全球-地方混合文化产品的身份与真实性:以非洲蜡画为例

Yu Seok Yun
{"title":"全球-地方混合文化产品的身份与真实性:以非洲蜡画为例","authors":"Yu Seok Yun","doi":"10.32611/jgcc.2023.8.56.81","DOIUrl":null,"url":null,"abstract":"This article examines the issue of whether hybridised cultural products created in the colonial Western-centric global-local world system can retain local cultural identity and authenticity through the case of African wax. African wax, a wax-printed fabric, is a raw-dye printed cotton fabric produced in factories by European textile companies based on batik, a traditional Indonesian fabric. It is a hybrid cultural product that is neither a traditional African fabric nor produced in Africa, but has acquired the attributes of African culture through its consumption in Africa. According to the conventional view that local culture should be locally generated and produced with originality, uniqueness, and purity, it is difficult to call hybridised wax prints made in Europe during the colonial period as African local culture. Therefore, based on transcultural theory, which interprets colonial local culture from a post-Western perspective, we found that the agency, creativity, and tradition of African local culture in the consumption process transformed the Indonesian-style European wax into African wax and made the wax print an African local culture. Furthermore, we suggest that if authenticity as a commodity is based on originality and genuineness in the production process, then authenticity as a culture should be based on usability, functionality, knowledge, and spirituality in the consumption process, so that Africans as consumers can recognise the cultural products created by wax prints, just as Europeans as producers naturally accept new cultural products such as fashion shows and exhibitions that reappropriate Africanness created by Africans. African wax is an important example of how hybrid cultural products created through the dynamic process of global-local production and consumption during the colonial period can define local cultural identity and authenticity, and what it takes to become new local global cultural contents today.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"30 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Identity and Authenticity in Global-Local Hybrid Cultural Products: Focusing on African Wax Prints\",\"authors\":\"Yu Seok Yun\",\"doi\":\"10.32611/jgcc.2023.8.56.81\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article examines the issue of whether hybridised cultural products created in the colonial Western-centric global-local world system can retain local cultural identity and authenticity through the case of African wax. African wax, a wax-printed fabric, is a raw-dye printed cotton fabric produced in factories by European textile companies based on batik, a traditional Indonesian fabric. It is a hybrid cultural product that is neither a traditional African fabric nor produced in Africa, but has acquired the attributes of African culture through its consumption in Africa. According to the conventional view that local culture should be locally generated and produced with originality, uniqueness, and purity, it is difficult to call hybridised wax prints made in Europe during the colonial period as African local culture. Therefore, based on transcultural theory, which interprets colonial local culture from a post-Western perspective, we found that the agency, creativity, and tradition of African local culture in the consumption process transformed the Indonesian-style European wax into African wax and made the wax print an African local culture. Furthermore, we suggest that if authenticity as a commodity is based on originality and genuineness in the production process, then authenticity as a culture should be based on usability, functionality, knowledge, and spirituality in the consumption process, so that Africans as consumers can recognise the cultural products created by wax prints, just as Europeans as producers naturally accept new cultural products such as fashion shows and exhibitions that reappropriate Africanness created by Africans. African wax is an important example of how hybrid cultural products created through the dynamic process of global-local production and consumption during the colonial period can define local cultural identity and authenticity, and what it takes to become new local global cultural contents today.\",\"PeriodicalId\":161830,\"journal\":{\"name\":\"Academic Association of Global Cultural Contents\",\"volume\":\"30 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-08-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Academic Association of Global Cultural Contents\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.32611/jgcc.2023.8.56.81\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Academic Association of Global Cultural Contents","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.32611/jgcc.2023.8.56.81","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

摘要

本文以非洲蜡为例,探讨在以西方为中心的殖民主义全球-地方世界体系中创造的混合文化产品能否保留地方文化的身份和真实性。“非洲蜡”是蜡染织物,是欧洲纺织企业以印度尼西亚传统织物蜡染为基础,在工厂生产的原染料印花棉布。它是一种混合文化产品,既不是非洲传统的织物,也不是非洲生产的,而是通过在非洲的消费获得了非洲文化的属性。按照传统的观点,地方文化应该是在当地产生的,具有原创性、独特性和纯洁性,很难把殖民时期在欧洲制作的混合蜡染称为非洲地方文化。因此,基于从后西方视角解读殖民本土文化的跨文化理论,我们发现非洲本土文化在消费过程中的能动性、创造性和传统,将印尼式的欧洲蜡转化为非洲蜡,并使蜡印成为一种非洲本土文化。此外,我们建议,如果作为一种商品的真实性是基于生产过程中的原创性和真实性,那么作为一种文化的真实性应该基于消费过程中的可用性、功能性、知识性和精神性,这样,作为消费者的非洲人才能认识到蜡印创造的文化产品。就像作为生产者的欧洲人自然会接受新的文化产品,比如重新利用非洲人创造的非洲特色的时装表演和展览。非洲蜡是一个重要的例子,说明在殖民时期,通过全球-地方生产和消费的动态过程创造的混合文化产品如何定义当地文化的身份和真实性,以及今天成为新的当地全球文化内容需要什么。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Identity and Authenticity in Global-Local Hybrid Cultural Products: Focusing on African Wax Prints
This article examines the issue of whether hybridised cultural products created in the colonial Western-centric global-local world system can retain local cultural identity and authenticity through the case of African wax. African wax, a wax-printed fabric, is a raw-dye printed cotton fabric produced in factories by European textile companies based on batik, a traditional Indonesian fabric. It is a hybrid cultural product that is neither a traditional African fabric nor produced in Africa, but has acquired the attributes of African culture through its consumption in Africa. According to the conventional view that local culture should be locally generated and produced with originality, uniqueness, and purity, it is difficult to call hybridised wax prints made in Europe during the colonial period as African local culture. Therefore, based on transcultural theory, which interprets colonial local culture from a post-Western perspective, we found that the agency, creativity, and tradition of African local culture in the consumption process transformed the Indonesian-style European wax into African wax and made the wax print an African local culture. Furthermore, we suggest that if authenticity as a commodity is based on originality and genuineness in the production process, then authenticity as a culture should be based on usability, functionality, knowledge, and spirituality in the consumption process, so that Africans as consumers can recognise the cultural products created by wax prints, just as Europeans as producers naturally accept new cultural products such as fashion shows and exhibitions that reappropriate Africanness created by Africans. African wax is an important example of how hybrid cultural products created through the dynamic process of global-local production and consumption during the colonial period can define local cultural identity and authenticity, and what it takes to become new local global cultural contents today.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
自引率
0.00%
发文量
0
期刊最新文献
A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots Participation Motivation of Generation Y and Generation Z Backers in Crowdfunding for Publishing Sectors A Study on the Characteristics of Hikikomori and Resilience in the Japanese Movie A Study on the Idol Motif in Korean Web fiction Diversity of Theatrical Hit Animated Films Supply on OTT Platforms: Focusing on Genre and Nationality
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1