The Research Project Funding (RPF) scheme provides financial assistance to support research projects and activities. It encourages and promotes the undertaking and realisation of small or medium-scale research projects as well as research-related activities that lead to a publishable outcome, and potentially to further in-depth investigations in the research topic.

Past-approved RPF projects include:

  • Shanthini Manokara (F/PA), Melissa Quek (F/PA) & Nora Samosir (F/PA): Nodes of Rasa: Intersections between Performance and Culinary Arts
  • Leela Alaniz (F/PA): Practice-as-Research Project Artificiality and Organicity - A Two-Way Journey in Actor Training
  • YenYen Woo (F/FAMCI): Eat With Your Ears: A Practice-Led Investigation of Experiencing Food Through Sound
  • Sheuohui Gan (F/FAMCI): Exploring Environmental Awareness and Sustainable Outdoor Experiences: A Practice-Based Children’s Book Project
  • Leon Rubin (F/PA): New Edition of Performance in Bali
  • Hera (F/DE): A design historical perspective of Sinophone Graphics in prewar Singapore
  • Darren Moore (F/PA): Music for Surrogate Performer
  • Jeremy Sharma (F/FAMCI): Slander!—An investigation into auto-theory through six Malayan films.
  • Nora Samosir (F/PA): Nuancing the Sitedness of Metatheatrical Strategies
  • Khalid Al Mkhlaafy (F/FAMCI) & Alan Rudge (F/FAMCI): Optimising the Workflow for a Collaboration Exploring the role of Real-Time Rendering in Hybrid Virtual Production.
  • Jonathan Gander (F/FAMCI): Outsider Art in SouthEast Asia: a discovery research project
  • Clara Eloise Fernandes (F/DE): PLACE (Programme for LASALLE Creative Entrepreneurs)
  • James Felix (F/PA): Defining the field of gastromusicology
  • Steve Golden (D/ICE): Singapore’s Historic Shops
  • Diego Celi (F/PA): A Comparative Study of the Effectiveness of Print Books vs. E-books in Electric Guitar Instruction
  • Peter Zazzali (F/PA): Hybridity and Actor Training: A Cross-Cultural Exploration of Pedagogies at Three ‘Asian’ Drama Schools
  • QingSheng Ang (F/FAMCI): Emancipating the spectator through affective cinema
  • Darren Moore (P/O): Music for Neurons: cellF/Alvin Lucier
  • Clare Veal (F/PA): The Labour of Muses and Mothers: Sexual Difference in Southeast Asian Pictorial Photography, 1950–1990
  • Harah Chon (F/PA): Designing Social Systems for Cultural Sustainability in South East Asia
  • Gilles Massot (F/FAMCI): Jules Itier and Girault de Prangey: The Coming of Photography to Africa and the first Visual Recording (aka “duplicording”) of the Pyramids of Cheops
  • Venka Purushothaman (P/O): A Study of Cultural Networks and Artist Collectives in Asia
  • Felipe Cervera (F/PA): Digital Collaborations in Teaching and Research
  • Michael Budmani & Michael Earley (F/PA): Call Q – Development of Cutting-Edge Software For Stage Management Training
  • Sunitha Janamohanan (F/FAMCI): A 3-city Comparison of Models of Arts Management: An Engaged Scholarship Approach
  • Emylia Safian (F/FAMCI): Making Sense of Skin
  • Steve Dixon (P/O): Virtually No Exit: Towards new models of interactive VR theatre
  • Jeffrey Say (F/FAMCI): A reader in Singapore modern art
  • Ginette Chittick (F/DE) & Hazel Lim-Schlegel (F/FAMCI): The Aesthetics of Care - Mapping intersections of art, design and craft through the art of weaving
  • Caterina Riva (ICAS): Curating and the digital: shifts in exhibitions, art making and audiences
  • Adrian Huang (F/DE): The Making of a Dress: Evolution of craft in the 21st Century
  • Felipe Cervera (F/PA): Digital Collaborations in Teaching and Research
  • Venka Purushothaman (P/O): A Study of Cultural Networks and Artist Collectives in Asia
  • Gilles Massot (F/FAMCI): Jules Itier and Girault de Prangey: the coming of photography to Africa and the first visual recording (aka “duplicording”) of the pyramids of Cheops
  • Qing Sheng Ang (F/FAMCI): Deterritorialising Animation Practice through Intermedial Transpositions
  • Fanny Bratahalim (F/FAMCI): At the Crossroads: Investigating the Construction Process of My Chinese-Indonesian Diasporic Identity
  • Darryl Whetter (F/FAMCI): Turquoise Water, White Liberal Guilt: Poems at Travel’s End
  • Mitha Budhyarto, Vikas Bhatt Kailankaje (F/DE): Hidden Histories: Design Education in Indonesia, Singapore, and Malaysia (1945 -1980s)
  • Ruobing Wang (F/FAMCI): The Details of The Everyday in The Art of Contemporary Chinese Artists
  • Natasha Lushetich (LTR): Imaginations of Disorder in Art-Science-Philosophy
  • Darryl Whetter (F/FAMCI): Our Sands: A Novel
  • Hazel Lim (F/FAMCI): Art Patronage in Myanmar and How it Shapes Contemporary Art Practices
  • Urich Lau (F/FAMCI): Videologue: Encoded Expositions
  • Salleh Bin Japar (F/FAMCI): Framing a Southeast Asian Aesthetic through a Historical Overview and Development of Contemporary Art Practise of Singapore Malay Artists
  • Melanie Pocock (ICAS): Conflict in Capture
  • S Chandrasekaran (F/FAMCI): Third Person: Interpreting Transgendered Bodies Between Narratives in South India
  • Qing Sheng Ang (F/FAMCI): "Singaporean" Animation?
  • Hillary Yeo (F/FAMCI): Practice-led Development of a Learning Resource for a Practical Facial Animation Approach.
  • Amanda Morris, Darren Moore (F/PA): Liquid Architecture Singapore 2014
  • Yvonne Spielmann (F/FAMCI): Indonesia's Contemporary Arts Scene in the Context of Southeast Asia
  • Jeremy Sharma (F/FAMCI): From Ear to Eye
  • Amanda Morris, Darren Moore (F/PA): cellF
  • Zarina Muhammad (F/FAMCI): Poisons and Charms: Negotiating Myth, Magic, Religious Ritual and Cultural Identity
  • Wolfgang Muench (LTR): Pioneers Lost – Whatever happened to Televanilla?
  • Venka Purushothaman (P/O): Towards a Cultural Ecology: A Topographical Study of Arts Places, Cultural Spaces
  • Timothy O’Dwyer (F/PA): The Fold: New Collaborative Approaches to Composing Music.
  • Steve Dixon (P/O): Reimagining T.S. Eliot’s The Waste Land as Multi-media Theatre
  • Khalid Almkhlaafy (F/FAMCI): Combining the Digital Body and the Corporeal in Live Performance
  • Elizabeth de Roza, Aole T. Miller (F/PA): Combining Kalaripayattu and Fitzmaurice Voicework techniques
  • Aubrey Mellor, Malar Vili Nadeson (P/O): Work in Process