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The aim of producing Bah Luj Production, four folk tales books accompanied by a compact disc of its narration, dialogs and music is to revitalize the folk tales, music and cultural heritage of the indigenous Semai by condensing them into an innovative resource package, tailored to appeal to the current generation’s consumer interests and lifestyles. The targeted audiences for the product are Malaysians, in particular the Semai community, as well as other local and international consumers. The purpose of this paper is to examine a practice-led approach toward considering the empowerment of selected culture bearers assisted by the intervention of researchers from the academia in facilitating the sustainability of indigenous cultural traditions in Malaysia.

This approach is practice-led – Bah Luj Production was developed based on action, reflection, review and revision. This paper provides visibility to the research process, enabling readers to understand the issues, challenges and decision-making processes. The practice-led approach that was used for this project provides a realistic practical guide, bridging the gap between theory and practice. In the conclusion, the authors also bring forth ideas for improvement through reflection, on suggested approaches in ways this research did not manage to pursue.

This paper proposes three approaches in advocating for cultural sustainability through innovation: collaboration between selected culture bearers and researchers in the academia; indigeneity of cultural expressions and illustrations; and adaptability and relevance to current interests of indigenous people and consumers of indigenous music and literature. This paper argues that it is important for the researcher to navigate research with relevance to the context and situation.

While many articles focus on presenting the outcomes of a research project, this paper guides the reader toward understanding the limitations, constraints and negotiations made by the research team during the research and production stages. Transparency in the process of decision making will enlighten readers on realistic, practical approaches as opposed to idealistic theoretical methods.

This paper argues for sustainability through innovation and posits that cultural heritage practices that continue to be performed are those that are adaptable, flexible to change and open to innovation – therefore maintaining relevance to time, context and consumers. This paper posits that researchers should be flexible and practical in their research actions and avoid generalizations that come out of recent and popular critical theories as the most, or only suitable, approaches for diverse communities.

The development of an alternate approach, theory/concept and guidelines toward sustainability through innovation make this study the first of its kind. This approach integrates tradition with creation.

Using a dialogic approach to narrative analysis through the lens of fairytale, this paper explores the shared construction of corporate environmental stories. The analysis provided aims to reveal the narrative messaging which is implicit in corporate reporting, to contrast corporate and stakeholder narratives and to bring attention to the ubiquity of storytelling in corporate communications.

This paper examines a series of events in which a single case company plays the central role. The environmental section of the case company's sustainability report is examined through the lens of fairytale analysis. Next, two counter accounts are constructed which foreground multiple stakeholder accounts and retold as fairytales.

The dialogic nature of accounts plays a critical role in how stakeholders understand the environmental impacts of a company. Storytelling mechanisms have been used to shape the perspective and sympathies of the report reader in favour of the company. We use these same mechanisms to create two collective counter accounts which display different sympathies.

This research reveals how the narrative nature of corporate reports may be used to fabricate a particular perspective through storytelling. By doing so, it challenges the authority of the version of events provided by the company and gives voice to collective counter accounts which are shared by and can be disseminated to other stakeholders.

This paper provides a unique perspective to understanding corporate environmental reporting and the stories shared by and with external stakeholders by drawing from a novel link between fairytale, storytelling and counter accounting.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

The purpose of this chapter is to identify African financial management practices, highlight their origin and explain how they differ from their Western counterparts. The study identified indigenous African financial practices using literature review, archival sources and library research covering the five areas of Africa comprising Northern Africa, Eastern Africa, Central Africa Western Africa and Southern Africa. The study found out that pre-colonial indigenous African financial management features prevalent use of trade finance, trade credit management, investment management and accounting. While there is also evidence of modification of Western financial management practices to suit African contexts, it is on the whole scarce. This is suggestive of the fact that they were in existence in the first instance. The clear conclusion is that many indigenous African financial management practices pre-dated and foreshadowed their Western counterparts. Yet, it is confounding that this has been largely lost sight of, and both scholars and financial management practitioners depict the former as inferior. There is clearly a need to remedy this situation. Educators need to focus on incorporating ethno-finance concepts into the entire curricula chain from basic to higher education. The anchor point for such curricula is Ubuntu philosophy. Financial management practitioners, on their part, need to shed notions that the indigenous practices are inferior and seek to journalise their day-to-day work experiences to build a body of documented practice.

The primary purpose of this study is to determine if the main character is a shapeshifter and, if so, how does the tale contribute to shapeshifting lore.

The focus of the study is confined to a version of the tale that appears in Jane Yolen's Folktales From Around the World (1986) and on summaries of other versions of shapeshifting tales when needed. Support for the findings is provided by an examination of the observations and rhetorical techniques employed by what appears to be an unreliable narrator and selected knowledge and practices from a variety of academic disciplines.

The research findings neither confirm nor deny that the main character is or is not a shapeshifter.

Instead, the critical reading confirms the traditional characterization of folktales as coming from diverse folk roots and disappearing or changing as they circulate through geographical space and narrative time.

It also implies that the tale has outgrown its practical and social folk roots and now extends far beyond that of traditional shapeshifting or literary folktales.

By bringing to light the racial and gender fears, ignorance and emotional and physical violence that lurk just below the surface of the society from which serpent-woman emerges, the study creates a haunting vision of the embedded biases that lurk just below the surface of many societies.

To this author's knowledge, this is the first study of this tale to appear in publication. The findings need further investigation.

Through a critical reading of a twentieth-century Bengali artist’s autobiography, this paper aims to attempt to demonstrate how commercial art and the consumption ethos symbolized by that art represented an archetypal bhadralok insignia. A close examination of this insignia reveals how the dynamics of modern liberal values mediating through the colonial capitalist structure in relation to the regional particularities of Bengal opened up a new space of cosmopolitanism, where there is an attempt to reframe cultural practices in the light of a broader global history of interrogation, reason, change and emancipation.

This paper is a historical analysis of primary sources.

It was found that the bhadralok-led Bengal School of Art influenced commercial art of early postcolonial Bengal.

The study is limited to the region of Bengal.

This paper makes contributions to one of the less-researched, but very important areas, of business history in India.