ABSTRACT This article examines creative projects amongst second-generation, British Tamil diasporic female musicians (focused on Sri Lankan examples) located within London’s Carnatic music scene. Several scholars have suggested that the twentieth-century Indian nationalist project constructed ideals of femininity that positioned women as bearers of tradition during colonial rule to uphold the inner core of Indian culture [Bakrania 2013; Chatterjee 1989], and which were also reflected in the restricted performance and creativity of Carnatic music for female musicians [Subramanian 2006; Weidman 2003]. This article focuses on second-generation musicians, who combine their Carnatic background and ‘South Indian’ sound with other everyday sounds in Britain. Their creative projects shift from an aesthetic that was responsive to colonialism in India to highlight female creativity and hybridity in decolonising processes. This article presents examples of how cultural expectations of women as bearers of tradition are decentred, repositioning them as creative agents in a transnational diaspora.

中文翻译：

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伦敦的性别、新创意和卡纳提克音乐

摘要 本文考察了位于伦敦卡纳提克音乐界的第二代英国泰米尔女音乐家（以斯里兰卡为例）的创意项目。几位学者认为，20 世纪的印度民族主义项目构建了女性气质的理想，在殖民统治期间将女性定位为传统的承载者，以维护印度文化的内核 [Bakrania 2013; Chatterjee 1989]，这也反映在 Carnatic 音乐对女性音乐家的表演和创造力的限制 [Subramanian 2006; 魏德曼 2003]。本文重点介绍第二代音乐家，他们将他们的 Carnatic 背景和“南印度”声音与英国的其他日常声音相结合。他们的创意项目从一种响应印度殖民主义的美学转变为在非殖民化过程中突出女性的创造力和混合性。本文举例说明了女性作为传统承载者的文化期望如何去中心化，将她们重新定位为跨国侨民中的创意代理人。