THE KAHALA
2 0 1 2 V O L . 7 , NO . 1
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Ala Moana Center (808 ) 955-5533 - Royal Hawaiian Center (808 ) 922-7555
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Š2011 Cartier
Haute Joaillerie Collection
C O N T E N T S Volume 7, Number 1
Fea t u r e s
30 The Star Strummers
ON THE COVER
Photographer Dana Edmunds captures the powerful synergy of elements in this photo of The Kahala’s waterfall.
Synonymous with Hawai‘i’s most beloved musical instrument, the ‘ukulele, Jake Shimabukuro has dazzled audiences all over the world, including Queen Elizabeth. He has also mentored another star, his younger brother, Bruce. Welcome to the lightning-bright world of the Brothers Shimabukuro.
Story by Jocelyn Fujii Photos by Dana Edmunds
36 The Liquid Prism
Hawai‘i’s two most abundant elements, light and water, attain alchemical magic when seen through the lens of photographer Dana Edmunds. In capturing the synergy of waves, waterfalls, lagoons and light, he offers a visual vocabulary of beauty in its ephemeral, ethereal splendor.
Story by Jocelyn Fujii Photos by Dana Edmunds
42 Sacred Connections to a Distant Past
The Northwest Hawaiian Islands are not just our northern Pacific neighbors. They’re a part of the Hawaiian archipelago, the largest single area in the country dedicated to conservation. With their artifacts and wildlife, they are Hawai‘i’s cultural past and hope for the future.
Story by Thelma Chang
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C O N T E N T S Volume 7, Number 1
66
Editor’s Note
D epa r t m e n t s
13
PROFILES: The
She leaves her mark on every moment of the guest experience and enjoys the challenge and teamwork of special requests. Meet Leah Chui, director of the front office.
Story by Paula Rath Photos by Olivier Koning
17
INDULGENCES: Through
The Kahala is not just a playground for adults. Dolphins, turtles, the ocean and thoughtful keiki activities bring back multiple generations time and again.
Story by Simplicio Paragas Photos by Dana Edmunds
23
IMPRESSIONS: The
Firecracker at the Front Desk
the Eyes of the Keiki
Wild Pleasure of It All
Princess Ka‘iulani, niece of the ex-queen Lili‘uokalani and heiress to the throne of Hawai‘i, rides a Waikïkï wave in a canoe in 1898. This excerpt, from John R. K. Clark’s book, “Hawaiian Surfing: Traditions from the Past,” offers a glimpse into a riveting moment in Hawaiian history.
27
EXPLORATIONS: Planting
the Past and Seeding the Future
As the extinction capital of the world, Hawai‘i depends on environmental heroes to protect and preserve what’s left. Thanks to the efforts of our horticultural saviors, there’s hope.
Story by Christine Thomas
52
TRANSLATIONS:
By Chihiro Kitagawa and Mutsumi Matsunobu
64
Memory Book
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Ed i to r ’s No t e
The Northwest Hawaiian Islands make up the largest
single area dedicated to conservation in the U.S.
While many things in Hawai‘i are visible, there is much about these islands that isn’t. We can see and appreciate the ocean, the landscape, the radiant islanders with their smiles of aloha. But Hawai‘i has fascinating aspects that are fairly invisible, and which are under scrutiny by those who decode our past to discover the keys to our future. In this issue of The Kahala, the curtain parts on some of these mysterious and hidden, yet hugely significant elements of island life. We’re thankful for the scientists, environmentalists and devoted cultural practitioners who work behind the scenes to preserve the Hawai‘i we know and don’t, as well as the Hawai‘i we hope will endure and thrive in the years ahead. On page 27, Christine Thomas acknowledges the quiet heroism of the researchers at Waimea Valley and Lyon Arboretum, who are identifying, preserving, propagating and reestablishing Hawai‘i’s endangered native plants and ecosystems. While the scientists work out of public view, their findings have an impact on Hawai‘i’s natural world, and we are thankful for their vigilance and dedication. Similarly, not many people realize the extent of the Hawaiian archipelago, which extends from south of the island of Hawai‘i, where an infant island is forming on the ocean floor, to Kure Atoll in the north, a distance of more than 1,500 miles. As Thelma Chang’s article reveals on page 42, the remote islands and atolls of the Northwest Hawaiian Islands make up the largest single area dedicated to conservation in the United States. Little known to the rest of the world, they are a crucible of our cultural and environmental future. We also present, on page 23, an excerpt from John R. K. Clark’s new book, “Hawaiian Surfing: Traditions from the Past.” Clark, the foremost authority on Hawai‘i beaches and watersports, painstakingly researched Hawaiian-language texts from the 1800s to bring us this peerless chronicle. Riding the music wave on page 30, the Brothers Shimabukuro share their passion for the ‘ukulele—soaring in popularity, an underdog no more. And because water is an ongoing theme at The Kahala, photographer Dana Edmunds brings his luminous lens into sharp focus on page 36. From ocean to waterfalls to lagoons and ponds, we see in his essay the way art and nature intersect to bring us things of beauty. Children share their stories, too, in an article by Simplicio Paragas. On page 17, the keiki of The Kahala describe their perfect world, and on page 13, we see how Leah Chui, the front office director, cheerfully takes on the challenge of pleasing children and adults unflappably. Seen and unseen, visible or not, micro to macro, we present the many wondrous layers of this environment. We welcome you to these worlds, and we hope you enjoy the adventure.
©GREG MCFALL/NOAA
Jocelyn Fujii
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ED I TO R I A L
Chief Creative Officer Haines Wilkerson Design Director Jane Frey Photography Director Susan Strayer Regional Editorial Director Rosie Leonetti Editor-at-Large Jocelyn Fujii Copy Editor Lucy Kim Contributing Writers Thelma Chang John R. K. Clark Simplicio Paragas Paula Rath Christine Thomas
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Contributing Photographers Ann Cecil Dana Edmunds Alyssa Fedele Olivier Koning Wayne Levin Greg McFall Japanese Translation Chihiro Kitagawa Mutsumi Matsunobu
The Kahala (Vol.7, No. 1) is published by Where Hawaii, 1833 Kalakaua Ave, Ste. 810, Honolulu, HI, 96815. www.mvpislands.com Copyright© 2012 by Morris Visitor Publications. All rights reserved. This publication may not be reproduced or transmitted in any form or by any means, in whole or in part, without the express prior written permission of the publisher. The publisher assumes no responsibility to any party for the content of any advertisement in this publication, including any errors and omissions therein. By placing an order for an advertisement, the advertiser agrees to indemnify the publisher against any claims relating to the advertisement. Printed in China
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A DV E RT I SI N G
Regional Vice President and Publisher Patti Ruesch patti.ruesch@morris.com Regional Publisher Suzanne McClellan suzanne.mcclellan@morris.com Account Managers Elizabeth Cotton elizabeth.cotton@mvpislands.com Katherine Ellwood katherine.ellwood@morris.com Wanda Garcia-Fetherston wanda@insidemedia.org Bob Kowal robert.kowal@mvpislands.com Advertising Sales (808) 955-2378 EXECUTIVE
President Donna W. Kessler Controller Angela E. Allen PRO D U C T I O N
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Profiles
The
Firecracker at the
Front Desk
Helping guests feel at home S TO R Y B Y P A U L A R A T H P H O T O S BY O L I V I E R K O N I N G
T
he front desk is the heartbeat of the hotel,” said Leah Chui, with obvious pride. She should know. She began her career as a guest-service agent at the front desk. Now the bright, ambitious 29-year-old, a native of Singapore, is director of The Kahala’s front office, overseeing not only the front desk, but also the bell desk, valets, concierges, telephone operators and VIP special
requests. In all, she manages 57 employees. Among Chui’s many responsibilities is making sure that every guest is treated like a VIP. “This job is a lot about being a step ahead of the game. You need vision and thinking ahead, projecting guests’ needs,” she noted. It’s about anticipating a request before it is even voiced and ensuring that every guest experiences a little of The Kahala’s magic. “We make it feel THE KAHALA 13
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Profile Profiles
Making Magic Leah Chui and her staff never know what they might be asked to do or provide. “If it’s asked of us, we try to make it happen,” she said. “We like it when something we do makes a guest feel, like, ‘Wow! It’s magic!’” Here are just a few of the many requests from guests in recent years. The Kahala’s guest list has included travelers from around the world, as well as dignitaries and celebrities: • Workout equipment in the room • To turn an adjacent room into a walk-in closet • A particular brand of diapers for a celeb's baby • The TV switched to accommodate a brand preference • A special kitchenette installed in the room for a private chef, on an entire floor booked for an entourage
It’s about anticipating a request before it’s even voiced. (Above) Leah Chui, front office director, is a smiling and energetic presence who works miracles behind the scenes.
like magic, but the magic comes with homework,” she added. “We have the elves working.” Chui enjoys teamwork. “Special requests are a lot of fun. It’s like a team production,” she said, often involving engineering, housekeeping, purchasing, sales, and food and beverage. Although Chui is gentle, petite and soft-spoken, many of her fellow employees refer to her as a “firecracker.” A 2002 graduate of Hawai‘i Pacific University’s School of Travel Industry Management, she is clearly a rising star in the hospitality industry. In 2009, Chui married Sherman Lee, a fitness buff who works in sales. “He’s really supportive of my career,” she said. “We balance each other because he’s an extrovert, and I’m an introvert.” Although her job demands much of her time and energy, Chui is passionate about all things musical. A soprano, she loves to sing ballads, especially those of Mariah Carey and the late Whitney Houston. She grew up dancing in Singapore: modern dance, ballet
• Numerous special food requests, including fresh goat’s milk • A razor replacement for a favorite that a guest forgot. A staff member made a special trip to go out and buy it, and now the same type of razor appears every time the guest arrives. • A guest loved a sweet potato dish he had at Hoku’s and requested it with every meal. The chef made sure he got it.
and Chinese cultural dance. She also sings karaoke and plays piano. For “Kahala Has Talent,” the employee talent show held in January, she brought together a team of managers and choreographed a dance routine. The Kahala Hotel & Resort is a popular place for celebrities, politicians, CEOs and heads of state. President Barack Obama, the emperor and empress of Japan, Sir Elton John, former President Bill Clinton, Michael Jackson and Alicia Keys are among the luminaries who have stayed here, and whose portraits line the Wall of Fame. The hotel’s location, away from the madding crowd of Waikïkï, offers a sense of privacy and serenity that the guests appreciate. One evening, a guest reported walking into The Veranda and seeing Cameron Diaz and Drew Barrymore, chatting away over a cocktail. Then Goran Visnjic walked in and decided to join them. It’s obvious they all felt very much at home at The Kahala. And that’s exactly the goal of Chui and her staff. ❀
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Indulgences
Title to Come Through the Eyes of
the Keiki They can have it all, too S TO R Y B Y S I M P L I C I O P A R A G A S P H O T O S BY D A N A E D M U N D S
Keiki guests in the Dolphin Quest Oahu program.
L
auren Kaplan will never forget her ninth birthday. Celebrating the occasion with her family, while vacationing at The Kahala, the “Entertainment Tonight” kid reporter received a priceless gift that’s forever etched in her memory. “The dolphins sang ‘Happy Birthday’ to me and my sister, Samantha,” says the seventh grader.
“And then I got to swim with them. How cool is that?” The Kahala has been the preferred destination for four generations of Kaplans, including Lauren’s father, Ken, whose first sojourn to the property was at 6 years old. Now 45, the San Diego resident still visits the fabled property, bringing along his wife, Diana, and his two other daughters, Samantha, 15, and Sophia, 10. THE KAHALA 17
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Indulgences
“It feels more like home than anywhere else.” —KEN KAPLAN (Below) A lively group lesson before taking to the water. (Right) Building sand castles is a child’s dream.
“It feels more like home there than anywhere else,” says Ken. “It’s where I learned how to play backgammon and dominoes. Let’s just say it was my introduction to math and reasoning.” When Conrad Hilton opened The Kahala Hilton in January 1964, the 10-story building was a secluded getaway with its own private dolphin lagoon and a well-manicured golf course next door. With its private location, yet with attractions like Waikïkï and Hanauma Bay still accessible, The Kahala appealed to dignitaries, sports figures and celebrities. It was even nicknamed “KaHollywood.” While the property was once heralded as a playground for adults, it’s growing in popularity among families. The turnabout, says General Manager Roseann Grippo, is a seismic shift from a decade ago, when The Kahala was known for its clientele of honeymooners and the rich and famous. “You didn’t see many kids running around the pool then,” she adds. “But now we’re starting to see a resurgence of parents coming here with the entire family.” Among them are the Kaplans, who hope to return in the summer with Ken’s grandfather,
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Indulgences
Enjoy an icy treat in the keiki pool.
Milton. He was the first in the family to stay at the hotel, shortly after it opened. Even though she was just four years old during her last visit, Sophia Kaplan can still vividly picture the resort. “I just remember waking up, and it was so beautiful and relaxing,” says the youngest of the Kaplans. “I remember feeding the turtles, and I’ll never forget the thin pancakes, which are the best I’ve ever had.” She and her sisters can’t stop thinking—or talking—about their Dolphin Quest experience, which provides children an enjoyable and educational encounter with Atlantic bottlenose dolphins. “They learn about the animals in a fun and interactive way,” says Sook Russell, the Dolphin Quest Oahu general manager. “For some, it sparks their intellectual curiosity, and they start teaching their parents what they learned. One kid told me that it was the greatest experience of his life, beating out Disney.” Indeed, The Kahala possesses its own “Magic Kingdom” charm that enchants children and educates them about Hawaiian culture. Whether it’s frolicking with the dolphins or participating in one of the many Keiki Club programs, kids will be engaged for their entire vacation. According to Spa and Recreation Director Nicole Madosik, they can even have a spa day. “We introduced a keiki spa menu, which offers shorter massages, lomi-lomi, skin brushing and treatments that are suitable for our younger clients,” Madosik explains. “We also have a therapist who will teach parents to massage their infants to soothe them.” Most calming for the Kaplans is the hotel’s CD, “Moments of Delight,” which they took home from their last visit. “We still fall asleep to it at night,” Diana Kaplan says. “And when Lauren and Sam get tense before exam day, they play it to relax. We brought The Kahala home with us.” ❀ 20
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Impressions
Profile
The Wild
Pleasure of ItAll Title to
Come
The princess rides a wave S TO R Y B Y J O H N R . K . C L A R K
The Kahala’s Warren Sasaki has an uncanny ability to see things before they’re actually there
O
n June 30, 1898, Princess Ka‘iulani was among the dignitaries at a luncheon on Waikïkï Beach. Filmmaker Burton Holmes and his assistant, Carl De Pue, were on hand with their motion picture camera. In this excerpt from Hawaiian Surfing: Traditions from the Past, the acclaimed and painstakingly researched book published by University of Hawai‘i Press, John R. K. Clark shares details of that historic
day from the Burton Holmes Travelogues. The princess passed away less than a year later.
•
We are to ride the surf in native boats—a water-sport more thrilling, more delightful than anything ever devised by man in civilized lands ... Five happy boat-loads race far out to meet the huge incoming breakers; then we reach the place where the grand ocean-swells come rolling in like THE KAHALA 23
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“We are to ride the surf in native boats— a water-sport more thrilling than anything ever devised by man ... ” — BURTON HOLMES (Right) Burton Holmes in 1903. (Below) Princess Ka‘iulani, seated on the right, and Beatrice Webb on Waikïkï Beach.
smooth, watery mountain-ranges, we pause and wait, allowing fluid Catskills and liquid Alleghenies to glide past us, for we are waiting for the Rockies and the Himalayas. At last there comes a range of billows worthy of our crews, who raise a wild shout. “Hoi! Hoi! Hoi!” the boatmen howl, and this word is taken up by the shrill cries of the women; then all hands paddle frantically shoreward until the boat attains the proper speed—a speed that permits the towering wall of water to overtake the canoe and lift up the stern. From that moment we are the toy and plaything of that shorewardmoving ride of water ... at a speed of thirty miles an hour. There before me is the Princess Kaiulani, her face aglow with excitement, shouting and paddling frantically, her eyes flashing with the wild pleasure of it all. Then out we race for another and another of these exhilarating dashes. And while waiting there near the reef for waves worthy of our mettle, all hands plunge overboard, and the sea around the canoes is alive with human porpoises, until at the cry of “Hoi!” again, all clamber in and paddle and yell and thrill with the very joy of living. ❀
(PREVIOUS PAGE) ©BOB ABRAHAM/PACIFIC STOCK; (THIS PAGE FROM TOP) BURTON HOLMES ARCHIVE; MUSEUM OF BRITISH SURFING/TREVELYAN FAMILY TRUSTEES
Impressions
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Explorations
Planting the Past and
Seeding the Future Hawai’i’s green heroes
STORY BY CHRISTINE THOMAS
©N EL LIE S UGG II
I
t’s easy to recognize the distinct architecture of the hala tree, also known as pandanus, or screw pine. Its curious aerial roots perch in many island landscapes; its pointed leaves are woven into lauhala mats; and its fruit is strung into lei symbolizing the healing of past troubles. But what many don’t know is that unlike emblematic introduced species, such as bird of paradise and plumeria, hala is actually
Hibiscus koki‘o, subspecies St. Johnianus, is not endangered but is in decline, due to hurricanes and weather damage.
one of Hawai‘i’s 1,200 native plant species. “Everyone used to think hala was a canoe plant,” says David Orr, botanical collections specialist at Waimea Valley’s botanical gardens, referring to plants carried here 1,700 years ago by Polynesian voyagers. “Hurricane ‘Iniki, in 1992, revealed the fossil of the hala fruit on the North Shore of Kaua‘i. That one episode is what made us realize that hala is an THE KAHALA 27
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E x plorations
endemic plant.” It was valued by the ancient Hawaiians and is still in popular use today. Discovering a thriving native tree bucks the trend and remains significant at a time when around 350 of Hawai‘i’s native plant species— 90 percent of them found nowhere else—are threatened and endangered. Their decline has profound ecological and environmental consequences and cultural repercussions. Fortunately, a few organizations throughout the state are sending dedicated botanists into the lab and remote island areas to actively restore and preserve native plants for Hawai‘i’s people.
“We need to make a connection to these plants so the public can care about preserving species.” — LILOA DUNN (This page) Kokia cookei, Hawaiian red cotton, one of the world’s most endangered plant species, was saved by Waimea Valley botanists. (Opposite, clockwise from top) Hapu‘u fern, Kanaloa kahoolawensis, koki‘o ke‘oke‘o and hala are among the treasured plants of Hawai‘i.
DANGERS AND DELIGHTS While some species are more sensitive to threats than others, Hawai‘i’s native flora are clearly vulnerable to formidable competitors: aggressive invasive species, including weeds and canopy trees; wild boar; and land development, with climate change looming. As diverse species are out-bullied, native insects like the Hawaiian Damselfly and birds like the Hawaiian Hawk also lose their habitats and perish. The erosion of natural resources and plants also threatens cultural practices that rely on them, such as hula, fishing, and tool making. As Christopher Dunn, director of Honolulu’s Lyon Arboretum, points out, “If you lose something of your biological heritage, you’re losing something of humanity’s cultural and linguistic heritage as well—both disappear simultaneously.” The good news is that Dunn and colleagues throughout Hawai‘i combat these challenges with abundant passion. They speak of individual plants as if they were cherished keiki (children) and tell inspiring stories, such as the tale of Kokia cookei, the Hawaiian red cotton tree, one of the world’s most endangered plant species. Before the last plant on Moloka‘i became extinct in the wild, Waimea Valley botanists grafted a branch onto a related species, viewable at their gardens. There’s also the critically endangered Kanaloa plant, remaining in the wild on a Kaho‘olawe cliff and luckily being grown from seed in small quantities on Maui and Kaua‘i. INTO THE MOUNTAINS Though these plants and their anonymous defenders lie quietly in the background, they can be found at O‘ahu’s central plant conservation organizations, situated on opposite ends of the Ko‘olau Mountains.
On the North Shore, most visitors enter Waimea Valley intent on hiking to its gentle waterfall, not strolling through 150 acres of botanical gardens budding with exotic plants such as loulu palms, hapu‘u ferns and Hawaiian hibiscus. “They come for the waterfall, then they have their epiphany when they start looking at all the beautiful plants—and their lives are transformed by the time they’re halfway up to the waterfall,” says Orr. The gardens are part of Waimea Valley’s restoration plan, fueled by volunteers in two ambitious initiatives—reestablishing functioning native ecosystems, and locating and protecting intact native plant populations. In the past year, the botanists discovered several endangered populations of nïoi, in the myrtle family, and 10 acres, high in the valley, dominated by rare native plants. IN THE VALLEY At the 194-acre Lyon Arboretum, tucked at the back of Mänoa Valley, the canopy of invasive plants that once dwarfed the two-acre Native Hawaiian Garden is gone, replaced by young plantings of indigenous and endemic flora such as koa, lama and pükiawe shrubs. While Lyon is generally known for its robust heliconia and ginger collections, Director Christopher Dunn has refocused efforts toward restoring and preserving plant and crop varieties. One of his fruitful community partnerships is with Hälau Kü Mäna charter school in the Makiki area of Honolulu, where students have helped plant different varieties of kalo (taro, a culturally vital canoe plant) and restore ancient lo‘i (irrigated terraces) where they grow. Other efforts occur completely out of the wild, and inside Lyon’s micropropagation laboratory and seed bank, the only one of its scale in the state. In slim glass vials, 15,000 plants—including native ground orchids, mints and hühü, a bellflower species rescued from extinction— await secure replanting sites, such as on Nature Conservancy and U.S. Army land. “There’s tons of stuff here that is really rare,” says Nellie Sugii, who has reproduced more than 300 different native species in the micropropagation lab. “It’s pretty much priceless—if these are gone, they’re gone.” “We need to make a connection to these plants so the public can care about preserving species,” adds colleague Liloa Dunn. “We need to bridge that gap.” ❀
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THE KAHALA 29
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(O PP OSI TE ) ©N EL LIE S UGG II ; (C ENT ER ) © ZA CH ERY WIN GE RT; (OT HE RS) ©A NN C ECI L
The ambassadors of peace, love and ’ukulele share their love of the instrument
TH E S TA R
S TR UMMERS
STORY BY JOCELYN FUJII PHOTOS DANA EDMUNDS 30 THE KAHALA
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S T O R Y BY J O C E L Y N F U J I I P H O T O S BY D A N A E D M U N D S
JAKE (LEFT) AND BRUCE SHIMABUKURO THE KAHALA 31
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W
e all know the instrument. It is, relatively speaking, small,
larger than a harmonica but more diminutive than a bass or cello. Many people have played it—George Harrison, John Lennon, Elvis Presley, Laurel & Hardy, Arthur Godfrey, Tiny Tim, Bob Hope and even, more recently, Pearl Jam’s Eddie Vedder. But until Jake Shimabukuro hit the scene, no one had ever imagined that so much sound could be created from the four strings of the ‘ukulele, an instrument blazing to new heights of popularity today. Shimabukuro has jammed with Francis Ford Coppola, played for Queen Elizabeth, toured with Jimmy Buffet, performed with Yo-Yo Ma and Cyndi Lauper. He’s known as the “Jimmie Hendrix of the ‘ukulele” and has wowed audiences worldwide—not only with his musical wizardry, but also with his immensely likable personality. He is a pop icon in Japan and universally loved in Hawai‘i, where his quiet generosity to many good causes is equal to his musical virtuosity. “Peace love ‘ukulele” is his motto, and when you hear him play, you’ll know what he means. “I truly believe that if everyone played the ‘ukulele, the world would be a better place,” he says earnestly. “To me, there’s something magical about the ‘ukulele in its simplest form.” He talks about picking up the ‘ukulele as a 4-year-old, playing three chords, and being overcome with joy. The ‘ukulele, he says, is the instrument of peace and love, the underdog of all instruments—friendly, compact, approachable, playable. While best known as a dazzling and passionate performer, he is also a mentor to his younger brother, whom he’s taught along the way. Today, individually and collaboratively, 35-year-old Jake and 30-year-old Bruce Shimabukuro are significant figures in the meteoric rise of the ‘ukulele, a wooden instrument adapted from the Portuguese braguinha in the 19th century. While Jake is still the star who tours, records and performs full time, Bruce, who has five albums under his belt, is a dedicated songwriter and ‘ukulele instructor. His shop, The Ukebox, is a popular pau hana (after work) stop for friends, students and players. The brothers both play tenor ‘ukulele, are best friends (they were best man at each other’s wedding) and are riveting onstage together. At a recent sold-out performance at Chai’s Bistro, the brothers dazzled the audience with Hawaiian, classical, flamenco, pop, rock and other musical traditions, with jazzy riffs in between. When their mother, Carol, joined them with a Hawaiian song, well, you can imagine. It was their mother, Carol, who first put an ‘ukulele in her four-year-old son’s hands. “I just fell in love with it,” recalls Jake. “I got really into it, and that’s all I did for a long time ... I never wanted to go to the park to play basketball, I was never into sports, I was never into anything but music. I would come home from school, lock myself in my room, and just play. “Bruce has all these other interests, and he’s really good at a lot of things—video editing, basketball, football, golf.” He chuckles, looking sheepish. “After I play for about six hours and want to take a break, I’ll play for another two hours.” “He gives passion new meaning,” adds his brother.
(THIS PAGE) BRUCE SHIMABUKURO; (OPPOSITE PAGE) JAKE SHIMABUKURO
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“What the world needs now is more ‘ukulele.” —JAKE SHIMABUKURO
Their mother played an ‘ukulele made by Kamaka Hawai‘i Inc., a local company founded in 1916. Jake has played nothing else. “Casey Kamaka, to me, is the best ‘ukulele luthier in the world,” he says. “There’s no one better. There are a lot of great makers in the world, and their craftsmanship is fantastic. But it’s the sound that makes the difference. There are some ‘ukulele that look really nice, but when you close your eyes and listen, they sound like a classical guitar.” Part of an ‘ukulele’s distinction, he adds, is what he calls “that twangy ‘ukulele sound.” That’s what makes the ‘ukulele, he adds, and all the Kamaka instruments have it. “You’re supposed to have that tinny sound. It’s not supposed to sound big and full and warm, like a classical guitar. So if you’re looking for that traditional sound, Kamaka is it. You have the natural twang of the ‘ukulele, but you can develop the big sound if you want to.” While he calls it an underdog, the ‘ukulele is astonishingly popular. Avid collectors, players and ‘ukulele clubs can found around the world, including the U. S., Australia, Sweden, France and the United Kingdom, where the Ukulele Orchestra of Great Britain has a large following. Contributing to the ‘ukulele’s appeal, says Jake, is its size and portability. What about the player? His fingers are a blur, his music breaks new ground and he literally hops with energy onstage, like the “jumping flea” after which his instrument is named. Listen to him play “Bohemian Rhapsody,” “While My Guitar Gently Weeps,” “Hallelujah” or “143 (Kelly’s Song),” written for his wife, and see if it doesn’t tug at your heartstrings. Or “Ave Maria” and “In My Life,” the Beatles tune he played with Bette Midler for Queen Elizabeth. His riffs are pure ‘ukulele, but through his sheer control and versatility, they can sound like a flamenco guitar, violin, koto, waterfall, drum, bells and a panoply of other instruments. Whether a Latin beat, a ballad, a lullaby or a rock number from Queen, a Shimabukuro performance is pure emotion wrapped up in a wallop of entertainment. The incomparable TED (Technology, Entertainment and Design) annual conference thinks so, too, because Jake has spoken and performed at seven of them, including the regional versions, called TEDx. The annual TED conference gathers the country’s leading thinkers and offers their presentations, free, online. “Peace Love ‘Ukulele” was his theme for his first TED presentation. Held in Long Beach, California, in 2010, it held him in awe, even as a presenter. “After my presentation I walked to the lobby, and within 15 minutes, I had shaken hands with Al Gore and Paul Simon,” he recalls. Bill Gates was a presenter, and he spotted Matt Groening, creator of “The Simpsons,” in an audience peppered with luminaries. The event led to Jake’s involvement in the regional TEDx events, allowing him to spread the gospel of ‘ukulele across the global stage. “The theme for the first year was ‘What the World Needs Now,’ so my whole presentation was: What the world needs now is more ‘ukulele.” This is not just empty idealism. With his jumping-flea fingers and irrepressible creativity, Jake is a familiar figure at fundraisers, in public service announcements, in schools and hospitals and nursing homes. Two days after the tsunami hit Japan last year, he was on Waikiki Beach Walk with the Honolulu Festivals, performing in a benefit that raised $25,000 for the tsunami victims. He is not an “I” person, but a “we” person, active in community outreach and projects that motivate young people to make positive changes in the community through music. His brother, Bruce, the father of a three-year-old boy, helps out as often as he can. The brothers collaborate as often as possible and look forward to time spent together, whether it’s jamming, performing, playing tennis or diving. There’s no shred of sibling rivalry here. And as consummate players and ambassadors of the ‘ukulele, they have peerless advice for the rest of us. “You don’t have to be good to enjoy it,” Bruce concludes. “Just find a way to play it, and you’ll have a lot of fun.”❀ THE BROTHERS SHIMABUKURO JAM IN WAIKÏKÏ.
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Liquid The
Prism S TO R Y B Y J O C E L Y N F U J I I PHOTOS BY DANA EDMUNDS
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The Hawaiian lexicon has dozens of words for water. There’s spring water, wai puna. And ocean water, kai. And flowing water, wai kahe. And sparkling water, wai lohia, and ice water, wai hau. The Hawaiians regard water, wai, as wealth and abundance, a source of life and a pillar of their world. In aquaculture, voyaging, wave riding and more, the liquid legacy of the Hawaiians is limitless. Light, shadow and motion are water’s partners in this fleeting landscape, creating magic and mirrors in the wonders of the natural world. Dolphins, turtles and fish live and dance in luminosity, skin and carapace aglow. At The Kahala, the ponds, lagoons and waterfalls speak their own language of beauty. A turn of the head, a shoulder of sand, and there is the larger water. The ocean is alive, anointed with the sheen of sunset. Hold this moment: The light will recede, and the day will become an illusion. If a lake is the earth’s eye, as Henry David Thoreau once wrote, the ocean is its soul, and light its wondrous reflection.
A lone dancer in the turtle pool flashes his peacock colors. THE KAHALA 37
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A fleeting light show on the surface of the dolphin lagoon. (Right) With the hotel reflected on its back, a dolphin plays in the dolphin lagoon. Gold is the color of sunrise in The Kahala's front yard, the ocean. 38
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THE KAHALA 39
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Facing east-southeast from The Kahala's peninsula, a salutation to the morning sun. (Left) The turtle lagoon's prima ballerina.
GREEN SAND BEACH NEAR KA LAE, OR SOUTH POINT, IS TINTED WITH PULVERIZED OLIVINE FROM THE CINDER CONE ADJOINING IT.
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Sacred connections
to a Distant Past
A glimpse
into the world’s
most remote
archipelago
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BY THELMA CHANG
PHOTOGRAPHY BY WAYNE LEVIN A BOOBY SOARS AT SUNRISE AT NIHOA ISLAND.
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SOOTY TERNS BLANKET THE SKIES ABOVE KURE ATOLL. (RIGHT) THE PADDLERS REACH THEIR DESTINATION, BEARING THE HAWAIIAN FLAG.
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as we approached land,
I suddenly saw a cloud of birds, thousands of birds, coming at our canoe like a thick blanket. At a distance it looked dark, then gray, and got lighter.
‘What is that?’
I felt uplifted.
(T HI S P AG E PA DDLE R S) ©AL Y SSA F EDE L E
—KIMOKEO KAPAHULEHUA, approaching Nihoa on a canoe with his fellow voyagers
R
ising to the challenge of the ocean, the paddlers finally reached the southern edge of their goal: a remote, contiguous archipelago about 150 miles north of Kaua‘i and Ni‘ihau, the northernmost of the Hawaiian Islands. Having traveled from the southernmost island of Hawai‘i, the voyagers were worlds and centuries away from their home island. They had arrived at the Northwest Hawaiian Islands (NWHI), considered the world’s most remote archipelago, a hotspot of biological diversity encompassing an estimated 140,000 square miles of atolls, seamounts, healthy reefs, shipwrecks and a sheer abundance of wildlife. The sight of so many seabirds in the sky at once astounded the voyagers, especially with the overpowering thunder of their wings and feathers fluttering in one constant motion overhead.
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Mokumanamana is known for its high concentration of religious and ceremonial shrines.
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(T HI S P AG E TO P T W O) ©GR E G MC F ALL /N OAA; (BO TT OM) ©A LYS S A F E DEL E
Propelled by a cultural and spiritual commitment, the voyagers took six years to complete the more than 1,500-mile journey. They did it in increments, and when they reached their destination, they were greeted by a bird-filled sky that astonished them: masses of seabirds that were but a fraction of the14 million estimated in the NWHI. Kapahulehua and his team were looking at Nihoa, a rugged, imposing 171-acre island with a vertical 900-foot cliff. It appeared, he said, to be a guardian at the gate, saying, “Leave me alone.” The awestruck visitors faced an archipelago that stretched 1,200 miles northward, to Kure Atoll and Midway Island—a lei of natural jewels in the vast(FROM TOP) ULUA, CALLED “JACKS,” NEAR LISIANSKI ISLAND. GOATFISH BENEATH THE PIER AT MIDWAY ISLAND. KIMOKEO KAPAHULEHUA BLOWS THE CEREMONIAL PÜ. (OPPOSITE) A RARE VIEW OF MO‘O HEAD, MOKUMANAMANA, ALSO KNOWN AS NECKER ISLAND.
ness of the central Pacific. The islands, a study of evolution in isolation, are a remarkable example of ancient and fiery volcanic island formations. “Oh my goodness, this is what Hawai‘i used to look like—that’s what I first thought,” said Randy Kosaki, of his own visits to the area as a scientist and technical diver. Kosaki is a deputy superintendent for the region’s field and research programs at the National Oceanic and Atmospheric Administration (NOAA). Water is his element. “I’m a fish nerd, and the sea life at the archipelago is amazing,” he continued. “Lots and lots of kümü [goatfish] and ulua [mature trevally]. Big predatory fishes in abundance, such as sharks. You can see a 100-pound ulua daily. The fish rule the ocean.” This is especially true of the northern part of the chain, at Midway, Kure Atoll and the Pearl and Hermes Atoll, where at least half of all the fish observed so far are endemic, existing only in these waters. In recognition of its significance, the entire site was designated, in 2007, as the Papahänaumokuäkea Marine National Monument, the largest single area dedicated to conservation in the United States. Even when pronounced phonetically, with or without the proper accents on vowels, the name Papa-HAH-now-mo-koo-AH-keh-ah flows from the tongue like music. It refers to an ancient Hawaiian oli, or chant, that addresses the profound darkness from which life forms emerged. It symbolizes the merging of Earth Mother and Sky Father and the creation of a people and a sacred place that nurtures life, and to which the spirit returns after death. Native Hawaiians regard Papahänaumokuäkea with reverence as they connect with their ancestral gods and honor a spiritual and physical past through careful stewardship on land and in the sea. Their ancestors had lived within thoughtful and sustainable traditions. Taken to a practical level, this approach makes a lot of sense—past, present and future. There, left to nature without the heavy impact of westernization, Papahänaumokuäkea is home to more than 7,000 marine species, a quarter of which, astonishingly, are found nowhere else on Earth. Scientists, researchers and Native Hawaiian cultural practitioners are among those granted the privilege to visit and learn, so they can educate others. What they experience, they say, is a dazzling array of sights, sounds, smells and colors. Threatened green sea turtles lounge by the
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Native Hawaiians approach Papahanaumokuakea with reverence.
shoreline. Rare short-tailed albatross nest. Endangered monk seals forage in deep waters among bamboo corals and shipwrecks. A scarce Laysan duck struts on the sand. An estimated 4,500 square miles of stunning, mostly healthy coral reefs, known as the “rainforests of the seas,” look like ancient gardens of long ago. Apex (top-level) predator fishes, such as sharks and jacks, dominate the colorful reefs. They swim with confidence in huge numbers, sharing the ocean with barracudas and groupers, dragon moray eels and blue goatfish, red urchins, green jobfish and many other species. Sea life reigns at Papahänaumokuäkea, where man is merely a part of the food chain. “In a case of man bites dog, the ulua can bite a diver,” said Kosaki, whose studies have taken him (FROM TOP) A LAKE ON LAYSAN ISLAND, WITH COLORS CAUSED BY BACTERIA. AN ANCIENT HAWAIIAN HOUSE SITE ON NIHOA ISLAND. MALE AND FEMALE NIHOA FINCHES.
to depths exceeding 250 feet in the monument’s waters. “Predator fishes are only 3 percent of the fish biomass in Hawai‘i, but they’re about 54 percent of the fish biomass up north. There are 10 main reefs within the monument.” Surrounded by such raw and natural beauty, it’s no wonder the early Polynesians considered the area sacred. Signs of their presence are visible, particularly on Nihoa and the nearby island of Mokumanamana, also known as Necker Island. “We asked for permission to enter the monument waters,” said Andy Collins, NOAA’s education and technology coordinator for Papahänaumokuäkea. “The first time there, we did not go on the island. But from shore, you can see into the valleys and spot the stone terraces. The early Polynesians left before Captain Cook arrived in Hawaiian waters.” Early Hawaiians left Nihoa roughly between 400 to 700 years ago—not surprising, since the island has been described by some observers as “hot and dry,” “lacking in water,” “parched,” and “sometimes lush,” depending on when you were there. Neighboring Mokumanamana, about 155 miles northwest of Nihoa, is a petite island of 46 acres, known for its high concentration of religious and ceremonial shrines. The island is on the Tropic of Cancer, the latitude that marks the northernmost position where the sun appears directly overhead at its highest point relative to Earth. Given the early Hawaiians’ keen insights into nature—and their ability, for example, to read its signs and voyage long distances over the open ocean without navigational instruments—it wouldn’t be difficult to imagine Mokumanamana’s significance in Hawaiian cosmology and culture. Others who have visited Papahänaumokuäkea have done so by accident. Literally. Shipwrecks tell of a time in the 19th century, when whalers and their harpoons once reigned in Hawaiian waters, turning them red with the blood of the magnificent mammals. “The ships hit the reefs and the survivors were trapped, but some of them rebuilt vessels to get out of there,” said Kekuewa Kikiloi, a doctoral candidate in anthropology at the University of Hawai‘i
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Hoku’s
Our signature restaurant features contemporary island cuisine for dinner and Sunday brunch.
sunday brunch
A delicious selection of dishes are served at Hoku’s and Plumeria Beach House.
Plumeria beach house For breakfast, lunch and dinner, enjoy casual beachfront dining on the white sands of Kahala.
the veranda
The perfect spot for afternoon tea, pupus, cocktails and nightly entertainment.
experience Legendary dining
Call restaurant reservations at 739.8888 or, from your room, press Restaurant Reservations
www.kahalaresort.com
Today, the remains of wreckages are fish habitats. at Mänoa. “Until my visits, I didn’t realize how big Hawai‘i really is.” Today, the shipwreck remains are fish habitats, a part of underwater life. Other human imprints are historic, such as those on Midway Island, where a critical naval battle was fought during World War II, on the seas between Japan and the United States. “People and dogs on Midway meant some destruction of life there,” observed Collins. “You can inadvertently bring in alien forms of life on your boots.” Threats to the area include climate change and the consequences of negligent human activity, such as marine debris. Plastics, for example. About 57 tons of derelict items each year, such as fishing gear and nets, added Collins, arrive unwanted in these waters. There is also the wreckage from natural disasters, such as the 2011 Japanese tsunami. Experts predict that debris from the tsunami will reach the NWHI months before it reaches the main Hawaiian Islands. Education is a key to keeping Papahänaumokuäkea as primordial as possible. Consider its marvelous reefs. “We used to have reefs like that,” said Kosaki. “Our own reefs are gone or damaged. We need to bring them back.”
Education also enriches. A glimpse of the monument’s underwater world may be seen in an exhibit at the Waikiki Aquarium on O‘ahu and at the Mokupäpapa Discovery Center on Hawai‘i island. Websites, books and documentaries add to the splendid story of Papahänaumokuäkea, as in the video, “Family of the Wa‘a.” The video powerfully chronicles the canoe journey of Kimokeo Kapahulehua and his team members as they paddled from Hawai‘i to Kure Atoll, the northernmost point of the monument. “In the way of my ancestors, we connected to nature’s elements—the sun, birds, stars, fish, winds, clouds,” said Kapahulehua, who grew up with canoes and considers them part of his family. “Before Nihoa, hundreds of dolphins greeted us. At Nihoa we saw a brown carpet of monk seals moving around. The birds, so many birds, you can smell the birds. We did not disturb. We did not touch. We left it all alone.” Let it be. Let it thrive. That seems to be the common wish of people who have learned from, and felt humbled by, the ancient majesty of Papahänaumokuäkea, a place that continues to chant through the ages. For more on the canoe voyage: www.familyofthewaa.com.
THE PROPELLER WRECK OF THE LIBERTY SHIP SS QUARTETTE, AT THE PEARL AND HERMES ATOLL, ATTRACTS A DIVER’S INTEREST.
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H A WA I ‘ I ’ S
B E S T
– L U ‘ A U
Create memories for a lifetime from the moment you arrive at Paradise Cove. Enjoy a unique island experience of culture and tradition, fun and excitement! And as the sun melts into the sea, enjoy a delicious Hawaiian feast. Then sit back, and be entertained as our Polynesian dancers perform as if just for you! Let us change the way you view the world, or at least part of it.
For reservations and additional information, please call 808-842-5911.
www.paradisecove.com
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By Simplicio Paragas
THE KAHALA 53
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By John R. K. Clark
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By Christine Thomas
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THE KAHALA 57
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By Thelma Chang
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THE KAHALA 59
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（左上から時計回りに）
ドルフィンラグーンの水面で繰り広げられる光のショー。 タートルプールで孔雀色に舞い踊るソロダンサー。 カハラの半島から昇る朝陽に敬礼。
ホテルを濡れた背中に映しながら、 ラグーンで戯れるイ
ルカ。
カハラの前庭と呼べる海で、 朝陽は黄金に輝く。
タートルラグーンの優雅なプリマバレリーナ。
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Memory Book
The Room at the Top Superstar George Clooney, who played wealthy landowner Matt King in “The Descendants,” was a guest at The Kahala during the filming, which took place in spring 2010. With Hawai‘i actor Patricia Hastie, who played his wife, he’s shown here on the länai of one of The Kahala’s guest rooms. The photo was used as a prop in the film, giving The Kahala and its sun-kissed beach a cameo appearance. “The Descendants” won an Oscar for Best Adapted Screenplay, by director Alexander Payne, Nat Faxon and Jim Rash, and was based on the novel by Hawai‘i author Kaui Hart Hemmings. Besides its five Oscar nominations, the film received the Golden Globe Award for Best Motion Picture, while Clooney won a Golden Globe for Best Actor in a Drama. With his modest, engaging manner, Clooney won the hearts of The Kahala’s staff.
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