This article discusses the role of colonial oppression in creating conflicting perspectives in the reproduction of dance as Indigenous cultural heritage. The debate on kahiko, the ancient Hawaiian dance, of which practice was severely controlled and then revived through the cultural renaissance, demonstrates that the radical deprivation of the practice has created multiple understandings of the dance among different practitioners. Of primary importance in these respects is the intergenerational divide within the dance community, manifest in the critical perspective of the post-renaissance variant of kahiko, which highlights the “continuity” of the practice through the colonial rupture.

中文翻译：

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土著文化表征中的殖民破裂和本土连续性：通过夏威夷古代舞蹈 Kahiko

本文讨论了殖民压迫在舞蹈作为土著文化遗产的再生产过程中创造相互冲突的观点中的作用。关于古代夏威夷舞蹈 kahiko 的争论，其实践受到严格控制，然后通过文化复兴而复兴，表明这种实践的彻底剥夺已经在不同的从业者之间产生了对舞蹈的多种理解。在这些方面，最重要的是舞蹈界的代际鸿沟，体现在对后文艺复兴变体kahiko的批判性视角中，它通过殖民破裂突出了实践的“连续性”。