This is a book of remembrances-ranging from a performance text to personal memories-regarding one... more This is a book of remembrances-ranging from a performance text to personal memories-regarding one of Southeast Asia's most influential director-thinkers of the postcolonial era: Krishen Jit (1939-2005). The work, generously illustrated and well designed (Zarina Othman), documents a conference held at Kuala Lumpur Performing Arts Centre (KLPac) on 9-11 January 2015, which gathered those affected by Krishen's work as director, theatre critic, or co-creator of contemporary performance in Malaysia and Singapore. Krishen taught history at University of Malaya (UM) but was best-known as a public intellectual and important theatre director. Much of his professional directing came after his retirement from teaching. Krishen was arguably the major theatre figure in Malaysia in the last forty years in a way that playwright-directors Arifin C. Noer (1941-1995) or W. S. Rendra (1935-2009) were in Indonesia, or Kuo Kao Pun (1939-2002) was in Singapore. Such icons bridged the colonial to postcolonial eras and continue to loom large in the mindscapes of their respective nations. Each of these theatre-makers confronted challenges and failings of early independence and Southeast Asia's fraught Cold War dynamics. They defined the issues. Krishen's leadership both impacted Malaysian theatre and resonated through Southeast Asia. The three editors note, "As time passed those who witnessed and remember Krishen pass on as well, what will become of the theatre of Krishen? The man and his ideas will be remembered by those who read his writings and encounter efforts like this book to remember him" (p. 152). Rather than follow a model of biographical sketch, critical essays, and comprehensive bibliography, the text assembles disparate voices. Each author discusses Krishen's impact on him/her personally. "Reading Krishen Jit" (pp. 40-55) by art historian T. K. Sabapathy remembers shared their 1960s graduate school days when Krishen studied American History at UC-Berkeley and highlights Krishen's interests in visual arts. The book includes thoughts of Japanese director
Preface I. Revolution, Freedom, and Theatre II. Building Stages of People Power: The Philippines ... more Preface I. Revolution, Freedom, and Theatre II. Building Stages of People Power: The Philippines Educational Theater Association III. Inside the Philippine Theatre of Liberation Network IV. Resistance Theatre in South Korea: Above and Underground V. The Factionalized Indian Theatre of Liberation VI. Killed in Action: Safdar HashmiOs Street Theatre in Delhi VII. Of Stages and Mosques: The Irresistible Rise of PakistanOs Political Theatre VIII. Beyond the Shadows of Wayang: Theatre of Liberation in Indonesia IX. Theatre of Liberation Experiments in Thailand X. Conclusion Notes Bibliography Index
... Balinese material were Conquest of Bali (Policoff and deBoer, 1979), about the fall of the is... more ... Balinese material were Conquest of Bali (Policoff and deBoer, 1979), about the fall of the island to the Dutch, and Jayaprana ... Bandem became deBoer's coauthor on the important book Kaja and Kelod: Balinese Dance in Transition (Bandem and deBoer 1981), articles (deBoer ...
This book references huge quantities of primary and secondary historical source materials in Indo... more This book references huge quantities of primary and secondary historical source materials in Indonesian, Malay (as Indonesian was known before 1928), Javanese, and Dutch. As with any book dealing with Indonesia before 1972, orthography is complicated and needs explaining. After 1972, Indonesian (bahasa Indonesia) and other languages spoken in Indonesia used a standard orthography, the Enhanced Indonesian Spelling System, which is largely phonetic like Italian. Before then, aspects of spelling were derived from Dutch conventions. So c (pronounced like the "ch" in church) before 1972 was written tj, j was written dj, ny was written nj, and sy (pronounced like the "sh" in ship) was written sj. In addition, before 1947, the vowel i (pronounced like the "ee" in feet) was written ie, and u (pronounced like the "oo" in boot) was written oe. Spelling was not standardized in the pre-1947 period, and the same word could have multiple spellings even in a single source-thus stamboel, stambool, and stamboul for stambul. My tendency in this book is to use the Enhanced Indonesian Spelling System except when quoting from period sources, referring to titles or names of organizations, or referencing personal names better known by other spellings. Where relevant, I tend to use Javanese over Indonesian spellings, so pendhapa rather than pendopo. All translations, unless indicated, are my own. Emphases are in the original with ellipses in brackets to indicate omissions. In Indonesian, Javanese, and other source languages, there is no marked difference between singular and plural word forms, and in this book I follow the academic convention of not adding s's to the end of words in these languages to indicate plurality, assuming the reader can make sense of this from context of use. Artistic forms (wayang wong, keroncong) are in lower case and italicized, following the house style of Asian Theatre Journal, but on subsequent uses regularly appearing foreign genre names and terms appear in plain face.
Judy Mitoma developed expertise in Javanese dance through study in dance ethnology at UCLA, then ... more Judy Mitoma developed expertise in Javanese dance through study in dance ethnology at UCLA, then established the UCLA World Arts and Cultures Department, which widened beyond a Euro-American focus. She became a major producer of Asia-Pacific performance in Los Angeles, developed the intercultural training program Asia Pacific Performance Exchange, and continues to use performance to teach cultural literacy and understanding.
environmental trends, the authors have produced a compelling, if fact-packed, text that should se... more environmental trends, the authors have produced a compelling, if fact-packed, text that should seek a wider audience, alongside competitor texts on China's rise (and they are many, including those from the inside).
This is a book of remembrances-ranging from a performance text to personal memories-regarding one... more This is a book of remembrances-ranging from a performance text to personal memories-regarding one of Southeast Asia's most influential director-thinkers of the postcolonial era: Krishen Jit (1939-2005). The work, generously illustrated and well designed (Zarina Othman), documents a conference held at Kuala Lumpur Performing Arts Centre (KLPac) on 9-11 January 2015, which gathered those affected by Krishen's work as director, theatre critic, or co-creator of contemporary performance in Malaysia and Singapore. Krishen taught history at University of Malaya (UM) but was best-known as a public intellectual and important theatre director. Much of his professional directing came after his retirement from teaching. Krishen was arguably the major theatre figure in Malaysia in the last forty years in a way that playwright-directors Arifin C. Noer (1941-1995) or W. S. Rendra (1935-2009) were in Indonesia, or Kuo Kao Pun (1939-2002) was in Singapore. Such icons bridged the colonial to postcolonial eras and continue to loom large in the mindscapes of their respective nations. Each of these theatre-makers confronted challenges and failings of early independence and Southeast Asia's fraught Cold War dynamics. They defined the issues. Krishen's leadership both impacted Malaysian theatre and resonated through Southeast Asia. The three editors note, "As time passed those who witnessed and remember Krishen pass on as well, what will become of the theatre of Krishen? The man and his ideas will be remembered by those who read his writings and encounter efforts like this book to remember him" (p. 152). Rather than follow a model of biographical sketch, critical essays, and comprehensive bibliography, the text assembles disparate voices. Each author discusses Krishen's impact on him/her personally. "Reading Krishen Jit" (pp. 40-55) by art historian T. K. Sabapathy remembers shared their 1960s graduate school days when Krishen studied American History at UC-Berkeley and highlights Krishen's interests in visual arts. The book includes thoughts of Japanese director
Preface I. Revolution, Freedom, and Theatre II. Building Stages of People Power: The Philippines ... more Preface I. Revolution, Freedom, and Theatre II. Building Stages of People Power: The Philippines Educational Theater Association III. Inside the Philippine Theatre of Liberation Network IV. Resistance Theatre in South Korea: Above and Underground V. The Factionalized Indian Theatre of Liberation VI. Killed in Action: Safdar HashmiOs Street Theatre in Delhi VII. Of Stages and Mosques: The Irresistible Rise of PakistanOs Political Theatre VIII. Beyond the Shadows of Wayang: Theatre of Liberation in Indonesia IX. Theatre of Liberation Experiments in Thailand X. Conclusion Notes Bibliography Index
... Balinese material were Conquest of Bali (Policoff and deBoer, 1979), about the fall of the is... more ... Balinese material were Conquest of Bali (Policoff and deBoer, 1979), about the fall of the island to the Dutch, and Jayaprana ... Bandem became deBoer's coauthor on the important book Kaja and Kelod: Balinese Dance in Transition (Bandem and deBoer 1981), articles (deBoer ...
This book references huge quantities of primary and secondary historical source materials in Indo... more This book references huge quantities of primary and secondary historical source materials in Indonesian, Malay (as Indonesian was known before 1928), Javanese, and Dutch. As with any book dealing with Indonesia before 1972, orthography is complicated and needs explaining. After 1972, Indonesian (bahasa Indonesia) and other languages spoken in Indonesia used a standard orthography, the Enhanced Indonesian Spelling System, which is largely phonetic like Italian. Before then, aspects of spelling were derived from Dutch conventions. So c (pronounced like the "ch" in church) before 1972 was written tj, j was written dj, ny was written nj, and sy (pronounced like the "sh" in ship) was written sj. In addition, before 1947, the vowel i (pronounced like the "ee" in feet) was written ie, and u (pronounced like the "oo" in boot) was written oe. Spelling was not standardized in the pre-1947 period, and the same word could have multiple spellings even in a single source-thus stamboel, stambool, and stamboul for stambul. My tendency in this book is to use the Enhanced Indonesian Spelling System except when quoting from period sources, referring to titles or names of organizations, or referencing personal names better known by other spellings. Where relevant, I tend to use Javanese over Indonesian spellings, so pendhapa rather than pendopo. All translations, unless indicated, are my own. Emphases are in the original with ellipses in brackets to indicate omissions. In Indonesian, Javanese, and other source languages, there is no marked difference between singular and plural word forms, and in this book I follow the academic convention of not adding s's to the end of words in these languages to indicate plurality, assuming the reader can make sense of this from context of use. Artistic forms (wayang wong, keroncong) are in lower case and italicized, following the house style of Asian Theatre Journal, but on subsequent uses regularly appearing foreign genre names and terms appear in plain face.
Judy Mitoma developed expertise in Javanese dance through study in dance ethnology at UCLA, then ... more Judy Mitoma developed expertise in Javanese dance through study in dance ethnology at UCLA, then established the UCLA World Arts and Cultures Department, which widened beyond a Euro-American focus. She became a major producer of Asia-Pacific performance in Los Angeles, developed the intercultural training program Asia Pacific Performance Exchange, and continues to use performance to teach cultural literacy and understanding.
environmental trends, the authors have produced a compelling, if fact-packed, text that should se... more environmental trends, the authors have produced a compelling, if fact-packed, text that should seek a wider audience, alongside competitor texts on China's rise (and they are many, including those from the inside).
Reviews of Tall tree, nest of the wind (Arps 2016) by Helen Creese, Matthew Cohen, and Kathy Fole... more Reviews of Tall tree, nest of the wind (Arps 2016) by Helen Creese, Matthew Cohen, and Kathy Foley, followed by a response from the author (from BKI 173)
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