medium to educate, inform, create, bring change or raise funds.

“Robert is a very conscious and sweet human being,” said Tom, “and I’m honored to call him my friend. In addition, he is the best cameraman and editor on Maui.”

“Tom always has great ideas for films,” said Robert. “For example, as a psychologist and services director at Maui Mental Health Kokua, he has always been interested in the concept of happiness. This led us to co-produce “Bhutan: Taking the Middle Path to Happiness” in 2007.

The film, about the path that balances the needs of man with nature to ensure happiness, earned Tom an Emmy Award for “Best Historic/ Cultural Program” in 2010,” Robert noted.

ANGKOR WAT INTERNATIONAL FILM FESTIVAL

Passionate about making and promoting documentary programs that lead to social change, Tom, with Robert as technical coordinator,

founded the Angkor Wat International Film Festival. Sponsored by the Sofitel Angkor Phokeethra Golf and Spa Resort in Siem Reap, the festival debuted February 2012. It has become a highly anticipated annual event among Cambodians and worldwide visitors.

The 2015 film festival held February 27 through March 1 premiered Tom and Robert’s latest collaboration, “The Quietest Place on Earth.”

Recently picked up by PBS affiliates across the U.S., the film shows how the stillness of Haleakalā Crater enhances the sanctity of spirituality and wellness.

The festival included 38 other films from around the world.

“We just completed our fourth Angkor Wat International Film Festival, which has evolved each year to a new level of interaction with the Cambodia community,” said Robert. “The first year, we were brand new and just to pull it off was a major accomplishment.”

“The second year,” he said, “we added a young filmmaker workshop to showcase local student films, providing a life-changing experience for them. The third year, we went 3D, carting special projectors and screens to Siem Reap to give the local people and children the experience of 3D films.”

This year, Tom and Robert took Keola and Moanalani Beamer to perform an opening night concert at the film festival. To the delight of the Cambodians, Keola and Moanalani taught hula and presented a slack key workshop.

“The Beamers were so touched by the experience that they plan to return next year with donated ‘ukulele and classes to teach the youth how to play,” Robert said. “One of our goals was to increase the attendance of locals and children by a significant amount—which we accomplished.”

“In addition,” he said, “we presented select Cambodian and international films free to local people, and we held filmmaker panels on a variety of topics about digital cinema and other cutting-edge talks.”

SIEM REAP

Siem Reap in northwestern Cambodia is the gateway to the Angkor temples. Built in the early 12th century, the temples are a testament to the majesty of an ancient civilization preserved in stone.

“Considered the most popular tourist attraction in Cambodia, Siem Reap represents the endeavor to preserve culture and environment through ecotourism,” said Tom, noting that extraordinary Angkor Wat is surrounded by a thousand-year-old moat and includes some 1,000 temples.

“The Cambodians, a gentle and loving people, want to get back to their ancient identity,” he added. “After devastating war, they are rebuilding their lives and country with strength and bravado. They have such a beautiful culture and rich tradition to offer the world.”

MAUI-CAMBODIA CONNECTION

The Angkor Wat Film Festival, a celebration of global harmony, was created through a unique relationship between Cambodia and Maui.

“The Maui-Cambodia connection began several years ago when Sam Khong, an expatriate Cambodian living on Maui, was receiving treatment for depression and post-traumatic stress disorder from Maui’s Mental Health Kokua,” Tom explained.

“When I met Sam, I realized that he needed to return to Cambodia to search for his family he had not seen in 29 years,” said Tom. “The Mental Health Kokua staff and board members raised the money to take Sam home.”

Returning Sam to his homeland also sowed the seeds for the Angkor Wat Film Festival when Tom was put in touch with Bernie Krishner, a humanitarian journalist in the region who is responsible for building more than 400 schools across Cambodia.

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1. Tom in background) Tom (left (left in background) and and Robertfilm filmininBhutan, Bhutan,raising raising Robert internationalawareness awarenessofofthe the international sacred in everyday life. Photo sacred in everyday life. courtesy Vendetti and Stone Photo courtesy of Vendetti and Stone.

2. Tom (left) and Robert enjoy the magnificent Angkor Wat monuments, which are World Heritage Sites. Photo courtesy Nancy Vendetti

3. Robert’s filming of “The Quietest Place on Earth” introduced Maui’s geological and spiritual birthplace, Haleakalä, to audiences around the world. Photo courtesy Robert C. Stone

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4. This year, Tom and Robert invited Keola and Moanalani Beamer to perform an opening night concert at the Angkor Wat International Film Festival. To the delight of the Cambodians, Keola and Moanalani taught hula and presented a slack key workshop. Photo courtesy John Running, Canyon Records

When Bernie suggested the impoverished, war-torn country needed its own film festival, Tom took the call to heart and brought it to fruition. In addition, with Bernie’s help, Tom, along with contributions from the Maui community, helped build a school in Sam’s remote village.

“I chronicled Sam’s journey in the emotional documentary “Years of Darkness: A Spiritual Journey to Recovery (2003),” said Tom, noting this was his and Robert’s first project seen nationally on PBS. “My experience with Sam inspired the film festival and its name, Angkor Wat, which is the world’s largest temple complex and the country’s national symbol.”

ABOUT TOM

2.

Tom, who holds a Ph.D. in psychology and a master’s in clinical social work, started making documentaries and videos for the mental health community many years ago. He knew that he wanted to use

5. “What made filming “Taylor Camp” even more interesting was the current interviews with the participants,” said Robert, noting the documentary examines the lives of a diverse group of people gathered together in a tree-house community on Kaua`i during the 1970s. Photo courtesy Robert C. Stone

motion pictures to better understand the world and make a difference in the lives of other people.

Tom’s filmmaking interests began in 1986 with the documentary “Therapy on the River.” He directed and produced this program about the positive effects a five-day river trip in Southern Utah had on mentally ill clients.

For the State of Hawai‘i, he made a video used to educate young adults about avoiding date rape.

His 1998 production of the “House of the Sun” video continues to be sold by the Haleakalā National Park Service.

Tom’s multitude of documentaries and informational videos in the psychological and environmental arena brought him experiences and insights that later extended into an exploration and fascination with other cultures and belief systems.

Despite a personal battle with prostate cancer, Tom, now cancerfree, spent over 30 years traveling through the Himalayas. His film,

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“When the Mountain Calls: Nepal, Tibet and Bhutan,” records his personal experiences and reflections while discovering the meaning and sources of happiness throughout his journey.

“As I gained my own understanding of the world we live in, I wanted to make a difference in peoples’ lives,” said Tom, who is currently working on a documentary titled “Haleakalā: Trek for Dignity.”

“I am hoping this new film will help eliminate the stigma and prejudice against the mentally disabled,” he said. “The project, a three-day trek from the top of Haleakalā to sea level with six patients with mental disabilities, aims to educate others with psychological challenges as well as the community-at-large.

ABOUT ROBERT

Robert has worked in all facets of the video business for over 39 years. He is an accomplished director, producer, writer, cinematographer, editor and audio technician whose work spans a diverse career in film and video production.

On Maui since 1995, Robert came to Hawai‘i from Los Angeles, where he was the supervisor of audiovisual services for 13 years at a top advertising agency. He designed, built and managed a stateof-the-art, in-house, audiovisual studio and editing facility, where he produced sales training and promotional videos for clients such as Honda Automobiles, The Disney Channel and the California Lottery.

Robert is an award-winning videographer and editor, a Monitor Awards finalist and winner of multiple Telly Awards. The latter program honors the very best local, regional and cable television commercials and programs, as well as the finest film and video productions. In 1998, he was awarded the “Governor’s Kilohana Award for Outstanding Volunteerism.”

Robert’s numerous independent projects include a two-hour television special, “The Third Annual National Smooth Jazz Awards,”

and FOX Television’s “Magical Maui Weddings.”

In 2009, Robert was coproducer and cinematographer for the epic Hawaiian documentary “Native of Owhyhee.”

This three-part story explores how Hawai‘i turned from an ancient society into one of the most literate Christian nations in the world in the 1800s.

As director, co-producer, editor and cinematographer of “Taylor Camp” (2010), Robert documented the story of the diverse group of people living in a treetop commune on Kaua‘i in the early 1970s.

“It includes nostalgic reflections of the camp’s former residents more than 30 years later,” Robert explained,” noting that “‘Taylor Camp’ will soon have a high-definition version that includes new treatment of the still photos that will provide a 3D-type experience for the viewer.”

“My work on the documentary “From Trauma to Peace —Making the Impossible Possible” is very meaningful to me,” he said.

The sign on the school built in Sam Khong’s village gives thanks to the Maui community. Tom and his wife, Nancy, held a fundraiser at their home, and Maui community members donated money to help build the school.

Photo courtesy Tom Vendetti

Tom received an Emmy Award for the film “Bhutan: Taking the Middle Path to Happiness” in the “Historic/ Cultural Program” category.

Photo courtesy Vendetti and Stone

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The film explores the horrors suffered by Rwandans and the transformational healing that has taken place in their lives since learning the Thought Field Therapy technique.

One of Robert’s documentary works, “Kiho‘alu – Loosen the Key,” about the life and music of Keola Beamer, was screened at the New York International Film Festival. It has so far garnered 12 awards at film festivals across the country, including an Emmy Award.

Current projects for Robert include working with Jo Danieli on the upcoming feature film “Hulihuli Moon” and a possible Maui television series. In addition to his filmmaking, Robert continues his video productions, which include television spots and commercials.

PBS DOCUMENTARIES

Films of Tom and Robert that aired or are airing on PBS include, from the newest to oldest, “The Quietest Place on Earth,” “When the Mountain Calls,” “Bhutan: Taking the Middle Path to Happiness,” “Mount Kailash: Return to Tibet,” “Years of Darkness: A Spiritual Journey to Recovery,” “Fiji Firewalkers” and “Journey Inside Tibet.”

FUTURE VISION

Tom and Robert look forward to their upcoming projects that include concepts from wellness and spirituality to ecological sustainability—and above all the continued pursuit of happiness.

“Bringing people together is most important for us, “said Robert.

“It is the mix of people, cultures and traditions, all coming together, that will break down barriers and bring harmony.”

As they both look back, Tom and Robert are thankful for the experiences they’ve had.

“The universe, or spirit, has taken us to wondrous places,” they agreed. “But happiness really comes from within.” ■

For more information:

ankgorwatfilmfestival.com MauiTVSpots.com Contact Robert Stone:

stoneman@maui.net The Bhutanese people, as documented in Tom and Robert’s film “Bhutan—Taking the Middle Path to Happiness,” share their belief that happiness is a national treasure.

Photo courtesy Robert C. Stone

| KeOlaMagazine.com - Kau Wela 2015

Connect with us!

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Send us your comments, letters and photos! We take email, snail mail, submissions through our website, posts on Facebook, Instagram and Twitter!

KeOlaMagazine.com Facebook.com/KeOlaMauiCounty Instagram.com/KeOlaMagazine Twitter.com/KeOlaMauiCounty

Contact writer Cindy Schumacher through the editor:

mceditor@keolamagazine.com

Talk Story with an Advertiser : Kä‘anapali Beach Hotel Hawaiian entertainment in the newly renovated Tiki Terrace Courtyard. Legends of Kā‘anapali Lūʻau is the newest offering on Monday evenings, featuring enchanting hula, a shell lei greeting, welcome cocktail, an abundant feast of island fare prepared by the hotel’s award-winning chefs and an exhilarating fire walk at the conclusion of the evening.

Kā‘anapali Beach Hotel also offers a daily Hawaiian arts and crafts fair and even a lei kukui ceremony upon the guests’ departure.

The Ho‘okipa desk has added additional cultural activities, including pareo and kukui nut bracelet making and Hularobics, where guests learn hula steps and reap the benefits of an aerobic workout.

These new offerings are in addition to hula, ‘ukulele, lauhala weaving, pineapple cutting and lei making classes as well as Cultural Garden Tours.

But it’s not all about the adult visitor. KBH offers a free, yearround children’s amenity program to keiki (children), including Aloha Passports for Kids, which guide them throughout the hotel to learn about Hawaiian culture and rewards them with special treats.

The hotel’s Hula O Nā Keiki, an annual hula competition and celebration of Hawaiian heritage, dance and culture, continues to preserve Hawaiian culture through ancient dance and music, offering an educational opportunity for visiting children to learn about the ways of Hawai‘i’s ancestors.

The 25th Celebration of Hula O Nā Keiki will be held November 13 to 15, 2015.

KeOlaMagazine.com - Kau Wela 2015 |

he oceanfront Kā‘anapali Beach Hotel is known as “Hawai‘i’s Most Hawaiian Hotel” for good reason. And it’s not just the setting on the three-mile stretch of the world famous sun-drenched Kā‘anapali Beach in West Maui that creates this quintessential Hawaiian experience.

It is the “most Hawaiian” because the hotel offers local ho‘okipa (hospitality) at its best plus a variety of unique and authentic cultural experiences, a museum, and a diverse program of education brought to its guests by akamai (wise) staff.

The Kā‘anapali Beach Hotel offers a variety of free cultural and educational activities for the entire family, demonstrating its ongoing responsibility, commitment and dedication to honoring and perpetuating the Hawaiian culture.

The hotel envelops its guests in the Hawaiian culture through complimentary activities and classes, song and dance, and delicious culinary offerings to offer a full-immersion experience.

The cultural offerings are based on each staff member’s education.

Since 1986, all members of Kā‘anapali Beach Hotel’s staff—from the groundskeeper to the general manager—have received cultural training about topics such as Hawaiian language, geography, religion, mythology, economics and history. Not an exclusively by-the-book experience, their education includes up-close-and-personal field trips to significant cultural sites. This extensive training program is the reason all members of Kā‘anapali Beach Hotel can claim to be cultural advisers, qualified and capable to enrich each guest’s experience.

The hotel offers complimentary sunset hula shows and live

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| KeOlaMagazine.com - Kau Wela 2015

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Hula O Nā Keiki, Maui’s only children’s hula competition, is open to students from around the world, commemorating one of Hawai‘i’s richest traditions.

Twenty-five participants ranging from five to 17-year-olds will compete in their respective categories for coveted awards and titles and the chance to win from a total of nearly $13,000 in cash and prizes.

Entering as soloists or palua (boy and girl pairs), 25 contestants will perform kahiko (ancient) and ‘auana (modern) hula styles that reflect both traditional and personal interpretations of competition songs.

Dancers will be judged on their interview skills, chanting styles, dance performances and the cultural appropriateness of costumes and adornments.

In its 25th year, the cultural competition continues to educate participants and attendees alike in Hawaiian traditions, and perpetuates the culture so that the traditions can be carried forward.

To complement the keiki hula competition, weekend festivities at the hotel include arts and crafts from all islands, cultural and hula workshops, and Hawaiian entertainment.

To commemorate its 25th anniversary, guests can enhance their hula competition experience with the ultimate cultural travel package and enjoy private hula lessons, tickets to Hula O Nā Keiki competition, an array of cultural activities and daily food and beverage credits. More package details and pricing will be released closer to the event. ■ To purchase Hula O Nä Keiki tickets, call Kä`anapali Beach Hotel at 800.262.8450.

To book reservations, visit kbhmaui.com or call 800.262.8450.

Kä`anapali Beach Hotel is located at 2525 Kä`anapali Parkway, north of Lahaina.

HEALTH

Earth Medicine: Healing Ourselves, Healing Our Home B Y D AV I D B R U C E L E O N A R D , L . A c .

Kïnehi: A Blessed Annoyance

O

Kīnehi is also used as a broad spectrum liver protectant and is sometimes recommended as a daily supplement for chronic hepatitis.

In gathering, it is traditionally pulled up by the roots. After pule (prayer), the roots are briefly scalded in boiling water and the plant is hung upside down to dry. This protocol allows the nutrients of the plant to penetrate into the leaves and flowers, which are then cut and stored for later use.

And finally, some of our kama‘āina have gotten remarkably creative about using our local plants as food and medicine. Students at Windward Community College on O‘ahu participate in an annual ethnopharacognosy taste-off and recipe contest. In this contest, they take a local "weed" and study its scientific and folk medicine properties. They then create recipes and products from what most people consider a "pest." In one of these contests, kīnehi was the chosen plant.

And who knew? It turns out that kīnehi inhibits the bacteria that cause peptic ulcers as well as three other oral pathogens. So what did the students do? Armed with this knowledge, these akamai (smart) folks created a dental powder and a chewing gum, for easy access to the healing properties of this plant.

I have not yet heard how they fared in the contest. ■ David Bruce Leonard, L.Ac., is the founder of the Earth Medicine Institute, which offers classes and certifications on plant medicine, wild edibles and nature skills on all the Hawaiian Islands. To learn more about the Earth Medicine Institute:

EarthMedicineInstitute.com

For story references and additional information, contact writer David Bruce Leonard:

david@davidbruceleonard.com

Never take any plant internally without a 100% positive identification and proper preparation.

Never attempt to use herbal medicine without the guidance of a traditional elder or a licensed healthcare provider.

Do not try to be your own doctor.

KeOlaMagazine.com - Kau Wela 2015 |

ne of the world's best and most aggravating plant medicines grows here in Hawai‘i—right at our feet.

From the dandelion and silversword family, this "blessed annoyance" is known throughout the world as quite the medicinal marvel. It is also well-known for the hundreds of needle-like hitchhikers that protrude from the flower head and stick to our clothing as we absentmindedly brush past it.

This plant friend, Bidens pilosa, has many names in many different languages. Bidens pilosa is the agreed-upon botanical name, but in Hawai‘i, it is known as kīnehi or spanish needle. In China it is called xian feng cao or nian shen cao.

To say that kīnehi has a multitude of uses is to understate the matter. In Hawaiian medicine, Bidens is used for fatigue, fever, heartburn and asthma. In China, it is used for influenza, sore throat, appendicitis and hepatitis. The leaves are used in the U.S. as a tea for bladder infections and gout. There are hundreds of potential uses listed in research papers and ethnobotanical journals. And in many instances the cross-cultural uses are very similar, if not identical.

Kīnehi is used all over the world for various kinds of infections, both viral and bacterial. It contains plant chemicals called "polyacetylines" that are antibacterial when exposed to sunlight. So if you drink the tea for a bacterial infection, it is good to get out into the sun for at least a few minutes where the sunlight can penetrate the skin and enter the capillary bed. When the light hits the chemicals in the bloodstream, they become antibacterial.

It is not necessary to do this if you are using the plant for a condition other than an infection, such as joint pain.

In addition to being a great medicinal plant, kīnehi is also a tasty wild edible. Because I am not fond of the taste of the raw leaves, I always cook them. I use the leaves in soups and often add them to grains such as rice or quinoa. They blend well and easily in stews, and adding them at the end while cooking grains will do the trick, making for a tasty and nutritous addition to an otherwise bland meal.

Eating the leaves is a good way to get the medicinal properties on a daily basis. Many of our local folks use the leaves this way to reduce chronic inflammation, a known health hazard in our fast-food world. And indeed, in animal models, Bidens has been shown to reduce inflammation through its interruption of inflammatory pathways in such conditions as allergies and arthritis.

So eating kīnehi leaves in a meal or drinking it regularly as a tea may be a good idea, although as a rule of thumb, I recommend taking one week off per month when using any medicinal plant. This allows body chemistry to come back to baseline and mitigate any dependency or physiological "enabling" created by daily use of the plant.

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HOME

The Missionary Doctor Who Saved Maui

| KeOlaMagazine.com - Kau Wela 2015

> A trip through time at Baldwin Home Museum.

B Y K AT H E R I N E K A M A‘E M A‘E S M I T H

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ometimes visitors from the mainland know more about our Maui landmarks than we do. After living in Lahaina for 23 years, passing up and down Front Street thousands of times, I decided to visit the white stucco missionary home with the big green lawn on Front Street at Dickenson—the Baldwin Home Museum.

This building is recorded in the Historical American Buildings Survey at the Library of Congress archives.

I read online that Dr. Dwight Baldwin, who saved Maui from the small pox pandemic of 1853, lived here, but I wondered how this very old house might be connected to other buildings in Kahului named “Baldwin,” like Baldwin High School, Alexander & Baldwin Properties Inc. on Puʻunēnē Avenue, the Alexander & Baldwin Sugar Museum on Hansen Road and the old Lahaina pineapple cannery that used to be called Baldwin Packers Ltd. Admission to this missionary home is $7, or $5 for seniors over 60.

The fee allows you to spend as long as you like exploring two museums operated by Lahaina Restoration Foundation (LRF)—Baldwin Home Museum and Wo Hing Museum—both on Front Street, both fascinating.

A delightfully friendly and knowledgeable docent named Jackie welcomed me, showed me around and answered all my questions.

Here’s what I learned: In 1836, missionaries Dwight and Charlotte Baldwin came to Lahaina to join the Waineʻe “station” of the American foreign mission to the Sandwich Isles (What Captain Cook “named” Hawai‘i when he rediscovered the island chain).

Reverend William Richards started the mission in Lahaina in the 1820’s—but the thatched huts and open-air pili grass covered meeting halls he built did not survive. Even the Waineʻe Church building (now called Waiola) was destroyed by fire and rebuilt twice after windstorms, but the Baldwin stone house was still standing in 1967 when LRF restored it.

Why was Lahaina so important to the missionaries? Well, it was the seat of government for the Hawaiian Kingdom, throne of the Kame-

hameha dynasty from 1830 until 1845, when King Kauikeaouli (Kamehameha III) moved the capital to Honolulu. A combination of the kingdom keeping tabs on the missionaries, and the missionaries desiring to convert the aliʻi caused the mission to be founded in Lahaina.

Jackie explained all this history. She also showed me a hand-written document that served as Dr. Baldwin’s passport (before photography and registration numbers), his clinic and the family living quarters.

“Blue Willow” Spode china sitting on the dining table with a festive centerpiece was just as Charlotte Baldwin had described in her journal; recreated by LRF with beautiful attention to detail. Displays of Baldwin artifacts include personal effects, a flute, a concertina, medical instruments and medications.

OLDEST STANDING HOME ON MAUI

The Baldwin Home architecture is reminiscent of old British homes by the sea, with thick mortared walls framed in wood, and finished with lime stucco inside and out. Renovators left a small section of this structure’s two-foot thick exterior wall open—so we can see the construction—coral and lava rock chunks fitted together and cemented with sand and lime. No wonder Baldwin Home Museum is the oldest standing house in Maui County.

After Hawaiian lands went fee simple in 1848, the Baldwins purchased the compound, which stayed in their family until descendants placed it into preservation in 1964. The estate of descendant Fred Baldwin then deeded it to LRF. The organization immediately undertook the huge project of replacing termite-worn timbers, beams and framing. Under the direction of Board President Keith Tester, they returned the home to mission period condition and décor. The resulting museum reveals a ministry that spanned three important eras of Maui history: missionary times, whaling days and the sugar boom.

THE BALDWIN COMPOUND

Lahaina only receives on average four days of rain per year. The rest of the time, all activities are conducted outdoors, preferably in the shade.

Lahaina was famous for the deep shade of its breadfruit trees.

L. Dr. Dwight Baldwin had what it took to be a missionary—a true renaissance spirit and a broad education in letters and science.

M. The Baldwin Home was renovated by the Lahaina Restoration Foundation in 1967, replacing termite-worn timbers, beams and framing.

THE BUILDING NEXT DOOR—THE MASTERS’ READING ROOM

I wanted to know more about Dr. Dwight Baldwin and the building next door. Who were the “Masters” it was named for?

LRF website says Missionaries William Richards and Ephraim Spaulding started construction of Lahaina’s first stone and frame building in 1833, as an outreach ministry to whaling ships’ captains. The gentleman’s club retreat and reading room was a place where ships’ captains or “masters” could meet and record their logs.

It was built during the time when the Hawaiian High Chief Ulumāheihei Hoapili ruled as governor of Maui for the Hawaiian Kingdom. He lived near the Waineʻe mission and enforced temperance on Maui. The whaling captains preferred to bring their crews to alcoholfree Lahaina, where they behaved better.

With contributions from the community, whaling ship officers and the American Mission, a two-story Masters’ Reading Room was completed in 1834, and it still stands on the corner of Dickenson and Front Streets.

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The first companies of missionaries lived in small grass huts, which served mostly as storage sheds—as their Hawaiian hosts did. The high chiefs assigned a large parcel of kingdom land near the seat of government to the stewardship of the missionaries, where they could raise their families and carry out their work.

Hawaiians called such large house lots with multiple buildings “kauhale,” the equivalent of a “compound” in English. The parcel had a small stream and artesian well for fresh water, trees for shade and sufficient land to grow food and other essential plants for cordage and firewood.

In the pā (yard) today, a grand old kukui tree still lightly shades a big lawn.

During the Baldwins’ day, King Kamehameha III ruled all of Hawaiʻi from Lahaina, and from the front windows of their home, the Baldwins were able to watch the young king working in his taro patch, now being restored on the front lawn of the Lahaina Library, which is located across the street.

It only takes a moment to “immerse” in missionary times—so compelling is the attention to detail and the mana (spiritual energy) of the Baldwin Home Museum.

Ye

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THE HOME

Later in 1834, Reverend Spaulding began construction of a fourroom home next to the Masters’ Reading Room. In 1836, Dwight and Charlotte Baldwin transferred to Lahaina from Waimea on Hawai‘i Island, where they had served since they came to Hawai‘i in 1831. It was the beginning of the “Great Awakening” in Hawai‘i, when thousands of Hawaiians converted to Christianity and churches began to be built throughout the islands.

Dwight and Charlotte and their children lived in a pili grass thatched hut on the compound until 1837, when Rev. Spaulding became ill and was called back to Massachusetts. Then the Baldwins moved into the stone house.

This home once had a separate kitchen house, an outhouse and a fire pit. The Baldwins farmed various crops to sustain a family of nine and mission workers. A separate kindergarten schoolhouse is now occupied

by Village Galleries.

During the 31 years that they lived here, the Baldwins added two ground floor bedrooms in 1840 and a second story on the main house in 1849.

The Mission Board discontinued support of the Hawaiian mission, and Hawaiian Kingdom created a system of fee simple land transfer, allowing the Baldwins to purchase the compound.

THE MAN WHO SAVED MAUI’S PEOPLE FROM SMALLPOX

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Dr. Dwight Baldwin had what it took to be a missionary—a true renaissance spirit and a broad education in letters and science from Williams College and Yale. He graduated from Auburn Seminary and earned a master of science degree from Harvard Medical School. He taught school for a few years before his ordination in 1830. He immediately married Charlotte Fowler and brought her on a 10,300 nauticalmile voyage around Cape Horn to Hawaiʻi, arriving in 1831.

In Waimea and in Lahaina, Baldwin preached the gospel in Hawaiian.

As a pioneer, Baldwin was often the only person on West Maui able to administer western medicine. He used one of the four rooms in his home as a clinic, but in order to treat critically ill patients, he had to paddle a canoe, ride horseback and hike very long distances.

The Hawaiian Kingdom commissioned him as government physician for all four islands of Maui, Molokaʻi. Lānaʻi and Kahoʻolawe, but the Hawaiian Kingdom Board of Health physicians denied him a license to practice medicine.

In 1853, a pandemic of smallpox reached Honolulu from California, and eventually infected between 10 and 11 thousand people on Oʻahu. Smallpox is a highly contagious and disfiguring viral disease that spreads like colds through saliva droplets in the air and direct contact.

The mortality rate is 30 percent.

While many westerners had immunity to the disease, Hawaiians did not.

Dr. Baldwin’s mainland colleagues told him about a new method to combat smallpox called vaccination and sent him inoculum. He made a complete circuit of Maui on horseback and foot, vaccinating the population. This process took several months of tireless effort. He urged Hawaiians to receive no canoes from other islands and to stone those who tried to land. He instructed communities to isolate people with symptoms of smallpox, and to burn their houses and belongings.

At the end of 1854, when the epidemic was over, only 200 Maui people died—compared to over six thousand on Oʻahu.

THE BALDWIN LEGACY ON MAUI

MAUI AIDS FOUNDATION

In 1868, the Baldwins moved to Honolulu and instead of retiring, Dr. Dwight taught at Oʻahu College (now Punahou School). Charlotte passed in 1873 and Dwight lived until 1883.

Their oldest son, David Dwight Baldwin, founded the first pineapple company on Maui. The baby, Henry Perrine Baldwin, became an

energetic entrepreneur, who teamed with his childhood chum, Samuel Alexander, to start a sugar plantation called Alexander & Baldwin. The company diversified into many companies, including A&B Properties on Maui.

Henry also built the Honokohau Ditch system that transports water from Honokōhau to Puʻukoliʻi in West Maui.

He started Honolua Ranch, a cattle business that later became a pineapple plantation under the direction of Henry’s son, Harry Baldwin, and ranch manager-botanist D. T. Fleming.

Baldwin Packers canning operations thrived in Lahaina until 1962, when the building became Lahaina Cannery Mall.

Honolua Ranch and Maui Pineapple Company morphed into Maui Land and Pineapple Company Ltd. Harry broke ground on the current Baldwin High School building in 1940 and named it after his father, Henry Perrine Baldwin.

In 1901, Mrs. Henry Perrine Baldwin began settlement work at the Baldwin home in Lahaina with a social worker who helped newly arrived plantation workers from Japan, the Philippines and China adjust to living on Maui. Along with other members of the Baldwin family, she continued to support the kindergarten and settlement work. The main house became a boarding house for displaced single women. Lahaina Girl Scouts held their meetings in the kindergarten room after school.

The Friday night candlelight tour of the Baldwin Home emphasizes how much Hawaiians and missionaries accomplished without electricity and modern technology. Great fortitude and energy was required to maintain order and keep families together during the upheaval of old norms and the pressures of entering the Industrial Age. Baldwin Home Museum preserves the substantial contributions of a great Maui physician and teaches us many things we never knew before.

LAHAINA HISTORICAL DISTRICTS

The engine that keeps Lahaina history alive and gives our community a chance to learn is Lahaina Restoration Foundation. Executive Director Theo Morrison leads and coordinates staff, volunteers, donors, volunteers and partners, such as the County of Maui, State of Hawaiʻi and charitable foundations that support LRF projects with grant Volunteer Docents money.

A board of 25 community leaders helps oversee the 15 sites that LRF currently owns, maintains or operates in Lahaina Historical Districts 1 and 2. It’s a huge job to ensure every site is carefully preserved and protected. Yet, the Lahaina community values its past and there is momentum to restore a host of historical sites identified for preservation.

In the next two years, LRF will be involved in a full restoration of the makai harbor front area, including Banyan Tree Park walkways and the taro patch on the Front Street side of Lahaina Library.

In addition to preservation, Lahaina Restoration Foundation also supports many educational projects and events. ■

Admission to Baldwin Home Museum is $7, or $5 for seniors over 60. The fee allows you to spend as long as you like exploring two museums operated by Lahaina Restoration Foundation (LRF)—Baldwin Home Museum and Wo Hing Museum—both on Front Street.

LahainaRestoration.org Phone: 808.661.3262

Volunteer Docents

Discover local artists At the Banyan Tree And Old Jail Galleries Open Daily 9-5 in the Old Lahaina Courthouse 648 Wharf Street, Lahaina

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original fine art | paintings, photography, ceramics, sculpture, woodwork, jewelry

KeOlaMagazine.com - Kau Wela 2015 |

Weekend Fine Art Fairs under the Banyan Tree

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Let Your Love Grow BY K AT H L E E N A K A K A

| KeOlaMagazine.com - Kau Wela 2015

Photo Credit:

24

Montage Kapalua + Opihi Love

he floral décor can be enjoyed on your special day, and longer, by decorating with living flowers and plants.

Using plants as décor at your wedding is sustainable and a great way to stay within your floral budget. You can plant them together ahead of time with your friends, family or future spouse.

Live plants can create great keepsakes for you and your spouse, your guests and your family members that last for years. Everyone can plant them in their yards and display them fondly in their homes.

Local greenhouses and nurseries can offer great ideas for making container gardens. Some plants will be hardier and easier to grow than others. Container gardens come in all shapes and sizes.

Be creative! Use recycled glass, colored ceramic pots, large shells, terra cotta pots, decorative urns or hanging floral baskets, just to name a few. These arrangements can be used in multiple locations for all the wedding festivities and will last longer than cut flowers as long as they are cared for. Remember to give them a lot of tender loving care and they will create memories for years to come.

Investing in eco-friendly décor adds extended life to your wedding budget and a healthier environment when planted. Wellcared-for plants live a long time as a reminder of that special day.

Here are some ideas for decorating with plants.

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CEREMONY

KeOlaMagazine.com - Kau Wela 2015 |

The ceremony site has great significance as it is the main backdrop of your wedding photos and vow exchange.

Consider the beauty and colors of the location when choosing your live foliage. Hawai‘i has phenomenal natural scenery. Use your living floral décor to compliment that exotic beauty.

To decorate at a church, you can place colorful potted plants at the entry, such as red crotons. Hang small, potted fuchsia plants with matching sheer fuchsia bows at the end of the pews.

Decorate the altar with glass container gardens or beautiful lauhala baskets overflowing with live orchid plants.

Blooming flowers or foliage will compliment your natural background scenery and leave lasting memories for you and your guests.

If you choose to use an archway, live plants can create the aisle.

Embellish the top and sides of the arch with hanging baskets of long draping plants such as ivy, ferns or string bean plants.

Locally available, areca palms are beautiful and come in different sizes to create a consistent design theme. These can be easily dressed up with lights, fabric or ribbon ties.

Large container gardens in a decorative urn add elegance to any ceremony site.

“Lemon lime” dracaena mixed with colorful coleus leaves make a beautiful statement.

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Wedding Garden In Hawai`i, plants are readily available and the many colors and varieties offer endless design possibilities.

Red Abyssinian banana plants make a stunning tropical display as well.

You can even choose to decorate all white with white vinca, snow princess, or dusty miller plants.

BRIDAL PARTY

Bridal party floral may be a bit challenging to incorporate live floral. If you

Matching your wedding colors with local plants can be simple with the help of a knowledgeable nursery owner or avid gardener.

Other seasonal living flower plants: Black Eyed Susan Cosmos Dahlia Gladiola Fuchsia Herbs Hydrangea Iris Jasmine

Lavender Lily Lily of the Valley Marigold Nasturtium Orchid Protea Roses Snapdragon Sunflower Veronica Water Hyacinth Zinnias

| KeOlaMagazine.com - Kau Wela 2015

When deciding on your flowers, choose local plants that will be in bloom at the time of your wedding.

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Photo Credit:

Ali‘i Kula Lavender + Opihi Love

wish to use a live orchid or other foliage the roots can be tied up nicely by the florist so they can be planted in a pot or the ground after the wedding is over.

I suggest using local, eco-friendly, organic cut flowers and maile for the bridal party.

RECEPTION

After the ceremony, your guests celebrate your marriage, seated at tables decorated with floral gardens that serve as centerpieces.

These can be a large container garden or several smaller container gardens at each table. Mix in candles, glassware, bamboo plates, a wooden charger and customized place cards to create a beautiful, memorable table display.

You can create live floral arrangements that include anthuriums, white dendrobium or cymbidium orchids.

Terrarium or recycled glass planters can include succulents, herbs, small perennials, baby bushes, mums or daisies.

Planting these living gardens is a great activity shared by bridesmaids or other family members. The same plants that you use for the reception can also be used for the rehearsal dinner or other ‘ohana (family) functions.

Small potted plants labeled with wooden sticks or printed tags can be incorporated into functional items that designate table names, individual seating assignments, favors, and directions to the ceremony.

Lavender, basil or rosemary can add a beautiful scent to the table. As a gift to take home, your guests will be able to enjoy them for a long time.

Larger container gardens can serve as the décor for the buffet table.

Edible arrangements on the buffet such as herbs, chives or peppermint can add to the experience by allowing guests to garnish or season the cuisine with live plants.

When deciding on your flowers, choose local plants that will be in bloom at the time of your wedding.

There may be plants in your yard or a neighbor’s yard that can be transplanted into a pot with dirt—be sure to give them some time to root.

Remember to nurture, water and care for them, as in every loving life-cycle. Growing your love may be a process that continues on in your family for generations.

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Photo credits: Jessica Haley Photography & Tamiz Photography Contact writer Kathleen Akaka:

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In Hawai‘i, we host many destination weddings. Everything you create can be shipped home once it passes through the agricultural inspection process.

Or you may want to donate the flowers and plants to local schools or organizations to beautify their environment.

Gifting the officiant, the caterer, or anyone who provides services for your wedding spreads your aloha. Let your love grow—into your hearts! ■

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