Ka Wai Ola - Office of Hawaiian Affairs, Volume 4, Number 12, 1 December 1987 — Makaku [ARTICLE+ILLUSTRATION]

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Makaku

By Rocky Ka'iouliokahihikolo 'Ehu Jenscn :

Natioe Hawaiian Art

I was invited to the Nov. 6 blessing of the new Office of Hawaiian Affairs headquarters in the PanAm Building on Kapiolani Bivd. I was present at the request of the distinguished John Dominis Holt IV and his wife, Patches Damon Holt, who had most generously donated three of my pieces to OHA for the occasion. They were dramatically installed to create a powerful eom-

memorative to our native ancestors. One of the three pieces is "The Clan of the Feathered Birds," (Ka Poe'e Hulumanu), a three dimensional pieee whieh today dominates one end of the conference room. It was created from an old aeaeia tree from Moanalua Gardens whieh had been uprooted during the Hurrieane Iwa disaster. This pieee honors that unique and secretive elan of bird catchers and feather gatherers who then double as elite guerilla fighters during ancient wartime.

The statue embodies all that is powerful and suggests the kinship and rapport that we have with other elements of this universe. One of the two drawings is my Kamapua'a pastel, depicting the maka-waIuor eight-eye spiritual phenomena that permeated throughout our Pacific realm. Often misinterpreted, this drawing defines the four auras in different colors and assigns to eaeh set of eyes clearly making him (Kamapua'a) spiritually evolved. The third pieee is the Oracle Reading for Lonoikamakahiki, another pastel illustrating one of the many steps that a young high chief had to go

through in order to follow his destiny. Flanked by his father Keawenui-'Umi, and his father's famed seer Kawa'amaukele, Lono is forever immortalized in the history of our people. These three entities will hopefully guide the decision making of our native electives, directing their mana'o towards an outcome that will benefit the native society as a whole. One must also realize that the road to karma has two lanes — the 'aumakua oversee and guide, suggest and ultimately bless — they also mete out personal punishments when the spiritual kapu is not met or respected.

There is a fourth drawing on that wall. It is the Ho'oku'ikahi, a pastel that was commissioned when OHA first opened their offices. The kalo has become our symbolic identity over the years, representing Haloa, suggesting the eommon denominator that binds us all as one, supposedly unifying us into one spiritual power. That, too, is a portrait of an ancestor whose reputation has survived 2,000 years of change, growth and progression. Nana i ka'aumakua!

Mr. and Mrs. Holt are my mentors and patrons. Our relationship goes back 20 years. They purchased my very first works and have continued to do so over the years. Their intent was to set a precedence amongst the affluent Hawaiians, re-instating the patronization of native arts and artists, believing firmly that culture survives through its arts. Unfortunately, their efforts have fallen on deaf ears and blind eyes. The affluent Hawaiians have not supported the fine arts form of sculpting, painting and general hand to eye creativity. I shall always be indebted to the Holts for having the insight to recognize and acknowledge the fine artists of our race and their difficult effort of influencing others to do the same. 1 also commend them both for fostering a sensitive awareness of the arts by donating portions of their priceless eolleehon to others so that the genius of the artist may live on in the minds and spirits of the observers.

Hale Naua's last exhibit of the season, "Syncronicity ," whieh will emphasize the contemporary works of Leialoha Kanahele Iversen, Maiki, Telford Cazimero, Natalie Kamahina Jensen and myself, will be presented at Ramsay's Chinatown Gallery, 1154 Smith St. December 7 through January 8, from noon to 5 p.m. Monday through Friday. Remember! Truth is before time!

January 23 Hawaiian Unity Day