Ritual as a Mode of Production: Ethnoarchaeology and Creative Practice in Hindu Temple Arts

Parker, Samuel K.

doi:10.1080/02666031003737190

Cited by 3 publications

(3 citation statements)

References 8 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As an example from the Korean Buddhist study (Kaplan, U., 2010) [14] . Due to the growth of the global tourism sector, Indian Temples are turned into tourist destinations locally as well as global destinations, to the degree that they are being fetishised, eroticized and commoditized ~ 186 ~ as tourism destinations, public legacy and collectables (Parker, S. K., 2010) [8] . Historical evidence states that temples have suffered a lot due to religious synthesis, economic debacle and social imbalances (Leonard, K., 2011) [17] .…”

Section: Literature Reviewmentioning

confidence: 99%

Study of business model canvas of temple economy: Local temple brand-economic development model

Padhi

2024

Int. J. Res. Marketing Manage. Sales

View full text Add to dashboard Cite

Literatures are studied systematically to explore the rural economy related to temples. The business model of the rural temple economy is explored by literature. The concept of the temple economy has been re-researched in connection to the Indian rural people. Selected literature from India refers to establishing significant business models. The relationship of temples and the rural economy is viewed in literature and a suitable model is prepared in accordance to the Indian context. The physical market, Indian temples, branding, the digital market are clubbed in to fit a model for the socio-economic development of the rural people. The model is suggested to the Government of India and local business units to adopt the model to overcome the marketing challenges.

show abstract

Section: Literature Reviewmentioning

confidence: 99%

Study of business model canvas of temple economy: Local temple brand-economic development model

Padhi

2024

Int. J. Res. Marketing Manage. Sales

View full text Add to dashboard Cite

show abstract

“…Ritual is a social and religious activity developed for a long time in every culture (Khoury, 2017). A ritual is also inseparable from a group of people who believe in it (Parker, 2010). Ritual ceremonies in native cultures throughout the world have manifested this practice from the beginning (Brown & Dissanayake, 2018); (Richman, 2018).…”

Section: A Ritual Role In the Barongan Performance Artsmentioning

confidence: 99%

From Ritual to Entertainment: The Changing Role of Barongan Performance Arts

Jazuli

Alam

2020

HSSR

View full text Add to dashboard Cite

Purpose of the study: The aim of the study is to 1) describe the Barongan Performance Arts presented in the form of parades and dance-drama on aspects of motion, accompaniment, makeup, fashion, and venue; 2) describe the role of Barongan Performance Arts in Blora society, namely the role of ritual and the role of entertainment that has lasted a long time; and 3) describe the changing role of Barongan Performance Arts from ritual to entertainment in Blora society. Methodology: This research is based on qualitative analysis—the data collected by observation, interview, and documentation. Data validity is using credibility, transferability, dependability, and confirmability. The data of the form of Barongan Performance Arts were analyzed used the ethnocoreology approach, and the data of the changing role of the Barongan Performance Arts were analyzed used the social action method. Main Findings: Barongan Performance Arts are displayed in two forms, namely the form of a procession or parade and dance-drama. Barongan Performance Arts from ritual to entertainment because, the development of social and cultural life of the Blora people, this is influenced by economic and globalization factors. The growth and development of Barongan Performance Arts as an entertainment center is inseparable from the participation of artists and managers in introducing Barongan Performance Arts. Applications of this study: The results of this study are expected to be beneficial for the development of Barongan Performance Arts so that it still exists that is loved by the community, as a reference for local governments in the effort to develop and preserve Barongan Performance Arts, to be an appreciation for and development of Barongan Performance Arts teaching materials and to be an additional aesthetic experience that sourced from Barongan Performance Arts. Novelty/Originality of this study: The conflict between ritual and entertainment interests in Barongan Performance Arts is definite. Reflection of the conflict can be seen from the existence of competing with each other, influencing each other in its presentation and strategies attracting the attention of a broad audience. While the comparison seems they can live and develop side by side.

show abstract

“…It has just been displaced, shifted from foreground to background, where it continues to operate in domains of living practice despite the power of the newly dominant monetary-symbolic order, in which it is made to serve as meta-, or 'second-order' signs. Thus for instance, traditional temples and images continue to be produced, often with great skill and aesthetic refinement, by members of the Visvakarma communities of South India (Parker 2010). However, these are not institutionally classified as 'contemporary art' and 'contemporary artists'.…”

Section: Objectifying Culturementioning

confidence: 99%

Lived Cosmologies and Objectified Commodities: Reinventing the Traditional Art of India in a World of Cultural Tourism

Parker¹

2013

cjas

Self Cite

View full text Add to dashboard Cite

This essay examines how the significance of ancient South Asian monuments is transformed when reframed by the practices of cultural tourism, which are grounded in the values of a modern, globalizing, economic cosmology. Ethnographic evidence collected on a visit to the archaeological park and museum at Sarnath, site of the Buddha's first discourse and home to some of the most celebrated masterpieces of ancient Indian sculpture, are here analyzed to support and illustrate a broader, social-constructivist argument about the representation of reality in Indian visual culture. I will argue that the version of 'reality' presupposed by modern economic practices, such as tourism, works to objectify ancient South Asian forms and meanings, previously precipitated out of older living practices, into reified, collectable entities. Such objects and their objectified meanings further contribute toward naturalizing and universalizing economically grounded projects of self-construction among the practitioners of an economic worldview, wherein the self is shaped by routines of production and consumption: I am what I do for a living and I am the goods-including here, the touristic experiences-that I collect. It is this economic cosmology that moves to the foreground when ancient Indian 'art' is re-presented and consumed in the form of tourism products. Meanwhile the cosmology of dharma is pushed into the background. I hope to persuade the reader that the 'cost' of doing this is too high to justify the narrow economic benefits.

show abstract

Ritual as a Mode of Production: Ethnoarchaeology and Creative Practice in Hindu Temple Arts

Cited by 3 publications

References 8 publications

Study of business model canvas of temple economy: Local temple brand-economic development model

Study of business model canvas of temple economy: Local temple brand-economic development model

From Ritual to Entertainment: The Changing Role of Barongan Performance Arts

Lived Cosmologies and Objectified Commodities: Reinventing the Traditional Art of India in a World of Cultural Tourism

Contact Info

Product

Resources

About