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Dancing to Tahitian Drums: Cultural ...

Morales, Eric Cesar.

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Dancing to Tahitian Drums: Cultural Appropriation in the Age of Globalization.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dancing to Tahitian Drums: Cultural Appropriation in the Age of Globalization./
作者:	Morales, Eric Cesar.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	262 p.
附註:	Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.
Contained By:	Dissertation Abstracts International79-12A(E).
標題:	Folklore. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10841322
ISBN:	9780438271456

Dancing to Tahitian Drums: Cultural Appropriation in the Age of Globalization.
Morales, Eric Cesar.

Dancing to Tahitian Drums: Cultural Appropriation in the Age of Globalization. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 262 p.

Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

Tahiti has long been marketed as a paradise, known for its stunning beaches and welcoming inhabitants, but the colonialism and evangelism that have cultivated this image for tourists have historically devastated the cultural practices of the indigenous population. In the early 19th century, the dance form, ' ori tahiti, was driven underground due to what missionaries saw as its sexually suggestive nature, yet the past sixty years have seen a revival with groups dedicated to the dance emerging in over twenty countries around the world.

ISBN: 9780438271456Subjects--Topical Terms:

528224
Folklore.

Dancing to Tahitian Drums: Cultural Appropriation in the Age of Globalization.
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520 $a Tahiti has long been marketed as a paradise, known for its stunning beaches and welcoming inhabitants, but the colonialism and evangelism that have cultivated this image for tourists have historically devastated the cultural practices of the indigenous population. In the early 19th century, the dance form, ' ori tahiti, was driven underground due to what missionaries saw as its sexually suggestive nature, yet the past sixty years have seen a revival with groups dedicated to the dance emerging in over twenty countries around the world.
520 $a In this dissertation, I show how Tahitians have revived their art forms, regained agency over their cultural patrimony on the global stage, and fought against the homogenizing effects of colonialism and tourism. I argue that this has been achieved with Tahitians actively encouraging the appropriation of 'ori tahiti by outsiders through hosting dance workshops for foreign participants, staging dance competitions for foreigners, and taking on key advisory positions in exogenous festivals run by non-Tahitians and Tahitians alike. In doing so, I seek to prove that Tahitians have been able to expand the cultural territory of their dance while also having primacy over their art form recognized. In short, I assert that when indigenous people have a platform in the natural circulation of culture, encouraging a form of positive cultural appropriation can be a means of jumpstarting cultural revivals that help achieve indigenous cultural parity, retain cultural integrity, and maintain cultural patrimony in the age of globalization.
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