"'The world today is as furiously religious as it ever was.' This quote from Peter Berger now appears to be undisputed in the contemporary social and cultural sciences. A look around the globe reveals that modernization does not necessarily lead to a decline of religion, neither in society nor in the minds of individuals. Moreover, the multifaceted and divergent responses to modernization processes have significantly contributed to a critical reflection on the notion of a singular modernity, and as a result it has been suggested to speak of multiple, vernacular, alternative, or "other" modernities. Southeast Asia in particular presents a rich field of inquiry into the dynamics of these "modernities" that have produced and shaped a wide variety of religious phenomena. With case studies from Indonesia, Malaysia, Thailand, Myanmar, and Vietnam, these contributions reveal contemporary religious practices in Southeast Asia as thoroughly modern manifestations of uncertainties, moral disquiet and unequal rewards in the contemporary moment."--Publisher's description.

The ancient Indian epic poem Ramayana has been disseminated throughout large tracts of Southeast Asia since the 9th century. Versions of the epic poem have come to adopt and reflect the unique characteristics of the countries and regions where it has gained cultural currency. The epic has been a source of popular themes in both traditional and contemporary art forms, including literature, performing arts, fine arts, and films. This book showcases Ramayana theater as a platform where the multiple meanings and senses of values are negotiated. It focuses on the relationships between the cultural representation and the various meanings of Ramayana theater, as well as other dramatic art forms. Focusing on the various contemporary contexts of art performances where the epic poem has been represented, the book also presents the ideologies and moral values contained in the theatrical forms of the epic poem. It discusses various performance contexts, such as diaspora communities, production of popular content culture, cultural diplomacy, designation as intangible cultural heritage, transmission, tourism, and the representation/exhibition of culture, as well as the performance in rituals. It also includes works of three contemporary and inspiring artists: cross-gender dancer Didik Nini Thowok, animator as well as puppeteer Nanang Ananto Wicaksono, and composer Ken Steven.

New perspectives on the past and present contributions of the 25 million strong Chinese diaspora in Southeast Asia to the development of contemporary society. Case studies feature organisational, community, religious, and other arenas of Chinese activity and identity definition, and the book analyses the interplay of local, regional, global and transnational networks and identities.

This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. The contributors consist of both established and early-career researchers working on traditional performing arts in the region and abroad. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries. The second volume, Pusaka as Performed Heritage, comprises chapters that problematise royal court traditions in the present century with case studies that examine the viability, adaptability and contemporary contexts for coexisting administrative structures.

Mutual borrowing, fluid transactions and transformations of performances and performers have a long and enduring history in Southeast Asia, but this trend has been heightened and made more vivid in the contemporary period. The omnipresence of global communications has provoked and inspired yet more novel experiments and collaborations between cosmopolitan artists and globally-oriented performers. This volume offers vital insights into recent developments in Southeast Asian performance. It demonstrates the ways in which contemporary artists and performers are increasingly working betwixt the traditional boundaries of the nation and discourses of identity. The essays collected here are testament to ongoing conversations and relations among scholars, practitioners and scholar-practitioners in Southeast Asia and around the world.

This is a longitudinal study of music that weaves the complex stories of many disparate musics into a coherent account of quests for identities that illuminates Lombok’s history, its complex religious and ethnic composition, and its current political circumstances.