scholarly journals RUANG INTERAKTIF-KREATIF DI KEMANG

2020 ◽  
Vol 2 (2) ◽  
pp. 1649
Author(s):  
Sudarmaya Fauzi ◽  
Doddy Yuono
Keyword(s):  
Public Space ◽  
Creative Industries ◽  
Third Place ◽  
The Public ◽  
Community Activities ◽  
Commercial Area ◽  
Creative Space ◽  
Art Activities ◽  
The Many ◽  
Over Time

Over time, the growth of the city increasingly triggers a diversity of activities that take place. One tendency of urban community activities is the need to exchange experiences and obtain a comfortable place to socialize and exchange experiences. These activities are no longer carried out at home or in the office, but in a place called Third place. Kemang is an area that was once a settlement now a commercial center called the "modern village". Over time kemang became a commercial area dominated by creative industries. The many types of creative activities lead to the behavior of people who tend to be in groups. This is very regrettable for the community because this creative activity is very important for people who want to learn or know it by exchanging experiences between art practitioners and the public. But in Kemang there is no place or place for the community to exchange experiences. The presence of Interactive-Creative Spaces in Kemang to meet the needs of community of Kemang related to art activities. With the hypothesis testing method and carried out by conducting surveys in the field, conducting interviews with relevant parties then making observations, collecting data, comparing field results with existing standards and determining the results. This program presents a program space that connected each other making it easier for visitors to access and also helps with the purpose of displaying and inviting visiting visitors to provide forums and facilities for people who want to develop their creativity. ThisInteractive-Creative Space is expected to provide a Third Place for people who want to exchange experiences with a comfortable and facilitated one. Keywords: Art container; Creative Industries; Public Space; Third Place AbstrakBerjalannya waktu, pertumbuhan kota semakin memicu keragaman kegiatan.. Salah satu kecenderungan kegiatan masyarakat kota adalah kebutuhan untuk bertukar pengalaman dan memperoleh tempat yang nyaman untuk saling bersosialisasi dan bertukar pengalaman. Kegiatan‐kegiatan tersebut bukan lagi dilakukan di rumah ataupun di kantor, melainkan pada suatu tempat yang disebut ruang ketiga (Third place). Kemang merupakan Kawasan yang dahulunya pemukiman kini menjadi pusat komersil yang disebut “kampung modern”. Seiring berjalannya waktu kemang menjadi daerah komersil yang di di dominasi dengan industri kreatif. Banyaknya macam aktifitas kreatif ini menimbulkan prilaku masyarakat yang cenderung berkelompok. Hal ini sangat di sayangkan bagi masyarakat karna aktifitas kreatif ini sangat berperan bagi masyarakat yang ingin belajar dengan bertukar pengalaman antar pelaku seni dan masyarakat. Hadirnya Ruang Interaktif-Kreatif di Kemang bertujuan untuk memenuhi kebutuhan atau tuntutan masyarakat Kemang terkait aktivitas berkesenian. Metode Pengujian terhadap hipotesis‐hipotesis dan dilakukan dengan melakukan survei ke lapangan, melakukan wawancara baik kepada pihak terkait kemudian melakukan observasi, mengumpulkan data, membandingkan antara hasil lapangan dengan standar yang ada dan menentukan hasil. proyek ini menyajikan program ruang yang berkaitan satu sama lain sehingga memudahkan pengunjung untuk mengakses dan juga berinteraksi dengan objek yang di pamerkan dan mengajak pengunjung yang berkunjung memberikan wadah dan fasilitas bagi masyarakat yang ingin mengembangkan kreatifitasnya. Ruang Interaktif-Kreatif ini diharapkan dapat memberi wadah atau tempat ketiga bagi seluruh kalangan masyarakat yang ingin bertukar pengalaman dengan suasana yang nyaman dan terfasilitasi.

scholarly journals Where the Sidewalk Ends: Automobility and Shame in Tbilisi, Georgia

2018 ◽  
Vol 33 (3) ◽  
pp. 444-472 ◽  
Author(s):  
Perry Maxfield Waldman Sherouse
Keyword(s):  
Social Media ◽  
Public Space ◽  
Ad Hoc ◽  
Private Company ◽  
Urban Public Space ◽  
Social Actors ◽  
The Public ◽  
Physical Barriers ◽  
The Many ◽  
The City

In recent years, cars have steadily colonized the sidewalks in downtown Tbilisi. By driving and parking on sidewalks, vehicles have reshaped public space and placed pedestrian life at risk. A variety of social actors coordinate sidewalk affairs in the city, including the local government, a private company called CT Park, and a fleet of self-appointed st’aianshik’ebi (parking attendants) who direct drivers into parking spots for spare change. Pedestrian activists have challenged the automotive conquest of footpaths in innovative ways, including art installations, social media protests, and the fashioning of ad hoc physical barriers. By safeguarding sidewalks against cars, activists assert ideals for public space that are predicated on sharp boundaries between sidewalk and street, pedestrian and machine, citizen and commodity. Politicians and activists alike connect the sharpness of such boundaries to an imagined Europe. Georgia’s parking culture thus reflects not only local configurations of power among the many interests clamoring for the space of the sidewalk, but also global hierarchies of value that form meaningful distinctions and aspirational horizons in debates over urban public space. Against the dismal frictions of an expanding car system, social actors mobilize the idioms of freedom and shame to reinterpret and repartition the public/private distinction.

scholarly journals El Patrimonio cultural inmaterial de la Plaza Baquedano en Santiago de Chile = The Intangible Cultural Heritage of Plaza Baquedano in Santiago de Chile

2018 ◽  
pp. 74
Author(s):  
Karina Orozco Salinas
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
El Paso ◽  
Intangible Cultural Heritage ◽  
The Public ◽  
Secondary Sources ◽  
Santiago De Chile ◽  
Open Discussion ◽  
The City ◽  
Over Time

ResumenEsta investigación parte de la necesidad de poner el foco en los espacios públicos identitarios, en los cuales la constante congregación espontánea y masiva de la ciudadanía, ha construido un patrimonio cultural inmaterial en ellos, a la hora de celebrar colectivamente en la ciudad. Desde este enfoque, se aborda el caso de la Plaza Baquedano en Santiago de Chile, mediante una metodología propia que contrarresta fuentes secundarias, principalmente periodísticas, con fuentes empíricas. Por lo que seaplican encuestas y entrevistas, con el fin de comprender el fenómeno desde el contexto urbano, social, celebración y patrimonio del lugar. Asimismo, lograr la perspectiva interna y externa del estudio de caso.Los resultados obtenidos confirman la existencia del patrimonio inmaterial y el carácter de identidad, que se ha generado con el paso del tiempo en este espacio público y, tanto la visión interna como la externa, consideran que debería ser catalogado como patrimonio cultural del país. Sin  embargo, esta mención no ha sido otorgada por alguno de los  instrumentos vinculantes en Chile. Por lo cual es una discusión abierta,ya que en la opinión de expertos consultados la complejidad de otorgar una figura de protección inmovilizaría el dinamismo que ha constituido a este lugar como tal.AbstractThis research departs from the need to focus in the public identitary spaces, in which the constant congregation spontaneous and massive of citizenship, has built an intangible cultural heritage in them, when it comes to celebrating collectively in the city. From this approach, is addressed the case of Plaza Baquedano in Santiago de Chile, through our methodology that combine secondary sources, mainly journalistic, with empirical sources. So that, surveys and interviews are applied in order to understand thephenomenon from the urban, social, celebration and heritage context’s.In addition, to achieve internal and external perspective of the case. The results collated confirm the existence of heritage and the identity character, which has been generated over time in this public space and both vision internal and external, consider that it should be cataloged as country’s cultural heritage. However, this mention has not been granted by some of the binding instruments in Chile. Therefore it is an open discussion, since in the opinion of the experts consulted the complexity of granting a protection figure would immobilize the dynamism that has built this place as such.

scholarly journals Wadah Seni Kolektif Senen

2020 ◽  
Vol 2 (2) ◽  
pp. 1341
Author(s):  
Samuel Axel Widjaya ◽  
Nina Carina
Keyword(s):  
Public Space ◽  
Daily Life ◽  
Third Place ◽  
Traditional Dance ◽  
Space Project ◽  
Art Activities

A 3rd place acts as an vital place in our daily life, aside from home as the 1st place or workplace as the 2nd place. 3rd place is a neutral public space, often seen as an alternative for some people. Everyone is welcome to visit and to do lots of activities on it. A 3rd place doesn’t have a fixed form, it can be anything the community around it needs it to be.Kawasan Senen was known as the centre of trade and art since forever. It can be seen from its history that became the birthplace of some of the finest artists in Indonesia. When Taman Ismail Marzuki was built on November 10th, 1968, the value of art in Kawasan Senen began to fade. But as time goes by, the value of art in Kawasan Senen begins to rise again. This event can be seen by the rise of art activities around Kawasan Senen such as Wayang Orang Bharata Purwa show that runs every Saturday, the free traditional dance classes that were held by Museum Kebangkitan Nasional and the emergence of Komunitas Planet Senen (KOPS) that actively trying to reintroduce the value of art to the Senen community. Senen Collective Art Space project was built on the hope to become the 3rd place to the community as well as providing and strengthening the value of Kawasan Senen. Keyword: Art in Senen; Collective Art; Neutral Public Space; Third Place AbstrakThe 3rd place merupakan tempat penting yang dibutuhan masyarakat, selain dari rumah sebagai the 1st place maupun tempat kerjanya sebagai 2nd place. 3rd place adalah ruang publik yang netral, sebagai tempat alternatif. Setiap orang dapat berkunjung dan melakukan berbagai aktivitas. Sebuah 3rd place dapat memiliki bentuk yang beragam, namun nyaman untuk beraktivitas sesuai dengan kehidupan dan budaya masyarakatnya. Kawasan Senen sejak dahulu dikenal sebagai pusat perdagangan dan kesenian yang cukup ramai. Hal ini dapat dilihat dari sejarah kawasannya yang menjadi tempat lahir beberapa seniman terkenal tanah air. Dibangunnya Taman Ismail Marzuki (TIM) pada 10 November 1968 membuat  nilai seni di Kawasan Senen ini sempat luntur. Namun seiring waktu, nilai seni dari Kawasan Senen mulai kembali naik. Hal ini ditandai dengan beberapa aktivitas berunsur seni yang mulai dilaksanakan kembali di Kawasan ini seperti pertunjukan Wayang Orang Bharata Purwa yang rutin diadakan setiap hari Sabtu sampai kursus menari tradisional yang diadakan secara gratis oleh Museum Kebangkitan Nasional dan juga munculnya Komunitas Planet Senen (KOPS) yang kerap berusaha memperkenalkan unsur seni kepada masyarakat Senen. Proyek Wadah Seni Kolektif Senen ini bertujuan untuk menjadi wadah 3rd place bagi warga serta memfasilitasi dan memperkuat kembali unsur seni di Kawasan Senen ini.

scholarly journals Redes de solidariedade entre vendedores ambulantes da Rua Voluntários da Pátria, em Porto Alegre/RS

ILUMINURAS ◽  
2012 ◽  
Vol 13 (30) ◽  
Author(s):  
Priscila Farfan Barroso
Keyword(s):  
Public Space ◽  
Social Practices ◽  
Porto Alegre ◽  
Military Police ◽  
Street Vendors ◽  
The Public ◽  
Informal Trade ◽  
The Social ◽  
Production Industry ◽  
Over Time

Este artigo apresenta as redes de solidariedade dos vendedores ambulantes da Rua Voluntários da Pátria, em Porto Alegre/RS, e propõe algumas reflexões acerca dessa técnica de pesquisa como artifício metodológico para compreendê-los enquanto tribos urbanas (Maffesoli, 1998), que sustentam suas práticas de trabalho em meio vigilância da Secretaria Municipal de Produção, Indústria e Comércio (SMIC) e a Brigada Militar (BM). Através da etnografia de rua (Eckert; Rocha, 1994) e etnografia sonora (Rocha; Vedana, 2007), foi possível construir graficamente as redes de solidariedade dos vendedores ambulantes e, a partir da descrição de seus laços sociais, pode-se refletir sobre as dinâmicas sociais envolvidas no trabalho e no comércio informal no espaço público. Com essa análise, compreendem-se os diversos laços entremeados como redes de solidariedade que tornam possível certa estabilidade desses vendedores ambulantes na rua ao longo do tempo. Palavras chave: Redes de solidariedade. Vendedores ambulantes. Etnografia de rua. Trabalho.   Solidarity networks of vendors of Rua Voluntários da Pátria, in Porto Alegre/ RS   Abstract   This article presents the solidarity networks of vendors of Rua Voluntários da Pátria, in Porto Alegre / RS, and proposes some reflections about this research technique as a methodological device to understand them as urban tribes (Maffesoli, 1998), that support their social practices through monitoring of the Municipal Production, Industry and trade (SMIC) and Military Police (BM). Through ethnography of street (Eckert; Rocha, 1994) and ethnography sound (Rocha; Vedana, 2007), it was possible to construct graphically the solidarity networks of vendors, and from the description of its social links, we can reflect on the social practices involved in informal trade in the public space. With this analysis, the various links interspersed as solidarity networks can be understood, which will make possible certain stability of these vendors on the street over time. Keywords: Networks of solidarity. Street vendors. Street ethnography. Work.

scholarly journals LOKA LOAK KEBAYORAN LAMA

2020 ◽  
Vol 2 (2) ◽  
pp. 1231
Author(s):  
Rinardy Tanuwijaya ◽  
Rudy Trisno
Keyword(s):  
Public Space ◽  
Human Movement ◽  
Urban Life ◽  
Third Place ◽  
Train Station ◽  
Environmentally Sustainable ◽  
Negative Point ◽  
Commercial Area ◽  
New Public ◽  
Flea Markets

The existence of transit hubs is a prominent feature of urban life that hold human movement and interaction, which raises the growth of new places for communities, and a third place that was formed naturally. Kebayoran Lama Utara, which located close to a train station, is not spared by this phenomenon. The place becomes unique by flea markets that sprawls among the hub, forming an image for the site, which unfortunately placed where it should not be. It becomes an irony, where a distinctive feature of a place is so potential to be developed, but also becomes the ‘parasite’ of the area itself. Especially with the fact that the site is located in the negative point of the city, but with a lot of human activities. Loka Loak Kebayoran Lama, with urban retrofitting method, aims to develop the area, both within the site, as well as the surrounding and the communities in one system, to fulfill the functions both socially and economically, but also environmentally sustainable. The project also inspired and maximized the surrounding situation, with the use of an abandoned shophouse as a base structure, and the approaches to the urban patterns. Project is designed to be context to the surroundings, but also dynamic. So, the existence of the project doesn’t become the ‘alien’ of the area, but the catalyst, and improves the image of the region. Activities on the project are maximized to be enjoyed by four main groups which are; the merchants, vendees, the locals, and the commuters. Commercial area to gather the buying and selling activities, combined with the education and entertainment programs, which also linked to the supporting functions for the transit activities. These programs make the project can be a place with diverse activities, and also a new public space at a negative point in an active urban area. Keywords: flea market; loka-loak Kebayoran Lama;  third place; transit hub; urban retrofitting  AbstrakKeberadaan suatu pusat transit sebagai tempat perpindahan memunculkan titik-titik baru berkumpulnya masyarakat, yang secara tidak langsung dan spontan menjadi third place baru. Kebayoran Lama Utara, yang terletak erat dengan stasiun kereta api tidak luput oleh fenomena tersebut. Tempat penjualan barang loak yang unik dan membentuk citra menjadi marak di sekitar tapak, yang sayangnya tidak di tempat yang seharusnya. Sehingga ironi, dimana sebuah potensi yang dapat mengembangkan, menjadi sesuatu yang tidak seharusnya. Terlebih tapak merupakan titik negatif yang kurang efektif, namun ramai oleh aktivitas masyarakat. Loka Loak Kebayoran Lama, dengan metode urban retrofitting, bertujuan untuk mengembangkan area tersebut, baik di dalam tapak, lingkungan sekitar, serta masyarakatnya dalam satu sistem memenuhi fungsi baik sosial, ekonomi, maupun lingkungan berkelanjutan. Proyek terinspirasi dan memaksimalkan situasi sekitar, dengan pemanfaatan struktur ruko terbengkalai, serta pendekatan urban pattern sekitar. Bentukan konteks dan teratur, namun dinamis. Sehingga keberadaan proyek dapat menjadi katalis, serta meningkatkan citra kawasan. Kegiatan dimaksimalkan untuk empat kelompok utama yaitu; pedagang, pembeli, warga, dan komuter. Kesimpulan perancangan, adalah Loka Loak Kebayoran Lama, dengan area pasar loak sebagai titik kegiatan jual beli, berpadu dengan fungsi edukasi serta entertainment, yang bertautan dengan fungsi pendukung kegiatan transit. Aktivitas tidak hanya sebatas jual beli, namun juga edukasi dan hiburan. Proyek dapat menjadi tempat kegiatan yang beragam, dan ruang publik baru di titik negatif dalam kawasan urban yang aktif.

scholarly journals Experiential Marketing Wisata Taman Kota Surabaya

2017 ◽  
Vol 9 (1) ◽  
pp. 59-66
Author(s):  
Citra Anggraini Tresyanto ◽  
Bruno Hami
Keyword(s):  
Urban Society ◽  
City Government ◽  
Experiential Marketing ◽  
City Parks ◽  
The Public ◽  
Community Activities ◽  
The People ◽  
The Many ◽  
The City ◽  
City Park

The public need big cities nowadays are very complex. No exception to the needs of the people of Surabaya. One of the new needs of urban society is traveled. Traveled synonymous with waste of money. Not at this time, traveled enough to spend time with visiting the city park. Surabaya has a lot of city parks that can be utilized by the community. A total of 27 active city park owned by Surabaya. But unfortunately some of them, can be utilized by the community. Apart from that, the city park form a new lifestyle and needs in the community that traveled in a city park. Travelling in the city park provides an exciting experience. An interesting experience can be formed through a component in experiential marketing, namely sense, feel, think, act and relate that will describe a new experience as a result of a particular stimulus. Through experiential marketing also, the city government can find out what people felt after visiting the city and what is needed by the community. Proved that the city parks are built and design well, according to the needs and expectations of the community. This is clearly evident from the many community activities in the city park on the weekends.

The influence of leisure-based community activities on neighbourhood support and the social cohesion of communities in Spain

2021 ◽  
pp. 002087282110211
Author(s):  
Txus Morata ◽  
Paco López ◽  
Teresa Marzo ◽  
Eva Palasí
Keyword(s):  
Conflict Management ◽  
Public Space ◽  
Social Cohesion ◽  
The Public ◽  
Community Activities ◽  
The Social ◽  
Space Recognition

To analyse the effects of leisure-based community activities in improving neighbourhood support and social cohesion, data were collected in two neighbourhoods of Barcelona (Spain) through questionnaires and interviews. The results indicate that promoting neighbourhood support requires a different strategy from promoting participation in leisure-based activities aimed at developing social cohesion within a community. The study also suggests various useful strategies to strengthen the effects of leisure-based community activities. The strategies recommended revolve around networking, use of the public space, recognition of diversity and conflict management.

scholarly journals Promoting the Sustainability of City Communities through ‘Voluntary Arts Activities’ at Regenerated Cultural Arts Spaces: A Focus on the Combination of the ‘Democratization of Culture’ and ‘Cultural Democracy’ Perspectives

2019 ◽  
Vol 11 (16) ◽  
pp. 4400 ◽  
Author(s):  
Yura Lim ◽  
Dong-uk Im ◽  
Jongoh Lee
Keyword(s):  
Public Sector ◽  
Third Sector ◽  
Urban Regeneration ◽  
Third Place ◽  
Industrial Facilities ◽  
Non Profit ◽  
The Public ◽  
Cultural Arts ◽  
Cultural Democracy ◽  
Creative Space

Abandoned industrial facilities have become a nuisance in cities because the needs of society members are continuously changing. Idle industrial facilities might be considered to be merely abandoned and empty spaces, but they are in reality historic sites that illustrate the period of industrialization in the region. They are valuable because they serve to accumulate memories from the past. Recently, with the need for urban regeneration, there have been various discussions on converting the abandoned industrial facilities into cultural art spaces. They are intended to promote the sustainability of communities and cities by vitalizing the area. Considering the social dimensions of urban regeneration, it is necessary to render such a creative space as a ‘Third Place’ to promote the city’s sustainability. Converted industrial facilities, through the medium of ‘Voluntary Arts Activities,’ have many elements that are suitable for the needs of a creative space, and even for a ‘Third Place’. As opposed to the private sector, it is seen that when the public sector regenerates these facilities, they approach this issue in order to lower the cultural arts barrier. The public sector, which is a government-centered first sector, conducts regeneration projects based on the ‘Democratization of Culture’ perspective. However, in order to promote participation in the third sector, which is a community-based, non-profit sector that actually uses the space, it is important to approach the issue from the ‘Cultural Democracy’ perspective. Focusing on this aspect, this study aims to examine cases of public sector-led converted cultural arts spaces by ‘Voluntary Arts Activities’ in France and South Korea, namely ‘Le Centquatre-Paris,’ the ‘Oil Tank Culture Park,’ and the ‘West Seoul Arts Center for Learning’. This will allow us to contemplate the possibility of sustainable spaces, individuals, communities and cities.

scholarly journals KOMUNITAS LA PIAZZA

2020 ◽  
Vol 2 (1) ◽  
pp. 117
Author(s):  
Arnold Christianto Oenang ◽  
Sutarki Sutisna
Keyword(s):  
Public Space ◽  
Open Architecture ◽  
Third Place ◽  
The Public ◽  
Existing Structures ◽  
The Third ◽  
Changing Times ◽  
Ray Oldenburg ◽  
Community Space

Humans are social creatures who need the presence of others to complete their lives and have a place to do these activities. These needs are then the background for the formation of public space. With the changing times and technology, the need for a public space to do more and more activities. The space is referred to as the Third place by sociologist Ray Oldenburg. La Piazza is one place that can be called a Third place, but the place was closed because it was not going well. The purpose of this design is to reactivate the function of La Piazza as a Third place in Kelapa Gading. La Piazza Third place has a new design that emphasizes the concept of open architecture and architecture for the Third place as well as the concept of forests. so the design of the new building in addition to having spaces that are open to the public and community space, also gives the impression of being open and inviting as well as cool and calm. In this project, some existing structures in the old building were reused, such as basements, connectors to the parking building, connectors to the ivory coconut mall, and structures from the existing northern La Piazza building. There are 3 forest elements applied to buildings, namely water, greenery and sunlight. These 3 things can relax people with a lot of thoughts and stress about work, especially those who work in offices, according to Regent's University London research. Abstrak Manusia adalah makhluk sosial yang membutuhkan kehadiran orang lain untuk melengkapi hidupnya dan memiliki tempat untuk melakukan aktifitas tersebut. Kebutuhan inilah yang kemudian yang menjadi latar belakang terbentuknya ruang publik. Dengan adanya perkembangan jaman dan teknologi, kebutuhan akan sebuah ruang publik untuk melakukan aktivitas semakin banyak. Ruang tersebut disebut sebagai tempat ketiga oleh sosiologis Ray Oldenburg. La Piazza merupakan salah satu tempat yang dapat disebut sebagai tempat ketiga, namun tempat tersebut ditutup karena kurang berjalan dengan baik. Tujuan desain ini untuk mengaktifkan kembali fungsi La Piazza sebagai tempat ketiga di Kelapa Gading. La Piazza Third place memiliki desain yang baru mengutamakan konsep open architecture dan architecture for the Third place juga konsep hutan. sehingga desain pada bangunan baru selain memiliki ruang - ruang yang terbuka untuk umum dan ruang komunitas, juga memberikan kesan terbuka dan mengundang serta sejuk dan tenang. Dalam proyek ini beberapa struktur eksisting pada bangunan lama digunakan kembali, seperti basement, konektor menuju gedung parkir, konektor menuju mall kelapa gading, dan struktur dari eksisting gedung La Piazza bagian utara.  Terdapat 3 elemen hutan yang diterapkan pada bangunan, yaitu air, tanaman hijau dan cahaya matahari. 3 hal tersebut dapat merelaksasi orang yang sedang banyak pikiran dan stress akan pekerjaan khususnya orang - orang yang bekerja di kantoran, menurut penelitian regent's university london.

scholarly journals GOD IS TELLING US SOMETHING

2021 ◽  
Vol 15 (2) ◽  
Author(s):  
Joshua Sabih
Keyword(s):  
Public Space ◽  
Social Order ◽  
Global Scale ◽  
Religious Communities ◽  
The Public ◽  
Health Authorities ◽  
The Social ◽  
Abrahamic Religions ◽  
The Many ◽  
A Site

The conflicting and different reactions to Covid-19 pandemic, ranging from a willingness to cooperate with health authorities to a violent rejection of all decisions and measures suggested or taken by local and international authorities are but expressions of framing meanings of and finding answers to why Covid-19 broke out on a such global scale beyond biological boundaries. This is to show why epidemics such as Covid-19 deserve to be investigated within their broader cultural, political, scientific, and geographic contexts. Religion or the religious rationale once again has made itself a site of interest in the public space; both as one of the many competing explanatory frameworks and as a scapegoat for contributing to the breakdown of the social order and for promoting unscientific, irrational and superstitious understandings and interpretations of Covid-19. As a matter of fact, certain religious communities across all the Abrahamic religions do present theological and eschatological interpretations of the pandemic. As we shall see, Messianic Jewish groups actually present a hermeneutical framework that consists of a theological-eschatological framework of the Covid-19 pandemic and a socio-political pantheism plan of action the aim of which is to maintain the believer immune to the attacks of secularism and its ills. On the latter point, I find Rabbi Amnon Yitzhak’s explanatory framework of the Covid-19 pandemic very informative as both to how the religious rationale is still at work in post-secular societies, and why Jewish ultra-orthodoxy’s theological-eschatological explanation and social pantheist response are worth investigating. In this article, Rabbi Amnon Yitzhak’s “perception, interpretation and response” to the Covid-19 pandemic and its global impact on both the biological and the social aspects shall be the primary subject of our analysis.

Sign in / Sign up

Export Citation Format

Share Document