Abstract: Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film Moana (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term imagineered imperial tourism. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term Imagineering, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies. Through a sustained study of Disney’s relevant productions—from the feature films Lilo & Stitch (2002) and Moana to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. 


Abstract: Respectful and reciprocal relationships with land are at the heart of many Indigenous
cultures and societies. Land is also at the core of settler colonialism. Indigenous peoples have not
only been dispossessed of land for settler occupation and resource extraction, but the transformation
of land into property has created myriad challenges to ongoing struggles of land repatriation and
renewal. We introduce several perspectives on land rooted in diverse Indigenous worldviews and
contrast them with settler colonial perspectives rooted in Eurocentric worldviews. We then examine
several examples in Canada where Indigenous nations attempt to reconnect with their homelands,
protect them, and/or engage with them for economic development. We look at land relationships
rooted in historical treaties, contemporary comprehensive claims/self-government agreements, the
Indian Act, and the defence of unceded territories. The Indigenous communities we look at include
the Six Nations of the Grand River, the Nisga’a Lisims Government, the Westbank First Nation, and
the Wet’suwet’en. We contend that a complex configuration of settler colonial institutions challenges
long-term efforts for Indigenous land reclamation, protection, and sustainable development, however,
Indigenous nations remain steadfast in asserting their self-determination in diverse relational ways
inside and outside of settler state systems.





Abstract: In September 2018, there was a surge of news stories about liquor store theft in Winnipeg,
Canada that resulted in public and political calls for action, and ultimately led to the
introduction of a range of new security and surveillance measures at government owned
liquor stores. This brief news cycle provided opportunities for various social actors, politicians,
and authorities to make claims about the nature of crime and society more broadly. This
article analyzes recent news media coverage of liquor store theft in Winnipeg, Canada and
the social construction of an ostensibly new crime trend in the city: “brazen” liquor store
thefts. We employ a qualitative content analysis of news articles about liquor store theft
published in local Winnipeg news media between 2018 and 2020 (n = 147). Drawing on the
social constructionist paradigm, and Fishman’s conceptualization of “crime waves,” we argue
that the framing of liquor theft via news media reflects longstanding cultural tropes and
myths about crime, as well as hinting at but never fully confronting, deeply engrained colonial
and racialized stereotypes. This paper contributes to our understanding of the ways putative
social problems are made intelligible in the media. We demonstrate how “crime waves” are
shaped by and shape dominant tropes about crime, safety, and citizenship. We argue that
something as mundane as liquor theft reveals much about the historical, colonial and social
roots of crime in local and national contexts.