PPunjabi pop sensation Diljit Dosanjh created history by becoming a singer on 16th April first singer born in india To perform at the Coachella Valley Arts & Music Festival in California. High-profile spectators, including American DJ and music producer Diplo, lined up for Dosanjh She goat, lemonadeAnd Feeling, But even before his 45-minute enthralling performance, he dressed in his choice of attire and greeted the audience with the traditional Sikh greeting Sat Shri Akal.
It was not just Dosanjh who made South Asians proud. Pakistani singer Ali Sethi and Indian-American rapper Raja Kumari also stood out with their costume choices while performing Sethi’s record-breaking number. Pasuri, at the annual music festival. They made their clothing distinctively their own, choosing not to promote ‘brown’ or Eurocentric understandings of South Asian culture.
As much as it is known for its performances, Coachella is also notorious for its blatant cultural appropriation. Caucasian attendees are often seen with Native American headpieces, shell necklaces, bindis and war paint with little regard or appreciation for those who belong to those symbols-(highly) ‘pointed’ in tone-deaf dialect. to appear.
If you’re wondering why such usage might not be accepted as ‘cool’ fashion, it’s because people of Black, Native American or South Asian descent have historically chosen to wear similar cultural symbols. Has faced racism since. and asking skip classes For those denied jobs, discrimination has been real and rampant. Dosanjh, Kumari and Sethi have challenged this pressure to project ‘culture’ and ‘brownness’ with their fresh and revolutionary apparel choices.
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Print-on-print kurta with sneakers
Dosanjh took to the stage in a black silk kurta and ‘tamba’, a traditional cloak worn by men in Punjab. He added a useful black jacket and a pair of white and gray Nike Air Jordan sneakers to the otherwise ethnic outfit. The edgy element was a pair of yellow gloves and the signature retro-style sunglasses that Dosanjh wears in many of his videos and performances. A black turban teamed with a crisp fan completed the star’s look as she belted out Punjabi numbers.
In his trademark style, he also announced that “Punjabi has now reached Coachella”. He asked the audience to groove to the vibe even if they couldn’t understand the lyrics or meaning of his songs—another key moment where the experience didn’t translate for white audiences.
Sethi, on the other hand, wore an oversized pant-shirt combo embossed with colorful motifs and a black cap. Sethi completed her funky and quirky outfit with statement glasses. Kumari opted for a print-on-print statement over a full-sleeve top—a strappy dress, almost quintessential Coachella staple fashion. An explosion of hand-block prints and jewelery that included several oxidized necklaces, bangles and a pair of earrings completed the ‘Raja Kumari element’ of her outfit.
Coachella’s Cultural Appropriation Problem
Coachella has been a cultural force since its launch in 1999. Over the years, the craze has only grown, with social media playing a big role in making it a ‘bucket list’ event.
The 2023 edition of the Coachella Music Festival recently commenced on 14th April this year in Indio (California). The six days of festivities are packed into two long weekends that one can witness footfall of around 125,000 People every day at Empire Polo Club.
What began as a breeding ground for ‘boho-chic’ fashion with crochet tops, maxi dresses and tie-up sandals soon turned into a campaign for social media validation through likes or shares. Coachella fashion came at the cost of cultural appropriation.
Some of the most culturally appropriated artifacts in the festival are bindis, cornrows, and traditional headdresses. In 2014, Selena Gomez, Kendall Jenner, Sarah Hyland and Vanessa Hudgens all called To use Bindi as a fashion accessory in events. Alessandra Ambrosio Decided It Was a Style Statement wear a native american hatr same year.
The outfits worn by Dosanjh, Sethi and Kumari have brought credence to South Asian fashion on international platforms. They have shown that our traditional dress can be global, personal and independent from the expectations of Western fashion by region—a truly liberating experience for the community.
(Edited by Zoya Bhatti)