Liberation as Revolutionary Praxis: Rethinking Buddhism Materialism

While it is only in recent decades that scholars have begun to reconsider and problematize Buddhist conceptions of “freedom” and “agency,” the thought traditions of Asian Buddhism have for many centuries struggled with questions related to the issue of “liberation”—along with its fundamental ontological, epistemological and ethical implications. With the development of Marxist thought in the mid to late nineteenth century, a new paradigm for thinking about freedom in relation to history, identity and social change found its way to Asia, and confronted traditional religious interpretations of freedom as well as competing Western ones. In the past century, several attempts have been made—in India, southeast Asia, China and Japan—to bring together Marxist and Buddhist worldviews, with only moderate success (both at the level of theory and practice). This paper analyzes both the possibilities and problems of a “Buddhist materialism” constructed along Marxian lines, by focusing in particular on Buddhist and Marxist conceptions of “liberation.” By utilizing the theoretical work of Japanese “radical Buddhist” Seno’o Girō, I argue that the root of the tension lies with conceptions of selfhood and agency—but that, contrary to expectations, a strong case can be made for convergence between Buddhist and Marxian perspectives on these issues, as both traditions ultimately seek a resolution of existential determination in response to alienation. Along the way, I discuss the work of Marx, Engels, Gramsci, Lukàcs, Sartre, and Richard Rorty in relation to aspects of traditional (particularly East Asian Mahāyāna) Buddhist thought.

Can Developing Women Create Primitive Art? and Other Questions of Value, Meaning and Identity in the Circulation of Janakpur Art

In this article, I examine the values and meanings that adhere to objects made by Maithil women at a development project in Janakpur, Nepal – objects collectors have called ‘Janakpur Art’. I seek to explain how and why changes in pictorial content in Janakpur Art – shifts that took place over a period of five or six years in the 1990s – occurred, and what such a change might indicate about the link between Maithil women’s lives, development, and tourism. As I will demonstrate, part of the appeal for consumers of Janakpur Art has been that it is produced at a ‘women’s development project’ seeking to empower its participants. And yet, the project’s very successes threaten to displace the producers (and what they produce) from their perceived qualities/identities as ‘traditional’ and ‘primitive,’ thereby bringing into question the authenticity of the ‘art’ they produce. The conundrum begs this question: can developing women produce primitive art?

'Listen, Rama’s Wife!’: Maithil Women’s Perspectives and Practices in the Festival of Sāmā-Cakevā

As a female-only festival in a significantly gender-segregated society, sāmā cakevā provides a window into Maithil women’s understandings of their society and the sacred, cultural subjectivities, moral frameworks, and projects of self-construction. The festival reminds us that to read male-female relations under patriarchal social formations as a dichotomy between the empowered and the disempowered ignores the porous boundaries between the two in which negotiations and tradeoffs create a symbiotic reliance. Specifically, the festival names two oppositional camps—the male world of law and the female world of relationships—and then creates a male character, the brother, who moves between the two, loyal to each, betraying, in a sense, each, but demonstrating, by his movements, the currents and avenues of power. This article makes available to other scholars of South Asian culture and society an extended description and analysis of this distinctive festival, while also contributing to the scholarly discussion of women’s expressive traditions.