Post B: How can we end the smoking epidemic whilst raising money for cancer patients?

“Give up for Good” is a collaborative initiative with creative agency Up & Up and Singapore Cancer Society. This initiative is working towards a smoke-free Singapore, by designing a exchange system where people give up one of their cigarettes for the support of Cancer patients and their families. Each cigarette is valued at 0.60 cents, to which corporates match the value and disrupt necessities to patients. The cigarettes were totalled on the 3rd of December 2016, which was named “Give up for Good Day”. This event and the collection process as a whole, was a success and made the community think about the dangers of smoking and waste of money and resources. However, due to the location of the event being the Bugis shopping district in Singapore limited people were able to attend the event. The would have been a challenging factor, however it effects were spread on social media. By collaborating with Up & Up the initiative has now made collections with a socially responsible and environmentally sustainable company. Although “Give up for Good” was recently launched, these associations will provide a pathway for throughout design exploration.

What made this initiative successful was it understood the psychology of the people evolved. By designing a method that breaks away from traditional usual frightening smoking campaigns. Managing director, Up & Up Anand A Vathiyar states “Give up for Good treats smokers with consideration and engages them directly. It demonstrates the power of choice that smokers have with every stick of cigarette.” (Rao M 2016) This shows the power that this methodology has and the importance that minor challenges have, when working to a smoke-free Singapore. There were not major failures, however some people didn’t want to give up their cigarettes and were somewhat defensive. Even though more cigarettes were collected when expected, this was still a small amount of product/money. Due to the dedication of the volunteers and the ethically sound practices of the organisations evolved, there were no interventions. Singapore as a nation is working towards a more health and environmentally conscious society, which means that a significant amount of its citizens respond well to these design initiatives.

This initiative utilises the benefits of working within a transdisciplinary team. Singapore Cancer Society having working on numerous design initiative in the past such as “Designated smokers areas”and “Ashtray”. Meaning that the organisation knows how Singapore is currently responding better to less graphics methods of communications. By working with Up & Up they combined this knowledge with the agency’s understanding for marketing and education. These skills in correlation with the passion and interpersonal skills of the volunteers, meant that the initiative explored the vast impossibilities and benefits of transdisciplinary design. It follows a bottoms-up approachas it stems from a configurations of quantitative data on smoking and research into how the negative effects of cigarettes could be turned into positive interactions in order to make change. By using an analytical intelligence path, they were able to predict the reactions of the participants. Despite the organisations involved being influential, the initiative would not have been a reality within the support and volunteers within the community, which stems from the same ideologies. This initiative was run by volunteers and sponsors (Citrus Events & Communication, Lotte Pepero, Pokka Singapore, Nicorette and Honestbee), however it can’t be labeled as a not-for-profit as the funding also supports the creative agency evolved and the management team in the Singapore Cancer Society.

info graphics
An info graphic that I created to represent my research on this design initiative

Reference List:

Rao, M. 2016, ‘Singapore cancer society breaks away from the usual scary smoking campaigns’ Marketing-interactive, 06 December, viewed 10 December 2017, <>.

Give Up for Good 2017, HomePage, viewed 10 December 2017, <>

Research Division, Institute of mental health, 2012 ‘Smoking and nicotine dependence in Singapore: findings from a cross-sectional epidemiology study.’ Ann Acad Med Singapore, vol. 41, iss 8, viewed 10 December 2017, <>

Leow, J, 2017 ‘The Challenges, Emotions, Coping and Gains of Family Caregivers for Patients with Advanced Cancer in Singapore: A Qualitative Study.’ Cancer Nursing, vol 40. Iss 1, viewed 10 December 2017 <,_Emotions,_Coping,_and_Gains_of.3.aspx>

Kim, J, Cao, X, Meczkowski, E, 2017. ‘Does Stigmatization Motivate People to Quit Smoking? Examining the Effect of Stigmatizing Anti-Smoking Campaigns on Cessation Intention’ vol 0. Iss. 0, viewed 10 December 2017, <>



Post D: Indonesian Art Practices and their Geographical Context

How does Indonesian art practices change according to the geographical context of the artisan.

Indonesian art practices stem from similar ideologies and cultural complexities, however when examining these practice in relation to different geographical contexts, variations occurred. Art practices within the local area of Banjarmasin, focused heavily on cultural events and activities and utilised art in order to express and explore these. This is evident through the large amount of motorboats are decorated for the Tanglong Jukung Competitors. The highly decorative embellishments bring a cultural significance to the event, as they create a sense of wonder within the Banjarmasin neighbourhood. Colour symbolism is used as the boats contain ornamental lights that reflect the Tanlong dipanjali colours. The practice of creating specific culturally aware art is also explored through the practice of Sasirangan, which is a traditional fabric colouring art form, that results in range of unique and abstract patterns. The colourful and vibrant designs that are created are reflective of Banjarmasin culture. With advances in textiles technologies, the designs are now produced on advanced textiles with over 30 patterns. These are sold within the Banjarmasin regions, however are also sold externally. There are a range of motifs that are created on the designs, that emphasise their cultural significance and help communicate to the people that aren’t familiar with their culture.

This illustration is a visually representation of Indonesian art practices. Each row embodies a different geographical area e.g. international, national, Regional and Local art practices.

Cultural art practices in the region of Kalimantan begin to be more focused on a tourism based mind set, as their creation are often what makes people travel there. The relationship between tourism and art production in Kalimantan relies on the continual developments of both aspects of the culture. By creating art or souvenirs that reflect key aspects of Indonesian culture, often with a spiritual meaning, tourist are able to take a piece of culture home with them. However, these are often very inexpensive for these tourist, which creates an uneven exchange for the handcrafted wood carvings, masks or clothing. When tourist coming to Kalimantan have respect for the art practices of the locals, their creations can be better valued. This means that the relationship and economics within the cultural exchange can be strengthened.

On a holistic level art in Indonesia is known for its diversity, due to the different regions and ethics within the national that shape the visual styles that each artisan creates. This is evident in the stone sculptures that capture the Hindu believes in Java. The same can be said for villages in Java that create ceramic with reference to the Majapahit kingdom. This results in Indonesia being a country that embodies the cultural diversities within the vast archipelago. Religion has a strong influence on Indonesian art, approximately 82% of the Indonesian population is Islamic, which means that a vast majority of traditional art practices are created with spiritual intend. This is represented through Islamic- style geometric forms and Arabic calligraphy. This enables people to reflect upon Indonesian art with interested and investments, as they values its cultural significance.

Artisans are now practiced all across the world and and combine their traditional culture and understandings with key influences of their current surroundings. In 2017 a number of Indonesian artists such as Putu Edy Asmara and Erizal AS. participated in the Beijing International Art Biennale, where they got to communicate their art practice with those that might be unfamiliar with Indonesian culture and express how geographical context shapes an individual’s art practice.

This map shows the relationship between Indonesian art practices with geographical context. The key communicates the diverse art practices within these areas.

Reference List:

Taylor, P.M. 1994, Fragile Traditions: Indonesian Art In Jeopardy, University of Hawaii Pr, Hawaii.

Clark, J. 2010, Modern And Contemporary Asian Art, Department of Art History & Film Studies, R.C. Mills A26, University of Sydney, Sydney.

Patt, J.A. 1979, ‘The Use And Symbolism Of Water In Ancient Indonesian Art And Architecture’ Science Index, 0729 – Architecture, viewed 4 December 2017, <;

Setianingsih, P., ‘The Voice of Muted People in modern Indonesian Art’ Modern Indonesian Art Pre 1996, Thesis, viewed December 4 2017 <>

Indonesian Arts and Crafts 2017, Arts and HandiCrafts, Viewed 4 December 2017, <>

Facts and Details 2017, Indonesian Art, Arts, Culture, Media, Sports, viewed December 4 2017, <;