Creating ourselves: Arts and acculturation in New Zealand Study 1 results Stephen Fox Victoria University of Wellington Centre for Applied Cross-Cultural.

Creating ourselves:

Arts and acculturation in New ZealandStudy 1 results

Stephen FoxVictoria University of WellingtonCentre for Applied Cross-Cultural

Research

Study funded by a generous grant from BRCSS

Creating ourselves:

Arts and acculturation in New ZealandStudy 1 results

Stephen FoxVictoria University of WellingtonCentre for Applied Cross-Cultural

Research

Study funded by a generous grant from BRCSSBorder courtesy of maori.org.nz

Personal background

Immigration and acculturation

Acculturation:

1) Cultural modification on individual or group levels by adapting to or adopting

aspects of another culture.

2) Changes to a culture as a result of prolonged contact with another culture


Acculturation:

1) Cultural modification on individual or group levels by adapting to or adopting

aspects of another culture.

2) Changes to a culture as a result of prolonged contact with another culture


Some threats to psychological well-being:

1) Negotiating an alien cultural landscape in which you are identified as an outsider

2) Finding a sense of identity that works adaptively in context of another culture

3) Maintaining inter-generational and community harmony even as some members (usually younger) adopt ways and values of

the dominant culture

4) Creating a place in society for your people and culture


Some threats to psychological well-being:

1) Negotiating an alien cultural landscape in which you are identified as an outsider

2) Finding a sense of identity that works adaptively in context of another culture

3) Maintaining inter-generational and community harmony even as some members (usually younger) adopt ways and values of

the dominant culture

4) Creating a place in society for your people and culture

Arts and well-being

Research has shown arts practices to have benefits in:

Therapeutic settings

Substance abuse treatment

Educational outcomes

Community cohesion

General happiness

Youth programs

Ageing

Research has shown arts practices to have benefits in:

Therapeutic settings

Substance abuse treatment

Educational outcomes

Community cohesion

General happiness

Youth programs

Ageing

Artists are known by other disciplines (anthropology, sociology, etc.) to serve as reservoirs of cultural information and hubs of important cultural activity, providing an important part of the symbolic resources and social activity of cultures.

The processes are widespread, common across cultures, and important within cultures.

Filipina dancer: It’s something that-- ok, you study a culture without reading a book and that’s in a dance presentation. Don’t have to turn a page!

Artists are known by other disciplines (anthropology, sociology, etc.) to serve as reservoirs of cultural information and hubs of important cultural activity, providing an important part of the symbolic resources and social activity of cultures.

The processes are widespread, common across cultures, and important within cultures.

Filipina dancer: It’s something that-- ok, you study a culture without reading a book and that’s in a dance presentation. Don’t have to turn a page!

Arts as an avenue of inquiry into identity and acculturation

Arts as an avenue of inquiry into identity and acculturation

Practitioners of ethnic arts are those who, by definition and

profession, most tangibly express the salient features of their cultures

and ethnic origins

Arts and acculturation:This project

How does ethnic arts participation (EAP) affect psychological acculturation processes and outcomes in acculturation and adaptation in New Zealand?

Qualitative interviews with 23 ethnic and/or immigrant artistsAny ethnicity or art form

Thematic analysis

How does ethnic arts participation (EAP) affect psychological acculturation processes and outcomes in acculturation and adaptation in New Zealand?

Qualitative interviews with 23 ethnic and/or immigrant artistsAny ethnicity or art form

Thematic analysis

Age group Art form Origin Ethnicity

20-30 Traditional dance China-mainland Chinese

30-45 Visual art England English

30-45 Visual art China-HK Chinese

60-75 Traditional dance Philippines Filipina

30-45 Visual art Fiji Fijian

75+ Visual art China Chinese

60-75 Writer/actor/ Film NZ Chinese

60-75 Visual art South Africa White African

45-60 Weaving NZ Maori

60-75 Sculpture Samoa Samoan

45-60 Weaving/Music-traditional Solomon Isl Melanesian

60-75 Director/ Actor NZ Pakeha

30-45 Film/dance Korea Korean

30-45 Fashion Korea Korean

30-45 Traditional dance Niue ND1an


30-45 Film India Indian

30-45 Actor England Indian

20-30 Music-traditional India Indian

45-60 Visual art PNG

60-75 Actor Kenya Kikuyu

20-30 Music-modern China-Taiwan Chinese

30-45 Film Viet Nam Vietnamese

Age group Art form Origin Ethnicity

20-30 Traditional dance China-mainland Chinese

30-45 Visual art England English

30-45 Visual art China-HK Chinese

60-75 Traditional dance Philippines Filipina

30-45 Visual art Fiji Fijian

75+ Visual art China Chinese


60-75 Visual art South Africa White African

45-60 Weaving NZ Maori

60-75 Sculpture Samoa Samoan

45-60 Weaving/Music-traditional Solomon Isl Melanesian

60-75 Director/ Actor NZ Pakeha

30-45 Film/dance Korea Korean

30-45 Fashion Korea Korean

30-45 Traditional dance Niue ND1an


30-45 Film India Indian

30-45 Actor England Indian

20-30 Music-traditional India Indian

45-60 Visual art PNG

60-75 Actor Kenya Kikuyu

20-30 Music-modern China-Taiwan Chinese

30-45 Film Viet Nam Vietnamese

Questions

• General, part one:• How did you begin to practice your art?• Where did you begin to do your art?• Who taught you and/or how did you learn?• What led you to pursue your art as a profession?• Do you consider your art to be traditional? If so, how would you describe the origins of the tradition?• Personal:• How would you describe any connections between your art and the way you define your ethnic identity?• How does your art affect your life?• How might you feel if you didn’t do your art?• Interpersonal:• For whom do you do your art?• How does your family relate to your art?• Do your children also practice the art? Do/did your parents?• How does your art affect your home-life?• How do you feel about your relationships with students (if applicable)? Your clients/audience?• Community:• How often do you perform or exhibit your work publicly?• How would you describe your audience?• What do you perceive to be the purpose of your art in your ethnic community?• Inter-ethnically:• Have you noticed any effects of your art on relations with other ethnicities or communities?• How do you think people of other ethnicities might relate to your art?• What would you like people of other ethnicities to perceive in your art? • General, part two:• What do you wish to communicate with your art?• What is music/dance/etc. to you?• What resources or opportunities do you wish were available for your practice?

Traditional versus non-traditional

There are differences between artists who practice an ethnic art and those who practice a non-traditional one.– Ethnic identity– Cultural continuity– Community ties– Motivations for doing their arts

There are differences between artists who practice an ethnic art and those who practice a non-traditional one.– Ethnic identity– Cultural continuity– Community ties– Motivations for doing their arts

• Cultural maintenance and transmission• Social networks• Intergenerational harmony • Community cohesion • Inter-ethnic connection• Reinforcement of ethnic identity

• Cultural maintenance and transmission• Social networks• Intergenerational harmony • Community cohesion • Inter-ethnic connection• Reinforcement of ethnic identity

Social and community processes


Cultural maintenance

Traditional arts provide a venue and method of preserving and transmitting culture, especially during acculturative processes

Niuean dancer: I wanted my Niuean group to be represented, and represented well in this field. And I wanted to pull in, as well, the Niuean communities. The youth are the future of Niue, the future leaders of Niue, just to keep our culture going through song

and dance.

Cultural maintenance

Traditional arts provide a venue and method of preserving and transmitting culture, especially during acculturative processes

Niuean dancer: I wanted my Niuean group to be represented, and represented well in this field. And I wanted to pull in, as well, the Niuean communities. The youth are the future of Niue, the future leaders of Niue, just to keep our culture going through song

and dance.


Intergenerational connection

Cultural maintenance & transmission part 2-

Learning the values and behaviours

Families frequently pass on the art in a culturally specific way that goes back generations

Shared cooperative activities in which multiple generations enjoy time together


Cultural maintenance & transmission part 2-

Learning the values and behaviours

Families frequently pass on the art in a culturally specific way that goes back generations

Shared cooperative activities in which multiple generations enjoy time together



Solomon Islands weaver/singer: we choose weaving and Roviana first at the moment, because I want to have them speak fluent Roviana, then go into weaving and any languages they want to know about Solomons. That’s very important to Mata and Sumana and I, is communication, to share things, to share about weaving, about music. We all share that part, they learn so fast.


Solomon Islands weaver/singer: we choose weaving and Roviana first at the moment, because I want to have them speak fluent Roviana, then go into weaving and any languages they want to know about Solomons. That’s very important to Mata and Sumana and I, is communication, to share things, to share about weaving, about music. We all share that part, they learn so fast.


Social networks

Unique settings in which identity is shared and supported

Shared history, world view, and experiences of life as an ethnic person in New Zealand

Chinese traditional dancer: I guess it’s a good thing to provide an opportunity to get those young kids to get involved into their cultural group, so they have same identity, same ethnic students, like friends, which they might not have in their kiwi schools. They can make more friends with their own cultural group.

Social networks

Unique settings in which identity is shared and supported

Shared history, world view, and experiences of life as an ethnic person in New Zealand

Chinese traditional dancer: I guess it’s a good thing to provide an opportunity to get those young kids to get involved into their cultural group, so they have same identity, same ethnic students, like friends, which they might not have in their kiwi schools. They can make more friends with their own cultural group.


Community cohesion: intra-ethnic

Activities provide a setting for community gatherings, sometimes with no distinction between audience and artist

These activities by nature and design provide cultural continuity and interconnection


Activities provide a setting for community gatherings, sometimes with no distinction between audience and artist

These activities by nature and design provide cultural continuity and interconnection



Indian singer: It strengthens the community. When you do concerts, people gather together and they come for one common goal which is music. It gives them a platform to be united? I think? In a far away place like NZ, so many miles from India, you kind of miss India. Me and the other people who are culturally active, they are quite responsible for, well, you can take us out of India, but you can’t take

India out of us.


Indian singer: It strengthens the community. When you do concerts, people gather together and they come for one common goal which is music. It gives them a platform to be united? I think? In a far away place like NZ, so many miles from India, you kind of miss India. Me and the other people who are culturally active, they are quite responsible for, well, you can take us out of India, but you can’t take

India out of us.

Social and community processesInter-ethnic connections

• Ethnic artists believe their visibility enhances perceptions of their group by other ethnicities

• Arts provide a non-threatening venue for public exposure to and interaction with other ethnic groups, notably the dominant culture

• Arts provide media by which to explain the values, beliefs, and experiences of a culture or people to other groups

487,000 attended ethnic cultural events in 2004-

Statistics NZ

Inter-ethnic connections

• Ethnic artists believe their visibility enhances perceptions of their group by other ethnicities

• Arts provide a non-threatening venue for public exposure to and interaction with other ethnic groups, notably the dominant culture

• Arts provide media by which to explain the values, beliefs, and experiences of a culture or people to other groups

487,000 attended ethnic cultural events in 2004-

Statistics NZ



Actor/director (Pakeha, married to an African): New Zealand is still relatively isolated compared with say Belgium or New York, it’s still a relatively new experience to have a lot of faces in the street that to most New Zealanders still look quite strange. I think the less strange they look the less danger... This sort of cultural activity is one way to-- a very positive way because it has its own enjoyments, enrichments, way to avoid that happening.


Actor/director (Pakeha, married to an African): New Zealand is still relatively isolated compared with say Belgium or New York, it’s still a relatively new experience to have a lot of faces in the street that to most New Zealanders still look quite strange. I think the less strange they look the less danger... This sort of cultural activity is one way to-- a very positive way because it has its own enjoyments, enrichments, way to avoid that happening.

Senses of belonging, inclusion, caring, interdependence, or emotional

closeness

(e.g. Flanagan, Cumsille, Gill, & Gallay, 2007; Hardaway, C. & Fulghini, A. J., 2006; Hynie, Lalonde, & Lee 2006)

Senses of belonging, inclusion, caring, interdependence, or emotional

closeness

(e.g. Flanagan, Cumsille, Gill, & Gallay, 2007; Hardaway, C. & Fulghini, A. J., 2006; Hynie, Lalonde, & Lee 2006)

Connectedness

Ethnic identity

EID components are very important to traditional/ethnic practitioners in this sample

EID is not considered important to most of the non-traditional arts participants, epecially ones of more

mature years

NZ Chinese writer: Well, in the 60’s and 70’s it was an exciting scene. We were having parties, we were creating. I

never thought of myself as “different” or “Chinese.”

This may reflect assimilationist attitudes in New Zealand prior to the recent increase in immigration.

EID components are very important to traditional/ethnic practitioners in this sample

EID is not considered important to most of the non-traditional arts participants, epecially ones of more

mature years

NZ Chinese writer: Well, in the 60’s and 70’s it was an exciting scene. We were having parties, we were creating. I

never thought of myself as “different” or “Chinese.”

This may reflect assimilationist attitudes in New Zealand prior to the recent increase in immigration.

Ethnic identity

For all artists, including non-traditional, arts practice provides a resource for examining

and resolving identity issues.

Fijian painter: It’s important to practice my art because as a mixed race person there’s a lot of internal conflict, and I think art is a way that helps me understand who I am and why I am the way I am. So I have to practice it, otherwise I’ll go crazy.

For all artists, including non-traditional, arts practice provides a resource for examining

and resolving identity issues.

Fijian painter: It’s important to practice my art because as a mixed race person there’s a lot of internal conflict, and I think art is a way that helps me understand who I am and why I am the way I am. So I have to practice it, otherwise I’ll go crazy.

Ethnic identity

In ethnic arts:

Information is provided about the culture upon which to base identity, values and behaviours

Setting and practices provide intrinsic reinforcement of identity

Filipina dancer: Dance would remind us where we come from, where we are now, and where we are heading tomorrow. It’s always there.

In ethnic arts:

Information is provided about the culture upon which to base identity, values and behaviours

Setting and practices provide intrinsic reinforcement of identity

Filipina dancer: Dance would remind us where we come from, where we are now, and where we are heading tomorrow. It’s always there.

Self-efficacy

“the individual's conviction of being able to master specific activities, situations,

or aspects of his or her own psychological and social functioning.”

(Baccini & Magliulo, 2003, p. 339)

“the individual's conviction of being able to master specific activities, situations,

or aspects of his or her own psychological and social functioning.”

(Baccini & Magliulo, 2003, p. 339)

Self-efficacy & self-esteem

On an individual level, EAP provides opportunities to gain mastery or self-efficacy skills and improve self-esteem

Chinese traditional dancer: It really helps in your life, like the way how you walk and the way how you think, the perceptions you receive from others. It’s a lucky thing if you can do dance in your life.

On an individual level, EAP provides opportunities to gain mastery or self-efficacy skills and improve self-esteem

Chinese traditional dancer: It really helps in your life, like the way how you walk and the way how you think, the perceptions you receive from others. It’s a lucky thing if you can do dance in your life.

One’s valuing of one’s ethnic group, evaluation of self as a member of the group, and perceptions of how the group is valued by outsiders

As a member:

Filipina dancer: When we get together, we sing and dance, and so perhaps I would see- and I admired my elders who were able to dance, and despite their age, they were able to move their hands and turn and twirl.

As perceived by outsiders:

Chinese traditional dancer: You express your ethnicity to Auckland, so you kind of like representing your ethnic group, and also you have better networks and more frequent contacts with government, because you are artist, because we performed in quite many functions or performing activities for people in the large area of Auckland.

One’s valuing of one’s ethnic group, evaluation of self as a member of the group, and perceptions of how the group is valued by outsiders

As a member:

Filipina dancer: When we get together, we sing and dance, and so perhaps I would see- and I admired my elders who were able to dance, and despite their age, they were able to move their hands and turn and twirl.

As perceived by outsiders:

Chinese traditional dancer: You express your ethnicity to Auckland, so you kind of like representing your ethnic group, and also you have better networks and more frequent contacts with government, because you are artist, because we performed in quite many functions or performing activities for people in the large area of Auckland.

Collective self-esteem (CSE)

Toward a model of EAP

EAP Ethnic identity

Environmental mastery(Self-efficacy)

Well Being

Life satisfaction

Social network

Mental health

Individualself-esteem

Collectiveself-esteem

1) Analysis of arts participation effects in a large, longitudinal sample of New Zealand

youth

2) A survey of participants in ethnic arts groups to more precisely test model and

components

1) Analysis of arts participation effects in a large, longitudinal sample of New Zealand

youth

2) A survey of participants in ethnic arts groups to more precisely test model and

components

Future directions

Participation in traditional/ethnic arts isviewed by practitioners to be an asset in

their acculturation experience

On a societal level its support mayprovide valuable avenues to aid in more

favourable acculturation outcomes and social climate

My book/memoir has multiple purposes: it's a story; an insight for others into my culture; a resolution

for myself. My hope is that all of these bear a universality that transcends cultural differences and therefore contributes to reducing prejudice

and racism.NZ Chinese writer/actress

Participation in traditional/ethnic arts isviewed by practitioners to be an asset in

their acculturation experience

On a societal level its support mayprovide valuable avenues to aid in more

favourable acculturation outcomes and social climate

My book/memoir has multiple purposes: it's a story; an insight for others into my culture; a resolution

for myself. My hope is that all of these bear a universality that transcends cultural differences and therefore contributes to reducing prejudice

and racism.NZ Chinese writer/actress

To conclude…

Creating ourselves: Arts and acculturation in New Zealand Study 1 results Stephen Fox Victoria University of Wellington Centre for Applied Cross-Cultural.

Documents

visual artenglandenglish30

visual artchinahkchinese60

arts practices

ethnic arts participation

writeractor filmnzchinese60

ethnic originsarts

cultural modification

culture immigration