Navigating New Narratives: How ‘Al-Rawabi School for Girls’ Is Changing the Game for Global Storytelling (C21072463)

Have you ever stumbled upon a show that made you pause and think about the stories we’re told and the ones we’re missing? That’s what happened to me with Netflix’s “Al-Rawabi School for Girls.” Stumbling upon this series on Netflix felt like finding a piece of home. As an Arab girl who’s walked the halls of a Jordanian high school, this series wasn’t just a show; it was a dive into stories that felt incredibly personal and often overlooked in global and local narratives. It’s fascinating how Netflix is reshaping our storytelling landscape, bringing to light the multifaceted lives of Middle Eastern women with authenticity. I’m excited to guide you through the transformative journey “Al-Rawabi School for Girls” offers, showcasing the series as a catalyst for cultural dialogue and a pioneer in the digital narrative space.

As we navigate the halls of Al-Rawabi School together, we’re not just passive viewers but active participants in a broader exploration of cultural evolution. This series exemplifies the dynamic power of digital media platforms like Netflix to dismantle traditional storytelling barriers, fostering a global community eager for diversity and inclusion. 

Why We Can’t Stop Talking About ‘Al-Rawabi’?

The show focuses on the lives of a number of high school students in Jordan. It navigates through the issues experienced by these girls, tackling topics from cyberbullying to corruption and honour killings. Through its raw, unfiltered glimpse into this reality, the show becomes a window into the lives of Arab girls, delving specifically into the complex world of Jordanian high school students, and offering an authentic look into the often misrepresented and misunderstood narratives surrounding them. Unlike other Arabic dramas, it brings to light the real struggles and triumphs of young women in Jordan—a truth I can attest to. Its portrayal has sparked significant dialogue within Jordan, pushing the boundaries on taboo topics. The response, both locally and internationally, has been overwhelmingly positive, applauding the series for its engaging, aware, and relevant approach to delicate yet universally relatable issues.

Al Rawabi School for Girls: S1 Trailer

The Ripple Effect: Beyond Entertainment

“Al Rawabi School for Girls” stands as a pioneering project within The Arab world and beyond, making a noticeable departure from traditional Oriental portrayals of Arab women in the media. The show has become a conversation starter on a global scale, encouraging serious attention to taboo topics that are often overlooked and neglected in developing societies. These include but are not limited to, eating disorders, social anxiety, cyberbullying, suicide, etc. Each episode is a thread in a larger tapestry of dialogue about issues that matter, as well as the power of collective action. The series masterfully tackles the theme of revenge versus forgiveness, asking us, the viewers, where we stand. It’s not just about the entertainment; it’s about engaging viewers in meaningful discourse, making us ponder our societal roles and responsibilities.

Digital Platforms as Catalysts for Diverse Storytelling

What excites me most about “Al-Rawabi School for Girls” is its potential to inspire. It’s a testament to the power of storytelling from diverse perspectives, proving that there’s a hungry audience for stories beyond the mainstream. The show highlights the role of digital platforms as catalysts for diverse storytelling. Netflix, with its commitment to offering a wide array of content, has become a key player in introducing stories from less represented cultures to a global audience. The series not only received acclaim for its storytelling and production quality but also sparked conversations about the importance of cultural representation in media, demonstrating the potential of digital platforms to influence social discourse and cultural understanding. This series is a call to action for creators around the world to share their narratives, to fill our screens with the rich tapestry of human experience that exists beyond the traditional centres of media production. It’s a reminder that our stories matter, and they have the power to change minds, and maybe even the world.

The Impact on Cultural Economy and Policy

The global success of series like “Al-Rawabi School for Girls” has significant implications for the cultural economy and policy. It illustrates the economic viability of investing in diverse content, encouraging more creators from various cultural backgrounds to share their stories on global platforms. Furthermore, the series’ international reception can influence cultural policy by highlighting the need for support and recognition of creative works that reflect the diversity of human experiences. As digital platforms continue to shape the cultural landscape, policymakers may be prompted to reconsider the frameworks within which cultural products are funded, distributed, and celebrated.

Food for Thought

“Al-Rawabi School for Girls” serves as a powerful testament to the transformative power of digital media in the creative and cultural industries. By providing a platform for stories that transcend cultural and geographical boundaries, digital streaming services like Netflix are redefining what is possible in terms of global storytelling. This series sets a precedent for the type of meaningful, diverse narratives that can emerge in a digitally connected world. As we move forward, it will be crucial to continue exploring and supporting such initiatives that leverage digital media’s potential to foster a more inclusive and representative global cultural economy.

But the conversation shouldn’t stop here. What are your thoughts on the portrayal of female empowerment and the challenges faced by the characters in “Al-Rawabi School for Girls”? How do you see this series influencing the discourse around gender and social justice in the Middle East and beyond?

I invite you to share your perspectives and experiences in the comments below. Whether you found yourself cheering for the characters, questioning the societal norms presented, or simply enjoying the series for its storytelling prowess, your insights are valuable to continue this important dialogue. What will you add to this conversation?

Bali’s Kecak Dance: Blurred Boundaries between Culture & Tourism (C2096560)

Cak Cak Cak! Welcome to Bali! We are known by many names: Island of Gods, Island of Paradise but perhaps, you may know us more by our other name: Island of Tourists.

Kecak Dance at Uluwatu Temple (author’s own)

The Beauty and The Beast

Bali’s allure lies in its abundance of distinctive culture, which has succeeded in making Bali one of the world’s most popular travel destinations and bringing in 4.3 million tourists in 2023. Given that tourism accounts for 70% of Bali’s GDP, it is apparent that the island relies heavily on the ‘cultural economy’. However, the tourism industry which has so greatly helped, has also caused great suffering to Bali’s culture and environment with tourists generating 3.5 times more plastic waste per capita than locals. Worse yet, Bali’s pollution issue is kept a secret from visitors in order to maintain Bali’s image as a perfect “paradise”. Other issues include tourists disregarding local norms, acting disrespectfully, and even posing or stripping nude at places of worship and cultural shows.

Bali’s beaches polluted by plastic (photo source: Johannes Christo/Reuters)

Culture vs. Economy

Take example the Kecak Dance, one of Bali’s oldest cultures and most well-known tourist attractions. Don’t be fooled by the name for it is not just a dance. Originally conceived as a dance and musical, it is based on an ancient Balinese ritual (Sanghyang) for exorcism or repelling evil spirits. That is why, prior to the dance, a priest bestows a blessing on one of the actors so that he does not feel pain during the scenes that involve fire. The only “music” utilised came from 50–60 men (who are referred to as the dancers – yes they also dance!) singing “Cak! Cak! Cak!”. It is said that these dancers are not conscious and are thought to be communicating with the gods or ancestral spirits. Even more uniquely, the “set” was at one of Bali’s temples, overlooking the sea and using the natural sunlight as its lighting.

Photo source: Nyuh Bali Villas

The dance made its debut in 1930 as a result of the collaboration between German painter, Walter Spies, and Balinese dancer, Wayan Limbak, who wanted to produce a dramatic interpretation of the Sanghayang. The dance has been popular ever since they took the invention on a global tour. Although Bali has benefited from it in terms of tourism, it has also reinforced a sense of boundary among the Balinese between what they do for themselves and what they do for tourists. In fact, the Kecak Dance itself is not popular amongst Balinese audiences as they see it as more of an “act” for the economy.

The argument seems fair when considering the fact, what was once an elaborate ceremony performed for the gods has now evolved into a display for mortals to enjoy. Some even used the performance to do wedding proposals! The dance was no longer an offering to the gods, but an entertainment for tourists, and a divider for the society.

So, who are you performing for?

Photo by Jeffry Surianto on Pexels.com

Thus, one begins to wonder: who benefits from the cultural economy? Yes, in places like Bali where they depend on their culture to grow economically, the cultural economy benefits society as a whole. Nonetheless, it is also important to think about how packaging a culture for tourists may affect society and the culture itself. I believe that the development of tourism in Bali should be improved, and that its development must also ensure the protection of the culture and society.

I will always remember the day I saw the Kecak Dance. It was an honour to be able to get a closer look at and experience Balinese philosophy, culture, and life. I hope that the Kecak Dance will continue to be a performance that educates others about Bali while also serving as a source of pride for Balinese culture; an example and proof that Bali is more than just the Island of Tourists.

Barbenheimer – the cultural phenomenon amid Hollywood uncertainty? (C21060022)

Photo by Tima Miroshnichenko on Pexels.com

The 21^st of July: a date which will live in infamy. This unassuming Friday saw a clash of the titans style example of counter-programming; pitting the cinematic release of Greta Gerwig’s Barbie against Christopher Nolan’s Oppenheimer.

The Phenomenon Explained…

Two of the most highly anticipated movie releases of 2023 were Barbie and Oppenheimer. The former being Gerwig’s feminist, existentialist depiction of the beloved childhood toy. The latter, Nolan’s three-hour magnum opus – says star Cillian Murphy – about Robert Oppenheimer’s creation of the atomic bomb. Everything about these films is seemingly dichotomous. One has pink barbie houses and a musical number sung perfectly by Ryan Gosling, the other concerns the destructive nature of humanity. However, a phenomenon began as the two films were to be released on the exact same day and the internet went mad. First coined in April 2022, the portmanteau combining the titles became a viral sensation spurring on: conversations about which film must be seen first, the circulation of many memes, and even the creation of fan-made merchandise and trailers. Essentially, fans repurposed the case of counter-programming into their own cultural event.

Hollywood at a crisis point?

The lead-up to the movie event of the summer was underpinned by a variety of current film industry issues, mainly the recovery from the COVID-19 pandemic and the increased popularity of streaming services. As governments enforced isolation requirements across the globe, the cinematic experience was no longer viable as theatres closed and couches became the substitute. From a financial aspect, COVID-19 was estimated to lose the US film industry $5 billion dollars in 2020. Furthermore, continuing into 2023 productions, Hollywood COVID protocols contributed to extreme expenses in the hundreds of millions of dollars. Denied the opportunity of a cinematic experience, consumers turned to streaming services – an industry which saw significant revenue increases during the pandemic period. In response to a survey, 70% of Americans in 2021 claimed that they had little plan to return to cinemas due to COVID-19 fears and the mass availability on streaming services. Thus, the concern arises that the enthusiasm for cinematic experiences was dwindling. Why leave the comfort of your own home? What can cinemas offer the audience rather than the opposite?

Photo by cottonbro studio on Pexels.com

Emerging from isolation and possibly returning to theatres offered a new uncertainty – how has the theatrical experience changed? Box office figures have demonstrated that blockbusters such as Avatar: The Way of Water, Top Gun: Maverick, and Spider-man: No Way Home were extreme financial successes. Yet the anticipated Steven Spielberg movie The Fabelmans failed to reach the same heights. These figures highlight that the desire for cinemas was still present, but audiences were only coming out for certain movies: those with big budgets and matching marketing campaigns. Press limited by the SAG-AFTRA strikes, Barbenheimer bore a uniqueness in that those campaigns were largely produced and circulated by the fans themselves. The influx of consumer-generated marketing not only transformed the double-billing into a cinematic event, but added a personal level. 

Judgement Day

Preparation was necessary for the day ahead: the schedule had been arranged, the outfit laid out, and the snacks bought. But nothing could have prepared me for the busyness of Cardiff Odeon – essentially Armageddon for cinema workers. However, spirits were high, and the ability to hide from the colour pink was impossible. The highlight of the event were the outfits. Whether it was feather boas or prop pipes, cowboy or Oppenheimer style hats, dresses or suits, attendees came with appropriate style. Some, including myself, wore the fan made Barbenheimer tees or another outfit combining the two. The demographic of the day was unique also, bringing out a vast range of people. It was heart-warming to sit in the Barbie theatre and see generations ready for the experience or even crying together at a sequence of womanhood, played out to Billie Eilish’s ‘What Was I Made For’. 

Despite inevitable back pain and somewhat mental fatigue due to the intense existentialism of both films – making me question what it was to be a woman or what it was to be a human, the joy of the day cannot be denied. Concerns over the loss of a cinematic experience during a post-pandemic, streaming-saturated economy seemed inconceivable on July 21^st. In a Guardian (2023) article, it was stated that the “two films saved the box office” as records were shattered. At time of writing, the combined worldwide gross of Barbenheimer sits at over $2.4 billion. Finances aside, the cultural status of Barbenheimer has been solidified. The event highlighted the ever-present enthusiasm of audiences to experience films away from their living rooms and return to cinemas.

A one-off? Or an example?

Closing thoughts must acknowledge that such a phenomenon may not be easily replicated. The market for engagement is still there, but is it possible for every movie to achieve the same level of excitement? It is easily forgotten that the latest instalment of Mission: Impossible released a week before Barbenheimer, I did not see a plethora of Ethan Hawke inspired outfits filling those seats and neither did the box office figures. Film industries should learn from the success of Barbenheimer’s marketing prowess and the power of consumer creativity. People want to experience films again in their own personal ways. The enthusiasm needs to be kept alive.

Gaining Nothing but Praise: How the South Wales Improvisers Practice, Create and Perform Music for Free (C21011030)

Photograph of the Sonic Improvisation: Water Ritual performance. Source: Author

In this economy? Surely not…

It is not very often nowadays that you can see a performance for free – unless it’s a children’s school play or perhaps watching a good busker on the street. That is what I thought until I scrolled through Cardiff’s Chapter Arts Centre website, stumbling across a performance named Sonic Improvisation: Water Ritual. In a collaboration, artist Leo Robinson and music group the South Wales Improvisers (SWI) created improvised sound that was interpreted from a graphic score. 

Source: Artist Leo Robinson Photograph Stuart Whipps for Chapter 2023 – Sonic Improvisation: Water Ritual

Sat in a darkened hall in Chapter Arts, there were an array of instruments around the middle of the room, yet they all maintained a circular shape on the floor – just like the graphic. After a word from the SWI and Leo, the audience were audibly transported to what, I presume, the Amazon rainforest sounds like: gushing water from one pot to another, gongs emitting waves of sonorous sound, and tiny ripples of a guitar, to name a few. This musical arrangement seamlessly came together as each performer listened, understood and trusted what the others were doing. Creating rises and falls in the piece and finally… Stop. 

Photograph of text given out to audience members before the performance. Source: Author

Many in the audience were closing their eyes – transporting their minds to the place that the sound took them to.

After attending the performance, it still confused me how such a serious performance with professional musicians could have been free. As we enter a cost-of-living crisis with government cuts across the board, the arts have been severely damaged and have therefore become inaccessible to many. This sparks the debate on how cost, education and elitism is keeping the arts away from the general population. Speaking to Chris (Head of SWI), my intention was to find out how the group could continue putting on high class performances, with no fee. 

For context, Chris explained to me how the SWI came about from a lockdown hobby. Attending numerous workshops on Zoom, he then took the initiative of contacting SHIFT. SHIFT is a non-profit organisation that gives artists a sharing space for production, research & development, performance and exhibition. After some more digging, it appears that SHIFT is supported by a registered arts charity, Axisweb. This means that groups like SWI can come together as a community to do what they love, with no (musical) strings attached. No admission fee, no membership fee, no space rental fee. 

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A post shared by Shift (@shiftcardiff)

Source: SHIFTCARDIFF via Instagram

For those who don’t know, funding for artistic forms/groups like SHIFT and consequently the SWI is collected through public funding. This poses a question from many: why should public money be spent on such unique art forms? My response: how is art and culture free for all if certain groups aren’t given the opportunity to create and share what they do? It is preached in the Universal Declaration of Human Rights that “everyone has the right to freely participate in the cultural life of the community, to enjoy the arts” (article 27). 

Funding is essential to aid companies such as the SWI. Chris reminded me how experimental music is not a popular choice for many people, so funding is necessary if revenue is non-existent. Through the lens of Habermas, the state is responsible in generating a booming public sphere. The state therefore must provide resources (in this case, funding) so “the individual can make sense of their own experience of this culture” (p158).

“We are caught in a position where we are involved in music that is marginalised… so therefore footfall, and in a sense revenue, is difficult to create from it – even though it might have a strong following it will never be very vast”

As emphasised by Chris, access leads to recognition. With funding comes opportunity, and with opportunity comes success and revenue. Grassroots, free events give people a taster of something they haven’t experienced before. And if they like it, they are able to look for and experience more. Exposing people to creative genres in this way will not only help in creating potential revenue, but improving diversity, equality and inclusion. 

However, Chris informed how artists struggling for funding is a huge problem in Wales compared to other nations. In fact, over the past five years in Wales, public funding of the arts has significantly declined, which, as we’ve learnt, leads to inaccessibility. Click the links to read more about Wales’ poor funding of the arts. This has negatively impacted many art forms across the nation, which could mean no art and cultural forms are safe. Chris brought in more global context to compare (and despair). Norway, as an example, has a booming cultural economy, especially through The Norwegian Culture Fund. Comparing this to Wales, Chris says how difficult it is to gain funding especially in the current economy, but the answer is, in the case of the SWI, to get a bigger profile as serious performers. 

“We want to try… to give ourselves a bigger profile to grow the audience to then be able to hopefully start to get to more money… to get some more grants and more funding”

The SWI seem to be an uncommon example regarding funding, as many artist forms across the globe still struggle to gain any funding at all, let alone practice and performance space. It is important as audience members to participate in the process of these organisations and not just watch their performances. Companies such as SWI need participation from the communities to survive and thrive. 

C1952869: How does The Rocky Horror Show continue to make audiences shiver with antici……

…pation.

A critical review of the cultural economy of Richard O’Brien’s Rocky Horror franchise and how an almost 50-year-old cult-classic has continued to remain relevant within 2022.

The Rocky Horror franchise has been a controversial and bizarre cultural phenomenon since its creation in 1973. With its burlesque/glam rock aesthetic, unapologetically sexual tone, gender defying characters, and chaotic storyline, it’s a show that I believe should not be missed. It isn’t, however, only the aesthetics and storylines that have made The Rocky Horror Show what it is today. Anyone who has been to see the live performance can attest that it is the community, culture, and immersive audience participation that has transformed Rocky Horror from a musical into a cultural phenomenon. 

In terms of representation and accessibility, nearly everyone can discover a little bit of themselves within the show. The show parodies, rather than supports the issues that many people, queer or not, experience in their lives. It represents liberation and throughout the performance every character deals with issues of body confidence, fluid sexuality, relationships, love, loss, and abuse, all explored through a fun but critical lens. The show allows audiences to open themselves up to new possibilities, whilst still enjoying a night of raunchy fun.

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A post shared by The Rocky Horror World Tour (@rockyhorrorofficial)

Source: @rockyhorrorofficial on Instagram

In an interview with The Guardian, Richard O’Brien, creator of Rocky Horror, said that it ‘was probably not the first example of gender-bending […] but it was the most in-your-face’. It was one of the first musicals to portray sexual and gender fluidity. The show began amidst the same era as the Stonewall Riots and second-wave feminism. At this time, queer, trans and female rights were a key facet of western debates. O’Brien took over institutional theatre to portray his own story while paying homage to the sci-fi and B-horror movies of his childhood. The show paved the way for many queer and “socially unacceptable” people to express themselves freely. Queer hate crimes were common, and due to its shocking nature, the show also caught some negative reactions due to its sexual proclivity. Despite this, Rocky Horror continued to become an event in which anyone could immerse themselves in to find an open and accepting community.  Archive footage from 1988 depicts fans in as much awe and in costume, as you will find within the fans in 2022.  

@transylvaniantok

Looking back at old footage like this makes me so grateful for this weird little family ❤💋 #rockyhorrorpictureshow #rockyhorrorshow #franknfurter #musicaltheatre #rockyhorrormemes #timewarp

♬ original sound – TransylvanianTok

Source: @transylvaniantok on TikTok

Within months of the release of the Rocky Horror Picture Show film in 1975, a new sub-culture began to develop within the midnight screenings. Audience members began to bring props like hotdogs and rice to throw. They would shout obscenities and create questions for the following script to answer. They were also allowed to come dressed up as their favourite characters to enhance their experience. Soon these trends spread across to the live performances and audience participation became the lifeblood of the show.  

@leicestermark

Reply to @nerdykinkster it’s been raining… #rockyhorror #theatre #london #riffraff #musical #fyp #kristianlavercombe #rockyhorrorshow #broadway #lol

♬ original sound – Mark Johnson

Source: @leicestermark on TikTok

Audiences today are now as much responsible for the success of the show as the cast and crew are. The more the audience engages with each other and the cast, the better the experience is overall. There are, however, a few rules of etiquette that you are required to follow. Whether you’re heckling the actors, or singing and dancing along to ‘the time warp’, audiences are expected to do their part of the show. I firmly believe that it is this audience immersion that has allowed Rocky Horror to remain as successful now as it was in the 70’s. There are extremely few musicals (outside of panto season) that allow the audience to share so much space with the professionals of the show.

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A post shared by Renaissance Theatre (@rentheatre)

Source: @rentheatre on Instagram

Once you enter the theatre, you are no longer just a viewer, instead you become a prosumer, a producer and consumer all in one. Rocky Horror provides a tangible experience of a culture so unique, fluid, and personal that is so difficult to find anywhere else.  It doesn’t matter whether you are dressed up in corsets, and stockings, and know all the words to the show, every member of the audience becomes a part of something so much bigger when they are together. In some instances, ‘virgins’ to the show are asked to come up on stage and undertake ‘virgin sacrifices’, the details of which I will keep hidden from any virgin readers.

Rocky Horror ‘creates memories and emotions that stay with us and alter us, long after the catchy songs have left our head’.

Emma Robinson, Varsity

We now live in our own version of a ‘Rocky Horror world’. One of sexual liberation, community, and relative freedom to exist as whoever we want to be within the west. Whilst the culture shock may not be as dramatic now as it was in the 70’s/80’s, Rocky Horror will always be there to remind us how far our society has come. It also remains a safe haven for all those unique characters in our world to come together for some daft, dirty, but innocent fun.  

All Images and multimedia are used according to fair usage in education. 

The ‘Euphoria Effect’: Does Engaging with the Teen Show Increase Our Cultural Capital? (C1948038)

With the heavy use of glitters, face gems, dark-purple and golden-yellow lightings, Euphoria has successfully created its own aesthetics and has made a huge cultural impact in the creative industry. The question is, is this phenomenon a trifling matter or is there something more to it?

Being the second-most-watched series of all-time on HBO and the most discussed TV show of the decade on Twitter, one might assume it to be trashed by critics – like how most of the typical teen shows have been. 

Undeniably, the show has received criticisms mostly regarding its revelations of nudity, glorification of drug uses, and the explicit expression of violence. However, the show has been praised especially for its creative direction ever since its release. Out of its nine Emmy nominations, seven of them are makeup, costumes, or cinematography-related, winning Outstanding Contemporary Makeup in 2020.

Euphoria winning Outstanding Contemporary Makeup in 2020. Source: Television Academy on YouTube.

The ‘Euphoria-themed’

The combination of popular and critical acclaims resulted in the aesthetics of the show constantly being adapted and recreated. The ‘Euphoria-themed’ cultural wave has taken both professionals and laypersons away. From social media trends like #EuphoriaMakeup on Instagram to runway shows at New York Fashion Week, the Euphoria aesthetics is everywhere. 

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A post shared by Mansi Ugale (@mansiugale)

Source: @mansiugale on Instagram.

TikTok has made the “unrealistic” high schooler style into a trend, be it a makeup tutorial or outfits showcase. My favourite is the one that goes: “When you’re on the way to school but forget you go to Euphoria High School”. It shows one person dressed like a “normal” high schooler at first, and gets changed into a bold, club-ready, Euphoria-themed look in the next scene.

@mariiachourio

No bookbag no nothing #euphoria #euphoriaseason2 #maddyperez #rue #fyp

♬ And why arent you in uniform – No context Spongebob

Source: @mariiachourio on TikTok.

If you see these social media contents as mere entertainment, Gen Z – a generation brought up entirely by social media and online culture – will tell you otherwise. In fact, they are supported by some professionals in the creative industry as well. Darnell-Jamal Lisby, a fashion historian, suggested the influence of social media on the fashion choices of Gen Z. 

“I think when it comes to how the characters in Euphoria dress, it’s really a direct reflection. The beauty about it is that this generation is seeing a lot of these references online.”

Lisby told Time Magazine.

Indeed, the pink swimsuit Cassie (played by the breakout star Sydney Sweeney) wore in season 2 episode 4 was quickly sold out once the episode dropped. Are we surprised? Not really. Who doesn’t want to look like Cassie? The waitlist on its retailer Frankies Bikinis once reached 500 people and only pre-orders are available for most sizes now. 

Cassie in her pink swimsuit. Source: GIPHY. By HBO Euphoria.

Euphoria’s cultural economy

Euphoria’s success in leading a new aesthetics trend is something you wouldn’t find in other precedent teen shows like Teen Wolf or Pretty Little Liars. W magazine even dubbed the trend “the Euphoria effect” – the effect that is way beyond fandom or memes on Twitter (this you can find in other teen shows, like the parody of Gossip Girls as Go Piss Girls). 

Perhaps the reason behind this is Euphoria’s success in balancing its experimental factors while mass-disseminating. The show tries to prove Pierre Bourdieu, the famous French sociologist, wrong. 

According to Bourdieu’s adaptation of the concept of the economy on culture, “investing” in engaging with certain cultural products is more socially “profitable” in gaining a higher socioeconomic position. For instance, films are more respected than tv shows (let alone teen dramas). Art films, especially, are often used as inspirations by other artists. A “Wes-Anderson-inspired”, or “Wong-Kar-Wai-inspired” photoshoot is way more common than any of the tv shows. 

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A post shared by @jped.srd

Photoshoot inspired by Wong Kar Wai’s Fallen Angels (1995).
Source: @jped.srd on Instagram.

Bourdieu believes that tv shows are irrelevant in creating art due to their emphasis on audience ratings and mass dissemination. With such a market structure, it threatens the production of new meanings, resulting in generic contents with minimum cultural influence. 

Sam Levinson, the writer and director of Euphoria, tried his best to avoid the show falling in line.

“I wanted to do it in a way that I felt we hadn’t seen before. Every time we deal with tough subjects or gritty material, it’s done in a docu-drama way. I wanted to do something that didn’t rely so heavily on characters talking about their feelings because one of the toughest aspects of being young is not being able to articulate how you feel.”

Levinson says in an interview with the Guardian.

To visualise the incapability to “articulate how you feel”, he expresses the characters’ feelings through the experimental lighting changes and the expressive makeup and costumes. And it works. The audience feels connected and related – either through the purple lighting which creates a sense of loss, Maddy’s (played by Alexa Demie) self-expressive bold bad-girl makeup, or the gender resistance in the transgender character Jules (played by Hunter Schafer). 

The “Euphoria effect” has depicted one of the weaknesses in Bourdieu’s notion. In which, he underestimated the creative power of popular culture – the power that is able to increase one’s cultural capital. It is beyond the daily chit-chats with friends, but it extends the social return to the recreation of art – be it another Euphoria makeup look that goes viral on social media, or another runway show full of the Euphoria influence. 

Who would have thought a teen show would successfully take such representative aesthetics to an art-film level? 

Source: GIPHY. By HBO Euphoria.

All pictures and media are fairly used for educational purposes.

Look! Cultural Productions Can Help Cultural Economy Growth. (C1905725)

Image from: https://www.bangkokpost.com/world/2263987/olympic-mascot-cakes-land-chinese-bakers-in-trouble

The Winter Olympic Games were held in Beijing on February 4th this year. One of the most popular items is the mascot – Bing Dwen Dwen. As Bing means ice in Chinese, Bing Dwen Dwen’s image is a panda with an ice shell. The ice shell can help it to do ice sports like skating, skiing, etc. The dazzling colours of the halo surrounding its face signify the most sophisticated technology used on the ice and snow sports courses at the Winter Olympics, while the heart on its left hand represents China’s hospitality to athletes and fans.

How popular Bing Dwen Dwen really was?

Since 1972, every Olympic Games has had an official mascot, but public interest in it has been low. Reuters argues that it’s unusual for a mascot plushie to sell out in the first few days of an Olympics.

People were crazy about buying Bing Dwen Dwen, it was the most searched item on the Chinese internet during the first week of February. According to Olympics Game, with 10.38 million views on the 7^th of February, “One Dwen in each household” has become the fourth most popular trending topic on Weibo (China’s equivalent of Twitter). Based on Shanxi Securities’ data, the total income from the sale of Beijing 2022 licenced items might exceed £303 million during the Games. Even as the Olympics come to a close, Bing Dwen Dwen is still in great demand. Because the Beijing 2022 Olympics fell during the traditional Spring Festival, a special “Spring Festival” version of Bing Dwen Dwen was released. During the Sunday presales, the special edition mascot toys would earn at least 18 million yuan (£2.18 million) in around 30 minutes. Just as a mascot, it made a huge income for the Winter Olympics.

Bing Dwen Dwen is a very good example to show culture-related creative products can make a great deal. The creation and production of cultural and creative products can promote the development of the cultural economy. Because mascot is a part of the cultural and creative products.

However, there are still bad behaviours and phenomena, even these phenomena brought positive economic growth. Users on eBay have been attempting to profit from the popularity of the soft toy as it was short applied. Several unlawful vendors who attempted to resell the soft toys at inflated rates have been prosecuted by the Chinese authorities. Even under this condition, on eBay, there are still hundreds of Bing Dwen Dwen toys for sale, with prices ranging from £140 to £317 – 23 times the original price.

Image from: https://www.dailymail.co.uk/femail/article-10494413/Winter-Olympics-mascot-Bing-Dwen-Dwen-going-300-eBay-amid-shortages-Beijin.html

• TIP number 1: Appropriate hunger marketing within the legal scope.

Just a toy?

Why is it so popular? Isn’t it just a panda toy? As a mascot, Bing Dwen Dwen was not born as other random panda toys. To entertain people and represent Chinese culture. It is born as a symbol. A symbol to represent the spirit of the Beijing Winter Olympics. The mascot is a wonderful example of so-called “panda diplomacy,” since it conveys the image of China as adorable, cuddly, and friendly, which it has worked hard to maintain. So, panda as one of the most famous Chinese sectors in the world is definitely a great choice.

You may say this mascot is self-orientalism. Chinese are using what the rest of the world likes to attract their attention. I wouldn’t say I totally do not agree with this opinion, but I will say Chinese people ourselves are in love with pandas as much as the rest of the world or even more than other people.

So, it will be much easier to sell things that people are known to like. Search on any shopping website about panda toys. There are hundreds of choices are available with different levels of prices. Take Amazon as an example. The element of panda is one of the reasons that made Bing Dwen Dwen bring a good profit.

• TIP number 2: Choosing the right and suitable elements on producing cultural and creative products is the key.

Mediated Sport

Most spectators were absent since tickets to events were not offered to the general public to prevent the spread of COVID-19. This gives mediated sports industry a lot of room to flex its muscles. As people can’t be there to watch, posting photos about Games relevant stuff or stories became the main way to make them feel they are taking part in the Games. I believe if you were one of the people, buying a mascot and posting it online will be the top 3 choices that you will pick to engage with the Games.

In this Winter Olympics, if a competitor wins a medal, he/she will receive a specially designed Bing Dwen Dwen. All the photos taken at the awards ceremony had Bing Dwen Dwen figures. All these images and videos are promoting Bing Dwen Dwen in disguise.

Image from: BBC – Search results for bing dwen dwen

The mediated sports industry and cultural and creative production industry are helping each other in developing a better cultural economy.

• TIP number 3: Promoting on media platforms will help

Any more tips or thoughts please leave a common.

Ado”less”ence: The cultural economy of YA fiction and the social vendetta against teenage girls (C1947017)

Image credit: Anonymous via Pixnio

How does the publishing industry respond to an audience that is taught to hate the books marketed towards them?

Do you remember the “Twilight sucks” movement? This particular brand of vitriol was not aimed just at the franchise itself and its many pitfalls, but at anyone who dained to enjoy it. If you were fortunate enough to avoid that particular part of the internet from roughly 2009-2013, this blog post might give you an idea of what it was like: Twilight is vapid, meant for “every dumpy, overweight and unpopular girl in the country.” 

This is characteristic of YA book franchises aimed at girls, and Divergent and The Hunger Games have received a similar treatment. The moment teen girls start to like something, its appeal is gone. Legitimate criticisms are overshadowed by personal attacks against the audience, and the often female authors of these series. Other forms of “low art” within fiction, such as action-driven series for young men, are acknowledged as having flaws, but are not ridiculed in the same way. Lindsay Ellis speaks at length on this in her video essay “Dear Stephenie Meyer.”

Video by Lindsay Ellis on YouTube

These franchises aimed at teen girls likely would not have been attacked to such a degree had it not been for their mainstream popularity. Indeed, YA is sometimes credited with saving the publishing industry, with the advent of Harry Potter and other smash hits creating massive commercial success. Even so, YA books are still regarded as lesser when compared with more “serious” titles. This is apparent in the breakdown of investment by the major publishing players, with YA titles only amounting to 3% of output.

“Critics who treat ‘adult’ as a term of approval, instead of as a merely descriptive term, cannot be adult themselves…When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.”

C.S. Lewis

Why has a genre which has held such success in the past been relegated to a small portion of the industry? As Hasan Bakhshi and his colleagues explain, the public sector audience has a powerful influence over the products which get made — and trends like the “Twilight sucks” movement can have a considerable impact on that audience. If YA isn’t cool any more, it follows that teens will be less inclined to read it. And without the teen market, YA becomes, well, redundant. But with teen reading rates at a catastrophic low (only one in five teens report reading for pleasure), that could be a problem. 

It is hard to imagine misogyny at work in an industry that is predominantly female. But it’s important to remember that misogyny isn’t just a male issue: it can just as easily be perpetuated and internalized by women. It’s never as clear cut as oppressor and oppressed, but that doesn’t mean the reality of gender politics doesn’t come into play in publishing. Terry Flew cites the definition of political economy as “the study of social relations, particularly power relations, that mutually constitute the production, distribution, and consumption of resources.” It is natural then that patriarchal concerns come into play here, as a significant arbiter of social and power dynamics.

Image credit: Charlotte Cooper via Flickr

Still, the future isn’t necessarily hopeless. Especially in the era of the digital revolution, where self-published stories can easily gain traction online, there’s a whole new way for YA to flourish. As Hasan Bakhshi and his colleagues explain, the creative markets have much lower barriers to entry than ever before. Gone are the days of authors scrambling over one another to get a contract with one of the “big 5” publishers. Websites like Wattpad allow amateur and often young authors to garner feedback and attention for their work. Movies like The Kissing Booth and After have been adapted from books written by Wattpad authors. This may prove to be the way of the future — books written by teens, enjoyed by teens, with no pesky adults to get in the way.

It’s true that the publishing industry can’t solve misogyny. To think so would be incredibly naïve. But it’s also true that the media we consume has a very profound impact on how we view ourselves, and the ways we fit into our society. YA has the potential to uplift the next generation of teenage girls and make bank at the same time — if it is willing to re-examine its prejudices in order to do so.

The Secret Life of Simmers: How ‘The Sims 4’ has changed the scope on simulation gaming – C1814906

Whether you’ve played The Sims since 2000, or whether you’re new to the Simmer community, The Sims franchise has been one of the most successful SIMulation (pun intended) games to have ever existed (Thang, 2008 and Sacco, 2011).

In September 2014, The Sims released their forth release of the game cleverly titled, you guessed it: The Sims 4. This was possibly one of their most ground-breaking creations yet with improved graphics, bigger and better content and most importantly, it’s inclusivity of the Sims community.

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  The Sims 1 Gameplay (2000)

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  The Sims 2 Gameplay (2004)

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  The Sims 3 Gameplay (2009)

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  The Sims 4 Gameplay (2014)

The exciting part about the Sims is to slowly build your house, customise characters and define life goals for them. I enjoy inventing infinite life scenarios, conceiving love stories, building friendships and also starting fights between the different Sims. The creativity the Sims offers is endless.

Yet one of the most impressive facts about The Sims 4 is that it allows gamers, just like you and me, to influence and impact the gameplay. The creators of The Sims 4, Electronic Arts, have a Community Partnership Programme – EA Game Changers. The programme combines content creators and expert players directly into the game development programme enabling early collaborative feedback for improvements.

An amazing example of this in action is from the release of one of The Sims 4’s expansion packs in November 2020 called Snowy Escape. The expansion pack offered content from a Japanese cultural perspective including home decor, festivals with it’s key focus on snow sports. Your sims can conquer Mount Komorebi which is based on Japan’s Mount Fuji.

The Sims 4: Snowy Escape offers beautiful, exciting imagery of cultures we have never experienced before with The Sims franchise. But EA didn’t just stop there. To top everything off, they invited a selection of members from Game Changers to build the ready made homes that come with every game. The three Game Changers chosen were some of the biggest and most supported faces in the Sims community.

These faces included, James Turner, previously known as The Sim Supply, Deligracy and Steph0sims. Each content creator has documented on how they built each of their lots included in the game so make sure you check them out!

Deligracy playing The Sims 4: Snowy Escape

The linking of The Sims to the wider YouTube community is a strategy to link The Sims franchise to a wider audience. In 2020, the Sims launched a campaign using YouTuber, Joe Sugg, to attract a new kind of following. The sponsorship saw Joe Sugg be created as a default ‘Sim’ in the game that players could download and add to their gameplay. Joe Sugg also feautured videos of him playing The Sims 4 as his own sim. The campaign was highly successful and brought new following to the game which was particularly prominent at the beginning of the Covid-19 pandemic as the UK went into lockdown leaving people with more free-time to enjoy the game.

The Sims 4 advertising campaign with Joe Sugg.

The Sims 4 hasn’t always been perfect. In fact, it’s first release seamed a little lack-lustre and bare-boned. The gameplay seemed limiting compared to it’s predecessor, The Sims 3, to the point where members of the community were misrepresented.

When creating your sim, you can chose their skin tone, hair colour, size, shape and so much more. You can truly customise every small detail to create an accurate representation of yourself. This could not be said for ethnic members of the community however.

Particular hairstyles associated with the black community including afros and braids were extremely underdeveloped compared to other straight hairstyles. Combined with this, The Sims 4 offered limited colour swatches for skin tones with only 25 skin colours to chose from with 9 skin tones being of lighter tone and 3 being tones like blue, green or red.

This is why Game Changers is so important. Ethnic members of the team voiced their upset at being underrepresented in the game. EA then went back to the drawing board and spent a lot of time to resolve the issue (6 years to be exact). But they finally got there, and in 2020, The Sims 4 released a new way of picking skin tones for your Sims using a slider system making the possibilities endless and much more diverse and inclusive.

The Sims 4 added over 100 skintones to the game.

The Sims 4 has created endless possibilities for it’s community and really is worth the hype. It’s available on PC, Xbox One and PS4, so why don’t you check it out?

https://www.ea.com/en-gb/games/the-sims/the-sims-4/buy/pc

Umi embraces digital disruption releasing ‘Introspection Reimagined.’ (C1769646)

Umi’s Introspection Reimagined, a fresh take on remix culture in a digitally disruptive music landscape.

Introspection Reimagined • Out Now

welcome to the other side of the mirror ~ i felt so much joy creating this project , i hope you do too ❤️

please share and support, may this project touch many souls 🙂https://t.co/nKGc0BXwQV pic.twitter.com/2DMp5qpNo3

— UMI (@whoisumi) March 26, 2021

Source: Twitter

Umi transformed her Introspection EP adding two interludes, Beautiful Day and Solitude and creating Introspection Reimagined.

Source: GENIUS

Source: GENIUS

Umi‘s lyrics delve into the loneliness and beauty within the world around us, the pressures, and opportunities.

We can create a day filled with wonder or search for quiet far away from the noise. So, which will you choose?

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Does this mean everything is a remix?

Source: YouTube

Introspection Reimagined‘s reflective and meditative, all the songs are recorded live, feature different instrumentals, inspired by musical influences from her “African American and Japanese roots.”

We see a journey of identity, creative expression, and navigating the music industry and neoliberal economy.

Source: YouTube

Traditional ideas of Japanese culture are tackled within her music and beyond. Cultural identity and heritage are shown as part of the creative process, our experiences and background shape our creative lens.

Source: YouTube

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What influenced Introspection Reimagined?

Flavia D’Avila values the creative process and raises problems surrounding quickly producing content.

Introspection Reimagined shares how Umi “really wanted to explore the malleability of music. One thing I noticed in the industry is that there’s a quick turnover in terms of “make a project, drop another project, drop another project.” Personally, I felt like I didn’t get to sit with my last EP long enough.”

Source: Spencer Middleton

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How does music move online successfully?

By connecting with fans in an engaging way online.

Pierre Bourdieu’s idea of social capital focuses on the value of social connections, and this shapes interactions in digital spaces, and provides a place “where fans can give input on songs they want [Umi] to sing.” 

making of Introspection Reimagined cover art 🥰♥️ whole team went crazy~

video made by @kaitlynvitug (ig) pic.twitter.com/l4m4nS3QqZ

— UMI (@whoisumi) April 7, 2021

Source: Twitter

Source: YouTube

Source: Drawing I created on Umi‘s official website

Digital spaces offer a combination of cultural domains, such as performance and celebration, and audio-visual and interactive media.

Umi elevates storytelling with interactive media. Introspection Reimagined’s release was marked by live listening event online, this all builds an online community for artists and fans alike.

Source: 2009 UNESCO Framework for Cultural Statistics

By creating a loving space for fans to join in!

Source: YouTube

We are part of celebrating her music in Introspection 🦋 The Movie, this generates momentum leading up the release of Introspection Reimagined.

Source: YouTube

The movie ends with “what colour are you feeling?”

We ask ourselves how are we actually feeling?

Which colour matches our emotions? I choose lilac reminiscent of spring.

Umi opens up a dialogue for fans across digital spaces.  

learning 22 juggle less thoughts on my mind

journaling helps me 🙂

a journal thought for you: 💭
what made you happy today?
what could've made your day even better? 🦋 pic.twitter.com/lkPypMP8Ii

— UMI (@whoisumi) April 16, 2021

Source: Twitter

this weeks been weird 😵🥺
how was it for uuu?

— UMI (@whoisumi) April 15, 2021

Source: Twitter

Fans are included in collaborative performances with painters and musicians, guided meditations, and celebrating the Full Moon Series with Umi, redefining performances into a “Wellness Retreat.“

Source: YouTube

Umi’s aiming to “heal through creativity and heal through [her] music.”

Source: Umi’s official website

Source: YouTube

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How to navigate the digital opportunities ahead?

Authenticity is a main component to Umi’s success, in staying true to the music she achieves a safe space where fans open up and want to connect.

if you're in the LA/NY area, take a photo in front of my poster , tag me • i'm gonna chose 5 ppl to send T-shirts and a personal note to ^o^

happy poster hunting ~
(hint, they are exactly where you think they are) 🌸 pic.twitter.com/aKKOXk1eir

— UMI (@whoisumi) April 5, 2021

Source: Twitter

Source: Umi‘s official website

Umi asks fans how they are feeling over social media, she replies to fan posts, and uploads acoustic covers, longing to give songs more time before moving on the next project.

Source: Umi’s official website

“I feel like people get to know me better by listening to this project or feel closer to me because I’m really letting myself sing for the first time,” Umi expressed.

🥲🥺 https://t.co/0EFELUx9CO

— UMI (@whoisumi) April 14, 2021

Source: Twitter

Source: YouTube

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Creativity and the Artist’s Mind

The #BrokenRecord Campaign and streaming issues within the music industry raise concerns over ethical treatment of artists and surviving in the music industry.

Source: Spencer Middleton

Source: YouTube

Kobalt are changing the structure of the music ownership, Snow Patrol gained “23% more income on a song.” Kobalt asks a valid question, “Creators are the future of music, but who’s creating a future for them?”

Source: YouTube

Do you grant yourself permission to be creative?

Source: YouTube

Digital Disruption is breaking down barriers, empowering more agency.

Artists can shape their own identity by choosing a name, like Madi, Caz, and Umi for creating a distinctive professional persona, yet questions arise over the power of the music industry monopolies on shaping an artist’s career.

Digital spaces reimagine ways we collaborate, interact, and moves towards a world with greater choice for consumers – but at what cost for artists?