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Love 3 Times (review)

Love 3 Times (review) book and media reviews festivals. Museums play their part in this arena by actively supporting what might be called "heritage" (exhibiting historical photographs more than artifacts and collecting tape recordings of stories and oral history). They also become involved in campaigns to preserve local sacred sites and ritual practices dispersed across ethnic groups. Weiner, in a concluding afterword, summarizes the basic themes of the book and reflects on the difficulties indigenous people have in nurturing and retaining the creative vitality of their traditions without having them appear contrived on the one hand or keeping traditions so inflexible that they become ossified and require artificial support on the other. The comparative intent of this book is present through most of the papers, and this, together with the wide range of Aboriginal and Melanesian groups discussed and the multiple concerns of the authors with issues of change and historicity, provides a rich mixture of material to provoke vigorous seminar discussions both of traditional ethnographic issues, and the problems of encounter with modernity. the capable direction of Megan Evans. Like Hereniko, the play's central character is a forty-something Rotuman playwright-professor in Honolulu who is increasingly drawn towar d cinema (a trajectory 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) – Jan 7, 2002

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2002 University of Hawai'i Press.
ISSN
1527-9464
Publisher site
See Article on Publisher Site

Abstract

book and media reviews festivals. Museums play their part in this arena by actively supporting what might be called "heritage" (exhibiting historical photographs more than artifacts and collecting tape recordings of stories and oral history). They also become involved in campaigns to preserve local sacred sites and ritual practices dispersed across ethnic groups. Weiner, in a concluding afterword, summarizes the basic themes of the book and reflects on the difficulties indigenous people have in nurturing and retaining the creative vitality of their traditions without having them appear contrived on the one hand or keeping traditions so inflexible that they become ossified and require artificial support on the other. The comparative intent of this book is present through most of the papers, and this, together with the wide range of Aboriginal and Melanesian groups discussed and the multiple concerns of the authors with issues of change and historicity, provides a rich mixture of material to provoke vigorous seminar discussions both of traditional ethnographic issues, and the problems of encounter with modernity. the capable direction of Megan Evans. Like Hereniko, the play's central character is a forty-something Rotuman playwright-professor in Honolulu who is increasingly drawn towar d cinema (a trajectory

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Jan 7, 2002

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