PMS 117 (GOLD)

Artwork by George Woolard

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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.

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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.

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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.

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Rooted in Traditionfor albert silva, the key to the future lies in the past.

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Ancient FibersDalani Tanahy is the keeper of kapa traditions.

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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.

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Destiny Defi nedfor kumu o’Brian Eselu, hula is about character.

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Tracking TimeThe Hawaiian Railway society recalls a bygone era.

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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

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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

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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. •

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“i am nanEa WHEn i walk the grOund

of Ko oLina.”

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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

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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.

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“i am HERE To HELP,” says siLVa, WHo learned hIs lIfestyle grOwIng up as a PanioLa, a HaWaiian CoWBoy.

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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.” •

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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

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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

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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 shadskane@gmail.com 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

2.

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5.

6. 1.

7.

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 wtbhnl@watabe.com | 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.

54

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.

3.

4.

5.

6.

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1.

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 wtbhnl@watabe.com | 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

58

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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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

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O’ahu’s Premier Golf Experience

Ko Olina, Hawai’i • 808-676-5300 • www.koolinagolf.com

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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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Cen

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Lani

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Spa

at A

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i

Ken

Will

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Ko

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Vill

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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 / shadskane@gmail.com

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 • info@Koolina.com$9.95

PMS 117 (GOLD)

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