Spectrum Hawaii; Waipahu Garden Park, Do-woppin in Paradise, Poetry and Pasta making language sing ; Lava Sculpture Magma Magic, Way Jacintho Kauai Woodscraftsman, Dancing with Simeon and Marie

The following program is a production of E.T. in Honolulu Hawaii Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture in the arts and the people who Chevron in Hawaii Waipahu is home to a cultural garden that speaks of a sugar culture. Not so long ago the love notes bring the do up sounds. New York City to Honolulu and spectrum away. But first a glimpse of three poets who proclaim their vision of poetry amid Italian pasta and the Greek amphitheater.

Do you think. Yeah yeah. No no I'm not going green.

That's too long. Yeah I'm short of problems and it's just a select audience. Yeah yeah. It's pretty good it looks very very comfortable. There you go inside. OK OK. OK. Now the they do they come to arrest me. Yeah it really is the most basic of all the literary forms. This is something that's difficult to put across particularly if you're talking to young people today because they feel that well the newspaper or just talking is the most basic thing. But of course in all the world's cultures writing poetry poetry dance the performance of words a magical quality of words is really the basic and primary way in which people used words that were meant to be important. Right. At its earliest it was synonymous with music. Most of the world

languages have a word for poet of a poem and song which is the same thing with its canto an Italian song even in Hawaii Millais means poem or song I'd like to start with about jazz. I'm very interested in jazz and I've written on jazz for various publications and this is a poem that appeared in a magazine entitled bebop and beyond. And the poem is titled say jazz to the Jazz documentary film maker who announces he no longer uses the word jazz. Go ahead use the word jazz. It's OK. The word jazz Afro American music might

mean jazz docu it might mean movie. Use the word jazz if you want to use the word you want. The jazz men the music makers who say don't say jazz don't own the word jazz they don't own the word jazz. Use the word jazz if you want to. Don't lose your words. Don't shuffle your words away. Use the words you want say jazz if you want to say jazz if you want to say jazz say I think I've watched the initiative of course in my own day go from the from run very much to America. Now I think a lot of people feel that the matter of the action with the exception of song lyrics belongs in the United

States. Tony Fridson Joseph Stanton and Toni Quijano are poets in Honolulu who also teach write textbooks give poetry readings and think about their art. The Americans have only 200 years of pass to lean on and the result is there's much less there's much less accidental leaning than there is with the Englishman whose phrases keep coming up. And even the rhythms and the rhetoric is that way. Tony Fridson upon visiting the exclusive Los Angeles suburb of bel air it was quite sensitive to the many intimidating notices posted on Garden State fences warning every passer by to keep his distance. I say something about ecological and social pollution. California Florida ballot. Why not pick the flowers in Bel-Air to carry on no kind of

pollination. Sadly the space streets will harm the handsome star bound force. One must not smell the flowers in black. Electronically surveyed do well-kept beds push the pampered petals instant response and left the sprouting smog free bags. All I ask is a little note on bad language after all is the carrier of our culture and is an enormous burden on line in many ways. Language can be considered coincident with culture. Joseph Stenton after watching a Japanese no theater performance began thinking about ghosts and the feeling I'm going after here is something having to do with the ghostly state somewhere after death. But before we might imagine there is a feeling of rest.

The strange feeling that you so often gets in no dramas. This is called Matsu Kozue and it is one of the ghost woman who is speaking. The Autumn Wind is full of the sea. We hang our sleeves over our shoulders dripping with salt. How beautiful this evening at Summa the moon walk suffin bridge of dreams the voices of fishermen are distant tinkling on the breeze. A heron chuckles and the tall reeds we sisters are ghosts of our long lost loving and must wait always. Always in this strange singing sleep. So cold so clear. This long night. How shall we pass through it. The ancient Greeks esteemed their poets highly and believed them to be the true

teachers of mankind. What does today's poet enjoy about teaching literature. Well I like to leave people of course with that with a face for that awkward situation where they find suddenly that they love something good that they thought they hated. You go to New York because she's doing so well. You get some opportunities in Europe and the problems get worse and worse. Body is starting to get poisoned as she gets further and further. So now of course she's off to herself. Is it the city is it wasn't the smile. What can't it fast or is it just simply that the stage the theatre is poisonous she finally decided to poison if she wants to come back to her work. But now she's doing so well. That's right. Very good old tone Why

puff has a turn of the century flavor to it that can help but take you back to a time when sugar will keep you pointed out the sun wasn't up and they came home the sun was brought down we got back home because the workers in the 30s were already earning a dollar a day or ten cents an hour. The promise of these high wages brought waves of Chinese Japanese Filipino Portuguese and Koreans to Hawaii's shores. Many stayed on adding yet another layer to the hallways diverse cultural makeup and here nestled within the shadow of the O'ahu sugar company Mille Waipahu cultural Garden Park seeks to preserve and pay tribute to these immigrants. It was an idea back in early 70s idea that was to preserve the plantation way of life for the present generation to enjoy and for

future generations. And the idea being that we needed to know or that people needed to know where they came from no way they were going. And that's the essence of the whole idea of the white ball park around 10000 school kids come to the park they come here and we try to tell them what the life of a sugar plantation worker was. Some of these kids that come here you give me you showed them my sugar cane. That's the first time they ever saw sugar cane. And then we tell them the reason why they came here was because of the sugar cane within the museum walls are storage for many artifacts and room for multiple displays on a variety of subjects. This is a rotated three to four times a year. But it's the steady support of volunteers. That's the real treat here. I tell the kids what it is to go to the bathroom. We stick through things. I suppose a night you took your

lunch because you have to see where they were going. You took a box of matches and took up a newspaper. I said most people. So you know when you went out to the outside thought back from you you did you get the newspaper you write it on the seat otherwise Sunapee or the scorpions or spiders would come in there and bite my specialty is turn to my garden and herbs and Hawaiian plants. These look like wild violence but they call Bahi color. Many people came and they said it's you can chop it up and make a salad mead and it will improve your brains more talent. So the students have the biggest kick about this. They all want to chew on this also. These plants were planted by my husband and I because we used

them before we were brought up with small plates. This is the guava shoe. It's a fast runner from I big guava tree and during the olden days when people didn't have money to go to the doctors when they had diarrhea they would come and take five or they should wash it and chew on it and that would do the job. I'm connected with the association that's first met. The house was built in 1948 and it's being restored by one of our members here. So he has to take out all the termite boards and he has to go way down to low to get the same age lumber. My house is was built in 1936 after the big flood they had here and we were staying there till about

two or three years ago and now it's just a house. We just got in for the trailers and things like that. Some of the homes had bats but the mentality of the camps was a community bath where the women went early part of the day and then went off to work use the same bathroom. Same you know so we call them we call fool as a youngster to go up to the where the stable was. And I said what's the blacksmith he used to sound all the different views on the horses and I saw what he used to do. So when I relate to the blacksmith shop there I can tell you this is how it was done as the winds of change blow through out the Hawaiian Islands. The Waipahu cultural garden park helps to keep us attuned to our islands roots. We're very excited about the future. Going to build about 10 to 12 buildings a replica of the old days of the old buildings the old robotic community

Backhouse the outside toilets the outside of wash rooms and hopefully we have a a shrine that we were brought into the area. We hope to bring that down as part of these structures to be established here by what we hope to do is build a building in which the single man used to live in the bungalows that we hope to have homes that are different ethnic groups used to live although they live in different camps in the old days. We hope to establish one building as a camp and that that be the Japanese camp and and have either the Japanese society or the clubs to come and decorate interior have the Portuguese the same the Filipinos the Puerto Ricans and the Koreans and Okinawans. And we hope to have them get involved with this park. It's all part of the legacy of their heritage and that's what we try to do. We try to

establish a park here that's going to be one of its kind in the state of Hawaii where we can have a collective idea of all the different nationalities that worked in the plantation times up to 75 percent of these diseases by the hard labor and harsh. You chose to eat to the needy. But in spite of that all many cities they somehow managed to struggle and hardship to create a better life for themselves and for you to do many contributions to the social cultural and economic history of these islands in which the experience which you here comes Dr. doowop and his staff of

six vocal specialists thing are rare housecall and doing what they do best in their lives. Not. I think so. So you know. So together these seven guys are known as the Love those in their specialties do. Who better to explain. And Dr. do help themselves to. Music is basically street corner acappella in the late 1950s guys were gathered together on the corners and try to simulate the sound of music with their voices and what the guys in the background were saying was Doo-Wop Dumas which was sort of

simulating the piano and guitar parts in the harmony. So there's seven part harmonies there under the direction of felly. It's really a group effort. You know you know you basically with Doo-Wop singing you have the moving bass part and the bottom the the false tenor which is the highest part in doo on top also moving. Then the second tenor baritone and first tenor doing Dubois's all shooby to do with things like that sounds like that imitating instruments that kind of maintained a chord of the saw of the of the music. And in in most Harmy here today in the top 40 music you don't you don't have that basic moving. You don't have that false tenor moving

on top anymore. That's what makes us unique. We will make the memorable moment on the bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb bomb. It constantly moves just like the top end of the song with the middle of the of the group just blowing straight oohs and aahs and between that distinction those voices are making up the music taking the place of all the musical instruments being the bass singer. I'm playing the bass guitar but only with my vocals. The guys in the middle will make up the piano and the guitars and all of that. Oh oh oh oh oh oh oh oh oh on the steep climb out. Since I was 14 when I was growing up

there were different groups maybe every 10 12 15 blocks there'd be three guys and then 15 blocks Slate It might be four or five guys and there was a couple of girl groups. And what we do is we travel from neighborhood and you know you would have your own little neighborhood you know Italian Irish Jewish and we'd go from section to section and I'd go with three or four guys and we'd like a little competitive type of thing they'd do a song we do a song and you try to get the people that were hanging out on their corner at the time till you know you'd have a cheerleading section. And the greatest thrill was that if a lot of people came over to your side you say hey John Valentine is one of two locals in the love notes. His contribution goes beyond choreography. Doo wop is unique in the sense that they used to pitch a deep deep bass voice against us a soaring falsetto and you had a crystal tenor lead in the

middle. So we decided well we have all the elements we have a moving set or we have Jonathan Freed from New York who's one of the best falsetto singers of the of that type of music. And we felt like if we had two local guys with the Soprano type of voices on top of the moving Doo-Wop part will have something really unique something that would be not only commercial here in the islands but would have a real shot of international success in a way trying to put across the people who were trying to sell so to speak. His memories Doo-Wop the music of the middle 50s to middle late 60s are memories. It's one of the few types of music around now where people know exactly where they were or what they were doing who they were with when

certain songs came out. The Harmony hits and it rings. There's no great feeling. It's like your whole body is vibrating and you're a part of something that requires nothing. I mean no musical instruments just a bunch of guys and you hit those notes and they ring like bells you know. It's just the feeling of elation do something sounds on the radio on TV just like the way we do a doo doo doo doo doo doo. I don't know why.

Do you know why. Don't let me I love me. I do. Doo doo doo doo doo I do I do to it. I

don't know the sound of a monotone sound behind me. And to borrow a lot to get me wrong. So I know I ought to do. I know what a

you guys at 6:00 the matter is that your life is for you. Wow wow wow. They have Jahannam from the man that is down there some guy kneeling on the corner sing in harmony. Now they learn that from the way they have been monitoring on him and he led them to let them play and then I'm in harmony singing songs that how going to be good. So so rather let me may as well be the name of the Lord and then down the money that I'm gonna live another lights and sing it again tonight and sing and

dance with them down those we let on that I'm there and then I make them good harmony the spectrum was funded in part by grants from the people of Chevron in Hawaii and the Hawaii State foundation on culture and the arts. The following program is a production of key h e t in Honolulu Hawaii

Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture in the arts and the people of Chevron in Hawaii. They. Are on spectrum way. So me and then and Marie talkies always share with us their world of dance. Also a visit with Master furniture maker Wayne just seemed to on the gardener with first ventured to the rug at the slope of Manolo's Poulan district on the big island to explore with artist Raymond built and the man lying in it. I'll be curious. The recently untapped world of fluid lovely sculpture. Brewski pursued and in a highly

experimental occlusal development the use of hot molten lava as a medium for creating art currently attracts a rare breed of artist an adventurer. This is an extremely harsh environment. And. You started getting out into it because of maybe a tremendous curiosity and a tremendous desire to do something that unusual but it grows on you and you find yourself becoming passionate about the situation the environment the materials race both very highly. One time on touch me it because I recognized it so completely about coming out and doing absolutely anything with them moving lava picking it up changing it and setting it down. Looking at it. And he thought like it was really you know it's it's a time to really feel that you've had an interaction with the earth. It's an interaction with the earth and you can become as passionate about that as somebody doing vines or somebody doing on painting or or any other form of art.

This seems to me to be even more engaging it's not a passive relationship which you have got. It's got to be very active. And. The passions are always you just get more and more caught up in. Every time we go out to the lava it's always there's always the unexpected trees falling or a slow heading at you real fast and having to dodge out of the way with the equipment. But it's our interaction with this that makes it sort of more than just the fire. It's sort of a dance you know it's odd motion. Every time we go. Slow cooling of the lava is the most important thing. If it does it's very slow it's like glass. It just fractures usually has fracture lines all through it. And it's useless. So as you can see all around and a lot of the feel the it's all cracked because of the fast cooling. You have. To lose it and you take 24 or you have a better chance of having a beat this

material in here is perlite it's expanded lava. Even though it's white. It's very light and it acts the insulation and a cushion. For these pieces. Well they're calling. The wooden boxes literally. I know of it. Because the hole inside is lined with refractory material. There are a lot of this is such a learning process. We just have to learn from our mistakes as we go. And. Set. It Up. Maybe one out of three pieces survives. We're trying to learn from our losses since the beginning it was just an interaction with the flow and responding to what I saw as an artist deciding what I could do what I wanted to do. So I sort of made a pact with Paisley in an agreement that I would try to respect and proceed in her interest. And so I I made Paley related images faces the first faces and good did with Paisley as a

woman. Madame Haley the second day of age out of the concrete mould is hey they have the idol mouse and. I used to steal a mole the first time in November. At that time I had about 40 hours in to hand carving a negative mold directly. And since then every time that I go out I see its shortcomings and I grind. I've been out maybe a dozen times with it and I have about 200 hours in that negative winding down. And now we develop the hair. And all sorts of little patches they just add to it. And now it's starting to get to the point where I feel it's a mature face. And the other more is a very painful process of learning how to mold the materials that can handle 3000 degrees shot. And this is Refractories from that youth in boiler's and turn and it holds up against that shock and doesn't break the first time you use it. So developing the technology Knology

for a sound piece of LA image is one of my goals and then achieving that power in the image is. Part of the ball came out in this white line that. Is really boring. We adopted the Hawai'ian tradition in the vulcanic got us to just were attempting a new sculpture which we both love and. Assistance of friends. Abi directs the transferring of material into his her mood. For the external layers. Then take some. More. As the hot lava. 1.

1 4. 1 0 1. 1. 1. 1 1. 1. Here. We. Go. Again.

Oh. OK that's good. So that it's OK to come. Down. To take it down. God knows I have to break it up.

Ya. Gotta. Get. This in the forehead or something. That. We're losing. Some day. And. Here is the good Lionhead. Bringing the connection back here to the Hawaiians.

And. We have to be well taught at home and refined. But the basic is there. A To Mr. Pelton. Over here Steve Lang who were the first people actually I'm sure that the line people were doing it. Nothing is new under the sun. The people. Who turn me into a cell phone. Over here is going to be on their hands all the way here. It's going to be probably chip doffing down in. Red hot inside. And. Technically this piece of sound because you know I was tweeting that. This week which adds carbon into the lava and I ran inside the lab by turning into steel. This is a very simple process of turning I into love a

bad thing to still bad in carbon. OK. That's. I think. I know that really together. So then developing the images in and building up every trip is just one little tiny stuff in there. And we learn from it we go backwards all we can do to prepare for maybe a few hours out here again so here is a fraction of the actual time we spend in preparing for each trip. Wayne Jacinto loves the smell the touch and the sound of his work. I was always out in the mountains. It's the trees. You know as kids we used to make. Bows and arrows and slingshots and. All kinds of things. It tells of the first time he made a table. After a long absence from woodworking I started to work the wood. First of all was the texture and then second of all I think most important. Was the

smell. When I first started to cut that wood on the machine. I just. Fell on. My. Head. And I thought. I used to like. About. The same time you read a book by James Queneau. A cabinet maker of the old tradition. He later studied with the Master. It was to influence his life and work. I. Read his books. And got tremendously excited. And. Decided that that was the course for me which was. Going to the machines. And getting the heavy work and the drudgery out of the way with the machines and then coming back to my work bench and using tools such as hand planes little knives chisels and putting the final. Finishing touches on the piece. In a very personal sort of way.

When the word comes out of the planer. The painter has a rotary machine. And. As a result are little scallops. In the surface of the wood. And then you start to plan. And when you playing. You hear. The. Iron on the plane the cutter. Skipped over the high spots just like troughs of waves. First you take off the very tip of the wave

and then you take off the next and the next and finally you reach the last little trough and then it's gone. And after that you start having a very smooth very slick surface. This. And you feel you don't so much see. That's part of it. Listen most. Jacinto crafts boxes and cabinets and the carefully selected woods which you harvest from the forests of Kauai is native island. I have control of them. I. Can dry it carefully for a long time. Of my woods dry for at least three years before I even touch them. I can choose from

one part of it along with what might be darker. Or from another part with a lighter. That's all part of composing the piece. You use. Light and dark to use sharp and soft thick and thin. You try to balance all the components in any given piece. You reach a harmonious whole when just Jacinto found the wood for this box. He knew he had something special. The boxes made of the. Indigenous Hawaiian wood. It's extraordinarily rare. The tree that I found was dead. I cut it down. The wood was solid. I polished the end grain. And using the jurors loop. I counted the rings from the center to the outside six inches of wood. I counted

240 rings. When I work with that wood to make a fine object. It helps me no way to realize that when Captain Cook. Reached Waimea Bay the tree was already at least 60 years old. There's a tremendous amount of history. In that box. As. Mr. Chernoff likes to say you leave your fingerprints. On. The work. Everybody will handle a plane different. Everybody will handle a chisel different. File. For life and the way they use it shows in their work. Yes.

Yes. Yes. So. This is my second one. OK. OK.

And. Open what you can do. Go. Just my second. One of the main reasons why I chose dance as a career was I knew that. I'd be using my body all the time which meant that I'd always be working. Don't touch my hair. I always love dance as a child. My mother used to take me to a dance class once a week and. I always dance even if I wasn't taking a class when I wasn't studying or anything I'd be dancing on the dance floor. Simiane Dan and Marie Tuck Tucker's our other principal partners of the dance works in the studio and the smoky dance theater. We do at our studio we teach ballet tap full on modern jazz. So

we're trying to give a synthesis of that. What's happening today and dance is you cannot if you're going to be a professional dancer you cannot really afford to be one one or the other. You really need to do to be skilled in all of these forms. Symeon and Marie are who were born professionals who were constantly on the New York State. Almost immediately after I moved there. I got a job. With the first production company of King's life and. That time at Simeon. What. Is now their home once again but a dancer who returns from a New York experience returns with a professional. The thing about being in Hawaii is that there are as maybe just the lifestyle that we live live. There are so many talented people and it probably happens all around the world too but particularly in Hawaii that I know of and it's not developed. For instance when we were in New York and we

did the you and I on Broadway there were 18 people in the chorus. And I think. 15 of us were from Hawaii. I mean this is in the chorus alone we're all Asian. But that's that's speaks very well for the talent here. That was about 10 10 years ago. Who is future of dance telling lies and its children. What could hinder this artistic resource. The one that so many diversions in Hawaii the weather. So many things going on outside that they find it very difficult to focus. I didn't really study in Hawaii. I did my training in New York but I do know that I would have difficulty here as well. OK. All right. Kids love to dance. You know whatever they see on TV or whatever you know that's what they want to start doing. And dance they will. Learn when a child sees a dance and an impulse springs up. What's to be done.

Something in your life that strikes a chord maybe someone's. But but in fact someone does need an older person or more experienced person doesn't need the support that. You need someone needs to guide you. And how can a dance mentor help his students. Artfully artfully. And it doesn't have to be dance you know all in all it is important I've told all my students who got who I have been a mentor to I suppose is that doesn't matter if you dance or not or whatever you do as long as you do it with some kind of integrity you do it well and you enjoy it. And I still hold to that one. Know I think it was my mother. She always she loved to shoot and she'd take me to any ballet so anything that was. Had to do with dance in movies or in theater. So you know I was very fortunate and they took me seriously when they said that I wanted to

do this as a career. As I did no doubt the parents of these dancers many of them former students of Symeon and Marie. I. Don't know.

I. Don't. Know. When. Recently I went to a high school reunion and a friend of mine used to coach basketball told me that he had brought in a dancer and it really helped his team tremendously and they had a good season. I don't know why. I don't know why it is. I think maybe they don't find it. It. Is not important enough. The university does. I think they certainly have the opportunities. I

mean. You know dancing is much more studied much much more studied and slow studied intelligent way of moving I suppose one thing about the body is the body as has learned the body has its own knowledge about the way to do things and how to do things on your mind how to you can take your mind and teach your body to do certain things and

be comfortable with them. William Sylow of New York choreograph this number. The music is drawn from the opera D-do and is an English composer Henry perception. Because all you're doing and when you're working in class you're standing in your study of the mirror and for about a. Half hour to 45 minutes all you're doing is focusing on centering your body on your physical sensor and it takes so much mental mental effort to do that. That everything was the physical sensor is there everything is you ready to just. Be ready to go from any point. In. Going.

Through. I. Do. Spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts