Since the late 1960s, drama by Pacific Island playwrights has flourished throughout Oceania. Although many Pacific Island cultures have a broad range of highly developed indigenous performance forms—including oral narrative, clowning, ritual, dance, and song—scripted drama is a relatively recent phenomenon. Emerging during a period of region-wide decolonization and indigenous self-determination movements, most of these plays reassert Pacific cultural perspectives and performance techniques in ways that employ, adapt, and challenge the conventions and representations of Western theater. Drawing together discussions in theater and performance studies, historiography, Pacific studies, and postcolonial studies, Remaking Pacific Pasts offers the first full-length comparative study of this dynamic and expanding body of work. It introduces readers to the field with an overview of significant works produced throughout the region over the past fifty years, including plays in English and in French, as well as in local vernaculars and lingua francas. The discussion traces the circumstances that have given rise to a particular modern dramatic tradition in each site and also charts routes of theatrical circulation and shared artistic influences that have woven connections beyond national borders. This broad survey contextualizes the more detailed case studies that follow, which focus on how Pacific dramatists, actors, and directors have used theatrical performance to critically engage the Pacific’s colonial and postcolonial histories. Chapters provide close readings of selected plays from Hawai‘i, Aotearoa/New Zealand, New Caledonia/Kanaky, and Fiji that treat events, figures, and legacies of the region’s turbulent past: Captain Cook’s encounters, the New Zealand Wars, missionary contact, the overthrow of the Hawaiian monarchy, and the Fiji coups. The book explores how, in their remembering and retelling of these pasts, theater artists have interrogated and revised repressive and marginalizing models of historical understanding developed through Western colonialism or exclusionary indigenous nationalisms, and have opened up new spaces for alternative historical narratives and ways of knowing. In so doing, these works address key issues of identity, genealogy, representation, political parity, and social unity, encouraging their audiences to consider new possibilities for present and future action. This study emphasizes the contribution of artistic production to social and political life in the contemporary Pacific, demonstrating how local play production has worked to facilitate processes of creative nation building and the construction of modern regional imaginaries. Remaking Pacific Pasts makes valuable contributions to Pacific literature, world theater history, Pacific studies, and postcolonial studies. The book opens up to comparative critical discussion a geopolitical region that has received little attention from theater and performance scholars, extending our understanding of the form and function of theater in different cultural contexts. It enriches existing discussions in postcolonial studies about the decolonizing potential of literary and artistic endeavors, and it suggests how theater might function as a mode of historical enquiry and debate, adding to discussions about ways in which Pacific histories might be developed, challenged, or recalibrated. Consequently, the book stimulates new discussions in Pacific studies where theater has, to date, suffered from a lack of critical exposure. Carefully researched and original in its approach, Remaking Pacific Pasts will appeal to scholars, graduate students, and upper-level undergraduate students in theater and performance studies and Pacific Islands studies; it will also be of interest to cultural historians and to specialists in cultural studies and postcolonial studies.

Since the late 1960s, drama by Pacific Island playwrights has flourished throughout Oceania. Although many Pacific Island cultures have a broad range of highly developed indigenous performance forms--including oral narrative, clowning, ritual, dance, and song--scripted drama is a relatively recent phenomenon. Emerging during a period of region-wide decolonization and indigenous self-determination movements, most of these plays reassert Pacific cultural perspectives and performance techniques in ways that employ, adapt, and challenge the conventions and representations of Western theater. Drawing together discussions in theater and performance studies, historiography, Pacific studies, and postcolonial studies, Remaking Pacific Pasts offers the first full-length comparative study of this dynamic and expanding body of work. It introduces readers to the field with an overview of significant works produced throughout the region over the past fifty years, including plays in English and in French, as well as in local vernaculars and lingua francas. The discussion traces the circumstances that have given rise to a particular modern dramatic tradition in each site and also charts routes of theatrical circulation and shared artistic influences that have woven connections beyond national borders. This broad survey contextualizes the more detailed case studies that follow, which focus on how Pacific dramatists, actors, and directors have used theatrical performance to critically engage the Pacific's colonial and postcolonial histories. Chapters provide close readings of selected plays from Hawai'i, Aotearoa/New Zealand, New Caledonia/Kanaky, and Fiji that treat events, figures, and legacies of the region's turbulent past: Captain Cook's encounters, the New Zealand Wars, missionary contact, the overthrow of the Hawaiian monarchy, and the Fiji coups. The book explores how, in their remembering and retelling of these pasts, theater artists have interrogated and revised repressive and marginalizing models of historical understanding developed through Western colonialism or exclusionary indigenous nationalisms, and have opened up new spaces for alternative historical narratives and ways of knowing. In so doing, these works address key issues of identity, genealogy, representation, political parity, and social unity, encouraging their audiences to consider new possibilities for present and future action. This study emphasizes the contribution of artistic production to social and political life in the contemporary Pacific, demonstrating how local play production has worked to facilitate processes of creative nation building and the construction of modern regional imaginaries. Remaking Pacific Pasts makes valuable contributions to Pacific literature, world theater history, Pacific studies, and postcolonial studies. The book opens up to comparative critical discussion a geopolitical region that has received little attention from theater and performance scholars, extending our understanding of the form and function of theater in different cultural contexts. It enriches existing discussions in postcolonial studies about the decolonizing potential of literary and artistic endeavors, and it suggests how theater might function as a mode of historical enquiry and debate, adding to discussions about ways in which Pacific histories might be developed, challenged, or recalibrated. Consequently, the book stimulates new discussions in Pacific studies where theater has, to date, suffered from a lack of critical exposure. Carefully researched and original in its approach, Remaking Pacific Pasts will appeal to scholars, graduate students, and upper-level undergraduate students in theater and performance studies and Pacific Islands studies; it will also be of interest to cultural historians and to specialists in cultural studies and postcolonial studies.

How does one describe the Pacific's pasts? The easy confidence historians once had in writing about the region has disappeared in the turmoil surrounding today's politics of representation. Earlier narratives that focused on what happened when are now accused of encouraging myths of progress. Remembrance of Pacific Pasts takes a different course. It acknowledges history's multiplicity and selectivity, its inability to represent the past in its entirety "as it really was" and instead offers points of reference for thinking with and about the region's pasts. It encourages readers to participate in the historical process by constructing alternative histories that draw on the volume's chapters. The book's thirty-four contributions, written by a range of authors spanning a variety of styles and disciplines, are organized into four sections. The first presents frames of reference for analyzing the problems, poetics, and politics involved in addressing the region's pasts today. The second considers early Islander-Western contact focusing on how each side sought to physically and symbolically control the other. The third deals with the colonial dynamics of the region: the "tensions of empire" that permeated imperial rule in the Pacific. The fourth explores the region's postcolonial politics through a discussion of the varied ways independence and dependence overlap today. Remembrance of Pacific Pasts includes many of the region's most distinguished authors such as Albert Wendt, Greg Dening, Epeli Hau'ofa, Marshall Sahlins, Patricia Grace, and Nicholas Thomas. In addition, it features chapters by well-known writers from outside Pacific Studies -- Edward Said, James Clifford, Richard White,and Gyan Prakash -- which help place the region's dynamics in comparative perspective. By moving Pacific history beyond traditional, empirical narratives to new ways for conversing about history, by drawing on current debates surrounding the politics of representation to offer different ways for thinking about the region's pasts, this work has relevance for students and scholars of history, anthropology, and cultural studies both within and beyond the region.

This dissertation explores selected plays from Hawai'i, Aotearoa New Zealand, and Fiji that critically engage aspects of colonial and postcolonial Pacific histories. This historiographic drama, produced primarily by indigenous and diasporic playwrights, forms part of a broader theatrical genre that has flourished throughout Oceania since the late 1960s and is coeval with a phase of significant social change in the region, with the decolonization and independence of many Pacific Island nations, as well as changing responses to globalization, and increased migratory and diasporic movements within and beyond the area. Drawing upon discussions in theatre and performance studies, historiography, Pacific studies, and postcolonial studies, I examine contemporary historiographic theatre in Oceania as a varied syncretic form that draws from and negotiates between Western and Oceanic frameworks, foregrounding heterogeneity and debate. I read this body of work as a consciously critical genre that contributes to the project of "decentering" the practice of history in Oceania (Hanlon) by interrogating and revising repressive or marginalizing models of historical understanding developed through colonialism or exclusionary indigenous nationalisms, and by providing outlets for the expression of counter-discursive Pacific histories. In so doing, these plays function as tools to help define the present Oceania, facilitating processes of creative nationbuilding and the construction of modern regional imaginaries. The chapters are structured around certain moments in the Pacific's colonial and postcolonial history that have affected and helped to shape the region more broadly, without being the story of one particular nation. Chapter Two examines early cross-cultural encounters between European voyagers and Pacific peoples, focusing on contemporary plays from Hawai'i and New Zealand that revisit the voyages and concomitant legacies of the British explorer, Captain James Cook. Chapter Three explores the impact of colonial conflict through Māori plays about the New Zealand Wars of the mid-nineteenth century. Chapter Four moves away from the indigene/white settler relationship to investigate theatrical responses to recent and ongoing conflicts in a multicultural, post-independence Pacific context in which repressive social structures are occasioned by a dominant indigenous nationalism, treating plays that engage the event and aftermath of the 1987 Fiji Coup. (Abstract).

This collection identifies the challenges facing area studies as an organized intellectual project in this era of globalization, focusing in particular on conceptual issues and implications for pedagogical practice in Asia and the Pacific. The crisis in area studies is widely acknowledged; various prescriptions for solutions have been forthcoming, but few have also pursued practical applications of critical ideas for both teachers and students. Remaking Area Studies not only makes the case for more culturally sensitive and empowering forms of area studies, but indicates how these ideas can be translated into effective student-centered learning practices through the establishment of interactive regional learning communities. This pathbreaking work features original contributions from leading theorists of globalization and critics of area studies as practiced in the U.S. Essays in the first part of the book problematize the accepted categories of traditional area-making practices. Taken together, they provide an alternative conceptual framework for area studies that informs the subsequent contributions on pedagogical practices. To incorporate critical perspectives from the "areas studied," chapters examine the development of area studies programs in Japan and the Pacific Islands. Not surprisingly, given the lessons learned from critical examinations of area studies in the U.S., there are competing, state, institutional, and intellectual perspectives involved in each of these contexts that need to be taken into account before embarking on an interactive and collaborative area studies across Pacific Asia. Finally, area studies practitioners reflect on their experiences developing and teaching interactive, web-based courses linking classrooms in six universities located in Hawai‘i, Singapore, the Philippines, Japan, New Zealand, and Fiji. These collaborative on-line teaching and learning initiatives were designed specifically to address some of the conceptual and theoretical concerns associated with the production and dissemination of contemporary area studies knowledge. Multiauthored chapters draw useful lessons for international collaborative learning in an era of globalization, both in terms of their successes and occasional failures. Uniquely combining theoretical, institutional, and practical perspectives across the Asia Pacific region, Remaking Area Studies contributes to a rethinking and reinvigorating of regional approaches to knowledge formation in higher education. Contributors: Conrado Balabat, Lonny Carlile, T. C. Chang, Hezekiah A. Concepcion, Arif Dirlik, Jeremy Eades, Gerard Finin, Jon Goss, Peter Hempenstall, Lily Kong, Lisa Law, Martin W. Lewis, Robert Nicole, Neil Smith, Teresia Teaiwa, Ricardo Trimillos, Christine Yano, Terence Wesley-Smith.

America's efforts at economic development in the Caroline, Mariana, and Marshall Islands proved to be about transforming in dramatic fashion people who occupied real estate deemed vital to American strategic concerns. Called "Micronesians," these island people were regarded as other, and their otherness came to be seen as incompatible with American interests. And so, underneath the liberal rhetoric that surrounded arguments, proposals, and programs for economic development was a deeper purpose. America's domination would be sustained by the remaking of these islands into places that had the look, feel, sound, speed, smell, and taste of America - had the many and varied plans actually succeeded. However, the gap between intent and effect holds a rich and deeply entangled history. Remaking Micronesia stands as an important, imaginative, much needed contribution to the study of Micronesia, American policy in the Pacific, and the larger debate about development. It will be an important source of insight and critique for scholars and students working at the intersection of history, culture, and power in the Pacific.

Moving Islands reveals the international and intercultural connections within contemporary performance from Oceania, focusing on theater, performance art, art installations, dance, film, and activist performance in sites throughout Oceania and in Australia, Asia, North America, and Europe. Diana Looser’s study moves beyond a predictable country-specific or island-specific focus to encompass an entire region defined by diversity and global exchange, showing how performance operates to frame social, artistic, and political relationships across widely dispersed locations. The study also demonstrates how Oceanian performance contributes to international debates about diaspora, indigeneity, urbanization, and environmental sustainability. The author considers the region’s unique cultural and geographic dynamics as she brings forth the paradigm of transpasifika to suggest a way of understanding these intercultural exchanges and connections, with the aim to “rework the cartographic and disciplinary priorities of transpacific studies to privilege the activities of Islander peoples.”

Introduction / David K. Yoo and Eiichiro Azuma -- Part I. Migration flows -- Filipinos, Pacific Islanders, and the American empire / Keith L. Camacho -- Towards a hemispheric Asian American history / Jason Oliver Chang -- South Asian America: histories, cultures, politics / Sunaina Maira -- Asians, native Hawaiians, and Pacific Islanders in Hawai'i: people, place, culture / John P. Rosa -- Southeast Asian Americans / Chia Youyee Vang -- East Asian immigrants / K. Scott Wong -- Asian Canadian history / Henry Yu -- Part II. Time passages -- Internment and World War II history / Eiichiro Azuma -- Reconsidering Asian exclusion in the United States / Kornel S. Chang -- The Cold War / Madeline Y. Hsu -- The Asian American movement / Daryl Joji Maeda -- Part III. Variations on themes -- A history of Asian international adoption in the United States / Catherine Ceniza Choy -- Confronting the racial state of violence: how Asian American history can reorient the study of race / Moon-Ho Jung -- Theory and history / Lon Kurashige -- Empire and war in Asian American history / Simeon Man -- Queer Asian American historiography / Amy Sueyoshi -- The study of Asian American families / Xiaojian Zhao -- Part IV. Engaging historical fields -- Asian American economic and labor history / Sucheng Chan -- Asian Americans, politics, and history / Gordon H. Chang -- Asian American intellectual history / Augusto Espiritu -- Asian American religious history / Helen Jin Kim, Timothy Tseng, and David K. Yoo -- Race, space, and place in Asian American urban history / Scott Kurashige -- From Asia to the United States, around the world, and back again: new directions in Asian American immigration history / Erika Lee -- Public history and Asian Americans / Franklin Odo -- Asian American legal history / Greg Robinson -- Asian American education history / Eileen H. Tamura -- Not adding and stirring: women's, gender, and sexuality history and the transformation of Asian America / Adrienne Ann Winans and Judy Tzu-Chun Wu

A History of New Zealand Literature traces the genealogy of New Zealand literature from its first imaginings by Europeans in the eighteenth century. Beginning with a comprehensive introduction that charts the growth of, and challenges to, a nationalist literary tradition, the essays in this History illuminate the cultural and political intricacies of New Zealand literature, surveying the multilayered verse, fiction and drama of such diverse writers as Katherine Mansfield, Allen Curnow, Frank Sargeson, Janet Frame, Keri Hulme, Witi Ihimaera and Patricia Grace. Written by a host of leading scholars, this History devotes special attention to the lasting significance of colonialism, biculturalism and multiculturalism in New Zealand literature. A History of New Zealand Literature is of pivotal importance to the development of New Zealand writing and will serve as an invaluable reference for specialists and students alike.

Coral and Concrete, Greg Dvorak’s cross-cultural history of Kwajalein Atoll, Marshall Islands, explores intersections of environment, identity, empire, and memory in the largest inhabited coral atoll on earth. Approaching the multiple “atollscapes” of Kwajalein’s past and present as Marshallese ancestral land, Japanese colonial outpost, Pacific War battlefield, American weapons-testing base, and an enduring home for many, Dvorak delves into personal narratives and collective mythologies from contradictory vantage points. He navigates the tensions between “little stories” of ordinary human actors and “big stories” of global politics—drawing upon the “little” metaphor of the coral organisms that colonize and build atolls, and the “big” metaphor of the all-encompassing concrete that buries and co-opts the past. Building upon the growing body of literature about militarism and decolonization in Oceania, this book advocates a layered, nuanced approach that emphasizes the multiplicity and contradictions of Pacific Islands histories as an antidote to American hegemony and globalization within and beyond the region. It also brings Japanese, Korean, Okinawan, and American perspectives into conversation with Micronesians’ recollections of colonialism and war. This transnational history—built upon a combination of reflective personal narrative, ethnography, cultural studies, and postcolonial studies—thus resituates Kwajalein Atoll as a pivotal site where Islanders have not only thrived for thousands of years, but also mediated between East and West, shaping crucial world events. Based on multi-sited ethnographic and archival research, as well as Dvorak’s own experiences growing up between Kwajalein, the United States, and Japan, Coral and Concrete integrates narrative and imagery with semiotic analysis of photographs, maps, films, and music, traversing colonial tropical fantasies, tales of victory and defeat, missile testing, fisheries, war-bereavement rituals, and landowner resistance movements, from the twentieth century through the present day. Representing history as a perennial struggle between coral and concrete, the book offers an Oceanian paradigm for decolonization, resistance, solidarity, and optimism that should appeal to all readers far beyond the Marshall Islands.