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Incendiary Acts And Apocryphal Avant-Gardes: Thích Qu ng Ðú'c, Self-Immolation, and Buddhist Spiritual Vanguardism

Incendiary Acts And Apocryphal Avant-Gardes: Thích Qu ng Ðú'c, Self-Immolation, and Buddhist... Incendiary Acts And Apocryphal Avant-Gardes Thích Quảng Ðứ c, Self-Immolation, and Buddhist Spiritual Vanguardism James M. Harding I. BLACK HOLES, EVENT HORIZONS, AND THE GRAVITATIONAL PULL OF THÍCH QUẢNG ÐỨ C ’S SELF-IMMOLATION n June 11, 1963, a procession of somewhere between 200 and 350 Buddhist monks and nuns made its way toward the Cambodian Embassy in Saigon, Vietnam. The procession was a decidedly political event, and coming as that event did so early in emerging turmoil of the Vietnam War, it is surprising that its profoundly disturbing conclusion did not garner the attention that Richard Schechner devotes to other anti-war demonstrations in his classic essay “The Street is the Stage.” Not unlike the demonstrators whom Schechner discusses in his essay, the monks and nuns in this procession carried signs of protest that, in this instance, drew attention to the Buddhist-Catholic crisis in Vietnam under the government of then President Ngo Dinh Diem, a devout Catholic who used the power of his office, among other things, to repress nonCatholic religious traditions—despite the fact that Catholics were a small minority in a country that was overwhelmingly Buddhist. The demonstrators marched to demand the religious freedom denied them by Diem’s http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Incendiary Acts And Apocryphal Avant-Gardes: Thích Qu ng Ðú'c, Self-Immolation, and Buddhist Spiritual Vanguardism

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References (18)

Publisher
MIT Press
Copyright
© 2016 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00333
Publisher site
See Article on Publisher Site

Abstract

Incendiary Acts And Apocryphal Avant-Gardes Thích Quảng Ðứ c, Self-Immolation, and Buddhist Spiritual Vanguardism James M. Harding I. BLACK HOLES, EVENT HORIZONS, AND THE GRAVITATIONAL PULL OF THÍCH QUẢNG ÐỨ C ’S SELF-IMMOLATION n June 11, 1963, a procession of somewhere between 200 and 350 Buddhist monks and nuns made its way toward the Cambodian Embassy in Saigon, Vietnam. The procession was a decidedly political event, and coming as that event did so early in emerging turmoil of the Vietnam War, it is surprising that its profoundly disturbing conclusion did not garner the attention that Richard Schechner devotes to other anti-war demonstrations in his classic essay “The Street is the Stage.” Not unlike the demonstrators whom Schechner discusses in his essay, the monks and nuns in this procession carried signs of protest that, in this instance, drew attention to the Buddhist-Catholic crisis in Vietnam under the government of then President Ngo Dinh Diem, a devout Catholic who used the power of his office, among other things, to repress nonCatholic religious traditions—despite the fact that Catholics were a small minority in a country that was overwhelmingly Buddhist. The demonstrators marched to demand the religious freedom denied them by Diem’s

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2016

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