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However, the latter conception of a ‘decentalized global narrowcasting’ that is limited to a metropolitan locale does not fit all diasporic experiences. For example, Hassanpour’s chapter describes an audience for live programming which is scattered across continents and Cunningham and Nguyen show how sophisticated video programmes produced by North American Vietnamese communities are exported back into Vietnam. There is significant growth in intercontinental traffic of media products emanating in diasporic locations as distinct from those produced in the homeland.

Once in Australia, these have regained their popularity as a Nation, nostalgia and Bollywood 29 platform to unite the community and act as a moral regime for young people. Significantly enough, in the Hindu religious traditions devotion and erotica are rarely separate departments of life and one very often evokes the other. This is particularly so with the bhakti tradition from which Tulsi Das’s Ramcharitmanas emanates. In the bhakti taxonomy, shringar is the highest form of devotion – the erotic bond between the devotee (a woman) and the deity (a man).

He would consider his music to be very ‘tacky’ and would have felt awkward to play it publicly in a western context. The contemporary Bollywood music, by blending Indian melody with Western beats, has changed all this. Nowadays if you go down the streets of Sydney very often you will hear Indian music blasting. Young people no longer consider the Bollywood songs as curry music. It no longer sounds strange to the average westerner. (Akash Hussain, interviewed May 1998) Arguably because of this hybridisation of Bollywood music, it manages to signify something special to the diasporic young Indians.

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