This evaluative research assesses the implementation of a problem-based learning program involving musical drama titled “Senandung Bakti Anak Negeri: Tribute to Ibu Soed” (Chanting of the People’s Devotion: Tribute to Ibu Soed) in Cilincing District, North Jakarta. This research uses the CIPP model in its evaluation which was coined by Daniel L. Stufflebeam, who proposes four components of evaluation: Context, Input, Process, and Product. Data collecting uses interview technique, which includes interviewing the training program organizer, distributing questionnaires to the training participants, observing training program implementation and analyzing documents relevant to the training program. After completing the evaluation, the conclusion is that, comprehensively, this problem-based learning musical drama program receives a good score because it is beneficial for the participants in developing interest in arts, the ability to solve problems, self-actualization, cooperation and self-discipline.
这项评估性研究评估了在雅加达北部的Cilincing区实施的一项基于问题的学习计划，该计划涉及名为“Senandung Bakti Anak Negeri: Tribute to Ibu Soed”的音乐剧(吟唱人民的奉献:致敬Ibu Soed)。本研究采用Daniel L. Stufflebeam创造的CIPP模型进行评价，他提出了评价的四个组成部分:上下文、输入、过程和产品。数据收集采用访谈法，包括采访培训计划的组织者，向培训参与者发放问卷，观察培训计划的实施情况，分析与培训计划相关的文件。在完成评价后，得出的结论是，综合而言，这个基于问题的学习音乐剧项目在培养参与者对艺术的兴趣、解决问题的能力、自我实现能力、合作能力和自律能力方面都取得了很好的成绩。
{"title":"Evaluating Problem-based Learning in a Musical Drama Training Program in Cilincing Sub-district, North Jakarta","authors":"Melina Surya Dewi Widjaja","doi":"10.14456/JUCR.2015.5","DOIUrl":"https://doi.org/10.14456/JUCR.2015.5","url":null,"abstract":"This evaluative research assesses the implementation of a problem-based learning program involving musical drama titled “Senandung Bakti Anak Negeri: Tribute to Ibu Soed” (Chanting of the People’s Devotion: Tribute to Ibu Soed) in Cilincing District, North Jakarta. This research uses the CIPP model in its evaluation which was coined by Daniel L. Stufflebeam, who proposes four components of evaluation: Context, Input, Process, and Product. Data collecting uses interview technique, which includes interviewing the training program organizer, distributing questionnaires to the training participants, observing training program implementation and analyzing documents relevant to the training program. After completing the evaluation, the conclusion is that, comprehensively, this problem-based learning musical drama program receives a good score because it is beneficial for the participants in developing interest in arts, the ability to solve problems, self-actualization, cooperation and self-discipline.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"24 1","pages":"64-81"},"PeriodicalIF":0.5,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674914","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 symphonic masterpiece “Sanyalak Haeng Chaichana” (สญลกษณแหงชยชนะ – The Emblem of Victory) was composed to honor His Majesty King Bhumibol Adulyadej. It was written as a program symphony for standard symphony orchestra, spanning 35 minutes and is split into four movements: each movement representing each symbol of the Chaipattana Foundation’s Emblem and His Majesty’s graciousness to the Thai populace. The music also reflects the variety of urban cultures in Thailand, drawing characteristics from various genres of music namely classical, marching band, jazz, and traditional Thai music. The first movement starts off with a fast tempo, representing “Phra Saeng Khan Chaisi” (Chaisi Royal Sword) which is interpreted as “The Power of Land.” The second movement is also fast in tempo, representing “Thong Krabi Thut” (Krabi Thut Flag) which refers to “The Cherished Possession of the People.” The tempo slows down to a moderately slow pace in the third movement, representing “Dok Bua” (Lotus Blossom) which symbolizes “The Philosophy of the Sufficiency Economy.” The tempo picks up to a moderately fast pace in the last movement, representing “Sang” (Royal Conch) which is interpreted as “The Ambrosia – Rain, Salvation for the Earth.”
{"title":"Composing a Thai Symphony– An Emblem of Victory","authors":"Woraket Tagosa","doi":"10.14456/JUCR.2015.6","DOIUrl":"https://doi.org/10.14456/JUCR.2015.6","url":null,"abstract":"The symphonic masterpiece “Sanyalak Haeng Chaichana” (สญลกษณแหงชยชนะ – The Emblem of Victory) was composed to honor His Majesty King Bhumibol Adulyadej. It was written as a program symphony for standard symphony orchestra, spanning 35 minutes and is split into four movements: each movement representing each symbol of the Chaipattana Foundation’s Emblem and His Majesty’s graciousness to the Thai populace. The music also reflects the variety of urban cultures in Thailand, drawing characteristics from various genres of music namely classical, marching band, jazz, and traditional Thai music. The first movement starts off with a fast tempo, representing “Phra Saeng Khan Chaisi” (Chaisi Royal Sword) which is interpreted as “The Power of Land.” The second movement is also fast in tempo, representing “Thong Krabi Thut” (Krabi Thut Flag) which refers to “The Cherished Possession of the People.” The tempo slows down to a moderately slow pace in the third movement, representing “Dok Bua” (Lotus Blossom) which symbolizes “The Philosophy of the Sufficiency Economy.” The tempo picks up to a moderately fast pace in the last movement, representing “Sang” (Royal Conch) which is interpreted as “The Ambrosia – Rain, Salvation for the Earth.”","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"10 1","pages":"84-95"},"PeriodicalIF":0.5,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674961","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 Sustainable Thinking and Expression on Public Space (STEPS) Initiative’s Emerging ARTivist program provides a platform for young people from some of Canada’s most diverse and low-income communities to animate public spaces in their communities. This program has not only improved the urban experiences of local City of Toronto residents, but has built the capacity of youth as civic leaders engaged in urban design issues; empowered to transform the their urban environment. Alongside their award-winning youth led arts collective (the Toronto Emerging ARTivists), the STEPS Initiative has led the installation of several large-scale permanent art, including the World’s Tallest Mural, transforming Toronto’s skyline, and a 400 linear foot Fence Reclamation Project along a pedestrian corridor. This paper will discuss lesson learned by STEPS, in their engagement of youth and residents of all ages in the conception, planning, and implementation of these projects.
{"title":"Youth ARTivism: Fostering Civic Engagement Through Public Art","authors":"A. Solanki, A. Speer, Helen Huang","doi":"10.14456/JUCR.2014.5","DOIUrl":"https://doi.org/10.14456/JUCR.2014.5","url":null,"abstract":"The Sustainable Thinking and Expression on Public Space (STEPS) Initiative’s Emerging ARTivist program provides a platform for young people from some of Canada’s most diverse and low-income communities to animate public spaces in their communities. This program has not only improved the urban experiences of local City of Toronto residents, but has built the capacity of youth as civic leaders engaged in urban design issues; empowered to transform the their urban environment. Alongside their award-winning youth led arts collective (the Toronto Emerging ARTivists), the STEPS Initiative has led the installation of several large-scale permanent art, including the World’s Tallest Mural, transforming Toronto’s skyline, and a 400 linear foot Fence Reclamation Project along a pedestrian corridor. This paper will discuss lesson learned by STEPS, in their engagement of youth and residents of all ages in the conception, planning, and implementation of these projects.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"9 1","pages":"38-50"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674613","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}
“Manipulation” is an important concept in the films of Jan Svankmajer, an influential Czech surrealist filmmaker. As a surrealist artist who aims for the liberation of humans from any kind of restraint, he insists that people should resist all kinds of societal manipulations. His insistent exposure of manipulation can be seen as a protest against its concealment as a convention. However, the idea of manipulation has more ambiguous meanings in his films. Svankmajer brings inorganic objects to life through careful manipulations, such as stop-motion animation, while applying the same techniques to humans to disrupt their identities. Consequently, both humans and objects are represented as puppets: humans as quasi-objects and objects as quasi-autonomous things. These hybrid puppets expose the contradicting nature of human beings, perpetually in the tension between freedom and restraint.
{"title":"Manipulation: Jan Švankmajer ́s Animation Technique and Criticism on Civilization","authors":"Haruka Kawakami","doi":"10.14456/JUCR.2014.8","DOIUrl":"https://doi.org/10.14456/JUCR.2014.8","url":null,"abstract":"“Manipulation” is an important concept in the films of Jan Svankmajer, an influential Czech surrealist filmmaker. As a surrealist artist who aims for the liberation of humans from any kind of restraint, he insists that people should resist all kinds of societal manipulations. His insistent exposure of manipulation can be seen as a protest against its concealment as a convention. However, the idea of manipulation has more ambiguous meanings in his films. Svankmajer brings inorganic objects to life through careful manipulations, such as stop-motion animation, while applying the same techniques to humans to disrupt their identities. Consequently, both humans and objects are represented as puppets: humans as quasi-objects and objects as quasi-autonomous things. These hybrid puppets expose the contradicting nature of human beings, perpetually in the tension between freedom and restraint.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"29 1","pages":"78-84"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674691","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 order to safeguard the vanishing traditions and the history of a city, it is necessary to document and record the forgotten heritage. The aim of this study is to raise public awareness of the cultural significance of the Rattanakosin area including ancient wangs (mansions) and shophouses endangered by the development of urban projects and the lack of good management leading to their deterioration. This includes Crown Property Bureau’s assets of historical buildings on Rattanakosin Island. The research results show that heritage buildings are being demolished and replaced by modern concrete structures. The main conclusion drawn in this paper is that: If the heritage buildings continue to be replaced with present day structures, in the near future the entire history of the Rattanakosin area might be lost.
{"title":"The Forgotten Heritage of the Rattanakosin Area","authors":"Piyamas Lernapakun","doi":"10.14456/JUCR.2014.6","DOIUrl":"https://doi.org/10.14456/JUCR.2014.6","url":null,"abstract":"In order to safeguard the vanishing traditions and the history of a city, it is necessary to document and record the forgotten heritage. The aim of this study is to raise public awareness of the cultural significance of the Rattanakosin area including ancient wangs (mansions) and shophouses endangered by the development of urban projects and the lack of good management leading to their deterioration. This includes Crown Property Bureau’s assets of historical buildings on Rattanakosin Island. The research results show that heritage buildings are being demolished and replaced by modern concrete structures. The main conclusion drawn in this paper is that: If the heritage buildings continue to be replaced with present day structures, in the near future the entire history of the Rattanakosin area might be lost.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"9 1","pages":"52-67"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674624","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 research aimed at creating an integrated set of musical instruments for mentally disabled children as off-the-shelf instruments may not always be suitable in terms of weight, size, shapes and may entail complicated playing methods. Additionally, four Thai songs were composed for this set of instruments and the results in terms of perception and reactions to the elements of music, i.e., rhythm, melody, and sound were examined. The resultant set of instruments can be described as follows: The set takes the form of a towable rectangular cart stylized as a colorful, playful animal and is comprised of five different types of musical instruments. It includes those that can be struck, blown, plucked, bowed, and shaken with most of them being removable. Depending upon the manner used, the instruments can be played by as many as eighteen children simultaneously. The four compositions utilize Thai traditional melodic scale with short and repetitive melodies. With experiential samples from eight mentally disabled children, the results reflect a positive perception and reaction to rhythm, melody, and sound.
{"title":"The Creation of an Integrated Set of Musical Instruments for Mentally Disabled Children","authors":"Tepika Rodsakan, Bussakorn Binson","doi":"10.14456/JUCR.2014.7","DOIUrl":"https://doi.org/10.14456/JUCR.2014.7","url":null,"abstract":"The research aimed at creating an integrated set of musical instruments for mentally disabled children as off-the-shelf instruments may not always be suitable in terms of weight, size, shapes and may entail complicated playing methods. Additionally, four Thai songs were composed for this set of instruments and the results in terms of perception and reactions to the elements of music, i.e., rhythm, melody, and sound were examined. The resultant set of instruments can be described as follows: The set takes the form of a towable rectangular cart stylized as a colorful, playful animal and is comprised of five different types of musical instruments. It includes those that can be struck, blown, plucked, bowed, and shaken with most of them being removable. Depending upon the manner used, the instruments can be played by as many as eighteen children simultaneously. The four compositions utilize Thai traditional melodic scale with short and repetitive melodies. With experiential samples from eight mentally disabled children, the results reflect a positive perception and reaction to rhythm, melody, and sound.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"9 1","pages":"68-77"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674674","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 objective of this project was to create a form of video art and utilize it to instill a social awareness of living everyday in fear as experienced by women who lost their husbands through the insurgency in Thailand’s three southern provinces. The overall objective of this video was to portray the personal and social atmosphere in terms of way of life, culture, and identity. The video is ten minutes long and consists of three stories: First, the ambience of the rubber plantation illustrating the unique culture in this region; Second, the tea drinking tradition of Thai Muslim men; Third, women suffering the loss during the insurgencies. Together the three accounts depicts how the lives of these women became a life of enduring suffering and loss. It is online at: www.youtube.com/watch?v=U-5pqeQKpiI.
{"title":"Video Art: Everyday Fear within the Three Southern Thai Provinces","authors":"I-na Phuyuthanon, Prapon Kumjim","doi":"10.14456/JUCR.2014.9","DOIUrl":"https://doi.org/10.14456/JUCR.2014.9","url":null,"abstract":"The objective of this project was to create a form of video art and utilize it to instill a social awareness of living everyday in fear as experienced by women who lost their husbands through the insurgency in Thailand’s three southern provinces. The overall objective of this video was to portray the personal and social atmosphere in terms of way of life, culture, and identity. The video is ten minutes long and consists of three stories: First, the ambience of the rubber plantation illustrating the unique culture in this region; Second, the tea drinking tradition of Thai Muslim men; Third, women suffering the loss during the insurgencies. Together the three accounts depicts how the lives of these women became a life of enduring suffering and loss. It is online at: www.youtube.com/watch?v=U-5pqeQKpiI.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"9 1","pages":"86-98"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674753","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}
A new boost in art infrastructure in the Norwegian capital Oslo will have a great impact on contemporary city development, and the important question is how this impact can be used to help build a sound society where democracy, human rights and financial development can prosper, and where conflicts can be discussed and solved in a non violent order. The answer depends on the ability of the institutions to play a relevant part in contemporary core problems and ask: what are societies main challenges, and how can we help solve them? In the further development of art institutions, they will have to strengthen their role as an attractive, accessible and vibrant part of society by inspiring creative and constructive critique in addition to their traditional tasks. Art institutions will have to bring important contemporary issues such as human rights and dignity, migration, poverty and crime up for reflection and discussion. By investigating and act on the human condition, peoples lives and society development art institutions can and should make an important difference.
{"title":"The Art Museum Propelling City Development – Oslo as a Creative City","authors":"Stein Olav Henrichsen","doi":"10.14456/JUCR.2014.10","DOIUrl":"https://doi.org/10.14456/JUCR.2014.10","url":null,"abstract":"A new boost in art infrastructure in the Norwegian capital Oslo will have a great impact on contemporary city development, and the important question is how this impact can be used to help build a sound society where democracy, human rights and financial development can prosper, and where conflicts can be discussed and solved in a non violent order. The answer depends on the ability of the institutions to play a relevant part in contemporary core problems and ask: what are societies main challenges, and how can we help solve them? In the further development of art institutions, they will have to strengthen their role as an attractive, accessible and vibrant part of society by inspiring creative and constructive critique in addition to their traditional tasks. Art institutions will have to bring important contemporary issues such as human rights and dignity, migration, poverty and crime up for reflection and discussion. By investigating and act on the human condition, peoples lives and society development art institutions can and should make an important difference.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"9 1","pages":"102-110"},"PeriodicalIF":0.5,"publicationDate":"2014-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675041","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}
Unity in diversity is at the centre of dignity. It means that people of all classes and colors intermingle in a spirit of mutual care and respect. Traditionally, throughout the past millennia, uniformity in division has been practised almost everywhereon the planet: to strengthen their competitive advantage over enemy out-groups, in-groups maintained a strictly unequal domination of higher beings over lesser beings. Unity in diversity is a more complex concept as it requires the readiness and ability to consider everyone else as equal in dignity, and it calls for the skills to enter into dialogue with equals. As long as such a culture is not yet established, unity in diversity has the potential to trigger uneasiness, including feelings of humiliation, and can lead to attempts to cleanse and exclude diversity so asto return to the more familiar and less complex experience of uniformity in division. Urban contexts are prime experimental laboratories for this transition. For urban dignity to flourish and social and ecological sustainability to emerge, interdisciplinary dialogue is needed to overcome the traditional practise of domination over people and over nature. Urban dignity flourishes when the city is regarded in terms of a family that collaborates in mutual communal sharing and stewardship of their environment, while urban dignity collapses when priority is given to clambering for power and status, be it through overt oppression or cloaked as economic necessity. Artists can play a central role in creating conditions for social interactions of dignity instead of humiliation. Music, for instance, has the power to unite. One example was given by Oslo citizens when they reacted to the 22 July 2011 terror attacks in Norway by gathering in front of the courthouse singing ‘The Rainbow People.’
{"title":"Urban Dignity – Global Dignity: What Is It? How Do We Achieve It? (Part 1)","authors":"E. Lindner","doi":"10.14456/JUCR.2014.11","DOIUrl":"https://doi.org/10.14456/JUCR.2014.11","url":null,"abstract":"Unity in diversity is at the centre of dignity. It means that people of all classes and colors intermingle in a spirit of mutual care and respect. Traditionally, throughout the past millennia, uniformity in division has been practised almost everywhereon the planet: to strengthen their competitive advantage over enemy out-groups, in-groups maintained a strictly unequal domination of higher beings over lesser beings. Unity in diversity is a more complex concept as it requires the readiness and ability to consider everyone else as equal in dignity, and it calls for the skills to enter into dialogue with equals. As long as such a culture is not yet established, unity in diversity has the potential to trigger uneasiness, including feelings of humiliation, and can lead to attempts to cleanse and exclude diversity so asto return to the more familiar and less complex experience of uniformity in division. Urban contexts are prime experimental laboratories for this transition. For urban dignity to flourish and social and ecological sustainability to emerge, interdisciplinary dialogue is needed to overcome the traditional practise of domination over people and over nature. Urban dignity flourishes when the city is regarded in terms of a family that collaborates in mutual communal sharing and stewardship of their environment, while urban dignity collapses when priority is given to clambering for power and status, be it through overt oppression or cloaked as economic necessity. Artists can play a central role in creating conditions for social interactions of dignity instead of humiliation. Music, for instance, has the power to unite. One example was given by Oslo citizens when they reacted to the 22 July 2011 terror attacks in Norway by gathering in front of the courthouse singing ‘The Rainbow People.’","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"8 1","pages":"8-22"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675052","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 recent times there is an accelerated movement in the privatization of public land. Some representative cases are the names of subway stops and central squares being associated with the brands of large corporations. Consequently the city centers are becoming an ambiguous territory making it unclear what is public and private. Additionally these newly established social practices have consequences and poses questions as where private ground begins (and ends) and how the freedom to use such spaces are affected? The privatization of public land appears to be an encroaching process and standard as similar patterns were found in other European cities. In our research, we have observed that a chronotope has been generated and repeated in this process. Similarities in London and Madrid were found during our ethnographic work allowing us to assert that any change or social transformation happens as a product of its historical context. The purpose of this paper is to present the Occupy Movement as a collective action and to create an archive that supports collective actions and emotions. The results of this analysis will show how to recognize if a square is private, public or almost–public.
{"title":"Occupy Action! Collective Actions and Emotions in Public Places","authors":"Simone Belli","doi":"10.14456/JUCR.2014.13","DOIUrl":"https://doi.org/10.14456/JUCR.2014.13","url":null,"abstract":"In recent times there is an accelerated movement in the privatization of public land. Some representative cases are the names of subway stops and central squares being associated with the brands of large corporations. Consequently the city centers are becoming an ambiguous territory making it unclear what is public and private. Additionally these newly established social practices have consequences and poses questions as where private ground begins (and ends) and how the freedom to use such spaces are affected? The privatization of public land appears to be an encroaching process and standard as similar patterns were found in other European cities. In our research, we have observed that a chronotope has been generated and repeated in this process. Similarities in London and Madrid were found during our ethnographic work allowing us to assert that any change or social transformation happens as a product of its historical context. The purpose of this paper is to present the Occupy Movement as a collective action and to create an archive that supports collective actions and emotions. The results of this analysis will show how to recognize if a square is private, public or almost–public.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"17 1","pages":"44-56"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675072","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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