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Noho Hewa: The Wrongful Occupation of Hawai‘i (review)

Noho Hewa: The Wrongful Occupation of Hawai‘i (review) book and media reviews covering such a culturally diverse area. For instance, men's houses do not exist across all of Melanesia (28), and references to Melanesian dances as multi-art ceremonies (29) might be correct for many or most dances in some regions, but in others (for example, south Vanuatu) this formulation would not be correct. In some passages I felt that further attention could be paid to the ways in which contemporary music and dance are not necessarily tied to colonial experiences (39). For the most part, however, the authors have avoided erroneous generalizations, and their remarkable efforts succeed in representing the musics of the Pacific Islands in an interesting and well-explained manner. Far from remaining on the surface of the topics, they regularly offer deep insights and well-chosen examples. This volume is a handy and valuable learning tool for scholars of world musics and especially for anyone seeking an excellent foundation for understanding the musical cultures of the Pacific. poet, and activist Haunani-Kay Trask supported the conviction that "the best art is political" and that art ought to be "unquestionably political and irrevocably beautiful at the same time." As she affirmed the inseparability of art and politics http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

Noho Hewa: The Wrongful Occupation of Hawai‘i (review)

The Contemporary Pacific , Volume 25 (2) – Aug 2, 2013

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-9464
Publisher site
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Abstract

book and media reviews covering such a culturally diverse area. For instance, men's houses do not exist across all of Melanesia (28), and references to Melanesian dances as multi-art ceremonies (29) might be correct for many or most dances in some regions, but in others (for example, south Vanuatu) this formulation would not be correct. In some passages I felt that further attention could be paid to the ways in which contemporary music and dance are not necessarily tied to colonial experiences (39). For the most part, however, the authors have avoided erroneous generalizations, and their remarkable efforts succeed in representing the musics of the Pacific Islands in an interesting and well-explained manner. Far from remaining on the surface of the topics, they regularly offer deep insights and well-chosen examples. This volume is a handy and valuable learning tool for scholars of world musics and especially for anyone seeking an excellent foundation for understanding the musical cultures of the Pacific. poet, and activist Haunani-Kay Trask supported the conviction that "the best art is political" and that art ought to be "unquestionably political and irrevocably beautiful at the same time." As she affirmed the inseparability of art and politics

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Aug 2, 2013

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