v015. innov8 magazine (2011 november-december)

M A S T H E A D

: 7

GO! MOKULELE CHIEF MARKETING OFFICERRonald [email protected] 808.838.7900

PRESIDENT & PUBLISHER Jason Cutinella

EDITORLisa Yamada

CREATIVE DIRECTORAra Laylo

MANAGING EDITORKelli Gratz

CONTRIBUTING WRITERSNapua CamarilloBrent CurryJason DiegertBeau FlemisterTiffany HerveyAly IshikuniMatthew KainKristy KinimakaMargot SeetoNoel Pietsch ShawJeff SmithTai SunnlandJodi TsutomiBenny VildAshley Welton

EDITORIAL INTERNKelsey Longo

PHOTO EDITORZak Noyle

CONTRIBUTING PHOTOGRAPHERSMatthew J. Bielecki Mike CootsBrooke DombroskiChristy ErikssonFittedStephen GossBrandon HicksJohn HookMatthew KainKristy KinimakaRic NoyleLucky Olelo Photobrent/SPLKim Taylor ReeceMark Wasser

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M E S S A G E F R O M

8 I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

go! M O K U L E L E ’ S C E O

Aloha to our valued customers,

Entering our sixth year, go!Mokulele continues to be the leader in Hawai‘i’s travel community, flying to all six of the islands in Hawai‘i (O‘ahu, Kaua‘i, Moloka‘i, Lāna‘i, Maui and Hawai‘i). We continue to offer the lowest air-fares for inter-island travel. Summer 2011 has come and gone so very quickly, and the kids are now back in school. Visitors and residents traveling throughout the Hawai-ian Islands this past summer have experienced go!Mokulele, and we are very grateful to have had the chance to serve you. In October, go!Mokulele participated in the Fishing and Sea-food Festival, which drew a huge crowd of both residents and visitors. Attendees were able to receive lec-tures and collateral on subjects such as preserving the oceans and reefs of Hawai‘i, fishing tips, boat safety, water safety and preparation of our local fish. Several chefs were on hand to conduct cooking demonstrations of the local seafood. There were also displays of the types of fish caught in Hawai-ian waters that are featured in many

of the local restaurants. Visitors and residents were taking many photos of these fish varieties that were on display. Be sure to check our website at iflygo.com to see the special, value-added offers, such as restaurants, ho-tel stays and special activities that we have secured for our valued custom-ers. These may be limited time offers, so please check often. Our website will also list the upcoming events that go!Mokulele is sponsoring, such as the Hallowbaloo Concerts. With Thanksgiving and Christmas around the corner, please consider flying on go!Mokulele to visit family and friends or when planning to come to O‘ahu for Christmas shopping. We appreciate your continued support.

Aloha and mahalo for choosing go!Mokulele,

Jonathan OrnsteinChairman & CEOGo!Mokulele

Aloha and have a great holiday season!

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roomandservice.com

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1 0 I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

I M A G E B Y K I M TAY L O R R E E C E

K I M TAY L O R R E E C E

“Islands of Hawai‘i,” the image on the cover, depicts both the past and future of Hawai‘i. The woman in the photo embodies strength, energy and above all, tradition. Her deep, faraway look is mesmerizing as it is beautiful and conveys an era of Hawai‘i that too often gets over-

looked. The photo was taken by Kim Taylor Reece, one of Hawai‘i’s most well-known photographers, whose photos of traditional hula capture the Hawaiian dance in ways unlike any other. Read about Reece on page 36 in “A Thousand Words.”

Ancient Hawaiians be-lieved in a life where man and nature were consid-ered one; everything was seen as a united whole.

In the Hawaiian creation chant, Kumulipo, the islands of Hawai‘i rose from the ocean, lower life forms gathered on the shores and larger creatures began to ap-pear, evolving into more complex creatures as time passed. Kumulipo translates to “a universe of darkness moves steadily toward light and completion.” Hawaiians believed that darkness was a place for creation, a place where all life was manifested into existence. In the modern world, we sometimes fail to rec-ognize what our founda-tion is, resulting in a loss of connection to our past. Through spiritual worship of their akua (gods) or ‘aumākua (ancestors), ancient Hawaiians were able to stay connected to their past, and build upon

their culture through time. In order to stay connected to our past, we must constantly be reminded of what makes Hawai‘i, Hawai‘i. There are so many facets of our culture that are irreplace-able – the music, the customs, the language – that all need to be preserved and remem-bered in order to upkeep the mana, or spiritual essence of Hawai‘i. Conversely, we must work together, fulfill our duties to our ‘ohana (family) and recognize the accom-plishments of others in order to promote our own individual mana. The overall welfare of Hawai‘i is what’s at stake here, and we hope that with a little inspiration and commu-nication, we can bring Hawai‘i into the light, and restore the spirit of this place we call home.

Mahalo for reading this issue of innov8.

oN THE CoVEr

A L O H A


I M A G E B Y M I K E C O O T S

T H I N G S T O S E E A N D D O I N H A W A I I

O ’ A H U

M A U I

K A U A ‘ I

M O L O K A ’ I

B I G I S L A N D

HAWAIIAN FOOD’S BEST KEPT SECRET

EDDIE WOULD GO!

GO OFF THE GRID

FROM RUSSIA WITH LOVE

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TARO PATCH IN HANALEI, KAUA‘I

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T E X T B Y M A R G O T S E E T O

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“It’s a contested history, it’s a contested site … We’re at the center in terms of symbolic Hawai‘i,” says Heather Diamond, curator of ‘Iolani Palace and University of Hawai‘i museum studies professor.

If that doesn’t pique one’s interest to know more about the only official residence of royalty in the United States that’s also a National Historic Landmark and on the Na-tional Register of Historic Places, few things probably will. The preservation goal is to restore the palace to how it was between 1882 and 1887, when King David Kalākaua opened the palace doors to his legislative assem-bly and distinguished guests. After King

Kalākaua’s death in 1891 and the overthrow of the Hawaiian monarchy in 1893, Queen Lili‘uokalani was also held prisoner in the palace, being convicted of being part of a royalist plot. After the overthrow of the Hawaiian Kingdom, all items that weren’t of use to the government office were auctioned off or sold. Since palace restoration began in 1969 when state legislators moved from the palace to the State Capitol, been an ongo-ing quest to regain or reproduce artifacts of the site. When the ‘Iolani Palace began giving tours, the rooms were empty. “It was more about people and not about the artifacts,” explains Zita Cup Choy, a docent educator who has been giving tours of the

palace since 1978. Since the worldwide call for palace artifacts, some have been donated back to the palace and some have been sponsored by patrons though the Adopt an Artifact program. The palace itself is an artifact, and it houses hundreds of other artifacts within itself - making ‘Iolani Palace a rare kind of museum. While some may associate the palace with boring, elementary school museum field trips, Diamond notes, “Audi-ences change, museums are changing, from object-oriented to people-oriented. It’s a work in progress rather than just a static frozen image of the past.” One of the newer goals is acknowledg-ing that the palace is “unique in that it’s in

IOLANIPALACE

Where There Was Once Royalty

this transitional zone between traditional Hawaiian culture and the modern and the international.” Still, “the palace was really filled with [Kalākaua’s and Lili‘uokalani’s] love of traditional Hawaiian things and the things they had inherited and collected and Kalākaua’s feelings about tradition,” says Diamond. “We’re working on ways that we can show that complexity, rather than reducing it down to Victoriana.” The known facts are impressive: The palace had electricity in 1887, four years before the White House did, and tele-phones only five years after Alexander Graham Bell invented them. But there are many things we still do not know. Wondering how the servants lived is just

one question among other aspects of the palace that lie undiscovered in records. Future visits to ‘Iolani Palace will surely unveil things that will continue to surprise locals and visitors alike.

Located at 364 S. King Street, iolanipalace.org, 808-522-0822

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T E X T B Y B R E N T C U R R Y

I M A G E B Y F I T T E D

O ’ A H U

For many travelers, to really understand the places they visit, they indulge in the local foods. In Hawai‘i, look no further than Hel-ena’s Hawaiian Food in Honolulu. Helena’s has been whipping up “ono grinds” (delicious food) for 65 years.

You wouldn’t know that Helena’s has been featured on Good Morning America and the Food and Travel Channels by looking at it from the outside. It is unassuming and humble in appearance, but once inside the walls are lined with awards and memorabilia. Prominently featured is paraphernalia from their appearance on Man vs. Food and Amer-ica’s 101 Tastiest Places. Walking in, one is bombarded with the smells of homemade Hawaiian food, literally leaving one salivating.

The low-key atmosphere is quintessential Hawai‘i. Helen Chock opened the restaurant on North King Street in 1946. She started the now-famous restaurant when her brother’s restaurant failed, leaving behind a fully equipped facility. At first, Helena’s also served Chinese food and breakfast, but soon it refocused strictly on Hawaiian food. The eatery was originally a way to make a living and save for her children’s education, but it soon became her passion. In 2007, Chock passed away, but she is re-membered as a culinary legend and friend to the community. Among her many accomplish-ments, she won the James Beard Foundation Award for America’s Regional Classic Restau-rants in 2000. Today, Chock’s grandson Craig

Katsuyoshi runs the restaurant. To say he uses the original recipes is a bit misleading. There are no recipes, and he cooks by taste, just like his grandmother taught him. The menu features Hawaiian favorites like poi, kālua pig, laulau, short ribs and more. Customers and employees alike agree that Helena’s is an original, and not easily dupli-cated. Forget the praying and loving, when in Hawai‘i concentrate on eating at Helena’s Hawaiian Food. Your stomach will thank you.

Helena’s Hawaiian Food1240 N School StreetOpen Tuesday through Friday 10:30 a.m. to 7:30 p.m., 808-845-8044

HELENA’S HAWAIIAN

FOODHow Hawai‘i Tastes

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T E X T B Y A S H L E Y W E LT O N

I M A G E B Y L U C K Y O L E L O

O ’ A H U

The art of tattooing can be traced to ancient Polynesia, where it has been a recognized form of personal, cultural and artistic expression for centuries, and part of Hawaiian culture since its inception. Tahitian in origin, the word “tattoo” means to “mark the skin with color.” The Hawaiian term for tattooing is kākau and the expression kākau i ka uhi means “the tattooing of the mark.”

Unlike the intricate curvilinear designs of some Polynesian cultures, traditional Ha-waiian motifs consisted of simple geometric shapes and linear patterns. With Western arrival in the early 1800s, non-Hawaiian pictorial elements were introduced, such as goats, guns and lettering. Contact with the

Western world permanently altered the style of kākau. Western influence inspired more random and piecemeal tattoo placement, as is common in today’s tattooing practices (Tweety Bird on the right shoulder, fighting Irish on the left). Historically, Hawaiians sought to bal-ance the appearance of their body art, so if someone wore a pattern on their left shoul-der, they were also likely to place another on their right thigh, striking a visual balance. Back tattoos were not common. According to Hawaiian historian and tattoo expert P.F. Kwiatkowski, “In the Hawaiian culture, it was considered disrespectful to turn your back on someone and to show a back tattoo would inevitably require this action.”

Ancient Hawaiians chose their tattoos for a variety of reasons. They could be purely decorative, signify a class or cast, show an expression of grief, or pay tribute to one’s ‘aumakua (family or personal god.) Many individuals selected their tattoo design based on their ‘aumakua, which can take on various forms including spirits, animals or inanimate objects, and are often passed down through a family’s genera-tions. Many of today’s Hawaiian families maintain this traditional belief and recognize and pay respect to their ‘aumakua. Unfortunately, for a period of about 100 years, the method of applying authentic Hawaiian pre-contact tattoos died out, and, as such, the meanings have become somewhat

AN ANCIENTADORNMENTThe art and history of the Hawaiian tattoo

speculative. In recent years, there has been revived interest in the traditions and culture of ancient Hawai‘i. Along with a renewed dedication to the language, hula, and other cultural practices, has come the resurgence of tattooing in the traditional style or tapping method. Traditionally in tapping, the needles are made from bird bones, tied to a stick, then dipped in ink and gently tapped into the skin. It is through artists such as Keone Nunes (kākau) and Su-luape Aisea Toetuu (tatau, or traditional Polynesian tattooing) that pre-contact patterns with present day significance have made their way back onto the skin of the Hawaiian people. A practice

rich in tradition and spiritual connection to the land and its inhabitants, kākau serves as a way to remember, honor and perpetuate the Hawaiian culture.

The above work is by Suluape Aisea Toetuu of Soul Signature Tattoo, located at 1667 Kapiolani Blvd., 808-330-5612, soulsignaturetattoo.com

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Hidden in the lush Nu‘uanu Valley on the island of O‘ahu, the ruins of Kaniakapupu remain as a testament to the days of the old Hawaiian Kingdom. Largely unknown, even to many of Hawai‘i’s residents, the hale ali‘i, or king’s house, at Kaniakapupu was built between 1835 and 1840 as the summer home of King Kamehameha III and his queen, Kalama.

Constructed of coral block and lava stone, it was the first governmental building in Hawai‘i built in a Western style, with mor-tar and plaster, and yet retained its Hawaiian identity with a large pili grass roof and its use of traditional construction methods and details. Today, all that remains of this sacred

house are the dilapidated walls and founda-tions, somewhat preserved with the use of concrete. In its prime, during the time of global imperialism and colonization, the hale ali‘i served as a refuge for Kamehameha III, escaping the political and social stresses of being the king of Hawai‘i. During the hot Hawaiian summers, it housed the king’s Children School, where the royal children learned and played on its raised hardwood floors, enjoying the cool Nu‘uanu breeze. Although the hale ali‘i re-mains as the focal location of Kaniakapupu, many ancient religious and agricultural sites surround the summer house, which have been concealed by an overgrown bamboo forest. As time takes its toll, preservation-

ists, supported by the Office of Hawaiian Affairs and the University of Hawai‘i, are currently wrestling with issues of restoration and the future of the structure and sur-rounding site, with the intention and hope of celebrating the glory of old Hawai‘i.

Access to Kaniakapupu, and subsequently, Lu-lumahu Falls, is restricted to approved groups only with valid permits. To schedule a hike, or for more information, visit The Hawaiian Trail & Mountain Club at htmclub.org.



T E X T B Y TA I S U N N L A N D

I M A G E B Y M AT T H E W J . B I E L E C K I

O ’ A H U

SINGING OF THE LAND SHELLSKaniakapupu Ruins

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After a day in the hot sun, snorkeling and swimming around O‘ahu’s North Shore, noth-ing hits the spot like a cool and refreshing, icy treat. Your first instinct might be shave ice, but the line at Matsumoto’s is already 35 deep and your mouth is getting stickier and stickier by the moment. The solution lies just across the street at Haleiwa Bowls, the small grass-shack shaped kiosk whose specialty is acai bowls. Started in April of this year by Sam Cus-tin, Haleiwa Bowls uses only locally grown produce from the North Shore on O‘ahu. The acai bowls are made with organic Sambazon Acai, strawberries and bananas, and depending on the time of year, may include mountain apples, papayas, lilikoi,

lychee, star fruit, mangoes and avocadoes, all grown mainly from Waialua to Kahuku. “I opened up Haleiwa Bowls because I crave acai every day and couldn’t find a de-cent place on the North Shore that served them,” says Custin. “Hale‘iwa is littered with places like L&L Barbeque and Kua‘aina Burgers, both of which taste good, but they make you feel sluggish and put a hefty toll on your body. After surfing, what better way to replenish your body than with acai?”

Haleiwa Bowls is located at 66 Kamehameha Highway, across from Matsumoto Shave Ice. Open Monday through Friday 9 a.m.-7 p.m. Call for more information,808-343-3626, or find them on Facebook and Twitter.



T E X T B Y L I S A YA M A D A

I M A G E B Y B R O O K E D O M B R O S K I

O ’ A H U

BERRYGOODHaleiwa Bowls

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T E X T B Y M AT T H E W K A I N

I M A G E B Y M AT T H E W K A I N

O ’ A H U

The Hawaii Kākou Mural Project is a Native Hawaiian-inspired community mural and community engagement program inspired as a visual response to the gathering of world economies here in Hawai‘i. Completed in time for the upcoming Asia Pacific Economic Cooperative conference (APEC), the Hawai‘i Kākou Mural Project will be the first piece of Native Hawaiian art featured in the Hawai‘i Convention Center.

The mural is stunningly intricate, a feast for the eyes. Measuring 10 feet by 64 feet and layered with details, one cannot take it all in with a passing glance. Representing the indigenous voice of Hawai‘i are dozens of art students ranging in age from pre-teen

all the way up to mid-20s. The students are being mentored by such notable kumu (teacher) artists as Meleanna Meyer, Al Lagunero, Harinani Orme, Kahi Ching and Solomon Enos. After weeks of workshops and brainstorming with the students, the kumu artists are instilling a concept of “new old wisdom,” or NOW, into future genera-tions of artistic individuals in the islands. “NOW refers to knowledge that has been passed down from our kupuna [elders],” says student artist Robin Fifita, “innate knowledge that we’re born with, that we know of, but going through the process of rediscovering it.” The NOW concept introduces an impor-tant dialogue to the people of Hawai‘i, as

well as indigenous people from all over the world. How can we use the values and the information from our pasts and make it rel-evant to the way we live today? The Kākou Mural Project, a collaborative effort between artists of all ages and skill levels has the potential to do just that: remember the wis-doms of the past, and learn how to apply it to both the present as well as the future.

The project was funded by the people of Hawai‘i through the Office of Hawai-ian Affairs. The mural can be viewed at its permanent location in the lobby of the Hawaii Convention Center. Find out more at moananui2011.org.

HAWAI ‘ I LOA KU LIKE KAKOU(All Hawai‘i Stands Together)

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K A U A’ I

In earlier days, Kaua‘i’s main trading center was located on the westside of the island in Waimea. In 1815, a violent storm left Russian ship, The Bearing, a wreck, and it was forced to anchor off the shore of Kaua‘i. King Kaumuali‘i seized the goods of the ship in exchange for pro-viding members of the ship with provisions.

The Russian-American company sent Dr. Georg Scheffer to the island to negotiate with Kaumuali‘i in retrieving the goods back. Scheffer was able to cure Kaumuali‘i and his wife of an illness, thus gaining Kaumuali‘i’s respect, and soon after an alliance. Kaumuali‘i had a desire to claim the rest of the islands under his rule, and felt confident with Russia’s backing it would be possible. In exchange, Scheffer was granted land. Pa‘ula‘ula o Hipo, also known as the Russian Fort Elizabeth, is located on the east bank of Waimea river on the island of Kaua‘i. Translating literally to “red enclosure,” Pa‘ula‘ula o Hipo is thought to be named after either the color of the soil, the bloodshed

of the past, or the colors of the royal kings. Pa‘ula‘ula once housed Kaumuali‘i’s father as well as a heiau (Hawaiian temple). It eventu-ally became one of the largest forts in Hawai‘i. With Pa‘ula‘ula situated on a high pla-teau, it was a strategic location for a fort. It was constructed there to protect against Kamehameha’s desire to conquer Kaua‘i, but also with the hopes that Kaumuali‘i could take over the rest of the island chain. The fort was laid out in a common European-shaped design and built of stone and adobe. Scheffer chose the name Fort Elizabeth after the empress of Russia. The alliance ended in 1817 after Kaumuali‘i began to realize Russia’s intent of conquest. Eventually the fort was dis-mantled in 1864 by order of the Hawaiian government. Since that time the fort has fallen into disrepair. The Russian experience on Kaua‘i was a brief two years, hardly enough time to give them a prominent place in Hawaiian history. Yet, in

1966 the fort was declared a National Historic Landmark and administered as the “Russian Fort Elizabeth State Historical Park.” “It is my fondest hope that Hawaiians will reclaim the area and restore its rightful name of Pa‘ula‘ula,” says Kaua‘i histo-rian Aletha Kaohi. For the past 20 years, volunteers have been working together to beautify the area and remove invasive trees and weeds in order to bring about a 360-degree unobstructed view of the fort. To learn more about Pa‘ula‘ula’s history, Peter Mills has written Hawai‘i’s Russian Adventure – A New Look at Old History. You can also visit the Kaua‘i Museum in Līhu‘e or the West Kaua‘i Technology and Visitor Center in Waimea.

To visit Pa‘ula‘ula, head west, and just before crossing the bridge to Waimea, the entrance will be on the ocean side of the road.

PIONEERINGKAUA‘ IRussian Fort Elizabeth

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T E X T B Y B E N N Y V I L D

I M A G E B Y E D D I E A I K A U R E S TA U R A N T

B I G I S L A N D

Hawai‘i derives as much of its mystique from its lack of mainland conformity as it does from its natural beauty. Here, many of the mundane chain restaurants found in mainland America are replaced with ethnic experimental fusion to form the Hawai‘i culinary experience. The thought of exploring exotic ocean reefs, pristine beaches and lush botanical gardens then eating at Chotchkie’s or Shenanigan’s takes away from the Hawaiian experience, which should not stop between 6 to 9 at night. Now open on the Big Island is the Eddie Aikau Restaurant and Surf Museum. Lo-cated on the Kohala coast at King’s Shops in the Waikoloa Beach Resort, this restau-rant celebrates Aikau’s fearless life and ac-complishments. The famed waterman was

known as a hero when he went to paddle for help on his surfboard after the Hokule‘a voyaging canoe capsized 12 miles off the coast of Moloka‘i. The crew was later res-cued, but Aikau was never seen again. The phrase, “Eddie would go,” developed as a result of this heroism, as well as because Aikau was known for pulling people out of giant waves when no one else would. Under the vision and guidance of award-winning Chef Scott Lutey, the palette is sati-ated with his use of fresh, sustainable, local food sources. Utilizing local farmers, fisherman and ranchers for the freshest ingredients, Lutey is continually creating new contemporary Hawaiian recipes, achieving a perfect Hawai-ian lunch and dinner experience.

Striving to offer the complete Hawaiian experience, fastidious consideration went into designing an atmosphere that cultivates a classic 1960s surf-style fused with the modern hip elements surfing embodies. Live music sets the tone Thursday through Sunday nights. For intimate encounters with nature and friends, both inside and outside seating is available. If you’re looking for that perfect setting to cap off your Hawaiian extravaganza, come to Eddie Aikau Restau-rant for a truly unique Hawaiian experience. Eddie would go.

Located at 69-250 Waikoloa Beach Dr., C1. For more information call 808-886-8433 or visit eddieaikaurestaurant.com.

EDDIE WOULDGRINDEddie Aikau Restaurant and Surf Museum

S U R F E R P R O F I L E


T E X T B Y T I F F A N Y I W A L A N I H E R V E Y

I M A G E B Y Z A K N O Y L E

M A R K H E A LY

MENTALBig wave surfer and champion freediver Mark Healey

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Picture this life: One

week is a five-star hOtel,

parties, helicOpters and

limO rides. the next is

sleeping On a sidewalk

Outside a greyhOund

Bus statiOn, nOt shOw-

ering, and living Off

vending machine fOOd.

yOu gO years with-

Out health insurance

while enduring chipped

teeth, a BrOken knee-

cap, a BrOken heel, cuts

super-glued shut, and

a BlOwn-Out eardrum

– fOur times. Oh, and

sOmetimes yOu ride On

the Back Of sharks. “It’s like Amazing Race meets Deadliest Catch meets touring with a rock band,” says pro surfer and champion freediver Mark Healey of his life chasing big waves. “The goal is not just catch-ing bigger and better waves but actually riding them – not just petroglyph-stance, ride to the end of the wave and claim it, but actually surfing it with style,” the Sunset Beach local contends. “People don’t really know what it takes to go surf these waves. You go through hell just getting there and when you finally get to the location, you have to figure out how to not die surfing the biggest waves you’ve ever seen.” To survive all the logistics, barriers, bitter environments and unforgiving elements involved in the big wave game, Healey says the only way to

get that mental edge is to truly love the act of doing it. “If you don’t really want it, it will eat you up,” he says. Growing up freediving, which involves diving without any breathing apparatuses, on the North Shore of O‘ahu has given Healey a gift for that mental edge. He’s become well known for his spear fishing talents and competes in tournaments around the world. “Freediving is really good for your mind and your lung capacity,” explains the 29-year-old. “It disciplines your mind by knowing you can be consistently in uncomfortable physical situations and sepa-rate your mind from your body to make sure you stay calm and in control.” Healey can freedive to a depth of 153 feet and harvests his own food regularly. He points out that spearfishing is the most selective way to catch fish, much more so than rod-and-reel or netting. While he doesn’t often catch fish bigger than him, Healey does encounter some that are not only bigger but rank higher on the food chain. He’s been riding on sharks and studying their behaviors the last couple years – even latching onto the fin of a great white for a spin. Healey values how being part of the food chain in the ocean has helped him under-stand it better. “Freediving and learning about all the fish and habitats in the ocean makes you really connect to this ecosystem,” he says. “When we realize we are a part of something, we tend to value it and protect it more.”

T R A D I T I O N S


T E X T B Y J O D I T S U T O M I

I M A G E B Y B R A N D O N H I C K S

H A W A I I A N Q U I LT I N G

THE HAND THATSEWS THE STORY

I N N 8


tracing the lines in the

Bark Of a tree, feeling

the depth Of its grOOves

and inhaling its scent

On yOur fingertips im-

mediately cOnnects yOu

tO it. in the Organic art

Of traditiOnal hawai-

ian quilting, the lines

Of each stitch, thread,

pattern and design are

cOnnected tO the lines in

the hands and faces Of

the designer, quilter and

receiver. the threaded

grOOves emBOdy stOries

Of lOng agO, Of lOve,

pain, death and life; Of

things that are meaning-

ful and that matter - and

they are all healing.

“Tell me a story,” says master designer John Serrao, his deep voice filling the sewing room at ‘Iolani Palace where quilting classes are held. Serrao’s been called Hawai‘i’s top designer and his one humble request is to give him your story personal-ly and then, and only then, can he give you your design. The story is the unique and integral driving force of each quilt. It be-gins at the piko (referring to the naval, umbilical cord or center) and branches out, flowing into the four corners to create a bal-anced and united piece. The origin of the Hawai-ian quilt is rooted in the early 1800s when the women of the missionaries and Hawaiian monarchy commenced their first sewing circle on the deck of the sailing ship Thaddeus.

Today, John and his wife, Poakalani, are third generation artisans carrying on the tradi-tional art of Hawaiian quilting. Born of Hawaiian-Portuguese descent, John comes from a family of quilters stemming back to his grandmother. His grandfather, Kaheolani, was a revered kahuna (priest), whose spirituality imbues every one of John’s designs. John possesses an inherent talent for draw-ing all his designs free hand. His daughter, Cissy, believes that his childhood had a lot of influence on that. As a little boy, John would climb trees and pick flowers for his family’s lei stand. “We had mango trees, plume-ria trees, crown flowers,” John recalls, “and I knew every one of the trees, because I fell off every single one.” Poakalani traces her quilting lineage back to her grandmoth-er, Caroline Correa, considered a master designer and quilter of her generation. Poakalani exhibited a strong connection to Hawaiian quilting ever since she was a little girl, but because she was born with only one hand (the other hand tangled in the umbilical cord and was lost at birth), Poakalani was only al-lowed to watch her grandmother and aunties quilt, for fear of hurting herself with the needle. Thankfully, her passion never waned. In the 1970s, Poakalani overcame her physical chal-lenge and began to skillfully appliqué and quilt what others accomplished with two hands. The beautiful irony of what Poakalani lost to her piko (umbilical cord) is found, shared with the world in the core of her unique designs. Hawaiian quilting can tie us

to ancient Hawaiians. John has seen many instances where the story behind each quilt literally comes to life. One quilter, for example, wanted to quilt a coat of arms for her son and asked John to design one with two twin brothers who served as King Kamehameha’s guardians. John advised against including human figures in the quilt be-cause they “walk in the night,” but the quilter insisted. After moving back to Florida the quil-ter called Poakalani and said that her son wasn’t well. The Hawaiians believe that the love that one puts into the quilt can offer comfort, so Poakalani ad-vised the quilter to have her son sleep under the quilt she had made for him. Several weeks passed and the little boy was better, but he wondered who the two men standing guard in his room at night were. The intangible glue that binds each quilt in its entity is steeped in the Serraos’ spirituality. It is powerful and connected to its origins. The feelings the de-signer and quilter use to create their piece opens up portals to the history, religion and culture of the ancient Hawaiians. That energy flourishes in the design, rendering the quilt as a per-petual and universal art form.

Ongoing Hawaiian quilting ses-sions are offered every Saturday from 9 a.m. - 12 p.m. For more information visit poakalani.net or call 808-521-1568.

T R A D I T I O N S


T E X T B Y N A P U A C A M A R I L L O

I M A G E B Y M A R K W A S S E R

H A W A I I A N L E G E N D

A NEvER-ENDING LOvELegend of ‘Ōhi‘a and Lehua

I N N 8


I don’t know if my father knows this, but my grand-mother used to tell me stories from before she met my grandfather, stories of a young and intense love that died before it could flourish. My grandma was in love with a man who went off to war and never returned. She told me stories of their love and the way he looked so lovingly at her. When she met my grandfather and they wed, she told me that her heart felt as if it would be forever broken. As tradition would have it, she took on her husband’s name, leaving behind her maiden name Pau‘ole, which when trans-lated, means “never-ending.” She grew to love my grandpa, but she always told me that she often won-dered about the love that never was, but that was in a way, never-ending. She reminded me that love was a very special thing that everyone should feel. It was in high school that she first told me the story of ‘ Ohi‘a and Lehua, a legend about the famous fiery temper of Hawai‘i’s golden girl Pele, a legend that would forever link the trio together. This is her version of the legend. Pele, the powerful, fiery, beautiful and most well-known goddess of our islands came upon a hand-some warrior named ‘ Ohi‘a, with whom she was im-mediately smitten with. Or as my grandma would say, “Ooh, the handsome man ‘ Ohi‘a was, and when Pele, wen’ see him, she like him.” She fell fast, like many had

done, but even her status couldn’t change ‘ Ohi‘a’s already-taken heart. He had fallen for the beautiful Lehua, with whom his eye never strayed. Because he dismissed Pele’s advances, she transformed him into the ‘ Ohi‘a tree, gnarled and twisted. Lehua was heartbroken and wept until the gods took pity upon her and transformed her into a beautiful red flower known as the Lehua blossom, which is forever coupled with the ‘ Ohi‘a tree. In an interesting twist of tale, the ‘ Ohi‘a tree was one of the first plants to grow out of the lava fields due to its versatility, and the red Lehua blossom became the official flower of the Big Island where Pele lives, forever tying the three together. It is said that if you pick a Lehua blossom from an ‘ Ohi‘a tree, the sky will weep for separating the two lovers. Now, that is a love pau‘ole, never-ending.

A THOUSANDWORDS

I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

PhotograPher Kim taylor reece

is far from a starving artist. for

more than 30 years he’s caPtivated

hearts from around the world

with his stunning PhotograPhs of

hawai‘i – Particularly, hula kahiko.

The past never ceases to emerge at one point or another. The past is all around us every day, living and breathing through the people, the air, the soil and the water of Hawai‘i. Hula kahiko, an ancient Hawaiian dance form is one fragment of Hawai‘i’s culture that is imperative to the preservance of its history. Conveyed through the performers are visual stories of gods, spirits, lineage, nature and creation.

In the early stages of Kim Taylor Re-ece’s career, he began experimenting with hula kahiko to recapture its significance within the context of present-day Hawai‘i. “Hula kahiko is one of the few dances that spans so many emotions and feelings,” Reece says. “Like a diamond, there are many facets that are revealed through the dance and through the dancer. It is always mesmerizing. It is always unique.” Back in the ’70s, Kim Taylor Reece moved from his home in Long Beach, California to the pastoral land of O‘ahu for a much-desired change in pace. Reece, although trained in classical fine arts, actu-ally majored in advertising, and minored in psychology at San Jose State University.

Kim taylor reece

T E X T B Y K E L L I G R AT Z

I M A G E S B Y K I M TAY L O R R E E C E


: 3 7I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

After a quick stint working at El Camino Hospital in Silicon Valley, he decided to pack his bags and move to Hawai‘i to pursue his dreams. The first photographs he took were of dancers performing at Fort Street Mall in Downtown Honolulu for Island Life Magazine. He didn’t know it at the time, but this was a pivotal moment for his career. “During this time, there was great contro-versy involving the hula,” Reece remem-bers. Performances of hula kahiko today only reflect a veneration and respect for the ancient Hawaiian culture and roots. “In my opinion, the Hawaiian culture is a living entity and thus it evolves and grows from its roots,” Reece says. “My images reflect what I see in the hula and in the culture.” In 1985, his first photograph was pub-lished, entitled “Hula Kahiko.” The image, a hula kahiko dancer captured in a contempla-tive moment of her dance, may very well be one of the most famous photos connected with Hawai‘i, due to its powerful and enchanting na-ture. Through this and similar images, Reece was able to positively influence the masses with his artistic portrayal of the dance, and his career as a photographer took off. “Islands of Hawai‘i,” the image on the cover, depicts both the past and future of Hawai‘i. The woman in the photo embodies strength, energy and above all, tradition. Her deep faraway look is mesmerizing as it is beautiful and conveys an era of Hawai‘i that too often gets overlooked. Reece’s ability to capture this amaz-ing art form is unsurpassed by his ability to capture the genuine essence of the Hawai-ian culture. “I think my vision of the hula as an art form, as culture, as beauty and light, as art that makes people proud of their heritage, will be lasting memory.”

The Kim Taylor Reece Gallery is located on the northeastern side of O‘ahu, just past Sa-cred Falls. Open Monday through Wednesdays from 12 to 5 p.m., and by appointments. For more information call 808-293-2000 or visit kimtaylorreece.com.


I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M 4 0 I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

86 HOURSgo missing in moloKa‘i


I M A G E S B Y R I C N O Y L E


there might nOt Be glamOrOus

nightcluBs, trendy BOutiques

Or extravagant rOOftOp restau-

rants, But this rOOted island is as

energized as ever. with a simple,

flOwing essence, it is here yOu

will find style, authenticity and

the vacatiOn yOu were hOping fOr.

First-time visitors tend to associate Hawai‘i with hula, surf and mai tais – that trifecta of local passion – but Moloka‘i, known as “The Friendly Isle”, tells the story of Hawai‘i as it was, transcending both time and place. A true representative of the past, the island of Moloka‘i is said to be the “most-Hawaiian” of all the islands in both look and feel. Here, you won’t find sleek boutiques, skyscrapers, or even a single traffic light. Instead you’ll gaze upon mystifying, cosmic sea cliffs, undiscovered, white sand beaches teeming with sea life, and culture deep in Hawai-ian traditions that truly imparts Moloka‘i as “Hawaiian by nature.”

FIrsT 24: Arriving in Moloka‘i, you will find yourself transported back in time to a place truly reminiscent of old Hawai‘i. A place considered the birthplace of hula more than deserves a visit. Head to the district of Ka‘ana, where you will find Pu‘u Nana, a sacred hill in which Laka, goddess of hula, gave birth to the dance. Laka traveled island-to-island teaching those who wished to learn the art of hula. Legend has it after she passed away, her remains were hidden somewhere beneath the hill. Her spirit is recognized every May, when Moloka‘i Ka Hula Piko (Moloka‘i, the Center of Dance), a daylong hula festival takes place at Papo-haku Beach Park in her honor.

Hour 48: For breakfast, you’ll want to head to the charming paniolo (Hawaiian cowboy) town of Kaunakakai. Once a summer home to King Kamehameha V, Kaunakakai is the closest thing you’ll get to a bustling city. Home of Moloka‘i’s famous “hot bread,”

Kanemitsu’s Bakery & Restaurant is sure to liven your taste buds with their famous assortment of fresh sweet papaya, cinna-mon-apple and taro breads. Don’t forget their fresh, pull-apart loaves filled with jelly, cream cheese, butter and sugar. Spend the rest of the day exploring Moloka‘i’s largest port town. Nearby attractions include RW Meyer Sugar Mill, Purdy’s Macadamia Farm and Pala‘au State Park, where Moloka‘i’s scenic north coast, indented by some of the most arresting cliffs in the world, is in view.

Hour 62: The 27-mile journey from Kaunak-akai to the Kalaupapa is said to rival the road to Hana in both beauty and personal-ity. Take Highway 450 east and stop near the 16-mile mark, where ‘Ili‘ili‘ōpae Heiau, an ancient Hawaiian temple site, is re-vealed. The heiau is one of the largest and oldest temples in all of Hawai‘i and contin-ues to be regarded as sacred grounds. Leg-end tells of a priest named Kamalo who lost nine of his sons at this very site from ritual sacrifices. He prayed to his ‘aumakua (fam-ily god), who then sent floods to wash most of the site away. Visitors are required to obtain permission before entering and are forbidden to touch any part of the temple.

At the Kalaupapa overlook, the village below is both intricate and stunning, as is the story behind it. Located on Kalaupapa peninsula at the base of the highest sea cliffs in the world, is the Kalaupapa National Historic Park. Once the site where more than 8,000 victims of Hansen’s disease, or as the Hawaiians called it, mai ho‘oka‘awale, (the separating disease), were exiled until 1969. Father Damien, a Belgium priest, came to the settlement in 1873 to care for the disease-stricken and spent 16 years of his life caring for the ill, until the disease finally became him. Damien’s legacy endures and Kalaupapa remains a National Historic Land-mark and home to a small community of the formerly affected and their descendents. The 2.9-mile trail down can only be accessed by foot or by authorized tour groups such as the Moloka‘i Mule Ride or Damien Tours.

Hour 86: No trip to Moloka‘i is complete without a visit to Halawa Valley. A rich agriculture region, Halawa Valley is home to the oldest known Hawaiian settlement, inhabited in the seventh century by people from the Marquesas Islands. Activities here include swimming, snorkeling, boating, fishing, camping and hiking. Two water-falls, Moa‘ula and Hipuapua are located in this valley. The 250-foot Moa‘ula Falls is approximately 2 miles up the valley. Legend tells of a huge mo‘o or lizard that occupys the pond. Before entering the wa-ter, you must drop a ti leaf into the pond. If it floats, it is safe to enter; if it sinks, you are not welcome.

The island of Moloka‘i brings you closer to the heart of what’s real and true, and after all, traveling isn’t about the place, but engag-ing and committing yourself to a purpose, and that purpose only makes the quest for adventure all the more appropriate.

I N N O V 8 M A G A Z I N E . C O M | I F L Y G O . C O M

In the spring of 1987, the head of state of the nation of Hawai‘i Bumpy Kanahele led a large group of Native Hawaiians and occupied roughly 300 acres of land near the Makapu‘u lighthouse. They were three differ-ent families consisting of around 50 people. The group took back the land, living on the property for more than two months before they were evicted. But this situation was no spur-of-the-moment, impulsive act. There was prep work.

From 1984 to 1986, in the time leading up to the event, they scouted and surveyed the land. The area was last used by the Coast Guard in World War II, but since then, it had been abandoned. The land originally belonged to Queen Kalama before

it was taken by the United States. Bumpy and his followers filed documentation as being heirs to these lands at the Bureau of Conveyances – they being descendants of Queen Kalama and King Kamehameha I. In 1986, they even staged a protest for Queen Kalama’s lands, shutting down and locking the gates to Sea Life Park, claiming the land belonged to Native Hawaiians. Traffic and tour buses were backed up as far as Hanauma Bay. By the Spring of 1987, the group had “come across” a key to the gate leading to the land around Makapu‘u Point near the lighthouse. The key was a special find. So they acted. Bumpy and the three families, including his own, moved into the three

REMEMBERING THE MAKAPU‘U INCIDENTShawaiian nationalist leader BumPy

Kanahele discusses hawaiian

sovereignty rights and taKing

BacK the land.

T E X T B Y B E A U F L E M I S T E R

I M A G E S B Y J O H N H O O K


houses that were left falling apart and vacant by the Coast Guard. And for nearly two-and-a-half months they openly controlled the property and guarded the gate, despite the Department of Land and Natural Resources and Honolulu Police Department monitoring them the whole time. “The mana [power] was really strong out there,” recalls Kanahele. “It was this re-ally happy kind of welcoming for us all.” Fishermen caught them ulua, others brought them more food, water and lanterns. They even had one of those mid-’80s brick-like cell phones to com-municate with family back in Waimanalo. One night, some suspicious persons were seen hanging around the gate, and fearing a threat to their family, they de-cided to protect and arm them-selves. They brought in some weapons: a couple of hand-guns, a few high-powered rifles, even a semi-automatic carbine. Once the state caught word of this, they saw the group as a threat to both the public and the government. Bumpy received a tip from the governor’s office, warning him of a raid, and sure enough, around 5 a.m. the next morning, HPD’s SWAT team

swarmed the place. Bumpy, already an intimidating bear of a man at well over 6-feet tall and almost 300 pounds, walked into a dozen pointed guns and told them to get off their land. The SWAT team tackled and arrested him and the rest of the families were evicted from the site. DLNR razed the three houses and Bumpy Kanahele served 11 months in prison for criminal trespassing and terror-istic threatening. But even after time served, Bumpy considered the whole occupation an es-sential step in establishing that something was definitely wrong with Hawaiian rights. A few years passed, and with the help of Bumpy and acclaimed international lawyer Professor Francis Boyle, in 1993, the United States made a formal apology to Native Hawaiians for the overthrow of the Kingdom of Hawai‘i. This apology, known as the Apology Bill, or Public Law 103-150, became the nation of Hawai‘i’s new ammo. In the spring of 1994, Bumpy returned to Makapu‘u, but this time to Kaupo beach instead of the point. There were already around 100 homeless and dis-enfranchised Native Hawaiians

living at Kaupo, and Bumpy, in the name of sovereignty joined them. “We planted the flag upside down, put up one tent and said, ‘We staying.’” Bumpy and more than 200 other Native Hawaiians occupied the land for 15 months, until they were finally evicted from the beach. As a resolution to the eviction, Governor Waihe‘e offered Kana-hele and the Nation of Hawai‘i a 45-acre parcel of land at the foothills of the Ko‘olau mountains to live on if they chose. Bumpy accepted, and 18 years later, they’ve created and maintained a sustainable community called Pu‘uhonua o Waimanalo or “The Village,” with around 100 people currently living there. Says Bumpy, “To me, sov-ereignty means the restoration of Hawaiian independence. It is an identity to the land of your nationality, the identification of your inherent rights.” These days, one of Bumpy Kanahele’s main struggles is in creating renewable and sustain-able energy for Hawai‘i. Bumpy and the residents of Pu‘uhonua o Waimanalo already practice many of these methods in their village, and try to set an ex-ample for the rest of Waimanalo and onwards, all of O‘ahu.


maintaining an aqua culture is

nOt an easy thing tO dO, especial-

ly One perpetuated By the ancient

hawaiians nearly 800 years agO.

there is nO manual, nO almanac

fOr fishpOnd maintenance, But

One OrganizatiOn is adamant in

ensuring that the aquaculture

practices perpetuated By their

ancestOrs are nOt lOst in tOday’s

mOdern wOrld.

The thing that gets you most about He‘eia Fishpond in Kāne‘ohe is the quiet. It’s a

stillness that’s beautiful, that is indicative of an environment untampered with since the days of the ancient Hawaiians. The waters are still, reflecting a near flawless mirrored image of the blue sky above it, broken only by a school of fish splashing their tails at the surface. The pond stretches across 88 acres of Kāne‘ohe Bay, and is one of six remaining ponds in the area. Historically, fishponds were created by the ali‘i (chiefs) as stock-ing ponds to alleviate some of the pres-sure on the near-shore reef as populations during that time period increased. “It is thought, that King Kamehameha worked right here in this very fishpond,” Hi‘ilei Kawelo informs us. Kawelo is the executive

AQUACULTURE

he‘eia fishPond

T E X T B Y L I S A YA M A D AP H O T O S B Y C H R I S T Y E R I K S S O N


director of Paepae ‘O He‘eia, the non-profit organization that cares for the pond. If King Kamehameha worked in this pond, he would know it was back breaking. I, along with the nearly 100 high-school students from Kamehameha Schools, wade through the pond’s thigh-deep water. I shudder at the feeling of the scratchy limu (seaweed) brushing against my shins, the thought of the creatures lurking in its branches. But we are here to work. By the end of the day, we hope to clear out more than 3,200 pounds (or more than 1.5 tons) of the invasive limu that flood in over the wall and choke the pond’s coral and ma-rine inhabitants. Under the still water is a vibrant marine culture: pūalu, moi, pāpio, ‘ama‘ama, bar-racuda, puffers, Samoan crab, mo‘ala. Sus-taining life in this pond is a delicate balance. Here, water can become both cultivator and destroyer. Fresh water flows in from He‘eia stream and salt water from Kāne‘ohe Bay, creating a brackish environment perfect for cultivating fish. “The brackish water is like the foundation for life and the foundation for the food chain,” Kawelo tells me. “The waters are areas of high productivity, mean-ing there’s a proliferation of zooplankton and phytoplankton. It’s the primordial soup where life begins because the mixing of the waters makes food for everything else.” Life is again indeed being cultivated: The pond, estimated to be about 600 to 800 years old, is being used as the kupuna, the ancestors, intended it: “As a place of practice,” Kawelo says, “a place for our cul-ture to live, to see a little bit of what is still possible. And to produce fish!” From 2006

to 2008, the pond was averaging two fish harvests per year, getting anywhere from 300 to 800 pounds of moi. Then in 2009, disaster struck, when Kona winds and vog made the waters too hot for the fish. Though it’s impossible to control the weather, one thing that can be controlled is what we allow to trickle into the pond. “Fish-ponds are interesting because they catch all the good and bad from mauka [mountain] to makai [ocean],” says Keli‘i Kotubetey, assistant executive director of Paepae ‘O He‘eia. “Anything that’s done ‘uka, above the fishpond in freshwater streams flow-ing into the pond, ends up affecting the fishpond. Same thing in the ocean. If the ocean is polluted from people throwing plas-tic and rubbish off their boats, or gas and other chemicals, it can impact the fishpond,” Kotubetey explains. He hoists a 50-pound bag of invasive Gracilaria salicornia onto a small pontoon boat. “The fishpond can be an indicator of how healthy your ahupua‘a is or how healthy your ocean is.” That day, we end up clearing 5,400 pounds of limu, more than any group has ever collected. “I always like to think of the fishpond as growing not only food, but growing people,” says Kotubetey. “We are growing a con-sciousness, being aware that our resources are finite, and understanding that we can still travel on the path of our ancestors who practiced at this very place.”

To learn more about He‘eia Fishpond or for volunteer opportunities, visit paepaeoheeia.org. THIs arTIClE was orIgINally pUblIsHEd IN FlUx HawaII magazINE IN JUNE 2010.


the Pond is Being used as a

Place of Practice, a Place

for our culture to live, to

see a little Bit of what is

still PossiBle.

Behind the scenes Of kualOa

ranch tO explOre hOw the ranch

prOprietOrs have wOrked tO

preserve and prOtect their

family’s sacred land.

Since the mid-’80s Kualoa Ranch has been internationally recognized as one of Hawai‘i’s premier tourist destination. Located on the northeastern side of O‘ahu, less than an hour from Waikīkī, Kualoa gives visitors access to 4,000 acres of pris-tine, untouched land. The ranch spans from the steep mountaintops of Ka‘a‘awa and Hakipu‘u valleys down to the sparking blue Pacific coastline.

Made famous as the backdrop for numerous Hollywood blockbusters such as Jurassic Park, Pearl Harbor and 50 First Dates, tourists and locals alike routinely flock to Kualoa to explore the working cattle ranch on their numerous jeep, horseback and ATV tours. But it’s not the ranch’s magnificent landscape, booming tourist op-eration or gleaming Hollywood connection that makes Kualoa a success, but rather the commitment from the ranch’s proprietors, a local family, who has worked diligently to protect and preserve this precious land for the last 161 years. Dr. Gerritt P. Judd purchased Kualoa from King Kamehameha III in 1850, and the ranch has been family owned and oper-

STEWARDS OF THE LAND:

Kualoa’s commitment to hawai‘i

T E X T B Y N O E L P I E T S C H S H A W


ated since. Run today by ranch president John Morgan, Kualoa is in its sixth generation of fam-ily ownership and management. According to Morgan, while the main function of Kualoa has changed over the decades, from agriculture to tourism, and now to cultural and ecotourism, the family’s long-term vision for the ranch has remained steadfast. “The way we look at it, we are the caretakers of the land, not only for our family’s future generations but also for the residents of Hawai‘i,” says Morgan. “It is easy to take the really long-term view if you have a long history because that history is ever present. It’s also a Hawaiian way of looking at things in that every day, in every decision we make, our ances-tors are sitting up there looking down on us and you have to honor that,” adds Morgan. Growing up watching their parent’s, grandparent’s, aunt’s and uncle’s devotion to Kua-loa helped to build the current generation’s commitment to sustainability, land stewardship and ultimately preserving Kualoa for generations to come. “Beyond keeping the ranch in the family, this land is very important from a Hawaiian perspective, so we want to do the right things from that per-spective,” says Morgan. “I also think that it’s important for the general population, who may

or may not have as much of an understanding of the traditional Hawaiian perspective, to still appreciate the preservation of a beautiful and important place,” adds Morgan. As Kualoa moves into a new decade of operation, there has been yet another shift in the ranch’s focus. While horseback riding and ATV tours are still avail-able, Kualoa’s main goal is to edu-cate their visitors about Hawaiian culture, nature, land stewardship, Hawaiian history and the history of Kualoa itself. To achieve this, the ranch has begun to weave educa-tion into the visitor experience, providing a rare glimpse into what Hawai‘i looked liked hundreds of years ago. “Moving forward, the ranch also has a lot of interest in the farm-to-table movement,” says Morgan. “We are hoping to in-corporate our current agriculture aquaponics and grass-fed cattle operations into our tour selec-tion so visitors can participate in harvest and then enjoy a chef-prepared, island-grown meal directly after,” adds Morgan.

Kualoa Ranch is open to the public seven days a week. Book-ing in advance is recommended for signature tours. The ranch headquarters, history exhibit, restaurant and gift shop are open to the public free of charge on a walk-in basis. For more informa-tion visit kualoa.com.


B E Y O N D T H E H O R I Z O N

B a n g l a d e s h

Bangladesh is one of the poorest and most densely pop-

ulated countries in the world, with more than 150 million

people living in an area slightly smaller than the state of

Iowa. It is bordered by India on all sides with Burma to

the southeast and the Bay of Bengal to the south. Even

in Bangladesh, specifically in Cox’s Bazaar, which boasts

77 miles of empty coastline, surfing has taken a foothold.

surfers here have a Purity and

love for surfing that seems

to have gone forgotten in the

western world.

F A S H I O N T R E N D S


S T Y L E D B Y A LY I S H I K U N I


LeAtHereD OUtis there anything hotter than a girl in leather shorts? nah, i don’t think so.

if you feel a little daring and wild, add everyone’s favorite rocker element – leather! – to your outfit for some serious edge. leather boots, leather jackets, leather shorts, You can never fail with these items. They’re major must-haves in your closet!

Printed dress, Diane von Furstenberg, Aloha Rag. Leather hoodie jacket, ALC, AlohaRag. Combat boots, model’s own.

HAIr Ryan Jacobie Salon

MAKeUPDulce Felipe + Royal Silver,Timeless Classic Beauty

MODeLSNellie Anderson Erica Miguel

I N N 8




BLAze A trAILCardigans and tuxedo blazers are the perfect fashion components to complement any look. add on the hot-ness with some deep mahogany red lips and a simple messy hairdo like a ponytail or bun.

Multicolor blouse, Marni, Neiman Marcus. Black short jacket, Paul & Jim, Barrio. Black harlem pants, Aloha Rag Original, Aloha Rag. Black crossbody bag, Milly, Neiman Marcus. Oxfords, model’s own.

I N N 8




A SMArt LOOKgeek-chic with a dash of boyish charm is what it’s all about this fall.

Find your grandmother’s old black-rimmed glasses, button those shirts up to the collar, and cuff up your trousers! it’s an easy and practi-cal look from day to night, straight from the office to your favorite local bar for martinis. keep it prim, keep it bold, and keep it hot while the weather cools.

add a little pop to an outfit with color-blocked tops or bottoms and bright circle sunnies.

Blue-blocked button down shirt, Celine, Aloha Rag. Chino pants, R13, Aloha Rag. Reading glasses, stylist’s own. Oxfords, model’s own.

Aloha rag1221 Kapiolani Blvd., #116808-589-1352aloharag.com

Barrio VintageChinatown Artists Lofts1109 E. Maunakea St., #[email protected] 808-674-7156Find them on Facebook

Neiman MarcusAla Moana Center1450 Ala Moana Blvd.808-951-8887

I N N 8


E X P L O R E




Blank Canvas is another locally owned bou-tique that has popped up in the arts district in Chinatown. Walking in, it would appear to be a shop filled with blank T-shirts. At a longer gaze the premise of the shop manifests. With more than 1,500 designs and dozens of different high-quality apparel styles to choose from, the cloth becomes your blank canvas.

“I wanted to bring variety to this com-munity, offering customers more than just pre-printed shirts that you see on 50 people walking down the street,” says owner Daniel Ng, graphics designer and silkscreen manufacturer. Ng has lived in Chinatown all his life and has seen first hand how culture

and the arts are growing within the area, especially with the arrival of other local retailers, like Fighting Eel and The Human Imagination. “So I felt Chinatown would be the perfect place to open.” Ng explains the process of creating the custom printed apparel: “You see a design you like, give us the number and we print it out on a shirt. You walk out with your very own custom T-shirt to give as a gift or sport yourself.” Prices for T-shirts range from $12 to $24, depending on the quality, and designs range anywhere from $1-$12. The shop, fresh out of the production stages, hasn’t gone 100 percent custom yet. “By next year we will have the facili-

ties to accommodate everyone’s design, whether it be an idea, photo or image,” says Ng. Also in the workings are consign-ment projects. “Our goal is to help people that want to start their own line but don’t necessarily have the revenue for it. With this shop we will be able to make smaller orders and sell their stuff right here in the store.” Blank Canvas is surely redesigning the blueprints of the tee.

Blank Canvas is located at 1145 Bethel Street. Open Monday through Friday from 10 a.m. - 6 p.m. and Saturday from 12 p.m. - 6 p.m. For more information email [email protected] or call 808-780-4720.

BLANK CANvASCreate custom apparel

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E X P L O R E


T E X T B Y J E F F S M I T H

I M A G E S C O U R T E S Y O F R O YA L H A W A I I A N

U N W I N D A N D R E L A X

Wandering the halls of a beachfront palace painted bubblegum pink, whilst sipping fizzy pink drinks, is just the sort of thing that fills the bedtime dreams of little girls hoping to wake a princess. This fantastical place, dreamt up on the premise of royalty, does ex-ist, and is indeed very pink.

Crowned the “Pink Palace of the Pacific,” The Royal Hawaiian Hotel opened its doors on February 1, 1927 to an age of luxuri-ous transpacific steamships, elite black-tie galas, and yes, princesses. Princess Abigail Kawānanakoa, next in line to be Queen of the Kingdom of Hawai‘i was the Royal Hawaiian Hotel’s first registered guest. Since the days of yesteryear, the Royal Hawaiian Hotel has only improved with age. We remember legendary celebrities, such as Marilyn Monroe, Dean Martin and Shirley Temple, who walked the beauti-fully wide halls, inspirationally decorated in Rudolph Valentino style. The magnifi-cent beachfront promenades of the Royal

Hawaiian Hotel served as the backdrop to blockbuster movies and were, for a brief period, commonly known as the Western White House while a temporary home to President Franklin Delano Roosevelt during World War II. Today, these remarkable hallways still evoke a historical sense of privilege and place, and as I walk past the antique display cases filled with relics of a time remembered, I stumble upon a place of re-newal. Tactfully placed amidst the gardens of this pink playground, Abhasa Spa offers an indoor-outdoor experience unlike any other in Waikīkī. I am escorted to a tranquil outdoor hut with canvas walls, enveloped in Hawaiian flora. Classical music accompanied by the chirping of birds lulls me into relaxation, into Abhasa harmony. Here, in the middle of Waikīkī, and a stones throw from the bustle of Kalākaua Avenue, a new sense of place emerges. My luxurious Abhasa harmony

treatment, a unique blend of traditional Hawaiian lomilomi massage and Asian-inspired shiatsu massage, commences with a liberal application of rosemary-scented lotion. The outdoor breezes carry rosemary, ginger and plumeria to my nose, as knotted tension points along my body’s meridian are released. The limp shiatsu points are then coaxed back to life with rhythmically long strokes of the forearm, mimicking the rhythmic tide of the ocean. I force my eyes to open during my massage to remind myself where I am. I am in a lush flowering garden within this pink palace, laying under trees that have seen the smiles of war heroes at rest, and listening to the wispy, unending breezes that carry the laughter of celebrities, digni-taries and princesses at play.

Visit the Royal Hawaiian Hotel’s Abhasa Spa located at 2259 Kalākaua Ave. For more infor-mation visit abhasa.com or call 808-922-8210.

ABHASA SPARoyal Hawaiian Hotel

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E X P L O R E


T E X T B Y J A S O N D E I G E R T

G O L F

As it says right across the top of the scorecard, Kāne‘ohe Klipper Golf Course, located on the windward side of O‘ahu, is “Home of the best hole (#13) in DOD.” The tee box on this glorious hole is situated 50 feet above the rolling waves of North Beach, on the edge of the Mo-kapu Peninsula. Mokapu, which means “sacred lands,” was once an ancient burial ground for Hawaiians. The area is listed on the National Registry of Historic Places, and entrance to retrieve errant golf shots here is prohibited. Construction on the first nine holes was completed in 1949 by architect William P. Bell, who was popular during 1910 to 1937 in what’s known as the “golden age of golf course design.” He designed many well-known private and public courses, such as

Bel-Air Country Club and Balboa Park Golf Course in California and Kona Country Club and Navy Marine Golf Course in Hawai‘i. Jimmy Ukauka, a local legend and Hawai‘i golf hall-of-famer designed the second nine. Bell’s finest hole is the 8th, a 391-yard, par-4 dogleg left. With water on the left, and tradewinds blowing right to left, it’s a pretty intimidating tee shot. The other holes on this nine are fairly flat and player-friendly, but be sure to look for the mini-pterodactyl-like ‘iwa birds riding the trades. My favorite hole on the back nine is the par-4 number 14. The 389-yard dogleg left is framed beautifully by ironwood trees, which have grown to the left due to the prevailing trade winds. According to PGA

professional Kevin Kashiwai, it gives the golfer a “spyglass feel.” Holes 13 through 16 are undoubtedly the prettiest consecu-tive ocean-scenic tee shots a golfer may ever come across. Golfers will also love the newly renovated clubhouse, pro shop, grill and practice grounds, which come complete with a grass driving range and huge putting and chipping green. This is one of the best practice areas on the islands.

As of 2011, Kāne‘ohe Klipper is open to the public. Contact PGA general manager Todd Murata about acquiring a “Friends of K-Bay Pass” to make it easy to get on the Marine Corps Base Hawai‘i.

KLIPPERGOLF COURSE

PGA PrO’S tIP: On a windy course like Klipper, one of the shots a golfer can benefit from is the “knockdown” ap-proach. Play the ball in the middle of your stance, grip down on the club one inch, and turn your body back and through so that your arms swing from parallel to parallel (9 o’clock to 3 o’clock). Keep the wrists fairly firm, and let your body rotation do the work. Use anything from a 7-iron to a PW. From inside 100 yards this technique will produce a low, straight shot that won’t get blown off your target line.

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E X P L O R E


I M A G E B Y B R O O K E D O M B R O S K I

K A I L U A

I N N 8


I M A G E B Y P H O T O B R E N T / S P L I N N O V 8 E V E N T S N O V / D E C 2 0 1 1

O‘AHU eVeNtS

Ho‘IKE 2011Date: Saturday, November 5, 6 p.m.Place: Hawaii Theater, 1130 Bethel St., Honolulu 96813 Contact: 808.528.0506, [email protected]

HawaI‘I spIrIT mUsIC FEsTIVal & HEalINg gardENDate: Sunday, November 6, 12 p.m. – 7 p.m. Place: Turtle Bay Resort, 57-091 Kamehameha Hwy., Kahuku 96731Cost: $20 advance, $25 door, kids under 10 FREE Contact: Kate Baldwin, [email protected]

Hard roCK lIVE mUsIC FrIdays Date: Friday Nights, 10 p.m. – 1:30 a.m.Place: Hard Rock Café Waikīkī, 280 Beach Walk Ave., Honolulu 96815Cost: No CoverContact: Tyler Stratton, [email protected]

world INVITaTIoNal HUla FEsTIVal 20TH aN-NIVErsary Date: Thursday November 10Place: Neal S. Blaisdell Concert Hall, 777 Ward Ave., Honolulu 96814Cost: $10 - $35, 3 day pass $15 - $90Contact: 808.591.2211

wIKI wIKI oNE day VIN-TagE CollECTIblEs & HawaIIaNa sHowDate: Sunday December 4, doors open at 9 a.m.Place: Neal S. Blaisdell Expo Hall, 777 Ward Ave., Hono-lulu 96814Cost: $4 general admission, $15 early entry at 9 a.m.Contact: Ilene Wong, [email protected], 808.941.9754

sTEVE mIllEr baNdDate: Friday December 9, doors open 8 p.m.Place: Neal S. Blaisdell Arena, 777 Ward Ave., Hono-lulu 96814Cost: $55 – $75Contact: 808.591.2211

JaNEs addICITIoN w/ prImUsDate: Friday December 30, starts at 7 p.m.Place: Neal S. Blaisdell Arena, 777 Ward Ave., Hono-lulu 96814Cost: $72.50Contact: 808.591.2211

saTUrday FarmErs marKETDate: Saturdays, November - December, 7:30 a.m. - 11 a.m.Place: Kapi‘olani Community College, 4303 Diamond Head Rd., Honolulu 96816Cost: FreeContact: 808.848.2074, [email protected]

wINdward mall FarmErs marKETDate: Wednesdays, Novem-ber – December, 3 p.m. – 8 p.m.Place: Windward Mall, 46-056 Kamehameha Hwy., Kāne‘ohe 96744Cost: FreeContact: windwardmall.com

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HalE‘Iwa FarmErs marKETDate: Every Sunday, 9 a.m. – 1 p.m.Place: 62-449 Kamehameha Hwy., Hale‘iwa 96712Contact: haleiwafamersmar-ket.com

SUrf HAPPeNINGS

THE rEEF HawaIIaN proDate: November 12 – 23Place: Ali‘i Beach Park, Hale‘iwa, North Shore

VaNs world CUp oF sUrFINgDate: November 24 – December 6Place: Sunset Beach, North Shore

bIllaboNg pIpElINE masTErDate: December 8 – 20Place: Banzai Pipeline, North Shore

MAUI eVeNtS

HUla o Na KEIKIDate: November 4 – 6 Place: Ka‘anapali Beach Ho-tel, 2525 Ka‘anapali Pkwy., Lahaina 96761Contact: Jenny Burke, 702.506.6655, [email protected]

waIlUKU FIrsT FrIdayDate: Every First Friday, 6 p.m. – 8:30 p.m. Place: Wailuku Town, Market St., Wailuku 96793Cost: FreeContact: Yuki Sugimura, 808.878.1888

wHEN THE moUNTaIN Calls & IN loVE wITH THE mysTEry prEmIErEDate: Saturday, November 5, 7 p.m. – 9 p.m.Place: Maui Arts & Cultural Center, One Cameron Way, Kahului 96732Cost: $25 general admission + MACC ticketing feesContact: Blaise Noto & As-sociates, 808.879.1227

24TH aNNUal KUla sCHool HarVEsT FEsTIValDate: Saturday, November 19, 9 a.m. – 3 p.m.Place: Kula School, 5000 Kula Hwy., Kula 96790Cost: FREEContact: Lisa Judge, 808.283.9280 wylaNd gallEry sHowDate: Thursday, December 22 – 23, 6 p.m. – 10 p.m. Place: Lahaina Town, La-haina 96761Contact: wyland.com

bENEFIT For THE bIrdsDate: Friday, December 30Place: Maui Brewing Com-pany, 4405 Honoapiilani Hwy., Lahaina 96761Contact: Laura, 808.573.0280, [email protected]

VaNs TrIplE CrowN oF sUrFINg Takes place every winter on O’ahu’s North Shore where the world’s top surfers com-pete for the crown.

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I N N O V 8 E V E N T S N O V / D E C 2 0 1 1


BIG ISLAND eVeNtS

6TH aNNUal moKU o KEawE HUla FEsTIValDate: November 3 – 6Place: Waikoloa Beach ResortContact: mokif.com

KoNa CoFFEE CUlTUral FEsTIValDate: November 4 – 13Place: TBAContact: konacoffeefest.com

wEsT HawaI‘I sEEd ExCHaNgEDate: Saturday, November 5Place: Amy B.H. Greenwell Gar-dens, 82-6188 Mamalahoa Hwy., Captain Cook 96704Cost: FreeContact: Diana Duff, 808.887.6411, [email protected]

CHrIsTmas aT HUlIHE‘E palaCE Date: Saturday, December 3, royal gates open 6 p.m.

Place: Hulihe‘e Palace, 75-5718 Alii Drive , Kailua-Kona 96740Cost: $100 per person Contact: 808.756.892, huliheechristmas.org

HolIday lIgHTs CommUNITy CElEbraTIoNDate: Saturday, December 10, 3 p.m. – 6 p.m.Place: Volcano Art Center Niaulani Campus In Volcano Village Cost: FreeContact: 808.967.8222, volcanoartcenter.org

soUTH KoNa grEEN marKETDate: Every Sunday, 9 a.m. – 1 p.m. Place: Amy B.H. Greenwell Ethno Botanical Gardens, 82-6188 Mamalahoa Hwy., Captain Cook 96704Contact: skgm.org

KAUA‘I eVeNtS

gardEN IslE arTIsaN FaIrDate: Saturday, November 12, 9 a.m. – 3 p.m.Place: Poipu Beach Cost: FreeContact: Judith Webb, 808.245.9021

dorIC sTrINg QUarTETDate: Sunday, November 13, 3 p.m. – 5:30 p.m.Place: Kaua‘i Community College Performing Arts Contact: Esther Richman 808.742.9204

19TH aNNUal HawaIIaN slaCK KEy FEsTIValDate: November 20Place: Hilton Kaua‘i Beach ResortCost: Free Contact: Milton Lau, 808.226.2697, slackkeyfestival.com

lIgHTs oN rICE paradE & KaUa‘I mUsEUm CraFT FaIrDate: December 2nd 2011Place: Kaua‘i Museum Grounds Cost: FreeContact: Chris Faye, 808.245-6931

waImEa CHrIsTmas paradEDate: December 17, 6 p.m. – 8 p.m.Place: Waimea Town Cost: FreeContact: Mark Nellis, 808.241.6500

aUdoboN CHrIsTmas bIrd CoUNTDate: December 17Place: Koke‘e Museum Cost: FreeContact: Michelle Hookano, 808.335.9975

I N N 8


NEw yEar’s EVE FIrE-worKs Date: December 31, 9:30 p.m. – 10 p.m.Place: Poipu Beach ParkCost: FreeContact: Jody Kjeldsen, 808.742.7444, poipubeach.org

GO! eVeNtS

baCK HomE 2011 FT. pEppEr & IraTIoNDate: Friday, November 18, 6 p.m.Place: Outdoors KBEx-treme, 75-5591 Palani Road, Kailua-Kona 96740Cost: $29.50Contact: Bamp Project, bampproject.com

poINT paNIC mUsIC FEsTIValDate: Saturday, November 19, 4 p.m.Place: Kaka‘ako Waterfront

Park, 300 Cooke St. Honolulu 96813Cost: $45 general admis-sion, $120 VIPContact: Bamp Project, bampproject.com

poINT paNIC mUsIC FEsTIValDate: Sunday, November 20, 4:30 p.m.Place: Maui Arts & Cultural Center, One Cameron Way, Kahului 96732Cost: $45 advance, $50 doorContact: Bamp Project, bampproject.com

brIgHT EyEsDate: Monday, November 21, 7 p.m. – 10 p.m. Place: Hawai‘i Theater, 1130 Bethel St., Honolulu 96813 Cost: $22, $32, $60Contact: Bamp Project, bampproject.com

rEo spEEdwagoNDate: Friday, November 25, 8 p.m.Place: Neal S. Blaisdell Concert Hall, 777 Ward Ave., Honolulu 96814Cost: $55 – $95Contact: Bamp Project, bampproject.com

rEo spEEdwagoNDate: Sunday, November 27, 8 p.m.Place: Castle Theater, Maui Arts & Cultural CenterCost: $65 – $85Contact: Bamp Project, bampproject.com

Every 3rd Saturday of the month!at BAR35, 35 N. Hotel St.

W H E R E T O F I N D


HONOLULU INTERNATIONAL AIRPORT(HNL), O’AHU

LANA’I CITY AIRPORT(LNY), LANA’I

HILO INTERNATIONAL AIRPORT(ITO), HAWAI’I

HO’OLEHUA AIRPORT(mkk), mOLOkA’I

LIHU’E AIRPORT(LIH), kAUA’I

KONA INTERNATIONAL AIRPORT(kOA), HAWAI’I*FOR FLIGHTS BETWEEN 1193-1868 AND 2000-2193, PROCEED TOCOmmUTER TERmINAL

KAHULUI AIRPORT(OGG), mAUI*FOR FLIGHTS BETWEEN 1193-1868 AND 2000-2193, PROCEED TO COmmUTER TERmINAL

W E L C O M E A B O A R D


TickeTing and check-in

Check in generally begins 3 hours prior to departure. We request that you check in at least 75 minutes prior to departure. Don’t forget that you may need additional time for parking and security lines-we don’t want you to miss your flight. You can check in at any go! Mokulele kiosk or our website www.iflygo.com, up to 24 hours in advance.

Boarding and deplaning

All passengers must be at the gate at least 15 minutes prior to departure or there is a chance you may lose your seat. If you are connecting to another airline in Honolulu, advise a ramp agent prior to leaving the tarmac, he or she will direct you to a walkway leading to the interisland and Overseas Terminals.

exiT row requiremenTs

So… you were one of the first onboard and lucky enough to snag row 8, which is designated as an Emergency Exit Row. This row offers our customers a few extra inches of legroom, but in return we ask for your assistance in the event of an emergency. If you are seated in row 8, you must be able to understand the passenger safety information located in the seatback, follow commands from the crew, be at least 15 years of age and understand English.

On behalf of go! Mokulele Employees, we’d like to welcome you aboard. The following information is to help make

your travel experience easier and more enjoyable. If you need anything at all, don’t hesitate to ask your flight attendant.

Thank you for supporting low fares and flying go! Mokulele. We hope you enjoy your flight!

in-FlighT saFeTy

We ask that all passengers remain seated with seatbelts fastened at all times. This is for your safety in the event of unexpected turbulence. If you need to use the restroom (located in the rear) press the Flight Attendant call button and ask if it is safe to do so.

passenger luggage

go! Mokulele provides the option to check 1 bag for $10 and a second for $17. Due to the size of our aircraft, we cannot accept surf/bodyboards over 6 feet in length. Passengers are asked to keep extremely important items like laptop computers and medication in their carry-on luggage.

smoking policy

The use of cigars and cigarettes while in flight is not permitted. This also applies to anywhere in or around the aircraft, so please refrain from smoking while deplaning. Smoking is only allowed in certain designated areas at our airports, so kindly wait until you are in an appropriate area before lighting up.

in FlighT Beverage / snack service

go! Mokulele offers a variety of drink items available for purchase onboard. go! Mokulele accepts only cash for these items at this time (US currency)

$2.00

Pepsi, Diet Pepsi, Bottle Water, Sierra Mist and Passion-Guava Juice

$3.00

Royal Kona Coffee Latté

$4.00

Heineken and Bud Light Beers*

$5.00

Maui’s Premium Organic Ocean Vodka plus your choice of mixer.

$5.00

Hamakua Plantations Lightly Salted 100% Pure Hawaiian Macadamia Nuts. 4.5 oz Can.

*These are the only alcoholic beverages allowed to be consumed onboard the aircraft. All alcohol must be served by the flight attendant only. Regulations prohibit go! From serving anyone under the age of 21 or people who appear to be intoxicated.

cusTomer service

[email protected]

888.435.9462

reservaTions

(888) I FLY GO2 (435.9462)

go! miles

questions or [email protected]

mesa airlines

Attn: Customer Care

2700 Farmington Avenue Bldg, K-2

Farmington, New Mexico, 87401

Tsa secure FlighT program

The Transportation Security Administration now requires all passengers provide their full name, sex and date of birth when booking an airline reservation. For more information visit www.tsa.gov.

conTacTing go!

Thank you for choosing go! Mokulele operated by Mesa Airlines and Mokulele Airlines. We value your feedback to help us build a better airline.

when conTacTing go! mokulele

Please include as much information as possible so that we may better assist you. This should include date of travel, flight number, city pair and your go! Miles account number (if you are a member). If not, Join... It’s Free !

A H U I H O U , U N T I L W E M E E T A G A I N


I M A G E B Y P H O T O B R E N T / S P L

I N N 8


v015. innov8 magazine (2011 november-december)

Documents

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