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Staging the Oriental Other

For German-speaking tourists, an Oriental market (in Arabic: souq) is an exotic place representing the ‘Otherness’. Referring to this Oriental context, the article aims to answer the following questions: What are the tourists’ imaginaries and social narratives and what is the role that cultural brokers play? Gaining insight into the imaginaries and on-site performances of German-speaking tourists of a mega-cruise liner will contribute to the discussion of imaginaries and embodied performances in general as well as the mediation and the construction of space. The research reported upon in the article is part of a larger field study (2012–2014) in Souq Muttrah, the oldest and formerly main market in Oman. Participant observation, photography and in-depth interviews with different types of tourists, local customers, cultural brokers and on-board employees were conducted and marketing material was analysed. Results indicate that in the marketing material, the tourists are already beginning to travel backwards in time. During their visit to the souq, the multi-sensory performances and embodied imaginaries are enhanced by stories of the Arabian Nights. Cultural brokers play an essential role in ‘localizing’ the tourist experience. They adjust their own identities and direct the tourists’ performances at different stages, similar to an Oriental theme park, for example, they stop at a frankincense shop.

Reckless Endeavours, Ethics, and Memes — Reflections on the Fraught Side of Raving

At its core, raving has existed in opposition to normativity, and so has electronic music. If newcomers enticed by hard trance remixes of 2000’s Top 40 hits embrace this opposition, it is often done in ways removed from history. As Loren Granic AKA Goddollars, co-founder and resident of A Club Called Rhonda in Los Angeles, stated: “Many of the newcomers are straight/white kids who are very far removed from the LGBT community, despite fist-pumping by the millions to a music that was born from gay people of colour sweating their asses off at 5 AM in a Chicago warehouse.” If the role marginalized people have played in the creation and pioneering of their favourite music is ignored, how would people react when told that their fun might also harm marginalized groups? The ethics of lockdown raves have always been fraught, as their repercussions reverberate beyond the people who choose to attend them; meanwhile, data shows that people of colour were more likely to be targeted for attending raves during the lockdown.

Personal and social recent history in Fragments of Him: defining and exploring ‘Immersion’ in video games.

The perfect dress and its making

The shift from home and custom-made clothing to mass-produced ready-mades in 20 th-century Europe has been the subject of studies from multiple disciplines and across various locations. Contributing to this field of studies, and extending the analysis until the present day, a group of female consumers living in Amsterdam in the 1950s and 2010s were interviewed about their sartorial habits. The study identifies a discrepancy between common manufacturing processes and values related to identity as a central cause of this shift. Furthermore it explores how such a discrepancy can be found again today, arguing that this divergence is leading to the re-emergence of customized production.

From “things of imitation” to “devices of differentiation”

This article argues for an updated theoretical framework in fashion studies. It proposes that perspectives emphasizing the social role and the technological nature of dress should be considered complementary, and that their joint application can contribute to new understandings of fashion history. Employing ethnographic methods, this stance is explored through a comparative analysis of the sartorial practices of two groups of women living or working in Amsterdam during the 1950s and the 2010s. A theoretical framework integrating theories of identity (mainly based on the writings of Georg Simmel and Gabriel Tarde) and the philosophy of technology (in this case the device paradigm of Albert Borgmann) allows us to uncover a paradoxical history of fashion in which clothing shifts roles, transforming from “things of imitation” into “devices of differentiation.”