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MULTIKULTI Performing Identity Within A Multicultural Framework
MULTIKULTI Performing Identity Within A Multicultural Framework
MULTIKULTI Performing Identity Within A Multicultural Framework
izeks suggestion to
look awry at this cross-cultural performance
of Holmes and Singh, which as the responses
to this performance have demonstrated bring
into view the inauthenticity of the body
performing, it may be more useful to focus on
hearing awry. By this, I mean listening to the
ways in which spatialized identities are
distorted by desire. The performance of
Holmes and Singh was presented and under-
stood within narratives of authentic musical
practices, both Indian (kathak and the Punjabi
song tradition) and western (ballet and jazz),
and the relationship the performers have to
these traditions. The reviews of these perform-
ances suggest that there is an expectation that
some sort of vigorous new performance style,
resulting from a fusion between these different
cultural practices, will emerge. The perform-
ance is also expected to conform to certain
strictures delineated by the techniques and
styles of dance and music. However, as the
critiques and discussions around this perform-
ance suggest, there are contradictory desires
circulating within the festival about (inter)-
national identity and its (re)articulation of a
national imaginary through cultural practices.
The festival producer proposed to Holmes a
strategy to lessen the criticism directed
towards her, and in his concern for her
apparent disruption of borders, lies the
dilemma of the white body in a multicultural
framework. Participants of the Festival of
Asian Music and Dance perceive Holmess
dance as disturbing the reiteration of an
authentic other identity. This criticism of
her performance points to anxieties around
the national imaginary in the context of a
multicultural nation like Australia. The
danger of the hybrid, and in this example the
hybrid is the performance of Indian dance by
Anglo-Australian Holmes, is the loss of clearly
demarcated identities, that is, the failure of
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an authentic identity (Ahmed 1999). Holmess
dance can be understood as a rupturing of the
delineation between an Asian body that
signies certain contained ethnically dened
identities, accommodated within a framework
of multiculturalism managed by the appar-
ently non-ethnic Anglo-Australian. What the
anxieties around Holmess dance points to is
the concern for an Australian national identity
if clear demarcations are not maintained.
Interestingly, the festival producer suggested
that Holmes present herself as a white,
contemporary dancer who incorporates
elements of kathak in her repertoire
(D. Walker, personal interview, 24 April
1999). Within the context of the Festival of
Asian Music and Dance, Holmes appears to be
more accepted when she positions herself, not
as an authentic practitioner of kathak, which
implies an embodiment of a physicality and
spirituality intimately connected to India, but
through her own whiteness. That is, she can
appropriate and create hybrid dance forms but
cannot do the same with her own cultural
identity, strategies successfully used by mem-
bers of Short Circuit, whose performances are
received as unproblematic with respect to
notions of identity.
Conclusion: becoming-expressive
I want to suggest that the music performed
within the music festival corresponds to a
becoming, rst in terms of the being and
becoming in the world proposed by Susan
Smith (2000) and, second, in the sense of a
becoming-expressive, a concept borrowed
from Deleuze and Guattari. Smith argues
that music is not a packaging and subsequent
expression of identity but is the process
through which identity is constituted. Sound
is signicant to understanding the social world
and its relations because, as Smith suggests, it
is in the doing of music that being and
becoming occurs. Further to this, becoming, in
the sense of Deleuze and Guattari, is a
continual state of heterogeneous relations
that deterritorializes space (1987: 238, 291).
The complexities of the negotiations of the
everyday are demonstrated within the per-
formances of these two festivals. The identity-
place-music relationship is a series of here
and there positionings that express the
various Australian stories and social inter-
relations that characterize contemporary
Australia.
In a study on performance, racial difference
and psychoanalysis, Ann Pelligrini positions
the performer as an acoustic mirror, whose
multiple frame[s] of reference provoke,
invite, and goad [the] audience to different
ways of hearing, sighting, and citing others
(1997: 75). The acoustic mirror re-presents the
world, by resituating audience and performer
in relation to what is constituted in the space
of the performance. As an acoustic mirror, the
performances at a festival reverberate with,
and reiterate, the participants situatedness; a
situatedness that works through positions of
the self in tropes such as gender, race,
nostalgia, migrancy, in and through a framing
discourse of multiculturalism. For some
performers, the appropriation of the musical
styles and genres of cultures other than ones
own corresponds to a more nuanced
expression of a spatialized identity. For others,
these utterances remind and connect festival
participants to their ethnic and cultural
origins. Anxieties about authenticity reect
differing positions in relation to ethnicity and
its cultural performatives. In the context of
festivals that celebrate cultural plurality,
concerns with authenticity correspond to
concerns in maintaining an idea of an essential
identity that is expressed and maintained
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through cultural and ethnic characteristics.
The performer of Asian music practising in a
cross-cultural setting, as Xu, Odamura and
Umiumare demonstrate, inhabits a complex
space, of neither one culture nor the other but
the space in-between. Such performers are
asked to become representative of an ethnic/-
cultural group even as they enact their
difference and displacement, that is, they
perform their difference to a normative white
Australian identity.
However, hidden in these performance
narratives are the destabilizing effects of
cultural pluralism that can, in a multicultural
context that marginalizes difference even as it
seems to celebrate it, cause unease. In
contrast to the performance of groups
promoted as multicultural such as that of
Short Circuit, the example of the dancer Kate
Holmes illustrates how challenges to the
framing devices that contextualize cultural
performatives constitute challenges to the
maintenance and control of national identity
in the face of transnational relations.
Anxieties about authenticity, then, are also
anxieties about the consequences of recon-
stituting some form of communal and even
national selfhood and identity. Music is
signicant to the geographic inquiry of
place and identity as it provides a means of
examining the emotions and their role in
understanding why individuals feel they
belong or do not belong to particular
communities and groups, and the signicance
of space at various and multiple levels in
these sonic processes.
Acknowledgements
I would like to thank Professor Kate Darian-
Smith, Dr Rob Kitchin, and the anonymous
referees who provided helpful and construc-
tive comments on this paper.
Notes
1 In 2003, 33.5 per cent of Morelands residents were
born overseas, while 45 per cent of Morelands
residents (aged 5 years or more) spoke a language
other than English at home, compared to 26 per cent
of all Melbourne Statistical Division (MSD) residents
(2001 ABS Census of Population and Housing).
2 Here Xu refers to the producer of the Festival of Asian
Music and Dance, David Walker.
3 The north-west region of India, in an area along the
border with Pakistan.
4 Kathak originated in Hindu temples, where pro-
fessional storytellers recounted and interpreted tales
from Hindu mythology. During the Mughal period
(15261857) the kathak practice was introduced into
the Muslim courts. This cultural intermingling
produced a dance technique that required fast
turns, complicated footwork and an intricate rhythmic
language (,www.dancemuse.com/dance.htm.
accessed 10 March 2000).
5 Program notes for Kate Holmes, dancer, and Sukhbir
Singh, singer, Indian and Western music and dance
collaboration, Sun and Moon, Festival of Asian Music
and Dance, Tom Mann Theatre, Surry Hills, Sydney,
22 April 1999.
6 The second performance Sykes reviewed, of Dang Lan
and Sabahattin Akdagcik.
7 The semiotic involves the drives and emotions that
connect and orient the self to the mother, and
signicantly, the semiotic houses the drives that are
yet to be articulated within the symbolic realm (that is
through language).
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