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Scholar Viet Thanh Nguyen notes that, unlike “romantic, bourgeois, and modernist notions of art,” craft is “not an isolated activity in society’s division of labor but instead exists as an everyday practice with an everyday function.” Given that Lê’s Adrift in Darkness marks the conjunctions of two historical periods when state protections faltered (his own experience on a boat as a refugee fleeing his hometown on the Vietnamese-Cambodian border and the current experience of refugees crossing the Mediterranean), Lê queries the persistence of precarity on the global stage. 7 Given that the majority of Theatre Journal’s readership resides in the US and the fact that American cultural memory is entangled with Vietnam less as an independent nation-state and more as a multi-year event with lingering consequences, an ethical imperative to situate refugees within this framework remains.8 The Refugee Act of 1980 altered American policy regarding refugees precisely because of the influx of migrants following US imperialist interventions during the Cold War.9 These conditions have resulted in theorizations of refugeetude, which Vinh Nguyen elaborates as “a coming into consciousness of the forces that produce and structure ‘refuge’ and ‘refugee.’ [Refugee status was to be granted to a person who] as a result of events occurring before 1 January 1951 and owing to well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of that country; or who, not having a nationality and being outside the country of his former habitual residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.14 The 1967 protocol eliminated the criteria of the date and deleted “as a result of such events”; nevertheless, it quickly becomes obvious that the identification of refugee status is performative insofar as such an act accords certain rights. [...]within international law, jus cogens (or peremptory norms), theoretically establish a baseline that aims to forestall certain violences like genocide or slavery that might be enacted by states.