By Adria L. Imada
Winner, 2013 Lawrence W. Levine Award, association of yankee Historians
Winner, 2013 Congress on study in Dance amazing ebook Award
Aloha America finds the position of hula in legitimating U.S. imperial targets 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 fable 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 reviews of U.S. expansionism into their productions.
At vaudeville theaters, foreign expositions, advertisement nightclubs, and armed forces bases, Hawaiian ladies acted as ambassadors of aloha, permitting american citizens to visualize Hawai'i as female and benign, and the relation among colonizer and colonized as at the same time wanted. via the Thirties, Hawaiian tradition, rather its track and hula, had huge, immense promotional worth. within the Nineteen Forties, hundreds of thousands of U.S. infantrymen and army team of workers in Hawai'i have been entertained by way of hula performances, a lot of that have been filmed through army photographers. but, as Adria L. Imada exhibits, 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 Eighteen Nineties and the Nineteen Sixties, interpreting little-known performances and flicks earlier than turning to the present-day reappropriation of hula through the Hawaiian self-determination movement.
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Aloha America: Hula Circuits through the U.S. Empire by Adria L. Imada