This series of publications on Southeast Asia is designed to present significant research, translation, and opinion to area specialists and to a wide community of persons interested in world affairs. The editors seek manuscripts of quality in a wide range of disciplines.The editor works closely with authors to produce a high-quality book. The series is distributed worldwide.
All books in the series are published in association with the Center for International Studies at Ohio University.
Gillian Berchowitz, Executive Editor
Research in International Studies
Ohio University Press
Elizabeth F. Collins
William H. Frederick
In the last three decades, the dictatorship of Ferdinand Marcos has commanded the close scrutiny of scholars. These studies have focused on the political repression, human rights abuses, debt-driven growth model, and crony capitalism that defined Marcos’ so-called Democratic Revolution in the Philippines. But the relationship between the media and the regime’s public culture remains underexplored.
“Children see and hear what is there; adults see and hear what they are expected to and mainly remember what they think they ought to remember,” David Lowenthal wrote in The Past Is a Foreign Country. It is on this fraught foundation that Fred Lanzing builds this memoir of his childhood in a Japanese internment camp for Dutch colonialists in the East Indies during the World War II.
From the 1960s to the 1990s, seven members of the Quimpo family dedicated themselves to the anti-Marcos resistance in the Philippines, sometimes at profound personal cost. In this unprecedented memoir, eight siblings (plus one by marriage) tell their remarkable stories in individually authored chapters that comprise a family saga of revolution, persistence, and, ultimately, vindication, even as easy resolution eluded their struggles.
Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy.
Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau.
Half of Indonesia’s massive population still lives on farms, and for these tens of millions of people the revolutionary promise of land reform remains largely unfulfilled. The Basic Agrarian Law, enacted in the wake of the Indonesian revolution, was supposed to provide access to land and equitable returns for peasant farmers. But fifty years later, the law’s objectives of social justice have not been achieved.
Women’s status in rural Java can appear contradictory to those both inside and outside the culture. In some ways, women have high status and broad access to resources, but other situations suggest that Javanese women lack real power and autonomy. Javanese women have major responsibilities in supporting their families and controlling household finances. They may also own and manage their own property.
In late 1930, on a secluded mountain overlooking the rural paddy fields of British Burma, a peasant leader named Saya San crowned himself King and inaugurated a series of uprisings that would later erupt into one of the largest anti-colonial rebellions in Southeast Asian history.
Resistance on the National Stage analyzes the ways in which, between 1985 and 1998, modern theater practitioners in Indonesia contributed to a rising movement of social protest against the long-governing New Order regime of President Suharto.
A staple of postwar academic writing, “nationalism” is a contentious and often unanalyzed abstraction. It is generally treated as something “imagined,” “fashioned,” and “disseminated,” as an idea located in the mind, in printed matter, on maps, in symbols such as flags and anthems, and in collective memory.
China has been an important player in the international economy for two thousand years and has historically exerted enormous influence over the development and nature of political and economic affairs in the regions beyond its borders, especially its neighbors.
This diary, begun after the Japanese attack on Pearl Harbor and covering the invasion of Burma up to June 1942, is a moving account of the dilemmas faced by the well-loved and prolific Burmese author Theippan Maung Wa (a pseudonym of U Sein Tin) and his family. At the time of the Japanese invasion, U Sein Tin was deputy secretary in the Ministry of Home and Defense Affairs.
Like a number of Netherlanders in the post–World War II era, Inez Hollander only gradually became aware of her family’s connections with its Dutch colonial past, including a Creole great-grandmother. For the most part, such personal stories have been, if not entirely silenced, at least only whispered about in Holland, where society has remained uncomfortable with many aspects of the country’s relationship with its colonial empire.
Indonesian Exports, Peasant Agriculture and the World Economy 1850–2000
· Economic Structures in a Southeast Asian State
The Indonesian economy, like the Indonesian nation state, took shape as part of the colonial transformation of the archipelago by the Dutch in the mid-nineteenth century. The agricultural sector of the economy provided food and labor to the export sector, which was firmly incorporated into the world economy through international trade. This economic pattern survived several shifts and persisted even after Indonesia became independent in the mid-twentieth century.
Millions of Chinese have left the mainland over the last two centuries in search of new beginnings. The majority went to Southeast Asia, and the single largest destination was the colony of the Dutch East Indies, now known as Indonesia. Wherever the Chinese landed they prospered, but in Indonesia, even though some families made fortunes, they never felt they quite belonged.
Being “Dutch” in the Indies portrays Dutch colonial territories in Asia not as mere societies under foreign occupation but rather as a “Creole empire.” In telling the story of the Creole empire, the authors draw on government archives, newspapers, and literary works as well as genealogical studies that follow the fortunes of individual families over several generations. They also critically analyze theories relating to culturally and racially mixed communities.
Burma's Mass Lay Meditation Movement: Buddhism and the Cultural Construction of Power describes a transformation in Buddhist practice in contemporary Burma. This revitalization movement has had real consequences for how the oppressive military junta, in power since the early 1960s, governs the country.
Realizing the Dream of R. A. Kartini: Her Sisters’ Letters from Colonial Java presents a unique collection of documents reflecting the lives, attitudes, and politics of four Javanese women in the early twentieth century. Joost J. Coté translates the correspondence between Raden Ajeng Kartini, Indonesia’s first feminist, and her sisters, revealing for the first time her sisters’ contributions in defining and carrying out her ideals.
As news accounts report almost daily, the social, political, and economic atmosphere of Southeast Asia makes it one of the most dynamic and quickly developing regions of the world. Southeast Asian Lives: Personal Narratives and Historical Experience presents extraordinary life stories of ordinary people in a rapidly changing Southeast Asia.
Originating in 1891 in the port city of Surabaya, the Komedie Stamboel, or Istanbul-style theater, toured colonial Indonesia, Singapore, and Malaysia by rail and steamship. The company performed musical versions of the Arabian Nights and European fairy tales and operas such as Sleeping Beauty and Aida, as well as Indian and Persian romances, Southeast Asian chronicles, true crime stories, and political allegories.
Southeast Asia summons images of tropical forests and mountains, islands and seas, and a multitude of languages, cultures, and religions. Yet the area has never formed a unified political vision nor has it developed cultural unity. Academics have defined Southeast Asia over the years as what is left over after subtracting Australia, the South Pacific islands, China and India.
Based on ethnographic fieldwork spanning twenty years, Power Plays is the first scholarly book in English on wayang golek, the Sundanese rod-puppet theater of West Java. It is a detailed and lively account of the ways in which performers of this major Asian theatrical form have engaged with political discourses in Indonesia. Wayang golek has shaped, as well, the technological and commercial conditions of art and performance in a modernizing society.
Since the unraveling of Western colonialism in the mid-twentieth century, Muslim nations have struggled to reconcile Islamic ideas and political movements with the state. In Indonesia, in particular, Islam and the state have long been at an impasse. While the ritual dimension of Islam has been allowed to flourish, political Islam has been defeated by various means.
Beginning with the closing decade of European colonial rule in Southeast Asia and covering the wartime Japanese empire and its postwar disintegration, Tensions of Empire focuses on the Japanese in Southeast Asia, Indonesians in Japan, and the legacy of the war in Southeast Asia. It also examines Japanese perceptions of Southeast Asia and the lingering ambivalence toward Japanese involvement in Asia and toward the war in particular.
At a watershed moment in the scholarly approach to the history of this important region, New Terrains in Southeast Asian History captures the richness and diversity of historical discourse among Southeast Asian scholars. Through the perspectives of scholars who live and work within the region, the book offers readers a rare opportunity to enter into the world of Southeast Asian historiography.
Surabaya is Indonesia's second largest city but is not well known to the outside world. Yet in 1900, Surabaya was a bigger city than Jakarta and one of the main commercial centers of Asia. Collapse of sugar exports during the 1930s depression, followed by the Japanese occupation, revolution, and independence, brought on a long period of stagnation and retreat from the international economy.
The period from 1966 to 1999 represents a distinct era in Indonesian history. Throughout the “New Order” regime of President Suharto, the policies of economic development and political stability were dominant. However, the public opinion of personal expression was consistently under suspicion, and indeed dissent was severely punished. Secrets Need Words traces the development of Indonesian poetry throughout this entire period.
The culture of television in Indonesia began with its establishment in 1962 as a public broadcasting service. From that time, through the deregulation of television broadcasting in 1990 and the establishment of commercial channels, television can be understood, Philip Kitley argues, as a part of the New Order's national culture project, designed to legitimate an idealized Indonesian national cultural identity.
Randai, the popular folk theater tradition of the Minangkabau ethnic group in West Sumatra, has evolved to include influences of martial arts, storytelling, and folk songs. Theater and Martial Arts in West Sumatra describes the origin, development, and cultural background of randai and highlights two recent developments: the emergence of female performers and modern staging techniques.