Culture, language, the arts

  • Cheng, N. Y., ““This is my doodle”: Non-participation, Performance, and the Singapore Memory Project”, Performance Paradigm, 14: 64-86 (2018)
  • J. S-.Y. Park, “Cartographies of language: Making sense of mobility among Korean transmigrants in Singapore”, Language & Communication, 39: 83-91 (2014)
  • Koh Tai Ann, “It’s Not Just the Singapore Literature Prize, But Also Literature in Singapore That’s in Crisis”, Singapore Challenged: The Uneasy and Unchartered Road Ahead, a special issue of Commentary, 23: 30-42 (2014)
  • P. Rae, “Performing Singapore: City/State” in Performing Cities, pp. 179-198 (Palgrave Macmillan, 2014)
  • Daniel Tham (ed.), A Changed World: Singapore Art 1950s–1970s: Dialogues (Singapore Art Museum, 2013)
  • Tan K. P.  “Forum theater in Singapore: resistance, containment, and commodification in an advanced industrial society”, positions: east asia cultures critique, 21(1): 189-221 (2013)
  • Terence Chong, “Struggling over the Arts and the Artist in Singapore”, A Portrait of the Arts in Singapore, special issue of Commentary, 21: 17-27 (2012)
  • T. K. Sabapathy (ed.), Intersecting Histories: Contemporary Turns in Southeast Asian Art (Nanyang Technological University, 2012)
  • C.J. W.-L. Wee, “The Arts, Culture and Singapore as a Global City”, A Portrait of the Arts in Singapore, special issue of Commentary, 21: 28-41 (2012)
  • C.J.W.-L. Wee (ed.), special issue “Practising Contemporary Art in the Global City for the Arts, Singapore”, Performance Paradigm (2012)
  • C. J. Wan-ling Wee, Complete Works of Kuo Pao Kun (Practice Performing Arts School and Global Publishing, 2012)
  • Iola Lenzi et. al., Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011 (Singapore Art Museum, 2011)
  • P. Rae, “Wayang Studies?” in The Rise of Performance Studies, pp. 67-84 (Palgrave Macmillan, 2011)
  • P. Rae, “Freedom of Repression”, Theatre Research International, 36(2): 117-133 (2011)
  • C. J. W.-L. Wee, ‘Culture, the Arts and the Global City’ in Terence Chong (ed.), Management of Success: Singapore Revisited, pp. 489–503 (ISEAS, 2010)
  • R. Langenbach and P. Rae, “’say as I Do’: Performance Research in Singapore” in Contesting Performance, pp. 136-152 (Palgrave Macmillan, 2010)
  • T. K. Sabapathy, Road to Nowhere: The Quick Rise and Fall of Art History in Singapore (The Art Gallery at the National Institute of Education, 2010)
  • P. Rae, “No Sweat: Performance and the Care of the Singapore Self” in Counsell, C., & Mock, R. (Eds.), Performance, embodiment and cultural memory (Cambridge Scholars Publishing, 2009) 
  • Y. Mattar, “Popular Cultural Cringe: Language as Signifier of Authenticity and Quality in the Singaporean Popular Music Market”, Popular Music 28(2): 179-195 (2009)
  • Ong Zheng Min, A History of the Nanyang Academy of Fine Arts, unpublished Master of Arts thesis (National University of Singapore, 2006)
  • Ahmad Mashadi, Telah Terbit (Out Now): Southeast Asian Contemporary Art Practices during the 1970s (Singapore Art Museum, 2006)
  • Seng Yu Jin, The Primacy of Painting: Institutional Structures of the Singapore Art World from 1935 to 1972, unpublished Master of Arts thesis (National University of Singapore, 2006)
  • Quah Sy Ren, “Performing Multilingualism in Singapore” in Jennifer Lindsay (ed.), Between Tongues: Translation and/of/in Performance in Asia, pp. 88–103 (Singapore University Press, 2006)
  • J. Shepherd, Striking a Balance: Management of Language in Singapore 12, 113-131 (Peter Lang, 2005)
  • Lim, E. B., “Glocalqueering in new Asia: The politics of performing gay in Singapore”, Theatre Journal, 383-405  (2005)
  • Lee Weng Choy, “Authenticity, Reflexivity, and Spectacle; or the Rise of New Asia is not the End of the World”, positions: east asia cultures critique, 12(3): 643–666 (2004)
  • T. Chong, “Chinese Opera in Singapore: Negotiating Globalisation, Consumerism and National Culture” in Journal of Southeast Asian Studies 34(3), 449-471 (2003)
  • C. J. W.-L. Wee, “Creating High Culture in the Globalized “Cultural Desert” of Singapore”, The Drama Review (TDR), 47(4): 84–97 (2003)
  • William Ray Langenbach, Performing the Singapore State 1988-1995, unpublished Doctor of Philosophy dissertation (University of Western Sydney, 2003)
  • L. Wee, “Linguistic Instrumentalism in Singapore”, Journal of Multilingual and Multicultural Development, 24(3): 211-224 (2003)
  • Ng Siang Ping, “In Search of Singapore Theatre”, trans. Chao Ye Min and Teo Han Wue in Kwok Kian-Woon, Arun Mahizhnan, and T. Sasitharan (eds.), Selves: The State of the Arts in Singapore, pp. 98–120 (National Arts Council, 2002) 
  • Lucy Davis, Making Difference (So easy to Enjoy So Hard to Forget): Looking at Visual Culture, Culturalism and Political Aesthetic Strategies in Singapore, unpublished Magister thesis (Roskilde University, 2001)
  • T. K. Sabapathy, “Paradigm Shifts and Histories of Art” in Kwok Kian Woon et. al. (eds.), Selves: The State of the Arts in Singapore, pp. 74–83 (National Arts Council, 2000)
  • Thirunalan Sasitharan, “Kuo Pao Kun and the Theatre of Tensions” in Images at the Margins: A Collection of KuoPaoKun’s Plays (Times Books International, 2000)
  • Marco C. F. Hsü, A Brief History of Malayan Art, trans. Lai Chee Kien (Millennium Books, 1999)
  • Apinan Poshyananda, ““Con-Art” Seen from the Edge: The Meaning of Conceptual Art in Southeast Asia”, in Global Conceptualism: Points of Origin, 1950s–1980s, pp. 143–148 (Queens Museum of Art, 1999)
  • Chua Beng Huat, “World Cities, Globalisation and the Spread of Consumerism: A View from Singapore”, Urban Studies 35(5-6): 981-1000 (1998)
  • L. Kong, “Popular music in a transnational world: the construction of local identities in Singapore”, Asia Pacific Viewpoint, 38(1): 19 (1997)
  • Redza Piyadassa, “Early Modern Art Developments in Malaysia and Singapore, 1920–1960” in Masahiro Ushiroshoji and Toshiko Rawanchaikul (eds.), The Birth of Modern Art in Southeast Asia: Artists and Movements, pp. 229–233 (Fukuoka Art Museum, 1997)
  • Lynn Gumpert, “Report from Singapore: A Global City for the Arts?” in Art in America, New York, pp. 41–45 (1997)
  • Kuo Pao Kun, “Playwright’s Voice: A Forum on Playwriting” in Sanjay Krishnan (ed.), Nine Lives: Ten Years of Singapore Theatre, 1987–1997, pp. 66–71 (The Necessary Stage Ltd, 1997) 
  • Kwok Kian Chow, Channels and Confluences: A History of Singapore Art (Singapore Art Museum, 1996)
  • Lee Weng Choy (ed.), The Substation Conference 1995: Space: Spaces and Spacing (The Substation, 1996) 
  • Robert Yeo, “Theatre and Censorship in Singapore”, Australasian Drama Studies, Special Focus Issue on Theatre in Southeast Asia, 25: 49–60 (1994)