Abstract
Performance and politics, ‘whatever connection they do or do not have with each other,’ as Joe Kelleher describes in Theatre and Politics (2009), in Southeast Asia both as a region and its constituent countries is the concern of this chapter. The introduction expounds on the efficacies of performance’s intervention in politics and politics’ persecution of theatre and performance in Southeast Asia, whose own imagined state is also interrogated. It considers carefully the concepts of politics and political theatre in the Southeast Asian imaginary, and posits an understanding of the contemporary condition as local social environments and global political climates frame it. In addition to providing a summary of the consequent chapters, the authors interrogate the book’s own politics of representation.
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Notes
- 1.
See Erwin Piscator, The Political Theatre (1929), ed., trans. Hugh Rorrison (London: Eyre Methuen, 1980).
- 2.
Graham Holderness, ‘Introduction,’ in The Politics of Theatre and Drama, ed. Graham Holderness (New York: St. Martin’s Press, 1992), 3. For examples of these ‘political theatres,’ see Tiatco’s chapter on a recent production of Faust in the Philippines, Barber and Saphakhun’s exposition on the works of Makhampom theatre and Rajendran’s analysis of Baling.
- 3.
E.J. Westlake, ‘Mapping Political Performances: A Note on the Structure of the Anthology,’ Political Performances: Theory and Practice, eds. Susan C. Haedicke, Deirdre Heddon, Avraham Oz and E.J. Westlake (Amsterdam, New York: Rodopi, 2009), 8.
- 4.
Michael Kirby, ‘On Political Theatre,’ The Drama Review 19.2 (1975): 129.
- 5.
Kirby, ‘On Political Theatre,’ 130.
- 6.
Stefan Collini, ‘On Variousness, and on Persuasion,’ New Left Review 27 (2014): 67.
- 7.
Jacques Rancière, Dissensus: On Politics and Aesthetics, trans. S. Corcoran (London: Continuum, 2010), 36.
- 8.
Kirby, ‘On Political Theatre,’ 130.
- 9.
Alan Read, Theatre, Intimacy and Engagement: The Last Human Venue (London: Palgrave Macmillan, 2007), 272.
- 10.
See David Apter, ‘Politics as Theatre: An Alternative View of the Rationalities of Power,’ in Social Performance: Symbolic Action, Cultural Pragmatics, and Ritual, eds. Jeffrey C. Alexander, Bernhard Giesen and Jason L. Mast (Cambridge: Cambridge University Press, 2006).
- 11.
See Jacques Derrida, ‘Structure, Sign, and Play in the Discourse of the Human Sciences,’ in Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, 1978), 351–370.
- 12.
See Alain Badiou, Being and Event, trans. Oliver Feltham (London, New York: Continuum, 2005).
- 13.
Thomas Pepinsky, ‘Democracy isn’t receding in Southeast Asia, authoritarianism is enduring,’ East Asia Forum, November 4, 2017, accessed October 12, 2018, http://www.eastasiaforum.org/2017/11/04/democracy-isnt-receding-in-southeast-asia-authoritarianism-is-enduring/.
- 14.
Thomas Pepinsky, ‘Southeast Asia: Voting Against Disorder.’ Journal of Democracy 28, no. 2 (2017): 120.
- 15.
Karen Lema, Manuel Mogato and Neil Jerome Morales, ‘Philippines’ Duterte: ‘bye-bye America’ and we don’t need your money,’ Reuters, December 16, 2016, accessed December 17, 2016. https://www.reuters.com/article/us-philippines-usa/philippines-duterte-bye-bye-america-and-we-dont-need-your-money-idUSKBN14528Q.
- 16.
See Yenni Kwok, ‘Thousands of Hard-Line Muslims Rally Against Jakarta’s Governor for Alleged Blasphemy,’ Time, November 4, 2016, accessed December 18, 2017, http://time.com/4558113/jakarta-blasphemy-protest-basuki/.
- 17.
See ‘Indonesia’s Vice-President Jusuf Kalla criticises neighbours for grumbling about haze,’ The Straits Times, March 5, 2015, accessed September 16, 2018, http://www.straitstimes.com/asia/se-asia/indonesias-vice-president-jusuf-kalla-criticises-neighbours-for-grumbling-about-haze.
- 18.
See Marcus Cheng Chye Tan, ‘Performative Silence: Race, Riot and the End of Multiculturalism,’ Journal of Interdisciplinary Voice Studies 1, no. 1 (2016): 9–22.
- 19.
See Charlene Rajendran’s chapter ‘Intervention, Openness and Ownership: Interview with Ong Keng Sen on Festival Dramaturgy’ in this book for more of Ong’s views on the Singapore arts scene and state intervention. See also Akshita Nanda, ‘Ong Keng Sen disappointed after 4 years as Arts Fest director,’ The Straits Times, 12 September 2017, accessed September 18, 2018, https://www.straitstimes.com/lifestyle/arts/director-leaves-disenchanted.
- 20.
See Benedict Anderson, Imagined Communities (London and New York: Verso, 1991), 3.
- 21.
D.G.E. Hall, A History of Southeast Asia (4th Edition) (London: The Macmillan Press, 1981), 5.
- 22.
Steven Vertovec, ‘Super-diversity and its Implications,’ Ethnic and Racial Studies, 30, no. 6 (2007): 1024. Although Vertovec’s consideration of the contemporary condition in Britain is distinguished by ‘a dynamic interplay of variables among an increased number of new, small and scattered, multiple-origin, transnationally connected, socio-economically differentiated and legally stratified immigrants who have arrived over the last decade,’ which has resulted in a new form of socio-political and cultural complexity previously not encountered, Southeast Asia has always been, arguably, a region of super-diversity given its pre-colonial, colonial, migrant and maritime histories; transnational and neoliberal trade and business practices adopted by individual Southeast Asian states today have further cemented the region’s super-diverse identity.
- 23.
Anthony Reid, Southeast Asia in the Age of Commerce, 1450–1680, Vol. 1 (New Haven, CT: Yale University Press, 1988), 6.
- 24.
Marco Cuevas-Hewitt, ‘Sketching Towards an Archipelagic Poetics of Postcolonial Belonging,’ Budhi 1 (2007): 239–246, 244.
- 25.
China, Taiwan and Southeast Asian nations Vietnam, Malaysia, the Philippines and Brunei, all of whom have laid claims to various islands, or parts of them.
- 26.
Paul Carter, Decolonising Governance: Archipelagic Thinking (Abingdon: Routledge, 2019), n.p.
- 27.
Jonathan Pugh, ‘Island Movements: Thinking with the Archipelago,’ Island Studies Journal 8, no. 1 (2013): 11.
- 28.
Indonesia and the Philippines are distinctly archipelagic nations but Singapore, Malaysia and Brunei can also be considered as such, given Singapore is an island state; Brunei occupies part of Borneo and Malaysia is both Peninsular Malaysia and Malaysia Timur (Sabah Sarawak, Labuan).
- 29.
Farish Noor, ‘The Wheres and Whys of Southeast Asia: Art and Performance in the Locating of Southeast Asia Today,’ 277.
- 30.
Reid, Southeast Asia in the Age of Commerce, 3.
- 31.
Amitav Acharya, ‘Imagined Proximities: The Making and Unmaking of Southeast Asia as a Region,’ Southeast Asian Journal of Social Science 27, no. 1 (1999): 55.
- 32.
Christopher Roberts, ‘Region and Identity: The Many Faces of Southeast Asia,’ Asian Politics and Policy 3, no. 3 (2011): 365–382.
- 33.
See Kathy Foley, ‘Founders of the Field: South and Southeast Asia Introduction,’ Asian Theatre Journal 28, no. 2 (2011): 437–442. We include here some of the major works of the field: Beryl de Zoete and Walter Spies, Dance and Drama in Bali (London: Faber and Faber, 1938); Tyra de Kleen’s Wayang (Javanese Theatre) (Stockholm: Ethnological Museum of Sweden, 1947); Jaap Kunst, Music in Java: Its History, Its Theory, and Its Technique (The Hauge: Martinus Nijhoof, 1949); A.C. Scott, Theatre in Asia (New York: Macmillan, 1972); James Brandon’s Theatre in Southeast Asia (Cambridge: Harvard University Press, 1967) and On Thrones of Gold: Three Javanese Shadow Plays (Cambridge, MA: Harvard University Press, 1970); Fredrik deBoer and I Made Bandem, Kaja and Kelod, Balinese Dance in Transition (Kuala Lumpur: Oxford University Press, 1981) later revised in 1995 as Balinese Dance in Transition: Kaja and Kelod. Even more recent scholarship has tended to consider Southeast Asian theatre as an anthropological excavation of what is ‘traditional.’ Some of these include Jukka O. Miettinen, Classical Dance and Theatre in South-East Asia (New York: Oxford University Press, 1992); Mattani Mojdara, Dance, Drama and Theatre in Thailand (Centre for East Asian Studies for UNEST, the Toyo Bunko, 1993); Tan Sooi Beng, Bangsawan: a Social and Stylistic History of Popular Malay Opera (Oxford University Press, 1993); Andrew N. Weintraub, Power Plays: Wayang Golek Puppet Theater of West Java (Ohio: Ohio University Press, 2004); John Emigh, Masked Performance: The Play of Self and Other in Ritual and Theatre (Philadelphia: University of Pennsylvania Press, 1996). Among the most significant anthologies of Southeast Asian theatre are James R. Brandon’s Theatre in Southeast Asia (1967); Chua Soo Pong’s (ed.), Traditional Theatre in Southeast Asia (Singapore: UniPress for SPAFA, 1995); Ghulam-Sarwar Yusoff’s Dictionary of Traditional South East Asian Theatre (Oxford: Oxford University Press, 1994).
- 34.
Catherine Diamond, Communities of Imagination (Hawai’i: University of Hawai’i Press, 2012), 4.
- 35.
Krishen Jit, ‘A Survey of Modern Southeast Asian Drama’ first published in Tenggara: Journal of Southeast Asian Literature, 1989, republished in Krishen Jit: An Uncommon Position, ed. Kathy Rowland (Contemporary Asian Arts Centre: Singapore, 2003), 34–45.
- 36.
C. J. W.-L. Wee, ‘Historicity and the Contemporary Theatre of Kuo Pao Kun and Krishen Jit,’ Southeast Asian Review of English (SARE) 55, no. 1 (2018): 2–3.
- 37.
Hirsch, The Generation of Postmemory, 2.
- 38.
Eugene Van Erven, The Playful Revolution: Theatre and Liberation in Asia (Bloomington and Indianapolis: Indiana University Press, 1992), 34.
- 39.
Kenneth Paul Tan, ‘Forum Theater in Singapore: Resistance, Containment, and Commodification in an Advanced Industrial Society.’ Positions 21, no. 1 (2013): 204.
- 40.
Wee, ‘Historicity and the Contemporary Theatre of Kuo Pao Kun and Krishen Jit,’ 353.
- 41.
Matthew Isaac Cohen. ‘Introduction: Global Encounters in Southeast Asian Performing Arts,’ Asian Theatre Journal 31, no. 2 (2014): 354.
- 42.
Cohen, ‘Global Encounters,’ 356.
- 43.
Giorgio Agamben, Nudities, trans. David Kishik and Stefan Pedatella (Stanford: Stanford University Press, 2011), 12.
- 44.
Agamben, Nudities, 13.
- 45.
Agamben, Nudities, 15.
- 46.
Maria Shevtsova, ‘Political Theatre in Europe: East to West, 2007–2014,’ New Theatre Quarterly 32, no. 2 (2016): 142.
- 47.
Shetsova, ‘Political Theatre in Europe,’ 15.
- 48.
Apter, 238.
- 49.
Akshita Nanda, ‘IMDA denies rating to two shows in 2017 M1 Fringe Festival for “excessive nudity,”’ The Straits Times, November 25, 2016, accessed 1 July 2018, https://www.straitstimes.com/lifestyle/arts/imda-denies-rating-to-two-shows-in-2017-m1-fringe-festival-for-excessive-nudity.
- 50.
Eric Bentley, ‘Writing for a Political Theatre,’ PAJ 112 (2016): 42.
- 51.
Richard Barber and Pongjit Sapakhun, ‘A Transformative Theatre of Dialogue: The Makhampom Theatre Group’s Negotiation of Thailand’s Likay (Theatre) State,’ 166.
- 52.
Karen Flores, ‘New PETA musical tackles martial law, EJK,’ ABS-CBN News, August 24, 2017, accessed December 12, 2018, https://news.abs-cbn.com/life/08/23/17/new-peta-musical-tackles-martial-law-ejk.
- 53.
See Gayatri Chakravorti Spivak, ‘Can the Subaltern Speak,’ in Marxism and the Interpretation of Culture, ed. Cary Nelson and Lawrence Grossberg (Urbana and Chicago: U of Illinois P, 1988), 271–316.
- 54.
Lynette Hunter, ‘Introduction,’ in Performance, Politics and Activism, eds. Peter Lichtenfels and John Rouse (Hampshire, UK: Palgrave Macmillan, 2013), 1.
- 55.
Jenny Edkins and Adrian Kear, ‘Introduction,’ in International Politics and Performance: Critical Aesthetics and Creative Practice, eds. Jenny Edkins and Adrian Kear (London and New York: Routledge, 2013), 8. Emphasis in original.
- 56.
Edkins and Kear, International Politics and Performance: Critical Aesthetics and Creative Practice’ 8.
- 57.
Janelle Reinelt and Shirin M. Rai, ‘Introduction,’ in The Grammar of Politics and Performance, eds. Shirin M. Rai and Janelle Reinelt (London and New York: Routledge, 2015), 4.
- 58.
Reinelt and Rai, The Grammar of Politics and Performance, 2.
- 59.
Baz Kershaw, The Politics of Performance: Radical Theatre as Cultural Intervention (London, New York: Routledge, 1992), 1.
- 60.
Joe Kelleher, Theatre and Politics (Hampshire, UK: Palgrave Macmillan, 2009), 59.
- 61.
Kelleher, Theatre and Politics, 29.
- 62.
Kelleher, Theatre and Politics, 54.
- 63.
Avraham Oz, ‘Introduction: Performance As Sepulchre And Mousetrap: Global Encoding, Local Deciphering,’ in Political Performances: Theory and Practice, eds. Susan C. Haedicke, Deirdre Heddon, Avraham Oz and E.J. Westlake (Amsterdam: Rodopi, 2009), 20.
- 64.
Peter Handke, ‘Street-Theater and Theater-Theater,’ in Essays on German Theatre, trans. Joel Agee, ed. Margaret Herzfeld-Sander (New York: Continuum, 1985), 313.
- 65.
Marissia Fragkou, Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility (London: Methuen Drama, 2019), 2.
- 66.
Butler, Frames of War, 3.
- 67.
Fragkou, Ecologies of Precarity, 10.
- 68.
Hunter, ‘Introduction,’ 4.
- 69.
Hunter, ‘Introduction,’ 3.
- 70.
Reinelt and Rai, The Grammar of Politics and Performance, 10.
- 71.
‘Bumiputera’ is a Malay word that is used to describe the indigenous peoples of the Malay archipelago and other Southeast Asian countries; it means ‘son of the land.’ As a (controversial) political policy, it was implemented in Malaysia in 1970 to offer greater opportunities and affirmative action for bumiputeras in education and public office and has clearly been regarded as a policy that advances discrimination and racism.
- 72.
‘ASEAN Motto,’ Association of Southeast Asian Nations, accessed September 19, 2018, https://asean.org/asean/about-asean/asean-motto/.
- 73.
Reinelt and Rai, The Grammar of Politics and Performance, 9.
- 74.
Reinelt and Rai, The Grammar of Politics and Performance, 14.
- 75.
Nicholas Ridout, Theatre and Ethics (Hampshire, UK: Palgrave Macmillan, 2009), 54.
- 76.
Hans-Thies Lehmann, Postdramatic Theatre (London: Routledge, 2006), 185. Original emphasis.
- 77.
Lehmann, Postdramatic Theatre, 186.
- 78.
Nelly Richard, ‘Fugitive Identities and Dissenting Code-Systems: Women Artists During the Military Dictatorship in Chile,’ in WACK! Art and the Feminist Revolution, eds. Cornelia Butler and Lisa Gabrielle Mark (Cambridge, MA: MIT Press, 2007), 415.
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Tan, M.C.C., Rajendran, C. (2020). Politics, Performance, the Contemporary and Southeast Asia. In: Tan, M., Rajendran, C. (eds) Performing Southeast Asia. Contemporary Performance InterActions. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-34686-7_1
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