Cross-cultural Identity is strongly tied to the term Transculturation which has previously been introduced as a multi-level exchange between two or more actively-engaged cultures, superseding the traditional concepts of assimilation and influences (Ortiz, 1947). It carries the idea of the consequent creation of new cultural phenomena (neoculturation), by sharing interests and common values across cultural and national borders (Slimbach, 2011). Transculturation was closely related to cultural hegemony, trade, and missionary in the past. The processes are now more complex within the context of globalisation and Society 5.0, involving many layers of abstracted interactions interwoven through various encounters, direct or indirect.
In art, craft, and design, transculturation is the visual expression of particular societies and their changing attitudes, ideas, and beliefs (Leavens, 2004). The changes are ubiquitous as they can be reflected in shapes, materials, and styles of artifacts. Transculturalism is characterised by cultural fluidity and the dynamics of cultural change, allowing artists, crafters, and designers to adapt and adopt new discourses, values, ideas, and knowledge systems (Lewis, 2008). It shows that culture is always in a state of flux, and always seeking new terrains of knowing and being, and so does art, craft, and design.
We welcome contributors to explore the role of design, craft, and art practice and research by answering these questions:
- How does transculturation impact design, craft, and art processes and products?
- How does the transculturation process trigger a new vision of art, craft, and design in a new emerging society? Will they change and create a new culture in the future?
- How art, craft, and design are involved in the discussion process between culture(s) to produce shapes, materials, and styles of artefacts?
Scope: The aesthetic impacts of transculturation, Cross-National Branding, Trans-aesthetics, Art/Design History, Transforming Traditions, Anthropology D