By Adria L. Imada
Winner, 2013 Lawrence W. Levine Award, association of yankee Historians
Winner, 2013 Congress on study in Dance awesome e-book Award
Aloha America unearths the function of hula in legitimating U.S. imperial pursuits in Hawai'i. Hula performers started traveling through the continental usa and Europe within the past due 19th century. those "hula circuits" brought hula, and Hawaiians, to U.S. audiences, constructing an "imagined intimacy," a robust delusion 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 included veiled evaluations of U.S. expansionism into their productions.
At vaudeville theaters, foreign expositions, advertisement nightclubs, and armed forces bases, Hawaiian girls acted as ambassadors of aloha, permitting americans to visualize Hawai'i as female and benign, and the relation among colonizer and colonized as jointly wanted. via the Thirties, Hawaiian tradition, fairly its track and hula, had huge, immense promotional worth. within the Forties, hundreds of thousands of U.S. squaddies and army body of workers in Hawai'i have been entertained through hula performances, a lot of that have been filmed via 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 specializes in the years among the Nineties and the Sixties, studying little-known performances and movies prior to turning to the present-day reappropriation of hula via the Hawaiian self-determination movement.
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