Author: Marcus Cheng Chye TanPublish On: 2020-02-14
The book asks how theatre contributes to and/or addresses the political condition in the contemporary moment, how does it represent the complexity of experiences in peoples’ daily lives and how does theatre engage in forms of political ...
Author: Marcus Cheng Chye Tan
Publisher: Springer Nature
Category: Performing Arts
Performing Southeast Asia: Performance, Politics and the Contemporary is an important reconsideration of the histories and practices of theatre and performance in a fluid and dynamic region that is also experiencing an overarching politics of complexity, precarity and populist authoritarian tendencies. In a substantial introductory essay and essays by leading scholars, activists and practitioners working inside the region, the book explores fundamental questions for the arts. The book asks how theatre contributes to and/or addresses the political condition in the contemporary moment, how does it represent the complexity of experiences in peoples’ daily lives and how does theatre engage in forms of political activism and enable a diversity of voices to flourish. The book shows how, in an age of increasingly violent politics, political institutions become sites for bad actors and propaganda. Forces of biopolitics, neo-liberalism and religious and ethnic nationalism intersect in unpredictable ways with decolonial practices – all of which the book argues are forces that define the contemporary moment. Indeed, by putting the focus on contemporary politics in the region alongside the diversity of practices in contemporary theatre, we see a substantial reformation of the idea of the contemporary moment, not as a cosmopolitan and elite artistic practice but as a multivalent agent of change in both aesthetic and political terms. With its focus on community activism and the creative possibilities of the performing arts the region, Performing Southeast Asia, is a timely intervention that brings us to a new understanding of how contemporary Southeast Asia has become a site of contest, struggle and reinvention of the relations between the arts and society. Peter Eckersall The Graduate Center City University of New York Performing Southeast Asia – with chapters concerned with how regional theatres seek contextually-grounded, yet post-national(istic) forms; how history and tradition shape but do not hold down contemporary theatre; and how, in the editors’ words, such artistic encounters could result in theatres ‘that do not merely attend to matters of cultural heritage, tradition or history, but instead engage overtly with theatre and performance in the contemporary’ – contributes to the possibility of understanding what options for an artistically transubstantiated now-ness may be: to the possibility, that is, of what might be called a ‘Present-Tense Theatre’. C. J. W.-L. Wee Professor of English Nanyang Technological University Performing Southeast Asia examines contemporary performance practices and their relationship with politics and governance in Southeast Asia in the twenty-first century. In a region haunted historically by strongman politics, authoritarianism and militarism, religious tension and ethnic strife, the chapters reveal how contemporary theatre and performances in the present reflect yet challenge dominant socio-political discourses. The authors analyse works of political commitment and conviction, created and performed by Southeast Asian artists, as modes and platforms of reaction and resistance to the shifting political climates that inform contemporary life in urban Southeast Asia. The discussions center on issues of state hegemonies and biopolitics, finance and sponsorship, social liberalism and conservatism, the relevance of history and tradition, and globalisation and cultural practice. These diverse yet related concerns converge on an examination of the efficacies of theatre and performance as means of political intervention and transformation that point to alternative embodiments of political consciousness through which artists propose critical options for rethinking the state, citizenship, identity and belonging in a time of seismic socio-political change. The editors also reframe an understanding of ‘the contemporary’ not simply as a temporal adjective but, in the context of present Southeast Asia, as a geopolitical condition that shapes artistic and performance practices.
This volume offers vital insights into recent developments in Southeast Asian performance.
Author: Matthew Isaac Cohen
Publisher: Cambridge Scholars Publishing
Category: Performing Arts
Mutual borrowing, fluid transactions and transformations of performances and performers have a long and enduring history in Southeast Asia, but this trend has been heightened and made more vivid in the contemporary period. The omnipresence of global communications has provoked and inspired yet more novel experiments and collaborations between cosmopolitan artists and globally-oriented performers. This volume offers vital insights into recent developments in Southeast Asian performance. It demonstrates the ways in which contemporary artists and performers are increasingly working betwixt the traditional boundaries of the nation and discourses of identity. The essays collected here are testament to ongoing conversations and relations among scholars, practitioners and scholar-practitioners in Southeast Asia and around the world.
The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels.
Author: Mohd Anis Md Nor
Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.
The contributors consider the relationship between the roles of objects within their originating culture and as part of a collection kept by the museum, whether in post-colonial Southeast Asia or in Europe.
Author: Fiona Kerlogue
Publisher: Contributions in Critical Museology & Material Culture
The contributors consider the relationship between the roles of objects within their originating culture and as part of a collection kept by the museum, whether in post-colonial Southeast Asia or in Europe. What emerges as key is the point of intersection between lives and cultures which the objects can represent, whether as sites of conflict, of negotiation or of connection.
Author: Kevin J. Wetmore, Jr.Publish On: 2014-05-08
Modern Asian Theatre and Performance 1900 – 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia.
Author: Kevin J. Wetmore, Jr.
Publisher: A&C Black
Category: Performing Arts
Modern Asian Theatre and Performance 1900 Â? 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: Â·a historical overview of the culture; Â·an outline of theatre history; Â·a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.
Whether it is a traditional shadow performance borrowing from Star Wars or giant puppets parading down the street-this book examines puppets as objects and in performance to make culture come alive.
Author: Jennifer Goodlander
Publisher: Bloomsbury Publishing
Category: Performing Arts
Nations in Southeast Asia have gone through a period of rapid change within the last century as they have grappled with independence, modernization, and changing political landscapes. Governments and citizens strive to balance progress with the need to articulate identities that resonate with the pre-colonial past and look towards the future. Puppets and Cities: Articulating Identities in Southeast Asia addresses how puppetry complements and combines with urban spaces to articulate present and future cultural and national identities. Puppetry in Southeast Asia is one of the oldest and most dynamic genres of performance. Bangkok, Jakarta, Phnom Penh, and other dynamic cities are expanding and rapidly changing. Performance brings people together, offers opportunities for economic growth, and bridges public and private spheres. Whether it is a traditional shadow performance borrowing from Star Wars or giant puppets parading down the street-this book examines puppets as objects and in performance to make culture come alive. Based on several years of field research-watching performances, working with artists, and interviewing key stakeholders in Southeast Asian cultural production-the book offers a series of rich case studies of puppet performance from various locations, including: theatre in suburban Bangkok; puppets in museums in Jakarta, Indonesia; puppet companies from Laos PDR, the National Puppet Theatre of Vietnam, and the Giant Puppet Project in Siem Reap, Cambodia; new global puppetry networks through social media; and how puppeteers came together from around the region to create a performance celebrating ASEAN identity.
Southeast Asia,and as such,provides a resource for our studies. ... Performance,
Popular Culture,and Pietyin MuslimSoutheast Asia fillsa crucialgapin theliterature
byhighlighting these topicsinthe Malayo Indonesian region that hasits own ...
Author: T. Daniels
Category: Social Science
The Muslim-majority nations of Malaysia and Indonesia are known for their extraordinary arts and Islamic revival movements. This collection provides an extensive view of dance, music, television series, and film in rural, urban, and mass-mediated contexts and how pious Islamic discourses are encoded and embodied in these public cultural forms.
I asked if cai luong troupes ever performed at the dinh, but he said that was
impossible. This dinh is ... COMMUNAL SUPPORT The third form of troupe
support — communal support — is extremely important in Southeast Asia. In
This volume explores various aspects of these new relationships and their importance to all concerned parties.
Author: David I Steinberg
Publisher: Institute of Southeast Asian Studies
Category: Economic assistance, Korean
The Republic of Korea's global expansion has been mirrored by its interest and presence in Southeast Asia. From trade, investment, aid, tourism, to the cultural "Korean wave", its various roles have blossomed and its influence has grown. The ASEAN region has not only affected Korean foreign policy, but also many aspects of Korean life, from the migration of Southeast Asian industrial workers to marriages and the curricula of academic institutions. This volume explores various aspects of these...
Author: Joyce Burkhalter FlueckigerPublish On: 1991
Rarely have these texts been intended for private reading. What is the relationship between written text and oral performance? What do performers and audiences mean when they identify something as "Ramayana" or "Mahabharata"?
Author: Joyce Burkhalter Flueckiger
Publisher: University of Michigan Center for
Category: Performing Arts
When the Mahabharata and Ramayana are performed in South and Southeast Asia, audiences may witness a variety of styles. A single performer may deliver a two-hour recitation, women may meet in informal singing groups, shaddow puppets may host an all-night play, or professional theaters may put on productions lasting thirty nights. Performances often celebrate ritual passages: births, deaths, marriages, and religious observances. The stories live and are transmitted through performance; their characters are well known and well loved. Yet written versions of the Mahabharata and Ramayana have existed in both South and Southeast Asia for hundreds of years. Rarely have these texts been intended for private reading. What is the relationship between written text and oral performance? What do performers and audiences mean when they identify something as "Ramayana" or "Mahabharata"? How do they conceive of texts? What are the boundaries of the texts? By analyzing specific performance traditions, Boundaries of the Text addresses questions of what happens to written texts when they are preformed and how performance traditions are affected when they interact with written texts. The dynamics of this interaction are of particular interest in South and Southeast Asia where oral performance and written traditions share a long, interwoven history. The contributors to Boundaries of the Text show the difficulty of maintaining sharp distinctions between oral and written patterns, as the traditions they consider defy a unidirectional movement from oral to written. The boundaries of epic traditions are in a state of flux, contracting or expanding as South and Southeast Asian societies respond to increasing access to modern education, print technology, and electronic media.
The book will be of interest to students and scholars of theatre and performance, Asian literature, Southeast Asian studies, cultural studies, and gender studies.
Author: Catherine Diamond
Publisher: University of Hawaii Press
Category: Performing Arts
Asian theatre is usually studied from the perspective of the major traditions of China, Japan, India, and Indonesia. Now, in this wide-ranging look at the contemporary theatre scene in Southeast Asia, Catherine Diamond shows that performance in some of the lesser known theatre traditions offers a vivid and fascinating picture of the rapidly changing societies in the region. Diamond examines how traditional, modern, and contemporary dramatic works, with their interconnected styles, stories, and ideas, are being presented for local audiences. She not only places performances in their historical and cultural contexts but also connects them to the social, political, linguistic, and religious movements of the last two decades. Each chapter addresses theatre in a different country and highlights performances exhibiting the unique conditions and concerns of a particular place and time. Most performances revolve in some manner around “contemporary modernity,” questioning what it means—for good or ill—to be a part of the globalized world. Chapters are grouped by three general and overlapping themes. The first, which includes Thailand, Vietnam, and Bali, is characterized by the increased participation of women in the performing arts—not only as performers but also as playwrights and directors. Cambodia, Singapore, and Myanmar are linked by a shared concern with the effects of censorship on theatre production. A third group, the Philippines, Laos, and Malaysia, is distinguished by a focus on nationalism: theatres are either contributing to official versions of historical and political events or creating alternative narratives that challenge those interpretations. Communities of Imagination shows the many influences of the past and how the past continues to affect cultural perceptions. It addresses major trends, suggesting why they have developed and why they are popular with the public. It also underscores how theatre continues to attract new practitioners and reflect the changing aspirations and anxieties of societies in immediate and provocative ways even as it is being marginalized by television, film, and the internet. The book will be of interest to students and scholars of theatre and performance, Asian literature, Southeast Asian studies, cultural studies, and gender studies. Travelers wishing to attend local performances as part of their experience abroad will find it an essential reference to theatres of the region.
This is a dance- drama inspired by traditional tales from the Rdmdyana, performed without dialogue or songs and only to music, ... As Southeast Asian performing arts have entered the twenty-first century, one witnesses conscious
revivals and ...
Author: Keat Gin Ooi
Contains over eight hundred alphabetically arranged entries that provide information about topics related to the historical development and global influence of Southeast Asia, covering politics, war, religion, socioeconomics, ethnohistory, geography, and folklore.
In this post-1997 global economic environment, the ruling elites of both high and
not-so-high performing Southeast Asian economies, therefore, had to adjust to a
new world order of footloose and relatively cheap money, and an emerging ...
Author: Daljit Singh
Publisher: Institute of Southeast Asian Studies
Category: Business & Economics
Contains contributions by experts that discuss the significant issues and events of 2007 in each of the Southeast Asian nations and the region as a whole.