The Komagata Maru incident has become central to ongoing debates on Canadian racism, immigration, multiculturalism, citizenship and Indian nationalist resistance. The chapters presented in this book, written by established and emerging historians and scholars in literary, cultural, religious, immigration and diaspora studies, revisit the ship's ill-fated journey to throw new light on its impact on South Asian migration and surveillance, ethnic and race relations, anticolonial and postcolonial resistance, and citizenship. The book draws on archival resources to offer the first multidisciplinary study of the historic event that views it through imperial, regional, national and transnational lenses and positions the journey both temporally and spatially within micro and macro histories of several regions in the British Empire. This volume contributes to the emerging literature on migration, mobilities, borders and surveillance, regionalism and transnationalism. Apart from its interest to scholars of diaspora and nationalism, this book will deeply resonate with those interested in imperialism, migration, transnationalism, Punjab and Sikh studies. This book was originally published as a special issue of the journal South Asian Diaspora.

The Komagata Maru incident has become central to ongoing debates on Canadian racism, immigration, multiculturalism, citizenship and Indian nationalist resistance. The chapters presented in this book, written by established and emerging historians and scholars in literary, cultural, religious, immigration and diaspora studies, revisit the ship's ill-fated journey to throw new light on its impact on South Asian migration and surveillance, ethnic and race relations, anticolonial and postcolonial resistance, and citizenship. The book draws on archival resources to offer the first multidisciplinary study of the historic event that views it through imperial, regional, national and transnational lenses and positions the journey both temporally and spatially within micro and macro histories of several regions in the British Empire. This volume contributes to the emerging literature on migration, mobilities, borders and surveillance, regionalism and transnationalism. Apart from its interest to scholars of diaspora and nationalism, this book will deeply resonate with those interested in imperialism, migration, transnationalism, Punjab and Sikh studies. This book was originally published as a special issue of the journal South Asian Diaspora.

Bhangra is commonly understood as the hybrid music produced in Britain by British Asian music producers through mixing Panjabi folk melodies with western pop and black dance rhythms. This is derived from a Punjabi harvest dance of the same name. This book looks at Bhangra's global flows from one of its originary sites, the Indian subcontinent, to contribute to the understanding of emerging South Asian cultural practices such as Bhangra or Bollywood in multi-ethnic societies. It seeks to trace Bhangra's moves from Punjab and its 'return back' to look at the forces that initiate and regulate global flows of local texts and to ask how their producers and consumers redirect them to produce new definitions of culture, identity and nation. The critical importance of this book lies in understanding the difference between the present globalizing wave and previous trans-local movements. Gera Roy contrasts the frames of cultural imperialism with those of cultural invasion to show how Indian cultures have constantly reinvented themselves by cross-pollinating with 'invading' cultures such as Hellenic, Persian, Arabic and many others in the past. By looking at Bhangra's flows to and from India, the book revises the relation between culture, space and identity and challenges boundaries. It weighs both the uses and costs of visibility provided by global networks to marginalized groups in diverse localities and explores whether collaborations between Bhangra practitioners, largely of working class origin, give ordinary people any control over the circulation of culture in the global village. Finally, the book considers whether cultural practices can alter hierarchies and power structures in the real world.

Bhangra is commonly understood as the hybrid music produced in Britain by British Asian music producers through mixing Panjabi folk melodies with western pop and black dance rhythms. This is derived from a Punjabi harvest dance of the same name. This book looks at Bhangra's global flows from one of its originary sites, the Indian subcontinent, to contribute to the understanding of emerging South Asian cultural practices such as Bhangra or Bollywood in multi-ethnic societies. It seeks to trace Bhangra's moves from Punjab and its 'return back' to look at the forces that initiate and regulate global flows of local texts and to ask how their producers and consumers redirect them to produce new definitions of culture, identity and nation. The critical importance of this book lies in understanding the difference between the present globalizing wave and previous trans-local movements. Gera Roy contrasts the frames of cultural imperialism with those of cultural invasion to show how Indian cultures have constantly reinvented themselves by cross-pollinating with 'invading' cultures such as Hellenic, Persian, Arabic and many others in the past. By looking at Bhangra's flows to and from India, the book revises the relation between culture, space and identity and challenges boundaries. It weighs both the uses and costs of visibility provided by global networks to marginalized groups in diverse localities and explores whether collaborations between Bhangra practitioners, largely of working class origin, give ordinary people any control over the circulation of culture in the global village. Finally, the book considers whether cultural practices can alter hierarchies and power structures in the real world.

Few would deny that the most significant weapon in India's cultural and artistic armory is its avowedly commercial cinema, now known as Bollywood. This anthology aims to portray the "soft" power of Bollywood, which makes it a unique and powerful disseminator of Indian culture and values abroad. The essays in the book examine Bollywood's popularity within and outside South Asia, focusing on its role in international relations and diplomacy. In addition to contributions that directly engage with the notion of soft power, a number of essays in the volume testify to the attractiveness of Bollywood cinema for ethnically diverse groups across the world, probe the reasons for its appeal, and explore its audiences' identification with cinematic narratives. Established and emerging scholars in literature, theater, film, dance, music, media, cultural studies, and sociology from different parts of the world present their views from multidisciplinary perspectives based on case studies from Australia, New Zealand, the UK, Germany, Russia, the US, Senegal, Pakistan, Bangladesh, Indonesia and Canada, in addition to India.