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Space, Politics, and Jakarta
After the New Order follows up Abidin Kusno’s well-received Behind the Postcolonial and The Appearances of Memory. This new work explores the formation of populist urban programs in post-Suharto Jakarta and the cultural and political contradictions that have arisen as a result of the continuing influence of the Suharto-era’s neoliberal ideology of development. Analyzing a spectrum of urban agendas from waterfront city to green environment and housing for the poor, Kusno deepens our understanding of the spatial mediation of power, the interaction between elite and populist urban imaginings, and how past ideologies are integral to the present even as they are newly reconfigured.
The book brings together eight chapters that examine the anxiety over the destiny of Jakarta in its efforts to resolve the crisis of the city. In the first group of chapters Kusno considers the fate and fortune of two building types, namely the city hall and the shop house, over a longue duree as a metonymy for the culture, politics, and society of the city and the nation. Other chapters focus on the intellectual legacies of the Sukarno and Suharto eras and the influence of their spatial paradigms. The final three chapters look at social and ecological consciousness in the post-Suharto era. One reflects on citizens’ responses to the waterfront city project, another on the efforts to “green” the city as it is overrun by capitalism and reaching its ecological limits. The third discusses a recent low-income housing program by exploring the two central issues of land and financing; it illuminates the interaction between the politics of urban space and that of global financial capitalism. The epilogue, consisting of an interview with the author, discusses Kusno’s writings on contemporary Jakarta, his approach to history, and how his work is shaped by concerns over the injustices, violence, and environmental degradation that continue to accompany the city’s democratic transition.
After the New Order will be essential reading for anyone—including Asianists, urban historians, social scientists, architects, and planners—concerned with the interplay of space, power, and identity.
The Living World of Chiri Yukie’s Ainu Shin’yōshū
Indigenous peoples throughout the globe are custodians of a unique, priceless, and increasingly imperiled legacy of oral lore. Among them the Ainu, a people native to northeastern Asia, stand out for the exceptional scope and richness of their oral performance traditions. Yet despite this cultural wealth, nothing has appeared in English on the subject in over thirty years. Sarah Strong’s Ainu Spirits Singing breaks this decades-long silence with a nuanced study and English translation of Chiri Yukie’s Ainu Shin’yoshu, the first written transcription of Ainu oral narratives by an ethnic Ainu.
The thirteen narratives in Chiri’s collection belong to the genre known as kamui yukar, said to be the most ancient performance form in the vast Ainu repertoire. In it, animals (and sometimes plants or other natural phenomena)—all regarded as spiritual beings (kamui) within the animate Ainu world—assume the role of narrator and tell stories about themselves. The first-person speakers include imposing animals such as the revered orca, the Hokkaido wolf, and Blakiston’s fish owl, as well as the more “humble” Hokkaido brown frog, snowshoe hare, and pearl mussel. Each has its own story and own signature refrain.
Strong provides readers with an intimate and perceptive view of this extraordinary text. Along with critical contextual information about traditional Ainu society and its cultural assumptions, she brings forward pertinent information on the geography and natural history of the coastal southwestern Hokkaido region where the stories were originally performed. The result is a rich fusion of knowledge that allows the reader to feel at home within the animistic frame of reference of the narratives.
Strong’s study also offers the first extended biography of Chiri Yukie (1903-1922) in English. The story of her life, and her untimely death at age nineteen, makes clear the harsh consequences for Chiri and her fellow Ainu of the Japanese colonization of Hokkaido and the Meiji and Taisho governments’ policies of assimilation. Chiri’s receipt of the narratives in the Horobetsu dialect from her grandmother and aunt (both traditional performers) and the fact that no native speakers of that dialect survive today make her work all the more significant. The book concludes with a full, integral translation of the text.
Representations of the Exotic in Twentieth-Century Japanese Literature
Readers worldwide have long been drawn to the foreign, the exotic, and the alien, even before Freud’s famous essay on the uncanny in 1919. Given Japan’s many years of relative isolation, followed by its multicultural empire, these themes seem particularly ripe for exploration and exploitation by Japanese writers. Their literary adventures have taken them inside Japan as well as outside, and how they internalized the exotic through the adoption of modernist techniques and subject matter forms the primary subject of this book. The Alien Within is the first book-length thematic study in English of the alien in modern Japanese literature and helps shed new light on a number of important authors. Morton examines the Gothic, a form of writing with strong affinities to European Gothic and a motif in the fiction of several key modern Japanese writers, such as Arishima Takeo. Morton also discusses the translations of Tsubouchi Shoyo, Japan’s most famous early translator of Shakespeare, and how this most alien and exotic author was absorbed into the Japanese literary and theatrical tradition. The new field of translation theory and how it relates to translating Shakespeare are also discussed. Morton devotes two chapters to the celebrated female poet Yosano Akiko, whose verse on childbirth and her unborn children broke taboos relating to the expression of the female body and sensibility. He also highlights the writing of contemporary Okinawan novelist Oshiro Tatsuhiro, whose work springs from what is for Japanese an exotic subtropical landscape and makes symbolic reference to the otherness at the heart of Japanese religiosity. Another significant but equally overlooked subject is the focus of the final chapter, which analyzes the travel writing of internationally best-selling author Murakami Haruki. Murakami’s great corpus of work includes a one-volume study of the 2000 Sydney Olympics, which Morton discusses in detail. The Alien Within breaks new ground in its treatment of the exotic in modern Japanese writing and in its discussion of authors and work hitherto absent from critical discussions in English. It will be of significant interest to readers of literature and students of modern Japanese culture and women’s writing as well as those fascinated by the occult, Gothic fiction, and the exotic.
Living Myth and Architectonics in Southern China
Allegorical Architecture offers the first detailed architectural analysis of built forms and building types of the minority groups in southern China and of the Dong nationality in particular. It argues that Dong architecture symbolically resembles its inhabitants in many ways. The built world is an extension of their body and mind; their experience of architecture is figurative and their understanding of it allegorical. Unlike the symbolism of historical architecture, which must be decoded through a speculative reconstruction of the past, the Dong tell stories about inhabitants in their living state in the recurrent process of ritualistic making and inhabiting of their built world. This book thus offers architectural analysis of both spatial dispositions (building types) and social life (the workings of buildings). Xing Ruan likens the built world to allegory to develop an alternative to textual understanding. The allegorical analogy enables him to decipher minority architecture less as a didactic "text" and more as a "shell," the inhabitation of which enables the Dong to renew and reinvent continually the myths and stories that provide them with an assurance of home and authenticity. Attention is focused less on the supposed meanings (symbolic, practical) of the architecture and more on how it is used, inhabited, and hence understood by people. Throughout, Ruan artfully avoids the temptation to textualize the built world and read from it all sorts of significance and symbolism that may or may not be shared by the inhabitants themselves. By likening architecture to allegory, he also subtlety avoids the well-worn path of accounting for rich traditions via a "salvage ethnography"; on the contrary, he argues that cultural reinvention is an ongoing process and architecture is one of the fundamental ingredients to understanding that process. Ruan offers "thick description" of Dong architecture in an attempt to understand the workings of architecture in the social world. Paying attention to Dong architecture within a regional as well as a global context makes it possible to combine detailed formal analysis of settlement patterns and building types and their spatial dispositions with their effects in a social context. Architecture, in a broad sense, is assumed to be an art form in which the feelings and lives of its makers and inhabitants are embodied. The artifice of architecture—its physical laws—is therefore analyzed and contested in terms of its instrumental capacity. Allegorical Architecture is a work of refreshing originality and compelling significance. It will provide timely lessons for those concerned with the meaning and social sustainability of the built world and will appeal to architects, planners, cultural geographers, anthropologists, historians, and students of these disciplines.
Japanese Identity in Photography and Architecture
Allegories of Time and Space explores efforts by leading photographers, artists, architects, and commercial designers to re-envision Japanese cultural identity during the turbulent years between the Asia Pacific War and the bursting of the economic bubble in the 1990s. This search for a cultural home was a matter of broad public concern, and each of the artists under consideration engaged a wide audience through mass media. The artists had in common the necessity to establish distance from their immediate surroundings temporally or geographically in order to gain some perspective on Japan’s rapidly changing society. They shared what Jonathan Reynolds calls an allegorical vision, a capacity to make time and space malleable, to see the present in the past and to find an irreducible cultural center at Japan’s geographical periphery.
The book begins with an examination of the work of Hamaya Hiroshi, whose images of village life expressed a nostalgia for the rural past widely shared by urban Japanese. Reynolds identifies a similar strategy in photographer Tōmatsu Shōmei’s search for an authentic Japan. The self-styled iconoclast Okamoto Tarō emphatically rejected the delicate refinement conventionally associated with Japanese art in favor of the dynamic aesthetics he saw expressed on prehistoric Jōmon-period ceramics; architect Tange Kenzō likewise embraced Japan’s ancient past in his work. As a point of comparison, Reynolds looks at the Shintō shrine complex at Ise as portrayed in a volume produced with photographer Watanabe Yoshio. He shows how this landmark book re-presented the shrine architecture as design consistent with rigorous modernist aesthetics. In the advertising posters of Ishioka Eiko and the ephemeral “nomadic” architecture of Itō Toyoo from the 1970s and 1980s, Reynolds reveals the threads linking urban nomad fantasies with earlier efforts to situate contemporary Japanese cultural identity in time and space.
In its fresh and nuanced re-reading of the multiplicities of Japanese tradition during a tumultuous and transformative period, Allegories of Time and Space offers a compelling argument that the work of these artists enhanced efforts to redefine tradition in contemporary terms and, by doing so, promoted a future that would be both modern and uniquely Japanese.
China-Japan Relations in the Han-Tang Period
Using recent archaeological findings and little-known archival material, Wang Zhenping introduces readers to the world of ancient Japan as it was evolving toward a centralized state. Competing Japanese tribal leaders engaged in "ambassador diplomacy" and actively sought Chinese support and recognition to strengthen their positions at home and to exert military influence on southern Korea. They requested, among other things, the bestowal of Chinese insignia: official titles, gold seals, and bronze mirrors. Successive Chinese courts used the bestowal (or denial) of the insignia to conduct geopolitics in East Asia. Wang explains in detail the rigorous criteria of the Chinese and Japanese courts in the selection of diplomats and how the two prepared for missions abroad. He journeys with a party of Japanese diplomats from their tearful farewell party to hardship on the high seas to their arrival amidst the splendors of Yangzhou and Changan and the Sui-Tang court. The depiction of these colorful events is combined with a sophisticated analysis of premodern diplomacy using the key concept of mutual self-interest and a discussion of two major modes of diplomatic communication: court reception and the exchange of state letters. Wang reveals how the parties involved conveyed diplomatic messages by making, accepting, or rejecting court ceremonial arrangements. Challenging the traditional view of China’s tributary system, he argues that it was not a unilateral tool of hegemony but rather a game of interest and power in which multiple partners modified the rules depending on changing historical circumstances.
Chinese Merchant Elites in Colonial Manila, 1880–1916
What binds overseas Chinese communities together? Traditionally scholars have stressed the interplay of external factors (discrimination, local hostility) and internal forces (shared language, native-place ties, family) to account for the cohesion and "Chineseness" of these overseas groups. Andrew Wilson challenges this Manichean explanation of identity by introducing a third factor: the ambitions of the Chinese merchant elite, which played an equal, if not greater, role in the formation of ethnic identity among the Chinese in colonial Manila. Drawing on Chinese, Spanish, and American sources and applying a broad range of historiographical approaches, this volume dissects the structures of authority and identity within Manila’s Chinese community over a period of dramatic socioeconomic change and political upheaval. It reveals the ways in which wealthy Chinese merchants dealt in not only goods and services, but also political influence and the movement of human talent from China to the Philippines. Their influence and status extended across the physical and political divide between China and the Philippines, from the villages of southern China to the streets of Manila, making them a truly transnational elite. Control of community institutions and especially migration networks accounts for the cohesiveness of Manila’s Chinese enclave, argues Wilson, and the most successful members of the elite self-consciously chose to identify themselves and their protégés as Chinese.
Cultural Tourism and the Negotiation of Tradition
At the 1989 Smithsonian Folklife Festival, throngs of visitors gathered on the National Mall to celebrate Hawai‘i’s multicultural heritage through its traditional arts. The "edu-tainment" spectacle revealed a richly complex Hawai‘i few tourists ever see and one never before or since replicated in a national space. The program was restaged a year later in Honolulu for a local audience and subsequently inspired several spin-offs in Hawai‘i. In both Washington, D.C., and Honolulu, the program instigated a new paradigm for cultural representation. Based on archival research and extensive interviews with festival organizers and participants, this innovative cross-disciplinary study uncovers the behind-the-scenes negotiations and processes that inform the national spectacle of the Smithsonian Folklife Festival. Intersecting the fields of museum studies, folklore studies, Hawaiian studies, performance studies, cultural studies, and American studies, American Aloha supplies a nuanced analysis of how the carefully crafted staging of Hawai‘i’s cultural diversity was used to serve a national narrative of utopian multiculturalism—one that collapsed social inequities and tensions, masked colonial history, and subordinated indigenous politics—while empowering Hawai‘i’s traditional artists and providing a model for cultural tourism that has had long-lasting effects. Heather Diamond deftly positions the 1989 program within a history of institutional intervention in the traditional arts of Hawai‘i’s ethnic groups as well as in relation to local cultural revivals and the tourist industry. By tracing the planning, fieldwork, site design, performance, and aftermath stages of the program, she examines the uneven processes through which local culture is transformed into national culture and raises questions about the stakes involved in cultural tourism for both culture bearers and culture brokers.
"A major, unique, and useful contribution to the understanding of regional ethnography in general and of Micronesia in particular. Kudos." --The Contemporary Pacific, Fall 2000 "Unique. For no other part of the world has the anthropological endeavour been so resolutely, comprehensively and even self-critically compiled, in qualitative and quantitative terms." --Australian Journal of Anthropology 12 (2001)"Clearly a significant contribution to the history of our discipline." --George W. Stocking, Jr., University of Chicago "The best compendium of its type I have ever encountered. That it is also beautifully produced helps; but mostly it's the conceptual framework and the high quality of each of the chapters and even many tidbits at the end." --Melford E. Spiro, University of California, San Diego "Despite the diversity of contributions, reflecting the perspectives of various subdisciplines of cultural anthropology, a number of recurring issues and themes emerge. These include a questioning of the notion of 'Micronesia', the tension between the postwar era of government-funded applied anthropology and the more recent period of pure research, and the degree to which American anthropological involvement in Micronesia influenced the US administration, Micronesia and Micronesians, and the wider discipline." --Journal of the Polynesian Society, September 2000 "I'm not an anthropologist ... [but] I was utterly fascinated by the historical background, thorough literature review and often painful self-reflection." --Pacific Affairs, Spring 2001
Letters of Carrie Prudence Winter, 1890-1893
The book consists of selected and edited letters from Hawai’i during the revolution period (1890-1893) by Carrie Prudence Winter (1866-1942), a young missionary teacher at Kawaiaha’o Seminary in Honolulu describing in great detail the operation of the Seminary, the lives of the Hawaiian girls there, and her experiences in Hawai’i. Miss Winter listed all of her Hawaiian students, and the Who’s Who appendix identifies them and other individuals mentioned in the book. The book also reproduces some examples of student homework, including 4 autobiographical essays by children she taught. This book includes a foreword by Dr. C. Kalani Beyer, Kamehameha School graduate, a noted scholar in the history of Hawai’i and education. It includes a hand drawn map by the renowned artist, Barron Storey. The book is profusely illustrated by original photographs, most of which have never before been published.