Neil Hannahs with Auntie Nona Beamer. - Photo: Liza Simon

Aug. 15, 1923 – April 10, 2008

Winona Beamer's recent recognition as a recipient of the Governor Linda Lingle Fine Arts Award at the Hawai'i Music Awards' 2008 Legacy Awards capped off decades of honors in music and lifetime achievement. A composer, chanter, storyteller, educator, author, activist and matriarch of the Beamer family of island entertainers, “Aunty Nona” passed away the morning of April 10 at her home in Lahaina. Her accomplishments were many and varied. She was part of the first Hawaiian group to perform at Carnegie Hall, in 1948, with her brother Keola and her cousin Mahi; she started the Hawaiian Studies program at Kamehameha Schools, coining the term “Hawaiiana” to describe the entire field; and as an educator, she successfully toppled rules prohibiting students from dancing hula while standing or speaking Hawaiian on campus – rules that had gotten her expelled as a student. Born in Honolulu and spending much of her youth on Hawai'i Island, she learned hula starting around age 3 from her “Sweetheart Grandma.” She is survived by many family members, including sons Keola and Kapono, brothers Francis “Pono” Beamer Jr. and C. Keola “Uncle Keola” Beamer, sister Tita Beamer Solomon, hānai daughter Maile Beamer Loo-Ching, and cousins Mahi and Sunbeam Beamer. Her only grandchild, Kamana Beamer, pictured below, wrote this loving tribute, in her memory for KWO.

Kamana Beamer with his tūtū, Winona Beamer . - Photo: Liza Simon

He momi ma ka lei hulu kupuna,
He hiwahiwa na ka mo'opuna

Kamana Beamer / Special to Ka Wai Ola

I have been asked to write a short piece on my tūtū, Winona Kapuailohiamanonokalani Desha Beamer. Having gone to be with her kūpuna less then a week ago, I will do my best to briefly articulate some thoughts about her life and what she has been for me. E kala mai ia'u, for I am certain that my words, thoughts and composition will fall short of the strength, grace and aloha that she carried with her throughout her days as an composer, educator, activist and kupuna.

Most knew her as “Aunty Nona,” and she once told me that the Kamehameha administration in the 1950s abhorred her desire to have the keiki she taught refer to her as “Aunty Nona” rather than the formal Ms. Beamer. Education was her life, and when I began to teach at the university, she often spoke with me about the importance of having aloha for students while empowering them to explore themselves through their Hawaiian culture.

As a child I began to call her “Ano” and that was what I have called her ever since. Being her only mo'opuna, I was lucky to have been showered with her aloha, but it was not until I had reached my 20s that I began to comprehend the nurturing support that I had received from her throughout every aspect of my life. I am thankful that I came to this realization in time to tell her the many ways that she had been responsible for the person that I am and strive to be today.

Ano had an ability to be the most kindhearted, loving, compassionate person I have ever met, while also displaying courage, strength and a warrior spirit to challenge any policy, elite board or political maneuvering that did not sit well in her na'au. When I imagine the range of positive changes for Hawaiian children she was able to witness and be a part of in her lifetime, I am at a loss for words.

As a student, she challenged Kamehameha educators and was expelled for chanting and performing standing hula; as a teacher, she introduced Hawaiian culture and hula into the Kamehameha curriculum; as a kūpuna, she challenged the improper management of the Kamehameha Schools trust. Following a double bypass open-heart surgery, kidney failure and a constant struggle with diabetes, one of her most recent actions was to author a letter to “The President and Congressmen of the UNITED STATES OF AMERICA,” which sought to rid Hawai'i of future United States military installations and declared among other things for the United States to:

“Give heed to our voices. We have extended aloha to you, and you seek to extinguish our very being. Respect us; be aware that we were once a sovereign international nation. We are descendants of a mighty civilization and deserve to be listen to in our own homeland.”

Like many mo'opuna, the life of my tūtū has been an inspiration to me. I only hope that I can have the aloha, empathy and forgiveness that she had for people, while staying true to my na'au and being fearless in the face of injustice. The relationship that we shared will forever be an essential part of who I am. I miss her immensely, more than the most profound heartfelt musical composition could express. She was my rock, but she has prepared me to stand on my own.

'O au nō me ke aloha ana 'ole,

Kamana Beamer
A mo'opuna of 30 years

Neil Hannahs, pictured at top, was affectionately dubbed Aunty Nona Beamer's “No. 3 son.” He shares memories of her in a tribute he wrote for KWO. Here is his full essay, an excerpt of which appeared in the Mei Ka Wai Ola print edition.

Remembrance of Aunty Nona Beamer

By Neil J. Kaho'okele Hannahs / Special to Ka Wai Ola

The recent losses of esteemed kūpuna have left us saddened and acutely aware of the fleeting and precious time we have to enjoy the gifts of life and fellowship. The passing of Winona Kapuailohia Manonokalani Desha Beamer struck particularly close to my heart.

Aunty Nona entered my life in 1963 when her son Keola and I became fellow seventh graders, dorm mates and close friends at Kamehameha Schools. A year later, we got into “show biz” together as dee jays for the Schools' KVOK radio station. Since then, Keola has gone onto greatness as a performing artist whilst I ... still have potential ... and talented children.

Brother Kapono became a friend, as well. Our teaming as debate partners was a bit more cerebral than Keola's and my antics on the airways. I am certain that somewhere in the archives of Kamehameha must be documentation that we won more debates than we lost. Kapono has also produced a number of award-winning albums and a son, Kamana, who is destined for his own bright future.

True to his distinguished lineage, Kamana is pursuing a Ph.D. in geography and has a recent musical release. He possesses an enviable combination of intellectual and artistic talent. And as happens in so many 'ohana, he was a fellow Kamehameha classmate of my son Kale. They enjoy their own friendship, so the weaving of our family trees continues.

I grew up on the Leeward Coast of O'ahu, a country kid from Mā'ili. In ninth grade I moved out of the dorms and became a day student at Kamehameha when boarding tuition doubled to about $240. Seems like a deal now, but that was a lot of money back then.

It was a long commute with a 5 a.m. start in the days before H-1. Extra-curricular activities often left me looking for a place to sleep in town. By then, Aunty Nona had moved with the boys into faculty housing on the grounds of Bishop Museum. They graciously took me in. Their apartment became my second home, and Aunty Nona affectionately dubbed me #3 son. We became and continue to be family.

I began my career at Kamehameha in 1974. I was pleased that one of my first assignments was to produce a film on Hawaiian chant and dance featuring Aunty Nona. Portions of Hāna Chant were filmed on location. We flew directly into Hāna airport where we had arranged with then-Hāna Ranch executive Mel Hewitt to use a truck that he said he would leave at the airport with keys in the ignition. Upon arrival, we found a truck with keys where we expected, loaded our gear and were preparing to drive off when Mel came racing down the road shouting, “That's not my truck!” Seems that Mel had run late, and I had almost made a car thief of Aunty Nona.

Many other workshop and publishing collaborations followed. Whenever compensation was offered, Aunty Nona invariably declined personal benefit and directed the funds toward building the various scholarships she had created in the name of her Beamer 'ohana. I believe she would be very grateful if those who wish to celebrate her life would think of perpetuating her mission with a contribution to these scholarships managed by Kamehameha's Ke Ali'i Pauahi Foundation.

When Aunty Nona wanted to phase out of the business of offering after-school enrichment programs in hula and Hawaiian culture in order to move on to other challenges, she encouraged my wife Mariane to step in to meet these needs. What an honor! It allowed Mariane to remain professionally active and earn income while providing our children the benefits of a mom working from home.

Our children enjoyed a special relationship with Aunty Nona, as well. Her mother, affectionately known as Dambi, suggested the name Kalikolīhau for our older daughter, when we saw a shimmering mist over the Kohala mountains that soon refreshed our gathering at the Beamer Ranch in Waimea. A couple years later, Aunty Nona phoned a week before the birth of our third child to inform us that Dambi had dreamed we would have a girl and that Moani should be part of her name.

Our daughters were exposed to hula at a very early age and Līhau also took an interest in learning to oli. One day in 1993, Līhau had an opportunity to chant for Aunty Nona.

Aunty sent Līhau a note with constructive and loving feedback that showcased her cultural depth, encouraging teaching style and penchant for writing in shorthand.

“Dear Līhau – How pleased I was 2 hear your fine chant. Your voice is very good – clear & pleasant. I hope U will keep up w/ your chanting. You have a talent for it. Don't rush yourself – breathe deeply & sustain your tones. Think about the meaning of your words & your heart will overflow in your voice. This will give you great understanding & your voice will reflect your love. Much love 2 U dear & 2 the family. Come C me anytime!

Aunty Nona”

A fourth-generation kumu hula, Aunty Nona came from rich pedigree. Great-grandmother Elizabeth Kalili Desha, Sweetheart Grandma Helen Desha Beamer and mother Louise Walker Beamer passed on their skills and values to her, and Aunty Nona was eager and determined to share this knowledge.

But life was very different in Aunty Nona's early years. The cultural interest and liberty that characterize our world today were not dominant views back then. In 1935,

Kamehameha Schools' trustees hosted dignitaries at a garden tea on the Kapālama campus.

Conversations were interrupted by voices chanting: “Onaona i ta hala me ta lehua ... ”

Guests offered appreciative applause at the conclusion of this cultural greeting, however,

School administrators were less pleased.

Within the hour, the Girls' School Principal collared the ringleader and said, “Winona, you know that was against the rules – you may pack your bag.” Aunty Nona was confronted with the bitter reality that she was not allowed to 'ōlelo Hawai'i, hula or oli.

She could not be a Hawaiian in a Hawaiian school. Later in life she reflected on that experience, “They were making us what we were not. So, I became a rebel.”

Those words seem more fitting than surprising from one who carried the name Manono, that valiant chiefess who perished in battle at the side of her husband, chief Kekuaokalani. Aunty Nona would not be deterred in her efforts to change Kamehameha and the world.

We owe much to her courage and determination. Thirty years after she was punished for chanting, she succeeded in introducing the Hō'ike portion of Kamehameha Schools' Song Contest, and in 1967 the student body performed en masse the Oli Aloha that once provoked her suspension. I wonder if the students who danced in this year's tribute to Hi'iakaikapoliopele realize the pivotal role Aunty Nona played in setting the stage for their wonderful performance.

Aunty Nona's heart worked overtime and there was a price to be paid. In 2005, she sent me a note after we spent time at a dinner honoring her life contributions. She ended

saying, “ ... Having heart surgery tomorrow a.m. I am scared – will be saying my prayers the entire time. Much love dear ones. U R in my heart! A. Nona”

That surgery gave her renewed strength to serve and enlist others who she hoped might share her life mission. Just days before she passed, she sent me this plea. “Aloha Neil, We need kōkua for Kaupoa Beach Village on Moloka'i. We have held a music camp there for 11 years. Students come from all over the world, learn, share and return to their homes. We offer scholarships and work very hard to promote Hawaiian values and love. Please say you can help us in this fine work. Love you lots, love 2 your dear ones & 'ohana. A. Nona”

I regret that I was unable to respond before she left us. I would have told her: “Aloha e Aunty Nona, Mahalo nui for the lasting impressions you have left upon our hearts and the enduring cultural contributions that will be your legacy. U will be in R hearts forever. I want to assure you that your plea for kōkua will be answered. Those of us who have been touched by your life recognize that it is now our watch, our turn to take on the struggles and to share your loving spirit. C U later. Me ke aloha pau'ole, #3 son.”

Anthony “Tony” Lindsey

April 20, 1929 – March 15, 2008

A bygone era of Hawaiian music shines less brightly today after the recent passing of entertainer Anthony “Tony” Yukim Lindsey, who succumbed to a brain tumor at age 78 after a long battle.

Lindsey, who left an indelible mark in the fashion and entertainment world, recorded two albums in the 1960s and '70s, “Blue Darling” and “Indebted to You,” under the Hula Records Label. As part of Tony Lindsey and Friends, he performed at venues like Big K in Kalihi and Elsie's Club Polynesia in Chinatown. He penned his signature song, “Blue Darling,” in loving memory of his mother, Julia Mailekini Lindsey, who died while he was away serving in the U.S. Army.

As a young man, Lindsey studied fashion design and commercial art at the Ray-Vogue Design Institute in Chicago. He worked as a commercial artist in Chicago and Hawai'i, and as a garment and textile designer for Hawai'i's venerable fashion house Alfred Shaheen's. “He lived life on his own terms all the way up until his passing and left many loving family and friends who will miss him dearly,” his nephew Robert Piper wrote in a letter to OHA. “His love of music, the Hawaiian culture, his family and his faith stands out as hallmarks to a life well-lived.”

After retiring as a housekeeping supervisor at Ala Moana Hotel, Lindsey volunteered at various organizations, including Helping Hands Hawai'i and the Office of Hawaiian Affairs, where he earned OHA's Outstanding Male Volunteer award for his many years of devoted service. The U.S. Congress and state Senate also honored him for his numerous contributions to the community.

He is survived by brothers Charles R. Jr., George K., Edwin N., John E. and James F.; sisters Maile Lee, Marylane Piper and Eleanor Pietz; and many nieces and nephews.

Photo: Keith Haugen

R.M. Keahi Allen

Oct. 25, 1941 – April 7, 2008

Not many people can claim to have a song written for them. Renee-Michele Keahi Allen, who served under five governors on the King Kamehameha Celebration Commission and served as a longtime trustee of the King William Charles Lunalilo Trust Estate, was one of the special few.

She passed away April 8 of complications from diabetes at age 66, leaving behind many loved ones, including a daughter, B.J. Allen, and three mo'opuna. Her husband, William “Billy” Allen Jr., who also served many years on the commission, died last April.

Allen's legacy includes her 30-year career as a proponent for the King Kamehameha commission and helping Lunalilo Home expand in recent years into adult day-care, temporary care and expanded food service. The addition of an adult day-care program was a dream of her late mother's, the entertainer and recording artist Napua Stevens.

Allen's work perpetuating the Hawaiian culture includes founding the annual King Kamehameha Hula competition in Honolulu and organizing and advising its counterpart competition in Japan, organizing hula kahiko workshops on all islands led by hula masters, serving as executive director of the State Council on Hawaiian Heritage, traveling the South Pacific and Asia as a cultural representative, leading pā'ū riding groups to the annual Fiesta Bowl parade in Phoenix, and conducting workshops as a master pā'ū dresser so that the art would live on. She was also a member of the Daughters of Hawai'i.

Allen, who was born in Kāhala, attended Kamehameha Schools and graduated from Castle High and the University of Hawai'i, where she earned a fine-arts degree.

The song that was written for her, Keahi, by Jack Pitman, was recorded by her mother, Tony Conjugacion and the late Aunty Genoa Keawe.