scholarly journals Diaspora and Cultural Identity: A Conceptual Review

2021 ◽  
Vol 21 ◽  
pp. 100-108
Author(s):  
Nagendra Bahadur Bhandari
Keyword(s):  
Cultural Identity ◽  
Present Article ◽  
Host Country ◽  
Forced Migration ◽  
Third Space ◽  
Second Phase ◽  
Poor Countries ◽  
The Third

The theorists vary in their conceptualizations of diaspora and cultural identity of immigrants. Broadly speaking, the theorizations of diaspora can be categorized into four different groups with their focus on diverse aspects of immigrants’ lives. The first classical phase describes the forced migration of immigrants including victimhood diaspora of Jewish, Africans and Armenians. The second conceptualization incorporates historical, cultural and social diversities of people living in the diaspora. Critiquing the second phase, the third group of theorists deconstructs bipolar notions of the home and host country, and celebrates the inconsistencies, and fluidities of immigrants’ identities in diasporic third space. In contrast, the fourth conceptualizations emphasizes on relevance of the origin and historical exploitation of people of poor countries. Both the historical experiences and present negotiations play decisive roles in the formation of cultural identity of immigrants.  The present article briefly reviews different conceptualizations of the diaspora and cultural identity of immigrants. 

scholarly journals Cultural Identity of the First-Generation Immigrants in Tan’s The Bonesetter’s Daughter and Lahiri’s The Namesake

2020 ◽  
Vol 2 ◽  
pp. 55-64
Author(s):  
Nagendra Bahadur Bhandari
Keyword(s):  
Cultural Identity ◽  
Host Country ◽  
First Generation ◽  
Home Country ◽  
Third Space ◽  
Cultural Space ◽  
First Generation Immigrants ◽  
The Third ◽  
Cultural Negotiation ◽  
Cultural Spaces

This article examines the problematic cultural identity of the first-generation immigrants in Amy Tan’s The Bonesetter’s Daughter (2001) and Jhumpa Lahiri’s The Namesake (2003). The immigrant characters problematize their cultural identity by oscillating in the cultural spaces of their home country and the host country. They tend to adopt new cultural identity of their host country while sustaining the old one of their home country. As a result, they negotiate their cultural identity in the shared cultural space which Homi K Bhabha terms as the third space. While analyzing the third space of cultural encounter, I refer to homeland culture as the first and the host land culture as the second cultural space of immigrants. Negotiating in the third space of the diaspora, the immigrants embody fluid and dynamic cultural identities that go beyond the binary of the host and home country. The process of the cultural negotiation of the immigrants is analyzed in the critical frame of Stuart Hall’s cultural identity and Homi Bhabha’s third space in this article.

scholarly journals POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A

2018 ◽  
Vol 4 (2) ◽  
pp. 77
Author(s):  
Yedija Remalya Sidjabat ◽  
Vissia Ita Yulianto ◽  
Royke Bobby Koapaha
Keyword(s):  
Cultural Identity ◽  
Hip Hop ◽  
Political Identity ◽  
Third Space ◽  
Leadership Culture ◽  
Identity Negotiations ◽  
The Third ◽  
Pros And Cons

Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in  formation of hip hop dangdut, but not fully realized by NDX group. Political identity in  formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.

scholarly journals The Third Space Formation Of Hindu In Sidoarjo

2021 ◽  
Vol 1 (2) ◽  
pp. 110
Author(s):  
Siti Alif Ulfah
Keyword(s):  
Cultural Identity ◽  
Minority Group ◽  
Third Space ◽  
Ethnographic Research ◽  
Research Approach ◽  
Collection Method ◽  
Post Colonial ◽  
Dominant Discourse ◽  
Creative Power ◽  
The Third

This research discusses the formation of the third space and articulation of the cultural identity of Hindus in Sidoarjo. There are social restrictions related to religious articulation and it is important that this minority group tries to represent their identity as Hindus in Sidoarjo. This issue is studied using the theory of the third space (space in between) from Homi K. Bhabha. The above problems are discussed through ethnographic research methods. The research approach is qualitative and uses a post-colonial perspective. The data collection method in this research is purposive, technique with observation, interviews, and documentation. The result of this research is that Hindu identity interprets and articulates its own identity. Through the setting and image of Sidoarjo regency, there are categories of Sidoarjo Hindus. This category is divided into three parts, namely Hinduism from Sidoarjo, Hinduism from outside Sidoarjo, and Hinduism from Bali. although there is a mixture of the three, they develop strategies in dealing with the dominant discourse in Sidoarjo. Their way of dealing with the dominant discourse is by developing a third spatial formation shaped administratively and militaristically, social codes and networks and through "ogoh - ogoh". The third space for Hindus in Sidoarjo is that they are productive, dynamic, and negotiate. Therefore, they voice their identity through ideas, strategies, and creative power.

The Research on Evolve of Idea on Urban Space Construction in China

2013 ◽  
Vol 409-410 ◽  
pp. 891-895
Author(s):  
Ye Peng ◽  
Bing He
Keyword(s):  
Cultural Identity ◽  
Urban Space ◽  
Second Phase ◽  
Fourth Stage ◽  
Dominant Ideology ◽  
The Third ◽  
Third Stage ◽  
Space Construction ◽  
The Government ◽  
Government Authority

There is five stages for the China's urban space construction’s ideas with the evolve of china, the first phase is the pre-1859 phase, the dominant ideology in this time is a traditional Chinese ritual ideas; the second phase is 1859-1949, this stage is a interation of the traditional Chinese ritual and Western ideas; the third stage is 1949-1979, the stage is under the influence of the government authority to create urban space; the fourth stage is the 1979-2009, this stage is under the influence of the market economy to create urban space; the fifth stage is in 2009 and beyond, this stage will be the next multi-cultural identity and values ​​of urban space construction.

scholarly journals “Musicalized identities”: South Asian musical Third Space of Enunciation in Britain

2019 ◽  
Vol 22 (1) ◽  
pp. 78-95
Author(s):  
Hassen Zriba
Keyword(s):  
Cultural Identity ◽  
Ethnic Minorities ◽  
South Asian ◽  
Third Space ◽  
British Society ◽  
Third Generation ◽  
Multicultural Society ◽  
New Horizons ◽  
The Third ◽  
Cultural Expressions

Within a multicultural society like Britain, cultural identity has become a pivotal concern for the nation’s various ethnic minorities. South Asian minorities, notably, the third generation, have adopted different strategies of integration within the mainstream British society while attempting to preserve their cultural idiosyncrasies. South Asian identities or what can be generally called “Asianness” manifested themselves in different socio-cultural expressions. Music has been one of those media of cultural and identity expressions. This article argues that music can be deemed as a “Third Space of Enunciation” for the new generations of ethnic minorities in general and South Asian ones in particular. Ethnic or “ethnicized” music seemed to proffer new horizons and possibilities of articulations for British ethnic minorities. By analysing some contemporary British South Asian musical outputs, we attempt to show how fusion-based and hybrid music was a strategy to mobilize dominant British musical discourses to fight against racism and celebrate cultural identity within the context of multicultural Britain.

Forced migration and psychosocial health: meaning-making through autobiographical narratives in the UK

2014 ◽  
Vol 7 (1) ◽  
pp. 79-90 ◽  
Author(s):  
Maria Psoinos
Keyword(s):  
Social Context ◽  
Meaning Making ◽  
Forced Migration ◽  
Psychosocial Health ◽  
Autobiographical Narratives ◽  
Narrative Interviews ◽  
Negative Stereotypes ◽  
The Third ◽  
The Uk ◽  
Autobiographical Narrative

This paper explores how refugees in the UK perceive the relation between their experience of migration and their psychosocial health. Autobiographical narrative interviews were carried out with fifteen refugees residing in the UK. The findings reveal a contrast between the negative stereotypes concerning refugees’ psychosocial health and the participants’ own perceptions. Two of the three emerging narratives suggest a more balanced view of refugees’ psychosocial health, since- in contrast to the stereotypes- most participants did not perceive this through the lens of ‘vulnerability’. The third narrative revealed that a hostile social context can negatively shape refugees’ perceptions of their psychosocial health. This runs counter to the stereotype of refugees as being exclusively responsible for their ‘passiveness’ and therefore for the problems they face. 

Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah

2015 ◽  
Vol 32 (1) ◽  
pp. 40-77
Author(s):  
Peter Mercer-Taylor
Keyword(s):  
Second Phase ◽  
Divine Presence ◽  
Final Phase ◽  
Public And Private ◽  
The Public ◽  
The Third ◽  
Interpretive Approach ◽  
Will To Live ◽  
Three Phases

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

Māori Research(er) in Three Poems

2018 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Jacquie Kidd
Keyword(s):  
Palliative Care ◽  
Health Literacy ◽  
Cultural Identity ◽  
Focus Groups ◽  
Health Professionals ◽  
Bell Hooks ◽  
Face To Face ◽  
The Third ◽  
Ruth Behar ◽  
Seeking Help

These three poems re-present the findings from a research project that took place in 2013 (Kidd et al. 2018, Kidd et al. 2014). The research explored what health literacy meant for Māori patients and whānau when they accessed palliative care. Through face-to-face interviews and focus groups we engaged with 81 people including patients, whānau, bereaved loved ones, support workers and health professionals. The poems are composite, written to bring some of our themes to life. The first poem is titled Aue. This is a Māori lament that aligns to English words such as ‘oh no’, or ‘arrgh’, or ‘awww’. Each stanza of the poem re-presents some of the stories we heard throughout the research. The second poem is called Tikanga. This is a Māori concept that encompasses customs, traditions and protocols. There are tikanga rituals and processes that guide all aspects of life, death, and relationships. This poem was inspired by an elderly man who explained that he would avoid seeking help from a hospice because ‘they leave tikanga at the door at those places’. His choice was to bear his pain bravely, with pride, within his cultural identity. The third poem is called ‘People Like Me’. This is an autoethnographical reflection of what I experienced as a researcher which draws on the work of scholars such as bell hooks (1984), Laurel Richardson (1997) and Ruth Behar (1996). These and many other authors encourage researchers to use frustration and anger to inform our writing; to use our tears to fuel our need to publish our research.

PENERAPAN MODEL QUANTUM LEARNING UNTUK MENINGKATKAN HASIL BELAJAR AUTOCAD SISWA KELAS X TEKNIK PEMESINAN SMK NEGERI 1 STABAT

2013 ◽  
Vol 5 (1) ◽  
Author(s):  
Abdul Hasan Saragih
Keyword(s):  
Positive Response ◽  
Phase 1 ◽  
First Grade ◽  
Learning Model ◽  
Second Phase ◽  
Phase 2 ◽  
Phase 3 ◽  
The Third ◽  
Third Phase ◽  
Quantum Learning

This classroom research was conducted on the autocad instructions to the first grade of mechinary class of SMK Negeri 1 Stabat aiming at : (1) improving the student’ archievementon autocad instructional to the student of mechinary architecture class of SMK Negeri 1 Stabat, (2) applying Quantum Learning Model to the students of mechinary class of SMK Negeri 1 Stabat, arising the positive response to autocad subject by applying Quantum Learning Model of the students of mechinary class of SMK Negeri 1 Stabat. The result shows that (1) by applying quantum learning model, the students’ achievement improves significantly. The improvement ofthe achievement of the 34 students is very satisfactory; on the first phase, 27 students passed (70.59%), 10 students failed (29.41%). On the second phase 27 students (79.41%) passed and 7 students (20.59%) failed. On the third phase 30 students (88.24%) passed and 4 students (11.76%) failed. The application of quantum learning model in SMK Negeri 1 Stabat proved satisfying. This was visible from the activeness of the students from phase 1 to 3. The activeness average of the students was 74.31% on phase 1,81.35% on phase 2, and 83.63% on phase 3. (3) The application of the quantum learning model on teaching autocad was very positively welcome by the students of mechinary class of SMK Negeri 1 Stabat. On phase 1 the improvement was 81.53% . It improved to 86.15% on phase 3. Therefore, The improvement ofstudent’ response can be categorized good.

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