- Title Pages
- Part 1 Makali‘i: Identity
- Chapter One … And I who am still a woman woven … !
- Chapter Two A Contemporary Response to Increasing Mele Performance Contexts
- Chapter Three Un/Civilized Girls, Unruly Poems
- Chapter Four The Fisherman
- Chapter Five Pasin/Ways
- Chapter Six Nau mai, hoki mai
- Chapter Seven Tiki Manifesto
- Part 2 Peleiake: Institutions
- Chapter Eight let’s pull in our nets
- Chapter Nine Speeches from the Centennial of the Overthrow
- Chapter Ten Something in the Wind
- Chapter Eleven Sovereignty out from under Glass?
- Chapter Twelve The Many Different Faces of the Dusky Maiden
- Chapter Thirteen Stealing the Piko
- Part 3 Kūpuku: Community
- Chapter Fourteen “I Lina‘la‘ Tataotao Ta‘lo”
- Chapter Fifteen The Words to Speak Our Woes
- Chapter Sixteen All Things Depending
- Chapter Seventeen Pasin Pasifik/Pasifik Way
- Chapter Eighteen He Huaka‘i ma Hā‘ena
- Chapter Nineteen Words & Music
- Part 4 Ke Aweawe a Makali‘i: Word
- Chapter Twenty I write (J’écris)
- Chapter Twenty-One Ka Li‘u o ka Pa‘akai (Well Seasoned with Salt)
- Chapter Twenty-Two First Class
- Chapter Twenty-Three Adventures in Chronicling
- Chapter Twenty-Four When will I be content with my words? When will I sound out my poem words?
- Production Notes
Stealing the Piko
Stealing the Piko
(Re)placing Kānaka Maoli at Disney’s Aulani Resort
- (p.160) Chapter Thirteen Stealing the Piko
Brandy Nālani McDougall
- University of Hawai'i Press
This chapter examines how Disney’s Aulani Resort, located on O‘ahu’s ‘Ewa coast, has been able to create stories that indigenize and facilitate its corporate colonial presence in Hawai‘i. It considers how Disney’s indigenization narratives coincide with themes of simulated native presence and implied native absence, suggesting that Mickey Mouse is yet another ‘iole who consumes, displaces, and dispossesses. It shows that Disney has built its multibillion-dollar business empire by appropriating and distorting the stories of a particular place and/or creating new stories so as to naturalize an agenda of corporate capitalism. It also discusses the ways in which Disneyfication parallels and often incorporates settler colonial constructions of Indigenous peoples as noble savages. Finally, it explains Disney’s tenuous belonging and its implications for Kānaka Maoli Indigenous identity.
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