Communities of Imagination : Contemporary Southeast Asian Theatres

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.

Like No Other: Exceptionalism and Nativism in Early Modern Japan probes the association of the early modern Japanese intellectual institution called Kokugaku with the phenomenon of nativism. Uncovering profound differences that cast serious doubt on this association, Mark McNally argues that what Japanologists viewed as nativistic about Kokugaku were actually more typical of what Americanists call exceptionalism. By severing the link between Kokugaku and nativism, he is able to explore within early modern Japanese history instances that were more genuinely nativistic, such as the upheaval associated with the intercultural encounters with Westerners during the 1850s and 1860s that culminated in the overthrow of Japan's last shogun. He also documents, for the first time in Japanese studies, the ways in which exceptionalism applies to Japanese history; not by focusing on either Nihonjinron or on Kokugaku - the connection between the former and exceptionalism is one that Americanists have already made, and the connection between the two Japanese institutions is one that Japanologists already know well - but by highlighting the central role of Confucianism.

While Americans looked to the Judeo-Christian tradition for their exceptionalist ideas, their counterparts in early modern Japan looked to Confucianism, whose foundational connections to exceptionalism were perhaps stronger than any analogous tradition in the West. Despite the fact that exceptionalism and nativism occupy distinct positions within the historiographical traditions of both the United States and Japan, they also intersect and overlap in the latter case, which strongly suggests that this situation may also be true in other places, including the United States.

Contents Preface and Acknowledgments Introduction PART I: The Growing Impact of Women 1. Mae Naak and Phra Ram: Keeping Company on the Contemporary Thai Stage 2. Staging the Doi Moi Generation and the Treasures of Vietnamese Tradition 3. Looking Within: The Balinese Rwa Bhineda and Readjusting Complementary Opposites PART II: Censorship and Global Economics 4. Cambodia’s Artistic Renaissance or a New Culture of Dependency? 5. Singapore’s Cosmopolitan Identity and Its Theatrical Shadow 6. Dancing with the Censors: Burmese Performing Arts Keep Time PART III: Toward a National Culture 7. The Philippine Theatre’s Quest for a Hero(ine) 8. From Fa Ngoum to Hip-Hop Boom: The Faces of Lao Performance 9. Durians, Diversity, and Independence: The Malaysian Theatre Stages Its Multiethnic Heritage Conclusion Notes Bibliography Index