Aloha America: Hula Circuits through the U.S. Empire
In order to write about hula, I had to also unwork this fundamental dictate, as do dancers: I was not simply recording what I was taught, but interpreting and assembling a shifting repertoire with its contradictions and ellipses.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
The tourists, however, were now soldiers.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
Furthermore, Luau produces a gendered regulation of Native bodies.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
There was no better way to demonstrate aloha than through entertainment.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
not ethnological,
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
The group entertained several hundred troops every weekend and even after the war ended continued to perform for convalescing soldiers at army hospitals.2
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
military officers in the 1830s and 1840s were treated to feasts and entertainment by ali‘i (chiefs).
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
roundly rebuked by some members of their own communities.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
In the developing American empire, the relationship between visuality, racialization, and domination is most arguably realized with American Indian subjects.