

FOR KOOLINA Hale
In the Hawaiian language, hale (pronounced huhâ-leh) translates to âhouseâ or âhost.â
Hale is an intimate expression of the aloha spirit found throughout the islands and a reflection of the hospitality of Ko Olina.
In this publication, you will find that hale is more than a structure, it is a way of life.
Ko Olina celebrates the community it is privileged to be a part of and welcomes you to immerse yourself in these stories of home.


Ad




FEATURES
58
Mauka Bound
Whereas beach camping is popular in Hawaiâi, at Camp PÄlehua, thereâs mana (power) in the mountains.
80
Street Smarts
When a beloved skate park fell into disrepair, a group of teenagers inspired a community to help them restore it to its original glory.
96
Restorers of the Reef
The founders of Kuleana Coral Reefs are piloting a unique approach to restoration.



Aloha e,
The beginning of a new year provides an opportunity to reflect on how far weâve come as a resort âohana, an incomparable community of brand partners, employees, residents and guests, that continues to pave the way for the Stateâs robust recovery.
At Ko Olina, we faced the economic and social challenges presented by a global pandemic with urgency, and have emerged wiser and more committed to ensuring our home and the intrinsic values associated with living and thriving in a sustainable island setting are preserved for future generations.
We have a refreshed sense of purpose. We prioritize environmental consciousness and are keenly aware that the resortâs future is dependent on integrating the rich culture and unique environment of Hawaiâi with a holistic approach to health and wellness. Creating experiences to explore physical, mental and spiritual harmony is important to us and an integral part of Ko Olinaâs future.
Iâd like to recognize a profound community leader we celebrate in this issue of Hale, who, with a quiet, yet determined demeanor, accomplished much at the helm of Hale Kipaâs transitional home over 23 years. Mahalo Punky, for your selfless dedication and commitment to Hawaiâiâs youth; your voice will be truly missed. Enjoy the well-deserved years of retirement ahead!
There is much to cherish about the past year. We look ahead with optimism, determination and confidence in the breadth of our partnership with you, our extended resort âohana, and remain focused on discovering opportunities that complement this special place and ensure a viable, regenerative future for Hawaiâi as a travel destination.
Thank you for choosing us. We are grateful of your belief in what Ko Olina and our West Side communities have to offer and hope our stories will inspire you to find simple ways to share aloha in your home.
E malama pono,
Jeffrey R. Stone Master Developer, Ko Olina Resort
Hale
is a publication that celebrates Oâahuâs leeward
coastâa place rich in diverse stories and home to Ko Olina Resort.
The West Side is truly a special place, a bounty of nature and history, community and culture. In this issue, we celebrate the people and places that move us--from the cool, mountain forests surrounding Camp PÄlehua to the turquoise depths of Ko Olina's shores, where critical coral restoration is underway. As you follow along, be inspired by a group of young skaters who rallied to save their local skatepark and a beloved community leader who dedicated his life to helping at-risk youth. These stories, along with others, provide intimate glimpses of West O'ahu and the reasons we are so proud to call this place home.
ABOUT THE COVER
The cover image of a coral head was photographed by Blake Thompson and provided courtesy of Kuleana Coral. In the past 30 years, approximately 50% of coral reefs around the world have been lost. Kuleana Coral's restoration efforts aim to recultivate coral populations and rebuild resilient marine ecosystems here in Hawaiâi. To learn more, visit kuleanacoral.com

CEO & Publisher
Jason Cutinella
VP Brand Development
Ara Laylo
Editorial Director
Advertising
VP Sales
Mike Wiley mike@nmgnetwork.com
Partnerships & Media
Aulani, A Disney Resort & Spa aulani.com
Four Seasons Resort Oâahu at Ko Olina fourseasons.com/oahu
Marriottâs Ko Olina Beach Club marriott.com
Beach Villas at Ko Olina beachvillasaoao.com
Oceanwide Resort
Ko Olina Golf Club koolinagolf.com
Ko Olina Marina koolinamarina.com
Ko Olina Station + Center koolinashops.com
The Resort Group theresortgroup.com KoOlina.com
Lauren McNally
Editor-At-Large
Matthew Dekneef
National Editor
Anna Harmon
Senior Editor
Rae Sojot
Digital Editor
Eunica Escalante
Photography Director
John Hook
Designer
Mai Lan Tran
Translations
Yuzuwords
N. Haâalilio Solomon
Creative Services
VP Global Content
Marc Graser
VP Film
Gerard Elmore
Filmmakers
Blake Abes
Romeo Lapitan
Brand Production Manager
Kaitlyn Ledzian
Brand Production Coordinator
Taylor Kondo
Executive
Chris Kelly
Marketing & Advertising Executive
Courtney Asato Operations
Partner/GM-Hawaiâi
Joe V. Bock joe@nmgnetwork.com
VP Special Operations
Rob Mora
VP Accounts Receivable
Gary Payne
Distribution & Logistics Coordinator
Courtney Miyashiro
©2021 by Nella Media Group, LLC. Contents of Hale are protected by copyright and may not be reproduced without the expressed written consent of the publisher. Hale is the exclusive publication of Ko Olina Resort. Visit KoOlina.com for information on accommodations, activities, and special events.







âPeople who are rooted and engaged in their community, theyâre going to care for it.â
Mikiâala Lidstone, executive director of Ulu Aâe Learning Center
Image by John Hook

èªåã®è¡ãç¥ã Life
Learn
Your Place
Textby
Kathleen Wong Imagesby
John HookAt Ulu Aâe Learning Center, students venture outside the classroom and into the community for lessons in Hawaiian culture, kinship, and aloha âÄina (love of the land).
Ma Ulu Aâe Learning Center, he âaâa nÄ haumÄna i waho aâe o ka lumi papa a komo i loko o ke kaiÄulu no ke aâo âia i ka âike no ka moâomeheu Hawaiâi, ka pilina âohana, a me ke aloha âÄina.
ããŠã«ã»ã¢ãšã»ã©ãŒãã³ã°ã»ã»ã³ã¿ãŒãã§ã¯ãåã©ããã¡ã¯æ宀ã åºãŠã³ãã¥ããã£ã®ãªãã«èº«ã眮ãããã¯ã€ã¢ã³ã®æåã家æãš ã®çµã³ã€ãããããŠã¢ããã»ã¢ã€ãïŒåå°ãžã®æïŒãåŠã³ãŸãã

Itâs an unusually cloudy October day at HanakÄhau Learning Farm, situated down a bumpy dirt road behind Leeward Community Center in Pearl City, or Puâuloa. Itâs nearly impossible to find the farm on your ownâthereâs technically no address.
On this morning, nearly 20 keiki, ages 5 to 14, have gathered to tend to two loâi kalo, or taro patches. To prepare the areas, they hehi (stomp) to flatten the mud, pull out pink lotus plants and roots, and remove stray rocks. Barefoot and caked in mud, the children point out frogs and tiny fish in the loâiâs water-filled rows. There are no phones or computers in sight.
çããæã空ãšãªã£ã10æã®ããæ¥ãããŠãã¢ïŒããŒã«ã·ãã£ïŒã®ãª ãŒã¯ãŒãã»ã³ãã¥ããã£ã»ã»ã³ã¿ãŒè£æã«ç¶ãæªèè£ ã®ã§ããŒãéã® å ã«ãããã±ããŠã»ã©ãŒãã³ã°ã»ãã¡ãŒã ãã¯ããããã®èŸ²åãèªå㧠æ¢ãããšããŠããã»ãŒäžå¯èœã ãæ£åŒãªäœæããªãã®ã ããã
ãã®æ¥ã®æã¯5æ³ãã14æ³ãŸã§çŽ20åã®ã±ã€ãïŒåã©ãïŒãã¡ãé ãŸãããµãã€ã®ããã€ã»ã«ãïŒã¿ãèçïŒãã®äžè©±ãããŠãããæºåãšã



A grinning boy asks a ponytailed girl nearby, âIs there mud on my face?â She bursts into laughter. Mud is smeared all over his faceâand hers too, in addition to their hands and legs.
The keiki here today are part of Ulu Aâe Learning Centerâs Neneâe intersession program. Executive Director Mikiâala Lidstone founded Ulu Aâe in 2014 after years of being a Kapolei High School teacher. She had noticed her students didnât feel rooted in Kapolei, as many had moved there from elsewhere. So she started after-school and, later, out-ofschool programs focused on perpetuating Hawaiian traditions, values, and practices that highlight the âEwa moku (district) they live in.
In developing her curriculum, Lidstone incorporated moâolelo (storytelling) and had cultural practitioners train her staff in practices such as lauhala making. Hikes and workdays at ancient fishponds and loâi such as the one at HanakÄhau are among the popular student activities. The program has seen rising success: Last year alone, Ulu Aâe worked with about 400 kids who live across the West Side. In Ulu Aâeâs early days, Lidstone, who is from Kailua, knew that understanding the area where many of her students live was integral in helping her students become engaged members of their community. She dove deep into Kapoleiâs rich past in order to gain a sense of place: Named after Kapo, a goddess of fertility, and âleiâ for the ring of light seen around a volcanic hill, Kapolei has a history of
ãŠãã±ã€ããã¡ã¯ãããïŒè¶³èžã¿ïŒããããŠæ³¥ããªããããã³ã¯è²ã®è®ã® è±ãæ ¹ãæããŠãããããã«èœã¡ãŠããç³ãã©ããã裞足ã§æ³¥ã ãã ã«ãªããªãããåã©ããã¡ã¯æ°Žã匵ã£ããã€ã®çã«ã²ããã«ãšã«ã å°ããªéãã¡ãèŠã€ãããé»è©±ãã³ã³ãã¥ãŒã¿ãèŠåœãããªãã ç·ã®åãã«ãã«ãç¬ããªããè¿ãã«ãããããŒããŒã«ã®å¥³ã®åã« å°ããããåã®é¡ã«æ³¥ã€ããŠãïŒã女ã®åã¯ãããããšç¬ããç·ã®å ã¯ãã¡ããã女ã®åãé¡ãã ããæ³¥ã ãããªã®ã ãé¡ã ãã§ã¯ãªãã æ足ã«ãæ³¥ããã³ãã€ããŠããã
ãã®æ¥ãåã©ããã¡ã¯ããŠã«ã»ã¢ãšã»ã©ãŒãã³ã°ã»ã»ã³ã¿ãŒã®ç§äŒã¿ã ãã°ã©ã ããããšãã«åå ããŠããããšã°ãŒã¯ãã£ãã»ãã£ã¬ã¯ã¿ãŒã® ããã¢ã©ã»ãªãã¹ããŒã³ããã¯ã«ãã¬ã€é«æ ¡ã§é·å¹Žã«ããã£ãŠæå£ ã«ç«ã£ãåŸã2014幎ã«ãŠã«ã»ã¢ãšãåµèšããããªãã¹ããŒã³ããã¯ã çåŸãã¡ããèªåãã¡ãæ®ããã«ãã¬ã€ãšããè¡ã«ã¡ãããšæ ¹ãäž ãããŠããªãããšã«æ°ã¥ããŠãããã»ãã®å ŽæããåŒè¶ããŠããç åŸãå€ãããšãåå ã ã£ããããã§ãçåŸãã¡ãæ®ãããšãŽã¡ã»ã¢ã¯ ïŒå°åïŒã®ç¹è²ã§ãããã¯ã€ã®äŒçµ±ã䟡å€èŠ³ãæèœãªã©ãæ«æ°žãäŒ ããŠããããšãç®çãšããããã°ã©ã ãããŸãã¯æŸèª²åŸããããŠã¯åŠ æ ¡å€ã§ç«ã¡äžããã«ããã£ãã
ã«ãªãã¥ã©ã ãäœãäžããéçšã§ããªãã¹ããŒã³ããã¯ãã¢ãªã¬ãïŒèª ãèããïŒããåãå ¥ããã©ãŠãã©ã¥ãããªã©ã®æèœã¯å®éã®äœãæ ãæããŠã¹ã¿ããã«äŒæããŠããã£ãããã ããã€ãã³ã°ããããã± ããŠã«ããå€ä»£ã®ãã£ãã·ã¥ãã³ãïŒé€æ®æ± ïŒããã€ã§ã®èŸ²äœæ¥ã¯ çåŸãã¡ã«äººæ°ã®ã¢ã¯ãã£ããã£ã ãããã°ã©ã ã¯é 調ã«çºå±ã㊠ããŠããŠã«ã»ã¢ãšã¯å»å¹Žã ãã§ããŠãšã¹ããµã€ãã«äœãçŽ400人㮠åã©ããã¡ãè¿ããã
ãŠã«ã»ã¢ãšã®çºè¶³åœæãã«ã€ã«ã¢åšäœã®ãªãã¹ããŒã³ããã¯ãçåŸã ã¡ã®å€ããæ®ããåå°ãžã®ç解ãæ·±ããªããã°ãçåŸãã¡ãèªå ãã¡ã®å°åã«æ ¹ãããã³ãã¥ããã£ã®äžå¡ãšãªãæå©ããªã©ã§ã㪠ããšèããããã ãããã§ãã«ãã¬ã€ã®è±ããªæŽå²ããã£ããåŠã¶ã ãšã«ãããè±ç©£ã®å¥³ç¥ã®åãã«ãããšãç«å±±æ§ã®äžã«èŠãããå ã®èŒª





Kalo, or taro, is an integral part of the traditional Hawaiian diet. It was one of several canoe plants brought to the Hawaiian Islands by the first Polynesian settlers.

sugarcane and pineapple industries. Now dubbed Oâahuâs âsecond city,â Kapolei has witnessed booming commercial and residential development over the last few decadesâand thereâs no sign of that stopping any time soon.
âPeople who are rooted and engaged in their community, theyâre going to care for it,â Lidstone says. Over the years, Ulu Aâe has hosted community efforts to clean graffiti and remove invasive plant species. Students are also encouraged to choose locally grown produce and support local restaurants.
ãã¬ã€ããåãããŠåã¥ããããã«ãã¬ã€ã®è¡ã¯ããã€ãŠãµããŠãã ãšãã€ãããã«ç£æ¥ãæ¯ãããšãªã¢ã ã£ããä»æ¥ã§ã¯ãªã¢ãå³¶ç¬¬äº ã®éœåžãšåŒã°ããããæ°å幎éã§åæ¥å°åãšããŠãäœå® å°ãšããŠã ççºçã«çºå±ããããã®å¢ãã¯åœåãããŸãæ°é ããªãã
ãèªåã®ã³ãã¥ããã£ã«æ·±ãæ ¹ãããç©æ¥µçã«é¢ãã£ãŠãã人ã¯ã ãã®å°åã倧åã«ãããã®ã§ãããªãã¹ããŒã³ããã¯èªãããŠã«ã»ã¢ ãšã¯ãããŸã§ãèœæžããæ¶ããŠãããã«ããããå€æ¥çš®ã®æ€ç©ãé€ å»ãããšãã£ãå°åã€ãã³ããäž»å¬ããŠãããçåŸãã¡ã«ããå°å ã§ã€ãããã蟲ç£ç©ãéžã³ãå°å ã®ã¬ã¹ãã©ã³ãæ¯æŽããããšã奚 å±ããŠããã

Learn Your Place
At Ulu Aâe Learning Center, programs focus on perpetuating Hawaiian traditions, values, and practices, which help keiki feel connected to their home and âÄina (land).

For the last three years, Ulu Aâe students have been helping out at HanakÄhau Learning Farmâs loâi to shatter the preconceived notion that the West Side is too dry to farm. âIn their consciousness is the aloha âÄina mindset,â Lidstone says. âSo when they think of Kapolei, they think of abundance.â
For more information, visit uluae.org
éå»ïŒå¹ŽéããŠã«ã»ã¢ãšã®çåŸãã¡ã¯ããã±ããŠã»ã©ãŒãã³ã°ã»ã ã¡ãŒã ã®ãã€ã§èŸ²äœæ¥ã«åå ããããšã§ã也ç¥ãããŠãšã¹ããµã€ ãã¯èŸ²æ¥ã«ã¯åããªããšããåèŠã®ææã«è²¢ç®ããŠããããç åŸãã¡ã¯ãã¢ããã»ã¢ã€ãã®èãæ¹ãåžžã«æèããŠããŸãããšãªã ã¹ããŒã³ããã¯èªããã圌ãã¯ãã«ãã¬ã€ãšããã°è±ãããæãæµ® ãã¹ãã®ã§ãã

å°å ããäžçãž
Think Big, Shop Small
Text by Tracy Chan Images by John HookWhen lockdown measures took a toll on retailers across the islands, a West Oâahu-based nonprofit launched an online marketplace to help local artisans and small businesses reach shoppers from afar.
Ma muli o nÄ hopena âino i ili mai ma luna o nÄ hale kÅ«âai liâiliâi a puni ka paeâÄina, ua wehe âia e kekahi âahahui âauhau âole no Kapolei he mÄkeke kÅ«pÅ«naewele i wahi e kÅkua ai i nÄ mea hana noâeau kÅ«loko a pÄâoihana liâiliâi i ke kÅ«âai pÅ« âana me ka poâe kÅ«âai e noho aku ana ma kahi mamao.
ã³ããçŠããã¯ã€ã®å°å£²æ¥ãçŽæãããšããã«ãã¬ã€ã®é å¶å©å£äœãç«ã¡äžãããªã³ã©ã€ã³ã®ããŒã±ãããã¬ã€ã¹ ããå°å ã®å·¥èžå®¶ãã¹ã¢ãŒã«ããžãã¹ãäžçäžã®é¡§å®¢ã« çµã³ã€ããŸããã
From Hawaiâi-made cookies, seasoned salt, and coffee to clothing, jewelry, and handcrafted skin careâthe best onestop shop for local products this year is online. The Pop-Up MÄkeke (mÄkeke means âmarketâ in Hawaiian) is a website that consolidates unique products from hundreds of Hawaiâiâs small businesses into one virtual hub for the world to discover and enjoy.
âIt started as a means to help businesses survive when we were in a state of uncertainty,â says KÅ«hiÅ Lewis, president and CEO of the Kapolei-based nonprofit Council for Native Hawaiian Advancement (CNHA), which spearheaded the project.
ãã¯ã€ç£ã®ã¯ãããŒãã·ãŒãºãã³ã°ãœã«ããã³ãŒããŒãè¡£æããžã¥ãšãª ãŒãæäœãã®ã¹ãã³ã±ã¢è£œåãããŸããŸãªãã¯ã€ããŒã«ã«ã®è£œåã äžãæã§æã«å ¥ããããŸäžçªäŸ¿å©ãªã¹ãããã¯ãªã³ã©ã€ã³äžã«ããã
ããããã¢ããã»ãã±ã±ãïŒããã±ã±ãã¯ãã¯ã€èªã§ãããŒã±ãããã®æïŒ ã¯ããã¯ã€ã®äœçŸãã®ã¹ã¢ãŒã«ããžãã¹ãäžå ã«éããäžçäžã®äºº ã³ãšããã¯ã€ç£ã®ãŠããŒã¯ãªè£œåãèŠã€ããããããã«ããããŒã ã£ã«ãªããæ ç¹ã ã
ãå ãèŠããªãç¶æ³ã®äžã§ãã¹ã¢ãŒã«ããžãã¹ãæ¯æŽããããã« ç«ã¡äžããŸããããšããã®ãµã€ãã®æå³ã説æããã®ã¯ãã«ãã¬ã€ã æ ç¹ãšããéå¶å©å£äœãã€ãã£ããã¯ã€ã¢ã³ã»ã¢ããã³ã¹ã¡ã³ãè© è°äŒïŒCouncil for Native Hawaiian Advancement ãCNHAïŒ ã®ãã¬ãžãã³ãå ŒCEOã§ããã¯ããªã»ã«ã€ã¹ããããããã¢ããã»ã ã±ã±ã®ãããžã§ã¯ãã¯ãCNHAã®å å°ã§å§ãŸã£ãã

Launched in April 2020 during the first phase of the COVID-19 pandemic, the Pop-Up MÄkeke online commerce platform was put together quickly in response to an urgent reality: Malls were empty, craft fairs and festivals like Merrie Monarch were canceled, and small businesses were languishing. Initially funded by a grant from the Hawaiâi Community Foundation to help buoy the local retail industry, the mÄkeke soon became a partnership between the nonprofit, private, and government sectors.
When Hawaiâi state mandates ordered the closure of all restaurants in the spring of 2020, Lewis and his team got creative in order to raise awareness about the online marketplace. They partnered with Hawaiâi News Now and launched a weekly live show, broadcasted on television and Facebook Live. âWe originally used a closed-down restaurant, the Moani Island Bistro & Bar, to film the show,â Lewis says. A set was created and local entertainers, musicians, and social media influncers were invited to host and tell the stories behind the products. âThe response was incredible,â Lewis says. âIt just blew up.â
The Pop-Up MÄkekeâs success was incredible, and even overwhelming, for some small local vendors, who couldnât keep up with the sudden demand. Now, the Pop-Up MÄkeke has evolved into an entire support program, with CNHA offering business classes and a loan fund to help burgeoning small business owners form a plan of action and market their products online. The program has partnered with a local distribution warehouse in Kapolei, and, to date, it has put over $2 million into the pockets of hundreds of Hawaiâi-based small businesses and artisans and sold over 100,000 items to more than 20,000 customers worldwide.
2020幎4æããããã¢ããã»ãã±ã±ã®ãªã³ã©ã€ã³ã³ããŒã¹ã»ãã©ãã ãã©ãŒã ã¯ããã³ãããã¯ã®åæ段éã§ç·æ¥äºæ ã«å¯Ÿå¿ãã¹ãè¿ éã«æ§ç¯ããããã·ã§ããã³ã°ã¢ãŒã«ãã人圱ãæ¶ããã¡ãªãŒã»ã¢ã ãŒã¯ã»ãã§ã¹ãã£ãã«ãªã©ã®ãç¥ããã€ãã³ããäžæ¢ãããã¹ã¢ãŒã« ããžãã¹ã¯æ¯ã絶ã絶ãã®ç¶æ³ã ã£ããåœåã¯å°å ã®å°å£²æ¥ãæ¯ æŽããããã«ãã¯ã€ã»ã³ãã¥ããã£åºéããè³éãç²åŸããŠéå§ã ãäºæ¥ã ã£ãããããã«éå¶å©å£äœãç§äŒæ¥ãå®åºéã®ææºäºæ¥ãš ãªã£ãŠãã£ãã
2020幎æ¥ããã¯ã€å·ãã¬ã¹ãã©ã³ã®ééã矩åã¥ãããšãã«ã€ã¹ã ããšåœŒã®ããŒã ã¯ãªã³ã©ã€ã³ã®ããŒã±ãããã¬ã€ã¹ã«æ³šç®ãéãã ãããã¯ãªãšã€ãã£ããªæ¡ãæã¡åºããããã¥ãŒã¹çªçµããã¯ã€ã»ã㥠ãŒã¹ã»ããŠããšææºããŠããã¬ããšFacebookã©ã€ãã®äž¡æ¹ã§æ¯é±ç æŸéãæŸæ ããã®ã ããæåã¯ãéåºäžã®ã¬ã¹ãã©ã³ãã¢ã¢ãã»ã¢ã€ã© ã³ãã»ãã¹ããïŒããŒãã§æ®åœ±ããŠããŸããããšã«ã€ã¹ããã¯æ¯ãè¿ ããã»ãããäœã£ãŠãå°å ã®èµ·æ¥å®¶ããã¥ãŒãžã·ã£ã³ããœãŒã·ã£ã«ã¡ã ã£ã¢ã®ã€ã³ãã«ãšã³ãµãŒãªã©ãæãã補åã®è£è©±ãªã©ãæ«é²ããŠã ãã£ããããããåé¿ã§ããŸãã«ççºçã§ããããšã«ã€ã¹ããã¯èšãã
ãããã¢ããã»ãã±ã±ã®æåã¯ãããŸãããå§åçãšèšã£ãŠãããã» ã©ã§ãæ¥å¢ãã泚æã«çç£ãè¿œãã€ããªããªããã³ããŒããã£ãã çŸåšã§ã¯ãããã¢ããã»ãã±ã±ã¯ããã«é²åããããžãã¹å šè¬ããµã ãŒãããããã°ã©ã ãšãªã£ãŠãããCNHAã¯ãèµ·æ¥ããã¹ã¢ãŒã«ããž ãã¹ã®ãªãŒããŒã察象ã«äºæ¥èšç»ã®ç«ãŠæ¹ããªã³ã©ã€ã³ã§ã®è²©å£² æ¹æ³ãåŠã¹ãããžãã¹æ宀ãäž»å¬ããäºæ¥è³éã®è²žãä»ããè¡ã ããã«ãªã£ããã«ãã¬ã€ã«ããç©æµå庫ãšææºããŠããŠããããŸã§ã« äžçåå°ã®2äžäººãè¶ ãã顧客ã«10äžç¹ä»¥äžãã®ã¢ã€ãã ã販売 ããæ°çŸãã®ãã¯ã€ã®ã¹ã¢ãŒã«ããžãã¹ãã¢ãŒãã£ã¹ãã«åèš200 äžãã«ãè¶ ãã売äžããããããã


Think Big, Shop Small
A business development strategist for the Council for Native Hawaiian Advancement, Davis Price helps oversee warehouse operations for the Pop-Up MÄkeke. âThis provides an incredible opportunity for Hawaiâi-based merchants to market and sell their products,â he says. âItâs exciting to help these vendors grow their businesses.â

Lewis and his team are now looking to maintain a self-sustaining year-round online marketplace and adding more pop-up vendors for the holidays. âThereâs so much more that Hawaiâi has to offer,â Lewis says. âWeâre just scratching the surface.â
Shop online at popupmakeke.com.
Interested in becoming a vendor or partner? Visit hawaiiancouncil.org/popupmakeke for more information.
ã«ã€ã¹ãããšããŒã ã®ä»²éãã¡ã¯ã幎éãéããŠèªåŸçã«åããªã³ ã©ã€ã³ã®ããŒã±ãããã¬ã€ã¹ãšããŠãããã¢ããã»ãã±ã±ãä»åŸãç¶ æãããšãšãã«ãããªããŒã·ãŒãºã³ã«åããŠããã«ãã³ããŒãå¢ã ãããšããŠãããããã¯ã€ã«ã¯ãå®ã«ããããçŽ æŽããããã®ããã㟠ãããŸã ãã®ã»ãã®äžéšã玹ä»ãã¯ãããã°ãããªã®ã§ãããšãã«ã€ ã¹ããã¯èªã£ãã

Sprouting Change
Text by Tracy Chan
Imagesby
Josiah PattersonIn MÄkaha Valley, a little indoor microgreen farm has discovered a recipe for growing success.
å€åã®èœ Life ãã«ãã»ãŽã¡ã¬ãŒã®å°ããªã€ã³ãã¢èŸ²å Žã¯ããã€ã¯ãã°ãªãŒ ã³ã«æåãžã®ã¬ã·ããèŠåºããŸããã
Hoâoulu âia e MÄkaha Mountain Farms nÄ huaâai a lauâai kemika âole me ka hoâoulu pÅ« âana i ka hanauna hou he poâe hoâoulu mea kanu ma American Renaissance Academy.
Step into one of the 360-square-foot shipping containers that house MÄkaha Mountain Farms and youâll see rows of neat, vertically stacked trays, each containing bright green sprouts of arugula, broccoli, kale, or radish. Nurtured in a controlled, indoor setting, these nutritious microgreens are grown without any chemicals, pesticides, herbicides, or fertilizers and then harvested at peak flavor, right before they are full grown.
In 2019, when Daimon Hudson, American Renaissance Academyâs (ARA) chairman of the board, was first introduced to the idea of a container farming program by an Academy staff member, his interest was piqued. Sustainability and food security were important issues for him, and Hudson believed container farming could add to the Academyâs agriculture program. Yurika Suzuki, who is now director of operations for MÄkaha Mountain Farms and an
ããã«ãã»ããŠã³ãã³ã»ãã¡ãŒã ãºãã®èŸ²å Žã¯ãçŽ33å¹³æ¹ã¡ãŒãã«ã® 貚ç©ã³ã³ããã®äžã«ãããã³ã³ããã®äžã€ã«è¶³ãèžã¿å ¥ãããšãå çŽã«ãã¡ããšäžŠãã äœåãã®ãã¬ãŒãç®ã«å ¥ããããããã®ãã¬ãŒ ã«ã¯ãã«ãã³ã©ããããã³ãªãã±ãŒã«ãã©ãã£ãã·ã¥ãšãã£ãéèã®ãæ ããç·è²ã®èœãè²ã£ãŠãããå¶åŸ¡ãããå±å ç°å¢ã§è²ã€ãããã® ãã€ã¯ãã°ãªãŒã³ã«ã¯ã殺è«å€ãé€èå€ãååŠè¥æãã¯ãããååŠ ç©è³ªã¯äžå䜿ãããŠããããæé·ãããçŽåã®æã颚å³è±ããªãš ãã«åç©«ãããã
ã¢ã¡ãªã«ã³ã»ã«ãããµã³ã¹ã»ã¢ã«ãããŒïŒARAïŒã®çäºé·ãã€ã¢ã³ã»ã ããœã³ããã¯ã2019幎ã®ããæ¥ãåŠæ ¡ã®ã¹ã¿ããã®äžäººããã³ã³ã ãèŸ²å Žãšãããã®ã®è©±ãåããŠèããããèå³ããããããããµã¹ ããããªãã£ãšé£æã®å®å šä¿éã«æ·±ãé¢å¿ãæã£ãŠãããããœã³ ããã¯ãã³ã³ããèŸ²å Žãã¢ã«ãããŒã®èŸ²æ¥æè²ããã°ã©ã ã«çµã¿ å ¥ãããããšç¢ºä¿¡ããã®ã ãçŸåšã§ã¯ã³ã³ããèŸ²å Žã®éå¶ãã£ã¬ã¯ ã¿ãŒãšARAã®èŸ²æ¥ã€ã³ã¹ãã©ã¯ã¿ãŒãå Œä»»ãããŠãªã«ã»ã¹ãºããã



ARA agriculture instructor, jumped in with the idea of a microgreen farm and spearheaded the buildout with her fiancé Derek, Hudsonâs youngest son.
The team converted the first shipping container into a climate-controlled vertical microgreen farming operation and had it running by spring 2020. They began pitching the delicious new product to local restaurants, grocery stores, and produce distributors, and they also hosted stands at farmers markets.
âWe didnât know if it would be able to generate income, but we saw the potential,â Hudson says. âIt is a revenue stream for the Academyâand itâs also, more importantly, showing the future of agriculture in the state of Hawaiâi.â
The farm uses the latest vertical farming techniques, cutting-edge technology, and surprisingly few resources. âWe use such little water, itâs remarkable,â Suzuki says. Careful thought went into packaging the sprouts too: the farm sources plant-based, biodegradable packaging material from a company on Hawaiâi Island. The farm is also a part of the schoolâs regular curriculum, available as an elective for students eager to take an active role in growing food for their community. Coursework includes learning about microgreens and planting and caring for seedlings.
Given that nearly 90 percent of Hawaiâiâs food is imported, expanding local agriculture is an important focus at ARA. But how to get younger generations interested and involved? âMicrogreens have such a short life cycle that the students can see the rewards of their efforts within two weeks, and the excitement stimulates their interest in agriculture,â Suzuki says.
ãããã€ã¯ãã°ãªãŒã³ãè²ãŠãèŸ²å Žãšããã¢ã€ãã¢ã«é£ã³ã€ããã ã€ã¢ã³ããã®æ«ã®æ¯åã§ãããå©çŽè ã®ãã¬ã¯ãããšãšãã«èŸ²å Ž ã®æ§æ³ãç·Žã£ãã
ã¹ãºãããã®ããŒã ã¯ãæåã®è²šç©ã³ã³ããã空調ã·ã¹ãã ãå ããåçŽãã€ã¯ãã°ãªãŒã³èŸ²å Žã«æ¹é ããŠã2020幎æ¥ã«éå¶ã éå§ãçŸå³ããéèãå°å ã®ã¬ã¹ãã©ã³ãé£æååºãåžå£²æ¥è ã«å£² ã蟌ã¿ããã¡ãŒããŒãºããŒã±ããã«ãåºãåºããã
ãåçãçããã©ããã¯ããããŸããã§ããããããã³ã·ã£ã«ã¯ ãããšæã£ãŠããŸãããèŸ²å Žã¯åŠæ ¡ã®ç¶ç¶çãªåå ¥æºã«ãªããŸã ãããã£ãšéèŠãªããšã«ããã¯ã€å·ã®èŸ²æ¥ã®æªæ¥ã瀺ããŠãããŸãã ãšããããœã³ããã¯èªãã
ã³ã³ããèŸ²å Žã«ã¯ãææ°ã®åçŽèŸ²å Žã®ææ³ãšææ°éã®ãã¯ãããž ãŒã䜿ãããæ¶è²»ããè³æºã¯é©ãã»ã©å°ãªãããæ¬åœã«äœ¿ãæ°Žã®é ããšãŠãå°ãªããŠãé©ããŸããããšã¹ãºãããã梱å æã«ãé æ ®ãã ãã¯ã€å³¶ã®äŒç€Ÿããä»å ¥ããæ€ç©çŽ æã§çå解å¯èœãªçŽ æã䜿 ã£ãŠãããèŸ²å Žã¯åŠæ ¡ã®éåžžã«ãªãã¥ã©ã ã«çµã¿èŸŒãŸããèªåãã¡ ã®ã³ãã¥ããã£ã®ããã«é£ç³§ãè²ãŠã圹å²ãæ ãããšããæ欲ã æã£ãçåŸãã¡ãéžæç§ç®ãšããŠå±¥ä¿®ã§ãããçåŸãã¡ã¯ãã€ã¯ ãã°ãªãŒã³ã«ã€ããŠåŠã³ãçš®ãŸããèã®äžè©±ã®å®ç¿ãããã
ãã¯ã€å·ã¯é£ç³§ã®90ããŒã»ã³ã以äžãå·å€ããã®èŒžå ¥ã«é Œã£ãŠ ããããã®çŸå®ãèžãŸããARAã¯å°å ã®èŸ²æ¥ãæšé²ããããšãé èŠãªèª²é¡ãšãšãããŠãããããããè¥è ãã¡ã®é¢å¿ãããããŠãå å ãä¿ãã«ã¯ã©ãããã°è¯ãã®ã ããããããã€ã¯ãã°ãªãŒã³ã¯ã©ã€ ããµã€ã¯ã«ããšãŠãçãã®ã§ãçåŸãã¡ã¯2é±éã®ãã¡ã«èªåãã¡ ã®åªåã®ææãç®ã«ããããšãã§ããŸãããã®åã³ã蟲æ¥ãžã®è å³ã«ã€ãªããã®ã§ããçåŸãã¡ã¯ã¹ããŒããã©ã³ã倧奜ãã§ããã

Sprouting Change
Through MÄkaha Mountain Farmsâ partnership with American Renaissance Academy, students are offered hands-on experience in growing nutritious microgreens for their community.

âThey love their phones, and weâre taking their interest in technology and putting it into something that benefits their family, their community, and will have an impact globally.â
The Academy has since retrofitted two more shipping containers, creating opportunities for increased production and student involvement. âWeâre teaching keiki of the West Side how to sustainably grow food in a revolutionary manner,â Hudson says. âBy doing this, weâve been able to show them that itâs not only sustainable but economically feasible to do it here in Hawaiâi.â
For more information, visit makahamtnfarms.com
ç§ãã¡ã¯ã圌ãã®ãã®ãã¯ãããžãŒãžã®èå³ãã家æãã³ãã¥ãã ã£ã«åœ¹ç«ã¡ãã°ããŒãã«ãªã¬ãã«ã§ã圱é¿ãåãŒãããšã«åãã ããã«ä¿ããŠããã®ã§ãããšã¹ãºãããã¯èª¬æããŠãããã
ARAã§ã¯ããã®åŸããã«2å°ã®è²šç©ã³ã³ãããèŸ²å Žã«æ¹é ããç ç£éãå¢ããçåŸãã¡ãåå ã§ããæ©äŒãåºãã£ãããç§ãã¡ã¯ã ãŠãšã¹ããµã€ãã®ã±ã€ãïŒåã©ãïŒãã¡ã«ãé©åœçãªæ¹æ³ã§ãµã¹ã ã£ããã«ã«é£ç³§ãè²ãŠãæ¹æ³ãæããŠããã®ã§ãããšãããœã³ã ãã¯èªãããå®è·µãéããŠãèŸ²å Žããµã¹ãã£ããã«ã ãšããã ã㧠ãªãããããã¯ã€ã§ãçµæžçã«å®çŸå¯èœã ãšèšŒæããããšãã§ã ãŠããŸãã



Image by John Hook â
Thereâs so much history to this place, and we get to share a piece of it.â
Eva Kahapea-Hubbard, director of Camp PÄlehua

A U T R E E S
Mauka Bound
Whereas beach camping is popular in Hawaiâi, at Camp PÄlehua, thereâs mana (power) in the mountains.
Text by Rae Sojot
Images by John Hook ãã¯ã€ã§ã¯ããŒãã§ã®ãã£ã³ããäžè¬çã§ãããããã£ã³ãã»ãã¬ã
Aia nÅ nÄ wahi hoâomoana a ala piâi mauna hoâi ma luna o nÄ âeka âÄina hoâokoe a mahiâai he 1,600, ke waiho ala ma Camp PÄlehua kahi e hoâohanohano a hoâokahukahu ana i nÄ kumu waiwai kÄlaimeaola, moâomeheu, a mÅâaukala no ka pae kuahiwi âo Waiâanae.


Located on the upland slopes of the Waiâanae Mountains, Camp PÄlehua is one of few places on Oâahu that permits mountainside camping. The area has seen many iterations: Originally the homestead of an early missionary family, it served as a telephone switching station before being repurposed in 1940 as Camp Timberline, a popular retreat for schools and business groups. Today the property, since renamed Camp PÄlehua, is owned by Gill âEwa Lands and serves as a recreation site focusing on Hawaiian culture and conservation. Featuring cabins, bunkhouses, and tent camping across 16 acres and hiking trails across an additional 1,600 acres of conservation land, Camp PÄlehua is a working example of the Gill familyâs overarching mission: to celebrate and steward the biological, cultural, and historical resources of the mountain.
ã¯ã€ã¢ããšå±±èã®é«å°æé¢ã«ããããã£ã³ãã»ãã¬ãã¢ãã¯ããªã¢ãã§ã¯ãã ãããå±±ã®äžã§ãã£ã³ããã§ããå Žæã ããã®äžç»ã¯ããŸããŸãªå€è»¢ãèŠãŠ ãããããšã¯åæã®å®£æåž«äžå®¶ã®å± äœå°ã ã£ããããããŠé»è©±äº€æå±ãšãª ãã1940幎ã«ã¯ããã£ã³ãã»ãã£ã³ããŒã©ã€ã³ããšããŠååºçºããé·ããåŠæ ¡ ãäŒæ¥ã®ä¿é€å°ãšããŠäººæ°ãéãããçŸåšã¯ç§äŒæ¥ã§ããã®ã«ã»ãšãŽã¡ã»ã© ã³ãºãææãããã£ã³ãã»ãã¬ãã¢ããšååãæ¹ãããã¯ã€ã¢ã³æåãšç°å¢ä¿è· ã«åãå ¥ãããªã¯ã¬ãŒã·ã§ã³ãµã€ããšãªã£ãŠãããçŽ2äžåªã®æ·å°ã«ãã£ãã³ ããã³ã¯ããŠã¹ããã³ããµã€ãããããé£æ¥ããçŽ200äžåªã®ä¿è·åºåã«ç¶ ãããã€ãã®ãã€ãã³ã°ã³ãŒã¹ãæ±ããã®ãã£ã³ãå Žã¯ãã¯ã€ã¢ããšã®å±±ã ã® çç©åŠçãæåçãæŽå²çãªè³ç£ã人ã ã«äŒããå®ã£ãŠããããšããã®ã«äž æã®å€§ããªäœ¿åœããããããŠããã




For camp director Eva Kahapea-Hubbard and her staff, tackling the dayâs to-do list is a Sisyphean task: Thereâs the housekeeping chores, the repair and maintenance of the campâs cabins and bunkhouses, and plenty of landscape work tooâfrom tree trimming and cutting grass to building and maintaining water dams that help fend off soil erosion. Kahapea-Hubbard, who first came to PÄlehua in 2017, often acts as an impromptu carpenter, plumber, landscaper, and mechanic, all in a dayâs turn. But she wouldnât have it any other way. The mountain is special and holds mana (power). Thereâs something that speaks to her here. âWhen people come to PÄlehua, they feel a natural connection, a healing,â Kahapea-Hubbard says. âFor me, this has been my place to unplug.â
ãã£ã³ãã»ãã£ã¬ã¯ã¿ãŒã®ãšãŽã¡ã»ã«ããã¢ïŒãããŒããããšã¹ã¿ã ãã®æ¥åžžæ¥åã¯ã骚ã®æããäœæ¥ã®ããè¿ãã ãæž æãæŽåã¯ã ã¡ããã®ããšããã£ã³ãã®ãã£ãã³ããã³ã¯ããŠã¹ã®ä¿®ç¹ãã¡ã€ã³ ããã³ã¹ã«å ããæš¹æšã®åªå®ãèåããåå£ã®æµžé£ãé²ãããã«æ°Ž ãå °ãæ¢ãããã ã®é æã管çãšãã£ãé åäœæ¥ã«ãçµããã㪠ãã2017幎ãããã¬ãã¢ã®äºæ¥ã«ããããã£ãŠããã«ããã¢ïŒã ããŒããããæãã圹å²ã¯ã倧工ãé 管工ãé ååž«ãä¿®çå·¥ãªã©ãäž æ¥ã®ãã¡ã§ãããŸããããå€ãããããã§ãããããæ°ã«å ¥ã£ãŠãã ã®ã ãšåœŒå¥³ã¯èšããå±±ã«ã¯ç¹å¥ãªããïŒãã¯ãŒïŒããããäœãã圌女 ã«èªããããã®ã ãããã¬ãã¢ã蚪ãã人ã ã¯ãèªç¶ãªã€ãªãããç ãããæããã®ã§ãããããã«ãšã£ãŠãããã¯é»æºãåã£ãŠãæ¬æ¥ã® èªåãåãæ»ãå Žæãªã®ã§ãã


Although the lovely, haunting calls of the pueo, or Hawaiian shorteared owl, can still be heard throughout PÄlehua, deforestation and rising temperatures due to climate change have forced many native birds to seek refuge at higher elevations, prompting scientists to double down on efforts to save these species from extinction. The cool forests surrounding Mount Kaâala, the highest peak of the Waiâanae Mountain, are home to endemic birds such as âapapane, âamakihi, and the âelepaio, whose lively chatter is the first to be heard in the morning and last to be heard at night.
ãã¬ãã¢ã®ã©ãã«ããŠãããã¯ã€ã®ã³ãããºã¯ãããšãªã®ç©åãããè³ã«å¿å°ã ã鳎ã声ãèãããŠãããããããäŒæ¡ã«ãã森ã®æ¶æ» ãšæ°åæž©æåã«ãããã ã¯ã€åºæã®é³¥ãã¡ã®å€ãã¯ããæšé«ã®é«ãå°åãžã®ç§»åã匷ããããããã« ãªããç§åŠè ãã¡ã¯ããããåºæçš®ãçµ¶æ» ããæãããã«ãã£ããã®åªåãåŸ ããŠãããã¯ã€ã¢ããšå±±èã®æé«å³°ã«ã¢ã©å±±ãåãå·»ã涌ãã森ãäœåŠãšãã ã¢ããããã¢ãããããšã¬ãã€ãªãšãã£ãçµ¶æ» å±æ§çš®ã®é³¥ãã¡ã®ã«ããããªãã ããã¯ããã¬ãã¢ã§ã¯ææ©ãããå€ãè¿ãããŸã§äžæ¥äžæ¥œããããšãã§ããã

The sandalwood trade of the 1800s and subsequent outplanting of invasive species in the 1920s decimated much of Oâahuâs native forests. Yet today, reforestation work offers glimmers of hope.
Dotted throughout PÄlehuaâs dryland-mesic forests, small kÄ«puka (areas) feature carefully nurtured koa and âiliahi saplings and âaâaliâi (a native hardwood shrub). Kawika Shook, a former PÄlehua camp director, believes such silviculture is critical: âThe health of the mountain dictates the health of whatâs below.â
19äžçŽã®çœæªè²¿æã«ç¶ãã1920幎代ã«äŸµç¥çãªå€æ¥çš®ãæ€ããããããšã« ããããªã¢ã島åºæã®æ£®ã®å€ãã¯å€±ããããã ããçŸåšã§ã¯ãæ€æ掻åã«ããã ãããªåžæãèŠãå§ããŠããããäžæ¹¿æ§ä¹Ÿç¥å°åãã§ãããã¬ãã¢ã®æ£®ã®ãã¡ã ã¡ã«ã现å¿ã®æ³šæãæã£ãŠãã³ã¢ãã€ãªã¢ããã¢ã¢ãªã€ãšãã£ããã¯ã€åºæçš®ã®åº èæš¹ã®èæšãè²æããå°ããªãããã«ïŒåºç»ïŒããç¹åšããŠããããã¬ãã¢ã®ã㣠ã³ãã»ãã£ã¬ã¯ã¿ãŒãåããŠããã«ãã«ã»ã·ã¥ãã¯ããã¯ãããããæåŠã«ããšã¥ ãã¢ãããŒããéåžžã«éèŠã ãšèªãããå±±ã®å¥åº·ç¶æ ã¯ãå±±ã®ãµããšã®å¥åº·ç¶ æ ããã£ããåæ ããŠããã®ã§ãã


Rich in cultural history, PÄlehua offers clues to its vibrant past. Archeological findings point to communities living here, and an ancient pathway, the Kualakaâi trail, is believed to have connected the people of PÄlehua, âEwa, and Puâuloa, today also known as Pearl Harbor. Because Hawaiians lived a subsistence lifestyle, the Kualakaâi trailâs juncture served as a key meeting area. Valuable resources like salt and fish from âEwaâs coasts, shellfish and oysters from Puâuloaâs brackish waters, and wood and meat from PÄlehuaâs forests could be bartered or shared.
æåçã«ãè±ããªæŽå²ãæã€ãã¬ãã¢ã«ã¯ãéå»ããããããšäŒããæã ããããããããããèå€åŠçãªçºèŠã«ãããããã«ãã€ãŠäººã³ãšãäœã㧠ããããšããããŠãã¯ã¢ã©ã«ã€ã»ãã¬ã€ã«ããšåŒã°ããå€ãéãéã£ãŠããããš ãããã£ãŠããããã®éã䜿ã£ãŠããã¬ãã¢ããšãŽã¡ãããŠãã¢ïŒçŸåšã®ããŒã« ããŒããŒïŒã«äœã人ã³ãšãè¡ãæ¥ãããšèããããŠãããèªçµŠèªè¶³ã®ç掻ã éã£ããã¯ã€ã®äººã ã«ãšã£ãŠãã¯ã¢ã©ã«ã€ã»ãã¬ã€ã«ããŸãããå Žæã¯ãéèŠ ãªäº€æã®å Žã ã£ãã人ã ã¯ãšãŽã¡ã®æµ·å²žã§æ¡ããå¡©ãéãæ·¡æ°ŽãŸããã®ã㊠ãã¢ã®æµ·èŸºã§æ¡ããè²é¡ããªã€ã¹ã¿ãŒããããŠãã¬ãã¢ã®æ£®ã§ãšããæšæã èã亀æããåãã¡åã£ãã
Winding through forests of eucalyptus and ironwood, a trail opens to offer sweeping views of NÄnÄkuli Valley. Along its western flank, a natural cleft bends and curves into the distinct shape of a fishhook. Legend tells of MÄui, whose mother appealed to him to find a way to delay the sunâs brisk sprint across the sky. To please her, MÄui climbed to the top of Puâu HeleakalÄ, the Pathway of the Rising Sun, and lassoed the sun with his magical fishhook, MÄnaiakalani. With his fiery preyâs daily passage now slowed, his mother could dry her kapa, or clothing, to her satisfaction. Afterward, MÄui cast his fishhook aside, where it left a lasting imprint on the mountainâs wall, still visible today.

ãŠãŒã«ãªãšã¢ã€ã¢ã³ãŠããã®æ£®ãæããŠãã€ãã³ã°ã³ãŒã¹ãé²ããšããããŠç®ã®åã«ã ããã¯ãªã®è°·ãèŠãããåºã ãšããæ¯èŠ³ãéãããè°·ã®åããåŽã®å±±ã ã®è¥¿ã®æé¢ã« ã¯ãèªç¶ãç©¿ã£ãæºããããããšã«ãŒãããé£ãéã®ãããªç¬ç¹ã®ããã¡ãåããŠããã
ãã¯ã€ã®ç¥è©±ã«ããã°ãè±éããŠã€ã®æ¯èŠªãã空ãå šéåã§é§ãã¬ããŠãã倪éœã«è ¹ ãç«ãŠãã©ãã«ãããŠã»ãããšæ¯åã«é Œãã ãšãããããŠã€ã¯æ¯èŠªãåã°ããããšãã ãŠã»ãã¬ã¢ã«ã©ïŒææ¥ã®æãéïŒãã®å±±é ã«ç»ããéæ³ã®é£ãéããã¢ãã€ã¢ã«ã©ããã§å€ª éœãæããããæããããã倪éœã空ã暪åãé床ããããããããã§ãããŠã€ã®æ¯ 芪ã¯æºè¶³ã®ãããŸã§ãã«ãïŒæïŒãã也ãããããã«ãªã£ããšããããã®åŸãããŠã€ããœã ãšæŸãæããé£ãéã®è·¡ãå±±èã«å»ãŸããä»ããã£ããèŠããã®ã ããã ã


The discovery of a large heiau, or place of worship, along with oral traditions that speak of the area, lead cultural scholars to believe that PÄlehua served as a training ground for lua, or hand-to-hand combat, in ancient times. In Hawaiian, pÄ means âstone enclosure.â Lehua refers to the flower of the âÅhiâa tree, known for its sturdy wood, which was prized by warriors for crafting weaponry. As such, PÄlehua translates to âenclosure of the warrior.â
ãã®å°åã«èªãäŒããããŠããäŒæ¿ã«å ãããã€ã¢ãŠïŒèæïŒã®å€§èŠæš¡ãªéºè·¡ ãçºèŠãããããã«ãæååŠè ãã¡ã¯ããã¬ãã¢ããããã®äžåž¯ã¯å€ä»£ã«ãã« ã¢ãã€ãŸãæ Œéæã®èšç·Žã®å Žã ã£ããšèããŠããããã¯ã€èªã§ãããã¯ãç³ã§å²ãŸ ããããšããæå³ã§ããã¬ãã¢ãã¯æŠå£«ãã¡ãæŠåšãäœããšãã«äœ¿ã£ã匷éãªæš¹ æšããªãã¢ã«å²ãè±ãæããã€ãŸããããã¬ãã¢ãã¯ãæŠå£«ãã¡ã®ããã®å²ããã å Žæããšããæå³ã«ãªãã




As the seasons change, so does the night sky above PÄlehua. Against a black velvet backdrop, the winged constellation âIwa Keliâi, the Chief Frigate Bird, rises in the northeast and then glides a path over Hokupaâa, the North Star. Polynesian voyagers rely on natureâ constellations, ocean currents, and animals, especially birdsâto help them navigate across the Pacific. Depicted in the center of the Hawaiian star compass, the manu (bird) is a traditional metaphor for a canoe. Wayfinders follow âIwa Keliâi to make sure they are within the latitude of the Hawaiian Islands, the âiwa safely guiding their way.
ãã¬ãã¢ã®äžã«åºããå€ç©ºã¯å£ç¯ãšãšãã«å€åãããé»ããã«ãããã®ãã㪠åæ±ã®ç©ºã«ãç¿Œãåºãããã€ãŽã¡ã»ã±ãªã€ïŒã°ã³ã«ã³ããªïŒãã®æ座ãã®ãŒãããã ã¯ãã¢ïŒå極æïŒãã®äžããã¹ã£ãŠãããããªãã·ã¢ã®äººã ã¯èªç¶ã«é Œã£ãŠèªæµ·ã ããæ座ãæµ·æµãåç©ãç¹ã«é³¥ãã¡ãã倪平æŽã®æ ã®å°ãæãšãªã£ãããã¯ã€ã¢ã³ ã®æå³ã®äžå¿ã«æããããããïŒé³¥ïŒãã¯ãã«ããŒã象城ããŠãããèªæµ·å£«ãã¡ã¯ ã€ãŽã¡ã»ã±ãªã€ã®äœçœ®ã§ãèªåãã¡ã®ãã緯床ããã¯ã€è«žå³¶ã®æ¹è§ããã¯ãã ãŠããªããã確ããããã€ãŽã¡ã圌ããå®å šã«å°ããã®ã ã



Street Smarts
When a beloved skate park fell into disrepair, a group of teenagers inspired a community to help them restore it to its original glory.Text by Rae Sojot Images by Kuhio Vellalos
I ka pau loa âana o ka pono o ka PÄka Holo Huila o âEwa Beach, na kekahi hui âÅpiopio i hÅâeuâeu aâe i nÄ luna kÅ«lanakauhale a lÄlÄ kaiÄulu hoâi i ka hoâoponopono hou âana i ia wahi e like me kona âano hiehie o mua aâe.
10代ã®è¥è ãã¡ã®ç±æãè¡æ¿ãšå°åã®äººã³ãšãåãããèæœ åããŠããã¹ã±ãŒãããŒã¯ã®åçã«ã€ãªãããŸããã

âKids downplay how much their voice really means,â Brandon Pagarigan says. âYour voice is more powerful than you think.â As a sophomore in high school in 2015, he hadnât planned on being a community organizer. His passion for skating, however, proved otherwise.
Pagarigan grew up skating in âEwa Beach. But the skate park at âEwa Beach Community Park, originally built in 1992, had begun showing signs of serious wear and tear in the mid-2010s: derelict ramps, degrading asphalt, weeds growing rampant in the cracks. The facility had become unusableâso much so, claims Pagarigan, skaters had resorted to skating elsewhere, which included trespassing onto the nearby James Campbell High School campus. âThe school absolutely hated us,â Pagarigan says. âIt got so bad, there was after-hour security to watch out for us.â
During one particularly tense encounter in 2015, a police officer threatened arrest if the skaters were caught trespassing again. When Pagarigan admonished the officer, insisting they had nowhere else to skate, the officerâs reply was blunt: âWhy donât you do something about it?â
ãè¥è ã¯ãèªåãã¡ã声ãäžããŠãæå³ããªããšæ㣠ãŠãããã§ãããšããã©ã³ãã³ã»ãã¬ãªã¬ã³ããã¯èšããã ã§ãåãã®å£°ã¯ãã¿ããªãèããŠããããããã£ãšã㯠ãã«ãªãã§ãããã2015幎ãé«æ ¡çã ã£ããã¬ãªã¬ã³ã ãã¯èªåãåžæ°éåãçãããªã©ãšã¯æã£ãŠãããªã ã£ããã ããã¹ã±ãŒãããŒããžã®æ ç±ãããã€ã®ãŸã«ã 圌ããã®åœ¹å²ãžãšé§ãç«ãŠãŠãã£ãã
ãã¬ãªã¬ã³ããã¯ãšãŽã¡ããŒãã§è²ã¡ãå°ããªé ããã¹ ã±ããŒã楜ããã§ãããã1992幎ã«å®æãããšãŽã¡ã ãŒãã»ã³ãã¥ããã£å ¬åã®ã¹ã±ãŒãããŒã¯ã¯ã2010幎 代ã®ãªãã°ã«ã¯ãã¡ãã¡ã«å·ã¿ãç®ç«ã€ããã«ãªã£ãŠ ãããã©ã³ãã¯æå ¥ãããããæŸçœ®ãããã¢ã¹ãã¡ã«ã ã¯ã²ã³å²ããå²ãç®ããéèãçããŠãããããŒã¯ã¯ ãã䜿ããã®ã«ãªãããã¹ã±ãŒã¿ãŒãã¡ã¯ã»ãã®å Žæ ãæ¢ããããªããªã£ãŠããããšãã¬ãªã¬ã³ããã¯èª¬æã ããã»ãã®å Žæãšã¯ãããšãã°ãããŒã¯ã®åã«ãããžã§ ã€ã ãºã»ãã£ã³ãã«é«æ ¡ã®ãã£ã³ãã¹ãªã©ã ããé«æ ¡ã¯ åããæ ¡å ã§ã¹ã±ãŒãããŒããããã®ããããå«ã£ãŠ ãŸãããåããè¿œãæãããã«ãæŸèª²åŸã«èŠåå¡ãé 眮ãããããã§ãã
2015幎ã®ããæ¥ããããŸã§ã«ãªãã»ã©ç·åŒµããå Žé¢ ã§ãä»åºŠåŠæ ¡ã«å ¥ã蟌ãã ãé®æãããšèŠå®ã«è ãã ããã¬ãªã¬ã³ããã¯ãã»ãã«ã¹ã±ãŒãããŒããã§ãã å Žæããªãã®ã ãšèšŽãããèŠå®ã¯ååçŽå ¥ã«åãæ¿ ãããããã ã£ãããªããèªåãã¡ã§äœãšãããããšã㪠ããã ïŒã




The officerâs remark hit a nerve. Pagarigan and his friends decided they would do something about it. And they would start with a pitch to the neighborhood board. The teenagers circulated a âSave âEwa Beach Skate Parkâ petition at school, where it swiftly garnered 150 signatures. Pagarigan approached his chemistry teacher to sign, but the teacher declined, citing reluctance to support âa place where people did drugs.â
âThat made me feel doubtful,â Pagarigan recalls. He was all too familiar with the reputation that skate kids unfairly carriedâthat they were outcasts, misfits, and troublemakersâbut it still stung to hear, especially from his favorite teacher. âI remember thinking, âAm I doing something crazy?ââ
But support for the petition snowballed on social media and soon dispelled Pagariganâs doubt. Within days of appearing online, the petition gained traction among skate groups and on Internet forums, which led local streetwear brand In4mation to donate T-shirts for the cause and prompted skate shops to hold fundraisers. Eventually, the petition swelled to over 1,500 signatures, with support coming in from California and Oregon. To supplement the petition, the teenagers prepared a PowerPoint presentation outlining âEwa Beach Skate Parkâs critical need for repair and improvements.
èŠå®ã®èšèã¯ãçããšãããçªããŠããã奮起ããã㬠ãªã¬ã³ãããšå人ãã¡ã¯ãå®éã«èªåãã¡ã§ã©ãã«ã ããããšæ±ºæãããæã¯ããã«çºã®èªæ²»äŒã«åŒã³ãã ãããšã«ããŠãåŠæ ¡å ã§ããšãŽã¡ããŒãã»ã¹ã±ãŒãããŒã¯ ãæããããšãã眲åãå§ããããã¡ãŸã¡150人ã®çœ²å ãéãŸã£ãããååŠã®æåž«ã«çœ²åãæ±ãããã¬ãªã¬ã³ ããã¯æãããŠããŸã£ããããã©ãã°ãããå Žæããªã©æ¯ æŽããããªããšããã®ããã®çç±ã ã£ãã
ãããèšãããŠãç念ããããŠããŸããããšãã¬ãªã¬ã³ ããã¯æ¯ãè¿ããã¹ã±ãŒã¿ãŒã¯ã¯ã¿ã ãè ã ãšããã© ãã«ã¡ãŒã«ãŒã ãšããã£ãè²çŒé¡ã§èŠãããããšã«ã¯ æ £ããŠããããäžçªå¥œãã ã£ãæåž«ã«èšãããèšè ã¯ãããããšå¿ã«çªãåºãã£ãããèªä¿¡ã倱ããèªå㯠銬鹿ããããšãããŠããã ãããããšæã£ãã®ãèŠã㊠ããŸãã
ãããããããªç念ã¯ããœãŒã·ã£ã«ã¡ãã£ã¢ãéããŠæ¥ æ¿ã«æ¡ãã£ãæ¯æŽã®èŒªãå¹ãé£ã°ããŠããããã€ã³ã¿ ãŒãããã«æ²èŒããŠããæ°æ¥ã§ãåé¡æžã¯ã¹ã±ãŒã¿ãŒ ã®ã°ã«ãŒãããããã®ãã©ãŒã©ã ã§æ³šç®ãéãããã㊠ã¹ããªãŒããŠã§ã¢ãã©ã³ãã®In4mationãéåãæ¯æŽ ããTã·ã£ããå¯ä»ããã·ã§ããã§ãè³ééããå§ãŸã£ ããã«ãªãã©ã«ãã¢ããªã¬ãŽã³ããã眲åãå¯ãããã 眲åã®æ°ã¯æçµçã«1,500ãè¶ ããã眲åã«å ãããš ãŽã¡ããŒãã»ã¹ã±ãŒãããŒã¯ãã©ãã»ã©ã²ã©ãç¶æ ã«ã ããä¿®çãšæ¹åãå¿ èŠãšããŠãããã®çŸç¶ã蚎ããã ãã10代ã®ã¹ã±ãŒã¿ãŒãã¡ã¯ãã¯ãŒãã€ã³ãã®ãã¬ãŒ ã³ããŒã·ã§ã³ãäœæããã



The night of the neighborhood board meeting, Pagarigan was gobsmacked by the turnout. Supporters of all ages arrived in shirts emblazoned with âSave âEwa Beach Skate Park,â and the air reverberated with excitement for the cause. âWe couldnât fit everyone into the room,â Pagarigan says, estimating there were about 100 people in attendance. He was also impressed to learn that their PowerPoint presentation was part of the eveningâs official agenda. Rather than patronizing or dismissing the young skaters, the board treated them as legitimate members of the community with a legitimate concern. âThey really wanted to help us,â Pagarigan says.
The following morning, the realization truly hit. While in 7-Eleven grabbing snacks, Pagarigan and his friends noticed a newspaper on a nearby newsstand. A photo of the crowd of Save âEwa Beach Skate Park supporters had made the front page. The friends looked at each other in disbelief, then celebration. The community was behind them.
Over the next two years, Pagarigan and his friends worked with city officials and community members to forge a public-private partnership to refurbish the skateboarding area. City Council Chair Ron Menor helped move a bill
èªæ²»äŒã®åœ¹å¡äŒãéãããå€ããã¬ãªã¬ã³ããã¯é㟠ã£ãæ¯æŽè ã®æ°ã«ç®ãã¿ã¯ã£ãããããã幎代ã®æ¯æŽ è ãã¡ãããšãŽã¡ããŒãã»ã¹ã±ãŒãããŒã¯ãæãããšã ãè²é®®ãããªã¹ããŒã¬ã³ãã€ããã·ã£ããçãŠã€ãã ããäŒå Žã¯ç±æ°ã«å ãŸããŠãããããã100åã®äººã³ ãšãéãŸããå šå¡ã¯ãšãŠãéšå±ã«å ¥ããããªãã£ãããš ãã¬ãªã¬ã³ããã¯æ¯ãè¿ããèªåãã¡ãçšæãããã¬ãŒ ã³ããŒã·ã§ã³ãããã®æ¥ã®è°é¡ã®äžã€ãšããŠã¡ãããšçµ ã¿å ¥ããããŠããããšãå¬ããã£ããšããã圹å¡äŒã¯ã è¥ãã¹ã±ãŒã¿ãŒãã¡ã®æèŠãäžããèŠäžããããé©åœ ã«åãæµãã®ã§ã¯ãªããåãã³ãã¥ããã£ã®äžå¡ã®ãã ã¡ããšããæèŠãšããŠè³ãåŸããŠããããã圹å¡ã®äººã ã¡ã¯ãå¿ããåããæ¯æŽããŠãããŠãããã§ãããšã㬠ãªã¬ã³ããã¯èšãã
èªåãã¡ã®æãéããããšã«æ¹ããŠæ°ã¥ããã®ã¯ãã ã®ç¿æã ã£ããã»ãã³ã€ã¬ãã³ã§ã¹ããã¯ãè²·ãããšã ãŠãããã¬ãªã¬ã³ãããšå人ãã¡ã¯ããããã°ã«ãã£ã æåã«ç®ããšããããšãŽã¡ããŒãã»ã¹ã±ãŒãããŒã¯ã®æ¯ æŽè ãã¡ã®åçãäžé¢ã食ã£ãŠããã®ã ãä¿¡ãããã ã«é¡ãèŠåãããããšãåã³ããã¿ããããã³ãã¥ãã ã£ã¯åœŒãã®å³æ¹ã ã£ãã
ãã®åŸ2幎ã«ãããããã¬ãªã¬ã³ãããã¡ã¯ãåžåœå±ã çºã®äººã³ãšãšãšãã«ãã¹ã±ãŒãããŒã¯æ¹ä¿®ã«åããŠå® æ°ã®ããŒãããŒã·ãããç¯ãããã«åãããåžè°äŒã® ãã³ã»ã¡ããŒè°é·ã¯ãããã«ã«åžé¡ã®äºç®ãã18äž 3,000ãã«ãå²ãåœãŠãæ³æ¡ãéãããã«å°œåããã ã¯ã€ã»ã¹ã±ãŒã¿ãŒãºåäŒïŒASHïŒã®åµèšè ã§ãããã£ã ã¯ã»ããã€ããã¯ãè³ééããšç©è³ã®å¯ä»ããããŠãã© ã³ãã£ã¢ã®çµç¹ãšç®¡çã«ååãããã圹æãšã®ããå


that allotted $183,000 from the City and County for improvements. Chuck Mitsui, the founder of Association of Skaters in Hawaiâi (ASH), helped to raise funds and in-kind donations for the project and coordinated the volunteer efforts. âThese kids really took leadership with this,â Mitsui says of the teensâ willingness to work through the bureaucratic system. Under ASHâs guidance, the teens worked long, hot weekends and became a quick study in all things skate park construction: reading blueprints, deciphering dimensions, and building ramps.
ãã«ç©æ¥µçã«åãçµãã ãã£ãŒã³ãšã€ãžã£ãŒãã¡ã®æŽ» åãæ¯ãè¿ããããã®åãã¡ã¯ããã£ãããªãŒããŒã·ãã ãçºæ®ããŠããŸããããšããã€ããã¯èªããASHã®ãµã ãŒãã®ããšãè¥è ãã¡ã¯æãé±æ«ã«é·æéãããŠãã ãžã§ã¯ãã«åãçµã¿ãèšèšå³ã®èªã¿æ¹ã寞æ³ã®ãšãæ¹ã ã©ã³ãã®é æãšãã£ãã¹ã±ãŒãããŒã¯å»ºèšã«å¿ èŠãªã ãŠããŠããã¡ãŸã¡ã®ãã¡ã«åŠãã§ãã£ãã
ãããŠ2017幎ãã©ã³ããå®æããã1幎åŸãç§åŠã®æ æ¥ãåããŠãããã¬ãªã¬ã³ããã¯ããå€ãèŠãŠãããã ãšããããã¹ãã¡ãã»ãŒãžãåãåã£ããã¹ã±ãŒãã㌠ã¯ã®ã²ã³å²ããã¢ã¹ãã¡ã«ããåãé€ããã³ã³ã¯ãªãŒã

Street Smarts
In 2017, the ramps were completed. A year later, Pagarigan was sitting in science class when he received a text message telling him to look outside. The City and County trucks had arrived to remove the skate parkâs faulty asphalt and resurface it with concrete. Pagarigan sprinted to the principalâs office and asked permission to watch on site. It was a surreal moment. âSeeing the concrete being poured over the barriersâŠâ Pagarigan says, pausing to search for the right words to describe the feeling. âWe finally did it.â
Today, at age 21, Pagarigan works as a lab assistant but still finds time to skate. On a recent Saturday afternoon, he visited the skate park, which buzzed with activity. Young skaters glided by, the familiar purr of wheels resounding over the smooth pathways. Skaters congregated in small groups, their laughter punctuated with the pops and cracks of boards maneuvering tricks. Thereâs a new crop of skaters here, but for Pagarigan, the feeling of camaraderie spans generations. Nearby, along the hip of an obstacle, a list of names is etched into the concrete, a permanent tribute to those who helped make the skate park a better place for everyone. âIn high school, you do stuff for a grade, but this was something that we truly cared about,â Pagarigan says. âSeeing it all come together was the best feeling in the world.â
ã§åèè£ ããããã«ãããã«ã«åžé¡ã®ãã©ãã¯ãå°ç ããŠããã®ã ããã¬ãªã¬ã³ããã¯æ ¡é·å®€ã«é§ã蟌ã¿ãã ãŒã¯ã§ãã®æ§åãèŠå®ãèš±å¯ãåŸããçŸå®ãšã¯æã㪠ããã·ã¥ãŒã«ãªæ°åã ã£ããšããããå²ãã«ã³ã³ã¯ãªãŒã ãæµã蟌ãŸããŠããã®ãèŠãªããâŠâŠããã¬ãªã¬ã³ãã ã¯ãã°ããèšèãæ¢ããŠããç¶ããããåãã¯ã€ãã«ã ã£ããã ããšæããŸããã
21æ³ã«ãªã£ãçŸåšããã¬ãªã¬ã³ããã¯èšåºæ€æ»å©æãš ããŠåããªãããã¹ã±ãŒãããŒãã楜ããæéã確ä¿ã ãŠãããããåæã®ååŸããã¬ãªã¬ã³ããã蚪ãããšã ããŒã¯ã¯ã«ããããªé³ãšåãã«æºã¡ãŠããã幎å°ã®ã¹ ã±ãŒã¿ãŒãããŒãã§éãããããªããããªè¡šé¢ããŠã£ ãŒã«ïŒè»èŒªïŒãæ»ã£ãŠãããšãã«ç«ãŠããããªãã¿ã®æ» èµ°é³ãé¿ããã¹ã±ãŒã¿ãŒãã¡ã¯ããŒã¯ã®ãã¡ãã¡ã«æ° 人ã®ã°ã«ãŒãã§éãŸããæãè©Šã¿ããã³ã«ããŒããç« ãŠãç Žè£ãããããªé³ã®åéã«ç¬ã声ãã¯ããããæ° ããäžä»£ã®ã¹ã±ãŒã¿ãŒãã¡ãå ãã£ãŠãããããã¬ãª ã¬ã³ããã¯äžä»£ãè¶ ãã仲éæèãæãããšãããã ãŒã¯ã«èšçœ®ãããé害ç©ã®äžã€ã«ã¯ãåå°ã®ã³ã³ã¯ãª ãŒãã«ããã®ããŒã¯ãããããå Žæã«ããããã«å°œåã ã人ã³ãšã®ååãå»ãŸããŠããããé«æ ¡ã§ã¯æ瞟ã®ã ãã«åªåããŸããããã®ããŒã¯ã¯åãã«ãšã£ãŠæ¬åœã« 倧åãªãã®ã ã£ããã§ãããšãã¬ãªã¬ã³ããã¯è¿°æããã ããã®ããã®åªåãå®ãçµãã ã®ãèŠå±ããããŠãæ é«ã«å¬ããã§ãã

Restorers of the Reef
The founders of Kuleana Coral Reefs are piloting a unique approach to restoration.
Text by Timothy A. SchulerImages by John Hook and courtesy of Kuleana Coral
I ka huli âana o ke alo i ka loli aniau, ka âoihana lawaiâa âoiâenehana, a me ke kÅ«kulu âia âana o kapa kai, ke hoâomÅhala âia nei e Kuleana Coral Reefs he papahana kÅ«kahi no ka hoâoponopono hou âana i nÄ wahi kohola a âÄuna iâa hoâi no Oâahu.
ä¿è·å£äœãã¯ã¬ã¢ãã»ã³ãŒã©ã«ã»ãªãŒãã¹ãã®åµèšè ãã¡ã¯ããŠã ãŒã¯ãªæ¹æ³ã§ãµã³ãŽç€ã®åçãè©Šã¿ãŠããŸãã

âI used to take fish. Now I make fish,â says Alex âAlikaâ Peleholani Garcia. Garcia grew up fishing on the West Side of Oâahu and worked as a commercial fisherman for 15 years. Now, heâs the co-founder of Kuleana Coral Reefs, a local nonprofit organization working to protect and restore Hawaiâiâs increasingly vulnerable coral reefs. Heâs not against fishing or responsibly using marine resourcesââWeâve been a fishing culture since pre-Western contact,â he says, referring to Native Hawaiiansâheâs simply as interested in creating habitat for Hawaiâiâs native fish and eels as he is in snagging some for dinner.
Garcia founded Kuleana Coral alongside Daniel Demartini and Kapono Kaluhiokalani in 2019. The three of them had watched as coral reefs and native fish populations suffered as a result of climate change, industrial fishing, and coastal development.
âAs we develop the coastline, we change the way the water has moved historically and the [amount] of runoff and sediment that is pouring into the ocean,â explains Demartini, a marine scientist and professor of chemistry at Brigham Young University on Oâahu. âThat sediment will cover sections of the reef after a major rainstorm and will choke out the coral.â
ã以åã¯éãç²ãåŽã«ããŸããããä»ã¯è²ãŠãåŽã«ã ãŸãããšèªãã®ã¯ãã¢ã¬ãã¯ã¹ã»ãã¢ãªã«ãã»ãã¬ãã©ãã»ã¬ ã«ã·ã¢ããããªã¢ã島西éšã§é£ããããªããè²ã¡ãæŒåž« ã®ä»äºã«15幎éå°±ããŠããããšããã圌ã¯ãçŸåšãå° å ã®éå¶å©å£äœãã¯ã¬ã¢ãã»ã³ãŒã©ã«ã»ãªãŒãã¹ãã®å ±å åµèšè ãšããŠããŸããŸãè匱åãããã¯ã€ã®ãµã³ãŽç€ ã®ä¿è·ãšåçã«åãçµãã§ããããšã¯ãããéãç²ãã ãšãã®ãã®ãã責任ããã£ãŠæµ·æŽè³æºãå©çšããããš ã«ç°ãå±ããŠããããã§ã¯ãªãããã€ãã£ããã¯ã€ã¢ã³ ã®æåã«ã€ããŠã西æŽã®åœ±é¿ãåããåãããããã«ã¯ æŒæ¥ã®æåããããŸããããšèªãã¬ã«ã·ã¢ããã¯ãå€é£ ã®ããã«éãæãŸããããšãšåããããããã¯ã€åºæã® éããŠãã®ã®æ£²ã¿ããã€ããããšã«ãé¢å¿ããã£ãŠã ãã®ã§ããã
ã¬ã«ã·ã¢ããããããšã«ã»ããã«ãã£ãŒããããšã«ã ãã»ã«ã«ããªã«ã©ããããšãšãã«ã¯ã¬ã¢ãã»ã³ãŒã©ã«ãèš ç«ããã®ã¯2019幎ã®ããšã3人ã¯ãæ°åå€åãåæ¥æŒ æ¥ã沿岞éšã®éçºã«ãã£ãŠããµã³ãŽç€ãåšæ¥éã®åäœ æ°ãæžå°ããŠããã®ãç®ã®åœããã«ããŠããã
æµ·æŽç§åŠè ã§ããããªã¢ã島ã«ããããªã¬ã ã»ã€ã³ã°å€§ åŠã§ååŠã®ææãããŠããããã«ãã£ãŒãããã¯ãã ã説æãããã海岞éšã®éçºãè¡ããšãæµ·æ°Žã®æµãã ãããŸã§ãšã¯å€ãã£ãŠããŸããããæµ·ã«æµã蟌ãæ°Žã åç ãå ç©ç©ã®éãå€ãããŸãã倧éšã®åŸããã®å ç© ç©ããµã³ãŽç€ã®äžéšãèŠãããµã³ãŽãçªæ¯ãããŠã㟠ãã®ã§ãã



Garcia grew up in Waipahu and works full time as a firefighter with the Honolulu Fire Department. For years, he was part of the departmentâs dive unit, which is typically deployed for search and rescue missions. It was grueling and sometimes gruesome work, he says. At Kuleana Coral, he gets to apply some of the same skills, but for a more heartening purpose.
Kuleana Coral, whose name is centered around the Hawaiian word for responsibility, has a unique approach to coral restoration. Oftentimes, conservation groups will set up coral nurseries in the waterâgiant trays full of baby corals that theyâve propagatedâ then outplant the tiny creatures onto the reef. Itâs an effective method with one big downside: It can take years for these small corals to get big enough to provide habitat for marine life or to reach sexual maturity and begin reproducing on their own. âAnd it has to survive the gamut of challenges that humans keep throwing at it to get to that size,â Garcia says.
ã¯ã€ããã§è²ã¡ãçŸåšã¯ããã«ã«åžæ¶é²å±ã®æ¶é²å£«ãš ããŠãã«ã¿ã€ã ã§å€åããŠããã¬ã«ã·ã¢ããã¯ãé·å¹Žã« ããããæœæ°Žéšéã«æå±ããŠãããæœæ°Žéšéã¯æ玢ã æå©ã«åºåããããšãå€ããéåžžã«éé ·ã§ãæã«æãã ãå Žé¢ã«ãééããä»»åã ã£ããšããã圌ã¯ããã§å¹ ã£ãæœæ°Žã¹ãã«ããã¯ã¬ã¢ãã»ã³ãŒã©ã«ã§ã¯ãåžæã«æº ã¡ã掻åã«çãããŠããã
ãã¯ã€èªã§ã責任ããæå³ãããã¯ã¬ã¢ããã®åãå ãã ãã®å£äœã¯ãç¬èªã®æ¹æ³ã§ãµã³ãŽã®åçã«åãçµã㧠ããããµã³ãŽãä¿è·ããå£äœã¯ãå€ãã®å Žåãæ°Žäžã«ãµ ã³ãŽã®èåºïŒç¹æ®ãããçšãµã³ãŽãå ¥ã£ã巚倧ãªã㬠ã€ïŒãèšçœ®ãããã®çšãµã³ãŽããµã³ãŽç€ã«ç§»æ€ãããšã ãæ¹æ³ããšã£ãŠãããããã¯å¹æçãªæ¹æ³ã ããã²ãšã€ 倧ããªæ¬ ç¹ããããçšãµã³ãŽãã¡ãæµ·æŽçç©ãã¡ã®æ£² ã¿ãã«ãªãã ãã®å€§ããã«æé·ãããŸã§ã«ããããã¯ã æ§çã«æçããŠèªåã§ç¹æ®ã§ããããã«ãªããŸã§ã« ã¯ãäœå¹Žããããã®ã ãããããããããŸã§æé·ãããã ã«ã¯ã人éãã¡ã®ãããã§æ¬¡ã€ãã«éããããããŸã ãŸãªé£é¢ãä¹ãè¶ããªããã°ãªããªãã®ã§ãããšã¬ã« ã·ã¢ããã¯èªãã



Kuleana Coralâs method is to use dive teams to identify dislodged but otherwise mature and healthy corals and reattach them to the reef. The founders identify a restoration site, typically just offshore, where the ocean floor is 40 to 70 feet below the surface. Then they and a team of scuba-equipped volunteers scavenge the ocean floor for coral colonies that look healthy enough to be saved. Once theyâve assembled enough healthy corals, they reaffix them to the reef using standard marine epoxy.
Itâs a bit like if conservationists were able to salvage mature trees that had been downed in a hurricane or tornado. Large trees are much more valuable than saplings. They provide shade to people and nesting and foraging opportunities for birds and other wildlife. Mature corals are similar. The ability to replant these large specimensâ some of which represent 30 years of growthâis significant. âThatâs immediate habitat,â Garcia says. Demartini adds, âYou watch fish come back and take up residence the next day.â
äžæ¹ãã¯ã¬ã¢ãã»ã³ãŒã©ã«ã§ã¯ããã€ãã³ã°ããŒã ãããµ ã³ãŽç€ããå¥ãããŠããŸã£ãŠãããã®ã®ããŸã å¥åº·ãª ç¶æ ã®æçãããµã³ãŽããèŠã€ãåºãããµã³ãŽç€ã«ãã äžåºŠå®çããããšããæ¹æ³ããšã£ãŠãããåµèšè ãã¡ ã¯ãäž»ã«ã海岞ããããã»ã©é ããªããæµ·åºãŸã§ã®æ°Žæ·± ã12ïœ20ã¡ãŒãã«ã®ãããã«åçã¹ããããç¹å®ãã ã¹ãã¥ãŒãã®åšæãã€ãããã©ã³ãã£ã¢ã®ãã€ããŒã ãŒã ãšãšãã«æµ·åºãæ¢çŽ¢ããŠãæåºã§ããããªå¥åº·ãª ãµã³ãŽã®çŸ€çãæ¢ããååãªæ°ã®å¥åº·ãªãµã³ãŽãé㟠ããšãæšæºçãªè¹è¶çšãšããã·æš¹èã䜿ããéãããµ ã³ãŽããµã³ãŽç€ã«åã³å®çãããã
ãã®æ¹æ³ã¯ãèªç¶ä¿è·å£äœãããªã±ãŒã³ãç«å·»ã§åã ãå·šæšãææžããã®ã«äŒŒãŠããã暹霢ã®é«ã倧暹ã¯ã 人ã³ãšã«ã¯æšé°ããé³¥ãªã©ã®éçåç©ãã¡ã«ã¯å·£äœã ãæ¡é€ã®ããã®å ŽæãæäŸãããšããæå³ã§è¥æšãã ãéèŠãªååšã ããããã¯æçãããµã³ãŽã«ãåœãŠã¯ ãŸããæçãã倧ããªæšæ¬ïŒãªãã«ã¯30幎ãããŠæé· ãããã®ãããïŒãåæ€ãã€ãã§ããã°ããã®æ矩ã¯çµ¶ 倧ã ãã倧ããªãµã³ãŽã¯ãããã«çç©ãã¡ã®æ£²ã¿ãã«ãª ããŸãããšã¬ã«ã·ã¢ãããèšããšãããã«ãã£ãŒããã ãèšèãç¶ãããéãã¡ãæ»ã£ãŠããŠãç¿æ¥ã«ã¯ãã棲 ã¿ã€ããŠããã®ãèŠãããã®ã§ãã Restorers of

Garcia summarizes Kuleanaâs approach to restoration as, âYou find something thatâs broken, you fix it.â To date, the nonprofit has performed restoration work at four sites offshore of Ko Olina Resort on the West Side of Oâahu, each measuring roughly 50 feet by 50 feet. The founders know itâs a drop in the bucket compared to what is needed to restore Hawaiâiâs degraded coral reefs. Statewide, cauliflower coral populations have declined by 90 percent. A 2018 report from the National Atmospheric and Oceanic Administration (NOAA) described the status of Oâahuâs coral reefs as âimpaired.â
The team hopes to scale up at some point in the future, but for now itâs focusing its energy on small-scale replanting efforts and studying those efforts to better understand why certain corals survive and others donât. âThatâs the importance of monitoring, to really understand what techniques are we using that make it effective?â Demartini says, adding that the group is collaborating with researchers at the Coral Resilience Lab and NOAA.
ã¬ã«ã·ã¢ããã¯ãã¯ã¬ã¢ãã®åçã¢ãããŒãããå£ã㊠ãããã®ãèŠã€ããŠããããçŽãããšç«¯çã«è¡šçŸããã
圌ãã¯ãããŸã§ã«ããªã¢ã島西éšã®ã³ãªãªãã»ãªãŸãŒã ã®æ²åã«ãã4ãæã®ã¹ãããã§ãããããããã15 ã¡ãŒãã«åæ¹ã®åºåã®åçãè¡ã£ãããã¯ã€ã®èå»ã ããµã³ãŽç€å šäœããèŠãã°ããã®åçãããžã§ã¯ãã çŒãç³ã«æ°Žã®ãããªåŸ®ã ãããã®ã§ããããšã¯ãåµèš è ãã¡ãæ¿ç¥ããŠãããããšãã°ãã«ãªãã©ã¯ãŒã³ãŒã©ã« ïŒããã€ãµã€ãµã³ãŽïŒã®åäœæ°ã¯å·å šäœã§90ããŒã»ã³ ããæžå°ããŠãããç±³åœæµ·æŽå€§æ°åºïŒNOAAïŒã®2018 幎ã®å ±åæžã«ã¯ããªã¢ã島ã®ãµã³ãŽç€ã®ç¶æ ã¯ãæªå ããŠããïŒimpairedïŒããšèšãããŠããã
ã¯ã¬ã¢ãã»ã³ãŒã©ã«ã¯ãå°æ¥çã«ã¯èŠæš¡ãæ¡å€§ããããš èããŠããããçŸæç¹ã§ã¯å°èŠæš¡ãªåæ€ãã€ãäœæ¥ã« åã泚ãããªãç¹å®ã®ãµã³ãŽã ããçãæ®ããã®ãã« ã€ããŠç解ãæ·±ããããã«èª¿æ»ç 究ãè¡ã£ãŠãããã ç§ãã¡ãæ¡çšããŠããæè¡ã®ãã¡ã©ã®éšåãå¹æãäž ããŠããã®ãããã£ããç解ããäžã§ãã¢ãã¿ãªã³ã°ã¯ éåžžã«éèŠã§ãããšããã«ãã£ãŒããããã³ãŒã©ã«ã»ã¬ãž ãªãšã³ã¹ã»ã©ããNOAAã®ç 究è ãšã®å ±åç 究ãé²ã ã§ãããšããã Restorers of the Reef




For Garcia, an unexpected result of starting Kuleana Coral has been fostering a newfound connection to his Hawaiian heritage. âPersonally, Iâm not really involved in Hawaiian culture. I grew up in it, but I donât speak it. I donât hang out with practitioners or anything,â he says. âBut this [work] has connected me to that community. Iâm learning to speak a little bit. Iâm learning about history. And Iâve grown a lot from it. Itâs changed me.â
ã¬ã«ã·ã¢ããã«ãšã£ãŠãã¯ã¬ã¢ãã»ã³ãŒã©ã«ã®æŽ»åãå§ ããããšã¯ãæãã¬åç©«ã«ã€ãªãã£ãããã ãããã¯ã ãã¯ã€ã¢ã³ãšããŠèªããåãç¶ãã æåãšã®éã«æ°ã ãªçµãèŠåºãããããæ·±ãããã£ãããåŸãããããš ã ãããã¯ã€ã¢ã³ã®äŒçµ±æåã«ã¯å人çã«ããŸãé¢ã ãããªãããã¯ã€ã¢ã³ã®æåã®äžã§è²ã£ããšã¯ãããã ã¯ã€èªã話ãããã§ããäŒçµ±æåãå®è·µãã人ã³ãšãš ã®ã€ãåãããããŸããã§ãããã§ããããã®åãçµã¿ ãéããŠãããããã³ãã¥ããã£ãšã®ã€ãªããããã€ã ãšãã§ããå°ããã€ã§ãããã¯ã€èªã話ãããããªãã æŽå²ãåŠãã§ããŸããããããå€ãã®ããšãåŠã³ãæé· ããããšãã§ããŸããããã®ãããžã§ã¯ããç§ãå€ãã ã®ã§ãã



â
You can be the fastest, greatest player in the world, but if you donât have heart, you nothing.â
Kapono Lopes, steel guitaristImage by Josiah Patterson

Kapono Lopes: The Steel Guitarist
As told to Rae Sojot Images by John Hook
HoâohÄliâaliâa âo Kapono Lopes, he mea hoâokani i nÄ âano pila like âole he nui, i nÄ kumu nÄna ia i hoâomÅhala mai i kÄna hoâokani kÄ«kÄ âana me kona manaâoâiâo i ka âaoâao hoâoulu o ka mele.
Growing up, I spent a lot of time with my Tutu (grandmother) and her generation. We lived in Arizona then, and a couple of my favorite things to do were to ask questions about her childhood and family history and, of course, to play and listen to Hawaiian music. I still remember long car rides listening to Hawaiian music and sitting in my room with my CD player, playing âukulele along with Gabby Pahinui. Tutu and my family began to notice my interest in music and instruments from when I was young. My training began at Phoenix Boys Choir, the largest boysâ choir in the U.S., in elementary orchestra at Shumway Elementary in Chandler, Arizona, and at home kanikapila (jam sessions) with Tutu and her sister, Aunty Kaliko. Eventually, I started to really enjoy playing upright bass and auditioned for Phoenixâs Metropolitan Youth Symphony, where I became first chair and grew a great appreciation for music.
ãã«ãã€ã³ã¹ãã¥ã«ã¡ã³ã¿ãªã¹ããã«ããã»ããã¹ããããã®ã¿ãŒãž ã®ææ ãè²ããã£ãããšãªã£ãæ°ã ã®ã€ã³ã¹ãã¬ãŒã·ã§ã³ãšã人ç ããå€ããé³æ¥œã®ãã¯ãŒãžã®ä¿¡é Œãèªã£ãŠãããŸããã
åã©ãã®é ãç¥æ¯ãã¯ãã幎é ã®äººãã¡ãšéããæéãå€ãã£ãã ã§ããåœæã¯ã¢ãªãŸãå·ã«äœãã§ããŠãåã¯ãã¥ãã¥ïŒç¥æ¯ïŒã«ç¥æ¯ã® åã©ãã®é ã®è©±ã家æã®æŽå²ã«ã€ããŠè³ªåãããããã¯ã€ã®é³æ¥œã èãããŠãããã®ã倧奜ãã§ããããã¯ã€ã¢ã³ãã¥ãŒãžãã¯ãèã㪠ããã®é·ããã©ã€ãããèªåã®éšå±ã§CDãèããªãããã®ã£ããŒã» ãããã€ã®æŒå¥ã«åãããŠãŠã¯ã¬ã¬ã匟ããŠããããšãæãåºã㟠ãããã¥ãã¥ã家æã®ã»ãã®çãããŸã åãå°ããé ãããé³æ¥œã楜 åšã«å¯Ÿããåã®é¢å¿ã®é«ãã«æ°ã¥ããããã§ããé³æ¥œãžã®æ¬æ Œç ãªåãçµã¿ã¯ãå šç±³æ倧ã®å°å¹Žåå±å£ã§ãããã§ããã¯ã¹å°å¹Žå å±å£ãããããã¢ãªãŸãå·ã·ã£ã³ãã©ãŒã«ããã·ã£ã ãŠã§ã€å°åŠæ ¡ ã®ãªãŒã±ã¹ãã©ããããŠèªå® ã§ã®ãã¥ãã¥ã倧åæ¯ã«ãªã³ãšã®ã«ãã« ãã©ïŒãžã£ã ã»ã»ãã·ã§ã³ïŒã§å§ãŸããŸããããããŠã³ã³ãã©ãã¹ã®æŒ å¥ãå¿ãã楜ããããã«ãªãããã§ããã¯ã¹ã®ã¡ããããªã¿ã³ã»ãŠãŒ ã¹ã»ã·ã³ãã©ããŒã®ãªãŒãã£ã·ã§ã³ãåããããã®éŠåžã³ã³ãã©ãã¹ å¥è ãšããŠãé³æ¥œã®æ¥œããããŸããŸãæ·±ãç¥ãããã«ãªããŸããã






When I turned 11, our family moved back home to Kauaâi, where I was born. I was no longer playing bass and had very little interest in music until I went to Kamehameha Schools. There, I enjoyed singing in the well-known Kamehameha Schools Song Contest and played bass for several groups, including the schoolâs jazz band. It wasnât until I graduated and began working at Polynesian Cultural Center that I fell in love with making music again.
At PCC, I was taught to play guitar and bass guitar by some of the most talented and humble Polynesian musicians in the world. I was also introduced to the first steel guitarist Iâve ever worked with, Steve Cheney. I was instantly fascinated with the beautiful, magical sounds that came out of his instrument. It was warm and familiar and brought me back to long car rides with my Tutu when Iâd hear Benny Rogers play with Aunty Genoa Keawe, David âFeetâ Rogers and the Sons of Hawaiâi, or Gabby Pahinui and his Hawaiian band. From then on, I wanted to take steel guitar lessons, but I didn't know where to begin.
A few months later, I was asked to be a part of Aulaniâs premier show, the Ka Waâa LÅ«âau, where I met some of Hawaiâiâs top musicians. A bass player from the show, Adam Asing, took me to a local restaurant called Dotâs in Wahiawa. Thatâs when I met steel guitar master Uncle Bobby Ingano.
After talking with him and sharing my appreciation for steel guitar, he invited me over to his house. For the first few visits, he showed me very little on the steel guitar. Mostly he taught me what he thought was more important than learning to play a few tricks: how to be humble, to be thankful, and, above all, to have aloha. Heâd tell me things like, âYou can be the fastest, greatest player in the world, but if you donât have heart, you nothing.â This old, uniquely Hawaiian style of teaching has really resonated with me since the times when I was taught by my Tutu.
11æ³ã®ãšããçãŸãæ é·ã®ã«ãŠã¢ã€å³¶ã«å®¶æã§æ»ããŸãããã³ã³ã ã©ãã¹ã«ã觊ããªããªããã«ã¡ãã¡ãã¹ã¯ãŒã«ã«å ¥åŠãããŸã§é³æ¥œ ã®ããšã¯ã»ãšãã©å¿ããŠããŸããããã«ã¡ãã¡ãã¹ã¯ãŒã«ã®æå㪠åå±ã³ã³ãã¹ãããã£ããã«ãŸãæãåã³ãæãåºããåŠæ ¡ã®ãžã£ ãºã»ãã³ããå«ããããã€ãã®ãã³ãã§ããŒã¹ã匟ãããã«ãªããŸã ãããããŠåæ¥åŸã«ããªãã·ã¢ã»ã«ã«ãã£ãŒã»ã»ã³ã¿ãŒã§åãå§ã㊠ãããåã³é³æ¥œã«å€¢äžã«ãªã£ãã®ã§ãã
ããªãã·ã¢ã»ã«ã«ãã£ãŒã»ã»ã³ã¿ãŒã§ã¯ãæèœã«ããµããããã§ã㊠è¬èãªäžçå±æã®ããªãã·ã¢ã³ã»ãã¥ãŒãžã·ã£ã³ããã®ã¿ãŒãšã㌠ã¹ã®ã¿ãŒãæãããŸãããçãŸããŠåããŠã¹ãã£ãŒã«ã»ã®ã¿ãªã¹ãã« åºäŒãããšãã«ä»äºãããŸããããããã¹ãã£ãŒãã»ãã§ã€ããŒã§ã ããè³ã«ãããšãããã¹ãã£ãŒãã®æ¥œåšãå¥ã§ãéæ³ã®é³è²ã®èã« ãªã£ãŠããŸã£ããã§ããæž©ãããæãããããã¥ãã¥ãšã®é·ããã©ã€ã ã®éã«èŽããŠããããããŒã»ããžã£ãŒã¹ãšã¢ã³ãã£ã»ãžã§ãã¢ã»ã±ã¢ãŽ ã§ããã£ãŒãã»ããžã£ãŒã¹ãšãµã³ãºã»ãªãã»ãã¯ã€ãã®ã£ããŒã»ããã〠ãšãã¯ã€ã¢ã³ã»ãã³ããªã©ã圷圿ãšãããé³è²ã§ããããã以æ¥ãã¹ ãã£ãŒã«ã»ã®ã¿ãŒãç¿ããããšæãããã«ãªããŸããããã©ãããå§ ãããããã®ãããããŸããã§ããã
æ°ãæåŸãã¢ãŠã©ãã®ãã¬ãã¢ã·ã§ãŒãã«ã»ãŽã¡ã¢ã»ã«ã¢ãŠãã«åå ã ãªãããšèªããããã¯ã€ã®ããããã¥ãŒãžã·ã£ã³ãã¡ãšåºäŒããŸã ããã·ã§ãŒã«åºæŒããããŒã¹ãã¬ã€ã€ãŒãã¢ãã ã»ã¢ã·ã³ãã¯ãã¢ã¯ ã«ããããããããšããããŒã«ã«ãªã¬ã¹ãã©ã³ã«é£ããŠãã£ãŠãããŸã ããããã§ãã¹ãã£ãŒã«ã»ã®ã¿ãŒã®å·šå ãã¢ã³ã¯ã«ã»ãããŒã»ã€ã³ã¬ã㫠玹ä»ãããã®ã§ããã¹ãã£ãŒã«ã»ã®ã¿ãŒã«å€¢äžã ãšãã話ããããšã 家ã«æåŸ ããŠãããŸãããæåã®æ°åã¯ã蚪ããŠãã¹ãã£ãŒã«ã»ã®ã¿ ãŒã®ããšã«ã¯ã»ãšãã©è§Šããã圌ã«ãšã£ãŠã®ã¿ãŒã®ãã¯ããã¯ä»¥äž ã«éèŠãªããšãæããããŸãããè¬èã§ããããšãæè¬ã®æ°æã¡ã å¿ããªãããšããããŠäœãããã€ãã«ã¢ããã®å¿ãæã€ããšã§ãããã ãããªãµãã«èšãããŸãããããäžçã§äžçªéã匟ããæé«ã®è ã ãã£ãŠããå¿ããªããã°ããªãã®äŸ¡å€ããªããã ããããã®æãã¥ã㥠ã«æãã£ãŠä»¥æ¥ãããããæãªããã®ãã¯ã€æµã®æãæ¹ããåã«ã¯ ãã£ããæ¥ãã®ã§ãã
ã¹ãã£ãŒã«ã»ã®ã¿ãŒã®é³è²ã¯å€ããŠãæããããŠãåã«ãšã£ãŠã¯ãã㯠ã€ãã®ãã®ãªãã§ãããã¯ã€ã¢ã³ã»ã¹ãã£ãŒã«ã»ã®ã¿ãªã¹ãã®å¥ã§ã ç¬ç¹ã®é³è²ãè³ã«ããç¬éããã¯ã€ã«ããæ°åã«ãªããããã€ãŠã¯ ã¯ã€ããã®ãã¹ãŠã®ã·ã§ãŒã«ã¹ãã£ãŒã«ã»ã®ã¿ãªã¹ããåºæŒããŠã ãŠãè¡äžã§ãããããšããã§æŒå¥ããŠãããã®ã§ãããæ®å¿µãªãã çŸåšã§ã¯è¥æã®ã¹ãã£ãŒã«ã»ã®ã¿ãªã¹ãã¯äž¡æã§æ°ããããã»ã©ã ãããŸããã

To me, the steel guitar sounds old, nostalgic, and, in my opinion, Hawaiâi. When you hear the styling sounds of a Hawaiian steel guitarist, it instantly transports you. At one time, there were steel guitar players in every show and every corner of WaikÄ«kÄ«. Unfortunately, I can count on my fingers how many young steel guitarists we have today.
Whenever I perform, I think of all those who have mentored me: my Tutu and her siblings, Uncle Bobby Ingano, Dallin and Tia Muti, Milton Kaka, Uncle Kuki Among, Uncle Ainsley Halemanu, Kamuela Kimokeo, and anyone Iâve ever played music with. Iâm blessed by all those people in my life whoâve contributed a story, a lesson, a small piece of themselves to me. And though Iâve had many mentors, they all shared with me one thing in common: Always play with feeling from the heart, and always be you.
Now, when I play with people, I really enjoy making music with, I feel full of aloha seeing people in the crowd dance and smile. I enjoy seeing how happy it makes our kūpuna (elders) feel. And when the kūpuna come up to me and share their appreciation, that means more to me than all the money in the world. Hopefully as I play more, it helps to encourage others in my generation to do the same.
In addition to the steel guitar, professional musician Kapono Lopes enjoys playing guitar, upright bass, and âukulele. He performs with the Ka Waâa Serenaders at Aulani Resort.
æŒå¥ãããšãã¯ãã€ããä»ãŸã§åã«æããŠããã人ãã¡ã®ããšãæ ãæµ®ãã¹ãŸããåã®ãã¥ãã¥ãšãã®å§åŠ¹ãã¡ãã¢ã³ã¯ã«ã»ãããŒã»ã€ ã³ã¬ããããªã³ãšãã£ã¢ã»ã ãã£ããã«ãã³ã»ã«ã«ãã¢ã³ã¯ã«ã»ã¯ãã»ã¢ã¢ ã³ãã¢ã³ã¯ã«ã»ãšã€ã³ãºãªãŒã»ãã¬ãããã«ã ãšã©ã»ãã¢ã±ãªããã®ã»ã ãããŸã§äžç·ã«æŒå¥ããŠãããã¹ãŠã®ãã¥ãŒãžã·ã£ã³ãã¡ããã㟠ã§åºäŒã£ã人ãã¡äžäººã²ãšãããããŸããŸãªç©èªãæèšã圌ãã®äž éšãåã«æããŠãããã®ã§ãããããŸã§å€§å¢ã®äººã«æããŠããã㟠ãããããã¹ãŠã®æãã«å ±éãããã®ããããã§ãããããã¯ãåžž ã«å¿ã«æãããŸãŸã«åŒŸãããšããããŠãåžžã«ããã®ãŸãŸã®èªåã§ãã ããšã§ãã
人ãšæŒå¥ãããšãã¯æ¥œãããŠãããããããŸãããã客ãããé³æ¥œ ã«åãããŠèžã£ãããç¬é¡ã«ãªãã®ãèŠãŠãããšãå¿ããã®ã¢ãã ãæããŸããé³æ¥œãã¯ããïŒå¹Žé ã®äººã ïŒãåã°ããŠããã®ãèŠãã® ãå¬ããã§ããã¯ãããè¿ã¥ããŠããŠæè¬ã®èšèãªã©ããããããšã ã©ããªã«ãããããéããããããã幞ããªæ°åã«ãªããŸããåã® æŒå¥ãèããŠãåäžä»£ã®äººã ããã£ãŠã¿ãããšæã£ãŠãããã°ãã ãªãšæã£ãŠããŸãã
ã«ããã»ããã¹ããã¯ãã¹ãã£ãŒã«ã»ã®ã¿ãŒã®ã»ããã®ã¿ãŒãã³ã³ãã© ãã¹ããŠã¯ã¬ã¬ãæãããããã®ãã¥ãŒãžã·ã£ã³ãã«ã»ãŽã¡ã¢ã»ã»ã¬ã ã€ããŒã¹ãšãšãã«ã¢ãŠã©ãã»ãªãŸãŒãã§æŒå¥äžã

KeÄnuenue DeSoto: The Fashion Designer
As told to Rae Sojot Images by Lucrezia Alcorn and courtesy of Keanuenue DeSoto
Haâi mai âo KÄanuenue DeSoto no nÄ lanakila me nÄ âÄ«nea i hekau ihola ma luna o kona ala iÄ ia e puka aâe ana i kona wÄ âÅpiopio ma ke âano he haku lole.
When I was younger, there was a lot I was trying to figure out. But one thing was certain: I knew my âiâini (desire) was to create. I love to make stuff. I love painting, drawing, writing, music, and especially sewingâitâs so freeing and empowering. In elementary school, I remember wanting to make my own clothes, so I would just pick a fabric and see where my sewing took me. I made skirts, shirts, bags, everything. Later, I found myself glued to a sketch pad drawing every variation of any design I could think of. And just like that, I fell in love with design too.
In 2015, I debuted my first line, MÄkaha Fierce, in my first fashion show. I had been working for months creating and planning for it. The night before the show, I needed to stay up late and finish my looks for the next day. I remember not even being tired. The show was a success, and the process taught me that even if something takes days, weeks, or years, it will all be worth it in the end.
10代ã«ããŠãã¡ãã·ã§ã³ãã¶ã€ããŒãšããŠã®æåãã€ããã ã±ã¢ ããšããšã»ããœãããããæ å ãšè©Šç·Žã®éã®ããæ¯ãè¿ããŸãã
å°ããé ããããããªããšãç解ããããšãããªãã§ããããã«ãšã£ ãŠã²ãšã€ç¢ºãã ã£ãã®ã¯ãèªåã®ã€ã€ãïŒãã¯ã€èªã§ãæã¿ãïŒã¯ãã® ãåµãããšã ããšããããšã§ãããåµãããšããšã«ãã奜ãã ã£ãã® ã§ããçµµãæãã®ããæç« ãæžãã®ããé³æ¥œãããããŠãªã«ããçž«ãã ãšã倧奜ãã§ãããçž«ã£ãŠãªã«ããåµã£ãŠãããšãå¿ãèªç±ã«ãªãã åã¥ããããããã«æããŸãããå°åŠæ ¡ã®ãšãã«æãèªåã§äœã£ãŠ ã¿ãããšæããåžå°ãæã«å ¥ããŠãæããŸãŸã«çž«ãåãããŠã¿ãã® ãèŠããŠããŸããã¹ã«ãŒããã·ã£ããããã°ãªã©ãäœã§ãäœã£ãŠã¿ãŸã ãããã®åŸãã¹ã±ããããã¯ã«ãã¶ã€ã³ç»ãæãã¯ãããèãã€ãé ãã®ãã¶ã€ã³ã®ããªãšãŒã·ã§ã³ãæãããã«ãªããŸããããããã£ãŠ ãã¶ã€ã³ã«ãæ¹ãããŠãã£ãã®ã§ãã
2015幎ã«æåã®ãã¡ãã·ã§ã³ã·ã§ãŒãéå¬ããŠãåããŠã®ã©ã€ã³ã ãã«ãã»ãã£ã¢ãŒã¹ããçºè¡šããŸãããå¶äœãšãã©ã³ãã³ã°ã«ã¯äœã æãåããåãçµã¿ãŸãããã·ã§ãŒã®åæ¥ã«ãå€é ããŸã§ä»äžãã® äœæ¥ãç¶ããŸãããããŸã£ããç²ããæããŸããã§ãããã·ã§ãŒã¯æ åãããããã¯ãã®æºåãéããŠãäœæ¥ããäœé±éããäœå¹Žãããã ããšã§ããããã ãã®äŸ¡å€ãšãããã®ãããããšãåŠã³ãŸããã



As a young designer, Iâve faced some challenges too. In middle school I had to leave early one day, and I remember telling the office lady that I had something to do for my business. Her response was, âYouâre too young to have that much responsibility.â And I just laughed because there was really no other way of responding politely. Iâve never forgotten that day. It makes me think about the limits we put on ourselves and how they can affect your life. But for me, my business has never been a burden. It is always an amazing opportunity.
Another challenge I faced was having to sew swimsuits for a pop-up event after my first show. I had sewn 100 suits, and I did not enjoy it. Afterwards, I decided that if my business was going to be successful, I needed to find a manufacturer. Finding a local manufacturer was important to me, and I thought it would be easy to do, but I was incredibly wrong. After looking for nearly 17 months, I was ready to give up. During this time I produced small lines, opened fashion shows for other designers, and worked a lot with my mentor Kini Zamora. I even traveled to New York for New York Fashion Week. When I received an email from my dad connecting me to his friendâs wife who owned a manufacturing company, I was so excited. She fell in love with my story and agreed to manufacture my suits. That was a huge stepping stone for my business, not only elevating the quality of my line but increasing my business capacity.
幎å°ã®ãã¶ã€ããŒã ããããã¶ã€ããå£ããããŸãããäžåŠæ代㮠ããæ¥ãåŠæ ¡ãæ©éããªããã°ãªããªãããšããã£ãŠãäºå宀ã®äºº ã«ä»äºããããããšèšããšããããªãã¯ãããªè²¬ä»»ãè² ãã«ã¯ãŸã è¥ãããã§ãããããšèšãããã®ã§ããããã«ã¯ç¬ããããããŸãã ã§ãããã»ãã«ç¡é£ã«çããæ¹æ³ãæãã€ããªãã£ãã®ã§ãããã® æ¥ã®ããšã¯å¿ããŸããã人ã¯æã蟌ã¿ã§èªåã®éçã決ããŠã㟠ããã®ãªã®ã ãšæ°ã¥ããããåºæ¥äºã§ãããã§ãããããã«ãšã£ãŠã ä»äºã¯ãã€ãçŽ æŽãããæ©äŒãäžããŠããããã®ã§ãå°ããéè·ã§ ã¯ãããŸããã
æåã®ã·ã§ãŒã®ããšã§ãããã¢ããã€ãã³ãã®ããã«æ°Žçãããã ãäœããªããã°ãªããªãã£ããšãããå£ã«ã¶ã€ãããŸãããèªåã§ã ã·ã³ããããŠ100çäœã£ãã®ã§ãããããã¯æ¥œãããšã¯ãããªãçµ éšã§ããããã®çµéšãããããžãã¹ãæåãããããªããã¡ãŒã«ãŒã èŠã€ããªããŠã¯ãªããªããšæ°ã¥ããŸãããã©ãããŠãå°å ã®ã¡ãŒã« ãŒãèŠã€ãããã£ãããç°¡åã«èŠã€ãããšæã£ãŠããã®ã§ããããšã ã§ããªãééãã§ããã17ãæè¿ãæ¢ãåã£ãŠãããããããããã ãšæã£ãããšããããŸããããã®éã¯å°ããªã©ã€ã³ã§å¶äœããã»ãã® ãã¶ã€ããŒãã¡ãšãã¡ãã·ã§ã³ã·ã§ãŒãéãããããããã®ã¡ã³ã¿ãŒ ã§ããããã»ã¶ã¢ã©ãããšããããä»äºãããŸãããããã¥ãŒãšãŒã¯ ã®ãã¡ãã·ã§ã³ãŠã£ãŒã¯ã«ãåºãããŸããããããªãšãã«ç¶ããEã¡ ãŒã«ãå±ããç¶ã®å人ã®å¥¥ããã§è¡£æã¡ãŒã«ãŒãçµå¶ããŠããæ¹ãš ã€ãªãããåŸãããšãã§ããŠå€§ææ¿ããŸããããã®æ¹ã¯ãããã®ã¹ ããŒãªãŒã«å ±æããŠããããã®æ°Žçå¶äœã«åæããŠãããã®ã§ããã ãã¯ãããã®ããžãã¹ã®å€§ããªè¶³ãããã«ãªããŸããã補åã®ã¯ãª ãªãã£ãäžãããããžãã¹ã®ãã£ãã·ãã£ãåºãã£ãã®ã§ãããã



Now, I am a freshman at Parsons School of Design in New York City. Studying fashion is invaluable to my career as a designer. I love going to school at Parsons. Imagine a kid in a candy storeâthat is exactly what it feels like for me. I enjoy every project, and some of my hardest classes are actually my favorite. Being at Parsons means being able to learn while being a part of the industry. I feel so lucky to be here.
Whenever I create, I find the purest form of who I am, and I can completely present myself as me. But I also see that designing has moved beyond just doing it for myself. To me, being a Hawaiian designer means to be paâa (steady) in the ways of our kÅ«puna (elders) and to design and create in ways that are responsible and sustainable.
Our kūpuna learned from the land, so I try to do the same. I continually draw inspiration from my culture and nature, and I give them new life through my designs. And now I get to share that with others too.
KeÄnuenue DeSoto is an 18-year-old fashion designer from MÄkaha. Her swimwear brand, Anu Hawaiâi, received the Small Business of the Year award by the Council for Native Hawaiian Advancement in 2017.
To learn more, visit anuhawaii.com
çŸåšã¯ããã¥ãŒãšãŒã¯ã®ããŒãœã³ãºã»ã¹ã¯ãŒã«ã»ãªãã»ãã¶ã€ã³ã§åŠ ãã§ããŸãããã¡ãã·ã§ã³ãåŠã¶ããšã¯ãã¶ã€ããŒãšããŠã®ãã£ãªã¢ ãç¯ãäžã§ããããã®ãªã䟡å€ãããããšã§ãããããŒãœã³ãºããš ãŠãæ°ã«å ¥ã£ãŠããŸãããŸãã§ããã£ã³ãã£å±ããã«ããåã©ãã®ã ããªæ°åã§ããã©ã®èª²é¡ã楜ããããæãé£ããæç§ãäžçªå¥œã㧠ããããŒãœã³ãºã«éããšããããšã¯ãæ¥çã®äžã«èº«ããããŠåŠã¹ããš ããããšã§ããšãŠãæµãŸããŠãããšæããŸãã
äœãåµãã«ããŠãããããã¯èªåèªèº«ãæãçŽç²ã«è¡šçŸããæ¹æ³ ãèŠã€ããããã®ãŸãŸã®èªåãåœããªãèŠããããšã«ããŠããŸãã㧠ãããã¶ã€ã³ãšã¯ãèªåèªèº«ã®ããã ãã§ã¯ãªãããããè¶ ãããã® ã§ããããŸãããã¯ã€ã¢ã³ã®ãã¶ã€ããŒã§ãããšããããšã¯ãããã ãã¡ã®ã¯ããïŒç¥å ïŒããåãç¶ãã ããæ¹ããã¢ïŒçå®ïŒã«ä¿ã¡ã 責任ãããµã¹ãã£ããã«ãªããæ¹ã§ãã®ãåµãããšãæå³ããŸãã
ã¯ãããã¡ã倧å°ããåŠãã ããã«ãããããåŠãã§ããããã®ã§ ãããããã¯ãã¯ã€ã®æåãšèªç¶ããåžžã«ã€ã³ã¹ãã¬ãŒã·ã§ã³ãå ãããšåæã«ããããã®ãã¶ã€ã³ãéããŠãã¯ã€ã®æåã«ãæ°ãã çåœãå¹ã蟌ãã§ããŸãããããŠãããã人ã³ãšãšåãã¡åã£ãŠã ãããã®ã§ãã
ãã«ãåºèº«ã®ãã¡ãã·ã§ã³ãã¶ã€ããŒãã±ã¢ããšããšã»ããœããã㯠18æ³ãã¹ã€ã ãŠã§ã¢ãã©ã³ããã¢ãã»ãã¯ã€ãã¯ããã€ãã£ããã¯ã€ã¢ ã³ã»ã¢ããã³ã¹ã¡ã³ãè©è°äŒã«ãã2017幎ã®ãã¹ã¢ãŒã«ããžãã¹ã» ãªãã»ã¶ã»ã€ã€ãŒãã«éžåºãããã

Punky Pletan-Cross: The Community Beacon
As told to Timothy Schuler Images by Josiah Patterson
Noâonoâo âo Punky Pletan-Cross i kona âoihana, âaneâane e piha he 52 makahiki, he alakaâi âana i nÄ âahahui hana lawelawe pilikanaka no ka hoâomaikaâi âana i ka nohona o ka poâe âÅpiopio a me ko lÄkou mau âohana.
I grew up in Grand Forks, North Dakota, in a neighborhood where there was a lot of violence and a lot of trauma. I was incredibly aware of that early on. Over the course of high school and college, I had a series of jobs. I worked at a mission one summer as a truck driver and cook, dealing with homeless adults. I spent a year working nights in an emergency room. I became very committed to civil rights.
During the Vietnam War, I went into Volunteers in Service to America (VISTA), the domestic Peace Corps. VISTA sent me to Massachusetts, where I was originally a street outreach worker. There werenât any resources for kids in the early â70s, so we organized an agency and started a 24-hour drop-in center and crisis hotline.
In 1984, my dad died. Coming to Hawaiâi was on his bucket list, so as an homage to him, my wife and I came to Hawaiâi to fulfill that dream and returned every year for 13 years. Hawaiâi has always had a mystical quality for me. I used it as a healing place. I came back in â97 and saw a posting for a position at Hale Kipa. I interviewed with the board, was offered the job, and we moved here in February of â98.
ãã³ããŒã»ãã¬ã¿ã³ïŒã¯ãã¹ããããè¥è ãã¡ãšãã®å®¶æã®ç掻ã åäžãããããã«ã«åã泚ãéå¶å©ã®ç€ŸäŒçŠç¥æ©é¢ãçãã52 幎éãæ¯ãè¿ããŸãã
ãããã¯ããŒã¹ãã³ã¿å·ã°ã©ã³ããã©ãŒã¯ã¹ã®ãæŽåããã©ãŠãã«ã ãµããå°åã§è²ã¡ãåã©ãã®é ããããããã£ãç¶æ³ã«æ³šæãã²ã ããŠããŸãããé«æ ¡æ代ãã倧åŠæ代ã«ãããŠããŸããŸãªã¢ã«ã〠ããããããå€ã¯ãäŒéå£äœã§ãã©ãã¯ã®ãã©ã€ããŒå Œã³ãã¯ãšã㊠åããããŒã ã¬ã¹ã®äººãã¡ãšãããããŸãããç é¢ã®ç·æ¥æ²»ç宀㧠1幎éå€å€ã®ã¢ã«ãã€ããããããšããããŸãããããŠã人暩åé¡ã« 匷ãé¢å¿ãæã€ããã«ãªã£ãã®ã§ãã
ãããã æŠäºã®ãšãã¯ãåœå åãã®å¹³åéšéã§ããããã©ã³ã ã£ã¢ãºã»ã€ã³ã»ãµãŒãã¹ã»ãã¥ã»ã¢ã¡ãªã«ïŒVISTAïŒãã«åå ããŸã ããVISTAããããµãã¥ãŒã»ããã«æŽŸé£ããããã¹ããªãŒãã»ã¢ãŠã㪠ãŒãã»ã¯ãŒã«ãŒãïŒæ¿åºæ©é¢ãšé£æºããŠäž»ã«è·¯äžç掻ãããŠããé å°å¹Žã®æ¯æŽããããœãŒã·ã£ã«ã¯ãŒã«ãŒïŒãšããŠåãã¯ãããŸãããã ã®ããã1970幎代åãã«ã¯ãéå°å¹Žã®ããã®ãªãœãŒã¹ãäœããã㟠ããã§ãããããã§ããããããæ©é¢ãç«ã¡äžãã24æéãã€ã§ã ç«ã¡å¯ããã»ã³ã¿ãŒãšç·æ¥ãããã©ã€ã³ãéèšããã®ã§ãã
1984幎ãç¶ãä»çããŸããããã€ããã¯ã€ã蚪ããã®ãç¶ã®å€¢ã§ ããã®ã§ãäŸé€ä»£ããã«åŠ»ãšãµããã§ãã¯ã€ã蚪ãã以æ¥13幎éã æ¯å¹ŽèšªããŸããããã¯ã€ãšããã®ã¯ãããã«ãšã£ãŠåžžã«ç¥ç§çãªäŸ¡ å€ãæã€å Žæã§ãããããçãããŠãããå Žæã§ãããâ97幎ã«èšªã ããšããããã¬ã»ãããã®äººæåéã®æ¡å ãç®ã«ããŠãçäºãšã®é¢æ¥ã åããæ¡çšãããŠãâ98幎2æã«ãã¯ã€ã«ç§»ã£ãŠããŸããã

Hale Kipa means House of Friendliness. Geared primarily, but not exclusively, to youth and young adults, we are an agency providing a range of services related to child welfare, juvenile justice, and childrenâs mental health. Services range from emergency shelter to foster care to family and individual therapy. We have a program for victims of commercial sexual exploitation and a street outreach program in WaikÄ«kÄ« that works with homeless adolescents and young adults.
I would describe our population as those who have experienced a significant and profound amount of trauma in their lives. Hale Kipa is a trauma-informed agency, which means we see almost everything we do through the lens of trauma and the way that trauma impacts people. We see people as their stories, not their behaviors. Twenty-five years ago, trauma was not at the core of any of the work any of us were doing. We were one of the early adopters of a trauma-informed approach here in Hawaiâi. We see behaviors as coping mechanisms. These are individuals who are trying to find a way to soothe the pain they have.
When I got to Hale Kipa, I implemented a paid-time-off plan because if youâre doing this really tough work, youâve got to find a way to rejuvenate. Our primary tool for doing the work that we do is ourselves, so if weâre not healthy, we canât be there for the people weâre supposed to serve. One of the people on my leadership team asked me last Friday, what keeps you up at night? And I said, âNothing.â I developed an ability
ããã¬ã»ããããšã¯ã芪ãã¿ã®å®¶ããšããæå³ã§ããéå®ããŠã¯ããŸã ãããäž»ãšããŠéå°å¹Žãšè¥è ã察象ã«ãå ç«¥çŠç¥ãæªæ幎è ã«å¯Ÿã ãåžæ³é¢é£ã®æ¯æŽãå ç«¥ã®å¿ã®å¥åº·ãªã©ã«é¢ããããŸããŸãªãµãŒ ãã¹ãæäŸããŠããŸãã掻åã®å 容ã«ã¯ãç·æ¥ã·ã§ã«ã¿ãŒã®æäŸã ãé芪ã®æé ãŸã§ãããã«å®¶æåäœãŸãã¯å人åäœã®ã«ãŠã³ã»ãª ã³ã°ãªã©ãå«ãŸããŠããŸããåæ¥çæ§çæŸåã®ç ç²è ããµããŒã ããããã°ã©ã ããã¯ã€ããã®è¥ãããŒã ã¬ã¹ãã¡ã«æãå·®ã䌞㹠ãè·¯äžããã°ã©ã ããããŸãã
ããããã®æŽ»åã察象ãšããŠæ¥ããã®ã¯ãé倧ãã€æ·±å»ãªãã©ãŠã ãçµéšãã人ãã¡ã§ãããã¬ã»ããã¯ããã©ãŠãã€ã³ãã©ãŒã ãããªæ© é¢ãã€ãŸãããªã«ããšããã©ãŠããšããã¬ã³ãºãéããŠèŠãåªåããã ãã©ãŠãã人ã³ãšã«ã©ããªåœ±é¿ãäžããããç解ããäžã§æ¯æŽã« åãçµãæ©é¢ã§ãããã®äººã®è¡åã§ã¯ãªãããã®äººãæ±ããç©èªã éããŠã²ãšãã®äººãç解ããããšåªåããŠããŸãã25幎åã瀟äŒçŠ ç¥ã®çŸå Žã§ãã©ãŠããéèŠãããããšãªã©ãããŸããã§ããããã ããã¯ãã¯ã€ã§ãã¡æ©ããã©ãŠãã€ã³ãã©ãŒã ãã®ã¢ãããŒããå ãå ¥ããæ©é¢ã®ã²ãšã€ã§ãã人ã³ãšãåãè¡åã¯ããã©ãŠãã«åå¿ ãã察åŠã¡ã«ããºã ã§ããç§ãã¡ãèŠãŠããã®ã¯ãçã¿ãæ±ãããã ããããããæ¹æ³ãæ¢ãæ±ããŠãã人ãã¡ãªã®ã§ãã
ãã¬ã»ããã«æ¥ãŠããããã¯æ絊äŒæå¶åºŠãå°å ¥ããŸãããéé ·ãª ä»äºãããŠããã®ã§ãããããªãã¬ãã·ã¥ããæ¹æ³ãæããªããã° ãªããŸãããããããã«ãšã£ãŠãããªä»äºéå ·ã¯èªåèªèº«ãªã®ã§ ããèªåãå¥åº·ã§ãªããã°äººã®åã«ãªã©ãªããŸãããå é±ã®éæ æ¥ããªãŒããŒã®ã²ãšãã«ãããããã§ããå€ãç ããªããªãããšã¯ãª ãã§ããããšããããã¯ããªãããšçããŸãããèªåã®åã§ã§ããã ãšãšã§ããªãããšã®èŠåãæ¹ã¯ãããã¶ãæã«èº«ã«ã€ããŸããããã


a long time ago to know what I can control. In January 2020, Hale Kipa moved into its new home in âEwa Beach. Our goal for being in âEwa is to be a player in the community. We want to be a partner to the schools. We want to be involved in meetings and advocacy efforts. The pandemic shut it all down. So when I retire, the thing thatâs still on the table, the big unfinished goal that I would have had, is to do the outreach. Iâm a community organizer by nature.
I will have spent almost 52 years as a CEO when I retire at the end of the year. There is a sense of responsibility that is fundamental to being a CEO. I donât think you are ever not in that role. I have felt a very strong pull to spend the time I have left really enjoying life. COVID has really reinforced that. I have this intuitive sense that there are right times to do things. Itâs not a matter of a plan but more of a gut feeling. Weâre in a really good place as an agency, and thatâs a great time to walk away.
Punky Pletan-Cross has served as CEO of Hale Kipa, a nonprofit agency that works with at-risk youth throughout the State of Hawaiâi, since 1998. He lives in Kailua with his wife, Cris Pletan-Cross, and their dog, Pearl.
To learn more, visit halekipa.org
2020幎1æããã¬ã»ããã¯ãšãŽã¡ã»ããŒãã®æ°ããå Žæã«ç§»è»¢ã㟠ããããã®ãšãŽã¡ã§ãã³ãã¥ããã£ã®äžå¡ãšããŠæŽ»èºãããã®ã§ããåŠ æ ¡ãšé£æºããããŒãã£ã³ã°ã«åå ããã¢ããã«ã·ãŒæŽ»åã«ãåç»ã ãããšåžæããŠããŸãããã³ãããã¯ã®ãããã§ããã¹ãŠãäžæãäœ åãªããããŠããŸããŸãããéè·ãåã«ãããããã«ãšã£ãŠãããã ãã®ãŸãŸæ®ããŠããŸã£ããã®ãæãããªãã£ãæ倧ã®èª²é¡ã¯ã¢ãŠã ãªãŒã掻åã§ãããããã¯çãŸãã€ããŠã®ã³ãã¥ããã£ãªãŒã¬ã〠ã¶ãŒãªãã§ããã
ä»å¹Žã®æ®ãã«éè·ãããšãããããã¯ããã52幎éã«ããã£ãŠ CEOãåããŠããããšã«ãªããŸããCEOãšããç«å Žã®åºæ¬ã«ããã® ã¯è²¬ä»»æã§ããCEOã§ãã以äžããã®è²¬ä»»ããã¯äžç¬ãããšãéã ãããŸãããããããæ®ãããæéã¯ã人çã謳æããããã«äœ¿ã ãããšåŒ·ãé¡ã£ãŠããŸããCOVIDã®ãããã§ãã®æãã¯ãã£ãã匷 ããªããŸãããäœããšã«ããã®ããã®çµ¶å¥œã®ã¿ã€ãã³ã°ãšãããã®ã ãããšãç§ã¯çŽæããŠããŸããèšç»ã§ã¯ãªããæ¬èœçã«æããã¿ã€ã ã³ã°ã§ãããã¬ã»ãããçŠç¥å£äœãšããŠéåžžã«è¯ã掻åãããŠãã ä»ãããããããéè·ãããšãã ãšæãã®ã§ãã
ãã³ããŒã»ãã¬ã¿ã³ïŒã¯ãã¹ããã¯ãã¯ã€å·ã®éå°å¹Žãæ¯æŽããé å¶å©æ©é¢ãã¬ã»ããã®CEOã1998幎ããåããŠããã劻ã¯ãªã¹ã»ã ã¬ã¿ã³ïŒã¯ãã¹ãããæç¬ããŒã«ãšãšãã«ã«ã€ã«ã¢åšäœã

Four
Ko Olina Hillside Villas AMENITIES
Ko Olina Marina
Ko Olina Golf Club
Ko Olina Station
Ko Olina Center
Laniwai, A Disney Spa & Mikimiki Fitness Center
Four Seasons Naupaka Spa & Wellness Centre; Four Seasons Tennis Centre
Lanikuhonua Cultural Institute
Grand Lawn
The Harry & Jeanette Weinberg
Seagull School, The Stone








