Tamil Cultural Identity Abroad Cultural Studies Essay

Tamil Cultural Identity Abroad Cultural Studies Essay Bharatantyam has been embedded in the Tamil culture since centuries, transmitted from generation to generation and evolving over time to uphold its sacredness and its representation of the states traditional identity. Today Bharatanaytam has spread worldwide, performed and practiced across countries and accepted by both traditional and modern masses. However it was only after its rebirth in 1930, when the Devadasi Act was passed, and due to E. Krishna Iyers reworking of the dances movement vocabulary into a socially accepted dance form (On, 2011), that Bharatanatyam gained its respectable social status and hence today plays a crucial role in portraying Indias cultural and traditional identity. This portrayal may be seen as what Bourdieu would call a habitus, which is created through a social, rather an individual process leading to patterns that are enduring and transferrable from one context to another (Powercube, 2012). More precisely, Bharatanatyam is a social measure used to main tain and promote a certain habitus, defining the cultures values which are transferred both through time and across the nations, whilst also acting as a guide for the Tamil generations today. This essay analyses, based substantially on Bourdieus habitus theory, to what extent Bharatanatyam shapes Tamil cultural identity, especially abroad. Art forms in general, especially when practiced over centuries, have proven to be central to any articulation of ethnic identity (Hyder, cited in David, 2009) and this is even more true when a population lives outside of its home nation. There were, and still are, a significant amount of Tamilians that immigrate from India and Sri Lanka to the United Kingdom, especially during and after the British colonialism period. For many Tamilians in London, especially the older generation, Bharatanatyam is the element that contains within it all of their cultural and religious identity: it represents an idealism that they must try to incorporate and preserve. Bharatnayam acts as what Foster would consider an ideal body, something that the material body looks up to and tries to achieve. This ideal cultural representation in Bharatanaym has been transmitted over the years to future generations and to this day young Tamilians explain how Bharatanatyam is part of [their] culture and prevents the culture and religion [from] being forgotten, especially in the West (David, 2009). Two students, Maya and Mahumita, reinforce this statement by confirming that studying Bharatanatyam is their way of learning about their cultural heritage whilst living abroad. For example, most of Bharatanatyams bodily movements and facial expressions bear a prominent representation: that of Tamil womanhood. This can be seen in small gestures such as the applying of the kumkum on the forehead (in representation of the third eye), the plaiting of the hair or the folding of the sari, all symbolizing a feminized social body (David, 2009), describing how a woman should appear and behave in this cultural context. Another more specific example would be that of the heroine character, known as the nayika, and how she uses stylized gestures to prepare herself to meet the hero, the nayaka. Through these gestures the dance transmits an idea of femininity and grace which acts as an ideal for all Tamil women to t ry live up to and admire. This also links to Bourdieus concept of doxa, which is formed through a combination of unspoken norms and beliefs that are taken-for-granted assumptions or common sense behind the distinctions we make (Powercube, 2012), which in this case is the portrayal of how women are expected to behave. These characteristics that Tamil women need to behold are part of an unstated conduct that is reinforced through the dances movements and storytelling, constantly reminding the Tamil population, and women in particular, what their role is society is. As author Ann R. David explains, for the Tamil middle class, Bharatanatyam promises respectability and a traditional femininity and is, therefore, a prized carrier of tradition (David, 2009). As a result, purity of Tamil tradition, their rituals and religion, their language and their social behaviour, such as the importance of womens chastity in the Tamil civilization, is upheld substantially through Bharatanatyam it is co nsidered an influential tool used to craft social status and conduct, uniting Tamil cultural identity across the world. However, first-generation Tamil immigrants, and especially Tamil Hindu groups, are concerned that the external pressures of the West may overwhelm the younger generations and cause them to lose sight of their national identity as Tamilians. In order to preserve this sense of cultural identity, several schools have been built abroad to encourage and indulge the youth in their Tamil culture, ensuring that their roots are not forgotten. These classes would, according to Ann R. David, allow the transmission of traditional culture and assist immigrants in maintaining Tamil identity in local diasporic settings where the acquisition of Tamil social, cultural, and religious values does not necessarily take place (David, 2009). Most Sri Lankan Tamil temples and Tamil weekend classes in London are led by Tamil conservationists who try stay true to their cultural identity by discouraging their dance pupils to attend international performances to keep them from any outside influences. In additi on, most of the syllabus is written and taught in Tamil, despite the fact that the second generations are likely to have grown up with English as their first language given their educational and social context. This obsession to ensure that Bharatanatyam is practised and incorporated in the lives of immigrated Tamilians means that, as a result, the dance now bears more rituals and ceremonies attached to it today than it had during the period of its revival (David, 2009). For example, the offering of flowers on stage, known as pushpanjali, and the dedication of bells on the stage are common rituals now that were not required previously in Bharatanatyam. As part of their cultural essentialism none of the teachers in the London Tamil temples have introduced any creative or slightly unconventional material to their students, ensuring that the history of the dance is untouched in order to transfer a pure concept of their Tamil cultural identity. This may be considered as what Bourdieu re fers to as misrecognition, similar to Marxs concept of false consciousness, which is the conscious manipulation of a certain group or individual. In this case, the conservationists use Bharatanatyam to encourage certain social pressures that have been accepted without questioning such as, as previously discussed, the role of obedient women in the Tamil society. But is this pressure of preserving Tamil traditions through Bharatanatyam having the contrary effect and pushing away the younger generations from exploring their cultural identity? Some may argue yes, as certain teachers and practitioners, mostly in other countries in Europe and in North America, support Tamil nationalism through change and development. Aided and supported by the LTTE (Liberation Tigers of Tamil Eelam), Tamil Sri Lankan nationalism in particular is encouraged to evolve through more creative Bharatanatyam choreographies. For example, a Bharatanatyam piece was choreographed narrating the story of a military woman who sacrifices her male relatives to be a part of the Sri Lankan war. These types of narrations are unconventional compared to any of the traditional Bharatanatyam stories which usually involve Gods and their relationship with mankind. Another example would be the Akademi centre today whose goal is to enlarge received aesthetic definitions of the traditional and classical through strategic acts of cultural translation and situate Indian dance on the multicultural map of Great Britain (Meduri, 2004). Therefore, this modernising of Bharatanatyam and the usage of its representative symbolic movements to express contemporary concerns is going against the work of the preservationists. This contemporary development of Bharatanayam can be seen as creating a new, more current and perhaps global cultural identity. This sense of global identity seems to be growing, even in Britain, especially amongst the second generation as they have no strong, direct ties to their homeland. They hence tend to see themselves more as British, British Asian or British Hindu citizens who are made up of both cultures, yet belong strongly to neither of them. These young Tamilians are part of a global youth culture (Saldanha, cited in David, 2009) which means that they hold a global identity, unlike their elder relatives who struggle to maintain their traditional cultural identity whilst living in a different country amidst a completely different set of values. In the late 20th century all Indian dance forms were put under the label of South Asian dance, despite the fact that South Asia evidently consists of many more countries than just India, hence not only creating a rather vague category for these Indian dances but also merging internationalism within nationalism. The specific classical dance Bharatantyam being thrown amidst numerous other Indian dances and renamed as a part of a South Asian dance was a huge turning point as it enlarged the Indian label and made visible the diverse dance, performance, and theatre practices of the Indian/Asian diaspora (Meduri, 2004). But some Bharatanatyam dancers and teachers, such as Mira Kaushik, encouraged this relocation of Bharatanatyam dance within the broader category of South Asian dance. Kaushik claimed that although Indian dance might look Indian, it is South Asian dance in the United Kingdom because it is performed not just by immigrant dancers from India but by hundreds of South Asian dancers belonging to the different nations of Pakistan, Bangladesh, Nepal, Sri Lanka, India, and Africa (Meduri, 2004). One may argue that Kaushik challenges the idea that Bharatanatyam is specially reserved for Tamilians as their source of cultural identity; she brings a whole new concept to Bharatanatyam by suggesting that it can appeal, be understood and perfo rmed by many other nationalities. This reform therefore alters and reshapes the key tool Bharatanatyam that traditionally promotes the estalished Tamil habitus. By reintegrating Bharatanaytam with a more futuristic and contemporary aspect, it challenges the cultures original habitus and its centuries of unquestioned customs. Therefore Bharatnatyam may actually be seen as a source of creativity and as a catalyst for a new global identity, rather than a source of tradition and preservation of a purely Tamil identity. Bharatnayam has been adopted and reworked since the very beginning of the 1900s by the West, especially in the United States to begin with. For example, in 1906 Ruth St. Denis, the co-founder of the dance company Denishawn, was hugely inspired by South Asian dance and she immersed herself in Indian writings and culture. She used these resources to later on choreograph dance pieces, such as Incense, The Legend of the Peacock, Radha and further on group productions such as The Flute of Krishna in the 1920s. Another distinct dance pioneer, La Meri, even created a rendition of Swan Lake through Bharatanatyam vocabulary. Especially since the 1930s Bharatnayam has opened up as men now feel comfortable to interpret womanly roles, whilst also many dancers from outside of the Tamil nationality have beg an practicing Bharatanatyam, even to a professional level. But does this globalisation of Bharatanatyam necessarily affect the preservation and the influence it has on the Tamil population and their cultural identity? Rather on the contrary, although Bharatantyam has been increasingly globalised since the early 1900s, the dance in itself to this day remains associated with tradition and symbolism. Both in local Indian communities and abroad, Bharatanatyam is an art that globally and continually promotes the habitus of the Tamil community and its values: whether a non-Tamilian dances it, whether a contemporary story is being told, whether a man dances a womans character the movement vocabulary and the concepts behind the dance remains the same for example, even the interpretation of Swan Lake by Le Meri through Bharatanaym essentially needs to use the dances symbolized codes to tell the story. Bharatanatyam is based intricately on traditional meanings, and therefore whatever context it may be placed in, it will stay true to its Tamil origin . Especially in countries such as Britain and Indonesia where the Tamil population is significant, Bharatanatyam remains a key pathway to not only identify themselves with their distant Tamil customs and embody their cultures habitus, but to spread it worldwide. Word count: 2,005

Jaws: An analysis of the suspense techniques used in the film and the effects that they had upon the audience

Lay back and imagine, you are on a beach; the sun currents lightly burn you skin. You are in captivating and enchanting surrounding like laughter from young and old. You go into the calming blue ocean, in the thought that you are going to have a pleasant and moderate swim. But could there be a huge blood-hungry shark in the water? Could it have heard the vibrations of your movement and is now coming to consume you? This was indeed what happened in the film ‘Jaws'. In this essay, I will be examining the suspense techniques used in the film and the intended effect upon the audience – what makes Jaws scary? The unique film Jaws was made in the year 1975and directed by Steven Spielberg, who was only twenty seven at the time. The film is based upon Peter Benchley's No1 bestseller and he also wrote the screenplay. Jaws broke all box office records to become the biggest box office hit of it's time. It grossed an amazing sum of $260.000.000. The two scenes I am going to focus on from the film are the opening scene where Chrissie is attacked and the following scene where Alex is attacked. Jaws is set in the small town of Amity Island on the coast of Florida. Firstly, I am going to analyze what happens in the opening scene of the play. At the start of the scene there is a young people's party on the beach. The director uses panoramic shot of the shark then uses a panning shot of the young people at the party. He uses these techniques to create tense and suspense, makes us think about who is going to be attacked; who is the victim of this inevitable horror? Another technique used at the start of the party on the beach is laughter and soft music to relax us, but never-the-less we hear sound of waves in the background to remind us of the shark. Suddenly a woman leaves her boy friend on the beach and goes swimming. We are shown a shot of her swimming in the moonlight. The kind of shot used is a Long Shot. The director uses this to show the darkness surrounding her, this makes us makes us nervous and expectant of something horrible to happen. There is darkness in the background throughout the scene because it creates a sense of mystery. As the shark starts to move in for the kill, the music used changes from soft music to the shark's signature tune. This is done so as to increase the tense of the moment. When the shark attacks, the girls is shown in a P.O.V shot from below. The shark then carries the girl in its mouth. This is made to look like a kid having some harmless fun. The intended effect upon the audience is to make it seem a bit less horrible. In the background we hear Jaws signature tune which is increasing tremendously. This is done to increase the tense further. In the middle of the attack the shark suddenly stops, and the girl clings to the buoy as a nerve-racking silence takes over the scene. This creates a feeling of suspense – what is going to happen next? Soon the shark attacks again and finishes her off in a rather quick and painless manner. At the end of the scene we are given a panoramic shot of the beach. All we hear is the sound of waves, and young people talking. I think that the director does this because he wants to end the scene the way he started it, suggesting nothing has happened. This has the effect of making us feel more relaxed. I think that this opening scene is particularly good in building suspense because he uses different types of techniques such as awkward silences and blindness. I now plan to the suspense techniques that Steven Spielberg uses in the scene where a little boy called Alex is seized by the shark. At the start of the scene the camera moves between shots of Chief Brody and the beach. This is done to show us the beach from Brody's eyes (P.O.V shot), and then show his reaction of what is seen. Furthermore we see a black dog playing with its master. The colour black is used to symbolise funeral and death. This tells the audience that the dog could be the victim to the massive messenger of death. A pet dog is used because people will be more likely to have sympathy for a cute Labrador rather than a Pitbull etc. When we see Alex for the first time he asks his mother if he can swim in the water for longer. In response his mother lets him swim an extra five minutes. This makes us think that he is going to be the next victim. Alex is shown with a yellow lilo, which is used to represent light, life, joy etc. We are then shown two good examples of false alarm. The first of these is when we see the shape of the shark in the water, which is actually the hat of a man. Spielberg uses the camera to increase the tension by showing us Chief Brody looking at the ocean. He also has the man coming out of the water in a very slow manner. The other example is when a young lady gets lifted up from the water from below, screaming, with her legs astride. This makes us think that the girl is being attacked by the shark. However, we find the girl is being lifted by her boyfriend. After a set of false alarms, we start to sense some false comfort, but this quickly turns into fear as we are shown the dogs stick flowing in the water with the dog nowhere in sight. Immediately after this we see the shark's eye-view of the boy's legs from below, and the music changes to jaws signature tune, the effect of this is that we know that the boy is, Alex, is going to be attacked. The director, Steven Spielberg, personifies the shark cleverly. The director makes the shark deliberately go past all the people in the water and directly go to the poor little boy – this makes the shark look evil†¦ a human quality. After the attack, the camera is used to show the chaos and fear from the people at the beach. This is intended to make us sense the fear the people on the people on the beach are experiencing. The music also changes from Jaws music to series of chaotic sounds. This is done to increase the panic of the sound. We are then shown the boy's mother on her own on the beach as the other people create a distance from the water, with their children held tightly. Only Alex's mother is missing her child. The kind of shot used here is a long shot. The all music and sound stop so as to make us focus on the mother. Finally, we are shown the punctured lilo being washed up on the shore. It is covered in the boy's blood, which suggests that the life and light has been destroyed by darkness and death. I now hope that your imagination has been satisfied with loads of images from the creative but scary film Jaws. In this essay, I have tried to look in dept the techniques used to make this film spectacularly unique film of its time. Spielberg has made Jaws a wonderfully scary film by taking the suspense techniques to the next step – he uses camera shots and sound to build up suspense e.g. Jaws signature tune. I would recommend this film to people of all ages including my own because this film is one of few films that have taken suspense techniques to the next level. So, next time you go to the beach, will you only be concerned about swimming and pleasure? Or will you be concerned about deadly horrors that might lie beneath the beauty of the water, in the depths of the ocean? The only advice I can give is to watch the film and treat it only as a film, for it is not real. Otherwise, we might risk never going into the waters again!

Things Fall Apart - 916 Words

Things Fall Apart It is hard to imagine being invaded and forced to change virtually all of our ways by a foreign nation. Unfortunately for the Ibo society, imperialism was forced upon them. All they could do was sit back and watch as the English changed all aspects of their life. Everything from religion to family life was changed by imperialism. The title, Things Fall Apart, suits the book very well because that is essentially what happened to the Umuofia village. The cultural traditions of Umuofia eventually fell apart. The main points of focus in Things Fall Apart are life inside the Ibo tribe, the struggle of one man’s desire to succeed, and imperialism. During part one of the story, Achebe takes the reader through the†¦show more content†¦The interesting thing about European imperialism during this time is that the Ibo culture did not lack religion and structure before the white missionaries came. In fact, their religion was quite intricate and they believed in a number o f gods. Also, in Umuofia there was a democratic system of government with no one ruler and a complex system by which people could gain political power through economic success. The people of Umuofia were not as savage as the Europeans perceived them to be. They had their own currency, a structured government, and religion. In other words, the Ibo had a thriving culture and economy in pre-colonial Umuofia. However, they did not possess the military power or technology needed to stop the white missionaries. Things Fall Apart does a very good job of showing what life was like in Africa during imperialism. In a very short time, major changes to the Ibo way of life took place. The new religion that was forced upon the natives made the claim that all men are created equal yet the missionaries viewed them as uncivilized and sub-human. The European desire for social and economic dominance is displayed in Things Fall Apart. Traditional family and religious values were lost when the missionaries came. Achebe shows the reader what effects these had through the character, Okonkwo. He would rather kill himself than be killed by his self-proclaimed enemy, which is exactly what he did. Things Fall Apart isShow MoreRelatedThings Fall Apart910 Words   |  4 Pagesï » ¿Okonkwo Things Fall Apart by Chinua Achebe is a novel about a man in West Africa. It tells about his triumphs and trial ultimately leading to his demise. It explains how the â€Å"white man† came into his country and took over. It show you how the â€Å"white man† mad things fall apart. Okonkwo was a very large and tall man. He had big bushy eyebrows and a huge nose. 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Assessment Of Maternal Mental Health Essay - 2039 Words

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