Reassembling Traditional Dance reveals traditional dance choreography in contemporary Singapore and Southeast Asia to be a zone of intense interaction between two interwoven but distinct sets of postcolonial and globalized elements. The first is the colonial assemblage of governance practices formed in the era of British colonialism in Malaya, which continues to define the discourse of tradition in Singapore. I identify how racial and temporal logic rooted in colonial epistemologies replicates itself as grant frameworks, self-Orientalizing marketing strategies and festival themes, rendering non-western dance within the familiar frame of the “traditional”. The entrepreneurial assemblage of contemporary, neoliberal Singapore on the other hand is constituted by neoliberal policy instruments that now transform community-based performance cultures like Indian, Malay and other “traditional” dance, into sites of creative economic regulation, adding market values to the mix of factors that shape urban Indian identity performance in Singapore today.
I offer choreographic reassembly as an organizing conceptual framework to analyze choreographers emerging in relation to both the colonial and entrepreneurial assemblages. Choreographic reassembly entails deliberate and conscious experimentation with dance forms and aesthetics to meet immediate concerns of contemporary professional life as an artist in a complex, postcolonial, globalized, multiracial and multicultural art ecology. Choreographic reassembly is therefore the deliberate reshuffling and play with conventional and unconventional elements in a given traditional dance form, as a response to transformations in the context of cultural production in different sites. A range of examples ranging from early experiments by Singaporean choreographers K.P. and Santha Bhaskar in the 1950s, to more recent works by Singaporean, Indian, Malaysian, Thai and Indonesian choreographers are explored as cases of choreographic reassembly. Methodologically, this dissertation employs performance and dance analysis, historiography and ethnography. The concept of choreographic reassembly is indebted to Collier and Ong’s conceptual model of “global assemblages” drawn from contemporary, urban anthropological studies of globalization. Notions of cultural mutation and cross-generic experimentation draw from Donna Haraway’s philosophical interventions into anthropocentric epistemologies by “staying with the trouble” of colonial and capitalist inheritances.