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This richly illustrated catalogue examines the power of photography and its mobilisation within systems of knowledge and representation across Southeast Asian societies. Rather than just thinking about what photographs show, Living Pictures explores what photographs do, acknowledging that photographs have lives—they move and they act—and in the process, they affect the world around them. This groundbreaking catalogue accompanies the world’s first-ever survey of the medium’s histories across Southeast Asia, from its earliest beginnings in the 19th century until its diverse contemporary manifestations. It traces the creation, circulation and consumption of photography and how these processes have shaped the visual regimes of the region, through essays by the Living Pictures curators, interviews with artists and photographers featured in the exhibition, comprehensive plates including never-before-published images, and new research by leading international scholars focusing on the interdisciplinary intersections between photography and art history, archaeology and cultural theory.
Photography in Southeast Asia: A Survey is a comprehensive attempt to map the emergence and trajectories of photographic practices in Southeast Asia. The narrative begins in the colonial era, at the point when the transfer of photographic technology occurred between visiting practitioners and local photographers. With individual chapters dedicated to the countries of Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Singapore, Thailand, Philippines and Vietnam, the bulk of the book spans the post-World War Two era to the contemporary, focusing on practitioners who operate with agency and autonomy. The relationship between art and photography, which has been defined very narrowly over the decades, is re-examined in the process. Photography also offers an entry point into the cultural and social practices of the region, and a prism into the personal desires and creative decisions of its practitioners.
An emerging interest in a British East and Southeast Asian identity after decades of political and social exclusion has coincided with periods of economic and political challenges in the UK. In Migration and Identity in British East and Southeast Asian Cinema, Leung Wing-Fai argues that this explosive context has created rich and diverse forms of storytelling and an accented cinematic language. By offering close readings of key contemporary films and positioning them in a wider slate of releases by British East and Southeast Asian filmmakers alongside Anglophone film histories in the Global North, this book sheds light on a developing field and engenders new ways of understanding British cinema and society. The author explores changing representational politics in contemporary cinema and argues for the cinematic visibility of a hitherto silenced community. Drawing on theoretical frames from sociological, film and cultural studies to critically engage with the textual and visual language of the case studies, Leung claims the place of British East and Southeast Asian Cinema as a film and cultural movement. Highlighting diversity among the British East and Southeast Asian community, pushing boundaries in its intersectional approach to ethnicity, race, gender and sexuality, and proposing a critical framework for academic studies on diasporic film-making in the UK, this nuanced and innovative study will interest researchers, teachers and students in a range of Humanities and Liberal Arts subjects, including Film and Media Studies, Regional/Area Studies (Asia), and arts, cultural and creative productions from the East and Southeast Asian diaspora.
Images of the Tropics critically examines Dutch colonial culture in the Netherlands Indies through the prism of landscape art. Susie Protschky contends that visual representations of nature and landscape were core elements of how Europeans understood the tropics, justified their territorial claims in the region, and understood their place both in imperial Europe and in colonized Asia during the nineteenth and early twentieth centuries. Her book thus makes a significant contribution to studies of empire, art and environment, as well as to histories of Indonesia and Europe. Surveying a rich visual culture developed over a period of some 350 years of Dutch colonial engagement with Indonesia Susie Protschky demonstrates how views of the archipelago’s environment were far from simple topographical souvenirs. Rather, this book reveals how images of the tropics visually articulated colonial attempts to legitimize and historicize what were in fact continually changing and contested claims to Dutch territorial sovereignty in the Indies. Further, colonial images of nature were routinely inflected with diverse cultural preoccupations, among them the constitution of gender, class and racial boundaries in Indies society; the tenor of sexual mores in the tropics; and the political role of religion in the archipelago. Landscape art thus indexed colonial views on a range of pressing social and political concerns.
In 1981, the Filipino artist and curator Raymundo Albano adopted the expression “Suddenly Turning Visible” to describe the rapid transformation of Manila’s urban landscape. The visibility that Albano evoked was aspirational, driven by a desire for rapid economic growth in which art had a critical role. This catalogue traces this story through three influential art institutions: the Cultural Center of the Philippines, the Alpha Gallery in Singapore and the Bhirasri Institute of Modern Art in Bangkok. It presents in rich detail artworks from the period, an anthology of primary documents and interviews with curators, artists and architects, revealing the links between architecture, modern art and the role of institutions in Southeast Asia.
An introduction to the geography, history, government, people, and economy of Laos.
Through the fascinating stories of pioneering ministers, this book reveals a unique picture of progressive changes occurring in the Christian tradition. Meeting challenges and overcoming obstacles, these twelve diverse ministers are changing the church as they take prophetic stands on gender, race, interfaith cooperation, ecology, sexual orientation, economic opportunity, and other social justice issues. Believing in the power of sacred symbolism to shape social reality and to provide a foundation for justice and freedom for all people, these ministers lead worship with inclusive language and imagery for humanity and divinity. They include multicultural female and male images of the Divine. Their stories affirm the connection between this expansive theology and an ethic of justice and equality in human relationships. In working from within to change the church, these ministers have risked censure by denominational authorities, loss of opportunities for promotion to larger congregations or to prestigious denominational positions, and even loss of their jobs. They have found creative ways to balance advocating for change and working to support the church, using their positions as ordained clergy to bring liberating change to the church and the wider culture.
Focuses on the cooperation between Hong Kong and Japanese cinema from the Sino-Japanese War, which broke out in the 1930s, up until the early 1970s, to re-evaluate the significance of this event in the context of Asian film history.
A pioneering study of historical developments that have shaped Asia concludes with this volume tracing the impact of ideas and cultures of people on the move across the continent, whether willingly or not. In the final volume of Asia Inside Out, a stellar interdisciplinary team of scholars considers the migration of people—and the ideas, practices, and things they brought with them—to show the ways in which itinerant groups have transformed their culture and surroundings. Going beyond time and place, which animated the first two books, this third one looks at human beings on the move. Human movement from place to place across time reinforces older connections while forging new ones. Erik Harms turns to Vietnam to show that the notion of a homeland as a marked geographic space can remain important even if that space is not fixed in people’s lived experience. Angela Leung traces how much of East Asia was brought into a single medical sphere by traveling practitioners. Seema Alavi shows that the British preoccupation with the 1857 Indian Revolt allowed traders to turn the Omani capital into a thriving arms emporium. James Pickett exposes the darker side of mobility in a netherworld of refugees, political prisoners, and hostages circulating from the southern Russian Empire to the Indian subcontinent. Other authors trace the impact of movement on religious art, ethnic foods, and sports spectacles. By stepping outside familiar categories and standard narratives, this remarkable series challenges us to rethink our conception of Asia in complex and nuanced ways.
This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.