By Adria L. Imada
Winner, 2013 Lawrence W. Levine Award, association of yankee Historians
Winner, 2013 Congress on learn in Dance impressive booklet Award
Aloha America finds the function of hula in legitimating U.S. imperial targets in Hawai'i. Hula performers begun traveling during the continental usa and Europe within the overdue 19th century. those "hula circuits" brought hula, and Hawaiians, to U.S. audiences, developing 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, overseas expositions, advertisement nightclubs, and army bases, Hawaiian ladies acted as ambassadors of aloha, permitting americans 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, relatively its song and hula, had huge, immense promotional price. within the Nineteen Forties, hundreds of thousands of U.S. infantrymen and army group of workers in Hawai'i have been entertained via hula performances, lots of that have been filmed by way of army photographers. but, as Adria L. Imada exhibits, Hawaiians extensively utilized hula as a way of cultural survival and countercolonial political praxis. In Aloha America, Imada makes a speciality of the years among the Nineties and the Sixties, studying little-known performances and flicks sooner than turning to the present-day reappropriation of hula by way of the Hawaiian self-determination movement.
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Aloha America: Hula Circuits through the U.S. Empire by Adria L. Imada