Piracy has been an important and persistent feature of Asia’s maritime history. In fact, the largest pirate organizations in all of history were found in Asia. Although often regarded as the antithesis of trade, piracy is actually closely related to the world of commerce. Pirates were themselves often traders (or smugglers) and relied on merchants to outfit their ships and sell their plunder. Despite the obvious and primary economic dimension of piracy, pirates were also political actors. This observation is significant because piracy has traditionally been distinguished from other forms of maritime predation (especially privateering, but also naval warfare) by stressing its supposedly inherently private nature. In Asia, however, the history of piracy is very much defined by its political contexts. Pirates themselves formed polities, whether as part of established coastal communities or in their endeavors to build their own states. What is more, as was the case in Europe, pirates often colluded with territorial states that used them as an instrument of state power, in order to harass and weaken their rivals. The political dimension of Asian piracy has long been overlooked due to the preponderance of European concepts and sources, which tend to depict all Asians involved in maritime predation as mere criminals. More nuanced studies of Asian pirates, especially when based on non-European sources, promise fresh insights into the commercial, social, and political worlds of maritime Asia.
Sebastian R. Prange
The Indian Ocean and its adjoining seas, from the Middle East and East Africa to Southeast Asia, have been witness to the nautical ventures of most, if not all, major sea powers of world history. Progress in nautical archaeology in the past few decades has brought about a much better understanding of shipbuilding traditions of the Indian Ocean, until then limited to textual and ethnographic sources. Only a few shipwreck sites and terrestrial sites with ship remains have been studied so far along the shores of the Red Sea, the Persian Gulf, or the Indian Ocean proper. Many more were found in recent excavations in the Southeast Asian seas, which were built along Southeast Asian or Indian Ocean shipbuilding traditions. Two main technical traditions can now be clearly identified for pre-modern times: the Arabo-Indian sewn-plank ships of the western Indian Ocean, which survived into our times, and the Southeast Asian vessels that evolved from a distinctive sewn-plank technology to fully doweled assemblages, as could still be observed in Indonesian vessels of the late 20th century. The still limited number of shipwrecks brought to light in the Indian Ocean as well as the considerable imbalance in archaeological research between the Indian Ocean proper and the Southeast Asian seas have hindered the advancement of the discipline. Considerable difficulties and interpretation problems have moreover been generated by biased commercial excavations and subsequent incomplete excavation records, not to speak of the ethical problems raised in the process. Such deficiencies still prevent solid conclusions being drawn on the development of regional shipbuilding traditions, and on the historical role of the ships and people who sailed along the essential Indian Ocean maritime networks.
The presence of Bollywood films in Africa has a long history, one embedded in larger cultural and commodity exchanges between the continent and South Asia. “Bollywood” is a modern signifier for older film industries located in colonial and postcolonial India, with the largest export being commercial Hindi-Urdu movies produced in Bombay. Their circulation played out distinctly in different parts of Africa, based on colonial connections, Indian diasporic networks, regional trading linkages, and audience tastes. East Africa first saw the arrival of Indian films in the 1920s, imported by diasporic Indian entrepreneurs who opened movie theaters and screened Hollywood and British films as well. Indian and African communities both consumed Bombay movies and they increasingly came to lead East African box office shares for decades, even as moviegoing declined toward the end of the 20th century. Bollywood films reached South Africa in the 1930s and later were the preserve of isolated Indian communities under Apartheid in cities like Durban, home to a large South Asian population as a result of colonial indentured labor flows. Hindi and Tamil movies formed a cultural touchstone for settled diasporic populations who engaged with representations from a perceived homeland, although Bollywood films were mainstreamed in South African society in the 1990s. In West Africa, lacking robust Indian diasporic networks, Lebanese traders introduced Bollywood films in the 1950s. They became immensely popular among African audiences in places like northern Nigeria and Senegal. As in East Africa, West African audiences interpreted foreign films in line with localized cultural and political values. By the 1990s, Nigerians were making some movies that riffed off popular Indian films in a global milieu of cultural mixing. In North Africa, distributors first marketed Indian movies in the 1950s to Egypt, where they attained a cult following. Bollywood stars and paraphernalia gained social prominence, although the public screening of films dwindled in the 1990s, forcing Arab fans to rely on alternate circulations, which continued into the early 21st century throughout the continent thanks to satellite television and other media technologies. The long-standing popularity of Bollywood in Africa should be no surprise given the worldwide spread of Bombay films from their inception, a tradition of exchange between South Asia and Africa, especially across Indian Ocean and imperial worlds, and Africans’ historically vigorous participation in regional and global cultural economies.