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Cultural Identity and Urban Change in Southeast Asia: Interpretive Essays . Edited by Marc Askew and William Logan. Geelong: Deakin University Press, 1994. Pp. xii, 252. Maps, Illustrations, Index.

This book contains seven papers presented at the International Seminar on Asian and African Performing Arts, 10-12 May 1995, in Leiden. Three of the papers deal with the intercultural aspects of dramatic performances. S. Moreh looks at Persian and Central Asian influences on medieval Arabic theatre. S. Moreh and C. Brakel then analyze the correspondences between the theatre of medieval Middle East and the Indonesian Archipelago in terms of costume, movement and scenic structure. J. R. Brandon illustrates the social basis of English language Japanese Kabuki Theatre in Hawaii. The other papers investigate the social roles of performers and the messages they transmit. P. Pink discusses the role of the dalang and how Sukarno attempted to communicate his interpretation of the political situation in Indonesia through the dalang in the last wayang sponsored by Sukarno when he was under house arrest in Bogor. Ashton-Sikora shows how female characters in the Yakshagana (male theatre) of the Kanara Coast are portrayed as aggressive and seductive rather than subdued and submissive as the status of women in India improved over time. P. B. Zarrilli explains why the Kalarippayattu (the art of self defence of Kerala) appears anachronistic to many young Malayali but ironically serves as a symbol of Malayali collective identity. Finally, S. Blackburn discusses how performers of the shadow play in Kerala become their own audiences when ordinary interactive audiences are absent at special performances. This book is useful to those interested in cultural contact and synthesis in Asian societies. It also highlights the social functions of performing artists which influence the messages they transmit.