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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.
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