Journal articles: 'Cultural commodification'

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Wilson, Patrick C. "Ethnographic Museums and Cultural Commodification." Latin American Perspectives 30, no. 1 (January 2003): 162–80. http://dx.doi.org/10.1177/0094582x02239203.

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Hawkins, Ronnie. "Cultural Whaling, Commodification, and Culture Change." Environmental Ethics 23, no. 3 (2001): 287–306. http://dx.doi.org/10.5840/enviroethics200123317.

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Gray, Clive. "COMMODIFICATION AND INSTRUMENTALITY IN CULTURAL POLICY." International Journal of Cultural Policy 13, no. 2 (May 2007): 203–15. http://dx.doi.org/10.1080/10286630701342899.

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Oliinyk, Oleksandra. "Commodification as the Means of Cultural Production." Culturology Ideas, no. 18 (2'2020) (2020): 156–64. http://dx.doi.org/10.37627/2311-9489-18-2020-2.156-164.

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The paper discloses the phenomenon of the commodification of cultural production in course of evolutionary transformation of technic, technologic and economic capacities of society. Economic issues, including the definition of cultural product as a commodity, form the apparatus for the objectification of creative intention that does not impact directly on the creativity as freedom. Albeit the tension of social apprehension, spoken in words by either intellectual critics or market demand, and dependence on the market laws, reflecting either the labor issues or distribution and consumption, evoke the shift in the function of art, in particular, the loss of critical and regulative functions. Thus, the article seeks the logic dependence of the functional shifts in art on the phenomenon of commodification. The paper aims to justify the hypothesis that the commodification is an auxiliary tool for communication between the artist and audience, barely directly causing the leveling of aesthetic artistic value. Considering that the comprehension of commodification relies mostly on the philosophic criticism leaving the economic research of cultural production aside and missing the discourse of aesthetic and artistic essence, this paper concludes that the commodification of symbolic production, as the consequence of social and economic development, rather implies communicative capacity for artistic value than the destructive or leveling impact factor causing the shift of social functions of art.

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Steinberg, Michael K., Matthew J. Taylor, and Michelle Moran‐taylor. "Coffee and Mayan Cultural Commodification in Guatemala." Geographical Review 104, no. 3 (July 1, 2014): 361–73. http://dx.doi.org/10.1111/j.1931-0846.2014.12031.x.

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Hull, Gordon. "Cultural Branding, Geographic Source Indicators and Commodification." Theory, Culture & Society 33, no. 2 (May 21, 2015): 125–45. http://dx.doi.org/10.1177/0263276415583140.

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Fürsich, Elfriede. "Between Credibility and Commodification." International Journal of Cultural Studies 6, no. 2 (June 2003): 131–53. http://dx.doi.org/10.1177/13678779030062001.

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Upton, Caroline. "Communities, Culture and Commodification." Inner Asia 16, no. 2 (December 10, 2014): 252–74. http://dx.doi.org/10.1163/22105018-12340018.

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Mongolia’s new resource politics, central to the country’s geopolitical considerations and ambitions in the twenty-first century, must be understood in relation to their complex, multi-scalar socio-cultural, historical and environmental dimensions. This paper draws on the author’s participatory research activities with key informants in Ulaanbaatar and amongst rural herding communities to illuminate key aspects, contexts and implications of the new resource politics. Specifically, the paper presents an empirically informed analysis of pertinent social and institutional forms, environmental and cultural values and aspects of resource governance, with particular reference to land issues, pastoralism, mining and resistance. Conceptually, it draws on recent work, especially in geography and political ecology, on activism, conservation and particularly on emerging discourses and framings of natural resources as ‘ecosystem services’. Through attention to these concepts, it highlights contested dimensions of environmental values and valuation, of critical contemporary importance in Mongolia’s new resource politics.

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Mažeikienė, Natalija, and Eglė Gerulaitienė. "COMMODIFICATION OF CULTURAL IDENTITIES AND/OR EMPOWERMENT OF LOCAL COMMUNITIES: DEVELOPING A ROUTE OF NUCLEAR TOURISM." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 25, 2018): 145. http://dx.doi.org/10.17770/sie2018vol1.3381.

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Research presented in the paper focuses on commodification of cultural identities and community empowerment strategies of cultural tourism in Visaginas.. One of challenges in developing tourism is orientation toward profit and commodification of culture, which becomes a problem in regard to practicing authentic identities. The article presents efforts of researchers working in the project EDUATOM to scientifically substantiate construction of new educational nuclear/ atomic tourism route in the Ignalina Nuclear Power Plant (INPP) region. The authors discuss what diverse parameters and elements of place identity could be included and represented in the tourism in Visaginas and how community empowerment and involvement of different stakeholders might contribute to practicing various commodification strategies. The article analyses commodification of cultural identities and community empowerment strategies of educational, cultural, nuclear/atomic tourism in Visaginas, using research strategy of case study, including methods of document analysis, conversations (formal and informal) with stakeholders, secondary data analysis, construction of Post-Soviet identities and empowerment of local communities.

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Macleod, Donald. "Cultural Commodification and Tourism: A Very Special Relationship." Tourism Culture & Communication 6, no. 2 (June 1, 2006): 71–84. http://dx.doi.org/10.3727/109830406777410580.

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Cannon Hunter, William. "Commodification of Jeju Island’s Cultural Image: Standing Stones." International Journal of Tourism Sciences 4, no. 1 (January 2004): 139–61. http://dx.doi.org/10.1080/15980634.2004.11434567.

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Li, Qingjun. "Commodification of culture in China’s new cultural industry." International Communication of Chinese Culture 4, no. 4 (July 13, 2016): 425–42. http://dx.doi.org/10.1007/s40636-016-0054-1.

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Moosa, Zakiyya. "Authenticity and Commodification of Cultural Events for the Maldivian Tourism Industry." International Journal of Asian Business and Information Management 7, no. 2 (April 2016): 15–24. http://dx.doi.org/10.4018/ijabim.2016040102.

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Authentication and commodification of cultural events for the tourists has been practiced for a long time. These practices have had both positive and negative effects on the host community and its cultural heritage. Tourism deals with experiences sold to tourists which has had to be authentic. Therefore, this paper aims to look at the authenticity and commodification of cultural events presented for the benefit of tourists throughout the resorts in the Maldives and its implications on authenticity of cultural products offered to the tourists. Authenticity played a wide role in tourist experiences and repeat business for the destination. Commodification on the other hand is a byproduct of making the events authentic in order for it to be presented to the tourists since these events cannot be presented in its original form or length. Hence, the events are ‘staged' for the benefit of the tourists because cross cultural encounters drive authenticity of the tourism experience and create more business to the destination.

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Sulistyorini, Dwi, Bani Sudardi, Warto Warto, and Mahendra Wijaya. "EXPLORING CULTURAL COMMODITY IN RELIGIOUS TOUR OF MOUNT KAWI." Journal of Tourism, Hospitality and Environment Management 6, no. 24 (September 5, 2021): 13–19. http://dx.doi.org/10.35631/jthem.624002.

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Mount Kawi is a mountain believed to have supernatural powers. By the existence of Imam Soedjono and Eyang Djugo as historical figures, pilgrims often come to pray in search of blessings. Pilgrims coming to Mount Kawi are not only Javanese but also Chinese. The presence of the ethnic Chinese community influences the cultural distinction in the site. A large number of visitors coming to Mount Kawi brings several shifting elements. To attract the attention of pilgrims, the locals create religious-cultural tourism in Mount Kawi as a compelling attraction. The shift plays a serious impact on the socio-cultural dimension. This appealing creativity serves as a commodity for the tourist. Cultural commodity in religious tourism is supported by the interests of the authorities. Thus, the purpose of this study is to reveal the emergence of commodification in Mount Kawi. This study uses a qualitative descriptive method to describe the causes of commodification. The data are obtained from the field, observation, and interviews through informants. The narrative is employed instead of numeric data thus the data are organized, classified, and criticized. Hence, to reveal the cultural commodities in Mount Kawi, the commodification theory and hegemony are applied.

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Pamungkas, Bayu, Warto Warto, and Mugijatna Mugijatna. "NEGOTIATION BETWEEN STAKEHOLDERS OF COMMODIFICATION: Roles and Impacts as Stakeholders in Tebing Breksi Prambanan." Jurnal Antropologi: Isu-Isu Sosial Budaya 21, no. 1 (June 12, 2019): 111. http://dx.doi.org/10.25077/jantro.v21.n1.p111-120.2019.

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Commodification practice always deals with 3 parties, which our society, government, and private institution. Considered as cultural preservation, Tebing Breksi becomes an object of commodification in Sambirejo Prambanan since 2014. Its commodification arises several conflicts among its stakeholders due to each stakeholder has their own importance and interest. Compared to other commodification practices, bottom-up tourism management is applied that making the commodification of Tebing Breksi differs to others. This research is remarkable dealing with its findings that differenciate the commodification practice between society and government or private institution. This research aims to find the implication of commodification for tourism field using bottom-up tourism management. Whereas, the main purpose of this research is to describe the negotiation between stakeholders of commodification in Tebing Breksi. The method of this research is ethnography by applying in-depth reporting. The findings of this research prove that negotiation between stakeholders of commodification is the impact of a different way of thinking as well as the group’s interest in each stakeholder. Nevertheless, the changes happen among society in Tebing Breksi confirmed Tebing Breksi as an alternative tourism attraction in Prambanan.

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Fontana Sierra, Laura. "Tourism as a space for commodification or cultural revitalization." Perifèria. Revista d'investigació i formació en Antropologia 23, no. 2 (December 12, 2018): 4. http://dx.doi.org/10.5565/rev/periferia.636.

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Heller, Monica. "The Commodification of Language." Annual Review of Anthropology 39, no. 1 (October 21, 2010): 101–14. http://dx.doi.org/10.1146/annurev.anthro.012809.104951.

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Lusianai, Wa Ode, Aryuni Salpiana Jabar, Ikrima Nurfikria, and Sitti Hairani Idrus. "KOMODIFIKASI DAN MAKNA SIMBOLIK MOTIF TENUN MUNA SEBAGAI BENTUK KEARIFAN LOKAL MASYARAKAT KABUPATEN MUNA." Journal Publicuho 2, no. 2 (June 26, 2019): 52. http://dx.doi.org/10.35817/jpu.v2i2.7227.

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Local weaving is the identity and wealth inherent in some area. Muna Regency, Southeast Sulawesi, is known to have regional weaving with diverse and interesting qualities and motifs. There are many previous Muna weaving motifs such as dhalima, samasili, panino toghe, bhotu, bhia-bhia, ledha, finda ngkonini, mango-manggopa, lante-lante, kambheano bhanggai, tibha-tibha, kaholeno ghunteli, kambhampu, bharalu, kasokasopa. To balance the development of the fashion industry, through the creative ideas of weavers, Muna's weaving motifs undergo commodification called a series of motifs. The visual of the first Muna weaving and Muna weaving produced by commodification and also the symbolic meaning of Muna woven motifs as a result of commodification became a problem in this study. Located in Masalili Village, Muna Regency, researchers conducted observations and direct interviews with research informants. By using the qualitative descriptive analysis of Milles and Huberman's interactive model, it was found that from the visuals of Muna's weaving motifs, after experiencing commodification, the latest motifs have been produced. Whether it's a combination of samasili and butterfly motifs, samasili and kites and other types of motifs. The development of the commodification motif has its own symbolic meaning. It describes the regional identity, cultural preservation, openness with progress, diversity, and describes the value of local wisdom in integrating outside cultural elements into the development of the Muna weaving motif. Keywords: commodification; symbolic meaning; local wisdom; Muna weaving.

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Muktiyo, Widodo. "Komodifikasi Budaya Dalam Konstruksi Realitas Media Massa." MIMBAR, Jurnal Sosial dan Pembangunan 31, no. 1 (June 8, 2015): 113. http://dx.doi.org/10.29313/mimbar.v31i1.1262.

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Culture is an inseparable component of mass media coverage. Unfortunately, mass media portrays culture in various forms, from culture as a part of community values to culture as a commodification of business media. This study was conducted to explore the process of commodification of culture in both local and national media that can be observed in two cultural centers of the nation, Bali and Solo. This study used qualitative research method. Data was collected from interviews and a study of documents of news about culture in local media (the Bali Post and the Solo Post). The data from both regions were subsequently compared. The results of this study conclude that cultural commodification is constructed in local, regional, and national media.

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Ellison, Mary. "Subverting commodification: Delfeayo Marsalis and Jazz." Popular Music and Society 24, no. 4 (December 2000): 31–61. http://dx.doi.org/10.1080/03007760008591784.

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Horton, Matthew. "The Internet and the Empowered Consumer: From the Scarcity of the Commodity to the Multiplicity of Subjectivities." Media International Australia 91, no. 1 (May 1999): 111–23. http://dx.doi.org/10.1177/1329878x9909100112.

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This paper examines the forms of commodification and entrepreneurship that are emerging as economic activity is mediated through the Internet. These processes of commodification are usually conceptualised from two opposing discourses: those of business and poststructuralism. Business discourses remain faithful to certain established positions — most notably, there are continued emphases on the authority of the individual entrepreneur and the logic of scarcity as forces that determine economic value in electronic commerce. In contrast, poststructural discourse advocates for a conceptualisation of commodification which recognises the spaces that hypertextual environments like the Internet are able to open up for consumers. In these spaces, it is proposed, consumers can create subjectivities that can challenge — and so counter — these business discourses' positions. This paper sets out to examine the claims that both of these discourses make in relation to the commodification of the Internet. Through the presentation of a case Study of a small business that is attempting to make money from the Internet, this paper then looks at how aspects of both of these contrasting positions can inform practices that attempt to commodify the Internet.

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C. B. Raya, Victor, Rolland E. Fanggidae, and Apriana J. Fanggidae. "Modern dance commodification strategy in tourism promotion (Study on the modern dance community in Kupang city)." Journal of Sustainable Tourism and Entrepreneurship 1, no. 4 (June 25, 2020): 333–47. http://dx.doi.org/10.35912/joste.v1i4.507.

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Purpose: This study aimed to describe the modern dance commodification strategy in promoting cultural tourism in East Nusa Tenggara Province. Research methodology: The research method used in this research is a qualitative method. Respondents used in this study were 15 people. Data processing was performed using a SWOT analysis. Results: According to the analysis results, the most appropriate strategy for the modern dance community in developing cultural tourism in East Nusa Tenggara is to work together with various parties, create online competitions, innovate with culture, and organize independent events by the dancer community. Limitations: This study only discusses the strategy of the commodification of modern dance in tourism promotion in East Nusa Tenggara. Contribution: This research can become scientific information for students specifically studying tourism. Keywords: Modern dance commodification, Tourism promotion

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Harju, Anu A., and Ella Lillqvist. "Manipulating Meaning: Language and Ideology in the Commodification of Online Sociality." Open Cultural Studies 2, no. 1 (October 1, 2018): 249–61. http://dx.doi.org/10.1515/culture-2018-0023.

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Abstract Marxist Internet scholars have recently shed light on the commodification and exploitation of social media users. While some of these studies have also acknowledged the ideological nature of how online sociality is understood and discussed, they have not yet addressed in great detail the ways in which ideology figures in the process of commodification of social media users. We address this question by combining Marxist ideology theory with insights from cognitive pragmatics. Focusing on the idea of illusion, we draw on Relevance Theory and employ the notions of “relevance” and “cognitive illusion” to discuss the ideological process we call context manipulation, a concept that helps bring to focus the discursive obscuring of the capitalist operational logic of social media corporations. We illustrate our cognitivepragmatic model of ideology with examples of Facebook’s discursive practices. The paper contributes to the discussion on ideology in cultural studies and the discussion on commodification of online sociality in critical Internet and media studies by offering a revised interpretation of Marx’s ideology theory that highlights the discursive and cognitive nature of ideological processes, and by elaborating on the workings of ideology in the specific context of corporate social media.

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Rangnekar, Dwijen. "Commodification of seeds." Science as Culture 6, no. 2 (January 1996): 301–12. http://dx.doi.org/10.1080/09505439609526469.

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Salvador i Almela, Marta, and Núria Abellan Calvet. "Las tejedoras mayas de Guatemala: un proceso activo para la salvaguardia de su patrimonio cultural inmaterial." Tourism and Heritage Journal 2 (October 5, 2020): 93–109. http://dx.doi.org/10.1344/thj.2020.2.7.

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Currently, many are the phenomena that occur around intangible cultural heritage (ICH), related to its politics and legacy. With a critical analysis perspective, this article aims to describe the processes of patrimonialisation, commodification, and touristification of ICH, especially of the Guatemalan Mayan fabrics. The ongoing movement of Guatemalan weavers to protect and vindicate the cultural value of this art brings to light the role of different actors that intervene in intangible cultural heritage and, of greater relevance, indigenous communities. The following analysis framework on the diverse conceptualisations of heritage, authenticity, commodification and touristification allows for a deeper understanding of the Mayan weavers’ situation. The methodology used in this article consists on a case study, through which the following main conclusions arise: the lack of protection of ICH of this case study given the complex definitions and categorisations; the need to identify the consequences of commodification and touristification of ancestral tapestries, highlighting the importance of tourism management from the communities; and, finally, the key role of women as transmitters and protectors of ICH, who have headed a process of movement and empowerment.

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Pyykkönen, Miikka. "UNESCO and cultural diversity: democratisation, commodification or governmentalisation of culture?" International Journal of Cultural Policy 18, no. 5 (November 2012): 545–62. http://dx.doi.org/10.1080/10286632.2012.718914.

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Tyllstrom, Anna. "Sacred Commodification – The Construction of a Cognitive-Cultural Market Logic." Academy of Management Proceedings 2014, no. 1 (January 2014): 13571. http://dx.doi.org/10.5465/ambpp.2014.13571abstract.

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MBAIWA, JOSEPH E. "CULTURAL COMMODIFICATION AND TOURISM: THE GOO-MOREMI COMMUNITY, CENTRAL BOTSWANA." Tijdschrift voor economische en sociale geografie 102, no. 3 (June 6, 2011): 290–301. http://dx.doi.org/10.1111/j.1467-9663.2011.00664.x.

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Haw, Jennie. "Corporeal Commodification and Women’s Work." Body & Society 22, no. 3 (June 21, 2016): 31–53. http://dx.doi.org/10.1177/1357034x16645169.

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Sedano, Livia Jiménez. "African Nightclubs of Lisbon and Madrid as Spaces of Cultural Resistance." Open Cultural Studies 3, no. 1 (January 1, 2019): 264–75. http://dx.doi.org/10.1515/culture-2019-0024.

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Abstract The main objective of this article involves describing how African nightclubs of Lisbon have become spaces for cultural resistance against certain representations of African-ness, taking Madrid as a contrasting case. Since the 1970s, the so-called African nightclubs of Lisbon have constituted spaces for gathering and nurturing a sense of community for immigrants from Portuguese-speaking Africa. Commonly regarded suspiciously by most Portuguese citizens, commodification of the couple dance labelled kizomba during the 1990s helped changed their status. However, most African research participants do not recognise their beloved dance in the commodified version of kizomba. In this context, I analyse the commodification process as a form of symbolic violence that disguises postcolonial structural inequalities and unsolved conflicts through a discourse of neutral “approaching of cultures” on the dance floor. Moreover, from the point of view of a meritocratic symbolism, this discourse portrays the performances displayed at African discos as “basic” and unworthy. After exploring several ways of resistance to commodified kizomba displayed by African discos clientele, I conclude reflecting on the increasing symbolic power of global industries for naming social groups, structuring practices and exercising symbolic violence in late modernity.

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Vowles-Sørensen, Kate C. P. "Popular Science Articles and Academic Reports on the Topics of Cultural Commodification and Institutionalised Racism." Leviathan: Interdisciplinary Journal in English, no. 4 (March 1, 2019): 70–83. http://dx.doi.org/10.7146/lev.v0i4.112681.

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This paper examines two aspects within cultural studies, namely that of cultural commodification and institutionalised racism. These are explored through a review style article discussing the commodification and appropriation of indigenous Australian food items on the television cooking programme Masterchef Australia, and in an ‘op-ed’ style piece considering the systemic racism represented by the blackface character of Zwarte Piet (Black Pete) in the Dutch festive tradition of Sinterklaas (St. Nicholas). These two articles are followed by case study reports which analyse how the theories were applied. The arguments in the reports conclude that Masterchef Australia has a responsibility to better represent indigenous Australian culture, and that the tradition of Zwarte Piet clearly exemplifies institutionalised racism and discrimination.

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Zhang, Tao, Huijun Wen, and Xi Li. "A Tourist-Based Model of Authenticity of Heritage Sporting Events: The Case of Naadam." Sustainability 11, no. 1 (December 25, 2018): 108. http://dx.doi.org/10.3390/su11010108.

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As one of the important forms of intangible cultural heritage, heritage sporting events are becoming a potential catalyst of tourism. Commodification of heritage sporting events becomes popular for local authorities to boost economic development and express cultural authenticity, given that authenticity creates genuine performances and moving tourism experiences. However, commodification of heritage is a double-edged sword. It is a dilemma to commercialize a heritage sporting event while keeping its authenticity. Therefore, this study proposes a tourist-based model of authenticity to solve this problem, in which the authenticity of heritage sporting events incorporates “cool” and “hot” factors. The model examines these factors and their impact on tourist satisfaction and loyalty using Naadam as the example. Seven hundred questionnaires were distributed at six sites located from east to west of the Inner Mongolia, China. Factor analysis shows there are two factors in cool and hot authenticity, respectively. Both factors of cool authenticity have direct impacts on hot authenticity, satisfaction, and loyalty. Though both intrapersonal and interpersonal factors of hot authenticity have direct positive impacts on tourist satisfaction, only the former affects loyalty directly. The results show the authenticity of event culture is the most important and effective authentic factor, while authentic auxiliary products—the direct expression of commodification—is indispensable for authenticity. This study is helpful for maintaining authenticity and cultural sustainability of heritage sporting events as a destination tourism attraction, given the fact that commodification and the marketing of heritage sporting events has become popular for heritage destination development.

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Gilbert, Jeremy. "AGAINST THE COMMODIFICATION OF EVERYTHING." Cultural Studies 22, no. 5 (September 2008): 551–66. http://dx.doi.org/10.1080/09502380802245811.

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Meifilina, Andiwi, Darsono Wisadirana, Anif Fatma Chawa, and Siti Kholifah. "Implications of cultural commodification of sinden on authenticity of local culture: a case study in Jimbe Village, Blitar District, East Java, Indonesia." Technium Social Sciences Journal 12 (September 22, 2020): 290–301. http://dx.doi.org/10.47577/tssj.v12i1.1683.

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This article is a critical review of the impact of tourism that causes the commodification of local culture. Through a study in the Sinden Village in Jimbe Village, as the pioneer of the development of the Sinden art in Blitar District that has been established as pioneering village by the Tourism, Culture, Youth and Sport Services (DISPARBUDPORA) of Blitar Regency, this article attempts to discuss the cultural commodification of Sinden art as one of the Intangible Cultural Heritage. This article uses a qualitative method with a case study approach. Therefore, the data in this article was obtained by the researcher by using the interview techniques and direct observation. The findings show that the commodification of the Sinden culture does not completely change the authenticity of the Sinden culture. It is because the people of Jimbe village only commodify the supporting facilities of the Sinden culture, such as songs, the use of musical instruments, and wardrobes. Whereas, the authenticity of the Sinden culture itself is not determined by those, but rather from the delivery of messages and special singing techniques.

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Basik, Sergei N. "TOPONYMY COMMODIFICATION AS A PHENOMENON OF SOCIAL-ECONOMIC AND CULTURAL GEOGRAPHY." Bulletin of the Moscow State Regional University (Natural Sciences), no. 2 (2018): 59–70. http://dx.doi.org/10.18384/2310-7189-2018-2-59-70.

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Kakabadse, Mario A. "The WTO and the Commodification of Cultural Products: Implications for Asia." Media Asia 22, no. 2 (January 1995): 71–77. http://dx.doi.org/10.1080/01296612.1995.11726465.

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Robbins, Richard H. "Coffee, Fair Trade, and the Commodification of Morality." Reviews in Anthropology 42, no. 4 (October 2013): 243–63. http://dx.doi.org/10.1080/00938157.2013.844035.

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Arif, Moch Choirul, GR Lono Lastoro Simatupang, and Budiawan Budiawan. "KOMODIFIKASI BARONGSAI MENJAGA TRADISI MENEGOSIASI PASAR." Jurnal Kawistara 6, no. 1 (October 25, 2016): 34. http://dx.doi.org/10.22146/kawistara.15486.

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After the fall of the Soeharto regime was like the fresh air for the ethnic Chinese in Indonesia inarticulating cultural identities, especially after the issuance of Presidential decree Number 6 of 2000which revoked Presidential Instruction Number 14 of 1967 on religion, beliefs, and customs of China.With that Presidential decree, Chinese people were free to celebrate the religious ceremony and customs,as well as featuring Barongsai (Lion Dance) in front of public. Consequently, Barongsai became popularand transformed into a cultural icon as well as “obligatory menu” for city event. Barongsai allegedlyunderwent commodification along with its popularity. However, that signal was responded byBarongsai activists as the consequence of efforts to survive and conquer the market. Through the mindsetof yin and yang, commodification discourse is abrogated and appropriated by Barongsai activists, socommodification is not just an effort to maintain and preserve the ancestral cultural heritage, identity,and cultural pride due to the accomplishments achieved

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Wee, Lionel, and Ann Brooks. "Personal Branding and the Commodification of Reflexivity." Cultural Sociology 4, no. 1 (March 2010): 45–62. http://dx.doi.org/10.1177/1749975509356754.

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York, Michael. "New Age Commodification and Appropriation of Spirituality." Journal of Contemporary Religion 16, no. 3 (October 2001): 361–72. http://dx.doi.org/10.1080/13537900120077177.

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McCaughey, Martha, and Christina French. "Women’s sex-toy parties: Technology, orgasm, and commodification." Sexuality and Culture 5, no. 3 (September 2001): 77–96. http://dx.doi.org/10.1007/s12119-001-1031-2.

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Stevens, Wesley E. "Blackfishing on Instagram: Influencing and the Commodification of Black Urban Aesthetics." Social Media + Society 7, no. 3 (July 2021): 205630512110382. http://dx.doi.org/10.1177/20563051211038236.

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This article examines blackfishing, a practice in which cultural and economic agents appropriate Black culture and urban aesthetics in an effort to capitalize on Black markets. Specifically, this study analyzes the Instagram accounts of four influencers (Instagram models) who were accused of blackfishing in late 2018 and is supplemented with a critical analysis of 27 news and popular press articles which comprise the media discourse surrounding the controversy. Situated within the literature on cultural appropriation and urban redevelopment policies, this study explores how Black identity is mined for its cultural and economic value in the context of digital labor. I assert that Instagram’s unique platform affordances (including its racial affordances) and the neoliberal logics which undergird cultural notions of labor facilitate the mechanisms by which Black identity is rendered a lucrative commodity vis-à-vis influencing.

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Niko, Nikodemus, and Atem Atem. "Festival Air (Songkran): Komodifikasi Budaya di Thailand." Simulacra: Jurnal Sosiologi 2, no. 1 (June 30, 2019): 21. http://dx.doi.org/10.21107/sml.v2i1.5518.

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This research aims to want to see the occurred on the discourse of cultural commodification of Songkran in Thailand. Songkran in Thailand is a religious and cultural festival, which is the celebration of New Year in Thailand. Culture of Songkran festival which then becomes bringing many foreign tourists come to some areas in Thailand like Bangkok, Chiang Mai and Phuket. This great Festival and then give effect to social, cultural as well as the economy on local community. The methods used in this study is a qualitative descriptive based on the experiences both of the author. The data analyzed i.e. secondary data that comes from a variety of scientific journals, then the primary data are analyzed based on the author’s experience when on the Songkran festival in Thailand on April, 2019. Based on the analysis that the commodification of culture happens to Songkran in Thailand is not so much to erode the authenticity of rituals. This means that the core rituals such as bathing the Buddha statues in the temples still do. Commodification is a positive impact on the local community, where on area of the festival they provided tubs for sale in range 5 THB to 15 THB. Then, foreign tourists are pouring in from various countries are also effect on the local community economy.

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Khagi, Sofya. "Garros-Evdokimov and Commodification of the Baltics." Journal of Baltic Studies 41, no. 1 (March 2010): 119–37. http://dx.doi.org/10.1080/01629770903525357.

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Fiskesjö, Magnus. "Slavery as the commodification of people." Focaal 2011, no. 59 (March 1, 2011): 3–18. http://dx.doi.org/10.3167/fcl.2011.590101.

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In the 1950s, teams of Chinese government ethnologists helped liberate “slaves” whom they identified among the Wa people in the course of China’s military annexation and pacification of the formerly autonomous Wa lands, between China and Burma. For the Chinese, the “discovery” of these “slaves” proved the Engels-Morganian evolutionist theory that the supposedly primitive and therefore predominantly egalitarian Wa society was teetering on the threshold between Ur- Communism and ancient slavery. A closer examination of the historical and cultural context of slavery in China and in the Wa lands reveals a different dynamics of commodification, which also sheds light on slavery more generally. In this article I discuss the rejection of slavery under Wa kinship ideology, the adoption of child war captives, and the anomalous Chinese mine slaves in the Wa lands. I also discuss the trade in people emerging with the opium export economy of the late nineteenth and early twentieth century which helped sustain, yet also threatened, autonomous Wa society. I suggest that past Wa “slave” trade was spurred by the same processes of commodification that historically drove the Chinese trade in people, and in recent decades have produced the large-scale human trafficking across Asia, which UN officials have labeled “the largest slave trade in history” and which often hides slavery under the cover of kinship.

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MURAD, LARISSA COSTA. "Considerações sobre a mercantilização da vida e a indústria cultural * Considerations about the commodification of life and the cultural industry." História e Cultura 2, no. 2 (December 30, 2013): 3. http://dx.doi.org/10.18223/hiscult.v2i2.1071.

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Resumo: O presente artigo traz uma leitura acerca da indústria cultural baseada no legado teórico de pensadores vinculados à Escola de Frankfurt, em particular Theodor Adorno. Considerando a homogeneização da cultura como parte do processo de mercantilização da vida, observamos algumas características da indústria cultural, bem como o contexto histórico no qual ocorre seu desenvolvimento e consolidação.Palavras-chave: Indústria cultural – Adorno – Cultura. Abstract: The present article brings forward the reading of Culture Industry based on the Frankfurt School theorists legacy, in particular Theodor Adorno. In order to consider the cultural homogenization as part of life commodification process, some Culture Industry features are observed, as well as its historical context, development and consolidation.Keywords: Culture industry – Adorno – Culture.

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Febriana, Kharisma Ayu, Yuliyanto Budi Setiawan, and Firdaus Azwar Ersyad. "Warak Ngendhog Commodification as a Kind of Creative Industry in Semarang City." Jurnal The Messenger 11, no. 1 (March 9, 2019): 27. http://dx.doi.org/10.26623/themessenger.v11i1.925.

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Warak Ngendhog in Semarang City make it a cultural phenomenon. Some forms of commodification are used in the economic, political and cultural sectors. The purpose of this study is to find out the symptoms of the cultural phenomenon which has transformed into various forms. This research use qualitative analysis with descriptive approach. As for the results of this study, Warak Ngendhog which functions has transformed and changed, can be utilized in the cultural and tourism sectors as one of the cultural icons in the city of Semarang. Warak Ngendhog culture has contributed to the government of Semarang City with the emergence of various forms of its transformation into various forms of art and culture. In addition, this study is expected to give contribution in the field of cultural preservation in Semarang City.

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Almasy, Rudolph P., and Michael Saenger. "The Commodification of Textual Engagements in the English Renaissance." Sixteenth Century Journal 39, no. 2 (July 1, 2008): 465. http://dx.doi.org/10.2307/20478896.

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Sedano, Livia Jiménez. "Bodies That Cannot Listen." Anthropological Journal of European Cultures 28, no. 1 (June 1, 2019): 73–77. http://dx.doi.org/10.3167/ajec.2019.280108.

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This is a brief reflection on the consequences of the commodification of dance cultures from the former colonised world and the ways they are consumed in Europe. Inspired from ten years of fieldwork, the ethnic structuring of postcolonial dance floors in European cities proves an empirical basis to start this line of thought. Instead of promoting respect and interest in the dance forms and the cultural contexts in which these dance forms developed, aficionados tend to consider that these are less evolved, beautiful and interesting than the appropriations they develop in their home countries. As a result, commodification leads to reinforcing previous stereotypes and emic hierarchies of value. The kinetic metaphor of the bodies that scream but cannot listen structures the text and its arguments.

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Miller, Toby. "Governmentality or commodification? US higher education." Cultural Studies 17, no. 6 (November 2003): 897–904. http://dx.doi.org/10.1080/0950238032000150084.

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Journal articles on the topic 'Cultural commodification'

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