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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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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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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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Chen Qiaoru performing Shui Ta and Shen Teh in Good Woman/Bad Woman. (Photo: Chengdu Chuanju Company)
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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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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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An image from the first part of Made in Bangladesh regarding the garment industry in Bangladesh. (Photo: Wonge Bergmann)
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The second part of Made in Bangladesh (the “sweatshop” of a dance studio in Europe). (Photo: Wonge Bergmann)