Southeast Asian Performing Arts: Issues of Cultural Identity

Abstract

Music and dance events in traditional Southeast Asian societies were not simple theatrical events for a paying audience. They were usually organized for several functions simultaneously. Subli in the Philippines, Chinese opera in Singapore, Mak Yong in Malaysia, Wayang Punva in Java, Lakorn Chatri in Thailand, all demonstrate the fact that in this region theatrical events or rituals which Iwve music and dance elements serve a variety of social, religious or political purposes much more explicitly tlian the performing arts termed in the west.