2nd Annual Lu‘au Fundraiser

Sold Out

Kalaeloa Heritage and Legacy Foundation Announces 2nd Annual Lu‘au and Fundraiser

HONOLULU – June 8, 2016 The Kalaeloa Heritage and Legacy Foundation (KHLF), whose mission is to protect the historical sites and mo‘olelo of Kalaeloa announced today that it will be holding its 2nd annual lu‘au and fundraiser at 10:00 am on Saturday, July 23, 2016 at the Kalaeloa Heritage Park (KHP) in Kalaeloa.

The KHP is a 77-acre heritage park containing over 177 cultural sites and resources unique to the ‘Ewa plain. Among the rich cultural resources are traditional habitation sites, ceremonial sites, agricultural sites, and other structures. There are also remnants of a unique pre-historic trail with upright coral stones used to guide travelers in traditional times.

The KHLF completed a conceptual plan for the park which includes building a cultural center and supporting facilities, expanding the educational tours, and providing cultural workshops and performances.

The KHP is supported by a volunteer board and a number of community volunteers who assist in maintaining and preserving the rich resources at the park. The KHP lu‘au and fundraiser supports the preservation work, restoration activities, planting of native vegetation, and educational tours.

For those interested in getting involved, the KHLF hosts volunteer work days on the last Saturday of each month. To support the KHLF or for more information about the KHP, please go to www.khlfoundation.org, or e-mail info@khlfoundation.org.

2016FlyerUpdate

Jan Becket – Cultural Sites Photographer

Jan

In the mid 1990s I first got permission to enter Kalaeloa, which at that time was still Barberʻs Point Naval Air Station — totally off-limits to the public. Joe Singer and I were working on a book, Pana Oʻahu, which was published by UH Press in 1999. In the mid 1990s, we had visited and photographed heiau all over Oʻahu, but not many inʻEwa. It was a huge blank space for us, yet to be filled in.

We gave the Navy a letter from UH Press, went in for a briefing and learned that we should not smoke in the pathway of planes taking off from the runways. After that, we visited Kalaeloa many, many times over a period of three years. These were the days before affordable GPS systems, and in any case, we were offered no coordinates. We were also handicapped by a lack of accurate maps, but with a few vague maps we were able to locate complexes of sites, such as those at 1752 (a major heiau complex yet to be cleared at the Heritage Park) and 1753 (the complex that has been cleared for Heritage Park tours).

It would be a huge mistake to assume that these are the only significant sites at Kalaeloa. Complexes lie scattered all throughout the former base. Some are adjacent to developed areas and others lie far away, inaccessible except by foot. I hope that the 1736 complex across Coral Sea road from the Heritage Park can be added to the Heritage Park lease at some point — its platforms and walls are every bit as extensive and magical as those in 1753, and the complex includes a beautiful ahu (one of the images included in Pana Oʻahu). Many others lie outside of 1753, in smaller kīpuka all throughout the base. Some of those, unfortunately, have been recently destroyed because they were not adequately protected by the organizations that received the land from the Navy when the base closed.

Kalaeloa as we understand it now is an artificial construct, based on modern land ownership boundaries. In reality, the band of shoreline sites at Kalaeloa extended south to include those at Oneʻula (Hau Bush), and probably extended much further south, in what are now residential areas. (A large heiau and other sites still remain on the fenced-in property of the Tsunami Early Warning Center.) The shoreline sites at Oneʻala were as well preserved as those at the Heritage Park, but because they were adjacent to the ocean, they included many, many fishing shrines — all constructed of limestone, just like those at Kalaeloa. The shrines were made of of small platforms with single prominent upright stones, although there was also one large structure that I believe was a heiau. To minimize its importance and facilitate the ʻEwa Marina development, the archaeologist who did the work at Oneʻula described it and almost all of the other structures as “temporary habitations.” All of the fishing shrines at Oneʻula are gone now, with one or two exceptions on the periphery of the lagoon footprint. Fortunately, I was able to access the property and photograph many of them before were bulldozed in the late 1990s.

What I remember most vividly of all of the hundreds of vanished sites at Oneʻula, besides the fishing shrines, were the dozens of filled-in sinkholes. Those of us protesting the destruction of the sites asked the State Historic Preservation Office to suspend the bulldozing until we could all be sure they were not burials, but the request was denied with the comment that burials are never found in sinkholes. I do not believe they were even included in the archaeological report. Ironically, in an area just across the fence from Oneʻula, at Kalaeloa, the same archaeologist, working a few years later under a separate contract for the Navy, opened up a half-dozen filled-in sinkholes and found burials in every one of them.

Joe Singer and I did not locate most of these places on our own. We initially stumbled across a few of them, but it was an ʻEwa Beach bottle collector, Jeff Alexander, who brought us to most of these places — the site complexes at Oneʻula and those at Kalaeloa. Jeff is most interested in 20th century soda bottles with imprinted labels. Those were to be found all over Kalaeloa, especially at the borders of old roads. Jeff often brought me in with him to accompany him on bottle hunts, which for me were site complex hunts. It was a symbiotic relationship that worked very well for a few years. Jeff has a great talent for orienting himself in the dense kiawe forests, and could easily walk back to a place we had visited months earlier. (I often get hopelessly lost.) Jeff and his wife Karen now live in North Kohala.

Servicemen in WWII — of course — did not drink just soda. Jeff showed me a couple of places in the kiawe forest that must have been the locations for major beer parties. At those spots lie hundreds of brown beer bottles, all with the dates of “42” or “43” or “44” on the bottom. Now I wish I had photographed them. I hope that the bottles remain untouched at those places, which offer unique glimpses into WWII life at Kalaeloa. At a couple of those spots are also deteriorated tin garbage containers with superstructures of coiled copper pipes: stills used for producing more potent drinks than beer.

Jan Becket is a retired photography teacher from Kamehameha Schools, Kapālama and a member of the ʻAhahui Siwila Hawaiʻi O Kapolei. He continues to visit and document Hawaiian cultural sites in ʻEwa and elsewhere on ʻOahu and Hawaiʻi Island. His website: www.janbecket.net.

00_7 1752 upright

1752: Located at the large heiau complex of 1752, adjacent to a low enclosure. Note the flat slab with a hole in the center at the base of the upright stone – the pairing of Wakea / Papa (male / female) stones is a common feature of some religious sites.

98_6 1736

1736: An upright pōhaku stands outside the large enclosure at 1736. The enclosure encompasses at least an acre.

One'ula3215-T3

3215-T3: One of the numerous fishing shrines destroyed at Oneʻula.

Kumu Hula ‘Iwalani Wahinekapu Walsh Tseu

Iwalani Photo

Kumu Hula ‘Iwalani Wahinekapu Walsh Tseu, a cultural pioneer and fashion icon, is the Executive Director of Hui ‘Iwa Academy and owner of ‘Iwalani School of Dance in Japan and in South Korea. She also just recently opened up 2 halau one in Okinawa and the other in China with her daughter Aureana serving as hula teacher. ‘Iwalani is a highly respected cultural specialist and advisor and has traveled to 35 countries perpetuating and promoting the Hawaiian arts through cultural music, dance, and expression. There are 3 bronze statue at Aloha Tower Marketplace acknowledging the contributions ‘Iwalani made as a hula dancer while she was only in her early 20s. She has been a judge for prestigious competitions including the Queen Liliuokalani Keiki Hula Competition, Ia ‘Oe Ka La Hula Festival, E Ho’i Mai I Ka Piko Hula (World Invitational Hula Festival), the George Naope Hula Festival & Competition, and the King Kamehameha Hula Festival just to name a few. Having been in the entertainment industry for over 40 years as one of Hawaii’s premier entertainers, director, and producer, she is one of Hawaii’s most sought out talent and interview coaches, especially for those competing for Miss Hawaii. She has been featured in many magazines, commercials, and the inside cover story for her continued community work through the Iwalani Foundation and the Pu’uhonua o Honouliuli, a healing sanctuary for breast cancer. In addition to all these accomplishments Iwalani worked as a Hawaiian Studies Teacher for the Department of Education for 15 years in both Central and Leeward District. She continues to serve today as an excellent keynote speaker for many organizations and functions. She is widely known for her innovative, daring, and creative ideas. Kumu ‘Iwalani provides charitable services as a mentor and life coach while encouraging Hawaii’s youth and young adults with her programs focusing on inner beauty, strength, and development through teachings of Hawaiian values, protocol, and culture.

Iwalani also served last year as our Host and MC at our First Annual Kalaeloa Heritage Park Fundraiser Luau. She played such a big part in the success of our luau that she has been asked to return this year. This is the Iwalani we all want you to meet. A gracious lady of many talents. She will be serving as our host and MC of our Second Annual Kalaeloa Heritage Park Luau Fundraiser. Hope you get to bring your family and friends to see Iwalani on Saturday, July 23 at the Kalaeloa Heritage Park.

Article by S. Kane

Moke Boy

MokeBoy

Moses Kamealoha III, better known as Moke Boy, was born and raised on Oahu, Hawai’i’s Leeward Coast of Wai’anae to parents Moke Jr. and Dorene Nahina. He had the privilege of listening to both sets of grandparents kanikapila while he was growing up. Getting exposure to both gospel songs in the church and hawaiian and country songs elsewhere. His father had a group called “Polynesian Sons” who played frequently at the Nanakuli Inn. Dad also accompanied Moke Boy on many occasions with his style of Ki Ho’alu as well.

Radio Emcee, Frank B. Shaner started the 1st Annual Falsetto Competition at Hawaii Festivals in 1995. It was the first of many, judges at the time included Tony Conjugacion, Dennis Pavao, Haunani Apoliona, Kawai Cockett, and more. Moke won with an original composition entitled “Pehea ‘Oe, E Kalapana,” a song duly noted and written for the Keli’iho’omalu Ohana in Kaimu on the Big Island.

Other well-known songs that are highly requested are “Makanalei,” a song written for his daughter. “Grandpa and God,” a song written for his grandpa, Moke Sr. and we can’t forget the catchy tune “Hawaiian Kickboxer,” a song that is currently being used to accompany MMA fighter Jerome-Max “Blessed” Holloway as he makes his way to the octagon to compete.

Some of the notable moments that stands out is when Aunty Genoa Keawe called him up on stage to sing “Alika” with her and during a Celebration of Life in Kaimu, Kalapana for Aunty G-Girl Keli’iho’omalu, he was accompanied by the original Hui Ohana.

Moke is also the Senior Pastor of Pu’uwai ‘O Iesu Outreach and Ministry(or P.O.I. Ministries). P.O.I. started on Black Rocks Beach on March 2014. “We took our trailer, set up a tent, generator, lights and sound system. We also have a tent for our Keiki,” says Moke. “After the message, we kaukau, give out clothes, tarps, and blankets.” P.O.I. has partner churches/ministries on Moloka’i and Kaua’i. Big Island and Maui is also in the works.

Mahalo Ke Akua, Mahalo Iesu, Mahalo Uhane Hemolele…Amene!”

Moke Boy will be entertaining at the 2nd Annual Kalaeloa Heritage Park Luau Fundraiser on Saturday, July 23rd and will be looking forward to meeting everyone.

Article by Kim Kamealoha

Peter Moon & Donald Kaulia

Peter Moon Don Kaulia Photo

Although Peter Moon Jr. is the son of the legendary Peter Moon of the Sunday Manoa and the Peter Moon Band he is already making a name for himself. He has performed with such notable entertainers as Cyril Pahinui. Interesting though both Peter Moon Jr. and Cyril Pahinui are sons of Hawaiian music icons. Cyril the son of Gabby “Pops” Pahinui and Peter the son of Peter Moon.

Donald Kaulia’s name is not new to us who attended the 1st Annual Kalaeloa Heritage Park Luau Fundraiser last year. Donald also performed with Cyril in several slack key festivals on Hawaii Island. Donald is a member of the Kohala Chapter of the Royal Order of Kamehameha where he facilitated slack key workshops at Pu’uKohola Heiau National Park. He participates in Kapuaiwa/’Ewa Chapter and Hawaii/Honolulu Chapter of the Royal Order of Kamehameha cultural functions. Peter and Donald perform together at the Ala Wai Golf Course Fat Boy Bistros on Saturdays 6-9pm. Peter Moon and Mike Kaawa perform at the Outrigger Reef Waikiki Resort Kanikapila Grille on Saturdays from 3 to 5 pm. Peter performs every Wednesdays at the Kani Ka Pila Grille with Mike Kaawa.

You will get to enjoy the music of Peter Moon and Donald Kaulia at our 2nd Annual Kalaeloa Heritage Park Luau Fundraiser on Saturday, July 23 at the Kalaeloa Heritage Park.

Donald Kaulia’s day job is as a Project Manager for Grace Pacific. Grace Pacific is one of our large donor/sponsors for our Annual Kalaeloa Heritage Park Luau Fundraiser.

Article by S. Kane

Kumu Hula Tatiana Tseu Fox & Halau Lei O Ka ‘Iwa Ha’a I Ka Lani

Kumu Fox

Tatiana Tseu Fox, a Kamehameha Schools – Kapālama 2000 alumnus, was born and raised in Mililani, Waipi‘o Uka, ‘Ewa, O‘ahu. She is the middle daughter of Leighton Tseu & ‘Iwalani Tseu, who are both very culturally active in the local community. Tatiana is very passionate about her culture and is equally passionate about her education. The mantra in her family has always been, “education first.” She whole-heartedly believes in the value of education and the leverage that the western palapala affords a kanaka… it will often break down the invisible walls that muffle native, indigenous voices. As a result, she has an Associates degree from Leeward Community College, a Bachelor of Arts degree in Hawaiian Studies with a minor in Sociology, a Master of Education degree in Curriculum Studies with a focus on Middle Level Education, and a 2nd Master of Education degree in Educational Foundations with an emphasis on Private School Leadership. She received the latter three degrees from the University of Hawai‘i-Mānoa. She is currently an administrator at KS – Kapālama Middle School and KS – Kapālama Summer School.

In 2012, Hui ‘Iwa Academy (HIA) – Nā Lei O Ka ‘Iwa Ha‘a I Ka Lani was born. This performing arts academy is a joint effort with Tatiana’s mother, ‘Iwalani Tseu, and younger sister, Aureana Tseu. We are fortunate to have all our classes meet weekly on our ‘āina kūpuna in Honouliuli, ‘Ewa, O‘ahu. Hula is the foundation of HIA, and other performing arts practices from Polynesia, Asia, Europe and the Americas are also explored. It is our hope to inspire and foster artistic development and expression grounded in cultural values and practices in perpetuation and promotion of cultural sustainability. We are a cultural place of learning inspired by tradition and ignited by innovation. Our mission is to provide a safe environment in which all students are encouraged to excel in the performing arts and their overall well-being.

While HIA was established in 2012, it did not open its doors until 2015. Within those 3 years, Tatiana had 2 more keiki, which brought her household number up to 7. She, her husband – Wally Fox, and their 5 keiki are proud residents of the Hawaiian Homestead Community in Kānehili, Honouliuli, ‘Ewa, O‘ahu. As a wife and a mother, she always makes it a point to put her family first in all that she does and is devoted in seeing to it that her children are, like her, strongly attached to their strong Hawaiian roots.

Rodney Bejer & Friends

IMG_0642

Rodney Bejer has been entertaining in the music industry for 26 years as both a songwriter and a musician. His music ranges from contemporary to traditional Hawaiian. The first group that Rodney played with was Island Rhythms whose members were all classmates from Leilehua High School in Wahiawa. They recorded 3 albums and the most notable songs from those albums were “Darcie’s Lullaby”and “Wahiawa is Calling”. Following Island Rhythms Rodney played with Ka’ala Boys who also recorded 3 albums. The group that Rodney currently plays with is the Kaimana Band and they will be recording their first CD in August.

In addition to performing with these various groups he has performed with Kahiapo Talent. He has entertained at Waimea Valley Park, for the Hawaii Visitor’s Bureau, various Hula Halau such as Hula Halau Pukaikapuaokalani Kawailiula, Hula Halau ‘O Hokulani Olapakuikalai ‘O Hokuaulani, and partnering with various local artists on stage or in the studio.

If entertaining here in Hawaii is not enough he has traveled to the Mainland continental U.S., Japan, China, Korea, Guam, Tahiti and Canada on numerous occasions. He is currently performing on Wednesdays at the Royal Hawaiian Hotel with Eric Lee at the Maitai Bar. Thursdays Rodney is at the Halekulani Hotel at the House Without a Key performing with Eric Lee and Mele Apana. Fridays, Saturdays and Sundays Rodney is at the Princess Kaiulani Hotel as the Kaimana Band with John Ornellas and Eric Folk.

This is only his night job. During the day Rodney works with his wife Jamie, our daughter, at Aloha Termite in Wahiawa. Yes……… he is our son-in-law and we are all proud of them both.

Rodney and Friends will be entertaining at our 2nd Annual Kalaeloa Heritage Park Luau on July 23.

Article by Rodney Bejer

 

Linda Kane – KHP Volunteer Docent

Linda photo

I have known Linda for approximately 48 years. I met Linda while still in the Navy just prior to getting out in 1970. My brother Hanz, already out of the Navy for 3 years, had befriended this hippy girl from California. At some point, I cannot recall when, they were living in an interesting, old, falling apart house on Elm Street behind the old HYCF, Hawaii Youth Correctional Facility. It seemed like a transit group of friends from different places to include some surfers from Kauai, Kaleo, Hud, Manny and Reuben. I struggle with most their names and their faces seem a little fuzzy with the passage of time. I can however clearly see them all sitting on the front porch stairs. In this vague picture in my mind is also my youngest brother, Langsdorff von Engleheart. Yes, that is his name. That is a picture of my brother Hanz, Linda and my brother Langsdorff that is imbedded in my memory forever.

Linda was a student at the University of Hawaii Manoa and eventually graduated with a degree in Art and Education. Linda and Hanz eventually got married and had two beautiful daughters Malia and Kanoe. They are grandparents to Malia’s two daughters Makana and Malanai who actually grew up in Aotearoa and all speak fluent Maori and Hawaiian. Linda’s newest grand-daughter from their daughter Kanoe is Kawena.

After their daughters Malia and Kanoe entered school Linda went back to the University of Hawaii Manoa and received her Masters of Fine Arts and went on to teach drawing and painting courses. She also taught at Chaminade, the Community Colleges and at the Honolulu Museum of Art over the years. While teaching and subsequent to her retirement she allowed her passion for art take her to higher levels. Linda today is a professional artist. Her professional art work focuses on the natural environment of Hawai’i and how it is framed within the sociological, political and cultural context unique to this place we all call home.

Linda first visited the Kalaeloa Heritage Park back in the 1990’s when we were providing cultural consultation to the future reuse designation of cultural landscapes within the former Barbers Point Naval Air Station. She got to see the park prior to its cleanup while it was still forested. Witnessing a cultural landscape that withstood the test of time fosters a sense of generational history that makes one feel that he or she needs to be a part of. It becomes personal. Linda wanted to convey that same sense of personal relationship she had by way of creating an ongoing series of large charcoal drawings. Linda knew when she retired she wanted to devote more time to the preservation of this cultural landscape.

Trail

42” x 62” charcoal drawing by Linda Kane of the Kualaka’i Trail within the heritage park. It was purchased by the State Foundation on Culture and the Arts and is on view at their museum.

In addition Linda Kane is one of our Docents at the Kalaeloa Heritage Park. You will find Linda at the 2nd Annual Kalaeloa Heritage Park Luau Fundraiser. If you are lucky she will be your Docent.

Article by S. Kane

Native Plants of KHP: ‘Aweoweo

Name: ‘Āweoweo or ‘Āheahea

(Chenopodium oahuense)

Description: An endemic shrub with silvery leaves that look like a goose’s foot, found in coastal areas, lowland dry forest and shrubland, and subalpine shrubland on nearly all the Hawaiian Islands (Wagner et al. 1999).

Best Growing Conditions: Full sun to partial shade; water once a week until established and then only during drought (Culliney & Koebele 1999).

Interesting Facts: Called ‘āweoweo because the crushed fruits and leaves sometimes have a fishlike fragrance. Hawaiians cooked and ate ‘āweoweo (Krauss 1993). Most Chenopodium species outside Hawai‘i are small herbs. In contrast, ‘āweoweo is a woody shrub that, in some places, grows more than ten feet tall (Carlquist 1980). More information about ‘āweoweo can be found at:

http://nativeplants.hawaii.edu

Text & photograph by Bruce P Koebele

Aweoweo

ACHP 106 Success Story

ACHP

Former Navy Base Preserves Native Hawaiian Heritage, Military History

Oahu, Hawaii

The Story

For centuries, Native Hawaiians have resided in a geographic region known as the ‘Ewa Plain, part of the traditional Hawaiian land division of Honolulu. Hawaiian oral history associates this area with some of the earliest migrations from East Polynesia. The ‘Ewa Plain is also known for its natural and economic history in the 19th and 20th centuries. In 1795, it became known as “Barbers Point” after Captain Henry Barber’s ship grounded on the nearby coral reef. Naval Air Station (NAS) Barbers Point was commissioned in 1942 and became an important air center, technical training school, and fortification in World War II, manned by 12,000 sailors. During the Korean War, it was used as a critical staging area and would later become home to the Rainbow Fleet—a squadron used to track Soviet submarines. Today, the vestiges of early Hawaiian stacked coral dwellings and agricultural features, religious structures, modified sinkholes, and trail markers still exist. Traditional Hawaiian burials may also be present. In addition, 20th century habitation, ranching, and sisal cultivation sites are located alongside World War II military components.

The Project

NAS Barbers Point was recommended for closure in 1993 by the Base Closure and Realignment Commission. That same year, the state of Hawaii established the Barbers Point NAS Redevelopment Commission, which prepared a redevelopment plan to guide reuse of the property.

The 106 process

The Navy, the federal agency carrying out this project, was responsible for conducting the Section 106 process under the National Historic Preservation Act. Section 106 requires that federal agencies identify historic properties and assess the effects of the projects they carry out, fund, or permit on those properties. Federal agencies also are required to consult with parties that have an interest in the fate of the property when adverse effects are likely to ensue. The Navy completed consultation with the Hawaii State Historic Preservation Of cer (SHPO) and other consulting parties in 1998 and in 2010 regarding the base closure and land transfer. The Navy concluded the Section 106 process in both instances with a nding of “no historic properties adversely affected” provided certain conditions were met, including placing historic preservation covenants on particular transferred properties to ensure future preservation and appropriate treatment. Restrictive covenants place land use controls on each property and require consultation with the SHPO for activities that would potentially impact cultural resources. The station was closed in 1999, and in 2002, redevelopment responsibility was transferred from the Redevelopment Commission to the Hawaii Community Development Authority (HCDA). The Navy retained 1,055 acres for military housing and support facilities and conveyed 334 acres to HCDA and another 819 acres to other state agencies. The HCDA partnered with a nonpro t organization, the Kalaeloa Heritage and Legacy Foundation, to build the Kalaeloa Heritage Park on a portion of the state lands. The park provides public access and interpretation of cultural elements on the site and the broader area. The Navy continues to evaluate its historic properties on the Navy-retained lands, including both cultural and former naval aviation sites.

The Success

When the Navy’s last naval air station in the Hawaiian Islands ended 57 years of service, the Section 106 and base closure processes resulted in the preservation of Native Hawaiian archaeological sites and access to previously restricted cultural sites for Native Hawaiians and the public through development of the Kalaeloa Heritage Park. The Section 106 process and the work of the Kapolei Hawaiian Civic Club led to the identi cation of the Hawaiian cultural presence in the former Navy property. Federal, state, and private agencies partnered with local community groups to create the 77-acre park containing more than 177 relatively undisturbed archaeological features including a heiau (temple) and habitation and agricultural sites. Now the cultural sites at Kalaeloa Heritage Park are being preserved to educate the community on centuries-old Hawaiian cultural traditions and practices, advocate cultural awareness, and maintain an authentic Hawaiian presence in the Kalaeloa area.