One afternoon, as I was scrolling randomly through my Instagram feed, a reel caught my attention: a beautiful young woman swinging gracefully on the renowned ‘Big Swing’ in Bali. Draped in a flowing red gown, her long trail swayed with the wind as she soared up to almost 80 meters above the ground. Against the backdrop of an expansive jungle vista, her elegant motion created a mesmerising spectacle. The video garnered an astounding 62,200 views accompanied by a series of admiring comments. As I pondered where one could acquire such beautiful dresses, another memory surfaced. I clearly remembered coming across a similar post on Instagram a few days back, featuring a woman adorning a similar dress at the very same spot.
As curiosity seeped in, I embarked on an internet search to ascertain if such dresses were provided at these tourist spots. And indeed, my hunch proved correct. I stumbled upon a travel blog[i] discussing the big swing in Ubud, Bali along with other touristy spots in the region. The blog commenced with the writer expressing gratitude to her followers on Instagram. She thanked them for convincing her to experience the Bali flying dress moment to get a breathtaking and picturesque experience. Through the blog, I learnt that visitors could rent a flowy gown (for about USD 25) from a selection of styles available, geared towards obtaining aesthetically pleasing photos and videos. Crafted from lightweight polyester fabric, this dress sways elegantly with movement. The blogger went on to recount her experience on the Bali swing describing how a staff member securely fastens the rider with belts and pushes the swing for about three minutes while another staff member captures aesthetic photos and videos of the experience. Despite the slightly frightening yet thrilling experience, she was amazed by the stunning photos and videos captured which according to her made it worthwhile.
Instances like these bring our focus to vacations and how almost everyone seeks to make it social media-worthy. In today’s world, where new media technologies and social networking sites are integrated into daily interactions, audiences have also transformed. Personal moments are now shared not only with family and friends but also with an invisible virtual audience on social media. When viewed from a sociological lens, these shared moments in the form of images and videos carry social meanings. For instance, Bourdieu (1990) tries to analyse how various consumer goods, ways of presenting the self in front of others, ways of dining, and so on were used by specific groups, and socio-economic classes to demarcate their distinctive way of living (Bocock, 1993: 59). This can also be evident while viewing travel and vacation pictures posted by the users of social media. Individuals in these virtual spaces, as Goffman would phrase it, are “performing their selves” (Goffman, 1956) in the best possible way.
The desire to capture and share aesthetically pleasing images often leads to a focus on presenting the ‘front stage[ii]’ while concealing the less picturesque aspects (‘backstage’) of a destination. Tourist hotspots like Santorini in Greece, the Taj Mahal in Agra, and Big Swing in Bali among many others are iconic and attract large crowds seeking that perfect social-media moment. However, behind the scenes, these places can be crowded, noisy and sometimes chaotic detracting from the desired aesthetic[iii]. To overcome this, insta-savvy travellers employ various strategies. They use creative framing or angles to exclude unwanted elements from their photos or use photo editing techniques to enhance the aesthetic. Some even try their luck and visit such popular spots during off-peak hours while some choose alternative viewpoints to capture the required content for themselves as well as their virtual feed.
The trend of capturing and dumping real-life moments into social media extends beyond travel to include food[iv], weddings, dining in aesthetic cafes, trying on new attires and whatnot! Suffice it to say that the digital realm has permeated every facet of our lives. It is thus not surprising that marketers leverage these trends to enhance their products/ services accordingly. For instance, travel planners and holidaymakers tap into the growing desire for Instagram-worthy destinations to meet consumer demands. They design travel packages that specifically highlight destinations known for their aesthetic appeal. Social media websites are often used to generate excitement and interest in these destinations among potential travellers. We also see different influencers and content creators who collaborate with agencies and showcase their experiences through captivating posts which also helps in boosting their social media pages. While talking about travel and business, one can also not miss to point out the tailored experiences curated for travellers in these spots. They may include activities like providing props like dresses (as in the case of the Bali swing) hot air balloon rides, sunset cruises or even guided photo walks to capture the perfect Instagram shots.
While the experiences may appear similar due to the abundance of social media posts depicting similar content, the allure of these destinations or experiences remains strong. Despite the perceived saturation or diminishing ‘aura’ (Benjamin, 1935) consumers are still drawn to these experiences because, for each individual, they hold the promise of a unique and personal encounter. Consequently, with the advancement in technology and photography skills, these social media users/content creators also find ways to diversify their content without making it ‘monotonous’.
The digital thus becomes a very integral part which dictates how individuals should experience/consume the moments in life. Social media platforms like Instagram and Facebook have evolved into spaces where users, especially the youth actively engage with the meanings in society and reinforce connections between individuals and consumerism. The symbolisation of consumerist patterns and leisure in the virtual life portrays one’s social class and aspirations. In the context of travel and sharing experiences in social media, individuals carefully curate a perfect self to highlight the most glamourous, adventurous and envy-inducing aspects of one’s journey. While these idealised representations may not always represent reality, they serve as inspiration for others and contribute to the aspirational nature of social media travel.
References:
Benjamin, W. (1935). The Work of Art in the Age of Mechanical Reproduction. Illuminations. London.
Bocock, R. (1993). Key Ideas- Consumption. London. Routledge.
Bourdieu, P. (1990). Photography: A Middle Brow Art. Polity Press. Cambridge.
Goffman, E. (1956). The Presentation of Self in Everyday Life. Doubleday. Scotland.
[i] Ho, C (February 27, 2024). A Core Memory- The Bali Swing. Blogilates. https://www.blogilates.com/blog/the-bali-swing/
[ii] Frontstage and backstage are concepts used by Goffman in his book ‘The Presentation of Self in Everyday Life.’
[iii] Kelly, R. [ryankellycomedy} (February 16, 2024). [Reel]. Instagram https://www.instagram.com/reel/C3YtQCVgUsB/?igsh=MTI5dWswc20xMWRzMw%3D%3D
[iv] Patgiri, R. (May 5, 2021). Instagram on the Plate. The Sociological Review. https://thesociologicalreview.org/magazine/may-2021/digital-social-life/instagram-on-the-plate/
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Moureen Kalita is working as an Assistant Professor of Sociology at Krishna Kanta Handiqui State Open University (KKHSOU). Her research interests include sociology of popular culture, visual sociology, new-middle class, and consumer culture.