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    LAJKONIK OF TUCSON - A PIECE OF TRUE POLAND: CONSTRUCTING POLISH - AMERICAN IDENTITIES IN AN ETHNICALLY HETEROGENEOUS SOCIETY

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    GlowackaMusial_temple_0225E_10 ...
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    Genre
    Thesis/Dissertation
    Date
    2009
    Author
    Glowacka-Musial, Monika
    Advisor
    Garrett, Paul B., 1968-
    Committee member
    Akinnaso, Festus Niyi
    Romberg, Raquel
    Williams-Witherspoon, Kimmika
    Department
    Anthropology
    Subject
    Anthropology, Cultural
    Sociolinguistics
    Authenticity
    Diaspora Formation
    Ethnic Community
    Identity Construction
    Negotiations of Heritages
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/1309
    
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    DOI
    http://dx.doi.org/10.34944/dspace/1291
    Abstract
    Tucson, Arizona is a site of a lively Polish-American community. Initially associated with a political organization ("Solidarity Tucson"), which actively supported the Solidarity Movement throughout the 1980s, the Polish diaspora has gradually transformed into an ethnic community very much focused on maintaining its distinctive heritage. Recent formation of the Polish folkloric dance group Lajkonik was directly stimulated by the local multicultural establishment, which promotes ethnic diversity in the Old Pueblo. Having become an integral part of the Southwestern society, Lajkonik has developed a collection of identity practices, which despite diverse influences continues to reproduce Polish cultural traits. In my ethnographic account, I examine ways, by which members of the Lajkonik group construct their diasporic identities. First, I focus on the core activities of the group, which include the practice of Polish traditions, learning folk dances and songs in a wide cultural context, and negotiating the speaking of Polish. Additional analyses, based on video recordings, of Polish classes and dance rehearsals, which show the actual mechanics of the production processes, as well as the narratives of the teacher and parent of performers, further support the account of the ethnographer. Secondly, I look into the development of Polishness for public consumption, which involves negotiation of multiple images in accordance with specific cultural events, creation of engaging stage programs, and presenting the essence of Polishness to festival audiences in Tucson. Regardless of the particular purpose of identities' productions, either for integrating community or public display, these processes simultaneously involve the quest for authenticity, building ethnic pride, and negotiations of diverse traditions.
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