Cultural Tourism and the Negotiation of Tradition
Publication Year: 2008
Published by: University of Hawai'i Press
Title Page, Copyright Page
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My research on the 1989 Hawai'i program at the Smithsonian began, as do many endeavors in Hawai'i, with "talk story." At the time, I was a recent transplant to the islands, and I was working as a volunteer archivist in the Folk Arts division of the Hawai'i State Foundation for Culture and the Arts (HSFCA). ...
Note on Names
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Some confusion over names is unavoidable in this account. At the time of the Hawai'i program the Center for Folklife and Cultural Heritage (CFCH) was called the Office of Folklife Programs (OFP). That title later became the Center for Folklife and Cultural Studies. In 1989 the Festival was known ...
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This project was made possible through the help of people and institutions that offered support for which I am deeply indebted. My research was supported by fellowships from the East-West Center and the Smithsonian Center for Folklife and Cultural Heritage and by grants from the East-West Center Association, ...
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During the last week of June and first week of July 1989, a visitor to the National Mall in Washington, D.C., could have been transported to some intriguing destinations, including the Caribbean, the Great Plains, the Mississippi Delta, and the American Pacific. That year, the thirteenth annual Festival ...
Chapter 1 Cultural Intervention in America's Eden
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The 1989 Festival of American Folklife (FAF) in Washington, D.C., began, as had its predecessors, with an opening ceremony attended by dignitaries, officials, and par ticipants. Governor John Waihee, Hawai'i's first and only Native Hawaiian governor, set the tone for the Hawai'i program in his opening ...
Chapter 2 Finding and Defining Traditional Hawai'i
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The 1989 Hawai'i program in Washington, D.C., lasted for only ten days, but it was over a year and a half in the making. Fundamental to the festival-making process was the six-month-long "fieldwork phase" - the research-based process determining which tradition bearers and what traditions would ...
Chapter 3 Interpreting an Authentic "Sense of Place"
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Each year just prior to the annual Smithsonian Folklife Festival (SFF), the National Mall is a fenced-in flurry of activity as construction crews barrel about in trucks and carts, scurrying to get tents hoisted, stages and backdrops built, signs mounted. Electrical generators must be set up to run stage ...
Chapter 4 Performing "The Other Side of the Island"
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Prior to the opening of the 1989 Festival, the Hawai'i program production crew had worked hard to transform the physical site into a sensory experience that evoked the islands, and the results must have been effective. One longtime Festival volunteer reminiscing fourteen years later recalled ...
Chapter 5 Beyond the Festival Afterglow
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In the summer of 2003 I traveled to Waimea, Kaua'i, to meet some of the surviving members of the Waimea Hawaiian Church Choir who had performed himeni choral music at the Festival. When I arrived at the house of Miriam Kaleipua Pahulehua, a crowd of relatives was busily tending ...
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In 2002, on my first visit to the Smithsonian Center for Folklife and Cultural Heritage, I asked Diana Parker if she thought the Folklife Festival was subversive. Her immediate reply was, "God, I hope so!" For many reasons, I think she is right. After all, in 1989 one could step out of the Museum of Natural History ...
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Glossary of Foreign Words
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About the Author
Heather A. Diamond received her Ph.D. in American studies from the University of Hawai'i at Manoa, where she is currently a lecturer in the departments of English and American studies. ...
Publication Year: 2008