This book seeks to explain two core paradoxes associated with the Association of Southeast Asian Nations (ASEAN): How have diverse states hung together and stabilized relations in the face of competing interests, divergent preferences, and arguably weak cooperation? How has a group of lesser, self-identified Southeast Asian powers gone beyond its original regional purview to shape the form and content of Asian Pacific and East Asian regionalisms? According to Alice Ba, the answers lie in ASEAN's founding arguments: arguments that were premised on an assumed regional disunity. She demonstrates how these arguments draw critical causal connections that make Southeast Asian regionalism a necessary response to problems, give rise to its defining informality and consensus-seeking process, and also constrain ASEAN's regionalism. Tracing debates about ASEAN's intra- and extra-regional relations over four decades, she argues for a process-driven view of cooperation, sheds light on intervening processes of argument and debate, and highlights interacting material, ideational, and social forces in the construction of regions and regionalisms.

The author takes a sweeping look at the idea of restitution and its impact on the concept of human rights and the practice of politics. She confronts the difficulties of determining victims and assigning blame.

There are at least three times as many nations as states in the world today. This book addresses some of the special challenges that arise when two or more national communities re the same (multinational) state. As a work in normative political philosophy its principal aim is to evaluate the political and institutional choices of citizens and governments in states with rival nationalist discourses and nation-building projects. The first chapter takes stock of a decade of intensephilosophical and sociological debates about the nature of nations and nationalism. Norman identifies points of consensus in these debates, as well as issues that do not have to be definitively resolved in order to proceed with normative theorizing. He recommends thinking of nationalism as a form ofdiscourse, a way of arguing and mobilizing support, and not primarily as a belief in a principle. A liberal nationalist, then, is someone who uses nationalist arguments, or appeals to nationalist sentiments, in order to rally support for liberal policies. The rest of the book is taken up with the three big political and institutional choices in multinational states. First, what can political actors and governments legitimately do to shape citizens' national identity or identities? This is thecore question in the ethics of nation-building, or what Norman calls national engineering. Second, how can minority and majority national communities each be given an adequate degree of self-determination, including equal rights to carry out nation-building projects, within a democratic federal state?Finally, even in a world where most national minorities cannot have their own state, how should the constitutions of multinational federations regulate secessionist politics within the rule of law and the ideals of democracy? More than a decade after Yael Tamir's ground-breaking Liberal Nationalism, Norman finds that these three great practical and institutional questions have still rarely been addressed within a comprehensive normative theory of nationalism.

A comparative study of immigration and ethnicity with an emphasis on the Chinese, Japanese, and Arabs who have contributed to Brazil's diverse mix.

Living Art: Indonesian Artists Engage Politics, Society and History is inspired by the conviction of so many of Indonesia’s Independence-era artists that there is continuing interaction between art and everyday life. In the 1970s, Sanento Yuliman, Indonesia’s foremost art historian of the late twentieth century, further developed that concept, stating: ‘New Indonesian Art cannot wholly be understood without locating it in the context of the larger framework of Indonesian society and culture’ and the ‘whole force of history’. The essays in this book accept Yuliman’s challenge to analyse the intellectual, sociopolitical and historical landscape that Indonesia’s artists inhabited from the 1930s into the first decades of the new millennium, including their responses to the COVID-19 pandemic. The inclusion of one of Yuliman’s most influential essays, translated into English for the first time, offers those outside Indonesia an insight into a formative period in the generation of new art knowledge in Indonesia. The volume also features essays by T. K. Sabapathy, Jim Supangkat, Alia Swastika, Wulan Dirgantoro and FX Harsono, as well as the three editors (Elly Kent, Virginia Hooker and Caroline Turner). The book’s contributors present recent research on issues rarely addressed in English-language texts on Indonesian art, including the inspirations and achievements of women artists despite social and political barriers; Islam- inspired art; artistic ideologies; the intergenerational effects of trauma; and the impacts of geopolitical change and global art worlds that emerged in the 1990s. The Epilogue introduces speculations from contemporary practitioners on what the future might hold for artists in Indonesia. Extensively illustrated, Living Art contributes to the acknowledgement and analysis of the diversity of Indonesia’s contemporary art and offers new insights into Indonesian art history, as well as the contemporary art histories of Southeast Asia and Asia more generally.

Charismatic pastors, fast-paced worship sessions, inspirational but shallow theology, and large congregations — these are just some of the associated traits of Pentecostal megachurches. But what lies beneath the veneer of glitz? What are their congregations like? How did they grow so quickly? How have they managed to negotiate local and transnational challenges? This book seeks to understand the growth and popularity of independent Pentecostal megachurches in Southeast Asia. Using an ethnographic approach, the chapters examine Pentecostal megachurches in Malaysia, Indonesia, the Philippines, and Singapore. Each chapter dwells on the development of the megachurch set against the specific background of the country’s politics and history.