By Gene Segarra Navera (auth.), Chee-Hoo Lum (eds.)
This edited ebook not just makes a much-needed contribution to investigate in arts schooling but in addition offers a robust grounding of evidential help for Singapore arts schooling, unlike the present scenario in arts schooling in lots of components of the realm the place critical cuts in investment, lackluster help for the humanities and imperialist agendas are pervasive. The case of and for Singapore – offered during this edited booklet via wealthy descriptions of the devoted, contextualized practices of arts educators, artists and researchers – bargains readers many necessary classes and reflections at the endured survival and development of arts education.
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Additional info for Contextualized Practices in Arts Education: An International Dialogue on Singapore
How the arts figured at the time of Singapore’s early foray into self-government is probably captured by the words of Singaporean artist Cheo Chai-Hiang whose retro neon light installation was featured in the Singapore 1960 show at the National Museum in June 2010. The following words from Cheo is taken from Deepika Shetty’s article on the artist’s retro neon light installation featured in The Straits Times: Life then was very simple, but there was a lot more soul. Songs, art, film, sport, everything had a space.
It seeks to highlight what may be regarded as alternative expressions to the statist account of the Singapore arts landscape. The fifth section brings to the fore the tensions and contradictions that interlace the development of Singapore arts and culture and that offer constraints, challenges, and potential opportunities for arts teaching and learning. S. -H. S. Navera possible confluences that may arise from learning about these tensions, and drawing attention to possibilities in the learning context, that is, potential areas of inquiry for researchers on arts education and on the practices and pedagogies in specialized arts schools.
89). He believes that a vibrant society must be open to alternative visions and possibilities and that art should continually challenge the status quo through experimentation and critique. The ACSR, which documents current initiatives by the government in collaboration with arts and culture stakeholders, talks of no-censorship zones to encourage a more vibrant arts scene. Nominated Member of Parliament, Janice Koh, who lends her voice to the arts and cultural workers and stakeholders in Singapore’s legislative chamber, however contends that “zoning marginalizes art and the role it plays in it” (Mayo 2012).