Aloha America: Hula Circuits through the U.S. Empire By Adria L. Imada Paperback 0822352079 9780822352075 Aloha America: Hula Circuits through the U.S. Empire Aloha America reveals the role of hula in legitimating U.S. imperial ambitions in Hawaii. Hula performers began touring throughout the continental United States and Europe in the late nineteenth century. These hula circuits introduced hula, and Hawaiians, to U.S. audiences, establishing an imagined intimacy, a powerful fantasy that enabled Americans to possess their colony physically and symbolically. Meanwhile, in the early years of American imperialism in the Pacific, touring hula performers incorporated veiled critiques of U.S. expansionism into their productions.At vaudeville theaters, international expositions, commercial nightclubs, and military bases, Hawaiian women acted as ambassadors of aloha, enabling Americans to imagine Hawaii as feminine and benign, and the relation between colonizer and colonized as mutually desired. By the 1930s, Hawaiian culture, particularly its music and hula, had enormous promotional value. In the 1940s, thousands of U.S. soldiers and military personnel in Hawaii were entertained by hula performances, many of which were filmed by military photographers. Yet, as Adria L. Imada shows, Hawaiians also used hula as a means of cultural survival and countercolonial political praxis. In Aloha America, Imada focuses on the years between the 1890s and the 1960s, examining little known performances and films before turning to the present day reappropriation of hula by the Hawaiian self determination movement. Adria L. Imada is Associate Professor of Ethnic Studies at the University of California, San Diego. In Aloha America, Adria L. Imada shows how U.S. elites used a blend of tropicalism and orientalism to facilitate U.S. domination over Hawaii. By foregrounding the eroticized bodies of Hawaiian women hula dancers, these elites created what Imada calls an imagined intimacy between the U.S. public and the subjugated Hawaiians. The sexualized images of Hawaiian women helped to occlude resistance to U.S. imperialism in the Pacific and to make Hawaii suitable for statehood by shifting Americans attention away from its large Asian immigrant population. At the same time, hula served as a countercolonial archive of collective Hawaiian memory, preserving preconquest histories, epistemologies, and ontologies.—George Lipsitz, author of How Racism Takes Place Attentive to global forces of U.S. imperialism and to the agency of discrete cultural producers, Adria L. Imada conceives of Hawaiian hula as constitutive of colonial relations involving collaboration and resistance. Moreover and significantly, hula circuits outside of Hawai`i, she suggests, sustained Hawaiian culture (and hence nationhood) even as they transformed it—an astute and provocative contention.—Gary Y. Okihiro, author of Island World: A History of Hawai’i and the United States Aloha America pdf S imperial ambitions in Hawai i Hula performers began touring throughout the continental United States and Europe in the late nineteenth century These hula circuits introduced hula and Hawaiians to U. Book Aloha america's S audiences establishing an imagined intimacy a powerful fantasy that enabled Americans to possess their colony physically and symbolically Meanwhile in the early years of American imperialism in the Pacific touring hula performers incorporated veiled critiques of U. Aloha americat At vaudeville theaters international expositions commercial nightclubs and military bases Hawaiian women acted as ambassadors of aloha enabling Americans to imagine Hawai i as feminine and benign and the relation between colonizer and colonized as mutually desired By the 1930s Hawaiian culture particularly its music and hula had enormous promotional value In the 1940s thousands of U. Aloha America booker S soldiers and military personnel in Hawai i were entertained by hula performances many of which were filmed by military photographers Yet as Adria L Imada shows Hawaiians also used hula as a means of cultural survival and countercolonial political praxis In Aloha America Imada focuses on the years between the 1890s and the 1960s examining little known performances and films before turning to the present day reappropriation of hula by the Hawaiian self determination movement Adria L Imada is Associate Professor of Ethnic Studies at the University of California San Diego In Aloha America Adria L Imada shows how U. Book Aloha american airlines S imperialism in the Pacific and to make Hawai i suitable for statehood by shifting Americans attention away from its large Asian immigrant population At the same time hula served as a countercolonial archive of collective Hawaiian memory preserving preconquest histories epistemologies and ontologies George Lipsitz author of How Racism Takes Place Attentive to global forces of U. Aloha America book S imperialism and to the agency of discrete cultural producers Adria L Imada conceives of Hawaiian hula as constitutive of colonial relations involving collaboration and resistance Moreover and significantly hula circuits outside of Hawai i she suggests sustained Hawaiian culture and hence nationhood even as they transformed it an astute and provocative contention Gary Y Okihiro author of Island World A History of Hawai i and the United States Aloha America Hula Circuits through the U. Aloha americatel s military and dodea read this 0822352079 An extensively researched history Archival digs brought Imada into contact with surviving dancers and their families whose stories she wove with her own experiences to produce a comprehensive account of how the adaptive and resilient practice of hula works in conjunction with tourism Fascinating photographs of the dancers with careful commentary on poses and dress illuminate the mannerisms and views of the performers Publishers Weekly 0822352079
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