This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South (...) Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies. (shrink)

Postmodernism is a variety of meanings and definitions, is used to refer to many aspects of social life from musical forms and styles, literature and fine art through to philosophy, history and especially the mass media and consumer culture. Post modernism is a slippery term that is used by writers to refer to several different things. Featherstone points out the term has been used to refer to new developments in intellectual and cultural theory. The suggestion that our subjective experience of (...) everyday life and our sense of identity has somehow changed significantly in recent years. The view that capitalist or industrial societies have reached new and important stages in their development, the shift from modernity to post-modernity. Consumer culture is also play a vital role in the society, consumer culture may be defined as a day to day change in the taste of consumer behaviour. The term “consumer culture” refers to cultures in which mass consumption and production both fuel the economy and shape perceptions, values, desires, and constructions of personal identity. Economic developments, demographic trends, and new technologies profoundly influence the scope and scale of consumer culture. Social class, gender, ethnicity, region, and age all affect definitions of consumer identity and attitudes about the legitimacy of consumer centred lifestyle. (shrink)

In the long 20th century, modern China experienced perhaps the world’s most radical and systematic secularization process and the decimation of traditional religious and ritual cultures. This article seeks to account for this experience by engaging with postcolonial theory, a body of discourse seldom found relevant to China Studies. The article attempts a two-pronged critique of both state secularization and some aspects of existing Postcolonial Studies/theory. It shows the many ways in which nationalist elites in modern China unwittingly absorbed Western (...) Orientalist discourse even as their words and actions were ostensibly anti-colonial, and much of the article examines the consequences of this native Orientalism upon Chinese religiosities. Finally, the article suggests that one cannot discuss governmentality in modern China without understanding how it is intertwined with a sovereign power that is both archaic and, at the same time, has experienced renewal and expansion in modernity. (shrink)

In the case of the attacks in Mumbai in November 2008 two primary discourses generative of biopolitics in the global matrix of war can be identified as a framework of knowledge about mobile technologies: first, that national security is threatened by the use of digital information technologies heavily symbolized by the use of mobile devices and the perceived manipulation of otherwise neutral forms of media by those deemed to be enemies; and, second, that national security is enhanced by the utilization (...) of these technologies on the level of individuals and non-state groups within the nation to better practice democracy and to identify as citizen-consumer subjects. In the global matrix of war, the emphasis on digital information technologies and new media — especially mobile iterations — as weapons has generated the subjects of globalized and local technoculture in historically specific, militarized directions. In this context, contemporary media operate in ways that call for critical engagement rather than romanticization of a purely emancipatory sphere of social networking over and against a fully networked, enemy ‘other’. (shrink)