Selling Spectacular Urban Life: Urban Space and Lifestyle in the Promotion Media of Apartment in Yogyakarta

This article discusses how urban life is represented through the Barsa City, Uttara the Icon, and The Palace apartment advertisements and promotional videos. Applying Guy Debord's idea of spectacle to examine how urban life is transformed into visualization and commodification, also George Ritzer’s idea of re-enchantment of the disenchanted world and the new means of consumption. This article is aimed to analyze the position of apartments in the urban space of Yogyakarta that is discursively constructed through apartment promotional media. The conclusion of this research shows that apartments are functionalized to create the spectacle of the city. Urban space and life are aestheticized and spectacularized, in which apartments are displayed as part of dramatic and extravagant urban arts. Presented as one-stop-serving buildings, the apartments also promote the fusion of living space, urban style experience, and consumption which lead to the difficulty in distinguishing spatial boundaries. The advertisements and promotional videos of the apartment in Yogyakarta also promote temporal paradox. On the one hand, it promotes time compression and speed, meanwhile, on the other hand it promotes prolonged and extended time to foster consumption in the urban space.

Community Arts Programming as a Factor in Newcomer Youth Inclusion: The Toronto Situation

The value of engaging newcomer youth through community arts programs is examined within the Canadian context, specifically within Toronto. Expanding upon the existing literature and studies concerned with newcomer youth settlement needs, themes of social, structural and spatial exclusion set the context for discussion of using arts-based methods. Relating these to theories of social inclusion, social capital and critical social theory of youth empowerment, a primary investigation involved interviews with a private funding foundation, the Laidlaw Foundation, and a focus group session with newcomer youth from Beatz To Da Streetz, an active community urban arts program. The implications of this study are a demonstration of the positive process and outcomes of using arts methods for newcomer youth inclusion, but that the lack of support and resources available to such programs, particularly from federal and provincial sources, limit the impact of such programming.

Community Arts Programming as a Factor in Newcomer Youth Inclusion: The Toronto Situation

The value of engaging newcomer youth through community arts programs is examined within the Canadian context, specifically within Toronto. Expanding upon the existing literature and studies concerned with newcomer youth settlement needs, themes of social, structural and spatial exclusion set the context for discussion of using arts-based methods. Relating these to theories of social inclusion, social capital and critical social theory of youth empowerment, a primary investigation involved interviews with a private funding foundation, the Laidlaw Foundation, and a focus group session with newcomer youth from Beatz To Da Streetz, an active community urban arts program. The implications of this study are a demonstration of the positive process and outcomes of using arts methods for newcomer youth inclusion, but that the lack of support and resources available to such programs, particularly from federal and provincial sources, limit the impact of such programming.

Corporate Aesthetics and Communication in the Urban Arts and Visual Culture of Kumasi

Kumasi is the capital city of the Asante Kingdom of Ghana. Being the seat of the throne of the Asantehene, the King of Asante’s, Kumasi is widely acknowledged as the major cultural city of Ghana. A study of the history of the people of Kumasi reveals that culture and art permeates their everyday life. Scholars have done some studies on the arts and economics of Asante and how it reflects their cultural life. However, a scholarly analysis of how corporate aesthetics is reflected in the urban art and visual culture of Kumasi has not been explored. In the bid to achieve this main objective, the paper discusses the corporate identities and cultural transformations in Kumasi, billboards, corporate commerce and savings, consuming visual culture and family finance and urban fantasies. The study is qualitative in nature and employs the descriptive method to provide an accurate description of specific urban arts in Kumasi.

Le Musée d’Art E Pluribus Unum: An Urban Arts Movement in Haiti

The Atis Rezistans (Resistance Artists) are a collective of sculptors based in downtown Port-au-Prince who have founded their own museum. The artists are best known for using found objects and wood to make politically charged works that draw on the imagery of Vodou. Since launching this artistic movement over a decade ago, co-founder André Eugène has referred to his home and atelier as Le Musée d’Art E Pluribus Unum. While art collectives are common in Haitian art, by designating themselves a “museum” the Atis Rezistans have incorporated aspects of conceptual art and installation art into their art movement. They describe the founding of this museum as a strategic appropriation of an institution that has historically belonged to the bourgeoisie. Conversations with Eugène, and other artists in the collective, reveal that they have carefully considered the power of museums: museums imbue certain objects with cultural capital and monetary value; present certain world views through the display of objects; and may offer visitors encounters with human remains. Becoming a museum has allowed Eugène and the other artists to access networks of art world mobility in ways that their artworks alone would not have. This essay offers context for understanding the Atis Rezistans as part of a tradition of art making among Haiti’s majority. It argues that due to their location, their class, and their overt use of Vodou imagery, scholars have overlooked conceptual elements of their movement, specifically how they play with the idea of the museum.

“A Positive, Safe Environment”: Urban Arts High Schools and the Safety Mystique

In this research article, Rubén A. Gaztambide-Fernández and Dominique Rivière examine the discursive frames that students and teachers in four specialized arts high schools in Toronto used in describing their schools as safe environments. The belief that arts high schools are safe is shared by students and teachers, particularly in relationship to LGBTTQ+ students, making these schools optimal settings for examining what safety means and how it is construed. The authors show how the assumption that arts high schools are safe is related to the larger social and cultural context in which each school is situated. By asking what it means to be safe, whose safety, and from what dangers, they aim to demystify the notion of safety, showing how it is related to dynamics of inclusion and exclusion that can be traced to broader national discourses. Drawing on critical race theory, as well as the concept of homonationalism and the construction of exalted subjects, the article highlights the remarkably similar discourses through which both arts high schools and the liberal nation-state are construed as safe.