This study aims to read colonial discourse embedded in Asian culture as well as in Asian women, as to create an anti-colonial discourse. Following Said, Orientialism is "a certain will," above all "a discourse corresponding relationship with various kinds of powers." Here I focus on the discourse about Asian women and their cultures. I chose Puccini`s opera, Madam Butterfly, to demonstrate how "Orientalism" has been constructed, empowered and circulated historically. Because Cio Cio San`s tragic love is not different from the political and economic situation of the colonized Japan of the age, Cio Cio San and her culture are represented as "the Other" for the subject of Pinkerton and his America. The late 1980s musical, Miss Saigon, is the reproduced cultural product of Cio Cio San`s tragic love story. Vietnam`s political reality is the main cause of Chris and Kim`s separation here. After Kim`s death, the just and compassionate "Father` of America has to care for his child, Bui-Dui Tam. These two cultural texts have shown the on-going process of how Asian women have been represented and how their cultures have been read by the western, patriarchal, hegemonic eye. David Henry Hwang`s M. Butterfly intends to subvert the existing ideology of Orientalism by having a man occupy the feminized role of Oriental Other. As an Asian-American, Hwang`s attitude is not, however, partial to either the western or eastern side. Here, China is shown as another hegemonic power. To create an anti-colonial discourse, I tried to replace hegemonic discourse about culture and women with fictionalizing processes, and attempted to demystify them continuously. As cultural texts, the written texts as well as the opera, film, musical, and play establish themselves as battle fields of ideology to be "renewed, recreated, defended, and altered, challenges by pressures."