Journal & Book Publications

The article is consolidated through a practitioner-based reflective account of the author’s experience of leading a weeklong overseas trip with postgraduate art therapy students from Singapore to Bali, Indonesia. Acknowledging the multilayered processes involved with experiential learning, the focus pivots around one structured and supervised art experiential within an appropriated space in nature. Portrait masks were constructed, worn, and photo-documented within the space. Participant understanding of technologies, space, art, and artmaking were challenged, leading to enriched discourse around these constructs and how best to integrate these emerging trends within their own practice and training, as well as their identities as artist and art therapist with consideration to culture.

Citation:
Lay, Ronald P.M.H.. ''Portrait Masks, Appropriated Space, and an Overseas Art Experiential: Nature as Critical Catalyst in the Practice and Training of Art Therapy.'' CAET: Creative Arts in Education and Therapy - Eastern and Western Perspectives, vol. 7, no. 1, 2021, pp. 59-70, doi: https://doi.org/10.15212/CAET/2021/7/6.

Reynolds’ (1992) argument regarding the interrelationship between the ‘plot of Thai history’ and the narrative historical form, I consider how this plot might be challenged or displaced through a movement from text to image, and from the material to the digital.

Citation:
Veal, Clare. ''Nostalgia and nationalism: Facebook ‘archives’ and the constitution of Thai photographic histories.'' Journal of Southeast Asian Studies, 2020, pp. 1-25, doi: https://doi.org/10.1017/S0022463420000491.

The discussion surveys the entirety of the Singapore horror output from the 1990s onwards and draws out a number of key distinctive themes and trends, such as the referencing of Chinese supernatural beliefs and regional Southeast Asian spirits, and also the distinctive preponderance of horror narratives involving military or police. The films are then read in relation to broad tropes of gender, geography and regulation.

Citation:
Knee, Adam. ''Where got ghost movie?: The boundaries of Singapore horror.'' Asian Cinema, vol. 31, no. 1, 2020, pp. 55-76, doi: https://doi.org/10.1386/ac_00013_1.

Citation:
Lay, Ronald P.M.H., et al.. ''The Embodied Art Therapy Process (TEATP): A single case study surfacing a young child’s voice.'' Art Therapy: Journal of the American Art Therapy Association; Special Issue: Providing Client Voice and Choice Through Art Therapy, vol. 37, no. 4, 2020, pp. 201-207, doi: https://doi.org/10.1080/07421656.2020.1823784.

Frida Kahlo's encounters with "Gringolandia" (as she called the United States) were formative and complex. She appreciated the beauty of San Francisco in particular, relished the ethnic diversity of the city, and was mesmerized by Chinatown. She also met fascinating people, many of whom became her lifelong friends. It was in San Francisco, the first city she visited in the U.S., that Kahlo began to fashion her indigenous Mexican identity, deliberately distinguishing herself from the local women, whom she called "scarecrows" and "dull." "The gringas really like me a lot and take notice of all the dresses and rebozos that I brought with me, their jaws drop at the sight of my jade necklaces and all the painters want me to pose for them," she wrote her parents shortly after her arrival.

Citation:
Henestrosa, Circe, et al.. Frida Kahlo and San Francisco: Constructing her Identity. Munich, Hirmer Verlag, 2020.

The exhibitions of the Serdang Folk Museum and its particular history are discussed against a backdrop of National Heritage via the institutions of the National Museum and the state museum of Selangor, the Sultan Alam Shah Museum.

Citation:
Janamohanan, Sunitha. ''The Serdang Folk Museum and the Performance of Heritage: Community Museums as an Alternative to National Heritage.'' Making Heritage in Malaysia: Sites, Histories, Identities, edited by Sharmani Patricia Gabriel, Singapore, Palgrave Macmillan, 2020, pp. 87-117, doi: https://doi.org/10.1080/10.1007/978-981-15-1494-4.

In this study, Steve Dixon examines how a range of artists’ works reveal the ideas of Existentialist philosophers including Kierkegaard, Camus, de Beauvoir, and Sartre on freedom, being and nothingness, eternal recurrence, the absurd, and being-for-others. Simultaneously, these artworks are shown to engage in complex explorations of concepts proposed by cyberneticians including Wiener, Shannon, and Bateson on information theory and ‘noise’, feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon’s groundbreaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system.

Citation:
Dixon, Steve. Cybernetic-Existentialism: Freedom, Systems and Being-for-Others in Contemporary Arts and Performance. London, Routledge, 2020, ISBN / ISSN: 9780367142490.

Ranging from musicians and conductors to lecturers and educators, these essays present diverse perspectives and incisive insights into this particular sphere of music, and are both a useful entry point for the curious reader, as well as valuable companions to experienced enthusiasts.

Citation:
Loh, Michelle, and Yan Sing Lum, editors. Traditional Chinese Music in Contemporary Singapore. Singapore, Pagesetters Services Pte Ltd, 2020, ISBN / ISSN: 978-981-14-3778-6.