Bolivian culture. Ch’ixi and abigarrado. Decoloniality through semiotic interpretation

Cultural identity in Langsa after the conflict in Aceh became an interesting study because it has multicultural roots and society. This paper aims to identify how the construction of cultural identity in Langsa after the Aceh conflict, seen from the developing community culture and its museum collections, and how the construction of cultural identity contributes to maintaining harmonious values to the Aceh multi-ethnic community aftermath the conflict. Methodologically, this study used a qualitative approach through a phenomenological research design. The techniques used in collecting data were in-depth interviews, observation, and literature review. The data was analyzed through an interactive analysis model. The findings showed that in a multicultural society culture of Langsa city since the Aceh postconflict, the cultural identity construction, politically and policy-wise was more dominant than the multicultural identity construction. However, multicultural identity was given an excellent opportunity in its existence. Then, the cultural identities developed in Langsa, both Acehnese and multicultural, were campaigning peace and harmony. Thus, cultural identity in Aceh's post-conflict played a role in the process of social cohesion to create a sustainable and peaceful society. The construction of cultural identity in Langsa still leaves homework related to strengthening customary institutions, strengthening season collections, improving management, and providing policy support for the development of multicultural society cultural identity.

Advertising has become a powerful medium of communication in contemporary society, influencing how cultures, values, and identities are represented and perceived. This research explores how visual communication in advertising contributes to the construction of cultural identity through a semiotic perspective. The paper uses semiotic theory to examine how signs, symbols, colors, and imagery communicate cultural meanings within advertisements. The data is collected on a variety of modern advertisement campaigns in Pakistan, including seasonal and cultural advertisements by Coca-Cola, Independence Day advertisements, fashion advertisement campaigns, lawn advertisement campaigns, and jewelry advertisement campaigns based on various social contexts. The study highlights how advertising reflects cultural narratives while simultaneously shaping audience perceptions. Moreover, future research may explore how digital and social media advertising further shape and transform cultural identity through evolving visual and multimodal communication practices.

This article will discuss the construction of Pekalongan cultural identity in the ‘Ngalor Ngidul Kalongan’ program on Batik TV Pekalongan. This program was chosen as a context to show how local content from the Local Public Broadcasting Institution (LPPL) constructs cultural identity. One of the differences with other studies on local content is the selection of television media and the concepts used. The concepts used are identity, cultural identity, local content and the role of local television. Batik TV was chosen as the object of research because of its position as an LPPL that differentiates its function and role from private television and TVRI. The method used is a literature study and observation of the Ngalor Ngidul Kalongan program broadcast on Batik TV Pekalongan. The literature study was conducted by selecting journal articles that are relevant to the research theme. Observations were made by reading broadcast descriptions and watching program content. The results of the study show that the construction of cultural identity appears in the program content which includes history, traditions, culinary, current community activities that are associated with the cultural identity of Pekalongan residents. The selection of the host and assistant host represents the figure of a cultural figure and the millennial young generation. This is to show the relationship between cultural materials and efforts to attract the interest of the millennial generation to watch the show. The construction of Pekalongan's cultural identity presented in the Ngalor Ngidul Kalongan show on Batik TV illustrates the characteristics of the behavior and way of thinking of 'Pekalongan people'. The show not only constructs identity from the aspect of type, but also commodifies it as a flagship show.

Modern film, television and theater works not only reflect the social reality, but also inherit and promote the traditional culture, and at the same time, absorb the world's outstanding culture. The article introduces the basic elements of the cultural identity of modern film and theater works, and analyzes them in depth from the aspects of value and function, so as to build a theoretical bridge for the following specific research. In addition, this article discusses the method of constructing and expressing cultural identity in film, television and theater works, using literature research method, text analysis method and empirical analysis method to carry out the research on the construction and expression of cultural identity in modern film, television and theater works. Modern film and television drama works have a higher sense of cultural identity construction and expression of identity, and the ratings are 0.182~0.578 percentage points higher than traditional film and television works. Cluster analysis verifies the reasonableness of the system of drama cultural identity construction and expression effect constructed in this paper, and with 10 locations extracted, the comprehensive drama cultural identity construction and expression effect is 0.782, which is a good performance. The symbols of dress culture (4.70) and behavior culture (4.33) in the work of Taeming Fenghua have gained a high degree of recognition from the audience, and have constructed and expressed theatrical cultural identities at different levels.

International students (IS) who travel abroad for studies could be affected by various factors such as academic and social aspects that may influence the construction of their cultural identities. This study explored a group of international students' cultural identity construction in the environment of an American university. A focus group discussion investigated how the IUP (Indiana University of Pennsylvania) learning context influences international students' cultural identity construction. The data revealed that the major influential factors in the construction of international students' cultural identities were initial challenges and their life experiences. The data also indicated that this process of identity construction went through the stages of the acculturation model.

In the context of globalization and modernization, the cultural identity of ethnic minorities is undergoing a dynamic transformation. As a specific ethnic-gender group, Mongolian women face particularly salient issues regarding cultural identity. They not only bear the responsibility of carrying forward traditional culture but also confront the challenges of modernity, rendering them a crucial lens through which to observe cultural adaptation and identity construction. Therefore, the study of the cultural identity of Mongolian women holds both theoretical and practical significance. This study employs a combination of literature review and case study analysis to focus on the mechanisms and expressions of cultural identity among contemporary Mongolian women, exploring their pathways of identity negotiation and construction within multicultural contexts. The findings indicate that their cultural identity is shaped by historical, social, and individual factors. Subsequent to the establishment of New China, their social roles underwent significant transformation, revealing a dual nature of cultural self-perpetuation and social construction, while also facing pressures from modernization and inherent tensions between ethnic and gender identities.

The rediscovery and construction of cultural identities is the resultant manifestation of postcolonial realities, which are explored in African cultural productions, including literature and films. Existing studies on Nollywood films have examined different socioeconomic, political and cultural themes. However, the issue of identity construct and nationalistic commitment which constitutes much of such cultural expressions has not received adequate scholarly attention. This article examines the representations of cultural identities and nationalistic consciousness in Afemefuna, a Nigerian film directed by Kayode Kasum. The film was purposively selected, transcribed and subjected to qualitative literary analysis, paying a critical attention to characters’ conducts, dialogues, costumes and the events featured in it. The study adopts Postcolonial Theory, especially Homi Bhabha’s Hybridity and Third Space Theory, to account for the exploration of cultural nationalism and identity construction in the film. Afamefuna chiefly celebrates the apprenticeship tradition of the Igbo entrepreneurial system, and raises question of identity formation within that hybrid postcolonial space. The analysis reveals that hybridity and cultural identities are portrayed through the use of indigenous features like proverbs, idioms, cultural archetypes and cultural preferences. The projection of these indigenous ideas depicts cultural nationalistic consciousness, which underscores the ongoing de-colonial commitment in the African continent.

Chinese Americans are a group which shows the feature of cultural hybridity, and The Woman Warrior describes the life experience of a Chinese girl in a foreign land and her imagination of her distant homeland. From the perspective of post-colonialism, cultural identity is gradually constructed and changed. The Woman Warrior translates some Chinese images into English shows the construction of cultural identity which is different from the mainstream culture. The translation strategies adopted by the novel can be divided into domesticating translation and foreignizing translation. The two translation methods have different characteristics and play different roles in the construction of cultural identity. This article adopts post-colonial theory, cultural identity theory and translation strategy theory to analyze the characteristics of domesticating translation and foreignizing translation in The Woman Warrior, and explores translation strategies that are more conducive to the construction of cultural identity through comparison. Finally, it is concluded that foreignizing translation is a more effective translation strategy under the premise of constructing cultural identity.

This study explores the dynamic process of cultural inheritance, identity reconstruction and social integration experienced by Chinese families in Malaysia during the process of transgenerational migration. Through in-depth interviews with 15 Chinese families in Malaysia spanning three generations, this paper analyzes the inheritance and changes of Chinese culture in these families in a multicultural context, as well as the differences between different generations in cultural identity, language use and identity construction. The study found that over time, the cultural identity of Chinese in Malaysia gradually shifted from a strong Chinese cultural identity to a more diversified identity, showing the complexity of cultural integration and identity reconstruction. This study not only enriches our understanding of the Chinese community in Malaysia, but also provides a new perspective for the broader study of transgenerational migration.

With the deepening development of globalization, university students' cultural identity faces reshaping and challenges. Intangible cultural heritage, as an important carrier of traditional culture, plays a key role in university aesthetic education. This research adopts a mixed research methodology, integrating environmental psychology and cultural identity theory to explore the influence of environmental perception on cultural identity construction in university aesthetic education. The findings reveal that: the physical environment promotes cultural identification through spatial cognition and place attachment; social interaction strengthens the internalization of cultural values through group interaction and social support networks; emotional experience deepens cultural identity through cultural memory activation, aesthetic experience, and cultural empathy. Based on empirical results, an integrated model of "environmental perception-cultural experience-identity construction" is proposed, revealing the staged characteristics and psychological mechanisms of cultural identity formation in intangible heritage aesthetic education environments. The research demonstrates that optimizing intangible heritage teaching environment design, enhancing social interaction quality, and deepening emotional experience are effective pathways to promote university students' cultural identity construction, providing scientific evidence for theoretical innovation and practical reform of intangible cultural heritage education in university aesthetic education.

Thailand’s agricultural festivals are rich cultural phenomena where offering rituals intertwine nature worship with the construction of cultural identity. Rooted in the country’s agrarian traditions, these rituals express reverence for natural forces, particularly through veneration of deities like Mae Phosop, the Rice Goddess. Such practices emphasize the spiritual significance of ecological harmony and sustainable agricultural practices. Concurrently, these festivals serve as vital expressions of Thai cultural heritage, uniting diverse communities through shared traditions, folk performances, and ceremonial activities. This duality—addressing spiritual needs while reinforcing cultural identity—renders these rituals deeply relevant in both historical and contemporary contexts. As globalization and modernization influence Thai society, these rituals have evolved to incorporate eco-conscious practices and digital outreach, ensuring their resonance with modern values. Ultimately, Thailand’s offering rituals reflect a profound synthesis of devotion, sustainability, and cultural pride, illustrating their role in shaping a cohesive and adaptable national identity.

Since their emergence in 2004, Web 2.0 technologies have been recognized for their creative and transformative potential in education. Compared to traditional teaching and learning methods, these technologies offer new opportunities to create online learning environments and enhance interactivity, participation, and feedback among learners, their peers, and educators [33; 71]. With their multimedia features, combining sound, images, and audiovisual interaction, these networks foster collaboration among learners, both in formal and informal contexts [32]. However, as children increasingly integrate these digital platforms into their daily routines, learning, and leisure activities, a crucial question arises: To what extent does the use of social networks as a learning tool influence the construction of their identity, particularly in terms of culture? This question becomes even more complex as it also raises another essential dimension: What role do parents play in this process of adoption by their children within these complex and potentially risky multicultural virtual spaces? In this context, the present research aims to explore these questions by examining the effect of using social networks as a learning tool on the construction of children's cultural identity and the role parents may play in this relationship. In this regard, we seek to propose a theoretical model describing the impact of social networks as a learning tool on the construction of cultural identity, taking into account the role of parents as key moderating agents.

American culture in the twenty-first century is conceptually fraught with problems: new communications and media technologies make the visual imagery of American culture instantaneously accessible globally; the consumption of American goods and imagery is frequently a metonym for wealth, status, and power; and yet, just as often, American culture is seen as a polluting and contaminating force that threatens the integrity and viability of other cultures (see Figure 1). Even American scholars have flattened and oversimplified the idea of American culture as something fixed and stable. But American cultural identity is neither singular nor unitary; rather it is a constantly mutating social construct and the result of multiple of transcultural connections, transactions, negotiations, and exchanges. And its borders are permeable and porous; its mutating identity is elastic and slippery. This article considers the problems presented by a singular unitary construct of American visual culture specifically in today's world of exponentially expanding production and consumption of digitally produced visual images, of transactual global visual communications and transcultural identities. It argues for a reframing of the intellectual platforms of American (visual) culture studies in light of the fact that the primary sites of American transcultural transactions are increasingly visual. Moreover, the article explores how the history of American art and visual culture has already reframed its scholarly discourse to embrace a more relativist and complex conceptualization of American visual culture as a network of imbricated transcultural transactions. Finally, it proposes a new scholarly and pedagogical platform upon which future American (visual) culture studies might be built. Reframing American Visual Culture for the Twenty-First Century Many scholars argue today that the idea of a fixed or unitary consideration of culture(s) needs rethinking owing to the global transactions facilitated by communications technologies in the twenty-first century. Nicholas Mirzoeff, for example, argues that culture is less a fixed entity than a hybrid of networks in which the process of cultural exchange is perpetually (re)negotiated among cultures. Mirzoeff approvingly cites Fernando Ortiz who claimed that in any transaction among cultures, weak or strong, the cultures are changed and that accordingly all culture is (41). Additionally, the change is constant: transculture is a perpetual process of deculturation and reculturation of both the weak and strong (41). Thus, meaning in culture is a result of constant ongoing (re)negotiation of cultural identity as cultures reimagine and regenerate themselves. Cultures continually possess, alter and assimilate aspects of other cultures into their own. Mirzoeff thus concludes that all transculture is plural because transculture has no beginning or end and is always in transformation (43). Within this conceptual framework cultural meaning is located less in a search for a singular authenticity in culture than in transactions among (trans)cultures. Cultural meaning (transcultural narrative) cannot be comprehended either from a singular authoritative viewpoint or as a static entity; it can only be comprehended as moving and mutating, and it can only be observed in fragments from a transverse or oblique perspective and with an implicated eye. Within today's hybrid, global, visual communications networks, the construction of visual cultural identity is not monolithic. Rather, it is a constantly morphing multiplicity of transcultural transactions. Just as mechanical technology fundamentally transformed communication in the nineteenth century, digital technology is proving to be equally transformative in the twenty-first century. Digitally produced visual images have become America's most pervasive and widely consumed good. Those with access to digital technologies increasingly read, think, and communicate visually. …

University culture is an effective way of ideological and political education for college students. The degree of identity of university culture can reflect the construction of university culture and provide a reference for the construction of university culture. This paper proposes that the construction of cultural identity should become the mission and task of the cultural quality education of universities in China in the new era. Chinese cultural identity is the Chinese people’s positive recognition of the most significant attribute of the Chinese national community, and its core is the recognition of its basic value. The objects of cultural identity include both the excellent traditional culture of the Chinese nation and the cultural nature with a sense of the times formed in the process of historical development. Strengthening the cultural identity of college students is the key problem that needs to be solved urgently in the talent training of colleges and universities, and is the core content of moral cultivation and cultural quality education. At present, the study of university culture lacks a quantitative perspective. This paper combines qualitative and quantitative analysis, draws on the Delphi expert survey method, and uses embedded machine learning technology to build a university cultural identity evaluation index system covering six first-level indicators, including value identity, institutional identity, behavioral identity, emotional identity, symbolic identity, and organizational identity. On this basis, empirical analysis is carried out, providing a new perspective for university culture research.

The paper examines communicative repertoires and cultural identity construction among students of the National University of Lesotho in the social media space. The paper argues that culture and cultural identity on social media are a complex. Specifically, the studies the manner and ways in which the students deployed communicative repertoires on social media to index their individual and collective identities. Cultural convergence and divergence together with hybridity provides a solid foundation on which the paper is anchored. The chapter combines Fishman (1965, 1972) conceptualisation of domain and Halliday and Hassan’s (1976) approach to discourse analysis as methods for analysing the data. The study is qualitative. In all, 40 students participated in the study. Three groups of 10 students took part in different focus group discussions while ten students were interviewed. The research also analysed screen shots of the students’ posts, comments and communication on various social media platforms such as Facebook, Twitter, and WhatsApp to find out how they pointed to the students’ individual and collective identities. The paper concludes that on social media culture and cultural identity can take many forms and that a “glocalised” linguistic community is a community where both the local and global linguistic resources available to a community are deployed for a variety of communicative purposes. These communicative repertoires employed on social media mark out the individual and collective identity of the of the students.