Beyond yet Toward Representation: Diasporic Artists and Craft as Conceptualism in Contemporary Southeast Asia

This article focuses on craft as a conceptual mediation within selected artworks by Dinh Q. Lê (b. 1968, Vietnam) and Sopheap Pich (b. 1971, Cambodia), two of the most internationally successful artists to represent Vietnam and Cambodia in the global art world. Through an analysis of earlier works that responded more immediately to time and place, I consider broader questions concerning diasporic subjectivity and the relationship between craft, conceptualism, and politico-historical representation in Southeast Asia. This reading finds a confluence between discourses of craft and conceptualism, particularly in the meeting point between abstraction and representation. The act of representation is interrogated in different ways, in which craft (as process) indexes a haptic gesture with ethnic identity, and craft (as form) operates in contemporary art’s discursive regime as an exemplary return to material objecthood. In the examples discussed here, the artists have introduced a genre of conceptualism that is contingent upon a narrative, representational function, one still deemed vital in Vietnam and Cambodia, where a democratic historical project continues to be repressed by current political regimes. As such, I situate the artists’ works beyond their predominant readings as signs of trauma, instead emphasizing the ways in which the artists have contributed to, and expanded, understandings of conceptual art in the context of Southeast Asia and elsewhere

'The 'First' Cambodian Contemporary Artist'

Given the recent attention to Cambodian contemporary art as one of the latest phenomena to expand the perimeters of the global art world, this essay considers the historicization of “the first Cambodian contemporary artist.” By analyzing the artworks produced by and the discourses surrounding Leang Seckon (b. 1974), Pich Sopheap (b. 1971), Svay Ken (1933-2008), and Vann Nath (1946-2011), this article suggests that these four particular artists were integral to a shift in the critical regime of representation of “Cambodian contemporary art” from roughly 2003 to 2010. I focus on this group as representative of a certain moment of transition, when these artists gained a level of international exposure through various platforms of reception, including art exhibitions, film, art writing, autobiographical publication, and scholarly work. Tracing the diverse criteria through which each of them came to represent “the first Cambodian contemporary artist” reveals the extent to which these artists were at the core of expanding discourses on aesthetics, biography, community, history, and oscillating attributions of being modern/contemporary

The Effectiveness of Adult and Pediatric Code Blue Simulation-Based Team Trainings

The adult and pediatric healthcare providers at a New England medical center attended simulation training for responding to cardiac arrests that incorporated the current American Heart Association (AHA) evidence-based standards. The purpose of this concurrent mixed method program evaluation was to compare the adult code blue and pediatric team training programs to the AHA\u27s standards and identify if the staff learned the necessary skills to care for patients in cardiac arrest. The conceptual models used for the study were Crisis Resource Management and the transfer of learning model. The study sample was 660 adult and 269 pediatric healthcare providers who participated in both programs between 2012 and 2015. The research questions explored how the adult and pediatric programs compared, if they provided staff with necessary skills to care for cardiac arrests using current standards, and the staff perceptions of program effectiveness and barriers encountered. The data were collected using evaluation and observation forms and needs-assessment surveys. A chi square analysis identified differences between the programs on staff preparedness and transfer of knowledge into practice. The coding of the qualitative data identified themes from the participants\u27 perceptions on program design. Results prompted a program and curriculum redesign to include multiple opportunities to allow staff to learn and practice skills for low volume high acuity situations. The study promotes social change by giving healthcare providers opportunities to translate evidence-based training into clinical practice. The ability to function effectively as a team in a crisis improves patient outcome and potentially reduces mortality and morbidity within the institution and community. Simulation education also improves staff confidence in performance of low volume and high acuity situations

Tamsulosin for patients with ureteral stones?

Tamsulosin for patients with ureteral stones? Yes, but only for some. Find out which of your patients can benefit. PRACTICE CHANGER: Prescribe tamsulosin for stone expulsion in patients with distal ureteral stones 5 to 10 mm in size.Authors: Pamela Hughes, MD; Corey Lyon, DO Nellis AFB Family Medicine Residency, Las Vegas, Nev (Dr. Hughes); University of Colorado Family Medicine Residency, Denver (Dr. Lyon)

May I have this dance? Teaching, Performing, and Transforming in a University-Community Mixed-Ability Dance Theatre Project

Combining disability and dance may not be new, yet enacting inclusive dance/drama education in a university remains rare. This article reflects on the integration of people with developmental disabilities in dance theatre, particularly in institutions of higher education, and shares insights that emerged in the context of an inclusive dance-theatre project. Over two years, the project progressed from a community-based art for social change partnership, to a post-secondary drama course, to a large-scale, university-produced theatrical production. Drawing on qualitative, embodied, and quantitative data the authors critically reflect on the potential for integrated dance theatre work to contribute to training future professional artists with disabilities, to enrich curriculum for students without disabilities, to inform theory and practice in the field of art for social change, and to positively affect the perceptions and experiences of people living with disabilities.Allier le handicap et la danse n’est peut-être pas nouveau, mais instituer des cours inclusifs de dansethéâtre dans un milieu universitaire demeure un événement rare. Cet article traite de l’inclusion de personnes ayant une déficience développementale dans une initiative de danse-théâtre en milieu universitaire et des réflexions qui en ont surgi. En deux ans, un projet de partenariat communautaire dans le domaine des arts pour le changement social a mené à la création d’un cours de théâtre postsecondaire et à une production théâtrale de grande envergure à l’université. À partir de données qualitatives, quantitatives, et incorporées, les auteurs livrent une réflexion critique sur l’apport de la danse-théâtre intégrée à la formation de futurs artistes professionnels ayant un handicap, à l’enrichissement du curriculum des étudiants sans handicap, au développement de la théorie et de la pratique dans le domaine des arts pour le changement social ainsi qu’à une meilleure perception et expérience des personnes vivant avec un handicap