One under the sun: Globalization, culture and Utopia in Bombay Dreams
2005; Taylor & Francis; Volume: 15; Issue: 3 Linguagem: Inglês
10.1080/10267160500217715
ISSN1477-2264
Autores Tópico(s)Cinema and Media Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1Julie Taymor, ‘From Jacques Lecoq to The Lion King, an interview with Richard Schechner’, The Drama Review, 43:3 (T163) (Fall 1999), 36 – 55 (p. 55). 2John Tomlinson, Globalization and Culture (Cambridge: Polity Press, 1999), p. 2. 3Erika Fischer-Lichte, ‘Interculturalism in Contemporary Theatre’, in Patrice Pavis (ed.), The Intercultural Performance Reader (London: Routledge, 1996), pp. 27 – 50 (p. 38). 4Ibid., p. 38. 5Although a widely-used term, it is important to acknowledge the inherent problems with the homogenized label ‘British Asian’. In Britain, with its complex historical association with India, ‘Asian’ generally implies someone originating from the Indian subcontinent, which is itself a hegemony of India over other countries and cultures in Asia. In America, the term ‘Asian’ would tend to imply the dominant diasporic community of ‘Orientals’, e.g., Koreans, Chinese, etc. Those from India are known as ‘South Asians’. Of course, the word ‘Indian’ in America is further complicated due to their own indigenous population. 8Arjun Appadurai, Modernity at Large (Minneapolis: University of Minnesota Press, 1996), pp. 4, 5, 31. 6Jigna Desai, Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film (London: Routledge, 2004), p. viii. 7Ibid., p. viii. 9Desai, Beyond Bollywood, p. 202. 10Ibid., p. 40. 12Appadurai, pp. 6, 49. 11Ibid., p. 74. 13 Bend It Like Beckham made $26 million dollars in America. Its star, Parminder Nagra, was subsequently offered a main part in the American drama series E.R. It might be worth asking if she would have had the same type of high-profile opportunity had she stayed in Britain. 14Desai, Beyond Bollywood, p. 41. 15Appadurai, Modernity at Large, p. 10. 16‘Bombay’ was renamed ‘Mumbai’ in 1996. The title of the musical is justified in the programme notes by calling the city ‘Bombay-Mumbai’, intended to convey the contradictions in life-styles between rich and poor. 17Desai, Beyond Bollywood, p. xiii. 18Younger British Asians also find cultural identification through music, especially with the underground fusion sounds of hip-hop, dub and garage, which have created new and dynamic styles combining Asian and Black music and language. 19This information came from an interview I conducted with four of the main actors, Stephen Rahman-Hughes (Akaash), Raj Ghatak (Sweetie), Sophiya Haque (Rani) and Royce Ullah (JK) after the show on 25 February 2004. 20Interview, 25 February 2004. 21Richard Dyer, Only Entertainment (London: Routledge, 1992), p. 18. 22Ibid., p. 18. 23Ibid., p. 25. 24Jeremy Seabrook, ‘Localizing Cultures’, Korean Herald (13 January 2004). 25Desai, Beyond Bollywood, p. 106. Ibid., p. 194. 27Fischer-Lichte, ‘Interculturalism in Contemporary Theatre’, p. 38. 29Tomlinson, Globalization and Culture, p. 30. 28Ibid., p. 37.
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