Note on Language  ix

Acknowledgments  xi

Introduction. Aloha America  1

1. Lady Jane at the Boathouse: The Intercultural World of Hula  29

2. Modern Desires and Counter-Colonial Tactics: Gender, Performance, and the Erotics of Empire  59

3. Impresarios on the Midway: World's Fairs and Colonial Politics  103

4. "Hula Queens" and "Cinderella": Imagined Intimacy in the Empire  153

5. The Troupes Meet the Troops: Imperial Hospitality and Military Photography in the Pacific Theater  213

Epilogue. New Hula Movements  255

Chronology. Hawai'i Exhibits at International Expositions, 1894–1915  269

Abbreviations of Collections, Libraries, and Archives  271

Notes  273

Glossary  337

Bibliography  339

Index  357

Winner, 2013 Best First Book in Women's, Gender, and/or Sexuality History by the Berkshire Conference of Women Historians

Winner, 2013 Lawrence W. Levine Award, Organization of American Historians

“[An] extensively researched history. . . . 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. . . .Fascinating photographs of the dancers—with careful commentary on poses and dress—illuminate the mannerisms and views of the performers. “—Publishers Weekly

“For a reader who is not deeply familiar with hula and its culture, and may be guilty of watching hula simply for the entertainment factor, Aloha America is a refreshing page-turner. Albeit the moderate level of scholarly information, Imada makes the text easy to digest, also injecting touching anecdotes of hula life behind the stage lights. The final product is a book that is more an interesting field study than strict academic rhetoric.”—Jamie Noguchi, Honolulu Weekly

“The brilliance of this book does not stop there, however. I find its methodology most intellectually energizing and inspiring.”—L. Ayu Saraswati, American Studies

Winner, 2013 Best First Book in Women's, Gender, and/or Sexuality History by the Berkshire Conference of Women Historians

Winner, 2013 Lawrence W. Levine Award, Organization of American Historians

“[An] extensively researched history. . . . 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. . . .Fascinating photographs of the dancers—with careful commentary on poses and dress—illuminate the mannerisms and views of the performers. “—Publishers Weekly

“For a reader who is not deeply familiar with hula and its culture, and may be guilty of watching hula simply for the entertainment factor, Aloha America is a refreshing page-turner. Albeit the moderate level of scholarly information, Imada makes the text easy to digest, also injecting touching anecdotes of hula life behind the stage lights. The final product is a book that is more an interesting field study than strict academic rhetoric.”—Jamie Noguchi, Honolulu Weekly

“The brilliance of this book does not stop there, however. I find its methodology most intellectually energizing and inspiring.”—L. Ayu Saraswati, American Studies

"In Aloha America, Adria L. Imada shows how U.S. elites used a blend of tropicalism and orientalism to facilitate U.S. domination over Hawai'i. By foregrounding the eroticized bodies of Hawaiian women hula dancers, these elites created what Imada calls an 'imagined intimacy' between the U.S. public and the subjugated Hawaiians. The sexualized images of Hawaiian women helped to occlude resistance to U.S. imperialism in the Pacific and to make Hawai'i suitable for statehood by shifting Americans' attention away from its large Asian immigrant population. At the same time, hula served as a countercolonial archive of collective Hawaiian memory, preserving preconquest histories, epistemologies, and ontologies."—George Lipsitz, author of How Racism Takes Place

"Attentive to global forces of U.S. imperialism and to the agency of discrete cultural producers, Adria L. Imada conceives of Hawaiian hula as constitutive of colonial relations involving collaboration and resistance. Moreover and significantly, 'hula circuits' outside of Hawai`i, she suggests, sustained Hawaiian culture (and hence nationhood) even as they transformed it—an astute and provocative contention."—Gary Y. Okihiro, author of Island World: A History of Hawai’i and the United States

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