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Books on the topic 'Dance, hawaii'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

ill, Pagay Jeff, ed. Whale song & dance. Honolulu, Hawai'i: Mutual Pub., LLC, 2008.

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2

Aloha America: Hula circuits through the U.S. empire. Durham: Duke University Press, 2012.

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3

Emerson, Nathaniel Bright. Unwritten literature of Hawaii: The sacred songs of the hula. Hilo, Hawai'i: Edith Kanaka'ole Foundation, 2006.

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4

Paradise remade: The politics of culture and history in Hawai'i. Philadelphia: Temple University Press, 1993.

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5

Linda, Sunshine, Felix Antonia, Bruckheimer Jerry, and Bay Michael 1964-, eds. Pearl Harbor: The movie and the moment. New York: Hyperion, 2001.

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6

Pearl Harbor. Madrid, España: Suma de Letras, 2001.

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7

Reece, Kim Taylor. Images of Hawaii's ancient hula: Hula kahiko : fine art photography. Sacred Falls, Hawaii: Kim Taylor Reece Gallery, 1997.

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8

Uchiyama, Mahealani. Haumana hula handbook: A manual for the student of Hawaiian dance. [Berkeley, Calif.?]: Dancetera Publications, 1999.

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9

Haworth, Jill Suzuki. Bon Dance in Hawaii. Mutual Publishing, 2004.

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10

Thompson, Vivian L. Folk Dances of Hawaii. Alfred Publishing Company, 2000.

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11

Haumana Hula Handbook for Students of Hawaiian Dance. North Atlantic Books, 2016.

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12

Folk dances of Hawaii: With CD accompaniment and easy to follow dance graphics. Miami, FL: Belwin Mills Pub. Corp., 1994.

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13

Chan, Christine Emi. Beyond Colonization, Commodification, and Reclamation. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.36.

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The Hawaiian Islands have long been characterized as a place of romance, mystery, and exotic cultural experiences. Since the 18th century arrival of Europeans, this view of Hawaii has been perpetuated by explorers, missionaries, the government, the tourist industry, and many others who choose to play into the fantasies of Hawaiian culture conjured and maintained by Orientalization. Hula and the figure of the Hawaiian hula girl are particularly oversexualized and overspiritualized. Today, we see debate over whether non-Native speakers, nonindigenous people, or non-Hawaii residents should be allowed to participate in the dance. Interestingly, in attempting to celebrate hula, certain rhetoric reinforces Orientalist tendencies to romanticize hula and Hawaii. Therefore, I offer a retheorization of hula by drawing out aspects of hula presentations that (1) recognize hula as a recycled tradition, (2) acknowledge the unique plight of the indigenous people of Hawaii, and (3) do not limit participation to certain bodies.

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14

Imada, Adria L. Aloha America: Hula Circuits Through the U. S. Empire. Duke University Press, 2012.

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15

Emerson, Nathaniel Bright. Unwritten Literature Of Hawaii: The Sacred Songs Of The Hula. Kessinger Publishing, LLC, 2007.

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16

Buck, Elizabeth Bentzel. Paradise Remade: The Politics of Culture and History in Hawaii. Temple University Press, 1994.

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17

Hula for the Home Front: A Nanea Classic 2. American Girl, 2017.

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18

1895-, Pukui Mary Kawena, ed. Hula: Hawaiian proverbs and inspirational quotes celebrating hula in Hawai'i. Honolulu: Mutual Pub., 2003.

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19

Wallace, Randall, and Michael Bay. Pearl Harbor: The Movie and the Moment (Newmarket Pictorial Moviebook). Hyperion, 2001.

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20

Desmond, Jane. Tracking the Political Economy of Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.52.

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This chapter analyzes the processes of transporting community-based dance practices to the stage, and argues that previously dominant formulations of “appropriation” are not complex enough to theorize this “political economy” of dance practices, practitioners, and audiences as dance forms move across cultural communities and onto the stage. Taking three disparate case studies as a way of thinking through these issues, this chapter investigates works by Twyla Tharp on Broadway, by Chuck Davis and his African American Dance Ensemble on stages in New York or Durham, NC, and Hawaiian hula performances in tourist venues and local halaus, or studios, to suggest that a more complex goal and sharper theoretical practice would be to literally track the political economy of dance practices, the accrual of monetary and cultural capital, and the ways that meanings change for performers and audience when dances move across cultural and commercial/non-commercial boundaries.

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21

Growing Up with Aloha: A Nanea Classic 1. American Girl, 2017.

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22

Lois, Kaeppler Adrienne, Van Zile Judy, and Tatar Elizabeth, eds. Hula pahu: Hawaiian drum dances. Honolulu: Bishop Museum Press, 1993.

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23

Judy, Van Zile, Kaeppler Adrienne Lois, and Tatar Elizabeth, eds. Hula pahu: Hawaiian drum dances. Honolulu: Bishop Museum Press, 1993.

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24

Lois, Kaeppler Adrienne, Van Zile Judy, and Tatar Elizabeth, eds. Hula pahu: Hawaiian drum dances. Honolulu: Bishop Museum Press, 1993.

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25

Lilleike, Monika. Hawaiian Hula 'Olapa: Stylized Embodiment, Percussion, and Chanted Oral Poetry. Transcript Verlag, 2017.

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26

group), Hit Crew (Musical. Drew's famous sounds of the Hawaiian Islands. 2017.

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27

Corona, Vicki. Hawaiian Implements 2: Uli'uli & Ili'ili (Book & DVD w/Dance Demo). Dance Fantasy Productions, 1989.

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28

Teves, Stephanie Nohelani. Defiant Indigeneity. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640556.001.0001.

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"Aloha" is at once the most significant and the most misunderstood word in the Indigenous Hawaiian lexicon. For Kānaka Maoli people, the concept of "aloha" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the "hula girl" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the Kānaka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning. While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

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29

Carr, James Revell. “Lascivious Gestures” and “Festive Sports”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0002.

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This chapter examines the first musical encounters between Hawaiians and Euro-American sailors, beginning with the arrival of Captain James Cook in 1778. It explains early European and American visions of what Cook called “The Sandwich Islands,” and demonstrates that modern stereotypes of Hawaiian culture had their genesis in the stories of paradise on earth brought back to Europe and the United States by sailors. It shows how Hawaiians used music and dance as a conscious strategy for pacifying and disseminating information about the potentially violent foreigners. The chapter concludes with stories of the earliest recorded performances of hula in North America: in 1792, when two young Hawaiian women traveling with Captain George Vancouver performed at the home of the governor of Alta California in Monterey; and in 1802, when Hawaiian seamen working aboard American ships performed at the Park Theatre in New York and the Federal Street Theatre in Boston in productions of the popular pantomime The Death of Captain Cook.

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30

Carr, James Revell. “A Wild Sort of Note”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0003.

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This chapter addresses Hawaiians' roles in the multicultural environment aboard European and American sailing ships during the nineteenth century, focusing particularly on the expressive culture of American whalers. Whaling ships began regularly calling at Hawaiian ports in 1820, and over the next six decades thousands of Hawaiian men shipped out as whalemen, joining one of the most cosmopolitan workforces in the world. The chapter begins by describing the social conditions aboard American ships that enabled a variety of performing arts to flourish and encouraged intercultural bonding. It then explicates the different styles and contexts of shipboard music starting with the work song tradition known as the sea chantey (or shanty). It describes the recreational music-making activities of sailors, distinct from the work song tradition, providing accounts of Hawaiian singing and dancing aboard ships at sea and in various global ports, and the responses of Euro-American sailors to that music and dance.

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31

Na Mele Welo. Bishop Museum Press, 1999.

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32

Creciendo con Aloha: Un clásico de Nanea. American Girl Publishing, 2017.

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33

Kaeppler, Adrienne L. Hula Pahu: Hawaiian Drum Dances : Ha'A and Hula Pahu : Sacred Movements (Bishop Museum Bulletins in Anthropology). Bishop Museum Press, 1993.

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34

Tatar, Elizabeth. Hula Pahu: Hawaiian Drum Dances - Vol. II The Pahu: Sounds of Power (Bishop Museum Bulletins in Anthropology 3). Bishop Museum Press, 1993.

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