Cultural Identity of Post-Indentured Indian Community in Fiji Island: A Case study of the strike of 1920 and 1921

Samajbodh ◽  
2016 ◽  
Vol 6 (1) ◽  
pp. 80
Author(s):  
Shalini Srivastava
2021 ◽  
Vol 77 (2) ◽  
Author(s):  
Kogielam Archary ◽  
Christina Landman

The article purports to examine the risk to cultural identity amongst an Indian community in South Africa using a single case study methodology. A case study approach was followed, using the qualitative research methodology, whereby not only the how (observation), but also adding focus on the thoughts, feelings, perceptions, experiences and motivations that people have underlie their behaviour. The year 1960 marked the 100th anniversary of the arrival of the Indians to the Colony of Natal, hence the study considers the period 1895 to 1960. Identifying with a particular culture allows members of that community to experience feelings of belonging and security. Moving across continents, Indian indentured sugar plantation labourers came to the Colony of Natal from 1860 until 1911 bringing with them their cultural identity. The risk to cultural identity is a significant contributor to an individual’s well-being. Cultural identity may be viewed as a sense of belonging based on one’s ancestry, rituals, religion, traditions, values and even language. When they were transported during the concurrent time of colonisation and indenture, they became displaced and thus an emotional threat to their well-being, belonging and security was created and simultaneously experienced. This threat compromised their cultural identity. This risk to cultural identity is investigated in the narrative of an Indian female national matriarch, Mrs Takurine Mahesh Singh who arrived in the Colony in 1895 and passed away in 1959. A risk to cultural identity existed, but the Indian community in South Africa did not experience deculturalisation. They were able to practise their ancestral culture without losing their identity. This is one of the findings and it concludes the abstract.Contribution: The study of identity, identity diffusion, identity loss is a very important aspect to study, especially for displaced communities who suffer not only alienation from their mother country, but also losing contact and cultures as a result of displacement. This article provides insight on the risk to cultural identity in Natal between 1895 and 1960. In terms of the findings, cultural identity is an important contributor to well-being. Identifying with a particular culture gave the matriarch a feeling of belonging and security. It also provides access to social and other networks which provide support and shared strength, values and aspirations. Although a product of oral history, for this research, the article could not be supported by other historical materials in an attempt at balancing the views as scholars have not explored the widowed Indian nationals who have remained in the Colony after indenture. This article should not be viewed simplistically as a retelling of Mrs Singh’s life story, but rather a narrative based on reflective memories that pieced together her departure from India under the political system of indenture, living and surviving as a widow under harsh laws and having multiple identities. The narrative oral history approach combined with a qualitative research methodology does not focus on analysis and interpretation but rather brings to the fore, the opportunity for further exploratory studies where the question ‘why’ will be answered.


2021 ◽  
pp. 000276422110031
Author(s):  
E. Johanna Hartelius ◽  
Kaitlyn E. Haynal

Following the July 22, 2011, Oslo bombing and shootings at the Utøya youth camp Norway became embroiled in a conflict over commemorative ethics. The memorial initially selected in an international contest, Memory Wound by Jonas Dahlgren, drew opposition from victims’ families and local residents for its severe impact on the natural landscape. Plans for installation were cancelled in 2017. This controversy, we submit, must be contextualized in relation to the Norwegian justice system’s handling of Anders Breivik, the perpetrator whose criminal proceedings were kept relatively secluded. We demonstrate how the design of Memory Wound and the suppression of Breivik’s publicity reflect a symbolic logic traceable to a national imaginary of Norwegian exceptionalism. By interpretively aligning the use of negative space in Memory Wound with the muting of Breivik as a media event, we investigate the prescriptive force of symbols to inculcate world views. Specifically, we attend to the foreclosure of “prosthetic memory,” which through media circulation allows people to engage with memory that is not primarily theirs. We acknowledge the possibility of empathy across difference that Landsberg ascribes to prosthetic memory; however, we insist that the circumstances under which solidarity might be rejected must be considered. With a dual case study, we offer a perspective on enduring assumptions about cultural identity and the rise of rightwing extremism in Northern Europe.


2013 ◽  
Vol 357-360 ◽  
pp. 1840-1846
Author(s):  
Hong Yan Li ◽  
Fei Wang

This paper discusses cultural identity and continuity of historic district based on the principle of authenticity in conservation field. The objective is to find out appropriate solutions for a historic district and to keep its special cultural value. It develops corresponding analysis in both physical aspects and cultural aspects, emphasizing the living feature of a historic district. The author advocates that it is significant to keep local residents living in the district since they are the cultural carriers and the core to conserve their cultural identity. The paper advocates an authentic development mode in historic district.


2019 ◽  
Vol 8 (2) ◽  
pp. 455
Author(s):  
Beni Andika ◽  
Fani Dila Sari

AbstrakKreativitas grup Bungong Sitangkee mempertunjukan Rapa’i Daboi’h merupakan upaya reproduksi budaya di perkampungan bekas pengungsian NGO (Non Goverment Organization) CARE di perkampungan Teurebeuh Kecamatan Kota Jantho Kabupaten Aceh Besar. Rapa’i Dabo’ih adalah seni pertunjukan atraksi yang menakjubkan. Seni pertunjukan ini digemari karena bentuk sajian pertunjukan Rapa’i Dabo’ih yang atraktif dengan debus sebagai puncak dari permainan yang disertai instrumen Rapa’i dengan lantunan syair-syair berisikan syiar agama Islam. Reproduksi budaya adalah proses mempertahankan identitas budaya yang dilakukan oleh masyarakat korban pascatsunami yang sudah tinggal menetap di area bekas pengungsian sebagai  pelestarian dan eksistensi kebudayaan asalnya. Tujuan penelitian ini adalah mengungkap keberadaan Rapa’i Daboih sebagai  reproduksi budaya yang terjadi di perkampungan CARE bekas pengungsian korban pascatsunami di Aceh 2004 lalu. Identifikasi reproduksi budaya ditinjau dari pemkanaan ulang seni pertunjukan Rapa’i Dabo’ih oleh Grup Bungong Sitangkee di Kecamatan Kota Jantho Kabupaten Aceh Besar. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan dan wawancara. Hasil penelitian ini mengungkapkan bagaimana kebradaan reproduksi budaya dengan studi kasus Rapa’i Dabo’ih.Kata Kunci: rapa’i dabo’ih, reproduksi, budaya.AbstractThe Bungong Sitangkee group's creativity demonstrates Rapa 'i Daboi'h is an effort to reproduce culture in the CARE (Non Government Organization) in Teurebeuh village, JAntho City District, Aceh Besar District. Rapa’i Dabo’ih is an amazing performing arts performance. This performance art is favored because of the attractive form of the Rapa'i Dabo'ih show with debus as the culmination of the game accompanied by the Rapa'i instrument with the recitation of verses containing Islamic symbols. Cultural reproduction is the process of maintaining cultural identity carried out by post-tsunami victims who have settled in ex-refugee areas as a preservation and existence of their original culture. The purpose of this study is to uncover the existence of Rapa'i Daboih as a cultural reproduction that occurred in the CARE village of ex-refugee victims after the tsunami in Aceh in 2004. Identification of cultural reproduction is reviewed from the reopening of the Rapa 'i Dabo'ih performance by the Bungong Sitangkee Group in Kota Jantho District, Aceh Besar Regency. The method used is a qualitative method, data collection is done through observation and observing performances and interviews. The results of this study reveal how the existence of cultural reproduction with the Rapa'i Dabo'ih case study.  Keywords: rapa'i dabo’ih, reproduction, culture.  


Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 168
Author(s):  
Sepp

This article focuses as a case study on Victor Klemperer’s diaristic representation of German-Jewish identity and culture after 1945 in the Soviet Occupation Zone and the GDR. The contribution shows how Klemperer’s professional and social situation remained very uncomfortable even in East Germany. For the diarist, the communist code ‘antifascist/fascist’, just like the code ‘German/un-German’ before it, was tantamount to concealing Jewish origin. His post-Holocaust journals provide an immediate insider’s view of Jewish life in Germany after the Holocaust from the perspective of a victim of active persecution. Against this backdrop, the contribution examines how the author’s original German nationalism gradually makes way, caught between contradictory impulses of assimilation and decreed Jewish identity, for a much more complex understanding of his own cultural identity. Klemperer’s diaries highlight a number of tensions that ultimately reflect on the disjunction between living and writing: The divide between a single and changing self lies at the heart of his diaries after 1945, which depict an astute, complex psychogram of the assimilated German-Jewish bourgeoisie that survived the Holocaust and tried to continue living in communist Germany.


2013 ◽  
Vol 48 (1) ◽  
pp. 37-76 ◽  
Author(s):  
UDITI SEN

AbstractWithin the popular memory of the partition of India, the division of Bengal continues to evoke themes of political rupture, social tragedy, and nostalgia. The refugees or, more broadly speaking, Hindu migrants from East Bengal, are often the central agents of such narratives. This paper explores how the scholarship on East Bengali refugees portrays them either as hapless and passive victims of the regime of rehabilitation, which was designed to integrate refugees into the socio-economic fabric of India, or eulogizes them as heroic protagonists who successfully battled overwhelming adversity to wrest resettlement from a reluctant state. This split image of the Bengali refugee as both victim and victor obscures the complex nature of refugee agency. Through a case-study of the foundation and development of Bijoygarh colony, an illegal settlement of refugee-squatters on the outskirts of Calcutta, this paper will argue that refugee agency in post-partition West Bengal was inevitably moulded by social status and cultural capital. However, the collective memory of the establishment of squatters’ colonies systematically ignores the role of caste and class affiliations in fracturing the refugee experience. Instead, it retells the refugees’ quest for rehabilitation along the mythic trope of heroic and masculine struggle. This paper interrogates refugee reminiscences to illuminate their erasures and silences, delineating the mythic structure common to both popular and academic refugee histories and exploring its significance in constructing a specific cultural identity for Bengali refugees.


Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 90
Author(s):  
Ruba Totah ◽  
Krystel Khoury

In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance, “Miunikh–Damaskus: Stories of one city” (May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.


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