dokyu: Intersections of History, Creative Writing, and Arts Practice / Siddharta Perez

These materials are part of the dossier Dokyu: Intersections of History, Creative Writing, and Arts Practice, published in ASAP/Journal volume 8, number 3, January 2024. Spanning multiple locations of research including Singapore, the Philippines, Japan, Hong Kong, the U.S., and Switzerland, Dokyu’s participants draw from varied fields such as documentary poetics, environmental and community-based art and history practices, performance art, and painting, among others, in order to expand the ways in which we approach, understand, and interact with historical documents. Ultimately, Dokyu aims to establish an experimental space that fosters interdisciplinary dialogue, transforms artistic and scholarly methodology, and informs the ways the interdisciplinary in the humanities is both practiced and taught. 


  1. Chan Yi Qian (artist & writer)
  2. Martin Dusinberre (historian)
  3. James Jack (artist)
  4. Hilmi Johandi (artist)
  5. Collier Nogues (writer)
  6. Siddharta Perez (curator)
  7. Aki Sasamoto (artist)
  8. Lawrence Lacambra Ypil (writer)

: :

Siddharta Perez helms the National University of Singapore Museum’s unique curatorial model, called the prep-room, articulating relationships among artefacts, artworks and archives as well as the interactions between artists’ practices and pedagogical disciplines. 

Yang tidak lupa (“The one who did not forget”) introduces a prep-room project initially exploring the multiple ways of tracing feminine identities in Malaya and Singapore’s art world, from the 1960s to the 1990s. It inquires further on methods of (re)reading the “feminine body” through visual depictions and/or embodied realities, all deeply subjective and relational – while also holding space for future feminist interventions in Singapore’s histories of art. Yang tidak lupa is a prep-room project initiated by Nurul Kaiyisah, the NUS Museum’s inaugural Young Museum Professional Trainee (YMPT).


Fyerool Darma takes us through After Ballads, a prep-room project that locates literary foundations in historic figures such as Abdullah bin Abdul Kadir, and in objects from the museum collection. His series of presentations is an exercise in the epistemology of texts, artefacts, and systems of language.

: :