Spectrum Hawaii; Dance Choreography, Leon Edel, Bronze Casting; E.K. Fernandez, Ron Croci, Very Special Arts

The following program is a production of kiddie HDTV in Honolulu Hawaii Public Television. The following program has been funded in part by grants from the Hawaii State foundation on culture and the arts and the people of Chevron in Hawaii. Right. More. Today on spectrum Hawaii award winning biographer Dionne Adele discusses the use of psychology in literature. Dave Roberts of the Iolani school and Jen Fisher of Brigham Young University revealed their experience in casting bronze. But first a visit to the University of Hawaii where dance choreography is worked out step by step.

I think the. United States is really the country on the cutting edge for. Modern dance today. Phyllis Hess is the head of the University of Illinois dance department. And a lot of the work that is being done in Europe by American choreographers or has been inspired by people who come to the United States and study. Dance choreography. Is the creative process of planning each step and every move. To. Alter dance performance. Is a creative. Art. There's something very satisfying about being able to actually build the art yourself. Germiston is a Bachelor of Fine Arts degree candidate at the university. I I would never be able to Goya ground ever. I used to just

cringe at the thought of trying to think of something to do. When actually it's not thinking. It's just doing. The urge to dance has always been with me. John Mario Sybilla is Janet Sterling's partner in this piece of her choreography called the beach. As a dancer. I've become more aware of my body as an instrument. In high school when I. Was a in the track team. I wasn't as serious as I was about. The activity. For me dancing is an art it's a craft and it's a life. Whereas in high school the track was an activity. Dancing isn't only. A physical activity. It's. A state of mind. It's all. Spirit.

That someone had. But we do in choreography classes set up a problem to be solved through movement. Here at the temporary dance building at the university. Phyllis Haskell tries to alleviate the intimidation. That afflicts many novice choreographers. Typically the kids are very nervous about taking choreography class. Fairies frightened about that more so than in class. My big sister told me that everybody goes through that there and that just to go in with it with an open mind and an open heart. And to not if something does not go the way that you planned not to let it ruin your day because it's going to be

tomorrow. More. More. News more. Janet Sterman won first place in the 1986 Hawaii state dance Council's choreographic award. The public has a lead. Audiences often have an idea that. What a choreography choreographer does is go into a studio with some music that they have fallen in love with. And. Do. Music visualisation. There should be something else in fact I think they should the choreographer should have something to say too. But I think it's a risky bet. Us. To do music visualization because the children if you fall in love with the place

of music and you are. So it's a very lush let's say gorgeous piece of music and you're dancing to it. The chances are that you're not going to live up to the music. If you don't come to it with an art point of view that you've got a concept that you want to elucidate for your audience. Or something to communicate. What's the point. Why doesn't add anything to the music to dance to it. The point is to have. An artistic. Reason for doing the dance. You can sense. Work that has been conceived. With a.

Real intent. Janet Stedman explains the concept behind her choreography of. The beach piece. For me it was about. A woman on the beach. Having her day dreams. And sometimes. Actually seeing the person there. But not quite. Seeing the person there at all. And your day dreams you can dream about anything you want to and anything can become a reality. So at moments in the piece. John my dancer will become. A person. But most of the time the intention is that he is a chaise lounge. Chair. And the difficult thing about dance is it's a family. It. Goes away the moment it's finished. It. Disappears. It's at the vanishing point.

0 0 0 0 0 0 0. As America's leading authority on the life and work of novelist Henry James author lay on a Dell now of Honolulu has attained a considerable eminence in the art of biography his work is a biographer and literary historian has not been above controversy however. I examined in my various writings. Certain aspects of the lives of of the persons and found certain critics who just said oh no this is impossible. This is incredible. It can't be. And they just dismiss it. Don't look at my chain of evidence. Dr Adele believes Henry James to be the greatest literary genius that America has ever had. And the geniuses do have their ups and downs.

For instance I say that every change was depressed very depressed between 1895 19:00 and then. There are some critics of pooh pooh that they say look at when all books are old you know by the way moved around. What they forget is that you know you can be depressed when you're moving around doing things. Look at TS Eliot that he wrote the wasteland when he was depressed. You see you can write your great work when you're depressed. But he was depressed we know that. Leon Adele has won acclaim for the penetrating method of his studies. That is a psychological state and I'm making the way a person. Expresses himself. Which is a psychological thing is what and what is the revelation of that person and his art and the clothes he wears. His biographical technique informed by modern psychology gives an added breadth to the subjects he interprets the way or the way I for instance study or write or

by what he expresses of himself in his writings. That's that's what I do as a biographer. The moment a writer starts putting words on a page whether using a typewriter or his pen pen and ink. The whole his whole body is at work his nerves his nerves artwork his mind is working. He's projecting himself and his ideas and his ideas represent him too. And that's why we talk about some writers have a very remarkable style. If you're a writer what people don't realize is that no writer I was writing as he is a good writer and a real writer not you know a factitious or are mechanically created one is channeling feeling all the time into his words.

He's using words that are expressing feely writing as feeling good writing is close study of literature and psychology goes his doctor had to stop and reflect on the principles of human behavior were ruled by. By the way we've been conditioned. I don't like the word condition but it sounds so deterministic but the fact remains. Look. We ought to recognize that man. And woman meant men and women form habits we are habit forming creatures. We get addicted to smoking or drugs or food. We eat fast food habits we got all kinds of things but we get mental habits too easy and. That's what family meant when he talked about our complexes there are mental habits. Some people you see can can can and based novelty and other people. Have great difficulty in doing it. And the rigid people of course are the dangerous

people because they then they want the whole world to. They want to rigid defy the world around them. We have a lot of that going on all the time. The people who would like to legislate everything for everybody you know own everything not just seat belts. Dr. Adele prefers to remain flexible here in a telephone interview with the Honolulu Star-Bulletin. She's reminded of a light heart and a healthy attitude if you ask me I can still get a question like get a crush like I got a crush on my wife. Quite often I send her valentines where they're going to have. A Valentine's Day feature. I was going to say I like. The chocolates but no. Looks as if the one volume was as has been recommended for. The National Book Critics Award. I was very excited to tell you that's wonderful. It's embarrassing

embarrassing it's like you're in this for I'm a member of the book of the book A National Book Critics you know that sounds as if I'm I'm offering myself an award has anybody else somehow Why ever have not seen God Maxine Hong Kingston is one of the earliest winners of that awards right. When we set it up that really sort of I started her role toward the name given to Leon Adele's rule towards literary thing occurred late in his life after a decade of newspaper reporting during the Depression. He desired the death of a scholar. But World War 2 interrupted his plans. It's a funny thing when once you've been in the army and you come back to civilian life suddenly you know you have been responsible for anything and then suddenly have to resume assume responsibilities. And I knew I knew a lot of soldiers who went through a very difficult period and I did I went through a very difficult period because I was middle aged subtly really and pushing 40 and

not knowing where to go and so on. And then when I had to go out and earn a living that was a little more difficult. But I went first. I went first to France and got a Ph.D. in the aftermath of the war left many in distress in an effort to clarify the confusion. Dr. Adel tried the experience of psychoanalysis. He learned the value of dreams. Well. Pretty much my own my own dreams. I learned where they came from. And that's a pretty good thing to learn because you learn a great deal. Dreams express the self to you know nobody else makes them up. You don't make up my dreams and I don't make up your dreams. Dr. Adele's curiosity has been aroused recently by television. It's impact it's the power that people have not yet been willing to admit the extent to which makes reputations the extent to which in that sense then can also can also

falsify. Lives then you're get what. What we're getting in the United States as a result of a constant diet of television. What you're getting is a nation that is so profoundly involved with the performing arts that they're involved with performance. We might as well just throw the politicians out and elect doctors all the time and they'll perform for us. That's the great danger of electing actors. Because one is an actor if he isn't a role player. I plays all roles very well. Dr Adele agrees with Matthew Arnold's believe that a profoundly civilised minority is the saving remnant of civilization. It has always been the saving remnant that has let us manage to speak for civilization for for the things that I enjoy and life. And.

For all the profound profound moral ideas that we've had. It's always been a minority. Of peaceful interlude on a wahoo South Shore can be found among a bevy of boats in the Isle of Wight yacht harbor. Why

casting bronze is a rare technique in Hawaii that may be found at the Iolani school and Brigham Young University. It's a subtle material it's not a plane. It doesn't knock you down and impose you into it it's a war material. Or. Two. Those are. Such primordial kinds of. Qualities you know it's very stuff this earth is made from that point you know it's the stuff that comes out of a lot of volcanoes or something wonderful about that. Yeah the liquid form that you.

Found. Is the pattern material that is all hammered people for years. The idea of being permanent and bronze. And to think that an eighth grader has that opportunity. From time. To cast bronze one requires a place in the film. Which is capable of extremely high temperatures. Such a furnace is located on the campus of the school in Honolulu. It's strange to be real careful around me just come on through. This should be all right. Hold it Stan. And you'll be. OK David. If you can help this corner right here a little bit. You know I. Call Tracy Ross. You guys it's mask day today. All right so get your stuff ready. Put your books down. I'll meet you at the table over here and do the math.

Right. For these students instruction in bronze casting it occurs only after a knowledge of ceramics is gained. First the primary image is created. It may be a sculpted clay to moderate it was stored in this case a plaster impression of a young boy so big you're welcome to come over here we're just about there. We're finishing up the clay part and in just a moment we're going to go ahead pour the plaster over his face. We're going to put two straws in his nose go ahead and try the straws you know he's now got to get used to breathing through those straws now you have to elevate them a little bit on the plaster goes over your facial hold the straws only until the plaster starts to set up at this point the only other thing you have to remember is that we have a signal since you can't top one finger means you're fine. Two fingers mean you've got a problem. And we'll take it right off your face. OK here we go.

Right. Doing real well. That's it true. Just be real calm. OK as the plaster goes over your nose you're dependent on the straws for your breathing. So just take it easy. Hold Steady. Plaster setting up already pretty quickly so you won't be on every long. OK. How's it feel. All right real good. All right I just hang in there now I'm going to pull some of the clay away on the side here. How's it feel. It looks good from here. All right you ready. OK. Yeah. Feels good to just hold still. How the mole looks really good. How do you feel that he can talk now Stevie. OK I'm going to set you up take him to wash your face.

All right take this off lighter here. The images for bronze casting gold especially by the last process. Tracey thickly coaches plaster impression with hot wax. When the result is a wax positive. Next the students attach solid wax rods plastic straws and paper cups to their wax pieces. These will create the channels called screws and bends that allow gases to escape as the liquid bronze flows in.

Time to readjust. Well here. I am ready. To go. Let's go right over here. What's key to this is the screws and bends are set in plaster. The resulting cast is called an investment. Once set the investment is heated in a kiln melting away the wax positive and other flammable material is lost wax process creates the cavities which become the molds for the bronze for excitement as in the air. The bronzing guts are now liquid in 2000 degree temperatures safety measures are taken and careful planning is stressed. Everyone must know what rule to play. There's no room for error in handling hot heavy and molten metal.

You. Can't. Get perfect but more. Good go up just a little bit more. If time. Is at her core. Fine fine. I don't know. Go for it. Though. Come on. You've got a poor A. Very nice keep going all the way to the top. Hey we got to run out on a side to good show San Diego the next

one. Day we shall. Scoop up some of the sand poured on the backside. OK. Backside all the way to. The end of the pour tea leaves are placed in the furnace. The flame signify a successful for. The side of the island. The prayer begins an evening of bronze casting for Jan Fisher and his team. They will work to midnight pouring bronze for phishers commissioned commemorating the 100 50th anniversary of Hawaii's sugar industry. Seven by relief figures cast in bronze portrayed each of the different nationalities that have worked at Island sugar view to hold these figures. Fisher has made a concrete rendition of an old mill stone and I thought about those stones a long time I thought it would be wonderful. Maybe if I cut one of those songs asunder

opened it up. Opened up and so you could see the interior of the stone and then expose it. And day and the stone could tell its history. History of the stone this great mill stone. Used friends students and family as models. The. Human. Form is. The most beautiful all for. The most perfect. And so when I work with a human form I really feel like I'm working with something that is close to perfection as possible. Oh my. God I don't know. What. I don't know. 15 minutes after the pour the investment coating is chipped away to reveal the bronze.

To complete his sculpture. This year well each piece together cutting and adjusting as he goes he's assisted by his wife. It's one of these figures weighs about twelve hundred pounds. Each figure takes on the average 600 hours. To complete. Just in the the casting process. I think not the scope the. Scope index. Many more hundred are. Fair. So you know we have to go through all these steps that are difficult and they're relatively dangerous and they're dirty and. You know we create something beautiful like there's no other way. People who lose. One you know. That's not.

Beautiful. Those used to. Look. For. Look. A little more tomorrow will. Go. For 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 kiddie HDTV in one of the low hopefully

public television the following program has been funded in part by grants from the Hawaii State foundation on culture and the arts and the people who Chevron in Hawaii are. The day owns. The oil. Run food production illustrator for movies and television to recreate his role as a divisor of seniors. Very special arts or what launches its three day arts festival for handicapped children. First Fernandez and company display an entertainment form long known to a Hawaiian Island.

EK Fernandez shows have been entertaining island communities since 1903. I am. Tony and Linda from them there's no spearhead the ever expanding family operation. I think what's interesting about our company is that we started out so many years ago. My father was interested in the carnival business and interested in show business so he brought the first ice show or the first circuit for a wild west show all this very different very different types of entertainment the whole wine.

And then through the years to. The right aspect of the business became more and more important. You could from any shows has less and less live entertainment. And more and more into the primal business of rye. Games cotton candy for both and everything else associated with. Carnival. But we've been plain. County fair continuously. Since 1988. So in. 1980 we would have been there seven years. For. A long time for. One Show and one family to play one event. Such a thing. We heard.

Just. Now you. Were out there with. The robot. We'll be. Going. Down the line. Yeah. Yeah yeah. Yeah. Yeah. You're. Going. To put a carnival together you have to have a. Collection of equipment that appeals to everybody so we have what we call can you amateurs really are for younger children and we have a few rides which I think appeal to the whole

family. We have to ask for extra exciting for the few. But we try to put a mix of equipment together. Sure. To appeal to the always. I think everybody perceives us as a right company and everybody. Talks about the rides and. All a big investment of course is in their rights when. Our company is unique in that. Most of our revenues are generated from our game operations. Concession operations alone for an hour. My wife from the operation and. When this really mine. My business partner if we're a good ride company. We are a sensational. Game. One of the things that we were able to do in Hawaii and one of the reasons we've been able to go in and achieve some success here is that. They were able to go. To all of the of concessions the mollies the food

operations ourselves. Are very proud of that Oscar for the business. Yet nobody really. Knows how many people. They're going to. Take. Without reading. Writing about Sarah. Palin. Here it is very tired. The will to problem the regime. Was everybody in the world. Heritage. Was only. Sunday's operation. That's also very important is that without the saloons all those closed sounds. So we set up a special table for people to set up the nozzles all the year. With low balloons all day long so 20 to 30 people nothings a

global service and stands out there. This is just one of the sounds the same makes a carnival run a 40 foot container has about a few thousand. Cubic feet and it. Will land. In order to run. The plant a whole carnival. We need about six containers full of merchandise in the front to the back. Will we have enough space. For parking for about three. Weeks so we build from the west mumsy on a constant basis in order to keep the merchandise level up the week so we will use at that point a whole cart of approximately the about. Thirty thousand dollars worth of merchandise. When everybody. Checks in. This is how they check in here right. With our time card machines. They get their T-shirts in their caps. And then they are ready to go to work outside. Her head. And after over here this is our strip operation where they're going to weigh all the script that comes out of the sun script comes in and bags are picked up each hour. And that way we find out

instantly if we have a problem anywhere. So in case some game is not giving away enough merchandise because someone made a mistake we all instantly or. Maybe the other is true. But this is how we do it with these electronic scales. We have a problem in that the places we operate at you know no school is a is a great example. These fields are not going to new bigger. There's no more room there's more space and I think as a population the state grows we're getting. A bigger. Crowd. So our problem is how do we. How do we really entertain these people why do we. Not strictly from our point of view. Of making money. Also from the point of view of service in the public. If you come down here with your children in the stand for two hours and try to write. If you live you can't. Because the lines are too long and so. You're perfect we are in a way it's a disservice to the general public. So.

The answer. Is it takes the same space that we have. Man. Had these bigger I. Have greater capacity. Greater capability in life. And therefore a. Better. Service for the public. In the same space. And I think that's. That's one of our real motive. The main. Goal in the future. To do the. Tour. And to see if we can afford it. Here's probably the most important aspect. Of our business. First of all you know we're wrong this is a very big small community. Saw for a safety problem. That would. You know. Be terribly DECA medal to. The other point of view of. The survey or the real serious problems for our business with all of our enthusiasm for the business.

Is that our insurance costs are just. Escalating. Beyond. Our. Fondest. Expectation we just never expected insurance to do it's doing today. Yes a real concern to us. We're driven I think of what drives our companies were interested drive myself drive by. My wife. The people who work for us as we know were out there trying to try to make the make a buck for this operation trying to make it financially successful. But at the same time we're trying to bring exciting amusement to the general public. And I think you know I think we're feeling pretty good about what we're doing right now. Hoping that we can really. Go forward from here. Contemporary entertainment is highly visual elements must be

mobilized before action begins. Among the first of the illustrations. Besides the usual a company of actors directors producers cameramen and technicians. A film production can require the talents of a special kind of artist. First of all it's a way of his allies. Why don't you just go out and build an empire state interest. Well because you have to start a new stage in stages. Live pictures first so that we can. In two dimensions seem to have the most like. An artist usually draws before hand all of the scenes and what the sets were quite in what costumes may look like and what the answers or effects shots may look like but its all. Conceived on paper first. Only resident run Croce is a production illustrator for the movies. And it helps a directors can see even present a visual concept for their film.

I'm just like his wrist and I sketch as a secretary might take shorthand and we talked and we find ideas with each other in order to improve on it I might say now why don't we do this and I don't know I don't know not that he knew me. So it's a communications arc. Next Brodie turns the sketches into a sequential series of stories. These images will give the crew a comprehensive idea of how each scene is to appear so that when you get there in the morning and it's six o'clock and it's great and all the cameras everybody knows what the day's work well until the. Film can require up to twenty four hundred stories. Every time the camera. Or the film cuts to something else to sketch first. This book holds one fifth. Of that number. Each storyboard is complete with arrows indicating camera zooms and other directions the director wants to make.

Let me show you an example here one of these storyboards. Now this is a world war two kind of film or going on here and there's a man named Martin. And he's looking at this man named Jack So we have seen one twenty number seven a telephoto. Shot of Jack. From Martin's point of view. Then we look at Martin's face. So number eight they're cut back to the same shot of Martin then. The next scene one 21 one we cut to a snowy and muddy. Then. We cut to soldiers arriving at the opening in the stone gate to see how we're telling the story here and it progresses. But every shot is drawn in. First. The storyboard is like chopping wood it's page after page after page and it's really exhausting. But the big

illustrations are kind of like you're more of an artist with your ease all in your paint brushes and good feeling. In his career as a production illustrator Croce has worked on major movies such as gremlins and the Blues Brothers Star Trek risky business and Ghostbusters. When the movie the first film of Star Trek came out. We were experimenting with different ideas what does the interior of the unknown creature look like. So when you go in there you see stuff and what do you see. You might see something like this right here which is. Nothing that was ever used but it was an idea of something that grew and so forth. Floating around doing something who knows. The idea there was just a Draw series of things we had never seen before. Gucci recently worked on a new television commercial for a local savings and loan company. Is

sentiment was to create a space ship setting just because of costs. The decision was to go with the special effect instead of building an actual set. So the first thing we start doing is we just think well what would it be like. To look like and where would they be. Now the idea is is there a monitor in front of the spaceship that looks like this and does the bat come here with the monitor here or. Is it something like a wall is back here. And we have a monitor which we can see what's going on outside and instrument panels and then we have a panel here with monitors for them to look at and so they might stand just like this. And then I don't know I think maybe she should sit they should sit and she should be in front of them. So we'll go on to another little thumbnail sketch and we'll have them sitting like this. OK now I know the

monitor wants to be behind her. Head like this. Now on this monitor we're going to see an asteroid Starfield coming into view. Now one of the things this does is detract. From the fact that this is a painting using this monitor. So let's have a council in front and they're sitting on some chairs like this. OK we know that and let's have the corner of the room back like. This and have instrument panels like. That. Croce rendered to paintings to be used as background and foreground for the actors. This represents their spaceship and you see little holes here which there is lights behind it which give it a three dimensional effect to add to the painting with the lights and this blue part here is the screen which has the asteroid belt

flying by and our actress sister right in front with her head there so that your attention is on this not so much as on the painting. Placing these paintings realistically into the final production is done by the Met process in films and by a chroma key in television. The bright blue background is electronically eliminated and other video with the actors is substituted. The director brings together the elements to create on tape but initially had visualised with pencil and paper. And a touch of the truck to. Tell me again what are we doing here now. You said you needed more space for content not space. I need more room in my home. Didn't we don't have to be here. One of those long lost mortgage loans from American savings would have done fine. Or you could have just called about a home improvement loan on the 24 hour mortgage rate hotline.

Well anyone magination that goes into making all the various kinds of movies you. You have work to do on them it's like if you were just an artist sitting up in your studio somewhere drawing pictures you do the same way all the time and pretty soon you know it's like the same material but in and being an artist for film work you draw the underwater Citadel or the space ship or the mom frying eggs in the morning. You know what lies in the windward title proveable what these men do. They search for the brittle stuff not food for men but they were parrots. Thousand.

Thousand. Thousand. Or. So. It's always a good. Thing you. Know that you don't.

Look at something like that without you know. Children or not knowing their abilities. But the guiding hand of an elder helps lead the way to accomplishment even through disadvantages. Right. Our. Hearts. And minds. You're. Right. Right. Right. Right. I'm. On. My. Own. Was. Just a. Very special arts what it is a new three day Arts Festival invites artists to share their skills. With a headache a.

Little. Wrong on. Having overhauled hundred children every year. A. K. Class. Charlie who. Is the director of a very special arts. Which is a local chapter of a national program. Many children with disabilities had no art in their ed curriculum so the Kennedy Foundation gave a small grant to create a national organization which is now an affiliate of the John Kennedy Center in Washington D.C. and has grown from one our program to. Program serving over 500000 children across the nation. Now. Yes.

You. Love. Me a little. But. Eat right. It is a one day celebration but it's also an inspiration to demonstrate to teachers that the arts are a valuable learning resource for the kids and that we want to focus in on their talents and their creativity. Hopefully the teachers will carry through some of the ideas. From the festival and continue it throughout the year. The. Golden. Rice. And

beans and you. Bring. To. You. You. May eat. Meat. From. A. Visiting craft women are eager to lend their services. They're the ones who send back the form yes we can all be doing that. And they pick. Their own. I

am. Now Arlene Helen gir is the assistant director of a very special arts what 300 people a day. Obviously as you can tell I couldn't turn anyone away. We had over 400 scheduled to come down today to the festival. I. Needed you or at 9am. My feet. I. Just feel you should be. Very neat right now. The. Discussion. Was. Spot on. He had been wanting you to meet with you yet he asked to hold.

Your feet. And arts what he brings art is too many social service programs such as what you stay house with. But what Youth Correctional Facility and even nursing care homes for the elderly. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

And that you. Still treat. Your. Nice. So you. Can. Feel like I. Can just. Just. To. Just. Look at you.

That's. Why. We. Have to go. Around the Sun and. Choose not to. Spectrum was funded in part by grants from the people of Chevron in Hawaii and the Hawaii State foundation on culture and the arts.