Changing Strategies in Marketing Kenya's Tourist Art: From Ethnic Brands to Fair Trade Labels

Mahoney, Dillon

doi:10.1353/arw.2012.0013

Cited by 9 publications

(3 citation statements)

References 29 publications

(8 reference statements)

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“…The way senior age respondents differ from young respondents in recognising the role of certification, the results of this study also show prevailed ambiguity about the exact role of certification in consumer purchase intention (Basu and Hicks, 2008;Bjørner et al, 2004;D'Souza et al, 2006;Hustvedt and Bernard, 2010;Koos, 2011;Mahoney, 2012;Naylor, 2014;Valor et al, 2014). One reason could be as the certification research itself is a "recent phenomenon" (Marston, 2013), especially in context of developing economies like India.…”

Section: Indian Craftmentioning

confidence: 72%

Handmade OK please: key criteria for purchasing craft items by Indian consumers

Koli¹

2021

JCHMSD

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PurposeThe purpose of this study is to identify the key criteria from the perspective of handmade, authenticity and sustainability for purchasing craft items by Indian consumers.Design/methodology/approachAn exploratory qualitative research was conducted on the buying behaviour of Assamese muga mekhela chador (MMC). Data were collected using purposive sampling and video-recorded focus group discussions (FGDs). Output transcripts were content-analysed using the R package RQDI.FindingsIndian consumers largely define crafts as handmade. Results indicate the crucial role of craft design and price. Craft authenticity, craft knowledge and social identity evolved as the key criteria for buying crafts. State intervention in craft certification is demanded. Indian craft consumers lack awareness about sustainable consumption.Originality/valueIndia is home to millions of craftspeople and craft buyers. Most of the earlier craft studies focused on the problems of craft production in India. This study contributes to the consumption literature, from the standpoints of authenticity and sustainability, which are often limited to Western consumers. Understanding its own domestic craft market will help Indian policymakers and organisations to reduce export dependency and to tap potential local craft demand.

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Section: Indian Craftmentioning

confidence: 72%

Handmade OK please: key criteria for purchasing craft items by Indian consumers

Koli¹

2021

JCHMSD

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“…In Kenya, the coastal visual art sector has operated since the colonial era and is an industry that is still largely informal with historical linkages to the tourism industry (Kasfir, 2004;Mahoney, 2012) The study also attempted to further understand how locally landed fish species like billfish are understood and represented by coastal visual artists. Specifically, the drivers were explored behind art production with a focus on billfish, a renowned migratory fish species especially in sport and recreational fisheries that is landed along Kenya's coast (Kadagi et al, 2011).…”

Section: Introductionmentioning

confidence: 99%

Billfish in coastal visual art in Kenya: a resource for ocean science communication

Kihia,

Uku,

Ater

et al. 2023

WIO J. Mar. Sci.

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Approaches to marine conservation and management issues has often been limited to using scientific research to propose technical and policy interventions. However, communicating outputs as scientific publications and policy briefs has limited reach and impact for non-academic audiences. Art markets in Mombasa and Kilifi Counties in Kenya were sampled to determine how the creative arts can be used to communicate ocean science. Artwork with terrestrial themes was popular and increasingly available to buyers compared to ocean art. Billfish as a representative species was popular in ocean art culture, underscoring its potential in a niche market for ocean art. Our study highlights opportunities for active collaboration between scientists and artists in communicating messages from scientific work to non-academic audiences. Engagement of Western Indian Ocean countries in the UN Decade of Ocean Science for Sustainable Development will benefit from the use of ocean art in science communication and enhance ocean literacy in the region.

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“…Likewise, the artistic education given at Kenyan colleges and universities follows the educational model of European academies and schools of art. 6 In addition, globalisation and the use of technology -in particular smartphones -is creating a strong circulation of Western models and, in some cases, a homologation of the artistic production, which is particularly visible in the very complex phenomenon of tourist art (Mahoney 2012).…”

mentioning

confidence: 99%