thumbnail of Spectrum Hawaii; 
     Maui the Demi-God by Steven Goldsberry, Sculpture: Material Transformed,
    and Okinawa: A Courteous Culture 
  ; Koreans in Hawaii and Van Deren Coke on Photography
Transcript
Hide -
If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+
The following program is a production of E.T. 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. To. Do. Today on spectrum. We'll visit with an author who speaks of Mabley as a hero rather than an island. We'll explore three different materials being used for sculpture in Hawaii today. Also we have discovered the gracious manners of a courteous culture
and Okinawan costume. Music. And dance. On the windward side of a wall. Listen off to. Be researching. And writing. Many myths and tales of ancient. History were once told in chance. The chance and doomed to the twentieth century. They have been recorded and transmitted by anthropologists. Their findings haven't formed the imagination of Stephen cove's very well compose a novel about the demi-God Maui. Case. There is a critical moment. When an author realizes. That he has. Found. His story. I've. Never had a choice. Something grabbed me. From the moment I saw. That picture of Mao. From the moment I first began reading the story. I was.
Always going to say that it turned out to be again. I didn't notice anything that wasn't directed at the earth and struggling in between these two. Huge curves. It was a very tiny figure of a man. Lifting. And the title was Maui lifts the sky and that was the first that was the first time I'd ever heard of. A. Mouse. So I began researching. I went to the library. And I worked. I. Read all the stories and I thought this must be. This must be the great. Polynesian tale this must be the great story of the Hawaiian Islands. Maui the demigod. Is a story shared by many of. Our heroes. Was a panther Pan who we find tales of Mallory. For many of the island groups in the south. And when I was working with the book I Want To the most dramatic tale and I wanted to balance that tale with another tale that maybe wasn't
somehow a tale but was like a Maori tale. So I pulled in a couple of tricks stories from Tahiti for example and incorporated them into the text and made them. Maui's stories. And tales became fiercely localized. There are. There were storytellers enchanters to claim that now I lived on Hawaii that live on Maui that he lived on the Big Island that he lived. In New Zealand. And Arthur's first novel usually requires more time to compose. And as expected. I was not even up at the time to think that. This would be easy. I've got the seven great saints of Maui laid out the basic plot outline all I need to do is simply flesh out these tales. And it took me eight years of research and writing to do that. What kept me going I think was. My.
My. Wife. Always. Is. A. Possible one. You never know how long. It's going to take. When it starts out you think that it's going to be. You had everything find out and all the cards you have. Tacked on the wall. And everything is set. And it's even started building the shed he. Said something that. I've quoted. Often. And it was. When you first started building the shed he said that he would only take one good weekend. To finish the shed. A month and a half later. It was still being done. And that's sort of how the book went. Well the book is dedicated to my wife and I thought about her a lot when I wrote it. I wondered what she would like what she would dislike what her reaction would be. I told her the story is as I wrote I read to her. I handed her pages of the manuscript she typed. She was a. Thoroughgoing partner on the project.
And I think the thing I learned most about. About working. With an author on a project. Is that. It's not like an 8 to 5 job or you can. Sit down do the work. You know turn it off and leave the office. It's. Been a lot of time to just sit. And stare. And. It's hard for me to it. It. Was hard for me at the very beginning because I thought. That when you went in and Steven went into the shed it was the writing process started and then it ended at a certain time and then. I could have dinner 5:13 and everything would be regimented and that's just not how it happens. Sometimes you have to take a break and go on sir. Just to collect his thoughts. And it took me a long time to realize that the creative process involved. That sort of recreation. When he heard the eel plunge in. He kicked out the bottom stones and broke the dam the water poured out the current starting to
pull him out with it. But he clung to the stones inside the wall. Held tight. In the black flecks of water. He saw that Eagle's body being pulled. Through the opening. He thrust his dagger into the side of the hill. As it passed and he cut it open from gills to tail and. Delight. First he went strong. After you entertain the reader then you can teach him and I hope that Maui is an example of that rule. His work habits. Flourish best. In. Undisturbed solitude. Goes very constructed this shed such that. I like to go to the shed and close everything down and be alone for a while. It is here that goes. He has allowed moments of peace. A time when he might think deeply of Polynesian myth. He explains the story of Wachira and papa. A Hawaiian myth. That.
Enhances Maui's theme. By offering a sensual answer to a universal mystery. The sky was descending to make love to the earth. He was. Bringing his awesome weight down on to. The body of fire which is the earth. And all of the people who live on the earth were scared when they could see the sky coming down. They realized that pretty soon they would be crushed. Between these two great bodies. And what Maui did was he went and climbed the highest mountain on the island which was in this rendering highway along on Maui. I mean I don't know how he pushed the sky got away from. The Earth. God is. The reason the heavens stay so far away from the earth now is because. Walker thinks that he's been. Forever rejected by. Maui himself however cherished a peculiar ambition. He wanted to reach so much farther. Than anybody else could ever reach.
He wanted. To conquer death. When a writer dares to penetrate into the insoluble questions. He discovers themes of magnitude. The best books. That I have read that have moved me most. When. When I was reading them. That have changed me. As I read them. Are books of madness. And books of death. Because these are. These are. The great questions. This is. The great wonderments that. That. Man entertains. It questions invariably involve feelings. Sculptor's bring their feelings to material. Where they work out the sculpture with their hands. Have you ever noticed how certain types of sculpture seem inevitable. Sometimes there is a rightness about the placement. Elegance skin
divers floating in a blue water sky. And aquatic suggestion from sea life park. Or an owl sitting in judgment in front of the mirrors of illusion at Ad-Rock Thomas towers. Black copper assumes the smooth Hollowell form of a sculptress feelings. Can arsis feelings be portrayed in solid material. Let's pick three materials being sculpted in white today and try to find out. Is a stone. Quarry. Drawn roar from the air. To return to Earth in New ways. Capa also from the. Mine brought from deep beneath. The surface. Then made into a metal. That is welcome in the sculptor's workshop. Finally plastic a synthetic creation of man that
begins as a liquid which may slowly harden into the sculptor's wish. Each of these materials has its own challenge. And demand. Yet none of these materials were the artist's first choice. Michael Tom explained. I tried various metals but I've always found Kako to be the one that really speaks to me and. It has a beautiful color. From Brown to blues. I chose black because that's. I like that the most. But in all its marble it is when you. Know when you hit it. An artist is guided by his feelings. Chuck Watson began in metal but found stone to be more intimate. Is a much more satisfactory feeling to work. In stone than it is to work and in metal it is hard to
explain but there's a warm stall and there's a feeling of closeness to it it's it's. It's a natural substance. We're still a part of fabricated material that all is part of the world part of what we live with them. Part of what we of we are. Soaring flock of birds emerge from a can of epoxy glue. Together with various powders and fiberglass cloth. Experienced in clay sculptor can shut sort of material with clay like consistency but higher strength and lighter weight. The most successful. Material that I came upon was the poxy resin. I can think of another material that this could be built in just this way. Other materials to get strong enough get much too heavy. I've chosen epoxy because it's very very strong for its weight. And I can have the
lever shapes out. During the process of creation. A sculptor often works from a model. But not always. Michael Tom occasionally uses models but not when his approach is intuitive to begin a project. I usually draw it all or as far as the techniques. It's fairly intuitive. Chuck Watson always works from my model. Stone is unforgiving However if a mistake is made. Stone will not bend to accommodate it. Therefore Watson proceeds with a determination to conquer the stone. If his model is an owl then there is an owl inside the stone. I can see the all that I want to come out of that storm. I'm going to make it come out of this. Before. Ken shut composes his epoxy plastic sculpture. He tries
out ideas on various models. It is in the model that changes might be made and alteration might suggest itself an experiment encouraged when the model is complete. This sculptor will then repeat it in large scale. So essentially every step that I go through in the model construction is repeated in full size. Ken Schutz models contain styrofoam which are then covered with any Coxey solution. This is styrofoam with a fiberglass stiffener down center. He determines the positions of his Dolfin sculpture by testing and playing with the model. He also makes many drawings. And enjoys watching the natural movement of marine wildlife. I used to spend a lot of time. Looking through the glass. Windows. And. The. Player.
Of. These animals. The individual shapes are more. Interesting. And they're. Certainly beautiful. But the way they move together and the way they will be moving together with their bodies will be. In a variety of. Interplay. You might say so this is the thing that interested me in developing these sculptures now retired from the presidency of the Hawaiian dredging and construction company. Chuck Watson wasn't always a sculptor. But his interest in art and solid three dimensional objects began early and I was on my own since I was 15 years old. I couldn't. Make it all the way through college the depression and so I started working and. In spare time and I finally wound up working fulltime in construction and had to give up the thing I want to do which was art and architecture mostly architecture.
So I picked what I thought was the closest thing to architecture contract building. It. Finally dawned on me that sculpture was the complete thing you not only design but you constructed so you are the architect and the contract. Although common the more at home with read Swedish planet and bodhicitta Italian marble. Watson also. As. Low. As he did for these craters of the moon. This is a local BUSSAU. It's a local Hawaiian rock as a matter of fact it came from kapok or. Right over here. This is the this is the rock the big cross and make the concrete that makes the buildings why the Colony Hotel had a challenging commission for Lotzen. They wanted the Hawaiian symbol but a very unique one. I spent about four months at the Bishop Museum and looking through.
All the books that I could find on why on and before. I design really came to me that it could be stylize and could be very modern very clean and very beautiful. And still be very Hawaiian. Michael Thom sculpture occasionally appears as if an event just occurred. Almost like creatures waiting patiently. He began as a painter. Then he discovered jewelry jewelry was fascinating. It was a time in America where all the off to God for some. Things you never see a whole. Body ornaments. And that was fascinating. And from there I when. I start working began Tom and Joyce the three dimensional medium of metal sniffing. Larger pieces require more hamma where. There is pleasure in that.
The most physical process of this metalsmiths smithing I think is the reason. That's the only. Part you see the middle really move. And you change the shape of the mouth. Then I'd like. To see that from. The process of a poxy resin sculpture requires hours of drawing can shots large concertina designs are made possible by clamps and pressure applied at critical contact points support rods may be removed after the glue is set. Now I have it. I have a connection. Reinforced with with fiberglass and it's up to full strength. Polyester resin is a popular material for surfboards and boat construction. But it dries too quickly to be worth bioscope unlike the box of resin which can shut you used for this private commission in a Portland Oregon home.
The epoxy resin dries at a very slow rate so there's a stage where it becomes kind of leather hard. Where you can it's not so sticky that you can move it around like ply. And this was the thing that drew me to the epoxy sculpture requires painstaking skills and prodigious patience. But a sculptor uses his solid stereo to express his feelings. It is worth all the time and patience. If the finished piece leaves an impression. My khatam might speak for many sculptors when he says. I think all my work. Deals with ceilings. I mean. No matter if it's a hard edge or a soft edge. It has to have that human feeling and that's why. I like hammering. It. It leaves its mark on metal and sings. A. Person.
Or. Even a manmade Mark is rightly evident in only now in textiles traditional costumes combined with music and dance to reveal the ancient legacy of the now in culture here and Hawaii dance and music instructor funny this year and I'm now an historian. Dr. Sacchi how to join spectum for a look at the customs of Japan something most people Okinawan people are very happy people that they bring out and found their emotions. Very. Graphic. Are. Happy dance and love. I like the American. Woman with a very colorful Coolmore design and color are very different from the Japanese Japanese tend
to use subdued colors now tend to use very bright colors. Is but it is impressed by the South Seas to Malaysia Indonesia. It seems as though Okinawans. Have always been. Lovers of music. Classical. Dancers. Were reserved for men. Women were not allowed. To perform just as in the north the Kabuki. After World War Two. Then it became. More acceptable for me to. Perform. Classical music was more or less created. All in all the 18th century. To feel the need to
entertain the Chinese ambassadors. Classical music before the court was done by the gentry members of gentle in sense it is a little different from Japan where the musicians for whom us dancers looked down upon and they were of course were not much better than the prostitutes during the end up here today all cost that way. But then when it appeared there were no walls. Very much like. All. Untouchables. In Okinawa because I need to and China's ambassadors. They were rigorously trained. They were governmental officials and members of gentry and young people. So they has the class. They were respected on people. All the best representative of the train are happy people.
Now are represented Japan's connection. Japan's link was made easier in that sense. We do have something in common with Hawaii because when people Paulie's those who came and came here mid east southeast Asia. And Japanese people. Were talking was all. This. Was originated in Southeast Asia Melanesia a long time ago. Maybe so a thousand years ago. Some people do say to me that I've been to Java and I listen to their music sounds very much like Okinawan music because Okinawa is marginal to Japan. We are very conscious of our own position in the Japanese culture. Now it is about 7 the size of a whole lot.
Hope you part about 7 times as much as Hawaii Japan. We usually say that it's a homogeneous country. All in all we understand that the US now is an exception. Sometimes in the last panel I found some fact it was not. I will say the art useless whenever there is a strong central government in Japan when there was no central power in Japan so political power just in two days. Then all can or should be independent. Various countries that happened in 1945. When Jeff found also America took over Arkansas right when the Japan became stronger again in 1972. OK I went back to Japan. Nothe process has many people all over again through all the history. Okinawa is economically most backwood Prefecture in Japan and yet
culturally because of its ties with China and other areas outside Japan and Alcantara very rich. If we compare Okinawa to other prefecture of our boss same size we do have many many more books and many people starting now. Karcher has to resign. Any others are one thing that you're not so keen on Karcher is the dominant influence on Chinese culture. Oh no no you have a picture of King of Okinawa dressed in his official costume which is Chinese. He wears the crown. Which was listed on him by the Chinese people for about five centuries. No. Was I to tell you state to China because China could go to China. The King was a center of the universe at the time.
No it was used to be on Japan's route to China in ancient times. Anything you import them to Japan. All came for the west and south west China and the south some old Portuguese as a gateway or Japan towards south west for that reason it is so unique. In the history of Japan. Quite different clauses in the modern days that you can your own days the top on the Bishan or man or any one was two or three government boys become more crucial to the goal for the show you had to pass. It was always the exam was very difficult. So you had to wait 10 years 15 years when you were young. So was his time so study for support to your wife. It was quite popular. For the women. Now.
You are not wealthy or you name. Woman No not if you cannot afford one or two men. Often I came to Hawaii. I also see the women of LA organo women in the community to here also the women. They work very you. We cannot make all of those are women. We're like tigers. In.
The preceding program has been made possible by grants from Chevron USA in Hawaii and the state foundation on culture and the arts.
The following program is a production of 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 a noted curator guides through. The evolution of photography as an art medium. Now we venture into a culture that has given beautiful architecture music and that.
This morning Tom. Chorea. Filled book. Ron Paul is a gem of a country inhabited by noble people. Searching for this gem. In. Rugged mountains surrounded by China Russia and Japan. A century. Korea has been considered a conduit of religious thought cultural development and even invading army. Koreans. Of course during the course of history has received a great deal of influence from China. Many said. And of course Korea was willing to accept when they suited to the Korean traditions and their native culture. And rejected doors that they are not suited to them. And also another very important award that you had played historically was to transmit the highest civilization that had existed in China to
Japan. Hold over a breach in the rather transmission's Cartier had chosen well from the cultural transmission. And you'd think that language and food are remarkably unique. As with other ethnic groups. The Koreans first contact with Hawaii within the fields of the sugar plantations. The sugar plantation Association here in Hawaii has been troubled by the labor force be applause by the Japanese. The Chinese have been prohibited from coming to Hawaii into the United States because of the Chinese Exclusion Act. So the case puti was looking for alternative label sources and they found the Korea as a convenient
supplier of the labor force to Hawaii. And they're starting from 19 or three after the first group of Korean labor of one hundred or three men and women arrived all over the harbor on January 13 19 or three. And the head of the labor laborers continued to come. Why didn't neither part of the 19 or five. Run Korean government was forced to accumulate integration of enabled us to Hawaii largely because of the pressure exerted by the Japanese government when emigration from Korea ended in 19:5 eight thousand Koreans made how you home soon if the Koreans found the opportunity they left the field for the cities and small businesses. I remember one lady who told me that after they opened the shop one thing they did
was pretty Monday morning. Rather they had that business went out forcing the heat. She did. Then he opened she opened that Islander's shop. She struck down the cash register and picked up $1 dollar and went to a bank and deposited it every week. Rather she made money on. This. The money committee is heading this way. They used to buy apartment house to run. The boarding house although the Korean community is not inside and. Iraq not beautiful for its cultural contribution. On the east west campus or valley. Center for Korean Studies of. The building itself demonstrates the Korean for culture by using the royal tones of the dynasty. The structure is proper after a 14th century palace and so.
In. 1974 Korean craftsmen came to Hawaii to build the building which is marked by latticework a deep green blaze tile roof and beautifully painted ornamentation. Expressions that the culture may not be visible. But when discovered they are found to be like no other. You think for instance. In Korea. This is come your song was named a national treasure. Her contribution so play and composer for the chi of them. In 1974 she moved to Hawaii with her daughter and now lives in
Honolulu. It is. Usually before her generation. They just follow a step. They didn't think to compose anything else just carry water with Titor teach them and they play all their life. For her and she had a talent that could cause her to. Be trained early beginning at the age of seven. Somebody lived next to her. She asked her father. If she could help. Us like our father. To. Love. Music. She had a song. From the time. She.
Played. Music is based on the trip from you to the rhythm of three the temple rhythm. Where it was the Japanese or Chinese music so based on quadruplet rhythm. Read them all for. The root of that difference. Were more subtle than the sound quality. Of Korean music. Emphasize on the part of the natural sound of the instrument and the voice. Your. Record for suffering that is your current instrument. You don't have to. Spend energy to partition the instrument. To produce the. Sound is really. A quality of your music.
It has been said that dance actually originated in Fauria and then migrated to China and Japan. Whether or not the folk dances did begin with the shamanist religious ceremonies. Over 3000 years ago. The Shaiman of Greece area before the introduction of Buddhism and Confucianism and still can be found in rural villages. Better. Than. Music. Especially in instrumental music because it's the Korean tradition that is really reflect the past to your religious background and. Ethics. Of career. That expression is not to to the. Always it was trying. So. That
patients were streams of expression just perverted the word for expressing the. Dance. Here in Honolulu. And Dan can be found at ha ha ha ha. Presently in Korea. Mr. Tom is helping students connect with them. Been living in American society. It's easy for one to forget your background the history of your ancestors. In my case just coming off I've been living here for 12 years. It's one I've kept in touch. I'm. Learning. The. Society the culture and the discipline of Korean culture. My mother Korean and she grew up in a country where I haven't. Learned to grow up in and I I must miss something that she'll grow up in because she taught me high school and the strict
discipline in society. And in America you can't really learn by just going to school. So you know I take Korean dance to give me an understanding of what my mother has gone through when she was young. And. Just. Came. In. 1949. And she often in the studio I should say. Dance is. Music. Has. Come alive. For time. It's all many and very difficult. Situation but still she also has to deal. I really give the credit Chordia first thing day. We practice. Every day. The rest. Is just the opposite to me. So maybe we have some to hide behind day every
day but still most times it's. Just. Once a week. That's what is good. We perform a lot especially for tourists. They perform for tourists that are from me from Europe. I heard a lot of bomb comments saying was the first time they have ever seen that and how much they enjoyed it. It gives me satisfaction. I'm sure others is but I'm sharing with them Korean culture. Something that they have never experienced before. Satisfaction. Sharing one's culture with others gives the artist enjoyment as well as pleasure to the audience. Sharing one vision can give a different perspective to an everyday occurrence. The photographer shares his world of images through his camera Fondren Koch the director of photography at the San Francisco Museum of Modern Art
takes us through the evolution of photographic images in an exhibition at the Academy of Art. Photography can be as commonplace as snapshots of a Fourth of July. Or a study treatment of a moon rise over New Mexico. Once a plaything of the wealthy hobbyist. Photography is now instant and accessible to many and yet. During its maturation. Photography has assumed styles created by history. Tactical developments and an ongoing relationship with the other. From the beginning a lot of painters. Moved into photography. Photography totally destroyed the handmade miniature painting people went for the photograph instead of they and created like this. And so you had the increment of
artistic. Skill introduced to photography and it still stuck with it a long term. But it was always sort of a handmade of the other arts. The highest praise for photographs at that time was I didn't even know it was a photograph that looks like a drawing or. Photographers drew on the work of the artist and their style. Their greatest. Influence was Whistler. Whistler's model in turn with the Japanese prints in many cases. So the photographers would often go to that original source tickly the 19th century UKIO a. And we see that quite clearly in this famous picture by Alfred Stieglitz of the flat iron building in New York City which has both in its overall shape and the way the tree interacts with the.
Building. Recollections of Japanese printmaking techniques Stieglitz operate in New York City the most avant garde. Art Gallery in America. It was at this gallery in 1915 that photographer Paul stran met formless artist Marcel Duchamp and Francis cobia. This meeting affected the development of photography and the subsequent work of Strand he began in 19. 16 to make pictures. Of elements that were geometric in nature without reference to what they actually represented like the bowls there and the pair have to do with. With geometric forms not with tires and bowls. And the relationship between these elements or seen as elements rather than representing in a documentary sense what was in front of the camera. That was a very great step toward abstraction and toward the utilization of a whole new kind of.
Of subject matter for photography. Technological advances now have made for a smaller camera. Why not get the handheld. Now the photographer is less intrusive and more spontaneous. The snapshot is created. His work is fairly consistent in the way he gets. To the. Human element without sentimentality. Mawkishness. Are the other things that dream pictures of their lasting power. It is a great contribution. Think of pictures of people. In various states saltation or. Whatever the notion might be that is beyond the common plays. Cartier-Bresson probably early realize that the portability of this camera and the fact
that it had 35 exposures he could expand without reloading gave him a great flexibility of viewpoint and he would use this cheap film that he could run through his camera to. India to get up to a point that what he called the decisive moment when everything came together the idea in the form. And it's this marvelous example of. A person suspended in the photograph. That we all empathize with almost no bodily sense because he has not come in down to the splash and we know he's going to never play. And then in the background the marvelous example way over in the background of a big poster that exemplified the skilled dancer also making a jump. Out of a repetition like that like an echo. And that was a great breakthrough as far as attitude toward photography. Wasn't candid photography in the sense of catching something that was unsavory it was just extending human vision
because the human eye can see all this the same time. And the camera can arrest it so we can see it later. These kind of instantaneous recordings were snapshots. Memento is this man Lartigue being very well-to-do family who was crazy about speed in air and various devices that were quite modern at the time and as a consequence he was more interested in catching these moments. Than in making any art photographers from the beginning have manipulated the images changing them to capture a mood expressive feeling combining them all to better capture the image of that created by. The turn of the century. Photographers were using many manipulated processes. Earlier they were done. To. Actually impress people with their knowledge of the things you could do with. The brains. Kinds
of. Monkeying with the prednisone today it comes out of a different motivation that comes out of trying to break out of the straight jacket of the pure foot photograph. If you make a mark on a photograph even a modest marketing photograph you do have this extraordinary. Change. In. The way space is understood. And since they are the artists photographers became very sophisticated and began to use the language of the painter space they began to use this. Then there was this tremendous. Concern for. Other other textures actual physical things on top of the print. This. Picture by Bill Larson incorporates many of the. Things that photographers are interested in. They're interested in color. In this
case he's gotten part of his color by using the old blueprint process. The image is a snapshot. He's holding onto the idea of photography in relationship to the snapshot that's been sewn to another piece of just sheer textured material that has a zipper in its zipper being one kind of texture of the Porth another tearing down another part of the edge of it. Then underneath is what looks to be like a Polaroid picture. This great instant color process we have available to us today. And then laking that is so the. Passages of the whole rainbow car. Which gives you both texture and the car. And so he's got the whole. Need of photographers for that for that texture and color all in one ball of wax. Color is the darling of all photographers today because it's new.
There is a lot of. Experimentation. Because it is new. And there's. A new dimension that has been added by just sheer color. Of many many new problems. One of the problems is the philosophic what are we trying to emulate nature trying to mirror our nature are we trying to use color for its own emotional quality. I think that the person to bridge this gap as well as anybody is drawn Marwitz he's a real pro works on assignment in many cases but he ends up with very interesting pictures. And he has an eye for things that are dramatic out of things that are rather commonplace. And he's a good example of how he. Works with process called color that is processed in the lab and printed in the labs. But there's been a great need in the part of a lot of photographers to get some kind of car
other than process color because the same problem that uninterrupted surface the smoothness of the image that everything is done with the eye in the way. And hand-in-hand with the development of photography but the appearance of the pictorial magazine a marketplace for energy is was a tremendous increase first in Germany in France and in the 30s in the United States in picture magazines. They were generally weekly. They consumed an awful lot of photographs. They wanted something that was fresh sometimes informative sometimes spot news sometimes something that was rather exotic. They said these magazines are agencies that work for these magazines when all the world. To do what they call photo journalism in other words thought pieces. Where in this case this is w Jane Smith the great American photographer who was linked with life magazine most of his life. He's gone to
Spain and gotten well acquainted with the people in the. In the little Spanish village that he was. Profiling I guess you'd call it. And he stayed around and he took pictures of all the people in this case. Werman. Spinning thread as it has been spun for a thousand years to show how these people lived in the 1950s. It was a sort of foray into. Bromidic and. Strange fascination with what was not happening in your own back yard. And these all were together with. Text. And literally pictures stories a 10 15 pictures would constitute a picture story. But this is a kind of documentary photography. But they truly aren't really documents because there's a great deal of coaching. And directing going on when these pictures are made but they are meant to seem to be caught.
Off. Hand. It has a tremendous. Pull because it's. Immediate identification of things that in turn evoke other things. Because we really believe it. We still really believe the photograph with all the manipulation that takes place we really believe what we see in there did exist in front of that camera and then we can use that as a springboard for our own imagination. I think that's the appeal. And what has happened to the people to. Find out why all this has been going on. Let's create. An audience a very sophisticated audience. We have now. Thousands of students who are taking one two three four. Courses in photography by people who understand what I've been saying about metaphor and. Understand the history of photography understand the aspirations of photographers.
And as a consequence they go out and they become accountants and they become doctors or lawyers or whatever they might do professionally that sticks with them. There's no fear on their part to go into a photographic exhibition and exercising their judgment and saying I like this why I like it. I don't like that. I think this has been a high ethical thing for fuel this photographic run of songs if you want call it that. And certainly this great surge of interest in photography as an art form. Just turned out much more sophisticated image makers using the camera. Because they've had taken art history and they've taken photo history and they might have had some anthropology and they might have had some of these other things. That give them a corpus of which they can dip. For ideas. And then expect other people to have this kind of background when they make their picture. It's very difficult to make a camera do something. That the human eye does very readily. The human brain combined of the human eye
does without even any. Paul's camera because it's meant to do one simple mechanical playing. We sort of think it works like a human kid. You can make it you can make it. Mind your mind. Because it's a very simple instrument however complicated it might seem to be. That of course is the challenge. It's very difficult to make art with a camera. That's the that's the crux of the matter. Very difficult indeed to really make art with a camera. The decisive moment can be a split second reaction are the result of many years of preparation and training. The artist uses his tools. He had his camera on hand. To offer us another perspective to the world which we did. And to the individual in the show. Join us again next spectum.
Aye. Aye. Aye. Spectrum was funded in part by a grant from the people of Chevron in Hawaii
Series
Spectrum Hawaii
Episode Number
044
Episode Number
045
Episode
Maui the Demi-God by Steven Goldsberry, Sculpture: Material Transformed, and Okinawa: A Courteous Culture
Episode
Koreans in Hawaii and Van Deren Coke on Photography
Producing Organization
KHET
PBS Hawaii
Contributing Organization
PBS Hawaii (Honolulu, Hawaii)
AAPB ID
cpb-aacip/225-171vhkj3
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/225-171vhkj3).
Description
Episode Description
Episode 044 The first segment shows author, Steven Goldsberry talk about his book Maui the Demi-God, his writing process, and his inspiration. The second segment shows interviews three sculptors (Michael Tom, Chuck Watson, and Ken Shutt) about the material they work with and their process. In the third segment, Dr. Mitsusu Sakihara, Grace Sukeran, and Bonnie Miyashiro explain the history, clothing style, and how the music and dance represent the culture of Okinawa.
Episode Description
This item is part of the Pacific Islanders section of the AAPI special collection.
Episode Description
This item is part of the Korean Americans section of the AAPI special collection.
Description
045 In the first segment, Dr. Yong-Ho Choe of the University of Hawaii explains how Koreans came to Hawaii. Korean musicians and dancers explain how their craft connects them to their culture. The second segment features Director of Photography of the San Francisco Museum of Modern Art, Van Deren Coke. He explains the history and evolution of photography through an exhibition at the Honolulu Academy of Arts.
Created Date
1984-09-05
Created Date
1984-09-22
Asset type
Episode
Genres
Documentary
Topics
Music
Performing Arts
Literature
Local Communities
Fine Arts
Race and Ethnicity
Dance
Rights
A Production of Hawaii Public Television, Copyright, 1984, All rights reserved
Media type
Moving Image
Duration
01:00:34
Embed Code
Copy and paste this HTML to include AAPB content on your blog or webpage.
Credits
Associate Producer: Richards, Holly
Associate Producer: Tamura, Ruth
Associate Producer: Barnes, William
Editor: Wilson, Philip
Executive Producer: Martin, Nino J.
Interviewee: Goldsberry, Steven
Interviewee: Tom, Michael
Interviewee: Watson, Chuck
Interviewee: Shutt, Ken
Interviewee: Zukeran, Grace
Interviewee: Sakihara, Mitsusu
Interviewee: Miyashiro, Bonnie
Interviewee: Choe, Yong-Ho
Interviewee: Sung, Kum-Yung
Interviewee: Hyland, Valorie
Interviewee: Joo, Yeon Hi
Interviewee: Coke, Van Deren, 1921-2004
Interviewee: Au, Myung Ji
Narrator: Wilder, Kinau
Producer: Wilson, Philip A.
Producing Organization: KHET
Producing Organization: PBS Hawaii
Wardrobe: Lee, Byong Won
AAPB Contributor Holdings
PBS Hawaii (KHET)
Identifier: 1503.0 (KHET)
Format: Betacam SX
Generation: Dub
Duration: 01:00:00?
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Spectrum Hawaii; Maui the Demi-God by Steven Goldsberry, Sculpture: Material Transformed, and Okinawa: A Courteous Culture ; Koreans in Hawaii and Van Deren Coke on Photography,” 1984-09-05, PBS Hawaii, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 28, 2022, http://americanarchive.org/catalog/cpb-aacip-225-171vhkj3.
MLA: “Spectrum Hawaii; Maui the Demi-God by Steven Goldsberry, Sculpture: Material Transformed, and Okinawa: A Courteous Culture ; Koreans in Hawaii and Van Deren Coke on Photography.” 1984-09-05. PBS Hawaii, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 28, 2022. <http://americanarchive.org/catalog/cpb-aacip-225-171vhkj3>.
APA: Spectrum Hawaii; Maui the Demi-God by Steven Goldsberry, Sculpture: Material Transformed, and Okinawa: A Courteous Culture ; Koreans in Hawaii and Van Deren Coke on Photography. Boston, MA: PBS Hawaii, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-225-171vhkj3