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PACS 690/ DANCE 655

The Body and Pacific Studies 

 

Centre for Pacific Islands Studies, Dept. of Dance and Theatre

University of Hawai'i at Manoa

Fall 2005

Prof. Katerina Teaiwa, Moore 220

teaiwa@hawaii.edu

Prof. Judy Van Zile, Dance 100
zile@hawaii.edu

Tuesdays, 9-11:30 a.m.

Webster Hall, 104

 

In one scene, a dancer tells of the tragi-comical process of training a

goldfish to become a land animal, with the outcome that the creature, its

environment having become alien to it, threatens to drown in water.

The process of civilisation – it would seem – leaves people high and dry in

exactly the same way: in a physical reality that is like a foreign element.

(Norbett Servos in The Routledge Dance Studies Reader: 1998: 45)[1]













Introduction and Overview of the Course

 

For centuries and especially prior to the arrival of the written word, people in the Pacific survived creatively in and through their bodies and oral traditions. Throughout the region human bodies are intimately connected to place, landscape, plant and animal life and the spiritual realms. Bodies and their movements are also reflections of history, social, political and cultural orders and are vehicles for the expression of identity and creativity. In Pacific Studies where decolonisation and indigenous epistemologies are central it is crucial that we incorporate the body as both corporeal and literary device in our approaches to learning Oceania.

 

We will start with gaining a sense of geography, history and culture across the region and situating our approaches in the context of Pacific Studies. We will then explore the significance of dance in Oceania and the ways in which movement knowledge shapes or is shaped by society. Our readings include engaging bodies in cross-cultural contexts and corporealities—the physical body in writing—in history, cultural studies, Pacific Studies, anthropology and dance studies. We will pay specific attention to the different ways in which aspects of culture and history, ideas about morality, labour, gender, emotion, power, identity, health, beauty and the nation are written on the body, and enacted or performed in everyday life, clothing, ritual and dance.

 

Along the way we will discuss a variety of tools for seeing, understanding, and describing the moving body and bodies in relationship to each other.

 

At the end of this seminar students should be able to imagine writing or speaking from the perspective of their own or other bodies and to understand what it means to exist as a corporeal (physical/ material) being—to learn in and speak through our bodies. We should understand how discourses of race, gender, sexuality, class, culture and nationality are inscribed on bodies in specific ways and be able to think critically about why bodies across Oceania or in the diaspora perform certain choreographies and reflect particular aesthetics and social values in different historical, cultural and political contexts.  

 

As the body is not a popular subject of writing on the Pacific, readings will be drawn widely from within and beyond the region. Writing in dance studies most directly focuses on the physical body and movement and thus comprises a good portion of our reading list. We should take the ideas from these readings and apply them to Pacific contexts. At the end of this course students should be able to imagine the physical body as a potential methodological and theoretical vehicle for doing Pacific Studies.

 

Students will be required to attend at least one dance/theatre performance and participate in one field excursion, and to reflect on the history, politics, movement and emotions expressed by the performing bodies they observe.

 

 

 

 

Course Components

 

 

Class Sessions

The seminar is a 2.5-hour session per week with 5 minutes of body movement led by students or instructors at the beginning of class and a10 minute break. All Pacific Studies seminars involve food of some kind, so if students would like to continue this tradition we will all sign up to bring food to class.

 

Course Texts

Susan Leigh Foster’s Choreographing History

Ann E. Becker’s Body, Self and Society in Fiji

Weekly handouts

 

Videos

Excerpts from videos will be shown in class and students can also view programs at Wong Audio-Visual Centre in Sinclair library.  Students will be required to view some videos on their own at the library.

 

Guide for Discussion Sessions, Reviews and Reflection papers

Reflection papers should be 2-3 pages long (12 pt. font, 1.5 line-spacing) and should reflect on at least 4 of the assigned readings for the current week. You may also include anything beyond class that is relevant to the theme. The Black Grace excursion must be integrated into one of your reflection papers. The reviews of Becker and Foster are mandatory and should be 3-5 pages.

 

For all sessions try to address the following with respect to readings and videos:

 

1.   What is your gut reaction to the material?  What did you like or not like about it?  Would you recommend it to others to read?  Why or why not?  Was the material easy or hard for you to understand?

2.   Briefly summarize the content and indicate how it relates to course themes.

3.   What is the nature of the research that had to be done for the material presented?

4.   Does the material contain description?  Theory?

5.   What is the nature of the writing?  What sort of language is used?  How is the material organized?  Is the material accessible?  Does it require specialized knowledge to understand it?

6.   What kinds of supplementary information/material are used?

7.   How could the material have been improved?  What could/should the author have done differently?

8.   Relate the chapter, in terms of the items above and any other things you wish, to a topic you might research.  Does the material suggest kinds of resources you might wish to check?  Ways to conduct research?  Things to consider?  Theories that might be applicable?

9.   How might the material be applied to either a local Hawai'i or other Pacific context? To any other context you’re familiar with?

Reading Discussion Leaders

Each student will be expected to lead at least one class discussion. This means the student will be in charge of summarizing the readings and highlighting points which are relevant to the class, and will prepare at least 4 discussion questions. These should be substantial questions, typed up and handed out in class. Sign up for this in week 1 or 2 of the semester.

 

November 22 Session

As a group students will organize 1 class session on any topic within the theme “The Body and Pacific Studies.”  Students are free to organize this session in any way they choose. It may be held within or beyond the classroom. Time will be given throughout the semester for students to meet as a group, but they will also have to meet on their own time to prepare. 

 

 

Class Excursions

There are 2 required class excursions.  The first will be to the performance by the all male Polynesian Black Grace dance company from Aotearoa New Zealand, directed by Neil Ieremia. Black Grace is scheduled to perform at Leeward Community College, October 22, 7:30 pm. (see www.blackgrace.co.nz). The second will be to observe bodies in Waikiki during our regularly-scheduled class time on Tuesday, October 4.

 

 

Final Projects

Students will be required to put together a creative final piece or research paper. They may use one or a combination of the following: dance, graphics, artwork, video, music, poetry and creative or analytical writing. All students will hand in a 1-2 page proposal for their final project and present it orally in class for feedback prior to the due date. Only students doing the performance option will perform at the end of the semester.

 

If students choose the performance option this will be presented either on December 9 or December 13 depending on what students decide.

 

The subject of this project should be the body or bodies in any social, cultural, historical or political context in Oceania. A good performance should include a clear narrative, experience, opinion or argument elaborated in or in addition to the piece (as a written attachment, for example).  It should be informed by readings and class discussions. It may also take the form of a film or visual essay created by the student, a piece of artwork, oral or dance performance with accompanying narrative and bibliography. Research papers should be approximately 12-15 pages, 1.5 line-spacing and 12 pt. font, with consistent citation styles and a bibliography or list of references.

 

Attendance

Attendance is mandatory. This is a graduate seminar and participation in class discussion is necessary to earn a final grade. Each absence automatically results in the deduction of 5% from your grade. If you are absent because of serious illness please provide a doctor’s certificate. If you are stuck in traffic and have a cell phone, call our offices (956-2659 or 956-2596) and leave a message.

 

NOTE:  Two copies of all written assignments must be submitted—one for each instructor.

 

Grading

Class participation                                                        10%

5 reflection papers on readings of your choice   20%     any 5 weeks

            (4 readings per paper and one of these must include reflections on the

            Black Grace performance)

Review and reflection on Choreographing History       10%     Sep 27

Review and reflection on Body, Self and Society          10%     Oct 18

Project proposal                                                           10%     any week prior to and

            (to be submitted orally and in writing)                       including week 10

Leading class discussion                                                10%     any week

Research paper, art, dance or film project                     30%     Due Dec 9 or 13

Total                                                                            100%

 

Grading scale

95-100% = A+            80-85% = B+              65-70% = C

90-95% = A                75-80% = B

85-90% = A-               70-75% = B-

 

 

 

Weekly Schedule

 

WEEK 1—AUG 23

Introductions, overview of the course, signup to lead class discussions, signup for research proposal dates, sign up for food, discuss final oral presentation dates.

 

Film: Dance and Human History (excerpts shown in class)

 

 

WEEK 2—AUG 30

Pacific Studies, The Body, Oceania, cultures, politics and environments

 

Background on the Pacific context and any historical, political, cultural, social, economic or ethical issues that shape body movement across the region. We will also ask “What is Oceania” and “What is Pacific Studies”?

 

Students should review the Pacific map, explore the Pacific Islands Report and any relevant links at http://pidp.eastwestcenter.org/pireport/graphics.shtml, the arTok website (especially the dance page) http://www.abc.net.au/arts/artok/, Culture Moves website at www.hawaii.edu/cpis/dance and come prepared with 2 questions e about any aspect of the Pacific that they are unfamiliar with and 2 examples of things they learned that they didn’t already know about the region.

 

Teaiwa, 2002 (visual study “Between our Islands: dancing connections”) [4 mins]

 

 

WEEK 3—SEP 6

Introduction to Movement Knowledge, Part I

 

Excerpted and adapted from Deidre Sklar, “Five premises for a culturally sensitive approach to dance,” in Ann Dils and Ann Cooper Albright, editors.  Moving History/Dancing Cultures: a dance history reader.  Connecticut:  Wesleyan University Press, 2001, pp. 30-32.

 

1.      Movement knowledge is a kind of cultural knowledge: to speak of movement as a way of knowing implies that the way people move is as much a clue to who they are as the way they speak.

2.      Movement knowledge is conceptual and emotional as well as kinaesthetic.  It addresses:  Where do I belong in the world? How do humans behave? Where do I come from and with whom do I go through life?

3.      Movement knowledge is intertwined with other kinds of cultural knowledge: speaking or singing and movement are usually combined to express culture.

4.      One has to look beyond movement to get at its meaning: the concepts embedded in movement are not necessarily evident in the movement itself.

5.      Movement is always an immediate corporeal experience: the cultural knowledge that is embodied in movement can only be known via movement.

 

Hutchinson Guest, 2005, pp. 1-16.

Kaeppler, 1993, pp. 174-177, and 238-249.  (Don’t worry about “understanding” what you see.  Just get an idea of what is on the page.)

Sklar, 2001.

Ness, 2001.

Shennan, 1981

 

NOTE:  Come to class in comfortable clothing that will allow you to move.  Pants, shorts (not too short!), etc.,but no skirts for women.

 

 

WEEK 4—SEP 13

Dances of Life: the significance of dance in Oceania

 

Kamahele, 1992

Llolahia, 2001

Hereniko, 1991

Grau, 1998

Teaiwa, 2005 on website: www.picom.org/dancesoflife (Read all 7 short essays on dance in Oceania)

 

Film: Dances of Life [55 mins], viewed in class.

 

 

WEEK 5—SEP 20

Introduction to Movement Knowledge, Part II

 

Hall, 1968

Lomax, Bartenieff, and Paulay, 1969

Van Zile, 1976

 

Film: Dance and Human History (view the entire film at the library, and excerpts will be shown in class)

 

 

WEEK 6—Sep 27

Choreographing History

 

Hokari, 2001.

Kempf, 2004

Teaiwa, 2002 (visual study: “December 15th 2000: Dancing history and culture”) [14 mins]

 

Due: a review and reflection paper on the introduction plus 4 articles of your choice from Susan Leigh Foster, Choreographing History, 1995.

 

 

WEEK 7—OCT 4

Bodies on display in Waikiki

 

This class session will be held at Waikiki at the junction of Kapahulu and Kalakaua and will involve a short research exercise on observing bodies in Waikiki.

 

Desmond, 1999, read pp. 2-59, 79-97, and 122-130, image pp. 102-103.

 

Historic Waikiki at www.downwindproductions.com (explore the site, get a sense of the what the artists and storytellers are trying to say about this place, get a sense of the diversity of peoples, activities and histories that converge in this area)

 

 

WEEK 8—OCT 11

Body adornment: clothing, tattooing and decorating the body

 

Leota-Ete, Kihara and Raymond, 2002.

Wendt, 2001.

Mallon and Fecteau, 2002.

Linker,1983.

Tcherkezoff, 2003

Colchester, 2003.

 

Film: Skin Stories, 2003 (excerpts viewed in class) [60 mins]

          Surface, Black Grace 2001 (excerpts viewed in class)   

 

 

WEEK 9—OCT 18

Building community through dance

 

Guest speaker: Julia Gray (see photograph on cover of this syllabus)

 

Explore the internet and find material on Julia Gray and the Sunameke dance group

Van Zile, 2004.

 

Due: a review and reflection paper on Body, Self and Society: the view from Fiji, this book will be discussed in the following week.

 

 

WEEK 10—Oct 25

Body image, gender and health issues

 

Figiel, 1998

Pollock, 1999

Becker, 1995

Bolton, 2003

Hokowhitu, 2004

Macdonald, 1994

Moulin, 1989

Teaiwa, 2000

 

 

WEEK 11—NOV 1

Writing about bodies in motion

 

Kaeppler, 1983, pp. 29-36

Moulin, 1979, pp. 53-69

Radakovich, 2004, pp. 30-58

Van Zile, 1988

Van Zile, 2001, pp. 65, 84-98, and just scan pp. 241-247, reading any one section from

            241-247 thoroughly

 

film:  TBA  (this will be viewed in class)

 

 

WEEK 12—NOV 8

Judy and Katerina away at Culture Moves dance conference (see www.hawaii.edu/cpis/dance), students meet to organize November 22 session

 

 

WEEK 13—NOV 15

The politics of performance: a critical look at dance at the Pacific Festival of the Arts and other dance festivals and competitions

 

Stillman, 1990

Stillman, 1996

Stevenson, Kaeppler, Moulin and Flores in Pacific Arts 2002

 

Film: Select two films to view: one from the Merrie Monarch festival and one from the Festival of Pacific Arts and view in the Wong audiovisual centre. We will bring in one from each category to view excerpts in class.

 

 

WEEK 14—NOV 22

Student-organized session

 

 

WEEK 15—Nov 29

Pan-Pacific, diasporic and Global performances of identity

 

Osumare, 2002.

Henderson, forthcoming.

Jeyasingh, 1998.

Taouma, 2002.

Moyle, 2002.

Ram, 2000.

 

Film: American Aloha: Hula Beyond Hawai'i, 2003 [55 mins] viewed in class.

 

WEEK 16—DEC 6

Wrap up and review of the semester

 

Individual reflections on the course and relevant events throughout the semester, highlighting things that were particularly interesting, relevant, new, etc.

 

 

FINAL PERFORMANCES: DEC 9/ DEC 13

FINAL PAPER DUE DEC 13, by noon

 

 

Bibliography

 

Albright, Ann Cooper. Choreographing difference: the body and identity in contemporary dance.  New Hampshire:  University Press of New England, 1997.

 

Becker, Anne E. Body, Self, and Society: the View from Fiji.  Philadelphia:  University of Pennsylvania Press, 1995.

 

Bolton, Lissant.  “Gender, Status and Introduced Clothing in Vanuatu,” in Chloe Colchester, ed. Clothing the Pacific, 2003.

 

Desmond, Jane. Staging Tourism: bodies on display from Waikiki to Seaworld, University of Chicago Press, Chicago: 1999.

 

Figiel, Sia. “The Fat Brown Woman” in To a young artist in contemplation : poetry & prose.  Fiji:  Suva, Pacific Writing Forum, Dept. of Literature and Language, University of the South Pacific, 1998, Audio from Terenesia: Amplified Poetry and Songs by Teresia Teaiwa and Sia Figiel

 

Foster, Susan Leigh, ed. Choreographing History.  Bloomington:  Indiana University Press, 1995

 

Grau, Andree, “On the Acquisition of Knowledge: Teaching Kinship through the Body among the Tiwi of Northern Australia,” in Verena Keck, ed. Common Worlds and Single Lives, Oxford 1998.

 

Hall, Edward T.  “Proxemics,” Current Anthropology, Vol. 9, Nos. 2-3 (April-June 1968), pp. 83-95.

 

Henderson, April. “Between our islands we dance,”  in Dipa Mesu, editor. The Vinyl Ain’t Final: the globalization of black poplar culture, forthcoming.

 

Hokari, Minoru. Cross Culturalizing History: Journey to the Gurindji Way of Historical Practice.  PhD thesis, Australian National University, Canberra 2001.

 

Hokowhitu, Brendan. “Tackling Maori Masculinity: a colonial genealogy of savagery and sport,” in The Contemporary Pacific, Vol 16, No. 2 Fall 2004.

 

Hutchinson Guest, Ann. Labanotation.  The System of Analyzing and Recording Movement.  New York and London:  Routledge, 2005 (fourth edition).

 

Jeyasingh, Shobana.  “Imaginary Homelands: creating a new dance language,” in Alexander Carter, editor.  The Routledge Dance Studies Reader.  London and New York:  Routledge, 1998, pp. 46-52.

 

Kaeppler, Adrienne.  Polynesian Dance.  with a selection for contemporary performances.  Hawai’i:  Alpha Delta Kappa, 1983.

 

Kaeppler, Adrienne. Hula Pahu.  Hawaiian Drum Dances.  Volume I.  Ha’a and Hula Pahu:  Sacred Movements.  Honolulu:  Bishop Museum Press, 1993.

 

Kamahele, Momi.  “Hula as Resistance,” Forward Motion, Vol. II: 3, July 1992.

 

Kempf, Wolfgang. “The drama of death as narrative of survival; dance theatre, travelling and thirdspace among the Banabans of Fiji,” in Shifting images of identity in the Pacific, Toon van Meijl and Jelle Miedema, eds. KITLV Press, Leiden, 2004.

 

Leota-Ete, Jakki, Shigeyuki Kihara and Rosanna Raymond, “Body Beautiful: New Zealand Fashion: Pacific Style,” in Pacific Art Niu Sila, 2002.

 

Linker, Tom, “Breadfruit colors: a survey of Micronesian tattoo designs,” Pacific Magazine, 1983.

 

Llolahia, Nevak. “Ihi Frenzy,” in Mana, No. 41- (September 2001).

 

Lomax, Alan, Irmgard Bartenieff, and Forrestine Paulay.  “Choreometrics:  A Method for the Study of Cross-Cultural Pattern in Film,” Sonderdruck aus Research Film, Vol. 6, No. 6 (1969), pp. 505-517.

 

Macdonald, Judith.  “Body of the land, the bodies of the people: gender in Tikopia” in Marion de Ras and Victoria Grace, editors. Bodily Boundaries, Sexualized Genders and Medical Discourses.  Palmerston North:  Dunmore Press, 1994.

 

Mallon, Sean and Fulimalo Pereira. “Polynesian tatau in Aotearoa,” in Pacific Art Niu Sila: the Pacific dimension of contemporary New Zealand Arts, Te Papa Press, 2002.

 

Moulin, Jane Freeman.  The Dance of Tahiti.  Tahiti:  Christian Gleizal/Les Editions du Pacifique, 1979.

 

Moulin, Jane Freeman, “Gender and its relationship to the essential traits of Tahitian dance,” UCLA journal of dance ethnology, Vol. 13 (1989).

 

Moyle, Richard. “Pacific music and dance in New Zealand,” in Pacific Art Niu Sila, 2002.

 

Ness, Sally Ann. “Dancing in the Field: Notes from Memory,” in Ann Dils and Ann Cooper Albright, editors.  Moving History/Dancing Cultures: a dance history reader.  Connecticut:  Wesleyan University Press, 2001.

 

Osumare, Halifu.  "Global Breakdancing and the Intercultural Body," in Dance Research Journal, Vol. 34, No. 2 (Winter 2002).

 

Pacific Arts, special issue, Karen Stevenson, ed. No. 25, Dec 2002

 

Pollock, Nancy J. “Fat is beautiful: the body as art form in the Pacific,” Art and Performance in Oceania, 1999.

 

Radakovich, Jennifer.  “Movement Characteristics of Three Samoan Dance Types:  Ma’ulu’ulu, Sasa and Taualuga,” Unpublished MA Thesis, University of Hawaii at Manoa, 2004.

 

Ram, Kalpana.  “Dancing the past into life: the Rasa, Nrtta and Raga of immigrant experience,” The Australian Journal of Anthropology, Vol . 11, No. 3 (2000), 261-273.

 

Shennan, Jennifer.  “Approaches to the Study of Dance in Oceania:  Is the Dancer Carrying an Umbrella or Not?”, The Journal of the Polynesian Society (New Zealand), Vol. 90, No. 2 (June 1981), pp. 193-208.

 

Sklar, Deirdre. “Five premises for a culturally sensitive approach to dance,” in Ann Dils and Ann Cooper Albright, editors.  Moving History/Dancing Cultures: a dance history reader.  Connecticut:  Wesleyan University Press, 2001, pp. 30-32.

 

Stillman, Amy K.,Traditionalists, innovators, and dance competitions : aspects of preservation and transformation in Hawaiian dance” unpublished paper, 1990.

 

Stillman, Amy K. “Hawaiian hula competitions: event, repertoire, performance, tradition,” Journal of American Folklore 109 (434), 1996.

 

Tcherkezoff, Serge.  “On Cloth, Gifts and Nudity: Regarding some European misunderstandings during early encounters in Polynesia,” in Clothing the Pacific, 2003.

 

Teaiwa, Teresia: “Intro to the Stretch” and “The Stretch” from Terenesia: Amplified Poetry and Songs by Teresia Teaiwa and Sia Figiel Hawaii Dub Machine: 2000

 

Taouma, Lisa.  “Getting Jiggy With It: the evolving of Pasifika dance in New Zealand,” in Pasific art Niu Sila, 2002.

 

Wendt, Albert.  “Afterward: Tatauing the Postcolonial Body” in Vilsoni Hereniko and Rob Wilson Lanham, editors.   Inside Out: Literature, Cultural Politics, and Identity in the new Pacific.  Rowman & Littlefield: 1999

 

Van Zile, Judy.  “Examining Movement in the Context of the Music Event: a working model,” in Yearbook for Traditional Music, Vol. 20 (1988), pp. 125-133.

 

Van Zile, Judy.  “An Approach to Dance,” in UNESCO Workshop on the Techniques of Recording Oral Tradition, Music, Dance, and Material Culture.  Solomon Islands:  UNESCO, 1976, pp. 43-45.

 

Van Zile, Judy.  Perspectives on Korean Dance.  Connecticut:  Wesleyan University Press, 2001.

 

Van Zile, Judy. “Dance in Disaporic Communities: issues and implications,” in Animated (Foundation for Community Dance, Leicester, England), Spring 2004.

 

 

Suggested Readings

 

Alexeyeff, Kalissa. “Dragging the drag: the performance of gender and sexuality in the Cook Islands,” in The Australian Journal of Anthropology, Vol. 11:3, 297-307.

 

Arthur, Linda.  Review of “About Face: Performing Race in Fashion and Theatre/ Consuming Fashion: Adorning the Transnational Body” in American Ethnologist Vol 27: 2, 532-534.

 

Bloom, Katya and Rosa Shreeves. Moves : a sourcebook of ideas for body awareness and creative movement, Harwood Academic Publishers, Amsterdam: 1998.

 

Carter, Alexandra ed. The Routledge Dance Studies Reader Routledge, London: 1998

 

Desmond, Jane. Meaning in Motion, Durham: Duke University Press, 1997.

 

Goslinga-Roy. “body boundaries, fiction of the female self: an ethnographc perspective on power, feminism and the reproductive technologies. Feminist studies, Spring 2000, 113-140.

 

Grimble, Arthur. “A Discourse on Gilbertese Dancing,” in Tungaru Traditions H.E Maude, ed. Pacific Islands Monograph Series, No. 7 University of Hawaii Press, Honolulu: 1989.

 

Haraway, Donna. “Situated Knowledges” in Feminist Studies, 1988.

 

Helu, I Futa. Critical Essays: Cultural Perspectives from the south seas, Canberra, Journal of Pacific History, 1999.

 

Huntsman, Judith, 1981. Future Directions in the Study of the Arts in Oceania.

 

Jolly, Margaret and Kalpana Ram, eds. Borders of Being : Citizenship, Fertility, and Sexuality in Asia and the Pacific University of Michigan Press, Ann Arbor: 2001.

 

Lee, Tara. “Learning to read another body: the skin as a map of personal memory,” in Outside In: Cultural Studies Review, Vol.8:2, 119-137.

 

Meyer, Manu. 2001. “Our Own liberation: Reflections on Hawaiian epistemology,” in The Contemporary Pacific, Vol 13: 1, 2001: 124-148.

 

Mohanram, Radhika. Black Body: Women, Colonialism, and Space Allen & Unwin Australia: 1999.

 

Moulin, Jane. “What’s mine is yours? Cultural Borrowing in a Pacific Context”  in The Contemporary Pacific, 8:1, 127-154.

 

Ness, Sally Ann. Body, Movement, and Culture: Kinesthetic and Visual Symbolism in a Philippine Community University of Pennsylvania Press, Philadelphia: 1992.

 

Ram, Kalpana. “Listening to the call of the dance: re-thinking authenticity and ‘essentialism,’ in  The Australian Journal of Anthropologyi, Vol.11: 4, 358-364. 2000.

 

Richardson, John, Alison Shaw, Hants Aldershot, eds.The Body in Qualitative Research Ashgate, England: 1998

 

Rose, Deborah Bird. “Living and dead bodies,” in Dingo Makes Us Human: life and land in an Australian Aboriginal Culture, Cambridge: Cambridge University Press.

 

Savigliano, Marta. Tango and the Political Economy of Passion Westview Press, Boulder, Colorado:1995

 

Suaalii, Tamasailau, “Deconstructing the ‘exotic’ female beauty of the Pacific Islands,” in Bitter Sweet: Indigenous Women in the Pacific, Alison Jones, Phyllis Herda and Tamasailaau M. Suaalii, eds. Otago: University of Otago Press, 2000.

 

Teaiwa, Katerina, Visualizing te kainga, dancing te kainga: history and culture between Rabi, Banaba and beyond, ANU PhD thesis, 2002.

 

Teaiwa, Teresia: “Intro to the Stretch” and “The Stretch” from Terenesia: Amplified Poetry and Songs by Teresia Teaiwa and Sia Figiel Hawaii Dub Machine: 2000

---“Reading Gaugain’s Noa Noa with Epeli Hau’ofa’s Kisses in the Nederends: Militourism, Feminism, and the ‘Polynesian’ body” in Inside out :  Literature, Cultural Politics, and Identity in the new Pacific  edited by Vilsoni Hereniko and Rob Wilson Lanham : Rowman & Littlefield: 1999

---"bikinis and other sp/acific n/oceans," in The Contemporary Pacific, 1995 (?)

 

Whincup, Tony. Akekeia: dance in Kiribati, Tony and Joan Whincup: New Zealand. 2001.

 



[1] The image is of Julia Gray, Darwin based Mekeo/Australian choreographer, dancer and director of Sunameke.


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