cultural authenticity
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2021 ◽  
Vol 3 (2) ◽  
pp. 1-6
Author(s):  
Toluwanimi Ibikunle

One of the main chords through which Yorùbá cinema connects with its core target audience – the Yorùbá people both at home and in the diasporas – is the penchant of Yorùbá filmmakers to present core traditional values, mores, philosophies and customs in their works. A significant part of this presentation lies in the deliberate choice of actors whose off-screen personas already enjoy public acclamation as knowledgeable ‘masters’ or practitioners of Yorùbá culture and traditions. For over two decades of contemporary Yorùbá cinema practice, Adébáyọ̀ Fáléti ́ remained one of the most prominent and culturally renowned actors that filmmakers have used in portraying, presenting and accentuating different cultural values of the Yorùbá. Long before he became a star film actor, Adébayọ́ Fa ̀ ́leti’s impressive body of works ́ as a poet, theatre artiste, journalist, translator, broadcaster, writer and culture administrator had firmly established his vast knowledge and mastery of Yorùbá language and philosophy. In many films therefore, the appearance of Adébayọ́ ̀ Fáleti in any role, instantly and inevitably transforms that filmic ́ character into a symbol of Yorùbá cultural authenticity, depth and authority. This, arguably, is the function of the veteran Yorùbá actor Fáleti in many no ́ - table and outstanding Yorùbá films from Túndé Kèlání’s Ṣaworoidẹ (1999), Agogo Eè wọ ̀ ̀ (2002), Ẹfuń ṣetan Ani ́ wú rá ̀ (2005), Thunderbolt (2001), to Níji Àkànní’s Arà mọ ̀ tú ̀ (2010) and Muyiwa Adẹmọ́la’s OwóÒkutá (2010). This, this paper examines the manipulation of iconic significations of Adébáyọ̀ Fáleti in ́ Ṣaworoidẹ and Agogo Ẹẹwọ.


2021 ◽  
Vol 10 (2) ◽  
pp. 60-74
Author(s):  
Chiou-Rung Deng

This paper seeks to explore three modes of cultural identification presented in Kiran Desai’s The Inheritance of Loss. With three intersecting plotlines, the novel focuses on three divergent modes of cultural identification in different spatio-temporal contexts. The first kind of cultural identification is imbued with a sense of foreignness, exemplified by the judge, Jemubhai, whose cultural identity is deeply shaped by imperialist ideology during British colonization of India. As Indian culture is negated by the colonial power, Jemubhai adheres to English cultural identification and disavows his Indianness. The second mode of cultural identification revolves around the issue of cultural authenticity in the diasporic context for Biju, a young migrant, illegal worker in various restaurants in New York. To survive in a foreign country, Biju forces himself to transgress cultural borders, which disconcerts Biju and further prompts him to pursue cultural authenticity. The third mode highlights Sai’s and Gyan’s trajectories of cultural identification. Just as Sai, Jemubhai’s granddaughter, embodies the idea of in-betweenness, Gyan, Sai’s math tutor, manifests the desire to escape narrow nationalism. Both Sai and Gyan evoke the potential of crossing borders. Juxtaposing the three modes of cultural identification, Desai’s novel explores the process of negotiating cultural identity and gestures towards a field of border-crossing identity.


2021 ◽  
Vol 940 (1) ◽  
pp. 012082
Author(s):  
S Megawati ◽  
M A Mahdiannur

Abstract The Ammatoa Kajang indigenous community maintain cultural authenticity from generation to generation, especially in protecting and preserving customary forests from the threat of damage. This research aims to describe the implementation of forest conservation policies based on local wisdom of the Ammatoa Kajang indigenous community. The research method uses a literature/library study approach. Reference documents from 2001-2021. Data analysis methods with data minimization, data visualization, data analysis, and data validation and concluding. The results of the research showed that the Kajang orthodox community in day-to-day forest management is guided by the Pasang ri Kajang, which contains rules, implementation and sanctions for all forms of forest utilization and management, monitoring tools and control over all activities related to forestry, positively correlated with forestry policies governance. The concept of customary forest management is to divide the forest into three areas with certain specifications and rules as well as prohibited from destroying flora and fauna. In the end, the forest is sustainable and indigenous community behave sustainably; it can be concluded that the implementation of forest conservation policies based on local wisdom of the Ammatoa Kajang indigenous community is going well.


2021 ◽  
Vol 13 (22) ◽  
pp. 12745
Author(s):  
Piera Buonincontri ◽  
Roberto Micera ◽  
María Murillo-Romero ◽  
Tommasina Pianese

Underground sites have become an attractive tourist destination for an increasing number of visitors. This flow of visitors has made sustainability a major issue, that is, the way in which tourism development ensures economic benefits for host communities and respects local identity without compromising the environmental resources. Many studies have explored sustainable tourism in the Underground Built Heritage (UBH), but privilege the analysis of a single perspective, that is, economic sustainability, e.g., potentialities of cultural routes, or environmental sustainability, such as the impact of visitors on the cave climate. However, some attention has been paid to the social implications of tourism in the UBH, that is, the impacts of tourism development on improving the quality of life of the local community and the enhancement of their sense of community while respecting cultural authenticity. Our aim is to reconcile these perspectives and obtain, through a semi-systematic review, a clear picture of the sustainability of tourism in UBH sites. The aggregation of existing knowledge around the three pillars of sustainability has highlighted the importance of community involvement and collaboration among UBH stakeholders to ensure a balance between the protection and valorisation of UBH, which can also be achieved through networking strategies.


2021 ◽  
Author(s):  
◽  
Mark Ellsworth

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>


2021 ◽  
Author(s):  
◽  
Mark Ellsworth

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>


Religions ◽  
2021 ◽  
Vol 12 (11) ◽  
pp. 964
Author(s):  
David Font-Navarrete

This essay examines the flow of music associated with orisha—anthropomorphic deities—across networks defined variously by art, scholarship, folklore, and religion, all of which overlap and nourish each other. Transmitted via oral tradition, written texts, and multimedia technologies, a handful of orisha-themed songs are analyzed as case studies in the subtle nexus of liturgy and cultural authenticity. Taken together, the songs shed light on a broader phenomenon in which creatively-minded, ostensibly-secular iterations of culture play a significant role in the dissemination and ongoing codification of ritual orthodoxy. Orisha music traditions are analyzed as a fertile ground for a multitude of devotional and/or artistic expressions, many of which have a particularly ambiguous relationship to the concept of religion. In this context, the fluid movements of orisha music between ostensibly sacred and secular contexts can be usefully understood as not only common, but as a conspicuous and characteristic aspect of the tradition. The essay’s structure and rhetorical strategies offer distinct layers of cultural and historical commentary, reflecting a multi-vocal tradition of exchanges among orisha music scholars, artists, and ritual experts. The essay’s historical analysis of orisha music further suggests that a host of subtle, seldom-discussed phenomena—multilingualism, liturgical ambiguity, and transmission via multimedia technologies—are not necessarily aberrant or irregular, but rather vital themes which have resonated clearly across the Afro-Atlantic for at least a century. By obligating us to attend to both musical meaning and cultural context, the essay’s case studies of orisha music shed light on the mingling and synthesis of elements from varied historical sources, languages, and cultural idioms, each of which represent distinct notions of tradition, creativity, religiosity, and secularism.


Languages ◽  
2021 ◽  
Vol 6 (4) ◽  
pp. 175
Author(s):  
Heidi Armbruster ◽  
Souhila Belabbas

This paper brings together two different communities, Kabyles (Amazighs) and Syrian Christians, who are nevertheless marked by some commonalities: a strong diasporic dispersal as a historical experience, political, cultural and linguistic marginalization in their countries of origin, the deep association of collective identity with an “endangered” heritage language, a lived experience of multilingualism, and a post-emigration struggle of language maintenance and transmission. The Kabyles have roots in northern Algeria, and associate their language, Kabyle, with a pre-Arabized history of northern Africa, with claims to cultural authenticity and indigeneity. This paper focuses on research conducted in the UK, a relatively new immigrant setting for this community. The Syrian Christians originate from Turkey and have dispersed across different European countries since the 1960s. They make strong identity claims to Aramaic, “the language of Jesus”, yet have also found its preservation and intergenerational transmission challenging. This paper focuses on research conducted in the German speaking context. Drawing on ethnographic research with these communities, we bring their post-migration language preservation activisms into a dialogue. This shows the enduring significance of the heritage language for social, cultural and historical identity, despite considerable language decline. It also demonstrates that the current survival of the “mother tongue” hinges on multilingual and multi-sited language activisms which bear the hallmarks of both new creativities and diminishing fluencies.


2021 ◽  
Vol 13 (20) ◽  
pp. 11180
Author(s):  
Iuliana Vijulie ◽  
Ana-Irina Lequeux – Dincă ◽  
Mihaela Preda ◽  
Alina Mareci ◽  
Elena Matei ◽  
...  

The traditional Romanian village has recently seen unmistakable transformations. The import of architectural styles from EU countries and the need to modernise dwellings, combined with considerable legislative voids regarding the protection of the built-up heritage, have strongly modified traditional architecture and resulted in irremediable losses in terms of rural authenticity and landscape aesthetics. This study aims to analyse the need for preserving existing traditional architecture in Certeze village, which has been severely jeopardised by the import of post-modern elements. The perception of both locals and tourists on these aspects was evaluated using the survey method. Results outlined more conservative views from the older inhabitants who are still attached to traditional constructing styles, while younger respondents preferred the more modern houses. Most tourists also showed an increased interest in the traditional architecture and criticised the newer constructed buildings. The contrast between old and new, which at this point is ubiquitous in the area, remains an element of intergenerational negotiations and risks the diminishing of the cultural authenticity of Certeze even further.


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