Relevant bibliographies by topics / Asian Arts

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Asian Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Asian Arts"

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Bell, Carl. "Asian martial arts and resiliency." Ethnicity and Inequalities in Health and Social Care 1, no. 2 (December 2008): 11–17. http://dx.doi.org/10.1108/17570980200800016.

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Choi, Heeyoung. "Multicultural Musicscape for National Pride: Performing Arts of East-Asian Diasporas in Hawai‘i before WWI." Asian Culture and History 12, no. 1 (February 28, 2020): 9. http://dx.doi.org/10.5539/ach.v12n1p9.

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This study investigates stage performances of Asian immigrants in the U.S., focusing their cultural interactions in Hawai‘i prior to World War II. Previous studies of Asians in the U.S. during the early twentieth century have focused on their separate ways of preserving homeland culture or presentation of mainstream American culture to express a sense of belonging to the host society and relieve anti-Asian sentiments. Despite increasing cultural interactions in cities during this period, the discussion of cultural exchanges among immigrant communities have received limited attention. This study expands previous perspectives by examining the performing arts to demonstrate that diverse multicultural events in Hawai‘i were important tools to promote respective Asian ethnic groups’ cultural identities, foster interactions among young adults of Asian ancestry, and inspire their national pride. The Asian diasporas in Hawai‘i constituting a majority of the local population, despite foreign-born Asian immigrants’ limited access to U.S. citizenship, appreciated opportunities to curate their own ethnicity on stages and culturally interact with other ethnic groups. The multicultural experiences ultimately instilled the satisfaction and national pride into the young adults of Asian ancestry.
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Benitez, Kristina, Frena Bloomfield, and Leong Mo-ling. "The 7th Festival of Asian Arts." Ethnomusicology 29, no. 1 (1985): 121. http://dx.doi.org/10.2307/852332.

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Daugherty, Diane, and Phillip B. Zarrilli. "Asian Martial Arts in Actor Training." Asian Theatre Journal 13, no. 1 (1996): 135. http://dx.doi.org/10.2307/1124311.

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Phruksachart, Melissa. "The Bourgeois Cinema of Boba Liberalism." Film Quarterly 73, no. 3 (2020): 59–65. http://dx.doi.org/10.1525/fq.2020.73.3.59.

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If what characterizes Asian American radical politics in 2020 is an articulation of the difference between, and interrelatedness of, the Asian diasporic elite and the migrant poor, the 2018 Asian American films Crazy Rich Asians and Searching achieved mainstream success by celebrating the emergence of the former. The media paratexts of Crazy Rich Asians used race-consciousness as putative resistance, engendering “messianic visibility”—an over-investment in cinematic identification as possessing transformative, even curative, political and personal potential for liberal cisheteronormativity. Meanwhile, Searching's marketing as a film not about race was a significant talking point in the U.S. press. Its colormuteness functioned to normalize the entanglement of Asian diasporic elites in the ranks of Silicon Valley's digital empire. The films’ lack of friction in relation to surveillance capitalism and neoliberal empire ultimately highlights the contradictions of race and/as resistance in the present moment.
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Chen, Feng. "Performing race and remaking identity: Chinese visual artists in New York during the COVID-19 pandemic." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 201–25. http://dx.doi.org/10.1386/jcca_00062_1.

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The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.
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Hiramoto, Mie. "Wax on, wax off: mediatized Asian masculinity through Hollywood martial arts films." Text & Talk 35, no. 1 (January 1, 2015): 1–23. http://dx.doi.org/10.1515/text-2014-0028.

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AbstractThis paper examines the mediatization of Asian masculinity in representative Hollywood martial arts films to expose the essentialism on which such films rely. Asian martial arts films are able to tap into viewers’ familiarity with idealized images of Asian masculinity; such familiarity is an essential part of the pleasure provided by these films and hence of their economic success. This study focuses on non-Asian (that is, western) protagonists’ appropriation of Asian masculinity because it succinctly encapsulates precisely how western hegemonies co-opt and commodify Asian-ness for their own purposes. Such appropriation is a use of intertextuality that not only allows western viewers to easily access a simplified model of Asian masculinity, but also allows them to reference earlier works to further facilitate the mediation and mediatization of Asian masculinity. This is a process which continues to Other and exoticizes Asian identities, even as it ostensibly carves out a niche for Asian bodies and identities in the institution of the film industry.
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Priest, Graham. "The Martial Arts and Buddhist Philosophy." Royal Institute of Philosophy Supplement 73 (August 21, 2013): 17–28. http://dx.doi.org/10.1017/s1358246113000246.

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My topic concerns the martial arts – or at least the East Asian martial arts, such as karatedo, taekwondo, kendo, wushu. To what extent what I have to say applies to other martial arts, such as boxing, silat, capoeira, I leave as an open question. I will illustrate much of what I have to say with reference to karatedo, since that is the art with which I am most familiar; but I am sure that matters are much the same with other East Asian martial arts.
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Nichols, Richard. "A "Way" for Actors: Asian Martial Arts." Theatre Topics 1, no. 1 (1991): 43–60. http://dx.doi.org/10.1353/tt.2010.0001.

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YoungIl, Na. "The Future of Asian Traditional Martial Arts." International Journal of the History of Sport 33, no. 9 (June 12, 2016): 893–903. http://dx.doi.org/10.1080/09523367.2016.1233866.

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Dissertations / Theses on the topic "Asian Arts"

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Hsieh, I.-Yi. "Marketing Nostalgia| Beijing Folk Arts in the Age of Heritage Construction." Thesis, New York University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10139814.

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This dissertation presents an analysis of the reconstruction of urban folk arts as cultural heritage in China. Focusing on material culture and folk performances revived in two Beijing folklore markets, the dissertation discusses the neoliberal marketization that coincides with urban commercial zoning in China since the 1980s. The dissertation examines the intertwined cultural and economic dimensions of collective nostalgia, urban marketization and heritage developmentalism. Based on ethnographic and archival research in Beijing from 2010 to 2015, the dissertation addresses China’s collaboration with UNESCO in world cultural heritage program. It looks closely at the process of cultural heritage marketization, which is geared toward a developmental agenda. Such a heritage construction appears in conjuncture with the rise of the new Chinese cultural industry and cultural entrepreneurship, reconfiguring the sociopolitical role of folk arts and folk artists in China.

Through the ethnographic lens, the dissertation focuses on depicting the everyday life in contemporary Beijing surrounding folklore marketplaces. In particular, it describes material engagements established by connoisseurs and collectors in two major folklore markets, the Shilihe and the Panjiayuan market, demonstrating a new Chinese folklore connoisseurship that ascends and reconfigured in contemporary Beijing. This dissertation argues that the desire, and the collective effort, to overcome the post-Mao social and cultural transformation have materialized in the revival of folk traditions as marketized cultural heritage. It contends that the ascending cultural market propels the hope of national rejuvenation while bringing about a new form of possessive individualism alongside the process of privatization.

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Ng, Pei-San. "Strength From Within| the Chinese Internal Martial Arts as Discourse, Aesthetics, and Cultural Trope (1850-1940)." Thesis, University of California, Berkeley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10251445.

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My dissertation explores a cultural history of the body as reflected in meditative and therapeutic forms of the Chinese martial arts in nineteenth and early twentieth-century China. Precursors of the more familiar present-day taijiquan [special characters omitted] and qigong [special characters omitted], these forms of martial arts techniques focus on the inward cultivation of qi [special characters omitted] and other apparently ineffable energies of the body. They revolve around the harnessing of “internal strength” or neigong [special characters omitted]. These notions of a strength derived from an invisible, intangible, yet embodied qi came to represent a significant counterweight to sports, exercise science, the Physical Culture movement, physiology, and other Western ideas of muscularity and the body that were being imported into China at the time.

What role would such competing discourses of the body play in shaping contemporary ideas of embodiment? How would it raise the stakes in an era already ideologically charged with the intertwined issues of nationalism and imperialism, and so-called scientific modernity and indigenous tradition? This study is an inquiry into the epistemological and ontological ramifications of the idea of neigong internal strength, tracing the popular spread of the idea and its impact in late Qing and Republican China vernacular discourse. I pay particular attention to how the notion of “internal strength” might shed light on thinking about the body in the period. Using the notion of neigong as a lens, this project examines the claims of the internal forms of Chinese martial arts, and the cultural work that these claims perform in the context of late Qing and Republican China. I locate the nineteenth and early twentieth centuries as the key formative period when the idea first found popular conceptual purchase, and explore how the notion of neigong internal strength became increasingly steeped in the cultural politics of the time.

Considering the Chinese internal martial arts not only as a form of bodily practice but also as a mode of cultural production, in which a particular way of regarding 'the body' came to be established in Chinese vernacular culture, may additionally yield rich theoretical fodder. How might such claims about a different kind of “internal strength” revisit or disrupt modernist assumptions about the body? The project highlights the neglected significance of the internal martial arts as a narrative of the Chinese body. More broadly, it suggests fresh avenues for scholarship on the body, in showing how these other-bodily "ways of knowing" took on meaning in the period and beyond.

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Shelton, Abigail Leigh. "An analysis of the particle WA in Japanese narrative discourse." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407512818.

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Trent, Savannah. "MARRY A WHITE MAN." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564146608206342.

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Treat, Nicholas. "Xiwu yu Wudao: Wushu yu Daojia ji Shijia SixiangThe Learning of Marital Arts and Daoist and Buddhist Thought." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555390221952377.

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Tham, Hong Wan. "To occupy a different space of mind investigating the connection between socio-cultural and historical contexts and the positioning of the self in the studio art practice of the Post-80s Generation student artists at the Chinese Art School in Beijing, China." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590269.

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This is a case study that focuses on the socio-cultural and historical contexts that influenced the studio art practice of three Post-80s Generation student artists attending the Chinese Art School in Beijing. This study is grounded on the idea that the creation of art is determined by an interplay between multiple factors within the milieu (of what makes it understood to be “art” by the majority) and their influence on the artistic creation, which is non-assertive and invariably established in relation to others that happen to share and coexist within this processual context of doing and learning art making. On the other hand, the notion of a context in this study refers to a notion of “genealogies” where contexts are distanced from descriptions based on a horizontal platform or a lineal chain of events. Rather, in line with the methods that emerge from arts research and practice, this project operates on a “messy” yet sensible horizon of interconnections that transcend fixed notions of time and space.

While sixteen participants took part in data collection, the main focus is reserved to three student-artists. Data collection was conducted in the month of June in 2010 and 2011. Interviews and studio visits were the two methods applied for data collection. Data or narratives collected from the three research participants pertaining to the development of their studio art practices provided three avenues of interpretation: first, through the students’ own idiosyncratic accounts of their work and their student experience; secondly, through the lens of art as a collective entity from both the perspective of the participants and the researcher; and last, through a summative analysis, offering a number of possible explanations.

Through an analysis of the students’ artistic production and their art educational experience, this study aims at offering art educators, both within as well as outside China, with a discussion that illustrates the history and the stories of the Post-80s Generation student artists in the Chinese Art School.

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Bong, Mabelle. "Grotesque Depictions and Seduction: Exotification of Asian/American Women." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/579.

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My senior art project is an exploration of contemporary representations of women of Asian descent in the United States, specifically looking at issues of body image, sexuality, and exotification. I will examine the lack of representation of Asian women in America in media and art, specifically painting and mixed media. Ultimately, I will elucidate on why I chose this topic and used certain techniques and materials to explore the contemporary features and symbolic representations of Asian women in America.
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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.

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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.
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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).
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King, Jesse Lau Kristine. "Asian American Cultural Identity Portrayal on Instagram." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8901.

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Though more recent Asian American representation in media has been lauded, the majority of portrayals have been considered to be stereotypical misrepresentations. Because negative media representations can have a detrimental impact on people's self-concepts and their views of others, it is important to understand how Asian Americans are representing their own identities online. In order to understand how Asian Americans are negotiating their own ethnic, racial, and national identities online, constant comparative analysis was employed to examine patterns and themes in the visual and textual communication of Asian American Instagram posts. Their cultural identities were communicated as a cultural blending, which included the use of Asian, American/Western, and Asian American cultural values, products, and behaviors. Together, these factors provided insight into the construction and communication of a multilayered identity, mirroring the process of the communication theory of identity. This study indicates that multicultural identity analysis can be applied to visual texts and Instagram can provide more fluid, authentic representations of identity despite its inability to account for internal multicultural identity conflict. Further, not only are values, products, and behaviors components of culture, but they are also facets of identity that can be portrayed visually.
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Books on the topic "Asian Arts"

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Kensington, Ltd Christie's South. Asian decorative arts. London: Christie's, 2002.

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Kensington, Ltd Christie's South. Decorative Asian arts. London: Christie's, 2001.

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Kensington, Ltd Christie's South. Asian decorative arts. London: Christie's, 2004.

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Kensington, Ltd Christie's South. Asian decorative arts. London: Christie's, 2003.

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Hôtel Drouot. Arts primitifs, arts d'Asie. Paris: Cornette de Saint Cyr, 2004.

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Hôtel Drouot. Arts primitifs, arts d'Asie. Paris: Cornette de Saint Cyr, 2003.

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Kensington, Ltd Christie's South. Japanese and Asian decorative arts. London: Christie's, 2003.

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Yatim, Othman bin Mohd. Islamic arts. Kuala Lumpur: Dewan Bahasa dan Pustaka, Ministry of Education, Malaysia, 1995.

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SEAMEO Project in Archaelogy and Fine Arts. Library and Documentation Centre., ed. Visual arts. [Bangkok?]: SEAMEO Project in Archeology and Fine Arts, Library and Documentation Centre, 1985.

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Payne, Gig. South Asian arts: a teacher's handbook. Birmingham: SAMPAD, 1991.

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Book chapters on the topic "Asian Arts"

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Jennings, George, Simon Dodd, and David Brown. "Cultivation Through Asian Form-Based Martial Arts Pedagogy." In East Asian Pedagogies, 63–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45673-3_5.

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Hingorani, Dominic. "Tara Arts 1984–1996: Creating a ‘Binglish’ Theatre." In British Asian Theatre, 45–70. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-08371-5_3.

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Hingorani, Dominic. "Tara Arts 1997–2007: Mapping a ‘Binglish’ Diaspora." In British Asian Theatre, 143–65. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-08371-5_7.

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Margaret, Coldiron. "Foreign Female Interventions in Traditional Asian Arts." In Women in Asian Performance, 124–41. Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688800-10.

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Hingorani, Dominic. "Tara Arts 1977–1984: Creating a British Asian Theatre." In British Asian Theatre, 18–44. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-08371-5_2.

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Surabhi, K., and Ajaya K. Sahoo. "Performing arts, diaspora and identity." In Routledge Handbook of Asian Diaspora and Development, 359–68. 8th ed. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429352768-32.

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Bowman, Paul. "The Tradition of Invention: On Authenticity in Traditional Asian Martial Arts." In East Asian Pedagogies, 205–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45673-3_14.

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Lee, Sangjoon. "Martial Arts Craze in Korea: Cultural Translation of Martial Arts Film and Literature in the 1960s." In East Asian Cinema and Cultural Heritage, 173–95. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339507_8.

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Prabjandee, Denchai, and Pornsiri Nilpirom. "Arts-based Qualitative Research in the Asian Context." In The SAGE Handbook of Qualitative Research in the Asian Context, 251–63. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2022. http://dx.doi.org/10.4135/9781529781731.n19.

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Bailyn, Charles. "Diversifying the Liberal Arts Curriculum in an Asian Context." In Diversity and Inclusion in Global Higher Education, 163–81. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1628-3_6.

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Conference papers on the topic "Asian Arts"

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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Hood, Made Mantle. "Hacking Creativity to Sustain Diversity in Southeast Asian Performing Arts." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.95.

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Taswadi, Taswadi, and Made Mantle Hood. "Hacking Creativity to Sustain Diversity in Southeast Asian Performing Arts." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.41.

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"Shallow Analysis on Southeast Asian Amorous Feelings Interior Design." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.041.

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Revilla, Ruth, and Jocelyn Goyena. "Performing Arts: Assessment of Learning in Grade 7 Mathematics." In The Asian Conference on Education 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-5892.2021.25.

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Liu, Zixuan. "The Influence of Confucianism on East Asian Countries." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.14.

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Jarry, Rémy. "The Factors of Market Success and Failure of Contemporary Artists from ASEAN countries | ปัจจัยทางการตลาด ที่ทำาให้ศิลปินร่วมสมัยจากประเทศอาเซียนประสบ ความสำาเร็จ หรือ ล้มเหลว." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-23.

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The market of contemporary art from Southeast Asia hasn’t been explored in-depth, despite its rise in sales and notoriety over the last two decades at national and international levels. Our aim is to identify the factors of success and failure of contemporary artists from ASEAN countries in the global art market. To do so, we map the trajectories of those artists and evaluate the role of the other stakeholders of the art world. Our methodology relies on a multidisciplinary approach, balancing quantitative and qualitative data. The period of study focuses on the art market data since 2000.
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Sultonov, Mirzosaid, Timothy Bunting, and Julia Arskaya. "Content-Based Language Teaching in International Liberal Arts Education." In The Asian Conference on Education & International Development 202. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2189-101x.2021.15.

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Chia, Ivy. "Remote Teaching of the Arts in a Time of COVID-19." In The Asian Conference on Arts & Humanities 202. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-229x.2021.11.

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Butler, Luke, Sotiria Kogou, Yu Li, Chi Shing Cheung, Haida Liang, Annabel T. Gallop, Paul Garside, and Christina Duffy. "Machine learning analysis of illuminated Southeast Asian manuscripts using complementary noninvasive imaging techniques (Conference Presentation)." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2527576.

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Reports on the topic "Asian Arts"

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Daiya, Kavita. Empowerment, Entrepreneurship, and Transnational Dialogue: Reframing South Asian Textile Arts. Critical Asian Studies, February 2021. http://dx.doi.org/10.52698/ibxk1739.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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3

Fogleman, Samuel. Northeast Asia and the Avoidance of a Nuclear Arms Race. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.46.

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4

Wezeman, Pieter D., Katarina Djokic, Mathew George, Zain Hussain, and Siemon T. Wezeman. Trends in International Arms Transfers, 2023. Stockholm International Peace Research Institute, March 2024. http://dx.doi.org/10.55163/pbrp4239.

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Imports of major arms by states in Europe increased by 94 per cent between 2014–18 and 2019–23, while the global volume of international arms transfers decreased marginally, by 3.3 per cent. There were overall decreases in arms transfers to all other regions, but states in Asia and Oceania and the Middle East continued to import arms in much larger volumes than those in Europe. Nine of the 10 biggest arms importers in 2019–23, including the top 3 of India, Saudi Arabia and Qatar, were in Asia and Oceania or the Middle East. Ukraine became the fourth biggest arms importer globally after it received transfers of major arms from over 30 states in 2022–23. Arms exports by the United States, the world’s largest arms supplier, rose by 17 per cent between 2014–18 and 2019–23, while those by Russia fell by more than half (–53 per cent). France’s arms exports grew by 47 per cent and it moved just ahead of Russia to become the world’s second largest arms supplier. From 11 March 2024 the freely available SIPRI Arms Transfers Database includes updated data on transfers of major arms for 1950–2023, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this fact sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.
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Wezeman, Siemon T., Mathew George, and Pieter D. Wezeman. Transparency in Armaments in South East Asia: Learning from Three Decades of the United Nations Register of Conventional Arms. Stockholm International Peace Research Institute, February 2024. http://dx.doi.org/10.55163/dcco3611.

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The United Nations Register of Conventional Arms (UNROCA) was established in 1991 as a transparency mechanism with the main goal of preventing potentially destabilizing build-ups of armaments. UNROCA reporting is particularly relevant to South East Asian states, and they are willing to participate. However, after high reporting rates in UNROCA’s first two decades, these states’ reporting rates have been low in recent years. When they report, they give all the required information on their arms imports and much additional, and useful, detail. Moreover, they do not consider UNROCA’s discriminatory focus on importing states to be detrimental to its wider goal. However, the states’ officials must overcome some impediments to increased participation, such as the short time between the request to report and the deadline, staff turnover, and the need for more training. Many of the lessons learned from the South East Asian experience are applicable to other regions.
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Wezeman, Pieter D., Aude Fleurant, Alexandra Kuimova, Nan Tian, and Siemon T. Wezeman. Trends in International Arms Transfers, 2017. Stockholm International Peace Research Institute, March 2018. http://dx.doi.org/10.55163/kflq6518.

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The volume of international transfers of major weapons in 2013–17 was 10 per cent higher than in 2008–12. This is a continuation of the upward trend that began in the early 2000s. The flow of arms to the Middle East and Asia and Oceania increased between 2008–12 and 2013–17, while there was a decrease in the flow to the Americas, Africa and Europe. The SIPRI Arms Transfers Database now includes data on arms transfers in 2017 and updated information for 1950–2016. This Fact Sheet highlights some of the key global and regional trends and issues in arms transfers based on the new data.
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Wezeman, Pieter, Aude Fleurant, Alexandra Kuimova, Diego Lopes da Silva, Nan Tian, and Siemon Wezeman. Trends in International Arms Transfers, 2019. Stockholm International Peace Research Institute, March 2022. http://dx.doi.org/10.55163/yjyw4676.

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The volume of international transfers of major arms in 2015–19 was 5.5 per cent higher than in 2010–14 and 20 per cent higher than in 2005–2009. The five largest exporters in 2015–19 were the United States, Russia, France, Germany and China. The five largest importers were Saudi Arabia, India, Egypt, Australia and China. Between 2010–14 and 2015–19, there were increases in arms transfers to the Middle East and to Europe, while there were decreases in the transfers to Africa, the Americas and Asia and Oceania. From 9 March 2020 the freely accessible SIPRI Arms Transfers Database includes updated data on arms transfers for 1950–2019. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports and highlights selected issues related to arms transfers.
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Fleurant, Aude, Pieter D. Wezeman, Siemon T. Wezeman, and Nan Tian. Trends in International Arms Transfers, 2016. Stockholm International Peace Research Institute, February 2017. http://dx.doi.org/10.55163/dkzb4863.

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The volume of international transfers of major weapons in 2012–16 was 8.4 per cent higher than in 2007–11. This was the highest volume for any five-year period since 1990. The flow of arms to Asia and Oceania and the Middle East increased between 2007–11 and 2012–16, while there was a decrease in the flow to Europe, the Americas and Africa. The SIPRI Arms Transfers Database now contains information on all international transfers of major conventional weapons from 1950 to the end of 2016. It is the only publicly available resource providing consistent data on international arms transfers for this length of time. This Fact Sheet describes the trends in international arms transfers that are revealed by the new data. It lists the main suppliers and recipients for the period 2012–16 and describes the changes in regional trends.
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Wezeman, Pieter, Alexandra Kuimova, and Siemon Wezeman. Trends in International Arms Transfers, 2020. Stockholm International Peace Research Institute, March 2021. http://dx.doi.org/10.55163/mbxq1526.

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The volume of international transfers of major arms in 2016–20 was 0.5 per cent lower than in 2011–15 and 12 per cent higher than in 2006–10. The five largest arms exporters in 2016–20 were the United States, Russia, France, Germany and China. The five largest arms importers were Saudi Arabia, India, Egypt, Australia and China. Between 2011–15 and 2016–20 there were increases in arms transfers to the Middle East and to Europe, while there were decreases in the transfers to Africa, the Americas, and Asia and Oceania. From 15 March 2021 SIPRI’s open-access Arms Transfers Database includes updated data on transfers of major arms for 1950–2020, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.
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10

Gupta, Amit, and Nazir Kamal. Cooperative Mmonitoring Center Occasional Paper/5: Propspects of Conventional Arms Control in South Asia. Office of Scientific and Technical Information (OSTI), November 1998. http://dx.doi.org/10.2172/6963.

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