نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری جامعه‌شناسی فرهنگی، گروه علوم اجتماعی، دانشکدۀ ادبیات و علوم‌انسانی، دانشگاه گیلان، رشت، ایران
2 دانشیار گروه علوم اجتماعی، دانشکدۀ ادبیات و علوم‌انسانی، دانشگاه گیلان، رشت، ایران
3 استادیار گروه علوم اجتماعی، دانشکدۀ ادبیات و علوم‌انسانی، دانشگاه گیلان، رشت، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Abstract
The commercialized wedding celebration, as a Western and global phenomenon, is developing and expanding. This cultural phenomenon has found its presence and become pervasive in Iranian society. The globalization of weddings and the introduction of new cultural elements related to them have brought significant changes and transformations to these ceremonies in various regions of Iran. In the Iranian society, the convergence of old and new cultural elements has created new mechanisms and cultural trends. This article focuses on the city of Hamedan, one of the cities in Iran. The emergence of the wedding industry phenomenon in Hamedan has been accompanied by challenges. The aim of this article is to examine the cultural and social consequences of the presence and expansion of the wedding industry in Hamedan. The research method used in this qualitative study involved semi-structured interviews with 16 professionals working in the wedding industry in Hamedan. The data were analyzed using thematic analysis. The findings of this article encompass two main themes: “Cultural Reconstruction” and “Cultural Anomalies,” each of which includes various subtopics of significance. The results indicate that the expansion of this industry in the city of Hamedan has been concurrent with multifaceted and intricate social changes and cultural trends. Cultural interactions and conflicts, particularly in the realm of wedding ceremonies in this city, have led, on one hand, to the amalgamation and fusion of traditions, and on the other hand, to conflicts of values and disturbances in norms. As a result of these trends, local wedding customs in Hamedan have been weakened, and the consumer culture of the capitalist system has influenced them significantly.
Keywords: Marriage, Wedding Industry, Globalization, Cultural Reconstruction, Cultural Anomalies.
1. Introduction
Commercialization of wedding celebrations in Western societies gradually took shape during the first half of the 20th century, from 1900 to 1960, under the banner of the capitalist system, and fully developed in the latter half of the century. In this historical process, the wedding industry gradually emerged, and wedding celebrations became intertwined with consumerist, individualistic, and materialistic culture. In the 21st century, the hegemony of modern wedding celebrations became widespread through increased media advertising and the remarkable growth of bridal magazine circulation, spanning both Western and non-Western countries. In contemporary times, the cost of wedding celebrations has risen in various Western and non-Western countries, and this celebration gains popularity as an ideal and popular style, remaining firm and enduring.
Iran, like many other non-Western countries, has been influenced by the global capitalist system, and the commercialization of wedding celebrations has penetrated and spread within it. This research has been conducted in Hamedan, one of the cities in Iran, focusing on the expansion of the wedding industry in that region.
The central objective of this article is to examine the interaction and conflict of cultural trends that have emerged in conjunction with the penetration and expansion of the wedding industry in Hamedan. The questions addressed by this article include:
With the expansion of the wedding industry in Hamedan, what hybrid cultural elements have been reconstructed? With the expansion of the wedding industry in Hamedan, what cultural inconsistencies and social contradictions have arisen? In the conceptual framework of this article, studies related to commercialized wedding celebrations have been considered in the following ways:
A) Studies exclusively focused on Western societies. B) Studies that only examine a single non-Western society. C) Studies that investigate the cultural connection between Western and non-Western societies.
2. Materials and Methods
In this article, a qualitative method and narrative interviews have been employed. The research field is the city of Hamedan. Hamedan is one of the relatively large and populous cities of the country with a diverse social and cultural composition. The city has a mixture of both semi-traditional and semi-modern aspects. In this study, a semi-structured interview tool was used, and interviews were conducted with 16 individuals employed in the wedding industry. The reason for selecting these individuals was their experience in organizing wedding ceremonies. The sampling method used in this research was purposive and chain referral. The interviews continued until data saturation was reached, and each interview lasted 15 to 60 minutes.
The data analysis method employed was thematic analysis. The unit of observation and analysis in this study was the individual and the level of analysis was micro-level. In order to ensure the credibility of this research, attempts were made to involve experts in the field.
In this research, 16 individuals (8 females and 8 males) from the wedding industry participated. Among these individuals, three were bridal makeup artists, two were groom makeup artists, three were photographers and videographers, two were DJs and orchestra members, four were boutique owners, and one was a florist. Among them, the least experienced individual had one year of experience, while the most experienced had 23 years of experience.
3. Discussion
The findings of this article consist of two central themes: “Cultural Reconstruction” and “Cultural Inconsistencies,” each of which encompasses four sub-themes. The theme of “Cultural Reconstruction” focuses on the introduction of the wedding industry to the city of Hamedan and the interactive and integrative cultural trends that lead to cultural transformation and renewal. The four sub-themes of “Cultural Reconstruction” are: “Harmony with Modern Business for Professional Advancement,” “Emulation and Adherence to Reference Groups,” “Religious Consumerism,” and “Strengthening Cultural Pluralism.” Additionally, the central theme of “Cultural Inconsistencies” addresses the expansion of the wedding industry in Hamedan and the confrontation of various cultural trends that result in conflicts and social contradictions. The four sub-themes of “Cultural Inconsistencies” are: “Anomie in the Market and Business,” “Lack of Social and Economic Support,” “Conflict and Clash between Tradition and Modernity,” and “Struggle in Perceiving Aesthetic-Cognitive and Economical Consumption.”
Furthermore, themes related to the market and trade indicated that wedding industry businesses in Hamedan are not yet mature and face opportunities and threats. This industry encounters challenges and difficulties in the social and economic fabric of Hamedan, despite having a suitable potential for commercial and economic progress.
On the cultural horizon, the sub-theme “Emulation and Adherence to Reference Groups” reflects the role of media’s norm-setting and guiding role in wedding celebrations within the cultural and social context of Hamedan. The sub-theme “Religious Consumerism” signifies the integration of an imbalanced cultural fusion, while “Strengthening Cultural Pluralism” indicates a balanced cultural integration within Hamedan’s wedding industry. These sub-themes highlight the amalgamation and blending of traditional and modern elements in the wedding industry of the city.
The clash and contradiction between the opposing cultural trends of “Tradition” and “Modernity” in Hamedan’s wedding celebrations are illustrated through the sub-themes “Conflict and Clash between Tradition and Modernity” and “Struggle in Perceiving Aesthetic-Cognitive and Economical Consumption.”
4. Conclusion
The results of this article indicate that although the central theme of “Cultural Reconstruction” is mostly focused on interactive and adaptive relationships, weakening of local wedding customs of Hamedan is observed in all of its sub-themes except for “Strengthening Cultural Pluralism.” These sub-themes present a cultural fusion where global capitalist culture takes precedence over Hamedani local and ethnic customs. The central theme of “Cultural Inconsistencies” also emphasizes cultural discrepancies and conflicts that lead to the deterioration and erosion of local wedding traditions in Hamedan.
In general, the arguments in the current article suggest that the commercialization of weddings and their commodification in Hamedan are under the influence of globalization processes. In the scope of global culture, the commercialization of wedding celebrations and the associated industry have expanded throughout Iran, including cities like Hamedan. The penetration of the wedding industry in Hamedan has transformed the manner of wedding celebrations and led to the weakening of local and ethnic culture in the domain of marital rituals. In this city, a domination of modern style over traditional customs and the stylization of global capitalist norms are evident in the realm of wedding ceremonies.
In the era of technology and communication, non-modernity and isolationism of a society will not yield positive outcomes. In the global system, cultural trends interact and converge, giving rise to this cultural amalgamation in the form of new elements. In the theoretical concept of “Kamal in Hindu Weddings,” Otnes and Pleck (2003) emphasized that the reinforcement of local identity in Eastern societies through new traditionalization is achieved in the realm of wedding celebrations. Therefore, the wedding industry in Hamedan requires a desirable cultural balance between local and national-global weddings to prevent the subjugation of Hamedani local customs in this cultural fusion.
کلیدواژه‌ها [English]
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