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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.

This paper examines the discourse of consumers as they attempt to define and create consensus on the meaning and significance of cultural appropriation within a fashion context.

Data were collected via consumer comments posted to an article from The Guardian about the banning of headdresses from a large-scale music festival in Canada. Data were analyzed according to protocols for grounded theory.

Four themes emerged from the data: values consensus, ideological control, social and symbolic boundaries and social impact and change. These themes captured consumers' perspectives on the debate of cultural appropriation in fashion.

Cultural appropriation has become an increasingly important topic of interest as consumers share their voices online and demand companies increase their cultural competence.

Few researchers have examined cultural appropriation in fashion and captured the various perspectives of consumers on this phenomenon.

Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience.

This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records.

An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital.

The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences.

The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences.

This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

The situated appropriation of the content of globalization by Navajo people and institutions in their unique U.S. Southwest context is the focus of this chapter. The local is transforming the content of the global for local ends; this conversation narrative posits situated cultural exchange rather than a conversion narrative that implies a uni-directional mode of cultural assimilation. Reflections on cultural change in both formal and non-formal educational contexts based on the author's years of experience in the Navajo Nation provide data to freshly examine a conceptual framework for explaining cultural change amid contemporary globalization. The concepts of situated appropriation, adaptive intelligence, and mutual appropriation are employed in the analysis of cultural conflict and change in this chapter.

The question of how to address copyright's insufficiencies with respect to Native American creative production is at the center of an ongoing legal debate; however, more important is whether Native American oral forms should be protected by copyright. Although some late twentieth-century court decisions have opened the door for courts to consider including intangibles within intellectual property law, copyright is not the answer to the problem of protecting Native American oral traditions from appropriation. Expanding the scope of copyright to envelop Native American oral traditions is antithetical to the creation and function of these forms within their host communities and would do more harm than good.

This paper seeks to highlight issues surrounding ownership and copyrights relating to intangible cultural heritage and to raise potential concerns for local (rural, remote, smaller) communities involved in cultural heritage tourism.

The objective of the paper is to provoke reflection and further discourse on how local culture in smaller rural communities has been appropriated for tourism and related issues and concerns. Selected literature, other relevant documents and data from personal observations, derived from previous research, were examined to provide insights on the subject and to help achieve this objective.

Findings suggest that an inequity gap exists in benefits distributed to many rural communities whose cultural heritages are being appropriated and exploited by multiple commercial entities for tourism purposes and personal gain. Little, if any, of the profits realized benefit the local community – the actual creators and owners of the local culture.

With a new awareness and understanding of this phenomenon, developing and implementing a new and alternative approach is possible – an alternative approach that may help narrow this inequity gap while also ensuring significant sustainable benefits to all the stakeholders.

This paper presents new perspectives about the value of intangible cultural heritage when used for tourism. This paper should be of interest and importance to community tourism planners and policy makers, industry operators/suppliers dependent on local cultural tourism products, and consumers of local intangible culture who seek unique cultural experiences.

By celebrating tourism destinations through cruise collections, luxury brands open to new influences. They may develop deeper connections with certain geographical areas, but may also challenge the quintessentially national dimension of luxury brand culture. The best example of synergies between a luxury fashion brand and tourism destinations are the Christian Dior cruise collections with Maria Grazia Chiuri at the helm. This chapter is to understand how cruise collections may enhance luxury fashion houses' brand culture through the connections they develop with tourism destinations. Further, the chapter assesses the extent to which destinations can benefit from the exposure provided by luxury fashion brands' cruise collections.

This chapter applies recent theoretical developments linked to the concept of culture to the field of public relations research and practice, notably through the prism of creativity as a vector of cultural change.

The chapter is theoretical in nature and draws on relevant scientific literature in the field of public relations research, but also the social sciences more generally, and illustrates the issues being discussed with reference to relevant public relations campaigns.

While the field of public relations has moved beyond simplistic models of cultural values and characteristics, it is argued that more complex visions of culture have been neglected. Specifically, drawing on structuration theory, culture can be seen as a ‘system-generating mechanism’ relying on creativity to uphold and renew cultural references and norms. In this perspective, public relations is both producing/reproducing culture and being produced by culture. It follows that the concept should be apprehended not as an ontological category but as a social construct, as the source of heuristic and discursive categorisations.

A call is issued for public relations to also question the ideological underpinnings of the production of symbols in which practitioners partake on a daily basis.

While the chapter fits into an emerging body of work discussing the cultural dimension of public relations, the link with creativity and the use of structuration theory to conceptualise this link contribute to its originality.

Focusing on a community organisation, the purpose of this paper is to unravel the process through which infringing contested practices that threaten or compromise the community’s sense of distinction are transformed into acceptable symbolic markers.

An ethnographic study comprising participant observation, in-depth interviews and secondary data was conducted in the context of a non-profit community cinema.

Taking a longitudinal approach and drawing from practice theory, this paper outlines how member-driven, customer-driven and necessity-imposed infringing practices settle in new contexts. Further, this paper demonstrates that such practices are filtered in terms of their ideological “fit” with the organisation and are, as a result, rejected, recontextualised or replaced with do-it-yourself alternatives. In this process, authority shifts from the contested practice to community members and eventually to the space as a whole, ensuring the singularisation of the cinema-going experience.

This paper addresses how the integration of hegemonic practices to an off-the-mainstream experience can provide a differentiation tool, aiding resisting organisations to compensate for their lack of resources.

While the appropriation practices that communities use to ensure distinction are well documented, there is little understanding of the journey that negatively contested practices undergo in their purification to more community-friendly forms. This paper theorises this journey by outlining how the objects, meanings and doings that comprise hegemonic practices are transformed by and transforming of resisting organisations.

This paper aims to detail how consumers can harness the power of brands to reconstruct their lives.

The authors followed five brand devotees over several years, using various data collection methods (long interviews, observations, videos, photographs and secondary data) to study how they reconstructed their lives with a brand.

Consumers transform their existence through a distinctive form of brand appropriation that the authors call brand magnification, which unfolds: materially, narratively and socially. First, brand devotees scatter brand incarnations around themselves to remain in touch with the brand because the brand has become an especially positive dimension of their lives. Second, brand devotees mobilize the brand to craft a completely new life story. Finally, they build a branded clan of family and friends that socially validates their reconstructed identity.

The research extends more muted depictions of brands as soothing balms calming consumer anxieties; the authors document the mechanism through which consumers remake their lives with a brand.

The research helps rehabilitate the role of brands in contemporary consumer culture. Organizations can use the findings to help stimulate and engage employees by unveiling the brand’s life-transforming potential for consumers.

The authors characterize a distinctive, extreme and unique form of brand appropriation that positively transforms consumer lives.