the UH Music Department is part of O ahu, Kailua , Honolulu , Manoa , University of Hawaii Manoa .

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Tahitian Dance at UH Pau Hana
Made by toranosuke
I love the colorful wrap skirts. Nothing too fancy, nothing too formal.. just having a good time. One thing I am curious about, though, would be to ask someone heavily involved in hula, how hula has changed since the days decades ago, or a century ago, when it was at the center of the Western Orientalist perception of Hawaii as an exotic place full of exotic and sexy women who perform this sensual dance. I sit here, in this post-colonialist world, watching girls whose teacher is strongly dedicated to respecting her own heritage and fighting Orientalist representations, and I see a dance that, so far as I know, is exactly the same as the dance that enthralled men decades or centuries ago. It's exotic, it's sexy, it's sensual. When it comes to geisha dances, there's very blatantly two kinds of geisha dances - the real, genuine, traditional kind, for which one must really acquire a considerable degree of cultural literacy and historical understanding in order to appreciate it, and then there's the kind of geisha girl dances that prostitutes danced during the Occupation period, sexy, risque dances that lured the American GIs in, and which real geisha truly dedicated to their profession wouldn't dream of dancing. Where does hula fit in? Surely hula is aware of its extremely sexy, sensual aesthetic - that's not an Orientalist label or view placed upon it, it's just fact, the way the hips sway, the way the girls wear relatively little, the way they smile and hoot and holler as they shake their hips - what is the hula tradition doing to regain a respect-worthy, high art position? Or does it not care? Maybe hula is basically saying this is what I am, and *you* need to change your attitudes and perceptions.


Tahitian Dance at UH Pau Hana
Made by toranosuke
I loved the other dance troupes' performances... the Nihon buyô, the Okinawan dance, the Korean dance, but the Pacific dances always seem to have a laid-back happy kind of energy that these other traditions don't have. I think it comes from the fact that many cultures distinguish between (formal) traditional dance and more contemporary or less formal dance forms. In Okinawa, there's the kachashii, a very open-ended sort of dance in which you basically just swing your hands back and forth in the air, and do nothing too particular with the rest of your body or your feet, and then on the other hand, there's formal Ryûkyû udui, which was developed and performed for special court events. I don't know if people today in Hawaii dance hula just for fun, in the backyard, at a barbeque, but it sort of seems like it has that kind of laid-back quality to it. The tradition has adopted something perhaps once more formal into a popular art form, while at the same time teaching this popular art form as a formal part of the tradition.


Listening to Sensei
Made by toranosuke
Wow, it feels so long ago that we were in the Music Building rehearsing... and that was only a month or two ago. This photo was taken way back in September, when we were still months away from casting, and were only first starting to learn Movement and Voice. Everyone looks so beautiful (or handsome, as the case may be) and colorful in their yukata! I actually grew rather used to associating people with their yukata, since we always wore the same ones - the same color, same pattern - so I do kind of miss them in a way. I remember taking this photo and feeling like we'd already been at this for a long time... but looking at the date, that was hardly the case. Yes, we had class three times a week, for a good 2 1/2 or 3 hours each time, if you count both voice and movement together. But, even so, this was only, what, week three or four?


Tahitian Dance at UH Pau Hana
Made by toranosuke
Here's the one opportunity to take pictures of performances - hey, no one said no photography! - and I bollux it up by accidentally flipping the tiny switch on my camera's memory stick to Locked. So, I didn't get any photos of any of the day's events, except the Tahitian dances, when I was finally close enough and had a good enough view to use the iPhone.


Untitled
Made by University of Hawaii Museum
Frank M. Moore, 1919. Three murals salvaged from the demolished Blaisdell Hotel depict Diamond Head, incoming waves and O'ahu's south shore. (Walk to the back of the library for the third mural.) Law School Library (M-Th 8 a.m -11 p.m., F 8-7, Sa 9-7, Su 10-11)


Gagaku Concert
Made by wertheim
Rev. Kazunari Kubo / Tsu Garyokai (from Mie-ken, Japan) is welcomed by Hawai’i Gagaku Kenkyukai director Rev. Masatoshi Shamoto (UH Manoa Lecturer)


Neumes o Hawai`i
Made by University of Hawaii Museum
Suzi Pleyte Horan, 1976. Ceramic tile bench and planter invite visitors to examine incised petroglyphic images. Commissioned by the State Foundation of Culture and the Arts in accordance with the Art in State Buildings Law.


Sumotori (Sumo Wrestler)
Made by University of Hawaii Museum
Greg Clurman, 1975. Marble sculpture conveys the massiveness of a sumo wrestler. Music Building Courtyard. Commissioned by the State Foundation of Culture and the Arts in accordance with the Art in State Buildings Law.


warming up from the corners of the earth
Made by Sudachi
A council of shō are in a warm up session over an electric heater as their players from all corners of the earth twirl them gently.


Untitled
Made by University of Hawaii Museum
Murray Turnbull, 1959. Cast concrete bas reliefs create the facade of the building. Music Building.


Gagaku Concert: Stage Left
Made by wertheim
Tsu Garyokai / Hawai’i Gagaku Kenkyukai


Da Gecko
Made by daferret808
iPhone 4 camera test


UH Composition faculty
Made by Thomas Osborne
4 generations