hangforum.com - The Archive

"CONGRATULATIONS! You have been selected to attend a theatre audition for New Zealand’s Got Talent where you will perform in front of our panel of expert judges and a live audience!" An exerpt from an e-mail I received just a little while ago. I auditioned on a whim, of course, out of curiousity. Not that I own or watch television; let alone watch or support reality television! Sure, I've played gigs here and there, busked on either side of the world, but I've never sat down to play for anyone else but myself. The hang hang and I are in a deep relationship with each other. Knowing how Felix & Sabina feel about the hang hang and the personal connection it's players have with it I'm feeling a bit uneasy about confirming this gig. I approach you, my peers, for advice.

The concept of the Got Talent shows as I know them is to exploit exotic freaks for the amusement of the audience and the cash for the broadcasting company. The show needs fools thinking they "got talent". They will applaud you for that exotic UFO on your lap. But do you really want to make a fool of yourself?

Another experience: After a Hang player was on the Italy Got Talent show, tons of letters from Italy arrived at PANArt from people wanting the same what the guy on TV had.

Michael

I completely agree with Michael, these TV reality talent shows make a mockery of people and call it entertainment. People apply for even the whim of getting their 15 minutes of fame and the worry is that their friends and family must tell them they're good enough before they go on, only for them to get up on stage and be mocked by the judges and audience for the benefit of making the broadcasters and TV companies money.

Personally I would avoid it at all costs.... get out on the streets and share your music with real people, maybe even make a few $£€ in the process?

Heres a view from PANArt on this:

( http://www.hangblog.org/the-call-of-iron/ )

...which IMHO would apply to TV as well.

After much time reading and re-reading all of your opinions, which I am very appreciative, I've come to a decision. In addition, I had a conversation with the NZGT team in regards to my fears as to what they own or do not own (e.g. what restrictions might be in place). Also, I've spoken to many family and friends outlining my concerns.

I think I will participate. For the following reasons:

1) I've played on stage with the hang hang on multiple occasions as well as busked on streets around the world. There isn't one time I've played which I've done so to simply make money or take advantage of the beautiful nature of the instrument. I've always have had something on my heart which I would express, and release, through playing. The fact that people have been so willing to give drinks at the pub or a few bob in my case is always appreciated but never expected. On numerous occasions the money I've made have put a roof over my head and food on my table. I've made it clear, to the people who took down the information for my backstory of this. I will have an intention to play when I'm on the television and that will be for myself. Whether it be an issue weighing on my heart or joke to laugh about it will be genuine. You see, every time I've played I've had such beautiful interactions with people. With children, we always are in conversation and they are the quickest to communicate by their facial expressions and actions. With adult, those which I'm able to connect with, sharing their journey through the tones coming out of my instrument, what bliss. So sure, I’ll be on television...I will do so only with the same intentions I have had on the street.

2) I've made it very clear that my instrument is a hand pan. Its origin is African/Caribbean. It's relatively rare with some thousand in existence. I feel as though I communicate with the makers, Felix & Sabina, through my instrument every day. How could you not? It's an extension of their spirit, energy, work. I do not desire to cause them any harm or affect their way of life. I believe I've exercised every due caution in regards to one of their most recent messages to us.

3) It is an opportunity, like any other. Who cares if I become the laughing stock of the show? I spent my entire youth being the class clown, with people generally laughing at me and not with me. I would run into walls and doors faking that I've smashed my head through kicking it followed my immediately throwing myself backwards, pushing off the wall onto the floor. I don't care the reason one laughs, as long as they laugh. That is most important.

4) They will prevent me from recording an album nor take any money from the proceeds; even if I play a portion on their show. They only reserve the right to use it as they choose...chop it up, grind it, and put it into a blender, play and replay. Also, they only restrict speaking to media directly during the entire process (must be approved) and performing at venues (for three months after the final live show, if you make the grand finale, is aired must be approved).

Though I really do love everyone, desiring to see everyone happy with intermittent fits of laughter, I must also love myself. This is why I participate. For me.

Good luck, and enjoy yourself... anything I have said is only my own personal opinion on these talent shows, my choice is my choice and your choice is yours, i'd still be keen to hear how you get on and if there is any see some footage.

I guess it will be very difficult to talk about your instrument in these shows. What is it? Here you wrote, that it is a hand pan and its origin is African/Carribian. I think you should consider this carefully. As I see it this statement isn't covered by the real history of the instrument. Considering this history the Hang is an European phenomenon. You could call it an European reply to the steelpan Trinidad's and Tobago's. The research, development, surrounding of the invention is strictly referred to European conditions. It is very interesting, that the Hang was not incorporated by Trinidad's and Tobago's culture and remained an European instrument mainly played by Europeans not by Carribian or African people.

But how could you explain something like this in the show? The people there don't want to get information or consider culture topics. They want to be entertained, they want to see emotions, they want to applaud. And there is very little time for talking. I think the only possibility would be to say strictly nothing. But I fear they will not let you keep still. They will urge you to speak. And then?

I fear introducing the Hang as a Carribian hand pan to the New Zealand public will spread a huge portion of misunderstandings about the Hang within this country. What a pity.

I would be interested if you could provide us an Internet source of the show, when it has taken place. I guess we all could learn something from this and check out whether my assumptions are real or not.

Michael

Yes. I ended up, while speaking to the person looking after our "back story," explainging to her what had happened in Italy and the flood of letters PANArt received as a result. I explained the use of the hang. It should be introduced as in instrument which evolved from instruments within those cultures. How to explain it when asked? I've gotten very good at explaining my "UFO" with replies such as "two wok's pasted together to stir-fry minds." Agreed, that the best thing to do is to speak as little as possible. I could simply ask the judges to allow the instrument to do the talking.

I'm still not 100% sold upon the idea of performing within that venue however it's good to keep your options open until the time which a decision must be made. I can say that in my country the people, even those out to make a few bob, are far more respectful than most. I've been very much impressed by their nature in which I'm being spoke to (and trust me, I can see through most people).