Water Puppets

Examines events of the Vietnam War through the story of Xuan, a thirteen-year-old boy living with his family in the struggling village of Noy Thien in 1967.

Puppetry Originated In India And Travelled Across The Seven Seas To The Eastern And Western World As Vouched By Many Scholars. Puppets Dated Back To A Period Well Before Bharata S Natya Shastra And Have Continued Unabated Throughout The Centuries In Almost All Indian States. Puppetry Is One Enduring Form, Which Has Entertained Masses And Educated People. The Famous Puppeteers Of Rajasthan Are Really Acrobats, Who Only Put On Puppet Shows When They Move Out Of Villages. These And A Thousand Other Scintillating Facts Come Out Of This Exciting Book For The Reader S Entertainment And Elucidation. Puppets Are By No Means For Only Children, -- As The Puppeteers Of Orissa Sing And Dance About The Romantic Love Of Radha And Krishna, And Keralan Puppets Narrate Kathakali Stories In The Same Make-Up And Costumes.The Book Aims At Giving A Connected Account Of The Indian Puppets: Their Variety, Their Multiple Functions, Their Craft, Their Animation And Their Connections With Other Related Arts In Five Separate Parts. The Book Also Contains For The First Time In Any Book On Puppetry -- Four Important Appendices: Museums In India Containing Puppets, Directory Of Indian Puppeteers, Global Bibliography On Puppets And A Relevant Glossary. The World Of Indian Puppets Is Seen In Vivid Colours With Scores Of Coloured Photographs And Many Line-Drawings And Half-Tone Pictures --- In Their Many-Sided Splendour: Variety Of The Glove, Rod, String, Shadow, And Human Puppets And A Myriad Background Stories Of The Puppet-Masters And Their Imaginative Landscape Of Free Creativity.

Winner of the 2010 Donald Hall Prize in Poetry In her third poetry collection, Quan Barry explores the universal image of war as evidenced in Afghanistan and Iraq as well as Vietnam, the country of her birth. In the long poem “meditations” Barry examines her own guilt in initially supporting the invasion of Iraq. Throughout the manuscript she investigates war and its aftermath by negotiating between geographically disparate landscapes—from the genocide in the Congo—to a series of pros poem “snapshots” of modern day Vietnam. Despite the gravity of war, Barry also turns her signature lyricism to other topics such as the beauty of Peru or the paintings of Ana Fernandez.

Nations in Southeast Asia have gone through a period of rapid change within the last century as they have grappled with independence, modernization, and changing political landscapes. Governments and citizens strive to balance progress with the need to articulate identities that resonate with the pre-colonial past and look towards the future. Puppets and Cities: Articulating Identities in Southeast Asia addresses how puppetry complements and combines with urban spaces to articulate present and future cultural and national identities. Puppetry in Southeast Asia is one of the oldest and most dynamic genres of performance. Bangkok, Jakarta, Phnom Penh, and other dynamic cities are expanding and rapidly changing. Performance brings people together, offers opportunities for economic growth, and bridges public and private spheres. Whether it is a traditional shadow performance borrowing from Star Wars or giant puppets parading down the street-this book examines puppets as objects and in performance to make culture come alive. Based on several years of field research-watching performances, working with artists, and interviewing key stakeholders in Southeast Asian cultural production-the book offers a series of rich case studies of puppet performance from various locations, including: theatre in suburban Bangkok; puppets in museums in Jakarta, Indonesia; puppet companies from Laos PDR, the National Puppet Theatre of Vietnam, and the Giant Puppet Project in Siem Reap, Cambodia; new global puppetry networks through social media; and how puppeteers came together from around the region to create a performance celebrating ASEAN identity.

Describes such aspects of Vietnamese culture as theater, music and dance, architecture, religion, festivals, and foods.

During his twenty-year tenure as a columnist for Việt Nam News, Hà Nội’s English-language newspaper, Hữu Ngọc charmed and invigorated an international readership hungry for straightforward but elegant entrees into understanding Vietnamese culture. The essays were originally collected in the massive Wandering through Vietnamese Culture. With Viet Nam: Tradition and Change, Ohio University Press presents a selection from these many treasures, which are perfectly suited to students of Vietnamese culture and travelers seeking an introduction to the country’s rich history, culture, and daily life. With extraordinary linguistic ability and a prodigious memory, Hữu Ngọc is among Việt Nam’s keenest observers of and writers about traditional Vietnamese culture and recent history. The author’s central theme—that all tradition is change through acculturation—twines through each of the book’s ten sections, which contain Hữu Ngọc’s ideas on Vietnamese religion, literature, history, exemplary figures, and more. Taken on its own, each brief essay is an engaging discussion of key elements of Vietnamese culture and the history of an issue confronting Việt Nam today.

The Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook's global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists. By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance context. By exploring anew what happens when interculturalism and performance intersect as embodied practice, The Methuen Drama Handbook of Interculturalism and Performance offers new perspectives on a seminal theoretical concept still as useful as it is controversial. Featuring a series of indispensable research tools, including a fully annotated bibliography, this is the essential scholarly handbook for anyone working in intercultural theatre and performance, and performance studies.