Where is My Next Hop ? The Case of Indian Ocean Islands

Internet has become a foundation of our modern society. However, all regions or countries do not have the same Internet access regarding quality especially in the Indian Ocean Area (IOA). To improve this quality it is important to have a deep knowledge of the Internet physical and logical topology and associated performance. However, these knowledges are not shared by Internet service providers. In this paper, we describe a large scale measurement study in which we deploy probes in different IOA countries, we generate network traces, develop a tool to extract useful information and analyze these information. We show that most of the IOA traffic exits through one point even if there exists multiple exit points

Swahilité in the French Comorian Diaspora

In her article, Daniela Waldburger argued for the inclusion of varieties from the Greater Swahili Area in Swahili lessons. She discussed what it means to be a Mswahili and argued that while identification as a Mswahili can be linked to various aspects, competence in Swahili remains unquestioned as a necessary condition for identification as a Mswahili. In this paper, I would like to go a step further and question the relationship between competence in the Swahili language and the relevance of the notion of Swahili nature or Swahilité to a person. More specifically, I would like to reflect on the relevance of the notion of Swahilité in a diasporic space, more precisely the Franco-Comorian community in France, drawing on data from fieldwork in Bordeaux (2010 and 2011) and Marseille (2012)

The Pacific Sentinel, January 2019

Editor: Jake Johnson Articles in this issue include: Happy New Years From Times Square!; First Confirmed and Evidence of Dinosaurs in Oregon; Reduced Bus Fare for Low-Income Individuals; Village Model Design Exhibit; Yellow Vest Protest of PDX; The Sentinelese and John Allen Chau; The Heat Is on the Catholic Church; Fatal Thanksgiving Encounter with CPSO; After the Sixth Day; Still Fighting for Stonewall; A Student Sails the Seas; The Statue With a Voice; Red Clocks and Rising Anti-Abortion Laws; What Is Your Face Shape?; Library Archives; Mysteries, Murder, and Mayhem in 2018; Sun Ra Rises at PAM; and 2018 in Musichttps://pdxscholar.library.pdx.edu/pacificsentinel/1018/thumbnail.jp

Aloha Media: Negotiating Kānaka Maoli Representation And Identity In Television, Film, And Music

In her work on research and Indigenous communities, Māori scholar Linda Tuhiwai Smith (1999) points out that academic research is a site of contestation, struggle, and negotiation between the West and Indigenous people, and lays the groundwork for Indigenous researchers to write from a cultural perspective that serves their home community. Hawaiian cultural protocols serve as guidelines for my research. This dissertation, then, is simultaneously a critique of settler colonialism in Hawaiʻi and on screen, and as Foucault (1980) puts it, “an insurrection of subjugated knowledges.” (p.81)—an act of decolonial, Indigenous, and anticolonial thought. In this dissertation I argue that Kānaka Maoli speak in a variety of ways, using a variety of mediums, while still living in a colonized world. In Chapter 1, I provide a literature review of the continual oppression and colonization of Native Hawaiians, as well as past research of stereotypes about Hawaiians in media. In Chapter 2, I discuss my positionality as a Kānaka scholar, summarizing my theoretical and methodological approach to this project. After laying the framework for this dissertation, Chapters 3, 4, and 5 are case studies of corporate produced and Indigenous produced mediated texts in television, film, and music. Chapter 3 reviews how Hawaiians are portrayed in television by evaluating the renewed Hawaii Five-0 series and Native owned ʻŌiwi TV network. Film contexts are observed in Chapter 4, analyzing the Disney film Moana and the recently debuted film by Native Hawaiian filmmaker Chris Kahunahana, Waikiki. In Chapter 5, I analyze two songs written by Native Hawaiian artists, Rise Up by Ryan Hiraoka featuring Keala Kawaauhau and #WeAreMaunaKea by Sons of Yeshua. These songs were written in protest of building a telescope on the sacred mountain Mauna Kea. Finally, Chapter 6, summarizes and connects all case studies to the overarching idea of aloha, while also envisioning what works like this can do in transforming the academy and pedagogy

We're All Hawaiians Now: Kanaka Maoli Performance and the Politics of Aloha.

The Hawaiian renaissance of the 1970s produced an upsurge in Native Hawaiian political consciousness and nationalist sentiment that continues in the present day. Aspirations for Native Hawaiian federal recognition or Hawaiian independence has become a divisive issue within the Native Hawaiian community. Political realities rife with tension and possibility hide beneath the revitalization of Hawaiian cultural performance. Against this backdrop, I examine how “aloha”—Hawai‘i’s primary cultural referent—is performed in the late twentieth and early twenty-first century. I focus on the ways that “aloha,” loosely defined as love, is used to discipline Native Hawaiians and how Native Hawaiians in turn, negotiate their identification with aloha through performance. I argue that Hawaiian indigeneity is performative and that indigeneity itself is performed into existence. Weaving together Marxist, post-colonial, and performance theory, I theorize why Native Hawaiians still perform aloha despite its commodification and often detrimental effects. I contend that is through aloha’s constant performance that Native Hawaiians have been able to survive, even if the performance of aloha contradicts their material realities. Through the exploration of the work of two contemporary Native Hawaiian performers—Krystilez, a rapper from a rural Hawaiian Homestead and Cocoa Chandelier, a drag queen performing in urban Honolulu—I provide a critique of neoliberal knowledge production and the desire to identify the “truth” or “essence” of Native Hawaiians. Whereas, Krystilez performs aloha through a refusal, Cocoa Chandelier performs aloha in drag. Krystilez resists the paradisiacal construction of Hawai‘i to exhibit defiant forms of indigeneity that speak against U.S. hegemony in Hawai‘i, while he also utilizes state logics of racialization to claim legitimacy and ground his indigeneity. Cocoa Chandelier, in contrast, hides her indigeneity by performing aloha in drag to destabilize “Hawaiianness” and the grounds upon which Hawaiian performance is traditionally defined. I theorize the ways in which Cocoa Chandelier’s performances unsettle attempts to appropriate the indigenous subject. The representational strategies of these performers illuminate the political stakes of Native Hawaiian Federal Recognition, Native cultural politics and U.S. multiculturalism, the latter which is at the heart of any invocation of “the spirit of aloha.”Ph.D.American CultureUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/91591/1/tevess_1.pd

Music in Its Social Context: Fiji in a Microcosm

The music of Fiji flows throughout the country as rich as the food and as omnipresent as the kava. Music touches all aspects of the Fijian way of life. Whether one is Indo-Fijian, Indigenous Fijian, from another pacific island, kylomo, or a kavailagi, there is no escaping music while in Fiji. This paper looks to explore the different social settings and context that music is created and then in turn listened to, and how the social setting of Fiji has shaped what music is created here. This paper also attempts to gather in a cohesive manner, what music is being produced within Fiji at this time, especially in the genre of Hip-Hop; the voice of the people

Seaborne Empires and Hub Societies: Connectivity in Motion across the Indian Ocean World

In diesem Artikel wird die Welt des Indischen Ozeans als Referenz gewählt und eine Perspektive eingenommen, die vom Konzept der „Konnektivität in Bewegung“ ausgeht. Zunächst werden einige historische Varianten der Seeimperien (Portugiesen, Niederländer und Briten) betrachtet, um herkömmliche, terrazentrische Modelle des Staates zu hinterfragen und zu modifizieren. Die drei Hauptteile des Beitrags untersuchen die Insel Mauritius als „Hub“ und „Hub Society“ und stützen ein zentrales Argument für ein polyzentrischeres, gebrochenes und durchlässiges Modell. In drei miteinander verbundenen analytischen und empirischen Schritten wird zunächst die Außendimension des mauritischen Hubs untersucht. In den nächsten beiden Abschnitten wird auf die interne Dimension des „Hubbing“ eingegangen, zunächst in Bezug auf kollektive Identitäten und dann auf der Ebene individueller und familiärer Strategien. Abschließend werden die empirischen und historischen Daten, die in diesen drei Abschnitten präsentiert werden, unter Bezugnahme auf die diskutierten theoretischen und methodologischen Fragen analysiert. Eine entschiedenere Anerkennung der Mobilität und der maritimen Dimension der menschlichen „Konnektivität in Bewegung“ bietet neue Einsichten in die konventionellen Auffassungen von Staatlichkeit, Nation und Territorium – und, außerhalb von ausschließlich terrestrischen Ansätzen – der eurasischen Landmasse.This article takes the Indian Ocean world as a frame of reference and applies a perspective guided by the concept of “connectivity in motion”. It looks, to start with, at some historical paradigms of seaborne empires (Portuguese, Dutch and British) in order to question and modify conventional, terra-centric models of the state. Substantiating an argument in favor of a more polycentric, fractured and porous model, the three central sections of the paper investigate the island of Mauritius as a “hub” and “hub society”. In three interconnected analytical and empirical steps, first the external dimension of the Mauritian hub is scrutinized. The next two sections zoom in to focus on the internal dimension of “hubbing”, first with respect to collective identities, and then at the level of individual and family strategies. In conclusion, the empirical and historical data presented in these three sections are analyzed with reference to the theoretical and methodological issues raised earlier. It is argued that the more decisive recognition of mobility and of the maritime dimension of human “connectivity in motion” brings new insights into conventional notions of statehood, nation and territory – and of the Eurasian landmass, beyond exclusively terrestrial approaches

Crossroads

My thesis is a collection of nonfiction narrative essays that explore my relationship with fear: where it comes from, how it affects me, and how to move forward in life despite its sometimes crippling effects. My thesis also takes into consideration the ramifications of inherited trauma and how such shared family history--passed on through the blood or by the stories we share--provides a framework for analyzing my own fear. Like my title essay “Crossroads” implies, I find myself at a pivotal moment in my life--a fork in the road, if you will--and my thesis is an attempt to make a decision about my future by examining my current frustrations and also my past--in particular the moments and experiences in which I found the courage to move beyond fear. My thesis also takes into account how travel and travel literature, with their ability to take one outside one\u27s normal life or experience, can offer perspective and, in the case of actual travel, the opportunity to take risks and grow beyond the limits we all too often place on ourselves