2020
DOI: 10.1080/10632921.2020.1720877
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Capacities and Impacts of Community Arts and Culture Initiatives in Singapore

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Cited by 6 publications
(4 citation statements)
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References 29 publications
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“…While the observations may have missed out some activities, as activity patterns may vary from day to day, this investigation offered empirical snapshot insights into the daily rhythms of local Singaporeans in two neighbourhoods. A similar method has been used in previous local studies, with similar activity patterns reported [ 102 , 103 ].…”
Section: Methodsmentioning
confidence: 99%
“…While the observations may have missed out some activities, as activity patterns may vary from day to day, this investigation offered empirical snapshot insights into the daily rhythms of local Singaporeans in two neighbourhoods. A similar method has been used in previous local studies, with similar activity patterns reported [ 102 , 103 ].…”
Section: Methodsmentioning
confidence: 99%
“…The contribution of volunteers in supporting the arts and culture sector is well-documented (Bendle & Patterson, 2008; Saleh & Wood, 1998; Stebbins, 2013; Trivic et al, 2020). In this note, in contrast to many previous studies, we focus on potential rather than active volunteers and consider the potential pool of volunteers that exists.…”
Section: Introductionmentioning
confidence: 99%
“…In community art programs, volunteering provides a source of labor supply often vital to projects being realized, as well as means to harness volunteers’ pro-social motivations and prosumption, where individuals act as both consumers and producers (Trivic et al, 2020). We believe that viewing volunteers as a source of labor and a consumer of art enables a better appreciation of their contribution—particularly in the context of community arts programs.…”
Section: Introductionmentioning
confidence: 99%
“…As an ethnographic researcher who engaged with Between Earth and Sky to produce the critical essay that accompanied its touring exhibitions (beginning in 2018) and who has continued to collaborate with Neo in various capacities on another of her works Care Index (2020-), I also discuss Neo's projects in this article in order to situate these socially engaged artworks as forms of public pedagogy (Charman & Dixon, 2021;Sandlin et al, 2010;Pillai, 2014). Engaging with Neo's work, I seek to explore how socially engaged art practice, also referred to as social practice (Sanders-Bustle, 2019; Sholette et al, 2018), community-based arts (Pillai, 2014 or community arts (Lee & Sim, 2017;Trivic et al, 2020) can at once be a socially and relationally centred mode of artistic production, and an arts-based approach to public education and advocacy. Here, I examine how Neo's practice is oriented around working with communities over time in service of collaboratively finding an expressive medium that furnishes public understandings of their experiences.…”
mentioning
confidence: 99%