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Migration and Tourism in the Indonesian Borderlands
Since the late 1960s the Indonesian island of Batam has been transformed from a sleepy fishing village to a booming frontier town, where foreign investment, mostly from neighboring Singapore, converges with inexpensive land and labor. Indonesian female migrants dominate the island’s economic landscape both as factory workers and as prostitutes servicing working class tourists from Singapore. Indonesians also move across the border in search of work in Malaysia and Singapore as plantation and construction workers or maids. Export processing zones such as Batam are both celebrated and vilified in contemporary debates on economic globalization. The Anxieties of Mobility moves beyond these dichotomies to explore the experiences of migrants and tourists who pass through Batam. Johan Lindquist’s extensive fieldwork allows him to portray globalization in terms of relationships that bind individuals together over long distances rather than as a series of impersonal economic transactions. He offers a unique ethnographic perspective, drawing together the worlds of factory workers and prostitutes, migrants and tourists, and creating a compelling account of everyday life in a borderland characterized by dramatic capitalist expansion. The book uses three Indonesian concepts (merantau, malu, liar) to shed light on the mobility of migrants and tourists on Batam. The first refers to a person’s relationship with home while in the process of migration. The second signifies the shame or embarrassment felt when one is between accepted roles and emotional states. The third, liar, literally means "wild" and is used to identify those who are out of place, notably squatters, couples in premarital cohabitation, and prostitutes without pimps. These sometimes overlapping concepts allow the book to move across geographical and metaphorical boundaries and between various economies.
Mining China's Revolutionary Tradition
How do we explain the surprising trajectory of the Chinese Communist revolution? Why has it taken such a different route from its Russian prototype? An answer, Elizabeth Perry suggests, lies in the Chinese Communists’ creative development and deployment of cultural resources – during their revolutionary rise to power and afterwards. Skillful "cultural positioning" and "cultural patronage," on the part of Mao Zedong, his comrades and successors, helped to construct a polity in which a once alien Communist system came to be accepted as familiarly "Chinese." Perry traces this process through a case study of the Anyuan coal mine, a place where Mao and other early leaders of the Chinese Communist Party mobilized an influential labor movement at the beginning of their revolution, and whose history later became a touchstone of "political correctness" in the People’s Republic of China. Once known as "China’s Little Moscow," Anyuan came over time to symbolize a distinctively Chinese revolutionary tradition. Yet the meanings of that tradition remain highly contested, as contemporary Chinese debate their revolutionary past in search of a new political future.
Among Borneo's spectacular indigenous buildings, the longhouses, mortuary monuments, and other architectural forms of the interior are some of the most outstanding, and much of the renewed interest in indigenous architecture has focused on the rapidly vanishing or now extinct traditional forms of a small number of surviving examples or recreations. Drawing on the author's extensive research and travel in Borneo, this impressive and original study offers a more comprehensive account of this architecture than any previous work. Organized into two sections, the book first documents and explains traditional built forms in terms of tools and materials, the environmental context, village organization, and social arrangements. This section includes a full discussion of architecture designs and symbolism, especially those dealing with life and death. The author next looks at the destruction or transformation of traditional architecture based on a number of interrelated developments, including religious conversion, Western influence, internal migration, and logging, as well as governmental attitudes and efforts. The book concludes with a discussion of recent efforts to document and preserve traditional structures and turn indigenous as well as colonial architecture into history and heritage.
Silence, Memory, and the Photographic Record in Cambodia
The Western Armaments Trade in Warlord China, 1920-28, Second Edition
First published in 1982, this book remains the classic account of the arms trade in warlord China. The second edition includes a new preface that reframes the argument within the paradigm of critical militarism and state criminality. Arming the Chinese tells the story of the Western and Japanese merchants and governments who provided weapons to warlords for their expanding armies. Although the warlords were hearty individualists who retained control over domestic affairs and rarely relied on single foreign suppliers, the armaments trade, Chan argues, was a new form of imperialism, which perpetrated the continued Western and Japanese domination of China.
Sixteenth-century wall paintings in a Buddhist temple in the Tibetan cultural zone of northwest India are the focus of this innovative and richly illustrated study. Initially shaped by one set of religious beliefs, the paintings have since been reinterpreted and retraced by a later Buddhist community, subsumed within its religious framework and communal memory. Melissa Kerin traces the devotional, political, and artistic histories that have influenced the paintings' production and reception over the centuries of their use. Her interdisciplinary approach combines art historical methods with inscriptional translation, ethnographic documentation, and theoretical inquiry to understand religious images in context.
The Chinese Cultural Revolution, 1966-76
Forty years after China's tumultuous Cultural Revolution, this book revisits the visual and performing arts of the period � the paintings, propaganda posters, political cartoons, sculpture, folk arts, private sketchbooks, opera, and ballet � and examines what these vibrant, militant, often gaudy images meant to artists, their patrons, and their audiences at the time, and what they mean now, both in their original forms and as revolutionary icons reworked for a new market-oriented age. Chapters by scholars of Chinese history and art and by artists whose careers were shaped by the Cultural Revolution offer new insights into works that have transcended their times.
In 2002 a manga (comic book) was for the first time successfully charged with the crime of obscenity in the Japanese courts. In The Art of Censorship Kirsten Cather traces how this case represents the most recent in a long line of sensational landmark obscenity trials that have dotted the history of postwar Japan. The objects of these trials range from a highbrow literary translation of Lady Chatterley’s Lover and modern adaptations and reprintings of Edo-period pornographic literary “classics” by authors such as Nagai Kafu to soft core and hard core pornographic films, including a collection of still photographs and the script from Oshima Nagisa’s In the Realm of the Senses, as well as adult manga. At stake in each case was the establishment of a new hierarchy for law and culture, determining, in other words, to what extent the constitutional guarantee of free expression would extend to art, artist, and audience.
The work draws on diverse sources, including trial transcripts and verdicts, literary and film theory, legal scholarship, and surrounding debates in artistic journals and the press. By combining a careful analysis of the legal cases with a detailed rendering of cultural, historical, and political contexts, Cather demonstrates how legal arguments are enmeshed in a broader web of cultural forces. She offers an original, interdisciplinary analysis that shows how art and law nurtured one another even as they clashed and demonstrates the dynamic relationship between culture and law, society and politics in postwar Japan.
The Art of Censorship will appeal to those interested in literary and visual studies, censorship, and the recent field of affect studies. It will also find a broad readership among cultural historians of the postwar period and fans of the works and genres discussed.
The Dunhuang Cave of the Zhai Family
The cave-temple complex popularly known as the Dunhuang caves is the world’s largest extant repository of Tang Buddhist art. Among the best preserved of the Dunhuang caves is the Zhai Family Cave, built in 642. It is this remarkable cave-temple that forms the focus of Ning Qiang’s cross-disciplinary exploration of the interrelationship of art, religion, and politics during the Tang. The author combines, in his careful examination of the paintings and sculptures found there, the historical study of pictures with the pictorial study of history. By employing this two-fold approach, he is able to refer to textual evidence in interpreting the formal features of the cave temple paintings and to employ visual details to fill in the historical gaps inevitably left by text-oriented scholars. The result is a comprehensive analysis of the visual culture of the period and a vivid description of social life in medieval China. The original Zhai Family Cave pictures were painted over in the tenth century and remained hidden until the early 1940s. Once exposed, the early artwork appeared fresh and colorful in comparison with other Tang paintings at Dunhuang. The relatively fine condition of the Zhai Family Cave is crucial to our understanding of the original pictorial program found there and offers a unique opportunity to investigate the visual details of the original paintings and sculptures in the cave. At the same time, the remaining traces of reconstruction and redecoration provide a new perspective on how, for over three centuries, a wealthy Chinese clan used its familial cave as a political showcase.
Drama and the Qing Imperial Court
"On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of first-hand materials, the author meticulously excavates and combs historical data including court records, eunuchs' memoirs, pictorial archives of opera costumes, and period news. She investigates the development of imperial drama and its influence on the Peking Opera, as well as the function and system of imperial organizations responsible for drama. Also discussed are the complex roles of the actors on and off stage, and the broader issues of cultural and political influence intertwined with the performances themselves. The book thus presents us not only an art history of Peking Opera, but also a vivid scroll-painting of the social-cultural life both in and beyond the Forbidden City.