Essay
Bodies of Occupation: Conversation with Hyunhye (Angela) Seo
This conversation with artist Hyunhye (Angela) Seo will explore how colonialism and occupation not only shape the occupied culture, but how that culture, adapts, inherits and responds, and the melding of native/original culture and coloniser culture into something familiar yet new. Still from the video It Comes out as a Joke (Xiu Xiu), directed by Angela Seo and Anna Lian Tes (2019), courtesy of the artist Participants Hyunhye (Angela) Seo is an artist exploring experimental composition and expression of sound and its manifestations within space and body. She is a member of the musical group Xiu Xiu, in which she extends the band’s visual themes to immigrant diaspora, post-colonial spirituality and ritualism, and exotification/fetishisation via videos that have been featured in film festivals around the world. She has performed in collaboration with various artists spanning the visual and performance world, including with Danh Vo (“Metal” at The Kitchen, and “Deforms the Unborn” at the Guggenheim NYC), and the Berlin-based Cheap Collective (featuring Vaginal Davis, Susanne Sachsse and Marc Siegel). Recently, her solo album, Strands, explores abstract soundscapes built with processed percussion, improvisational piano, and dark ambient material. Her sound installations in relation to this work create an immersive territory that compels the listener to question how they carry the immediate and lingering impact of sound (her website). Russ Skelchy is an interdisciplinary scholar specialising in the popular musics of Indonesia and Malaysia. He received his PhD in Ethnomusicology (2015) and MA in Southeast Asian Studies (2010) from the University of California, Riverside. His research interests include multiracial studies, sound studies, popular music (sub)cultures, decolonisation and gender. He was a recipient of a Fulbright US Scholar grant (2017-2018), Fulbright Institute for International Education Fellowship (2011-2012) and the University of California Pacific Rim Research Program Fellowship (2011-2012), and he was an ERC Research Fellow on the COTCA Project from 2017 to 2020. His work has been published in the Journal of Popular Music Studies, South East Asia Research, Sound Studies and various other international journals. Still from the video Pumpkin Attack on Mommy and Daddy (Xiu Xiu), directed by Angela Seo and Anna Lies Tan (2019), courtesy of the artist.
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在本網頁區塊中，使用者可以閱讀 COTCA 團隊成員關於 COTCA 數據檔案館中所蒐集的特定圖像或館藏之短文。若干文章亦涉及與個案研究中所出現的特定議題和項目相對應的一般事件、人員或機構。
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Empty Avenue, Phnom Penh
This photograph is part of the collection held by the Agence Khmère de Presse (AKP) and Cambodia’s Ministry of Information. This collection, which documents the early years of the People’s Republic of Kampuchea as photographed by the Vietnamese and a small team of Cambodian photographers, has not yet been classified or indexed.
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Villagers looking at a poster
This (probably staged) photograph shows a group of villagers looking at an illustrated poster about the Kampuchea United Front for National Salvation (KUFNS, also known as FUNSK) [Front or Renakse]. It is part of a series that describes the same group of villagers and soldiers. This photograph is part of the collection held by the Agence Khmère de Presse (AKP) and Cambodia’s Ministry of Information. This collection, which documents the early years of the People’s Republic of Kampuchea as photographed by the Vietnamese and a small team of Cambodian photographers, has not yet been classified or indexed.
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Commercial street in Sihanoukville
This unattributed photograph shows a commercial street in Sihanoukville town centre in the mid 1960s, with one side of the street having a promenade with benches and lampposts, and shops on the opposite side, under an arcade. The photograph is part of the collection that was donated to the National Archives of Cambodia from the Library of the Royal University of Fine Arts by Darryl Collins and Helen Grant Ross in 2003. The collection was used by Collins and Ross for their research into urbanisation. The images were probably originally used to mount the Sangkum Reastr Niyum Permanent Exhibition at the Exhibition Hall, Bassac area, Phnom Penh.
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Win-Win Monument bas-relief
This photograph provides a view of bas-relief on the 117-metre-long engraved base of the Win-Win Monument. It depicts the defection to Vietnam of the then Khmer Rouge officer Hun Sen in June 1977. One sees Hun Sen (dressed in Khmer Rouge garb) considering what may happen to him and his group of defectors (being killed) if they are caught by the Khmer Rouge. It also shows Hun Sen thinking about his wife who he left behind. The Win-Win Monument complex – photographed here in January 2020 – was inaugurated in December 2018 to mark the twentieth anniversary of the end of the post-Democratic Kampuchea civil war, with the final defection of the remaining Khmer Rouge factions, thanks to the DIFID policy (“Divide, Isolate, Finish, Integrate, Develop”) also known as the “Win Win” policy of Prime Minister Hun Sen.
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Medical team treating children
This unattributed photograph, showing a medical team treating children, was featured in the publication (French and English versions) entitled The People’s Republic of Kampuchea (1979). This photograph is part of the collection held by the Agence Khmère de Presse (AKP) and Cambodia’s Ministry of Information. This collection, which documents the early years of the People’s Republic of Kampuchea as photographed by the Vietnamese and a small team of Cambodian photographers, has not yet been classified or indexed.
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Xin Zhonghua huabao (New China Pictorial) cover, May 1944
This cover image from the Xin Zhonghua huabao (New China Pictorial) 6.5 (May 1944) shows a photograph of two unnamed Burmese women. The New China Pictorial was a bilingual (Chinese-English) magazine published from 1939 through 1944 in Shanghai by the occupation journalist Wu Linzhi for distribution in China and throughout Southeast Asia. This magazine employed cover images of women from areas of Southeast Asia that had been conquered by Japan with increasing regularity over the course of 1943 and 1944, having previously focused on Chinese film celebrities.
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還我們東亞人本來的面目
這幅未署名的印刷物出自於1941年的一本特刊手冊，紀念當年6月汪精衛拜訪日本。「還我東亞人本來的面目」一段話是「還我河山」的一種文字遊戲。「還我河山」可能是戰時抗日宣傳中最常用的詞組。這印刷物出自黃慶樞所著之《汪主席訪日紀念畫刊》（南京：宣傳部，1941年）。
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汪精衛國民政府軍隊行經河岸
一群汪精衛國民政府士兵行經不知名河岸。推測可能為清鄉活動的一部分。
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慶祝廣東更生二周年祝賀典禮
這一系列照片出自《華南畫報》2.3（1940年），當中呈現了日本人稱之為廣州於1938年的更生（即廣州的失守淪陷）二周年紀念祝賀典禮。值得注意的是其中中山紀念堂的重要性，以及當中「民間」形式的文化展現。
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一名年輕的日本老師以日文教學
本照片取自一系列經過事先安排的照片，標題為「北京女子學校的生活」，拍攝地點位於日佔北京的北京自由學園。原本的標題寫道：「這位老師才20幾歲初頭」。