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By Stacy L. Kamehiro

The Arts of Kingship deals a sustained and targeted account of Hawaiian public artwork and structure throughout the reign of David Kalakaua, the nativist and cosmopolitan ruler of the Hawaiian country from 1874 to 1891. Stacy Kamehiro offers visible and historic research of Kalakaua’s coronation and regalia, the King Kamehameha Statue, ‘Iolani Palace, and the Hawaiian nationwide Museum, drawing them jointly in a typical old, political, and cultural body. every one articulated Hawaiian nationwide identities and navigated the turbulence of colonialism in designated methods and has continued as a key cultural symbol.

These cultural tasks have been a part of the monarchy’s concerted attempt to advertise a countrywide tradition within the face of colonial pressures, inner political divisions, and declining social stipulations for local Hawaiians, which, together, posed severe threats to the survival of the country. The Kalakaua management counseled photographs that boosted diplomacy and appeased overseas agitators within the country whereas addressing indigenous political cleavages. Kamehiro translates the photographs, areas, and associations as articulations of the advanced cultural entanglements and inventive engagement with foreign groups that happen with lengthy colonial touch. Nineteenth-century Hawaiian sovereigns celebrated local culture, background, and modernity by way of intertwining indigenous conceptions of more suitable mainly management with the apparati and emblems of Asian, American, and eu rule. The ensuing symbolic varieties converse to cultural intersections and old approaches, claims approximately uniqueness and commonality, and the facility of items, associations, and public exhibit to create which means and let motion.

The Arts of Kingship pursues questions concerning the nature of cultural trade, how precolonial visible tradition engaged and formed colonial contexts, and the way colonial paintings informs postcolonial visualities and identities. it is going to be welcomed by means of readers with a common and scholarly curiosity in Hawaiian background and artwork. because it contributes to discussions approximately colonial cultures, nationalism, and globalization, this interdisciplinary paintings will entice artwork and architectural historians in addition to these learning Pacific heritage, cultural and museum reports, and anthropology.

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Maurice of Italy, Knight of the Order of the Red Eagle of Prussia, Knight of the Order of Daunebrog of Denmark, Knight of the Imperial Order of the Chrysanthemum of Japan, 35 36 Chapter 1 Knight of the Order of the Crown of Siam, Knight of the Order of St. Michael and St. 33 This proclamation informed the presentation and bestowal of royal regalia, starting with the Native symbols of rulership. Each emblem bore distinct meanings affirming the Hawaiian chieftaincy. The Pu¯lo‘ulo‘u Po‘omaikelani, elder sister of Kalākaua’s queen, Kap‘iolani, presented the coronation pūlo‘ulo‘u (Figure 5), a gift to Kalākaua from Captain Alfred N.

And let no living person imagine that because the old chiefly ancestors are dead, and those who kept the genealogies have passed away, that therefore he can meddle with the foundation and make himself rank as a high chief. To attempt such a thing would be shameless effrontery. Yet there are those who are shamelessly striving to do this very thing, and their unbecoming audacity must be condemned. . The sacred attributes (Kapu) of the old chiefs of Hawaii nei that have been maintained in their purity have by no means perished, and their descendants now living have a right to lay claim to them.

As “Envoy Extraordinary and Minister Plenipotentiary to the Court of St. 104 These various internationalist ventures and journeys extended Hawai‘i’s presence and visibility abroad. As the decade of the 1880s unfolded and internal, haole-led revolution seemed imminent, the king’s appeals to international actors were increasingly imperative for the kingdom’s survival. Kalākaua’s world tour and Iaukea’s voyages on behalf of the king are also significant in that, as Thomas suggests, travel is a “peculiarly modern activity, in so far as it entails expansive steps away from ‘traditional’ ties, and—more crucially and distinctively—an Hawaiian National Art attitude of extension and displacement towards those traditions.

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