一个奇怪的挖掘:中国Kumu的Kanaka Maoli性别和时间(考古)逻辑

Mary Zaborskis, E. Reich
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摘要

摘要:2014年的纪录片《Kumu Hina》将主人公和讲述者Hina描述为一名跨性别女性,尽管她在夏威夷一所特许学校向观众和学生讲述了她的非跨性别māhū身份。将“跨性别者”和“māhū”等同起来所带来的殖民殖民效应,在纪录片中回响在多重关系中,我们了解到Hina在一项建筑工程中保护其社区祖先的墓地,最近在斐济结婚,以及也认同“中间”的学生。纪录片揭示了建筑工地、群岛和学校都是考古的时间空间,中国在这里谈判māhū保存、连续性和未来,尽管殖民调解。尽管这部电影在全球LGBTQI+运动中流传,但希娜要求观众理解卡纳卡毛利人的认识论和生活是全面的,既不能替代也不能与定居者LGBTQI+框架同化。在西尔维娅·温特、凯瑟琳·麦基特里克和马克·里夫金的作品的基础上,我们考察了卡纳卡毛利人在群岛上的性别居住,这些居住在时空上是不可能调和的,无论是“过去”还是LGBTQI+未来。在中国的作品与学校、城市规划、婚姻和纪录片媒介本身的学科机构之间的结构和表征紧张关系中,我们发现了一种与定居者殖民时代和认识论不相称的生活(考古)逻辑。
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A Queer Dig: Kanaka Maoli Gendered and Temporal (Archaeo)logics in Kumu Hina
Abstract:The 2014 documentary Kumu Hina describes protagonist and narrator Hina as a trans woman though she teaches viewers and students at a Hawaiian charter school about her non-trans māhū identity. The settler colonial effects of equating "trans" and "māhū reverberate across multiple relationships in the documentary, as we learn about Hina's protection of burial grounds of her community's ancestors from a construction project, recent marriage in Fiji, and student who also identifies "in the middle." The documentary reveals the construction site, archipelagos, and school all as archaeological time-spaces wherein Hina negotiates māhū preservation, continuity, and futurity despite colonial mediation. Despite the film's circulation within a global LGBTQI+ movement, Hina asks audiences to understand Kanaka Maoli epistemologies and life as comprehensive, neither alternative to nor assimilable with settler LGBTQI+ frameworks. Extending works by Sylvia Wynter, Katherine McKittrick, and Mark Rifkin, we examine Kanaka Maoli gendered inhabitations of the archipelago spatio-temporally and as impossible to reconcile either as "past" or within LGBTQI+ futures. In structural and representational tensions between Hina's work and disciplinary institutions of school, city-planning, marriage, and the medium of documentary itself, we find a living (archaeo)logics incommensurate with settler colonial time and epistemologies.
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