Manila and the World Dance Space: Nationalism and Globalization in Cold War Philippines and South East Asia
Manila and the World Dance Space: Nationalism and Globalization in Cold War Philippines and South East Asia
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马尼拉与世界舞蹈空间：冷战时期菲律宾和东南亚的民族主义与全球化
DOI：
10.1007/978-3-319-48084-8_18
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
Steve Villaruz
中科院分区：
文献类型：
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作者：
Yamomo;Steve Villaruz
东南亚作为一个地区的崛起与冷战的诞生密不可分。没有任何一个地区的冷战感觉如此“火热”。非殖民化后，东南亚民族国家形成了新的民族认同，每个国家都与两个冷战大国中的一个或另一个保持一致：一方面，民族主义-共产主义政党受到反对前欧洲殖民大国的拒绝主义热情的推动，得到“进步的”苏联哲学和政治的支持，另一方面，亲民主的资本主义国家的国家经济和社会发展由中央情报局策划，并在美国慈善事业的幌子下实施。本文旨在探讨冷战时期东南亚国家对民族文化的表面追求和世界性和全球性文化实践的增长。借用帕斯卡尔卡萨诺瓦的“世界共和国的信件”的概念，并将其扩展到戏剧和舞蹈的实践在冷战时期，我们提出了一个理论逻辑，戏剧和舞蹈艺术家如何超越随之而来的民族文化建设和日益增长的“世界舞蹈空间”的崛起。我们将特别关注20世纪50年代至80年代菲律宾的舞蹈和戏剧场景。
The rise of South East Asia as a region is inextricably linked to the birth of the Cold War. In no other region did the Cold War feel quite so ‘hot’. After decolonization, South East Asian nation-states forming new national identities each found allegiances with one or other of the two Cold War powers: whilst on one hand, nationalist-communist parties fuelled by rejectionist fervour against previous European colonial powers were supported by the 'progressive' Soviet philosophy and politics, on the other, pro-democratic capitalist states had their national economic and social development engineered by the CIA and implemented under the guise of American philanthropy. This paper looks at the concomitant rise of the ostensible search for national culture and the accretion of cosmopolitan and global cultural practices in Cold War South East Asia. Borrowing Pascale Casanova’s concept of the ‘world republic of letters’ and extending this to the practice of theatre and dance in the period of the Cold War, we propose a theoretical logic as to how theatre and dance artists bestrode the concomitant rise of national culture-building and of a growing ‘world dance space’. We will place particular focus on the dance and theatre scene in the Philippines from the 1950s to the 1980s.