Performing Arts and the Royal Courts of Southeast Asia: Pusaka As Performed Heritage (2) (Brill's Southeast Asian Library, 12)

This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. The second volume, Pusaka as Performed Heritage , problematises royal court traditions in the present century with case studies that examine contemporary presentations and (re)interpretations within coexisting administrative structures. Contents Preface Figures Abbreviations and Acronyms Contributors Chapter 1 Manipulating Notions of Southeast Asian Royal Court Performance: Romanticising, Appropriating, Deconstructing, Inventing and Imagining Chapter 2 ‘A name is all that remains’: Twenty-first-century Traces of Sundanese Royal Courts in Modern Sundanese Performing Arts Chapter 3 Performing Arts as a Cultural Bridge between Hindu Rulers and Muslim Communities in Bali Chapter 4 Martial Arts and the Malays of Singapore: from Court Traditions to Contemporary Identity Signifiers Chapter 5 The Royal Abduction of Napsa and the Hostaging of Dance: a Discursive Exploration of Why Igal Is Pangalay in the Sulu Archipelago Chapter 6 The Fewer the Better: Exclusivity in Royal Thai Court Music Chapter 7 For Soul or for Sale? Javanese Court Dance at a Crossroads Chapter 8 Thai Court Performance as Object, Event and Affect Chapter 9 Reciprocity and Allegiance of Enduring Intra-kingdom Relationships in Balinese Performing Arts Chapter 10 Honouring the Maradika: from Kaili Kingdoms to a Decentralised Neo-royal Provincial Government Chapter 11 Traditional Performing Arts in the North Coast of Java: Centre–Periphery, Court–Rural Dynamics Chapter 12 Rei(g)ning in a New World: Performing Javanese Kingship to Diverse Contemporary Audiences in Yogyakarta, Indonesia Chapter 13 Discourses of Style and Value in the Performing Arts of the Javanese Courts Glossary of Non-English Terms Index This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. The contributors consist of both established and early-career researchers working on traditional performing arts in the region and abroad. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries. The second volume, Pusaka as Performed Heritage, comprises chapters that problematise royal court traditions in the present century with case studies that examine the viability, adaptability and contemporary contexts for coexisting administrative structures.