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The purpose of this paper is to examine how young British South Asian adults’ dual cultural identity is exhibited and reaffirmed through the appropriation of selfies.

The research adopts a qualitative perspective and utilises a combination of in-depth interviews and netnographic data.

The appropriation of the selfie phenomenon by young British South Asian adults reifies, endorses and reinforces their dual cultural identity. As such, their dual cultural identity is influenced by four factors: consonance between host and ancestral cultures, situational constraints, contextual requirements and convenience.

In terms of the selfie phenomenon, the study makes two major contributions: first, it analyses young British South Asian adults’ cultural dualism. Second, it explicates how their acculturation and their dual cultural identity are expressed through the appropriation of the selfie phenomenon.

Since young British South Asians represent a significant, and distinct, market, organisations serving this market can marshal insights from this research. As such, managers who apprise themselves of the selfie phenomenon of this group are better placed to meet their consumer needs. Account, therefore, should be taken of their twofold cultural identity and dual British/Asian identification. In particular, consideration should be given to their distinct and demonstrable traits apropos religiosity and social, communal, and familial bonding. The characteristics were clearly evident via their interactions within social media. Consequently, senior marketing managers can utilise the aforementioned in positioning their organisations, their brands and their products and services.

The study details a new quadripartite framework for analysing young British South Asian adults’ acculturation that leads to the formation of their dual cultural identity and presents a dynamic model that explicates how cultural identity is expressed through the use and appropriation of technology.

In this chapter, I explore two media texts, Imtiaz Ali's Highway and Alankrita Shrivastava's Netflix original series Bombay Begums (2021). I contend that recent filmmakers have begun to arguably reframe the narratives of rape victim-survivors and disrupting the cultural of silence described above. They offer progressive and multi-faceted representations of these experiences, such that there is an opportunity for a dialogue within both private and public spheres. What I mean when I say that they are ‘progressive representations’ is that the rape victim-survivors are not merely reduced to helpless women in distress, nor painted as vengeful, aggressive characters. Instead, their characterisation shows that they have agency and autonomy, but at the same time struggle with the repercussions of speaking out against their perpetrators in a society that does not support them wholly.

This chapter examines the lifestyles of upper-middle- and upper-class return migrant parents and youth living in Bangalore, a city in southwest India. It does so by addressing the following questions: What benefits do return migrant parents see in raising their children within their country of ethnic origin? What are the experiences of youth who grow up within their country of ethnic origin? I answer these questions by analysing 95 conversations with return migrant parents and their children, as well as alumni of Bangalore-based high schools. Building upon literature related to parenting, social class and racial-ethnic socialisation, I discuss parents' efforts to produce children who have the skills needed to succeed within the twenty-first-century global economy, and how the youth experience these child-rearing practices.