There is a lot of conversation among arts organizations these days about the need to create connection and show the value of arts organizations to the community. I worked with an artist this weekend who really exemplified this aesthetic.

We presented the Masters of Hawaiian Music which is typically George Kahumoku and a rotating roster of 2-3 other notable musicians from Hawaii. In this case it was Herb Ohta, Jr. and Sonny Lim. Kahumoku has been hosting the Maui Slack Key show for over 20 years and has been a musician for far longer than that. He was trained as a visual artist, but is also a farmer, cook, writer in addition to being a sculptor and printmaker. Definitely a renaissance man.

When I initially contracted the show, the local museum was planning having a quilt exhibition around the same time that was going to have 2 out of 20-30 quilts from Hawaii. Over the course of the year that evolved to 100% Hawaiian quilts. I arranged for Uncle George Kahumoku to speak about quilt making the night before the performance and then join the members of a local organization for a potluck and mini-cultural exchange.

The local organization said there would be 15-20 from their group at the talk and potluck and the museum didn’t know how many would attend from their mailing list.

We got to the museum and there were already 40-50 people gathered in the gallery. Uncle George turned around and told me to go back to his hotel room to get his guitar. He really enjoyed the experience because he had never seen so many Hawaiian quilts in one place. He would watch his grandmother and her friends make quilts for every newborn, but he had never seen one placed on a bed and used because they were treated as heirlooms.

He joked when he inherited his father’s quilt, his dad let him look at it and then closed the chest up a few minutes later and told him to never open it again. He didn’t mention if he gave his son the same instructions when he passed it on.

Later at the potluck, upon learning some students of hula came an hour to hear the museum talk, he made everyone move the tables and told them to dance while he played familiar songs on his guitar.

The next night, before the show he was out in the lobby greeting audience members and handing out slips to fill out to “win stuff.” The slips were obviously a way for him to collect address so he could contact people in different parts of the country to attend his shows when he was in the area. But he was also very much making himself available to the audience to chat with him rather than delegating this job to subordinates. (Okay, so he pressed me into helping him so maybe there was a little subordination going on.)

He was back out in the lobby at intermission with Ohta and Lim chatting with the audience. (I had to nudge them back on stage.) Then they were back immediately after the show until everyone left.

It is difficult to communicate the vibe and dynamic via text. His agent may have explained it best when she mentioned his instinct leans toward creating connections and socialization. She mentioned he was likely in his happy place at the museum talk and potluck more than even at the concert.

As much as he was trying to gather people’s contact information, his goal wasn’t to optimize that process. He started drawing names to give things away as soon as I introduced him rather than waiting until the end of the show and taking the opportunity to gather more names at intermission.

Also at some point he managed to collect the names of every staff member and volunteer in the building and acknowledged them all before the performance started. The morning after the public show, I got a long text from Uncle George telling me how much being able to see the quilts meant to him and how he would write about the experience in his memoirs. Again he praised our staff.

I knew by then that he was an exemplar of the level of sincerity and investment that arts organizations need to manifest in their interactions with their community.