ABSTRACT

This study examines the portrayal of the Sikh diaspora in Canada in the film Breakaway/Speedy Singhs (2011). In particular, I explore two scenes that are at the intersections of transnational configurations and homeland paradigms: (i) the depiction of the Taj in specific aesthetic ways (ii) the micro-interplays of the use of the ancestral material object – the metal headgear resembling a pagri belonging to Sikh warriors that injects a new dimension of how materiality can be recast to generate fresh meanings. These and the other themes in the film gesture at integrative practices and reconceptualizing of tradition, thereby resonating with Sikhism as an everyday experience.

摘要

本研究考察了电影Breakaway/Speedy Singhs (2011)中对加拿大锡克教侨民的描绘。我特别探索了跨国配置和本土范式交叉点的两个场景：(i) 以特定美学方式描绘泰姬陵 (ii) 使用祖传物质——金属头饰的微观相互作用类似于属于锡克教战士的帕格里，它注入了如何重铸物质以产生新意义的新维度。电影中的这些和其他主题表明了对传统的整合实践和重新概念化，从而与锡克教作为一种日常体验产生了共鸣。