Southeast Asia and China: The role of history and culture in shaping future relations

Despite the position of the United States as de facto global hegemon, China is a rising power in the world. As Chinese power grows, the projection of Chinese influence will be felt most acutely in Southeast Asia. Whether to accommodate, contain or resist China will depend on future developments that none can foresee, including Chinese ambitions, the policies of other international players (the U.S., Japan), and the cohesion or fragility of the Association of Southeast Asia Nations (ASEAN). This paper argues that in deciding how best to deal with China, two factors that will influence the countries of Southeast Asia are their own long histories of bilateral relations with China and their own differing conceptions of how foreign relations should be conducted. This is to argue that history and culture are central to any understanding of the likely future shape of China-Southeast Asia relations. Only by taking history and culture into account will analysts be in a position to predict how the mainland and maritime states of Southeast Asia are likely to respond to a more powerful, confident and assertive China.

On a railroad to nowhere: Irmgard Keun's 'D-Zug Dritter Klasse'

D-Zug dritter Klasse, the second novel Irmgard Keun published in exile from Nazi Germany, describes seven passengers on a Berlin-Paris express in 1937. Although it begins like a wide-ranging narrative of persecution and emigration, many of the passengers' stories develop in non-political, inconsequential, and downright farcical directions, a shift which scholars have struggled to explain. This article suggests that D-Zug is a novel of emigration in a personal and literary sense, interpreting the narrative's erratic trajectory as a conscious expression of Keun's fear that her continuing exile could stifle her political effectiveness and professional abilities as an antifascist author.

Moving and dancing towards decolonisation in education: An example from an Indigenous Australian performance classroom

This paper explores the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. The author examines what decolonisation means in this context by describing the ways in which the curriculum, the students and teacher, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like?