THE IIAS Summer School 2014 on “Reading Craft: Itineraries of Culture, Knowledge and Power in the Global Ecumene” 18 – 22 August 2014 at Faculty of Social Sciences, Chiang Mai University Chiang Mai, Thailand
Table of Contents
1. Theme Description 4 2. Summer School Schedule 6 3. List of Participants 8 4. Abstracts 5. Program for the craft-sites visit 6. Information of the craft sites
7. Practical information 42
The IIAS Summer School at Chiang Mai will focus on the theoretical issue of the knowledge production, transmission and practice of culture against the backdrop of historically contingent case studies featuring transnational circulations of craft. Cartographies, itineraries and biographies of craft are windows into craft-scapes which, much like Barbara Bender’s work on landscapes, are discursively constructed, disputed, worked upon from disparate frames of value and meaning, and used to accomplish goals pertaining to identity, heritage politics, knowledge and power. The Summer School is an occasion to problematize conceptions of culture articulated through readings of craft across territorial boundaries, temporal episodes and knowledge categories. Alternative readings of craft seek to challenge place-based rootedness of culture in colonial ‘cryptocolonial’ (Herzfeld) and postcolonial constructions in order to emphasize its circulation in global interactions and trajectories. Focusing on ‘social lives’ (Appadurai) or ‘cultural biographies’ (Kopytoff) through records of journeys undertaken and routes charted by the movement of individuals, materials, techniques, recipes, designs and objects within and across diverse epistemic regimes and contexts would allow us to ‘read’ craft from a global perspective. There is a need for what Françoise Vergès, calls an ‘alternate cartography’, tracing the material lives and unexpected contributions of ‘the people without history’ in Eric Wolfe’s words anonymous slaves, refugees, exiles, spies, servants and artisans, in colonial and postcolonial historiographies. Locating craft within global networks of power and knowledge at the Chiang Mai Summer School would not only help to recover subaltern micro-histories but also focus our attention upon counter hegemonic appropriations of materials, techniques, recipes, designs and objects over the long globalization. Engaging with the ‘epistemic travels’ and ‘itineraries’ of such knowledge, according to Pamela H. Smith, would expose those readings of craft which anticipated the construction of new regimes and hierarchies of intellectual authority since the beginning of the modern world. Identifying the shifting agents and sites through which craft as a discourse of culture is formulated and sanctioned in late capitalism would, moreover, spotlight the ways in which practitioners of craft are drawn into what Michael Herzfeld refers to as the ‘global hierarchy of value’.
Conversations at the Chiang Mai Summer School will revolve around critical reflections on craft in Asian contexts around the following sub-themes among others: • • • • • •
Craft as a knowledge system, and knowledge practices of craft since the early modern era Circulation of craft in Eurasian networks of trade, power and cultural exchange Craft as postcolonial and crypto-colonial national heritage The production and reproduction of hierarchies of gender, class and race through craft – identity contestations Interrogating the “what” of craft: disputes over origin, ownership, authenticity, aesthetics, ethics and representation Engaging with the Local/Global dichotomy through the lens of craft
The Summer School, which will also include some hands-on experience with local artisans, therefore encourages participants whose work seeks to engage with the history and politics of craft through its reading within the long and global mobilities of science, technology, art and fashion. Francoise Verges, Pamela Smith and Aarti Kawlra will lead the Summer School with Michael Herzfeld as guest co-convenor and Chayan Vaddhanaphuti as host co-convenor. Together they bring to the School a rich mixture of intellectual perspectives and individual trajectories to facilitate discussions with research students from diverse disciplinary backgrounds in an atmosphere of openness and inquiry. Exposure to various craft discourses and practices (indigo dyeing, hand-weaving and bamboo architecture among others) prevailing in the culturally vibrant context of Chiang Mai will provide an unprecedented learning experience for the participants. The conjunction of field work with classroom exercises at the Summer School will, moreover, help them as they pursue their own research projects, to elicit and develop new theoretical paradigms of craft informed by case studies from various contexts in Asia and elsewhere. Academic Directors: Prof. Pamela Smith (Columbia University, New York, USA.) Prof. Francoise Verqès (Center for Cultural Studies, Goldsmiths College, London, UK / Collège d’études mondiales, Paris, France) Dr. Aarti Kawlra (Nehru Memorial Museum and Library, New Delhi, India) Organizers: International Institute for Asian Studies (IIAS), the Netherlands Regional Center for Social Science and Sustainable Development (RCSD), Faculty of Social Sciences, Chiang Mai University, Thailand Partially funded by the Andrew W. Mellon Foundation. Contact: Ms. Martina van den Haak (firstname.lastname@example.org) http://www.iias.nl/masterclass/iias-summer-school-2014-general-information
Summer School Schedule Monday 18 August 2014 08.00 hrs. Vans pick-up at the Hotels 08.30-09.00 hrs. Registration and refreshment 09.00-09.10 hrs. Welcome remark by the Representative of Chiang Mai University 09.10-09.30 hrs. Introduction to Summer School by convenors on themes below: - Globalization & Capitalism; - History/Politics of Knowledge; - Culture & Nations 09.30-11.00 hrs. Student intellectual self-introduction (No more than 7 minutes) 11.00-11.30 hrs. Coffee/Tea Break 11.30-13.30 hrs. Student intellectual self-introduction (continue) 13.30-14.30 hrs. Lunch 14.30-15.30 hrs. Convenors, Non Akraprasertkul & Martina van den Haak introduction 15.30-16.00 hrs. Coffee/Tea break 16.00-16.50 hrs. What we expect in outcomes and what is to come. 17.00-18.00 hrs. Individual consultations (coffee/tea) 18.00 hrs. Welcome Dinner Venue: Palm Garden Restaurant (tentative)
Tuesday 19 August 2014 (Public Event) 08.30 hrs. Vans pick-up at the Hotels 09.00-10.45 hrs. Lecture on “Crypto-colonialism, OTOP Policy” By Michael Herzfeld, Ernest E. Monrad Professor of the Social Sciences and Curator of European Ethnnology in the Peabody Museum at Harvard University 10.45-11.00 hrs. Coffee/Tea Break 11.00-12.30 hrs. Lecture on “Crafting Ethnicity, Territorializing the Other: Thailand’s Heritage Regime” By Alexandra Denes, lecturer, the Department of Social Sciences and Development, Faculty of Social Sciences, Chiang Mai University 12.30-13.30 hrs. Lunch 13.30-14.30 hrs. Lecture on Thailand By Chayan Vaddhanaphuti, Director of RCSD, Faculty of Social Sciences, Chiang Mai University 14.30-15.15 hrs. Review/ Q&A about the six craft sites 15.15-15.30 hrs. Coffee/Tea Break 15.30-16.15 hrs. Introduction to themes of 3 groups & Formation of the groups for Day 3 16.30-18.30 hrs. Individual consultations (coffee/tea)
Wednesday 20 August 2014 08.30 hrs. 09.00-10.00 hrs. 10.00-10.15 hrs. 10.15-12.15 hrs. 12.15-13.00 hrs. 13.00-15.00 hrs. 15.00-15.30 hrs. 15.30-17.30 hrs. 17.45-18.30 hrs.
Vans pick-up at the Hotels Individual consultations Coffee/Tea Break Group Discussions led by Aarti Kawlra, Pamela H. Smith and Françoise Vergès Lunch Group Discussions (continue) Announcements on field trip on Day 4 Coffee/Tea Break Group Discussions (continue) Individual consultations (coffee/tea)
Thursday 21 August 2014 (Field visits) 08.30-17.00 hrs.
Six field sites to choose from: 1. Indigo/weaving at Bang Tung Hua Chang, Lamphun. 2. Traditional wood carving at Ban Tawai, Hang Dong, Chiang Mai. 3. Commercial wood craft at Ban Tawai, Hang Dong, Chiang Mai. 4. Silver/metal embossed works, Ban Wua Lai (next to Wat Sri Suphan), Mueang, Chiang Mai. 5. Lacquerware, Ban Wua Lai, Mueang, Chiang Mai. 6. Bronze ware/Golden engraving / tiered umbrella, Wat Puak Taem, Mueang, Chiang Mai. 7. Buddha image molding, Mueang, Chiang Mai
Friday 22 August 2014 08.30 hrs. Vans pick-up at the Hotels 09.00-12.30 hrs. Morning group work on six field site visits begins to prepare for afternoon presentations. (coffee/tea) Convenors are available. 12.30-13.15 hrs. Lunch 13.15-14.45 hrs. Group presentations 14.45-15.15 hrs. Coffee/Tea Break 15.15-16.45 hrs. Group Presentations (continue) 16.45-17.00 hrs. Closing remarks 17.00 hrs. Farewell dinner
List of Participants Convenors: •
Aarti Kawlra is a social anthropologist and currently Fellow at the Nehru Memorial Museum and Library (NMML), New Delhi. She was formerly at the International Institute for Asian Studies (IIAS), Leiden where she was part of the research cluster on critical heritage. She has had a long engagement with India’s ‘continuing craft traditions’ discursively constructed as folk and tribal art, vernacular design, indigenous knowledge, ethnic costume/fashion and cultural heritage. She has published in Design Issues (MIT Press), Fashion Theory, Berg Encyclopedia of World Dress and Fashion: South Asia and South East Asia (Berg Publishers), Global Textile Encounters (Oxbow Books, forthcoming), and Feminist Visions of the Network Society (Zubaan, forthcoming) among others.
Chayan Vaddhanaphuti is Director of Regional Center for Social Science and Sustainable Development (RCSD) and of the Center for Ethnic Studies and Development (CESD) at the Faculty of Social Sciences, Chiang Mai University, Thailand. He has a Ph.D. from Stanford University in 1984 and received an Honorary Doctorate in Social Anthropology from Goteborg University, Sweden, in 2004. He has edited numerous books including Transcending State Boundaries: Contesting Development, Social Suffering and Negotiation (2011) and Spatial Politics and Economic Development in the Mekong Sub-region (2011).
Françoise Vergès is Consulting Professor at the Center for Cultural Studies, Goldsmiths College, London and Research Associate, Collège d’études mondiales, Paris. She has written on vernacular practices of memories, on slavery and the economy of predation, the ambiguities of French abolitionism, French republican colonialism, colonial and postcolonial psychiatry in the French colonial empire, Frantz Fanon, Aimé Césaire, French postcolionality, the routes of migration and processes of creolization in the Indian Ocean world. She has argued for a postcolonial ‘museum without objects’ and conceived a ‘museum of the living present’ at Reunion Region representing the lives and practices of subalterns.
Michael Herzfeld is Ernest E. Monrad Professor of the Social Sciences and Curator of European Ethnology in the Peabody Museum at Harvard University. His research Interests include social theory, history of Anthropology, social poetics, politics of history; Europe (especially Greece & Italy), and Thailand. He is advisor to the IIAS on critical heritage studies and urban renewal projects. His many publications include among others Cultural Intimacy: Social Poetics in the Nation-State 1997 and The Body Impolitic: Artisans and Artifice in the Global Hierarchy of Value, 2004.
Pamela H. Smith is Seth Low Professor of History at Columbia University, New York and specializes in early modern European history and the history of science. Her current research focuses on attitudes to nature in early modern Europe and the Scientific Revolution, with particular attention to craft knowledge and historical techniques. She is recipient of the Leo Gershoy Prize for her book The Body of the Artisan awarded in early modern European History by the American Historical Association, 2005. She is the author of “Making as Knowing: Craft as Natural Philosophy,” Ways of Making and Knowing: The Material Culture of Empirical Knowledge, co-edited with Amy Meyers and Harold J. Cook, 2014, Bard Graduate Center/University of Michigan Press.
Alyssa Paredes is a PhD student in Anthropology at Yale University in the United States of America. Originally from Manila, Philippines, she holds Bachelor of Arts degrees in Anthropology and in East Asian Studies from the University of Virginia. In 2011, she was awarded a Fulbright Fellowship to conduct independent fieldwork among crafting communities in Japan. While pursuing her personal training in ceramics, she completed a comparative ethnographic analysis of two pottery villages called Koishiwara and Onta. The project explored how a complex web of ecological constraints, a host of National Intangible Cultural Property Laws, and the connection with Japan’s folkcraft idealism movement exerted inhibiting forces on the villages’ social and material landscape. As a PhD student at Yale University, she aims to focus on Fair Trade artisanal production and its role in global development. She plans to explore this in an inter-Asian context, particularly between Japan and Southeast Asia. Through this project, she intends to address a spectrum of issues, including: (1) the role of craft commodities as mediums of communication in symbolic and economic exchange, (2) the global divisions of labor between the “Global North and South”, and (3) the rising social currency of alternative economies centered on rhetoric of the authenticity and honesty of handwork. Arratee Ayuttacorn is a PhD candidate in Social Science, Chiang Mai University, Thailand. From 1990-2010, she worked as flight attendant of Thai airways International. With her long-term experiences on affective labor, Arratee’s research will explore the role of affect in connection with political and economic transformation. She also addresses on body politics and representation of female flight attendants’ bodies under multiple forms of power. She aims to explain how flight attendants reproduce cultural discourse of class, gender, and nation for crafting selves; and how they re-signify the meaning of representation for their own interests. Bryce Beemer, Colby College, Mellon Postdoctoral Fellow in Comparative World History Bryce Beemer is 2-year visiting Assistant Professor of History at Colby College, USA. He studied Southeast Asian and World History at the University of Hawaii at Mānoa. His dissertation, “The Creole City in Mainland Southeast Asia: Slave Gathering Warfare and Cultural Exchange in Burma, Thailand and Manipur, 18th – 19th C.,” (completed December 2013) looks at slave taking as a vector for cultural exchange in the Southeast Asia region. His research focuses especially on
captured artisans who were frequently incorporated in the royal service system of the state that captured them. Surviving artwork from this period is used as source materials to assess the influence of captive artisans on state projects. Part of this research involves the adaptation of “creolization,” a theory used by Caribbean historians to describe cultural exchange in the context of slavery, to the Southeast Asian context. He is currently at work preparing his dissertation for publication. •
Carla de Utra Mendes is a fellow for the Foundation for Science and Technology of the Ministry of Science and Technology in Portugal. She is currently developing her PhD thesis in Emerging Contemporary Chinese Art (Hong Kong and Macau) at the University of Saint Joseph in Macau (Doctoral Program in Global Studies). Graduated in Art History, in 2002, by the Faculty of Social and Human Sciences in Lisbon (FCSH/UNL), she has a vast professional expertise in the field of Contemporary Art and Museum Studies, exercising functions as a curator, museum director, educational department coordinator and museum educator, as well as also an independent art critic. Since her Master Degree on Japanese contemporary art in Sciences of Communication, Contemporary Culture and New Technology in 2009 (FCSH/UNL), she has been focusing in Asian Studies, with a current interest on alternative spaces for art production.
Chandan Bose is a PhD candidate with the Department of Anthropology at the School of Social and Political Studies, University of Canterbury. With an undergraduate and post-graduate degree in Sociology from Delhi University and Delhi School of Economics respectively, Chandan went on to pursue the M.Phil programme at Jawaharlal Nehru University, New Delhi. His dissertation entitled “The Production and Consumption of Cleanliness: An Anthropological Enquiry into the Practice of Manual Scavenging in India” is a commentary on the genealogy of the relationship between ‘sanitation’ as a mode of production, and its ‘aesthetics’ as is consumed as part of the modern political economy. Following the years of his M.Phil, Chandan expanded his research interests to include aspects of South Asian tangible and intangible culture. He has actively consulted with India’s pioneering craft museums and foundations that work towards the preservation of the region’s indigenous industries and their allied skills. In the process he has extensively engaged with the histories of many traditionally skilled communities in India, their local economies, mode of transmission of skills, and their negotiations to keep their practice
alive. Chandan is currently completing his doctoral thesis which aims at constructing a history of a craft form from the Telangana region of Andhra Pradesh in southern India through everyday narratives of its practicing community. •
Chanjittra Chanorn is a Ph.D.Candidate in Anthropology from Faculty of Social Sciences, Chiang Mai University, Thailand. From 2000-2009, she worked as an economist for rural development projects emphasized on rural economic development adopted handicrafts as developing tools. Her research project focuses on the indigo culture in Northeast Thailand at a local level and examines the challenges which arise in the indigo culture as a result of globalization. Indigo culture vanished for several decades, however, it has been reintroduced, commoditized, globalized, and is being sold in national and global markets. Consequently, indigo has been transformed and it also effects the transformation the communities of its origin. Chih-I Lai is a design anthropologist and a designer at University College London, U.K., where she did her Ph.D. dissertation in 2014 on the “Materialising the Immaterial: the crafting of Taiwaneseness through Bamboo Crafts” (guide: Professor Michael Rowlands and Dr. Adam Drazin). She participated at the Yii project, which is a government funded collaborative project with craftspeople and designers during her fieldwork in Taiwan, and contribute to two books about bamboo crafts published by the National Taiwan Craft Research and Development Institute in 2008 and 2009. She also initiated a proposal and award funding to conduct a craft and design project with her informant as part of her ethnographic participate observation on the origin of design concept and creativity. The accessories she design has received very positive market feedback and benefit the local craftspeople. In addition to her academic research about bamboo craft and design, she also regularly wrote design critics and exhibition reviews for different media. Her major research interest is about the innovative adaptation of cultural contents and problem solving strategy with design approach. Elizabeth Cecil is a PhD Candidate in the Department of Religious Studies at Brown University, USA. Her dissertation is provisionally entitled “Mapping a Contested Landscape: Religion, Politics, and Place in the Making of Pāśupata Identity.” Her work investigates the growth of early Śaiva religiosity in medieval northwest India through an interdisciplinary approach that unites philological work on Sanskrit texts and inscriptions with the study of material culture. From August 2011-May 2013 Elizabeth was a visiting Research Fellow in the Institute of Indian Studies at the University of Groningen in The Netherlands under the guidance of Prof. Dr. Hans T Bakker. In Groningen, she also joined the international team of scholars working on the editing and analysis of the Skandapurāṇa. From July 2013-December 2014 Elizabeth will be
in India studying Hindi and conducting dissertation research at temple sites, museums, and archives in Maharashtra, Gujarat, Rajasthan, and Madhya Pradesh. Her dissertation research is supported by funding from the Andrew W. Mellon Foundation, Social Science Research Council (SSRC), Council on Library and Information Resources (CLIR), and the American Councils for Overseas Education. •
Henrik Kloppenborg Møller is a PhD candidate at the Department of Sociology, Lund University, Sweden. He holds a BA and M.Sc. in Anthropology from the University of Copenhagen, Denmark. Møller’s work focuses on the relation between subjects and objects, surface and substance, the tangible and intangible, economy and spirituality, exploring processes, whereby boundaries between such conceptual and material domains are both imploded and re-asserted. Møller’s M.Sc. thesis discussed the relation between social positioning among Chinese vendors and economic middlemen in Shanghai, and the ontology of counterfeit commodities associated with them. His PhD project examines the effects of the gemstone jadeite in concretizing and mobilizing conceptions about the body, value, society and different temporal orders in the Sino-Myanmar borderlands. The project builds primarily upon ethnographic fieldwork among carvers, traders and consumers of jadeite in the Dehong prefecture of China’s Yunnan province. Møller has done around two years of fieldwork in China so far. He has given lectures on various issues in contemporary China, as well as on fieldwork methods, gender, and sociological / anthropological theory.
Kyoungjin Bae is a doctoral candidate in the Department of History at Columbia University. Her research investigates the transmission of craft and cultural knowledge between Canton and England through the lens of eighteenth- and early nineteenth-century Sino-British furniture trade. In her dissertation, she examines the production and consumption of export-oriented furniture in early modern Canton both as a process intricately linked to the impetus of intra-regional and inter-regional maritime trades and as an outcome of epistemic, aesthetic and ergonomic negotiations between Chinese and English material cultures. She has spent the past two years researching at archives and museums in the US, the UK, the Netherlands, Taiwan, and China as an American Council of Learned Societies and Social Science Research Council fellow. She is currently based at Sun Yatsen University, Guangzhou, as a visiting research fellow.
Leonor Veiga (b. 1978) currently a PhD candidate at Leiden University (LUCAS), researches for her thesis Recalling Tradition in Southeast Asia, the manner in which Southeast Asian contemporary art practices employ elements of traditional culture in the discourse of contemporary art. These works defy inherited classifications of art, art history and
museum practices. The thesis is supervised by Prof. Kitty Zijlmans. L. Veiga is also an Associate Researcher at CIEBA (Fine Arts Research and Studies Centre) at the Fine Arts School, Lisbon University, since 2010. In 2012 she began lecturing at this institute. Her curatorial projects include exhibitions in diverse locations: Crossing Signs (Yogakarta and Jakarta, 2011), Maritime Museum (Ilha de Mozambique, 2007), Indonesian Batik (Macau Centre for Creative Industries, 2007). Her writing on the arts has mainly focused on Indonesian and Timor-Leste contemporary arts, with a focus on the impact of traditional arts. Essays written “Suddenly we arrived: polarities and paradoxes of Indonesian Contemporary Art”, published in Indonesian Eye: Contemporary Art from Indonesia, edited by Serenella Ciclitira (Milano: SKIRA Editore S.p.A., 2011). Her research for the Baroque 1620 - 1800: Style in the Age of Magnificence exhibition was part of her internship at the Victoria & Albert Museum, London, UK for a period of 6 months (2008). Her activities include the mentoring of young students in traditional crafts from Indonesia, specifically batik as well as specialising in the communication and intercultural production of knowledge between the continents of Asia and Europe. Veiga has archived the curatorial work and writings by Shaheen Merali for shahhenmerali.com. •
Mary Redfern is a PhD candidate in the School of Art History and World Art Studies at the University of East Anglia, United Kingdom. Prior to commencing her doctoral studies, she worked as Assistant Curator for East Asian collections at the National Museum of Scotland (2009–2011) and the Victoria and Albert Museum (2008–2009). Redfern’s research addresses ceramic tableware made for the Meiji Emperor of Japan in the late nineteenth century. During this time, the role of Japan’s emperor underwent myriad transformations, and from the early 1870s the Meiji Emperor hosted banquets for visiting dignitaries and Japanese elites. Tableware was vital to these performances. Analysis of such imperial tableware and the trajectories that brought it to the emperor’s table reveals how material practice was employed to shape and articulate his sovereign identity. Maskota Delfi (Gadjah Mada University / Andalas University, Indonesia) Maskota Delfi is an Anthropologist and associated member at Andalas University in Indonesia. Her dissertation is on the indigenous communities on Siberut Island in the Mentawai archipelago in the Indian Ocean located along the west coast of Sumatera, Indonesia. As a result of regional autonomy local communities have been given a greater say in local governance which has resulted in a revival of traditional customs. This has put traditional food, dance, body art, traditional medicine and local languages in a new spot light. Recently she published an electronic article in Inside Indonesia on the tradition of sago consumption. In this article a discussion is provided on the choice of modern rice consumption and the traditional consumption of taro and sago. She noted how
youth culture is weaving the old and new of cultural elements in a new attractive Mentawai identity. In a contemporary interest in indigenous body art and tattoos it has sparked her to commence new research for a forthcoming publication on Mentawai tattoos. A cultural expression that was almost lost as a result of a previous ban on Arat Sabulungan, the traditional faith of the Mentawaian people. Currently in a more open vision on heritage and tradition it has attracted several international and Indonesian tattooists to visit the islands. This interest has allowed indigenous expressions of body art to be recognized, which has assisted their Mentawaian technique and designs to remain alive. •
Michèle H.S Demandt is a doctoral candidate at the Sun-Yatsen University, China. She has received her B.A. in Sinology from Ghent University, and her M.A. in Archaeology from Leiden University. She is currently specializing in Chinese and Southeast Asian archaeology, with a focus on the Metal Age cultures comprising the border areas of southern China and Northern Vietnam. More specifically, her work examines the range of local and intraregional exchange activities of the Dong Son Culture in North Vietnam, during the period 500 BC - 200AD. Her research interests include the early historical period of Southeast Asia, state formation, as well as craft production and specialization. Michèle has a solid background in languages, and is fluent in Dutch, English, Mandarin and French. While pursuing her degree, she has been working as an English teacher, and assisting the academic staff of Sun-Yatsen University with Chinese, French and English translations. She has further gained valuable practical experience while working in the Hepu Museum (Guangxi province), that studies pre Qin, and Han period artefacts.
Naveen Kanalu is Phd candidate in Philosophy at the University of Strasbourg, France and the Goethe-University, Frankfurt am Main, Germany. His areas of specialisation include Critical Theory, French Theory, Post-colonial Studies and Early Modern South Asian History and Literatures. He is a member of the editorial board of the FrancoGerman Programme in Social Sciences and Humanities “Perso-Indica: The Persianisation of Indian Learning (13th-19th Centuries)” and involved in the collection and edition of Persian translations of Sanskrit philosophical and religious texts in early modern South Asia. His articles on Cinema in Walter Benjamin, the Economic Philosophy of Adam Smith and Hegel, and Subjectivity and Subjectivation in Michel Foucault and Gilles Deleuze are forthcoming in edited volumes from Berlin, Amsterdam and Palermo. He has published articles on Old Kannada and Sanskrit literary traditions. He is also keenly interested in researching weaver migrations, rituals and cultural practices in the Deccan. His article, “Pirla Panduga: Muharram practices of the Deccan Weavers, their Migrations, Songs and Memories” is forthcoming in a volume edited by Vijaya Ramaswamy from Delhi. He is interested in further engaging with the narrative histories of weaving
communities such as the Padmasalis in the early modern and colonial period. •
Pankhuree Dube is a doctoral candidate in Modern South Asian History at Emory University. Her dissertation examines the figure of the artisan in colonial and post-colonial histories of the indigenous community known as Pardhan Gonds from Mandla District, Madhya Pradesh, India. Departing from discussions of South Asian craft that replicate hierarchies of knowledge or colonialist discourses of primitivism, Dube’s research asks: what happened to the concept of the adivasi artisan in the colony? The key artist-artisan she focuses on is the late Gond Pardhan painter Jangarh Singh Shyam (circa 1962-2001). Through conferences and workshops, Dube has explored the connection between craft and global indigenous studies, labor, and cultural history. She has conducted extensive archival and ethnographic research in Mandla district, Bhopal, rural Madhya Pradesh, New Delhi and various parts of the former Gondwana kingdom. The Social Science Research Council (SSRC) Dissertation Proposal Development Fellowship, the Association for Asian Studies-SSRC Dissertation Workshop series and the American Institute of Indian Studies have supported her research. Dube argues that craft is integral to our understanding of adivasi life-worlds and histories of South Asian craft must recognize adivasi artisanal production as an episteme with its own modes of knowledge transmission. Rajarshi Sengupta is presently pursuing his PhD in Art History at University of British Columbia, Canada where is a recipient of UBC Four-year Fellowship for his doctoral project. His research focuses on the circulation of dyed and block-printed textiles from the Coromandel Coast in Southern India during seventeenth-eighteenth century, and also craft practice as a form of knowledge production. He completed his Masters in Fine Arts from University of Hyderabad (2009-2011). From 2011-2013, he was a junior research fellow at The National Institute of Advanced Studies, Bangalore where he worked on iconographic studies of medieval South Indian Art. Sengupta is also an art practitioner, whose work is exhibited and collected in India and Hong Kong. His first solo exhibition “450 Miles of Thriving Silence”, took place in Gallery Sumukha, Bangalore (2012). Sarah Suib holds an MSc in Strategic Product Design from Industrial Design Engineering (IDE) Faculty, TU Delft (2012) and a BSc in Industrial Design from Malaysia University of Technology (2006). After finishing her bachelor degree, she worked as a designer as well as a R&D executive for 3.5 years in Malaysia before pursuing her Master’s degree in the Netherlands. Since 2012, she has been working as a Ph.D Researcher under Design for Sustainability (DfS) program in the Design Engineering Department (DE), IDE Faculty, TU Delft. Her research focuses on sustainable development of heritage products, with the aims to develop a framework to structurally explore and
mobilize heritage values as one of the sources of creative input during New Product Development (NPD) project. Currently, the research focuses on the context Malaysia’s and Vietnam’s handicraft industry, where local SMEs, craftspersons and support organizations collaborate to develop new product creations inspired by local heritage. The framework is inherently adapted to increase product novelty and intrinsically built social cohesion, building a sustainable cycle within the local economy by empowering local communities to strategically and efficiently make use of local knowledge and local resources in NPD project. •
Tiffany Strawson is a PhD student at the University of Plymouth, United Kingdom. Since 1998 Tiffany has lived between Ubud, Bali and Dartmoor, England. Her work and research is intercultural and focuses on the embodiment of the Balinese mask in a posttraditional performance context. In Bali Tiffany performs topeng (masked dance drama) in temple ceremonies alongside continual training in carving and dance with Ida Bagus Alit from Lod Tundduh. In 2012 Tiffany toured with Grup Gedebong Goyang including performances at the Bali Arts Festival. In the UK, Tiffany performs and teaches topeng in an attempt to translate the genre and communicate some of the many cultural nuances involved in mask-work. Tiffany is the lead artist for ‘Bali UNMasked’; an ongoing intercultural collaboration between professional Balinese teachers and British students. Exchanges have so far happened in Bali in 2006 and then in the UK in 2008 and 2012. In her paper Tiffany deals with some of the challenges and obstacles that working interculturally presents.
Urmi Bhattacharyya is a doctoral scholar at the Centre for the Study of Social Systems, School of Social Sciences, Jawaharlal Nehru University, New Delhi, India. Her ongoing PhD thesis deals with the transformative and transcendental power of cultural symbols as manifested in the pictorialnarrative traditions found in the states of Rajasthan, Jharkhand, and West Bengal, and their relation to the emergence or transformation of social identity and ideas of morality in society. She obtained her M.Phil degree from the same department and university in the discipline of sociology. Her M.Phil thesis dealt with folk performance traditions in West Bengal, India, in the age of mass media. Her main areas of research interest include social and cultural anthropology, sociology of religion, social philosophy, and theories of subjectivity. She has recently contributed an article on the representation of the world of religion and magic through scrollpaintings among the Santhal tribe in Jharkhand, India, in an upcoming volume edited by Prof. Susan Visvanathan of Jawaharlal Nehru University, which is currently in press. Her paper for the summer school deals with the contestations between discourses of power and knowledge construction in society, and the methodological nuances associated the study of culture as an idea or as a product, as exemplified by intersecting categories and practices of art and craft in Indian society.
Victoria Ten is a PHD candidate in Korean Studies, at Leiden University Institute for Area Studies (LIAS), the Netherlands, and a lecturer of Korean language at the Hague University of Applied Sciences. Her research focuses on psycho-physical practices in contemporary Korea, and she herself has taught and engaged in GiCheon, one of these practices, for 14 years. Her study is founded on her vectors theory, elaborated on the basis of Michel Foucault’s “technologies of self” and classical Confucianism; Victoria has published a number of articles in these fields. She is a participant in the project “Korea is a land of mountains - Political, Cultural and Spiritual Topographies on the Korean Peninsula”, Beyond the Korean War Project (University of Cambridge). Victoria will address psycho-physical culture as ‘selfcraft’: a (re-invented) tradition where the body as subject applies a set of skills and techniques on the body as object. Yijun Wang is a graduate student in history at Columbia University in the City of New York, United States. Her research interest includes material culture, artisan’s knowledge, history of science and technology, and gender in early modern China. Yijun is currently working on her dissertation on the circulation of pewter making technology and tin mining technology between China and Southeast Asia in the 18th and early 19th centuries. From a geographical perspective, Yijun explores on how tin mining and smelting technology circulated amongs Chinese diaspora and discusses how the movement of mining knowledge from China to Banka contributed to the formation of an intra-Asia trade. On the other hand, she studies the creation of new styles in pewter production and argues that the change of styles is a result of inter-media and inter-regional communication between artisans. Local artisans imitated the styles and designs from imperial workshops and Jiangnan area—the fashion and cultural center. They also appropriated the designs and making technology from “high-end” materials such as porcelain, zisha, and silver to the craft of pewter. Through imitation and appropriation, pewter artisans added “cultural value” to their products and increased commodity value to their products. Yijun tends to show how the circulation of mining technology and intra-Asia trade mutually contributed to each other, and how changes in styles and designs demonstrate the hierarchies and power dynamics inside craftsman’s community and artifact market.
Yuan Yi is a doctoral student in modern Chinese history at Columbia University. She is interested in looking at history from the perspective of business and economic activities, with particular emphasis on the production, circulation, and consumption of textiles. At the intersection of business, textiles, and Chinese history, she plans to research the transformation of Chinese textile industry at the turn of the twentieth century and its wider social, cultural, and economic implications. Currently, she is particularly interested in the mechanization of handicraft textile industry and the roles of spinners, weavers, engineers, and mechanics as producers of technical knowledge.
Yunci Cai is based at the Institute of Archaeology, University College London (UCL), as an MPhil/ PhD candidate specializing in Southeast Asian museology. Her research focuses on the development of indigenous museums in Malaysia, exploring the politics and poetics of culture as a tool for development and community activism. Prior to joining UCL, Yunci worked for seven years at the National Heritage Board (NHB) of Singapore, the national agency operating national museums, and overseeing the cultural and heritage policies in Singapore. Her key portfolio involves making policy recommendations to improve Singapore’s heritage and museum scene, and coordinating matters on NHB’s cultural relations. In her paper, Yunci will examine how the indigenous communities in Malaysia utilize cultural heritage to reassert their identities and to renegotiate their marginalised status in the Malaysian society.
Program for the CRAFT SITE VISIT
On Thu. 21 Aug. 2014
The participants will be divided into 5-6 groups. Each group will visit a craft site and will be accompanied by an interpreter. Group 1 : Baan Tawai (Traditional wood carving) Led by Non Acharaprasertkul 8.00 9.00 11.00 12.00 13.00 15.00 16.00
Leaving from the hotel to Baan Tawai, approximately 20 kilometers south of Chiang Mai Visiting Baan Tawai Woodcarving College, hand-on practicing of wood carving under the guidance of senior wood carvers. Visiting the Canalside Barzaar (Song Fung Klong) Lunch at the Village’s food center Meeting with Sla (master) Anan and Sla Nong, known as the most skillful masters in wood craving Visiting Wat Tawai (Ta Wai Temple) : classic wood carving ornaments Departing to return to the hotel
Group 2 Baan Tawai (Commercial wood craft) Led by TBA
8.00 9.00 11.00 12.00
Leaving from the hotel to Baan Tawai approximately 20 kilometers, the south of Chiang Mai Visiting Baan Tawai Woodcarving College, hand-on practicing of wood carving under the guidance of senior wood carvers. Visiting the Canalside Barzaar (Song Fung Klong) Lunch at the Village’s food center
13.00 14.00 16.00
Meeting with “Sla” (master) Pradith Wood carver /Curated tour at Tipmanee Museum by Sla Kasem Departing to return to the hotel
Group 3 Bronze ware at Wat Puak Tam Led by Arratee Ayuttacorn 8.30 Leaving from the hotel 9.00 Welcoming and briefing by the abbot of Wat Puak Tam and Bronzesmiths 10.00 Demonstrating bronze corrugating by Sla (master) Dham, the headman of Wat Puak Tam Bronzeware’s workshop 11.00 Touring the temple, observing the bronzeware in use and other ornaments 12.00 Lunch 13.00 Hand-on bronze corrugating workshop for the participants 14.00 Individual ethnographic survey of the surrounding communities of craftsmen 16.00 Departing to return to the hotel
Group 4 Lacquer ware at Baan Wua Lai Led by Dylan Southard 8.30 Leaving from the hotel 9.00 Welcoming and briefing Mae Kru (female teacher) Pratuang, the owner of Pratuang Lacquerware Studio and Workshop 10.00 Hand-on lacquer ware painting for the participants 12.00 Lunch 13.00 Meeting with “Mae Kroo” Duangkamol to observe lacquerware-making process 14.00 Individual ethnographic survey 16.00 Departing to return to the hotel
Group 5 Silver/metal embossment at Ban Wua Lai Led by TBA 8.30 Leaving from the hotel 9.00 Touring of the Silver Chapel of Wat Sri Suphan 10.00 Visiting Silver Work Learning Center 11.00 A session with the silver embossing master Sla Direk 12.00 Lunch 13.00 Hand-on metal embossing for the participants 15.00 Observing silver retail shops and workshops and nearby communities of craftsmen 16.00 Departing to return to the hotel
Group 6 Bronze Buddha image molding at Baan Chang Lor Led by TBA 8.30 Leaving from the hotel 9.00 Meeting with the Buddha image molding master Sla Eed 11.00 Observing the preparation for the Buddha image molding process 12.00 Lunch 13.00 Observing the bronze filling process with Sla Eed 16.00 Departing to return to the hotel
Group 7 Indigo processing and dyeing at Baan Saem, Lamphun Province Led by Ajarn Suriya Smutkupt 7.00 Leaving from the hotel 10.00 Meeting with the indigo dyeing practitioner Mae (mother) Junsri 11.00 Observing indigo nursery and indigo garden 12.00 Lunch 13.00 hand-on Indigo dyeing workshop for the participants 15.00 Departing to return to the hotel
INFORMATION OF THE CRAFT SITES
Bann Tawai (Wood Craving) We spent the entire morning and the early part of the afternoon visiting three sites in Baan Tawai Village, one of the most famous “craft village” in the north. Known for the quality and variety of the products, the Village is clustered on two sides along the main small waterway, hence the name “the village on two sides of the canal” (song fang khlong). There’re rows after rows of shopfronts selling all kinds of handicraft products. We first visit the house of the local community leader who has been teaching woodcarving for many years and is aspired to help the young children in the community to learn about this local culture that could give them sustainable jobs with sustainable income in the foreseeable future. On this site, the participants might have the opportunity to woodcarver and learn from the master himself. Next, we visited the house of a woodcarving master, who was, at the time of visiting, of working on one of his known masterpieces, which is the small heavenly lion. Because his son -- his only student -- passed away years ago because of a road accident, he is not optimistic about the prospect of protecting the art, but he’s also realistic about the situation. That said, he is quite happy with his current situation and is striving to maintain his highest quality of work. The last place we visited was a “museum in the strictest sense of the term.” This was the house that was designed to be a showroom for the most lucrative creative industry of this kind of woodcarving and sculpturing handicraft -- run by the most illustrious master/businessman in his own light. The master represents the new light of handicraft by giving it a new life through three principles: uniqueness (but not authenticity), story, and tangibility.
Puak Tam Community Puak Tam community is situated around Puak Tam Temple. Its name has been appearing in the Buddhist manuscripts since 1820. “Puak” means “leader of community,” while “Tam” means “painting.” Therefore, “Puak Tam” refers to a “community of craft people.” These craft people skillfully work on lacquer covering (ลงรัก) and gilding (ปิดทอง), which are the techniques of ornamenting the metal works. The artisans/masters accumulate and transfer the knowledge from generation to generation. The community has produced and created tired umbrella, long-handed ceremonial umbrella, Lanna flag, and brassware. These crafts are decorative items made specially for religious services. In addition, craftsmen/women produce hair ornament in a form of flower that women wear to the temple, and for dancing. Interestingly, they have created varieties of embroiled style using for tiered umbrella. I met Khun Dham, one of the craftsmen, at the temple. He is a nephew of the abbot. He mentions that craftsmen get very low daily wages. They earn 190 Baht per day (less than US$7). Thanks to that, some have to find another job outside community to earn more money. However, there are more than 30 craftsmen still work in community. They could sustain their lives with this job. People from other provinces have made the order of ceremonial umbrella and embroiled tiered for all year round. The price of these crafts are also cheaper compared with other workshops because the temple sometime absorb the cost of materials. Dham noted that the community is very important. Customers come here because of Puak Tam community, but not necessary because of the the skillful craftsmen. In the temple’s compound, there is a small museum established and supported by the community and Chiangmai University. Embroiled plate, tiered umbrella, brassware, pictures, and information are collected and shown in the museum. This community also helps training the students from informal education, the students could practice how to make a tiered umbrella. In August, during the summer school, we could observe tiered umbrella production without any fees (but donation would be appreciated by the community). We can see all processes starting from metal structure, embroidery, and composing. It is interesting to observe the production process how brass as thing is crafted and transformed into sacred object.
Ban Wua Lai: Lacquerware In the hidden corner of Chiang Mai Province, Wat Nantharam Community (a community at the Nantharam Temple) still keeps their lacquerware legend. It has been alive for more than 200 years. The lacquerware making skill is inherited from their Tai Khern (an ethic minority) ancestors who migrated from Chaing Tung, in southern China to Chaing Mai. Lacquerware as known as “Kreung Khern” (Kreung meaning ware, and Khern is the name of the ethic minority who produced it, i.e., the Thai Khern) is made from bamboo or wood, covered by layers of natural black lacquer. Then it is ornamentally carved or coated in gold foil, producing multi-functioned utensil such as tray, bowl, fabric or jewelry box, and decoration box. This cultural heritage has passed from the ancestors to the current generation. However, Wat Nantharam community has only sixty members, it is probably the last lacquerware community in Thailand that remains to be seen today. The important root in making lacquerware in community is Grandmother Junpeng Wichaikul who established Wichaikul Lacquerware Shop. Although Grandmother Junpeng had passed away, Wichai Lacquerware is still a center for the production and trade of lacquerware community, just like in the old days. In the past, Grandmother Junpeng and other artisans has trained many families to make lacquerware. When people finish making lacquerware, they always bring them to the Grandmother’s home to sell – the center of trade. Wichaikul Lacquerware Shop co-operates with representatives of community in establishing the “Professional Lacquerware Group of Wat Nantharam Community.” Wichaikul shop serves as a marketing and distribution center for the community. The trick of making lacquer depends on the season. Ancestors like to make lacquerware in the rainy season because painting natural black lacquer requires some degree of humidity. It will dry faster (a few days time). If it is applied in summer or winter with less moisture content, it may take up to two weeks, which would eventually delay the production process. Whist striving to preserve their traditional wisdom, Wat Nantharam community also produces contemporary lacquerware for today’s lifestyle. Nowadays, Wat Nantharam community continuously produces various lacquer wares, ranging from a simple 20 Baht bracelet to elegant clothing storage, priced in 5 digits range. With a different lifestyle today, the lacquer ware needs to be developed the style. The production process is modified to comply with the requirements of the utility and customers. “We have developed a new lacquerware to match with the business, such as the tissue box, lamp, tray for spa business, diamond ring box for jewelry store. The new products were made according to customer needs,” commented Patchara, Grandmother Junpeng’s granddaughter. In addition to developing products that are different from the ancient lacquer, the group has already adapted the production process in order to meet needs of our customers. In the quick process, they use acrylic color painting on the surface instead of lacquer, as well as molding clay instead of wood or bamboo. This new production process could respond the demands of customers with huge order in a short period of time. It also satisfies clients with low budgets who do not focus on the real lacquer ware, which is expensive. However, the group continues to work on conservative tradition for customers who prefer genuine lacquer ware. The special feature of natural lacquer is more durable than acrylic painting. This natural lacquer will always remain shiny even after hundreds years. However, the community needs designer and the support form government to promote marketing and business matching, for example, the connection with the spa or hotel. “What we need is marketing and designers who can help us develop new products. Another important issue is business matching, that provide the opportunity to meet a wider group of customers. It is a new opportunity to help the lacquer community. “ From http://www.tcdc.or.th/src/8824/www-tc...จากเครื่องเขินเก่าแก่-สู่ผลิตภัณฑ์ร่วมสม¬ัย
Ban Wua Lai: Silver/metal embossed work The Silver Ubosot (Buddhist chapel) of Wat Sri Suphan (Sri Suphan temple) is one of the famous touristic sites in Chiang Mai. The whole building of the Ubosot is decorated with delicate carved silver that reflexes brightly in the sunshine. Wat Sri Suphan is situated in the heart of Ban Wualai community. Ban Waulai has been well-known among the locals for hundreds of years as a community of silverware craftsman. In the temple locate the silver craftsmanship learning center where experienced artisans and masters group together to set up the silverware school to teach the art of carving. The school aims to produce young artisan descendants of the village. There are few young student were working when we arrived the school. And some masters are craving silver plates, which, by just looking at them, we can realize that they are highly sophisticate art works. Close to the front gate of the temple there is a showroom where silver works are displayed such as Salung (bowls), ornaments and souvenirs. On Wailai Road, there are number of shops selling various kinds of silverwares. Thong Yon shop sells mostly traditional style of silverware like traditional bowls and ornaments. Among many shops that we visited, one of them is sandwiched by the workshops where on-site permanent craftsmen produce the products to sell in the shop. S. Chan Shop is an innovative one: the products of this shop are mostly the creative designed ornaments composed of silver jewelry or stones. Beside the shop, there are some traditional masterpiece traditional products to orders. Inside the village we met Por Khroo (Master) Direk Sithikarn. The 60-year-old Por Khroo Direk learned to crave silver from his parents since he was very young. Since he was 15 year old, he could “tong salung” (craving a blow) which is the skill at the master’s level. Por Khroo Direk sets up his workshop at the space under his house. There are three artisans working with him in different skills of silver work. At the day he showed us a tray with pedestal made from 50 bath worth of silver (Thai unit of measurement equal to 15.2 g.) which requires a month time to work on, and the selling price is about 60,000 Bath (about US$2,000.). Por Khroo Direk is very eagle to welcome the visiting student beside he plan to teach the participants to crave something that they can proudly take back home.
Ban Chang Lor
Ban Chang Lor (Molding Artisan Village) is an old community well known in molding the Buddha image in Chiang Saen-styled since 1296. At that time these artisans were working for the kings. At the present Ban Chang Lor has transformed from a simple community of molding artisans to an urban community surrounded with modern buildings. Many artisans have changed their profession to other or have moved out elsewhere. Chairat Kaoduangseang or “Por Kroo” (The Master) Eed, 57, is the fourth generation of the last molding artisan family in Chiang Mai. He has been trained and passed on the bronze Buddha image molding techniques from the Grandmaster Insorn, his father, 30 years ago. This founder family has been well known among “amulet experts” (นักเลงพระ) in the making of delicate and authentic traditional Buddha image. The most famous work of this family is the Pang Marn Wichai Bhudha image in Chiang Saen style. (พระพุทธรูปปางมารวิชยั เชียงแสน) at Wat Prathat Doi Suthep, which is the most famous touristic site in Chiang Mai. In the Past, gold was cheap about THB300-400 per 15.2 g (1 Bath). Later on, they changed the material from gold to copper, which is cheaper (about 40-50 Bath per kilogram). At the present the price of copper has gone up to 100-200 Bath per kilogram. On the other hand, the purpose of making the Buddha image has been change from offering to the temple that needed it, to a commercial one. And the ideology of molding the Bhuddha image has changed from making merit to “making life.” Por kroo Eed is welcome trainee who would like to learn and carry on this profession. And he is preparing to conduct the molding process that is the most important procedure on the day that we going to visit his workshop.
Baan Sam (Indigo Village) Last weekend, I went to Bann Sam, Thung Hua Chang District, Lumphun province and Ban Rai Phai Ngarm, Jom Thong District, Chiang Mai to visit weaving and dyeing studios where we may consider take the students in the Summer School to observe and do a mini visual project. Ban Sam is a Karen village, which is about 2.30 hours drive from Chiang Mai. It is a small farming village with a small number of populations. Villagers here grow rice for their consumption and grow cash crops, such as potato, bean, corn, etc. Young people leave their family to work in town. Only one family engages in textile production using natural dyes, especially indigo. The rest stopped weaving their own clothes two decades ago after road and electricity reached their village. Factory-made clothes have been easily available and cheaper. Jun Sri, in her early 50, is the only weaver in her village. She became interest in weaving 25 years ago. First, she went to Sakon Nakorn (indigo center in Northeast Thailand) in order to learn how to use indigo for one month, but she did not learn much. Upon return, she realized that her grandmother used to weave and dye her own clothes. She consulted with her and tried it out by herself. She started to sell her textiles with natural dyes through her friend who runs textiles business in Chiang Mai. Gradually, her textiles became popular among middle class buyers in Chiang Mai. Through her interactions with her customers, she has learned what colors and styles the urban middle class people prefer to buy. With the help of her husband and her second son, she runs a small studio specializing in indigo and diospyros mollis dyeing. Her products are sold in Chiang Mai, not to Karen villagers in her village. She grows indigo in her garden and buys some from other villagers. She contends with small income from her textiles and does not want to engage in cash crop production, which brings lucrative income. Growing potato and other cash crop requires heavy usage of chemicals, which is not healthy for her. In August, she can organize a one-day workshop for the students. Each will have a chance to weave his/her own piece and dye it within that day. Lunch will be served. .
Chiang Mai Map
PRACTICAL INFORMATION ACCOMMODATION Chiang Mai Orchid Hotel 23 Huay Kaew Road, Chiang Mai 50200, Thailand. Tel : 0-5322-2099, 0-5322-2091-3 http://www.chiangmaiorchid.com/ The hotel is conveniently located between the university campus and the old town. VENUE The Summer School will take place at Chiang Mai University in the Meeting Room of Operation Building, located on the 4th Floor of Operation Building, Faculty of Social Sciences. See maps below.
WI-FI CONNECTION: At the Summer School’s venue, the Wi-Fi connection is available with the following User Name and Password: User Name: not published Password: not published Remark: When you successfully connect to the Wi-Fi, the Internet security system will ask you for the individual User Name and Password. The above User Name and Password can be applied. PRACTICAL INFO CHIANG MAI For more information about Chiang Mai (weather, activities etcetera) see for example http://www.lonelyplanet.com/thailand/chiang-mai-province/chiang-mai http://wikitravel.org/en/Chiang_Mai http://www.visitchiangmai.com.au/ Please note that it is the wet season in Chiang Mai from July – October. MORE INFORMATION ABOUT IIAS The International Institute for Asian Studies (IIAS) is a research and exchange platform based in Leiden, the Netherlands. IIAS encourages the multi-disciplinary and comparative study of Asia and promotes national and international cooperation, acting as an interface between academic and non-academic partners, including cultural, social and policy organisations. The main research foci are Asian cities, dynamics of cultural heritage, and the global projection of Asia. These themes are broadly framed so as to maximise interactions and collaborative initiatives. IIAS is also open to new ideas of research and policy-related projects. In keeping with the Dutch tradition of transferring goods and ideas, IIAS works both as an academically informed think tank and as a clearinghouse of knowledge. It provides information services, builds networks and sets up cooperative programmes. Among IIAS’ activities are the organisation of seminars, workshops and conferences, outreach programmes for the general public, the publication of an internationally renowned newsletter, support of academic publication series, and maintaining a comprehensive database of researchers and Asian studies institutions. IIAS hosts the secretariats of the European Alliance for Asian Studies and the International Convention of Asian Scholars. In this way, IIAS functions as a window on Europe for non-European scholars, contributing to the cultural rapprochement between Asia and Europe. Fore more information, please visit http://www.iias.nl/ ABOUT RCSD RCSD, established in 1998, is an academic unit under the Faculty of Social Sciences, Chiang Mai University, Thailand. RCSD works at the regional level supporting research activities, providing affiliation to international scholars and graduate students interested in development in the Greater Mekong Sub-region (GMS) and offering undergraduate and graduate international programs with the support of faculty members from other departments. Our mandates are primarily to enhance research capacity and build a body of knowledge on the social transformation in GMS countries, offer undergraduate and graduate in international programs focusing on social sciences and development studies, and support training and provide research grants to researchers from GMS countries, particularly Myanmar. In addition, RCSD has in-house expertise of faculty members as well as a graduate students working on the issues of agrarian, environmental change and conflicts. Our strength lies on our critical social science perspective in understanding how local/ethnic communities negotiate changes coming from global, regional and national levels.
CONTACT DETAILS Ms Martina van den Haak, MA â€“ Seminar Coordinator IIAS Email: email@example.com Mr Non Arkaraprasertkul Email: firstname.lastname@example.org Ms Chanjittra Chanorn, PhD student at Chiang Mai University Email: email@example.com Ms. Arratee Ayuttacorn, PhD student at Chiang Mai University Email: firstname.lastname@example.org Ms. Chanida Puranapun, RCSD Officer Email: email@example.com http://rcsd.soc.cmu.ac.th
Published on Oct 3, 2014