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The Road Retaken Hana Hou Magazine  Feb. / March 2023

1/23/2024

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When rain soaks the Kohalas, Waikoloa Stream runs. Photo by Jan Wizinowich
    At the Ulu Lā‘au Nature Park in Waimea on Hawai‘i Island, Clemson Lam is getting ready for the sixth graders. He sets out the rakes, pitchforks and gloves as the Hawai‘i Preparatory Academy students emerge from the forest on a trail leading from Waimea’s main street. 

    The Ke Ala Kahawai o Waimea Streamside Trail skirts the center of Waimea town between Lindsey Road and Kahawai Street. But while today you’ll find schoolkids, bicyclists and families walking their dogs, the trail has been a thoroughfare for centuries. Kamehameha I’s elite Kīpu‘upu‘u warriors traveled this trail along Waikoloa Stream to board war canoes at ‘Ōhai‘ula. In 1943, exhausted US Marines returning from the Battle of Tarawa built a camp here, on land leased to the military by Parker Ranch owner Richard Smart, where they recuperated before heading off to fight in Okinawa. The Marines paved some sections of the trail connecting the hospital (the converted Waimea School building) to Marine headquarters, built in an area that was once a martial arts training ground for the Kīpu‘upu‘u warriors. ​
PictureLeningrad Elarionoff talks story on the trail with volunteers.
Photo compliments of Ala Kahakai O Waimea trail.
After WWII, the trail fell into disuse; there was no access without trespassing on private land, and it had become overgrown with invasive plants. But Lam had a vision: The architect had been a bike commuter on O‘ahu before moving to Hawai‘i Island in 1980. But his new commute to Waimea on a narrow shoulder ran alongside forty-five-mph traffic. Rather than concede to commuting by car, he got inspired to create a scenic, multiuse trail providing access to some of Waimea’s beautiful areas and a safe, off-road route from one end of town to the other. In 1994 the Waimea Trails and Greenways Committee was formed, with Lam as chair. “We met every Monday from 5 to 6 p.m.—for twenty-six years,” Lam says. It took that long to secure the necessary easements and navigate red tape so work could begin on the trail in 2008. 
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​The work is ongoing—the trail is currently about a mile long but will eventually be five and a half—performed mostly by community volunteers like the HPA sixth graders. Today they’re spreading wood chips from invasive plants while a steady stream of bikers and pedestrians passes by the native species —ʻōhiʻa, ʻaʻaliʻi, hau—that have been planted along the trail. For Lam, his pet project has turned into a veritable calling. “After all the years of meetings, volunteer days and sheer physical work, when I’m here in the afternoons and see the ‘walking school bus’ of students heading home from Waimea School, it all feels worthwhile.” 

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Clem Lam on the trail. He was a spearhead for the trail and his enthusiastic efforts continue. Photo compliments of Ala Kahakai O Waimea.
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Poppa's Bones By Ana Kapihe

12/19/2023

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Picture`Ī`ao Valley
In my later twenties I was living in Santa Barbara and received the call that Poppa had died. My uncles told me to come home for his burial. Poppa had been living on O`ahu for many years, but our family is from Maui. He must have known his time was near because he died on Maui.
    I arrived back home and the uncles told me that I must help bury Poppa the right way, and
according to his wishes. This made me nervous and agitated. The “right way,” the Hawaiian
way, the way of respecting him as Kupuna, meant taking his body away.
   The government does not let you bury people anywhere you want or perform the old ceremonies. That night the uncles and I dressed in black and smeared our faces with black. I was crazy with fear and anticipation. I kept thinking, "Why do I have to do this? They are Poppa’s sons. Why is it my kuleana?" No answer.
    We got in the car and drove to the morgue. I don’t know how we did it, but we found his body and took it with us somewhere in Maui.     The next part maybe I should not say too much about. It is similar to some Tibetan practices.
We made a fire. I watched my uncles cut up Poppa’s body and remove the flesh. I learned that night that Poppa was not his body. The body is not the real person.
    They set aside certain parts, wrapped them tightly in a cloth and set them in a day pack for me. The rest was burned and the ashes carefully wrapped and put in my pack. They instructed me in the rest of the burial and drove away.
    Alone and on foot now, I had to walk to `Ī`ao Valley and spend the night. `Ī`ao Valley is the Valley of God, the only God according to the Menehune religion. After nightfall, this valley is fear-inspiring; Hawaiians consider it a gateway to the other worlds. In my lineage we are instructed to perform the burial after spending one night with the spirits in this gateway place. This is what I had to do next and the thought weighed me down as much as Poppa’s bones, my grief at his death, and the memory of the previous night.
    I trudged along the road, looking distraught, feeling extremely nervous, and crying. This attracted the attention of a policeman, who stopped me and asked me if I was okay.
“Yes,” I said, “only, I’m hungry.”
“Then why don’t you rest and eat something?”
“No, I have to go somewhere.”
He asked more questions, my anxiety screaming inside, but nothing about what I did last night or my pack. He drove off and I kept walking, but decided I would feel better if I did eat something. When I stopped, he was there too.
    The food helped, and I continued to `Ī`ao Valley and followed the river to the place my uncles had told me about. I took off the pack and tied it securely to the branch of a tree. I tie good knots.
    From my pack I pulled out the razor they had given me. It was dark now and I was more and more edgy as I prepared to shave off my hair as a sign of my grief. I didn’t have any shaving cream, so this was not easy. Afterwards, I tied around my head the scarf they told me to bring – so I would not attract attention.
    I did not sleep much that night, but I was just starting to doze when I heard a loud splash. I struggled against the wave of sleep that was taking me, barely waking up in time to make out the pack floating down the river, leaving a grey path after it – Poppa’s ashes. Frantically, I jumped into the water and got it in time. I tried to keep the ashes from leaking out completely. The spirits were having their sport.  ​

PictureMakena Beach, Maui Photo by Pierre Leclerc
    Next morning I set out without breakfast. The damp pack was still dripping Poppa’s ashes as I headed toward Makena beach, the next place. Along the way some hippie kids gave me a ride all the way there and dropped me off at the side of the road. Cool kids. I turned toward the beach. Strange, as I entered the area, that same officer as there again and despite the scarf I wore he recognized me.
    A change had come since last night. I was not struggling with my kuleana; I had become this kuleana, and was being carried in the current of its power. He looked at me. Something was different. I walked on, accidentally dropping two coins to the ground.
     “You dropped something,” he called. I slowly turned and looked him full in the eyes, “Don’t pick them up.” He knew then. He knew what journey I was on and let me go. Hawaiian people have certain customs. Hawaiians believe that if you drop anything on the ground, the earth, wandering spirits will enter into it. If you pick it up they can drain off your mana. So we do not pick anything up that has been dropped onto the earth.
    I reached the beach and just sat there. I was so very thirsty I could not make it any farther. As I sat, a monk seal came up on the beach. Somehow I knew to follow. I came closer, and as I did, I saw fresh water coming out of a hole in the rocks under the water. Grateful, I filled up my bottle, drank, and sat down again, thanking the seal. It stayed there. I stayed there. Then I knew, something told me, “Give it to him.” So I did. I gave the seal the package of Poppa’s ashes, and then he left, pushing the ashes into the ocean with him. Now I was able to get up and leave that place. Some people came by and gave me food. That’s how I knew I'd done the right thing.

PictureHaleakala back side. Photo by Maui Hikes
The next part of my journey, my kuleana, was to climb up the back side of Haleakala to a special cave known to my family. I had been there in my childhood. This is where Poppa’s bones would go. It took me three days. I brought no food but ate what I could find growing naturally along the way and gathered water from the mist that collected on leaves.
    How to describe my state of mind during this hike? I was constantly asking myself, “Am I doing this right? Are my ancestors watching me? Will I live through this? Will I get arrested afterwards?” It was a kind of torture going on in my mind. I was very dubious and anxious about my ability to pull this off. I just wanted it to be done, put in the past, in the worst way possible. And every step of the way I was apologizing to my ancestors and to Poppa for not doing it right or botching it up. I wanted to do it right but did not know what ‘right’ was. Even so, I knew the ancestors were with me because things just happened correctly from the few clues to the process that I had been given. I didn’t get lost; I found the trail, and when I came to the crater, the cave was right there.
    The cave was spooky inside. You could walk inside standing straight up, but the back was so low you had to crawl, and then it opened into another large chamber. I really did not want to go in there but I felt compelled. It was so dark, absolute darkness, and all I had were a few matches. Growing up in Hawaiian culture fills one with a deep respect for sacred places, and going into one, you have to remember to be extremely respectful and observant. Never, under any circumstances, enter a cave in Hawai`i when you see the image of a headless man. This is
the sign of Kapu, forbidden. Be sure you look first.
    I arrived at the cave and cleaned it and then unpacked Poppa’s bones and arranged them carefully according to tradition in the second chamber. The next step was setting the curse so that no one would disturb them. Hawaiian people over our history have sealed the bones of our Kūpuna with a curse and a sign warning anyone who would disturb the area. In this way, we preserve the sanctity of their burial. Before doing this I made all the signs warning of the curse, big and small, all over. I did not want anyone to miss this message. I carved the sign of a headless man in a stone outside the cave, using only a knife. It took me a couple days to carve this.
    I spent the night in the front chamber. It was freezing. When everything was set, I recited the curse. It was at this point that I again became confused as to my duty, my kuleana. To be pono, is to not cause harm to others, but this chant was setting a curse that most definitely would cause harm to anyone who disturbed Poppa’s burial site. But to be pono is to perform my kuleana. I struggled with this all day and night and meditated deeply on this conflict of kuleana.
    In the end, I finally did it because I realized that someone could actually hurt themselves more if I did not set the curse. Why? Because if you disturb the bones of a kupuna , the ancestors will be extremely upset for having the mana disturbed. To disturb the mana of a dead person is like stealing your ancestors mana or someone else’s ancestors mana. It would usually mean they will come after you as well!!!!!!!
    His burial completed, I headed down the mountain. On the way I was still brooding on whether I had done the right thing. But at that moment the mists came up the mountain and wrapped around me like a comforting embrace. Every doubt and fear washed away. I returned down the mountain and it was as if I had never been gone. 

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A Gathering of Peace, A Vortex of the Heart

9/30/2023

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Hāmākua Jodo Mission Temple. Photo by Sarah Anderson
PictureKatsu Kobayakawa Goto shrine. Photo by Jan Wizinowich
Like a guardian spirit, the Hāmākua Jodo Mission (HJM) sits on a slope above the old plantation community of Pā`auhau, backed by the gravestones of the many generations of members who attended and contributed to the temple and community.
    On Saturday September 23rd, HJM was once again the center of a vortex of the heart, an intertwined whorl of people ranging from Hiroshima to Indiana, who came together to honor the memory of Honoka`a hometown hero, Katsu Kobayakawa Goto (1862-1889), whose plantation worker’s advocacy efforts led to his lynching.
   Opened in 1896, the original temple, which was named the Hāmākua Bukkyo Kaido (Hāmākua Buddhist Temple), renamed the HJM in 1951, was located in Pā`auhau Mauka, the geographic center of the five sugar plantations. The oldest Japanese sanctioned Buddhist temple in Hawai`i and possibly the United States, the 24 by 36-foot structure stood on an acre of land, surrounded by sugarcane fields, with another acre designated for the cemetery, which is the final resting place of Katsu Goto. ​

PictureLeft to right: Draped in paper crane lei, Toyoko Saeki, granddaughter of Sekijiro Kobayakawa and her daughter Akemi were seated in the front row with their translator Akiko Furutani. All traveled from Hiroshima Prefecture for the celebration. Patsy Iwasaki and her illustrator, Berido. Photo by Jan Wizinowich
Saturday’s event took place in the current temple, a community project with more than 270 people directly involved and completed in 1918. The gathering, which was the penultimate activity of the Katsu Goto Legacy Week, was organized by HJM president, Sandy Takahashi and U.H. Hilo professor Dr. Patsy Iwasaki, who has written a graphic novel, Hāmākua Hero: A True Plantation Story, about Katsu Goto’s life. Published by Bess Press. ​

PictureHannah Cheng and Madison Mattoon cast members from "Peace on Your Wings" share songs from the musical. Photo by Jan Wizinowich
​    As people arrive, a trio of cast members from the `Ohana Arts musical, Peace on Your Wings, centered on the short life of Sadako Sasaki, sang purely voiced numbers from the play, calling forth the elder spirits of the 105 year-old temple. In Hawai`i we call that mana.
    Patsy began her path of peace when she became the first recipient in 1993 of a research grant from the Goto Foundation of Hiroshima (GFH), established by Dr. Fumiko Kaya, Katsu Goto’s niece. Along with her Kaua`i plantation roots, Patsy was inspired to write her graphic novel and shares some of Katsu’s story:

Honoka`a is a very special place and Hāmākua Jodo Mission, where Katsu Goto is laid to rest, is like ground zero for his story. Arrived in Hawai`i in 1885, Honoka`a was where he chose to settle after his contract was completed. Honoka`a was where he chose to open his store in 1888, which became a gathering place for the community and was a comfort for the Japanese workers because he stocked groceries from Japan that he shipped over from Honolulu. His store location is now a parking lot next to Gramma's Kitchen.
    Honoka`a is where he became a liason between laborers and plantation management at Overend Camp. This is where he advocated for improved working conditions and wages. This is where he facilitated mediation and served as an interpreter because he knew English. This (Goto's store) is where plantation workers sought help when they had problems. He became a labor leader and community advocate. So it is very appropriate, very fitting to have this service here at Hāmākua Jodo Mission during Katsu Goto Legacy Week. 
   Although his story happened over a 130 years ago, it is essentially about identity and the migrant experience, which is very relevant today.  It's a story about a regular ordinary person who did something remarkable. Who exhibited courage and bravery. That is something so inspiring and worth celebrating.
PictureDr. Katherine Wong and her family. Photo by Jan Wizinowich
​     Several family members from Japan, O`ahu, Hilo, Indiana, and Arizona were in attendance. Two of Katsu’s siblings, Sekijiro and Yuku immigrated to Hawai`i and started families. Draped with lei made from origami cranes, Toyoko Saeki, granddaughter of Sekijiro Kobayakawa and her daughter Akemi were seated in the front row with their translator Akiko Furutani, who traveled from Hiroshima Prefecture for the celebration.
    Dr. Katherine Wong, granddaughter of Yuku, stepped to the podium and introduced four of her eight siblings, their spouses and children. Born in 1934, Katherine Wong grew up during WW II, a time when the Japanese community in Hawai`i was overwhelmed by world events. “I grew up just a half a mile from here. We worshiped at this temple and visited the gravesite, but we didn’t know who he (Katsu) was because our mother never really talked about him. In retrospect we felt that at that time people were very afraid to talk about anything that was related to Japan. The war had started and they were hiding Japanese literature. They were burning many books,” she remembers.

PictureGraveside service officiated by guest minister Masanari Yamagishi, who serves as the reverend for Kohala, Honoka`a, Waimea, and Pa`auilo Hongwanji Missions. Photo by Jan Wizinowich
    But the way forward is found in understanding the past and in the last several decades, Katsu Goto’s legacy has re-emerged through the efforts of the Dr. Fumiko Kaya, Hāmākua Jodo Mission, Akiko Furutani, translator and board member of the Goto Foundation of Hiroshima and the Hiroshima Peace Foundation, as well as through the work of Dr. Patsy Iwasaki, Honoka`a Hongwanji Mission and `Ohana Arts.
A special graveside service was conducted by guest minister Masanari Yamagishi, who serves as the reverend for Kohala, Honoka`a, Waimea, and Pa`auilo Hongwanji Missions.
     Katsu Goto’s legacy was the raising awareness of the need for an advocate as well as a spiritual and cultural center for the plantation workers, who had left their home behind and were facing great difficulties. The temple that followed his untimely death was built by the community and remained as its center.
     “All of us feel that Katsu Goto's legacy was remarkable for the few short years that he spent here in Honoka`a. He accomplished more than any of us could possibly accomplish within that short period of time. Our family is very honored to be here and to continue the legacy of Katsu Goto,” concluded Katherine Wong.

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Spirit Dances:                                                                               Country Bon Dance at the Hāmākua Jodo Mission

8/22/2023

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Dancers move in concentric circles around the yagura. Original temple is the small building on the left. Photo by Peter Wizinowich
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    The Hāmākua Jodo Mission (HJM) temple sits on a hillside, tucked away just off the Mamalahoa Highway, overlooking the old Pa`auhau plantation settlement. On this Saturday night a normally quiet place of repose and reflection is jammed with people of all generations who have come to dance, rejoice and welcome the spirits of those who have passed away.
    Opened in 1896, the original temple, which was named the Hāmākua Bukkyo Kaido (Hāmākua Buddhist Temple), was renamed the Hāmākua Jodo Mission in 1951. The oldest sanctioned Buddhist temple in Hawai`i, the original 24 by 36 foot structure stood on an acre of land, surrounded by sugar cane fields. When the current temple was built, this original building was converted into a kitchen and dining hall, which is still in use today.

PictureHJM graveyard behind the temple. The graveyard was in existence several years before the temple was built. Photo by Jan Wizinowich
    The koholā-lele winds sweep around the grass clearing, located in front of the temple and behind to the newly cleaned and beautified graveyard, which stretches up the hillside from the temple. Perhaps the wind, along with the string of brightly lit lanterns that runs from the temple to the surrounding trees will invite the spirits to join in.
    The cemetery has an array of headstones ranging from carved marble to carefully arranged boulders to simple stones. These last are the resting place of unknown immigrants whose families had perhaps returned to Japan. It is also the resting place for Japanese laborers whose graves were transferred from Kukaiau.

PictureThe gravestone of Katsu Goto, who was an advocate for Japanese plantation workers and died for his cause. Photo by Sarah Anderson
    Obon has its origins in India with one of Buddha’s disciples whose mother was caught in the realm of the hungry ghost. When, by following the Buddha’s instructions, Mokuren was able to free his mother, he danced and chanted and was joined by the other monks. This Buddhist tradition came to Japan around the sixth century and melded with the Japanese tradition to honor the dead and became Obon (Festival of Souls).
    The HJM served as a place of worship where immigrants could gather as a community and take refuge from the rigors of plantation work. There is no record of the Bon Dances at the temple, but in the years before it was constructed, perhaps Hāmākua plantation workers held Bon Dances in the sugar cane fields or other open spaces.
    The temple’s cemetery, in existence several years before the temple, along with the stories of the many generations of temple members, tells the history of an island community that spans across the Pacific. Katsu Goto, who arrived in 1885 was among the earliest burials. Mr. Goto became a spokesman in a labor dispute between Japanese workers and the plantation and in October 1889 was found lynched from a pole on main street Honoka`a. Revered in his hometown of Oiso, Japan, the municipal museum there has created a memorial exhibit honoring him.

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    Bon Dances were yearly events across the island. A July 1927 Hilo Tribune Harold (HTH) story describes a Bon Dance at the Daifukiyu Mission in Honalo where 30 dancers dressed in traditional costumes were watched by 250 attendees. An August 1926 HTH story describes a Bon Dance in Waiakea where a homemade taiko drum, consisting of a barrel with two pieces of tarp tacked at either end, was used. 
    Normally, a red and white striped yagura (Japanese for tower or keep) topped with a platform, is in the center and holds the musicians, Taiko drums and other instruments that provide the rhythm for the dancers. But for tonight, the musicians have set up on the high front porch of the temple and a small red and white striped enclosure acts as the pivot point for the dancers.

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    Members of the Hilo Taiko group, Taishoji Taiko, (https://www.facebook.com/TaishojiTaiko/) are set up with chu daiko, medium drum; shime daiko, two smaller drums used to keep the back beat; an atarigane, a small brass gong and striker, called a shumoku, a carved piece of deer antler mounted on a bamboo stick; and chappa, small brass cymbals. The leader, Chad Nakagawa, calls out the popular song, Tanko Bushi, which originated in Kyushu region of Japan, specifically from Fukuoka and imitates the movements of coal miners.
     Japan and Okinawa are the sources of most of the HJM playlist. Similar to hula, each song has movements that tell a story, which are derived from the unique character of their place of origin. “Some are traditional folk songs, others are more modern. Fukushima Ondo, performed by Taishoji Taiko twice at HJM (we are so grateful for their participation and wonderful energy!) is traditional.  Many are about working, playing, romance, celebration, gratitude, peace, good harvest or one’s hometown,” shared Clara Toma, who with her husband Steve organized the playlist. 
    “Some songs are Hawai'i-based, particularly Hore Hore Ondo (about the immigrants working on the plantation and making a life here) and Shin Hawai`i Ondo.  There are also songs from Japan/Okinawa that are choreographed in Hawai'i for Bon Dance, such as Miruku Minari, which is about harvesting,” adds Clara.

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    The music begins and the dancers move in concentric circles. I join the dancers, all strangers to me, and try to follow along. The participants are a mix of confident, obviously experienced dancers, moving with calm and grace and people like me who are watching those dancers for our next move. I immediately feel a sense of inclusion and kindness; that it’s alright to just be a human among other humans.
    A few of the dancers are wearing formal kimono complete with elaborate obi. But the majority are dressed in unique happi jackets that range from silk batik to shiny silver brocade. Over the centuries there have been attempts at dress codes for Obon, limiting participation to those dressed formally in kimono. But for the most part dress is the choice of the individual. Chad calls out the song Korekara Ondo, danced with a small towel called a tenugui. Other songs call for a fan or kachi kachi (small wooden clappers).

This year’s tenugui, designed by Sandy Takahashi, Kyodan President, is reminiscent of old plantation days with its palaka print border and three ladies dressed in traditional kimono. “I took a different approach with this year's design to be a throwback to how tenuguis used to look - traditional and simple. I wanted it to tell a story and help educate people about our ancestors,” explained Sandy.
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    The country Bon Dances are island community affairs with dancers coming from various area temples and Bon Dance clubs from all over the island. I spot a group of four from a Hilo temple with matching happi jackets.
Children from babies to teens weave through the crowd. The music pauses and six year-old Liam, ace volunteer, races up the temple steps to pick raffle tickets and deliver prizes. The music resumes and the dancers are moving counter clockwise, while a few young dancers frolic clockwise. No matter.
    Eventually my knee gives out and I sit and watch and think of my mom, who passed away in 2010. Of Finnish origins, her small Oregon community built a gathering place where all generations came together to dance schottische and other traditional group dances, keeping the generations connected.
     The Bon Dance, which culminates the Obon celebrations, will continue on into the night to uplift the participants and bring joy to those that have passed to rest peacefully until next year.

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The Hāmākua Jodo Mission Temple. Photo by Sarah Anderson
References:
The Japanese Bon Dance in Hawai`i. Judy Van Zile.
https://en.wikipedia.org/wiki/Bon_(festival)#
https://memory.loc.gov/diglib/legacies/loc.afc.afc-legacies.200002880/
https://discovernikkei.org/en/journal/2006/7/8/obon/
https://archive.org/details/annualeventsinja00japa/page/16/mode/2up?q=Bon+dance
https://kauaisotozen.org/docs/newsletter.pdf

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Berdons Blossoming in the Moment

8/9/2023

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PictureKu'ulei Keakealani and Tootsie Berdon introduce "Treasures"
    The wisdom and beauty of Hawaiian Culture lives on in quiet acts of Aloha and through the daily endeavors of many people in Hawai`i Island communities.  In Waimea,  Kuʽulei Keakealani and Pua Case are two people who have worked tirelessly to facilitate a sharing of the many quiet endeavors that contribute to what makes life here special. Their latest project is a four part series of “talk story” sessions entitled “Treasures in Our Backyard”, which is taking place through the generosity of ʽIke Hawaii and four families who have lived the Hawaiian life style and made special contributions to the Waimea web of culture. The first of a series of these “talk story” gatherings took place at the Berdon ʽOhana farm.
    If you’ve lived here long enough to see a parade or a high school graduation you will have noticed the gorgeous lei gracing our graduates, the vibrant hat lei of the Paniolo, and the exquisite haku lei of the paʽu riders as well as the abundant flowers that grace almost all events.  This beauty encourages us to be present in the moment and to connect with the deep wisdom of the natural world; this is central to the Hawaiian way of life.  The Berdons are a family who, through multiple generations, have made this the center of their lives. 

PictureA treasured Protea.
    The weather is surprisingly dry and sunny when we arrive at the Berdon Mana Road farm, a sprawling verdant 30 acres dotted with many treasures.  We gather on the grass and Kuʽulei introduces Aunty Tootsie. “This is a dear, dear aunty to me although, not a blood relation, still it really doesn’t matter. I grew up watching her dance hula. Her niece is my best friend so our families just connected.  Our prom pictures, when we were getting ready for prom was at grandma’s house.  In grandma’s yard by the protea is where we posed in our gowns and then off we went to our senior prom. What we wanted to capture was families, our treasures that are right in our own back yard, Hawaiians who partake, who live in a particular custom or tradition.  For Aunty it is flowers, lei.”
    As we walk among the unique collection of protea, Aunty gives us a little history. “That’s another facet of my Hawaiian family.  My mom, Bernice was born in Waipio Valley;  her parents were 100% Hawaiian taro farmers and then they came here to be vegetable farmers.”  Bernice and her husband Alfred took over the farm 57 years ago when Tootsie’s grandfather left to be a kahu.  While they primarily grew vegetables, Tutu Bernice soon began growing and selling flowers and lei.  “Mom opened the first flower shop in Waimea. It was there by Sure Save, Ben Franklin, called Bernice's Flowers.”
(Link to story: https://www.newspapers.com/article/49859047/story_berdons_turn_flower_hobby_into/)
    The flower shop was sold when Tootsie was still in high school, but 32 years ago she decided that she wanted to be in the flower and lei business.  “Back in the day it was really different.  Tropicals were not so big.  Lots of carnation.  Mom grew many of her own flowers.”  Growing what you need is a philosophy that is in evidence.  “The more you raise, the less you need to purchase. Everywhere on the farm you’ll see lehua of every color and we raise our own foliage.  Just trying to stay alive in this economy.”
    The knowledge of growing and lei craft, Tootsie got from her parents, “My mom and my dad are the farmers and the teachers.  I also learned many, many things from Marie McDonald (“Ka Lei”), my neighbor. She is such a loving, giving person.” The lei tradition was passed to Tūtū Bernice from her father, “My mom learned to make an akulikuli lei because papa just made them do it to wear on his hat.  Just to wear around town.” Now, Tootsie’s parents live right down the road and Tutu Bernice, who is 80, may have a slipping memory but she has certainly not forgotten how to make lei.

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Jill (Deedee) Berdon
    Our next stop is the central hub, a large shed that contains the office and the packing operation.  Behind the counter we find Jill (Deedee) and her friend Kelsey.  “Hello girls.  This is Kelsey and Jill.  Jill is my daughter and this is where it all happens.” Behind them on the wall is an enormous white board, covered with work orders. 
Deedee gives her manaʽo about the work they do and how she got involved, “I went to Florida, to the University of Miami and that’s where I had my daughter.  I had a guy ask me if we wanted to sell flowers.  I talked to my friend and asked her, ‘Do you really want to sell flowers over here in Miami because we can do that at home’.  I came back, but I didn’t do it right away.  I was teaching at Waiʽanae and that was really difficult.”
    So Deedee (Jill) and Kelsey came to Waimea.  “I told her, ‘Just come home, give it a year and if you don’t like it you can leave.’  Well she’s been here three and a half years so I guess she’s here for good.”
    Deedee has a deep appreciation for her ʽohana and the ʽaina.  “I’ve gone all over the world and I’ve never seen an akulikuli lei.  It’s something my grandma does as a hobby. A kind of ‘I just do this to pass the time activity’ and it’s really an art and she doesn’t know how special it is.  My Mom’s been doing it for 35 years and she doesn’t know how special it is.  And so I just decided that it was time that somebody that knew how special it was would come here and make it special for everybody, to remember that this is where we came from and years of family history that I didn’t see going to waste. Make beautiful things with beautiful resources.  That’s the Hawaiian way. It’s all just to say aloha.”
Picture
Akulikuli lei
PictureTootsie sharing more treasures.
    We journey further to find more treasures.  Kahili ginger is growing along the trail and a heifer and calf munch peacefully.  Coming through an opening in a row of trees, we stand before a huge, neat field with pristine rows of lettuce. “This is my brother’s. He just grows three kinds of lettuce and radish. Enough for him to survive and he’s good at it.  The land is so big so he rotates and he doesn’t have to spray.  No pesticides.”  Bordering the vegetables are the akulikuli beds.  “The girls and I have just started to get into it since Xmas is over, these two patches.  We normally plant a little section just this big every year and that’s all we really need.”
    Pua shares her manaʽo about what we are seeing here and how it connects with our daily lives.  “Waimea, if you’ve been here all your life, for those of us growing up here 50 years ago and even before that, everybody at an event had a lei on.  Every paniolo, every cowboy.  You no go rodeo without flowers on your hat, a hat lei with fresh flowers. In today’s lifestyle we don’t have time or our kids don’t know how, which is part of why we are doing this. Today’s Waimea is extremely different in the flower, in the lei.  Very few Hawaiians especially in Waimea that at every event has a lei on.  The exception to that is Aunty Maile Napoleon who lives by the park.  No matter what event, she will have a lei on and everyone in her entourage will have made a lei and have a lei on. If she knows you’re going to be someplace, like the opening of the film festival, she couldn’t stay but she came to the opening just to put a lei around my neck.  She just honored what we were doing. And one of the oldest lei that our people have worn is the akulikuli and this is where it all begins.” 
    Living from the land is an important aspect of aloha, but the Hawaiians also celebrated life by creating beauty from the incredible resources that surrounded them.  This is a tradition that has been carried on by the Berdon ʽOhana, but is also slowly being lost.  “Back in the day, everybody had akulikuli.  You could go to the airport and pick.  Around the health center, all over Waimea.  We really need people to plant and make use.  That’s the only way we’re going to get people to wear more lei.”
    The idea of creating and protecting island resources is vital to maintaining our aloha lifestyle.  Kuʽulei who lives this lifestyle every day, shares that, “Perhaps you might see me, my kids, my dad, my sister in a parade and we’re wearing these lei. Hands down, every parade we going to be there and we’re going to need lei.  Quite honestly, we don’t make them.  It’s a phone call to Aunty Toots or we going to our other resources who we know are the lei people.  The Bertelmann ʽOhana. Those are the people that put our lei together for our horses, for our bodies to be adorned with them.  Perhaps in our little yards we can start growing the things we need.  And that is how it should be.  Not just utilizing the resource and then what?”  

PictureOne of Albert Berdon Senior's Ali'ikai fishing boats.
    The Berdon ʽOhana also has ocean roots. Have you ever seen any Aliʽikai boats cruising around, hauling in fish? Well here’s the story of their origin: Aunty Tootsie’s dad, Alfred was born in Kawaihae, where his dad was a fisherman. “In the 1930’s he owned 7 sampan fishing boats.  The men would go out in the morning and hook aku and all of that and come in and my papa would distribute all around the island. Back then the roads was crazy and it took him the whole week to deliver all that fish.”  When Papa died young, making it necessary to sell the business, a seed was planted. “My dad grew up a fisherman and it was always deep down inside he wanted to eventually build a fishing boat for Hawaiian waters.  He would sit at night drawing his dream boat.” And eventually that dream was realized. “My brother took over the vegetable farm and we traveled to Seattle and we went and visited boat shops and he found out how to do it all.  He came home and built the mold and Dad built Aliʽikai boats for many years.”

     Pua reflects about the “treasures in our backyards” that are the webs of culture that really define this place. “Every family in Hawaiian Homes that dates back has a story like that.  And when you get to know people or you just pass by and ‘I know that’s the Berdons and I know where to get a lei if I need one’, or you see them at the Saturday market and you have a relationship.  That’s what it’s all about is relationships.”  
    There is so much old knowledge that has been lost and we don’t’ even know we’ve lost it.  There is a legacy of knowledge and wisdom  before our very eyes that we can’t see or appreciate. “Right here in this village are people that are every day doing unbelievable things and we don’t even know about it. The root and the core and the foundation of Waimea are the Hawaiians who live here.  Even their own children and grandchildren don’t know.  Everybody doesn’t still cook in the imu, everybody doesn’t raise their own food, everybody doesn’t play music in the garage at night. For us, this is a treasure.”
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The Garage Light is on: Nā Mele ʽO Bertelmann

8/1/2023

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    We are gathered in the yard of the Bertelmann home in Kukio Village, Waimea for the third in the series: "Treasures in Our Own Backyard" (2013), presented by Pua Case and Ku'ulei Keakealani through Waimea Middle School.
    We have an array of multi-generational musical talents before us, a lei of beautiful, unique flowers that blend together to create something much greater than the sum of the parts.  As well as their music, the Bertelmann’s are ranchers and a major force behind the waʽa (canoe).  Kuʽulei Keakealani: “Today we have three generations of the Bertelmann ʽOhana.  This is Aunty Deedee Bertelmann, who is māmā of this group. Daughter Pomai, son in-law/ son Chadd, son Kealiʽi, daughter Kekoho, another daughter Lauaʽe and family friend Kapena.
Picture
Ku'ulei Keakealani, Deedee and Pomai Bertelmann, Chadd Paishon.
    There are many layers to contemporary Hawaiian music, but from the very beginning was lōkahi ---  harmony or agreement.  Musically the concept of lōkahi is expressed as a harmonic blending of voices: Ka hui maikaʽi ʽana o nā leo mele.
    Aunty Deedee Keakealani Bertelmann: “For us, harmony is a big deal. We can’t sing and not have harmony, yeah? So with music, harmony is important, but when you look at life, harmony is also really important. We have to get along with each other. That’s what we based our life and our children’s lives on.” These are the layers and traditions of Hawaiian music that have traveled through the generations and call out from the Bertelmann garage on a regular basis.
    Ku'ulei: "Last week and the week before we started off with our Kupuna.  And it is to ask the question: ‘Who was your teacher?’ As we can see our focus is music. This is the legacy of the Bertelmann ʽOhana. I don’t want to do a lot of talking this session only because after the first song, I’m sure we’ll be all fine if no other words are said. Because their voices are absolutely a gift. Perhaps Aunty can tell us about a generation before her. Her teachers.”
    Aunty Deedee: “That’s a question you don’t often think about, yeah, were did it all start? You don’t even think about it cause you just do it. So when somebody poses that question: ‘Who taught you?’, I just remember as children in our home there was music all the time. It just kind of grows on you.  Some people say that it’s in your genes and perhaps it is.  I just know that in our home my mom sang. My mom had a beautiful soprano voice. My dad sang.  My dad also played instruments; he played the ukulele and the banjo.  There was always a comment that, Uncle Kimo, his name was Kimo, he would start a song but he never finished the song."
Picture
Aunty Deedee and Ku'ulei
    Aunty Deedee: “Playing music was a constant thing.  I remember always coming to our home and music was always happening. Somebody always brought an instrument or picking up an instrument and music was always being sung. Then I remember because we were active church members going to church and of course we had an aunt who was the music director, who taught all the music and led the music in church. So eventually I would hear, my mom was talking on the phone, and she would come off and say, ‘O.k. Aunty Thelma said there’s practice tonight,’ and we would have to go and practice with Aunty Thelma.  So I’m sure that was part of it.”
    Learning an instrument the Hawaiian way is done by: Nana ka maka (look with your eyes); hoʽolohe pepeʽiao (listen with your ears); paʽa kou waha (close your mouth); hana ka lima (work with your hands).
    Aunty Deedee: “How did I even learn to play the ukulele? I just remember having it in my hand. I can’t remember where it started.  It must be cause my dad.  If an ukulele is laying around, today it’s no different. If they see you playing they eventually pick it up. So one of my granddaughters, her name is Anuhea, she’s 16, she’s playing the guitar now and she’s fortunate that she has her Uncle Chadd but she also learns a lot on her own so I’m watching the process and she’s  teaching herself. And then when Uncle Chadd’s here  she’ll say, ‘Uncle, what about this and how do you do this?’ So I think it’s both. You learn a lot on your own and you learn a lot from others.  She’s picking up a lot from the computer. Going on the computer and just learning from that.”
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Ku'ulei, Pomai, Chadd
    Music has grounded this ʽohana in aloha and lōkahi as connections are made through mele within the ʽohana and within the community.
    Pomai: “To us, we actually had really good teachers.  It was the garage and actually the kitchen in this house is pretty famous too. If the walls could talk….Part of why I learned how to play was that I used to watch Aunty Auhea Puhi who used to sit on the freezer with us and we used to sit on the counter in the kitchen when it got too cold. We were all packed in there and I remember I used to be amazed that she used to change chords so fast. I was thinking we have a bunch of ukulele’s on the wall but I don’t know how to play em yet.
    "It was the same for Aunty Lorna’s garage. Because we used to go to Aunty Lorna’s house all the time, especially when Uncle Sol and Uncle Richard would come. The falsetto when the Hopiʽi brothers would sing.  Amazing.  Sometimes we’d be outside playing on the road or the backyard and we’d hear these haʽi that these men were singing and you’d come flying through to the front and you just kind of stand there like what is going on? The community was really good to us.”
PictureClayton Bertelmann
Later, when Aunty Deedee married Uncle Clay Bertelmann and had her own family, the musical traditions were perpetuated. “It’s really something because my husband and I would be singing and then eventually the children were the ones who would take the lead, doing the melody and we were in the background doing the harmony. Later when we would talk afterward Dad would say, ‘Did you notice they were singing and we had to do the background for them?’, which is good because you could see this happening.”
    Kuʽulei: Mentioning Uncle, Uncle Clayton Bertelmann is the father, husband, Uncle. But this hale, this kitchen, this house, was home to many kanikapila. Most of the time for no occasion. Sometimes for occasion. But this is a childhood memory. This house and music, Uncle Clayton. There’s one particular song, “Pua Hone”. For me, I hear that song and I see this house or the kitchen or Uncle.

    Uncle Clay, voyaging canoe builder, captain, navigator, teacher contributed much in his too short life. Kealiʽi : “My father (Clay) passed away this year, 8 years ago (2004). When he was in the hospital before he passed away I would go into the room before we were leaving the hospital to come home and I would sing this song to him, even if he was, I think at times he was really incoherent and he couldn’t respond, but I knew that he could hear me because of the expressions that would come to his face. I would sing this song to him every night because it reminded me of when we were children and how they would sing it to us. It’s a song called ‘E Kuʽu Morning Dew’ by Uncle Kimura.”
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Pomai, Chadd, Keali'i Bertelmann
Place
    The ʽāina has inspired many Hawaiian mele; legend associated with particular places is connected to contemporary stories, linking place with the past and the future. Kealiʽi: “This mele I’m going to sing for you right now is a mele titled Nā Puʽu. If you look, the puʽu to my left is puʽu hokuʽula and the puʽu to my right is pu’u hoaʽhoaka and it’s a mele that compares those two pu’u to a pair of lovers. Two friends of mine who are in a love affair; I wrote it to honor those two friends of mine. On the western facing slope there are two ohia trees and you can only see one from here. When I wrote the mele I was down in Lalamilo where you can actually see the trees and as I was sitting there composing the mele, those two ohia trees reminded me of the story of the lovers ohia and lehua. So in this mele it’s kind of intertwined this love story of ohia and lehua.  But puʽu hokuʽula is the place also where the god and goddess Wao and Makuakuamana were wed.  That landscape in particular for me represents the aloha between two people.”
    Kuʽulei: “I have something to interject.  If you do not know, now you will. Brother Kealii is the 2011 Kindy Sproat falsetto contest winner.  And this is the song he won it with.” As Kealiʽi sings, we look out across the plains of Mauna Kea stretching behind him and feel Keali`i’s strong connection to the puʽu behind us, we can imagine for a moment that we have been invited into the great stories of this land. 
    Keali'i:  "It was an honor to enter the falsetto contest this year.  I entered for many reasons. There was a few times that I got to go and sit on the lanai at Makanikahio and sit with Uncle Kindy before he passed away. And it was an honor because our families were pili together. My grandfather and their ʽohana, there was such a closeness there.  This mele I’m going to sing is a song that Uncle sang and if I’m not mistakes it was a song he learned when he was younger from the people in Miloliʽi. And really it’s a very simple song and it’s a song that just kind of talks about the delicacies from the ocean that we kanaka love to eat. I call it the fish song because I don’t think there was really a formal title for it. It was just a mele that he sang that talks about different types of fish and what you eat of that fish.”
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Chadd, Keali'i and Laua'e Bertelmann
    Kealiʽi: “My sister Laua’e is going to sing this song.  Written by Uncle Eddie Kamae and Mary Kawena Pukui.  So Tūtū Pukui is from Kaʽu and lived on Oʽahu in her adult life. When they wrote this song, she went back to Kaʽu with Uncle Eddie and wrote this song about places she came from.”
 
Ke Ala a ka Jeep
 
Inā ‘oe e kau ana i ke ka‘a Jeep
He loa ke ala e hele ai, he kāhulihuli
Ma nā pi‘ina nā ihona piha pōhaku
‘Alo ana i nā pānini me nā ‘ēkoa
 
Ho‘opū‘iwa i nā pīpī a holo i kahi ‘ē
Pēlā mākou i hiki ai i kai o Waikapuna
A mai laila a Pā‘ula me kona hiehie
‘Ike aku i ke ana ‘o Puhi‘ula
 
Ho‘i hou aku i Nā‘ālehu me ka ka‘a Jeep
Hau‘oli ka helena me nā makamaka
Alu aku i Kalae a me Kaulana
A ‘ike iā Palahemo wai kamaha‘o
 
A hiki mai i ka hale o ka makamaka
Luana i ka la‘i ‘olu o Wai‘ōhinu
Ha‘ina ka puana me ke aloha
No ka ‘āina ka ua o Hā‘ao

Ranching Lifestyle
The ranching life style is inextricably linked to Hawaiian music.
    Pomai: “… beyond the fact that Kuʽulei and us are family and we’re related through culture, but [we are connected] more specifically through our ranching lifestyle.  That lifestyle actually afforded us the opportunity to be with a lot of families. And all those families sang.  Whenever rodeo was pau, we sang, whenever rodeo was happening and we didn’t have to be roping or racing or something like that, we were under the trailers, parked side by side with the canvas over and we were cooking and singing.  We were really blessed to be raised in a good community where we always got together, equally important to what we got from home. That’s really what helped us too, to learn as much as we have. There’s that reinforcement too, not just within the household but within the community too.”
    Kuʽulei: “…growing up and being around the cowboys. Their fun songs; songs that have been way into the night, early in the morning. And if you want, just to call them kolohe songs, or songs that have a rascal nature to them.  When you have a chance to hear these songs, sometimes they make sense, sometimes not at all.  But, you know these are the times you might find my father dancing on the table. When you hear him go ‘Batman’, that’s one of those songs.”
    Keali`i: “We were raised singing and to love Hawaiian music.  My father loved Hawaiian music. The Sons of Hawai`i records, we grew up listening to that.  We had our own ranch; we were raised on the ranch. My dad them entered rodeo and they did those sorts of things. The music comes with the lifestyle and because they were cowboys, we loved country music and we still do. I’m hoping that my sister will sing a song.”
    Pomai: “We grew up watching Roy Anthony. I don’t know if anyone remembers Roy Anthony, but he was a big time live deal for us over here as little kids.  And we were really stoked because he’d always end up over here at our parties, through some way shape or form.”
PictureMakali'i under sail.
 Waʽa
     The Bertelmann ʽOhana are musicians, dancers, composers and ranchers, but they are also of the sea.  Uncle Clay was instrumental in the creation of Makaliʽi, Moku o Keawe’s voyaging canoe as well as the onboard educational program that now takes place annually. Pua Case: “I never knew this yard for music.  I knew this yard and that kitchen table to be a place of very serious work and still is. Every time I come here, we in serious planning. You know we doing something serious. And that’s how I know this yard.  From the moment I sat on that table and Clayton Bertelmann was planning to build a canoe for his brother (Shorty), I’ve know this house to be that. So they have a whole other side of them that hopefully we’ll bring out.  They’re not just ranchers and not just singers, but they are also people of the sea.”
    It was through the canoe that Pomai met her husband Chadd Paishon, who had sailed on the Hōkūle’a with Uncle Clay as his captain. 
    Pomai: “Chadd’s family is a really amazing family.  His mom is an Aki and his dad was a Paishon.  His grandmother was a beautiful, beautiful song writer. Many songs of which you hear today being sung on the radio.  He has roughly, currently alive first cousins, about 40 of them.  Forty-seven of them.  And they all sing.”
     Chadd: “It’s no different like mom was saying for us for my family.  My weekends were spent with my grandmother.  Like Pomai said, she was a hula dancer, singer, composer.  But for us growing up in our house on Oʽahu, all of us cousins all knew what we were doing on the weekend. We were going to be with grandma at somebody’s house.  You were either going to be learning a song that she wrote or you were going to be learning the hula to that song.  That’s the only two choices.  Either you sing or you dance, you pick. It’s going to be one of the two.  So I picked singing, but I also dance.  Whenever we do have the chance to get together we all sing. 

Picture
Aunty Deedee and the twins
    Kuʽulei: “We have two beautiful girls join our hui. This is Hoʽoipo and Kaʽala, they are mahoe (twins).  Two more of Aunty Deedee’s grandchildren. Here’s Māmā, Pelika herself is a very talented ukulele player, singer.  I had heard that the ʽohana had taken a trip to New Zealand, recently.  I believe it was a conversation with Sister Pomai, and she said, ‘Oh, the mahoe were very entertaining.  They were really singing and playing, at different marae, they are really coming into their own.’ 
    They are classmates with my middle daughter and I will say, Nahe will come home and say, ‘The sisters taught me F today.’ So Aunty, yet another example of how, it’s to hoʽomau and that Ipo and Kaʽala are teaching my little one.”
 Keali`i: "This mele they’re going to sing: For a couple years, the three kids, my sister in-law worked for the University in Hilo. They would stay in Hilo and the kids would go to school in Keaukaha and this mele they’re going to sing is a mele about Keaukaha, a song titled Kamalani o Keaukaha."
 
Kamalani o Keaukaha by Lena Machado
 
Nani pua `a`ala onaona i ka ihu
E moani nei i ka pai pu hala
Mehana ku`u poli i ka hanu a ka ipo
I hui puia me ke aloha pumehana
 
 Beautiful, flowers sweetly fragrant
 Scented, gentle breeze in groves of hala
  My heart is warmed by my darling's breath
  Kiss sweetly fragrant with the warmest love

Carnation i wili `ia me maile lauli`i
`Iliwai like ke aloha pili polu
Darling sweet lei onaona o ia kaha
E ho`oipo nei me ke Kamalani o Keaukaha
 Carnation entwined with the small-leaved  maile
 Love moistly clinging, level as water's surface
 Darling, sweet fragrant lei of this place
 Sharing love with Keaukaha's favored child

Concluding Manaʽo
    Pomai: “There’s songs that are really, really beautiful to listen to and they all have their own messages. Each song, whether it’s traditional or not has a story. Every one of them, if you listen carefully enough, if you pay attention to it enough, if you’re actually able to sit quietly and listen to it and become ma`a (familiar) to it, you recognize there’s a story in it.  And so I think we’ve been very, very fortunate to grow up in an amazing place, but we’ve also been very fortunate to grow up with amazing people.  Who shared music with us.  In many, many ways I don’t think they realized they were teaching us something that was invaluable. To understand and to become familiar with our language again and then to interpret and be able to understand all of the content and all of the lessons that are embedded in those stories so our lives have been more rich because of that.  That is something we value.”
    Kuʽulei: “Last week at Aunty Lorna’s there were many highlights, but one of my highlights was hearing Uncle Willy say to his children, who were there and his two grandsons that were there that he was happy that they were hard workers. In essence to me he was conveying the message that he was proud of them.  Then to hear Willy Boy say mahalo to his mother and his father for everything.”
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Kōnea o Kukui: To Restore the Light                                             Ke Ola Magazine Jan. / Feb. 2023

1/9/2023

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Picture
View of the garden from above. Pavilion on the right. Photo by Jan Wizinowich
With the passage of time, a place becomes layered with the spirits of beings and events that hold the stories and wisdom of those who have gone before. Many may not notice or recognize the spirit of the land, but on Hawai‘i Island, it is still very much alive, if one listens to what Hawaiians call mana.
   Nani Svendsen is one such person. Along with the hearts and hands of many others, she has created a beautiful refuge, called Kōnea o Kukui. “Kukui means light or enlightenment. I didn’t give it that name; it’s been in my family for seven generations,” said Nani. 
PictureNani in her element. Photo by Jan Wizinowich
Roots in the Land Holding Steady
   Nani had an ideal, land-based childhood. “I grew up on the Kohala ditch; we were the last family to live there. My parents’ job was to regulate the water. I was born in Kohala but I was raised in Waiapuka, two miles up where they used to start Fluminʻ Da Ditch. There was nobody around us, the stream ran next to the house, and we were isolated from everyone else. Off the grid. So, it was furo [Japanese bath], kerosene lamps and stove. Lived like that until I was 11,” remembered Nani.
   Nani’s ancestors came to Kohala during Kamehameha’s time. “They were from Hana, Maui and they were stewards to the heiau [temple] on the bluff at Keokea,” said Nani. Since that time, the land has gone through many phases and witnessed many family events. At times it’s been a home dwelling, while at other times a refuge.

A River Runs Through It
   Perched above Kēōkea, the botanical residents of Kōnea o Kukui cluster around a stream whose journey feeds into the Pacific at Kēōkea  Beach Park. I arrived at the garden on a sunny day in May, and Nani greeted me at the top. The first view of the garden was from the perspective of a floating cloud just above a lush, orderly jungle of greens and flowers. To the left is a lo‘i (taro patch) and in the center is a small house and a pavilion.
   Nani and I talked story for a few moments and during that time, I felt the pull, an irresistible invitation. The trail to the garden slopes downhill and is lined with red and green ti, ferns, coconut palms, begonia, and hala trees. The first thing I noticed is that everything slows, like there is no time at all. A switchback led us further down. We stopped on the trail to be welcomed by a Java rice bird who sat on the branch of a ti plant—it had a lot to say that morning. When it was done talking, we were allowed passage.
   A bridge crosses the stream at the bottom of the trail and then we were in the heart of the matter. We passed a pond with lotus blossoms as we climbed up the bank on the other side. Looking downstream I saw into a community of connected beings, a chorus of welcome.
   Nani’s many years as a florist are reflected in the garden. The place spoke to her of color, contrast and balance. Where there were disconnected pools, Nani saw a channel of flowing water. 

Picture
The stream continues its journey to the sea at Keokea Beach Park. Photo by Jan Wizinowich
PictureNani's granddaughter, Kainani, on the trail entering the garden. Photo courtesy of Nani Svendsen.
A Lotus Blossom Arises from the Darkness
   The Kohala of Nani’s childhood began to be overshadowed by outside pressures that affected both her immediate family and the community. Dismayed and determined to do something about the problem, Nani, Dennis Matsuda, and community members led a successful effort for a drug rehabilitation house for recovering men in Hawi, When the house was set up, Nani turned her focus on her own healing process.
   “I decided I wanted to build, what for me, was going to be my happy place. It was about the life or death of me. To find my peace. I knew this place [Kōnea o Kukui] had a stream running through it and I started chopping. I had no idea where I was going to take it, but I wanted to remember my beautiful life. I need to feel this, see it, smell it, be in it,” recalled Nani.
   Using a chainsaw, machete, shovels and o‘o bar, Nani began an odyssey of self-discovery. Then she got a call from Wes Markum, director of the rehabilitation house in Hawi, and he asked her about inviting the residents to come work with her. Her first response was, “No.” Hadn’t she done enough? Then her heart spoke, and she realized that, “Most of these people, they’re all islanders removed from their culture and that is one of the important facets to recovery.”
   The men came every Wednesday for a few hours. Their hearts came alive with memories. They said things like, “This reminds me of when I was with my grandma and grandpa,” and, “This is like Waipi‘o.” She asked every person about their profession and discovered skills among the men such as a rock wall builder, and landscaper, just waiting to be tapped.
   Eventually student groups were coming, and soon Nani was pitching a 20 by 20-foot tent for meetings. “My husband, Don, decided to build the pavilion. We had to haul everything down this trail. Everybody worked like a team, passing station to station, all the way down the hill. It took about four weeks,” said Nani. Working together with the volunteers changed her husband’s life—it changed hers.

 Uncovering Treasure through Community Connections
   Nani has come full circle and a forgotten treasure has been brought back to life, touching her life and the lives of the many who came to Kōnea o Kukui to work and be healed. “This is a restoration project of a lifetime, hopefully not just my lifetime. It’s layered. So many layers to the existence from this place,” reflected Nani.
   When Nani began the garden odyssey, the land was covered in hau, and java plum trees. It was also populated with mosquitoes. When they started to clear it, they discovered a taro farm that hadn’t been used since the mid-1950s. “Once that stopped, the hau became the straight tall timbers that were used by the voyaging canoes,” recalled Nani.
   During this initial clearing, Nani’s daughter, Punahele was attending Kanu o ka ‘Āina school. At that time teachers and voyagers, ‘Ōnohi Chadd Paishon and Pomai Bertelmann were looking for materials to repair Makali‘i and to build Alingano Maisu for master navigator, Mau Piailug and they could see that the place had what they were looking for. “They brought the students down and they harvested and packed it up the hill. When they built the canoe, they used hau from here,” said Nani. (See: Na Kalai Wa'a  https://www.nakalaiwaa.org/ )
   As the excavation continued, “We could see the terraces, the original walls and the ‘auwai (ditch). The walls were carbon dated by archaeologist Dr. Michael Graves and he found they were dated between 1570 and 1650. From the head of the ‘auwai down to Keokea,” said Nani.
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One of many waterfalls and pools along the stream's journey to the sea. Photo by Jan Wizinowich
A Continuing Gift of Love
   “Maybe a cultural place, maybe a healing place, maybe a safe place. While I still try to put my finger on it, I get to feel like everything stops. Whatever hassle is going on, whatever trouble I have, whatever trouble somebody else has. If I slowly walk down the trail something shifts, and you walk easy with a little more light in your heart. Maybe I can do this, maybe a week, maybe I can just do this,” reflected Nani.
   It was not only the men who were healed. “I had a lot of older women coming to support. They were like the tūtū for the young men, and they worked alongside them. They gave of themselves and they too were healed,” said Nani.
   Despite the closing of the Hawi rehabilitation house in 2013, weekly meetings continue at Kōnea o Kukui, with the spirit of the land inviting returning visitors into a healing circle.
   Kōnea o Kukui is an unusual project because it doesn’t survive on grants as much as on passion. 90 percent of this is from people’s good-heartedness. “All I am doing is to try to steward this place and keep it with the right intention, to just have a safe space, a feel-good space that honors the ancestors, honors the culture, honors each other,” said Nani. “We are responsible for each other. We are all connected. I believe in energy and I believe that if you are not at your best, there is energy out there to help,” she adds.
   The spirit of the land waits patiently and when we call out it answers. “I struggle with the sustainability of the place. Along with everything that has been here there has been trust that it’s going to work,” reflects Nani. “There is an ‘andʻ—itʻs this ‘andʻ it’s nature. I can hear the birds here. I can feel the wind. There’s a connection. We forget. We get caught up so much with daily struggles, that we forget where to go to get our own healing,” reflects Nani.
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Photo by Jan Wizinowich
Check out the Svendsens' food truck at Niuli'i in Kohala. Thursdays through Sundays
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Kawaihae Canoe Club Celebrates 50 Years                                          Ke Ola Magazine: Nov. / Dec. 2022

11/15/2022

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The 1983 Men's Master's crew paddling Waipunalei: Harrison Pagan, John Lightner, Ipo Kaulapali, JK Speilman, Ted Vangelder, Oscar Ahuana. Waipunalei was named after the area where the koa log was taken. Photo courtesy of Kūpuna paddler George Fry
   It’s early morning at Kawaihae and outrigger canoes dot the horizon carrying the kūpuna paddlers. Soon the men’s master crew will be gliding into the boat ramp after an early morning run heading north. A Matson barge approaches the harbor, a cubist two story structure. Many things have changed in this little corner of the island, but as always, Uncle Manny Veincent, Kawaihae Canoe Club (KCC) president and head coach, is a presence at the club—doing repairs, checking inventory and making sure   everything is kupono (right). 
   November 2022 is the 50th anniversary of KCC, and while not the oldest club on the island, it is a cultural treasure within historic Kawaihae Village. With its fresh water spring, rich reef and calm anchorage, Kawaihae was a center of activity in old Hawai‘i. It is the place where Kamehameha gained final dominance over Moku o Keawe and where he resided while making plans to unite the islands. 
   Evidence of the ‘make strong’ spirit of King Kamehameha resides in Kawaihae, channeled through Manny Veincent and the many men and women who stroked KCC to state championships, conquered ʽAlenuihāhā and Kaʽiwi Channels and paddled the Kuhio Day Long Distance Race on Kaua‘i.
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Blessing of Waihou, the current KCC koa canoe. The initial shaping was done by Manny and a crew of volunteers and was finished off by master canoe builder Tay Perry on O`ahu. Photo courtesy of Kūpuna paddler, George Fry
Origins
   Manny grew up in Keaukaha, Hilo, where life was simple and of the land. His canoe adventure started when he was 13 and a neighbor took him along with a gang of boys paddling, fishing and camping in an old-style koa canoe.
  In 1972 Manny was fire chief, stationed in Waimea (where the Firehouse Gallery is now) when Elaine Flores, Mabel Tolentino and members of the Hawaiian Civic Club approached him to help form a canoe club in Kawaihae.
   KCC was formed in 1972, when canoe paddling was experiencing a resurgence. The Moku ʽO Hawaiʽi Canoe Racing Association (MOHCRA) was created in 1973, and in addition to Kawaihae, there were seven other active clubs.
   “When the club first started, folks at Kawaihae didn’t know anything about paddling. The club was just that white hill over there and we had a big keawe tree and a shed next to the road,” remembers Eunice Veincent, who is still paddling at 86. But there was no shortage of members, who came from Kohala, Waimea, Honokaʽa and even Paʽauilo, more than 200 strong.
   That first year Kawaihae surprised everyone when they won the first race of the season, which took place in home waters. They went on to win the state championship that year and the next three years. It was all due to hard work. “We had only one practice in the afternoon. We’d start at 4:00 with the kids, and then the adults. We didn’t finish practice until 8:30,” said Eunice.
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1983 Crew Pete Erickson, Nate Hendricks, Jerry Bess, Keoni Lindsey, Tom Hurley, kneeling Scotty Grinsteiner.
It’s All About the Keiki
   Now young paddlers have van transportation, but back in the day Manny and Eunice would stop and pick up kids on their way down to practice every day. Manny also coached Pop Warner football and in his own inimitable style recruited paddlers for the off-season.
   “When I was a little kid we used to play Pop Warner football for Manny. At the end of the season, he gave us all this paper and said, ‘Don’t worry about it. Just take it home.’ So, we took it home and got the signatures and what it was, he was signing us up with canoe paddling,” remembers Jerry Bess, a top surfer who started at the age of 10 and paddled with KCC for 12 years.
    Historically canoes were considered providers for their island community. In current times, the canoe feeds the community in ways that go beyond food.
   “For us young guys, Manny really showed us how to work as a team. Accountability, training hard, helping out each other. Commitment, club orientation, getting there on time, helping out with the canoe. He worked us so hard. It was us 16s all the way up to the 18s, we were undefeated. It was because of Manny’s coaching,” said Jerry. 
   More than winning races, KCC has provided a cultural link that’s been a lifeline for youngsters and the community as a whole. This was the spirit of the club fostered by the willingness of Coach Manny and his wife, Eunice, to give their all for the paddlers.
   “We would stay down there on Saturdays and we'd take canoes out on Sunday and Eunice would feed all of us. That's how we all learned to steer as kids. Today, you look at the top steersmen, they grew up with us. They're from Kawaihae,” remembers Grant Kaʽaua, who now coaches paddling at Keaʽau High School and whose daughter, Pakelakahiki is a top steersperson and got her start at KCC.
   Manny’s other love is ranching and Nienie Ranch, his 300-acre ʽĀhualoa mauka cattle operation has provided off-season fitness training for many of the paddlers, as well as giving them confidence.
   “Some of my fondest memories are KCC ‘cross-training’, which involved going to Manny's ranch and tackling 1000-pound bulls—without the help of horses. And then castrating them and branding them,” said Grant.
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The 1982 Women's Long Distance crew paddling Waipunalei: Kahealani Veincent (daughter of Manny and Eunice), Sheila Roy, Rose Kala`au, Jean Paalua, Mikala Coakley, Carlo La`au Silva. Photo courtesy of Kūpuna paddler George Fry
The Wahine
   Beyond regatta wins, the KCC women ‘made strong’ at the Kauaʽi Kuhio Day Long Distance Race in 1989 and 1990. Crew member Ululani Patterson Odell remembers, “We could hear the waves breaking on shore from where we were staying. Once there, we could see the waves and they were a heart stopper. We paddled out to the wave, went up and back down with a slam. But once we got going, everything clicked. You had to be ready for this race mentally and physically. Manny prepared us for both.” 
   In 2004, 2007 and 2010 a team of 18 Kawaihae women paddled across the ʽAlenuihāhā Channel for the first time in over a century. The planning and training leading up to the first crossing took two to three years and demanded complete commitment. Not just a sport, but a spiritual connection.
   “There’s something so powerful. The old Hawaiians call it spirit or mana. It goes deeper than the physical. You do it and a brilliant light opens up and you gain all this knowledge,” remembers Manny.
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KCC women's crew winning Kuhio Day Long Distance Race off of Wailua, Kauai, 1990: Ululani Patterson ODell, Helani Kimitete, Kahealani Veincent, Jan Paalua, Noel Jolie, Kanoe Yi. Photo courtesy of Kūpuna paddler George Fry
The Koa Canoes of KCC 
   Everything Manny does originates from a well-lived life grounded in Hawaiian culture. Beyond coaching, he is a master canoe builder and has led the way in every stage from harvesting the logs to design and building.
   In 1975 Moku ʽO Hawaiʽi Canoe Association (MOHCRA) mandated that all clubs use koa canoes for racing by 1980. In 1977 two logs, gifts from Richard Smart, were harvested from Parker Ranch land, Laupāhoehoe mauka. They were transported to KCC where Manny was joined by Harry Fergerstrom, Frank Puhi, Kahu William Akau and others to birth Kai Hawanawana (Whispering Sea), the club’s first koa canoe. She was followed in 1982 by Waipunalei.
   Another koa canoe, Leimomi, was added early in 1982, donated by the DeGuair family and named in honor of John DeGuair Jr’s widow, Grace. Sadly, in November 1982, Hurricane Iwa swept in, destroying the shed and both Leimomi and Waipunalei.
   The club’s current canoe Waihou, was constructed from a log donated by F. Newell Bohnett then owner of Puʽu Waʽawaʽa Ranch and named after the area where it originated on the shoulder of Hualālai. Begun at the club, Waihou was sent to Sand Island to be finished by master canoe builder, Tay Perry and ultimately christened around 2015.
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Kai Opua blessing. Built in the late 1800s, Kai Opua was loaned to KCC by Woody Childs. In 2010 KCC paddled Kai Opua to a state championship. Photo courtesy of Kūpuna paddler, George Fry
Picture No longer competing, at 90, Manny continues to coach. Photo courtesy of Kūpuna paddler, George Fry
Kūpuna
   About 20 years ago, a group of paddlers made up of Steve Bess, George Fry, Roger Harris, Harry Buscher, Charlie Campbell, Michael Bates, Phyllis Fox and others, decided to slow things down a little. They began paddling three days a week. “We wanted to just have fun. Paddle to the Mauna Kea [Hotel] and talk story,” remembers George Fry.
   Now the group has mushroomed into two groups of three or four canoes that go out at different times and has proved to be a great introduction to Hawaiian culture. The kūpuna group has also developed into a fundraising source for the club, making it possible for the keiki to participate off-island and to add canoes and other equipment to the club.
 
Legacy
   Over the years Manny and thousands of club members have kept the culture alive. Not just through paddling, but by creating an oasis of abundance and a place to come together, old style, like the annual hoʽolauleʽa.
   “I joined the club in 1998 and learned a lot along the way from Manny about building canoes, rigging canoes, fixing canoes and medicinal Hawaiian plants. We have five acres and most of it was overgrown with dead keawe and weeds. I asked Manny if it would be ok if we clean it and plant native Hawaiian plants. So, I took it on as a project but Manny took on the leadership,” recalls Bob Momson.
   KCC’s lasting legacy is all the people that have received life-changing help along the way. There are numerous stories, told and untold, about the positive effects of Manny and KCC. “I cannot thank Manny enough. He’s a pivotal person in so many of our lives. I just love him for the character he is. I appreciate so much his hard-nose ways, and his huge heart. He’s taught us so much; how to take care of everything,” concludes Grant.
 
For more information: kawaihaecanoeclub.com


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Journey From the Land of Hibiscus to Hawaii Island                            Ke Ola Magazine  July/August 1922

8/15/2022

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PictureA few of 400 plus rubbings of Korean gravestones collected and transcribed by Seri. Photo by Jan Wizinowich
  Although not native to Korea, the hibiscus has long been its national symbol. Probably originating in India, the hibiscus is easily transplanted, making its way north through China and is endowed with the quality of adaptability. Adopted as an emblem of the Joseon Dynasty (1392-1910) and as the national symbol of the Republic of Korea (1948), it has long been a symbol for the endurance and prosperity of the Korean people.
    Perhaps the attributions of the hibiscus were carried in the hearts of the Korean immigrants, who arrived in Hawai`i, a native home of the hibiscus. Between 1903 and 1905 when the first official Korean immigrants arrived in Hawai`i, their homeland was in flux, a pawn in global political events and heading towards Japanese occupation in 1910. They approached their new situation with hard work and the hopes of the restoration of the Land of Hibiscus.
    Koreans make up one of the smallest immigrant groups on Hawai`i Island, and much of their lives and accomplishments live in shadow. But U.H. Hilo English professor, Seri Luangphinith, author of The Paths We Cross: The Lives and Legacies of Koreans on the Big Island, is setting out to change that. What started out as a catalogue for a 2017 Korean art exhibition, became a book that captures an array of the history, culture and experiences of Koreans on Hawai`i Island.   
    The project emerged out of a request from U.H. Hilo students to add Korean studies to the humanities curriculum. Seri began to study Korean with Korean Language teacher, Hanna Kim who introduced her to the unique work of Korean artists; two of those artists, Hae Kyung Seo and Byoung Yong Lee, were featured in a 2017 Korean art exhibit at the East Hawai`i Cultural Center. 
   Hae Kyung Seo began developing her unique style of calligraphy from the age of seven. Through many years of exploring various forms, her art is now a combination of calligraphy, poetry and ink-wash paintings to depict Korean history, among the first in Hawai`i.* 
   After earning a degree of fine arts from Hongik University in Seoul, Byoung Yong Lee left to study at the Pratt Institute in New York City. In 1994 he moved to Hawai’i Island where he engaged in community activism, notably the restoration of the Korean immigrant graves at `Alae cemetery. Byoung Yong Lee’s more contemporary expressionistic artwork provided a contrast with the more traditional art of Hae Kyung Seo, but also created a synergy of cultural roots.*


PictureMainstreet Hilo circa 1918. After leaving the plantations, Korean immigrants were able to create businesses that served the Hilo community. Photo courtesy of Lyman Museum
Lives Well Lived
  When Seri began interviewing people the project grew exponentially. “Every interview yielded two or three more people to contact,” said Seri.  As well as the interviews, Seri scoured scholarly articles, books, local community publications, newspaper clippings, oral histories and the archives of Lyman Museum, the Plantation Museum, and the main Hawai`i State Archives, unearthing the rich tapestry of Korean lives.
    Probably the most well-known Korean immigrant was Syngman Rhee, prominent Korean national and eventual first president of the Republic of Korea. During his time in Hawai`i, he worked tirelessly to improve the lives of Korean immigrants through education and enterprise, while helping to organize the Korean independence movement in Hawai`i. Rhee created the Korean Christian Institute, a coeducational boarding school on O`ahu, which provided opportunities for the children of plantation workers to improve their lives through education.     
   On Hawai`i Island, Rhee helped to start Donjihoe Investment Company and Dongji Chon (Comrade Village) just south of Ola`a where they harvested lumber, made charcoal and farmed. “The charcoal factory was just one of several unassuming businesses run by Korean nationalists in the 1920s,” said Seri.
   In the late 1940s with funds from the closure and sale of Korean Christian Institute and funds from the Dongji Investment Company, Inha Technical College in Incheon was opened. Highly rated, it continues to provide education for Koreans and Korean Americans, specializing in engineering and physical sciences.
    The original seven thousand plus Koreans in Hawai’i began a legacy of hard work and innovation. Soon Koreans began leaving the plantations to begin businesses in Hilo. There was a Korean drug store on Front Street owned by Park Bong Soong; a shoe store owned by Parls Nails Hun on Volcano Street; and a hotel owned by Choy Hung Choon on Front and Richardson. *
    Husbands of many picture brides tended to be older and so the women often outlived the men and became the back bone of the community. Over the course of her life, Harry Kim’s mother, Ya Mul Kim undertook a poultry business, lauhala weaving venture and started the beloved Kea`au Kimchee Factory. *
   Working in the ginger fields until 2003, Yeon Boon Kang and her husband Shin Mook Kang went on to start businesses of their own. Yeon started H and K Lunch Shop and Shin created an organic piggery based on waste management techniques developed in Korea.*
   Two Koreans who excelled in the medical field were Moon Soo Park and Hoon Park (no relation). Overcoming many obstacles, Moon Soo Park earned a medical degree as a pathologist and went on to found Clinical Laboratories of Hawai`i. Hoon Park was a pediatrician, who just before he retired while on medical missions in Southeast Asia, encountered the natural farming techniques of Master Han Kyu Cho and hosted several workshops, enabling Hawai’i Island farmers to develop sustainable agriculture.*
  Another well-known Korean son is Judge Ronald Ibarra whose Korean mother, Young Hi Lee was born on Kehena Ranch where her father worked planting corn.  The family moved to a coffee farm in Captain Cook, where Ibarra grew up. After much hard work and two law degrees, he became the first administrative judge of Korean descent to be appointed on Hawai`i Island.*


PictureMemorial created by Korean artist, Byoung Yong Lee, marking the Korean section of 'Alae Cemetary, Hilo. Photo courtesy of Seri Luangphinith
Look to the Ancestors
    Amidst oral history interviews, Seri began digging through old newspapers and public records of Koreans in the Lyman Museum archives. “Then, on a hunch I started looking at Korean cemeteries because I knew that Japanese and Chinese immigrants recorded hometowns and families on their graves and sure enough the Koreans also did the same thing.”
  The `Alae cemetery slopes down to the highway just before Hilo town. In the center is the perfect canopy of an African shower tree. Just behind the tree is a large obelisk engraved with the Hawaiian version of Arirang, a Korean national song. The obelisk created by Korean artist, Byoung Yong Lee,  commemorates the lives of the Koreans who came to the island before him and marks the Korean section of the graveyard.
  The grave markers of this and other island cemeteries, many abandoned, provided Seri with clues that contributed to the picture of the lives of the Korean immigrants. The grave stones list parents, spouses, siblings and children, hanai relationships and close friendships, as well as village of origin, social standing and political stance. Additional insights were gained by searching out the origins of the use of a particular style of Chinese characters as well as Giwon, a traditional method of recording time derived from the legend of Dangun.


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Holualoa Cemetery gravestone of Gary Chong's grandfather's grave. Photo courtesy of Seri Luangphinith
    The photo of the gravestone of the Chueng family sparked an unexpected connection with a descendant of a Korean immigrant family. On New Years Eve 2021, Seri got a surprise email from Gary Chong who had found his grandfather’s grave stone in the book. Seri had learned of the graveyard located in an abandoned coffee field in Holualoa through the Reverend Gyo Mun Kim of the Korean Methodist Church in Kona, whose book first documented some of the graves.
Stories Continuing to Unfold
    A chapter of the The Paths We Cross: The Lives and Legacies of Koreans on the Big Island relates the journey Seri and her soon to be husband took to Korea to search out the ancestral graves and villages recorded on grave stones of the Hawai`i Island cemeteries. This is a story that is just beginning to unfold.
   Since the 2017 publication of the book, Seri has continued to research for the next volume, which she hopes to have published in 2025. A cornerstone of much of Seri’s investigation has been following the stories told by the gravestones of Korean immigrants, found in several grave sites around the island and this and other emerging information is evolving into the next volume of Hawai`i’s Korean story.
   “Researching graves in particular gave us a glimpse into the past to a time when Korea was still a unified peninsula known as Joseon, when Jeju Island was once still part of Jeolla Province and when Seoul was called Gyeongseong—these became a starting point in our later quest to track down and photograph more than two dozen hometowns of the first generations of immigrants as recorded on their headstones,” said Seri.
   Daughter of Japanese and Chinese immigrants, for Seri, these projects are a heart quest. “That’s why the stories of Koreans resounded with me—they remind me of what my father’s countrymen suffered. I empathize with Korean history and have learned what occupation and war can do to a people and culture. When a country unravels like that the traumas are lingering. There are stories I will never be able to tell, what people had to do to survive.”

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Grave sites of Korean immigrants in Holualoa Cemetary. Photo courtesy of Seri Luangphinith
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Seri on a search for the lineage of Hawai'i's Korean immigrants. Photo courtesy of Seri Luangphinith
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Waipi'o Valley A Cultural Kipuku                                                      Ke Ola Magazine March / April 2022

3/7/2022

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Kūlia immersed in one of many lo'i at Napo'opo'o. Photo courtesy of Kūlia Tolentino Potter.
    It’s December 22, 2021 and Kūlia Kauhi Tolentino Potter greets volunteers from Sam Houston State University (SHSU) at the Waipi‘o Valley lookout. It’s pouring rain and a work day is looking doubtful, but they are full of spirit, having completed a week-long exploration of the island as part of a university geography class conducted by SHSU professors Ava Fujimoto Strait and John Strait.
    Kūlia prepares to chant—a request for the rain to clear, allowing the work to be done; she asks the students to join their hearts with hers. As she chants, clouds begin to shift and the whole atmosphere changes. When she is finished, the rain has stopped. Whether coincidence or not, it’s clear that Kūlia’s entire being is in touch with the elder souls of Waipi‘o Valley.
PictureJesse Potter, Kulia's husband and president of the board of directors of Pohaha I Ka Lani with their youngest daughter, Kamanawa, at Napo'opo'o Village with Hi'ilawe in the background. Photo courtesy of Kulia
Waipi‘o: Deep Roots
   In his book, Voyage: The Discovery of Hawai‘i, Herb Kawainui Kanē imagines the first humans to approach the island in search of a new home. “And then the valley opened before us—a wide valley many times larger than our home in the south. Several waterfalls coursed down its northern walls, and as the valley opened to view, two majestic falls of identical size could be seen cascading side by side down a dark chasm in the high southern cliffs.” 
   With its abundant lo‘i (taro patches) and seven heiau (temples), including Paka‘alana, once the most powerful spiritual site in all the islands, the valley is a kīpuka (a calm, deep, timeless place) containing reminders to all those that enter of the ancient origins of Hawaiian culture.
   Kila is a name that has been passed down through Kūlia’s family and is a beloved ali‘i of Waipi‘o Valley, the youngest son of Mo‘ikena the ali‘i nui of Kaua‘i. After Mo‘ikenaʻs death, Kila became the high chief of Kaua‘i. On the journey to take his father’s bones back to Tahiti, he was left in Waipi‘o Valley by his two jealous brothers. He lived as a commoner until his true identity as the high chief of Kaua‘i was revealed, and then became konohiki (land manager). During his time as a commoner, he gleaned much about farming. He passed that knowledge on to the valleyʻs farmers, who  were able to  grow an abundance of food.  
    This abundance has carried through the centuries. Historically, Waipi‘o Valley has been the “bread basket” for other communities experiencing famine and drought and Kūlia carries on that tradition with food boxes delivered to the community. Waipi‘o has also endured the destruction wrought by attacking chiefs, tsunamis, floods and the ravages of misguided schemes. The valley is  in need of help and native daughter and lineal descendant, Kūlia has made caring for the valley her kuleana (responsibility).

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Kūlia shares native stories and wisdom with Drew Kapp's HCC and UH Hilo students. Photo courtesy of Drew Kapp
Kūlia's kuleana, inherited from her father and going back countless generations. A native of Honoka‘a, Kūlia spent many “small kid” hours roaming the valley with her father and grandfather. No longer in possession of land in Waipi‘o, on the weekends Kūlia’s family helped work the lo‘i of others. When most kids were playing ball, Kūlia was slogging through the mud, pulling weeds and planting or harvesting kalo (taro). Most keiki would balk, but her love for Waipi‘o took root and grew in her heart.
   Kūlia was a student of Ku Kahakalau, who, with her husband Nalei, created the Hawaiian Academy, a school within a school at Honoka‘a High School to teach Hawaiian studies. In 1997 the couple helped open Kanu o ka ‘Āina, a Hawaiian culturally based charter school in Waimea.
   When Kūlia left for college, she carried the valley with her. During her time at University of Hawai‘i at Hilo, she engaged in Hawaiian studies, education and anthropology. While there, all she could think about was coming home.
   She got her chance when she started teaching in Keaukaha, and began taking students into Waipi‘o Valley. Like her teacher, Aunty Ku, she noticed that students who were struggling in the classroom suddenly came alive, easily absorbing the lessons of the valley, as if the knowledge and wisdom had lain dormant within them, waiting for the right conditions to emerge. When they returned to the classroom there was a new sense of purpose and confidence that set many of them on a path to success.
   In 2001, Kūlia formed Pōhāhā I Ka Lani, a nonprofit that now hosts two or three workshops and volunteer groups a week, educating people about Hawaiian cultural practices, as they work to mālama (care for) the valley. Pōhāhā I Ka Lani’s initial kuleana was the stewardship of six acres, and now also includes five parcels below Hi‘ilawe at Napo‘opo‘o Village, Koa‘ekea (lookout), and most recently, the rim lands which include parcels in Lalakea, Mahiki, Kilohana, Waikaileo, and Puakalehua mā. 
PictureSam Huston State University students working the lo'i. Photo courtesy of Ava Fujimoto Strait
Many Hands, Many Hearts
   Volunteering in the valley is a work of aloha that demands an open-hearted willingness. The first challenge is actually getting into the valley. The first people to enter the valley most likely came by water, which had its own challenges. The journey there is a short, steep hike, and before the construction of a road, could be perilous.
Hiram Bingham describes his 1847 trip into Waipi‘o:
   “With one hand clinging to little shrubs and strong grass, and with the other thrusting a sharpened staff into the earth to avoid sliding fatally down the steep, I attempted it. Friendly natives of the valley ascended part way to meet and assist me.”
   Walking on a widened paved road, the SHSU students need no assistance to enter the valley. They are enveloped in moist fragrant air as the valley floor and its drifting mists beckon them down into an emerald vortex. At the end of the day, they will retrace their steps, this time trudging up-slope—body tired, but heart elated.
   Over the years, the valley has drawn many volunteers from all over the globe, as well as Hawai‘i. All have sensed the mana (spirit) that is Waipi‘o, and left the valley  changed . “Theyʻre in awe. Just to be standing in an ancient taro field. In the mud, mosquitoes. But theyʻre giving back. It’s a humbling experience. Sustainability has a deeper meaning. It changes how they move through the world after that,” relates Ava, also with roots in Hāmākua.

PictureHCC and UH Hilo students cutting ginger in the valley. Photo courtesy of Drew Kapp.
     Nestled at the foot of Hi‘ilawe falls, Napo‘opo‘o Village was originally one of the largest settlements in the valley. Because of its isolation, it’s impossible to bring in machinery, or to haul materials out. Through volunteer help, green waste has been composted, rock walls have been rebuilt, and lo‘i reestablished.  
   “Different school groups helped us open up the lo‘i. We didnʻt sell taro. We donated to school events and now we give to families,” said Kūlia. A distant echo from the past when there were poi factories in the valley that supplied Hāmākua, Pa‘auilo, Waimea and Waiki‘i with poi, hauled up in mule trains.
   Napo‘opo‘o has also been planted with a community garden that contains natives and endemics used for both la‘au lapa‘au and cultural practices such as hula. “We had no money so we used whatever we had. It was all overgrown so we made a community garden. It has everything people need for food and cultural practices. Every kind of flower for hula, and banana, breadfruit, sugarcane, 15 milo trees, kukui and hala,” shares Kūlia.

PictureSam Huston State University students volunteering at Koa'ekea (lookout). Photo courtesy of Ava Fujimoto Strait.
    This is mirrored up at Koa‘ekea, the lookout, where lush native gardens thrive. This was made possible when the County of Hawai‘i purchased the property through the Public Open Spaces and Natural Resources (PONC) program and awarded the stewardship to Pōhāhā I Ka Lani.
   “It had been a dump site. There were 13 abandoned vehicles, 50 loads of trash, and an abandoned lunch truck with a banyan tree growing from it. We cleared it all out and planted natives. The community came out and helped. Uncle Toko came with his torch and helped us with the lunch truck. People brought weed whackers, plants they grew and helped us to cook,” recalls Kūlia.

PictureJesse and Uncle Walter Wong talk rock wall story. Photo courtesy of Kūlia Tolentio Potter.
    Building a rock wall to protect the rim lands is another recent project involving many hands, guided by kahuna pohaku, (rock wall expert) Uncle Walter Wong, and many volunteers who have given their time and effort to Waipi‘o.
   I join a Growth International Volunteer Excursion (GIVE) group, assembled at the entrance to one of the rim land sections. Their introductions are wide-ranging across the continental US and they have come together for the first time, with a common purpose: to give back.
   One of the volunteers asks: “Is there anything around here that can be used as medicine?” Kūlia identifies honohono, which is a plant that can be used to seal wounds in the absence of a first aid kit. After a short lesson about the uses of the ti plant, the volunteers get to work clearing weeds and grass from around large boulders, what Kūlia identifies as “protectors”, on either side of the entry.
   As difficult and demanding as the work can be, Kūlia continues to live up to her name as one who strives with strength and wisdom to share the gifts of Waipi‘o Valley that have touched the lives of so many.
 
For more information: pohahaikalani.com

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