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Transcript of Ko Olina Magazine
PMS 117 (GOLD)
Artwork by George Woolard
1
Ko olina Resort is blessed with a spectacular oceanfront location and a passionate community of visitors,
residents, employees and partners. We are enriched by our diverse cultural landscape that has its roots in a
deeply held heritage of caring for the land, the sea and each other.
Today, we celebrate this vibrant history, the resonance of our Hawaiian culture, and the very genuine and engaging
personalities who provide us with life-enhancing experiences.
for more than 12 years, my personal commitment has been to help shape this “place of joy” into a model coastal Resort
Community that sets the standards for livability, sustainability and job training, not just for the Leeward Coast, but for Hawai‘i
and the world.
i’d like to say a very warm ‘mahalo’ to everyone in our community for helping our carefully nurtured collection of World-Class
Hotels, Vacation Clubs, Residential Commercial and Recreation amenities to grow in amazing ways.
aulani, a disney resort & spa, has opened. this “one-of-a-kind” project is disney’s fi rst stand-alone hotel and vacation
ownership Resort in the world. Their commitment to Ko olina to complete this tremendous undertaking speaks volumes and
we are thrilled to welcome their special brand of inspired experiences to our island paradise.
marriott’s Ko olina Beach Club is marriott’s #1 vacation club product in the world. The JW marriott ihilani Resort & spa at Ko
olina has also completed an impressive $24 million room, spa and meeting space renovation. Ko olina marina, set on 43 acres
with 330 slips, with a Central activity check-in Center for all ocean adventures, is the only private state-of-the-art marina in
Hawai‘i. The Ko olina Golf Club, our 18-hole Ted Robinson-designed championship course, has concluded a complete greens
renovation. and we recently fi nished more than $10 million in resort enhancements, including updated roads, landscaping and
lighting, and introduced our new resort shuttle.
all of these people and businesses make Ko olina the premier destination that it is today. We are honored to welcome visitors
from around the world such as the heads of state and leading delegates from the 21 member countries of apec (asia-pacifi c
economic cooperation). this is the fi rst time since 1993 that the u.s. has hosted the premier economic organization that
facilitates trade and investment in asia-pacifi c, representing more than 2.7 billion consumers and 43% of all world trade.
ko Olina is a major economic resource for the u.s., hawai‘i and O‘ahu’s travel industries. we currently generate $800 million
annually in direct and induced spending and provide 4,300 jobs annually. at full build-out, Ko olina will generate $1.4 billion
in annual economic activity for the state, support 8,100 jobs and produce a total of $5.7 billion in construction development
spending creating more than 26,000 related jobs. all with the most stringent land, sea, air quality and energy conservation
practices in place to ensure that Ko olina remains a model sustainable community for generations to come.
We have much to be grateful for. i reiterate my commitment to embrace our kuleana (responsibility) to continue to provide
jobs for our up and coming community, revenues for our state and City to operate and provide services, so that our future
will continue to be fi lled with positive changes and opportunities.
mahalo and aloha,
JEFFREY R. STONE
Master Developer, Ko Olina Resort
o C E a n
L a n D
P E o P L E
s P i R i T
A Place of Joy:Looking Ahead While Embracing Our Past
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for generations, Ko olina, the place of joy, has been just that.
Whether it was a sanctuary of quiet beauty, or a locale to
gather and celebrate with loved ones, Ko olina has been there
to provide.
indeed beyond providing a place of respite, Ko olina, a gleaming
coastal gem that’s part of the Hono‘uli‘uli ahupua‘a, has given food,
shelter and more to the area’s ancestral residents who maintained
traditional Hawaiian values of sustainability and sharing.
Ko olina was the chosen playground of the ali‘i—from Queen
Ka‘ahumanu, favored wife of Kamehameha the Great, to Queen
Lili‘uokalani, Hawai‘i’s last sitting monarch. it’s no wonder; this area
surrounded by calm, cerulean waters, fi lled with gentle breezes
and lush green is a heaven on earth.
in fact, that is what alice Kamokila Campbell, daughter of James
Campbell (the industrialist who helped develop much of o‘ahu’s
‘Ewa Plain), chose to name her little slice of paradise when she
settled in Ko olina: Lanikuhonua, or “Where Heaven meets Earth.”
Today, aunty nettie Tiffany, whose mother befriended Kamokila
Campbell, remains on site as a cultural adviser to all of Ko olina.
now, many generations later, Ko olina Resort continues in the
footsteps of those who came before. all of the people here strive
to create a place of respite, where all can enjoy the beauty of
this land.
one of the resort’s newest additions—aulani, a Disney Resort
& spa—impressed many kama‘aina with its commitment to not
only honor the Hawaiian culture, but also make it the focus of
everything they do on property. from an all-Hawaiian language
restaurant, to building designs based in traditional practices,
Disney made every effort to ensure that “sense of place” wasn’t
just a buzzword, but a way of being.
Ko olina has always held in high esteem the importance of the
area’s host culture.
one important component of the culture is aloha. That comes
through in the hospitality of the people here, like those found at
marriott’s Ko olina Beach Club. Gregg Grigaitis, project director,
says that many of his guests share a similar mantra: “… marriott’s
Ko olina Beach Club has become our home away from home.”
sometimes, the culture is incorporated in specifi c services offered
to guests. ihilani spa’s “Healing by the sea” Thalasso hydrotherapy
honors the traditional healing properties of salt water.
in other places throughout Ko olina, the beauty of the area is
celebrated literally—by allowing you to get out and enjoy it!
Ko olina marina is the launching place for your next ocean
adventure, whether it’s fi shing or swimming with pods of dolphins.
“The biggest enjoyment i see running the marina is the excitement
and happiness of our guests coming off the tour boats,” says
Chuck Krause, general manager at Ko olina marina. “These are
folks who’ve never seen turtles or had tropical fi sh swim around
them … they’re beaming and sharing stories of what they saw.”
at Ko olina Golf Club, golfers are greeted with a stunning waterfall
cascading alongside their signature #12 par-3, providing a teasing
thrill of adventures yet to come. and, who knows what such
adventures will lead to, as the course has hosted keiki golfers such
as michelle Wie and allisen Corpuz, who’ve gone on to national
and international acclaim.
Destinations like the Ko olina Beach Villas continue to be places
for loved ones to gather. “There are many families that have started
coming to the Ko olina Beach Villas for their annual reunions,” says
Joseph yamaoka. “a family came (recently) for their second visit—
and brought their daughter’s wedding with them!”
Weddings are the name of the game at Watabe Weddings. over
a decade ago, the company realized that Ko olina was the ideal
scenic location for its chapel. since then, it has sent thousands of
couples off to matrimonial bliss and there are now three wedding
chapels throughout the resort.
While it may seem far-fetched that such a modern, luxurious
resort would maintain strong ties to the heritage of the area on
which it sits, it is certainly true here. in fact, Ko olina Center and
Ko olina station, developed by Honu Group, house a myriad of
specialty restaurants, boutiques, a market and services, right next
to the historic oR & L train track.
at its foundation, Ko olina Resort is a community. a key part of
fostering a community is ensuring that all of the people’s needs
are fulfi lled. to this end, ko Olina charities was established. the
organization’s events include the Ko olina Thanksgiving outreach,
serving 4,000 holiday meals to homeless and low-income families.
it also supports programs such as Wai‘anae High school’s searider
Productions and the Boys and Girls Club of Hawaii and nfL youth
Education Town (yET) educational and job training.
Ko olina’s various businesses are involved as well. “for the past 11
years, we have successfully partnered with the Queen Lili‘uokalani
Children’s Center to provide six-week summer internships to
native Hawaiian students,” says Dan Banchiu, general manager
for JW marriott ihilani Resort & spa at Ko olina. another key
example is the Harry & Jeannette Weinberg Campus seagull
school, The stone family Early Education Center.
so, Ko olina continues on, as a thriving community—place of
relaxation, celebration and recreation—taking care of those who
live on its shores and sharing its heavenly beauty with everyone.
3
FONT: BLISS REGULAR & BOLD
DENNIS FRANCISCEo
J. DAVID KENNEDYPresident
LINDA WOOPublisher
JAY HIGAProject Director
BRIAN BERUSCHEditorial Director
LIANNE BIDAL THOMPSONmanaging Editor
GINA LAMBERTCreative Director
CHRISTY SABIDOassociate art Director
MOLLY WATANABEsales
Ko Olina magazine is a collaboration betweenOahu Publications, Inc. and
Honu Group Communications, LLC forKo Olina Resort Operators Association
MONA ABADIRPrincipal, Honu Group Communications, LLC
CONTRIBUTORS
WritersBunky Bakutis, Carol Chang, Lynn Cook,
Rasa Fournier, Kaui Goring, Terri Hefner, Lehua Kai, Jeela Ongley, Sarah Pacheco, Florence Parma,
Chad Pata, Nina Wu
PhotographersMona Abadir, Jamm Aquino, Olivier Koning,
FL Morris, Dennis Oda, Doug Peebles,Kyle Rothenborg
Cover (front and Back) Photo by Kyle Rothenborg
© 2011 oahu Publications inc. all rights reserved.no part of this magazine may be reprinted
without the written consent of the publisher.
Oahu puBlIcatIOns, Inc.500 ala mOana Blvd., suIte 7-500
hOnOlulu, hawaII 96813Advertising & Sales | 808.529.4355
Unearthing the PastDiscovering the secrets of Kalaeloa with shad Kane.
Sowing Partnershipsfrom farm to community: ma‘o organic farms, makaha studios and searider Productions.
Nanakuli’s AmbassadorJosiah “uncle Black” ho‘ohuli.
West Paintmark kadota fi nds inspiration in wai‘anae.
Voyaging Into the FutureBilly Richards shares how the Hokule‘a and Hawai‘iloa are teaching tools for the culture and history of Polynesia.
42
46
48
50
56
Bridging Heaven and Earthaunty “nettie” Tiffany nurtures the cultural ties at Lanikuhonua.
04 Living CultureKamaki Kanahele and aunty aggie Cope are preserving the wisdom of the past for future generations.
36
Rooted in Traditionfor albert silva, the key to the future lies in the past.
08
Ancient FibersDalani Tanahy is the keeper of kapa traditions.
14
Lessons of a Hawaiian Grandmotheralice Guild, mary Philpotts and Judy staub share their special memories of a remarkable woman.
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Watermen of the Wai‘anae Coast fostering a legacy with Buffalo and Brian Keaulana.
22
Destiny Defi nedfor kumu o’Brian Eselu, hula is about character.
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Tracking TimeThe Hawaiian Railway society recalls a bygone era.
32
CONTENTS
ALOHA! Our purpose is to honor those among us who teach
about our cultural and natural landscape: the ocean, land,
people and spirit that connect us all. The common thread
of the storytellers in these pages is the depth of wisdom
and the hope each possesses and has generously shared.
This collection of stories is guided by the beauty and
enduring power of nature, by history retold as future
knowledge not forgotten, and by the promise of
empowering Hawai‘i’s youth. Each of the contributors
share the belief of giving to community and taking
responsibility to lead sustainable lives of peaceful
relationships.
Through the Hawaiian tradition of storytelling, the
people’s connection to the ocean and land is preserved.
Our storytellers weave the rich history of Ko Olina, the
Wai`anae Mountain Range coast and the ‘Ewa plains of
O‘ahu. The telling of stories continues the knowledge of
ocean and land. Without the storytellers, the essence and
soul of Hawai‘i would be lost forever.
We hope the photos within capture each person with
whom we had the pleasure to talk-story. We thank all
who participated in this labor of love and we are grateful
to be able to share just a few of the stories of this
remarkable place in Hawai‘i. • Mona Abadir
for more informationon Ko olina Resortscan this code to go towww.Koolina.com
4
B R I D G
Aunty Nettie, who started coming to Lanikuhonua as a child, is now the cultural adviser for Ko Olina Resort.
“Ko oLina is mysanctuary, the placewhere I feel secure.”
B R I D G I N G
Walk past leafy naupaka bushes, hearty laua‘e ferns and into
Lanikuhonua—“Where Heaven meets Earth.” a soft lawn
connects two small huts nestled in tropical foliage to a low rock wall
fronting a crystal lagoon. Just near the wall, under gently swaying
coconut fronds, is aunty nettie, attractive in her red mu‘umu‘u
patterned with white hibiscus, a red flower in her pulled-back hair.
“Welcome,” she smiles.
The scene is like something from a Hawaiian storybook, but then much
of her life is an enchanted tale, sprinkled with special memories of Ko
olina. Growing up, her family lived in town.
“We started coming out to Ko olina in the ’50s,” nettie recalls.
“Kamokila became like a hanai (adoptive) grandmother.”
nettie refers to alice Kamokila Campbell, who, shirking convention,
moved to O‘ahu’s secluded southwesterly shore in the 1930s. the
onetime fishing village had no trees, no grass, limited fresh water and
no soil. alice’s father, the famed James Campbell, changed all that,
helping her create the Eden she named Lanikuhonua.
nettie’s mother—a kahu, or spiritual adviser—had befriended mrs.
Campbell, and through that relationship nettie’s family had their own
protected enclave away from public censure.
“Being Hawaiian wasn’t fashionable when i was growing up,” says nettie.
“i was very fortunate. as a kahu, my mother retained the language, the
art and the crafts—the culture and rituals.
“oh look!” a honu, or sea turtle, captures nettie’s attention as it glides
to the surface of the lagoon. Looking toward the sea brings up thoughts
of her father.
“my dad was the original Indiana Jones,” she laughs. “He made us do
crazy things. He’d wake us in the morning and tell us we’re going to
go holo holo, which meant down to the ocean. we’d go fishing and he
Nurturing the Cultural Ties of LanikuhonuaHeaven & Earth
By Rasa Fournier
Photos by Kyle Rothenborg
PEOPLE • LAND / aunty nettIe
5
had a rice ball for each of us, that’s it. ‘if you’re hungry you’re going to
have to catch it, clean it and cook it.’ We’d dive in and hook the nets
on rocks. it was wonderful.”
Her dad was known as fun and friendly, and mom was strict. When her
mother passed, nettie would inherit her position as kahu. The initiation
was nothing short of magical. years of learning culminated in a private
ceremony: “my mother took me with two kahunas and my aunt. The
tide was out and we were at these little ponds in the rocks. it was after
i became a woman. i was naked and they bathed me in the moonlight.”
now 70, and residing on the outskirts of O‘ahu’s fast-growing “second
city” of Kapolei, aunty’s days are devoted to weddings, baby blessings
and the blessing of new houses and businesses. Her lovely hideaway,
Lanikuhonua, is a cultural refuge where kupuna, the respected elders,
teach a variety of Hawaiian arts from singing, hula and music to
knowledge about medicine plants and Hawai‘i’s other natural resources.
on this day, the mother of three, grandmother of four, is preparing to
receive a ho‘okupu, or gift, for her services as kahu.
“i blessed a baby and they want me to come and get my ho‘okupu.
The last time they did this, it was a Pomeranian. i have this feeling it’s
another four-legged ho‘okupu.”
Can’t she in turn give it to her grandchildren?
“it’s one of these odd situations—you cannot turn down a ho‘okupu
but neither can you give it away.”
The jovial kahu and her husband of 50 years just may have a new
addition to their storybook home. •
6
“i am nanEa WHEn i walk the grOund
of Ko oLina.”
7
8
For Albert Silva,the Key to the Future
Lies in the Past
ROOTED INTRADITION
For Albert Silva,the Key to the Future
Lies in the Past
When most people think of the environmental movement, thoughts turn
to 21st century inventions like wind farms and electric cars. But for local
cowboy and lifetime resident of the Wai‘anae Coast albert silva, sustainability is as
old as the Hawaiian people themselves.
“Before, the Hawaiians had a barter system—and now we are calling
it sustainability!” silva says with a gleeful laugh. “They had no money, so they had
sustainability. if you lived mauka, up the valley, you planted crops—taro, pumpkin,
sweet potatoes. and they brought it makai and traded with the people that
fished—vegetables for fish—the original sustainability.”
silva has spent his life preaching the good word of the old ways, as his
family history on the Leeward coast dates back to the 1800s. His grandfather dug
some of the earliest wells on o‘ahu. silva has lived the cattleman’s life—a lifestyle
that continues on today with Lyman Ranch, nanakuli Ranch and his own ranch.
silva’s fervor for preservation of the land and the customs of his people led the
Wai‘anae Preservation Council to anoint (his word, demonstrating how serious he
takes this role) silva the konohiki of the ahupua’a that encompasses much of Wai‘anae.
By Chad Pata Photos by Kyle Rothenborg
Albert Silva is a lifelong paniola and konohiki of the ahupua‘a that encompasses most of Wai‘anae.
PEOPLE • LAND / aLBERT siLVa
9
an ahupua‘a is a traditional land division used in the islands that runs like a pizza slice
from the mountains to the sea. it is the job of the konohiki to use his knowledge of
the environment to help perpetuate the life of the land and its inhabitants.
“it is really a lost responsibility that is given to a person,” says silva who has held the
position for more than 30 years. “That person is supposed to oversee, to make
adjustments, to make sure everything stays nice, pono, sustainable.”
The konohiki does not serve as a cop, but rather as an educator whose position in
the community is to show his people the proper way to treat the resources they
have been provided.
“i am not writing tickets, that is wrong for me. i am here to teach them, to help,” says
silva, who learned this lifestyle growing up as a paniola, a Hawaiian cowboy. “Don’t
shoot all the animals, leave some back, don’t touch the wahines, let them propagate.
fish, the ones that don’t know how to swim, let ‘em be. Let ‘em learn how to swim,
and then you can take ‘em.
“i try to teach them what is right, that is my responsibility as the konohiki. i don’t tell
them what to do, but what not to do.”
another thing silva tells people not to do is mispronounce his lifelong passion of
being a paniola. The common usage today is paniolo, a misnomer that silva claims
comes from the wife of Riley Greenwell, who served as head of Parker Ranch back
when silva was still riding rodeos on the Big island.
“i tell mrs. Greenwell it is not ‘paniolo,’ it is ‘paniola’,” recalls silva. “Do you know what
she says to me? ‘Well, you have to have a gender.’”
silva shakes his head at the memory of a malahini bending the rules of the Hawaiian
language to match their own Latin-based paradigm. yet he acknowledges things
have improved from when he was young. Being raised by his Hawaiian mother he
was always taught english, even though she spoke fluent hawaiian. the idea was
to learn the new language for the new world, so while he does have a working
knowledge of the language, stringing together sentences is still a challenge.
However, the generation that followed his grew up during the Hawaiian Renaissance,
which saw the embrace of the language and astral navigation. These two aspects
The cattleman walks his ranch.
10
“i am HERE To HELP,” says siLVa, WHo learned hIs lIfestyle grOwIng up as a PanioLa, a HaWaiian CoWBoy.
11
make silva beam with pride, knowing that they helped his own nephew Glenn silva
go on to be director of hawaiian studies at uh hilo.
“from day one his mother talked to him in Hawaiian, and look at him now,” says the
proud uncle.
While the language may be beyond his mastery, the lifestyle and values are not.
He ran ohikiolo Ranch for many years, raising livestock and tending the land as
the generations before him did. Each year he would open the property up the
day before mother’s Day for a lu‘au and cattle branding. Everyone was invited and
thousands would attend.
“it was not about money, it was about life, niceness, sharing,” says silva. “We never
charged anyone anything, because it was to give back, and we had the branding
for the youngsters, and—hooo!—they loved it! When you give it away it gives it a
spiritual aspect; if you charge for it, money comes, money goes, there is no value.
This way, it meant something.”
Reminding the residents of these important aspects of their heritage remains his
duty to this day. and at 82, silva is showing no signs of slowing down.
“I just hope these thoughts don’t get lost,” says silva, whose mother lived to be 98,
“because the bigger picture of sustainability is forever present, but its roots come
from right here. We want to practice it, continue it, for future generations
of Hawaiians.” •
12
Untitled-1 2 9/27/11 3:18 PM
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FIBERSANCIENT
To watch a skilled Hawaiian kapa artist like Dalani Tanahy is akin to
seeing a chef concoct a favorite dish: “Take the bark, shred it and boil
it for a week,” she might tell her students, who hang on every word.
“Kapa is cloth made from a tree, and it’s all its many components and
its rarity that keep me interested,” explains the makaha resident, who
left her job teaching kapa at Ka‘ala farms to plunge completely into
the ancient art. That means growing her own wauke (paper mulberry)
trees for the precious bark, making her own tools to shape it into cloth
and experimenting with dyes from nature to decorate it for display or
practical use.
“i’m like a mad scientist in the kitchen,” she adds, referring to the endless
search throughout the islands for just the right colors or hues to adorn
the delicate fabric she creates. “you have to use what you’ve got” is
her motto.
for all this effort and attention to detail, she reasons, it should be
respected and valued more than the artist who needs only simple, store-
bought supplies: “is kapa not worth more than a painting? Hello!”
Besides learning patience and physical stamina over her 15 years in the
art, Tanahy’s creative talent in kapa design is now known and respected
across the globe. Just witness her soaring panels at Disney’s aulani Resort
as well smaller touches that add warmth to the guest rooms.
Tanahy commands thousands for her elegant cloth art and travels
Hawai‘i—as well as the world over—to teach or display it. yet she admits
the craft keeps her humble.
“at the end of the day, i still have to sit on my butt at home, all by myself,
and pound and pound and pound,” she professes.
Lately the teaching part of kapa has grown more appealing to her. Her
students now learn to create and gather their own materials, if they want
to perpetuate the art as she does. and the new generation, including her
own granddaughter, whom she’s now teaching, will be all the better for it.
Peek into her world at kapahawaii.net •
By Carol Chang
Photos by Olivier Koning
Artist Dalani Tanahy carries on the kapa tradition of ancient Hawai‘i.
SPIRIT / DaLani TanaHy
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Tanahy and model wearing two of her creations.
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Some of Tanahy’s tools of the trade.
perpetuateTHE aRT
17
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Lessons of aHawaiian
Grandmother
Everyone experiencing a place or event has their own reality of it. What they take away from the
experience is often different. This is certainly true talking to three sisters, who, as children, grew up
playing at Lanikuhonua (meaning “Where Heaven meets Earth”), located within the resort of Ko olina.
To the flanders sisters, granddaughters of alice Kamokila Campbell, the place was simply referred to as
“‘ewa.” In the late 1930s and early 1940s, ‘ewa was a sugar plantation with miles of swaying cane baking
on the dry, flat plain. kamokila campbell’s father, James campbell, pioneered the area years before,
finding water and making the land prosper.
By Kaui Goring Photos by Kyle Rothenborg
What her granddaughters, alice Guild, mary Philpotts mcGrath
and Judy staub, remember is an area of sandy roads, kiawe trees
and the absence of decent drinking water. But at the sand’s edge
were coves and pools cooled by springs of fresh water bubbling
up and mixing with the salt, making swimming a refreshing surprise.
as children, the area taught each of them different lessons in what
it means to be Hawaiian.
Kamokila was the daughter of a Hawaiian mother and scottish
father, which often made her a contradiction of sorts in early 20th
century Hawai‘i. Lanikuhonua was brought to her attention by her
son, Walter macfarlane, a well-known Hawaiian waterman. He
saw the coves first from the ocean and contacted his mother, who
was then living in northern California. she, too, resettled on the
property shortly afterward.
“Kamokila took the Hawaiian system of konohiki, or the protection
of water and land rights, seriously,” says her granddaughter, alice.
“The concept of only taking what you needed and respecting limu,
or seaweed, gathering and fishing rights was strictly enforced.” the
fish were so plentiful, says alice, that they were almost tame.
she also learned how benign and seductive the ocean could seem
in this area of protected coves. “But it can turn on you in seconds.
We learned through experience never to turn our backs on the ocean.”
alice remembers swimming in the large pool near the area now
called Paradise Cove. icy cold, natural springs shoot up under the
water as you swim. In one corner, near the rocks, you can find
natural clay. the children made pots and tiny figures; then baked
them in the sun.
mary’s best memory is of her grandmother’s famous Hawaiian
hospitality. “she was gracious and charismatic, but she could never
remember anyone’s name. so she called everyone ‘dear.’ There
was an unhurried aura that surrounded her. she even spoke
slowly and on Hawaiian time,” she says.
mary learned the connections to things past, and the need to
continue traditions, such as family loyalty and the sharing and
wearing of favorite lei. “The giving of lei was different in those
days,“ she says. she also remembers that poi was served at every meal.
alice tells of her grandmother’s frugality and contradictions. she
would have the girls pick up kiawe beans and put them in heavy
bags that scratched and poked them. she’d pay the children 10
cents a bag and then sell the beans to pig farmers in nanakuli for
25 cents a bag.
Even though she was an heiress, whose family mingled with nobility
of the time—mary remembers her grandmother noting that
PEOPLE • LAND / CamPBELL famiLy
19
Grass halau, late 1950s. Courtesy James Campbell Co.
Sisters Judy Staub, Alice Guild andMary Philpotts
McGrath.
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King Kalakaua would play “poka” with her father at his Honouliuli
ranch— Kamokila lived among the kiawe trees much of the time
wearing a simple mu‘umu‘u made up of two pieces of fabric sewn
together. she would even go into the water in the dress. at other
times, done up in an elegant black holoku (that mary still owns)
wearing strands of lei reaching down to her knees, she would
duck into her limousine, driven by her private driver, to an upscale
function in town.
strewn throughout the property were military buildings and
structures made from army packing crates. she lived in one of
them, her driver and groundskeeper lived in others. a much
more stylish home had been designed by famed architect Vladimir
ossipoff prior to World War ii, but the plans were abandoned
when the war broke out and she turned over the area to admiral
nimitz to use for rest and recreation for soldiers.
The surprise came, says alice, when you entered one of the old
buildings. the furnishings were fi ne, plush furniture and objects
from the high-end Grossman moody Company mixed with
precious Hawaiian artifacts. she was always an enigma.
for Judy, the youngest of the sisters, Lanikuhonua was a happy and
spiritual place. she suffered from allergies at her nu‘uanu Valley
home and the dry climate of ‘Ewa suited her.
from the very beginning of her time there, Judy felt the sacredness
of the land. she suspects that the spot was a place her grandmother
reconnected with the Hawaiian part of herself. for the most part,
she threw off the lavish lifestyle she had enjoyed when she was
younger and found peace and simplicity. Judy, too, remembers the
simple mu‘umu‘u and her grandmother sitting at a picnic table just
gazing at the ocean. she even drank her coffee made with brackish
water, because fresh water had to be brought in large bottles.
“i think the land grounded her,” says Judy, who sees the honor
of her grandmother living between two worlds—yet in the end,
tried to hone in on her Hawaiian nature. •
“sHE WasgracIOus andCHaRismaTiC.”
20
Abigail Kuaihelani Maipinepine Campbell (center) and her daugh-ters. Alice Kamokila Campbell is standing, at left.Courtesy James Campbell Co.
The lagoon at Ko Olina fronting the eventual home of Kamokila Campbell—Lanikuhonua.Courtesy James Campbell Co.
21
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22
“THE oCEan is THE BiGGEsT TEaCHER fOr Our famIly … everythIng Is
HonEsT in THE oCEan,” says BRian.
nanakuli valley, a cascade of mountain-to-ocean
terrain on the Wai‘anae Coast, is the stuff from
which legends are forged. it’s also the home of mischievous
maui, the legendary demigod fi sherman, where he dug in his heels
to hook the sun, in efforts to slow down its course.
Here, salt water seems to run in the veins of Hawai‘i’s people.
makaha boasts living legend Richard “Buffalo” Kalolo‘okalani
keaulana. at 77 years old, he can trace his genealogy to king
Kamehameha i (on his father’s side) and King Kekaulike on his
mother’s side.
and although the Keaulana family’s connection to the ocean is
known from Japan to france, their fame had humble beginnings.
Buffalo grew up a poor, homeless nanakuli boy, whose father died
a month before he was born. He was exiled from his mother’s
home because of an abusive stepfather.
By Bunky Bakutis
Photos by Kyle Rothenborg
Watermen of the Wai‘anae Coast
Fostering the Keaulana Legacy Wai‘anae Coast
Buffalo Keaulana, seen here with his son Brian,grew up in and around the waters of the West Side.
23
OCEAN / BuffalO keaulana
“the Ocean Is the glue Of lIfe. It keeps Our famiLy BonDED…”
24
25
“if you had a father and mother, life would have been better. i
never had that, so my life was really hard,” Keaulana says, adding
that he would often trade fish he caught for vegetables, to round
out his diet.
“i lived on the beach … my life of surviving was in the ocean,”
Buffalo reminisces from a large dining table in his Hawaiian
homestead, surrounded by surfing trophies and ocean-related
memorabilia. “When i went to school, i never had lunch money.
so i would hide my spear. (at) lunchtime, i would jump in the
ocean, poke a few fish, bring them back to the cafeteria, give them
to the lady there and trade the fish for lunch.
“it always wasn’t like that though,” he says, recalling the times he
bounced around between friends’ houses or slept on the beach.
When the waves didn’t cooperate, he’d catch chickens.
as adulthood beckoned, Buffalo looked for an escape. “When i
got older, i wanted to get in the military, even if it meant going to
the Korean War … i just wanted to get away.”
following service as an army lifeguard in Hale‘iwa (and receiving
an honorable discharge), Buffalo knew it was time for a job.
“i didn’t know how to read or write,” he says. “i stuttered. i was
one of those ‘nothing’ guys.”
But his reputation as one of Hawai‘i’s top surfers already had
begun to build. In 1954, he won the bodysurfing division at the
makaha International surfing championship, the most prestigious
surf contest in the world. Buffalo went on to win bodysurfing
three more times.
In 1960, he married a waikiki beach concession worker, leimomi
Whaley, and landed a live-in park-keeping job at makaha. The
same year, he won the international’s surfboard division, remaining
among the top five for the next five years.
as makaha Beach park-keeper, Keaulana gained recognition in
water safety. although beyond his duties, he rescued numerous
swimmers.
“People would come to the comfort station, pound on my door
upstairs at night, and yell for help. my wife would come out and
they would be crying, ‘Please help! my wife is out there.’”
“i’d been out late drinking that night, and came downstairs …
hung over,” Buffalo recollects. “The husband showed me where
he last saw his wife and told me she could only swim on her back.
so I figured, if she was swimming in, she would only see darkness.
she wouldn’t like that. But if she turned around to see the lights
on shore, she would be paddling out. sure enough, i paddled way
out, a quarter mile past makaha Point. i was yelling for her and i
could hear her yelling back. i paddled further out and got her on
my board.
“When we got to shore, the husband was so happy and hugging
me. i just wanted to go (to sleep). so here i am, lifeguarding at
2 a.m., on overtime—plus it’s not my job,” Buffalo says with a
laugh. “But when i save somebody, i feel good. That’s how i want
to feel—good.”
Buffalo’s lifesaving accolades came to the attention of then-mayor
neal Blaisdell, who appointed him to a lifetime lifeguard position
at makaha, the first such position in hawai‘i. he held the job for
35 years.
Left: Buffalo Keaulana surfing a wave at Makaha during Buffalo’s Surfing Classic. Keaulana is at the rear, followed by Tony Guerrero, andthe writer, Bunky Bakutis. Right: Buffalo with his wife, Momi.
26
In the meantime, Buffalo and momi raised their five children at
the beach: the oldest being Brian, followed by Jody, Lehua, Rusty
and Jimmy. all were taught how to survive in the ocean and eat
from the sea.
some followed in their father’s footsteps. Brian became a water
safety expert; rusty a three-time long-board world surfing
champion, Jimmy a body-board champion and throw-net fisherman.
En route to 50 years old, Brian has developed the Jet ski as a water
safety tool, an ocean risk-management program and underwater
defense training. He has applied his expertise to lifeguards locally
and worldwide, navy seals, police and firefighters, and his
current job as stuntman and part-time director for a majority
of the films made in hawai‘i. Brian is quick to praise his father’s
guiding hand.
“The ocean is the glue of life. it keeps our family bonded … Dad
kept us in it. from the time we were small babies, he would
throw us in the rip and swim with us. mom would freak out with
the strong, powerful currents. Dad would make it a game, laugh
and look into our eyes. He would tell mom, ‘it’s not ‘if,’ but ‘when’
they get caught in a current, and i’m not going to be there.’”
now a parent of two children, Brian has kept his daughter Ha‘a
and son chad in the water as much as possible. reflecting on
many in his generation who have either died or gone to jail, Brian
says, “i think that was my success, being kept so grounded in the
ocean and surf. That gave us the opportunity to bloom.”
although Buffalo raised his children with a cultural connection to
the ocean, he views his own youth as focused on survival.
“They would say this is my culture,” Buffalo adds. “To me, it’s just
what i do—because it’s survival. it’s for my health and keeping my
body strong, my eyes and my legs. it makes you a better person,
every day, if you do something to survive… “
TaKE To THE sEaIn the mid 1970s, at the height of the hawaiian cultural renaissance,
Buffalo again expanded his ocean-going horizon by studying
Polynesian sailing. He was selected by the Polynesian Voyaging
society as steersman for the double-hulled canoe Hokule‘a on its
maiden voyage to Tahiti.
During the 35-day sailing voyage, it was Buffalo who discovered
that the canoe’s forward holds were taking on water, thus averting
disaster. years later, crewmates still praise Buffalo’s ability to surf
the canoe.
upon return, he turned back to his surfing roots, and in 1977,
founded Buffalo’s Big Board surfing classic—an event that
included the old style of fun surfing on boards measuring more
than 10 feet long, as well as a royal court, live Hawaiian music
and hula.
While most surf contests begin with a horn, the Classic required
a traditional blessing.
“Before we start the meet, we have to thank God for this day,
thank God for the water, thank God for the people, thank God
for everything we do,” he explains.
thirty-five years later, the classic is now held over the last two
weekends of february. it has grown to include eight disciplines
of surfing, from body surfing to canoe surfing spread over 14
divisions, which include “big people” (250-pounds-and-over).
27
according to Buffalo, the “melting-pot” event is canoe surfi ng.
“They would all come to makaha, and, gosh, what a great scene
to see all these canoes. one year, i counted 25 canoes on the
beach—all ready to go out and charge 8- to 10-foot surf.”
The legacy, for the last seven years, now heads overseas to put on a
similar Buffalo Japan Classic. But most importantly, the waterman’s
legacy is ensured by his children.
“The ocean is the biggest teacher for our family, because everything
is honest in the ocean,” says Brian, who doubles with his father
as contest director. “you cannot lie to the ocean. you cannot tell
the ocean ‘i’m in great shape, i’m going out there and tackle the
biggest wave.’ The ocean is going to pound you down and show
you how honest you are and how great shape you are in.
“To exist with all that energy, you feel everything and you see
everything—not just visually,” he concludes. “you become one
with that part of nature, that ocean. That’s always been something
i love. now, my son is doing it—that’s the scary part.” •
Buffalo Keaulana was appointed to a lifetime lifeguard position at Makaha. He, along with his friend, waterman Tony Guerrero, also brought the Jr. Lifeguard Program to Makaha.
28
DefinedFOR KUMU O’BRIAN ESELU,
HULA IS ABOUT
CHARACTER
Destiny
Eselu, 55, was born in ‘aiea to samoan parents and raised in
Halawa public housing. He credits his late hula partner Thaddius
wilson (who fi rst competed at the festival 31 years ago with
the na Wai ‘Eha ‘o Puna halau), Thaddius’s mother Verna Wilson
and her mother, Keoho oda, who set him on the path. other
mentors include aunty Pat Bacon, the late malia Craver and the
late aunty Genoa Keawe.
Ke Kai o Kahiki translates into English as “seas of the ancestral
lands,” which encompasses Tahiti, samoa, new Zealand, Tonga
and other isles.
Today, Eselu is invited to perform all over the world. The halau
just returned from a trip to Tahiti, and will head to fukuoka, Japan,
after practicing once a week at a scenic stretch of green called
Lanikuhonua, which means “Where Heaven meets Earth.”
s ince 1980, O’Brian eselu has been director of entertainment
at Paradise Cove Luau, overseeing a troupe of Polynesian
dancers that delight visitors. While he presides over the show
every evening, Eselu also has another role: kumu hula.
Eselu’s halau, Ke Kai o Kahiki, has swept the men’s division at the
merrie monarch festival in Hilo three years in a row. Last year,
with just six male dancers, the halau netted the highest score
from merrie monarch, winning the overall title.
This year, with eight male dancers, the halau took the men’s
division again. it’s an accomplishment worth noting, earning him
respect in the traditional hula world, especially since Eselu is
competing against many younger kumu hula who feature larger
halau.
a kumu hula since 1979, he has always been humble about winning.
“i’ve been doing this for 32 years and my role is to teach what i
know. and that’s it,” he says.
He respects traditions but is still an innovator, having introduced
a new step to the competition in 2010. This was no small feat,
since merrie monarch judges are notoriously rigorous in their
requirements for every step, word and implement to have a basis
in tradition. Eselu was up to the challenge as his mele (songs or
chants) are carefully chosen for their poetry and hidden meanings.
The kahiko they performed at the festival, A Ka‘uku, depicted a land
battle between Pele and half-man, half-pig demigod Kamapua‘a
in a vigorous, stage-stomping performance that showcased the
new step—ke nakulu—which involves a jump and quick arm-
cross movement that refl ect the resounding thunder of akaka
falls. Eselu said he learned the step from his own kumu decades
ago. His halau is the only one that performs the move, but he
was nervous about including it because he wasn’t sure how the
judges would react. so he wrote up a fact sheet explaining it, and
luckily the judges accepted it.
By Nina Wu Photos by Kyle Rothenborg
SPIRIT / O’BrIan eselu
29
Photo by Dennis Oda.
CREaTEyOur Own
DEsTiny
Radasha Ho‘ohuli, a formerMiss Hawaii USA, oncetrained under Eselu.
Longboards at Marriott’s Ko Olina Beach Club is a great spot to enjoy the sunset while you sip a Mai Tai or Pina Colada and have a meal.
Nightly Entertainment.
Breakfast served 7am-10:30am
All Day Dining served 11am-9pm
Sunset Dinner Specials 5pm-9pm
Happy Hour Specials.
an evening in Samoa FEEL IT.
every Tuesday
show
Be part of a Ceremony where Island Traditions are shared. Be amazed as High Chief Sielu Avea and his Polynesian Warriors perform an extravagant show of Fire Knife Dance.
Reservations: Concierge at 679.4728 www.fiafiashow.com
it’s a special place with spiritual assets, says Eselu—one he feels
for tunate to have been able to practice at for more than
25 years.
“it has all the elements that we need for hula—the elements of
nature—and it has a connection to Pele,” he says, adding that
he was inspired to compose a song called Lanikuhonua one day
while waiting for his students to come for class. While strumming
his ‘ukulele overlooking anianiku Cove, feeling the gentle rain and
soft breeze, he completed the tune, which appears on his latest
album, Aloha E, Alohe E, Aloha E (2010).
The song brings the listener to Lanikuhonua as the day breaks,
describing the magical area by detailing the rain “E ho‘opulu ia e ka
ua Pala‘ila‘i (Drench by the Pala‘ila‘i rain);” the wind “Pa Mai Ana
ka makani o a‘eloa (Blowing is the a‘eloa wind)” and the swaying
palm trees.
With a voice that is distinct, yet soft or commanding at times,
Eselu also has won recognition for his compositions in the music
world. In 1998, eselu made his recording debut with the album
Ke Kumu, which won the “most Promising artist” award at the
na Hoku Hanohano awards, Hawai‘i’s version of the Grammys.
as the director of entertainment at the lu‘au, Eselu expects hard
work and discipline from his entertainers. as a kumu hula, he
expects the same from his students. for example, his students go
through a regular regimen, which includes climbing coconut trees
to strengthen their legs.
Besides the discipline of the dance, Eselu expects integrity from
his haumana (students). most importantly, he wants them to have
the heart of a hula dancer, which is of pure aloha.
“The Hawaiian heart is so special and beautiful. it has no prejudice,
no boundaries and limits,” he says, adding: “Love is like that.”
Eselu will take a break from merrie monarch next year, but is
planning to participate in the 50th anniversary two years from
now. Ensuring his halau serves an important role in promoting
men’s style of dance, he makes sure they follow in the footsteps
of their ancestors, and remain healthy.
“i want to make sure that men have their place in the hula world,
just like the women,” he says.
He hopes to develop great dancers, believing every one of his
students will carve out his own path in life.
“as long as they’re good human beings, good fathers and husbands,
everyone has their own destiny,” he says. “To be in my halau you
create your own destiny—hula is just one of the stepping stones.” •
30
The men of Ke Kai o Kahiki performing at the Merrie Monarch Hula Festival, one of the world’s most prestigious hula competitions. Photo by Dennis Oda.
31
Longboards at Marriott’s Ko Olina Beach Club is a great spot to enjoy the sunset while you sip a Mai Tai or Pina Colada and have a meal.
Nightly Entertainment.
Breakfast served 7am-10:30am
All Day Dining served 11am-9pm
Sunset Dinner Specials 5pm-9pm
Happy Hour Specials.
an evening in Samoa FEEL IT.
every Tuesday
show
Be part of a Ceremony where Island Traditions are shared. Be amazed as High Chief Sielu Avea and his Polynesian Warriors perform an extravagant show of Fire Knife Dance.
Reservations: Concierge at 679.4728 www.fiafiashow.com
TR
AC
KIN
GT
IME
L-R: Glen Houlton,Larry Howard (seated)Virgil Rewick and Lou Hopf.
The Hawaiian Railway Society Recalls a Bygone Era
There’s no better way to tour o‘ahu’s “Wild
West” than aboard a historic locomotive.
established in 1971 to preserve hawai‘i’s rich
railroad past, the Hawaiian Railway society takes
passengers on the ride of a lifetime on a fully
restored diesel train. and as the vintage choo-choo
chug-chug-chugs along the tracks from its station
in ‘Ewa out to Kahe Point and back—passing sugar
cane fi elds, a sisal plantation, fort Barrette and
even an honest-to-goodness ghost town!—society
guides share stories of the old oR & L and how life
out west once was.
“The railroad changed the culture of the island,”
says railroad administrator Tom mcCarthy. “so
many people in the islands have their roots in the
railroad—they came here to work in the cane
fi elds or pineapple fi elds, and the railroads played
an important part in that. There’s not a sunday that
goes by that i don’t hear someone say they had a
family member who worked along the railroad.”
since its inception, the nonprofi t and its volunteers
have been able to fully restore 6.5 miles of track,
three diesel locomotives and the famous Dillingham
Parlor Car, which is available for rides on the second
sunday of each month and for charters. several
steam locomotives also have been cosmetically
restored and are on display in the train yard.
“(The railway) is all that’s left of that chapter of
history,” mcCarthy states, “so education is very, very
important to keep the history of the island alive.”
Today, as the local chapter of the national Railway
Historical society, the society continues to educate
and share its works with the public through train
rides held twice every sunday throughout the year.
Departure times are at 1 and 3 p.m., with rides
lasting approximately 90 minutes.
Tickets cost $8 (children ages 2-12 and seniors ages
62 and up) and $12 (adults), and may be purchased
at the Ticket sales and Gift shop beginning at 11:30
a.m. seats fi ll up fast (maximum capacity is 150
people) and are available on a fi rst-come, fi rst-
served basis.
Weekday charters also are available for school or
senior day-care programs.
the hawaiian railway society is located at 91-1001
Renton Road. Call the society at 681-5461 or visit
its website, www.hawaiianrailway.com, for further
information. •
By Sarah Pacheco Photos by Kyle Rothenborg
The Hawaiian Railway Society was founded in 1971 to preserve the islands’ rich railroad past. It serves as the local chapter of the National Railway Historical Society.
PEOPLE • LAND / HaWaiian RaiLWay soCiETy
33
“THE RaiLRoaDchanged the culture
of THE isLanD.”
34
Motor Car M-1, Wai‘anae ca. 1940, Elinor Ikawa Collection.Courtesy Hawaiian Railway Society
No. 85 departs Honolulu with Barbers Point Commuter ca. 1944, Bill Blewett.Courtesy Hawaiian Railway Society
Train rides by The Hawaiian Railway Society run throughKo Olina from ‘Ewa to Nanakuli.
35
Steam Locomotive Ewa 1 was the fi rst steam locomotive used on the ‘Ewa Sugar Plantation.
Diesel Locomotive 302, a 300 horsepower Whitcomb diesel electric, pulls the society’s passenger and work trains.
36
Living CultureKamaki Kanahele and ‘Aunty Aggie’ Cope Bring the Past into the Present
37
as you head deeper west along the Wai‘anae Coast, Pu‘u
ma‘ili‘ili rises, golden in the sunlight.
This mountain sits squarely in the legendary home of the
demigod maui, and it seems to draw you toward it. fittingly, the
Wai‘anae Coast Comprehensive Health Center (WCCHC)
rests at the foot of Pu‘u ma‘ili‘ili, and nestled—almost hugging
the mountainside—is the Dr. agnes Kalaniho‘okaha Cope
Traditional Hawaiian Healing Center.
as you walk around its grounds, one can literally feel the mana,
or power, of the area. Director Kamaki Kanahele (son of the
center’s namesake, whom he refers to as “mama,” and everyone
else reverently calls “aunty aggie”) says “traditional healing is the
foundation of all healing,” for the Hawaiian culture.
However, the strength of this place is girded by the strength of the
people within, and the healing center is equipped with individuals
of formidable talents and skills. The kupuna here, quiet in their
nature and intent on their purpose, serve people who come for
healing but also work to share and preserve a knowledge that
was almost lost to the ages.
Kanahele explains that King Kalakaua, during his efforts to
revive traditional Hawaiian culture, not only brought back hula
and mele, but he also worked to restore traditional healing
practices.
“he was the first king to say ‘there will be a society of healers,’ and
he actually certified them with his own signature as great healing
masters,” Kanahele adds.
However, after the fall of the monarchy, practices such as lomi
lomi and la‘au lapa‘au went underground.
“…That’s when the majority of the culture just disappeared,” says
Kanahele. “if you speak with people like mama (aunty aggie) they
would quietly go see the old healers, but that was all in secret,”
says Kanahele, explaining how the traditional healing practices
managed to survive.
It was in the 1970s that a renewed interest in hawaiian culture
saved many traditional healing practices from extinction. aunty
aggie was actually tasked by the state of Hawai‘i to search out
practitioners.
“she’d find these old masters in crafts, language, arts and bring
them out of the trees and out from the back of closed doors (to)
come and reveal and practice out in the open,” Kanahele recalls.
“from that day on, culture was coming back alive.”
Kanahele points to Hawaiian language immersion schools such
By Lianne Bidal Thompson Photos by Kyle Rothenborg
SPIRIT / aunty aGGiE CoPE & KamaKi KanaHELE
as ‘aha Punana Leo and the merrie monarch festival as evidence
that the Hawaiian culture is thriving.
He also is quick to acknowledge the efforts of area businesses,
such as Ko olina Resort and its components, namely Disney, for
being not only respectful of Hawaiian culture, but supporting and
bringing it to the forefront.
Excitement peppers his voice as he describes aulani’s ‘olelo
Room, a restaurant at the resort that immerses guests in the
Hawaiian language, which is solely spoken by the wait staff.
The constant remains aunty aggie and WCCHC, of which the
healing center—although rooted in the oldest cultural practices—
happens to be one of the newest components. While the healers
take patients and serve the public just as the rest of the health
center does, it also is playing a big part in nurturing the practices
of Hawaiian culture that were almost lost to time.
a training center and archive is being added to the wooden
building that looks out on the Wai‘anae coastline. While kupuna
from all over the island come to share and exchange their
knowledge, the center, with their permission, documents their
knowledge by filming them.
“(it) will house the world’s largest archival library of native Hawaiian
traditional healing,” says Kanahele, just one of the superlatives
to describe the health center that boasts 500 employees, 71
percent of whom are native Hawaiian. “We service the largest
community-based native Hawaiian population in the state. This
past year, we serviced 126,000 people.”
WCCHC also services the largest populations of homeless,
mirconesians, medicare and medicaid patients.
38
Director Kanahele is gathering the knowledge of Hawaiian elders and masters—safekeeping it forfuture generations.
39
The Wai‘anae Coast view as seen from the Dr. Agnes Kalaniho‘okaha Cope Traditional Hawaiian Healing Center.
Every occasion deserves to be beautiful.
Whether you’re celebrating your wedding day, indulging at our famed Ihilani Spa
or dining with us at Azul, Ushio-Tei or Naupaka Terrace, we make every moment special.
Wedding information 679.3255 • Spa information 679.3321 Dining information 679.31665 • Hotel information 679.0079
Visit ihilani.com.
JWMR-30889_KoOlinaInsertSAfnl.indd 1 8/31/11 10:23:19 AM
“it’s quite a mission that mama founded here,” he says of the lady
who not only founded the health center, but the Waianae
Coast Culture and arts society as well. Both organizations are
50 years old.
Born in Kipahulu, near Hana (maui), aunty aggie was driven
to found WCCHC because of a lack of health care for native
Hawaiians.
“in the early ’30s and ’40s, they would not let our Hawaiians go to
Queen’s Hospital because we didn’t have any money,” Kanahele
explains. “and yet, the plantation ‘Ewa hospital would not allow
us to go there because we were not plantation workers. a lot
of Hawaiians passed away because they couldn’t get medical
services. mama had had enough and decided, ‘We’re going to
build our own.’”
aunty aggie’s infectious smile plays upon her face when asked
about how busy she was founding such an important organization.
“When i was young, i was busy,” she says. “now, i want to rest.”
now, a half-century later, it’s the state’s largest community health
center. add to that the fact that the center graduated its first class
of nine medical doctors who will be serving communities in the
Philippines, arizona and beyond.
still, for Kanahele and aunty aggie, the focus is on traditional
healing. The healing center offers lomi lomi, la‘au lapa‘au, la‘au
kahea (spiritual healing), pale keiki (art of midwifery), haha
(ancient art of diagnostic observation and healing) and ‘ike
papalua (seeing with a third eye). The latter two are rare and
very ancient practices. The kupuna at the healing center are the
only known masters of their respective practices.
Kanahele acknowledges that it can be tough to think of a
traditional practice disappearing. But he also points to the positive,
which is that the healing center is waiting to train future students.
“This is the only place in all Hawai‘i that will be a formal training
center for the traditional healing arts,” he says. “We’re trying to
make this the premier reservoir of traditional healing practices—
by preserving and healing, and actually implementing these
practices.” •
“This image is a very sacred symbol,” says Kanahele. He explains that it represents the piko, the umbilical cord, referencing creation. “Hawai‘i
is the piko of the whole world, and each circle represents each generation. This speaks to the generations and the circle of life.”
40
41
Every occasion deserves to be beautiful.
Whether you’re celebrating your wedding day, indulging at our famed Ihilani Spa
or dining with us at Azul, Ushio-Tei or Naupaka Terrace, we make every moment special.
Wedding information 679.3255 • Spa information 679.3321 Dining information 679.31665 • Hotel information 679.0079
Visit ihilani.com.
JWMR-30889_KoOlinaInsertSAfnl.indd 1 8/31/11 10:23:19 AM
42
UnearthingthePastShad Kane works to discover the
hidden stories behind Kalaeloa Heritage Park.
shad Kane chants a prayer and places a lei at the
large ahu, or stone altar, where the remains of 15
people are interred. Ti leaves planted at each of the
four corners rustle in the wind while sleek-looking
chickens bob and weave around the area. small
planes buzz overhead like droning insects on flight
paths coming from Kalaeloa airport. To the untrained
eye, the area looks barren and useless; but this land is
sown with secrets.
“What the people that lived here knew, that others did
not, is that there is water here,” Kane explains of this
land, formerly part of Barbers Point naval air station
and future home of the Kalaeloa Heritage Park. The
site is a relatively undisturbed, 77-acre parcel with
more than 177 recorded home, heiau (temples) and
other habitation sites. we find relief from the sun
under a portable gazebo as Kane explains how this
area came to be so culturally rich.
The topography of the area offers important context.
stretching along the coast from Pearl Harbor to
Wai‘anae, the entire ‘Ewa Plain is an emerged coral
reef. Eroded by rain and wind and covered with thin
coatings of soil over tens of thousands of years, the
land is uneven, tufted and full of crevices, or sinkholes.
also called karsts, these small caves pepper the plain
and were important sources of fresh water as well as
being agricultural and sacred sites for early inhabitants.
for scientists they are time capsules, offering not just
evidence of human activity, but rich troves of fossils,
many from extinct birds, snails and plants.
it’s not hard to imagine the chickens that have followed
us as large, flightless land geese, now extinct, grazing
the area like goats before becoming easy prey for
early settlers. kane says there are at least five ancient
house sites a stone’s throw away, only one of which
has been reclaimed from the brush by volunteer labor.
asked about the most exciting finds in the area, he
thinks for a minute.
“it’s not just the structures. it’s really much more than that. i learned … that
the cultural history—and i don’t want to say Hawaiian, because there’s
questions about that—it’s much older than one would suspect.”
The nearby structures, he explains, are unique in Hawai‘i because they are
built entirely of coral in a style markedly different than the tight-fit hawaiian
rock wall construction style. Clustered around sinkholes used for water
and agriculture, the ancient walls are built with upright stone slabs filled
in with smaller rocks, Tahitian style. a striking feature of the area is a coral
slab-paved trail that once ran from the ocean to Kapolei, a pathway Kane
likens to the H1 freeway of the day. a nearby heiau is characteristic of
those found in the area, smaller than the chiefly heiau many people think of
and partly underground, as evidenced by the rocky gash of a karst entrance
within its walls. upright stones, now toppled, once stood guard on either
side of a raised mound looking into the sinkholes.
By Jeela Ongley
Photos by Kyle Rothenborg
43
PEOPLE • LAND / sHaD KanE
“It’s much Olderthan One wOuld
suspect.”
The sinkholes, or karsts, found in the area were important sources of fresh water.
44
This heiau is different from most found in Hawai‘i, reinforcing Kane’s assertion that many of the structures and artifacts found at the park are not necessarily Hawaiian, and may predate the establishment of a Hawaiian culture.
Kane’s introduction to the area deftly weaves together the work of modern
scientists and scholars, 19th century map-makers and ancient Polynesian
genealogies and lore. These sources provide tantalizing evidence that the
people who lived for hundreds of years at Kalaeloa were not Hawaiian, but
other Polynesian families who probably traveled regularly between Hawai‘i
and their far-away homeland.
it’s an astounding synthesis of knowledge from one unassuming man, but
kane’s own story sheds some light. an avid horse-lover, he first explored
surrounding areas on horseback, where he saw archeological remains
without knowing much about them. He also came to know the area from
different vantage, that of a 30-year Honolulu Police Department veteran.
“i was a detective for 10 years, so i was very accustomed to doing research.
i transferred that interest from researching criminal activity to researching
Hawaiian culture,” he explains. Kane became involved at Kalaeloa when
he was invited by the Kapolei Civic Club—a club
chartered to give the City of Kapolei a Hawaiian
cultural presence—to represent them at a series of
community redevelopment commission meetings
held as the Barbers Point land was transferred to the
state. archaeologists, cultural experts and scientists
shared their knowledge at these meetings, and Kane
began making connections.
“I was able to take what I saw in the field on my
horse and was able to bring that together with all
this information that these people were ready and
willing to share with me,” he says with gratitude. “i
had access to everything.”
His insights into the area include the spiritual lore
of former inhabitants. a practicing Catholic, Kane
shares “chicken-skin” stories about the restless
spirits Hawaiians believed inhabited the area in a
sort of Earthly purgatory. He also has stories about
unexplained incidents from when he worked at the
Kapolei Police station. Today he gets calls to attend
to seemingly supernatural situations; sometimes
he offers blessings, other times referrals to kahu or
priests. But he turned down a ghost-hunting television
crew looking for material. “it’s not something we need
to fear, but it’s something that we need to embrace,
because it’s part of our past.”
The vision for the future of the Kalaeloa Heritage
Park is grand, including interpretive exhibits, cultural
practitioners, native plant restoration and an onsite
archeological project. They’ll need donations, grants,
expertise and a small army of volunteers to help
maintain the site. now in his late 60s, Kane says
matter-of-factly, “i probably won’t be around to see it,
but there will be others. There is a lot more to be done.”
anyone interested in learning more about visiting and
volunteering can email [email protected] or call
him at (808) 429-7175. •
One discovery includes this pathway—paved with coral slabs—that once ran from the ocean to Kapolei.
45
46
nestled at the base of the Wai‘anae mountain range, in an area rich with historical lore, rests
24 acres of organic bliss: ma‘O Organic farms, a fl avor-packed wonderland fi lled with enough
produce to sustain 40,000 people, or the entire population of West o‘ahu.
Just 19 miles north of this verdant retreat, resides the powerhouse, searider productions, a media
education program at Wai‘anae High school. yet a partnership between ma‘o, makaha studios and
searider has caught the interest of the W.K. Kellogg foundation—a $4 million interest, to be precise—
that allows the three entities formalize and expand upon the program.
the partnership, now called “kauhale o wai‘anae,” fi lls a cultural void that deals with the dysfunctions
of modern society and our dependence on imported food, by creating businesses that are vibrant
and yet still a part of our traditional practices. Like storytelling and farming.
“People always ask, ‘oh how do you merge digital media with organic farming?’” says Candy suiso,
program director for searider Productions. “We have a lot in common. We are growing our youth to
become leaders and we are growing our land to become abundant. it’s our job to share these stories
with the world.”
“We are providing an opportunity for students who graduate high school to participate in an intern
program that not only provides valuable on-the-job experience, but will help pay for their
education,” says John allen iii, the founder and owner of makaha studios. The studio
also provides brand consultation and media services for Kauhale o Wai‘anae.
Sowing Partnerships
Farm to Communityfrom
By Lehua Kai
MA‘O Organic Farms owner Gary Maunakea-Forth samples some arugula leaves from his crop on their farmland. The farm-to-table movement is thriving on the West Side, with MA‘O and other area farms supplying O‘ahu businesses such as Roy’s Restaurants, Aulani and Island Country Market. Photo by Jamm Aquino
maisha abbot, a college intern at ma‘o organic farms and a graduate of Wai‘anae High school, is
benefiting from a program called youth leadership training, or ylt (one of the programs the kellogg
grant will help continue to fund). yLT gives students a scholarship to attend college as well as a
stipend for working on the farm; this has helped abbot plant her path to her future.
“i want to return to Wai‘anae when i get my degrees. if i did not come back, it would mean that i was
not true to my word of helping my community be better,” says the 20-year-old entrepreneur. “i see
myself becoming a eco-fashion designer … i would want to show other future young designers on
the Wai‘anae Coast how to express their own styles through more eco-friendly material.”
While remaining eco chic, and enjoying all of her duties on the farm, abbot says it’s her participation
in the farmers market that she loves most.
“We get a chance to communicate one-on-one with our customers; this creates a food-growing
niche between the people of Hawai‘i and farmer.”
The term kauhale is rooted in the ancient Hawaiian land division system known as the ahupua‘a (land
division). It referred to the extended family units that kept each ahupua‘a self-sufficient. each unit
had its own responsibilities in its region. If you lived by the sea, you maintained near-shore fisheries;
if you were upland, you managed the taro, and more importantly, you never traded outside of your
ahupua‘a. it revolves around the concept of “it takes a village to build a village.” most importantly,
those who come back to lead the village are the ones who keep it alive.
Case in point: after Kamuela Enos, ma‘o’s community relations director, graduated with an m.a.
in urban and regional planning from the university of hawai‘i at manoa, he made it a point to give
back to “the village.”
“Being born and raised here and being a part of the movement that is the continuation of ‘aina-based
learning—having been raised in this environment that is built on this concept of having a venue to
return to—and being able to contribute to the community in a meaningful way by doing the things
that we’ve always done, that is a really powerful transformative thing…”
“What we are trying to do at ma‘o is create economic development in a community that matches
the fabric and nature of what it means to be from Hawai‘i, and to do our part to partake in Hawai‘i’s
food security.”
By building the farms and restoring a culture to community-based food systems, Enos believes we
can resurrect the role of the farmer and give them back the respect that they deserve.
“Look around you, these kids, these are your farmers. They are bringing you food to your table,” Enos
says, calling it “sweat equity.”
“We recruit kids to work on the farming and academia as a personal development.”
Even if the students don’t go on to a future in farming, the program still provides many useful lessons.
“We’ve always pushed many life skills at searider Productions and makaha studios,” says allen.
“Responsibility, timeliness, communication, working together … seeing the students realize that these
skills can apply in the ‘real world’—that’s definitely been the most rewarding part (for me).”
Candy suiso points to Kainoa aila as an example. searider Productions followed his story; how he
lost 130 pounds in 10 months by working on the farm and reconnecting to the land. in his words,
“when you grow the food you eat, it makes you feel a lot better.” •
PEOPLE • LAND / ma‘O OrganIc farms, makaha studIOs & searIder prOductIOns
kauhale OWai‘anaE fiLLs acultural vOId.
47
Photo by Ronen Zilberman
48
NANAKULI’S
AMBASSADOR
you could think of Josiah “uncle Black” ho‘ohuli as an unofficial
ambassador for his hometown of nanakuli. He’ll gladly take
the curious around to discover the histories and tales that seem
to be hidden in plain sight. if anyone should know, it would be
ho‘ohuli, who’s a fixture at nanakuli high school and loves
everything about his West side town. His father owned the bus
line that took people between the Wai‘anae Coast and Kaka‘ako,
and he says, “i pretty much know everyone here.” When asked
about his youth, he chuckles about being “naughty” but adds that
he joined the marine Corps for a change of scenery.
Ho‘ohuli humbly adds that he likes to get involved in the community,
pointing out that people recognize him and others as the elders
in nanakuli. “you have to pay attention to the kupuna,” he says.
He credits his late wife, Leina, as the source of his humility. They
were married for more than 40 years, and together they had
three boys and three girls. Grandkids? “i don’t know, i can’t keep
count—that’s the parents’ job,” he chuckles. Ever the gracious
host, he enjoys sharing the beauty of nanakuli with guests, even
those from beyond Hawai‘i. a few years back, he took a spur-
of-the-moment trip to new Zealand that proved to be life-
changing. “i hooked up with some good people … i decided to
do a cultural exchange,” he says. “it was completely different, and
i really wanted to learn more.” now, his Kiwi friends know that
“uncle Black” will always take care of them when they’re in town. •
Photos by Kyle Rothenborg
49
Uncle Black Ho‘ohuli, at Nanakuli High School.
Ho‘ohuli shares the stories and sights around Nanakuli, including the Maui coral rock and a beach bunker
that he’s working to protect (bottom).
LAND • PEOPLE / uncle Black
WESTPAINT
50
as a child, mark kadota asked his parents for some paints. slightly mystified
by the request, they went ahead and bought him a paint-by-number kit.
He removed the paints, ignored the picture and created his own art—a little
boy who knew his whole life what he wanted to be and grew up to become
a modern-day Renaissance man.
the california native came to hawai‘i as a young man in 1971. he settled at
the back of a remote valley in the Wai‘anae mountains with a group of other
artists, studying not only techniques of painting but also the culture of Hawai‘i.
He studied under the late kuma hula mililani allen, who inspired his early art.
“i love Wai‘anae and have spent most of my life there,” says Kadota. “it is my
muse when i am in Hawai‘i. i still love to travel and live in other lands but
always return to my home in Wai‘anae. as an artist, it constantly inspires me
by the beauty and power. Parts of my travels give me a renewed appreciation
for the Wai‘anae area. i never want to take it for granted.”
a multifaceted artist, Kadota also expresses his creativity through ceramics,
sculpture, photography, performance art, dancing, music and writing.
His landscapes, many of the Wai‘anae coastline, are mixed-media using a
combination of oils and acrylics and even sand and dirt mixed in for texture.
“Creating artwork has been my lifelong passion,” he says.
Kadota’s works are collected and shown around the globe. at the Beijing
olympics in 2008, Kadota was one of only six artists asked to represent the
united states in the cultural exhibition at the today art museum.
However, it’s his island sanctuary that he keeps returning to. “i love my home
in wai‘anae, it allows me to reflect, focus on my artwork and live a simpler life,”
he adds. “i can maintain a strong focus on my art in my studio in Wai‘anae. i
love living quietly surrounded by nature.” •
By Florence Parma Photos by Kyle Rothenborg
SPIRIT / maRK KaDoTa
51
52
Mount Lahilahi. “This portrays a beautiful sunset on the Leeward Coast. The gold leaf bottom panel represents the preciousness of our ‘aina.” - Kadota
“aLL of THEsE PainTinGs aRE pOwerful places fOr me on THE LEEWaRD CoasT.”
“This painting is called Secret Beach, and is a beautiful hidden beach on the Wai‘anae Coast. I used to visit this beachwith my kumu hula, Mililani Allen. It is a quiet and calm place for me,” says Kadota.
“I wanted tO capture the Beauty of THEsE PLaCEs anD momEnTs WHEn i have Been mOved By theIr Beauty.”
53
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6. 1.
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1. Ko Olina Chapel Place of Joy - Lagoon 1 • 2. Aquaveil Frais Marina Ko Olina Le Plage – Lagoon 4 • 3. Honu Kai Lani at Ko Olina – Place of Welina – Lagoon 24. Party Room “Lokelani” – Lagoon 2 • 5. Exclusive Menu by Chef Alan Wong – Lagoon 2 • 6. Chef Alan Wong • 7. Party (Image)
by Watabe Wedding | contact 478.4052 or [email protected] | viewing by appointment only
Hawaii Wedding Chapel & Party at Ko Olina
Watabe Wedding Corp FP.indd 1 9/23/11 4:55 PM
Makua. “This is one of my favorite places on the Wai‘anae Coast,” says Kadota.
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Inset: Following the tracks of the original OR & L along the Wai‘anae Coast to beautiful Makaha Valley, home to the first Leeward Coast Resort developed by the Chinese.
2.
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1. Ko Olina Chapel Place of Joy - Lagoon 1 • 2. Aquaveil Frais Marina Ko Olina Le Plage – Lagoon 4 • 3. Honu Kai Lani at Ko Olina – Place of Welina – Lagoon 24. Party Room “Lokelani” – Lagoon 2 • 5. Exclusive Menu by Chef Alan Wong – Lagoon 2 • 6. Chef Alan Wong • 7. Party (Image)
by Watabe Wedding | contact 478.4052 or [email protected] | viewing by appointment only
Hawaii Weddings and Receptions at Ko Olina
Watabe Wedding Corp FPre.indd 1 9/27/11 12:32 PM
Voyaginginto theFuture
Billy Richards stands with E Ala (Awakening). It is planned that this inter-island voyaging canoe will serve as a fl oating classroom for future voyagers.Richards considers Aunty Aggie Cope the “Matriarch of the Canoe,” meaning she commands this canoe on all levels.
56
Hawaiian men and women and others who love the sea and these
beautiful islands, anchored in the Tropic of Cancer, sail on great
Polynesian voyaging canoes. They dream great dreams. They accomplish
heroic feats, not just for themselves but also for the generations to
come. They sail by the ancient ways with non-instrument navigation.
Their compass is a rising and setting star. They voyage in all our names.
In the 1970s, historic accounts of ancient voyages fired the imaginations
of Hawaiian sailors and surfers, artists and anthropologists. Their theory
was that in a time when Europeans had not ventured from the sight of
their own shores, Polynesians were making voyages of discovery and
then returning to settle far-off islands.
ancient rock carvings of canoe sails were discovered on Hawai‘i
island. They were studied and copied. Canoe designs were created
and considered. Epic voyages were planned. Those with the navigator’s
heart did not question the possibility of success.
referred to as the ‘hawaiian renaissance,’ the ’70s and ’80s were a
time of realization that Hawai‘i had to malama, care for, its treasures
of music, language, arts and voyaging, before they were lost. The
Polynesian Voyaging society was organized, a 61-foot, double-hulled
voyaging canoe, Hokule‘a, was designed and built, and the theory of
polynesian wayfinding was proven when the canoe was successfully
sailed from Hawai‘i to Tahiti and beyond with only the stars, wind and
waves as a navigational guide.
The canoe carried a captain, a navigator, a crew and the dreams of
thousands in Hawai‘i, then hundreds of thousands of people worldwide.
Hokule‘a was soon joined by two more canoes—the Makali‘i and
Hawai‘iloa—to explore all the pacific Islands, Japan, new Zealand,
canada and the u.s., allowing new dreams for young crews, training
for the epic adventure of their lives. These canoes broke the historic
barrier between the ancient celestial navigation skills of Polynesians and
the oil-powered world of modern travel.
By Lynn Cook Photos by Kyle Rothenborg
OCEAN / BiLLy RiCHaRDs
57
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reluctantvOyagerBack in the day, Billy Richards worked as a musician and an
underwater survey diver. He didn’t belong to a canoe paddling
team. What he knew of the voyaging canoes came mostly from
the evening news. “i drove by Kualoa one day when Hokule‘a was
anchored there,” he says. “I saw it was fiberglass with dacron lines.
i thought, ‘this isn’t real.’” But, the thought of voyaging didn’t leave
his mind. He heard that they were taking crew who paddled in
canoe clubs. “That wasn’t me,” he says.
as Richards tells the story: “one day on the Big island, outrigger
canoes were racing out and back, around the Hokule‘a, anchored
off shore. They said the canoe was about to sail, would we paddle
the crew out? i jumped in and helped. We stayed for their prayer
circle, asking for a safe voyage. Just as we started to pull our
canoe away a hand came out to me. a crewmember said, ‘i think
you belong on this boat.’ i knew he was right.”
The rest, as they say, is history. Richards has been voyaging ever
since, across oceans, accepting challenges. Richards is president
of the friends of Hokule‘a & Hawai‘iloa, charged with restoring
the canoe Hawai‘iloa, made of native woods, so it can voyage
Hawaiian waters as the Hokule‘a voyages around the world. He is
also the president of the ‘ohana Wa‘a, the statewide organization
and alliance of canoes, canoe builders, friends and fundraisers
who recently welcomed Vaka Moana, the five new canoes from
the south pacific. voyaging may be one of the world’s most costly
endeavors. young crewmembers have been heard to say, “it isn’t
technically a sport or a career, it is a way of being.”
“in the late ’80s”, Richards says, “we did a tree search in the koa
forests of the Big island for a koa tree tall enough and big enough
around to carve into a canoe. We found it but had no way to
get it off the mountain.” he laughs as he recalls, “I called the u.s.
marines to see if they could air-lift something that was five to six
tons. They said ‘no problem’ until they heard it was up where the
air was too thin to operate.”
The Tlingit tribe, owners of the sealaska Corporation, offered two
sitka spruce logs, 200 feet tall, 7 feet in diameter and more than
400 years old. in the journals of Captain George Vancouver, he
described the largest canoe ever seen in the islands, somewhere
between 60 and 100 feet long, carved from the trunk of a pine
tree. To those who doubt, Richards says, “visit Ka Lae, south
Point on the Big island even today and you can see drift logs
from alaska.”
Tay Perry, a kalai wa‘a of the highest order, works on a model of a voyaging canoe.The Hawai‘iloa is being restored, so that it can travel throughout Hawai‘i as the Hokule‘a makes its journey around the world.
great adventuresThe canoes called Hokule‘a and Hawai‘iloa voyaged to destinations
that were instinctively recognized, charted by stars but not
written down. Hawaiian navigators were trained by the late mau
Pialug, a micronesian from satawal island. He was the only master
who still knew the art of wayfinding.
Hokule‘a navigator, nainoa thompson, mau’s first student navigator,
says that, “mau passed on his closely guarded knowledge of blue
water voyaging so it could be taught to future generations, and
that’s our plan, to enlist the next generation of voyagers. Without
them, voyaging won’t continue.”
to fire the imagination of young adventurers, Hokule‘a is cruising
toward their monumental plan for a 2013 voyage around the
world. “our mandate is that 40 percent of the crew will be under
30,” Richards says. Thirty-two legs for the trip will allow the new
crews to make their own history. “We are training now on maui,
Kaua‘i, the Leeward Coast of o‘ahu and Hawai‘i island.” The
trainees have logged 16,000 miles since april of ’08 and it’s only
21,000 miles all the way around the earth. meanwhile, Richards
and his team will bring life back to the Hawai‘iloa, the first deep
ocean canoe in centuries to be built totally from native materials,
so that it can be the touchstone for Hawai‘i as the voyagers
circumnavigate the globe.
soon Hawai‘iloa will join Makali‘i and Hokule‘a—the three giants,
restored and revitalized, will be sailing against the wind, rising up
to meet the dreams of people who may never voyage across an
ocean but believe, because of these brave navigators in the great
canoes, that they can. •
Hokule‘a arrives at Ko Olina Marina.
59
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email : [email protected] • p : 808.853.4300
www.koolina.com
We help create experiencies you'll remember forever
KoOlina_AD.indd 3 9/23/2011 3:37:21 PM
60
One of Golf Digest ’s “Top 75 Resort Courses in the U.S . ”
Ko Olina Golf Academy with PGA Professionals
2010 Hawai ’ i Resort Retail Business of the Year
Roys Ko Olina - The best 19th hole in Hawai ’ i
Complimentary Transportation from Waikiki
18 Holes of Championship Golf
O’ahu’s Premier Golf Experience
Ko Olina, Hawai’i • 808-676-5300 • www.koolinagolf.com
61
PMS 117 (GOLD)
email : [email protected] • p : 808.853.4300
www.koolina.com
We help create experiencies you'll remember forever
KoOlina_AD.indd 3 9/23/2011 3:37:21 PM
One of Golf Digest ’s “Top 75 Resort Courses in the U.S . ”
Ko Olina Golf Academy with PGA Professionals
2010 Hawai ’ i Resort Retail Business of the Year
Roys Ko Olina - The best 19th hole in Hawai ’ i
Complimentary Transportation from Waikiki
18 Holes of Championship Golf
O’ahu’s Premier Golf Experience
Ko Olina, Hawai’i • 808-676-5300 • www.koolinagolf.com
62
Ko Olina exemplifies sustainable living at its best—when employees and business owners live close by and work together for the benefit of others.It’s a full-circle philosophy.
Ko
Olin
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Lani
wai
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Ko Olina Resort Information, Activities & Special Events / www.Koolina.com
Aulani, a Disney Resort & Spa / www.aulani.com
JW Marriott IIhilani Ko Olina Resort & Spa / www.ihilani.com
Ko Olina Beach Villas / www.koolinabeachvillasresort.com
Ko Olina Center & Ko Olina Station by Honu Group www.koolinacenter.com / www.koolinastation.com
Ko Olina Golf Club / www.koolinagolf.com Roy’s Ko olina
Ko Olina Marina / www.koolinamarina.com
Ko Olina Productions / www.koolinaproductions.com
Ko Olina Realty / www.koolinarealty.com Kai Lani, The Coconut Plantation, Ko olina Kai Golf Estates & Villas, Ko olina Hillside Villas, The fairways at Ko olina Resort
Marriott’s Ko Olina Beach Club / http://www.marriott.com/hotels/travel/hnlko-marriotts-ko-olina-beach-club/
Paradise Cove / www.paradisecovehawaii.com
The Harry and Jeannette Weinberg Campus Seagull School,
The Stone Family Early Education Center / www.seagullschools.com/koolina
Watabe Wedding / www.Koolina.com aquaveil frais marina Ko olina Le Plage, Honu Kai Lani at Ko olina Place of Welina, Ko olina Chapel Place of Joy
NON-PROFIT & COMMUNITY ORGANIZATIONS
Friends of Hokule‘a and Hawai‘iloa / www.fhh-hawaii.org
Hawaiian Railway Society / www.hawaiianrailway.com
Junior Lifeguard Program / www.aloha.com/~lifeguards/jrguards.html
Kalaeloa Heritage & Legacy Foundation / [email protected]
Lanikuhonua Cultural Institute / www.lanikuhonua.org
Makaha Studios / www.makahastudios.com
MA‘O Organic Farms / www.maoorganicfarms.org
Native Hawaiian Traditional Healing Center /
www.wcchc.com/nativeHawaiianHealing.aspx
Searider Productions / www.seariderproductions.com
Waianae Coast Comprehensive Health Center / www.wcchc.com
The Spirit of Ko Olina: How to Give Back The People and Place of Ko Olina
Mahalo nui loa to the following people and companies for their participation in the beautification of the Ko Olina, and to Ko Olina Community Association.
Ko Olina Community Association Board: Jeffrey R. stone • Kendall Kim • nadine ogata • Ko Olina Beautification Project Management Team: Concepts Hawai‘i, Bill Blaisdell • Ko olina Community association, Ken Williams • PBR Hawai‘i & associates/Landscape Plan & Design, stan Duncan • allied Builders/Contractor, Victor Han & Lee George • ultimate Innovations/landscape contractor • pacific atelier International, llc/comfort stations architect • Honu Group Communications, LLC/Resort aesthetics & Branding, mona abadir
Participants: allison ide structural Engineers LLC • anderson Lahne & fujisaki LLLP • apao’s Repairs • Chee markham & feldman attorneys at Law • Clifford okinaga • Commercial Electric, inc. • Concrete Coring Company of Hawaii • Consolidated Painting LLC • Construction management Resources, inc. • Contract specialties in Hawaii • Creative Concrete impressions LLC • Creative signs and Graphics, Ltd. • Dorvin D. Leis Co. inc • Eight Honolulu LLC • Evergreen by Debra, LLC • first Hawaiian Bank • forms and surfaces, inc. • foundations Hawaii, inc. • fred Lau-Hawaiian Landscape Company, inc. • G.P. Roadway solutions, inc. • grace pacific corporation • H&o iii, inc. • Hawaiian sign & Design Corporation • Hida, okamoto & associates, inc. • Honblue, inc. • Honolulu sign Company, Ltd. • in Line • flooring, LLC • Island pacific distributors, Inc. • J.J.s. Construction, inc • Kichler Lighting • Ko olina operations, LLC / aloha Team • Kusao & Kurahashi, inc. • Landscape forms, inc. • most Dependable fountains • natural stone LLC dba Bella Pietra • nCm Contracting Group, LP • nomura Design Company, LLC • pacific aquascapes, Inc. • pacific sign & graphics, Inc. • Palekana Permits LLC • Plas-Tech, Ltd • Pono Energy solutions • Rmy Construction, inc. • RTV Designs • safety systems Hawaii, inc. • sea Engineering, inc. • shinsato Engineering, inc. • standard sheetmetal & mechanical inc. • The Resort Group • Tilecraft, inc. • Walter P. Thompson inc. • William Grix • Wong’s striping, inc. • yRC inc. dba Century Construction Co.
ARTISTSMark Kadota / www.markkadota.com
Dalani Tanahy / www.kapahawaii.net
George Woollard / www.georgewoollard.com
PHOTOGRAPHERKyle Rothenborg / www.kylerothenborg.com
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o‘ahu photographer Kyle Rothenborg is a lifelong Hawai‘i resident. He has spent the past 25-plus years photographing throughout the pacific. “the diversity in the places and people i work with is awesome.”
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B A I L E Y L A U E R M A NDisney Destinations LLC Disney112205Pub: Ko Olina Magazine Color: 4-color Live 10.875" x 8.75", Trim 12" x 10", Bleed 12.25" x 10.25"
Membership requires purchasing a real estate interest in a Disney Vacation Club Resort.Disney Vacation Club Resort.Disney Vacation Club Aulani amenities and Phase 1 accommodations now open; Phase 3 scheduled completion 2013. Not an offer where registration or other legal requirements for timeshare solicitation have not been met. All accommodations are subject to availability. The full portfolio of vacation destinations may be modified or withdrawnat any time. The complete offering terms are in an offering plan available from the sponsor. Prices start at $19,200 and are subject to change. KY#92-AG-105. #10/34/0001 NJREC. NE Broker: N.P. Dodge Co.
THIS PROMOTIONAL MATERIAL IS BEING USED FOR THE PURPOSEOF SOLICITING SALES OF TIMESHARE INTERESTS.
Introducing Aulani. Located along a tranquil cove, our new resort is now open on O‘ahu. Here you’llfind a family paradise with a touch of magic that will enchant guests of all ages. And, when youbecome a Member of Disney Vacation Club, your entire family will be able to vacation more affordably, year after year, at Disney Vacation Club Resorts like Aulani or over 500 other destinations worldwide.Aulani, a Disney Resort & Spa,
Ko Olina, Hawai‘i
©Disney HI-AD-26-A
Something magical has come to Hawai‘i.Something magical has come to Hawai‘i.Something magical has come to Hawai‘i.
Call (888) 9-AULANI to reserve an Open HouseFrom Japan, dial 0120-77-9800
65Artwork by George Woolard
B A I L E Y L A U E R M A NDisney Destinations LLC Disney112205Pub: Ko Olina Magazine Color: 4-color Live 10.875" x 8.75", Trim 12" x 10", Bleed 12.25" x 10.25"
Membership requires purchasing a real estate interest in a Disney Vacation Club Resort.Disney Vacation Club Resort.Disney Vacation Club Aulani amenities and Phase 1 accommodations now open; Phase 3 scheduled completion 2013. Not an offer where registration or other legal requirements for timeshare solicitation have not been met. All accommodations are subject to availability. The full portfolio of vacation destinations may be modified or withdrawnat any time. The complete offering terms are in an offering plan available from the sponsor. Prices start at $19,200 and are subject to change. KY#92-AG-105. #10/34/0001 NJREC. NE Broker: N.P. Dodge Co.
THIS PROMOTIONAL MATERIAL IS BEING USED FOR THE PURPOSEOF SOLICITING SALES OF TIMESHARE INTERESTS.
Introducing Aulani. Located along a tranquil cove, our new resort is now open on O‘ahu. Here you’llfind a family paradise with a touch of magic that will enchant guests of all ages. And, when youbecome a Member of Disney Vacation Club, your entire family will be able to vacation more affordably, year after year, at Disney Vacation Club Resorts like Aulani or over 500 other destinations worldwide.Aulani, a Disney Resort & Spa,
Ko Olina, Hawai‘i
©Disney HI-AD-26-A
Something magical has come to Hawai‘i.Something magical has come to Hawai‘i.Something magical has come to Hawai‘i.
Call (888) 9-AULANI to reserve an Open HouseFrom Japan, dial 0120-77-9800
Executive Offi ces • 92-1480 Ali‘inui Drive, Honolulu, Hawai‘i 96707Corporate Offi ce • 1100 Alakea Street, 25th Floor, Honolulu, Hawai‘i 96813
www.Koolina.com • [email protected]$9.95
PMS 117 (GOLD)
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