- The Oxford Handbook of Dance and Ethnicity
- List of Contributors
- Dance and Ethnicity: Introduction
- “And I Make My Own”: Class Performance, Black Urban Identity, and Depression-Era Harlem’s Physical Culture
- “Do You Want to See My Hornpipe?” Creativity and Irish Step Dance in the Work of Jean Butler and Colin Dunne
- Dancing Jews and Jewesses: Jewishness, Ethnicity, and Exoticism in American Dance
- Queering Ethnicity and Shattering the Disco: Is There an Enduring Gay Ethnic Dance?
- Dancing Multiple Identities: Preserving and Revitalizing Dances of the Skolt Sámi
- To Call Dance Japanese: Nihon Buyô as Ethnic Dance
- Diasporic Ethnicity, Gender, and Dance: Muslim Macedonian Roma in New York
- “An Interesting Experiment in Eugenics”: Ted Shawn, American Dance, and the Discourses of Sex, Race, and Ethnicity
- Dancing Angels and Princesses: The Invention of an Ideal Female National Dancer in Twentieth-Century Iran
- The Spectacularization of Soviet/Russian Folk Dance: Igor Moiseyev and the Invented Tradition of Staged Folk Dance
- LADO, the State Ensemble of Croatian Folk Dances and Songs: Icon of Croatian Identity
- Authenticity and Ethnicity: Folk Dance, Americanization, and the Immigrant Body in the Early Twentieth Century
- A Folklorist’s View of “Folk” and “Ethnic” Dance: Three Ukrainian Examples
- The Jarabe Tapatío: Imagining Race, Nation, Class, and Gender in 1920s Mexico
- Perception, Connections, and Performed Identities in American-Ghanaian Dance Encounters
- Orientalism and the American Belly Dancer: Multiplicity, Authenticity, Identity
- Black Erased: The Tango de Negros in Spain’s Romantic Age
- English-Canadian Ethnocentricity: The Case Study of Boris Volkoff at the 1936 Nazi Olympics
- La Meri: Purveyor of the Dancing Other
- Choreographing Interculturalism: International Dance Performance at the American Museum of Natural History, 1943–1952
- “Hot” Latin Dance: Ethnic Identity and Stereotype
- From Salsa to Salzonto: Rhythmic Identities and Inventive Dance Traditions in Ghana
- Spectacles of Ethnicities: The San Francisco Ethnic Dance Festival
- Dancecapes of Dionysus: From Kali Vrisi (Northern Greece) to the Olympics
- Ballet and Whiteness: Will Ballet Forever Be the Kingdom of the Pale?
- Men and the Happiness Dance
- From Powwow to Stomp Dance: Parallel Dance Traditions in Oklahoma
- Beyond Colonization, Commodification, and Reclamation: Hula and Hawaiian Identity
- Crossing the Seas of Southeast Asia: Indigenous Diasporic Islam and Performances of Women’s Igal
- San Miguel the Arcángel, Capitan of Many Troops: An Ethno-Iconographic Study of Danza de Migueles
- Black Dance after Race
Abstract and Keywords
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.
Christine Chan was born and raised in Honolulu, Hawaii. She began studying dance in high school, where she was trained in ballet, contemporary dance, and hula. After graduating from `Iolani School, she attended Pomona College, where she continued to study dance, receiving a BA in Religious Studies and a minor in Dance. Chan is currently back home in Hawaii, studying to be a physician at the University of Hawaii John A. Burns School of Medicine.
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