“Buddhist medicine” is a convenient term commonly used to refer to the many diverse ideas and practices concerning illness and healing that have emerged in Buddhist contexts, or that have been embraced and carried by that religion as it has spread throughout Asia and beyond. Interest in exploring the relationship between mind and body, understanding the nature of mental and physical suffering, and overcoming the discomforts of illness goes back to the very origins of Buddhism. Throughout history, Buddhism has been one of the most important contexts for the cross-cultural exchange of diverse currents of medicine. Medicine associated with and carried by Buddhism formed the basis for a number of local healing traditions that are still widely practiced in much of East, Southeast, and Central Asia. Despite the fact that there are numerous similarities among these regional forms, however, Buddhist medicine was never a cohesive or fixed system. Rather, it should be thought of as a dynamic, living tradition with a few core features and much local variation. Local traditions of Buddhist medicine represent unique hybrid combinations of cross-culturally transmitted and indigenous knowledge. In the modern period, such traditions were thoroughly transformed by interactions with Western colonialism, scientific ideas, and new biomedical technologies. In recent decades, traditional, modern, and hybrid forms of medicine continue to be circulated by transnational Buddhist organizations and through the global popularization of Buddhist-inspired therapeutic meditation protocols. Consequently, Buddhism continues today to be an important catalyst for cross-cultural medical exchange, and it continues to exert a significant influence on healthcare practices worldwide.
C. Pierce Salguero
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.
Japan’s first movement for civil rights emerged in the 1870s, and a small number of women were part of it. Women’s legal status was significantly inferior to men’s in the pre–World War II era, and feminists struggled for decades to improve it. Their activism in transnational organizations often gave them a voice they did not have at home. For example, the Japanese branch of the International Woman’s Christian Temperance Union worked to end international sex trafficking, licensed prostitution, and marital inequality. The Japanese cultural world took a feminist turn in the second decade of the 20th century. Increasing numbers of women entered the classroom as teachers, nurses served on the battlefield and in hospitals, and actresses performed in plays like A Doll’s House. Many of these women were called “New Women,” and an explicitly women’s rights organization, founded in 1919, called itself the New Woman’s Association. When the Tokyo earthquake killed 100,000 people and destroyed millions of homes in 1923, women’s organizations of all types—Christian, Buddhist, alumnae, housewives, and socialists—coalesced to carry out earthquake relief. The following year, several of those groups decided to address women’s political rights. The Women’s Suffrage League grew from this collaboration in 1924. Annual Women’s Suffrage Conferences brought together women of diverse organizations from 1930 to 1937. In the 1920s and early 1930s, Japanese feminists also made their voices heard through transnational organizations, including the Women’s International League for Peace and Freedom, the Young Women’s Christian Association, the Woman’s Christian Temperance Union, and the Pan-Pacific Women’s Association. When Japanese militarism at home and abroad repressed freedom of expression in the 1930s, feminist groups continued to meet, turning to community activism (like improving municipal utilities) and nonthreatening feminist legislation (the Mother-Child Protection Law of 1937). During World War II, many feminists accepted government advisory positions to improve the lives of women and families, viewing this as a step toward greater political integration. By the 1980s, however, feminists strongly critiqued prewar feminists for collaboration with the wartime government. Women voted for the first time in 1946. In 1947, the new Constitution granted equal rights, the new Civil Code eradicated most of the patriarchal provisions of the 1898 Civil Code, and the Labor Standards Law called for equal pay for equal work. Nevertheless, women continued to face discrimination in the workplace, at home, and even in the law. Feminists supported the United Nations International Women’s Year (1975) with vigor. Since then, they have successfully advocated for strengthened employment and child-care leave laws as well as anti–domestic violence laws. But gender-neutral legislation has been hotly contested and has led to a backlash against feminism in general.
African American and Japanese people share a rich history of nearly two hundred years of transnational engagement and activity. African American writers discussed Japan as early as 1828, and, in the African American and abolitionist press, the 1860 Japanese Embassy to the United States inspired a perception of transnational solidarity between African American and Japanese people based on the shared experience of racial prejudice and the right of all men to participate in the affairs of the world. From the 16th century to the early 19th century, Japanese ideas surrounding Blackness were very different from the racial ideologies prevalent in Europe and later the United States. Japan’s victory in the Russo-Japanese War inspired African American admiration for Japan as a global leader in the fight against racism and imperialism, although Japan expanded its imperial activity across Asia throughout the early 20th century. At the 1919 Paris Peace Conference, the Japanese racial equality bill made Japan even more of a symbol of the fight for racial equality to African American civil rights leaders and writers. Throughout the 1920s and 1930s, many Japanese intellectuals were inspired by the African American struggle for civil rights, as well as their transnational engagement with African American people, to promote anti-imperialism within Japan. Meanwhile, in the 1930s, pro-Japanese organizations proliferated across the United States and influenced tens of thousands of African American people. The Japanese attack on Pearl Harbor ended much, but not all, African American sympathy for Japan. The FBI was concerned that Japanese military agents would racially agitate African American people into subversive activity. As part of the war effort, the Japanese military did plan pro-Japanese racial propaganda targeted toward America’s Black people. During the Occupation period, many Japanese people adopted negative racial attitudes toward Black people. At the same time, during the postwar period, many Japanese and African American people shared transnational relationships free from the increasing racial prejudice perpetuated by the American state. Japanese and African American relations, as well as representations and perceptions of Black people in Japan, have continued to change throughout the 21st century.
To most Western scholars, “East Asian cinema” calls to mind either a small number of globally recognized art house auteurs or specific genres that have found cult audiences in the West. However, this overlooks the enormously complex history of the popular film industries in the region. The tendency to group together films from the region as East Asian cinema can elide some important differences in the film industries and cultures in individual parts of the region, but, at the same time, the “national cinema” framework fails to appreciate the interconnectedness of these cinemas both to each other and beyond the region. The earliest film screenings in China, Japan, and Korea were in the last decade of the 19th century, within a few years of the Lumière Brothers’ first demonstration of their new invention in Paris in 1895. Japan and China both developed robust popular film industries by the mid-1920s. Colonized by Japan in 1910, Korea nevertheless also developed a popular film industry by the mid-1920s, albeit one that was dominated by business interests (if not necessarily talent) from Japan, and subject to the censorship laws of the colonial government. It is impossible to extricate the networks of commodity and artistic exchange from the history of colonialism in the region—both the colonial designs of Western powers on East Asia, and the reach of the Japanese Empire, whose ascendance coincided precisely with the first half-century of film history, and whose shadow has continued to have implications for cultural exchange within the region ever since. Major geopolitical events such as World War II and the Cold War have also played an important role in shaping film production, and its circuits of exchange, in the region.