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Assisted Community Treatment

INSIGHTS ON PBS HAWAIʻI: Assisted Community Treatment

 

Additions to an existing law are designed to make it easier for state judges to order homeless people with mental illness into treatment. How does the law work, and does it protect civil liberties? Join the discussion on Assisted Community Treatment on INSIGHTS ON PBS HAWAIʻI. You can phone in, or leave us a comment on Facebook or Twitter. INSIGHTS is also streamed live on pbshawaii.org and PBS Hawaiʻi’s Facebook page.

 

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LONG STORY SHORT WITH LESLIE WILCOX
Pam Arciero

 

Hidden beneath the antics of Sesame Street characters, you’ll find a principal puppeteer who hails from ʻĀina Haina in East Honolulu. Pam Arciero has been with the children’s series for nearly 40 years, primarily as Oscar the Grouch’s girlfriend, Grundgetta. Arciero got her start in the Department of Theatre and Dance at the University of Hawaiʻi at Mānoa. There, she joined a summer program in puppetry – one that would change the course of her life.

 

This program will be rebroadcast on Sunday, Nov. 17, at 4:00 pm and 11:30 pm.

 

Pam Arciero Audio

 

Download the Transcript

 

Transcript

 

How would you describe how you were in class?

 

I was kinda the loudmouth.  I mean, I spent a lot of time being told to be quiet.

 

Surprise!

 

And you built on that for your career.

 

I built on that. Yeah; that really made it … you know, it’s—it’s who you are. And really, every puppet is a part of you. You have to find that part of yourself that connects directly to the character in order to make it believable and real.

 

Meet this Honolulu native from ‘Āina Haina who is now a principal puppeteer on Sesame Street… next on Long Story Short.

 

One-on-one engaging conversations with some of Hawaii’s most intriguing people. Long Story Short with Leslie Wilcox.

 

Aloha mai kākou, I’m Leslie Wilcox. The characters of Sesame Street have become iconic staples of children’s programming – but have you ever thought about the people beneath the puppets? One of them, a principal puppeteer of the longtime children’s series, was born and raised in East Honolulu, and she’s my fellow Kalani High School grad – Pam Arciero. For more than three decades, she’s played Oscar the Grouch’s better half — or shall we say, grouchier half? – Grundgetta.

 

What are some of the great moments between Oscar the Grouch and girlfriend—your character—

 

Grundgettta.

 

–Grundgetta?

 

Um, well, we were gonna get married.  That was very exciting.  And then, we thought that uh, getting married would make us happy.  And being grouches, we don’t want to be happy. And so, we decided to call off the wedding at the last minute.  And then—but little did we know that actually, most people are not happily married, and so, we would have been perfectly happy. Who’s not a grouch; right?  There are times when you just a really grouchy.  And she—uh, she—also, she says exactly what she’s thinking at any given time.  You know, so that’s kind of a … in a world where you really do need to be circumspect a lot, you know, not … to offend anybody.  She just says what she’s feeling.  You know.  [GRUNDGETTA VOICE] That’s a hideous outfit.  You know, she’ll just go there.  So …

 

I know you took over that role from someone else.

 

Yeah; Brian Muehl had done it for one year, and I’ve done her now for thirty-four years.  So …

 

Did he give you any advice?  I mean, on how to play this woman grouch?

 

No.

 

He said: You’re—you’re the perfect person for this; you—I’ve seen you be a grouch.  And he handed it to me.

 

Oh, that’s it.

 

Basically.

 

Thank you for mentoring.

 

And I worked with him, yeah, on—on different shows, so he knew, he knew me a little bit.  So, he says: Yeah, it’s totally—y—you do it your way, ‘cause you know her better.

 

And you do other puppets as well.

 

Yeah.

 

Background, and who else?

 

Right.  That’s part of the—there are two skillsets you have to have.  Besides just doing a main puppet and a character, you do have to be able to um, do backgrounds.  And backgrounds are just like every dog, frog, cat, fish, bat; you name it, you get to so that stuff.  And then, there is assisting.  And assisting is actually a pretty major thing, and I actually love assisting.  Because you watch the other performer figure out how to do all these things.  And that is because some of the characters have um, two hands, like Ernie and um, Telly Monster has two hands.  And I consistently have been Telly Monster’s right hand for about 30 years.

 

Is that the important hand?

 

No, not really.  But it’s a balance.  Because your hand is in the head of the puppet, and then, your other hand is here—the left hand, usually.  And then, the right hand comes in, and you have to match and do everything in synchron- synchron- synchronicity with the other character, the other hand.  And it has to look natural.  It can’t look like this hand is doing this.

 

Right.

 

You know, you can’t be talking with this hand so… And movement is so important in puppetry.  In order to get a believable character, you have to break down the movement and take everything you do with the whole body, and do it between your elbow and your fingertips to make it … you believe that this is alive.  And you know, Bert—Bert moves differently than Ernie; right?  Bert’s very stiff when he walks, and Ernie’s kinda lumbering, and cute, and funny.  Um, and so, having a movement background is very great for puppetry, because you are breaking down the movement all the time in your head, and putting it, again, between your wrist and your elbow, and making people believe that Ernie is walking this way, and Bert is walking this way, very stiffly.  So, that analysis, the ability to analyze movement, and then put it into the character, is huge for me.

 

To be a puppeteer at your level, you also have to have lots of physical agility and strength.

 

Yeah; yeah.  We—we keep up.  I mean, when you work—when I first started working, and I first started working with Jim Henson, we did a hundred and ten shows in six months.  So, you were working every single day.  And I remember the first week I started, I was working in New York, and it was cold, and I was gonna get a cab home, and I’d been working all day.  And now, we work eight, ten hours a day with our arm like this, right?  We were walking, try and get a cab, and going… Somebody else, could you hail the cab?  I can’t lift this arm.

 

Oh …

 

I couldn’t do it, ‘cause it literally was that- that challenging.

 

And then, the focus to have everything between your hand and your elbow …

 

Yeah; that’s—it’s directing all your—all your energy—

 

Effort there.

 

Yes, right.  And it has to be alive, and all your acting goes into that little piece.  You know, so it’s—you learn it, and it takes a long time.  Really.  Uh, I—nobody walks in off the street and becomes um, um, a television puppeteer.  You just can’t.  Between the fact that we have three cameras, and—

 

Taking close-ups. 

 

Close-ups, and wide shots, and far shots, and you have to ride those three cameras looking at the monitor.  And the focus of the pup—the reason we do that is, the eyes don’t really see.  So, I’m looking at you right now, but a puppet might not be in the shot, because the eyes are stationary.  So, you have to learn to do that with each camera.  And every camera cut, you have to adjust the focus just enough to be alive, and looking down the barrel of the camera.

 

Right; all those intricacies.

 

So, that just takes time.  It just takes exposure um, to—to the process to being … all the details of what we do, it’s very, very—

 

Well, it also doesn’t look physically comfortable when we see you— I mean, and you’re right up against other puppeteers.

 

Right.  If you’re comfortable, you’re doing it wrong, is the rule of thumb [CHUCKLE] that we have among the puppeteers.

 

And yet, you love the work.

 

Oh, I love the work.  Uh, there’s nothing I’d rather do.

 

When you work with your gang on Sesame Street, everybody knows you’re from Hawai‘i, even though you haven’t lived here for many years.

 

Yeah; yeah.

 

But you certainly visit.

 

Yeah; uh-huh.

 

But how do they know?

 

Well, I often have a flower in my hair, and I—I often dress in Hawaiian clothes.  In the middle of winter, you’ll see me in a Hawaiian print shirt with, you know, sweater underneath, and tights, and … And I kinda talk about it a lot.  And sometimes, I’ll slip into a Hawaiian accent—you know, I’ll do a Pidgin accent when they’re giving me a hard time. Eh, what; I owe you money?

 

And you also created a character who speaks Pidgin.

 

Yes, I did.  Um, we had an outreach kind of Baby Muppets series.  And um, so it was Baby Big Bird, and Baby Cookie Monster, and Baby Abby Cadabby—different ones.  So, I played Auntie Nani, Big Bird’s auntie who took care of him as a baby bird.

That was very exciting, and I was able to push that Hawaiian influence in.  ‘Cause then they said: Well, maybe we’ll go Jamaican.  And I go: Well, you gotta get a Jamaican person, because I can’t do that one, for sure.  But they liked the idea that he was from Hawai‘i.

 

Nobody around you could really relate to the dialect, right?

 

Not too much.  But they could understand it.  That’s the advantage to Pidgin; it’s quite understandable.

 

M-hm.

 

Jamaican Patois—‘cause I worked in Jamaica a fair amount, is almost—if they speak quickly, you will just not—you can’t believe it’s even English, ‘cause it is so fast.  And so, they also do much more in-words; you know, words that only they understand.  But Pidgin is pretty understandable, by most—

 

And that was the whole point, right, in the plantation days, so that everybody could understand each other.

 

Each other; right.  So, that was the basis for it.

 

 

It was here in Hawai‘i where Pam Arciero, a creative since childhood, got her first taste of puppetry, at the University of Hawai‘i at Mānoa… and caught the attention of a visiting lecturer, a renowned puppet and costume designer.

 

 

I was getting a drama and dance degree at University of Hawai‘i. The gals I was hanging out with at the University had a puppet troupe called Mo‘olelo Ki‘i ‘Ilima.  And it was kinda- more or less sponsored by the University of Hawai‘i drama department.  That was Tammy Hunt was there at time, and she was wonderful uh, Theater for Youth teacher, and taught puppetry as well.  And so, she encouraged us to do shows…

…and we would do—go out into the community and do these little Hawaiian story puppet shows for umm, pretty much every elementary. I mean, I played every elementary school in the State of Hawai‘i.  I’d been in every auditorium at that time. That just sort of led me to saying: Hm, this is interesting, this is good; I can make a little money.  ‘Cause we made a little money doing it.  And then, they said: Well, this man’s coming to teach this summer; maybe you want to be in it.  And I said: What?  And they said: His name’s Kermit Love, he works with the Muppets, and he’s coming to teach this summer course, so you should take it with us. So, I said: Okay, sounds great.  And um, so I did, and he was wonderful. Kermit umm, was the man who built Big Bird, and designed Snuffleupagus, and he was a famous costume designer.  At the time, he was already long white hair, long white beard; it looked like you were taking a class with Santa Claus. But he’d already worked with Agnes de Mille, and Mr. Balanchine at the ballet, he’s built costumes and puppets for them.  So, he was just world renowned, and you were just like: Oh!

 

So, he was named Kermit before any other Kermit.

 

Yes. The story is—Jim Henson and Kermit Love lived in the same apartment building, and the doorman said: You know, Jim, there’s someone who’s named Kermit in this building; I think you should meet him.  And so, they met, and they realized that they had so many similar interests, and then Jim hired Kermit into the—

 

But there was already Kermit the Frog at that point.

 

Kermit the Frog existed, and Kermit Love was way older than that. So, that’s how they connected.

 

Oh …

 

And- and just- he was a wonderful influence; wonderful mentor.

 

And didn’t he want you to get into puppetry right away?

 

Who?

 

Kermit Love.

 

Yes, he did. Probably ‘cause I was really, like, gaga about puppets. Well ‘cause once I found it, when you find what you love, you just can’t stop, you know, obsessing about it.  Just like being in love with someone, you’re in love with what you’re doing, so you just keep every- every detail.  And then, I think because I was so willing to just learn, and learn, and learn, and practice, and practice, and practice, hours, and hours, and hours standing in front of a monitor and camera to get that right.  And I still do.  I will still rehearse when I’m not working.  If I haven’t been on camera for a month, I’ll pull out my video camera or—you know, now it’s so easy ‘cause you can flip up your computer and just work in, and make sure that everything’s working properly in your body.  Because the other thing, it’s reversed; right?  The monitor is backwards.

 

Oh, that’s right.

 

So, when you have your hand up and you move this way, it goes that way on the picture.  And so, if you don’t have your—there’s a point where you brain just clicks it over, and it makes perfect sense.

 

 

Physical agility, creative interpretation, and hours of practice – these qualities were instilled in Pam Arciero long before her time at the University of Hawai‘i. Since she was a little girl, Arciero loved everything about the arts.

 

 

I always loved um … dance and ballet, and play-acting was kind of what I did a lot of.  And I loved playing with dolls and small figures, actually, as a kid.

 

And did you talk—did they talk to each other?

 

Oh, yeah.  I—

 

Did you make the voices?

 

Yeah, not so much.  But actually, I did; when I watched TV, I always imitated voices as well.  That was really fun to me, to try and copy voices.  So, of course, my parents thought that was an extremely odd thing, but they—you know: Go ahead.  Um, and so … as a kid, I never thought I would be anything—I thought I would be maybe a ballet dancer, uh, maybe an actress. I like to sing, I like to make stuff, art stuff, so I kinda just liked doing all of the arts.  That was very interesting to me.  Not so good on the math side, but—

 

What about singing?

 

Singing; I always sang.  Yeah; I always sang a little bit.  And you know, once I was in high school, I was in chorus, and all the different things.  Um, and we did uh, acting, a little bit of the plays at Kalani. But everyone said: That’s not a real job; what are you gonna do, what are you gonna do?  And I just went: Well, I don’t know, I don’t know; maybe I’ll be a ballet teacher, maybe I’ll be a schoolteacher,  maybe I’ll be …

 

I know your father was in the Army as an officer, and then he was a Matson executive.

 

Right.

 

Did he have any thoughts about what you should do?

 

His encouragement really would have just been—he was very much about being who you are.  Which was kind of unusual in those days; right? He was a very romantic and—uh, soul.  And I think—I think the war was very hard on him, which is why he would—you know, he’d often … he’d recite poetry and go off on these kind of tangents with me. But like many World War II people, they never spoke about what really happened.

 

Right, there are not a lot of details.

 

There’s no details about what it was, but you could just tell.  He’d just go: You know, life is really short, you just can’t.

 

That was that generation. They didn’t talk about it.

 

It was that generation; they did not tell you what happened to them.  They did not.  So, they would react.  And you know, like many men of his generation, they always—they would … tie one on pretty frequently.  You know, they’d get drunk, and they’d start rambling these different stories.  But not much detail of what those stories were.  But he would also do funny voices.  And part of—I think my ability to get funny voices was to make him laugh, while I made funny voices too.

 

Oh …

 

You know, and he loved humor and poetry, and dancing, and music.  So, it was a- umm, a very—he was a very interesting man.

 

And what about your mom?

 

My mom is also—was also in arts and crafts.  She loved Hawaiiana, she was always in a Hawaiian civic club or in a—um, what were they called, the U.E., United—they had ladies clubs in those days, and she was always starting one in the neighborhood so that they could learn how to make Hawaiian quilts, or they could make recipes and stuff.  So, she was very uh, involved mom, and active um—

 

And so, both artsy parents.

 

Somewhat; yeah.

 

Arts-oriented parents.

 

Yeah, yeah. I guess that’s true, in comparison to some others.  Yeah.

 

You know, our parents did lots of backyard hula, luau kinda things, you know.  Um … and … she was a very fun person.  I just loved being with her.  And she didn’t really sing, but she would try.  And like I said, she would sing with the Hawaiian Civic Club and do different things, and so, the inspiration was always, with her, the community that was happening.  And her neighborhood community, all her—all my aunties in the neighborhood, they would have coffee every day together, and it was that kind of, you know, old school style.

 

Was she a stay-at-home mom?

 

She was a stay-at-home mom until I was about thirteen.  And then, um … during the war, she um … her college education was interrupted by the war.  So—and we all know what the war in Hawai‘i ‘The War’.  Um—

 

World War II. 

 

World War II; the only war.  Um, and she always tells the famous story, I know many people have talked about this, being in boats and picking up on Pearl Harbor Day coming, picking up stuff.  Um, and in fact, my grandfather, who was half Japanese, um, was driving by Pearl Harbor.  He was a single guy, and uh, he had been at a girlfriend’s house and was coming home.

 

It was about seven in the morning when—

 

Yeah.

 

–the bombs came.

 

Right.  Um, and apparently, they spotted him and picked him up, and they arrested him.

 

Oh, for being AWOL?

 

No; for being a Japanese spy, they thought.  And so, my father had to go and bail him out two days later once everything settled.  They—they pulled him out of jail, took him home, and say: No, he’s just—he’s a dentist.  You know.  He’s a local Japanese dentist.  And he wasn’t even all, he was half Japanese.  So, um … but she’d always tell story about that—stories about that, and that, and you know, after Pearl Harbor, hel—helping to uh, recover bodies and parts, and stuff, you know, and boats.

 

And she did that?

 

She did that.  She worked for U.S.E.D.  We always sang that song when I was a kid.

 

U.S.E.D.?

 

Yes, you know.  Fifty cents an hour, four bucks a day.  Um …

 

Mm.

 

So, she had those stories.  And then, you know, my father was … I guess everybody at that time was pretty much involved with the war in some form or another.

 

And what about culturally; what would you say your culture was, growing up?

 

My father, being Italian from the East Coast, brought certain sets of ideas.  Some of it was sort of the macho Italian stuff.  And then, my mom; she’s, you know, Hawaiian, Japanese, English, kinda local stuff.  So, our culture really was a mix of that.  And uh, I would lean towards Japanese culture, was sort of where our comfortable wheelhouse was, and then a lot of Italian spaghetti stuff.  So, I always like to say: I don’t know whether to have sushi, or spaghetti. You know, is kind of where I came from.

 

And you had a big family, too.

 

Yeah; there was five of us.  Is still five kids.  Um, and that was … you know, they were spaced out rather well; we’re about five years apart, for the most part.  So—

 

So, you get along.

 

Yeah.  You have an—always an older—older sibling doing something.  And it was bad.  When I went to Niu Valley, every single class I went to, my three older siblings had had that teacher.  So, they had expectations of what you were gonna be like, and it was like, I was never that—you know, whatever they—

 

You were different from the other kids?

 

Absolutely.  Every one of us were different from each other, you know.  So …

 

How would you describe how you were in class?

 

Umm, I was kinda the loudmouth.  I mean, I spent a lot of time being told to be quiet. Surprise!

 

And you built on that for your career.

 

I built on that. Yeah; that really made it … you know, it’s—it’s who you are.  Um … and I think that’s really one of the things always in my life, I’ve tried to strive for; just to be who you are.  ‘Cause you can’t be anybody else, really.

 

But how ironic too, because you’re always becoming other people, or other puppets—

 

That’s where I become other people.  That’s where you get to look at other people, and make fun of other people. By choosing their character traits, and rolling them into a puppet.  You know.  Um … an—and getting to explore—and really, every puppet is a part of you.  I mean, there’s that—you have to connect to it on some level, just like any acting role.

 

M-hm.

 

You have to find that part of yourself that connects directly to the character in order to make it believable and real.

 

These days, when she isn’t bringing characters to life on Sesame Street and other programs, Pam Arciero travels around the world to perform live or train aspiring puppeteers. She’s proud to serve as Artistic Director of the annual National Puppetry Conference at the Eugene O’Neill Theatre Center.

 

 

I had no idea that being in your field, you would be asked to go all over the world to teach, and to—

 

Yeah.

 

–perform, and—

 

Yeah.

 

It’s been—you’ve been everywhere.

 

Pretty much.  Um, I… I’m lucky that way.  I—I always wanted to travel.  Um, and so, pretty much, I go and I work.  I think … the most unusual place I went, I put in a—a large acting show in Saudi Arabia.  Um, and of course, there—this was about four years ago, three years ago.  Um … and they’re very repressive of women, um, as you probably know. Uh, I had to wear an abaya to work with my guys when we were outdoors.  But it’s a very schizophrenic thing, ‘cause once you’re indoors, you can take off the abaya, which is the black—the scarf and the black, and you can wear anything you want.  And we would work and rehearse, and do all our things, and then once I stepped—once I had to go outside, I’d have to get all dressed up to even just get in a car to go back to my hotel.  Um, and you had to eat separately; women eat separately from men there, if you’re alone.  Um—

 

Were the puppeteers squished up against each other, male and female?

 

No; they were the dancing ones.  They were the big—

 

Oh, I see.

 

–dancing, and they were all male.  There would be no females.  Yeah.  Females aren’t allowed to work.

 

How did they like a female directing them?

 

The guys liked it, ‘cause they were young men, and they keep—they all said to me: Pam, five years, it’s gonna change; I’m telling you, it’s gonna change. And I’m like: Yeah.  But umm, I would do semi-submersive things—subversive things.  Like, uh, if we did a song about driving, which we had a song called “Let’s Go Driving In An Automobile,” I made sure the one female character Khokha, which is umm, an Arabian character, she’s in all the Middle Eastern productions—she drove the car.  Because they couldn’t drive; women can’t drive.  So, I made sure the girl was always the one driving.  And then, we had this little thing where uh, Ernie and Bert teach you car safety.  And if you go through—and all the things—seatbelt, and you know—

 

Mm.

 

–all the things about being safe in a car—don’t hang out the window, then you would get a driver’s license.  And we made sure that every girl got a driver’s license and would go home and say: Mom, look, I have a driver’s license. Now, that just changed; right?  They just recently changed to have driver’s licenses.  So, that actually is a li—more of a change than I expected.  But the guys really said to me, when I—the guys I worked with really thought it would be completely different in five years, that it would be a much more open society.  And I just think it’s gonna take a lot longer than that.

 

What about women in puppetry?

 

So now, it is better.  It’s still not great.  If you look at the Muppets, the main Muppet guys are still six guys.  There’s no woman there.  But Sesame Street, we have five really strong women puppeteers, and we have nine really strong men.  That’s our core of puppeteers.  So, that balance has gotten much better.  And it’s a difficult thing, ‘cause not—initially, not that many women wanted to be puppeteers. It sounded—You know, if you’re an attractive woman who does a lot of voices, you can be a comedienne or an actress.  Why would you hide under a puppet; right?  And in fact, I was doing a show called The Great Space Coaster, and our guest was Steve Allen.  And he was playing the piano, and I was hiding under the piano doing the puppet on the side of him.  And the g—the human who was in our cast came out, and she—he’s talking to her, and I’m talking with him as a puppet.  And he looks at her and he says: Well, you’re not a puppeteer; right?  You’re much too attractive to be a puppeteer.  And so I stood up like this and looked at him, and said: What?  And he goes: Well, I didn’t mean—I said: Yeah, yeah, yeah.  And got back under the piano and went back to being a puppeteer.  But I didn’t get insulted by Steve Allen. Not many people can say that.

 

And you stood up and said you wouldn’t take that. 

 

Yeah.

 

So, better, but there’s still not a big infusion of women.

 

There’s still not a lot. Yeah, yeah. I mean, we’re working on it; we’re tr—constantly looking for women who are skilled, and training new women in.  And again, it takes a long time; you have to have the patience.  And it’s one of those things, either you have it or you don’t.

 

Mm.

 

And there are some people who can train, and train, and work, and work, and they still don’t have that natural feel for what—making the puppet alive.  And you have to have that core.  So, it is a kind of uh, unique-

 

Mhmm. Skill-

 

-skillset. But uh, I have traveled a lot, all over, um, directing those large dance shows, as well as teaching.  Um, I teach at … uh, Hong Kong Academy of Performing Arts, I’ve taught.  I’ve taught at the uh, Taipei National University of the Arts.  In Yukon, all over.  Universe—University of Hawai‘i.  Um, and actually, I have a lovely University of Hawai‘i thing that I love, which is Kermit Love came to teach the University of Hawaii puppetry, and I took that course, and that set me sail on a course.  And then, I came back 30 years later to teach that same course to—at the University of Hawai‘i.

 

And was there a young Pam Arciero there?

 

Kind of; yeah. No, not that I know, but yeah.  But it was just really that … it was completing that circle.  I’ve been very lucky to have circles that complete in my life.

 

Pam Arciero has lived in Connecticut for more than three decades, but says Hawaiʻi will always be her home. Her two sons, both of creative minds, are pursuing an array of projects, including stand-up comedy, live music, film production, and video-game voiceover work. Of her husband, Steve Lanza, Arciero says: “He has been my biggest supporter and fan, and a guiding light when I need it.” Mahalo to Pam Arciero for sharing her story with us – and mahalo to you for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha nui.

 

 

Did you ever doubt yourself, that: Oh, maybe I shouldn’t do this?

 

Oh, yeah.

 

Or maybe I’m not—

 

The first few years.

 

–good enough?

 

Oh, yeah; I still do.  I still have my doubts. I’m like: What am I doing? How—how did I do … you know, that’s just part of the nature, I think, of being a performer, of constantly putting yourself out there, trying to put yourself out the best you can.  And then, there are times when there is no jobs.  Or you go to auditions—‘cause I still audition; we all audition to get whatever roles it is.  You go to auditions, and you leave and you just go: That was terrible; what—what was I thinking, that was an awful choice.  And then, you don’t get the job, and you go: Yup; definitely an awful choice.

 

Yeah.

 

You know.  So, that’s just kind of the way the business is.  It’s not easy.  It’s—it’s a hard … hard part of the business.

 

So, you have to have a thick skin and being able to take rejection, even now, after all this time in the industry, and all your accomplishments.  And you have to have a thin skin, because you’re dealing with children, and you have to be sensitive to that.

 

And you’re acting; you have to ac—be able to access your emotions in order to really get it across.

 

So, you have to really feel.

 

I—yeah.

If you really want to do something, you just have to do it.  And people are always gonna say: Well, that’s not a good idea.  And—but you have to say: Yeah, but …  I think if you do what brings you joy, and you continue to follow that, you will make it happen in some form or shape. In some ways, I guess people are just: Well, you’re a girl, you can be a ballet dancer, who cares what you become.  You’re gonna be a mom, was sort of how—

 

Mm.

 

Ultimately, you’re gonna be a mom, was sort of how the feeling I got from some people.  And it was like: No, no, you don’t understand; this is not about that, this is about expressing who you are through movement, through dance, through arts.  And I knew that in—intrinsically, and I don’t know why.  But I did know that that—that was the key for me, was just to follow, to stay the course, to do what I wanted to do, and it would pay off eventually.

 

You didn’t know what the end would be, but you—

 

No idea.

 

–knew this was the right thing to do.

 

Yeah, yeah; no idea.

 

[END]

 

 

 

dancedance/Re-Volution

 

This film is an introduction to the vibrant diversity of contemporary dance in South Africa. Rooted in both tradition and the idioms of modern movement, this half-hour documentary introduces new audiences to work ranging from site-specific solos to multi-media physical theater.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Stephanie Han

 

Award-winning writer Stephanie Han draws from her life experiences to inform her poetry, fiction and non-fiction, which frequently grapple with identity in multicultural settings. Her childhood was anchored by books, which helped her make sense of others and the world around her. Though her life has taken her around the globe, she now calls Honolulu home where she continues her work as a writer and educator.

 

This program will be rebroadcast on Sunday, Oct. 20, at 4:00 pm and 11:30 pm.

 

Stephanie Han Audio

 

Download the Transcript

 

Transcript

 

Reading is one of the few creative art forms where we enter the mind of somebody on a deeply intimate and personal level, across time, across cultures. You’re concocting in your mind what the person looks like and they become something you invent.

 

As a child, she found refuge in books, which she called her friends because her family moved so frequently. She says reading and writing are linked and somehow writing chose her and she became a writer. Stephanie Han, next, on Long Story Short. 

 

One on one engaging conversations with some of Hawai‘i’s most intriguing people. Long Story Short with Leslie Wilcox.

 

Aloha mai kākou, I’m Leslie Wilcox. Stephanie Han was born Stephanie Mi Suk Yoo but goes by her maternal family’s name. A resident of Kaimukī, O‘ahu, she’s a teacher with a doctorate at Punahou School at Honolulu, and she’s a writer of poetry, fiction, and non-fiction, much of it about one’s identity in multicultural settings. Dr. Han is the author of “Swimming in Hong Kong”, a collection of short stories. Her father was one of Korea’s top scholars before he came to the United States to attend university, becoming a medical doctor and research scientist. Her mother was raised in Kunia Camp in central O‘ahu, a descendant of the first wave of Korean immigrants to Hawai‘i.  Stephanie Han’s parents met in the San Francisco Bay area, and after they were married, lived all over the United States, fueled in part by their wanderlust.

 

Where do you call home?

 

Now, Hawai‘i is home and in a sense I think it always was a spiritual and familial home to me, we just simply moved around the Continental U.S. I’ve lived in every place except the Pacific Northwest because my family was peripatetic, we were itinerant, and I have been as an adult. But this is the one place we always came for weddings, funerals, family birthdays, and gatherings, so, I would say, in a sense, if I could call one place an idea of home, this would be it. Hawaii was where I could have a sense of belonging, where I could have an Asian face but I could speak English and it wasn’t a big deal, um, where I saw different kinds of cultures and people interacting in a relatively peaceful way and this was a contrast to growing up in the mainland in certain areas where my family were kind of these pioneers, in the Midwest or in the South or even in certain areas of New England.

 

Did you experience racism or was it people who simply didn’t know what to say to you and said the wrong thing?

 

I think it was both, you know, my mother grew up in Kunia on the plantation and so when kids were kind of chicken fighting and kind of bullying me and beating me up when I was in third grade, she wasn’t gonna have that. She was, she…um, immediately asked um, somebody in the Korean community whose father knew judo, to take me on as a student.

 

So she was not a hovering parent in the sense that she approached the bully, she prepared you to approach the…

 

Yes.

 

Ok, so what happened?

 

And so, because she grew up, you know, watching boxing matches and wrestling in the Kunia gym, and so, yes, I was supposed to be a good Korean-American daughter, but I needed to know how to fight back. And so, um, we, me and the bully, we had it out in front of the drinking fountain. He was a head taller than me and the kids gathered, and I don’t even know how it…after a month, I was very confident, after judo lessons for one month, I obviously felt I could take him on, and um, you know, he hit me, and I punched him back, and then we were hauled off to the, um, by the school librarian, who, now, I know they must’ve thought it was really hysterical because I was a head and a half shorter…

 

And boy-girl, I mean usually boys don’t take shots at girls, right?

 

And boy-girl, exactly, and then…

 

So this is a bad bully…

 

Yes, and then, he was crying and I was not, I was just in shock and just paranoid that my mother would get mad at me and he never bothered me, nor did anyone ever bother me at the school again, and I was never physically bothered like that again because it was…it’s all psychological, right? It’s how you carry yourself.

 

Why did you move so much?

 

That was my parents, I think their adventure. So, for my mother, being, growing up pre-statehood, her adventure of travel…I mean, my family traveled a lot overseas, too, but her adventure was in the mainland and for my father, as an immigrant to the United States, this was also his adventure of seeing America.

 

That meant you switched schools a lot.

 

I switched schools every year until I was nine.

 

That’s a lot.

 

What you get used to is, you know, making friends, and you also get used to leaving, it prepares you for different kinds of relationships and different kinds of ways of navigating, and it also obliges you to be more open, and what it did was, it made me closer, I think, to my family and to my parents, and to hold on to things that were permanent, let’s say like coming here, seeing Grandma in the summer or seeing my cousins here, this became a kind of…a permanent idea.

 

Did you have any tricks about how to make friends as a kid when you were starting a new school?

 

No, and I think it did become difficult and it’s what propelled me to become a reader and a writer…because, um, at a certain point, I think, you know, we were often in these places like Iowa, where there were not a lot of Asian-American children, and I remember telling my mom that I had troubles making friends and she said, well, if you read a book, you’ll always have a friend. And this had to do with how she was, I think, and she was a bookworm, and she was a mom who, um, you know, sought out intellectual and creative things, and we didn’t talk as much about feelings, we could find those through books and things like that, so, um, you know, books became my world, books became a way I could make friends, she was right. Books became a path to understanding and to figuring out how people behaved, and from reading comes writing, an idea of expressing personal narrative.

 

I think I’ve heard you say that uh, your mom taught you the importance of creative expression, your father taught you never to quit, which came in very handy when you’re a writer seeking publication.

 

Yeah, so that was definitely my father. So there’s a saying he used to tell me, fall down seven times, get up eight times. A really perfect example of it was me with math studies. So when I was in ninth grade, I went off to boarding school at Phillips Academy Andover, I was a straight-A student prior, I get to Andover, everybody was a straight-A student, so, I really struggled, and I was getting a…I think I was failing math, and so, my father and mother said, we’re tired of you, you know, calling us up at, you know, every night, crying about your math homework so you come back for Thanksgiving. So I came back for Thanksgiving, I did math six to seven hours a day with my father, and um, flew back, I passed the exam, and then I stepped off the plane in December and my dad said, we’re not…we’re conquering this math thing. And so, I did math with my father…I went to work with him six to eight hours a day, every single day of my three week holiday. I would sit there in the gas station, in the front seat of the car, while he’s pumping the gas, doing math problems, um, I did the entire math book, over Christmas.

 

Did you want to do that? Did you resent that?

 

Uh, at first I resented it, but then after awhile I liked it. Like I still know the quadratic formula to this day, because he made me write it down 27 times, because he said if you write anything down 27 times, you’ll never forget it. What it showed me was that you don’t have to be good at something, you can persist and you don’t have to quit, and then I went back and I went from being a D-student in math to two A’s.

 

What does your dad think of your career? He seems like a very success-oriented guy and goes by the numbers, and being a writer is not going by the numbers, especially as a female…

 

Yeah…yeah, my dad, um, human being status is, um, granted upon a Masters degree, so now I have a PhD, so you know, it’s ok.

 

Don’t you have two Masters?

 

Yeah, I have two Masters degrees.

 

And a PhD, the first PhD in English Literature…

 

Literature, from City University of Hong Kong.

 

And you do a lot of professional teaching as well?

 

Yes, so, I consider myself a writer and educator, and I think, you know, my father was a, you know, he was a research scientist and a university professor, too, so he’s proud of that, you know, so in a sense, although it wasn’t in science and most of his family were medical doctors, even my aunts who were 85 years old in Korea, were medical doctors in Korea at the time, which was quite radical for women, but so now, you know, he knows I teach and I write and it’s something that is parallel…parallels his interests.

 

Stephanie Han’s award-winning writings are influenced by the books she read growing up, as much as by her life experiences. Her narratives often center on female protagonists who deal with issues of race, gender, and colonialism, and above all, identity.

 

You said your friends were books?

 

Yeah.

 

And you do live other people’s experiences through books?

 

Oh yeah, like my early experiences were just, you know, like in Iowa reading Laura Ingalls Wilder. I used to ask my mom why she didn’t wear a bonnet and churn butter…like why…

 

Because that’s the real mother…

 

Yeah…I sent away to the Laura Ingalls Wilder home for photos of Laura Ingalls Wilder. So there are family photos of the Ingalls and Wilder family with my family photos because they, it became such a part of how I was trying to understand where I was living.

 

Did you watch the TV show, too?

 

Yeah, but I didn’t like the TV show as much. That was kind of just a short cut, and I was one of those, you know, that didn’t match, that was in, you know, on the shores of Silver Lake, that wasn’t in the second book, you know, I could really…

 

Who’s [INDISTINCT] anyway?

 

Yeah, yeah, I was like, you know, Pa didn’t play the violin like that. You know, I was really…I could be very exact about it. And there were some, also some things that were not quite, you might say kosher, about those books, of when it was written. You know, their treatment…her treatment of how she saw Native Americans, or how Pa was doing the darky kind of dance where he was wearing blackface, and I didn’t understand this as I was reading it, so I find it sort of interesting, you know, how you read one book to open your mind, and I did need those books when I was little, to understand the farm children that I was going to school with and their background and then how later you read them differently. So, um, but yeah, you know, that’s when I would, you know, I’d say, can we have apple pie like Farmer Boy? You know…

 

But reading does…depending on what you read, does teach you empathy, or at least the ability to identify

 

Yes.

 

with somebody else whose, maybe, outer behavior is off-putting…

 

Yes.

 

Because you don’t understand it or you don’t think there’s a reason for it, but when you read a book and you see what’s going on inside…

 

Yes, because reading is one of the few creative art forms where we enter the mind of somebody on a deeply intimate and personal level, across time, across cultures, even when we’re seeing a movie, we’re looking at somebody from the outside in, right? We’re looking at their face. We’re not looking inside their brain. So, when you’re reading, we’re entering somebody’s very intimate thoughts, it’s that magic…

 

And heart.

 

Yes, you know, how they’re dreaming, how they’re feeling, and sometimes you know, when you’re looking at a picture, um, or illustration, you might initially, you could have these reactions, you could be put off by their clothing or something and you might not be able to enter them in the same way, but when you read something, you’re concocting in your mind what the person looks like and they become something you invent. So, reading also propels us to imagine and it works a different kind of imagination gear, in a way, and we, we relate that to ourselves. Like, yeah, I remember I was riding a bicycle, yeah, that’s what it felt like, this person must be riding a bicycle in the same way, yeah, you know, and it becomes something else, verses, you know, I love photography, and I love film, and I love video, and, you know, all these other kinds of visual images, but, it’s something else, you’re outside in.

 

That’s a great point. What are some of the books that have made the most difference to you in reading?

 

Well, I would say…

 

Besides Laura.

 

It changed, yeah, it changed over the course of time, right? So, um, you know, I read, you know Song of Solomon, by Toni Morrison. When I was a teenage girl, then I read Maxine Hong Kingston, The Woman Warrior, and that blew me away, I would say really the opening sequence, because it was the first time I could see the picture. There is a woman of color and she kind of looks like me, she’s Asian descent, and look, she wrote this book, and look, this character is not, you know, is fierce, and is a warrior, and is running through the woods and doing these things, and that was really eye-awakening, and I love Jane Austen. Years later, I read the Makioka Sisters by Junichiro Tanizaki in translation which is very similar to the Austen book, and that was the book that my mother told me to read and I could see how she transposed ideas of, you know, protocol and manners and this, and how they came through to my upbringing. My narrative has always been something that’s been changing, um, narratives that were…I was told and then tried to imitate, so, I think about this idea of the stories that were maybe told to, let’s say me, through a religious or philosophical structure, which were Confucian virtues, right? Which were…Confucianism is built on the pillars of five relationships, right? King, subject, teacher, husband, wife, and almost all of them are hierarchical, except friend to friend, but there’s a very strict hierarchy that organizes a lot of Asian culture and that was the narrative, in a sense, that I think played out for me or continued to play out in a lot of my life. There was also narratives, uh, folk tales that I was told, so…a traditional, it’s a Japanese folktale, it was also told to Korean kids, was Peach Boy, which is…I’m not sure, do you know it…

 

Momotaro?

 

Yes, and I’m sure you’re familiar with this story…

 

I grew up with that story.

 

Yes, and he comes with a peach to this older parents, and he fights…you know, he makes friends with the dog, the pheasant, and the monkey, goes off and he kills all the monsters, and he comes back with wealth to his village and he’s the hero of the story, right? And this is a typical, Joseph Campbell journey…mythic…myth of the hero, which crosses cultures, right? But there really is not…we don’t find the myth of the heroine, and Campbell had said that’s because the wisdom that is had, women always have inherently, and Campbell was writing and speaking at a different time period, because women do need a narrative.

 

What you said before reminded me of something…I was fortunate enough to interview W.S. Merwin, and he said, um, when life is going along pretty well, you tend to read prose, but when you have something awful happening, some emotional thing, what do you do? You read poetry.

 

Poetry…

 

Is that true?

 

Yes, that’s totally true, and I write poetry um, when I have no words, that’s what I say, and then I write prose to try to make a linear sense of an issue.

 

As an adult, Stephanie Han has lived in many different places around the world. She kept moving in part because of the adventure of experiencing different cultures, but that was not her only motivation.

 

You told us how your, your family moved around quite a bit because of your father’s career when you were a child, but you continued to move around as an adult.

 

Yes, it set the pattern. So I thought…so that’s how I became an expatriate, ectera ectera, it set a pattern where you think moving is normal, um, it’s strange because there’s a different skill-set involved with staying, right? And so that’s, to me, this is now my question too, of staying, you know, this is my home now, so this is…this is the question of staying, and um, yeah, you set the pattern because, you know, and what you realize is, there are many people who actually do this…were just…were…maybe we don’t talk about it quite as much, or we’re referring to one place as the home, but a lot of people are rather itinerant.

 

It seems to me that you’ve been in a number of first-of situations, you might’ve been the first Asian girl in a class or…I mean, you’ve done so many um, so many activities in different countries, uh, what have you learned from that? Because it’s not surprising to me that you became a writer, somebody who’s already good in English and…generally, writers keep their distance, they’re detached.

 

Yeah, I think um, what I learned is that you have to be open and you have to be curious to different experiences and you also have to be tolerant, and I think being overseas um, for different periods of my life, also opened that up, and what I also found is language, speaking different languages matters, but you really need an open heart and you need to be able to laugh with somebody, you need to be able to eat food, you need to listen to their music and maybe dance a little, and that becomes more important than, often than, um, let’s say, exchanging literary ideas.

 

And when do you know it’s time for you to move on, or in the past, how did you figure out…was it outwardly directed or did it always come from within?

 

Um, no, sometimes people moved because they think moving will solve things, but moving doesn’t often solve what you…it could solve temporarily, a job, but maybe that’s the job wasn’t really what needed to be solved, or a question about this, right? So…

 

It’s a way of distracting yourself, in part?

 

Yes, right, and you know, there’s more…you know, there’s the adventure of being out verses sometimes, if you stay in one place, the adventure becomes of going in and going still, or going deeper, so I, you know, I…I’ve had people tell me, you know, I don’t think you can come to necessarily, any more wisdom, traveling and moving, then you can come from being in one place and going deeper. You might find that you can still come to very similar ideas of people and behavior and spirit, and some of the people I consider the most wise, who I seek counsel or friendship, or guidance from, are people who are in one place. Because they came to similar ideas and then moved and came to a different way of seeing things that were incredibly wise.

 

Interesting. One thing about staying is that you…if there are issues, you have to either work them out or, or hole up in yourself, and generally people do either…I mean, I would hope people who stay, find a way to work things out.

 

Yeah, and this just becomes the retreat of a writer, too, right? Reading and writing, for me, um, was always a bit of a social, personal retreat, so, I didn’t neces–, you know, if, the outside became too strange or difficult or, I just would read more or I wrote more, which I…I don’t necessarily advise to everybody.

 

Well, why have you moved as an adult?

 

Um…

 

Repeatedly?

 

Yeah, mostly, it was, I think it was work and opportunity, and a desire to seek, and a desire for adventure, and so I think that was the phase that I was also in, and um, there’s like a whole community, you know, if you’re an expatriate, that’s what you do…you just…you move, from place to place often.

 

And you always find people like yourself…

 

Mm hm, and it becomes a community.

 

It is a community.

 

So that is a community.

 

So how do you find people in that community?

 

Um, you know, they can initially be a much more often welcoming and opening…open to people, because everyone wants a place to live, everyone knows you need employment, so people come rushing forth with opportunities or jobs or places to live, they know you need help with this, because it’s kind of this strange pioneering community, right? Whereas, if you often move into community where people have been entrenched for along time, they’re more closed because you’re an outsider and the peculiar thing is, you know, expatriates, they often never really occupy the place that they’re in. They live in the peripheral of wherever they are and that is the community, it’s being on the periphery.

 

That’s interesting, so, perhaps, at this point in your life, that is still your home?

 

Um, no, I’d say…it’s funny, that’s why I think I ended up here because I don’t have to always be on the periphery here. I do have maternal family and maternal roots here, so it allows me to step in here. I didn’t attend school here which makes, you know, Hawaii is very rooted in people’s young, younger years of schooling…

 

Where did you graduate from…

 

Yes, but um, you know, my son is now local to here and my family is here in that sense, or I should say some of my older relatives. So, I can be both an outsider and an insider here and maybe that’s just right.

 

At the time of this taping in 2019, Stephanie Han is teaching at Punahou School and lives in Kaimukī, O‘ahu, where she also continues to write. Mahalo to Stephanie Han for sharing your stories with us and mahalo to you for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha nui.

 

I don’t think people choose to be writers, I think writing chooses you and then writing becomes a compulsion. Reading and writing are very linked and um, when it is a certain level of a compulsion then it flows through you and you feel at that moment, this is what you were meant to do and you draft it very quickly and it’s almost as if your body is a kind of vessel for what the words are supposed to be, and there’s other times you sit there and you’re just miserable and you try to run away from the desk and you decide at that moment you need to clean your room, but um, you know, so it varies and you just have to, you know, kind of sit your butt in the chair.

 

 

 

[END]

 

 

FAMILY PICTURES USA
Southwest Florida

 

Visit the Paradise Coast, where Native Americans, ranchers and fishermen share family stories.

 

 

 

FAMILY PICTURES USA
Detroit

 

Explore America’s comeback city through photos and personal stories shared by residents. From the influence of the auto industry to labor unions to the Motown sound, Detroit’s multilayered story is revealed via family narratives and memories.

 

 

 

FAKE OR FORTUNE?
Toulouse-Lautrec

FAKE OR FORTUNE? Toulouse-Lautrec

 

The team investigates four sketchbooks which may be the work of the young French master. Alain Brun is a French psychoanalyst who lives in Bordeaux. He was given the sketchbooks by his grandmother in the 1960s and she always maintained they were the work of Toulouse Lautrec. Alain sent them to the Lautrec committee to see if they could be authenticated. They came back saying that it was actually the work of Lautrec’s tutor, Princeteau. However, Princeteau experts have disputed this – saying they are far too good. The team searches for evidence to see if they can irrefutably link these sketches to the young Lautrec and change the committee’s mind.

 

 

 

FAMILY PICTURES USA
North Carolina

 

Discover how this historically rural state built on tobacco and textiles is rapidly changing. Entrepreneurs find a warm welcome in Durham, Native Americans come home to ancestral lands, and families separated by race and class work toward healing.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Kristi Yamaguchi

 

Kristi Yamaguchi’s work ethic and drive from an early age propelled her to win the Olympic gold medal in figure skating for the U.S.A. in 1992. She went on to become a professional ice skater, author and now, philanthropist. She reached into the lessons of her childhood to create the Always Dream Foundation.

 

This program will be rebroadcast on Sunday, Sept. 29, at 4:00 pm and 11:30 pm.

 

Kristi Yamaguchi Audio

 

Download the Transcript

 

Transcript

 

So one thing my parents always told my brother and sister and I…I mean, I just remember this, even when we were little, it was like, you can’t rest on your laurels, you know, you always have to continue to you know, earn your keep in a way, and uh, like even as kids, you know, that was something they instilled in us. So, I think it’s great, you’re pushing yourself, you’re trying to accomplish something, and uh, and then you move on and you continue to grow and evolve and see what’s next.

 

Not resting on her laurels pushed this young athlete to keep entering figure skating contests until she knew she’d become good enough to compete at the Olympic level. Kristi Yamaguchi next on Long Story Short.

 

One on one engaging conversations with some of Hawaiʻi’s most intriguing people, Long Story Short with Leslie Wilcox.

 

Aloha mai kākou, I’m Leslie Wilcox, Kristine Tsuya Yamaguchi, better known as Kristi Yamaguchi, won an Olympic gold medal in figure skating for the United States in 1992. Since then, she’s been a professional ice skater, and author, wife, mother, the 2008 winner of Dancing with the Stars, and a philanthropist. A resident of Alamo, California, she stopped by to talk with us here, on Long Story Short, during one of her frequent trips to Hawaiʻion behalf of her Always Dream foundation. Kristi Yamaguchi always set goals for herself, something she learned to do at a young age after overcoming a birth defect in her legs. Her parents encouraged and supported her along the way, believing in dreams, despite their own experiences as children, forced to live in internment camps.

 

So, I was born in Hayward, California, so that’s a suburb of uh, in the San Francisco Bay area, in the East Bay, and uh, actually, my parents were living in Fremont at the time, but I was born in Hayward. So I grew up in Fremont which was sleepy town back then, and uh, you know, I can’t complain, it was a great, diverse, and um, you know, pretty easy place to grow up in.

 

Your dad was a dentist?

 

He was a dentist.

 

And your mom?

 

Ah, she was a homemaker, she was full-time mom, although she did work part-time as we were getting older in high school. Both my parents did spend time in the Japanese internment camps, my dad’s family was in, Poston, Arizona, and he was about five years old when the family was sent there, um, course his brothers and sisters were more teenagers, so they remember it and you know, probably affected a little more by it, but I think my dad being five, he just kinda like going with the flow and making the best of it that he could…and then, my mom uh, Carol, was actually born in the Amache Colorado internment camp. So she was born, one of the New Year’s baby, they called her, in Amache. So, uh, you know, the families went through that and they did have to start over, you know, once, uh, they were released, and find their way, but I think, you know, it was a huge lesson, obviously, in perseverance, and just, um, you know, a lot of pride in who they were and being American and wanting to assimilate and prove their loyalty, and so, um, so it was interesting time and it’s…funny, not funny, but that generation never really talked about it, and…

 

Have your, have your parents talked about it?

 

Not much, I mean…my mom doesn’t remember, obviously, because she was just an infant, but my dad has opened up a little bit more about it because um, like my sister and I and brother and also now his grandkids are doing school papers, or school presentations on the family and have been interviewing him on different occasions and it’s given him a chance, I think, to reflect a little bit on what he remembers.

 

At the time your mother was born, her father was fighting in the war, with the 100ths.

 

100thInfantry Battalion, so different from like the 442ndand the 100ththat you hear about, but he was in one of the first non-segregated units in Europe, and um, well, basically because he was the only person of color in his unit, and uh, he, yes, he had gone through two rounds of boot camp because while he was in boot camp, the war broke out and they didn’t know what to do with him, and eventually they sent him um, you know, with the 100thInfantry Battalion to um, Europe. We really don’t know much about what that experience was like for him, and I think growing up, uh, the one thing that we do remember, like my brother and sister and I was like, he did have a lot of nightmares at night and there…you know, was, I think still was living with post traumatic stress. I think as we got older we started to realize, you know, through his life experience what he’s been through. But I think one of the proud moments is that we know…he was awarded a battle field commission and was promoted and uh, he was, his uh, commanding officer was actually quoted that he was undeniably one of the best soldiers in their unit and that’s why he received that battlefield commission, so, I think reading that and seeing it in the New York Times was just like, wow, you know, takes a lot of character, a lot of strength, and uh, you know, to really fight for what you believe in and you know, against maybe some, you know, obstacles that are there.

 

That’s amazing, that’s absolutely true. What did he do after the War?

 

So after the War, he was a mechanic. He settled in Gardena, California, and that’s where I know where my mom and her brother and sister grew up and went to school, and uh, he was, I think, also a part-time fisherman, and to this day, my parents won’t eat fish, or my mom won’t eat fish, because she had enough of it growing up, but yeah, I mean, he was just a great dad. I know he provided for his family and uh, husband, and a great grandfather, I just remember having so much fun visiting them and um, you know, enjoying the time we spent together.

 

You were born with a birth defect, malformed feet?

 

Yeah.

 

And here you are later, winning Olympic gold on these feet?

 

On these feet, yes. My mom always described it like this is how my legs were when I was born, they were like uh, just crossed and twisted. I didn’t have, I think, the severe where I had to have surgery, but I did have casts, um, for the first 18 months of my life and then was put into corrective braces, um, and I remember wearing those until probably past the age of like, two or three, because I remember trying to walk with this bar in between my feet, and sliding on the wood floor, so I just discovered that Army crawling was the quickest and easiest way to get from point A to point B, um, but yeah, you know, I think I was just really lucky my parents were proactive at correcting it, you know, so early on and allowing me to have the opportunity to you know, pursue skating.

 

And after the braces came off, you weren’t daunted, you were ready to skate.

 

Ready to go, yeah, I mean, I did ballet, and that was, you know, one area of dance that I really loved and then that led into skating and I think um, you know, when I showed the interest, my mom did ask the pediatrician, is this ok? You know, with her condition? Even though much of the corrections were done at that point, and I think the advice was yeah, I think this is great because it helps with strengthening and coordination, and um, it will be good for her.

 

That’s a great inspiration for those who, who have that corrective work done.

 

Yes, absolutely, and you know, to this day I know, I am still bow-legged, it’s just how, the shape of my legs, and uh, you know, a lot of skaters out there, successful skaters, who are good jumpers who are also bow-legged, so, it’s like, oh in some ways it maybe was even an advantage for the sport I chose.

 

Kristi Yamaguchi started ice-skating as soon as her mother felt she was old enough. Her passion for the sport grew immediately, and soon the rest of her life, and her parents’ lives, started to revolve around her ice-skating schedule.

 

At what point did skating cross your eyes and your heart?

 

I was six years old when I really first started skating and my older sister, Lori, skated for, you know, a couple months and it wasn’t really her thing so she moved on, but I was kind of like, wait, that seemed kinda neat, I wanna try it, and then, I kept asking about it and my mom took us to see the local ice show, and at that point it was like—that’s it. That’s what I want to do. So, she said, ok, when you’re six and old enough, I’ll take you to go skate. And, so I had to wait till I was six and went to try it for the first time and loved it and I think, every day asked when we were going back. And I remember my very first competition, I was about eight years old and um, you know, just kinda not really knowing what’s going on and I went competed in skating and I thought I skated fine, whatever, and um, my mom always reminds me, you were 11thout of 12th. And, it was just like…it was kind of a wake-up call and I didn’t understand, like, how come those girls have these shiny medals and they’re running around wearing these medals, how come I didn’t get one of those? And she’s like, well you have to be top three in order to get those medals, and I think that’s when the competitiveness and the like, hey, I want one of those, what do I have to do to get one of those? Ah, kicked in, and that’s where it started.

 

That requires an incredible commitment from your parents, as well.

 

It’s a huge commitment, but luckily, they didn’t know what they were getting into, they just thought, oh, ice skating, and you know, they saw an activity that I took to, because I did try everything else—gymnastics, soccer…

 

Were you good at all those things, too?

 

No, terrible. And I just, my heart wasn’t in it, but I think when they saw how much I loved skating and how I was improving and really taking to it, um, they said, you know what, let’s go with this and see what happens. So, you know, yeah, I mean, right away they just kind of rolled with it and I was going you know, several times a week and by the time I was in junior high, it was every day, before school, sometimes after school, and competitions on the weekends, at least once a month, probably.

 

How much did you have to give up in social life to pursue skating?

 

There was…yeah, I mean, skaters do not have the normal social life because um, I think I maybe went to one football game in high school, and you know, and I, couple school dances or whatever, but it’s…you know, I was in bed by 7:30 every night because I was up at four and on the ice from 5 to 10 or 5 to 11, every day, so um, training schedule was, you know, early in the morning and then I would rush off to school, and then, um…

 

At eleven o’clock?

 

At eleven, yeah, I did have special schedule through high school where half of my classes were on campus and half of them I did through independent study, so yeah, so in that case, too, it was just not the normal high school schedule.

 

Not really…you’d have to give up…you had to give things up because that’s everything…that’s all, all in.

 

That was all in. It was all in at that point, but for me, it was a choice. I didn’t see it as giving it up, it was like, well this is what I want to do, so…

 

Well, what did you want to do? With…I mean, obviously, you wanted to skate, but what did you want to do with it?

Um, at that point, you know, once I was 15, 16, it was the Olympic goal was there. You know when I first started skating, I just loved to skate and perform, and be in the shows and wear the pretty costumes, but as I got older, and particularly in the high school age, um, competing at the world level was my goal. And um, in 1989, uh, when I was a senior, was my first world appearance and then, at that point, um, I think the prospect of making the Olympic team was getting closer and close.

 

You know, I think for most of us, we’ve had experience competing in, maybe, junior high or high school sports or perhaps, college, but I can’t imagine the level of competition at the Olympic level. Just what kind of focus you need to have and the skill level.

 

Well, you know, it’s practice every day, and like I said, several hours a day at that point, um, and it’s a lifestyle for sure.

 

And what do you fill your mind with?

 

You know, I mean, I was just a competitive person, by nature, and you know, every day in practice I was competitive, even with my training mates, and um, you know, it was just, I knew I had a task at hand and I worked really closely and really well with my coach of uh, from the time I was nine years old through the Olympics, I was with the same coach, Christy Ness, and she was um, probably had one of the biggest influences on my life as a mentor and um, teacher, so learning you know, work ethic and setting goals, and the mindset was always, ok, what is my goal today? What is my goal in the next hour on this session? And there was always something to work towards and um, you know, she made it clear, if you’re working and putting that time in, it’s gonna, you’re gonna get, you’re gonna make strides forward. And so that was always my motivation was like always trying to push myself. She would always tell us, her students, there’s no secret to success, it’s plain and simple hard work. There’s no question, you know, the effort that you need to put in. And there were times that we were training and you know, she would yell out to someone, one of her pupils—don’t be afraid to work hard. You know? Because, you know, maybe one of us was slacking or you know, not putting 100 percent in and it was just like, ok, ok, you know, get the work, and it was true, you know, I think it’s just, you can’t expect results if you don’t put the work in, and as a youngster and a teenager, having that engrained in you, I think, was so valuable because even beyond, you know, after the Olympics, it stayed with me and it was just, you know, not satisfied with just getting through it, but putting the work in. And it could be as simple as, I’m gonna practice this jump ten times this session. And hopefully there’s an improvement and I’m not falling all ten times, but, you know, putting the effort in and or it’s like I’m running through my long program routine twice this session and hopefully without mistakes. So, you know, yeah, it’s, it’s always having a purpose every time you’re going out there.

 

And it’s very um, self-directed, it has to be, right? You’re preparing yourself for this gargantuan competition and challenge so it’s necessarily, solo and self?

 

Pretty much. You know, I think when I was older and um, you know, especially becoming a mom, you…looking back, just like, wow, it really was a pretty self-centered life that I lived. You know, it was an individual sport, I had my individual goals, and it was up to me to just focus in and make that happen and of course, I had a team of people around me…

 

Helping you, and you didn’t have to make room for anybody else, they made room for you.

 

Right, right, exactly, and they were, you know, the common goal was for my success, right? So, um, yeah, there’s a very, very narrow focus through that whole thing.

 

Have you always been able to keep your head in it?

 

No, no, and I think that’s the humbling thing about being an athlete in, in skating, that you’re gonna have some great performances that you’re like, wow, that was it, and that is what you live for, but there are many where you skate off the ice just really disappointed and really wanting to go back out there and do it again, because it’s like, wow, there were just way too many mistakes in there that I know I shouldn’t have made.

 

But you can’t look back, right? You gotta keep moving.

 

Yes, and you take that and you learn from it and hopefully in the next competition, uh, you learn and don’t make those same mistakes.

 

There are many talented skaters, and uh, as you get older and you get ready to uh, to participate in the qualifying, you know, you really don’t know whether you’re that caliber yet, do you?

 

Not really, yeah, I mean, I think it’s just…you’re taking small steps along the way. I mean, you know, people ask, oh, when did you know you were going to become an Olympian? And I’m just like, like, a year before, maybe? And they’re like, really? Like you, you know, up to that point you didn’t believe it or know it? And I’m like, no, you’re just trying to compete in your region and then in the West coast and then nationally and…

 

Could you feel the competition get tighter and tighter as you…

 

Oh yeah.

 

..went up?

 

Yes, definitely, and the pressure and the expectations and um, you know, figure skating being a judged sport, you know, that adds a whole other layer of subjectivity and just like, how am I fitting in, am I doing what the judges like, and things like that, but yeah, I mean, the competition was always close and the U.S. has always been traditionally competitive world, at the world level. So um, the talent pool was just…it was tough to even be noticed in your own country.

 

What was it like approaching that fateful day in 1992 when you won gold at the Olympics?

 

I feel like from ’91 and ’92, it was like walking on eggshells, the whole time, you know, it was just, ok, you have a goal, you have a plan, and it’s just trying to make every step go just how you want it to go. Um, you know, trying to stay healthy, injury free, getting the rest, and eating properly and just, you know, not leaving anything on the table to be an excuse for uh, it not to work out, right? So, um, yeah, it’s like living that…just eat, drink, breathe, sleep, you know, skating. And, you know, you’ll hear that from Olympic athletes all the time, and it’s kind of true, you know, Olympics isn’t every four years for us, it’s every day, and uh, it’s Groundhog Day.

 

So it’s a short game and it’s a very long game, too?

 

Yes.

 

Commentator Scott Hamilton said, you know, you do all these jumps in your routines but people don’t so much notice how hard those jumps are because you, you know, it’s part of a story you’re telling, visually.

 

Mm, mm hm, yeah, so I mean, I think I…was also proud to be a part of the generation that really pushed the sport technically, as well. You know, my biggest competitor in those 90s, early 90s, was Midori Ito from Japan, and she was the first to land, successfully land a triple axel in international competition and so, you know, she pushed the boundaries as um, you know, a figure skater doing the amount of triples that she incorporated and then incorporated the triple axel, Tonya Harding was also doing the triple axel, that ’92 year at the Olympics, so uh, technically, the women that year were really, really pushing beyond what we’ve seen in the past in women’s competition. And so, I had to up my game too and incorporated the triple lutz, triple toe combination, to be…

 

But not the triple axel.

 

Not the triple axel and I tried to master it and it wasn’t mastered at the level where I was comfortable to incorporate it into the competition, so I knew the triple lutz, triple toe combination had to be perfect, and had to be my um, answer to their triple axel, and it put a lot of pressure on me for that particular move, but um, yeah, I knew I had to have it, and it hadn’t been done at the Olympics before um, by anyone, so it was fun to be able to kind of push the envelope that way.

 

And you did, and you won.

 

After winning Olympic gold in 1992 in France, Kristi Yamaguchi went on to become a professional skater, and she married another athlete, former Olympic and professional ice hockey player, Bret Hedican, and they now have two teenage daughters. She also found a way to give back to the community.

 

Every Olympian, after their Olympic career ends, must look at what life looks like then, after spending almost every waking moment consumed with uh, competition and their art, um, did you know what you were going to do after you ended your time with skating professionally?

 

I didn’t. You know, I think um, yeah, so much was spent on skating itself and the career path of a skater, uh, that I wasn’t really, I never really had a plan after that, but I think, you know, I had the natural segue of, you know, I found someone I wanted to spend the rest of my life with and start a family with, so really, as soon as I got off the road from touring as a skater, we started a family. And that really took over, um, for the next uh, you know, four or five years, just being a mom. But all through that, you know, after, immediately after the Olympics, even while I was touring, there was always a sense of continuing to have a purpose in life and to make an impact um, beyond just being an athlete and you know, my parents had always been very involved in the community, you know, volunteers at school, and at church, and in the community, so, you know, they were like, you know, you’ve been so lucky, what are you going to do now? How are you going to give back? And um, that really uh, inspired me and spurned me to look at, hey what am I passionate about beyond, you know, skating and myself. And it was children. And uh, in 1996, shortly after the Olympics, I established the Always Dream foundation, who was all about um, you know, inspiring the hopes and dreams of underserved children, and I knew that that was uh, going to become my next passion and my next step in life, beyond the Olympics. We’ve been going strong for 23 years and the last eight years, we’ve been focused on early childhood literacy and have uh, a reading program in Kindergarten classroom aged kids, and you know, we’re all about leveling the playing field, because not everyone is given the resources and opportunities or have that at their fingertips growing up, not even books in the home, so how do you develop a foundation for learning if you don’t have books in the home? We are providing the tools for the families and the kids to be able to develop those literacy rich environments at the home, and hopefully give them, you know, the edge they need to have success in school and in life.

 

Kristi Yamaguchi found time during her busy life with family and foundation to compete on Dancing With the Stars in 2008. Reluctant at first, she says that once her competitive spirit kicked in, she was in it to win it, which she did. Mahalo to Kristi Yamaguchi of Alamo, California, a frequent Hawaiʻivisitor for sharing her life story with us. And thank you for joining us. For PBS Hawaiʻiand Long Story Short, I’m Leslie Wilcox. Aloha nui.

 

When we looked to expand our foundation outside of California, this was a natural um, place to desire and um, you know, we know the need is great here and it was the perfect fit for the foundation to come out and um, do it’s work. So, yeah, it’s, Hawai‘i definitely has a special place in my heart and my family’s heart, my older daughter, Keara, is a hula dancer and she’s um, earned her uh, her Hawaiian name and you know, has big dreams and aspirations to someday be at Merrie Monarch.

 

For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit PBSHawaii.org, to download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes store or visit PBSHawaii.org.

 

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FAKE OR FORTUNE?
Giacometti

FAKE OR FORTUNE? Giacometti

 

Twentieth-century sculptures are hot property in the art market. Alberto Giacometti’s Pointing Man figure sold for $141m at auction in New York in 2015, making it the most expensive sculpture ever sold. Could a stark, white square of plaster that has been passed down through an English family with art world connections be one of Giacometti’s earliest and most daring works?

 

 

 

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