This paper is a study of how the people at the centre of the violent conflict in Thailand's southern border provinces have been represented, with particular reference to the period from the Second World War to the present. It provides a brief historical background to a number of discourses of identity regarding the people in the region. It focuses on the struggle between competing discourses of Thai national identity, Malay ethnic identity, Muslim identity, and a more localized identity centred on the memory of the former sultanate of Patani and its associated linguistic and cultural traditions.

This article looks at the cultural resurgence that is taking place in Thailand's regions and amongst its ethnic minorities after a century ofassimilationist policies carried out by the central Thai government in the interests of national integration. The article argues that the cultural resurgence is aresult of three decades of economic development alU! a parallel process of democratisation of the political system. This has not only given different cultural groups new political rights to express their culture openly, but has also resulted in the government no longer regarding such expressions of cultural identity as posing a threat to Thai national unity.

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As part of the 1996–97 Fiftieth Jubilee celebrations, Thailand's King Bhumibol Adulyadej published his version of the Mahajanaka Jataka, one of the many stories of the Buddha's former lives in the Theravada Buddhist tradition (Bhumibol 1996). The publication, in both English and Thai and complete with lavish illustrations, was heavily promoted by various agencies of the bureaucracy (especially in the media and the schools) and met with much public acclaim. Several editions of the book were published, including a cartoon version for younger readers (Bhumibol 1999). Tapes and CDs with readings of the story were released, and commemorative medallions were also available with purchases of the book. A musical version of the story was created and public performances held, with a number of the princesses involved in the production. The tale is of Prince Mahajanaka, who, though forced into exile, through his great perseverance (viriya parami) is able to return to his kingdom, claim his rightful throne, and bring prosperity to his subjects.