The Arts of Kingship: Hawaiian Art and National Culture of by Stacy L. Kamehiro

By Stacy L. Kamehiro

The Arts of Kingship bargains a sustained and exact account of Hawaiian public paintings and structure throughout the reign of David Kalakaua, the nativist and cosmopolitan ruler of the Hawaiian nation from 1874 to 1891. Stacy Kamehiro offers visible and old research of Kalakaua’s coronation and regalia, the King Kamehameha Statue, ‘Iolani Palace, and the Hawaiian nationwide Museum, drawing them jointly in a typical ancient, political, and cultural body. every one articulated Hawaiian nationwide identities and navigated the turbulence of colonialism in unique methods and has persisted as a key cultural symbol.

These cultural initiatives have been a part of the monarchy’s concerted attempt to advertise a countrywide tradition within the face of colonial pressures, inner political divisions, and declining social stipulations for local Hawaiians, which, together, posed severe threats to the survival of the kingdom. The Kalakaua management recommended pictures that boosted diplomacy and appeased overseas agitators within the country whereas addressing indigenous political cleavages. Kamehiro translates the pictures, areas, and associations as articulations of the advanced cultural entanglements and inventive engagement with foreign groups that take place with lengthy colonial touch. Nineteenth-century Hawaiian sovereigns celebrated local culture, background, and modernity by means of intertwining indigenous conceptions of more advantageous mainly management with the apparati and emblems of Asian, American, and eu rule. The ensuing symbolic varieties converse to cultural intersections and ancient approaches, claims approximately specialty and commonality, and the ability of items, associations, and public show to create that means and allow motion.

The Arts of Kingship pursues questions in regards to the nature of cultural alternate, how precolonial visible tradition engaged and formed colonial contexts, and the way colonial artwork informs postcolonial visualities and identities. will probably be welcomed by means of readers with a normal and scholarly curiosity in Hawaiian historical past and artwork. because it contributes to discussions approximately colonial cultures, nationalism, and globalization, this interdisciplinary paintings will entice artwork and architectural historians in addition to these learning Pacific heritage, cultural and museum stories, and anthropology.

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Extra info for The Arts of Kingship: Hawaiian Art and National Culture of the Kalakaua Era

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Netting, part of netted bag (kōkō—piko and hanai), Hale Nauā Society (AH Arch206i). Photograph by S. L. Kamehiro, 2001. 21 22 Introduction Figure 2. Barkcloth (kapa) sample, Hale Nauā Society (AH Arch206v). Photograph by S. L. Kamehiro, 2001. also contributed to the Hawaiian arts revival. The Kalākaua era witnessed an artistic renaissance that did not resign Native culture to dwell in the past; instead, it celebrated new artistic forms and concepts—in song, dance, literature, and visual culture—as these formalized the modern Hawaiian nation.

As the decade of the 1880s unfolded and internal, haole-led revolution seemed imminent, the king’s appeals to international actors were increasingly imperative for the kingdom’s survival. Kalākaua’s world tour and Iaukea’s voyages on behalf of the king are also significant in that, as Thomas suggests, travel is a “peculiarly modern activity, in so far as it entails expansive steps away from ‘traditional’ ties, and—more crucially and distinctively—an Hawaiian National Art attitude of extension and displacement towards those traditions.

As “Envoy Extraordinary and Minister Plenipotentiary to the Court of St. 104 These various internationalist ventures and journeys extended Hawai‘i’s presence and visibility abroad. As the decade of the 1880s unfolded and internal, haole-led revolution seemed imminent, the king’s appeals to international actors were increasingly imperative for the kingdom’s survival. Kalākaua’s world tour and Iaukea’s voyages on behalf of the king are also significant in that, as Thomas suggests, travel is a “peculiarly modern activity, in so far as it entails expansive steps away from ‘traditional’ ties, and—more crucially and distinctively—an Hawaiian National Art attitude of extension and displacement towards those traditions.

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