Aloha America: Hula Circuits Through the U.S. Empire

The reception and the transformation of the hula circuit is the focus of Imada’s thorough investigation of “U.S. imperial interests in Hawaii.” Assistant professor for ethnic studies at UC–San Diego, Imada, in her extensively researched history, depicts the instability of the “imagined intimacy between the colony and colonizer” as well as the conflicting perceptions of Hawaiians toward their traditional dance, whose practitioners were often “criticized for commodifying their bodies and cultural practices.” Hawaii was portrayed as “desirable and unthreatening” to mainland Americans—who classified Hawaiians as “racially distinct” or “immigrants”—while hula dancers were framed as “sexually available” and “foreign but not too alien curiosities.” Archival digs brought Imada into contact with surviving dancers and their families, whose stories she wove with her own experiences to produce a comprehensive account of how the “adaptive and resilient practice” of hula works in conjunction with tourism. She also shows that the Hawaiian performers weren’t “passive objects in Euro-American tourist economies,” but dealt with colonization through their own practices, adopting a position closer to cultural ambassadors. Fascinating photographs of the dancers—with careful commentary on poses and dress—illuminate the mannerisms and views of the performers. Strictly academic language may turn off casual readers, but Imada’s dissertation will benefit those working in ethnic studies or greatly invested in Hawaiian culture. B&w photos. (Aug.)