Papers by Brandy Nalani McDougall
Aina Hanau / Birth Land
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Archipelagic American Studies
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Poem submitted to Indigenous Encounters: Reflections on Relations between People in the Pacific; ... more Poem submitted to Indigenous Encounters: Reflections on Relations between People in the Pacific; based on intercultural relations in the Pacific between people in everyday context
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The Contemporary Pacific, 2017
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Huihui, 2017
Introduction to Huihui: Navigating Art and Literature in the Pacific (UH Press, 2015)
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In this interview conducted in 2014, the poet and academic Brandy Nālani McDougall discusses the ... more In this interview conducted in 2014, the poet and academic Brandy Nālani McDougall discusses the ways in which her poetic practice intersects with her identity as a Kanaka Maoli wahine (Native Hawaiian woman) and her role as a literary activist. Born and brought up on Maui, the second largest Hawaiian island, surrounded by moʻolelo (stories), she is moved to write about her home, its history and people in ways that both reflect the past and project a vision of the future. Revealing the role of testimony in her writing, how kaona (hidden meaning) emerges as she writes and why she considers contemporary poetry as part of a continuum of Hawaiian literature, McDougall offers a glimpse into her kuleana (responsibility/privilege) as a poet.
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Advanced Theory Reader in Women’s, Gender, and Sexuality Studies. Eds. Aye Saraswati and Barbara Shaw. Oxford: Oxford University Press, 2020
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Archipelagic American Studies, eds Brian Russell Roberts and Michelle Ann Stephens, 2017
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Journal of Transnational American Studies, 2019
In this essay I examine three artworks featured in this issue: Chris Charteris’s Te ma; Maile And... more In this essay I examine three artworks featured in this issue: Chris Charteris’s Te ma; Maile Andrade’s Hana ka Lima; and Ibrahim Miranda’s Isla laboratorio o 7 maravillas or Island Laboratory of 7 Wonders. Following descriptions of the artworks and their materials, I assert that each piece emphasizes what I refer to as “island-human relationality,” which recognizes human interconnections and kinship with the island. Such kinship, I argue, entails the human adoption of an ethic of island sustainability, of humans receiving what the island provides, while also ensuring the island is not exploited or abused for its resources.
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Stable URL: https://www.jstor.org/stable/10.5749/natiindistudj.5.1.0215 JSTOR is a not-for-profit... more Stable URL: https://www.jstor.org/stable/10.5749/natiindistudj.5.1.0215 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
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Introduction to Huihui: Navigating Art and Literature in the Pacific (UH Press, 2015)
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chapter from the Routledge Companion to Native American Literature
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In 1895 Queen Liliʻuokalani was put on trial, sentenced, and imprisoned in ʻIolani Palace for mis... more In 1895 Queen Liliʻuokalani was put on trial, sentenced, and imprisoned in ʻIolani Palace for misprision of treason after an armed royalist attempt to reinstate the Hawaiian Kingdom. During her imprisonment, she began her translation of the Kumulipo, her moʻokūʻauhau (genealogy), which traces her descent from over 800 generations and recounts the universe’s beginnings. Despite this history, Liliʻuokalani’s translation is largely invisible, and the American folklorist Martha Warren Beckwith’s translation, published in 1951, is often thought to be the only one. Exactly how this has come to pass, I assert, is directly related to how “colonial entitlement” continues to pervade academic forums. Comparing these translations of the Kumulipo, this essay examines the opposition between colonial entitlement and moʻokūʻauhau. I “hoʻokūʻauhau,” or genealogize, as a methodology to contextualize both translations before comparing them ideologically, politically, and aesthetically. I conclude with how the Kumulipo challenges American Empire, using Jamaica Osorio’s 2009 performance of “Kumulipo” at the White House.
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Papers by Brandy Nalani McDougall
*Forthcoming from the University of Arizona Press in May 2016