Activism, Appropriation, Arts Practices, Asian Theatre, Cambodia, Cambodian Classical Court Dance, Cambodian Shadow Puppetry, China, Club Culture, Codification, Collaboration, Conceptual Art, Contemporary Art, Contemporary Asia, Contemporary Butoh, Contemporary Dance, Contemporary Music, Contemporary Performance, Contemporary Ritual, Contemporary Theatre, Contextualization, Creative Strategies, Critical Reflexivity, Crossing Borders, Dance Studies, Decolonisation, Deconstructing the Exotic, Deconstruction, Differences, Discourse, Documentary Film, East Asia Studies, Electronic Music, Encounter, Ethnic Minorities, Exhibition, External Form, Hani Minority, Histories, Hybridity, Improvisation, Indigenous Land Rights, Indigenous Struggle, Indigenous Writing System, Individual, Indonesia, Installation, Intellectual Muscularity, Internal Landscape, Intersectionality, Interweaving, Japan, Juxtaposition, Kalinga People, Khon Dance, Korea, Laboratory, Laos, Li Yuan Opera (Pear Garden Opera), Lijiang, Live Art, Malaysia, Mindanao, Mondialization, Multiple Realities, Myanmar, Myanmar Marionette Dance, Myanmar String Puppets, Naxi Dongba Shamans, Negotiation, New Asia, New Millennium, Oral History, Philippines, Pictograms, Politicization, Politics Of Transcultural Processes, Ramayana, Randai, Reconstruction, Reinvention Of Tradition, Research, Reyum Arts Center, Ritual Dance Scores, Ritualists, Sacred Music, Samul Nori, Secular Cultural Elements, Silat, Singapore, Sound Art, Southeast Asia Studies, Spiritualities, T'boli, Taiwan, Thailand, The Black Box, Tibet, Tibetan Buddhism, Tibetan Mask Dance, Tibeto-Burman, Tradition And Change, Tradition As Contemporaneous Expression, Traditional And Contemporary Continuum, Traditional Cultures, Traditional Performing Arts, Transdisciplinary Processes, Turntablist, Urban Artists, Video Art, Vietnam, Younger Generation Artists Trained In Traditional Arts, Yunnan,
The Flying Circus Project involves twenty lamas, including a Living Buddha from Tibetan Buddhism, and ritualists from Naxi Exorcism Ceremonies (Dongba Shamans) in Yunnan. The artists come from China, Taiwan, Philippines, Japan, Korea, Cambodia, Laos, Myanmar, Vietnam, Thailand, Indonesia, Malaysia and Singapore. The theme for this edition is the interface of Asian religious rituals and the urban artist from contemporary Asia. Another theme is the indigenous peoples’ struggles with the participation of ethnic minority artists. There is also the Indochina Project, which introduces artists from that developing region to the rest of Asia. Overall, the Flying Circus Project becomes more varied in tone and contrasting amongst the genres. Contemporary Asia is the focus, with the proposition that religious rituals and traditional arts are contemporaneous within their contexts. This contextualisation balances the continued exoticisation of Asia.
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