English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

Each April in Hawaii, local attention is focussed on the Merrie Monarch Festival on. Big Island. Every year, the foremost hula troupes of the various islands compete for prizes in a variety of disciplines, traditional and modern. The festival is a cultural event of considerable magnitude. For several evenings in succession local television provides live broadcasts of the performances lasting many hours. Two months earlier the Kapa Haka Festival in New Zealand enjoys similar attention from public and media alike as the country's Kapa Haka groups compete against each other. In both cases the indigenous culture of each country attains nation-wide media attention thanks to a performance form: the hula in Hawaii and the haka in New Zealand. While both forms had always enjoyed a certain popularity—the hula being almost synonymous with the image of Hawaii as a tourist paradise, and the haka representing not just the Maori people but also on occasions bi-cultural New Zealand as a prelude to All Black rugby games—the new prominence attained is certainly one manifestation of the so-called 'cultural renaissance' among Hawaiians and Maori alike. In this paper I wish to explore what could perhaps be termed the roots of this new performance phenomenon as parallel developments in the late nineteenth and early twentieth centuries. The aim is to explore a particular nexus between colonial contact and identity formation.2 Although this general question has been much researched in recent years, the field of performance is one area that has received little systematic attention, even though Polynesian performance forms belong to those cultural aspects that are, for outsiders at least, almost synonymous with these cultures. The focus is twofold: firstly, to demonstrate how two particular performance forms—the hula and the haka—became subject to a European strategy of folklorization and theatricalization. Secondly, and perhaps more importantly, to indicate the way Hawaiians and Maori themselves adapted their cultural performances to meet an ever increasing ensemble of new functions ranging from the traditional to the tourist, from the religious to the political.

Hula and Haka: Performance, Metonymy and Identity Formation in Colonial Hawaii and New Zealand