قابل توجه نویسندگان محترم، مقالاتی که از تاریخ 1404/07/13 برای نشریه ارسال می شوند، شامل پرداخت هزینه بررسی نخواهند شد.
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1- alzahra , z.khazaie@student.alzahra.ac.ir
2- alzahra
2- alzahra
Abstract: (17 Views)
The Baloch people, as one of the authentic Iranian ethnic groups residing in the southeast of the country, have forged a cohesive identity around the Balochi language and Islamic doctrines (Sunni and Shia), while maintaining historical ethnic ties with other Aryan branches. From a cultural perspective, this group’s traditional attire, especially the Baloch women’s needlework (Suzanduzi), represents the most distinct symbol of their ethnic identity; to the extent that the people of Baluchestan are among the few groups steadfast in preserving their complete local dress. This handicraft, with its stunning visual appeal, is not only considered the region’s primary tourist attraction but also reflects the nexus of art, culture, identity, and historical social structures. Despite the immense potential of needlework in advancing the economy and tourism of Sistan and Baluchestan, this valuable heritage has yet to attain its rightful standing in the national market. The present research was conducted employing an analytical-descriptive and historical approach, utilizing a library and documentary method for data collection. The core analysis is structured upon the framework of Rogers’ Five Components of Innovation Diffusion Theory, wherein innovation is not merely defined as a wholly new idea, but rather as a creative combination of positive elements from the past and the present. This study specifically focuses on the concept of “Perceived Newness” as a factor more crucial than absolute novelty in the adoption process. In terms of objective, this research is applied-developmental. Its primary goal is the precise elucidation of the relationship between Rogers’ innovation components and the social acceptance rate of revitalized designs of Baloch women’s attire in modern society. This pursuit is geared toward the ultimate delivery of practical strategies for the enhancement and development of this handicraft within the market sphere. The necessity for this research stems from the absence of a specific analytical model grounded in Rogers’ Innovation Diffusion Theory that can distinctly explain the adoption process of revived designs in traditional Baloch dress. This study bridges the gap between cultural authenticity and the demands of the modern market by charting practical pathways for the successful transition from cultural heritage to a sustainable economic product. The findings indicate a significant correlation between the dimensions of innovation and social acceptance, portending the elevation of this art form to a national and international brand through the intelligent synthesis of tradition and innovation.
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