Denationalizing Identities

Denationalizing Identities explores the relationship between performance and ideology in the global Sinosphere. Wah Guan Lim's study of four important diasporic director-playwrights—Gao Xingjian, Stan Lai Sheng-chuan, Danny Yung Ning Tsun, and Kuo Pao Kun—shows the impact of theater on ideas of "Chineseness" across China, Taiwan, Hong Kong, and Singapore. At the height of the Cold War, the "Bamboo Curtain" divided the "two Chinas" across the Taiwan Strait. Meanwhile, Hong Kong prepared for its handover to the People's Republic of China and Singapore rethought Chinese education. As geopolitical tensions imposed ethno-nationalist identities across the region, these four dramatists wove together local, foreign, and Chinese elements in their art, challenging mainland China's narrative of an inevitable communist outcome. By performing cultural identities alternative to the ones sanctioned by their own states, they debunked notions of a unified Chineseness. Denationalizing Identities highlights the key role theater and performance played in circulating people and ideas across the Chinese-speaking world, well before cross-strait relations began to thaw.

Denationalizing Identities explores the relationship between performance and ideology in the global Sinosphere. Wah Guan Lim's study of four important diasporic director-playwrights—Gao Xingjian, Stan Lai Sheng-chuan, Danny Yung Ning Tsun, and Kuo Pao Kun—shows the impact of theater on ideas of "Chineseness" across China, Taiwan, Hong Kong, and Singapore. At the height of the Cold War, the "Bamboo Curtain" divided the "two Chinas" across the Taiwan Strait. Meanwhile, Hong Kong prepared for its handover to the People's Republic of China and Singapore rethought Chinese education. As geopolitical tensions imposed ethno-nationalist identities across the region, these four dramatists wove together local, foreign, and Chinese elements in their art, challenging mainland China's narrative of an inevitable communist outcome. By performing cultural identities alternative to the ones sanctioned by their own states, they debunked notions of a unified Chineseness. Denationalizing Identities highlights the key role theater and performance played in circulating people and ideas across the Chinese-speaking world, well before cross-strait relations began to thaw.

Asian City Crossings is the first volume to examine the relationship between the city and performance from an Asian perspective. This collection introduces "city as method" as a new conceptual framework for the investigation of practices of city-based performing arts collaboration and city-to-city performance networks across East- and Southeast Asia and beyond. The shared and yet divergent histories of the global cities of Hong Kong and Singapore as postcolonial, multiethnic, multicultural, and multilingual sites, are taken as points of departure to demonstrate how "city as method" facilitates a comparative analytical space that foregrounds in-betweenness and fluid positionalities. It situates inter-Asian relationality and inter-city referencing as centrally significant dynamics in the exploration of the material and ideological conditions of contemporary performance and performance exchange in Asia. This study captures creative dialogue that travels city-based pathways along the Hong Kong-Singapore route, as well as between Hong Kong and Singapore and other cities, through scholarly analyses and practitioner reflections drawn from the fields of theatre, performance, and music. This book combines essays by scholars of Asian studies, theatre studies, ethnomusicology, and human geography with reflective accounts by Hong Kong and Singapore-based performing arts practitioners to highlight the diversity, vibrancy, and complexity of creative projects that destabilise notions of identity, belonging, and nationhood through strategies of collaborative conviviality and transnational mobility across multi-sited networks of cities in Asia. In doing so, this volume fills a considerable gap in global scholarly discourse on performance and the city and on the production and circulation of the performing arts in Asia.

The One State Reality argues that a one state reality already predominates in the territories controlled by the state of Israel. The editors show that starting with the one state reality rather than hoping for a two state solution reshapes how we regard the conflict, what we consider acceptable and unacceptable solutions, and how we discuss difficult normative questions. The One State Reality forces a reconsideration of foundational concepts such as state, sovereignty, and nation; encourages different readings of history; shifts conversation about solutions from two states to alternatives that borrow from other political contexts; and provides context for confronting uncomfortable questions such as whether Israel/Palestine is an "apartheid state."

Ten leading scholars and practitioners of politics, political science, anthropology, Israel studies, and Middle East affairs address the theme of continuity and change in political culture as a tribute to Professor Myron (Mike) J. Aronoff whose work on political culture has built conceptual and methodological bridges between political science and anthropology. Topics include the legitimacy of the two-state solution, identity and memory, denationalization, the role of trust in peace negotiations, democracy, majority-minority relations, inclusion and exclusion, Biblical and national narratives, art in public space, and avant-garde theater. Countries covered include Israel, Palestine, the United States, the Basque Autonomous Region of Spain, and Poland. The first four chapters by Yael S. Aronoff, Saliba Sarsar, Yossi Beilin, and Nadav Shelef examine aspects of the conflict and peace negotiations between Israel and the Palestinians, including alternative solutions. The contributions by Naomi Chazan, Ilan Peleg, and Joel Migdal tackle challenges to democracy in Israel, in other divided societies, and in the creation of the American public. Yael Zerubavel, Roland Vazquez, and Jan Kubik focus their analyses on aspects of national memory, memorialization, and dramatization. Mike Aronoff relates his work on various aspects of political culture to each chapter in an integrative essay in the Epilogue.

The nine essays in Asian North American Identities explore how Asian North Americans are no longer caught between worlds of the old and the new, the east and the west, and the south and the north. Moving beyond national and diasporic models of ethnic identity to focus on the individual feelings and experiences of those who are not part of a dominant white majority, the essays collected here draw from a wide range of sources, including novels, art, photography, poetry, cinema, theatre, and popular culture. The book illustrates how Asian North Americans are developing new ways of seeing and thinking about themselves by eluding imposed identities and creating spaces that offer alternative sites from which to speak and imagine. Contributors are Jeanne Yu-Mei Chiu, Patricia Chu, Rocio G. Davis, Donald C. Goellnicht, Karlyn Koh, Josephine Lee, Leilani Nishime, Caroline Rody, Jeffrey J. Santa Ana, Malini Johar Schueller, and Eleanor Ty.

From David Henry Hwang's M. Butterfly to Evelyn Lau's Diary of a Runaway to Fred Wah's poetry, diasporic Chinese literature in English is reaching wider audiences. The interdisciplinary essays in Culture, Identity, Commodity provide close textual readings and general theoretical frameworks from American, Australian, and Canadian perspectives for a range of textual productions - novels, autobiographies, plays, and Chinese cooking shows - that address this dynamic field. Established and emerging scholars offer timely discussions of "diasporic Chinese studies," drawing on transnational, postcolonial, globalisation, and racialisation theories. The collection examines what is at stake in the consideration of diasporic literatures and the connections and fissures emerging in these new critical terrains. Book jacket.

The dissolution of the French Empire and the ensuing rush of immigration have led to the formation of diasporas and immigrant cultures that have transformed French society and the immigrants themselves. Transnational Spaces and Identities in the Francophone World examines the impact of this postcolonial immigration on identity in France and in the Francophone world, which has encompassed parts of Africa, the Middle East, Southeast Asia, and the Americas. Immigrants bear cultural traditions within themselves, transform ?host? communities, and are, in turn, transformed. These migrations necessarily complicate ideals of national literature, culture, and history, forcing a reexamination and a rearticulation of these ideals. ø Exploring a variety of texts informed by these transnational conceptions of identity and space, the contributors to this volume reveal the vitality of Francophone studies within a broad range of disciplines, periods, and settings. They remind us that the idea and reality of Francophonie is not a late twentieth-century phenomenon but something that grows out of long-term interactions between colonizer and colonized and between peoples of different nationalities, ethnicities, and religions. Truly interdisciplinary, this collection engages conceptions of identity with respect to their physical, geographic, ethnic, and imagined realities.