This article seeks to illumine two aspects of the pioneering production Realizing Rama (1997-2004), a collaboration among artists from the ASEAN. First, it will describe and critique the process of inter-creation among traditional and modern artists that gave birth to a production style that was palpably Southeast Asian in tonality, movement, and visuality without being stereotyped as “ethnic.” Second, it will explicate and evaluate the participation of ASEAN artists in the production and the changes they underwent in the process of creating and performing the work. This study will show that the creation of Realizing Rama paralleled the initial realisation of an ASEAN performing arts aesthetics and the creation of a paradigm for the process of artistic creation in an ASEAN artistic community.
Perspectives in the Arts and Humanities Asia is a peer-reviewed journal published twice a year by the School of Humanities of the Ateneo de Manila University, Philippines. Multidisciplinary in scope, it welcomes articles in English or Filipino in the following fields: literature, philosophy, theology, performance arts, visual arts, forms of media and other related areas, especially studies engaging Philippine and Asian experience.