A new exhibit in the Bridge Gallery of Hamilton Library at the University of Hawaiʻi at 惭ā苍辞补 invites the public to play instruments repurposed from ʻō辫补濒补 (trash). Bike brake cables, SPAM cans, rice bags, and driftwood are just a few of the materials that make up the exhibit’s instruments.
Available through August 10, the “” exhibit by ethnomusicology lecturer Benjamin Fairfield combines ecomusicology with place-based learning and encourages examination of consumptive habits.
“The idea of accepting a label of trash as worthless primes us to see things as having no further utility and value,” said Fairfield. “This project is getting us to challenge those labels and think, ‘Is it really worthless? Can’t it still have a voice, a utility, be part of our song and part of our creative process?’”
Crafted in the classroom
Many of the pieces were crafted in Fairfield’s class, a sustainability-focused course initially supported by the (CSEAS), where students repurpose found objects into Thai musical instruments. CSEAS has also supported outreach workshops for Kani ka ʻ?pala.
“The class is important as a course that uses an Indigenous approach to sustainable music-making by recycling found objects and promotes craftsmanship grounded in Southeast Asian studies,” said Teri Skillman, CSEAS associate director.
“I was thinking, how can we connect community and music in a participatory way that is also sustainability-oriented? That’s where MUS311(M) brought all of these things together,” said Fairfield. “When students take the class, I wanted to make sure that music isn’t this scary thing that you’re not allowed to do.”
Rooted in tradition and ʻā颈苍补 (land)
Fairfield’s project is largely inspired by his research as a graduate student and his time as a Peace Corps volunteer in Chiang Mai, Thailand, where he lived in a village with the Indigenous Karen (Pgaz k’Nyau) people.
“There were these musical traditions that were very interactive, and everyone had a role to play, whether it was dancing and clapping or joining along in some sort of singing capacity. Music wasn’t a presentational sort of thing—it was more participatory,” said Fairfield.
Currently serving as affiliate faculty at the and CSEAS, Fairfield brings a sense of inclusivity and creativity into his teaching.
“We’re going to celebrate sustainability and connection to the āina, and also repurpose these things as is done in the tradition,” said Fairfield, “Working with these materials is a way to connect people on a personal level to these objects that we otherwise don’t give a second thought to.”
‘Everyone’s welcome’
The exhibit highlights community involvement every step of the way, from collaborative works with local elementary schools to musings from local poets and professors.
“We explore musicality in a way that’s fun, engaging, sustainable, and hands-on,” said Fairfield.
Instruments featured also include those from a previous exhibit displayed in Capital Modern: The Hawaiʻi State Art Museum as part of Fairfield’s selection for its . Fairfield’s illustrated children’s book, ties into the theme of the exhibit and is on display as well.
To learn more about the exhibit, visit the .
—By Josslyn Rose