By Lester Dunn,2014-06-17 15:33
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    Submitted by Dr. Dennis P. Tishken

    NEH Summer Institute on “Southeast Asia: Indigenous Impulses and Outside Influences”

    Southeast Asia

Regional Studies (History, Culture, Literature and Arts)

Herbert, Patricia and Anthony Milner .ed. Southeast Asia Languages and Literatures: A

    Select Guide. Kiscadale Publications/ South-East Asia Library Group, 1989.

Kerlogue, Fiona. Arts of Southeast Asia. London: Thames and Hudson, 2004.

Lent, John. ed. Asian Popular Culture. Boulder: Westview Press, 1995.

Mulder, Niels. Inside Southeast Asia: Thai, Javanese and Filipino Interpretations of

    Everyday Life. Bangkok: Duang Kamal, 1992.

     nd______. Inside Southeast Asia: Religion, Everyday Life and Cultural Change. 2 rev. ed. ,

    Chiang Mai, Thailand: Silkworm Press, 1996/2000.

    ______. Southeast Asian Images: Towards Civil Society? Chiang Mai: Silkworm Books,


Olson, Grant. ed. Modern Southeast Asian Literature in Translation: A Resource for

    Teachers. Tempe, AZ:Arizona State University/ Programs for South Asian

    Studies, 1997. (This is an excellent resource for identifying useful pieces of

    literature on a country-by-country basis.)

Osborne, Milton. Exploring Southeast Asia: A Traveler’s History of the Region. Australia:

    Allen and Unwin, 2002.

    Tarling, Nicholas. ed. The Cambridge History of Southeast Asia, 2 vols. Cambridge,


______. Southeast Asia: A Modern History. Melbourne, 2001.

Wolters, O.W. History, Culture, and Region in Southeast Asian Perspectives. Rev. ed.

    Cornell Southeast Asia Program Publications/ Studies on Southeast Asia No. 26,


Regional Audio-Visuals

Asian Insight. 1980’s. 3 pts. (291 min.) Chicago: Films Incorporated. (Pt. 1 features

    Japan/Hong Kong; Pt. 2 features Indonesia/Philippines; and Pt. 3 features


    Folk Dances of Asia and the Pacific. 1991. (60 min.) Tokyo: Asian Cultural Centre for

    UNESCO. (Features folk dances from China, Australia, Nepal, Vietnam, India,

    Philippines, Korea, Laos, Sri Lanka, Mongolia, Indonesia, Japan, Bangladesh and


JVC Video Anthology of World Music and Dance. 1990. (30 videos for 1527 min.)

    Cambridge, MA: Rounder Records. 1990 . (Features units on East Asia, Southeast

    Asia, South Asia, Middle East, Africa, Europe, Soviet Union, the Americas, and


    A Sound of Tambours: An ASEAN Tapestry. 1990. (73 min.) Manda: Bayanihan

    Philippines Dance Co. (Music and dances from Brunei, Indonesia, Malaysia,

    Philippines, Singapore and Thailand performed by dancers from these respective


Slow Boat from Surabaya: Through Southeast Asia with Jack Pizzey. 6 videos/ 55 min.

    each. Falls Church, VA: Landmark Films. (Pt. 1 Past Colonial Waltz; Pt. 2-

    Diplomatic Thais; Pt. 3- Filipinos, the women of the Philippines; Pt. 4- Five Faces

    of God; Pt. 5- Rich, clever and homeless; and Pt. 6- Red pride, red sorrow.)


Cultural Ethnography

     rdMulder, Niels. Inside Thai Society: An Interpretation of Everyday Life. 3 rev. ed.

    Bangkok: Duang Kamol, 1990.

______. Inside Thai Society: Religion, Everyday Life, Change. Chiang Mai, Thailand:

    Silkworm Books, 2000.

    Redmond, Mont. Wondering into Thai Culture. Bangkok: Redmondian Insight

    Enterprises, 1998.

Schliesinger, Joachim. Ethnic Groups of Thailand: Non-Tai Speaking Peoples. Bangkok:

    White Lotus Co., 2000.

______. Tai Groups of Thailand. Vol. 1 (Introduction and Overview) and Vol. 2 (Profile

    of the Existing Groups). Bangkok: White Lotus Co., 2001.

Literature (Fiction)

Kepner, Susan Fulop. The Lioness in Bloom: Modern Thai Fiction about Women.

    University of California Press, 1996.

    Kriengkraipitch, Suvanna and Larry E. Smith. eds. Value Conflicts in Thai Society:

    Agonies of Change in Short Stories. Chulalongkorn University/ Social Research

    Institute in cooperation with the East--West Center, Honolulu, HA, 1992. (This

    anthology of brief short stories includes ethnographic comments by the editors on

    each story.)

Phillips, Herbert P. ed. Modern Thai Literature with an Ethnographic Interpretation.

    Honolulu, Hawaii: University of Hawaii Press, 1987. (Anthology covers period of


    Rutnia, Mattani Mojdoru. Modern Thai Literature. Bangkok: Thammasat University Press,


    Treasury of Modern Thai Literature: The Modern Period. Bangkok: Thai National

    Identity Board, Bangkok, 1989. (Anthology with cross-section of various genres.)


Thailand, the Golden Kingdom. 1991. (56 min.) San Ramon, CA: Video Visits.

Thailand, the Golden Paradise. 1990. (60 min.) Bangkok: Foto House Camera and Video.

    Thailand: Land of Smiles. 1980’s. (27 min.) Coronet Films and Video.

Rum Thai, Thai Classical Dance. 1990’s. (60 min.) Bangkok: Foto House Camera and


Thai Dance. 1985. (35 min.) Bangkok: ASEAN Committee on Culture and Information

    and Department of Public Relations. (Folk dances of indigenous peoples.)


Cultural Ethnography

     ndMulder, Niels. Individual and Society in Java: A Cultural Analysis. 2 rev. ed.

    Yogyakarta, Indonesia: Gadjah Mada University Press, 1989/1992.

______. Inside Indonesian Society: An Interpretation of Cultural Change in Java.

    Bangkok: Duang Kamal, 1994.

______. Indonesian Images: Culture of the Public World. Yogyakarta, Indonesia:

    Kanisius Publishing House, 2000.

Reid, Anthony. ed. Witnesses to Sumatra: A Traveller’s Anthology. Oxford University ththPress, 1995 (Traveler accounts from the 14 through the early 20 century)

Literature (Fiction)

    Lubis, Mochtar. Twilight in Jakarta. Trans. Claire Holt. NY: Vanguard Press, 1963.

    (Novel on the violent political upheaval of 1965.)

McGlynn, John H. ed. Menagerie: Indonesian Fiction, Poetry, Photographs, Essays.

    (Series with multiple volumes). Jakarta: Lontar Foundation, 1992-

    Tieu, A. Modern Indonesian Literature. Vols. 1 & 2. The Hague: Martinus Nijoff,


Toer, Pramoedya Ananta. It’s Not An All Night Fair (Bukan Pasar Malam). Jakarta:

    Equinox Publishing, 2001.

    ______. This Earth of Mankind. trans. Max Lane. NY: William Morrow, 1991.

______. Tales from Jakarta (Tjerita dari Djakarta). Jakarta: Equinox Publishing, 2000.


    Indonesia: The Jeweled Archipelago. 1996. (57 min.) San Ramon, CA: International

    Video Network.

Bali: A Window on Paradise. 1990. (53 min.) San Ramon, CA: International Video


The Three Worlds of Bali. 1981. (60 min.) Boston, MA: PBS & University of Southern


Ring of Fire. 1989. (4 videos/ 55 min. each) NY: Mystic Fire Video (A ten year voyage

    and trek among various remote islands of the Indonesian archipelago by two

    brothers in search of exotic adventures among indigenous tribal peoples.)

Beyond the Ring of Fire. 1996. (58 min.) NY: Mystic Fire Video. (A repeat visit to some of

    the same locations visited about ten years previously.)

Silk and Steel. 1996. (56 min.) NY: Filmmaker Library. (Examines role of women in

    modern Indonesian society.)

    Art of Indonesia: Tales from the Shadow World. 1990. (28 min.) Concord, MA: Home

    Vision. (Explores Indonesian rituals, myths and performances.)

The Five Stream Gamelan in Concert. 1994. (65 min.) Tucson, AZ: Tree of life Video.

    Toping: The Masked Dance Theatre of Bali. 1970/1981. (30 min.) NY: Asia Society

The Dancer and the Dance. 1988. (44 min.) London: Royal Anthropological Institute of

    Great Britain and Ireland. (Javanese royal palace dances are performed and


Fabric of Enchantment. 1996. (15 min.) Los Angeles County Museum of Art. (Artistry of

    making batik cloth.)


Cultural Ethnography

    Duldulao, Manuel. The Filipinos: Portrait of a People. Quezon City, Philippines: Oro

    Books, 1987.

    Lordizabal, Amparo S. and Felicitas Tensuan-Liogardo. eds. Readings in Philippine

    Culture and Social Life. Quezon City, Philippines: Bustamante Press, 1970.

Mulder, Niels. Inside Philippine Society: Interpretations of Everyday Life. Quezon City,

    Philippines: New Day Publishers, 1997.

    ______. Filipino Images: Culture of the Public World. Quezon City, Philippines: New

    Day Publishers, 2000.

    Roces, Alfredo and Grace. Culture Shock! : Philippines. Singapore: Times Books

    International, 1986.

    Rodell, Paul. Culture and Customs of the Philippines. Westport, CT: Greenwood Press,


Literature (Fiction)

Lumbera, Bienvenido and Cynthia. eds. Philippine Literature: A Historical Anthology.

    Manila: National Book Store, 1982.

    Patajo-Legasto, Priscelina. Filipiniana Reader. Quezon City, Philippines: University of

    the Philippines Open University, 1998.

Rizal, Jose. Noli Me Tangere. Trans. Leon Ma. Guerro. London: Longmans, 1961. Also

    published as The Lost Eden by the Indiana University Press, 1961.


Philippines, A Cultural Experience. 1980’s. (81 min.) Los Angeles: Philippine Video

    Library. (Depicts Filipino dances, festivals, weddings and foods.)

People’s Revolution and Magkaisa. 1986. (60 min.) Robert Garon. (Documentary on the

    overthrow of the Ferdinand Marcos regime.)

Philippines: Life, Death and Revolution. 1986. (55 min.) NY: Downtown TV Center.

    (Fim explores social inequalities in the Philippines.)

    Pedagogical Use of the Above Resources

    I commonly teach a one-semester course on Asian Humanities at the community college level. This course by catalogue description is intended to focus on the cultures of

    India, China, and Japan. I am intending to expand the scope of the course to include a

    regional unit on Southeast Asia. In a semester of fifteen weeks, I normally have one class

    of two-hour and forty-five minutes in duration each week. For the unit on Southeast Asia,

    I plan to allocate three weeks (or three classes) out of the available time. Initially, I have

    decided to feature one class each on the following countries: Thailand, Indonesia and the

    Philippines. However, over time I may vary from semester to semester the Southeast

    Asian countries that are featured in the unit.

    Typically, I incorporate audio-visual presentations, class discussion and some lecturing in each class. On occasion, I invite guest lecturers to class. The general format

    for a typical class is as follows. I begin by introducing the subject matter of the class with

    a brief lecture of ten minutes or so. Then, I show one 50-60 minute film or a combination

    of shorter film clips that help to characterize the selected country in terms of its geographic

    features, art, architecture, music, rituals, festivals, customs, and religious beliefs. Because

    of the limited amount of time available, I normally do not show full-length feature films in

    class (although the students can view such films outside of class for bonus credit). I might

    also play some recorded music to further demonstrate the indigenous music of the country.

    After viewing the film, I invite the students to offer their impressions or to ask questions.

     After a brief break, the remainder of the class is devoted to discussion of the contents of the reading material that the students were assigned for the particular class

    session. In general, the reading assignments range from about 25 to 40 pages in length. In

    order to insure that the students read and digest the reading material beforehand, they are

    required to prepare a typed, one-page reflection paper or a more in-depth essay of several

    pages that contains their responses to specific questions I have given as part of the reading

    assignment in order to stimulate critical reflection on their part. In most cases, the

    questions deal with the beliefs, customs, values and attitudes that are exemplified in the

    assigned readings for the particular class. The genre of reading material will vary from

    class to class. At times it might be a classic text dealing with a national epic, a discourse on

    philosophy or religion, an autobiographical account, a short story, or perhaps selections of poetry depending upon the general topic or cultural milieu being considered. Because of the students’ advanced preparation, the class discussions that take place either in small groups or with the entire class as a whole are usually quite lively and interesting. The above method of classroom instruction is feasible at our community college because enrollment in humanities classes with an intensive student writing requirement (i.e., a minimum of 6,000 words of writing for the semester) is capped at 29 students.

    Overall, I intend to use selected items from the above resource list either as visual

    presentations in class in the case of the films or in the case of the print-based materials, as student reading assignments and as further background information for me to supplement what I learned in our Summer Institute.

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