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Frictions and Flows: Affective Economies of Fire Dance in the Thai Tourism Industry

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Frictions and Flows: Affective Economies of Fire Dance in the Thai Tourism Industry FRICTIONS AND FLOWS: AFFECTIVE ECONOMIES OF FIRE DANCE IN THE THAI TOURISM INDUSTRY TIFFANY RAE POLLOCK A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN GENDER, FEMINIST AND WOMEN’S STUDIES YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2018 © TIFFANY RAE POLLOCK, 2018 ii ABSTRACT This dissertation examines Thai fire dance, a form of labour in the Thai tourist industry, as a platform through which fire dancers confront and negotiate the tensions of increasing tourism, marginalization, capitalist expansion and neoliberal ideologies. In particular, this research highlights the ways in which affective, embodied and spatialized practices in fire art communities form political interventions and group solidarities that are also intimately entangled in the reproduction and recreation of social hierarchies and unequal relations of power. While fire dance communities hold utopic potentials and moments of sharing across spectrums of social difference that allow for the reimagination of geopolitical, cultural and ethnonational boundaries, they are also spaces and practices fully implicated in the issues they seek to address. The affect born and danced into being in these communities is the nexus through which these complex negotiations are worked out through the body, and is the basis for micropolitical and “messy” solidarities to form in the midst of capitalist and neoliberal times and spaces. iii DEDICATION This dissertation would have been unimaginable without the support and love from those who raised me. I am forever grateful to my parents, siblings, grandparents, aunts, uncles, cousins and friends for their encouragement. This work is dedicated to my mother, Heather. She continues to inspire me to live an unconventional life, to dream and to imagine the impossible. She has taught me to explore the world with a desire to learn, and to do so from a place of kindness and humility. This research has greatly benefited from her knowledge and guidance, and I am incredibly thankful. iv ACKNOWLEDGEMENTS I am so very grateful to all of the fire dancers and their friends who I have had the great benefit of spending time with and learning from. Their knowledge is central to this work and what they have so generously shared will continue to echo through my ways of thinking and being in the world. The support that I have received from my committee has been the foundation from which this project (and my ability to persist) was possible. The mentorship and guidance from David Murray, Alison Crosby and Ken Little has pushed my thinking to new levels and I am immensely thankful for their time and encouragement. A special thank you to David for his unwavering commitment, alongside his sense of humour and moral support. I have also had the great benefit of receiving mentorship from Penny and John Van Esterik who have helped immensely in developing my knowledge of Thai studies. This project would not have been possible without the support of the Centre of Excellence in Thai Music and Culture Research, Chulalongkorn University. Thank you to Dr. Bussakorn Binson and Pi Jar for all of your help. Thank you as well to Darika Bhatia and Suticha Goodman for Thai language lessons and translation assistance. The Centre for Feminist Research at York and the York Centre for Asian Studies have also been supportive throughout this research. I would like to say a special thanks to my mother Heather, father Chris, sister Jamie, and grandparents Ellen and Gerald, who have provided unwavering encouragement. I have greatly benefited from the support and knowledge of Ryan, my partner and best friend, which I am immensely grateful for. I have had the great luck of meeting wonderful friends and colleagues who shared their thoughts, read drafts, provided insight and support. Thank you (in alphabetical order) to Yemi Adebisi, Laura Curtis, Karen Dixon, Dave Essig, Alicia Filipowich, Lindsay Gonder, Leah Hurtubiese, Dai Kojima, Lena Phillips, Cristina Pietropaolo, Elisa Traficante, and Jelena Vasic. A very special thanks to Sage Milo for guiding me every step of the way. v TABLE OF CONTENTS Abstract ........................................................................................................................................... ii Dedication ...................................................................................................................................... iii Acknowledgements ........................................................................................................................ iv Table of Contents ............................................................................................................................. v List of Figures ............................................................................................................................... vii Chapter One: Introduction ............................................................................................................... 1 Methodologies.................................................................................................................................. 7 Chapter Overview .......................................................................................................................... 17 Chapter Two: Theoretical Framework and Literature Review ...................................................... 21 The Labour of Dance and Performance ............................................................................. 23 Dance as affective labour ....................................................................................... 30 Space and Times of Fire Dance ......................................................................................... 33 Encounters across spatial scales ............................................................................. 33 The production of space in fire dance scenes ........................................................ 40 Space and nation in Thailand ................................................................................. 46 Gender, sexuality, space and time.......................................................................... 54 The Politics of Affective Dance Economies ....................................................................... 60 Conclusion .......................................................................................................................... 64 Chapter Three: Phalang (Energy) .................................................................................................. 66 The Labour of Affective Attraction ................................................................................... 70 Energetic Economies ......................................................................................................... 85 Sexual-Affective Economies ................................................................................. 94 Energy Work ................................................................................................................... 100 Conclusion ....................................................................................................................... 103 Chapter Four: Baeng Pan (Sharing) ............................................................................................. 106 The “Spirit” of the Park ................................................................................................... 107 “A Place for Artists” ........................................................................................................ 116 Economies of sharing ........................................................................................... 120 Embodied micropolitics ....................................................................................... 140 Conclusion ....................................................................................................................... 144 Chapter Five: Chut Mung Mai (Goal/Intent) ............................................................................... 147 The Other Side ................................................................................................................. 149 Living Otherwise with chut mung mai ............................................................................. 171 Conclusion ....................................................................................................................... 183 Chapter Six: Kalathesa (Suitability of Time/Space) .................................................................... 184 Genders, Sexualities, Times and Spaces .......................................................................... 185 Zazi .................................................................................................................................. 194 Khao ................................................................................................................................. 199 Dao ................................................................................................................................... 205 vi Celine ............................................................................................................................... 209 Tiffany.............................................................................................................................. 213 Ko Phi Phi ...........................................................................................................
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