August 12, 2014
by fatsodoctor

Globalization, Nationalism and the Text of ‘Kichaka-Vadha’


Globalization and ‘Kichaka-Vadha’

Rakesh H. Solomon

Anthem Press, 2014

The first English translation of ‘Kichaka-Vadha’ is presented alongside the most detailed scholarly analysis based on a comprehensive range of archival documents about this anticolonial Marathi classic to date.

In addition to providing the first English translation of the play, this volume is the only edition of the play, in any language, to provide an extensive historical-critical analysis which draws on a comprehensive range of archival documents.  It is also the first study to locate this landmark text within such an expansive theatre-historical and political landscape.  ‘Globalization, Nationalism and the Text of ‘Kichaka-Vadha'” illuminates the complex policies and mechanisms of theatrical censorship in the British Raj, and offers many rare production photographs.

About the Author

Rakesh H. Solomon (Indiana University-Bloomington) has published widely on both American Theatre and South Asian theatre.

June 30, 2014
by fatsodoctor

AAP 2014 Schedule

July 23 – July 24
Fairmont Scottsdale Princess Hotel


WEDNESDAY, July 23rd

8:00 – 8:15 am Welcome from the President

8:25-9:35 Panel I Literary Gestures: Movement and Intertextuality on Chinese Stages

  • “The Central Asian Slipper: Absorption, Assimilation and the Cinderella Myth in Modern Uyghur Dance”–Ronald Gilliam University of Hawai’i Manoa
  • “Beginning with a Poem: The Power of Brush in the Chinese Revolutionary Dance Drama entitled Butterfly Loves Flowers”–Nan Ma, University of Wisconsin-Madison
  • “Embodying Classic Characters: Literary Intertextuality in Chinese Dance Competition Solo Works”–Emily Wilcox, University of Michigan

9:35-9:50 Coffee

9:50-11:00 Panel II Kun Qu, Kyōgen, Nō

  • A Tradition in Modernization; The Contemporary Development of Kunqu”–Ming Yang, University of Hawai’i-Manoa
  • “Muromachi Musicals: Resetting Kyōgen in a Modern Medium”–Gart Westerhout, Kinjo College
  • “Kun qu and Noh: A Comparative Study on the issue of Creative Inheritance and Cross Cultural Spreading of Traditional Asian Theater”–Yumin Ao, Kennesaw State University

11:00-12:10 Balinese Topeng Workshop

  • Margaret Coldiron, University of Essex

12:10-1:30 Lunch

1:30-2:40 Panel III Emerging Scholars

  • Sketches Towards an Indies and Indonesian Xiqu History—Josh Stenberg, Nanjing University
  • “Reconstructing Meaning: Modernizing Peking Opera through Montage”—Sophia Tingting Zhao, Stanford University
  • “Not Feminism: A discourse on the Politics of a term in Modern Indian Theatre”–Katherine Lieder, University of Wisconsin Madison

2:40-3:50 Panel IV Nationalism and Ideologies

  • Teenagers, Technology, Tradition: Managing Identity in Balinese Arja”–Bethany Collier, Bucknell University
  • “(Per)forming the Indian Nation: Between Recouping Tradition and a Coup to Tradition”–Boris Daussà-Pastor, The Graduate Center—CUNY
  • “Modern Bengali Theatre: An Assessment of European Influence”–Saiful Islam, University of Dhaka

3:50-4:05 Coffee

4:05-5:30 Panel V  The Tension Between Art and Politics: Japanese Prolitarian Theatre Artists in the 1920s-1930s

  • “Being ‘International’ Politically an Theatrically: Collaboration of Sono Seki and Senda Koreya”–Yoshiko Fukushima, University of Hawai’i-Hilo
  • “Sasaki Takamaru’s Itagaki Taisuke: Meiji Politics on the Japanese Proletarian Stage” –Aragon Quinn, Stanford University
  • Modernism and Politics in Shingeki: The Case of Hijikata Yoshi from Late 1910s- 1933”–Gouhe Zheng, Ball State University
  • Discussant—M. Cody Poulton, University of Victoria

5:30-6:40 Panel VI Founding Mothers of Asian Theatre Scholarship

  • “Rulan Chao Pian” – Emily Wilcox, University of Michigan
  • “Beate Gordon”– Kathy Foley, University of California Santa Cruz
  • “Elizabeth Wichmann-Walczak”– Fan Xing, Bates College
  • “Carol Fisher Sorgenfrei and Karen Brazell”– David Jortner, Baylor University
  • “Kathy Foley”– Margaret Coldiron, University of Essex

6:45 Schmoozefest gathering—The Persian Room, Scottsdale


  • Claudia Orenstein, CUNY _Hunter


8:00-9:15 Board Meeting

9:15-10:25 Panel VII Economics and Chinese Theatre/1930s and Today

  • “Technical Difficulties: Realism vs. Reality in Left-Wing Chinese Theater”–Tarryn Li-Min Chun, Harvard University
  •  “Dramatizing the ‘Left Wing’/Canonizing the ‘Back-Stage:’ Annals of the Theatre 1943 and the politics of Making Drama History in 1930s Shanghai and 1940s Chongqing”—Man He, Williams College

10:25-10:40 Coffee

10:-11:50 Panel VIII Asian-ness and Identity

  • “Monkey King Performances as Alternative Discourse of Asian Americanness”–Sissi Liu, The Graduate Center—CUNY
  • “Dream and Life in Metamorphosis by Beijing Opera”–Iris Hsin-Chun Tuan, National Chiao Tung University

April 29, 2014
by fatsodoctor

AAP Online Downtime

AAP Online will be offline for an undetermined period beginning Monday, May 5, while the server changes locations.

During the downtime, online registration for the 2014 AAP Conference will not be available.

We expect that downtime will not last more than a few days.  Updates concerning the server’s status, and the availability of online registration for the AAP Conference will go out via AAP’s Twitter feed and will be posted to AAP’s Facebook page.

If you were already planning to register for AAP 2014, take advantage of the next couple of days to complete your registration before the server goes to sleep.

April 10, 2014
by fatsodoctor

Asian Performance in UK Universities


A consortium of UK academics, working in the diverse fields of theatre, dance and ethnomusicology, come together for the first time in this unique, multidisciplinary, roundtable discussion on the future of Asian theatre, dance and music in the UK HEIs.

Date & Venue: 17 May 2014:  Centre for Creative Collaboration, 16 Acton Street, London (WC1X 9NG)


Asian Performing Arts Forum, Centre for International Theatre and Performance Research, Royal Holloway, University of London

Theatre, Consciousness & Asian Performance Research Group, University of Lincoln

Centre for Dance Research, University of Roehampton, London


Keynote Speaker: (TBC)

Asian performance research and pedagogy play a significant role in the UK HEIs. Asian theatre, music and dance, particularly the classical forms originating from East, South-East and South Asia, have been ‘visible presences’ in the curriculum of a number of university drama and theatre departments in the country, either in all three years of the degree or as an option or part of an option for a specific year (Thorpe 2009; Meduri 2005, 2010). Asian forms, practices, practitioners and productions are also studied in the contexts of intercultural theatre, world music and world dance, potentiating a vibrant and dynamic ‘space’ for theoretical and practical enquiry into what we think about performance today.

Earlier generations of scholars looked at Asian performance practices anthropologically or as tools for performer training or root sources of the international avant-garde, investigating and reframing an exploratory language and a performance vocabulary while today, increasingly, Asian arts and artists are framed within discourses of globalization and travelling cultures.

For a reasonably lengthy time of five to six decades in the past, the HEIs in the UK hosted and preserved some of the excellent moments of this encounter with Asian performance. The creation of actor training methods; innovative production approaches; emergence of new academic disciplines such as performance studies, theatre anthropology, ethnomusicology, theatre & consciousness and world dance; recent publication of research monographs and edited anthologies and journal special issues on a wide range of topics related to Asian performance, intercultural and diasporic theatre, music and dance (Barba, Blacking, Brown, Chatterjee, Cohen, Coldiron, Cooley, Daboo, Dadswell, David, Furse, Grau, Haney, Hingorani, Kapsali, Ley, Li, Lloyd, Madhavan, Malekin, Martin, Meduri, Meyer-Dinkgräfe, Mitra, Merriam, Morcom, Nair, Nettl, Pavis, Post, Prickett, Purkayastha, Rice, Schechner, Seeger, Stobart, Tan, Thorpe, Yarrow, Yoo, Zarrilli et al.) all helped the HEIs in the UK becoming leading producers of new knowledge in the field of Asian performance.

The understanding of the history of practice and a genealogy of concepts emanating from the encounter with Asian performance raises a number of questions that are currently relevant and the roundtable proposes to address the following issues in terms of Asian research, pedagogy and performance practice in the UK HEIs:

·         What kind of concerns, issues and possibilities does Asian performance research and pedagogy raise in the current scenario in UK HEIs?

·         How ‘visible’ are the people who are currently active in the field in the UK HEIs?

·         How and in what ways will Asian practice enable the enhancement of the psychophysical, tactile and cognitive capabilities of the par-takers of drama and theatre in the UK HEIs—what are the new approaches and applications?

·         Can the study of Asian performance express transnationalism? Reflect localism? Highlight, or even critique, globalisation? Or do students interpret Asian performance as a neo-colonial impulse, the introduction of an island nation to the Other?

·         What sort of postgraduate training is needed in order to support and produce the next generation of world-class researchers?

·         What ethical principles might be agreed upon by academics in order to interrogate, enhance or disrupt global circulations of Asian performance?

·         What new futures can be imagined for Asian performing arts research within the new benchmark standards set by AHRC’s recent ‘Techne’ initiative?

·         What is the future for Asian performance in UK HEIs; what are the new challenges and opportunities that Asian scholars, researchers and students grapple with the UK HEI’ sector today?


3.00 Introduction: Dr. Sreenath Nair, University of Lincoln

3.10-3.40 Keynote: (TBC)

3.40 Consortium Roundtable:

Professor Matthew Isaac Cohen, Royal Holloway, University of London

Dr. Arya Madhavan, University of Lincoln

Dr. Ashley Thorpe, Royal Holloway, University of London

Dr. Avanthi Meduri, University of Roehampton

Dr. Shzr Ee Tan, Royal Holloway, University of London


4.30 Responses

Professor (Emeritus) Ralph Yarrow, University of East Anglia

Professor Keith Howard, SOAS


4.50 discussion by participants

5.20 summing up: Professor Daniel Meyer-Dinkgräfe, University of Lincoln

5.30 end


All welcome!

For more information about the Consortium Round-Table and confirmation of your attendance please contact: Dr. Sreenath Nair, University of Lincoln:

April 9, 2014
by fatsodoctor

Asian Art & Performance CFP

Call for Papers and Presentations
International Symposium

Shifting Dialogues III
Documenting Asian Art and Performance: Embodied Knowledge, Virtuality & the Archive
December 3-5, 2014 University of the Arts, Helsinki

The Asian Art and Performance Consortium (AAPC) of the Academy of Fine Arts (Kuva) and the Finnish Theatre Academy (Teak) of the University of the Arts Helsinki will jointly host a symposium focused on documenting and archiving Asian and trans-cultural performance and fine arts.

Documentation preserves traditional and contemporary forms, and it establishes a body of knowledge for future scholars and the local communities of practitioners. Yet documentation and mediation also tends to spectacularize and reify performance and art traditions, and it can also lead to their de-contextualization and expropriation. Public memory, now primarily held “in-state” as silicon-based documents in archives, libraries and museums, is at times in conflict with historical memory held by audiences who were present at particular events. In the case of ephemeral art forms, or practices of daily life, these disparities and the problems of mediation are of particular importance. These disparities and resource sharing across cultures form the areas of focus of this symposium.

In Asian performance, transferring knowledge bodily from teacher to students, from one generation to another is a common practice. Thus the performer’s body and oral transmission function both as repertoire of embodied practices, and as an ephemeral archive that preserves, modifies and transmits those practices from one generation to another. Different iconographic materials, including temple reliefs and canonical treatises, have also preserved ephemeral traditions through centuries. Filmed and electronic documentation of the traditions has further increased the amount of available data.

The research under this topic will focus on the relationship of cultural artefacts to memory, discrimination, censorship and social agreements around memorialization and the construction of Asian ‘canons’.

We will also ask:

  • What is the impact of media on art and performance works documented, and how does documentation change the significance or reception of significant cultural artefacts?
  • How do we avoid the performance documentary becoming the site where “mediocrity can play a hero’s part?” as Marx put it. Are some performances undeservedly preserved when they would be better off decaying naturally in the audience’s collective mind? Are we surrounding ourselves by the mixed remnants of past failures and successes, leading to a loss of the ability to accurately assess the quality of ephemeral acts?
  • Can archival procedures be more productively and strategically designed as an active cultural construction, rather than assumed to function as a passive repository for technical recall or social memory?

Issues that can be raised at the symposium include embodied, iconographic and electronic transfer of performance traditions in Asia related to live performance and traditional pedagogies, as well as the use of moving image, photography, web-based presence and new media, historical and theoretical writings, the construction of archives, museums and libraries.

This is the third and final symposium organized under the Shifting Dialogues – Asian Performance and Fine Arts research project, funded by the Academy of Finland in 2011-2014. The symposium is free of charge. Presentations reflecting practice-based artistic research are encouraged.

DEADLINE for proposals is 2 May, 2014. Decisions will be confirmed by 20 May 2014.

For the purpose of creating an interactive symposium, with a high level of response and discussion of all presentations, we have set a deadline for completed papers: 24 November 2014.

TO SUBMIT proposals please provide the following by the deadline to

  • abstract of 250 words with low resolution images or directions to on-line video as needed
  •  short bio of 150 words
  •  attached cv
  • mode of presentation and any special technical or space requirements

We regret that we are unable to provide scholarships for presenters.