BEGIN:VCALENDAR VERSION:2.0 PRODID:-//EuroSEAS 2024//EN X-WR-CALNAME:EuroSEAS 2024 BEGIN:VTIMEZONE TZID:Europe/Amsterdam X-LIC-LOCATION:Europe/Amsterdam BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 DTSTART:19700329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 DTSTART:19701025T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTAMP:20241203T182600 UID:euroseas-2024-youth-and-the-performing-arts-in-southeast-asia-negotiating-place-belonging-and-society-1 SUMMARY:Youth and the Performing Arts in Southeast Asia: Negotiating place, belonging, and society (1) LOCATION:REC A2.06 DESCRIPTION:This panel seeks to bring together current and on-going researc h that takes a youth studies approach to the performing arts across Southea st Asia. Adopting a youth studies approach, implies foregrounding the diver se roles and experiences of specific groups of young people in various form s of performing arts, including (but not limited to) dance, music, theatre and forms of street-based arts (e.g. Damrhung, 2022; Geertman, Labbé, Bourd reau, & Jacques, 2016; Huijsmans, 2022; Kurfürst, 2021). It further imp lies a shift in focus; away from the established, towards more marginal (an d at times marginalized) and emerging actors, sites and ephemeral forms of expression of the performing arts in Southeast Asia. Thereby, a youth studi es approach illuminates intra- and intergenerational contestation as well a s continuities in the development of performing arts and artists, and inclu des reflection on the role of significant adult others, ranging from parent s and teachers, to (inter)national agents of cultural development such as n ational ministries and international actors like, for example, the Goethe I nstitute. A youth studies approach may also focus on young people’s engagem ent with the performing arts in relation to other dimensions of being young and growing up (such as youth culture, life-course dynamics as well as the government of youth) – including paying attention to gendered and classed dimensions. Finally, a focus on youth and the performing arts can also work as a window on larger processes of social change. For example, through the performing arts young people may prefigure or explore desired futures or, in contrast, draw attention to current or looming crises in a youthful styl e (Hill, 2022; Mitchell, 2018). The emplaced characteristics of many forms of performing arts also make for fertile ground for spatial analyses, explo ring how, through the arts, young people engage in the politics of place, i nscribing places with new social meaning, appropriating public spaces, or c reating new spaces altogether. In addition, a focus on the spatiality of th e performing arts would also include the role of intra-Asia and the interna tional movement of artists and styles in the process of artistic developmen t (Chen and Chua, 2015), including the role of the diaspora in this. URL:https://euroseas2024.org/panels/youth-and-the-performing-arts-in-southeast-asia-negotiating-place-belonging-and-society DTSTART;TZID=Europe/Amsterdam:20240724T140000 DTEND;TZID=Europe/Amsterdam:20240724T153000 END:VEVENT BEGIN:VEVENT DTSTAMP:20241203T182600 UID:euroseas-2024-youth-and-the-performing-arts-in-southeast-asia-negotiating-place-belonging-and-society-2 SUMMARY:Youth and the Performing Arts in Southeast Asia: Negotiating place, belonging, and society (2) LOCATION:REC A2.06 DESCRIPTION:This panel seeks to bring together current and on-going researc h that takes a youth studies approach to the performing arts across Southea st Asia. Adopting a youth studies approach, implies foregrounding the diver se roles and experiences of specific groups of young people in various form s of performing arts, including (but not limited to) dance, music, theatre and forms of street-based arts (e.g. Damrhung, 2022; Geertman, Labbé, Bourd reau, & Jacques, 2016; Huijsmans, 2022; Kurfürst, 2021). It further imp lies a shift in focus; away from the established, towards more marginal (an d at times marginalized) and emerging actors, sites and ephemeral forms of expression of the performing arts in Southeast Asia. Thereby, a youth studi es approach illuminates intra- and intergenerational contestation as well a s continuities in the development of performing arts and artists, and inclu des reflection on the role of significant adult others, ranging from parent s and teachers, to (inter)national agents of cultural development such as n ational ministries and international actors like, for example, the Goethe I nstitute. A youth studies approach may also focus on young people’s engagem ent with the performing arts in relation to other dimensions of being young and growing up (such as youth culture, life-course dynamics as well as the government of youth) – including paying attention to gendered and classed dimensions. Finally, a focus on youth and the performing arts can also work as a window on larger processes of social change. For example, through the performing arts young people may prefigure or explore desired futures or, in contrast, draw attention to current or looming crises in a youthful styl e (Hill, 2022; Mitchell, 2018). The emplaced characteristics of many forms of performing arts also make for fertile ground for spatial analyses, explo ring how, through the arts, young people engage in the politics of place, i nscribing places with new social meaning, appropriating public spaces, or c reating new spaces altogether. In addition, a focus on the spatiality of th e performing arts would also include the role of intra-Asia and the interna tional movement of artists and styles in the process of artistic developmen t (Chen and Chua, 2015), including the role of the diaspora in this. URL:https://euroseas2024.org/panels/youth-and-the-performing-arts-in-southeast-asia-negotiating-place-belonging-and-society DTSTART;TZID=Europe/Amsterdam:20240724T160000 DTEND;TZID=Europe/Amsterdam:20240724T173000 END:VEVENT END:VCALENDAR