Spectrum Hawaii; Glass Blower, Molokai Kite Pacific Arts Halau; Ishu Patel, Film Restoration, Tongan Choir

The following program is a production of k 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 a grant from the people of Chevron in Hawaii. Today on spectrum. We pay a visit to Mollica where kites are flown and design with a big wind in mind will also observe a rehearsal and live performance of the hula as it is performed with the teachers of Hula. Gather together. But first we join artist Hugh Jenkins and his art lab at the Punahou School. Here he teaches the art glassblowing from a

molten liquid to a fragile glass sculpture. It can be as clear as the air itself. It can be colored. Rendering the sunlight passing through into a myriad of rainbow. It can be fluid 1000 degrees red hot. Or. Cold and brittle. It. Is a simple material of silica lime and so the fuse under extreme heat and the peeling. Opaque or transparent and fluid or fragile. Glass is a medium of countries. From Germany BCE to the 20th century. Glassblowing became the most popular means to create tableware those bottles of windowpanes. The blowpipe is a simple tool measuring about five feet long and made from iron.

Hugh Jenkins is a Honolulu artist who uses such a tool to create optical beauty of hot molten glass. There is an immediacy to the material when your work. You get the product and you have a sense of whether you've succeeded or failed. Within the time period of working with the hot material. Jenkins starts his piece by dipping his pipe into molten glass materials called the bench. He then takes it over to the front of Syria where he will shape his work. He begins by blowing sharply into the molten material to initiate an air bubble. Then he can increase the size and create the internal structures which he desired. OK now with the pieces that I am currently doing. I have a color layer and clearly air. And then I get to a stage where I develop the physical form. And that's where we are right now.

So I'm going to heat this piece up. And stretch it a little bit more and collapse the bubble in a controlled way to develop the physical structures that will end up inside the piece. Internal activity frozen inside the glass. Characterize Jenkins current work reads these internal structures like collapsing the bubble and manipulating the air within. OK. And in particular collapsing systems very often involves making a partition. Into the part of the bottle. Where you press the walls together and they will stick. And then you may press other portions of the bubble in also. And where they contact the interior. They will also stick.

And then as all heat and Rebello. And those structures will stretch along the inside of the bottle. Every beginning glassblower makes the mistake of having its bubble collapse and trying to blow it back out again. And some very interesting forms develop. And what I became intrigued by was seeing if I could control those so I could reproduce them to some extent. If I can change them as I wanted to. If I can develop a series of cases where there was a relationship and very often. They become more elaborate they. Become bigger. They've. Developed Twist's. They develop additional layers. And all of that has just been a sequence of experiments. And. Then in a lot of the pieces that I'm doing right

now in order to create a little sense of. Dynamic. Movement. So there isn't a static front in the back. I'm getting the forms a sense of twisting. And they take the best advantage of the optics of the glass. The ability to get color and form to work together. And I just gotten very excited about the. Infinite number of possibilities that I can get to work. Inside of a form. As Jenkins works. It will return several times to the batch to collect additional layers of glass. This is called Gathering. And then I use the carbon paddle and the wet newspaper. As basic shaping tools to control and cool that. Until I

can get it to the place where I can begin to work the shape a little bit more. The wet newspaper is about as close to putting your hands on this as you can get. I have to make a decision at this point how fast I want to go what I want that volume to look like inside whether it's going to be a small volume in a big piece or a large volume in the inner peace. And there has to be a stopping point here when you're not going to go any further. At that point I start to manipulate the outside form also. And I set it up. So that I have particular. Flat surfaces. That I know in the end will become the windows. To view into this piece. The Molton that the surface left from when Glass is worked it

has a reflective quality that bounces light off. Whereas if you can grind and polish a perfectly flat surface the light will pass through that surface and you have better. Glass. And that was being blown. All night when I didn't. Go to Brian. Jenkins is a teacher instructing high school students unless you get the whole school. The program is unique in the country because of the age of the students involved. I think it's got to be more exciting to teach beginners than it is somebody who has already experienced beginner has a lot more to learn their discoveries are very big and their discoveries are very exciting. I like the excitement of the studio. I like the excitement of a lot of people being involved and not just being just isolated by myself or with any of

the spinning. I don't get near as much of my own work down any Woodberry I. And yet I think I'm perhaps having a lot more effect. Than if I was just making pieces and putting them around the world because I'm influencing a lot of it. Well advanced glassblowing requires a discerning technique with bubbles of air kite making requires a healthy respect for currents are very strong gusts of their trade winds of making unusual demands on the Cape. And kite makers. Kites are of an ancient vintage. They amuse and distract us along their windblown journey. Who has not seen a kite hammered by the wind only to be borne aloft once again raising our hopes to

remind us of child's play. In what the wind is restless. It rarely sleeps. It races around much. Drives the water to the shore. It's thrusting force makes a clean sweep of the landscape. Higher and higher. When an avid Kite Flyer seeks a discriminating kite maker where would he go to a hilltop on Mollica. Old plantation town of Mauna Loa in West maloka houses a little arts and

crafts complex here. The Big Wind kite factory composes original kites for the Hawaiian when. The kite factory shares its premises with a plantation gallery. Before we step into the back room to find out how kites are made for high performance let's have a look around. The gallery one might find painter Perry Burkholder at work. Or. The woodcarver. Bill Decker. Bead Maker Drik Wells is better known as El truckle. Butch Capano revives the seafaring tradition of scrimshaw.

Shows originally from the whalers back in 18:00. This is here as well. Just a spoon with a spoon will tip. And this the main thing that he's doing this. He's. Pointed to like Spike or anything that's been shot up like this. Do you get your piece. Polish smooth first. And then you put the back of the blacking over. So then when you sketch it with your tool. You don't. Then you would have you know what I do. I take it on a buffer and buffer zones. What all the other ones besides what I do is do more. And this is where the D'Hoffryn looks like top Uno's sketches on black Koro and Bohr's tusk as well as the horns of the maloka. Dear

dear shed their horns once a year when they do scrimshaw artist Butch Carbonneau is not far behind them. January-February I come here and it is just walk on the fields and you just them up. Me a walk through the plantation gallery leads to the back room where Jonathan and Daphne soldier compose kites that raise old memories for their visitors. Yes first day they smile and their eyes light up and most of the time you know a lot of the times they'll say something like Oh when I was a boy when I was a kid my dad and I made a cake and we made it out of paper and flour and water off or you know it was rice and water or Hawaian it was poison water. The doubtful Kate seegar needn't hesitate in asking Jonathan snowshoers permission

to test fly a new kite so she encourages it. Even offering free flying lessons are we just flying all the time. As a matter of fact in our little newspaper here I advertise free flying lessons and we have a park just outside the kite shop and whenever possible. You know any excuse to get out of the shop. Take them outside and show them the two controllable kites and put a train of six of them up in the air an air mattress that pulls about 90 miles an hour. You know if a taxi comes in and demands to be excited by kites I can take them out and excite them. Definitely so sure assist in sewing together Jonathan's design. They work together as a team with a minimum of distraction. Otherwise Jonathan might be tempted to forego his artistic pursuits. The type of artist I am if there are lots of people around it there are lots of things to do I'd rather go to a party than sit home and goitre or invent something. So.

Here it's very nice you get. There's so little happening that you're forced to either find something to do yourself or go crazy. You know when Saussure creates He specializes in designs which are capable of withstanding the Hawaiian wins to a novice kite flyer when the wind is up that's when they think it's the time to fly a kite. Fortunately our winds at 20 plus miles an hour are too strong for most kites here on Molokai our problem is finding a kite to fly an extra heavy winds which means either a two strings stun kite or some kind of variation of a type that's used to a lot of the fighting kites inspired by the Chinese fighting kites. So sure modifieds is designed to include flexibility thereby ensuring maximum control as the bar flexes. It allows the kite to spill some of the excess wind so that it is controllable as opposed to a wreck.

Where are you from. Every artist has a teacher. One teacher may inspire many artists or dancers when the teachers of Hula gather to rehearse and to perform together. New standards of excellence are attained. Spectrum visits with the delegation selected to represent her at the festival of Pacific Arts in New Caledonia.

As a delegation. We are coming from many. Different backgrounds and many points of. Living or residence. We have representatives in the delegation. From. Korea. Of. Course. We're all quite excited. We have been. Working together over the last several months. Many of the neighbor island artists have. Been traveling back and forth on weekends and. Our rehearsal times all from five to six hours each time. The. Terms of the program that's been developed. Our program takes four sections or proposes four sections. One section relates to the creation and the beginnings of it. And the second section and the selections that are included in that section relate to the migration of people to Hawaii.

The third. Depicts. The time of our history through the chiefdom nation. To the point of. Change in government. Marking our history at that point. And then we move on to the. What we're calling Pacifica 2000 and that is. Somewhat of a theme or a point of reference for the festival of Pacific Arts. Mrs. gladdest brand is the overall chairman of the advisory committee to this project. To get started. We formed a selection committee. First we had an advisory committee and was decided that we should select. How about you see past. They finally decided that they would invite in their thinking individuals through the state about who best exemplify to them. Their commitment and

dedication to the dance and to the US. For different aspects of the culture from different islands and we all come from different backgrounds. You know we're not all from the same Kumo who loves and you know this is a good time for us I think to express ourselves. The rehearsals are very concentrated because we just meet for six hours a week and we're trying to learn a lot of material and a lot of different Hawaiian songs and maybe we're not used to them maybe we don't know them. So it's just a really different experience for us. It's really been worth my effort to come. It's been a lot of work but you know it's really good. We've got ages ranging from 22 to. 15 years old and beyond. We've got a very good mix. In our

delegation. And in terms of frustrations I think is not so much frustrations it's it's a matter of us coming together for this time. Focusing on our. Mission. Or our. Goal which is to put together. And share a united presentation representing our community here in Hawaii. And knowing full well that when we return. We'll all be returning back to our perspective islands to our respective jobs into our respective other hollow things like that. But we've had a time to share together. And. All of that many more people will be affected for as we go back to our jobs to our communities to our homes. We in turn will be able to share that experience with those people that we touch. Anything worthwhile doesn't come easy. And it's been a real challenge for myself and I know all the people that have worked on this project including the delegates delegation.

To work cooperatively. To work with respect for one another because we are all skilled. We all have strengths as well as weaknesses. And. To keep our eyes. On that ultimate goal that we go as one that we represent not ourselves. But the state of our. And I think that has been a very clear message and understanding among all of us. So yes it's hard work. There are times when people drag out of the rehearsals because we've worked so hard. But. That's what it's all about and working together. We can't help it be successful. Before the performance. Like. With anything that is done we of course we're all pulling together. And I think you know in addition to

sharing the outcome with one another through that it's a way of helping us all come together and to focus and concentrate together. I think that is probably the most challenging expectation of all of performers ourselves included in that. You must be of clear mind. Oh. Oh oh. Oh. Oh oh oh. Oh.

The performance. Is so heated so quick. Passing very quickly. That's. The. Thing. As I said the greatest challenge is to be. Alert and clear minded so we can do and demonstrate to me as a group. Have been working with for several months. There may be some nervousness or some anxiousness and I think that's a more. Typical of performers also typical of those of people who wanted to. Jump.

The. Setting high standards and institutions ourselves sometimes turns out

some anxious moments but overall the group that we have been a part of of the group that has come together all of us. Professionals in terms of attitudes. And. Professionals in terms of their skills and so forth. So. While. You may be. Anxious. It makes us more concerned in terms of doing a good job. We all get. Slammed by get out in one minute oh oh. Oh.

Oh. Oh. Oh. Oh. Oh oh. Oh oh. Somebody get out and demanded in my bio a great from the people. Seven six five by the state. Three on two. And the one day. The following program is a production of each in Honolulu Hawaii

Public Television the following program has been funded in part by the Hawaii State foundation on culture and the arts and a grant from the people of Chevron in Hawaii. Today on spectrum. We watch a Hawaiian hula film project sponsored by the Bishop Museum. Rare films for the past hula practices from the 1930s. It's been corrected and restored to serve as a teaching aid and a historical Darcie. Also ability from the royal kingdom of tango will be sung by the Tongan young adult choir.

The first. Public Television's Bill verbenas visits with issue Patel a native of India now a Canadian. Mr. Patel has won numerous awards for his novel techniques and animation. He shows spectrum the new types of material he uses as well as selections from his work. Issue. Most people are familiar with this type of animation. It's called cell animation wing draw and paint handedness and sometimes you know how those pictures get what they were looking for when you're not involved with this technique. Maybe you can explain to us what method is used. OK well. Well the kind of traditional cell technique which isn't used in these films that isn't going to get you very expensive because you don't really have to have so many people to work on it. And so one has to use to paint piles and piles of drawing. It gets very very expensive

if it's a half an hour in one hour and you can imagine how many drawings they need. So people have been developing different kinds of things over the years and one of the very simple one is either cut out and if gone where you don't have to draw the same drawing over and over again. Instead you have a drawing made of two different bars different sections and then you can use the hands and the legs and eyes and a mouth and a nose and different pieces separately and then manipulate it in the camera. I gave a very simple example of. For example let's say this is a square. Here if you had to do with the traditional method the same square in the square is moving from this position to this position like that on the screen. That's Kirbyjon several times that means this thread has to be drawn over and over again has to be painted color and so whereas with current techniques you can put the same square here and then most likely take one frame most likely take one frame most likely take one

frame and then eventually the square of which is there. So that means your one piece of square which you just manipulate under the camera frame by frame. You must also remember that animation can when I show a single frame at a time. You can never have to run the camera continuously and it's a very sophisticated machine is often used in the schools and colleges often they use 8 cameras with single frames so you can duplicate it like that. Now that's a simple one. Sometime you can use complex on like low character has a little character you see the little boy and there's a sheriff here and his legs and everything so you can even open the doors. We haven't had all the parts here separately but you can have this hand separate the neck separately and you practically make him walk make him do things what you want to do. So that's one aspect. Then there are various other things people use.

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

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

alone control everything. Whereas this technique seems to involve many many people doing many many different things. And find this as far as expression of art. This is more. Personal. Well this is this kind of extra new media it also gives you a different vision of what you do on the screen first. Secondly it also gives you a freedom to try some different subject which you cannot do with cartoons or this kind of machine which most people are familiar with. So having different materials having cut outs or sand or things like that scene or something we go for this kind of new ideas which then gives you possibilities to go into a different kind of subject is something very serious and often people should start doing a funny joke to that man with a big nose and to bang bang bang. Whereas this one you can go into the very serious subject matter. So it is it has a personal expression. And your material is actually helping to

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

It's like sculpture under the camera. What you think computer graphics will doodle animators like you and me. Well I think lately about what computer can do. I've been planning a film and I've even discovered that it's very very costly to use the machines. It's in the very early stage. There's a lot of technical gadgets I know. So there are various companies making various kind of side effect animation and there's no coordination between

industry and the industry. So what happens that you've got you've got to you can do something here. This particular system. Something else here you had to go in California. Some other kind of effects you have to go to Denver and this kind of system is been individually down by the people and they got very sick. So when I go and when I'm making a film then I go to one particular system they tell me that there is a distinction here. You can only do this. But for this year to go somewhere else. And so they know one particular system exists this doesn't have to worry about imitations and it's very very costly. So I don't know where it's going to go maybe the cost will come down and to be used but it is. All my impression and people who work in a machine very efficient is that it is never going to be again one more tool like I said in addition to cut out to plasticine just to read it it's a sentence.

And you can only do so much if that kind of look at what you're doing. The thought of Hula is an important Hawai'ian legacy. Vivian Matre was a New York dancer who visited her way to learn the Hula in 1931. She returned many times often with a motion picture camera. The results of her enthusiasm is now the subject of a recent documentary led by the efforts of Bishop Museum scholar Dr. Elizabeth to tar a star is an anthropologist who specializes in music or otherwise known as an ethno musicologist. She studies music from a cultural point of view.

Commonly anthropologists study cultural relationships with the artifacts available to them. They're trained to explore a culture by interpreting its habits customs and symbols. A decorative feather color may serve as a mark of rank while a hollowed out gourd may be rendered as a musical instrument. As a prominent cultural resource the Bishop Museum is the likely recipient of such gifts from generous donors. Upon my daughter. When she died in

1972 left an enormous collection of farm traditions of Hula. And you said that she documented in Hawaii. Between the years 1930 in 1935 and nineteen eighty one. We started getting the first shipment of Libyan Matres collection in 1982 an even larger shipment came and I was very surprised that one lady. Oh of course she had 50 years to do it. But one lady could at last as much material as she did. She was deeply interested in Hawaiian culture. It was obvious she collected not only what pertained to dance in particular but to the culture in general. As a professional dancer Vivienne Mader was also interested in the ability of film to capture movement. Dr. sitar has made an extensive study of the Hawaiian dances which Miss mater has captured on film as well as other notes

and charts drawn from her collection in the 20s and 30s. I believe there was a great interest on the mainland and incorporating ethnic dance movements into modern dance. She came to Hawaii and I think she was one of the first to see the beauty of Hawaiian dance the Hawaiian dance the complexity of the movements and the expression. Vivienne Matre had met and worked with most of the well known teaching masters of her time. There was a print which I viewed. And on that print. There were dances. Joseph Kony me. Catherine queen. A law. And as soon as I saw that I knew this was a very valuable collection and I could tell this was something that we should work on something to try to get back to the community because it was that important to hula. I

was terribly interested in this collection because it had a dance in what is really dependent on that. However this collection also has a lot to do with dance. One might question what is and is no musicologist doing studying dance. Well that refers simply to dance but you cannot have dance without dance by itself does not exist in Hawaii by any park upon without chance. The choreography depends on the poetry. The melody and poetry must always be gentle John Charlo and Paul Clark of the east west Center's sponsor of the Hawaii International Film Festival indicated to doctor to Taar that a finished version of a Vivienne

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

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

Having viewed this film I see a big difference. It's a historical of to this film was made in 1932 1935 and what we see today in 1984. Is really quite different. The hula has changed. The movements have changed the focus of the dance has changed and our reason for having this film a lot is to give a perspective to today's community of what the hula was like. Dr. sitar believes that Miss Matres unique legacy may prove instructive to today's audience. It is just a document a very loving document like this one woman of a dance tradition as it existed in the 1930s. Helen Beamer and the talented ladies of her family strongly influence the directions who could take in the entertainment world of Waikiki as shown by these performances she and her family staged on the grounds of the Royal Hawaiian Hotel in 1934

and turned inside. The mayor who dances with is considered herself a protege of Helen Keller. Stop here and roll back the film studios of George Tahara Dr sitar records her narration for the historical dance documentary. OK stand. Film. At the beginning. Yes a little bit earlier. I was just asked. This is my sound engineer Terry on the controls. OK are you ready. Yes. Next. Helen Beamer conductor to tar assumed responsibility for the project. She realized that she must seek the best assistance available for the time

was short in 1934 and 35. You have to do that. I quit my day. How was I to hear a presentation that was right for you. And also worth the audience. I don't want to kill the audience by showing raw footage. How is it a project together in essentially two two and a half months. She found the answer by consulting local filmmaker George the heart of the original film that was brought to us from the museum was shot at 16 break for a second. It is now correct at the 24:5 for a second. From this point Terry the sound engineer working with Dr. Tatar year the following things. First it must be projected. Second the music doctor has already collected.

The company. Had to be changed in Spain. The truly musical score that was selected for the scene would now be sped up. Or slowed down to match the picture. So now that what. Was it. Mostly sinks to the picture itself Terry the editor Dr Qatar dog goes into the editing room. They use a machine that is known as a flat bed. We're working on this film project Dr star came to recognize and appreciate. Vivian Matres singular contribution to Hawai'ian heritage and culture due in no small part to the age in which she lived when her Paula collected in the 30s. Hula. And Hawaiian traditions were not as popular as they are today. I think that if today one person.

Like her. Were to go and try a similar project. They would not be successful. One is not apt to just give out as freely. As Vivien's teachings. Were in those days. She was so sensitive to the culture. She seemed to have. This innate to get the truth about a dance or a church. Folk songs maybe sung by soloist trios or choirs to sing and dance a lullaby composed for the royal family of hunger is the Tongan young adult quire of the First United Methodist Church. Oh no. Why. He had no good get

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man. Can. Expect and was funded in part by a grant from the peace I love shot from 6 5 4 why state orientation to culture and one arts take