I have been a fan of Bollywood film ever since I was first introduced to the three-hour classic Kabhi Khushi Kabhie Gham in high school. I can quite clearly remember being amazed by the intricate details in the costumes, the set designs and the drama throughout the course of the film. Last year I even dedicated my DIGC202 project to my Bollywood film experiences through the form of a YouTube channel.
Wanting to stick with something somewhat familiar to me — that being my growing appreciation for Hindi culture, — I decided to focus my autoethnographic research project on my experience of Hindi television. In doing so, I hoped to further heighten my understanding of Indian culture and thus become a more culturally aware individual.
“Autoethnography is an approach to research and writing that seeks to describe and systematically analyse personal experience in order to understand cultural experience.” By live-tweeting my personal experience of a Hindi television show — an aspect of Indian culture entirely foreign to me — I hoped to produce an authentic account of my experience that could enhance my understanding of Indian culture. Autoethnography as a methodology aims to “facilitate understanding of a culture for insiders and outsiders,” and whilst viewing Hindi TV for the first time, my status as a cultural outsider became painfully apparent.
Upon deciding on experiencing Indian TV for my autoethnographic research project, I was then tasked with finding an appropriate Hindi television program. It was here that I became awfully aware of the fact that I was an outsider looking in. When choosing an Indian TV program to watch, I found it incredibly hard to locate a show online that was both accessible in Australia and had English subtitles. I initially wanted to watch a TV show called Comedy Nights with Kapil due to its SNL parallels and comedic value in India, but after several failed attempts to find an episode with English subtitles, I gave up and chose something completely different. Due to its universal accessibility — meaning it was available with English subtitles on YouTube — I chose Mahabharat as the field site of my autoethnographic research.
Mahabharat, produced and directed by B.R. and Ravi Chopra, was first aired in India in 1988. It tells the story of the Hindu epic of the same name, abounding in religious, social and political history and commentary. The 94-episode series falls into the historical-drama genre and was well received by audiences across India and made popular transnationally thanks to the diversification of Indian diaspora.
In order to share my autoethnographic experience of Mahabharat and provide a detailed account of my thoughts, feelings and interactions I decided to live-tweet whilst watching the first episode. Twitter has been utilised among many as a tool for interactive communication, accessible to the masses as a way to actively participate in conversation and debate (Kassens-Noor, 2012). In choosing Twitter as the outlet for my initial accounts of Mahabharat I was aware that my unfiltered commentary would be readily accessible to any user who happened to search the Mahabharat or DIGC330 tag. It is believed that live-tweeting “promotes connections with real-life learning, thereby encouraging critical reflection and fostering enhanced understanding” (Kassens-Noor, 2012, p.11). I wanted the live-tweeting process to not only enhance the cultural experience I was immersing myself in, but to ultimately challenge the way in which I “see how every day communication produces cultural norms” (Warren, 2009). Some of the tweets I shared whilst encountering Mahabharat for the first time — and the first impressions, cultural assumptions and opinions I had on the show — have been included below.
- My initial commentary on the gender roles presented in Mahabharat reflected a disparity between men and women:
- The significance of religion and spirituality in Mahabharat was addressed on several occasions:
- Ideas and thoughts I shared on issues of translation in Mahabharat, or concepts I simply did not understand revealed my status as a ‘cultural outsider’:
- My final tweets regarding the conclusion of the episode summed up the messages or lessons I interpreted throughout the program:
In my attempts to discern unfamiliar cultural meanings and contexts, I have been able to expand on the knowledge I had previously possessed on Indian social values and norms. Moreover, by participating in my viewing experience of Mahabharat I have been able to question my own place in the world, and how this in turn shapes the way in which I interpret or make sense of others. Mahabharat as a field site has consequently both enlightened and challenged my “assumptions of the world” and has hopefully made me a more culturally appreciative and understanding individual.
- Ellis, C., Adams, T.E., and Bochner, A.P., 2011, ‘Autoethnography: An Overview’, Forum: Qualitative Social Research, 12:1.
- Kassens-Noor, E., 2012, ‘Twitter as a teaching practice to enhance active and informal learning in higher education: The case of sustainable tweets’, Active Learning in Higher Education, 13(1), Michigan State University, Sage Publications, pp.9-21.
- Warren, J.T., 2009, ‘Autoethnography’ in Encyclopaedia of Communication Theory, SAGE Publications, p.68-69.