Since the 1979 revolution the Iranian popular culture, specifically the popular music, has turned into a peculiar landscape complicated by politics, regulations, technology and the border-crossing of resources. The Islamic Republic’s initial ban on popular music caused a massive exodus of artists and producers out of the country and eventually to Los Angeles. There, the popular music industry’s resources and talents reunited and resumed their production. At the same time, inside Iran, the absence of a popular culture (Iranian or otherwise) created a vacuum in the public sphere that the government-endorsed mystic art-house cinema and traditional music could not fill. The Iranian public turned to its now-exiled pop artists and despite the ban, the cassettes and videotapes of the Los Angeles productions flooded the black markets. Thereafter, when describing music, the terms diasporic and popular became synonymous for Iranians. The present study examines the relevance of the Iranian diasporic popular culture to the construction of the Iranian youth identity and identifies global satellite age trends from within the diaspora that subvert or revise the hegemonic order of Tehrangeles popular culture. / text

This report examines diasporic dialogues in Black concert dance focusing on dialogues between Brazil and the United States and analyzes how racial politics and cultural exchanges contributed to shape a Black aesthetic in Brazil. Since the beginning of the 20th century, both the presence/passage of US Black dancers/choreographers in Brazil and the presence/passage of Brazilian Black dancers/choreographers in the United States enabled the formation of socio-political networks among artists and cultural cross-fertilization between these countries. Katherine Dunham’s visit in Brazil and Mercedes Batista’s visit in the United States during the 1950s were formative of a Brazilian black concert dance and had left a lasting imprint in black modern dance in the U.S. as well. This report attempts a close reading of the dialogues between Dunham and Batista that shaped the dance techniques and repertoire that make up black modern and postmodern dance in the African diaspora. / text

The social sciences' interest in transnationalism has grown rapidly over the previous decade. The ethnographic case studies informing this burgeoning transnational literature, however, typically focus upon migration flows with one endpoint in the global North. This dissertation explores the experience of Indian transmigrants in contemporary Bahrain, one of the six petroleum-rich states of the Gulf Cooperation Council, as well as the impact of these transnational flows upon the Bahraini state. Like all the nations of the GCC, foreign guestworkers comprise a majority of the workforce in Bahrain, and a near majority of the absolute population--two aspects of the many that mark the transnational context of the contemporary Gulf as significantly different from those typical of the transnational literature.The arc of my ethnographic analysis draws upon transnational theory, diaspora studies, and critical approaches to the state, and visits three plateaus. First, I use migration narratives gathered from Indian transmigrants to delineate the structure of dominance that shapes relations between guestworker and citizen-host. The parameters of this structure stretch from the global political economy to the apparatuses of the Bahraini state and, through the kafala sponsorship system, to the individual relations between citizen-sponsors and guestworkers. This structure comprises the basis for the systemic exploitation of foreign labor. Second, I analyze the strategies different classes of the Indian transmigrant community utilize against this structure of dominance. For the poorest transmigrants, these strategies are often limited to movement between legal and illegal status, while the diasporic elite employ a strategic transnationalism to combat the vulnerabilities rendered by this system. Finally, I analyze the impact of these transnational flows upon the Bahraini state and citizenry. The structure of dominance, I argue, is essential to understanding the articulation of state-based power in Bahrain, for it provides a mechanism for citizens to cull profit from the private sector while maintaining a system for distributing state-controlled wealth that favors those well positioned in traditional social, familial, tribal relations. In essence, the Bahraini state comprises a form of resistance to the neoliberal logic of the global political economy--one that simultaneously structures inequities via those traditional fissures.

With a statistical rise in visible, audible and cultural minorities in Canada, the importance of recognizing the relationship between immigrants, culture and identity as constructed in collective discourse becomes paramount. Through hermeneutic and sociocritical paradigms, this research applies a constructionist approach to qualitatively analyze representations of cultural identities in Canadian and Quebec films projecting intergenerational conflicts within immigrant families. From these analyses, five tendencies were elicited: guilt, displacement, in-betweenness, reflections on Canadian society, and heterogeneous perspectives. While deconstructing cultural identity portrayals remains crucial, it is equally important to study these systems of meaning within production. The research is extended through the appendaged short film,Tracing Shadows, a glimpse into the voices of the Ukrainian diaspora in Canada. Both textual analyses and the filmic creation demonstrate the symbiotic connection between society and culture, nurtured within collective identity narratives’ depictions of time and space.

Processes and patterns of migration on a global scale have changed in profound ways during the last two decades (Smith and King, 2012). In the European context, this is exemplified by transformations to the traditional mobility patterns from East to West Europe (Koser and Lutz, 1998), with migrants more likely to be involved in temporary circular and transnational mobility (Favell, 2008). Since the end of the Second World War, historical and political events in Europe have facilitated the mobility of ethnic Germans from Eastern Europe to Germany. Subsequently, the fall of the Iron Curtain has permitted unrestrained East-West movements, which resulted in mass migrations towards the West and diaspora fragments in the East. However, after settlement in the West, ethnic Germans have also been absorbed within wider temporary and transnational movements (Koser, 2007). Within this context, this thesis examines the post-migratory lives of three generations of Transylvanian Saxons in Germany by exploring the cultural, social, economic and political dimensions of this community. This thesis aims to contribute to on-going academic debates about diasporas by explicitly responding to Hoerder s (2002) call for more studies on ethnic German diasporas. It shows that Transylvanian Saxons, who relocated to the ancestral homeland, do not disrupt identities and lives forged in diaspora, but rather, they negotiate complex identities and belongings in relation to both home and homeland . It reveals a double diaspora and the necessity to perceive identity and diaspora as dynamic processes and constantly evolving in relation to time, space and place. This double diasporic allegiance in the case of the Transylvanian Saxons suggests interrogating the formation of a return diaspora and its importance for processes of international migration.

This thesis explores the complex identities of the Hindu community of Lusaka, Zambia. It argues that current theories in migration and diaspora studies are not sufficient for understanding such groups in post-colonial Africa. The thesis proposes that we should revisit ‘forgotten’ literature, on immigrants as ‘stranger’ communities, that originates from Georg Simmel’s 1908 essay, ‘The Stranger’. Such work, which this thesis terms ‘stranger theory’, usefully contributes to more contemporary approaches by enabling a comprehensive assessment of a community’s position and how that position changes over time. Stranger theory is used in this thesis to situate Lusaka’s Hindus (and Zambian Hindus more generally) as ‘organic’ members of the nation, whose relationships with wider society are characterised by both ‘nearness’ and ‘remoteness’. The thesis first describes the emergence of a Zambian Hindu ethnic identity during colonial and immediate postcolonial (post-1964) periods focussing on migration and settlement patterns, immigrant networks and the emergence of cultural associations. A theme running throughout the thesis is that the ‘plural society’ of the colonial era (a society consisting of separate, racially-categorised groups with limited interaction) has persisted in Zambia in a postcolonial form, and that this is a useful way of understanding the position of the Hindu community in Zambia today. Following the historical discussion is an analysis of how the contemporary city of Lusaka is experienced by its Hindu residents, through mapping out spaces, social structures and practices that remain unique to Lusaka’s Hindus. Lusaka’s Hindu community is presented as both cohesive and fragmented; the thesis goes on to analyse the ways in which community identity itself is frequently broken down and reconfigured by its members. Zambia’s Hindus comprise diverse sets and subgroups of immigrants with uneven and ‘flexible’ approaches to, and experiences of, migration, citizenship and belonging, rather than embodying a single, quantifiable ‘diaspora’ entity. Yet, in local terms, Hindus in Lusaka are often treated as part of a general ‘Indian’ group; indeed, the thesis shows how Hindus’ relationships with other groups in Zambia emphasise the ‘stranger’ dimension of the community’s position in society. Finally, the thesis asserts that Zambian Hindu ‘twice migrants’—those who migrate onwards to new destinations—reinforce the existence and identities of the ‘home’ community in Zambia. Indeed, these twice migrants must be considered as African and Zambian transnational migrants as well as part of a South Asian ‘diaspora’. Methodologically, the thesis is driven by situational analysis, and brings two separate versions of this approach (from Sociology and Anthropology) together, drawing on data collected in Zambia between 2006 and 2008.

The politics of the Middle-Passage and its attendant socio-cultural and historical trauma is the starting point of this study. The dispersal of Africans, or at least people of African origin, to different parts of the world has produced over the past few decades numerous dissertations and theses describing socio-cultural linkages between Africa and the Black diaspora. On the part of creative writers and literary critics of every persuasion, there exists a consensus of creative and critical opinion that seeks to establish that "the history of Africa and the Africans ... is one of iron, blood and tears." (Nkosi, 1981, p.30) The study is in agreement with Omafume Onoge's submission that the cultural imperialist process went beyond mere acts of vandalism to produce a period in the history of Africa and the black diaspora in which "many educated Africans (and their counterparts in the diaspora) required a major act of intellection to ascribe aesthetic value to our traditional arts." (Dnoge, 1984, p.5) The study grapples with the source(s) of this socio-cultural apathy, and how the liberal humanist discourse which replaced the body of the colonialist's mythologies is predicated on what JanMohammed describes as "an ironic anomaly." (JanMohammed, 1985, p.281) My exploration of this ironic anomaly begins from the premise of the myths, legends and traditions that are subsumed, truncated, misread or simply repressed to propound this 'humanist' philosophy. What emerges from this cultural and ideological exploration is a vernacular theory of reading built around the carnivalesque figure of Esu Elegbara (the Yoruba 'trickster' god) whose "functional equivalent in Afro-American profane discourse is the Signifying Monkey." (Gates, 1990, p.287) The study is in two parts. Part One consists of three chapters exploring different aspects of the cultural and ideological discourses between Africa and the black diaspora from historical and theoretical perspectives. Part Two focuses, in four chapters, on the works of five writers from Africa (Nigeria and Ghana), South America (Brazil), the West Indies (St. Lucia) and the United States. These are Ayi Kwei Armah, Wole Soyinka, Jorge Amado, Derek Walcott and Amiri Baraka respectively. The conclusion summarises the major arguments of the thesis.

This thesis explores the relationship of music and cultural memory in a migrant community, namely the Turkish diaspora in Berlin, Germany, and the changing patterns of music consumption within generations. Music is a significant agent that helps communities bridge the past and present time and place and carries the material that is used to create cultural memories for communities. This research attempts to put forward how music, as a part of our daily lives, is a part of the social arrangements that structure the operations of memory. In the context of modern diaspora, this study looks at the role of music in producing and shaping cultural memory in Berlin with the community with ties to Turkey, and how it is practiced by three different generations in the Turkish diaspora who experience music as a socially constructive element. The study also considers the extent that Turkish cultural heritage and identity is transmitted via music to the third generation, who were born and raised in Germany, examining the narrative of ‘Turkishness’ being woven into the music production of the third generation Turks. This research has been conducted using qualitative research methods with several field trips to Berlin. In-depth interviews mostly with second and third-generation German-Turks show that the Turkish diaspora has been utilising music for remembering, preventing memories from being forgotten and transmitting them to the next generations since the beginning of the guest-worker agreements in 1961. In addition to this connection with music, the timeliness of this study coincides with an era of major generational conflicts. While the second generation’s attempt to introduce their children to Turkish culture through encouraging or pushing them to learn Turkish music at private schools continues, young people have created their own diverse musicking traditions and spaces that connect them both to Turkey and Germany. New developments in technology have also provided young generations alternative paths to find music from Turkey. Building cultural memories via shared music listening experience is decreasing today within immigrant families in Berlin, while young people explore their personal links to Turkish music and create their own memories as a consequence of easier access to Turkish media.

The thesis is concentrated on a research based on turbofolk music in diaspora from the former Yugoslav countries. When speaking about turbofolk, the term can be explained as a type of popular music combined with folk elements. It originates in the former Yugoslav countries, but similar pop-folk genres can be found in other European and non- European countries as well. People with immigration background living in diaspora can possess different types of relations towards this type of music than their counterparts in the ex-Yugoslav countries. Especially, certain common tendencies can be observed among the diaspora youth cosuming turbofolk. This work will primarily give answers to the basic questions including attitudes towards turbofolk in the ex-Yugoslav diaspora. It will describe turbofolk scene in the diaspora and show its extensiveness. In particular it will be focused on the Austrian case (concerning practising turbofolk etc.). Nevertheless, it will also investigate contemporary tendencies in identification with turbofolk. Key words turbofolk, diaspora, Yugoslavia, identity, Austria

This essay is a close reading of the novels Beloved by Toni Morrison and I Know Why the Caged Bird Sings by Maya Angelou with the purpose of analyzing the impact and role of the African American community in two characters’ formation of self. The aim is to contrast and compare the two chosen characters’ experiences with their respective African American communities and discuss common ground, similarities and differences. A postcolonial approach is applied to the analysis by using concepts and theory from Fanon’s arguments on the psychological effects on the oppressed, Cohen’s description of diaspora communities and Bhabha’s notion of hybridization and culture.