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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.

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.

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.

This paper aims to respond to the circumstances that have made hybridity both a popular term in cultural analysis and a contested, problematic concept. It promotes the need to look at what has been dismissed in discussions of hybridity, namely, mundane and un-exotic examples of cultural mix.

This study uses a conceptual and interpretive approach to theoretical and empirical work that engages with the theme of hybridity.

The findings highlight how a celebration of hybridity has limited the ways in which the concept can be used for empirical work. It proposes the paradigm of everyday hybridity to work with practical examples of cultural hybridity.

The implications are to decentre the Western bias that has theorised hybridity without exploring how the concept is relevant to other regions, such as East Asia.

The value of this work is in providing an audit of the concept of hybridity and a working paradigm for future qualitative research.

This critical content analysis aims to examine the depiction of oppression in the 2022 Notable Social Studies Trade Books (K-2). From the framework of major types and levels of oppression, this paper sheds light on the rich affordances and problematic representations of oppression.

From the perspectives of an intersectional approach and the framework of oppression, the authors conducted a critical content analysis of the written texts, illustrations and peritexts of the notable books for young readers.

Among the 73 picturebooks, 46 (63%) include representations of oppression in the written texts and/or illustrations. Half of these books depict more than one type of oppression. The most frequently represented oppression is racism, followed by sexism. There are limited depictions of homophobia, transphobia, ableism, ageism, antisemitism and Islamophobia. Nine books (20%) only include the representation of oppression in the peritexts.

This study contributes to anti-oppressive education by offering a theoretical framework of oppression, which emphasizes the interlocking systems of oppression. This framework can help foster a holistic understanding of oppression and dismantle it in a holistic way.

The authors also offer suggestions to help educators curate picturebooks for anti-oppressive social studies education.

This study contributes to anti-oppressive education by offering a theoretical framework of oppression, which emphasizes the interlocking systems of oppression. This framework can help foster a holistic understanding of oppression and dismantle it in a holistic way. The authors also offer suggestions to help educators curate picturebooks for anti-oppressive social studies education.

The purpose of this paper is to explore the role of claims of cultural appropriation in negotiating who has the right to utilise specific racial, cultural or communities' ways of knowing in research co-production. Cultural appropriation is a claim made against those making illegitimate use of traditions, knowledge and practises that originate from specific racial and/or cultural group. Appropriation helps us interrogate the ways in which rewards and benefits in academia are distributed and shared, denied or hoarded, and by whom.

The paper is a dialogue between two researchers in the in-betweens of research co-production, specifically in the negotiation of claiming the right to lead or engage in Afrofuturist work with communities.

The claim of cultural appropriation is useful in naming, drawing boundaries and creating spaces for negotiation around access and ownership of academic work but must also develop as part of a broader transformative agenda towards racial equality in academia.

In addition to ethical considerations about power imbalances and extractive practises, research co-production should also be concerned with acknowledging and crediting knowledge production practises that originate from specific racial and/or cultural groups.

This is the first paper to explore issues of cultural appropriation in research co-production, and co-production in relation to Afrofuturism. This extends ethical concerns on research co-production beyond academic power imbalances with, and extracting value from, communities to negotiating the relationships between academics and traditions, knowledge and practises developed by specific racial and/or cultural groups.

This research aims to develop and test the traditionscapes framework in which consumers appropriate local traditions as a resource to foster cultural identity in emerging markets.

A multi-level research approach with qualitative (n = 38) and quantitative data (n = 600) was employed in the context of gaucho traditions in the southern part of Brazil (Rio Grande do Sul state).

The findings indicate that traditionscapes operate in a fluid process that engenders local culture attachment into tradition value through the consumer identification process. Traditionscapes build a sense of local cultural attachment that functions as a source of social, cultural, and local identification. Findings also support our three-stage traditionscapes framework, emphasizing the identification process that depends on consumers' global culture resistance.

This research provides a novel viewpoint to the well-established relationship between tradition and globalization in consumption studies. We contribute to this debate by shifting the discussion to the fluid process of traditionscapes in which tradition value is engendered through consumer appropriation and identification with local traditions, even in a globalized context. Although recent research suggests that global culture can disrupt local traditions, traditionscapes operate as an extended perspective that coexists with other global cultural flows.