We live in a world populated not just by individuals but by figures, those larger-than-life people who in some way express and challenge our conventional understandings of social types. This innovative and collaborative work takes up the wide range of figures that populate the social and cultural imaginaries of contemporary Southeast Asia—some familiar only in specific places, others recognizable across the region and even globally. It puts forward a series of ethnographic portraits of figures that represent and give voice to something larger than themselves, offering a view into social life that is at once highly particular and general. They include the Muslim Television Preacher in Indonesia, Miss Beer Lao, the Rural DJ in Thailand, the Korean Soap Opera Junkie in Burma, the Filipino Seaman, and the Photo Retoucher in Vietnam. Figures of Southeast Asian Modernity brings together the fieldwork of over eighty scholars and covers the nine major countries of the region: Burma (Myanmar), Cambodia, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand, and Vietnam. An introduction outlines important social transformations in Southeast Asia and key theoretical and methodological innovations that result from ethnographic attention to the study of key figures. Each section begins with an introduction by a country editor followed by short essays offering vivid and intimate portraits set against the background of contemporary Southeast Asia. The result is a volume that combines scholarly rigor with a meaningful, up-to-date portrayal of a region of the world undergoing rapid change. A reference bibliography offers suggestions for further reading. Figures of Southeast Asia Modernity is an ideal teaching tool for introductory classes to Southeast Asia studies, anthropology, and geography.

This original piece of research considers the ways in which modernity challenges and informs the language policies of various Southeast Asians nations. It combines theoretical arguments from policy studies, language policy and political theory, with quantitative figures where necessary. Succinctly and clearly written, this volume fills the research gap on the topic while bringing up to date the various political, social, and policy developments.

This book introduces contemporary Buddhists from across Asia and from various walks of life. Eschewing traditional hagiographies, the editors have collected sixty-six profiles of individuals who would be excluded from most Buddhist histories and ethnographies. In addition to monks and nuns, readers will encounter artists, psychologists, social workers, part-time priests, healers, and librarians as well as charlatans, hucksters, profiteers, and rabble-rousers—all whose lives reflect changes in modern Buddhism even as they themselves shape the course of these changes. The editors and contributors are fundamentally concerned with how individual Buddhists make meaning and display this understanding to others. Some practitioners profiled look to the past, lamenting the transformations Buddhism has undergone in recent times, while others embrace these. Some have adopted a “new asceticism,” while others are eager to explore different religious traditions as they think about their own ways of being Buddhist. Arranging the profiles according to these themes—looking backward, forward, inward, and outward—reveals the value of studying individual Buddhists and their idiosyncratic religious backgrounds and attitudes, thus highlighting the diversity of approaches to the practice and study of Buddhism in Asia today. Students and teachers will welcome sections on further readings and additional tables of contents that organize the profiles thematically, as well as by tradition (Theravada, Mahayana, Vajrayana), region, and country.

This book reveals how everyday experiences of being ‘modern’ (c. 1920s-70s) indexed continuity and change in the transition from colonialism to independence and after in Southeast Asia. In the Philippines, Myanmar, Indonesia, Malaysia, Singapore, Thailand and Vietnam, the contributors to this interdisciplinary volume recover modern times at the intersection of public and private domains, encompassing sex, religion, art, film, literature and urban space. The authors examine the conditions and representations of modernity, as shaped by elites and the governed, by actors, artists, novelists and non-fiction writers. Plural encounters in cities, through spiritual communities, art, high and popular culture saw Southeast Asians fashioning modern times in dialogue with global capitalism, consumer culture and second-wave feminism.

This volume, the first major study in its field, offers an invaluable stepping-stone to a more informed understanding of the fundamental social changes taking place in Asia – defined as ‘a reconstruction of the intimate and public spheres’. Such changes are being observed worldwide, but previous studies relating to this phenomenon are largely based on Western experiences dating back to the 1970s. Developments in Asia, however, are manifesting both similarities and differences between the two regions. The book’s strongest appeal, therefore, lies in its theoretical orientation, seeking to define frameworks that are most relevant to the Asian reality. These frameworks include compressed and semi-compressed modernity, familialism, familialization policy, unsustainable society, the second demographic dividend, care diamonds, and the transnational public sphere. Such concepts are seen as essential in any discussion concerning the intimate and public spheres of contemporary Asia. Accordingly, Transformation of the Intimate and the Public in Asian Modernity can be seen as a valuable text as well as a work of reference and will be welcomed by social scientists and cultural anthropologists alike. The book comprises an in-depth introduction and ten chapters contributed by scholars from Japan, Korea, Thailand and Canada covering topics ranging from low fertility, changing life course, increasing non-regular employment, care provision, migrant workers, social policies, and family law, to the activities of transnational NGOs, with a special focus on distinctive features of Asian experiences.

Luis Borromeo was the Philippines's "King of Jazz," who at the height of his popularity created a Filipino answer to the Ziegfeld Follies. Miss Riboet was a world-famous Javanese opera singer who ruled the theater world. While each represented a unique corner of the entertainment world, the rise and fall of these two superstar figures tell an important story of Southeast Asia's 1920s Jazz Age. This artistic era was marked by experimentation and adaption, and this was reflected in both Borromeo's and Riboet's styles. They were pioneering cultural brokers who dealt in hybrids. They were adept at combining high art and banal entertainment, tradition and modernity, and the foreign and the local. Leaning on cultural studies and the work on cosmopolitanism and modernity by Henry Jenkins and Joel Kahn, Peter Keppy examines pop culture at this time as a contradictory social phenomenon. He challenges notions of Southeast Asia's popular culture as lowbrow entertainment created by elites and commerce to manipulate the masses, arguing instead that audiences seized on this popular culture to channel emancipatory activities, to articulate social critique, and to propagate an inclusive nationalism without being radically anticolonial.

Modern Art of Southeast Asia: Introductions from A to Z features 60 concise and accessibly written accounts of the key ideas and currents underlying modern art in the region. These are accompanied by over 250 beautifully reproduced artworks from the collection of National Gallery Singapore, and other public and private collections in Southeast Asia and beyond. The book offers an informative first encounter with art as well as refreshing perspectives, and is a rewarding resource for students.