Reflections on the moon

Cafe Astrology 

"There is a crisis theme surrounding any quarter Moon phase, as we feel compelled to take action. Shortly after, we are made aware of how our actions affect those close to us, perhaps through trial and error. Whatever project or initiative we began around the New Moon is now off the ground, and it may face its first obstacles." 

- CafeAstrology

Heavy rain last night emptied the healing waters of Kane all over us. The sun is bright, and strong through the rippling wall of clear plastic that is our Quonset's North East facing side. By Kaulana Mahina's tracking, these are the 'Ole Moons the quarter Moon phases. During these moon phases I have learned through practice and experience not to begin new projects and to attend to what has already begun. The commentary from Cafe Astrology was a bit of calling for help on my part. We are in the middle of another 'crisis theme' as described and I am sorting through the 'how our actions affect those close to us' bit. A new awareness lit for me as I read the commentary (as depicted in the glyphs). In a First Quarter Moon the Sun squares the Moon. 'Squares create tension like legs on a table square the table top to hold it up.

Astrology is one of my primary sources for deconstructing and reconstructing my world. I have come to see it as a de- and re-construction process thanks to my connections with Hawaiian practitioners like Kalei Nu'uhiwa and Dr. Pualani Kanahele. Through their scholarship and the accessibility of the Internet's cyberlibrary I source the legacy of my ancient Hawaiian creation myth and learn (through these practitioners' translations). Nu'uhiwa aptly describes these translations in her presentation "Papaku Makawalu."  Astrology is my regular observational practice of the natural re-occurrences in the sky, or in Hawaiian, Papa Huli Lani

If you look closely three thin and snaking Bracken ferns are unfurling, makawalu-ing.
 I took this photo the other day, during the 'ole moons. 

In this close-up shot the imagery speaks loudly to the action of each fern leaflet being a universe of its own ... potential to become more over this season (and the long season over the backbone of time)

In the process of unfurling, or living the life that is mine here in the woods I see that our tiny homes arrangement was the unfolding dream bred from survivors of seafarers and land-based farmers. Pete and I have the DNA of very different beginnings. When we experience the seasonal shifts, as we are now with the Equinox unfurling spring, we adapt to our environment with an inherent difference. To survive our ancestors did different things; they in turn have passed those behaviors down the string of heredity.

This post will ramble and buckle as I attempt to make sense of it even as I am going through it. If I will maintain my focus on the original quote about the quality of a Quarter Moon phase, I find this clue: "Whatever project or initiative we began around the New Moon is now off the ground, and it may face its first obstacles." 

The clue offers me this insight ... the raging pollens' early unset during the New Moon on March 20th and the need for me to have unexpected dental surgery delayed a planned event. I made a choice to cancel a storytelling and teaching gathering. I slowed things down. Pete does not slow down. Spring is literally his choice of action. He can't wait to be more active, and be active with as many people as possible. The challenge is to be aware of how our very different native survival techniques are addressed.

The clash happens. Pete's Libra Moon needs company and many people to be satisfied. My Capricorn Moon is conservative and finds satisfaction from digging, alone. I need to remember this, these Quarter Moon/'Ole Phases give me a chance to understand how to keep my soul close without turning black when Pete's very different needs overshadow.

How to make sense of it: Lawe i ka ma'alea a ku'ono'ono Take wisdom and make it deep. Between us we love to explore the deep and far-reaching potential found in the practices like Papaku Makawalu. Somewhere between the differences of styles we have there is room for understanding. I find ways to breathe the deep breaths to clear my mind, and feed it oxygen. Flushing the pollens with snorts of salt water the memories of my sea-faring ancestors make room for adaptation today. Out and about as he is today the many contacts (makawalu) Pete makes will feed him as needed.

Reflecting on the moon, I remember that she dances and moves regularly around Earth giving light and darkness equal time. Her body affects mine. I observe and notice. I employ the potential to forgive myself when I explode in anger; and be compassionate as I slip on those banana peels of judgment and impatience.

Today and tonight the Moon is in her own sign, Cancer. Settle in. 

There's only one thing that you gotta remember

"There's only one thing that you gotta remember

/Every thing in this world is either a brother or sister ..."

Nests in winter in a town near-by

I'm reading a book by Charles De Lint Someplace to be flying. The tickle line/title for this post that prompts the morning of writing  is from De Lint's song Cherokee Girl. Both his book set in an imaginary town much like urban Ontario where De Lint lives and the song written in Tuscan for his friend and mythic writer-editor-artist Terri Windling were probably written around the same time, late 1990's. De Lint is a Canadian writer and musician, someone I discovered while Pete and I lived in my family homestead on O'ahu. It was his book The Forest of the Heart that tapped into my internal stream bed of creativity sniffing out a different form of expression. De Lint is a writer of modern myth and timeless connections with every thing in this world being either a brother or sister. At the time I began reading The Forest of the Heart I needed to make peace with my wandering nature and the forms of expression that I figured were not-right. It would take me more living to discover this possibility "wonder, but not worry."(another expression from one of De Lint's characters).

De Lint's characters often include the world of crows, familiarity with Cody (coyote) and expressions of Raven. His work is described as "urban fantasy", I wonder about the tag for his characters' world feeds my growing everyday life with the bird people and the Nature of things. We live with the forest and sleep in a curved room with windows that allow wind and moon and the moving roots to push at the borders of memory. Raven wakes us daily and I holler back at him to let him know, "I hear."

The rats eat out of the feed bowls down in the chicken yard. In the snowy yesterday the chickens refused to walk through the color white stuff, perched on the boards of the compost. My son and I watched, talked with the birds and the rats wore the well-run path from the old coop to the bowl. One of them, one of the rats, truly 'ratty' with patches of hair missing. In a story I have told the rat, "i'ole" is a much maligned creature. But in that same tale it is the rat that finds the horde of food cached in a net dangling in the sky. Secured from the reach of every thing of this world except for the greedy patriarch, the net held every thing there was to eat. Only the rat, much maligned but committed to feeding his starving family made his way in collaboration with the coconut tree, the wind, a cloud and a rainbow. His sharp claw tore a hole in the dangling net, and his long and agile tail allowed him to cling as all the stores of food fell to the starving every body below.

In the civilian world the rat and the Raven don't sit at the table. But there is that internal stream bed that has room for every body. Sometimes I find my way there. It may take a lifetime to sort through the jumble and the trinkets of living in harmony with every time, every body and every thing. Maybe several lifetimes. The clues for what is important come in all sorts of places, and the cycles turn up again if one is awake and aware of the patterns: some things change, but some things stay the same.

E kuhikuhi pono i na au iki a me na au nui o ka 'ike.

Instruct well in the little and the large currents of knowledge

In teaching, do it well; the small details are as important as the large ones.

-'Olelo No'eau

Beach walking 1973

Beach walking 2014

Are you good at waiting?

The Epic Tale of Hi'iakaikapoliopele

" Writing fiction for me is like playing in sand at the beach.  Warm water, the sound of waves, and the sculpting of sand caves and castles give me room to let the playful girl out of an all too confining skin of restrictions.  Creativity loves room to play...The story "Splinters" is my latest adventure at playing in the sand.  Through the process, and through the recording done here on my blog I take the discipline art of studying astrology to frame characters; weave in my love and ongoing appreciation for culture; and, allow my need to express the everyday in some transformative way..."

This is an excerpt from a blog post at Moon Tattoos written on February, 2012 here.  My love affair with blogging has tickled scores of stories and creations that allow me "to express the everyday in some transformative way." The time traveling novel-in-the-making "Splinters" parks for a while, and I write other stories. The gifts of internet access and blog-making lay a foundation for doing what I love. And why do I do this?

" My past is like a patch of nettles, the memories burn as I pluck them up . . .and crush them . . .and spin them  . . .and weave them into coats made out of stories. My brothers are grown, but there are others still caught beneath swan feathers and donkeyskins. And so I continue to spin, and weave, and toss those coats made of words to the air — hoping that someday, somewhere, they will set somebody free.- Terri Windling

The three sentences above are the conclusion to Terri Windling's essay "Transformations" copyright © 2002 by Terri Windling which first appeared in the expanded edition of Mirror, Mirror on the Wall: Women Writers Explore Their Favorite Fairy Tales, edited by Kate Bernheimer. Windling quickly, and steadily, became my modern day heroine. I highly recommend reading the whole of "Transformation" for an inspiring read about fairy tales as remedy for life. A writer, painter and blogger come to my world thanks to the internet, Windling's novel The Wood Wife and her blog The Drawing Board are regular fueling and refueling ponds for my creativity. I visit her blog daily, and have read The Wood Wife many times. My copy of the novel is tucked in a basket under my bed along with my other notions and potions of homeo-practical magic.

Like Windling, my life and the journey-journaling as Makua O'o is a winding tale. Over and under, challenged and defeated, up and out leaping or scrambling out of ashes I weave something from nothing. The myth and stories I tell are inseparable from the kumulipo (the creation stories) of my ancestors. But, they translate and kick-off (makawalu) versions of tales that fit me today. When I come to the keys and tell the latest story I am motivated by freedom. This morning I read this at my astrologer's blog:

I intended to withdraw my energy from this blog and the boards in order to focus... It’s sort [of]the Saturn model – finish the work, before you play, but then something weird happened. I found out one of the regulars on the site had been blocked by the communist party in the country where she lives.

The variations on the theme of motivation fueled a conversation my husband and I have been having about The Safety Pin Cafe. This version of tale spinning is new for me. Born like so many of my stories there was a need to remedy an experience. I called for help, asked for permission and let the words fly! That 1-2-3 process is consistent. Now, nearly finished with the 10-doses of The Safety Pin Cafe I want to know: What's it is like to read and visit The Safety Pin Cafe? You see I'm not quite sure what the story yearns for as a conclusion. My Hawaiian storytelling genes are evolving and there's no telling what those artistic genes will do from the borders. Before tying off this lei of words, here's something that inspires my lei-making and story-telling genes. Marie McDonald, master lei-maker and kapa maker has been making lei and teaching her aloha for this art from the Waimea country on the island of Hawaii. In the quote from a 1994 interview in The Waimea Gazette, I heard something to move me i mua, forward:

"I can hardly believe what they are doing with leis today! People are so creative, really inventive and I like to think I had a part in that," she said.
She believes true artists, whatever their mode of expression, have to take the traditional and add to it, not be bound by it.
Marie likes to think of people in the year 3000 studying their past history and saying, "Well, look at the difference... this is what they were doing with leis in the 1850's, and then look what they were doing in 1950 and 2050."
"We're supposed to evolve, to grow, to get better," she said.

So back to the question and topic for this post. "Are you good at waiting?" Help me with a new twist to my storytelling.

Are you reading The Safety Pin Cafe?

Did you read the installments quickly, or did you pace the doses? 

If you are a Hawaii-born reader do you see the way the traditional stories weave and change in this story? What do you think of this?

Do you have safety pin memories of your own?

Would you visit the real Safety Pin Cafe, and hear the final installment live in a location near you?

All and any answers will add to the homeopractical application of this medicine story. I hope you'll let me know what you're thinking. Leave a comment, or email me.

mokihanacalizar@gmail.com

The 'Ole Moons begin tomorrow, so I'll be mulling things over for a few moons.

Until next time.
Bisous,
Mokihana

#7 The Safety Pin Cafe: "Look to the source, sniff for the truth"

There is remedy in the everyday. Anyway you find it, practice homeo-practical magic.
-The Joy Weed Journal

more ventures with Pale The Border Witch ...the next part of The Safety Pin Cafe.

Read the Previous Installment 
Read the First Installment

*************************

I am never quite ready for Stardust exits. The absence of the light is one thing, but I've learned something over time: sniff for the truth. Smoke is caught by the nose before the eye; and freshly baking pie? Well, the nose knows first in that case, too. Raven's absence was making me uncomfortable. I don't like the feeling. Longing for him after such a brief ... brief what? "Mutual seduction, perhaps." It was The Lady. Fluttering this time through the keyhole of the bedroom door, the Fairy Lady wore blue. At this size her voice was audible, and not echoing. "I followed the scent of the dust and as it happens with us I saw the shifting outline of pie," Fairy Lady had actually collected the pie dust. In a dust bin no bigger than a mouse turd she landed on my sensible black boot. The left boot.

With not so much as a word, the Fairy Lady emptied the contents of her dust bin onto my boot. "Your secrets are not very well-kept Pale The Border Witch," the voice like running water teased. "You are neutral medicine, Lady," I answered. "Allowing my basket of notions to you is a choice I make with no never-mind." Rising like yeast-dough the toe of my sensible boot was now a doughnut of a basket. Soft and red in the center like a jelly doughnut, all the notions of necessity lay in suspension ... inside the gooey jell. The sides twined like vines in any proper basket though these were the i'ei'e come from far and time nearly out of memory.

I chanted the words of permission, careful and thorough where it mattered. My answer: The Faceless Woman was two doors from my own room. "Now?" I asked. The basket lifted and tucked itself i-ka-poli-o-Pale (into my armpit). The Fairy Lady had tricks of her own. Rubbing her fingers together until sparks jumped like fleas a long thin silver hat pin extended itself. She ran it expertly along Raven's Safety Pin. Two pins. Two notions. "You will need both, and it will matter in which order you use them, Pale The Border Witch," Raven was at my side. I reached to assure myself of his standard. My wrist found no purchase. "Look to the source, sniff for the truth," I heard him say.

The Safety Pin Cafe and The Joy Weed Journal are Copyright Protected(c), 2012
Yvonne Mokihana Calizar 

The halls ... between fact and fiction

"...having a tendency to think you always need more knowledge before taking action. Instead, it’s time to take more risks, to reach for center stage, and to develop one’s confidence---even if it means allowing your childlike qualities to come out more, and for you to be more of a “character.”- Elizabeth Spring

" ... [your story] is like Alice in Wonderland meets Harry Potter" - Jt 

It is still November, though barely so, and the theme of Medicine Stories is prevalent. Still the season of Makahiki, The Hawaiian New Year continues in its four month cycle. No war. Paying taxes. Gathering to celebrate harvest. Playing games. I've begun my 65th trip around Ka La (the sun) and the quote from astrologer Elizabeth Spring feeds me. Jt's comment about my latest Medicine Story, The Safety Pin Cafe, tells me my "character" grows with age, and practice.
My everyday world is the papaku (the platform) from which today unfurls. Papaku Makawalu. Ancient is the Creation Myth (The Kumulipo). I count on ancient, and use it to push myself into the hallways between fact and fiction, now and then, keia i kela. Journeying between, in the hallways of my ancestral path, I pick themes up. Images and ancestors concoct remedies and medicines that translate across time.

Today, this story happened to me.Tomorrow is somewhere down the hall. I woke at Four, felt for my robe in the dark, put my floppy cotton hat on, opened the vardo door and stepped into my boots. Barefoot, the inside of the boots were cold -- not icy, but barely comfortable. Nearly. Out from the umbrella awning the stars and planets aligned and signed to me: some messages I missed, others were probably not in my language, Makali'i (The Pleiades) was already moving home; I waved to the family.

The cozy den of Quonset welcomed, but still, the lingering smell of last night's dinner cooked too long unattended beckoned. "Good morning," I said to The Cat, glad she was safely occupying her rug in front of the heater. Owl was close, very close last night. After a bit of conversation and chin rubs I carried the white enamel pot out the door, switching from inside slippers to outdoor boots and headed for the wash house. Hot water for washing up. The back deck lights had been left on at the big house massing the forest with artificial light, but above the heavens competed.

Living between covered rooms in the woods, the outside is our hallway. In precisely the best of ways, the labor of executing simple tasks are made more deliberate. It takes five steps rather than one to wash a pot properly, or so we believe. Hot soapy water is a luxury we don't take for granted but enjoy the heck out of every time. As I reveled, my hands up to my wrists in the dish bubble bath the image of three friends chatting in the parking lot rewound. The broad faced dirty blonde woman, warmly outfitted with a heavy coat had her hand on the tailgate window, her head emerging from the SUV. "I look like a homeless person," I heard her say to her companions. I turned at the comment as she continued to explain her bootie of parcels: shopping from the day. Barely enough separates one with a home from one without. What halls separate her rooms?


The artwork Hi'iaka and the Mo'o with link to a current issue on the island of Kauai.

Straight lines and Curves

The new cycle of thirty phases of Hina has started, a perfect example of how Kaulana Mahina, The Hawaiian Moon Calendar is a circle or curve in contrast to the wall calendars most of us use to remember what day it is-- time to pay the rent; pick up visitors at the airport this afternoon.  By the calendar on the wall it is Tuesday, August 30, 2011.  If you or I could look up today, during the daylight hours, the gracefully unfurling light of Hina in the shape of HOAKA (the Crescent Moon) would tell us that 'time' is newly drawing to full.  From the view of Hawaiian knowledge, the first anahulu draws light and life from a closed circle into a silver spoon, gradually filling from the curve or circle into the upright or nearly 'straight' line of the 'Ole phases.  The wonderful and full connection that comes when both 'calendars' integrate is the reason I have embraced the study and living with Mahina time as major navigator. No doubt my round body more plump and slower in speed than when I was able to run up the steep hill has aged.  But, my feminine nature is more at ease today, accepting of the curves that outline my physicality and as well, the curves that note my emotions and ability to balance the needs of the daily 'do' with the spiritual and transformative flow of imagining, creating and sacred storytelling.

The two images above are lovely examples of the circles and lines from my life.  The larger image is The Whale Wheel design created by Tsimshian Roger Purdue depicting 5 Orcas in the Northwest Native art style. Pete and I drove north to the summer Penn Cove Water Festival, in Coupeville, WA where we saw Purdue's design and the carved wheel which will be replaced because of wear and wobbling.  The design not only adorn[s] the 2011 Water Festival T-shirts, posters and fine art prints, but is also featured on the new Whale Wheel being carved by local Coupeville carver's under Roger's direction. The carved whale wheel will replace the salmon wheel, carved by Roger and unveiled at the 1995 Penn Cove Water Festival.

"Artist Roger Purdue wants to see whales honored, and he wants them to return to Penn Cove. He wonders if the whales remember that bad things happened to them in the Cove, and if they could be watching and waiting for us to do the right things, so they can return. All the right things happened to bring about the creation of the Whale Wheel. A magnificent piece of cedar was about to be reduced to kindling, and though Roger could no longer do it himself, a group of talented carvers was willing to do the work. The wheel shape reminds us of the Native American Circle of Life, and similar teachings by professor David Suzuki on the continuity of life. Just as all of the atoms in our bodies were part of other life forms before us, they will be dispersed to yet other living things after us; perhaps the salmon, the bear or the whale..."

Source-http://www.penncovewaterfestival.com/

The second image is one that I have used to draw on the intuitive feel of unfurling and coming into fullness.  It is that image of the Hapu'u fern and the collective wisdom of my ancestors the Kanaka, or Hawaiian, that inspired me to explore and share what Puanani Kanaka'ole Kanahele called "Papaku Makawalu."  I have included the link to Puanani Kanaka'ole Kanahele's "Methodology of Papapku Makawalu" to encourage any readers to explore the depth and breadth of the Kanaka Universe in its elegant and holistic character.  Slowly yet steadily, individuals, small and larger groups and especially those of us with the genetic memory to seek the missing links and segments of the circular wisdom, build stronger and fuller lives on resilient foundations.

One particular excerpt from Kanahele's "Methodology ..." struck me as a straight line, an up-right Ku connection and it is this:

 PapakU Makawalu is a way of learning a diminutive component while having some perspective of the full extent of the whole. Lines that separate specializations are traversed and voids of connectivity are filled because Papakü Makawalu is a natural process of Hawaiians that show their intuition of the world. The purpose of PapakU Makawalu is to return to this high level of known existence..." 

...PapakU Makawalu is the means to elevate, titillate and expand our native intelligence...

From my diminutive location, in a diminutive space -- a Quonset Hut sitting in the woods thousands of miles from my source of origin, I am able to draw on the knowledge of ancient ancestors who knew life on the curve and straight lines.  From this space in the woods, my journey is precisely TITILLATED by the timing of information that crosses and criss-crosses my journey as woman, as makua o'o, as Hawaiian.  It is that intuitive itch that fueled me to write, to heal, to cry and to find interconnected meaning in everything from learing to grow 11-foot high peavines and bean stalks to moving through the process of chemical injury and the trauma of being without.

Huge vistas and new ventures grow from connections at every imaginable and unimaginable level.  Can you feel that in your life?  Do you grasp on to the light of a Hoaka Moon, or feel it when you harvest fresh-picked beans?   

 

HERE'S THE LINK to "Methodology Of Papaku Makawalu"  http://ahujournal.org/MethodologyOfPapakuMakawalu.pdf 

NEW WORKSHOP : "Unfurling" the fourth and final workshop based on Kaulana Mahina

The series of basic and foundational knowledge and practice with Kaulana Mahina (the Hawaiian Moon Calendar) and the universe from the Kanaka perspective, ends with the workshop entitled "Unfurling".  This fourth workshop-study group will summarize and integrate all three workshops, and add the recent work of Pua Kanahele and the system of knowledge called Papaku Makawalu.  "Unfurling" will offer a broad and specific system of knowledge from which personal journeys can unfold.  The broad and foundational knowledge comes from the many teachers' mana'o shared in the four workshops of Kaulana Mahina.  The specific ways in which those teachings aid you comes from your readiness to make connection, room and images that speak to you in relevant ways. 

A PREVIEW of the workshop "Unfurling" is now available for reading, and will remain public through July 1st.  Link here, and see if this workshop appeals to you.

The new workshop begins with the energy of a solar eclipse in the mother of astro signs, Cancer.  What births are on your horizon?

Points of Reckoning: personal and spiritual navigation and the process of unfurling

Hapu'u an example of Papaku Makawalu

Do you notice how patterns repeat themselves in nature, and in your life?  Simple things like "I don't put a thing back in exactly the same place everytime."  Or, "I always put things in exactly the same place every time."  I heard Pete say (the first thing) the other day when he was looking for the top of the water bottle.  I heard myself snickering and then admitted I don't put things back in the same place everytime either.  Other examples, "Patience is easy for me, I can wait."  Or, "Patience is a pain, and I don't like pain."  Other simple examples come through living with the trees and bushes of berries that seem to be surrounding us, making just enough room for our vardo and Quonset to blend in.  Seasons come and go, the sky above us huli turning from day to night, sun up, sun down, mahina up, stars out.  That cycle of repetition is slowly yet efficiently teaching me to notice my place within the natural scheme of things.

Teaching is often the best way I learn.  It continues to be true these past three months, as I write and connect the ancient practices from my mother's lineage.  Kaulana Mahina the Way of the Moon has given me points of reckoning and a newly rebuilt foundation of stability.  It's not easy, and I think, that's the good news.  Learning to count differently requires giving up meanings long clung to:  2+2 doesn't always equal 4, but it matters that you stay long enough to learn why.  So it's been with the workshops that began with Count on The Moon.  That first workshop began with the basis idea that there are 7 po, 7 nights of the moon, when traditional wisdom of the kanaka has said, "Do nothing new on these nights."  During the months of travel in the wa'a kaulua workshop, I have learned that "Do", "nothing" "new" and "these nights" mean something different for every one in the wa'a.  Is writing doing?  What is something new?  NOTHING?  Anyway, maybe you get the picture.  The Kanaka Universe was observed and recorded into a system thousands of years prior to this year.  The study of that universe, and its application to life today is a multi-media experience.

Inseparable for the kanaka was the spiritual and physical universe.  Foundational values set the stage for a very different kind of universe based on reverence and respect, rather than dominion and domination.  It is a universe built on aloha(love), ha'aha'a(humility), pono(harmony) and hanapono(right action).  My journey as makua o'o includes times of confusion and huli (up-sets).  To see my physical journey and repeat it would include many re-traced lines:  back and forth, forth and back; dig, dig, cover, cover, dig deeper.  Points of reckoning are markers, just as navigators know which stars are the fixed and dependable points of reckoning at different times of the season/year, personal and spiritual navigation must also have dependable points of reckoning to know 'I started here' and now 'I am here.' 

Every one of us has a style and a navigational preference.  Some of us talk our way through the journey, others work our way through the journey, still others write our way through, and others still sleep-walk our walk through living.  The Summer Solstice  marks a point of pono between the sun and earth leaving light and darkness equal from this Papa Honua.  "Good Time for Ceremony, the Solstice," said Pua Kanahele as I watched and listened to her in a video presentation describing the system of knowledge called Papaku Makawalu.  This system of knowledge is the latest of points in my personal and spiritual map of reckoning.  It affirms the values that set my mind and heart at peace when my body is weak and my confidence in huli.  Soon, I will integrate Papaku Makawalu into my navigation.  I describe this system of knowledge to mean, "From a solid foundation, grow from there."  There's an 'Olelo No'eau that says that same thing.  Do you know the one I mean?  How does it read?

If you are interested in exploring the unfurling nature of all that grows, as it relates and connects the ancient past, and your life today, consider signing up for the fourth and final basic Kaulana Mahina study group-workshops entitled "UNFURLING" beginning Muku Po (Hawaiian New Moon)in the malama of July. A preview of the workshop will be posted here very soon.