Archives for posts with tag: Napili

If you decide to have breakfast at the Gazebo Restaurant in Napili, it doesn’t matter when you arrive; you will wait for at least 30 minutes.  A line starts to form outside at 6:30 am in anticipation of the restaurant’s 7:00 am opening time.

But it’s a pleasant wait as everybody spends the time describing to their friends what they did the day before, discussing what they will order to eat and planning their activities for the remainder of the morning.  There is none of the tension that often pervades such queues and threatens to escalate into hostility—or even violence—when someone appears to cut in ahead of others.

And, even better, there is coffee, a big urn of it on a cart near the restaurant’s shop.  By absolute measures, the coffee is not very good.  It is weak, overheated (almost always the case with electric urns) and served in Styrofoam cups.  You wouldn’t pay much for this coffee so it’s a good thing that it is free.

And yet, standing here with Rachel in the morning tropical sun, watching for whales, feeling the warm breezes on our faces, and contemplating what will no doubt be a delicious breakfast, I’m thinking that this is probably the best coffee in the world.

Several years ago, I fell in love with Hawaiian slack key guitar music.  We had attended a performance of Ballet Tech (formerly, Feld Ballets/NY) at the Joyce Theater in New York City and one of the dances was set to a piece called Moe ‘Uhane, or Dream Slack Key, by Sonny Chillingworth.  It was mesmerizing and beautiful, a melodious evocation of the tranquility and beauty of the islands.

I’m afraid it overshadowed the dance (sorry, Eliot!) but the music stayed with me.  Fortunately, the program for the performance included a reference (thanks, Eliot!) and I was able to track down the CD from which the music came (Hawaiian Slack Key Guitar Masters, issued by Dancing Cat Records).  I purchased it, and then another (Volume 2) and then another.  We shortly had a small collection of traditional Hawaiian music.

When it came time to plan this trip, we checked online to see whether we might find a live concert during our stay.  To our delight, we found George Kahumoku, Jr.’s Slack Key Show, a weekly performance by masters of Hawaiian music.  It takes place every Wednesday evening in the Aloha Pavilion of the Napili Kai Resort, right across the street from where we are staying.

The only downside is that Uncle George (a slack key guitar master) is touring on the mainland.  His sidekicks, Da Ukulele Boyz, are hosting in his absence and their guests tonight are Herb Ohta, Jr. (ukulele) and Jon Yamasato (guitar).  Their background is traditional but they also played some contemporary music.  Along with guitarist Sterling Seaton and the elegant hula dancer Wainani Kealoha (who performed to Hanalei Moon), they put on a tremendous show (and we were able to get autographed CDs as souvenirs).

Often when I am planning a trip to a new destination (or one with which I am not very familiar), I will make a virtual visit using Google Maps.  I am a visual thinker and have found that by looking at the satellite/aerial views—often combined with Street View—of a location, I can form a preliminary mental map that will help me navigate and become comfortable in a strange environment.  Call it pre-familiarization.

I made such a flyover before coming to Hawaii.  I was looking for the condo where we stayed on our last trip and where we are staying again this time (in the same room, coincidentally), the name or location of which I could not remember (it was more than 10 years ago).  I had only a general idea of where it was—across the road from the resorts of Napili and Kapalua—and a recollection that it was near a large hotel (where we sipped cocktails at sunset one evening).

It wasn’t much to go on but by cruising (digitally) up and down Lower Honoapiilani Road a few times, I was able to home in on a potential location.  There was no adjacent hotel (I learned from our friends yesterday that it had been demolished and replaced by luxury residences in the intervening years) but by zooming down, I was able to recognize the distinctive swimming pool, memorable for its azure blue tiles.  Rachel later confirmed the location, having found its website online.

A fringe benefit of my virtual touring is that I sometimes discover places of interest that I might not otherwise have encountered.  In this case, I happened upon the Dragon’s Teeth Labyrinth on a spit of volcanic rock north of our condo.  From the air, it would appear to be a full-sized Chartres labyrinth and to occupy a potentially sacred spot where land and water meet.  This morning, we set out to see it for ourselves.  The prospect was exciting as we have always enjoyed walking labyrinths and developed one on our property (see July 10, 2011).

Public access to the coast cannot be restricted in Hawaii (even though much of the oceanfront property is privately owned) and there are many trails that follow the shore.  One such trail heads north from Kapalua Beach and winds through the luxury residences (which seem strangely vacant).  As we passed by, a rainbow appeared to the west between us and Molokai, an auspicious beginning to our journey.  When the trail reached the north end of the housing complex, it led out onto a jagged outcropping of the solidified lava that forms most of Hawaii’s coastline.

From there, the trail turns eastward, first passing through a shore bird nesting habitat and then onto a boardwalk just above the beach at Oneloa Bay.  At the far end of the beach, the trail turns back inland to follow Lower Honoapiilani Road (although access to the coast cannot be restricted, much of it remains physically inaccessible).  A short walk along the road brought us to the fourth tee of the Kapalua Bay Golf Course.

Here we paused for a moment.  Getting out to the Dragon’s Teeth would involve walking along the edge of the fairway.  We knew that we had the right to pass but many golf courses are private and off limits to non-members or players.  When we saw a sign warning of proximity to the course—and not commanding us to keep out—we started down along the hedge that forms the fairway’s border.  At one point we held up to allow a foursome of golfers to play through.  It was not the reverent approach we were expecting to make (even if the more devout golfers around us would have considered this fine course a place of worship).

When we reached the outcropping it was evident how it got its name.  The eastern edge of the spit was lined with spiky vertical projections of lava (aa, presumably) that were upturned by wave action while still molten (or so I later read).  The waves are still quite strong here and wash against the Dragon’s Teeth obliquely resulting in a fountain of water that slides along the shoreline dramatically.

Just beyond the teeth, where the jetty levels out, we found the labyrinth.  Circular in plan, its 11 concentric paths are divided from each other by stones that have been smoothed by wave action and are anchored in place by succulents growing around them.  The labyrinth clearly sees many visitors as the paths have been worn down into ruts by heavy foot traffic.  Even so, we were fortunate to have it to ourselves.

We slowly and solemnly made our pilgrimage to the center of the labyrinth and once there, performed our version of the Medicine Wheel Prayer.  We first faced east and raised our arms in salute to spring and rebirth.  We next turned to the south and paid homage to summer and growth.  Then, we faced west, acknowledging fall and the natural endings in life and to complete the circle, we looked to the north in respect of winter and introspection.  Finally, we raised our heads to greet Father Sky and bowed to show our love for Mother Earth (perhaps a sphere would be a better symbol).

It wasn’t as mystical or woo-woo as it might sound (especially with golfers putting nearby).  It was, however, a simple ritual that left us feeling centered—literally and figuratively—and fully appreciative of this world we live in and the particular paradise in which we found ourselves today.