Art Hats In Renaissance City

Art Hats in Renaissance City is an anthology of the personal reflections and aspirations of four generations in the new ecostructure in Singapore, from those who help formulate policies to that of the individual artists, who have helped develop and build an exciting arts and cultural scene from scratch and into a viable economic model. As evidenced by the professions featured in this anthology, the scope of work within the creative and cultural industries is diverse, from backgrounds such as history, communications, management, economics, law, science, art, psychology and entertainment. Beyond theory, the anthology offers an authentic voice of real and lived experiences of the go-to people, their personal role in heritage development, and their thoughts and insights on our, albeit developing, art scene since Singapore's independence. In this anthology, discover the following and more! Behind-the-scenes champions of the arts in Singapore Cultural diplomats vs art professionals at work What constitutes a conducive art scene Which is the most expensive painting a prominent art collector has bought Talents that know no bounds -- beyond disabilities Why "being able to play games" is important How museums became popular The considerations before starting a theatre A career using music to soothe the emotionally and physically disabled Techniques or philosophies behind artwork of some artists including Cultural Medallists Wee Beng Chong, Tan Kian Por, Ho Ho Ying and Tan Swie Hian

Art Hats in Renaissance City is an anthology of the personal reflections and aspirations of four generations in the new ecostructure in Singapore, from those who help formulate policies to that of the individual artists, who have helped develop and build an exciting arts and cultural scene from scratch and into a viable economic model. As evidenced by the professions featured in this anthology, the scope of work within the creative and cultural industries is diverse, from backgrounds such as history, communications, management, economics, law, science, art, psychology and entertainment. Beyond theory, the anthology offers an authentic voice of real and lived experiences of the go-to people, their personal role in heritage development, and their thoughts and insights on our, albeit developing, art scene since Singapore's independence. In this anthology, discover the following and more! Behind-the-scenes champions of the arts in SingaporeCultural diplomats vs art professionals at workWhat constitutes a conducive art sceneWhich is the most expensive painting a prominent art collector has boughtTalents that know no bounds — beyond disabilitiesWhy "being able to play games" is importantHow museums became popularThe considerations before starting a theatreA career using music to soothe the emotionally and physically disabledTechniques or philosophies behind artwork of some artists including Cultural Medallists Wee Beng Chong, Tan Kian Por, Ho Ho Ying and Tan Swie Hian Contents:Leaders:Preparing for the Creative Economy: The Fusion of Arts, Business and Technology (Tan Chin Nam)The Development of the Cultural Ecosystem in Singapore, 1991–2011: A Personal Journey (Tommy Koh)The Evolving Role of Cultural Administrators in Singapore (Liew Chin Choy)Strategic Intent with Artistic Integrity (Goh Ching Lee)In Making Museums and Heritage Accessible! (Michael Koh)A Knight at the Esplanade (Benson Puah in Dialogue with Renee Lee)Cultural Diplomacy and Singapore Season (Carol Tan)Curators, Critics & Historians:Crossroads of History and Art (Alan Chong)A Museological Challenge: Presenting Living Cultures of the South Asians in a Museum Context in Singapore (Gauri Parimoo Krishnan)A Re-look at the Genesis of the Nanyang School (Kwok Kian Chow)Modern Art in Singapore: Pioneers and Premises (T K Sabapathy)The Slow Burn: Privatised Protest in Recent Contemporary Art from Singapore (Tan Boon Hui)Nan Qi: Authority Sex Money (Chong Huai Seng)Building a Collection (Quek Tse Kwang in Dialogue with Renee Lee)Artists & Practitioners:My Theatre Journey (Nelson Chia)Who's Who Among Asian Americans: The Mind Palace (Renee Lee with Wenhai Ma)Being Human: Music Therapy (Ng Wang Feng)Moving Forward with Tradition: A Personal Dance Journey (Som M Said)Very Special Arts (Yeo Lanxi)A Vision and a Mission: Development of Nanyang Inspired Music (Eric Watson with Tsung Yeh)Arts Scene (Adrian Pang)A Passion for Art, A Passion for Life (Benjamin Chee)Academicians:Music in Singapore since the 60s: A Personal Account (Bernard Tan)Music Education in 21st Century Singapore (Eleanor A L Tan & Chee Hoo Lum)Contemporaneous, Contemporisation, Contemporary Expressions in Dance (Caren Carino)New Asian Imaginations (Michael Sullivan)Cultural Medallion Visual Artists (Renee Lee)1980s and Beyond at NAFA (Chiew Sien Kuan & Boo Sze Yang)Education and Career (Guo Liang)Balancing an Academic with Artistic Career (Joyce Koh)Poem (Edwin Thumboo) Readership: General public; aspiring artists and artistes pursuing a career in the arts. Keywords:Art Education;Renaissance City;Singapore Art Scene

This book covers Singapore's key arts policies and art institutions which have shaped the cultural landscape of the country from the 1950s to the present. The scholars and experts in this volume critically assess arts policies and arts institutions to collectively provide an overview of how arts and culture have been deployed by the state. The chapters are arranged chronologically to cover milestone events from the forging of 'Malayan culture'; the government's 'anti-yellow culture' campaign; the use of 'culture' for tourism; the setting up of the Advisory Council on Arts and Culture, the Renaissance City Report, the setting up of the School of the Arts, and others. Putting to rest the notion that Singapore is a 'cultural desert', this volume is valuable reading for students of cultural policy, policy makers who seek an understanding of Singapore's cultural trajectory, and for international readers interested in Singapore's arts and cultural policy.

Combining a historical approach of Chineseness and a contemporary perspective on the social construction of Chineseness, this book provides comparative insights to understand the contingent complexities of ethnic and social formations in both China and among the Chinese diaspora in Southeast Asia. This book focuses on the experiences and practices of these people, who as mobile agents are free to embrace or reject being defined as Chinese by moving across borders and reinterpreting their own histories. By historicizing the notion of Chineseness at local, regional, and global levels, the book examines intersections of authenticity, authority, culture, identity, media, power, and international relations that support or undermine different instances of Chineseness and its representations. It seeks to rescue the present from the past by presenting case studies of contingent encounters that produce the ideas, practices, and identities that become the categories nations need to justify their existence. The dynamic, fluid representations of Chineseness illustrate that it has never been an undifferentiated whole in both space and time. Through physical movements and inherited knowledge, agents of Chineseness have deployed various interpretive strategies to define and represent themselves vis-à-vis the local, regional, and global in their respective temporal experiences. This book will be relevant to students and scholars in Chinese studies and Asian studies more broadly, with a focus on identity politics, migration, popular culture, and international relations. “The Chinese overseas often saw themselves as caught between a rock and a hard place. The collection of essays here highlights the variety of experiences in Southeast Asia and China that suggest that the rock can become a huge boulder with sharp edges and the hard places can have deadly spikes. A must read for those who wonder whether Chineseness has ever been what it seems.” Wang Gungwu, University Professor, National University of Singapore. “By including reflections on constructions of Chineseness in both China itself and in various Southeast Asian sites, the book shows that being Chinese is by no means necessarily intertwined with China as a geopolitical concept, while at the same time highlighting the incongruities and tensions in the escapable relationship with China that diasporic Chinese subjects variously embody, expressed in a wide range of social phenomena such as language use, popular culture, architecture and family relations. The book is a very welcome addition to the necessary ongoing conversation on Chineseness in the 21st century.” Ien Ang, Distinguished Professor of Cultural Studies, Western Sydney University.

Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.Bundle set: A Reader in Singapore Modern and Contemporary ArtRelated Link(s)

Singapore is the world’s second-fastest ageing society and will become a super- aged society by 2030. This book fills an important research gap by examining Singapore’s efforts to achieve healthy ageing. It draws on both semi-structured interviews and secondary data (e.g. government documents, journal articles, books, reports) to examine hot topics such as financial wellness of older adults, ageing in place, dementia friendly communities and digital connection with older adults in the time of the 2019 coronavirus disease (COVID-19). In the interviews, experts and professionals provide valuable insights into the issue of healthy ageing in Singapore. The book ’s goal is to provide a comprehensive portrait of healthy ageing in Singapore, while also sharing valuable lessons to help other countries achieve healthy ageing.

In the period 1450 to 1650 in Europe, hair was braided, curled, shaped, cut, colored, covered, decorated, supplemented, removed, and reused in magic, courtship, and art, amongst other things. On the body, Renaissance men and women often considered hair a signifier of order and civility. Hair style and the head coverings worn by many throughout the period marked not only the wearer's engagement with fashion, but also moral, religious, social, and political beliefs. Hair established individuals' positions in the period's social hierarchy and signified class, gender, and racial identities, as well as distinctions of age and marital and professional status. Such a meaningful part of the body, however, could also be disorderly, when it grew where it wasn't supposed to or transgressed the body's boundaries by being wild, uncovered, unpinned, or uncut. A natural material with cultural import, hair weaves together the Renaissance histories of fashion, politics, religion, gender, science, medicine, art, literature, and material culture. A necessarily interdisciplinary study, A Cultural History of Hair in the Renaissance explores the multiple meanings of hair, as well as the ideas and practices it inspired. Separate chapters contemplate Religion and Ritualized Belief, Self and Society, Fashion and Adornment, Production and Practice, Health and Hygiene, Sexuality and Gender, Race and Ethnicity, Class and Social Status, and Cultural Representations.