01963nas a2200205   4500000000100000000000100001008004100002653003300043653001100076653001600087653001700103653001200120100001700132245007200149856015300221300001200374490000700386520134400393022002001737                                       d10aIntangible cultural heritage10aMemory10aPerformance10aRe-enactment10aVietnam1 aRivka Eisner00aDrought and Rain: re-creations in Vietnamese, cross-border heritage  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-84880711429&doi=10.1080%2f13527258.2013.818567&partnerID=40&md5=a0540eb85ab774b5a8b69858b4961d2f  a798-8170 v203 aThe Drought and Rain dance trilogy, by Vietnamese-French choreographer Ea Sola, evokes memory, history and everyday practices through song, stylised gesture and stark, graceful images. The performances aim not to represent ancient and wartime Vietnamese pasts as much as call attention to the ways in which the present and past invigorate and co-create each other. The unsettled, recursive and processual nature of Ea Sola’s performances suggest it is necessary to periodically re-encounter the continuing legacies of violence. The performances enact a different form of historical (re)productivity, not predicated on a linear materialism, but based on processes of temporal turn and re-turn. I employ the most recent performance in the series, Drought and Rain 2011, as both subject and lens for exploring the unfinished dynamics of memory-history, and as a site and practice of cultural heritage. Embodying a hybrid mix of multiple re-performance categories, the Drought and Rain performances stretch current notions of heritage and are cross-border in terms of culture, nationality, arts genre and aesthetics and political implication. Primary points of focus include: the non-originality of performance, the unfinished nature of the past, and the way in which the Drought and Rain performances propose a counter-memory of the future.  a13527258 (ISSN)