Today on a Spectrum of lost traditions, we’ll search the sea bottom Hawaiian style, we’ll discover the crackling energy that shapes neon signs and the patient skill that lies behind prize winning hand made kites.

Neon tubes are known by the signs in which they appear.

The shapes of these signs of faithfully rendered by the practice hand of Bozo Shigemura.

Kites are known by their flights through the skies.

Spectrum finds that these cheerfully decorated toys are the creation of reference pipe maker Richard Ching.

But first Spectrum learns why the traditional Hawaiian method of octopus hunting is called squid eye.

Here to begin our journey into Hawaiʻi's lost tradition is newspaper columnist Mike Mockridge.

The Hawaiian word for octopus is heʻe, but usually it is called squid.

It has been an important part of the diet of many people in Hawaiʻi for hundreds of years.

The fishermen who know how to find it are said to have squid eye.

Mrs. Julia Enoka of Waimānalo remembers How old was I?

Ever since I remember I was a little girl, my mother's brother, he was a fisherman and he went out squiding he had the eye for squid, not everybody is able to see squid in the, you know in the holes.

So, the person who fish must have a good eye to see, you know, can tell how the fish, how the squid looks like in their holes.

Sometimes just the head part is sticking out of the hole.

Sometimes it's the leg portion with all the suckers sticking outside of the hole.

And that person’s eye must be used to just how it looks in that hole and in the water amongst the seaweed, you know, floating around and that's what you say when a person has a good squid eye, he can see squid and he can catch them.

Spear them.

Not everybody has it though?

Not everybody.

Squid fishermen rise early for the low tide.

They look carefully for signs the octopus is left on the sand, a bit of shell or rock arranged in a special way that marks a squid hole.

Mr. John Miner a longtime Waimānalo fisherman explains.

Well, when you go out this certain way, down the bottom of the ocean there is a way that squid keeps it.

Yeah, wherever you walk, you see he turns it over.

And from there he goes hiding, then he crawl himself up.

That’s why people pass by, they don't see um.

But do you see the ground you look at the ground, you know, it's something there.

The old days, they used to get the coconut you know, we go with a coconut.

And we chew it up, what we do is spit it in water and the water gets cleared and you can see what you want down at the bottom.

Back in the old days, the fishermen all taught the children, you know how to fish, how to squid, you know, because it was very important for their livelihood.

That was the means to get food for the family.

And as they grew older, they would have to support their family and they were not taught at a very early age, how to plant taro, how to pound poi, how to go to fish, how to look for squid, they just weren't able to care for the family.

So, the fisherman taught their children a lot of things about fishing.

Kanaloa was the God of the squid they pray to him to tell him to take care of them when he got the water and to make their fishing, their squiding profitable that day.

They go out and come back with something.

You leave it on that shrine if you have a shrine that you leave it on that shrine.

You leave it there for the gods, and you know in some way in the old days somewhere, the spirits come and take that away.

The Hawaiians believed in it the spirits come in take them for themselves to feed themselves because I was Hawaiian, witchcraft.

Actually, the old Hawaiians way back in the old days, they also used the squid for healing sickness.

This is part of sorcery, Hawaiian witchcraft which is Kahuna that does all that work.

When a person is sick, they went out to the deepest part there's not any kind of squid they cut, but they went out into the deep part where the Kahuna would let down his lewer which is the cowrie you know that with the hook underneath down to the bottom of the ocean.

This particular squid that they're looking for must be outside of his hole laying flat on the ocean floor with all its arms, the arms is what they call in Hawaiian the aweawe, the of the arm sticking out into out onto the sand and he will lower that down to pick up that squid and the squid would cling on that that's when they will bring back and they would treat the the sick person with it.

However, they used it I don't know maybe they placed it against that person's body and for some reason I don't know how they do it, but they used it for that purpose for treating the sick people and the Kahuna has a lot to do because he is chanting away in his chants you know Oh, you will pray to Kanaloa who is the god of the squid and actually the word squid.

The squid the Hawaiian squid is heʻe, when we talk about squid, squid is the Hawaiians would call mūheʻe which is one with a long head and the shorter legs you know what kind they are like the California squid, the long head and the short legs.

They are called squid, but the island squid the Hawaiians call them just heʻe, you know, which is supposed to be octopus.

While the previous octopus was photographed in a tank at Sea Life Park, this one was photographed at a depth of 1,200 feet off the Puna banks by Professor McMurtry in a submarine Makaliʻi.

Mr.

Miner described how octopus lures are used.

Some people they puts a bait on the hook here, some crab you know, any crab or fish, whatever they do, they put it on here, slip it down, and they tie it up a little.

Yeah, yeah.

And then from there, they get aligned, they tie it over here.

He got to be an 80 or 100 pounds.

That's fine.

This is what he wants, the shell.

He doesn't care about the crab.

Well he doesn't care about it, if the crab is there, he goes for the crab first.

Cause he knows this don't move very much, see.

Very slow but the crab does.

So, he gets that first and when he gets that, that's when he get caught.

Because he put one legs on it, then he put the next leg on it and then continue on til he sits right on it.

Cause he sits right on it, you just, you can tell because you know one of the legs are holding her up.

Then he said stretch of the line then we know it is on there.

But the Hawaiian usually have the bone hooks.

They stronger than this one.

So this is stronger than steel right?

With the steel sometimes squid bends it.

Yeah.

Oh, yeah.

But the squid, the octopus, it doesn't bend when you pull it up.

Yeah, yeah, it won't bend it.

Octopus won't bend the bone?

No, no, they won't bend a bone.

But they know what it is.

But if you were telling me if you leave it down too long, the octopus will smash the cowrie shell?

Yeah, he will.

But you won’t leave it long because you know the feel of the way they pull.

Yeah.

And you pull it up.

You go you want to squid yourself and the squid wants this.

Once an octopus is caught, it is carefully cleaned like this one by Alohialani and her father, Harold Ahuna.

Mrs. Enoka explains.

I just cut the, you know where the open part is and take out the sack, the ink sack in there.

I know that with the big kind of squid that they catch the big kind of heʻe, we usually strip the legs, strip all that outer skin off because it comes much more tender and then you don't have to see the tentacles when you eat it.

So restricted, but the young ones, you don't need to do that.

So, you cleaned out the ink sack, and then pound it with salt.

You pound the whole thing with salf.

Yes, until the you hold you hang on to the neck of the head and then you just pound it until the tail or the, the arms begin to curl up and then it's ready, it’s soft.

It truly is a delicacy for the whole hands.

They love it and you can boil it and eat it too.

You will have to acquire a taste for it.

Not everybody does love it.

Hawaiians, local people, yes.

For hundreds of years, the knowledge of how to survive from the sea is passed from one generation to the next, the tides change the beach shifts and the stones move but the reef is still here, and so are the owners.

And so long as there are octopus to be found there will be fishermen who seek them, and the successful ones will have the eye.

Coming up, Chinese kites fly high in the Hawaiian skies.

But now spectrum travels to the neon lit streets of Honolulu.

It is here where the season technique of Bozo Shigemura sheds its light.

Neon, a flash in the night pointing the way where to go, where to eat, where to shop.

Neon, so common that its presence can be taken for granted.

It was in the 1920s when neon first lit up the streets of Honolulu.

And among the first here to learn the new trade of sign-making was Robert Shigemura.

I want to apprentice.

I didn't do much of a job but I watching for what tick it off so that I don’t have no mystery as I know by myself.

You see?

I gotta work hard.

He is a quiet man who works by himself at the Neon Electric Service Company in Kalihi.

Although he's in his 70s he still handcraft signs for those stores, and even individuals who want to see their names in lights.

Robert Shigemura is simply known to his friends and customers as Bozo.

When I was a young boy, I went, I went to work for an electrical company.

So for about a year working people for me, he put me some nickname on me so if only Bozo.

Airplanes I go during the war I worked.

These men know me.

You call me Bozo.

So next person hear that name they call me Bozo, so keep going.

Bozo signs begin with Robert Greene, the company's designer who first draws the sign to scale on paper.

This is then transferred to asbestos sheeting, which Bozo uses as a heat resistant pattern to shape the bends and curves of the lettering.

He works quickly marking with chalk the place where a bend is to be made.

Then he heats the straight tube carefully to prevent cracking and deftly manipulates the heated glass to conform with the signs pattern.

Plugging one end of the tube, Bozo gently blows air through a rubber hose into the other end to prevent the heated tube from collapsing before it has cooled.

Once the tube has been shaped and is cooled, Bozo inserts electrodes at both ends and tests it with thousands of volts crackling from end to end.

Now this sign is ready to be filled with the neon gas that will give it life.

Different glazes baked on the inside of the tubes create the spectrum of greens, oranges, whites, dark blues, and yellows.

Bozo uses transparent tubing when he wants the natural scarlet color of neon gas and the light blue color of argon gas.

His career has been affected by blackouts during the war and then again by recent ordinances preventing the construction of large outdoor signs.

When you know my job is often off and on, off and on because they don't have big demand on that neon sign.

But back on 1930, 32, was so busy.

A lot of neon signs, big signs, all the sign I made a couple of years ago was places, Hawaiʻi, Kaimukī, Kapahulu, Iao Theater, Hilo Theater, so forth.

So many, I cannot remember.

Not only have many theaters carried neon signs by Bozo, but restaurants, bars, shops, and even a whole district.

Hotel Street you know, Wo Fat.

That’s a famous restaurant, you know, Wo Fat.

Hubba.

All those signs you don't see any more already.

The old tradition of handmade kites was brought to Hawaii from China by Mr. Richard Ching.

Many years ago, Richard Ching, learned how to make painted kites.

Through application and skill.

He advanced to a degree of technique, which created kites that soared higher, and stayed up longer than most others.

Let's see how he does it.

Well, I make kites because I love to look at line object and it’s a challenge that what?

How good can I make and I have a lot of fun.

I like flying objects.

The Chinese kite, the bow kite, is made from a square piece of paper.

Be sure that the paper is really square, then you have two pieces of bamboo.

And then when you make your bow, the bow is placed this way.

The perimeter this way here, just the opposite way from the American bow.

The American bow, is goes this way.

The Chinese kite has more flexibility.

By flexibility, I mean this, the wings, you shake it, it flaps.

And when it flaps, when you pull the string, it flaps, it gradually goes up and up and up.

Whereas American kite eat, they have the hydro this way here.

Nowhere else just one way.

So, there is a little bit more advantage in this bamboo than this regular stick, flexibility.

To make a kite you got to have bamboos.

So, I go up in the forest, bamboo forest, wherever there is bamboo, and I select my bamboo.

When I select my bamboo, the bamboo should have long knots for me to here is alright, but not short kind of a knot.

Then, it's all depends on the size of kite that I want, but for the size of a kite that I have now and I got over an inch or inch and a quarter inch thick bamboo, bring it home, cut it up and split it up in half like this.

After it's been dried, then after that, I split it up in small sections like this.

Then after that, I find the one that I want then I start to work on my bow and the centerpiece.

I shaving it down.

The next step I do get the string here.

What is knot, 1,2,3,4 times turn, boom then I turn it over do the same thing more or less get an idea how big the bow is going to be.

Next thing I do is to put the bow on the kite and see how does it look?

See how does it work?

Yeah, good enough.

Then I have my contact cement, you contact cement then I put a little bit on the bamboo sufficient.

I don't have to make it all over the paper take too much time and this and that.

So, we do it this way.

In the old days, the regular paste costs too much money.

So instead of using the regular paste, I used to use rice, flour and sometimes poi.

But there is one fault with it.

At night time comes along the cockroaches eat them up.

So that’s the problem.

Just on the bamboo is sufficient the others the not to show they put on the paper and all, but I just say some glue and I paste it this way.

Okay and the next thing the centerpiece.

Stick it under here and put it to the top.

Then I use a thin glue, put it on the top here and some on the paper.

Well I have formed kite more than 60 years.

Today I'm 71 so you can see when I was 11, probably I was about nine when I started.

But 11 years old was when my dad took me to China and that is when the real challenge came in.

Because when I seen the kite up in the air, it was hardly in the wind and I was so happy I said I got to make a kite something like that one.

That kite can fly very light wind when most kites won't fly.

And so, when I came back to Hawaiʻi I learned how to make all the different kites like this.

When I started to make my kite I didn't even know how to paint.

If I were to show you those that I made about 22 years ago I would be ashamed to show them to you now because they were, they were lousy paintings but as we go along then I start to improve.

Well to me kite making is an art.

Any Tom, Dick and Harry can make a kite but will it really fly?

So, I make a kite and when I say it’s art, I mean to make a kite and fly in light wind, medium wind and strong wind.

When I fly kite because I have some kind of sense of happiness when I see that kite in the air then I am so happy.

I see the kite flying in the air and sometimes I see the birds fly around a kite and sometimes the birds will even hit the kite string.

It gives you that kind of feelings oh my even the birds come to investigate you know and give you a heck of a good feeling that you cannot even express at all.

(music) Where I live, there are rainbows.

And flowers full of colors and birds filled with song.

I can smile when it’s raining And touch the warmth of the usn I hear children laughing in this place that I love.

Where I live, there are rainbows, With life and the laughter of morning and starry nights.

Now from Hawaii Public Television’s Mele Hawaiʻi series, here is Charles K. L. Davis’ tribute to Henry Berger, past master of the traditional Royal Hawaiian Band.

It was at least a concept started by Berger, that island visitors became so familiar with both the lilting and upbeat sounds of Hawaiʻi.

One song that is still often played is Hilo March, originally called Ke ʻAla Tuberose.

This song was written by Joseph Aeʻa, and later changed by Berger to become one of Hawaiʻi's most popular island marches.

(Band playing) Traditions are lost only when they are never found again.

As we survey the rich legacy of our heritage, we learn to conserve those traditions worth keeping and to build upon those traditions worth changing.

Join us again on our next Spectrum.

(music) Because I love you more that’s why.

You’ll bet I’m coming again.

Aloha ʻoe, aloha ʻoe (music) Spectrum was funded in part by the Hawaiʻi State Foundation on Culture and the Arts.

The following program has been funded in part by grants from the Hawaiʻi State Foundation on Culture and the Arts.

To the north and east of Maui's Haleakalā crater lies the district of Hāna.

Beautiful Hāna is rich and fertile, bathed with sunlight caressed by soft tradewindes, and overflowing with pure mountain waters.

This gentle land beckons the children to play.

Blue pristine offshore waters yield a bounty of food.

Cattle thrive upon the land and the people of Hāna never go hungry.

The people of Hāna live in a special harmony and capture closeness that is rapidly disappearing in our modern world I think Hāna is such a unique place to grow up.

It was fortunate for me to be raised and brought up in this area, although our surroundings were, we're kind of isolated from you know central Maui, Pāʻia, Wailuku, Lāhainā, but I think this surroundings, which is so unique and which is so important, not only for me but also for my my, my children, that is going up in here, in Hāna.

It is so important for us, because we are isolated to live the way we live, which is very simple.

We live off the land, we live off the ocean, we kind of help each other we support each other, especially the families in Hāna, the ʻohana.

One of the greatest thing to to be raised in Hāna is you are somehow related.

Hāna gathers its strength from the kūpuna is from people that has been born and raised here.

And they, they love the ʻāina know of Hāna.

I do too.

I've been away for some time.

I was glad to leave I was happier to be back.

Centuries of invasion, combat and conquest fill the history pages of this most of desirable places.

Graveyard and birthplace to both royalty and commoner alike.

The spirits of those who once made Hāna their home echo from the distant past.

My name is Luʻukia Pelekai.

I first came to Hāna in August the 31st 1916.

When we came in, they had an old pier down there and we had to the boat had to park out.

And then we come on a rowboat to the pier.

We came to Hāna guess my husband was sent from Wailuku to work for the county over here as a mechanic for you know, we came with the first truck for the Hāna district.

Life has been good to me and I enjoy staying in Hāna.

There was a great physical disturbance.

And I arrived on the scene at about five o'clock on the morning of July 25, 2014.

And when I was growing up in Hāna, it was a beautiful paradise.

And even while I thought it was the end of creation at the time, in later years, I learned that this was the the the end of the rainbow.

My first introduction to Hāna was in February of 1942 when I was assigned as district commander of the Maui County Police Department.

A lot of things were happening out there during the war.

The police department was the major agency in Hāna there was no military there for a while, and about 1943 a contingency of the US Army did come in to Hāna.

But prior to that the police department was the whole show.

My wife was a Hāna girl.

I always tease her by saying that I hired her as my secretary with malice aforethought.

Six months later, we were married.

So Hāna to me has been, as I say a very, very special place.

When I got out there in 1942, the sugar plantation was going full blast.

And that was the major economic entity in the whole district of Hāna which extended all the way from Kailua to Kaupō.

The district had about 3,000 population that time and now it's just a little bit more than 1,000.

So almost all of the economic life revolved around the plantation.

90% of the jobs at that time were plantation related either directly or indirectly.

By 1944, the plantation closed down it was no longer economic.

And they were losing a lot of money them in the red.

So, the parent company which was C. Brewer decided to close down that plantation.

Let me tell you that was a very traumatic experience for the people of Hāna because the main job source just disappeared.

What was fortunate for the district was that a multimillionaire by the name of Paul Fagan came on the scene and he had been a stockholder of C. Brewing Company.

And he decided to buy the entire plantation.

Which he, which he did in about 1944.

So, between 44 and 45, he developed that whole plantation into a first-class ranch.

So, my recollections of Hāna will, are always have the ranch, being born and raised on it.

Hāna being, Hana Ranch.

Hāna has always been cattle to me.

It's always been a ranch way of life, it's always been a rural way of life.

I hope it remains this way.

The last year on the ranch, we have been going, doing a lot of learning about the HRM holistic resource management process.

And one of the parts of it is goal setting.

And we have about a year ago, we this we sat down with all the employees of the ranch, and the owners and the managers of the other divisions, the Rosewood Company here, and we formulated some goals we put down on paper, our goals.

These are goals that we would like to how we would like to see Hana Ranch 50 years in the future.

And it came out that all of us wanted Hāna to remain the way it is we want it to be rural, pastoral landscape.

We'd like the ranch to remain a ranch.

We like the cowboy lifestyle, the hunting and the fishing.

We don't want it to develop any more than it is now with just the ranch and the hotel.

And we'd like to see Hana Ranch be successful so that Hāna can remain the way it is.

You gotta have dogs in this mountain.

Dogs is the absolute necessity.

No dogs, no pig.

Well, you you can sometimes a miracle happened you go up there and a pig is in a way in or something.

But normally you take dogs, very, very few hunters over here go without dogs.

You have to use dogs to find a pig.

Most of the hunters here used the old surplus carbines or World War Two carbines 30 caliber.

And we use the soft, soft point bullet because the the military type bullet which is the solid one, it'll go through a pig.

I've seen it and Lawrence knows that thing go through and right through the dog’s foot.

Mostly for food.

Very few go for the sport and throw it away.

It’s to bring home and make use of it.

If two people go we divide in half, then we'll bring home we give to our brothers and sisters.

Whoever can make use of it.

They make they don't throw nothing away.

Make sausage, then you can make it in laulau with ti leaf steam and then you can roast.

But don't make stew out of mountain pig, the smell come out see.

That'd be dry I would think.

Stay right here.

(gunshot) I came here about 10 years ago, and I had been coming to Hāna for about 12 years.

And it always just seems such a beautiful, remote, special, spiritual kind of a place that I didn't realize it had actually gotten under my skin until I had been here a couple of years.

And I've been visiting Hāna.

And so I decided I would buy me a small parcel of land, about five acres, six acres, and then I had heard that the Hana Ranch were selling some agricultural plots.

So, I came over one weekend to look at them.

And for some reason or another, I asked if they had something a little larger.

And so they showed me some larger parcels.

And so then just so happened that all three parcels that I liked, were contiguous, they all joined and so I ended up instead of five acres, I got about 500.

This is the beginning of some of our macadamia nut orchards.

And we seem to have right now is the blossoming time of the trees and they have the beautiful blossoms.

And they have a lovely smell.

It's almost like an orange blossom but not quite as heavy.

And we're coming into some of our macadamia orchards here now.

I wanted you to see this, this is kind of special.

This these are some of the, to me some of the biggest banyans in probably the whole state here.

There's about you can sort of see the size of these things by by my getting over here, sort of insignificant in this great temple here.

But interestingly enough, these these banyan trees, they're about seven of these in a row here.

And they were all started.

This there used to be a railroad through here that carried the sugar cane, and they use the cross ties of the railroad was banyan wood.

And this land is so rich that they rooted and consequently you have these beautiful majestic trees.

It's a little bit like Swiss Family Robinson multiplied a few times.

These are macadamia nut blossoms I don't know where this is interesting to your audience or not but they're interesting to me.

And then after the flower falls off, you'll have this little thing left here and on the each one of these is forms a nut.

They of course all don't live because if they all live they would probably kill the tree because they get so heavy and big.

But then after the nuts formal after the blossom is dropped, they start growing on little pieces.

Can you see this?

Alright, these are little small macadamia nuts that have just started and they have a husk on the outside and then they have a shell on the inside and then the nut and then these will when they get ready to get big enough and they'll fall to the ground and we pick them up.

And that's how we harvest macadamia nuts here.

My idea of a vacation is coming home to Keʻanae.

I love this place.

You can't help but love it.

I never tire of it.

It's like being in love and being happy that you found what you want and you've got it.

You know it's there for you.

This is a place where one comes to find themselves.

Even if you've been in the city in Wailuku for the day we always feel like you got to get home got to get back to the country back to Keʻanae because of the clean air, the mountains the ocean and the feeling of family is very prevalent here.

At Uncle Harry's we try to do a lot of Hawaiian crafts.

The kūpunas here they actually do allow hala making and then we buy from them.

Everybody tried to be a winner.

But this is a family operation and also my dad do wood carvings, bowls trays and I do some of the sculptures is in the back of me tiki’s woman faces more on a sculptures.

Like here when it rains during the winter we do a lot of having a lot of sculptures like that.

Like doing is nice and sunny.

We clean the yard or working the taro fields like that.

But mostly in my condition I love to carve doing sculptures.

Milo, out of milo wood.

Out of koa wood, few monkeypod but more on the texture of the wood the dark woods milo or koa.

Hāna is a special place where when we perform or do the hula it's because it is surrounded with such beauty.

And the people here being how they are.

It's a joy to teach it.

It's wonderful to perform to dance it because there is this special mana that we have here.

That would comes from the land comes from the people and I really feel that the people here in Hāna are blessed.

I feel blessed being here.

I'm sorry, I can't talk about it without crying because I feel strongly about Hāna and its people.

It's such a very special place you know.

And when we when I do the hula when I teach it, I feel so proud.

The hula has so much to say, for our people.

It's an education for our youngsters so that when they grow up, they will have some of their culture.

Hopefully a lot of it because at one time we were losing our, our culture.

But now it's coming back.

Thankfully, and I think when we are surrounded with such beauty, it brings out a lot of the good in us.

It makes it easier to perform and a joy makes it a joy.

And I feel that the children even the adults just love doing it.

They enjoy it.

(singing) E nānā aku i ke kumu E ho‘olohe mai E pa‘a ka waha E hana me ka lima E nānā aku i ke kumu E ho‘olohe mai E pa‘a ka waha E hana me ka lima E pa‘a ka waha E hana me ka lima Churches along the Hāna coast were built, basically one days right apart from one another.

And we're probably originally grass shacks.

There was a grass shack here at the base of Kauʻiki hill here and Hāna, that proceeded one on Wananalua church here.

And this church wasn't begun until 1842.

It took 20 years to complete the construction of it.

There there were heavy populations of course, beyond Hāna out into Kaupō and on around into Kanaio and ʻUlupalakua, but there was no connection.

It took 10 days to ride from Hāna to Kaupō on horseback or mule back in those days.

Most of the commerce was by water but there was very little communication between churches and they became quite independent of one another at one time because there just was no way for people to communicate easily with one another out here.

Then we sugar died along the coast beginning and Kīpahulu and working its way back up to Hāna in each little village that the sugar industry failed and the people would all move out because there was no work little by little the houses would disappear, but the churches would be the last thing to go because there would always try to protect the churches and the graveyards and try to keep them up as well as they could.

And so a whole series of churches along the coast became sentinels of something that used to be that isn't here anymore.

And there's a group of us that have been working over the years to try to save a few of them so that they're not lost for all time.

(singing) Pua Hipa a ke Akua, nāu e huikala nā hewa o ke ao, e aloha mai iā mākou o ke ao, e aloha mai iā mākou Pua Hipa a ke Akua... Local people a lot of Hawaiian people are now coming back to the ʻāina and I hope in the future that more would come back.

They losing this land.

The reason they lose the land is because they moved away they did not pay the tax and you get one a smart alec guy come along and in the back of your back, he’s paying the tax.

You know you Hawaiian people were such a trustworthy people.

They trust everybody to see even if you had a knife they trust you.

You're not going to poke me.

Soon your back turn bingo, you had it.

But you know I hope the future is not this way.

I hope the future is that eh brother I can come your house like today?

And the braddah said, eh my door was open to you, you know, and this is what's happening today.

I don't know about someplace else.

But in Hāna you walk into one Hawaiian house.

You got my house no more door.

Got one big dog but no more door.

I don't need the door because I got nothing to steal.

Or what I got is all in here.

And this is how I raised my family.

And this is how in the future I hope they raise their family.

Well, I think of Hāna as a very rural Hawaiian place, and I'd rather live in that type of setting so I'd like to set my life in that terms.

I think everybody who comes to Hāna has that in mind when they come to Hāna.

I think as the other parts of the island build and become more like a city, as Hāna can remain as it is, rural and not overdeveloped, I think our value is more increased.

And I think that's what we should be looking for.

Hāna is probably one of the most Hawaiian places in Hawaiʻi, like Molokaʻi.

But in Hāna there's a lot of feeling about the love of the land.

And when we talk about aloha ʻāina love of the land it is there.

And the native people, not only Hawaiians, but of different ethnic backgrounds feel very, very much attached to the district.

And so, while they realize that they need some development out there, they want to be sure that that development does not raise havoc with a lifestyle.

The place is called Hana Hawaiian Village and we intend to demonstrate exhibit Hawaiian arts, crafts, and the culture.

Our long goals are to establish a living village, living villages, and you come in, you're going to be educated toward what some of the crafts were, how they're made, what their what were they utilized for, and how the changes that are taking place, and what type of materials that we are, I guess you could say adjusting to.

We want to be able to serve the general public, at the same time satisfy our Hawaiian community, as far as the quality, as far as the the genuineness of the Hawaiian culture.

I plan on living here the rest of my life.

This is home for me.

And I am originally from Alabama, that's home too.

But this is where my roots for my life will continue, I hope.

Hope the good Lord sees fits.

Let me live here.

We won't ever see the old Hāna again, things will will only move in one direction.

And that's ahead, whatever that is, whatever I mean by saying that we are we, you can't stop progress.

My honest opinion is that we are going backwards.

This is not progress.

But how can you stop it with the explosion in the world population.

When I was born, there were only a billion people on this planet.

Today I noticed whenever we celebrated the 5 billionth citizen of planet Earth, 5 billionth.

There are a number of factors that will help to keep Hāna pretty much the same over the years.

I think the key one among them is the desire of the people that live here to have no change.

Hāna is special not only to those of us who do live here, but to people elsewhere in Hawaiʻi look at Hāna is a very special kind of place and everybody wants to protect it.

I think a combination of enlightened government, tight zoning enlightened ownership of things like the hotel and the ranch that don't want to make radical changes here.

I think Hāna has a real fighting chance to stay Hāna for quite some time to come.

I'm often asked to describe or define Hāna.

That's almost impossible to do.

Hāna, sort of a state of mind.

It's, it's an aura.

It's a feeling that you get when you get there.

Oh, we use fancy words like, the ambience is special and all of it.

But there is something to that.

I know that I go to Hāna a lot.

And when I get on a highway and start driving to Hāna, as soon as I get to Keaʻnae I have a different feeling already.

I want to slow down.

I want to stop.

I want to smell the flowers.

A lot of flowers to smell.

I want to look at all of that beauty.

Take my camera out, I'm sort of a camera nut.

And I don't know how many pictures I have of Hāna.

I take the same pictures over and over again.

Thinking about today that'd be a little different shadow perspective in the picture but it is very special.

Then you get out there and you start talking to people and I don't know how to put this in words but I seem to find a genuine character those people then they show openness or honesty so sincere that you feel are the nobody there that's gonna try to take you for a ride.

That the people they're truly in love with what they have out and they really want to share that love with everyone who comes.

Whether you can participate in that kind of love depends on you.

How do you explain paradise?

You just can't you have to go out there and feel it.

God bless... to Hāna, Maui ...on the beautiful Popolana beach Popolana shares the beauty with the beautiful... of Hāna, Maui God bless... to Hāna, Maui ...on the beautiful Popolana beach Popolana shares the beauty with the beautiful... of Hāna, Maui