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The architectural success of any structure depends on how well people experience spaces. In order to improve the overall user experience in spaces, the architectural promenade concept has become a part of modern architectural design. Despite this, little is known about it or how it affects the user experience, particularly in Art and Cultural Centres. This research aims to assess the user experience of architectural promenade in selected Art and Cultural Centres in Calabar, Cross-river state, Nigeria. A quantitative methodology was applied to gather data from the selected arts and Cultural Centres in Calabar, Crossriver. The Statistical Package for the Social Sciences (SPSS) version 2021 software was employed to analyse the acquired data. The findings indicated that many users did not necessarily enjoy the architectural promenade in Cultural Centres, affecting their overall experience of spaces. The study recommended architectural promenade as an area of user experience that researchers could focus on in research. It also suggests Architects architectural promenade as a conscious consideration in the design of art and Cultural Centres.

This research develops a conceptual hydrogeological model for the Bali Cultural Center and surrounding areas, integrating geological, hydrological, and meteorological data to improve understanding of groundwater flow and management. Field data collection and literature reviews were conducted to gather geological and hydrogeological information, while hydraulic conductivity was estimated through slug tests to determine permeability variations across formations. A ten-year meteorological dataset was analyzed to calculate the water balance, including rainfall, evapotranspiration, and surface runoff. The region’s geomorphology includes coastal plains, volcanic plains, fluvial valleys, and lava flow hills, which play a crucial role in groundwater movement. The geological structure consists of basaltic and laharic breccia as aquitards, while sand-boulder, gravel-sand, and beach-sand deposits serve as aquifers. Groundwater flows mainly from the northern hills to the southern coast, controlled by an internal hydrogeological boundary (HCB), with the southern boundary acting as a discharge zone. Hydraulic conductivity variations reflect differing permeability, influencing groundwater flow and storage. Water balance analysis reveals an average annual rainfall of 1,687 mm, with 30.4% recharging the groundwater, 39.3% lost to evapotranspiration, and 30.3% as surface runoff. This model highlights the need for sustainable groundwater management through effective monitoring, protection of recharge areas, and balanced extraction to ensure long-term water availability.

Shaolin culture’s commercialization in China, along with the country’s political and economic modernization process, is controversial, and many critics are concerned about the ramifications of its commercialization. This study presents a brief history of the Shaolin Temple Cultural Center in Los Angeles using data collected from two in-depth interviews. Within the framework of Bourdieu’s cultural capital theory, the Center’s development in the highly capitalized and fiercely competitive American cultural market provides some valuable insights into Shaolin culture’s path to commercialization. This path can be characterized as the transformation of Shaolin cultural capital into social capital through its integration into local communities via cultural performances, thus promoting capital upgrading and re-institutionalization.

Literature about Black cultural centers (BCCs) detail the histories of these campus spaces and studies have explored BCCs and their contributions to Black students’ experiences. Racial identity development is often a lifelong journey, but less is known about the role of BCCs in this process during college. This ethnographic study offers how a BCC at a historically White institution (HWI) functions for Black students as they explore their racial identity as a potential strategy for strengthening campus engagement. Using individual interviews and participant observations, the findings show how the BCC proactively supports students’ understandings of (1) their personal racial identity, (2) the diversity that exists across Blackness, and (3) the common experiences that inform a shared racial identity.

The Bob Ross Experience, Minnetrista Cultural Center, Muncie, Indiana. George Buss and Jessica Jenkins, Curators; Taylor Studios, Inc., Designers; Bob Ross Inc., Partner; WIPB Studios, Partner. October 31, 2020-ongoing. https://www.minnetrista.net/bobrossexperience.

The ecology of the rural setting in which Double Edge Theatre lives and works is as integral to its artistic work as to its principles of social justice, and these qualities mark the ensemble’s singular profile not only in the United States but also increasingly on the world theatre map. Stacy Klein co-founded the company in Boston in 1982 as a women’s theatre with a defined feminist programme. In 1997, Double Edge moved its work space to a farm that Klein had bought in Ashfield, Massachusetts, commuting from there back to Boston to show its productions. Within a few years, Klein and her collaborators were acutely aware of their separation from the local community, which necessitated a change of perspective to encompass personal and creative engagement with local people and to develop audiences within the area, while not losing sight of their international links. Carlos Uriona, formerly a popular-theatre activist from Argentina, had joined Double Edge and facilitated the local immersion that ultimately became its lifeline, most visibly during the Covid-19 pandemic, as Klein here observes. Klein, who had been a student of Rena Mirecka in Poland (starting in 1976), has maintained her friendship and professional relations with this founding member of the Teatr Laboratorium led by Jerzy Grotowski, inviting Mirecka to run wokshops at the Double Edge Farm. Collaboration with Gardzienice (also from the Grotowski crucible) through the Consortium of Theatre Practices (1999–2001) extended Klein’s Polish connections. She expanded her research on community cultures in Eastern and Central Europe and developed these experiences in her probing, distinctly imaginative explorations of theatre-making, while taking a new approach to participatory theatre-making in Ashfield. Her highly visual and sensual compositions are driven by her sense of the fantastic, no more strikingly so than in Klein’s Summers Spectacles, which are performed outdoors, in concert with the Farm’s natural environment – fields, trees, water, birds, animals, and heaven’s firmament. Double Edge’s profound commitment in the past decade to what it now terms ‘living culture’ and ‘art justice’ has taken root in multiracial collaborations, primarily with the indigenous peoples of Western Massachusetts. This Conversation took place on the winter solstice, 21 December 2020, a date that Maria Shevtsova, Editor of NTQ, had chosen symbolically. It was transcribed by Kunsang Kelden and edited by Shevtsova. Many thanks are extended to Travis Coe of Double Edge for assembling with such loving care the photographs requested.

PurposeThis study intends to map the supply chain and characterize the business processes of a cultural center in an aggregated and coordinated operation to serve families in need during the Covid-19 pandemic. This case study analyzes distinct aspects of humanitarian management capable of contributing to the management of commercial supply chains.Design/methodology/approachAdopting a case study approach, this research contextualizes the view on humanitarian supply chains related to the importance of participating organizations' engagement and the relationship and similarity with business organizations.FindingsThe study presents the model adopted to undertake the aid operations, maps the cultural center's humanitarian supply chain, clarifies the relationships and operations developed and compares the business processes with those of commercial chains. Possibilities and initiatives are discussed that can contribute to business organizations' greater engagement in humanitarian actions.Research limitations/implicationsRestricted to one case involving the cultural center and the other agents researched, the information and considerations are limited, and any generalization should be treated with caution.Practical implicationsThe study is a practical example that clarifies how business organizations can engage in the supply chain of humanitarian institutions. It also illustrates ways to help these institutions improve their fund-raising initiatives.Social implicationsThis study is justified by the representativeness of humanitarian actions in critical periods such as the Covid-19 pandemic. The study also presents potential ways to contribute to operations of this nature and to encourage business organizations to improve participation in humanitarian movements.Originality/valueMany studies on the subject have highlighted the importance of comparing humanitarian and business supply chains through real case research.

With his saying “Berlin—poor, but sexy!,” former Governing Mayor Klaus Wowereit framed the motto for a decade of transition in which the German capital became a Mecca for artists, media industries, and creative people from all over the world. Building on a longstanding tradition of tolerating diversity and as a centre of high culture and bohemians, the city developed a new cultural-political identity from a deep transformation crisis after German unification and the extensive loss of its industrial base. In conjunction with a blossoming of temporary uses in a wide variety of vacant properties, often abandoned production, infrastructure, or storage areas, an intense creative scene unfolded. Since the 2010s, this scene has been massively threatened by displacement due to the changed real estate market situation. Over the years, the city has tried to counteract this situation through cultural policy initiatives and niche projects for bottom-up initiatives, with limited success. Against the backdrop of accelerated development of former brownfield sites and funding cuts in urban cultural policy, the question currently arises as to what place subculture can occupy in urban policy in the future. Based on official documents, books, scholarly articles, project websites, newspaper articles, and own observations, this article attempts to evaluate the respective policies in the city over time, to place them in the context of approaches to a more land-security-oriented policy, and to make clear what role the re-used spaces and buildings from the industrial age play in this.

In 2016, the Smithsonian’s National Museum of the American Indian (NMAI) and the Poeh Cultural Center, owned and operated by the Pueblo of Pojoaque in New Mexico, begin work on a loan of 100 ceramics in NMAI’s collections to the Poeh Cultural Center. Making loans to other institutions is regular practice for NMAI. In making loans to tribal museums and cultural centers, a loan can take on cultural and spiritual significance, which was the case for the Poeh Cultural Center and the community members it supports and represents. This article addresses the importance of connecting Native peoples with museum collections, which has the potential to contribute to community well-being, by featuring the partnership between NMAI and the Poeh Cultural Center.

The emergent processes driving cultural history are a product of complex interactions among large numbers of individuals, determined by difficult-to-quantify historical conditions. To characterize these processes, we have reconstructed aggregate intellectual mobility over two millennia through the birth and death locations of more than 150,000 notable individuals. The tools of network and complexity theory were then used to identify characteristic statistical patterns and determine the cultural and historical relevance of deviations. The resulting network of locations provides a macroscopic perspective of cultural history, which helps us to retrace cultural narratives of Europe and North America using large-scale visualization and quantitative dynamical tools and to derive historical trends of cultural centers beyond the scope of specific events or narrow time intervals.