National Endowment for the Arts – Grants for Arts Project – Deadline August 11, 2011

National Endowment for the Arts
Grants: Apply for a Grant
Grants for Arts Projects

DESIGN: Art Works


The NEA’s guiding principle is embodied in one sentence: “Art works.”

“Art works” is a noun; the creation of works of art by artists. “Art works” is a verb; art works on and within people to change and inspire them. “Art works” is a statement; arts jobs are real jobs that are part of the real economy.

Art Works encourages and supports the following four outcomes:

  • Creation: The creation of art that meets the highest standards of excellence,
  • Engagement: Public engagement with diverse and excellent art,
  • Learning: Lifelong learning in the arts, and
  • Livability: The strengthening of communities through the arts.

Applicants will be asked to select the outcome that is most relevant to their projects (they also will be able to select a secondary outcome). When making selections, applicants should identify the outcome(s) that reflect the results expected to be achieved by their project. If a grant is received, grantees also will be asked to provide evidence of those results.

  1. Creation: The portfolio of American art is expanded.Support is available for projects to create art that meets the highest standards of excellence across a diverse spectrum of artistic disciplines and geographic locations. Through the creation of art, these projects are intended to replenish and rejuvenate America’s enduring cultural legacy. Creation activities may include:
    • Commissioning, development, and production of new work.
    • Design competitions and design or planning projects for new arts or cultural spaces or landscapes.
    • Workshops and residencies for artists where the primary purpose is to create new art.
    • Opportunities for writers and translators to create or refine their work.
    • Projects that employ innovative forms of art-making and design.

    The anticipated results for Creation projects are new works of art. If a grant is received, at the end of the project grantees will need to provide evidence of the new art works created. If the project activities do not lead to the creation of completed works of art within the period of a grant, grantees may demonstrate progress toward the creation of art by describing the artists’ participation and work accomplished by the end of the grant. Before applying, please review the reporting requirements for Creation.

  2. Engagement: Americans throughout the nation experience art.Support is available for projects that provide public engagement with artistic excellence across a diverse spectrum of artistic disciplines and geographic locations. These projects should engage the public directly with the arts, providing Americans with new opportunities to have profound and meaningful arts experiences. Engagement activities may include:
    • Exhibitions, performances, concerts, and readings.
    • Film screenings.
    • Touring and outreach activities.
    • Restaging of repertory and master works of historical significance.
    • Art fairs and festivals.
    • Documentation, preservation, and conservation of art work.
    • Public programs that raise awareness of cultural heritage.
    • Broadcasts or recordings through Web sites; live streaming, audio- and video-on-demand, podcasts, MP3 files, or other digital applications; television; and radio.
    • Design charrettes.
    • Publication, production, and promotion of digital, audio, or online publications; books; magazines; catalogues; and searchable information databases.
    • Services to artists and arts organizations.
    • Projects that extend the arts to underserved populations — those whose opportunities to experience the arts are limited by geography, ethnicity, economics, or disability.
    • Projects that employ innovative forms of art and design delivery.

    The anticipated results for Engagement projects are direct experiences with the arts for the public. If a grant is received, at the end of the project grantees will need to describe the participants’ experiences as well as the composition of the participant group. If the nature of the project does not allow for the documentation of participants’ experiences explicitly, grantees may document the composition of the participant group and numbers of participants and activities, and describe the activities used to engage the public with art. Before applying, please review the reporting requirements for Engagement.

  3. Learning: Americans of all ages acquire knowledge or skills in the arts.Support is available for projects that provide Americans of all ages with arts learning opportunities across a diverse spectrum of artistic disciplines and geographic locations. These projects should focus on the acquisition of knowledge or skills in the arts, thereby building public capacity for lifelong participation in the arts. Learning activities may include:
    • Lifelong learning activities for children, adults, and intergenerational groups.
    • Standards-based arts education activities for K-12 students.
    • Workshops and demonstrations.
    • Mentorships and apprenticeship programs.
    • Professional development for artists, teaching artists, teachers, and other educators.
    • Assessments and evaluations of arts learning.
    • Online courses or training.
    • Lectures and symposia.
    • Production, publication, and distribution of teachers’ guides.
    • Innovative practices in arts learning for Americans of all ages.

    The anticipated results for Learning projects are increases or improvements in the participants’ knowledge or skills in the arts. If a grant is received, at the end of the project grantees will need to describe the participants’ learning, the composition of the participant group, and the numbers of participants and activities, as well as the activities used to facilitate the acquisition of knowledge or skills in the arts. Grantees who receive support through the Arts Education discipline for standards-based projects will be required to report on additional measurable results, including identifying specific learning outcomes, describing the assessment method, and reporting on the number of participants who demonstrated learning. Before applying, please review the reporting requirements for Learning.

  4. Livability: American communities are strengthened through the arts. Support is available for projects that incorporate the arts and design into strategies to improve the livability of communities. Livability consists of a variety of factors that contribute to the quality of life in a community such as ample opportunities for social, civic, and cultural participation; education, employment, and safety; sustainability; affordable housing, ease of transportation, and access to public buildings and facilities; and an aesthetically pleasing environment. The arts can enhance livability by providing new avenues for expression and creativity. Arts- and design-related Livability activities may include:
    • The development of plans for cultural and/or creative sector growth.
    • The enhancement of public spaces through design or new art works.
    • Arts or design activities that are intended to foster community interaction in public spaces.
    • Cultural sustainability activities that contribute to community identity and sense of place.
    • The engagement of artists, designers, and/or arts organizations in plans and processes to improve community livability and enhance the unique characteristics of a community.
    • Innovative community-based partnerships that integrate the arts with livability efforts.

    Please note that certain types of Livability activities will require applicants to provide information in accordance with the National Environmental Policy Act and/or the National Historic Preservation Act. See here for more information.

    The anticipated long-term results for Livability projects are measurable community benefits, such as growth in overall levels of social and civic engagement; arts- or design-focused changes in policies, laws, and/or regulations; job and/or revenue growth for the community; and changes in in-and-out migration patterns. Given the nature of Livability projects, benefits are likely to emerge over time and may not be fully measureable during the period of a grant. If a grant is received, at the end of the project grantees will need to provide evidence of progress toward achieving improved livability as appropriate to the project. Reporting requirements for Livability are different from — and more extensive than — the reporting requirements for the other outcomes. Before applying, please review the reporting requirements for Livability.


The NEA recognizes that arts and design organizations are often in the forefront of innovation in their work and strongly encourages innovation within the outcomes listed above. Innovative projects are characterized as those that:

  • Are likely to prove transformative with the potential for meaningful change, whether in the development or enhancement of new or existing art forms, new approaches to the creation or presentation of art, or new ways of engaging the public with art;
  • Are distinctive, offering fresh insights and new value for their fields and/or the public through unconventional solutions; and
  • Have the potential to be shared and/or emulated, or are likely to lead to other innovations.

To provide new leadership in the area of innovation and to ensure that innovative ideas and formats for artistic expression are supported, the NEA is requiring that Consortium applications be for innovative projects (see “Application Limits/Consortium applications” for more information). Consortium applications must demonstrate how their projects meet the definition of innovation above.

*                      *                        *                      *                      *

The Arts Endowment also is interested in projects that extend the arts to underserved populations — those whose opportunities to experience the arts are limited by geography, ethnicity, economics, or disability. This is achieved in part through the use of Challenge America funds.

Please note: The Art Works category does not fund direct grants to individuals. Direct grants to individuals are offered only in the category of Literature Fellowships.

Project Reporting and Evaluation

We ask all applicants to define what they would like to achieve, how they will assess the degree to which it is achieved, and, upon completion of the project, what they have learned from their experiences. Such feedback need not entail large-scale or expensive evaluation efforts. Applicants should do what is feasible and appropriate for their organization and project. When a grant is completed, grantees must submit a final report and answer questions on their achievements and how these were determined. Before applying, please review the reporting requirements for the outcome that will be selected for the proposed project: Creation, Engagement, Learning, or Livability.

Beyond the reporting requirements for all grantees, selected Art Works grantees will be asked to assist in the collection of additional information that can help the NEA determine the degree to which agency objectives were achieved. Grantees may be contacted to provide evidence of project accomplishments including, but not limited to, work samples, community action plans, cultural asset studies, programs, reviews, relevant news clippings, and playbills. Grantees should maintain project documentation for three years following submission of their final descriptive reports.

For a random sample of grants involving the presentation of art, selected grantees will be required to conduct surveys of audience members to gauge the nature and extent of audience response to these art experiences. Grantees selected to conduct surveys will receive materials, technical assistance, and up to $1,000 in nonmatching supplemental funding from the NEA. Grantees that are selected will be notified of their participation at the time of grant award.


Art Works applications will be accepted under two deadlines: March 10, 2011, and August 11, 2011. Apply under the deadline with the NEA outcome (in bold below) and project example that most closely corresponds to the primary focus of the proposed project. Applicants will be asked to indicate the outcome that is most relevant to their project in their application and on the application form (they also will be able to select a secondary outcome).

March 10, 2011, Application Deadline
January 1, 2012, Earliest Beginning Date for Arts Endowment Period of Support


  • Competitions and commissions.
  • Innovative technology projects or new models meant to advance design or design theory.
  • Design or planning projects for new arts or cultural spaces and landscapes.
  • Workshops and residencies for designers where the primary purpose is to create new work.
  • Design research or collaboration projects that examine current practice and propose design solutions for pressing problems.


  • Charrettes or community workshops surrounding new projects.
  • Publications.
  • Exhibition of recent design work and related activities.
  • The dissemination of advancements in design or design theory.
  • Conferences, symposia, and other gatherings that promote innovation in design practice.
  • Projects that use new media, technology, or new models to connect citizens or engage them in design projects which focus on innovation.


  • Design projects that promote livability, including economic and cultural vitality, in underserved communities or neighborhoods.
  • Community-wide or neighborhood planning and design activities for the design of public spaces.
  • (Applicants are strongly encouraged to contact staff if they are considering Livability as a primary outcome.)

August 11, 2011, Application Deadline
June 1, 2012, Earliest Beginning Date for Arts Endowment Period of Support


  • Education and outreach to teach established design practices to American communities.
  • Education and related design activities for children, adults, intergenerational groups, and schools. (If your project is for children and youth, see “Choosing the Right Discipline for Children and Youth Projects” to help you in your discipline selection.)


  • Historic preservation activities, including community preservation activities and projects that promote awareness of cultural and historic districts.
  • The exhibition and publication of design history.
  • Conferences, symposia, and other gatherings that promote the heritage and conservation of design.
  • New media or technology projects that connect citizens or engage them in design projects with a focus on historic and environmental stewardship.


  • Design projects that promote the unique characteristics of a community through the use of architecture, landscape architecture, historic preservation, and other design practices.
  • The adaptive reuse of historic properties for cultural and arts uses.
  • Design projects that promote livability, including economic and cultural vitality, through community or environmental stewardship or the use of sustainable or preservation practices.
  • Community-wide or neighborhood planning and design activities that promote economic and cultural vitality.
  • The development of plans for growth of the design sector in the local community.
  • The development of designer live/work spaces.
  • Design exhibitions, artist residencies, and other activities in public spaces that are intended to foster community interaction and/or enhance the unique characteristics of a community.
  • The engagement of designers and design organizations in plans and processes to improve community livability.
  • Community-based partnerships that integrate design with livability efforts.
  • (Applicants are strongly encouraged to contact staff if they are considering Livability as a primary outcome.)

Application Review

This category uses the agency’s traditional method of application review. Applications are submitted to the Design staff and are reviewed by a diverse group of experts in the design field.

Applications are reviewed on the basis of artistic excellence and artistic merit. For more detailed information on how artistic excellence and artistic merit will be evaluated, see the “Review Criteria.” You can find additional information in the “Application Review” section of the “Frequently Asked Questions.”


Design Specialist: Jen Hughes,, or 202/682-5547

If you wish to apply:


Step 1 – Please Read First registration

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Award Information
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Applicant Eligibility
Application Limits

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Step 2 – To Apply

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Washington, DC 20506

Local Nonprofit to Establish Innovative Asset Building Programs for Homeless Families

April 26, 2011

Press Release


WAIANAE, HI – Local nonprofit, Hawaiian Community Assets (HCA) was awarded $316,678 from Office of Hawaiian Affairs in April to establish Renter Matched Savings and Credit Builder Loan Programs for homeless families living in transitional shelters on the Waianae Coast.  The funding will also support HCA’s delivery of its 3-year project to provide financial literacy/renter education and credit counseling to 300 transitional shelter residents to allow for successful transition into permanent housing.

“During financial education workshops and credit counseling, project participants identified a lack of money and access to credit as two major barriers keeping them for successfully transitioning into permanent housing,” says HCA Program Coordinator, Jeff Gilbreath.  “We want to mahalo OHA for this funding, which will allow us in Hawaii to address these issues by establishing financial products that are specific to the lifestyles of our homeless families and rooted in the concept of shared responsibility.”

The Renter Matched Savings Program will be based off HCA’s existing Homebuyer and Youth MATCH Savings Programs and will provide project participants with a 5:1 match on savings up to $500 for a total of $3,000 to cover the costs of rental and utility deposits, moving expenses, and other costs associated with securing a rental apartment.  Participants will be required to engage in individualized credit counseling and family financial education workshops to receive their match.

According to Gilbreath, current asset limits on public benefits often dissuade Hawaii’s homeless population from building adequate savings out of fear that it could keep them from accessing said benefits in order to compliment their monthly income to cover basic living expenses. “The matched savings and Credit Builder Loan programs are vehicles for us to encourage long-term savings habits and asset building strategies among our homeless families without selling poverty as a solution to our economic struggles,” continues Gilbreath.


HCA’s Credit Builder Loan Program was launched in December 2010 through its nonprofit lending program, Hawaii Community Lending.  The Credit Builder Loans are fixed at a 6% interest rate over a term of 12 months with the maximum loan amount at $250.  HCA secures the loans allowing them to function as a forced savings product as well, in which participants “re-pay” over a 1 year period and once the loan is repaid in-full, receive their $250 back.  To-date HCA has a portfolio of 10 individuals who have been current with their payments for the last 6 months.

In order to expand financial services and products to underserved families statewide, HCA is reaching out to local banks, credit unions, foundations, and the general public to invest in Hawaii’s homeless families through its Renter Matched Savings and Credit Builder Loan Programs.  If you or your organization would like to invest in our local families or setup a presentation on how to support such programs, please contact HCA Program Coordinator, Jeff Gilbreath at 808.587.7653 or via email at


Hawaiian Community Assets (HCA) is a 501(c)(3) nonprofit organization and certified housing counseling agency that builds the capacity of low- and moderate-income communities to achieve and sustain economic self-sufficiency with a particular focus on Native Hawaiians.  HCA’s philosophy supports permanent housing, culturally-relevant financial education, and asset building programs to achieve its mission.

Media Contact:

Jeff Gilbreath

Program Coordinator

Hawaiian Community Assets

1050 Queen Street, Suite 201

Honolulu, HI 96814

(P) 808-587-7653

(TTY) 1-877-477-5990

(F) 808-628-6879


*Meeting days, times, and locations are subject to change. Please check agendas for confirmation!

NB Commission 4th Monday Honolulu OR Kapolei Hale Various
Hawaii Kai No. 1 Last Tuesday Hahaione Elem. School
595 Pepeekeo Street
7:00 pm
Kuliouou-Kalani Iki No. 2 1st Thursday Aina Haina Public Library
5246 Kalanianaole Hwy.
7:00 pm
Waialae-Kahala No. 3 3rd Thursday Kahala Community Park
4495 Pahoa Avenue
7:00 pm
Kaimuki No. 4 3rd Wednesday Liliuokalani Elementary School3633 Waialae Avenue 7:15 pm
Diamond Head/
Kapahulu/St. Louis Hts. No. 5
2nd Thursday Ala Wai Clubhouse, 2nd Floor
404 Kapahulu Avenue
7:00 pm
Palolo No. 6 2nd Wednesday Palolo Elem School Cafeteria
2106 10th Avenue
7:00 pm
Manoa No. 7 1st Wednesday Manoa Elementary School              3155 Manoa Road 7:00 pm
McCully-Moiliili No. 8 1st Thursday Washington Middle School              1633 South King Street 6:30 pm
Waikiki No. 9 2nd Tuesday Waikiki Community Center
310 Paoakalani Avenue
7:00 pm
Makiki/Lower Punchbowl/
Tantalus No. 10
3rd Thursday Makiki District Park
1527 Keeaumoku Street
7:00 pm
Ala Moana/Kakaako No. 11 4th Tuesday Makiki Christian Church
829 Pensacola Street
7:00 pm
Nuuanu/Punchbowl No. 12 3rd Tuesday Pauoa Elementary School
2301 Pauoa Road
7:15 pm
Downtown No.13 1st Thursday Pauahi Recreation Center
171 N. Pauahi Street
7:00 pm
Liliha/Kapalama No. 14 2nd Monday Ma’ema’e Elementary School Cafeteria 319 Wyllie Street 7:00 pm
Kalihi-Palama No. 15 3rd Wednesday Kalihi Union Church 

2214 North King Street

7:00 pm
Kalihi Valley No. 16 2nd Wednesday Akira Sakima Recreational Center
1911 Kam IV Road
7:00 pm
Aliamanu/Salt Lake/
Foster Village No. 18
2nd Thursday Oahu Veterans Center 

1298 Kukila Street

7:00 pm
Aiea No. 20 2nd Monday Aiea Library 

99-143 Moanalua Road

7:30 pm
Pearl City No. 21 4th Tuesday Waiau District Park 

98-1650 Kaahumanu Street

6:30 pm
Waipahu No. 22 4th Thursday Filipino Comm Center
94-428 Mokuola Street
7:00 pm
Ewa No. 23 2nd Thursday Ewa Beach Public Library
91-950 North Road
7:00 pm
Waianae Coast No. 24 1st Tuesday Waianae Neighborhood
Community Center
85-670 Farrington Hwy.
7:00 pm
Melemanu No. 25
4th Wednesday Mililani Rec. Center III
95-281 Kaloapau Street
7:00 pm
Wahiawa No. 26 3rd Monday Wahiawa Recreation Center
1139-A Kilani Avenue
7:00 pm
North Shore No. 27 4th Tuesday Haleiwa Alii Beach Park
66-167 Haleiwa Road
7:00 pm
Koolauloa No. 28 2nd Thursday Hauula Community Center
54-010 Kukuna Road
6:00 pm
Kahalu’u No. 29 2nd Wednesday KEY Project
47-200 Waihee Road
7:00 pm
Kaneohe No. 30 3rd Thursday Windward Community College, Hale Akoakoa 103-105
45-720 Keaahala Road
7:00 pm
Kailua No. 31 1st Thursday Kailua Recreation Center
21 S. Kainalu Drive
7:00 pm
Waimanalo No. 32 2nd Monday Waimanalo School Library                   41-1320 Kalanianaole Highway 


7:30 pm
Honokai Hale No 34
4th Wednesday Kapolei High School cafeteria
91-5007 Kapolei Parkway
7:00 pm
Mililani Mauka/
Launani Valley No. 35
3rd Tuesday Mililani Mauka Elem. School
95-111 Makaikai Street
7:00 pm
Nanakuli-Maili No. 36 3rd Tuesday 


Nanaikapono Elementary School 

89-153 Mano Avenue

7:00 pm

Last Update 12.23.10

For More Information, you can visit the website on the monthly calendar >>> Click Here


Longtime local foster parent kept kids safe from horrors

By Michael Tsai

POSTED: 01:30 a.m. HST, Apr 11, 2011

There is no happy circumstance by which a child is placed in foster care. But for nearly 900 kids over the past 19 years, there has at least been the consolation that Linda Dean and her family were there to quell their fears, tend to their hurts and make “the system” feel a lot more like that thing called home.

Dean, 62, insists she’s just one small part of a network of foster families, social workers and administrators — an overburdened community of child advocates too often tainted by the misdeeds of a malign few — who are committed to providing care and shelter to Hawaii children who need it most. Yet, her rec­ord argues that she is in fact something exceptional, even among those who routinely go beyond the call for the children they shelter.

Dean, a native of Battle Creek, Mich., moved to Hawaii with her family in 1988. Shortly after their arrival, she saw a commercial for foster care on TV and was smitten with the idea. The Dean home had always been a hub for neighborhood kids. Why not open it again for those in need?

Article Contributed by Star Advertiser and Micheal Tsai.  For more information about this article please visit StarAdvertiser, Click here:

Committee seeks applicants for Kamehameha Schools trustee

By Star-Advertiser staff

POSTED: 10:13 a.m. HST, Apr 18, 2011

A screening committee is looking for someone to become the next Kamehameha Schools trustee.

Applications are being taken for a new trustee to replace Diane Plotts on the board that oversees Kamehameha Schools and its multi-billion dollar investment portfolio.

The trustee screening committee, appointed by the Probate Court, will present a list of three candidates to the Probate Court. From that list, the court will name the new trustee. The appointee would qualify for a five-year term and could be eligible for another five-year term, to be determined by the Court.

Plotts term will end in  June 2011. In addition to Plotts, the current board of trustees includes chairman Corbett Kalama, vice chairman J. Douglas Ing, secretary/treasurer Micah Kane, and Janeen-Ann Ahulani Olds.

Members of the trustee screening committee are Richard Coons; Wendy B. Crabb; George “Keoki” Freeland; Cheryl L. Kauhane Lupenui; Benjamin M. Matsubara; Wesley Park; and Michael E. Rawlins. Each trustee receives $122,000 for their services. The chairperson receives $158,000.

Candidates should submit a resume, cover letter, and a statement on their view of the role of a trustee; their vision, goals and objectives for the trust estate; and what they would do to attain those goals. Nominations should be submitted to Trustee Screening Committee, c/o Inkinen & Associates, 1003 Bishop Street Suite 477, Honolulu, HI 96813. Applications can also be faxed to (808) 521-2380 or emailed to The deadline is June 10.

Kamehameha Schools is a private, educational, charitable trust founded and endowed by Princess Bernice Pauahi Bishop. Kamehameha Schools operates a statewide educational system enrolling more than 6,700 students of Hawaiian ancestry at K-12 campuses on Oahu, Maui and Hawaii and at 31 preschool sites statewide.

Article is contributed Star Advertiser and Staff.


6 transit board nominees named

The mayor and City Council each appoint three, with the Council picks still up for debate

By Gene Park

POSTED: 01:30 a.m.  Apr 19, 2011

  Council Vice Chairman and Transportation Committee Chairman Breene Harimoto, center, with Mayor Peter Carlisle at right, introduced appointees of the Honolulu Authority for Rapid Transportation yesterday at Honolulu Hale.  


Council Vice Chairman and Transportation Committee Chairman Breene Harimoto, center, with Mayor Peter Carlisle at right, introduced appointees of the Honolulu Authority for Rapid Transportation yesterday at Honolulu Hale.

City officials yesterday named the majority of the 10-member board that will oversee Honolulu’s rail transit project.

Six members were announced: three from the mayor’s office and three from the City Council.

Mayor Peter Carlisle’s appointees are:

» Don Horner, most recently picked as chairman of the state Board of Education, and also chairman and chief executive officer of First Hawaiian Bank.

» William “Buzzy” Hong, former executive director of the Hawaii Building and Construction Trades Council, and a former Ho­no­lulu police officer.

» Carrie Okinaga, city corporation counsel who will resign from that position by June 30.

Each member of the City Council submitted a nominee for the board, and of those, only three were chosen by City Council Chairman Nestor Garcia and Council Transportation Chairman Breene Harimoto. They are:

» Ivan Lui-Kwan, an attorney and former director of the city Department of Budget and Fiscal Services.

» Keslie Hui, development manager for Forest City Enterprises.

» Damien Kim, business manager and financial secretary of the International Brotherhood of Electrical Workers union.

The Council nominees are still up for debate within the Transportation Committee and the full Council via a resolution introduced by Harimoto yesterday morning.

Contributed by Star Advertise and Gene Park, For more information about this article please visit Staradvertiser. Click Here:

Community gathers to kokua in Keawenui Fishponf Restoration

Wednesday, April 13, 2011 By Molokai Dispatch staff

Help Needed for Fishpond Restoration

The March 11 tsunami brought down the walls of the Keawanui Fishpond (12 mile marker east), and the entire wall needs to be put back, approx. 2,000 feet.

Daily work, from 8 a.m. to 2 p.m. on the wall has started, those interested in helping and learning the “dry stacking” method of fishpond wall building, please call 553-3244 or 558-0111 and leave your name and contact information.

Please be advised that this is hard work and we have no funding for this disaster, so you will have to provide your own food, (lunch), tabis (or old shoes), gloves and transportation. This is serious work of our kupuna, don’t come if you only want to mahaoe and ask a thousand questions. In the doing comes the learning.

Walter Ritte

Racing Students Prepare for event on Oahu, May 1 "Honolulu 5K for Kids"

Sunday, April 17, 2011 By Molokai Dispatch staff

Racing Students Prepare

Community Contributed

By Sue Forbes-Kikukawa

On Saturday, April 9 the fourth 5K in the “Do 5 for the Kids” race series was held on the Coffees of Hawaii plantation trails.  Course conditions were ideal with clear sunny skies and a dry, freshly mowed trail.  This fourth race of five in the series was a tune up for the Kualapu`u School traveling team of four boys and four girls that will race on Oahu, May 1 in the Honolulu 5K for Kids. The traveling team selected to compete on Oahu are Mary Rose Ringor, Mary Grace Ringor, Noelani Helm, Genevieve Kikukawa, Nainoa Kahale, Noah Donnelly, Rafael Adolpho, and Kekama Naeole-Starkey.

Race four results:
Girls –
1.    Mary Rose Ringor – 31:00
2.    Mary Grace Ringor – 32:22
3.    Noelani Helm – 33:36
4.    Genevieve Kikukawa – 33:39

1.    Nainoa Kahale – 26:17
2.    Noah Donnelly – 26:29
3.    Kahili Helm – 27:33
4.    Kekama Naeole-Starkey 28:04
5.    Rafael Adolpho – 29:52
1.    Sue Forbes-Kikukawa – 22:35
2.    Katina Soares – 37:38
3.    Julie Lopez – 40:11
4.    Ellen Reed— 44:44
5.    Juanita Colon—52:32
1.    Ryan Link– 27:36
2.    Michaiah Soares– 27:37
3.    Dan Reed—28:30

The final race will be held on Saturday, April 23. Monies to fund team travel to the Honolulu 5K for Kids come from adult registration donations. Please come out to support Molokai’s first elementary running team and “Do 5 for the Kids” at our next Saturday event.
Students start off strong at Kualapu`u School's race number three. Photo provided by Sue Forbes.

Students start off strong at Kualapu`u School’s race number three. Photo provided by Sue Forbes.

Putting Back the Pieces

Sunday, April 10, 2011 By Megan Stephenson

Healing for tsunami-wrecked fishponds

Something is out of place at many of Molokai’s fishponds – many of their rocks. Large puka along hundred-foot-long newly-restored walls leave fish to swim in and out freely. It’s a stark reminder of nature’s power, and the damage left by the March 11 tsunami.

Caretakers of several fishponds located on the east end reported damaged walls, as well as surrounding structural damage after the tsunami. Residents and advocates on Molokai are preparing to rebuild soon. Merv Dudoit of Ka Honua Momona said they will be donating some of their volunteers once work days are established.

Walter Ritte, director of the Hawaiian Learning Center and Keawanui Fishpond, said although the fishpond was nearly completed after three years of restoration, “[this is] an opportunity for us to do it right.”

“I just take it in stride, you cannot argue with nature,” he said, standing at the edge of the demolished fishpond wall. “It’s easier putting back [the stones] than building – the stones are already there,” he said.
Ka`ope`ahina Fishpond’s walls need restoring. Photo by Megan Stephenson.Ka`ope`ahina Fishpond’s walls need restoring. Photo by Megan Stephenson.
He has had regular volunteers, such as his Ho`omana Hou high school students, but like other caretakers, he is calling for kokua to help restore.

Taking in the Damage
Kupeke, `Ualapu`e and Ka`ope`ahina fishponds were also reported as damaged to the county and the state Civil Defense. Sonny Dunnam, owner of Kalua`aha Ranch and Ka`ope`ahina Fishpond, said “it used to be the nicest fishpond around.” Rebuilt with 5- to 8-foot-tall walls in 1960 after a tidal wave, Dunnam said about seven-eighths of the wall is now decimated.

“It was solid – now it’s just a wall of rocks,” said Malu Dunnam, Sonny’s daughter-in-law. Sonny’s daughter and son-in-law, Brandon and Tammy Enos, also suffered the loss of their house, located on the fishpond property.

The state Civil Defense and Red Cross have provided some relief to the family for rebuilding their home, but the fishpond remains in pieces. Grants take too much time and paperwork, said Malu, and they are asking for volunteer kokua to restore the fishpond walls.

Helping Hands

Like Keawanui, the Dunnam’s pond had rocks tossed about and scattered throughout the pond. Volunteers do not need to know how to build a wall – just be willing to help in the process, Malu said.

The same damage would have happened to ancient Native Hawaiians facing a tidal wave or tsunami, according to Ritte.

“You’re not going to put anything permanent in the ocean,” he chuckled.

Honua Consulting, an Oahu-based company that provides professional services for Native Hawaiians in culture, education, community relations and environmental services, has already come to Keawanui to see the damage. They have set up a contributions page on their website to donate money directly to Keawanaui (

Ritte said he and the Keawanui volunteers were not able to recover all the rocks needed, and have had to buy from a quarry to fill in the gaps. A small barge they used for towing the rocks across the pond for building was also damaged in the tsunami.

For information on how to help all of Molokai’s tsunami-affected fishponds, contact the Molokai Community Service Council at 553-3244 or visit

President Obama declared Hawaii’s tsunami a major disaster late last week, and Federal Emergency Management Agency (FEMA) funding is now available to state and eligible local governments.

Local Artist Bill Kapuni is Honored

Wednesday, March 23, 2011 By Molokai Dispatch staff

Local Artist Honored

Community Contributed by Victoria Kapuni

Master carver and local Molokai artist Bill Kapuni will have one of his lifetime achievements on display for the public to enjoy beginning at the end of the month.  A model of the pyramid he and artist Rafeal Trenor co-created was donated to the Molokai Public Library, and is being dedicated Monday, March 28 at 3 p.m. in Kapuni’s memory for all Molokai people to enjoy.  The pyramid was created for an international peace project in 2002 and sculpted on his Kalama`ula ag land – one of eight pyramids of its kind in the world.

Dedicated to help preserve the Hawaiian culture, this model is what he considered to be one of his most significant spiritual art pieces, and is offered for the community to appreciate and learn from. I wish to share this ‘mana’ with people throughout the world and will be able to do so with another recent accomplishment he has earned. In 2010, 15 pieces of his art was chosen for inclusion in the Smithsonian National Museum of the American Indian for their collection. Bill’s work is the very first contemporary Hawaiian art collected by the Smithsonian, who honored him with a ceremony as the pieces entered the building.  After words of thanks for the gifts, the chant “kunihi ka mauna i ka la `i e” and its response were performed to welcome objects to its home.

Born and raised on Oahu, Bill Kapuni was above all else a humble Hawaiian man, who was almost full blooded Hawaiian, and created a very broad spectrum of subject matter that reflected his deep ancestry in Hawaiian culture. Part of the value of his work is that it is so detailed and varied. You feel his powerful ‘mana’ in each piece and learn of his proud Hawaiian heritage from his art.