Role Name Affiliation National Coordinator Subject Coordinator Prof

Role Name Affiliation National Coordinator Subject Coordinator Prof. Sujata Patel Department of Sociology, University of Hyderabad Paper Coordinator Prof. Kamala Ganesh Formerly Dept. of Sociology, University of Mumbai Content Writer Prof. Kamala Ganesh Research Scholar, Department of Sociology, University of Mumbai Content Reviewer Prof. Sujata Patel Dept. of Sociology, University of Hyderabad Language Editor Prof. Sujata Patel Dept. of Sociology, University of Hyderabad Technical Conversion Module Structure Description of the Module Items Description of the Module Subject Name Sociology Paper Name Sociology of the Indian Diaspora Module Name/Title Diasporic performing arts and popular culture Module Id Pre Requisites Familiarity with Indian Performing arts, Popular culture, Diasporic IdentityMaking Objectives • To frame the topic within the concepts of authenticity and hybridity • To describe the general situation of dance, music, theatre in its classical, folk, popular and fusion forms in different parts of the diaspora • To illustrate through select case studies of classical dance (Bharatanatyam), Chutney Soca, Fusion bands, TV shows. Key words authenticity, hybridity, fusion, cultural memory, cultural identity DIASPORIC PERFORMING ARTS AND POPULAR CULTURE Sec VIModule 5 QUADRANT 1 1.INTRODUCTION As is well documented in the Diaspora Studies literature, an orientation to the homeland, real or imagined, is pervasive in diasporas worldwide. Anderson’s evocation of the nation as imagined community, and writings of Safran, Clifford, Tololyan and others provides a nuanced delineation of this position. Despite critical re-evaluation of the centrality and meaning of ‘homeland’, the basic assumption that the notion of homeland provides the grist and substance for the work of preserving cultural memory is repeatedly borne out by empirical studies. The concern with authenticity, evident in many aspects of diasporic life, can be tracked to this homeland orientation. At the same time, the very materiality of migrant existence, enmeshed in the concrete everyday realities of the adopted land, triggers adaptation through variously named processes like syncretism, creolization, hybridization, etc. The condition of hybridity, recognized and valourized by theorists like Hall, Bhabha and others marks diasporic identity as much as the search for authenticity does. It is the dialectic between the two that imbues specificity to diasporic identity. The performing arts and popular culture with their high emotional quotient, are particularly pliable and receptive to the codes of authenticity and hybridity. A module on this vast topic that covers so many forms and genres and so many diasporic locations that Indians have migrated to, can only hope to present selected glimpses. Yet the intertwining of the concern with authenticity and condition of hybridity is powerfully evident even in this small sample. The performing arts scenario in India today is one that is diverse, creatively rich and vibrant. The major forms are music, dance and theatre. In each there is a variety of genres and styles, with some examples of combining elements of two or all three. They encompass classical, folk, popular and fusion forms. They include ancient forms whose practitioners swear by purity and authenticity and new forms that have arisen to meet current demands and reflect contemporary sensibilities. Most are regionally rooted, but several such regional forms have gained all-India currency over time. The regional rootedness transforming into pan-Indian scope is, inter alia, the by product of nationalism and nation building. 1.1 Authenticity and Hybridity Diasporic Indians carry and practice these arts wherever they migrate. In the diasporic context, the performing arts have the additional important function of serving as bearers of cultural memory and identity. ‘Authenticity’ in the performing arts, particularly classical arts, is a preoccupation with artistes, even in India. It is cast in the idiom of schools, styles and ‘purity’. In the diaspora it is a powerful impulse that also represents the homeland orientation that is so central to consciousness and identity. The keen interest in classical Indian dance forms and specifically the mushrooming of Bharatanatyam dance classes in all parts of the Indian diaspora, and their attempt at fidelity to the various traditional schools in India is a striking expression of the search for authenticity. There have also been attempts to indigenise Bharatanatyam by integrating with local genres. We shall discuss this example in greater detail later in the module. Within the traditional classical forms in India – music, dance and theatre , there are some experimental and innovative currents seeking to make them relevant to contemporary life and society. This is evident in the diasporic context also, even more so, especially in North America and Europe, given the overall ambience that is conducive to experimentation. At the same time, migrants in various ways absorb from and adjust to their new location. Assimilation sometimes leads to second and subsequent generations, born in diaspora, trying to join the mainstream culture in the performing arts, ie trying for authenticity, with varying degrees of success. Zubin Mehta the music conductor is looked upto as a diasporic model by scores of diasporic students pursuing piano or ballet lessons. The other mainstream genres in which Indian diaspora has entered are, for example in UK, films, TV sit coms and Stand up Comedy shows, in which the format is British but the content reflects Indian diasporic themes. But, despite the quest for authenticity, the existential condition of diaspora is inevitably one of hybridity. Thus, a third most interesting process is the emergence of fusion genresand forms that embody the creative coming together of Indian and local forms of the adopted land. Some of the fusion forms even influence the mainstream in these countries, such as the coming together of Bhangra and Rap in UK. ChutneySocaa popular party music and dance form in the Caribbean is another example of hybridity, as we shall see later. 1.2 Diaspora as interlocutor in the east-west dialogue The interest intraditional performing and plastic arts as part of the orientalist fascination with Indian culture, language, religion and arts, especially in Europe, is at least a couple of centuries old. After independence, contemporary practitioners of these arts took them to wider international audiences in Europe, UK and USA. Pandit Ravi Shankar’s popularizing the sitar and through it Indian classical music itself in global fora is a milestone in this regard, but there were many others too in what was becoming an incremental process. Within the western world, the interlocutors and impressarios of this engangement were mainly of European origins. They also helped convert the interest into systematized research, teaching and learning by institutionalizing it in universities (Puri 2004) From the 1980s, the incremental process turned into a cascading one. The role of the diaspora in this process as seekers of their roots and as ambassadors of Indian arts in the west also took off from this time onwards. As they grew in numbers -especially the highly educated and skilled diaspora- organized classes, invited gurus, socialized their children into learning traditional Indian genres. Gradually a sizable section of the diasporic population became mediators in the dialogue beteen the west and India in the field of the arts. The metropolitan centres in the Indian diasporic world that sponsored this learning and teaching, started becoming attractive to practitioners in India too, given that financial support was meagre in India and fairly good in the diaspora. Some artistes even moved base to the west, teaching disseminating and performing primarily in the west. The Bay area of California is an example of a neighbourhood with a dense cluster of artistes and schools of Hindustani music. (For a listing of Indian music classes in bay area,see http://www.eknazar.com/bayarea/YellowPages/showallListings-cid-32- pa-17-pg-1/music-schools.htm). Organizing workshops and conferences, arranging concert tours, hosting visiting artistes in their own homes and mobilizing the community for support, creating audiences – all these were taken over in a big way by members of the diaspora. Given the increasing financial clout of the Indian diaspora especially in North America, the growth of India as a market and as an emerging economy, the continuing interest of scholars and performers in the cultural disicplines and the intensifying engagement of Govt. of India with its diaspora, the field of Indian performing arts became fields with multiple centres.Usually at least onein India and another in North America. The Cleveland Thyagaraja Festival for Carnatic Music held every year around Easter time was started in 1978. It has become a 12 day festival with more than 8000 strong audience. Top musicians from Chennai make it a point toperform at the Cleveland Festival. V V Sundaram, the force behind the Festival is popularly referred to as Cleveland Sundaram in Chennai and is much sought after when he is in Chennai during the Chennai festival season in December. Among other things, he arranges tours for musicians and dancers in North America. V.V.Sundaram, force behind the Cleveland Thyagaraja Festival of Carnatic Music (Source: Google Images accessed on Sept 25, 2015) This example is given to make the point that increasingly Indian performing

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