Displacement, Diaspora, and Geographies of Identity challenges conventional understandings of identity based on notions of nation and culture as bounded or discrete. Through careful examinations of various transnational, hybrid, border, and diasporic forces and practices, these essays push at the edge of cultural studies, postmodernism, and postcolonial theory and raise crucial questions about ethnographic methodology. This volume exemplifies a cross-disciplinary cultural studies and a concept of culture rooted in lived experience as well as textual readings. Anthropologists and scholars from related fields deploy a range of methodologies and styles of writing to blur and complicate conventional dualisms between authors and subjects of research, home and away, center and periphery, and first and third world. Essays discuss topics such as Rai, a North African pop music viewed as westernized in Algeria and as Arab music in France; the place of Sephardic and Palestinian writers within Israel’s Ashkenazic-dominated arts community; and the use and misuse of the concept “postcolonial” as it is applied in various regional contexts. In exploring histories of displacement and geographies of identity, these essays call for the reconceptualization of theoretical binarisms such as modern and postmodern, colonial and postcolonial. It will be of interest to a broad spectrum of scholars and students concerned with postmodern and postcolonial theory, ethnography, anthropology, and cultural studies. Contributors. Norma Alarcón, Edward M. Bruner, Nahum D. Chandler, Ruth Frankenberg, Joan Gross, Dorinne Kondo, Kristin Koptiuch, Smadar Lavie, Lata Mani, David McMurray, Kirin Narayan, Greg Sarris, Ted Swedenburg

This book makes a significant contribution to interdisciplinary engagements between Theatre Studies and Cultural Geography in its analysis of how theatre articulates transnational geographies of Asian culture and identity. Deploying a geographical approach to transnational culture, Rogers analyses the cross-border relationships that exist within and between Asian American, British East Asian, and South East Asian theatres, investigating the effect of transnationalism on the construction of identity, the development of creative praxis, and the reception of works in different social fields. This book therefore examines how practitioners engage with one another across borders, and details the cross-cultural performances, creative opportunities, and political alliances that result. By viewing ethnic minority theatres as part of global — rather than simply national — cultural fields, Rogers argues that transnational relationships take multiple forms and have varying impetuses that cannot always be equated to diasporic longing for a homeland or as strategically motivated for economic gain. This argument is developed through a series of chapters that examine how different transnational spatialities are produced and re-worked through the practice of theatre making, drawing upon an analysis of rehearsals, performances, festivals, and semi-structured interviews with practitioners. The book extends existing discussions of performance and globalization, particularly through its focus on the multiplicity of transnational spatiality and the networks between English-language Asian theatres. Its analysis of spatially extensive relations also contributes to an emerging body of research on creative geographies by situating theatrical praxis in relation to cross-border flows. Performing Asian Transnationalisms demonstrates how performances reflect and rework conventional transnational geographies in imaginative and innovative ways.

How can the ‘where’ of creativity help us examine how and why it has become a paradigmatic concept in contemporary economies and societies? Adopting a geographically diverse, theoretically rigorous approach, the Handbook offers a cutting-edge study of creativity as it has emerged in policy, academic, activist, and cultural discourse over the last two decades. To this end, the volume departs from conventional modes of analyzing creativity (by industry, region, or sector) and instead identifies key themes that thread through shifting contexts of the creative in the arts, media, technology, education, governance, and development. By tracing the myriad spatialities of creativity, the chapters map its inherently paradoxical features: reinforcing persistent conditions of inequality even as it opens avenues for imagining and enacting more equitable futures.

This book follows the travels of Nanay, a testimonial theatre play developed from research with migrant domestic workers in Canada, as it was recreated and restaged in different places around the globe. This work examines how Canadian migration policy is embedded across and within histories of colonialism in the Philippines and settler colonialism in Canada. Translations between scholarship and performance – and between Canada and the Philippines – became more uneasy as the play travelled internationally, raising pressing questions of how decolonial collaborations might take shape in practice. This book examines the strengths and limits of existing framings of Filipina migration and offers rich ideas of how care – the care of children and elderly and each other – might be rethought in radically new ways within less violently unequal relations that span different colonial histories and complex triangulations of racialised migrants, settlers and Indigenous peoples. This book is a journey towards a new way of doing and performing research and theory. It is part of a growing interdisciplinary exchange between the performing arts and social sciences and will appeal to researchers and students within human geography and performance studies, and those working on migration, colonialisms, documentary theatre and social reproduction.

Introducing Human Geographies is a ‘travel guide’ into the academic subject of human geography and the things that it studies. The coverage of the new edition has been thoroughly refreshed to reflect and engage with the contemporary nature and direction of human geography. This updated and much extended fourth edition includes a diverse range of authors and topics from across the globe, with a completely revised set of contributions reflecting contemporary concerns in human geography. Presented in four parts with a streamlined structure, it includes over 70 contributions written by expert international researchers addressing the central ideas through which human geographers understand and shape their subject. It maps out the big, foundational ideas that have shaped the discipline past and present; explores key research themes being pursued in human geography’s various sub-disciplines; and identifies emerging collaborations between human geography and other disciplines in the areas of technology, justice and environment. This comprehensive, stimulating and cutting-edge introduction to the field is richly illustrated throughout with full colour figures, maps and photos. The book is designed especially for students new to university degree courses in human geography across the world, and is an essential reference for undergraduate students on courses related to society, place, culture and space.

This book makes a significant contribution to interdisciplinary engagements between Theatre Studies and Cultural Geography in its analysis of how theatre articulates transnational geographies of Asian culture and identity. Deploying a geographical approach to transnational culture, Rogers analyses the cross-border relationships that exist within and between Asian American, British East Asian, and South East Asian theatres, investigating the effect of transnationalism on the construction of identity, the development of creative praxis, and the reception of works in different social fields. This book therefore examines how practitioners engage with one another across borders, and details the cross-cultural performances, creative opportunities, and political alliances that result. By viewing ethnic minority theatres as part of global — rather than simply national — cultural fields, Rogers argues that transnational relationships take multiple forms and have varying impetuses that cannot always be equated to diasporic longing for a homeland or as strategically motivated for economic gain. This argument is developed through a series of chapters that examine how different transnational spatialities are produced and re-worked through the practice of theatre making, drawing upon an analysis of rehearsals, performances, festivals, and semi-structured interviews with practitioners. The book extends existing discussions of performance and globalization, particularly through its focus on the multiplicity of transnational spatiality and the networks between English-language Asian theatres. Its analysis of spatially extensive relations also contributes to an emerging body of research on creative geographies by situating theatrical praxis in relation to cross-border flows. Performing Asian Transnationalisms demonstrates how performances reflect and rework conventional transnational geographies in imaginative and innovative ways.

This pivot considers the history, methodology and practice of Asian theatre and investigates the role of Asian theatre and film in contemporary transnational Asian identities. It critically reviews the topics of transnationalism and intercultural political difference, arguing that the concept of Transnational Asian theatre or 'TransAsia' can promote cultural diversity and social transformation. The book notably offers an understanding of theatre as a cultural laboratory, a repository for diverse histories and a forum for intercultural dialogue, allowing for a better understanding of sociocultural patterns surrounding transnational Asian identity and mobility.