One of Singapore’s most prominent performance artists, Lee Wen produced a body of incisive, provocative, and sharply satirical works over three decades. This latest title in The Artist Speaks series presents Lee’s writings, lyrics and drawings, offering personal insight to the rich associations, metaphors and tongue-in-cheek humour found in his imaginative world.

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.

Essay from the year 2014 in the subject Economics - Case Scenarios, grade: 73, London Metropolitan University, course: Master of International Events Management, language: English, abstract: Nowadays, events and festivals are an essential part of city life due to the fact that events signify as a way of selling the city as a product by attracting tourists, investments and industries, which could be done by hosting different kind of events on national or city levels. The events have the ability to promote city status as well as uniting communities. Yet the need to distinct a city of other cities is strongly related to the rapid changes and developments in the global economy and increase of global competition. Nevertheless, there are different approaches cities could integrate depending on the use of events in cities and its strategic vision: the entrepreneurial city, the eventful city, and the creative city, which are the key concepts to the case of Singapore. So, in what way does Singapore utilise events to become an eventful city, the entrepreneurial city and/or the creative city? Also, how did Singapore integrate the events strategy and its delivery? Lastly, did the implementation of the events strategy and its delivery leave an impact or legacy for Singapore?

The global rise of festival culture and experience has taken over that which used to merely be events. The Cambridge Companion to International Theatre Festivals provides an up-to-date, contextualized account of the worldwide reach and impact of the 'festivalization' of culture. It introduces new methodologies for the study of the global network of theatre production using digital humanities, raises questions about how alternative origin stories might impact the study of festivals, investigates the festivalized production of space in the world's 'Festival Cities', and re-examines the social role and cultural work of twenty-first-century theatre, performance, and multi-arts festivals. With chapters on festivals in Africa, Asia, Australia, the Arab world, the francophone world, Europe, North America, and Latin America it analyses festivals as sites of intercultural negotiation and exchange.

Multiple award-winning Mark O'Halloran is one of Ireland's most celebrated writers. Two play spanning 12 years of work come together in one published edition to coincide with the New York premiere in January 2023. CONVERSATIONS AFTER SEX You remind me of someone though. I mean you're not like him. Not physically like him. Nowhere near. But there's something there. Your voice or how you hold yourself. Your hands. In a series of unexpected and unguarded conversations after anonymous sexual encounters, a woman discovered men with the same deep need to communicate and connect in the lonely, atomised city. 'A portrayal of grief that is unforgettable in its rawness' - The Guardian TRADE “This is just this. It isn't real. It's money.” In a guesthouse in Dublin's north inner city, a vulnerable and confused young rent-boy sits with a middle-aged client. It's not the first time they've met but today the older man has blood on his shirt. A lot has happened since they last met. 'It closes around your heart like a fist' - The Irish Times