In traditional Vietnamese movie (before 2000), rural and urban areas are often depicted by cinematic stereotypes as absolutely separated and differentiated territories. Also, people living in these two spaces are often represented by contrasted traits, for example, rural people are naive, while urban people are sophisticated or sometimes, disrupted. But in contemporary Vietnamese cinema, rural and urban areas have been “de-territorialized”. The distinctions between the two spaces have been blurred, especially in the films made by young directors. Vietnamese films which are made in recent years show clearly that the personality of people are not sharply characterized according to their origin, rural or urban area, but are often in a very complex state. Often the characters have a mixed personality of rural and urban type. This paper approaches Phan Dang Di’s films as typical examples to present the ideas of rural – urban boundaries in urbanization process and the de-territorialization trend in contemporary Vietnamese movie.
{"title":"Rural - Urban Boundaries in Contemporary Vietnamese Cinema: A Look from Phan Dang Di’s Films","authors":"H. Giang","doi":"10.14456/JUCR.2016.13","DOIUrl":"https://doi.org/10.14456/JUCR.2016.13","url":null,"abstract":"In traditional Vietnamese movie (before 2000), rural and urban areas are often depicted by cinematic stereotypes as absolutely separated and differentiated territories. Also, people living in these two spaces are often represented by contrasted traits, for example, rural people are naive, while urban people are sophisticated or sometimes, disrupted. But in contemporary Vietnamese cinema, rural and urban areas have been “de-territorialized”. The distinctions between the two spaces have been blurred, especially in the films made by young directors. Vietnamese films which are made in recent years show clearly that the personality of people are not sharply characterized according to their origin, rural or urban area, but are often in a very complex state. Often the characters have a mixed personality of rural and urban type. This paper approaches Phan Dang Di’s films as typical examples to present the ideas of rural – urban boundaries in urbanization process and the de-territorialization trend in contemporary Vietnamese movie.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"13 1","pages":"62-75"},"PeriodicalIF":0.5,"publicationDate":"2016-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Japan, the tradition of storytelling no longer exists in rural communities; thus, it is increasingly difficult to find traditional storytellers who have heard folktales passed down over generations. However, new storytelling is activated by both traditional and contemporary (non-traditional) storytellers who tell stories learned through reading books. In rural areas, a small number of traditional storytellers tell folktales to tourists at tourism facilities, while in urban cities, contemporary storytellers tell stories and folktales to children in libraries, schools and other community facilities. Their activities greatly contribute to the vitalization of folktales; nonetheless, there are some challenges. Both types of storytellers attempt to solve problems that they face. These attempts represent the possibilities of new storytelling in modern Japan.
{"title":"Traditional and Non-traditional Storytellers in Modern Japanese Societies","authors":"Y. Takashima","doi":"10.14456/JUCR.2016.9","DOIUrl":"https://doi.org/10.14456/JUCR.2016.9","url":null,"abstract":"In Japan, the tradition of storytelling no longer exists in rural communities; thus, it is increasingly difficult to find traditional storytellers who have heard folktales passed down over generations. However, new storytelling is activated by both traditional and contemporary (non-traditional) storytellers who tell stories learned through reading books. In rural areas, a small number of traditional storytellers tell folktales to tourists at tourism facilities, while in urban cities, contemporary storytellers tell stories and folktales to children in libraries, schools and other community facilities. Their activities greatly contribute to the vitalization of folktales; nonetheless, there are some challenges. Both types of storytellers attempt to solve problems that they face. These attempts represent the possibilities of new storytelling in modern Japan.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"13 1","pages":"18-27"},"PeriodicalIF":0.5,"publicationDate":"2016-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While traveling through the flat expanse stretching over its southwestern area, it is possible to see the unusual image of Rome as a city that overlooks the sea. In this area, rich of landfalls, many buildings act as gateways, some of which of international relevance, such as the “Leonardo da Vinci” intercontinental airport. Others accesses are only imagined by architects, from Karl Friedrich Schinkel’s Laurentinum – his reconstruction of Plinius’s Villa – to Adalberto Libera’s projects both for the seafront of Castel Fusano and for the Gateway to Sea. Over all, the ancient seaport of Rome is a potential engine of development and at the same time a symbol of historical memory. A perfect geometrical shape, the hexagonal port’s basin seems to imitate the planimetric shape of Rome’s historical centre that, through a translation of meaning, is cast toward the sea, in a sense prefiguring its destiny.
当你穿过它西南地区平坦的广阔地带时，你可能会看到罗马作为一个俯瞰大海的城市的不同寻常的形象。在这片陆地丰富的地区，许多建筑作为门户，其中一些具有国际相关性，如“达芬奇”洲际机场。其他入口只是建筑师的想象，从Karl Friedrich Schinkel的Laurentinum——他对Plinius别墅的重建——到Adalberto Libera的Fusano城堡海滨和通往大海的门户的项目。总的来说，罗马的古代海港是一个潜在的发展引擎，同时也是历史记忆的象征。一个完美的几何形状，六角形港口的盆地似乎模仿罗马历史中心的平面形状，通过翻译的意义，是朝着大海，在某种意义上预示着它的命运。
{"title":"Between Rome and the Sea: Ancient and Recent Gateways to the Eternal City","authors":"L. Malfona","doi":"10.14456/JUCR.2016.12","DOIUrl":"https://doi.org/10.14456/JUCR.2016.12","url":null,"abstract":"While traveling through the flat expanse stretching over its southwestern area, it is possible to see the unusual image of Rome as a city that overlooks the sea. In this area, rich of landfalls, many buildings act as gateways, some of which of international relevance, such as the “Leonardo da Vinci” intercontinental airport. Others accesses are only imagined by architects, from Karl Friedrich Schinkel’s Laurentinum – his reconstruction of Plinius’s Villa – to Adalberto Libera’s projects both for the seafront of Castel Fusano and for the Gateway to Sea. Over all, the ancient seaport of Rome is a potential engine of development and at the same time a symbol of historical memory. A perfect geometrical shape, the hexagonal port’s basin seems to imitate the planimetric shape of Rome’s historical centre that, through a translation of meaning, is cast toward the sea, in a sense prefiguring its destiny.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"13 1","pages":"46-61"},"PeriodicalIF":0.5,"publicationDate":"2016-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research project aimed at creating a Thai composition to express Thai astrological beliefs about the legend of Phra Phutha (Mercury) one of the Nine Planetary Deities – Phra Athit (the Sun), Phra Chan (the Moon), Phra Angkarn (Mars), Phra Phutha (Mercury), Phra Pharuehatsabodi (Jupiter), Phra Suk (Venus), Phra Sao (Saturn), Phra Rahoo (Pluto) and Phra Kate (Neptune) – and to create a body of knowledge in the form of a new musical composition transposed in the style of descriptive music (Program music) to show the particular characteristics of Phra Phutha deities. This article will deal with the music related to Phra Phutha, which is divided into three parts, namely, the prologue, the lyric and the epilogue. The musical style and movements display tactics in communication and talk through gentle and sweet words, which is the specific characteristic of Phra Phutha. The musical performance relies on three traditional Thai woodwind instruments – the Khlui Lip (High pitch pipe), the Khlui Phieng-or (Medium pitch pipe) and the Khlui Ou (Low pitch pipe). The melodies are relying on the method of altering the melodies, imitating and interrupting, as well as accelerating and reducing the tempo. This music is an innovation which is derived from the arrangement of musical elements and other contexts. It is an example of a new method of composing Thai music.
{"title":"Phra Phutha: A Thai Music Composition based on Astrological Beliefs","authors":"Assanee Pleinsri, Bussakorn Binson","doi":"10.14456/JUCR.2016.8","DOIUrl":"https://doi.org/10.14456/JUCR.2016.8","url":null,"abstract":"This research project aimed at creating a Thai composition to express Thai astrological beliefs about the legend of Phra Phutha (Mercury) one of the Nine Planetary Deities – Phra Athit (the Sun), Phra Chan (the Moon), Phra Angkarn (Mars), Phra Phutha (Mercury), Phra Pharuehatsabodi (Jupiter), Phra Suk (Venus), Phra Sao (Saturn), Phra Rahoo (Pluto) and Phra Kate (Neptune) – and to create a body of knowledge in the form of a new musical composition transposed in the style of descriptive music (Program music) to show the particular characteristics of Phra Phutha deities. This article will deal with the music related to Phra Phutha, which is divided into three parts, namely, the prologue, the lyric and the epilogue. The musical style and movements display tactics in communication and talk through gentle and sweet words, which is the specific characteristic of Phra Phutha. The musical performance relies on three traditional Thai woodwind instruments – the Khlui Lip (High pitch pipe), the Khlui Phieng-or (Medium pitch pipe) and the Khlui Ou (Low pitch pipe). The melodies are relying on the method of altering the melodies, imitating and interrupting, as well as accelerating and reducing the tempo. This music is an innovation which is derived from the arrangement of musical elements and other contexts. It is an example of a new method of composing Thai music.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"100-109"},"PeriodicalIF":0.5,"publicationDate":"2016-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The terms creative city and creative class are notable in how urban development is understood today, and stress the importance of culture, art, and creativity in the urban context. This research critically examines the notion of creative city as a causal mechanism in changes in production and consumption in the urban and suburban regeneration of Osaka, Japan, and Bandung, Indonesia. It also draws attention to the effects of the “creative city model” in the cultural policies of these two cities within globally competitive economic platforms. By doing so, the research critiques this model vis-a-vis the potential of artists, academics, art activists, and creative people to seek alternative cultural sustainability.
{"title":"Creative City and the Sustainable Life: A Study on the Making of Cultural Spaces in Osaka and Bandung","authors":"Viriya Sawangchot","doi":"10.14456/JUCR.2016.4","DOIUrl":"https://doi.org/10.14456/JUCR.2016.4","url":null,"abstract":"The terms creative city and creative class are notable in how urban development is understood today, and stress the importance of culture, art, and creativity in the urban context. This research critically examines the notion of creative city as a causal mechanism in changes in production and consumption in the urban and suburban regeneration of Osaka, Japan, and Bandung, Indonesia. It also draws attention to the effects of the “creative city model” in the cultural policies of these two cities within globally competitive economic platforms. By doing so, the research critiques this model vis-a-vis the potential of artists, academics, art activists, and creative people to seek alternative cultural sustainability.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"54-69"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Urban Park potentially act as spaces for social connectivity, one of the most important aspects of urban livability, health and social sustainability. To understand if this occurs in a megacity context, a short study utilizing a non-participant observation method in Central Jakarta’s two culturally popular urban parks were conducted, investigating the social operation of public urban parks and nearby informal green spaces. Field notes and photos taken in this observation will reveal some of the information on users and the social life of parks that management and policy makers can take into account for future planning. Final reflections note the efficacy and limitations of employing non-participant observation methods when seeking to understand (and ultimately manage) complex/spatial cultural patterns relationships.
{"title":"Ruang Terbuka Hijau: Observing Green Social Spaces in Central Jakarta","authors":"Najah Md Alwi","doi":"10.14456/JUCR.2016.3","DOIUrl":"https://doi.org/10.14456/JUCR.2016.3","url":null,"abstract":"Urban Park potentially act as spaces for social connectivity, one of the most important aspects of urban livability, health and social sustainability. To understand if this occurs in a megacity context, a short study utilizing a non-participant observation method in Central Jakarta’s two culturally popular urban parks were conducted, investigating the social operation of public urban parks and nearby informal green spaces. Field notes and photos taken in this observation will reveal some of the information on users and the social life of parks that management and policy makers can take into account for future planning. Final reflections note the efficacy and limitations of employing non-participant observation methods when seeking to understand (and ultimately manage) complex/spatial cultural patterns relationships.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"38-53"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research is on the utilization of unwanted city waste materials in the creation of Thai decorative home products so that they maintain the durability and quality similar to traditional battered mortar. The researcher has investigated, interviewed and compiled information from nine specialists and national artists residing in Petchaburi, Sukhothai and Bangkok. Two were traditional battered mortar specialists, six were stucco artists and one a material specialist. From the interviews, the researcher selected 6 formulas of traditional battered mortar that were appropriate for the objectives of the research and adapted the proportions to determine the percentage of waste materials acceptable by these specialists. The resulting formula consisted of 35% lime, 25% fine sand, 20% recycled paper, 15% cultivated banana (Nam Wa) and 5% latex glue. The material was molded using five different methods for evaluating their suitability. The study found that Re-Material Paper Stucco could be molded in the same manner as the traditional mortar in terms of bonding, flexibility for pressing and creating patterns, as well as color stability. All specialists unanimously agreed that recycled paper was suitable as component in the production of “green production” of Thai home decorations.
{"title":"Utilization of Waste Materials in the Manufacture of Thai Home Decorations","authors":"Thanaphan Boonyarutkalin","doi":"10.14456/JUCR.2016.6","DOIUrl":"https://doi.org/10.14456/JUCR.2016.6","url":null,"abstract":"This research is on the utilization of unwanted city waste materials in the creation of Thai decorative home products so that they maintain the durability and quality similar to traditional battered mortar. The researcher has investigated, interviewed and compiled information from nine specialists and national artists residing in Petchaburi, Sukhothai and Bangkok. Two were traditional battered mortar specialists, six were stucco artists and one a material specialist. From the interviews, the researcher selected 6 formulas of traditional battered mortar that were appropriate for the objectives of the research and adapted the proportions to determine the percentage of waste materials acceptable by these specialists. The resulting formula consisted of 35% lime, 25% fine sand, 20% recycled paper, 15% cultivated banana (Nam Wa) and 5% latex glue. The material was molded using five different methods for evaluating their suitability. The study found that Re-Material Paper Stucco could be molded in the same manner as the traditional mortar in terms of bonding, flexibility for pressing and creating patterns, as well as color stability. All specialists unanimously agreed that recycled paper was suitable as component in the production of “green production” of Thai home decorations.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"80-89"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this research is to study whether the process of mold making and casting are important to model sculpture or not. The results will be used to improve and develop the curricula in Sculpture of Poh-Chang Academy of Arts, Rajamangala Rattanakosin Technology University as well as be disseminated to institutes where Sculpture is taught. The instrument used in data gathering is a questionnaire which comes in two parts; the first part is the interview of sculptural experts for their personal data and the second part asks for opinions of 35 experts in sculpture and sculptural teaching and 35 artists, sculptors, and modelers who do independent jobs in sculptural art. It is found from the research that 77.4 percent of the answerers strongly agree that a good sculptor or modeler should be able to make mold and cast of a sculpture. All agree that the processes of mold making and casting enable the sculptors to control their performances giving their works exquisiteness as well as matching in detail their prototype. If sculptors can mold and cast themselves, they will be able to save time and cost in hiring mold maker and caster to do the jobs for them. Moreover, sculptors are the ones who know well their own works including casting, parts assembling, and texture finishing. Similarly, 70 per cent of the respondents agree that the processes of mold making and casting are most important to sculptural work. The good processes of molding and casting produce sculptural works that match the prototypes, helping to save time and cost, and reduce problems and errors in the completed works. 82.26 per cent also agrees to the highest level that students majoring in Sculpture should be taught and trained in the processes of mold making and casting, all with the similar reason that the knowledge is very useful for their future works.
{"title":"Are the Processes of Mold Making and Casting Important to Model Sculpture","authors":"Chaichan Jantasri","doi":"10.14456/JUCR.2016.7","DOIUrl":"https://doi.org/10.14456/JUCR.2016.7","url":null,"abstract":"The purpose of this research is to study whether the process of mold making and casting are important to model sculpture or not. The results will be used to improve and develop the curricula in Sculpture of Poh-Chang Academy of Arts, Rajamangala Rattanakosin Technology University as well as be disseminated to institutes where Sculpture is taught. The instrument used in data gathering is a questionnaire which comes in two parts; the first part is the interview of sculptural experts for their personal data and the second part asks for opinions of 35 experts in sculpture and sculptural teaching and 35 artists, sculptors, and modelers who do independent jobs in sculptural art. It is found from the research that 77.4 percent of the answerers strongly agree that a good sculptor or modeler should be able to make mold and cast of a sculpture. All agree that the processes of mold making and casting enable the sculptors to control their performances giving their works exquisiteness as well as matching in detail their prototype. If sculptors can mold and cast themselves, they will be able to save time and cost in hiring mold maker and caster to do the jobs for them. Moreover, sculptors are the ones who know well their own works including casting, parts assembling, and texture finishing. Similarly, 70 per cent of the respondents agree that the processes of mold making and casting are most important to sculptural work. The good processes of molding and casting produce sculptural works that match the prototypes, helping to save time and cost, and reduce problems and errors in the completed works. 82.26 per cent also agrees to the highest level that students majoring in Sculpture should be taught and trained in the processes of mold making and casting, all with the similar reason that the knowledge is very useful for their future works.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"90-99"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the beginning of the twenty-first century, there has been a rapid growth of interest in the preservation of Intangible Cultural Heritage (ICH), stimulated by a suite of UNESCO Conventions and Declarations (2001, 2003, 2005, and UNCHR 2007). Globally, this has led to impressive growth of awareness and efforts to preserve the world’s arts and crafts, and considerable investment by many countries in initiatives to preserve cultural diversity. A key element in these efforts is defining the nature of what needs to be preserved in consultation with communities, and devising strategies on how best to approach the particular challenges that entails. While globalization and urbanization are often painted as the enemies of sustainability, I argue that most struggles and celebrations of sustainability in the arts inevitably play out in contemporary urbanized, globalized, mediatized, and commodified environments, which may be part of the solution as much as they are part of the problem. Following the work of scholars like Titon, this paper argues it is imperative to regard cultural practices as part of dynamic processes in dynamic environments rather than as artefacts in static environments. At its centre is a model of ‘cultural ecosystems,’ outcome of a five-year international research project (2009-2014) funded by the Australian Research Council: Sustainable futures for music cultures: Toward an ecology of cultural diversity. Taking music as an example, this article explores how an ecological approach can shed new light on approaches to cultural sustainability in urban environments.
{"title":"Cities as Cultural Ecosystems: Researching and Understanding Music Sustainability in Urban Settings","authors":"H. Schippers","doi":"10.14456/JUCR.2016.1","DOIUrl":"https://doi.org/10.14456/JUCR.2016.1","url":null,"abstract":"From the beginning of the twenty-first century, there has been a rapid growth of interest in the preservation of Intangible Cultural Heritage (ICH), stimulated by a suite of UNESCO Conventions and Declarations (2001, 2003, 2005, and UNCHR 2007). Globally, this has led to impressive growth of awareness and efforts to preserve the world’s arts and crafts, and considerable investment by many countries in initiatives to preserve cultural diversity. A key element in these efforts is defining the nature of what needs to be preserved in consultation with communities, and devising strategies on how best to approach the particular challenges that entails. While globalization and urbanization are often painted as the enemies of sustainability, I argue that most struggles and celebrations of sustainability in the arts inevitably play out in contemporary urbanized, globalized, mediatized, and commodified environments, which may be part of the solution as much as they are part of the problem. Following the work of scholars like Titon, this paper argues it is imperative to regard cultural practices as part of dynamic processes in dynamic environments rather than as artefacts in static environments. At its centre is a model of ‘cultural ecosystems,’ outcome of a five-year international research project (2009-2014) funded by the Australian Research Council: Sustainable futures for music cultures: Toward an ecology of cultural diversity. Taking music as an example, this article explores how an ecological approach can shed new light on approaches to cultural sustainability in urban environments.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"10-19"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses how the local NPO works together with excluded people in Osaka, Japan. A target of the NPO is to support to alleviate people’s isolation from the society by using arts. The NPO is Cocoroom, which gives many art workshops and events in Osaka City. Their activities are especially focused on the area called “Kamagasaki,” which is famous for lots of social problems. Many day-laborers were gathering and working there. However they’ve lost their jobs because of their aging and economic recession. And now, they get public assistance. Most of them live alone and tend to be isolated. Cocoroom tries to contact and invite them to join their activities. In this course, Cocoroom started new project, called “Kamagasaki Geijutsu-Daigaku (Art University) = Kamagei).” Kamagei provides lectures and workshops by specialists on various subjects. Cocoroom aims to make the space where people can meet and communicate through this project.
{"title":"Alleviating Isolation Through Art Projects","authors":"Takuya Oi","doi":"10.14456/JUCR.2016.5","DOIUrl":"https://doi.org/10.14456/JUCR.2016.5","url":null,"abstract":"This paper discusses how the local NPO works together with excluded people in Osaka, Japan. A target of the NPO is to support to alleviate people’s isolation from the society by using arts. The NPO is Cocoroom, which gives many art workshops and events in Osaka City. Their activities are especially focused on the area called “Kamagasaki,” which is famous for lots of social problems. Many day-laborers were gathering and working there. However they’ve lost their jobs because of their aging and economic recession. And now, they get public assistance. Most of them live alone and tend to be isolated. Cocoroom tries to contact and invite them to join their activities. In this course, Cocoroom started new project, called “Kamagasaki Geijutsu-Daigaku (Art University) = Kamagei).” Kamagei provides lectures and workshops by specialists on various subjects. Cocoroom aims to make the space where people can meet and communicate through this project.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"12 1","pages":"72-79"},"PeriodicalIF":0.5,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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