This is the first work available in any language to extensively document and critically discuss traditions of 'Alid piety and their modern contestations in the region. The concept of 'Alid piety allows for a reframing of our views on the widespread reverence for 'Ali, Fatima and their progeny that emphasizes how such sentiments and associated practices are seen as part of broad traditions shared by many Muslims, which might or might not have their origins in a specifically Shi'a identity. In doing so, it facilitates the movement of academic discussions out from under the shadow of polemical sectarian discourses on 'Shi'ism' in Southeast Asia. The chapters include presentations of new material from previously unpublished early manuscript sources from Muslim vernacular literatures in the Malay, Javanese, Sundanese, Acehnese and Bugis languages, as well as rich new ethnography from across the region. These studies engage with cultural, intellectual, and performative traditions, as well as the ways in which 'Alid piety has been transformed in relation to more strictly sectarian identifications since the Iranian revolution in 1979.

Drawing on case studies from across Southeast Asia, this work assesses poverty and the ways in which the poor are identified and viewed. Progress and change in the rural and urban worlds are examined in detail, focusing on the strengthening rural-urban interaction as farmers make a living in the urban-industrial sector and factories relocate into industrial areas. Giving prominence to indigenous notions of development, based on Buddhism, Islam and the so-called Asian Way, the author critically assesses the conceptual foundations of the development, ideas of post developmentalism, and the miracle thesis.

Beginning in 1954, Apr. issue lists studies in progress; Oct. issue, completed studies.

This book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production. As artists, they can freely draw on academic research methodologies and, at the same time, question or divert them for their own artistic purpose. The outcome of their research findings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society.