Добірка наукової літератури з теми "Exoticism and authenticity"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Exoticism and authenticity".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Exoticism and authenticity"
1
Berghahn, Daniela. "Encounters with cultural difference." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 16–40. http://dx.doi.org/10.33178/alpha.14.01.
Повний текст джерелаАнотація:
This essay aims to critically reassess and, ultimately, rehabilitate exoticism, understood as a particular mode of cultural representation and a highly contested discourse on cultural difference, by bringing it into dialogue with cosmopolitanism. It offers a theoretical exploration of exoticism and cosmopolitanism alongside associated critical frameworks, such as the contact zone, autoethnography, authenticity and cultural translation, and brings them to bear on two awardwinning films that aptly illustrate a new type of exoticism in contemporary world cinema. Using Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015), both made in collaboration with Indigenous communities, as case studies, this essay proposes that exoticism is inflected by cosmopolitan, rather than colonial and imperialist, sensibilities. It therefore differs profoundly from its precursors, which are premised on white supremacist assumptions about the Other which legitimised colonial expansion and the subjugation of the subaltern. By contrast, the new type of exoticism challenges and decentres Western values and systems of knowledge and aligns itself with the ethico-political agendas of cosmopolitanism, notably the promotion of crosscultural dialogue, an ecological awareness and the empowerment of hitherto marginalised communities.
2
Oleschuk, Merin. "Foodies of Color: Authenticity and Exoticism in Omnivorous Food Culture." Cultural Sociology 11, no. 2 (October 22, 2016): 217–33. http://dx.doi.org/10.1177/1749975516668709.
Повний текст джерелаАнотація:
Omnivorous cultural theory highlights the persistence of inequalities within gourmet food culture despite its increasing democratization, arguing that foods remain symbols of distinction through their framing as ‘authentic’ and ‘exotic’. Where these two frames have been shown to encompass problematic racial connotations, questions arise over how racial inequalities manifest in foodie discourse. Drawing from interviews with foodies of color living in Toronto, Canada, this article examines how these inequalities are reproduced, adjusted and resisted by people of color. It asks: how do foodies of color interpret and deploy dominant foodie frames of authenticity and exoticism? Analysis reveals each frame’s potential both to encourage cross-cultural understanding and essentialize or exacerbate ethno-cultural difference. Participants’ ambivalent relationship with foodie discourse (i.e. deploying it alongside critiquing it) highlights how cultural capital works alongside ethno-racial inequalities, and reveals the racial tensions remaining within foodies’ attempts to reconcile democracy and distinction.
3
Bayona Escat, Eugenia. "Género y exotismo en la representación turística: las casas/tiendas en Zinacantán, Chiapas." PASOS. Revista de Turismo y Patrimonio Cultural 20, no. 3 (2022): 635–50. http://dx.doi.org/10.25145/j.pasos.2022.20.044.
Повний текст джерелаАнотація:
This article analyses the exotic and idealizsd images of indigenous women in tourism. In particu‑ lar, it reflects on the role of gender in the construct of imaginaries and the representation of femininity asso‑ ciated with the traditional roles of women in the private and domestic sphere. To this end, the author inves‑ tigates the tourism scenario in the houses/shops of the municipality of Zinacantán, in Los Altos de Chiapas, Mexico, and the criteria of authenticity as deployed in tourism promotion. The paper aims to investigate this view of female exoticism that affects the way these women redefine themselves through the staging of their bodies and their traditional roles. It concludes that this image of exoticism reproduces a colonial gaze and perpetuates patriarchal power relations and ideologies.
4
Martínez Figueroa, Adriana. "Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses." Journal of the Society for American Music 18, no. 2 (May 2024): 93–107. http://dx.doi.org/10.1017/s1752196324000063.
Повний текст джерелаАнотація:
AbstractSince the late nineteenth century, the “Indian” as symbol has been a recurring trope in the art music of Mexico and the United States. Composers in both countries have often turned to representations of Indigenous Peoples as symbolic of nature, spirituality, and/or aspects of the national Self. This article seeks to place James DeMars's opera Guadalupe, Our Lady of the Roses (2008) in the context of two major cultural trends: Indianism in the U.S., and the representation of Mexico by U.S. composers. DeMars's use of Indigenous instruments in Guadalupe, including Mexican pre-Hispanic percussion, and flutes performed by famed Navajo-Ute flutist R. Carlos Nakai, continues the Indianist tradition of associating the Indigenous cultures of both countries with nature, spirituality, and authenticity. Similar associations emerge in the development and reception of both “world music” and the Native American recording industry since the 1980s, as exemplified by Nakai's career. DeMars uses these instruments in combination with Plains Native American features and generic exoticisms to represent both the Mexican Indigenous Peoples and the spiritual message of the opera. The sympathetic treatment of Indigenous cultures in Guadalupe nevertheless exists in tension with their exoticism and Otherness; in this the work is representative of U.S. cultural responses to Mexico stretching back throughout the long twentieth century.
5
MAYER, Raymond. "Art and Exoticism. An anthropology of the yearning for authenticity de Paul Van Der Grijp." Journal de la société des océanistes, no. 129 (December 15, 2009): 339–40. http://dx.doi.org/10.4000/jso.5981.
Повний текст джерела
6
Rössel, Jörg, Patrick Schenk, and Dorothea Eppler. "The emergence of authentic products: The transformation of wine journalism in Germany, 1947–2008." Journal of Consumer Culture 18, no. 3 (September 22, 2016): 453–73. http://dx.doi.org/10.1177/1469540516668226.
Повний текст джерелаАнотація:
What turns a bottle of fermented grape juice into a cult wine? Current research in the sociology of culture and food assumes that nowadays the distinctiveness of goods is ascertained not on the basis of traditional food hierarchies (e.g. French food and wine as the global benchmark) but based on criteria of authenticity and exoticism. Since public discourse plays an important role in the consecration of aesthetic goods, we study wine journalism in Germany over time. This enables us to analyse the replacement of traditional criteria and the emergence of new criteria of aesthetic valuation in the wine world. The study is based on a systematic content analysis of the two most important German weeklies from 1947 to 2008. We can show that wine reporting shifts dramatically from an orientation towards French and domestic wines and a rather business-like approach to wine towards a more global orientation and a discourse of authenticity focusing on artisanal production, natural conditions of production and the winemaker as an individual personality/artist.
7
Zhou, Peishen, and Dan Cui. "“Truth and Mystery”: Pearl S. Buck’s The Good Earth and the Research on Overseas Establishment of Chinese Image." Communication, Society and Media 5, no. 3 (November 27, 2022): p59. http://dx.doi.org/10.22158/csm.v5n3p59.
Повний текст джерелаАнотація:
This paper aims to analyze the issue if Pearl S. Buck conveys an authentic image of China in The Good Earth by composing typical and important aspects ranging from the life of Chinese lower class to the their spiritual status through realistic style. This article reflects its mysterious characteristics by analyzing Buck’s writing of Chinese exoticism and spiritual simplicity and plainness in the novel. Meanwhile, through the exploration of the harsh social conditions, the physical and mental suffering of social oppression, and the tragic fate under the feudal foolishness, Peal tries to find out the true side of China. In addition, through further study, it is found out that Pearl’s portraying of China is featured with waving position: a sense of fusion of and contradiction between mystery and authenticity, thus presenting a contradictory and compatible image of China.
8
McGREGOR, ANDREW. "Romanticizing the Romani: Unruly Representations of the “Internal Other” in the Work of Tony Gatlif." Australian Journal of French Studies 59, no. 1 (January 1, 2022): 34–45. http://dx.doi.org/10.3828/ajfs.2022.04.
Повний текст джерелаАнотація:
Of French-Algerian and Andalusian-Romani descent, French film director Tony Gatlif offers an intriguing insight into the culture of one of Europe’s most marginalized, misunderstood and misrepresented others: the Romani (Gypsies). This article examines the rules of engagement in Gatlif’s representation of cultural minorities, particularly in relation to his claims to cultural “truth” and authenticity in his filmmaking. Also explored are the dynamics of exoticism and the narratives of perpetual discovery that characterize Gatlif’s success on the film festival circuit, which has its own set of rules and vested interests when it comes to film programming in the context of a self-serving, heavily mediated and orientalist altruism. Such dynamics reveal as much about the idiosyncrasies of film critics, curators and audiences as of the filmmaker himself, all of which combines to form the rules of engagement in filmmaking and spectatorship in the exoticized and “othered” space of World Cinema.
9
Ariyasriwatana, Weranuj. "Using Authenticity, Exoticism, and Creativity to Express Deliciousness and Valorize Food: Signifying Good Taste in Food on Yelp." Food Studies: An Interdisciplinary Journal 13, no. 2 (2022): 15–37. http://dx.doi.org/10.18848/2160-1933/cgp/v13i02/15-37.
Повний текст джерела
10
Gonzalez, Anita. "Mambo and the Maya." Dance Research Journal 36, no. 1 (2004): 131–45. http://dx.doi.org/10.1017/s0149767700007609.
Повний текст джерелаАнотація:
This essay is a descriptive analysis of a 2000 encounter with Mayan “mambo” dancing in a mountain community, an encounter that challenges assumptions about prevalent notions of exoticism, identity, and cultural authenticity. Traveling in Guatemala with a group of international scholars, I witnessed a public performance of the transnational mambo by costumed Guatemalans that was not mambo, not Mayan, and not social. Male performers, in celebration of Corpus Christi, dressed as Disney-style costume characters and executed routines to merengue music while nondancing participants watched the spectacle. This contradictory display of dancing encouraged me to reflect on the impact of popular social dance and to examine the complicated meanings communicated by performers who incorporate body-based art into indigenous social and economic paradigms. The performers' unique interpretation of mambo dance within the context of a public Corpus Christi festival underscored discrepancies between institutional perceptions of the mambo and the popular reuse of dance motifs. At the same time, the performance, which used clowning as a mechanism to engage the audience, inverted the solemnity of the religious feast day.
Дисертації з теми "Exoticism and authenticity"
1
Topínková, Anita. "Noc ve mlýně." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232420.
Повний текст джерела
2
Chen, Xiabing. "Étrangeté et étranger : une approche formale de Simmel appliquée aux restaurants japonais et chinois de Paris." Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL002.
Повний текст джерелаАнотація:
Depuis un siècle et demi, les restaurants japonais et chinois de Paris occupent une place significative sur le marché, créant une symphonie culturelle et commerciale durable. Leur désignation nationale a soulevé une problématique d'altérité, illustrée par une évolution entre l'exotisme et l'authenticité. Pourtant, les études sociologiques comparatives sur les restaurants japonais et chinois sont rares, et les thèmes de l'exotisme et de l'authenticité sont souvent abordés de manière séparée. Le présent travail s'appuie sur la sociologie formale de Georg Simmel et revisite la théorie de l'étranger pour l'utiliser comme un outil théorique dans une approche relationnelle. Par cette approche, la thèse adopte une méthodologie mixte, combinant l'utilisation de données massives avec des méthodes qualitatives. La recherche révèle que, si l'exotisme et l'authenticité des restaurants japonais et chinois de Paris diffèrent en tant que performances, leurs propriétés structurelles fondamentales sont similaires en termes des formes de socialisation. Les performances culturelles et les stratégies commerciales de ces restaurants ne sont pas simplement définies par leur identité nationale. Le véritable enjeu réside dans les distances sociales multiples qui les façonnent. Ces performances sont continuellement influencées par les interactions réciproques entre différents acteurs, dans des contextes spatio-temporels variésFor a century and a half, Japanese and Chinese restaurants in Paris have held a significant position in the market, creating a lasting cultural and commercial symphony. Their designation by nationality has raised an issue of alterity, illustrated by an evolution between exoticism and authenticity. However, comparative sociological studies on Japanese and Chinese restaurants are rare, and the themes of exoticism and authenticity are often addressed separately. This research is based on Georg Simmel's formal sociology and revisits the theory of the stranger, using it as a theoretical tool in a relational approach. Through this approach, the thesis adopts a mixed methodology, combining the visualization of big data with qualitative methods. The research reveals that, despite the differences between Japanese and Chinese restaurants in Paris in terms of their performances of exoticism and authenticity, they share a fundamental structural unity when considered as forms of socialization. The cultural performances and business strategies of these restaurants are not solely defined by their national identity. The real issue lies in the multiple social distances that shape them. These performances are continuously influenced by the reciprocal interactions among various actors in diverse spatiotemporal contexts. The thesis demonstrates that the alterity presented by Japanese and Chinese restaurants in Paris is produced within the framework of "the strange" as a form of socialization
3
Åsa, Back. "SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-312.
Повний текст джерелаАнотація:
Projektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats och dess människor? Kan jag levandegöra mina upplevelser så att de blir angelägna för någon annan än mig själv? Det praktiska arbetet utgör ett försök att besvara dessa frågor. Vilka bilder har vi, och vad ser vi när vi speglar oss i varandra? Vad betyder det att våra världar redan är sammanflätade? Spegeln som bild och lek, träder fram både som tema och metod. Begrepp som exotism, representation och mötet med den andre diskuteras, liksom växlingen mellan identifikation och främmandegörande (”othering”) som en grund för förståelse. Hur påverkas människors liv av Kinas snabba samhällsförändringar, balansgången mellan socialism och kapitalism? Och vilken roll har scenkonsten i detta? Här diskuteras frågor om yttrandefrihet, liksom relationen mellan politik och spelstil, så kallad ”fejk realism”. Frågorna knyts samman genom en diskussion om autenticitet, följd av en betraktelse om utanförskap, för att slutligen återvända till det personliga mötet, till en berättelse om kontaktsökande – om vänskap.This project is based on eight weeks of fieldwork at an independent theatre in Beijing in the spring of 2017, based on anthropological and artistic methods. It is an attempt to develop the concept artistic ethnography, and apply it practically. In this, art is seen not mainly as a product or a form of presentation, but as a way of thinking, of relating to the world. The material consists of field notes, video, pictures, movement material, personal stories, the memories of smells, sounds and tastes and of something as vague as atmosphere – the pace of the city, the feeling of a rehearsal situation... How can the stage render a place and its people? Can I bring my experiences to life, making them relevant for anybody else? The practical artistic work with an exposition is an attempt to answer these questions. What images do we have, and what do we see when we mirror each other? What does it mean that our worlds are already intertwined? The mirror as image and play appear both as a theme and a method. Concepts like exoticism, representation and the encounter with the other are discussed, as well as the movement between identification and othering, contributing to understanding. How are people’s lives affected by China’s rapid social changes, balancing between socialism and capitalism? What role do the performing arts have in this? Questions about freedom of expression are discussed, along with the relation between politics and styles of acting, the so called “fake realism”. The research questions are tied together in a discussion of authenticity, to finally return to the personal encounter and a story of seeking contact, of friendship.
Sinnlig - the movie finns länkad dels i dokumentet och dels som egen fil
Movit –Direction and Dramaturgy of movement based Performing Arts
Книги з теми "Exoticism and authenticity"
1
Art and Exoticism: An Anthropology of the Yearning for Authenticity (Comparative Anthropological Studies in Society, Cosmology and Politics). LIT Verlag, 2009.
Знайти повний текст джерелаЧастини книг з теми "Exoticism and authenticity"
1
"Exoticism and Authenticity." In Musical Lives and Times Examined, 407–46. University of California Press, 2023. http://dx.doi.org/10.2307/jj.455895.22.
Повний текст джерела
2
"19. Exoticism and Authenticity." In Musical Lives and Times Examined, 407–46. University of California Press, 2023. http://dx.doi.org/10.1525/9780520392021-020.
Повний текст джерела
3
Berghahn, Daniela. "Locating Exoticism." In Exotic Cinema, 18–58. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474474214.003.0002.
Повний текст джерелаАнотація:
This chapter develops exoticism as a critical category and identifies some of the most prominent discursive and aesthetic strategies exoticism deploys in constructing the exotic Other and the Self as Other. Berghahn opens up to scrutiny the contestations surrounding exoticism by asking whether the decentring of exoticism in contemporary world cinema represents a recuperative form of transformation of the old, Eurocentric exoticism. Chapter 1 brings exoticism into conversation with Orientalism, (auto)ethnography, cultural translation and postcolonial transformation and compares the structures, ideological agendas and power dynamics that underpin these encounters with cultural difference and their artistic representations. The discussion of some paintings and films that have been identified as incontrovertibly exotic by scholars and critics, reveals several distinctive features: exoticism’s eclecticism and indifference to authenticity; its specular structure; the visual pleasure it affords through its use of vibrant colours and heightened aesthetics; its recycling and repurposing of familiar exotic tropes; and its emphatic visuality, which explains its natural affinity with the cinematic medium.
4
Berghahn, Daniela. "Ethnographic Salvage and Cosmopolitan Exoticism." In Exotic Cinema, 59–100. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474474214.003.0003.
Повний текст джерелаАнотація:
This chapter focuses on one of the most enduring tropes of exoticism, ethnographic salvage. It explores how the project of ethnographic salvage, once the prerogative of Western ethnographers, has been taken up by Indigenous filmmakers who aim to recuperate and preserve their own cultural memory. The chapter examines four Indigenous films, Atanarjuat: The Fast Runner, Ten Canoes, Embrace of the Serpent and Tanna. By exploring the conceptual convergences between exoticism, local authenticity and cosmopolitanism, this chapter aims to rehabilitate what Berghahn theorises as ’cosmopolitan exoticism’, through demonstrating how contemporary Indigenous cinema appropriates familiar exotic tropes (e.g. the Noble Savage, the ‘primitive’, the South Sea paradise) only to put them at the service of new cosmopolitan agendas. These include empowering marginalised Indigenous communities, demanding the atonement of colonial guilt and calling ‘the white man’ to responsibility for the looming environmental catastrophe he has caused. These Indigenous films demonstrate that certain contemporary forms of exoticism contribute to the important project of decolonising the lens.
5
Pinson, Jon W. "Postbellum Blackface Song Authenticity and the Minstrel Demon." In The Voices That Are Gone, 200–239. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195057508.003.0006.
Повний текст джерелаАнотація:
Abstract The passing of slavery did not spell the doom of minstrelsy by any means, for the main authors of the entertainment tended to be northerners in search of an exoticism blackface still provided. Troupes, mostly based in large urban centers, expanded yet further to casts numbering as many as sixty or eighty. “Towards the end of the last century,” according to James Weldon Johnson, “[minstrelsy] provided the most gorgeous stage spectacle to be seen in the United States.”1 Even when vaudeville largely replaced minstrel troupes on theater stages in the last decade of nineteenth century, individual blackface acts remained highly successful well into the twentieth.
6
Berghahn, Daniela. "‘The Past Is a Foreign Country’: Nostalgia and Exoticism." In Exotic Cinema, 139–74. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474474214.003.0005.
Повний текст джерелаАнотація:
This chapter considers the close affinities between the two concepts. Both spring from a disenchantment with the present and mobilise distance, be it spatial or temporal, to enable an imaginative investment that replaces historical accuracy and cultural authenticity with the construction of a sanitised and embellished past and an idealised alterity. Although exoticism is generally associated with far-away lands, it is also about a longing for the bygone days, which explains why most of exotic films are set in an idealised or glamourised past. Using Indochine, Viceroy’s House, In the Mood for Love and The Road Home as case studies, the chapter distinguishes between imperialist nostalgia and exotic nostalgia films. Whereas the former fetishise the imperial power and control of European empires, the latter engender a universal longing in the spectator for a time and place when intensity of feeling was still possible. Through an aesthetics of sensuous indulgence, a concept that Berghahn develops in the chapter, exotic nostalgia films valorise systems of knowledge and a way of life that call the hegemony of the West and global capitalism into question.
7
"Inside Out." In Between Shadows and Noise, 42–58. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059097-003.
Повний текст джерелаАнотація:
The second chapter grapples with the tensions between authenticity, spectacle, and exoticism in its examination of Shango (1945), a dance choreographed for Broadway and performed in repertoire by Katherine Dunham and her dancers. Dunham's ethnographically informed invocation of Vodou makes felt the tensions between exoticization and the possibility of decolonization while also preserving something of the unrepresentability—the noise—of Vodou itself. Shango's movement through and distance from African diasporic spirituality complicates questions of agency, representation, and legibility. Dunham's anthropological gaze provides a particular vantage point from which to think the desires and tensions of diasporic belonging. The main tension that undergirds the chapter is the friction between insider and outsider knowledge and how that guides interpretation.
8
"Chapter 7. US Camelid Contact Zones in the Twentieth Century: Authenticity, Exoticism, and Celebrity." In Llamas beyond the Andes, 257–84. University of Texas Press, 2023. http://dx.doi.org/10.7560/328408-009.
Повний текст джерела
9
McClintock, Nathan, Alex Novie, and Matthew Gebhardt. "Is It Local … or Authentic and Exotic? Ethnic Food Carts and Gastropolitan Habitus on Portland’s Eastside." In Food Trucks, Cultural Identity, and Social Justice. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036573.003.0015.
Повний текст джерелаАнотація:
In this chapter, examine the location of ethnic food cart owners within Portland, Oregon’s food cart scene, and within the broader paradigms of local food and sustainability for which the city is known. Through an inventory of food carts, interviews with cart owners, and a case study of the Portland Mercado food cart pod, we explore how the everyday practices of ethnic food cart owners on Portland’s eastside reflect and differ from those of other food cart owners. Drawing on Bourdieu, we demonstrate how their practices in turn reshape the wider “gastropolitan” field of foodie tastes. We argue that cart owners unsettle the eco-centric values dominating Portand’s foodie culture by emphasizing authenticity and exoticism. The ability to capitalize on a particular set of gastropolitan values – local and organic or authentic and exotic – is geographically uneven, however; it depends on both the physical agglomeration of food carts espousing a particular set of gastropolitan values, and on their location within the foodscape, a position very much tied to economic processes of gentrification and displacement bifurcating the city.
10
Kedhar, Anusha. "Value." In Flexible Bodies, 161–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840136.003.0005.
Повний текст джерелаАнотація:
Chapter 5 theorizes flexibility in relation to the neoliberal discourse of value through a close reading of the 2013 dance film The Art of Defining Me. Following the 2008 global financial crisis and subsequent austerity measures and budget cuts to the arts, artists had to justify (even more than before) the economic value of their work vis-à-vis their “Unique Selling Point.” While neoliberalism demands that all artists frame their work in economic terms such as cost and profit, multiculturalism layers an added demand on South Asian artists to perform ethnic and racial difference in recognizable and sellable terms. Through the subversive power of satire, the film exposes the neoliberal underpinnings of multicultural arts funding in Britain and brings into sharp focus the economic value of authenticity and exoticism in an increasingly market-driven dance industry that prizes difference insofar as it can be made profitable. Taking a humorous look at the arts funding system in Britain and the complex racialized landscape that British South Asian dance artists must navigate, the film renders visible the absurdity of British multiculturalism and funding demands on South Asian dancers, and the flexible, auto-exoticizing maneuvers they deploy to thrive within it.