Critical Review: "The Paradoxes of an Indian American Youth Subculture"

Maira’s ethnography of Indian-American youth culture begins with an ethnographic moment, the author’s own experience at an “Indian party” at a New York club. This article describes the youth culture of children of Indian immigrants and what Maira discovered about it through interviewing and observing 35 second-generation Indian Americans in Manhattan who grew up in the United States. Although she originally planned to study identity among these young adults, she quickly moved her focus to popular culture as it became clear how this culture impacts the negotiation of identity, both in terms of the socialization with members of the same culture it provides and the ways in which cultural contradictions develop within its confines.

This second-generation subculture revolves mainly around music and fashion. The music of the culture is a fusion of American hip-hop, rap, techno, and reggae with that of Hindi film and bangra. The fashion is generally representative of hip-hop fashion but with some classical Indian elements such as nose rings and bindis. There is some sense of locality within the subculture, as the popularity of particular styles are more prevalent in some cities than others. Subcultural capital is very important to these youths, and brand name hip-hop clothing and accessories are a must.

Like many subcultures, Indian-American youth subculture is based on “the contradictions of the ‘parent culture’” (Maira 34). This is evident in the adoption of hip-hop style by many Indian teens as an act of rebellion against their parents. Others try to hide their provocative style from their parents by changing clothes when out of parental sight. What Maira discovered through her research, however, is that second generation Indian immigrants are not giving up ties to their roots. In the words of Maira, “the immigrant generation’s desire to preserve an authentic ethnic identity lingers in the second generation, for whom being essentially Indian becomes a marker of cultural and even moral superiority” (Maira 37). This hybrid nature of this subculture is a happy medium (at times) between the expectations of immigrant parents and those of mainstream American youth culture. Youths may join the subculture because it is more acceptable to Indian parents than white culture (which is often thought of as “corrupt”), leading to parental approval of activities that may, unknowingly to parents, be just as promiscuous. Many second-generation youths, however, still desire to go back to India and nod to their hip-hop inspired culture as only temporary, thinking of it as “‘diluted’ or somehow less ‘authentically’ Indian” (Maira 50). Although this view works in theory, the actions of these young adults do not always support the maintenance of “pure” Indian culture.

Another important aspect of Maira’s article was the double standard present in the subculture based on gender. Beauty for Indian women is best encapsulated by the typical Indian film actress with long, dark hair and light skin. Attractiveness for men is gaged by the man’s ability to break free of the nerdy and effeminate Indian stereotype and be as macho as possible. Maira hypothesizes that this is the reason for the adoption of black style by many Indian men. The double standard enters the equation in the form of one of the biggest hypocrisies in the new Indian youth culture: girlfriends are expected to be “seductive [and] party-going” while wives are expected to “uphold the sanctity of family and, by extension, tradition” (Maira 47). In other words, Indian women are expected to take on an American sexuality that contradicts their heritage while still upholding the standards of purity and chastity common among traditional Indian women. Female sexuality is not only monitored by the parent culture; the youths monitor each other using the virgin/whore dichotomy. Though youths frequently adopt aspects of American culture into their lives, they are thought of as “‘seductive’ and ‘polluting’ influences from which ethnic identity must be protected” (Maira 51). This contradiction alone displays the complexity of Indian-American youth subculture as it tries to hold on to its roots while allowing for accommodation as well.

Discussion questions: Popular films such as “Bend it like Beckham” and “Slumdog Millionaire” have put Indian culture on display in America. How have they shaped an American view of what it is like to be an Indian teenager (both in America and in India)? Do films like these “pollute” ethnic identity among Indian teens in America, or do they renew a sense pride that these youths have for their culture?