Spectrum Hawaii; Ishu patel, Film restoration, Tongan choir; Beijing Opera At the University of Hawaii; Photojournalist Ron Jett; The University Hawaii Press

The following program is a production of key HGT in Honolulu Hawaii Public Television the following program has been funded in part by the Hawaii State foundation on culture and the arts and a grant from the people of Chevron in Hawaii. Today on spectrum. We watch your Hawaiian hula film project sponsored by the museum. Rare film footage of past hula practices from the 1930s. It's been corrected and restored to serve as a teaching aid and historical. Also a melody from the royal kingdom of tango will be sung by the Tongan young adult choir.

The first. Public Television's Mel verbenas visits with Issue Patel. A native of India now a Canadian. Mr. Potato has won numerous awards for his novel techniques and animation. He shows spectrum the new types of material he uses as well as selections from his work. Issue. Most people are familiar with this type of animation. It's called cell animation way draw and paint confidence and sometimes even our pictures can get what they are looking for. When you're not involved with this technique maybe you can explain to us what method is used. OK well. Well the of traditional cell technique which you didn't really use did and this is little films that isn't really getting very expensive because you don't really have to have so many people to work on it. And so when one has to use to paint the piles and piles of drawing it

gets very very expensive if it's half an hour and a one hour from you can imagine how many times you need. So people have been developing different kind of things over the years. And one of the very simple one is technically call where you don't have to draw the same drawing over and over again. Instead you have the drawing made into different bars different sections and then you can use the hands and the legs and eyes and a mouth and a nose and different pieces separately and then manipulate it in the camera. I'll give very simple example off for example I say this is a square here. If you had to do with a traditional method the same square in the square is moving from this position to this position like that on the screen. That's clearly be drawn several times that is described has to be drawn over and over again has to be painted color and so. Whereas with cut out techniques you can put the same square here and then most likely take one frame most likely take one frame most likely take one frame and then eventually the square which is

there. So that means that one piece of square which you just manipulate under the camera frame by frame you must also remember that animation can when I see a single frame at a time you can never have to run the camera continuously and it's a very sophisticated machine is often used in the schools and colleges often they use super speed cameras which are single frames so you can duplicate it in like that. Now that's a simple sometimes you can use complex on like a little character that has a little character you see the little boy and there's a shirt here. And his legs and everything so you can get to those. We haven't had all the parts here separately but you can have this hand separately separately and you practically make him walk and him do things what he wanted to do. So that's one aspect. Then there are various other things people use. And actually I

have used in one of my film the beats and you can see here some of the song to be zero with your little girl or young girl makes necklaces out of it and the Indians and song use for their declarations on their on their throats and so on. So these kind of other material you could use it and it all just shows you know you just need to be on the loose like that. So now you can form any shape you want so that you can shape it like that in one frame and you can shape it slightly more like that. Now that's something very simple but you can also Line them up with a little brush like that. And if you if you line them up one by one at a time like this you have made a drawing out of Rabbids actually instead of doing everything. This line is a by line. It's just just a flexible line.

Let's suppose this is the line here right now. This line is twisting like that. All you have to do is to frame by frame. Change the position of the light something you can use the actual object to put them in a line like that or like that curved them like that slightly and so forth and so on very fine movements can be done by the brush. Now this is just a simple one but you can you can just draw any animal or human figure you line them up in that form and that would make it look like an animal. And then you change it frame by frame what actually is supposed to do. So these are all the things people use people you used on to the camera and you shift them into different shapes and everything else depends on your imaginations. How do you do it. Your technique seems to be an individual technique where you

alone control everything. Whereas this technique seems to involve many many people doing many many different things and find this as far as expression of art. This is more. Personal. Well this is this kind of extra new media is also gives you a different visual quality on the screen first. Secondly it also gives you a freedom to try some different subject which you can do with cartoons or this kind of this animation which most people are familiar with. So having different materials having cut outs or sand or things like that scene or something we go for this kind of new ideas which then gives you possibilities to go into a different kind of subject is something very serious and often people start doing a funny joke to that man with a big nose and bing bang bang. Whereas this one you can go into the very serious subject matter. So it is it has a personal expression and your material is actually helping to

interpret your meaning. Sure the material follows. It gives you the kind of action that gives that style and also gives it a style of concepts and ideas. So this is just one of the two which also slightly cheaper in terms of one man show one person who controls everything he can. The idea that he makes it he doesn't have to draw anything because the material is there and you go under the camera and work for several weeks or months and keep shooting. When I found something else I use it just plasticine scene in some cases I have used. And this is the plasticine kids used for making models. Now there's also Bassus in any recent scene where you make two dimensional models and you you move the hands and the legs and the face and everything and your single frame people are familiar with this stuff. It's called kind of frame by frame sculpture. But I've also tried something else which is you backlight the same with the camera and you do all your character in there. And when the light shines through the plasticine then you change every

frame you change slightly the drawing. It's like touching the camera. What do you think computer graphics then animators like me well I think they very about what the computer will do. I've been planning a film and I really discovered that it's very very costly to use the machines for stuff but it's in a very early stage. There's a lot of technical gadgets and software. There are various companies are making various kind of effect

animation and there is no coordination between industry among the industry. So what happens that you've got you got to do something here. This particular system. Something else you had to go in California some other kind of effects you have to go to Denver and this kind of system is built in DVD download by the people and they've got it very seriously. So when I go and when I'm making a film when I go to one particular system they tell me that there is a distinction here you can only do this but for this year to go somewhere else. And so when I go somewhere today no one particular system exists. This doesn't have to worry about any issues and it's very very costly. So I don't know where it's going to go. Maybe the cost will come down one day and it'll be used but it's. Also my impression and people who are working in Mission very efficient is that if never were to be again. One more tool like from set in mission to cut out the

plasticine just to be converted. It has a certain slick look and you can only do so much with that kind of look a little less what you're doing. The art of Hula is an important Hawai'ian legacy. Vivian Matre was a New York dancer who visited her way to learn the Hula in 1931. She returned many times often with a motion picture camera. The results of her enthusiasm is now the subject of a recent documentary led by the efforts of Bishop museums scholar Dr. Elizabeth to tar. TAR is an anthropologist who specializes in music otherwise known as an ethno musicologist.

She studies music from a cultural point of view. Commonly. Anthropologists study cultural relationships with the artifacts available to them. They're trained to explore a culture by interpreting its habits customs and symbols. A decorative feather color may serve as a mark of rank while a hollowed out gourd may be rendered as a musical instrument. As a prominent cultural resource the Bishop Museum is the likely recipient of such gifts from generous donor. Evian pollinator.

When she died in 1972. Left an enormous collection. Of. Traditions of. Hula and music that she documented in Hawaii. Between the years 1930 in 1935 and nineteen eighty one. We started getting the first shipment of Fabian Matres collection in 1982. An even larger shipment came and I was very surprised that. One lady. Of course she had 50 years to do it. That one lady could amass as much material as she did. She was deeply interested in Hawaiian culture and it was obvious she collected not only what pertained to dance in particular but to the culture in general. As a professional dancer Vivienne Matre was also interested in the ability of film to capture movement dafter to tar has made an extensive study of the Hawaiian dances which Miss Matre has captured on film as well as other notes

and charts drawn from her collection in the twenties and thirties. I believe there was a great interest on the mainland and incorporating ethnic dance movements into modern dance. She came to Hawaii and I think she was one of the first to see the beauty of Hawaiian dance. They are in Hawaiian down the complexity of the movements and the expression. Vivienne Matre had met and worked with most of the well known teaching masters of her time. There was a print which I viewed. And on that Prince. There were dances. Joseph Kony me. Catherine can call him. The. And as soon as I saw that I knew this was a very valuable collection and I could tell this was something that we should work on something to try to get back to the community because it was that important to hula.

I was terribly interested in this collection because it had a dance in what is really dependent on that. However this collection also. Has a lot to do with dance. One might question what is and is no musicologist doing studying dance. Well that refers simply to dance. But you cannot have dance without. Dance by itself does not exist in Hawaii or any part of Polynesia without champ. The choreography depends on the poetry. And poetry must always be chanted. John Shiloh and Paul Clark of the east west Center's sponsor of the Hawaii International Film Festival indicated to Dr to Taar that a finished

version of a Vivienne Mader film might be shown to the public through their festival. The Mader could be very important for the Hawaiian public because it is at the center of a Hawaiian renaissance at the center of this resurgence of Hawaiian culture. John Shiloh author of chanting the universe is now actively involved with a public display of films that enhance our knowledge of other cultures. Well the center is a scholarly institution so some people are surprised that we have a film festival but of course film is a very important art form and should be studied as such joining Shiloh in the film festival activities. Is historian Paul Clark who has recently published a book on Chinese film I think the native film epitomizes what the whole of the film festival is about. We run out of questions that we can. Bring. Artifacts from another culture and show them to a own public in Hawaii and get a

real immediate sense of another culture in a way that no other form is a factor. As an author of books on Hawaiian culture and music. Dr. Elizabeth the tar is particularly fitted to approach the subject of this nature. But a film project requires instruments I'm coming to the traditional scholar. Dr to Taar employs sensitive technology that will remove the hissing and static of old records allowing the purified version to be taped with Swiss precision. The medium of moving images is an apt archive for the dance. During her efforts of matching music with movement Dr.

sitar made a discovery. Having viewed this film I see a big difference. It's a historical difference to this film was made in 1932 1935 and what we see today in 1984. Is really quite different. The hula has changed. The movements have changed the focus of the dance has changed. And our reason for having this film a lot is to give a perspective to today's community of what the hula was like. Dr. sitar believes that misleaders unique legacy may prove instructive to today's audience. It is just a document a very loving document like this one woman of a dance tradition as it existed in the 1930s. Helen Beamer and the talented ladies of her family strongly influenced the directions who take in the entertainment world of Waikiki as shown by these performances she and

her family staged on the grounds of the Royal Hawaiian Hotel in 1934 and 35. The mayor who dances with the considered herself a protege. OK let's stop here and roll back the film studios of George Tahara doctorates sitar records her narration for the historical dance documentary. OK stand by. Roll film. At the beginning yes a little bit earlier was too fast. This is my sound engineer Terry on the controls. OK are you ready. Yes. Helen Beamer does try to tar assumed responsibility for the project.

She realized that she must seek the best assistance available for the time was short in 1934 and 35. You have to do that. I quit my day. How was I to her. A presentation that was right here and also worthy of the audience. I don't want to kill the audience by showing raw footage how was I to get a project together in essentially two months. Two and a half months. She found the answer by consulting local filmmaker George the heart of the original film that was brought to us from the museum. Was shot at 16 francs for a second. It is now correct that the 24 frames per second. From this point. Terry the sound engineer working the Dr. Qatar. With the following things. First it must be projected.

Second the music doctor has already collected. The company. Had to be changed in Spain. The truly musical score that was selected for these scenes would now be sped up. Or slowed down to match the picture. So now that the. Music. Closely sinks to the picture itself Terry the editor Dr guitar goes into the editing room. They use a machine that is known as a flat bed. We're working on this film project Dr sitar came to recognize and appreciate Vivien Matres singular contribution to Hawaiian heritage and culture due in no small part to the age in which she lived. When her PELA collected in the 30s. Hula. And Hawaiian traditions were not as popular as they are today.

I think that if today one person. Like her. Were to go and try a similar project. They would not be as successful. One is not apt to just give out as freely. As Vivien's teachers. Were in those days. She was so sensitive to the culture. She seemed to have this. This way to get the truth about a dance or. Folk. Songs maybe sung by soloist trios or choirs to sing and dance lullaby composed for the royal family. Hunger is the Tongan young adult quire of the First United Methodist Church. Oh no. Why

he had no money. Before I die. Oh hi hi hi hi. Hi hi hi hi hi. Hi hi

hi. Hi hi hi hi hi hi hi hi hi hi that I think you are up my dad died. By night I had my fill out Friday night. Hey. Hey hey hey hey hey hey hey hey hey hey

hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey. Hey. Hey.

Hey. Wow we got a walk. From. You. Do.

You. Know. Spectrum was funded in part by a grant from the people of Chevron in Hawaii and by the way state foundation on culture and the arts. The following program is a production of key HGT in Honolulu Hawaii

Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture and the arts and the people at Chevron in Hawaii. Today on spectrum are Chinese opera comes to Hawaii in a unique University production of photojournalists travels through Honolulu capturing images for the morning newspaper and a book is born one manuscript is bound with our. First Spectrum looks into the special world of the icon. Recently seen at an exhibition at the University of Hawaii art gallery.

Icons richly painted red. Man and saints religious images and artistic inspiration. The icon first emerged in the Byzantine Empire in Eastern Europe and has since become an integral part of the Greek and Russian Orthodox Church. Although the Eastern Church has forbidden the worship of three dimensional art. Such as statues it does permit two dimensional images as icons are traditionally painted on flat wooden pin. One of the roles of the icon was as a window between the heavenly world and the earthly world. It was a a window through which did you Vine person represented. Look down upon earth.

Manifested himself to the worshippers and in a sense united with the congregation. It was also used as a sort of teaching tool or you're dealing with basically an illiterate population traditionally. And so here on the icon you have visually illustrated the biblical stories or the theology of the church frozen in time. Stories of the life of St. Nicholas simultaneously arranged around the center figure. Russian Icons were in every home company travelers and soldiers on their journey. The most impressive paintings could be found in the Orthodox Church. And that kind of stuff is shown here in miniature with a large screen covered with icons from floor to ceiling. There might be as many as seven rows of icons all arranged in strictly prescribed manner of figures are turned

to venerate Christ. All curator Tom blowby envisioned the Byzantine church as he designed an exhibit for a private collection of icons at the University of what is art gallery. We are not necessarily trying to make a church in here that you get so wide the sense of. How they were originally used but the aspect that there is great and wonderful works of art is of course very. At. The turn of the 20th century a revival of interest in Icons occurred and many were restored. Once clean they reveal their brilliant colors and strong features. The colors. The figures. The backgrounds of symbolic abstracts to open wide the window between man and same. Certain colors are thought to symbolize certain values or

virtues. Red for example symbolizes Christ the blood of. It also symbolizes courage so that for example Saint George his cloak is almost always red it symbolizes Baathism his courage. He was a warrior saint after all and his eventual martyrdom white for purity gold for the heaven. A building symbolizing an interior mountains strangely depicting an outdoor scene. Russian Icons Greek icons. Are not interested in a realistic portrayal. Their intent is an emotional and spiritual path as well these abstract forms can do that. Perhaps even better than a realistic portrayal of a woman. The icons were painted by collectives of anonymous artists usually one each having his own special background

robe. One reason why the icon painter had to adhere quite closely to established canons and standards was that many of the icons were considered to be what was called not made by human hands. Instead they were inspired by images reportedly left by the divine being himself. Such as in the story of Christ believes his image in a cloud. After wiping his face no icon painter dared to tamper with the radiant images of these windows to heaven. If an icon is a window into another world then perhaps a book is a door through which the reader travels wherever the pages may lead him. The University of Hawaii press publishes textbooks historical and geographic accounts and

fiction about the Pacific region notably Hawaii. There is more to a book than meets the eye. Every detail is carefully tended to live production team that puts the art into book Designing books preserved memory save ideas for future use and record the achievements of a civilization. There are convenient and private pleasure. Once inside the covers of a book the reader has given the author a permission to lead him on a journey a journey through a wider world than he would ever know by purchasing a book. The reader shows his trust and gratitude to the author and the publisher the largest publisher in the state of Hawaii is the University of Hawaii press here. Manuscripts are selected edited designed and composed into book form on rare occasions. This press enjoys the privilege of Kope publishing a book that Kublai museum was particularly interested in this recent history of Calway written by Edward justing

Janet heaven Ridge is the design and production manager of the press. She's responsible for the final appearance of its books both inside and out. While I do start with the content of the book and I think of it as working from the inside out when this history of I was selected for publication several factors came into play. The marketing department represented here by Trish Patton must determine how many books are to be published. At what cost. At what time and for which audience. The editorial department represented here by Damarys curch offer has just finished a lengthy association with the author. The content of the text is complete. Now begins the making of a book. The. First. Part. Is. Mine. Why is the author of this. Well Arnheim guy writer he has several books already. But we're dealing with

is. Something that's really one of a kind. The history of why. It's the. Only one really on a single island. There are some other histories of single islands not many but this one has the advantage of being. Very. First. I think it's based on ten years of research. That solid scholarly. One more. Average posting as an experienced author and he has some ideas on how the material should be presented. He he was a traditional kind of design dustings history of Calway begins with the Polynesian migration and ends in the 19th century. Therefore heavenwards chooses a typeface that is traditional based on what you've said here. I think would be the type of things that we'd like to do the text. It's traditional. And it's clean in a chair. The book is very readable it's lively it's anecdotal it's never dull. He develops he looks at people and personalities who shape the history of the island

hosting rights granting a monopoly for the sale of opium had been made legal by the legislature but accepting a bribe for securing the monopoly was not the public demand that Arkie be given back his money was met with murmurs on the part of the king. But no money was forthcoming. Indignation in the business community rose to an even higher level. Book. Text galley's roll out of a machine in one continuous sheet to be cut up like cookies for proofreading. Once edited that is design composition and manufacture of a university press book takes from six to nine months to produce There are approximately 40 books in process at the Hawaii press at any given time. These pictures these are available to us. In our last show. OK can we do a separate insert and not scatter them all the way through the book.

When we first cause you to scare them all the way through I would have to use a coded stock to do justice and really bring up the blacks and whites if I can use them as an insert or inserts. Then I can run the local paper insert them. Do you see any reason for scouting. They don't have to be scattered. I think they'll be liable to do that. If you think it will help settle I think they'll be OK. When finally completed a published book represents the culmination of many skills. It is the end of one stage of toil and the beginning of another Trast justing writes What will be the result when the American comes as he is coming now and faster in his final paragraph. Senator Dole was optimistic but he was also cautious. Without doubt the union of Little Havana with great America lift the curtain before a future full of great possibilities to give away our local world will be

larger and we shall be in touch with the great communities of the rest of the world. We are Americans now for better or worse. Images change in the blink of an eye. Award winning photo journalist Ron Jett freezes these moments on film for the morning newspaper. The Honolulu Advertiser. Once a frustrated cartoonist began his photography career 20 years ago on a friend's advice. Today he is teaching others and his photos are seen worldwide in newspapers magazines books and posters. My job is basically is to be the eyes of a newspaper. My day will go easily from 5:30 in the morning to anywhere from 12:30 to 1 o'clock at night. My training in photojournalism came. From the older photographer. And from

spending hours at the newspaper. Day. You learn every day. Every assignment is different every situation. Photojournalism. We have a lot of highs and lows. I'm not sure exactly why I think a lot of it is because. The pressure of having to be creative every day. People are doing interesting things all over this island. And the ideas you just have to be sensitive to. Situations where it is a funny situation. Tragic whatever they happen. The idea that you are sitting in an office you have to be outside. You have to have your camera. And you have to move.

On. When. I have problems trying to separate. What I do for the newspaper because I do artistic somewhat I consider artistic type photography sometimes with an exhibit. And then. On my own time I also do what I consider a little bit of artistic. The. Type of pictures that I take I think they can be run in the newspaper because I don't manipulate my own personal work. I think.

The photojournalism. Part of my life has carried over into my personal life with my photography because I don't manipulate my work. It's all very straightforward. I don't play with the negatives or. Double expose. Thing. Perhaps I should. Give me a separate identity from then from my photojournalism. Everything that we do. That pertains to photojournalism is done very quickly. It's just it's a matter of speed whereas the work that I do for myself. I can spend a lot of time that I can take my time. There's no deadline pressure. I think if I had my choice to spend as much time as I wanted on an assignment without having to worry about deadlines The first would be to go back to the Big Island. And to do all the things that I need to do there that I feel that I need to do photography wise. The volcano eruptions are probably the single greatest thing that I've ever seen. And it's I saw my first one in 1977 and it still. Draws me. Everytime there's one I want to go. And of course I can't go to all of them.

I spend a lot of time at the zoo which I've been teased about quite a bit about my giraffe pictures. But I've come up with some very interesting animal pictures. The editors don't. Run as much of them as they used to. Because I think they kind of feel like I've overdone it. In a very short period of time in my career. Photographers. Because of the technology are. Going to be walking tripods. Most part. Editors. Even now they've almost developed. Equipment. We're in our business. They can send a photographer out with a small unit. They're not going to be using film anymore. They're. Not as we know it today. It'll be take part on a card. And the photographer will come back from the assignment in hand cartridge to an editor who put it into a computer terminal and edit the photos and computer enhanced these images as he sees it.

And it will all be done to electronics. There won't be any more. Darkroom as we know it today. This will be very shortly. And so that's why I say that. If I stay in this business that. The day will come when I'll be. Like a tripod I'll just walk around with this thing on my shoulder much like the TV men do today. Lighting is something that we. Still gives me a lot of joy from time to time. And so I'm constantly learning more about the use of light in my photography. And I think most photographers will will say that like used to use of light is one of the more difficult aspects to proper use. If you are a photographer and in this community most people are not aware of it but the door is open to the newspaper for freelancers to come in and the newspaper does pay for the photographs that they use. You're not going to get rich off of it. But you can get there is an opportunity to get your photos

published. And to see your name under which is a good start for for an individual that's beginning in a career of photography. I'm doing exactly what I asked what I should be doing in this life and I'm very happy with photography. I say if there's anything negative I have to say is that I just don't have the time to do more. Of his music that can surprise. You. It is elaborate costumes and makeup that feast the eye. It can present a plot as complex as Shakespearean antiques and martial skills befitting of a battle. It is Chinese opera being performed for a full length production by the drama and music departments of the University of Hawaii at Manoa. His students rehearse a scene in the Beijing opera. The Phoenix returns to its next. Complex plot is about arranged marriages mistaken identity.

And vended up right. That's. The first impression might be one of discordant confusion. Unlike Western music there is no harmony only a complex pattern of melody listen to the first song say in an opera. The second one will be the same basic melody. But it will be interpreted in a different way. Interpretation includes changing the melody to express different emotions different coloration. In this scene the oldest and very ugly daughter was jealous of her beautiful young sisters arranged marriage wandering the fiance for her own. She disguises herself as the sister. Of. God.

Oh. Borrow my name and say up. Once more. You. See. Dr Elizabeth Wickman is a professor of drama at the University of Hawaii. It was the first Western performer to sing in Chinese opera in China. She is directing the Phoenix returns to its nest. One of the first full length authentic productions in the west of a Chinese opera in English with an American orchestra. One more time she got to win. Fluent in Chinese. Wickman spent nine months translating the play into English. The lyrics alone took seven months. I concentrated on having performable school. Which is very different than a script I could have taken twenty eight syllables to translate one seven syllable Chinese line and had all the

innuendo's and meaning there I would could never have sung it in performance. I would have the same kind of vowels so that the same kind of sounds could be produced in singing it in Beijing style in English that were produced in C in Beijing opera style. You see. Every Beijing Opera performer needs to be physically trained in movement as intensively as a ballet dancer. And trained song with your heel as intensively as a Western opera singer. And in speech as intensively as a Western stage performer. They also need to be trained in martial skills. The Chinese performers begin this training between the ages of 7 and 13.

Spending eight years learning these university students had just about seven months to prepare for their performance. We began training the students with classes which I taught in basic will fluent in the most basic vocalization how to use the breath how to place the voice. For the. Qualities of. Tibetan. The training was augmented for four months by the presence of three guest performers from the China Beijing Opera Company Madame Yang telling is one of the youngest students of M. M. Anfang who developed this play. Her husband Lee jelling. Is a very well know painted face performer. And he is also a director. So that he is able to teach almost all of the roles in the play. For.

Her. Father. Like. Mr. worry she is a professional. She will play very very good. And he taught all of the instruments in the orchestra. Can. Be used as emotional punctuation to what is being said. And the sound effects for what's being done. You know.

Beijing Opera elevates the emotions and movements of reality into stage. Our oldest daughter may be ugly but her hair is dressed with fragile peace in some is. The clothes of the poor scholar are made of fine silk. The motions are rounded and graceful. You walk away you would not be it would be straight up and down. Hush hush hush hush hush. Hush. Everything about. Arms must be. Round. The pattern which trains people to be around but. The search is simple with a table chairs and screen depicting different scenes. This comes from the nomadic beginnings when itinerant companies performed in dry riverbed. Costumes were easy to carry.

Said were not in disgrace. The characters fall into standard role types held his or her own stylisation of make up costumes song and movement. Mr Lee demonstrates how just one movement looking at someone can be interpreted by three different male role types. And the painted face. Is much larger. Also with the punctuation that much larger penetration Sharjah the young male character. Figure. Me with with you you. Show. A. Character they. Are.

Very lively. In this scene. The scholar sees the sister how ugly she is thinking it is his fiance. He flees to fight bandits. Pass. Back. Wishing for.

A brief gesture onstage an image in daily newsprint or in paints centuries each depicts a world perceived by the artist and then received by us the audience join us on our next spectrum. Spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts.