By Adria L. Imada
Winner, 2013 Lawrence W. Levine Award, association of yank Historians
Winner, 2013 Congress on examine in Dance impressive book Award
Aloha America unearths the function of hula in legitimating U.S. imperial targets in Hawai'i. Hula performers started traveling during the continental usa and Europe within the past due 19th century. those "hula circuits" brought hula, and Hawaiians, to U.S. audiences, setting up an "imagined intimacy," a robust myth that enabled american citizens to own their colony bodily and symbolically. in the meantime, within the early years of yank imperialism within the Pacific, traveling hula performers integrated veiled evaluations of U.S. expansionism into their productions.
At vaudeville theaters, foreign expositions, advertisement nightclubs, and army bases, Hawaiian girls acted as ambassadors of aloha, permitting american citizens to visualize Hawai'i as female and benign, and the relation among colonizer and colonized as together wanted. by way of the Nineteen Thirties, Hawaiian tradition, quite its track and hula, had huge, immense promotional price. within the Forties, hundreds of thousands of U.S. infantrymen and army group of workers in Hawai'i have been entertained through hula performances, lots of that have been filmed through army photographers. but, as Adria L. Imada indicates, Hawaiians extensively utilized hula as a method of cultural survival and countercolonial political praxis. In Aloha America, Imada makes a speciality of the years among the Nineties and the Nineteen Sixties, interpreting little-known performances and movies ahead of turning to the present-day reappropriation of hula through the Hawaiian self-determination movement.
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