

Conserving Hawaiian culture is vital for Hawaiâiâs future. In the past, ideas were passed down through spoken word; today, we are able to capture the spirit of the islands through various formsâprose and poetry, photographs, films, and other arts. We are also working to perpetuate this culture with care. Conservation education and groups are necessary for the survival of native plants and animals. The landscape is changing quickly, and we do our best to maintain the place we hold dear.
In this issue of Living, we examine the art of preservation in the islands. These pages feature individuals who ensure that Hawaiâi stays connected to its roots. Kenyatta Kelechi shares his practice of using wet-plate photography to capture the multiculturalism of Hawaiâiâs âohana (family). We take a tour to see some of the most historic architecture in downtown Honolulu, such as the YWCA building, which was designed by San Francisco architect Julia Morgan in the 1920s to create a unique structure adapted to the Hawaiian climate and regional style. In addition, we take a look at âIolani Palace, the official residence of Hawaiian monarchs, and the special autograph book of Princess Kaâiulani, which helps us reimagine history during the monarchy. We also learn from conservationists about ongoing efforts to save Hawaiian honeycreepers from extinction.
There are many things worth saving in Hawaiâi. They can be as simple as an old family recipe or as pressing as an endangered species. We hope these stories inspire you as well as give you a chance to walk down memory lane and enjoy the present moment.
Warmly,
Ulrich Krauer General Manager Halekulaniãã¯ã€ã®æåãå®ãããšã¯ããã¯ã€ã®æªæ¥ã«ãšã£ãŠéèŠãªããšã§ãã æã®ãã¯ã€ã§ã¯ãããŸããŸãªææ³ããå£è¿°ã«ãã£ãŠäŒããããŠããŸããã çŸåšããã¯ã€ã®ç²Ÿç¥ã¯ãè©©ãæ£æãåçãæ ç»ãèžè¡ãšãã£ãããŸããŸãª 圢ã§è¡šçŸãããŠããŸããç§ãã¡ããŸãããã®æåã倧åã«ããç¶æ¿ããã ãšã«åãçµãã§ããŸããåšæ¥çš®ã®åæ€ç©ã®çåã«ã¯ããããä¿è·ããã ãã®æè²ãå£äœãæ¬ ãããŸãããæ¥éã«å€åããç°å¢äžã§ãç§ãã¡ã¯ã ç§ãã¡ã«ãšã£ãŠå€§åãªå Žæãå®ãããã«ãæåãå°œãããŠããŸãã ä»å·ã®ãªãã³ã°ã§ã¯ããã¯ã€ã®æåãæŽå²ãèªç¶ã®ä¿è·ã«çŠç¹ãåœ ãŠããã¯ã€ã®ã«ãŒããå®ãããã«æŽ»åãã人ã ã玹ä»ããŠããŸããæ¹¿æ¿ åçãçšãããã¯ã€ã®ãªããïŒå®¶æïŒã®å€æåæ§ãæããã¢ãŒãã£ã¹ãã® ã±ãã€ãã¿ã»ã±ã¬ãæ°ã®ã¹ããŒãªãŒãã¯ããã1920幎代ã«ãµã³ãã©ã³ã· ã¹ã³ã®å»ºç¯å®¶ãžã¥ãªã¢ã»ã¢ãŒã¬ã³æ°ããã¯ã€ã®æ°åãšå°åæ§ã«åãã ãŠèšèšãããŠããŒã¯ãªYWCAãã«ãªã©ãããã«ã«ã®ããŠã³ã¿ãŠã³ã«ãã æãæŽå²ãã建ç¯ãå·¡ããŸããããã«ãã¯ã€çæã®å ¬éžã§ãã£ãã€ãªã© ã宮殿ãã«ã€ãŠã©ãç女ã®è²Žéãªãµã€ã³åž³ãéããŠãåäž»å¶æ代ã®ç¥ ããããæŽå²ãçŽè§£ããŸãããŸããã¯ã€ã®ããã¹ã€ãçµ¶æ» ããå®ããã ã®ä¿è·æŽ»å家ã«ããç¶ç¶çãªåãçµã¿ã«ã€ããŠã觊ããŠããŸãã ãã¯ã€ã«ã¯å®ãã¹ããã®ããããããããŸãã家æã«ä»£ã äŒããã¬ã· ãã®ãããªãããããªãã®ãããçµ¶æ» å±æ§çš®ã®åæ€ç©ãšãã£ãç°å¢å š äœã®åé¡ãŸã§ããã®èŠæš¡ã¯æ§ã ã§ãããããã®ã¹ããŒãªãŒãçæ§ã®ã€ã³ ã¹ãã¬ãŒã·ã§ã³ãšãªã£ãŠãæãããæãåºãæ¯ãè¿ããä»ããã®ã²ãšãšã ã楜ããã§ããã ããã£ãããšãªãããšãé¡ã£ãŠãããŸãã
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PETER SHAINDLIN
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An artist ruminates on making ceramics at the Hawaiâi Pottersâ Guild.
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ARTS
TABLE OF CONTENTS
Julia Morganâs Enduring Oasis
The Ghost of Manookian
CUISINE 54
Searching for Japan
CULTURE 64
Honoring a Valley 76
Sovereign Signatures
WELLNESS
Fishing Tales 100
Finding Oneâs Center
ABOUT THE COVER:
Learn about the lesserknown contributions of Japanese immigrants to historic Chinatown.
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Downtown Express
EXPLORE 126
The Sound of Silence 134
Spotlight: Alexander McQueen

The cover image, photographed by Kenyatta Kelechi, is of the Fukumitsu family in a kalo field on Oâahuâs windward side. On page 22, read about his studio Manachrome, and watch a feature about his process on Living TV.
Halekulani Living

Discover the charming arts scene around Honolulu.
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TABLE OF CONTENTS
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ARTS 22
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ãããªãã¢ã³ã®äº¡é CUISINE 54
æ¥æ¬æåæ¢èšª CULTURE 64
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MÄnoa Heritage Center houses a cultural tradition spanning centuries.
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WELLNESS 90
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ABOUT THE COVER:
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Halekulani Living

Living TV is designed to complement the understated elegance enjoyed by Halekulani guests, with programming focused on the art of living well. Featuring cinematic imagery and a luxurious look and feel, Living TV connects guests with the arts, style, and people of Hawaiâi. To watch all programs, tune into channel 2 or online at halekulaniliving.tv.
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ANALOG TIMES
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Through the collodion wet-plate process, Kailuabased photographer Kenyatta Kelechi revives an obscure form of portraiture.
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VALLEY HERITAGE
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In preserving Hawaiian culture, The MÄnoa Heritage Center is a love letter to a verdant place.
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OUT AT SEA
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Spearfishing in Hawaiâi today runs the gamut from simple set ups to state-of-the-art gear.
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watch online at: halekulaniliving.tv


COMMUNAL FORM
Since it was founded in the 1960s, the Hawaiâi Pottersâ Guild has become a rock in Honoluluâs arts community.
A LOVE LETTER TO CHINATOWN
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From museums to marketplaces, Honoluluâs historic charms blaze through.
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PORTRAITS BY
KENYATTA KELECHI IMAGES BY CHRIS ROHRERæïŒããºã»ã«ã¯ã«ã
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MODERN AGE
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The collodion process remains one of photographyâs most challenging. Kenyatta Kelechi dips back into time by reviving this tintype style of portraiture.
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Opposite: The Moniz Family
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In film photography, the format of a film typically refers to its size. The most common format is 35 millimeter; followed by 120 film (6 centimeter), referred to as medium format; then 4 by 5 inches, known as large format; and finally, 8 by 10 inches, which is also referred to as large format.
The larger the format, the more complicated it is to shoot. Due to the size and potential variables of photographing with large format pieces of film (often referred to as âsheetsâ), calculating the cameraâs settings or even simply focusing your lens can be grueling processes. If youâre the adventurous type, you may even be inclined to try a foundational version of the 8-by-10 format called wet-plate photography, which requires photographers to make the film from scratch, adding even more layers of complication.
Due to the difficulty of attaining an image in this fashion and the time it requires, few photographers shoot on wet plates. One of the only photographers in Honolulu still actively pursuing the elusive 8-by10 wet plate format is Kenyatta Kelechi.
Kelechi undertook the arduous responsibility of keeping wet-plate photography alive in Hawaiâi back in 2015, when his love of film photography drove him to seek even more obscure formats. Since then, he has used Collodion wet plates to photograph friends, family, and those he admires, along with several commercial projects through his  company, Manachrome.
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The process that Kelechi undergoes on each shoot is rigorous and time-sensitive. All the chemicals must be mixed and applied to a surface onsite, as the sensitivity of Collodionâthe main ingredient in the processâcan decay to the point of being unusable in as little as 20 minutes.
In an onsite darkroom, Kelechi must thoroughly clear his photographic surfaceâa sheet of glassâ to prevent any dust or residue particles from interfering with the final image. Then he covers the glass in a mixture of iodides, bromides, ether, and alcohol before dipping it in silver nitrate, which makes the plate sensitive to light. Finally, he places the plate in a light-tight box.
After Kelechi has determined the proper settings for his camera and considered all variablesâranging from the amount of light on the subject to the amount of water vapor in the airâhe attaches the box containing the plate to the camera and fires the camera, exposing the light-sensitive chemistry to the subject. After the exposure is complete, he carries the box back into the darkroom for development. The developer hardens the parts of the chemicals that werenât exposed to quite as much light, which stick to the plate. When he rinses off the exposed parts, a positive image is revealed. (Itâs a bit like drawing a shape on paper with glue, covering the paper with glitter, and then lifting the paper so that only the glitter stuck to the glue remains, revealing your shape.)
Kelechi is devoted to his craft not despite its difficulty but because of it. âWith each mistake, Iâve learned,â he says. âBy now, when problems come up, Iâm able to troubleshoot them, and itâs those challenges that make it worthwhile.â Kelechi has a knack for fixing the problems you might not think of, like when clouds loom and the scene is darker than itâs supposed to be, in which case he adjusts his procedure accordingly.
Kelechi also uses his wet plates as a vessel to better understand and bond with his culture. âThe mission of Manachrome is to photograph Native Hawaiians and Hawaiian practitioners,â he explains. âI wanted to do something meaningful in
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Kenyatta Kelechi, who operates the studio Manachrome, shoots his portraiture on one of the mediumâs earliest forms. He is dedicated to capturing Native Hawaiians and cultural practitioners.
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The wet-plate process is rigorous and technical, involving a variety of chemicals and sensitive handling.
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my 20s, and these plate photographs are something interesting that I can bring to the table; it gives me the opportunity to speak with these Native Hawaiians and practitioners and learn from them, while also protecting and preserving their image, which is important.â
The images Kelechi captures are stunning, irreplaceable, and hard-earned. While his subjects may have seen themselves on phone screens and paper printouts, nothing compares to seeing their images suddenly appear in their hands, according to Kelechi. âTheyâre never not amazed,â he says. âTheyâre never not smiling.â
Following a decade of decline that nearly ended with the permanent discontinuation of consumer films, there was a resurgence of emulsion-based photography of all sizes, speeds, and formats, with film producers, like Kodak Alaris and Harmon Technologies, reporting significant yearly growth.
Oddly enough, in addition to older-generation photographers who have remained loyal to film, those responsible for saving film from extinction are overwhelmingly of a younger demographic, ages 15 to 35ânot necessarily old enough to remember when
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For Kelechi, nothing compares to when his subjects see their images suddenly appear in the developing phase.
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film was the standard in photography. However, they appreciate filmâs distinct look and feel; or perhaps, much like individuals working to keep vinyl factories pressing their favorite records, they recognize the value in preserving and perpetuating endangered artistic mediums. That appreciation for the one-ofa-kind sensation that Kelechi, and all film dabblers, feelâthe sensation of the tangible, real imageâis what has, and what will, continue to keep film alive.
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IMAGES BY CHRIS
ROHRERARCHIVAL IMAGES
COURTESY OF ROBERT E. KENNEDY
LIBRARY
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JULIA MORGANâS ENDURING OASIS
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In Honolulu, a not-so-hidden gem by one of the most prolific architects of the 20th century.
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The diners in the café sit in twos and threes, chatting over elegantly constructed salads or seared âahi arranged on beds of steamed rice. The tablecloths ripple in a cool breeze, and the midday sun filters through the foliage of palms and plumeria that dance just beyond the large, arched, open windows. The atmosphere is lively yet hushed. Thereâs such a feeling of serenity that one imagines they are dining at a secluded country estate miles from the nearest cityânot inside a Young Womenâs Christian Association building in downtown Honolulu.
Tucked off Richards Street, with an elegant landscaped courtyard (designed by Catherine Thompson, Hawaiâiâs first licensed landscape architect), the historic 1920s building and its restaurant, Café Julia, are âlike a secret garden,â says Mike Gushard, the former architecture branch chief of the Hawaiâi State Historic Preservation Division. âEverything slows down. Everything is quiet.â Gushard has a more personal connection to the YWCA building as well. He and his partner, Orlando de Lange, were married under its elegant loggia just last year.
That the building maintains the feel of an urban oasis nearly a century after it was built is a testament to the brilliance of its architect and the restaurantâs namesake, Julia Morgan, a 5-foot-tall, 100-pound giant of American architecture who outbuilt Frank Lloyd Wright (completing more than 700 buildings over her career) yet whose name is relatively unknown outside of California and the cluttered offices of architecture scholars.
Born in San Francisco in 1872, Morgan was the first woman admitted to the architecture program at the Ãcole des Beaux-Arts in Paris, then the leading architectural training program in the world, and the first female architect to be licensed in the state of California. She was a prolific architect and a consummate builder, having studied engineering at the University of California, Berkeley prior to her time in Paris.
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Detail of the original blueprint for the YWCA by Julia Morgan, 1925.
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Morgan was devoted to womenâs empowerment. She designed dozens of buildings for the YWCA over the course of her careerâincluding those at Asilomar, the associationâs storied retreat center in Montereyâeven as she spent her weekends in San Simeon, California, working with William Randolph Hearst on what would become the sprawling mega-project La Cuesta Encantada, better known as Hearst Castle.
It was Morganâs work with YWCA that brought her to Hawaiâi. For the association, she designed a womenâs residence (now demolished) on the corner of King and Alapaâi streets in 1921, followed by a headquarters building across from âIolani Palace in 1927 called LaniÄkea, or âwide skies.â (Morganâs only other surviving building in Hawaiâi is the Homelani Columbarium in Hilo, a simple, Mediterranean-style building completed in 1937.) Morgan managed the construction of LaniÄkea from California, relying on daily written reports and film exposures that were sent by boat to San Francisco from her project manager, Edward Hussey.
Although there are touches of the islands in LaniÄkeaâs architecture, such as the Hawaiian flowers carved into the now-weathered teak of the buildingâs front doors, stylistically, it owes primarily to Morganâs training at the Ãcole des Beaux Arts, with Italian Renaissance columns and the pool areaâs Moorish-inflected fountain. Rendered almost entirely in reinforced concrete (a first in Hawaiâi at the time), the architecture is both formal and relaxed, a nod to Morganâs belief in the dignity of all people and her desire to make them comfortable.
LaniÄkeaâs truest architectural legacy may lie in its functionality and appeal, which persist 93 years after it was built. Itâs one of the few Morgan-designed YWCA buildings that hasnât been substantially altered, so itâs fitting that Morgan be uniquely memorialized here, as a woman who perpetuated the YWCAâs mission of empowerment through architecture.
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Morganâs education at the Ãcole des Beaux-Arts in Paris is demonstrated in the Italian Renaissance columns and the pool areaâs Moorish-inflected fountain.
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Gushard says itâs hard to measure just how profound an impact on society an organization like the YWCA has, but the architecture at LaniÄkea certainly contributes to it. âItâs so perfectly realized, it changes how you feel when you walk into it,â he says. âTo have 90 years of a really beautiful space that makes you feel valuable, and thatâs accessible to people both by design and manifesto, I canât imagine the cumulative effect of that.â
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ARTWORK COURTESY OF CEDAR
STREETGALLERIES, HONOLULU
MUSEUM OF ART, AND PACIFIC CLUB
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THE GHOST OF MANOOKIAN
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The modernist Armenian painter Arman Manookian lived a short and mysterious life. He left a legacy that defies definition yet demands continued interpretation.
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At the time, the untitled 1930 oil on canvas work, later dubbed âThe Mat Weaver,â represented a new direction for artist Arman Tateos Manookian. Its hint of pastel, softer lines, and humanist composition were subtle departures from the bold colors and crisp geometry of his previous works such as âOutrigger and Red Sails,â which portrayed reverent visions of âOld Hawaiâiâ as an untouched culture of near mythological beings.
The Turkish-born artist had arrived at Pearl Harbor in 1925 as a 21-year-old clerk for Major Edwin McLellan, a Marine historian who had noticed Manookianâs talent for illustration when he was assigned to his office and tasked the artist with creating drawings to accompany his historical publications. (Manookianâs work also regularly appeared in the Marine Corps magazine Leatherneck.) Manookian had enlisted in the Marines in 1923, after two years of art study at the Rhode Island School of Design. He falsified his U.S. Citizenship to do so; heâd landed at Ellis Island three years prior as a refugee, having fled the Armenian genocide that began in Constantinople in 1915 when he was 10 years old.
After being discharged from the military in 1927, Manookian remained in Honolulu and began to flourish as a painter, his dazzling work quickly gaining public and critical acclaim. A brilliant
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Born in Turkey, Manookian arrived in Hawaiâi tasked as a clerk for the Marines.
âMarines of the USS Sir Andrew Hammond at Honoluluâ by Arman Manookian. Courtesy of Cedar Street Galleries. Image by Chris Rohrer.
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colorist, he deployed a simplified yet somehow harmonized palette of electric reds and blues and radiant golds and relied on abstraction for conveying emotion. In a newspaper article, he was quoted as saying, âcertain arrangements of abstract forms and colors, quite independent of objective nature, are capable of producing a sensation much more pleasing, satisfying, lasting and profound than any representative painting will ever achieve.â
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âUntitled (The Mat Weaver)â by Arman Manookian. Honolulu Museum of Art, Gift of Sheldon Geringer, 2003.
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âUntitled Couple with Fruitâ by Arman Manookian. Courtesy of Cedar Street Galleries. Image by Chris Rohrer.Having rejected the modernist label, Manookian looked to the past for his utopia, in which an unassuming society lives out an idyllic communion with nature.
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At the same time, according to David W. Forbes in his book Encounters with Paradise: Views of Hawaiâi and Its People, 1778-1941 , Manookian ârejected attempts to label his work as âmodern.ââ This contradiction was perhaps symptomatic of a deeper internal conflict. Argumentative, temperamental, enigmatic even to those close to him, Manookian was known to have destroyed his work on more than one occasion. He clearly struggled to understand both his personal and professional place in the world.
No one knows what horrors Manookian witnessed as a boy, but art historian John Seed, who is the primary authority on Manookian, has suggested itâs conceivable that his arrival in Hawaiâi inspired him to express a utopian vision of life his own people never had the chance to pursue. While modernism at the turn of the century centered on a rejection of history and a belief in progress, Manookian looked to the past for his utopia, in which an unassuming society lives out an idyllic communion with nature.
Idyllic, and marketable. Before âThe Mat Weaver,â Manookianâs pieces more heavily displayed motifsârelative simplicity, planarity, recursionâ associated with the art deco movement, which coincided with the Hawaiâi Promotion Committeeâs schemes to push the U.S. territory as a world-class travel destination. Art deco has been described as modernism made accessible, and the HPC leveraged this style as the promotional aesthetic of Hawaiâi for the tourism industry for decades to come. Theresa Papanikolas, the curator of an Art Deco Hawaiâi exhibition at the Honolulu Museum of Art in 2014, which featured Manookian prominently, wrote, âartists like Manookian spun the islandsâ oft-contested past as an innocent idyll peacefully populated by brave, seafaring men and lovely, accommodating women.â
While Manookianâs portrayals of Hawaiâi may have informed the narrative the HPC was eager to market, there are also clues to a subversive streak. In his 1928 work âThe Discovery,â Manookian depicts the arrival of Captain Cook in Hawaiâi: In the foreground, with their backs to us, local chiefs look on, large and proud and rich in color, as the British land ashore as diminutive specters,
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âEarly Traders of Hawaii,â Alii on the Shore Greeting Tall-Masted Ship by Arman Manookian, c. 1927. Honolulu Museum of Art, gift of the estate of Aneliese Lermann, 1998.
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grey and featureless, harbingers of impending and irrevocable change. Was Manookian making a political commentary here? If so, how does this reconcile with his escapist utopias? Perhaps this was more internal conflict.
It seems possible, then, that the new direction in âThe Mat Weaverâ was a response to these dissonances; that Manookian was attempting to embrace the modernism in his work heâd previously denied, and, by presenting a humbler figure going about an everyday task, was pivoting from historical fantasies to more contemporary, social concerns.
Whatever he was searching for in his art, it seems he was unable to find it. In 1931, Manookian took his own life. He was 27. That his career was so short, and yet so seminal and enduring, means that we are compelled to continue to interpret it, even though, like Manookian, we may never find definitive answers.
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ARCHIVAL IMAGES
COURTESY OF HUNTINGTON LIBRARY
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In the early 1900s, Japanese business owners opened shops in a recovering Chinatown, expanding the demographic of consumers in the primarily Chinese district.
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A writer uses an old map to trace the earliest Japanese shops in Honoluluâs Chinatown.
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A 1906 map of Honoluluâs Chinatown is a daunting puzzle marked by ancient Japanese kanji . Well, daunting at least for a yonsei (fourth-generation) Japanese like myself. Created by Takkei Nekketsu, an early immigrant to Hawaiâi, the map shows Japanese-owned shops and eateries in Chinatown, as well as banks and a custom house, which oversaw imported goods. The mapâs red street lines match the present layout of the popular district, but the entirety of the map, including its legend and its bordering advertisements, are entirely in kanji, an extensive writing system of complex characters derived from the Chinese hanji . My seven-year education in Japanese language didnât enable me to translate more than a handful of words. Even friends fluent in Japanese struggled to identify certain outdated kanji.
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An early immigrant to Hawaiâi, Takkei Neketsu created a map of Chinatown




This illiteracy wouldnât have been the case more than a century ago. According to historians, copies of the map were distributed to Japanese immigrants as a guide to familiar cultural establishments. Nekketsu, who owned a dry-goods shop, created the map during the peak of Japanese immigration to the islands. The first Japanese laborers were sent to Hawaiâi in 1868, during the reign of King David KalÄkaua, to fuel the booming sugar industry. The labor was demanding, consisting of 10-hour shifts harvesting thick stalks under the scorching sun. Nevertheless, Japan was in an economic depression and the plantation work paid. By 1900, Japan and Okinawa were sending laborers by the thousands. But with the arrival of picture brides and the growth of families, Japanese immigrants moved away from the sugarcane fields toward the city to make better wages under fairer conditions.
During this time, Chinatown was recovering from the territorial governmentâs mismanaged attempt to burn plague-infested buildings, which resulted in a fire that lasted 17 days and left almost all of Chinatown charred and its inhabitants homeless. The addition of Japanese business owners to the primarily Chinese district got the area up and running again and expanded the demographic of consumers. Japanese persons could now buy liquor, eat saimin, watch a movie, or stay at a hotel without being treated as a foreigner or forced to try to speak English.
As I walked the streets of Chinatown one busy Sunday morning, it was difficult to envision this past. The bright-red squares on Nekketsuâs map, which indicate a Japanese-owned business, were now storefronts displaying Chinese last namesâ Lam, Lao, Sing. I stepped inside the corner store Maunakea Lei and was greeted by an elderly Chinese woman who interrupted a flow of Cantonese to address me in English. Among the buckets of red ginger, I found advertisements for the storeâs spine medicine and an old VHS tape of Swiss Family Robinson but no evidence of Japanese influence. IÂ wandered toward a street dotted with grocery stores displaying produce on the sidewalk. The crowd of older Chinese shoppers bustled around
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Chinatown has returned to its pre-1900 origins which catered specifically to Chinese immigrants.
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me as I scanned their faces for one that resembled my own. At the end of the day, I found one Japanese business, Maguro Brothers, a hole-in-the-wall poke shop amid tables of fish and vegetables in Kekaulike Market. But it was closed on Sundays.
In a sense, Chinatown has returned to its pre-1900 origins which catered specifically to Chinese immigrants. However, along the margins of Chinatown, newer local businesses have moved in. The Pig and the Lady, Manifest, Olukai, Owens and Co., and others draw younger generations from all backgrounds. At night, Chinatown transforms into a popular bar scene with dancing, deejays, and craft cocktails.
But where did the Japanese culture and cuisine go? By 1920, Japanese persons were 42.7 percent of Hawaiâiâs population, making it impossible for them to reside in one area. Their history in Chinatown is hardly known today, but the assimilation of Japanese culture into local culture is apparent. Five minutes from my childhood home in KÄneâohe are two okazuya restaurants, Megumi Restaurant and Masa and Joyce. Behind glass counters, an array of traditional and local Japanese food ranging from cone sushi to chow fun to fried chicken is displayed, ready to be packed in bento boxes and taken to work. As for sit-down Japanese restaurants, none are better than Sekiyaâs Restaurant and Delicatessen in KaimukÄ«. For a reasonable price, I can enjoy steaming green tea, tsukemono , miso soup, a generous bowl of rice, and chicken katsu atop shredded lettuce. And if Iâm craving a traditional Japanese treat? Kinako mochi packets are available at Marukai Wholesale Mart and can be made into a snack at home in minutes.
By the end of my Chinatown adventure, I had abandoned Nekketsuâs map completely. Chinatown may never return to the mix of Asian culture that it once was, but thatâs fine with me. I can experience Japanese culture everywhere in Hawaiâiâat home, down the street, and in almost every neighborhood if I look hard enough. Just perhaps not on a Sunday in Chinatown.
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HONORING A VALLEY
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In splendid MÄnoa, find one coupleâs home and homage to the surrounding valley.
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Entering the lush paradise that is MÄnoa Valley is always, quite literally, like taking a breath of fresh air. Perhaps the sensation comes from the way the urbanity sheds itself before you in favor of charming yesteryear homes and so much green. Or how the light dusting of mist may find occasion to settle suddenly upon your nose. Or maybe itâs the rainbows, those brilliant, proud beauties of legend, which laze and lounge over the valley at all seasons of the year, even they being loathe to leave.
The MÄnoa Heritage Center, located in MÄnoa Valley, is a love letter to this verdant place. The 3.5acre property is located on MÄnoa Road, one of the enclaveâs most major of arteries, but you could pass up and down it dozens of times and still not have any idea of the centerâs existence. It is perhaps one of the cityâs best kept secrets, a privately founded educational space that celebrates all the rich cultural and environmental legacies that the area has hidden in its history. The center has many functions: Itâs home to a fully intact and preserved heiau (Hawaiian place of worship) and a garden of native plant species brought to Hawaiâi by the islandsâ first settlers, and a space designed to serve cultural practitioners. Itâs a place where children can study indigenous technologies (such as ancient heiaubuilding methods used by the earliest Hawaiians), and learn about the many chapters of the history of Hawaiâi, all of which have shaped its current state.
The journey to create MÄnoa Heritage Center as it is today started over a century ago, one could say, when Sam Cookeâs relatives arrived as missionaries in 1837 and started the royal school for the children of the royal families. (Among the students who boarded at the school were Kamehameha II, Kamehameha III, and Bernice Pauahi Bishop.) Cookeâs ancestors built the house that was to become the MÄnoa Heritage Center in 1911. In 1996, the late Sam Cooke and his
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âHawaiian history and heritage needs to be understood by many more people.â
â Mary Cooke, co-founder of MÄnoa Heritage Center ãããå€ãã®äººã ã«ãã¯ã€ã®æŽå²ãšéºç£ãç¥ã£ãŠãããå¿ èŠããããŸãããšããã¢ã»ããªã㌠ãžã»ã»ã³ã¿ãŒå ±åèšç«è ã®ã¡ã¢ãªãŒã»ã¯ãã¯æ°ã
Jessica Welch is the executive director at MÄnoa Heritage Center, which offers various community programming.
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wife, Mary Cooke, both passionate archivists and collectors, bought the property from a developer and relatives it had been split among. Then they founded the center as a final joint expression of their care for preserving the treasures of Hawaiâi and sharing those treasures with others. âThis is his and my dream come true,â Mary says.
For Mary, the project is very personal; itâs situated right in her backyard. The couple spent years working with experts and the community to preserve KÅ«kaâÅâÅ, the ancient agricultural heiau, on the grounds, a place where the farmers of old MÄnoa used to come to pray for good crops. They reshaped the garden, ridding it of invasive plants and scouring the islands for native and endangered flora to establish there instead. In early 2018, the Harry and Jeanette Weinberg Visitor Hale was completed, a reception and education space for the many school children that visit each year. Today, the space hosts cultural workshops that range from hula dancing to gourd decorating.
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The Cookesâ house, known as KÅ«aliâi, is a beautiful Tudor-style home that is a museum in its own right.
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One of the greatest treasures the Cookes will share with the world is their house itself, where Mary still resides. Known as KÅ«aliâi, the beautiful, Tudor-style home teeters majestically on the edge of a hill. Walk through its halls, though, and youâll see that it frames so much more than gorgeous vistas of the MÄnoa ridgeline. A museum in its own right, KÅ«aliâi is filled with historic texts and visual art of Hawaiâi which the Cookes spent a lifetime amassing: serene oil landscapes of Kauaâi taro fields by D. Howard Hitchcock; pinkkissed railways at sunset from a plantation era of yore by Peter Hurd; vintage drawings, now colorized, of an unrecognizable downtown Honolulu by Paul Emmert. âItâs a great history of Hawaiâi through the eyes of the artists that came to Hawaiâi, starting with Captain Cookâs artist,â Mary says.
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The Harry and Jeanette Weinberg Visitor Hale hosts school children each year, offering cultural workshops that range from hula dancing to gourd decorating.
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To Mary, the centerâs primary purpose is to inspire visitors to respect the traditions and histories that exist in the islands. âHawaiian history and heritage needs to be understood by many more people,â she explains. âAnd anyone who comes to visit, we want them to carry on their cultural heritage.â
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CULTURE
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