10. “A Typical Girogi Family Experience?” The Transnational Migration and Heterogeneous Identity Formation of Girogi Families in Toronto, Canada

2019 ◽  
pp. 197-216
Author(s):  
Min-Jung Kwak ◽  
Wansoo Park ◽  
Eunjung Lee ◽  
Sangyoo Lee ◽  
Jeong-Eui Lee
Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 


Author(s):  
Pablo Gonzalez ◽  
Xóchitl Chávez

Chicana/o ethnography is a subfield of Chicana/o anthropology and sociocultural anthropology. There are two ways of looking at the term Chicana/o ethnography: one, as the work conducted and written by self-identified Chicana/o anthropologists and social scientists; two, as the anthropological work produced on Chicanas/os and US-based ethnic Mexicans. Chicana/o ethnography emerges in the late 1960s with the Chicano Power movement in the United States. With the entry of Chicana/o PhDs in the social sciences and in particular anthropology during the 1960s, the field of cultural anthropology became the site of contested counter-narratives by racialized groups in the United States. Those self-identifying as Chicana/o and receiving degrees in the social sciences ushered in a critique of anthropology’s colonial and imperial legacy. In particular, conducting ethnographic fieldwork and writing ethnographies on US ethnic Mexicans by non-Mexicans came under scrutiny by Mexican Americans. Although there have been Mexican and Mexican American social scientists that have studied US Mexican communities since the late 19th century, the emergence of Chicana/o ethnography is situated out of political struggle both in Chicana/o communities and in universities throughout the United States. Since then, Chicana/o ethnography has evolved to include ethnographic studies on expressive culture and folklore, identity formation, transnational migration and communities, community studies, US-Mexico borderlands studies, social movements, and (il)legality and subject formation. Accordingly, this bibliography begins with initial texts and works that contested the ways in which anthropologists and social scientists initially viewed the US Mexican population and the politics of conducting research in Chicana/o communities. This bibliography emphasizes the field of Chicana/o anthropology as it pertains to the production of ethnographic work by Chicana/o anthropologists and the ethnographic work on Chicana/o communities, cultures, and experience. It does not encapsulate all of the ethnographic work conducted by Chicana/o social scientists in fields other than anthropology nor does it include all the ethnographic work conducted on Chicana/o lives by social scientists. Instead, it also incorporates several key works by social scientists that further the field of Chicana/o anthropology and sociocultural anthropology.


2020 ◽  
pp. 20-30
Author(s):  
Melina Mallos

In the 21st century, transnational migration is increasingly commonplace alongside the proliferation of new media. Adolescent migrants are especially well versed in new media, and their interactions allow insights into identity representation and negotiation. We know from current research that a sense of self is likely to be affected and interrupted when migrating to a new country, but we do not know the ways young people with transnational identities, negotiate, shape and are shaped by new media. Using a Participatory Narrative Inquiry approach and arts-based research methods, this research will explore how Greek migrant youths living in Melbourne use new media to communicate and describe their identity. In sharing deeply personal narratives, what do the participants learn about new media’s role in their identity formation?


2014 ◽  
Author(s):  
Galen D. McNeil ◽  
Craig L. Anderson ◽  
Dacher Keltner

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