Spectrum Hawaii; Honolulu Boy Choir, Night Blooming Cereus, Goodman and Kodama

The following program is a production of h e t in Honolulu Hawaii Public Television the following program has been funded in part by the Hawaii State foundation on culture and the arts and by grants from the people of Chevron of Hawaii and from the Daveys Charitable Trust. Today on spectrum where we visit the studios of artist Jim Goodman and Marie cardamom. Found in their respective working habitats and then together in the gallery where they exhibit these are to show us where their direction is towards new images have taken them. But first Spectrum Hawai arrives at a rehearsal of the little boy choir where attention to duty is the first order of the day.

The Honolulu Boy Choir is frequently billed as a special attraction. From the rehearsal hall at the central Union Church in Honolulu. They polished and refined his singing style been heard at the Rockefeller Center in New York City. As well as the Lincoln Center for Performing Arts. Giving concerts at the Pentagon in Washington D.C. and throughout the Pacific Rim. During a typical quiet day boys may arrive early to practice their assignments

before rehearsals begin. Providing piano accompaniment. Is Nyle home and. All the boys are expected to memorize the lyrics of the songs here just singing. This is done by singing along with a tape cassette at home. And they arrive at rehearsal. They're faced with a decision. Each boy reaches for his name tag on a peg board and drops it in a yes box or a no box signifying that he has memorized the assigned song or has not. Yes box contains most of the tags but the boys whose names are in the know box must have an explanation for their choir director Roy Hall. Yes I remember one boy. The best excuse I ever heard and it probably was true. He said I couldn't practice with my tape because my dad backed our station wagon over the tape and it just crunched. Down. So I said You're excused.

The discipline of choir work. It was the boys I knew respect for duty and parents who say I can't believe how his study habits and how his attitude towards school has improved. I think it's because they are required to memorize something every day. Here to. Watch. TV. And in doing so they add a skill that's so necessary in education remembering. I don't know of a single boy whose grades have gone down. But I know that almost

all boys who join the choir. Have grades that go up. And teachers who say what has happened to this boy. Is. A. Choir director of long experience Roy Hoffman is the founder of the little boy where. Is devised a method to assure that the boys who place their name tags in the S-box really do know their song. It uses tags and random calls up the boys to sing their song alone. First of all. They know that there is a possibility that they may be called on Folman critiques their solo efforts and offers encouragement.

Accuracy is very good. Besides accuracy was good as the song memorize these days would find. Good posture. It can be a nervous moment for a boy. But I've never run into a boy who said no I can't I won't. Not once. In all these years. Can you imagine it be more accurate than that. Good tone. A lot of other things do give him a big head start. Encouraging individual initiative alters the boys attitude. Because then you have 173 boys that are not submerged in a lump. Of bad but that individually take responsibility for doing it. As one person. But the results. When this kind of thing is done. As. This performance excerpt is from their previous Christmas show.

It. Is. Among the most important sources offering strength and support for the choir or the parents. Parents are expected to participate but the volunteers are so numerous that duties are rooted. They serve as counselors. They take role elfish stage gurus sell record albums and accompany the boys on tour. Parental involvement also keeps the boys on their best behavior. Some boys must travel a distance to appear at an afternoon rehearsal and home. They come from Waialua Holly Eva non-sexually

Mililani. We. See the boys in the civic choir are drawn from 83 different grade school. It's interesting. Many of the principals of the schools where they attend are. If they have a little news sheet or as a bulletin board. They probably put up the names of the boys who are in the little boy choir and it's quite an honor in the school. Membership in the little boy choir is offered to every island boy free of charge. Other choirs on the mainland and here charge $100 to join or whatever. Arises from the first boy and this. Conflict. Is. Complete. And some of them are very poor and some of the poorest ones have a problem.

Talent doesn't know any. Economic levels. So some boys who had very limited. Horizons and hopes. Have all of a sudden gone on tour. To Japan Hong Kong Korea Taiwan Guam all in one summer to Mexico and California last summer. Three weeks prior to their concert in Tahiti a mainland group performed there. From a large city on the East Coast and they had day. They had not been very good guests. Not appreciated. And the people said never again will we have any Americans. In our homes. But when they saw the boys they were just. That. At the first concert. The Minister of Culture spoke to the people at the end of the concert and he said We're housing these boys in the government barracks. But if any of you would like to have some of them come home with you we'd be happy to do that.

Nearly the whole audience moved forward and mass. They're going to do is to leave you with this thought there's. On come on come in that you'll be able to sing it from the first note and the last end up on the same note that you began on and I'll be testing you for that on Monday and teaching a large number of boys to sing in unison and to take responsibility for their duty. Roy Hoffman has found the need to be an exacting taskmaster. One who is the man.

Yes I know I am. Yes I am. But there's a lot of love that goes into it too. A lot of demand a lot of love. I think they sense it and they realize that the purpose of my demand is a great result. I'll. Go. Around. We're about to see a plant that blooms only under the soft moonlit sky of evening producing a succulent blossoms which lives

only a day. Here is Hailo serious and datus otherwise known as the night blooming series originally from Mexico. The works of Cirebon cest Marico Dharma and sculptress painter Jim

Goodman were recently combined in a Honolulu gallery exhibit. Although different in appearance the works characterize a quest for new images challenging the media of clay and paint. The pieces on this show. I wouldn't say it's my work anyway. I would say maybe it's a new way of working with clay. Someone said that there is no new imagery about recombined. It. Is also a challenge. No clues for easy interpretation.

The artists do not dictate meanings but instead offer images solely for one's enjoyment. New imagery. Is a label as given to. Certain figurative kind of work that isn't within many people's recent memory. Has a certain charm and it has to do with what you do with it anyway. People can be very aggressive with it and other people can make them look very friendly. A.

Recall. Dolma has been exhibiting her ceramic pieces since 1972. University of what you are graduate. She strives to explore her medium and to move beyond convention. My main concern is that I keep working. The process. Very unfortunate. To me. No matter what comes out. You just keep working and working and working. It's just that. You are lucky that. You have. Things to keep working. You have. To keep it open and not question. What the imagery is or the style media. If you stop working and then you go into something else. Hiking for 10 years in the Himalayas. You come back and you have to start way back 10 years ago. So what I'm trying to do is keep working through all the rubbish the bed pieces. Everything. And hopefully there

are some nice. Good pieces that I feel strongly about. I like to work with the clay very soft because I need to wrap it and molded around the wire so it's very soft low fire clay. And I'm going to add. These nylon fibers into the clay just to give it a little strength when it's dry. I start. This. Different ways. Sometimes. I get a title in a dream. Then I. Work. Sometimes. I. Do sketches. You know. As small as possible it doesn't. I can just. Get the gesture. But. I find that.

If I put it down on paper. And then I work on it again it's like duplicating that work. And then. The piece is really dead after I've drawn it. But. The main thing is that. I have to not. Think as I'm doing it after. Not will anything into the piece. I have to keep not thinking. All. Right. I get stuck. And it just stops just gets real bad. My inspiration comes from. Everywhere. People. It's. All the. Books I read on. The air I breathe everything. Like a. Sponge. Everything. That I am close to. Somehow. Comes out in my work. My. Country girl. Grew up in. Whitehall.

As far. Record. Keeping them I always thought. Mail. Orders. Tried to apply a garden. My. Success at Gardening is not very good but. A. Discouraging. Matter. How. Terrible the. Office. It's just so rewarding. I just love it. Besides your exhibition work Marie is well known for her functional dishware. Her work is popular in San Francisco Los Angeles and in Honolulu. I come from very cute imagery very recognizable imagery calls and faces are. Like. Flowers and. Dogs. I. Don't. Like to direct people's feelings too much but I'm glad that it's more positive that they do get a maybe a laugh or tickle from it.

You. May. Read. I listen to a lot of. Opera. Also in the last three years I've been getting into a lot of hot jazz and. Big Band work which people who work in my studio I'm working Oh now I understand your work. Jim Goodmans first exhibit was in 1983. With the young Los Angeles Navy has been challenging his creative talents since childhood.

You know I was always I was always doodling in school. And teachers used to yell at me for doodling in school and so listening to them. And. This neighbor of mine was one of the Sunday painters who had all the books on how to paint flowers and fruit and I went over there and my sister was painting some fruit herself. And. She said oh you should come over here she'll teach you how to paint. And I went over there and she showed me these books on how to paint oranges and stuff like that to do that stuff. I want to paint this and I showed her this. Book on the battle of Waterloo and had some like 16 figures in and three cannons and a couple horses and she just happened to be kind of tough. I said Well try it. And she showed me the best she could. And. Well I remembered it looking a lot better than it did. I went there years later. It was just awful but that was my first painting it was never finished. Goodman creates the movement be it from a duty or from scraps from

his. Own work. I work with a sketch when other work working population like this. And usually. I'll keep doing that. Until. The next work doesn't work out when I go back to the sky. And then if it gets too. Predictable after a while by working with a sketch I want to work with observation. Blast to. Sculptures I've worked on. Have. Been sketches so I just feel like I'm trying to find something. If somebody wanted to see a train of thought they could put it down to. Kind. Of. Homeless and art historical process because. As I found myself copying these masters. I was searching for more and more. I abandoned figurative or I say realistic work because I was always interested in the figure and portraits and after a while.

You know there's only so many ways you can have people sitting around drinking coffee before it gets a little repetitive. So I felt that it kind of exhausted itself and I finally ended up with a certain geometric shapes in planning out composition because as I found out I really enjoyed more where the figures were in a painting than the figures themselves. Well after a while. I wanted the shapes to become more dominant and so soon I started adding little wooden edges onto the side of a canvas. And I would search a canvas over that and make it seem as if it was actual shape going over there. The inspiration for his current work came from New Wave magazine. It is a culmination of his experimenting with multi dimensional shapes. Goodmans art also takes on other dimensions. This mess. And these.

I'd like you to start with the structure. OK the egg shape for the head. Next step going with a spine. The larger egg shape for the rib cage and the shape for the pelvic mass. And don't forget the tooth for the arms and the legs. So do it very lightly with. A burnt Sanneh color. Goodman is a lecturer at the University of Iowa art department from which he has graduated. Because of the direction of his own work he firmly believes in teaching the basics. I stressed to the class that you cannot make people believe. Your painting to your drawings. So if you want to make them up if you've never seen them yourself. I don't know if that makes any sense but the point is is that it takes years. And if you stupidly copying nature to really I believe go off. On your own. That's not.

Quite. Quite that big a head not her hair. That's. Because she's got such full hair it's hard to tell. I like this one. The colors really courteous. Kind of looks like pesto. Pizza. All these planes are kind of zooming around twist that joint and people are kind of being blown back and they've got these Leisel toothy grins on it. They like it. That's when I first watched the show. I thought the whole show had a lot of excitement for it. Their way of working and my way even though we arrive from different places. Like that it seems to complement each other. These two artists have arrived at a moment where their quests have converged. Their images complement and excite. The work demonstrates personal growth spontaneous expression and a

willingness to change to challenge their media their viewers and themselves. I guess the most important thing that I learned is I can't release stuff. Off work and I've got to continue working. On what I want from the viewer. Is. When they come into the gallery for my work. For all of my work is to first turn off the word machine just come in. And turn off the word machine for a little while. And. Approach the piece. And each piece will tell you what. Space it needs to be viewed if you listen. And. I. Asked them to do is. Get a gut feeling. From the piece. And if they don't get any feeling. Maybe another peaceful get will evoke something. New images in ceramics and painting might lead us into undiscovered areas.

Well the song of a boys choir taps many old recollections. Join us again on our next spectrum away. The. Spectrum was funded in part by grants from the Daveys Charitable Trust

and from the people of Chevron in Hawaii and by the Hawaii State foundation on culture and the arts. The following program is a production of key e in Honolulu Hawaii

Public Television the following program has been funded in part by the Hawaii State foundation on culture and the arts and by grants from the people of Chevron of Hawaii and from the Daveys charitable trust. Today spectrum who would sense a journey with even more. Tender means to them like.

They know. The depth of meaning brought here by settlers. Settlements that bring their culture with them often in their art. With art to remind them of their past embrace to face the streams of beauty that they are now proud to call their own. From water I derive water color. An art form requiring very demanding technique. Talented visitors to Maui are prone to become residents. Is it because they are captivated by one glance at this valley. I love Maui.

Or is it because their direct gaze penetrates the moist clouds of mystery revealing possibilities to the artistic guy. When fluffy clouds of dry smoke good for you I'd always arise in a fire that is not far behind. A cane fire. Land and control much as it was in the older days when the dominant symbol of island industry you spoke of a sugar coat. How do. You know though. Hey bud where plants are squeezed for their juice to be and. Then treated with heat. At the base of the sugar cane plant. Many cultures took root.

One of them believed the Filipino culture has given rise to an artist who brings in his impressions from the field to the studio. Though. This impression of Maui's Hill marks the beginning of Spectrum What is his journey. It is the uplands of Coola which lie along the slopes of Maui's great volcano Ali Arcola. Here allow basket weaver can be Daniels lives and works. When I was that my best fit. In. That particular time. Kenny Daniels came to melt away from the Micronesian islands

there a woman's handmade baskets are a measure of her pristine alone. Has to have so many baskets in order to. Cane refutations in the fields or in the. The family needs to be recognized what type of woman she is. She brought her acquired skills to know where she found abundant materials awaiting her. I use all the materials for example. This is a field day. See if. This is a flower branches this are like some secrets we picked up this morning. Also I use. When I'm really desperate for I use some of the

green leaves. She takes care to allow a contrast between the rusty colors the dark browns and the creamy tone. But. She says. My hands beat up what ever it is. I'm so high and when I do my weaving I don't think it's like maybe dating. When her baskets are to be sold. Customers seem curious about her materials because it's made here in Maui. It's very unique. In fact they ask first are these local materials. And so I feel all day and this is all local materials. I go out and harvest them during the day or maybe. Once a week and then I cure them and then. I use them in. Schools.

When. I. First came to Molloy. How big it was. And how beautiful it. Is. I love it. I love this just to get out and spread my hand out and yell and nobody say oh be quiet. Disturbing the neighbors. That's what I like it here. The open space. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Oh.

Oh. Oh. Oh. Another visiting talent who soon became a resident of Maui. Is Richard Nelson formerly an art teacher at the Punahou School for 22 years. Richard Nelson now devotes his attention exclusively to watercolors. Well almost exclusively in the backyard of his home here in the uplands of Coola Nelson takes in a bit of fresh

air with his favorite hobby. As an example of his attention to detail. Nelson built these train tracks bridge water tower and station by himself. The engine is a British import. Not only does Richard Nelson work with water as his medium. But he is also drawn to it as a subject. Water has been a major theme that I painted by theme. I mean I repeat that. In many different subjects of water may be found in clouds. Water may be found in waterfalls and streams reflective pools. Beginning with a rare French paper that has been thoroughly drenched in his bathtub. Nelson prepares his approach.

The challenge of water of course. Such a large percentage of us is water and this might be getting rather philosophical but I do find that I'm almost doing self-portrait that way. In the water. You have so many different qualities because it's reflective is transparent it's translucent by noticing the jewel qualities of Water's ability to receive and reflect light. Nelson's personal approach is highly dependent on outside light streaming through his many windows. Light is extremely important as well as another kind of light with the particular techniques that I use by getting the yellow underneath and then building on top of that. The light actually comes from within the painting. In other words it's coming through layers of transparent color so that you get a great deal

more than you would where you simply paint it directly from the palette to the paper. There is another factor that sets Richard Nelson apart from many watercolors if color is not important you don't worry about it. The one thing that I have found is that about 80 percent of most watercolors are value painters not colors. In other words they think in terms of light dark when mistakes are made in watercolors they cannot be erased. A blunder will show up through layers of transparent color. Consequently your only protective device would be to go darker. And so as you go darker to cover up or to adjust and darker to adjust eventually color plays a very secondary role in an effort to correct this common problem of water. Richard Nelson stumbled upon an idea.

The problem has been in the past. Even the artist is not using the red at least I wasn't and most of my colleagues that the printer used. So when we refer to read what the printer is really talking about is a Magento. He invented that tri hue color theory based on the three primaries of yellow red and blue. The printer has used and understood this primary colors system in order to reproduce any color illustration and if it isn't used three colors Why can't. By isolating the fewer primaries the painter gains a greater control over his color blends and I think in that sense we have a little better chance of. Developing in watercolor the same richness that we find with oil painting Nelson's dry system will soon be commercially available as a learning tool although useful even

to oil painters. He hopes it will help those who wrestle with the difficult medium of watercolors. But unlike oil where you would use possibly quite to make your lighter areas the water chorussed has to think in reverse. One starts with a white sheet of paper and subtracts his way into the dark. So that anything that's light or anything is white is simply left. Once the colors are down there's no turning back. It requires advents strategy and a good deal of confidence. The technique of painting is very unforgiving as a legacy to his students at Junho Ohio State University and elsewhere. He taught them the value of searching. They know. After a few weeks or even hours with me that when I warn them I don't give answers I give questions.

They can hit on the right answer but only if they know what questions to ask. By asking they discover and then possess. The essential thing is it they discover. It's theirs. That's the essential thing is. Richard Nelson long ago learned what it means to know your materials and what they will do. Freedom I think comes by knowing your options. You're not a prisoner of your ignorance. He. May still be seen on the. Set by man. And some. Control. But.

He. Is. Burn. Removal extraneous material. Clog. The mill. Through. The. Culture. Two. Years ago. Cane was burned at night. I love this historical footage. Acreage were in the vicinity of the any sugar mill reveals scenes long familiar to the old time residents of. The. Milk. Sugar. And the sugar cane. The trains. Follow the labor from the camps to the fields and they all came from the fields to the factory. Roy Savage was a few supervisor for the pool nany sugar mill of the

1930s and 40s fifty years ago there weren't as many automobiles as they are now. Not as many roads and one way to get around was by horseback. You start to work at six and then you'd stop for breakfast at quarter to seven for 15 minutes and then you'd work half an hour lunch and then you'd work till quitting time at the center of the work was cane sugar cane is a grass. It's a very thirsty grass. It takes one ton of water to produce one pound of sugar. Once grown the harvested came from always fertile fields is brought to the largest middle and who would. Put your name. Adam Cuello was formerly the superintendent of the Smith. I went out in 1980 and after for

about two weeks I think they called me back. We have consulted for them. It began early in the sugar business. My dad actually thought in the plantation. And he was a locomotive. Engineer. But sugar was not immediately relevant to him. When I was a boy I had my mind was more in golfing than anything else. Then. Truly however. He found the reason to stay in a business which both of his brothers had a bad. Place very challenging you know because it's not the same thing every day. For a meal is running fine. You want to go this problem that you never run for. A couple years. Never had a. Thought. And after a couple of days you want a different kind. Of flashing light signifies a problem. It means the mill is down

somewhere along the way. When I go back there throughout the law I want to make sure that that man is running. Law solely with that. Powerful jaws of the mill squeezed the stalks really just. Like. The. Right. Place. No. No. No no no. No. No. No. No. No. Keene fiber rest of it is new this is called the goddess. When empty the sweet sap. Is fibers burn this fuel. To make the steam. It runs the mill. Like you and me. We. Believe we are. Flowing like a river. And. Just rushes to its next stage.

I think God help me. I was willing to really. All. The people. Eating cane juice grows sweeter and then through evaporation. Profile I would say a young person to go with. Your heart and soul into that fact stadium. If you want to stay here. Sugar is separated from the molasses severable by a. You. Know i love you. You to. Be no more.

Side of the show as long as you do die. Lol. Lol. Lol. Lol. Lol. Lol. Between the West Maui mountains and Liahona there are cane fields which are often visited by a Filipino artist. His name is Macario Pasqua. I grew up around that area. I'm familiar with the lifestyle. I'm someone who's from the inside. My dad worked for the plantation. I certainly contributed to. My selecting a cane worker

seeing him day in and day out working. Five six days a week at a plantation. Since I was five. His latest series of oil paintings depict Harvester's in the field. So then. The. Job. Is to find someone fun and interesting on the subject. Corio Pasqual enjoys the chance to sketches on location. Before I do a painting I'll do a sketch of that figure over and over. Using pencil and I get to feel maybe the ripples in the clothing. But he also uses photography. The photos give me some ideas and from there I. Think. I can capture someone in action fast motion and point to where a camera was. Sketches a little bit harder.

He's always looking for the suitable composition. He collects impressions with his pencil and blue eyes. It. Has to be. One. Stop me and that. Catches my attention. I think something like that will be worth. Stopping. Some studies of live and. Taking pictures of trying to get in. The studio. And. Study. For other. Studios not far from cane fields. He's free to study his reference material. Choices reference material of all is a live model. His brother Conrad volunteers. Painting people. You can get away with too much the same thing as painting and tree you can leave out a few things here and there

still have a. Sense of the tree whereas when you're dealing with people. You have to be a lot more convincing you have to be a lot more knowledgeable of. The features. It's one thing to gain a likeness but. To. Capture the character of a certain person you're painting. But that takes action. And. A lot of my can work or the images. I rarely show the face. For me the face is in part and I just want to present. The. Feeling of hard work which these people do five days out of the Week. You might. Make. Some. More Fun. There are certain times when I'm painting that it starts to come really easy. And sometimes I wonder why I can paint like this all the time. Most of the time I'm struggling with a canvas.

Something I feel I could detach myself of my body and watch someone else as if someone else is painting it for me. So when I look at look back at a painting. I have to go up closer to painting. It's sometimes hard for me to remember exactly how I did it. There is a calmness that I feel that's similar to when I'm playing sports. For example when I'm playing tennis they're playing really well. That's. Where everything goes and. Can make a mistake. There's a feeling of. Being. One with. Yourself. An. Expert player. What Cariocas squalled is also a part time tennis pro with a Hyatt Regency hoto of Maui. Sometimes I might start having too much fun with Tanah.

I don't paint for a while. And get stuck trying. I. Actually miss painting. So I come back refreshed. I only playing tennis for a long while. The squad finds that the exertions of sport allows him a reprieve from the intense concentration of the studio. It's. A mental process. Painting. The distinguishing ingredient in this mental process is the effort the labor. There are times when I feel like giving up and. Putting another Kamis on a stretcher transferring the one away so it's fatiguing moments can be a critical test. I didn't I didn't give up. When I. Finally got onto something that I thought was just rubbish. I'd get a lot of satisfaction from a canvas that I've had a hard time with no one that I've been struggling with.

A silent contrast occurs in Macario squaws studio a contest between the artist and his canvas. One long look at this mirror he holds up to nature and he asks a very old question. But he gets to a point where. These are people who are these people. This Filipino dance troupe will leave agress performs a hospitality dance that originated in the province of the Philippines. The valley of Mali plays host to several traditions and culture. That. Has welcomed artists and artisans from many levels. Together they bring forth expressions of their art. People live in costume or. Spectrum was funded in part by grants from the Daveys Charitable Trust

and from the people of Chevron in Hawaii and by the Hawaii State foundation on culture and the arts