South-East Asia is a region rich in cultural diversity and dynamic in its creativity. There is a great potential for the countries of the region to capitalize on their cultural resources and their dynamic young populations to gear toward the creative economy and fully realize the role of culture in achieving sustainable development.

This paper argues that the interconnection between physicality, digitality, and sustainability can be considered as a general parameter in the training of global actors. The argument considers this interconnection in relation to 21st-century globalization, the fourth industrial revolution, digital applications, China’s belt and road initiatives, and impending ecological crises. Specifically, the presentation explores the vision for training global actors as it is put into practice at the School of Dance and Theatre of LASALLE College of the Arts in Singapore.

Wth a twisted and long prologue that was ignored by the so-called world leaders for the longest time, on March 11, 2020, the World Health Organisation declared COVID-19 a global pandemic. By the end of the month, most countries in the world had closed their borders and went on lockdown or imposed quasi-lockdown measures. Entire sectors of global economy shut down; global supply chains disrupted; transoceanic maritime trade halted; oil trading ceased. The situation was uncanny to the extent that only comparisons were suitable as a way to fathom the experience. And yet, comparisons failed.

This article proposes ‘planetary performance pedagogy’ as a theoretical and practical framework for spatially and temporally distributed teaching and training in higher education, combining remote and experiential modes of interaction to facilitate an awareness of multiple planetary perspectives. Our argument deploys the creative potential of several concepts that we develop within this framework: the idea of the planetary classroom, the digital companion, and the multipolar performance prompt.

The principles of sustainability and social design have been widely adopted to develop new models of community practice, engagement and innovation. Considering the growing interest of social practices and sustainable models, systems thinking provides an opportunity to further frame and organise various design activities to develop a deeper understanding of the spaces of impact through social innovation.

The teaching of jazz theory has long been linked to the use of modes and nontraditional scales that have enriched jazz improvisation and composition. Nevertheless, jazz scholars have not reached a consensus in regard to scale nomenclature, especially in relation to heptatonic synthetic scales or modes. The tendency to describe synthetic scales with proper nouns is becoming less frequent for one reason: a name like Hungarian or Jewish scale does not convey any musical information.

Art therapists have their own art and art-making available to them as an important resource for personal and professional containment, reflection and perseverance. Engaging in and with their own art-making and images can lead to further insights, and can serve as a reservoir to deposit complex reactions, ruminations and responses to a global pandemic. This article surfaces one artist/art therapist’s art-making through a visual exposé of his perspective on containment of circumstances that are essentially beyond his control.

In this paper, I argue that Takahata’s works possess aesthetic qualities that have not been addressed sufficiently, partly due to the lack of an overall recurring theme and specific visual traits that allow viewers to easily identify with the characters. The impact of Takahata’s work rests on their narrative meaning rather than centering on the personalities and visual charm of the key characters. The meaning stays within the animation itself, rather than branching out through merchandising or fan activity.

This article re-introduces the submerged 1968 performance Televanilla, an improvisational theatre dance piece that deployed analogue image-processing tools to establish a dialogical system with technological media. It argues that the performance anticipated principal concepts and strategies for real-time human-machine interaction, and the "virtual" representation of participants in mediated art environments. Although the performance received reviews from renowned critics in prominent New York newspapers and magazines, it disappeared from the historical records almost entirely.

Art therapy is a dynamic discipline that readily embraces opportunities to further develop and expand practices and applications. This can be observed in art therapy training pedagogy, initiatives, and projects. For those art therapy training programs that are new and/or are being developed in regions around the world, it is important that their contributions to the field are acknowledged and shared with a global audience. Art-based methodology supports the reflexive stance of this preliminary investigation and documents this initial phase of a larger research initiative.