Domesticity as authenticity

At Home in Singaporean Sitcoms

Objective: This research explores the theme of interfaith and cultural dialogue within the Quran, illustrating how dialogue serves not only as a religious necessity but also as a vital human and cultural imperative. The study aims to uncover the Quranic endorsement of dialogue as a means to foster understanding, peace, and coexistence among diverse religious and cultural groups. Methodology: The analysis centers on a comprehensive examination of Quranic verses and stories that exemplify dialogue. The research method involves a detailed exegesis of relevant Quranic texts, focusing on dialogues between prophets and their communities, dialogues among the followers of different faiths, and the divine dialogues as narrated in the Quran. By interpreting these narratives, the study seeks to highlight the methods and principles of dialogue advocated by the Quran. Findings: The Quran extensively promotes dialogue as a method to resolve disagreements and misunderstandings among different communities. Key findings demonstrate that the Quran encourages engaging in dialogue respectfully and wisely, using clear evidence and maintaining a calm demeanor. It emphasizes starting dialogue from common ground, aiming for mutual understanding rather than conflict. Prophets, as depicted in the Quran, exemplify the best practices in dialogue—they approach their interlocutors with patience, wisdom, and clear reasoning, aiming to convey their messages effectively and compassionately. Discussion: The research discusses several instances of Quranic dialogue, including interactions between Prophets Noah, Moses, and Abraham with their respective peoples. Each example serves to illustrate different aspects of effective dialogue—such as patience in the face of rejection, the use of rational arguments, and the importance of kindness and clear communication. The Quranic stories also show that dialogue is not merely about conveying one's point but about listening and responding appropriately to foster greater mutual respect and understanding. Conclusions: The study concludes that the Quran provides a robust framework for interfaith and cultural dialogue, which is increasingly relevant in today's globalized world. The divine command to engage in dialogue underscores the importance of understanding and cooperation across different religious and cultural divides. The principles derived from the Quranic model of dialogue can guide contemporary efforts in conflict resolution and peace-building. Recommendations: Based on the findings, it is recommended that religious leaders and scholars promote the Quranic approach to dialogue in interfaith and intercultural interactions. Educational programs and workshops should incorporate teachings from the Quran about dialogue to equip individuals with the skills necessary for effective communication and coexistence. Future Research: Further research could explore the application of Quranic dialogue principles in modern conflict zones and analyze the outcomes of such interventions. Comparative studies with other religious texts on dialogue could also enrich understanding and provide a broader perspective on interfaith communications.

Reviewed by: The End of Two Illusions: Islam After the West by Hamid Dabashi Joseph Evans (bio) The End of Two Illusions: Islam After the West by Hamid Dabashi. Oakland, CA: University of California Press, 2022, 333 pp. Hamid Dabashi's The End of Two Illusions is an insightful socio-political analysis. Dabashi argues that the strictly defined theoretical opposition between "Islam and the West" is a recent, but false, historical construct that is both obsolete and dangerous. This text demonstrates that the prevalence of supposed contradictions between "Islam" and "the West" is a pretense that disguises an exaggerated geopolitics of power. Dabashi, a professor of Iranian Studies and Comparative Literature at Columbia University, makes a compelling argument. He suggests that the "de-formative and dangerous binary" is a repercussion of the encounters between fading Muslim empires and growing global domination by European empires in the seventeenth century that is now utilized for contemporary political purposes (28). Dabashi proposes that the opposition in this false binary is an illusion supported by "the West" thinking that "it is exclusively bestowed with the gift of civilization" (29). The text successfully offers an alternative perspective for reconsidering the popular and influential arguments that place "Islam" in opposition to "the West." The End of Two Illusions begins with a perspective on Islam before its encounter with European colonialism, then a historical archeology of "the West," which allows for a deconstruction of the illusory opposition between them. It broadens the narrow scope of focusing only on military encounters by including cultural and intellectual engagements. After a lengthy introduction, Dabashi presents his argument in three interrelated parts: he accounts for the dissimilar categories of the binary, then he shows how the two parts of this relationship are erroneous, and finally he furnishes the reader with factual evidence to effectively understand the geopolitical reality. The author asks how a religion of one and a half billion people spread over five continents and developed over fourteen hundred years can be set at odds with an "imaginative geography, only recently invented, called 'the West'?" (38) This vital question drives the book's argument and should promote serious reconsideration of the contemporary world. Dabashi's approach is effective because he is equally critical of all sides and perspectives. He recognizes the complexities of global politics and cultural engagement. This text is not simply an attack on the West or an apologetic for Islam but an argument that these are two different entities that should not be oversimplified or even compared. The carefully crafted argument makes [End Page 90] it clear that the lines are blurred, and that this inappropriate binary is a cause, rather than a symptom, of the problem. The text contends that Islam and the West "are not two different phenomena, but coterminous, both the outcome of an identical colonial condition and in need of a simultaneous post-colonial critique" (18). Dabashi places the current state of Islamism in a larger frame of reference, in the global context of its categorical opposition posited against "the West." He concludes by arguing that the historical uses and abuses of that binary opposition are no longer useful or legitimate despite having been politically productive in the past. An important component of Dabashi's approach is the attention he gives to the formation of a transnational public sphere where "Islam and the West" is no longer a credible presupposition. The last three chapters of the book develop this approach by concentrating on the intersectionality of the crucial issues of race, class, and gender. A critical contribution of this text, which is handled skillfully by the author, is his treatment of the concept and practice of dialogue. Dabashi addresses the complexities of interreligious and intercultural dialogue, identifying some of the dangers in common approaches, while offering useful recommendations. He notes in chapter five that a "dialogue of civilizations" was lost after 9/11 because of the wide acceptance of Huntington's thesis of a clash of civilizations, resulting in a monologue rather than a dialogue (174). This model, which Dabashi refers to as "impossible dialogue," became a means of domination, which is a common pitfall of dialogue when utilized to impose one's...

This study aims to map the prophetic genealogical values manifested in the Rimpu tradition, starting from the role of teachers and traditional leaders in producing the meaning of rimpu, and the implications of the rimpu tradition for strengthening women's agency in Bima. This study uses ethnographic methods through participatory observation, in-depth interviews with women practitioners of Rimpu, tuan guru, and cultural experts, as well as visual documentation. Data sources were determined using purposive sampling techniques and analyzed using the interactive analysis model steps from Miles, Huberman & Saldana, including data collection, data condensation, data presentation, and conclusion drawing. The research data was analyzed using Nvivo 12 software. The results of the research and findings of the analysis revealed several key points, including: (1) The tradition of rimpu for women in Bima, genealogically reflects prophetic values such as religious values, values of modesty, moral values, values of obedience, and cultural values; (2) Teachers and cultural figures play a role in stimulating the existence of the rimpu tradition for women in Bima through various activities, ranging from religious lectures, rimpu education, cultural festivals, seminars, and cultural dialogues; (3) The rimpu tradition has positive implications for women's gender attitudes, such as being respected, protecting themselves, maintaining modesty, and educating women's character in Bima society

This research investigates the cultural and aesthetic dimensions of ikat-woven sarong production in Parengan Village, Lamongan Regency, East Java, using a material culture biography approach. The research addresses how traditional sarongs—particularly those with legendary patterns such as tempean, botolan, and putihan—function as cultural commodities shaped by communal production, religious practice, and regional identity. Drawing on Raymond Williams’ theory of cultural materialism and Edmund Burke Feldman’s aesthetic theory, the research analyzes the visual structure, motif repetition, and socio-cultural functions of the sarong as both a physical object and a symbolic medium. Data were collected through ethnographic fieldwork, including interviews, visual documentation, and observations in representative weaving centers. The findings reveal that sarong production in Parengan is not only a site of artisanal heritage but also a dynamic cultural practice influenced by commodification, Islamic traditions, and intergenerational knowledge transmission. The research contributes to the discourse on material culture by demonstrating how textile production reflects broader social transformations and cultural negotiations. It highlights the importance of integrating visual analysis and cultural theory to understand the evolving meaning and function of traditional craft in contemporary society.

Purpose This paper aims to explore the complexities of creating adaptive space in a healthcare system to develop integrated care programmes. It draws on the author’s experience as a senior clinical leader to analyse how adaptive processes emerged within a national reform initiative. Design/methodology/approach An analytic organisational autoethnography was undertaken, using multiple data sources including contemporaneous journals, organisational documents, artefacts and reflective dialogue with colleagues. Data were analysed abductively, using Arena and Uhl-Bien’s four dimensions of adaptive space (discovery, development, diffusion and disruption) as a guiding framework. Findings The analysis demonstrates how adaptive space was created through intentional bridging of clinical and operational domains, cultivation of knowledge-broker roles and development of relational connections within and beyond the organisation. These adaptive processes were fragile, contingent and often resisted, yet enabled innovation to surface and spread. The study shows how leadership practices of reflexivity, positional negotiation and boundary work shaped outcomes. Originality/value This paper contributes to debates on complexity leadership and organisational ethnography by offering a rare insider account of leading integrated care reform. It advances theoretical understanding of adaptive space as a dynamic social process and demonstrates the methodological value of analytic autoethnography for capturing the interplay between personal experience and organisational transformation.

The article raises the problem of the specifics of the philosophical dialogue carried out in the process of human-machine communica-tion. The author puts forward the thesis that the practice of dialogue in philosophical cul-ture in its source has the meaning of reflexive activity, relevant to interpersonal communi-cation. The peculiarity of the practice of phil-osophical dialogue is demonstrated from the viewpoint of the communicative influence method, represented by the form of Socratic interlocution. There, reflection is an activity expressed by the concept of metanoia (μετάνοια) in the meaning of mental-change and aiming a person at achieving “superiority over himself”. The philosophical dialogue with the machine is considered from the viewpoint of the machine's ability to influence a person in the process of communication and initiate reflection as an experience of mental-change, analogous to Socratic metanoia. There are three models of communicative interaction between a person and a machine: (1) the “simulator” model, (2) the “interlocutor” model, and (3) the “philosophical interlocutor” model. Within the framework of the “philosophical interlocutor” model, the study identifies three scenarios of a human-machine dialogue (resistance, merger, and coopera-tion), in which the reflexive experience of mental-change is expressed by the idea that the mind is not immanent to the personality and a non-human mind is possible. The author concludes that the peculiarity of human-machine communication sets a new format for the philosophical culture of dialogue. A feature of this format is the impossibility for a person to convert the impact that a ma-chine has into a way of action learned by a person. This feature allows us to state that the machine is able to induce a person to reflection, but is not able to teach him or her a reflexive activity.

تتكون ثقافة الحوار من بعدين أساسين متوازيين وهما: 1- الاعتقادات والقناعات والمبادئ: وتشمل:- الإيمان بالحوار وسيلة للتواصل بين البشر،الاحترام المتبادل للطرف الآخر والإيمان بقيمة رأيه ،الإيمان بحق الآخرين في التعبير عن رأيهم. 2- الممارسات الفعلية للحوار: وذلك من خلال ممارسة الحوار مع الآخرين ،الاستماع للآخرين عندما يطرحون آراءهم ،التحلي بآداب الحوار وإحترام حق الآخرين فى التعبير عن أرائهم. وبالرجوع للواقع العملى نجد أن ثقافة الحوار فى المجتمع المصرى تقف عند الإعتقاد فهناك إعتقاد راسخ لدى الشباب بأهمية الحوار ودوره فى تقدم المجتمعات إلا أنه عند الممارسة نجد تضارب بين القول والعمل ونجد رفض للأخر وإتهامه بالتأمر والخيانه...إلخ ويرجع البعض تلك الظاهره لغياب الحوار لمده تجاوزت الثلاثين عاماً وحرمان الشباب من الإختلاف ومن ثم فهناك قصور فى الممارسة رغم توافر الإعتقاد .ومن هنا تتحدد مشكلة هذه الدراسة وأهميتها فى محاولة التعرف على ثقافة الحوار بين المعتقدات والممارسات لدى الشباب السكندري ومدى إيمان الشباب بأهمية الحوار فى دعم تماسك المجتمع ومدى إيمانه بحق الإختلاف وقبوله لتعددية فى ضوء المبادئ الأساسية لمواطنة. وبالرجوع للتراث النظرى نجد أن التراث النظرى لم يتعرض لثقافة الحوار لدى الشباب وإنما إنصب اهتمام تلك الدراسات على الحوار فى الاسلام والحوار الأسرى وحوار الثقافات وغيرها من الموضوعات التى لم تتعرض للعلاقة بين الفكر أو المعتقد والممارسة.

Relevance of study. Modern situation in the global cultural life can be characterized by the variety of forms of music being in culture. Large historical period of concert cultural existence and its relevance in modern times demonstrate that both phenomena – public concert and the musical genre of concerto – became important components of musical culture and man’s social-cultural life. From the context of modern performing and audience practice we can separate relevant tendencies of concert development, which base on diffusion, intercommunication between phenomena from musical and non-musical spheres, elite and popular, individual and mass. That’s why studying the concert as creative-performing form of social-musical event and creative-art form of composers’ activity (musical genre of concerto) especially in reality of modern cultural world seems rather relevant.Main objectives of the study are to analyze communicative specifics of concert(o) its influence on the newest performing strategies in musical culture.Research methodology is based on culturological method (to show the possibility to realize the intercultural dialogue with help of concertizing as well as rhetorical-dialogical situation creation in culture; to study the dialogical nature of concert through the dual principle in culture; to analyze the meaning of Agon and Harmony in relation to the modern musical culture and, especially, to the concert), the method of musicological analysis (to discover the specific of concerto as the musical genre), the involvement of statistics data (statistics of search requests on the subject “Classical music” in different countries all over the world), cross-disciplinary approach (to use the information from different areas of scientific knowledge: culturology, musicology, semiotics, philosophy, linguistics).Results and conclusions. Concert and concertizing are complex cultural, aesthetic, social phenomena, which are worthwhile for the dialogue between people in the modern culture-creation process. Complicated dualistic and, consequently, dialogic nature of concert becomes a reflection of a dual organization of culture. In modern cultural reality the communicative specifics of concert forms the new strategy of concertizing. Relevant tendencies of development in concert and concertizing reflect such global processes in culture, as culture exchange, dialogue in culture and dialogue of cultures. So, with help of musical culture the special rhetorical-dialogical situation is created in culture, and in this field dialogical intercommunication of cultures happens in modern world.

The EU started relatively late to inject social considerations into the enlargement process. A vision connected to the European Social Model could have been instrumental in handling the social problems emerging after the transition but did not play a basic role in shaping Hungarian social policy. Many factors and actors impacted on the changes that took place in social policy procedures and institutions. For instance, the ILO and the EU influenced labour market issues, while family policy was mostly shaped by home-bred ideologies, and to some extent the World Bank. Pension reform was fully steered by the World Bank. The EU had an important role in shaping social and civil dialogue. As the monitoring reports following the progress of the candidate countries show, the concerns of the EU remained economic and political. The reports approved the moves towards the neo-liberal model inspired by the monetarist agencies. This paper argues that the European impact in the social sphere has strengthened over recent years, and its main payoff is the growing interest and commitment of politics towards poverty and inclusion, and the widening practice of civil and social dialogue.

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Live-action role-play (larp) has been named a “new performative art,” an immersive experience, and an educational tool, but it is much more: A playground of intermingling social and cultural realities, a door to new worlds. This paper offers an introduction to larp, its transcultural history, and its disruptive and creative possibilities, as well as key aspects, such as immersion. It sets the theoretical frame for the game “Staying Alive,” in which the researchers and also the audience engage in a shared “mimetic evocation of ‘real-life experience.’” Many aspects of “everydayness” can be called “collateral realities,” realities that are done implicitly, unintentionally, such as nations, cultures, time, or distinctions of subject and object, or of presenter and audience; realities that could be different. Taking performativity seriously, larp can be a tool to step outside of a Euro-American commonsense ontology and its singular reality “out there” by playing with collateral realities and making their production explicit. During a larp, players (“larpers”) consciously undo objects and meanings, space, and even their very bodies to creatively weave new material-semiotic fabrics. They become cultural mediators between a world-that-supposedly-just-is and its partially connected others, in which Japaneseness or Chineseness may fade and Elvishness is translated into a reality. With a global player base, larping is not only a practice of intersubjective or cultural negotiations but also of intra-subjective mediation of cultural realities.

This study investigates the multidimensional nature of piano accompaniment in collaborative music making, focusing on musicians lived experiences, multidirectional information flow, communication strategies, and their cultural implications. While prior research has often examined technical and pedagogical aspects of accompaniment separately, limited attention has been given to how these dimensions intersect in practice, particularly within hybrid cultural contexts such as contemporary China. To address this gap, a qualitative research design was adopted. Data were collected through in-depth semi-structured interviews with 21 participants, including professional piano accompanists, music educators, and music students from different regions of China. The interview data were systematically analyzed using qualitative analysis software to identify recurring patterns and strategies related to technical execution, emotional coordination, and cultural negotiation in accompaniment practice. The findings reveal four interrelated themes that characterize the experience of collaborative accompaniment. First, accompaniment is experienced as a relational and adaptive process, shaped by emotional resonance and sensitivity to interpersonal dynamics. Second, the quality of information accessed during preparation and performance whether derived from digital resources or human mentorship plays a decisive role in rehearsal efficiency and performance outcomes. Third, effective communication emerges through a dynamic interplay of verbal cues and spontaneous gestural interaction rather than through verbal instruction alone. Finally, cross-cultural literacy is shown to be essential for achieving artistic coherence, particularly in educational and performance contexts that integrate Western art music with traditional Chinese musical practices. By integrating perspectives from collaboration, information quality, and cultural-historical activity frameworks, this study conceptualizes piano accompaniment as a multifaceted practice that is simultaneously technical, communicative, and cultural. The findings offer practical and theoretical insights for music education and professional training, highlighting communication fluency and cultural competence as core skills in collaborative performance settings.

After the Second World War, Rome became a site of crossing populations, migrations, returns, transitions, and cultural convergence and divergence. Within this fluid landscape, the city’s reconstruction was shaped by transnational flows and the complexities of multilevel governance, with actors operating across international, national and local levels. How did multilevel governance shape decision-making in the reconstruction of war-damaged monuments? How did destruction generate opportunities to redefine heritage beyond the paradigm of loss? This study examines how these interactions influenced both the reconstruction methodologies and the evolving meaning of heritage, highlighting heritage as a form of governance. Drawing on archival sources, visual documentation and focused case studies, this paper demonstrates that tangible reconstruction efforts were closely entwined with the process of national identity formation in the aftermath of trauma and conflict. A consciousness of heritage emerged as a shared international patrimony, understood as belonging to all civilisations and mobilised for fundraising and cultural diplomacy across national borders. This heritage diplomacy illuminates the complex networks of institutions, funding mechanisms and competing notions of sovereignty that have shaped modern conservation and reconstruction. By tracing how cultural entanglements shaped heritage practices, critical insights arise for contemporary debates on post-conflict reconstruction, identity and urban resilience. PRACTICE RELEVANCE Post-war heritage reconstruction was not merely a technical exercise but a driver of political renewal, social cohesion and international collaboration. Lessons from Rome’s experience can guide today’s responses to conflict- and disaster-related heritage loss. Policymakers should establish multilevel governance frameworks that enable coordination between international organisations, national governments and local authorities. Transparent communication and active participation of local communities should be prioritised to ensure legitimacy and shared ownership. Reconstruction efforts should be used as opportunities to advance archaeological research, foster cultural diplomacy and strengthen social ties. Practitioners are encouraged to integrate heritage protection into urban planning and disaster preparedness, ensuring that interventions both safeguard authenticity and accommodate modern urban needs. These actions can help transform crises into opportunities for cultural dialogue and urban resilience in the face of conflict, climate change and other global challenges.

This study aims to examine the role of Kalpataru contemporary dance costume design at the Kitapoleng Foundation as a medium of expression that integrates Balinese cultural heritage with the principles of sustainability and design innovation. The focus is on symbolism, sustainable materials, and the contribution of costumes to the narrative of the performance. This study uses a descriptive qualitative approach with case studies. Data was collected through semi-structured interviews with the choreographer, designer, and founder of Kitapoleng; observation of performances at IFEX 2024; and visual documentation. Analysis was conducted using data reduction, thematic categorization, and source triangulation methods. The woven ental fabric costumes combine symbols of tradition and sustainability. Design innovations include reinterpretations of Legong headdresses and badong accessories. The costumes reinforce the Kalpataru philosophy of the “tree of life” and increase the audience's understanding of ecological and cultural issues. Cultural negotiation emerges in the reinterpretation of tradition. The results of this research enrich performance studies through the perspective of sustainability. In practical terms, this research offers a model of collaboration between artists and craftsmen as an environmentally friendly design practice based on local culture. These findings also have implications for arts education strategies and the strengthening of Indonesian performing arts in the global discourse on sustainability.