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Kōnea o Kukui: To Restore the Light                                             Ke Ola Magazine Jan. / Feb. 2023

1/9/2023

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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. 

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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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Beauty All Around: Young Kohala Artist Elijah Rabang                    Ke Ola Magazine Sept. / Oct. 2018

9/19/2018

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PictureElijah displaying one of his watercolor masterpieces for sale at Paradise Postal. Photo by Jan Wizinowich
   Entering Hāwī, on the North Kohala coast, just past Kohala Coffee Mill, you are stopped in your tracks by a wall mural with a stunning scene of frolicking humpback whales. You’ve just stepped into the realm of young artist Elijah Rabang, who beholds the natural world and cherishes it with his art.
   For the past few years, along with greeting cards and pet portraits, Elijah has shared his visions of nature in community murals located at the Kamehameha Park pool, Figʻs restaurant (now closed), the Hāwī Post Office and most recently the wall across the street from the Kohala Trade Center in Hāwī, commissioned by Richard Elliott, owner of Paradise Postal in collaboration with Kar Tow.
   About six years ago Elijah approached Richard. “He came into the store to see if I wanted to sell his cards; he had heard I was only having local artists in my store. I loved his work immediately and it was a ‘no brainier’,” said Richard.

Picture Elijah painting the train on the Hawi Post Office mural. Photo courtesy of Serena Seidel
Nourishing Roots and Mentors
   When Elijah was diagnosed with autism at the age of six, art became a way for him to understand his world through a meticulous focus on the details of the environment around him.  Elijah grew up nested in a loving family and a supportive community, where his early artistic talent was noticed, supported and appreciated. “He was so young [when he started]. In elementary school he used to draw animals and what really caught my eye was the details. He would draw these pirate ships and he wouldn’t lift the pencil off the paper. It was like one continuous line and he had so much detail with the shape of the cannons and everything on the ship,” said Elijahʻs mother, Robby Victorino. 
   Elijah’s artistic ability continued to grow and in middle school his art teacher, Trish Ryan, recognized his abilities. She asked him to create a design for the May Day program and by the time he reached high school he was well on his way with an art career.
   At Kohala High School, Elijah was a student of art teacher Margaret Hoy for four years. “He took Painting 1 and 2 and Ceramics. He was already really talented. You could name any kind of animal and heʻd say, ‘Okay, I can do that,’ and heʻd go to work. He has a great memory for details.”
   While Elijah’s first favored media was colored pencils, his time at Kohala High School gave him the freedom to explore and broaden his art. Margaret remembers, “He was always willing to try something new or work independently. We never reached the boundary of what he was able to do in my class. Iʻd say, ‘Here, letʻs try this out,ʻ and he was always open to it. We try to make sure school is positive and reinforcing and something that they want to do.”

   Mural artist Patrick Ching worked with Elijah in middle school on the Art Miles Murals project. “I first got involved with him because of a mural peace project. He painted some murals to contribute to that project that traveled all over the world and was showcased in Egypt,” shared Patrick.
   A few years later Patrick worked with Elijah as part of the Hāwī Post Office mural and saw his developing sense of design and how he had matured as an artist. “He came to contribute to the mural on the Hāwī Post Office wall,” said Patrick. “Elijah painted the train. He was really focused and I just let him go and he got it done. He really knows what he’s doing with his art and his style.” 
​Natural Connections
   For the past seven years, Elijah has participated in ʽĪlio Lapaʽau, the therapeutic horsemanship program directed by Fern White. There, Elijah has experienced the natural world in a very tangible sense that has fed his artwork.
   “He was one of my first official ʽĪlio Lapa‘au participants. It’s helped him find his way, find his confidence, find who he is. He started by learning how to just be around horses, massage them and whatever else he could do for the horse, and then he started noticing details. His first horse was Cool Ed, a beautiful palomino and he actually made some drawings of Cool Ed,” said Fern.
   Reflecting the aloha Elijah has received from the community, he thrives on caring for others. The horse program has provided him with an opportunity to expand his caring nature. Along with connecting to younger participants and caring for the horses, he looks after the goats and two rescued Kona Nightingales, Cutie and Patootie. “They kind of rescue each other,” said Fern.
   One of Elijah’s favorite subjects is the white Siberian tiger, Namaste, whom he visited many times at the Pana‘ewa Zoo in Hilo. Namaste, who passed away in 2014, is featured in one of Elijah’s first murals located at Kamehameha Park Pool. Although Namaste lived in captivity, Elijahʻs mural depicts him free in his natural environment. “He was always coming in and talking to me about the zoo. We spent a good part of a semester just doing homage to the white tiger, Namaste. That was something that really made an impression on him,” said Kohala High School art teacher, Margaret.
   Periodically Elijah and his assistant Serena Seidel visit the zoo. They were on hand in March, 2016 when two new tiger cubs arrived, which inspired Elijah to make the cubs the subject of one of his water color designs for greeting cards.
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Elijah with Patootie and mentor Fern White at Lio Lapa'au. Photo by Jan Wizinowich
PictureElijah's mural at Fig's restaurant. Photo by Jan Wizinowich
​Artistic Process
   After Elijah graduated in 2009, his artwork became part of the Kohala community scenery. The large canvas of mural walls gave him a chance to explore a larger creative vision.
   One of his first murals was at the Kamehameha Park swimming pool, a project organized by community artist, Cathy Morgan. The entire project resulted in one small mural featuring Namaste and a larger one that includes some of Elijahʻs favorite sea animals (dolphins, tiger shark, sea lion, sperm whale, and monk seal) along with a depiction of the first Polynesians arriving on the island. The canoe is laden with plants and animals and is placed in such a way as the viewer feels they are watching a historic event from their own canoe.
   In 2011 Tracy and Fred Figueroa (owners of Figʻs Restaurant) asked Elijah to create a mural on the walls fronting their building. The result is a Kohala pastoral scene with “Mr. Fred on the horse over there,” pointed out Elijah. And even though the restaurant is now closed, Elijahʻs mural can still be enjoyed by all who pass by.  

His latest effort, which is not yet complete, came about through the desire to beautify main street Hāwī. "Kar Tow put up a new fence. I had the idea, in talking with Elijah, about doing murals on the fence, as it was looking very industrial here in town,” said owner Richard. 
   The subject of the mural was inspired by a whale watch that Elijah and Sarina took in winter 2018. The mural depicts humpback whales swimming and breaching. You can imagine seeing the whales from the perspective of being onboard a boat and approaching a pod of whales. “That whale painting—that’s a really deliberate graphic sense Elijah has. Design is one of his geniuses,” said Patrick.
   Elijah has created a number of watercolor paintings that are reproduced as cards, which are sold at the Saturday farmers’ market in Hāwī and at Paradise Postal. Elijahʻs use of color in his paintings is vibrant and invites you in, making the subjects seem three dimensional; this is an innate talent that emerged from his experience with artist mentor, Angel Teodora, whom he worked with doing watercolor painting for five months. 
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Elijah with his latest mural in Hawi. Photo by Jan Wizinowich
Grown with Aloha
   Rather than presenting a difficulty, Elijah’s autism enables him to see and recreate the world around him in his own unique way. He lives in the moment with a keen sense of all beings around him. Elijah’s story could have been very different; however, his natural talent has been nurtured by the aloha of the Kohala community and the enveloping natural environment that has allowed him the opportunity to evolve as an artist. His latest Hāwī mural will be finished soon and he hopes to continue doing more mural art.                                       
                                                
For more information: [email protected]
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Womenʻs Work: Talented Artists Displayed in North Kohala              Special to West Hawaii Today  May 2018

8/14/2018

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    An art exhibit called “Women’s Work” will be on display through Labor Day at the Sweet Potato Café in Hawi and includes collage, acrylics, water colors and ceramics.
    “I was looking for artists that haven't had a lot of exposure up in this area. Also quite a few women had come to me and said that they would like to put their art up. I wanted a theme and decided to make women artists be the theme rather than the art,” said café owner Susan Alexy. 
    The deep hued orange walls of the newly renovated café space provide the perfect backdrop for the vibrant art displayed there.
    Collage artist Catherine Morgan’s work captures Kohala country life in a childlike whimsical style that invites you to come play and explore. A resident of Hawi for 25 years, she works with children from one and a half to five years old at the Kohala Village HUB, working with printmaking, clay, painting, puppet and storytelling.
    “My collages attempt to capture the ever-changing light in Hawaii’s landscapes and the sweet lifestyle,” said Morgan. 
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    The expressionistic plein air artist, Mary Sky Schoolcraft invites the viewer into the simple vibrant country life of Kohala and clearly shows her love for this place. A clothesline strung between coconut palms and a road that meanders into the back country are her invitations to explore.
    One wall is adorned with the ceramic art of Ginny Bivaletz, who created womanly shaped wall vases. “My love of pottery began with creating many goddess figures of all types and now, after many years of focusing on functional art for the home, I find myself being drawn back to where I began, calling in the feminine,” she explained.
    “Ginny specifically did these women's figures for the women's show. It's been really well received.  We sold out of most of her stuff within the first couple of weeks,” commented Alexy
    Catalina Cain created necklaces that are a mix of polymer clay beads, miniature mixed metal sculpture and semi-precious gems, each one very unique. “The shapes and designs of my art are co-creations manifesting from my dreams and the visions within and around me,” she said.
    “Catalina also does matching earrings and bracelets and she also does tarot readings. She’s quite good at it,” said Alexy.
    If you’re looking for a charming bit of Hawaii to take with you then you can browse through Virginia Fortner’s inventory of original watercolor greeting cards and postcards. Each one in unique and captures the beauty and sweetness of Kohala country life.
The art for Women’s Work art show will change as the summer progresses, giving other artists a change to display their art, “They just want to have their art appreciated,” concluded Alexy.
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The Spirit of Kohala Lives on at the Christmas Lu'au                       Ke Ola Magazine Nov. / Dec. 2016

11/29/2016

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    The story of the Hawi Christmas lū`au is the tale of a plantation community finding and holding its heart. Although sponsored by the Mormon Church, the entire community participated, beginning weeks in advance. You offered what you had whether it was something from the garden, a special skill or the labor of your hands. “The branch president would decide when the lū`au was going to be and then have a meetings to work on it. Theyʻd go out and ask people and they’d say, ʻNo worry. We take care.ʻ  Everybody knew about it. It was the talk of the town,” says Aunty Audrey Veloria, retired Kohala Elementary teacher. ​
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Aunty Audrey at the Kohala Village Hub Christmas Lu'au.
PictureNiuli'i Church. Original lu'au site
Beginning Traditions
    The first Hawi Christmas Lū`au was held at the original church site in Niuli‛i, just past Keokea Road on the left, which featured a gym as well as a chapel. “The church always had a lot of activities dances, sports and all that. I came back here and became the branch President in the 60ʻs and they already had the lu‛au going,” says George Hook.
    The Christmas Lu‛au was a time of inclusion and connection. Although plantation life at Niuli‛i was organized around various ethnic camps, the preparations and the events leading up to it brought people out with offerings of aloha.
    “My dad was telling me before when they had all those different ethnic camps, they would go from camp to camp and it was just a celebration of different traditions. He used to go with Elmer Lim and they would serenade all the different camps. My dad would dress up in one pāpale hat and he would take one of my gram’s mu‛umu‛u and he would sing and dance,” says Gwen (Tita) Sanchez, daughter of Armstrong Yamamoto.
    When plantation life changed, so did the location of the church and the
lū`au. “It had to do with the transition of plantation camps. They used to have camps all over Kohala and then they were moving it out to subdivisions by the main road - Kinerseley, Hala‛ula. Everybody was moving away from Niuli‛i,” says George.
    The community needed a new center and Bill Sproat decided to do something about it. “Bill went to the manager of Kohala Sugar Company, at that time it was Mr. Sterns, to propose a deal that would give the Mormon church the gym (now True Value Hardware) and the property around it,” says George. “Because of the faithfulness and the quality of the LDS workers at that time the management decided to give the church the gym and all the surrounding property for a really good price,” he adds. That was in 1961 and by 1963 a new chapel had been built and dedicated
.

PictureAunty Agnes Aniu
​Connecting with Food and Feeding the Soul
       There was more happening than just food preparation. The lū`au food came from the land and the knowledge and traditions of the kūpuna. “It's a good time to pass on tradition. The Hawaiian way of teaching is to do. They learn to bond with older people by being there,” says Uncle Earl Veloria, retired Kohala teacher and basketball coach.
       Armstrong Yamamoto and his wife Gwendolyn took care of some of the essentials such as laulau and the imu.  “I remember when it was in Niuli‛i in the chapel and my dad, Armstrong Yamamoto, telling us that he learned to make the laulau from his grandfather, Solomon Kapeliela. Before they didnʻt have string or put it in foil so you learn the old way. He would show us how to tie it in. One day, he was given the assignment to do it. His grandfather and his brother came and tried it and said, ‘Okay. It was good’. It had to pass them before it could go out,” says Gwen 
      Agnes Aniu was the maven of Kulolo. “This is something that was so remarkable about this lady. We would make so much of it that they would be in #3 galvanized tubs. She would go from one tub to the other and take a sample and say, ʻOh, this one needs one cup of sugar.ʻ Then sheʻd go to the next one, ʻOh, this one needs one cup of honey.ʻ  How she came to that, I donʻt know, but when it was cooked, it was all delicious. She had a touch. Her own way of identifying and tasting,” says George.
       For
lū`au, according to Earl Veloria, “You need pork and you need poi.” The pork was often supplied by the Sproats who monitored the beach trail where the pigs tended to run.

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Hawi site for Christmas Lu'au, after it moved from Niuli'i
     “We had a source of poi from up in the mountains,” says Earl. This was Rose Loke and Soichi Maeda’s lo‛i. in Pakulea Gulch. Itʻs a brand of poi thatʻs not served anywhere else. Only Kohala. The taro is called pololū. It goes back many generations. The common name among the Kohala people is bakatade. In Japanese it means hard headed and it’s hard to work with. It feels like wood when you grab a hold of it,” says Earl.
​    The poi was cooked in large drums and ground up several days before the
lū`au. “The bakatade brand stays fresh tasting for days before. Most Hawaiians like it a little bit sour. Itʻs an acquired taste,” says Earl.
    When the taro was harvested the lū`au leaf tops could then be used for laulau. “Sometimes we had chicken laulau. They cut up whole chickens so you couldnʻt just put it in your mouth without the other hand pulling out bones. No Tyson store bought chickens,” says Earl.
    Along with being the “captain” of the imu, Armstrong harvested the opai. “My father would go up in the mountain in the stream and they would catch the opai in nets. He had the eye to see it and we couldnʻt even see it,” says Gwen. “Mom cooked the crab, the opi‛i and the opai with garlic and Hawaiian salt,” she added.
PictureAlmost every family had some entertainment to share.
Cooking up Stories
     “The cooking took place right here. Right in the back of the chapel here. I used to like that because weʻd stay up all night and talk story. All the different things about parents, grandparents and all the different Hawaiian traditions would come out,” says George.
    The
lū`au leaf stems were chopped and cooked up for a late night snack. “They would cook the lū`au leaf stems and make kind of a stew. They knew that the laulau would be cooking all night so they would come and sit and visit and that little ono food was there for the work men. Then they had hot water for Hawaiian tea and cocoa,” says Audrey.
Final Preparations as Family and Friends Gather
    The spirit of the Hawi Christmas Lū`au calls absent family and friends home.  “It was the coming home to what we remembered. The excitement of knowing that your friends, your cousins are all working together. I remember carrying the pakini on the stairway going into the gym and laughing,” says Gwen. “It was a gathering of everyone,” she adds.
    All those away from home organized their lives by the
lū`au, not wanting to miss the chance to reconnect, infusing them with aloha for the next year. “The families would schedule to be here at that time. Wherever they were, they would try to figure out how to get home for Christmas. The true gift was the interactions and the stories that made you feel part of something, that you belonged,” says Audrey. 
    Like the food preparation, folks made use of resources at hand for decorations. Someone cut a tree that was decorated with whatever could be found. Maybe tinsel one year and chains and popcorn. The tables were constructed using the gym’s bleachers placed on horses.
    The center of the tables were adorned with ti leaf, ferns, plumeria and ginger. “Ti leaf with fern evolved over the years and we started looking around the community and worked with what we had. Anything we had. Mac nut leaves, pine cones, pine tree branches. One year Jenny Cheesbro crocheted little ornaments,” says Audrey.
    It wouldn’t be a
lū`au without music and so a stage was added to the preparations. “The stage had a platform, steps up the side, curtains and bamboo and banana for backdrop,” says Audrey. “Every family presented a number and when they started everybody got inspired and it just kept going,” she adds. Inspiration came easy with the plethora of musical families from Kohala: The Lim’s, Poli‛ahu’s, Kupuka‛a,  Pule’s, Sproat’s and Manuel Kapeliela.
    And it wouldn’t be Christmas without Santa. “They would sing to invite him to arrive. Sometimes Jingle Bells five times and then they would hear the bell. The Santa suit was worn every year and whoever helped Santa with it, had to do a little make up work. Maybe it was too long and it was starting to fray or maybe it needed a wash. No matter,” said Audrey. “The gifts were simple in a brown bag. Candies from Nakaharaʻs and maybe a tangerine,” she adds. 
    People brought their specialties to share. Jenny Chesebro made red, green, blue haupio. “Mary Ann Lim, would make her Lincoln pudding. It was a recipe her family kept for years and years,” says George. “You could know the ingredients but you wouldnʻt know the special touch that was in it. Family secret,” adds Earl.  “And then all the mea ono, from the people who made them good. You had the Filipino noodles and Japanese sushi, Chinese red pork,” says Audrey. 

Changing with the Times
    Two years ago Lehua Ah Sam, then Programs Director of the Kohala Village Hub, decided to bring back the lū`au. “I knew that we needed an event to "friend-raise" in the community so I went to talk with our grandfather Henry Ah Sam. He suggested to me that I look into the Christmas Lū`au, a fond memory of his as a child growing up. Our first Christmas Lū`au was successful because all the community groups  came together.
    Much like the previous
lū`au, the Christmas Lū`au at the Hub is a showcase of year-long endeavors and community activities and includes Hawaiian music, hula and an array of crafts. “It’s an event that brings our Kohala community together. The event was a huge success. We plan to continue to work with our community to throw a wonderful holiday event, celebrating those things that make Kohala, Kohala. 
    This year’s
lū`au will be held on Sunday, Dec.18 from 5:30 til pau. Tickets can be purchased ahead of time at the Hub.
The Stories Don’t End Here
    The Hawi Christmas Lū`au took place for more than 50 years and there are so many stories to tell. In meeting with Aunty Audrey, Uncle Earl, Uncle George Hook and Gwen Yamamoto, I realized that we were just getting the very tip of a root that goes very deep. We hope to continue with a gathering of stories to create an oral history of this very special event.  
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Christmas Lu'au at the Kohala Village Hub
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