Anaïs. 24. Pacific islander from New-Caledonia. Pansexual. Previously a student in Sociology with Social Psychology. Currently doing a Master's in Women's Studies. York.
Academic interests: Sexual violence, suicide, the Holocaust, feminist theory, postcolonial theory, representation of Pacific people, gender, sexuality, cannibalism, lycanthropy & vampirism.
Bonne lecture !
Ask me anything
The increasing sexualisation of Cook Islands’ dance is considered a product of tourism. The often-employed phrases ‘prostitution’ and ‘bastardisation’ point to this and to the ambivalence felt towards tourism and the global processes of commodification and perceived loss of cultural ownership. These are expressed in ways that connect selling culture with selling women and ultimately with selling out the nation’s morality. These concerns are not surprising given the ubiquitous nature of live performance and bodily display in Pacific—what Jane Desmond calls ‘people tourism’ and ‘song-and-dance tourism’ in Hawai’i. Young Cook Islands women—dancing, walking down the beach, sitting on a motor scooter, or looking at a sunset—feature prominently in tourist advertising. Images such as these present the islands as feminine, sensual and above all welcoming.
Kalissa Alexeyeff, Dancing Gender in the Cook Islands: Globalisation, Regional Flows and National Boundaries
Hey Hetero! is a public art project collaboration between artist Deborah Kelly and photographer Tina Fiveash. The project’s pieces have appeared in 30 illuminated public advertising spaces in Sydney streets, a CBD billboard, magazines, newspapers, bus ads, Avant Cards, galleries, and online. Hey Hetero! returns the gaze at heterosexuality: the priveleged sexuality which makes the LGBT movement both possible and necessary. In the form of simulated mainstream ‘advertisements’, the artwork invites heterosexuality into public discourse.
The Insular Empire (documentary): “What is it like to be a colonial subject of the greatest democracy on Earth?”
Synopsis: “Six thousand miles west of California, the Mariana Islands are American territory; but after generations of loyalty, the people of Guam and the Northern Marianas still remain second-class US citizens. Following the personal stories of four indigenous island leaders, this provocative film explores the history of American colonization in the Pacific - a moving story of loyalty and betrayal, about a patriotic island people struggling to find their place within the American political family. This landmark film is an ideal cross-disciplinary resource, appropriate for courses in American Studies, US or Pacific History, Colonial and post-Colonial Studies, Ethnic Studies, Native American Studies, Geography, Anthropology, Law, Peace & Conflict Studies, Psychology, Social Work, Sociology, and Political Science.”
Historically in Native communities, formalized Western education was used as a tool of cultural genocide, a tool of assimilation. With the whole government-run boarding school system—a system that my own grandmother and my aunties went through as well—where the professed model was to kill the Indian and save the man. For so many decades and generations, this idea of going off to school meant losing your Native culture. It meant that part of you was forcibly erased. You weren’t allowed to speak your language. You weren’t allowed to practice your culture. That is a legacy that occurred up until the 1960s and ’70s, so this isn’t ancient history…[we are re-framing] this idea—going to college is not about losing your identity as a Native person. It’s a way for you to give back to your community. It’s a way for you to build up your nation. It’s a way for to gain the skills and knowledge that your nation needs.
Adrienne Keene, in How is the Native College Experience Different? (via nitanahkohe)