The common features that have been observed across several societies are migrants, ethnic diversity as well as multiculturism. These arise as a result of diversity which exists within the nations and also the increasing rates of global migration. New Zealand is no exception to this rule as several ethnic groups from around the globe have been attracted to New Zealand due to the existing pro-immigration policies and the migrant history of the country. This has resulted in a society which is highly diverse and Auckland today boasts of a cultural diversity that is higher than London (Tapaleao, 2014). Asians today form New Zealand’s fourth largest group in terms of ethnicity. Chinese and Indians are the leading two minorities in the nation(Peacock, 2016). Among the Indian population in Auckland, the maximum strength is of the Gujarati and Punjabi communities and hence several cultural activities of these communities are known to exist in the region. The Punjabi dance classes held at several institutes are among them. This dissertation will be taking into consideration the Punjabi dance classes in the Auckland region.
The basic idea of this dissertation is to find out about the Punjabi people dancing their cultural identities in a region which can be associated with several cultural identities. It is regarding the people who continue the dance practices that belong to the place of their birth and also regarding the people who continue to dance the culture which belonged to their forefathers who had migrated to Auckland region of the nation. Thus, it can be said that this thesis is related to transnationalism and migration and also to the “transactional social spaces” which forms a complex web which go on to construct the lived experience of people in the Auckland region. The dissertation is also regarding finding out the local which is embodied both here as well as now and also within the migrated cultural practices. The thesis will be looking at the ways in which these practices have been maintained and also at the ways in which they have changed in a new environment in a different nation, in an urban environment that is unique in itself and how the combination of global and local have taken place to form “glocal”. The dissertation deals with diversity and multi-culturalism and the ways in which people live together in a region that is made up of several cultures. It is regarding the ways in which they celebrate value and acknowledge cultures that are distinct and that have diverse practices. It is also regarding the frictions which take place between various cultures within the communities. It is regarding the reasons as to why or why not people take the decision to be a part of the dance practice classes that belong to a culture which is distinct from their own. It is also about how cultural dance occurs in a place which is multi-cultural and diverse. It is about the example which Auckland sets in the 21st century urban life. It is regarding the urban space and the ways in which people have been imbuing it with life energy as well as presence by means of Punjabi dancing. It is regarding the ways in which the region is brought to life by the people and the ways in which they form connections within their communities by means of cultural practices. It is also about the things which make the region special, give the people a feeling that they are at home and how it makes the region feel as being “their place” and also make the region “our place”.
It is essential to make a note of the fact that “New Zealand Indian” is a category that is more complex than what it was more than thirty years back. Today it consists of several religious, linguistic and regional groups along with various generations and is a representation of the various experiences of migration. The specific nature of the ways in which the Punjabi Indians born as well as raised in New Zealand actually practice and perform their ethnicity is malleable, dynamic and fluid. In addition to this, being a diasporic trans-national community, negotiation and re-negotiation of their identities take place in varied social contexts and also across the boundaries of the nation. However, the main purpose of conducting this study is to carry out an exploration of the experiences of the Indians in New Zealand in managing, accepting as well as rejecting and also negotiating their identity in their day to day lives by holding “Punjabi dance classes”. It tries to identify complex and at times problematic ways in which the identity of a Punjabi from New Zealand is managed or mismanaged and the means through which the shaping and reshaping of the boundaries of this particular group residing in the Auckland region takes place.
This study will be answering the following questions –
The popular belief is that Indians are newcomers to New Zealand but this is not true. The first records of an Indian migrant to New Zealand is that of a Bengali sailor who in 1809 had jumped ship and had started to live with the local M?ori(Bandyopadhyay, Reinventing Indian identity in multicultural New Zealand, 2006). In the second half of the 19th century several Indians landed on New Zealand’s shores indicating the start of an Indian diaspora. However, the community of South Asia in New Zealand was established by the Punjabi as well as Gujarati families who had migrated prior to Second World War (Leckie, 2010). The influencing factors for the early migration of the Indians were sponsor patronage, kinship ties and family. This is called chain migration. In the initial stages the diaspora of Indians in the region was mostly homogeneous in economic and social terms (Bandyopadhyay, Reinventing Indian identity in multicultural New Zealand, 2006).In the latter part of the 1980s the “post-war immigration” of Indians came to New Zealand when the immigration became more skill based. The Indian community’s composition was altered by this new immigrant influx into the country(Zodgekar, 2010). The patterns of immigration led to cultural, social as well as demographic alterations in the ethnic group of Indians. Even though the classification in the census is as Indian ethnic group, homogeneity is lacking in the Indian community. This is reflected by the linguistic and religious diversity of the Indian community. The home nation’s diversity can be seen in the Indian ethnic group’s composition in New Zealand(Peacock, 2016). This is largely varied from the original Hindu and Sikh migrants. Linguistically, the migrant Indians mostly speak English and Hindi. The other main languages spoken by them include Punjabi and Gujarati (Zodgekar, 2010). In terms of their identity the migrant Indians have been observed to be well versed in the process of articulating their identity in a world that is globalised which means that they are able to handle in a skilful manner and put together varied fragments of their culture (Knepper, 2006). New Zealand’s ethnic Indian group is able to make a shift among several cultural contexts like that of the home nation and also of the host nation. This is done relatively easily by them as the Indian society’s basic composition and their familiarity in terms of negotiations between postcolonial and colonial life aspects make the people get used to living in a setting which is diverse culturally (Fuchs, Linkenback, & Malik, 2010).
The cultural heritage in terms of India’s classical dances originates from areas which currently form the countries of India, Bangladesh and Pakistan. Additional influences also come from the Tamil culture that exists in South India as well as Sri Lanka and other neighbouring nations like Turkey and Iran. The history of India’s classical dance is a reflection of the road taken by India to nationhood and also that of its religious and cultural traditions. Since the post-independence India which had been created by Britain is a nation which consists of diverse religious and ethnic groups it also required means of consolidation and finding of grounds that were common. In such a historical context, the function of dance was creation of an identity that is pan-India (Munsi, 2008)(Kothari, 2011). Thisperiod witnessed several dance forms such as bharatanatyam and bhangra going from mainly regional origins to developing into pan-Indian(Nayar, Hocking, & Giddings, 2012).
Several of the Indian dances had traditions which are very long and which at times had been lost and were then again rediscovered followed by their reconstitution. In the process they also underwent changes especially the extensive developments that occurred during the period of dance revival between 1930s and 1940s. The spread of most of the dance forms took place outside the places where they originated and they went on to become national forms. However, there was a continuation of the understanding of where the origin of the dances took place. The evidence of this can be found in the Auckland region after a discussion with the dance experts as well as audience members at the performances of Indian dances(Nagel, 2009).
The most prominent cultural expression for India in today’s world is probably Bollywood. It has developed into a movie industry that is very huge, the Bollywood dancing style has today developed into a popular art phenomenon internationally. It originates from the “Indian dance drama” and incorporates several aspects of certain folklore dance forms of the country specially, bhangra the Punjabi dance form of India. Bollywood’s dance choreographies today are also feeding on the American musical theatre as well as the jazz dance. A huge variation exists in terms of style exists under the umbrella of Bollywood.
Since the 1980s, the Punjabi “Bhangra” dance has turned out to be a topic of discussion in the studies related to the vernacular culture and identity of South Asia. Such information has however, been suffering due to paucity of published information on the historical and cultural context of Bhangra. As a result, discussions have mostly relied on the information which is available from the casual participants as well as the media which has been popular in recent times. Bhangra has been oversimplified by the popular narratives as deriving or being from the traditional folk dance of Punjab, often in the absence of a sense of what a folk dance is constituted of in such a context or the relationship existing between this dance and the particular form of bhangra with which one might be familiar. As a result, the picture of “contemporary bhangra as a quintessential Punjabi harvest dance” even in its modernised form is not seen as adequate in interpreting the acts of the audiences and performers of what happens to be many phenomena of dynamic nature. The danger lies in the characterisation of bhangra as being too-uniformly understood aspect in relation to Punjabi heritage and in reduction of its performances to merely display the identity of the Punjabis, in case the registration of the present and past aesthetic decisions, practical requirements and situations intentions of the participants is not done(Schreffler, 2013).
Indian diaspora in New Zealand has been called as “one of the major migrations in modern history”. It has also been defined as being a force that is unique in terms of the world culture (Lal, 2010). The diaspora of India is vibrant and visible and estimated to be encompassing over 11 million people. The culture of India has also been capturing the Western world’s imagination for a long period of timein the form of the philosophy ofpeaceful resistance propagated by Gandhi, Buddhism and Hinduism, academics, yoga practices, dance and music and much more. Indians have been migrating to New Zealand mainly due to population related pressures at home, declining, lack of opportunities, poverty and “small village based enterprises”(Swarbrick, 2011). New Zealand’s Indian diaspora has also been growing fast and has also brought forth a number of prominent personalities (Bandyopadhyay, India in New Zealand. Local identities, global relations, 2010)
In this section, tradition of the Indian Punjabi stayed in Auckland region of New Zealand will be discussed in terms of ethnographic study. The study is conducted to reflect different factors related to dance classes of Indian Punjabi. This highlights fact like how the dance groups perform there, the place of performance, rationale behind performing there. All these points to the distinguishing feature of India originated Punjabis migrating to Auckland region, New Zealand.
The research analysis depicts a picture of ethnic landscape in New Zealand in different ways. Attention is given on cultural issues arise from immigration, national identity and other related topics relevant to political disclosure. The study explores ways of conducting Punjabi dance classes in New Zealand by incorporating the ways of providing traditional dance training to a society enrich with immigrant density. Immigrants in New Zealand are searching for their unique national identity. The national identity has undergone changes in the phase of immigration from Asia particularly those of Punjabi Indians. Different creative communities attempt to maintain cultural balance through their performing arts.
The methodological framework of the paper is built on musical ethnographies. The research method has conducted on the basis on literature related to diaspora and cultural identity. The primary method is to study the dance class of a particular institute namely “Punjabi Virsa Dance and Art Academy”. Student enrollment in this institute is studied with a contextual analysis of surrounding community. “Diaspora ethnomusicology” is a sub branch of ethnomusicology has arisen as a new area of research in New Zealand particularly related with the aspect of increasing immigrants since 1980 (Bernau, 2005). The current research aims at contributing in this field by taking a particular case study. The analysis proceeds not only considering disciplines within group but also extends to across group analysis on various aspects such as immigration studies, Asian studies, music education and ethnomusicology.
The main analysis is done using secondary data. “Multi- method approach” is used to collect relevant data and information. A particular dance school is studied with focus given on Asian performance activities conducted by the concerned school. Among various Asian cultural dance forms, the primary focus of this paper is Bhangra dance. This particular dance form is originated and is performed in Punjab, a state in India. Results are drawn on the basis on secondary information collected from participants’ performing arts of Asia. Responses of teachers who conduct and organize dance classes in different occasions are also vital components of research. Most participants are of opinion that different immigrant communities continue fostering cultural tradition reflected in performing art belonging to their home country. Punjabi bhangra classes in Auckland provide the immigrant Punjabi Indians a way of connecting to their home country and ancestral root.
A number of historical reasons found to exist behind migration of Indians to different regions of New Zealand. The trends of migration from India to New Zealand started from early 1880s. Since then, Indian population statistics in New Zealand keeps on rising. The current research is on status of Indian Punjabis and ways of managing, attitudes of acceptance, rejection and negotiation for maintaining their unique identity in terms of holding “Punjabi dance classes”. Before entering into detail analysis of their status it is needed to give a quick look on the statistics of Punjabi population in New Zealand.
As per census released in 2013, in New Zealand people belonging to Punjabi ethnic group comprised of 324 people, which constitutes less than 1 percent population of New Zealand. The statistics shows population originated from Punjabi Indian has increased by 20.0 percents from 2006 to 2013. When compared with 2001 census, then it shows an increase of nearly 150.0 percent.
The Punjabi people live in different regions of New Zealand. The most common region of Indian Punjabi’s residence is Auckland. Nearly, 71.3 percent people live in this region. This is followed by Waikato region and Bay of Plenty region with 7.4 percent and 5.6 percent people respectively.
In order to maintain ancestral root Punjabi community is established in New Zealand. The principal objective of this community is to retain Sikhism abroad. It arranges for religious ceremony, promotes a deeper understanding to the followers in New Zealand and fosters Punjabi language. It aims at teaching the Punjabi youth to understand its own culture and accepts the way life in New Zealand. This is to maintain a balance between cultures of New Zealand while giving importance to ancestral root as well. Punjabi language is well maintained in New Zealand for various reasons. Most Punjabi New Zealander uses their mother tongue as a means of communication among themselves. The Sikh community in New Zealand gives a high priority in maintaining Punjabi language. A Sikh community is established in Auckland, mainly based in Otahuhu. New Zealand Sikh community establishes Sikh temples in Auckland and Hamilton. The society provides information and materials for promoting Punjabi language and culture. In the Sikh temple, classes for Punjabi language are conducted once in a week. A directory in Punjabi language is published and is provided to Sikh community along with daily community publication. Different regional functions at all levels of community are celebrated over the years. In Hamilton, radio station broadcasts a Punjabi radio program on every Friday. There are Punjabi’s who are born in New Zealand. In order to keep them connected with their ancestral root, their parents take them to the home country in an interval of two or three years.
Different dance forms are considered as a significant way of promoting unique cultural identity. It was not until late 20th century that different Non European cultural dance forms has become widely known in New Zealand. Since 1980’s celebration for Chinese New Year and Indian festival of lights; Diwali, different dances groups has made tour to New Zealand (teara.govt.nz 2017). Along with this, internationalization of different forms of folk dance helps to expand the spectrum of cultural dance form in New Zealand. India is a diverse country having people belonging to different religion, different cultures indicating a clear diversity in every aspect. Dance bears specific cultural symbols. There are different types of dance forms each having its own specialty. These forms of dances are performed in different religious and cultural occasion. There are two broad categories of Indian dances – Classical dance and folk dance. The classical dances are of spiritual content. Folk dances are mostly performed for celebratory mood though connected with spiritual and religious contents. The popular forms of classical dances are Bharatnatyam belongs to Tamil Nadu, Mohininiattam and Kathakali from Kerala, Kathak belongs to Uttar Pradesh, Manipuri of Manipur, Odissi from Orissa and Kuchipudi from Andhra Pradesh. The classical dances are considered as a form of meditation and worship. All the classical dance forms have some signs of hands called mudras and are performed originally in temples for entertaining god or goddesses. Folk dances of India represent different socio economic status and tradition. Different tribal and folk dances are performed to celebrate different festivals and spread joys. Different forms of folk dances of India are Dumhai, Hikat, Chholiya, Bhangra, Dhamyal and others (Culturalindia.net 2017).
Among the most populated region with India originated people in New Zealand Auckland stands first. The majority of Indians living in Auckland belong to Punjabi Culture. Bhangra bears the symbol of Punjabi culture. It is a Punjabi folk dance representing mixture of sound, color and turbans. This dance form is performed with endless energy and action. It is the most appropriate form of displaying Punjabi culture and mostly performs in rural Olympics. Indian Punjabis in Auckland are eagerly looking for Punjabi dance classes. Therefore, opening up dance school for teaching Bhangra is a profitable business in Auckland region.
Punjabi Virsa Dance and Art Academy aims at promoting and celebrating Punjabi culture in New Zealand. This focuses on empowering Punjabi youth to build an insight to their ancestral background and explore their culture around the globe. Students joined Punjabi Virsa Dance and Art Academy in an attempt to spread awareness regarding their native Indian State Punjab. Apart from teaching dance, the organization also provides lessons for different instrument, art and tying turban. It offers courses for all age groups. Parents willingly take their kids to join bhangra classes in PVDAA.
Any dance course in the school begins with a warm up and ends with a cool down consistent with intensive recreational activities. They are in belief that Bhangra is equivalent to any professional sports or dance and hence must be taught in hands of good coach and on an equal platform. Courses offered in the dance academy are Bhangra class, Giddha class and Dhol class. Bhangra is the most popular dance form of Punjab. It symbolizes celebration for good harvest and is mainly associated with Baisakhi festival celebrated on 13th of April. This particular dance is performed along with Bhangra music. Another popular forms Punjabi dance for woman is Giddha. It is derived from earlier ring dance and is similar to Bhangra in terms of energy. In the dhol class, students are taught to play a musical instrument called drum in this course.
|
Class |
Rate per Student by 8 lesson/ month |
|
Adults/Team classes (all ages 5+) |
$40.00/hr 4 classes/ month |
|
Bhangra Classes (all ages 5+) |
$60/ hr 8 classes/ month |
|
Giddha Classes ( all ages 5+) |
$40.00/hr 4 classes/ month |
|
Dhol classes (all ages 5+) |
$60.00/hr 4 classes/ month |
The pie chart shows percentage of revenue generated from different dance courses offered there. The contribution of Dhol and Bhangra classes is same. Each generates 30% of the revenue. The other two classes that is Gidhha and Adults/team classes have a share of 20%. This implies more popularity is for Bhangra and dhol class as they symbolize typical Punjabi culture.
Course fees for Bhangra and dhol classes are higher than that for Gidhha class and classes for adults. For dhol class the fees is $60/hr. Here four classes are offered an hour. For Giddha and adults classes the fees is $40/hr and the course contains 4 classes in a month. Only exception is for bhangra class where 8 classes are provided in a month with a rate of $60/hr. This shows the popularity of bhangra dance form.
The teachers in the academy teaches dance with good care and organizes intense practice rounds to achieve excellence. Students of the academy participate in national programs of their home country such as Indian Independence day. Different workshops are arranged by the academy to spread their fame. In order to increase connectivity with community they join social networking sites. Information about dance events or workshops is easily available in these sites. The popularity of this academy is increasing day by day as reflected from the growing number of followers. Currently is has 1,579 followers. People are liking the organization and increasingly join the academy. The academy also spread Punjabi cultures and history to build a strong Punjabi culture hood. Punjabi kids excitedly join the institute and participate in different live event. This helps to grow love and respect for the country of origin from child hood.
Some other Punjabi dance classes in Auckland region are Punjabi Bhangra Classes are Punjabi Bhangra Funk class and Punjabi Bhangra kids class. They also offered different course session with suitable teachers and choreographer as well. In Punjabi Bhangra Funk class a fusion of traditional bhangra an western dance course is offered. In Punjabi Bhangra kids class bhangra dances are taught to the students. The fees structure of the two other dance academy is compared with that of Punjabi Virsa Dance and Art Academy.
|
Dance academy |
Fees |
|
Punjabi Bhangra Funk Class |
$125.00 |
|
Punjabi Bhangra kids Class |
$100.00 |
|
Punjabi Virsa Dance and Art Academy |
$60.00 |
(Source: eventfinda.co.nz 2017 )
As seen from the table and graph bhangra class in PVDAA is comparatively cheaper than other two dance classes in the region. The cheap rate increases student enrollment in PVDAA.
The current study is an indication that “Punjabi Virsa Dance and Arts Academy” (PVDAA) in Auckland region of New Zealand is utilizing a particular context along with the performing art in order to help in the discovery, construction and negotiation of the Punjabi cultural identity in the context of New Zealand. It is not a surprising fact that immigrants communities attempt to continue and promote their own traditions in various ways in the nation they settled down. The present study highlights the ways in which Punjabis either settle in New Zealand from India or born in New Zealand having Indian ancestral connect to their tradition with performing and joining bhangra class in Auckland.
The Auckland region has a proportionally high number of people who are immigrants of Indian ethnicity, mostly Punjabi Indians. This region is also has the one of the highest densities of people from Asia in the country. Thus, it is but natural that “Punjabi Virsa Dance and Arts Academy” has a very high number of students who are of Indian origin. As far as the music education is concerned, no obvious links are seen with the Indian community and the Punjabi “bhangra” dance has been discovered by some of the students by means of these co-curricular activities conducted by the dance school. The dance school has been instrumental in bringing together students who belong to varied Indian backgrounds and who have travelled varied routes both to as well as within Auckland. This has gone a long way in helping them in forming an identity in New Zealand on the basis of their idea of Indian cultural roots. Several of the students have not learnt the Punjabi “bhagra” dance previously before enrolling in this particular dance school. All the students displayed a sense of pride in what they were doing. They were relishing the fact that they had the opportunity of showcasing their culture in the co-curricular activities conducted by the school and also in the community at large. This helped the students in discovering what was perceived by them as being a component of their tradition as well as their heritage and also a component of their collective and individual cultural identity. However, such an identity was forgotten only once the students at this particular dance school had found the Punjabi “bhangra” dance. This was nurtured with performance activities of the dance group through a process, which consisted of the organization or the dance school. All of them came together to learn and help others especially from the main community members in learning the traditional folk dance. The discovery of a dance form that was new to them by means of watching videos, conducting performances for other students and for the community at large and most of all being able to form cultural and social links with the other members who were a part of the group.
This study went on to outline a number of important points in relation to the construction of cultural identity for the students of the PVDAA. The findings are an indication that the Auckland region of the country is a place which is both diverse and interesting in terms of change. It also showed that when the students of this dance school go to their respective schools, they also introduce the trading performing arts of their country to their peers and also to the public in the community at large. For the students of this school, the creation of the identity occurs mainly on the basis of what they have experience or found in the New Zealand. As a reaction to a place which is new and also to a cultural context that is new, most of them are showing a deeper interest in and in reproduction of the aspects of a cultural setting that has been left behind by them. Such identities are complex and are generally based on a number of varied factors such as nationalism and / or ethnicity. In addition to this, formation of multiple cultural identities can occur by means of the process of conducting performances in varied spaces as well as places and to audience of diverse nature.
The concerned dance academy offers courses like Bhangra, Giddha and Dhol. Different rates are prevailing for different courses. The rate of Bhangra and Dhol is same; however, the duration of the course is different. Bhangra is offered in 8 classes per month whereas for others there are 4 classes per months. The academy arranges program and workshops time to time for nourishing culture. Different members are joining the social community group. Parents enrolled their kids to learn bhangra from an early age of their life. They celebrate different festivals in traditional ways.
Another reason for increasing enrollment in PVDAA is it relatively cheaper fee structure. The fee structure for bhangra classes when compare to other two classes it is evident that PVDAA provides course at a relatively cheap rate. The academy should design its future business strategy as per present statistics. In the Auckland region, majority of Indians are Punjabi. Bhangra is the traditional folk dance of Punjab. People living abroad always prefer to stay connected with the nation of origin. Participating in the cultural activity is the easiest way to fostering own tradition. Hence, Indian New Zealander eagerly searches for places to explore their tradition.
Dance academy provides this platform. The academy as well benefitted from increasing enrollment in the concerned dance school. Therefore, the immigrant Punjabi Indians as well as those who born in New Zealand but have Indian ancestral root finds a way to connect their tradition in abroad with help of the dance academy in the means of performing popular Bhangra dance.
Conclusion
The study shows that the cultural display which occurs in the form of the Punjabi “bhangra” dance plays a pivotal role in the relations of the school and community and also in forming the self identity of these students in New Zealand. Identity for them is performed by means of the Punjabi “bhangra” dance and it is formed as a consequence of the school’s activities. Hybrid lives are led by the students of such schools by mixing the heritage and identities of the host country and their homeland. Additionally they also gain a sense of belonging which takes place due to coming together in the Punjabi dance school. Hence, this study has assisted in demonstrating that by means of the Punjabi “bhangra” dance group in this dance school of Auckland, discovery of cultural heritage has occurred and this has been performed as well as showcased to not only the other students but also to the wider community. Formation and performance of identities have occurred as a consequence of such types of confluences. This has turned out to be central for constructing identity of students in more ways than one. It is a display of culture which holds the intention of celebrating culture and the students sharing a common cultural bond are brought together through these dance classes. Development of school-community relations and partnerships take place and leads to the showcasing of region’s creative communities which in turn makes contributions to the “contemporary make-up of national identity”.
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First, you will need to complete an order form. It's not difficult but, in case there is anything you find not to be clear, you may always call us so that we can guide you through it. On the order form, you will need to include some basic information concerning your order: subject, topic, number of pages, etc. We also encourage our clients to upload any relevant information or sources that will help.
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Once we have all the information and instructions that we need, we select the most suitable writer for your assignment. While everything seems to be clear, the writer, who has complete knowledge of the subject, may need clarification from you. It is at that point that you would receive a call or email from us.
Writer’s assignment
As soon as the writer has finished, it will be delivered both to the website and to your email address so that you will not miss it. If your deadline is close at hand, we will place a call to you to make sure that you receive the paper on time.
Completing the order and download