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Editor's Note

Editor's Note A recent conference at my campus looked at interdisciplinarity and wondered whether we are in a post-disciplinary phase as the academy evolves. As I listened, I had the feeling that the "disciplinary silos" speakers referenced--the departments that dominate the Western university--were generated for arts studies that gave words to the drama and literature people, movement to the dancers, visuals to artists, and music to the concert hall presenters. I realized a number of my peers at the conference thought they were doing something innovative by reaching from music or visual arts to theatre. Anyone who works in Asian theatres knows that while disciplinary skill sets can be applied to our subjects, over time we must master more tools. We become interdisciplinary because our subject is. These disciplines that make up our departments take the form they do only because they are Eurocentric constructs. I thank the authors of this issue for sharing their research, which shows they are artists without such borders. The Philippines, Southeast Asia, India, Japan, and China are all represented. Seasoned scholars' work is included as well as that of young researchers who presented on the Emerging Scholars' Panel at the Association for Asian Performance http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 The University of Hawai'i Press. All rights reserved.
ISSN
1527-2109
Publisher site
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Abstract

A recent conference at my campus looked at interdisciplinarity and wondered whether we are in a post-disciplinary phase as the academy evolves. As I listened, I had the feeling that the "disciplinary silos" speakers referenced--the departments that dominate the Western university--were generated for arts studies that gave words to the drama and literature people, movement to the dancers, visuals to artists, and music to the concert hall presenters. I realized a number of my peers at the conference thought they were doing something innovative by reaching from music or visual arts to theatre. Anyone who works in Asian theatres knows that while disciplinary skill sets can be applied to our subjects, over time we must master more tools. We become interdisciplinary because our subject is. These disciplines that make up our departments take the form they do only because they are Eurocentric constructs. I thank the authors of this issue for sharing their research, which shows they are artists without such borders. The Philippines, Southeast Asia, India, Japan, and China are all represented. Seasoned scholars' work is included as well as that of young researchers who presented on the Emerging Scholars' Panel at the Association for Asian Performance

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Sep 26, 2007

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