With the arrival of the new fiscal year and a new four-year NRC grant to manage, we would like to take a moment to salute our outgoing director, Barbara Watson Andaya, for her seven years of service to the Center for Southeast Asian Studies.

During her tenure as director, Barbara oversaw a seismic shift in Center development as we moved into the digital age. Barbara’s vision of our mission has always been to create a place that is truly a “national” resource for the study of Southeast Asia. With the renewal of our four-year grant, we believe that our efforts under Barbara’s leadership kept us on point toward that goal despite increasingly difficult fiscal times. Those of us who work with Barbara on a daily basis marvel at her amazing energy and willingness to roll up her sleeves to get something done. What is truly remarkable is that she continued to publish and present her academic work, served on every imaginable committee, and still looked after the welfare of her students as one of her top priorities as an educator. We hope Barbara will enjoy the new found free time, but knowing her, she will find more activities to do to fill those rare moments.

As we continue this transition in leadership, we welcome Stephen O’Harrow [Professor of Vietnamese, Dept. of Indo Pacific Languages & Literatures] back to the director’s office. This will be Steve’s second tour of duty as center director. In the new grant, he has initiated an ambitious set of programs to be carried out over the next four years, and we look forward to working with him to bring them to fruition.

A 35th Anniversary Presentation Featuring Dances Created and Performed by Garrett Kam
Wednesday, 21 July at 5:00 pm at Earl Ernst Lab Theatre, Kennedy Theatre, University of Hawaiʻi at Mānoa, Honolulu, HI
Free admission

In 1975, an art student at the University of Hawai’i began studying Javanese dance.
Thirty-five years later he shares his choreographies that reflect his life.

Puspayoga (2006; 13 minutes)
Based on Javanese classical dance in the Yogyakarta style, this refined male solo honors all teachers past, present and future. It was inspired by a supernatural visit in Bali from Garrett’s late dance teacher, Sasminta Mardawa, at the exact moment of the earthquake on 27 May 2006 that devastated Yogyakarta. The solo song warns about being boastful from acquiring knowledge and advises to listen to the inner voice for guidance. The title means ‘Blossoming Meditation’ with Javanese vocal and gamelan music from the sultan’s palace in Yogyakarta.

costume change interlude (“Hamachijuyaa” played by Gamelan Sanga, Okinawa)

Oki-Jawa Journeys (2007 and 2008; 14 minutes)
Inspired by historical and cultural links between Okinawa and Java, these three dances blend movements from these two islands. “Hi, Sigh!” is a word play on the Okinawan “Haisai!” (Hello!) and Indonesian slang “Hai, sayang!” (Hey, sweetie!); a Javanese dance scarf is manipulated like an Okinawan flower garland using gentle female style dance. “Eisaa-ruu” blends movements from lively Okinawan eisaa dances done to welcome ancestral spirits with Javanese monkey dance; saaruu in Okinawan means ‘monkey’. “Fan-tasy” uses two fans which are manipulated like a Javanese dance sash and uses refined male movements. The musical pieces are by the groups Hae (Okinawa), Ukwanshin Kabudan (Hawaii), and Banjar Teretai Capung (Bali and Java), with interludes by Singaporean composer Dzul Rabul Jalil and Okinawan pop group Nenes.

costume change interlude (“Ashimizu Bushi” played by Gamelan Sanga, Okinawa)

Wayang Sampur-na (2010; 40 minutes)
In Javanese, sampurna means “ideal, perfect, pure”. A sampur is a long cloth sash used in Javanese dance to accentuate and extend movements. In this wayang (performance), dance sashes are used in different ways for presenting some of the most important scenes from the Ramayana, the eternal epic of devotion, separation and reunion. Masks and puppets of characters are created on stage with different colored sampur, animated and then pulled apart as the story unfolds with short narration between episodes. Mostly danced in the Javanese court style from Yogyakarta with some new interpretations, the performance includes elements from other parts of Indonesia (Bali and West Java), Okinawa, Taiwan, Cambodia, Thailand, Burma, India and Sri Lanka, as well as some improvisation and contemporary movements. This also is an autobiographical work of places visited and cultures studied by Garrett since 1975. A short Javanese dance introduces the four major character court styles of ogre king Ravana, monkey warrior Hanuman, refined hero Rama, and princess Sita. Narrative scenes are danced to traditional Javanese and Balinese melodies arranged for Western instruments by Canadian ethnomusicologist Colin McPhee, with opening and closing scenes using Asian inspired film music by Australian composer Elizabeth Drake.

GARRETT KAM was born in Hawaii but has lived in Southeast Asia for nearly 25 years, mostly in Java and Bali. He received his bachelor’s degree in Textiles and Asian Art History in 1976, and his master’s degree in Southeast Asian History and Asian Theatre in 1987 as an East-West Center Grantee (Institute of Culture and Communication, 1985-1987) from the University of Hawai’i. Garrett studied Javanese dance from 1975 to 1979 at the University of Hawai’i, and from 1979 to 1982 learned under master court teachers of the sultan’s palace in Yogyakarta, especially Sasminta Mardawa (KRT Sasmintadipura), Raden Sunartomo and Bambang Pudjasworo. Garrett was the first non-Javanese to regularly perform in the professional group of Mardawa Budaya and Pamulangan Beksa Ngayogyakarta schools of court dance and had his own troupe in Hawaii. As a Fulbright Grantee from 1987 to 1988, Garrett researched ritual in Bali where he has resided since then and is curator of the Neka Art Museum. He also serves as the only non-Balinese ritual assistant and offerings maker at one of the island’s most important Hindu-Buddhist temples.

Garrett has taught and performed Javanese dance in Hawaii at the University of Hawai’i, East-West Center, Mamiya Theatre, Leeward Community College, Kapi’olani Community College, Bishop Museum and Lyman House Museum; University of Michigan at Ann Arbor, Center for World Music at California Institute of the Arts in San Diego and the University of California at Los Angeles (UCLA), Lewis and Clark College in Oregon, Dartmouth College in New Hampshire; in Thailand at Chulalongkorn University, The Joe Louis Traditional Thai Puppet Theatre, The Siam Society, The James H.W. Thompson Foundation and Patravadi Theatre; in Cambodia at the Royal University of Fine Arts, Sovanna Phum Khmer Art Association and The Khmer Arts Theatre; in Japan at Okinawa Christian University, Okinawa Prefecture University of the Fine Arts and Meio University; in Korea at the National Centre for Traditional Korean Performing Arts in Busan; in Indonesia at Pondok Pekak Art Center and Setia Darma House of Masks and Puppets in Bali, and The Japan Foundation in Jakarta; in Singapore at the Chinese Opera Institute, Asian Civilisations Museum, Singapore Art Museum, Peranakan Museum, LaSalle-SIA College of the Arts, National Institute of Education at Nanyang Technological University, Centre for the Arts at the National University of Singapore, Nanyang Academy of Fine Arts, Maya Dance Theatre and Esplanade Theatres; in Taiwan at the Asian Cultural Council of Taipei and Lin Liu-Hsin Puppet Theatre Museum; and in Sri Lanka at the University of Peradeniya in Kandy.
In addition to arranging and choreographing Javanese court dances, Garrett also performs Okinawan dance which he studied from 1982 to 1987 in Hawaii. In 2007 he created a blend of it with Javanese dance called “Oki-Jawa” to show the historical links and similarities between the two cultures which he has presented in Singapore, Hawaii, Okinawa and Indonesia. As a Rockefeller Grantee, he collaborated with dancers and musicians from different countries for the Asia Pacific Performance Exchange program at UCLA in 2000, and served as cultural advisor for UCLA’s Art of Rice Traveling Theatre in 2002 and 2003. “Wayang Sampur-na” is his latest work created in 2010 using masks and puppets made from Javanese dance sashes with performance elements of different traditions. Garrett has also authored many books, articles and catalogs mostly on Southeast Asian visual and performing arts. His Ramayana in the Arts of Asia (Select Books, Singapore; Asia Books, Bangkok, 2000) is the most comprehensive and complete illustrated survey of the diverse literary, performing and artistic traditions of this epic. In addition, Garrett has served as curator and organizer for art exhibitions in Indonesia, the USA, Japan, Australia and Singapore. He has assisted with several UNESCO Intangible Cultural Heritage projects and a dance education program in Yogyakarta.

This course represents part four of the Southeast Asian Cinema courses, alongside Cinema of Southeast Asia, Cinema of Thailand, and Cinema of Indonesia. The instructor has provided a course summary and list of selected readings; the complete syllabus (with readings, films, etc.) will be available closer to the start of the fall semester.

Course information | Instructor: S. O’Harrow | Thursdays 12:00 – 2:45 p.m. | 3 credits | syllabus

Anon., n.d., “South Vietnamese actress Kieu Chinh – a short bio-filmography”

Corrigan, Timothy, 1998, A Short Guide to Writing about Film –
-Ch. 3 Topics & Terms
-Ch. 4 Writing about Film

Do, Tess, 2006, “Bar girls and Street Cinderella: Women, Sex and Prostitution in Le Hoang’s Commercial films”

Doherty, Thomas, 2010, “The Death of Film Criticism”

Greene, Graham, 1955, The Quiet American

Hamilton, Annette, 2009, “Renovated: Gender and Cinema in Contemporary Vietnam”

Harris, Jack, 2005, “Nostalgia for the Countryside, directed by Dang Nhat Minh”

Nam Cao, 1941, Chí Phèo

Nam Cao, 1943, Old Hac

Ngo Phuong Lan, 2007, Modernity and Nationality in Vietnamese Cinema – Appendix I: Vietnamese Film: a brief history

Nguyen Huy Thiep, 1989?, Nostalgia for the Countryside Phillips, Richard & James Steffin, n.d., “The Quiet American as film – two views”

Westrup, Laurel, 2006, “Toward a New Canon: The Vietnamese Conflict Through Vietnamese Lenses”

Effective 15 June 2010

The following procedural and policy changes for ILL Loans are an effort to streamline our ILL loan pick-up work flow and the Circulation Counter holds pick-up work flow:

Patrons will receive two email notifications when loan item is available:
1. Normal ILLiad notice that loan is available for pick up
2. 2nd Voyager Item-Available Notice as a HOLD request

There are three main changes:
1. Loan items will be on HOLD for 10 days at the Circulation Counter
2. If the item is NOT picked up within 10 days, then item may be pulled and returned to the lending library
3. Upon pick up, the items will be then charged to the patron’s Voyager account for a 28-day loan period.

Please see the following table for a comparision between new and old policies/procedures:

Loan Item Status
New Procedure/Policy
Old Procedure/Policy
Available for Pick-up from Circulation Counter
On HOLD for 10 days*

*After Hold expires, item may be returned to lending library
CHARGED to patron’s Voyager account until lender’s due date
Charged Out to Patron
CHARGED upon Pick-Up

Initial loan period: 28-days with possibility of renewal
CHARGED upon initial notice

Loan period: set by lender
Renewals
For lending libraries with long loan periods, renewal will be granted by the ILL staff upon patron request

Shorter loan renewals will available at discretion of lender upon patron renewal request
Available at discretion of lender

Change to HOLD then CHARGE OUT makes the process align with current Circulation practices for items on hold, including the 10 day hold period.

Change to 28-day initial loan period allows the process to be streamlined in the current Circulation Counter practices (i.e., charging books upon pick-up from Hold).

Initial loan period change to 28-days will make some ILL loans longer than the lender’s due date, and shorter for other lenders. The benefit will be a standard loan period for the ILL patron (a guaranteed 28-day minimum). If the lender has granted a longer initial loan period, the ILL staff will extend the loan upon renewal request from the patron.

Renewals may be continued to be requested via the ILLiad ILL system, email, or via phone (6-8568).

“For example, we are encouraging our National Resource Centers to strengthen ties with partner institutions in areas of the world with substantial Muslim populations. We will support and help build on innovative education efforts like the University of Hawaii’s Muslim Societies in Asia and the Pacific program”

U.S. Department of Education Secretary Arne Duncan, to Council on Foreign Relations on “International Engagement Through Education” (26 May 2010)

full speech

These series of classes are designed for those of you who are interested in learning proper cooking or baking techniques and skills. Classes are held in the culinary arts laboratories and lecture rooms at Kapi’olani Community College.

Thai food is amazing! The incredible aromas and flavors that come from balancing ingredients like lemon grass, kaffir lime, coconut milk, chilies and spicy curry will lift your taste buds to new heights! And believe it or not, it’s easier than you think to cook. In this class, you’ll try your hand at another classic Thai menu. We’ll be making a thick rice noodle stir fry, Thai beef salad, crispy fish with a chili basil sauce and black sticky rice for dessert.

Dress code: As a safety precaution, participants in all culinary classes are encouraged to wear covered, non-slip shoes (e.g. tennis shoes) and comfortable long pants. Aprons or any other personal items may also be brought to class. The college, however, will not be held responsible, if such items are lost or stolen.

Sign-up: Call the registrar’s office at 734-9211, 8-4, M-F, or fax registration form to: 734-9447. | download registration form

Course Information: 8:00am-12:00pm, Saturday, 29 May 2010; fee: $68

Yuphaphann Hoonchamlong is an associate professor of Thai who coordinates the Thai program drawing upon her 20-year experience teaching Thai as a foreign language. She has a PhD in Linguistics from the University of Wisconsin-Madison. She is no stranger to the University of Hawai‘i where she received her Master’s degree in Linguistics. Before coming to Hawai‘i, she taught Linguistics at Thammasat University in Thailand. In accord with the University’s mission of positioning itself as a distinguished resource and leading institution in Asia-Pacific affairs, Hoonchamlong hopes that the Thai program will gain international recognition for its language instruction, as well as for its cultural teachings, which are invaluable for communicative proficiency. To achieve this goal, she is determined to develop effective instructional materials and employ innovative instructional methodology; attract more students and increase community access to the Thai program; strengthen the relationship between students and the local Thai communities/businesses; and increase collaboration between other relevant departments and schools at UH.

Aloha UHM CSEAS Students! The Fall 2010 Course Schedule is now available. For SEA-related courses, download the CSEAS Course List.

Explore Balinese music through hands-on experience with the different instruments in a Gamelan ensemble. Practical experience is complemented by explanations of the performing arts and their role in Balinese society. Gain cultural awareness as you discover how the music and the dance of Bali work together. No musical background is required.
Course Information: Jun 2-Jul 14 • Wed/Mon • 5:30-6:20pm • 12 mtgs • No class Jul 5 • Location TBA (Please check later for room assignment) • $95

Please register by no later than May 27, 2010
Call 808•956•8400 or go to www.outreach.hawaii.edu/noncredit today

I Made Widana, BA in Balinese Traditional Music, has taught Balinese Gamelan music to students from Japan, the United States, Canada, the Netherlands, and England since 1996. Widana started learning traditional music and dance with his family as a child. He later received formal training at KOKAR, the performing arts high school in Sukawati, Bali and then received his BA in traditional music at the Arts Institute in Denpasar, Bali. As a musician in a performing arts ensemble, Widana has participated in tours to the US, Japan, and Europe. When in Bali, Widana teaches traditional gamelan music in villages, formal music studios, and dance studios. Since taking up residency in Honolulu, Widana has begun exposing local students and audiences to Balinese Gamelan music.

Anna Reynolds received her BA in Music composition from San Francisco State University and MA in Asian Studies from the University of Hawai‘i at Manoa. She will begin her doctorate in Asian Theatre with a focus on Southeast Asian performing arts at the University of Hawai‘i in Fall 2010. She has been passionate about Balinese culture and performing arts since residing in Bali to undertake intensive study of Balinese music and dance in 2003.