Although current theories of diaspora argue for a break between an older irrevocable migration from one nation to another and a new transnational movement between host country and birthplace, research on nineteenth- as well as twentieth-century North America demonstrates that earlier migration also had a transnational dimension. The cultural consequences of this two-way traffic include syncretic performance forms, institutions, and audiences, whose legitimacy depended on engagement with but not total assimilation in local conventions and on the mobilization of touristic nostalgia in, say, Cantonese opera in California or Bavarian-American musicals in New York, to appeal to nativist and immigrant consumers. Today, syncretic theatre of diaspora is complicated on the one hand by a theatre of diasporic residence, in which immigrants dramatize inherited conflicts in the host country, such as Québécois separatism in Canada, along with problems of migrants, among them South Asians, and on the other by a theatre of non-residence, touring companies bringing theatre from the home country, say India, to ‘non-resident Indians’ and local audiences in the United States.