v010. innov8 magazine (2011 january-february)

innov8magazine.com iflygo.com

ESSENCE:

27: KayaK VoyagE aloNg thE Na Pali CoaSt

16: a NatuRal gEm

31: VallEyS of ShadowS

35: dE-touRiSm

43: PaNiolo StylE

Driving down the winding Pali Highway at sunrise is a liberating and tranquil experience. The wet road glistens in the morning mist, enveloped by mountains of lush tropical plants and trees in the stillness of the new day.

Paddling along the coast we see the tiny forms of hikers along the ridge, traversing the Na Pali trail towards Kalalau. The morning rain clouds have disappeared and the sun paints the coastal landscape in brilliant colors. Our double kayak glides through the calm ocean waters as our paddle strokes find a natural symmetry.

The Muliwai is all living and dying, flourishing and decomposing. We walk through tunnels of endless ironwood trees. Their needles drop from the canopy like snowflakes and blanket the ground and everything around it in shades

Riding through a landscape shifting in color, texture and temperature, we travel from a humid forest into endless lava fields.

Paniolo Style

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ORLANDO: The Mall at Millenia PHILADELPHIA: The Plaza at King of Prussia PLEASANTON: Stoneridge Mall PORTLAND: Washington Square SAN DIEGO: Fashion Valley • Horton Plaza SAN FRANCISCO: Pier 39 SAN JOSE: Valley Fair

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Hawaii’s Low Fare Airline

mESSagE fRom ouR CEo

dear Valued Customer, Aloha and welcome to go! Mokulele, Hawai’i’s low fare airline. As we start a new year, we are excited about new opportunities to grow by offering additional services for our passengers and more business opportunities for our partners. While Hawai’i’s tourism industry is vital to the local economy, the same is true for the local traveling public. Whether our passen-gers are traveling to conduct business or to visit relatives, the result is a healthy, competitive environment and therefore frequent service and lower fares. At go! Mokulele we not only want to offer you affordable and convenient flights, but also warm, friendly service with a smile. Our airport and flight crews are dedicated to ensuring you enjoy your experience with us. If you have any questions or concerns, please don’t hesitate to let us know. Your feedback is valued and helps us to continu-ally grow and better meet your needs.


Nearly five years ago we launched our business with the goal to offer the friends, families and business people of Hawai’i the best service at the lowest possible fares. We are proud to have achieved this goal and are more than a little happy to say we estimate the resulting decline of interisland airfares has saved Hawai’i travelers well over half a billion dollars! This incredible feat has been the result of our work as well as your outstanding and unwavering support. We feel good knowing the dollars saved on interisland travel have enabled Hawai’i residents to either put money away or spend elsewhere in the local economy. So whether you’re taking your first flight with us today or are a seasoned go! Mokulele traveler, I would like to say “mahalo,” on behalf of everyone at go! Mokulele. We appreciate your businessand hope to see you again soon.

Sincerely, Jonathan ornstein Chairman and CEo mesa air group, inc.

what’s your identity?

nellamediagroup.com


About : KamEa hadaR

Kamea Namba Hadar was born on February 17th, 1984, and his name is perhaps one of the best indications of his diverse background. “Kamea” means “amulet” or “talisman” in Jerusalem, where he was born. “Namba” is a “coming turbulence” in Japanese, and is a well-known family name in Hawai‘i, where he moved at the age of five. “Hadar” is the Hebrew word for “citrus,” the translation of the Polish surname that his paternal grandfather adopted on immigrating to Israel, which is today his second home.

Kamea grew up in both worlds, and began studying drawing and painting from a young age. As a child he took classes at the Honolulu Academy of Art and later learned under the guidance of artists like Kate Witcomb and wildlife painter and koa woodworker David Lafell. At fifteen he began doing artwork for textiles and since then has been responsible for the fabric prints for Anne Namba Designs (annenamba.com). Kamea has even created the artwork for the uniforms at Zippy’s, a popular Hawai‘i restaurant. Kamea took his drawing skills and applied them to glass etching with Hawai‘i glass artist Lionel Prevost, and has been the head of glass etching and the design department for Artflow Studios (artflow-studio.com). Kamea studied art at the University of San Diego and has had periods living, studying and creating at the Sorbonne in Paris, the University of St. Louis in Madrid and Tel Aviv University in Tel Aviv. He currently resides in Honolulu.

www.kameagallery.com

Image Description: humaN NatuRE

In Human Nature the mohawk, cornrows, mask and tattoos on the cheek of the figure all bring a modern, “urban” feel to the piece. This greatly contrasts with the fact that the mask is made of ti leaves, and it is this man-made assembly of the natural that makes up the nude figure’s only covering. The mask hints at Man’s many faces in relation to his natural surroundings, the bond of which has changed over the centuries from dependence to coexistence and even exploitation. This harsh connection of Mother Nature and Man is softened by the fact that the figure is female. The figure wears a flower showing that she has a relationship with nature and love for its beauty that contrasts with the fact that according to Hawaiian tradition, the flower’s placement on her right ear is a symbol that her heart has not yet been taken.

NElla mEdia gRouP

With his essay Nature, Ralph Waldo Emerson introduced Americans to the thought of nature as paradise. He famously stated, “The happiest man is he who learns from nature the lesson of worship.” Every day in Hawai‘i we sense his words ringing true; these islands are grand temples.

Experiencing nature in Hawai‘i is an exercise in diversity. Whether you are hiking a grueling path through a verdant valley, kayaking along a majestic coastline to hidden beaches, circumnavigating around an island on a bicycle or watching humpback whales breach, Hawai‘i offers something phenomenal for everyone. However, tapping into this paradise doesn’t necessarily mean getting exhausted and dirty; a round of golf or a day at the spa are excellent alternatives. Regardless of what activity you pursue while in Hawai‘i, don’t miss the opportunity to get back to nature.

Nella Media Group is looking forward to 2011. As we continue to move into new markets and exciting ventures, we hold fast to our mission to breathe fresh life into print media.

Mahalo for reading this issue of innov8,

Nella media group

www.nellamediagroup.com

OAHU // Ala Moana Center • Waikiki • Koko Marina • Windward Mall • Pearlridge • Waikele MAUI // Queen Ka‘ahumanu Center • Kukui Mall • Lahaina BIG ISLAND // Queen‘s MarketPlacew w w . l o c a l m o t i o n h a w a i i . c o m

aloha


photo : BiElmaNN/SPL

Words : KRiSty KINIMAKA

Image : miKE COOTS

Legend has it, the Giant ate so much at a luau held for him that he lay down to slumber and never woke up. The profile of the Sleeping Giant can be seen in the ridges of the Nounou Mountains in Wailua. Some believe Kalalea, the mountains of Anahola, are the feet of the Giant.

The best way to explore the Giant is by hiking it. There are multiple trails to traverse; the most scenic (and easiest) hike is accessed through the Wailua house lots. It generally takes about one hour to get to the top and 40 minutes to get back down. Along the way, enjoy the twists and turns which provide some hearty exercise and the chance to observe the diverse flora and fauna of Kaua‘i. Be sure to pack a lunch and plenty of water as there is a picnic shelter at the top where you can enjoy a snack and take in the sublime views of Kaua‘i.

Just past the picnic shelter you will find the “chin” of the sleeping giant. There, the hole that is visible from the main highway reveals itself to be a cave. Within you can grab a seat to take in the panorama while enjoying the breeze. Continuing a bit further will bring you to a spot where you can take in a spectacular 360-degree view of the island.

Spending the morning tramping around the Sleeping Giant is a great way to get some exercise and appreciate the crisp, fresh mountain air. A great base to explore the Giant from is the Aston Aloha Beach Hotel in Kapa‘a. Practically walking distance from the hotel, just take Kuhio Highway 56 over the Wailua River to Haleilio Road, turn left and follow the road until it rounds left. You will see a small parking area on the right. The trailhead begins to the right of this.

HOPS : Kaua‘i

SlEEPiNg giaNt

oNE of thE moSt iCoNiC SitES

oN thE iSlaNd of Kaua‘i iS thE

SlEEPiNg giaNt.

page 15

Driving down the winding Pali Highway at sunrise is a liberating and tranquil

experience. The wet road glistens in the morning mist, enveloped by mountains of lush tropical plants and trees in the

stillness of the new day. Emerging from the tunnel into the Windward side,

you are greeted by a breathtaking light over Maunawili (Hawaiian for “twisting

mountain”).

You’ll find one of O‘ahu’s natural gems, Maunawili Falls, nestled in the heart of Kailua’s ahupua‘a (an ancient Hawaiian method of land subdivision rooted in the 18th century). Maunawili was a fertile region with dense taro patches and ample fishing grounds, self-sufficient in its own natural resources. The hike to Maunawili Falls starts at the base of a serene residential area on Lola Road. After dousing myself with mosquito repellent, I walk to the trail’s entrance and take my first step back through time.

Immediately drenched in the mud and greenery, each step becomes progressively swampier. Ti-leaf, heleconia, ginger and banana trees are everywhere. Taking in my surroundings I picture how the ancient Hawaiians would pound these trails barefoot everyday, crossing streams and dodging branches.

I traverse around and over the labyrinth of tree roots and approach my first stream crossing. Boulders, stones and pebbles strewn in the stream create a useful pathway to the other side. After climbing a somewhat steep ascension, I surface to a spectacular view of the Ko‘olau mountain range, intoxicating green peaks that kiss the sky.

I descend down the final stretch of the trail to the base of the 30-foot-tall falls and swimming hole. I quickly submerge my body, neck-deep, into this natural ice bath. Feeling this water, tapped straight from lani (the sky), as it courses through the landscape is a powerful reminder of what the Hawaiian Island’s inherent natural beauty is all about.

Against the pristine backdrop of the falls, I picture Neula here. She was Maunawili’s guardian and I imagine her tending to the mullets in the pond with her son Kahikiula. Surrounded by lush plants, with the lulling sound of the trickling stream and brisk water on your skin, it’s easy to get lost in the teeming elements of nature. I did.

A NATURAL GEM

HOPS : o‘ahu

Words : Jodi TSUTOMIImage: BRaNdoN HICKS

Humpback whales! Majestic and graceful, massive and impressive, protected yet threatened; these creatures have made the Hawaiian Islands their sanctuary for ages. Their scientific name, Megaptera

noveangliae (meaning “giant wings”), is derived from their massive pectoral fins, which can reach a third of their total length. Although whales are protected to the fullest extent of the law in Hawaiian and U.S. waters, they were once hunted to near-extinction. In a

world of growing environmental pressure, researchers use whale populations as indicators of the ocean’s health. “Whales are

humanity’s canary in the coal mine... As ocean pollution levels increase, marine mammals (like whales) will be among the first to

go,” says scientist Roger Payne.

The North Pacific humpback spends about half of the year feeding in the nutrient-rich waters of the Arctic, and the other half migrating over 4000 miles (round trip) to mate and give birth in the warm Hawaiian waters. Juveniles and females with calves tend to be the first to arrive in October, but most of the more than 6000 animals that travel here come by mid-December. Thus, the best time to catch sight of a whale in the pristine waters surrounding

the Hawaiian Islands is from January to March.

Humpbacks inhabit all of the world’s oceans but prefer shallow coastal waters to feed and calve in, making them one of the

easiest whales to see from the shoreline. Famous for acrobatic behaviors such as breaching (where a whale lifts two-thirds of

its body out of the water), they can also be seen tail and flipper slapping or head lunging. Researchers are not certain why whales exhibit these behaviors, but it’s presumed to be part of courtship

or play. With verdant mountain peaks in sight and breaching whales with flukes glowing from the colors of the sunset, all make for

unforgettable encounters.

Words : JEN HOMCYImage : © doug Perrine/hwRf/NmfS permit #587

HOPS : maui

}Humpback whales can be viewed from many shorelines around the Hawaiian Islands, yet Maui remains the de facto location for serious whale watchers. The ‘Au‘au Channel, separating Maui and Lana‘i, and protected by Moloka‘i to the north, is a calm, protected area of ocean that humpback whales consistently flock to. For close encounters you can book a boat trip with one of several reputable whale watch tour operators.

For information on Hawaii’s Humpback

Whale National Marine Sanctuary,

visit http://hawaiihumpbackwhale.noaa.gov.

GIANT WINGS


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wfm_Innov8_JanFeb11.pdf 1 11/11/10 1:28 PM

FLAVORS

Words : ShayNa YATSUSHIRO

Image : RiC NOYLE

good timES GRILLING

I’m a teensy bit paranoid about flames; I see a candle and next I imagine an uncontrollable blaze. Yet recently, I found myself standing over a grill, curiously watching as the special Kiawe Hawaii ironwood plank I was to cook on was starting to catch fire. I asked myself right then and there whether it was wise to have started this. But grilling on eucalyptus and kiawe wood (the latter being a popular source of robust charcoal and kindling in Hawai‘i) sounded too intriguing.

With a handful of friends invited, I began by marinating the wood. If you don’t, well then you’ve got tinder rather than a savory-grilling plank. They are sturdy, pretty pieces, perhaps a foot long by six inches, which absorb the flavors of whatever liquid that they are soaked in. Some options include red or white wine, beer, water, or fruit juice and each yields a different kind of meal.

, like a kid doing a science experiment.

I ended up putting my kiawe wood in zesty lemon juice for several hours, and the eucalyptus wood in a teriyaki ginger honey sauce with sesame seeds. When the pieces are eventually fetched from their respective baths, I immediately take a whiff. They have acquired new, more tantalizing scents, but I have my doubts. Will all this actually transfer into a different kind of meal?

With the grill lit, I place the lemon-scented kiawe on top and get to work. After applying a moderate coating of olive oil, I scoop on fire-engine red bell peppers, claret-shaded sweet onions, plump little button mushrooms, verdant zucchini, and cubed pieces of red potato. I step back to admire the presentation of all the popping colors. As I keep a wary eye on the smoldering coals, I totally zone out, just breathing and staring.

A glance at the veggies reveals that they’ve begun to darken to a ripe shade. The gently infused scent and flavor of the lemon as well as the oaky taste of the wood start to come through. And, surprisingly, there is no need to flip anything. Next, a couple of pieces of crusty garlic-rubbed focaccia bread go on the kiawe plank eliciting a pleasant aroma. When it achieves a crispy golden hue, I layer the grilled vegetables and a handful of wispy sprouts, then spread papaya seed dressing over it all. I chomp into it and then savor it slowly, reveling in the contrast between the tangy-sweet wallop of flavors and the mellow smokiness that the wood has imparted.

there are so many options that a chef can’t help but to be a little excited

Yet no matter which board people cooked their food on, the end result was the same: a ring of satiated and pleasantly drowsy people. The kiawe and eucalyptus boards eventually cool down enough so that I can put them away till another hungry evening comes round.

A friend brushes a little olive oil on the eucalyptus board and then adds miso-marinated salmon. It sizzles and little crackling sounds punctuate the air. The cooking time is a bit longer with this wood, but we pass the minutes well. Everyone is cheerfully engaged in eating, cooking, cracking jokes and telling stories. The tongs are handed around frequently. The fish, when finally done, is tender on the inside and slightly firmer toward the edges. It’s juicy, peppery, sweet, smoky, and smacks faintly of the teriyaki the board was marinated in. As it cools down

And while most people seem to favor the subtle flavors of the kiawe wood, those present that night that liked the sharp taste imparted by the eucalyptus were adamant.

thE taStE EmERgES aS a REally uNiquE ExPERiENCE.

In 1881, Queen Emma bathed in Lake Waiau on her ascent to the peak of Mauna Kea. Ali‘i (chiefs) would dip their newborn baby’s umbilical cord in Lake Waiau to give them the strength of the mountain. Mauna Kea was (and still is) the most sacred summit in Hawai‘i, revered by ancient Hawaiians as Wao Akua

On the rollercoaster road from Kona to Mauna Kea, red soil, grey and black rock formations, and electric blue ocean rise and fall through the car window. Lava fields stretch outward, vast and unyielding, molten landscapes that make one feel temporary and infinite all at once.

Reaching the summit of 13,796 feet can only be done in a four-wheel drive vehicle, best found at Harper Car & Truck Rentals in Hilo and Kona. Never in one road trip could one experience so many different ecological zones. Climbing to the visitor’s center through grassland and forest where ancient Hawaiians once gathered and lived off the land; then up the slippery gravel and cinder road higher to the cloud forest that ancient Hawaiians believed to be the realm of the gods;

Words : tiffaNy HERVEY

Image : maRK WASSER

PoStCaRdS fRom PElE

(thE PlaCE of thE godS).

THE SCENE

The modern issues of land use and conservation are as intricate as the history is deep and ancient. Hawai‘i is steeped in mythology, so we must ask ourselves what myths still serve us today—money, science, progress, preservation, cultural survival, a connection to the sacred?

A road trip to the summit is a spiritual experience accompanied by kuleana (a responsibility) to learn something of the culture and the land. Travel is a challenge to understand a new place, a new culture. It is when we are open and seeking this kind of knowledge that we are transformed. The reward for temporary discomfort is a deeper understanding of the true diversity of the world, and exposure to surprising and different ways of conceiving the world. This ascent to the sacred summit is a road trip that will change you—an adventure into the past, present and future.

higher still to the alpine vegetation and volcanic formations where shrines to the gods still exist within the Mauna Kea Ice Age Reserve; higher still to the stony alpine desert where endemic and endangered silverswords punctuate a truly extraterrestrial terrain. This used to be the kapu (forbidden/restricted) burial ground of the kahuna (spiritual leader/priest). The air is thin and singing at the top.

Looking down from the summit, narrow trails are visible far from the road. You can imagine what it was like to travel to the peak in a time before four-wheel drive cars, before roads, before visitor’s centers and telescopes.

The summit is currently home to 13 observatory complexes operated by 11 countries. Just as ancient Hawaiians used the summit for understanding the natural world and star navigation, it is now one of the best places in the world for astronomical observation by modern scientists. The telescopes are not set up for tourism; however, visitors still have access to a partial view of the W.M. Keck Observatory’s telescope.

Alan Iwasaki is a telescope technician and summit shift leader at the SUBARU telescope owned and operated by the

National Astronomical Observatory of Japan. Iwasaki says that while the telescopes are big business and help a lot of local families put food on the table, the protocol for building on this sacred summit needs to be more strictly followed. “It makes us look bad when the rules are broken,” he says.

Mauna Kea is conservation land. Yet, dozens of telescopes and support structures already cover the summit. “Mauna Kea has already seen 40 years of development, without appropriate or legitimate process, and without the consent of local communities and Native Hawaiian cultural practitioners of the mountain,” says Miwa Tamanaha of KAHEA: The Hawaiian-Environmental Alliance. “Today, there are at least three active major proposals for more telescope development, with accompanying roads, parking lots and office buildings. The Thirty Meter Telescope is the most immediate proposal, and is slated for construction on the last undeveloped plateau of the northern summit. The question remains, how intensely can we industrialize our conservation lands before their meaning as a natural and culturally sacred place is lost?”

“thERE iS a way to do thiS So that thE mouNtaiN aNd CultuRE aRE RESPECtEd.”

page 25

Kayak Voyage along the Na Pali CoastWords : matt LUTTRELL

Images : tEd JOHN JACOBS

These precipices are one of the greatest wonders of the Islands, but the danger of examining them on the passage deters many persons from visiting them.” Taken from “Journal of a Canoe Voyage along the Kaua‘i Palis, made in 1845” by Gorham D. Gilman, Papers of the Hawaiian Historical Society, No. 14. Honolulu 1908.

The sun was just rising when we reached the point where the great palis or precipices begin.

“

PERSPECTIVES

page 27

Words : BEau flEmiStER

Images : Noa EmBERSoN

PERSPECTIVES

Valleys of ShadowSWaipi‘o to Waimanu Along the Muliwai Trail

We haven’t quite begun the Muliwai trail, and already I feel myself falling. At the foot of the Waipi‘o valley, I am waist-deep in a river and slipping. Torrents of water rush around me as the soles of my shoes attempt in vain to grip the stones enveloped in algae. I am falling forward and thrust my arms out in front of me to grasp one larger stone that peaks through the white torrents. I am on all fours now with my nose in the river, beast-like and pathetic, with a 40-pound bag of gear strapped to my back. On the other side of the river, a “Kapu: Burial Site” sign stands vigilantly in the sand. Up-river and into the valley, kalo plants pose languidly. To my right and out to sea, surfers are riding waves until they pull out near the river’s shallow mouth just 50 feet from where I am hunched. Though humbled from the fall, I stand up and slosh gingerly to the other side.

page 31

thE muliwai iS all liViNg aNd dyiNg, flouRiShiNg aNd dEComPoSiNg. We

walk through tunnels of endless ironwood trees. Their needles drop from the canopy

like snowflakes and blanket the ground and everything around it in shades


We trudge across the sands of Waipi‘o. On the shoreline lay hundreds of ripe, fecund lilikoi and guava fruit that have dropped into the river, been pushed out to sea, and now have washed back onto the beach. It looks like a bizarre offering from nature back to itself. The Muliwai trail, a leg-punishing uphill switchback, begins where the beach ends. Though we’ve started in the early morning, the sun is still bright enough to be absolutely spirit breaking. The packs are suffocating. Though strapped at the waist, they force the hips to grind within their sockets, the weight of them practically knee buckling as we lean into the incline. The difficulty of that first mile and a half in the total 18-mile round trip is unparalleled.

of green and brown. At the top of the ridge and into the forest, we come to a small waterfall emptying into a freshwater pool. As we unbuckle our gear, a local boy bounds over with three hunting dogs, a crumpled old water bottle, and an earnest grin. He tells us it’s relatively smooth sailing from here and invites us to hunt with him and his brother before dark. We thank him for the good news and invite, and he and his hounds fly off. We barely see anyone else on the trail that day.

Out of the tunnel we traverse a meadow of ferns from which massive paperbark trees shoot skywards, shedding their thick patches of paww the debris and dying of the forest is just as beautiful as the living. And whether withering or growing, everything along the Muliwai seems engaged in reaching, grasping. The monstrous roots of trees sprawl over the path like the extended furry tentacles of some mythic beast. Mossy logs like giant hairy arms reach across the trail. Everywhere, the volcanic stones that line the way are covered in a sort of amber-tinted lime, giving them a peculiar glowing, electric quality.

The sun is setting and we descend another grueling switchback, the trail narrowing, becoming rockier and erosive, overgrown in bush. The trail transforms into the exact path that the rainwater follows, making the flash flood signs that dot the path all the more believable. But through the gaps in the brush, framed in ti leaves and lauhala, we glimpse the dreamlike visions of the valley. A vast, emerald marsh at the foot of Waimanu looks like a manicured field. And in the background is the valley’s centerpiece, a gigantic double waterfall plunging simultaneously into pools from hundreds of feet above. More waterfalls of colossal proportions drop from the clouds hanging low over the mountains. They drape the expansive shoulders of the valley like a smoky cloak. We gasp or shout in awe every so often at the reoccurring portraits seen through the openings along the switchback’s ledge. A constant drizzle turns to rain and occasionally we stop, crouched and huddled against the trunk of a random tree, collectively holding a sheet of plastic above us to keep from getting completely drenched.

Though our ankles and knees pop and crunch, we skip down the remainder of the trail and into Waimanu. Of course, before reaching the campsite there is another river to ford, but someone has gifted hikers with a rope extending across it. We pitch tents over a bed of black sand and ironwood needles, and are lulled to sleep by the slurp and crush of the surf. We rest and let our joints and muscles heal for a day before the return journey back.

thE muliwai iS all liViNg aNd dyiNg, flouRiShiNg aNd dEComPoSiNg. We

walk through tunnels of endless ironwood trees. Their needles drop from the canopy

like snowflakes and blanket the ground and everything around it in shades

Sometimes we stop and stare into the valley. Waimanu is a dark and unsettling beauty. It’s the type of beauty that changes something within you, makes you reevaluate your life. It’s all shadows and angles with a continual fog of mist and rain that creeps in and out, hiding or revealing the valley’s infinite depth and dimensions. All day, the valley is a great, breathing mouth, inhaling and exhaling the mist. Occasionally, with a turn in the wind, the sun peaks through and illuminates unseen waterfalls or a sparkling gleam on the nearby pond surface, or a crisper, more vivid tone to the overall color of the valley. But despite the sporadic sunlight, the valley always retains that certain obscure and ineffable element of mystery.

We walk over the coal-colored stones that hug the beach and break into ashen sand. A sun bleached, beige monk seal is flopped on its side, surrendering to the solitude of this place. On the far end of the beach there’s a small opening in the lauhala trees that reveals a trail towards the great double waterfall. We follow the path and hear intermittent squeals of young, wild pigs in the distance. At times, the trail is barely marked, but we can hear the deafening breath of the falls up ahead. Coming closer, the trail has dissipated into ferns and rocks, but we trudge blindly through a curtain of brush. On the other side, a skyscraper of water collapsing and plunging violently into a pool below presents itself. Around the pool and falls, the water has carved a huge bowl into the base of the ridge. The water is falling from such a height and with such momentum that it brings with it a powerful wind that bounces off the surface of the pool and blows against our bodies with gale force velocity. We edge towards the falls like cautious children. In the pool float the broken stalks of crimson torch ginger and we squeeze them in our hands, freeing the slimy gel of the ‘awapuhi nectar. Washing our hair and bodies with the nectar, we find it hard to break gaze with the gigantic tower of water. We fall asleep that night, buzzing and purified.

On our way out, we climb the first switchback under steady rainfall. The trail up Waimanu has become slippery and hazardous, but nevertheless gorgeous and crisp in the light of the passing showers. Oddly, we cut the time of the nine-mile journey back in half, and collapse at the bottom of the final switchback on the north side of the beach in Waipi‘o. It’s mid-day and the sun reflects off the flecks of opal in the black sand, giving the beach a neon tint. We run into the shorebreak and the cool, river-mixed saltwater soothes our aching muscles and joints. The sea at Waipi‘o is a color I’ve never seen before- like black jade. We look onto shore, back into the valley, towards the towering falls of Hi‘ilawe, towards the depths that forever remain hidden and enshrouded in mist. A journey along the Muliwai brings about a certain reverence and appreciation for the secrets and shadowy darkness of some lands.

page 33

dE-touRiSm

Words : ViNCENt RICAFORT

Images : ViNCENt RICAFORT AND aJ FEDUCIA

Riding through a landscape shifting in color, texture and temperature, we travel from a humid forest into endless lava fields.

page 35

PERSPECtiVES

it BEgiNS

Equipped with a map and very few provisions, we assemble our bikes just outside baggage claim, squinting under Kona’s mid-day sun.

local producers and farmers. Our group includes four urban cyclists, none of us experienced in the art of cross-country riding. There is AJ and Rice, local bicycle messengers; Jamal, chef de cuisine at 39Hotel; and myself, a working artist.

To draw a 300-mile route by bike carrying 60 pounds each is no easy feat. Making the journey even more difficult is the fact that three out of four bikes are fixed-geared, meaning we are limited to one locked gear—with no freewheels for coasting and no breaks. These bikes were originally intended for sprints on a velodrome (enclosed tracks).

We soon set out south towards Kuaiwi Farm in Kealakekua. The 30 miles to the farm is a slow crawl that feels twice as far lugging the weight of our bags to an elevation of 2,000 feet.

BENEath thE domE

Soaking wet from the rain and humidity, we are grateful to be off the dark snaking road. Farm owners Una Greenaway and Leon Rosner greet us with cold cervezas, fresh lemongrass tea and bean burritos. Under a geodesic dome we bite into exotic fruits, like cherimoya and feijoya, and discuss the importance of food sovereignty and sustainable agriculture in Hawai‘i. Full of thought and dinner, we retire to the barn to sleep beside racks of drying organic coffee beans.

We wake to the smell of Kuaiwi’s own brew, which captures flavors from all the fruits growing on the five-acre estate. Although coffee is the staple crop for Kuaiwi Farm, Una and Leon grow a diverse range of other edible produce.

we came to the island of hawai‘i to circumnavigate its parameter by bicycle, obtaining food by foraging local markets and encounters with

Through thoughtful care and management where almost no plant is considered a weed, the diversity of their garden is a source of strength. It comes as no surprise that the Hawaii Coffee Association awarded them “Best In Kona” in 2010.

Riding through a landscape shifting in color, texture and temperature, we travel from a humid forest into endless lava fields. A sloping plain promises to deliver us to an oasis of greensand beaches. Gliding down the hill, we are lulled into a trance by rows of giant windmills that rise 200 feet into the golden sky. We have no idea how quickly things are about to change.

StRaNdEd iN thE dESERt

At the bottom, our euphoria is dispelled by 45-mile-per-hour winds whipping red dirt. The sun sinks quickly, an electric pink radiating through the clouds overhead. Scanning the field through a dark purple haze, there is nothing to hang our hammock tents on but thorny koa haole bushes and no water but the restless ocean. In the beam of my headlamp I spot a rock wall, our only respite from the elements.

Taking refuge behind the barrier, we roll our hammocks over dead tufts of grass. We soon realize our shelter is a sacred wall protecting a heiau about 200 feet away. The sound of a revving engine follows beams of light that cut through the dust storm. We quickly kill our lights, recalling warnings from locals about a possible Hawaiian enclave in the area. Huddling, I fear we might be trespassing.

The engines fade and our tension turns into hunger. Jamal quickly boils miso soup. Our dinner of sesame-seared baby bok choy and spiced glazed hibiscus greens restores our spirits and the desert doesn’t seem so bad. We wash the meal down with sour mash whiskey, making sleep come easier. The Full Moon

agaiNSt thE wiNd

The light of dawn reveals a film of red dirt covering everything. Dusting ourselves off, we aim our bikes back towards the highway. Reaching the road we realize that our only path back is into the wind. Traveling at a grueling 5 mph into 45 mph winds quickly crushes our spirits. The windmills that once amused us like innocent pinwheels now stand as a solemn reminder of our ignorance. We climb for two miles before giving up and asking a local cattle rancher for a ride back. He tells us it’s been a bad year with the current drought. The fields of cattle look more like lost, famished animals than livestock.

Deciding to stop at the small point town of Na‘alehu, we find a diner and treat ourselves to raspberry scones and Kona coffee. The landscape stretches endlessly as we head north. We climb the hills in a tight line, taking turns at blocking the dreaded headwinds. The elevation markers every 500 feet are our only indications of progress.

The sweat dripping from my nose has dried in the cool air of Mauna Loa’s six o’clock shadow. Arriving at Volcano the mountain range is a deep blue, its shape an abstraction. As evening falls and the temperature drops, we scout out a campsite to hang our Hennessy hammocks.

None of us are prepared for the 45-degree air that evening, and sleep is unattainable. Sunrise takes an eternity to arrive. When it does, we jump back onto the highway and our descent into Puna is quick and easy. At a truck stop we talk story with the locals over coffee. We continue on to Kea‘au and stop at the farmers market for ripe sunrise papayas, avocados and a loaf of oven-fresh bread.

We decide to make our way to Pohoiki Beach to revive ourselves in the hot springs, despite it being a 17-mile detour. Unfortunately, the Queen’s Bath is neither idyllic nor hot. Sitting in the cold water, I remember a hidden pond near the boat ramp. We jump on our bikes and find a completely vacant hot pool, its surface reflecting the kaleidoscopic canopy overhead. Our tired bodies are rejuvenated and we quickly forget the previous night.

floatS BRightly

iN thE SKy,

aNd itS glow

waKES mE with

a StRaNgE

360-dEgREE

NoCtuRNal

RaiNBow.

page 37

daRKNESS BEhiNd uS

We arrive at Spencer Beach Park where it is warm and dry. Looking back at the mountain from which we originated, we can see nothing but a massive black shadow. With only 30 miles remaining to the airport, our mission is nearly done and everyone breathes a sigh of relief.

The next morning, we jump into the ocean and swim around the reef. Our camp looks like a tree house hanging in the canopy of kiawe.

On Queen Ka‘ahumanu Highway it seems like we’re gliding on a cloud with the wind at our backs. We have been together for almost five days but it feels like months. Arriving at Maunalani Resort the landscape changes from stark lava fields to an oasis of perfectly manicured golf course. We’re here to meet Pi‘i Laeha, the caretaker of the fishponds. He greets us at the lobby where the valets don’t seem to know what to do with our bikes. Instead, they begin asking us about our journey.

“Yes, we rode through Waimea!”

“Yes, the Hamakua coast was beautiful!”

“Yes, we did it by bike!”

“Yes, it was hard!”

Pi‘i guides us to the saltwater ponds that pass through the lounge. Lazy palms line the sides of the ancient pond, its origin and age hidden beneath the resort’s impeccable landscaping. The network of loko (ponds) i’a (fish) is an ingenious system of balanced ecology that was managed by the konohiki (caretakers for the royalty). Pi‘i tells us of the importance of the fishponds and their location at the piko (navel) between Mauna Loa, Mauna Kea, Kilauea and Haleakala. We learn that the Hawaiians were the only group in Polynesian culture to develop a successful and sustainable aquaculture practice. Originally created to feed the royalty, the ponds can no longer keep up with the nearly 350-room resort. They now serve as a place reserved for historic and cultural preservation as well as scientific study.

There is warmth in the stories, and it is hard to say goodbye.

Framed by the setting sun, our last 20-mile stretch to the Kona Airport doesn’t feel real. The landscape looks bleak and lunar, our effort is weightless with the wind at our backs. We spot the air traffic control tower as we reach the final moments of our ride. We reluctantly turn into the airport. There is no finish line, cheering crowd or trophy. It seems ironic to have a somber ending to such an epic journey, and it’s sad to think that this experience will soon be just a nostalgic memory. As sad as it is to say goodbye, we feel confident about the future, no matter how big, small or ridiculous the challenge may be. Perhaps we should have known. The

Special thanks to BIkeFacTory HaWaII, Hennessy Hammocks, Hawaii Photo rental and go! Mokulele for making this trip possible.

thE SKy oPENS uP

Thirty miles away from Hilo we score a ride. A local fisherman drives us to the main highway, and we pump out the last stretch as daylight fades away. It’s a wet ride from Pahoa to Kea‘au and we are unsettled turning down the dark highway to Hilo.

Under more rain, we find Verna’s and treat ourselves to plate lunches. We stop at the local convenience market for beers and a fifth of cheap whiskey. The woman tells us that if we follow Kalaniana’ole Avenue there might be a place to camp, our only option at this point.

and though we are only guilty of wanting a free place to sleep, we can’t help but feel like criminals. Over a dirt road and through a grove of ironwoods, we discover a dramatic coastal vista where the sky opens up. Our spirits return in the warm moonlit air and we crawl into our hammocks for some much-needed sleep.

Waking early, the sky is cloudy and wet. We pack up as a park worker arrives, informing us that there is no camping allowed. He gives us all 50-gallon trash bags for protection against the rain, and, like clockwork, it begins to pour. Jamal has another flat tire and Waimea town is 70 miles away with a 20-mile climb at the end. We have to backtrack almost 10 miles for our scheduled visit with Hamakua Farm and already feel behind schedule.

Setting out, we see fishponds and transparent tide pools hidden from us the previous evening. The warm rain feels good as we climb up Hawai‘i Belt road. After 10 miles the realization hits us; we are at the mailing address to the farm, not the actual farm. I can’t help but laugh at the detour. We make our way into downtown Hilo and are charmed by the architecture of the old harbor town. We are sad to leave but we must continue on. Rain blankets the Hamakua coastline to Honoka’a. The highway rises and falls in and out of the valleys, and our view is filled with gulches, picturesque bays and untouched surf breaks. At times it rains so hard we can barely see.

We reach the fork between Honoka‘a and Waimea before dusk, and begin our ascent to 2,800 feet. Halfway up the hill, AJ stops and begins walking due to an agitated ligament. The road to Waimea is a stretch of sloping pastures and grazing cows that seem to gaze at us with a look of Buddhist contentment, oblivious of their fate but happy just the same. Reaching the top of the hill is bittersweet. Freezing, we stop at Tako Taco for dinner and well-earned beers.

Soon enough we are back on the road to Kawaihae, descending from Waimea to Kamuela. Reaching speeds nearing 40 mph we can’t keep up with the pedals of our fixed-gear bikes. With our feet perched on the frames, the bike’s crank arms spin well over 200 rpm. We smell our wheels overheating and start regulating the brakes to avoid a blowout. As dangerous as this ride is I manage to catch view of the Milky Way glowing overhead. It looks peaceful up there. When we spot Kamuela it is warm and our shivering stops.

wE aRE fouR ShadowS RolliNg dowN thE StREEt with ouR lightS KillEd,


JouRNEy waS thE dEStiNatioN all aloNg.

where were you born?

I was born in Jerusalem, Israel. Feb. 17 1984

when were you introduced to painting?

My grandmother claims that she discovered my talent at the age of four when I told her that I wanted a hat that I had seen and when I could not describe it for her I drew it instead. She was so impressed with my drawing that she encouraged my parents to put me into art classes. I really don’t remember exactly but know that I was drawn to art my whole life.

as an artist currently focusing on portraits, which of the following portrait masters has most influenced your style (Rembrandt, da Vinci or diego Velazquez)?

If I had to pick one I would have to say Diego Velazquez because of the broad range of people that he painted and his mastery of technique. Too many people today have ridden the modern wave of contemporary (conceptual) art and forgotten to include any sort of craft into their work. My reaction to the extremes that art has been pushed to in the last century is to find a balance between concept, craft and beauty; a middle path. I also try to use this equilibrium when choosing figures from all walks of life to pose for me. Velazquez was a painter of the royal court, but was also know for painting “commoners” who many times were much more interesting subjects and just as significant. I love finding the beauty in any person, but have no problem avoiding the cliché that an artist should starve.

your cover piece features the eye inside the triangle, which is a recurring theme in your work. the significance of the eternal eye on the dollar bill is to place the spiritual above the material. why does this symbol play so heavily in your artwork?

The all seeing eye represents many things for me. Although my name may sound Hawaiian, it is actually Hebrew for “lucky charm.” The evil eye is common in Middle Eastern talismans, and is reminiscent of the all seeing eye on the back of the United States dollar bill. The all seeing eye is representative of the spiritual but I try to add a slight feminine softness to many of the eyes that I paint, hinting at a human touch. I try as an artist to see as much as I can see, but in the end I am only human. Finally, the triangular shape translates well into Polynesian patterns, combining the traditions and images of ancient Hawaii with the modern 50th state.

do you feel you take equal inspiration from your roots in israel and hawai’i?

I feel like my inspiration tends to be affected by whatever environment and audience that surrounds me. In my recent series many of the people and imagery are much more related to Hawai’i and its tropical environment, the place where I am currently living. Every year when I travel to Israel to visit my family I cannot help but get inspired. I am slowly working on another series inspired by Israel and more importantly my grandfather’s survival of the Holocaust from Poland, across Eastern Europe and eventually the Holy Land.

lately you have experimented by bending your canvases, creating what you call a 4th dimension. where did the concept of bending the canvas come from?

It all started with “Chirpy”, my senior thesis at the University of San Diego, where I was given a very small gallery space and because I had so much to say was forced to be creative to maximize the room that I had. I created a two-foot by sixty-foot long spiral made of canvas stretched over a metal frame. I saw that the canvas could be molded, and how it affected light, perspective, and the narrative of my paintings. It was interesting to see the effects on simulated (painted) dimension versus actual dimension, and I have been experimenting with this ever since.

what makes you an innov8tive artist?

Portraiture in oil painting is a centuries old tradition, but I try to bring a young, local (Hawaiian) flair to my paintings that along with my experiments with dimensional canvas’ brings to the audience something subtly new and beautiful. I want to show people that Hawaii has great art and artists, and that it is possible to make something undeniably “Hawaiian” without making tacky landscapes, or painting disgusting whale and dolphin paintings or fat old ladies in muumuus. I want to show that you can be modern and look to the future without forgetting your roots.

aRtS

“Mahiai” is the Hawaiian word for “farm” or “farmer”. Here he is shown balancing a bunch of green bananas in one hand and a machete in

the other. The division alludes to Man’s changing relationship

with Nature. The majority of today’s population has no

idea of how to live in harmony with our earth because

urbanization and technology have taken Man’s personal

connection with Nature out of the equation. This

disconnection is represented by the white cloth printed

with a luxury brand-like logo that the mahiai wears

around his neck. It contrasts greatly with his rural and very

“blue-collar” lifestyle, and hints at the modernity that

comfortably wraps us yet at the same time has a choke hold on our lives. The figure

looks up toward his future with a stern and questioning gaze, wondering if Man can find some kind of symbiosis with Nature that will give his

bananas time to ripen and one day allow us to see the fruits

of the labor of the Mahiai.

mahiai

Image Description


KamEa HADAR


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Ko‘olau golf CouRSEWords : JaSoN DEIGERT

Image : aNdREw HONDA / ainaimagery.com

thE CouRSE

iN thE ShadowS of thE

2,000-foot-high Ko‘olau

RidgE mouNtaiNS iS a

twiStiNg aNd tuRNiNg

JouRNEy thRough a tRoPiCal

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There’s plenty of fairway down the right side for 300-plus-yard drives, but tug it just a little left and the tradewinds will donate your ball to a mongoose family living in the deep, dark shrubbery.

Ko’olau is chock full of great Par 4s offering a wide variety of tee shots; some you have to carefully place in the fairway and others you can give your best rip. It’s a tough call, but my favorite goes to hole Number 3, a dogleg right known for its design and visual splendor. The severely bunkered green is one of the most scenic backdrops a golfer will ever experience. And if you look closely near the top of the ridgeline, you can see the “hole” where King Kamehameha hurled his spear upon claiming victory over O‘ahu. Honorable mention goes to Number 18, which from the back tees is massive and difficult. This mythical, must see-it-to-believe-it hole will surely settle any bets.

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keepsakes, enjoy a leisurely meal at any of

our three, island-style dining spots, and

explore the whaling life at our Whale

Museum – all just a few steps from the sand.

whERE to fiNd

hoNolulu iNtERNatioNal aiRPoRt (HNL), O’AHU

laNa’i City aiRPoRt (LNY), LANA’I KoNa iNtERNatioNal aiRPoRt (KOA), HAWAI’I Kahului aiPoRt (OGG), MAUI

lihu’E aiRPoRt (LIH), KAUA’Iho’olEhua aiRPoRt (MKK), MOLOKA’Ihilo iNtERNatioNal aiRPoRt (ITO), HAWAI’I

v010. innov8 magazine (2011 january-february)

Documents

new day

new opportunities

northpark center denver

new year

wailea whalers village

san jose

washington square san

stoneridge mall portland