Spectrum Hawaii; Interview with Dr. Kenneth Emory

The following program is a production of 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 are Chevron in Hawaii. You are. Today on a spectrum executive producer Nino J Martin welcomes distinguished guest Dr. Kenneth Emery. Foreign aid the senior anthropologist for the Bishop Museum and professor emeritus at the University of Hawaii. Hello and welcome to the spectrum. Occasionally on spectrum we invite an

individual who is made a considerable invaluable contribution to in the area of culture and arts in Hawaii and there gives us all an opportunity to better acquaint ourselves with a person as well as the person's accomplishments. We have with us today a pioneer in cultural anthropology. He has distinguished himself in many ways by his contributions in the international science area and is recognized as the father of modern archaeology in the Pacific. He has devoted his life to seeking out clues to the origins of languages and the culture of the Polynesian peoples and among his other talents he is also an ethnologist a photographer an author filmmaker and a living treasure Won't you please join me in welcoming our special guest today senior anthropologist emeritus of the Bishop Museum Dr. Kenneth Pike Emory. Dr. Emery thank you for coming down today and being with us. Certainly

nice meeting you. You have an unusual middle name pike. Where did that come from. My mother was when you had pike or she married Emory and so Pike was of course we all know that Pike's Peak discoverer of Pike's Peak in Colorado. Were you born in Colorado. No I certainly was born bred Massachusetts and in the same room that my father was born. Wow. It's an old tradition isn't New Englander then. But you came over to Hawaii and then my mother was born in New Hampshire 30 miles north of Andover where with college is where I went to college. And my grandfather founded. The town of Pike I think is my middle name right. Well then you came over to Hawaii and 900 actually June 20

19 and so you've been here a few years and you certainly know and knew at that time in the turn of the century you certainly knew quite a few very famous people that had a great deal to do with the history of Hawaii. One in particular is Mr. Thurston he was a next door neighbor when we moved up to big street and no one knew who he was asked to have done in my street and I lived you know as was governor the lower interest and was very instrumental in what is now commonly referred to as the overthrow of the monarchy. Did he ever discuss that with you. You know we would travel around oh yeah I mean together is a great devoting of of the volcano. I mean frankly go over there. And then when I was traveling around we'd stop in Philly just if there are any Hawaiians. You always

talk to them in a lie and you had a great influence on my then you know finally you also knew Dole's efforts. Dole who was of course the first governor of the of the territory and also was the head of the Provisional Government at the time and apparently you knew him quite quite well didn't. Well I saw a lot of I was too young to really know him but one thing I remember he invited us over one Christmas and he had a white be a long white beard and the candles on the Christmas tree. One of them just risk it on fire. And he had to put out a fire on him so you know you know that was he a nice man. I mean you know and you and you live very near by my next door. Yeah well you have been after that as you were growing up you had an interest in anthropology and perhaps you could tell us why you became an anthropologist.

When I graduated you see one thing I knew whenever I was going to do it had been an outdoor job. No sitting behind bars you don't like air conditioning and artificial lights you want to be right I was because I always have outdoor life all my life and so I was thinking of going into forest and then Doc I want to go cook a trustee of the museum. Whose house my father had built you know of my interest in pony Polynesians. So he wrote to major to me talk to Gregory director of the Beijing museum or spent six months a museum six months and I can for. So I made appointment to go down to 11 and talk with Dr. Gregory and I did that and evidently am. He made quite a fair impression because he said when you graduate come down the hall I come to the British Museum and I'll put you on the staff as

assistant ethnologist. So as soon as I get to a dictionary I looked at it and that's how I became knowledge of it so that it came to the vision Museum Of course since you've been at the museum you've contributed a great deal to do that with the other biological studies of Hawaii. But one other thing that happened to you that was very important in your life and that was a trip to to Haiti and you met your sweetheart down there. Could you tell us a little bit about that. Oh yes. We arrived in Haiti on. New Year's Day 1925. What was it like when you. Oh my yes you were and I remember the peaks our high through big peaks in the back there and then there was a horse and carriage along the white horse and carriage. I learned later that I was just an ELSE horse.

First thing they had to get a fancy dress ball. And I went through this poem like to put a red bandana alone on my hand and I had a dirk knife on my belt and there in that group I saw a woman dressed like Nefertiti you know if you Titi you can the Egyptian gypsy and yes and that it had been coming out in the magazines and I recognize right away. And my you know it's part of archaeology and I should investigate. So Holland me there. Well there was one fellow I met a guy who was a newspaper recorder and I caught his attention and he took you know when introduced me to liking. That's your wife. MARGARET Yeah and then what happened you fell madly in love that you did it in

you own right then I know how good you were took a little while right. Yeah I was fascinated. Well after all that then you came back and you were working with the Bishop Museum and you've. You were responsible for basically mapping out all the surface areas of all of the Hawaiian Islands. Let's talk a little bit about some of the expeditions that you did I get you started first with the law. Well start another club because when Gregory you had charge of all he had gotten hold of $40000. Dominic expeditions and they were sending these petitions out to tade and stronger Sam all over. But he said they needed to do the whole anonymous. And as I was familiar with they were announced they would put me on to him and something in Hawaii and signed to me their talk right. What did you find there that was really important.

Well it was because I'm in trying times to get discovered in the Coens stone terraces and she reported the latest and said What should we do about it and we first reported to the museum that he discoveries had been made. I mean one time skin of a mysterious ruins terraces in the Coens. Unlikely floor grade. So send me your. But I know greater before and because you had called him the son of his own ranch and invited me over and I spent I'd spent a summer there in 1914 and then as I hadn't had any training in archaeology for training there was an archaeologist in the museum going to Haiti but are waiting for his book. So he sent him over with me.

What did you find Doctor in your studies that were really significant that you felt that he had made very discovery in your in your estimations or in your trips here on the islands. Oh well in helicopter grade we found that the first tours is really. Sleeping places that people would and then and watch for travelers coming along cross them and then would rather they would have but they would have as they would have their village and then nothing on it on a lot of these these plot platforms out on me along the trail and they were proved to be related to the ones I later found on me on any form of shrine minds. Then you went on and you did some work where you were on a trip down to Selma and you did some work down there or were headed to some of

the Caiman overhead that the boat was a hundred I mean a foot yacht underneath and there was a there were two factions on that boat on that yacht right. And you know there was a scientific faction in a pleasure faction. And what happened. A pleasure fact consisted of one man just kind of himself. What happened with that. Well of course. And also having a lot of money and Mary and two money through her and her kind of he's nice he won when he got to Fanny you know is warning if it was for sale he was out to buy an island. Oh it wasn't when it got to Christmas time either Rouget. So he you know he had heard of you and that he could sell it to him do so they would have to go to tape. And so he came on board.

And so then but eventually you you got off that boat and you ended up into Haiti. Yeah but you never did get to summer. And as a result of this trip was speaking of Samoa you certainly knew Margaret Meade when she did all of her work down there. Did you know her well. Yes. What what kind of relationship that you have with her mentor and judge for years covering for radio. Ice I suppose a lot has been said about Dr. Mead. She's going well some things it was other issues rather contact where she was and and of us and she became very articulate. And then with you and some lawyers on this museum and then when this fellow came out and all this criticism you know he was coasting on her reputation.

Derrick Friedman Freeman of the Australian author archaeologist or an anthropologist actually Cottle what do you think about that he said that she was naive and too young at the time that the the Samoans were a very common dating to her that they pretty much did what she felt that she wanted to see how do you feel about that. Well of course the machine from saying to a certain extent they're. Going to define what you did fine. And I find that true of all anthropologist first grok first thing to warn them is when you get to an area just listen to them get them talking and don't. Let's think you haven't a thing of what you think they should know more about history in the right way don't you think that just the very presence of another person from another culture coming in. Yeah what influence and how would you maintain the integrity of their culture without in interfering with it when you don't have you.

You're doing fine. In fact when you started talking to them they wanted to know about you as much as you but that's interesting though isn't that in itself is interesting. Have you had any occasions where in your own studies with Polynesian cultures and various islands and so forth that you had some question about the amount of influence that you had on them while you were studying them. Yeah well I was I was very conscious that the they were out to please you. And. I would first get them to give that chance because it was over a concert and then that their folklore. And then I would I would get not just one verse from several I want and I think that chick. And then some of these chants and princes and tales about Mari. I'm known throughout the archipelago but each and fast when I was nine seven hundred miles long.

They have their own versions. I was interested in in in the test to what extent they could hold on to their. Traditions. Most of the digging has been done. Post 1950 in the Polynesian South Pacific. Why why is that. Well we felt that the occupation of Paul in Asia was so recent There wouldn't be any depth and nothing you wouldn't get stratification. But that proved to be false. Well then it going to be much longer I think the general idea was that it was discovered about. So about 500 A.D. Now we know you. Go back 2000 B.C. before when Polynesian was first begin to be settled. But you waited yourself until 1952 to dig is I correct yeah.

And was when I was getting the anthropology classes at the university and they asked me to give warnin archaeology. So I got the book on how to do. It. And you know ending up in squares and with recording by levels and so forth. So we went out to take a shelter Cleo. And one of my students because before that. I had been going to Oak up on a sand dune of 1818 skeletons that came out of the sand and we excavated you know dozens of skeletons and took them to the museum because used we study physical anthropology as well as a social and what Doctor what do you feel in your years of being an anthropologist What do you feel is your most significant contribution in the field. Oh I think discovering the day. Of the horror of settlement a polish.

Why is that so important. Well that reveals a prehistory of the pony. And then it also shows that they were remarkable navigators and had sea worthy craft. Way back in the very beginning of their entry in Polynesia a double conoce. And then you know I was here about migration as there were never migrations. There was settlement parties double canoes arriving with maybe 40 50 people on board. Maybe one of two and most three at various times and once they got spayed and Paul knew they would be resettlements laid on and once the population had been established later comers would be absorbed in a tin.

If they had a different language or different part they would have if you speak several languages yourself don't you. So what any one particular language you speak in pollination. Well I studied who I learned who whined and then I learned Asian thoroughly looking through it and then in every group I went to. I would need to get by myself to learn and language and I worked with them in their own language. You know talking to people about you before we did the interview today they have one story that always comes up and it we would certainly have to bring it out and that is when you were on a field trip. You always bring a whistle with you. Yeah I had in my pocket I have almost. Well they we had to make sure that we go white Why did you bring a whistle with you on field trips. Well you know you go along parties you get you get separated and then to bring together we you know we go hunting we we spread out and go through an

area and then when someone is discovered something OK let's see you blow the whistle. Yeah but that's not what I hear when you hear I hear that you used to get up very early in the morning and were quite impatient with people who stayed in bed or you know get him out of bed. It uses a blow the whistle Yeah. About five o'clock in the morning and get them up. You're famous for that you know. Yeah I can imagine the nerve I would look at the morning out to dig and having Dr. Emery blowing a whistle with the time one of the thing that you're very well-known for is this book called South Sea lore and it's a survival training book isn't and a little pamphlet for this is during World War Two was it when people would be caught in say the South Pacific theater or some island and they had to survive they had brought out a book castaway the Decker. This is this is you have some examples here of how to survive now what if this is

a Matt you know making a map that you know you can you can make a shelter thing is very easy if you can get those and then use the butts of the of the coconut leaf cross them and you have a little pup tent and then you put the thatch on it how much would it food and water did you have anything on food and water in here. Oh yes. Went fishing and you know the thing to know is that on the shoreline tell you not to have holes where the you know there may not be any well is it just if you dig down your hidden water table. And then let the water come in and you have fresh water. No the thing is if you dig too deep. So all of it comes so you have to know just how far did you know that a little salt water on her. How about collecting rainwater.

The Bamboo is bamboo bamboo. Each node has water in it. It's all really and you can collect it in just in time to try in the tropics is quite in the water maybe once or is water so you just happened to a little hole in and tell if you have a machete All right. A knife and cut of the match and then you can break off one of the stems is put it in a simple way. Now you would train these men for survival. And over the years how many people would you say that you've trained. Oh I was I was yanked out here there and everywhere and I had the thought I had a mobile unit I could go down to the airport in a plane that was going to a military plane and I'm oh yeah we're going right through the aisle. And this was a part of the program at the Bishop Museum. Yeah I was busy museum as a senator and the armed forces are frequently seen in this

museum. Yeah. What do the armed forces as recently or frequently rely on the Bishop Museum for scientists or you have a note on me for knowledge of the area they're going to it. That too. Well let's talk a little bit about the future. OK. What changes do you see coming in the South Pacific in Polynesia. The years coming what do you see anything. Important happening. Oh yes. The very unfortunate thing about why is that the changes have been so. Tremendous so vast that they've lost the name was in that loss. And then since it's a that's still and then they would and now they require the French administrators come out to learn to learn. And that's pretty good. You know what you write your language or you get a grip and they're just very convenient too

and you want to talk about things when NTV was around. You don't want the number standpoint. Do you do you see foresee any changes though in the future. I mean do you think that languages are going to be coming back. Well the whole lines of trying to get them back but they don't have a chance has NEVER have sort of need to speak high. I go up to anon ask him in one if he can speak when you sometimes do that when you're eighty four years of being here in Hawaii. What impressions do you have of what's happened to these islands over the last 84 years with oysters. Tremendous of course and the coming of the first I want to be is the planes and and the tourists. It's. Why he has become a foreign country. When I got there I get lost and won't get back up. You want to see the home again.

What would what do you think that this is going to mean for the future. All these changes and over the years. Who knows. I think yeah. Course this time avoidable. And we'll adapt. I find when things about the Polynesians themselves they are very adaptable and. They can survive through mixed or what not. Why is it important to study anthropology Why is it important to study past cultures. Well you want to know a government and appreciate what they've been through and what they've done for what you owe to them. Being at a day when they had to survive are very tough. And zones of yes and having been with the museum the Bishop Museum for many many years. Where do you think the Bishop Museum should be putting its energies and work.

What sort of work do you think they should be doing in the coral ratios continue and the thing is with our anthropology department. We made so many good and apologist that universities and museums in the states are higher from under us because we can't pay them enough. And that that brings me up that in spite of our being the state museum we have the cred curating take care of all the other capes and things that came down from the past. On the one supplying the government we are getting very very little and sometimes no support from the legislature. We're doing a very poor job. You would call it interested in helping us out. Well it's been absolutely delightful chatting with you today doctor. I understand that you have a biography coming out on you pretty soon who's been you're collaborating

away crowds are now crossing the plains it says it's very interesting for him. Is it interesting for you to talk about your life. If you're looking to have a very good reminder for me and my wife I see in most of my and political life you know remarkable memory. Thank you so much for coming on and being our guest today. It was delightful meeting you and chatting with you. Our very special guest today has been senior anthropologist emeritus of the Bishop Museum Dr. Kenneth Pike Emory I want to thank him for being here today on spectrum and we want to thank you for joining us. Until next time. Aloha. Spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts. Oh. Oh. The following program is a production of Katie Chichi in one of the new public television. The following program is made possible by grants from the state foundation on culture and the arts and Chevron USA. In Hawaii. Then. And. Then.

Today on spectrum you visit with a bit of a question create deception. And then we tour the nearby neighborhood. How do people live. Shares this residential district with the driving ceaseless change of downtown. I'll normally look for an assortment of cultures and traditions. Have found a place to settle. The tradition of dressage springs from a lengthy and honorable history. It isn't just a plan to be. A DCC. Place. Just saw the department through a series of movements. Designed

to enhance the animal's natural way of demands balance discipline and persistence. Which began with the theory. During the Renaissance. And flourished in the French Quarter. Then it went into battle with the cavalry and again along with the military today. Here in Hawaii his side came into its own in the 1960s. But 20 is Tarrytown has taught the discipline of dressage in 0 8 and knows what makes a good rider. First of all there has to be a feeling for animals. There has to be a willingness to understand how their brain works how they think and to try to

almost get inside of their brain and be a partner with them. The person has to be both that same rhythm and soft not rough. So horses shy from roughness but respect and respect people who are stern here but also understanding. Dressage probably demands more patience than any other part of the horse world. But all of horse work demands patience. If you don't have the time and the energy and the patience to put into it the horse is never going to respond to you and it has to be a partnership. Let's see if you can do it. To do the large circle around me. And from there walk bend em to the outside and pick up the counter need to sosh. First of all it's a French word which actually means training or education and so it goes through from the very

basic things that a horse does that way to the most complicated things that a horse does in fact from the day he's saddled. He's starting his education and even before that. You must learn to respond to the rider's AIDS and in the beginning the aids are large. Try to make your and not complicate our transition. And as they walk the horse becomes educated manner all the time. Then the AIDS become very subtle and should never really be seen by someone observing what the person on top of the horse is saying to the horse. The aids are of two kinds. One natural which are the rider's body the legs. And when you talk about legs and riding it's from the need down the seat of the rider which is from the knee to the waist. The upper body which includes the weight of the rider and the hands which control the final say of the horse on the

reins. Then there are artificial aids which you will see many riders with spurs on the back of their boots which basically reinforce what the leg of the rider says. Crops that reinforce the leg. And. They argue about where a voice belongs with a young horse it's important to talk to the horse as the horse gets more educated. You should stop talking so what goes on between horse and rider is very subtle. And who is trying to do. It appeals to people I think. Who are willing to have the self-discipline. And spend the time. Required. To. Work on the subtleties and it will appeal to a young boy. Go out and play polo. But many people start in the hunter jumper world and as they get a little older

they can continue longer in dressage and not have to stop at an early age and so they will switch. To get to an upper level. Takes about a minimum of 10 years. As far as I'm concerned. You never stop learning. If you do if you think you know it all you're all through. Then I read about and was impressed by the philosophy of. Getting the horse to travel. With the grace without force over time. And the harmony between the rider and that is the result of all that. Can benefit whether small

old and still. Young and athletic. And making the balance better especially in terms of carrying the weight of a rider. We're talking about horses that get ridden. To train on. There is a system in training. I believe that lunging the horse and working the horse in hand is very important when you're first starting them especially. Then there will begin a hoss on the lunge line a 25 foot glide that allows her to exercise the boss without riding it by the horse develops physically. The muscles that it takes to carry himself in that balance and you can see the horse become more and more at ease with it and more graceful on the work in hand. I feel it is very

important in training the horse also the work in hand where you have the horses laterally moving away from you is a good suppling exercise for horses that need to be dominated more work in hand is very important. You can get a lot of the attitude changed before you get on the horse's back thereby making riding easier Zenda will begin a new rider like Doug Stevenson on a lunge line to teach him balance without depending on ages. At first it feels a little scary. And then as you come to realize your horse will carry you through and your horse isn't going to do anything that's going to injure you or throw you. Then you begin to recognize the tremendous benefit of being able to ride solely through your see through balancing on the horse and getting him to make transitions and to

make his movements without yanking on his competition and dressage is not required but is a means to measure oneself. Monthly competitions on a tract about 100 riders and men and judges and ride it competes alone before two judges in a regulation size arena. The test is the performance of a series of movements between coasts. Each competition increases in difficulty. Walk trot and canter the flying changes to be heroic. George Maxwell has written dressage for eight years and is competing at the top level here. Any level have never reached the point of there being no more knowledge. There's always a new problem there's always a new way

of handling a problem. And. People in the Olympics are the equestrian riders. So this is can be a lifetimes not a young person's sport of all ages and what do the judges look for the very beginning the basic level which is a training level you don't expect too much of a horse but you like to see the ingredients that will lead to further success. So you look for a horse that is traveling freely forward. Relaxed. In the rider. Course influences the boys greatly. Adversely. More loss is better. There's any stiffness in the rider conveys to the horse the horse in turn become stiff so that is kind of a vicious circle. Very important the contact is relaxed and consistent between the horse and rider. What we have to think about in this this sport that is at the same time and on form is to look at the home in New York. The

movement we have to look at the development the physical as well as the mental development off the horse. We have to look at the operation between horse and rider. We have to look at the joy. Of expressing your innermost feelings through writing. It's a disciplined freedom. I think to me it's an art form it's like a ballet. It's the dancing that the horse is able to do. Many people don't know they can do these movements and they do them in nature and do them without anyone training or. Training to deal. With us on a battle. But if you see young horses out in the field you'll see them doing all these things. By themselves. In the center of the city. A neighborhood looms with transplants and residents of a vigorous jam of continuity flourishes amid the flux of metropolitan Honolulu. This stem finds its roots in color.

Here is to introduce us. He. Is. In the center of things. On the one side we have. Downtown Honolulu. On the other and we have. The new horizons of pearl sitting. Calmly. This is referred to as an entire geographic area.

Paloma. Bought my house the fish markets. The restaurants. Clothing stores. The churches. This is where. Most of the people gather together and come you know from Seaside on Mt. Sinai. Is the gathering place of the district. And its the entrance to continue. The culture in our society is a private nonprofit community based organization situated right in the heart of the belief Obama area.

And as a director I have enjoyed a wonderful little ray of experiences within our community. There are many many beautiful activities and programs that are going on here involving people. One of the landmarks of the beginnings. Of our belief around the area busy along the theater. Everybody knows that. It was a place where. Hollywood had its beginnings on our islands and especially in this particular community. Some people remember when the movies were five cents. But later on. It became known as the theater and ethnic films were shown there. Now it's used to house among other things a one chair barber shop and a florist. That's illegal. And I think I'm going to stop and to get my sideburns trim. Oh Mr. Barak. And I have my hair cut today.

How are you today. Oh I. Say. This to you Barbara is one of the barbers. He has been in the business for 42 years am I correct must be a bar. Here. During the war he started. With different cities and towns in the mainland have their general store where people congregate. People in my house a barber. A mystery virus barber shop is just such a place. Most of the people come over here are former customers and still steady customers and they come to enjoy friendship hospitality. A game of checkers a game of chess some cards. And just to spend a day in each other's company. And a spirit of. Fellowship and friendship. And the people of Khomeini are very very nice people. You've had. Many many people you know Mr. Borrow that come to your barber shop that still come during the day and spend the day with you after they've gotten their haircut.

Right. Well Lester you borrow. Is one of our more colorful barbers. And. He's a very very warm. And an important part of the. People that we have here on ARE. Going to. Say. This is Billy. We have a lot of colorful people many hidden talents and coming here. For example right here in this barbershop we have a gentleman. Who was finally a magician. With the circus I understand. And you never know when you're going to be entertained. Watch now as he. Shows some of the other customers. And our Barbershop how he can transform a $1 bill. Into a $100 bill and back again to $1. A. Day.

Do you know I think. You all are you. You know I was. Right. You know what I give you one day when you watch. What I say. You know what I. Mean while. You're getting. Oh you're. Really thinking how do I know. Thank you. OK. One of the most delicious. Delicacies that

are Japanese. People of the islands. Have. Given us. This morning which are Japanese rice cakes and right here in the. Area. We've got the most fantastic array of homemade rice cakes. And the best tasting that you'll find anywhere and I think it's. Anybody who's from Hawaii. Knows and enjoys munching and it's made with a rice flour and. Sugar. And. They use the bean bean paste that's sweetened and that used to be our candy like bubble gum as to other people. And there's nothing better than to take the rice great brown and enjoy what we call Chichi dangle. By the munchie Candy.

Most of us. Still less I'd like to introduce all of you to a very special person one of my favorite people in the Khalifah Lama area. She is an entertainer. In her own right. She is. One who devotes herself. To helping the community in almost any way that she can. And all you have to do is ask. And my family is special because almost everyone in the colored people of my area knows and also smile. All the ethnic groups and calling him my only us. Is looked upon as I guess the hostess for our community and I refer to her as the hostess with the most as a law. Of. The law. That's Miley Mondo fun. I like to shop at the mature market the people the Friendly. And I like to buy my fish there. How cool you Vicki and also like

to buy bread Brewer for 10 days. And all the. You know delicacies. And I meet my friends there. My baby is there. And there's ample parking. There are many downs and ethnic cultural arts programs are offered in many different areas in our community and we hope that we will be able to show you some of the neat things that are happening in this very special area of ours. See in addition to outdoor activities and indoor activities that are offered in our community. We have such things as those boxing held a

calico recreation center. Clearly he has the reputation of being a very very tough

neighborhood. Yet on the other hand I have my phone call we need to be. In many ways the complete opposite. Of this particular stereotype. You've got families you've got people working together from many different backgrounds. Many different cultural. Origins. And each. Has their own life style. Take the someone church for example. Bill under a freeway overpass. Built by the members themselves. They have. A car wash. Everybody from the. From grandmothers. To little children. And grandfathers and moms and dad. It becomes a family enterprise and a family a way. Of. Being together. And working together as a family and that's very important.

In our early parliament area. We have approximately. 11 state and federal public housing projects and the fun of the projects throughout the area. There's one that's very unique in that it's. Constructed like. A town home. With your own little backyard and. Your own little private domain. And it's. One of the oldest housing projects in our community. That's the man hosting. And I'd like to. Drop by there and introduce you to a resident friend. The lady that I told you about earlier that Hostess of. The Miley Mondo vine. Miley. Miley. Miley.

Are you ready to go serenade the senior citizens don't all apply. Oh you like immigration. Let us go. To you in there and coming here we used to have people that came and visited borrowed a cup of sugar and knocked on the door I was on and shared their. Hospitality and whatever they were cooking for the day and brought you fruits do they still do that today and only steal when done that she that hasn't changed that Aloha is still here you know. Look here's at the Aloha. O my hand you know you. You're ready to go serenade with us and all up our sleeve got to get time we're ready to go and have a good time with the senior citizens. Even if you don't have a family in our community. We have a place for you. We have a place be it a barber shop.

You know. Be at a park Take for example on a park. People come together they congregate there. They social lines. And before working out people on a culture night society. I was employed by an Lama healer rehabilitation center. Which was responsible for the pioneering of the nutrition program that is now a statewide program for our elderly senior citizens. And here at home a part was the beginnings of the program. The only program that served meals in a park setting where people could come and enjoy and relax. A little Or was there any. You know say. Yes you know. I was. Doing. The routine thing. You know.

It was a rural. Living. In many things a lot of talent and a sharing of friendship. A culture tradition may be established by vigorous effort. It may be sustained but often it persists through haven't. Even been said that it is primarily a culture that distinguishes civilization from another. Join us again. Next fact yeah. Yeah.

The preceding program has been made possible by grants from Chevron USA in Hawaii and the state foundation on culture and the arts are. The following program is a production of kiddie Chichi in Honolulu Hawaii

Public Television. The following program is made possible by grants from the state foundation on culture and the arts and Chevron USA. In Hawaii. Yeah. Spectrum. Entertainment meaning song and. Dance have now being studied and performed at the campus.

We're joined by the. Computer. Making a louse. Has a history that's about 2000 years old. We know that it began. In China. And from there spread both east and west. Because it's material that I need for my work as an artist it's a magical substance. And I also make it rather than buying it because I'm looking for papers that only I can make. And I'm interested in working with a great variety of materials for paper. Plant fibers that can be used for paper making the most of those banana

trees the stock portion is cut up and cut. The banana is plentiful it provides us a very beautiful silky kind of fiber that is also very strong which makes it very ideal for. Cooking fiber. To help us separate out the useable material. Goes into the. Materials and also to start softening. They will. Cut the fiber taken from about 6 to 8 inches of material.