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Love 3 Times (review)

Love 3 Times (review) book and media rev iews 523 festivals. Museums play their part in the capable direction of Megan Evans. this arena by actively supporting what Like Hereniko, the play’s central char - might be called “heritage” (exhibiting acter is a forty-something Rotuman historical photographs more than arti- playwright-professor in Honolulu facts and collecting tape recordings who is increasingly drawn towar d of stories and oral history). They also cinema (a trajectory with multiple become involved in campaigns to pre- implications). The trials of Tomasi s e rve local sacred sites and ritual prac- Amanako therefore feel like a tices dispersed across ethnic groups. “counter-life” through whom, with Weiner, in a concluding afterword, forthrightness and wry self-conscious - summarizes the basic themes of the ness, Hereniko dramatizes a range of book and reflects on the difficulties issues. These center around the com- indigenous people have in nurturing plexities of inhabiting western institu - and retaining the creative vitality of tions without betraying Pacific roots, their traditions without having them and the obstacles to intimacy with appear contrived on the one hand or those who do not share those roots. keeping traditions so inflexible that Such concerns inform the play’s they become http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

Love 3 Times (review)

The Contemporary Pacific , Volume 14 (2) – Jul 1, 2002

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2002 University of Hawai'i Press.
ISSN
1527-9464

Abstract

book and media rev iews 523 festivals. Museums play their part in the capable direction of Megan Evans. this arena by actively supporting what Like Hereniko, the play’s central char - might be called “heritage” (exhibiting acter is a forty-something Rotuman historical photographs more than arti- playwright-professor in Honolulu facts and collecting tape recordings who is increasingly drawn towar d of stories and oral history). They also cinema (a trajectory with multiple become involved in campaigns to pre- implications). The trials of Tomasi s e rve local sacred sites and ritual prac- Amanako therefore feel like a tices dispersed across ethnic groups. “counter-life” through whom, with Weiner, in a concluding afterword, forthrightness and wry self-conscious - summarizes the basic themes of the ness, Hereniko dramatizes a range of book and reflects on the difficulties issues. These center around the com- indigenous people have in nurturing plexities of inhabiting western institu - and retaining the creative vitality of tions without betraying Pacific roots, their traditions without having them and the obstacles to intimacy with appear contrived on the one hand or those who do not share those roots. keeping traditions so inflexible that Such concerns inform the play’s they become

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Jul 1, 2002

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