After World War II, Japanese Americans in Hawaiâi sought to carve a positive niche of public citizenship in the community. In 1953 members of the Honolulu Japanese Junior Chamber of Commerce and their wives created a beauty contest, the Cherry Blossom Festival (CBF) Queen Pageant, which quickly became an annual spectacle for the growing urban population of Honolulu. Crowning the Nice Girl analyzes the pageant through its decades of development to the present within multiple frameworks of gender, class, and race/ethnicity. Drawing on extensive archival research; interviews with CBF queens, contestants, and organizers; and participant observation in the Fiftieth Annual Festival as a volunteer, Christine Yano paints a complex portrait of not only a beauty pageant, but also a community.
The study begins with the subject of beauty pageants in general and Asian American beauty pageants in particular, interrogating the issues they raise, embedding them within their histories, and examining them as part of a global culture that has taken its model from the Miss America contest.Yano follows the pageant throughout the decades into the 1990s, adding corresponding "herstories"âextensive narratives drawn from interviews with CBF queens. She concludes by framing issues of race, ethnicity, spectacle, and community within the intertwined themes of niceness and banality.
Hawai'i in the 1970s was a vibrant time; a Hawaiian Renaissance was being led, in part, by the renewed popularity of and interest in hula as an integral part of Hawaiian culture. The Hula was originally written by Jerry Hopkins in 1978, with assistance from Rebecca Kamili'ia Erikson, and it has been a significant narrative on the dance form ever since. Hopkins's book was the first to offer readers a comprehensive history of hula aimed at a general audience.
Three decades later, The Hula has not been superseded. This reissue of The Hula has been updated and edited by Hawaiian music and hula expert Amy Ku'uleialoha Stillman and enhanced by poignant photographs and graphics, makes an overview of hula once again available to new generations of hula dancers, cultural enthusiasts and fans alike.
This revised edition incorporates the same graphics as the original, but has been completely redesigned.
At the 1989 Smithsonian Folklife Festival, throngs of visitors gathered on the National Mall to celebrate Hawaiâiâs multicultural heritage through its traditional arts. The "edu-tainment" spectacle revealed a richly complex Hawaiâi few tourists ever see and one never before or since replicated in a national space. The program was restaged a year later in Honolulu for a local audience and subsequently inspired several spin-offs in Hawaiâi. In both Washington, D.C., and Honolulu, the program instigated a new paradigm for cultural representation.
Based on archival research and extensive interviews with festival organizers and participants, this innovative cross-disciplinary study uncovers the behind-the-scenes negotiations and processes that inform the national spectacle of the Smithsonian Folklife Festival. Intersecting the fields of museum studies, folklore studies, Hawaiian studies, performance studies, cultural studies, and American studies, American Aloha supplies a nuanced analysis of how the carefully crafted staging of Hawaiâiâs cultural diversity was used to serve a national narrative of utopian multiculturalismâone that collapsed social inequities and tensions, masked colonial history, and subordinated indigenous politicsâwhile empowering Hawaiâiâs traditional artists and providing a model for cultural tourism that has had long-lasting effects. Heather Diamond deftly positions the 1989 program within a history of institutional intervention in the traditional arts of Hawaiâiâs ethnic groups as well as in relation to local cultural revivals and the tourist industry. By tracing the planning, fieldwork, site design, performance, and aftermath stages of the program, she examines the uneven processes through which local culture is transformed into national culture and raises questions about the stakes involved in cultural tourism for both culture bearers and culture brokers.
With a history now stretching back four decades, Pacific festivals of Aotearoa assert a multicultural identity of New Zealand and situate the country squarely within a sea of islands. In this volume, Jared Mackley-Crump gives a provocative look at the changing demographics and cultural landscape of a place frequently viewed through a bicultural lens, PÄkehÄ and MÄori.
Taking the postâWorld War II migrations of Pacific peoples to New Zealand as its starting point, the story begins in 1972 with the inaugural Polynesian Festival, an event that was primarily designed as a MÄori festival, now known as Te Matatini, the largest MÄori performing arts event in the world. Two major moments of festivalization are considered: the birth of Polyfest in 1976 and the inaugural Pasifika Festival of 1993. Both began in Auckland, the home of the largest Pacific communities in New Zealand, and both have spawned a series of events that follow the models they successfully established. While Polyfests focus primarily on the transmission of performance traditions from culture bearers to the young, largely New Zealandâborn generations, Pasifika festivals are highly public community events, in which diverse displays of material culture are offered up for consumption by both cultural tourists and Pacific communities alike. Both models have experienced a significant period of growth since 1993, and here, the author presents a thought-provoking and wide-ranging analysis to explain the phenomenon that has been called a âPacific renaissance.â
Written from an ethnomusicological perspective, The Pacific Festivals of Aotearoa New Zealand incorporates lively first-person observations as well as interviews with festival organizers, performers, and other important historical figures. The second half of the book delves into the festival space, uncovering new meanings about the function and role of music performance and public festivity. The author skillfully challenges accounts that label festivals as inauthentic recreations of culture for tourist audiences and gives both observers and participants an uplifting new approach to understand these events as meaningful and symbolic extensions of the ways diasporic Pacific communities operate in New Zealand.
National surveys indicate that most Japanese, while professing no religious commitment, frequently perform rituals: They regularly tend their family home altars, look after family graves, participate in neighborhood festivals, and visit Shinto shrines and Buddhist temples. Are these rituals mere formalities?
Based on fourteen months of fieldwork in Kamakura city near Tokyo, Satsuki Kawano examines the power of ritual and its relevance for modern urbanites. She reveals the indebtedness of ritual to forms that create an elevated context and infuse the mundane with a sense of moral order. By employing acts and environments common to everyday life, Kawano argues, ritual evokes morally positive values such as purity, gratitude, respect, and indebtedness. Rather than objectify morality in a sacred text or religious doctrine, ritual embodies and emplaces a sense of what it means to be a good person and creates moments of personal significance and engagement. In Kamakura, belief is therefore a consequence and not a prerequisite of ritual engagement.
Ritual Practice in Modern Japan effectively challenges the widespread assumption that ritual in non-Western societies has little moral significance and that, with modernization, "traditional" practices inevitably disappear. This is a book that will interest scholars and students of cultural anthropology, ritual studies, and Japanese studies.
Places for Happiness explores two of the most important performance-based activities in the Philippines: the processions and Passion Plays associated with Easter and the mass-dance phenomenon known as âstreet dancing.â The scale of these handcrafted performances in terms of duration, time commitment, and productive labor marks the Philippines as one of the worldâs most significant and undervalued performance-centered cultures. Drawing on a decade of fieldwork, William Peterson examines how people come together in the streets or on temporary stages, celebrating a shared sense of community and creating places for happiness. The first half of the book focuses on localized and often highly idiosyncratic versions of the Passion of Christ. Peterson considers not only what people do in these events, but what it feels like to participate. The bookâs second half provides a window into the many expressions of âstreet dancing.â Street dancing is inflected by localized indigenous and folk dance traditions that are reinforced at school and practiced in conjunction with religious civic festivals. Peterson identifies key frames that shape and contain the individual in the Philippines, while tracking how the local expands its expressive home by engaging in a dialogue with regional, national, and diasporic Filipino imaginaries.
Ultimately Places for Happiness explores how community-based performance responds to and fulfills basic human needs. Many Filipinos rely on family members and immediate neighbors for support and sustenance, and community-based performance assumes a unique and leading role in defining, reinforcing, and celebrating shared belief systems. By bringing forth the internal, phenomenological, and embodied aspects of a range of community-based practices contributing to human happiness, the book offers a cultural framework that interweaves the individual experience with that of the collective, plotting out what resides inside the body through the coordinates of culture.
Our author hits all the highlights, fromÂ the Ryman Auditorium and the Country Music Hall ofÂ Fame and MuseumÂ in Nashville toÂ Beale Street and the National Civil Rights Museum in Memphis. She's checked out all the cities' best hotels and restaurants in person, and offers authoritative, candid reviews that will help you find the choices that suit your tastes and budget.
You'll also get up-to-the-minute coverage of shopping and nightlife in both cities; in-depth coverage of the respective music scenes; detailed walking tours; accurate neighborhood maps; advice on planning a successful family vacation; and side trips to distilleries and Civil War battlefields.
The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of the plays in this volume achieved this level of importance. This span of some sixty-odd years was also a formative one in the development of how plays were presented, an important feature in the modern staging of works from the traditional plebeian theatre. Only a handful of complete and uncut playsâoften as much as ten hours longâare produced in Bunraku or Kabuki nowadays; included here is one of these. Two among the four plays contained in this volume are examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today.
Kabuki, while better known outside Japan, has been a great beneficiary of the puppet theatre, borrowing perhaps as much as half of its body of work from Bunraku dramas. Bunraku, in turn, has raided the Kabuki repertoire but to a far more modest degree. The final play in this collection, The True Tale of Asagao, is an instance of this uncommon reverse borrowing. Moreover, it is an example of yet another way in which some plays have come to be presented: a coherent subplot of a longer work that gained an independent theatrical existence while its parent drama has since disappeared from the stage. These later eighteenth-century works display a continued development toward greater attention to the theatrical features of puppet plays as opposed to the earlier, more literary approach found most notably in the dramas of Chikamatsu Monzaemon (d. 1725). Newly translated and illustrated for the general reader and the specialist, the plays in this volume are accompanied by informative introductions, extensive notes on stage action, and discussions of the various changes that Bunraku underwent, particularly in the latter half of the eighteenth century, its golden age.
The spectacular Japanese community festivals known as matsuri are centuries old. Even today, in a society driven by technological advancement, these annual rites continue to function as a mechanism for purification and renewal and also to ensure all aspects of communal productivity. The pageantry of these events - their extraordinary dress, performance, and Shinto-Buddhist ritual enactment - brings communities together in an act of worship that is, as well, an extravagant artistic celebration. Dominated by the gorgeous textiles worn by troupes of participants, matsuri also boldly incorporate decorated banners, exquisitely 'dressed' festival wagons, dramatic masks, and elaborate portable shrines. The historical importance of matsuri within the cycle of annual religious events in Japan is also reflected in the representation of these festivals in several pictorial forms, from lavish screen paintings to elegant woodblock prints.This volume identifies and describes the exuberant textiles and costumes of matsuri and considers their significance within their cultural context. Many of the examples illustrated date from the Meiji period (1868-1912), the last time when handwork was produced by individual artisans for their own use or that of their neighbors. The unique focus on festival arts in this book allows us to identify the special aesthetics that differentiate the textiles worn and used on Japan's holy days. At matsuri a cascade of beautifully crafted garments in vibrant hues meets the eyes, foregrounded distinctly against the hushed simplicity of the Shinto shrine. It is an incredibly vital spectacle of human artistry at the service of a sacred occasion."Matsuri!" documents the use of textiles in more than 25 different festivals scattered over the length and breadth of Japan. The book interweaves these textiles with the other arts that constitute matsuri as well as with their symbolic meanings and the history of textile making in Japan. Gorgeous photographs bring the festivals to life. Gloria Granz Gonick is a student of Japanese textiles and culture. Other contributors include Yo-ichiro Hakomori (adjunct assistant professor of architecture at the University of Southern California), Hiroyuki Nagahara (assistant professor of Japanese at the University of Hawai'i at Manoa), and Herbert Plutschow (professor of East Asian languages and cultures at UCLA and author of "Matsuri: The Festivals of Japan" among other books).