American vs. Asian Theatre

America’s hegemonic tendencies sometimes disallow us to understand diversity in cultural events and customs. We perceive our norms and values as “right” and any practice outside of America as “inferior” or “wrong.” The important thing to remember though, and something I am learning now, is that certain customs, like art and drama, are culturally diverse. To define is to limit. By defining what theatre is to Americans is to limit our understanding, perceptions, and appreciation of other culture’s representation of theatre

In the film we watched last Monday, an extremely unique perception of theatre is shown. In Indonesia, theatre takes a much different form than what is typically represented in the West. The performance is not only used for entertainment value, but as an actual ceremonial practice and ritual for the Gods. It is less of a “play,” and more of a story being told through their oral tradition. Hence, the actors are not merely acting, but participating. I find this extremely fascinating and much more rewarding than what is typically done in the West. Through participation, the actors are able to undergo something for a personal purpose, something that is juxtaposed with the mere entertainment actors typically perform for in the America and the West. In performances I have been in, specifically Shakespeare’s The Taming of the Shrew, I know that I have gone to great lengths to merely entertain. There were a few moments throughout the play where I did truly get invested in the emotionality of what was occurring, but I was never able to lose the underlying need to preform and entertain. I would dramatize scenes that didn’t need to be solely for the purpose of comedic relief. It was never for intrinsic purposes. Even when watching plays I see this as well. That is the theatre I know and one that dominates the West. This is not to say that accomplished actors in the West do not undergo some sort of “change” or “transformation”, but it is for a much different purpose; one influenced by entertainment. In this Indonesian theatre, actors are taken over by a trance during the performance. This trance is thought to either be a spirit inside of you or your inner struggles personified within the community. They become so entranced that they are taken inside after the performance to get out of it. By allowing themselves to undergo such a state, it shows how committed they are to their craft. It is something more to them than just work; it has become their lives. Exemplified through the use of characters that represent dharma and adharma (the dragon Barong and the witch Calon Arong) and the necessary balance between them, they practice cultural customs and values within their performance. This type of theatre personifies the cultural values that are so intrinsically imbedded within each member of the community.

I find this direct correlation between culture and art fascinating and something that should be strived for worldwide. Whereas Americans go to the theatre for entertainment and maybe to find some sort of catharsis, Indonesians perform in order to satisfy something within themselves and to further the community. It isn’t solely an art form, but a cultural and spiritual practice. I think this idea brings so much more meaning and importance to theatre. It makes it personal. If this could be done in America or at least understood and appreciated, I think more people would take interest in theatre in all of its forms.

Why Theatre Matters to Me

     To start off my first blog post, I'll relate a little bit about my experiences with theatre.  I was involved in it throughout high school and was a part of 6 performances.  The most memorable play for me was an adaptation of Homer's epic, The Odyssey, in which I played the role of Telemachos, Odysseus' son.  Being a part of that play meant a lot to me; it was one of my first (and most enjoyable) experiences on stage.  In addition, telling the story of Odysseus that had been first passed on by oral tradition over 2,500 years ago seemed to me to be a perfect example of what I loved about theatre to begin with- the relating of experiences that all humans can relate to.
     In Monday's class we talked about the epic tale of Ramayana, as well as its significance to the culture surrounding Asian theatre.  Throughout Guru's telling of the ancient story I couldn't help but think off the huge number of similarities between Ramayana and The Odyssey.  And as a result, I think I've come to the revelation that the main difference between the Asian theatres we've studied so far and the Western style that I'm accustomed to is how they go about presenting their stories.  Although the plots of the classics of each are very different and the main themes just as diverse, what the different styles of theatres all share is that in their very essence, they are all tales of humanity.  Simply because I cannot understand the language spoken or the majority of the mudras used to relate a tale does not mean I cannot take away some value or lesson taught by the story itself.
     I think that theatre is a universal outlet for expression, and no matter how you go about presenting your tale, it is still going to take on some meaning in all cultures.  Regardless of whether it's a Shakespearian production or Bali Trance, your show will still share a beautiful element of the tale of humanity itself that can be taken away by anyone.  I realize that that's a very broad and slightly abstract statement, but I think it's the uniting element of all theatre.  It's not meant to take away anything from the beauty that is the diversity of different types of theatrical expression; instead I think it is what makes them all the more awesome- that in their simplest, purest form, they all share different perspectives on the story of humanity. And that is why I am captivated by theatre.

The purpose of Theatre

Theatre has many different purposes, purposes which have been around for many centuries.  A long time ago, I believe the main purpose of theater was for religious reasons - particularly shown through special religious ceremonies.  And even still, a lot of countries (mainly in asia)  use this as a specific ritual to praise gods; much like the play we saw that took place in Bali.  Now and especially in the United states, theatre is mainly used as a form of entertainment but it can also be educational or discouraging.  In my opinion, the best stories are told on stage because the movement and emotions of the characters helps get the main message across to the audience.  If we were to look at theatre from the audience's point of view, it is sometimes used as an escape from reality and take a break from their daily lives; it can help them feel the and experience many different emotions.  This includes that special happily ever after that almost every female (and sometimes males) long for and even the dramatic stories of overcoming odds.

Previous Experience in Theater vs. Experience with Classical Asian Theater

Previous Experience in Theater vs. Experience with Classical Asian Theater 

           Prior to taking this class I have had multiple encounters with the theatrical and performing arts that have greatly impacted my life. My previous experiences have all been within the Western tradition of such productions such as the traditional European versions of a play, musical, dance forms (ballet, jazz, modern, etc.), and music (singing, orchestras, classical bands, etc.).  Such instances have served to shape my opinions regarding such art forms.

            As a young child I was exposed to dance through the minimal training I received in the ballet and jazz traditions. I was exposed to the performing arts through my vocal pursuits including participating in church choir and a child’s performing choir. My performing choir integrated aspects of acting and costuming into our performances to enhance the relation of our songs that included selections from Broadway plays. Later exposure to the performing arts included children’s plays, a performance of the ballet version of Don Quixote, and Broadway versions of the well-known musicals West-Side Story and The Phantom of the Opera. I continued on in my musical pursuits as well, taking up the clarinet and continuing my vocal studies.

            These previous experiences formed my stereotypical version of a performance. However, these previously made frameworks differed greatly from what we watched in class this week and the movements that we have been learning. For instance, the plays which I had seen prior to this class relied heavily upon the words spoken and required the actors to move in ways that recalled the normal movements of everyday life. On the contrary, what we watched this week relied less on the words and more upon the movements of the performers to tell the story. Rather than focusing on moving in the ways that people in the same situation would in everyday life, they took those motions one step further and illustrated the meanings of the words they were speaking as well. Their movements recalled a mix between the Western forms of traditional theater and ballet, allowing both the words and movements to facilitate the telling of the story. The purpose of these plays also contrasted with that of my previously conceived notions. Most modern Western plays are meant for entertainment, as are many historic Western plays though these also consist of performances meant to recall history and religion. The play we witnessed showed that in the Classical Asian style, plays are meant to communicate with the gods and to give them praise. This difference in purpose is probably a factor in the differences in style as function determines the message the performances want to convey which creates different actions.

            Overall, this new exposure to the Classical Asian style of dance and plays has caused me to reassess my concepts of the typical aspects of a performance.

Sanskrit and Disney

Though geographically and culturally they are rigidly distinct, Sanskrit Theatre and Disney Movies proved to have connections I never would have thought existed.  Originating in India circa 500 BC, Sanskrit Theatre has been an integral part of the surrounding culture.  Not only is it revered by society but it is actually divine; the audience is supposed to be the Gods and through theatre and the dance within, a very high form of prayer is achieved.  That many other societies view it as entertainment is not the intended purpose of Sanskrit Theatre; it is more a foundation of the society and a backbone that upholds the culture.

            American and other societies view Disney movies as a form of entertainment- the intended purpose of these films.  Even though this essential difference in purpose is stark, the way Disney movies have shaped and continued norms in American society bears a uncanny resemblance to Sanskrit Theatre.  Disney works to reflect societies values and prejudices through film, because of this, the company upholds and preserves the present culture by translating it to the next generation.   For example, the crows in Dumbo reflect the stereotypes the racist American society of 1941 endorsed.  Depicting the crows as poor, uneducated and following a leader named Jim Crow all too obviously communicates the current values of society to the next generation of leaders.  With historical distance such instances are now viewed as offensive, but in their historical context they worked to support societal norms and serve as a cultural foundation- just like Sanskrit Theatre.  Their purposes are opposites and what cultures take from them is divine in one and subtle socialization in the other, but aside from intentions, the ways these two theatres work with their societies surprised me. 

            After watching the film on Sanskrit Theatre, I also realized Sanskrit Theatre and Disney movies also share essential parts.  Both use music and dance to indicate plot and heighten the emotional tone of a scene.  Vocal expressions, dress/make-up and physical expression are main parts of Sanskrit Theatre.  Disney uses those parts ingeniously to convey societal values in all sorts of characters.  In the Dumbo example, the crows have African American voices and wear clothing stereotypical of the race as well as those who were poor and uneducated at the time.  The element of Sanskrit Theatre that drove home the Disney connection was the essential happy ending.  Disney’s template for movies always results in a happy ending, something that anyone not living under a rock is fully aware of.  Disney movies also reveal a lesson, similar to the benediction Sanskrit Theatre offers at the end to wish peace and prosperity to all.  

Introduction to hegemony, oral tradition, and orientalism

After our in-class introduction and discussion of hegemony, oral tradition and orientialism, I was surprised with how unfamiliar these terms were to me. With the expansion of technology and overall growth in global communications, our generation has increased access to different cultures, languages, arts, food, and so on. However good it is to be exposed to aspects of different cultures, it is difficult to fully understand them because we learn about them from only one point of view. This in turn becomes our view of the culture, which may or may not be correct.
    In terms of oral tradition, I admit I am not an active participant - yet. That said, if I do not have a homework assignment written in my planner or the amount I need to pay my doctor for a bill, then neither will happen. We talked about this idea in a Global Marketing class, and the effects it can have on relationships between businesses. To an american businessman, the contact is only valid once it is signed and dated. To someone of a culture with high orality, their word is simply good enough. I marvel at this idea and am envious of those who do not rely so strictly on the written word, as I do. I look forward to developing ways to let the spoken word be sufficient and trust its validity.
    As I go forth in this class, I will focus on how I perceive information initially versus how I might after a class discussion with the supplemented information from our Professors. I want to learn about each form of dance, theater, and art without limiting myself to preconceived notions from my own culture. While I know this will be more difficult to question my stance on the performances, it will also be more rewarding and have a higher educational value. Learning how to question my beliefs with confidence and the intention of obtaining a more complete understanding is a skill I certainly hope to gain from this class.

Orientalism & Hegemony in American Culture

When looking at the historical context of Orientalism within American culture, the current negative homogenization of the Asian culture becomes extremely evident. Orientalism began in the 19th century when American scholars began to translate Asian writings. They thought that effective colonial conquest required knowledge of the conquered people. This gave rise to the idea of knowledge as power, coined by Said. America's rising power and superiority complex attached with their imperialistic tendencies served as the backbone to their conquest of foreign Asian countries.

In it's beginnings, Orientalism was solely considered to be the artistic imitation or depiction of Asian cultures. Yet, throughout the centuries it has become to mean so much more than that. Today, Orientalism has come to signify the cultural homogenization and stereotyping of the vastly diverse Asian peoples. An implicit negative connotation has accompanied the widely used term in American culture today. The lack of knowledge towards Asian cultures among Westerners has caused a great perpetuation of the term and consequent degradation of Asians. Although already discussed in another blog, I can't help but to relate this topic to my high school production of A Thoroughly Modern Millie. I was in the cast of this performance my junior year and not only watched, but unknowingly participated in Orientalistic tendencies. Two of my best friends (both of whom were non-Asian) played the roles of the two Asian comic-relief characters. Throughout the rehearsal process, my director reinforced the idea that both of these characters were solely used in the play for comic relief and had no real substance to them. Because of this, he flippantly forced both actors to use stereotyped actions and behaviors that Westerners commonly associate with Asian culture. There was no true depiction of Asian culture whatsoever. Even worse was the fact that my director did not force them to perfect the Asian dialect in which they had to speak in. He commented that "no one would know if they messed up anyways." This was obviously not true considering the Asian demographic that came to see the play. The negative homogenization of these characters and clear digression from any sort of reality was noted by several audience members. Yet, I couldn't help to go along with our depiction of these characters solely because of my lack of knowledge on Asian culture.

Thinking back to it, I have to wonder whether my director and the adults in charge of the production were to blame, or was their subsequent lack of knowledge a result of the failure of a American society to take strides to become more culturally aware and empathetic. To be honest, I am not entirely sure. I believe that every individual has the responsibility to educate themselves on world events and cultures. Yet, to what degree does that become a national problem? The hegemony that has become a cornerstone of American society has made it almost impossible for individuals to truly appreciate other cultures. Our intrinsically obsessed nature with America has consequently blinded us towards appreciating and educating ourselves on other countries. This deeply-rooted value in America has hindered society's ability to stress world education and understanding. This issue, paired with individuals' tendency to follow cultural norms has created an extreme difficulty in undoing our homogenous views of other cultures. The continuation of Orientalism is a direct result of these failures. Unfortunately, I think because these perceptions are so deeply imbedded into our society, Orientalism and other homogenizations by Americans like it will continue to persist for years to come.

Cultural Hegemony and Orientalism

           The idea of hegemony or more specifically Said's Orientalism was brought up in class to describe the difficulty of understanding other cultures, or other topics that would show up as we progressed through the class. As outsiders looking into cultures such as those of Bali or India, we would be inevitably exhibit some form of orientalism. Orientalism, as Said states, is the notion that the West tends to view Eastern, or Oriental, culture as exotic, strange, and a resource to subjugate. 

As an Asian American who is looking back on his own life, I would tend to agree that cultural hegemony and Orientalism inevitably exists in American culture. Last week, one of my friends sent me an email about Sinfonicron’s recent production of Thoroughly Modern Millie. Also being an Asian American, she was upset at the portrayal of Asians in the production. Although I hadn’t watched the musical, after watching the advert uploaded by Sinfonicron, I came to ask myself: If social taboos such as black face would be severely reprimanded in contemporary culture, why would such a portrayal of the Chinese be allowed? Is it, as my roommate would say, because Asians would not speak out about such ridicule?

Part of me has sadly accepted that yes, Asians are frequently cited as the ‘model minority’. We are commonly stereotyped as studious, good at math, nerds, and passive. I feel as though this continuing view of passivity is what perpetuates the Orientalism concept. Because we are viewed as not likely to respond to stereotypical ridicule it becomes more acceptable and easier to rationalize them – such as through a musical (which could be rationalized as a result of historical context).

Like I responded to my friend who told me about Thoroughly Modern Millie, we shouldn't blame, nor resent, Sinfonicron for producing the musical. After all, hegemony and Orientalism are not always intentional. Not everyone is aware of what might offend, or what might be viewed as harsh generalizations of a culture. After all, even I am unsure of who I am. With parents from Burma, grandparents from Indonesia/Malaysia, ancestors from China, explaining my ethnicity has always been a challenge; I’ve always stated that I was confused, but because I speak Mandarin best, I am usually pegged by other Asians as Chinese. Who am I to judge what other people think?

Ramayana & Mahabharata Bas Reliefs at Angkor Wat

Khmer ruler SURYAVARMAN II built these series of temples in the 12th century. While the most famous is the architecturally symmetrical ANGKOR WAT, they are actually a collection of many temples built in the Siem Reap area of Western Cambodia near the Thai Border. The temple while mainly Hindu in its original state has been under the care or use of Buddhist monks in modern times. Cambodia is primarily a Buddhist country now. Note the stance of the figures and how they relate to the stance we strive to have in our steps.

oral tradition & hegemony

       Primary orality has declined over the past centuries and as a result individuals have gotten less intelligent due to their strong dependence on technology. Although secondary orality implies a higher level of education because individuals know how to read and write, it doesn't necesarily reflect the capability of humans. Instead, it reflects the capability of phones, radio, television, and the internet. Now a days, people are using their phones not only as a memory aid, but also as a source of information.
       When primary orality was still intact, memory existed in one's own mind, and information had to be searched for, not simply googled. Secondary orality has not only made people lazy, but it has also diminished the respect people have for elders in that no one turns to them for information any more because the internet can tell one more. This lack of respect for elders is seen everyday in the relationship kids have with their parents. I myself do not have the same level of respect for my parents that they had for their parents. In fact, I sometimes see my self as superior to them because I am fluent in English while they are not. For some reason I see my fluency as knowledge, when in reality knowledge is wisdom that is attained through age.
       Although my mom has secondary orality, her memory reflects that of a person with primary orality. She is able to recall precise memories from trips, birthdays, school-meetings, and even her childhood. When I was younger I always use to wonder how she did that, but now I realize that she has rehearsed these memories so many times to friends and relatives, that they have become engraved in her mind. The first thing my mom does after my family goes on a vacation is call my grandmother and tell her the events we did day-by-day. She passes on these series of events orally and as a result enhanced her memory.
       The same way I am not aware of the dominance secondary orality has over my life, I am also not aware of the dominance my hispanic culture has in my hegemony. I oftentimes think, judge, and evaluate situations  the same way my Hispanic mom would, yet I do not realize that I am doing this. My hispanic culture is reflective in my thoughts as well as my behavior. My gestures with friends are more intimate, my body posture at the dinner table is more proper, and my expression when I talk are more exaggerated. The hegemony in respect to my boyfriend is also predominated by my Hispanic culture. I often expect him to be the first to call, the first to pay, and the first to open a door. I never realize I am doing this until he points it out! Although I do not realize that the perspective I am part of is hispanic, I know that a big part of my identity is being Colombian.

Orientalism

I didn't really know the meaning of hegemony but now that I do I think that it can be applied to all types of situations.  It can be applied to any level such as historical movements or even groups of friends.  Gramsci said that we are trapped in our own cultural perspective.  I would have to agree with that.  It can sometimes be hard to see thing from other people's perspective.  Sometimes a group of people can believe they are the superior group, meaning that every other group is inferior.  Hegemony and orientalism can be linked in that people have this point of view on orientalism and use the word orientals because we simply hear it and repeat it, without knowing that this isn't right, and it isn't right to be a part of it.

Orientalism seems to be used a lot when talking about the arts and trying to describe or depict aspects of Eastern Cultures.  Edward Said and the Europeans first coined this term as he referred to initially people the Ottoman empire but then stretched it to apply to most of Asia.  It has turned out to have a negative connotation to it.  To be honest I did not know anything about orientalism or that it was even a bad thing.  However, as I sat in my living room about to write my blog I explained to my roommate that I didn't have a really good grasp on the overall concept or what was so significant about it.  The funny this is is that my roommate is a government major, and had written a paper on Orientalism for her Middle Eastern Politics class.  From her I learned how people are naive on the situation but that learning where the term orientalism comes from makes you realize why it is a negative term and why it shouldn't be used.  But people don't see this because they get caught up in hearing everyone else use the term and don't understand the harm in using it as well.  But the problem is that people are using the word to describe this huge country with thousands of different groups of people with different values and languages and traditions, but we in the United States are using one word to describe these thousands of different groups.  This just isn't right.  And it also doesn't help that there has always seemed to be a movement from West to East.  Meaning these "orientals" were coming to the US and therefore made the people of the US feel like the superior country.  So we use this word to describe people who we believe are inferior and coming over to this land where we have newer technologies and what not.  I think that the key takeaway from learning about orientalism is to understand where it comes from because that is the only way people will understand that it is not the appropriate word to use and why it has the negative connotation that comes along with it.    

Wayang Beber

Young Brahmins Learning the Sama Veda

Young Brahmins and their teacher (Acharya, or Guru in some areas) Note the sacred string (Upanayam) that they are all wearing. The investiture of the Upanayanam usually takes place when the child is 7 years old.

This is a pathashala, the traditional school for training Vedic pandits to chant the Sama Veda. Acharya is the term for the teacher. Here young Brahmins are allowed to read a written text, a departure from the oral tradition of knowledge acquisition.

A graduation or completion ceremony for advanced students.

Welcome to our community blog.

Welcome to our blog to exchange our ideas, experiences, thoughts, and suggestions for Theatre 334. This is a wonderful way to communicate to each other and to the world, in addition to archiving our collective experience. Of course, it is also an environmentally friendly way to receive your written work.

Please note that this is a private blog only visible to members of our class at this point. Please post using at least your first names so we are able to relate it to the class roll sheet. We look forward to a wonderful semester with you.