Rice and Shine

Unpublished Treasures from the FEPOW Concert Party Archive

By Sears A. Eldredge, Emeritus Professor of Theater and Dance, Macalester College, St. Paul, Minnesota.

In 2000 I started out on a research journey into the musical and theatrical entertainment produced by POWs in their camps in the Far East during World War II. I had no idea how much material I would find so I collected everything. Actually, there proved to be such an abundance of material that I realized I had to narrow down the focus of my search if I wanted to produce a more in-depth study than a summarizing compendium.

Happy Harry Smith – walking on stilts in Kuala Lumpar 1941

Because most of the diaries and memoirs of former FEPOWs I read, as well as those I interviewed or corresponded with, had been involved in constructing the Thailand-Burma railway, that became my focus. The content of this material seemed to epitomize both the worst and the best of the FEPOW experience in captivity. The resultant book, Captive Audiences/Captive Performers: Music and Theatre as Strategies for Survival on the Thailand-Burma Railway 1942-1945, was published by Macalester College in St. Paul, Minnesota in 2014, as an open-access e-book: http://digitalcommons.macalester.edu/thdabooks/22 .  

Book Chapters

My plan is to post a series of blogs based on the unpublished material in my archive at the Macalester College library. The title for the series will be “Rice and Shine,” which is the name of the first show performed in captivity by the British 18th Divisional Concert Party. British pre-war concert parties will be the focus of the initial blog. Future blogs will include the full story of the A.I.F. (Australian Imperial Force) Malayan Concert Party, the final concert parties in Changi Gaol, concert parties in Borneo (including Kuching), Hong Kong, Korea, Japan, The Philippines, and The Netherlands East Indies (Indonesia). Some of these might be quite lengthy, others quite brief. There might even be a blog about what new material regarding entertainment on the Thailand-Burma railway has come to light since the publication of my book. What is important to me is that these FEPOW entertainers finally get recognized for what they did to maintain morale during those terrible times.

If readers have any materials pertaining to FEPOW theatricals in captivity during WWII, then please share what you have through the Sharing Research blog.


The latest in the series:

Remembering captivity across Southeast Asia and the Far East during the Second World War

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