August means avocado

18 08 2010

Luscious avocados

Hi Everybody,

Our 2010 avocado season is one of the better. These luscious gems are overhanging the healing space near the studio right now.

It’s an awesome sight to me. I can just reach up and pluck them to eat, in about 7-10 days. They will be so yummy. This year there are twice as many than years past.

Who knows why, but I’m not complaining. Is the big old rusting anchor next to the tree finally providing enough iron? Or ditto the VW bug left there by DH 20 odd years ago? Did my cleaning out the heliconia patch allow it to breathe more? Or did the March winds blow off fewer flowers? Perhaps the tree liked the fertilizer left by the chickens and the peacocks.

My neighbors have beaucoup limes on their tree, so likely we will trade and make guacamole. But most of the time I prefer eating avocados with a spoon plain, in their own natural bowl, all the way to skin, with just a little salt and pepper.

Prayerfully in gratitude we await

Copyright 2010 Rebekah Luke

Click below for related posts, then click on your back button to return to this page

Avos and cocos October 11, 2009

Gratitude for my abundant garden September 8, 2009





Seven island artists paint and show works at Ho‘omaluhia

3 08 2010

Our “If it’s Thursday, it must be Ho‘omaluhia!” public exhibit of paintings opens today at Ho‘omaluhia Botanical Garden visitor center and extends to August 30, 2010. The show displays the works of local artists Alex Weinstein, K.Y. Lum, Naomi Weinstein, Noreen Naughton, Richard Guy, Val Saban, and yours truly Rebekah Luke. The collection looks great!

Photo of me by Noreen Naughton

Every Thursday for the past 10 years, more or less, our group has painted in the peaceful landscape that is Ho‘omaluhia, located at Luluku, at the base of the majestic Ko‘olau mountains in windward Oahu. We come from different backgrounds and for different reasons to enjoy the garden and each other’s friendship.

This the first exhibit of paintings for four of our group. All but one of the 42 works in oil and acrylic may be purchased, with prices ranging from $75 to $2,800. Most prices are reasonable and realistic for original art, so it’s a good opportunity to start or add to your collection. Interested buyers should contact the artists directly (lay away plan of installments considered), as no sales transactions are permitted on the city property.

How we met (excerpt from catalog)

In the 1990s, art professor Noreen Naughton frequented Europe with summer abroad courses. K.Y. Lum, a psychiatrist, and his wife took the “Drawing in Italy” tour, visiting Rome and Tuscany to take in Renaissance art in hill towns and obscure churches. When they went a second time to Italy, Naomi and Alex Weinstein joined Noreen’s group. Alex, an architect, is a good sketcher, and Naomi, a retired educator, was a ceramist.

They all went with Noreen again to paint in France, “Following the Path of the Impressionists” from Amsterdam to Paris.

K. Y. Lum

Naomi Weinstein

Alex Weinstein

Richard Guy

When they returned to Hawai‘i they continued to paint with Noreen in the landscape. Ho‘omaluhia Botanical Garden became a favorite venue. K.Y. and the Weinsteins are the only ones from Noreen’s original group who continue to paint together on Thursdays.

The others: Val Saban, former international trader and industrialist, lives in the same building as K.Y., and the two swim together.

Rebekah Luke (that’s me) who studied painting with the late Gloria Foss, and K.Y. are first cousins. Richard Guy, retired chief justice of Washington state and a local arbitrator and mediator, joined the group after being introduced by Naomi who is in the same book club as his wife.

Val Saban

Noreen Naughton

If you go (and we hope you will)

The park entrance is located at the end of Luluku Road in Kaneohe, Oahu. The art will be on view every day from 9 a.m. to 4 p.m. through August 30, 2010.  Exception: The park is closed on Aug. 6 and 27.

Thursday is the theme. You can meet the artists at a punch-and-cookies reception on Thursday, August 5, from noon to 2 p.m. Most of us will be there on the other Thursdays in August in the mornings only.

Allow time to enjoy the rest of Ho‘omaluhia Botanical Garden’s plants, trails, picnic areas, lake, camp sites, and overall Hawaiian tropical scenery.

Thanks for visiting!

Copyright 2010 Rebekah Luke




The story of the boat lei

21 07 2010

Every two years in July about 50 sailing yachts compete from San Francisco Bay to Kaneohe Bay for the Pacific Cup, “the fun race to Hawaii.” It’s organized and hosted by Pacific Cup Yacht Club in Northern California and Kaneohe Yacht Club in Hawaii. The boats have handicap starts and sail under the Golden Gate Bridge and across the sea to arrive around the same time, hopefully, and in time for the parties ashore on Oahu.

Delicate Balance arrives at Kaneohe on a cloudy afternoon. Two boat lei welcome her.

Many years ago I became the volunteer chair of the Boat Lei committee for KYC. I’m affectionately known as the Boat Lei Lady! A boat lei is a giant 12-foot garland of fresh, tropical foliage to greet and honor the vessel that carried her skipper and crew safely across the ocean.

Some call it a bow lei because it is attractive draped over the front end of the boat. Because most of the Pacific Cup yachts tie up stern to, we renamed it boat lei. It may be fastened anywhere as a decoration. The custom of presenting the lei has become a Pacific Cup tradition.

It takes many hands to make the boat lei for this event. The finished products are beautiful works of art and much admired. Event organizers inform the racers, family and friends they may pre-order the lei so it’s ready for their favorite boat when it arrives.

Last Friday, Saturday, and Sunday my crew made 45 boat lei! Many thanks to Michael and Bobbi for the promotion in California and for handling the sales from the e-store. That was a big help. Thanks to Kaneohe Yacht Club for lending the workspace. And, of course, mahalo (thanks) to all the lei artists for their remarkable team effort. Some KYC members also pitched in, and we are grateful for their contribution.

Haleaha finishes her 12-foot lei made with variegated Song of India clusters and red ti leaves

How do we make the lei? And how are we able to make so many? I’ve been asked. I will tell you! But first a little history and a funny story.

LITTLE HISTORY. In the early years I worked with  members of Hale Kuai Cooperative, a Native Hawaiian organization, to design the basic lei. We wanted cut foliage that would hold up in the sun, rain, trade winds, and salt air and look pretty for at least a couple of days in the elements.

We settled on lai (say LAH-EEE, leaves from the ti plant), lauae (say LUH-AU-AY , a fragrant yet sturdy fern … Phymatosorus scolopendria, syn. Microsorium scolopendria), and multi-colored croton leaves. Our friend Kapa showed us how to use floral wire to bind the foliage; she learned the use of wire from her kumu hula. And Aunty Havana, who is a master at making hat lei, showed how to combine everything into lovely creations, once she figured out how to translate small to big. The lei became a product of the Co-op.

Green and red ti leaves. When picked from the stalk, they are called la‘i.

In more recent years, I have partnered with Koolauloa Hawaiian Civic Club to supply the boat lei. Volunteer members and friends gather the plant material from their gardens and from the mountains, donating the material and their time to the project. Other members and friends, who are artistic and enjoy lei making, work professionally as floral designers for a few days and assemble the lei.  The net proceeds from the sale of the lei provide scholarships for Native Hawaiian club members and/or their children.

Clover's lei

FUNNY STORY. The very first year of my boat lei experience, we made the lei fine, but I had not given any thought to delivering the lei. I was so involved in providing a product that it did not occur to me that the boats would arrive at any time of day or night, 24/7. OMG! It was too late to organize any shift work.

Pekelo's lei. Yellow-and-green croton and red ti provide accent color among the other greenery.

DH (Darling Husband) has a sailboat moored at the yacht club. He and I monitored the ETAs, and for an evening arrival, we would catnap on his little Mugquomp and wake up as the radio crackled to announce a boat had crossed the finish line. As we climbed out of our bunk and put on our jackets, for it was cool and a little rainy, we were fascinated and impressed by the radio conversation between Iwalani of the Escort committee and each arriving yacht. In her very calm, reassuring, professional, and gracious way, Iwalani gave the information and instructions on how to enter and come down the channel (with coral reef on both sides) to the dock at night. We had enough time on foot to greet the boat with a big lei.

DH and I were very short on sleep that year. Someone later suggested that we arrange for the Leis and Trays committee to deliver the lei. Brilliant! That committee is much larger and greets the boats with Hawaiian music, lei and mai tais for the captain and crew. Why not the lei for the boat too?

HOW TO MAKE A BOAT LEI

The style of the lei is known as wili (say WEE-LEE), meaning to wind. We wind by hand—one must have strong hands to tug—using wire instead of a natural twine or raffia traditionally used to make a hat or neck lei. Wire allows us to put the work down and makes it easier on our hands. Our lei are 12 feet long, but shorter lengths make lovely bouquets, wreaths, and table decorations. Allow enough time to gather & prep the materials and make the lei. It takes about two hours to make, excluding time to gather.

Each artist has his/her “line,” so do not worry that your lei does not look like someone else’s. It won’t. The variables are selection and placement of the plant material as well as the available supply of the greenery and flowers. Here is the basic way to construct the lei.

Ti, lauae, and red ginger combo

Materials to make one 12-foot lei:

1 kaau (which is 40) each of ti leaves, lauae, croton leaves. Be sure to leave about 4 inches of the stem on. The stems provide the slightly stiff backing for the lei. Do not strip the mid-rib from the ti leaf.

A few tropical flowers—such as, heliconia, red ginger, bird of paradise, bougainvillia clusters—with 6-inch stems to intersperse throughout the lei (optional)

One 24-gauge paddle wire from the floral supplier or craft store. One paddle is enough for one and a half lei, or approximately 18 feet total.

String to tie on the finished lei to the boat

Gloves (optional) to protect hands from croton stains

33-gal. plastic trash bag (optional)

Ululani's lei

Tools:

Work surface such as a table or floor, hand clippers, scissors, spray bottle of water

Step 1. Gather and prep materials by sorting by color and size, cleaning, and bundling.

Step 2. Pick a palette of 3 or 4 types of leaves if you have a wide choice. Include ti and lauae in your palette.

Step 3. Take the tip of a large ti leaf and turn it under to meet the stem, shiny side out, bending it in half but not creasing it. Fasten the tip to the stem with the wire, winding it around the leaf 5 inches from the ends. Begin winding about 5 inches from the beginning of the wire, securing both the ends of the leaf and the wire together. Grasp the two ends of the leaf and the end of the wire with one hand (if you’re right-handed, use your right hand), and wind the wire with the other hand, going around about 5 times. Be sure to pull the wire taut. This is the start. You will use one continuous length of wire and not cut it until the end (unless the wire accidentally breaks).

Step 4. With the tip of the ti leaf facing up and pointing toward you, place a lauae leaf on top with stem pointing toward you. Wind the wire around 1/2 inch down from your start 3 times, again pulling taut. Next add some croton in the same way, 1/2 inch down. Then add another ti leaf. This grouping forms your pattern.

Step 5. Repeat Step 4. Alternate placement right and left, if you wish, to cover the sides. With each addition, come down about 1/2 inch. Remember to pull the wire taut as you wind so that your lei does not come apart.

Keep the width of the lei the same by checking the sections you did earlier. If your lei is getting wider (this is common with beginning lei makers), allow less material to show or leave more space as you add. Just be sure your wire is wound every 1/2 inch, catching all the stems. From time to time, turn your lei over to examine the back. Hold your lei up with one hand and give it a good shake to make sure it is secure. From time to time, spray the lei with water to keep it fresh.

Step 6. After the lei is the desired length, end it by winding the wire around itself about 10 times. Snip wire with scissors. Tie string with a square knot to the lei at 4 or 5 points as a way to fasten the lei to the boat.

Step 7. Keep the lei cool until ready to decorate. A cold air-conditioned room is ideal. Mist with water.

Step 8 (optional). For transporting or brief storage, roll the lei into a wreath and place in a 33-gallon plastic trash bag. Leave an opening for the lei to breathe.

And that’s the story of the boat lei. Enjoy your creation!

Copyright 2010 Rebekah Luke




If it’s Thursday, it must be Ho‘omaluhia!

9 07 2010

View of the Ko‘olau Mountains from Ho‘omaluhia

My painting group and I are busy putting together an August exhibition of our artwork at Ho‘omaluhia Botanical Garden Visitor Center in Kaneohe, Oahu. It opens on August 3, with a punch-and-cookies reception on August 5 (Thursday) from noon to 2 p.m. If you are in the area, please come to see it! If time permits, see the garden too. You may click on the garden link above to read about the garden, and on the link below for details of the art show. – Rebekah

CLICK FOR THE INVITATION





Touring Kauai

30 06 2010

Aloha everyone!

Been gone. I went holoholo (driving) on Kauai with DH and his sister Penny’s family from Pennsylvania. Two days and one night. Six people, one van.

Kalalau Valley

From Lihue Airport, around the island in a counter-clockwise direction the first day to the end of the road at Kee Beach; then clockwise to the end of the road (PuuoKila lookout) on the second day, touring the highlights most first-time visitors see.

My camera of choice for some time now is the iPhone 3G version 3.1.2. Hope you enjoy my unaltered photos and that they inspire you to create!

Fern Grotto at Wailua River

Old Kilauea Lighthouse - a national historic landmark. The surrounding area is a national wildlife refuge.

Endangered nene (native Hawaiian goose) (Branta sandvicensis)

Hanalei Valley with loi kalo (taro gardens)

Hanalei Bay and sailboats

Maniniholo Dry Cave

Kee Beach

Northwest Kauai from Kee Beach

Alekoko (Menehune Fishpond)

Waimea Canyon. I see their faces now.

In the clouds. When we arrived at the ma uka lookout to Kalalau Valley, we looked out to a sea of white, waiting patiently until the clouds lifted to reveal the valley and the surf far below (see top photo)

Copyright 2010 Rebekah Luke




Changing it up and the alumni art show

6 06 2010

Before releasing students for the holiday break from Art Center College of Design in Pasadena, where I received intense training in photography, the head administrator sat us down for a little chat.

He advised putting the camera away and treating ourselves to viewing and experiencing other forms of art for inspiration and stimulation.

The program was such that one’s creative juices were pretty much dried up by the end of the term. Five studio courses, 10 concurrent assignments due in two weeks at any given time, photo lab work until 10 pm six nights a week, and frank critiques. If one attended fresh out of high school with no college academics, then those classes were mandatory at night in addition.

Why, you might wonder, did I pick this school, in my 30s even. Because I admired several of its alumni who mentored me when I worked alongside them at the magazine. They were professional photographers at the top of their game, and I came to realize their training influenced the way they were, not just as photographers but as people.

To write blog posts, I like to examine any ongoing themes in my life. I wonder, is now a time for reorganizing? Remembering the art school advice to change it up, today I’m taking stock and reporting the other art forms I’ve experience in the past month or so.

A trip to the lighting showroom. I’m conscious of light: the amount of light, its direction, its quality. Lighting was not my strong suit in art school in that lighting a scene or set with artificial light was challenging. I did learn enough to recognize lighting differences, though I couldn’t always execute them, and I learned the lingo. I know what I like and don’t like about light, and I can tell you why. When I learned to paint, I learned more about the logic of light.

This month, after living a long time dissatisfied with a certain light bulb and dated fixture where I live, I am ecstatic that DH agreed to let the professionals fix the lighting deficiencies and non-design in our home. A trip to the lighting store and a very pleasant consultation with the designer Adir resulted in a solution that is a compromise between husband, wife, and pocketbook, but everyone is happy so far. It’s fun to look at an array of light fixtures, design catalogs, and photo books of interior design.

Moonlight Mele on the Lawn concert. Saturday night’s program of performing arts at the Bishop Museum featured the Tau Dance Theater, Kaukahi, John Cruz, Halau Mohala Ilima, Samadhi Hawaii aerial silk trapeze, and Ledward Kaapana. Each performed first-class numbers. Three of the groups were new to me, impressive and enjoyable. With summer here there are lots of concerts to choose from. Besides taking in the music, I noticed things like the visual form of the dance, costuming, lighting (again), sound, logistical set-up, and audience reaction.

Alumni art show. This isn’t the first year of an alumni art show at my high school, but it is the first time I’m exhibiting there. It’s open just a few hours during the alumni kick-off event this coming week and a couple of hours during the luau itself. I am planning to work the show, taking a look at other alumni artists’ artwork. Today I delivered the new still lifes, all at special Punahou alumni reduced prices. If  seeing the show June 10 or 12 interests you (the event represents about 30 artists), please contact me, and I will get back to you with information.

Going to Kauai. Plans to entertain visiting relatives include a trip to Kauai. It’s a brief two-day, one-night whirlwind tour of the island, and we’ll all be tourists. It has been so long since us local folks were last there. Hey, it’s summertime! You have to go somewhere!

Garden maintenance. Might sound boring and too much like work, but this is a type of meditation for me. Since pruning the hedge, I’m thrilled to see the ocean and the sky from the studio. The shorter hedge is in better scale for our lot and the street, there’s more air and light for both us and the neighbors, and more sunshine for the vegetable garden. In the renewed view plane ma uka (toward the mountains) I now see the fruit trees in the landscape beyond as well as two lava rock faces in the mountains.

Loving a parade or two. Kamehameha Day is observed this Saturday, June 12, from 9:30 a.m. to 1 p.m. with the annual floral parade, but I heard the route is changed from previous years. It will start on Ala Moana near Fort DeRussy and go in the ewa direction, turn right at Punchbowl street, then left on King street to Iolani Palace. This parade is the best opportunity to see the pau (pronounced pahh-oo) riders, women on horseback representing the various islands of Hawaii with their colorful skirts and elaborate floral lei. DH and I will put in some community service with Koolauloa Hawaiian Civic Club in the hot dogs-and-hamburgers booth on the palace grounds. The following day, June 13, I’d love to take in the Pan-Pacific evening parade, from 5 to 7 p.m. as it processes through Waikiki down Kalakaua avenue.

It’s a good time to change it up. I’ll see you!

Copyright 2010 Rebekah Luke




Momma and Dr. Usui said, honor and thank our teachers

27 05 2010

A shopper at last weekend’s Native Hawaiian Arts Market asked me if I considered myself a self-taught painter. “No is the short answer,” I replied quietly.

I believe in taking lessons, followed by lots of practice. I took lessons.

In the Hawaiian culture I learned everyone must have a teacher. Never mind you think you don’t need one, that you can do your own whatever. At least not in the beginning.

The first thing someone will ask is, “Who’s your kumu?” If you can say, “My kumu was ___ ,”  respect for your work goes up a notch. If you can’t, the response might be, “Uh-huh,” and you hardly will be given the time of day and wonder why.

Perhaps after working at it for a while, an artist will perfect his/her line and system and turn out creations that are identifiably theirs, but most successful artists have gotten a background of the universal principles and basic techniques prior to discovering how to manipulate the medium into something original and all their own.

Having a teacher gives your work credibility. It applies to more than just painting.

For example, at the opening of Oceania Exhibit at the National Museum of Ethnology, a.k.a. Minpaku, in Osaka, Japan, for which the museum built a replica of the Hale Kuai Cooperative store in Hauula to represent the Hawaiian Islands, Kealii Gora attended officially as cultural consultant, and I attended in my role as the real co-op’s executive director.

Ka Lahui Hawaii and yours truly co-founded the cooperative to buy and sell products made by Native Hawaiians.

Hale Kuai Cooperative caught the attention of Minpaku anthropology professor Akitoshi Shimizu, who led the project team. He felt it depicted a movement in economic development among indigenous Hawaiians in 1999.

The opening ceremony was hauntingly beautiful and Kealii’s oli (chanting) rocked the entire hall. Afterward a VIP guest confronted him and wanted to know “by what authority” Mr. Gora performed the protocol, along with a Maori representative from Aotearoa.

Interestingly, but not surprisingly, Kealii did not reply that he was an officer of Ka Lahui Hawaii (a de facto Hawaiian nation). That he most certainly was. He replied, “My teacher was Kumu John Keola Lake.” There wasn’t anything the guest could say after that.

Similarly, certified Reiki masters will identify their credentials by stating the genealogy of their Reiki line. I am 10th generation from Dr. Mikao Usui through Mrs. Takata. That brings to mind Dr. Usui’s precepts:

Just for today, do not worry.
Just for today, do not anger.
Honor your parents, teachers, and elders.
Earn your living honestly.
Give thanks to every living thing.

My mother, a piano teacher, taught me to remember and acknowledge my teachers. So I honor my teachers of art and Reiki by naming them here. Most of my teachers throughout my life were influential in some way, but these people made a loving impact.

Richard Nelson, Punahou School art history
Duane Preble, University of Hawaii at Manoa art history
Masao Miyamoto, University of Hawaii photographer
Michael Tamaru, University of Hawaii graphic designer
Glenn Christiansen, Darrow Watt, Norman Plate, Sunset photographers
Art Center College of Design faculty
Gloria Foss, The Foss School of Fine Arts, landscape painting
Vickie Kula, The Gloria Foss Color Course, studio drawing and painting
Susan Rogers-Aregger, Arts of Paradise gallery management
Alice Anne Parker, Reiki master
Lori Wong, Reiki master

Thank you for teaching me.

Copyright 2010 Rebekah Luke