The Parsi Theater as a Cultural Channel between South and Southeast Asian Cities
This paper is to analyze different cases from the Malay world, Sri Lanka, and Myanmar with historical methods as well as from the perspective of current musical practice. Constructions of historical awareness and some nationalist or religiously motivated thoughts may play an important role in reflecting on musical skills. This practice-based research carried out in contexts of selected urban areas of Southeast and South Asia involves long term field work experiences, archival work, and interviews with key figures. This paper should help rationalize historical developments and their meaning for current performance practices in the region. The further idealization of musical dramas on stage was and is always accompanied by individuation resulting from personal encounters, accidental shifts in arrangements, and the availability of performance knowledge. The paper suggests an open minded and fearless approach to cultural globalization.
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