Bodies and StructuresMain MenuWhat We're DoingOverview essayHow to Use This SiteAn orientationModulesList of modulesTag MapConceptual indexComplete Grid VisualizationGrid Visualization of Bodies and StructuresGeotagged MapGeographic IndexWhat We LearnedContributors share what they learned through the Bodies and Structures process.ReferencesReferences tag for all modules and essayContributorsContributor BiosAcknowledgementsAcknowledgementsContact usContact information pageLicensing and ImagesThe original content of this site is licensed under a Creative Commons BY-NC-ND International 4.0 License.David Ambaras1337d6b66b25164b57abc529e56445d238145277Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f This publication is hosted on resources provided by the College of Humanities and Social Sciences IT department at NC State University.
Teaiwa, "Reading Paul Gauguin's Nau Nau with Epili Hua'ofa's Kisses in the Nederends"
12018-04-23T13:40:25-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb821Teaiwa, "Reading Paul Gauguin's Nau Nau with Epili Hua'ofa's Kisses in the Nederends"plain2018-04-23T13:40:25-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb8Teresia Teaiwa developed the term "militourism" to describe the relationship in which tourism is infused by military networks, while at the same time the "tourist industry masks the military force behind it." Teaiwa, Teresia, "Reading Paul Gauguin's Nau Nau with Epili Hua'ofa's Kisses in the Nederends: Militourism, Feminism, and the 'Polynesian' body," in Inside Out: Literature, Cultural Politics, and Identity in the New Pacific, ed. Vilsoni Hereniko and Rob Wilson (Landham, MD: Rowman and Littlefield, 1999), 262. See also Paul Lyons, American Pacificism: Oceania in the U.S. Imagination, (London: Taylor & Francis Group, 2005).
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12018-04-23T13:40:20-04:00Daily Life and Work22Images of daily life and labor in early 1950s Okinawaplain2018-12-03T19:01:59-05:0026.12358, 127.66581Dustin Wright
Many of the photos in the collection show Okinawans engaging in their daily labor practices. In this section, we see a display of labor and daily life that, upon first glance, appears to be quite romantic. In some images, the people in the photos are far enough from the lens to render them as simply props for a much grander appreciation for the landscape. People are smiling for the camera as they continue with their endeavors. Did Gail patronize these shops, which might explain the beaming smiles from some of the shopkeepers? Does the image simply capture a relationship - that of the militourist and the Okinawan vendor - that was already an important economic system in early 1950s basetowns throughout the Pacific? It is safe to assume that this was not the first time that the Okinawans in the pictures had interacted with an American cameraperson. If some images depict people smiling at the lens, others show people either indifferent or even annoyed at the cameraman.
Some photos in the "People" page, which completes this module, could very well have been incorporated into this section on daily life and labor. This is because in Gail's images of occupied Okinawa, it is apparent that there was no distinct line between work and leisure. Here, I have chosen to include those photos in which both photographer and photographed seem primarily focused on economic activity.