Noor offers a close account of the construction of Southeast Asia in the nineteenth century by the forces of capitalism and imperialism.

British artists and commentators in the late 18th and early 19th century encoded the twin aspirations of progress and power in images and descriptions of Southeast Asia’s ruined Hindu and Buddhist candi, pagodas, wats and monuments. To the British eye, images of the remains of past civilisations allowed, indeed stimulated, philosophical meditations on the rise and decline of entire empires. Ruins were witnesses to the fall, humbling and disturbingly prophetic prompts to speculation on imperial failure, and the remains of the Buddhist and Hindu monuments scattered across Southeast Asia proved no exception. This important study of a highly appealing but relatively neglected body of work adds multiple dimensions to the history of art and image production in Britain of the period, showing how the anxieties of empire were encoded in the genre of landscape paintings and prints.

The colonisation of Southeast Asia was a long and often violent process where numerous military campaigns were waged by the colonial powers across the region. The notion of racial difference was crucial in many of these wars, as native Southeast Asian societies were often framed in negative terms as 'savage' and 'backward' communities that needed to be subdued and 'civilised'. This collection of critical essays focuses on the colonial construction of race and looks at how the colonial wars in 19th century Southeast Asia were rationalised via recourse to theories of racial difference, making race a factor in the wars of Empire. Looking at the colonial wars in Java, Borneo, Indochina, Philippines and other parts of Southeast Asia, the essays examine the manner in which the idea of racial difference was weaponised by the colonising powers and how forms of local resistance often worked through such colonial structures of identity politics.

Performing Southeast Asia: Performance, Politics and the Contemporary is an important reconsideration of the histories and practices of theatre and performance in a fluid and dynamic region that is also experiencing an overarching politics of complexity, precarity and populist authoritarian tendencies. In a substantial introductory essay and essays by leading scholars, activists and practitioners working inside the region, the book explores fundamental questions for the arts. The book asks how theatre contributes to and/or addresses the political condition in the contemporary moment, how does it represent the complexity of experiences in peoples’ daily lives and how does theatre engage in forms of political activism and enable a diversity of voices to flourish. The book shows how, in an age of increasingly violent politics, political institutions become sites for bad actors and propaganda. Forces of biopolitics, neo-liberalism and religious and ethnic nationalism intersect in unpredictable ways with decolonial practices – all of which the book argues are forces that define the contemporary moment. Indeed, by putting the focus on contemporary politics in the region alongside the diversity of practices in contemporary theatre, we see a substantial reformation of the idea of the contemporary moment, not as a cosmopolitan and elite artistic practice but as a multivalent agent of change in both aesthetic and political terms. With its focus on community activism and the creative possibilities of the performing arts the region, Performing Southeast Asia, is a timely intervention that brings us to a new understanding of how contemporary Southeast Asia has become a site of contest, struggle and reinvention of the relations between the arts and society. Peter Eckersall The Graduate Center City University of New York Performing Southeast Asia – with chapters concerned with how regional theatres seek contextually-grounded, yet post-national(istic) forms; how history and tradition shape but do not hold down contemporary theatre; and how, in the editors’ words, such artistic encounters could result in theatres ‘that do not merely attend to matters of cultural heritage, tradition or history, but instead engage overtly with theatre and performance in the contemporary’ – contributes to the possibility of understanding what options for an artistically transubstantiated now-ness may be: to the possibility, that is, of what might be called a ‘Present-Tense Theatre’. C. J. W.-L. Wee Professor of English Nanyang Technological University Performing Southeast Asia examines contemporary performance practices and their relationship with politics and governance in Southeast Asia in the twenty-first century. In a region haunted historically by strongman politics, authoritarianism and militarism, religious tension and ethnic strife, the chapters reveal how contemporary theatre and performances in the present reflect yet challenge dominant socio-political discourses. The authors analyse works of political commitment and conviction, created and performed by Southeast Asian artists, as modes and platforms of reaction and resistance to the shifting political climates that inform contemporary life in urban Southeast Asia. The discussions center on issues of state hegemonies and biopolitics, finance and sponsorship, social liberalism and conservatism, the relevance of history and tradition, and globalisation and cultural practice. These diverse yet related concerns converge on an examination of the efficacies of theatre and performance as means of political intervention and transformation that point to alternative embodiments of political consciousness through which artists propose critical options for rethinking the state, citizenship, identity and belonging in a time of seismic socio-political change. The editors also reframe an understanding of ‘the contemporary’ not simply as a temporal adjective but, in the context of present Southeast Asia, as a geopolitical condition that shapes artistic and performance practices.

This must-have handbook offers a comprehensive survey of the field. It reviews the language education policies of Asia, encompassing 30 countries sub-divided by regions, namely East, Southeast, South and Central Asia, and considers the extent to which these are being implemented and with what effect. The most recent iteration of language education policies of each of the countries is described and the impact and potential consequence of any change is critically considered. Each country chapter provides a historical overview of the languages in use and language education policies, examines the ideologies underpinning the language choices, and includes an account of the debates and controversies surrounding language and language education policies, before concluding with some predictions for the future.

Stamford Raffles, James Brooke, John Crawfurd and Anna Leonowens were some of those who came from Europe or the United States to Southeast Asia in the nineteenth century — and then wrote about what they saw. Their writings deserve to be read now for what they truly were: Not objective accounts of a Southeast Asia frozen in imperial time but rather as culturally myopic and perspectivist works that betray the subject-positions of the authors themselves. Reading them would allow us to write the history of the East-West encounter through critical lenses that demonstrate the workings of power-knowledge in the elaborate war-economy of racialised colonial-capitalism. Many of the tropes used by these colonial-era scholars and travellers, such as the indolence or savagery of the native population, are still very much in use today — which means we still live in the long shadow of the 19th century. (Matahari Books)

This book explores the interconnection between geopolitical context and the ways this context frames our knowledge about Asia, highlighting previously neglected cause–effect relations. It also examines how various knowledge institutions promote and shape Asian Studies. The authors seek to explain why Asian Studies and its subfields developed in the way they did, and what the implications of these transformations might be on intellectual and political understandings of Asia. The book not only builds on the current debates on the decolonization and de-imperialization of knowledge about Asia; it also proposes a more multifaceted view rather than just examining the impact of the West on the framing of Asian Studies.