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By Tan, Su Lian

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Certainly these directives are in all of us all the time already, but the refugee is immediately invested with responsibilities both terrible and wondrous, as well as a heavy self-awareness. fm Page 25 Wednesday, April 28, 2004 10:45 AM History, Memory, Re-Membering ∑ 25 Fig. ” or materials. The memory of home is created and recreated, asserted and valorized and home-as-place is re-placed by powerful imaginary and phantastic performatives. S. ) were focused with wrenching urgency on a Vietnamese homeland that did and didn’t, does and doesn’t, exist (Reyes 1999a).

3), “the present is always juxtaposed with the past. The present is either wanting … or, at best, unstable …” As narrator, Khamvong performs as if he stands on the island of the present, surrounded on all sides by a past he has relinquished with sorrow and anger. Unlike Khamvong, whose role as the carrier of cultural memory binds him to history, most Lao have no great sentimentality for the old ways. The Lao have proven to be one of the least cohesive groups of Southeast Asian refugees in the United States (unlike the Hmong or Cambodians, who have tended to live together in communities, relying on cooperative associations).

So I lam and I create poetry. Sometimes when I lam, people’s tears flow. But other people concentrate, focus their thoughts (tang sati) on Laos, on times past. When I lam, people remember the past. Angel Island: Reasserting the Performative Khamvong is not, of course, the only Asian American whose performances are predicated on close and reflexive treatments of the past. Considering the ways that different scholars, writers, and stage performers address the contemporary moment in the Asian American experience allows me to take a step back and dwell for a moment on how certain key historical texts have offered models for bridging past and present.

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Berlioz, Hector 's Symphonie Fantastique', Op. 14 An exploration of musical timbre by Tan, Su Lian

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