He ali’i ka ‘āina, he kauā ke kanaka. The land is a chief; man is its servant. Being able to mālama and aloha ‘āina is both a privilege and responsibility. It remains critical component of our Indigenous Business Incubator program. #halekua #hawaii #indigenous #indigenousart

As we prepare for another year, we reflect on the people we’ve met and the many treasured moments we’ve had along the way. #halekua #hawaii #indigenous #ohana

The artist shares of one of his patterns, "the symbol of compass/square being exactness and order as well as ʻTo surround; to environ; to inclose on all sides; sometimes followed by around, round or about.ʻ" #halekua #hawaii #hawaiian #indigenous #photography #sybmolism

This mele pāʻū is a prayer, with patterns symbolizing unity, balance, and order, honoring the kūpuna who formed the foundation of the future, adorned with feathers of owl and nēnē to bridge the celestial and earthly realms. This creation speaks of restoration, righteousness, and the unbroken connection between ʻāina, ʻohana, and lani. #halekua #hawaii #hawaiian #restoration #heavens

A mele that carries a vision for the Hawaiian Kingdom’s restoration, ushering in righteousness and higher consciousness, this pāʻū is a physical manifestation the artistʻs prayer for his ʻohana, ʻāina, and all of humanity. Artist: Ammon Koaikapono Whigham Inoa Pāʻū: Ke Huna Koaikapono Pala Luhiehu o Ke Kaiāulu Ki'eKi'e Loa Inoa Kāpala: Kīke'eke'e, Lauli'ikoa, Launuikoa, Naiwionakupuna, Keaoakahunalā, Kahuluakahunalā #halekua #hawaii #hawaiian #mele #song #humanity

The artist reflects, "Uncle said, ‘Being a hula dancer wasn’t only dancing, you had to make and adorn yourself too!’ But you didn’t have formal lessons, you watched the older dancers, you watched your alaka’i, you learned by watching and mimicking. For the next 3 years I gathered, prepared, and weaved in the haku style of lei making the best I could. Uncle would say …’you will work hard in making your lei, because you will wear it at your performances. If it’s falling apart or made well, you will wear it.’ When I was 13 years old, we were honored with the opportunity to dance at the newly restored Hula Pa overlooking Kilauea. Then alakai, Etua Lopes began practicing with me and 4 of my hula sisters to prepare for the hour long presentation. Preparing for this was the first time I prepared hula lei and kupe’e made in this haku style of lei made only of palapalai ferns. In 2000, after 10 years of being away, I returned home to Kona, a single mom with my baby Pola’a in arms. In 2004, with several years of learning and studying with the ladies of Halau Na Lei O Kaholoku, I was preparing for my first time dancing on the Merrie Monarch stage. As we were a week and a few days away from the stage, we gathered palapalai in the forest of Kalopa in Honokaa. I again had the opportunity to learn gathering protocol and lei making. This time with alakai Lorna Kapualiko Lim. Lorna began weaving lei palapalai for our upcoming Merrie Monarch presentation. She was also hapai with Wehilei. A day after lei making began, I was called to assist Lorna in lei making. I hadn’t weaved in many years, and I was afraid. This was too important. But I made my way to Waimea where Lorna was set up and weaving. I found that I was not there to assist, but to weave. There were times in that week Lorna and I would trade off and hand the weaving of a single strand back and forth with each other so that we both could jump in the line to practice our hula. I had never experienced this kind of honesty, confidence, love, and trust. The lei for our hula sisters and for that presentation changed my lei hands again. Pola’a and I travelled to Kalopa, Hawaii and gathered palapalai for this Hoike.”