Goal and objectives of the dissertationGoalThe aim of this research is to examine the ways producer identity affects production practice and, ultimately, cultural representation in a diasporic context. More specifically, the research interrogates the manner in which diasporic and non-diasporic producers construct and manipulate production networks in the pursuit of successful events.ObjectivesThe objectives of this research are framed around a central research question: What are the processes and relationships that support the production of cultural events, with specific reference to events that are of interest to and/or produced by Auckland's Indian communities? This research is inherently interdisciplinary. It studies music and other performing arts events in industrial and nonindustrial contexts. It examines cultural variations resulting from the efforts of producers, who are private individuals, entrepreneurs, community groups, or government bodies, all operating within a context defined by one of Auckland's major diasporic communities.MethodologyThis ethnographic research draws from ethnomusicology, event management, social science and industry practice to achieve a multidisciplinary approach to this applied research project. Primary data was collected by conducting 12 formal in-depth interviews, as well as ongoing discussions with those interviewed and other members of the local Auckland community involved in Indian community arts production during 2010-2012. For this research, participant observation was possible through immersion in various production roles as event support, advisor and as volunteer coordinator, and as audience member across many event platforms. This combination of methods allowed interview findings and statistical data to be compared. Secondary data was collected to support the findings including; government documents comprising quantitative statistical information, qualitative data from ephemera, media, and literature focussing on media promotion and government policy documents. Also included is a detailed discussion of a new method that I have developed in the course of this study and I have applied throughout the case studies. There is also an explanation of an 18-month media snapshot developed to validate the findings through quantitative data. The events included in this study, took place between 1995 and 2012 and are chosen to provide a variety of concerts and festivals featuring Indian cultural content and promoted to Auckland's Indian communities by a range of producer identities. This informed the theoretical approach to Chapters 2 -5, which offer 18 case studies that form the core of the research.ResultsIn order to contrast and compare production practices, the case studies are divided by four different producer types: cultural organisations, government agencies, commercial producers and emerging producers. The findings have determined not only the nature of the events, but also their relevance to various stakeholders, including the audience, sponsors and the wider community. The role the producer plays within the wider community affects production practices, purpose and event goals. Four producer types were identified, and summations can be made on their differing sense of purpose and management styles. Community organisations play important role events in cultural transmission and community cohesion. The variety of community events is increased, reflecting the diversity and size of the growing population. Government agencies rely on government policies, political relationships and top-down management structures for the economic support to produce large cultural festivals. Commercial producers present high risk events, relying on large audiences and are driven by profit. New young migrants, challenging the other with their developed skills useful in the event industry, including DJing, marketing, IT experts and assess to the virtual world. …
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