Tan, Marcus Cheng Chye

On 8 December 2013, the monotonous placidity of Singapore’s streets was disrupted by anti-social violence in a district called Little India. Such acts of mass aggression were unheard of in a country whose policies of multiculturalism have been hailed as exemplary for developed nations. This article examines the conditions and consequences of the riot in Singapore and posits that the event signified a rupture in the politics of multicultural practice. It analyses media representations, official state narratives and vitriolic public responses to consider how the voices of the rioters have been violently silenced. Framed by what Georges Bataille terms the dialectic of civilised speech versus silent violence, where silence is regarded as dispossession and objectification, and vocality as empowerment and subjectivity, this article will consider the performativities of silence and violence and the ways the riot is an event of dissensus, a politics of interruption that fractures hegemonic state-prescribed narratives of multiculturalism.

The paper will present the findings of a small-scale study done to ascertain Singapore’s soundmarks and the place and meaningfulness of sound in Singapore society. I critically evaluate the significance of these findings in relation to Singapore’s cultural and political economy and the population’s lived experiences. The paper will also examine sonic events that reveal how sound’s regard impacts the cultural and political lifeworlds (Lebenswelt) of Singaporeans. An oft neglected phenomenon in Singaporeans’ lived experience sound inevitably informs, influences and dictates Singapore’s social, cultural and political identity.

Examines new and recent Southeast Asian performances and artists Engages specifically with political theatres Expands the discussion around censorship and gender with new and 'inside' perspectives

Virtual Reality (VR) and Immersive Virtual Environments (IVEs) are increasingly becoming employed in the classroom to facilitate embodied forms of experiential learning in sensorially rich contexts. This chapter presents the findings of a study conducted with 15-year-old students in a Singapore school. The study evaluated the effectiveness of IVEs as a novel pedagogical approach to the teaching of social and emotional competencies, in the context of Character and Citizenship Education; it sought to ascertain if the affordances of VR and IVEs—immersion, presence and embodiment—when accompanied by real-world narratives would facilitate greater empathy, perspective-taking and responsible decision-making. Students were divided into three treatment conditions: IVEs, “pen-and-paper” mental simulation and video-viewing, and each treatment contained a problem scenario that involved an ethical dilemma young people in Singapore today face. A quasi-experimental, pre-test post-test, non-equivalent group design was employed and the study adopted a mixed-method approach to data collection. The findings show how IVEs can effectively facilitate perspective-taking and empathy, and this is due to its ability to immerse the user in the fictional space of the narrative, thereby encouraging a deeper sense of presence and embodiment.

Located within the myth of Shakespeare’s universality is a belief in the power and poeticism of his language. If we acknowledge Richard Eyre’s assertion that ‘the life of the plays is in the language’, what becomes of this myth when Shakespeare is ‘transferred’ across cultures? What happens to Shakespeare’s ‘universality’ in these cultural re-articulations? Using Ong Keng Sen’s Search Hamlet (2002), this paper examines the transference of myth and/as language in intercultural Shakespeares. It posits that intercultural imaginings of Shakespeare can be said to expose the hollow myth of universality yet in a paradoxical double-bind reify and reinstate this self-same myth.

There has been increasing use of interactive technologies in the classroom today and a rising popularity of employing virtual environments as a means to engage students in sensorially rich contexts for more embodied forms of experiential learning. In particular, virtual reality (VR) or immersive virtual environments (IVEs) facilitated by head-mounted displays (HMDs) have been used in the teaching of subject content such as history, geography and science. This article presents the findings of an exploratory study of immersive technology, specifically immersive virtual environments (IVES), for the purpose of social and emotional learning (SEL), in the context of Character and Citizenship lessons in the Singapore classroom. The social and emotional competencies (SECs) examined in this project were specifically empathy and perspective-taking, and responsible decision-making. The study involved a sample of n = 75 students from a cohort of students in a Singapore school, averaged at 15 years of age. Students were randomly divided into three treatment conditions: IVEs, pen-and-paper mental simulation and video-viewing. Each treatment contained a problem scenario, told from a first-person perspective, involving a social and ethical dilemma young people today face. A quasi-experimental, pre-test post-test, non-equivalent group design was employed, and the study adopted a mixed-method approach to data collection. The findings reveal that IVEs are not necessarily more effective than the “pen-and-paper” and video viewing approaches to teaching SECs but they can better facilitate perspective-taking and empathy for a higher percentage of students.

This paper will examine the poetics of sound archiving as a means of documenting and evaluating Singapore’s cultural and political economy. It is twofold in consideration: an inquiry into sound’s significance for/in Singapore and the media/tion of archiving sound. This first concern involves an investigation of selected sound events and their relation to the cultural and political life-worlds (Lebenswelt) of Singapore/ans. The second section argues for an importance of archiving sounds in/of Singapore given the absence of any authoritative sound library or sound map. Many iconic, culturally defining sounds are now lost to time; this loss further underscores the importance of archiving for past sounds and the perception of these sounds by historical actors inform us about the changing character and identity of cities, people and cultural practices. Technology today provides the means to capture and contain sound, as ephemeral phenomena, in high fidelity and this paper will include a discussion of an ongoing research project in collaboration with the National Archives of Singapore (SoundscapeSG) which involves a web-based platform that contains Singapore soundscapes in ambisonic formats.