By Adria L. Imada
Winner, 2013 Lawrence W. Levine Award, association of yank Historians
Winner, 2013 Congress on examine in Dance amazing booklet Award
Aloha America finds the function of hula in legitimating U.S. imperial goals in Hawai'i. Hula performers started traveling through 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 strong delusion that enabled americans 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 opinions of U.S. expansionism into their productions.
At vaudeville theaters, overseas expositions, advertisement nightclubs, and army 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 collectively wanted. by means 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 through hula performances, a lot of that have been filmed through army photographers. but, as Adria L. Imada indicates, Hawaiians extensively utilized hula as a way of cultural survival and countercolonial political praxis. In Aloha America, Imada specializes in the years among the Nineties and the Sixties, analyzing little-known performances and movies 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