City, Culture and Society最新文献

This article focuses on the cultural politics of contemporary urban Muslim men's fashion in Malaysia. By looking at the debates surrounding these Muslim men's fashion trends and based on my observation in Muslim men's fashion boutiques and other urban spaces, this article explores how masculinity, ethnicity and Islam implicate each other. Most Malay Muslim men wear baju Melayu (traditional Malay clothing) during the festive seasons. However, there have been evolving trends in Malay men's fashion. The jubah (a long Arabic robe) and kurta (a long upper garment which many South Asians wear) have become popular, especially among segments of young Muslim men in urban Malaysia. The popularity of jubah a decade ago prompted some observers to worry about an ‘Arabisation’ or the perceived growth of Islamic conservatism. However, as I observe, the jubah in Malaysian fashion industries has been adapted to the local taste and fashion trends; hence, it is a modern and creative adaptation of ‘Arabness’ instead of a form of sweeping ‘Arabisation’. Since 2018, there has been a trend of wearing tanjak (traditional Malay headgear) to assert Malay political power and cultural identity. From modern appropriation of ‘Arabness’ to the contemporary reinvention of traditional Malay costume, urban Malay Muslim men's aesthetic expressions reveal the mediation of religious and ethnic identities amidst rapid urbanisation and socio-political change in contemporary Malaysia. How should an ideal Malay Muslim man dress? This debate reveals the politics of different versions of Islamic piety and Malay identity in Malaysia today.

Globally, as cities shift towards becoming cultural and creative cities, the role of creative hubs as catalyst of economic development has garnered attention. The paper aims to examine and reconceptualise creative hubs based on a Malaysian perspective. Findings from a questionnaire survey conducted for this study highlighted that creative hubs tend to attract the youth, and can be a viable employment opportunity for them. Physical hubs are preferred over virtual spaces, and the location aspect is deemed still important for creative hubs. As way forward, more government support, better stakeholder coordination and capacity-building are required. The findings will have implications on urban and cultural/creative policies as well as trigger the need for a clearer conceptualisation of creative hubs in theory, policy and practice.

This paper presents a critical analysis of the urban acupuncture movement in Bandung through the lens of aesthetic governmentality (Ghertner, 2015). Drawing on qualitative data collected online and on-site, I propose two ways in which aesthetic governmentality extends to Bandung. First, I explore how the interactions between urban acupuncture and the political context of Indonesian Islamist urbanism (Kusno, 2022) have shaped and been shaped by the Bandung aesthetic governmentality regime. Secondly, I highlight how Instagram has become a political tool for Bandung leadership's aesthetic campaigning. My overarching argument is to show how urban acupuncture – originally created as a form of grassroots urbanism in Bandung – has been co-opted by the city government to create aesthetic images that serve as masking mechanism to impose state control beneath the façade of a seemingly organic, bottom-up community movement. The Bandung case, the paper concludes, points to a unique form of aesthetic governmental logic, where photogenic images of acupunctural beautifications have been used as political tools to deflect attention away from the fact that deep underlying infrastructure problems – such as traffic jams and poor park maintenance – and resident needs for functional public spaces remain unaddressed.

Efficient parking management is essential for enhancing customer experience, mobility, accessibility, and overall quality of life in urban areas. In recent years, parking analytics have emerged as valuable tools for understanding drivers’ behavior and developing data-driven management strategies. However, the application of these tools is often hindered by the complexity of data extraction, transformation, loading and analysis. Additionally, the implementation of these tools can be time-consuming and costly, further limiting their practical use for operators and urban authorities. To address this issue, this paper presents the development of a Business Intelligence tool specifically designed to facilitate parking management through the automated flow of transaction data between collection, processing, and analysis systems. The tool provides easy-to-use analytical capabilities that allow parking managers to analyze parking transaction data, identify trends and patterns, and make informed decisions about parking management quickly and easily. The cost-effective implementation of this tool presents a valuable solution for managing on-street parking in urban areas. This study highlights the potential of Business Intelligence tools for parking management and contributes to improving the effectiveness of parking management.

The paper attempts to provide a critique of the premise of territoriality in creative cities. A validated hypothesis in the literature on economic geography is that the density and “territoriality” of members of the so-called "creative class" influence the volume of creative goods and services produced in cities. This hypothesis gave rise to several sub-related themes, such as the premise that cities are, par excellence, a place where middleground spaces emerge because of place-based activities located in close-knit communities imbued with creativity and innovation commons. In line with this argument, recent studies have yielded an analytic framework to explain the dissemination of creativity through the so-called “middleground” spaces in cities: places, spaces, projects, and events. This framework presupposes the dissemination of creativity from the physical place to a cognitively constructed space. We revise this argument by suggesting that post-digitalized forms of creation and dissemination of knowledge often blur the boundaries between place and space (which we characterize in this paper as domains of “the local” and “the digital”). By mediating creativity through digital platforms, agents are also capable of outreaching different localities and creating ties that are not subsumed to close-knit communities. As such, our framework incorporates a “digital middleground” space into this existing “middleground” framework, thereby extending the scope of creativity in cities to digitally dispersed forms of exchange. We theorize that contemporary forms of creativity unfold openly, virtually, and non-hierarchically yet are imbued by local concerns such as the ones channeled by crowdfunding communities, which we use as an example in our discussions. Our paper contributes to a better understanding of the increasingly digitalized “urban” spaces and the impossibility of pursuing a dichotomous digital-local divide. We expect that scholars will consider the possibility for creativity to manifest not only in territorial-based middlegrounds, but also in online communities where creativity unfolds dispersedly.

With a focus on local government's role in participatory cultural governance, this paper argues two points. First, self- and critical reflexivity of institutional brokers is important to community-wide capacity building for participatory cultural governance. Second, this reflexivity can be enabled through slow, inquiry-based collaboration between practitioners and researchers. The paper presents the experiences of a practitioner-researcher collaboration between a local authority arts officer and a cultural policy scholar in the development of a place-based local arts development programme taking place from 2017 to 2019 in Dublin, Ireland. The paper surfaces how efforts to promote greater participation in local decision-making require acts of reflexivity as core to the repertoire of capacity building for enabling participatory cultural governance practice in local public arts administration. Three interrelated factors are determined to have helped enable this reflexivity: (1) the arts officer's openness to engage in collaborative processes that (2) emphasised reflection and learning and were supported by (3) the presence of an embedded researcher with mutual interest, beliefs and experience or knowledge of the institutional context. Limitations in the study highlight areas for further research regarding the affective nature of practitioner-researcher collaborations and the potential of promoting reflexive practice in processes aimed at promoting participatory governance.

The COVID-19 pandemic, which broke out in early 2020, has disrupted China's population mobility on which its cities depend. Especially, during the two years of the pandemic, female migrant laborers have been taking the risk of becoming the surplus population in an unstable and hyper-competitive job market. Such circumstance has led their images and urban engagement to be finitely recorded by the narrative that emerged based on the pandemic -- outbreak narrative in Priscilla Wald's term (2008), serving as an essential archive to examine Chinese women labor and urban history during the COVID-19. Taking an article narrating the vagrancy of a female migrant worker -- Ah Fen in Shanghai as a threshold, this paper explores China's gendered migrancy and female migrant communities during the COVID-19. By tracing China's COVID-19-related outbreak narratives through literary analysis, this paper reveals that the COVID-19 pandemic has flooded more migrant workers, especially female laborers, into the gig economy and this new urban engagement pattern has made migrant women's mobility higher and encouraged them to rebuild migrant communities in the city. However, the high mobility and fragmented urban distribution, in turn, have strengthened their roles as “infected strangers” in the outbreak narrative, particularly in the context of China's strict differentiated quarantine governance. This research, initiated by literary analysis, on the one hand, draws a dynamic map of capital and population flow during the pandemic era, while on the other hand, exposes the injustice among different classes, genders, and ages in urban China enlarged by the virus.

This article describes the specific issues faced by the Ottawa Culture Research Group (OCRG) as it sought to develop cultural indicators for Ottawa, Canada. It examines this effort in the light of conceptual and collaborative challenges in developing indicators of culture and sustainability and how these challenges have been addressed in cities elsewhere. In focusing on the collaborative relationships among the various partners in the OCRG, the article highlights the difficulties of integrating cultural measures of sustainable development within urban administration and governance when the partners have differing priorities and are dependent on multiple and unstable sources of support. It ends with several conclusions about the practices and resources required to sustain measurement initiatives that address both tangible and intangible aspects of culture’s role in the sustainability of cities.