Abstract:The Nepali communist cultural group Raktim Pariwar (literally “Family of Blood”) stands out among the many such groups in Nepal for their songs and especially for their dances. Active since 1987, their ideology and aesthetics have been strongly influenced by Chinese communism. While this is true of most Nepali communist parties and associated cultural groups, Raktim was the first to seriously engage with the Chinese Cultural Revolution Model Works and incorporate aspects of their choreography into their own dances. Striving to make dance revolutionary and international while grounded in local realities, they aimed to synthesize Chinese styles with Nepali folk styles in order to express and awaken “revolutionary spirit” in performers and audiences. The style they created has since come to characterize Nepali revolutionary dance across political party lines. This article examines three decades of Raktim’s engagement with Cultural Revolution ideologies and artistic products within the broader international leftist emphasis on bodily training as cultivation of revolutionary persons, and shows how dance remains central to their efforts to develop “revolutionary spirit” to this day.
{"title":"Raktim Pariwar’s Red Lanterns: Dance and Cultural Revolution in Nepal","authors":"Anna Stirr","doi":"10.1353/atj.2021.0027","DOIUrl":"https://doi.org/10.1353/atj.2021.0027","url":null,"abstract":"Abstract:The Nepali communist cultural group Raktim Pariwar (literally “Family of Blood”) stands out among the many such groups in Nepal for their songs and especially for their dances. Active since 1987, their ideology and aesthetics have been strongly influenced by Chinese communism. While this is true of most Nepali communist parties and associated cultural groups, Raktim was the first to seriously engage with the Chinese Cultural Revolution Model Works and incorporate aspects of their choreography into their own dances. Striving to make dance revolutionary and international while grounded in local realities, they aimed to synthesize Chinese styles with Nepali folk styles in order to express and awaken “revolutionary spirit” in performers and audiences. The style they created has since come to characterize Nepali revolutionary dance across political party lines. This article examines three decades of Raktim’s engagement with Cultural Revolution ideologies and artistic products within the broader international leftist emphasis on bodily training as cultivation of revolutionary persons, and shows how dance remains central to their efforts to develop “revolutionary spirit” to this day.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75116721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hokkien Theatre Across the Seas: A Socio-Cultural Study by Caroline Chia (review)","authors":"Yunyun Yang","doi":"10.1353/atj.2021.0035","DOIUrl":"https://doi.org/10.1353/atj.2021.0035","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90422985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article explores the aesthetic and ideological positioning behind the Yi Compatriots Music and Dance Performance, a performance that took place in Kunming in 1946. By considering the development of the performance, the performance program, the intellectual ideas of Liang Lun and Wen Yiduo (two key figures in the organization of the performance), and finally some of the ensuing textual accounts of the performance, this article situates the “Yi Compatriots Music and Dance Performance” within the overlapping and often paradoxical artistic and political discourses of the time. Analyzing how the performance engages with the Euro-American discourse of modernist primitivism, this paper demonstrates a complex ideological relationship between early 20th century Euro-American modern dance and late Republican ethnic minority dance forms in China. Ultimately, this paper suggests that the Yi Compatriots performance contributed to a new epistemological framework through which to understand the meaning of ethnic dance in modern China.
{"title":"Harnessing Vitality in Kunming: The Intellectual Lineage and Artistic Development in the Yi Compatriots Music and Dance Performance of 1946","authors":"Ruby MacDougall","doi":"10.1353/atj.2021.0026","DOIUrl":"https://doi.org/10.1353/atj.2021.0026","url":null,"abstract":"Abstract:This article explores the aesthetic and ideological positioning behind the Yi Compatriots Music and Dance Performance, a performance that took place in Kunming in 1946. By considering the development of the performance, the performance program, the intellectual ideas of Liang Lun and Wen Yiduo (two key figures in the organization of the performance), and finally some of the ensuing textual accounts of the performance, this article situates the “Yi Compatriots Music and Dance Performance” within the overlapping and often paradoxical artistic and political discourses of the time. Analyzing how the performance engages with the Euro-American discourse of modernist primitivism, this paper demonstrates a complex ideological relationship between early 20th century Euro-American modern dance and late Republican ethnic minority dance forms in China. Ultimately, this paper suggests that the Yi Compatriots performance contributed to a new epistemological framework through which to understand the meaning of ethnic dance in modern China.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85063898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Poetics of Modernity: Indian Theatre Theory, 1850 to the Present ed. by Aparna Bhargava Dharwadker (review)","authors":"Kristen Rudisill","doi":"10.1353/atj.2021.0041","DOIUrl":"https://doi.org/10.1353/atj.2021.0041","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86664420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Through the analysis of some performances and interviews of well-known lakhon yike troupe’s leaders conducted in Kampot province of Cambodia in 2015, this article offers insight into the performance structure, the process of adaptation of yike songs from other genres, particularly the wedding genre (phleng kar), and shows the connection between songs and the dramatic scenes. Cambodian music traditions outside the iconic genre of the classical dance-drama, such as lakhon yike, have received little attention in scholarship mainly because of lakhon yike’s foreign origins. The limited literature on lakhon yike proffers general descriptions of its origins, costumes, characters, storylines, and ensemble relating to performances of the last century. This essay provides the first systematic analysis of the musical and extramusical features of lakhon yike as a popular theatre genre, and shows the process of adaptation of the traditional form (lakhon yike boran) in response to new audiences and performing contexts which create a new form of yike theatre and dance.
{"title":"Lakhon Yike Theatre and Robam Yike Dance Genres: Origins, Performance Structure, Music Repertoire, and the Ongoing Process of Modernization","authors":"Francesca Billeri","doi":"10.1353/atj.2021.0031","DOIUrl":"https://doi.org/10.1353/atj.2021.0031","url":null,"abstract":"Abstract:Through the analysis of some performances and interviews of well-known lakhon yike troupe’s leaders conducted in Kampot province of Cambodia in 2015, this article offers insight into the performance structure, the process of adaptation of yike songs from other genres, particularly the wedding genre (phleng kar), and shows the connection between songs and the dramatic scenes. Cambodian music traditions outside the iconic genre of the classical dance-drama, such as lakhon yike, have received little attention in scholarship mainly because of lakhon yike’s foreign origins. The limited literature on lakhon yike proffers general descriptions of its origins, costumes, characters, storylines, and ensemble relating to performances of the last century. This essay provides the first systematic analysis of the musical and extramusical features of lakhon yike as a popular theatre genre, and shows the process of adaptation of the traditional form (lakhon yike boran) in response to new audiences and performing contexts which create a new form of yike theatre and dance.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84180520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Drawing from recent scholarship on the role of Prakrit in South Asian literature at large, this article queries the ways in which the multiple languages of the premodern drama might have functioned in performance. Rather than reading the variance as verisimilar, replicating the diversity of spoken languages found in the premodern subcontinent, this work adapts J.L. Austin’s concept of the performative utterance and proposes that language choice in premodern Indian drama be read as part of a schema of performative linguistics. With case studies chosen from Shudraka’s The Little Clay Cart and Bhasa’s The Five Nights, I argue that Sanskrit and Prakrit as languages do different work in the drama, making language itself a semiotic system within the premodern dramatic tradition.
{"title":"Prakrits in Performance: Theatricality and Multilingual Drama in Premodern India","authors":"Amanda Culp","doi":"10.1353/atj.2021.0034","DOIUrl":"https://doi.org/10.1353/atj.2021.0034","url":null,"abstract":"Abstract:Drawing from recent scholarship on the role of Prakrit in South Asian literature at large, this article queries the ways in which the multiple languages of the premodern drama might have functioned in performance. Rather than reading the variance as verisimilar, replicating the diversity of spoken languages found in the premodern subcontinent, this work adapts J.L. Austin’s concept of the performative utterance and proposes that language choice in premodern Indian drama be read as part of a schema of performative linguistics. With case studies chosen from Shudraka’s The Little Clay Cart and Bhasa’s The Five Nights, I argue that Sanskrit and Prakrit as languages do different work in the drama, making language itself a semiotic system within the premodern dramatic tradition.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75792285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare in the Theatre: Yukio Ninagawa by Conor Hanratty (review)","authors":"Jennifer Yoo","doi":"10.1353/atj.2021.0040","DOIUrl":"https://doi.org/10.1353/atj.2021.0040","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77863376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article investigates the relationship between grief and democracy by focusing on the South Korean Theatre Company ToBakYi’s 1988 production of Kumhi’s May—one of the first plays to dramatize the 1980 Gwangju Uprising and the state-sanctioned military massacre therein in the time of South Korea’s transition from military dictatorship to democratic rule. Demonstrating how theatre grapples with state-led violence in the recent past, I argue that theatre facilitates democracy by interrupting the state’s regulation of whose deaths are entitled to the public’s grief, creating a space where it challenges the state’s attempt to jettison those it murdered from the collective memories. Drawing on my archival research and interviews with the troupe and the family dramatized in the play, this article shows how ToBakYi made theatre an alternative cultural space where those deaths which state-sanctioned archives obliterate arise into communal memories.
{"title":"Performing Democracy on Stage: ToBakYi’s Kumhi’s May and the Politics of Mourning in South Korea","authors":"Hayana Kim","doi":"10.1353/atj.2021.0033","DOIUrl":"https://doi.org/10.1353/atj.2021.0033","url":null,"abstract":"Abstract:This article investigates the relationship between grief and democracy by focusing on the South Korean Theatre Company ToBakYi’s 1988 production of Kumhi’s May—one of the first plays to dramatize the 1980 Gwangju Uprising and the state-sanctioned military massacre therein in the time of South Korea’s transition from military dictatorship to democratic rule. Demonstrating how theatre grapples with state-led violence in the recent past, I argue that theatre facilitates democracy by interrupting the state’s regulation of whose deaths are entitled to the public’s grief, creating a space where it challenges the state’s attempt to jettison those it murdered from the collective memories. Drawing on my archival research and interviews with the troupe and the family dramatized in the play, this article shows how ToBakYi made theatre an alternative cultural space where those deaths which state-sanctioned archives obliterate arise into communal memories.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86383972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Minority Stages: Sino-Indonesian Performance and Public Display by Josh Stenberg (review)","authors":"P. Yampolsky","doi":"10.1353/atj.2021.0036","DOIUrl":"https://doi.org/10.1353/atj.2021.0036","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83079710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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