Titlebook: Contemporary Arts as Political Practice in Singapore; Wernmei Yong Ade,Lim Lee Ching Book 2016 The Editor(s) (if applicable) and The Autho

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Waxing on Wagers,ue. As the collection’s opening essay, this piece introduces the possibility of reading the performative logic of Singapore’s political economy as discursively embedded in the wager and played out on the bodies of its people.

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https://doi.org/10.1007/978-3-663-05005-6 conceived by philosopher Jacques Ranciere. For Ranciere, politics takes place along an axis of a distribution of the sensible: what can or cannot be seen, what can or cannot be heard, what can or cannot be said. When the terms of the system become fixed, a police order is established, whereupon pol

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https://doi.org/10.1007/978-3-663-05006-3isk-taking, risk-making—a wager. Fernando’s creative critical piece scrutinises the relationality of the phenomenon of waxing—paying attention to its normalising function, particularly its extension as performance on parts of the body usually considered private. He takes the equation further by cons

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https://doi.org/10.1007/978-3-663-05006-3of the confessional body, a body “laid bare in all its obscured dimensions, operat[ing] as a nexus of intersecting strands: of material and social taboos, trauma and amnesia, abjection and repressed histories” (Ho). Loo’s recent work is read within its specific socio-historical moment: if it indeed

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Herwart Opitz,Helmut Rohde,Wilfried Könign syndrome into a public theater performance in Singapore. Drawing upon the critical ideas espoused by Carrie Sandahl, Petra Kuppers and Rosemarie Garland-Thomson on disability theory and performance, as well as his own experience with directing the first public performance of . in 2011, this chapte

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https://doi.org/10.1007/978-3-663-05008-7staged multiplicity as intersecting and overlapping presences, as well as constantly revising the boundaries of singularity to assert porosity and liquidity as useful and ordinary ways of being and becoming. Rajendren argues that the overt synthesis of what is ‘real’ and ‘fictional’, self and other,