Whose Diwali is it? The case of the Indian Community and Auckland City Council

Booth, A

Whose Diwali is it? The case of the Indian Community and Auckland City Council

aut.conference.type	Oral Presentation - Paper Presentation
aut.researcher	Booth, Alison
dc.contributor.author	Booth, A
dc.date.accessioned	2013-12-09T02:38:40Z
dc.date.accessioned	2013-12-09T02:38:53Z
dc.date.accessioned	2013-12-09T02:39:10Z
dc.date.accessioned	2013-12-09T02:39:31Z
dc.date.accessioned	2013-12-09T02:39:40Z
dc.date.available	2013-12-09T02:38:40Z
dc.date.available	2013-12-09T02:38:53Z
dc.date.available	2013-12-09T02:39:10Z
dc.date.available	2013-12-09T02:39:31Z
dc.date.available	2013-12-09T02:39:40Z
dc.date.copyright	2013-12-10
dc.date.issued	2013-12-10
dc.description.abstract	This paper interrogates the ways that governmental agendas may affect the representation and expression of cultural identity. I trace factors that have transformed the production of Diwali, in Auckland, New Zealand. In 1998, Auckland Indian Association (AIA) started a public Diwali celebration responding to the rapidly growing Indian community population and needs for collective expression and enjoyment of one of India’s most important cultural celebrations. Government support, beginning in 2002, recognized the potential political and economic benefits of cultural celebrations by launching Diwali: Festival of Lights with AIA. By 2004, Auckland Council had gained increasing control over all aspects of event production practices. By 2013, the local Indian press was reporting voices of dissent concerning Diwali’s Bollywood/Panjabi content, noting that the representation of Indian performance culture is now determined by management decisions made by the Council and their selected sponsors. Government support has become government control, transforming a community celebration into a “Major Civic Event” that executive decisions seek to align with larger tourism and economic development strategies. The altered Diwali festival management structure has disenfranchised the local community and the power of community representation. This study demonstrates how power enables as well as constrains musical performance and cultural identity.
dc.identifier.citation	School of Hospitaility and Tourism Reseach Exchange held at WA 125, Auckland, 2013-12-10
dc.identifier.uri	https://hdl.handle.net/10292/6175
dc.publisher	School of Hospitality and Tourism, Auckland University of Technology
dc.relation.replaces	http://hdl.handle.net/10292/6171
dc.relation.replaces	10292/6171
dc.relation.replaces	http://hdl.handle.net/10292/6172
dc.relation.replaces	10292/6172
dc.relation.replaces	http://hdl.handle.net/10292/6173
dc.relation.replaces	10292/6173
dc.relation.replaces	http://hdl.handle.net/10292/6174
dc.relation.replaces	10292/6174
dc.relation.uri	http://www.indianmusicology.com/paper.htm
dc.rights	NOTICE: this is the author’s version of a work that was accepted for publication. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. A definitive version was subsequently published in (see Citation). The original publication is available at (see Publisher's Version).
dc.rights.accessrights	OpenAccess
dc.title	Whose Diwali is it? The case of the Indian Community and Auckland City Council
dc.type	Conference Contribution
pubs.elements-id	158988
pubs.organisational-data	/AUT
pubs.organisational-data	/AUT/Culture and Society