The paper describes a pedagogical model developed at LASALLE College of the Arts in Singapore for use within the local Arts and Arts Education sector. A need was discovered in Singapore for a holistic pedagogical model that could be used to teach practicing artists who spend considerable time teaching in public and private schools, yet maintain their Arts practice. The model addresses multiple art forms simultaneously through practices that are tailored for a heterogeneous educational setting yet encompasses a unified perspective.
Unlike all other major Anglophone points of comparison (e.g. USA, UK and Australia), Canada is disinterested in the national and global demand for doctoral programmes in Creative Writing. This paucity of PhD creative writing programmes is especially noticeable when Canada has the highest per capita undergraduate enrolment in the world, federal funding available for writing PhDs, and a low OECD ranking for the number of per capita PhDs.
This research looks at the effects of Kalaripayattu and Fitzmaurice Voicework techniques as a training methodology for the contemporary actor, redefining the fundamental principles that already exist within the two forms and placing its emphasis on the articulation of the imagination through their combination. Fitzmaurice Voicework was inspired by yoga, shiatsu, and bioenergetic psychotherapy, and its methods include releasing patterns of habitual holding within the viscera causing an autonomic response known as a tremor.
The research presents a critical inquiry of the impact of cybernetic concepts on the development of interactive media art, particularly on the complex interrelation between the artist, the artwork, and the audience in process-oriented artworks.
Imaginations of Disorder in Art, Science and Philosophy investigates unruly methodologies and the creation of ‘disordered’ intermedial works that deal with gravity, temporal (mis) direction, illogical scales of magnitude, toxicity, contagion, scatology, and cross-species in the so-called indigenous and non-indigenous cultures.
Cover image: Kuai Shen: Playing with Ants and Other Insects. 2012.
The research project aims to document the rehearsal process of performing arts groups in Singapore using photography, video, and interviews. The project was initiated by Tan Ngiap Heng in 2011 as personal research. In 2012, a collaboration began with the Ngee Ann Kongsi library to formalize the project as an archive. The Work in Process project has been made possible by the National Arts Council and the Research Committee at LASALLE College of the Arts.
Photo of LASALLE’s Institutional Repository featuring Work in Process. Courtesy of the Artist.
With the rapid progress of digital technologies and their integration into many applications and devices, it is becoming increasingly complex to link them together and exchange data. Applications of music, moving images, theatre, dance, performances and art installations pose a challenging communication problem to connect both hardware and software with different demands on different messaging protocols.
This Practice Research is an investigation of the excavation of embodied memories in cross-cultural performance practices.
Dr O’Dwyer has just finished a paper titled: “The Fold: Musical Monads, and Baroque Assemblages” to be published later this year in Symbolism: An Interdisciplinary Journal of Critical Aesthetics, edited by Natasha Lushetich. The research is the culmination of his activities thus far surrounding “The Fold” - a collaborative composing project that has been staged in Singapore and Cologne involving musicians from disparate cultural and stylistic backgrounds. The Fold as a project is a musical manifestation of conceptual trajectories found in Deleuze’ book The Fold: Leibniz and the Baroque.
Charles’ research will focus on international film co-production, that will develop a potential framework for film co-production strategies for feature film production in the ASEAN region. The outcome of this research could be a possible adaptation for implementation by the governments in Southeast Asia, to enhance the policies and procedures in order to make co-productions between these countries seamless and benefit industry players embarking on business and co-production ventures.