Performing Indigeneity

This engaging collection of essays discusses the complexities of “being” indigenous in public spaces. Laura R. Graham and H. Glenn Penny bring together a set of highly recognized junior and senior scholars, including indigenous scholars, from a variety of fields to provoke critical thinking about the many ways in which individuals and social groups construct and display unique identities around the world. The case studies in Performing Indigeneity underscore the social, historical, and immediate contextual factors at play when indigenous people make decisions about when, how, why, and who can “be” indigenous in public spaces. Performing Indigeneity invites readers to consider how groups and individuals think about performance and display and focuses attention on the ways that public spheres, both indigenous and nonindigenous ones, have received these performances. The essays demonstrate that performance and display are essential to the creation and persistence of indigeneity, while also presenting the conundrum that in many cases “indigeneity” excludes some of the voices or identities that the category purports to represent.

"Aloha" is at once the most significant and the most misunderstood word in the Indigenous Hawaiian lexicon. For K&257;naka Maoli people, the concept of "aloha" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the "hula girl" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the K&257;naka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning. While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

This volume on Indigenous theatre features an all-Indigenous table of contents that will accompany the two-volume anthology Staging Coyote's Dream.

As tourists increasingly moved across the United States in the late nineteenth and early twentieth centuries, a surprising number of communities looked to capitalize on the histories of Native American people to create tourist attractions. From the Happy Canyon Indian Pageant and Wild West Show in Pendleton, Oregon, to outdoor dramas like Tecumseh! in Chillicothe, Ohio, and Unto These Hills in Cherokee, North Carolina, locals staged performances that claimed to honor an Indigenous past while depicting that past on white settlers' terms. Linking the origins of these performances to their present-day incarnations, this incisive book reveals how they constituted what Katrina Phillips calls "salvage tourism"—a set of practices paralleling so-called salvage ethnography, which documented the histories, languages, and cultures of Indigenous people while reinforcing a belief that Native American societies were inevitably disappearing. Across time, Phillips argues, tourism, nostalgia, and authenticity converge in the creation of salvage tourism, which blends tourism and history, contestations over citizenship, identity, belonging, and the continued use of Indians and Indianness as a means of escape, entertainment, and economic development.

This volume of Studies in Law, Politics, and Society contains a sampling of work from some of the most promising junior scholars in the next generation of the law and society community. Nominated by their advisors or mentors, their work explores some of the newest areas of law and society research as well as brings fresh insight to bear on enduring

Examining contested notions of indigeneity, and the positioning of the Indigenous subject before and beyond the law, this book focuses upon the animation of indigeneities within textual imaginaries, both literary and juridical. Engaging the philosophy of Jacques Derrida and Walter Benjamin, as well as other continental philosophy and critical legal theory, the book uniquely addresses the troubled juxtaposition of law and justice in the context of Indigenous legal claims and literary expressions, discourses of rights and recognition, postcolonialism and resistance in settler nation states, and the mutually constitutive relation between law and literature. Ultimately, the book suggests no less than a literary revolution, and the reassertion of Indigenous Law. To date, the oppressive specificity with which Indigenous peoples have been defined in international and domestic law has not been subject to the scrutiny undertaken in this book. As an interdisciplinary engagement with a variety of scholarly approaches, this book will appeal to a broad variety of legal and humanist scholars concerned with the intersections between Indigenous peoples and law, including those engaged in critical legal studies and legal philosophy, sociolegal studies, human rights and native title law.

Performing Identities brings together essays by scholars, artists and activists engaged in understanding and conserving rapidly disappearing local knowledge forms of indigenous communities across continents. It depicts the imaginative transactions evident in the interface of identity and cultural transformation, raising the issue of cultural rights of these otherwise marginalized communities.

L'éditeur indique : "This book explores how Tongan cultural practices conflict with and coexist within Hawaiian society."