General | Page 239 | Images of Old Hawaiʻi

June 8, 2016 by Peter T Young Leave a Comment

Shave Ice

“The first Boston ice brought to these islands” arrived September 4, 1850, by way of San Francisco aboard the brig Fortunio. On June 22, 1852, “a few tons of ice were brought to this port from San Francisco by the bark Harriet T. Bartlet” and were partly sold at auction; this was hailed as “the first importation of the kind, in any quantity, to this market.” (Schmitt)

The first full cargo of ice came from Sitka aboard the brig Noble in the latter part of 1853. Locally manufactured ice was put on sale December 2, 1871, but the firm providing it went out of business a month later. Local production of ice was eventually resumed in 1875. (Schmitt)

Lots of things changed with ice and, later, refrigeration; among the nice outcomes was Shave Ice.

It is referred to in different ways, depending on where you are from … in Hilo it’s Ice Shave; lots of folks outside the Islands call it Sno-Balls, SnoCones (or Snow Cones) or even Shaved Ice.

Shave ice exists all over the world today and is known as Gola Gunda in Pakistan, Juski in India, Ice Kachang in Malasia & Singapore where it is served with red beans and other fruits, Raspa, Raspado, or Raspadillo in Mexico and Peru (Raspar means “scrape” in Spanish.) (Stever)

The story of when and where the first Shave Ice showed up is unclear. Shaving or crushing ice, or gathering snow and adding flavor has been popular around the world.

Some suggest it dates back to the Roman Empire (27 BC to AD 395). Snow was hauled from the mountaintops to the city, syrup was added and people had flavored snow.

Initially, hand shavers were used to make shave ice, but by the 1890s many inventors were working on easier ways to make them. In that decade alone, six different patents for electric ice shaving machines were invented.

In about the late-1800s, folks used hand-held wooden planes to shave the ice (or snow) off a block. Samuel Bert of Dallas Texas is credited with inventing a machine to do the work in 1920. He reportedly sold cones and cone machines until his death in 1984.

We can thank the Great Depression for helping to expand the popularity of the shave ice, as ice cream was not readily available or cheap. (SnoBallHut)

By 1934, Ernest Hansen, an inventor from New Orleans, patented the first motorized ice block shaver. His syrup flavored shaved ice became known as “snowballs”.

In the Islands, when Japanese immigrants came to work in the sugar fields, they brought the concept of shave ice with them, using hand-operated steel blades to shave the ice in a method very similar to Ernest Hansen’s.

It was in the Meiji period around the 19th century that kakigori (Japanese shave ice) finally became affordable to the general public. Until then, ice was still expensive as people had to import “Boston Ice” from the US, taking half a year for transporting.

However, when the food entrepreneur Kahe Nakagawa succeeded in delivering ‘Hakodate Ice’ from Hokkaido to Yokohama, the first kakigori shop was opened in the Bashamichi area in Kanagawa in 1872.

And then an icemaker was invented in the middle of the Meiji period and an ice-shaving machine in the early Showa period around the 1930s, eventually making kakigori common food as it is now. (inhamamatsu)

Japanese plantation workers in Hawaiʻi enjoyed it as a refreshing break in the hot, tropical climate. In those days it was only sold on Sundays, the only day off for the plantation workers received.

They would use their machetes to shave flakes from a large block of ice into cups and then pour different fruit juices over the top. (Stradley)

The treat quickly became immensely popular throughout the islands where the tropical temperatures ensured “shaved ice” sold all year.

Hawaiian shave ice is known for the ice’s extremely fine – near powdery – consistency, as well as the unusual flavor combinations used: typically, tropical fruit flavored syrups are used, with many variants including a scoop of vanilla ice cream or Japanese azuki, a red, sweet bean.

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June 7, 2016 by Peter T Young Leave a Comment

Irrigation-enhanced Recharge

The early Polynesians brought sugar cane with them and demonstrated that it could be grown successfully in the islands. The first commercially-viable sugar plantation, Ladd and Co, was started at Kōloa on Kauai in 1835. Others followed, including on Maui.

Sugar became part of the Maui landscape. More than 30-plantations of various sizes popped up on Maui. Over time, consolidations and closures gradually reduced the number to fewer, but larger, plantations. (Sugar Museum)

Sugar is a thirsty crop; in order to irrigate, in 1876 the initial Hāmākua Ditch was built, bringing water from streams from the windward and wet East Maui. A total of ten ditches were constructed between 1879 and 1923; this system makes up what is known today as East Maui Irrigation (EMI.)

Under natural conditions, most surface water would flow to the ocean; instead, this water has been diverted and artificially applied to the plant-soil system, creating a net increase in ground-water recharge. Irrigation-enhanced recharge greatly affects the groundwater system in central Maui.

Ground water is one of Hawai‘i’s most important natural resources. It is used for drinking water, irrigation, and domestic, commercial, and industrial needs. Ground water provides about 99% of Hawai‘i’s domestic water and about 50% of all freshwater used in the State.

The amount of recharge available to enter the aquifers is the volume of rainfall, fog drip, and irrigation water that is not lost to runoff or evapotranspiration or stored in the soil. (USGS)

The period 1926–79 had the highest estimated recharge; irrigation rates during this period were at least 50% higher than in any other period considered.

Prior to the early-1970s, about 190-million gallons per day (Mgal/d) of water diverted by East Maui ditches and 170-Mgal/d of groundwater withdrawn from shafts and wells was used to irrigate sugarcane fields in central Maui.

Groundwater recharge concerns have gone from bad to worse. Overall irrigation rates have been steadily decreasing since the 1970s, when large-scale sugarcane plantations began a conversion from furrow to more efficient drip irrigation methods and a reduction in the amount of acreage dedicated to sugarcane production.

Estimated recharge for central and west Maui declined 44% during the period 1979–2004. During this period, on the leeward (Lāhainā) side of West Maui Mountain, sugarcane cultivation ceased altogether.

The decrease in irrigation has coincided recently with periods of below-average rainfall, creating the potential for substantially reduced recharge rates in many areas. (USGS)

The period 2000–04 had the lowest estimated recharge; irrigation rates during this period were 46 percent lower than during 1926–79, and rainfall was the lowest of any period.

With the closure of HC&S’ sugarcane fields in central Maui, and subsequent stoppage of irrigation over the groundwater aquifer, recharge will be reduced and the groundwater flow system will be affected. (USGS)

Population growth on the Island of Maui has led to an increase in ground-water demand. The resident population on the island increased more than 300% percent during the period 1960–2010: from 35,717 to 144,444 (Maui County)

The ‘Ïao aquifer system is the principal source of domestic water supply for the Island of Maui. Ground-water withdrawals from this aquifer system increased from less than 10-Mgal/d during 1970 to about 17-Mgal/d during 2005.

So, there is concern surrounding declines in ground-water levels and an increase in the chloride concentration of water pumped from wells in the ‘Ïao aquifer system.

Even before the contemplated, and later announced, closure of HC&S sugar cultivation, the State Water Commission designated ‘Īao as a groundwater management area because the 12-month moving average pumping withdrawals exceeded the Commission-established trigger.

The effect of changes in irrigation-enhanced recharge was illustrated on a small scale in Wailua on Kauai, and the drying up of ‘Fern Grotto’ was the result. There, the Kapa‘a irrigation system was built in the 1920s to provide water for approximately 6,000 acres of land under sugar cane.

Up until the sugar company closing, the lower portion has been fed by the Hanamaulu Ditch, which ended at ‘Reservoir 21,’ directly above Fern Grotto. The ferns began growing only after sugar was grown on the land 150 feet above the cave.

Plantation workers built a catch basin for storm runoff that became known as Reservoir 21. Water from the reservoir percolated through the ground and came out on the roof and walls of the cave.

The shutting down of the Hanamaulu Ditch has undoubtedly contributed or even was the principal cause of the drying up on the Fern Grotto. The lack of irrigation water caused the cliff-side ferns to dry up.

A 9-month rejuvenation project involved creation of a second waterfall in the grotto and installation of solar panels to power pumps to bring water from the Wailua Reservoir to the Fern Grotto.

Now, the Fern Grotto is back. Solutions in the central Maui isthmus, the principal source of domestic water supply for the Island of Maui, are not as simple.

A century after Captain James Cook’s arrival in Hawaiʻi, sugar plantations started to dominate the landscape. Sugar changed the social fabric of Hawaii. Hawai`i’s economy turned toward sugar in the decades between 1860 and 1880.

The industry came to maturity by the turn of the century; the industry peaked in the 1930s. Hawaiʻi’s sugar plantations employed more than 50,000 workers and produced more than 1-million tons of sugar a year; over 254,500-acres were planted in sugar. (That plummeted to 492,000-tons in 1995; a majority of the plantations closed in the 1990s.)

So, the Islands have not just lost that last remnant of generations of economic and agricultural activity; Maui must now look at ways to manage and provide for water needs and demands, given the loss of irrigation-enhanced recharge. (Lots of information here is from several USGS reports.)

I was fortunate to have served as the Chair and Director of the Department of Land and Natural Resources and the Chair of the Water Commission, working on these and other related issues.

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maui-sugar-cane-ron-dahlquist

Central Maui Isthmus-sugarcane

EMI_System-map

EMI_Intake

EMI-Ditch

Installation of a pipeline for Haiku ditch water under the steel railroad bridge crossing the Maliko Gulch-1909

Iao Aquifer-Ditches-USGS

Fern Grotto

June 6, 2016 by Peter T Young Leave a Comment

‘For Manly Men’

“‘Here’s to another year and years and years of steady nerves, clear brains and vigorous health.’”

“Duncan is a body-builder and a good one. There are others in town all good ones. The town cannot have too many of them.” (Hawaiian Star, January 27, 1912) (Advertisements noted that Duncan’s Gym was for ‘Manly Men.’)

“‘If we can have a boy for two years, say from the age of twelve to fourteen,’ said Duncan, ‘we can make a well rounded youngster of him, and in addition to that the spirit of, true sportsmanship and love of the gym work for the work’s sake is so ingrained in him that he will never stop it.’”

“We don’t aim to turn out prizefighters, but we do aim to put a person in such shape that medicines and physicians will he unknown to him for a long time to come.” (Evening Bulletin, March 1, 1911)

“Duncan’s gymnasium isn’t half big enough to accommodate the youngsters who are anxious to join in the classes, but although the space is limited the boys take delight in playing the games that will make them stronger and fairer in every way.”

“A visit to the gymnasium will show hundreds of devices that have been built to improve the bodies of the youngsters, and the older people as well. Mr. Duncan has gone to much trouble in securing wheels and hundred s of implements of exercise that make for the building up or the youth.” (Star-Bulletin, May 3, 1916)

“At the recent Indoor meet held at the gymnasium a number of the parents looked on, and watched what the boys had accomplished during the class periods.”

“Many of the youngsters had gone into the classes with little of what one might call ‘pep,’ but the feats performed during the meet was enough to convince the mothers and fathers that the boy had been ‘learning the game.’”

“The meet showed the boys how to win; and how to take defeat.”

“The ‘thinking’ races were a big feature of the afternoon’s entertainment, and the race was not always to the swiftest.”

“A number of incidents happened during the afternoon that proved that the boys had teen taught to ‘play fair.’ One youngster with rosy cheeks who had been making a success won in a race, and after he had crossed the tape acknowledged to the referee that he had missed one of the relay pins.”

“In speaking of this incident afterwards Mr. Duncan said: ‘Things of that kind do the boy more good than a medal won, and I always try to encourage the boys to play fair at any cost.’”

“‘I wish that I had more room so I could cater to more of the boys and give them more room for the accomplishment of athletic features.’”

“Each afternoon many of the businessmen of the city spend an hour or so at the gymnasium, and the universal opinion is that it is more than worth the time spent.”

“Among the men of the city are many who have taken a deep interest in the youngsters, and at the recent track meet John Guild and Fred Wichman donated cups to the boys who competed in the various events.” (Star-Bulletin, May 3, 1916)

“Because of the great success made by GM Duncan in building up the weakling, there is much interest in his competition this afternoon. Mr. Duncan has divided the boys into two groups, the Reds and the Blues, and there is certain to be a number of events stated.”

“Fred Wichman said, ‘Mr. Duncan is doing a great work in developing the youngsters in every way, and he richly deserves credit for the manner in which he has helped the boys.’ Many of the leading businessmen of the city patronize the gymnasium and all join in singing praises for the manner in which the exercises are handled.”

“‘Mr. Duncan is doing a great work for the youngsters and for the older men as well. I use the gymnasium every day and find that it builds you up, and you can see that it has made the youngsters stronger. I would like to see a larger building where more boys could receive benefits from the exercise.’” (Guy Macfarlane) (Honolulu Star Bulletin, April 25, 1918)

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Members of the Boys class at Duncans Gymnasium-SB-May 3, 1916

June 4, 2016 by Peter T Young Leave a Comment

Ka Nupepa Kuokoa

Ka Lama Hawaii and Ke Kumu Hawaii were the papers of the American Board of Commissioners for Foreign Missions (ABCFM,) mainly New England Calvinist missionaries, but produced by and for their students at Lahainaluna School in Maui.

The Hawaiian language newspapers were not the only early papers in Hawai’i. Although Ka Lama and Ke Kumu Hawaii were the first two newspapers to be published in Hawai’i, English language newspapers soon followed.

Ka Nonanona and Ka Elele Hawaii were both edited by Reverend Richard Armstrong, who later became the superintendent of the Department of Public Instruction. Ka Hae Hawaii, official newspaper of that department under Armstrong, also conveyed a Protestant slant.

Some English language papers supported Christianity. The Polynesian (1840-41, 1844-64), was published by James Jackson Jarves of Boston. From 1844 to 1860 it became the official printer of laws and notices of the Hawaiian government. The Friend (1843-1954) was begun by Reverend Samuel Chenery Damon.

In contrast, the Honolulu Times (1849-1851) published by Henry L Sheldon, originally of Rhode Island, opposed the influence of American Protestants, as did the earlier English language newspapers supported by the business community.

After the Honolulu Times ceased publication, Abraham Fornander, who had written for Sheldon, published the Weekly Argus (1851-53). Fornander’s objective was to provide in the Weekly Argus a voice against the government’s Polynesian. From 1853 to 1855 it was published as the New Era and Weekly Argus.

In 1856 Henry Whitney began the Pacific Commercial Advertiser (1856-), which was renamed the Honolulu Advertiser in 1902. In 1882 Whitney also started the Daily Bulletin (1882-) which was later renamed the Honolulu Star-Bulletin.

Henry Martyn Whitney (1824-1904), son of Samuel and Mercy Whitney of the Pioneer Company of ABCFM missionaries, was born on Kauai, and educated in Rochester, New York.

He worked on the American newspaper New York Commercial Advertiser and for the publisher Harper and Brothers, then returned to Hawai‘i where he served as head printer at the Hawai’i government printing plant and business manager of the English-language newspaper, The Polynesian.

In 1861, while he continued to publish the Pacific Commercial Advertiser, Whitney commenced publication of Ka Nupepa Kuokoa.

Ka Nupepa Kuokoa has been described as “the first independent Hawaiian newspaper”, in the sense that it was independent of American Protestants, French Catholics and the government of the Hawaiian kingdom (although published by a missionary son and edited by him, as well as students from the Mission’s Lahainaluna.)

“It is true that a foreign publisher in this city has offered to issue a journal in the Hawaiian language to supply the intellectual want of the native people, and that his offer has been most warmly seconded and espoused by the Missionaries, but as a general thing the natives repudiate it …”

“… not because it may not prove a valuable and instructive journal, but because it is calculated to drive their own paper out of the field, and because they apprehend that it will not be a true reflex of their own opinions and thoughts upon matters and things.” (Polynesian, November 23, 1861)

Henry Whitney’s far-reaching influence as publisher of Ka Nupepa Kuokoa is described by Helen Chapin as being due to his practice of hiring capable Hawaiian editors, such as Joseph Kawainui, SK Mahoe, and JM Poepoe, who published what turned out to be materials of the greatest importance to Hawaiian history. (Chapin; Hori)

In 1861 the editor of Ka Nupepa Kuokoa was L H Gulick. He announced in the paper that Kuokoa would continue where Ka Hae Hawaii had left off, in its support of the missionary position.

In 1866, while still editor of Kuokoa, Gulick started the Hawaiian language newspaper Ke Alaula, with coeditors Anderson O. Forbes and Lorenzo Lyons. All three were also agents and distributors of Kuokoa on outer islands. Ke Alaula was from the Hawaiian Board of Missions.

Ka Nupepa Kuokoa, the Hawaiian language newspaper with the longest publication history, first appeared in 1861. While published with Christian mission support and demonstrating a haole, or European-American stance, it had a long history of publishing information about Hawaiian, or Kanaka Maoli, tradition and culture.

Ka Nupepa Kuokoa published monthly in October, November, and December of 1861, and weekly thereafter until December 29, 1927. In the course of its history it would absorb a number of its rival newspapers.

In Kuokoa were genealogies, tales of gods and goddesses, vivid descriptions of Hawaiian birds, bird catching and fishing practices, instructions on canoe building, summaries of medical practices, accounts of travel through the Islands, and how to speak the Hawaiian language correctly.

In its pages, too, first appeared the stories of John Papa Ii and Samuel M Kamakau, which were later gathered together respectively as Fragments of Hawaiian History (1959) and The Ruling Chiefs of Hawaii. (Chapin; Hori) (The inspiration and information in this summary are largely from Hori.)

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Nupepa Kuokoa-Jan 1, 1862

June 3, 2016 by Peter T Young Leave a Comment

The Artist and the Architect

The artist, known as ‘Palani’ among his Hawaiian friends, was named a ‘Living Treasure’ for his paintings and murals showing Hawai‘i’s culture; the architect was identified as “the man who changed the face of the Pacific”. They got together in 1956.

Let’s look back …

The artist, Louis Henri Jean Charlot, descended from “sundry exotic ancestors,” was born in Paris. His father, Henri, was a French businessman; Anna, his mother, an artist and a devout Catholic, was the daughter of Louis Goupil, a native of Mexico City.

Also living in Paris was Jean Charlot’s great-uncle, Eugène Goupil, a collector of Mexican works of art. Jean, who began to draw around age two, grew up surrounded by pre-Hispanic antiquities. (Thompson)

In his teens, Charlot had become one of a Catholic group that called itself Gilde Notre-Dame (“Parisian adolescents (who) used to gather in a crypt”) made up of sculptors, stained glass makers, embroiderers and decorators.

“My life in France was on the whole rational, national, obeying this often heard dictum that a Frenchman is a man who ignores geography. There were though, simultaneously, un-French elements at work. Russian, sephardim, Aztec ancestors, warmed my blood to adventure.” (Charlot; Thompson)

After a Mexican trip, in 1928, Charlot and his mother moved to New York where he rented a small apartment on the top floor of 42 Union Square from the artist Morris Kantor. The apartment was unheated, which probably contributed to the death of his mother from pneumonia in January, 1929.

On a brief trip to Mexico in 1931, Charlot met his future wife, Dorothy Zohmah Day. During a visit to Zohmah in Los Angeles in 1933, Charlot met the printer Lynton R Kistler and produced Picture Book, “a repertory of motifs I had used up to then.” Returning to New York, teaching and lecturing occupied much of Charlot’s time.

In May 1939, Jean Charlot and Zohmah Day were married in San Francisco. “It was a long courtship,” commented Charlot. “Eight years. We were always in different places”.

The years from 1941-44 were spent as artist-in-residence at the University of Georgia, Athens, and instructor in art history at the University of California, Berkeley and artist-in-residence at Smith College in Northampton, Massachusetts. (Thompson)

Then he had a chance to come to Hawaiʻi – and he stayed. An invitation to create a fresco at the University of Hawai’i, Manoa, brought Charlot to Honolulu in 1949 where he painted Relation of Man and Nature in Old Hawai’i at Bachman Hall.

He accepted a position as professor of art at the University, and Hawai’i became the Charlot family’s permanent home. Attracted to the culture of the native Hawaiian, just as he had been interested in the folk aspects of the residents of rural France and the indigenous peoples of Mexico, he studied Hawaiian history, customs and religion, and learned the Hawaiian language.

From 1949 to 1979 Charlot created almost six hundred easel paintings, several hundred prints, and thirty-six works of art in public places in fresco, ceramic tile and sculpture. He taught summer sessions at several schools. (Thompson)

The architect, George James ‘Pete’ Wimberly, was born on January 16, 1915 in Ellensburg, Washington. He earned a bachelor’s degree in architecture in 1937 from the University of Washington.

He served as a draftsman/designer in Seattle, Los Angeles and Phoenix, and in 1940 was in a civil service position as “journeyman architect doing naval work at Pearl Harbor.”

“At the end of World War II, there was a great backlog demand for buildings of all sorts. During the four years of war, only essential or defense-oriented projects were allowed.”

“Most of the architects at the time were not hurting because they were all doing defense work, either as private practitioners or as direct employees of the Armed Forces. (W)hen V-J Day was announced, I left the Navy Yard and never went back, except to pick up my pay check.” (Wimberly; WATG)

“I had an agreement with Howard (Loren) Cook (who was working on Tripler Hospital) that I would set up an office and we would split the take, his salary and my fees 50/50.”

“Fortunately, there was a great deal of work out there. Furthermore, I had the fortune to know Gardner Dailey on the mainland. He selected me as the local architect for the remodelling of the Royal Hawaiian Hotel. (1946) … With this prestigious commission, we suddenly had credentials and were able to pick up other worthy jobs.” (Wimberly; WATG)

The artist and the architect got together in the design and construction of Charlot’s ‘dream house.’

It was part of the expansion of KahaIa in the 1950s. Before the expansion, Kahala was used mostly for beach homes along the shore, with another row of houses on the mauka side of Kahala Avenue. Bishop Estate opened up the balance of the area for residential and related development.

In recognition of his work in Hawaiian culture, Bishop Estate gave Charlot one of the first choices of the new lots. He picked the end lot of the three on the little appendix to Kahala Avenue, fronting the Wai‘alae Golf Course, the house sits on a flat lot bordered by the golf course on the north and a canal on the west.

The house was completed in 1958 as a true collaboration between Charlot and Wimberly. Charlot’s art and therefore his dream house had to fit its site. Wimberly also emphasized a ‘sense of place’ in his architecture and went on to build many structures that exuded this appropriateness to the lifestyle and climate of Hawai‘i.

Fitting into Hawai‘i’s lifestyle and climate is demonstrated in its open plan (the master bedroom overlooking the living room, only bedrooms and bathrooms are fully walled in,) blurred definition between the interior and exterior (the built-in dining table that connects to the exterior …

… the two story height glazed sections that connect to the lanai area, and the lanai with the same flooring material as the drawing room), incorporation of native arts (mural, petroglyph tiles), use of native materials (hapu’u) and siting by tradewinds. The house is an intensely personal one, yet a characteristic of Charlot’s art is its emphasis on appropriateness. (NPS)

It had a uniquely artistic flair, incorporating the openness and lanais of island homes with the vertical emphasis of traditional French rural ‘architecture and the brick floors and back courtyards of Mexican houses. (NPS)

Here, Charlot conducted most of his work in this house and more particularly in his 2nd floor studio. This was the final period of Charlot’s life, when he reached the peak of his artistic powers and was able to synthesize the esthetics of Europe, Mexico and Pacific Islands, the places he lived and influenced his art. His career spanned these places. Charlot remained active as an artist and a scholar until his death on March 20, 1979.

Wimberly also went on the great things. He invented a style of resort architecture that was creative, exotic and imaginative. His landmark projects helped define Hawai‘i tourism and created a Hawai‘i-based business designing resorts around the world.

Wimberly “established himself as perhaps the most successful resort architect in the world” and that his “Honolulu-based firm of Wimberly Allison Tong & Goo (also known as WATG) designed many of the Pacific Rim’s pace-setting hotels and is the world’s largest ‘niche’ architecture firm, specializing in the $4-trillion-dollar travel industry.” (Honolulu Weekly) Wimberly died December 30, 1995.

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