Interview with Author/Illustrator Caren Loebel-Fried

Caren-Loebel-Fried

Our ongoing series of interviews with Native Hawaiian and local Hawaiʻi writers continues this Caren-Loebel-Friedweek with Caren Loebel-Fried, the talented award-winning author/illustrator. 

Aloha, Caren. For those who haven’t met you, could you please tell us a little about yourself?

Aloha, Kamalani. I’m an artist and author from Volcano, on Hawai’i’s Big Island. My favorite things are exploring wild places, watching and learning about birds, making art and telling stories about these things.

Where did you grow up? 

I grew up on the New Jersey shore, going to the beach in the summer.

Who is your biggest supporter?

My husband encourages and cheers me on, and sometimes joins me on my research adventures. Many biologists, cultural practitioners, teachers, and librarians also support my work, and help me get the story right.

Why did you become a writer/illustrator?

My mom is an artist and still is my greatest inspiration. I was always drawn to making art. And my art has always told stories. When I had the opportunity to create books, I worked to be a better writer. Now I tell stories with words AND pictures.

What inspired you to write for children?

Picture books were a natural fit for me. But I have to admit, I create my books for Legend-of-tall ages — keiki and the adults who read to them, and anyone who enjoys a compelling story. I’ve always loved reading books written for all ages, and I collect art-filled books that inspire me, no matter what age they are intended for. 

What do you enjoy most about creating for kids?

I love sharing with a curious audience, and most keiki are open and curious.

What are some of your greatest challenges?

My aim is to be a voice for wildlife. My greatest challenge is persuading people to care about and want to help native species. I try to do this in a fun way, by creating engaging stories and art that capture the spirit and personality of the individual animal (including human!), plant, the natural elements and environmental Polufeatures that are my subjects… I aim to make art that is colorful, engaging, alive. I am also interested in culture and how we humans live in our world, interact with our environment, and our connection to place. Many of us have lost a feeling of connection to the natural world. I try to awaken or reawaken that connection.

What are your hopes and dreams for the year and beyond in terms of your writing/artistic career?

This year, I’ll be working on my next book with University of Hawai’i Press. This story is about Makani, a young Hawaiian girl named after the wind that seabirds depend on. Makani adores ʻuaʻu, the Hawaiian petrels that her biologist mom works with. Seabirds are so cool! But their lives are completely hidden from us. They live over the ocean and only come to land to breed, flying in the dark of night, and nesting in burrows underground. I’ll be telling their amazing story Lonothrough the experience of Makani. I hope this book inspires readers, especially girls, to explore science, art, and storytelling. There are many ways to help wildlife! We can all find our own way to help preserve wildlife and wild places.

Do you have a website? 

I do: https://www.carenloebelfried.com/. And I have a YouTube Channel: https://www.youtube.com/channel/UCNgbp1m6lsf6d4w89oV6ung

What advice would you give an aspiring writer/illustrator?

Keep creating! Discover the things that are important to you and tell about them in your work!

Which characters do you relate with easily? Why?

My last book, Manu, The Boy Who Loved Birds, is about a young boy named after Manu-the-Boy-Who-Loved-Birdsan extinct Hawaiian forest bird. I relate to Manu desperately wanting to know the meaning of his name, and leaving no stone unturned in his journey of discovery… and also his difficulty in believing that extinction is forever. I also relate to Manu’s parents, who won’t just give Manu answers, but instead give him the opportunities to make discoveries himself. I tried to do this with my own son when he was growing up, and now I do it with my readers and my books!

Thatʻs a beautiful book. What beliefs are your books challenging?

It’s hard to hear, learn, believe that things we do may be unintentionally hurting wildlife. I try to present the facts, for people to know for themselves. But I also present ways that people can help. I try to write hopeful, inspiring stories and give people the tools to be an active part of the solution.

Where do you get your ideas and inspirations?

I see something cool out in nature almost everywhere and think, Wow- THAT would make a great storybook!

Mahalo, Caren, for allowing me to interview you and for sharing your manaʻo! To learn more about Caren, and to see a gallery of art pieces and to contact Caren Loebel-Fried, please visit Carenʻs website.

Ka Poʻe Kiaʻi, The Guardians of Mauna Kea, Photographs by Kai Markell

Carrying the future

Protests about the building of huge astronomical telescopes at the summit Mauna Kea have been going on for decades. They’ve only recently been brought into focus because of the planned Thirty Meter Telescope. As descendants of the earliest Polynesian voyagers, the kanaka ʻoiwi have always understood the importance of astronomy. But for a people who have long suffered the loss of their country and autonomy, desecration of their sacred mountain and the natural environment must end. 

As seen through the lens of Kai Markell, Native Hawaiian activist, photographer, and attorney at the Office of Hawaiian Affairs, this collection of photographs, Ka Poʻe Kiaʻi (the guardians and protectors of Mauna Kea), documents one of the largest protests held at various locations in Honolulu. Whether  attending a rally at ʻIolani Palace with their families, meeting with officials from the Office of Hawaiian Affairs, or holding a sign all alone at a street corner, these poʻe kiaʻi feel deeply that their message must be heard.

Itʻs 2022 — seven years after this collection was first published a Pūpū A ʻO Ewa — we are still fighting.

  • Carrying the future
    Carrying the future

March On, a Short Film by Courtney Takabayashi

March On

Come along with Joe and Mara as they hunt for the night marchers in March On, the hilariously spooky video by my friend, the writer and storyteller Courtney Takabayashi. Be sure to watch through the credits for the lovable eccentric, Uncle Kimo. Courtneyʻs video is a past winner of the Halloween Video Contest sponsored by the Honolulu Star-Advertiser and Hawaii News Now.

The working mom of a toddler and a couple of fun-loving cats, Courtney admits that her website is a bit out of date, so to contact her, follow her on Instagram

Posted with permission by Courtney Takabayashi. 

Interview with Native Hawaiian Writer Adam Keawe Manalo-Camp

Adam Keawe

Our ongoing series on Native Hawaiian and local Hawaiʻi writers continues this Adam Keaweweek with Adam Keawe Manalo-Camp, the talented Native Hawaiian writer and blogger. If you’re a regular reader of Ka Wai Ola O OHA, then you’ve no doubt read Adam’s wonderfully interesting, well-researched articles about the history and culture of our people.

I’m a huge fan of your writing, Adam. But for those who haven’t met you, could you please tell us a little about yourself?

The homelands of my ancestors are Hawai’i and the Philippines. My grandmother grew up in Honokaʻa while my mother and I grew up in Kewalo within Papakōlea Hawaiian Homestead. My ʻiewe and piko are literally buried at Papakōlea. I also spent a chunk of my life in the Philippines. As far as my research background is mostly in history and anthropology.

Where did you grow up? What high school did you grad from?

I grew up within Papakōlea and am a product of Hawaiʻi’s public school system. I graduated from Roosevelt High School.

Who is your biggest supporter?

My husband. He’s been with me from the very beginning when I was getting my master’s in counseling psychology and veered off course to be a freelance writer. The latter and marrying him were the best decisions I made (besides having kids)!

That’s awesome. Why did you become a writer? What inspired you to write for children?

In general, my ancestors. But my mother always encouraged me to write.

Why did you become a writer? What inspires you to write y0our posts and articles? 

I have always liked to write. The first time that a piece of mine was published was in the ʻŌʻiwi Literary Journal, and I was graduating high school. The late Māhealani Dudoit had discovered me through a long email chain where I was talking about the importance of King Kalākaua’s world tour of 1881. I was very self-conscious because ofbeing māhū, neurodiverse, and having English as my second language—Hawaiian was my first. Māhealani said she loved how unique my voice was and encouraged me to keep writing.  It took me a long time to realize that what I told in school were my weaknesses are actually my strengths.

Then some eight years ago, I began writing posts on social media and recently my other pieces and some of my research have appeared in Civil Beat, Ka Wai Ola o OHA, NatGeo, etc.

What do you enjoy most about writing? What are some of your greatest challenges in writing your articles and posts?

When I write posts, I think of them as love letters to my ancestors and to my culture. I do not have a social media calendar or plan things out. I write because something inspires me to and I found a particular topic interesting. I also write in honor of my grandmother and mother who used to constantly fill my thoughts with stories of their times and the times of the ancestors. I know many Kānaka Maoli who read my posts may not have their kūpuna around or have been scattered throughout Turtle Island, and so I would hope some of my posts may be a small light to remind them of where they came from.

Social media can bring so much positive attention to indigenous peoples but social media can also be challenging. Some folx are on social media platforms simply for clout or to attack people behind a wall of anonymity. I try not to focus on those people but to focus on the folx out there who are searching for manaʻo and want to engage in aloha.

I always learn something new from your posts. What are your hopes and dreams for the year and beyond in terms of your writing career and what you would like to see published in the future?

I have a couple of articles coming out this year including pieces on Kaomi. The pandemic sort of made me rethink my career and what I want to write about. I would want to write more local Filipino and queer histories as well as more on Hawaiian struggles from a historical point of view. I would like to also write more fictional short stories.

I always ask the following of the writers I interview: There are not a lot of stories for local kids by local writers. Why do you think that is? What do you think we can do to change that?

I think in general there aren’t a lot of works for children by BIPOC writers in general. A lot I believe is the lack of access to publishers as well as economic factors. There are a lot of creative Kānaka Maoli out there that I know of but due to the cost of living and other expenses, some see being creative as a side hassle as they feel that being creative cannot sustain them financially. I myself would not know how to get started in that field.

Do you have a website? Are you on social media? Do social media play a role for you as an author? Do your readers contact you? What do they say?

My linktree is linktr.ee/adamkeawe That features links to some of my work and my blog. I got on Facebook about eight years ago, and on there I am admin for the Hawaiian History and Culture group, which has 34,000+ members. Instagram I got on right before the pandemic and that is where I am more active. I also have Twitter but am not too active on there. All of my handles for my social media accounts are: adamkeawe.

In general readers are supportive and engage in discussions.

What advice do you have for aspiring writers?

If your naʻau keeps pushing you to tell a story, youʻre a writer. Never be discouraged nor base your self-worth and your writing on how many likes of followers you have. In the end, you will connect with who you need to connect with.

Can you share a bit of your current work?

I have two pieces coming out soon. One is about Kaomi and another is about my motherʻs best friend who was a transwoman in the 1970s.

What beliefs are your stories challenging?

Patriarchy, settler colonialism, homophobia, racism, and anti-Semitism.

Where do you get your inspirations?

I draw a lot of my inspiration from my ancestors and talking to other Kānaka Maoli. But I also read other writers from various genres including Joy Harjo, Ninotsche Rosca, Noam Chomsky, Langston Hughes, Audre Lorde, Stephen King, and so many others. Science fiction such as The Expanse, Star Trek: Deep Space Nine, and Babylon 5 inspires me as well.

Your articles and posts demonstrate a lot of research. Whatʻs your research process like? How long is your research for a typical article?

Normally I have at least three sources per article. In social media posts, minimum two.  Before I begin a major writing assignment, I chant “E hōmai…” and ask to be guided. I do the same privately before entering a library or archives. I am mindful that research is ceremony and methodology is ritual, and I try to bring that into whatever I am working on.

Have you ever considered writing a longer work, like a book or screenplay?

Yes. I would rather collaborate though because of the time that it takes.

Can you share a bit about what you are working on next?

I am collaborating with Kumu Lua Michelle Manu on a book about women warriors.

Women warriors? I look forward to that. Adam, mahalo nui for sharing your manaʻo! To learn more about Adam Keawe, visit his LinkTree

Moke Action, by Award-Winning Native Hawaiian Filmmaker ʻĀina Paikai

pupu-a-o-ewa-logoHawaiʻi Creole English — called “pidgin” by its native speakers — dates back 100 years to the sugar plantation days. Immigrant workers, first from China, then Japan and other countries, needed a way to communicate with their fellow workers and with the people who lived among them, the Native Hawaiians. Pidgin is still spoken in Hawaiʻi, and being fluent is a source of great pride by its speakers. Pidgin is what makes us local.

One of the most popular videos we published at Pūpū was this little gem, Moke Action, an early film directed by the talented Native Hawaiian filmmaker ʻĀina Paikai. Not surprisingly, ʻĀina would go on to make many award-winning short films, including the wonderful Hawaiian Soul in 2020. Moke Action, starring Brutus LaBenz, Brahma Furtado, and Liona Arruda, is the tale of two young men who nearly get into an unfortunate scuffle. Happily, they are prevented from committing violence, thanks to their respect for their elder. Or, in pidgin:

Two guys like scrap til aunty wen scold dem.

Exactly.

Posted with permission by ʻĀina Paikai. 

Fishing for Grandma by David Manu Bird

Fishing for Grandma

pupu-a-o-ewa-logo

Some of my favorite popular posts when I published Pūpū A ‘O ‘Ewa Native Hawaiian Writing and Arts at Leeward Community College were personal essays by students and faculty.

Fishing for Grandma, by my colleague and longtime friend, Dave Ka’apuwai “Manu” Bird, was first published in 2014.  About this essay, one of our readers wrote, “I especially loved reading Manu’s narrative…brought back some memories with my own ʻohana!” I know that in sharing his story, Manu was glad that someone else connected to their own kupuna. 

Manu joined his ancestors earlier this year after a brief illness. He leaves behind his loving family — wife Mary, son Keoni, daughters Mālia and Tinan, and moʻopuna — as well as his many students, colleagues, and friends. E Manu-Tok, nui ke aloha ia ʻoe.

Watch our video interview with Manu Bird.

Fishing for Grandma by Dave Manu Bird

“Goddam dis buggah!” I exclaimed as the kūkū of the pua hilahila dug into my hand. Like the entire old cemetery beside the Waikāne Congregational Church, the grave I was cleaning was infested with the thorny plants.

“Please remember where you are,” Mary scolded, taking umbrage with my profane language.

“How can forget?” I shot back.

“Well, if you cannot respect God, you could at least respect the dead.”

“So?” I muttered to myself. “Stay make da kine make guys anyway.” With that, I knew that I was getting stink eye from my wife.

My sarcasm was the result of stress, not how I felt. As I surveyed the graves around me, I still couldn’t believe that Grandma was gone. Her death still didn’t seem real. What was real, however, was the pain of the kūkū poking my knees through my jeans. Once again I bent over, carefully pushed my fingers under the branches of another pua hilahila plant, pinched its stem tightly, and yanked the whole thing out of the ground by its long tap root. I threw the plant on a nearby ‘ōpala pile and reached for another.

It was hot, and I was sweating, but as I worked I could not help but remember Grandma’s voice even though it had been physically stilled forever. I couldn’t help but think how much Mary and Grandma often sounded alike. They both usually spoke that crisp English locals always speak when they don’t want to sound local. They e‑nun-ci-ate care-ful-ly.

“When are we going?” 13 year-old Keoni whined, pulling me out of my reminiscing. He was bored and wanted to get on with our picnic and fishing expedition to Kahana Bay, our destination after the graveyard.

“‘E Keoni, kulikuli, ‘eh,” I responded.

I didn’t need a punk kid’s hassles adding to my misery. I was wilting because of the heat, the kūkū, and the complaints. I was also getting tired of the general uneasiness I felt because only Mary, Keoni, Mālia, Tinan, and I were there at the graveyard. It did not seem right to me that only our nuclear family was taking part in Grandma’s post-funeral funeral without representatives from the extended family, even though no-one else was able to join us.

Grandma’s formal funeral had been held the month before. Family members hadFishing for Grandma gathered together from Kaʻimukī, Kailua, Kāne’ohe, Nānākuli, and the Mainland. That day, we scattered most of Grandma’s ashes along with thousands of flowers and prayers off of Kahala Beach Park. We gave Grandma back to her beloved moana and ‘āina at that place because it had been one of her favorite fishing spots, at least in the days when Kahala consisted of groves of kiawe trees, a dairy farm, and a hodgepodge of week-end beach cottages. Before the main funeral started, Mary and I put a kapu on a little bit of Grandma. We wanted to bring a part of her to the windward side, another of her favorite fishing areas. That day in Waikāne, we had two film canisters filled with Grandma’s ashes, all that was left of her in this world.

Finally we could read the inscription on the grave headstone that I was cleaning:

Martha Koolau
Died Dec 10, 1931
Age 50 Years

Martha Ko’olau was Grandma’s mother; Grandma had lived to be 92.

My cleaning work finished, I stood and stretched. One of the kids retrieved a discarded pua hilahila and used it to brush the dirt off of the gravestone.

I suddenly felt strangely light-headed and absent minded. “Pau dis,” I said. “Mu fek ea nunuw nga. . . I mean time for da lei and stuffs.”

Without thinking, I had momentarily switched into our hānai daughter’s native language. Then as I looked down at the grave, it struck me how kapakahi we all were – and are. We are like cultural schizophrenics who switch personae seemingly without reason. We were exactly like what Grandma had been. For years I tried to understand Grandma, the last family member born in the 19th Century and the only one we knew who had seen, talked to, and had even sung for Queen Lili’uokalani. But Grandma had been like a mo’o that changes its colors. She was hard to see because she blended in with her immediate surroundings. She never told us very much about herself. She was excessively reticent about her childhood and early adult life. She never talked about her mother. So what about us?

My sudden question was a revelation. If Grandma was an enigma, then so are we. Who was Grandma? By extension, who are we?

Mary and the girls began laying lei, flowers, and lā’ī around the headstone. As they did, I looked out at the vehicles roaring past on Kamehameha Highway a few yards from us. The sight of the cars pulled my thoughts back to long ago when we were traveling down the same road …

… Has it really been 20 years since we passed here in Mom Z’s old Chevy II station wagon? We were headed for Uncle AP and Auntie Sam’s beach house in Ka’a’awa for a week’s worth of fishing and swimming, a mid-summer break and the ‘oama season we always looked forward to. Grandma’s voice and Grandma’s words that day are still as clear to me now as a Kāne’ohe Bay reef when there’s no run-off pollution to silt the water. She was scolding me.

Auntie is stupid. You are stupid for letting her make you take these bananas. I would never have gotten in the car if I had seen them. You never take bananas and manure to the beach. When you “ go to the mountains,” you must do things properly.

I no like take kūkae no place, especially holoholo.

Boy, no tok lai’ dat! Speak pro-per Eng-lish .…

That was vintage Grandma. Rarely, though, did she raise her voice like this to me or her other mo’opuna. She didn’t have to. She never touched us, but she could whack us aside the head with a withering look if we did something that displeased her or violated her sense of propriety. To this day, she is alive. I know so. I can no longer give her a hug or kiss her on her velvety cheek, but there is little I do unless beforehand I ask myself If I do this, would Grandma’s maka smile at me or give me stink eye?

But who was this woman? And by extension, who are we?

Occasionally Grandma would pass on to us snippets of Hawaiian lore and protocol, especially about fishing – her life-long passion. But what about the rest of the mana’o she had gathered during the course of her long life? What about growing up in rural Puna, attending Saint Andrew’s Priory as a boarding student, and singing on the Hawaii Calls radio program in the 1930s and 1940s? What adventures did she have? Whom did she know? Why could she understand spoken Hawaiian but not put two words of the language together to speak it?

As I stood by the grave watching Mary and the kids arrange the lei, I could only speculate. She was not atypical for her generation or the next in her reticence. Could the effects of 1893 have silenced them all? Hawai’i was once one of the most literate nations on earth with an active Hawaiian language publishing industry and citizens who were avid readers and writers. In 1896, the haole leaders of the Republic of Hawai’i passed a law banning Hawaiian as a language of instruction in schools, a law that was not repealed until 1983. Teachers physically beat children if they spoke Hawaiian, and teachers visited their students’ homes and scolded their parents for speaking Hawaiian in front of their children. The Hawaiian language almost went the way of Latin. Were these the reasons for generations of kūpuna silence?

Who was Grandma, a person who was born in Old Hawai’i but who died in Modern America? Who was this person who worked as a faithful cashier at the original Willows restaurant in Mo’ili’ili for decades until she was in her 70s? She had a strong American work ethic, but still she would occasionally drink Scotch before work or call in sick to go fishing. What caused her to be kolohe?

And who are we? As we stood by the gravesite, I could not help but wonder what perspectives we no longer understood and probably never would because of Grandma’s silence. I felt like we were already at Kahana Bay, trying to catch fish in depleted and degraded waters.

Mary brought me back into reality, for the ho’okupu was in place. We stood around the grave holding hands over a prayer, and then we took turns sprinkling Grandma’s remaining ashes over her mother’s grave. We knew that eventually the life-giving ua would soak her remains into the sacred ‘āina, mingling her with her mother’s iwi and binding us once again to the long line of kūpuna and ‘aumakua that stretches back into antiquity.

After we finished scattering Grandma’s ashes, we once again joined hands for pule. “E ko mākou makua i loko o ka lani,” Mary began to intone. But just then a long line of tourist buses heading for the Polynesian Cultural Center roared past 15 feet from us, drowning out Mary’s words. The buses’ diesel engines blasted us with storms of blue-black exhaust and silenced our prayer to Grandma and to God.

Photo credit: Mary Bird. Interview video: Rokki Midro.

E Heluhelu Kākou: No ke Anilā

E-heluhelu-kakou

The Hawaiian language — ʻŌlelo Hawaiʻi — is a beautiful, rich language. Thanks to the internet, ʻōlelo can now be heard across the globe. E-heluhelu-kakou

Read-aloud versions of childrenʻs books in English are readily available online. And now thanks to Kamehameha Publishing, books in ōlelo are, too.

I am pleased to feature No ke Ahilā — Our Hawaiʻi Weather, a delightful bilingual boardbook for keiki, written by Kaulana Domeg and Mahealani Kobashigawa and read by fluent ʻōlelo speaker, and wonderful presenter, Makiʻilei Ishihara.

Credits: Used with permission from Kamehameha Schools (Mahalo!)

A Nation of Our Own, Spoken Poetry by Chris Oliveira

pupu-a-o-ewa-logoNative Hawaiians have a rich oral tradition that spans over a thousand years. Our stories are told in many forms: songs, chants, hula, legends, ʻōlelo noʻeau, and word play. Modern Hawaiians continue our ancient tradition by weaving their stories into beautiful spoken poetry.

Chris Oliveira is a fluent Hawaiian language speaker and a dedicated Hawaiian activist. Hailing from the Waiʻanae Coast, he is the Vice President and Executive Director of Koa ʻIke, a community non-profit organization that focuses on place-based, service learning educational initiatives and student exchanges.

First published in 2014 by Pūpū A ʻO ʻEwa, A Nation of Our Own is a powerful, provocative lamentation on the loss of our sovereignty dating to the 1893 U.S.-backed coup dʻetat that overthrew our indigenous government. Mahalo nui, Chris.

Watch our interview with Chris

A Nation of Our Own, by Christophor Oliveira

When will there be an end to this occupation, a nation of our own choosing

Imbedded in the population were waiting for retribution

Suspended in animation by paperwork so confusing

Their faulty documentations for faking a revolution

Pretended the annexation with a blemished joint-resolutions

The same old operation they’ve been using since since back with Newlands

A general pacification intended as restitution

But we want repatriation and the reinstatement of our constitution

Now we contend with the aggravation, the sentence is destitution

With the falsest of allegations implementing our execution

We suffer from mass enslavement they profit off institutions

Were put in for misbehaving, but their guiltʻs already been proven

Much more than edification were offended and disillusioned

So we focus on education and nothing less for our future

Look to our past in admiration in reverence for our kupuna.

Credits: Posted with permission by Chris Oliveira. Performance recorded by Leeward Community College Educational Media Center; interview video by Rokki Midro.

Ka Maile, a Mele Aloha by Kahaulahilahi Vegas

Lahi Vegas

pupu-a-o-ewa-logoNative Hawaiians look to our kūpuna — our elders — to help us find our pathways through life. They guide us by their spiritual wisdom through personal, familial or community difficulties. Kūpuna are the source of experience, knowledge, guidance, strength and inspiration to the next generations, a rich resource to contribute to the betterment of the Hawaiian people.

Kahaulahilahi Vegas is a fluent Hawaiian language speaker whose family is from both Molokaʻi and Oʻahu. After graduating from Leeward Community College and the University of Hawaiʻi-West Oʻahu, Lahi is pursuing her PhD degree in Public Health at the University of Hawaiʻi-Mānoa. Her goal is to help the Native Hawaiian community. 

Lahi Vegas also loves to compose. To honor her beloved kūpuna, she composed her mele aloha, Ka Maile, which we published at Pūpū A ʻO ʻEwa in 2015. She credits her grandparents for providing the foundation of her lifeʻs path. Lahi says she will always be inspired by her kūpuna: He aloha pau ʻole — a love without end.

Watch our interview with Lahi in both ʻōlelo Hawaiʻi and ʻōlelo haole. Mahalo nui, Lahi.

Credits: Used with permission by Kahaulahilahi Vegas. Performance recorded by Leeward Community College Educational Media Center; bio video by Rokki Midro and Mauna Burgess.

Her Name was Violet, by Stephanie Namahoe Launiu

Violet-Wong-Hoe-1919

pupu-a-o-ewa-logo

One of the activities Iʻm most proud of is founding and publishing Pūpū A ‘O ‘Ewa Native Hawaiian Writing and Arts. Everyone—students, faculty, staff, and community members—was invited to submit, regardless of ethnicity, and the only requirement was that the work be somehow related to Native Hawaiian culture. From 2011–2016 we published over 100 videos, music, photos, and stories. Those works are archived at Pūpū, but I think my blog is a good place to feature some of them again. The works and their creators deserve to be seen and appreciated.

In her beautiful personal history, Her Name was Violet, first published at Pūpū in 2014, Stephanie Namahoe Launiu describes writing about her grandmother, Violet Wong Hoe, as a spiritual experience: Grandma was born only two years after annexation at a time when Hawaiians weren’t free to speak their native language or openly practice their culture. She was so very Hawaiian to the core. Stephanie and her family live in Hilo. Now retired, she volunteers with nonprofits to help Hawaiian inmates and their families on the Big Island. A freelance writer, Stephanie is writing episodes about Hawai’i for an audio travel app company, “doing my best,” she tells me,  “to sensitize visitors to wahi pana and kanaka oiwi.” Mahalo nui, Stephanie.

Her Name was Violet

Violet-Wong-Hoe-1919Her name was Violet Kawaikoeahiokekuahiwi Wong Hoe, and she was my father’s mother. Born in 1900 to a pure Hawaiian woman and a Chinese laborer who came to work on a sugar plantation, Grandma was the single most influential person in my life. She was my link to being Hawaiian.

Grandma was tough stuff, born just seven years after a group of American businessmen illegally overthrew the Hawaiian monarch, Queen Liliuokalani, and instituted a straw government recognized by the United States of America. At five years old, she cried on a boat dock as her father (who she said looked like Hop Sing on the old Bonanza show) jumped onto a ship to return to China. His contract with the plantation had ended, and he most likely had a wife and children back home. We haven’t had any luck tracing our bloodline to China, so it’s one of those things we just had to let go. She remembered the day when she was nine and some men came to her house and dragged her mother away, kicking and screaming. She never saw her mother again. And as Hawaiians of the day were taught, she never talked about it.

After years of research, we found out last year that our great-grandmother had been dragged away that long-ago day and taken on a boat to Kalaupapa, Molokaʻi, where she was checked into the leper colony for Hawaiian citizens and never allowed away from that isolated spot again. She died there after remarrying and having three more children. We don’t know if she ever had leprosy. In the early 1900’s when the fear of leprosy was rampant, Hawaiians were routinely arrested and taken to Kalaupapa for the rest of their lives on a whispered suspicion that the spot on their face was leprosy. I visited Kalaupapa several years ago before I ever knew my great-grandmother died there, and it is a beautiful but God-forsaken place surrounded by blue, blue ocean and sheer cliffs that humans couldn’t escape.

Grandma finished high school, married my grandfather, and had 12 children without ever seeing the inside of a hospital room. I told you she was tough stuff. But on top of that, she had a paying job! My grandfather was the jailer at the Hilo jail on the eastern side of the Big Island, and she was what they called the ‘matron’. They lived in a house on the jail grounds and she took care of the women and girls who dared to commit such crimes as running away from home, public drunkenness, or worse yet, prostitution. She nursed her babies while overseeing the meals for the male and female inmates.

It was after my grandfather died and she retired as matron that I was born. She was 52 by then, with lots of time on her hands to dote on her many grandchildren. Grandma was thrifty and frugal, to say the least. She didn’t need to get 5 cents back on a bottle to make her recycle; she lived sustainability. When she caught a fish, she ate every bit of it including the eyeballs. She didn’t believe in waste, and she never wasted a minute either. Somehow between raising 12 kids, supervising women inmates and feeding the male ones, she learned how to make things. She sewed, crocheted, quilted, knitted, baked bread, canned and preserved. She knew which type of fish could be caught where, and she gathered the ocean’s bounty and ate it all – opihi (limpet), limu (seaweed), pipipi, vana. If someone caught too much fish in a day, she gave away some and dried the rest. A meal for her was some dried ahi, chili pepper water, a little limu on the side, and a bowl of poi.

I grew up in the Hawaii of the 1950’s before statehood. Life was simpler for everyone back then. We lived in Hilo but every weekend we’d drive the 50 miles or so over the volcano to Punalu’u in the Ka’u district where Grandma had a beach house. The routine was to park the station wagon, open the house and all the windows to air it out, light the Coleman lanterns (no electricity), my dad would spray a little DDT to get rid of any mosquitos in the house, get water from the well and make the Friday night dinner. We’d spend a lazy weekend on Punalu’u’s black sand beach fishing and swimming. Turtles weren’t a protected species then; we ate turtle soup and kept the shells as a souvenir. At night we’d crowd around the lantern to pore over the Sears catalog or to play cards. I have never seen a more star-filled sky than from Punalu’u in the 50’s. Of course, I had plenty of time to look at the stars during trips to the outhouse.

California

Within a few years after Hawaii became a state in 1959, my father moved our family to Los Angeles for a new job. I cried for days. Hated it. After being free to run and swim until after dark, we lived in a duplex apartment on the way to my father’s dream of a better life. I heard a language I’d never heard before – Spanish. I saw my first “colored” person. I rode a bus. I went to Disneyland!

Days turned into years, and I got used to California, but my heart never left Hawaii. We had become transplanted Hawaiians – listening to Hawaiian music, eating Hawaiian food, and looking for other Hawaiians in crowds. Our family got bigger with more babies born, and my parents never made enough money to send us back to Hawaii to visit.

Grandma traveled to California every year to visit her growing family there. Many of her other children had also moved there over the years and she soon had more grandchildren on the mainland than she did in Hawaii. Grandma never changed. She was authentic in every way. She enjoyed a Big Mac but missed her dried ahi when she was in California. When it was time for her to return to the Big Island, she sobbed quietly at the airport and waved her white handkerchief in the airplane window so we would know where she was sitting.

Called Home

By 1990, I was married with six kids and a full-time job. I thought of Grandma often and I missed her. My parents had moved back to Hawaii to help take care of her as she got more frail. It had been almost five years since I had seen her when that call came in April that Grandma had died just a few months short of her 90th birthday. As the Gods would have it, she never got sick. She just went to sleep one night and woke up in heaven. I would like to think they had a plate of dried ahi, chili pepper water, a little limu on the side, and a bowl of poi waiting for her.

In 1990, we were all innocent travelers. There was no TSA. The twin towers still stood in New York City. You didn’t need an I.D. to get on a plane. You could even buy an unused airplane ticket from somebody and fly under their name with a bottle of water and a box cutter in your purse. I don’t remember how we scraped together the money or even who watched our kids, but my husband and I along with my brother and sister flew home to Hawaii for Grandma’s funeral.

Home on the Big Island

Grandma had been living in a little plantation house in Kapa’au on the northern tip of the Big Island. She had grown to love the Kohala district after she remarried at the age of 60 and moved there with my new Filipino grandpa. I told you she was tough stuff. Grandpa had died years before and the beach house in Punalu’u had long ago been carried away in a tidal wave, so Grandma spent her later years there in Kapa’au.

When I walked into that small single-wall house after driving from Kona airport, it struck me how simple the house was. I had never been there before. But it was just like Grandma. Doilies on the couch, pictures of grandkids on the walls, kitchen as clean as a whistle, and Bible by the bed.

We were going to be on the Big Island for a week, and Grandma’s funeral was a few days away, so we wanted to make the most of everyday and soak up what we had missed all those years. We began the next morning by going to Naito Store. Naito’s was a country store that allowed locals to run up a tab, so we settled Grandma’s bill and left a little extra.

Then we drove to where the original statue of Kamehameha the Great stands. This statue in Kapa’au is the original created by Thomas R. Gould, a Boston sculptor. The oft-photographed statue of Kamehameha in Honolulu is a copy. Just like Grandma, the real deal was in Kapa’au.

Although he was dubbed a “King”, Kamehameha was an ali’i nui, the highest of high chiefs. Ancient chants say that he was born in the month of ‘Ikua on a storm-tossed night in North Kohala when a bright star they called “Kokoiki” appeared in the skies, trailing a long tail behind it. Historians have found that in November 1758, Halley’s Comet streaked across the Hawaiian heavens and this has been considered his year of birth in historical accounts.

Because of the prophecy surrounding his birth, the baby was believed to be in danger if he was allowed to grow up and challenge the political players of the day. Ancient chants tell of how his mother Chiefess Keku’iapoiwa wrapped her infant son in soft kapa cloth and entrusted him to Nae’ole who ran with the baby through hidden lava tubes into the valley called ‘Awini northwest of Waipi’o Valley where he was raised in secrecy until returning to Pololu Valley at the northern tip of the island to train for greatness.

We drove to the lookout at Pololu Valley and marveled at the panoramic ocean view and sheer isolation of the valley below. The northernmost tip of the Big Island is known as Upolu Point. Interestingly enough, the major island of the Samoan Islands is named Upolu. Could the Samoan canoes have been the first to land at this point centuries ago, and would they have named the place for their homeland across the sea?

The Funeral and the Ride to Hilo

Neighbors and Grandma’s friends from church had been bringing us food for days. We never had to cook. We spent the days reveling in the memories of a life well lived.

The hearse arrived at the church and for the next two hours Grandma lay in the church hall surrounded by those who loved her. She looked young and beautiful again. Children ran up and down the halls. Uncle Kindy Sproat, who was known for his beautiful falsetto voice, sat at the foot of Grandma’s casket playing the ukulele and singing Hawaiian songs for two hours straight. People sang along; others would walk up to the casket and bend down to kiss her or talk to her.

None of us really wanted to close the casket because we knew that would be the last time we would see her on this earth. But the time had come.

I don’t remember much of the funeral service itself, but I do remember that someone read from Proverbs 31..”who can find a virtuous woman”? And it seemed to describe Grandma to a T.

After the funeral, we prepared for the two hour ride to Hilo. Grandma was to be buried at Homelani Cemetery overlooking Hilo Bay. The hearse would lead the way. We looped back around from the church to go past Grandma’s house one more time. The hearse stopped and my Dad got out to pick some flowers and put them in the back with Grandma. She loved her garden.

I will never forget the 90 mile ride from Kapa’au to Hilo. Every single car coming in the opposite direction pulled over to the side of the road out of respect for the funeral procession. No cars behind sped up to pass us. Everyone allowed us to drive Grandma to her resting place in dignity. Just for a little while, the world slowed down.

Coming Home

For me, it was seeing strangers pulling over to the side of the road to let a grieving family pass by. It was the county work crew removing their hats as we went past. For my husband, it was the beautiful sight of Hilo Bay as we rounded a bend on the Hamakua coast. Both of us knew instinctively that the Big Island is where we wanted to live.

Within a year we had moved our kids and everything we owned to the Big Island.

It’s been over 20 years since Grandma died. I still think of her nearly everyday. All of our kids are married with families of their own now. Some of my grandchildren live in Hilo but most live on the mainland. I know how that feels now when I make my yearly trip to see them.

Mahalo, Grandma, for showing me the way home…

Photo credit: Stephanie Namahoe Launiu