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Untitled - Api-fellowships.org

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263Panel 4: Multiple Modernities via Spirituality, Histories and Cultural Re-presentationsMUKHANG PERA: Banknotes and nationAmbeth R. OcampoBanknotes are so common we see but fail to notice them. A tremendous amount of work goes into every inch of abanknote: printing, engraving, micro printing, portrait watermarks, holograms, security thread and other featuresall integrated into paper and design to deter counterfeiting, but it is the portraits, and other visual elements onbanknotes that are significant. Why are certain people and objects or scenes on banknotes or absent from them?All banknotes of the world carry positive images that are expression of the history or culture of the countries thatissued them. These images are internationally recognizable like Ge<strong>org</strong>e Washington on a US one dollar bill,Queen Elizabeth II on banknotes of the United Kingdom. The study is a survey into the banknotes of countriesassociated with the Asian Public Intellectual Program. Like flags and emblems that are symbols or representationof nation, a banknote is akin to a name card of a country, this being an expression of nation, identity, and even theway it sees the past and the present and in facing the future.The “Contemporary Art Museum” in Japan: A Study on the Role and Function of thisCultural Institution in Today’s Urban SocietyAroon PuritatJapan now emerges as a fascinating place in which to examine the course contemporary art has taken in Asia, aswell as the architectural forms created to house it. Japan was one of the fastest Asian countries to “modernize”,and has had a comparatively established and advanced grasp of the “Contemporary Art Museum” scene in Asia,ranging from large-scale museums with immense collections, to smaller institutions that collect only one artist’swork. The aim of this research is to examine the “Contemporary Art Museum” in Japan as a cultural institution,to understand the genesis and context of the subject with great social impact and its consequences, and to applythis knowledge toward reviewing and contributing to the contemporary art world in Asia.Collective Memories, Jargons, Rituals and Perceptions: Toward a Broader Scope andGeneral Recognition of Pengetahuan Lokal in Disaster PreparednessBenigno C. BalgosThe paper draws upon the concept of capacities in the face of natural hazards. As a case study, this paperhighlights the socio-cultural and historical knowledge (collective memories, jargons, rituals and perceptions) ofthe dwellers in Mount Merapi in Yogyakarta, Indonesia. Through ethnography, key informant interview, andreview of secondary literature, the paper underscores that local communities have local knowledge and practicesthat they use as coping mechanisms and means to respond to natural hazards. This paper argues that localknowledge, particularly socio-cultural and historical knowledge is overlooked in disaster risk reduction (DRR)literature and disaster policies in favor of those that can be merged with scientific knowledge. The paper furtherargues that, socio-cultural and historical knowledge should be recognized in DRR as it influences the way peoplethink and respond to disasters.Keywords: pengetahuan lokal (local knowledge), Mount Merapi, natural hazards, disastersThe Work of the 2010/2011 API Fellows

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