Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i
Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought to defend and affirm their existence as the still so...
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ftdatacite:10.25911/5d70f123d3b71 2023-05-15T16:16:58+02:00 Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i Tamaira, Andrea Marata 2015 https://dx.doi.org/10.25911/5d70f123d3b71 https://openresearch-repository.anu.edu.au/handle/1885/13866 en eng The Australian National University Visual sovereignty contemporary Hawaiian art Hawai'i Hawaiian politics U.S. colonialism indigenous aesthetic resistance Other CreativeWork article Thesis (PhD) 2015 ftdatacite https://doi.org/10.25911/5d70f123d3b71 2021-11-05T12:55:41Z Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought to defend and affirm their existence as the still sovereign people of their homeland through political, legal, cultural, and artistic means. While the first three instances of indigenous resistance have been well documented in numerous books, journal articles, and theses, there remains a largely untapped field of academic enquiry concerning the role of contemporary Kanaka Maoli art within this milieu. This dissertation seeks to close the gap with an examination of how Native Hawaiian artists use the visual arts as a tool to assert their socio-political aspirations, affirm their sovereign identity, and disrupt the colonial status quo by representing themselves on their own terms. Here, the visual arts function as an abstract expression of Native power. As an analytical anchor, I use Tuscarora scholar Jolene Rickard’s term “visual sovereignty” to investigate three discrete contexts in which Kanaka Maoli art is produced: “high” art, commercial art, and public art. For the purpose of this study, I define visual sovereignty as an aesthetic strategy through which Kanaka Maoli artists articulate an indigenous-centered perspective that conveys Native epistemologies, ongoing political struggles, and ancestral connection to place. An examination of contemporary Kanaka Maoli art using this paradigm has not yet been advanced in the Hawai‘i context but a growing body of scholarship by Native American and First Nations academics and art practitioners indicates the indispensability of opening up a discussion that attends to Kanaka Maoli visual culture as an articulation of indigenous sovereignty. This thesis is a nascent step toward that end. Thesis First Nations DataCite Metadata Store (German National Library of Science and Technology) |
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Visual sovereignty contemporary Hawaiian art Hawai'i Hawaiian politics U.S. colonialism indigenous aesthetic resistance |
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Visual sovereignty contemporary Hawaiian art Hawai'i Hawaiian politics U.S. colonialism indigenous aesthetic resistance Tamaira, Andrea Marata Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
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Visual sovereignty contemporary Hawaiian art Hawai'i Hawaiian politics U.S. colonialism indigenous aesthetic resistance |
description |
Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought to defend and affirm their existence as the still sovereign people of their homeland through political, legal, cultural, and artistic means. While the first three instances of indigenous resistance have been well documented in numerous books, journal articles, and theses, there remains a largely untapped field of academic enquiry concerning the role of contemporary Kanaka Maoli art within this milieu. This dissertation seeks to close the gap with an examination of how Native Hawaiian artists use the visual arts as a tool to assert their socio-political aspirations, affirm their sovereign identity, and disrupt the colonial status quo by representing themselves on their own terms. Here, the visual arts function as an abstract expression of Native power. As an analytical anchor, I use Tuscarora scholar Jolene Rickard’s term “visual sovereignty” to investigate three discrete contexts in which Kanaka Maoli art is produced: “high” art, commercial art, and public art. For the purpose of this study, I define visual sovereignty as an aesthetic strategy through which Kanaka Maoli artists articulate an indigenous-centered perspective that conveys Native epistemologies, ongoing political struggles, and ancestral connection to place. An examination of contemporary Kanaka Maoli art using this paradigm has not yet been advanced in the Hawai‘i context but a growing body of scholarship by Native American and First Nations academics and art practitioners indicates the indispensability of opening up a discussion that attends to Kanaka Maoli visual culture as an articulation of indigenous sovereignty. This thesis is a nascent step toward that end. |
format |
Thesis |
author |
Tamaira, Andrea Marata |
author_facet |
Tamaira, Andrea Marata |
author_sort |
Tamaira, Andrea Marata |
title |
Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
title_short |
Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
title_full |
Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
title_fullStr |
Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
title_full_unstemmed |
Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i |
title_sort |
frames and counterframes: envisioning contemporary kanaka maoli art in hawai'i |
publisher |
The Australian National University |
publishDate |
2015 |
url |
https://dx.doi.org/10.25911/5d70f123d3b71 https://openresearch-repository.anu.edu.au/handle/1885/13866 |
genre |
First Nations |
genre_facet |
First Nations |
op_doi |
https://doi.org/10.25911/5d70f123d3b71 |
_version_ |
1766002827431247872 |