Hornabrook New Creativity and Carnatic Music.pdf (619.54 kB)
Gender, new creativity and Carnatic music in London
journal contribution
posted on 2019-02-01, 10:59 authored by Jasmine HornabrookThis article examines creative projects amongst second-generation, Tamil diasporic female
musicians (focused on British Sri Lankan examples) located within London’s Carnatic music scene.
Several scholars have suggested that the twentieth-century Indian nationalist project constructed
ideals of femininity that positioned women to uphold the inner core of Indian culture as bearers of
tradition during colonial rule (Bakrania 2013; Chatterjee 1989), and which were also reflected in the
restricted performance and creativity of Carnatic music for female musicians (Subramanian 2006;
Weidman 2003). This article focuses on second-generation musicians, who combine their Carnatic
background and ‘South Indian’ sound with other everyday sounds in Britain. Their creative projects
shift from an aesthetic that was responsive to colonialism in India to highlight female creativity and
hybridity in decolonizing processes. This article presents examples of how cultural expectations of
women as bearers of tradition are decentred, repositioning them as creative agents in a transnational
diaspora.
History
School
- Social Sciences
Department
- Communication, Media, Social and Policy Studies
Published in
South Asian DiasporaVolume
11Issue
2Pages
193 - 208Citation
HORNABROOK, J., Gender, new creativity and Carnatic music in London. South Asian Diaspora, 11 (2), pp.193-208.Publisher
© Taylor and FrancisVersion
- AM (Accepted Manuscript)
Publisher statement
This is an Accepted Manuscript of an article published by Taylor & Francis in South Asian Diaspora on 18 January 2019, available online: http://www.tandfonline.com/10.1080/19438192.2019.1568663.Acceptance date
2018-12-12Publication date
2019-01-18ISSN
1943-8192eISSN
1943-8184Publisher version
Language
- en