September-October 2020 by Ke Ola Magazine

Hawai‘i Island’s Community Magazine The Life |

September – October Kepakemapa – ÿOkakopa

2020

ARTS The Nearly Lost Art of Polynesian Tattoos CULTURE Hawaiian Naming Traditions: A Cultural Legacy SUSTAINABILITY Kona Cloud Forest: A Living, Teaching Tool

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Front cover: Pacific Patterns, a painting by Suzy Papanikolas.

4 Table of contents: Long Arm Tatu, The Queenâ&#x20AC;&#x2122;s Race, Kailua-Kona, a photograph by GP Merfeld.

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The Life

Hawaiÿi Island’s Community Magazine September – October | Kepakemapa – ÿOkakopa 2020

Arts

Kākau

Holualoa Gallery

Pana Jones: From Ocean Waves to Airwaves

The Nearly Lost Art of Hand-tapped Polynesian Tattoos By Star Bolton A 30-Year Retrospective with Matthew & Mary Lovein By Kristina Anderson

By Sara Stover

Business

Managing with Aloha 39 A Language of Intention: Our “Language of We” By Rosa Say

Talk Story with An Advertiser Kawika’s Painting IMI Clinics

Community

The Magic of Wood Valley Temple

The Little Temple That Could By Karen Valentine

46 47 35

Culture

Hawaiian Naming Traditions: A Cultural Legacy 16 By Jan Wizinowich

1861: Ku a mālo‘elo‘e, lālau na lima i ka hoe nui me ka hoe iki

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

Ka Wehena: The Opening Kohala Ku‘u ‘Āina Aloha Na Kumu Keala Ching

Sustainability

Kona Cloud Forest Sanctuary: A Living, Teaching Tool 24 By Fern Gavelek

Farm to Table at Kona Community Hospital By Brittany P. Anderson

KeOlaMagazine.com | September-October 2020

Ka Puana: Closing Thoughts

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The last time I wrote my publisher’s letter was the beginning of April. Sadly, things haven’t changed as much in those four months as we expected they would. Thankfully, Hawai‘i Islandʻs COVID-19 numbers are still low, due to the diligence of residents for keeping themselves and their neighbors safe; however, the toll on the business environment, especially small businesses, has been quite notable. This is reflected in our further reduction in pages, yet we are still here, and with your help, have every intention of continuing Ke Ola Magazine. There are more than 60 businesses to thank for advertising in this issue. Please call, drop a line via their website, or stop in to let them know how much you appreciate them advertising in Ke Ola. Better yet, buy something or utilize their services! After nearly 12 years of complimentary distribution thanks to our advertisers, it’s time to ask you, our dear readers, to support the magazine by subscribing. This will help offset the production costs so we can offer advertisers reduced rates in the future, which will help us rebuild. This magazine was 100 pages two issues ago—it hasn’t been this thin since 2010. We hope you take a personal interest in its survival by purchasing a subscription for yourself and even your mainland ‘ohana. We’ve been asking $30 for subscriptions for about 10 years, which has covered the cost of first-class postage and handling; however, beginning in 2021, that rate will increase to $45. Order now if you want to save money, though we welcome you to pay $45 if you can. For the first 50 people who do, we will send you a 1 oz. tin of Medicine Mama Hawaiian Botanicals organic reef-safe sunscreen or Miracle Rub healing salve. In related news, we will be phasing out much of our free distribution (except at our advertisers’ locations) at the beginning of 2021, so ordering yourself a subscription sooner than later will ensure you get a copy of each new issue of your favorite local magazine. During our extended break between issues, our assistant editor and webmistress, Michelle Sandell, had time to update our website. Now device-responsive, it is much easier to browse our past issues and read them online. If you’re searching for a particular name or subject, just click on the magnifying glass on the upper right; if we’ve written about it, you’ll find it. This is the 70th issue of Ke Ola’s Hawai‘i Island edition, plus 15 for Maui County (2013–2015) and five wedding issues, so that’s approximately 1500 stories, all available 24/7 at keolamagazine.com. Check them out!

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Ka Wehena

Kohala Ku‘u ‘Aina Aloha Na Kumu Keala Ching

Aia‘o Kohala ku‘u lei Aloha ‘A‘ahu hulu mamo kau i ka poli Eō mai ke Ali‘i Kaulana ē Kohala Ku‘u ‘Āina Aloha lā He ‘āina kupaianaha, Kaulana nā ‘ōiwi Noho ka pono, ‘imi ho‘i ke ‘ala ē Eō mai ke Ali‘i Kaulana ē Kohala Ku‘u ‘Āina Aloha lā Kohala Nae‘ole mālama iā Pai‘ea Hawī, Kapa‘au Pololū Awini Eō mai ke Ali‘i Kaulana ē Kohala Ku‘u ‘Āina Aloha lā Aia‘o Kohala ku‘u lei aloha Malu kapa ke hau o Mauna Kea Eō mai ke Ali‘i Kaulana ē Kohala Ku‘u ‘Āina Aloha lā He mele Kohala Ku‘u ‘Āina Aloha

Here is Kohala my cherished lei of love Adorned mamo feathers upon my bosom Rejoice the famous chief Kohala the precious land I love An amazing land of famous people, Seekers of the rightful journey Rejoice the famous chief Kohala the precious land I love Nae‘ole in Kohala, caretaker of Pai‘ea From Hawī, Kapa‘au, Pololū to Āwini Rejoice the famous chief Kohala the precious land I love Here is Kohala my cherished lei of love Comforting blanket of Mauna Kea Rejoice the famous chief Kohala the precious land I love A song of Kohala, the precious land I love

Rejoice the famous chief, this precious chief of Kohala. This is a song to honor and pay tribute to the precious and famous land I love. Within this story, our famous ancestor walked righteously upon this land with close relationship to our beautiful Kona, such as Pai‘ea Kamehameha. Here is my love for this famous land, Kohala! Honor to the people of Kohala and their unwavering love of righteousness. Mahalo, Michael and Charlotte Foley, for always loving Nā Wai Iwi Ola! Love you both!

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

KeOlaMagazine.com | September-October 2020

Eō mai ke Ali‘i Kaulana ē, aia ia wahi ali‘i ma Kohala ala. He mele i ho‘ohanohano ‘ia nō ku‘u aloha i ia ‘āina kaulana nō. Ma ia mo‘o‘ōlelo, kaulana nā kūpuna i holopono ai ma kēia ‘āina ā pili maila kēia wahi ‘āina ma Kona nei, ‘o ia nō ‘o Pai‘ea Kamehameha ala. Eia ku‘u aloha i kēia ‘āina kaulana o Kohala!

Kak By Star Bolton

KeOlaMagazine.com | September-October 2020

he Polynesians were a seafaring people who navigated the seas and settled in several of the islands of the Polynesian triangle (the Hawaiian Islands being at the top most northern point). The further south you travel, you will hear this art of hand-tapping referred to as tatau which is actually the origin of our English word tattoo. Another word English borrows from the Polynesians is the word taboo, derived from the word tapu (in Hawaiian, kapu), meaning forbidden. As tatau was common for the ali‘i (royalty), the Kahuna Kā Uhi (tattoo priest) had the very special honor of being permitted to perform the act of shedding the blood of the ali‘i, which for anyone else would have been strictly kapu and resulted in the punishment of death. Kākau is actually two words combined: Kā means to strike and kau means to place, which very literally describes how an uhi (tattoo) is created using the ancient method of handtapping. The word uhi also literally means darkening; the result of the practice leaves a permanent image etched into the flesh. The writer had the pleasure to speak with Kahuna Kā Uhi Kāuhi Keone‘ulaikamakauhi Keli‘iokalani Mākua, the first graduated student of the master who brought this ancient art form back to the Hawaiian Islands, Master Keone Nunes. Keone was titled in Samoa, making Keli‘i the first Kā Uhi to be titled in Hawai‘i by a Hawaiian tattoo master in more than 200 years. Keli‘iʻs name and title was bestowed on him by Sulu‘ape Keone‘ula Nunes. Now a resident of O‘ahu, Keli‘i’s family is originally from Ho‘okena on Hawai‘i Island. Kā Uhi Keli‘i has spent the last 30 years helping to reawaken this nearly forgotten art form with a handful of dedicated others. Receiving a traditional Hawaiian hand-tapped tattoo is very different from going to your local tattoo parlor for some ink. In this ancient tradition, the receiver does not get to choose their design. Even though the conceptual consultations may be discussed for many months, the actual artwork is ultimately an improvisation that happens in the moment. The giver and assistants necessary to stretch the skin will pule (pray) over the receiver and ask for guidance from ‘aumākua (family gods) or ancestors to aid the process. This can sometimes result in unexpected additions or omissions to the original design work. “Sometimes after a session, I will look over the work and see some details I don’t even remember creating,” says Keli‘i of times when he was so entranced in the hypnotic tapping that it felt like his hand was guided outside of his own consciousness. These tattoos are not about ornamenting the body. Aesthetics are secondary to the sacred intentions manifested into the skin 10 to honor one’s ancestors, strengthen a weakness, or enhance an ability.

Reasons for receiving a tattoo could be to honor one’s ancestors, profession, a rite of passage, or ‘aumākua (family gods or spirit animal). A Kā Uhi is well versed in understanding the imagery that represents the genealogy and meaningful symbology of their people. For instance, there is an ancestral lineage that receives a series of dots around the ankle to represent their family’s ‘aumakua, the shark. As the story goes, a woman was swimming in the ocean and a shark started to bite her ankle. When she called out his name, the shark stopped and apologized saying, “From this day on, I will see the teeth marks on your ankle and know it is you, so I won’t make this mistake again.” So now her

The Nearly Lost Art of Hand-tapped Polynesian Tattoos

kau descendants continue to receive the tattoo of dots around their ankle as a charm to protect them from shark attacks. In history books, one can read about the striking Pōhaku warriors of Maui who invaded the other islands. These men had tattoos covering the entire

right side of their bodies from head to toe. The intention in doing this was to increase the mana (spiritual power) of their masculine warring side and safeguard their weapon-bearing hand with protection. These tattoos intimidated their enemies who would recognize that this was not the usual side of the body for men to tattoo; usually tattoos would be found on the left side of a man’s body to seek a balance in the duality of their nature by enhancing their feminine side with energy. It is quite interesting to note that this belief of one side of the body being governed by our masculine or feminine nature is a universal idea found in many ancient cultures and indeed corresponds precisely with current neuroscience understandings of brain function. The left side of our brain, which controls the more analytical or strategic functions of the body

KeOlaMagazine.com | September-October 2020

11 Kahuna Kä Uhi Keliÿi Makua hand-tapping a vision. watercolor artwork by Star Bolton

(masculine qualities), physically governs the right side of the body. The right side of the brain, which controls our intuitive, creative, and nurturing aspects (feminine qualities), governs the left side of our body. When people have a stroke that damages the left side of the brain, they sometimes lose the ability to read and write but Tattoo featuring a combination of Polynesian can still remember the elements, including shark teeth, spearheads, ocean waves, and a line of enata (human figures) words to songs, however if the right side of the representing family and ancestors guarding their brain is damaged, they descendants. photo courtesy of GP Merfeld can completely lose their memory and ability to appreciate music. This idea of tapping into the duality of the human body comes into play even during the application process for the Kā Uhi. Keli‘i explained that even though he is naturally right hand dominant, to tattoo, he had to learn to use his left

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Uncle Tilo’s Clean Water LLC Keliÿi describes his body art: “I can say that within this picture is an ÿaumakua pattern, it is kapu for me to mention his name and what he was about. I have markings to speak of things I’ve learned and they act as a verification from my teacher and master. I have several lines that were conquering priests. All of these lauana [patterns] you see upon me are patterns I’d not place on an outsider, meaning non-kanaka. They hold weight and kuleana. Some are made with prayers and some speak of prayer.” watercolor portrait by Star Bolton

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Polynesian tattoo comprised of triangles representing shark teeth. When grouped together in larger patterns, they may represent the unity of people, nature, and spirits in the concept of lökahi (unity, agreement). The pattern also signifies protection and strength, both ancestrally and personally. photo courtesy of GP Merfeld

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hand because this is the hand designated for creating and channeling spiritual intent. Using his left hand keeps the act of kākau sacred and set apart from the ordinary actions of common life. Keli‘i traveled with his teacher, Keone Nunes, to Western Samoa to learn from the masters who do some of the most intricate designs found in the islands. Keli‘i studied for 26 years before he was titled a Kā Uhi by his teacher. His training consisted of learning to understand the meanings of (and ability to replicate) ancestral designs, the creation of his tools and supplies, and also understanding the human body, as a doctor would, to be able to safely practice this ancient art. There are a lot of lessons that need to be passed down directly from person to person, as this is not an art form that can be studied from a book. It is only relatively recently that we have the Hawaiian language in written form (since 1820, exactly 200 years ago) and there is nearly no documentation of the designs with their meanings, so those interested are reliant upon the memory of tattoo priests. However, along with the documentation of the Hawaiian language by the American missionaries, came the decline in the acceptance and desire to receive traditional hand-tapped tattoos. Tattoos became less fashionable during the rise of Christianity. Practice of this art form was nearly forgotten with several practitioners opting for the faster, more convenient methods of using a modern tattoo machine to give tattoos. Most of the documentation that we have of ancient tattoo designs comes from two sources: 1) the artwork of sailors or missionaries who worked from memory and were not fully able to comprehend the work that they were observing, and 2) bodies of the dead that have been found in various disturbed burial sites throughout the islands. Thankfully the information was not completely lost and there are several teachers throughout the Polynesian islands who have been able to share and train one another to pass on these very important traditions. In fact, Kahuna Kā Uhi Keli‘i has started a hālau

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Someone desiring a traditional hand-tapped tattoo must be able to articulate their intentions for receiving the uhi and be found worthy by the Kā Uhi. ‘Awa would be served ceremonially before and after the application for all of the participants involved. This might be to reduce the discomfort of the process, as it relaxes the muscles and often produces a numbing effect. Hand-tapping requires two hands to execute, and other people beyond the tattooist must be present to help stretch the skin. Sessions can last from 3–5+ hours and some tattoos require multiple sessions to fully complete. This can be a very painful process to endure. A warrior unable to endure the pain of the procedure would be

Coming of age leg tattoos by Kä Uhi Keliÿi Makua on daughter Mahina and Aaron Knell.

KeOlaMagazine.com | September-October 2020

photo by Star Bolton

(school), called Ka Pa o Hunohunoholani, for training the next generation of tattoo priests to continue this sacred work. Star Bolton, the writer of this story, had heard that it would be impossible for someone without Hawaiian lineage to receive a traditional hand-tapped tattoo. Keli‘i informed her that this is not the case; however, a Kā Uhi will not work on just anyone.

Kahuna Kä Uhi Keliÿi Makua. watercolor portrait by Star Bolton

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physically marked as a coward, wearing his shame in his incomplete tattoo. Many people continue to add designs to their bodies throughout their lives to memorialize rites of passage marking their personal history. Traditionally, a child’s coming of age would be cause for receiving a tattoo that runs the length of the leg (the right leg for women and the left leg for men). Thighs, loins, and buttocks were frequently mentioned in reports of sailors as being fully adorned with intricate line work on men and women alike. Polynesian tattoo has a very profound ability to connect one to the history of their ancestry while defining them as a unique individual in their present day community. ■ For more information: kelii@ kauhi.com Tools used include a tattoo mallet, a tattoo needle comb often made from bone, ink made from kukui soot, and ÿawa to drink before and after ceremony. watercolor artwork by Star Bolton

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Häÿena is the term for a red-hot, burning anger and is also the name

16 of one of the playgrounds of Hiÿiaka, Pele’s favored sister. Häÿena

Beach is in Keaÿau, Hawaiÿi. photo courtesy of Aaron Miyasato Wena, the name for the rosy color in the clouds at sunrise, is seen at Häÿena Beach photo courtesy of Barbara Schaefer

Hawaiian Naming Traditions: A Cultural Legacy By Jan Wizinowich

According to Ka Haka ‘Ula O Ke‘elikōlani

College of Hawaiian Language professor Dr. Larry Kimura, Hawaiian language was and still is a “treasure house embedded with the whole way of seeing the world. It adds to the whole richness of being on earth and approaching different concepts in different ways.” This is at the heart of Hawaiian naming practices. When a Hawaiian name is bestowed, a connection is made, a story told, history preserved, someone honored, a hope expressed. Colors, Clouds, Rain—Names for All Reasons There are many different terms that describe colors. For example, Wena is the red glow of sunrise or the rosy glow in a cloud that can be associated with Pele. Hā‘ena is a red-hot burning, such as rage or anger and is also the name of a place in Kea‘au on Hawai‘i Island that is known as the playground of Hi‘iaka, favored sister of Pele.

Naming People In Hawaiian language tradition, words have power; a name was a person’s most precious possession, a force unto itself. Or in the words of Mary Kawena Pukui, “A name became a living entity...identified a person and could influence health, happiness and even life span.” Hawaiian names also offer a glimpse into a person’s life.

Inoa Ho‘omana‘o: History Preserved Naming preserved shared history. Inoa ho‘omana‘o are names that provide brief historical reminders of past events. “Let a grandmother call out to a child, ‘Come here, Keli‘ipaahana’ (the industrious chiefess) and everyone within hearing remembered Po‘oloku, the beloved chiefess who kept her people busy and prosperous, and even personally dug holes for planting bananas.” Often a person or place has more than one name such as our own Hawai‘i Island, commonly known as the Big Island but also called Moku o Keawe. Why is that? The answer provides some island history. The name is derived from a 17th century chief, Keawe‘īkekahiali‘iokamoku, great-grandfather of Kamehameha I, whose reign over the island was peaceful and prosperous. Inoa Kūamuamu: Reviling Names Some children were thought to need protection from harmful

KeOlaMagazine.com | September-October 2020

“Hawaiian language has more precise names for colors and nuances of color names. I see a yellow ti leaf but the word we use for that yellow is pala, not melemele. It is ripe or aged. It captures the peopleʻs perspective. How they see things around them,” explained Dr. Kimura. The basic word for cloud is ao, but there are dozens of terms for various clouds. Ao pua‘a describes a grouping of various sized cumulus clouds, resembling a pua‘a (mother pig) with her piglets gathered around her. Malu is Hawaiian for shelter and a ho‘omalumalu describes a sheltering cloud. Rains are a unique experience depending on one’s location. In Waimea there is a rain called uhiwai. Uhi can mean a covering, a veil or film, so uhiwai refers to a light misty rain that comes in the afternoon and feeds the crops. In Hilo the misty rain is kanilehua, because it quenches the thirst of the lehua blossoms.

“As Hawaiian speakers, when we hear a name in Hawaiian, its meaning or significance is often apparent. The language carries meaning and the listener is impacted by the meaning and significance of a name,” explained Dr. Kimura. There are three types of names which refer to the relationship between humans and the spiritual world: inoa pō, inoa hō‘ailona, and inoa ‘ūlāleo. Inoa pō is a name that comes in the night through a dream to a family member and given to a baby. Pō means night but in a larger sense, it means source, the time before the beginning, a connection with the ancestral world. An inoa hō‘ailona, or sign name, was found when “a family member might have a vision, or see a mystic sign in the clouds, the flight of birds, or other phenomenon that clearly indicated.” An inoa ‘ūlāleo, or voice name, might be found when someone hears “a mystical voice speaking a name directly or in an oblique message,” a voice on the wind. A name from one of these three origins must be given or risk sickness and death. Mary Kawena Pukui’s own birth illustrates this. After she was born, an aunt was given an inoa pō, but she did not bestow the name. Kawena became ill and during a ho‘oponopono the aunt revealed the inoa pō. The original name was ‘oki (cut, severed) and the inoa pō was given, restoring her to health.

spirits and were given such names as Makapiapa (sticky eyes) or Kūkae (excrement). The hope was that the spirit would be disgusted and stay away from the child. After a few years, the reviled name was ‘oki (cut) and the child was given a new name. Inoa kūamuamu Mary Kawena Pukui were also a photo courtesy of the Bernice Pauahi Bishop Museum kind of negative commemorative name. This kind of naming was used when someone who lived close by had hurt or insulted the family. The family then gave the baby a name that would be a constant reminder of the offense.

Students display the final names for the two asteroids.

KeOlaMagazine.com | September-October 2020

photo courtesy of `Imiloa Astronomy Center

Lineage, Prophesy and Tribute Names were also selected to show family descent, as in the case of ‘Umi-a-Līloa. “Līloa, 50th king in succession after

Wākea, the traditional founder of the Hawaiian people named his son ‘Umi-a-Līloa, meaning ‘Umi, descendant of Līloa.” Family lines and migrations are also revealed in names, as well as tribute to the accomplishments of the bearer. “Defeated enemies gave Kamehameha I the name Pai‘ea (hard-shelled crab) as a tribute to their conqueror’s impenetrable courage and endurance.” Hawaiian Naming in the 21st Century Over the years, Hawaiian language retained fewer speakers with the influx of outside influences and a new social milieu. Naming traditions, which provide insight into the Hawaiian world view, changed as well. “Our language captures many aspects of traditional culture that we donʻt practice anymore,” said Dr. Kimura. “If youʻre raised in todayʻs world, itʻs hard to be comfortable about reviling names or commemorative names that may have peculiar meaning. The most common way people think about that kind of name is that itʻs negative or odd. They avoid it,” he added. A serendipitous series of encounters and events created an opportunity to delve into Hawaiian naming practices and brought the Hawaiian language onto the world stage. Initial plans were already underway to explore the possibility of giving Hawaiian names to astronomical objects discovered from Mauna Kea or Haleakalā. Then, in the fall of 2017 an interstellar asteroid entered our solar system. Dr. Kimura was asked by his niece, Ka‘iu Kimura, director of ‘Imiloa Astronomy Center, to name this unique new object. Aided by modern-day technology, the process he went through mirrored traditional Hawaiian naming practices based in close observation and reflection. “It appeared to be like something thatʻs coming in to check us out. Some kind of a spacecraft from some outer planet, like a spy. Fairly quickly the name came to my mind: ‘Oumuamua, an advance guard, coming to check us out,” said Dr. Kimura. A series of informal meetings between Dr. Kimura and Doug Simons, director of the Canada-France-Hawai‘i Telescope, Alan Tokunaga, retired astronomer, and John Defries, a Hawaiian businessman who sparked the idea of using Hawaiian names for new astronomical discoveries, began in January 2018. This gave birth to A Hua He Inoa (calling forth a name), a program through the ‘Imiloa Astronomy Center. In October 2018 a weekend workshop was held to engage young Hawaiian speakers from the islands of Hawai‘i and Maui in Hawaiian naming traditions.

Using the Kumulipo, Hawai‘i’s traditional creation chant which is a masterpiece of evolutionary documentation, and other sources, they delved into the thought processes of the ancestors to initiate a reconnection and “call forth names” in honor of two designated discoveries made possible by Hawai‘i astronomy. They also peered into the world of astronomy, visiting ‘Imiloa Astronomical Center and the University of

Kaÿiu Kimura, director of the ÿImiloa Astronmy Center holds one of the charts with name suggestions. photo courtesy of ÿImiloa Astronomy Center

Students began the workshop with a symbolic ti leaf lei connecting them to ancestral sources. photo courtesy of `Imiloa Astronomy Center Referenced work: Nānā I Ke Kumu: Look to the Source vol. 1, pgs 94–98 Hawaiian Dictionary. Mary Kawena Pukui / Samuel H. Elbert papahanaumokuakea.gov/education/cultural_hawaiian_names_ wind.html kumukahi.org For more information: larrykim@hawaii.edu

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Hawai‘i Observatory on Mauna Kea, observing the behaviors of the asteroids. By the end of the weekend they had agreed on names for the two asteroids: 2016 HO3 was named Kamo‘oalewa: Kamo‘o meaning a fragment or offspring that will now alewa, orbit on its own; and 2015 BZ509 was named Ka‘epaoka‘āwela, which is an asteroid near the orbit of Ka‘āwela (Jupiter), but is ‘epa or mischievously moving in the opposite direction. “This was a new opportunity. These Hawaiian-speaking students never thought theyʻd be asked, let alone dreamt that they could use their Hawaiian language and cultural knowledge to name these kinds of objects,” reflected Dr. Kimura. Since the initial A Hua He Inoa workshop, other astronomical discoveries have been given Hawaiian names, including most recently Pōwehi, (embellished dark source of unending creation), the first image of a black hole to ever be captured. “We are reviving new generations of Hawaiian speakers, which requires the establishment also of our Hawaiian cultural identity by being involved in renewing this naming process so that someday it can become normal as before. One little way of reconnecting,” concluded Dr. Kimura. ■

Holualoa Gallery A 30-Year Retrospective with Matthew & Mary Lovein By Kristina Anderson

Mary and Matthew Lovein at the gallery’s 30-year anniversary celebration.

KeOlaMagazine.com | September-October 2020

or more than 30 years, Matthew and Mary “We were honeymooning, and walked through Hōlualoa. Lovein’s Holualoa Gallery anchored the center of this small We stopped at the gravel-floored gallery and signed the art hamlet in the lush upcountry of Kailua-Kona. Not only was guest book,” recalls Mary of their first visit to what would the gallery location central and highly visible, the Loveins later become their own gallery. “It was a pottery studio at themselves were instrumental in promoting the arts scene in the time. Later, the lessee, Doug Sigel, ended up working for town, while celebrating the local community heritage using us at our woodworking shop in Laguna Hills. He told us that their gallery as a focal point. the Hōlualoa space was available and asked if we wanted to When they officially closed their gallery in April 2020, the take it over and move to Hawai‘i. We decided to accept the Loveins marked the end of an era with bittersweet nostalgia. opportunity, and Holualoa Gallery was born.” At the same time, they are delighted that polymer clay artist Following their hearts and intuition, they named it Holualoa Barbara Hanson, the new artistGallery while still in California, in-residence of the gallery, will because it seemed like the right continue the tradition while name at the time. “The name supporting the town and honoring we chose was probably a little its history. After all, the space had presumptuous, as there were other been used as a potter’s studio galleries in Hōlualoa,” says Mary and gallery when the Loveins with a laugh. first discovered it back in the late So, January 1, 1990, the Loveins 1980s. Fortunately, art seems to opened their gallery and just four be its continuing legacy. years later, they were doing well The Holualoa Gallery journey all enough to install a wood floor started when the Loveins, married and an upper mezzanine level, in 1988, visited Hawai‘i Island on The Holualoa Gallery opened on January 1, 1990 in the heart of Hölualoa Town but left the gravel at the entrance their honeymoon. Mary had raised as a reminder of their humble her three children on Maui in the beginnings. ‘60s and ‘70s, and had always loved the Hawaiian Islands. Mary, a talented multimedia artist, photographer, and book Matthew, a California boy, had never been to Hawai‘i before. author, took her first lesson in painting back in Huntington From the moment they met in 1981, the couple has enjoyed Beach before moving to Hawai‘i. Over the years, she a rather enchanted life, buoyed by teamwork, artistic vision, attended art classes in college and together, Matt and Mary and serendipity (along with a love of chameleons, families attended sculpture classes at Laguna Beach School of Art. of which hang gently from their property’s trees like jeweled To her delight, her first paintings sold easily, and that early 20 ornaments, according to Mary.) success launched her career. Mary also worked as a children’s

bamboo-shaped top, details he had envisioned in the dream. These amazing pieces, created in various sizes, eventually became worldwide collectibles and family traditions. Many who own them, including some big-name celebrities, say these objects have mystical properties and that their wishes have come true. All they had to do was write their wishes down on parchment and place them in the inner chamber of the vessel.

The original building in 1980 before it became a gallery.

The Lovein Magic Indeed, the Lovein magic seems to happen just a little too often to be pure coincidence—just like when Matthew and Mary met while dancing. Mary still beams with a romantic glow as she describes their meeting nearly 40 years ago.

photographer and a T-shirt silkscreen maker and designer. Matthew, who grew up in Costa Mesa, started out his professional life with a career in the engineering department of the Irvine Ranch Water District, supervising reclaimed water programs; however, he had always enjoyed carpentry and woodworking on the side, so after 10 years, he quit his job with the district and opened a high-end woodshop. His passion for ceramics and throwing clay at the pottery wheel began when he was still working with wood and designing kitchens in Newport Beach. Moving to Hawai‘i was a huge change for him. Matthewʻs Wish Keepers In 1992, Matthew went to bed one night and had an inspiring dream to create what he would christen a Wish KeeperTM. Using clay and the dramatic raku style of glazing and firing, he recreated the unique sculptural vessel with a

Holualoa Gallery was in the heart of this small arts village for 30 years.

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“Matthew was a wholesome, quiet guy who wore a suit and tie, a belt and shoes; I was the gypsy from Maui. So, at first, it didn’t seem like a match, though we kept in touch. It turns out we lived in the same subdivision, one street away in the same floorplan, only flipped! We actually had a lot in common, especially our love for art and photography,” Mary recalls. “Every time we talked on the phone, I couldn’t stop smiling. I simply fell head over heels and madly in love with Matthew—it was like we had always known each other.” That enchantment as a couple is exactly what created the perfect environment for a beloved gallery to thrive, one that would span decades and become one of the reliable beating hearts of little Hōlualoa Village. At first, they stocked the new gallery with limited items they had brought from the mainland. “In the beginning, it was just us,” Mary recalls, “‘He’s the potter, I’m the painter,’ I would tell customers, and later that became a slogan.” Matthew still had to return to California to close down his woodworking shop while Mary learned on the job in Hawai‘i to sell retail. She also painted up a storm.

Maryʻs Prolific Paintings Some of the first paintings Mary completed for the gallery were portraits of Chioko and Doc Nakamaru, the mother and father of Kent Nakamaru, famed Hōlualoa dentist and woodworker. She painted neighbor Lillian Towata picking coffee, which was chosen for the cover of the 1994 Kona Coffee Cultural Festival magazine. She also completed a collection of watercolors envisioning a hula hālau, as well as an acclaimed series of acrylic portraits of the Hawaiian monarchs—King Kalākaua, Princess Ka‘iulani, and Queen Lili‘uokalani. Other portraits of note by Mary include one of actor and personal friend, Richard Chamberlain with his dog Buster, and a Mona Lisa, charmingly reimagined to be holding a chameleon, the Loveins’ spirit animal. She honored the owner of the building at the time, coffee farmer Edwin Ueda, with a painting on a life-size piece Matthew’s signature of wood that Matthew cut to fit. The Wish Keepers™ have been recognizable figure stood at the gallery international best sellers entrance for decades and became its and are collected by major iconic “greeter.” celebrities, along with private collectors. The Loveins Love Their Community Throughout the years, the Loveins have shown their own work at the gallery, along with a select group of featured artists including Herb Kāne and Darrell Hill. Community spirit seemed to be part of the flow at Holualoa Gallery. Matthew and Mary donated time to the village association, and sponsored tents and entertainers at many events over the years. John-E Collins played live music for First Fridays while well-known local musician LT Smooth performed for their galleryʻs 30th anniversary gala. Matthew helped decorate the town with banners and set up stages for various events. For seven years, they served as Mr. and Mrs. Claus for the Holualoa Music and Light Festival in December, and hosted a coffee farmer for the yearly Holualoa Coffee and Art Stroll during the Kona Coffee Festival every November. First Friday’s Art After Dark programs and many

other events helped bring people together and attract visitors as well as residents to enjoy the town and tour the dozen or so participating galleries and businesses located along the narrow streets of Hōlualoa. “I feel very blessed to have experienced 30 years of owning an art gallery in Hōlualoa,” says Matthew. “The gallery was an exciting lifestyle of creating art, interacting with the public, and making many cherished friendships. The aloha spirit of Hawai‘i opened many doors for us, and as this door closes, I look forward to our future of continuing to create new art, filled with much love and aloha. From my heart, I would like to thank everyone who made this possible.” Although the Loveins are grandparents and greatgrandparents, that doesn’t mean they are ready for rocking chairs just yet. In fact, the artistic endeavors continue at their home studios just up the street from their former gallery. Mary is focusing on photography, photo restoration, designing event posters, and other digital graphic art. Matthew continues working in clay and is creating stunning glass art. The Loveins are also developing a new line of jewelry with glass, gold, and silver, as well as collaborating on new ceramic designs. Their gallery will continue to operate virtually online. In their quasi-retirement, though, something else doesn’t change. “The aloha spirit is always present,” says Mary. “The love we have for our friends and neighbors, the beauty here in Hōlualoa, the spirit of the community we love, will always be here and in our hearts.” ■ Photos courtesy of Matt and Mary Lovein For more information: lovein.com

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Kona Cloud Forest Sanctuary A Living, Teaching Tool T

he sun goes in and out of rain-filled clouds while driving up Koloko Mauka to the Kona Cloud Forest Sanctuary (KCFS). Upon arrival, the air is cool and damp, smelling of dew and moist earth. The sun reappears, giving wet leaves a joyous sparkle. There’s a feeling of freshness and life anew. All this lushness is a mere 15-minute drive above the barren lavascape of Konaʻs airport. Located at a 3,000-foot elevation, KCFS is part of Kona’s cloud forest stretching 50 miles long, according to Norm Bezona, the sanctuary’s visionary and horticulture director. “The cloud forest is an important watershed that has been continually pecked away through the years for agricultural use and urban sprawl,” he continues. “Here, we hope to preserve the native forest, keep it functioning as a cloud forest, and be an example of what others can do to reforest an area.” A professor emeritus and retired extension agent with the University of Hawai‘i College of Tropical Agriculture and Human Resources, Norm is a walking encyclopedia on growing plants—both in home gardens and as agricultural commodities. Many residents read Normʻs weekly horticulture columns on Sundays in both the islandʻs newspapers. Norm first started the sanctuary on property he purchased in 1980 for his family compound. He still lives on site with partner Voltaire Moise and, also residing at the sanctuary, are Norm’s children and grandchildren. However, Norm soon learned the sanctuary could have a broader purpose and opened it up for community use.

KeOlaMagazine.com | September-October 2020

Sharing a Community Resource “As an educator, I found you can teach students best when you get them out of a classroom and into the living environment,” states Norm. The sanctuary has been hosting botanical tours and educational programs since 1984 while serving as a meeting location for local horticulture-themed

By Fern Gavelek

organizations. Today, the 70-acre KCFS operates as an educational nonprofit in partnership with the Bezona Family Trust. Part of it is protected as a conservation easement in perpetuity through the Hawaiian Islands Land Trust. Norm provides on-site classes and tours geared for horticulturists and allows select tour operators to provide guided visits geared for the public. One of them is Kelly Dunn of the Painted Trees of Hawaii Foundation who presents compelling forest treks through his nonprofit. Since 2015, Kelly and his teams of volunteers have painstakingly created trails—without the use of gas and electric tools—to better access the forest and, as Kelly says, “showcase what people have never seen before.” Kona’s Rainy Summer Weather Creates Nation’s Only Tropical Cloud Forest Also called “fog forests,” cloud forests are characterized by frequent, low-level cloud cover. They are dependent on local climate, elevation, and latitude. Norm notes the Kona Cloud Forest “is the only tropical cloud forest in the US” and attributes it to Kona’s unique weather. “Kona’s weather is ruled by a daily convection pattern involving sun, ocean, and mountain topography,” he explains. “Unlike the rest of the state, Kona is wetter in the summer and drier in the winter.” The way Kona’s convective weather pattern works is prevailing winds from the east are blocked by Mauna Loa and Hualālai. In the absence of strong trade winds, morning heating of the land draws moist air from the ocean to cause upslope winds during the day. When this warm, moist air reaches the cooler middle elevations, it condenses and turns into clouds, mist, or rain. Wind direction reverses at night when cooled mountain air moves downslope pushing the warmer air up and out to sea. Warmer summer temps intensify this process, resulting in Kona’s wetter summers. Serving as an Important Watershed There’s a Hawaiian proverb: Hahai no ka ua i ka ululā‘au (The rain follows the forest). The Kona cloud forest, with its sprawling canopy of vegetation, serves as a collection reservoir for Kona’s convective showers. “The trees are important because they attract and hold the clouds,” Plants, like this Hope’s cycad, thrive in the moist cloud forest environment at the sanctuary. Endemic to Queensland, it is the largest known species of cycad.

photo courtesy of Kelly Dunn

details Norm. “Without the trees, you get 40% or more less precipitation. Here in the cloud forest, we average 100 inches of rain annually. It percolates through the soil and subsurface to recharge the aquifer.” KCFS sits on the 1801 lava flow of Hualālai and the majority of its acreage is “pure, native forest” with primarily old ‘ōhi‘a and koa, 30-foot tree ferns, and other native ferns. When Norm got involved with the area in 1980, his priority was reestablishing forest on 15 acres that had been previously pastured for livestock. To do this, he relied on native and non-native species supplied by the forestry service, nurseries, and local plant societies for testing the viability of varieties of palms, bamboos, A standout specimen at the Kona Cloud Forest Sanctuary is the fast-growing blue marble tree with its showy buttress roots and blue, tropical rhododendrons, orchids, and globular fruit. photo courtesy of Kelly Dunn more. Observations were made and Plant a Tree to Fight Global Warming continue regarding these plants’ adaptability for reforestation, While the reforestation of the 15 acres adds to the function plus agricultural and landscape use. of Kona’s watershed, Norm adds every tree we plant “does “Even though the sanctuary is preserved in native forest, the its little bit” to sequester carbon and produce oxygen. “Trees upper portion is now reforested as a montane tropical forest naturally remove carbon dioxide in the atmosphere, which and includes koa, ‘ōhi‘a and conifers from the high tropics,” helps reduce global warming,” he emphasizes. “Global warming notes Norm.

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is no longer a theory; it is accepted as fact by most scientists and governments and will affect our island by causing more weather extremes: drought, floods, and severe storms.” Norm points out that “here at home” we can do our part to combat global warming. “If Bamboo can grow up to three feet a day at the Kona each one of us on the Big Island planted only Cloud Forest Sanctuary. photo by Fern Gavelek 10 trees this year, we will have planted more than one million,” he stresses. “Trees not only produce oxygen and lock up carbon, they also supply shade, act as wind breaks, and produce food.”

KeOlaMagazine.com | September-October 2020

Cloud Forest Walking Tours with Painted Trees of Hawaii The focus of Kelly Dunn’s sanctuary tours is to reconnect guests with nature while wowing them along the way. “My goal with tours is for people to have a better understanding about nature and how they can interact with it,” shares Kelly. “Hopefully they will go out and plant something… or join an eco-club or volunteer to give back to nature. You don’t need a degree to plant a tree.” A Michigan native, Kelly moved to Hilo in 1983 and fell in love with the Hawai‘i Tropical Botanical Garden at Onomea Bay. He photographed plants there and his favorite subject was the massive rainbow (painted) eucalyptus trees with their colorful, striated trunks. Kelly noticed they were disappearing on the island and started his Painted Trees of Hawaii Foundation to educate people about them with the goal of collecting seeds to create a walking trail. It was at one of Kelly’s Painted Tree presentations where he met Norm and was invited to bring his foundation work to the sanctuary where he could walk among the existing painted trees already flourishing in the cloud forest. Norm points out the rainbow eucalyptus, Eucalyptus deglupta, is the only species of eucalyptus native to the northern hemisphere.

Brilliant streaks of bark appear “painted” on the Eucalyptus deglupta tree. The colors emerge as each layer of bark matures. The tree is commonly called the painted or rainbow eucalyptus. photo courtesy of Kelly Dunn

Kelly took Norm up on the offer and with his blessing, spent a year and a half carefully cutting new trails to best view the diversity of Kona’s cloud forest. Volunteers Responsible for KCFS Trails Kelly Dunn reconnects the public with nature while To create the wowing them along the way on sanctuary visits through trails and maintain Painted Trees of Hawaii’s Cloud Forest Walking Tours. photo by Fern Gavelek them, Kelly relies on volunteers through corporation employee give-back programs and community service opportunities in partnership with the District Court of Third Circuit. In lieu of paying fines for violations such as parking tickets, offenders can be ordered to perform community service at KCFS. “Weʻve had about 200 court-ordered workers,” notes Kelly. “They typically work 75 hours and after they’re done, about 20% of them return to volunteer.”

Public tours: paintedtreesofhawaii.org Horticulture classes/ tours: konacloudforest. com

A professor emeritus and retired extension agent with the University of Hawaiÿi College of Tropical Agriculture and Human Resources, Norm Bezona is the visionary and horticulture director of the lush Kona Cloud Forest Sanctuary. photo by Fern Gavelek

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Creating Ah-Ha! Tour Moments For his Painted Trees Tours, Kelly created a narrative that identifies and shares the traditional medicinal, cultural, and culinary qualities of select trees, plants, and flowers. The main trail visits a dozen painted trees, tree ferns, ‘ōhi‘a, and plants like the prehistoric-looking Hope’s cycad, Lepidozamia hopei. Other standouts include the sanctuary’s bamboos—they can grow up to three feet in a day—and the blue marble tree, which bears iridescent, globular fruit. “There are a lot of Ah-Ha! moments on the tour,” smiles Kelly. “Guests are in awe when I explain how plants grow here in the cloud forest, really without dirt, and instead are dependent on the decomposing leaf litter on the forest floor, the wet environment, filtered sunlight, and the cool temps.” During his top-ranked activity by TripAdvisor, Kelly aims for people to see the world as he does. “I want them to slow down and really look at nature with new eyes,” he details, adding he illustrates the benefit of slowing down by playing “Where’s Waldo” with bamboo. “Most people leave here and see nature in a different way.” ■

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Embrace the Bitter with Recipe for Stir-fry Bitter Melon

Local Foods

By Brittany P. Anderson

Bitter Melon Stir Fry 3 medium bitter melons ¾ tbsp sea salt for marinating 2 tbsp coconut oil 1½ tsp garlic minced 1 tbsp minced ginger Optional: Hawaiian hot pepper, minced Sauce ½ tsp sugar or honey 2 tbsp rice wine vinegar 3 tbsp soy sauce 1 tsp sesame oil ¼ tsp salt

Method Wash bitter melons thoroughly. Cut in half lengthwise and scoop seeds out, discard. Slice the bitter melons into uniform 1/4 inch thick slices and place them in a nonreactive bowl, then sprinkle with salt and toss to distribute the salt evenly. Set aside, allow bitter melons to sit for approximately 10 minutes. Heat a skillet on high heat. Rinse bitter melon in a colander, shaking excess water off. Next, turn skillet temperature to medium heat, add one tablespoon coconut oil and immediately add the bitter melon. Stir quickly and add the garlic and ginger to the pan, and the remaining tablespoon of oil. Turn heat to low, just enough to keep the skillet warm. If you are adding hot peppers, do so at this step. In a separate bowl, mix together the sauce ingredients. Transfer the garlic, ginger, bitter melons to a serving dish, drizzle with the sauce, and toss it to coat. It can be served hot or cold. Enjoy!

KeOlaMagazine.com | September-October 2020

Youʻve probably come across bitter melonʻs mass of coiled tendrils, deeply lobed green leaves, and small yellow flowers. Their distinctive warty oblong light green fruits hanging on the vine waiting to be picked. Bitter melon is covered in bumps like Braille holding onto ancient recipes of tinctures in its skin–all you have to do is touch it to unlock the mysteries. Originating in Africa, India, and Southeast Asia, it has been used for nutrition and medicinal purposes for centuries. Since around the 14th century, juice of fresh bitter melon pods has been used as a bitter tonic to aid in digestion. One would expect a sweet flesh with the melon moniker, but bitter melon, Momordica charantia, is very true to its name. It is that bitterness that makes bitter melon so unique. At first bite, bitter melon is crunchy with a taste similar to green pepper. The bitterness, much like baking chocolate and bitter beer, lingers along the sides of the mouth. Marinating in salt, blanching in saltwater, and steaming are techniques to tone down extreme bitterness, making the experience more palatable. Older melons tend to have a more intense bitter taste in comparison to those picked younger. You can find bitter melon in grocery stores, farmersʻ markets, and even growing along parking lot fences throughout Hawai‘i Island. The plants are easily propagated from seed and can grow with or without trellis. The trimmings of young vines are also a popular vegetable added to soups and stews. Bitter melon can be daunting to those unfamiliar with its flavor profile, but with a little practice, it can quickly become a staple. The flavors of this stir-fry bitter melon recipe compliments fatty cuts of pork, fish, tofu, and shrimp.

Farm to Table at Kona Community Hospital By Brittany P. Anderson

he sounds of griddles sizzling, knives chopping, and

KeOlaMagazine.com | September-October 2020

jovial laughter fill Kona Community Hospitalʻs Ginger Café. It isn’t a typical scene at a hospital cafeteria, but here local food has brought the community together at the 94-bed facility on Hawai‘i Islandʻs west side. When most people think of hospital food, they think of bland and highly processed dishes. Here

30 Staffer Amber proudly displaying Ginger Café’s stir-fried veggie tofu. photo courtesy of KCH

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at the Kona Community Hospital Healthy snacks at Ginger Café between meals. photo by Brittany P. Anderson cafeteria, meals feature fresh, locally-grown ingredients that are handmade from scratch. The switch to cooking and using local ingredients started in August 2018, and since then, there’s been a positive ripple effect throughout the hospital and surrounding community. “We were already a Blue Zones Project Approved worksite and Blue Zones Project Approved restaurant,” says Judy Donovan, regional director of marketing and strategic planning at Kona Community Hospital. Kona Community Hospital was recognized as the first hospital to become Blue Zones Project Approved on Hawai‘i Island in April 2018. (According to their website, Blue Zones Project is a communityled wellbeing improvement initiative designed to make healthy choices easier through permanent changes to lifestyle, environment, policy, and social networks.) “Then we thought, ‘Where can we impact the most employees?ʻ We wanted to enhance the wellbeing of as many staff members as possible,” Judy continues. Since most staff eat at the hospitalʻs cafeteria, Ginger Café, the Blue Zones education committee decided processes so they could quickly move from one task to the to take a closer look at sourcing food more locally and move next as needed during meal prep. away from processed meals. Before the menu change, Ginger Café offered four entrees The foodservice consultants Judy met with all had the same a day. Most of them were highly processed, pre-frozen meals approach, making their food offerings “healthier” by focusing that were reheated by kitchen staff. Since the Beyond Green on imported and frozen produce. Then she met with Chef transformation, the cafeteria now offers two high-quality Greg Christian of Beyond Green Sustainable Food Partners, entree options—one meat, one vegan—both handmade from based out of Chicago. Chef Gregʻs primary focus is helping scratch. Between meals, the café has healthy snacks and local establishments become more sustainable and healthful. The fruit available for purchase. big difference Judy saw with Beyond Green was the emphasis Medical studies prove what we already know: local food on cooking more locally-grown food from scratch rather than not only tastes better, itʻs better for you. At Ginger Café, the using processed foods. positive changes in adding locally-grown ingredients are seen Chef Greg tossed the old menu to the side and took a in the health of the patients and the overall wellbeing of staff. different approach. He asked the dietary department, hospital “Everyone is so happy!” Judy says. People are excited about staff, and community stakeholders what they liked to eat. meals, and the staff takes greater pride in the meals they During menu development, they went out into the surrounding are preparing. “Our dietary staff has really blossomed under community to meet with local farmers to see what they were the initiative,” Judy remarks. Local favorites, like kālua pork growing. Members of the dietary staff learned about local with cabbage and chicken long rice, are menu staples. Vegan produce and went on farm tours to engage with local farmers. options such as broccoli alfredo and roasted cauliflower are Employees even brought their home-cooked favorites to the routinely featured. Thereʻs even ahi tuna, “right out of the table for consideration. waters of West Hawai‘i,” Judy says with a chuckle. The Ginger Café kitchen team proves that if they cook it, Local Food Tastes Better people will come. After the new menu unveiling, the cafeteria The transition wasnʻt always bake-offs and farm tours. is serving more meals than ever before. Much to everyoneʻs There was a lot of hard work involved in making the change surprise, vegan dishes have been a big hit amongst Ginger to scratch cooking. Dietary staff learned new skills at weekly Café diners. trainings and changed the overall flow of how the team worked “Theyʻre actually good; I like the healthy options,” Kalani, together. Members of the dietary team cross-trained in multiple

a nurse at the hospital, says. “Iʻm bringing this home for my husband to try,” Kalani adds as she purchases a vegan brownie. She also chose a local tangerine from the snack bar for herself. With a smaller menu, the dietary team has fewer items to prepare, so staff has more time to put into each of them. Amber Martin, a dietary team member, enthusiastically points

KeOlaMagazine.com | September-October 2020

Kona Community Hospital dietary staff. photo courtesy of KCH

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out the desserts sheʻs made—vegan black bean brownie, chocolate chia seed pudding, and strawberry cheesecake—all are enticingly displayed in healthy portion sizes. As the kitchen team readies for dinner service, Amber returns proudly with a tray of garlic-glazed pork chops fresh out of the oven. The modest changes to the menu have led to tastier food and higher customer satisfaction. It has also created more loyalty, so the team is serving more meals than ever before. Breakfast has been the most popular meal with a 103 percent increase in sales, catering is a close second with a 50 percent jump, and dinner sales increased by 23 percent. The education of staff has also been twofold. With the help of Blue Zones and Beyond Green, hospital employees have learned about food and nutrition while at work. They have also gained awareness of how to make their favorite dishes healthier, taking the information and knowledge home with them. Famous chef Sam Choy even visited Ginger Café, cooking alongside Amber and the rest of the dietary team, giving them tips and tricks of the trade. In addition to improving the wellbeing of staff members and patients, the hospital is also now an economic driver Dietary Manager Obed Hooper prepares for Hawai‘i Island agriculture, ÿulu for vegan stir-fry. helping build resiliency in our photo courtesy of KCH fragile food system. Kona Community Hospital is also creating more awareness of utilizing fresh local ingredients within the community. Ninety percent of the food consumed on Hawai‘i Island is imported. Kona Community Hospital is helping change that by sourcing more than 50 percent of their ingredients from local farms. Local produce is fresher and picked at peak ripeness.

Mural inside Kona Community Hospital’s Ginger Café. photo by Brittany P. Anderson The end result is a delicious and more healthful meal. A common deterrent to sourcing locally-grown produce is the perceived expense. By switching to locally-sourced products for a large portion of the menu, Ginger Café has actually decreased their food expenses by four percent. Switching over to local produce has also significantly reduced food waste. Patients Benefit, Too In 2019, Kona Community Hospital spent $100,000 on local fruits, vegetables, meat, and fish, and they are on pace to spend that much, or more, in years to come as the hospital expands their dietary reach. A new initiative started in January 2019, to bring the caféʻs meals into patient rooms. Now, patients without specific dietary restrictions can enjoy the same locally-grown offerings as they would in the cafeteria. The decision to roll out the Ginger Café menu to patients

was an easy one. As the farm-to-table menu gained moment and popularity amongst employees and guests, it was clear that the dietary team’s scratch cooking was making an impact. By increasing the café team’s reach, the hospital could have more buying power within the community and offer patient’s a healthy locally-sourced meal, prepared right onsite. Today, patients look forward to their in-room meal delivery when staying at the hospital. Forward-thinking and striving for even more positive community impact, two of the Kona Community Hospital dieticians are looking at developing an educational outreach program centered around diabetes nutrition. Sharing a rough overview of the plan, Judy explains theyʻd like to create a community outreach program to focus on fresh local food and making food from scratch, not processed, to help diabetes patients live a happier, healthier life. Kona Community Hospital is one of the largest employers on the west side of the island. As such, they feel a great responsibility in helping their employees make healthy choices during their day. They also recognize their ability to add to the financial viability of the local farmers, ranchers, and fishermen of Hawai‘i Island, strengthening our local food system in the process. Creating a menu focused on what people loved eating—what made them feel nurtured—built a stronger connection between employees and the food they were served or serving. Engaging the Kona Community Hospital staff in the whole process, from sourcing ingredients to recipes, energized the entire hospital and continues to inspire the community around them. ■ For more information: kch.hhsc.org

‘ KeOlaMagazine.com | September-October 2020

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Wood V alley Temple and its Fascinating Historical Journey T

By Karen Valentine

hose who wonder how a small, yet worldrenowned, Buddhist temple ended up in a remote valley not far from an active volcano, may realize that a scholarly account isn’t adequate to tell the story. There must be some sense of spiritual destiny, as evidenced by two momentous visits by His Holiness the 14th Dalai Lama of Tibet, and a successful search for a reincarnated lama. The architecturally distinct and quaint building is so venerable, it was disassembled, moved, and reassembled before settling in its lush, verdant, fern-adorned site where prayer flags flutter in the breeze and peacocks have been known to wander. Quiet and peaceful, Wood Valley Temple— or Nechung Dorje Drayang Ling in Tibetan—located mauka (upland) of Pāhala in Ka‘ū, awaits the seeker to come, sit, and contemplate. The story, which began in 1902, also involves the journey of the temple directors to find the reincarnation of the founding Tibetan lama, Nechung Rinpoche, plus a humorous incident involving a Japanese Buddhist priest and his friend holding vigil during a historic flood back in 1917. The vibrantly colorful façade of today’s Wood Valley Temple is more typical of its current Tibetan occupants than the more

conservative style of its former Japanese Buddhist stewards, says temple Director Marya Schwabe, who with her husband, Michael, have directed temple programs for 45 years. Many volunteers have come and gone since the temple’s inception in 1973, while Michael and Marya have remained a constant presense up to the present day. “We’ve had over 50 lamas here, with some incredible teachings,” says Marya, who served as the translator for many of them. The couple has organized momentous visits by His Holiness the 14th Dalai Lama on two separate occasions. “We spent a year in India when Rinpoche passed away, and went there annually to attend the teachings of His Holiness.” They feel fortunate to have learned from the great masters, Marya reflects, and they have integrated the essence of Tibetan Buddhist principles into their lives and work. She leads regular prayer services while Michael has managed the maintenance and periodic expansion of the temple buildings and grounds. Early Days Originally built in 1902 to support the Japanese immigrants working in the Ka‘ū sugar industry with Nichiren Buddhist teachings, the temple was first located in what was called Wood Valley Temple, also known as Nechung Dorje Drayang Ling in Tibetan. Inset: The peaceful temple interior is open to visitors for meditation. photos courtesy of Wood Valley Temple

well. (In those days, it was more common to reuse building materials rather than purchase new ones.) The temple was abandoned.

Temple directors Marya and Michael Schwabe. photo by Karen Valentine “Church Camp,” about halfway between Wood Valley and the town of Pāhala. The temple itself may have stayed where it was originally built were it not for a major flood in 1917 which made it clear that a site on higher ground was more sustainable. The story goes, as the waters were quickly rising, the temple priest and a friend bravely stayed to guard the building. As night fell, they were completely cut off from dry land. A precious store of sake was inside, purchased for a New Year’s celebration. The rest you can guess. The pair decided that if they were going to die, they should at least die happy, and so proceeded to drink their way through the sake supply. As dawn revealed the temple still standing—with extensive structural damage—it also revealed the priest and his friend prostrate with happiness! Volunteers went to work disassembling and moving the building to its present location, where it was rebuilt in 1925 at the center of a busy village located between the two worker camps of Wood Valley and Kapāpala. Later on, in the mid1960s, Ka‘u Sugar closed down the two camps and villagers moved to Pāhala, with some of the houses moving there as

KeOlaMagazine.com | September-October 2020

Temple founder Nechung Rinpoche, left, and the Dalai Lama during his first visit in 1980. Michael and Marya are standing behind. photo courtesy of Wood Valley Temple

The Tibetans Arrive In 1972, a Tibetan Buddhist lama visited the islands, giving a teaching in Honolulu. Despite Hawai‘iʻs large Buddhist population, it had not become a destination for Tibetans, due to their refugee status in exile from their home country. In the 70s, Westerners were becoming interested in Buddhist and Hindu teachings. Among them was a young couple who journeyed from Hawai‘i to India. There they visited Nechung Monastery, inhabited by refugee Tibetans in Dharamsala, India. They were so touched by the warmth and friendliness of the Tibetans and their teachings that they were inspired to invite a high lama, Nechung Rinpoche, to start a center for Buddhist study and meditation in Hawai‘i. He agreed to come and a nonprofit organization was formed to sponsor him. A statewide search assisted by University of Hawai‘i Professor William Bonk led the group to the abandoned temple in Wood Valley. They received a lease and the restoration on the temple buildings began in November 1973. Michael and Marya Schwabe came to Wood Valley Temple in 1974 for a weekend retreat with a visiting lama. They had an interest in yoga and eastern philosophy, but had no specific Buddhist training. Upon hearing that Nechung Rinpoche would arrive the following year, they decided to stay and help prepare for his arrival with the intention to study with him. They ended up living there with Rinpoche from 1975 until his passing in 1983, studying Buddhism and learning spoken and written Tibetan. While they direct the temple affairs, Marya and Michael network with Nechung Monastery in India, plus other Buddhist monasteries and centers, inviting lamas to come and teach. Occasionally a monk (as opposed to a lama) will also stay at the temple. “Our most recent monk, Tiapala, who lived here for 30 years, passed away last year. He was the assistant to the previous Rinpoche. Since he left, we haven’t had a full-time resident monk.” The temple has a regular schedule of Sunday services and observations of special days. “People come from the Hilo area and as far as Ocean View to attend our more regular practices and Sunday service. When we have high lamas, more come from the other islands and the mainland. When the founding Rinpoche was here, he taught weekly classes to a small group of students.” Preparing for the Dalai Lama “His Holiness the Dalai Lama came twice,” says Marya, “and he actually stayed here, which is quite unusual. It’s also because Nechung is very connected to the succession of Dalai Lamas.” When his first visit in 1980 was planned, it was by invitation and several hundred attended. At that time, he spoke and dedicated the new temple: Nechung Dorje Drayang Ling. “It had taken six months to plan and prepare. We tore down several plantation houses and built the downstairs of the retreat building. The upstairs was added by moving another Japanese temple from lower Pāhala. I had to work with the state, county, and federal officials to coordinate the visit, because His Holiness is treated like a head of state.”

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His Holiness the Dalai Lama being escorted by Temple directors Michael and Marya Schwabe for his visit in 1994. His comments during this visit are documented on the Temple’s website. photo courtesy of Wood Valley Temple The second visit of His Holiness the Dalai Lama to Wood Valley in 1994 became one of the most historic events to take place in the Ka‘ū District. More than 3,500 people came from all over to listen to his afternoon talk given on the temple veranda. You can now read his remarks on the Wood Valley Temple website. The attraction of Wood Valley Temple for visiting lamas, including those from other traditions, is obviously not due to a large audience. Some lamas have stayed five weeks at a time, Marya said. “We are this little place nestled in the middle of the forest, in the middle of the Pacific, that is very conducive to their teaching. It’s like a pure land or a paradise in Buddhist teachings. It’s so peaceful, and the air is fresh. His Holiness remarked on how he felt like he ‘was coming homeʻ when driving up the road to the temple.”

Excerpted from the book’s cover: “His Holiness gave several clues: the year of the boyʻs birth, names of his parents and the locale of Lhasa, the capital city of Tibet. A search party of three people—a monk from Nechung Monastery in India, Michael and Marya—made journeys to Tibet in 1987 and 1993 for the discovery. Their search led them to sacred visionary lakes and ancient monasteries. Tibet is a Chinese communist-occupied country where surveillance abounds and any deviation from the rule-of-law is not tolerated. The expedition was precarious and filled with challenges—such as where to look, whom to trust and how to

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Searching for the Reincarnation of Nechung Rinpoche After death comes for a Rinpoche—a Tibetan Buddhist spiritual master considered to be imbued with mystical powers—it is believed he or she may choose to reincarnate. Marya and Michael traveled to the Chinese-occupied Tibet after the death of the temple founder, Nechung Rinpoche, in a tedious and somewhat treacherous journey to find his reincarnation, assisted by His Holiness the Dalai Lama and the Nechung Oracle, who formally recognized a boy born in Lhasa, Tibet, as his reincarnation. Marya is in the process of soon publishing her book, Road to Freedom: A Journey from Occupied Tibet, The True Story of the Search, Discovery and Escape of a Reincarnate Lama, a memoir of this search.

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The original Japanese Nichiren Buddhist Temple with immigrant plantation workers circa 1955, serving the Wood Valley and Kapäpala camps. photo courtesy of Wood Valley Temple accomplish a nearly impossible mission. Ultimately, the escape entailed crossing 18 checkpoints (many guarded by armed soldiers) including two international airports, with the eightyear old lama.” The lama they found, Nechung Choktrul Rinpoche, is now 35 and continues to visit Wood Valley even while undergoing his studies to become a monk. “He’s been here 10 times,” Marya says. “Due to the comprehensive education in India for monks, he studied there after leaving Tibet and went to college for 10 years. He’s now head of the Nechung monastery.” Since the coming of age of the new Rinpoche, Michael and Marya have worked closely with him to manage his yearly visits and teachings at the temple with the expectation that this will be his second home. Currently they are leading plans to enhance the temple grounds with retreat and guest cottages as well as initiating an endowment fund to support the temple and continue its activities into the future. ■

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For more information: nechung.org

New memoir by Temple Director Marya Schwabe of the perilous journey to find the reincarnated Rinpoche, shown in the photo as a young boy with the Dalai Lama. photo courtesy of Marya Schwabe

Series 3 on Managing with Aloha, Bringing Hawai‘i’s Universal Values to the Art of Business Sixth in Series Three on Managing with Aloha

A Language of Intention: Our “Language of We” By Rosa Say

What you inherit from your community, in the form of your people, must reach a pleasing yet purposeful blend in your workplace. l DIALECT: A particular form of a language that is peculiar to a specific region or social group. In Managing with Aloha, we often speak of how our workplace dialects are influenced by Sense of Place, by Alaka‘i management and leadership direction and example, and most importantly, by our values. We must act according to what we say we believe in. l MORPHOLOGY: In linguistics (which is the scientific study of language and its structure), morphology is the study of the forms of words and phrases. How did they come to be used, and why? Why are they still so effective, i.e., why do native speakers and writers like them? From the perspective of workplace culture, this helps us understand workplace history and any “insiders’ language” which exists, and intentionally decide when and how we will perpetuate it, or change it. l WORKPLACE: Define workplace for your industry. Whether employed or self-employed, online and virtual or brick and mortar, local or global, learning path or career path, make it specific and purposeful in its importance and worth. In Managing with Aloha it’s the collection of those places we deliberately work on and within our Ho‘ohana—our intention with worthwhile work. When all these components enhance a business culture with clarity and intention, it becomes a Language of Intention, and Kākou—your Language of We. The Language of We stimulates ownership and personal responsibility in the all-encompassing initiatives of a company. If you hear your employees talk about “our company” versus “the company” you know you’re on the right track. They feel they have a stake in what you do, and they take actions they believe are important and worthwhile. They are your partners, and these words of inclusiveness imply that they feel their voices and opinions are considered carefully in the decisions you make. The Language of We is one of collaboration and partnership, and it also implies agreement and support of your vision. These are the words, the empowering force, and the strength of mind of Kākou. All of us. Language of Intention is Key Concept 5 in the Managing with Aloha philosophy: we explore our voice, and determine how we intentionally communicate. Next issue, we’ll talk about Key Concept 6: The ‘Ohana in Business Model. Contact writer Rosa Say at RosaSay.com or ManagingWithAloha.com

KeOlaMagazine.com | September-October 2020

Language of Intention is Key Concept 5 in a Managing with Aloha practice, wherein we communicate with our “Language of We.” Every business understands the importance of communication: it must be purposeful and intentional, and harnessed as the extraordinary tool it can be. Language, vocabulary, and conversation combine as our primary tools in business communications, just as they do in our lives: what we speak is exponentially more important than what we read or write, because people are naturally more attuned to sound than sight as a matter of immediacy and reliability. Hand someone a set of instructions, and they will invariably say, “Can you just explain it to me, please?” appreciating that you may have experience to draw from, and can respond to any questions they may have. The need for clear, intentional, reliable and responsive communication is critical in thriving businesses—and if our business is to be a learning culture—for we learn an extraordinary amount from other people. Language is also assertive, confidant, and directional. Drive communication of the right cultural messages, and you drive mission momentum and worthwhile energies. Clarity saves time, and lessening misunderstanding tends to curb mistakes. The Managing with Aloha Language of Intention is inclusive, and is therefore defined as the “Language of We” with the value of Kākou as guiding light: Kākou is the Hawaiian value of inclusiveness. It means “all of us” and “we are in this together.” Kākou is very unifying when applied to language, and when all within a company are taught to learn, speak, and practice “the language of we” as their dialect in business. This conveys our desire for a transparency to what we say, where there aren’t hidden meanings, or a different way of speaking depending on whom your audience is, whether staff, customer or community—it’s always the same, for it is consistently authentic. Our Language of Intention will therefore assure we speak with Aloha. Communication will factor into every single value within our 19 Values of Aloha in some way as its primary enabler. It will therefore help us to act with Aloha as well: we will walk our talk! To help managers be more conscious of the effects language has upon workplace culture, we teach them an awareness based on these linguistic definitions: l VOCABULARY: Word candy! As our chosen, and commonly-used cultural definitions, vocabulary is the single most underutilized tool in all workplaces, bar none. l LEXICON: The vocabulary of a person, language, or branch of knowledge. Our vocabulary is cobbled together to create our language, and our resulting dialect is often a mix of language forms and sources.

Managing with aloha

Pana Jones From Ocean Waves to Airwaves By Sara Stover

“I’d say I wanna go back to my little grass shack but I’m already here Ain’t no disappearing, for me it’s clear I’m on a high, livin’ life aquatic Spear into my crystal, my blue simplistic, tropical, unique, diverse, exquisite...

usician Pana Jones was born and raised on Hawai‘i Island, where he could catch a glimpse of snow-draped Mauna Kea from a sun-drenched spot of Kīholo Bay. In songs such as “Hawaii Nice,” Pana’s imaginative words and distinct voice paint a vivid picture of the experiences and sights that make his home an enchanting paradox. To hear “Hawaii Nice” is to discover an unexpected but moving combination: lyrical rap and the sounds of oldschool Hawai‘i. That these two sounds can complement and even enhance one another

Rapper Pana Jone’s imaginative words and distinct voice paint a vivid picture of the experiences and sights that make Hawaiÿi Island an enchanting paradox. photo courtesy of Pana Jones

wouldn’t be obvious to everybody. Pana Jones, however, isnʻt everybody. It’s tempting to imagine Pana writing “Hawaii Nice” while lounging under a palm tree, gazing out at crystal blue waves. In actuality, the song that launched it all was written in San Diego in 2010. “I had a talk with my cousin, who worked for the Los Angeles Clippers at the time. He strongly encouraged me to write something,” Pana recalls. “At the time, I was working for a grocery store, stocking shelves overnight. I wrote ‘Hawaii Nice’ on my shift break, sitting in my Ford Focus hatchback.” There in a dark parking lot, while the world slept, the words poured out: Snowcaps and black sands from the beginning of time…You’re so sacred, sanctuary, safety. Pana’s cousin helped to push the tune, and it wasn’t long before every college radio station in the US, as well as stations in countries like Argentina and England, were blasting “Hawaii Nice” and college students were dreaming about moonlight stretches across the rock, along the coast.

“It was overwhelming and I wasn’t ready for that. But it opened doors for me,” says Pana, explaining how “Hawaii Nice” landed in the hands of producer Guy Roche. Roche, who produced Christina Aguilera’s “What a Girl Wants” and other mega hits, is originally from French Polynesia. He invited Pana over to his Hollywood studio and the two collaborated on a few tracks. Although “Hawaii Nice” may have put Pana on the map, his journey from ocean waves to airwaves began in high school. The Catalyst of Acceptance Pana Jones grew up in Kailua-Kona. “My mom was a hotel housekeeper and my dad was a bellman,” Pana says of his childhood. “As a young kid, I was one of only three black students in the entire school. It was challenging at times and I couldn’t really accept my blackness until I was in high school.” The catalyst of acceptance came when Pana was still a freshman at Konawaena High. He attended a talent show where seniors entertained their classmates. When Mike Hong, Kamaal Humphries, Mark Omaya, and Jamin Wong (now part of the band Ho‘aikane) took the floor, they performed an original rap set to the sound of an instrumental rendition of A Tribe Called Quest’s “Scenario.” Pana observed how the other students connected so palpably with these seniors through rap, and in that moment, he knew he had a story to tell and a voice to share it. “All four of them had different personalities. It became clear that it was okay to be different and that the color of my skin was cool. That day I went home and started writing,” exclaims Pana, who later became friends with the four. “Music is the biggest platform for a true artist to be heard

and share their feelings with the world, uninterrupted,” Pana points out. “I write music in a competitive genre. A big part of rap is stance and representation.” Although his genre of choice is rap, Pana asserts that the blues, contemporary and traditional island music, and even indie rock have been just as influential on him as Rakim or the Wu-Tang Clan. “I listen to Muddy Waters and Taj Mahal,” he says with admiration for these artists. “My idea is to create little images, or snippets that could be relatable, while sharing experiences using sounds that I like.” Pana’s love of blues and rap helped to spark his passion for music and songwriting. His exposure to ancient Polynesian chants, drumming, and the Hawaiian tradition of passing down values and beliefs through storytelling fueled it further. From Ocean Waves to Airwaves After high school, Pana attended college in California. Although he never stopped writing songs, he did so quietly. “I did it in hiding for a long time. Staying up all night trying to lace words together. Always writing for me. No one else.” After “Hawaii Nice” hit the airwaves, there was no more hiding. By 2015, Pana was showcasing the flow and relatability his fans had come to embrace as one half of the musical duo, Nowelo. With Truth Musiq on guitar and harmonica and Pana on drums and vocals, Kona-based Nowelo was soon receiving recognition for their fusion of rap and blues. A blues-rap song about heartache and coping with loss, Nowelo’s debut single, “Leave Me,” was met with a standing ovation when they performed it at the Hawai‘i Songwriting Festival in 2016. The single landed a spot on the Oprah

KeOlaMagazine.com | September-October 2020

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Finding His Voice, Telling His Story Much has changed since 2018. Like the world at large, Pana has had to adapt to stay-home orders. Navigating his way through the challenges of being a dad and Pana views the challenges of being a dad and a musician musician in a world in a world of protests and pandemic as opportunities for of protests and observance and storytelling. photo courtesy of Pana Jones pandemic has kept him busy. “I’m working with two producers out in LA, Preed One and DK,” says Pana of how he is choosing to treat these difficulties as opportunities. “I’m interested in creating a classic rap album inspired by music that influenced me growing up. Art with substance and melody. Observation and storytelling.” The new album will feature a remarkably and intentionally different sound, as well as a difference in delivery and cadence. Pana is finding a new cadence of parenting as well. “The past few months have been a privilege. I got to hang out with my kid and she loved it. And I believe we’re better friends. I just sit back and watch her. She’s six and bright, with a mellow temperament and interested in many things.” As he gushes about how smoothly his daughter transitioned to online learning, the joys of watching her learn to read, and concerns about how much she missed her teacher and friends, it’s hard to imagine that this is the same Pana who hits us with melodic, yet undeniably raw rhymes in songs like “Clearing Space.” “The shutdown was a big lesson for me,” he admits. “It’s important for me to pay attention to being a dad now more than ever.” As an African-American father at a time when racial injustices are being exposed across the US, Pana’s hope is that his daughter can live in a country where she is recognized and respected for her unique voice. “One where she is not judged for her color or her sex. One where she knows herself as equal, strong, and inspired. And SAFE!” he attests. As an artist, Pana finds inspiration in the time this year has afforded him to be with family and do what he loves. “Stayhome orders have provided a great escape for me creatively. Because of social distancing, it’s a little tricky organizing studio time, but I’ve been writing songs in reaction to things happening. Songs come when they come. You can’t force them,” Pana notes, emphasizing that songs are like babies. “And then you toss your babies into the world and hope they are embraced.” When they do come, Pana hopes the results are a piece of

him that he can give to his daughter, so she can look back and understand what her dad went through. Sharing Ideas That Are Relatable These days, the driving force behind Pana’s music is fixing and maintaining relationships. Admittedly, the element of love in his upcoming tracks is as different as the fresh cadence he will set. “It’s about repairing and rebuilding bridges and creating connection,” Pana says of addressing relationships and the heart in his new songs. “I’m still committed to sharing ideas that are relatable. My hope is that the new music I share repairs relationships too.” For an artist who makes it a priority to craft songs his listeners will connect with, the lyrics of Pana’s tune “Hawaii Nice” are just as relatable in 2020 as they were when he penned the words a decade ago.

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Safe in the arms at night, Never seen stars shine so bright I thank God for the love And the life And the night’s full of peace I’ve been through Pana’s music tells a timeless story, echoing a hope that is more precious now than ever: that there exist corners of the world where we can find safety, love, acceptance, and peace. ■ Find all of Pana Jones’ music on Apple Music and Spotify.

KeOlaMagazine.com | September-October 2020

Music is the biggest platform for a true artist to be heard and share their feelings with the world, uninterrupted, Pana points out. photo courtesy of Pana Jones

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Suzy Papanikolas’s paintings grab your attention immediately. While visually stunning with their vibrant colors and textures, they are most remarkable for their sense of drama and the window they open into the emotions of those she paints. In some paintings the dancers may be excited about a coming performance, in others they might be anxious about how they will do. On some canvases a group of dancers will be relaxing and sharing a laugh. In still others we see native Hawaiians in traditional costumes performing ancient 2020 | azine The Life Community Mag Hawai‘i Island’s ceremonies of the culture. Suzy has a great love for Hawaiian and Polynesian cultures, participating for many years in gatherings such as the Merrie Monarch Festival and Tahiti Fête in Hilo, and the International Canoe Carving Festival in Lahaina. She is a close friend and admirer of Tahiti Fête’s Pua Tokumoto and her husband Dwight, and through the Tokumotos she became interested in Tahitian dance and music. Pacific Patterns, chosen for this issue’s front cover, was inspired by a drummer at the Tahitian dance festival in Hilo. Suzy also had the honor of working with master carver Ray Bumatay at the International Canoe Carving Festival. Ray asked her to carve a story board for him on the canoe he was making for the Merrie Monarch Festival in 2019. This amazing artist comes from an equally amazing background and set of life experiences. Growing up in the artists’ colony of Laguna Beach, California, she came from a family whose lives revolved around art. Her mother was a watercolorist and sculptor, her father founded the Laguna College of Art and Design. After graduating from the University of Texas, and from San Francisco State University, Suzy moved to Sonoma County in Northern California to raise her children on a farm, where she tended her chickens and goats. She also played in an all-woman band, The Righteous Mothers. In addition to her involvement in farming and music, Suzy also studied psychotherapy and became a primal therapist in Los Angeles and in Berkeley, where she also worked as a painter and faux finisher. She painted a series of large murals in the Bay Area including one at the San Francisco International Airport. Coming from a long line of builders, it is not surprising that she developed carpentry skills, and for –October

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ian Tattoos t Art of Polynes acy The Nearly Los Traditions: A Cultural Leg ing l ARTS Hawaiian Nam g, Teaching Too Forest: A Livin d CULTURE Clou a ITY Kon SUSTAINABIL

some years she worked full time in Berkeley as a carpenter. She has lived in Europe and Mexico and traveled widely through the South Pacific, looking for a place to settle in the islands. She came to live in Hawai‘i, taking part in the canoe festival in Lahaina for seven years, carving story boards and printing pareau for the carvers while she learned carving from Cook Island master carver Michael Tavioni. After several years on Maui, where she helped design, build, and manage a bed and breakfast retreat center in Makawao, she bought land in the hills near Pāpa‘ikou on the Hāmākua Coast. There she designed and built a house for herself where she lives with her partner Richard Tillinghast, a poet and travel writer. Here they grow avocados, papayas, and bananas and have their own chickens. Her paintings are meticulous in their attention to the details of costumes, the dancers’ and performers’ tattoos, their leis, and the decorative patterns of their clothing. “I like to catch people when they’re really involved in what they’re doing,” she says. “I see the pensive looks on dancers waiting to perform. I’ve gotten to know many kumu as I’ve visited the cultural festivals.” When asked where she goes for inspiration she replies, “Usually any place where the locals hang out, or cultural events like canoe festivals, hula, and rodeos, or traveling to the South Pacific. But really, just being right here in this inspiring place, surrounded by all these beautiful people, I feel blessed.” For more information: papanik.com

Table Of Contents Photographer:

GP Merfeld

GP has the distinction of being the only artist whose work has graced Ke Ola Magazine’s cover twice, and now is being featured a third time for our table of contents image. GPʻs passion for the subjects he loves to photograph obviously resonates with the editoral content of the magazine! His work has been exhibited in several galleries throughout the islands and he is currently working on a retrospective to be published in a series of books. For a full bio about GP, see our May– August 2020 issue. For more information: gpmerfeld.com

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Kawika’s Painting

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LAND SURVEYING

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LOCALLY-MADE GRANOLA

MARKETING HELP

As a young man, David Dunham, founder and president of Kawika’s Painting, thought “There’s nothing more important than an education;” however, he faced a major obstacle in the pursuit of his dream—lack of funding. To overcome this problem, David painted houses while getting his college degree. Little did he dream that 35 years later, he would have his college degree and would also be leading a highly successful, locally-owned painting business! David recently noted that everyone has been impacted during the recent pandemic and had their plans disrupted. David shares, “In uncertain economic times, some building owners, Associations of Apartment Owners, and managers are prone to put off needed repairs or scheduled maintenance projects until the economy shows strengthening.” “We had been in such a boom with peak tourist and occupancy numbers climbing for the past few years, many buildings have had a hard time balancing use with maintenance. It was costly to shut down operations or offer discounts for the disruptions. This has led to some deferred maintenance, smaller phases or just addressing emergencies when they arose.” He continues, “The current situation presents an opportunity for getting work performed now, while there are fewer people around. Barricading, coordination with tenants, public access can be much easier in times of low occupancy. Safety may be greatly improved due to lack of pedestrians or occupants in some of our empty hotels and commercial buildings. This could make projects safer and quicker. We are doing a painting and spall repair project which became so much safer as there are no longer hordes of people underneath our scaffolding. The barriers are much simpler for the client. We now have access to some units through the interior rather than having to hang a rig on the exterior, which is more costly. Just think of the work that could be done in parking garages at this time when there are fewer cars present. Deferred maintenance is expensive—it’s not usually a good idea to wait, because building woes have a way of getting worse in our tropical climate!” Kawika’s Painting is prepared and licensed to help you with painting, spall repairs, roof coatings, water proofing, carpentry, walkway coatings, and resinous flooring. Give them a call for a free estimate! Kawika’s Painting Offices in Kona and Hilo 808.329.2007 KawikasPainting.com

IMI Clinics

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Talk Story with an Advertiser Dr. Joanna Smith has many well-deserved credentials following her name. She owns IMI Clinics, also known as Integrated Medicine Institute. IMI is Hawai‘i Island’s medical center for wellness, esthetics, and preventive health. Opened in 2018, IMI is the first practice in East Hawai‘i offering an integrative approach with allopathic, naturopathic, and esthetics under one roof. It is also East Hawai‘iʻs first fullservice medical spa, and Dr. Smith is likely the only licensed doctor of nurse practice, esthetitian, health care provider, registered nurse and radiologic technician you’ll come across! Born and raised in Hilo, Dr. Smith attended both Waiakea and Hilo high schools, and colleges on O‘ahu and in Hilo. Her father, Francis Smith, Sr., inspired her to become a physician. He was a fire chief, and was the first to combine EMT and fireman duties, as well. When he brought his EMT books home, Dr. Smith recalls her fervor for reading them and anything else health-related. She reflects, “I was immediately stung with the desire to have some kind of profession that had to do with healthcare,” and her father backed her all the way. Her mother’s experience with cancer prompted her to study widely. “A lot of things that kept mom around longer were naturopathic type of treatments—they really helped! As physicians, we should be approaching healthcare from

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WHOLISTIC HEALTH

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all angles including allopathic and naturopathic so we are looking at each patient as a whole.” With Dr. Smith’s range of specializations, she can offer many services to her patients. IMI’s Hilo office supports four clinicians, office staff, plus several independent sub-contractors. She’s opening a second clinic in Pearl City, O‘ahu at the time this publishes, and a third office, on Hawai‘i Island, is projected to open at the end of 2020. Dr. Smith’s voice lights up when she talks about her patients: “The wellness aspect is so close to my heart. People who are looking to continue their journey with wellness, or would like to be introduced to wellness options. It’s not about gender or age, if you are seeking true wellness options, I’m here. It’s life changing! During Covid everything else in my service lines became secondary to the people who were seeking wellness options. People who were willing to do protocols even if their insurance didn’t cover it—they were so concerned about being well that when they went through with the protocols, they got better! They haven’t been this healthy in years!”

More than 60 local artists represented with everything made on the Big Island of Hawaii. We are located in historic downtown Hilo. www.onegalleryhawaii.com info@onegalleryhawaii.com

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Thank you everyone for all you do in these challenging times. Share Aloha and make your world beautiful.

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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.

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Ka Puana - Closing Thoughts

Proverb 1861. Mary Kawena Pukui. Olelo Noeau: Hawaiian Proverbs and Poetical Sayings. Bishop Museum Press.

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