Cultural Dysphoria: Exploring British Asian Female Identities Through Arts Practices

英国亚裔女性存在着与她们的文化身份相关的广泛概括。我的研究经常被描述为顺从(Ahmed，2020)，我的研究使用艺术实践来批判性地质疑英国亚裔女性的文化观念的联系。阿夫塔尔·布拉赫的研究将是一个起点。她指出，英国亚洲女性生活的社会现实是围绕着经济、政治和文化形态的复杂表述构成的，这些形态标志着‘种族’、阶级、民族和性别之间的相互关系(Brah，1987)。作为一名英国亚裔女性，我的研究将借鉴越来越多围绕自我人种学领域的研究。通过提出关于交叉女权主义和归属感的问题(Anitha，2018)，我的基于实践的方法论也将探索英国亚洲艺术家--包括苏塔帕·比斯瓦斯、扎琳娜·宾吉和佩尔迈达尔·考尔--如何在他们的实践中使用自我反身性来探索身份的表现。文化焦虑症可以理解为社会对个人的文化表现或身份认同的期望与其期望的文化体现之间的不协调，或者不确定它们在现有文化类别中的位置(Sharma，2017)。我的研究首先将其作为一个概念模型来考察，探索存在的本质，通过文化体验来理解差异；其次，作为一个物质模型，利用文化焦虑症现象来体现不和谐的经验。我试图回答两个相关的问题：-艺术实践和理论如何清楚地表达交叉的英国亚裔女性经验的可表演性(巴特勒，2015；霍尔，2017)和复杂性(克伦肖，1989)？-作为与身份形成有关的一种不和谐形式，如何才能将“文化焦虑症”发展为一种概念和物质模式，以解决与英国亚裔女性有关的艺术实践、交叉性和自我民族志的话语(Ahmed，2008；Chang H，2008)？这项研究将借鉴我作为一名知名艺术家的实践。我将使用雕塑、表演和电影，建立在我之前的研究和我的大师(杰出)所使用的自我人种学方法的基础上。MA出版了一部电影《自我人类学》(The Anthropolology of the Self，2020)，该片获得了2020年AIS首届大奖，并在莱斯特的AIS电影节上展出。我的大师的最后一个主要项目是一系列测试和体现文化焦虑症概念的艺术作品，并获得了2020年泰特利物浦奖。我还将通过我在考文垂双年展和Ikon Gallery的委托，为这位博士的利益利用这些网络。

Broad generalisations of British Asian women exist in relation to their cultural identity. Often described as subservient (Ahmed, 2020), my study uses arts practice to critically question the associations of cultural perceptions for British Asian women. Avtar Brah's research will be a starting point. She states that the social reality of Asian women's lives in Britain is constituted around a complex articulation of the economic, political, and cultural modalities which mark the interrelationship between 'race', class, ethnicity, and gender (Brah, 1987). As a British Asian woman my research will draw on the growing body of research around the field of autoethnography. Through raising questions about intersectional feminism and belonging (Anitha, 2018), my practice based methodologies will also explore how British Asian artists -including Sutapa Biswas, Zarina Bhimji and Permindar Kaur-use self-reflexivity in their practice toexplore the performance of identities. Cultural Dysphoria can be understood as the dissonance between the social expectations of an individual's cultural performance or identity, and their desired embodiment of that culture, or uncertainty about where they fit into existing cultural categories (Sharma, 2017). My research will examine this firstly as a conceptual model, exploring the nature of being to understand difference through cultural experience; secondly, as a material model, embodying experience of dissonance using the phenomenon of Cultural Dysphoria. I seek to answer two related questions: - How can arts practice and theory articulate the performability (Butler, 2015; Hall, 2017) and complexities of intersectional (Crenshaw, 1989) British Asian female experience?- As a form of dissonance related to identity formation, in what ways can "Cultural Dysphoria" be developed as a conceptual and material model to address discourses on art practice, intersectionality and autoethnography in relation to British Asian women (Ahmed, 2008; Chang H, 2008)?The research will draw upon my own practice as an established artist. I will use sculpture, performance and film building upon my previous research and the autoethnographic approaches used on my Masters (distinction). The MA resulted in a publication and film, The Anthropology of the Self (2020), which won the Inaugural AIS award 2020 and was showcased at the AIS festival in Leicester. My Masters' Final Major Project was a series of artworks that tested and embodied the concept of Cultural Dysphoria and won the Tate Liverpool Award 2020. I will also draw on the networks through my commissions with Coventry Biennial and Ikon Gallery for the benefit of this PhD.