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This book focuses on the Asian American memoir that specifically recounts the story of at least three generations of the same family. This form of auto/biography concentrates as much on other members of one's family as on oneself, generally collapses the boundaries conventionally established between biography and autobiography, and in many cases crosses the frontier into history, promoting collective memory. This book centers on how Asian American family memoirs expand the limits and function of life writing by reclaiming history and promoting community cohesion. It argues that identity is shaped by not only the stories we have been told, but also the stories we tell, making these narratives important examples of the ways we remember our family's past and tell our community's story. In the context of auto/biographical writing or filmmaking that explores specific ethnic experiences of diaspora, assimilation, and integration, this work considers two important aspects: These texts re-imagine the past by creating a work that exists both in history and as a historical document, making the creative process a form of re-enactment of the past itself. Each chapter centers on a thematic concern germane to the Asian American experience. The final chapter analyzes the discursive possibilities of the filmed family memoir. The book concludes the work with a metaliterary engagement with the history of the author's own Asian diasporic family as she demonstrates the profound interconnection between forms of life writing.

This book collects the work of a generation of scholars who are enacting a shift in the orientation of the field of South Asian American studies. By focusing upon the lives, work, and activism of specific, often unacknowledged, migrant populations, the chapters present a more comprehensive vision of the South Asian presence in the United States. Tracking the changes in global power that have influenced the paths and experiences of migrants, from expatriate Indian maritime workers at the turn of the century, to Indian nurses during the Cold War, to post-9/11 detainees and deportees caught in the crossfire of the “War on Terror,” the chapters reveal how the South Asian diaspora has been shaped by the contours of U.S. imperialism. Driven by a shared sense of responsibility among the contributing scholars to alter the profile of South Asian migrants in the American public imagination, the book addresses the key issues that impact these migrants in the U.S., on the subcontinent, and in circuits of the transnational economy. The book provides tools with which to understand the contemporary political and economic conjuncture and the place of South Asian migrants within it.

Often thought of as a solitary activity, the practice of reading can in fact encode the complex politics of community formation. Engagement with literary culture represents a particularly integral facet of identity formation—and expresses of a sense of belonging—within the South Asian diaspora in the United States. This book blends a case study with literary and textual analysis to illuminate this phenomenon. The book's investigation considers institutions from literary reviews to the marketplace to social media and other technologies, as well as traditional forms of literary discussion like book clubs and academic criticism. Throughout the book questions how its subjects' circumstances, desires, and shared race and class, limit the values they ascribe to reading. It also examines how ideology circulating around a body of literature or a self-selected, imagined community of readers shapes reading itself and influences South Asians' powerful, if contradictory, relationship with ideals of cultural authenticity.

A transnational study of Asian performance shaped by the homoerotics of orientalism, this book focuses on the relationship between the white man and the native boy. It unpacks this as the central trope for understanding colonial and cultural encounters in twentieth- and twenty-first-century Asia and its diaspora. Using the native boy as a critical guide, the book formulates alternative readings of a traditional Balinese ritual, postcolonial Anglophone theatre in Singapore, and performance art in Asian America. Tracing the transnational formation of the native boy as racial fetish object across the last century, the book follows this figure as he is passed from the hands of the colonial empire to the postcolonial nation-state to neoliberal globalization. Read through such figurations, the traffic in native boys among white men serves as an allegory of an infantilized and emasculated Asia, subordinate before colonial whiteness and modernity. Pushing further, the book addresses the critical paradox of this entrenched relationship that resides even within queer theory itself by formulating critical interventions around “Asian performance”.

Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.