Narratives of Daughter-In- Law's Gendered Identity, Home, Marriage, and Migration

Total Page:16

File Type:pdf, Size:1020Kb

Narratives of Daughter-In- Law's Gendered Identity, Home, Marriage, and Migration CAN A DAUGHTER-IN-LAW BECOME A DAUGHTER?: NARRATIVES OF DAUGHTER-IN- LAW’S GENDERED IDENTITY, HOME, MARRIAGE, AND MIGRATION by RICHA SHAKYA B.A., KATHMANDU UNIVERSITY, 2009 M.A., KATHMANDU UNIVERSITY, 2011 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Geography 2019 i This thesis entitled: Can a daughter-in-law become a daughter?: Narratives of daughter-in-law’s gendered identity, home, marriage, and migration written by Richa Shakya has been approved for the Department of Geography ________________________________________ (Dr. Jennifer L. Fluri) ________________________________________ (Dr. Yaffa Truelove) ________________________________________ (Dr. Deepti Misri) Date: ___________________ The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above-mentioned discipline. IRB protocol #: 17-0724 ii Richa Shakya (M.A., Geography, University of Colorado Boulder) Can a daughter-in-law become a daughter? Narratives of daughter-in-law’s gendered identity, home, marriage, and migration Thesis directed by Associate Professor of Geography Dr. Jennifer L. Fluri Women are embodiment of home but they long for home their entire lives. They are not supposed to feel at home at their natal home because patriarchy requires them to get married and settle in their marital home. Due to this dislocation, women find themselves in-between two homes where they do not belong anymore. Married Nepali women living in the USA and in Nepal have created virtual homes in their own terms on the basis of memories, emotion and communication technology. Marriage – and women’s movement along with her loyalty and labor - as a form of migration is made invisible in the name of fate. Movement from one location to another brings changes in identity, home, and position. At these locations, women are constantly negotiating and resisting patriarchy to claim their agency. Through a qualitative research design, this research manifests marriage as a form of migration for Nepali married women. Their lived experiences of marriage migration unpack reasons why patriarchal values compel a daughter to become a daughter-in- law but do not acknowledge a daughter-in-law as a daughter. iii To all the daughters-in-laws iv ACKNOWLEDGEMENTS I would like to express my thankfulness to the Department of Geography for a wonderful opportunity to pursue my Master’s degree. Jen, I would not have reached here today without you and your dedication, guidance, and motivation. You made me feel graduate school was something that I could do, and I did it. Working with you has been a pleasure. After every meeting, all my worries and confusion were replaced with a big bright smile. I will surely miss cardamom tea and Danger. Thank you for believing in me. I thank Professor Deepti Misri and Professor Yaffa Truelove for being a part of my research and for providing different concepts and approaches to further extend my work. I take this opportunity to go down memory lane and thank all my friends who have supported me: Emma Hines, Dorje Tashi, Phurwa Dhondup, Tracy Fehr, Marielle Butters, and Shruthi Jagadeesh. You all have a special place in my heart. Graduate school would not have been possible without you. Thank you for being a phone call or a text message away. rupak, thank you for being my friend, husband, critic, and mentor who has helped me be the improved version of myself that I am today. Karen, Leslie and Darla, where do I even begin to thank you. You had answers to all my questions. Thank you for your guidance. You three can run the world! To my parents who gave away their daughter at marriage and then had to bear the long distance between her, thank you for your unconditional love and encouragement. v CONTENTS 1. INTRODUCTION ..................................................................................................... 1 a. Research Method ......................................................................................... 3 i) Participant Selection ....................................................................... 3 ii) Data Collection Technique .............................................................. 6 iii) Transcribing .................................................................................... 6 iv) Codebook ........................................................................................ 8 v) Coding ............................................................................................. 9 vi) Theory and Argument ................................................................... 10 CHAPTER 1: 1. Maiti (Mother’s home) ...................................................................................... 15 a. Migration and Gender .......................................................................... 18 b. Mobility and Migration ........................................................................ 22 c. Transnationalism/Translocal Migration ............................................... 23 d. Mobility and Marriage ......................................................................... 26 e. Migration Experience After Marriage .................................................. 29 f. Narratives of Dislocation ..................................................................... 29 g. Chapter Conclusion .............................................................................. 42 CHAPTER 2: 2. Patriarchy and Negotiation ............................................................................... 44 a. Patriarchy and Intersectionality ........................................................... 46 b. Hegemony ............................................................................................ 49 c. Patriarchy: Power and Cultural Hegemony .......................................... 50 d. Agency ................................................................................................ 52 e. Patriarchal Society Among Women in Nepal ..................................... 54 f. Married Women, Patriarchal Society, and Negotiation Strategies ....... 56 g. Negotiation Strategies of Married Nepali Women ............................... 59 h. Chapter Conclusion .............................................................................. 65 CHAPTER 3: 3. Ghar (Home) .................................................................................................... 67 a. Ghar (Home) ........................................................................................ 68 b. Home as A Gendered Place.................................................................. 70 c. Culture and Home ............................................................................... 71 d. Division of Labor ................................................................................ 74 e. Violence .............................................................................................. 75 f. Virtual Homes ...................................................................................... 75 g. Home as a Relational Place ................................................................. 79 h. Narratives of Home .............................................................................. 86 i. Fluid Homes ......................................................................................... 97 j. Chapter conclusion ............................................................................ 107 vi CONCLUSION ........................................................................................................... 109 a) Intellectual Merits ...................................................................... 111 b) Future Research ......................................................................... 111 REFERENCES………………………………………………………………………..113 APPENDIX…... ........................................................................................................... 118 Appendix A: Institutional Review Board Approval letter ............................. 118 Appendix B: Interview questions in English................................................... 119 Appendix C: Consent form in English ............................................................ 125 vii TABLES Table 1: List of respondents in the USA……………………………………………….……..….5 Table 2: List of respondents in Nepal……………………………………………………………..5 FIGURES Figure 1: Artwork by Nepali artist Sheelasha Rajbhandari on marriage and migration…….…..17 Figure 2: Cartoon strip about diverse cultural perspective………………………………….…...53 Figure 3: Artwork by Nepali Artist Bunu Dhungana about gender and identity………………..88 viii INTRODUCTION Home, identity, and belonging are ideas that are hard to explain but easy to feel. I remember my school days when I had to wear a white uniform on alternate days for extra activities classes - white skirt, white shirt, white socks, and white shoes. I took music classes where we had to take off our shoes to enter the rehearsal room. Everybody, including me, had white shoes staring back at us when the class was over, and it was time to go home. Every shoe looked the same. It was always confusing to figure out which pair was mine. However, when I put my feet in the correct shoes, I knew that they belonged to me. When I slipped into the right shoes, it took the shape it belonged to, making me feel comfortable and confident
Recommended publications
  • INDIA Transcript of D. Sharifa Interviewe
    GLOBAL FEMINISMS: COMPARATIVE CASE STUDIES OF WOMEN’S ACTIVISM AND SCHOLARSHIP SITE: INDIA Transcript of D. Sharifa Interviewer: C.S. Lakshmi Location: Pudukkottai, Tamilnadu, India Date: 9-12 July, 2004 Language of Interview: Tamil SPARROW Sound & Picture Archives for Research on Women B-32, Jeet Nagar, J.P. Road, Versova, Mumbai-400061 Tel: 2824 5958, 2826 8575 & 2632 8143 E-mail: [email protected] Website: www.sparrowonline.org Acknowledgments Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship was housed at the Institute for Research on Women and Gender at the University of Michigan (UM) in Ann Arbor, Michigan. The project was co-directed by Abigail Stewart, Jayati Lal and Kristin McGuire. The China site was housed at the China Women’s University in Beijing, China and directed by Wang Jinling and Zhang Jian, in collaboration with UM faculty member Wang Zheng. The India site was housed at the Sound and Picture Archives for Research on Women (SPARROW) in Mumbai, India and directed by C.S. Lakshmi, in collaboration with UM faculty members Jayati Lal and Abigail Stewart. The Poland site was housed at Fundacja Kobiet eFKa (Women’s Foundation eFKa) in Krakow, Poland and directed by Slawka Walczewska, in collaboration with UM faculty member Magdalena Zaborowska. The U.S. site was housed at the Institute for Research on Women and Gender at the University of Michigan in Ann Arbor, Michigan and directed by UM faculty member Elizabeth Cole. Graduate student interns on the project included Nicola Curtin, Kim Dorazio, Jana Haritatos, Helen Ho, Julianna Lee, Sumiao Li, Zakiya Luna, Leslie Marsh, Sridevi Nair, Justyna Pas, Rosa Peralta, Desdamona Rios and Ying Zhang.
    [Show full text]
  • Mujersita Youth Pedagogies: Race, Gender, and (Counter)Surveillance in the New Latnx South
    MUJERSITA YOUTH PEDAGOGIES: RACE, GENDER, AND (COUNTER)SURVEILLANCE IN THE NEW LATNX SOUTH Esmeralda Rodríguez A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education. Chapel Hill 2018 Approved by: Claudia Cervantes-Soon George Noblit Juan F. Carrillo Sherick Hughes Luis Urrieta, Jr. © 2018 Esmeralda Rodríguez ALL RIGHTS RESERVED ii ABSTRACT ESMERALDA RODRIGUEZ: Mujerista Youth Pedagogies: Race, Gender, and (Counter)Surveillance in the New Latinx South (Under the direction of Claudia Cervantes-Soon and George Noblit) Though there is a body of research that deconstructs essentialized perspectives on Latinx youth (Cervantes-Soon, 2012; 2017; Cammarota, 2008; 2011; Denner & Guzman, 2006; Garcia, 2012: Stanton-Salazar, 2001; Valdes, 2001; Valenzuela, 1999) a large body of research has failed to perceive Latina girls in nuanced ways. Additionally, mainstream research and broader discourses on Latina adolescents have been dominated by a hyper-focus on the “problem of [Latinx] adolescent behavior” (Akom, Cammarota, & Ginwright, 2008, p. 1). In the face of this, however, Chicana and Latina feminist writers use academic research and narrative writing to testify against deficit portrayals of Latinas. However, a review of these works has also spotlighted the reality that even this critical body of work has ignored the wisdoms and lived experiences of Latina youth. There has been much work that focuses on the perspectives of adult women who tend to look back to their youth in order to make sense of their adulthood. Conversely, this research age-gap has elucidated the importance of youth experiences and the need to for nuanced scholarship that centers their experiential knowledge.
    [Show full text]
  • Boy Small TRADE EDITION
    ALL RIGHTS RESERVED Original Works Publishing CAUTION: Professionals and amateurs are hereby warned that this play is subject to royalty. It is fully protected by Original Works Publishing, and the copyright laws of the United States. All rights, including professional, amateur, motion pictures, recitation, lecturing, public reading, radio broadcasting, television, and the rights of translation into foreign languages are strictly reserved. The performance rights to this play are controlled by Original Works Publishing and royalty arrangements and licenses must be secured well in advance of presentation. PLEASE NOTE that amateur royalty fees are set upon application in accordance with your producing circumstances. When applying for a royalty quotation and license please give us the number of performances intended, dates of production, your seating capacity and admission fee. Royalties are payable with negotiation from Original Works Publishing. Royalty of the required amount must be paid whether the play is presented for charity or gain and whether or not admission is charged. Particular emphasis is laid on the question of amateur or professional readings, permission and terms for which must be secured from Original Works Publishing through direct contact. Copying from this book in whole or in part is strictly for- bidden by law, and the right of performance is not transferable. Whenever the play is produced the following notice must appear on all programs, printing, and advertising for the play: “Produced by special arrangement with Original Works Publishing. www.originalworksonline.com” Due authorship credit must be given on all programs, print- ing and advertising for the play. Boy Small © MT Cozzola Trade Edition, 2016 ISBN 978-1-63092-086-9 Also Available From Original Works Publishing Play Nice by Robin Rice Synopsis: The Diamond siblings use the only resources they have, the dramatic role-play of their imaginations, to cope with the abusive Dragon Queen - their mother.
    [Show full text]
  • Representing Disempowerment on Teen Drama Television
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-5-2012 12:00 AM Watching High School: Representing Disempowerment on Teen Drama Television Sarah M. Baxter The University of Western Ontario Supervisor Paulette Rothbauer The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sarah M. Baxter 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Baxter, Sarah M., "Watching High School: Representing Disempowerment on Teen Drama Television" (2012). Electronic Thesis and Dissertation Repository. 644. https://ir.lib.uwo.ca/etd/644 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WATCHING HIGH SCHOOL: REPRESENTING DISEMPOWERMENT ON TEEN DRAMA TELEVISION (Spine title: Watching High School) (Thesis format: Monograph) by Sarah Mae Baxter Graduate Program in Media Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sarah Mae Baxter 2012 i THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________
    [Show full text]
  • David Study 4
    Copyright material It is the nature from © 2017 STUDY NUMBER FOUR - 1 Samuel 21:1-22:23 a of variety lecture v. 1 David went to Nob, to Ahimelech the priest. Ahimelech trembled when by Bible he met him, and asked, "Why are you alone? Why is no one with you?" of notes sources, v. 2 David answered Ahimelech the priest, The king charged me with a Teaching certain matter and said to me, 'No one is to know anything about your to mission and your instructions.' As for my men, I have told them to meet contain all me at a certain place. Resources of v. 3 Now then, what do you have on hand? Give me five loaves of bread, or which whatever you can find." references v. 4 But the priest answered David, "I don't have an ordinary bread on have hand; however, there is some consecrated bread here--provided the men by Don been have kept themselves from women." that v. 5 David replied, "Indeed women have been kept from us, as usual Anderson may whenever I set out. The men's things are holy even on missions that are not appropriately holy. How much more so today!" prove v. 6 So the priest gave him the consecrated bread, since there was no bread Ministries. there except the bread of the Presence that had been removed from before difficult the Lord and replaced by hot bread on the day it was taken away. credited v. 7 Now one of Saul's servants was there that day, detained before the to The Lord; he was Doeg the Edomite, Saul's head shepherd.
    [Show full text]
  • Pdf, 227.86 KB
    00:00:00 Music Music Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:13 Jesse Host I’m Jesse Thorn. It’s Bullseye! Thorn 00:00:14 Music Music “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:22 Jesse Host Josh Gondelman is a standup comic and a writer. And he’s also really nice. Like, if you say his name to somebody in comedy—if you go up to somebody and say, “Hey, what do you think about Josh Gondelman?” They’re gonna say, [excited] “Oh! Josh Gondelman! He’s so nice!” When Josh takes the stage, he says that he’s like if a cardigan were a person. But Josh Gondelman isn’t just nice. He’s also incisive. He’s a brilliant writer. He’s won two Peabodys and three Emmys for writing on John Oliver’s show, Last Week Tonight, and these days he writes for Showtime’s Desus & Maro. He also has a new book out. It’s about learning to be nice and how to not let the nice be the enemy of the good. It’s called Nice Try: Stories of Best Intentions and Mixed Results. Before we get into the interview, let’s play a bit of his standup. This is from his most recent album, Dancing on a Weeknight, which came out earlier this year.
    [Show full text]
  • THE FIREBIRD Production Script
    THE FIREBIRD Written By Tim Errickson Tim Errickson 917-880-5483 [email protected] (c) 2010 IN THE DARKNESS… We hear quiet, and someone walking down a city street at night. Cars, distant conversation, maybe music from a car as it passes. Finally a car pulls up, the sound ‘what the…” and then a struggle. Quick. Almost unnoticed. A door closes, and the car pulls away. Silence. SCENE 1 Dan's office. We hear the buzz of the intercom, the buzz of blackberries, the phone ringing…as we come up on Irene in Dan's office, seated. Perhaps they don't even look at each other. DAN (breaking the silence) Irene… IRENE Don't. (beat) DAN Look, Irene… IRENE No, goddamn it. NO! Be quiet. (beat) I don't…I don't know what to do, Danny. DAN (quietly) How is Joe doing? IRENE Oh, how the hell do you think he's doing? How are any of us doing? (gathers herself) He blames himself for not…Hell, I dunno what he blames himself for. DAN All I've done is ask how I can help you…tell me what you need. IRENE (full of anger) How could you let this happen, Danny? DAN Let this happen? I did everything you asked me! 1 IRENE Obviously not enough. (beat) DAN You screwed me, Irene. You know that? IRENE I what…? DAN You asked me to help you…and you put me in a position where I couldn't win. Refuse you, I'm an asshole. Do it, and...I don't know what I am.
    [Show full text]
  • The Final Authoritative Revealer of God's Will
    The Los Angeles Review of Los Angeles, No. 15 ART Greg Parsons - 5 Fiction PD Mallamo - 6 Poem Patrick McGinty - 21 Poem henry 7. reneau, jr. - 22 Poem Changming Yuan - 23 Poem & Fiction William C. Blome - 24 Nonfiction Leroy B. Vaughn - 26 Poems John Grey - 29 Olga Zolle 2 Fiction P.A. O’Neil - 31 Poems Edward Vidaurre - 36 Fiction Susan E. Lloy - 40 Fiction Elliott Capon - 53 Fiction Karen Boissonneault-Gauthier - 62 Fiction Darry Dinnell - 63 Poems James Croal Jackson - 71 Fiction Brian Abbey - 73 3 Fiction Marina Rubin - 77 Poem Gerard Sarnat - 79 Fiction Johnsmith “Bughouse” Davis - 80 Art Daniel de Culla - 85 Poem Arja Kumar - 87 Fiction B. Lawrence - 103 Fiction Tim Frank - 110 COVER BY ROBIN WYATT DUNN 4 Sea Greg Parsons 5 Love Commander PD Mallamo ∀∃∋ Coloratura lightening FLARES as this obviously vatic, thunderously thaumaturgic, wildly thanatotic blockbuster extravaganza of imprecise locus financed in Mumbai and Los Angeles California title roughly translated apocalypse-death-angel LOVE COMMANDER ruPTURES all over his little screen, fire-bomb from the Sea of Japan, Bali centerfold, Pashtunwali/Hindu riot refereed by a pious factotum from the Karakum Desert with bird tattoo and plumper kink - sheer Brazil, Cinderella, believe me, Information Paradise, clarinet lessons in old Peking, a testimony of faith hand-delivered by the Devil: persecution fantasies and homicidal ideation translated into a counterfeit language of betrayal and aggrievement, a flowchart of agony - life built entirely of old wounds and dying memories, the final
    [Show full text]
  • (Don't) Wear Glasses: the Performativity of Smart Girls On
    GIRLS WHO (DON'T) WEAR GLASSES: THE PERFORMATIVITY OF SMART GIRLS ON TEEN TELEVISION Sandra B. Conaway A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Kristine Blair, Advisor Julie Edmister Graduate Faculty Representative Erin Labbie Katherine Bradshaw © 2007 Sandra Conaway All Rights Reserved iii ABSTRACT Kristine Blair, Advisor This dissertation takes a feminist view of t television programs featuring smart girls, and considers the “wave” of feminism popular at the time of each program. Judith Butler’s concept from Gender Trouble of “gender as a performance,” which says that normative behavior for a given gender is reinforced by culture, helps to explain how girls learn to behave according to our culture’s rules for appropriate girlhood. Television reinforces for intellectual girls that they must perform their gender appropriately, or suffer the consequences of being invisible and unpopular, and that they will win rewards for performing in more traditionally feminine ways. 1990-2006 featured a large number of hour-long television dramas and dramedies starring teenage characters, and aimed at a young audience, including Beverly Hills, 90210, My So-Called Life, Buffy the Vampire Slayer, Freaks and Geeks, and Gilmore Girls. In most teen shows there is a designated smart girl who is not afraid to demonstrate her interest in math or science, or writing or reading. In lieu of ethnic or racial minority characters, she is often the “other” of the group because of her less conventionally attractive appearance, her interest in school, her strong sense of right and wrong, and her lack of experience with boys.
    [Show full text]
  • 2019 Winning Entries Patten Free Library Teen Writing Contest Short
    2019 Winning Entries Patten Free Library Teen Writing Contest Short Fiction: First Prize Grades 10-12 (tie): Emma Beauregard for “Levono” Nina Powers for “We Grew Up” Grades 7-9: No prize recommended Levono “Doctor? Doctor! I’ve got a wriggly one!” “Did you strap them in?” “Yes, sir.” The Doctor, wearing white from head to toe, walked over to his assistant. She, also in all white, was hovering over one of the silver tables spread across the room. Despite the leather straps holding her down, Patient 2078 was twisting, clearly in anguish. “Hm. Any idea what’s going on?” The Doctor was checking the woman’s diagnostics calmly, showing no sign of worry. “Not yet, sir.” The assistant looked more confused than concerned as she watched the Doctor work. “Plug her into the Crip. I want to know exactly what she’s thinking.” The assistant knelt down and pulled a wire from underneath the table Patient 2078 was on. At the end of the wire was a small screen, currently black. On the other end of the wire was a sort of collar, with pins sticking into the middle. The assistant wrapped the collar around the patient’s neck, then pulled the straps as tight as she could. The patient continued to squirm. “Turning the Crip on now.” The assistant fiddled with the small screen and it flashed to life, showing another world from the view of Patient 2078. “Sir, it appears she’s having an argument.” “With who?” “Patient 5903. Her significant other in the simulation.” “Keep an eye on her.
    [Show full text]
  • An American Podcast Episode #12: He Started Retreatin' and Readin' Every Treatise on the Shelf Hosts: Gillian
    The Hamilcast: An American Podcast Episode #12: He started retreatin’ and readin’ every treatise on the shelf Hosts: Gillian Pennsavalle and Bianca Soto Guests: Ashley Graffeo and Meg Smith Description: Gillian and Bianca take a break (get it?) from Chernow to focus on the brand new Hamiltome aka Hamilton: The Revolution. Ashley Graffeo joins in on the conversation and designer extraordinaire Meg Smith of Sweet Lady Designs sits in with us for the first time. Transcribed by: Autumn Clarke, Proofed by: Kathy Wille The Hamilcast‘s Transcribing Army Ok, so we are doing this . ___________________________________________________ GILLIAN PENNSAVALLE: Hey everybody! BIANCA SOTO: Hi! G. PEN: I’m Gillian B. SO: I’m Bianca G. PEN: Welcome back to the Hamilcast! We have SO much to talk about. B. SO: We have a LOT happening! G. PEN: So we’re skipping—I just want to say, real quick—we’re skipping Chernow this week. B. SO: Sorry, Chernow. G. PEN: I’m sorry. B. SO: But another book came out recently. G. PEN: What?! B. SO: I don’t know. Maybe you’ve heard of it? G. PEN: Yeah, it’s called the Hamiltome and it’s sold out everywhere B. SO: Yeah it’s affectionately called “the Hamiltome” G. PEN: Yeah, it’s called “Hamilton: The Revolution” B. SO: Technically it’s called “Hamilton: The Revolution”, but whatevs. G. PEN: But it’s out, it’s sold out everywhere, so we’re going to talk about that, but we’re also joined—I like calling it the meeting of the BFFs.
    [Show full text]
  • Abc-Comedy-Press-Kit-30-October.Pdf
    1 ABC COMEDY - We’re serious about comedy From Monday 4 December, get ready for a new comedy destination, on your TV, your devices and your social feeds, bringing together the best of Australian comedy and entertainment to make you laugh anytime you like, day or night. At the centre of this new line-up on the ABC COMEDY channel will be the world premiere of Tonightly with Tom Ballard, a nightly comedy show hosted by Tom Ballard alongside Greta Lee Jackson, Greg Larsen and Bridie Connell. They promise to deliver the best bits of news, trends, life hacks and occasional gossip with a wry and anarchic bent, weeknights at 9pm. Expect the highlights in your social feed. Other premiere Australian content includes the second season of the acclaimed Comedy Next Gen, including stand-up shows from Tom Walker, Aaron Chen, Becky Lucas, Sam Taunton, Demi Lardner, Sami Shar, Greg Larsen and Geraldine Hickey. And on iview, you’ll find a bumper crop of Aussie short-form series to keep you entertained including the premieres of Kiki and Kitty from the outrageously talented Nakkiah Lui; #CelesteChallengeAccepted from comedian and Instagram star Celeste Barber; The Chinaboy Show from YouTube sensation John Luc (aka MyChonny); Neel Kolhatkar’s Virgin Bush; the charming Other People’s Problems; new Indigenous comedy Aussie Rangers; plus the next series of When TV Was Awesome as well as 60 new bite-sized films from the new batch of Fresh Blood teams. Sounds awesome, right? Well there’ll be more to come... In launch week there’ll be plenty of opportunities to catch Aussie favourites, weeknights at 8pm, including Gruen (the XL version), Upper Middle Bogan, Ronny Chieng: International Student, The Ex PM, Stop Laughing This is Serious and Hard Quiz.
    [Show full text]