The East-West Center Arts Program in Exhibition: February 2—May 17, 2020 cooperation with the University of Hawai‘i East-West Center Gallery, Honolulu, Hawai‘i at Mānoa, Music Department presents

Curators: Annie Reynolds, Kirk Sullivan, Eric Chang

Musical Instruments Consultants: Ricardo D. Trimillos, Lynn Martin, Michael Schuster Sounds of the Installation Design: Lynne Najita Asia Pacific

herself surrounded by musical cultures from across Asia and the Pacific. Her exploration into those musics led her to begin acquiring instruments from non-Western musical traditions and establish a graduate program in Ethnomusicology in 1960. By 1970, the instrument collection had become so large that a catalog of instruments was established. Through the years, instruments have been donated by ethnomusicologists, graduate students who traveled to carry out studies and fieldwork, visiting performers who preferred to leave their instruments rather than ship them home, and others who have donated family heirlooms. The East-West Center has showcased many of the Music Department’s Asia Pacific ensembles and performers from the region. Many of the instruments displayed reflect performances presented by EWC or locally-based ensembles. Others

Zakir Hussain performs Indian tabla presented by EWC, 2019. Photographer: Eric Chang. Instrument above: , India are highlighted as unique and notable for their beautiful craftsmanship, history, or an his exhibition features Asia Pacific collection are used in the various musical interesting element of charm or surprise. T musical instruments from the Ethno - ensembles at the university including This exhibition also features musicology Instrument Collection at the Indonesian (traditional ensemble costumes, masks, other performing University of Hawai‘i at Mānoa, Music comprised primarily of metallophones arts materials, photographs, sound Department. The collection has been and ) and Japanese gagaku examples, and video to assist in acquired over the past 70 years, initially (ancient court music), as well as understanding the fuller cultural context established by Professor Barbara B. Hawaiian and Tahitian dance, of the instruments. Music in the Asia Smith, and continues today under the (Japanese zither), Chinese, Korean, Pacific region is closely associated supervision of Professor Ricardo D. Okinawan, and Philippine ensembles. with dance, theatre, and/or other Trimillos. This collection is an invaluable The collection is comprised of nearly cultural practices and this exhibition resource for the community because 2,500 instruments from across the globe. underscores these relationships. the instruments are meant to be utilized Professor Barbara Smith first came The instruments are displayed in rather than to be displayed as museum to Hawai‘i in 1949 intending to teach three sections: Pacific Islands, East pieces. Many of the instruments in the Western classical music but found Asia, and South & Southeast Asia.

East Asia This exhibition features instruments from China, , Korea, and Okinawa. Much of the music of East Asia is associated with highly-stylized theatrical traditions. Some music has its roots in royal courts while other music accompanies communal dances. The Chinese yangqin, also known as the “butterfly harp,” is played with two small

Kumu hula sisters Pualani Kanaka‘ole Kanahele and Nalani Kanaka‘ole. Photographer: Lynn Martin. elongated hammers, like the hammer Photo courtesy of the State Foundation on Culture and the Arts and Hawai‘i State Archives dulcimer. The music of the butterfly harp accompanies vocal music, chamber REGIONS music, and various Chinese theatre traditions. The Korean changgo is a

Pacific Islands double-headed hourglass-shaped drum The Hawaiian that is used in various performance This exhibition features pahu drum commonly genres. In some traditional styles, instruments from accompanies the the dancers themselves drum while Aotearoa (New most sacred mele dancing. The buk drum is used Zealand), Australia, hula dances to accompany unique p’ansori dramatic Cook Islands, Hawai‘i, in Hawaiian epic storytelling performances. Papua New Guinea, performances. In Japan the drums Solomon Islands, Tahiti, The pahu are used for a wide variety of and Vanuatu. The Pacific is a single- performances, from traditional Islands, headed kabuki theatre to energetic as linked drum choreographed stage shows regionally, and the to accompaniment for communal, are drum- seasonal bon odori festival dances. comprised head on The is a plucked three- of diverse the pahu featured in string and is the iconic island this exhibition is made instrument of Okinawan nations of of sharkskin. In Tahitian performance traditions. great cultural music the to‘ere is the Musicians often play the variety that finely-crafted slit log sanshin to accompany span a vast drum made from hollowed themselves in song. geographical area. out branches or tree trunks. The The instruments tend The to‘ere is primarily used to body to be made of natural accompany dance but secondarily of the materials such as wood, used to call meetings in the Okinawan bamboo, gourds, seeds, community. Panpipes are sanshin is shells, and various iconic to the Solomon Islands. covered with animal skins. Voice and Panpipes are commonly made of snakeskin. rhythm are essential bamboo and range in various sizes. to music of the Pacific Some are blown into to produce Instruments Islands and in many sound; larger ones are struck on clockwise from far left: contexts the music’s one open end, using materials such kundu drum, Papua New Guinea; primary function is to as rubber slippers as mallets to pahu drum, Hawai‘i; sogo drum, Korea; accompany dance. create a unique sound. sanshin, Okinawa

South & Southeast Asia This exhibition features instruments from Burma (Myanmar), India, , , the Philippines, and Thailand. Across the Southeast Asia region there are various ensembles that are comprised of tuned bronze kettles and various-sized gongs. There is a similarity in instrument form and their geographic distribution is linked with waterways and trade routes. Yet, the context and function of these instruments vary widely from one cultural context to another. Some performances are based in localized animist beliefs or in historical Hindu royal courts while others are based in Islamic culture. The Javanese gamelan ensemble from Indonesia was acquired for the

collection in 1970. While the entire The Family Camarillo Rondalla. Photographer: Tibor Franyo. Photo courtesy of the State Foundation on Culture and the Arts set consists of over thirty and Hawai‘i State Archives. Instruments below, left to right: gabbang, Philippines; , Malaysia instruments, only the gender (metal- associated lophone) and with a mood, (double-headed drum) are time of day, season, displayed in this exhibition. and color. The gender ornaments the This exhibition central melody and the musicians play features a beautifully hand- with two mallets, one in each hand in a crafted sitar which is a large refined technique that involves damping stringed instrument that the sound with the side of the hand as plays ornamented melodies the next bar is struck. The kendang dramatic cues when accompanying in Hindustani music. There player is the leader of the gamelan dance or shadow puppetry performances. are seven primary strings ensemble, signaling tempo and dynamic The musics of India reflect the that are plucked while the changes. The kendang player follows the incredible diversity of the country, sympathetic strings, which ranging from classical to folk traditions. are never touched, resonate Classical music in India is highly to add a richness to the complex. Classical music of Northern sound. The sitar is commonly India is called Hindustani music while combined with the tabla classical music of Southern India is drum pair which provides called Carnatic music. The two primary the rhythm. In training, components of Hindustani music are the tabla rhythms are the raga (melodic system) and the tala vocalized prior to being (rhythmic system). Raga do not just applied to the instrument. specify a scale of notes but often are The tabla are capable of complex rhythms with an extensive vocabulary of striking techniques with individual fingers. Representing folk traditions, the Chhau drum is played to accompany masked dance performances of eastern India. The masks and drums featured in this exhibition were donated to the collection following a Masatoshi Shamoto, Gagakucho for the Hawai‘i Gagaku performance at the Kenkyukai, plays ryuteki, bamboo transverse flute. Photographer: Tibor Franyo. Photo courtesy of the State East-West Center in Foundation on Culture and the Arts and Hawai‘i State Archives. Instrument: yangqin or “butterfly harp,” China the 1980s. The East-West Center promotes better relations and understanding among the people and nations of the United States, Asia, and the Pacific through cooperative study, research, and dialogue. Established by the U.S. Congress in 1960, the Center serves as a resource for information and analysis on critical issues of common concern, bringing people together to exchange views, build expertise, and develop policy options. The Center is an independent, public, nonprofit organization with funding from the U.S. government, and additional support provided by private agencies, individuals, foundations, corporations, and governments in the region. A Korean farmer’s dance performed at the 1993 Waipahu Cultural Garden Park’s Plantation Festival, Honolulu, 1993. The East-West Center Arts Program for Photographer: Lynn Martin. Photo courtesy of the State Foundation on Culture and the Arts and Hawai‘i State Archives nearly 40 years has enriched the community through concerts, exhibitions, and community engagement Special Events | In the EWC Gallery with free admission focused on arts of the Asia Pacific region, and by Guided gallery tours will be offered Sundays at 3:00 p.m. arranging cultural and educational programs by Visit us online for upcoming EWC performing arts event info. artists who are skilled in bridging cultures. Sunday, February 2, 2:00–3:30 p.m. Sunday, April 5, 1:00–3:00 p.m. EWC Arts Team: Karen Knudsen, director, Exhibition Gala Opening including MAKING MUSIC Workshops Office of External Affairs; Eric Chang, arts program reception, gallery walkthrough with the 1–2 p.m. Make your own instrument coordinator; Michael Schuster, curator; Annie curators, and special performances out of repurposed materials

Reynolds, arts program assistant; William Feltz, 2–3 p.m. Learn to play your instrument Sunday, March 1, 2:00–3:00 p.m. adjunct arts specialist; Hunter Kaye, Marina For ages 8 and up. By Benjamin Fairfield, Panel: “India-Hawai‘i Musical George, student assistants PhD, UHM Ethnomusicology Lecturer Connections” by Teri Skillman, PhD, RSVP to [email protected] by March 20 Mahalo: Chiao-Wen Chiang, Benjamin Fairfield, Associate Director, Hawai‘i Arts Alliance; Mary Jo Freshley, Fred Lau, Byong Won Lee, Hae In Sai Bhatawadekar, PhD, Director, UHM Sunday, April 26, 2:00–3:00 p.m. Lee, Lynn Martin, Darin Miyashiro, Byron Moon, Center for South Asian Studies, and UHM Illustrated Talk: “Eo e Lili‘u: Sharing the Jane Freeman Moulin, Nola A. Nahulu, Aaron Sala, Associate Professor; and Nawahineokala‘i Queen's Compositions” by Nola A. Nahulu, Masatoshi Shamoto, Mika Shamoto, Scott Shamoto, Lanzilotti, MFA, composer/performer UHM Music Lecturer in Music and Artistic

Travis Shaver, Sho‘on Shibata, Aaron Singer, Ricardo Director, featuring Choral presentation Sunday, March 29, 2:00–3:00 p.m. D. Trimillos, Desiree Quintero, Wayland Quintero, by Hawai‘i Youth Opera Chorus Ju-Hua Wei, Noenoelani Zuttermeister, Kenny Endo, Illustrated Talk: “Instrument Collection Larry Paxton, UH-Mānoa Music Department, Highlights from the Rest of the World: Sunday, May 3, 2:00–3:00 p.m. Jonathan Johnson, Hawai‘i State Foundation on Africa, Europe and the Americas” Illustrated Talk: “Original Heavy Metal Culture and the Arts, Adam Jansen, Hawai‘i State by Kirk Sullivan, PhD Candidate, Music-Making & Dancing from Sagada, UHM Ethnomusicology Northern Philippines” by Wayland Archives, Lynne Najita, Kennedy & Preiss Graphic Design, Leilani Ng, Colorprints Inc., Burton White, Quintero, PhD, UH-Hilo Lecturer and Desiree Quintero, PhD, UHM Dance Lecturer Shayne Hasegawa, Derek Ferrar, Phyllis Tabusa, Lucy Kamealoha, Deanna O’Brien, Dana Almodova, Sunday, May 17, 2:00–3:00 p.m. Melanie Keller, Tina Tom, Patsy Hiraoka, Marie Panel: “The Legacy of Barbara B. Smith Ebesu, Jody Huckaby, Jennifer Leger, Reynold for Hawai‘i” moderated by Ricardo D. Balintec, EWC Facilities Management Trimillos, PhD, UHM Professor Emeritus in Asian Studies and Ethnomusicology This exhibition is dedicated to Professor Barbara B. Smith as part of the year-long Instrument: gender, Java, Indonesia celebration of her 100th birthday. East-West Center Gallery John A. Burns Hall, 1601 East-West Road (corner Dole St. & East-West Rd.) Gallery admission is free Hours: Open Weekdays 8:00 a.m.–5:00 p.m. and Sundays Noon–4:00 p.m. The EWC Arts Program is supported in part Closed Saturdays and February 16, 17, April 12 by The Hawai‘i Pacific Rim Society Hideo Parking on the UH Mānoa campus is normally Murakami Fund for the Arts, Friends of free and ample on Sundays. Hawai‘i Charities, Barbara B. Smith, Richard Free school & group tours available. H. Cox, Jean E. Rolles, EWC Arts ‘Ohana members, Jackie Chan Foundation USA, For further information: 944-7177 The Arthur Goodfriend Intercultural Fund, [email protected] and other generous donors. http://arts.EastWestCenter.org Professor Barbara B. Smith dances in a traditional Korean hanbok dress with performers from Jindo Island, Ohwhan Cho (right) and Find us on Facebook Mikyong Go (left), September 2012. Photographer: Linda Adamson Printed with soy based inks on recycled paper and Instagram: EWC_arts