Hawaiʻi Island artist Donald Namohala Yuen (1931-2023) loved the island on which he was born, and often painted its many wahi pana – special places.
This oil painting, Waiwelawela, was commissioned by the developer and tour operator “Slim” Holt. Anyone with information about the original owner or other owners is invited to contact Don’s daughter, Leilehua, so that provenance can be updated. The most recent sale price of the original was US$3,500.00.
After trying different ways to bring affordable prints out, I found that the best way was on Spoonflower fabric. Find links for different options below.
Waiwelawela (“Blue Lake” or “Kapoho Hot Ponds”) by Donald Namohala Yuen Dimensions of original: 67.31cm X 174cm (26.5″ X 68.5″)
Totes, mugs, and stickers available at our Cafe Press shop.
Don Yuen with a painting he did in the late 1940s or early 1950s in the officer’s mess at Pearl Harbor naval base.
Don Yuen as a young man with one of his first major commissions. While serving in the US Navy, he was asked to paint murals in the Pearl Harbor mess and in the dive training tank.
Wai Welawela was featured in the 1951 version of Bird of Paradise. One of the delightful things about this movie is that the Hawaiian actors are native speakers of Hawaiian!
Written pre-code, it is worth watching to see some of the conflicting ideas, prejudices, preconceptions of the time. Here you will see an origin of the fantasy of the blue-eyed white man who is immediately revered by Polynesians as a king.Sketch for “Lihi Kai,” the home Don designed at Kehena for his parents, just a few miles from Kapoho.
He also designed other homes in the area. At the time, articles about his innovative designs which integrated the houses into their environment, used natural airflow for cooling, and featured a Polynesian-Asian esthetic, called him “the Hawaiian Frank Lloyd Wright” and “The Frank Lloyd Wright of the Pacific.”
Whenever I tell stories of our Hawaiian stars and constellations, people always ask me what books they should buy. Here is my most recent list, which contains some new materials as well as classics.
And. . . if you are in Hilo stop by Basically Books, at 334 Kilauea Ave, Hilo, HI 96720. Phone them at 1-808-961-0144. Email to bbinfo@basicallybooks.com. The folks there know books, so ask them what they recommend for your specific interest area.
Purchasing through Basically Books helps a family-owned business in Hilo! They also can ship many items!
Purchasing through the Amazon affiliate links helps keep this website running, as it is my own labor of love. Both choices are appreciated!
NA INOA HOKU: HAWAIIAN AND PACIFIC STAR NAMES
Rubellite Kawena Johnson, John Kaipo Mahelona, and Clive Ruggles
The foundation book around which you should build your Hawaiian astronomy library is Nā Inoa Hōkū, the seminal compendium of Hawaiian astronomical lore. When originally published in 1975 it was the first, and remains the most comprehensive such work. Hawaiian scholars Rubellite Kawena Johnson and John Kaipo Mahelona created a work that is still widely regarded as a definitive source of reference for anyone interested in the use of astronomy in Polynesian voyaging or the nature and development of ritual and calendrical practices throughout the Pacific.
Working together with British archaeoastronomer Clive Ruggles, the authors have extensively revised and extended the catalogues and transformed the discussion of their wider context and significance, resulting in a much stronger focus upon the rich historical legacy of the Hawaiian Islands themselves. This new edition of Nā Inoa Hōkū is completely overhauled, vastly expanded, and includes new translation of many key primary Hawaiian sources from the mid-nineteenth century onwards.
Stars Over Hawaiʻi
Edwin H. Bryan, Richard Crowe, Timothy F. Slater
Click text link below to purchase
Another foundational book for your library is Stars Over Hawaiʻi. For many of us who grew up in the islands, this was our first book on astronomy which centered the Hawaiian night sky, rather than the sky over North America. This is an excellent introduction to the science of Astronomy. It includes some of the Greek and Roman mythology associated with the constellations, twelve monthly star charts, and two charts with Hawaiian star names.
Readers can learn about “Lahaina Noon,” when the sun casts no shadow, a phenomenon exclusive to latitudes near the equator, and will be introduced to Hawaiian Astronomy through legend, surviving oral history, and the ongoing observation of the skies and our planet.
It includes the Hawaiian Moon Calendar is discussed and the Nights of the Moon are depicted and labeled in Hawaiian and other Pacific languages. The Polynesian Voyaging Society’s Star Compass is included.
First published over 60 years ago, this latest edition builds upon a solid foundation to bring star gazers up to date with current statistics and theories about our universe. Stars Over Hawai i marries the knowledge of the masterful navigators and astronomers of ancient Hawai i with today’s astronomy experts to bring you an integrated view of Hawai i’s skies, past and present.
North Star to Southern Cross
Will Kyselka, Ray Lanterman
Click text link below to purchase
Informed by a decade of teaching audiences in the Bishop Museum planetarium and star parties by the sea with thousands of young people, the book was designed to provide a framework for understanding the heavens. It is intended for a range of readers, from youngsters to adults, from country folk to city dwellers, from the arm chair enthusiast to the avid night hiker.
Filled with images and charts, and easy-to-read text, this book is an excellent starting point for the new star gazer, and a great refresher for the experienced.
Moʻolelo Kilo Hōkū
by Leilehua Yuen
Moʻolelo Kilo Hōkū, Hawaiian star gazing log with text in both Hawaiian and English. Perfect gift for the beginner or experienced star gazer.
This log book for charting Hawaiian stars goes far beyond the usual offering. Written in both Hawaiian and English, it is useful for anyone studying astronomy and/or the Hawaiian language. Yuen gave talks on Hawaiian astronomy for over 20 years. She is now putting all of that research into a series of books on Hawaiian astronomy.
In addition to charting pages for sketching your observations and making notes, there are sample pages showing how to use the charts, an astronomy vocabulary/glossary section which lists the Hawaiian and English translations of astronomical terms, constellations, stars, etc. Hawaiian stories of some famous constellations are included.
Another unique feature is the chart of the Hawaiian lunar phases which shows the orientation of the moon when it rises.
Charts include traditional Hawaiian calendar systems from different areas in the archipelago and a chart of principal meteor showers.
Ample room for notes and clippings, and a bibliography with both book titles and URLs complete the workbook.
On the cover, be sure to write your own name in as co-author!
161 pages, approximately 30 are resource/info and the remaining are sky charts for you to fill in.
The book contains Hawaiian stories of the stars and constellations in both Hawaiian and English.Chart pages offer ample space for drawings and notes.The back cover gives a hint of the layout inside – Hawaiian text and English text help the student to understand Hawaiian perspectives of astronomy.
Back cover text in Hawaiian: Ua hoʻomaka ʻo Leilehua Yuen e aʻo aku i nā haʻawina kilo hōkū i ka makahiki 1997 i ka manawa mua āna i aʻo aku i nā moʻolelo hōkū ma ka Visitor Information Station i Mauna Kea.
Aʻo aku ʻo Kumu Leilehua i nā haʻawina kilo hōkū ma ke ʻano he haʻi moʻolelo. Ua koho ʻo ia i nā moʻolelo piha hoʻi me nā kaona i mea e makana aku ai i nā haunauna e hiki mai ana.
Hoʻokumu ʻia kēia puke moʻomanaʻo o no ke kōkua ʻana iā ʻoe e aʻo aku e pili ana i nā moʻolelo kilo hōkū, nā ʻikepili, nā kuhikuhina o ke kilo ʻana, a me ka hoʻopaʻa ʻana i nā mea i kilo ʻia ai.
Back cover text in English: Kumu D. Leilehua Yuen has taught perspectives of Hawaiʻi astronomy since 1997 when she gave her first presentation on Hawaiian star lore at the Visitor Information Station on Mauna Kea.
Kumu Leilehua approaches Hawaiian astronomical concepts from the perspective of a storyteller, seeking to leaarn what lessons were considered so important that they were encoded into tales passed down through the generations.
This logbook is designed to help you begin your journey in learning about Hawaiian star lore by providing some background information, som suggestions for how to record your own observations, and a simple format for recording them.
A starfinder is a useful tool for observing the night sky. I use this one.
No, Liliʻuokalani did not start the custom of tossing gin into Kīlauea. That was Mr. George Lycurgus, some years later. Following is a description of her visit to Kīlauea in 1800, when she was still Princess, extracted from her autobiography, Hawaiʻi’s Story by Hawaiʻi’s Queen.
IN the year 1880 Miss Helen Aldrich of Berkeley, Cal., made me a visit. She was the daughter of Mr. W. A. Aldrich, a banker, who had married a first cousin of my husband, Elizabeth, the child of Mr. R. W. Holt. Shortly after her arrival we took a trip to the largest of our islands, Hawaii, on which is situated that volcano called with truth one of the greatest natural wonders of the modern world.
I was attended by my retainers, and after a short and pleasant voyage we arrived at the port and chief city, Hilo. As though to illuminate in honor of my visit, on the night preceding our ascent of the mountain a bright glow was seen on the top of Mokuaweoweo. This was the portent which preceded that great flow of lava which soon commenced from Mauna Loa, and took its course down the sides of that mountain towards the city of Hilo. We were thus witnesses from the very beginning of one of the most extensive and long-continued eruptions which has ever been recorded in history, for it was protracted over a period of eleven months.
Early on the morning following we started on horseback on our journey to the crater of Kilauea, where we arrived about five o’clock the same evening. This is not, as some strangers suppose, a mountain by itself, totally distinct from the general volcanic system of Mauna Loa. That word in our language signifies the great long mountain, and the nature of the elevation well deserves the term; for in height, 13,700 feet, it is exceeded by few in the world, while in extent it includes about one-third of our largest island.
The eruptions are not usually from the summit, but generally through fissures in its sides. One of these is the crater lake of Kilauea, a region of perpetual fire, of an activity more or less pronounced, yet never entirely extinct, and situated some twenty miles or so east from the summit, at an elevation of about four thousand feet. It is one of the few, if not the only one, of the volcanoes in the world which can be visited at the periods of its greatest displays without the least danger to the observer; because it is always possible to watch its bubbling fires from a higher point than their source. It is not the lava from the burning lake which makes its way down the mountain, but that from other places where the concealed fires of Mauna Loa burst forth.
There is now a modern hotel at a spot commanding a good view of the points of interest; but at the date of this visit we were received and made very comfortable in a large grass house with thatched roof, under which some forty persons could have been accommodated. Here we were most hospitably received, our tired horses were cared for and sheltered near to our resting-place, and we did ample justice to the evening meal which had been provided for our company.
After our refreshment, darkness quickly succeeded the setting of the sun (there being no long twilight, as in more northern climates); so we spent the evening in watching the fiery glow in the crater, the brilliance of which seemed to be spreading along the level floor of the pit. From a flooring of light and heat the surface changed at times to billows of actual fire; then jets burst up or fountains played high in air, standing by themselves a moment like burning columns; then steam intervened to stifle the flames. Mist following this, the crater was for a while hidden from our sight, and nature’s gorgeous fireworks suspended.
At one of these intervals we retired for the night; but at two o’clock we were all awakened by our host to see an exhibition such as has seldom been furnished for the inspection of any of the many tourists who visit that region. This was a most brilliant illumination at the summit of Mauna Loa itself; and far from lessening, its manifestation seemed to render more vivid, the fires of the crater of Kilauea. The mists had cleared away in that direction, and we thus had the good fortune to watch on one and the same occasion the outbursts of light at the summit and the jets of dancing flame in the sides. It was a night never to be forgotten by any of our party, and well worth the time and labor of the journey, were there no more to be enjoyed. That which was nearest to us, the rising, boiling sheet of liquid fire, seemed to show no abatement by reason of the vent at the mountain-top, but in its agitations disclosed each moment sights more and more wonderful to our gaze.
The next day was spent by our party in descending the crater to the very limits of its seething fires, but I remained at the hotel. They were all provided with some offerings to Pele, the ancient goddess of fire, reverenced by the Hawaiian people. This custom is almost universal, even to the present day. Those born in foreign lands, tourists who scarcely know our ancient history, generally take with them to the brink of the lake some coin or other trinket which, for good luck, as the saying is, they cast into the lava. Our people, the native Hawaiians, have no money to throw away on such souvenirs of the past; but they carry wreaths of the pandanus flower, leis, made like those seen aboard the steamers at the departure of friends, necklaces, and garlands of nature’s ornaments, which are tossed by them into the angry waves of the basin.
As I have mentioned this incident, my thoughts have gone back to that paragraph wherein I wrote of the overthrow of the superstitious fears of the fire-goddess through the brave acts of my aunt, Queen Kapiolani, when she defied the power of the elements at this very spot.
So, to prevent misunderstanding now, perhaps it would be well to notice that this propitiation of the volcano’s wrath is now but a harmless sport, not by any means an act of worship, very much like the custom of hurling old shoes at the bride’s carriage, or sending off the newly wedded couple with showers of rice; usages which form a pleasant diversion in the most highly cultivated and educated communities.
After a day spent in watching the activity of the crater, the party returned to our hotel, weary, hungry, and ready to enjoy the refreshment and repose of which they were in need. One night more was spent at the volcano house of the olden time, and then we all started on our ride down the mountain for the city of Hilo.
The display had not diminished in extent nor in its strange, wild beauty. The lake in the crater was still boiling, and over Mokuaweoweo the location of the opening was easily distinguished by the brilliant glow of light. But turning our backs on these natural wonders, nature was perhaps more lovely in the charms by which she lined our pathway towards the sea; for this road is justly considered to be one of the most beautiful exhibitions of the scenery of the tropics in Hawaii, and our cavalcade passed between lines of verdure or flowers enchanting to the eye and fragrant to the sense; there were the bright blossoms of the lehua, both yellow and red varieties, and other plants or trees shading and pleasing each of us as we advanced. Although we did not arrive at our destination until about five that afternoon, and were quite fatigued with our long ride, yet it had been an excursion of great enjoyment, and I am sure no one of the company was other than satisfied with it.
The great increase in the lava flow which subsequently took place had not at this time threatened the peace of the city; so our return to our friends was made the signal for a round of social pleasures. A grand entertainment in honor of the visit of the heir to the throne was given by Mr. and Mrs. Luther Severance; and it afforded me much satisfaction to show to my California cousin some examples of the generous style of the hospitality of those days, in which those of foreign or of native birth vied with each other in a friendly rivalry of good things.
Judge F. S. Lyman was then lieutenant-governor of the island, and with his amiable wife showed us all the attention in his power; then there were Judge Akao and his wife, Mr. and Mrs. Governor Kipi and their agreeable family. The family of Mr. D. H. Hitchcock, especially his wife and daughters, were also most kind and attentive to me and those who accompanied me.
If, in these reminiscences, I should fail to name those who have made such occasions pleasant, it must be accepted simply as an unintentional omission, the names I have given being but examples of that universal kindness received by me from all. Just as we were leaving our kind entertainers, Sir Thomas Hesketh arrived in the port on his own yacht for a visit to the island; he was accompanied by Hon. Samuel Parker, whom he had invited to be his guest during this excursion.
The regular steamer of passenger service between Hilo and Honolulu received me and my company for our return to Oahu, where we arrived in safety; and not long after my cousin, Miss Aldrich, took her departure for her home, with, I am sure, some very pleasant memories of the natural beauties and social pleasures of life on the Hawaiian Islands.
These three puʻu, in legend and in fact, were/are an important part of the hydrology of Hilo. The puʻu are sponges which absorb water all rainy season and slowly release it into the underground streams during the dry season. They are/were on the border between the ahupuaʻa of Punahoa and Piʻihonua.
Our kūpuna knew their importance, it is essential knowledge encoded in the legends.
Hinakuluʻua, a rain goddess, is the personification of the Piʻihonua weather system which begins in the venturi between Mauna Kea and Mauna Loa and ends near Lyman House.
Hinaikeahi, a fire goddess, created the springs in the intricate lava tube, freshwater spring, and micro-spring system which begins in the hills and continues out into Hilo Bay. In the full version of the moʻolelo, each of the major springs she created is named. Here is Westervelt’s version of the story, in Peter Young’s blog.
Since Peʻa and Honu were dismantled, it has changed the vitality of the springs, and the ecosystems which depended on them.
This photograph of Puʻu Hālaʻi, Puʻu Honu, and Puʻu Peʻa was taken by Florence DeMello Dias about 1929. Puʻu Peʻa (far right) was excavated in the 1930s to build the roadways of Hilo. The remnants of Puʻu Honu (center) continue to be excavated for development. Puʻu Hālaʻi was built over by homes, which preserved it from most excavation. The mauka (right-hand) slope seen in the photograph was excavated to build the current medical center. The image is taken from above the turn-off to the old Hilo Hospital.
Feature photo credit: Island of Hawaii Visitors Bureau (IHVB) / Tyler Schmitt
Often found inhabiting lists of the top beaches in Hawaiʻ i, Kaunaʻ oa [kah-oo-nah OH-ah] is probably one of the closest beaches to the mental image of sparkling turquoise water gently laving the shore of a white sand tropical paradise. It is gorgeous.
Because the Mauna Kea Beach Hotel was built on its edge, some people call it Mauna Kea Beach. Say “MAH-oo-nuh KEH-ah,” NOT “mana kay-uh” or “mana kee-uh.” Mauna translates to English as “mountain.” Mana translates as “supernatural power,” among other things. Kea translates as “white,” at least for the short version I’m going to post here. Keep an eye out for a post on our beloved mountain!
The correct name for the site, however, is “Kaunaʻ oa,” and so that is what we shall use here.
Kaunaʻ oa Beach probably is named for the kaunaʻ oa shellfish (Vermetidae or tubeworms), and the native dodder (Cuscuta sandwichiana). In my lifetime, the shellfish as been more commonly found there than the dodder, as few native Hawaiian plants remain in the area. It is possible that prior to development both the shellfish and the dodder were abundant there.
Growing up, we were taught that a cut from the kaunaʻ oa kai (“ocean kaunaʻ oa,” the shellfish) was terribly poisonous. You often will find these coiled shells firmly attached to rocks near the shore. Running about barefoot, I once stepped on one which punched a hole in my foot, removing a plug and leaving behind a terrible infection which required a long course of antibiotics. Sharp as razors, those critters!
By Wilson44691 – Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=37588453
The kaunaʻ oa kahakai (“shoreline kaunaʻ oa,” the dodder) is a beloved lei plant. Its waxy sherbet-orange tendrils are twisted in the wili, hili, or hilo styles of lei. It also is a traditional medicinal plant.
Photographers: Forest & Kim Starr. Images created by Forest Starr and Kim Starr are licensed under a Creative Commons
Knowing the correct names of places tells us a lot about them. Names can contain history, knowledge of the environment, and the importance of an area to those who came before us. So, this beach may once have been abundant with kaunaʻ oa of one or both kinds. Was it possibly an important place for harvesting the medicine? Does the kaunaʻ oa kai have some medicinal property we have forgotten about? So many questions to explore!
In traditional Hawaiian poetry, of which the Kumulipo is one of the most well-known examples, in one section paired couplets explore the relationship of land life and sea life. Hawaiian taxonomy is not based in a “vertical” hierarchy as in Linnean taxonomy, but in a “lateral” network of relationships. By observing the behavior of land-based life forms, we can understand sea-based life forms, and vice-versa. And so Hawaiian understanding looks at the relationship between the kaunaʻ oa kahakai and the kaunaʻ oa o ke kai – the land forms and the sea forms of kaunaʻ oa.
Both the land and sea forms have curling tendrils and can form clustered communities in their habitats. Both provide habitat for other species. Both grow near the kahakai – the edge of the sea. Our ancestors had a deep relationship with their environment developed over generations of careful observation. It behooves us to preserve and reclaim their knowledge and wisdom!
Students of Kamehameha Schools created this animation of the opening lines of the Kumulipo.
The hotel opened in 1965. Rockefeller’s original concept was a cluster of individual cottages, with no televisions or air-conditioning to interfere with the natural environment of the Kohala Coast. Architects Skidmore Owings Merrill produced a dome-shaped model that was nearly washed out by a tropical storm, so a single building mid-century modern design was refined by lead architect Charles Bassett to take advantage of tropical breezes and ocean views, but added air conditioning. From 1965 until 1995, the hotel operated without guest room televisions, just as Rockefeller intended.
Safety
Use especial care when swimming, snorkeling, or even just relaxing on the shoreline in the winter months, as the waves can be quite high, pounding in the shore break, and there is a strong rip current.
As with all beaches, if you see the tide going way out, exposing more of the beach than the usual low tide, it’s time to head inland. That is a sign of a possible tsunami.
The
first Hawaiians to settle the banks of the Wailoa River found it a rich wetland
where the fresh waters spread out before mingling with the salt of Hilo Bay. As
they cultivated Piopio, they built loko ʻiʻa (fishponds) and loʻi (taro paddies)
which eventually would feed generations of chiefs who ruled the district of Hilo
from its bountiful heart.
The renowned chief Alapaʻinuiakauaua dwelt at Piʻopiʻo, and it was the final home of Keōua Kalanikupuapaʻīkalaninui Ahilapalapa, father of Paiʻea Kamehameha. Keōua died at Piʻopiʻo in the 1760s. Kamehameha himself would spend time at the royal compound while constructing the vast Peleleu Fleet. Kauikeaouli, Kamehameha III visited Piʻopiʻo in his first trip of state as king.
Later, Ruth Keanolani Kauanahoahoa Keʻelikōlani, great granddaughter of Paiʻea Kamehameha, would be heir to the lands, and had a home that was located on the boarder of Piʻopiʻo and Kūkūau, what is now the grassy lawn near the Chevron gas station.
Ruth Ke‘elikōlani Keanolani Kanāhoahoa
In the mid 1800s, Piʻopiʻo was luxuriant with
coconut trees, as referenced in this line from an 1864 chant:
“To the sands of Waiolama, to the coconut grove
of Piʻopiʻo.”
In
1885, the first large group of Japanese immigrants arrived in Hawaiʻi to work
on the sugar plantations. By around 1900, they were starting to lease land to
farm. By then, many of the stone walls, temple platforms, and other structures
of Waiākea, including at Piʻopiʻo, had been dismantled for construction
projects, such as the new wharves and roadways of bustling Hilo.
Many
of the new immigrants had been farmers in Japan. They found the fertile lands
of Piʻopiʻo perfect for rice, taro, and other crops with which they were
already familiar. Soon, a thriving village grew, and was named
“Shinmachi,” “New Town,” by its inhabitants. Bon dances and
other festivals were celebrated by the tight-knit community on the banks of
Hilo’s great fishponds. But four decades later, in 1946, at 6:54 am on April
1st, a tsunami pulled the ocean away from Hilo, and then pushed it back over
the waterfront and Shinmachi. Across the island, 159 people died.
With
the resilience for which Hilo is known, people re-built. Hilo, and Shinmachi,
rose again. But, only 14 years later, in 1960, “New Town” was
destroyed by another great wave. The successive waves reached as high as 35
feet, and killed 61 people.
Instead,
the State of Hawaiʻi turned the area into a 132 acre green zone, creating the Wailoa
River State Recreation Area along Hilo’s bay front. An art center, tsunami
memorial, veterans memorial, and statue of Paiʻea Kamehameha now stand where
chiefs once lived. Instead of boardwalks zig-zagging across the watery
landscape, gravel and asphalt paths meander about the area. Many trees –
coconut, banyan and mango – which survived the tsunami remain. Tsunami
survivors tell stories of being saved when their homes were washed against the
trees, and they scrambled up the strong limbs to safety. Bridges now cross the
fishponds and river in graceful arcs, reflecting in the waters below.
Shinmachi
Tsunami Memorial, a wave-shaped lava amphitheater with a ceramic mosaic set in
the courtyard, honors the people of Hawaiʻi Island who were lost to tsunami.
The mosaic, titled “Submerged Rocks and Water Reflections” was
designed by Maui-born abstract expressionist artist Tadashi Sato.
The
Vietnam War Memorial was dedicated in 1988. Built by volunteers, with the
assistance of Fair Contracting and Fukunaga Electric, the 20ft by 20ft platform
is faced with black granite. An eternal flame flickers at the center of the
upper platform. A grove of 50 palm trees border the pathway, commemorating the
50 Hawaiʻi County men who lost their lives in the war.
Across
the Waiolama Canal from the Vietnam War Memorial is a statue of Paiʻea
Kamehameha. At 14ft (4.3 m), it is the tallest of the four statues of the mōʻī,
(sovereign). Originally commissioned by the Princeville Corporation for their
Kauai resort, the people of Kauaʻi objected to its being erected on that
island, as he had never ruled Kauaʻi. Through the assistance of the Kamehameha
Schools Alumni Association, East Hawaii Chapter, Princeville Corporation
donated it to Hilo, a place which figured prominently in the mōʻī’s rise to
power. Hilo was his capitol while he prepared his fleet to move northward, and
his highest ranking son, Kalaninui kua
Liholiho i ke kapu ʻIolani, also known as Kamehameha II, was born. Legend
tells that Kamehameha gave the town its name when a rope fashioned in the style
called “hilo” was used to prevent his canoe from being carried away
by the tide. Sculpted by R. Sandrin at the Fracaro Foundry in Vicenza, Italy,
in 1963, the statue finally was installed in its present location in 1997.
The Wailoa Center was designed by Oda & McCarty Architects and completed in 1967. Now a half century old, it retains the classic 1960s architecture. Then-governor John Burns shepherded the center’s construction as a mahalo to Hilo for supporting him, and placed Tadao Okimoto as its first director. Governor Burns asked Hilo educator Mary Matayoshi to help Okimoto set up the new center. The first exhibit was of sterling silver, which ran for four years. That was followed by a kimono exhibit which ran for almost two.
When
Okimoto was ready to retire from the center, Kathleen “Pudding”
Lassiter was asked to apply for the position. By 1999, it was time for some
refurbishing. The center needed new paint, inside and out. The asphalt floor
was cracked. The storage room was full of unused items, and the office was
cramped. Lassiter was given $6,000 for paint. “The whole community pulled
together,” she says. George Iranon at Kulani Prison brought 30 of the inmates
to the center, where they worked for three weeks. They cleaned the storeroom
and made it into an office, and turned the small office into a small gallery.
“I had no money to feed them,” Lassiter says. “I went to all the
okazuya and each one donated bentos. . . Safeway and KTA donated watermelons. .
. Pepsi donated sodas. . . So, they could eat and they had all the soda they
wanted for the three weeks.” After their release, several came back to
work at the center as volunteers.
Lassiter
recruited volunteers from all walks of life, including seniors from the county
RSVP program. Her oldest volunteer was Caroline Johnson, who began at the
center in her 90s. When she was 105, she told Lassiter she would need to
retire, as she could no longer hear the phone.
The
loving maintenance provided by a variety of entities has kept the building in
excellent shape for its age. Throughout the years, local businesses and
individuals have lent their time, talent, and other resources to mālama, to
care for, the center.
Codie
King, the current Wailoa Center director, says, “Without our supportive
community, without our volunteers, without individuals who find the value in
culture and art, Wailoa Center would not still be here 50 years later. I feel
the momentum growing for Wailoa Center to continue well into the future by celebrating
our community’s shared diversity, ideas and perspectives. We will grow, side by
side, with our many cultures, with our varied beliefs in our delicate
environment, hopefully to perpetuate a meaningful, positive lifestyle we can
share with the world.”
The
most recent refurbishment includes a series of murals, by Hawaiʻi island artist
and educator Emily Leucht, which enwrap the building. Each of the mural panels references
a different place-based story of Piʻopiʻo.
Lokelani
Brandt, whose master’s thesis is an ethno-historical study of Piʻopiʻo,
uncovered a list of place names recorded in 1925 by Mrs. Kaʻouli Kaʻai and
documented by Theodore Kelsey. It is these place names that are inspiration for
the imagery within the mural. Brandt says, “Recalling the old stories is
one part of maintaining a connection to our past. The history and heritage of a
place are realized when we retell and internalize its stories. As we move
forward and are required to make decisions about how we will utilize a place,
knowing the cultural history allows us to make informed decisions that are
founded on the generational layering of knowledge and wisdom that are place
specific.”
The
simple blocked out shapes – swirls, triangles, reticulations – contain the
essence of a complex and deeply storied past. While it would be impossible to
include all of the place names, each panel depicts carefully selected wahi pana
within the area that the panel faces. Most of names are within Wailoa or Piʻopiʻo.
The mountains of Maunakea and Mauna Loa also are included, as they are an
essential part of our water gathering systems.
Leucht
says, “I hope that the representation of these names in this visual and
public manner will encourage our community to question the history of Hilo that
they already know, and then to look deeper. I hope to honor those that have
come before, and that this peek into the past will give us a path towards the
revitalization of Piʻopiʻo, a central part of Waiākea, and Hilo.”
Included
in that revitalization of Piʻopiʻo is an ethnobotanical garden.
In
traditional Hawaii thought, plants have a genealogy that connects them to
humans. Urbanization and agriculture have removed many native plants from the
daily lives of people, severing this connection. The Piʻopiʻo Ethnobotanical
Garden, proposed in March of this year, seeks to honor and renew the
connection, and to revitalize the area by providing an interactive garden that features
food crops as well as plants for the making medicine, lei, dye and cordage. The
garden is planned to be a community resource of plants high in ethno-botanical
importance. As a centrally located space that curates these vital species, the
garden will provide a place where the public can interact with these plants,
form stronger relationships with them, and practice cultural traditions, all of
which will ensure that these “plant people” have a seat at our table for
generations to come.
Supporting
an ethnobotanical garden, providing space for teaching art, and hosting
exhibits throughout the year makes a busy calendar, quite a change from the
early days of the center when a kimono show once ran for two years. Over the
years, exhibits have changed from primarily cultural shows to more art type
shows and exhibits.
There
are eleven exhibits a year with the most popular being the Woodturners (March),
the MAMO (Maoli Art Month Show-in April), Woodworkers/Ukulele show (October)
and the Hawaii Nei Show (November –mid-December) which occur on a yearly
basis. People have been known to plan
their vacations around attending the Woodturners and Woodworker/Ukulele Shows. Another very popular show is the “Abstract
Only” show in August which has been a staple for 14 years. Many of the exhibits have ties with various
community groups, the University of Hawaii-Hilo and Art Galleries from all over
the island.
The
Wailoa Center is part of the Department of Land and Natural Resources, Division
of State Parks, and is open to the public Monday through Friday from 8:30 a.m.
to 4:30 p.m. free of charge.
Aloha no! I would like to share a little history of Hilo’s soccer field area, as I learned it from my kūpuna and some others who have researched it:
Back when Paiʻea Kamehameha was building his Peleleu Fleet, the beach went all the way back to the canal. This is why this part of Hilo, from the Wailuku to the Wailoa, is named Hilo One, “Sandy Hilo.” Behind the beach, and throughout the area where Wailoa Park is now, were lush taro fields, as well as fish ponds.
The entire area between the Wailuku and Wailoa are Hilo’s natural floodplain. Waiākea is also part of this natural floodplain, as you can see by the name, “Broad Water.”
From Hilo One to mauka, and crossing where Komohana Street is now, were Haili Forest and Mokaulele Forest. The remnants of Mokaulele are above the ʻImiloa Astronomy Center.
This forest created a natural sponge which helped to absorb the famous rains of Hilo. Many ancient chants describe the heavy rainfall of Hilo, and how it fills the waterways and tears at the edges of the shore.
Paiʻea Kamehameha logged huge swaths of the forest surrounding Hilo One to build the Peleleu Fleet.
Later, more of the forest was logged to build Hilo Town. Haili Church is named for the forest that its lumber came from.
Later, when Sugar was King, railroad tracks were built on the beach. A berm was created to protect the railway.
Over the years, communities grew up along the railway and in the Wailoa Park area (most famouly, Shinmachi). Roadways were installed, in addition to the railways.
The communities were destroyed by the tsunamis of 1946 and 1960.
After 1960, the devastated areas were made into parks so that people could not rebuild there and suffer such losses again.
The Kaikoʻo area was created with fill, to elevate governmental and commercial areas above the worst of the tsunami’s reach.
By then, Hilo had grown so much there was no place to put a replacement for a major road to serve the makai areas, so the bay front road would have to remain, and because it is so close to sea level, it would have to be protected by a berm. Still, when the sea is rough, the road must be closed.
I often hear people say that the berm needs to be cut through and opened up to allow the water on the so-called “soccer field” to drain into the bay. The problem with that idea is that the “soccer field” is only 10 feet above sea level. If that berm were removed, there would be little difference between the floodplain and the bay. Rough seas would use the entire area for a beach.
Yes, there was poor planning, but the poor planning was done in the 1800s. The city should not have been developed makai of what is now Kinoʻole St. All of that area is part of the natural floodplain. But what is done, is done, and the current situation is the best possible solution taking into account the various needs of Hilo.
In 1994, plans were made to mitigate the problems through the Alenaio Stream Flood Control Project. Draining the water into the remains of the floodplain keeps it out of the rest of Hilo, and allows it to slowly seep away, rather than “bite the shore like an angry dog,” as the old chants describe.
Rather than be angry that the soccer field and park get flooded, I think we should be happy that enough of the floodplain was opened up to provide for much of the storm waters, and when it is not storming, we have a wonderful soccer field and park to use.
Just my manaʻo. If I have made any errors, please give me links and documentation, as I am passionate about the history of our town, and always seeking to learn more!
Hawaiian volcanoes are fascinating, and their ease of access has made them important in the study of earth sciences. But for human health, we need to protect ourselves from some aspects of them.
Contrary to what the mass media would have you believe, we are not blowing up like Krakatoa. Most of Moku Hawaiʻi is perfectly fine, and the rest of the islands even more so.
As Hawaiians, we do not consider this a “disaster” or “destruction,” but, rather, the on-going building of the island by the elemental force, Pele. It is creation in all its glory, and we are privileged to be here where we can observe in relative safety.
Below, please find authoritative links to real information, instead of media hype, and explanations of the various types of filter masks and respirators.
For the most accurate current information, please visit the following sites.
Ignore the media that claims the volcano is blowing up, hurling truck-sized boulders into the air, and that locals are fleeing the islands. It just is not true:
Rescued from the HOVE, our golden chow, Kaimalino, knows all about vog (volcanic smog). He’s been living with it for his entire six years! On a vog day, he turns to Dad for comfort.
On high-vog days, it’s a good idea to protect ourselves from the particulate matter and from the irritating and/or toxic fumes vented by the volcano. Some face masks are better at this than others.
Each mask is coded to tell you what it protects from, and how well it can do the job. Below, we de-code the codes.
Every type of face mask is made for a specific purpose. Using the wrong one only gives a false sense of security, and little to no actual protection. It’s always a balance between best airflow and best protection, so learn your masks!
Don’t risk getting sick as a dog. Choose the right mask or respirator for the right job!
Types of Masks
Surgical Masks
Common surgical masks, such as the ones above, are meant to catch your own body fluids, such as saliva and nasal discharge, when you cough or sneeze. They protect the people around you from any “bugs” you may have.
They are not designed to protect you from inhaling airborne bacteria, viruses and fine particles.
Surgical masks typically have two straps, one on each side, that hook over your ears. Some may come with one strap that goes above the ears.
Wear a surgical mask if you have a cold, flu, or cough when you are around other people. This is when sharing is NOT caring!
Surgical masks also are helpful in keeping your mucus membranes moist during air travel, helping prevent you from becoming ill from pathogens on the plane. We, of Kaʻahele Hawaiʻi, always pack a few in our carry-ons.
Surgical masks CANNOT provide adequate protection against fine particles present in smoke and haze!
Respirators
Respirators, also called particulate respirators, are more substantial in construction, and are designed to keep the wearer from inhaling dust, mold, other airborne particles, and/or fumes, vapors, or gases.
Good respirators will have one or two valves. These valves allow you to exhale CO2 (carbon dioxide), a natural byproduct of breathing. They are NOT filters. One way to tell you are building up too much CO2 is that you start yawning a lot. Just take a deep breath, then pull your mask away from your face and exhale hard. Seal the mask back up and breathe normally.
If you will be in an area with significant S02 (sulphur dioxide), be sure to include goggles with a good seal to the skin to protect your eyes, or purchase a full-face respirator.
There are two main kinds of respirators, disposable and reusable. At the bottom of this post, you will find links to different types of respirators. As different respirators are recommended to us, we will add more. This list is only made based on anecdotal suggestions, and makes no claims or warranties of effectiveness.
Mask and Filter Cartridge Ratings
Respiratory Filters come in different ratings which tell you what and how much the respirator will filter out, and what kind of environment it is designed to be worn in.
The higher the rating, the greater percentage of stuff it will filter out. Be sure to pick a rating that is high enough to filter out what you need to. But, try to avoid going higher than you need. The higher the number the more difficult it is for air to pass through the filter, making breathing a bit more difficult and tiring. Sanding your new table before painting does not require the filtering capability needed for S02 and other gasses.
Generally, an N95 respirator will be cooler, and easier to breath through, than a P99 or P95 dust mask. But if you are dealing with volcanic ash and fumes, you’ll want to consider getting the best you can find.
Be sure to check the specs to learn how many hours of filtration you can get out of them. Most are around 40. Unless the instructs say you can, don’t try to blow them clean with an air gun or whatever. It won’t do much to clean them, and it will damage the fibers and their ability to filter out the bad stuff.
Respirator Rating Letter Class
N – Not oil resistant, indicates the mask removes particulate matter only.
R – Resistant to oil, indicates the mask will filter out some oil-based pollutants, as well as particulates.
P – Oil Proof, indicates the mask will filter out most of the oil-based pollutants.
C – Activated Carbon, indicates the mask helps with things like ozone and SO2. Notice, we say, “helps.” Don’t put one of these on and go traipsing into a hazardous area. Instead, think of it as a rescue device. If you get trapped in a hazardous area, this might help clean the air long enough for you to get out.
V – Valve, indicates the mask has a nifty valve which allows you to get rid of CO2 more easily.
Respirator Rating Number Class
95 – Removes 95% of all particles that are at least 0.3 microns in diameter. The N95 respirator is the most common of the seven types of particulate filtering facepiece respirators.
99 – Removes 99% of particles that are at least 0.3 microns in diameter
100 – Removes 99.97% of all particles that are 0.3 microns in diameter or larger. HE or HEPA quality filter.
Disposable Respirators
Disposable respirators are masks will have the word “NIOSH,” and either “N95“, “N99“, “N100“, “R95“, “R99“, “R100“, “P95“, “P99” or “P100” printed on them.
NIOSH stands for the National Institute for Occupational Safety and Health. NIOSH is a U.S. federal agency which conducts research and makes recommendations for the prevention of work-related injury and illness. A product that bears the word NIOSH means it meets certain standard recommended by the agency.
N95 Respirators
N99 Respirators
N100 Respirator
R95 Respirator
Reusable Respirators
Reusable respirators have replaceable filters. We will add more links as we get more feedback.
N99CV
Vogmask – This stylish respirator was designed for people who live in high-smog areas, need to protect themselves, and want to look good. Runs US$25-$35. This is the most comfortable respirator we have found. It is washable if you are careful. Instructions are in the box.
This excellent op-ed piece by ʻOhu Gon needs to be shared with many. By Sam ‘Ohu Gon September 4, 2016
The International Union for the Conservation of Nature (IUCN) recently unveiled a groundbreaking map of Central America that illustrates the critical role indigenous people play as caretakers of the region’s natural resources.
The map depicts Central America’s forest and marine ecosystems, along with the names, populations and locations of its indigenous peoples, who occupy almost 40 percent of the land and water area. And what the map clearly shows is telling: The best preserved natural resources are found where indigenous people live.
“You cannot talk about conservation without speaking of indigenous peoples and their role as the guardians of our most delicate lands and waters,” said Grethel Aguilar, a regional IUCN official. “They depend on those natural resources to survive, and the rest of society depends on their role in safeguarding those resources for the well-being of us all.”
The IUCN has made previous motions acknowledging indigenous people in conservation. But at this year’s World Conservation Congress, now underway in Honolulu, members will vote on a motion drafted by the cultural committee of the Hawai‘i Conservation Alliance that asks them to take additional steps toward integrating indigenous values, knowledge and approaches into efforts to address the world’s conservation challenges.
Why look to indigenous peoples?
Renowned philosopher Noam Chomsky says indigenous peoples have not commodified their relationship with the natural world. Their relationship is reciprocal: they care for their resources because their survival depends on it. Such a philosophy is desperately needed in Western societies today.
Prior to Western contact, Hawaiians embraced a reciprocal relationship with all elements of the natural world, regarding them as elders and physical manifestations of ancestors and gods.
Living on islands, with finite natural resources, they developed a mountains-to-sea system of resource management.
Within each ahupua‘a, or land division, there was an individual — the konohiki — trained from childhood to know the ahupuaa resources intimately, and who had the authority to set kapu — restrictions — when those resources were threatened, thereby bringing the resources back into balance.
The konohiki knew when each mountain tree was fruiting, when the birds of land or sea were nesting and when runs of fish were moving through the ahupua‘a — events that were extremely important to daily life.
Western approaches supplanted old relationships, disrupted ecological processes, commodified natural resources and essentially destroyed self-sufficiency.
Today, 85 to 90 percent of our food and other goods are imported from elsewhere, and the average citizen in Hawaii has little connection to the resources around them, much less a sense of kuleana — responsibility — for their care.
While we can’t easily return to the ancient ahupua‘a system, we can work to re-establish meaningful connections between people, places and resources that were its foundation. When people know and love their place and its resources, everyone benefits. The movement toward community-based marine management in Hawaii is all about this.
In rural areas like Haena on Kauai, Moomomi on Molokai, Kipahulu on Maui, and Kaupulehu on Hawaii island, indigenous communities, many of them lineal descendants of the land, are combining traditional Hawaiian approaches and modern science to restore their near-shore reefs and fisheries.
The idea is that if you engage the people of a place, who know the resources best, align them with the best of modern science and offer them an active and meaningful role in the conservation of those resources, good things happen.
Throughout the world, there is growing recognition that a new model of resource use and management is needed.
How do we achieve a more sustainable future for the planet?
The answer may lie in the caring, reciprocal relationship that indigenous people have with their resources and the natural world around them.
Sam ‘Ohu Gon, Ph.D., is a senior scientist and cultural adviser with The Nature Conservancy of Hawaii. He also is chairman of the Hawai‘i Conservation Alliance, whose cultural committee drafted IUCN Motion 83, affirming the role of indigenous cultures in conservation globally.
