The Songs of Memory project documents the traditional music and ceremonies of the highland peoples of Southeast Asia, with the aim of preserving this rapidly vanishing musical legacy, and educating and inspiring others with the beauty, integrity, and wisdom of the peoples who create it. The field research and materials, gathered over many years, have been integrated, creating a variety of media: a series of educational films; photo exhibitions; presentations; the Songs of Memory book and compact disc; and a multi-media museum exhibition, which presents comprehensive collections of musical instruments, clothing, films, and photographs of the six major groups living in the Golden Triangle – the Hmong, Mien, Lahu, Akha, Lisu, and Karen. To enhance the Songs of Memory exhibition, held at the Chiang Mai Arts and Cultural Center in 2010, a symposium, featuring conferences, demonstrations, curator walks, and concerts, was organized to further engage students, researchers, and the general public.
{"title":"Reach Back, Reach Deep, Reach Out: A Case History of the Songs of Memory Project in the Community","authors":"V. Vorreiter","doi":"10.14456/JUCR.2014.3","DOIUrl":"https://doi.org/10.14456/JUCR.2014.3","url":null,"abstract":"The Songs of Memory project documents the traditional music and ceremonies of the highland peoples of Southeast Asia, with the aim of preserving this rapidly vanishing musical legacy, and educating and inspiring others with the beauty, integrity, and wisdom of the peoples who create it. The field research and materials, gathered over many years, have been integrated, creating a variety of media: a series of educational films; photo exhibitions; presentations; the Songs of Memory book and compact disc; and a multi-media museum exhibition, which presents comprehensive collections of musical instruments, clothing, films, and photographs of the six major groups living in the Golden Triangle – the Hmong, Mien, Lahu, Akha, Lisu, and Karen. To enhance the Songs of Memory exhibition, held at the Chiang Mai Arts and Cultural Center in 2010, a symposium, featuring conferences, demonstrations, curator walks, and concerts, was organized to further engage students, researchers, and the general public.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"8 1","pages":"88-98"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675098","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 paper is to focus on the relationship between Richard Shusterman’s pragmatist aesthetics and several art projects by Rirkrit Tiravanija, Marit Benthe Norheim and SUPERFLEX. A core element in Shusterman’s aesthetics is that the bodily and mental dimensions of human beings are inseparable. He has also changed philosophy in such a way as to make it better serve human life. These three visualize basic elements of Shusterman’s aesthetics, particularly with regard to embodied creation and perception, the interactive dialogue with the viewer and the surroundings, the unification of art and experience as well as the hope of being able to benefit life.
{"title":"New Visual Dialogues and New Art Projects with a Social and Meliorist Goal in the Urban Space and at Sea","authors":"Else Marie Bukdahl","doi":"10.14456/JUCR.2014.2","DOIUrl":"https://doi.org/10.14456/JUCR.2014.2","url":null,"abstract":"The purpose of this paper is to focus on the relationship between Richard Shusterman’s pragmatist aesthetics and several art projects by Rirkrit Tiravanija, Marit Benthe Norheim and SUPERFLEX. A core element in Shusterman’s aesthetics is that the bodily and mental dimensions of human beings are inseparable. He has also changed philosophy in such a way as to make it better serve human life. These three visualize basic elements of Shusterman’s aesthetics, particularly with regard to embodied creation and perception, the interactive dialogue with the viewer and the surroundings, the unification of art and experience as well as the hope of being able to benefit life.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"8 1","pages":"68-84"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675082","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 article explores the integration between yoga concepts and the art of dance. It aims to discuss the genesis of a dance performance inspired by Hatha Yoga and specifically its concept of balancing hot and cold power. The terms Hatha Yoga and the art of creative dance and other terms related to Hatha Yoga concepts are accordingly discussed. Six areas of inquiry were considered in this research project. They were: a survey of source documents, expert interviews, the standard criteria of Thai national artists, audience evaluations, student dance workshops, along with other media and online information. The resulting dance creation consists of four acts centered on the concept of balance between the hot and the cold power of Hatha Yoga. Its stylistics are an intercultural combination of Thai and Western contemporary dances and yoga with symbolic white and black costumes relating to coolness and warmness, which together reflect the main theme – the power of harmony. The outdoor venue and time of day was selected for its natural ambience, lighting and sounds conducive to relaxation and congruent with the aims of Hatha Yoga.
{"title":"Creating Dance in the Hatha Yoga Concept","authors":"Nualravee Junloon, Naraphong Charassri","doi":"10.14456/JUCR.2014.1","DOIUrl":"https://doi.org/10.14456/JUCR.2014.1","url":null,"abstract":"This article explores the integration between yoga concepts and the art of dance. It aims to discuss the genesis of a dance performance inspired by Hatha Yoga and specifically its concept of balancing hot and cold power. The terms Hatha Yoga and the art of creative dance and other terms related to Hatha Yoga concepts are accordingly discussed. Six areas of inquiry were considered in this research project. They were: a survey of source documents, expert interviews, the standard criteria of Thai national artists, audience evaluations, student dance workshops, along with other media and online information. The resulting dance creation consists of four acts centered on the concept of balance between the hot and the cold power of Hatha Yoga. Its stylistics are an intercultural combination of Thai and Western contemporary dances and yoga with symbolic white and black costumes relating to coolness and warmness, which together reflect the main theme – the power of harmony. The outdoor venue and time of day was selected for its natural ambience, lighting and sounds conducive to relaxation and congruent with the aims of Hatha Yoga.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"8 1","pages":"58-66"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675022","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 describes some lowland/highland Khmer points of interconnection for indigenous Tampuan communities from the highland Northeast, Cambodia. Tampuan community musicians respond constructively to a Siem Reap tourist cultural show that depicts their indigenous ethnolinguistic group. Tampuan musicians make trips to the urban center of Phnom Penh to represent themselves in a CD recording, a concert, and a TV program. I contend that some community members are expressing strong cultural values as they mediate with the national and urbanculture in spite of a history of Khmerization efforts by lowland Khmer. A strong value of mediation reinforces highland desires to communicate with outsiders perceived as having great effect on highland everyday life. Meanwhile some urban Khmer who may mourn the loss of Khmer traditional culture and support its revival have demonstrated interest in the traditional cultures of Khmer highland communities as they possibly empathize with others perceived to be experiencing levels of alienation and marginalization similar to their own.
{"title":"Indigenous Music Mediation with Urban Khmer: Tampuan Adaptation and Survival","authors":"Todd Saurman","doi":"10.14456/JUCR.2014.12","DOIUrl":"https://doi.org/10.14456/JUCR.2014.12","url":null,"abstract":"This paper describes some lowland/highland Khmer points of interconnection for indigenous Tampuan communities from the highland Northeast, Cambodia. Tampuan community musicians respond constructively to a Siem Reap tourist cultural show that depicts their indigenous ethnolinguistic group. Tampuan musicians make trips to the urban center of Phnom Penh to represent themselves in a CD recording, a concert, and a TV program. I contend that some community members are expressing strong cultural values as they mediate with the national and urbanculture in spite of a history of Khmerization efforts by lowland Khmer. A strong value of mediation reinforces highland desires to communicate with outsiders perceived as having great effect on highland everyday life. Meanwhile some urban Khmer who may mourn the loss of Khmer traditional culture and support its revival have demonstrated interest in the traditional cultures of Khmer highland communities as they possibly empathize with others perceived to be experiencing levels of alienation and marginalization similar to their own.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"8 1","pages":"26-42"},"PeriodicalIF":0.5,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675065","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 article presents the practices and values among members of Bangkok’s rock ‘n’ roll subculture. Understanding a particular manifestation of rock ‘n’ roll practices, in a specifiscene and location, needs to begin with an analysis of both the similarities and differences it has with other, wider rock ‘n’ roll subcultural groupings. How do they relate and remain distinct from each other? In order to answer this question, four rock ‘n’ roll scenes cohabitating in Bangkok city are investigated, they are: metal, punk, hardcore/straightedge and rock. By analyzing the people behind these scenes it is possible to understand the ties and conflcts faced by the participants in these music scenes and their roles in the construction of a subcultural community evolving around independent music.
{"title":"Community Building Through Do-It-Yourself Practices & Values in Bangkok’s Rock ‘n’ roll Subculture","authors":"Pablo Ramirez","doi":"10.14456/JUCR.2015.9","DOIUrl":"https://doi.org/10.14456/JUCR.2015.9","url":null,"abstract":"This article presents the practices and values among members of Bangkok’s rock ‘n’ roll subculture. Understanding a particular manifestation of rock ‘n’ roll practices, in a specifiscene and location, needs to begin with an analysis of both the similarities and differences it has with other, wider rock ‘n’ roll subcultural groupings. How do they relate and remain distinct from each other? In order to answer this question, four rock ‘n’ roll scenes cohabitating in Bangkok city are investigated, they are: metal, punk, hardcore/straightedge and rock. By analyzing the people behind these scenes it is possible to understand the ties and conflcts faced by the participants in these music scenes and their roles in the construction of a subcultural community evolving around independent music.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"11 1","pages":"58-75"},"PeriodicalIF":0.5,"publicationDate":"2013-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675186","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 article describes the variety of therapeutic creative arts sessions conducted bythe all volunteer Mobile Arts Therapy group (MAT) during Thailand’s unrelenting"ood crisis of 2011-12. The MAT group concentrated their efforts in the Bangkokregion’s "ood relief centers and was comprised of students from ChulalongkornUniversity, Bangkok University, King Mongkut’s Institute of Technology Ladkrabang,and Srinakarinwirot University as well as artists from the James H.W. ThomsonFoundation. Additionally, as normal modes of communication, organization, andtransportation were severely "ood impaired, the social media tool 6%>/G&&) wasrecruited as the central communication medium for organizing the volunteers.The creative arts therapy activities included the drawing of facial expressions,mime, drama, and improvisation, 3D modeling, handicrafts, singing and theplaying of musical instruments. The anecdotal feedback from session participantsincluded a marked reduction in anxiety with an increase in a sense of communalbelonging.
{"title":"Creative Arts Therapy with Thailand’s Mobile Arts Therapy Group","authors":"Bussakorn Binson, Alan Kinear","doi":"10.14456/JUCR.2013.2","DOIUrl":"https://doi.org/10.14456/JUCR.2013.2","url":null,"abstract":"This article describes the variety of therapeutic creative arts sessions conducted bythe all volunteer Mobile Arts Therapy group (MAT) during Thailand’s unrelenting\"ood crisis of 2011-12. The MAT group concentrated their efforts in the Bangkokregion’s \"ood relief centers and was comprised of students from ChulalongkornUniversity, Bangkok University, King Mongkut’s Institute of Technology Ladkrabang,and Srinakarinwirot University as well as artists from the James H.W. ThomsonFoundation. Additionally, as normal modes of communication, organization, andtransportation were severely \"ood impaired, the social media tool 6%>/G&&) wasrecruited as the central communication medium for organizing the volunteers.The creative arts therapy activities included the drawing of facial expressions,mime, drama, and improvisation, 3D modeling, handicrafts, singing and theplaying of musical instruments. The anecdotal feedback from session participantsincluded a marked reduction in anxiety with an increase in a sense of communalbelonging.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"6 1","pages":"26-35"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674856","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 WHO de!nes pediatric palliative care as a global model of attention to children with a disease that limits and/or threatens their life and their family life. This care should start with the diagnosis, even if this doesn’t imply a bad prognosis in a short time. It’s a comprehensive care strategy and philosophy and a life-af!rming approach. The music therapy approach is focused in helping children to walk through their disease contacting them with health, with empowerment, with life. Making music in different moments and scenarios, along with a supportive and empathic relationship, helps them !nd joy, meaning and hope. This paper will show different moments of this journey, and will try to convey the intensity and the richness that, as music therapists at the Pelluffo Giguens Foundation since 1999, we receive as music therapists sharing musical experiences with these children.
{"title":"A Long and Winding Road: Musicing Along with Children with Cancer Through their Journey","authors":"M. Hugo","doi":"10.14456/JUCR.2013.9","DOIUrl":"https://doi.org/10.14456/JUCR.2013.9","url":null,"abstract":"The WHO de!nes pediatric palliative care as a global model of attention to children with a disease that limits and/or threatens their life and their family life. This care should start with the diagnosis, even if this doesn’t imply a bad prognosis in a short time. It’s a comprehensive care strategy and philosophy and a life-af!rming approach. The music therapy approach is focused in helping children to walk through their disease contacting them with health, with empowerment, with life. Making music in different moments and scenarios, along with a supportive and empathic relationship, helps them !nd joy, meaning and hope. This paper will show different moments of this journey, and will try to convey the intensity and the richness that, as music therapists at the Pelluffo Giguens Foundation since 1999, we receive as music therapists sharing musical experiences with these children.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"6 1","pages":"92-97"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66675009","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}
Three sculptures in concrete will become functioning boats, shaped as female figures. (12 meters in length and 3m above the water’s surface). – Propelled by electric motors, charged by alternative energy. Life-Boats will sail, with captains and passengers, on the European canals, leading them through the heart of the cities. These sailing sculptures will connect the countries through a cultural exchange - which has always been a part of the history of Europe. This project is about meetings – about receiving foreign expressions – about daring to move into unknown territory and communicate on the basis of common grounds. There will be direct participation and involvement in the process, both in the production phase and along the journey. The audience in the towns where the boats will be docking will be able to go on board and experience the installations within the sculptures and the music by the Norwegian composer Geir Johnson.
{"title":"Life-Boats - A Sailing Sculptural Installation with Direct Social Participation, Artistic Exchange and Music by Composer Geir Johnson","authors":"Marit Benthe Norheim","doi":"10.14456/JUCR.2013.16","DOIUrl":"https://doi.org/10.14456/JUCR.2013.16","url":null,"abstract":"Three sculptures in concrete will become functioning boats, shaped as female figures. (12 meters in length and 3m above the water’s surface). – Propelled by electric motors, charged by alternative energy. Life-Boats will sail, with captains and passengers, on the European canals, leading them through the heart of the cities. These sailing sculptures will connect the countries through a cultural exchange - which has always been a part of the history of Europe. This project is about meetings – about receiving foreign expressions – about daring to move into unknown territory and communicate on the basis of common grounds. There will be direct participation and involvement in the process, both in the production phase and along the journey. The audience in the towns where the boats will be docking will be able to go on board and experience the installations within the sculptures and the music by the Norwegian composer Geir Johnson.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"7 1","pages":"78-95"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674802","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}
One to Five Piano Institute was established in November 2007 as a non-profit organization. This article is a description of the one to !ve piano methodologies. This includes the research in the use of music in a therapeutic manner with two example case studies detailed in this article. The history of the 1 to 5 Piano spans across both Thailand and China. It is an example of an outstanding innovative music therapy project created by Thai pianist Trirat Uptampohtiwat, the director of the One to Five Institution. Trirat Uptampohtiwat has been teaching piano using his unique technique known as 1 to 5 Piano for 35 years to a diverse range of people. It includes the elderly, blind, deaf, exceptional children, and patients undergoing psychiatric rehabilitation as well as the general public. In addition, he serves as a music therapy advisor to Thailand’s Department of Mental Health and the Ministry of Public Health.
一到五钢琴学院成立于2007年11月，是一家非营利性机构。这篇文章是对一到五钢琴方法论的描述。这包括在这篇文章中详述的两个案例研究中使用音乐治疗方式的研究。1到5钢琴的历史跨越了泰国和中国。这是由泰国钢琴家Trirat Uptampohtiwat (1 to 5研究所所长)创造的杰出的创新音乐治疗项目的一个例子。Trirat Uptampohtiwat已经用他独特的1到5钢琴技术教授钢琴35年了，教授对象是各种各样的人。它包括老年人、盲人、聋哑人、特殊儿童、接受精神康复治疗的患者以及普通大众。此外，他还担任泰国精神卫生部和公共卫生部的音乐治疗顾问。
{"title":"1 to 5 Piano: Musical Medicine","authors":"Trirat Uptampohtiwat","doi":"10.14456/JUCR.2013.5","DOIUrl":"https://doi.org/10.14456/JUCR.2013.5","url":null,"abstract":"One to Five Piano Institute was established in November 2007 as a non-profit organization. This article is a description of the one to !ve piano methodologies. This includes the research in the use of music in a therapeutic manner with two example case studies detailed in this article. The history of the 1 to 5 Piano spans across both Thailand and China. It is an example of an outstanding innovative music therapy project created by Thai pianist Trirat Uptampohtiwat, the director of the One to Five Institution. Trirat Uptampohtiwat has been teaching piano using his unique technique known as 1 to 5 Piano for 35 years to a diverse range of people. It includes the elderly, blind, deaf, exceptional children, and patients undergoing psychiatric rehabilitation as well as the general public. In addition, he serves as a music therapy advisor to Thailand’s Department of Mental Health and the Ministry of Public Health.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"6 1","pages":"50-57"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674926","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}
Individuals who are in heart failure and who are inpatients waiting for a heart transplant face many challenges. In this article, the authors describe these challenges and how patients are supported through the use of music therapy. Case examples are provided to illustrate the various uses of music therapy
{"title":"In Between: Music Therapy with Inpatients Awaiting a Heart Transplant","authors":"C. DiLeo, Michael L. Zanders","doi":"10.14456/JUCR.2013.7","DOIUrl":"https://doi.org/10.14456/JUCR.2013.7","url":null,"abstract":"Individuals who are in heart failure and who are inpatients waiting for a heart transplant face many challenges. In this article, the authors describe these challenges and how patients are supported through the use of music therapy. Case examples are provided to illustrate the various uses of music therapy","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"88 1","pages":"72-83"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674948","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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