This anthology of literary and dramatic works introduces writers from across Asia and the Asian diaspora. The landscapes and time periods it describes are rich and varied: a fishing village on the Padma River in Bangladesh in the early twentieth century, the slums of prewar Tokyo, Indonesia during the anti-leftist purge of the 1960s, and contemporary Tibet. Even more varied are the voices these works bring to life, which serve as testimony to the lives of those adversely impacted by poverty, rapid social change, political suppression, and armed conflict. In the end, the works in this anthology convey an attitude of spiritual and communal survival and even of hope. This anthology presents the complex dynamic between a diversity of Asian lives and the universalized concept of the individual “human” entitled to clearly specified “rights.” It also asks us to think about what standards of analysis we should employ when considering a historical period in which universal human rights and civil liberties are considered secondary to the collective good, as has so often been the case when nation states are undergoing revolutionary change, waging war, or championing so-called Asian values. This book’s use of the term Global Asia reflects an interest in rethinking “Asia” as more than an area determined by national borders and geography. Rather, this book portrays it as a space of movement and fluidity, where societies and individuals respond not only to their local frames of reference, but also to broader ideas and ideals.

Human Rights and the Arts: Perspectives on Global Asia approaches human rights issues from the perspective of artists and writers in global Asia. By focusing on the interventions of writers, artists, filmmakers, and dramatists, the book moves toward a new understanding of human rights that shifts the discussion of contexts and subjects away from the binaries of cultural relativism and political sovereignty. From Ai Wei Wei and Michael Ondaatje, to Umar Kayam, Saryang Kim, Lia Zixin, and Noor Zaheer, among others, this volume takes its lead from global Asian artists, powerfully re-orienting thinking about human rights subjects and contexts to include the physical, spiritual, social, ecological, cultural, and the transnational. Looking at a range of work from Tibet, Indonesia, Sri Lanka, India, China, Bangladesh, Japan, Korea, Vietnam, and Macau as well as Asian diasporic communities, this book puts forward an understanding of global Asia that underscores “Asia” as a global site. It also highlights the continuing importance of nation-states and specific geographical entities, while stressing the ways that the human rights subject breaks out of these boundaries.

Analyses the emerging human rights norms, regional institutions and enforcement mechanisms in Asia.

Roland Sintos Coloma and Gordon Pon’s Asian Canadian Studies Reader brings together essential writings by leading and emerging scholars in the field to explore the vibrancy of the diverse Asian diaspora in Canada. The Reader is the perfect textbook for undergraduate courses in Race and Ethnic Studies, Women and Gender Studies, and Migration and Diaspora Studies. The volume is organized into four main themes: ethnic, intersectional, comparative, and transnational encounters. It critically engages topics regarding orientalism, settler colonialism, globalization, and nationalism. Each groundbreaking essay challenges our conventional understandings of diversity and multiculturalism by tackling the intricacies of racism and racialization. By capturing the rich diversity within Asian Canadian communities, Coloma and Pon dispel the perceptions of Asians as always immigrants, newcomers, or model minorities. The Asian Canadian Studies Reader is the first interdisciplinary collection of essays intended for undergraduate use about Canada’s largest racialized minority group.

At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is "Canada" - or any other nation - still relevant as a category of inquiry? Is our country simply one of many "vacant lots" where class, gender, race, ethnicity, and sexual orientation interact? What happens to the project of Canadian visual history if we imagine that Canada, as essence, place, nation, or ideal, does not exist? The argument that culture is increasingly used as an economic and socio-political resource resonates strongly with the popular strategies of "urban gurus" such as Richard Florida, and increasingly with government policy. Such strategies both contrast with, but also speak to traditions of Canadian state support for culture that have shaped the national(ist) discipline of Canadian art history. The authors of this collection stand at the multiple points where national culture and globalization collide, however, suggesting that academic investigation of the visual in Canada is contested in ways that cannot be contained by arbitrary borders. Bringing together the work of scholars from diverse backgrounds and illustrated with dozens of works of Canadian art, Negotiations in a Vacant Lot unsettles the way we have used "nation" to examine art and culture and looks ahead to a global future. Contributors include Susan Cahill (Nipissing University), Mark A. Cheetham (University of Toronto), Peter Conlin (Academia Sinica, Taipei), Annie Gérin (Université du Québec à Montréal), Richard William Hill (York University), Kristy A. Holmes (Lakehead University), Heather Igloliorte (Concordia University), Barbara Jenkins (Wilfrid Laurier University), Alice Ming Wai Jim (Concordia University), Lynda Jessup (Queen’s University), Erin Morton (University of New Brunswick), Kirsty Robertson (Western University), Rob Shields (University of Alberta), Sarah E.K. Smith (Queen’s University), Imre Szeman (University of Alberta), and Jennifer VanderBurgh (Saint Mary’s University).

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Becoming Global Asia centers Singapore as a crucial site for comprehending the uneven effects of colonialism and capitalism. In the wake of the 1997 Asian financial crisis, Singapore initiated socioeconomic policies and branding campaigns to transform its reputation from a culturally sterile and punitive nation to "Global Asia"—an alluring location ideal for economic flourishing. Rather than evaluating the efficacy of state policy, Cheryl Narumi Naruse analyzes how Singapore gained cultural capital and soft power from its anglophonic legibility. By examining genres such as literary anthologies, demographic compilations, coming-of-career narratives, and princess fantasies, Naruse reveals how, as Global Asia, Singapore has emerged as simultaneously a site of imperial desire, a celebrated postcolonial model nation, and an alibi for the continued subjugation of the so-called Third World. Her readings of Global Asia as a formation of postcolonial capitalism offer new conceptual paradigms for understanding postcolonialism, neoliberalism, and empire.

Provides a deeply researched account of contemporary Asian art movements, focusing on the work of a select group of internationally renowned and politically engaged artists.