THURSDAY, MARCH 12, 2026

FRIDAY, MARCH 14, 2026

SATURDAY, MARCH 14, 2026

Session 823: Against the Tide:
Agency in Volatile Times for Southeast Asia
Saturday, March 14, 2026
2:00 PM – 3:30 PM PDT
Location: VCC, Room 121

1: Reimagining Decolonization: Vietnamese Youth’s Digital Activism and Grassroots Solidarity with Palestine
Linh Khanh Pham
Vietnam National University of Social Sciences and Humanities, Vietnam

This paper examines Vietnamese youth through digital discourses and grassroot movement is challenging and responding to the state dominant narrative about the on-going war in Gaza-stripe. Vietnam is in the position of expectation to share empathy toward Palestinians due to the global gaze toward the claim of similarity. However, adhering to Vietnam’s signature “bamboo diplomacy”— a foreign policy principle grounded in strategic flexibility — the government has refrained from making any explicit endorsement of, or opposition to, either side in the Palestine-Israel conflict. This take enrages a group of young Vietnamese. Situated within a one-party state often perceived as politically unified, these youth mobilize under the banner of leftist activism, expressing solidarity with Palestine and reconfiguring what it means to “decolonize” from within a nation long regarded as a symbol of anti-imperial victory. By analyzing social media campaigns, fundraising efforts, art-making process and everyday discourse surrounding the #FreePalestine movement, the paper situates this phenomenon within Southeast Asia’s broader entanglement with neoliberal global forces, surveillance culture, and postcolonial memory. In doing so, it asks: the identity of young ‘leftist’ in Vietnam through examining pro-Palestine grassroot and social media-based activism? How do young people in Vietnam reclaim histories of resistance while navigating new terrains of state power, global solidarity, and digital governance? To what extent does this activism disrupt or reinforce Vietnam’s placement within global narratives of empire and conflict? How does Vietnamese youth situate their government’s standpoint and political identity nowadays?

Traditional opera played a significant role in China’s cultural diplomacy during the Cold War. From February 17 to April 3, 1959, in accordance with the Sino-Vietnamese Cultural Cooperation Agreement, the Chinese Yue Opera Troupe, an all-female troupe led by renowned actresses Xu Yulan and Wang Wenjuan, visited the Democratic Republic of Vietnam. During this tour, the troupe staged 28 shows across nine provinces and cities in Vietnam, attracting over 200,000 spectators. Their repertoire included traditional operas such as Dream of the Red Chamber, Chasing The Carp Fairy, and The Legend of the White Snake, as well as modern revolutionary plays like The Party Member Registration Form. The performances of the Chinese Yue Opera Troupe in Vietnam reflected the aesthetic principles of socialist realism while also demonstrating China’s diplomatic strategy of using traditional love stories to convey the alliance and brotherhood between the two socialist nations. For similar political purpose, from December 20, 1960 to February 1, 1961, Shanghai Yue Opera Troupe, led by the renowned performers Yuan Xuefen, Xu Yulan and Wang Wenjuan, went on a tour in Hong Kong. The “depoliticized” pieces they performed, included The Romance of the Western Chamber, Dream of the Red Chamber, The Jade Hairpin and so forth, once again served as “soft-peddling propaganda” that showcased PRC’s respect for traditional culture and projected an appealing image of socialist modernity to diasporic Chinese audiences living in capitalist societies. The Hong Kong tour thus exemplifies the CCP’s strategic flexibility in overseas propaganda.

SUNDAY, MARCH 15, 2026