British South Asian dancers, choreographers, curators, Arts Council policymakers, and directors of South Asian dance agencies, used ‘hybridity’ as a multi-faceted historical, political, cultural, aesthetic and public culture trope to constitute what is today known as the British South Asian Dance Sector in the UK. This constitution story, initiated under the ideological signs of British multi-culturalism, hybridity and cultural diversity, remains unexamined in theatre, dance and performance scholarship because scholars have not historicized the term and failed to see how it was used creatively as an interweaving trope to facilitate the integration of South Asian dance into British mainstream dance milieu in the three stages of the 1980s, 1990s and 2000s. Drawing on the work of Homi Bhabha, I show how Shobana Jeyasingh, Akram Khan and British South Asian dance organizations used ‘hybridity’ as a multifaceted, historical, institutional, theatrical, choreographic and political trope to integrate South Asian dance forms into mainstream British dance milieu in the forty-year period from 1979 to 2020. I develop my argument by drawing on the work of Mikhail Bakhtin (1981) and focus specifically on the distinction he makes between the two forms of linguistic and cultural hybridization, which he identifies within the frames of ‘unconscious’ organic hybridity and ‘conscious’ intentional hybridity. Significantly for my argument, Bakhtin explains that intentional hybrids build on the historic foundations provided by organic hybrids and deploy these pasts, intentionally, to create new visions in global diasporas. In this paper, I extend Bakhtin’s analytic frame and show how British South Asian chorographers and curators, decontextualized the classical forms of Bharatanatyam and Kathak and reused these, intentionally, to create a hybrid, post-colonial British South Asian dance phenomenon that was both Indian and British simultaneously.

中文翻译：

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英国多元文化主义和南亚舞蹈中的交织混合

英国的南亚舞者、编舞家、策展人、艺术委员会政策制定者和南亚舞蹈机构的主管，使用“混合性”作为一个多方面的历史、政治、文化、审美和公共文化的比喻，构成了今天所称的英国英国的南亚舞蹈界。这个宪法故事是在英国多元文化主义、混合性和文化多样性的意识形态标志下发起的，在戏剧、舞蹈和表演奖学金中仍未得到检验，因为学者们没有将这个词历史化，也没有看到它是如何被创造性地用作一种交织的比喻来促进南亚舞蹈在 1980 年代、1990 年代和 2000 年代三个阶段融入英国主流舞蹈环境。借鉴 Homi Bhabha 的作品，我展示了 Shobana Jeyasingh，从 1979 年到 2020 年的四十年间，阿克拉姆汗和英国的南亚舞蹈组织将“混合”作为一个多方面的、历史的、制度的、戏剧的、编舞的和政治的比喻，将南亚舞蹈形式融入英国主流舞蹈环境中。我的论点借鉴了 Mikhail Bakhtin (1981) 的工作，并特别关注他在语言和文化混合的两种形式之间所做的区分，他在“无意识”有机混合和“有意识”有意混合的框架内确定了这种区别。对于我的论点，巴赫金解释说，有意的杂交建立在有机杂交提供的历史基础上，并有意部署这些过去，以在全球侨民中创造新的愿景。在本文中，