Major project report 2014
Visual Summary 1
Major project report 2014
Muktai Joshi JOS 13407858 Unit 3 : Major Project This visual summary reflects the journey of my major project along with the visual experiments during my M.A. in Graphic Branding & Identity at the University of the arts London in 2014.
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Contents 01 Research question 02 Introduction 03 Field of study 04 Methodology 05 Visual Experimentation Nomenclature Logotype Brand colour Brand language
06 Deliverables Stationery Identity guidelines Playing cards Magazine Dating website
07 Bibliography
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Artist Cecilia Paredes’s work addresses issues of migration, belonging, “the other,” and adjustment.
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Research question
How can a brand celebrate the fusion identity of young British citizens with Indian roots? 5
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The identity project
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02 Introduction My research study started with the experiences and observations I gathered during my part-time work, and henceforth I started investigating the “lost identity of a second generation POI”. I started to explore various aspects of identity from various perspectives. Identity is an ambiguous and slippery term. It has been used—and perhaps overused—in many different contexts and for many different purposes, particularly in recent years. As we shall see, there are some diverse assumptions about what identity is, and about its relevance to our understanding of young people’s engagements with digital media. Yet on the other hand, identity also implies a relationship with a broader collective or social group of some kind. When we talk about national identity, cultural identity, or gender identity, for example, we imply that our identity is partly a matter of what we share with other people.
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Annual Baisakhi Festival, Leicester, 2011
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2.1 Indian diaspora in Britain. Migration of Indians to Britain started as a result of the colonial relationship going back several centuries. The process moved on to temporary labour migration and then family reunion. The most recent stream of migration is that of medical practitioners, students and due to marriage. Indians are the largest minority group in Britain (one million, according to Census 2001). Overall, their socio-economic position shows strong patterns of educational and economic success. At the same time, people of Indian origin practice a high level of cultural and religious maintenance, and display strong attachments to their ancestral homeland. Thus, paradoxically, Indians are both a well-integrated part of the British population and an important diaspora group, which remains involved in the economic, political and cultural affairs of India.
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2.2 Demographics
During the process of creating a perfect brand solution, I have learnt that it is very important to study deep and understand every factor related to the issue chosen. When I first came to UK, especially London, I was surprised to see so many British Indians here. After the statistical research I found out that, today the population of these Indian-born people (in my research I call them 1st generation) and those born in the UK with Indian descent (referred as second generation) already exceeds 1.6 million in the UK. In London, Indians even count as high as 6% of the total population. More importantly, UK Indians are considered as socio-economically affluent and mostly members of the middle class. UK Indians concentrate on the major cities in the UK. These migrants have created their own communities. There are certain areas in London which are the popular spots where Indians gather, such as Southall, Hounslow, Brent, Croydon, Ealing, Barnet, etc. In Leicester, even 18.7% of the population are Indians (2009). Since the language system of Indians is quite complex, in the UK, the most commonly used languages among the Indians are Gujarati, Punjabi, Urdu, Hindi and Bengali. This is the result of the diverse ethnic groups in India. According to the 2011 census, Hinduism was the religion of 816,633 people in England and Wales.
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2.3 Demographics
65% 45%
45% 28% 15% 12% 6.2% 3.7% 2.2% 1.8%
Indian born population (1st generation migrants) Britain born Indians (2nd generation migrants)
Hindu Sikh Muslim Other
London Leicester Slough Blackburn *According to the total population of Indians in UK, BBC2011
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“The young person is a passive recipient of adult influences, a “becoming” rather than a “being” in their own right.” Erik Eriksson
2.4 Target Audience Young people of Indian origin The ideal set of audience would be girls and boys of age group 16-24, who are born and brought up in UK but raised by India born parents. Specially the second generation British Indians who have visited India before and have good connections back home. They can be a part of any Indian community/ organizations.
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“I think that where you are at the present is the most important, but at the same time it’s essential to not let go of where you’ve been. You should not have to let go of your roots to be a part of British society. — Avnee, 22, British-Indian Photograph by Quetzal Maucci
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03 Field of Study Studying design and its related fields bring indepth studies into cultural and social patterns. In order to design for the masses, one needs to understand psychological needs and limitations within a targeted group. It is the brand’s job to determine and understands its consumer. My research has taken me into a study of groups within our society, but these groups do not necessarily represent consumer markets, they represent sections of stereotypes. My research started off by looking into the topic of cultural identity of British- Indian youth and how they assert their Indian identity in general as well as in the context of branding, exploring basic and common stereotypes such as culture, religion, gender and age. These areas gave me a basic insight into my topic and its relevance and theories in the past and today. I deduced that in some ways or the other people are much more tolerant of these people these days than they were in the past. The purpose of this research was to explore British Asian young people and to capture the experience of living with a ‘double identity’ so that specific needs of these young people can be better understood and therefore valid and efficient design solution can be provided to the targeted audience. On the other hand this research can help to raise the awareness of why youngsters feel
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that they have to lead a double identity. This would then increase the knowledge and understanding of why many British-Indian young people have to lead and behave in certain ways within and out of the family home.
The key questions:
01.
How do British – Indian young people negotiate double identities?
02.
What are the family, cultural and social factors that influence and/or shape how the young people behave in different environments?
03.
What do researchers; professionals and organizations understand about the cultural identity needs and practices of these youngsters? Following are some of the research methods and the observations I collected through these researches.
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3.1 Primary research One of the most important things I have learned during the course is to question and reflect “your” opinion on a piece of information you gather through various mediums. Analysing the field of study and the context about the subject area, and also proved my area of interest practical and achievable. I came across a term called “TCK” meaning third culture kids, which was somewhat similar to my work area. However the information available on the identity issue of just bi-cultural kids was limited I did a extensive study about TCKs but I made a point to keep both the cases different as I found that there are some major differences in the psychology of these kids. In the sociological issues I studied about the concepts like acculturation, salad bowl and melting pot (American metaphors for multiculturalism) and tried incorporating that in the British culture.
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What is cultural identity? Cultural identity shapes who we are and how we see ourselves as individuals. By knowing our cultural history we can understand our families, the society we live in and expectations that people have of us. This gives us confidence and increased self-esteem, we feel that we belong and understand the values that are important to us. Our cultural identity leads us to act, conform and behave in a manner that is an important part of our lives. In my view, young people should be able to explore their personal, local, national and global identities. While reading I found out a major study by Professor Ghuman featured in “Double Loyalties, South Asian Adolescents in the West” (2003) which identifies issues facing second and third generation of South Asian young people growing up in Western countries. The study highlights that to understand the real issues facing South Asian young people, there needs to be an improvement in their education, lifestyles as well as understanding the impact of family, culture and religion. My study is also supported by The Runnymede Trust, which says, “it is essential that young people gain an understanding of their culture and traditions so that they can develop a positive cultural identity” (Weekes-Bernard, D; 2007)
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The Sikh Project
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3.2 Secondary research Focus groups observation, one to one interviews and questionnaires were undertaken with young people, parents and few organizations. The data was then analysed to produce the key findings under three key themes of negotiating identity, family, social and cultural factors of dual identity. The majority of the data was qualitative. Following some of the statistics I gathered during the research Overall, my findings support the idea that there is a strong existence of dual identity in BritishIndian young people. These people led a double identity outside of their family home such as their peers. Participants accepted that family pressure and peer pressure were key factors for the existence and negotiation of a double identity. Other key factors, which contributed to double identity existing amongst South Asian young people, were dress codes, appearances, and personalities. According to the expert, it was highlighted that these young Brit- Indians have very “complicated and complex needs which need to be addressed�. This includes stigma, barriers and acceptance in relation to their appearance, culture, religion and behaviour. What I would, therefore, like to find similarities and differences across communities, which might able to address the needs of the target audience.
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Aaditee , 21-year-old, student at the Liverpool university mentions, “People knew I was different not only because of my skin colour but also because of what I could and couldn’t do due to certain restrictions by my parents, these restrictions meant that there were certain things that I, as a Indian, couldn’t do, whereas other English people could,”
Looking at the positive side, having a dual identity has been an asset, allowing people to interact with and learn from a broad spectrum of fellow humans.
“When I was younger I felt that there was a barrier between Asian and non-Asians, so I always fit in better with the Asians as I felt that they understood me more. But by the time I moved to university, I had the fortune of meeting and making friends with many different people. I see no difference anymore.” says 24-year-old Yogesh from university of Birmingham.
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Expert Opinion
Well all TCKs go through that state of not belonging anywhere. It’s their fundamental problem because they are so immersed in two different cultures. They have their parent’s culture which they go home to, and the other culture they grew up in, so it’s a constant struggle for them. -Manisha Dash Mishra, psychologist
General Observations Answering “where do you come from” is difficult Sense of pride vis-à-vis their community members back in India Bonding or bondage with Indian community in UK Lack of sense of belonging to either cultures
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To get the direct answers about the identity I asked 25 of my friends and relatives aged between 16-24. Following are the result of it. I got very clear answers of how people perceive their identities. I decided to refer them as British Indians.
How do you answer this question: “ Where are you from?� 55%
I simplify as such as possible
22%
I make something up
15%
I tell the entire story
8%
I avoid question entirely
Which term describes your identity? 26%
British Indian
20%
British Asian Other Asian British Hindu/Muslim/Sikh NRI
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16% 21% 14% 3%
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3.3 Evaluation Considering the information from the literature and theory as well as the findings from my research about the third generation of Indians in Britain one can conclude that the third generation is fully integrated in the two cultures which characterize and form their lives. They are part of the British society as well as of their own ethnic and religious community fully belonging to either. They enjoy cultural aspects of both cultures: football as much Bollywood. Their lives are characterized by the hybridity of two or more cultures and identities. However, as much as they enjoy their hybrid and bi-cultural life they consciously retain ethnic pride and identity. On the other hand I also felt that the targeted audience is well knowledge about the “British culture and mannerism� but Indian cultural understanding is very shallow and superficial (which is mostly projected through the Indo-British cinema) After the primary and secondary research, I understood that identity changes according to different situations and environments some of them felt that they were trapped between their culture/ ethnicity and the modern western society they live in. Few also agreed that they do behave different at home, compared to another environment and setting.
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Monarchs of the East End by Fernandez, Gavin (2006) in the University of the arts London
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04 Visual Experimentation
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During my primary and secondary research, I came across the unique work done by London based Singh twins. Combining elements from West-
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ern and Eastern aesthetics they assert the value of traditional and non European art forms to the continuing development of Contemporary Art practice - exploring cultural, social and political issues of global significance within a highly decorative,
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often witty and symbolic style which has universal appeal and transcends cultural barriers. I was highly influenced by their work. I followed their footsteps
by blending cuisines, symbols, art styles,colours, names etc. to symbolise fusion of two cultures.
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Experiment : Fusing western attire with traditional Indian jewellery : NATH
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Experiment : Fusing western attire with traditional Indian jewellery: FETA
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Experiment “The juxtaposition series� The effect of placing/seeing two things with their contrasting effect. While exploring the duality and fusion, I tried using pictures of British personalities of Indian origin, to visualise their identity. Having successfully amalgamated to the British society,their racial features does not hold any relevance. Hence I have erased their facial details to which I incorporated fused flags of both countries. With this experiment I wanted to promote the advantages of belonging to both cultures and proving a point of difference. I did not proceed down this route any further since it had a very limited scope.
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Experiment In the second experiment I tried creating visuals using traditional articles used by a typical western and an eastern bride. I tried fusing them to depict a modern bride who believes in the customs and values of both cultures. This led me to create more visuals with regard to modern brides. I created a collage version of the same by gathering images from the Asian Bride Magazine which fuses both cultures in an Indo-British wedding.
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4.1 Brand Idea After various visual experimentations, it was time to translate ideas into a complete brand; including a brand strategy and its execution. I decided to look into various industries and businesses which are closely related to my target audience. I looked out for existing brands and campaigns which are targeting the youth of Indian origin in Britain. As I started to list down the existing business ideas, I found that there are many brands in the food and fashion industries. I gathered few brand identities and visuals related to them. As my initial brand idea I thought of a fusion curry shop or an Indo-western clothing brand and so on. During the process I felt that these businesses are not catering to the dilemmas of the target audience.
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4.1 Brand Idea During Diwali and Holi (Indian Festivals), I participated in various activities organised by Maharashtra Mandala, Hounslow. During these festivals I observed that, in London and all over U.K. , there are more than 100 small associations and communities created by the people of Indian origin to promote and retain the cultural heritage among today’s second generation youth. These communities are based on linguistic or geographical differences of India for e.g. Gujarati association, Leicester or South Indians in London etc. The purpose of these communities is to create a venue for adults to gather, discuss and participate in events . It is a platform for the new generations to make new friends, learn about the culture and have a ready-made community that they can assimilate to. I decided to come up with a brand, which will be dedicated to the British Indian youth to celebrate their fusion cultural identity without any societal pressures. I tried coming up with various names for the brand.
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Collection of brand identities of various communities in the UK
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4.1 Brand Idea After browsing through the websites of various communities, I observed that all the communities generally use the three colours of an Indian flag. The brand identities are visually similar and promote Indian culture. Since my brand targets the youth, I wanted the brand to be youthful and dynamic. I used Simon Sinek’s Golden Circle brand model to come up with a brand idea by questioning the idea of the brand.
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What is the brand about? Community for young British Indians
What does it do?
Platform to express one’s cultural identity through various communication mediums.
What is it for?
To gather people and resolve duality amongst the youth.
Personality
Young, easy going, fresh, dynamic, easy to adopt to, welcoming
Tone of voice
Youthful, casual, freedom of speech, warm, HINGLISH
Need of the brand
To celebrate fusion identity rather than promoting anyone of the identity
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4.2 Nomenclature After deciding the basics of the brand, I converted it into visuals. I came up with various names like Endemage (merging of two), Desi George, Curry Mantra, Fuse, Bonsai Banyan ( to depict banyan tree without roots), Ligers club ( combing national animals of both the countries) and Cutting Chai, to give it a casual perception etc.. But none of the names or the identities conveyed the message or the look or the feel I was trying to portray.
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ligers club
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4.3 Nomenclature I wanted an apt name for my brand which will be appealing to today’s youth. As the basic idea was to fuse cultures, I decided to use initial letters from England and India and came up with a brand name ING. In English, the suffix ‘ ing‘ is used in present continuous tense . It also symbolically represents the future continuation of the brand. I visualised the concept of ING. I came up with various depictions of the concept.
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Hindustan + England = HINDU-LAND England + Hindustan= ENGLISTAN England + India = ENGLIA
INDIA + ENGLAND INDIA + ENGLAND INENG INNG
_ING *ING -ING +ING 43
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I
N
G
G
I N
I tried creating various symbols and logos by converting ING into East India company’s iconic identity and giving it a historic look.
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I also converted letters- I,N,G -into elephant shaped typeform; which represents Indian culture.
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As I was exploring the brand identity, I came across the concept of Philosopher’s Stone which is considered to be a catalyst for transformation. Using the theme I created a brand identity depicting this phenomena. But the idea was too complex and very few people new about it. I decided not to proceed with this.
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4.4 Logotype In the process of creating a logotype, I decided to combine Devnagri script and Roman script to create a font of my own. I studied the anatomy and the construction of the scripts. I created a logo- type using both the scripts, depicting the fusion. Finding similarities and deriving letters from it was a difficult time - consuming task. As a initial research I gathered few examples of the same.
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I collected and studied various fonts which were derived from or influenced by the Roman script. During the study I observed that the base of every letter is a circle or a line. Having found a common link, I started to fuse the scripts.
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I constructed a Devangari font focusing on circles and lines. But the font which I created was not readable and I was unable to include Roman script in it. After few experiments I decided to stick with a regular serif Devnagari font. Instead I focused on the curves and lines of the Roman script, thereby assimilating the Devnagari script. I chose Gill sans and Din Devnagari as my base fonts.
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ing
ing
inging Stage 1
ing ing
Stage 2
Stage 3
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Stage 4
Stage 5
Stage 6
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Stage 7
Stage 8
Stage 9
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Unlike the Roman script, Devanagari letters are written below the line (someone has described that Devangari letters are like clothes hanging on a rod). The curvatures of G and I in the identity suggest two end points of a line, which is another element of the Devangari script.
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Stage 10
This is the final identity of the brand _ING. It is created by combining letters of Devnagari alphabet with Roman script. It is a curvilinear font.
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4.5 Logotype While deciding the colour I was thinking of fusion of two colours creating a third colour. That would have meant creating three colours which in turn would have made the logo printing more difficult on mass scale. I tried to use the colour to depict the community’s need to assert themselves in the British Society. In Britain the red colour signifies prominence, authority and hence I decided to use the bright red colour. In Indian culture red denotes bravery, protection and strength. Red powder is often showered on deities at temples during prayer. The coloured powder therefore has become a hugely intrinsic part of Indian culture.
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It was now time for me to come up with a visual language, colour and icon system for the brand. I experimented with the logo using youthful colours and friendly
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icons. I also created few illustrations depicting various community activities. But the colours and graphic style were too casual for a complex subject like this. I decides not to use this design route.
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Photography During the process for creating a brand language I decided to use blur imagery in the background of my brand, I was inspired by the photographer Gisella Klein and her unique skills. I took photographs in a similar manner by reducing the aperture of the lens and I got some interesting results.
http://www.gisellaklein.nl
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http://www.gisellaklein.nl
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Photographs captured and edited by me.
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Photographs captured and edited by me.
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I tried incorporating my photographs and by Gisella Klein into a brand language. But there were few limitations in the post production of this brand
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language. I decided to explore something different and easy suitable for mass productions a brand language. I came across lenticular printing.
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Exploring Lenticular Lenticular images : in which one image turns into another image according to the location from which is viewed. Concept : Creating a language which brings metamorphosis or transformation on a static piece of work? Change of angle/ location of the viewer
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illusion.scene360.com
Exploring the Boundaries of Perspective Roa Lenticular Rabbit | Street art | Pinterest
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http://thingsmagazine.net/projects/1960s/index.htm
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During the experimentation I came across an artwork by Bill Viola. Using one of his visual I decided to create visual language that gave a static lenticular effect.
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Bill Viola
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Stage 1
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Stage 2
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Stage 3
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Poster 2
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As a static visual representation of lenticular printing, I decided to combine two images to create a single picture. This serie was conveying more of a duality than a fusion and was gave away negative message of confusion and distorted identity. Rather than just choosing beautiful looking visuals I wanted my language to be practical and apt, so I decided not to use this as my visual language either.
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Let’s go back to the basics! As I was trying to come up with an interesting solution for my brand language, I though that all the solutions I had created thus far are very complex and difficult for a large scale adaptation and hence I decided to start all over again. In this thought process, I decided to work with the basic shapes which I studied in unit 1.1 in the course. I decided to fuse various shapes including lines, triangles, squares and circles. In the following section I have shown the process in various stages.
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Experimenting with lines to depict fusion
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Experimenting with triangles to depict fusion
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Inspired by artist Mark Wallinger’s labyrinth London, (installation of a unique piece of art in every tube station each depicting a different maze-
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like pattern) I created circles depicting distortion and duality. I decided to explore “circle “ as the base of my visual language.
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Experimenting with shapes to depict fusion/duality
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Parallely I collected various brands identities which uses circle as their base of brand identity and brand language. During 1.1 I had concluded that the circle depicts completeness, unity and a continuous process; values that I wanted to promote. I decided to explore the use of circle to symbolise community.
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A graphic symbol is often used as part of logo design in order to convey a particular idea or concept in an effective and eye catching way. One of the most commonly used shapes is the circle. Circular logos have been some of the most popular trends in logo design. A circle is timeless, simple and memorable.
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Exploring fusion through circle. I sliced them and created symbols with the same.
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I noticed that my logotype consisted of many circles. Since circle is commonly used shape in many brand identities, I decided to use circular rings to express fusion in the visual language.
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This is the base for the brand identity and brand language. It symbolises unity, togetherness, bonding and continuity.
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I felt the symbol I chose was very static. To make it more dynamic I decided to slice it in three different ways - full, 3/4, and 1/4 rth.
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Tilak - Sect Mark
I was inspired by the Gay Pride campaign and I wanted to give ING community a mark. It was now time to create icons and symbols to depict the various aspects of the community. The cropped circles at the first glance looked like a Tilak on a forehead which is a very common for Indians. ( for women it is called as Bindi). However Tika is associated with Hinduism, I did not want to insinuate any religious affiliation.
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In the process of finding a connection between a circle and Indian culture, I came across the modern Rangoli stickers which are now a days used in Indian
households in the UK. I experimented various pattern with a circular ring to give a modern outlook with an Indian traditional pattern. I found it simple and relevant.
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With the circular rings, I was keen to make a graphical system for my brand. I started combing various slices of the ring and I came up with unique
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visual elements. I decided to use them as icons for the brand language.
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identify
bond
blend
connect
explore
celebrate
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Output
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Intended use of brand applications: The website will be accessible only to the members while the playing cards, and stationery/ merchandise can be used by members to interact with/ engage/ gift to other members of the community as well as citizens outside their community. The magazine may be of interest primarily to the members, while the non members can make use of it to understand the community. The members can use brochures/ invitation cards in the magazine to invite non members to involve them in the community celebrations. I have incorporated duality or fusion in every output.
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Stationery and Merchandise I have explored the possibilities of designing various product graphics by using the brand logo or the language including t-shirts, letterheads, visiting cards, folders, badges etc.. which will help the brand promote its identity.
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Various brand products to promote the identity. To make the identity dynamic patterns as well as logo has been used at appropriate places
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Things to remember!
Brand guidelines were created to ensure proper usage of the brand identity and brand language. Keeping in view the fact that the members are young and would not be interested in a rigid, long set of rules, I decided to keep the rules to the minimum. I have in fact encouraged flexibility and co creation. Brand guidelines have been presented in a modular way emphasizing one aspect at a time. Hence instead of a book they are presented as set of independent cards in a box.
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Playing cards/ deck I decided to combine psychological techniques of creating a community through interactions and I created a unique and creative playing deck, which can be used as to facilitate starting of a conversation. One could pick a topic or create one’s own. I consciously selected the images used for the deck and searched for words, which are effective and indirectly related to this topic. The purpose of the deck is to transform community atmosphere & bringing people together by opening their emotional sides by sharing thoughts and ideas. I have come up with the unique idea of combing a deck and conversation starter cards, where people can play games and bond to strengthen the relationships having various conversations. Front of the card includes the regular deck designed according to the brand language for which I created symbols representing the spades, hearts, diamonds and clubs following the brand language. I also changed the traditional layout of a card to a modern looking dynamic arrangement. On the other side of the card I have selected few visuals depicting various aspects of life including home, travel, family, culture etc.. that will indirectly trigger the conversation. In the deck there are few pages having just the words and also some cards are kept blank in-case somebody wants to write their own topic of discussion or want to make any notes on it which can be forwarded to another set of group playing the same deck of cards.
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diamond
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spades
clubs
hearts
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Magazine: Magazine will consist of experiences and expressions of British Indians. On the print front translating the idea of fusing and duality I created a magazine opening from both the sides (one side being the brochure of the organization and other being the expressions blogs and writing collected by me through internet and various friends). I have created provision for small cards/invites for various festivals/ events including Diwali and Holi on the backside of the magazine. Ing magazine is a magazine dedicated to today’s generation of British Indians, complete with attitude, expression and creativity. The layout of magazine is modern yet simple. Uses of colours, pictures are coherent with the brand language. In this magazine various arts and creative ideas will be published along with interviews. Variety of work from people on of how they depict their identity will be showcased. In this particular issue I have added an interview of a UK based artist, Hiten Patel and the magazine also consists of a review about a movie with the similar subject of identity expression. This section will broaden the mindset of the people. This section can also include creative expressions like short stories/ poems written by members I visually approached the content with vivid, unapologetic colour and illustrations, bringing an unexpected sense of levity and optimism to the otherwise sensitive content.
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Dating + Social Website As a web application I created a unique social + dating website inspired by Facebook and a very famous arranged marriage site called Shaadi.com and fused it to create a unique interface which will be apt for the audience. To achieve that, I actually opened a fake account on one of the website to understand the function and relevance of the same. It gave me great insights to come up with a perfect solution for the problem I have discovered during the research. It is a dating-social-network application. It enables users to create a profile, upload photos or integrate with Instagram. One could either sign up with their Facebook or (for the more shy/devious ones out there) one can create a new account. I kept the interface very simple and easy to understand.
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Well this is a dating-social-network website. Supposed to enable members to create a profile, upload photos or integrate with Instagram. One could either sign up with their Facebook or one can create a new account.
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Website shows both when logged in (top header) and how the start page looks like when you ain’t a user (as the “Register now” and “Sign in” buttons is displayed)
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To combine the dating site I have added these features like date request, my matches. It will be a great platform to find the perfect match from the same community.
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For the ones who are straight forward with where they are: they can connect and share their localization on the map. I’d guess that feature would be helpful to connect instantly for a network.
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Member will get “profile card� to check their matches with a person, based on interest and more. Go quickly through persons and they can then click on their profile card to see it flip around and show more detailed information.
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Image above shows the back of the profile card.
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07.Bibliography Cheng, C.-Y. (n.d.). Assimilation and Contrast Effects in Cultural Frame Switching. journal of cross cultural psychology. [Online]. Available at: http:// jcc.sagepub.com/content/37/6/742.abstract. Dason, A. (2010). Desi Dreams. 1st ed. India: Oxford Bookstore. Grosjean, F. (n.d.). Franรงois Grosjean. francoisgrosjean.ch/blog. [Online]. Available at: http://www.francoisgrosjean.ch/blog_en.html. Hankin, N. (2008). Hanklyn-Janklyn: A Rumble-Tumble Guide to Some Words, Customs, and Quiddities Indian and Indo-British. 2nd ed. India Research Press. Lee, C.-Y. C. and F. (n.d.). Multiracial Identity Integration: Perceptions of Conflict and Distance among Multiracial Individuals. Journal of Social Issues, Volume 65 (Issue 1). M.Mok and W.Morris. (2012). Managing two cultural identities: The malleability of bi-cultural identity integration as a function of induced global or local processing. Personality and Social Psychology Bulletin, 38 (2). Simon, B. and Grabow, F. R. and O. (14AD). When Dual Identity Becomes a Liability: Identity and Political Radicalism Among Migrants. sagepub.com. [Online]. Available at: http://pss.sagepub.com/content/early/2013/01/14/0956797612450889.full.pdf [Accessed: 15AD]. welankar, aparna. (2006). for here or to go. 4th ed. India: mehta publishing house. Winder, R. (2010). Bloody Foreigners: The Story of Immigration to Britain By Rober. 2nd ed. London: Little, Brown Book Group. Bliss, R. (2014). communicating across boundaries. across boundaries. [Online]. Available at: http://communicatingacrossboundariesblog.com [Accessed: 2014]. Booth, L. (n.d.). BBC News Player - British Asians on identity. bbc. [Online]. Available at: http://news.bbc.co.uk/player/nol/ newsid_6920000/newsid_6922500/6922525.stm?bw=bb&mp=wm&asb=1&news=1&ms3=22&ms_javascript=true&bbcws=2 [Accessed: 24 June 2014]. Claydon, E. A. (n.d.). British South Asian Cinema and Identity. edgehill. [Online]. Available at: http://blogs.edgehill.ac.uk/sacs/files/2012/07/Document-5-Claydon-E.-A-British-South-Asian-Cinema-and-Identity-I-Nostalgia-
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