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• W127647597 abstract "In music, a body of undulating songs have been more effectivecauses for vacationing Americans choosing Hawaii than allthe illustrated brochures of the travel agencies.(from Hawaii in HI-FI, RCA).Music was an important marketing strategy in the campaign toassimilate Hawaii into the United States, incorporating a culturaltradition of the exotic 'Other' into Western culture through an iconof modem recording technology—the hi-fi stereo record. Hawai-ian music—a genre that enjoyed great popularity from early In thecentury into the 1970s—^provided a method of familiarizing U.S.mainlanders with this distant chain of islands and served as a centralelement in the tourist industry's campaign to attract visitors toHawaii (Kanahele 1979). The marketing of Hawaiian popularmusic—through radio shows and record albums—aided the transfor-mation of Hawaii from primitive paradise into the SOth State.Hawaii remains an important tourist destination, strategicmilitary outpost, and tropical paradise. The records, songs, andalbum covers under scrutiny are still available, smartly repackagedas 'exotica' in CD stores worldwide (Taylor 1997). Record albumshelped construct an image of Hawaii that is still very much a part ofhow Hawaii—and other exotic island resorts—is viewed by con-sumers (Costa 1998; Williamson 1986). Indeed, a Hawaiian vaca-tion is the ultimate American consumer product—allowing anyonewho can afford a ticket to participate in the colonial project througha re-creation of discovering Hawaii (Borgerson and Schroeder1997). In this paper, album covers and liner notes provide foran analysis of the representation of Hawaii in popular culturearound the time it entered the Union in 1959.We tum our critical gaze onto a collection of consumerartifacts. About hundred fifty Hawaiian LPs provide a wealthof data—invoking a range of issues around consumption, objecti-fication, and representation—as we combine ethical analysis withcontent analysis in discussing sexist and racist representationstypical of colonial discourses (e.g., Clifford 1988; Drinnon 1997).We focus on the representation of Hawaii as feminine, exotic andprimitive, a discourse produced through the use of models, poses,and conventions from art history and advertising design. Hawaiianrecords—cover art, liner notes and song lyrics—reflect a dominantcultural view of the exoticother(Tatar 1987). Moreover, the Hawaiirepresented o n these albums is the Hawaii that exists for most of us.Thus seemingly innocuous consumer artifacts create and maintaina discourse that reveals effects and antecedents o f colonialism.This paper joins recent efforts that show how consumercultureworks in a broadercontext to influence the construction of the worldthrough representation and marketing images. Mundane objectssuch as record album covers are exemplars of the enormous societalforce of marketing-constructed representation. Through a criticalanalysis of Hawaiian record album design, liner notes, and songlyrics we expose colonial imperial ism fueled by marketing strategy.Colonial ParadiseWe are concemed with how Hawaii—a state, an ethnic iden-tity, a race, and a cultural form—is constructed through represen-tation and appropriation of indigenous culture by the dominantculture. Representation often requires political, economic, andideological choices made by those in power. Hawaiian recordsreflect the dominant cultural view and provide a compelling ex-ample of how representation by dominant groups enable a colonialistprocess of objectification and imperialism (e.g., Clifford 1988;Drinnon 1997; Eisenman 1997; Said 1993). We see (and hear) theideology of the colonizer through the representation of the colo-nized. Ethical issue s aris e when representation of subordinatgroups enable the erasure of and domination of that group(Kaplan and Pease 1993).Hawaii's assimilation into the United States is a classic case ofimperialism, here defined as: one of a number of oppressiverelations that may hold between dominant and subordinatedcultures. Whether or not conscious and intentional, it serves toextend the political power, secure the social control, and further theeconomic profit of the dominant culture. (Whitt 1995). Philoso-pher Laurie Whitt claims that commodification of spiritualitythrough trademarks and copyrights serves to colonize native beliefsystems, and:Ultimately, it facilitates a type of cultural acquisition viaconceptual assimilation: EuroAmerican culture seeks to es-tablish itself in indigenous cultures by appropriating, mining,and re-defining what is distinctive, constitutive, of them. Themechanism for this is an oft-repeated pattem of culturalsubordination that tums vitally on legal and popular views ofownership and property, as formulated within the dominantculture. (Whitt 1995).Cultural analyst Judith Williamson asserts: It is crucial tostudy 'mass culture' and its specific texts, but not in order tounderstand 'the masses'; the ideology of difference is not, in fact,different from the ideologies that imprison us (1985, p.ll6).The tum to popular culture is important here, to show that seem-ingly innocuous and fun cultural artifacts serve to divert attentionfrom the colonizing process that obscures and subsumes nativecultural traditions, and erases indigenous peoples. As educationaltheorist Henry Giroux argues, popular culture provides sites thatare often ignored...where the struggle over knowledge, power, andauthority translates itself into a broader battle over the meaning ofpleasure, self-formation, and national identity (1994, p. x).How i s a mas audienc e to b mad familiar with conceptemployed for gai n i a capitalist economy? Through information,image s and a barrage of appealsbrought to u via marketing. Hawaiiha s bee developed into a conceptual resource. Marketing imagean d representationsof thisconceptual Hawaii create th e discourstha t inform s how many o u still experience and think abouHawaii. Bryan Farrell writes in his book Hawaii: the Legend thaiSells,For centuries Hawaiian land provided all needed resources.Later, through commercial agriculture, the land continued toprovide the bulkof Hawaii's monetary income. Most recently,the land has been transformed into a conceptual resource—economically the most valuable. Collectively this may beviewed as an ambient resource, that special combination ofelementssuch as warm, sensuous and nondebilitating climate;exciting coastal and mountain scenery; warm clear oceanwater; and of the most interesting cosmopolitan popula-tions in the world (1982, p. 28).The Hawaiian record album formed an important stage of theconstruction of Hawaii as a conceptual resource, just as pineapple,46 Advances in Consumer ResearchVolume 26, ©1999" @default.
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• W127647597 title "Packaging Paradise: Consuming Hawaiian Music" @default.
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