Malolos Heritage District: A cultural heritage mapping and inventory – 2020-2021

In the past, Cultural Mapping and Inventory has been used as a technique by some professionals in the 'Community Development' sector as a way of 'Mapping' community assets. How it was undertaken was largely dependent on who was doing it and why, most commonly it was used as a tool to identify the resources of communities and was referred to as 'Community Mapping’. If one were to ask what is Cultural Mapping we would firstly have to say that it involves mapping the Culture of who or what you are, be it a tribe, organization, community, group, school, association, business or an individual - to find your unique assets or strengths. Culture can in this case be defined as your intellectual property, your special way of being or doing, the purpose of your existence, the business you are in (or would like to be) or the special story that you have to tell, such as your reason for doing what you do. It is a process that has a purpose, and through the use of a proven ‘system’ Cultural Mapping outcomes can be harnessed and directed to create sustainable futures. Cultural mapping and inventory are an ongoing process. And many of its benefits can only be achieved through sustained efforts to update the cultural data and to compare it over time. Because of this, a need to comprehensively consolidate local culture profile and generate baseline data for cultural statistics of Malolos since it was Declared Heritage District in 2001. There would be comprehensive and detailed mapping and inventory that will be produced to serve as guide for validation of the remaining cultural heritage of Malolos that still survive amidst the surging urbanization of Malolos. The consolidated local culture profile and generate baseline data for cultural statistics that will recommend mechanisms to integrate profiles and baseline statistics in LGU development plans, programs, and activities.

Music Accompaniment Of Japin Carita South Kalimantan

This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.

Dynamic Models of the Creative Industries’ Behaviour

The aim of the paper is to analyse the models describing the development of the Creative Industries in Slovakia. Creative industries are described as the industrial components of the economy in which creativity is an input and content or intellectual property is the output. The creative industries have therefore appeared to be newly represented as a significant and rapidly growing set of industries; an important sector, in other words, for policy consideration. Based on the following findings, we can conclude that the second model is precisely predicting the relationship between the growth in the creative industries and in the aggregate economy in Slovakia. With improved cultural statistics, also a more developed and theoretically better founded analysis would be possible. We therefore see our article primarily as a much-needed step towards developing statistical tools in empirical cultural policy on a consistent basis.

Uses of art in the urban space

Purpose – The purpose of this paper is to argue that for many urban dwellers in developed societies proximity of the arts in the urban space is not tantamount to their availability. Design/methodology/approach – The method applied is based upon the conception of capabilities and the concept of the Human Development Index; an analysis of the available cultural statistics, as well as a study of two revealing case studies, that of Bilbao, Spain and Santa Fe, New Mexico, USA, as distinct and alternative examples of the employment of arts as a stimulus for the urban growth and regeneration. Findings – The findings suggest that the current urban policies are not conducive to an equal access to the arts of the urban dwellers. Originality/value – The author provides an innovative explanation of this phenomenon from his own perspective of the political aesthetics, which includes, inter alia, the concepts of the public agoraphobia, commodification and interpassivity. Making use of the distinction between the intrinsic and instrumental values, the author argues in favour of the participative approach to the arts in the urban social life, and formulates a policy recommendation according to which small- and medium-sized cities are possibly better suited to satisfy the need for the enjoyment of the arts in a more egalitarian way.