MS in Global Affairs at NYU: Resort Rasta and Hotel Hula
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Project
Title: Resort Rastas and Hotel Hula
Context: We will be looking at the role played by the tourism industry in the commercialization and exploitation of indigenous cultures (specifically the "rent-a-dread" prostitution around Jamaican resorts that takes advantage of the Rastafarian identity and the suggestive misrepresentation of the traditional hula dance in Hawai'i) and how art can provide a platform for marginalized groups to reclaim their identity.
Further- traditionally, cultures have been studied in isolation from one another and there has been little attempt to draw comparisons across transnational boundaries for cultures that are not inherently similar. We are increasingly connected by processes like globalization- by highlighting our similarities and connections we hope to facilitate an exchange that will do more to enhance international relations by fostering communication and understanding between groups and increase our chances of encouraging cooperation between groups rather than highlighting the differences that separate and isolate us. We have chosen two completely separate island nations on different sides of the globe to show how this project can transcend cultural boundaries.
Background: The tourism industry is the largest generator of revenue for both populations and both populations have had aspects of their indigenous culture exploited as pageantry by the tourism industry. Is it more than just marketing? Kitsch of the tourism industry has influenced outside perception and expectation of these populations. How did this faux culture form from the traditional culture and what was the role played by the tourism industry in its creation? Is the commercialization crass and exploitative, or does it help to preserve and promote endangered culture by generating interest among the visitor population?
Hula has been a part of Hawaiian culture since the Polynesians first landed on the island shores more than a thousand years ago. It is a traditional dance, accompanied by song or chant, which preserves the traditions, culture and legends of Hawai'i. In the early nineteenth century, the arrival of the protestant missionaries marked the end of many traditional Hawaiian cultural activities including the hula dance, which they considered sexual and immoral. In the late nineteenth century, King David Kalakaua started to secretly revive aspects of the traditional Hawaiian culture, among them the hula dance. With the revival of traditional Hawaiian cultural practices, the tourism industry seized upon the pageantry of indigenous Hawaiian culture to satisfy tourists' desire to connect with the local population. The Hawaiians were able to largely reclaim their identity via social movement during the Hawaiian Renaissance in the 1960-70s, and have been insisting on a more accurate representation by the tourism industry ever since.
On the other hand, the Rastafarian movement is a relatively young movement. The Culture took hold in the 1930s when a large number of Black Jamaicans regarded Emperor Haile Ras Tafari Selassie 1 of Ethiopia as their King of Kings and Lord of Lords. The movement was met with great resistance from the Jamaican elites. It was not until later in the 1970s and 80s when musicians like Bob Marley popularized the culture and made being Rastafarian a mainstream "˜fad' that many of the initial resisters started to acknowledge the movement. With the increased popularity of the movement, The Rasta became a main attraction for visitors to the island. With this increased popularity came the exploitation of an inherently religious and mysterious group of people.
Does commercialization of indigenous traditions help preserve native cultures or does it threaten the significance of cultural exchange by presenting an artificial representation of a people? This project will examine whether (and if, how) commercialization threatens the existence of cultural heritage by manipulating popular opinion of indigenous traditions, how cultural expectations and perceptions influence tourism expectations, how cultural traditions survive or evolve via commercialization, and how art can be a tool by which exploited populations reclaim their identity and connect with outside populations in a way that truly represents them. We want to show that this project can transcend cultural boundaries and create a dialogue space for the exchange of ideas and collaboration between two very different and separate populations- though they traditionally have had no direct contact, they face similar issues and can benefit from pursuing a cooperative relationship that will give greater voice to peoples marginalized by tourism MNCs which are driven more by profit margins than by concerns for the populations they may impact.
Research goal: To bring awareness and dispel cultural stereotypes, to promote tourism industry responsibility to cultural representation, and also to open a dialogue between different groups via a cultural exchange project, using youth and art. Island populations are often easily dismissed in the international arena as groups that lack substance; most audiences don't look beyond the beauty and the beaches- we want to show that there is more to them. We aim to use art to pave the way towards greater human understanding across cultural and geographic boundaries in an effort to realign the tourism industry with native populations in a way that helps them preserve their culture without negatively impacting their main source of income.
Gap in the research: The International Relations field has not utilized art to its full capabilities as it relates to sharing messages and reaching out to varying audiences. In addition, there is a need for transcultural examination of groups that have traditionally been studied in isolation to find commonalities among them.
Theory: This project will demonstrate the power of voice in art for marginalized/exploited populations to reclaim their identity. By bringing awareness to cultural issues via public space/display, we aim to give these populations a different way to "sell" their islands.
Methodology: We will use pop culture (e.g. via popular online social media to create dialogue space) to bring cultural awareness and work toward desired social change. We are targeting the youth population because they are the greatest opportunity for impact/change- tend to be more open-minded and not yet so ingrained in prejudices.
Creating and developing the message: what is the goal of this project? To advance discussion and cultural awareness/knowledge; Encourage groups who are marginalized to become advocates for change and to come together with influencers (corporations, NGOs, schools, etc.) to change the perceptions created by tourism industry kitsch; Empower the exploited to prevent their own exploitation and build awareness; To address the role of the tourism industry in society- How they can be positive role models for cultural preservation/awareness.
Method: Employ popular culture and new online social media tools to connect cultural expression to everyday reality- we expect the social media interaction to be a particularly engaging medium for youth. We will use a variation on public art installations to promote a cause: Personal interviews and dialogue between groups- especially via online social networking media, will set the stage for interaction and will translate to a collaborative art project that will be public and tangible. I think First Fridays in Chinatown/ Art after Dark at the Honolulu Museum of the Arts would be an excellent display platform on the Hawai'i side for this project. The series of art displays at the well-known Devon House in Jamaica is a possible showcase arena for this project as well. Another possibility is having the resorts or hotels display the art projects in lobbies and other public spaces throughout their property as a part of their social responsibility.
Outreach to the tourism industry as well as to local native youth population: Encourage tourism industry's direct involvement in the project as an essential component to project success, not only as perpetrators, but also as an integral part of the solution.
Analysis: How are marginalized indigenous cultures experiencing the issue? And how does experience shape response? (Surveys of both populations will be conducted to help us compile data on these and other related questions)
Significance: Cultural preservation is an important component of human rights; it is essential to involve the tourism industry, not only as perpetrators, but also as integral to the solution of cultural preservation. We intend this project to build a bridge across multiple related, but separate, issues and identities, to connect social change movements in order to give them wider audience for an impact beyond the local community, and to develop the capacity of allied relationships to reframe local cultural issues in the greater global community.
So many things are associated with Hawai'i that are not actually native to the islands and many traditions that are native have been altered to appeal to a wider audience for increased profit margin. The Hula dancers of Hawai'i are one such group whose cultural representation has been altered by the tourism industry. In a similar thread, the perception of Rastafari culture- perhaps the most known or identifiable of the Jamaican people- has been far removed from the true belief systems of the founders of this religious group. It is therefore crucial to seek to illustrate how indigenous Rastafari and Hawaiians define themselves. It is important to preserve and promote real culture as opposed to what has been "sexed up" to draw in tourists and revenue. This project creates a public space for these populations to reclaim and accurately promote their identity; it strives to encourage marginalized groups to become their own advocates for change.
Context: We will be looking at the role played by the tourism industry in the commercialization and exploitation of indigenous cultures (specifically the "rent-a-dread" prostitution around Jamaican resorts that takes advantage of the Rastafarian identity and the suggestive misrepresentation of the traditional hula dance in Hawai'i) and how art can provide a platform for marginalized groups to reclaim their identity.
Further- traditionally, cultures have been studied in isolation from one another and there has been little attempt to draw comparisons across transnational boundaries for cultures that are not inherently similar. We are increasingly connected by processes like globalization- by highlighting our similarities and connections we hope to facilitate an exchange that will do more to enhance international relations by fostering communication and understanding between groups and increase our chances of encouraging cooperation between groups rather than highlighting the differences that separate and isolate us. We have chosen two completely separate island nations on different sides of the globe to show how this project can transcend cultural boundaries.
Background: The tourism industry is the largest generator of revenue for both populations and both populations have had aspects of their indigenous culture exploited as pageantry by the tourism industry. Is it more than just marketing? Kitsch of the tourism industry has influenced outside perception and expectation of these populations. How did this faux culture form from the traditional culture and what was the role played by the tourism industry in its creation? Is the commercialization crass and exploitative, or does it help to preserve and promote endangered culture by generating interest among the visitor population?
Hula has been a part of Hawaiian culture since the Polynesians first landed on the island shores more than a thousand years ago. It is a traditional dance, accompanied by song or chant, which preserves the traditions, culture and legends of Hawai'i. In the early nineteenth century, the arrival of the protestant missionaries marked the end of many traditional Hawaiian cultural activities including the hula dance, which they considered sexual and immoral. In the late nineteenth century, King David Kalakaua started to secretly revive aspects of the traditional Hawaiian culture, among them the hula dance. With the revival of traditional Hawaiian cultural practices, the tourism industry seized upon the pageantry of indigenous Hawaiian culture to satisfy tourists' desire to connect with the local population. The Hawaiians were able to largely reclaim their identity via social movement during the Hawaiian Renaissance in the 1960-70s, and have been insisting on a more accurate representation by the tourism industry ever since.
On the other hand, the Rastafarian movement is a relatively young movement. The Culture took hold in the 1930s when a large number of Black Jamaicans regarded Emperor Haile Ras Tafari Selassie 1 of Ethiopia as their King of Kings and Lord of Lords. The movement was met with great resistance from the Jamaican elites. It was not until later in the 1970s and 80s when musicians like Bob Marley popularized the culture and made being Rastafarian a mainstream "˜fad' that many of the initial resisters started to acknowledge the movement. With the increased popularity of the movement, The Rasta became a main attraction for visitors to the island. With this increased popularity came the exploitation of an inherently religious and mysterious group of people.
Does commercialization of indigenous traditions help preserve native cultures or does it threaten the significance of cultural exchange by presenting an artificial representation of a people? This project will examine whether (and if, how) commercialization threatens the existence of cultural heritage by manipulating popular opinion of indigenous traditions, how cultural expectations and perceptions influence tourism expectations, how cultural traditions survive or evolve via commercialization, and how art can be a tool by which exploited populations reclaim their identity and connect with outside populations in a way that truly represents them. We want to show that this project can transcend cultural boundaries and create a dialogue space for the exchange of ideas and collaboration between two very different and separate populations- though they traditionally have had no direct contact, they face similar issues and can benefit from pursuing a cooperative relationship that will give greater voice to peoples marginalized by tourism MNCs which are driven more by profit margins than by concerns for the populations they may impact.
Research goal: To bring awareness and dispel cultural stereotypes, to promote tourism industry responsibility to cultural representation, and also to open a dialogue between different groups via a cultural exchange project, using youth and art. Island populations are often easily dismissed in the international arena as groups that lack substance; most audiences don't look beyond the beauty and the beaches- we want to show that there is more to them. We aim to use art to pave the way towards greater human understanding across cultural and geographic boundaries in an effort to realign the tourism industry with native populations in a way that helps them preserve their culture without negatively impacting their main source of income.
Gap in the research: The International Relations field has not utilized art to its full capabilities as it relates to sharing messages and reaching out to varying audiences. In addition, there is a need for transcultural examination of groups that have traditionally been studied in isolation to find commonalities among them.
Theory: This project will demonstrate the power of voice in art for marginalized/exploited populations to reclaim their identity. By bringing awareness to cultural issues via public space/display, we aim to give these populations a different way to "sell" their islands.
Methodology: We will use pop culture (e.g. via popular online social media to create dialogue space) to bring cultural awareness and work toward desired social change. We are targeting the youth population because they are the greatest opportunity for impact/change- tend to be more open-minded and not yet so ingrained in prejudices.
Creating and developing the message: what is the goal of this project? To advance discussion and cultural awareness/knowledge; Encourage groups who are marginalized to become advocates for change and to come together with influencers (corporations, NGOs, schools, etc.) to change the perceptions created by tourism industry kitsch; Empower the exploited to prevent their own exploitation and build awareness; To address the role of the tourism industry in society- How they can be positive role models for cultural preservation/awareness.
Method: Employ popular culture and new online social media tools to connect cultural expression to everyday reality- we expect the social media interaction to be a particularly engaging medium for youth. We will use a variation on public art installations to promote a cause: Personal interviews and dialogue between groups- especially via online social networking media, will set the stage for interaction and will translate to a collaborative art project that will be public and tangible. I think First Fridays in Chinatown/ Art after Dark at the Honolulu Museum of the Arts would be an excellent display platform on the Hawai'i side for this project. The series of art displays at the well-known Devon House in Jamaica is a possible showcase arena for this project as well. Another possibility is having the resorts or hotels display the art projects in lobbies and other public spaces throughout their property as a part of their social responsibility.
Outreach to the tourism industry as well as to local native youth population: Encourage tourism industry's direct involvement in the project as an essential component to project success, not only as perpetrators, but also as an integral part of the solution.
Analysis: How are marginalized indigenous cultures experiencing the issue? And how does experience shape response? (Surveys of both populations will be conducted to help us compile data on these and other related questions)
Significance: Cultural preservation is an important component of human rights; it is essential to involve the tourism industry, not only as perpetrators, but also as integral to the solution of cultural preservation. We intend this project to build a bridge across multiple related, but separate, issues and identities, to connect social change movements in order to give them wider audience for an impact beyond the local community, and to develop the capacity of allied relationships to reframe local cultural issues in the greater global community.
So many things are associated with Hawai'i that are not actually native to the islands and many traditions that are native have been altered to appeal to a wider audience for increased profit margin. The Hula dancers of Hawai'i are one such group whose cultural representation has been altered by the tourism industry. In a similar thread, the perception of Rastafari culture- perhaps the most known or identifiable of the Jamaican people- has been far removed from the true belief systems of the founders of this religious group. It is therefore crucial to seek to illustrate how indigenous Rastafari and Hawaiians define themselves. It is important to preserve and promote real culture as opposed to what has been "sexed up" to draw in tourists and revenue. This project creates a public space for these populations to reclaim and accurately promote their identity; it strives to encourage marginalized groups to become their own advocates for change.
Organizer
Elizabeth Morlock
Organizer
