On The Dynamic Cultural Construction And Transculturality In A Change Of Skies

Two tendencies can be observed if one looks at the various experiences ofmigrants, diasporas and cosmopolitans depicted in contemporary Australian literature.First, a large amount of multicultural writing, which is also called "street novel",gives voice to diaspora communities, highlighting the internal relationship withindiasporas. Second, some transcultural novels, which are fewer than the first type,advocate a kind of cultural hybridity and a transcultural critique of identity.Yasmine Gooneratne, who holds a Personal Chair in English Literature atMacquarie University, New South Wales, Australia, is much more concerned with thecollective perception and cultural construction of ethnic diasporas than withpolitically correct, authentic representation of ethnic diasporas or racial and ethnicpurity.Ethnic minorities may respond to the challenges by holding on to the traditionsand beliefs of their homelands or by adapting to the new way of life. These twoattitudes can be labeled "diasporic" and "transcultural". Gooneratne portrays therepresentatives of both kinds according to the characters' response to the challengesin their country of residence in the novel A Change of Skies. The first group consistsof Bharat and the Koyakos, who cling to the traditions and beliefs of their homelands;the other group is represented by Navaranjini and Grandfather Edward, who try to befit for the new way of life in Australia.Gooneratne suggests a transcultural attitude that means immigrants shouldchange their souls when they change their skies. Migration suggests, rather, a morecomplex engagement with a new land which calls into question inherited values andcultural mores. In contrast to the strong sarcastic depictions toward the stubbornKoyakos who adhere to Sri Lankan traditional culture in a ridiculous way as well asBharat who fails at his own career and life, Navaranjini's transcultural consciousnessand behavior are highlighted. She makes friends with Australian natives, exploitingAustralian stereotypes to make the most of her "exotic" ethnicity. She adapts herselfto the situation in which she finds a new self, for her presumed ethnic identity doesnot prevent her from reinventing herself. Bharat's and the Koyakos' "unchangedsouls" label their diasporic experience as a failure, whereas in the resultant conflict and tensions, Navaranjini learns how to grow and cope with the complexities of adiasporic existence.The continued and continuing dynamic changes highlighted in the novel are themost important elements that make transculturality possible. The protagonists'attitude toward Australia, the three generations' attitude toward Australia and theWesterners' attitude toward Australia are all in the process of dynamic change.The novel abounds with stereotyped concepts of the space of Australia, and theseinitially potent stereotypes are countered and deconstructed by intricate mosaics ofdivergent experiences and images, which reveal Australia as a multi-dimensional andever-transforming space. This change of perspective can be understood as atranscultural one, for the stereotypes are found insufficient to be conceptualized intheir transformations and developments.The contrast between Navaranjini and Bharat as well as the Koyakos, and themove from an essentially stereotyped view to a more flexible and dynamic one onAustralian space are the embodiment of "transculturality", which stresses theimportance of dynamic changes and helps to work these factors into anon-hierarchical concept of cultural construction.