Ask most people what they know about “Hula,” and they may describe for you the romanticized image of a brown girl swaying her hips in Hawai’i, or they may recall specific elements such as coconut shell bras, leaf skirts, and flower leis that are often depicted in old Hollywood movies. Featuring chanted poetry and interpretive movements, Hula originated as a religious performance dedicated to Hawaiian goddesses or gods and preserved the Hawaiian understanding of stories of creation and other significant events. While the popularity of Hula dance in the U.S. during the early 20
th century was typically associated with the U.S.’ imperialist interest in Hawaii, Hula made its way to China around the same time because of the close Chinese-Hawaii connections. In the 1930s, many dancing troupes and cabarets in Shanghai started to incorporate Hula dance into their repertoire, recruiting Chinese dancers, and mainly catering to the local audience.
This paper reconstructs the sensational cabaret experience in 1930s Shanghai. Drawing from extensive newspaper articles and memoirs, the examination of this paper entails an investigation of various aspects of the performance, including the presentation of the dance, the attire of the dancers, the moves they made compared to their American counterparts, and the composition of the audience attending the performance. Among all dance genres, Hula was often advertised to “save” a show due to its perceived sensual nature. Through analyzing several disputes between the audience and dancing troupes regarding misleading advertisements (“not seeing enough skin as promised”), this paper reveals people’s changing perceptions about performing art, the representation of the female body, and urban entertainment in daily lives during the era of rising consumer culture in 1930s China, as viewed through the lens of Hula dance.
