An Ethnographic Study on Yuppies' Art Consumption and Identity in Dongshankou from a Mesosociological Perspective
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Amid the uncertainties of the global economic environment, the Chinese art market has experienced steady growth, with yuppies, a sociocultural group characterized by young, urban professionals with relatively affluent economic standing, emerging as an influential force. This study investigates the art consumption behaviors of yuppies in Dongshankou, Guangzhou China, through the lens of identity theory, framed within a mesosociological approach. Drawing on a combination of qualitative ethnographic methods, the research identifies that the continuous and sustainable art consumption in Dongshankou is driven by three key factors: the stable economic resources of the yuppies, the area's unique art-friendly environment, and the concentration of yuppie networks. Furthermore, this study delineates four distinct art consumption patterns among Dongshankou yuppies, each contributing differently to forming and reinforcing their individual and collective identities. The research contributes to understanding how art consumption is a mechanism for yuppies to express and construct their identities. The findings provide theoretical and practical implications for sustainable art consumption in urban communities and offer new perspectives on the interplay between cultural consumption and identity formation in emerging socioeconomic groups.
Abstract
Amid the uncertainties of the global economic environment, the Chinese art market has experienced steady growth, with yuppies, a sociocultural group characterized by young, urban professionals with relatively affluent economic standing, emerging as an influential force. This study investigates the art consumption behaviors of yuppies in Dongshankou, Guangzhou China, through the lens of identity theory, framed within a mesosociological approach. Drawing on a combination of qualitative ethnographic methods, the research identifies that the continuous and sustainable art consumption in Dongshankou is driven by three key factors: the stable economic resources of the yuppies, the area's unique art-friendly environment, and the concentration of yuppie networks. Furthermore, this study delineates four distinct art consumption patterns among Dongshankou yuppies, each contributing differently to forming and reinforcing their individual and collective identities. The research contributes to understanding how art consumption is a mechanism for yuppies to express and construct their identities. The findings provide theoretical and practical implications for sustainable art consumption in urban communities and offer new perspectives on the interplay between cultural consumption and identity formation in emerging socioeconomic groups.
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