Economy | Page 227 | Images of Old Hawaiʻi

Blaisdell_art-1967

Honolulu War Memorial Construction Begins-News-1962

Blaisdell-Center-1961-

Honolulu_International_Center-under_construction-1963

Blaisdell-Center-Construction

Blaisdell_Center-Construction-interior

Blaisdell_Center_Construction

Byron-Trimble-June-1963

Blaisdell_Arena-(WC)

Blaisdell_Concert_Hall-(WC)

Blaisdell_Exhibition_Hall-(WC)

Ward_Estate-Old_Plantation-form use of Blaisdell site-DMYoung)

Concert Hall Construction Ceremony plaque-1963

October 14, 2015 by Peter T Young 3 Comments

Wahiawā Hotel

“An instance of community enterprise truly admirable is being exhibited by the Wahiawā Settlement Association in the erection of a hotel in that Salubrious village.”

“As shown in the list of building permits in this paper the other day, the building is estimated to cost $3,650, and the plans have been prepared by Emory & Webb, architects. Its location is 300 feet from the railway station.” (Star Bulletin, January 21, 1913)

Let’s look back …

In 1897, Californian, Byron Clark, became the Hawaiian Republic’s commissioner of agriculture. In looking for land for him to settle on, he learned of the availability of land at Wahiawā.

Clark organized a group of other Californians (as well as others) to join him in settling the whole tract of thirteen hundred acres — which became known as the Wahiawā Colony Tract. Having formed an agricultural cooperative called the Hawaiian Fruit and Plant Company, the homesteaders began formalizing and refining the physical organization of their Wahiawā settlement.

Initially each settler lived in a house on his five-acre parcel in the town site and farmed his other land in the surrounding area. It was soon discovered, however, that each settler preferred to reside on his own farmstead, holding his town lot in reserve. The homesteaders abandoned the village plan and agreed that one man, Thomas Holloway, would live on their 145-acre central lot site.

On August 27, 1902 a trust deed, referred to as the Holloway Trust, formally set aside the central town lots for the use and benefit of the Settlement Association of Wahiawā resident landowners.

Within a few years, Wahiawā Town was underway. Some of the town’s streets would be named for the early homesteaders – including Clark, Kellogg, Thomas and Eames streets (initial mapping shows California Avenue as the first, and main, road.)

Back to the hotel … “This hotel scheme was taken up by the association as the best way to expend a snug balance in the settlement funds, as well as to utilize the hall that had been erected for community gatherings.”

“Originally the structure was used for a schoolhouse, but ultimately the government provided a school building for itself. Besides erecting the hotel, the association is going to provide Uncle Sam with a post office building.”

“There are two buildings in the establishment as planned, the main building to be an auxiliary cottage the old assembly hall reconstructed. In the main building there will be six bedrooms, a parlor and a dining room, the last being utilizable also as a living room.”

“The remodelled cottage will have four bedrooms. A veranda ten feet wide will extend along the four sides of the main building. The bedrooms are of good size, the four on the ground floor of the main building being 12 by 13 feet. There is a gable outlook on every side of the house, each commanding beautiful scenery.”

“Each house is equipped with all needed conveniences, including linen closets. Guests will have pure water from the clouds, a large tank for rain water being provided. This is exclusively for drinking purposes as for other uses the hotel will be connected with the piped mountain water system of the settlement.” (Star Bulletin, January 21, 1913)

At the corner of Lehua Street and California Avenue stood the old Wahiawā Hotel. The “cottages,” as the hotel was referred to, was operated by Mary Johnson until World War II, when it was formally taken over by the Army for nurses’ quarters.

The start of World War II further helped to accelerate developments within Wahiawā to accommodate the needs of the growing military population. Wahiawā Elementary School on Lehua Street soon closed their doors in the 1940s to become the new Wahiawa General Hospital.

The Office of Civil Defense established a 42-bed wartime medical facility in the wood frame buildings formerly housing Wahiawā Elementary School.

At the end of World War II, the facility continued to remain in operation under the leaders of the Wahiawā Hospital Association. The 72-bed acute care facility was dedicated in 1958, under the official name, Wahiawā General Hospital. (Cultural Surveys)

Post World War II, the old Wahiawā Hotel had been used as living quarters for area school teachers. By the 1960s, Wahiawa teachers, who had been quartered at the teachers’ cottages (as they referred to them), were forced to relocate as plans for the new Wahiawa Branch Library were in the making. (Cultural Surveys)

Wahiawā Hotel was demolished in the 1960s to accommodate construction for the new Wahiawā Library. The library opened its doors on July 19, 1965. The library continues to remain in operation today. (Cultural Surveys)

Wahiawa_Hotel-(CulturalSurveys)

October 13, 2015 by Peter T Young Leave a Comment

People’s Theatre

A century after Captain James Cook’s arrival in Hawaiʻi, sugar plantations started to dominate the Hawaiian landscape. A shortage of laborers to work in the growing (in size and number) sugar plantations became a challenge. The only answer was imported labor.

Starting in the 1850s, labor shortages were eased by bringing in contract workers from Asia, Europe and North America. There were three big waves of workforce immigration: Chinese 1852; Japanese 1885 and Filipinos 1905.

Several smaller, but substantial, migrations also occurred: Portuguese 1877; Norwegians 1880; Germans 1881; Puerto Ricans 1900; Koreans 1902 and Spanish 1907.

Plantation labor contracts were usually of three to five year lengths, after which the laborer could return to the homeland, continue to work for the plantations (much desired by the plantation management,) or remain in Hawaiʻi and look for improved employment opportunities off the plantation (least desired by plantation management.)

Individuals found in the towns by 1900 were generally of four employment backgrounds: a small merchant class, skilled works (such as carpenters, blacksmiths, livery personnel) who had performed these functions on the plantations, those with previous homeland farming experience and unskilled laborers.

At Honokaʻa, the original village had developed along a portion of the coastal Government Road above the Haina sugar mill, near the fork between the Waimea and Kukuihaele Roads, and close to the Rickard residence (plantation manager’s house.)

By 1914, the town had a significant Japanese retail contingent, mostly on the Waipiʻo side of town. The increase in population, ingress into town, combined with the advent of Prohibition in 1920, set the stage for new forms of recreation.

Previously, entertainment in the town had been geared toward single men, drummers (traveling salesmen) and plantation workers in the form of the Hotel Honokaʻa Club, other ethnic clubs, bars, and pool and billiard halls.

Family entertainment consisted of shibai and bon dances at the local Hongwanji Buddhist temple, as well as movies screened in open-air venues by traveling “movie men.” The word shibai was introduced into the common local vocabulary of Hawaiʻi by way of Japanese immigrants and literally translates as “a play” or “a dramatic performance.”

The initial venues consisted of live entertainment rather than films. Live entertainment consisted of troupes of acrobats, kabuki (classical Japanese dance-drama), shibai, singing and storytelling.

The late 1920s through the 1930s marked a period of growth in the construction of indoor theater venues. Between the 1840s and 1970, over 400 theaters were constructed in the Hawaiian Islands.

Literally every town on Hawaiʻi Island, large and small, had at least one theater. They were built primarily by Japanese and Euro-American entrepreneurs, and others financed by the plantations. The first documented theater was erected at Pāhoa in Puna in 1917.

The first Honokaʻa Theatre (now known as the “Old Tanimoto Theater”) opened in 1921 on the mauka side of Government Road (Māmane Street). This theater was operated by Manki Harunaga and his partner J. Fujino in a warehouse-like structure.

Hatsuzo Tanimoto was born about 1864 in Japan and immigrated to Honomū, Hawaiʻi in 1887. He and his wife, Momi Yamamoto, arrived in the Islands on the SS Belgic in 1891.

The family then resided in Honomū, where Hatsuzo was the “proprietor” of a department store. Hatsuzo spoke English though Momi did not. The Tanimoto’s had 8 children; two daughters and six sons. In birth order they were Yoshio (son), Zenichi (son), Shizuno (daughter), Jitsusaburo (son), Yoshimi (son), Teruo (son), Takaichi (son), and Yoshino (daughter) (all born in Hawaiʻi.)

In 1929, Hatsuzo Tanimoto purchased the lot of the present People’s Theatre from the estate of former Hawai’i Island Royal Governor John T Bake.

In 1932 Hatsuzo Tanimoto purchased three lots, including the lot with the Honokaʻa Theatre. The $700 sale included “all machinery, equipment, furniture and fixtures…in the said Honokaʻa Theatre.” He continued the lease until 1934. Hatsuzo eventually closed this theater and leased the space to other businesses.

Tanimoto followed the fashion of the day by constructing a building specifically designed to show films as well as present live entertainment. The lot is located on the makai side of Māmane Street extending just Waipi’o side of the Bank of Hawaii lot.

In 1938, Hatsuzo Tanimoto purchased another lot on the makai side of the road, Waipi’o side of the People’s Theatre Unlike the People’s Theatre, Hatsuzo placed this property under his Hilo Theatres, Ltd., company.

This second Honokaʻa Theatre was constructed in 1939. Although it sported a neon “Honokaʻa Theatre” sign, it was best known as the “Doc Hill Theater”, named after an influential local politician who had arrived in Hawaiʻi years before as a spectacles salesmen who adopted the moniker “Doc”.

The “Doc Hill Theatre” was also informally called the “Republican Theatre,” as opposed to the People’s Theatre (which served as the “Democratic Theatre.”)

By 1939 Tanimoto had opened five theatres along the Hāmākua Coast, including Honomū, Hāmākua (at Paʻauilo) and Papaʻaloa.

Their presence was a testament to the rise of alternative entertainment during the Prohibition era, when bars, restaurants and other watering holes were forced to close or go underground.

Japanese films were shown on Mondays (average attendance 30 people), with Filipino films shown on Tuesdays (average attendance 15-20 people), and X-rated films shown on Wednesdays (average attendance 15 to 20). Thursday and the weekends were reserved for family entertainment (average attendance 50 to 60 people per night).

The 650-seat People’s Theatre is one of the largest buildings in Honokaʻa, and its only operating theater. Built in 1930 by Hatsuzo Tanimoto, its Neo-Classical Revival style architecture is typical of theaters built during the 1920s and ‘30s in Hawaii.

In 1943, William “Doc” Hill bought Hilo Theaters Ltd., with the exception of the People’s Theatre. The rest of these theaters have been either torn down, closed, or repurposed, making the People’s Theatre the only one left between Waimea and Hilo, and the largest outside Hilo.

Today, stage entertainment includes local musical groups, yoga and tai chi, the annual Hāmākua Music Festival, and a fashion show on 1st Fridays (a community street fair held the first Friday of every month).

The Tanimoto family ran the theater until 1990. Today, the theater is owned and run by retired doctor Tawn Keeney and his daughter Phaeton.

The theater lobby sports a café serving healthy breakfasts, sandwiches and sweets along with locally grown, artisanal Hāmākua coffee, and these days new-releases are shown with a modern digital projection system. Wi-Fi equipped, the lobby and café is still a meeting place for the town’s 3,000 residents and visitors to Honokaʻa. (Lots of information here is from NPS and Honokaʻa Historical Project)

Honokaa-Peoples-Theatre-ca 1930

Honokaa-Peoples-Theatre-ca 1944

Honokaa-Peoples-Theatre-ca 1980s

Honokaa-Peoples_Theatre

Honokaa_Peoples-Theatre

Honokaa_Peoples_Theatre

Honokaa Peoples Theatre

September 27, 2015 by Peter T Young Leave a Comment

Protecting a Forest, Preserving a Culture

Envision a child helping to plant a seedling; then, while standing before a 100-year old tree, asking him about what he thought life was like in the islands when that tree was once a seedling.

More importantly, imagine him wonder what life will be like in the islands when his planted seedling turned 100-years old.

This was part of the vision for a forest management plan; let’s look back …

Native koa ecosystems serve as watershed recharge areas while providing recreational opportunities and important wildlife habitat. Koa is considered a vital species for healthy populations of endemic birds and insects. The tree itself has myriad uses in Hawaiian culture and traditions.

In making Hokuleʻa, the Polynesian Voyaging Society (PVS) wanted to use traditional materials (koa wood hulls, lauhala sails, sennit lashing) and traditional tools (adzes, bone gouges, coral files and sharkskin for sanding) in building the canoe.

Instead, the hulls were constructed out of plywood, fiberglass, and resin, and the sails were made from canvas; the lashings were done with synthetic cordage. (PVS)

It takes 125 years or more to grow a koa log large enough for a canoe, which generally needs to be 35 to 45 feet long with a diameter of 48 inches or more (voyaging canoes require larger logs.)

That period may be shortened if specific koa logs are identified for canoes now, and forestry prescriptions (e.g. thinning, pruning) are applied to favor the growth of those trees for canoe logs. (DLNR)

Unless committed efforts were made to grow koa for canoe logs on a sustainable basis now, no Hawaiian voyaging canoes would be built in the future using traditional methods (i.e. from a single large log.)

Likewise, racing and smaller style canoes will need to be fabricated from smaller koa logs joined or spliced together.

While I was Chair at DLNR, I remembered how folks could not find appropriately sized/shaped native trees in Hawai‘i to build the Hokule‘a and subsequent voyaging canoes.

Likewise, I knew of the interest canoe clubs and others had for koa racing canoes. Without protection of our koa forests, we may never have the trees for future canoes.

In 2004, we then initiated the formal designation of the Kapapala Koa Canoe Forest Management Area on land set-aside in 1989, near the Volcano National Park, in Kaʻu, on the Big Island. The designated area consists of approximately 1,200-acres of mature koa-ʻohiʻa forest.

The 1,257-acre property extends from the 3,640-foot elevation of Mauna Loa to 5,100 feet. It is next to the state-managed Kapapala and Ka’u Forest Reserves, and is covered with young and old koa trees, although the trees aren’t yet suitable for canoe building.

Here, koa trees grow tall and straight – necessary traits for core material in canoe shaping. It was the first Forest Management Area specifically designated for nurturing and harvesting koa canoe logs.

A broad, multi-faceted focus was envisioned, dealing with cultural & historical, technical forestry (planning, measurements, theory,) applied forestry (plant, weed, thin, prune, harvest) and wood working (canoe building, as well as crafting of excess/scrap material.)

Seven major goals of the project included:

Preserve Hawaiʻi’s unique natural and cultural inheritance for future generations, by fostering knowledge and respect for Hawaii’s native forests, in a way that inspires better care of its natural environment.
Protect threatened tropical forest habitat and promote environmental policies and practices, that address biological sustainability and human well-being, by identifying and integrating relevant traditional Hawaiian natural resource stewardship models with current Western management strategies.
Develop natural resource stewardship models that involve a wide range of constituent groups.
Involve youth through cooperative programs with the Department of Education, University of Hawaiʻi, and other school and education institutions.
Provide wood workers with portions of harvested trees that are not processed as canoe logs.
Involve other constituency groups (i.e. canoe clubs, forest management entities and cultural organizations).
Provide compatible opportunities for public uses such as hunting and recreation.

Protecting trees for canoes is great; but, for me, the plan was not just about trees – we envisioned greater benefit by getting school children into the forests to help with the management and monitoring of its progress – and help them wonder.

At the outset, we envisioned that trees in the forest would be ‘designated’ to schools and canoe clubs across the state, with students and paddlers from each school/club periodically visiting and nurturing their respective tree. Ultimately, the school/club would get a log for a school/club koa canoe.

Likewise, the intent was to make the excess wood available to wood workers, so nothing would be wasted and crafters would have material to work with.

As part of the project implementation, Hawaiʻi Forest Institute worked with the Hawai‘i Forest Industry Association (HFIA,) DLNR’s Division of Forestry and Wildlife (DOFAW,) Imi Pono and the Three Mountain Alliance to develop a plan for bringing youth to the Kapapala Canoe Forest for cultural and environmental education. (I am proud to now serve as an HFI Board member)

The dream of assuring future koa logs for canoes is apparently working toward reality through partnerships with DLNR and others. I am hopeful the needs for future koa canoe logs will be filled, DOE and children across the state can also participate in these activities, and a healthy forest will be protected.

Kapapala-forest-hfia

Kapapala-forest

Example of Koa_Tree

Example of Koa_Canoe_log-moving

Example of Koa_Canoe_log-hauling

Example of Koa_Canoe_log

Example of Koa_Canoe-shaping

Koa Canoes

Koa Canoe

hokulea-PVS-circa_1975

September 8, 2015 by Peter T Young 1 Comment

Hawaiian, American missionary, Chinese, Japanese, Portuguese, Korean & Filipino

Hawaiʻi is the world’s most-isolated, populated-place; the Islands are about: 2,500-miles from the US mainland, Samoa & Alaska; 4,000-miles from Tokyo, New Zealand & Guam, and 5,000-miles from Australia, the Philippines & Korea.

Using stratigraphic archaeology and refinements in radiocarbon dating, studies suggest it was about 900-1000 AD that “Polynesian explorers first made their remarkable voyage from central Eastern Polynesia Islands, across the doldrums and into the North Pacific, to discover Hawai‘i.” (Kirch)

Then, in the dawn hours of January 18, 1778, on his third expedition, British explorer Captain James Cook on the HMS Resolution and Captain Charles Clerke of the HMS Discovery first sighted what Cook named the Sandwich Islands (that were later named the Hawaiian Islands.)

At the time of Cook’s arrival, the Hawaiian Islands were divided into four chiefdoms: (1) the island of Hawaiʻi under the rule of Kalaniʻōpuʻu, who also had possession of the Hāna district of east Maui; (2) Maui (except the Hāna district,) Molokaʻi, Lānaʻi and Kahoʻolawe, ruled by Kahekili; (3) Oʻahu, under the rule of Kahahana; and (4) Kauaʻi and Niʻihau, Kamakahelei was ruler.

Four decades later, inspired by ʻŌpūkahaʻia, a Hawaiian who wanted to spread the word of Christianity back home in Hawaiʻi, on October 23, 1819, the Pioneer Company of missionaries, from the American Board of Commissioners for Foreign Missions (ABCFM) from the northeast United States, set sail on the Thaddeus for the Sandwich Islands (now known as Hawai‘i.)

Then, something more significant in defining the social make-up of Hawaiʻi took place.

Sugar changed the social fabric of Hawai‘i. Hawai‘i continues to be one of the most culturally-diverse and racially-integrated places on the planet.

The first commercially-viable sugar plantation, Ladd and Co., was started at Kōloa on Kaua‘i in 1835. It was to change the face of Hawai‘i forever, launching an entire economy, lifestyle and practice of monocropping that lasted for well over a century.

A century after Captain James Cook’s arrival in Hawaiʻi, sugar plantations started to dominate the landscape.

What encouraged the development of plantations in Hawaiʻi? For one, the gold rush and settlement of California opened a lucrative market. Likewise, the Civil War virtually shut down Louisiana sugar production during the 1860s, enabling Hawai‘i to compete with elevated prices for sugar.

In addition, the Treaty of Reciprocity-1875 between the US and the Kingdom of Hawai‘i eliminated the major trade barrier to Hawai‘i’s closest and major market. Through the treaty, the US gained Pearl Harbor and Hawai‘i’s sugar planters received duty-free entry into US markets.

However, a shortage of laborers to work in the growing (in size and number) sugar plantations became a challenge. The only answer was imported labor.

Starting in the 1850s, when the Hawaiian Legislature passed “An Act for the Governance of Masters and Servants,” a section of which provided the legal basis for contract-labor system, labor shortages were eased by bringing in contract workers from Asia, Europe and North America.

Several waves of workforce immigration took place (including others:)
• Chinese 1852
• Portuguese 1877
• Japanese 1885
• Koreans 1902
• Filipinos 1905

The sugar industry is at the center of Hawaiʻi’s modern diversity of races and ethnic cultures. Of the nearly 385,000-workers that came, many thousands stayed to become a part of Hawai‘i’s unique ethnic mix.

The Kepaniwai Park and Heritage Gardens is a peaceful place to experience various cultural buildings; it was created as tribute and a memorial to Maui’s multi-cultural diversity.

Started in 1952, the park contains several monuments and replica buildings commemorating the Hawaiian, American missionary, Chinese, Portuguese, Japanese, Korean and Filipino cultures that make up a significant part of Hawaiʻi’s cultural mix.

Attractions include an early-Hawaiian hale (house), a New England-style missionary home, a Portuguese-style villa with gardens, native huts from the Philippines, Japanese gardens with stone pagodas and a Chinese pavilion with a statue of revolutionary hero Sun Yat-sen (who briefly lived on Maui.)

It is situated near the entrance to ʻIao Valley in the West Maui Mountain, just above Wailuku. It is open daily from 7 am to 7 pm; admission is free.