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Plate 1.

James R. Brandon’s kabuki extravaganza Narukami the Thundergod, University of Hawai‘i (1987). Strongman Goto Mototeru (Mike Hase) confronts Narukami the Thunder-god (Steve D. Wagenseller) in the finale. James R. Brandon, translator and director; Onoe Kikunobu, choreography; Yamada Chie and Ricardo Trimillos, musical direction. (Photo: James R. Brandon)


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Plate 2.

Dalang Asep Sunandar Sunarya (1955–2014) performs a ruwatan, a ritual performance of Sundanese wayang golek, the rod puppet theatre of West Java. (Photo: Arthur Nalan)


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Plate 3.

Dalang Asep Sunandar Sunarya was famed for his dancing of the refined male, Machtal, at the opening of each performance. (Photo: Arthur Nalan)


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Plate 4.

Chen Qiaoru performing Shui Ta and Shen Teh in Good Woman/Bad Woman. (Photo: Chengdu Chuanju Company)


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Plate 5.

In The Good Person of Jiangnan, the freeloaders convince Shen Teh (middle performed by Mao Weitao) to invent a cousin to protect the silk shop by using hip-hop style and rap gestures. (Photo: Zhejiang Xiao Baihua Yueju Company)


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Plate 6.

The yueju production of The Good Person of Jiangnan presents the Haipai culture style, with its elaborate costumes and magnificent sets and props. (Photo: Zhejiang Xiao Baihua Yueju Company)


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Plate 7.

An image from the first part of Made in Bangladesh regarding the garment industry in Bangladesh. (Photo: Wonge Bergmann)


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Plate 8.

The second part of Made in Bangladesh (the “sweatshop” of a dance studio in Europe). (Photo: Wonge Bergmann)

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