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I THANK THE RESIDENTS OF North Kohala, who took this project to their hearts and developed its participatory aspects within their community. Among the many people who affected me deeply are Boyd Bond, Hilton Nalani Cabrera, Stephanie Cabinis, Fred Cachola, Emma Glory, Randee Golden, Sharon Hayden, Raylene Ha‘alelea Lancaster, Daniel Otake, Kealoha Sugiyama, Nani Svendsen, and Audrey Veloria. The special lessons I learned about Hawaiian culture from Marie Solomon and John Keola Lake, now deceased, will be with me forever. We could not have conducted the project without the guidance and support from members of our project team on O‘ahu, including Marilyn Cristofori, Lei Ahsing, Mary Tuti Baker, and Michael Jones. I interviewed and worked with many people elsewhere in Hawai‘i who are not mentioned in the book. They include Peter Apo, Edward Halealoha Ayau,KehauCachola-Abad,RossCordy,BillyFields,SahoaToddFukushima, Linda Hee, Kiyoshi Ikeda, Marion Kelly, Downy Manoukian, Jeffrey Melrose , Puakea Nogelmeier, Jon Osorio, Kalena Silva, Miriam Stark, Ricardo Trimillos, and Geoff White. I owe deep gratitude to my partner, Harvey Molotch, for his insightful advice and tireless support on the home front as I performed lengthy site ix Acknowledgments x acknowledgments visits and wrote and rewrote the text for this book. Other scholars gave me guidance along the way, including Mitchell Duneier and Howard Becker, who helped me analyze the social worlds at play, David Lowenthal, who challenged me to justify heritage conservation in the face of postmodern criticism, and Ian Hodder, who pushed me toward intellectual bravery when I was in doubt. Janey Bennett, Michael Denneny, and Amy McCulloch helped me with editing the text and processing the images. And finally, my warm thanks to Carol Hasegawa, who got me into all this in the first place and remains a lifelong friend. I gratefully acknowledge financial support from the Samuel H. Kress Conservation Publication Fellowship program, administered through the Foundation for the American Institute for Conservation of Historic and Artistic Works (FAIC). Funding for the participatory conservation project and seed money for the documentary film was provided by the following: the Americans for the Arts’ Animating Democracy Lab funded by the Ford Foundation, the Atherton Family Foundation, the Getty Trust, the Hawai‘i Community Foundation, the National Center for Preservation Technology & Training of the National Park Service, the National Endowment for the Arts, Pacific Islanders in Communications, and Save Outdoor Sculpture! of Heritage Preservation and the Smithsonian American Art Museum. ...

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