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John M. MacKenzie

not welcome in cities and towns, where there was an attempt to maintain a degree of racial homogeneity. Elsewhere, however, indigenous labour was essential: in India (where urban dwelling was traditionally a familiar, if minority, option), South-East Asia, South Africa and other ‘dependent territories’ elsewhere on the African continent, indigenous urban migrants were a fact of life, even if there was an attempt to make them temporary residents, mainly as male labour migrants, in, for example, South Africa. Hence, while towns and cities in Canada and Australasia

in The British Empire through buildings
Art education and transcultural modernism in the context of the Indian independence movement
Christian Kravagna

true spirit of ancient Hinduism, to all modern thought’. 25 With its central ideas of promoting spirituality, the integration of art and life, and the combination of a recourse to national traditions with an openness to the new, Havell’s programme corresponded to many of the ideas of cosmopolitan nationalism put forward by Indian social and cultural reformers of his day. 26 Abanindranath Tagore, whom Havell is said to have introduced to the masters of Mughal painting, 27 had studied East Asian

in Transmodern
Monarchy and visual culture in colonial Indonesia

Photographic subjects examines photography at royal celebrations during the reigns of Wilhelmina (1898–1948) and Juliana (1948–80), a period spanning the zenith and fall of Dutch rule in Indonesia. It is the first monograph in English on the Dutch monarchy and the Netherlands’ modern empire in the age of mass and amateur photography.

This book reveals how Europeans and Indigenous people used photographs taken at Queen’s Day celebrations to indicate the ritual uses of portraits of Wilhelmina and Juliana in the colonies. Such photographs were also objects of exchange across imperial networks. Photograph albums were sent as gifts by Indigenous royals in ‘snapshot diplomacy’ with the Dutch monarchy. Ordinary Indonesians sent photographs to Dutch royals in a bid for recognition and subjecthood. Professional and amateur photographers associated the Dutch queens with colonial modernity and with modes of governing difference across an empire of discontiguous territory and ethnically diverse people. The gendered and racial dimensions of Wilhelmina’s and Juliana’s engagement with their subjects emerge uniquely in photographs, which show these two women as female kings who related to their Dutch and Indigenous subjects in different visual registers.

Photographic subjects advances methods in the use of photographs for social and cultural history, reveals the entanglement of Dutch and Indonesian histories in the twentieth century, and provides a new interpretation of Wilhelmina and Juliana as imperial monarchs. The book is essential for scholars and students of colonial history, South-east Asian and Indonesian studies, and photography and visual studies.

Simon Soon

and 1960s make these two artist-led organisations interesting comparative case studies. These were not government-sponsored organisations, but both did at different points in their approximately fifteen years of existence receive some level of state support, while at other times they were maintained at a certain distance from state agendas. The comparative approach demonstrates a shared historical condition that certain countries experienced in South-East Asia after the Second World War and the variants of modernism it engendered. By ‘translation’, I refer to the

in Art, Global Maoism and the Chinese Cultural Revolution
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

, curators and critics in the late 1980s and early 1990s was mainly oriented towards the West, i.e. the European countries, the United States, and Australia after it had reinforced its regional economic and cultural engagement with East Asia and the Asian-Pacific. The reasons for the massive exodus of Chinese mainland artists were two-fold. While some left their home country in response to the Tiananmen Square massacre in 1989 and the subsequent suppression of pro-democracy expressions, others took advantage of the global opening of the contemporary art scene, the global

in Art and migration
Caroline Turner
Jen Webb

significant contribution to contemporary art and its discourses. Many have been collected by major museums outside their own countries. In this book we have limited our geographical coverage of Asia to South, Southeast and East Asia, acknowledging that Central Asia and Russia, with areas west of Pakistan  – now usually called West Asia – such as Iran, Iraq, Syria to present-day Turkey, also form part of the continent of Asia. We limit the scope in the main because in the 1990s, when debates about an ‘Asian’ contemporary art were in formation, the largely Islamic countries

in Art and human rights
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John M. MacKenzie

environments that matched or exceeded in grandeur and magnificence those of Europe. The fifth category became known as the ‘dependent empire’, consisting of colonies in Africa, South-East Asia and Pacific islands, most of them acquired during the nineteenth century and generally moving through stages from ‘protectorate’ to crown colony. Pacific islands were to form a connection in terms of trade and labour with the Australian colonies (the ‘Commonwealth’ of Australia after 1901) and New Zealand, not least after German territories in the Pacific became League of Nations

in The British Empire through buildings
Abstract only
Regina Lee Blaszczyk

world. The designers, salesman and agents who worked for Netherfield Mill were constantly on the go, either visiting customers in their home offices and design studios or taking sample orders from them at international shows. After the New Millennium, the calendar proved more demanding as trade shows proliferated, particularly in East Asia. In 2004, for example, Première Vision China was launched in Shanghai to provide fabric mills with greater access to Asian customers. 2 As globalisation advanced, stories about origins—the local, the regional and the

in Fashionability
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The way forward
Regina Lee Blaszczyk

triumph of East Asia as a manufacturing centre. The mill ventured into heritage-informed design in the 1980s, when middle-class consumers still used clothing as a demarcation of social class, but in more recent years has adapted vintage styling to the higher end of the market, where better-off consumers look for historical anchors to moor them in an uncertain global world. The mill’s recent successes with heritage branding and co-branding owe much to the West’s growing nostalgia for the motifs of its own past, which is a response to globalisation, albeit a relatively

in Fashionability
John M. MacKenzie

was derived from British practice, was common in, for example, South-East Asia, notably in Singapore and Penang. In the plantations, the powerhouse of Caribbean economies, the range was even greater, from the most basic accommodation for slaves through somewhat better structures for privileged or artisan slaves, to the residences of overseers, finally to the often grand mansion for the plantation owner. The plantations were, however, as much industrial as agricultural sites given the need for boiling houses, trash houses (in which to store the residue of the canes

in The British Empire through buildings