HB 1385, introduced by Rep. Andrew Takuya Garrett, aimed to create a commission to redesign the Hawaiʻi State flag. Garrett’s intention was to allow the Hae Hawaiʻi to only represent the Kingdom of Hawaiʻi and not the State of Hawaiʻi.

“I saw this as a social justice issue, and I was trying to show my support for the flag remaining in the exclusive domain of the Hawaiian Kingdom,” Garret said. “That was the only discussion I was trying to raise.”

However, many people interpreted the bill in ways that Garrett did not intend. Some viewed it as a distraction from more important issues facing Native Hawaiians. Others saw it as an attempt to erase the Hae Hawaiʻi along with its rich history and symbolism.

The earliest Hae Hawaiʻi was adopted in 1816 by Kamehameha I. It had the British Union Jack in the top left corner and nine stripes (three sets of red, white and blue). Its design was influenced by the flag of the British East India Company – whose members were regular visitors to Hawaiʻi at the time.

During the reign of Kamehameha III, the flag was modified to include just eight stripes with a white stripe on top followed by the sequence red, blue, white, red, blue, white, red. The new flag was officially unfurled on May 25, 1845, at the opening of the kingdom’s legislative council and it is the same Hae Hawaiʻi that endured through the overthrow of the Hawaiian Kingdom, the “Republic” of Hawaiʻi, the “Territory” of Hawaiʻi, and, now, the State of Hawaiʻi.

For Native Hawaiians, our Hae Hawaiʻi is an abiding symbol of Hawaiian sovereignty and a source of tremendous pride – hence the overwhelming negative community response when HB 1385 was introduced.

Community advocate Kainoa Azama felt the backlash was reminiscent of the resistance seen across the pae ʻāina following the overthrow of the Kingdom of Hawaiʻi. “Following the overthrow, there was [an effort] to change Hawaiʻi’s anthem (Hawaiʻi Ponoʻī) because the insurgents didn’t want any remnants of the kingdom. But the people refused. They were still very much aligned to the kingdom,” said Azama.

“Even though that happened over 100 years ago – the resistance is still here, because we know who we are. We know where we come from. And no, I’m sorry. We have different ideas about what needs to change.”

Garrett did not anticipate this response but has come to understand it by listening to the community.

“I regret how this has played out, because it was not my intention again to try to erase the deep symbolism and the meaning behind Hae Hawaiʻi,” said Garrett.

The bill officially died on February 14 at Garrett’s request.

The demise of HB 1385 is an example of how our civic engagement can impact outcomes at the legislature. When community members call their representatives and senators about issues that are important to them, it opens space for discussion and allows for different perspectives and solutions to be considered.

“I learned a very valuable lesson. I did reach out to [representatives of] the Native Hawaiian community. It’s obviously a very complex and deeply sensitive issue,” Garrett reflected.

“It really demonstrates the power of our community when we all come together,” Azama remarked. “How we, as a people, can come together to effect change. It’s a good reminder of what people can accomplish when we organize effectively.”

Although HB 1385 has died, there are dozens of other bills introduced during this current legislative session that deserve our attention. It is as good a time as any to get involved.

“I think one of the big things is recognizing the importance of working together,” Azama said. “As they say, ʻif you want to go fast, go alone.’ But if you want to go far and you want to make the distance, then work together.”

Civic engagement doesn’t just happen at the legislature, it can start in your own backyard – from community service activities to participation on your local neighborhood board. From our individual communities to our pae ʻāina to the rest of the world, if we want to see positive change, we need to be actively engaged in advocating for equity, justice and peace – for people and the ʻāina – not just now, but for the generations that follow.

“Civic engagement is about being an agent of change. It is important that we leave this world dramatically better than it was when we entered it,” Azama said.

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Ka Paʻalana has been providing educational support for houseless and at-risk families for the past 17 years

Serving over 30 communities at 11 sites across the pae ʻāina, Ka Paʻalana is a Partners in Development Foundation preschool organization that specifically serves houseless and at-risk families.

Founded in 2007 by former educator Danny Goya, Ka Paʻalana has helped over 2,720 keiki and 3,692 adults over the past 17 years. Currently, Ka Paʻalana serves 210 families across all sites.

“Ka Paʻalana was birthed into this preschool that was built and founded to help more vulnerable families. The idea was to be mobile and flexible in any area, in whatever community was willing to take us, and set up a tent if we needed to,” said Ka Paʻalana Program Director Kasey Popken.

Thus, Ka Paʻalana is not a “brick and mortar” preschool. Ka Paʻalana sites include parks, community centers, public schools, and, during the summer, the Waiʻanae Boat Harbor.

But it is much more than a preschool – Ka Paʻalana doesn’t only provide support for the keiki who come through its program, but for their caregivers too.

“Danny, our founder, would always say, ʻwhen a young child comes into our care… we can provide all the care that they need in preschool, but if they go home to a home that’s unstable…then we’ve only done half the work,’” Popken recalled.

“‘But if we can work with the whole family, and if we can get them to a place where they can heal…then we’ve not only helped that child and that family for the time that they’re with us in preschool, but hopefully for a lifetime.’”

Ka Paʻalana has several components to its program.

The early education, or preschool component, is where keiki learn based on their age and developmental level. In the parent and child time component, parents learn how to support what their children are learning, from developing fine motor skills to early reading and writing skills.

In Ka Paʻalana’s adult education component, parent educators teach adults about self-care, and help them prepare for job interviews, become financially literate, and more. Finally, the outreach component is for families who prefer home visits from Ka Paʻalana parent educators who provide in-home resources and education.

By partnering with professionals in their community, Ka Paʻalana also connects families with community resources.

“Honestly, a lot of our partnerships come about from the different connections we make in the community and the different ties we have to other organizations,” Popken said.

“A lot of the recruitment [for partnerships] is from our staff going out and saying, ‘Hey, this is what we’re doing for our families. We really need a dentist to come out. Do you guys have anybody willing to volunteer their time?’ Or ‘We need a shot clinic, can you help?’ By reaching out, we are trying to create partnerships so we can provide holistic care to the families.”

These partnerships help build connections between families and professionals, making it less daunting for parents and keiki to seek the help they need.

“We’ve invited the local dentist at the Wai‘anae Comprehensive Center to all of our sites,” said Ka Paʻalana Operations Manager Nida Otta. “We’ve had him at our health fair and then [the families] see him in the community. So, when they make an appointment, it’s not scary for them to actually go for a dentist visit, you know?”

At Ka Paʻalana, families in the program are also able to support one another through their respective journeys in caregiving and healing.

“Ka Paʻalana is a safe place for the families. They know where we’re at, they know what day and time we will be there, and it’s in a location where they know their kids are going to be safe. They start to build these friendships with other caregivers as well,” said Otto.

“I think for them, they feel like it’s a place where they can connect with other caregivers with kids the same age and who might be going through the same thing, and so they just kind of go through it together.”

Although Ka Paʻalana began 17 years ago serving the Waiʻanae Coast, they have continued to expand across Oʻahu, to Hawaiʻi Island and, this year, to Maui.

“Seventeen years in, we are still able to continue to serve families and see how families have been changed because of the work, the friendships and partnerships that we’ve built with them,” said Popken.

To support Ka Paʻalana by donating or establishing partnership visit their website at https://pidf.org/kapaalana. To join the program call (808) 596-8711 to find a site near you.

The post Supporting Hawaiʻi’s Keiki and Caregivers appeared first on Ka Wai Ola.

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On a bright afternoon on Nov. 21, 2024, people from all over the world gathered at the Lanikūhonua Cultural Institute on the west side of Oʻahu for Disney’s Moana 2 World Premiere. Invited guests were greeted with flower lei, hula, live music, local foods and a variety of activities to enjoy.

Event goers could learn a hula, meet Mickey and Minnie Mouse or the character Moana herself, create a phone charm or bracelet with seashells and beads, create art on a seashell, take a photo in the Moana-themed photo booth or get a flipbook to take home.

Several local businesses were also featured at the event including Lypid Kitchen with their “Pua” inspired BBQ Pork Bao and Better Sour with their Moana 2 collection of gummy stars in iconic island flavors like lilikoʻi.

Auliʻi Carvalho, who plays Moana, arrived on the blue carpet donning a custom shell top by Utah-based Samoan designer Afa Ah Loo. Carvalho posed for photos dressed in character with several guests and joined in a few faʻaumu (“chee-hoos”) on the carpet.

“I miss being here and feeling the island vibes and feeling the aloha from start to finish on this carpet,” said Carvalho. “It really feels like coming home.”

Dwayne “The Rock” Johnson, who voices the demigod Maui, also attended, dancing a taualuga (a Samoan dance celebrating the completion of a task) with his mother upon his entrance to the event before pausing for photo ops and interviews.

“It’s the global premiere of Moana 2 and [there are] a lot of people around the world who are excited to see it,” Johnson said. “I’ve got my family here. A lot of people flew in. It’s awesome to be here tonight.”

Guests included Lahainaluna High School students and staff, Lilo and Stitch live action actress Maia Kealoha, Hawaiʻi-based influencer Bretman Rock, Hawaiian- Samoan reggae rock/pop band Common Kings and more.

As the sun began to set, guests were ushered to their seats in the outdoor theater. Each lawn chair had a Hawaiian Airlines blanket and a Heihei (chicken) or Pua (pig) plush character toy for guests to take home.

Pasifika (Pacific Islander) dancers took to the stage to perform for the crowd. Flags of each Pacific Island waved in front of the screen and “chee-hoos” echoed through the venue. Carvalho and Johnson briefly danced with the performers on stage, then thanked their families, friends, Moana 2 creator Bob Iger, and the people of Pasifika.

“We [all] own Moana,” said Carvalho.

With stars twinkling in the skies above, the movie began, full of lively new music from talented songwriters Abigail Barlow and Emily Bear, the first female duo to compose music for a Disney movie.

Several new characters are introduced in Moana 2: Moana’s little sister Simea (voiced by Khaleesi Lambert-Tsuda from Oʻahu) and crew members Kele (David Fane of Aotearoa), Loto (Rose Matafeo of Aotearoa) and Moni (Hualālai Chung also from Oʻahu).

In the movie, Moni is a young storyteller who has learned all the moʻolelo of Motonui. For Chung, an up-and-coming ʻŌiwi actor-musician, Moana 2 has been the opportunity of a lifetime.

“This story of Moana, has been so big for our people, not only [for] Hawaiʻi, but the entire Pacific,” said Chung, adding that he was very grateful to be part of the movie and of the celebration of the movie here at home.

In Moana 2, three years have passed. Moana is now an accomplished navigator sailing far beyond the reef of her island home of Motunui. Whereas the first movie focused on connecting to the past and her ancestors, Moana 2 focuses on connecting to the future and to all the peoples of the Pacific.

An emerging leader, Moana balances her duties to her people while heeding the call of her ancestors. When her ancestors send her on a journey to reunite the peoples of the Pacific, she struggles with leaving her ʻohana, fearing she may not return.

An important and timely theme throughout the movie is the idea that the peoples of the Pacific are connected, not divided, by the ocean.

Moana 2 represents all the people of Pasifika, showcasing our cultural connections through depiction of ʻawa ceremonies, use of kapa, respect for ʻaumakua (deified ancestors who may assume animal forms), and tattoo. The movie celebrates the achievements of all Pacific peoples – Polynesians, Micronesians and Melanesians – and represents our cultures, customs and voyaging traditions on the big screen.

“This idea of community, of loyalty to your ʻohana, is so much grander in this film,” Chung reflected. “I think everybody will really connect with [the film] and take it to heart.

The post World Premiere of Moana 2: Pacific Peoples Represented on the Big Screen appeared first on Ka Wai Ola.

According to an analysis by the Hawaiʻi Appleseed Center for Law & Economic Justice, one in 24 homes on Hawaiʻi Island are short term rentals – 52% of which are owned by non-Hawaiʻi residents.

To address this problem, Hawaiʻi County Council Chair Heather Kimball and Councilwoman Ashley Kierkiewicz introduced a three-bill package (Bills 121, 122 and 123) to register all TARs in the county.

“We are in a housing crisis in the county. Across the state, local residents are having a harder time finding places to live,” said Kimball. “We need that middle income housing, and this bill package was really designed to address two of what I think are three prongs that we have to address when it comes to housing.”

The first prong is ensuring more housing is built in the islands. The second prong is that housing doesn’t slip into other uses, like TARs. The third prong is helping locals keep their homes.

Bill 121’s objective is to register all TARs in the county and ensure they’re operating safely and adhering to the same standards. This includes new regulations for owner-hosted, operator-hosted and non-hosted TARs.

Bill 122 would repeal provisions for bed and breakfast establishments and include them under Bill 121. Bill 123 seeks to amend the county’s ʻohana dwelling code, changing the name to “accessory dwelling unit.” This removes restrictions for these buildings providing they serve as long-term housing.

“What we really want to ensure is that we’re preserving the character of the residential neighborhoods and particularly making sure that agricultural land is actually being used for agriculture,” said Kimball.

The emphasis of the bill package is to preserve Hawaiʻi County communities. In 2022, the planning department received over 27 TAR complaints in Hilo and 38 TAR complaints in Kona.

“I think that having a transient accommodation rental next door can be a fine experience [but] in many cases, it ends up being a nightmare for our residents when they’re unhosted,” said Kimball. “Bill 121 [makes] the good neighbor stamp standards more concrete.”

Some changes TARs owners can expect include increased fees, fines and penalties for violations.

“The fees are going up for registration in the format that the bill is currently in. The other thing that is new is the penalties are heavier if you’re in violation of any of the standards. If folks just continue to fail to address the issue, the director can start charging them two times their nightly rate. So, there is a bigger stick in the legislation, for violations of the code,” Kimball said.

The bill package will still allow owners to continue operating their TARs as long as they do it legally.

“There’s going to be more paperwork. The fees are there, but I think they are very reasonable and if you’re operating legally now, there is a pathway for you to continue operating,” said Kimball.

Despite this, the bills received over 100 testimonies in opposition at a July hearing.

“No disrespect to anybody that submits testimony. I do think that this is a vocal minority. I only started this because my community was asking for strong regulations around illegal short-term vacation rentals,” Kimball said.

Dan Corson and Berndt Stugger are the founders of Hāmākua Chocolate Farm located in Pāpaʻikou. They testified expressing concerns for their Airbnb farm.

“The way, currently, that this bill is written is it doesn’t completely address that specific issue. It also hurts people by taking away their additional possibility for income without benefiting long-term rental markets and that’s what we are not okay with,” said Stugger.

“Airbnb actually allows the farmer to continue farming because the cost of the land is expensive,” said Corson. “It’s a way of being able to share your farm and your passion and your lifestyle with people and to be able to keep the farm going.”

Corson and Stugger believe the current bill package is too general and should focus on non-resident owners rather than TARs as a whole.

“We want Hawaiʻi to be Hawaiʻi and I think that we need to be able to strike a balance. If we do it in a thoughtful way, I think that there is a way that we can transition. The way they’ve done it, just seems to be too big of a step all at once,” Corson said.

The package requires more work before it can be passed, but Kimball looks forward to hearing community voices to improve upon it.

“These are deep structural issues that are challenging to address. But if we are ever going to ensure that the next generation can stay here, that we have a strong middle class, and that Hawaiʻi is not being sold out to outside investors, we must get into these issues, we have to do this hard work and sometimes it’s going to be unpopular. But I do believe that this is for sure the right thing to do,” Kimball said.

The post Short Term Rentals, Long Term Issues for Hawaiʻi County appeared first on Ka Wai Ola.

The development of a second artificial wave pool in ʻEwa has sent ripples through the community. The future location of the proposed project is a mere 10-minute drive from Waikai, the location of Oʻahu’s first wave pool.

Citing concerns about the natural environment and the presence of iwi kūpuna, about 100 kiaʻi took part in a peaceful occupation at the site of the proposed Honokea Surf Village wave pool on January 26. – Courtesy Photos

Nā Kiaʻi o Wai Hā, a grassroots organization, has filed a complaint in the First Circuit Environmental Court against the planned “Honokea Surf Village” and held a peaceful occupation at the site on Jan. 26, 2024.

“We want to continue to build support for the coalition against the wave pool, so we are considering planning another occupation event in front of this site just to raise awareness about where it’s going to be. We are also planning more cultural activities with people like Uncle Wally Ito, a protector of the limu in Kalaeloa,” said Healani Sonoda-Pale, a leader of Nā Kiaʻi o Wai Hā.

About 100 people attended the occupation and the group has collected over 500 signatures in opposition of the development.

“There were families that came up to us and said, ‘We’re happy you’re here,’ so our presence at the site, educating [people] was also important for the community because it’s about empowering them to say what they feel and be part of a larger movement,” said Sonoda-Pale.

Nā Kiaʻi o Wai Hā’s court hearing against the development of Honokea West is scheduled for April 11, 2024, and they encourage the public to join them.

“We have a court case coming up. It’s a hearing on our request for summary judgment. The complaint basically says that the environmental assessment just is not enough; that it doesn’t adequately assess and include all of the [potential] adverse impacts this project will and may have,” said Sonoda-Pale.

In a statement released by Brian Keaulana, owner of Honokea and a professional waterman, he said, “As a descendant of generations of Native Hawaiian surfers and watermen, I am disappointed by the misguided accusations being levied against Honokea West. This project is motivated by my ʻohana’s love for the ʻāina, kai and our people. Honokea West will integrate Hawaiian values into every aspect of our guest experience and will share our surfing traditions and values.”

According to Honokea’s website, the project site was chosen based on its proximity to the west side and its ability to provide a recreational and economic boost to the coast. They also claim that no federal or state protected endangered species were found on site and that the project will not impact any significant archaeological sites.

The location of the project at an area known as Oneʻula has been nicknamed “Ka Hale O Limu” (The House of Limu) by many Hawaiian cultural practitioners – like the late Walter Kamana – for its ability to seed limu from Nānākuli to Waikīkī.

“There are five different types of limu manauea alone, let alone all the other types of limu that were there, plus all the kaitens and the shellfish and all the other reef magic that live there,” said Kai Markell, Office of Hawaiian Affairs compliance manager and in-house iwi kūpuna expert.

“We also know that burials are consistently found throughout that area underneath, in the karsts, in sinkholes that are filled in – you don’t even know it’s a sinkhole because it’s been filled in over time.”

One of the community’s main concerns about the development are iwi kūpuna believed to be buried in the area.

“Who knows what is under the surface – and if you’re going to excavate all this and pump water and just ruin the whole [karst] system…that’s what I’m concerned about,” said Markell.

In the early 2000s, iwi kupuna were found at Oneʻula Beach that were later identified as chiefess of Kalanikūpule, Namahanakapukaleimakaliʻi, the half-sister of Queen Kaʻahumanu.

“People don’t believe it [Oneʻula] is anything special. It’s a dry wasteland; nobody wants to live out there – but that is why it was a place for burials of high ranking aliʻi, because nobody was out there, nobody was going to go messing around, so kūpuna were safe,” explained Markell.

“We want people to understand why we’re against it, and we also want people to understand the importance of protecting places that have burials and these very unique sinkholes,” said Sonoda-Pale.

According to Honokea’s website, “In the event that historic or traditional cultural properties are encountered during construction, work in the project area will cease until SHPD (State of Hawaiʻi Historic Preservation Division) is notified and appropriate protocols are carried out.”

While there are Hawaiians on both sides of this conflict, Sonoda-Pale says we shouldn’t buy into the Hawaiian vs. Hawaiian paradigm, and, instead, stay focused on protecting the ʻāina.

“We need to stick to the issue – and the issue is protecting our burials, protecting our freshwater resources, protecting our limu, and protecting these sacred spaces for future generations so that we can continue to live and thrive on this ʻāina,” said Sonoda-Pale.

The post Moving Against the Tide of Artificial Wave Pools appeared first on Ka Wai Ola.

Hanohano and Mailelani Naehu both come from artistic families and have continued to express themselves creatively throughout their years together as a married couple. Hano dabbled in slam poetry and rapping, while Maile practiced hula and ʻoli.

“I remember the first time we went out. He did a rap for me in the truck and I was like, ‘Wow! He’s pretty good,’” said Maile. “So throughout our relationship and our marriage, he continued to dabble, find beats, and rap to it.”

It wasn’t until the early 2010s that Maile and Hano began collaborating artistically. One day, Hano was sitting on the porch of their home rapping and writing lyrics to different beats, when Maile began hearing lyrics of her own.

“My whole life, I’ve had lyrics in my head and I was too afraid to write them down. I realized in that moment, ʻOh my gosh! I have something that might go with what you’re writing,’ and he’s like, ʻNo way!’” said Maile. “He was my safe space. He said ʻLet’s try this!’ and something really magical happened.”

From that day forward, Maile and Hano have been writing and performing Hawaiian Hip Hop music together as “The Paniolo Prince and his Queen Maile.” Their first album, The Tip of the Spear, features 15 songs about their lives together.

“We write about our life. We use music as a platform to express our activism,” Maile said. “We thought it was a really powerful tool that we could use to reach all generations and that’s how it happened. It’s been kind of amazing because it’s been really well received by all ages, even kūpuna.”

The couple has also released a series of singles since their first album ranging from topics like the Kumulipo to the occupation of the Hawaiian Kingdom. Their songs feature Hano rapping in pidgin and ʻōlelo Hawaiʻi and Maile chanting in ʻōlelo Hawaiʻi.

“I think it makes people feel connected like ʻOh, that’s my story! I’ve never heard it told in that fashion,’ and so it’s been a really neat experience,” said Maile.

This year, the Naehus have been nominated for a Nā Hōkū Hanohano Award in the “Hip Hop Album of the Year” category for their album Ho‘okupu – A Hip Hop Anthology of Hawaiian History. The album includes 13 original songs, such as Big Moʻo Energy, Mai Kahiki Mai, and more.

Their Hip Hop journey is unique to their story and has brought them closer together. However, they have also had to balance being both spouses and musical partners.

“When we’re creating, we have to be more like musical partners than husband and wife. But at the same time, we’re husband and wife so that’s a cool thing about it,” said Maile. “We have another layer of relationship, so it’s really allowed us to connect in a different way.”

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Over the years, Hano and Maile’s three children have also been able to contribute to their artistic endeavors. Their son creates all the beats for their music and their oldest daughter creates the album covers and any illustrations they need.

“We planned to build this type of environment together for our three children, immersing them with all kinds of art and music around them. We did that on purpose,” Maile said. “And we noticed that they were incredible artists in their own right as well.”

Their influence goes beyond their own children, as they offer after-school clubs and programs to help Molokaʻi youth find their own voices.

“Being able to reach out to the youth, we believe, is the most powerful weapon for change,” said Maile. “We know if you don’t have a voice and if you don’t speak for yourself, someone will do it for you. ʻI ka ‘ōlelo nō ke ola, i ka ‘ōlelo nō ka make,’ through language there is life and through language there’s death as well. So we have to make sure we use it the right way.”

Their programs benefit students through creative empowerment and can also help them overcome personal obstacles.

“They are empowered with voice a lot of times, but we’ve had many keiki who we worked with that struggle with a speech impediment or stage fright or all those types of things,” said Maile. “Through music, through Hip Hop, through poetry, we’re creating a really safe space, which is huge for us.”

Maile and Hano hope to release their next album before Christmas, available on YouTube, Spotify, Apple Music and other platforms. They are also working to bring more performance workshops to Molokaʻi in collaboration with the Honolulu Museum of Art. But overall, they are just continuing to aloha ʻāina on Molokaʻi.

“Our dream is to really restore the whole ahupuaʻa and that’s going to take a lot of grants, a lot of work and a lot of partnerships,” said Maile. “Yeah…big, big dreams. And in the meantime, we’ll make lots of art about it.”

For more information on the Naehu ʻOhana’s music and conservation work visit www.Huiokuapa.org.

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The mokupuni of Kauaʻi holds many beautiful treasures preserved by the hardworking Kānaka on the island and the renowned loʻi paʻakai of Hanapēpē, Kauaʻi, is just one shining example of what can happen when Kānaka come together to perpetuate traditional cultural practices.

The loʻi paʻakai ʻo ʻukulā ma Hanapēpē is one of the few remaining sites for traditional Hawaiian salt farming. In this wahi pana (storied place), Hui Hana Paʻakai o Hanapēpē (Hui) is perpetuating traditional salt-making practices and passing this ʻike down to upcoming generations.

However, this work comes with its own set of challenges.

In close proximity to the loʻi paʻakai sits the Port Allen Airport, also known as Burns Field. Once the first emergency landing strip on Kauaʻi, the airfield is now utilized by scenic helicopter tour operators. Currently operating on the airstrip are Smoky Mountain Helicopters (dba Maverick Helicopters) and D & J Air Adventures (dba Sky Dive Kauaʻi) both of whom have previously caused issues for the salt-makers.

In August 2019, the Hui reached out to the U.S. Environmental Protection Agency and the State of Hawaiʻi Department of Health for the immediate investigation of an unpermitted restroom facility utilizing a cesspool – which generated concerns about contaminants leaching into the soil and affecting the salt beds.

Later that year, the County of Kauaʻi Planning Department sent a Notice of Violation and Order to Pay Fines to Smoky Mountain Helicopters and D & K Air Adventures.

As of 2023, the cesspool is not in use, but the salt-makers are looking much further to preserve the loʻi paʻakai. “To my knowledge, they’re not using the cesspool anymore. But being very honest, our goal was really to shut them down and so we were trying to block them wherever we could,” said Malia Nobrega-Olivera, an alakaʻi for the salt-makers of Hanapēpē.

Today, the airfield has limited activity which has been a huge win for the Hui.

“During COVID, a lot of their operations really slowed down which, from our point of view, was a blessing,” said Nobrega-Olivera. “It’s still a high priority for us that the airstrip be not used [at all].”

Although the pandemic slowed helicopter operations, it also brought a significant number of houseless people into the Hanapēpē area. And many of them created makeshift bathrooms close to the loʻi paʻakai during the stay-at-home order.

The Hui is currently working with the county to move the nearby camping area further from the salt-making areas as the same issue is prevalent with campers in the area. With the houseless population in Hanapēpē decreasing, the Hui hopes that moving the campsite will help stop the mistreatment of the loʻi paʻakai by visitors.

“When they’re right there, nearest to the salt-making area, and they get lazy, instead of walking to the bathroom, which is maybe 50 steps away, they just end up making shishi or whatever right in the area,” said Nobrega-Olivera.

Another major issue the Hui faces is flooding due to both rainfall and high tides. By working with the county, they were able to place boulders to block vehicular traffic on the beach area.

“That has really been a big one of our best solutions yet because we can see the natural restoration of the sand dunes and are also seeing some of the mea kanu (plants) coming back through the sand dunes,” Nobrega-Olivera said.

“ʻĀkulikuli kai is coming back and with these plants naturally growing through the sand dunes it helps to hold the sand in place and then, without the vehicles driving on the sand, it mitigates the overtopping of waves.”

As a result of recent heavy rainfall on Kauaʻi, salt-making was halted during May because the saltpans were flooded.

“It’s slowly starting to dry up. So we’re hoping maybe in about a month the place will be really dry and hopefully the weather will stay hot,” said Nobrega-Olivera.

As the Hui looks to the future, they are in talks with the Department of Land and Natural Resources (DLNR) to possibly take on the lease of a nearby 10-acre abandoned property.

“I don’t know if that’s the best thing for us because it’s not like we have the time to be doing all of that too,” Nobrega-Olivera said. “But when they [DLNR] asked us what we would do on that piece of property, I told them that it was more for creating a buffer zone around our area so that we can prevent development in the area. And if we can implement other mitigation efforts, maybe we can slow down erosion.”

To learn more about this ongoing issue go to: https://kawaiola.news/moomeheu/protecting-the-paakai-traditions-of-hanapp-kauai/.

The post Protecting Loʻi Paʻakai in Hanapēpē appeared first on Ka Wai Ola.

The Maui County Comprehensive Affordable Housing Plan, presented by Hawaiian Community Assets (HCA), identifies specific projects and strategies needed to create 5,000 new affordable homes across Maui County within five years.

“The goal is really to have 5,000 homes in construction in the next five years and we’re at 675 [homes],” said Jeff Gilbreath, who served as the principal for the plan created by HCA.

Development of affordable housing in Maui County has been faced with many roadblocks that put the initial plan behind schedule. Gilbreath believes that at this rate the 5,000 units will be completed in 15 to 20 years.

The lack of Maui County staff has been one of the setbacks.

“One of the major reasons for delays, and [the reason] we don’t have as many homes in construction as planned, is because the county’s Department of Housing and Human Concerns has a severe lack of capacity,” said Gilbreath.

Hawaiʻi County and Maui County have roughly the same population size, but Hawaiʻi County has 51 staff members in their Office of Housing and Community Development while Maui County had just eight at the time of the plan’s release.

An increase in staff would allow the county to be proactive on housing development and lead to an increase in housing development, enabling more projects to be reviewed and processed at a time. At the current pace, the county will likely have 1,600 homes in construction within the five-year period.

“I can’t underscore enough how important the county’s capacity is in order to be proactive on development especially when the county has its own lands that can move an estimated 1,300 homes into production. The county needs the staff to help make this happen,” Gilbreath said.

In addition to understaffing in Maui County’s housing department, there have been other obstacles to building homes that local residents can afford. One example is a project in Waiehu that has faced opposition from some in the community regarding the project’s planned location.

Some believe the land selected for the planned Hale Mahaʻolu Ke Kahua Affordable Housing Community (Ke Kahua) cannot support an influx of new residents due to drainage and traffic concerns. The project is also challenged by a land dispute and concern for iwi kūpuna in the area.

Those opposing Ke Kahua say that the parcel is the property of the heirs of Pehuino through Land Commission Award 3386. However, representatives of nonprofit landowner, Maui Economic Opportunity (MEO), say that the parcel is a portion of Royal Patent Grant 3343 to Claus Spreckles. The issue was litigated extensively in state court and judgment was rendered last year in favor of MEO. Yet, the opposition persists.

House Maui Initiative Director Keoni Kuoha sees problems with the current housing system. “As a Hawaiian, I don’t want to have to choose between supporting traditional land claims or supporting a rental project that’s creating 120 homes for local residents earning 60% of the area median income and below. But that’s the way our system is set up right now.”

“We believe there’s a way to develop and build housing that is affordable for families while making sure that we don’t damage cultural and environmental resources or compromise public health and safety,” said Gilbreath referencing the housing plan’s proposed by-right development process that would streamline approvals for projects that meet standards for cultural and environmental preservation, public health and safety.

The Ke Kahua project is currently awaiting a decision from Department of Housing and Human Concerns Director Lori Tsuhako as to whether or not the project can move forward. Kuoha is hopeful Tsuhako approves the project while finding ways to address cultural concerns.

Kuoha believes that the county government needs to take the lead in engaging communities and determining where and what housing is needed.

“Our communities must have a say in their own future and the built environment is a big part of that future,” said Kuoha. “Our community members are going to bring up their concerns and we should have forums and more efficient ways for both community issues and community vision to be expressed.”

Despite the controversies and challenges the housing plan faces, there is no doubt that the need for affordable housing is as critical in Maui County as it is elsewhere in Hawaiʻi. But addressing the problem requires collaboration.

“Everyone says we need affordable housing, and it feels like we all agree on that level,” said Kuoha. “But when we actually get to the details of how to produce a better system for affordable housing, we need to be more collaborative and creative and get past our disagreements.”

While the county is behind on the plan to create 5,000 housing opportunities for local families in five years, the effort is creating hope for local families that they can continue to live here in the islands.

“Hawaiian Community Assets is preparing hundreds of families to become qualified for mortgage financing and affordable rentals so they can move into homes when they become available. This work is more about building hope than it is about building homes. HCA continues to hear how hard it is to survive, stay here and raise families,” said Gilbreath.

“But what we know in the community development nonprofit world is that we’re so close – we’re on the cusp of major progress on this issue. We need greater capacity at the county to deliver on housing and we need to work together to establish standard rules of the road on development that values cultural and environmental resources, public health and safety as well as getting our people in homes.”

Contact the Maui Financial Opportunity Center to learn how you can navigate the path to homeownership or rental housing. Call 808.727.8870 or visit www.HawaiianCommunity.net for more information.

The post Building Homes and Hope in Maui County appeared first on Ka Wai Ola.

Many Hawaiʻi influencers seen on Instagram and TikTok gain popularity for sharing a romanticized view of the Hawaiian lifestyle. But some creators are stepping away from this trend, choosing to educate rather than misappropriate.

Social media influencers Melemaikalani Makalapua McAllister and Kamaka Dias, use their respective platforms on TikTok and Instagram to educate on all things Hawaiian, from language to culture to history.

“I started creating content simply because I saw so many people asking questions about Hawaiian traditions and culture,” said McAllister. “I feel like creating more outlets and having more creators who educate could really help people.”

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TikTok star Melemaikalani McAllister has more than one million followers. Born and raised in California, and the daughter of a kumu hula, McAllister has created videos on a myriad of Hawaiʻi-related topics that range from ethical tourism, hula and food sovereignty, to traditional views on menstruation. Such is her influence that she has received messages from people who canceled vacations to Hawaiʻi after learning about how tourism has negatively affected Native Hawaiians and Hawaiʻi’s natural environment. McAllister is currently working on a Netflix documentary.

Born and raised in California, McAllister is currently training to become an esthetician and will be graduating in Fall 2023. She is one of the biggest Native Hawaiian influencers with over a million followers on TikTok.

“I never got the experience of being able to live in the islands, so everything I know I’ve been taught by my mom. She’s a kumu hula and she’s done the best with what she knows,” McAllister said. “If she doesn’t know something, I usually [reach out to] other kumu or find workshops by other people.”

She began creating content during the COVID-19 pandemic and since then has been educating her audience on ethical tourism, Hawaiian history and more.

“Personally, I think it’s really easy to grow on TikTok rather than any other platform,” said McAllister. “So that’s kind of what got me started making videos.”

Being a child of the diaspora, McAllister says that creating educational content online has made her feel closer to the culture – but it has also made her more vulnerable.

“I’ve always had this feeling that I’m not Hawaiian enough because I wasn’t born there, wasn’t raised there,” said McAllister. “So that kind of makes me scared on social media because I know there’s always gonna be things I don’t know. And with an audience as large as mine, I feel like people expect me to know everything – and I don’t.”

One of her most recent videos on TikTok and Instagram shared about how, in ancient Hawaiʻi, menstruation was seen as sacred – as compared to how Western culture tends to view it in a negative way. McAllister said a big reason why she educates on topics like menstruation is to reverse the colonized mindset that women are unclean.

“I was like wow, people are actually interested in learning more about the culture and the traditions, so I started talking about it more,” McAllister said.

McAllister also has videos on food independence, hula, ʻori Tahiti (Tahitian dance) and different moʻolelo. Many of these videos gain “likes” ranging from 80,000 to over one million.

While McAllister’s audience tends to be comprised more of foreigners interested in learning about Hawaiʻi, Kamaka Dias of “The Hawaiiverse Podcast” caters to a decidedly local audience. As of mid-March, there were 30.1K followers on the podcast’s Instagram.

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Kamaka Dias’ The Hawaiiverse podcasts were created during the pandemic to support local businesses and “shine a light” on local people by sharing their stories. His weekly podcasts (and guests) tackle a variety of tough subjects like sovereignty, decolonization and Hawaiʻi’s housing crisis. Originally from Hilo, Dias attended Hawaiian language immersion schools, graduated from UH Mānoa with a degree in communications and spent three years in Madagascar with the Peace Corps. His podcasts can be accessed on Instagram, Spotify, YouTube and Apple. On Instagram alone, he has more than 30,000 followers.

Born and raised in Hilo, Hawaiʻi, Dias attended Hawaiian immersion schools for the majority of his life. He graduated from UH Mānoa with a degree in communications, joined the Peace Corps and spent three years in Madagascar teaching English in a rural community. Upon his return to Hawaiʻi, he paid off his student loans by doing odd jobs.

Created during the COVID-19 pandemic by Dias and his business partners, The Hawaiiverse was initially a business that focused on supporting other local businesses through its coupon directory and e-commerce store. They started with 40 businesses in Hilo in 2020 and now have some 1,000 businesses across the islands on their directory. Dias says their coupon directory is like a local version of Groupon and the e-commerce store is similar to the format of Amazon or Etsy. They eventually branched out to create The Hawaiiverse Podcast in order to push people toward their business.

“There was really no direction when we started and I guess because of my background with Hawaiian immersion, the conversations kind of gravitated towards culture,” said Dias. “We cover all kinds of topics, but the main ones are the ones people relate to – local Hawaiian culture.”

The podcast is currently on its 65th episode as this article is being written. Dias has interviewed a variety of guests like influencer Bretman Rock, Big Wave Surfer Mark Healey, MMA Fighter Yancy Medeiros and more.

For Dias, creating connections and talking story with the different podcast guests has always come naturally to him because of how he was raised.

“I don’t really know anything else but aloha,” said Dias. “It’s because of my upbringing in school and from my parents.”

Dias focuses on using his platform to show the authentic Hawaiʻi and not the romanticized version of Hawaiʻi that is all over social media today.

“I always felt there was a lack of influencers that shared the real Hawaiʻi,” Dias said. “I just felt like, if I could kind of fill that gap and be that Hawaiian influencer, other people will follow in those footsteps and create content that’s more culturally appropriate.”

While the podcast could have gone in a different direction, Dias has opted to focus on culture and unveiling the true Hawaiʻi that most creators won’t show or don’t truly know themselves.

In one of the earlier episodes of the podcast (#16), Dias spoke with another education-focused kanaka influencer, Maluhia States, who is also a kumu ʻōlelo Hawaiʻi. They talked about tips on learning the Hawaiian language and how learning the language can lead to a new understanding of life around you.

Dias interviews a wide range of guests, but each new conversation is always as insightful as the last. He curates each question for his current guest, but really just wants everyone who joins him to feel free to speak their mind.

“I want to connect people, to build these connections,” said Dias. “To provide a safe space where people can have tough conversations without being judged, or to just be themselves without being judged.”

In some of their conversations, Dias and his guests dive deep into weighty issues such as sovereignty and decolonization. While these are heavy topics, he creates a safe space for these conversations to be shared.

In episode #64 of the podcast, Dias sits down with politician and community organizer Kaniela Ing and talks about the ongoing housing crisis in Hawaiʻi. They touch upon their ideas of how to decolonize your mindset and the differences between American culture and Hawaiian culture.

From podcast to TikTok, Dias and McAllister have both contributed to a cause bigger than themselves, bringing awareness and shining a light on Hawaiians and Hawaiʻi.

Although Dias and McAllister have very different audience demographics, both provide a safe space for questions and discussions about Hawaiʻi.

Large audiences always come with online “trolls,” something both Dias and McAllister both try to ignore on their social media accounts in order to avoid being drained by their negativity.

“Sometimes, when something negative is said about one of my guests, I feel protective of them,” Dias said. “Like a mom or dad kind of defensive.”

While Dias feels like a parent when it comes to defending his guests, a “mom defense” is even more real for McAllister – although she doesn’t get too bothered by hate comments anymore, her mother still does.

“I’ll see [my mom] trying to go back and forth with the people in my comments and that sucks because I know where she’s coming from, but she’s gonna get really drained doing that,” said McAllister. “Otherwise, she’s proud of the platform I’ve created.”

Their impact has not gone unseen. With their large audiences, both Dias and McAllister can reach and educate thousands of people with the click of a button. And both influencers have seen first-hand the effect that their content has on people.

“I get messages all the time, people thanking me for just doing the podcast and for giving people a platform to voice their opinions,” said Dias.

“I’ve gotten a lot of DM’s [direct messages] from people who have said, ‘I canceled my trip because of you and I’m learning more about the effects of tourism on Hawaiʻi’ or I’ve had teachers say that they’ve used my videos to educate kids in their countries,” McAllister said.

These two influencers have only just started; both have plans to take their work to the next level.

McAllister said to keep an eye out for a future documentary she’s currently working on with Apple TV and HBO that will likely focus on Hawaiʻi’s affordable housing crisis. She hopes the completed documentary will be picked up by Netflix.

“I hope a lot of people will watch it because it’s going to include a bunch of good info,” McAllister said.

Dias is looking forward to creating an independent space where all guests can speak their minds with no repercussions – and possibly even turning the podcast into a talk show.

“If we continue to grow and reach more people, hopefully, we will help out and make a difference in some way,” said Dias.

If you’re interested in viewing their content, follow @Melemaikalanimakalapua on TikTok and @TheHawaiiversePodcast and @KamakaDias8 on Instagram.

The Hawaiiverse Podcast is also available on Spotify, YouTube and Apple Podcasts.

The post Influencers Who Educate – Not Misappropriate appeared first on Ka Wai Ola.

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For the first time in 20 years, there is a large-scale exhibit of Kānaka ʻŌiwi-made art at the University of Hawaiʻi at Mānoa Art Gallery. The ʻAi Pōhaku, Stone Eaters exhibit features about 40 kānaka artists and is open Wednesdays to Sundays from 12:00 p.m. to 4:00 p.m. through March 26.

The exhibition includes the art gallery, bamboo grove and rooftop courtyard, and showcases different installations of all mediums from Hawaiian artists. Some artists utilize printing methods and others use literal plants as their art. There is so much to see and at every turn there is something new for viewers to appreciate.

This exhibit has been in the works since 2020 with the purpose of creating a space for hard discussions revolving around Native Hawaiian representation and displacement in Hawaiʻi, specifically in the UH system.

“The University of Hawaiʻi often talks about itself as a model Indigenous-serving institution, or a place of native Hawaiian learning,” said Curator Drew Kahuʻāina Broderick. “For us in the arts, like we don’t really see that; you don’t see it and we definitely don’t feel it.”

Co-curators Broderick, Noelle M. K. Y. Kahanu and Josh Tengan reached out to Kānaka Maoli artists they personally knew through family friends, recommendations, mentorships or the university in order to compile the list of artists featured. They handled all of the grants, programming, fundraising, labor and outreach in order to create this space to highlight the challenges and inequities kānaka face.

The name ʻAi Pōhaku, Stone Eaters is inspired by the mele ʻAi Pōhaku or as we know it today, Kaulana Nā Pua by Ellen Kekoaohiwaikalani Wright Prendergast. The song is symbolic of kānaka resistance against the post-overthrow “Provisional Government” and the willingness of the people to “eat stones” rather than to surrender.

“There is a line in the song ʻua lawa mākou i ka pōhaku, i ka ʻai kamahaʻo o ka ʻāina,’ [meaning] ‘we’re satisfied with the stones, the wondrous food of the land,’” said Tengan. “So the work at the center, or the piko, is really a literal interpretation of stone eating,“

The exhibit incorporates multiple areas; the piko is the living room space in which artist discussions are held every Sunday at 2:00 p.m. This space is meant for tackling hard topics, with artwork by Ipō and Kūnani Nihipali in the center symbolizing the healing process.

“Sort of like concentric circles that expand out from the center of the room,” Broderick said. “It helps us to connect the dots and talk more about it when we get there.”

One notable piece of artwork is on the first level of the exhibit entitled “E Hoʻokanaka!” by Kapulani Landgraf. This installation is a first iteration of the work and features photographs and quotes by kānaka from across all islands.

“I thought about how we remember and honor our Hawaiian leaders who sacrificed so much for our lāhui, and that is where the idea came from,” said artist Kapulani Landgraf.

Landgraf was invited by Broderick to participate in ʻAi Pōhaku, Stone Eaters. She spent countless hours of research in order to create this installation, including asking people for quotes from ʻŌiwi leaders, past and present, who inspired them with what they’ve done for the lāhui.

“This is a huge project, and in completing this installation for ʻAi Pōhaku, I knew I was missing many ʻŌiwi leaders and their important words that will not just inspire our lāhui now, but our future generations,” Landgraf said.

Landgraf’s installation is just one of the 46 powerful artworks at the exhibition for the community to come in, view, and have hard conversations centered on them. These kinds of conversations are vital to securing a better future with more kānaka representation on UH campuses.

“The hope is that by activating the system and the spaces that that system has to support clinical art, we can have a larger conversation about the lack of support,” Broderick said. “So in demonstrating our presence, we can talk about the absence, the exclusion, and the neglect that has taken place over the past 20 plus years,”

The curators hold weekly tours at 1:00 p.m. on Fridays and Sundays and all programming is free to the public without reservation. Parking on the UH Mānoa campus is free on Sundays.

For more information visit the exhibit’s website https://hawaii.edu/art/ai-pohaku/.

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