Ka Wai Ola - Office of Hawaiian Affairs, Volume 6, Number 12, 1 December 1989 — On location with the National Geographic [ARTICLE+ILLUSTRATION]

On location with the National Geographic

iMakaku

By Rocky Ka'iouliokahihikolo 'Ehu Jensen ®

By Rocky K. Jensen

Welina me ke aloha! Kala mai ia'u for being absent last month, but I was in Kona assisting Moana Productions in the filming of their National Geographic docu-drama "Hawai'i II." In my October artiele, I mentioned the scarcity of our more re-

finedarts . . . continuedfilminghasonlyconfirmed my previous speculations. In speaking to Mauna Roy, the maker ana shaper of the rebuilt 'Ahu'ena Heiau and the fine handiwork displayed in the King Kamehameha Hotel, I discovered that Hawaiian teachers of arts and crafts are not equally respected as educators and unfortunately are not paid well. Elizabeth Lee, an excellent lauhala plaiter, is just one of these many kupuna, who devotes most of her time to "showing" her talent. Roy went on to say that the hotels patronize them, give them a space to display their wares, but do nothing to encourage programs for instructing the youth of the future. It would be ideal if the universities and colleges of our fair islands instituted serious, credit awarding classes whieh included the more refined of native arts. Alongside paper-making, ceramics, and drawing and painting, we could also have native sculpting of ancestral imagery, kapa design and painting, the making of dyes using endemic materials, the intricate plaiting of the fine Ni'ihau mats, substituting Makaloa with another more acces-

sible sedge, the awesome plaiting of Hawaiian basketry, an art that has been lost to us for over 100 years, the design and construction of Hawaiian architecture, stone and otherwise. The list is endless. HopefuIly, someday the outside world will appreciate our human resources, our artists. Remember that with eaeh generation, something is inevitably lost. We really can't wait mueh longer. On to other things, concerning the National Geographic filming: I'd like to extend my sincere ho'omaika'i to the manager of the King Kamehameha Hotel, Paul Pasteur, and his able director of cultural activities, Moana Kuma, for allowing us the privilege of using the "Liholiho" eape made by kupuna no'eau Mauna Roy. Our aloha of appreciation also goes out to kupunawahine Mary Kalili, who stood by us through two projects, through thick and thin, from morning until night. Her Hawaiian 'ohana, Jerome, na mo'opuna Kalei, Chanell and tiny Palea, mother Sonja, for being so patient . . . to Mary Ah Lo Padilla for her inexhaustible generosity and the support of her two Iovely daughters, Tiffany and Trisha; to Lorin Keli'ikipu Bush, Jerome KaKli, Albert Kahaihili, Zadoc Kekuewa, Kupunakane Anum Kealamakia, who portrayed the handsome "A" (Ali'i) team with pride and conviction. Also to Leland Pafi Jr. and Buster Padilla, lawai'a nui (fishermen) par excellence; kupunakane Mikaele La'au, our 75-year-old "kahuna," who along with kupunakane Anum Kealamakia, showed up every morning precisely at six, dressed and ready for "action!" These two men, joined by Mary Kalili and Elizabeth Lee gave us all a treat in constantly supplying us with personal anecdotes and histor

ries in the spoken native tongue. A great big mahalo nui to the neighboring po'e kanaka o Honaunau, especially Zadoc Kekuewa and recruit Wela Delo Santos, who pitched in at the last minute out of aloha. And to our "out-of-towners," Rhinehart Jensen, his wife Doreen, children Sean, Rhiney and Jocelyn, who traveled those endless miles from Kamuela daily to help with our project. We could not have done anything without the cooperation of National Parks Director Jerry Shimoda and his multi-talented staff: Tom DeAguiar, Charles Grace, Herman Puou Kunewa and Carla Freitas, who gave of their time unselfishly. I would be remiss in my duties if I didn't extend a very personal aloha to brother Tom DeAguiar, who joined spiritually with me on several difficult issues concerning the sacredness of our esoteric culture. This man made it all possible for us. Let me see, did I miss anyone? Oh yes, Patrick Horimoto for his incomparable helmets. They are things of beauty. When Lorin and Jerome put them on, they truly became transformed. I thank Herbert Kane, who took time out from his busy schedule to contribute huge stands of bananas for our humble 'ipu'upu'u . . . Mr. Hing for his adorable pua'a, Carlene Wakefield for her recruitment and delicious catered food and Mana Electric for the extra power needed for our many lights and cameras. And, I cannot forget to thank my daughter Natafie Mahina, whose patience and enthusiasm while filming her feather segments overwhelmed me and my wife Lueia for her very special mana'o. Remember to support our native artists! Mai ka po mai o'ia'i'o! From the time of Po, we are continously acknowledged.