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

The following program is a production of KHET in Honolulu, Hawaiʻi Public Television. The following program has been funded in part by the Hawaiʻi State Foundation on Culture and the Arts, and a grant from the people of Chevron in Hawaiʻi. [gentle piano, waves crashing] [NARRATOR:] Today on Spectrum, we pay a visit to Molokaʻi, where kites are flown and designed with a big wind in mind. We'll also observe a rehearsal and live performance of the hula as it is performed with the teachers of hula gathered together. But first, we join artist Hugh Jenkins in 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 hues. It can be fluid, 1000 degrees red hot. Or cold and brittle. It is a simple material of silica, lime, and soda, fused under extreme heat, molten, and manipulated. Opaque or transparent, fluid or fragile, glass is a medium of contrast. From 200 BCE to the 20th century, glassblowing became the most popular means to create tableware, bowls, bottles, and windowpanes. The blowpipe is a simple tool measuring about 5 feet long and made from iron. Hugh Jenkins is a Honolulu artist who uses such a tool to create optical beauty out

of hot molten glass. [JENKINS:] 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. [NARRATOR:] Jenkins starts his piece by dipping his pipe into molten glass materials called the batch. He then takes it over to the furnace area 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 desires. [JENKINS:] Okay, now with the pieces that I am currently doing, I have a color layer and a clear layer. And then I get it 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. [NARRATOR:] Internal activity frozen inside the glass characterizes Jenkins' current work. He creates these internal structures by collapsing the bubble and manipulating the air within. [JENKINS:] Okay. And the particular collapsing systems very often involve making a partition into part of the bubble, 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 I'll heat and reblow, and those structures

will stretch along the inside of the bubble. 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 forms, if I could reproduce them to some extent. If I could change them as I wanted to. If I can develop a series of pieces where there was a relationship and variations. They become more elaborate, they've become bigger. They've developed twists. They've developed additional layers. And all of that has just been a sequence of experiments with time. 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 and a back, I'm giving 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 got very excited about the infinite number of possibilities that I can get to work inside of a form. [NARRATOR:] As Jenkins works, he will return several times to the batch to collect additional layers of glass. This is called gathering. [JENKINS:] 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 thin 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 a thinner piece. 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 molten-- the surface left from when glass is worked hot 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 visual access to the inside of the pieces. And that was being blocked when I didn't go to grinding and [inaudible] polish. [NARRATOR:] Jenkins is a teacher instructing high school students in glass blowing at Punahou School. The program is unique in the country because of the age of the students involved. [JENKINS:] I think it's got to be more exciting to teach beginners than it is somebody who is already experienced. A 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 being just isolated by myself or with one or two others. I don't get near as much of my own work down in a year as I would

if I wasn't a teacher. And yet I think I'm perhaps having a lot more effect than if I was just making pieces and putting them out the world. Because I'm influencing a lot of kids. [gentle piano] [NARRATOR:] While advanced glassblowing requires a discerning technique with bubbles of air, kite-making requires a healthy respect for currents of air. Strong gusts of air. The trade winds of Hawai'i make unusual demands on kites and kitemakers. [energetic string orchestra] 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 Hawaiʻi, the wind is restless. It rarely sleeps. It races around mountains, drives the water to the shore. [energetic string orchestra] Its thrusting force makes a clean sweep of the landscape. Higher and higher. [music continues] When an avid kite flyer seeks a discriminating kite maker, where would he go? To a hilltop on Molokaʻi. [mellow guitar picking] The old plantation town of Maunaloa in West Molokaʻi houses a little arts and

crafts complex. Here, the Big Wind Kite Factory composes original kites for the Hawaiian wind. [guitar continues] 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. In the gallery, one might find painter Perry Buckholder at work. Or the dowel woodcarver, Bill Decker. Beadmaker Drake Wells is better known as El Draco. While Butch Tabanao revives the seafaring tradition of scrimshaw. [TABANAO:] Scrimshaw

was originally from the whalers back in the 1800s. This is here is a whale bone. This is sperm whale bone—sperm whale teeth. And this is what the main thing they used for doing scrimshaw. Scrimshaw, they use a sharp pointed tool, like this is tungsten called wide tip scriber. Or you can use a needle. Anything that is sharp and use like a black ink. So what you do is you get your piece polished real smooth first. And then you put the black, you rub the black ink over it. So then you scratch it with your tool. Etch it on. Then you would have, then what I do is I take it on a buffer and buff it out, and smooth out all of the other lines. Besides what I do is deer horn from Molokaʻi. And this is where the deer horn looks like. [NARRATOR:] Tabanao sketches on black coral and boar's tusk, as well as the horns of the Molokaʻi deer. The Molokaʻi deer shed their horns once a year. When they do, scrimshaw artist Butch

Tabanao is not far behind them. [TABANAO:] January-February, they lose their horns that time of year. And you just walk around the fields and you just pick them up. [mellow guitar picking] [NARRATOR:] A walk through the plantation gallery leads to the back room where Jonathan and Daphne Socher compose kites that raise old memories for their visitors. [JOHN:] Yeah, first they smile and their eyes light up and most of the time, 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 kite and we made it out of newspaper and flour and water," or if they were Oriental, it was rice and water; or if they're Hawaiian it was poi and water. [NARRATOR:] The doubtful kite-seeker needn't hesitate in asking Jonathan Socher's permission to test fly a new kite. Socher encourages it. Even

offering free flying lessons. [JOHN:] Oh, we test fly them 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, any excuse to get out of the shop. Take them outside and show them the two string controllable kites, and put a train of six of them up in the air, or an air mattress that pulls about 90 miles an hour. You know, if a Texan comes in and demands to be excited by kites, I can take them out and excite them. [NARRATOR:] Daphne Socher assists in sewing together Jonathan's designs. They work together as a team with a minimum of distraction. Otherwise, Jonathan might be tempted to forego his artistic pursuits. [JOHN:] The type of an artist I am, if there are lots of people around, if there are lots of things to do, I'd rather go to a party than sit home and write or invent something. So here, it's very nice. There's so little happening that you're forced to either

find something to do yourself or go crazy, y'know, and leave or something like that. [NARRATOR:] When Socher creates, he specializes in designs which are capable of withstanding the Hawaiian winds. [JOHN:] To a novice kite flyer, when the wind is up, that's when they think is the time to fly a kite. Unfortunately our winds at 20 plus miles an hour are too strong for most kites. Here on Molokaʻi, our problem is finding a kite to fly in extra heavy winds, which means either a two string stunt kite or some kind of variation of a kite that's used to a lot of the fighting kites. [NARRATOR:] Inspired by the Chinese fighting kites, Socher modifies his design to include flexibility, thereby ensuring maximum control. [JOHN:] 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. Ready to fly. [mellow guitar picking] [performers sings]

[NARRATOR:] 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 Hawaiʻi at the Festival of Pacific Arts in New Caledonia. [APOLIONA:] As a delegation,

we are coming from many different backgrounds and many points of living or residence. We have representatives in the delegation from the island of Kauaʻi, the island of Maui, Hawaiʻi island, and of course, Oʻahu. 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 roll from five to six hours each time we meet. In 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 Hawaiʻi. And the second section and the selections that are included in that section relate to the migration of people to Hawaiʻi. The third

depicts the time of our history through the chiefdom to 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. Gladys Brandt is the overall chairman of the advisory committee to this project. [BRANDT:] To get started, we formed a selection committee. First we had an advisory committee, and it was decided that we should select Hawaiʻi's best. They finally decided that they would invite, in their thinking, individuals throughout the state of Hawaiʻi who best exemplify to them, their commitment and dedication to the dance and to the visual arts of Hawaiʻi.

[SOLOMON-COVINGTON:] We're from different aspects of the culture, from different islands, and we all come from different hula backgrounds. We're not all from the same kumu hulas and, y'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. [APOLIONA:] We've got ages ranging from 22 to 50 years old and beyond. We've got a very good mix in our delegation. And in terms of frustrations—I think it's not so much frustrations, 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 Hawaiʻi. 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 hālau, things like that. But we've had a time to share together. And out 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, yo 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 Hawaiʻi. 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 but be successful. [performers sings] Before the performance, like with anything that is done, we of course, we all pule together, or pray. And I think, in addition to sharing the outcome with one another through that prayer, 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 our performers. Ourselves included. In that, you must be of clear mind. [performers sing] [performers sing] [performers sing] [performers sing] [performers sing] [performers sing] [APOLIONA:] The performance is so fleeting. It's so quick. It's passing very quickly that I think, as I said, the

greatest challenge is to be alert and clear minded so we can do and demonstrate what we as a group have been working with for several months. [drums beat to song] There may be some nervousness or some anxiousness and I think that's a role. Typical of performers. Also typical of those-- of people who want to do a good job. [drums and chanting] [drums and chanting]

[APOLIONA:] Setting high standards and expectations of ourselves sometimes turns out for

some anxious moments. But overall, the group that we have been a part of, the group that has come together, all professionals. Professionals in terms of attitudes, professionals in terms of their skills and performance abilities. So while you may be a little anxious, it makes us more concerned in terms of doing a good job. [singing over guitar] [singing continues] [singing] [singing]

[singing] [singing] [singing] [singing] [singing] [singing] Spectrum was funded in part by a grant from the people of Chevron in Hawaii and by the Hawaii State Foundation on Culture and the Arts. [silence] [countdown beeps] The following program is a production of KHET in Honolulu, Hawaiʻi

Public Television. The following program has been funded in part by the Hawaiʻi State Foundation on Culture and the Arts, and a grant from the people of Chevron in Hawaiʻi. [orchestra] [NARRATOR:] Today on Spectrum, we watch a Hawaiian hula film project sponsored by the Bishop Museum. Rare film footage of past hula practices from the 1930s has been corrected and restored to serve as a teaching aid and a historical document. Also, a melody from the Royal Kingdom of Tonga will be sung by the Tongan Young Adult Choir.

But first, Hawaiʻi Public Television's Mel Farinas visits with Ishu Patel. A native of India, now a Canadian, Mr. Patel has won numerous awards for his novel techniques in animation. Here, he shows Spectrum the new types of material he uses, as well as selections from his work. [FARINAS:] Ishu, most people are familiar with this type of animation. It's called cel animation where you draw and paint hundreds and hundreds, sometimes thousands of pictures to get what they're looking for. Well you're not involved with this technique. Maybe you can explain to us what method you use to work. [PATEL:] Okay, well, Mel, the kind of traditional cel technique which Disney really used it in these lot of films, that can really get very expensive because you really have to have so many people to work on it. And so many people has to use, to paint piles and piles of drawing really gets very very expensive. And

if it's a half an hour film or one hour film, 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 the cut out technique, we call. Where you don't have to draw the same drawing over and over again. Instead you have a drawing made into different parts, 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'll give 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, if the square is moving from this position to this position like that on the screen, that's gonna be drawn several times. That means this square has to be drawn over and over again, has to be painted, colored, and so on. Whereas with cut-out techniques, you can put the same square here, and then move slightly, take one frame. Move slightly, take one frame. Move slightly, take one frame. And then eventually the square reaches 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 machines often used. In the schools and colleges, often they use Super 8 cameras that shoot single frames, so you can really manipulate characters like that. Now that's a simple one. Sometime you can use complex one like a little character. Here's a little character, you see, the little boy. And there's a shirt here and his legs and everything. So you can really manipulate those. We haven't had all the parts here separately, but you can have this hand separate, the legs separate. And you practically make him walk, make him do things, what you want to do. So that's one aspect of it. [Indian string instrument strumming] [PATEL:] Then there are various other things people use.

And actual material. I have used in one of my film the beads. And you can see here some of the beads, y'know, which the little girl or younger makes necklaces out of it. And Indians and so on use for their decorations on the on their clothes and so on. So these kind of other material you could use it, and... Here, I'll just show you a few. You just leave the beads here on the—of course, they are loose like that. So now you can form any shape you want. So either you can shape it like that, take 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 line them up one by one at a time, like this, you have made a drawing out of beads actually, instead of drawing everything. Now this line is a mobile line. It's just a flexible line there.

Let's suppose this is the line here right now. Now this line is twisting like that. All you have to do is to, frame by frame, change the position of the line. Sometimes you can use the actual object to put them in a line like that. Or like that, curve them like that slightly. And so forth and so on. On very fine objects can be done by the brush. Now this is just a simple one but you can just draw any animal or a human figure, you line them up beads in that form and that would make it look like an animal. And then you change it frame by frame what actually it's supposed to do. So these are some of the things people used. People have used sand under the camera and you shift them into different shapes. And everything else depends on your imaginations, how you do it. [rhythmic percussions] [FARINAS:] Your technique seems to be an individual technique where you

alone control everything. Whereas this technique seems to involve many many people doing many many different things. I find this, as far as expression of art, this is more personal. [PATEL:] Well, this kind of extra new mediums also gives you different visual quality on the screen, first. Secondly, it also gives you a freedom to try some different subject which you cannot do always with cartoons or this kind of practice, animation which most of people are familiar with. So having different materials, having cut outs, or sand, or things like plasticine or something, we go for this kind of new ideas which then gives you possibilities to go into different kind of subject areas. Sometime very serious subjects. Often people associate cartoons, are funny, a few jokes, all that, a man with a big nose, and if you bing bang bong. Whereas this one, you can go into the very serious subject matters. So it has a personal expression. [FARINAS:] And your material is actually help you to

interpret your feeling. [PATEL:] Sure, the material follows– the material gives you the kind of action. The material also gives that style of animation. And also gives it a style of concepts and ideas. So this is... It's just another tool which also slightly cheaper in terms, one man show, one person controls everything, he can originate the idea. He animates 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 one after another. Something else I've used which is plasticine, in some cases I have used. And this is the plasticine kids use for making models. Now there's also plasticine animation scene where you make two dimensional models and you move the hands and the legs and the face and everything and shoot single frame, people are familiar with this stuff. It's called frame-by-frame sculpturing. But I've also tried something else, which is you backlight plasticine under the camera, and you do all your character in there. And when the light shines through the plasticine, then every frame you change like you're drawing.

It's like sculpturing under the camera. [slow introspective wind instruments] [FARINAS:] What you think computer graphics will do to animators like you and me? [PATEL:] Well, I think I've been investigating lately about what the computer will do. I've been in process of planning a film and I've even discovered that it's very very costly to use the machines. First of all, it's in the very early stage. There's a lot of technical gadgets that I know, hardware and software and all. There are various companies making various kind of effect animation. And there's no coordination between

industry, among the industry. So what happens that you've got... You can do something here with 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 has been individually developed by the people and then guarded very secretly. So when I go and when I'm making a film, when I go to one particular system, they tell me that there is a restriction here. You can only do this. But for this you have to go somewhere else. And so they know one particular system exists, the artist doesn't have to worry about the limitations. And it's very very costly. So I don't know where it's going to go. Maybe the cost will come down one day and it'll be used, but it... All my impression and people who work in animation, their impression is that it'll never take over. It will be, again, one more tool, like from cel animation to cut outs, to plasticine, to sand, to beads. It's [inaudible] computer animation. It has a certain sleek look

and you can only do so much with that kind of look. It'll never replace what we are doing. [singing over ukulele] [NARRATOR:] The art of hula is an important Hawaiian legacy. Vivienne Mader was a New York dancer who visited Hawaiʻi 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 Tatar. Dr. Tatar is an anthropologist who specializes in music, otherwise known as an ethnomusicologist. She studies music from a cultural point of view. [singing continues]

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. [rhythmic knocking, singing] As a prominent cultural resource, the Bishop Museum is the likely recipient of such gifts from generous donors. [singing continues] [TATAR:] Vivienne Huapala Mader, when she died in

1972, left an enormous collection of traditions of hula and music that she documented in Hawaiʻi between the years 1930 and 1935. In 1981, we started getting the first shipment of Vivienne Mader's collection. In 1982, an even larger shipment came in. I was very surprised that one lady—of course, she had 50 years to do it—but one lady could amass 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. [NARRATOR:] As a professional dancer, Vivienne Mader was also interested in the ability of film to capture movement. Dr. Tatar has made an extensive study of the Hawaiian dances which Miss Mader has captured on film, as well as other notes

and charts drawn from her collection. [TATAR:] In the '20s and '30s, I believe there was a great interest on the mainland in incorporating ethnic dance movements into modern dance. She came to Hawaiʻi and I think she was one of the first to see the beauty of Hawaiian dance— the art in Hawaiian dance, the complexity of the movements and the expression. [NARRATOR:] Vivienne Mader had met and worked with most of the well known teaching masters of her time. [TATAR:] There was a print which I viewed. And on that print, there were dances of Joseph Ilalaole, Akoni Mika, Katherine Kanahele, Kawena Pukuʻi, and Ala Anui(?) family. And as soon as I saw that, I knew that this was a very valuable collection. And I could tell that this was something that we should work on and 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 sound. [drumming and singing] [TATAR:] Dance in Hawaiʻi is really dependent on music. [singing continues] However, this collection also has a lot to do with dance. [NARRATOR:] One might question what is an ethnomusicologist doing studying dance? [TATAR:] Hula refers simply to dance. But you cannot have dance without chant. Dance by itself does not exist in Hawaiʻi or any part of Polynesia without chants. The choreography depends on the poetry, the mele. And poetry must always be chanted. [NARRATOR:] John Charlot and Paul Clark of the East-West Center, sponsor of the Hawaiʻi International Film Festival, indicated to Dr. Tatar that a finished version of a Vivienne

Mader film might be shown to the public through their festival. [CHARLOT:] The Mader film could be very important for the Hawaiian public because hula is at the center of the Hawaiian renaissance, at the center of this resurgence of Hawaiian culture. [NARRATOR:] John Charlot, author of 'Chanting the Universe', is now actively involved with the public display of films that enhance our knowledge of other cultures. [CHARLOT:] Well, the East-West 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. [NARRATOR:] Joining Charlot in the film festival activities is historian Paul Clark who has recently published a book on Chinese film. [CLARK:] I think the Mader film epitomizes what the whole of the film festival is about, that we run here out of the East-West Center. That we can bring artifacts from another culture and show them to a broad public in Hawaiʻi, and get a real immediate sense of another culture in a way that no other

art form really conveys so effectively. [NARRATOR:] As an author of books on Hawaiian culture and music, Dr. Elizabeth Tatar is particularly fitted to approach a subject of this nature. But a film project requires instruments uncommon to the traditional scholar. [ukulele strumming] Dr. Tatar employs sensitive technology that will remove the hissing and static of old records. [music continues] Allowing the purified version to be taped with Swiss precision. [music continues] The medium of moving images is an apt archive for the dance. During her efforts of matching music with movement, Dr. Tatar made a discovery. [TATAR:] Having viewed this film, I see a big difference. It's a historical difference too.

This film was made 1930 to 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 out is to give a perspective to today's community of what the hula was like. [NARRATOR:] Dr. Tatar believes that Miss Mader's unique legacy may prove instructive to today's audience. [TATAR:] It is just a document, a very loving document like this one woman, of a dance tradition as it existed in the 1930s. [TATAR:] Helen Beamer and the talented ladies of her family strongly influence the directions hula kuʻi would 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 '35.

Vivienne Mader, who dances with this group, considered herself a protege of Helen. 'Kay, let's stop here and roll back. [NARRATOR:] In the film studios of George Tahara, Dr. Tatar records her narration for the historical dance documentary. [TATAR:] Helen Beamer and the talented ladies of— [SOUND ENGINEER:] Hold it, hold it. Okay, standby. We're gonna roll film. Okay. At what point do you wanna pick it up? At the beginning? [TATAR:] Yes, a little bit earlier. I was too fast. [NARRATOR:] She's assisted by sound engineer Terry on the controls. [TERRY:] Okay. Are you ready? [TATAR:] Yes. [TERRY:] Pick up the scene the next change in the scene. [TATAR:] Helen Beamer and the talented ladies... [NARRATOR:] When Dr. Tatar is assumed responsibility for the project, she realized that she must seek the best assistance available for the time was short. [TATAR:] In 1934 and '35—

We have to do that over. I kicked the mic. (chuckles) [TERRY:] Okay. [TATAR:] How was I to have a presentation that was worthy of the museum, and also worthy of the audience. I don't want to kill the audience by showing raw footage. How is I to get a project together in essentially two months? Two and a half months? [NARRATOR:] She found the answer by consulting local filmmaker George Tahara. [TAHARA:] The original film that was brought to us from the museum was shot at 16 frames per second. It is now correct at the 24 fps. From this point, Terry the sound engineer, working with Dr. Tatar, must do the following things. First, it must be projected. Second, the music, which Dr. Tatar has already collected, to accompany these scenes, had to be changed in speed. Literally

each musical score that was selected for these scenes would now be sped up or slowed down to match the picture. Let's assume now that the music closely syncs to the picture itself. Terry the editor and Dr. Tatar now goes into the editing room. They use a machine that is known as a flat bed. [NARRATOR:] While working on this film project, Dr. Tatar came to recognize and appreciate Vivienne Mader's singular contribution to Hawaiian heritage and culture, due in no small part to the age in which she lived. [TATAR:] When Huapala 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 out and try a similar project, they would not be as successful. One is not apt to just give out as freely as Vivienne's teachers were in those days. She was so sensitive to the culture. She seemed to have this innate urging to get the truth about a dance or a chant. [NARRATOR:] Folk songs may be sung by a soloist, trios or choirs. Here to sing and dance a lullaby composed for the Royal Family of Tonga is the Tongan Young Adult Choir of the First United Methodist Church of Honolulu. [SOLOIST:] [Singing in Tongan]

[Singing in Tongan] [Singing in Tongan] [Singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan]

[Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan]

[Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan] [Group singing in Tongan]

[Group singing in Tongan] [song ends] [synth bells] Standby for another program in one minute. [music continues]

[music continues] [In 10, 9, 8, 7, 6,] Spectrum was funded in part by a grant by the people of Chevron in Hawaii [5, 4, 3, 2, 1.] and by the Hawaii State Foundation of Culture and the Arts. [Take]