The following paper is drawn from a larger research project undertaken during2008-2009, in which I closely examined the immigrant music community inSt. John’s Newfoundland and Labrador, Canada. To this end, I interviewed overtwenty-!ve people, most of them immigrant musicians, and in some cases viewedperformances and rehearsals, created jam sessions, and participated in variousmusic-making activities over an eight-month period. Here, I will present portraitsof some of my consultants from that time, whose negotiations in their musicmakingactivities demonstrate the diverse ways they see themselves in the Canadianmulticultural milieu and the issues faced in relocation. I will highlight someof their experiences that provide insight into the social integration process andlater, explore the limitations of certain culturally-integrative activities that thecity of St. John’s supports.
{"title":"In Their Own Voices: Immigrant Musickers in a Changing City","authors":"Tiffany Pollock","doi":"10.14456/JUCR.2012.9","DOIUrl":"https://doi.org/10.14456/JUCR.2012.9","url":null,"abstract":"The following paper is drawn from a larger research project undertaken during2008-2009, in which I closely examined the immigrant music community inSt. John’s Newfoundland and Labrador, Canada. To this end, I interviewed overtwenty-!ve people, most of them immigrant musicians, and in some cases viewedperformances and rehearsals, created jam sessions, and participated in variousmusic-making activities over an eight-month period. Here, I will present portraitsof some of my consultants from that time, whose negotiations in their musicmakingactivities demonstrate the diverse ways they see themselves in the Canadianmulticultural milieu and the issues faced in relocation. I will highlight someof their experiences that provide insight into the social integration process andlater, explore the limitations of certain culturally-integrative activities that thecity of St. John’s supports.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"54-68"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674307","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 destruction of rock art in the Burrup Peninsula, performed by several mammoth industries strategically located in the Peninsula since the 1960s, allows me to analyze the concept of heritage and !nd meaning in the dif!cult task of interpreting rock art. The Burrup Peninsula not only hosts the largest rock art site in the world, but also one of the largest deposits of natural gas, iron ore and salt. As a consequence, the land (sacred to the Indigenous people), becomes extremely important in order to sustain the booming economy of Australia. In this dif!cult negotiation between heritage and progress the rock art is embedded with new meanings and the heritage becomes ephemeral. Failing to include the site in the World Heritage Site list (UNESCO), the roles of identity and memory are contested. As a result, the concept of heritage can be de!ned on several levels: local, regional, national and international.
{"title":"The Destruction of Heritage: Rock Art in the Burrup Peninsula","authors":"J. A. G. Zarandona","doi":"10.14456/JUCR.2012.8","DOIUrl":"https://doi.org/10.14456/JUCR.2012.8","url":null,"abstract":"The destruction of rock art in the Burrup Peninsula, performed by several mammoth industries strategically located in the Peninsula since the 1960s, allows me to analyze the concept of heritage and !nd meaning in the dif!cult task of interpreting rock art. The Burrup Peninsula not only hosts the largest rock art site in the world, but also one of the largest deposits of natural gas, iron ore and salt. As a consequence, the land (sacred to the Indigenous people), becomes extremely important in order to sustain the booming economy of Australia. In this dif!cult negotiation between heritage and progress the rock art is embedded with new meanings and the heritage becomes ephemeral. Failing to include the site in the World Heritage Site list (UNESCO), the roles of identity and memory are contested. As a result, the concept of heritage can be de!ned on several levels: local, regional, national and international.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"4 1","pages":"64-81"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674391","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 paper aims to rethink creative city theory by analyzing urban regeneration processes in Japan through cultural creativity and social inclusion. This paper is described and illustrated by an example the model case of “cultural creativity and social inclusion” in the city of Kanazawa, Yokohama and Osaka. And it offers a new direction to Asian cities.
{"title":"Urban Regeneration through Cultural Diversity and Social Inclusion","authors":"M. Sasaki","doi":"10.14456/JUCR.2011.2","DOIUrl":"https://doi.org/10.14456/JUCR.2011.2","url":null,"abstract":"The paper aims to rethink creative city theory by analyzing urban regeneration processes in Japan through cultural creativity and social inclusion. This paper is described and illustrated by an example the model case of “cultural creativity and social inclusion” in the city of Kanazawa, Yokohama and Osaka. And it offers a new direction to Asian cities.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"2 1","pages":"30-49"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66673921","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 modern city provides a platform of transcultural interaction and a stage for a multiplicity of art. This essay is based on the experience and history of the Oslo based office Transnational Arts Production working in this sector. The multiplicity opens up for a hybridisation of artists finding inspiration on a wide horizon and giving their expression its own uniqueness by infusing it with local heritage-and equally how a culturally diverse audience may deal with this expression through unique interpretations. Introduced in the second half of the essay is the issue of how artists re-use city waste to bring new meaning to original objects and new understanding to the sphere of transculturality.
{"title":"Transnational Art and the Multicultural City","authors":"Brynjar Bjerkem","doi":"10.14456/JUCR.2011.3","DOIUrl":"https://doi.org/10.14456/JUCR.2011.3","url":null,"abstract":"The modern city provides a platform of transcultural interaction and a stage for a multiplicity of art. This essay is based on the experience and history of the Oslo based office Transnational Arts Production working in this sector. The multiplicity opens up for a hybridisation of artists finding inspiration on a wide horizon and giving their expression its own uniqueness by infusing it with local heritage-and equally how a culturally diverse audience may deal with this expression through unique interpretations. Introduced in the second half of the essay is the issue of how artists re-use city waste to bring new meaning to original objects and new understanding to the sphere of transculturality.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"2 1","pages":"50-59"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66673939","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 maps Bangkok’s living local culture sites while exploring, compiling and analyzing the relevant data from all 50 districts. This is an overview article of the 2011 qualitative !eld research by the Urban Research Plaza and the Thai Music and Culture Research Unit of Chulalongkorn University to be published in book form under the title Living Local Cultural Sites of Bangkok in 2012. The complete data set will be transformed into a website fortifying Bangkok’s cultural tourism to remedy its reputation as a destination for sex tourism. The !ve areas of cultural activity include the performing arts, rites, sports and recreation, craftsmanship, and the domestic arts. It was discovered that these living local cultural sites mirror the heterogeneity of its residents with their diverse ethnic and cultural backgrounds. There are local culture clusters of Laotians, Khmers, Mon, Chinese, Islam, Brahman-Hinduism, and Sikhs as well as Westerners. It was also found that the respective culture owners are devoted to preserve their multi-generational heritage. The natural beauty of these cultural sites remains clearly evident and vibrant, even though there remain dif!culties hampering their retention. The mapping of these sites are discussed as well as the issues surrounding those cultural sites that are in danger of extinction due to the absence of successors and other supportive factors necessary for their sustainability.
{"title":"Keeping It Alive – Mapping Bangkok’s Diverse Living Culture","authors":"Bussakorn Binson, Pattara Komkam, Pornprapit Phaosavadi, Kumkom Pornprasit","doi":"10.14456/JUCR.2011.6","DOIUrl":"https://doi.org/10.14456/JUCR.2011.6","url":null,"abstract":"This research project maps Bangkok’s living local culture sites while exploring, compiling and analyzing the relevant data from all 50 districts. This is an overview article of the 2011 qualitative !eld research by the Urban Research Plaza and the Thai Music and Culture Research Unit of Chulalongkorn University to be published in book form under the title Living Local Cultural Sites of Bangkok in 2012. The complete data set will be transformed into a website fortifying Bangkok’s cultural tourism to remedy its reputation as a destination for sex tourism. The !ve areas of cultural activity include the performing arts, rites, sports and recreation, craftsmanship, and the domestic arts. It was discovered that these living local cultural sites mirror the heterogeneity of its residents with their diverse ethnic and cultural backgrounds. There are local culture clusters of Laotians, Khmers, Mon, Chinese, Islam, Brahman-Hinduism, and Sikhs as well as Westerners. It was also found that the respective culture owners are devoted to preserve their multi-generational heritage. The natural beauty of these cultural sites remains clearly evident and vibrant, even though there remain dif!culties hampering their retention. The mapping of these sites are discussed as well as the issues surrounding those cultural sites that are in danger of extinction due to the absence of successors and other supportive factors necessary for their sustainability.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"3 1","pages":"42-59"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674546","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 study of the ancient colors at the Bhuddhaisawan Chapel, one of the most complete and oldest of the Rattanakosin Period, focuses on the wisdom that portrays Buddhism with faith through mural painting. This paper aims to systematically analyze the group of ancient colors found in the mural of the Chapel and depict the value of the work created by the Thais. The study identi!es basic colors: red, green, blue and black as the primary group. The other colors found are white, orange and yellow with gold as the speci!c color used particularly on the body of the Lord Buddha and the structures of the palace. The colors used here are unique and differ from those seen in the Ayuddhaya period or those found today. The base is often featured in dark colors, accentuated by bright colors or hues and high intensity colors such as red and gold from the gold leaves. The coloration has a pattern of high intensity colors over low intensity base colors. This invokes faith, mystique feelings, corresponding with magical elements in the Buddhist stories. In addition, colors are also used as symbols in painting.
{"title":"The Ancient Colors of Mural Paintingwan Chapel: Re-Imaging of Faith in the Bhuddhaisa","authors":"Pichai Thutongkinanon","doi":"10.14456/JUCR.2011.12","DOIUrl":"https://doi.org/10.14456/JUCR.2011.12","url":null,"abstract":"The study of the ancient colors at the Bhuddhaisawan Chapel, one of the most complete and oldest of the Rattanakosin Period, focuses on the wisdom that portrays Buddhism with faith through mural painting. This paper aims to systematically analyze the group of ancient colors found in the mural of the Chapel and depict the value of the work created by the Thais. The study identi!es basic colors: red, green, blue and black as the primary group. The other colors found are white, orange and yellow with gold as the speci!c color used particularly on the body of the Lord Buddha and the structures of the palace. The colors used here are unique and differ from those seen in the Ayuddhaya period or those found today. The base is often featured in dark colors, accentuated by bright colors or hues and high intensity colors such as red and gold from the gold leaves. The coloration has a pattern of high intensity colors over low intensity base colors. This invokes faith, mystique feelings, corresponding with magical elements in the Buddhist stories. In addition, colors are also used as symbols in painting.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"101 1","pages":"122-129"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66673907","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}
Creativity is the leitmotif of our times and an essential ingredient for growth and wealth creation in the rapidly transforming global economy. Empathy is necessary in the age of globalization for harmony, co-creation, and collaborative innovation. Together, creativity and empathy are preconditions for a just, prosperous, and nonviolent world. This paper describes the !fteen-year long experience of the International Child Art Foundation to nurture the creativity of the next generation and to bring the world together through its children.
{"title":"Nurturing Creativity & Developing Empathy Globally","authors":"A. Ishaq","doi":"10.14456/JUCR.2011.8","DOIUrl":"https://doi.org/10.14456/JUCR.2011.8","url":null,"abstract":"Creativity is the leitmotif of our times and an essential ingredient for growth and wealth creation in the rapidly transforming global economy. Empathy is necessary in the age of globalization for harmony, co-creation, and collaborative innovation. Together, creativity and empathy are preconditions for a just, prosperous, and nonviolent world. This paper describes the !fteen-year long experience of the International Child Art Foundation to nurture the creativity of the next generation and to bring the world together through its children.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"3 1","pages":"70-79"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674110","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}
For most Malaysians the State of Kelantan is almost synonymous with Malay arts and craft. The state capital, Kota Bharu is often described as the Cradle of Malay Culture. Despite of this, the cultural capital of Malaysia strictly forbids the performance of traditional Malay-theater. The traditional Mak Yong Theater and the Malay shadow theater Wayang Kulit, both listed on UNESCO’s World Heritage List, are so unpopular for the region’s governmental authorities that they might only be performed for tourists or for research purposes. On the national level the attitude towards the traditional Malay art and culture is quite different. These days, The National Department for Culture and Arts Negeri Kelantan are building up a new Government Cultural center in Kota Bahru and are giving classes in the Mak Yongtraditions to preserve Mak Yong. The center will function as a place to introduce cultural programs and to organize training and talent development in performing arts. The paper will discuss the reasons for the contradictory attitude towards the Malay arts on the national and regional level. I will further discuss the innovations in the forms by creative Malay artists in order to oblige the regions authority and get authorization to perform their art. (The author’s PhD studies and subsequent research projects have focused on Malaysian theater.
{"title":"City Culture at the Crossroads","authors":"H. Kvam","doi":"10.14456/JUCR.2011.7","DOIUrl":"https://doi.org/10.14456/JUCR.2011.7","url":null,"abstract":"For most Malaysians the State of Kelantan is almost synonymous with Malay arts and craft. The state capital, Kota Bharu is often described as the Cradle of Malay Culture. Despite of this, the cultural capital of Malaysia strictly forbids the performance of traditional Malay-theater. The traditional Mak Yong Theater and the Malay shadow theater Wayang Kulit, both listed on UNESCO’s World Heritage List, are so unpopular for the region’s governmental authorities that they might only be performed for tourists or for research purposes. On the national level the attitude towards the traditional Malay art and culture is quite different. These days, The National Department for Culture and Arts Negeri Kelantan are building up a new Government Cultural center in Kota Bahru and are giving classes in the Mak Yongtraditions to preserve Mak Yong. The center will function as a place to introduce cultural programs and to organize training and talent development in performing arts. The paper will discuss the reasons for the contradictory attitude towards the Malay arts on the national and regional level. I will further discuss the innovations in the forms by creative Malay artists in order to oblige the regions authority and get authorization to perform their art. (The author’s PhD studies and subsequent research projects have focused on Malaysian theater.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"3 1","pages":"60-69"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674563","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 art scene in Thailand is evidently active and vibrant with numerous art spaces and galleries established in many regions of the country. However this is only one side of the art movement in Thailand. On the other side, who is the audience for this growth? This research aims to tighten the gap between visual arts exhibitions and their audience as well as arguing for the importance of educational programs that should be attached to the visual arts exhibitions in the art institutions of Thailand. The research also aims to search for the medium that shows how visual arts exhibitions can educate and cultivate audiences as well as shape their hearts and souls leading to good citizenship. The Mobile Educational Outreach Unit is comprised of a database of materials to be presented to both existing and potential audiences of art institutions. The Mobile Educational Outreach Unit can help increase the size of the audience visiting art institutions by enhancing their understanding of art, which is one of the main missions of these institutions. Moreover, all the data collected in the Mobile Unit will be a beneficial addition to the visual art archives of Thailand.
{"title":"The Creation of a Mobile Educational Outreach Unit for Visual Arts Exhibitions","authors":"Monvilai Rojanatanti","doi":"10.14456/JUCR.2011.4","DOIUrl":"https://doi.org/10.14456/JUCR.2011.4","url":null,"abstract":"The art scene in Thailand is evidently active and vibrant with numerous art spaces and galleries established in many regions of the country. However this is only one side of the art movement in Thailand. On the other side, who is the audience for this growth? This research aims to tighten the gap between visual arts exhibitions and their audience as well as arguing for the importance of educational programs that should be attached to the visual arts exhibitions in the art institutions of Thailand. The research also aims to search for the medium that shows how visual arts exhibitions can educate and cultivate audiences as well as shape their hearts and souls leading to good citizenship. The Mobile Educational Outreach Unit is comprised of a database of materials to be presented to both existing and potential audiences of art institutions. The Mobile Educational Outreach Unit can help increase the size of the audience visiting art institutions by enhancing their understanding of art, which is one of the main missions of these institutions. Moreover, all the data collected in the Mobile Unit will be a beneficial addition to the visual art archives of Thailand.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"2 1","pages":"62-79"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66673978","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}
On January 15, 2011, a group of twenty Bangkok residents embarked on a guided soundwalk through parts of their city.The walk was designed as both instructional and experimental in ways that facilitated new and creative engagements between listener and place. In the middle of the walk, following a brief but serious medical emergency, it also became an exercise in responsive action, and offered the group an opportunity to reflect on the fundamental role of unpredictability in sensory experience. This article describes the planning strategies that went into developing the soundwalk, and summarizes the challenges and successes of the event as it occurred in practice. Finally, participant feedback and general recommendations for soundwalk designers are provided in the last two sections.
{"title":"Creative Reception in Urban Space, or the Art of Listening","authors":"Benjamin Tausig","doi":"10.14456/JUCR.2011.5","DOIUrl":"https://doi.org/10.14456/JUCR.2011.5","url":null,"abstract":"On January 15, 2011, a group of twenty Bangkok residents embarked on a guided soundwalk through parts of their city.The walk was designed as both instructional and experimental in ways that facilitated new and creative engagements between listener and place. In the middle of the walk, following a brief but serious medical emergency, it also became an exercise in responsive action, and offered the group an opportunity to reflect on the fundamental role of unpredictability in sensory experience. This article describes the planning strategies that went into developing the soundwalk, and summarizes the challenges and successes of the event as it occurred in practice. Finally, participant feedback and general recommendations for soundwalk designers are provided in the last two sections.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"2 1","pages":"80-95"},"PeriodicalIF":0.5,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674533","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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