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w w .K eOl aM a g a zi n e . c o m | KEOLA

Experience your pet deserves, experience you can trust.

78-6728 Walua Rd, Kailua-Kona, HI 808-322-2988 / Fax 808-322-2303

Dr. Jacob Head

www.keauhouvet.com

Dr. Jacob Head was voted Best Veterinarian in West Hawaiiin 2009. Keauhou Veterinary Hospital and the staff want yourpets to have the best medicine available and they are working hardto bring the best for your pets to Hawaii. Dr. Head and his experienced staff are leading the way, with exceptionalservice and state of the art equipment.With over a decade of experienceDr. Jacob Head offers services andprocedures at his hospital that areoffered no where else on the Big Island.His special interest in soft tissue and orthopedicsurgery sets him apart, raising the bar forthe standard of medicine so your pets can get better faster. Keauhou Veterinary Hospital offers a wide varietyof surgeries, including the Tibial Tuberosity

Advancement (TTA) knee surgery, back surgery, thoracic surgery and more.

Dr. Head has taken advanced training inSynthes bone plating as well as the Kyonsurgical course for the TTA knee. He offersoncology, internal medicine, and soft tissueconsults to pets island wide. Dr. Head also providesgeneral care a nd wellness, with fully digital radiolo gyincluding den tal radiology and ultrasound withDICOM and telemedicine options 24/7.

Keauhou Veterinary Hospital is the only AAHAAccredited Veterinary Practice on the BigIsland. AAHA is the only veterinary accrediting agency inNorth America, go to www.healthypet.com for more informationon AAHA 's standards of care, and what it meansfor you and your pet.

Keauhou Veterinary Hospital has the experience your pet deserves,experience you can trust. For more information about KeauhouVeterinary Hospital go to www.keauhouvet.com

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K alau Iwaoka will tell you without hesitation that her lifes goalis to be the embodiment of Aloha. And so far shes good at itreallygood. If you passed her on the warm and weathered streetof historic Hilo town, it would be hard not to look twice.Iwaoka is a captivating woman, but her organic beautyreaches far deeper than meets the outer eye.

Over sh wraps and an acai bowl early one afternoon atthe quaint Surf Break Cafe, on Kinoole Street in Hilo, Iasked her to tell me more about her passionate, Aloha-sharing endeavors.

Remember that dude in The Secret? she questioned witha kind of child-like innocence. Well, at the beginning of themovie he makes this wall. I made this scrap book, she said,sliding a large navy blue book towards me. The rst page issplashed with inspirational quotes cut out from magazines andnewspapers, along with her own cursive hand.

Ive only just started, but my goal is to eventually reach$100,000 in donations. My purpose is to show others what itmeans to be loved. And thats what Aloha is all aboutlivinglife in love.

The blue book, which dates back to 2007, reveals how in that yearshe raised enough money to give away seven brand new keiki

Photos by Jonathan Moelle

[At top:] Neighbors and friends in theOcean View community came out to help celebrate

Kalau Iwaokas bicycle giveaway. [Above:] Kalau helps young Trenton Wong Yuen get started on his new bike.

U Continued on page 16

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T

and charm. You barely notice his motionless right arm, carefullytucked into his pocket.

Jason lost the use of his arm when he was 12. Hit by a carwhile riding his bike in Phoenix, he sustained 21 broken bonesand a collapsed lung. Being an avid Little League baseball player,the youth was devastated. While still adjusting to this traumaticdisability, disaster struck again when his father and sole guard-ian died within the year.

At that tender age, Jason developed a profound sense of self-endurance and determination. Inspired by his and his fathers

love of sports, the youth switched his athletic focus to track and cross-country.

My father loved sports and taught me not to be a quitter,he says.

Spiritual Warfare Powering on, the teen competed in both high school and

college. Lester also got back on a bike and says he was full-timeinto biathlons by the time he was 18and ranked number twoin the Grand Canyon State.

Jason moved to southern California in 1998, where he con-tinued racing and worked at a sports agency. He representedprofessional athletes with marketing and licensing, includingAmerican welterweight boxer Oba Carr. I got turned on to Godthrough this amazing athlete, says Lester. Before that, I didnthave a personal relationship with God.

Lester explains that working with Carr showed him he hada gift as an athlete, that he too was special. At the agency, theathletes used their God-given gifts to be pros, Jason continues.So I saw I could use my gift as an athlete too. Some people wholose the use of an arm might give up. I decided to use my gift toinspire others.

And so Jason kept racing. Up until 2001 I didnt understandwhy things had happened to mewith my armmy daduntil I saw the amount of people I was inspiring by racing, recallsJason. I realized then this work was my calling and thats whenGod revealed himself to me. I started seeing signs.

After witnessing the Ironman World Championship in Konain 2004, Lester was energized to try the sport of triathlon. Witha goal to come to Kona one day to compete, Lester began arigorous training schedule and hired a swim coach. In 2007 hecompeted in his rst Ironman, in Phoenix, using his left armto swim.

oday is the youngest you will ever be. Live like it.

This advice comes from Jason Patrick Lester, who recentlyposted it on Facebook to his nearly 3,000 friends. Fewer than adozen words, they speak volumes about the man who doesntlet obstacles get in his way.

The Kailua-Kona resident has not only overcome more physi-cal challenges than most, he has reached higher than manyextreme athletes. Each setback seems to motivate the 36-year-old even more. Along the road to his dream of becoming anaccomplished athlete, Jason has also earned the titles of profes-sional motivator, artist and author.

In a brand new memoir Running on Faith just released bypublishing giant Harper-Collins, Lester shares his principles,passion and pursuit of a winning life with the world. Nationalnotoriety is nothing new for the Arizona native. He rst gainedworldwide sports fame in 2009 when ESPN bestowed the triath-lete with an ESPY Award for Best Disabled Male Athlete.

Ke Ola recently caught up with Jason on the Big Island, in-be-tween training in Portland and overseeing one of his TriFREAKStraining camps. Our talk together was his rst interview that day;another was with TVs 700 Club.

Upon meeting Jason, theres no apparent sign of a physicalchallenge. He seems anything but disabled, emanating ease

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Participation in that race took Jason back to the location of his tragic bike accident. It was like spiritual warfare to go back,he remembers. I really didnt want to be there with all the badmemories but I told myself, I can overcome this. I nished and itwas all that much sweeter.

With an Ironman nish under his belt, Jason continued com-peting in triathlons in the U.S., Canada, Australia and Germany. Inever signed up for a race in the physically challenged category,

states Jason, who adds that the only exception was the 2008Ironman World Championship in Kona, for which he won a raceslot through lottery in the physically challenged category.

Lester conquered the grueling Kona Ironman course in 2008nishing the 2.5-mile swim, 112-mile bicycle course and 26.2

mile run. And then, incredibly in the same year, he went on toachieve a personal and sports milestone by becoming the rstphysically challenged athlete ever to complete the UltramanWorld Championship on the Big Island. Ultraman attracts an elitecorps of athletes who face a 6.2-mile swim, 261.4-mile bike and52.4 mile run over three days. Entr y is limited to 35 participants.

In 2009, Jason repeated Ironman and Ultraman events, nish-

ing 18th overall in the Ultraman Hawaii. His accomplishmentsand drive earned the triathlete the prestigious ESPY Award byESPN. The annual award taps the years best athletes, teams andsports moments, as voted on by fans.

Getting an ESPY was huge, emphasizes Lester. I was up therewith all the other sports greats, walking the red carpet. It waslike, yes, I have a challengeand yes, I can prevail! It was theultimate testimony to inspire others to do the same.

Man on a Mission to Inspire To that end, the recognized athlete is using his example to

motivate others facing challenges through his new book andother media, speaking engagements and the creation in 2007 of the NEVER STOP Foundation, which is dedicated to using athlet-ics as a tool to encourage youth to achieve their full potential.(www.neverstopfoundation.org. )

He also nds time to visit youth recovering in the hospital.The goal of the foundation is to help kids nd their own truevoice, help them build their con dence, improve their abilityto express themselves and learn the values of discipline, trust,compassion, self-reliance and respect, says its founder.

Helping to fund the foundation is Jasons newbook released in August, Running on Faith. It

is Jasons story of triumph as an ultra endur-ance athlete with the use of one arm, whilerecognizing Gods guiding hand in his life. Lestershares the nine lessons that led him to achievehis dreams and nd his calling.

In the book, I give tools for overcoming ad-versity with inspiration for never giving up, saysLester. I o er ways to win the game of life.

Also supporting the NEVER STOP Foundation isthe new Running on Faith 5K - 10K Race Series, whichstarted in Kona in August and continues in Seattle andPhoenix. In May, Jason and triathlete Rich Roll raised

over $3,500 by nishing the EPICS Challenge; it involved veIronman-distance triathlons in ve days on ve di erent islands.

The idea is for athletes to continue racing to raise NEVERSTOP funds, says Jason. The next race is September 26 in Seattle.Lesters dream is to ultimately fund the creation of the NEVERSTOP Performance Center in Kailua-Kona in 2012.

Jasons experience in the Hawaii Ultraman WorldChampionships is being made into a 90-minute documentary,

A Painted Race. Also entering production is an indie feature lmdetailing Lesters extraordinary life and titled, Chasing Me,(www.chasingmemovie.com.)

As a motivational speaker for organizations and corporationssuch as Microsoft, Lester also shares his story on overcomingadversity through faith . In the hospital back in Phoenix, he o ershis time speaking to in jured youth.

When I was 12 and in the hospital for three months, noone understood my situationwhat I was going throughphysically and emotionally. So I make a point now of goingback and talking to youth and sharing my experience. I tellthem they can overcome it. I share my testimony. Ive neverlet my situation keep me from being an athlete and an artist.

Jason adds that if he hadnt lost the use of his arm, he wouldntbe who he is today. He would have missed out on the manyphysical, mental and spiritual challenges. And he may neverhave believed in miracleslike getting the feeling back in his arm.

At rst it was a slight feeling but then I was getting more andmore feeling, and then movement, in my right arm, sharesJason. Its like the nerves are coming back in my arm and mov-ing down to my elbow. I didnt believe it at rst and I nallyshowed a friend how I could stand up on my bike out of my seat

NEW BOOK-Find JasonP. Lesters inspirational story availablenationwide. For a list of upcoming book signings, visit www. jasonplester.com/.

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f eyes are windows to the soul, then win-

dows must be the eyes of a houses soul, particularly a houseof God, where stained glass windows cast cascading colors toilluminate the people.

In the quiet little chapel in Waimeas Catholic Church of theAnnunciation, the Madonna and Child shine down from tallpeaked walls. She wears a lei poo, and a royal blue robe streamsacross one shoulder. On other walls, she gazes heavenward, buthere, mother and child look down, as if to acknowledge a prayer.

The windows were created by the Waimea team of artist CalleyONeill and artisan Lamar Yoakum. Their rstborn, the windowsinspired a partnership that has continued to grow and ourish inthe years since, as Yokomo Stained Glass and Mosaic.

ONeill is already well known for her realistic-mythical paint-ings like The Three Muses, and murals such as Keanak koiand E Mau Na Waiwai O Hawaii, at the Kings Shops. Her diversework also includes a kaleidoscopic collection of mandalas, gen-

Calley was inspired by this elephant (a sto-ry in itself) and endeavored to work withhim. The result of their collaboration is theRama Exhibition, a traveling educationproject to raise awareness and seek helpfor earths endangered species, schduledfor completion in 2011.For more information, visit

www.TheRamaExhibition.org

At home on the Big Island, she and her human partner are pas-sionate about their work with stained glass and mosaic, particu-larly in church buildings.

I always had a penchant for churches, even as a little girl, shesaid. In school I took classes in stained glass and crafting classes,made mirrors, windows, boxes, and I just kept going. When I gotto Honolulu in 1980, I was o ered a commission-based job as adesigner for Ka Hale Ani Ani. (House of Glass)

The work has to be cut-able, she said, and it has to beelegant. Otherwise it looks hokey. My real talent was design...When I got to the Big Island, I met Lamarand he is crackerjack,she said. He doesnt want to do the designing; he doesnt draw.He loves to t, cut and craft, and he understands and appreciatesthe qualities of glass.

ONeill holds a Bachelor of Fine Arts degree, summa cumlaude, from Pratt Institute in New York. A proli c artist and mural-ist, her works grace public spaces such as the Campus Center atUniversity of Hawaii at M noa, The Lodge at Koele, Hawaii Maritime Center, and many others. She also has a Masters Degree in

Calley ONeills expertise in designing murals for public spaces is evident in her stained glass designs,such as Water Bearer.

erally circular, geometric designs, traditionally usedin healing and meditation. ONeills mandalas oftenfocus on speci c themes, such as endangeredspecies, and can also becustom-made forindividual intentions.

The versatile and multi-faceted artist works,too, in a less-traditional way, in partnership withRama, an Asian bull elephant in the Oregon Zoo!Ramas handlers discovered he enjoys paintingwith his trunk. Rama, called the Ambassadorfor the Endangered Ones, lays down washes orbroad brush strokes of color to which ONeilladds foreground gures and detailed borders.

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Social Ecology from Goddard College in Vermont, and many of herworks focus on endangered species.

Shes a ne artist in the ne arts sense, says partner Lamar Yoa-kum, Im pretty good at mechanical things and putting the glasstogether. Yoakum, originally from Texas, began doing stained glassas a hobby. I took some classes like the one I teach now, he said. Inever did it professionallyjust because I enjoyed it. Id worked with

di erent designers, and then saw her work and we decided to work together. Our rst time was the church windows in Waimea. Thus,

Yoakum-ONeill (Yokomo) Stained Glass and Mosaic was born.

Its not complicated in the sense of what has to be done. I look ateach piece of glass and ask what does it do for the whole piece? saidYoakum. Does it look like a ower petal or just a blob? Its like grainsof wood.

The process actually begins with an in-depth meeting with theirclients. They exchange ideas and inspiration, get a sense of the space,essential elements and the purpose of the piece, then they meditateand allow images to emerge before ONeill begins sketching. Shelltranslate the pencil drawing into a watercolor rendering and color

call-out, working with Yoakum to pick a range of colors appropriateto the work. Yoakum then selects the glass, cuts and pieces the de-sign together using the Ti any method of wrapping each selectionwith thin copper foil and soldering it together.

The Ti any method is a 19th century process developed by LewisComfort Ti any, son of famed jeweler Charles Lewis Ti any. Hismethod and his use of opalescent glass rather revolutionized theart of stained glass.

Prior to the invention of opalescent glass, artists used clear, solidcolors onto which details such as faces could be painted. Combiningcolors to create opalescent glass generates di erent textures ande ects, resulting in a look that is more alive, with a far wider rangeof hues and unique three-dimensional qualities. Ti any adapted histechniques to lampshades and capitalized on the popularity of newelectric lighting for his wealthy clients.

Opalescence has to do with the way the glass transmits the light,says Yoakum, and the way its annealed, whether its pulled outacross bars or laid out on a table to cool. The color goes in loops,whorls and more interesting patterns. You can also ladle one colorout, pour another color on top of it, up to four or ve di erent colors,and it ends up changing characteristics.

Yoakum purchases the glass medium from Honolulu or mainlandvendors in large sheets. I can get small pieces here but they dontalways allow me to pick what I want, he says, The area I need to usemight be right in the center.

We use a lot of Youghiogheny Glass, said Yoakum, Its very closeto Ti any.

Stained glass as an artform existed in ancient Egyptian and Romancultures. Painted alabaster windows in 4th and 5th century Christianchurches may be the ancestors of stained glass, but ve windows inGermanys Augsburg Cathedral are the worlds oldest, dating fromthe 11th century. In the Gothic Age, architects of the great cathedralsused stained glass to block out the light and external distractions, aswell as inspire and delight the worshippers inside.

Hawaii-themed,original window in Waimeas

Catholic Church of the Annunciation.

Artist, muralist, environmentalist, yogateacher, and stained glass designer

Calley ONeill


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Renaissance Man archetype Leonardo da Vinci was fascinated

by the colors and e ects of stained glass. He has been quoted assaying, The power of meditation can be 10 times greater under

violet light falling through a stained glass window of aquiet church.

Its a beautiful quote, poetically written, said ONeill. Of course it was known by the church, which should say somethingto everyone about their home. Light through glass a ects thequality of glass; light comes through it to you and a ects you.

One of Yokomos recent installations is in the Waimea homeof Sean and Valerie Harmon. We generated some ideas andbounced them around with Calley, said Sean, and she cameback with some sketches and now we have this huge, beautiful

stained glass. A gift from Valeries mother as part of their newhouse addition, the window is symbolic of their family life.

The sun and moon represent my wife and me, our wedding,said Sean. And the pink and blue lotus owers are for our chil-dren. My mother-in-law is represented by her favorite ower,the bird of paradise, and my mother, dogwood, because shesfrom Virginia.

We met with Calley numerous times, said Valerie, Wewere all over the place as far as ideas. But she did somemeditation and the Celtic knot in the center and the lotus

owers came from that. Were very happy with it. In themorning it projects ecks of rainbows on the walls.

A public example of ONeill and Yoakums artistry is at thebutter y building, home of the Green with Envi shop andBig Island Substance Abuse Council on Mamalahoa Highway.You may have seen the giant specimens on the outside, but theinside story is a stunning study of Hawaiis native butter ies, theKing Kamehameha and the Hawaiian Blue, and the Kauai Moth.

There are very few but they are very pretty and pretty muchunknown, said ONeill. Not many people realize they are actualHawaiian natives. They know kalo and koa trees; they know dif-ferent ferns and owers. Were so happy that more people arenow becoming aware of these beautiful Hawaiian butter ies.

Pretty much everybody loves stained glass and everybodythinks they cant have it, said ONeill. There are di erent levels,and it can be quite a ordable. More and more, she and Yoakumare working with mosaics for indoors and out. We did a curvedwall for a swimming pool that was beautiful, said ONeill. Its ngoing to fade, and theres no maintenance ever, not like paint.

Glass is a great medium, a mystic medium, said ONeill.

Stained glass will teach you one thing, said Yoakum. Youlearn to live in the now. When its broke, its broke.

For more information on stained glass works or Lamarsclasses, visi www YokomoStainedGlassandMosaic.com or ca885.0609 .

Email Catherine Tarleton at [email protected] Harmon family of Waimea admires a window instal-

lation in their home. From left to right: Briana, Devyn, Valerieand Sean Harmon.

Window honoringHawaiis nativebutter ies can beseen in thebutter y building inWaimea.

Master artisanLamar Yoa kumuses the stainedglass methods perfected by Ti any. Hereinstalls a curmosaic desifor aswimming pool.

U Continued from page 23
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and hook one of the birds feet before it realizes whats happen-ing. Or you can wait until after dusk when its gone to roost, then just pick it up.

That vulnerability after dark is one of the rst considerationsfor a would-be chicken farmer. Chickens need someplace safe togo at night. Originally, they solved the problem by roosting intrees, but many modern breeds are just too heavy for that.

The website www.backyardchickens.com carries over 450 dif-ferent coop designs, among other resources. DuPonte suggests

a model for a chicken shelter that was invented by a local couple,Liz and Mike Hubble. Called the Hubble Bub ble, its inexpensiveand easy to build: 16-by-16-foot square with chicken-wire walls,surmounted by a dome-shaped roof covered with white green-house plastic.

Weve been going around the county. Weve built four or veof them with CTAHRs (College of Tropical Agriculture and Hu-man Resources) help, explains Mike Hubble. At their most recenthenhouse-raising, on Hawaiian Homelands in Panaewa, about 20native Hawaiians gathered and got the job done in less than twohours. Materials, Hubble says, cost about $275.

The Hubbles had raised chickens in Idaho before moving tolower Puna in 2007. There they realized a need for a more airy,economical coop suited to the tropics. DuPonte saw their rstBubble, and asked them to draw up plans that others could use. The CTAHR o ce in Hilo now o ers a brochure with instructionsfor building Hubble Bubbles. Those interested can call DuPonteat 808.981.5199.

A henhouse has its own furniture: raised roosts, feeders andnest boxes. Feeders can be found at any farm supply store;roosts can be improvised out of two-by-two lumber, roundpoles, bamboo or even tree branches. The Hilo Co ee Mill ock sleeps on guava branches. Nest boxes come in a wide varietyof forms. My family built free-standing rows of nests for betteraccess and ventilation: three tiers of wooden nests, each nest 18by 18 by 18 inches, with a wooden perch in front and a hinged,drop-down board in back so we didnt have to face the angryend of the chicken when we gathered the eggs. Some hens willdefend their nest by pecking. Any box of about those dimen-sions will do, if its elevated, fastened down and lined with strawor dry grass.

The next step, after building the henhouse, is to getthe chickens. Sometimes they can be had for free; aneighbor may have a hen whos gone broodyhasstopped laying eggs and has settled down to hatchsome. Or some may just wander in out of the jungle, if you feed them.

We usually bring in either eggs or chicks from the main-land, says DuPonte. Di erent feed stores bring them inevery once in a while. Ive seen them in Hilo and Pahoa.

The state only has one commercial hatchery left: AsagiHatchery, on Oahu (www.asagihatchery.com) which normallysells three varieties: White Leghorns (the favorite of com-mercial farms because they lay uniform white eggs and lotsof them, but th eyre very lightweight and ex tremely ighty),Cornish Rock hybrids (heavy, fast-growing white chickens raisedmainly for meat) and browns (a mellow breed that lays browneggs). They deliver to other islands.

Another possible source of new birds is the Hilo Co ee Mill.We bring in sexed pullets for people, says Baysa. She notes thatmost commercial hatcheries have a minimum order of 25 chicks,but the mill can order a batch and split them amongdi erent buyers.

Chicks are designed to start out life literally under the wingsof their warm and protective mothers, so their down isnt a verygood insulator. Even in Hawaii, they need warmth at the begin-ning. For starting a backyard-sized ock, says Baysa, a 250-watt,red heat lamp with a re ector collar, available from most hard-ware stores, will do.

There are scores of varieties available: some bred for eggproduction or for meat, some for egg color (those blue or greeneggs seen at farmers markets may come from a South Americanbreed called Araucanas), and some for gentleness.

For us, the Rhode Island Reds are real popular and so are theAraucanas. says Baysa. We also bring in the special breeds; if someone wants to have the Bu Orpingtons or Coocoo Morans[which look somewhat like barred Plymouth Rocks with featherson their feet, and lay deep brown, chocolate-colored eggs] orBlack Stars [Black with teal highlights in its feathers; they also laybrown eggs]. We typically wont bring in any white egg layers. Theyre too commercial-looking. When you think of a farm, youthink of brown.

Weve got barred Rocks, Bu Orpingtons and Australorps(Australian Orpingtons), says Ben Discoe. Bu Orpingtonsare kind of like the golden retrievers of chickens. Theyre morepeople friendly. They like to be petted. But they do go broody.

Egg color, he maintains, has nothing to do with nutrition. Foryour and their health, what really matters, he maintains, is thechickens diet: Do your best to make sure they have access tofresh green plants. Chickens who can eat grass and plants aremany times healthier and have eggs that are far more nutritious.

Diet is perhaps the biggest challenge in Hawaii. Most of thechicken feed on my familys farm came from our own elds: oatswheat and corn; we bought mash and whey blocks (the formera brewing byproduct, the latter a by-product of cheese produc-tion) for protein and ground oyster shell for calcium (neededto make eggshells.) But Hawaii grows almost no grains, itsdairy industry is almost as dead as its

Jeanette Baysa, co-owner of Hilo Co ee Mill, shares their

ock with visitors.

http://www.asagihatchery.com/http://www.backyardchickens.com/http://www.asagihatchery.com/http://www.backyardchickens.com/

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This wall of old glassdoor cabinets, now displaying more col-lections of memorabilia from the old Chock Inn, will betransformed into windows, through which patrons canview the new exhibition kitchen.

the store, calling the Chocks to the front to wait on customers.One of the most intriguing elements is the ceiling fan systemthat is still operational. It is run by a series of pulleys andfascinates visitors to this day.

Starting this fall, the restaurant will close brie y forrenovations, at which time there will be major interior changesto the restaurant. The bar will be moved into the center of themain room and the kitchen will be moved and placed behindglass, where customers can watch food being prepared onall-new, state-of-the-art equipment. A wood-burning oven willbe installed in the dining room along the same wall that haswindows to the kitchen. Large, at-screen TVs will be placed inthe main dining room, but not to view the soccer game.Instead, cameras will focus on various stations in thekitchen for people to watch up close. There will still be

quiet alcoves, and some dining areas will not changesigni cantly. What is now the porch will become anenclosed waiting area with a replace facing the mainroom of the restaurant. Solar panels will be added tothe structure to provide green energy. Another majorimprovement will be the addition of a full catering/banquet kitchen and a banquet pavilion to seathundreds of people for special events. The restaurantkitchen will no longer be a scene of chaos when largecatering events happen. The new pavilion will providea venue for special events and private functions.

Structural changes will not be the only

improvements. Menus will become much moreuid and seasonally based, changing as farmers andshermen provide the very best local and organic

ingredients from Hawaii. Chef Daniel currently buysmostly organic and local ingredients, and his menusand specials are based on them, but he intends to increase hisdedication to those principles which drive him and to do theextra work that it takes to constantly be changing the menus. This will of course make some customers unhappy. Thosewho have speci c menu items that they are used to may haveto try new things. For the majority of diners today, this fresh

approach to local seasonal and organic food will be sought outand embraced.

Chef Daniel uses purveyors such as the Sunrise Tomato Farm,the all organic Kula Kahiko Farm on the Hamakua Coast, KekelaFarms of Waimea and a variety of small farmers, like Josh of Honokaa, who simply drop by the kitchen and o er what theirharvest of the day may be to Chef Daniels delight. Thiebaut isalso going to have crops grown especially for the new restaurant.Waimea is in the heart of cattle country, so a ready supply of local, grass-fed beef is always available, whereas nding good,local lamb is more of a challenge, but certainly not an impossibleone. Seafood is forever abundant from surrounding waters, as isincredible tropical fruit. With our growing season and abundantresources, nding local and organic foodstu is becoming fareasier for Hawaii Island chefs and consumers alike.

As the 10th year of Daniel Thiebaut Restaurant winds down,there is much anticipation for the new incarnation of one of Waimeas and Hawaii Islands favorite restaurants. Some peopleoppose change and others embrace it. John F. Kennedy oncesaid, Change is the law of life. And those who look only to thepast or present are certain to miss the future. One thing is forcertain, Daniel Thiebaut is not going to miss the future of foodin Hawaii.

And for all of those people who have struggled to spell thename Thiebaut in search engines, the name of the restaurant willbe called simply, Daniel. Y

Learn more at www.danielthieba ut.com .

Email Devany Vickery-Davidson at pineapp [email protected] .

Hilo sweetcorncrab cake with lemon-

grass coconut lobster sauce, annatocrme fraiche and mango salsa.

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Donald P. Jacobs was an eccentric entrepre-neur from Tennessee who had connectionswith Kamehameha Schools. He would come toHawaii to recruit talent for a Polynesian showat one of his amusement parks, in the heartof the Rocky Mountains. For three summers,Pomaikai played ukulele and Polynesian drumsat the park, while Jacobs provided transporta-tion, housing, two company vehicles and a creditcard for the visiting Hawaiians.

That kicked it over the top. It was an unbeliev-able dream come true, Pomaikai still laughs atthe experience. And it was such a culture shock,to experience the country music side of America,like the Grand Ol Opry, and Southern hospitality.

Pomaikai has also played with the Poi Boyz,performed with Tavanas Polynesian Spectacularone of the most famous shows in Waikikiandattended UH and Hawaii Paci c University, wherehe graduated cum laude with a degree in businessand entrepreneurial studies in 1986.

Pomaikai still gets recognized for his role in 50First Dates, although he has had major roles in morethan half a dozen independent lms. Most recentlyhe starred in Lychee Thieves, directed by KathleenMan. The lm was shown recently at the Big IslandFilm Festival and is playing well at lm festivals aroundthe country. Unlike a lot of actors who stick with onegenre, Pomaikai feels comfortable in both comedic anddramatic roles. Part of this came early on from the real-ization that if he wanted work as an actor in Hollywood,he should expect to get typecast.

I knew I would be typecast as a big jolly Hawaiian, he said. Iknow that now. I wasnt going to be the one that gets theblue-eyed girl.

This local boy wasnt blinded by the bright lights of Hollywood.Although he could have gone on from 50 to continue workingin that vein, Hollywood was not in his blood.

I just couldnt see myself relocating. I love Hawaii and itspeople, says Pomaikai, whose number one priority is hiswife Toni, and their eight children, rangingin age from 1-1/2 to 23.

The last ve years Ive made a conscious ef-fort to learn Na Mea Hawaii, all things Hawaiian. The language

everything about the culture, crafts, canoeing, ukulele making,coconut weaving... this is more important to me. So I decided Iwould take the work that came here and keep this lifestyle.

And work he has. Besides his own production company,Pomaikai has eight screen roles to his credit, several TV roles andnumerous commercials. He is also an advocate for struggling ac-tors, working on getting a venue for them to practice their craft.

There are a lot of good actors here, and they dont get achance to work their craft. Everyone needs to work to get better,so when the work does come you are quali ed. To be acting onthis level, I have learned you want your performance to be real,he said.

To this end, he is currently writing a script for a local series.I want to tell the stories of Hawaii rather than be hired to tellsomeone elses stories, Pomaikai said, keeping it all in perspec-

tive. I gotta say my family is more important to me than musicand acting. I want my kids to know who they are as Hawaiians,and know their history and culture. Immersing them in ancientHawaiian arts, teaching them to know who they are as Hawai-ians, to practice the spirit of Aloha. And to make them realizethat the place where they are living is amazing. Y

P hotos courtesy of PomaikaI Kekoolani

Also seewww.pomai.com.

Contact Cynthia Sweeney at [email protected].

A memorable face:Tattoo Face in the

romantic comedy 50 First Dates.

The Kekoolani family. I want

my kids to know who they are as Hawaiiansand practice the spirit of Aloha, says Pomaikai.

http://www.pomai.com/mailto:[email protected]://www.pomai.com/mailto:[email protected]://www.pomai.com/mailto:[email protected]

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to Molokai, therewas music all aroundhim as a boy. Heabsorbed it throughlistening and play-ing with familymembers, friends

and radioHawaiian,blues, rock n roll, rhythm and blues,

classical; it was all good to his ears.

He learned to play the guitar and ukulele in the early 70s andcarried his instrument with him everywhere (including highschool, where the teachers, in a misguided way, expelled hisguitar due to the amount of time he spent playing it).

Simultaneously working as a consultant for Federal Emer-gency Management Agency (FEMA), an accomplished musician,videographer, family man and a cultural advisor for the NationalOceanographic and Atmospheric Administration (NOAA), KalaniSouza is an individual who possesses a clear, concise vision forthe future of humanity and our planet. Not your everyday musi-cian, the well-traveled and world-savvy Hawaii resident is alsopassionate about helping people understand and implement

people have apparently behaved so negligently in their slowresponse to the environmental damage in the Gulf of Mexico.

Having spent three years in Louisiana doing oceanic research,Kalani, who now travels from his home on the Hamakua Coastof the Big Island, is quali ed to make statements regarding thisdisaster. This has been going on for a long time and the way tolook at it is not to ask, How could we have created this mess?but, How can we change? and How are we really with one an-other and with the planet in order to e ect change?

The Gulf is the bedroom of the Atlantic Ocean. The oil slick will likely reach the shores of Europe by next year. There will bea food shortage and the ocean will eventually heal itself butthis will take so long. Communities need to learn to look afterthemselves so that they will have fresh water, fresh food andtheir health.

Kalani believes that the key to awareness is through educa-tion, starting when children are young. People are beginning tobelieve that the old ways are no good. Barriers in thinking needto be broken. Without mobilizing through education at an earlyage, we are repeating mistakes and diving deep into shallowwaters.

any on The Big Island may know Kalani Souza as agreat musician whose personality lights up the room when heenters and takes the stageeither solo or with Sugah Daddy orHamakua Uprisingin local venues and the many communityevents in which he participatesevents such as the Laupahoe-hoe Music Festival, Malama Punaluu and Na Waiwai O Laupa-hoehoe. He is that and much more.

Its one thing to take a cursory interest and have minor in-volvement in several organizations all at once, only getting yourfeet wet when the notion suits. It is entirely di erent to pas-sionately serve several organizations simultaneously, and to giveeach your full-time commitment and knowledge, with compas-sion for the greater ecological good of the planet.

The latter ts the eminently knowledgeable and amiable Ka-lani (as his friends call him). I recently met up with him on a clear

Kona morning as he was heading to Keahole-KonaInternational Airport, ying toSamoa to evaluate a course intsunami preparedness.

Kalanis life has been andcontinues to be centeredaround water and music andthe inherent power withinboth. Born on Oahu to parentsfrom Maui with ancestral ties

alternativeenergy sources,including wind,solar power andwater.

Currently, Kalani

serves as the chair-man of the Indig-enous KnowledgeHui of the Paci c Risk Management Ohana,a collection of federal,state, county and nongovernmental agen-cies who work primarilyto mitigate and respondto disasters in the great-er Paci c Region. Healso serves as a culturalcompetency consultant forNOAA Paci c Services Center of the Dept. of Commerce and pre-viously served as one of two Hawaiians in the Native Network,a group of 450 peacemakers on the Dept. of Interiors out of theMorris Udall Center for Peace in Tucson, Arizona

I blame disco, the charismatic and kind-spirited formerstudent body president half-jokingly says to me when asked why

# $ ! A

S M

U S I C


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/

)

T H E R E F R A I N

Our backs twist together, n w hine o ke kai.

We plunge our paddles as one, forcing the Paci c

Under the ama, the canoe piercing the incoming swell

Salty spray clinging to lashes, lips,

Filling the bottom just enough to slow our progress

Bailer clunking between our legs, tangled,

Kahi m lie toward the horizon.

Women warriors of the waves, battling speed and

Swells that loom from the breast of an ocean moo,

Defying reason and belittling human presence,

Humbled, we push like women in labor,

Unable to stop the pulse.

I Mua e N W hine

There is unity in heaving with the hull.

Twisting a haku of bodily power with each huki,

Releasing passionate cries of e ort,

No longer mothers or lovers,

But mea hoe waa.

By Jackie Pualani Johnson

N w hine o ke kai: women of the sea

Ama outrigger oat

Kahi malie: long, easy strokes

Mea hoe waa: canoers

Jackie Pualani Johnson, professor of Theater Arts at UH-Hilo, is editor of Hookupu: An O ering of Literature by Native Hawaiian Women. It isthe rst such anthology, showcasing the writings of contemporary Native Hawaiian womenmany of them residents of Hawaii Island. To usea metaphor from this poem, the authors plunge their paddles as one into the sea of story and song.

The book, published in 2009 by Mutual Publishing, is available at Basically Books in Hilo.

Photos by GP Merfeld , gpmkona.com
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in e . c o

m | KEOLA
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ke ola magazine 2010-09-10

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