Spectrum Hawaii; 009; 010

The following program is a production of t h e t in one a little public television. The following program was funded in part by the Hawaii State foundation on culture and the arts. Today spectrum will visit with the directors of two professional jazz dancing groups. Celebrated way Sandridge jazz

to discuss the problems and problems of jazz dancing in. You'll see two professional points of view in their choreography and rehearsals. But first Spectrum examines a profile of ceramic artist Claude who ran the founder of the University of Hawaii ceramics Department brought her around created new directions in the local approach to Clay as an ox. Let's join Claude harangued at his beachfront home. I used to surf every week but for now just over a year and a half and there's more and more I board and I'm I'm paddling all over the area. Sometimes I'll file for the hours a day. Actually I don't do an awful lot of John but when I do this is my office.

I always end up making a few thumbnail sketches and shoulders to the architect if the arctic approves them. Then we come back and make a dime for myself. Then we take it out in a lab and then you sit up. And fact we just finished a mural. Not a mural but a sculptural thing for the Red Hill Elementary School. Later on they would get together and I'll show it to you. Back now you get out the lab and get some work done. A Frank Frank wake up. We got work to do. Frank good boy how will amuse you final been given what are you. About this. Frank. Atta boy wake up. You know lots of people when they talk about inspiration they claim oh oh Hawaii so beautiful or my work looks like this because of the atom bomb and so on and so on. I have never seen him be inspired by that sort of thing. Actually what inspires me is the material and of course the technique

influences what I end up making. France is now these figures I've been working on they're all made in the potter's wheel and just for example you know this is really a classic because this is form right after I threw the thing on the wheel. So that is very plastic. You just do so much and just what it looks like now as opposed to that these other forms were thrown on the wheel but they're allowed to stiffen up. Then they were beaten with the paddles or sometimes my hands. So you get a real hard line and you can make things that you really emphasize a form to get very some real very subtle things like sample like this and so on. And what I'll do later on I'll demonstrate in the wheel of you get a rough idea how these things are done. Again Frank here Frank you later. Was a killer. I think you had a pretty high fire there that time but anyway it probably should work out all right. When I first came to Hawaii to start this friendly program I had a guilt complex

because all my life I want to be in Hawaii where the surf is up and so on. Consequently we go over here in the middle of the Civic and there are no outside influence I was afraid students would need we all make little Rand pots. So once they learn the basic fundamentals which I insist on then I encourage them to open up the possibilities and push back the limitations and experiment and do their own creative thing. Claude Harang started this whole program here in this art department at the University of Hawaii around 1940. I met him a couple years later. I was an art major but not majoring in ceramics. Painting major and I had some free time so I took ceramics and it was fantastic. That was the beginning of it all. I dropped everything else. And. Practically lived in the ceramic lab after that like all the other students

who were turned on by this fantastic teacher. He was he had so much energy he was so generous with his time. And of. At. At that time he was still developing the physical aspects of the lab. And he was scrounging all all the time. And I'm looking at the wheel right now which he built he built for at the very beginning out of scraps of everything. And we were very lucky I think to have had someone like call on her and to begin and develop. Ceramics in Hawaii because he got it started right. As a very creative effort in fact Claude I think was ahead of his time. He did a lot of innovative things here long before it happened on the mainland but because of this distance nobody noticed. Even today I think Hawaii is a stepchild. They don't pay too much attention to what's

happening out here we're still. You know on the beach just having a good time. Claude's ability to throw is spectacular. I haven't seen anyone who can throw a like claw on her and it's really exciting to watch. The students. Always just drop everything went as soon as he begins to throw it to watch him because it's something worth watching. And you can learn so much by watching a very good thrower crowd's energy is very hard to match. Actually when I work on a female form such as this is going to be as good a finish my head I'll stop right now and I'll do some other things to it. First thing I'll do is to. Squeeze in the bottom part. Now of course this is where you're taking a calculated risk because I play a very very soft now and so what's going to happen. It could

collapse. But of classes then of course I'll just have to start make another one. Good exercise anyway. Back I missed the potter's wheel I should go back to kick wheel and that way. It will kind of. Give me more exercise just like you will. Too easy. Then later on I'll go ahead and I'll finish the things they had. Sometimes people have asked me what is my style and fact I have no style per se. When I first I work and play I would do most utilitarian things well you know I make so many people and so many bowls and and even then the things I made I felt they were more sculptural or more decorative rather than

utilitarian and soon I started make sculptural forms abstract sheets and this whole color style that I'm going to do is going to change on and on like my last thing that I made in completely different than my things 30 35 years ago and I'll still keep changing as new things come up. All of the sailing I done had been catamaran and the catamaran as you know is very very fast typer salable and back I could compare a model hauled to a catamaran as you compare both fog into a port and I find that the way I sail the catamaran bows over the reefs and surfing that I would lose a mass here and there. I find that if I put in my work you make your form and you decide well let's see what can we do it for you drop on the floor or you beat it with a stick and you get some surprising results. One of the nice thing about living in the ocean not living one block away

but living right on the water is that you want to go sailing I want to dive in you're right there. In fact in my case when we work on a project sometime we work for maybe two or three months and we don't do a lot of plane a lot of jobbers done enjoy unwinding either out in the sailboat or diving for squid or paddling the whole thing. So living by the water is just about the best thing that happened to a person. This serpent is a good example of one of the real fun things we enjoy doing. If you'll notice that this thing is quite large and our killer really can only take about one of these pieces at a time. So in order to make something look huge We ended up making this thing in several pieces let into undulate through the ground. That way it looks like one big continuous piece. And these children of course think it's a good saying and they understand it go down and so on. And in fact speaking of the children

because they are the important part of the whole thing if you notice the drawing over here when I draw that type of thing sometimes I used to stop and think Well that really does look like a bird that looks kind of funny. But then I realize I'm doing this for children and they the children know what they're saying is no matter what you put down there. The children love it and they'll catch on. One of the interesting aspects of working in commissioned work of course is the limitations imposed on what they're what this whole thing is all about in this case sculpture for the children to play on. First place they have to be safe. Consequently no sharp edges everything's nice round as smooth scale has to be right has to be small. Well. Actually though you've seen what things look like when they're nice and smooth and round but this doesn't show you what really can be done with clay. Actually you can take clay care rip it apart and there's all sorts of possibilities. And in my lifetime I'm still surprised

that every once in a while I come up with a new idea that I did never think would happen. There are just endless possibilities in ceramics. If the possibilities in clay are limitless than what Bitly expect from jazz dance. Here to explore the dimensions of dance a first time Sandridge of the jazz factory and then James out of the way. You know that dance companies are spouting out and although somewhat struggling some are. Rentals small enough that are. Small but quite possible and trying to build something that has it from home. Songs to keep going. Seems like all the dance companies exist today are quite

sympathetic to each other. From what I see we're all in for the same thing. We're trying to get our companies established in this pressing ourselves to certain parts of the community. And although we may not be active. Helping each other I know we're sympathetic and supportive and a little psychological or moral support the. Public's memory is usually very short so unless you've got the money to get together and next month put on another event you do have to go through the same process again to put on another show four months later and. The public is toast. Maybe they remember you but the community isn't really that well and for. Certain. Groups here in Hawaii which are responsible for that. Sometimes it stays within just the community of dancers so the other people outside of that community don't really get the chance to be exposed to it to go to see a dance

company or a ballet company or a DJ. It's come from before. Problem being is that most of the dances at a dancing with me they all want to continue to perform and to make money doing this and make it their life time profession. But the financial aspects of it and make it not possible. A lot of the dances that. Get to the point where they have achieved a certain amount of professional experience they want to have the opportunity to perform but there just isn't that opportunity here. So they leave and they go somewhere where there is more. More dancing experience available. Coming from a town where things are very different I found it first a bore challenging but then later frustrating because there's only so much you can do and once you've gone all out to do or you can do it's really not in your hands. There are authorities and powers that be that control the dance. Environment here and why. I was born and raised. Why. I'm really proud that I will go

girl. Someone who who has just come in and all this and wanted to start a business I've been slowly watching the role here in Hawaii. And I start performing. Ever since I was seven years old Kali. Got involved not only in ballet and I did a bit of soft. But in high school I guess I was more involved in something that they called that on interpretive dancing and returned to college. I came back to Hawaii and was introduced into something they call now jazz bands. I. Became a part of a dance company that was at that time of the director and it was known as the Jazz factory. I became quite dedicated to it.

She had to move or she had to move to quiet all places my. Home while and when she left I ended up taking over the responsibilities in the direction of the jazz back when there was a I mean a missed six years ago. Began Don so I was really on the Rays on Monday and had I did ballet school was moving on through our I had a child out of it and when I was 18 when I went to many and I was an alcove there that really is. I traveled around Europe and I went to Israel I was with back door for a while which is contemporary modern company I was in Australia with a ballet company and in fact that's how I got to come to live because I was on my way back to London from Australia and I came via Hawaii and I guess I could stack. Yeah it was so beautiful I decided there would be a nice place to live. There are some things that makes us so you yet again.

I know that the people of Hawaii. Have a real emotional quality that's really different from what I've seen on the movie and I've lived on them for six years. I do know that much. And. As a performer and dance company and find that what we like to do is to bring out something more emotional out of our audience literally like to him from the inside. And for the just factory and for any dance performed to do that they first need to be from the inside. We feel that that special quality starts from the heart. That's something that's really why. I have dancers different kinds of sizes and I take that as just a secondary to their. Way of giving that comes out of the performances that I get my dancers up to is that

we add a certain touch about ourselves on the stage that makes the audience come alive. That there's a certain. Because I think that we have a touch of emotionalism in our hands and just how well we can do a fan. On what. To begin with the Jazz dances because such. Is such a wide spread. I'm going back to the old time jazz when I was little and I first heard music interpreted by a group called the invitations and it was very progressive. It was very jazz and was the first time that I found myself very differently. The hardest part in the jazz of Duke Ellington is

the soon to be strong but still right now it's a new group because I needed a big cast. I just can't see you doing Campisi with a very few people because it's a very big sound. I'm going to pay home was a true. Black American. Main inspiration is the music and the music is what initially gives me the imagination the fantasy of the dance that will come later. The kind of music that I listen to in my later part of my life is really what made me change from ballet which was my basic. You know. Sort of. Round basic training was definitely ballet and I was you know trained as a ballet dancer and I wanted to find a way of doing something that gave me the technical aspirations that ballet did that gave me the internal. Turn and if you want to say you know which the rock'n'roll did so that's really sort of the.

Time between it's jazz dancing that must be physically and visually appealing to the eye so that the audience can enjoy that too because if the dancer doesn't feel that way about herself then she's not going to project that on the stage. The dancer must have a good sound technique. They mean it must either have it or they must show the potential to acquire it. It's often a not it will be a dancer that has that little bit more disaster the next day. Choreographers tend to be extremely internal and it's very beautiful and it's wonderful to be able to get in touch with your feelings that much but it doesn't necessarily always come across to the audience. The dots may be getting a lot out of it in the choreography but the audience may not necessarily understand it or get to see what it is that the dancer is feeling I like to think of the audience first I like to think the visual enjoyment that the audience is going to get when they watch the piece. So to me it's got to be exciting. It's got to be have a lot of energy

and be very creative very creative and move a loss and fill the stage with very colorful costumes are a big part of the lighting. Everything that goes into making it not just the steps. I was born raised and I found my own way I've started my own business. I have my own dance company and I didn't need to make it on the mainland in order to start it here. I'd like to be able to. Follow dance. Potential dancers here you know that they don't need to leave although some of them to me will want to go away to study. They don't need to go away. I feel also there was you know. Here. To. Merit education in the dance world. I'd like to just be a stepping stone to. Inspire them to go further and I have. People I will say. Have done that. And definitely want to be sure that Hawaii becomes the hot

spot to be for other dance teachers and dancers that possibly they'll be able to come here and develop them. But that what I've contributions in the last three years has influenced a lot about the dolls that I hope that they'll follow in my footsteps and much is wanting to achieve you know perfection I'm very much a believer and do it right or don't do it at all. Most of the people that have danced with me in the company which have been with me practically the whole time I've been here. I can definitely see an enormous improvement in their dancing and that does come from obviously one the performing ability that we've had through the company but to through working with me and and understanding my work process that I feel that I have really got as far as I can in the dance community here to my satisfaction. My personal goals and they aren't that I'm not able to fulfill them here at home you know why I want to try to

achieve more internationally more international sort of reputation with the company. The main thing I have achieved with the dancers in my company is. Planted a suit you know I wanted to start something so that they could feel that from this point onward they could go wrong no matter whether I was there or knowledge. I hope that I've taught them technique. I hope that I've taught them. Performance ability and I hope that I've given the inspiration to daunce as a living. I think that a lot of people in Hawaii sometimes dance but it's almost as a hobby. The biggest joy the third way has had his being in our performing and that we've had the energy and. The unity as a group not as individuals but as a group together to perform and to enjoy together. The ups and the downs of being on stage and being on tour and practicing and rehearsing

that somehow no matter what all of it is worth every second that you spend out there on the stage as long as I can remember that as long as I can keep that feeling inside of them of the elation of performing then they've got what it takes to be a dancer. There are areas of experience which can only be expressed suggested never

defined. A definition seems to draw an issue to a close. Whereas an expression suggests other Baz to cross. May I suggest that you join us again on that spectrum. Spectrum was funded in part by the Hawaii State foundation

on culture and the arts. The following program is a production of key HPT in what a little hope of

public television. The following program has been funded in part by the Hawaii State foundation on culture and the arts with special assistance provided by Hu Lyon airlines A. Today spectrum will introduce you to the international language once used in cattle brands royal insignias and club charters today. The product a company our service.

Spectrum will find out what on the go is such a challenge to a designer then spectrum takes a bite out of a local candy counter the cracked seeds. Where mangoes lemons apricot and other local delight at a lifelong a bit you'll snack. But first Spectrum travels to the friendly Isle of Molokai. Amid silent sunshine and shady trees grazing horses and flowers of our brilliant you. Will discover a traditional playmaking. What is commonly known as the hot kool aid actually goes by a different name as we discover the difference we will see twigs wrapped around banana bark with fresh and dried flowers employed to produce a natural hat bat or even a crown. A precious gift of our royalty and kahunas this type of play brought the stiction to the giver while conferring praise on us as a receiver

an artistic sense of color and quiet patience combined to reward the lane Maiko with a splendid creation. Here is Les make Silvia Adams. The lei that I'm making today is called a village. The flaw is that we use some of them are wildflowers collected from the mountains. The others are garden varieties and I'm using the gum for Reno or what we call bullheads or bozo's. The yellow color Morna and bloodily. These are found either in our yard or along the road or highway. I'm using banana bark for taking a very thin strip of it. Then it's the banana black is soaked in water. It absorbs the water and keeps your flowers fresh.

Take the banana bark that has been soaked in water and place your flowers or leaves on the bark and with a piece of raffia you rind around the banana bark and your leaf or your plant material. You continue doing this all the way down until your laze finished. But it should be done with the raffia passed from one hand to the other. The hawk really is a miss really a misnomer. In the old days they referred to the name maker as a Hochuli And so therefore everybody kept saying I'm doing a Hochuli. But the myth of that most people are using today is a vividly method. The method is taking one plant fiber and braiding

it and inserting flowers and other leaves into it. The significance of the HOC ruling depended upon the use it was used in hula dancing. It was used in music and poetry. It was used by the kahunas and was used by the farmer to present a component to the god lawn. In the old days the Hawaiians made a name for whatever occasion that came about. If there was a birth of a child they went out and picked a special type of flower or a special type of leaf or fur and many different types of flowers and needs can be used in this video method such as this lay here which is made of cookware leaves with white kids who grew flowers and plucked Leifer on the back. Now we've seen a lady laid with Colonna gum

Farina and bloodily. It's just these flowers here and the different varieties of men who are young they call a whole another leak and they hook that or he'll holes in different stages to link the word flower pods and when you lay her when it's falling off and baby and the dry hogs asked on the bluff this is going on also here this will kill me more and pluck line all of these flowers here I've found in the Hawaiian Islands and the Pacific basin. Now would you like to see what the finished product looks like. And on the moment.

I hope someone will make a big name for you someday. Living Molokai. Let's visit the hollow little offices of graphic design as Clarence Lee and Bruce hopper. They are specialists in the creation of logos. Those memorable symbols which you see every day here to explain the challenge of logo design is Clarence Lee. Trademarks are an international language of symbolic language. They were created anew centuries ago because merchants wanted their part of the technique from imitators. It also served as a merchant signature

identifying the product as uniquely his own. Trademark the sometimes known. As local types. Word marks. They can be used to identify services as well as products logos are now used to gradually the company to make a public impression. In the old days. Artisans and craftsman perform this service. Today. It is a graphic designer. Not so good. We have. Some slight adjustments we have to make the client likes but they couldn't agree on any of these so we have to go back to the drawing board and when a design has been rejected I go over the client's objections with the artists. And with the staff. I search through my initial sketches to see the germ of an idea to see where we can pick up from. Finding the correct logo for companies a challenging task. I think of it as a problem solving.

The solution is rarely discovered on the first attempt. Although it has happened. What a goal of a successful logo is that it has to be. Memorable that it is he good vehicle that can be applied to a range of things from stationary to wall people to science. Has to become a strong identifying. Symbol that becomes. A silent salesman for a company. Well now that other symbols were rejected we have to start all over again. And the thing I think we're at now is the letter C and I think the thing I really need to look for is a sense a bank. Which is a box or some kind of safe keeping concept that they like security. And if there is some way I can get the letter C which is the first letter Central Pacific

Bank and find some feeling of security in terms of safety box or some enclosure system I think perhaps I will get closer to what we as a clients view would be good solution. From this thread you can see why and we struggled with a lot of different ideas on CS in terms of its relationship. To. The enclosure idea. We thought we saw something in the letter C. That way of feeling that money being deposited or safe keeping and enclosure idea. We try some with a film line and it looks a little weak to us go see a stronger line and started to hold together a little bit later see. And the idea of an enclosed cube or box that symbolizes

safe keeping. We finally got to something like this which we thought had most of the elements were after we had the strength that had the security idea and with some refinements on this we were close to another concept that we could then present back to the client as a good solution for a bank symbol. He approved the logo we did a final art on the logo and from here we went to the application of the symbol which is very important how it's applied to a whole range of things to create a total visual linking of all the pieces. Here we have the basic business stationery. We pick the color ink Pyramus 292 which is standard in color which will be used from now on our older corporate literature when we need a blue this blue is based on an earlier blue color that the bank had but we changed it to 2 9 2. The paper is an ivory paper which is used

in our business stationery. Now on the executive's stationery we went to a 100 percent rag stock which is a much nicer start and when Boss December which created a nice tactile feeling which was delivered more elegant a little bit more prestige which was in keeping with the officers at the bank. The business cards we came up with one basic system of the layouts and the names just kept changing but the format was the same for our members of the bank so again we have a continual visual link to consistency in the use of the symbol on business cards went so far as to do it and give away items at the opening of the bank. Items like Key tags were the symbols used in black. We created a rainbow effect pencil and again you can see the application of the symbol on the pencils.

Here are some other design applications. As we see different logos different applications different uses as. These here are. Some applications for IE insurance company. Simple idea here was. Flame of life with hands guarding it the same concept as an insurance company car in your life. Here's another example of its application we die cut. For the annual report which is a see through and on the inside is natural for a graph of a series of hands of father's hands and in a child's hands we continue that simple idea onto a photograph in this case. The Maui Marriott Hotel an island of Maui we develop a symbol for them. Here we had a dual problem saying we thought the. Maui rolls was a good concept. And we also thought the idea of

having the petals of the rose formed by a form which is a silhouette of the nearly goose which is the state bird was a nice. Consistent use of two images to form one image in the case on the side of a building here we created a resident caste symbol. And again it just works nicely with with a symbol like this is just one element that's repeated six times we are all we had to do is make one casting and cast it six times and we've created a total symbol. Now it would tell. Our class was a completely different situation the symbol was not modern. They wanted a nice Come on you know warm residential quality to their symbol clothes you can see here we did assemble. Using the banyan tree which is the the one. Tree that was going to be salvaged right at the entrance to the property. The tree in a culvert and a stream going through and that was the basis for this symbol.

While Already the idea of the ridgeline and having a hero in a region both sides was the basis for this symbol. We here put it on an entrance wall it glows at night and it creates a certain landmark for the entrance to a lower ridge. Poor man. The hill of the chiefs. So you can see that the use of the Hill on both sides of the water has a lower half. Also there is a strong design on its design elements one element repeated four times and that formed the total configuration twirly. Here while you know what Luna means a view of the ocean and we use as a basis the idea of the ocean horizon in the sun setting over the ocean as a symbol and in one case is used in Korea and here it's an oak in the CEO's office. Again the symbol a sunset and the water for Wynonna. These are just a few samples of some symbols we've

done. There are other. Designers in town doing very good simple work. The. Development of a trademark or logo. Is to try to. EXPRESS You know as simple a manner as possible the character or personality of the company or product that you're designing and the approach to developing a market is as varied as the markets themselves. For example just a quick glance at these two pages design magazine of published work I've done. This is an assignment. That was given to develop a market for a Japanese golf club. The original Mark was a little fussy and not very effective. What. I developed came out of staring at the golf ball under light and I could see the formation

of Mt. Fuji and obviously the golf ball is there sort of locked together effectively and clients very happy. The successful design is one that. You feel good about it because it expresses the Kumbh the character of the company in as clean and simple a way as possible. It is visually strong and memorable and it's a great satisfaction to know that you've contributed to the growth of this company and it's fun to see the mark around and especially if you're proud of it. Well I think the identifying factors of my approach to design are to again to distill the elements of the character and personality of the company and product. I'm working with into its simplest and

most easily identifiable form geometry obviously is employed in the design of marks but I think there are other marks which have a looser friendlier character trademarks also aren't necessarily just symbols for example. The way that you treat lettering can express the company in this case the aquarium restaurant. We made it. Look the letters look as though they're under water or for a photographer. Just the image of the black and white negative positive aspect of. Treating the lettering and of course we're all familiar with the bus and the way the letters were combined into one phrase. Enjoy inserting a sense of humor into Marx occasionally This is for a construction company where you take. The eye and turn it into a nail that the hammers writing

didn't work also for a dentist who cares a lot about what his patients eat so this was the solution for that symbol. One of the most difficult. This isn't is it. The designer has to make is when a client insists on using one of the early studies that has not been well resolved and is not as good as the final solution. And I remember one instance where that occurred and I had to really struggle hard to convince the client that he should not use that one. I enjoy the opportunity of having varied products and companies to work for because you can then bring out various aspects of your personality into the design of a market with it and authority and cleverness and distinction. All of those aspects enter into the designing process.

From international symbols we turn to a trade of local culture. The seed still. Here's Joe Kono of Hawaii Public television to talk about the good old days when I was a little boy in my wee one of the big treat for me to go to the Saturday met me at Cali here but before the movie I would go next door and buy a bag of Chinese. I can still remember good and sticky that she tasted. Mrs. dang Charke was the lady who ran that sits next to the piano and sown the seeds for the show. She and I sat down one day and talk about seeds in those days. Do you remember me when I went into your store to buy crack seed when I went to the movies. Yes I think I do. It was in about the 1930s. We used to come to the magnate net names. When they used to play a.

Mickey Mouse shows. And. Then we would come in the store to buy yogurt. Seeds probably see. Maybe see Cherry seeds. Red ginger. Whichever you prefer at that moment you go to the. Intermission. You'll be back again. Looking for something else. I think. There were probably 50 varieties they were selling. But today there's more than that. The price is very cheap. You could get.

A bag. Of seeds. It's cheaper. Than. Paper bags and brown paper bags which you don't find it so mean so much to the markets. Especially the small ones. Today they use the cellophane bags. Remember. After you finish eating. The. Big seeds you. Suck on the bags. Yeah I think that taste better. Different than. When you're in the 30s. Well I think. The pace is much better. And.

More sugar to make it there you know. The fruits. Green and. So the taste. And. From. The day before a little different you get the original face. From China. That was a big hit. So we get a shipment. From. Them we had. During the war.

With. My parents. That they can find in a market. In a big. Mix it up and. Prove you could do that. So. When people found out how to do it they. Went out and do it themselves. You know. Preserve themselves. But then things were scarce and right after that. Well there are plenty of fruits that make seeds these days although they don't pack it in small brown paper bags animal and half of a bag of seed. Costs a lot more than 10 cents. But

still everyone has his favorite seeds. Make me. My favorite is actually. My favorite is scratch see. It's so. Good. Hard to see. How my favorite CDs are all sweet sour oysters. Good cook. My favorite is sweet Mendelssohn. My favorite is them. Well my food will be worth. It For You see there's only my and you. Name the sea. This is your planet and this is with whether we learn about the natural day all of the intricate simplicity of Logo creation and just dashing into a store for a tasty snack. We are engaged in the culture of Hawaii. They exist to please us to inform

us to embellish us and to remind us that every place has a style of its own. The preceding program has been funded in part by the Hawaii State

foundation on culture and the arts with special assistance provided by whole Waianae airlines.